Pro Tools Reference Guide

Transcript

1 ® Pro Tools Reference Guide Version 9.0

2 Legal Notices This guide is copyrighted ©2010 by Avid Technology, Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid. 003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite, Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory, Bruno, C|24, Command|8, Contro l|24, D-Command, D-Control, D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive, DigiRack, DigiTest, DigiTranslato r, DINR, DV Toolkit, EditPack, Eleven, HD Core, HD I/O, HD MADI, HD OMNI, HD Process, Hybrid, Impact, Interplay, LoFi, M-Audio, MachineControl, Maxim, Mbox, MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF, OMF Interchange, PRE, ProControl, Pro Tools, Pro Tools|HD, QuickPunch, Recti-Fi, Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius, Smack!, SoundReplacer, Sound Designer II, Strike, Structure, SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser, Trillium Lane Labs, Vari-Fi Velvet, X-Form, and XMON are trademarks or registered trademarks of Avid Technology, Inc. Xpand! is Registered in the U.S. Patent and Trademark Office . All other trademarks are the property of their respective owners. Product features, specificati ons, system requirements, and availability are subject to change without notice. 9329-65055-00 REV B 11/10 Guide Part Number Documentation Feedback At Avid, we are always looking for ways to improve our documentation. If you have comments, corrections, or suggestions regarding our doc umentation, email us at [email protected] .

3 Contents Part I Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Chapter 1. Welcome to Pro Tools Pro Tools Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 System Requirements and Compatibility Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Chapter 2. Pro Tools Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Hard Disk Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Pro Tools Nonlinear Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Digidesign Audio Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Core Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 ASIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Surround Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Pro Tools Sessions Tick-Based and Sample-Based Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 System Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 DigiBase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 AAF, MXF, and OMF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Embedded Media and Linked Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Chapter 3. Keyboard and Right-Click Mouse Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Right-Click Mouse Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Global Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Keyboard Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Toolbar Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Numeric Keypad Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 iii Contents

4 Chapter 4. Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Accessing the Help System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Understanding the Help Display Using the Help Navigation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 How the Search Feature Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Printing Help Topics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Copying from a Help Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Part II System Configuration Chapter 5. Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Pro Tools|HD Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Pro Tools|HD Native Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Playback, Recording, and Voice Limits with Pro Tools HD . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Pro Tools|HD Audio Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Additional Pro Tools|HD Hardware Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Additional Pro Tools Hardware Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Pro Tools System Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Complete Production Toolkit 2 Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Checking For Software Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Chapter 6. System Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 HD Native System with DigiTest Checking a Pro Tools|HD or Pro Tools| . . . . . . . . . . . . . . . . . 60 Configuring Pro Tools System Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Configuring MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Configuring Pro Tools Hardware Settings Hardware Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Configuring Pro Tools|HD System Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Chapter 7. I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Pro Tools Signal Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 I/O Setup Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 I/O Setup Signal Path Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 I/O Setup Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 I/O Setup Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Customizing I/O Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Configuring Hardware in I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Signal Path Routing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Signal Path Routing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Creating New Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Creating New Sub-Paths iv Pro Tools Reference Guide

5 Editing Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Assigning Paths to Hardware I/O Valid Paths and Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Configuring Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Factory I/O Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 I/O Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Session Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Chapter 8. Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Global and Local Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Display Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Operation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Editing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Mixing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Processing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 MIDI Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Synchronization Preferences Chapter 9. Peripherals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Ethernet Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Mic Preamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Satellites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 VENUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 5 Chapter 10. Configuring MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 MIDI Studio Setup (Mac) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 MIDI Studio Setup (Windows) v Contents

6 Part III Sessions & Tracks Chapter 11. Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Quick Start Session Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Creating a New Session Session Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Opening a Session Opening Recent Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Opening a Session with Plug-Ins Deactivated . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Saving a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Save Copy In Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 Session Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Closing a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Exiting or Quitting Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Chapter 12. Pro Tools Main Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Mix Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 MIDI Editor Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Score Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Eleven Rack Control Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 DigiBase Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Managing Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 How Windows Configuration Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Window Configuration Commands and Options Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Tool Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Chapter 13. Tracks Track Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Track Channel Strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Track Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Edit Window Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Track Level Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Adjusting Track Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 Creating Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 Track Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Setting Track Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Track Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 The Track List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 Track Name Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Assigning Audio Inputs and Outputs to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 Track Priority and Voice Assignment vi Pro Tools Reference Guide

7 Assigning MIDI Inputs and Outputs to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Soloing and Muting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Making Tracks Inactive Color Coding for Tracks, Regi ons, Markers, and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Chapter 14. Grouping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Grouping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Group Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Working with Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Setting Group Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Enabling Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Grouped Control Offsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Chapter 15. The Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Region List Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Sorting and Searching in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Selecting Regions in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Previewing Regions in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 Stereo and Multichannel Re gions in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 Naming and Displaying Regions in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 Managing Regions in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Region Name Right-Click Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 Chapter 16. DigiBase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 DigiBase Data Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Performance and Transfer Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 Digidesign Databases Browser Windows and Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Working wIth Items in Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Indexing DigiBase Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 The Browser Menu Browser Panes and Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Column Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Selecting Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Moving, Copying, Duplicating, and Deleting Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Searching Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 Entering Data for Searches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Elastic Audio Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 Previewing Audio in DigiBase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Preview Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 Preview Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 Linking and Relinking Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Transfer Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 Missing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 vii Contents

8 Relink Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 Workspace Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Project Browser Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 Task Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Chapter 17. Importing and Exporting Session Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Importing and Exporting Data to and from a Session Audio Conversion on Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 Import Options and Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 Importing Files with Drag and Drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 Importing Audio Files and Region s Using the Import Audio Command . . . . . . . . . . . . . . . . . 329 Importing Audio from Audio CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Importing ACID and REX Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Importing Multichannel Audio Files from a Field Recorder . . . . . . . . . . . . . . . . . . . . . . . . . 333 Exporting Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Importing Session Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 Import Session Data Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 Importing AAF and OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 Import Options when Import ing AAF or OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 Media Composer Export Options for Audio and Video Mixdowns . . . . . . . . . . . . . . . . . . . . . 355 Audio File Format Compatibility Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 Exporting Pro Tools Tracks as AAF or OMFI Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358 Exporting Pro Tools Tracks as MXF Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . 361 Export Options when Exporting to AAF or OMF Sequences Exporting Sessions as Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367 Export Session Info as Text Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 Send via DigiDelivery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 Importing MIDI Files Exporting MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372 Exporting Sibelius Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 Importing and Exporting Region Group Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 Chapter 18. File and Sessio n Management an d Compatibility . . . . . . . . . . . . . . . . . . . . . . . 377 Audio File Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378 WAV File Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380 Sharing Sessions Created on Different Computer Platforms . . . . . . . . . . . . . . . . . . . . . . . . 381 Sharing Sessions Created on Different Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . . 384 Sharing Sessions Created on Diffe rent Pro Tools Software Versions . . . . . . . . . . . . . . . . . . . 385 Sharing Pro Tools HD 9.0 Sessions with Lower Versions of Pro Tools . . . . . . . . . . . . . . . . . . 385 Sharing Pro Tools 9.0 Sessions with Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390 Language Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 viii Pro Tools Reference Guide

9 Chapter 19. Mac HFS+ Disk Su pport Option (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . 395 Disk Support Option Installing the Mac HFS+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395 Removing the Mac HFS+ Disk Support Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 Media Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 Session Compatibility Viewing Mac Drive and File Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 Viewing Multisession and Dual-Format Discs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398 Setting the File Naming Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 Partitioning Mac Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 Initializing Mac Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 Mac HFS+ Disk Support Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401 Part IV Playback and Recording Chapter 20. Playing Back Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405 Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 Setting the Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 Scrolling Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 Playing Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413 Playing Timeline and Edit Selections with the Playhead . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 Playback Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 MIDI Beat Clock MIDI Beat Clock Offsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 Chapter 21. Record Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 Record Setup Overview Configuring Pro Tools Hardware I/O for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424 Connecting a Sound Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425 Recording with a Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426 Setting the Session Meter and Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428 Record Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 Configuring Default Names fo r Audio Files and Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 Assigning Hardware I/O on a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 Record Enabling Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436 Working with Hard Drives for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 Selecting a Record Input Monitoring Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 Setting Monitor Levels for Record and Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 Reducing Monitoring Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 ix Contents

10 Chapter 22. Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 Recording Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 Prime for Record Mode Setting Punch and Loop Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 Setting Pre- and Post-Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Audio Punch Recording Over a Specified Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 Recording Additional Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459 Loop Recording Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461 Alternate Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 Recording from a Digital Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466 Half-Speed Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468 Chapter 23. MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 Recording from MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 Enabling Input Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 MIDI Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471 MIDI Input Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 Input Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 Wait for Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 MIDI Merge/Replace Configuring MIDI or Instrument Tracks for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475 Recording MIDI and Instrument Tracks er a Specified Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477 MIDI Punch Recording Ov Loop Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479 MIDI Step Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482 Recording System Exclusive Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482 Recording Audio from a MIDI Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484 Chapter 24. Punch Recording Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 Introduction to Punch Recording Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487 System, Session, and Track Guidelines for Punch Recording . . . . . . . . . . . . . . . . . . . . . . . . 488 QuickPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492 TrackPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 TrackPunch Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 Using TrackPunch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496 DestructivePunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 DestructivePunch Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499 Using DestructivePunch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502 structivePunch Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . 503 Example TrackPunch and De x Pro Tools Reference Guide

11 Part V Editing Chapter 25. Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511 Audio Regions and Waveforms MIDI Regions and MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515 Naming Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518 Displaying Region Names, Re gion Times, and Other Data . . . . . . . . . . . . . . . . . . . . . . . . . . 519 Multiple Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520 Basic Editing Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522 Editing Across Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525 Chapter 26. Edit Modes and Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527 Edit Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527 Shuffle Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527 Slip Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528 Spot Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528 Grid Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529 Edit Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531 Zooming Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532 Zoom Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534 Zoomer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537 Zoom Preset Buttons Zoom Toggle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542 Zooming with a Scroll Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542 Using the Trimmer Tools Trimmer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542 Time Compression/Expansion Trimmer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543 Scrub Trimmer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545 Loop Trimmer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546 Using the Selector Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548 Using the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549 Using the Smart Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550 Using the Scrubber Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552 Numeric Keypad Set to Shuttle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555 Using the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556 Edit/Tool Mode Keyboard Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557 xi Contents

12 Chapter 27. Making Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559 Linking or Unlinking Timeline and Edit Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560 Linking or Unlinking Track and Edit Selections Selecting Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561 Timeline Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574 Auto-Scrolling Tracks in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 Universe View Navigating Your Pro Tools Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578 Chapter 28. Editing Regions and Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581 Creating New Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581 Healing Separated Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586 Trimming Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586 Nudging Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588 Quantizing Regions to Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591 Editing Stereo and Multichannel Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591 Consolidating Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592 Compacting an Audio File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593 Processing Audio with AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593 TCE (Time Compression and Expansio n) Edit To Timeline Selection . . . . . . . . . . . . . . . . . . . 594 Rating Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595 Chapter 29. Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597 About Crossfades and Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599 Fades Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . 605 Creating Fades at the Beginnings and Ends of Regions Creating a Crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607 Using AutoFades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608 ossfades in Batches Creating Fades and Cr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609 Moving and Nudging Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610 Separating Regions that In clude Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612 Trimming Regions that In clude Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613 Fade Boundaries and Shapes Displayed in Automation View . . . . . . . . . . . . . . . . . . . . . . . 614 Chapter 30. Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615 Working with Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615 Track Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618 Playlists View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621 Matching Alternate Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626 Matching Criteria Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627 Selecting Alternate Takes on Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628 Automatically Create New Playlists when Loop Recording . . . . . . . . . . . . . . . . . . . . . . . . . 629 Expanding Alternate Takes to New Playlists or Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630 . . . . . . . . . . . . . . . . . . . . . . . . . . 631 Expanding Alternate Channels to New Playlists or Tracks xii Pro Tools Reference Guide

13 Chapter 31. Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635 Beat Detective and Source Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635 Uses for Beat Detective Beat Detective Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 636 The Beat Detective Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637 Beat Detective Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637 Defining a Beat Detective Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638 Beat Detective Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639 Calculating Tempo with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640 Generating Beat Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640 Editing Beat Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644 Generating Bar|Beat Mark ers with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646 DigiGroove Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647 Separating Regions with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649 Conforming Regions with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650 Edit Smoothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653 Detection (Normal) and Collection Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655 Part VI MIDI Chapter 32. MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661 MIDI Editing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 661 Setting the Grid Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664 Using the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666 Inserting MIDI Notes Inserting a Series of Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667 Manually Editing MIDI Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668 Using the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670 Time Compression/Expansion Trimmer T ool Functionality on MIDI Regions . . . . . . . . . . . . . 676 Continuous Controller Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678 Patch Select (Program and Bank Changes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681 System Exclusive Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686 Note and Controller Chasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687 Offsetting MIDI Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688 Stuck Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690 Remove Duplicate Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690 MIDI Real-Time Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690 Real-Time Properties Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692 Real-Time Properties on Tracks and Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695 Writing Real-Time Properties to Tracks or Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696 Real-Time Properties In the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696 Display of Real-Time Properties Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697 xiii Contents

14 Chapter 33. MIDI Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 700 Opening a MIDI Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701 MIDI Editor Window Toolbar MIDI Editor Zoom Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706 Track List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708 Group List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709 Timebase and Conductor Rulers Superimposed Notes View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709 Notes Pane Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712 Notation View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714 Velocity, Controller, and Automation Lanes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716 Chapter 34. Score Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717 Opening the Score Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718 Edit Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718 Default Note Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721 Default Note On Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721 Play MIDI Notes When Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721 Link Timeline and Edit Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721 Mirrored MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722 Double Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722 Cursor Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722 Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723 Score Editor Window Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724 Score Editor Window Menu Customizable Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725 Track List Page Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726 Score Editor Zoom Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 727 Notation Display Track Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728 Score Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729 Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731 Score Editor Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734 Key Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735 Meter Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735 Chord Symbols and Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736 Exporting Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738 Printing Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738 Chapter 35. MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739 Opening the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739 Inserting Events in the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 742 Editing Events in the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744 MIDI Event List Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746 xiv Pro Tools Reference Guide

15 Part VII Arranging Chapter 36. Time, Tempo, Meter, Key, and Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749 Timebase Rulers and Conductor Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 752 Main Time Scale The Sub Counter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753 Tick-Based Timing Tick- and Sample-Based Timebases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754 Song Start Marker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756 Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757 Graphic Tempo Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763 Editing Tempo Events in the Tempo Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763 Changing the Linearity Display Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 769 Tempo Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 770 Identify Beat Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 776 Meter Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 779 Time Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 782 Change Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 782 Insert Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784 Cut Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 786 Move Song Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787 Renumbering Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 788 Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 788 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791 Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793 Chapter 37. Memory Locations Creating Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793 Creating Memory Locations On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795 Properties of Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 796 Recalling Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 798 Editing Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 798 Deleting Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800 Copying Marker Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800 Memory Locations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 801 Memory Locations Commands and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 801 Chapter 38. Arranging Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805 Placing Regions in Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805 Working with Multiple Items from the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806 Placing Regions at the Edit Insertion Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807 Aligning Region Start Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808 Sliding Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809 Shuffling Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809 Moving Regions with the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811 xv Contents

16 Snapping to the Preceding or Next Region on a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812 Slipping Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813 Spotting Regions Sliding Regions in Grid Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814 Replacing Audio Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 816 Sync Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818 Shift Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 820 Locking Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 821 Muting/Unmuting Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822 Stripping Silence from Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822 Inserting Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 826 Duplicating Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 827 Repeating Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828 Chapter 39. Region Loops and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 829 Region Looping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 829 Creating Looped Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830 Unlooping Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831 Editing Looped Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831 Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833 Creating Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 834 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835 Ungrouping Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835 Regrouping Regions Multitrack Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 838 Region Groups on Tick-Based Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 839 Editing Region Groups Fades and Crossfades on Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 840 Importing and Exporting Region Group Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841 Part VIII Processing Chapter 40. AudioSuite Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 845 The AudioSuite Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 845 The AudioSuite Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846 AudioSuite Window Header . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846 AudioSuite Window Footer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 850 Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 852 Chapter 41. Elastic Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855 Example Elastic Audio Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 856 Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 861 Enabling Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 861 Disabling Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 862 xvi Pro Tools Reference Guide

17 Elastic Audio Track Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 863 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 863 Elastic Audio Track Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 864 Elastic Audio Analysis Real-Time and Rendered Elastic Audio Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 865 Elastic Audio Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 866 Editing in Warp View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 871 Warping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 873 Editing in Analysis View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 877 Elastic Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879 Elastic Properties Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880 Elastic Audio Region-Based Pitch Shifting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 882 AudioSuite Processing and Elastic Audio Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884 Moving Elastic Audio Between Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 885 Fades and MicroFades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 886 Elastic Audio Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 887 Chapter 42. Event Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 889 Event Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 889 Quantize Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 890 Grid Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 892 Grid Quantize Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 894 Groove Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 896 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 901 Quantizing Elastic Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 902 Quantizing Audio Regions Quantizing Mixed Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 903 Restore Performance Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 903 Flatten Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 904 Change Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905 Change Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 907 Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 909 Select/Split Notes Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911 Input Quantize Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 913 Step Input Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 914 Part IX Mixing Chapter 43. Basic Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 919 Mixing Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 919 Metering and Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 920 Signal Flow by Track Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 920 Audio Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 920 Auxiliary Input Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 921 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 922 Master Fader Tracks and Signal Flow xvii Contents

18 Instrument Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 924 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 925 VCA Master Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 8 Inserts Configuring Inserts View in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . 929 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 929 HEAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 929 Stereo Pan Depth Views in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 930 Audio Input and Output Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 933 Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 36 Configuring Sends View in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 939 Sends View Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 939 Editing Sends in the Mix and Edit Windows (Individual Send Views) . . . . . . . . . . . . . . . . . . . 941 Output Windows for Tracks and Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 944 Using Output Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 948 Signal Routing for Monitoring and Submixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 949 Delay Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 956 Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 63 Using an Ethernet Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 965 Using a MIDI Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 965 Chapter 44. Plug-In and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 969 Viewing Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 972 Making Inserts Inactive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 973 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 974 Inserting Plug-Ins on Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 975 Plug-In Menu Organization Moving and Duplicating Plug -In and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . 978 The Plug-In Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 978 Opening Plug-In Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 982 Using Plug-In Window Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 982 Editing Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 983 Plug-In Automation and Safe Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 984 Side-Chain Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 984 Plug-In Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 985 Plug-In Settings Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 988 Plug-In Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 990 Bypassing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 996 Linking and Unlinki ng Controls on Multi-Mono Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 997 Using Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 997 Chapter 45. Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1001 Automation QuickStart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1001 Automation Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1002 Automation Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1004 Automation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1008 Viewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1010 xviii Pro Tools Reference Guide

19 Writing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1013 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1015 Automating Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1017 Automating Plug-Ins AutoMatching Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1019 Priming Controls for Writing Automation in Latch Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 1020 Enabling and Suspending Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1023 Deleting Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1025 Thinning Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1026 Drawing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1027 Editing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1028 Cutting, Copying, and Pasting Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1033 Glide Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1036 Trimming Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1037 Writing Automation to the Start, End, or All of a Track or Selection . . . . . . . . . . . . . . . . . . 1039 Writing Automation to the Next Breakpoint or to the Punch Point . . . . . . . . . . . . . . . . . . . 1041 Guidelines for “Write To” Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1044 Overwriting or Extending Mute Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1045 Creating Snapshot Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1048 Previewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1051 Capturing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1053 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1056 VCA Master Track Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1057 Coalescing VCA Automation Chapter 46. Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1059 Selecting Audio for Loops, Submixes, and Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1059 Dithering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1060 Bus Recording to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1061 Bounce to Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1062 Bounce Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1063 Recording a Submix (with Bounce to Disk) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1069 Final Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1070 Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1071 Part X Surround Chapter 47. Pro Tools Setup for Surround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1075 Surround Mixing in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1075 Pro Tools Audio Connections for 5.1 Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1075 7.1 and 7.0 Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1076 Configuring Pro Tools for Multichannel Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1077 Default I/O Selectors in I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1081 5.1 Track Layouts, Routing, and Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1083 xix Contents

20 Chapter 48. Multichannel Tracks and Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1085 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1085 Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1088 Multichannel Signal Routing Paths in Surround Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1090 Example Paths and Signal Routing for a Surround Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . 1092 Chapter 49. Surround Panning and Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1097 Introduction to Pro Tools Surround Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1097 Output Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1098 Standard Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1099 Surround Panner Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1100 Panning Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1103 Divergence and Center Percentage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1106 LFE Faders in Mult ichannel Panners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1108 Pan Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1109 Surround Scope Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1109 Part XI Sync and Video Chapter 50. Working with Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1113 Pro Tools Synchronization Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1113 Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1115 Preparing to Work with SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1120 Configuring Pro Tools for SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1120 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1123 Pull Up and Pull Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1126 Effect of Using Pull Up or Pull Down Putting Pro Tools Online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1127 Generating Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1128 Using MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1130 Enabling MIDI Machine Control in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1130 MMC Transport Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1132 Setting Minimum Sync Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1133 Remote Track Arming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1134 Spotting Regions to SMPTE Frame Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1134 The Spot Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1135 Capturing Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1136 Auto-Spotting Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1136 Using the Trimmer Tools in Spot Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1137 Time Stamping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1137 Identifying a Synchronization Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1138 Troubleshooting SMPTE Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1139 Speed Correction for Film, NTSC Video, and PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . . . 1141 xx Pro Tools Reference Guide

21 Chapter 51. Working with Video in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1143 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1143 Introduction to Pro Tools and Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1144 QuickTime Movies Support in Pro Tools Windows Media Video (VC-1 AP Codec) Support in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . 1145 Before Starting Your Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1145 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1146 Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1147 Main Video Track Video Track Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1148 Locking Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1150 Video Engine Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1150 Importing Video into Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1151 Configuring Video Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1153 Extracting Audio from QuickTime and Windows Media Video . . . . . . . . . . . . . . . . . . . . . . . 1154 Video Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1155 General Video Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1156 Renaming Video Disk Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1159 Video Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1159 Using the Video Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1159 Browsing Video in the Video Universe Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1162 Playback of High-Definition Qu ickTime and Windows Media Video . . . . . . . . . . . . . . . . . . . 1163 External Monitor Over FireWire Playing QuickTime DV Video to an . . . . . . . . . . . . . . . . . . . 1164 Playing Video to an External Monitor Using a Video Card . . . . . . . . . . . . . . . . . . . . . . . . . . 1166 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1168 Bouncing the Video Track to a QuickTime Movie . . . . . . . . . 1169 Bouncing a Video Track with Windows Media Video to a WIndows Media Movie Using Pro Tools to Import Video from Other Versions of Pro Tools . . . . . . . . . . . . . . . . . . . 1170 Chapter 52. Working with Field Recorders in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . 1171 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1171 Field Recorder and Production Workflow Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1173 Supported Field Recorder Audio Files and Metadata Displaying Field Recorder Metadata in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1174 DigiBase Support for Field Recorder Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1174 Field Recorder Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1175 Ensuring Metadata of Source Files Have Been Preserved . . . . . . . . . . . . . . . . . . . . . . . . . 1175 Receiving Source Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1176 Importing Source Files into Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1177 Displaying Multichannel Files from a Field Recorder in the Region List . . . . . . . . . . . . . . . . 1179 Selecting an Alternate Channel to Replace a Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1179 Expanding Alternate Channels to New Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1180 Determining the Method of Expanding Alternate Channels to New Tracks . . . . . . . . . . . . . . 1181 Overview of Production Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1185 Film Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1186 Video and Fully Non-Linear Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1188 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1191 Index xxi Contents

22 Pro Tools Reference Guide xxii

23 Part I: Introduction 1

24 2

25 Chapter 1: Welcome to Pro Tools ® Print-on-demand copies of the Pro Tools Refer- Welcome to Pro Tools , brought to you by ® ence Guide and some of the other guides in the Avid Technology. Pro Tools integrates powerful Pro Tools guide set can be purchased separately multitrack digital audio and MIDI sequencing from Avid (www.avid.com). features, giving you everything you need to record, arrange, compose, edit, mix, and master professional quality audio and MIDI for music, Launching Pro Tools Help video, film, and multimedia. quick access to work- Pro Tools Help provides flows and reference information while Pro Tools is open. Built-in search capabilities and an index Pro Tools Documentation are included to better support your Help needs. Pro Tools documentation provides you with To launch Help in Pro Tools: workflow and reference information to help you successfully use Pro Tools. Choose Help > Pro Tools Help. „ is installed automatically during Pro Tools Help For more information, see Chapter 4, installation and can be accessed from within “Using Help.” Pro Tools. are in- PDF Versions of Guides and Read Mes Accessing Guides in Pro Tools stalled automatically during Pro Tools installa- PDF (Portable Document Format) versions of the tion. The main guides can be accessed from main Pro Tools guides are accessible from the within Pro Tools. Additional documentation is Pro Tools Help menu. available in the Pro Tools Documentation folder. To access guides in Pro Tools: T o v i e w o r p r i n t P D F s , you can use Adobe Reader Choose Help, then a guide name (such as „ or Apple Preview (Mac only). Menus Guide ). are included Print Versions of Documentation with some Pro Tools software and hardware. Examples include Quick Setups and Installation guides. 3 Chapter 1: Welcome to Pro Tools

26 Guides Accessible in Pro Tools Pro Tools Documentation in the Documentation Folder The following guides are available from the Pro Tools Help Menu: Pro Tools guides and Read Mes in the Documen- tation folder are located in product-based sub- • Audio Plug-Ins Guide folders, as follows: • Pro Tools Menus Guide • Pro Tools Reference Guide Control Surfaces •ProTools Shortcuts Supports Avid’s 24-channel control C|24 Guide For information on these guides, see “Pro Tools surface for Pro Tools systems. Documentation in the Documentation Folder” Command|8 Guide Supports Avid’s compact con- on page 4. s and other supported trol surface for Pro Tool Avid systems. Accessing Pro Tools Guides in the Documentation Folder Supports D-Command work- D-Command Guide surface for Avid ICON systems. Format) versions of PDF (Portable Document many Pro Tools guides are installed with D-Control Guide Supports D-Control worksurface Pro Tools. They are accessible from the for Avid ICON systems. Pro Tools Documentation folder. Pro Tools EUCON Guide Provides information about setting up Pro Tools for use with To access guides in Pro Tools Documentation EuControl software and a EUCON-compatible folder: controller. Locate the Documentation folder on your 1 hard drive. Hardware & Peripherals • On Mac, go to Applications/Digidesign/ Provides installation and 003 Family User Guide Documentation. operation information for 003, 003+, and 003 • On Windows, go to All Programs/Pro Tools/ Rack Pro Tools systems. Documentation. Supports 192 Digital I/O 192 Digital I/O Guide 2 Open the subfolder that has the documenta- audio interfaces for Pro Tools|HD and tion you want. Pro Tools|HD Native systems. 3 Double-click the PDF you want to view. Supports 192 I/O audio interfaces 192 I/O Guide For information on guides in the Documenta- for Pro Tools|HD and Pro Tools|HD Native sys- tion folder, see “Pro Tools Documentation in tems. the Documentation Folder” on page 4. Supports 96 I/O audio interfaces 96 I/O Guide for Pro Tools|HD and Pro Tools|HD Native sys- tems. 4 Pro Tools Reference Guide

27 Mbox User Guide Provides hardware installation 96i I/O Guide Supports 96i I/O audio interfaces and operation information for Mbox audio in- for ProTools|HD and ProTools|HD Native sys- terface. tems. PRE Guide Provides detailed information for in- Provides information about using DigiTest Guide stalling, configuring, using PRE, both stand- DigiTest to troubleshoot your Pro Tools|HD or alone and with Pro Tools. Pro Tools|HD Native system. Supports the JL SurroundPanner Option Guide Expanded Systems Guide Provides instructions Cooper Surround Panner for Pro Tools HD and for expanding Pro Tools|HD systems with addi- Pro Tools with Complete Production Toolkit 2. tional Pro Tools|HD cards and audio interfaces, with or without an expansion chassis. Supports the SYNC HD synchro- SYNC HD Guide nization peripheral for Pro Tools|HD and Provides a hardwar e overview, as HD IO Guide Pro Tools|HD Native systems. well as detailed information for installing and configuring HD I/O audio interfaces for use with Plug-Ins Pro Tools|HD and Pro Tools|HD Native systems. Access Music Indigo Guide Provides detailed in- Provides a hardware overview, HD MADI Guide authorizing, and using formation for installing, as well as detailed information for installing and the Access Music Virus Indigo plug-in. dio interfaces for use configuring HD MADI au with Pro Tools|HD systems and Pro Tools|HD AIR Virtual Instruments Provides detailed infor- Native systems. mation for installing, authorizing, and using A.I.R. Virtual Instrument plug-ins (Hybrid, Provides hardware instal- HD Native User Guide Strike, Structure, Transfuser, and Velvet). lation instructions for Pro Tools|HD Native sys- tems. Provides detailed informa- Aphex Plug-Ins Guide tion for installing, authorizing, and using Aphex Provides a hardware overview, HD OMNI Guide plug-ins. as well as detailed information for installing and configuring the HD OMNI audio interfaces for Audio Plug-Ins Guide Describes the plug-ins in- stand-alone use and for use with Pro Tools|HD cluded free with Pro Tools (DigiRack and and Pro Tools|HD Native systems. Pro Tools Creative Collection), as well as addi- tional Digidesign, Bomb Factory, and TL Labs Provides hardware installation HD User Guide plug-ins available for purchase separately. instructions for Pro Tools|HD (TDM) systems. Dolby Surround Tools Provides detailed informa- Provides hardware instal- Mbox Mini User Guide tion for installing, authorizing, and using Dolby lation and operation information for Mbox Surround Tools plug-ins. Mini audio interface. Drawmer Dynamics Guide Provides detailed in- Mbox Pro User Guide Provides hardware installa- formation for installing, authorizing, and using tion and operation information for Mbox Pro Drawmer Dynamics plug-ins. audio interface. 5 Chapter 1: Welcome to Pro Tools

28 Provides an introduc- Sync & Surround Concepts Provides detailed infor- Focusrite Plug-Ins Guide tion to key synchronization, surround mixing mation for installing, authorizing, and using Fo- for Pro Tools users. and monitoring concepts cusrite plug-ins. Provides an overview of What’s New In Pro Tools MDW EQ Plug-In Guide Provides detailed infor- new features in the current version of Pro Tools. mation for installing, authorizing, and using the MDW EQ plug-in. Read Mes Provides detailed informa- Sonic NoNOISE Guide Read Me documents cover compatibility infor- tion for installing, authorizing, and using Sonic and workarounds, and mation, known issues NoNoise plug-ins. corrections to Pro Tools guides. SymphonicOrchestraSE Guide Provides detailed authorizing, and us- information for installing, Toolkits & Options ing the Symphonic Orchestra SE sample content Complete Prod Toolkit 2 Provides detailed infor- for Structure. mation for installation, and an overview of fea- tures and plug-ins included with the Complete Pro Tools Production Toolkit 2 option. Feel Injector Template Provides credit and con- Heat Option Guide Provides detailed information tract information for Numerical Sound. for installing, authorizing, and using the HEAT Glossary Provides a glossary of common audio software option for Pro Tools|HD systems. industry as well as Pr o Tools–specific terms. Provides detailed infor- MachineControl Guide Provides several introductory Intro To Pro Tools mation for installing and using the Machine- tutorials for using Pro Tools. Control option. Provides an overview of work- IO Setup Primer Provides detailed informa- Satellite Link Guide ing with the I/O Setup in Pro Tools. tion for authorizing and using the Satellite Link software option. Provides detailed in- Pro Tools Installation Guide lling and authorizing formation for insta Video Satellite Guide Provides detailed informa- Pro Tools software, as well as information for tion for authorizing and using the Video Satel- optimizing your operating system for Pro Tools. lite software option. Covers all the Pro Tools Pro Tools Menus Guide Video Satellite LE Guide Provides detailed infor- on-screen menus. mation for authorizing and using the Video Sat- ellite LE software option. Explains Pro Tools Pro Tools Reference Guide systems and software in detail. Video Pro Tools Shortcuts Lists keyboard and Avid Video Peripherals Guide Describes the use of Right-click shortcuts for Pro Tools including Avid Mojo SDI and Avid Mojo video peripherals those shown in Pro Tools menus. with Pro Tools systems. 6 Pro Tools Reference Guide

29 The following symbols are used to highlight Provides a list of web re- Pro Tools Avid Interop important information: sources for interoperability with Pro Tools and Avid video editing systems. hints for getting the User Tips are helpful Pro Tools Avid Interplay Describes how to use the most from your Pro Tools system. Avid Interplay system to pass sequences and au- dio files back and forth between Avid video ed- Important Notices incl ude information that iting systems and Pro T ools HD audio editing could affect your Pro T ools session data or and mixing systems. the performance of your Pro Tools system. Pro Tools Avid MediaNetwork Provides informa- tion on setting up and using a Pro Tools client Shortcuts show you useful keyboard or on Avid Unity MediaNetwork networked stor- mouse shortcuts. age systems. Provides information on Pro Tools ISIS Guide Cross References point to related sections in setting up and using a Pro Tools client on Avid this guide and other Avid documentation. Unity ISIS networked storage systems. System Requirements and Conventions Used in Documentation Compatibility Information Pro Tools documentation uses the following Avid can only assure compatibility and provide conventions to indicate menu choices, key- support for hardware and so ftware it has tested board commands, and mouse commands: and approved. : For complete system requirements and a list of Convention Action erating systems, hard qualified computers, op File > Save Choose Save from the drives, and third-party devices, visit: File menu www.avid.com/compatibility Control+N Hold down the Control key and press the N key Hold down the Control Control-click key and click the mouse button Right-click Click with the right mouse button The names of Settings , and Options , Commands that appear on-screen are in a different font. 7 Chapter 1: Welcome to Pro Tools

30 About www.avid.com The Avid website (www.avid.com) is your best online source for information to help you get the most out of your Pro Tools system. The fol- lowing are just a few of the services and features available. Product Registration Register your purchase online. Support and Downloads Contact Avid Customer Success (technical support); download software updates and the latest online manuals; browse the Compatibility documents for system re- quirements; search the online Knowledge Base or join the worldwide Pro Tools community on the User Conference. Training and Education Study on your own using courses available online or find out how you can learn in a classroom setting at a certified Pro Tools training center. Products and Developers Learn about Avid products; download demo software or learn about our Development Partners and their plug- ins, applications, and hardware. Get the latest news from Avid News and Events or sign up for a Pro Tools demo. 8 Pro Tools Reference Guide

31 Chapter 2: Pro Tools Concepts Before you begin to use Pro Tools, you may find Pro Tools Nonlinear Editing it helpful to review Pro Tools concepts.These concepts are the foundation of Pro Tools opera- Pro Tools is a nonlinear recording editing sys- tion and functionality. tem that lets you rearrange and mix recorded material nondestructively. Nonlinear editing simply means that you can cut, copy, paste, move, delete, trim, and otherwise rearrange any Hard Disk Audio Recording audio, MIDI, or video in the Pro Tools Edit win- nonlinear Hard disk recording is a (or random ac- dow. cess) medium—you can go immediately to any es significant advan- Nonlinear editing provid spot in a recording without having to rewind or tages over dubbing (re-recording), and cutting fast forward. and splicing magnetic tape. It gives you the This differs from tape-based recording, which is greatest possible flexib ility for editing and ar- a linear medium—where you need to rewind or ranging, and it is all nondestructive and “undo- icular spot in a record- fast forward to hear a part able.” Additionally, with nonlinear editing in ing. To rearrange or repeat material in a linear Pro Tools, you will never introduce any degrada- system, you need to re -record it, or cut and tion of audio fidelity as you would with tape. splice it. Nonlinear systems have se veral advantages. You can easily rearrange or repeat parts of a record- ing by making the hard disk read parts of the re- cording in a different order or multiple times. In , nondestructive addition, this re-arrangement is meaning that the original recorded material is not altered. 9 Chapter 2: Pro Tools Concepts

32 Pro Tools uses host (CPU) processing to provide Digidesign Audio Engine audio track recording, playback, mixing, and ef- fects processing. Both Pro Tools and Pro Tools The Digidesign Audio Engine (DAE) is a real- ® HD use host processing to run RTAS (Real-Time r digital audio record- time operating system fo AudioSuite) plug-ins for effects processing. Per- ing, playback, and processing. When you install formance is determined by your system and its Pro Tools, DAE is automatically installed on Playback Engine settings. your system. The Playback Engine lets you set a hardware computer’s operating sys- In the same way that a buffer size and allocate a percentage of CPU tem provides the foundation for programs that resources for these tasks. E provides the founda- run on the computer, DA tion for much of the hard disk recording, digital signal processing, and mix automation required by Pro Tools and other pr oducts from Avid and its Development Partners. The DAE Playback Buffer Size determines the amount of memory DAE allocates to manage disk buffers. The DAE Playback Buffer Size can be changed in the Playback Engine (see “DAE Playback Buffer Size” on page 67 ). Playback Engine Pro Tools lets you adjust the performance of that system settings your system by changing affect its capacity for processing, playback, and recording. These system settings are available Setup > Playback Engine ). in the Playback Engine ( Playback Engine for Pro Tools|HD system e of your computer’s Pro Tools takes advantag On Pro Tools|HD systems, you can select the host processor for certain tasks and optional number of voices and vo iceable tracks for your host-based DSP processing. system and its sessions. Voice count choices are ocessing you want to based on how much DSP pr allocate for voicing. The Playback Engine is also where you assign dedicated resources for Automatic Delay Com- pensation. For more information, see “Configuring Pro Tools System Settin gs” on page 60. See also “System Resources” on page 21. 10 Pro Tools Reference Guide

33 USB and FireWire-compatible MIDI devices send Core Audio and receive MIDI messages to and from the computer over USB or FireWire. Apple’s Core Audio provides audio stream con- nectivity between software applications and au- dio hardware on Mac OS X. Pro Tools software can use audio interfaces with supported Core Audio drivers for playback and recording with up to 32 channels of I/O. ASIO MIDI signal flow Input/Output (ASIO) Steinberg’s Audio Stream connectivity between provides audio stream Not all devices will have all three MIDI and audio hardware on software applications ports (IN, OUT, and THRU). Windows. Pro Tools software can use audio in- The MIDI protocol provides 16 channels of terfaces with supported ASIO drivers for play- MIDI per port. A single MIDI cable can transmit back and recording with up to 32 channels of a separate set of messages for each of the 16 I/O. channels. These 16 channels can correspond to separate MIDI devices or to multiple channels multitim- within a single device (if the device is MIDI ). Each channel can control a different in- bral strument sound. For example, bass on Digital Interface) is a MIDI (Musical Instrument channel 1, piano on channel 2, and drums on communication protocol for musical instru- channel 10. Similar to a multitrack tape re- ments. This industry standard enables connec- corder, a MIDI sequencer can record complex ar- tions between a variety of devices from different rangements—even using only a single multitim- manufacturers. Examples of MIDI-compatible bral keyboard. equipment include synthesizers, sound mod- ules, drum machines, MIDI patch bays, effects processors, MIDI interf aces, MIDI control sur- MIDI Terms faces, and MIDI sequencers. The following are some basic MIDI terms: MIDI devices are equipped with 5-pin DIN con- MIDI Instrument A hardware MIDI device or nector s, labeled as eith er I N , O UT , or T HR U. Th e software instrument (s uch as an instrument MIDI OUT port transmits messages. The MIDI plug-in). IN port receives messages. The MIDI THRU out- from the IN port. MIDI puts whatever is received MIDI Interface Hardware that lets computers devices are connected with MIDI cables that are connect to and communicate with MIDI devices available at most music stores. (such as the M-Audio MIDISPORT). 11 Chapter 2: Pro Tools Concepts

34 Local Control A controller setting found on most Any physical MIDI keyboard, sound MIDI Device MIDI keyboards that lets them play their own module, effects device, or other equipment that sound source. Disabling “local control” ensures can send or receive MIDI information. that a device’s internal sound source is only Any MIDI device that transmits MIDI Controller played by external MIDI messages (such as those MIDI performance data. These include MIDI sent from Pro Tools when MIDI in Pro Tools is keyboards, MIDI guitar controllers, MIDI wind routed to the MIDI keyboard). When using controllers, and others. Controllers transmit Pro Tools, “local control” should usually be dis- MIDI from their MIDI OUT ports. using MIDI Thru). abled (for example, when off, your keyboard still When “local control” is MIDI Control Surface Any device (such as Com- transmits data to its MIDI OUT port. mand|8), which uses a MI DI connection to send control messages to a software program, but is MIDI instructions Continuous Controller Events not generally used to record MIDI information. that allow real-time changes to notes that are currently sounding. These include pitch bend, The ability of one MIDI device to Multitimbral modulation, volume, pan, and many others. play several different instrument sounds (such as piano, bass, and drums) simultaneously on MIDI data commonly System Exclusive Data separate MIDI channels. This makes it possible ieving patch parameter used for sending and retr for a single multitimbral MIDI instrument to information for storage purposes. play back entire arrangements. When using MIDI with in- Virtual MIDI Nodes MIDI Port A physical MIDI port on a MIDI inter- strument plug-ins in Pro Tools, virtual MIDI rt created in software. face or a virtual MIDI po nodes are created. These nodes act like MIDI There are separate ports for MIDI In and Out. ports and provide software MIDI connections Physical MIDI ports connect to external MIDI between Pro Tools and other MIDI software, devices using MIDI cables. Virtual MIDI ports -ins. For example, when such as instrument plug connect software plug-ins and applications (see you insert Propellerhead’s Reason as a ReWire also “Virtual MIDI Nodes”). various MIDI inputs to client on a track, the Reason become available to Pro Tools MIDI and MIDI Channel Up to 16 channels of MIDI perfor- Instrument track MIDI outputs. mance data can be transmitted on a single MIDI cable. The channel number separates the differ- ent messages so your sound sources can receive Common MIDI Misconceptions the correct messages. MIDI is not audio, and by itself makes no sound. Program Change Event A MIDI command that MIDI is control informat ion only. It is like the tells a sound source which of its sounds (or o; it provides control piano roll for a player pian sound patches) to use. The MIDI protocol lets information for what no te to play when, for you choose from a range of 128 patches. how long, at what volume, and with what r example, when you sound (instrument). Fo Many devices have more Bank Select Message strike a key on a MIDI keyboard, it sends a mes- than 128 patches, which are arranged in banks. sage to a MIDI instrument to play that particular is a MIDI command The Bank Select Message note at that particular velocity using the se- patches from which to that specifies the bank of lected sound (instrument). This could be its in- choose. 12 Pro Tools Reference Guide

35 ternal tone generator (like a synthesizer or sam- MIDI in Pro Tools pler), another external MIDI instrument, or an Pro Tools provides powerful MIDI sequencing instrument plug-in within Pro Tools. In order to capabilities. You can record, enter, edit, and play and hear a MIDI re cording, you must have play back MIDI data on Pro Tools Instrument dio from an external a MIDI instrument. Au and MIDI tracks. These actions can be done in MIDI instrument can be sent to an external DI Editor window, the the Edit window, the MI mixer or monitored through your Pro Tools au- Score Editor window, and the MIDI Event List. dio interface (using either an Instrument track or Auxiliary track). MIDI data in Pro Tools can be anything from MIDI note data (note number, on/off, velocity) l MIDI instrument, it If you are using an externa to System Exclusive (Sysex) messages. MIDI data DI ports that are recog- must be connected to MI ed back from both exter- can be recorded or play nized by your computer. These ports can be on a nal MIDI devices with a MIDI interface (like the Pro Tools interface that has MIDI ports (such as M-Audio MIDISPORT or Mbox) and other MIDI ® an Mbox ) or some other MIDI interface (such rument plug-ins and software (such as inst as an M-Audio MIDISPORT). ReWire client applications). Synchronization When you are working with multiple time- based systems, such as Pro Tools and an external deck, you want both systems to be synchro- nized. Synchronization is where one system out- Signal paths for external MIDI instruments puts time code or MIDI Beat Clock and another ernal MIDI instrument, To actually hear an ext follows that time code device synchronizes to or you need to connect its audio outputs to a mix- or MIDI Beat Clock so that they work together ing console or connect it to one of the audio in- according to the same clock source. Pro Tools puts of your Pro Tools audio interface. can be synchronized to other devices (or other devices can be synchronized to Pro Tools) using Just as each Pro Tools system has unique hard- SMPTE/EBU time code or MIDI Time Code. ware features, each MIDI device has its own fea- as to the number of tures (and limitations) For more information on different voices and instruments it can play at one time. and other concepts SMPTE/EBU formats, See the device’s documentation for information related to time code, see the Pro Tools Sync on its capabilities. & Surround Concepts Guide. 13 Chapter 2: Pro Tools Concepts

36 Pro Tools Sessions Surround Sound Surround sound simply means having one or When you start a project in Pro Tools, you create rete audio signals (chan- session a . It can be helpful to understand the ba- more speakers with disc sic elements of a session. nels) placed behind the listener in addition to the typical stereo pair. Session File There are multiple types of surround formats in LCR to 7.1, which has use (from three-channel is the document that Pro Tools cre- ession file A s eight channels). and File > New Session ates when you choose configure a new session. Pro Tools can open The most common surround format is 5.1, only one session file at a time. The session file is which refers to having 5 speakers and a sub- named with a .ptf (Pro Tools file) extension. Ses- woofer (the “.1”). 5.1 is used in movie theaters sion files contain maps of all elements associ- and home entertainment systems. Additionally, ated with a project, including audio files, MIDI most DVDs are mixed to 5.1. The standard mix information. It is data, and all your edit and speaker placement for 5. 1 for surround monitor- important to realize that a Pro Tools session file ing is stereo left and right speakers, and an addi- does not contain any media files (audio or tional center speaker in front, two more stereo video). Instead, it references audio, video, MIDI, left and right speakers in the rear, and the sub- and other files. You can make changes to a ses- woofer on the side. sion and save those changes in a new session Pro Tools HD and Pro Tools with the Complete multiple versions of a file. This lets you create Production Toolkit 2 option support mixing in session or back up your editing and mixing surround formats. In Pr o Tools, each surround work. format is considered to be a greater-than-stereo multichannel format. For information on fundamental surround concepts, see the Pro Tools Sync & Surround Concepts Guide. Session file icon Tracks Pro Tools tracks are where audio, MIDI, video, and automation data ar e recorded and edited. Pro Tools tracks also provide audio channels for routing internal busses, and physical inputs and outputs for audio and MIDI. 14 Pro Tools Reference Guide

37 Video tracks support QuickTime movies (all Pro Tools provides multiple types of tracks: Pro Tools systems) and VC-1 video files (Win- audio, Auxiliary Input, Master Fader, VCA Mas- dows 7 only). Additionally, Pro Tools supports ter, MIDI, Instrument, and video. Avid video when using a supported Avid video peripheral. An individual video track can play back only one type of video at a time. Audio, Auxiliary Input, Master Fader, and In- strument tracks can be mono, stereo, or multi- Audio track in the Edit window (stereo track shown) channel (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only). When creating a new track, select from the list of chan- nel formats supported by your system. Voices MIDI track in the Edit window are unique, discrete audio voices In Pro Tools, routed to and from streams that can be Pro Tools audio tracks physical audio outputs and inputs on your Pro Tools audio interfaces. The audio paths to and from Pro Tools software routed to Pro Tools hardware use voices. If you Video track in Frames view ailable voices in your exceed the number of av Audio, MIDI, Instrument, and video track data system, you have effectively exceeded the avail- can be edited into regions or repeated in differ- able number of audio paths. ent locations to create loops, re-arrange sections or entire songs, or to assemble tracks using ma- Typically, each audio channel for each track in terial from multiple takes. your Pro Tools session uses a single voice. So, for le voice is used; for a a mono audio track, a sing Auxiliary Input tracks can route internal audio voices are used. When stereo audio track, two busses or physical inputs to internal busses or two voices are needed using Punch Recording, ry Inputs are typically physical outputs. Auxilia annel (one for playback for every single audio ch used for audio effects busses, audio throughput and one for recording on punch in and out). In (monitoring), and submixing. some situations, with Pro Tools|HD systems, more than one voice may be necessary for a sin- e controls for physical Master Fader tracks provid gle channel (such as when using host processing audio output channels, including the volume on a TDM bus). level of your mix, panning, and plug-in inserts. VCA Master tracks (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only) pro- vide control of tracks in a Mix Group that has been assigned to the VCA Master. 15 Chapter 2: Pro Tools Concepts

