Pro Tools Reference Guide Version 6.4 for HD or LE Systems on Windows or Macintosh Digidesign 2001 Junipero Serra Boulevard Daly City, CA 94014-3886 USA tel: 650·731·6300 fax: 650·731·6399 Technical Support (USA) tel: 650·731·6100 fax: 650·731·6384 Product Information (USA) tel: 650·731·6102 tel: 800·333·2137 International Offices Visit the Digidesign Web site for contact information Web Site www.digidesign.
Copyright This guide is copyrighted ©2004 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.
Contents Part I Introduction Chapter 1. Welcome to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 The Pro Tools Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Digidesign Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Compatibility Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Part II Sessions & Tracks Chapter 6. Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring Pro Tools System Settings (in the Playback System Engine) . . . . . . . . . . . . . . . . Configuring Pro Tools Hardware Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Exporting Pro Tools Tracks as OMFI or AAF Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Exporting Sessions as Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Importing MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Exporting MIDI Files .
Chapter 13. MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Recording from MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Enabling Input Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playing Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Timeline Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Playing Edit and Timeline Selections with the Playhead . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Chapter 17. Working with Regions and Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 21. Conductor Tracks and Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Tempo Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Default Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Identify Beat Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meter Events . . . . . . . .
Transpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Quantize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Input Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Groove Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 28. Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451 Automation Quick Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Automation Playlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Automation Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 32. Multichannel Tracks and Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 Multichannel Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Multichannel Signal Routing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paths in Surround Mixes . . . .
Chapter 36. Working with QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 About QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . QuickTime Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Movie Playback Quality Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Importing a QuickTime Movie . .
Part I: Introduction 1
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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 Pro Tools systems include the following guides: Getting Started Guide Instructions for installing your Pro Tools system and connecting your studio.
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 Control-click Hold down the Control 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
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 associated hardware, as follows: • TDM = Pro Tools TDM software for Pro Tools|HD-series and Pro Tools|24 MIX-series hardware. • LE = Pro Tools LE software for Digi 002, Digi 002 Rack, Digi 001, or Mbox hardware.
Pro Tools|HD 3 Supported Audio Interfaces Includes: HD-Series Only • HD Core card • Two HD Process cards The following audio interfaces are compatible with Pro Tools|HD-series systems: • Pro Tools TDM software • 192 I/O • 192 Digital I/O MIX-Series Systems Pro Tools|24 MIX Includes: • MIX Core card • 96 I/O • 96i I/O Pro Tools|HD-series systems require the use of at least one 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O.
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. (Mono tracks take up one voice. Stereo and multichannel tracks take up one voice per channel.
Audio Interfaces for TDM Systems Table 4 lists the input and output capabilities of the various audio interfaces for Pro Tools TDM 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 Accel or HD Process cards, and six I/Os).
Pro Tools LE Systems Mbox An Mbox system includes: Pro Tools LE-based systems are available in the following configurations: • Mbox audio interface • Pro Tools LE software Digi 002 A Digi 002 system includes: • Digi 002 combined audio interface and controller • Pro Tools LE software The total processing capacity of a Pro Tools LE-based system depends on the processing power of your computer.
Pro Tools LE System Capabilities Table 5 lists the playback, recording, and input and output capabilities of each Pro Tools LE system. All Pro Tools LE systems support up to 32 or 24 audio tracks, as noted in Table 5. (Mono tracks take up a single audio track, while stereo tracks take up two tracks.
Chapter 3: Pro Tools Concepts This chapter explains the principles 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.
Playback Engine Dialog Pro Tools takes advantage of your computer’s host processor for certain tasks and optional host-based DSP processing. 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.
Tracks Pro Tools tracks are where audio, MIDI, and automation data are recorded and edited. 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.
INPUTS 1-4 INPUTS 5-16 SW CTRL GAIN 1 2 OUTPUT +4dBu/–12dBV 3 4 5 6 +4dBu/–10dBV 7 9 11 13 15 1 8 10 12 14 16 2 Figure 1. Back view of 96 I/O, with eight analog inputs, eight analog outputs, and eight digital input/output channels (using a lightpipe) 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.
Signal Routing 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.) Stereo plug-in Inserts Sends 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.
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 plug-in and/or hardware inserts. Sends Sends route audio to internal busses to send to other tracks in Pro Tools, or to hardware outputs. Master Faders do not have sends.
Active and Inactive Items Pro Tools lets you set certain items (such as tracks and inserts) 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.
Display of Inactive Items Automatic and Manual Inactive Mode When items are inactive, their names appear in italics, and their background becomes dark grey. When a track is inactive, the entire channel strip is grayed out. Active and Inactive modes are powerful options for session transfer, and system resource management. Pro Tools provides automatic and manual Inactive mode switching. You can manually make items inactive (or active) to selectively manage system resources while editing and mixing.
You can apply Active or Inactive modes to all or all selected tracks using standard Pro Tools modifiers (Alt and Alt+Shift in Windows, Option and Option+Shift on the Macintosh). Side-chain inputs support direct active and inactive switching, but do not follow switching all or all selected side-chain inputs. MIDI Concepts MIDI (Musical Instrument Digital Interface) is a communication protocol for musical instruments.
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. Common Misconceptions about MIDI MIDI is not audio.
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 lets you control the transport and transport-related functions from the Transport window. For 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.
Send with Send Controls (page 414) Plug-In Insert (page 433) Inserts View (page 88) Show/Hide Tracks List (page 93) Sends View (page 416) I/O View (page 88) Automation Mode Selector (page 453) Channel Pan (page 88) Output Window button (page 412) Track Controls (page 24) Group ID Indicator Channel Volume (page 88) Voice Selector (page 97) Level Meter (page 89) Mix Groups List (page 104) AutoMatch Indicator (page 457) MIDI Track Program button (page 366) Delay Compensation View (page 90) Track
Timeline Selections (page 245) Commands Focus (page 30) Location Indicators (page 24) Zoom buttons (page 226) Edit tools (page 24) Grid and Nudge Values (page 24) Transport Controls (page 24) Event Edit Area (page 24) Timeline Edit Mode buttons (page 224) Audio Regions List (page 220) Tab to Transients (page 254) Audio Waveform View (page 209) Rulers (page 232) Show/Hide Tracks List (page 93) Volume Automation View (page 209) Audio Track (page 85) Edit Groups List (page 104) MIDI Track (page 85
Track Controls Event Edit Area Automation Mode Selector (page 453) Record Enable button (page 101) TrackInput button (page 101) Mute Button(page 97) Solo button (page 138) Mix window controls for audio and MIDI tracks, wide view (Pro Tools 6.4) The Event Edit Area provides time, pitch, and other information for the currently selected audio or MIDI data. It also lets you define selections using a key entry.
The Transport Window 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 Rewind Increments Main Time Scale Format Increment Amount Min:Sec 1 second Time code 1 frame (Pro Tools TDM or DV Toolkit for Pro Tools LE) Fast Forward Return to Zero Rewind Online Rewind Rewinds from the current play location.
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).
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.
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.
Chapter 5: Keyboard Shortcuts Global Key Commands List and Parameter Selection • Selection of tracks in Show/Hide List This section shows keyboard shortcuts that apply to many functions in Pro Tools.
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 Focus Audio Regions List Focus Groups List Focus You can only enable one Keyboard Focus at a time. Enabling a Keyboard Focus will disable the one previously enabled.
Numeric Keypad Modes The Operation preference for Numeric Keypad Mode determines how the numeric keypad functions for Transport. There are two Shuttle Lock modes (Classic and Transport), and one Shuttle mode. No matter which Numeric Keypad Mode is selected, you can always use the numeric keypad to select and enter values in the Event Edit Area, Location Indicators, and Transport fields. Classic Mode This mode emulates the way Pro Tools worked in versions lower than 5.0.
Transport Mode This mode allows you to set a number of record and play functions, and also operate the Transport from the numeric keypad. : Function Key Click on/off 7 Countoff on/off 8 MIDI Merge/Replace mode With the Numeric Keypad Mode set to Transport, you can also: • Play up to two tracks of audio in Shuttle Lock mode. Press the Start key (Windows) or Control (Macintosh), followed by 0–9 for different play speeds. Press Plus or Minus to reverse direction.
Shuttle Mode (TDM Systems Only) Pro Tools offers another form of shuttling, different from that of the two Shuttle Lock modes. With the Numeric Keypad Mode set to Shuttle, playback of the current Edit selection is triggered by pressing and holding the keys on the numeric keypad—playback stops once the keys are released. Various playback speeds are available in both forward and reverse. In this mode, pre- and post-roll are ignored.
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Part II: Sessions & Tracks 35
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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. Shut down your Pro Tools system in this order: 1 Quit Pro Tools and any other running applications. 2 Turn off or lower the volume of all output de- 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.
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.
To change the number of voices and DSP to allocate for voicing: 1 Choose Setups > Playback Engine. 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.
Delay Compensation Engine DAE Playback Buffer Size (Pro Tools 6.4 for Pro Tools|HD Systems Only) The DAE Playback Buffer Size determines the amount of memory DAE uses to manage disk buffers, which affects system performance. The Delay Compensation Engine lets you enable Delay Compensation for managing DSP delays in the Pro Tools mixer. For more information, see “Delay Compensation” on page 428.
System Memory Allocation (Pro Tools 6.x for 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 memory allocation: 1 Choose Setups > Playback Engine.
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. 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.
• On the 96 I/O, configuring the operating levels of analog inputs and outputs (+4 dBu or –10 dBV). • On the 96i I/O, configuring the operating levels of analog inputs and outputs (+4 dBu or –10 dBV). • On the 192 I/O analog input, setting the input connector and Soft Limit • On the 192 I/O, configuring the two sets of trims for analog inputs and outputs. Initializing MIX-Series Peripherals (on a Pro Tools|HD System) Before you can configure a Legacy I/O, it must first be initialized in Hardware Setup.
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 ports 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 port pair from an Output Configuring I/O Setup pop-up menu.
Creating a New Session To create a new session: 1 Choose File > 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.
4 Select the audio file format for the session. For optimum compatibility between Windows and Macintosh sessions, set the file type to BWF (.WAV). Sound Designer II (SD II) files are not supported on Windows systems (or at sample rates above 48 kHz), 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 Fader Gain (+12 dB or +6 dB).
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: 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. 1 Choose File > Open Session. 2 Locate the session you want to open and click Open.
With Pro Tools LE 6.x only: ◆ Any tracks beyond the maximum number of available voices on the current system are set to voice off. 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.
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 In with a lower bit rate, Dither (and Noise Shaping) may be applied.
Session Parameters Audio File Type You can save the session to reference BWF (.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.
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.
4 Close the session. Creating Macintosh Templates 5 Locate the session file that you just saved. 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. 6 Right-click the file and choose Properties. 7 Under Attributes, deselect Archive and select Read Only.
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. 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.
Opening a TDM Session in Pro Tools LE When opening a TDM session in Pro Tools LE, the following rules apply: • With Pro Tools LE 6.x (all systems) or Pro Tools 5.3.1 and higher (Windows): • Any tracks beyond the first 32, as well any inactive tracks, are set to voice off. 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.
Organize Plug-Ins Menus by Category (Pro Tools 6.4) When enabled, plug-ins are automatically organized by category (effect type). Plug-ins that do not fit into a standard category (such as the DigiRack Signal Generator), or third-party plugins that have not been defined by their developers, appear in the Other category. Plug-ins can appear in more than one category. Track Numbers Stay With Hidden Tracks (Pro Tools 6.4) When enabled, tracks keep their track numbers even when hidden.
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.
Support Background Record Applications (Pro Tools 6.0.x and Lower Only) 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. (In Pro Tools 6.1, audio recording in the background is always supported.) Sends Default to –INF When selected, the initial fader level of newly-created sends is set to –∞ (no audible signal level).
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. Automatically Copy Files on Import When this option is selected, Pro Tools copies all imported audio files to the current session’s Audio Files folder, regardless of whether they need to be converted to the current session’s file type, bit depth or sample rate. Disable “Input” When Disarming Track (In “Stop”) (Pro Tools 6.
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.
Editing Preferences 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. 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.
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. Automation Preferences “Separate Region” Operates On All Related Takes When this option is selected, editing a region with the Separate Region command also affects all other related takes (recording passes) with the same User Time Stamp. This option helps you compare different sections from a group of related takes.
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. 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 Right-clicking (Windows) or Control-clicking (Macintosh) their Mute buttons.
Processing Preferences AudioSuite Buffer Size Audio Suite Buffer Size sets the size of the memory buffer used for audio processing and previewing with AudioSuite plug-ins. If AudioSuite preview stutters, set the buffer to Mini or Small. Processing is generally faster when the buffer is set to Larger 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.
Compatibility Preferences MIDI Preferences (Pro Tools 6.0.x and Lower Only) Convert Imported “WAV” Files To AES31/BroadcastWave When selected, this option applies to all newly imported WAV files, making them compliant with the AES31/EBU Broadcast standard. 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 Thru Instrument Sets the default MIDI Thru instrument from your available MIDI instruments. Machine Control Preferences (Pro Tools 6.4) 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.
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Chapter 7: I/O Setup The I/O Setup dialog provides tools to label, format, and map Pro Tools input, output, insert, or bus signal paths for each session. 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 69). The I/O Setup dialog lets you define and name paths according to the needs of each project.
Paths comprise the lists of available signal routing choices in track input, output, insert and send selectors. Paths and I/O Setup The signal routing choices available in a session are defined in the I/O Setup dialog. Track Input Selectors I/O Setup dialog Output paths on a Digi 001 system (Pro Tools 6.2) Track Output Selectors I/O Setup dialog Output paths on an HD system (Pro Tools 6.
Main Paths and Sub-Paths Default Settings Files Paths in the I/O Setup dialog include main paths and sub-paths. The default Stereo settings file is available on all Pro Tools systems, and provides stereo main paths, each with its own mono sub-paths. Stereo main path mono sub-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.
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. Path Type Tabs Path Name column Path Format Selector Interface Label Input and Output Selectors Expand/Collapse Main and Sub-Paths Channel Grid Active/Inactive Status Options Path Tools Figure 5.
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, or Busses. 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.
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. 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 44. 3 Click the Input or Output Selector for the first interface channel pair, located below the first audio interface icon.
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 2 Click the Input, Output, Insert, or Bus 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.
4 Double-click in the Name field and enter a name for the path. 5 Press Tab to set the new path name and move to the next path’s Name Field, or press Enter (Windows) or Return (Macintosh) to set the new path name. 6 Choose a format from the Path Format Selector (mono, stereo, or multichannel). Selecting and Arranging Paths Individual and multiple paths can be selected in the I/O Setup dialog Path Name column.
Resetting Paths Changing Interface Names The Default button in the I/O Setup dialog provides two primary functions: Audio interface names can be customized in the I/O Setup dialog (Pro Tools TDM systems and Pro Tools 6.1 on LE). On TDM systems only, the I/O Setup dialog then bases default Input and Output path names on the custom names. • 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 73.
Channel Mapping Channel Mapping and Surround Mixer Once a path has been created and formatted, it can be mapped to specific audio interface, or bus channels in the Grid. (Pro Tools HD-Series and MIX-Series Systems Only) 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.
Channel Shuffling Moving a signal from right to left results in a shuffle of other signals after the new destination channel. Moving a signal from left to right shuffles any and all signals after the new destination channel and leaves the previous channel empty. Changing a path’s format erases any current channel mapping. Sub-Paths Follow Main Paths When a main path is remapped, its sub-paths (if any) will remap automatically to maintain consistent routing.
Active and Inactive Paths Toggling All or All Selected 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. The Alt (Windows) and Option (Macintosh) modifiers apply the path toggle to all tracks. The Alt+Shift (Windows) and Option+Shift (Macintosh) modifiers apply the path toggle to all selected tracks.
Session-Wide Path Assignments (I/O Setup Dialog) Inactive paths are displayed in italics in the track path selectors. Paths can be globally configured for Active or Inactive status in the I/O Setup Dialog. Display of Active and Inactive Status Unhighlighted (Italics) Indicates the path is inactive. Highlighted (Non-Italics) Indicates the path is active. Highlighted (Italics) Indicates the path is active, but there are not enough system resources available.
face (a 16-channel I/O unit) and a 1622 I/O (with its 16 analog inputs) connected to its Legacy Port. When the session is first opened on the second system, Pro Tools will map the 32 input paths to the inputs of the two interfaces. 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.
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.
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. To convert a session so that it emulates Direct Outs mode, use the Auto Assign Ascending Outputs feature, as follows: To auto assign track outputs for Direct Out: 1 Make sure that all tracks you want to assign Stereo Mix Settings File are visible (hidden tracks will not be affected).
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.
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.
Chapter 8: Tracks This chapter covers basic track management tasks such as creating and deleting tracks, assigning voices and output channels, and grouping tracks. 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). Track Types In a Pro Tools session, you can have several different types of tracks.
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. 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.
MIDI Track Channel Strips Inserts Sends Input/Output selectors Each MIDI track has its own set of controls for volume, pan, record enable, automation mode, solo, mute, MIDI patch assignment, and MIDI channel assignment. MIDI tracks also have a Comments View to enter and display comments. MIDI tracks can be added to a session with the New Track command.
Track Controls Input/Output Selectors The I/O View shows Input and Output Selectors on audio and MIDI tracks. Input Selector Output Selector (or MIDI Device/Channel Selector) 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 –∞ (no signal) to 0 dB.
Selecting Fader Gain when Opening a Previously Recorded Session When opening a session created in a previous version of Pro Tools, you are given the choice of staying at +6 dB or updating to +12 dB. When opening a session created in Pro Tools 6.4, the session is opened with your previously saved fader gain settings. Peak Hold Pro Tools meters provide a Peak Hold feature with three options: 3 Second, Infinite, or None. To choose a Peak Hold setting: 1 Choose Setups > Preferences. 2 Click display.
To clear a clipping meter: ■ Click anywhere on the meter. To clear all clips: ■ Alt-click (Windows) or Option-click (Macintosh) any meter. 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. Delay Compensation View (HD-series Systems with Pro Tools 6.4 Only) To clear all clips (Pro Tools 6.4 and higher): ■ Choose Operations > Clear All Clips. ■ Press Alt-C (Windows) or Option-C (Macintosh).
3 Select the track format (mono, stereo, or one Creating Tracks On all systems, you can create mono and stereo tracks. In addition, on Pro Tools HD-series and MIX-series systems, you can create multichannel tracks. When new tracks are created, they are given a default name which can be changed at any time. For new tracks to appear next to a specific track in a session, select that track by clicking its name (in its track channel strip). The new tracks are added immediately after the selected track.
3 Click Previous or Next to rename other displayed tracks. To move to the previous or next track in the Track Name/Comments dialog, you can press Control (Windows) or Command (Macintosh) and use the Up/Down or Left/Right Arrows. 4 Click OK. Adding Comments to Tracks Track Position Numbering (Pro Tools 6.4 Only) Track Position Numbering assigns each track a number corresponding to its position in the Mix and Edit Windows. When tracks are reordered, they are renumbered to maintain positional sequence.
Deleting Tracks When you delete tracks, your audio or MIDI region data will remain in the Regions List, but your arrangement of the regions on the deleted track (the track’s playlist) will be lost. The Delete Selected Tracks command cannot be undone. To delete a track: Hiding Tracks The Show/Hide Tracks List (at the left of both the Mix and Edit windows) lists all tracks in the session. It allows you to show or hide a track in the Mix and Edit windows, by selecting or deselecting its name.
The Sort Tracks By command allows you to set the track order according to Name, Type, Edit Group, Mix Group or Voice. The sort order will be reflected in the Show/Hide Tracks List in the Edit Window and the Mix Window. To show all tracks: 1 Click the Show/Hide button at the top of the Show/Hide Tracks List. 2 From the pop-up menu, choose Show All Tracks. You can also show all tracks by Alt-clicking (Windows) or Option-clicking (Macintosh) the name of any track that is unhighlighted.
About Clipping and Show/Hide Tracks (HD-series Systems with Pro Tools 6.4 Only) When a track, send, or plug-in clips, the Show/Hide List displays the track’s name in red. Both shown and hidden tracks display clipping indication. About Track Numbering and Show/Hide Tracks There are two ways to display track position numbers when tracks are hidden. • By default, numbers are only assigned to tracks that are shown. Active tracks are then numbered sequentially. Hidden tracks are unnumbered.
The Output Selector allows you to route a track to any configured audio output or internal bus. The choices available in this pop-up menu are determined by the I/O Setup configuration. Outputs in use by another track appear as bold in the Input Selector.
Track Priority While your Pro Tools hardware allows a fixed number of voices, Pro Tools TDM software (and Pro Tools LE 6.x software) allow for additional audio tracks beyond that fixed number of voices. While all of these tracks can be recorded or imported, arranged, and cued for playback, not all of them can be played back simultaneously. On TDM systems, you can also assign specific voices to tracks so that those voices are shared by more than one track.
On TDM systems, tracks assigned to a specific voice number take priority over dynamically allocated tracks. To ensure a track is heard, or that it is available for QuickPunch or TrackPunch recording, assign a voice number to that track. Pro Tools LE 6.x supports auto voicing only; it does not support individual voice assignments. For stereo and multichannel tracks, voices appear in pairs and multichannel groups. Voices already assigned to another track appear in bold in the Voice Selector pop-up menu.
The following example demonstrates the concept of voice borrowing: Setting MIDI Input and Output Assigning MIDI Track Input “Rhythm” regions play when there is no “Lead” region In the above illustration, the two visible tracks are assigned to the same voice. There is an open area in the top track where no region appears. At this point, the voice is free since it is not being used, and the next highest priority track assigned to that voice (the bottom track) pops through the open area and plays.
Assigning MIDI Track Output MIDI tracks can be assigned to one or more MIDI device channels with the Device/Channel Selector. When assigned to multiple channels, all material in the track is sent to all assigned channels. MIDI tracks in Pro Tools cannot contain multiple channels of MIDI data. To assign a MIDI track (and all its regions) to a specific MIDI device channel: ■ Click the track’s MIDI Device/Channel Selector and assign a device and channel from the pop-up menu.
Solo Button Solo Safe Mode The Solo button mutes other tracks so that the chosen track can be auditioned alone. Normally solos are latched, that is, pressing subsequent solo buttons adds them to the soloed mix of tracks. Pro Tools lets you unlatch solos, so that pressing an additional Solo button un-solos any previously soloed tracks. Pro Tools also allows you to solo safe a track. This prevents the track from being muted even if you solo other tracks.
Mute Frees Assigned Voice To toggle a track active/inactive: (TDM Systems Only) ■ Control-Start-click (Windows) or CommandControl-click (Macintosh) the Track Type Indicator in the Mix window. Selecting Operations > Mute Frees Assigned Voice and muting a track disables playback of that track, and surrenders control of its voice to the next highest priority track with the same voice assignment.
Color Coding Tracks Grouping Tracks The Display Preference for Edit Window Color Coding determines how colors are assigned to waveforms and MIDI data in the Edit window. Colors can be based on groups, voice assignment for audio tracks, and channels or devices for MIDi tracks. Pro Tools provides a relative grouping function for linking tracks and their controls. Groups can be applied to either the Mix or Edit window, or both.
Using the Groups List Group Symbols The Pro Tools grouping functions are located at the left side of the Mix or Edit window in the Groups List. This scrolling window contains the names of all the groups in your session, as well as a pop-up menu for accessing grouping commands. From this menu, you can select and enable groups. There are three types of Group symbols, as shown in the following figure: By default, every session has a group named All, which includes every track in the session.
Groups Pop-up Menu 3 Enter a name for the group. The Groups pop-up menu contains commands that allow you to create, delete and suspend groups, as follows: New Group dialog Groups pop-up menu New Group This command lets you create a new group. You must first select two or more tracks/channel strips on-screen to do this. Display This command lets you toggle the Groups List display to either Mix Groups or Edit Groups.
Renaming a Group Linking Mix and Edit Groupings You can rename a group at any time. The “Link Mix and Edit Group Enables” option links group enabling between the Mix and Edit windows. To rename a group: 1 In the Groups List, double-click to the left of the group’s name (in the area with the circular symbols). 2 In the dialog that appears, enter a new name for the group. (You can also change the group’s type.) 3 Click OK. Deleting a Group A group can be deleted at any time. You cannot undo this action.
Enabling Groups Keyboard Selection of Groups Editing operations are not applied to members of a group that are hidden with the Show/Hide Tracks List. Mix operations (with the exception of record-enabling of tracks) are applied to hidden tracks. The Groups List Key Focus allows you to type a Group ID letter to automatically toggle that group’s enable status. Pro Tools allows you to create separate groups for editing and mixing. You set this option when you use the New Group command.
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Chapter 9: Importing and Exporting Session Data Pro Tools allows you to import a variety of data into a session, including audio and MIDI files, video files, track playlists, I/O configurations, and signal routing configurations. Audio files of the following types can be imported into Pro Tools sessions: You can import audio and MIDI files into a session, or transfer entire audio or MIDI tracks, along with all of their attributes, from another session.
Copying, Adding, and Converting Audio Copy Depending on the properties of the audio files you are importing, you can add, copy, or convert the files. The following options appear in the Import Audio dialog when they are applicable to the selected audio file. If a file can be added to your session, you will also be given the option to copy it. This option creates a copy of the audio file and places it in a folder you choose.
Conversion Quality The Conversion Quality Preference determines the quality of sample rate conversion used when converting and importing audio into a session. There are five possible settings, ranging from Low to Tweak Head. The higher the quality, and the larger the conversion, the longer it will take. To set the sample rate conversion quality: 1 Choose Setups > Preferences, and click Edit- ing.
2 At the top of the Import Audio dialog, select an audio file to display its properties and associated regions. 4 To place a file or region in the import list (on the right in Windows, or in the lower right of the dialog on a Macintosh), select the file (Shiftclick to select multiple files) and click Add or Convert. You can also click Add All or Convert All to import all regions and files in the current directory. In the import list, audio files are distinguished from regions by their icons.
To import audio files into a session, using the Pro Tools application icon or alias: 1 Open or create a new session. 2 From the desktop, locate the audio files you want to import. Make sure the files match the session’s file type, bit depth, and sample rate. Audio files must be in WAV, SDII, or AIFF/AIFC format in order to be dropped into Pro Tools. Audio files will be converted if they are not of the correct bit depth or number of channels.
Importing Audio from an Audio CD Importing Tracks and Track Attributes (Macintosh Only) You can import entire tracks from other Pro Tools sessions into the current Pro Tools session using the Import Session Data command. On TDM systems, you can choose which attributes of those tracks you want to import. Pro Tools lets you import tracks from an audio CD using the DigiBase drag and drop feature or the Import Audio From Other Movie command.
4 Select the tracks to import by clicking the track names in the Source Tracks list. (If the current Pro Tools system does not support surround mixing, surround tracks are not displayed in the Source Tracks list.) To select multiple contiguous tracks, Shift-click the track names. To select multiple non-contiguous tracks, Controlclick (Windows) or Command-click (Macintosh) the track names. 13 If you chose to copy or consolidate media, choose a location to place the media files.
Import Session Data Dialog Source Properties The Import Session Data dialog lets you view the properties of the source session, select which tracks to import, and on TDM systems, choose which attributes of those tracks you want to import into the current session. The Import Session data dialog displays properties for the source session. These properties include source session name, session type, start time of the session, audio bit depth, and sample rate. For Pro Tools 5.
When you choose this option, you can also choose the size of the handle (in milliseconds) applied to consolidated audio. Handle is the amount of the original audio file that is preserved before and after each region in case you need to make any edits to the new regions. Force to Target Session Format (Convert Audio Media to New Session Format in Pro Tools 6.0) This option copies and converts any files that do not match the current session’s file format, bit depth, and sample rate.
sate for pull-up, pull-down, and NTSC or PAL frame rates. This setting allows you to choose the sample rate from which you want the sample rate conversion process to start. Destination Sample Rate The destination sample rate is always set to the sample rate of your current session. Only destination tracks that match the track type (audio, MIDI, Auxiliary Input, or Master Fader) and the channel format (mono, stereo, or any of the supported multichannel formats) of the source track appear in the pop-up menu.
Replacing Track Attributes When you import an attribute of the source track into an existing track in the current session, it replaces the corresponding attribute in the destination track. If you choose not to import an attribute of the source track, the corresponding attribute in the destination track is retained.
Hardware Insert Assignments Imports the source track’s hardware Insert assignments. Any Insert assignments in the destination track are replaced. Voice Assignments Imports the source track’s voice assignment from the source session. Any voice assignments in the destination track is replaced. Input Assignments Imports the source track’s channel input assignment. The Input assignment in the destination track is replaced.
Do Not Import Main Playlists — Leaving destination playlists intact Exporting a Region as a New Audio File Does not import the main playlist from the source track. No audio is imported; only the attributes selected in the Session Data to Import list are imported to the selected tracks. You can export regions as audio files with the Export Selected As Files command. Use this command if you intend to use a region in other sessions (or other audio applications) without using its parent source file.
3 In the Export Selected dialog, set the file type, format, bit resolution, and sample rate. In addition, specify the Conversion Quality, and choose the destination directory. 4 Select an option for how Pro Tools should resolve duplicate file names. Prompting for Each Duplicate prompts you for a file name for any file that has the same name as a file in your destination directory.
To export region definitions for an audio file: 1 In the Audio Regions List, select any regions for which you want to export definitions. You do not have to select the parent file audio region. 2 Choose Export Region Definitions from the Exporting Sessions as Text TDM Systems Only You can use the Export Session As Text command to create a text file that contains extensive information about your session. Audio Regions List pop-up menu. 3 Click Export.
Include File List/Region List File Format You can choose to export a list of the session’s audio files and regions. The File List provides a list of all the audio files and fades in the session, and their hard drive locations. The Region List displays all audio regions in the session, and the source audio file for each region. You can choose to export to any of several different text formats. These include standard text formats, and Microsoft Word and Excel formats.
To export a session as text: 1 Choose File > Export Session As Text. 2 Select whether to include the File List, Region List, and track EDLs. 3 If you choose to include track EDLs, select whether to show subframes, and whether to include user timestamps. Also select an option for crossfade handling. 4 If you choose to include track EDLs, select the Time Format for the exported session text from the pop-up menu. 5 Select the File Format for exported text using the pop-up menu.
4 Click Open (Windows) or Import (Macintosh). If prompted, specify whether you want to Keep or Discard existing MIDI tracks and regions in the current session. The MIDI data is imported to new MIDI tracks, and also appears as regions in the MIDI Regions List. If the Standard MIDI File contains markers, they are only imported if the current session does not contain any markers.
The SMPTE start time for the session is also exported. This ensures that the exported tracks, when played from another MIDI application, will align with the correct SMPTE frames, and also sync correctly to tape and video devices, or Pro Tools. Refer to your third-party MIDI sequencer documentation to determine whether it supports importing SMPTE start times from MIDI files. Not Exported with MIDI Files Mute automation and muted regions do not affect exported MIDI.
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Chapter 10: File Management and Compatibility When you work with Pro Tools, you will encounter several different kinds of computer files. Pro Tools systems require that you keep certain files in specific hard drive locations in order to function properly. Pro Tools software files should be located on your Startup drive (the drive that contains your operating system and other system-related files).
Transfer Files Missing Files Transfer files reside on volumes unsuitable for playback, such as CD-ROMs or network drives. A file is missing if it is not found in the same location as when the session was last saved. To open a session containing Transfer files: To open a session with missing files: 1 Open the Pro Tools session. If any files are on a volume unsuitable for playback, Pro Tools posts a warning. 1 Open the Pro Tools session.
WAV File Compatibility Convert Imported WAV files to AES31/BroadcastWave Pro Tools always creates AES31/Broadcast compliant BWF (.WAV) files when the file originates in Pro Tools. This option makes imported WAV files compliant with the AES31/EBU Broadcast standard. AES31/Broadcast Wave is a variant of the standard audio WAV file type. The AES31 format contains information beyond the raw PCM audio data, such as SMPTE time stamps.
The following characters cannot be used in PC or in Mac/PC compatible sessions: 5 Set the Sample Rate and Bit Depth for the ses- / (slash) 6 Select the I/O Settings to use for the session. \ (backslash) : (colon) * (asterisk) ? (question mark) “ (quotation marks) sion. Several pre-configured I/O Settings are included with your system, or you can choose custom I/O Settings that you have created. See Chapter 7, “I/O Setup” for more information. 7 Select “Enforce Mac/PC Compatibility.
Moving Sessions Between Platforms with MacOpener (Using HFS/HFS+ Drives) MacOpener 6.0.5 and higher lets you mount HFS/HFS+ drives on a Windows-based Pro Tools system, as a Transfer drive. See “Creating and Saving Cross-Platform Sessions” on page 132. The MacDrive Utility can be used instead of MacOpener. Refer to the MacDrive Website (www.macdrive.com).
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Chapter 11: Record Setup Before you start recording, make sure your Pro Tools system is connected and configured properly. For details on connecting Pro Tools to your studio, refer to the Getting Started Guide that came with your system. While some of the information in this chapter is relevant to recording MIDI, there are more specific setup details for MIDI recording in Chapter 13, “MIDI Recording.
Digital Clipping Clipping occurs when you feed a signal to a recorder or mixer that is louder or “hotter” than the device allows. On many analog tape decks, a little clipping adds a perceived warmth to the sound due to tape compression. In digital recording, however, clipping causes digital distortion, which is undesirable and should always be avoided.
To record enable an audio or MIDI track: From either the Edit or Mix window, click the track’s Record Enable button to toggle record enable on or off for the track. The Record Enable button is lit when on; also, in the Mix window, the track’s fader is highlighted. To record enable MIDI tracks using the Up/Down Arrows: ■ Edit window ■ While pressing Control (Windows) or Command (Macintosh), press the Up/Down Arrows to record enable the previous or next MIDI track.
Latch Record Preference When the Latch Record Enable Buttons preference is selected, you can record enable additional audio tracks by clicking their Record Enable buttons while previously record-enabled tracks remain enabled. Latch Record Enable buttons are for audio tracks only. When Latch Record Enable Buttons is deselected, record enabling a subsequent audio track will make the previously record-enabled audio track no longer record enabled. To enable Latch Record mode: 1 Choose Setups > Preferences.
When Auto Input monitoring is enabled, both the TrackInput button and the lower LED next to the Transport window appear gray. When using Auto Input, the switch back to monitoring track material on punch-out is not instantaneous. To get instantaneous monitor switching on punch-out, use TrackPunch (Pro Tools TDM 6.4 only) or QuickPunch. For information on TrackPunch, see “TrackPunch Audio Recording” on page 194. For information on QuickPunch, see “QuickPunch Audio Recording” on page 191).
To toggle the monitoring mode of audio tracks do one of the following: To toggle individual tracks, click the TrackInput button for each track you want to toggle. The TrackInput button lights green. ■ To toggle all tracks in the session, Alt-click (Windows) or Option-click (Macintosh) a TrackInput button. All the TrackInput buttons lights green. ■ To toggle all selected tracks in the session, AltShift-click (Windows) or Option-Shift-click (Macintosh) a selected track’s TrackInput button.
You can reduce the amount of monitoring latency for Pro Tools LE systems by reducing the H/W Buffer Size. However, even at the smallest buffer size, there is still some latency. In addition, reducing the buffer size limits the number of simultaneous audio tracks you can record without encountering performance errors.
Low Latency Monitoring During Recording Track names define new file and region names when recording to a track. See “Naming Tracks” on page 91. (HD-series Systems with Pro Tools 6.4 Only) If you choose to record with Delay Compensation active, Pro Tools automatically suspends delay compensation to provide a low-latency monitor path through the main outputs of the record-enabled tracks.
Names for Multichannel Tracks To allocate the audio drives in your system: (TDM Systems Only) 1 Choose Setups > Disk Allocation. When recording to multichannel surround tracks, audio file and region names for each channel are appended with the following suffixes. 2 In the Disk Allocation dialog, assign a hard Multichannel Format File and Region Suffixes LCR L, C, R Quad L, R, Ls, Rs LCRS L, C, R, S 5.0 L, C, R, Ls, Rs 5.1 L, C, R, Ls, Rs, LFE 6.0 L, C, R, Ls, Cs, Rs, LFE 6.
• To make a non-contiguous selection, Control-click (Windows) or Command-click (Macintosh) a track name in the Track column to extend the selection to include already-selected tracks without including tracks in-between. 3 To save recorded audio files to an existing folder (without creating another session folder), select Customize Allocation Options, then click the Change button and choose the folder. To create subfolders in this folder, select “Create Subfolders for audio, video, and fade files.
Reallocating Tracks Recording to the System Volume When opening a session where some of the previously assigned hard drives are no longer available (or don’t match the current session platform), Pro Tools automatically reassigns tracks to the volume where the session file is stored. In such cases, use Disk Allocation if you need to reallocate tracks to other drives. Though Pro Tools will let you record to your system volume, this is generally not recommended.
In general, the Use All Available Space preference makes hard drives work harder. In addition to record and punch lag times, many system see better overall recording performance when the Open Ended Record Allocation is limited. To allocate a specific amount of time to recording: 1 Choose Setups > Preferences and click Operation. 2 Under the Open Ended Record Allocation op- tion, select Limit To and enter the number of minutes to be allocated.
In Nondestructive Record mode, the record range can be defined by selecting a range in the Ruler or in a track’s playlist, or by specifying start and end points in the Transport window. If there is no selection, recording begins from the current cursor location and continues until the Transport’s Stop button is clicked. To set a record range by selecting within a track’s playlist, the Edit and Timeline selections must be linked. See “Linking or Unlinking Edit and Timeline Selections” on page 245.
Though you can punch record in the other record modes by manually specifying the record range, only QuickPunch provides instantaneous monitor switching on punch-out. isting MIDI regions results in the new data being merged with the old. When the MIDI Merge button is deselected (Replace mode), the new material replaces the old. TrackPunch TrackPunch lets individual tracks be punched in, punched out, and taken out of record enable without interrupting online recording and playback.
Recording with a Click If you intend to work with MIDI tracks in your session, or if the audio you’re working with is bar and beat-oriented, you can record your tracks while listening to a click. This ensures that recorded material, both MIDI and audio, will align with the session’s bar and beat boundaries.
When listening to the click in your Pro Tools sessions, the accented note sounds on the first beat of each measure and the unaccented note sounds on the remaining beats. 2 In the Transport window, click the Click but- ton so it becomes highlighted. Click button 4 Select whether the click is heard “During play and record,” or “Only during record,” or “Only during countoff.” Click enabled 5 If using a countoff, specify the number of Bars to be counted off.
Setting the Default Meter and Tempo 2 Enter the Meter you will use for the session and set the Location to 1|1|000 (so the inserted meter event replaces the default one). Setting the Default Meter When opening a new session in Pro Tools, the meter defaults to 4/4. If you intend to record with a click and are working with a different meter, make sure to set the default meter accordingly.
To insert a default tempo event: 1 Choose Windows > Show Tempo/Meter. Conductor button – or – Manual Tempo mode enabled Double-click the Meter button in the Transport window. 2 At the top of the Tempo/Meter Change window, choose Tempo Change from the pop-up menu. 3 Enter the BPM value you will use for the ses- 2 To base the BPM value on something other than the default quarter-note, change the note value in the Beat Value pop-up menu (just to the left of the Tap button).
Tap button Tap button – or – Click in the Tempo field so it becomes highlighted and tap in the tempo by playing a note repeatedly at the new tempo on your MIDI keyboard controller. To compute the new tempo, Pro Tools requires at least four taps (each of which is displayed in the Tap area when received). The computed BPM value appears in the Transport’s Tempo field.
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Chapter 12: Basic Audio Recording Recording an Audio Track When recording from a mono source, record to a single, mono audio track in Pro Tools. A single, mono audio file is written to disk; the region appears in the playlist and in the Audio Regions List. To record a stereo audio source in Pro Tools, record to a single, stereo audio track.
5 Rename the track. Track names are used to auto-name recorded audio files and regions. For more information, see “Default Track Names” on page 144. 7 In the Mix window, click the track’s Output Selector and assign a hardware output. 6 In the Mix window, use the track’s Input Selector to assign a hardware input. Output Selector, Mix window – or – Input Selector, Mix window – or – In the Edit window, with I/O view enabled, use the track’s Output Selector to assign a hardware output.
8 In the Mix window, click the audio track’s 10 In the Mix window, adjust the track’s volume Record Enable button to record enable the track. The Record Enable buttons and volume faders for record-enabled tracks turn red. and pan faders. These settings are for monitoring purposes only and do not affect the recorded material. – or – Record Enable In the Output window for the track, adjust the track’s volume fader and pan controls.
8 When you have finished recording, click Stop in the Transport window. The newly recorded audio is written to disk and appears as an audio region in the track’s playlist. The new audio region also appears in the Audio Regions List. To play back the audio track: 1 Click the Record Enable button for the audio track so that it is no longer record enabled. Track volume faders now function as playback level controls.
Recording Multiple Audio Tracks Pro Tools can record multiple audio tracks simultaneously, up to the track recording limits of your system. To record to multiple tracks, configure and record enable each track, then record. Follow the same steps as in “Recording an Audio Track” on page 157. For each record-enabled track, a new audio file is written to disk and a new region is created and appears in the playlist. The new audio regions appear in the Audio Regions List.
3 To record from the beginning of the track, click Return to Zero in the Transport window. – or – – or – If Operations > Link Edit and Timeline Selection is enabled, click anywhere in the track’s playlist to begin recording from that point. To record a specific track range, with precise start and end points, see “Punch Recording Audio” on page 163. If Operations > Link Edit and Timeline Selection is enabled, click anywhere in the track’s playlist to begin recording from that point.
Recording to a New Playlist Instead of recording over existing audio regions, there is another way to nondestructively record new takes to the same track. Do this by creating a new playlist for the track, then record just as before. Tracks can have multiple edit playlists, each of which stores a list of regions strung together in a particular order. Also, since playlists follow groups, duplicating or selecting alternate playlists for a track in a focused group will affect all tracks in the group.
During the recording process, playback begins at the pre-roll time (if enabled) and proceeds to the start time (the punch-in point), where recording begins. When the end time (the punchout point) is reached, Pro Tools automatically switches out of Record mode and continues playing through the specified amount of postroll. This automated punch-in/out feature is a powerful and precise way of recording or re-recording a portion of a track.
Loop Recording Audio Pro Tools provides a loop recording feature that allows you to record take after take while the same section of audio repeats over and over. This is a convenient technique for quickly recording multiple takes of a part without losing spontaneity. When loop recording, you must first specify the start and end points for the loop.
The recorded takes appear as regions in the Audio Regions List and are numbered sequentially. The most recently recorded take is left in the record track. For details on auditioning the various takes, see “Auditioning Record Takes” on page 166. Loop Playback and Audio Recording Pro Tools ignores “loop playback” when recording. The only way to loop while recording is to enable Loop Record mode.
To change the User Time Stamp of other regions so that they appear in the Takes List pop-up for a certain location, use the Time Stamp Selected command in the Regions List pop-up menu. For more information, see “Time Stamping” on page 570.
In most instances, you’ll want to deselect the “Separate Region Operates On All Related Takes” option, to prevent a large number of regions from being created when you use the Separate Region command. You can also enter start and end point during playback. Press the Down Arrow to set the start point, and press the Up Arrow to set the end point. Note that when in Grid mode, entering start and end point in this manner will not snap to the grid.
To set the record range by dragging the Playback Markers: To set the record range by entering start and end times in the Transport window: 1 If you want the dragged Playback Markers to 1 Select Display > Transport Shows > Expanded. snap to the current grid value, set the Edit mode to Grid 2 In the Transport window, click in the start 2 Drag the first Playback Marker (down arrow) to the start point of the range. field.
3 To save the pre- and post-roll values, enable 2 Choose Windows > Show Memory Locations. and set the pre- and post-roll amounts by entering them in the Transport window, or by dragging the Pre- and Post-Roll Flags in the Ruler. (For details, see “Setting Pre- and Post-Roll” on page 170.) 4 Press Enter on the numeric keypad. 5 In the New Memory Location dialog, set Time Properties to Selection, and if saving pre- and post-roll values, select the General Properties option for Pre/Post Roll Times.
Setting Pre- and Post-Roll in the Transport Window Pre- and post-roll can be enabled and set from the fields in the Transport window. To set and enable the pre- and post-roll times in the Transport window: 1 Select Display > Transport Shows > Expanded. 2 In the Transport window, click in the pre-roll field. 4 With the Selector, Alt-click (Windows) or Op- tion-click (Macintosh) in the track’s playlist after the selection to enable the post-roll at that location.
To set the pre- and post-roll amounts by dragging in the Ruler: 1 If you want the dragged flags to snap to the current grid value, set the Edit mode to Grid. 2 Drag the Pre-Roll Flag to a location in the Ruler. Dragging a Pre-Roll Flag in Ruler 3 Drag the Post-Roll Flag to a location in the Ruler. To set pre- and post-roll values to the same amount, Alt-drag (Windows) or Optiondrag (Macintosh) either the Pre- or the PostRoll Flag in the Ruler.
Pro Tools LE Systems 7 Assign the Input Selectors for the track to the The Digi 002, Digi 002 Rack, and Digi 001 include S/PDIF and ADAT digital options. appropriate inputs. Since this is a digital-domain transfer, you don’t need to worry about input levels. The Mbox includes only the S/PDIF digital option. All digital outputs are active at all times, so you can actually send digital audio to different digital devices simultaneously at mix time.
playback) or DAE errors, since a DAT recorder or CD Recorder that is idle can default to a different sample rate or stop outputting a sample rate clock altogether. Half-Speed Recording and Playback Pro Tools lets you play and record at half-speed. This capability is similar to that of a tape deck where you can record material at half-speed and then play it back at normal speed (up an octave) for special effects.
Chapter 13: MIDI Recording Although recording MIDI in Pro Tools is similar to recording audio, there are some important differences: Unlike audio, MIDI recording is almost always destructive. See “The Record Modes and MIDI” on page 150 for details. ◆ Unlike audio tracks, MIDI tracks can be record enabled on-the-fly during playback or recording.
In addition, the following options affect how MIDI data is recorded in Pro Tools. The MIDI Input Filter can filter out MIDI messages that you may not want to record, such as Polyphonic Aftertouch or System Exclusive data. For more information, see “MIDI Input Filter” on page 178. ◆ To enable input devices: 1 Choose MIDI > Input Devices. 2 In the MIDI Input Enable dialog, select the MIDI devices you will record from. Also, make sure any devices that will be used as a control surface are also selected.
nize to MIDI Time Code generated from another supported software application, or record MIDI data from another MIDI sequencer to Pro Tools MIDI tracks. MIDI Patchbay is a useful application for routing MIDI between applications that support virtual MIDI inputs (such as Pro Tools), and applications that don’t (such as Reason). For more information, see http://pete.yandell.com/software. MIDI Thru To monitor MIDI tracks while recording, enable MIDI Thru.
MIDI Input Filter Input Quantize Use the MIDI Input Filter to prevent certain MIDI messages from being recorded. The MIDI Input Filter can be set to record “All” messages, “Only” the specified messages, or “All Except” the specified messages. When Input Quantize is enabled, all recorded MIDI notes are quantized automatically. To preserve the original “feel” of your recorded MIDI tracks, make sure to disable this option.
Wait for Note MIDI Merge/Replace The Wait for Note button, located in the Transport window, determines how Pro Tools begins recording. When enabled, Pro Tools will not begin recording 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 (start time).
Configuring MIDI Tracks for Recording 3 In the Mix window, click the track’s MIDI In- put Selector and assign the device and channel to be recorded. To configure one or more MIDI tracks for recording: 1 If you do not have a MIDI track to record to, choose File > New Track and specify 1 MIDI Track, then click Create. New Track dialog 2 Rename the MIDI track. Track names are used to auto-name recorded regions. For more information, see “Default Track Names” on page 144.
4 In the Mix window, click the track’s MIDI Output Selector and assign a device and channel from the pop-up menu. Channels already assigned to other tracks appear bold in this menu. 5 To assign multiple destinations to a single MIDI track, Start-click (Windows) or Controlclick (Macintosh) the MIDI Output Selector and select additional channels from any device.
13 In either the Mix or Edit window, click the MIDI track’s Record Enable button to record enable the track. 14 Make sure MIDI > MIDI Thru is selected, then play some notes on your MIDI controller. The MIDI instrument assigned to the track should sound, and the track’s meters should register MIDI activity. You are now ready to record MIDI data to the record-enabled MIDI tracks. See “Recording to MIDI Tracks” on page 182.
To play back recorded MIDI tracks: 1 Click the Record Enable button on each MIDI track so that they are no longer record enabled. 2 In the Transport window, click Return to Zero. Punch Recording MIDI To replace a portion of a MIDI track, you can punch in by specifying the record range before recording. 3 Click Play in the Transport window to begin playback. To punch in on a MIDI track: The recorded MIDI data plays back through each track’s assigned device (port) and channel.
If pre-roll is enabled, the track material leading up to the punch-in point plays. You can start playing during the pre-roll to get the “feel.” Material is not recorded until the start point is reached. 5 Start playback by clicking Play in the Trans- port window. 6 When you reach the punch-in point, click Record in the Transport window. – or – When the start point is reached, Pro Tools begins recording. Recording continues until the end point is reached, unless Stop is clicked in the Transport window.
Regions and Punch Recording Depending on the record range, new regions may be created after punch recording. For example, Figure 7 shows two existing regions before recording. Since the start and end times occur within both of the existing regions, a new region is created to fill the space between them. Loop Recording MIDI Loop recording with MIDI is supported by two methods: • In normal Nondestructive Record mode, enable Loop Playback and MIDI Merge for drum machine style loop recording.
2 Put Pro Tools in normal Nondestructive Record mode. In the Operations menu, deselect Destructive Record, Loop Record, and QuickPunch. 3 Select Operations > Loop Playback. When Loop Playback is enabled, a loop symbol appears in the Play button. Loop Playback enabled 4 Record enable the MIDI track by clicking its Record Enable button. Make sure no audio tracks are record enabled. 5 In the Transport window, click the MIDI Merge button so it becomes highlighted.
Loop Recording Multiple Takes When recording MIDI in Loop Record mode, new regions are created each time new material is received during a record pass. This differs somewhat from loop recording audio, where Pro Tools creates a single audio file that comprises all takes, which appear as individual regions in the Audio Regions List. You can use MIDI loop recording to record successive takes without stopping the record process, thereby capturing your creative spontaneity.
To audition the various record takes: 1 Control-click (Windows) or Command-click (Macintosh) with the Selector at the precise beginning of the loop record range. – or – If the take currently residing in the track is selected, Control-click (Windows) or Commandclick (Macintosh) it with the Selector. A pop-up menu appears containing a list of regions that share the same User Time Stamp. Recording System Exclusive Data Pro Tools supports recording and playing System Exclusive data (Sysex) with MIDI tracks.
The Record, Play, and Wait for Note buttons flash, indicating that Pro Tools is waiting for MIDI data. 9 Initiate the Sysex transfer from the MIDI de- vice, according to the instructions in the guide for your MIDI device. When receiving the MIDI data, Pro Tools automatically begins recording. 10 When the transfer is complete (as defined in in the guide for your MIDI device), click Stop in the Transport window.
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Chapter 14: Advanced Recording There are two advanced recording methods that differ from basic recording, QuickPunch and TrackPunch. QuickPunch A nondestructive recording mode that lets record enabled tracks be punched in and punched out during playback by clicking the Transport’s Record button. TrackPunch (TDM only) A nondestructive recording mode that lets individual tracks be punched in, punched out, and taken out of record enable without interrupting online recording and playback.
To set the QuickPunch Crossfade Length: 1 Choose Setups > Preferences, and select the Editing tab. 2 Enter a new value (in msec) for the QuickPunch /TrackPunch CrossFade Length. A good general-purpose crossfade length for punches is 10 milliseconds. If you set the preference to zero, Pro Tools will not create any crossfades at the punch-in/out points. To free up voices on tracks that are not recordenabled, and do not need to be heard while recording: ■ Set voice assignments for tracks to Off.
example, for a 128-voice configured Pro Tools|HD system, auto-voice distributes voices evenly across four sets of voices (1–32, 33–64, 65–96, and 96–128). If you do not use auto-voicing, the voices must be evenly distributed between all DSP engines. For example, to use QuickPunch on 32 tracks without auto-voicing, tracks 1–16 must be assigned to voices 1–16 and tracks 17–32 must be assigned to voices 33–48. QuickPunch Guidelines for LE Systems 2 Select Operations > QuickPunch.
QuickPunch with an Edit Selection If you make an Edit selection and use QuickPunch, the following rules apply: If the Transport is not online, recording begins and stops whenever you click the Record button—regardless of the selection’s start or end point. ◆ ◆ If the Transport is online, punch-in/out behavior is controlled by the Online Options setting in the Operations Preferences.
Voice Requirements for TrackPunch Recording Recording with TrackPunch Overview TrackPunch requires two voices for each record enabled, mono track. This means that you can record up to half the total number of voices available on your system. Before using TrackPunch, configure Pro Tools and TrackPunch as follows: When switching to TrackPunch mode, you will be prompted to free up additional voices if not enough are available.