38 Audio files for each sessio n are stored in a folder Voices can be allocated (with all dynamically named “Audio Files.” Audio files are listed in the lable voices are auto- Pro Tools systems, any avai Pro Tools Region List and can appear in an au- explic- matically assigned as they are needed) or dio track. A section of an audio file can be de- (with Pro Tools HD only, you can explicitly itly fined as a region. See “Region” on page 16. assign audio channels to specific available voices to ensure that audio on that channel is al- MIDI Files ways voiced). When you record or enter MIDI into a Pro Tools On Pro Tools|HD systems, the number of avail- session, all MIDI data is stored in the Pro Tools able voices is dependent on the amount of ded- session file. You can import and export MIDI your system (see “Play- icated DSP processing in ools sessions, but MIDI files to and from Pro T back, Recording, and Voice Limits with recorded or otherwise created in a Pro Tools Pro Tools HD” on page 44). session does not automatically create new MIDI ystems, the full number On all other Pro Tools s files. of available voices for your system may be lim- ited by the host processing power of your com- puter (see “Pro Tools System Capabilities” on page 53). For more information about voicing in MIDI file icon Pro Tools, see “Track Priority and Voice As- signment” on page 231. Video Files When you record or import video into a Media Files Pro Tools session, all video data is stored as the corresponding video file type (such as Quick- Pro Tools sessions create, import, export, and Time). Video files can be created in (or copied reference media files. Media files are audio, to) the Video Files folder in the session folder. MIDI, and video files. Audio and video media However, in most cases, Pro Tools references files are stored separately from the Pro Tools ses- video files that have been captured by another sion file. MIDI data is stored in the session file. ® application, such as Avid Media Composer . Audio Files Region When you record audio into a Pro Tools session, audio files are created. is a segment of audio, MIDI, or video region A data. A region could be a drum loop, a guitar riff, a verse of a song, a recording take, a sound ef- fect, some dialog, or an entire sound file. Re- gions are especially useful for arranging audio and MIDI. A region can also have associated au- Audio file icons tomation data. In Pro Tools, regions are created 16 Pro Tools Reference Guide

39 from audio files or MIDI data, and can be ar- Playlist ranged in audio and MIDI track playlists. Re- is a sequence of re A playlist gions arranged on an gions can also be grouped (a region of regions) edit audio, MIDI, or video track. Tracks have and looped (repeated). playlists and automation playlists . Audio region Playlist selector pop-up menu On audio tracks, an edit playlist tells the hard disk which audio regions to play in what order. MIDI region For example, you can have separate audio re- gions for a song introduction, the first verse, the first chorus, and so on. You can also use the cess the same piece of same audio region to ac audio multiple times at different locations and not use additional disk space. Different versions Video region (Frames view) of the same original audio can be used in differ- ent places and have different effects applied. On MIDI and Instrument trac ks, edit playlists can store multiple MIDI sequences (or perfor- mances) on a track. A playlist can be made up of a single region or many separate regions. It can be made up of sim- ilar elements, such as regions from several differ- ent takes of a solo, or dissimilar elements, such as several sound effects. You can create any numb er of alternate edit playlists for a track. This lets you assemble differ- ent versions of performances or edits on a single Region group (Mixed audio and MIDI multitrack region track and choose between them from the Play- group) lists menu on the track. 17 Chapter 2: Pro Tools Concepts

40 Each audio, Auxiliary In put, Instrument, Master Fader, and VCA track also has a single set of au- tomation playlists. Automation playlists can in- clude volume, pan, mute, and each automation- enabled control for the insert and send assign- ments on that track. MIDI controller data on Instrument and MIDI tracks is always included as part of the track playlist. Channel channel is used to describe several re- The term lated components of a Pro Tools system. The first example of channel refers to a physical in- put or output of your Pro Tools system. For ex- ample, HD I/O provides up to 16 channels of au- dio input and output to a Pro Tools|HD or Pro Tools|HD Native system, while an Mbox au- dio interface provides up to four inputs and two outputs. The second use of the term channel refers to a channel strip in the Pro Tools Mix window. Each track in a Pro Tool s session has a corre- channel strip in the Mix window. sponding Audio and MIDI channel strips have similar controls, but those controls have slightly differ- ent effects. For example, audio, Auxiliary Input, and Instrument track channel strip faders con- trol the output gain to the mix bus for that channel, while MIDI channel strip faders send MIDI volume data (MIDI controller 7) to the se- lected MIDI instrument. also describes a The term ‘MIDI channel’ separate aspect of MIDI operation. See Channel strip in the Mix window (audio track) “MIDI” on page 11. 18 Pro Tools Reference Guide

41 Signal Routing Options Signal Routing Signal routing options include the following: ware-based mixing and Pro Tools provides soft signal routing controls for audio and MIDI. The most Track Input and Output (I/O) Controls These controls are located in the Mix window. uting is track input and basic type of signal ro Some of these controls can also be accessed from output. A track needs to have an assigned input the Edit window. path to record audio, and an assigned mapped output path in order to be audible through a uting task is to sub- A common audio signal ro hardware output. Signals c an also be routed to mix multiple tracks to a single channel strip or from other tracks in Pro Tools (or hardware t) for shared process- (such as an Auxiliary Inpu inputs and outputs) us ing internal busses. ing and level control. Auxiliary Input and Master Fader Tracks Auxil- The following example shows two audio tracks iary Inputs can be used as returns, submixers, submixed to a stereo Auxiliary Input. and bus masters. Master Fa der tracks are used as bus and output master le vel controls. Both Aux- iliary Input and Master Fader tracks can have Inserts plug-in and hardware inserts. MIDI Tracks MIDI tracks are generally used for routing MIDI from internal or external sources Sends to external MIDI devices. MIDI data can also be routed to plug-ins on Auxiliary Inputs or Instru- Input from ment tracks. Outputs to stereo bus stereo bus path path Instrument Tracks Instrument tracks are the pri- mary way to route MIDI to an instrument plug- in and then route the plug-in’s sound to out- puts, sends and busses, or other inserts. Instru- used to send MIDI to ment tracks can also be external MIDI devices. and monitor audio from Sends route audio from tracks to hard- Sends ware outputs, or to internal busses that are in turn routed to other tracks within Pro Tools. VCA Master tracks do MIDI, Master Fader, and not have sends. Auxiliary Audio tracks Input Track Submixing to an Auxiliary Input 19 Chapter 2: Pro Tools Concepts

42 Plug-In and Hardware Inserts Plug-In processing Tick-Based and Sample-Based occurs completely within the Pro Tools system. Hardware inserts use audio interface inputs and Time insert routing to and outputs for traditional Pro Tools lets you set any track timebase to from external effects an d other devices. MIDI either sample-based or tick-based. You can also do not have inserts. and VCA Master tracks set the Timeline to be viewed as tick-based or sample-based. Instrument plug-ins are dif- Instrument Plug-Ins ferent from processing plug-ins in that they gen- Audio in Pro Tools is sample-based by default. erate audio rather than process the audio signal This means that if an audio region is located at a from a track’s audio input or from hard disk. particular sample location, it will not move Instrument plug-ins are typically played by from that location if the tempo changes in the MIDI. session—though its Bar|Beat location will change. Paths are any routing option in Pro Tools, Paths including internal or ext ernal inputs, outputs, MIDI data in Pro Tools is tick-based by default. busses, and inserts. Pro Tools lets you name This means that if a MIDI region is located at a these paths, and these path names appear in the particular Bar|Beat location, it will not move Audio Input and Output Path selectors and at location if the tempo changes from that Bar|Be other menus. For more information, see will in the session—though its sample location Chapter 7, “I/O Setup.” change. Sessions can include combina- Mixing Formats You can select whether a track is sample-based tions of mono, stereo, and greater-than-stereo or tick-based when it is created, or change time- multichannel format trac ks, busses, inputs, out- bases later. puts, and inserts. Greater-than-stereo multi- channel formats are supported with Sample-Based Audio and MIDI Pro Tools HD, and Pro Tools with the Complete Production Toolkit 2 option only. With a sample-based audio track, all regions in the track have an absolute location on the Time- Grouping and VCA Tracks Tracks can be grouped line. Regions stay fixed to the sample time, re- together for mixing so that their relative mix gardless of where tempo or meter changes occur settings are maintained when changing a mix in a session. setting for any track in the group (for example, changing the volume of one track affects the If you make a MIDI trac k sample-based, all MIDI volume of all the other tracks in the group). events in the track have an absolute location on Tools HD and Pro Tools VCA Master tracks (Pro the Timeline. MIDI events stay fixed to sample with Complete Production Toolkit 2 only) con- time, regardless of any tempo or meter changes trol the relative mix settings for all tracks within in a session. the selected group. 20 Pro Tools Reference Guide

43 With Elastic Audio, Pro Tools analyzes entire au- Tick-Based Audio and MIDI dio files for transient “events.” For example, an Tick-based audio is fixed to a Bars|Beat location, event can be a drum hit, a sung note, or chord and moves relative to the sample Timeline when played by a guitar. Thes e detected events can tempo and meter changes occur. However, MIDI then serve as control points for “warping” the dio respond differently events and tick-based au audio. Pro Tools can warp (TCE) audio events to tempo changes with respect to duration. automatically, such as when automatically con- MIDI note events change length when tempo or forming audio to the se ssion tempo or quantiz- meter is adjusted, while audio regions do not ing audio events, or you can warp audio manu- (unless Elastic Audio is enabled). When Elastic ally using the standard editing tools with the enabled on an audio track, meter not Audio is audio track set to Warp view. only the start point and tempo changes affect (or sync point) for each audio region in a tick- Elastic Audio is useful in several common work- based track. If Elastic Audio is enabled on an au- flows: working with loops, correcting perfor- dio track, tempo changes apply Elastic Audio mances, remixing, beat and pitch matching, processing, which changes the duration of the and sound design and special effects. audio region. Elastic Audio System Resources real-time and non-real- Elastic Audio provides Track count, plug-in processing, signal path and time (rendered) Time Compression and Expan- routing options, and voice availability are ulti- sion (TCE) of audio. Ti ck-based Elastic Audio mately limited by the combined resources avail- tracks actually change the location of samples mputer and from your able from the host co according to changes in tempo. The audio Pro Tools hardware. stretches or compresses to match changes in tempo. Elastic Audio also provides high-quality Pro Tools provides several ways to manage and non-real-time region-based pitch shifting. conserve resources to maximize the perfor- mance of your system. As you begin working Pro Tools Elastic Audio uses exceptionally high- with Pro Tools sessions and tracks, you can take quality transient detectio n algorithms, beat and advantage of the following features to extend tempo analysis, and real-time or rendered TCE the effectiveness of your available DSP and other processing algorithms. Elastic Audio lets you resources: quickly and easily tempo conform and beat match audio to the session’s Tempo ruler. It also ‹ Pro Tools lets you adjust the performance of provides an unpreceden ted degree of control your system by changing system settings that af- over transient detection and TCE processing on fect its capacity for processing, playback, and re- an event-by-event basis. ng Pro Tools System cording. See “Configuri Settings” on page 60. 21 Chapter 2: Pro Tools Concepts

44 In addition to manually setting Active and Inac- ‹ In order to free up needed DSP resources, tive modes, Pro Tools automatically makes Pro Tools allows for certai n items (such as tracks items inactive if there are insufficient or un- and inserts) to be manually made inactive. Inac- available resources. tive elements are viewable, editable, and re- tained within the session. See “Active and active , items are fully engaged and opera- When Inactive Items” on page 22. tional. All Pro Tools systems provide flexible voice ‹ When items are silent and off, although inactive, options for audio tracks, to help maximize use can still be adjusted. most associated controls of available voices in your system. For more in- Different inactive items affect available system formation on voice management and options, resources in specific ways, as follows: see “Voice Borrowing” on page 234. When a plug-in is inactive on a track, its Plug-Ins Active and Inactive Items DSP is made available for other plug-ins and pro- cessing. Plug-In assignments can be made inac- Pro Tools lets you make certain items (such as tive manually or automatically (see “Automatic tracks and inserts) inactive , in order to free up and Manual Inactive Mode” on page 23). DSP resources and mixer connections. Paths and Path Assignments When a path or Items in Pro Tools that can be made inactive path assignment is inactive, its mixer resources include the following: are made available for other signal routing pur- • Audio, Auxiliary Input, Master Fader, poses in the session. Paths and assignments can VCA Master, and Instrument tracks be made inactive manually or automatically (see • Track Inputs and Outputs “Automatic and Manual Inactive Mode” on •Sends page 23). • Side-chain inputs Tracks When a track is made inactive, its voices •Plug-Ins become available for another track. Inactive • Hardware inserts mono tracks free up one voice; inactive stereo • Paths (session-wide) and multichannel tracks free up one voice per channel. Additionally, when an audio, Auxiliary MIDI tracks cannot be made inactive. Input, Instrument, or Master Fader track is made inactive, its plug-ins, inserts, sends, and I/O assignments become inactive, and the associ- Side-chain inputs support direct active and ated DSP used is freed up for use elsewhere in the inactive switching, but do not follow session. switching all or all selected side-chain inputs. 22 Pro Tools Reference Guide

45 Automatic and Manual Inactive Mode Display of Inactive Items Active and Inactive modes are powerful options When items are inactive, their names appear in , for session transfer and system resource manage- italics and their background becomes dark gray. When a track is inactive, the entire channel strip automatic and manual ment. Pro Tools provides is grayed out. Inactive mode switching. You can manually make items inactive (or active) to selectively Active Inactive plug-in manage system resources while editing and mix- ing. Automatically Inactive Items When opening a session, it is possible that not all signal paths, plug-ins, or audio interfaces used in the session will be available as defined on the current system. When opening a session, sufficient voices may also be unavailable if the session was created on a different Pro Tools sys- tem type (for example, opening a session created on a Pro Tools|HD system on a Pro Tools system Inactive track with an Mbox audio interface). session will open as it Whenever this occurs, the was last saved. All items that are unavailable, or cannot be loaded due to insufficient resources, are made inactive. Manual Inactive Switching You can manually apply Active or Inactive modes to manage system resources. By making an item inactive, its associated resources are made available elsewhere in the session. Active and inactive plug-ins, sends, and tracks 23 Chapter 2: Pro Tools Concepts

46 DigiBase AAF, MXF, and OMF Pro Tools lets you exchange audio, video, and DigiBase is a database management tool for Pro Tools. DigiBase expands upon basic sequences with other AAF-, MXF-, and OMF- compatible applications (such as Avid editors). Pro Tools search and import capabilities by pro- viding powerful tools to manage your data both sessions, on any hard inside and outside of your Media Data (Media Files) drive connected to the system. Media data represents raw audio or video mate- is a way of organizing data such that database A rial and is stored in individual media files. Every ed, sorted, managed, and it can easily be search time you record a piece of video or audio mate- utilized. Your checkbook is an example of a da- rial into an application, you are creating a media tabase file. For every check you write, you enter samples file. Audio media files hold (such as a new record. That record contains information 44,100 or 48,000 samples per second of record- when you wrote it, to about the check, such as (24, 25, frames ing) while video media files use for what amount. This whom you wrote it, and or 30 frames per second of recording). information is written in specific columns, or fields. Everything you need to know (the check’s The size of each media file depends on how ) is there, even though the check itself metadata much audio or video material it contains. For is not. example, a file containing ten minutes of high resolution video might be approximately DigiBase browsers let you search, sort, and 2.16 GB in size, whereas a ten-minute audio re- mange these databases by volume or catalog. cording at the might result in a 100 MB file. Me- You can use DigiBase browsers not only to orga- dia files tend to be large, since high quality au- nize your Pro Tools sessions and media files (au- dio and video signals are data intensive. Video dio, MIDI, and video), but also to audition and data generally requires considerably more stor- import by drag and drop. age than audio data. For more information about DigiBase, see “DigiBase” on page 271. 24 Pro Tools Reference Guide

47 In the simplest case, only an AAF or OMF se- Metadata is sequence points to quence is exchanged. If th Metadata is used to describe the following: existing media files, the size of the sequence file is relatively small and the export/import process • Information embedded in a media file. This is relatively fast. may include scene, take, sample rate, bit depth, region names, the name of the video- AAF and OMF sequences can also have media tape from which the media file was captured, data embedded in them. This creates a single, and even time code values. er to export and import, larger file that is slow • Information embedded in Pro Tools sessions but which may be easier to manage than thou- sequences , including what files are or other sands of files stored on different volumes. used, where they appear in a timeline, and au- tomation. AAF • For AAF or OMF sequences, metadata also in- AAF is a sequence file format. AAF sequences are dded in unrendered cludes information embe the best way to exchange projects and maintain AudioSuite™ effects (such as real-time EQ) on valuable metadata. An AAF sequence can refer to Avid workstations. Pro Tools skips unrendered OMF or MXF media files, or have OMF and MXF effects on import. Rendered effects are media media files embedded within them. There is no files that can be imported into Pro Tools. such thing as an AAF audio or video media file. • For AAF or OMF sequences, information back, and export an Pro Tools will import, play about automation (clip-based gain or key- AAF sequence that either links to media files or frame gain). has audio embedded within it. When you import an AAF sequence with em- AAF, OMF, and MXF Basics bedded audio into Pro Tools, the audio will be AAF and OMF files are mechanisms for storing extracted into mono tracks using the current and retrieving media files and metadata so that session’s audio file format. projects can be freely exchanged between differ- ent applications and platforms. MXF is a media used with AAF (but not file format that can be OMF) files. Media data and metadata enable an application that receives AAF and OMF sequence files (such as Pro Tools) to automatically and quickly reas- semble the composition. A simple metaphor for this approach is that media data files are the tadata is the set of in- pieces of a puzzle and me structions for assembling the puzzle. 25 Chapter 2: Pro Tools Concepts

48 MXF Pro Tools and Avid Terminology MXF is a media file format. There are MXF video Pro Tools and Avid use di fferent terms to de- files and MXF audio files, but there are no MXF scribe the same items. For example, a Pro Tools sequences. An AAF sequence may refer to or in- is equivalent to an Avid sequence . The fol- session clude MXF media files, but OMF sequences can- lowing table lists common Pro Tools elements not refer to or include MXF files. and their Avid equivalents. Avid (AAF or OMF) Pro Tools session sequence whole file region master clip MXF file icon subclip region Pro Tools can import and play back MXF audio real-time audio effects plug-ins and video files created in Media Composer or Avid keyframe volume volume automation gain other Avid applications. Video files digitized in Pro Tools are techni- Pro Tools does not have a feature that com- cally in the MXF form at, but are intended pares to Avid clip-based gain. However, you only for use in Pro Tools and are not tested for can use the Clip-Based Gain pop-up menu (in compatibility with other applications. the Import Session Data dialog) to map clip- based gain settings to Pro Tools breakpoint OMF automation, or to ignore clip-based gain en- OMF is both a media file and sequence format. tirely. See “Clip-Based Gain Pop-Up Menu” OMF media files can be audio or video, and on page 352. Pro Tools can import and play back OMF audio and video. Pro Tools can also export OMF audio, Whole audio files in the Regions List nor- but not OMF video. mally appear in bold type. However, master Pro Tools can import and play back OMF audio clip audio files imported from AAF or OMF and video files created in Media Composer or into Pro Tools will not appear in bold type (in- other applications. dicating regions) in the Pro Tools Regions List even though they are audio files. An OMF sequence cannot reference or have MXF media embedded within it. Pro Tools can import an OMF sequence with embedded audio, but not embedded video. 26 Pro Tools Reference Guide

49 Embedded Media and Linked Media There are two types of AAF and OMF files: ones with embedded media, and ones with linked media. Embedded Media Exporting to AAF or OMF with embedded media result s in one large AAF or OMF file containing both the metadata and all associated media files. When working with OMF embedded media or creating AAF embedded audio, Pro Tools limits file size to 2 GB. However, you may be able to use Pro Tools to open an AAF embedded audio file larger than 2 GB if it was exported from another source. Original Source Media Files Avid Workstation Edited Sequence Refers to: Export AAF/OMF with Embedded Media creates... Embedded AAF/OMF File (metadata and media) Consolidated Media Files Sequence (metadata) (with Handle) AAF/OMF Interchange Workflow with Embedded Media 27 Chapter 2: Pro Tools Concepts

50 Linked Media single metadata file (.AAF or .OMF) and all as- Exporting AAF or OMF with linked media results in a sociated media stored as separate files. The main benefit to this approach is that fewer co pies of media files may need to be made, so the ex- faster. Using this approach, it is less likely that you will encoun- port and import process can be much ter any file size limitations since the data is broken up into many smaller files. The main disadvantage to this approach is that th ere are potentially many files (for example, one AAF or OMF file and hundreds of media files) that must be transpo rted between systems. Avid Workstation Edited Sequence L i nk ed to: Original Source Media Files Avid Workstation exports sequence edits and file information as AAF or OMF sequence AAF/OMF File (metadata only) Linked to: Pro Tools Imports Session File Translated Pro Tools Session File Linked to: AAF and OMF Interchange Workflow with Linked Media 28 Pro Tools Reference Guide

51 Chapter 3: Keyboard and Right-Click Mouse Shortcuts A PDF listing of all shortcuts is available in Track Functions Pro Tools. Choose Help > Shortcuts. Pro Tools provides keyboard shortcuts for the following track functions: • Changing Automation mode Right-Click Mouse Shortcuts • Enabling playlists •Adding plug-ins Pro Tools provides Right-click shortcuts for choosing various Pro Tools commands and • Record enabling, soloing, and muting menus with any Right-click capable mouse. tracks • Record safing and solo safing tracks For a complete list of Right-click shortcuts, • Assigning inputs, outputs, and sends see the Shortcuts Guide. • Toggling volume/peak/delay display • Clearing meters Global Key Commands • Changing track heights Some keyboard shortcuts apply to many func- Command Mac Windows tions in Pro Tools. Apply action to all Option+ Alt+ keyboard shortcuts, For a complete list of channel strips/tracks action action see the Shortcuts Guide. Option+ Alt+ Apply action to Shift+ Shift+ selected channel action action strips/tracks ght-Click Mouse Shortcuts 29 Chapter 3: Keyboard and Ri

52 There are three types of Keyboard Focus: List and Parameter Selection Pro Tools provides keyboard shortcuts for the Commands Keyboard Focus When selected in following items: the Tracks pane in the Edit window or in the Editor window, this Notes pane of any MIDI • Selection of tracks in Track List provides a wide range of single key shortcuts • Enabling of groups in Group List from the computer keyboard for editing and • Automation Enable window parameters playing. The frontmost Edit or MIDI Editor win- • Setting Memory Location parameters dow always receives Commands Keyboard Focus when it is enabled. Command Mac Windows With Commands Keyboard Focus disabled, you Alt-click item Option-click Toggle item and set s key shortcuts by press- can still access any of it item all others to same ing the Start key (Windows) or Control (Mac) new state for a Shortcuts Guide along with the key. See the Control-click Command- Toggle item and set complete list of Commands Keyboard Focus click item item all others to opposite shortcuts. state Region List Keyboard Focus When selected, au- Controls and Editing Tools dio regions, MIDI regions, and region groups Pro Tools provides keyboard shortcuts for mov- can be located and selected in the Region List by ing plug-in controls, faders and sliders, the typing the first few letters of the region’s name. Scrubber, and automation data. Group List Keyboard Focus When selected, Mix and Edit Groups can be enabled or disabled by Command Mac Windows typing the Group ID letter (in either the Mix or Hold Command Hold Control Fine adjustment Edit window). while clicking while click- of sliders, the item ing the item knobs, and breakpoints Commands Keyboard Focus Region List (Edit window) Keyboard Focus 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 computer (alpha) keyboard to select regions in the Region List, enable or dis- Group List able groups, or perform an edit or play com- Keyboard Focus mand. You can only enable one of the three Keyboard Focus modes at a time. Enabling a Keyboard Fo- Keyboard Focus buttons cus will disable the one previously enabled. 30 Pro Tools Reference Guide

53 To enable Toolbar focus for the MIDI Editor pane, To set the Keyboard Focus, do one of the following: do one of the following: Click the „ a–z button for the focus you want to Click the Toolbar right above the MIDI Editor „ enable. pane. – or – – or – „ While pressing Control+Alt (Windows) or Press Control+Alt+5 (Windows) or „ Command+Option (Mac), press one of the fol- Command+Option+5 (Mac). lowing keys: 1 (Commands), 2 (Region List), or 3 (Group List). Although multiple plug-in windows can have Numeric Keypad Modes a keyboard focus enabled, only the front- most window receives any keyboard input. The Operation preference for Numeric Keypad mode determines how the numeric keypad functions for Transport. Toolbar Focus There are two Shuttle Lock modes (Classic and In the Edit window, the MIDI Editor pane can be Transport), and one Shuttle mode. displayed in addition to the Tracks pane ( View > No matter which Numeric Keypad mode is se- ). When the MIDI Ed- Other Displays > MIDI Editor lected, you can always use the numeric keypad itor pane is displayed, there are two separate to select and enter values in the Event Edit Area, Toolbars and Timelines in the Edit window: one Edit Selection indicators, Main and Sub Coun- for the Tracks pane and one for the MIDI Editor ters, and Transport fields. pane. Only one Toolbar and Timeline can be fo- cused for Menu and Toolbar commands (includ- To set the Numeric Keypad Mode: ing the corresponding keyboard shortcuts) at a time. The focused Toolbar displays a yellow out- Setup > Preferences Choose and click the 1 Oper- line. ation tab. 2 In the Transport section, select a Numeric Key- If Keyboard Focus for the Edit window is en- pad mode (Classic, Transport, or Shuttle). abled, it follows the selected Toolbar focus. 3 OK Click . To enable Toolbar focus for the Tracks pane, do one of the following: Click the Toolbar at the top of the Edit „ window. – or – Press Control+Alt+4 (Windows) or „ Command+Option+4 (Mac). ght-Click Mouse Shortcuts 31 Chapter 3: Keyboard and Ri

54 Transport Mode Shuttle Lock Modes This mode lets you set a number of record and There are two Shuttle Lock modes (Classic and operate the Transport play functions, and also Transport). Both modes let you use the numeric from the numeric keypad. keypad to shuttle forward or backwards at spe- cific speeds. Key Function • 5 is normal speed. faster fast-forward • 6–9 provide increasingly 7 Click on/off speeds. 8 Countoff on/off • 1–4 provide progressively faster rewind MIDI Merge/Replace mode 9 speeds (4 is the slowest rewind Shuttle Lock speed, 1 is the fastest). 4 Loop Playback mode on/off • Press 0 to stop Shuttle Lock, then press the 5 Loop Record mode on/off Shuttle Lock speed. number to resume • Press Escape or Spacebar to exit Shuttle QuickPunch mode on/off 6 Lock mode. Rewind 1 Custom Shuttle Lock Speed Fast Forward 2 (Pro Tools HD and Pro Tools with Complete 3 Record enable Production Toolkit 2 Only) 0 Play/Stop The highest fast-forward Shuttle Lock speed With the Numeric Keypad mode set to Transport , (key 9) can be customized. you can also: For information, see “Custom Shuttle Lock • Play up to two tracks of audio in Shuttle Speed” on page 555. Lock mode. Press the Start key (Windows) or Control (Mac), followed by 1–9 for dif- Classic Mode ferent play speeds. This mode emulates the way Pro Tools worked • Press Plus or Minus to reverse direction. in versions lower than 5.0. With the Numeric • Press 0 to stop Shuttle Lock, then press the , you can: Keypad mode set to Classic number to resume Shuttle Lock speed. • Play up to two tracks of audio in Shuttle • Press Escape or Spacebar to exit Shuttle Lock mode. Press the Start key (Windows) Lock mode. or Control (Mac), followed by 1–9 for dif- • Recall Memory Locations by typing Period ferent play speeds. (.), the Memory Location number, and Pe- • Press Plus or Minus to reverse direction. riod (.) again. • Press 0 to stop Shuttle Lock, then press the number to resume Shuttle Lock speed. • Press Escape or Spacebar to exit Shuttle Lock mode. • Recall Memory Locations by typing the Memory Location, followed by a Period (.). 32 Pro Tools Reference Guide

55 Shuttle Mode (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) Pro Tools offers another form of shuttling, dif- ferent from that of the two Shuttle Lock modes. With the Numeric Keypad mode set to Shuttle , playback of the current Edit selection is trig- gered by pressing and holding the keys on the numeric keypad—playback stops once the keys are released. Various playback speeds are avail- able in both forward and reverse. In this mode, pre- and post-roll are ignored. Key Playback Speeds 6 1x Forward 4 1x Rewind 9 4x Forward 4x Rewind 7 1/4x Forward 3 1/4x Rewind 1 5+6 1/2x Forward 5+4 1/2x Rewind 8+9 2x Forward 8+7 2x Rewind 2+3 1/16x Forward 1/16x Rewind 2+1 Loop Selection (1x) 0 With the Numeric Keypad mode set to Shuttle , you can also: • Recall Memory Locations by typing Period (.), the Memory Location number, and Period (.) again. Shuttle Lock modes are not available when the Numeric Keypad mode is set to Shuttle. ght-Click Mouse Shortcuts 33 Chapter 3: Keyboard and Ri

56 Pro Tools Reference Guide 34

57 Chapter 4: Using Help Pro Tools Help provides quick access to work- Understanding the Help flows and reference information. Built-in search capabilities and an index are included to better Display support your Help needs. The Help system uses the following main dis- play areas: • Help topics open in the right frame of the Accessing the Help System browser. links for controlling • Navigation buttons and To access Help in Pro Tools: the Help display appear in the top area. „ Help > Online Help . Choose • Navigation tools (such as the Contents and You can get help and background information the Index) open in the left frame of the og boxes, and screen ob- for tasks, windows, dial browser. jects through your Avid Help system. The Help operates in your de- system is HTML-based and fault Web browser. The Help system’s search functionality has a limitation when the Help system is run- ning in the Safari browser. You can perform one search successfully, but subsequent searches do not return results until you clear the Safari cache. You can do this by quitting Safari and relaunching the Help, or by emp- tying the cache directly (select Safari > Empty Cache, or use the Command+Op- tion+E keyboard shortcut). Other browsers, for example Mozilla Firefox, do not have this limitation. 35 Chapter 4: Using Help

58 Using the Help Navigation How the Search Feature Tools Works The Search feature provides the best combina- The left frame of the Help browser is the display lp system’s main naviga- area for most of the He tion of usefulness and speed. To use Search suc- tion tools. cessfully, you should understand the following aspects of the Search feature: The Contents provides a list of links to the main • The Search feature uses a database of valid topics in the Help system. By default, the Con- cludes all words that words. This database in tents tab shows only links to the first topic in are significant for identifying topics and ex- each chapter. This lets you quickly see the over- When you type words cludes all other words. all organization of the Help system. You can ex- in the search text box, the system ignores any pand any chapter in the Contents to show the invalid words that you have typed and main topics within that chapter, and you can searches for valid words. move to any of these topics by clicking its entry • The Search feature cannot search for words in in the Contents tab. a certain order. For example, if you type “TIFF phabetized list of en- The Index provides an al graphics import” as a search entry, Search dis- tries similar to the index of a printed book. If plays all topics that contains these three Java is enabled in your browser, the Index dis- words regardless of their location in the topic. plays as a dynamic index where the listing The results include topics where the three scrolls as you type a word in the text box. If you words appear together as a phrase, and also do not have Java enabled in your browser, or if topics where the three words are scattered support Java implemen- your browser does not throughout the topic. tations, a JavaScript version of the index dis- • The Search feature cannot distinguish be- plays which lets you sc roll manually through ilar but not identical. tween words that are sim the entries. For example, if you type “capture” as a search entry, Search displays topics that include that The Search tab lets you search the entire text of word, but it does not find topics that include the Help system for one or more words and then related words such as “captures” or “captur- lists the topics that include those words. ing.” If a search for a word fails to produce The Help system’s search functionality has useful results, you might be more successful if a limitation when the Help system is run- you search again using one of the related ning in the Safari browser. You can perform words. one search successfully, but subsequent searches do not return results until you clear Remember that Help includes a comprehen- the Safari cache. You can do this by quitting sive index. If Search does not produce useful Safari and relaunching the Help, or by emp- topic, you can often results for a particular tying the cache directly (select Safari > find the specific in formation you need Empty Cache, or use the Command+Op- quickly by using the index. tion+E keyboard shortcut). Other browsers, for example Mozilla Firefox, do not have this limitation. 36 Pro Tools Reference Guide

59 Copying from a Help Topic Printing Help Topics You can print a Help topic if you need to refer to You cannot paste text from one topic into an- other. it during a complicated procedure or to use it for reference later. To copy information from a Help topic to another document: (Windows only) You can print a topic by clicking the right mouse button and select- 1 Open or click the topic to make it active, and ing Print. (Mac only) The print button does then select the text that you want to copy. not appear in Internet Explorer 5.2. Choose . Edit > Copy 2 See your browser documentation for more infor- Place the mouse pointer in another applica- 3 mation on print options. tion, such as a word processing application. To print a Help topic: Edit Choose to paste the copied text 4 Paste > 1 Click the topic frame within the browser win- into a document. (You can also paste the text dow that you want to print. into the Search text box.) 2 Do one of the following: • Click the Print button. – or – . • Select File > Print Select the print options. 3 . Print Click 4 37 Chapter 4: Using Help

60 Pro Tools Reference Guide 38

61 Part II: System Configuration 39

62 40

63 Chapter 5: Pro Tools Systems There are three types of Pro Tools systems, Pro Tools|HD Systems classified by their audio hardware: least one Pro Tools|HD Each system requires at Pro Tools|HD and Pro Tools|HD Native Systems audio interface (sold separately). Pro Tools|HD systems can be expanded by adding These systems include Pr oTools HD software Pro Tools|HD cards to increase track count and with Pro Tools|HD or Pro Tools|HD Native hard- the amount of plug-in and mixer processing, ware. and by adding additional audio interfaces. Pro Tools Systems Pro Tools system performance depends on oTools software with These systems include Pr factors such as computer processor speed, ® qualified Avid audio interfaces (such as Eleven amount of system memory, and hard drive ® ® ® ® Rack, 003 , Mbox or , or M-Audio Fast Track performance. Visit the Avid website ProFire 2626). (www.avid.com) for the latest system re- quirements and compat ibility information. Pro Tools Core Audio and ASIO Systems These systems include Pr oTools software run- ning on the built-in audio available on Mac computers (Core Audio), or running with third- party audio interfaces that support Core Audio (Mac) or ASIO (Windows) drivers. For a list of qualified audio interfaces and computers, visit www.avid.com/compatibility. 41 Chapter 5: Pro Tools Systems

64 Pro Tools|HD systems are available in the Supported Pro Tools|HD Audio following configurations: Interfaces The following audio interfaces are compatible Pro Tools|HD 1 with Pro Tools|HD systems: Includes: •HD I/O • Accel Core (for PCIe) card or •HD OMNI ™ HD Core (for PCI) card • HD MADI • Pro Tools HD software ™ •192 I/O ™ •192 Digital I/O Pro Tools|HD 2 Accel ™ •96 I/O Includes: ™ •96i I/O • Accel Core (for PCIe) card or HD Core (for PCI) card Pro Tools|HD systems re quire at least one • HD Accel card HD I/O, HD OMNI, HD MADI, 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O. • Pro Tools HD software Maximum I/O Configuration Pro Tools|HD 3 Accel Pro Tools|HD supports up to a maximum com- Includes: bination of ten total of the following audio in- • Accel Core (for PCIe) card or terfaces: HD Core (for PCI) card • HD OMNI (only one HD OMNI interface is • Two HD Accel cards supported in a single Pro Tools|HD system) • Pro Tools HD software • HD I/O (up to ten HD I/O interfaces can be used simultaneously—requires five HD Pro Tools|HD 2 cards) Includes: • HD MADI (up to three HD MADI interfaces can be used simultaneously—requires six • HD Core card ™ HD cards) card •HD Process • 192 I/O (up to ten 192 I/O interfaces can be • Pro Tools HD software used simultaneously—requires five HD cards) Pro Tools|HD 3 • 192 Digital I/O (up to ten 192 Digital I/O Includes: interfaces can be used simultaneously—re- • HD Core card quires five HD cards) • Two HD Process cards • 96 I/O (up to ten 96 I/O interfaces can be • Pro Tools HD software used simultaneously—requires five HD cards) Pro Tools|HD PCI cards require a PCI to • 96i I/O (up to five 96i I/O interfaces can be PCIe expansion chassis. For more infor- used simultaneously) mation, see the Expanded Systems Guide. 42 Pro Tools Reference Guide

65 Supported Pro Tools|HD Audio Interfaces Expanded Pro Tools|HD Systems The following audio interfaces are compatible You can expand your Pro Tools|HD system by with Pro Tools|HD Native systems: to your computer, ei- adding Pro Tools|HD cards ther directly in the computer or using an expan- •HD OMNI sion chassis. Expandin g your Pro Tools system •HD I/O provides increased track counts, adds to the •HD MADI amount of possible plug-in and mixer process- •192 I/O ing, and lets you connect additional audio inter- •192 Digital I/O faces. With support for up to 7 Pro Tools|HD •96 I/O cards in a single system, a Pro Tools|HD system can support up to 160 channels of simultaneous •96i I/O input and output. Pro Tools|HD Native systems require at For more information, see the Expanded audio interface. least one Pro Tools|HD Systems Guide . Maximum I/O Configuration Pro Tools|HD Native supports up to a maximum Pro Tools|HD Native Systems combination of up to four total of the following audio interfaces: Pro Tools|HD Native-based systems consist of: • HD OMNI (only one HD OMNI interface is • Pro Tools|HD Native card supported in a single Pro Tools|HD system) • At least one Pro Tools|HD audio interface • HD I/O (up to four HD I/O interfaces can be (sold separately) used simultaneously) • Pro Tools HD software • HD MADI (full connectivity with one HD MADI interface is possible when both Native systems can be expanded by adding addi- DigiLink ports of the HD MADI are con- tional audio interfaces. nected to both DigiLink ports on the Pro Tools system perf ormance depends on Pro Tools|HD Native card) er processor speed, factors such as comput • 192 I/O (up to four 192 I/O interfaces can amount of system memory, and hard drive be used simultaneously) performance. Visit the Avid website • 192 Digital I/O (up to four 192 Digital I/O (www.avid.com) for the latest system re- interfaces can be used simultaneously) ibility information. quirements and compat • 96 I/O (up to four 96 I/O interfaces can be used simultaneously) • 96i I/O (up to two 96i I/O interfaces can be used simultaneously) 43 Chapter 5: Pro Tools Systems

66 Playback, Recording, and Voic e Limits with Pro Tools HD The table below lists the audio playback, recording, and voiceable track limits of each type of Pro Tools|HD or Pro Tools|HD Native system. refers to the number of Playback and recording voices unique simultaneous playback and record tracks on your system. Total voiceable tracks refers to the maximum number of audio tracks th at can share the available voices on your system. (Mono tracks take up one voice. Stereo and multichanne l tracks take up one voice per channel.) te and the number of DSP chips dedicated to the Voice limits are dependent on the session sample ra system’s Playback Engine. Pro Tools|HD and Pro Too ls|HD Native systems can open sessions with up tracks beyond that system’s voic eable track limit will be automat- to 512 audio tracks, but any audio Vo i c e O f f . ically set to e up to 160 Auxiliary In put tracks and a total Pro Tools|HD and Pro Tools|HD Native systems provid of 256 internal mix busses. These systems also prov ide up to 10 inserts and 10 sends per track (de- pending on the DSP capacity of your system). Pro Tools|HD systems also support up to 128 Instru- VCA Master tracks, 64 Master Fa der tracks, and multiple video ment tracks, 512 MIDI tracks, 128 tracks. Pro Tools|HD system audio playba ck, recording and voice limits Playback and Recording Voices Total (Mono Tracks of Sample Rate Voiceable Maximum I/O Core System Type Simultaneous (kHz) Tracks Playback and Recording) 32 channels 96 512 Pro Tools|HD 1 44.1/48 48 512 88.2/96 176.4/192 512 24 512 192 44.1/48 64 channels (HD 2) Pro Tools|HD 2, 96 channels (HD 3) Pro Tools|HD 3, or up to or any expanded 88.2/96 96 512 160 channels (HD 5) Pro Tools|HD system 176.4/192 36 512 Pro Tools|HD Native 64 channels 44.1/48 192 512 88.2/96 96 512 48 512 176.4/192 44 Pro Tools Reference Guide

67 Pro Tools|HD Audio Interfaces The following table lists the input and output ca pabilities of the various Pro Tools|HD audio inter- faces for Pro Tools|HD systems. Pro Tools|HD cards support a maximum of 32 channels of I/O each. To record and play audio with Pro Tools HD, you mu st have at least one Pro Tools|HD audio interface connected to the Pro Tools|HD Core card in your system. o interface channel capabilities Table 6. Pro Tools|HD system audi Sample Rates A/D D/A Number of I/O Digital I/O Interface Type Conversion (kHz) Channels Conversion 24-bit 24-bit 24-bit 16 in/16 out 44.1, 48, HD I/O 88.2, 96, 176.4, 192 24-bit 24-bit 24-bit 44.1, 48, 8 in/8 out HD OMNI 88.2, 96, 176.4, 192 24-bit None None HD MADI 64 in/64 out 44.1, 48, 88.2, 96, 176.4, 192 24-bit 24-bit 24-bit 192 I/O 44.1, 48, 8 in/8 out 88.2, 96, 176.4, 192 24-bit None None 192 Digital I/O 8 in/8 out 44.1, 48, 88.2, 96, 176.4, 192 96 I/O 8 in/8 out 44.1, 48, 24-bit 24-bit 24-bit 88.2, 96 24-bit 24-bit 96i I/O 16 in/2 out 44.1, 48, 24-bit 88.2, 96 45 Chapter 5: Pro Tools Systems

68 • 2 channels of analog back panel output using HD OMNI Audio Interface TRS (Mirrors channels 1–2 or 7–8 on DB-25 HD OMNI is a professional digital audio inter- connector) face designed for use with Pro Tools|HD sys- • Front panel stereo 1/4” headphone jack tems. HD OMNI provides a compact preamp, monitoring, and I/O solution for music produc- Digital I/O tion and recording, and post production • 8 channels of AES/EBU output (up to 192 kHz studios. Single Wire) using a DB-25 breakout cable (sold separately) HD OMNI Features • 2 channels of AES/EBU XLR input (up to HD OMNI provides up to 8 discrete channels of 192 kHz Single Wire) Pro Tools input and output, with 4-segment • 2 channels of S/PDIF RCA input and output LED meters for input or output (selectable). (up to 192 kHz) Analog I/O • 8 channels of ADAT TOSLINK input and out- put • 24-bit analog-to-digital (A/D) and digital-to- analog (D/A) converters, with support for • Support for ADAT S/MUX Optical for sample sample rates up to 192 kHz rates of 88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz • 2 high-quality Mic/DI preamps (Channels 1–2) • Support for two channels of S/PDIF Optical with sample rates of up to 96 kHz • 2 combined XLR and 1/4-inch TRS front panel inputs for microphone and instrument level • Real-time sample rate conversion (SRC) on input Digital Inputs 1–2 of either AES/EBU, S/PDIF, or Optical (S/PDIF) • 2 XLR back panel microphone inputs • 2 1/4-inch TRS Send and 2 1/4-inch TRS Re- SRC is not supported with ADAT S/MUX. for hardware inserts on turn back panel jacks channels 1 and 2 Monitoring • 4 analog TRS line level back panel inputs • An additional stereo “CUE” output path in (Channels 1–4) Pro Tools for headphone monitoring from the front panel headphone jack HD OMNI provides multiple analog input • Front panel Control Room (MAIN/ALT) and connections, but only provides up to four Headphone monitoring volume control channels of simultaneous analog input for • Flexible monitoring with fold-down from all Pro Tools. rmats (up to 7.1 sur- stereo and surround fo • Soft Clip and Curv limiting circuits to protect round) against clipping on analog input • Input mixer for low latency direct monitoring • 8 channels of analog back panel output using of a variety of incoming signals (configured in a DB-25 breakout cable (sold separately) with the Pro Tools Hardware Setup) variable output gain 46 Pro Tools Reference Guide

69 • Soft Clip and Curv limiting circuits to protect Synchronization against clipping on analog input • Loop Sync input and output for connecting additional Pro Tools|HD interfaces and pe- Digital I/O ripherals • Up to sixteen channels of 24-bit digital I/O, • External Clock input and output for synchro- using AES/EBU, TDIF DB-25, or Optical at nizing HD OMNI with external Word Clock sample rates of 44.1 kHz, 48 kHz, 88.2 kHz, 96 devices kHz, 176.4 kHz, and 192 kHz with a Digital HD I/O card For more information, see the HD OMNI Guide. • Real-time sample rate conversion on digital inputs with a Digital I/O card (up to sixteen channels of AES/EBU, Optical, or TDIF) HD I/O Audio Interface • Support for S/MUX Optical for sample rates of HD I/O is a multichannel digital audio interface 88.2 kHz and higher designed for use with Pro Tools|HD systems. HD I/O features extremely high quality 24-bit • Support for 2 channels of S/PDIF Optical (en- analog-to-digital (A/D) and digital-to-analog closed) with sample rates of up to 96 kHz (D/A) converters, and supports sample rates of • 2 channels of AES/EBU I/O (enclosed) with up to 192 kHz. support for sample rates up to 192 kHz HD I/O comes in three st andard configurations: • 2 channels of 24-bit-capable S/PDIF I/O (en- closed) with support for sample rates up to • 8 x 8 x 8 (8 analog in, 8 analog out, and 8 192 kHz digital in and out) • 16 x 16 analog in and out Synchronization • 16 x 16 digital in and out • Loop Sync input and output for connecting You can also add or remove HD I/O Analog Ex- additional Pro Tools|HD interfaces and pe- pansion cards (ADC and DAC) and HD I/O Dig- ripherals ital Expansion cards for custom configurations. • External Clock input and output for synchro- nizing HD I/O with external Word Clock de- HD I/O Features vices HD I/O provides up to 16 discrete channels of Expandability Pro Tools input and output, with 4-segment • Optional addition of I/O cards to expand ana- LED meters for input and output. log or digital I/O Analog I/O • Simultaneous use of multiple Pro Tools|HD • Up to sixteen channels of 24-bit D/A and A/D her expand system in- audio interfaces to furt converters for superior analog input and out- put and output (for more information see the put at sample rates of 44.1 kHz, 48 kHz, Expanded Systems Guide ) 88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz For more information, see the HD I/O Guide. with Analog In and Analog Out HD I/O cards 47 Chapter 5: Pro Tools Systems

70 • BNC Word Clock I/O for synchronizing HD HD MADI Digital Audio Interface MADI with external 1x Word Clock HD MADI is a 64-channel, digital audio inter- • BNC Loop Sync I/O for synchronizing HD face designed for use with Pro Tools|HD sys- MADI with additional Pro Tools|HD audio in- tems. HD MADI supports the Multichannel Au- terfaces and peripherals (such as HD I/O, HD dio Digital Interface (MADI) format and sample OMNI, or SYNC HD) rates of up to 192 kHz. HD MADI provides sim- • Dedicated BNC Word Clock input and XLR plified connectivity between your Pro Tools|HD AES/EBU input (clock input only) for external system and MADI-compatible audio equipment, MADI synchronization (when using SRC on l mixing consoles, and such as routers, digita output) converters. • Clock support for the following formats: In- HD MADI Features ternal, Loop Sync, Word Clock, AES/EBU, and MADI • 2 MADI Optical and Coaxial inputs and 2 MADI Optical and Coaxial outputs for up to • Varispeed modes (supports both 64- and 56- 64 discrete channels of digital input and out- channel standards) put (32 channels per DigiLink Mini port) For more information, see the • Supports sample rates of 44.1 kHz, 48 kHz, HD MADI Guide. 88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz • 24- or 16-bit resolution • Sample Rate Conversion (SRC) on input or output • Front panel clock and SRC indicators • Front panel signal present LEDs for input and output 48 Pro Tools Reference Guide