5 Configure monitoring for record enabled tracks by selecting the appropriate mode from the Operations menu, as appropriate. Choices include: • Change Record Enabled Tracks to Auto Input • Change Record. Enabled Tracks to Input Only Choosing either monitoring mode only affects tracks that are record enabled. 10 While continuing local or remote playback, do any of the following: • Punch in on other TrackPunch enabled tracks individually.
Transport and Track Record Settings Destructive Recording and Transport RecordLock The TrackPunch preferences appear on the Operation page of the Pro Tools Preferences dialog. As a precaution against accidentally recording over previous material, the Transport RecordLock preference is automatically disabled and greyed out when Destructive record mode is enabled.
To record online using TrackPunch and TrackInput switching: 1 Choose Setup > Peripherals, and make sure the SYNC I/O is the selected synchronization peripheral, and is communicating with Pro Tools. 2 Choose Windows > Session Setup, and do the following: • Select a Clock and Positional reference. • If you want Pro Tools to be the time code master, enable Using SYNC/USD. This option is located in the Generator controls in the Time Code Settings section of the Session Setup window.
Transport Display of TrackPunch Status TrackPunch Enabled Record LED Input Status LED TrackPunch and TrackInput status LEDs in the Transport window Transport Record Button The Transport Record button indicates TrackPunch and Record status as follows: When TrackPunch mode is enabled: ◆ A “T” appears in the Transport Record button. If at least one track is TrackPunch-enabled, the Transport Record button lights solid blue.
To TrackPunch enable or disable all selected audio tracks: • While a track is recording (in any mode), its Record Enable button lights solid red. ■ Start-Alt-Shift-click (Windows) or ControlOption-Shift-click (Macintosh) a track’s Record Enable button to toggle the Record Enable buttons for the selected audio tracks solid blue. Red (not flashing) indicates recording (all modes) Track Record status in the Edit window Create track groups for each stem or set of tracks on which you plan to punch.
Punching In on Multiple Tracks To punch in on multiple tracks simultaneously: 1 Put Pro Tools in TrackPunch mode. 2 Click the Record Enable button on each track you want to punch in, so that the track is both TrackPunch- and Record-enabled. The track’s Record Enable button should flash blue and red. 3 Click Play in the Transport window to begin playback. 4 During playback, click Record in the Transport window to punch in and out on all TrackPunchenabled tracks simultaneously. 5 Stop playback.
• Toggle Pro Tools audio tracks between input and disk monitoring. Track input switching can be controlled remotely by supported synchronizers to fully emulate PEC/direct switching (requires Digidesign MachineControl). • Use TrackPunch when Pro Tools is the time code master (generating) and when slaving. • Use Pro Tools file management features to consolidate and “clean up” sessions in a fraction of the time required by tape-based dubbers.
To configure RecordLock for loading: 1 Choose Setups > Preferences, and click to show the Operations pane. 2 Select the preference Transport RecordLock. 3 Select the preference Audio Track RecordLock. 4 Configure synchronization and other settings as required. Put Pro Tools online, and start the external source player. 5 Whenever time code drops out or stops, Pro Tools remains online and waits to receive new time code. The Transport and record enabled tracks remain record enabled (or TrackPunch enabled).
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Part IV: Editing 205
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Chapter 15: Editing Basics Pro Tools Editing The Edit window in Pro Tools provides a powerful collection of tools for editing and assembling audio and MIDI. Track material can be edited nondestructively and in real time during playback. The Edit window also lets you graphically edit track automation. For more information on Automation in the Edit window, see Chapter 28, “Automation.” Nondestructive Editing Editing During Playback Pro Tools lets you perform many editing tasks while the session plays.
Track Material Each time you record or import audio and MIDI, Pro Tools creates regions for the new track data, which not only indicate where the material begins and ends, but also provides good feedback on its general shape and content. When you record additional takes, or “punch in” on a specific location within a track, Pro Tools creates additional regions. Regions are also created by cutting and pasting, resizing, separating, and re-capturing existing regions.
Track View The Track View determines which data is displayed and edited in the track’s playlist area. Track View data can be set to Blocks, Waveform, Volume, Pan, Mute, or an automated control or continuous controller, based on the track type: Audio Tracks These tracks can be set to Blocks, Waveform, Volume, Pan, Mute, or any plug-in controls that have been automated.
To set the Track View: Click the Track View Selector for the track and choose the format from the pop-up menu. ■ Click for Track View pop-up menu 2 Press Start+Minus (Windows) or Control+Mi- nus (Macintosh) on the alpha keyboard. – or – With the Commands Focus enabled, press Minus on the alpha keyboard. Audio tracks are toggled between Waveform and Volume View. MIDI tracks are toggled between Notes and Regions View.
To set the Track Height: Click the small arrow next to the Track View Selector to get the Track Height pop-up menu. ■ Click for Track Height pop-up menu With Expanded Track Display, you can display playlists individually for each channel, thereby allowing for more accurate breakpoint editing. This is also useful for editing pan or multi-mono plug-in data, both of which can be different for each channel.
When the Track Height is set to Mini, only controls for Record, Solo and Mute appear, and the menus for Playlist, Track Height, and Track View are accessed from the same pop-up menu. When the Track Height is set to Large, Jumbo, or Extreme, all track controls are displayed at their full size. To display region times: ■ From Display > Display Time In Regions, select one of the following options: None Disables display of region times. Current Time Displays start and end times for regions.
Different types of sounds produce different types of waveforms. Drums, for example, generally produce waveforms with sharp transients (peaks of short duration) that are clearly defined. A drum hit has a loud, sharp attack and a rapid decay. Other sounds, such as vocals or sustained keyboard sounds, produce very different waveforms, ones that have less pronounced peaks and valleys. That’s because these sounds generally have softer attacks and longer decays.
center line of the track’s waveform display). If necessary, use the zooming tools in the Edit window (see “Zooming” on page 226) to display waveforms in greater detail. Audio Regions and Automation Data Automation data for audio resides in tracks and not in the Regions List. This means that when you drag an audio region from the Audio Regions List to a new track, no automation data is placed in the track.
Notes View for MIDI Tracks When a MIDI track’s Track View is set to Notes, MIDI notes are displayed in a “piano roll” format. Each note is displayed as a small rectangle with its vertical placement indicating pitch and its horizontal placement indicating location (and duration). Up arrow To scroll the Notes display up or down for a MIDI track: ■ Click either the up or down arrow of the minikeyboard.
Regions View for MIDI Tracks MIDI tracks can also be viewed as Regions, which is similar to Waveform View for audio tracks. While a track’s notes are visible in Regions View, individual note editing is not available in this view. Instead, all editing occurs across a time range encompassing all track data, including continuous controller events, program changes, and System Exclusive events.
Nondestructive MIDI Editing While editing audio regions is usually nondestructive, this is not always the case for MIDI regions. For instance, if a MIDI region resides in just one track at a single location, editing for that region is destructive. This means that altering the pitch, duration, or placement of notes in Notes View permanently alters the region.
Playlists and Groups Creating a Playlist Playlist functions affect all tracks within an Edit Group (if the group is active). This is useful when you want to switch multiple tracks to a new or existing playlist (such as all the drum tracks). You can also create a new playlist and record or drag regions to it. To create a new (empty) playlist: 1 Click the track’s Playlist Selector and choose New from the pop-up menu.
Deleting a Playlist You can delete a playlist from a session entirely. However, since playlists take almost no disk space, you don’t need to delete them for space reasons.
Operations that Clear the Undo Queue Pro Tools will not warn you of operations that clear the Undo Queue.
If the Editing Preference for “Region List Selection Follows Track Selection” is enabled, clicking a region in the Regions List highlights it in the track that contains it. Use the MIDI Regions List as a bin for storing your favorite MIDI clips. Save the session as a template and the regions are available for future sessions (see “Creating Custom Session Templates” on page 51). Since MIDI regions are tick-based (unlike audio regions), they scale seamlessly for use with any tempo.
Finding Regions Selecting in the Region Lists Use the Find command to display all regions in a list whose names contain a particular word or phrase. In the Regions Lists you can select multiple regions so they can be dragged to tracks, processed with AudioSuite plug-ins, or exported. To find and display regions that match a word or phrase: To select a range of regions in a Regions List: 1 Choose Find from the pop-up menu in the Audio or MIDI Regions List.
Keyboard Selection of Regions If the Audio Regions Key Focus or MIDI Regions Key Focus is enabled, you can type the first few letters of a region’s name and Pro Tools will automatically locate and select the region in the Regions List. Stereo and multichannel regions are displayed in the Regions List by default in collapsed view. The individual regions can be displayed by clicking the arrow to the left of the region to expand the name.
Edit Modes Pro Tools has four Edit modes: Shuffle, Spot, Slip, and Grid. (With Pro Tools 6.x, Grid mode provides two modes of operation: Relative and Absolute, explained below). The Edit mode is selected by clicking the corresponding button in the upper left of the Edit window. Edit mode buttons You can also use F1 (Shuffle), F2 (Slip), F3 (Spot), and F4 (Grid) to set the Edit mode.
Grid The Grid Value selector is located in the Edit window Options bar. In Grid mode, regions and MIDI notes that are moved, trimmed or inserted “snap” to the currently selected grid value, or to precise increments on a user-definable time grid. Grid mode can be applied in Absolute or Relative mode. In Absolute Grid mode, moving any region snaps the region start to Grid boundaries.
To display the Grid lines in the Edit window: Choose Setups > Preferences > Display then enable Draw Grids in Edit Window. Zooming ■ Zooming options in Pro Tools include the Horizontal and Vertical Zoom buttons, the Zoomer tool, the Zoom Preset buttons, and the Zoom Toggle command. Horizontal and Vertical Zoom Buttons Turning on Grid lines from Edit Window – or – ■ Enable (and disable) Grid lines by clicking any Timebase Ruler Name.
To zoom in vertically for all audio tracks: To return to the previous zoom level: ■ Alt-click (Windows) or Option-click (Macintosh) any of the Horizontal or Vertical Zoom buttons. – or – Vertical Zoom button (audio) Click the (top) Vertical Zoom button with the audio waveform. To zoom out, click the bottom Vertical Zoom button. ■ – or – Press Control+Alt+] (Windows) or Command+Option+] (Macintosh). To zoom out, Control+Alt+[ (Windows) or press Command+Option+[ (Macintosh).
Zoomer Tool Use the Zoomer tool to zoom in and out around a particular area within a track. The Zoomer tool offers two modes: Normal, and Single Zoom mode. In Normal Zoom mode, the Zoomer tool remains selected after zooming. ◆ In Single Zoom mode, the previously selected tool is automatically reselected after zooming. ◆ To zoom into a particular track area: 1 Click the Zoomer tool pop-up menu and se- lect Normal Zoom mode. – or – Press the F5 key to toggle to Normal Zoom mode.
Single Zoom Mode Zooming in the Ruler Single Zoom mode returns you to the previously selected tool after a zoom has been performed. To zoom horizontally in the Ruler: 1 Press Control+Alt (Windows) or Com- For example, when using the Smart Tool you can click the Single Zoom tool, and once the Zoom operation has been performed, Pro Tools automatically switches back to the Smart Tool. mand+Control (Macintosh) and move the cursor into the Ruler area, so the Zoomer appears.
To recall a zoom preset, do one of the following: ■ Click the Zoom Preset button. ■ While pressing the Start key (Windows) or Control (Macintosh), type the Zoom Preset’s number on the alpha keyboard. The selection is zoomed to fill the Edit window, and the tracks containing the selection are set to a Track Height of Large. MIDI tracks automatically change to Notes view. ■ With Commands Focus enabled, type the Zoom Preset’s number on the alpha keyboard.
Zooming with a Scroll Wheel If you have a mouse with a scroll wheel, you can use the scroll wheel to zoom in and out of tracks, both vertically and horizontally. To zoom in and out horizontally in the Edit window: 1 Place the mouse over the tracks in the Edit window. 2 Alt-scroll (Windows) or Option-scroll (Macintosh) the scroll wheel up or down to zoom in or out horizontally. Audio material residing in audio tracks is represented by a single, horizontal line in the Universe window.
To move the highlighted area in the Universe window: Timebase Rulers 1 Choose Windows > Show Universe. 2 To affect which tracks are displayed in the Edit window, click lower or higher (vertically) in the Universe window. All Rulers displayed Any or all of the following Timebase Rulers can be displayed at the top of the Edit window: • Bars:Beats • Minutes:Seconds 3 To scroll to a different session location, click later or lower (horizontally) in the Universe window.
To display all Rulers: ■ Select Display > Ruler View Shows > All. To remove a Ruler from the display: Option-click the Ruler’s name (to the left of the Ruler display). ■ – or – Main Time Scale While all Timebase Rulers can simultaneously be displayed in the Edit window, there is only one that represents the Main Time Scale. The Main Time Scale determines the time format used for: • The Transport’s Main Counter Deselect the Ruler in Display > Ruler View Shows.
Time Code (All TDM Systems and Pro Tools Systems with DV Toolkit Only) Displays the Time Scale in SMPTE frames. The Timecode Rate and Session Start time are set from the Session Setup window. (Pro Tools 6.4. In Pro Tools 6.2 and below, Timecode Rate is called Frame Rate.) Setting the Main Time Scale To set the Main Time Scale: ■ Select a Time Scale at the bottom of the Display menu. – or – Pro Tools supports the following frame rates: 23.976, 24, 25, 29.97 Non-Drop, 29.
Setting the Sub Time Scale There is also a Sub Location Indicator displayed below the Main Location Indicator, and below the Transport’s Main Counter, which provides an additional timing reference. To set the Time Scale for the Sub Location Indicator: Select from the Sub Time Scale pop-up next to the Location Indicator ■ – or – Select from the Sub Time Scale pop-up in the Transport Window.
When creating Markers and Selection Memory Locations, you can specify whether they have an Absolute (sample-based) or Bar|Beat (tickbased) reference. For more information, see “Bar|Beat and Absolute Reference” on page 325. Sample Rounding and Edit Operations Because audio material in Pro Tools is samplebased, some amount of sample-rounding may occur with some edits when the Main Time Scale is set to Bars:Beats.
Chapter 16: Playing and Selecting Track Material Playing Tracks After recording or importing to tracks, you’ll want to listen to the material to find track ranges that require editing, or material that can be turned into regions for use elsewhere. To set where playback begins, you can click anywhere in a track with the Selector tool (as long as the Edit and Timeline selections are linked, see “Linking or Unlinking Edit and Timeline Selections” on page 245).
With the Edit and Timeline selections linked, you can click a region or MIDI note with the Grabber to automatically update the Timeline with the selection’s start time, allowing you to easily play from that point. Page Scroll During Playback You can set Pro Tools to scroll the track display while playing, and also have the edit cursor appear wherever playback stops. To make the track display and the edit cursor follow playback: 1 Select Operations > Scrolling Options > Page Scroll During Playback.
The Main Location Indicator displays the playback location in the time format for the Main Time Scale. The Sub Location Indicator can be set to any of the other Time Scale formats for another timing reference. Both the Main and Sub indicators also appear in the Transport window when it is set to display Counters.
Edit window. If the playback cursor is located before the time visible in the Edit window, the Playback Cursor Locator will appear on the left edge of the Main Timebase Ruler. Playback Cursor Locator Playback Cursor Locator, recording enabled (Playback Cursor located after currently viewed audio) The Playback Cursor Locator is red when a track is record enabled and blue when no track is record enabled.
To navigate directly to any track using track position numbers: 1 Choose Display > Display Track Position Numbers 2 Choose Operations > Go To Track Position Number – or – Press Command+Option+G (Macintosh) or Control+Alt+G (Windows) Scroll To Track dialog 3 In the Scroll To Track dialog, enter the track Scroll After Playback The playback cursor moves across the Edit window, indicating the playback location. When playback has stopped, the Edit window scrolls to the final playback location.
The Playhead indicates where playback begins when clicking Play in the Transport window. Continuous Scroll With Playhead To move the Playhead to a particular location for playback, you can scroll there in the Ruler (see “Scrolling in the Ruler” on page 239), use the Edit window’s horizontal scroll bar, or type the location into one of the Location Indicators or one of the Counters. Moving the Playhead with these methods does not update the Timeline selection.
To scrub a single audio track: 1 With the Scrubber selected, drag within the track—left for reverse, right for forward. The maximum number of channels scrubbed in Pro Tools is eight, which would allow you to scrub two stereo tracks (four channels), but not two 5.1 surround tracks (12 channels).
To play one or two tracks with the shuttle lock: To configure Custom Shuttle Lock Speed: 1 For TDM systems, make sure the Operation Preference for Numeric Keypad Mode is not set to Shuttle. 1 In Pro Tools, select Setups > Preferences, and 2 With the Selector, click in the track where you to Transport or Classic. want playback to begin. To shuttle on two tracks, Shift-click in a second track.
3 With the Selector, click in the track where you want playback to begin. To shuttle on two tracks, Shift-click in a second track. 4 Press and hold any of the following keys (or key combinations) on the numeric keypad to trigger playback. Shuttle Speed Rewind Key Forward Key 1 X Speed 4 6 4 X Speed 7 9 1/4 X Speed 1 3 1/2 X Speed 4+5 5+6 2 X Speed 7+8 8+9 To unlink the Edit and Timeline selections: ■ Deselect Operations > Link Edit and Timeline Selection.
While you could theoretically do this with the Edit and Timeline selections linked, as soon as playback is stopped, the playback range would then be updated to that of the more recent edit range. Playback/Edit Markers Timeline selections are displayed in the Ruler with Playback Markers, which appear as blue arrows (red when recording). In addition, there are Pre- and Post-Roll Flags (which are green when enabled) indicating the location for preand post-roll.
Selections in Multiple Tracks To select all regions in all tracks: 1 Select the “All” Edit Group in the Groups List. To make a selection in multiple tracks: With the Selector, click and drag horizontally to include adjacent tracks in a selection (drag vertically to define the time range). ■ Selecting Regions To select a portion of a region: With the Selector, drag within a region (left or right) to select the material on a single track.
To select all material in all tracks, along with Conductor events: 1 Make sure the Edit and Timeline selections are linked. 2 While pressing Control (Windows) or Option (Macintosh), double-click in any Timebase Ruler. All regions in all displayed audio and MIDI tracks are selected, along with all events in each of the Conductor tracks. Making Selections While Playing Pro Tools lets you make on-the-fly selections with the arrow keys.
The Object Grabber ignores Edit Groups when making selections. For instance, selecting a region on a grouped track does not cause regions in the other tracks in the group to become selected. 2 With the Object Grabber selected, doubleclick the Grabber icon in the toolbar. The regions falling within the selection range become selected as objects. Regions that were partially selected become deselected. Object to Time Selection (TDM Systems Only) You can convert between Time- and Objectbased selections.
Changing a Selection Length Nudging a Selection Range The selection range can be shortened or lengthened; this does not affect the material within the selection. The selection range (not the material within the selection) can be moved by the Nudge value. To nudge a selection range: To change the length of a selection: With the Selector, position the cursor over one end of the current selection and Shift-click or Shift-drag left or right.
Extending Selections You can extend selections to region start and end points, to include an adjacent region, or to Markers and Memory Locations. To extend a selection to a region start or end point: 1 With the Selector, select a portion of a region, or click anywhere in the region. 2 Press Shift+Tab to extend the selection to the region’s end point. – or – Press Shift+Control+Tab (Windows) or Shift+Option+Tab (Macintosh) to extend the selection to the region’s start point.
Numeric Entry Shortcuts for Selection Indicators 3 Type the amount you want to subtract from You can use the following shortcuts for entering values in the Selection Indicators: 4 Press Enter again to apply the change. Press the slash key to cycle through the three Selection Indicators. ■ ■ Use period (.) or the Left and Right Arrow keys to move through the different time fields in each Selection Indicator. Press the Up or Down Arrow keys to increase or decrease the numerical values.
To select across all tracks: Enable the All Edit Group and make a selection in any track. ■ In either instance, the original Edit selection becomes deselected. To extend a selection to an adjacent track: – or – 1 Enable the Commands Focus. Drag with the Selector in any Timebase Ruler (make sure the Edit and Timeline Selections are linked). ■ These selections include all tracks in the Edit window, but do not include the Conductor tracks (for Tempo, Meter, and Markers).
To make a selection with the Scrubber: 3 Drag left or right to move the Edit selection 1 Choose Setups > Preferences. In the Operation back or forward in time, while preserving its length. page of the Preferences dialog, select the option for “Edit Insertion Follows Scrub/Shuttle,” then click Done. 2 Scrub with the Scrubber to find an appropriate start point for the selection, then release. 3 While pressing Shift, scrub to an appropriate end point for the selection, then release.
5 Press Shift+Tab until the cursor locates to the end of the material you want to select. To move the selection end point to the previous transient, press Shift+Control+Tab (Windows) or Shift+Option+Tab (Macintosh). Once selected, the material can be looped for recording or playback, or it can be turned into a new region with the Separate or Capture command. Peak transients are usually visible in the waveform. However, some low-frequency transients may not appear as visible peaks in the waveform.
To audition a selection start point with pre-roll: To loop playback of a selection: ■ Press Control+Alt+Left Arrow (Windows) or Command+Option+Left Arrow (Macintosh). 1 Make sure to select Operations > Link Edit and Timeline Selection. To audition a selection end point: 2 With the Selector, select the track range you want to loop. ■ Press Alt+Right Arrow (Windows) or Option+Right Arrow (Macintosh). When auditioning the end of a selection, playback begins before the end point by the pre-roll amount.
Timeline Selections With the Edit and Timeline selections unlinked, selections can be made in the Timeline that are distinct and separate from Edit selections. With the Edit and Timeline selections linked, any Edit selections that are made are mirrored in the Timeline. To set the Timeline selection by dragging the Playback Markers: 1 If you want to constrain movement to the cur- rent grid value, set the Edit mode to Grid.
Sliding a Timeline Selection Like Edit selections, Timeline selections can be slid in the Ruler. Playing Edit and Timeline Selections with the Playhead (TDM Systems Only) To move a Timeline selection in the Ruler: 1 While pressing Alt (Windows) or Option (Macintosh), move the cursor over either of the Playback Markers (the Grabber appears). 2 Drag left or right to move the Timeline selection back or forward in time, while preserving its length.
Moving the Playhead When Continuous Scroll With Playhead is enabled, the Playhead can be moved forward or back to the next region boundary in the selected track. To move the Playhead through a track’s region boundaries: 1 Make sure the Tab to Transients button is not enabled. (See “Tabbing to Transients” on page 254.) 2 Click in the track with the Selector. 3 Press Tab to move the Playhead forward to the next region boundary.
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Chapter 17: Working with Regions and Selections Because regions are the basic building block of audio and MIDI tracks, understanding how they are created, edited, and arranged is essential to taking full advantage of the editing capabilities of Pro Tools. This chapter covers basic editing functions as they apply to regions and selections. The material, for the most part, applies to both MIDI and audio data. For editing procedures more specific to MIDI, see Chapter 23, “MIDI Editing.
Separate Region Command The Separate Region command defines a selection within an existing region, or a partially selected region, as a new region and separates it from adjacent material. If there is no selection and the Edit cursor is placed within the region, the region is split at the insertion point. Auto-Name Separated Regions With the Auto-Name Separated Regions option in the Editing Preferences selected, Pro Tools automatically names separated regions for you.
Separation Grabber To separate a selection without affecting the original regions: You can use the Separation Grabber to automatically separate an edit selection and move it to another location or another track. To separate a selection with the Separation Grabber: 1 With the Selector, drag to select the material for the new region or regions. The selection can reside within a single region, across adjacent regions within the same track, or across multiple tracks.
Healing a Separation Placing Regions in Tracks The Heal Separation command returns separated regions to their original state—provided the regions are still next to each other and their relative start/end points haven’t changed since the separation. Once you have created a region, it appears in the Audio or MIDI Regions List. From there you can drag it to a track to add to an existing arrangement of regions, or you can create a new track and start adding regions from scratch.
• In Slip mode, the regions are placed freely anywhere in the destination track. Use the Replace Region function to replace all occurrences of a region (in all tracks) with a different region from the Regions List. See “Replacing Audio Regions” on page 291. Defining Region Sync Points The placement of regions in Grid and Spot mode can be based on the definition of a region sync point.
2 While pressing the Start key (Windows) or Control (Macintosh), drag the region from the Regions List, or from another track, to the destination track. – or – If the region is already in the track, Start-click (Windows) or Control-click (Macintosh) the region with the Grabber. To place the end of a region at the Edit insertion point: 1 Click with the Selector in the track at the time location where you want to place the end of the region.
3 With the Grabber, Control-Start-click (Windows) or Command-Control-click (Macintosh) the region you want to move. – or – Control-Start-drag (Windows) or CommandControl-drag (Macintosh) a region from the Regions List to another track. The end point of the second region is aligned to the start of the first region. To align the sync point of a region to the start of another region (on a different track): 1 With the Grabber, select the region you want to align to by clicking it.
Use of the Trimmer is affected by the current Edit mode: Shuffle, Slip, Spot, or Grid. See “Edit Modes” on page 224 for more information. The Standard Trimmer can also be used to lengthen and shorten MIDI notes (see “Trimming Note Start and End Times” on page 361), and also to scale automation and controller data up or down “Drawing Automation” on page 465. 3 If trimming the end, drag left to shorten the region, right to lengthen.
Time Compression/Expansion Plug-In Preferences You can select settings for the Time Compression/Expansion AudioSuite plug-in by choosing from the Default Settings pop-up list in the Processing Preferences, under “TC/E.” The settings available are presets included with Pro Tools; in addition, if you save your own presets for the Time Compression/Expansion plug-in, they will also appear here. Refer to the DigiRack Plug-Ins Guide for more information about AudioSuite plugins.
3 Click the region near its start or end point. The Spot Dialog opens. Using any Time Scale, enter a new start or end time (or duration) for the region, then click OK. A new region is automatically processed using the Time Compression/Expansion AudioSuite plug-in. The new region appears in the playlist and in the Regions List. To scrub trim a track: The Scrub Trimmer To scrub trim two tracks, click with the Scrub Trimmer between two adjacent tracks and drag.
To trim from an end point to insertion: 1 With the Selector, click inside the region or note where you want the new end point to be. 2 Choose Edit > Trim > End To Insertion. The region’s end point is automatically trimmed to the insertion point. Sliding Regions A region or group of selected regions (on the same track or on multiple tracks) can be slid with the Grabber tool to new locations or to other tracks.
To shuffle regions: 1 Set the Edit mode to Shuffle by clicking its button in the upper left of the Edit window. 2 Drag a mono region from the Regions List to an empty track. The region snaps to the beginning of the track. 3 Drag a second region from the Regions List to the same track, somewhere in the middle. The start point for the second region snaps to the end of the first region.
To slip regions: To spot a region: 1 Set the Edit mode to Slip by clicking its button 1 Set the Edit mode to Spot by clicking its but- in the upper left of the Edit window. ton in the upper left of the Edit window. 2 Drag a region from the Regions List to an 2 Drag a region from the Regions List, or drag empty track. audio files or sessions from a DigiBase browser, to an existing track. 3 Drag a second region from the Regions List to the same track, somewhere in the middle.
5 Click in the field for Start, Sync Point, or End and type in a new location. Changing one of these locate points automatically updates the other locate points. – or – Click one of the up arrows next to Original Time Stamp or User Time Stamp to enter the associated values into the currently selected field. Unlike the Original Time Stamp, the User Time Stamp can be redefined with the Time Stamp Selected command in the Regions List pop-up menu. For more information, see “Time Stamping” on page 570.
Setting Up the Grid When the Display Preference for “Draw Grid in Edit Window” is enabled, vertical Grid lines appear in the Edit window. 2 From the Grid Value pop-up menu in the Edit window, select the time value that will define the Grid boundaries. Grid lines in the Edit window can also be enabled and disabled by clicking the Timebase Ruler name (Pro Tools 6.x) or its Indicator Dot (Pro Tools 5.x) so it becomes highlighted.
Absolute and Relative Grid Mode Grid mode can be applied in Absolute or Relative mode. ◆ In Absolute Grid mode, moving any region snaps the region start to Grid boundaries. If a region’s start point falls between beats, and the Grid is set to 1/4 notes, dragging the region will snap its start time to the nearest 1/4 note (the current absolute Grid value). ◆ In Relative Grid mode, regions can be moved by Grid (or Nudge) units.
2 From the Nudge pop-up menu in the Edit win- dow, select the Nudge value. Nudging Regions on Multiple Tracks and in Multichannel Tracks When nudging a selection of multiple regions, within a single track or across multiple tracks, that also contains silence, any automation data residing within the silence is also nudged. Nudging by Next Nudge Value In addition to nudging by the current Nudge value, you can also nudge by the next, larger value in the Nudge pop-up menu.
Nudging a Region’s Contents Often a region’s start point will reside at the correct location, perhaps at a SMPTE frame or bar, but the material within the region starts too late or early. You can, in effect, nudge a region’s audio waveform or MIDI notes without displacing the region’s start and end points. before Shift Command Use the Shift command to move track material forward or back in time by a specified amount.
The Shift command works the same regardless of the Edit mode. Adjacent regions are overlapped in Shuffle mode, the Spot dialog does not appear when in Spot mode, and shifted material does not snap to the Grid when in Grid mode. Locking Regions If you have a region or group of regions that you want to permanently associate with a particular location in a track (a beat, SMPTE frame, or sample location), you can lock it in place so it will not be accidentally moved.
Muting/Unmuting Regions Choosing the Mute/Unmute Region command mutes playback of a selected region. Choosing the command a second time unmutes the region. Regions that are muted become dimmed to indicate their status. Track View and Edit Content When cutting or copying track material, the Track View determines the type of data placed on the Clipboard. When displaying waveforms for audio tracks, or notes or regions for MIDI tracks, selections include all underlying automation and controller data.
If tracks are grouped, copying and pasting on any of the tracks affects each of the other tracks in the group. Tracks that are hidden—even if they are part of a group being edited—are not affected by edits. Clear Command The current Edit mode affects how material is selected, copied, and pasted: To clear a selection or region: • In Slip mode, the Cut command leaves an empty space corresponding to the data removed from the track. current grid value, set the Edit mode to Grid.
To cut or copy a selection or region: Deleting Underlying Region Data 1 If you want to constrain the selection to the current grid value, set the Edit mode to Grid. When removing a region or selection, you can choose to remove or keep the underlying region data. 2 Set the Display Format for the tracks you want to edit. When displaying waveforms for audio tracks, or notes or regions for MIDI tracks, selections include underlying automation and controller data.
If pasting into a selection in Shuffle mode, the selection is replaced by the Clipboard’s contents with the adjacent material slid left or right as necessary. In Slip mode, the selection is also replaced but with the surrounding material remaining unchanged. When working with MIDI, you can merge the contents of the Clipboard with material in the destination track. For details, see “Merge Paste Command” on page 285.
To duplicate a selection or region: 1 If working with material that is bar- and beatbased, such as loops, set the Main Time Scale to Bars:Beats. 2 If you want to constrain the selection to the current grid value, set the Edit mode to Grid. 3 Drag with the Selector in the track to select the material you want to duplicate. – or – Click in the track and enter the start and end points for the selection in the Event Edit area. 4 Choose Edit > Duplicate.
4 Choose Edit > Repeat. In the Repeat dialog, 3 Choose Edit > Cut to remove the selection and enter the number of times you want the material to repeat, then click OK. place it on the Clipboard. – or – Choose Edit > Copy to place the selection on the Clipboard without removing it. 4 With the Selector, click in a MIDI track at the point where you want to merge the material. 5 Choose Edit > Merge Paste.
To split a stereo or multichannel track: 1 Select the track you want to split by clicking its name in the Edit or Mix window. To split multiple tracks, Shift-click additional tracks. 2 Choose File > Split Selected Tracks Into Mono. Regions from the channels on the selected tracks are placed on new, mono audio tracks. Names for the new tracks are based on the source track name and channel suffix. For example, if a stereo track called “Funkit” is split, two new tracks called “Funkit.L” and “Funkit.
Waveform Repair with the Pencil Tool The Pencil tool allows you to destructively “redraw” waveform data. This tool is most commonly used to repair a pop or click in an audio file. A pop or click appears as a sudden sharp spike in a waveform. This tool only becomes active when the Edit window is zoomed in to the sample level. The Pencil tool is a destructive editing tool that permanently modifies the audio file on disk and should be used with caution.
◆ For the Grabber, position the cursor over the middle of a region, in the lower half. The Smart Tool With the Smart Tool you can instantly access the Selector, Grabber, and Trimmer, and you can also perform fades and crossfades. The position of the cursor in relation to a region or note, or within an automation playlist, determines how the Smart Tool functions.
To get the Marquee so you can select a group of notes, position the cursor so it doesn’t cover any notes and press Control (Windows) or Command (Macintosh). For the Trimmer, position the cursor near the note’s start or end point. Grabber To create breakpoints with the Grabber, press Control (Windows) or Command (Macintosh) and the Grabber will appear.
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Chapter 18: Advanced Editing (TDM Systems Only) Replacing Audio Regions (TDM Systems Only) You can use the Replace Region function to replace multiple instances of an audio region in a playlist with another region that you Controldrag (Windows) or Command-drag (Macintosh) from the Regions List. This is useful in post production if you use a sound effect, room noise, or atmosphere region many times in a session, and later decide to replace one or all of the original regions with a different region.
Match: End Position Replaces all regions that have the same original end time as the selected region. This includes regions that may have been auto-created when trimming start points. Match: Region Name Replaces all regions that have the same name as the selected region. Region matching uses all specified Match criteria. For example, if you select Start Position and End Position, all regions from the same original audio file as your selection with the same original start and end times will be replaced.
Replace Region and Multichannel Tracks To fill a selection with Paste to Fill: The Replace Region command supports dragging multichannel regions from the Audio Regions List to multichannel tracks, provided they are the same format. copy and choose Edit > Copy. For example, you can replace a stereo region, selected in a stereo audio track, with another stereo region from the Audio Regions List. But you cannot replace it with two mono audio regions.
Compress/Expand Edit to Play on Multiple Tracks and Channels The Compress/Expand Edit to Play command can be used on multichannel selections, and selections across multiple tracks. However, all regions are compressed or expanded equally by the same percentage value, based on Edit selection range. This ensures that the rhythmic relationship between the different channels or tracks is retained.
Chapter 19: Fades and Crossfades Using Crossfades You can quickly and easily crossfade between two adjacent audio regions. Crossfading is the process of fading two regions of audio to prevent pops, clicks, or sudden changes in sound. Crossfades have many applications, from smoothing transitions between regions to creating special audio effects. The crossfade duration, position, and shape are all user-definable. Crossfades are computed and written to disk.
Standard Crossfade (Centered) splice point region 1 fade out curve fade in curve region 2 This type of selection creates a crossfade before the splice point. This lets you maintain the volume of the very beginning of region 2 instead of fading across it, which is useful if there is a strong attack at the beginning of region 2 that you want to preserve.
The Fades Dialog When choosing the Edit > Fades command you can use the Fades dialog to select, view, and preview the crossfade, and to edit the curves used to perform the crossfade. View Second Track If you are fading between more than one track this button allows you to view and preview the audio of the second pair of adjacent tracks. View Both Tracks Click this button to display the waveforms of the first two adjacent tracks in a multitrack fade.
Zoom In Click this button to scale the view of the waveform’s amplitude upwards. Control-click (Windows) or Command-click (Macintosh) for the default view scale. Preset Curves Seven commonly used preset curves are provided for fast crossfade creation. These can be edited by dragging the end points of the curve in the curve editor portion of this dialog.
Preset Curve 6 drops the volume of region 1 even more quickly at the beginning of the crossfade. ◆ Preset Curve 6 Preset Curve 7 silences region 1 at the beginning of the crossfade. ◆ Preset Curve 7 Link Settings that can occur when using an Equal Power crossfade. With this fade, you can Alt-click (Windows) or Option-click (Macintosh) the fade curve to reset it to its default shape.
Fade In Shape Settings ◆ Preset Curve 2 fades in region 2 quickly in the beginning, reaching full amplitude fairly early in the crossfade. Preset Curve 2 Fade In Shape ◆ Preset Curve 3 fades in region 2 moderately fast. The In Shape setting allows you to choose the shape of the fade-in to region 2. Standard Selects a single continuous fade curve. This creates a general-purpose fade that can be edited by dragging the curve itself.
Typical Curve Combinations Fade and Crossfade Preferences Following are the available combinations of fade-out and fade-in curves. (TDM Systems Only) Linear Crossfade This is a good general purpose crossfade with a smooth, even transition between region 1 and region 2. 1-out 2-in You can set default fade and crossfade settings. These settings load as your “base” settings when you use the Create Fades command, and the Fade to Start and Fade to End commands.
Creating a Crossfade To create a crossfade between two regions: 1 With the Selector, click at the point where you want the crossfade to begin in the first region and drag to where you want it to end in the second region. Crossfade selections can begin and end anywhere in their respective regions. 2 Choose Edit > Fades > Create Fades. – or – Press Control+F (Windows) or Command+F (Macintosh). 3 Use the view buttons to adjust the view of the crossfade.
Pre and Post Crossfade Selections By making a selection that begins or ends precisely on the border of two regions, you can create “pre” or “post” crossfades. Use the Tab key to place the insertion point at the exact beginning or end of a region. Creating Fades at the Beginnings and Ends of Regions In addition to crossfades between regions, Pro Tools lets you create fade-ins and fade-outs at the beginnings and ends of regions.
To create a fade-in: 1 Select the beginning of the region that you want to fade in. The selection must extend to the exact beginning of the region or a blank area prior to the region in the track. 2 Choose Edit > Fades > Create Fades. – or – Press Control+F (Windows) or Command+F (Macintosh). 3 Choose the fade-out curve and other settings. 4 Click the Audition button to hear the fade (or press the Spacebar to start and stop playback).
Using AutoFades To set the length of automatic fade-ins/outs: 1 Choose Setups > Preferences and click Opera- (Pro Tools TDM Only) tion. On Pro Tools TDM systems, you can choose to have Pro Tools automatically apply real-time fade-ins and fade-outs to all region boundaries in the session. These fade-ins and fade-outs are performed during playback and do not appear in the Edit window, and are not written to disk.
4 Select whether you want to Create New Fades, Create New Fade-Ins & Outs, Adjust Existing Fades, or a combination of these options. If you select to create new fades and new fadeins and outs, new crossfades are created at each region boundary that is bordered by another selected region, a fade-in is created at the start of the first region, and a fade-out is created at the end of the last region. Batch Fades dialog 5 Choose the placement of your Fades. You can choose Pre-Splice, Centered, or Post-Splice.
Chapter 20: Managing Regions Managing the regions in a session lets you keep system and storage requirements to a minimum, and simplify archiving requirements. This chapter describe several tools available to manage files and regions in Pro Tools sessions. For more information on file management see the DigiBase Guide.
Auto-Naming for Strip Silence The Rename button in the Strip Silence window opens the Rename Selected Regions dialog, which determines how regions are named with the Strip Silence command. Using Strip Silence To strip silence from an audio selection: 1 Select one or more audio regions. 2 To select across multiple tracks, Shift-click in additional tracks. 3 Choose Windows > Show Strip Silence. 4 To set the naming scheme for regions created with Strip Silence, click Rename to open the Renaming dialog.
7 Once the Strip Silence rectangles encompass the audio that you want to keep, press the Strip button. The material defined as silence is removed from the selection and new regions are created, which also appear in the Audio Regions List. The Strip Silence command is nondestructive and does not remove audio data from parent audio files. In addition to the Undo command, you can use the Heal Separation command to restore stripped material.
Consolidate Selection Command During the course of normal edit operations, a track may eventually contain many regions. However, once a track or track range (such as a verse or chorus) reaches a satisfactory state, you may want to consolidate its regions into a single region—thus making the material much more easy to work with. When consolidating an audio track, a new audio file is written that encompasses the selection range, including any blank space.
To compact an audio file: 1 Choose Select Unused > Regions from the Audio Regions List pop-up menu. All regions that have not been placed in a track in the current session are highlighted in the Audio Regions List. 2 To remove all of these unused audio regions, choose Clear Selected from the Audio Regions List pop-up menu. When the dialog appears, choose Remove. 3 In the Audio Regions List, select the region or regions you want to compact. 4 Choose Compact Selected from the Audio Re- gions List menu.
5 Click OK to rename the region. If renaming multiple regions, you are prompted, successively, to rename each region. Suffix Specifies text to be appended to the end of the name, following the auto numbering. 4 When you are finished, click OK to accept the new naming options. Auto-Naming Options You can specify the auto-naming options for a region when new regions are created from it in the course of editing. Auto-naming of regions does not affect the names of parent audio files.
When auto-created regions are hidden, Pro Tools warns you if the number of auto-created regions exceeds a certain threshold, and gives you the option of deleting them. If you choose to delete them, all auto-created regions are deleted at the same time. To ensure that you keep a particular auto-created region, turn it into a user-created region by renaming it. For details, see “Renaming Regions” on page 311.
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Chapter 21: Conductor Tracks and Memory Locations Inserting Tempo Events Tempo Events Tempo events, which are displayed in the Tempo Ruler, can be inserted at the beginning of a session to replace the default tempo (of 120 BPM), and they can be inserted anywhere within the session for additional tempo changes. Tempo events cannot be inserted in Manual Tempo mode.
2 In the Tempo Change window, enter the Location and BPM value for the tempo change. Editing and Moving Tempo Events Existing tempo events can be moved, edited, deleted, and copied and pasted. To move a tempo event by dragging: ■ In the Tempo Ruler, drag the triangle for the tempo event left or right. Tempo Change window Dragging a tempo event Select the Snap To Bar option to place the inserted tempo event cleanly on the first beat of the nearest measure.
If an existing tempo event is near the beginning of the selection, press Control (Windows) or Command (Macintosh) so the Selector appears. Press Alt (Windows) or Option (Macintosh) while dragging to select across all Conductor tracks. 3 Choose Edit > Copy. 4 Click in the Tempo Ruler at the point where you want to paste the tempo events. 5 Choose Edit > Paste. The contents of the Clip- board are pasted from the insertion point, replacing any existing tempo events.
Default Tempo New sessions open with a default tempo of 120 BPM. This tempo can be changed by inserting a tempo event at 1|1|000. However, this is not the same as inserting normal tempo events at other locations. The tempo event that resides at 1|1|000 is actually a Bar|Beat Marker (notice that it has a blue triangle). The main distinction is that this Bar|Beat Marker can be dragged to any location within the session (such as to align with a particular SMPTE frame) to redefine where 1|1|000 is.
4 In the Bar|Beat Markers dialog, specify the start and end locations for the inserted Bar|Beat Markers. Since this example deals with a one-bar loop, enter 1|1|000 and 2|1|000. When working with a selection, the Identify Beat command only calculates a single tempo for the selected range.
Dragging Bar|Beat Markers Bar|Beat Markers can be dragged to new locations so they can align with audio regions that have been moved, or so that they can align to a slightly different point within an audio region. This results in neighboring MIDI data being adjusted to align with the new tempo map. When dragging a Bar|Beat Marker: • Its BPM value is recalculated along with the Bar|Beat Marker to its immediate left. Bar|Beat Markers to the right of the dragged marker remain unchanged.
Meter Events Meter events can be inserted at the beginning of a session to replace the default meter (of 4/4), and they can be inserted anywhere within the session for additional meter changes. Meter events are displayed in the Meter Ruler. To display the Meter Ruler: ■ Select Display > Ruler View Shows > Meter.
4 Click Apply to insert the new meter event. The new meter event is inserted and appears in the Meter Ruler. To copy and paste several meter events: 1 If you want to constrain the selection to the current grid value, set the Edit mode to Grid. 2 Drag in the Meter Ruler to select the range that includes the meter events. Inserted meter event Each meter event has a small yellow triangle next to it that indicates its location.
To clear a range of selected meter events: 1 If you want to constrain the selection to the current grid value, set the Edit mode to Grid. 2 Drag in the Meter Ruler to select the meter events you want to remove. 3 Choose Edit > Clear to delete the selected meter events. Partial Measures Renumbering Bars You can use the Renumber Bars command to renumber all bars in the session, effectively changing the bar locations for all regions, meter and tempo events while leaving their position intact.
Memory Locations and Markers Each session can save up to 200 Memory Locations that can be used to recall: Properties of Memory Locations When creating a new Memory Location (see “Creating Memory Locations” on page 326) you are prompted to define its Time Properties and General Properties.
Markers appear in the Markers Ruler with a thin yellow line extending down through all tracks in the Edit window (to assist in arranging and aligning track material). You can click a Marker in the Markers Ruler to recall its location along with its stored General Properties. When set to Absolute, the Memory Location is sample-based and its bar and beat location shifts if the tempo is changed—though its sample location remains constant, along with its relation to audio material.
Creating Memory Locations Memory Locations can be created in different ways, based on the type of Memory Location. 5 In the New Memory Location dialog, select the Marker option and specify the Reference as either Bar|Beat or Absolute. 6 Enter a name for the new Marker and select When creating Memory Locations, the next available number is assigned to it (1–200). This number is used in recalling the Memory Location from the numeric keypad.
To create a General Properties Memory Location: To create a Marker during playback: 1 Configure any session settings you will save 1 From the pop-up menu in the Memory Loca- with the Selection Memory Location, such as zoom settings, pre- and post-roll times, Show/Hide status for tracks, Track Heights, and Edit and Mix Group enables. tions window, select Default To Marker. This ensures that new Memory Locations default to being Markers. 2 Press Enter on the numeric keypad.
Recalling Memory Locations Memory Locations can be recalled from the Memory Locations window and from the numeric keypad. In addition, Marker Memory Selections can be recalled by clicking them in the Markers Ruler. To recall a Memory Location: 1 If the Memory Locations window is not al- ready open, choose Windows > Show Memory Locations to display it. 2 Click the Marker. The playback cursor locates to the Marker and any General Properties stored with the Marker are recalled.
To change a Memory Location from one type to another: 1 In the Memory Locations window, double- click the Memory Location you want to change. – or – If changing a Marker Memory Location, doubleclick the Marker in the Markers Ruler. 2 In the Memory Location dialog, select either Marker, Selection, or None as the Memory Location type. 3 Enter a new name for the Memory Location, if To align a Marker to a different location: 1 Make sure to select Operations > Link Edit and Timeline Selection.
To delete a Marker from the Markers Ruler: While pressing Alt (Windows) or Option (Macintosh), move the cursor over the Marker (where the cursor changes to the Grabber with a “–”) and click to remove it. Memory Locations Window ■ Memory Locations are listed, with their name and assigned number, in the Memory Locations window. To recall a Memory Location from this window, simply click it.
Memory Locations Commands and Options Show Markers Only When selected, only Marker Memory Locations are displayed in the Memory Locations window. However, even when Selection Memory Locations and General Property Memory Locations are hidden, they can still be recalled from the numeric keypad. Show View Filter Icons When selected, the Memory Locations window provides an iconbased “View Filter” that allows you to show or hide Memory Locations based on the properties they contain.
Default To Marker When selected, new Memory Locations default to Markers, though in the New Memory Location dialog you can still define the new Memory Location as one of the other types. Auto-Name Memory Location When selected, Memory Locations are created automatically without encountering the New Memory Location dialog. If the Default To Marker option is selected, a Marker Memory Location is auto-created.
Chapter 22: Beat Detective Beat Detective (TDM systems only) is a powerful tool for analyzing, editing, and manipulating audio with an inherent rhythmic character. Beat Detective analyzes an audio selection, identifies its peak transients, and generates beat triggers based on the detected peak transients. From these beat triggers, Beat Detective can: • Extract tempo and beat information to create Bar|Beat Markers that can be used to define the session’s tempo map.
Creating DigiGrooves (Pro Tools 6.x Only) Beat Detective can extract groove templates, called DigiGrooves, from an audio selection. DigiGrooves can be used to apply the groove, or feel of the captured passage to other audio selections (using Groove Conform) or MIDI data (using Groove Quantize).
The Beat Detective Window The Beat Detective window appears as shown in Figure 18, below. Figure 18. Beat Detective To open the Beat Detective window: ■ Choose Windows > Show Beat Detective. – or – Press Control+8 (Windows) or Command+8 (Macintosh) on the numeric keypad. ■ Beat Detective is a floating window that can be left open while working. This lets you adjust the controls in real time during playback, while viewing the beat triggers that appear in your selection in the Edit window.
Defining a Beat Detective Selection Whether you will be generating Bar|Beat Markers, extracting a DigiGroove template, or separating regions to be conformed, you must always define the audio selection to be analyzed. The Beat Detective window provides tools to define and capture the selection range, time signature, and swing (sub-division) content for the selected audio. To ensure the best possible results with Beat Detective, make sure the selected passage starts exactly on the attack of the first beat.
• If the selection’s tempo and meter match the session tempo and meter (see “Calculating Tempo with Beat Detective” on page 337), and it aligns correctly with the session’s bars and beats, click the Capture Selection button. The correct Time Signature, and Start Bar|Beat and End Bar|Beat values will be filled in automatically. Calculating Tempo with Beat Detective If you know the meter, and start and end points of the audio selection, use Beat Detective to calculate its tempo.
Generating Beat Triggers Once you’ve accurately defined the selection range, Beat Detective can generate beat triggers based on detected peak transients. The range and type of transients found can be adjusted with the Detection settings, allowing you to zero in on the bars, beats, and sub-beats in the material, while avoiding the non-rhythmic content. 6 Depending on the rhythmic content of the se- lection, set the Resolution to Bars, Beats, or SubBeats.
Tips for Getting Useful Beat Triggers Editing Beat Triggers Use the following tips to verify beat triggers: Even though Beat Detective offers a great deal of flexibility in how transients are detected, there may be times when beat triggers must be deleted, moved, or manually inserted. Additionally, triggers can be promoted so they are retained at lower sensitivity settings.
To move a beat trigger: Promoting Beat Triggers 1 With the Beat Detective window open, choose the Grabber tool in the Edit window. To ensure that important beat triggers do not disappear when lowering the Sensitivity value, you can promote them. This is useful if a selection has numerous false triggers (too many to bother deleting) at a Sensitivity level where crucial, necessary beat triggers are also displayed.
beat. If you then separate and conform the region containing this note, it will be moved to the wrong location. Subsequent regions may be moved to the wrong locations as well. If a beat trigger is not assigned the correct metric location, relocate it using Identify Trigger. To change the metric location of a beat trigger: 1 Double-click the beat trigger you want to relo- cate. The Identify Trigger dialog opens. 2 In the Identify Trigger dialog, enter the correct location for the trigger, then click OK.
Bar|Beat Markers are generated, based on the beat triggers, and appear in the Tempo Ruler. DigiGroove Templates Bar|Beat Markers generated at Bar resolution Beat Detective allows the fine timing nuances of a rhythmic performance to be extracted and saved as a groove template, called a DigiGroove template. DigiGrooves can be saved locally to the Groove Clipboard, or saved to disk as DigiGrooves.
To extract a Groove Template: 1 In the Edit window, make an audio selection. The selection should consist of one or more complete bars, starting and ending on downbeats. When extracting Groove Templates, the captured selection must not include Bar|Beat Markers. Otherwise, the accuracy of the Groove Template will be compromised. 2 In the Beat Detective window, select Groove Template Extraction mode. 3 Define or capture the selection as described in “Defining a Beat Detective Selection” on page 336.
Groove Extrapolation To separate regions with Beat Detective: Beat Detective’s ability to extract tempo data from a wide range of material is enhanced by its powerful “groove extrapolation” logic. Groove extrapolation automatically generates beat triggers for inclusion in groove templates even if a peak transient is not detected. For example, a drum loop might not have a hit on beat 3, consequently no peak transient is detected and no beat trigger is generated.
When conforming separated regions, the region sync point, not the region start point, determines where the region is placed. For more information on region sync points, see “Defining Region Sync Points” on page 265. Extending the selection to the snare, hi-hat, and overhead microphones tracks, and then performing the separation, results in separated regions in each of the drum tracks at the same location, based on the beat triggers from the kick drum track (see Figure 20).
Conforming Regions with Beat Detective After regions have been separated with Beat Detective, the regions can then be conformed using one of two modes: Standard Conform Uses the session’s current tempo map (Grid) Groove Conform (Pro Tools 6.x only) Uses groove templates. Beat Detective will conform any selected region, whether or not it was separated with Beat Detective.
7 To achieve a swing feel for the conformed re- gions, select the Swing option and whether the swing is based on eighth-notes or sixteenthnotes, then specify a percentage value with the slider or by typing in a value: • Smaller percentage values yield less swing, with 0% yielding none. • Larger percentage values yield more swing, with 100% yielding a triplet, swing feel.
6 To see comments about the selected template, click Show Info. 9 Click the Conform button to automatically 7 To affect how strongly the regions are con- 10 Audition the new conformed regions by clicking Play in the Transport window. formed to the groove template, select the Timing option and specify a percentage value with either the slider or by typing in a value: • Lower percentage values preserve the original feel of the regions. conform all regions in the selection.
• Select Fill Gaps to trim region end points so that the gaps between regions are filled. • Select Fill And Crossfade to trim region end points and automatically add a pre-fade (in ms) directly before each region start point. 3 In the Edit window, if not already selected, se- lect the range of conformed audio regions you want to smooth. Make sure the selection’s start and end points fall cleanly on the beat. 4 Click the Smooth button to smooth the edits for the selected regions.