71 192 Digital I/O Audio Interface 192 I/O Audio Interface ™ ™ 192 Digital I/O is a multichannel digital audio 192 I/O is a multichannel digital audio inter- face designed for use with Pro Tools|HD sys- interface designed for use with Pro Tools|HD tems. 192 I/O features high quality 24-bit ana- systems, and supports sample rates of up to log-to-digital (A/D) and digital-to-analog (D/A) 192 kHz. converters, and supports sample rates of up to 192 kHz. 192 Digital I/O Features • Supports sample rates up to 192 kHz You can also add or remove analog cards (ADC rds for custom configu- and DAC) and digital ca • Supports digital connections, including rations. AES/EBU, S/PDIF, TDIF, and ADAT Optical: • Digital (2 Digital I/O Cards): 16 channels, 192 I/O Features DB-25 (AES/EBU and TDIF), or two pairs of Lightpipe (ADAT Optical) connectors • Supports sample rates up to 192 kHz • Digital (Enclosure): 2 channels, XLR • Supports both analog and digital connections, ; 2 channels RCA (AES/EBU) connectors including AES/EBU, S/PDIF, TDIF, and ADAT (S/PDIF) connectors Optical: • Optical (Enclosure): 8 channels, one pair of • Digital (Digital I/O Card): 8 channels, Lightpipe (ADAT Optical) connectors (se- DB-25 (AES/EBU and TDIF), or one pair of lectable to 2 channels, S/PDIF) Lightpipe (ADAT Optical) connectors; Ex- • Loop Sync In and Out for connecting pandable up to 16 of channels digital I/O Pro Tools|HD interfaces and peripherals with the addition of the 192 Digital expan- sion card • External Clock In and Out receive or send 1x • Analog: 8 channels, DB-25 (balanced) con- Word clock nectors, inputs selectable between +4 dBu For more information, see the or –10 dBV, outputs +4 dBu only; Expand- 192 Digital I/O Guide. able up to 16 analog inputs or 16 outputs using an optional 192 AD or 192 DA ex- pansion card, respectively • Digital (Enclosure): 2 channels, XLR (AES/EBU) connectors; 2 channels RCA (S/PDIF) connectors • Optical (Enclosure): 8 channels, one pair of Lightpipe (ADAT Optical) connectors (swit- chable to 2 channels, S/PDIF) • Loop Sync In and Out for connecting Pro Tools|HD interfaces and peripherals • External Clock In and Out receive or send 1x Word clock For more information, see the 192 I/O Guide. 49 Chapter 5: Pro Tools Systems

72 96i I/O Audio Interface 96 I/O Audio Interface ™ ™ is a multichannel digital audio interface is a multichannel digital audio inter- 96 I/O 96i I/O face designed for use with Pro Tools|HD sys- designed for use with Pro Tools|HD systems. tems. 96i I/O features high quality 24-bit ana- 96 I/O features high quality 24-bit analog-to- log-to-digital (A/D) and digital-to-analog (D/A) digital (A/D) and digital-to-analog (D/A) con- converters, and supports sample rates of up to verters, and supports sample rates of up to 96 kHz. 96 kHz. 96 I/O Features 96i I/O Features • Supports sample rates up to 96 kHz • Supports sample rates up to 96 kHz • 16 discrete channels of input, and 2 channels • Supports analog and digital connections, in- of output, with 4-segment LED meters on cluding AES/EBU, S/PDIF, and ADAT optical: each channel. Audio inputs and outputs in- • Analog: 8 channels, 1/4-inch TRS (balanced clude: or unbalanced) connectors, +4 dBu or • 16 channels of 24-bit, 96-kHz capable ana- –10 dBV log input, with adjust able input sensitivity • Digital: 2 channels, XLR (AES/EBU) con- • 2 channels of 24-bit, 96-kHz capable analog nectors; 2 channels, RCA (S/PDIF) connec- tors output, with selectable operating level • Optical: 8 channels, one pair of Lightpipe • 2 channels of 24-bit, 96 kHz-capable digital S/PDIF RCA input and output (ADAT Optical) connectors (switchable to 2 channels, S/PDIF) • Loop Sync In and Out for connecting • External Clock In and Out receive or send Pro Tools|HD interfaces and peripherals 1x Word clock • External Clock In and Out receive or send 1x Word clock For more information, see the 96 I/O Guide. For more information, see the 96i I/O Guide. 50 Pro Tools Reference Guide

73 Additional Pro Tools|HD Pro Tools Systems Hardware Options Pro Tools systems are available in the following configurations: Pro Tools HD also supports the following Pro Tools|HD hardware options. 003 Family • Synchronization peripherals: ™ A 003 system includes: •SYNC HD ™ • Pro Tools software •SYNC I/O • One of the following: • PRE™ (Eight-channel microphone preamp) ™ • 003 audio and MIDI interface (with • MIDI I/O (10 x 10 USB MIDI interface) control surface) • Worksurfaces and MIDI control surfaces: • 003 Rack+ audio and MIDI interface ® • D-Command • 003 Rack audio and MIDI interface ™ • D-Control ™ •C|24 Digi 002 Family ® • Command|8 ™ system includes: A Digi 002 • EUCON-aware control surfaces • Pro Tools software ® Pro) • M-Audio Keyboards (such as Axiom • One of the following: • Surround Panner Option • 002 audio and MIDI interface (with • Third-party MIDI controllers (such as control surface) Mackie HUI, Peavey PC-1600, or CM Labs • Digi 002 Rack audio and MIDI interface Motor Mix) Eleven Rack An Eleven Rack system includes: • Pro Tools software • Eleven Rack audio and MIDI interface, and guitar effects processor 51 Chapter 5: Pro Tools Systems

74 Mbox Family Core Audio An Mbox system includes: A Pro Tools Core Audio system includes: • Pro Tools software • Pro Tools software • A third-party audio interface with sup- • One of the following: ported Core Audio drivers (including • Mbox Pro or Mbox 2 Pro audio and MIDI Built-in Mac audio hardware) interface • Mbox or Mbox 2 audio and MIDI interface ASIO • Mbox Mini or Mbox 2 Mini audio interface A Pro Tools ASIO system includes: • Mbox 2 Micro audio interface (output • Pro Tools software only) • A third-party audio interface with sup- The original Digidesign Mbox audio inter- ported ASIO drivers face is not supported with Pro Tools 8.0.4 and higher . M-Audio Interfaces Pro Tools M-Audio systems includes: • Pro Tools software • A qualified M-Audio interface For a current list of qualified M-Audio interfaces, visit the Avid website (www.avid.com) . 52 Pro Tools Reference Guide

75 Pro Tools System Capabilities The following table lists the playback, recording, and input and output capabilities of several Pro Tools systems with Avid audio interfaces. Table 7. Pro Tools system audio playback annel capabilities , recording, and ch Max. Mono or Total A/D Digital Number of I/O D/A Stereo Tracks of Voiceable System Type I/O Conversion Conversion Channels Simultaneous Tracks Playback 24-bit 24-bit 24-bit up to 18 in/18 out 96 at 48 kHz 128 003, 003 Rack, (48 kHz or lower) 003 Rack+, 48 at 96 kHz Digi 002, up to 10 in/10 out or Digi 002 Rack (88.2 or 96 kHz) Eleven Rack 96 at 48 kHz 24-bit 128 up to 8 in/6 out 24-bit 24-bit (44.1–96 kHz) 48 at 96 kHz 24-bit 24-bit 24-bit Mbox Pro or 128 up to 6 in/8 out 96 at 48 kHz (48 kHz or lower) Mbox 2 Pro 48 at 96 kHz up to 4 in/6 out (88.2 or 96 kHz) Mbox or Mbox 2 128 96 at 48 kHz 24-bit up to 2 in/2 out 24-bit 24-bit up to 2 in/2 out 24-bit 24-bit N/A 128 96 at 48 kHz Mbox Mini or Mbox 2 Mini stereo out only 24-bit N/A Mbox 2 Micro N/A 96 at 48 kHz 128 (see (see 96 at 48 kHz 128 (see up to 32 M-Audio M-Audio M-Audio M-Audio interfaces guides) guides) guides) (depending on 48 at 96 kHz each interface’s capabilities) 24 at 192 kHz (see 96 at 48 kHz (see 3rd 128 up to 32 (see 3rd Other third-party 3rd party party Core Audio or party device device 48 at 96 kHz ASIO interfaces device guides) guides) (depending on guides) each interface’s 24 at 192 kHz capabilities) 53 Chapter 5: Pro Tools Systems

76 Mono tracks of simultaneous playback refers to the Processing Capacity number of unique simultaneous playback and The total processing capacity of a Pro Tools sys- record tracks on your system. Total voiceable tem depends on the processing power of your refers to the maximum number of audio tracks computer. Contact your dealer or visit tracks that can share the available voices on test system require- www.avid.com for the la take up a single audio your system. (Mono tracks ments and compatibility information. track, while stereo tracks take up two tracks.) Pro Tools systems can open sessions with up to 128 audio tracks, but any audio tracks beyond track limit will be auto- that system’s voiceable Additional Pro Tools Hardware matically set to Voice Off. Options Pro Tools systems provide up to 32 channels of Pro Tools also supports the following Pro Tools I/O (depending on your audio interface), 128 hardware options. Auxiliary Input tracks, a total of 256 internal • PRE (Eight-channel microphone preamp) mix busses, and up to 10 inserts and 10 sends • MIDI I/O (10 x 10 USB MIDI interface) per track (depending on your computer’s pro- cessing capacity). In addition, Pro Tools systems •Worksurfaces and MIDI control surfaces: ment tracks and 512 support up to 64 Instru •C|24 MIDI tracks. Pro Tools also supports a single • Command|8 QuickTime video track. • Avid controllers with EUCON For more information about the I/O •M-Audio Keyboards (such as Axiom Pro) capabilities of your audio interface with •Third-party MIDI co ntrollers (such as Pro Tools, see the documentation that Mackie HUI, Peavey PC-1600, or CM Labs came with your audio interface. Motor Mix) If you open a Pro Tools session created on a Pro Tools|HD system that contains more than supported on the your the number of tracks Pro Tools system, audio tracks beyond the sys- will be automatically tem’s voiceable track limit set to inactive. For details on transferring session material be- tween Pro Tools|HD and Pro Tools systems, see “Sharing Sessions Created on Different Pro Tools Systems” on page 384. 54 Pro Tools Reference Guide

77 Pro Tools|HD and Pro Tools|HD Native Systems Pro Tools System Options with Video Satellite Link Pro Tools|HD and Pro Tools|HD Native systems Pro Tools with Complete Production Toolkit 2 that have been upgraded with the Video Satel- Pro Tools systems that have been upgraded with lite Link option. Video Satellite is a paid soft- the Complete Production Toolkit 2 software op- ware option for Pro Tools HD that lets you link tion. For more information, see “Complete Pro- your Pro Tools|HD or Pro Tools|HD Native sys- duction Toolkit 2 Capabilities” on page 56. tem with a separate computer running Avid Me- dia Composer or Symphony Nitris DX software Pro Tools|HD Systems with HEAT for synced video playback, capture, and conver- Video Satel- sion. For more information, see the Pro Tools|HD systems that have been upgraded lite Guide . with the HEAT Software option. HEAT (Har- monically Enhanced Algorithm Technology) is Pro Tools|HD and Pro Tools|HD Native Systems a paid software option t hat adds “analog color” with Video Satellite LE to Pro Tools|HD systems. For more information, see the HEAT Software Option Guide . Pro Tools|HD and Pro Tools|HD Native systems that have been upgraded with the Video Satel- Pro Tools|HD and Pro Tools|HD Native Systems lite LE option. Video Satellite LE is a paid soft- with Machine Control ware option for Pro Tools HD, which uses a sep- arate computer running Pro Tools software for Pro Tools|HD systems and Pro Tools|HD Native synchronized QuickTime HD video playback. systems that have been upgraded with the Ma- Video Satellite LE For more information, see the chine Control software option. MachineCon- . Guide trol™ is a paid software option for Pro Tools HD that enables serial communication with Sony® Pro Tools with VENUE Link 9-pin compatible synchr onizers, and video or audio machines. For more information, see the Pro Tools systems that have been connected to . Machine Control Guide VENUE systems using ethernet. VENUE Link provides Pro Tools and VENUE system integra- Pro Tools|HD and Pro Tools|HD Native Systems tion and interoperability. with Satellite Link Pro Tools|HD and Pro Tools|HD Native systems that have been upgraded with the Satellite Link option. Avid Satellite Link is a paid option that lets you link up to 5 Pro Tools systems (or up to 4 Pro Tools systems and an Avid Media Com- ® ® poser , or Video , Avid Symphony Nitris DX Satellite LE system) over an Ethernet network so that you can cue, play, and stop the transports, solo tracks across any make play selections, and of the systems from any linked workstation. For more information, see the Satellite Link Guide . 55 Chapter 5: Pro Tools Systems

78 • Momentary Solo Latch Back/Forward com- Complete Production Toolkit 2 mands Capabilities • Custom Shuttle Lock speeds Complete Production Toolkit 2 enables the fol- • Numeric Keypad set to Shuttle mode lowing features in Pro Tools: •AutoFades • Surround mixing, editing, and automation up • Advanced editing features: to 7.1 (depending on the output capabilities • Continuous Scrolling of your audio interface) • Scrub Trim tool ™ Stereo down Use the Neyrinck SoundCode • Replace Region command mixer plug-in for moni toring surround ses- • TCE Edit to Timeline Selection command sions in stereo with audio interfaces that • Selection of alternate field recorder audio have fewer than six outputs. channels in the Pro Tools Timeline • Expanding alternate field recorder chan- • Up to a total of 192 voiced audio tracks (up to nels to new tracks 512 voiceable audio tracks) • Advanced automation features: Pro Tools with Complete Production Toolkit • AutoJoin with Latch mode 2 displays up to 512 tracks, with a simulta- • Touch/Latch mode tracks. Tracks in ex- neous voice limit of 192 it are made inactive. cess of the 192-voice lim • Trim mode • Composite automation playlist • Playback of up to or a combination of play- • Copy track automation to sends and ing back recording up to 192 mono •AutoMatch tracks or 96 stereo tracks (192 available • Prime controls for writing automation in voices) at 44.1 kHz and 48 kHz Latch mode • Playback of up to or a combination of play- • Glide automation ing back and recording up to 96 mono tracks (96 available tracks or 48 stereo • Trim automation voices) at 88.2 kHz and 96 kHz • Write automation to Start, End, or All • Playback of up to or a combination of play- • Write automation to next breakpoint or ing back recording up to 48 mono and punch point tracks (48 available tracks or 24 stereo • Overwrite or extend Mute automation voices) at 176.4 kHz and 192 kHz • Snapshot automation ™ • Ability to use QuickPunch on up to 64 tracks •Preview automation • Up to 160 Auxiliary Input tracks per session • Capture automation • Up to 128 Instrument tracks • VCA Master track automation • Advanced Group dialog: • Advanced video features: •VCA assignments • Multiple video tracks • Attributes tab • Multiple video playlists • Follow globals • Video editing 56 Pro Tools Reference Guide

79 • Preferences Checking For Software • Back/Forward Amount Updates •Shuttle • Auto Region Fade In/Out Length Pro Tools can check for Pro Tools application and plug-in updates, either automatically or • Use Absolute Pan Linking nnection is required to manually. An internet co • Suppress Automation “Write To” Warning be able to check for updates. Approximately ev- • Allow Latch Prime in Stop ery two weeks, Pro Tools checks online for any • Coalesce when Removing Slaves from VCA available application and plug-in updates. Group If updates are available for Pro Tools or any • Standard VCA Logic for Group Attributes plug-ins, Pro Tools reports what updates (if any) • Include Sends in Trim Mode are available and how important the updates are • AutoGlide Time for your system. You can visit the Avid website • Coalesce Trim Automation Options to locate, download, and install the appropriate • D-Control support updates for your Pro Tools system. • D-Command support To manually check for updates: using D-Control and For information about 1 Launch Pro Tools. D-Command worksurfaces with Pro Tools, Help > Check For Updates Choose 2 . see the D-Command and D-Control Guides. 3 Do one of the following: • If no updates are available, click OK . Additional Software with – or – Complete Production Toolkit 2 • If updates are available, do one of the Complete Production Toolkit 2 includes addi- following: tional software for working with Pro Tools: Details to launch your web browser • Click Neyrinck SoundCode Stereo Down Mixer and see what updates are available for For monitoring 5.1 surround sessions Plug-In download. (down mixed to stereo) wi th all audio interfaces if you do not want to review Not Now • Click including 2 channel interfaces (such as the or download updates until later. Mbox Mini). This plug-in also lets you quickly and easily create stereo mixes from 5.1 surround To disable automatic checking for updates: sessions. „ In the Software Update dialog, select the X-Form Plug-In For high-quality time compres- Do Not Check For Updates Automatically option. sion and expansion, and formant corrected pitch-shifting (based on the Radius algorithm To enable automatic checking for updates: from iZotope). . Help > Check For Updates Choose 1 2 In the Software Update dialog, deselect the Do Not Check For Updates Automatically option. 57 Chapter 5: Pro Tools Systems

80 Pro Tools Reference Guide 58

81 Chapter 6: System Setup Do one of the following, depending on your 7 You can review and update your system’s setup to ensure it is configured for your needs. Pro Tools system: • For Pro Tools|HD systems, with the volume of all output devices lowered, turn on your your Pro Tools|HD audio interfaces (such as Starting Up or Shutting Down HD OMNI or 192 I/O). Wait at least fifteen Your System seconds for your system hardware to ini- tialize. To ensure that the components of your Pro Tools system communicate properly with – or – each other, you need to start them in a particu- • For Pro Tools systems that use hardware re- lar order. quiring external power (such as 003), turn on the hardware. Start up your Pro Tools system in this order: 8 Turn on your computer. Make sure all your equipment (including your 1 9 third-party audio or Launch Pro Tools or any computer) is off. MIDI applications. 2 Lower the volume of all output devices in your system. Shut down your Pro Tools system in this order: For Pro Tools|HD systems with an expansion 3 1 Quit Pro Tools and any other running applica- chassis, turn on the chassis. tions. 4 Turn on any external hard drives. Wait ap- To quit Pro Tools, choose File > Exit proximately ten seconds for them to spin up to (Windows) or Pro Tools > Quit (Mac). speed. 2 Turn off or lower the volume of all output de- Turn on any worksurfaces (such as 5 vices in your system. surfaces (such as D-Command) or control Command|8). 3 Turn off your computer. 6 Turn on any MIDI interfaces, MIDI devices, or synchronization peripherals. 59 Chapter 6: System Setup

82 In most cases, the default settings for your sys- 4 Do one of the following depending on your tem provide optimum performance, but you Pro Tools system: may want to adjust them to accommodate large • For Pro Tools|HD systems, turn off your or processing-intensive Pro Tools sessions. Pro Tools audio interfaces. – or – • For Pro Tools systems that use hardware re- quiring external power (such as 003), turn off the hardware. For Pro Tools|HD systems with an expansion 5 chassis, turn off the chassis. 6 Turn off any MIDI interfaces, MIDI devices, or synchronization peripherals. Turn off any worksurfaces (such as 7 surfaces (such as D-Command) or control Command|8). 8 Turn off any external hard drives. Checking a Pro Tools|HD or Playback Engine for Pro Tools|HD system Pro Tools|HD Native System with DigiTest Before you use Pro Tools, you may want to run the DigiTest diagnostic application to ensure that all Pro Tools|HD cards in the system are rec- ognized, installed in the proper order, and have valid TDM FlexCable connections. See the Digi- for more information. Test Guide Configuring Pro Tools System Settings Pro Tools lets you adjust the performance of system settings that your system by changing affect its capacity for processing, playback, and recording. These system settings are available in Setup > Playback the Playback Engine ( Engine ). Playback Engine for Pro Tools Mbox 2 system 60 Pro Tools Reference Guide

83 When changing engines with a Pro Tools ses- Current Engine sion open, Pro Tools must close and relaunch In the Playback Engine dialog, Pro Tools lets you the session to be able to initialize the new en- select the audio engine for use with your audio gine. interfaces. The available options are determined On Pro Tools|HD systems, changing engines re- by which audio interfaces are connected and quit and relaunch Pro Tools for quires that you have compatible drivers installed. the new setting to take effect. setting can be use- Current Engine Changing the ful if you have multiple audio interfaces con- When changing engines on any Pro Tools nected to your computer with different routing system, you may need to reset the default udio, or if you want to configurations in your st I/O settings to match the selected audio in- prepare a session for use with a specific interface terface. on a different system (for example you might Pro Tools Aggregate I/O want to prepare a session created on your Pro Tools|HD system for use with the built-in (Mac Only) audio on your Mac laptop). On Mac systems using Core Audio, you can use Pro Tools with the built-in audio inputs and To select which audio engine for Pro Tools uses: outputs on your Mac by selecting any of the Choose 1 Setup > Playback Engine . available built-in inputs and outputs, or by se- option for us- Pro Tools Aggregate I/O lecting the From the Current Engine 2 selector, select your ing a combination of built-in inputs and out- audio interface: puts simultaneously (for recording and • For Pro Tools|HD and Pro Tools|HD Native monitoring). HD TDM systems, use the default setting of HD Native . or • For supported Pro Tools and M-Audio au- dio interfaces (such as the Mbox Pro or Pro- Fire 2626), selecting the name of the corresponding interface uses the Direct I/O engine for Pro Tools. • For third-party audio interfaces with com- patible CoreAudio (Mac) or ASIO (Win- Selecting Pro Tools Aggregate I/O in the Playback Engine (Mac only) dows), select the name of the corresponding Core Audio (Mac) or ASIO (Windows) compatible audio interface. • On Mac systems, if you are using built-in audio, select any of the available built-in options for playback or select Pro Tools Ag- for simultaneous input and out- gregate I/O put with the built-in I/O hardware options. 3 . OK Click 61 Chapter 6: System Setup

84 • On Pro Tools|HD systems, lower settings re- You can configure the Input and Output op- duce monitoring latency that occurs on tions for Pro Tools Aggregate I/O in the Mac Au- tracks that have one or more RTAS plug-ins. dio Setup, which can be accessed from the Lower settings can also improve the accu- Pro Tools Hardware Setup. racy of MIDI track timing on systems with- If you need simultaneous input (recording) out a MIDI interface that supports time and output (playback and monitoring) with stamping. Lower settings also improve Pro Tools using the built-in audio options tracks using MIDI MIDI track timing on on Mac, use the Pro Tools Aggregate I/O op- virtual instruments that do not support tion. If you only need to playback audio for time stamping. editing and mixing, select the appropriate • Higher Hardware Buffer Size settings are use- built-in audio output option. e using more RTAS plug- ful for sessions that ar ins for playback. These settings allow for more Hardware Buffer Size audio processing. They can also be useful to ines that require a reduce errors on mach H/W Buffer Size The Hardware Buffer Size ( ) in the higher buffer size. Playback Engine controls the size of the buffer used to handle host proce ssing tasks such as pro- To change the Hardware Buffer Size: cessing with Real-Time AudioSuite™ (RTAS) plug-ins. 1 . Setup > Playback Engine Choose • Lower Hardware Buffer Size settings are useful 2 pop-up menu, select H/W Buffer Size From the for improving latency issues in certain record- the audio buffer size, in samples. ing situations or for improving certain system OK . Click 3 performance problems: • On all Pro Tools systems, lower settings re- duce RTAS MIDI-to-audio latency (such as Host Processors when playing an RTAS virtual instrument Host Processors The setting in the Playback En- live and monitoring the instrument’s out- gine determines the number of processors in put). Lower settings can also improve your computer allocated for RTAS (Real-Time screen response or the accuracy of plug-in AudioSuite) plug-in processing and other host and mute automation data. processing tasks. • On host-based Pro Tools systems, lower set- tings reduce all input-to-output monitor- With computers that have multiple processors, ing latency on any record-armed tracks or re processing or hyper- or that feature multi-co Auxiliary Input tracks with live inputs. threading, this setting lets you enable multipro- cessor support for host processing tasks. Used in setting, CPU Usage Limit combination with the setting lets you control the the Host Processors way host-processing tasks are handled by the system. 62 Pro Tools Reference Guide

85 • Choose 2 Processors to enable load balanc- For example: ing across two available processors for • For sessions with large numbers of RTAS plug- Pro Tools host processing tasks. ins, you can allocate 2 or more processors to • On systems running four or more proces- RTAS processing and set a high CPU Usage sors, choose the number of processors for . Limit Pro Tools host processing tasks. • For sessions with few RTAS plug-ins, you can allocate fewer processors to RTAS processing 3 OK Click . to leave more CPU Usage Limit and set a low System Usage Window and Host Processing CPU resources available for automation accu- racy, screen response, and video. The System Usage window ( Windows > System • Increase these settings to accommodate TDM Usage ) displays the combined amount of host to RTAS plug-in conversion. Conversely, de- processing occurring on all enabled processors crease these settings if you are only using with a single indicator, regardless of how many TDM plug-ins or are converting RTAS plug-ins processors are available in the system. If the Sys- to TDM. TDM/RTAS conversion can be desir- tem Usage Window shows that you are at the able during recording, depending on latency, limit of available resources, increase the number voicing needs, and record-monitoring capa- and adjust the CPU Usage Host Processors of bilities of the specific TDM and RTAS plug-ins. setting. (For more information, see “Sys- Limit tem Usage” on page 80.) • Depending on the importance of video and overall screen response, and on the density of automation being employed, try different CPU Usage Limit combinations of Host Processors and CPU Us- The CPU Usage Limit setting in the Playback En- settings to achieve the best results. age Limit gine controls the percentage of CPU resources For example, to improve screen response in a allocated to Pro Tools host processing tasks. medium-sized session using a moderate num- Used in combination with the Host Processors ber of RTAS plug-ins, try reducing the number setting lets you con- CPU Usage Limit setting, the of RTAS plug-ins, but keep the CPU Usage Limit trol the way Pro Tools tasks are carried out by set to the maximum (up to 99% on a single the system. processor system). CPU Usage Limit settings limit the effect •Lower To set the number of Host Processors: of Pro Tools processing on other CPU-inten- sive tasks, such as screen redraws, and are use- . Setup > Playback Engine Choose 1 ful when you are experiencing slow system From the Host Processors pop-up menu, select 2 response, or when running other applications processors you want to the number of available at the same time as Pro Tools. allocate. The number of processors available var- •Higher settings allocate more CPU Usage Limit ies depending on how many processors are processing power to Pr o Tools, and are useful available on your computer: for playing back large sessions or using more to limit host processing 1Processor • Select RTAS plug-ins. for Pro Tools to one CPU in the system. 63 Chapter 6: System Setup

86 • Enable error suppression only if you are expe- CPU Usage Limit de- The maximum available riencing frequent errors that are interrupting pends on the number of processors in your com- your creative workflow. When error suppres- puter and on the number of processors you spec- sion is enabled, you can experience a degrada- ify for host processing. This value can range tion of audio quality. However, this may be from 85% for single-processor computers (ex- acceptable in order to avoid interrupting play- cept for 003, 003 Rack+, 003 Rack, Digi 002, and back and recording when working with in- Digi 002 Rack, which have a limit of 99%), and strument plug-ins. 99% for multiprocessor computers (which dedi- cate one entire processor to Pro Tools). • Disable error suppression when you need to ensure the highest possible audio quality, On multiprocessor computers, the maximum such as for a final mix. CPU Usage Limit is reduced when you use all your processors (as selected in the Host Processing To enable error suppression: pop-up menu). For example, on dual-processors, the limit is 90%. On four-processor computers, 1 Choose . Setup > Playback Engine the limit is 95%. . Ignore Errors During Playback/Record Select 2 Increasing the CPU Usage Limit may slow 3 If available, you can also select Minimize Addi- on slower computers. down screen responses . tional I/O Latency To change the CPU Usage Limit: Click . OK 4 Setup > Playback Engine Choose 1 . Error Suppression Options pop-up menu, select CPU Usage Limit From the 2 Ignore Errors During Playback/Record When en- the percentage of CPU processing you want to abled, Pro Tools continues to play and record allocate to Pro Tools. ng requirements exceed even if the host processi OK . 3 Click . This can result in CPU Usage Limit the selected pops and clicks in the audio, but does not stop the transport. Host Engine (Error Suppression) Minimize Additional I/O Latency (Host-based options in the Playback Engine Host Engine The When enabled, any ad- Pro Tools Systems Only) determine error reporting during playback and ditional latency due to suppressing errors during recording. This is especially useful when work- playback and record is minimized to 128 sam- ing with instrument plug-ins. ples. Suppressing errors requires at least 128 Host On Pro Tools|HD systems, there is a single samples of additional buffering on some sys- option. On host-based Pro Tools systems, Engine tems. If this option is disabled, the buffer is half there are two Host Engine options. the H/W Buffer Size , or at least 128 samples (whichever is greater). If you are on an older, slower computer, you may want to disable this option to avoid adverse performance. 64 Pro Tools Reference Guide

87 To change the Number of Voices and DSP to Ignore Errors This option is only available if the allocate for voicing: option is enabled and During Playback/Record the Pro Tools system you are using requires ad- Setup > Playback Engine Choose 1 . ditional buffering for error suppression, as fol- 2 Select the number of voices and DSPs to allo- lows: cate for voicing by selecting a value from the •Windows: Number of Voices pop-up menu as follows: • Mbox Pro and Mbox 2 Pro • Select minimum voice numbers if you are • All Pro Tools systems with M-Audio devices using high-bandwidth PCI or PCIe cards (such as video capture cards) along with •Mac: your Pro Tools|HD cards. These settings • 003 family devices place the lightest processing load on each •Eleven Rack allocated DSP chip, but generally require • Mbox family devices more DSP chips be dedicated to voicing • Digi 002 and 002 Rack and mixing (leaving fewer available for • All Pro Tools systems with M-Audio devices plug-ins). • Pro Tools Aggregate I/O • Select medium voice numbers when your Pro Tools|HD cards are in an expansion chassis, or when you are using other PCI or Number of Voices PCIe cards along with Pro Tools|HD cards. (Pro Tools HD Only) These settings generally provide an opti- mum balance between number of chips On Pro Tools|HD systems, the Number of Voices needed for voicing, an d the processing load setting in the Playback Engine lets you control placed on each. the number of available voices and how those • Select higher voice numbers when your Ps in your system. For voices are allocated to DS Pro Tools|HD cards are the only PCI or PCIe example, the default number of voices on a cards in your computer, or when you are Pro Tools|HD 1 system is 48 voices, using one using an expansion chassis to run higher DSP (at sample rates of 44.1 kHz or 48 kHz). track counts (such as 64 tracks at 96 kHz) Changing the number of voices affects and you want more voices per DSP (such as DSP usage, the total number of voiceable tracks, 16 voices per DSP at 96 kHz). These settings and overall system performance. use fewer DSP chips for mixing (leaving more available for plug-ins) but place the Depending on the session sample rate and the highest processing load on each. number of Pro Tools|HD cards in your system, there are different choices for voice count. For 3 . OK Click voice limits on different Pro Tools|HD systems, and Voice Limits with see “Playback, Recording, Pro Tools HD” on page 44. 65 Chapter 6: System Setup

88 Delay Compensation Engine Sample Rate (Playback Engine) (Pro Tools HD Only) setting in the Delay Compensation Engine The Playback Engine determines how much DSP re- The Sample Rate setting in the Playback Engine sources are dedicated to Pro Tools Delay Com- determines the default sample rate when you pensation, which manages DSP and host-based create a new session. This setting is available delays in the Pro Tools mixer. only when there is no session open. Otherwise, the current session sample rate is displayed, but Within a session, you can choose to enable or cannot be changed. Options > Delay disable Delay Compensation ( ). Compensation The Sample Rate setting can affect the number of available voices. see “Delay Compen- For more information, sation” on page 956. You can change the sample rate when To configure the Delay Compensation Engine: session by selecting creating a new Pro Tools . Setup > Playback Engine Choose 1 a different sample rate in the New Session dialog. ( See “Creating a New Session” on 2 From the Delay Compensation Engine pop-up page 158.) You can also change the default , or Long menu, select . None , Short Sample Rate in the Hardware Setup, as long 3 OK . Click as no session is open. To make a copy of a session with a new Delay Compensation Settings sample rate, use Save Copy In. There are three settings in the Playback Engine To change the default Sample Rate in the to dedicate processing resources for Delay Com- Playback Engine: pensation: With no session open, choose 1 Setup > Playback Allocates no resources for Delay Compen- None Engine . sation. Sample Rate Select the sample rate from the 2 Short Allocates minimum resources for Delay pop-up menu. Compensation for each channel. This is the . OK Click 3 most efficient setting. For sessions with only a few plug-ins that do not induce too much DSP and host–based delay, this setting should be suf- ficient. Allocates maximum resources for Delay Long Compensation for each mi xer channel. For ses- sions with a lot of plug-ins resulting in a large ed delay, select this amount of DSP and host–bas setting. 66 Pro Tools Reference Guide

89 To change the DAE Playback Buffer Size: DAE Playback Buffer Size Setup > Playback Engine Choose 1 . DAE Playback Buffer Size The setting in the Play- back Engine determines the amount of memory From the pop-up menu, se- DAE Playback Buffer 2 DAE allocates for disk buffers. In addition to lev- lect a buffer size. Memory requirements for each shows values in els, the DAE Playback Buffer Size setting are shown at the bottom of the Playback milliseconds, which indicate the amount of au- Engine dialog. dio buffered when the system reads from disk. 3 . OK Click The optimum DAE Playback Buffer Size for most 4 If Pro Tools needs more system memory for disk operations is 1500 msec; Level 2 (Default) . it will prompt you to the DAE Playback Buffer, settings lower than • DAE Playback Buffer Size restart your computer. may improve 1500 msec; Level 2 (Default) playback and recording initiation speed, as Cache Size well as preview in context in DigiBase brows- ers. However, a lower setting may make it dif- Cache Size setting in the Playback Engine The ficult to play or record tracks reliably with determines the amount of memory DAE allo- sessions containing a large number of tracks cates to pre-buffer audio for playback and loop- or a high density of edits, or with systems that ing when using Elastic Audio. have slower or heavil y-fragmented hard Reduces the amount of system mem- Minimum drives. ions and frees up mem- ory used for disk operat DAE Playback Buffer Size settings higher than • ory for other system tasks. However, perfor- allow higher track 1500 msec; Level 2 (Default) mance when using Elasti c Audio features may edits in a session, or count, higher density of decrease. the use of slower hard drives. However, a higher setting may increase the time lag when Normal Is the optimum Cache Size for most ses- cording, starting pre- starting playback or re sions. view in context from DigiBase browsers, or Large Improves performance when using Elastic cause a longer audible time lag while editing Audio features, but it also decreases the amount during playback. of memory available for other system tasks, such Using a larger DAE Playback Buffer Size as RTAS processing. leaves less system memo ry for other tasks. Using a larger Cache Size leaves less system The default setting of 1500 msec (Level 2) is memory for other tasks. The default setting recommended unless you are encountering of Normal is recommended unless you are –9073 (“Disk too slow or fragmented”) encountering -9500 (“Cache too small”) errors. errors. 67 Chapter 6: System Setup

90 To change the Cache Size: Plug-In Streaming Buffer Size 1 Setup > Playback Engine Choose . (Structure Plug-In Only) 2 pop-up menu, select a Cache Size From the This setting appears in the Playback Engine only disk cache size. strument plug-in is in- if the Structure sampler in stalled on your system (this applies to Structure OK Click 3 . Plug-In Stream- LE and Structure Free as well). The ing Buffer Size determines the amount of mem- System Memory Allocation ory DAE allocates for st reaming playback from disk with the Structure plug-in. This setting only (Pro Tools HD Only) affects playback if disk streaming is activated in When you start your computer, Pro Tools auto- AIR Virtual Structure’s plug-in controls (see the matically reserves a portion of system memory for more information). Instruments Guide for the DAE Playback Buffer. This reserved mem- for Plug-In Streaming Buffer Size The optimum ory is unavailable to other applications, even if . most sessions is 250 ms; Level 2 (Default) Pro Tools is not running. settings lower • Plug-In Streaming Buffer Size You can set Pro Tools to reserve only the mini- reduce the than 250 ms; Level 2 (Default) mum amount of required memory, so that more amount of system memory used for sample ilable to other applica- system memory is ava playback and frees up memory for other sys- tions. tem tasks. However, reliability of sample play- back may decrease. To minimize system memory allocation: settings higher • Plug-In Streaming Buffer Size 1 Choose Setup > Playback Engine . than improve the re- 250 ms; Level 2 (Default) 2 Select the Minimize System Memory Allocation liability of sample playback, but they also de- option. crease the amount of memory available for other system tasks, such as RTAS processing. 3 Click OK . Using a larger Plug-In Streaming Buffer Size 4 Do one of the following: leaves less system memo ry for other tasks. • On Mac systems, if prompted, enter your The default setting of 250 ms (Level 2) is password, then restart your computer. recommended unless you are experiencing – or – problems with the reli ability of streaming • On Windows systems, restart your playback from disk. computer. To change the Plug-In Streaming Buffer Size: . 1 Choose Setup > Playback Engine Plug-In Streaming Buffer Size From the pop-up 2 menu, select a buffer size. OK . 3 Click 68 Pro Tools Reference Guide

91 Optimizing the Plug-In Streaming Configuring Pro Tools Buffer Size Hardware Settings (Structure Plug-In Only) Pro Tools lets you configure the signal routing, This option appears in the Playback Engine only digital I/O format, default sample rate, clock if the Structure plug-in is installed on your sys- source, and other hardwar e-based settings de- tem. This option is useful when you are playing pending on your system configuration. These samples from the same drive that contains audio system settings are available in the Hardware en this option is se- for the current session. Wh ). Setup > Hardware Setup ( lected, Pro Tools automatically optimizes the size of the Plug-In Streaming Buffer to facilitate disk access from both Pro Tools and Structure. Plug-In Streaming Buffer Size pop-up menu is The unavailable when this option is selected. matically optimize the To set Pro Tools to auto Plug-In Streaming Buffer Size: 1 Choose Setup > Playback Engine . Optimize for Streaming Content on Select the 2 Hardware Setup for HD OMNI, Main page Audio Drives option. . 3 Click OK Configuring MIDI Setup If you plan to use any external MIDI devices with Pro Tools (such as controllers, keyboards, synthesizers, drum machines, samplers, se- quencers, or sound modules), you may want to configure your MIDI se tup using Audio MIDI Hardware Setup for Mbox 2 Setup (Mac) or MIDI Studio Setup (Windows). For information on co nfiguring MIDI, see Chapter 10, “Configuring MIDI.” Hardware Setup for an ASIO device 69 Chapter 6: System Setup

92 Launch Setup App Selecting an Audio Interface to Configure (Pro Tools with Mbox Family, M-Audio, or Third-Party Audio Interfaces Only) Peripherals The list in the Hardware Setup lets rface connected to your you select any audio inte Using the setup application (control panel) for Pro Tools system associated with the selected your audio interface, yo u can change settings in setting in the Playback Engine di- Current Engine the following areas depending on your audio in- alog. terface: •Mixer Settings setting to use a spe- Current Engine To change the • Output Settings cific audio interface or DAE (such as HD TDM, 003, a third-party Core Audi o or ASIO interface, luding sample rate, • Hardware Settings (inc or Pro Tools Aggregate I/O), see “Current En- hardware buffer size, and sync source). gine” on page 61). You can set the sample rate when creating a For Pro Tools|HD audio interfaces (such as HD new Pro Tools session by selecting a differ- OMNI or HD I/O) you can configure the signal ent sample rate in the New Session dialog. routing, digital I/O format, default sample rate, To change control panel settings: rdware-based settings clock source, and other ha for each HD peripheral connected to your sys- In the Hardware Setup dialog, click the 1 Launch tem. Setup App button. For Pro Tools audio interfaces (such as 003 or 2 To change settings in the Control Panel, see Mbox 2) you can configure the signal routing, the documentation that came with your audio digital I/O format, default sample rate, clock interface. source, and other hardware-based settings de- 3 When finished, close the Control Panel. pending on your system configuration For third-generation Mbox family audio inter- faces, M-Audio audio interfaces, and third-party Core Audio (Mac) and ASIO (Windows) compat- Launch Setup App ible audio interfaces, use the button to launch the control panel for configur- ing your specific audio interface. 70 Pro Tools Reference Guide

93 Configuring Pro Tools Aggregate I/O (Mac Only) On Mac systems using Core Audio, you can se- Current Engine Pro Tools Aggregate I/O lect as the inputs and outputs on to use the built-in audio your Mac computer. You can configure the Pro Tools Aggregate I/O setting in the Mac Au- dio Setup, which can be accessed from the Pro Tools Hardware Setup. To configure Pro Tools Aggregate I/O settings: Pro Tools Aggregate I/O in the Audio Devices window Setup > Hardware 1 Choose . Configuring Default Sample Rate list, select Peripherals In the 2 Pro Tools Aggre- Setting in Hardware Setup gate I/O —or whichever Built-in input or output in the Current Engine option is selected as the setting in the Hardware Setup Sample Rate The Playback Engine. dialog determines the default sample rate when you create a new session. This setting is available only when there is no session open. Otherwise, the current session sample rate is displayed, but cannot be changed. On Pro Tools HD, you can change the default Sample Rate in the Hardware Setup, or in the Playback Engine. On Pro Tools HD, the Sample Rate setting can affect the number of available voices. Hardware Setup for Pro Tools Aggregate I/O (Mac only) On Pro Tools, you can only change the default Launch Setup App button. 3 Click the sample rate in the Hard ware Setup or using the In the Audio Devices window of the Mac Au- 4 control panel for M-Audi o and third-party audio dio Setup, configure the Pro Tools Aggregate I/O interfaces. settings. You can change the sample rate when creating a new Pro Tools session by selecting a different sample rate in the New Session dialog. 71 Chapter 6: System Setup

94 To change the default Sample Rate in the Configuring Digital Format and Hardware Setup: Hardware Routing Setup > Hardware Setup. 1 Choose The Hardware Setup includes additional settings for configuring the digi tal format and hardware 2 Select the sample rate from the Sample Rate routing for your system’s audio interfaces. pop-up menu. OK . 3 Click For an outline of the configuration of a Pro Tools|HD system with one or more Pro Tools|HD interfaces, see “Configuring Configuring Clock Source Pro Tools|HD Hardware Settings” on page 72. The Pro Tools Hardware Setup lets you select the To configure specific hardware settings for for the system. Clock Source other Pro Tools, M-Audio, or third-party Changes made to Clock Source in the Session audio interfaces, see the documentation Setup window will be reflected in the Hard- that came with your audio interface. ware Setup window and vice versa. Selecting Footswitch Control Internal If you are recording an analog signal di- (003 and 002 Only) rectly into Pro Tools, you will usually use the Internal clock source. Pro Tools The footswitch connector on your 003 or 002 family interface lets you use a footswitch pedal External If you are transferring material into k start/stop or record- to control either playbac Pro Tools from an external digital device, or if ing punch in/out. Both QuickPunch audio you utilize a common house clock signal, you punch-in and punch-out and MIDI punch-in will synchronize Pro Tools to that digital device ing are supported. and punch-out record or common signal. Record Punch In/Out Select this option to use a Depending on your audio interface, external op- footswitch connected to your 003 or 002 family AES/EBU [Encl] tions can include Optical , S/PDIF , interface to punch in and punch out during re- [Encl] , AES/EBU 1–8 , TDIF , ADAT , and Word Clock . cording. For details, see the guide for your audio inter- face. Playback Start/Stop Select this option to use a footswitch connected to your 003 or 002 family To select the Clock Source: interface to start and stop playback. Setup > Hardware. 1 Choose 2 Choose the clock source from the Clock Source pop-up menu. Configuring Pro Tools|HD Hardware Settings . Click OK 3 On Pro Tools|HD and Pro Tools|HD Native sys- Your digital input device must be connected tems, you configure Hardware settings for each and powered on for Pro Tools to synchro- audio interface connected to your system (see t device is not powered nize to it. If your inpu Chapter 5, “Pro Tools Systems.”) on, leave the Clock Source set to Internal. 72 Pro Tools Reference Guide

95 For example, Pro Tools|HD systems can have Configuring Pro Tools|HD Audio HD I/O, HD OMNI, HD MADI, 192 I/O, Interfaces 192 Digital I/O, 96 I/O, or 96i I/O audio inter- HD OMNI supports up to eight channels of si- faces connected to Accel Core or HD Core and multaneous I/O and multip le I/O formats (such HD Accel or HD Process cards in the system. The as analog, AES/EBU, ADAT Optical, and S/PDIF). HD I/O, HD OMNI, 192 I/O, 192 Digital I/O, HD I/O, 192 I/O, 192 Digital I/O, 96 I/O, and 96i and 96 I/O can also have additional interfaces I/O audio interfaces support sixteen channels of attached using the Expansion port on each simultaneous I/O and multiple I/O formats interface. (such as analog, AES/EBU, ADAT Optical, S/PDIF, and TDIF). HD MADI supports up to 64 Identifying Audio Interfaces channels of MADI I/O. If you have multiple audio interfaces of the The Main page of the Hardware Setup is where same type connected to your system, before you you define which physic al inputs and outputs make audio connections to them, you should on your audio interface are routed to available confirm the identity of each interface. This en- inputs and outputs in Pro Tools. You can think sures that you choose the appropriate interface of this window as a patchbay that allows you to in the Peripherals list when you define its inputs route any of the inputs or outputs on your and outputs in the Hardware Setup. Pro Tools|HD audio interfaces to channel as- signments in the Pro Tools mixer. To identify audio interfaces in your system: Setup > Hardware. 1 Choose From the Peripherals list, select an audio inter- 2 face connected to your system. Use the Up and Down Arrow keys to scroll though the Peripherals list in the Hardware Setup. 3 Make sure the Main page is shown. Hardware Setup for HD I/O, Main page Identify 4 Select the option, located in the lower Additional pages are available to configure other left corner of the Hardware Setup. This illumi- controls for each audio in terface (such as setting nates all the LEDs on the front panel of the se- operating levels). lected audio interface. Make a note of which interface in your studio 5 To configure Pro Tools|HD audio interfaces: setup corresponds to the identified interface. 1 Choose Setup > Hardware. 6 Repeat the above steps for each additional au- 2 From the Peripherals list, select the dio interface in your setup. Pro Tools|HD audio interface connected to the . This will be the inter- first card in your system face at the top of the list. 73 Chapter 6: System Setup

96 Inputs and outputs of si milar format are differ- Main Click the 3 tab. entiated in the input and output channel pop- Press Command+Left or Right Arrow keys up menus. For example, the AES/EBU inputs and (Mac) or Control+Left or Right Arrow keys outputs in the HD I/O enclosure are listed as (Windows) to move though the different , while the AES/EBU inputs and AES/EBU [Encl] pages of the Hardware Setup. outputs on the factory-installed Digital I/O card AES/EBU 1–2, AES/EBU are listed (in pairs) as From the 4 Clock Source pop-up menu, select 3–4, AES/EBU 5–6, AES/EBU 7–8 . For and the appropriate clock source for the interface. HD I/Os equipped with a second Digital I/O Card, the additional AES/EBU I/O ports on the In many cases, you will use Internal . The other optional card are listed as AES/EBU 9–10, choices are for resolving Pro Tools to external and AES/EBU 11–12, AES/EBU 13–14, AES/EBU clock sources. Depending on your audio inter- 15–16. face, Clock Source options can include: AES/EBU [Encl], S/PDIF, Optical [Encl], AES/EBU 1–8, TDIF, ntrols for your audio Configure any specific co 9 and Word Clock (optional Word Clock ADAT, interface: rates are available when operating at higher • “Configuring HD OMNI Controls” on sample rates). page 75. If you want to send clock output to other de- 5 • “Configuring HD I/O Controls” on vices attached to the audio interface, select the page 76. appropriate output from the Ext. Clock Output • “Configuring HD MADI Controls” on pop-up menu. page 77. Select which digital I/O port on your audio in- 6 • “Configuring 192 I/O and 192 Digital I/O terface enclosure is active by selecting the corre- Controls” on page 77. sponding option under Digital Format . • “Configuring 96 I/O Controls” on page 78. Depending on the type of interfaces in your sys- • “Configuring 96i I/O Controls” on Opti- and AES/EBU, S/PDIF, tem, choices include page 79. cal (S/PDIF) . Selecting Optical (S/PDIF ) resets the 10 For additional Pro Tools|HD interfaces, Optical I/O port (which is, by default, eight choose the interface in th e Peripherals list, and channels of ADAT Optical I/O) to two channels repeat the above steps. of S/PDIF Optical I/O. 7 For S/PDIF compatibility with Tascam DA-30 See your peripheral’s guide for additional option under DAT recorders, select the Tascam and restrictions. For configuration details S/PDIF Format. example, the Optical 1–8 channels (on the 192 I/O enclosure) will not be available at Input and Output channel pop-up 8 From the session sample rates of 88.2 kHz or higher, Analog menus, select the phys ical ports (such as while the ports on the 192 I/O Digital I/O ), that will be routed to the Optical 1–2 or 1–2 card will still be available. put and output chan- corresponding Pro Tools in nels (such as Ch 1–2, Ch 3–4), listed on the left side of the Main page. 74 Pro Tools Reference Guide