DigiGroove templates, or separate new regions. Collection mode is the only way to analyze and create beat triggers on one track, and apply them to another track. This method of selectively adding beat triggers from separate analysis passes on different tracks, until you get only the triggers you want, is potentially much more effective than manually deleting, inserting, or adjusting incorrect or false triggers. tion, or you can choose to collect only the unique triggers from a track.
3 Define or capture the selection as described in “Defining a Beat Detective Selection” on page 336. 4 Configure the Detection options so the selec- tion’s peak transients are accurately detected (see “Generating Beat Triggers” on page 338). 5 Click the Collection Mode button. 6 In the Detection (Collection Mode) section, click Add to add all the current beat triggers to the collection. 7 Click the Normal Mode button and move the selection to the next track you want to analyze.
10 In the Detection (Collection Mode) section, click Add Unique Triggers to add only the unique triggers from the track to the collection (Pro Tools 6.x only). – or – Click Add All to add all triggers to the collection. – or – Click Clear All to clear all triggers from the collection. Each new set of triggers added to the collection appears in a different color.
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Chapter 23: MIDI Editing Pro Tools provides powerful MIDI editing tools. You can create and edit individual MIDI notes and controller events with the Pencil, Trimmer, and Grabber in the Edit window. You can also use the various MIDI Operations (such as Quantize, Transpose, Change Velocity, and Change Duration) to transform groups of MIDI notes to affect pitch, timing, and phrasing. For information on region-specific editing for both MIDI and audio, see Chapter 17, “Working with Regions and Selections.
Line When in Note view, the Line shape inserts a series of MIDI notes on a single pitch whose velocities are defined by the Default Note On Velocity MIDI preference (Setups > Preferences > MIDI). The duration of each note is determined by the current Grid value. When editing MIDI velocities or continuous controller data, the Line shape draws in a straight line from click to release.
3 Click the note icon for the Custom Note Du- ration pop-up menu, and select a note duration. Inserting MIDI Notes The note icon changes to show the selected note value. In addition to recording and importing MIDI into Pro Tools, you can manually insert MIDI notes using the Pencil tool. To insert a MIDI note: 1 Set the MIDI track to Notes view. 2 Select the Pencil tool and make sure it is set to Freehand.
5 When you reach the pitch and time location you want, click to insert the note. The Pencil can be dragged after clicking (and before releasing) to adjust the note’s pitch or duration. Click and drag right to lengthen the note without changing its start point. Click and drag left to shorten the note without changing its end point.
To insert a series of notes with random velocities: To select MIDI notes: 1 Set the MIDI track to Notes view. ■ With the Grabber or Pencil, Shift-click each note. 2 Select the Pencil tool and make sure it is set to Random. – or – ■ With the Grabber, move the cursor to where there are no notes (the Marquee appears) and click and draw a rectangle around the group of notes. Pencil tool set to Random 3 Set the Time Scale to Bars:Beats.
To select a single pitch for the entire length of a track: ■ On the mini-keyboard, regardless of the currently selected edit tool, Control-Shift-click (Windows) or Command-Shift-click (Macintosh) the note. The Shift key ensures that the transposed note retains its start point. While dragging, each new note sounds and the Current Cursor display indicates the number of semitones and direction (+/–) for the transpose.
Trimming Note Start and End Times Like regions, start and end points for MIDI notes can be adjusted with the Trimmer tool. If several notes are selected when performing the trim, each note is changed. Move the cursor near the end of any of the highlighted notes, so the Trim cursor appears. Drag left to shorten the notes, drag right to lengthen them. In Pro Tools 6.x, the Pencil tool can function like the Trimmer tool for changing the start and end points of MIDI notes.
3 Drag the top (diamond) of the velocity stalk up or down. 3 Click at the beginning of the note range, near the bottom of the velocity range, and drag to the right and up until the line encompasses the range of notes you want to include in the fade. Dragging a velocity stalk – or – If two notes have the same start time (with velocity stalks on top of each other), Control-drag (Windows) or Command-drag (Macintosh) the actual note up or down.
Typing in Note Attributes Multiple Notes and Event Edit Area When an individual note is selected with the Grabber or Pencil, its attributes are displayed in the Event Edit area. When multiple notes are selected, you can enter values in the Event Edit area fields to affect all selected notes. A triangle (delta symbol) to the left of the displayed note indicates that multiple notes are selected.
2 Choose Edit > Clear to delete the selected notes. The track’s underlying controller data remains intact. – or – Press the Delete (Backspace) key. When deleting MIDI notes within a time range selection, all underlying controller and automation data is also deleted. Continuous Controller Events Continuous controller events for MIDI tracks are displayed in the form of a line graph with a series of editable breakpoints.
To avoid overwriting existing MIDI volume and pan automation data, record in MIDI Merge mode. In Pro Tools 6.x, when recording in MIDI Merge mode, existing volume and pan data will play back while recording new MIDI data. However, in Pro Tools 5.x, existing volume and pan data will not play back while recording new MIDI data.
Patch Select (Program and Bank Changes) Each MIDI track can have a default program change that is sent each time the track plays. Additional program changes can be inserted at any point within the track. To set the default program change for a MIDI track: 1 From the Edit or Mix window, click the Pro- gram button. About Program and Bank Changes The MIDI protocol lets you choose from a range of 128 programs (0–127). Most MIDI instruments have several banks of 128 programs.
• If you are using patch name files (Mac OS X only), choose a bank from the pop-up menu in the upper right of the Patch Select dialog and select a patch name. See “Patch Names” on page 367. To import MIDI patch names into Pro Tools: 1 Verify the MIDI Device name in Audio MIDI Setup (Setups > Edit MIDI Studio Setup). 2 Verify the MIDI track’s output is correctly assigned to the MIDI device. 3 Click the MIDI track’s Program button. 4 In the Patch Select dialog, click the Change button.
To clear patch names: To edit a program change event: ■ In the Patch Select dialog, click the Clear button. 1 With the Grabber or Pencil, double-click the program change event you want to edit. MIDI patch name files (.midnam) can be edited in any text editor (such as TextEdit), so you can create you own custom patch names. Inserting and Editing Program Changes Program changes can be inserted into a track’s playlist with the Pencil tool.
Auditioning Programs When the Patch Select dialog is open, you can have Pro Tools automatically scroll through the different patches for a track’s assigned MIDI device. To audition patches for a MIDI track during playback: System Exclusive Events System Exclusive (Sysex) events can be recorded to MIDI tracks in Pro Tools (see “Recording System Exclusive Data” on page 188). Once the events are recorded, they appear in the track’s playlist as blocks when the Display Format is set to Sysex.
To delete one or more Sysex events: To enable Note Chasing for a MIDI track: 1 With the track to Sysex view, click the Sysex event with the Grabber to select it. ■ Click the track’s Playlist Selector and select the option for Note Chasing. – or – If the region contains other Sysex events you want to delete, select the entire region with the Grabber (when the track is displaying regions). 2 Choose Edit > Clear to remove the selected events from the track. – or – Press the Delete (Backspace) key.
Default Controller Values and Chasing Though new MIDI tracks appear to have default values for continuous controller playlists, this is actually not the case. For example, when viewing a MIDI track’s Mod Wheel playlist, you’ll see that the breakpoint line is set to a default of zero. However, since the modulation wheel on your synth may purposely be set to a different value, the default value in the track is not transmitted when playing.
vice, you may need to use a MIDI offset. In this example, it will usually take at least 5 ms to trigger the MIDI notes, and it could take even longer, depending on the MIDI device. You can measure the latency for a MIDI device assigned to a MIDI track by recording its audio output back into Pro Tools. Compare the sample locations for the recorded audio events against the original MIDI notes to calculate the latency. To configure a MIDI track offset for a track: 1 Choose Windows > Show MIDI Track Offsets.
Chapter 24: MIDI Operations MIDI Operations Window To show or hide the MIDI Operations window: ■ Choose Windows > Show MIDI Operations.
To undo the command in the MIDI Operations window: To open the Select Notes window: ■ ■ Choose MIDI > Select Notes. Choose Edit > Undo. Using the MIDI Operations Window Use the following methods to easily configure the various options, which vary from command to command, in the MIDI Operations window: To move forward and back through the various fields, press Tab or Shift+Tab. ◆ ◆ Increment or decrement selected fields with the Up and Down Arrows.
3 Select the Notes Between option with the note range set to F#1 and F#1 (if the MIDI Note Display preference is set to Standard Pitch). To open the Split Notes window: ■ Choose MIDI > Split Notes. For a General MIDI drum kit, the closed hi-hat is assigned to MIDI note number 42 (F#1 at Standard Pitch). If the hi-hat for your drum kit is assigned to a different note, make sure to specify it. 4 Click Apply.
When either of the Pitch fields are selected, you can play a pitch on your MIDI controller to automatically enter it. To open the Change Velocity window: ■ Choose MIDI > Change Velocity. 4 Select Cut. 5 Click Apply. Notes falling within the specified pitch range are removed from the selection and placed on the Clipboard. The notes can then be pasted or merged to another track. Change Velocity The Change Velocity command automatically adjusts attack and release velocities for selected MIDI notes.
Change Smoothly by Percentage Allows velocities to change smoothly from one percentage value to another over time. The curve for this change can be adjusted (+/– 99) to affect how gradually the change occurs. Limit To When selected, restricts the Change Velocity command to a minimum and maximum range. Randomize When selected, the Change Velocity command is randomized by the specified percentage value.
Change Duration Scale by Shortens or lengthens durations based on a percentage value (1–400%). The Change Duration command adjusts durations for selected MIDI notes. Use it to make melodies and phrases more staccato or legato. Move Releases to the Closest Attack Shortens or lengthens durations so that end times are moved to the closest attack. The settings in the Change Duration window are saved with each session.
3 Select the option for Scale By with a percent- age value of 50. 4 Click Apply. The durations for the selected notes are reduced by 50%. With this option you may have to experiment with the percentage value to achieve the desired effect. To make notes more legato: Transpose While the Grabber Tool can be used to manually transpose individual MIDI notes, or small groups of notes, the Transpose command can be used for entire MIDI tracks and regions. To open the Transpose window: ■ Choose MIDI > Transpose.
One of the more common uses for Transpose is to change the key for your MIDI tracks. You can define an Edit Group for MIDI tracks that you want to transpose, making sure to exclude any drum tracks from the group so they aren’t transposed. To transpose MIDI notes to another key: 1 If you will be transposing a group of tracks, make sure to enable the Edit Group. 2 With the Selector or Grabber, select the range of MIDI notes to be transposed. 3 Choose MIDI > Transpose.
To open the Quantize window: ■ Choose MIDI > Quantize. Figure 25 shows how notes are adjusted by the different What To Quantize options. before quantize Quantize window What to Quantize The options under “What to Quantize” determine which aspects of the notes are quantized: attacks, releases, or both. Attacks When selected, note start points are quantized. Releases When selected, note end points are quantized. Preserve Note Duration When selected, note durations are preserved.
Offset Grid By Offsets the Quantize Grid forward or back in time by a specified number of ticks. Use this option to achieve a pushed feel (by using positive values) or a laid back feel (by using negative values). To Quantize just the backbeats, set the Quantize Grid to half-notes with an Offset of 960 ticks. Swing When selected, every other Grid boundary is shifted by the specified percentage value (0–300) to achieve a “swing” feel. A Swing value of 0% yields no swing, while 100% yields a triplet feel.
Quantize Examples The following examples illustrate some of the more common uses for the Quantize command. If you intend to loop playback while quantizing, you may want to deselect Operations > Link Edit and Timeline Selection. This ensures that the play range will not change when selected notes are moved in the course of quantizing and undoing. Quantizing While Preserving the Original “Feel” You can quantize less strictly, to preserve the original feel of your recorded MIDI tracks.
Quantizing with Swing To “humanize” the rhythmic feel of notes: If you’re working with hi-hats or bass lines, you may want to apply more of a swing feel to the track. 1 Select the range of MIDI notes to be quan- tized. 2 Choose MIDI > Quantize. To quantize with an eighth note swing feel: 3 Under What to Quantize, select the Attacks 1 Select the range of MIDI notes to be quan- option. To quantize note durations as well, select the Releases option. tized.
Input Quantize Groove Quantize When Input Quantize is enabled, all recorded MIDI notes are quantized automatically. To preserve the original “feel” of your recorded MIDI tracks, make sure to disable this option. The Groove Quantize command adjusts MIDI note locations and durations according to a groove template rather than a strict quantization grid. Groove templates extract the particular rhythmic feel of a recorded performance so that is can be applied to a MIDI sequence.
Figure 28. A DigiGroove template (derived from the audio shown) applied to a series of sixteenth-notes with Timing and Velocity both set to 100% Groove Template Groove templates (such as DigiGroove templates) are “quantization maps” derived from real musical performances. The rhythmic character of each performance is analyzed and stored as a groove template. Groove templates can be used to transfer the feel of a particular performance to MIDI data (Timing, Duration, and Velocity).
Options Pre-Process Using Quantize Enable to hard quantize the selected MIDI notes according to the Quantize command’s settings before applying Groove Quantize. The Pre-Process Using Quantize option is only available when the Timing option is enabled. Timing Enable to apply Groove Quantize to the selected MIDI notes. Use the slider to change the amount of quantization applied to the selection. If the slider is set to 0%, there is no change in timing.
2 Enter or edit any comments you want to save 4 Enable Timing, Duration, and Velocity, and with the template. adjust their sliders to the percentages you want. 3 Click the Save button to save the groove tem- 5 If desired, enable Pre-Process using Quantize. plate with the current Options Slider Settings. 6 Click the Apply button. – or – Click the Save As button to make a copy of the groove template with the current Options Slider Settings.
Template Mapping for Equal Meters And Even Bars If a selection starts on an even bar, only the appropriate portion of the groove template will be used. For example, if the selection is two bars long and starts on an even bar, the template will apply bar 2 before bar 1. If the Groove Template contains more beats than the selection on a track, such as a one-bar template in 6/4 being applied to a two-bar selection in 4/4, only the appropriate number of beats will be used.
downbeat of the Groove Template will be aligned with the downbeats in the selection and only the appropriate number of beats from the Groove Template will be applied. 3-bar selection of changing meters Restore Performance The Restore Performance command reverts all selected MIDI notes to their original state (when first recorded or manually inserted), even after the session has been saved, or the Undo queue has been cleared.
Any changes made through the standard Quantize, Groove Quantize, Change Duration, Change Velocity, or Change Pitch commands will be undone and the original “performance” will be restored. Also, any notes that were recorded with Input Quantize enabled will be restored. Restore Performance does not undo cut, copied, pasted, or otherwise manually moved MIDI notes. Restore Performance also does not undo Duration changes made by trimming the start of a note.
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Chapter 25: MIDI Event List The MIDI Event List The MIDI Event List displays a detailed list of all events in a single MIDI track. The events are displayed with text and numbers, allowing you to precisely edit their location, length, and event values. Events in the MIDI Event List can be copied and pasted, selected, or deleted. Any MIDI event (except Sysex) can be inserted and edited in the list. Certain MIDI event types can be hidden with the View Filter.
Menus in the MIDI Event List At the top of the MIDI Event List are three popup menus: When several events reside at the same location, the location is only indicated for the top event, with the others dimmed. The dimmed locations can be edited by double-clicking them. MIDI Track Selector Indicates the MIDI track currently displayed, and can be used to choose a different MIDI track to be displayed. Event Column Displays the event type, indicated by an icon, and associated event values.
2 In the MIDI Event List View Filter dialog, se- lect the All Except option. • Press Tab or the Down Arrow to move to the next event (with or without the edit field selected). • Press Control+Tab (Windows) or Option+Tab (Macintosh) or the Up Arrow to move to the previous event (with or without the edit field selected). • With an edit field selected, press the Right Arrow to move to the next edit field to the right.
3 Enter the location you want to go to, then click OK. The following items from the Options menu affect navigating in the MIDI Event List: 2 Enter the location, pitch, attack and release velocities, and length for the new note. To move between the Event Entry fields, use the Left and Right Arrow keys. • When Page Scroll During Playback is selected, the MIDI Event List scrolls during playback.
To insert a controller event in the MIDI Event List: 3 To insert the controller event and remain in 1 Click the Insert button and choose Controller Event Entry mode, press Enter on the numeric keypad. from the pop-up menu. – or – – or – Press Control+L (Windows) or Command+L (Macintosh). 2 Enter the location, controller “type” number, and controller value for the new event. The controller name is displayed in the Length/Info column, to the right of the controller value.
4 To insert the program change and remain in Event Entry mode, press Enter on the numeric keypad. – or – To insert the program change and exit Event Entry mode, press Return on the alpha keyboard. – or – Editing in the MIDI Event List Events in the MIDI Event List can be edited, selected, deleted, and copied and pasted. To edit an event in the MIDI Event List: 1 Double-click the event field you want to edit.
Selecting in the MIDI Event List 3 Choose Edit > Clear to delete all selected events. To select a range of events in the MIDI Event List: Click the event at the beginning of the selection and drag to the ending event. ■ – or – Press Backspace (Windows) or Delete (Macintosh) on the alpha keyboard. – or – ■ Shift-click the event at the beginning of the selection, then Shift-click the ending event.
4 Choose Edit > Paste. The events from the Clipboard are pasted, replacing any existing events already there. To paste events without overwriting other events, use the Merge Paste command. MIDI Event List Options Show Note Length Displays note lengths, instead of note end times, in the Length/Info column of the MIDI Event List. Show Note End Time Displays note end times, instead of note lengths, in the Length/Info column of the MIDI Event List.
Part VI: Mixing 401
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Chapter 26: Basic Mixing In addition to the final mixdown, mixing tasks can occur any time during a recording session. This chapter covers Pro Tools mixing, including audio signal flow, output and bus paths, sends, and signal routing. During mixing, real-time plug-ins and hardware inserts provide effects and signal processing (see Chapter 27, “Plug-In and Hardware Inserts”). Mixing Concepts Mixing involves making decisions about elements such as volume levels, panning, and effects.
Audio Signal Flow Pro Tools provides three different types of audio tracks: • Audio tracks Source or Input Source: any mono, stereo, or multichannel audio file, playing back from disk Input: while record-monitoring or in TrackInput monitoring mode Inserts • Auxiliary Inputs • Master Faders Mono and stereo audio tracks are available on all Pro Tools systems. Multichannel audio tracks and surround mixing formats require Pro Tools|HD-series or MIX-series systems.
To create an audio track 1 Choose File > New Track. 2 In the New Track dialog, specify the number of tracks. 3 From the Track Type pop-up menu, select Au- dio Track. Auxiliary Inputs Auxiliary Inputs provide the same signal routing options as audio tracks, except that their input must come from an internal bus or hardware input. Inserts on Auxiliary Inputs are pre-fader. Input Source: bus or hardware input path 4 From the Track Format pop-up menu, select the number of channels (for example, Stereo).
Common Uses for Auxiliary Inputs Master Faders By bussing tracks to the Auxiliary Input, you can: Master Faders control the master output levels of output and bus paths. When assigned to an active output or bus path, they provide postfader effects processing and master level control for a main mix, headphone and cue mixes, stems, effects sends, and other signal routing applications. Master Faders support all track formats supported on your Pro Tools system.
Master Faders provide up to five post-fader inserts and no sends. Also, Master Fader tracks do not have Pan controls, or Mute and Solo buttons. If you absolutely must have a pre-fader insert on your Master Fader signal, set up an Auxiliary Input before the Master Fader. To use a Master Fader as a stereo master volume control: 1 Create a stereo Master Fader track (as de- scribed above).
Inserts Pro Tools lets you insert up to five inserts on each audio track, Auxiliary Input, or Master Fader. Each insert can be either a software plugin insert or a hardware insert. Inserts provide the following features: • Plug-ins and hardware inserts route the signal from the track through the effect of your choice, and automatically return it to the same track.
The Delay Compensation view is only available in the Mix window. To show or hide available views in the Mix and Edit windows: 2 Choose any or all of the following: Comments View Shows any text entered as comments in the Track Name dialog. For more information, see “Naming Tracks” on page 91. 1 Choose Display > Mix Window Shows or Display > Edit Window Shows for one of the view types (such as Inserts View). – or – Click the View Selector in the Edit window.
To view Delay Compensation information: ■ Choose Display > Mix Window Shows > Delay Compensation View. Inserts Delay values can be specified in either samples or milliseconds, as determined in the Display page of the Preferences dialog. For more information, see “Delay Compensation” on page 428. Sends I/O Track Input Mix Window views Mic Preamps View Shows controls in each track for the Digidesign PRE. Deselect to hide. For detailed information, see the PRE Guide.
To assign multiple tracks to the same input: Alt-select (Windows) or Option-select (Macintosh) a track input to assign all tracks to the selected input. ■ – or – Alt-Shift-select (Windows) or Option-Shift-select (Macintosh) a track input to assign all selected tracks to the selected input.
To assign multiple tracks to unique outputs (ascending, incrementing): ■ Control-Alt-click (Windows) or CommandOption-click (Macintosh) a track output to assign it to an output path and auto-assign each subsequent track to the next available output path (moving top-to-bottom in the Edit window, left-to-right in the Mix window). These windows appear differently for mono, stereo, and multichannel tracks. For multichannel mixing, there is also an X/Y panner Output window available.
You can also define what physical ports are routed to Pro Tools output ports in the “Main” page of the Hardware Setup dialog. For more information, see “Configuring Pro Tools System Settings (in the Playback System Engine)” on page 37. Inactive Outputs To assign a track to multiple outputs: the track’s Output Selector. When opening sessions, outputs will be made inactive automatically if the required hardware or other resources are not available.
Sends Pro Tools lets you insert up to five sends on each audio track or Auxiliary Input. Sends provide the following features: • Sends can be set as pre- or post-fader. • Send level and mute can be configured to follow Groups. Assigning Sends to Tracks To add a send to a track: 1 Make sure Sends View is enabled in the Mix or Edit window (see “Views in the Mix and Edit Windows” on page 408 for information). 2 Click the Sends button on the track and choose a path from the pop-up menu.
3 Set the output level of the send in the Send window: • Adjust the send level fader. Send Path Choices The choices available in track Send Selectors include bus and output paths. – or – • Set the send level to unity gain (0 dB) by Alt-clicking (Windows) or Option-clicking (Macintosh) the send fader. The first time you create a new send, its output level is automatically set to off, displayed onscreen as –INF (–∞).
Configuring Sends View in the Mix and Edit Windows Sends are displayed in the Mix and Edit window according to the Sends View Shows settings. Choices include Assignments View, plus the five Send A–E Views, explained below. Assignment View This is the default Send Display mode, showing the five available sends on all tracks displayed in the Mix and Edit windows.
Editing Sends in the Mix and Edit Windows (Send A–E Views) Send A–E Views display all the controls of an individual send in the sends area of the Mix and Edit windows. These views provide full access to all controls for that send on all tracks. send send indicator assignment path assignment send level send pan send mute pre/post send meter Send A View, with stereo send shown Send level and mute can follow Mix groups, to adjust multiple send controls from a single set of controls.
Inactive Sends To toggle sends in the same position (A–E) on all selected tracks active or inactive: Sends can be made inactive. Inactive sends free their DSP and mixer resources, while retaining their position in track Sends View. Inactive sends do not output audio. However, Inactive sends retain all related automation playlists. In addition, any edits made in the session affect the sends automation playlists.
To open a Send window: ■ Click the send in the Mix or Edit window. click here or here Opening Multiple Output Windows Multiple track and Send windows can be displayed simultaneously using either of the following methods. To open additional Output windows: ■ Shift-click any output icon or send. To set a window to remain open when opening additional Output windows: ■ Make sure the Target is disabled.
Panner Linking Inverse Linked Panning Stereo outputs provide two panning controls, one for each side of the left/right pair. Multichannel outputs provide a multichannel panner. When linked and set to Inverse mode, panning moves are inverted, or reversed, in the other channels. The Output window provides controls to unlink (or link) channels for precise panning of stereo and multichannel tracks. In the default Linked mode, all sides match changes to any other side’s pan control.
Standard Selector Controls in Output Windows All Output windows provide standard selectors for path, automation, and other controls in the top area of the window (the Output Editor area).
Meter View opens the path Meter View. These meters display levels of the selected path (not the levels of the track or send). To set an open Send window as the Target window: ■ Click the Target, so that it is lit (red). Plug-in windows have additional features related to the Target (such as Focus of Settings commands). See “The Plug-In Window” on page 440. Meters View Using Output Windows Output windows provide standard Pro Tools track, send, Target, and other controls.
To display the controls for a different send on the same track: Click the Send Selector button and select the send. ■ For more information on groups, see “Grouping Tracks” on page 103. Copying Track Settings to Sends (TDM Systems Only) Sometimes you need send settings to match the settings in the track itself—for example, to provide a headphone mix based on the main mix.
• Control and automate any submix from a single fader and channel strip. Mixing Audio Input from MIDI Devices and External Sources • Apply real-time plug-ins or an external processor to the submix, using the Auxiliary Input as an effects return. By mixing MIDI and other audio sources through Pro Tools, you can apply mix automation to the volume, pan, mute, send level, send pan, send mute, and plug-in controls of the Auxiliary Input.
sends) to assign tracks to a bus path for discrete submixing. In this arrangement, the balance of processed and unprocessed signal is controlled by plug-in wet/dry settings. For another way to submix effects, see “Send and Return Submixing for Effects Processing” on page 425. To create a discrete submix: 1 Set the output of the tracks you want to in- clude in the submix to a stereo bus path. 2 Pan each track. 3 Choose File > New Tracks.
8 From the Auxiliary Input track’s Output Selec- 2 Assign a send (mono or stereo) and set the tor, select an output path (main outputs). send destinations on the source tracks to the output path connected to the external device. Configure the sends for pre- or post-fader, as needed. Adjust the individual track faders to balance the dry (unprocessed) tracks. The amount of effect is controlled by the level of the Send fader or the Auxiliary Input fader.
Creating a Master Send Level Control A Master Fader can control the overall level of bus and output paths. To create a Master send level control: 1 Choose File > New Track. 2 Specify the track type (Master Fader), and mono, stereo, or any of the supported multichannel formats for surround mixing. Generating Stereo Output from a Mono Send/Return You can use an Auxiliary Return arrangement to generate a stereo output from a mono send.
Delay Compensation (HD-series Systems with Pro Tools 6.4 Only) Pro Tools provides Delay Compensation for managing DSP delays that occur on audio tracks, Auxiliary Inputs, or Master Faders because of plug-in use and mixer routing. Pro Tools maintains time-alignment between tracks that have plug-ins with differing DSP delays, tracks with different mixing paths, tracks that are split off and recombined within the mixer, and tracks with hardware inserts.