97 5 Analog In tab and configure the Click the Configuring HD OMNI Controls options. n about configuring For detailed informatio HD OMNI, see the HD OMNI Guide. To configure HD OMNI in Pro Tools: . Setup > Hardware 1 Choose 2 From the Peripherals list, select the HD OMNI audio interface. tab and configure the op- Monitor Click the 3 tions. When working with HD OMNI, you HD OMNI Hardware Setup, Analog In page should always configure the Monitor page first. Analog Out 6 Click the tab and configure the options. HD OMNI Hardware Setup, Monitor page Main Click the tab and configure the options. 4 HD OMNI Hardware Setup, Analog Out page tab and configure the options. Mixer Click the 7 HD OMNI Hardware Setup, Main page HD OMNI Hardware Setup, Mixer page . OK When you are finished, click 8 75 Chapter 6: System Setup

98 If you have two HD I/O AD cards, click the An- 5 Configuring HD I/O Controls tab and configure the options. alog In 9–16 For detailed informatio n about configuring HD I/O, see the HD I/O Guide. To configure controls for HD I/O: 1 Choose Setup > Hardware . From the Peripherals list, select the HD I/O au- 2 dio interface. 3 tab and configure the options. Main Click the HD I/O Hardware Setup, Analog In 9–16 page If you have at least one HD I/O Digital card, 6 tab and configure the options. click the Digital HD I/O Hardware Setup, Main page If you have at least one HD I/O AD card, click 4 tab and configure the options. If the Analog In you have two HD I/O AD cards, this tab is la- HD I/O Hardware Setup, Digital page beled . Analog In 1–8 If you have two HD I/O Digital cards, click the 7 Digital tab and configure the options. second 8 When you are finished, click OK . HD I/O Hardware Setup, Analog In page 76 Pro Tools Reference Guide

99 Configuring HD MADI Controls Configuring 192 I/O and 192 Digital I/O Controls For detailed informatio n about configuring To configure controls for a 192 I/O: HD MADI, see the HD MADI Guide. With the 192 I/O selected in the Peripherals 1 To configure controls for HD MADI: list, click the Analog In tab for the following op- Choose 1 . Setup > Hardware tions: • You can set your operating level on a chan- 2 From the Peripherals list, select either nel-by-channel basis by selecting Reference HD MADI Port 1 or HD MADI Port 2 and config- Level +4 dBu or –10 dBV. These settings ure the options. correspond to two different input connec- tors on the back of the 192 I/O. See the 192 I/O Guide for more information. • Each of the analog channels in the 192 I/O has two Input Trims, labeled A and B, for precisely calibrating and switching levels. on a chan- Input Trim A You ca n s e l e c t B or nel-by-channel basis. See the 192 I/O Guide for more information. •You can select Soft Clip on a channel-by- HD MADI Hardware Setup channel basis. The Soft Clip limiter attenu- ates the incoming analog signal, providing extra protection from temporary clipping The settings for HD MADI Port 1 and transients that can cause digital distortion HD MADI Port 2 are linked. Any changes when they exceed the maximum input of are global regardless of which is selected in the unit. With Soft Clip enabled, 192 I/O the Peripherals list. supports an additional 4 dB of headroom OK When you are finished, click 3 . by rounding off the top 4 dB to the clip point. This is useful for eliminating stray transients. Hardware Setup for 192 I/O, Analog In page Click the Analog Out tab for the following op- 2 tion: 77 Chapter 6: System Setup

100 • Each of the analog channels in the 192 I/O Configuring 96 I/O Controls and B , re- has two Output Trims, labeled A spectively. You can select Output Trim A or To configure controls for a 96 I/O: B on a channel-by-channel basis. With the 96 I/O selected in the Peripherals 1 list, configure your I/O front panel meters for in- put or output metering from the Meters pop-up. Click the Analog In tab for the following op- 2 tion: • You can set your operating level on a chan- nel-by-channel basis by selecting Reference 96 I/O Level +4 dBu or –10 dBV. See the for more information on setting op- Guide Hardware Setup for 192 I/O, Analog Out page erating levels. To configure controls for a 192 Digital I/O or 192 I/O with an optional Digital I/O card: „ On the 192 Digital I/O or a 192 I/O with an optional Digital I/O card, click the Digital tab to set the Input Format (AES/EBU, TDIF, or ADAT Optical) and enable real-time sample rate con- version (in channel pairs, with the SR Conver- sion option). Hardware Setup for 96 I/O, Analog In page At session sample rates above 48 kHz, sam- ple rate conversion for the TDIF and Optical Click the Analog Out tab for the following op- 3 (ADAT) inputs on the Digital I/O card is au- tion: tomatically enabled on all eight inputs of • You can set your outp ut level on a channel- the selected format. Reference by-channel basis by selecting or –10 dBV . See the 96 I/O Level +4 dBu for more information on setting op- Guide erating levels. Hardware Setup for 192 I/O, Digital page Hardware Setup for 96 I/O, Analog Out page 78 Pro Tools Reference Guide

101 To select analog or digital input for channels 1-2: Configuring 96i I/O Controls Choose Setup > Hardware , and select 96i I/O in 1 To configure controls for a 96i I/O: the Peripherals list to display the 96i I/O win- dow. 1 With the 96i I/O selected in the Peripherals list, configure your I/O front panel meters for in- 2 Click to set Ch 1–2 Input to Analog , or S/PDIF put or output metering from the Meters pop-up. as appropriate. 2 Set input sensitivity by doing the following: The 96i I/O only supports analog and digi- • For Inputs 1–4, set the input trim slider to tal switching for chan nels 1–2, and only match the output level of the connected in- from within the Hardware Setup and I/O strument. Choices rang e from –12 dBV to Setup. The 96i I/O does not support path re- +4 dBu. If you do not know the output mapping within I/O Setup. level of the device, use the default input trim level, then fine tune the input level Configuring I/O Setup sensitivity. • For each input 5–16 being used, select The I/O Setup provides a graphical representa- –8 dBV or +4 dBu as a ppropriate to best tion of the signal routing for each connected au- match the output level of the connected in- dio interface, with controls to route physical strument. ports on the audio interface to Pro Tools inputs and outputs. These contro ls mirror the routing 3 –10 dBV +4 dBu Set Output levels (select or ). controls found in the Hardware Setup—changes . 4 Click Done made to physical routing in one is always re- flected in the other. The I/O Setup lets you label and map Pro Tools input, output, insert, and bus signal paths. The I/O Setup also provides important audition, me- ter, and surround settings. For more informa- tion, see Chapter 7, “I/O Setup.” Hardware Setup for 96i I/O You can select analog or digital input as sources for 96i I/O channels 1–2. Only channels 1–2 can access the S/PDIF inputs. 79 Chapter 6: System Setup

102 Pro Tools output pairs can also be routed to mul- Routing a Pro Tools Output Pair to tiple audio interface outputs in the I/O Setup. Multiple Destinations For more information, see “Configuring Hard- Pro Tools channel pairs can be routed to multi- ware in I/O Setup” on page 96. ple physical outputs on an audio interface through the Hardware Setup. For example, if you assign Channels 1–2 to both System Usage Analog 3–4 , when you outputs and Analog 1–2 Meters in the System Usage window indicate send a signal to Pro Tools Channels 1–2, that how much of your system’s processing power is signal will be routed simultaneously to both being used in processing audio, and when writ- pairs of output ports on your audio interface. ing and playing back automation. This lets you send the same signal (such as a ste- reo pair, a stem mix, or a multichannel mix) to Activity Meter (All Pro Tools multiple destinations (s uch as multiple master- Systems) ing devices). All versions of Pro Tools provide four common To route a Pro Tools output channel pair to system Activity meters: multiple audio interface output ports: Displays the amount of PCI bus activity. PCI 1 . Setup > Hardware Choose CPU (RTAS) Displays the amount of CPU pro- From the Peripherals list, select an interface. 2 cessing activity for RTAS processing. tab. 3 Click the Main CPU (Elastic) Displays the amount of processing pop- Output Select an output port pair from an 4 activity for Real-Time Elastic Audio processing. up menu. Displays the amount of hard disk process- Disk Control-click (Mac) or Start-click (Windows) 5 ing activity. the same pop-up menu a second time to choose another available Output Port pair. Only currently unassign ed Output Port pairs are available. The output name updates with a plus sign (“+”) System Usage window (Pro Tools shown) before it to indicate that multiple output ports are selected. In the pop-up menu, each physical As these meters approach their limits, host pro- hat Pro Tools output pair port pair assigned to t cessing and recording or playback of automa- is indicated by a check mark. tion data can be affected. If CPU or PCI Activity are high, a system error may occur. If Disk Activ- Repeat the above steps to select additional 6 ity is high, Pro Tools may miss playback of some output destinations. The only limit to output automation data during particularly dense peri- choices is the number of outputs available in ods of activity, such as while using the Bounce your system. to Disk command. 80 Pro Tools Reference Guide

103 Additional System Usage Meters Managing System Resources in Pro Tools|HD Systems To monitor the usage of resources during a Pro Tools|HD systems (TDM only) provide three Pro Tools session: additional meters below the Activity meter (see „ Choose Window > System Usage . page 80): To reduce processing load, do one of the following: Displays the total number TDM Voices Allocated of TDM voices that can be allocated and the Reduce the density of automation in places „ number of voices currently allocated. This in- where it shows the most activity. For details, see cludes all voices whether they are allocated ex- “Thinning Automation” on page 1026. as well as any voices plicitly or dynamically, – or – used for routing RTAS processing. „ Turn off meters in Sends view, if enabled (by Displays the total number TDM Time Slots Used in the Dis- Show Meters in Sends View deselecting of TDM Time Slots available and the number of For details, see “Individ- play Preferences page). TDM Time Slots currently used. ual Send Views and Meters” on page 941. DSP Usage (HD Core and HD Accel) Displays (in percent) how much of each DSP chip on each DSP Caching Pro Tools|HD card is currently being used for (Pro Tools|HD Systems Only) mixer configurations and TDM plug-ins. Pro Tools HD (TDM only) maintains a Plug-In and Mixer cache for allocated DSP when closing and opening sessions. While this has no effect System Activity on the time it takes to open the first session after TDM Voices you launch Pro Tools, it does result in being able Allocated to open and close all subsequent Pro Tools ses- TDM Time sions much more quickly, especially when using Slots Used command or when opening the Revert To Saved similarly configured sessions. However, when using DSP caching, the System DSP Usage window may not always accurately show Usage the DSP resources your session is currently us- ing. For an accurate display of current DSP us- age, you can either disable DSP caching or purge the DSP cache. System Usage window (Pro Tools HD 2 Accel shown) 81 Chapter 6: System Setup

104 To enable (or disable) DSP Caching: 1 Open the System Usage window ( Windows > ). System Usage 2 Click the DSP Cache pop-up menu and select . (or deselect) Use DSP Cache System Usage window, DSP Cache pop-up menu To purge the DSP cache: 1 Windows > Open the System Usage window ( System Usage ). 2 Click the DSP Cache pop-up menu and select (or deselect) Purge Cache . This refreshes the Sys- tem Usage display. 82 Pro Tools Reference Guide

105 Chapter 7: I/O Setup I/O Setup also provides controls for PRE (Mic The I/O Setup provides tools to label, format, Preamp) signal paths, and Delay Compensation and assign Pro Tools input, output, insert, and settings for hardware inserts. both for individual ses- audio signal paths bus sions as well as for your specific Pro Tools system. Path Format selector Interface Name label Path Type tabs Path Name column Input and Output selectors Active/Inactive Status Channel Grid Options Path tools Import/Export Settings | HD system with HD OMNI and HD I/O I/O Setup on a Pro Tools 83 Chapter 7: I/O Setup

106 The I/O Setup displays a graphical representa- Resizing the I/O Setup tion ( cross-point matrix ) of the signal routing for physical input and output paths for each con- To resize the I/O Setup dialog, do one of the following: nected audio interface. Like a virtual patchbay, I/O Setup controls let you route physical inputs „ On Mac, drag the lower-right corner of the and outputs on the audio interface to Pro Tools window. input and output cha nnels. For Pro Tools|HD – or – ntrols mirror the rout- systems, some of these co ing controls found in the Hardware Setup — „ On Windows, drag any corner of the window. changes made to physical routing in one is al- ways reflected in the other. Navigating in the I/O Setup The I/O Setup also includes controls for creating To scroll left or right in the I/O Setup: internal mix busses and for creating and map- ping output busses. „ Press Option+Page Up/Down (Mac) or Alt+Page Up/Down (Windows). Opening the I/O Setup The I/O Setup can be opened from the applica- Pro Tools Signal Paths tion window (with a session closed), or from within a session (when a session is open). A signal path is a logical grouping of multiple in- that has a single name puts, outputs, or busses To open the I/O Setup: and (channel) format. The I/O Setup lets you create, define and name paths according to the Make sure your audio interfaces are enabled 1 configuration of your st udio and the needs of and configured properly in the Hardware Setup. each project. See “Configuring Pro Tool s Hardware Settings” on page 69. Main Paths and Sub-Paths 2 Choose Setup > I/O . Paths in Pro Tools tracks and I/O Setup include sub-paths main paths . and Closing the I/O Setup paths are logical groupings of Main Main Paths To close the I/O Setup and save changes: inputs, inserts, busses, or outputs. For example, th will include both its a master stereo output pa OK . „ Click left and right channels. Pro Tools checks several settings for routing va- lidity (to prevent feedback loops). If there are any overlapping or invalid settings, you will be required to correct them (see “Valid Paths and Requirements” on page 108). To close the I/O Setup without saving changes: . Cancel Click „ 84 Pro Tools Reference Guide

107 represents a signal path sub-path A Sub-Paths Path Configurations and within a main path. For example, a default ste- I/O Settings reo output bus path consists of two mono sub- Each Pro Tools system can have a different path paths, left and right. Mo no tracks and sends can configuration, determined by: be routed to either mono sub-path of the stereo • On Pro Tools systems, the type of audio in- output bus path. terface or other physical I/O (including built-in hardware) • On Pro Tools|HD systems, the number and types of audio interfaces Path configurations in Pro Tools are saved as I/O settings. I/O Settings are saved with both the session and with the system. You can choose whether or not the IO settings saved with the session overwrite the IO settings saved with the system (see “Ses- sions Overwrite Current I/O Setup When Opened” on page 94). Main and sub-paths in I/O Setup Unavailable items (inclu ding hardware, paths, or required resources) re main in the session as It is especially useful to define and name inactive items (see “Making Paths Active or In- sub-paths for complex mixing setups, such active” on page 106). as a 5.1 Surround mix. When you create a new session, you can specify which I/O Settings to use. For example, you can Paths in Sessions use the factory installed default settings, the e routed to and from In sessions, signals ar one of any available cus- “Last Used” setting, or s using track Input, Out- tracks, sends, and insert tom I/O settings files. put, Insert, and Send selectors. See “Factory I/O Settings” on page 111 and When you click a track Input, Output, Insert or “I/O Settings Files” on page 112 for more created and defined in Send selector, the paths information. the IO Setup appear in the list of available paths (see “Assigning Audio Inputs and Outputs to Tracks” on page 226). 85 Chapter 7: I/O Setup

108 Default I/O Settings I/O Setup Pages Pro Tools comes with default I/O Setup settings The I/O Setup provides tabs to open pages for to get you started (see “Factory I/O Settings” on configuring specific I/O Settings. page 111). You should only need to open the I/O Setup if you want to customize I/O paths or if you change your system hardware (for exam- Opening a Specific I/O Setup Page ple, adding an expansion card to HD I/O, or adding or removing an audio interface). To open any specific I/O Setup page: Click the corresponding tab at the top of the „ You can always return to the default settings for I/O Setup. an I/O Settings page by clicking the Default but- ilable in session tracks ton. These paths are ava Press and hold the Command key (Mac) or and are reflected in the I/O Setup. the Control key (Windows) and use the Left or Right Arrow keys to cycle through the dif- I/O Setup configuration You can customize your ferent pages of the I/O Setup. at any time, according to the needs of each proj- ect (see “Customizing I/O Settings” on page 95). if you choose to cus- It is recommended that tomize your I/O Setup, configure the system- Input, Output, Insert, specific options first: Mic Preamps, and H/W Insert Delay. Then configure the Bus page. Once you have con- figured your system, you should not need to change it unless you add or remove hard- ware (such as audio interfaces) from your system. See “Customizing I/O Settings” on page 95. 86 Pro Tools Reference Guide

109 Output Page Input Page The Output page of the I/O Setup lets you create The Input page of the I/O Setup lets you create put channels to receive and assign Pro Tools Output channels to send and assign Pro Tools In audio from the physical inputs of your audio audio to the physical outputs of your audio hardware. hardware. Configure input signal path names, formats, Configure output signal path names and for- mats on the Output page. Output channels can and source channel (analog or digital) on the In- put page. Multichannel input paths (stereo or have overlapping output paths. Output names, channel widths, and physical output assign- greater) can have any number of sub-paths. In- ments are saved with the system and the ses- put channels can have overlapping input paths. sion, and can be recalled from either. Input names, channel widths, and physical in- put mappings are saved with the system and the recalled from either. session, and can be I/O Setup, Output page I/O Setup, Input page 87 Chapter 7: I/O Setup

110 Bus Page Insert Page The Insert page of the I/O Setup lets you create The Bus page of the I/O Setup lets you create and and edit hardware insert signal paths for the edit internal mix busses and output busses. The Pro Tools mixer. Hardware inserts can route au- Bus page also lets you map output busses to out- dio through an external device connected to put paths (as configured in the Output page of parallel inputs and outputs of a Pro Tools audio the I/O Setup). interface. This lets you process audio on a track Configure bus path na mes and formats, and with a hardware insert in real time. map any main bus path to any available output of the same width or greater. Multichannel bus Insert paths require audio interface inputs and paths (stereo or greater) can have any number of ined by the configura- outputs, and are determ tion of the Insert page in the I/O Setup for your sub-paths. Output bus and internal mix bus names and channel widths are saved with and system. recalled from the session. I/O Setup, Insert page I/O Setup, Bus page For information about using hardware inserts, see “Using Hardware Inserts” on For information about configuring busses, page 997. see “Configuring Busses” on page 108. 88 Pro Tools Reference Guide

111 Mic Preamps Page I/O Setup Signal Path On the Mic Preamps page of the I/O Setup, sig- Controls nal paths for one or more PRE multi-purpose mi- Depending on the I/O Setup page, the I/O Setup crophone preamplifiers can be mapped to audio provides the following co s graphical ntrols in it interfaces. For more information, see the PRE section for configuring signal routing paths. . Guide Path Format selector Path Name column Input selector Mic Preamps page H/W Insert Delay (Compensation) Page To compensate for the delay (latency) of any ex- Expand/Collapse ternal hardware devices (such as an effects unit) triangle Active/Inactive Channel Grid used in your session, you can set the amount of Status box Hardware Insert Delay Compensation (in milli- I/O Setup, Signal Path controls (Input page shown) seconds) for each external device. These times Let you select the Input and Output Selectors will be used by the Delay Compensation Engine physical ports on your audio interface to route to time-align input paths when the hardware in- to Pro Tools inputs and outputs. Ports are select- sert is in use and Delay Compensation is en- able in channel pairs. Available ports for each abled. displayed interface are based on Hardware Setup the AES/EBU inputs and settings; for example, if outputs of an interface are enabled in Hardware Setup, they are available for routing in I/O Setup. The functionality provided with the In- put and Output selector is the same as that pro- vided on the Main page of the Hardware Setup. Insert offset delay field Path Name Column Shows paths that are avail- able for selection, including the name of each For more information, see “Setting a defined path. Path names can be renamed. Hardware Insert Delay Offset” on Expand/Collapse Triangle Shows or hides the page 962. sub-paths associated with a main path (Input and Bus paths only). Shows and changes Active/Inactive Status Box the active/inactive status of each path. 89 Chapter 7: I/O Setup

112 Import Settings Button Lets you import an I/O Path Format Selector Shows and selects the settings file to reconfigure I/O Setup. Import Set- no, Stereo, Quad, or type/format (such as Mo tings only imports the settings for the currently 5.1) of each defined path (greater-than-stereo viewed page of the I/O Setup (such as the Input are supported with multichannel formats page). Pro Tools|HD systems and Pro Tools systems with Complete Production Toolkit 2 only). Option-click (Mac) or Alt-click (Windows) Assigns paths to specific interfaces Channel Grid the Import Settings button to import set- and channels. tings to all pages of the I/O Setup. Lets you save I/O settings Export Settings Button as a file that can be impo rted into other sessions I/O Setup Buttons Export Set- or used on other Pro Tools systems. tings exports the settings for all pages of the I/O Depending on the I/O Setup page, the I/O Setup Setup. can provide the following buttons for configur- ing signal routing. Resets a path type to its default Default Button path configuration, depending on the physical hardware I/O you are usin g and how your hard- ware is configured. Option-click (Mac) or Alt-click (Windows) the Default button to restore defaults to paths in all pages of the I/O Setup. I/O Setup, Signal Path buttons (Input page shown) Appears in the I/O Setup Show Last Saved Setup New Path Button Lets you create a new path on in certain session transfer situations. For details signal path pages for Input, Output, Insert, Bus, on this feature, see “Show Last Saved Setup and or Mic Preamp. Show Current Setup” on page 114. Lets you create a new sub- New Sub-Path Button Provide se- Pop-Up Menu Selectors I/O Options path on signal path pages for Input, Insert, or s to set paths or or- lectors with pop-up menu Bus. ders. The Output and Bus pages provide a Con- troller Meter Path selector. The Output page also Delete Path Button Lets you delete any selected provides selectors for Audition Paths (Region path or sub-path on signal path pages for Input, List and DigiBase previewing), New Track De- Output, Insert, or Bus. fault Output, Default Path Order, AFL/PFL Path (Pro Tools HD only), and AFL/PFL Mutes (Pro Tools HD only). See “I/O Setup Options” on page 91. Closes the I/O Setup without sav- Cancel Button ing changes. Closes the I/O Setup and saves any OK Button changes. 90 Pro Tools Reference Guide

113 Compensation for Output Delays After I/O Setup Options Record Pass Pro Tools systems have several additional When enabled, this option provides automatic I/O Setup options depending on which page of og or digital output compensation for any anal the I/O Setup you are viewing. These include de- delay with Pro Tools|HD audio interfaces. En- fault signal routing for metering and audition- able this option when you are synchronized to ing, and default track layout for multichannel an external clock source. When recording from mix formats. Compensation for Input a digital source, both the Compensation and the Delays After Record Pass options must for Output Delays After Record Pass be enabled. The Compensation for Output Delays After Record option is only available in the Output page Pass of the I/O Setup. I/O Setup, Signal Path options (Output page shown) Compensate for Delays After Controller Meter Path Record Pass (D-Control, D-Command, C|24, and ProControl (Pro Tools HD Only) Only) Pro Tools provide two options for compensating selector determines the The Controller Meter Path for input and output la tency (due to ADC and path displayed across the Output meters of DAC) after recording. D-Control or D-Command worksurfaces. For more details, see your control surface documen- Compensation for Input Delays After Record tation. Pass selector is available in Controller Meter Path The When enabled, this option provides automatic the Output and Bus pages of the I/O Setup. compensation for any anal og or digital input de- lay with Pro Tools|HD interfaces. Enable this op- Audition Paths tion for all recording situations. When record- Compensation ing from a digital source, both the You can specify the output path through which for Input Delays After Record Pass Com- and the files and regions are previewed (auditioned) in pensation for Output Delays After Record Pass op- the Region List or in DigiBase browsers, and tions must be enabled. oSuite processing. when previewing Audi Compensation for Input Delays After Record The The Audition Paths selector is available in the option is only available in the Input page Pass Output and Bus pages of the I/O Setup. of the I/O Setup. For information on previewing audio, see “Previewing Regions in the Region List” on page 266 or “Previewing Audio in DigiBase” on page 295. 91 Chapter 7: I/O Setup

114 Using the Default Audition Path Default Output Bus When you preview a file or region in the Region You can specify the default output bus path as- List in a DigiBase browser, or when AudioSuite signment for new tracks, in each available for- processing, Pro Tools routes the audio output mat. through the specified Audition Path. Pro Tools Default Output Bus The selector is available in the assigns a default Audition Path to the first avail- Output and Bus pages of the I/O Setup. able main Output path of the corresponding for- mat. You can also select a different Audition The Default Output Bus can be set for inter- Path in the I/O Setup. nal mix bus paths, as we ll as for output bus paths. Configuring Audition Paths To specify a default output for new tracks in the You can specify the monitoring outputs for au- I/O Setup: ditioning audio in the Region List and DigiBase browsers, or for previewing AudioSuite process- Click the „ pop-up menu and Default Output Bus pop-up menu. Audition Paths ing, using the select a format and output bus path. Audition Paths Main Menu The main menu con- AFL/PFL Path sists of all path format choices available on the current system (Mono and Stereo on all systems, (Pro Tools HD Only) and LCR and greater on Pro Tools|HD systems or er Fader Listen) or PFL Tracks soloed in AFL (Aft Pro Tools systems with Complete Production (Pre Fader Listen) Solo mode are routed to the Toolkit 2). current AFL/PFL Path, as set with the AFL/PFL Each path format Audition Paths Submenus selector. Path choice has a submenu listing Output paths of selector is available in the Out- The AFL/PFL Path that given format. (The mono submenu lists put and Bus pages of the I/O Setup. Output paths of any format.) See “Solo Modes” on page 238 for more in- To configure an Audition Path: formation on using AFL or PFL Solo modes. Audition Paths Select a path from the „ pop-up menu or submenus. 92 Pro Tools Reference Guide

115 To select the AFL/PFL Path output: AFL/PFL Mutes (Output Path) Select a path from the AFL/PFL Path pop-up „ (Systems without a D-Control or D-Command menu. Control Surface) If you are not using a D-Control or D-Command Selecting None as the AFL/PFL Path disables worksurface, your regular Pro Tools output path AFL and PFL Solo modes. When None is se- can be muted when you send a signal to the lected, AFL and PFL cannot be used. AFL/PFL Path. The muted path is set with the AFL/PFL Mutes (Output Path) selector. If you do not see the AFL/PFL Path selector, confirm that you have installed the Sur- selector is available in the AFL/PFL Mutes The round Mixer in the Plug-Ins (Used) folder. Output and Bus pages of the I/O Setup. For information on switching Mixer plug- See “Solo Modes” on page 238 for more ins, see the Pro Tools|HD User Guide. information on selecting and using AFL or Setting AFL or PFL Path Levels PFL Solo modes. ster AFL/PFL Path level You can set a separate ma To set which output path is muted when tracks are for all AFL solos and all PFL solos. soloed in AFL or PFL Solo mode: . Setup > I/O Choose 1 Tracks do not need to be soloed to have the level adjusted. master AFL/PFL Path 2 tab to display the Output Output Click the page. To set the AFL/PFL Path le vel for AFL or PFL solos: 3 Select a path from the AFL/PFL Mutes (Output 1 Options > Solo Mode , and select a Solo Choose Path) pop-up menu. mode, as follows: • If you want to set the level for AFL solos, 4 Click OK to save your changes to the I/O Setup select . AFL and close the I/O Setup. – or – • If you want to set the level for PFL solos, Low Latency Monitoring PFL select . (Pro Tools|HD Native Only) 2 In the Mix or Edit window, Control-click With Pro Tools|HD Native systems, the Output (Windows) or Command-click (Mac) a Solo but- page of the I/O Setup lets you enable (or disable) ton on any track. Low Latency Monitoring. It also lets you specify any available Output path for Low Latency Adjust the AFL/PFL Path fader. 3 Monitoring. The Output path for Low Latency 4 Click on the new fader position (or press Esc) Monitoring can be of any channel width (from to close the fader display. Mono to 7.1). Low Latency Monitoring uses Outputs 1–2 by default. To set the AFL/PFL Path level to 0 dB, Con- trol-Start-click (Windows) or Command- Control-click (Mac) any Solo button. 93 Chapter 7: I/O Setup

116 To configure Low Latency Monitoring in the I/O 5.1 Path Order Setup: (Pro Tools HD and Pro Tools with Complete Setup > I/O Open the I/O Setup dialog ( ). 1 Production Toolkit 2 Only) tab. Output Click the 2 pop-up menu lets you specify 5.1 Path Order The the default track layout for all new 5.1 format option. 3 Enable the Low Latency Monitoring paths you create. 4 pop-up menu, From the Low Latency Monitoring The 5.1 Path Order selector is available in the In- you want to use for Low select the Output path put, Output, and Insert pages of the I/O Setup. Latency Monitoring. to save your changes and close the 5 OK Click To choose a new default 5.1-format path order I/O Setup. (track layout): 1 Choose . Setup > I/O Default Monitor Format 2 Click the Output tab. (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) setting to select Path Order 5.1 Default Use the 3 the track layout you want ( , C|24/Film The Default Monitor Format pop-up menu lets you D-Com- SMPTE/ITU , DTS/ProControl Monitoring , or select the default monitor format (Stereo, 5.1, or mand/D-Control ). 7.1) for new Output paths and for when you click the Default button. Sessions Overwrite Current This setting does not affect existing path defini- I/O Setup When Opened tions or metering—it only specifies channel This option determines whether or not, when mapping in new 5.1-format paths. opening a session, Input, Output, and Insert I/O The Default Monitor Format selector is only avail- settings as currently configured on your system able in the Output page of I/O Setup. will be overwritten by any of these I/O Settings stored with a session. To choose a Default Monitor Format: Enable the Sessions Overwrite Current I/O Default Select the channel mapping from the „ Setup When Opened option for legacy pop-up menu. Monitor Format Pro Tools behavior (versions lower than 8.1). This option is enabled by default. For more information about multichannel mixing, see Chapter 47, “Pro Tools Setup ‹ When the Sessions Overwrite Current I/O Setup for Surround.” When Opened option is disabled, Pro Tools re- calls these settings from the system. Choose this option when exchanging sessions among differ- ent systems running Pro Tools 8.1 or higher (see “Session Interchange” on page 113). 94 Pro Tools Reference Guide

117 3 When the ‹ For Pro Tools|HD systems, double-click the la- Sessions Overwrite Current I/O Setup When Opened option is enabled (default), bel above an interface and enter a name. Pro Tools recalls these settings from the session With systems using Pro Tools|HD hard- rather than the system. Choose this option ware, the I/O Setup bases default Input and when exchanging sessions with systems run- Output path names on the custom name ning lower versions of Pro Tools (see “Session given to the interface. Interchange” on page 113). 4 Click the Input tab: Enabling or disabling this option in any • Create input paths and sub-paths with ap- page of the I/O Setups affects all of the other propriate widths and physical input assign- pages as well. ments that match your studio configuration (see “Signal Path Routing for Audio Output” on page 99). Customizing I/O Settings • Rename input paths and sub-paths to The following shows how to customize your I/O match your studio configuration. settings for your particular studio setup. Making Click the 5 tab: Output Sessions Overwrite Current I/O Setup sure that • Create output paths with appropriate When Opened option is not enabled ensures that widths and physical output assignments your custom settings remain intact when open- that match your st udio configuration. ing sessions. • Rename output paths to match your studio If you are using an HD OMNI in your configuration. Use st andard industry ter- Pro Tools|HD system, be sure to configure minology whenever possible (see “Recom- the Monitor page of the Hardware Setup for mended Output Path Naming Schemes” on uring the I/O Setup. HD OMNI before config page 104). see the HD OMNI For more information, 6 If you plan on using hardware inserts, click Guide. the tab: Insert To customize I/O Settings: • Create insert paths with appropriate widths and physical input and output assignments Setup > I/O Open the I/O Setup ( ). 1 that match your stud io configuration. If desired, import I/O settings from an existing 2 • Name insert paths to match your studio I/O settings .pio file (see “Importing I/O Set- configuration. Name insert paths using tings” on page 112). standard industry terminology if possible, such as “Compressor,” “Reverb,” “EQ,” and You can prepare a session for use on a dif- so on. ferent system this way. Any paths for hard- tab and enter the H/W Insert Delay • Click the ware that is not present on the current sys- correct insert delay in milliseconds for each tem will appear as inactive. hat you are using for input/output pair t hardware inserts. (See “H/W Insert Delay (Compensation) Page” on page 89.) 95 Chapter 7: I/O Setup

118 7 If you are using one or more PRE peripherals, Configuring Hardware in tab and configure it ac- click the Mic Preamps cordingly (see the PRE Guide) . I/O Setup (Pro Tools HD Only) tab. Bus Click the 8 9 Create internal mix bus paths and sub-paths. With Pro Tools HD, you can define which phys- Ensure that output busses are mapped to the ical ports on your audio interface are routed to correct output paths (see “Output Busses” on available input and output channels in the page 108). I/O Setup. Any changes made here are also re- flected in the Hardware Setup, and vice-versa tomatically created Output busses are au (see “Configuring Pro Tools Hardware Settings” and mapped to outputs when new output on page 69). paths are created. HD MADI, and Pro Tools systems such as 10 In any of the I/O Setup pages, make sure that the Mbox and the 003 are “hard-wired” and Sessions Overwrite Current I/O Setup When the cannot be changed. For third-party and Opened option is not enabled. This way, when built-in hardware, in the Hardware Setup opening sessions created on another system, click the Launch Setup App button to for your custom I/O settings remain intact. available config uration options. If desired, export your I/O settings to create a 11 To configure I/O routing in I/O Setup: settings (see “Exporting backup of your current I/O Settings” on page 113). . Setup > I/O Choose 1 OK Click 12 . You should not have to open the Input Output 2 tab to display the cor- Click the or I/O Setup again unless you add or remove hard- responding path type. ware to or from your system, or if you open a Click the Input or Output selector for the first 3 session created on a diffe rent system (see “Ses- interface channel pair, located below the first sion Interchange” on page 113). audio interface icon. 96 Pro Tools Reference Guide

119 The only limit to output choices is the number From the pop-up menu, select a physical port 4 of outputs available in your system. pair (such as Analog 1–2), to route to a Pro Tools channel pair (such as A 1–2) in the Path Name 0utput path assignments can overlap in column on the left. certain situations. See “Valid Paths and Requirements” on page 108 for details. Pro Tools outputs pairs can also be routed to multiple audio interface outputs in the Hard- ware Setup. To route a Pro Tools output channel pair to multiple audio interface output ports: 1 . Setup > I/O Choose I/O Channel selector pop-up menu Output 2 Click the tab. 5 Repeat the above step for additional channel pairs. 3 Click the Output selector for an interface channel pair, just below an audio interface icon. to save changes and close the I/O OK Click 6 Setup. 4 From the pop-up menu, select a physical port pair (such as Analog 1–2) to route to the corre- The Monitor path for HD OMNI is fixed sponding Pro Tools channel pair (such as A 1–2) and cannot be changed in the I/O Setup. The in the Path Name column on the left. Monitor path for HD OMNI can be config- ured in the Monitor page of the Hardware or Control-click (Mac) Start-click (Windows) 5 Setup. the same Output selector and select an addi- tional output pair from the same pop-up menu. Routing a Pro Tools Output Pair to The output name updates with a plus sign (“+”) Multiple Destinations before it to indicate that multiple output ports Pro Tools channel pairs can be routed to multi- are selected. In the pop-up menu, each physical ple outputs on an audio interface through the hat Pro Tools output pair port pair assigned to t I/O Setup. For example, if you assign both Ana- is indicated by a check mark. log 1–2 and Analog 3–4 interface outputs to 6 Repeat the above steps to select additional Pro Tools Output pair 1–2, when you send a sig- output destinations. nal to Pro Tools Outputs 1–2, that signal will be routed simultaneously to both pairs of output OK to save changes and close the 7 Click ports on your audio interface. I/O Setup. This lets you send the same signal (such as a ste- reo pair, a stem mix, or a multichannel mix) to multiple destinations (s uch as multiple master- ing devices). 97 Chapter 7: I/O Setup

120 Signal Path Routing for Audio Input the physical analog input of an HD OMNI audio The following example shows the signal path from interface, and then through the Pro Tools audio input path to the Input of an audio track in the Pro Tools mixer: 1 3 2 Input signal path from an HD OMNI to the Pro Tools mixer as mapped in I/O Setup Main input paths and sub-paths (2) Input Path For Pro Tools|HD interfaces (1) Physical Input are routed (patched) to physical inputs using such as the HD OMNI, the physical inputs that cross-point matrix mapping in the I/O Setup. In are available to Pro Tools are set on the Main this example, audio input is routed from HD page of the Hardware Setup (this selector is mir- nalog 1–2 to Pro Tools OMNI physical inputs A rored in the Input page of the I/O Setup). Input channels A 1–2. For Pro Tools systems such as the Mbox and (3) Track Input Input paths and sub-paths are the 003, physical inputs are fixed. For third- routed to track inputs in the Pro Tools mixer by party and built-in hardware, in the Hard- selecting the path (or sub-path) from the Track ware Setup click the Launch Setup App but- example, input sub-path Input selector. In this ton for available configuration options. A1 is routed to the input of track “Audio 1.” 98 Pro Tools Reference Guide

121 Signal Path Routing for Audio Output The following example shows the signal path from the output of an audio track, through an output bus mapped to an output path that is routed to a physical output on an HD I/O audio interface: 1 2 4 3 a physical output as mapped in I/O Setup Output signal path from an audio track to On the Output page of the I/O (3) Output Path Audio is played back from disk (1) Track Output Setup, the Grid is used to route the output path and routed from the Track Output to Output (to which the output bus is mapped) to physical Bus “B 1–2.” outputs. (2) Output Bus Path The Output Bus is defined For Pro Tools|HD interfaces (4) Physical Output on the Bus page of the I/O Setup. On the Bus such as the HD OMNI, the physical outputs that page of the I/O Setup, the Output Bus “B 1–2” is are available to Pro Tools are set on the Main mapped to Output “B 1–2,” which is defined on page of the Hardware Setup (this selector is mir- the Output page of the I/O Setup. rored in the Output page of the I/O Setup). 99 Chapter 7: I/O Setup

122 5 Do any of the following: For Pro Tools systems such as the Mbox and • To add more paths, click the Add Row but- the 003, physical outputs are fixed. For ton. third-party and built-in hardware, click the Launch Setup App button in the Hardware Add a new path by pressing Command+N Setup for available configuration options. (Mac) or Control+N (Windows), or by pressing Command+Plus (+) (Mac) or Con- trol+Plus (+) (Windows) on the numeric keypad. Creating New Paths The I/O Setup lets you create new paths with – or – custom names, formats, and assignments to • To remove a path, click the Remove Row physical I/O. Custom path names appear in a button. session’s track Input, Output, Insert, and Bus se- lectors. To remove the last path from the New Path dialog Command+Minus (–) (Mac) or Con- trol+Minus (–) (Windows). To create a new path: 1 Choose . Setup > I/O Enable (or disable) the New Paths options Add 6 the Default Channel Assignments and Auto-Create 2 Click the Insert Output , Input , or Bus tab to dis- , Sub-paths . play the corresponding path type. Create . 7 Click Click New Path . 3 In the New Path dialog, specify the number of 4 When you create a new Output path, an new paths you want to create, the channel output bus is automatically created on the width for each path, and the path name. Bus page of the IO Se tup, and is automati- cally mapped to the output path you cre- ated. See “Output Busses” on page 108. 8 Assign the path to a specific audio interface (Input, Output, and Insert pages only) in the Grid column. See “Assigning Paths to Hardware New Paths dialog I/O” on page 106. 9 Repeat the previous steps to configure all path types (Input, Output, Insert, or Bus). 100 Pro Tools Reference Guide

123 Enter the path name. If you are cre- Path Name to save changes and close the I/O 10 Click OK ating more than one path, the number of each Setup. If there are any identically named paths, new path created will be appended to the path correct them before the you will be instructed to name (for example, Bus 1, Bus 2, Bus 3, and so I/O Setup will close. For more information, see on). “Valid Paths and Requirements” on page 108. Add/Remove Rows Click the Add Row button to Multichannel paths and mixing are ex- add more paths, or click Click the Remove Row plained in Chapter 47, “Pro Tools Setup for button to remove paths. Surround.” Move Row Icon Click and drag a Move Row icon New Paths Dialog up or down to reorder paths. The New Paths dialog lets you create new paths on the Input, Output, Bus, and Insert pages of the I/O Setup. Add/Remove Row Number of new paths Path Format Path Name Move Row icon in the New Paths dialog Add Default Channel Assignments Option New Paths dialog Enable Add Default Channel Assignments option if New Path Row Settings you want Pro Tools to automatically assign in- put, output, and insert paths to physical inputs Enter the number of new Number of New Paths and outputs in the Grid (from the first available paths you want to create (or a certain type, like channel to the maximum number of channels “Bus”). available). If the number of new paths of a cer- Select the channel width from the Path Format tain width exceeds the number of available Path Format selector. around and starts channels, Pro Tools wraps over at channel 1. 101 Chapter 7: I/O Setup

124 Auto-Create Sub-Paths Option Creating New Sub-Paths For input, bus, and insert paths, enable the Auto You can create sub-paths for main paths in the Create Sub-Paths option to have Pro Tools auto- Input, Bus, and Insert pages of the I/O Setup. matically create the default set of sub-paths for the path format (channel width), as follows: You cannot create sub-paths for outputs in Default Sub-Paths the Outputs page of IO Setups. You can, however create overlapping output paths. Sub-Path Name Sub-Paths Main Path N/A N/A Mono To create a new sub-path: Select the page of the I/O Setup where you 1 2 mono Stereo < main path > followed name want to create sub-paths (such as the Input by channel desig- page). nation .L and .R Select the Main path for which you want to 2 Stereo: < LCR 1 Stereo (LR), 3 main create sub-paths. Mono (one for >.LR path name each channel) Mono: < main . Click New Sub-Path 3 >.L, .C, path name .R 4 Name the new sub-path. Stereo: < LCRS 1 Stereo (LR), 4 main Select the Format for the new sub-path (such 5 Mono (one for > .LR path name ). as Mono each channel) Mono:

.L, .C, .R, ems, to optimize With Pro Tools|HD syst .S DSP resources, it is be st to create mono sub- paths for output busses and internal mix Stereo: < 1 Stereo (LR), 4 Quad main Mono (one for > .LR path name busses, rather than mono main paths. each channel) Mono:
.L, .R, .Ls, Click in the Grid to assign the new sub-path 6 .Rs channels to available main path channels. Stereo: < 5.0 – 6.0 1 Stereo (LR), main 5–7 Mono (one – 7.0 path name >.LR for each chan- Mono: < main nel) >.L, .C, path name .R, .Ls, .Rs, and so on Stereo: < main 1 Stereo (LR), 5.1 – 6.1 >.LR path name 6–8 Mono – 7.1 Mono: < main (one for each >.L, .C, path name channel) .R, .Ls, .Rs, and so on, and LFE 102 Pro Tools Reference Guide

125 Restoring Default Paths and Path Editing Paths Names The I/O Setup lets you edit or customize signal You can restore I/O Setup paths to their default path definitions. state at any time. You may want to restore de- faults if, for example, you replace or add an au- Paths can be: dio interface to your system. • Restored to default configurations • Renamed, for easier identification after To restore default paths and path names: changing or renaming audio interfaces Setup > I/O . Choose 1 • Selected and reordered to change menu or- der in track selectors Bus , or Insert , Output , Input Click the 2 tab to dis- play the corresponding path type. • Selected and deleted • Remapped to or from different sources or 3 Click . Pro Tools does the following: Default destinations • If a session is open, deletes any paths that • Deactivated (or reactivated) to manage un- are not in use. available or unnecessary I/O resources • Creates new default paths up to the capac- ity of your system’s available physical I/O In addition, you can im port and export your and resources. I/O Setup configurations as I/O Settings files, as • Resets path names to the default path well as set default path parameters. See “I/O Set- names (see “Default Path Names” on tings Files” on page 112. page 105). These default path names ap- The following table lists the available attributes pear in track Input and Output Path selec- for each path type: tors. Path options that can be edited by type Option-click (Mac) or Alt-click (Windows) Path Options (Attributes) Path Type the Default button to set all pages of I/O Setup to the default settings. Input Names, formats, and source channel (physical input) 4 to save changes and close the I/O OK Click Output Names, formats, and destination Setup. channel (physical output) Insert Names, formats, and destination (physical inputs and outputs) Bus Names, formats, output mapping Interfaces can also be renamed. Default stereo output paths 103 Chapter 7: I/O Setup

126 Here are some examples of standard industry Renaming Paths naming schemes: Path names can be customized in the I/O Setup. •Main A, Main B • Studio A, Studio B I/O paths can also be renamed directly from the Edit or Mix window by Right-clicking • Stereo A, Stereo B the Input or Output selector and choosing • Meter Rename. • Monitor • Aux A, Aux B To rename a path in the I/O Setup: • Cue A, Cue B, Cue C, Cue D, Cue E, Cue F, Double-click the path name. 1 Cue G, Cue H, Cue I, Cue J 2 Type a new path name. • Dial Main, Dial A, Dial B, Dial C, Dial B, Dial E 3 Click to save changes and close the I/O OK • Efx Main, Efx A, Efx B, Efx C, Efx D, Efx E Setup. • Music Main, Music A, Music B, Music C, Music D, Music E Renaming Interfaces Audio interfaces can be renamed in the IO Setup. When you rename Pro Tools|HD inter- faces, default path names are based on the cus- tom name given to the interface. New mono Input sub-path for Main path A 1-2 Recommended Output Path Naming To rename an audio interface in the I/O Setup: Schemes 1 Double-click the label above an interface. Generally, you will want to use standard nam- ing schemes for output paths in your Pro Tools sessions. This facilitates smoother session ex- change between different Pro Tools systems. Interface Names Type a new interface name. 2 OK to save changes and close the I/O Click 3 Setup. 104 Pro Tools Reference Guide

127 To select or deselect noncontiguous paths, do one Default Path Names of the following: Default names for input, output, and insert Command-click (Mac) or Control-click (Win- „ paths are based on the hardware you are using e un-highlighted to se- dows) path names that ar for physical I/O. lect them. For Pro Tools|HD systems, default path names – or – are based on the names of interfaces you are us- Command-click (Mac) or Control-click (Win- „ ing. If you have renamed your interface, default dows) path names that are highlighted to dese- path names are based on the custom name. lect them. Selecting Paths To select all paths and sub-paths: Individual and multiple paths can be selected in „ Option-click (Mac) or Alt-click (Windows) any the I/O Setup Path Name column. Selected paths path name that is un-highlighted. and sub-paths can be reordered higher or lower in the Path Name column to change their menu To deselect all paths and sub-paths: order in track Input, Output, Insert, and Bus se- „ Option-click (Mac) or Alt-click (Windows) any lectors. Paths can also be deleted. Sub-paths fol- path name that is highlighted. low their main paths when they are moved in the I/O Setup. Reordering Paths To select a main path or sub-path: Selected paths and sub- paths can be reordered „ Click the path name. higher or lower in the Path Name column to change their menu order in track Input, Output, Insert, and Bus selectors. To reorder paths in the I/O Setup and Track selectors: Drag one or more selected path names up or 1 down. 2 Click OK to save changes and close the I/O Setup. Selecting paths in the I/O Setup To select a range of paths: Deleting Paths 1 Click the path name. Path definitions can be deleted from the current 2 Shift-click an additional path name. session to reflect chang es to your hardware setup, or to clean up track selector menus by re- All paths between the first selected path name moving unwanted or unnecessary path defini- and the additional path name will also be tions. After deleting a path, any tracks or send selected. assignments to that path are reset to No Output . 105 Chapter 7: I/O Setup

128 3 To delete a main path or sub-path: Set the Active/Inactive control for the path. 1 In the I/O Setup, select the path you want to delete. Delete Path 2 . Click Click OK to save changes and close the I/O 3 Setup. Active (top) and inactive (bottom) path settings To delete all paths: Any tracks that were assigned to the now inac- tive path will show that path's name in italics on Option-click (Mac) or Alt-click (Windows) any 1 the track's I/O selectors. path name. to save changes and close the I/O Click 4 OK Click . 2 Delete Path Setup. Path status is displayed as follows: 3 OK Click to save changes and close the I/O Indicates the path is inactive. Italics Setup. Non-Italics Indicates the path is active. Making Paths Active or Inactive With overlapping output paths of different Pro Tools paths can be Active (on) or Inactive channel widths, if the widest path is made (off, or unavailable). Paths can be globally acti- inactive, all other overlapped output paths vated or deactivated in the I/O Setup. Making a will not pass audio from Pro Tools. signal path inactive will turn off the signal path on any and all tracks currently assigned to it. Assigning Paths to Hardware Pro Tools also sets unavailable paths to inactive. Paths can be unavailable when hardware or I/O other system resources are unavailable, such as ecific inputs, outputs, Paths are assigned to sp when opening a session saved on a different and inserts in the Grid. Paths can be assigned to system. physical I/O in the Grid, and can be reassigned at any time. Tracks can also be made active or inactive. For g Track Inputs and Out- information, see “Makin puts Inactive from the Edit or Mix Window” on To assign channels: page 229. 1 Select (or create) a main path or sub-path. Format (such as 2 ). Stereo Select the channel To globally activate or deactivate a path: Choose Setup > I/O . 1 2 Select a path type using the tabs at the top of the window. 106 Pro Tools Reference Guide

129 l mixing formats use Because some multichanne In the row for the selected path, click in the 3 unique track layouts, Pro Tools lets you set the Grid column under an audio interface and chan- default format in the I/O Setup (see “I/O Setup nel. Options” on page 91). Customized Output paths for a 5.1 mix Assigning channels Other channels for the path type, if any, fill to Reassiging Paths the right. For example, when assigning a new You can move the individual assignments to dif- stereo path, clicking in the path row under out- ferent channels, to reorder the path’s definition put channel 1 fills both channel 1 and 2 (left (for example, changing a multichannel path to to 1, right to 2). L-R-C-LF-LS-RS). To reassign channels in a path, see “Reas- siging Paths” on page 107. To reassign channels in a path: Drag the channel to the new location in the „ Click OK to save changes and close the I/O 4 Grid. Other channel assignments move (shuffle) Setup. to accommodate dragged channels. If there are any invalid settings, you will be re- quired to correct them before the I/O Setup will Channel Shuffling ion, see “Valid Paths close. For more informat Moving a signal from right to left results in a and Requirements” on page 108. shuffle of other signals after the new destination Assigning Paths with the Surround Mixer channel. Moving a signal from left to right shuf- fles any and all signals after the new destination (Pro Tools HD and Pro Tools with Complete channel and leaves the pr evious channel empty. Production Toolkit 2 Only) Changing a path’s format erases any cur- When assigning multichannel paths, the left rent channel assignment. channel (L) is assigned first to the clicked Grid box, and remaining channels fill immediately to Sub-Paths Follow Main Paths the right according to the default path order. When a main path is reassigned, its sub-paths (if matically to maintain any) are reassigned auto consistent routing. For example, reassigning a stereo path to different hardware outputs results in any of its sub-paths moving with it. 107 Chapter 7: I/O Setup

130 Valid Paths and Requirements While configuring the I/O Setup, certain rules apply for path definition and channel assign- ment. All paths must be valid before the I/O Setup configuration can be applied. Though it is possible to set up invalid assign- ments in the Channel Grid, Pro Tools will not Invalid (partial) output path accept an I/O Setup co nfiguration unless all paths meet the path definition and channel as- signment requirements, as follows: Configuring Busses All paths must have a Minimum Path Definitions Busses appear on the Bus page of the IO Setup. name, be of a specific format, and have a valid Pro Tools provides two types of busses: I/O assignment. •Output busses Valid Paths Channel assignment follows certain • Internal mix busses rules regarding overlapping paths. • There can be no partial overlaps between Output bus and internal mix bus settings are any two output paths. saved with and recalled from the session. The advantage of this is that when you take a session • A newly-created output path must either be from one system to anot her, track and send as- completely independent of other assign- signments are maintained within the session. ments (not assigned to any other available Where possible, Pro Tools can automatically re- I/O interface/channels), or it must be a map the session’s output busses to the output path completely contained within a larger paths of the system the session is being opened path (for example, an LCR sub-path within on. a larger 5.1 path). See “Session Interchange” on page 113 for more information exchanging sessions be- tween systems, and on opening sessions in lower version of Pro Tools. Output busses do not exist in Pro Tools 8.0.4 and lower. Output Busses (routed) to output Output busses are mapped Valid (complete) output path paths, as configured on the Output page of the I/O Setup. Output paths are then assigned to the system’s physical audio outputs in the I/O Set- ups Grid (see “Assigning Paths to Hardware I/O” on page 106). 108 Pro Tools Reference Guide

131 To create a bus and map it to an output path: When you create a new output path on the Out- put page of the IO Setup, a new output bus of On the Bus page of the I/O Setup, click 1 New the same width is automatically created and Path . mapped to that output path. Output busses are 2 In the New Paths dialog, specify the number also created and mapped according to default of new paths you want to create, the channel settings when creating a new session or restor- width for each path, and the path name. ing defaults (see “Restoring Default Paths and Path Names” on page 103). Physical outputs for output paths are configured on the Outputs page of the I/O Setups (see “As- signing Paths to Hardware I/O” on page 106). New Paths dialog Internal Mix Busses 3 Create to create the new paths. Click Pro Tools 9.0 provides up to 256 internal mix busses and are used to route audio signal from track outputs and sends to other track inputs and plug-in side-chains. Common uses for inter- nal mix busses include effects sends and returns Unmapped “MAIN” output bus (such as bussing sends from audio tracks to an Auxiliary Input track for plug-in effects process- Enable 4 for the Output path. Mapping To Output ing) and bus recording. 5 Select an output path from the Mapping To Internal mix busses can also be mapped to any Output selector. Mix Busses ” on outputs (see “Internal page 109). Creating and Mapping Busses to Outputs bus to output path “A 1–2” Mapping the “MAIN” output Any available bus can be mapped to any of the Any signals from tracks or sends sent to the bus available output paths of the same channel are now sent to the hardware outputs assigned width or greater. For example, a mono bus can to the corresponding Output paths. be mapped to a mono output path, a stereo bus can be mapped to a stereo output path, and a 5.1 To map all output busses of the same format to an output path: surround bus can be mapped to a 5.1 surround output path. „ Option-click (Mac) or Alt-click (Windows) any Mapping To Output select or and select an out- You can unmap busses from outputs at any put path (mono or stereo). time. 109 Chapter 7: I/O Setup

132 All mapped output busses of the same format Resetting Busses signed to the same out- (such as stereo) are all as You can reset the number of available internal put path. For example, you can assign all stereo mix busses in your session to match your sys- output busses to output path A 1–2. tem’s full capabilities by reverting to the default bus configuration. To map all output busses of the same format to one output path: Pro Tools creates 128 (out of 256) internal Do one of the following: 1 busses by default. • Shift click to select contiguous Output bus- To revert to the default bus configuration for your ses. system: – or – Open the I/O Setup. 1 • Command-click (Mac) or Control-click (Windows) to select noncontiguous Output Bus 2 tab in the upper left. Click the busses. 3 De- From the pop-up menu to the right of the fault button, select one of the following: Option-Shift click (Mac) or Alt-Shift-click 2 (Windows) the Mapping To Output selector for • All Busses one of the selected Outp ut busses and select an Output Busses • output path (mono or stereo). • Internal Busses Only the selected mapped output busses of the . 4 Click Default eo) are assigned to the same format (such as ster same output path. For example, you can assign Resetting busses to the default setting will only the selected stereo output busses to output rename all busses to their default name path A 1–2. (Bus 1–2, Bus 3–4, and so on). to save changes and close the I/O OK Click 5 To map all busses of the same format to unique Setup. ascending output paths (cascading): „ Command-Option-click (Mac) or Control-Alt- Active Busses click (Windows) the Mapping to Output selector of the top-most output path and select the first The Bus page of the I/O Setup displays the num- output path. ber of active internal mix busses. If the number of active busses exceeds the number of available All busses of the same channel format are auto- busses (256), the display turns red. Delete or de- matically assigned to unique output path as- activate any active busses in excess of the avail- signments in ascending order. For example, for able number of busses to be able close the I/O stereo output paths, output bus A 1–2 is as- Setup and save your settings. signed to output path A 1–2, A 3–4 to A 3–4, A 5–6 to A 5–6, and so on. 110 Pro Tools Reference Guide

133 Sorting Bus Paths Factory I/O Settings The Bus page provide controls to sort busses by Pro Tools provides factory I/O settings for stereo name (ascending or descending), format (as- and surround mixing, an d are automatically in- cending or descending), or by mapped to output stalled with Pro Tools. These settings provide status (ascending only). new sessions with generic path and sub-paths Click to sort by mapping for either mixing format. Click to sort by Name to output status Click to sort by Format Factory I/O settings are available in the I/O Set- tings pop-up menu of the Quick Start or New Session dialog. Stereo Mix Settings This Stereo Mix setting creates the maximum number of stereo paths, as determined by the available system’s I/O Setup and hardware con- figuration. Sorting bus paths in the I/O Setup Using the “Stereo Mix” settings file has the To sort bus paths by Name: same effect as clicking Default for every in- In the Bus page, click the Name column 1 dividual tab in I/O Settings. See “Restoring header. Default Paths and Path Names” on 2 Click the Name column header again to toggle page 103. between ascending and descending sort order. Surround Mix Settings To sort bus paths by Format: (Pro Tools HD and Pro Tools with Complete column In the Bus page, click the 1 Format Production Toolkit 2 Only) header. The Surround Mix setting provides additional, Click the column header again to tog- 2 Format surround-specific Output and Bus settings files. gle between ascending and descending sort or- See Chapter 47, “Pro Tools Setup for der. Surround.” To sort bus paths by Mapping To Output status: In the Bus page, click the „ Mapping To Output column header. 111 Chapter 7: I/O Setup

134 Importing I/O Settings I/O Settings Files I/O Settings can be imported before or after you I/O settings files (.pio files) provide default path open a session. I/O Settings are only imported configurations for new sessions. I/O settings can for the current page of the I/O Setup. For exam- be imported and exported for use with sessions ple, if you are viewing the Output page and im- shared between systems. I/O settings files are port I/O Settings, only the settings for the Out- also available in the I/O Settings pop-up menu put page are imported. This helps to avoid in the Quick Start and New Session dialogs. overwriting your custom I/O Settings on other pages. For I/O settings files to be available in the Quick Start or New Session dialogs, I/O settings files When you import I/O Settings, you can choose must be saved to the IO Settings folder in the to delete any unused path definitions before im- following locations: porting the new paths, or leave unused path def- initions intact and add the new paths to the cur- Mac Applications/Digides ign/Pro Tools/IO Set- rent I/O Setup configuration. tings You can also import I/O paths and path Program Files\Common Files\Digide- Windows names, as well as other session data, from a sign\DAE\IO Settings different session by using the Import Session Data command (File > Import > Session Last Used I/O Settings Data). For information, see “Importing Ses- sion Data” on page 336. If any changes are made to the I/O Setup, these changes are automatically saved to the IO Set- To import I/O Settings: tings folder as the Last Used settings file when 1 Click the tab for the page of the I/O Setup for OK the I/O Setup is closed (by clicking ). which you want to import settings. Last Used settings are available in the IO Settings 2 Click Import Settings . pop-up menu in the Quick Start or New Session dialog, or when importing I/O Settings in the Option-click (Mac) or Alt-click (Windows) I/O Setup. the Import Settings button to import set- tings to all pages of I/O Setup. Custom I/O Settings 3 Select an I/O settings file in the Import Set- Custom I/O Settings files can be created by tings dialog and click Import . changing I/O Setup settings (see “Customizing A dialog appears asking whether you want to 4 I/O Settings” on page 95), and then exporting delete existing paths. Do one of the following: the settings. These I/O settings can then be re- • Click Yes to remove any unused paths and stored by importing them into a system. add the imported paths to the current I/O This lets you save settings for different projects, Setup configuration. nfigure the I/O Setup, import settings to reco – or – and manage path definitions and signal routing • Click to add the imported paths to the No setups. current I/O Setup configuration. 112 Pro Tools Reference Guide

135 If the import results in overlapping paths, the Path Names and Automatic Output new paths will appear in the I/O Setup as Inac- Bus Remapping tive. See “Making Paths Active or Inactive” on system ID is created and saved in a session for A page 106. every computer the session is opened on (using After importing I/O Settings, you can then reas- the computer’s MAC address). If Pro Tools finds sign path routing definitions in the I/O Setup by a matching system ID when opening a session, remapping, renaming, and deleting paths. See output paths are restored and no reconfigura- “Pro Tools Signal Paths” on page 84. tion is necessary. When a Pro Tools session is opened on a system Exporting I/O Settings for the first time, Pro Tools attempts to automat- ically remap output busses. When you export I/O settings, all pages of the I/O Setup are exported. If Pro Tools does not find a matching system ID, Pro Tools attempts to remap output busses ac- To export and save an I/O Setup configuration as cording to the following criteria (in order): a custom I/O Settings file: Path names must be ex- Path Name and Format 1 Configure the I/O Setup settings. actly the same, and of the same format. Use the . Export Settings Click 2 suggested path naming schemes (see “Recom- mended Output Path Naming Schemes” on 3 Name and save the settings file. The settings page 104). file is appended with “.pio” to distinguish it as an I/O settings file. Path Format Only If matching path names are not found, Pro Tools remaps paths to existing To start sessions with a blank or empty paths of the same format (channel width). I/O Setup, you can create and export an I/O Settings file in which all definitions have Any output bus path t hat cannot be automati- been deleted. cally remapped is opened as Inactive. You must manually remap those paths to an active output path. Session Interchange When exchanging a session between Pro Tools Pro Tools Versions and Session systems, you may need to reconfigure the ses- Interchange sion’s I/O settings. This will depend on system When exchanging a session between systems ID, path names and path format, as well as on with different versions of Pro Tools software the Pro Tools versions of each system on which (such as your Pro Tool s 9.0 system and a col- the session is transferred. league’s Pro Tools 8.x system), you can use the following to maintain paths and signal routing. 113 Chapter 7: I/O Setup

136 Pro Tools 8.1 and Higher Path Order and Overlapping Output Paths When exchanging sessions among systems run- When exchanging sessions between Pro Tools ning Pro Tools 8.1 or high er, it is generally rec- 8.1 or higher and Pro Tools 8.0.4 and lower, out- ommended that the Sessions Overwrite Current put paths and sub-paths are changed as follows, depending on the order in which they appear in I/O Setup When Opened option be disabled. This the I/O Setups. maintains any system IO settings when opening a session from another system (see “Sessions If a session created in Pro Tools 8.1 or higher ‹ Overwrite Current I/O Set up When Opened” on contains overlapping paths with a larger path page 94). created above smaller paths in the I/O Setup, the smaller paths are converted to sub-paths of the Pro Tools 8.0.4 and Lower larger path when the session is opened in Pro Tools 8.0.4 and lower. When exchanging sessions with systems run- ning lower versions of Pro Tools, it is generally If a session created in Pro Tools 8.1 or higher ‹ recommended that the Sessions Overwrite Cur- contains overlapping paths where a smaller rent I/O Setup When Opened option be enabled path appears above a larger path in the I/O (see “Sessions Overwrite Current I/O Setup Setup, the larger path will be made inactive When Opened” on page 94). In this case, any when the session is opened in Pro Tools 8.0.4 custom settings saved with the session that do and lower. match your system may need to be reconfig- not ured manually in the I/O Setup to match your Show Last Saved Setup and Show current studio setup. Current Setup If you created a backup of your I/O settings, When a session is opened that contains path you can import settings after opening the definitions for unavailable I/O interfaces, the session (see “Importing I/O Settings” on I/O Setup lists those paths in italics. page 112). button dis- Show Last Saved Setup Clicking the Opening Older Sessions in Pro Tools 8.1 and plays the audio interfaces used in the original Higher session. This temporary display lets you check the last saved I/O configuration for reference When opening sessions created in Pro Tools while configuring the I/O settings for your sys- 8.0.4 and lower in Pro Tools 8.1 or higher, out- tem. put paths from the legacy session are re-created as output buses. If the Sessions Overwrite Current Once a session has been opened with unavail- option is enabled, the I/O Setup When Opened able I/O retained, you can then reassign tracks output buses are mapped to session output to available I/O paths. paths. If your hardware configuration has changed, you may need to manually recon- figure output assignments in the Grid on the Output page of the IO Setup. See “Assigning Paths to Hardware I/O” on page 106. 114 Pro Tools Reference Guide

137 Chapter 8: Preferences To change Pro Tools preferences: The settings in the Pro Tools Preferences define how Pro Tools features work. The Preferences di- . 1 Choose Setup > Preferences alog has several tabbed pages in which you can Click the tab for the page that has preferences 2 specify your preferred settings. you want to change. 3 Change preferences. 4 Click OK to save your changes and close the Preferences dialog. | HD system (Display Preferences page shown) Pro Tools Preferences on a Pro Tools 115 Chapter 8: Preferences

138 • Operation Preferences Global and Local Preferences • Custom Shuttle Lock Speed • Back/Forward Amount (Pro Tools HD and Pro Tools preferences are either l (system- globa Complete Production Toolkit 2 only) local wide) or (for the current session only). • PEC/Direct Style Input Monitoring Global (System-Wide) Preferences Global prefer- (Pro Tools HD only) ences are applied to all sessions. These prefer- • DestructivePunch File Length (Pro Tools ences become the default preferences for any ex- HD only) isting sessions that you subsequently open or • Editing Preferences any new sessions that are created. •None Local pref- Local (Current Session) Preferences • Mixing Preferences erences are applied to the current session (if one • Coalesce Trim Automation Options is open). Local preferences are not applied to (Pro Tools HD and Complete Production older sessions that are subsequently opened. Toolkit 2 only) Preferences and New Sessions • Processing Preferences • Convert Imported “WAV” Files To New sessions use global preference settings, plus AES31/BroadcastWave the most recent local preference settings. The most recent local settings refer to the last open • MIDI Preferences session (unless subsequent changes were made • Play MIDI Notes When Editing in the Preferences from the application • Display Events as Modified by Real-Time window). Properties • Automatically Create Click Track in New Local (Current Session) Sessions Preferences List • Default Thru Instrument • Pencil Tool Resolution When Drawing All Preferences are global, except for the follow- Controller Data ing, which are local: • Delay for External Devices Options • Display Preferences (Pro Tools HD only) • Edit Window Default Length • Synchronization Preferences • Always Display Marker Colors •None • Default Track Color Coding options • Default Region Color Coding options 116 Pro Tools Reference Guide

139 Edit Window Default Length Display Preferences This preference sets a default length for the Edit s, seconds, and frames window in hours, minute (Pro Tools HD or Pro Tools with Complete Pro- This is useful if you duction Toolkit 2 only). want to assemble a session of a particular length or leave extra room to expand the Edit window’s work area in your session. The maximum length is 12 hours and 25 seconds at 48 kHz, and pro- portionally less at higher sampling rates. For best scrollbar sensitivity, set the length to slightly longer (a minute or more) than the total session or song length. “Organize Plug-In Menus By” Options These option customize how plug-in menus are organized in the Insert selector or Plug-In selec- Basics Section tor. Track Position Numbers Stay with Hidden Organizes plug-ins in a single list, in al- Flat List keep their track When selected, tracks Tracks phabetical order. numbers even when hidden. When not se- ssigned to tracks that lected, numbers are only a Organizes plug-ins by process category Category are shown. In this case , shown tracks are then (such as EQ, Dynamics, and Delay), with indi- numbered sequentially, and hidden tracks are vidual plug-ins listed in the category submenus. not numbered. Plug-Ins that do not fit into a standard category (such as the DigiRack Signal Generator), or Tool Tips Display Options third-party plug-ins that have not had a cate- gory designated by their developers, appear in Configures Tool Tips to show the basic Function the Other category. Plug-Ins can appear in more function of the item. than one category. Configures Tool Tips to show the com- Details Manufacturer Organizes plug-ins by their manu- plete name of an abbreviated name or item facturer (such as Bomb Factory, Focusrite, or TL (such as a track name). Details view can also Labs), with individual plug-ins listed in the show the hidden or abbreviated value of param- manufacturer submenus. Plug-Ins that do not and output assignments. eters, as well as input have a Manufacturer defined will appear in the “Other” manufacturer folder. ird-party plug-ins will Most Avid-distributed th be grouped under Digidesign when Manufac- turer view is enabled. 117 Chapter 8: Preferences

140 Infinite When selected, track meters display the Organizes plug-ins Category and Manufacturer last peak level until you click them to clear in two levels of menus. The top menus display them. plug-ins by process category (such as EQ, Dy- namics, and Delay), with individual plug-ins None When selected, track meters do not hold listed in the category submenus. The bottom the peak level. menus display plug-ins by manufacturer (such as Bomb Factory, Focusrite, or TL Labs), with in- Clip Indication Options dividual plug-ins listed in the manufacturer sub- menus. These options determine how long the clip indi- cators on plug-in, send, and track meters stay lit Auto-Switch Input Language after a clip is detected. When the option is Auto-Switch Input Language 3 Second Clip Hold When selected, meters dis- enabled, the input language is switched auto- play the last clip indication for three seconds. matically from English to the current OS input When selected, meters display Infinite Clip Hold language when entering text. It automatically the last clip indications until you click them to switches back to English for using Keyboard clear them. commands in Pro Tools. When disabled, Eng- lish is used when entering test regardless of the No Clip Hold When selected, meters do not hold current OS input language. the clip indication. Language Options (Windows Only) Show Meters in Sends View Language Sets the language to use in the When the Sends view is displaying individual Pro Tools application, independently of what send controls, you can select this option to show language version of Windows is used. send level meters. Deselecting this option can redraws and processing. help speed up screen Default Automatic Naming to English Causes au- tomatically named session elements in a session to be named in English even when working with Warnings and Dialogs the Pro Tools application set to another lan- guage. If you Reset “Don’t Show This Again” Settings have made any changes the default Don’t Show setting for any dialog in Pro Tools, This Again Meters Section you can click the Reset button to revert to the default settings. Peak Hold Options Show Quick Start Dialog When Pro Tools These options determine how long the peak in- When selected, Pro Tools shows the Ses- Starts dicators on track meters stay lit after a peak is de- launch. Deselect this sion Quick Start dialog on tected. option if you do not want to see the Pro Tools When selected, track meters display 3 Seconds Quick Start dialog on launch. the last peak level for three seconds. 118 Pro Tools Reference Guide

141 Default Region Color Coding Options Color Coding These color coding options determine the de- Always Display Marker Colors Lets you choose to fault color coding assignment for tracks, Marker e Markers ruler, regard- view Marker colors in th Locations, and regions residing in the track less of the settings you choose for Default Region playlist and Region List. The options are: . Color Coding Turns off color assignment for regions. Re- None When enabled, MIDI Note Color Shows Velocity gions are drawn with bl ack waveform or MIDI MIDI notes display varying shades of the as- notes on a light gray background. signed track color in MIDI notes view in the Edit window and in MIDI Editor windows. Notes Tracks and MIDI Channels Assigns a color to with high velocities are darker and notes with each region in the Edit window according to its lower velocities are lighter. voice or MIDI channel assignment. Default Track Color Coding Options Assigns a color to each Tracks and MIDI Devices according to its voice region in the Edit window These color coding options determine the de- assignment or MIDI device assignment. fault color coding assignment for tracks in the Edit and Mix windows. The options are: Groups Assigns a color to each region according to the Group ID of its track. If groups are sus- None Turns off color assignment for tracks. command, all Suspend Groups pended using the Tracks and MIDI Channels Assigns a color to regions display black waveforms or MIDI notes each track in the Mix or Edit window according on a light gray background. to its voice or MIDI channel assignment. Track Color Assigns a region color based on the Assigns a color to each Tracks and MIDI Devices color assigned to the track. track in the Mix or Edit window according to its Assigns a unique color to each Marker Locations voice assignment or MIDI device assignment. marker area in the Marker ruler, including the Assigns a color to each track according to Groups area preceding the first marker. its Group ID. If groups are suspended using the Assigns a color to each region Region List Color command, the tracks color bars Suspend Groups based on its color in the Region List. are not shown. Assigns a color to each track accord- Track Type ing to its type (audio, Auxiliary Input, Master DI, Instrument, or Fader, VCA Master, MI Video). 119 Chapter 8: Preferences

142 Latch Forward/Rewind When selected, fast for- Operation Preferences ward and rewind latch and continue until you press Stop, Play, Return To Zero, or Go To End on the Transport. When disabled, the Fast For- as long as you hold ward and Rewind only last down the mouse after clicking either button on the Transport (or hold down the corresponding switch on a Control Surface). Play Start Marker Follows Timeline Selection When enabled, the Play Start Marker snaps to the Timeline Selection Start Marker when you move the Timeline Selection, draw a new Timeline Selection, or adjust the Timeline Selection Start. When disabled, the Play Start Marker doesn’t move with the Timeline selec- tion. Reserve Voices for Preview in Context (Pro Tools Transport Section HD Only) When enabled, Pro Tools reserves the appropriate number of voices for preview in Timeline Insertion/Play Start Marker Follows Playback When selected, the Timeline Insertion context (previewing audio files in DigiBase dur- and the Play Start Marker both move to the ing session playback). The number of available point in the Timeline where playback stops. voices is reduced by the channel width of the se- When deselected, the Timeline Insertion and lected audition paths on the Output page of the t follow playback, but re- Play Start Marker do no I/O Setup window. For example, if the number turn to the point in time where playback began. of playback voices is set to 48 in the Playback Engine, and you have a stereo audition path se- ws) or Control+N Press Start+N (Windo lected in the I/O Setup, only 46 voices will be (Mac) to toggle the Timeline Insertion/Play available for tracks. If you have a 5.1 audition Start Marker Follows Playback preference path, only 42 voices will be available. When this on and off. option is disabled, you will not be able to pre- view in context if there are not enough available Edit Insertion Follows Scrub/Shuttle When se- voices. lected, the edit cursor automatically locates to the point where scrubbing stops. Sets the highest fast- Custom Shuttle Lock Speed d (key 9) for Shuttle forward Shuttle Lock spee When se- Audio During Fast Forward/Rewind Lock modes (Classic or Transport). The range for lected, audio is audible during fast forward or re- this setting is 50–800%. wind. For more information, see “Custom Shuttle Lock Speed” on page 555. 120 Pro Tools Reference Guide

143 Shuttle (Pro Tools HD and Complete Production Back/Forward Amount (Pro Tools HD and Com- Toolkit 2 Only) Selects a type of shuttling differ- Sets the default plete Production Toolkit 2 only) ent from that of Shuttle Lock mode. With the length of For- Back and Play , Back , and Forward , playback is Shuttle Numeric Keypad mode set to . The timebase of the Back/Forward ward and Play triggered by pressing and holding the keys on settings follows the Main Time Scale by Amount the numeric keypad—playback stops once the default, or you can deselect the Follow Main Time keys are released. Various playback speeds are Scale option and select another timebase for- available in both forward and reverse. You can mat: Bars|Beats, Min:Sec, Time Code, also recall Memory Locations by typing Period Feet+Frames, or Samples. (.), the Memory Location number, and Period (.) Numeric Keypad Mode again. Numeric Keypad mode determines how the nu- Use Separate Play and Stop Keys meric keypad functions. You can always use the numeric keypad to select and enter values in the When enabled, this option lets you start play- Event Edit Area, Edit Selection indicators, Main back with the Enter key and stop playback with Transport fields. and Sub Counters, and the 0 key on the numeric keypad. This is useful for quickly starting and stopping playback when Classic Selects a Shuttle Lock mode that emu- auditioning loop transitions. The Use Separate lates the way Pro Tools worked in versions lower Play and Stop Keys option is only available in than 5.0. With the Nume ric Keypad mode set to Transport Numeric Keypad mode. Classic , you can play up to two tracks of audio in Shuttle Lock mode. Press the Start key (Win- When this option is enabled, it overrides us- dows) or Control (Mac), followed by 0–9 for dif- ing the Enter key to add Memory Location ferent play speeds. Press Plus (+) or Minus (–) to markers. Instead, press Period (.) and then reverse direction. Recall Memory Locations by Enter on the numeric keypad to add a Mem- typing the Memory Location number, followed ory Location marker. by Period (.). Auto Backup Section Transport Selects a Shuttle Lock mode that lets rd and play functions, you set a number of reco When se- Enable Session File Auto Backup and also operate the Tr ansport from the nu- lected, Pro Tools automatically saves backups of meric keypad. With the Numeric Keypad mode your Pro Tools session file while you work. Back- , you can play up to two tracks of set to Transport ups are saved to in the Session File Backups audio in Shuttle Lock mode. Press the Start key folder in your session folder. (Windows) or Control (Mac), followed by 0–9 Keep Specifies the total number of incremental for different play speeds. Press Plus (+) or Minus backups that are kept. (–) to reverse direction. Recall Memory Loca- tions by typing Period (.), the Memory Location Backup Every Specifies how often the session is number, and Period (.) again. saved. To customize the highest fast-forward Shut- tle Lock speed, see “Custom Shuttle Lock Speed” on page 555. 121 Chapter 8: Preferences

144 Video Section Record Section When selected, Latch Record Enable Buttons High Quality QuickTime Image (DV25 Only) multiple audio tracks can be record-enabled. When enabled, Pro Tools decompresses both When not selected, mult iple audio tracks can- fields of each interlac ed frame of QuickTime not be record-enabled. Record-enabling an au- video. When not enabled, Pro Tools only de- dio track takes all other audio tracks out of re- compresses one field of each frame for “half-res” cord-enabled mode. QuickTime playback. When selected, Link Record and Play Faders When viewing a QuickTime movie in the Pro Tools does not remember separate fader lev- Pro Tools Video window, select this option to els for tracks when they are record-enabled, al- display the movie at the highest possible resolu- lowing you to maintain the same monitoring tion. For interlaced video that was transcoded level for tracks during recording and playback. from a progressive source, enable this option for Audio Track RecordLock (Pro Tools HD a crisper image. Deselecting this option can help Only) This option configures Pro Tools tracks to improve performance if your system experi- either emulate a digital dubber, or to maintain ences problems playing back a session with legacy behavior for tr ack record status. QuickTime video. • When selected, the record-enabled audio tracks remain record-enabled when play- Avid Video Errors Stop Playback back or recording stops. (Pro Tools HD with Avid Video Engine Only) • When not selected, record-enabled audio When selected, Pro Tools automatically stops tracks are taken out of record enable when playback of audio and video if a single frame of Pro Tools is stopped. This prevents tracks video is dropped. from remaining armed from pass to pass, emulating track record behavior of a digital When not selected, Pro Tools continues play- dubber. frames are dropped. In back of audio even if most cases, video playback will recover within a few frames and continue playing audio and video in sync. Avid Video NTSC Has Setup (NTSC-J) (Pro Tools HD with Avid Video Engine Only) adjust the level of NTSC This preference lets you video black output between 7.5 IRE (standard) or 0 IRE. When this option is selected, output level is 0 IRE. 122 Pro Tools Reference Guide

145 Mute Record-Armed Tracks While Stopped Transport RecordLock (Pro Tools HD Only) This (Pro Tools HD Only) This setting determines option lets the Transport Record (the Record monitor status of record-armed tracks. button in the Transport controls) be configured to either emulate a digital dubber, or to main- • When selected, Pro Tools mutes all record- tain legacy behavior for the Transport master enabled tracks when the transport is Record. stopped. Input can still be monitored while stopped using the TrackInput Monitor but- • When selected, the Transport Record re- ton. mains armed when playback or recording stops. This saves having to re-arm the • When not selected, Pro Tools does not Transport between takes, emulating digital mute audio input on record-enabled tracks dubber behavior. when the transport is stopped. • When not selected, th e Transport Record PEC/Direct Style Input Monitoring (Pro Tools disarms when Pro Tools is manually HD Only) This option changes the way the Track- stopped or stops due to a loss of time code. Input monitoring mode is indicated on-screen ard Pro Tools record- This replicates stand (and on supported contro l surfaces) to emulate ing behavior. “PEC” (playback) and “Direct” (input/bus) indi- cation on some large format consoles. option is automati- Transport RecordLock The • When not selected, the TrackInput button cally disabled and grayed out when Destructive shows the letter “I.” The button remains Record mode is enabled. gray to indicate Auto Input mode and Disable “Input” When Disarming Track (In “Stop”) lights green to indicate Input Only mode. (Pro Tools HD Only) For flexibility, TrackInput • When selected, the TrackInput button re- monitoring can be customized to remain se- mains gray and shows the letter “D” to in- lected regardless of track record status, or to au- dicated Input Only mode (“Direct”); it tomatically switch to Auto Input monitoring af- lights green and shows the letter “P” to in- ter a recording pass. This lets you optimize dicate Auto Input mode (“Pec” or play- monitoring for a typical dubbing workflow (in back). which you might want tracks to remain in Input Only mode until explicitly switched to Auto In- Automatically Create Ne w Playlists When Loop put monitoring) or a typical music tracking When selected, copies loop recorded Recording workflow (in which leaving a track in Input alternate takes to new play lists in the track. This Only monitoring mode after recording can re- is especially useful to prepare for track compos- sult in accidental double-monitoring). iting in Playlists view after loop recording mul- tiple alternate takes. • When selected, taking an audio track out of record enable (any mode) takes it out of In- put Only mode, regardless of the global monitor mode, and switches it to monitor audio from disk only. • When not selected, audio tracks remain in Input Only monitoring mode until explic- itly switched to Auto Input monitoring. 123 Chapter 8: Preferences

146 Online Options DestructivePunch File Length (Pro Tools HD Only) Record Online at Time Code (or ADAT) When selected, online recording begins as Lock This preference sets the duration of consoli- soon as Pro Tools receives and locks to incoming dated audio files when preparing tracks for De- time code. structivePunch mode. The default value for this setting is 25 minutes. Record Online at In sertion/Selection When se- lected, online recording begins at the edit cursor Misc (Miscellaneous) Section location. Recording continues until Pro Tools stops receiving time code. If you make a selec- Auto Region Fade In/Out Length (Pro Tools HD tion, Pro Tools records online for the length of Sets a and Complete Production Toolkit 2 Only) the selection. default length for fade-ins and fade-outs auto- matically applied to region boundaries. Using Open Ended Record Allocation automatic fade-ins and fade-outs saves you the trouble of editing to zero -crossings or creating This preference determines how much of your numerous rendered fades in order to eliminate available hard drive space is allocated for record- clicks or pops in playback. Autofades are not ing. written to disk. Value range is from 0–10 ms for Use All Available Space When selected, the the setting. A Auto Region Fade In/Out Length drive’s entire available space is allocated. Gener- no auto-fading will oc- value of zero means that ing for recording longer ally, this is a good sett cur. The Auto Fade value is saved with the ses- the maximum amount of takes, as it provides sion, and is automatically applied to all free- drive space. Additionally, when recording mul- standing region boundaries until you change it. tiple tracks, the files are spread across your drive. Calibration Reference Level (Pro Tools HD This can sometimes slow down the recording Sets a default calibration reference level in Only) process for hard drives t hat use certain file sys- dB when Pro Tools is in Calibration mode. For tems, including HFS+ and NTFS. have trims (such as the audio interfaces that 192 I/O), see the interface’s guide for calibration Limit To Sets the maximum allowable recording instructions. duration for one take. This can help reduce the time it takes to begin recording by allocating This option lets Delay Compensation Time Mode hard drive. The number only a portion of your you choose whether information in the Delay of minutes specified is allocated for each record- Manager is displayed in milliseconds or samples. enabled track. You may want to experiment This option is only available when Delay Com- with this number to achieve the recording per- Options > Delay Compensa- pensation is enabled ( formance you want. ). tion If you do not regularly record longer takes, set a smaller length (such as a low multiple of the song’s total length). 124 Pro Tools Reference Guide

147 Tracks Section Editing Preferences When se- New Tracks Default To Tick Timebase lected, all new tracks default to ticks. When de- Input, Master Fader, selected, audio, Auxiliary and VCA (Pro Tools HD only) tracks default to samples. Memory Locations Section Auto-Name Memory Locations When When selected, Pro Tools gives new Playing Memory Locations default names based on their time location in the session. The time units cur- rently chosen in the View menu determine the units for the names. Recall Memory Location at Original Track When selected, Memory Locations that recall a selec- Regions Section tion also recall the track in which the selection Region List Select ion Follows Edit was made. When selected, selecting a region in a Selection track also selects it in the Region List. Fades Section Edit Selection Follows Region List Crossfade Preview Pre-Roll This setting specifies Selection When selected, selecting a region in the amount of pre-roll to be added when you are the Region List causes Pro Tools to highlight auditioning crossfades in the Fades dialog. that region’s occurrence in a track. This setting speci- Crossfade Preview Post-Roll Auto-Name Separated Regions When selected, fies the amount of post-roll to be added when Pro Tools automatically names newly separated you are auditioning crossfades in the Fades dia- regions by appending a number to the region’s log. name. QuickPunch/TrackPunch Crossfade Length Spec- “Separate Region” Operates On All Related ifies a default length for crossfades created by Takes When selected, editing a region with the QuickPunch or TrackPunch (Pro Tools HD only) command also affects all other Separate Region occur before the punch recordings. Crossfades related takes (recording passes) with the same in and after the punch out. User Time Stamp. This option helps you com- pare different sections from a group of related This option pre- Preserve Fades when Editing takes. serves fade-ins and fade outs, and converts sepa- rresponding fade-ins and rated crossfades into co fade-outs. 125 Chapter 8: Preferences

148 Large , , Medium , Last Used Selects Track Height Default Fade Settings Fit To Window Extreme Zoom Toggle , or for the Fade In Selects the default envelope shape for setting. Track Height fade-ins when using the Smart Tool. , Waveform/Notes , Track View Warp/Notes Selects Selects the default envelope shape for Fade Out for the No Change Zoom Toggle Last Used , or fade-outs when using the Smart Tool. Track View setting. Selects the default envelope shape for Crossfade When Separate Grid Settings When Zoomed In crossfades when using the Smart Tool. selected, the Grid setting stored with Zoom tog- gle is recalled when zoom toggling in. When To apply a Fade In, Fade Out, or Crossfade this option is deselected, the same (current) grid to an Edit selection using the Default Fade setting is used whether zoom toggling in or out. settings, and without opening the Fades di- alog, press Control+St art+F (Windows) or Zoom Toggle Follows Edit Selection When se- Command+Control+F (Mac). lected, zoom toggle automatically follows the current Edit selection. When disabled, changing REX lope shape for fades Selects the default enve affect on the currently the Edit selection has no and crossfades between re gions (“slices”) in im- toggled-in track. ported REX files. Levels of Undo Zoom Toggle Section This preference sets the maximum number of Selects either Ver tical Zoom Selection or Last actions that can be undone with the multiple Used setting. Zoom Toggle Vertical Zoom for the undo feature. Setting this to a lower number can of slower computers. speed up the performance Last Horizontal Zoom Selects either Selection or Levels of Undo . Pro Tools supports up to 32 Zoom Toggle Horizontal Zoom setting. Used for the Remove Range Selection After Zooming In When selected, the curr ent Edit selection col- lapses into an insertion point after zoom tog- gling in. Zoom toggling back out reverts to the previous selection. 126 Pro Tools Reference Guide

149 Use Absolute Pan Linking (Pro Tools HD and Com- Mixing Preferences plete Production Toolkit 2 Only) This option af- fects behavior of grouped pan controls. • When selected, grouped pan controls do not maintain relative offsets when any of the grouped pan contro ls is adjusted. All grouped pan controls snap to the absolute value of the adjusted control. • When not selected, grouped pan controls maintain relative offsets when any of the linked controls is adjusted. Default EQ This preference lets you choose any installed EQ plug-in as the default, which makes it available for quick assignment, both on-screen and on ICON worksurfaces (Pro Tools HD only). On- Setup Section screen, the plug-in appears at the top of the In- sert selector pop-up menu. On ICON worksur- Sends Default to –INF When selected, the initial faces, the plug-in appears first in the list of menu (no fader level of newly-created sends is set to – ∞ choices on the rotary encoders. audible signal level). When not selected, the ini- tial fader level of newly-created sends is set to Default Dynamics 0dB. This preference lets you choose any installed Send Pans Default to Follow Main Pan When se- Dynamics plug-in as the default, which makes it lected, newly created sends have Follow Main Pan available for quick assignment, both on-screen turned on, so the Send Pan controls follow the and on ICON worksurfaces (Pro Tools HD only). pan controls of the track. When not selected, On-screen, the plug-in appears at the top of the Follow Main Pan turned newly created sends have Insert selector pop-up menu. On ICON worksur- off. faces, the plug-in appears first in the list of menu choices on the rotary encoders. When selected, Link Mix and Edit Group Enables this option links enabling and disabling of Mix and Edit Groups. For example, enabling Group A in the Mix Window automatically enables Group A in the Edit window. 127 Chapter 8: Preferences

150 Controllers Section Automation Section Smooth and Thin Data After Pass If you are Edit Window Follows Bank Selection When selected, using a supported control surface with Pro Tools automatically smooths and then ap- Pro Tools, this option scrolls the Edit window to plies the specified amount of thinning to the au- display the selected bank of tracks when you tomation data created in an automation pass. switch banks on the control surface, ensuring Specifies the amount of thin- Degree of Thinning that the current bank is viewable on-screen. ning performed on automation data when you If you are Mix Window Follows Bank Selection using the Thin Automation command, or if you have selected the Smooth and Thin Data After Pass using a supported control surface with Pro Tools, this option scrolls the Mix window to option. display the selected bank of tracks when you Plug-In Controls Default to Auto-Enabled When switch banks on the control surface, ensuring selected, all applicable controls of newly added that the current bank is viewable on-screen. plug-ins are enabled for automation. When not selected, the controls of newly added plug-ins When using “Scroll to Track” Banks Controllers must be manually enabled for automation. a control surface (such as D-Control or ProCon- trol) you can select this option to bank control tion “Write To” Warnings Suppress Automa surface faders to a numb ered track when using (Pro Tools HD and Complete Production Toolkit 2 Scroll to Track command. the Only) When selected, Pro Tools suppresses the warnings that appear after invoking any of the Always Fill Channel Strips When Banking If you , Write Automation To Start Punch , or End , Selection are using an ICON worksurface (Pro Tools HD commands and then stopping the transport. only), or other supported control surface, you can select this option to maximize the number Latching Behavior for Switch Controls in of channels displayed when banking. This set- “Touch” This option determines the behavior of ting optimizes the Bank commands to prevent switch-type controls (suc h as mute or plug-in the display of a small number of channels at the bypass) when writing automation in Touch extremes of the surface. mode. • When selected, controls in Touch mode If you are writing automation in Touch Timeout will latch in their current state. If an exist- Touch mode and you stop moving a non-touch ing breakpoint is encountered, writing of sensitive fader or encoder, Pro Tools continues automation stops. If the transport is to write automation for the Touch Timeout stopped while writing, the control will value. AutoMatch to the underlying value. After the Touch Timeout period, writing of auto- • When not selected, controls in Touch mation stops and the automation data returns mode will not latch. to its previous automation value at the rate spec- setting. AutoMatch Time ified in the 128 Pro Tools Reference Guide

151 Include Sends in Trim Mode (Pro Tools HD and Allow Latch Prime in Stop (Pro Tools HD and Com- Complete Production Toolkit 2 Only) This option When selected plete Production Toolkit 2 Only) determines the Trim status of Send faders when and any tracks are in Latch mode, any automa- a track is put in Trim mode. tion-enabled controls on those tracks can be set to new values while the transport is stopped by • When selected, Send faders go into Trim rols, to prepare for the touching or moving cont mode along with the Main Volume fader. next automation pass. • When deselected, the Main Volume fader goes into Trim mode, but the Send fader Coalesce when Removing Slaves from VCA Group stays in the corresponding standard Auto- (Pro Tools HD and Complete Production Toolkit 2 mation mode. This option determines the behavior when Only) removing slave tracks from a VCA-controlled This op- Include Control Changes in Undo Queue group. tion determines whether certain mixer control • When selected, any automation on the changes, such as moving a fader or pan control, VCA Master is automatically coalesced are entered into the Undo queue. (without confirmation) to its slave tracks • When selected, mixer control changes ap- when the tracks are removed from the pear in the Undo queue, and are undone if group. any prior operation is undone. • When not selected, a confirmation dialog • When deselected, mixer control changes lets you choose whether or not to coalesce will not appear in the undo queue, allow- the VCA Master automation to the slave ing you to undo other types of operations tracks. without losing the current mixer settings. Standard VCA Logic for Group Attributes Any set to default operat ions that affect mixer (Pro Tools HD and Complete Production Toolkit 2 controls will be entered into the Undo queue. Only) This option determines which Mix group attributes may be select ed in the Group dialog AutoMatch Time If you are writing automation when the group is assigned to a VCA Master. in Touch mode, when you release a fader or con- • When selected, the Main Volume, Mute, trol, writing of automation stops and the auto- Solo, Record Enable, and Input Monitoring mation data returns to its previous value. The controls on slave tracks follow the VCA rate of return to the previous value is the t available to be in- Master only and are no . AutoMatch Time dependently linked. (This emulates the be- AutoGlide Time (Pro Tool s HD and Complete Pro- havior of analog console VCA masters.) duction Toolkit 2 Only) Specifies how quickly • When deselected, the Main Volume, Mute, Pro Tools transitions (glid es) from one automa- Solo, Record Enable, and Input Monitoring tion value to another, when controls follow the VCA Master, but also re- AutoGlide mode is used. main available for independent linking with groups. 129 Chapter 8: Preferences

152 After Write Pass, Switch To Options Processing Preferences These options select the Automation mode that Pro Tools tracks automatically switches to after an automation pass in Write (or Write Trim) mode. Select one of the following options: Touch Switches to Touch mode after an automa- tion pass in Write (or Write Trim) mode. Switches to Latch mode after an automa- Latch tion pass in Write (or Write Trim) mode. No Change Stays in Write mode after an automa- tion pass in Write (or Write Trim) mode. After an automation pass in Write Trim mode, ch to the Trim version tracks automatically swit of the specified setting. AudioSuite Section Coalesce Trim Automation Options Use AudioSuite Dither When selected, certain (Pro Tools HD and Complete Production Toolkit AudioSuite plug-ins automatically apply dither 2 Only) when processing. AudioSuite plug-ins that sup- port automatic dithering include: Gain, Nor- These options determine when Trim automa- malize, Smack!, and Sonic NoNOISE. tion is committed to the main automation play- list on a track. Plug-In Specifies the plug-in used for dither pro- cessing when the option is Use AudioSuite Dither Sets Trim automation to co- After Every Pass selected. alesce when the transport is stopped at the end of each Trim automation pass. No Composite Lets you select a bit depth for the dith- Bit Depth Playlist is indicated. ered audio (24-bit, 20-bit, 18-bit, or 16-bit). Sets Trim Automation to On Exiting Trim Mode coalesce on a track when the track is taken out of Import Section Trim mode. A Composite Playlist can be viewed before committing Trim moves. Convert Imported “WAV” Files To AES31/Broad- When selected, this option applies to castWave Trim Automation can be coalesced Manually all newly imported WAV files, making them only with the Coalesce Trim Automation com- compliant with the AES31/EBU Broadcast stan- t can be viewed be- mand. A Composite Playlis dard. fore committing Trim moves. 130 Pro Tools Reference Guide