Plug-In Delay (dly) Indicator This indicator shows the total plug-in and hardware insert delay on the track. This delay total is used by Pro Tools to calculate the delay applied to other tracks to keep them time-aligned. The track with the highest plug-in and insert delay displays delay information in orange. Bypassing the track’s reported delay to Pro Tools can be useful if your total plug-in delay on a track exceeds the amount allowed in the Delay Compensation Engine setting.
Low Latency Monitoring During Recording For recording, Pro Tools automatically suspends delay compensation to provide a low-latency monitor path through the main outputs of the record-enabled tracks. When an audio track is TrackInput-enabled, armed for recording (in stop), or punched in, the track’s delay compensation is automatically suspended (and the Track Compensation indicator displays 0). Delay compensation can be intentionally applied to audio tracks regardless of input mode.
Dither Mixer Plug-Ins (Pro Tools|HD Systems Only) There are two Mixer plug-ins that feature dither with noise shaping: Stereo Dithered and Surround Dithered. For more information, see “Surround Dithered and Stereo Dithered Mixers” on page 607. Standard Stereo and Surround Mixers do not have dither and require use of dither plug-ins.
Noise Shaping Noise is an integral part of the dithering process. Noise shaping can further improve audio performance and reduce perceived noise inherent in dithering. Noise shaping utilizes digital filtering to move noise from frequencies around 4 kHz to near the Nyquist frequency. Essentially, noise shaping lessens our perception of the noise inherent in dithering by shifting audible noise components into a less audible range. Noise Shaping is available in the Dither plug-in.
Chapter 27: Plug-In and Hardware Inserts Pro Tools provides up to five unity-gain inserts on each audio track, Auxiliary Input, or Master Fader. Audio track and Auxiliary Input inserts are pre-fader, and Master Faders inserts are postfader only. Additional real-time plug-ins are available from Digidesign and from many third-party developers. For information about optional Digidesign plug-ins, see the electronic Digidesign PlugIns Guide.
General Information Insert Formats When more than one insert is used on a track, they are processed in series. Each effect is added to that of any previous plug-ins or inserts, (flowing from top to bottom in the Mix window Inserts View, and left to right in the Edit window Inserts View). Mono Inserts Used on mono tracks. Inserts that occur on a track after a stereo insert are automatically used in stereo as well. Inserts on audio tracks and Auxiliary Inputs are pre-fader.
TDM and RTAS Plug-Ins Viewing Inserts There are three plug-in formats supported by Pro Tools (TDM, RTAS, and AudioSuite), two of which can be used as real-time inserts, as follows: Both the Mix and Edit windows can be configured to show or hide inserts. Plug-in windows provide complete access to plug-in controls. TDM Plug-Ins Used on TDM-based Pro Tools systems, and rely on the processing power of Digidesign DSP cards.
Display of Plug-In Window Status Making Inserts Inactive In the Mix and Edit window, the plug-in button and selector display the currently inserted plugin, its bypass state (see “Bypassing Plug-Ins” on page 443), target status, and window status. Plug-in and hardware inserts can be made inactive to free up their resources for other uses. When a plug-in insert is inactive it retains its assignment, position, and related automation playlists.
Inactive Plug-In Inserts Inactive plug-in inserts retain all associated automation playlists. In addition, any edits made in the session affect the plug-in automation playlists. You cannot record automation or adjust the controls for an inactive plug-in. Inserting Plug-Ins on Tracks To use a real-time plug-in, insert it on a track. To insert a plug-in on a track: 1 Make sure the Inserts View is shown in the Mix or Edit window.
Plug-In Menu Organization Plug-in Favorites (Pro Tools 6.4) For faster navigation to commonly used plugins, a plug-in can be designated a favorite. Favorite plug-ins are shown at the top of the plug-in menu. In Pro Tools 6.4, plug-ins are automatically organized by category (effect type). Plug-ins that do not fit into a standard category (such as the DigiRack Signal Generator), or third-party plugins that have not been defined by their developers, appear in the Other category.
Inserting Plug-Ins During Playback Plug-ins can be inserted or removed during playback, with the following restrictions: • Plug-ins cannot be inserted or removed during recording. • A plug-in cannot be dragged to a different insert location during playback or recording. Stop playback to do this. • Plug-ins that change a track’s format (a monoto-stereo plug-in, for example) cannot be inserted or removed during playback. Stop playback to do this.
The Plug-In Window Phase Invert buttons Plug-in clipping LED The Plug-In window appears whenever you click a plug-in’s Insert button on a track. This floating window lets you edit the adjust the controls of any real-time plug-in insert in use on a track.
Safe When enabled, prevents existing plug-in automation from being overwritten. Convert Plug-In Lets you convert the insert from a TDM plug-in to an RTAS plug-in of the same type (or vice-versa). This feature can only be used on plug-ins that are available in both TDM and RTAS formats. Target Plug-In When multiple Plug-In windows are open, clicking this button in a Plug-In window until it is lit, selects that plug-in as the target for any computer keyboard commands.
To open Plug-In windows for each channel of a multi-mono plug-in: Alt-click (Windows) or Option-click (Macintosh) the Channel Selector in the Plug-In window of a plug-in insert. ■ To choose a different track: ■ Click the Track Selector and choose a track from the pop-up menu. To close all currently open Plug-In windows: ■ Alt-click (Windows) or Option-click (Macintosh) the close box of any currently open PlugIn window.
Bypassing Plug-Ins Plug-ins can be bypassed from their Plug-In window, or from the Mix and Edit window Inserts View. When a plug-in insert is bypassed, the Insert Selector in the Mix window changes its color to blue for easy visual reference. If some, but not all channels of an unlinked multi-mono plug-in are bypassed, the Insert Selector appears purple (Pro Tools 6.x) or half blue and half black (Pro Tools 5.x).
Editing Plug-In Controls You can adjust plug-in controls by dragging the control’s slider or knob, or by typing a value into the control’s text box. For instructions on editing specific plug-ins, see the plug-in’s documentation (such as the DigiRack Plug-Ins Guide and Digidesign Plug-Ins Guide). To adjust a plug-in control: 1 Begin audio playback so that you can hear the control changes in real time. 2 Adjust the controls of the plug-in for the effect you want.
Using a Key Input for Side-Chain Processing Some plug-ins (such as the DigiRack Compressor, Limiter, Gate, and Expander/Gate) feature side-chain processing capabilities. Side-chain processing allows you to trigger a plug-in from a separate reference track or external audio source. The source used for triggering is referred to as the Key Input. Key inputs are monophonic. A typical use for this feature is to control the dynamics of one audio signal using the dynamics of another signal (the Key Input).
Using Hardware Inserts You can connect external devices, such as reverb or effects processors, to your Pro Tools system and use them as inserts, or in a send-and-return arrangement. Assigning Hardware Inserts To assign a hardware insert to a track: ■ Select an insert from the track Insert Selector. Pro Tools inserts utilize corresponding hardware input and output channels to send and return the audio. Inserts can be defined, and their channels mapped to audio interface channels, in the I/O Setup dialog.
Connecting and Integrating External Devices Connecting Effects Units Digitally Pro Tools TDM and LE systems can create dedicated connections to external analog or digital devices. The number and type of connections depends on what kind of system you have. If you want to use the digital inputs and outputs on your Pro Tools system as effects sends and returns to a digital effects device, Pro Tools should be the clock master in most cases.
To set up a digital send to an external device from a Digi 002, Digi 002 Rack, or Digi 001 system: 1 Choose Setups > Playback Engine and choose the peripheral. 2 Do one of the following: • If the external device is connected to the S/PDIF RCA jacks, deselect S/PDIF Mirroring. (When S/PDIF Mirroring is on, digital output at the S/PDIF RCA jacks exactly mirrors the output of analog Channels 1–2.
6 Click OK to close Hardware Setup. Digi 002, Digi 002 Rack, and Digi 001 Systems Pro Tools can receive external clock from the Optical input or S/PDIF input. To select an external clock source for a Digi 002, Digi 002 Rack, or Digi 001 system: 1 Choose Setups > Hardware Setup. 2 Set the Clock Source (Pro Tools 5.3 and higher) or Sync Mode (Pro Tools 5.2 and lower) to match the type of input.
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Chapter 28: Automation Pro Tools features dynamic automation of volume, pan, and mute controls for audio tracks and sends, MIDI tracks, and real-time plug-in controls. In Pro Tools, you can write automation moves in real time during playback of your session. You can also edit automation data with the same techniques you use to edit audio and MIDI data.
Automation Playlists Each Pro Tools track contains a single automation playlist for each automatable parameter. On audio tracks, these parameters include: • Volume Automation Playlists with Audio and MIDI Regions Pro Tools handles audio regions and their automation playlists differently from MIDI regions and their automation playlists. Audio Tracks • Pan • Plug-in controls On audio tracks, automation data resides on a separate playlist from audio data and regions.
from, its associated audio regions. (MIDI automation data always follows region editing, with the exception of mute. See “MIDI Tracks” on page 452 for more information.) When you copy or cut audio data from a track while it is in Waveform View, the underlying automation data is cut or copied with it. ◆ If you paste audio data from other locations or tracks into an edit playlist, you may change the underlying automation data on the track.
Auto Touch Trim Mode Auto Touch mode writes automation only while a fader or switch is touched or clicked with the mouse. When the fader is released, the writing of automation stops and the fader returns to any previously automated position, at a rate determined by the AutoMatch and Touch Timeout settings. See “Automation Preferences” on page 456. (TDM Systems Only) In Auto Touch mode, certain control surfaces start writing automation as soon as you touch them.
When this mode is enabled, non-trimmable controls (all controls other than track volume and send level) behave as if they are in regular Auto Read mode—no automation data is written. Trim/Auto Touch In Trim/Auto Touch mode, when playback begins, volume and send faders follow the previously written automation. When one of the faders is touched, real-time trimming begins. Fader moves write delta values (an increase or decrease in the form of an offset to existing automation data).
Automation Preferences Pro Tools gives you several options for controlling the writing and playback of automation data. To display Automation Preferences: ■ Choose Setups > Preferences, and click Automation. Smoothing When you perform automation moves with a continuous control, Pro Tools records the move as a series of very small steps, resulting in a staircase pattern with many breakpoints. Smoothing intelligently resolves this staircase pattern into a single, smooth ramp from one breakpoint to the next.
the EQ type in the 1-band EQ plug-in) that provide more than two discrete steps over their operational range. AutoMatch has no effect on these controls. AutoMatch Indicators There are triangular AutoMatch indicators at the bottom left of each channel strip in the Mix window. When lit, these indicate the direction you need to move a fader in order to match the original automation level of that fader.
To reduce processing load, try the following: Deselect the Faders Move During Playback option in the Automation Preferences. Viewing Automation ■ – or – ■ Reduce the density of automation in places where it shows the most activity. For details, see “Thinning Automation” on page 465. – or – Turn off Sends View meters, if enabled, in the Preferences > Display window. See “Sends View Meters” on page 417 for more information. ■ Pro Tools creates a separate playlist for each type of automation you write.
Writing Automation You can write automation for all automatable controls by moving those controls during playback. To write automation on a track: After the first automation pass, you can write additional automation to the track without completely erasing the previous pass by choosing Auto Touch mode or Auto Latch mode. These modes add new automation only when you actually move the control. (See “Automation Modes” on page 453.) 1 Choose Windows > Automation Enable.
In this initial state, only a single automation breakpoint appears at the beginning of each automation playlist. If you move the control without writing automation, this breakpoint will move to the new value.
Copying Track Automation to Sends 4 Select the controls you want to copy. (TDM Systems Only) 5 Select the sends to which to copy the automation, and click OK. There may be times where you want a track’s send automation to mirror automation in the track itself, for example, when an effect level needs to follow the levels in a main mix. To do this, you can copy the entire automation playlist for the selected control to the corresponding playlist for the send.
2 Click the Automation Enable button in the Plug-In window. Automation Enable Accessing the Plug-In Automation dialog – or – Control-Alt-Start-click (Windows) or Command-Option-Control-click the Track View Selector in the Edit window. You can also use this keyboard shortcut to open the Plug-In Automation dialog: Control-Alt-Start-click (Windows) or Command-Option-Control-click (Macintosh) any plug-in parameter in the Plug-In window, then choose Open Plug-In Automation Dialog from the pop-up menu.
Enabling and Suspending Automation Suspending Automation Playback You can suspend playback of automation for tracks by clicking on the track’s View Selector. From the Automation Enable window, you can enable or suspend writing for the following types of automation across all tracks: To suspend playback (and writing) of automation for specific controls: • Volume 1 In the Edit window, set the Track View Selec- • Pan tor to show the automation playlist for the control you want to suspend.
Automation Enable Guidelines The following rules determine whether automation is written or played back for a track: ◆ Although Pro Tools shows a single Automation mode for each track, all automatable controls associated with that track are not necessarily in the same Automation mode. ◆ If automation is globally suspended in the Automation Enable window, all automatable controls behave as if they were in Auto Off mode, regardless of the track’s current Automation mode.
Thinning Automation Pro Tools writes a maximum density of automation data during an automation pass, in the form of breakpoints. Since Pro Tools creates ramps between breakpoints, it may not need all of the captured points to create a sonically accurate representation of the automation moves that you have made. Each breakpoint takes up space in memory allocated for automation, so thinning data can maximize efficiency and CPU performance.
Free Hand Draws freely according to the movement of the mouse. In audio tracks, the shape has the number of breakpoints needed to smoothly interpolate and reproduce the automation shape. In MIDI tracks, the shape is reproduced as a series of steps, according to the resolution setting in the MIDI preferences (Setups > Preferences > MIDI). Line Draws a straight line. In audio tracks, the line has a single breakpoint at either end.
For better performance, consider selecting a smaller value for MIDI controls that need higher resolution (such as MIDI volume), and a larger value for controls that may not require a high resolution (such as Pan). Using the Pencil Tool The Pencil tool lets you create new breakpoints by clicking once on the graph line. Alt-click (Windows) or Option-click (Macintosh) breakpoints with the Pencil tool to remove them.
Editing Pan Automation Editing Automation Breakpoints Drag a breakpoint down to pan right, and up to pan left. Drag a breakpoint to the left or right to adjust the timing of the panning moves. To edit automation breakpoints, display the automation playlist for the control you want to edit by selecting it from the Track View Selector, then do one of the following: To create a new breakpoint: ■ Click with the Grabber (or the Pencil) on the line graph.
To edit all breakpoint values in a region: Click in the region with the Trimmer and drag the breakpoints up or down. ■ 2 Select the required playlist from the Track View Selector. Editing Automation on Stereo and Multichannel Tracks Stereo and multichannel tracks display a single automation playlist per track. Only one playlist for volume and mute is available for the stereo or multichannel track.
Editing Automation on Grouped Tracks When you edit automation on an audio track that is a member of an active Edit Group, the same type of automation (with the exception of audio and MIDI Pan controls) is also edited on all tracks that are part of that group. This occurs even if the playlist for that type of automation is not currently displayed on the other grouped tracks.
Cutting, Copying, and Pasting Automation Cutting automation data is different from deleting it, and yields different results (although both change the existing automation data). Copying automation leaves the original automation data intact. You delete automation data by selecting a range of breakpoints and pressing Backspace (Windows) or Delete (Macintosh). See “Deleting Automation” on page 464 for details.
The main view formats are: • Audio tracks: Blocks and Waveform • MIDI tracks: Blocks, Regions, and Notes For example, when an audio track is set to Waveform or Blocks, cutting, copying and pasting affects the audio data and all types of automation data on that track. If the track is set to show Pan automation, only the Pan data is affected. When a selection includes multiple tracks, if any of those tracks is in its main view format, all data on all selected tracks is affected.
To paste data into a different automation playlist: Press the Start key (Windows) or Control (Macintosh) when choosing Edit > Paste. ■ For this special paste mode to function, the following must be true: • Every track selected for pasting must be currently displayed as automation data. • There must be only one automation playlist on the Clipboard for each target track. (The Special Paste function cannot copy multiple automation playlists for each track.
4 Make sure you are actively writing on the appropriate track if you are in Latch or Touch mode. 5 When you reach a point in the track or selection that contains the automation data you want to apply, click Write to Start, Write to All, or Write to End in the Automation Enable window. The current values of all write-enabled automation at that point are written to the corresponding area of the track/selection.
Trimming Automation (TDM Systems Only) If you have already written automation, you can modify automation data for track volume and send levels in real time by using Trim mode. When a track is trim-enabled, you are not recording absolute fader positions, but relative changes in the existing automation. See “Trim Mode” on page 454 for more information. To enable Trim mode: Click the Automation Mode Selector and choose Trim from the pop-up menu.
3 Select an area in the track’s playlist (or within multiple tracks) where you want to apply the automation. – or – Place the cursor at an Edit insertion point. 4 Adjust the controls you want to automate. You can also change a plug-in preset.
5 Choose Edit > Write Automation and select 5 Enable the automation parameters previously one of the following from the submenu: suspended. • To write the current value to only the automation parameter currently displayed in the Edit window, choose To Current Parameter. • To write the current settings for all automation parameters enabled in the Automation Enable window, choose To All Enabled Parameters.
3 Move the controls for the parameter up or down by the amount you want to change the data. 4 Choose Edit > Trim Automation and do one of the following: • To write the current delta value to only the currently displayed automation parameter, choose To Current Parameter. • To write the current delta value for all automation parameters enabled in the Automation Enable window, choose To All Enabled Parameters.
Chapter 29: Mixdown Pro Tools lets you record and bounce tracks to disk. The Bounce to Disk command lets you write a final mix to disk, create a new loop, print effects, or consolidate any submix. You can also submix, route, and record busses and inputs to new audio tracks. Bounce to Disk This command writes the current session (if no selection), Edit, or Timeline selection as new audio files to disk. Any available output or bus path can be selected as the bounce source.
Dither and Bounce to Disk Dithering can significantly improve audio quality. Generally, dithering is necessary when reducing the bit depth for digital audio. If you use Bounce to Disk, it is important to understand that the Bounce to Disk process does not apply dither. To dither a bounce file, you should insert one of the included Digidesign Dither plug-ins (such as POW-r Dither), or another dithering plug-in, on a Master Fader assigned to the bounce source path.
When you Bounce to Disk you can convert the file to the appropriate resolution. Before being converted by the Bounce to Disk command, the signal will have been dithered to the resolution and noise shaping settings in a dithering plugin. For more information about the Digidesign dithering plug-ins, refer to the DigiRack Plug-Ins Guide. Recording to Tracks You can create a submix in your Pro Tools session and record it to available tracks in the same session.
10 Click Play in the Transport window to begin recording the submix. 11 If recording a selection of audio, recording will stop automatically. If performing an openended recording, click Stop, or punch out of recording. Make sure Loop Playback is not enabled. Bounce to Disk The Bounce to Disk command lets you mix down with all available voices on your system. Since it records to separate audio files, you don’t have to reserve any tracks for a bounce.
Bounce Options When you use the Bounce to Disk command, you can configure several file options. Default Settings Available options and their default settings are listed in the following table.
To set the bounce source: ■ Select an output or bus path from the Source Selector. AIFF (Audio Interchange File Format) To use an AIFF file in Pro Tools, you can drag and drop from the DigiBase Browser, or use the Import Audio command. Files in this format do not have to be converted to be used in Pro Tools. AIFF waveform overview data is calculated and saved to a cache file, which is accessed each time the session is opened.
Windows Media (Windows Only) Windows Media formatted files can contain audio, video, or script data stored in Windows Media Format. A Windows Media Format file may have an .asf, .wma, or .wmv file name extension. RealAudio G2 (Windows and Mac OS 9 Only) RealAudio G2 was created by Real Networks for streaming audio over the Internet. The RealAudio encoder file is stored in a folder named Codecs inside the DAE folder.
Select the “Include RealPlayer 5.0 Compatible Stream” option to include a backward compatible stream that can be played on older version 5.0 RealPlayers. (This backward compatibility is only available for SureStream-encoded files.) The MP3 encoder provided as an install option with Pro Tools is a fully functional 30-day demo version. To purchase the full version of the MP3 encoder, visit Digidesign’s Web site (www.digidesign.com).
• Constant Bit Rate (CBR) encodes the file at a single bit rate that you choose from the CBR pop-up menu. Because the bit rate is fixed, the quality of the encoded audio will vary depending on the nature of the material being compressed. This option is best for streaming over the Internet, since it has predictable bandwidth requirements. Genre Choose a genre for the file. This information is displayed by many MP3 players, and can appear in searchable catalogs and databases.
Write CRC Checksums This option adds errordetection data to the MP3 file. This data is not necessary for most computer and Internet applications, and also takes away from the space available for audio data. Select this option only if you are sure your delivery mode requires error correction. Copyrighted This option sets a bit in the MP3 data stream to indicate that the audio is copyrighted. Not all MP3 players use this information.
Pro Tools also lets you create multichannel interleaved files of any supported file type. This can simplify file management of mixes and projects for backup and archiving. Pro Tools does not support interleaved files natively. This means that they must be split into multi-mono files on import (requiring additional disk space). Resolution This option lets you select between three different bit resolutions for the bounce conversion.
88200 You may want to work at a sample rate of 88.2 kHz if the final delivery will be at 44.1 kHz (such as compact disc). This will provide a slightly faster sample rate conversion to 44.1 kHz than from 96 kHz. 48000 This is a standard sample rate for Professional and DVD video, and is supported by DA88/98, DAT, and ADAT decks. 44100 This is the standard sample rate for compact discs (CD), and is supported by DA-88/98, DAT, and ADAT decks.
The Import Into Session After Bounce option is only available if the target bit depth for the bounce is the same or less as the bit depth of the current session, and it is supported by the Digidesign audio interface. Help The Help button opens a display-only dialog that describes the Bounce to Disk features. 2 Do one of the following: • To bounce the entire session, click Return to Zero in the Transport window to go to the beginning of the session.
To bring bounced files back into tracks: 1 Do one of the following: • If the newly bounced audio was automatically imported into the session, drag the new files from the Audio Regions List to existing tracks in your session. Final Mixdown In final mixdown, you create a mix that includes all your edits, automation, and effects processing.
Mastering In the final mastering process, you might record directly to disk, DAT, DVD, CD, stereo mastering recorder, or a multitrack recorder (for surround mixes). Once you have created a master of your session, you can transfer it to a portable medium for duplication. You can transfer the master file to CD or DAT to be used as a master for pressing compact discs.
To configure Pro Tools for direct digital stereo mastering: 1 Connect your digital recorder to your system’s digital outputs. If your system has multiple digital outputs, use channel 1 and 2 of the audio interface. 2 In Pro Tools, set the appropriate digital format and output from the Hardware Setup dialog or I/O Setup dialog. (See “Configuring Pro Tools Hardware Settings” on page 41.) 3 On your digital recorder, choose the appropri- ate digital format for the connections.
Part VII: Surround 495
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Chapter 30: Surround Concepts Pro Tools HD-series and MIX-series systems support multichannel mixing for surround sound. How to Use These Chapters This part of the guide describes multichannel mixing for surround sound with Pro Tools. These sections supplement the basic Pro Tools information provided elsewhere in the Pro Tools Reference Guide. If you are new to surround mixing, read the remaining sections of this chapter for an introduction to surround terminology and concepts.
Pro Tools Mixing Formats See also “5.1 Track Layouts, Routing, and Metering” on page 512. Table 31. Multichannel Mixing and Surround Formats Speaker Channels Multichannel Mixing Format Surround Format Channels and Track Layout 1 Mono C 2 Stereo LR 3 LCR Cinema Stereo LCR 4 Quad Quadraphonic L R Lr Rr 4 LCRS Dolby Surround (Pro Logic) LCRS 6 5.1 Film (Pro Tools default), for Dolby Digital L C R Ls Rs LFE 6 5.1 SMPTE/ITU (Control|24) L R C LFE Ls Rs 6 5.
Mono Stereo L LCR R L C Quad 2+2 Quadraphonic R LCRS 3+1 for Dolby Surround Lr Rr S Often split to a pair of surround speakers L L C L R C R 6.1 for Dolby Surround EX 5.1 for DTS, Dolby Digital Sub Sub Ls L Cs Ls Rs Lc C Rc R Sub 7.1 for SDDS Ls Rs Rs Figure 33.
The Importance of Speaker Placement Surround Monitoring In order to monitor your current multichannel mix in a given surround format (such as DTS or Dolby Digital), encoding and decoding equipment for that format is required. Pro Tools does not provide direct support for surround format processing, but encoding/decoding hardware or software is available from Digidesign and thirdparty manufacturers. Contact Digidesign or your dealer for information.
Calibrated Surround Monitoring One of the most important things you can do is to calibrate not only Pro Tools, but also your monitoring system and other equipment. For example, many post production facilities calibrate their Pro Tools audio interfaces for –20 dB = 0 VU. Once Pro Tools hardware has been calibrated to unity gain, the monitoring system can be adjusted to account for anomalies in the room acoustics, speaker placement, and other variables.
LCRS for Dolby Surround 5.1 for Dolby Digital and DTS Dolby Surround (Pro Logic) is a four-channel format that is one of the most widely installed consumer surround formats. Both Dolby Digital and DTS formats are sixchannel, 5.1 formats. Both provide five fullrange speakers and a sub. These two surround formats use different track layouts, filtering, and compression as part of their specifications.
LFE When a decimal such as “.1” is present in the name of a surround format, it indicates the presence of an LFE channel. The LFE channel (for Low Frequency Effects, also known as Low Frequency Enhancement) refers most often to a specific track used in production (not during playback or decoding). LFE is the “.1” component in mix formats such as 5.1 and 7.1. The reason the LFE component is referred to as “.1” is that unlike the other five or seven speakers, LFE is not full bandwidth (or full-range).
Unlike the typical living room, movie theaters are large spaces with speakers placed widely apart. Due to distance, sounds panned discretely to the front right speaker, for example, might be inaudible in the opposite corner. To avoid this problem, variable divergence lets you control the panning width, in order to widen the sound source. This results in signals spreading into adjacent speakers, even when panned 100% to an individual speaker.
Surround Formats and Delivery Mediums Surround mixes are tailored for their specific delivery medium. Most often, this requires formatspecific encode and decode processing. Some delivery media on which surround formats are distributed may have additional audio constraints, which could influence your work flow in Pro Tools. Dolby Digital audio on a DVD-Video disc, for example, requires a 48 kHz sampling rate.
Bass Management Bass management is a function of the playback system. Bass management refers to a number of processes by which a playback system can control what will be heard through the Sub(woofer) and other channels. The purpose of bass management is to optimize low frequency reproduction and overall frequency response for your specific monitoring system.
Chapter 31: Pro Tools Setup for Surround This chapter explains how to set up and configure Pro Tools sessions for multichannel mixing. Multichannel mixing is supported on Pro Tools HD-series and MIX-series systems only. In this chapter, all references to Pro Tools refer to Pro Tools HD-series and MIX-series systems. Before you can use Pro Tools in Surround mode: 1 Make sure the Surround Mixer plug-in is in- stalled in your Plug-Ins folder.