153 When enabled, REX and ACID files, No Files Automatically Copy Files on Import When se- and all other audio files are not conformed to lected, all audio files that are imported by drag- the session tempo when imported by drag and ging and dropping are copied to the current ses- drop from Windows Explorer or the Mac Finder. sion’s Audio Files folder, regardless of whether sample-based files and They are imported as the files need to be converted to the current ses- converted to the sessions audio file format. sion’s file type, bit depth or sample rate. Addi- tionally, when selected, the Copy from Source Me- When enabled, only REX and ACID Files Only option is automatically enabled in the dia REX and ACID files are co nformed to the session Import Session Data dialog. The Automatically tempo when imported by drag and drop from preference does not affect Copy Files on Import Windows Explorer or th e Mac Finder. REX files Import Audio command. the tick-based Elastic Audio are imported either as op- Import REX Files as Region Groups or, if the Import REX Files as Region Groups When se- tion is enabled, as tick-based region groups. lected, REX flies are impo rted as region groups, all the underlying slices are imported as individ- All Files When enabled, all audio files (including ual regions contained within the region group. rted by drag and drop REX and ACID files) impo t selected, importing REX When this option is no from Windows Explorer or the Mac Finder are files into a session converts them to the session’s imported as tick-based Elastic Audio and con- audio file format, the individual slices are con- form to the session tempo. formation is used for solidated, and the slice in Elastic Audio analysis. These files remain tick- Sample Rate Conversion Quality based after import and conversion. Sample Rate Conversion Quality pop-up The Automatically Create Fades When selected, menu lets you select the default sample rate con- crossfades are applied automatically to the version quality for importing audio files by drag gion groups created by sliced regions within re and drop from any Digi Base browser, or Win- Import REX Files as Re- importing REX files. If the dows Explorer or Mac Finder. The higher the gion Groups Automati- option is not selected, the quality of sample rate conversion you select, the option is not available. cally Create Fades longer Pro Tools will take to process the audio file. To change the default fade settings for REX files, click the REX button in the Default Fade Settings section on the Editing Preferences page. Drag and Drop From Desktop Conforms to Session Tempo Drag and Drop From Desktop Conforms to Ses- The sion Tempo options determine whether or not s are imported as tick- REX, ACID, and audio file based Elastic Audio and conformed to the ses- sion tempo. 131 Chapter 8: Preferences

154 De- The Elastic Properties window inherits the TC/E (Time setting. To apply further region- fault Input Gain Compression/Expansion) Section based input gain attenuation for Elastic Audio TC/E Plug-In Lets you select the plug-in used for processing, select the region and adjust the Input Time Compression and Expansion when you Gain setting in the Elastic Properties window (see edit audio with the Time Compression/Expan- “Elastic Properties Window” on page 880). sion Trim tool. This Trim tool works by using Enable Elastic Audio on New Tracks When se- Time Compression/Expans ion to match an au- lected, new tracks are created with Elastic Audio dio region to the length of another region, a enabled. The selected default Elastic Audio plug- tempo grid, a video scene, or other reference in is used. point. The DigiRack Time Shift plug-in is se- lected by default. If the Enable Elastic Audio on New Tracks Specifies the default settings Default Settings option is selected, you may want to also se- used by the chosen Time Compression/Expan- lect the New Tracks Default to Tick Time- sion plug-in. base option in the Editing Preferences page. DSP Management Section Elastic Audio Section (Pro Tools|HD Systems Only) These preferences determine Elastic Audio usage and settings on new tracks, as well as for pre- These preferences determine DSP management viewing and importing tick-based audio. behavior for converting TDM plug-ins to RTAS and also for the HEAT software option. Lets you select any Real-Time Default Plug-In the default for preview- Elastic Audio plug-in as When Open Unresourced TDM Plug-Ins as RTAS ing and importing Elastic Audio. The selected this option is enabled, any TDM plug-ins that default Elastic Audio plug-in is also used when exceed the available TDM processing are con- Enable Elastic Au- new tracks are created with the plug-ins wherever possi- verted to RTAS format option enabled. dio on New Tracks ble. When this option is disabled, any TDM plug-ins that exceed the available TDM process- Default Input Gain Lets you attenuate the signal ing are made inactive. input to Elastic Audio plug-ins by 0 to –6 dB for preview and import. If you experience clipping Enable HEAT in New Sessions (Pro Tools|HD When enabled, new sessions are created Only) due to Elastic Audio processing during preview with HEAT enabled for all audio tracks. When Default or after import, you may want to set the disabled, HEAT is disabled in new sessions by de- to slightly attenuate the audio signal Input Gain fault. This option is only available if the HEAT input for Elastic Audio processing. This prefer- software option is installed. For more informa- ence also applies to any audio imported to an tion, see the HEAT Software Option Guide . Elastic Audio-enabled track. 132 Pro Tools Reference Guide

155 Default Thru Instrument MIDI Preferences This option lets you set the default MIDI Thru instrument. You can select a predefined device instruments, or select from your available MIDI to use the assigned MIDI First Selected MIDI Track output of the first select ed MIDI or Instrument track. When multiple MIDI or Instrument tracks in the selected track are selected, the instrument that is closest to the top of the Edit window (or closest to the left edge of the Mix window) is used. Select None to only route MIDI Thru re- cord enabled MIDI an d Instrument tracks. Pencil Tool Resolution When Drawing Controller Data This option lets you set the default resolution for MIDI controller data created with the Pencil Basics Section tool. Setting this to a lower resolution helps avoid creating controller data that is unneces- Remove Range Selection After Opening the sarily dense. The value range is from 1 to 100 When selected, the MIDI Edi- MIDI/Score Editor milliseconds. tor and Score Editor open with no Edit selection. When this option is disabled, the MIDI Editor Global MIDI Playback Offset th the current Edit se- and Score Editor open wi lection intact. This option lets you set an offset in samples to compensate for MIDI latency. Entering a value When enabled, you can Use MIDI to Tap Tempo here has the same effect as setting an offset with tap a MIDI keyboard to enter a new tempo value the MIDI Track Offsets command. Offset values into a tempo field. can be positive (later) or negative (earlier). Display Events as Modified by Real-Time Proper- When enabled, Pro Tools displays the ef- ties Double-Clicking a MIDI Region Opens fects of Real-Time Properties in the Edit, MIDI This option lets you specify what happens when Editor, and Score Editor windows, and the MIDI you double-click MIDI regions with the Grabber Event List. tool on MIDI and Instrume nt tracks in the Edit Use F11 Key for Wait for Note When enabled, window. pressing the F11 Function key puts MIDI record- MIDI Editor Opens the MIDI region in a MIDI ing in Wait for Note mode. Editor window. Automatically Create Click Track in New Score Editor Opens the MIDI region in the Score Sessions When enabled, Pro Tools automati- Editor window. track in new sessions. cally creates a new click 133 Chapter 8: Preferences

156 Opens the MIDI region in the MIDI Event List Synchronization Preferences MIDI Event List. Name Dialog Opens the Name dialog for the MIDI region. Note Display Options These options set the reference for middle C as C3, C4, or MIDI note number 60. Delay for External Devices Section (Pro Tools HD Only) These options only apply when a Delay Compen- is selected in the Playback Engine sation Engine is enabled in Pro Tools. and Delay Compensation Machine Control Section These options are distinct from the hardware When se- Machine Chases Memory Location offsets available for hardware inserts in the I/O lected, navigating to a specific location in a ses- Setup. sion with a Memory Location causes a con- MIDI Time Code When selected, Pro Tools ap- hase to that location. nected transport to c plies Delay Compensation to Pro Tools-gener- Machine Follows Edit Insertion/Scrub When se- ). Enable this option ated MIDI Time Code (MTC lected, navigating to a specific location in a ses- when synchronizing video to Pro Tools using sion by moving the selection point or by scrub- MTC. bing a track will cause a connected transport to When selected, Pro Tools ap- MIDI Beat Clock chase to that location. plies Delay Compensation to Pro Tools-gener- When the connected device is a linear device ated MIDI Beat Clock. (such as a tape deck), select Linear Devices (jog) to set Pro Tools to send jog commands. MIDI/Score Editor Display When the connected device is a non-linear de- Additional Empty Bars in the Score Editor ccess video recorder or vice (such as a random-a Non-Linear De- another Pro Tools system), select This setting lets you specify the default number vices (cue) to set Pro Tools to send cue com- of empty bars that appear in the Score Editor mands. window after the end of the last MIDI region in the session. Machine Cues Intelligently (Pro Tools HD Only) When selected, if you navigate to a cue point that is more than 10 seconds from the cur- rent location, Pro Tools will command a con- nected transport to fast wind to the new loca- 134 Pro Tools Reference Guide

157 Delay Before Locking to Serial Time Code tion at full speed to within 10 seconds of the cue (Pro Tools HD Only) Sets the amount of time (in slow to normal speed point. Cueing will then frames) for Pro Tools to wait before attempting until the point is reached. This can significantly to lock to machines that issue servo lock mes- speed up tape cueing with certain video trans- sages. This setting allows time for the servo ports. mechanisms to achieve stable lock. Stop at Shuttle Speed Zero (Pro Tools HD Only) Causes Pro Tools to send a Stop command Remote Mode Section whenever you stop shuttling. This is useful if you have a machine that requires an explicit (Pro Tools HD Only) stop command to park correctly. Ignore Track Arming Sets Pro Tools to ignore in- Non-Linear Transport Error Suppression (Pro Tools coming track arming (record enable) com- When Transport = Pro Tools, keeps HD Only) mands. This is useful if you are using a master Pro Tools from sending a Stop command when controller to arm tracks on other machines, but taken offline. This prevents Pro Tools from stop- you do not want to arm tracks in Pro Tools. ping any other 9-pin devices connected to the Set Servo Lock Bit at Play Enable this option system. when using a synchronizer to control Pro Tools in Remote mode to minimize lock-up times dur- Synchronization Section ing recording. Sets the initial amount of Minimum Sync Delay Allow Track Arm Commands in Local Mode Sets prime time (in frames) your system’s devices Pro Tools to respond to incoming track arming need to achieve synchronization “lock.” This (record enable) commands even when the sys- amount varies for each device. Pro Tools lock up tem is not in Remote mode. This is useful if you delay is set by entering a value for Minimum Sync are using a paddle device to control Pro Tools in the Synchronization page of the Prefer- Delay track arming or punching. ences. The lowest value available is 15 frames. Find the shortest possible lock-up time that your Sets an offset (in frames) Punch In Frame Offset equipment can operate at consistently, and set to compensate for punch in timing advances or this as the Minimum Sync Delay . On systems using delays. Use Serial Time MachineControl, enabling the Punch Out Frame Offset Sets an offset (in frames) option will make machines lock up much Code to compensate for punch out timing advances faster. (Serial time code requires both a qualified or delays. synchronization peripheral and external devices to be locked to house video reference.) Delay After Play Command Sets the amount of time (in frames) for Pro Tools to wait after re- Longitudinal Time Code Delay Before Locking to ceiving a Play command before starting the au- (Pro Tools HD Only) Sets the amount of time (in dio engine. This can prevent false starts when frames) for Pro Tools to lock to incoming LTC. locking to synchronizers that are not fully sup- Use this option when locking Pro Tools to a sta- ported by Pro Tools. ble time code source (such as a non-linear tape machine or LTC generator) and not a linear tape machine. 135 Chapter 8: Preferences

158 Causes a Solo Independent of Linked State Satellites Section Pro Tools system to send the solo status of its (Pro Tools HD Only) stems even when it is tracks to other satellite sy ntrol of solo status unlinked. This allows co These preferences are available only with the across systems even when transport control is Satellite Link option. The Pro Tools Satellite not enabled. Link option lets you link up to 5 Pro Tools sys- ® tems (or 4 Pro Tools systems and an Avid Me- Causes a DAE Errors Stop All Linked Systems ® dia Composer with the Video Satellite option DAE error on any linked Pro Tools system to or a Video Satellite LE sys tem) over an Ethernet stop the transport on all linked systems. When network so that you can cue, play, and stop the this option is not selected, linked systems will transport, make play sele ctions, and solo tracks not stop if a DAE error occurs on one system. across any of the system s from any linked work- station. Causes a linked Transmit Play Selections Pro Tools system to send the Edit window selec- Transmit Solos Causes a linked Pro Tools system tion to all other linked Pro Tools systems. On to send the solo status of its tracks to all other other linked systems that are set to receive play linked Pro Tools systems. On other linked sys- mirrored in the Edit selections, the selection is tems that are set to receive solos, tracks follow window. solo behavior as if the solo were on the local sys- tem. Receive Play Selections Causes a linked Pro Tools system to receive Edit window selec- Receive Solos Causes a linked Pro Tools system tions from all other linked Pro Tools systems to receive solos from all other linked Pro Tools that are set to transmit play selections. transmit solo status of systems that are set to the receiving system fol- their tracks. Tracks on lows solo behavior as if the solos were on the lo- cal system. 136 Pro Tools Reference Guide

159 Chapter 9: Peripherals The settings in the Peripherals dialog define how Pro Tools works with various synchroniza- tion, machine control, MIDI control surface, Ethernet worksurface, Mic Preamp, satellite peripherals and devices, and linked VENUE systems. To configure settings for Pro Tools peripherals: Choose Setup > Peripherals . 1 Click the tab for the type of peripheral you 2 want to configure. 3 Change the settings. 4 Click OK to save your changes and close the MTC Reader and Generator Peripherals dialog. The MIDI Time Code (MTC) settings let you se- lect the MIDI In and Out ports for MTC. Synchronization MTC Reader Port The MTC Reader Port setting lets you select the MIDI In port to which the The Synchronization page lets you configure MTC slave device is connected (the source of Pro Tools for use with MIDI Time Code and a MTC information from the slave device). synchronization peripheral. MTC Generator Port The MTC Generator Port set- synchronization pe- For information about ting lets you select the MIDI Out port to which ripherals, see the SYNC HD Guide. the master device is connected (this the destina- tion of MTC information from Pro Tools). 137 Chapter 9: Peripherals

160 LTC Output Level Synchronization Device (Pro Tools HD Only) This setting adjusts the analog audio level of the LTC output, from –24 dBu to +9 dBu. The Synchronization Device settings let you configure a synchronization peripheral, such as VITC Read Lines the SYNC HD or SYNC I/O. This setting determines which line pair of in- Enable SYNC Peripheral coming video signal is used for the VITC source. When set to Auto, the synchronization periph- When this option is selected, any connected eral searches for the first valid line pair automat- synchronization peripheral is enabled for use ically. Alternatively, this value can be set to spe- with Pro Tools. cific VITC line pairs. Current Firmware Version VITC Generate Lines This displays the firmware version for the con- This setting determines the line pair of the out- peripheral, such as a nected synchronization going video signal onto which the synchroniza- SYNC HD. tion peripheral inserts VITC. Normally, this should be left at the default (and preferred) set- VITC Insertion Enabled ting of 14/16. When this option is selected, VITC is inserted Bi-Phase/Tach Wiring into the outgoing video signal—assuming that a video signal is present at a synchronization pe- This setting lets you select from the following ripheral video input, and that the synchroniza- options for Bi-Phase or Tach wiring: tion peripheral is in a valid mode for inserting • Bi-Phase: FWD = A leads B VITC. • Bi-Phase: FWD = B leads A Pitch Memory Enabled • Tach:FWD = B is Low • Tach: FWD = B is High When this option is selected, the synchroniza- tion peripheral will remain at a pitch (sample Bi-Phase/Tach Pulses/Frame (2–254) rate) that corresponds to the last known incom- ing time code speed. When deselected, the Syn- There are several different standards for the chronization peripheral reverts to the selected number of pulses-per-fra me output by Bi-Phase sample rate. If Pitch Memory is disabled and the or Tach devices. You can set the synchroniza- rence is not available, selected external clock refe tion peripheral to operate from 2 to 254 pulses then the synchronization peripheral reverts to per frame from Pro Tools. The setting should the nominal, selected internal sample rate set- match the PPF rate of the Bi-Phase/Tach encoder ting. on the external device. Idle MTC Enabled When this option is selected, MTC is continu- abled, MTC output is ously output. When not en muted when playback is idle. 138 Pro Tools Reference Guide

161 so that the time code numbers are displayed di- Reset Bi-Phase rectly on top of the video signal, without a con- This button lets you set the Bi-Phase/Tach start trasting background box.) The default setting is frame from Pro Tools. Click the button to up- White on Black Bkgnd. date the Time Code Display on the synchroniza- tion peripheral to match the session time code value. Machine Control Enable Dub Window The Machine Control page lets you configure When this option is selected, you can insert a Pro Tools for use with MIDI Machine Control or time code window into a video signal with the 9-Pin Machine Control. following Window dub appearance settings: For information about the MachineControl Sets the vertical position of the Vertical Position Software Option for Pro Tools, see the window dub, relative to the bottom of the video MachineControl Guide. picture. The choices range from 10% From Bot- tom to 50% From Bottom, in 10% increments. “10% from Bottom” vertical position is out- side the standard “safe title” area, which means it may not be vi sible on some video monitors. Sets the relative horizontal Horizontal Position position of the window dub within the video ude Extreme Left, Left, picture. The choices incl Center, Right and Extreme Right. The “Extreme” horizontal positions are out- side the standard “safe title” area, which means they may not be visible on some video monitors. MIDI Machine Control (Master) Sets the relative size of the window dub Size Pro Tools provides the following for configuring (Small or Large). MIDI Machine Control (Master) settings. Sets the color of the time code numbers Color Enable e window dub. The and background of th Enable When the option is selected, Pro Tools is choices include White on Black Bkgnd, Black on the Master and it sends MMC commands to the White Bkgnd, White on Video Bkgnd, or Black slave device and receives MTC information back on Video Bkgnd. (Video Bkgnd means that the from the slave device. ow dub is transparent, background of the wind 139 Chapter 9: Peripherals

162 MIDI Out Port 9-Pin Machine Control (Deck Control) MIDI Out Port pop-up menu lets you select The (Pro Tools HD with Machine Control Only) the MIDI Out port to which the slave device is connected. The settings 9-Pin Machine Control (Deck Control) let you configure a Machine Control device for MMC ID Serial Deck Control mode with Pro Tools. Serial Deck Control mode is available whenever Ma- The MMC ID setting lets you specify the MMC chine Control is connected using the Serial Deck ID number for which MMC information will be Control cable. When connected for Serial Deck sent. MMC commands contain an ID number to Control mode, Machine Control enables all identify which machine should respond to the Pro Tools track arming, synchronization, and MMC command. There are 128 MMC ID num- , as available on your system. Transport features bers, from 0–127. The default of ID #127 is a spe- Serial Deck Control mode also supports 9-pin se- cial setting that transmits to all 128 MMC IDs. rial time code. With a setting of 127, Pro Tools will transmit MMC commands to all MMC IDs. Enable Preroll Enable When the option is selected, Pro Tools is in Serial Deck Control mode. The Preroll setting lets you specify a pre-roll time in frames for your MMC slave device. Pre- Port roll is needed to provide the device with suffi- cient time to lock to the time code transmitted Port The setting lets you select the 9-pin Ma- by Pro Tools. This value will vary depending on chine Control port. The available choices de- the external device. If the pre-roll time is insuf- rm and configuration pend on your platfo ficient, the device may not be ready to lock until after the current time code position has passed. Machine Type After you select a port, Pro Tools automatically MIDI Machine Control (Slave) polls the port to see what kind of machine is connected. If the machine is recognized, Pro Tools provides the following for configuring . Pro Tools loads the corresponding Machine Type MIDI Machine Control (Slave) settings. This includes the corresponding track layout Enable and automatically enters the name of that ma- chine into the Machine Track Arming window. When the option is selected, Pro Tools is Enable However, if the machine is not recognized, the the slave and it receives MMC commands from “ Generic 1” personality is automatically loaded. sends MTC information the master device and back to the slave device. Preroll MMC ID Preroll setting lets you specify a variable The amount of machine preroll to account for the The MMC ID setting lets you specify the MMC time it may take the machine to achieve servo ID number for which MMC information will be are usually better for lock. Shorter preroll values received. 140 Pro Tools Reference Guide

163 the machine to Pro Tools time code, you can non-linear machines. Longer preroll values are avoid the waiting (and tape wear) that occurs usually better for older tape transports. The Ma- while a machine transport locates and bumps ded to any preroll spec- chine preroll value is ad tape to the cue point. ified in the Transport window. 9-Pin Remote (Deck Emulation) MIDI Controllers (Pro Tools HD with Machine Control Only) The MIDI Controllers page lets you configure up The 9-Pin Remote (Deck Emulation) settings let to four different MIDI controllers for Pro Tools. you configure Pro Tools for 9-Pin Remote (Deck Emulation) mode. This mode makes Pro Tools operate as a virtual tape deck, supporting most standard Sony P2 9-pin commands. By default, Pro Tools emulates a Sony BVW-75 model video deck. You can also configure Pro Tools to emu- late other machines. Enable option is selected, Pro Tools is Enable When the in 9-Pin Remote (Deck Emulation) mode. Port The Port setting lets you select the 9-pin Ma- Number and Color chineControl port. The available choices de- rm and configuration pend on your platfo The number of the row indicates the order of the e color corresponds to selected controllers. Th Machine Type the controller focus arou nd Pro Tools track and plug-in controls. Machine Type The setting lets you select the ma- chine description for specific machine control- Type lers (such as the Soundmaster ATOM). By de- fault, Pro Tools emulates a Sony BVW-75. Type setting lets you select the MIDI control- The ler connected to your computer. Choose from Chase LTC any of the following types of MIDI controllers: • Command|8 When Chase LTC is enabled, Pro Tools still re- sponds to track arming and record commands. •HUI However, Pro Tools will chase incoming LTC in- •MotorMix stead of behaving as a master or slave device • Surround Panner with the machine controller. By slaving •M-Audio Keyboard Pro Tools to the LTC source instead of slaving 141 Chapter 9: Peripherals

164 EUCON (Extended User Control) Receive From Receive From setting lets you select the MIDI The When selected, Pro Tools is enabled for control In port to which your MIDI controller is con- by one or more EUCON-compatible controllers. EUCON is an innovative high-speed Ethernet nected. protocol developed by Avid to allow a hardware Send To control surface to directly communicate with a software application. setting lets you select the MIDI Out Send To The port to which your MIDI controller is con- For more information about using Pro Tools nected. with EUCON, see the documentation in- cluded with your controller. Number of Channels Enable # Ch’s The Number of Channels ( ) setting dis- ntrol channels supported plays the number of co is enabled for control When selected, Pro Tools DI controller type. by the selected MI by one or more Ethernet controllers (such as D-Command or C|24). Ethernet Port Ethernet Controllers setting lets you specify the eth- The Ethernet Port page lets you configure The Ethernet Controllers ernet port on your computer to which your con- up to seven different Ethernet controllers for troller is connected. Pro Tools. Number and Color The number of the row indicates the order of the selected controllers. Th e color corresponds to the colored controller focus border around Pro Tools track and plug-in controls. Ethernet Controller oller pop-up menu, se- From the Ethernet Contr lect the Ethernet controller that you want to use. Name Click the Name button to enter a name for the selected Ethernet controller. 142 Pro Tools Reference Guide

165 Type Mic Preamps none . Se- The Type setting lets you select PRE or The Mic Preamps page lets you configure up to lect the PRE option to declare any connected nine different Mic Preamps (PRE) for Pro Tools. PRE. For information about the PRE, see the PRE Receive From Guide. The Receive From setting lets you specify the h the PRE is connected. MIDI In port to whic Send To The setting lets you specify the MIDI Send To Out port to which th e PRE is connected. Defaults Click the Reset button reset the corresponding PRE to its default settings. Retain Current Settings Retain Current Settings option to retain Select the PRE channel settings when an existing session with different settings is loaded. New sessions will automatically retain the current settings. 143 Chapter 9: Peripherals

166 System Name Satellites Type a name for the local system. This name ap- The Satellites page lets you configure Pro Tools pears in the list of available satellites in other for use with Satellite Link, Video Satellite, and connected systems with the Satellite Link op- Video Satellite LE software options. tion. The Pro Tools Satellite Link option lets you link Mode up to 5 Pro Tools systems (or 4 Pro Tools sys- settings let you configure the satellite Mode The tems and an Avid Media Composer with the behavior of the local system. Video Satellite option or a Video Satellite LE sys- tem) over an Ethernet network so that you can Administrator When enabled, the Administrator cue, play, and stop the transport, make play se- option sets the local system to be the adminis- lections, and solo tracks across any of the sys- trator system for any satellite systems on the tems from any link ed workstation. network. Satellite systems can be declared from the administrator system. The Video Satellite option lets you link a Pro Tools|HD system and a Media Composer Satellite option sets Satellite When enabled, the system. The Video Satellit e LE option lets you the local system to be a satellite system on the link a Pro Tools|HD system and a Pro Tools host- network. When a system is in Satellite mode, it based system for monitoring QuickTime HD becomes available to be declared as a satellite video. from any administrator system on the network. For more information, see the guide for your Administrator Satellite option. When the local system is in Administrator Administrator settings let you declare mode, the satellites from that system. System 1–5 These popup menus let you declare up to 4 satellite systems (in addition to the ad- ministrator system itself) from an administrator system. The number of the system indicates the order of the declared sa tellites in the Transport window. 144 Pro Tools Reference Guide

167 Advanced Network Settings VENUE settings let you specify an Advanced Network The The VENUE page lets you configure Pro Tools IP address and port for VENUE Link communi- for use with a VENUE system over Ethernet cation. using VENUE Link. ve more than one For systems that ha Interface Pro Tools VENUE Link lets you import VENUE Ethernet network connection, the set- Interface Settings into Pro Tools, create Pro Tools markers ich connection to use for ting lets you select wh locate to Pro Tools from VENUE Snapshots, and VENUE Link communication. markers from VENUE Snapshots. For systems that have more than TCP/UDP Port one Ethernet network connection, you can en- ter the TCP/UDP port number to be used for VENUE Link communication. System Name The System Name field lets you enter a name for your Pro Tools system. VENUE System The VENUE System selector lets you select a re- mote VENUE system for recording to (or play- back from) your Pro Tools system. You can also manually enter the IP addresses of the VENUE system. 145 Chapter 9: Peripherals

168 Pro Tools Reference Guide 146

169 Chapter 10: Configuring MIDI To configure your MIDI studio in AMS: If you are using external MIDI devices with Pro Tools (such as controllers or sound mod- Do one of the following: 1 ules), you can customize your MIDI studio setup • Launch Audio MIDI Setup (located in Ap- to display the names of your MIDI devices in plications/Utilities). Pro Tools. – or – Setup > MIDI > MIDI • In Pro Tools, choose . Studio MIDI Studio Setup (Mac) If the MIDI Studio window is not showing, 2 Pro Tools recognizes the ports on your MIDI in- . Window > MIDI Studio choose terface as generic ports. With Mac OS X, you use Apple’s Audio MIDI Setup (AMS) utility to iden- tify external MIDI devices connected to your ure your MIDI studio MIDI interface and config for use with Pro Tools. To ensure optimum performance, do not change the AMS configuration while Pro Tools is playing back. Stop the Pro Tools transport before launching AMS. Audio MIDI Setup (MIDI Devices tab) AMS scans your system for connected MIDI in- terfaces. If your MIDI in terface is properly con- nected, it appears in the window with each of its ports numbered. 3 To create a custom MIDI device for any exter- nal MIDI devices connected to your MIDI inter- face, click Add Device . A new external device icon with the default MIDI keyboard image ap- pears. 147 Chapter 10: Configuring MIDI

170 To customize an external MIDI device in AMS: 4 Drag the new device icon to a convenient lo- cation within the window. 1 Select the external device icon and click Show Info (or double-click the new device icon). 5 Connect the MIDI device to the MIDI inter- face by clicking the arrow for the appropriate output port of the device and dragging a con- nection or “cable” to the input arrow of the cor- responding port of the MIDI interface. External Device Icon Select a manufacturer and model for the new 2 device from the corresponding pop-up menus. (If the Manufacturer and Model pop-up menus do not provide a name for your particular de- vice, you can type a name.) Making MIDI input and output connections 6 Click the arrow for the appropriate input port of the device and drag a cable to the output ar- row of the corresponding port of the MIDI inter- face. Naming a new MIDI device To remove a connection, select the cable and press Delete. For Manufacturer and Model names, AMS Repeat steps 3–6 for each MIDI device in your 7 refers to one or more files with the suffix MIDI setup. “.middev” in the directory Root/Library/ Audio/MIDI Devices. Pro Tools installs a file that contains information for many commercially available MIDI devices, named “Digidesign Device List.middev.” If the Manufacturer or Model names for any of your external MIDI devices is not available in the AMS Manufacturer and Model pop-up menus, you can add them by editing the .middev file in any text editor (such as TextEdit). For more information, see “MIDI Patch Names” on page 683. 148 Pro Tools Reference Guide

171 4 3 Click the device image. The window expands Click the More Information arrow to expand the dialog, then enable the appropriate MIDI to show images for various MIDI devices (such Transmits and Receives channels (1–16) for the as keyboards, modules, interfaces, and mixers). options. (These determine which channels the Select an icon for your device. device will use to send and receive MIDI.) Selecting a device icon Enabling MIDI channels To use your own custom icons, you can place TIFF image files in /Library/ Audio/MIDI Devices/Generic/Images, and they will appear as choices in the AMS device window. Select a device image and click Apply . 5 quit the AMS appli- Close the AMS window to 6 cation. The device names you enter appear as MIDI in- put and output choices in Pro Tools. 149 Chapter 10: Configuring MIDI

172 MIDI Studio Setup Window MIDI Studio Setup (Windows) window is organized The MIDI Studio Setup MIDI Studio Setup (MSS) lets you configure the into three sections. Interf ace controls are at the MIDI controllers and sound modules that are top of the window. All the currently defined in- connected to your system, and control the rout- struments are displayed in the Instrument Name ing of MIDI data between your MIDI equipment list on the left side of the window. A detailed and Pro Tools. view of MIDI parameters is shown in the Proper- ties section on the right. MSS automatically finds MIDI interfaces, and lets you specify a custom name for each of the MIDI ports within the MIDI Studio Setup docu- ment. MSS also supports XML-based patch file names for storing and importin g patch names for your external MIDI devices. Entire MIDI Studio Setu p configurations created within MSS can be imported and exported. MIDI Studio Setup window Interface Controls To configure your MIDI studio with MSS: Setup > MIDI > MIDI Stu- 1 In Pro Tools, choose Adds a new instrument to the Instru- Create . dio ment Name list. 2 udio Setup windows. Configure the MIDI St Deletes the instrument or instruments se- Delete lected in the Instrument Name list. 3 When you are finished configuring the MIDI Studio Setup, close the MIDI Studio Setup win- Import Imports an existing MI DI Studio Setup dow. file. Export Exports the current MIDI Studio Setup file. 150 Pro Tools Reference Guide

173 When this op- Show Duplicate Emulated Ports Set a manufacturer and model for the new de- 4 vice from the corresponding pop-up menus. If tion is selected and you are using a MIDI inter- face that supports time-stamping (such as MIDI the Manufacturer and Model pop-up menus do not provide a name for your particular device, I/O), in addition to the MIDI ports on Mbox 2, the MIDI Studio setup window shows both the choose None. DirectMusic time-stamped output ports, and From the Input pop-up menu, choose the in- 5 ulated output ports. non-stamped duplicate em interface that is con- put port on your MIDI nected to the MIDI Out of your instrument. will not properly load Some MIDI Interfaces or unload their drivers unless you quit and From the Output pop-up menu, choose the 6 re-launch Pro Tools. Check the documenta- output port on your MIDI interface that is con- tion that came with your MIDI interface for nected to the MIDI In of your instrument. more information. Enable the appropriate MIDI channels (1–16) 7 for the Send Channels and Receive Channels Instrument List options (These determine which channels send ains all the currently The Instrument list cont and receive MIDI.) defined instruments. Sele cting an instrument in the list displays that instrument’s properties in Instrument Name the Properties section of the window. The Instrument Name field shows the user-de- finable instrument name for the currently se- Properties Section lected instrument. The Properties section le ts you edit information Manufacturer instrument currently se- for new instruments, or lected in the Instrument list. The Manufacturer pop-up menu provides a list cturers. This list is of MIDI equipment manufa When a previously defi ned instrument is se- derived from the XML-based MIDI device files. lected in the Instrument list, the Properties sec- tion changes to reflect the properties of the se- For more information, see “MIDI Patch lected instrument. Names” on page 683. To define an instrument with MIDI Studio Setup: Model Setup > MIDI > MIDI Studio 1 Choose . The Model pop-up menu provides a list of MIDI devices, filtered by the manufacturer name. This . Click Create 2 list is derived from the XML-based MIDI device In the Instrument Name field, type the name 3 files provided with your Pro Tools installation. of your instrument, and press Enter. For more information, see “MIDI Patch If you do not enter an instrument name, the Names” on page 683. Instrument Name field will automatically inherit information from the Manufacturer and Model pop-up menu. 151 Chapter 10: Configuring MIDI

174 Input Port The Input Port pop-up menu displays a list of available MIDI interface input ports. The MIDI interface port that is se t and displayed here is the port through which MIDI data is sent from the external MIDI device specified in the Instru- ment Name field into your MIDI interface. If you set the input port to None, the defined instrument will not appear as a choice in a MIDI Input Selector. Output Port The Output Port pop-up menu displays a list of output ports. The port available MIDI interface set and displayed here is the port through which MIDI data is sent from your MIDI interface to the MIDI device specified in the Instrument Name field. If you set the output port to None, the de- t appear as a choice fined instrument will no in a MIDI Output Selector. Send Channels The Send Channels grid sets the send channels for the MIDI device specified in the Instrument Name field. Receive Channels The Receive Channels grid sets the receive chan- nels for the MIDI device specified in the Instru- ment Name field. 152 Pro Tools Reference Guide

175 Part III: Sessions & Tracks 153

176 154

177 Chapter 11: Sessions The first step in beginning a Pro Tools project is Creating a New Session from a Sessions are represented creating a new session. Template by session files that can be saved, copied and made into templates. To create a new session from a template: . Select 1 Create Session from Template 2 From the Session Template pop-up menu, se- Quick Start Session Dialog lect the category for the session templates you want. Pro Tools provides a Quick Start dialog on launch that lets you quickly and easily create a new session or open an existing one. You can choose to show or hide the Quick Start dialog on launch in the Pro Tools Operation Preferences. When you first launch Pro Tools, you are prompted by the Quick Start dialog to do one of the following: • Create a new session from a template. • Create a new blank session. • Open any of the last ten most recent sessions. • Open any other session on your system. Press Control+Up Arrow or Down Arrow (Windows) or Command+Up Arrow or Session Template pop-up menu, Quick Start dialog Down Arrow (Mac) to select different Ses- sion Quick Start options. Also, you can use You can create your own custom categories. the Up and Down Arrows to select different For more information, see “Session Tem- items in the Recent Sessions and Session plates” on page 168. Templates lists. 155 Chapter 11: Sessions

178 Select the session template you want to use 3 Creating a New Blank Session from the list (on the right). To create a new blank session: 1 Select Create Blank Session . Quick Start dialog, Session Parameters revealed Quick Start dialog, Create Blank Session If you want to change any of the session pa- 4 2 If you want to change any of the session pa- rameters, click the Session Parameters reveal rameters, click the Session Parameters reveal button and do any of the following: button and do any of the following: Audio File Type for the session. • Select the Audio File Type • Select the for the session. • Select the Bit Depth (16 bit or 24 bit). For optimum compatibility between • Select the Sample Rate . Windows and Mac, set the file type to BWF (.WAV). to use for the session. I/O Settings • Select the I/O Settings are in- Several pre-configured Bit Depth (16 bit or 24 bit). • Select the cluded with your system, or you can select • Select the . Sample Rate a custom I/O Setting . For more information, see Chapter 7, “I/O Setup.” 5 Click OK . OK . 3 Click In the Save dialog, name the session, choose 6 where you want to save the session, and click In the Save dialog, name the session, choose 4 Save . the session, and click where you want to save . Save 156 Pro Tools Reference Guide

179 Opening a Recent Session Sound Designer II (SD II) files are not supported on Pro Tools systems higher The Open Recent Session option is not than version 8.0.3. When opening a available the first time you launch session created with a lower version of Pro Tools (or if you have cleared the Recent Pro Tools that uses the SD II file format, Sessions list by choosing File > Open Recent you are prompted to convert the session > Clear). and all SD II files to WAV. To open a recent session: Showing or Hiding the Quick Start . Open Recent Session Select 1 Dialog on Launch To prevent the Quick Start dialog from appearing when Pro Tools launches: Deselect the Show Quick Start Dialog when „ option in either the Quick Start Pro Tools Starts dialog or the Pro Tools Operation Preferences Setup > Preferences ( ). To have the Quick Start dialog appear when Pro Tools launches: . Setup > Preferences 1 Choose 2 tab. Click the Display Quick Start dialog, Open Recent Session In the Warnings & Dialogs section of the Dis- 3 Select any of the last ten recent sessions from 2 play Preferences page, select the Show Quick Start the list (on the right). Dialog when Pro Tools Starts option. 3 Click OK . Opening Any Session To open any session: Show Quick Start Dialog when Pro Tools Starts option Open Session 1 . Select . OK 4 Click 2 . OK Click 3 In the Choose a Session dialog, navigate to the location of the session file and select it. Open 4 Click . 157 Chapter 11: Sessions

180 Sound Designer II (SD II) files can be im- Creating a New Session ported and exported, but are not supported The New Session dialog lets you create a new as the session Audio File Type on Pro Tools session from a template or create a new blank systems version 8.0.3 or higher. session (with no tracks or media). Bit Depth Select the 6 (16 bit or 24 bit) and the Sample Rate . Creating a New Session from a Template Click 7 . OK 8 In the Save dialog, name the session, navigate To create a new session from a template: to the location where yo u want to save the new . File > New 1 Choose session and click Save . Creating a New Blank Session To create a new blank session: 1 . File > New Choose New Session dialog, Create Session from Template 2 In the New Session dialog, select Create Ses- sion from Template . 3 From the Session Template pop-up menu, se- lect the category for the session templates you want. New Session dialog, Create Blank Session 4 Select the session template you want to use 2 In the New Session dialog, select Create Blank from the list (on the right). Session . for the session. 5 Select the Audio File Type 3 Select the for the session. Audio File Type 4 Select the Bit Depth (16 bit or 24 bit) and the For optimum compatibility between . Sample Rate Windows and Mac, set the file type to BWF (.WAV). 158 Pro Tools Reference Guide

181 5 I/O Settings Select the to use for the session. Session Files and Folders O Settings are included Several pre-configured I/ with your system, or you can select a custom I/O When you create a new session, Pro Tools auto- Setting . For more information, see Chapter 7, matically creates a new folder named for your “I/O Setup.” session. Within this folder is the session file, a WaveCache.wfm file, and several subfolders (in- Click 6 . OK cluding (but not limited to) an Audio Files In the Save dialog, name the session, navigate 7 folder, a Fade Files folder, and a Region Group to the location where you want to save the new folder). . Save session and click Selecting Bit Depth and Sample Rate When selecting a bit depth or sample rate for your session, consider fidelity, any compatibil- ity issues with others systems, and storage space. Bit depth and sample rate also have an effect on the amount of mixing power available in a ses- Typical session folder contents sion. Fewer mixer channels are available with 24-bit sessions and with sessions at higher sam- Session File ple rates. For more information, see the User is the document that Pro Tools The session file for your system. Guide creates when you start a new project. Pro Tools It is not possible to combine different bit depths can open only one session file at a time. The ses- within a single Pro Tools session; files of differ- sion file is appended with the extension .ptf ent bit depths must be converted and imported (Pro Tools file). into the session. Audio Files Folder The Audio Files folder contains all audio re- corded or converted during the session. When you record a new au dio track, the track is saved as a new audio file to the Audio Files folder. You can also import other audio files into the session, and work with them as well. For details on allocating audio tracks to different hard drive locations, including shared media volumes, see “Recording with Multiple Hard Drives” on page 439. 159 Chapter 11: Sessions

182 Fade Files Folder Session File Backups Folder folder contains auto- The Fade Files folder co ntains any crossfaded The Session File Backups audio data generated by the session. matically-generated backups of your Pro Tools sessions. These files are created when working on a session and the Operations preference for Rendered Files Folder Enable Session File Auto Backup is enabled. (See “Enable Session File Auto Backup” on page 121.) The Rendered Files fold er contains any tempo- rary files created by Rendered Elastic Audio processing in the session. It may also contain Renamed Audio Files Folder temporary filtered analysis files (.aan) as a result of any changes to Elastic Audio analysis. This folder includes file names that have been renamed when you open a session that contains audio file names with incompatible characters, Region Groups Folder or, in certain situations, save a copy of a session to a Pro Tools version that does not support The Region Groups folder is the default direc- long file names. tory for any region groups that you export from your Pro Tools session. For more information, see “Renamed Audio Files and the Renamed Audio Files Folder” on WaveCache File page 379. The WaveCache.wfm file stores all of the wave- form display data for the session. If you delete Opening a Session the WaveCache.wfm file, Pro Tools creates a new one the next time you open the session. When you open a session, Pro Tools looks in the session folder for audio and fade files linked to By storing waveform data in the WaveCache the session. file, sessions open more quickly. The session WaveCache file can be included whenever a ses- For more information on opening sessions sion is transferred to another Pro Tools system created on different platforms, Pro Tools (7.x and higher). of Pro Tools software, systems, or versions see Chapter 18, “File and Session Manage- Pro Tools also maintains a distinct WaveCache ment and Compatibility.” file inside the Databases folder, which retains waveform data for all files used on the system. To open an existing session: Deleting or trashing a WaveCache file does not 1 Choose File > Open Session . harm the session or your system. However, the ant to open and click Locate the session you w 2 session will take longer to open because it has to . Open recalculate waveform data for any associated audio files and store that data in a new Wave- You can also open a session from a DigiBase Cache file. browser by double-clicking it. 160 Pro Tools Reference Guide

183 Yes action, click . The Notes report is named Sound Designer II (SD II) files are not sup- llowed by Notes.txt. with the session name, fo ported on Pro Tools systems higher than You can choose to save this file in your Session 8.0.3. When opening a session created with folder, or in another location. an lower version of Pro Tools that uses the The following occurs when opening a session SD II file format, you will be prompted to with unavailable items: convert the session and all SD II files to WAV. With all Pro Tools Systems: ‹ Inserts assigned to unavailable plug-ins are Opening a Session that Contains made inactive. Unavailable Files ‹ Inputs, outputs, and send s that are assigned to DigiBase notifies you if files are located but re- unavailable paths are made inactive. side on Transfer volumes (such as CD or DVD discs), or if any required files cannot be found. With Pro Tools HD Only: For more information, see “Locating Audio ‹ Any tracks beyond the maximum number of Files” on page 378. available voices on the current system are made inactive. Opening a Session from a Transfer Volume With Pro Tools Host-based Systems Only: When opening a session from a Transfer volume Any tracks beyond the maximum number of ‹ (such as a CD or DVD disc), DigiBase prompts available voices on the cu rrent system are set to you to save the session on a Performance vol- voice off . ume, and copy and convert any referenced me- dia files. For more information, see “Locating Opening a Session with Audio File Audio Files” on page 378. Names that Contain Illegal Characters Opening a Session that Contains Pro Tools does not support audio file names that Unavailable Resources contain the following ASCII characters: Pro Tools prompts you when opening a session / (Forward Slash) that contains unavailable voices, I/O paths, DSP \ (Backslash) resources, or plug-ins. This is common when : (Colon) transferring sessions between systems with dif- * (Asterisk) ferent Pro Tools hardware. ? (Question mark) The Unavailable Resources dialog provides an “ (Quotation marks) initial report of the missing session compo- < (Less-than symbol) nents. To save a text (.tx t) file containing a more > (Greater-than symbol) detailed Notes report, along with the resulting | (vertical line or pipe) Any “high order” ASCII character (created with a key combination) Chapter 11: Sessions 161

184 To open a recent session: When opening sessions that contain audio files with illegal characters, Pro Tools automatically File > Open Recent Choose „ and choose the ses- creates a renamed copy of each file (replacing sion you want to open. these characters with an underscore “_”). Re- named files are copied to the Renamed Audio If a session is open when choosing a recent ses- Files folder. The original files are left intact in sion, you are prompted to save it before the Audio Files folder. Pro Tools closes the session and opens the cho- sen recent session. Before the session opens, you are prompted to save a detailed report of the renamed files and To open the most recent session: their original file names to a Notes text file. Fol- Control+Shift+O (Windows) or Com- „ low the on-screen instructions. By default, the mand+Shift+O (Mac). Notes text file is saved to the Session folder. To clear the recent sessions submenu: Opening a Session that was Saved „ Clear Choose . File > Open Recent and choose with +6 dB Fader Gain All Pro Tools 7.x and higher sessions have a +12 dB fader gain level. However, when saving a Opening a Session with Pro Tools 7.x or higher session to a lower ver- Plug-Ins Deactivated sion of Pro Tools that supports +6 dB and +12 dB fader gain, the new session can be saved Pro Tools lets you open sessions with all of the with either a +6 dB or a +12 dB maximum fader session’s plug-ins set to inactive. Since sessions gain. with a lot of plug-ins can take a long time to load, this lets you quickly open any session for When saving a +12 dB session as a +6 dB session, immediate visual inspection and audio playback Pro Tools alerts you that any automation set- (without plug-ins). If it is the session that you tings over +6 dB will be lowered to +6 dB. See want to work with, you can easily reopen the “Saving a Copy of the Session” on page 164. session with plug-ins activated. In Pro Tools 7.x or higher, when opening a ses- sion that was saved with a +6 dB maximum gain To open a Pro Tools session with all plug-ins set to inactive: level, the session will update to a +12 dB range. 1 In Pro Tools, choose File > Open Session . In the Open Session dialog, locate and select 2 Opening Recent Sessions the session you want. The Open Recent submenu in the File menu lets Open Shift-click . 3 you open any of the 10 most recently opened Pro Tools sessions. 162 Pro Tools Reference Guide

185 To re-open the same session with all plug-ins set to Reverting to a Previously Saved active, do one of the following: Session File „ File > Revert To Saved . Choose If you have made changes to a session since you – or – scard those changes and last saved it, you can di revert to its previously saved state. File > Open Recent Choose „ and select the most recent session in the submenu. To revert to the last saved version of a session: Press Control+Shift+O (Windows) or . File > Revert to Saved Choose „ Command+Shift+O (Mac) to open the most recent session. If you have enabled the Operation prefer- ence for Auto Backup, you can also open up a backup copy of your session. This feature Instead of reverting to the saved version of lets you specify the total number of incre- the session to open the session with all plug- mental backups that ar e kept and how often ins active, you can simply make an individ- the session is saved. See “Auto Backup Sec- ual plug-in active by Control-Start-clicking tion” on page 121. (Windows) or Command-Control-clicking (Mac) it. To make an entire row of plug-ins Saving the Session File with a New active, Control-Alt-Start-click (Windows) or Name Command-Option-Control-click (Mac) any plug-in in the row of inserts. To save a copy of the current session with a new name or to a different hard drive location, use Save As command. The Save As command the Saving a Session closes the current session and lets you keep working on the renamed copy. This is useful if You should save regularly while working on you are experimenting and want to save succes- your session to ensure that your work is pre- sive versions of the session. served on your hard drive. By working this way, you can quickly retrace your steps if you want to go back to an earlier Saving the Session File Save As version of your session. The command The Save command saves the changes you have saves a new version of the only, and session file d writes them over the made to your session an does not duplicate versions of the audio or fade previously saved version of the session file. The files. Save command cannot be undone. To save a session with a new name: To save a session: . File > Save As Choose 1 „ . File > Save Choose 2 Type a new name for your session. . 3 Click Save 163 Chapter 11: Sessions

186 The renamed session file is saved in the session 4 Set the Audio File Type for the copied session. If the audio files need to be compatible with either folder along with the original session (unless you specify a different de stination). Any new au- Windows or Mac, select BWF (.WAV) or AIFF. dio files that you record in your renamed session and for Bit Depth 5 Sample Rate Set the session will be placed into the same Audio Files folder the copied session. that was created for your original session. 6 If applicable, select a Fader Gain level for the copied session. Saving a Copy of the Session Enforce Mac/PC Compatibil- If applicable, select 7 To save a copy of the current session with or audio files that can be ity to create session and without its audio files and fade files, use the used on both Windows and Mac Pro Tools sys- Save Copy In command. In addition, you can tems (see “Saving Copies of Mac Sessions to be specify the session file format, audio file format, Compatible with Windows” on page 382). bit depth, and sample rate for the session copy. Select the 8 Items to Copy for the copied session. aring sessions between For information on sh To include all audio being used in the ses- different platforms, Pro Tools systems, or sion, select the All Audio Files option. Pro Tools software versions, see Chapter 18, “File and Session Management and Compat- . 9 Click Save ibility.” How the Save Copy In Command Works does Save Copy In command, Save As Unlike the ion, so subsequent ed- not close the original sess its are made to the original session. Session cop- ies can be used to archive important sessions, for versioning, or as a means to prepare sessions for transfer to another Pro Tools system. Save Copy In can save only the audio being used in the session. Any audio that was recorded or imported and then later removed from the ses- Save Session Copy dialog sion, but not deleted from disk, is not included in the new session copy. To save a session copy in a new location: . File > Save Copy In Choose 1 To include all audio being used in the ses- sion, select the All Audio Files option. In the Save Session Copy dialog, choose a des- 2 e for the new session tination and type a nam file. ) for Save As Type Choose a session file format ( 3 the copied session. 164 Pro Tools Reference Guide

187 Save Copy In Using the command is the only way Save Copy In Options to change the sample rate of a session. The sam- ple rate of each of the session’s copied audio files When saving a copy of a session, the Save Copy is converted to the selected sample rate. When In command provides options. saving a session copy to a different sample rate, Sample Rate Conver- Pro Tools uses the selected Session Format option in the Import section of the sion Quality Setup > Prefer- Processing Preferences page ( When saving a copy of a session with the Save ences ). Copy In command, you can save the session copy in the following formats, depending on When you save a copy of the session to a lower your platform: bit depth, Dither (and Noise Shaping) are ap- plied. See the following table: Windows: Dither and Noise Shaping with Save Copy In • Pro Tools Session (.ptf); supports Pro Tools 7.x -> 8.0. Noise Dither Session Bit Depth Shaping • Pro Tools 5.1 -> 6.9 Session (.pts); • Pro Tools 5.0 Session (.pt5) No 24-bit to 24-bit No No No 16-bit to 24-bit Mac: • Latest; supports Pro Tools 7.x -> 8.0. Yes Yes 24-bit to 16-bit • Pro Tools 5.1 -> 6.9 Session 16-bit to 16-bit No No • Pro Tools 5.0 Session • Pro Tools 4 24-Bit Session r any conversion is the The dither setting used fo Dither plug-in with enabled. Noise Shaping • Pro Tools 4 16-Bit Session • Pro Tools 3.2 Session For more information about using Dither, see “Dither” on page 963. When saving sessions to versions lower than Pro Tools 5.1, multichannel tracks (including stereo) and multi-mono plug-ins are lost. In this case, separate the tracks and plug-ins to individual mono tracks before saving as a Pro Tools 5.0 session or lower. 165 Chapter 11: Sessions

188 OMNI, HD MADI, 192 I/O, or 192 Digital I/O). If Session Parameters your session is at a different sample rate, audio When saving a copy of a session with the Save files are converted to the new session sample Copy In command, the following Session Pa- rate, and copied to the specified location. rameters are available: Fader Gain Audio File Type When saving a Pro Tools 7.x or higher session to You can save the session to reference BWF a lower version that supports +12 dB fader gain, (.WAV) or AIFF audio files. you can save the new session with either a +6 dB or a +12 dB maximum fader gain. When saving Using Mixed File Types a +12 dB session as a +6 dB session, any automa- A session can use mixed audio file types. If your tion over +6 dB will be lowered to +6 dB. original session has mixe d file types, they are not converted to the selected file type unless you Enforce Mac/PC Compatibility specify that they be converted by selecting the When saving a Pro Tools 7.x or higher session to option in the Items All Non- Audio Files Enforce Mac/PC Com- a lower version, enable the To Copy section (see “Items to Copy” on option to force Windows or Mac ver- patibility page 167). When using mixed file types, audio sions of Pro Tools to crea te sessions and audio performance will be reduced (due to additional files that are compatible on both platforms. r some file formats). file handling required fo For more information, see “Saving Copies of Bit Depth Mac Sessions to be Compatible with Win- dows” on page 382. of 16 or 24 Bit Depth You can save the session at a a different bit depth, au- bits. If your session is in Limit Character Set dio files are converted to the new session bit depth, and copied to the specified location. When saving a copy of a session to the current session format, you can ch oose to limit the char- For information on bouncing to disk and acter set to a single language by selecting the dither, see “Dithering” on page 1060. Limit Character Set option. Sample Rate When saving a copy of a session to a lower ses- Limit Character Set sion format, the option is au- You can save the session at sample rates of tomatically selected. Select a language from the 44.1 kHz or 48 kHz (on Mbox, Mbox 2, Mbox Limit Character Set pop-up menu. Mini, and Mbox 2 Mini) and at sample rates up to 96 kHz (on 003, 003 Rack, 003 Rack+, To choose the language encoding when saving a Digi 002, Digi 002 Rack, Eleven Rack, Mbox Pro, copy of a session: Mbox 2 Pro, and Pro Tools|HD systems with a 96 I/O or 96i I/O) or up to 192 kHz (on . Copy In File > Save Choose 1 Pro Tools|HD systems with an HD I/O, HD option. Limit Character Set Select the 2 3 Choose the language you want to use from the Limit Character Set pop-up menu. 166 Pro Tools Reference Guide

189 When opening the new session, Pro Tools opens Items to Copy the session with all available media and any When saving a copy of a session with the Save missing Rendered files are regenerated automat- Copy In command, you c an select which items ically. are copied, as follows: Session Plug-In Settings Folder All Audio Files When this option is selected, the session’s When this option is selected, all audio files are Plug-In Settings folder is copied to the new loca- copied to the new location. tion. The references to these plug-in settings in the session are redirected to the copied settings This setting is automatically selected if you files. change the bit depth or sample rate of the session. Root Plug-In Settings Folder All Non- Audio Files When this option is selected, the contents of the root-level Plug-In Settings Folder are copied into The name of this option varies depending on a folder named Place in Root Settings Folder , indi- the audio file type you select. If you change the cating that these files will need to be moved to audio file type of the session, this option ensures the root level plug-in settings folder on the des- that all files in the copied session are converted tination system before you can use them. The to the selected file type. Use this option to avoid references to these settings files in the session the reduced performance of a session with are not redirected to point to the copied files. mixed file types. Movie/Video Files This option is automatically selected if you do any of the following: When this option is selected, session video files • Change bit depth or sample rate. (Avid or QuickTime) are copied to the new loca- • Select Enforce Mac/PC Compatibility . tion, and session references are updated to point to the copied video files. Don’t Copy Fade Files Preserve Folder Hierarchy When selected, the When this option is selected, Fade Files are not relative arrangement of session audio files lo- copied to the new session Fade Files folder. cated across different drives or folders is main- for the session copy will tained. The main folder Pro Tools opens the copied session with all avail- include subfolders for each drive or folder in the able media and any missing Fades are regener- original session and the destination subfolders ated automatically. will use the same names as the source drives and folders. Don’t Copy Elastic Audio Rendered Files When this option is not selected, the Save Copy When this option is selected, Elastic Audio Ren- In command copies all files of the same type, re- dered files are not copied to the new session’s gardless of their location, into a single destina- Rendered Files folder. tion folder. 167 Chapter 11: Sessions

190 option if there is any 4 Select the Include Media Session Templates audio, MIDI, or video media in the session that you want included in the template. In addition to the Session Templates provided in the Pro Tools Session Quick Start dialog, When the Include Media option is enabled, Pro Tools lets you create and share your own all media in the session is included in the custom Session Templates. Pro Tools Session template. If you want to include media in Template files use the suffix “.ptt” to differenti- sure that your ses- your session template, be ate them from regular Pro Tools session files sion only contains the media you want. (“.ptf”). Click . 5 OK Creating and Saving Custom op- If you selected the Install Templa te In System Templates tion, your session template will be available in the Pro Tools Session Quick Start dialog. To create a custom Pro Tools Session Template: Select Location For Template If you selected the 1 Create a new Pro Tools session and configure option, you are prompted by the Save As Tem- it for the session template you want. plate dialog to save the file to another location on your system. For example, if you are a songwriter you might simply want a session consisting of a stereo Instrument track with an instrument Save Session Template Dialog 2 plug-in (such as Xpand! with a piano pre- The Save Template dialog provides the follow- set), a mono audio track (for tracking vo- ing options: Input track (for an cals), a stereo Auxiliary effects bus), and a st ereo Master Fader Install Template In System track. You can then use this template every time you sit down to work on a new song. Select this option to save the template file in the system folder referenced by the Pro Tools Ses- 2 File > Save As Template Choose . sion Quick Start dialog (the Session Templates in the Pro Tools application folder). Category Category The pop-up menu is only available if option is enabled. te In System the Install Templa The Category pop-up menu lets you select the subdirectory in which to save the template file. s for adding a category It also provides option and revealing the Session Templates folder in Windows Explorer or the Mac Finder. Save Session Template dialog 3 Configure the Save Session Template dialog Select this option from the Add Category Cate- (see “Save Session Template Dialog” on pop-up menu to crea gory te a new subdirectory page 168). in the Session Templates folder. 168 Pro Tools Reference Guide

191 Name Creating New Sessions from Templates setting is only available if the Install Name The Template In System option is enabled. This lets You can create new session from templates by you type a new name for the template file. From opening a template. You can open any Pro Tools the Name pop-up menu (to the right of the Session Template file (.ptt) to start a new session Name field), you can select from a list of all of based on that template. the templates available in the currently selected For information on creating new sessions Category. Selecting one places that name in the from templates using the Quick Start dialog, Name field, letting you overwrite, or create a in- see “Creating a New Session from a Tem- cremental version of, an existing template. plate” on page 155. Select Location For Template To open a Pro Tools Session Template and save it as a new session: Select this option to save the template file to any directory location on your system. Note that the Choose File > Open , navigate to the Session 1 saved session template will not appear in the Template file you want and open it. Pro Tools Session Quick Star t dialog unless it is ory) in the Session Tem- in a subdirectory (Categ plates folder in the Pro Tools application folder. Include Media Select this option to include any audio, MIDI, or video media in the session with the template. New Session From dialog Au- In the New Session From dialog, select the 2 Bit Depth for the Sample Rate dio File Type , , and new session that will be created from the tem- plate. . 3 Click OK In the Save New Session As dialog, navigate to 4 the location where you want to save the new session and click Save . 169 Chapter 11: Sessions

192 Exiting or Quitting Pro Tools Closing a Session Pro Tools only lets you work on just one session When you exit (Windows) or quit (Mac) the Close Session command closes o Tools prompts you to at a time. The Pro Tools application, Pr save any open session before exiting or closing your current Pro Tools session but leaves the Pro Tools application running. Pro Tools the application. prompts you to save a session when closing it, but it is recommended that you save your work To exit Pro Tools in Windows: command before clos- or Save using the Save As . „ Choose File > Exit ing a session. To quit Pro Tools on the Mac: To close a session: . Pro Tools > Quit Pro Tools „ Choose File > Close Session . „ Choose 170 Pro Tools Reference Guide

193 Chapter 12: Pro Tools Main Windows Shows tracks and track material Edit Window Pro Tools provides two complementary ways of against the Timeline (see “” on page 173). viewing tracks in a session: Mix Window Shows tracks as channel strips, like To toggle between the Mix and Edit windows, a mixing board (see “Mix Window” on press Control+Equals (=) (Windows), or page 172). press Command+Equals (=) (Mac). Plug-In window DigiBase browser Edit window Mix window Transport window Pro Tools windows 171 Chapter 12: Pro Tools Main Windows

194 Pro Tools provides several other types of Mix Window windows: In the Mix window, tracks appear as channel Transport Window Lets you control the transport strips just like a mixing console, with controls and transport-related functions (see “Transport for: Window” on page 180). •Inserts Plug-In Windows Let you control plug-in param- •Sends eters, such as Frequenc y and Q for an EQ (see • Input and output assignments “The Plug-In Window” on page 978). •Volume MIDI Editor Windows Lets you edit MIDI data • Panning (see Chapter 33, “MIDI Editors”). • Record enable • Track Input monitoring Score Editor Window lets you edit MIDI data as music notation (see Chapter 34, “Score Editor”). • Automation mode • Solo and Mute Let you manage, audition, DigiBase Browsers •Instrument controls and import media for Pro Tools sessions (see • HEAT controls (Pro Tools HD only) “DigiBase Browsers” on page 185). •Mic preamps To display the Mix window: „ Choose Window > Mix . To display all Mix window view options: „ Select View > Mix Window > All . cting individual view For information on sele options, see “Views in the Mix and Edit Win- dows” on page 930. 172 Pro Tools Reference Guide

195 Channel strips (page 201) Instrument View Track List (page 931) (page 222) Inserts (A–E) View (page 932) Sends (A–E) View (page 932) Track Path selectors (page 226 and Group ID page 235) indicator Automation (page 248) Mode selector Input Monitoring / (page 1004) Record Enable Pan knob (page 442 and (page 208) page 436) Solo/Mute Volume (page 237) fader (page 208) Voice selector Level meter (page 232) (page 209) AutoMatch indicator Track Name (page 1013) (page 212) Mix Group List (page 245) Tra ck Comments Delay View Compensation (page 931) View (page 933) Mono Stereo MIDI Show/Hide Audio Track Audio Track Tr a c k Track List/Group List (page 200) (page 200) (page 203) View Instrument Auxiliary Mix Window Master (page 222) Tra c k Input View selector Fader (page 203) (page 201) (page 930) (page 202) Pro Tools Mix window 173 Chapter 12: Pro Tools Main Windows

196 Edit Window The Edit window provides a Timeline display of audio, video, MIDI notes, as well as other MIDI data and mixer automation for recording, edit- ing, and arranging on tracks. As in the Mix win- dow, each track has controls for record enable, solo, mute, and automation mode. To display the Edit window: „ Choose Window > Edit . To display all Edit window view options: „ Select View > Edit Window > All . Edit window view options can be selected indi- vidually. See “Views in the Mix and Edit Win- dows” on page 930 . 174 Pro Tools Reference Guide

197 Universe view Grid and (page 575) Nudge values s (page 532) Zoom button (page 177) Edit Window Toolbar and menu Counters and Edit Edit Mode (page 176) Edit tools Selection indicators buttons Transport controls (page 531) (page 573) (page 527) (page 180) Region Timebase and List Conductor rulers (page 259) (page 749) Track List (page 222) Tracks (page 199) Edit Group List (page 755) Playlists MIDI Editor pane Edit Window Automation Elastic Audio Track View (Notation view) Zoom buttons (page 1001) Warp Track View (page 621) (page 183) (page 178) (page 855) Selected Region MIDI Controller lanes (page 561) (page 716) Pro Tools Edit window 175 Chapter 12: Pro Tools Main Windows

198 Counters and Edit Selection Indicators Edit Window Toolbar The Counters and Edit selection indicators pro- At the top of the Edit window is the Edit Win- vide information where selections are in the dow Toolbar and menu. This Toolbar provides Timeline. access to the editing modes, tools, options, indi- cators, and displays for Pro Tools. You can cus- MIDI Selection tomize the Toolbar in the Edit, MIDI Editor, or Edit Selection Score Editor windows by re-arranging, showing, Main and Sub Counters and hiding the available controls and displays. Edit Toolbar Controls and Displays The following controls and displays in the Edit Window Toolbar are always shown. Cursor Location Cursor Value Edit Modes Timeline Data Online Status Session Data Online Status The Edit mode affects the movement and place- Automatic Delay Compensation ment of audio and MIDI regions (and MIDI Edit window indicators Paste and notes), how commands like Copy function, and also how the various Edit tools Main Counter Displays the current Edit insertion (Trim, Selector, Grabber, and Pencil tools) work. location in the Main Timebase ruler. For more information, see “Edit Modes” on Sub Counter Displays the current Edit insertion page 527. location in the Sub Timebase ruler. Displays the current cursor loca- Cursor Location tion in the Main Timebase ruler. Cursor Value Displays the value of the current Edit mode buttons cursor value in peak am plitude (audio), pitch (MIDI), or according to the current automation Edit Tools or controller data type. Edit tools are used for editing audio, MIDI, and Display the Start, End, Edit Selection Indicators automation data in Pro Tools. For more infor- and Length of the current Edit selection. mation, see “Edit Tools” on page 531. MIDI Selection Indicators and Controls Display Edit selection (MIDI note the current MIDI number, and Note On and Note Off velocities) for MIDI editing. and provide controls Edit tools 176 Pro Tools Reference Guide

199 Timeline Data Online Status Indicator Is green when all files in use in track playlists are avail- able for playback. If files are offline, being pro- cessed, or otherwise u navailable for playback, this indicator is red. Is green Session Data Online Status Indicator when all audio and fade files referenced by the session are available for playback. If files are of- fline, being processed, or otherwise unavailable for playback, this indicator is red. Delay Compensation Status Indicator Is dis- played when Delay Compensation is enabled ( Op- Edit Window Toolbar menu tions > Delay Compensation Delay Com- ). When From the menu, select or deselect any of the 2 pensation is disabled, this indicator is not following depending on which window you are displayed. configuring: Grid and Nudge When selected, the Zoom con- Zoom Controls trols are displayed in the Edit window toolbar. The Grid and Nudge selectors let you set the r editing in Pro Tools. Grid and Nudge values fo For information on the Grid Value selector, see “Configuring the Grid” on page 530. For infor- mation on the Nudge Value selector, see “Defin- ing the Nudge Value” on page 589. When selected, the Transport controls Transpor t Grid Value selector are displayed in the Edit window toolbar. Nudge Value selector Grid and Nudge value selectors Showing and Hiding Additional Controls in the Edit Window When selected, the MIDI controls MIDI Controls To show or hide controls in the Edit window are displayed in the window toolbar. toolbar: 1 Do one of the following: • Click the Edit Window Toolbar menu (in the upper-right corner of the window). – or – • Right-click in the Toolbar. 177 Chapter 12: Pro Tools Main Windows

200 When selected, the Synchroni- Synchronization Rearranging Controls and Displays zation controls are displayed in the Edit window toolbar. To rearrange controls and displays in the Edit, MIDI Editor, or Score Editor window toolbar: „ Control-click (Windows) or Command-click (Mac) the control or display you want to move and drag it to a new location in the toolbar. For example, if you want the Counters and Edit When selected, the Zoom, Transport, Minimal Selection indicators to the right of the Transport MIDI, and Synchronization controls are not dis- controls in the toolbar, Control-click (Windows) played in the Edit window toolbar. or Command-click (Mac) and drag them to the right of the Transport controls. When selected, the Zoom, Transport, MIDI, All rols are all displayed and Synchronization cont in the Edit window toolbar. Expanded Transport When selected, the Ex- panded Transport controls are displayed in the Edit window toolbar if Tr ansport is also selected. Moving the Counters and Edit Selection indicators Edit Window Zoom Buttons The Edit window also pr ovides Zoom buttons in Track List When selected, the Track List is the lower right and upper right corners of the shown on the left of the Edit window. tracks pane. Region List When selected, the Region List is Vertical and Horizontal Zoom In and Out shown on the right of the Edit window. Buttons When selected, the Universe view is Universe In addition to the Zoom controls in the Toolbar, shown near the top of the Edit window. Pro Tools provides horizontal and vertical zoom buttons in the lower-right corner of the Edit When selected, the MIDI Editor view MIDI Editor window. is shown at the bottom of the Edit window. 178 Pro Tools Reference Guide

201 Audio Zoom button, Edit window Horizontal Zoom button, Edit window MIDI Zoom button, Edit window Vertical Zoom button, Edit window Edit Window Default Length Zoom the track heights Vertical Zoom Buttons Pro Tools lets you set a default length for the proportionally in the Edit window. minutes, seconds, and Edit window in hours, you want to assemble a frames. This is useful if Horizontal Zoom Buttons Zoom the Timeline just ngth or leave extra room session of a particular le like the Horizontal Zoom controls in the Edit to expand the Edit window’s work area in your window toolbar. session. The maximum length is 12 hours and 25 seconds at 48 kHz, and proportionally less at Audio and MIDI Zoom In and Out Buttons higher sampling rates. For best scrollbar sensi- tivity, set the length to slightly longer (a minute Pro Tools also provides Audio and MIDI Zoom or more) than the total session or song length. In and Out buttons in the upper-right corner of the Edit window. These controls function ex- actly the same as the Audio and MIDI Zoom To set the default length for the Edit window: controls in the Toolbar, and let you zoom in and Choose . 1 Setup > Preferences out vertically on audio waveforms and MIDI 2 On the Display page, enter the value in hours, notes respectively. Edit Win- minutes, seconds, and frames for the In the Edit window, MIDI Vertical Zoom dow Default Length setting. only affects tracks not in Regions view. . OK Click 3 179 Chapter 12: Pro Tools Main Windows

202 Press Enter (Windows) or Return (Mac) to Transport Window Return to Zero. The Transport window can be set to show basic transport controls , counters, MIDI controls, and You can Right-click the Return to Zero but- expanded features. The counters in the Trans- ton to access the Write to Start and Write to ntrols and counters at port window mirror the co All automation commands. the top of the Edit window. Rewinds from the current play location. Rewind To display the Transport window: You can also click repeatedly to rewind incre- „ Window > Transport Choose . mentally, by an amount based on the Main Time Scale, as follows: Basic Transport Controls and With the Numeric Keypad mode set to Counters Transport, you can rewind by pressing 1. Transport Window menu Rewind and Fast Forward Increments Track Record Enable indicator Go to End Increment Amount Main Time Scale Format Fast Forward Stop Play Rewind Min:Sec 1 second Return to Zero Record Online Time Code 1 frame 1 bar Bars|Beats 1 foot Feet+Frames Pre-Roll Post-Roll Sample 1 second Fast forwards from the Timeline in- Fast Forward Start, End, and Length sertion point. You can also click repeatedly to Selection indicators lly (by an amount based fast forward incrementa TrackInput Monitor indicator on the Main Time Scale). Transport window showing basic transport controls and With Numeric Keypad mode set to Trans- counters (Main and Sub Counters and MIDI not shown) port, you can fast forward by pressing 2. Puts Pro Tools online so that playback Online d by an external time and recording is triggere Go to End Locates to the end of the session. code source. You can press Control+Enter (Windows) or Return to Zero Locates to the beginning of the Option+Return (Mac) on the alphanumeric session. keyboard to locate to the end of the session. You can Right-click the Go to End button to access automation commands Write to End and Write to All. 180 Pro Tools Reference Guide

203 Stop Stops playback or recording. You can also begin recording immediately ssing Control+Spacebar by pressing F12, pre You can also stop the transport by pressing (Windows) or Command+Spacebar (Mac), the Spacebar, or with the Numeric Keypad or with the Numeric Keypad mode set to mode set to Transp ort, pressing 0. Transport, pressing 3. Starts playback or (if the Record button was Play Right-clicking the Record button lets you select clicked first) recording from the Timeline inser- the record mode from a pop-up menu: tion point or the Play Start Marker location if Dynamic Transport mode is enabled. •Normal • Loop You can also begin playback by pressing the •Destructive Spacebar, or with the Numeric Keypad •QuickPunch mode set to Transp ort, pressing 0. • TrackPunch (Pro Tools HD only) Right-clicking the Play button lets you select the • Destructive Punch (Pro Tools HD only) playback mode from a pop-up menu: • Half-Speed You can also cycle through the Pro Tools record modes with the Transport stopped, by Start- • Prime for Playback clicking (Windows) or Control-clicking (Mac) • Loop the Record button. • Dynamic Transport The Record button changes to indicate the cur- To initiate playback at half-speed, you can rently selected mode: blank for Nondestructive, also press Shift+Spacebar (Windows or “D” for Destructive, a loop symbol for Loop Re- Mac) or Shift-click (Mac) the Play button. cord, “P” for QuickPunch, “T” for TrackPunch, and “DP” for DestructivePunch. pped, Start-click Play With the Transport sto (Windows) or Control-click Play (Mac) to toggle To initiate recording at half-speed, you can Loop Playback mode. When enabled, a loop press Control+Shift+Spacebar (Windows) symbol appears in the Play button and Pro Tools or Command+Shift+Spacebar (Mac). plays continuously from the beginning of the selection to the end. When lit (red), in- Track Record Enable Indicator audio track is currently dicates that at least one For more information on loop playback and (gray), no tracks are record-enabled. When off Dynamic Transport mode, see “Loop Play- currently record-enabled. back Mode” on page 416. TrackInput Monitor Indicator When lit (green), Arms Pro Tools for recording (the button Record indicates that at least one audio track is cur- en starts recording on flashes). Clicking Play th rently set to Input Only monitoring (regardless record-enabled tracks only. of record enable status). When off (gray), all tracks are in Auto Input monitoring. 181 Chapter 12: Pro Tools Main Windows

204 Specifies the length for the play or record Length Transport Window Menu Lets you select what op- range. You can set the length by entering a loca- tions to show in the Transport window: Coun- tion in this field, or by selecting a range in any , Minimal , , ters All MIDI Controls Synchronization , , Timebase ruler. Expanded Transport . and Pre-Roll During playback or record, specifies the When the Timeline and Edit selections are amount of audio that plays before the Play linked, you can make an Edit selection in a Start Marker location, (Timeline) Cursor or Play track’s playlist to set the play and record or beginning of the Timeline selection. Pre-roll Unlinking Timeline range. See “Linking or is particularly useful wi th punch recording since and Edit Selections” on page 559. it gives you time to “catch the beat” before reaching the punch-in point. To set the pre-roll MIDI Controls amount, type a new value in this field, or drag the Pre-Roll flag in the Main Timebase ruler. Tempo Resolution (Beat Value) pop-up menu During playback or record, specifies Post-Roll the amount that plays after the end of a Time- Count Off Meter line selection. Post-roll is useful in punch re- Te mp o cording since playback continues after the can check for a smooth punch-out point so you recorded material. To transition to previously set the post-roll amount, type a new value in Tempo Ruler Wait for Note Enable this field, or drag the Post-Roll flag in the Main Metronome Click Timebase ruler. MIDI Merge Transport window, MIDI controls Specifies the beginning of the play or re- Start cord range. You can set the start point by enter- To view the MIDI controls in the Transport, do one ing a location in this field, or by dragging the of the following: corresponding Timeline Selection or Play Start View > Transport > MIDI Controls . „ Select Marker in the Main Timebase ruler. For more in- – or – formation, see “Timeline Selection Markers” on page 453. „ Control-click (Windows) or Command-click (Mac) the Expand/Collapse “+” button in the End Specifies the end of the play or record range. Transport window to display the MIDI controls. You can set the end point by entering a location in this field, or by dragging the corresponding Timeline Selection Marker in the Main Timebase ruler. For more informat ion, see “Timeline Se- lection Markers” on page 453. Expand/Collapse button, Transport Window with MIDI controls 182 Pro Tools Reference Guide

205 MIDI Merge When selected (Merge mode), When selected, recording does not Wait for Note recorded MIDI data is merged with existing begin until a MIDI event is received. This en- track material. When deselected (Replace sures that you begin recording when you’re mode), recorded MIDI data replaces existing the first note, or other ready to play, and that track material. MIDI data, is recorded precisely at the beginning of the record range. With the Numeric Keypad mode set to Transport, press 9 to enable MIDI Merge. You can press F11 to turn on Wait for Note, unless the MIDI preference for “Disable F11 Tempo Ruler Enable (Conductor) When selected, for Wait for Note” is enabled. Pro Tools uses the tempo map defined in the Tempo ruler. When deselected, Pro Tools On Mac, the Desktop Keyboard Shortcut switches to Manual Tempo mode and ignores uses the same key command that Pro Tools the Tempo ruler. uses for Wait For Note (F11). To use F11 In Manual Tempo mode, you can enter a BPM for Wait For Note in Pro Tools, be sure to value in the tempo field, or tap in the tempo disable the Desktop Keyboard Shortcut in with the T key on your alphanumeric keyboard. the Apple System Preferences. Displays the session’s current me- Current Meter When selected, Pro Tools gen- Metronome Click ter based on the play location. Double-click the erates a metronome pulse that can be set to trig- Current Meter indicator to open the Change DI instruments during ger built-in sounds or MI Meter window. playback and recording. Current Tempo Displays the session’s current The Pro Tools metronome is configured in the tempo based on the play location. In Manual Click/Countoff Options dialog. Double-click the Tempo mode, you can enter a BPM value into Metronome Click button to open the this field, or manually tap in a tempo with a Click/Countoff Options dialog. computer keyboard or an external MIDI key- With the Numeric Keypad mode set to board. Transport, press 7 to enable the Metronome Click. MIDI Editor Windows Count Off When selected, Pro Tools counts off a ures (indicated in the specified number of meas MIDI Editor windows let you view and edit button) before playback or recording begins. controller data. You can open MIDI notes and ndows to work on dif- multiple MIDI Editor wi Double-click the Count Off button, to open the ferent parts of your MIDI arrangements sepa- Click/Count Off Options dialog. ndows show Instrument rately. MIDI Editor wi With the Numeric Keypad mode set to and MIDI track data superimposed in Notes Transport, press 8 to enable the Count Off. 183 Chapter 12: Pro Tools Main Windows

206 view, or on separate tracks in Notation view, Eleven Rack Control Window and lets you view and ed it MIDI controller data (such as velocity, pitch bend, and mod wheel) in (Eleven Rack Only) controller lanes under the Notes pane. The Eleven Rack Control window is a special For more information, see Chapter 33, window in Pro Tools that lets you control “MIDI Editors.” Eleven Rack entirely from your computer. It can be accessed when using Eleven Rack as an inter- face with Pro Tools, as well as when connected Displaying the MIDI Editor in the to a Pro Tools|HD system for control over USB. Edit Window The Eleven Rack Control window is only avail- You can choose to show (or hide) a MIDI Editor able when an Eleven Rack is connected to your the Edit window (below pane at the bottom of Pro Tools system. the Tracks pane). To show (or hide) the MIDI Editor view in the Edit window, do one of the following: „ Select (or deselect) View > Other Displays > MIDI Editor . „ Click the MIDI Editor Show/Hide icon in the lower left corner of the Tracks pane in the Edit window. Double-click the divider below the Tracks „ pane in the Edit window. „ From the Edit Window menu, select (or dese- . MIDI Editor lect) Eleven Rack Control window Score Editor Window The Score Editor window lets you view and edit For more information, see the Eleven Rack ks as music notation. Instrument and MIDI trac User Guide. It automatically transcribes MIDI performances int a score of your ses- in real-time. You can pr om individual tracks. sion or just parts fr For more information, see Chapter 34, “Score Editor.” 184 Pro Tools Reference Guide

207 DigiBase Browsers DigiBase databases are accessed through Di- browsers . Browsers provide an intuitive giBase user interface to DigiBa se databases with many convenient features for various file manage- ch and sort functions). ment tasks (such as sear Browsers in Pro Tools are analogous to windows in your computer’s oper ating system (such as Windows Explorer or the Mac Finder), but are specially designed for working in Pro Tools. Multiple browsers can be displayed simultane- ously, and arranged independently with custom display settings for each. Browsers let you search and sort audio files, video files, and sessions. These files are dis- played in browsers and can be dragged directly into the current Pro Tools session. When offline items are needed, Pro Tools lets you find the correct matching files, then relink to online media. To open the Workspace browser, press Alt+; (Windows) or Option+; (Mac). To bring all DigiBase br owsers to the front, press Alt+J (Windows) or Option+J (Mac). browsers to the back, To send all DigiBase press Alt+Shift+J (Windows) or Option+Shift+J (Mac) 185 Chapter 12: Pro Tools Main Windows

208 Items List Displays the contents of a volume, The main elements of a DigiBase browser (see folder, session, or Catalog database. Each col- the figure below) include the following: umn in the items list displays metadata (such as Shows the browser type (Workspace, Title Bar file name and format) for volumes, folders, and Volume, Project, or Catalog), and the name of files in the Items List. its associated volume, session or catalog. of Pro Tools browsers There are three types Toolbar Provides the Browser menu, Search icon, available on all supported systems: 1–5), and browser navi- View Presets (numbered •The Workspace browser gation tools. • Volume browsers Column Headers Display the type of metadata • The Project browser List. Column Headers can displayed in the Items •Catalogs be: • Resized by dragging the column border, or rearranged by dragging the Column head- ers. • Dragged to either of two available panes, the Fixed or Scrolling panes. TItle bar Toolbar Column headers Items List Fixed pane Scrolling pane Show/Hide Pane split Main elements of a DigiBase browser (Volume browser shown). 186 Pro Tools Reference Guide

209 Project Browser Workspace Browser ovides access to all The Workspace browser pr The Project browser prov ides powerful search your mounted volumes, as well as the folders and management tools for the files referenced in gardless of where they your current session, re and files they contain. oject browser, you can: are stored. Using the Pr Using the Workspace browser, you can: • Show all the media files associated with the • Access all mounted volumes. current session, including any missing • Access all Catalogs. files. • Search across multiple volumes and Cata- • View, manage, audition, and spot individ- logs simultaneously. ual items. • Designate volumes for Record and Play- For detailed information about the Project back, Playback Only, or Transfer. browser, see “Project Browser” on page 311. • Unmount volumes. • View, manage, audition, and import indi- Catalogs vidual items in any catalog or mounted volume. Catalogs provide the highest level of Pro Tools • Update databases for entire volumes. file management. Catalogs make it easy to orga- nize files from multiple sources into libraries of about the Workspace For more information favorite files. Catalogs can be sorted and ce Browser” on browser, see “Workspa searched, even when the files they reference are page 308. offline. Catalogs can also be shared. Using Catalogs, you can: Volume Browsers • Collect and organize files from any combi- Volume browsers provid e file management for nation of volumes. volumes local and network . Volumes are format- • Create catalogs of complete volumes to ted partitions on a physical drive (hard drive). view and search even if a volume is offline. Open a Volume browser by double-clicking a • View, manage, audition, and import indi- volume in the Workspace browser. Any changes vidual items in the catalog. made in Volume browsers (such as copying, de- • Update a database for contents of catalog. leting, or moving files and folders) is mirrored on the volumes themselves. Volumes include For detailed information about Catalogs, mounted hard drives, network storage, and see “Catalogs” on page 313. CD/DVD-ROMs. Using Volume browsers you can: • View, manage, audition, and import indi- vidual items on the volume. • Update a database for contents of the volume. 187 Chapter 12: Pro Tools Main Windows

210 Creating New Window Task Window Configurations The Task window is a utility for viewing and managing all of the background tasks that you To create a new Window Configuration: initiate with Pro Tools. Use the Task window to Open the windows you want to include in the 1 monitor, pause, or cancel background tasks such Window Configuration and position them as file copies, searches, indexing, and fade cre- where you want on the screen. ation. Do one of the following: 2 ion about the Task For detailed informat Window > Configurations > New Con- • Choose window, see “Task Window” on page 317. figuration . – or – Relink Window • If the Window Configuration List is open, The Relink window provid es tools and features from the choose Window New Configuration for relinking sessions and catalogs to media files. Configuration List pop-up menu. Use Relink tools to search and reacquire missing files for use in the current session. For detailed information about the Relink window, see “Relink Window” on page 303. Managing Windows Window Configurations Pro Tools provides a powerful means of manag- New Window Configuration dialog ing the configuration of windows in your ses- 3 In the New Window Configuration dialog, do sion, as well as the internal configurations of the one of the following: Score Editor, and Trans- Edit, Mix, MIDI Editor, port windows. Use the Window Configuration and whether or not to • Select Window Layout List to create (or delete) and manage stored Win- include the Edit, Mix, Targeted MIDI Edi- dow Configurations. Pro Tools lets you store up tor, Score Editor, and Transport window to 99 Window Configura tions. Window Config- display settings. urations are saved with the session. – or – • Select a Window Display Settings option Create a session template with your favorite Mix , Edit Window from the pop-up menu ( . You can then use Window Configurations Score Editor Window , MIDI Editor (Targeted) , the template when you start a new session, . Transport Window , or Window or you can use Import Session Data to import Window Configurations into your Name the Window Configuration. 4 current session. 188 Pro Tools Reference Guide

211 The Pro Tools session’s screen layout updates 5 You can type a different number for the new with the stored Wi ndow Configuration. Window Configuration. If the number you type is already used by ano ther Window Configura- tion, you are prompted to replace it or Cancel . Undoing Window Configurations Otherwise, Pro Tools automatically fills in the first available number (1–99) for the Window Pro Tools lets you revert to the previous Win- Configuration. dow Layout and Window Settings with a single level of undo. This is useful, for example, if you Type any comments for the new Window 6 tion, but then decide recall a Window Configura Configuration. you want to revert to th e previous screen state. 7 OK to store the new Window Configura- Click tion, or . Cancel To undo a Window Configuration: „ press Period (.), 0, On the numeric keypad, The new Window Configuration is added to the and then Asterisk (*). Window Configuration List. To redo a Window Configuration: To create a new Window Configuration at a specific numbered slot: On the numeric keypad, „ press Period (.), 0, and then Asterisk (*). On the numeric keypad, type Period (.), a „ number (1–99), and then Plus (+) to add a new is enabled, un- Auto-Update Active Configuration If Window Configuration at that number slot. doing the Window Configuration reverts to the previously stored Window Configuration with- If a Window Configuration already exists out automatically saving changes (see “Updat- at that numbered slot, the new Window ing Window Configurations” on page 190). Configuration overwrites it. Recalling Window Configurations Editing Window Configurations You can use the Window Configuration List to operties are stored You can change which pr recall stored Window Configurations. You can with Window Configurations, as well as the also use the Number Keyp ad on your computer number, name, or comments. keyboard to recall a specific Window Configura- tion. To edit a Window Configuration: ation List, select the 1 In the Window Configur To recall a Window Configuration, do one of the Window Configuration you want to edit. following: pop-up From the 2 Window Configuration List Select the Window Configuration from „ Win- Edit menu, select . . dow > Configurations In the Edit Window Confi guration dialog, edit 3 In the Window Configuration List, click the „ the configuration and click OK . Window Configuration to recall it. „ On the numeric keypad, press Period (.), the number of the Window Configuration (1–99), and then Asterisk (*). 189 Chapter 12: Pro Tools Main Windows

212 Window Configurations that do not include Updating Window Configurations store Window Display Window Layout and only After you recall a stored Window Configuration, Settings cannot be made active and thus won't you can make changes to the window layout automatically update. If you want to update a and window settings, and then update the with changes to the Window Configuration stored Window Configuration with your Window Display Settings (such as the width of changes. You can do this manually, or you can the Region List in the Edit window), use the Up- have Pro Tools automatically update the active date command in the Window Configuration configuration. List. To manually update a Window Configuration, do Clearing Window Configurations one of the following: „ Choose Window > Configurations > Update Ac- uration removes it and Clearing a window config . tive Configuration while keeping the slot its associated slot number configurations un- numbers of other window The active Window Configuration updates to changed. The Clear command is useful if you include any changes to its included properties nfiguration it the same want to insert another co (Window Layout and Window Display Settings). slot. – or – To clear a Window Configuration: „ pop-up Window Configuration List From the 1 In the Window Configuration List, select the . Update menu, choose Window Configuration you want to clear. The selected Window Configuration updates pop-up 2 From the Window Configuration List with any changes to its included properties. menu, select Clear . To have Pro Tools automatically update the active Window Configuration, do one of the following: Deleting Window Configurations „ Select Window > Configurations > Auto-Update Deleting a Window Configuration removes the . Active Configuration it and its slot number, and renumbers any sub- – or – sequent Window Configurations. pop-up Window Configuration List From the „ To delete a Window Configuration: Auto-Update Active Configuration menu, select . In the Window Configuration List, select the 1 When is se- Auto-Update Active Configuration Window Configuration you want to delete. lected, the active Window Configuration up- 2 From the Window Configuration List pop-up dates with every change to the Window Layout menu, select Delete . lay Settings. and Window Disp To delete all Window Configurations: „ From the Window Configuration List pop-up Delete All . menu, select 190 Pro Tools Reference Guide

213 Hiding All Floating Windows Importing Window Configurations You can import Window Configurations from The Hide All Floating Windows command hides or Import Session Data shows all floating windows. This is useful for . another session using quickly clearing the screen of all floating win- rk in the Edit or Mix dows so that you can wo To import Window Configurations: windows. . 1 Choose File > Import > Session Data option. 2 Select the Window Configurations To hide or show all floating windows: If you only want to import Window Configu- „ 3 Window > Hide All Floating Select or deselect pop-up rations, click the . Windows Session Data to Import menu and select None . Press Control+Alt+Start+W (Windows) or Click 4 OK . Command+Option+Control+W (Mac) to hide or show all floating windows. Arranging Windows Closing Windows Pro Tools provides commands to tile or cascade ting windows (such as all open windows. Floa To close an open window: plug-in windows) and the Transport window are 1 Make sure the window you want to close is in not affected by these commands. the foreground. To arrange windows: Do one of the following: 2 • Click the Close button for the window. Choose Window > Arrange and select one of the „ following: – or – Window > Close Window . • Choose Arranges all open windows in a tiled pattern Tile on the screen. Press Control+W (Windows) or Command+W (Mac) to close the frontmost Arranges all open windows in a Tile Horizontal window. horizontally tiled pattern on the screen. This op- tion is not available if there are too many win- dows open. Arranges all open windows in a ver- Tile Vertical tically tiled pattern, side by side, on the screen. This option is not available if there are too many windows open. Cascade Arranges all open windows in cascad- ing pattern on the screen. 191 Chapter 12: Pro Tools Main Windows

214 The location and size of the Window Con- How Windows Configuration figuration List is not stored with Window Works Configurations. A Window Configuration can store the location A Window Configuration can also store the and size of all open windows, including: Window Display settings for the Edit, Mix, Tar- •Edit window geted MIDI Editor, Scor e Editor, and Transport •Mix window windows. • Targeted MIDI Editor window • Score Editor window Window Configuration List • Workspace browser The Window Configuration List lets you recall •Project browser ow Configurations, as and manage stored Wind • DigiBase browsers well as create new Window Configurations. •Session Setup window • Time, Tempo, and Event Operations win- dows •MIDI Event List • Real-time MIDI Properties window •Beat Detective window • Plug-In windows • Panner windows • Mic Pre windows • All floating windows listed in the Window menu: Window Configuration List • Task Manager window To open the Window Configuration List: • Transport window „ Select Window > Configurations > Window Config- • Big Counter window . uration List • Automation window • Memory Locations window Press Command+Option+J (Mac) or • Machine Track Arming window Control+Alt+J (Windows) to show or hide the Window Configuration List. • Video Universe window • Video window • Color Palette window • Undo History window • Eleven Rack Control window •Disk Space window • System Usage window 192 Pro Tools Reference Guide

215 figuration (such as whether or not the Region Window Configuration Properties window). This option is List is shown in the Edit Window Configurations can be stored and re- Window Layout only available when the option is called with the layout of windows in your enabled. Pro Tools session, as well as with the settings for Window Display Settings Stores only the window the Edit, Mix, and Trans port windows. You can display settings for the selected window (Edit, specify which of these properties are stored for itor, Score Editor, or Mix, Targeted MIDI Ed each Window Configuration either in the New Transport): Window Configuration dialog or the Edit Win- dow Configuration dialog. • Edit Window Display Settings • Width of the Track List and Group List • Height of the Track List • Width of the Region List • What rulers are shown (the main ruler is al- ways shown) • What track columns ar e shown (such as In- serts, Sends, or Comments) • Tempo editor display • Whether Transport co ntrols are shown in the Edit window • Edit Window Toolbar arrangement Edit Window Configuration dialog • Mix Window Display Settings Number Is the number of the slot in which the • Width of the Track List and Group List Window Configuration is stored (1–99). You can type Period (.), the nu mber of the Window Con- • Height of the Track List figuration, and then Asterisk (*) on the numeric • What track rows are sh own (such as Inserts, keypad on your computer keyboard to recall the Sends, or Comments) Window Configuration stored in that slot. • Narrow/wide mixer view Name ored Window Config- Is the name of the st •Score Editor uration. • MIDI Editor (Targeted) When enabled, stores the size Window Layout • MIDI Editor (Untargeted) and location of all open windows. • Transport Window Display Settings • Counters display Include Edit, Mix, Targeted MIDI Editor, Score Ed- When en- itor, and Transport Display Settings • MIDI controls display abled, stores all window display settings for the • Expanded view Edit, Mix, Targeted MIDI Editor, Score Editor, Lets you type comments for the Win- Comments and Transport windows with the Window Con- dow Configuration. 193 Chapter 12: Pro Tools Main Windows

216 To show or hide Window Configurations in the Window Configuration Window Configuration List, do one of the following: Commands and Options Click the View Filter icon to show or hide „ Window Configurations th at include that prop- There are three main types of Window Configu- erty (Window Layout, Edit Window Settings, ration commands and options Mix Window Settings, Sc ore Editor Window Set- • View Filter icons ow Settings, or Trans- tings, MIDI Editor Wind • Window Configuration List pop-up menu port Window Settings). items – or – • Active Window configuration options ew Filter item in the „ Select or deselect the Vi Window Configuration List pop-up menu. View Filter Icons ons, the Window Config- Using the View Filter ic Window Configuration List Pop-Up uration List lets you show or hide Window Con- Menu figurations based on wh ether or not they are stored with Window La yout, Edit Window set- You can select viewing and sorting options, tings, Mix Window settings, Score Editor win- along with commands for creating and remov- Window settings, or dow settings, MIDI Editor ing Window Configurations, from the pop-up Transport Window settings. menu in the Window Configuration List. MIDI Editor Window (targeted) settings Transport Window settings Score Editor Window settings Mix Window settings Edit Window settings Window Layout Window Configuration List pop-up menu Lets you show or hide Window Con- View Filter figuration filter icons in the Window Configura- tion List as well as show or hide Window Con- figurations with Window Layout, Edit Window Settings, Mix Window Se ttings, Score Editor Window Settings, MIDI Editor Window Set- Window Configuration List view filter icons tings, or Transport Window Settings. Lets you show or hide Com- Show Comments ments in the Window Configuration List. New Configuration Creates a new Window Con- figuration. This command is also available from . Window > Configurations 194 Pro Tools Reference Guide

217 Updates the selected Window Update Active Window Configuration Configuration with any changes to the layout The active Window Configuration is indicated and settings of windows depending on the Win- of the Window Config- by a diamond to the left dow Configuration’s properties. This command uration Number in the Window Configuration is also available from . Window > Configurations List and in the Configurations submenu ( Win- Opens the Edit Window Configu- Edit dow > Configuration ). If Auto-Update Active Config- ration dialog where you can edit the properties uration is enabled, the number of the active con- of the selected Window Configuration. menu. Window figuration is also displayed in the ons that include Win- Only Window Configurati Clears the selected Window Con- Clear dow Layout can be made active. figuration without deleting the slot (number). Delete All Deletes all Window Configurations. Insert Slot Before Inserts a new slot be- fore the selected Window Configuration and, if necessary, increments the number of each fol- Window Configuration List showing active configuration lowing slot. Delete Slot Deletes the selected Win- s slot (number), and dow Configuration and it renumbers each subsequent slot. Automatically Auto-Update Active Configuration updates the active Window Configuration as layout and settings of you make changes to the is Auto-Update Active Configuration windows. If enabled, the number of the active configuration is also displayed in the Window menu. This Window > Config- command is also available from . urations Number of active Window Configuration displayed in Window menu 195 Chapter 12: Pro Tools Main Windows