To connect your audio interfaces for 5.1 format mixing and monitoring: 1 Determine the 5.1 format and track layout you want to use. 2 Connect the output channels of your audio interface to the corresponding input channels of your monitoring system according to the assignments listed in Table 32 on page 507. If you use a Digidesign control surface, see its guide for more information.
To create a new session for multichannel mixing: Surround Mix Settings Files 1 Choose File > New Session. The surround mix I/O Settings files provide output and bus paths for three specific track layout standards. (For information on inputs and insert paths, see “Default Input and Insert Paths with 5.1 Settings” on page 509.) 2 Select one of the available 5.1 settings from the Default I/O Settings menu. Settings Files and Track Layouts 5.
Importing Multichannel I/O Setups The I/O Setup dialog can import and export settings files. Importing I/O Setup settings files is useful when you want to remix a stereo session in surround. You can also use this feature to prepare a session for transfer to a different Pro Tools system, or to simply save and exchange I/O Settings. Exporting I/O Settings Exporting I/O Setup settings files lets you build a library of multichannel setups for different projects.
You can remap paths to any required configuration, limited only by your systems resources, and the I/O Setup dialog requirements for channel overlapping and naming (see “Valid Paths and Requirements” on page 77 for more information). See also “Example Paths and Signal Routing for a Surround Mix” on page 521. Example LCRS Setup The following example shows one possible way to configure the I/O Setup dialog to mix in 4channel LCRS format, with a 96 I/O.
Default I/O Selectors in I/O Setup Default Output Selects the default output path for all new tracks, for each supported track format. The Output tab of the I/O Setup dialog provides the following default settings for multichannel sessions: Default Path Order Selects the default track layout (or, path order) for new 5.1 format (sixchannel) paths. Default Path Order for 5.1 Tracks You can specify the default track layout for all new 5.1 format paths you create.
Chapter 32: Multichannel Tracks and Signal Routing Surround sessions typically include a combination of mono, stereo, and multichannel audio tracks, Auxiliary Inputs, Master Faders, busses, and inserts. 2 Open any stereo Pro Tools session to remix it Once the appropriate I/O Setup has been imported or configured, any audio track can be mixed in multichannel for surround using Pro Tools mixing features.
Multichannel Audio Tracks Multichannel audio tracks contain an individual channel for each signal in the track (for example, a 5.1 track would have six channels for left, center, right, left surround, right surround, and LFE).
For discrete control of signals, multichannel tracks can be converted into individual mono tracks. For discrete level and phase adjustment, you can insert and unlink a multi-mono Trim plug-in. Both of these techniques are explained below. Once converted to mono, multichannel tracks cannot be relinked into their original multichannel format.
Multiple Output Assignments and Track Format When a track is assigned to more than one path of differing formats, the main output for that track will match the format of the assigned path with the greatest number of channels. Multichannel Signal Routing To mix in a multichannel format, tracks are assigned to multichannel paths. Multiple Outputs and Automation Playlists When a track has multiple output assignments, Pro Tools sorts panning data appropriately for each assigned path.
Additional output assignments can be added by Start-clicking (Windows) or Control-clicking (Macintosh) the Selector and assigning another path. Multichannel Sends All track formats, including mono and stereo, let you assign one or more multichannel sends. This provides a multichannel panner in the Sends View. Sends are also useful to bus tracks for multichannel plug-in processing. Figure 36 shows a mono audio track with a 6channel send (Sends View Shows > Send A View).
Multi-Mono Plug-Ins Are designed for use on stereo or greater-than-stereo multichannel tracks. Multi-mono plug-ins are useful, or required, in the following situations: • When a plug-in does not involve multichannel correlated processing (for example, when applying EQ to select sides of a multichannel signal) For example, to apply equal filter cutoffs to the Ls and Rs (surround) channels in a 5.1 mix, you could link enable just those channels in an unlinked, multi-mono EQ plug-in.
To link the controls of specific channels: When to Assign Multichannel Outputs 1 Deselect the Master Link button if it is not al- ■ Assign 5.1 paths only to those tracks that need to be panned to all six channels. ready deselected. 2 Click the Link Enable buttons for the chan- nels whose controls you want to link. For information on the Trim plug-in, see the DigiRack Plug-Ins Guide.
Tracks routed to sub-paths Tracks panned in 3D Auxiliary Input and Master Faders routed to main paths Bus routing Main output to sub-paths Main outputs to 5.1 paths for surround panning Figure 37. Using signal routing and sub-paths to mix in surround Extending Stereo Mixing Conventions to Surround Mixing Stereo mixing sets the precedent for active and static panning, and surround mixing can benefit from the same basic principles.
Example Paths and Signal Routing for a Surround Mix The examples that follow show how Auxiliary Inputs, Master Faders, and other Pro Tools signal routing features can be used for stem mixes, submixes, and similar project needs. Additional stereo output paths, with mono subpaths, have also been defined for the remaining channels. Example Bus Paths Figure 39 shows example bus paths. In these examples, music and effects are being mixed for a trailer, in 5.1 surround.
Signal Routing Examples The following examples show how main and sub-paths can be used, using an example session consisting of a 5.1 main mix, with music and effects stems (or submixes). Submix Stem Examples Figure 41 shows a routing configuration for an effects submix. Figure 41. FX stem Some tracks are routed to stereo sub-paths, while others are assigned to mono, LCR, or other subpaths. Two tracks (one stereo, one mono) are assigned to multichannel busses for surround panning. A 5.
Figure 42 shows a routing configuration for music tracks. Figure 42. Music stem Most of the music tracks in this example are routed to the front left/right channels, using a stereo subpath. A 5.1 Auxiliary Input controls the bus and stem output. Main Stems Example Figure 43 shows two Auxiliary Input channels assigned to additional 5.1 format paths for a main mix. Figure 43.
Multiple output assignments make it possible to configure a number of multi-format mixes. For example, you can assign an additional stereo output to tracks and create a stereo mix at the same time as a 5.1 mix. For more information, see “Multiple Output Assignments” on page 412. Figure 45 shows how a “traditional” LFE track can be routed to only the LFE channel. This example uses a custom-defined LFE sub-path to the FX main bus path.
Chapter 33: Surround Panning and Mixing This chapter explains how to pan and mix in surround with Pro Tools. Before you can pan a track in surround, it must be assigned to an appropriate multichannel output or bus path. The I/O Setup dialog defines the bussing and output architecture of the Pro Tools multichannel surround mixer. If you have not already done so, it is recommended that you become familiar with main and sub-paths and the I/O Setup dialog before starting multichannel Pro Tools projects.
To pan from the Mix or Edit window: 1 For Pro Tools 5.x, make sure I/O View is being shown for the Mix or Edit windows (Display > Mix/Edit Window Shows > I/O View). 2 Begin playback. Output Window Output windows provide panning controls (called panners), as well as standard Pro Tools controls, for tracks of all mix formats (from 3channel LCR through 8-channel 7.1). 3 Click and drag on the appropriate multichan- nel track’s Panner Grid in the Mix or Edit windows.
To open an Output window: Click the Output icon in the track in the Mix or Edit window (I/O View). Standard Controls ■ All Output windows provide standard Pro Tools controls for routing, path assignment and other track features. These controls are located at the top of all Output, Send, Insert, and Plug-In windows. Some controls are specific to the type of window.
Surround Panner Controls When assigned to tracks or paths with four or more channels, the Output window provides an X/Y Grid for surround panning. The speakers associated with the panner’s multichannel format are displayed in their relative positions outside the Panner Grid. This section identifies all the controls and features found in Pro Tools multichannel panners.
The X/Y Grid and Pan Cursor Panning Mode Buttons The X/Y Grid is where multichannel panning information is input and displayed. You can input pan information using X/Y mode, 3-Knob mode, or by entering numeric values in the Position data fields. You can also edit pan automation graphically in the Edit window. The Panning Mode buttons, located below the X/Y Grid, provide access to panning modes and Divergence editing. See “Panning Modes” on page 530.
Divergence Controls Divergence determines the width of the panned signal with respect to neighboring speakers. (For more information, see “Divergence” on page 503.) There are three Divergence controls Panning Modes Pro Tools supports X/Y and 3-Knob Panning modes. Both can be automated. X/Y Mode Joystick-style panning by dragging the pan cursor within the X/Y Speaker Grid. 3-Knob Mode Point-to-point panning, between pairs of speakers. See “3-Knob Panning” on page 532 for more information.
2 Drag the pan cursor, or click anywhere in the Grid and drag to pan the track. The location of the pan cursor determines the pan position of the signal. For example, to pan something to the left rear speaker, move the pan cursor to the lower-left corner of the Grid. It is not necessary to click exactly on the pan cursor. Clicking anywhere in the Grid will move the pan cursor relative to where you click or take over with a hardware panner. Panning does not jump to the click position.
3-Knob Panning Pro Tools provides 3-Knob mode as an additional way to input pan moves. By comparison, in X/Y mode a diagonal pan may result in audio being heard in some or all channels. 3-Knob mode lets you: • Pan in straight lines, moving the pan cursor using the Position rotary knobs with full movement of front, rear, and front-rear position. X/Y pan position – and – meters • Pan discretely between pairs of speakers. 3-Knob mode lets you pan discretely between speakers.
To change the 3-Knob trajectory angles: LFE Enable Drag either endpoint (Front or Rear) of the trajectory line. Some multichannel plug-ins, including the DigiRack multichannel Compressor, provide LFE Enable. This lets you enable or bypass processing of the LFE channel if present. ■ – or – ■ Adjust the Front or Rear Position controls. To change the current trajectory position (left-toright) and retain its current angles: Drag the trajectory line (not its endpoints) to a new position.
Divergence In the Panner Grid, the current divergence values are displayed using a purple outline. Lower divergence settings result in a progressively wider source signal. When Divergence is less than 100%, tracks will be routed to neighboring speakers to some degree, even when the pan cursor is positioned next to a single speaker.
Center % (Percentage) To adjust Center Percentage: Center Percentage controls whether there is a discrete center channel for the track or a phantom center channel. Center Percentage Example In film and video production, the center channel often contains dialog. To enhance the clarity of dialog, it is often beneficial to keep elements such as music out of the center speaker.
SurroundScope Metering Plug-In The SurroundScope Metering plug-in provides a 360° meter for metering multichannel paths during mixing. 5.1 Format Track Layouts All 5.1-format meters (including those displayed in the SurroundScope meter, on tracks, and in Output windows and their Meter Views) are always arranged in the following order: L C R Ls Rs LFE For more information on Pro Tools metering, see “5.1 Tracks, Formats, Mapping, and Metering” on page 511.
Part VIII: Synchronization 537
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Chapter 34: Synchronization Concepts This section is designed to give you a basic understanding of synchronization as it relates to Pro Tools. If you are using a device that sends or receives time code (such as a video tape recorder or MIDI interface), refer that device’s documentation for information on how it generates or receives time code and how to configure its options. Synchronization Requirements Synchronization requirements and support vary among different Pro Tools hardware systems.
of these references; for example, a black burst generator provides only a clock reference. Some peripherals, such as the Digidesign SYNC I/O, can provide both. Synchronizing Pro Tools Pro Tools TDM systems require a clock reference, in addition to time code, to maintain correct synchronization once it has been achieved. In addition, transfers (recording) between digital devices must be performed to a resolved clock source.
SMPTE and ISO/EBU Time Code SMPTE Time Code Units The “Where are we?” question refers to relative position. To describe position, many professional audio, video, and multimedia devices and programs use SMPTE (Society of Motion Picture & Television Engineers) time code. In Europe, a standard called ISO (International Standards Organization) time code, formerly called EBU (European Broadcasters Union) time code, is generally used.
“Frame rate” is the rate of speed that the time code is ascending through the frames. For example, when someone refers to a time code of 29.97, they usually are referring to “using a frame count of 30 frames, but counting each frame at the speed of 29.97 frames per second.” LTC (Longitudinal or Linear Time Code) LTC is time code that is recorded and played back, or generated, in the form of an analog audio signal. LTC is supported by many audio and video tape recorders.
called phase-quadrature, while Tach encodes rate on one signal and direction on the other. For more information on Bi-Phase/Tach, see the SYNC I/O Guide. SMPTE Frame Formats Several different formats of SMPTE time code exist, and Pro Tools can synchronize to all common formats with a compatible synchronization peripheral. When you work with NTSC video (the standard in North America and Japan), you will generally work with the NTSC color video standard: either 29.97 fps Non-Drop or 29.97 fps Drop frame.
25 fps Frame Format This format is used with the European PAL video standard, which runs at a 25 fps frame rate. This format is also called the EBU (European Broadcast Union) format because it’s used by broadcasters throughout most of Europe. 24 fps Frame Format This format is used for high-definition video and film applications.
If we use the black and white NTSC video standard (30 fps) instead of 29.97 fps, the process of converting film frames to video frames is greatly simplified. Now instead of any fractional frames, we have 24,000 film frames going into 30,000 video frames (60,000 video fields). In the Telecine process (for NTSC color video), each odd film frame is copied to two video fields, and each even film frame is copied to three video fields, creating what is called a 3:2 Pulldown.
Frame Rates and Relative Playback Speeds The following diagram illustrates the relative playback speeds of SMPTE formats. faster 25 fps x104.1667% up (“4%” pull up) x96.0% down (“4%” pull down) 24 fps Telecine 30 fps x100.1% up x99.9% down x100.1% up x99.9% down (0.1% pull up) (0.1% pull down) (0.1% pull up) (0.1% pull down) 23.976 fps Telecine 29.97 fps slower same speed, less frames same speed, more frames Figure 47.
Rate Conversion option on the 192 I/O, to record the audio into Pro Tools at the proper sample rate. Or you may choose only to pull Pro Tools up or down on delivery of the audio. Because mistakes in pull factors can be expensive, good communication with other participants in the project is critical. Find out as soon as possible how your task relates to the rest of the project.
Final Audio Destination: Video If you are working with video that was transferred from film, your audio source is at film speed, and the final layback destination is NTSC video (or television), and you would like to provide a digital transfer to your clients, you will need to alter the above recipe slightly. Keep in mind that when you are working in Pull Down mode, your active sample rate is 44.056 kHz (if the audio was recorded at 44.1 kHz) or 47.952 kHz (if the audio was recorded at 48 kHz).
Chapter 35: Working with Synchronization Synchronization allows one system to output time code and the other device to follow that time code. Pro Tools is synchronized to other devices using SMPTE/EBU time code or MIDI Time Code. For more information on different SMPTE/EBU formats, and other concepts related to time code, refer to Chapter 34, “Synchronization Concepts.
SMPTE Trigger while Locking to an Unresolved Source (TDM Systems Only) SMPTE Trigger can be used with the optional SYNC I/O or equivalent device to resolve Pro Tools recording and playback speed while slaving to LTC. This enables long-term, accurate synchronization by resolving to any variations in incoming time code. The SYNC I/O also supports VITC and Bi-phase/Tach positional reference.
Session Setup Window Session Setup Window The Session Setup window lets you configure various time code-related settings on your system. The window also includes display-only areas for session sample rate, file format, and bit depth. Pro Tools LE systems with DV Toolkit support various time code-related settings (such as Time Code and Feet+Frame Timebase Rulers). For a complete list, refer to the DV Toolkit for Pro Tools LE Guide. The Session Setup window is organized into three view sections.
To show Time Code Settings section: Clock Source Options ■ Click the Time Code Settings Expand/Collapse icon. SYNC I/O When using a Digidesign SYNC I/O, Pro Tools receives its clock source from the SYNC I/O, and the SYNC I/O can in turn reference an external clock source listed in the SYNC setup selector. The controls in this section provide time code generation and freewheel options, and separate pull up and down selectors for audio and video rates.
Session Start Use this field to specify a SMPTE start frame location for your session. See “Setting a SMPTE Session Start Time (Start Frame)” on page 557. When using Pro Tools|HD without a SYNC I/O, choices include any currently-enabled digital format or source available from your HD-series I/O (such as AES, S/PDIF, or 1x Word arriving at the Pro Tools|HD interface’s Word Clock In port). Incoming Time (Current Time) This display indicates incoming time code.
Refer to the SYNC I/O Guide for instructions on using VSO to varispeed Pro Tools playback. Locked Indicator he Locked indicator stays lit when the SYNC I/O is locked to the selected clock reference. The Locked indicator flashes if the selected clock reference source is missing or out of lockable frequency range. Speed Cal Indicator Speed Cal is an indicator of the accuracy of the incoming clock reference. The Speed Cal indicator is lit when the output frequency is within 200 ppm (0.
Time Code Settings Freewheel The Time Code Settings section provides generator, freewheel, and pull up/down options. The choices in the Freewheel section let you configure how Pro Tools will freewheel, or continue playback if time code is interrupted or corrupted. Use these options to protect against errors that can occur if your SMPTE time code source has “drop outs” or temporary lost signals. These controls are located in the Time Code Settings section of the Session Setup window.
Time Code Reader Offset (Sync Offset) This field lets you set a trigger offset for incoming MIDI Time Code (anywhere from –100000 to +100000 samples). This allows you to create a permanent offset to fine-tune the point at which Pro Tools synchronizes relative to incoming time code. For example, a value of –50 makes an event in Pro Tools occur 50 samples before the same event in the incoming MIDI Time Code.
Setting a SMPTE Session Start Time (Start Frame) The Session Setup window also allows you to set a SMPTE Start Frame for your session. Video work tapes are rarely striped beginning at a SMPTE frame address of 00:00:00:00. You can quickly enter a start time for your session based on an appropriate frame number from your project tape. The Pro Tools SMPTE-related functions (such as Spot mode) will then use this value as their reference for the session’s start point.
Redefining a Feet+Frame Position Sub Time Scale Display The Redefine Current Feet+Frame Position command lets you define a Feet+Frame number for the current insertion point. You can also display a Sub Time Scale. For example, if the Main Time Scale is set to Time Code, and you want to compare SMPTE time to “wall clock,” when you are using 29.97 Non-Drop frame rate, you can select Min:Secs as the Sub Time Scale.
Configuring Pull Up and Pull Down To pull up or pull down audio or video: 1 (Pro Tools 6.3 and below) If you want to use extended pull up or pull down choose Setups > Preferences, click the Operation tab, and deselect the “Limit Pull Ups to NTSC/PAL Film Standards” option. In Pro Tools 6.4, the “Limit Pull Ups to NTSC/PAL Film Standards” option has been removed. NTSC/Pal standards appear in bold in the list of all available pull up options.
Auto Match Pull Factors is enabled, Pro Tools adjusts audio and video playback rates as needed to match any changes to the current session Timecode Rate. Auto Match-enabled pull factors are applied to any existing Audio Rate Pull Up/Down or Video Rate Pull Up/Down settings. For example, if audio was already being pulled –0.1% when you changed the session Frame Rate from 29.97 to 24 fps, then the Audio Rate Pull Up/Down menu would switch to None.
Audio Rates and Pull Up/Down Options The following table lists actual sample rates of each pull up and pull down option and combination (rounded to the nearest whole Hz): Table 36. Sample Rates at Pull Up and Pull Down Settings Sample Rate Pull Up/Down 44100 48000 88200 96000 176400 192000 +4.1667% and +0.1% 45983 50050 91967 100100 n/a n/a +4.1667% 45938 50000 91875 100000 n/a n/a +4.1667% and –0.1% 45892 49950 91783 99900 n/a n/a +0.
The choices available in the Video Rate Pull Up/Down menu depend on the file format of the video clip, as well as its frame rate. The following table shows the pull ups available for Avid video clips, both interlaced and Progressive Scan. Video Frame Rates and Pull Options Format and Video Frame Rate Available Video Pull Rate To synchronize with Avid Video 24 fps 25 fps 29.97 Time Code Ruler Video pull up and down does not affect the Time Code Ruler.
The Online button flashes while Pro Tools waits for a SMPTE frame to trigger playback. When time code is received, playback begins and the Online button becomes highlighted. The Location Indicators in the Edit window toolbar, and the Incoming Time field in the Session Setup window display the incoming time code (in Pro Tools 5.x, this field is labelled Current Time). Generating Time Code Using SYNC I/O, Pro Tools can generate SMPTE and MIDI Time Code (MTC).
6 Choose a clock reference from the Clock Reference selector. Not all clock choices are available at all sample rates. See “External Clock Sources” on page 552.) Pro Tools does not support remote track arming of MMC-controlled external devices. You need to manually arm tracks for recording on the external device. Digidesign’s MachineControl option supports remote track arming for Sony 9-pin and V-LAN enabled devices. See “Remote Track Arming” on page 566.
4 Click the Machine Control tab in the Periph- erals dialog. Operating the Pro Tools Transport with MMC You use the Pro Tools Transport window as the remote controller for all your enabled devices (MMC units, ADAT, or a nonlinear video deck). To do so, set the enabled devices to listen to the address you enter for MMC. The Transport window will then “drive” Pro Tools transport and any slaved devices. Machine Control page of the Peripherals dialog 5 In the MIDI Machine Control section, enable MMC.
Machine Chases Memory Location With this option enabled, navigating to a specific location in a session with a Memory Location causes a connected transport to chase to that location. To set a Minimum Sync Delay: 1 Choose Setups > Peripherals, and display the Synchronization pane.
MIDI Beat Clock Some MIDI devices such as drum machines, hardware sequencers, and arpeggiators can only synchronize to MIDI Beat Clock. To synchronize these devices to Pro Tools, you can transmit MIDI Beat Clock to them. Many plug-ins also support MIDI Beat Clock. To transmit MIDI Beat Clock: 1 Choose MIDI > MIDI Beat Clock. 2 In the MIDI Beat Clock dialog, select the En- able MIDI Beat Clock option.
Information in these fields is displayed in SMPTE Time Code, Minutes:Seconds, Feet.Frames, Samples, or Bars & Beats, depending on which Time Scale format is selected. Use Subframes Option A subframe is 1/100th of a frame. The Use Subframes option enables you to use these smaller units for greater accuracy. This command adds an additional time field in the SMPTE hours:minutes:seconds:frames box, which appears as the far right time field when enabled.
The SYNC I/O can read VITC. With MachineControl and SYNC I/O, you can also read serial time code. To use Remote mode with MachineControl, you will need an approved serial port. For a complete list of currently approved ports, see www.Digidesign.com. 7 If you recorded the region while online, you can use the Original Time Stamp button to recall and enter the SMPTE frame location at which the region was originally recorded. You can also access a user-defined Time Stamp in the same fashion.
3 Click the region with the Grabber. The region will be automatically spotted to the current time code location (or machine location). Clicking a region with the Trimmer will allow you to trim the region to the current time code location. Auto-spotted regions are spotted by their start times, unless you have identified a Sync Point (see “Identifying a Synchronization Point” on page 572). If the region contains a Sync Point, the region is spotted to it.
Creating a User Time Stamp If you want to create a separate user-defined SMPTE time stamp, you can use the Time Stamp Selected command in the Regions List pop-up menu. This command allows you to select a region (or regions) and redefine its SMPTE time stamp. The Original Time Stamp and the UserTime Stamp are then stored with your session.
3 From the Audio Regions List pop-up menu, choose Export Selected As Files. To create a sync point in a region: 4 From the Export Selected dialog, configure ex- gion that you want to synchronize to a SMPTE frame location. port options. For more information on Export Selected options, see “Exporting a Region as a New Audio File” on page 121. 5 Click Export to export the new audio file. The region can now be used in other sessions with its original time stamp references intact.
Troubleshooting Synchronization Getting SMPTE synchronization to work properly can seem like a formidable task at times. The following suggestions may help you troubleshoot and solve common problems. Use the Incoming/Current Time Field in the Session Setup Window as a Reference The Current Time field in the Session Setup window indicates whether or not Pro Tools is receiving time code.
29.97 fps Non-Drop Rate Not Recognized Be Careful When Changing Frame Rates 29.97 fps Non-Drop is a slightly slower version of 30 fps Non-Drop time code. When used with color video, each video frame now matches up with each SMPTE frame without having to use a drop-frame coding. This makes any frame number mathematics much simpler, since no frame numbers are dropped.
Chapter 36: Working with QuickTime Movies You can use Pro Tools to import QuickTime movies and audio (such as MP3s), perform audio post production tasks, and export the finished product as a new QuickTime movie. Pro Tools serves as a fast, random-access visual reference for “sweetening” the movie by adding sound effects, music, foley, dialog, or other audio. About QuickTime QuickTime is digital video technology designed to produce compact video files for multimedia use.
With Pro Tools, you can: ◆ Import a QuickTime movie into a session ◆ Import audio from a QuickTime movie ◆ Import audio files from a CD or a CD-ROM ◆ Import audio from an audio CD (Macintosh only) ◆ Synchronize audio events to a QuickTime movie, using the Pro Tools editing features to spot and nudge regions to video frames ◆ Scrub audio elements in tandem with a QuickTime movie ◆ Use the Pro Tools Bounce to QuickTime Movie command (Pro Tools 6.1 and higher) or Bounce to Movie command (Pro Tools 6.0.
Video Compatibility If you are not digitizing the video material yourself (if the material is already on hard disk) check into the type of video capture and playback system that was used and make sure you can accommodate that format’s compression method. Check whether or not time code is “burned into” or superimposed over a small area of the video. QuickTime Requirements Pro Tools supports playback of QuickTime videos without additional hardware.
Importing a QuickTime Movie Before you import a movie, you should digitize your video material and know the correct frame rate and sample rate when applicable. 4 Select the movie and click Open. Pro Tools imports the movie and displays it in its own Movie track in the Edit window as well as in a floating Movie window. The first frame of the movie is automatically placed at the start time of your session.
Only one QuickTime movie can be associated with a session at a time. If you want to import a different movie into a session, repeat the previous steps. The new movie will replace the original in the session. A Movie track takes its name from its associated movie file and cannot be independently renamed. Supported QuickTime Movies Frames View Performance Codec Requirements When exporting from Avid Xpress DV, always use the Apple DV codec. Do not enable “Use Avid Codec” in the export dialog.
Delay Between Video & Audio There can be a considerable delay between video and audio playback when using this feature. To export a QuickTime DV reference movie for Pro Tools Firewire playback, set the following: 1 Enable the following export options: • Flatten video tracks To compensate for delay between audio and video playback: • Fill in spaces with black 1 Choose Movie > Set Movie Sync Offset. • Use Apple DV Codec 2 Enter a value appropriate to align the audio with video.
About the Movie Window The Movie window displays the movie playback or the current frame if playback is paused or stopped. You can drag the Movie window anywhere on your computer screen. Tips for Optimizing Movie Playback Since Pro Tools uses QuickTime to play movies, the quality of the playback is dependent on the speed of your computer and hard drive, the size (in pixels) of the movie, and the quality of the video hardware used to capture and play back the digitized video.
◆ Reduce the size of the Edit window to the smallest possible size. ◆ Close unnecessary windows. ◆ Reduce the overall length of the SCSI chain of your computer system for improved throughput. ◆ Reduce the pixel size of the movie (for example, reduce it from 640 x 480 pixels to 320 x 240 pixels). ◆ Hide the video track when not needed.
6 Choose Edit > Identify Sync Point to place a Sync Point at the current cursor location. 7 Enable Spot mode by clicking the Spot button in the Edit window. 8 Click the Movie track with the Grabber. The Spot dialog appears. 9 Enter the time code number displayed in the window-burn of the frame you are spotting to (if the movie has a SMPTE time code window burned into it) and click OK. The movie’s sync point moves to the SMPTE location you entered.
To spot audio to a movie: 1 Click the Grid button at the upper left corner of the Edit window. This ensures that the audio will align to a frame boundary. ◆ MP3 ◆ QDesign 2 Set your Grid Value to Time Code using the ◆ uLaw 2:1 ◆ aLaw 2:1 ◆ Intel ADPCM ◆ Microsoft ADPCM ◆ IMA 4:1 ◆ 32-bit floating point ◆ 64-bit floating point ◆ 16-bit Big Endian ◆ 16-bit Little Endian ◆ MACE 6:1 ◆ MACE 3:1 pop-up menu. 3 Choose a desirable Grid unit setting.
Because the Best and Tweak Head settings take significantly longer than the others, we recommend that you use these only in cases where the highest fidelity is absolutely essential and you have a considerable amount of time. The Tweak Head setting in particular can take several hours to perform sample rate conversion on moderatelength files. To set the sample rate conversion quality: 1 Choose Setups > Preferences and click Editing. 2 Click the Conversion Quality pop-up menu and select a conversion setting.
Bouncing to a New Movie When you have finished your final mix and synchronized your audio events to the movie, you can use the Pro Tools Bounce to QuickTime Movie command (Pro Tools 6.1 and higher) or Bounce to Movie command (Pro Tools 6.0.x and lower) to compile a new QuickTime movie with the bounced audio embedded in the QuickTime movie file as the soundtrack. As a QuickTime file, the new movie is supported by all software applications that support QuickTime video.
8 Select the Sample Rate for the movie audio (click the Convert after Bounce option, then the Settings button to enable this choice). The default audio sample rate is 44100 (44.1 kHz), which is the standard sample rate for audio CDs. Multimedia presentations and CD-ROMs may use a sample rate of 11025 (11.025 kHz) or 22050 (22.050 kHz). 9 Click Bounce, name the new movie, and choose where to save it.
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Appendix A: DSP-Induced Delays in Mixing (TDM Only) This appendix provides an overview of DSP-induced delays, and explains how you can compensate for these delays to improve time and phase alignment of audio in complex or critical mixing situations. • To learn about DSP-induced delays and when you should compensate, see “Introduction to DSP-Induced Delay” on page 589. • To learn how to use Delay Compensation on supported systems for automatic delay compensation, see “Delay Compensation” on page 590.
In simple terms, DSP-induced delay can cause channels to arrive at the main output (or a submix output) at different times. To maintain time alignment, you can compensate for DSP-induced delays. When to Compensate You may only really need to compensate for delays between tracks where phase coherency must be maintained (as with instruments recorded with multiple microphones or stereo pairs).
To use Delay Compensation to compensate for DSP-induced delays: 1 Choose Setup > Playback Engine, and choose a Delay Compensation setting (see “TimeAdjuster and Delay Compensation” on page 591). 2 Choose Display > Mix Window Shows > Delay Compensation View. 3 Choose Operations > Use Delay Compensa- tion.
3 Control-click (Windows) or Command-click (Macintosh) the track’s Volume Indicator until the Channel Delay value is displayed for that track. 4 Change the delay time in TimeAdjuster by moving the Delay slider or entering a value in the Delay field, until the track delay value matches that of the first track. You can test the delay values by duplicating an audio track and reversing its phase while compensating for delay.
Using Plug-In Inserts Using Sends and Hardware Inserts Using plug-in inserts on a track causes additional delay. When you send a track to another track and return it to a track (audio, Auxiliary Input, or Master Fader), the following delays are incurred: For specific information on the delay amounts for DigiRack or Digidesign plugins, refer to your DigiRack Plug-Ins Guide or Digidesign Plug-Ins Guide.
The tables below list the delay incurred by each type of analog and digital output available in Pro Tools|HD and Pro Tools|24 MIX systems. On the 888|24 I/O, the Digital I/O delay incurred when using AES/EBU or S/PDIF is identical.
Appendix B: TDM Mixing and DSP Usage Benefits of TDM II Digidesign’s TDM (or time division multiplexing) technology is based on the concept of a single, high-speed data highway, or bus that transmits data between your Pro Tools CPU, Pro Tools cards, and the DSP chips on the cards. Pro Tools|24, and Pro Tools|24 MIX-series cards feature Digidesign’s original TDM bus design. Pro Tools HD-series cards feature Digidesign’s new and enhanced TDM II architecture.
MIX-series card 256 time slots for entire system to previous MIX card to next MIX card TDM bus DSP 1 DSP 2 DSP 3 Engine Mixer ReverbOne DSP 4 DSP 5 DSP 6 Figure 49. TDM bus on Pro Tools MIX-series hardware TDM (or TDM I) The TDM I architecture has a single bus where every DSP within the entire TDM system shares a single pool of 256 time slots. See Figure 49.
HD-series card TDM bus to previous HD card DSP 1 512 DSP 2 512 DSP 3 512 DSP 4 512 DSP DSP 15 512 DSP 6 512 DSP 7 DSP 8 512 512 DSP 9 to next HD card TDM II bus allows individual connections between DSPs bi-directionally with 512 time slots each at 44.1 and 48 kHz Figure 50. TDM bus on Pro Tools HD-series hardware Another example of how TDM II is more efficient than TDM I is to imagine a single HD Core card with one Engine chip and two Mixer chips.
Each chip on a card can only power a certain number of processing functions. If you have a single HD card, MIX card or DSP Farm card, and you create a big enough TDM mixer and use enough sends or plug-ins, you will eventually use up or “max out” all DSPs. HD Accel Cards and DSP With Pro Tools|24 systems, Pro Tools does not always automatically free up all unused DSP power when you delete an unneeded mixer channel.
To monitor the usage of DSP resources during a Pro Tools session: ■ Choose Windows > Show System Usage. To display DSP resources in different formats: ■ Choose Display > System Usage Window Shows and choose a format from the Display menu.
with audio tracks, then add sends and Auxiliary Inputs, and finally add plug-ins as available DSP allows. Master Faders do not use additional DSP power. DSP Usage with TDM Mixers Understanding Mixers Pro Tools TDM Systems include two mixer plugin “flavors”: stereo and surround versions. The mixer plug-ins are used by Pro Tools to create “dynamic mixers,” meaning that the mixer size can expand or contract as mix channels are added or deleted in Pro Tools.
Mixing with Sends and Busses Each send will add an input to the destination output pair. For example, a send to output 1 will add another input to the output 1–2 mixer. If the send destination doesn’t already have a mixer for its output pair, then a new mixer will be created. A send to bus 3 will make a 1x2 mixer for bus 3 if no other bus 3 sources have been created yet. In addition, adding a new track and assigning its input to a bus source will create a mixer for that bus pair if there isn’t one already.
In Pro Tools HD-series systems, additional mixers are available, based on session sample rate. HD Card, default Standard mixers Mixer Sample Rate (kHz) Usage Stereo 44.1, 48 68x2 88.2, 96 44x2 176.4, 192 16x2 44.1, 48 22x6 88.2, 96 12x6 176.4, 192 4x6 44.1, 48 16x8 88.2, 96 8x8 176.4, 192 2x8 HD Accel Card, Standard mixers Mixer Sample Rate (kHz) Usage Stereo 44.1 and 48 124x2 88.2 and 96 54x2 176.4 and 192 16x2 44.1 and 48 46x6 88.2 and 96 34x6 176.4 and 192 8x6 44.
MIX Card MIX Card with one I/O declared Mixer Usage Mixer Usage 16-bit & 24-bit optimized, mono 59x2 per chip 16-bit & 24-bit optimized, mono 51x2 per chip 16-bit & 24-bit optimized, stereo 29x2 per chip 16-bit & 24-bit optimized, stereo 25x2 per chip Surround, 5.1 17x6 per chip Note: The Surround mixer cannot run on a MIX card with I/O declared. Surround, 7.1 12x8 per chip Usage with other Surround mixer versions varies with the number of channels in each format.
Mixer plug-ins provided with Pro Tools HD-series systems provide 48-bit precision with 48 dB of headroom. This means that on the “input” side of the bus (where signals are summed together), signals can never clip (even if channel faders are set to a full +6 dB of gain). However, the “output” side of the summing mixer (where the signal is sent in the 24-bit world of a digital output or onto the TDM bus) can clip.
Trimming Input Summing Levels Mixer Automatiion With many inputs that contain high-level signals, it is possible to clip the input summing stage of a MIX-series mixer plug-in. This could easily happen with the 16-bit Optimized Mixer, but is very much less likely to occur with the 24bit Optimized Mixer because of its 30 dB of headroom. Volume automation on all versions of the mixers is near sample-accurate (as is pan automation on the stereo versions).
There is dissension in the audio community as to whether or not artifacts that fall within this area are actually audible in some way. (The normal dynamic range of human hearing is generally accepted to fall within a range of around 120 dB, from the threshold of audibility to the threshold of pain.) Digidesign has developed a mixer that provides all of the benefits of the standard mixer plugins, but also provide uncorrelated dither on any summed output.
Plug-In Features Standard Surround and Stereo Mixers (Pro Tools HD-Series Only) Both the Surround and Stereo Mixer plug-ins provide the following: 24-bit digital output, from an audio interface output or Bounce to Disk. Mix level scaling stores 48-bit results, using a 56-bit accumulator for maximum precision. ◆ ◆ 48 dB of mix headroom. ◆ Output clip indication. Multichannel mixing formats for surround (Surround Mixer only).
Mixer Usage Guidelines The following conditions apply to mixing with Pro Tools TDM systems. ◆ One DSP chip is automatically dedicated to mixing in the TDM environment. ◆ As you reach the basic mixer limits for a single DSP chip, the system will automatically begin allocating DSP resources from another chip (if available), making it unavailable for plug-ins. ◆ Each bus or send connection requires DSP to mix signals.
DSP Usage and I/O Allocation On TDM-equipped Pro Tools systems with a single audio interface, at least one DSP chip on your HD card (Pro Tools HD-series systems), MIX card (Pro Tools|24 MIX systems) or DSP Farm (Pro Tools|24) is automatically allocated to mixing and input and output tasks. See “Mixing with Sends and Busses” on page 601 for specifics.
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Appendix C: Troubleshooting Backing Up Your Work Common Issues It is highly recommended that you back up your work on a regular basis, and especially before making changes to your system configuration. Pro Tools Won’t Launch Problem Back Up Your Session Data Back up your session and audio data frequently. There are a variety of media that are suited to back up projects of various sizes, from automated tape backup systems to high-capacity optical drives, to desktop CD-R burners.
◆ (Mac OS 9 Only) Make sure the default set of Mac OS System Extensions is enabled, along with the Open Music System, DigiSystem Init, Direct I/O, and DSP Manager Extensions. Reinstall the Pro Tools application, using the Pro Tools Installer CD-ROM. Audio Interface Isn’t Recognized (TDM Systems Only) Problem ◆ TDM Systems ◆ Verify that Pro Tools cards are installed in the correct slot order in your computer or Expansion Chassis.
Performance Factors There are several conditions that may adversely affect the performance of Pro Tools. These include: Network Connections Close any network connections unless you are using them for network interchange of audio data. Background Applications Any software utilities that run in the background or generate disk activity, such as virus protection, disk optimization, or file savers, should be turned off or removed.
Gather Important Information Digidesign wants to help you resolve problems as quickly and efficiently as possible. If you have the following information handy when you contact Technical Support, it will make the diagnosis of your problem easier.
Glossar y 9-pin (Sony 9-pin; DB-9) Industry standard for serial machine control of professional video and audio transports, made by Sony and other manufacturers. Refers to the DB-9-style physical external control connector found on 9-pin-compatible devices. Absolute Grid mode An editing mode that constrains movement and alignment of regions to precise increments on a user-defined grid. See also Relative Grid mode.
auto-created region Automatically created regions are a by product of editing and punch recording over existing regions. Automation modes Function for recording and playing changes in levels, pan controls, and virtually every adjustable parameter (including plug-in parameters) in Pro Tools. There are several different automation modes in which to write automation data in Pro Tools. aux See Auxiliary Inputs. Auxiliary Inputs In Pro Tools, these input channels are used for send and bus returns (input only).
Control|24 Digidesign-dedicated controller for Pro Tools systems. Includes 16 premium microphone preamps, a control room monitoring section, and a line submixer. Ideal front-end for Pro Tools recording, mixing, and editing. crossfade Function for fading out from one region as you fade in to another region. Crossfade duration is user-selectable from within the Edit window. As with fades, portions of audio for which the crossfade function has been applied are stored in the session’s Fade Files folder.
Edit insertion point Location within a track where you click (without dragging); also location at which a region’s start, end, or synchronization point will be placed. Edit selection In the Edit window, this is what is highlighted in the playlist (such as a region). Event List See MIDI Event List. expansion chassis Expands the capabilities of Pro Tools TDM systems running on Macintosh computers by adding more external PCI slots.
indexing Used by databases to obtain and maintain the data displayed in browsers. Indexing creates and updates a database with the latest metadata information. item In digiBase, each row of data is referred to as an item in the Items List. Items include Volumes, Catalogs, Session files, and Media files, as well as other types of files. latency Time delays inherent in internal processing or generation of audio signals within a computer.
MIX Core PCI core card, which connects to audio interfaces and contains the DSP for a Pro Tools|24 Mix TDM system. offline (synchronization) Not under the control of (or controlling) another device for synchronized playback or recording. MIX Farm PCI card with additional DSP for Pro Tools|24 MIX systems. OMS (Open Music System) A “MIDI operating system” for Mac OS 9, developed by Opcode. It handles the exchange of MIDI data between applications, including timing signals such as MTC.
post-roll Adjustable time for playback to continue beyond the current playback or recording of a selection. quantize To adjust MIDI note locations or durations to the nearest unit or template structure so that a particular rhythmic “feel” is achieved. PRE Digidesign’s remote controllable 8-channel microphone preamp.
SCSI HBA (Small Computer System Interface and Host Bus Adapter) Digidesign’s conformed terminology for SCSI cards. SCSI is a type of data bus allowing for the high speed transfer of data between a computer and peripheral devices. An HBA is the card that connects the SCSI bus between the computer and peripheral devices such as hard drives. send An adjustable additional track output, which can be routed to an internal bus for effects processing, monitoring, and submixing.
TDM plug-in Digidesign’s proprietary real-time, nondestructive plug-in format for Pro Tools TDM systems. time code address See address. time code generation Process of creating “fresh” time code. Time Scale Timebase rulers The Main Time Scale is the Timebase Ruler that determines the time format used for Transport functions, and Grid and Nudge values. The Sub Time Scale is the Timebase Ruler that provides additional timing reference.
whole-file audio regions Created when recording or importing audio, consolidating existing regions, and when processing with an AudioSuite plug-in. Word Clock Many professional digital audio products—including open-reel multitrack tape recorders, digital mixing consoles, and digital recorders—have Word Clock (1x sample rate) connectors.
Index Symbols .1 (in surround mixing) 502 Numerics 1622 I/O 6 16-bit Bounce to Disk 489 16-bit Optimized Mixer 604 plug-in features 607 176.4 kHz and pull factors 562 192 Digital I/O 6 192 I/O 6 Hardware Setup 43 Soft Limit 43 192 kHz and pull factors 562 1x 624 24 FPS 544 24-bit Bounce to Disk 489 TDM processing 430 24-bit ADAT Bridge I/O 6 24-Bit Optimized Mixer 604 plug-in capabilities 607 25 FPS (EBU) 544 256x 622 29.97 FPS Drop 543 29.
audio files compacting 311 concepts 12 default names 144 formats 484 importing 109 mixed file types 50 mixed formats 110 audio format, for session 552 audio interfaces 8 input channels 14 Audio Media options 116 Audio Pull Up and Pull Down 559 audio recording undoing a take 160 audio regions 212 and automation 214 fitting to an Edit selection 294 stripping silence from 307 whole-file 208 Audio Regions Focus 30, 223 Audio Regions List 220 displaying file info for audio regions 221 dragging from 264 finding r
automation modes Auto Latch 454 Auto Off 453 Auto Read 453 Auto Touch 454 Auto Write 453 Trim/Auto Latch 455 Trim/Auto Off 454 Trim/Auto Read 454 Trim/Auto Touch 455 Trim/Auto Write 455 Automation Preferences 61 AutoMatch Time option 62, 456 Memory for Automation Recording option 457 Mutes Follow Mix Groups option 100 Smooth and Thin Data After Pass option 465 Solos Follow Mix Groups option 100 Touch Timeout option 62 Automation Safe button 441 Automation Write Safe button 444 Auto-Name Memory Locations Whi
cancelling record takes 160, 183 Capture Region command 261 capturing time code 568 Center % (Percentage) 533 Center % in Output window 535 centered crossfade 296 Change Duration command 378 Change Meter command 321 Change Tempo command 315, 316 Change Velocity command 376 Channel Delay Indicator 88 channel mapping default path order 84 editing 76 re-mapping 76 Channel Selector 441 for multi-mono plug-ins 518 channel strips 14 audio tracks 86 MIDI tracks 87 channels inputs 14 chasing controller events 370 M
equal gain 299 equal power 299, 301 Fades dialog 297 in batches 305 linear 301 overlap 301 pre/post 303 removing 302 trimming 302 types 295 with dither 299 current Cursor Location 24 current meter 28, 321 current tempo 28, 315 Current Time display 553 cursor display 24 Cursor Location display 24 25 custom session templates 51 Custom Shuttle Lock Speed 244 Cut command 281 cutting automation 471 MIDI notes with the Split command 375 selections and regions 282 D DAE 11 DAE Playback Buffer Size 40 DAT recorder,
Tempo Ruler 315 User Time Stamps 571 dither and Bounce to Disk 480 and fades 299, 431 AudioSuite 431 on Master Faders 480 preferences 431 resolution and Bounce to Disk 489 Dither Plug-In preference 63 divergence and width 503 drawing 534 using 533 Dolby Digital 502 Dolby Surround 498 Dolby Surround EX 498 Draw Grids in Edit Window option 55, 226 Draw Waveforms Rectified option 55, 213 drum machine style loop recording 185 DSP 597 active and inactive items 17 allocating 597, 599 and Auxiliary Inputs 608 and
Slip 224 Spot 224, 567 edit playlists 217 Edit selections auditioning with Playhead enabled 258 copied from Timeline selection 258 copied to Timeline selection 258 sliding in the Ruler 254 edit smoothing, with Beat Detective 348 Edit tools 24 Grabber 248 Pencil 287 Scrubber 242 Selector 237 Trimmer 267 Zoomer 226 Edit window 21 half-screen 242 Pro Tools 6.
Fades command 297 Fades dialog 297 In Shape 300 Link option 299 Out Shape 298 Use Dither option 299 Fast Forward incrementally 238 locating with 238 Fast Forward button 26 Feet.Frames and QuickTime offset 582 Feet.Frames Time Scale 234 file formats (audio) 484 AIFF 484 BWF (.
Hardware Buffer Size 38 hardware I/O inserts 433 hardware I/O sends 415 Hardware Setup 41 Analog In 42 Analog Out 42 Clock Source 42 Digital Format 42 Ext.
program changes 368 tempo events 315 inserts 408, 433 as a shared bus 434 duplicating 439 for hardware I/O 433 for plug-ins 433 labeling 446 making inactive (and active) 436 mono 434 moving 439 on single tracks 434 post-fader on Master Faders 406, 434 shared within a submix 425 stereo 434 Inserts View 409 interlaced 562 Internal mode (Clock Source option) 552 Inverse linked panning 420 Item 619 Items to Copy 50 J Jam Sync 555 K Key Input filters 445 Key Input Selector 440 Keyboard Focus 29 Audio Regions Foc
Manually Find and Relink 130 mapping paths in I/O Setup 76 Markers 324 creating 326 creating on the fly 327 deleting 329 editing 328 extending selections to 251 moving 329 sorting 331 tick-based and sample-based 325 viewing options 330 Master Faders adding 407 and DSP usage 608 as master send level control 427 inactive 407 inserts 434 meters pre/post fader 407 multichannel 517 paths 412 post-fader inserts 406 signal flow 406 Master Link button 441 in multi-mono plug-ins 518 master view for tracks 210, 471 m
MIDI notes attributes for 363 chasing 370 deleting 363 duplicating selected 284 editing 359 durations 378 pitch 360 velocities 361, 376 inserting 357 lengths in ticks 235 moving 360 quantizing 380, 385 scrolling 215 selecting 359, 374 splitting 375 transposing 360, 379 trimming start/end points 361 MIDI offsets 371 MIDI Operations window 373 parameter options 374 MIDI Output Selector 181 MIDI patch name files (.
Import Audio From Current Movie command 585 Import Movie command 578 Medium Priority Playback option 577 Normal Priority Playback option 577 Set Movie Sync Offset command 582 Show Movie Window command 581 Movie Tracks 578 scrubbing 580 setting sync point 582 Movie window 581 moving Bar|Beat Markers 320 Markers 329 MIDI notes 360 program changes 368 sysex events 369 moving inserts 439 MP3 file format 486 MPEG-1 Layer 3 486 MTC (MIDI Time Code) 541 outputting 555 multichannel plug-ins 434, 518 multichannel re
Operation Preferences 56 Audio During Fast Forward/Rewind option 238 Auto Regions Fade In/Out Length option 305 Edit Insertion Follows Scrub/Shuttle option 242 Link Record and Play Faders option 141 Machine Chases Memory Location option 566 Machine Follows Edit Insertion/Scrub option 566 Open Ended Record Allocation option 147 Record Online option 563 Use F11 for Wait for Note 179 Operation/Destination Track pop-up menus 118 Operations menu Auto Input Monitoring option 140 Auto-Spot Regions command 569 Cali
transposing 360 transposing with Transpose command 379 Play button 25 Play DV Movie Out FireWire Port 579 Play Edit Selection command 258 Play MIDI Notes When Editing option 64 Play Timeline Selection command 258 playback cursor 237 locating 239 Playback Cursor Locator 239 Playback Engine 550 Playback Markers 168, 246 and Edit selections 246 and selection length 250 and Timeline selections 257 Playhead 241 and Edit selections 258 and Timeline selections 258 moving to region boundaries 259 playing and on-the
Progressive Scan 562 ProLogic 498 pull up and pull down and plug-ins 562 and rulers 562 audio 559 video 559 Pull Up/Down 546 3:2 Pulldown 544 Punch In Frame Offset preference 65 Punch Out Frame Offset preference 65 punch points 168 and Playback Markers 168 punch recording and monitoring 164 and pre/post-roll 164 audio 163 MIDI 183 MIDI on-the-fly 184 Q Quantize command 380 experimenting with 384 Quantize window 381 Quantize Regions command 279 and Grid value 275 Quantize window 381 Quantize Options 382 quan
conforming with Beat Detective 346 consolidating 310 copying 282 creating 261 crossfading between 302 cutting 282 default names 144 displaying all 222 displaying names 212 displaying times 212 dragging from Regions List 264 dragging to multichannel tracks 286 duplicating 284 exporting as audio files 121 extending selections to include 251 finding 222 healing separations 264 hiding auto-created 312 inserting silence into 309 locking 279 managing 311 moving in Grid mode 276 multichannel 208 muting 280 nudging
scroll wheel and MIDI track’s Note display 215, 231 scrolling a Pro Tools window 239 zooming in the Edit window 231 zooming in the Edit windows 231 scrolling in the Ruler 239 Mix and Edit to tracks 240 Notes View up or down 215 Pro Tools window vertically or horizontally 239 scrolling MIDI track’s Note display 215, 231 Scrub Trimmer 270 Scrubber tool 242 in Shuttle mode 243 selecting with 254 scrubbing 242 a single audio track 243 and edit cursor 242 Movie Tracks 580 on two audio tracks 243 playback speed a
sample rate 39, 46, 552 saving 48 start frame 553 transfers and Delay Compensation considerations 591 Set Movie Sync Offset 580 Set Movie Sync Offset command 582 setting punch/loop points 168 Setups menu Disk Allocation 145 Feet.
Sub Time Scale 235, 558 subframes 568 submixes applying an insert to 425 bouncing to 491 bouncing to disk 481 soloing tracks in 427 sub-paths 69 examples for surround 519 Support Background Record Applications preference 57 surround and sends 517 basic signal routing 516 bass management 506 center percentage (%) 535 concepts 497 configuring Pro Tools and sessions 508 delivery formats 505 discrete level, solo, mute 514 divergence basics 503 encoding and decoding 505 example 5.
Manual Tempo mode 154 tapping in 154 tempo events 315 and Bar|Beat Markers 320 editing 316 inserting 315 tempo map from Identify Beat command 318 importing 121 Tempo Ruler displaying 315 extending an Edit selection to 317, 330 test 490 Thin Automation command 465 thinning automation 456, 465 tick-based timing 235, 325 time alignment 589 time code 541 and Jam Sync 555 capturing 568 freewheeling 555 generating 555, 563 Time Code Mapping options 117 Time Code Time Scale 234 Time Scale 233 Bars:Beats 233 Feet.
Transfer files 130 Transfer Volume defined 623 transients detecting with Beat Detective 338 tabbing to 254 Transport Input LED 199 Record LED 199 record status display 199 Transport Master 565 Transport Master button 27 Transport Numeric Keypad Mode 32, 58 Transport window 25 MIDI controls 27 pre/post-roll 26, 171 start, end, and length fields 27, 169 transport controls 25 Transport, Numeric Keypad mode 32 Transpose command 379 Transpose window 379 transposing 379 by octave 380 key 380 MIDI notes 360 tracks
writing automation 459 automation on stop 474 automation to start, end, or all 473 snapshot automation 475 X XML (Extensible Markup Language) 367 Z zero-crossing 213 Zoom buttons 226 Zoom Preset buttons 226, 229 Zoom Presets 229 Zoom presets 229 Zoom Toggle command 230 Zoom Toggle Track Height 230 Zoom Toggle Track Height option 55 Zoomer tool 226, 228 zooming 226 a track area 228 all the way out 227 around a track point 228 continuously 226 default toggle height 230 horizontally for all tracks 226 in the R