218 Provides access to searchable Pro Tools Help Help Menus Pro Tools Knowledge Base and to the online . The menu also provides easy access to the fol- Help Pro Tools menus provid e commands and op- lowing PDF documentation (installed with tions for configuring and working with Pro Tools): Audio Plug-Ins Guide , Pro Tools Menus Pro Tools, sessions, and session material. Pro Tools Reference Guide Guide , , and Pro Tools Shortcuts Guide . For detailed information on Pro Tools main menus and Region List menus, see the The menu also provides access to Additional Help Menus Guide. Software Options (where you can research Avid product offering for expanding your Pro Tools Pro Tools Main Menus system) and to the command Check For Updates that your Pro Tools soft- (so that you can be sure Pro Tools includes the following main menus: ware and plug-ins are always up to date). Provides commands that are used to create File and maintain Pro Tools sessions. Track, Region, and Group List Menus Provides command Edit s that are used to edit and manipulate the current selection and affect The Track, Region, and Group Lists provide pop- data in the Timeline or the clipboard. up menus for managing and working with the contents of each list, as follows: View Provides options and commands to cus- in various windows. tomize what is shown Provides commands to show Track List Menu and hide tracks in the Mix, Edit, MIDI Editor, Provides commands that Track are used to cre- and Score Editor window s. The Track List pop- ate, manage, and edit tracks. up menu also lets you sort the contents of the Provides commands that are used to Region Track List. manage and edit regions. For more information, see “The Track List” Event Provides commands for editing audio and on page 222. MIDI events. Group List Menu (Edit Groups and Mix AudioSuite Provides AudioSuite plug-ins. Provides commands to create, display, Groups) suspend, and delete Mix and Edit Groups. hat let you select Provides commands t Options several editing, recording, monitoring, play- see “The Group List” For more information, back, and display options. on page 247 open dialogs and Provides commands to Setup windows or configure various Pro Tools hard- ware and software parameters. Provides commands to toggle the dis- Window play of various Pro Tools windows. 196 Pro Tools Reference Guide

219 Region List Menu (Edit Window Only) Provides Group Name and Track Group ID commands to find, select, sort, clear, rename, Indicator Pop-Up Menus time stamp, compact, export, and recalculate When you click and hold on a group name in waveform overviews of it ems in the Region List. the Group List, or click on a Group ID indicator The pop-up menu also lets you set the drop or- in a track, a pop-up menu provides access to var- der for regions dragged from the Region List and ious group commands (suc h as selecting tracks dropped in the Timeline. in a group). For more information, see Chapter 15, For more information, see “Group Name “The Region List.” and Track Group ID Indicator Pop-Up Menus” on page 248. Track Name and Region Name Right-Click Menus Track and region names provide Right-click Tool Tips menus for managing and wo rking with tracks or Pro Tools provides Tool Tips in all main win- regions, as follows: dows. Holding the cursor for a few seconds over Right-clicking a Track Name Right-Click Menu an abbreviated name, or unlabeled icon or tool, track name in the Edit window, Mix window, or displays either the function or details of the the Track List provides access to various track item (depending on the Tool Tips preferences commands (such as show/hide, make active/in- settings). active, rename, duplicate, and delete tracks). To configure Tool Tips for Pro Tools: For more information, see “Track Name Setup > Preferences Choose Dis- , and click the 1 Right-Click Menu” on page 225. play tab. Region Name Right- Click Menu (Edit 2 In the Basics section, enable the Tool Tips op- Window Only) Right-clicking a region name in tions you want displayed. the Region List provides commands to clear, re- name, time stamp, or replace regions. The pop- Function Shows the functional name of different up menu also lets you export region definitions ecific buttons, indica- Pro Tools items (such as sp or selected regions as files, recalculate waveform tors, modes, selectors, and Edit tools). overviews, select the parent file of selected re- Shows abbreviated or hidden Pro Tools Details gions in the DigiBase Workspace Browser, or se- names or values for different Pro Tools items lect a region as an object in the Edit window. (such as insert names, gain levels, settings, and For more information, see Chapter 15, routing assignments). “The Region List.” To turn off Tool Tips, leave both options deselected. . OK Click 3 197 Chapter 12: Pro Tools Main Windows

220 Pro Tools Reference Guide 198

221 Chapter 13: Tracks Master Fader tracks control Master Fader Tracks Pro Tools provides different types of tracks for the overall level of audio paths that are routed to working with audio, MIDI and video in physical output paths. For example, you could Pro Tools sessions. have 24 tracks in a session with channels 1–8 routed to Analog Output 1–2, channels 9–16 to Analog Output 3–4, and channels 17–24 to An- Track Types alog Output 5–6. You could then create three master faders, one to co ntrol each of these out- In a Pro Tools session, you can have several dif- put pairs. ferent types of tracks. These can include audio, Auxiliary Input, Master Fader, VCA Master Master Fader tracks have a dditional uses (such as (Pro Tools HD and Pro Tools with Complete controlling submix levels). For more informa- Production Toolkit 2 on ly), MIDI, Instrument, tion, see “Master Fader Tracks and Signal Flow” and video tracks. on page 922. Video track features are described in VCA Master Tracks (Pro Tools HD and Pro Tools Chapter 51, “Working with Video in VCA with Complete Produc tion Toolkit 2 Only) Pro Tools” Master tracks (or VCA Masters) emulate the op- eration of voltage-contro lled amplifier channels Audio, Auxiliary Input, Master Fader, and VCA on analog consoles, where a VCA channel fader Master Tracks would be used to control, group, or offset the Pro Tools provides mono, stereo, and multi- signal levels of other channels on the xiliary Input, Master channel format audio, Au console. Fader, and VCA Master tracks. VCA Master tracks do not pass audio, so they do Audio tracks let you record to disk Audio Tracks inserts, or sends. A not have inputs, outputs, recorded or imported and play back from disk a VCA Master track, Mix Group is assigned to audio files. which appears in the VCA track’s Assignment selector. Auxiliary Input tracks can Auxiliary Input Tracks be used as effects sends, destinations for sub- The controls of the tracks in that Group, called mixes, as a bounce destination, as inputs to the slave tracks, are modified by the controls on o (such as monitor or process audi audio from the VCA Master. For more information, see s), and for many other external MIDI instrument “VCA Master Tracks” on page 925. audio routing tasks. 199 Chapter 13: Tracks

222 MIDI Tracks Track Formats MIDI tracks record, stor e, and playback MIDI Mono Tracks data. You cannot select a track format when you put, Master Fader, or A mono audio, Auxiliary In create a MIDI track, because audio does not pass Instrument track controls volume, and, in some through it. cases, panning, for a single channel of audio. A Instrument Tracks mono audio track uses a single voice. A mono to a multichannel out- track can also be routed Instrument tracks are a sp ecial type of track that put. provide both MIDI and audio capabilities in a rument tracks simplify single channel strip. Inst Stereo Tracks using software and hardware instruments to re- Input, Master Fader, or A stereo audio, Auxiliary cord and monitor MIDI instruments. le channel strip for two Instrument track is a sing Video Tracks channels of audio as a st ereo pair. Stereo audio tracks use two voices. Video tracks let you ad d or import QuickTime (Windows and Mac) or Windows Media Video Multichannel Tracks (Windows Vista only). (Pro Tools HD and Pro Tools with Complete With an Avid video peripheral and Pro Tools, Production Toolkit 2 Only) you can add or import Avid video to the A multichannel track is a single channel strip Pro Tools Timeline (see Chapter 51, “Working that plays multiple channels of audio (from 3 to with Video in Pro Tools.”) 8 channels at a time). This allows Pro Tools to in the Edit window, Video tracks only appear support multichannel mixing formats including and video can be viewed in the Video window. LCRS, 5.1, 6.1, and others. Audio, Auxiliary In- put, Master Fader, and In strument tracks can all use any supported mu ltichannel format. For more information on surround mixing with Pro Tools, see the following: • Chapter 47, “Pro Tools Setup for Surround” • Chapter 48, “Multichannel Tracks and Signal Routing” • Chapter 49, “Surround Panning and Mix- ing” 200 Pro Tools Reference Guide

223 Auxiliary Input Track Channel Strips Track Channel Strips Each Auxiliary Input track has its own set of (Mix Window) channel strip controls, including volume, pan, automation mode, solo, and mute. Audio Track Channel Strips Track Color Coding own set of channel strip Each audio track has its controls, including volume, pan, record enable, Inserts (A–E shown) input monitoring (Pro Tools HD only), automa- tion mode, solo, mute, and voice assignment. Track Color Coding Sends (A–E shown) HEAT track controls (Pro Tools HD with HEAT option only) Audio Input/Output Path selectors Inserts (A–E shown) Output Window button Automation Mode selector Group ID Pan knobs Sends (A–E shown) Pan indicators Solo/Mute buttons Audio Input/Output Paths Output Window button Volume fader Automation Mode selector Group ID Level meters Pan knob Pan indicator TrackInput Monitor button (Pro Tools HD only) Volume/Peak/Delay indicator Track Record Enable button Tr a c k Ty p e i n d i c a t o r Solo/Mute buttons Track Name button Delay Compensation view Volume fader Level meter Tr a c k C o m m e n t s Voice selector Track Color Coding Volume/Peak/Delay indicator Stereo Auxiliary Input track channel strip Track Type indicator Track Name button e D l a y C n e p m o i t s a o n v i e w Track Comments Track Color Coding Mono audio track channel strip 201 Chapter 13: Tracks

224 Master Fader Track Channel Strips VCA Master Track Channel Strips (Pro Tools HD and Pro Tools with Complete Each Master Fader track has its own set of chan- Production Toolkit 2 Only) nel strip controls, including volume and auto- mation mode. Each VCA Master track has its own set of chan- nel strip controls, including volume, record en- able, input monitoring (Pro Tools HD only), au- tomation mode, solo, and mute. Inserts (A-E shown) For more information, see “VCA Master Tracks” on page 925. Track Color Coding Audio Output Path selectors Group ID Output Window button Automation Mode selector Automation Mode selector Group ID Record TrackInput Enable (HD only) Mute Solo Volume fader Volume fader Level meters Volume indicator Volume/Peak/Delay indicator Track Type indicator Tr a c k Ty p e i n d i c a t o r Track Name button Delay Compensation view Track Comments Track Comments Track Color Coding Track Color Coding VCA Master track Stereo Master Fader track channel strip 202 Pro Tools Reference Guide

225 tracks have an addi- cord enable. Instrument MIDI Track Channel Strips that provides tional Instruments view controls Each MIDI track has its own set of channel strip for MIDI input, output, mute, volume, and pan controls, including MIDI volume, pan, record (like on a MIDI track). enable, automation mode, solo, mute, patch as- signment, and channel assignment. MIDI Volume MIDI Input selector MIDI Mute button Track Color Coding MIDI Output selector MIDI Input selector MIDI Output selector MIDI meter (Velocity) MIDI Pan Automation Mode selector Group ID Inserts (A–E shown) MIDI Pan knob MIDI Pan indicator Record Enable Sends (A–E shown) Solo/Mute buttons MIDI Volume fader Audio Input/Output Path selectors MIDI Velocity meter Output Window button Automation Mode selector Group ID Patch Select MIDI Volume indicator Pan knobs Tr a c k Ty p e i n d i c a t o r Pan indicators Track Name button Record Enable Track Comments Solo/Mute buttons Track Color Coding Volume fader MIDI channel strip Level meters Instrument Track Channel Strips Patch Select Volume/Peak/Delay indicator Each Instrument track has its own set of channel Tr a c k Ty p e i n d i c a t o r audio (like an Auxiliary strip controls, including Tr a c k N a m e Input track) volume, pan, automation mode, Delay Compensation view (like a MIDI track) re- solo, and mute, and MIDI Track Comments Track Color Coding Stereo Instrument track channel strip, Instruments view shown 203 Chapter 13: Tracks

226 Auxiliary Input Track Controls Track Controls and Indicators Each Auxiliary Input track has its own set of (Edit Window) track controls, including Track Name, Solo, Mute, Track View, Track Height, Timebase, and Automation mode. Audio Track Controls Each audio track has its own set of track con- Solo button Track Height selector trols, including Track Name, Playlist, Record En- Tr a c k N a m e able, Input Monitoring (Pro Tools HD only), Solo, Mute, Track View, Track Height, Timebase, Elastic Audio, Voice Assignment, and Automa- Mute button tion mode. Track View selector Automation Mode Track Height selector selector Tr a c k N a m e Record Enable button TrackInput Monitor button (Pro Tools HD only) Solo button Mute button Timebase selector Show/Hide Automation lanes for a stereo Auxiliary Input Edit window track controls Playlist selector track (medium track height) Master Fader Track Controls Track View selector has its own set of track Each Master Fader track controls, including Track Name, Track View, Track Height, Timebase, and Automation mode. Track Height Track View Automation Mode selector selector selector Elastic Audio plug-in selector Tr a c k N a m e Voice selector Timebase selector Show/Hide Automation lanes Edit window track controls for a mono audio track (medium track height) Timebase selector Show/Hide Automation lanes Automation mode Edit window track controls for a stereo Master Fader track (medium track height) 204 Pro Tools Reference Guide

227 VCA Master Track Controls MIDI Track Controls (Pro Tools HD and Pro Tools with Complete n set of track controls, Each MIDI track has its ow Production Toolkit 2 Only) including Track Name, Playlist, Record Enable, Solo, Mute, Track View, Track Height, Patch, Each VCA Master track has its own set of track Timebase, and Automation mode. controls, including Track Name, Playlist, Record Enable, Input Monitoring (Pro Tools HD only), Track Height selector Solo, Mute, Track View, Track Height, Timebase, Record Enable button Tr a c k N a m e and Automation mode. Solo button Mute button Track Height selector Tr a c k N a m e Record Enable button TrackInput Monitor button (Pro Tools HD only) Playlist selector Solo button Mute button Track View selector Automation Mode selector Patch selector Timebase selector Show/Hide Controller lanes Edit window track controls for a MIDI track (medium Automation Mode selector track height) Timebase selector Show/Hide Automation lanes Edit window track controls for a VCA Master track (medium track height) 205 Chapter 13: Tracks

228 Instrument Track Controls Edit Window Views Each Instrument track has its own set of track In addition to track cont rols and playlists (of re- controls, including Track Name, Playlist, Record gions of events on the Timeline), the Edit win- Enable, Solo, Mute, Track View, Track Height, dow provides the following views that corre- Patch, Timebase, and Automation mode. spond to channel strip controls in the Mix window: Track Height selector Record Enable button • Comments Tr a c k N a m e •Mic Preamps Solo button Mute button •Instruments • Inserts (A–E and F–J) • Sends (A–E and F–J) Playlist selector •I/O • Real-Time Properties Tr a c k V i ew s e l e c t o r • Track Color See also “Views in the Mix and Edit Win- dows” on page 930. Automation Mode selector Comments View Patch selector Timebase selector Comments view lets you type and view com- Show/Hide Automation and Controller lanes ments for a specific track. Edit window track controls for a stereo Instrument track (medium track height) For more information on Comments view, see “Adding Comments to Tracks” on Video Track Controls page 212. Each video track has its own set of track con- trols, including Track Name, Playlist, Online, Mic Preamps View Track View, and Track Height. The Mic Preamps view shows controls for tracks with physical audio inputs routed through PRE. Track Height selector Playlist selector Tr a c k N a m e For more information, see the PRE Guide. Online button Track View selector Frame Rate indicator Edit window track controls for a video track (medium track height) 206 Pro Tools Reference Guide

229 To show the I/O View in the Edit window: Instruments View . „ Select View > Edit Window > I/O Instruments view provides MIDI controls for In- strument tracks: MIDI Input selector, MIDI Out- Channel strips in the Mix window always , MIDI Pan, and MIDI put selector, MIDI Volume display Input and Output selectors as well Mute. as volume and pan values, so there is no I/O view display option for the Mix window. see “Assigning MIDI For more information, Input and Output for Instrument Tracks” on page 236. For details on Input an d Output selectors, see “Assigning Audio In puts and Outputs to Tracks” on page 226. Inserts View (A–E and F–J) Inserts view provides up to ten inserts (software Volume/Peak/Channel Delay Indicator plug-ins and hardware I/O inserts for generating The Volume indicator on an audio track has each audio, Auxiliary and processing audio) on three display modes: Volume, Peak, and Chan- Input, Master Fader, and Instrument track. nel Delay. For more information on inserts, see To toggle the Volume indicator display: Chapter 44, “Plug-In and Hardware In- serts.” „ Control-click (Windows) or Command-click (Mac) the indicator to toggle it between the fol- Sends View (A–E and F–J) lowing modes: Sends view shows send assignments in each au- Shows the Volume Indicator (and Pop-Up Fader) dio, Auxiliary Input, and Instrument track. current volume, or input level of a track as set by the track Volume fader. In I/O view (Edit win- For more information, see “Configuring dow), click the Volume indicator to display the Sends View in the Mix and Edit Windows” Volume pop-up fader, which can be used to ad- on page 939. just the volume. I/O View In the Edit window, I/O view provides Input and o, Auxiliary Input, Mas- Output selectors on audi ter Fader (output only), MIDI, and Instrument tracks (corresponding to the controls of the same name in the Mix window). Edit window I/O view, Volume pop-up fader (audio track) Input Path selector Output Window button Peak Indicator Functions as a headroom indica- Volume indicator tor based on the last peak playback level. To re- Pan indicator set the peak counter, click anywhere in the me- Output Path selector (no signal) to 0 dB. ∞ ter. Values range from – Edit window I/O view (audio track) 207 Chapter 13: Tracks

230 Channel Delay Indicator (Pro Tools HD Volume Fader Only) Shows the total delay, in samples, incurred The Volume fader controls the playback level of on the track from the use of any TDM plug-ins a track when it is playing back, and the monitor or hardware inserts on that channel. level of the track when it is recording. You can link the record and monitor levels by enabling Pan Indicator the option in the Op- Link Record and Play Faders The Pan indicator displays the current pan set- eration preferences. 100 (full ting of a track. Pan values range from < The maximum fader gain for a volume fader is left) to 100 > (full right). Pan controls are only +12 dB. available for stereo trac ks or for mono tracks routed to a stereo output. MIDI Volume Fader In I/O view (Edit window), click the Pan indica- If your MIDI sound module supports volume, tor to display the Pan pop-up slider, which can the volume fader on a MIDI or Instrument track be used to adjust panning. can send a value of 0–127 to the MIDI volume controller. Real-Time Properties In the Edit window, Real-Time Properties view ime Properties controls provides access to Real-T Edit window I/O view, Pan pop-up slider (audio track) (such as Quantize or Transpose) on MIDI and In- strument tracks. For more information, see Greater-than-stereo multichannel tracks do “MIDI Real-Time Properties” on page 690. not provide a Pan indicator in I/O view. You can view and adjust multichannel panning Track Color in the track’s Output window or in the Mix window. In the Edit window, Track Color view displays the Track Color strip at the left-most side of the Pan Slider Track controls. The Pan slider controls the balance of a track be- tween the assigned output pair. It only appears tracks or mono tracks if you are using stereo routed to a stereo output. The Pan slider on a MIDI track is effective only if you are controlling a so und module that sup- ports MIDI panning. Send Pan controls can be linked to the Main Pan controls of a track by enabling the Follow Main Pan button in Send window. 208 Pro Tools Reference Guide

231 To clear a meter: Track Level Meter Click anywhere on the meter. „ On audio tracks, level meters indicate the level To clear all meters, do one of the following: of the signal being recorded or played back from the hard drive. On Auxiliary Input, Master Option-click (Mac) or Alt-click (Windows) any „ acks, level meters indi- Fader, and Instrument tr meter. cate the level of the signal being played through Track > Clear All Clip Indicators „ . Choose the channel output. Green indicates nominal levels; Yellow indicates pre-clipping (–6 dB be- Press Option+C (Mac) or Alt+C (Windows). „ low full scale); and Red indicates clipping. When an audio track is record-enabled, these Clip Indication meters indicate record levels. Pro Tools meters provide Clip Indication with Instruments view for In- On MIDI tracks, and in Infinite , 3 Second three options: . If clip- None , or strument tracks, the meter shows the MIDI ve- ping occurs, the topmost LED will stay lit (red). locity of the most recent MIDI event. Clip indicators appear in plug-in, send, and Pre- and Post-Fader Metering track windows. You can globally set audio track level meters to To choose a Clip Indication setting: indicate pre- or post-fader levels. When pre- Setup > Preferences 1 Choose and click the fader metering is selected, the level meters show Display tab. levels independent of fader position. With post- fader metering, the level meters respond to fader option. 2 Select a Clip Indication position. 3 Click OK . To toggle track level metering between pre- fader To clear a clip indicator: and post-fader metering: Click anywhere on the meter. „ Options > Pre-Fader Metering „ Select . To clear all clip indicators, do one of the following: Peak Hold „ Option-click (Mac) or Alt-click (Windows) any Pro Tools meters provide a Peak Hold feature meter. , or None with three options: 3 Second . Infinite , Choose „ . Track > Clear All Clip Indicators To choose a Peak Hold setting: „ Press Option+C (Mac) or Alt+C (Windows). 1 Choose Setup > Preferences and click the Display tab. option. Peak Hold Select a 2 3 Click OK . 209 Chapter 13: Tracks

232 Wide Meters View Creating Tracks Wide Meters view expands the width of the level You can create mono and stereo tracks on all meters for tracks in both the Mix and Edit win- Pro Tools systems. With Pro Tools HD or dows, to make the track level meters easier to Pro Tools with the Complete Production Toolkit read. Wide Meters view are also available Nar- create multichannel 2 option, you can also row Mix view. tracks (from LCR to 7.1). To toggle Wide Meters View on or off: When new tracks are created, they are given a default name that can be changed at any time. Command-Option-Control-click (Mac) or „ Control-Alt-Start-click (Windows) any track ‹ To insert new tracks next to a specific track in level meter in the Mix or Edit window. a session, select that trac k by clicking the track’s name in the Mix or Edit window before opening the New Tracks dialog. The new tracks are added immediately after the selected track. ‹ To insert new tracks afte r the last tracks in a session, make sure that no track names are se- lected on-screen before opening the New Tracks dialog. You can also add tracks to your session by importing them from preexisting sessions. Wide Meters view, Mix and Edit windows See “Importing Session Data” on page 336. Adjusting Track Width Mix Window The Narrow Mix command lets you view all tracks/channels in the Mix window at a reduced space in a large session. width to conserve screen (See “Track Height” on page 220, to adjust track height in the Edit Window.) To reduce the width of tracks in the Mix window: . View > Narrow Mix Select „ To display tracks at normal width: „ Deselect View > Narrow Mix . You can toggle track width by pressing Command+Option+M (Mac) or Control+Alt+M (Windows). 210 Pro Tools Reference Guide

233 To create new tracks: Select the timebase (samples or ticks) from the 4 Track Timebase pop-up menu. 1 Do one of the following to open the New Tracks dialog: To auto-scroll the Track Timebase pop-up Track > New • Choose . menu, press Command+Option (Mac) or Control+Alt (Windows) and use the – or – Up/Down Arrow keys. • Right-click any Track Name in the Mix or Edit windows, or Track List, and choose 5 Enter the number of new tracks. New . If you are creating various multiple new Press Control+Shift+N (Windows) or tracks, you can move to the next or previous Command+Shift+N (Mac) to open the New acks field by press- row’s Number of New Tr Tracks dialog ing Tab or Shift+Tab. 6 Do any of the following: Add/Remove Row Number of new tracks Track Type • To add more tracks, click the Add Row but- Track Timebase Tr a c k Fo r m a t ton. Add a new track by pressing Command+N (Mac) or Control+N (Windows), or by pressing Command+Plus (+) (Mac) or New Tracks dialog Control+Plus (+) (Windows) on the numeric keypad. Select the type of trac k you want to add from 2 the Track Type pop-up menu. – or – To auto-scroll the Trac k Type pop-up menu • To remove a track, click the Remove Row in the New Tracks dialog, press Command button. (Mac) or Control (Windows) and use the To remove the last track from the New Up/Down Arrow keys. Tracks dialog Command+Minus (–) (Mac) 3 Select the track format (mono, stereo, or one or Control+Minus (–) (Windows). of the multichannel surround formats) from the icon up or Move Row 7 To reorder tracks, drag a pop-up menu. Surround formats Track Format down. are available on Pro Tools|HD systems or Pro Tools with the Complete Production Toolkit 2 option. To auto-scroll the Track Format pop-up menu, press Command (Mac) or Control (Windows) and use the Left/Right Arrow Move Row icon keys. Move Row icon in the New Tracks dialog . Create Click 8 211 Chapter 13: Tracks

234 In the Track Name/Comments dialog, type a 2 Default Track Names new track name. When creating new audio, Auxiliary Input, Mas- Previous Click 3 or to rename other dis- Next ter Fader, VCA Master, MIDI, and Instrument played tracks. tracks, Pro Tools names them as “Audio,” “Aux,” “Master,” “VCA,” “MIDI, or “Inst” ac- To move to the previous or next track in the cordingly and numbers th em consecutively. For Track Name/Comments dialog, you can example, when you create the first two audio press Control (Win dows) or Command tracks in a new session, their default names are (Mac) and use the Up/Down or Left/Right “Audio 1” and “Audio 2.” You can rename Arrows. tracks and also log comments for each track. . OK Click 4 Naming Tracks Adding Comments to Tracks auto-name recorded au- Track names are used to dio files and regions (see “Default Track Names” To add comments to a track, do one of the on page 212). following: p, click directly in From the track channel stri „ the Comments area, type any comments for the track, and press Enter (Windows) or Return (Mac). – or – „ In the Edit or Mix window, double-click the button for a track. Then click di- Track Name rectly in the Comments area, type any com- d press Enter (Windows) ments for the track, an or Return (Mac). Track Name/Comments dialog To enter a carriage return in the Comments area, press Shift+Enter (Windows) or To rename a track: Shift+Return (Mac) on the alphanumeric 1 Do one of the following: keyboard. • In the Mix or Edit window, double-click the r the track you want Track Name button fo to rename. – or – • In the Track List, or Mix or Edit window, Right-click the track name for the track you want to rename. 212 Pro Tools Reference Guide

235 To select a track: Track Numbering Click the name of an unhighlighted track in „ With Track Number view enabled, each track is its track channel strip. assigned a number corres ponding to its position ows. When tracks are in the Mix and Edit Wind reordered, they are renumbered to maintain po- sitional sequence. To enable Track Number view: „ Choose View > Track Number . To navigate directly to any track number: . Track > Scroll to Track Choose 1 Press Command+Option+F (Mac) or unselected track Control+Alt+F (Windows) to open the selected track Scroll to Track dialog. Selected and unselected tracks 2 In the Scroll To Track dialog, enter the Track To select a range of tracks: . Position Number Click the name of an unhighlighted track in 1 its track channel strip. 2 Shift-click an additional button. All tracks between the first track selected and the additional track will also be selected. To select or deselect noncontiguous tracks, do Scroll To Track dialog one of the following: 3 Click OK . „ Command-click (Mac) or Control-click (Win- the windows scroll as The track is selected, and buttons that are unhigh- Track Name dows) follows: lighted to select them. • The Mix window tracks scroll to bring the – or – selected track as close to the left as possible. „ Command-click (Mac) or Control-click (Win- scroll to bring the • The Edit window tracks dows) Track Name buttons that are highlighted selected track as close to the top as possible. to deselect them. Selecting Tracks To select all tracks: „ Option-click (Mac) or Alt-click (Windows) any Tracks need to be selected for operations such as unhighlighted. button that is Track Name duplicating tracks or addi ng tracks to a group. One or more tracks can be selected at a time. 213 Chapter 13: Tracks

236 To delete a track: To deselect all tracks: Click the name of the track in its track chan- 1 „ Option-click (Mac) or Alt-click (Windows) any button that is highlighted. nel strip to select it. Track Name To select multiple tracks, Command-click Selecting Tracks when Making Edit Selections (Mac) or Control-click (Windows) addi- Pro Tools lets you link Track selection with Edit tional Track Names. Edit selections are selections. When Track and To select a range of tracks, Shift-click linked, you can make a selection within a track additional Track Names. for editing and each as- or across multiple tracks (track names automati- sociated track is selected Do one of the following: 2 cally highlight). Track > Delete • Choose . To link Track and Edit selections: – or – • In the Track List, or Mix or Edit window, . Options > Link Track and Edit Selection Select „ Right-click the track name and select De- . lete Scrolling a Track into View OK to remove the selected tracks from Click 3 the session. To scroll a track into view: „ In the Track List, or Mix or Edit window, Right-click the track name and select Sc roll into Duplicating Tracks . View The Duplicate Track command lets you dupli- cate one or more tracks, including their audio or The track is selected, and the windows scroll as MIDI data, playlists, au tomation, and other at- follows: tributes. • The Mix window tracks scroll to bring the selected track as close to the left as possible. To duplicate one or more tracks: • The Edit window tracks scroll to bring the selected track as close to the top as possible. 1 Select the tracks you want to duplicate. For information, see “Selecting Tracks” on Deleting Tracks page 213. When you delete tracks, your audio or MIDI re- Do one of the following: 2 gion data remains in the Region List, but your • Choose Track > Duplicate . arrangement of the regions on the deleted track • Press Option+Shift+D (Mac) or Alt+Shift+D (the track’s playlist) will be lost. (Windows). If the track contains pl aylists that are not as- • Right-click the name of the track in the are prompted to delete signed to any track, you Track List, or Mix or Edit window, and or retain them. . Duplicate select The Delete Track command cannot be undone. 214 Pro Tools Reference Guide

237 4 If duplicating multiple tracks, do one of the following: • If you want all the newly created tracks to follow the last selected source track (to the far-right of the Mix window, and at the bot- tom of the Edit window), select the Insert option. after Last Selected Track – or – • If you want each newly-created track to be inserted directly after its source track, dese- lect this option. 5 to duplicate tracks according to the OK Click settings in the Duplicate Tracks dialog. Click Cancel to close the dialog and not create dupli- cate tracks. Duplicate Tracks dialog duplicate track is cre- In the Mix window, each 3 In the Duplicate Tracks dialog, configure the ated to the right of its original track. In the Edit following options as needed: window, each duplicate track is created below its • Enter how many copies you want to create duplicating multiple original track. When in the Number of Duplicates filed. tracks, you can also choose to have the new • To copy the currently active (visible) Edit tracks follow the last sele cted track (or have each playlist from the source track, select Active new track follow its source track). Playlist . • To copy all Edit playlists on the source Duplicating VCA Slave Tracks Alternate Playlists track, select (Pro Tools HD and Pro Tools with Complete • To copy all automation from the source Production Toolkit 2 Only) . track, select Automation • To copy all plug-in and insert assignments, track without duplicat- Duplicating a VCA slave select . Inserts ing its group assignments will coalesce any auto- • To copy all sends and send assignments, mation on the duplicat e track. The coalesced Sends select . duplicate plays back exactly as if it were in the • To maintain all Mix and Edit Group assign- VCA group. For more information, see “VCA . ments, select Group Assignments Master Tracks” on page 925. 215 Chapter 13: Tracks

238 , Instrument Tracks Can be set to Blocks , Regions Track Views Notes Velocity , , , Mute Volume , Pitch Bend , , Pan , Program Change , Sysex , and Mono After Touch The Track View determines which data is dis- type for MIDI; as well any continuous controller played and edited in the track’s playlist area. Send controls, Volume , , Volume Trim as Mute , Pan , Track View data can be set to Playlists, Blocks, or any plug-in controls that enabled for automa- Analysis, Warp, Waveform, Volume, Volume tion. Instrument tracks are commonly set to Trim, Mute, Pan, Send, or an automated control Notes Regions or , each of which displays notes or continuous controller, based on the track in a “piano roll” format. Use Notes view for in- type and your Pro Tools system. pying and pasting MIDI serting, editing, and co notes. Use Regions view to arrange, capture, or Can be set to Anal- , Playlists , Audio Tracks Blocks consolidate regions. Other Instrument track Volume Trim , Volume , Waveform , Warp , ysis Mute , , views are useful for editing automation, control- Pan , Send controls, or any plug-in controls that ler data, program changes, and Sysex events. are enabled for automation. By default, audio tracks are set to Waveform view where track ma- Video Tracks For information on video track terial is graphically drawn with amplitude wave- views, see “Video Track View” on page 1148. forms (a time-domain representation of sound). This Track View provides the necessary detail for important region edits. Blocks Tracks View With the Track View set to Blocks , audio and Vol- Auxiliary Input Tracks Can be set to Volume , MIDI regions are displayed as empty blocks Pan , , Send controls, or any plug- , ume Trim Mute bearing the region’s name. This Track View is in controls that are enabled for automation. most useful once you have finished capturing Master Fader Tracks Can be set to Volume , Vol- and editing regions at the waveform or MIDI , or any plug-in controls that are en- ume Trim event level and are moving and rearranging abled for automation. aws are fastest with this for- them. Screen redr mat. VCA Master Tracks (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) Can be . Mute , or Volume Trim , Volume set to Playlists Tracks View (Audio Tracks Only) MIDI Tracks Can be set to Blocks , Regions Notes , , , Volume , Mute , Pan , Pitch Bend , Mono Af- Velocity , alternate With the Track View set to Playlists ter Touch , and any con- Sysex Program Change , , playlists for audio tracks are revealed in Playlist tinuous controller type. MIDI tracks are com- lanes under the Main Playlist on the track. This Notes Regions or , each of which monly set to view is useful for track compositing, letting you displays notes in a “piano roll” format. Use Re- select the best parts from a track’s alternate play- gions view to edit and arrange MIDI regions. Use lists and copy them to the main playlist. Notes view for inserting and editing MIDI notes. e useful for editing ve- Other MIDI track views ar locity, controller data, program changes, and Sy- sex events. 216 Pro Tools Reference Guide

239 Notes View Analysis and Warp Tracks View (MIDI Only) (Audio Tracks Only) or , you With the Track View set to With the Track View set to Analysis Warp Notes , you can insert and edit MIDI notes on can edit Elastic Audio analysis and warp markers MIDI and Instrument tracks. on Elastic Audio-enabled tracks. Automation and Controller Views Waveform View (Audio Only) When an audio or Instru ment track is displayed as Pan , , or another automated control, or Volume With the Track View set to Waveform , you can track is set to one of when a MIDI or Instrument edit and arrange audio regions on audio tracks. the continuous contro ller types (such as Volume Waveforms are time-domain representations of or Pitch Bend ), the data for that track appears in the audio data and can be shown as normal or the form of a line graph with a series of editable calculated using Peak rectified waveforms, and breakpoints. The breakpoints can be dragged to or Power mode. modify the automation data, and new break- points can be inserted with the Pencil tool or a Grabber tool. MIDI and Instrument tracks also provide Velocity view for editing MIDI veloci- ties. Track View set to Waveform for audio track On audio tracks, the Waveform is also visible in Playlists, Analysis, Warp, and Automation views. Track View set to Pan for audio track Regions View g and editing control- For details on insertin (MIDI Only) ler data for MIDI tracks, see “Continuous Controller Events” on page 678. , you can edit Regions With the Track View set to and arrange MIDI region s on MIDI and Instru- ment tracks. mation and controller You can also edit auto data in lanes below the track’s main playlist view. For details on editing automation data for audio tracks, see Chapter 45, “Au- tomation.” Track View set to Regions for MIDI track 217 Chapter 13: Tracks

240 Setting Track Views To set the Track View: „ Click the Track View selector for the track and select the view from the pop-up menu. The track displays the new view. If the track is part of an active Edit Group, all tracks in the group are set to the new view. MIDI Track View selector Audio Track View selector Auxiliary Track View selector Instrument Track View selector Master Fader Track View selector VCA Master Track View selector (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only) 218 Pro Tools Reference Guide

241 Toggling Common Track Views Changing Track Views The most common editing view for audio tracks For audio, Auxiliary In put, MIDI, and Instru- are Waveform and Volume view. The most com- ment tracks, you can chan ge to the next or pre- mon editing views for MIDI and Instrument vious Track View, or toggle between pre-defined ons view. Pro Tools pro- tracks are Notes and Regi common views. vides an easy way to toggle these views. Changing to Previous or Next Track View To toggle Track Views on tracks containing the When changing to the next or previous Track edit cursor (or an Edit selection): View, Track View list ordering is maintained as Click in the track you want to toggle. To toggle 1 shown in the Track View selector. multiple tracks, Shift-clic k or drag with the Se- lector tool to select additional tracks. Track Views at the beginning of the list (such as Blocks for audio or MIDI tracks) 2 Do one of the following: cannot be changed to the previous Track • Press Start+Minus (Windows) or Con- View. Tracks Views at the end of the list trol+Minus (Mac) on the alphanumeric (such as a MIDI controllers option) cannot keyboard. be changed to the next Track View. To toggle Track Views for all tracks, press To change to the previous or next Track View: Option+Control+Minus (Mac) or Click in the track you want to change. To 1 Alt+Start+Minus (Windows) on the change views on multiple tracks, Shift-click or alphanumeric keyboard. drag the Selector tool to select additional tracks, – or – or select a group. • With Commands Keyboard Focus enabled Do one of the following: 2 (see “Keyboard Focus” on page 30), press • To change to the previous or next Track Minus on the alphanumeric keyboard. View on all selected tracks, press Con- trol+Command (Mac) or Control+Start To toggle Track Views for all tracks with (Windows) and the Left or Right Arrow key. Command Focus enabled, press Option+Minus (Mac) or Alt+Minus – or – (Windows) on the alphanumeric keyboard. • To change to the previous or next Track View on all tracks, press Command+Op- Audio tracks are toggled between Waveform and Control+Alt+Start tion+Control (Mac) or Volume view. MIDI and Instrument tracks are (Windows) and the Left or Right Arrow key. toggled between Notes and Regions view. 219 Chapter 13: Tracks

242 To set the Track Height, do one of the following: Master Views for Tracks „ Click the small arrow to the left of the Track ment tracks have Track Audio, MIDI, and Instru name to get the Track Height pop-up menu. Views that act as “maste r.” When a track is dis- played in its Master view, any edits performed apply to all data in the track. For instance, when an audio track is set to Waveform, copying and pasting affects not just the waveform informa- tion, but all of the automation data as well. The Master view is based on the type of track, as follows: Track Height pop-up menu • Audio tracks: Waveform and Blocks – or – tracks: Regions, • MIDI and Instrument Blocks, and Notes (when using the Selector Right-click on the vertic al zoom scale just to „ tool) the right of the track controls and choose the height from the pop-up menu. The track is resized to the new height. If the Track Height track is part of an Edit Group, all tracks in the group are set to the new height. Tracks can be viewed in the Edit window at any Mini , Small Medium , Micro of eight heights: , , Press Control+Up/Down Arrow key (Mac) Extreme and Fit To Window . Larger , Jumbo , Large or Start+Up/Down Arrow key (Windows) to arly useful for precise track heights are particul increase/decrease track height of any track editing, especially for MIDI. Smaller track that contains a selection or in which the heights are useful for conserving screen space in edit cursor is currently placed. a large session. To resize all tracks proportionally: You can adjust track heights on an individual „ Click Edit window Vertical Zoom In or Out track basis or set all tracks to the same height. button. Track heights can be changed during playback. Vertical Zoom In and Out buttons, Edit window 220 Pro Tools Reference Guide

243 Continuously Variable Track Track Controls and Track Height Height The Track Height affects how the various track controls appear in the Edit window. For in- In the Edit window, you can continuously resize stance, when a track’s he ight is set to Small, the Track Height of any given track by dragging most of the buttons are reduced in size. the lower boundary of the Track Controls column. To resize the Track Height of any track in the Edit window: Track Height set to Small Drag the bottom line of any given track’s „ When the Track Height is set to , Mini or Micro Track Controls column up or down. The cursor only controls for Record , Solo, and Mute appear, changes to indicate that you can resize the track. , Track Playlist , Track Timebase and the menus for Height , and Track View are accessed from the The track’s Track Height changes incrementally. same selector. Track Height set to Mini Medium Large , When the Track Height is set to , , or Extreme , all track controls are dis- Jumbo played at their full size. Adjusting the Track Height of an audio track Hold Command (Mac) or Control (Windows) while adjusting track height for continuous, non-incremental adjustments. To continuously resize all tracks, Option- drag (Mac) or Alt-drag (Windows). Track Height set to Large To continuously resize all selected tracks, Option-Shift-drag (Mac) or Alt-Shift-drag (Windows). 221 Chapter 13: Tracks

244 Show/Hide Track List and Group The Track List List The Track List (at the left of both the Mix and To show (or hide) the Track List (and Group List), Edit windows) shows all tracks in the session. It do one of the following: allows you to show or hide a track in the Mix, „ From the Edit window menu, select (or dese- Edit, MIDI Editor, and Score Editor windows. . Track List lect) Even though a track is hidden, the material on the track will still play as part of the session. In- – or – active tracks appear in italics in the Track List. Show/Hide Track List „ Click the /Group List View The Track List can also be used to create button in the Mix or Edit window. new tracks when importing media from DigiBase. See “Importing Files with Drag and Drop” on page 326. Track Show/Hide Track Color Code Track Type icon Track name Track List menu Show/Hide Track List /Group List, in Edit Window Track List Menu The pop-up menu at the top of the Track List allow you to show or provides commands that hide all tracks, tracks currently selected on- screen, or specific types of tracks (audio, Auxil- iary Input, Master Fader, MIDI, Instrument, VCA Master, or I nactive tracks). Track List Show Only option 222 Pro Tools Reference Guide

245 window, but not in the Score Editor or MIDI Ed- command lets you set the The Sort Tracks By itor windows. Also, hiding a specific track in a Edit Group , Name , , Type track order according to it only in that MIDI MIDI Editor window hides . The sort order will be re- Mix Group , or Voice Editor window. in the Mix, Edit, MIDI flected in the Track List Editor, and Score Editor windows. To hide a track, do one of the following: „ Click the Track Show/Hide icon in the Track List. – or – „ In the Track List (or on the track channel Hide strip), Right-click the track name and select (or Hide and Make Inactive if the track is active and you also want to make the track inactive). Sort Tracks By options When a track that is a member of an active ew, editing operations group is hidden from vi ers of the group in performed on other memb the Edit window will not affect the hidden track. In the Mix window, however, all operations Shown track icon in the Track List other than record-enable will affect a hidden track that is a member of an active group. With Pro Tools HD, even if a track is hidden from view, its position relative to other tracks still affects its voiceable track pl a y ba c k pr i or it y ( s ee “V oi c e B or row i ng ” on page 234 for details). Hidden track icon in the Track List The options in the Track List menu in the Score Editor window are differe nt from the Mix, Edit, To show a track that is currently hidden, do one of the following: and MIDI Editor windows. For more informa- tion, see “Track List” on page 724. „ Click the Track Show/Hide icon in the Track List. Showing and Hiding Tracks – or – The Mix and Edit windows are linked in terms of „ In the Track List (or on the track channel hidden. However, the which tracks are shown or strip), Right-click the track name and select d MIDI Editor windows Score Editor window an Show if the track is ac- Show and Make Active (or are all unique in terms of which tracks are tive and you also want to make it active). ple, hiding a specific shown or hidden. For exam track in the Edit window also hides it in the Mix 223 Chapter 13: Tracks

246 To show or hide a range of tracks in the Track List To show all tracks: with the Marquee: Click the Track List menu and choose „ Show All 1 Move the cursor to the left of a track name un- . Tracks til the Marquee with a small “+” symbol appears. You can also show all tracks by Option-click- Click on the track in the list and drag up or 2 ing (Mac) or Alt-clicking (Windows) the down over the Show/Hide icons (to show or Show/Hide icon of any track that is hidden. hide the track and the tracks immediately above or below it). To hide all tracks: Hide All Click the Track List menu and choose „ To show or hide non-contiguous tracks: Tracks . „ Click the Show/Hide icon for the tracks you You can also hide all tracks by Option- want to show or hide. clicking (Mac) or Alt-clicking (Windows) the Show/Hide icon of any track that is Mix/Edit Groups and Hidden shown. Tracks In the Mix window, if a hidden track is part of To reorder tracks on-s creen, drag the track an enabled group, all Mix window operations names to new positions within the Track mbers of the group also performed on other me List or in the Mix or Edit window. affect the hidden track —with the exception of au- dio or MIDI record-enabling. If you solo, mute, To show a range of tracks: le a grouped track, any or automation write-enab 1 Select a range of hidden tracks in the Track e hidden are soloed, group members that ar List. write-enabled as well. muted, or automation 2 Click the Show/Hide icon of hidden track at ver, editing operations In the Edit window, howe the top of the Track List. an enabled group do performed on members of Shift-click the Show/Hide icon of hidden track 3 not affect hidden tracks that are also members of at the bottom of the selection. the enabled group. All tracks that occur between the first track se- lected and the last track will also be selected. Clipping and the Track List (Pro Tools HD Only) You can also select a range of tracks by moving the cursor to the left of the track When a track, send, or plug-in clips, the Track names so the Marquee appears, and List displays the track’s name in red. Both dragging around th e track names you shown and hidden tracks display clipping indi- want to select. cation. 224 Pro Tools Reference Guide

247 Export MIDI (MIDI and Instrument Tracks Track Numbering and Hidden Only) Exports the MIDI data from one or more Tracks MIDI or Instrument trac ks to a standard MIDI In the Mix and Edit windows, Track Position file. For more information, see “Exporting MIDI Numbers can include hidden tracks in their Files” on page 372. numbering sequence, or ignore them, as fol- Coalesce VCA Master Automation (Pro Tools HD lows: and Pro Tools with Complete Production Toolkit 2 • Numbers are only assign ed to tracks that are Coalesces the VCA automation to the Only) Track Position Numbers Stay with shown (when slave tracks of the VCA. Hidden Tracks is not selected in the Display Coalesce Trim Automation (Pro Tools HD and Preferences page). In this case, active tracks Pro Tools with Complete Production Toolkit 2 are then numbered sequentially. Hidden Coalesces Trim automation on the track Only) tracks are un-numbered. (or selected tracks if any). – or – Clear Trim Automation (Pro Tools HD and • Tracks keep their Track Position Numbers Pro Tools with Complete Production Toolkit 2 even when hidden (when Track Position Num- Only) Clears Trim automation on the track (or is selected in the bers Stay With Hidden Tracks selected tracks if any). Display Preferences page). Locked (Video Track Only) Toggles the locked/unlocked status of the video track (or se- lected video tracks if any). Track Name Right-Click Menu Opens the New Track dialog. New (Mix Window, Edit Window, MIDI Editor Windows, or Track List) Rename Opens the Track Name dialog. When you Right-click a track name in the Mix Duplicates the track Duplicate (or selected tracks window, Edit window, MIDI Editor windows, or if any). the Track List, a pop-up me nu provides access to the following commands: Splits Split Into Mono (Multichannel Tracks Only) a multichannel track (or selected multichannel Hide/Show Hides (or shows) the track (or se- tracks if any) into their mono component lected tracks if any). tracks. Hides the track and Hide and Make Inactive Delete Deletes the track (or selected tracks if makes it inactive (or selected tracks if any). any). Toggles the active status Make Active/Inactive MIDI Real-Time Properties (MIDI and Instrument ed tracks in the Mix or of the track (or all select Tracks Only) Opens the Real-Time Properties Edit window only). window for the track. Scroll Into View Scrolls the track to the top of the Open in New MIDI Editor (MIDI and Instrument Edit window or to the left of the Mix window. Opens the track in a new MIDI Ed- Tracks Only) itor window. 225 Chapter 13: Tracks

248 For stereo and multichanne l surround tracks, in- Open in Score Editor (MIDI and Instrument Tracks Opens the track in the Score Editor win- Only) puts and outputs appear as stereo pairs and mul- dow. tichannel groups. The available inputs, outputs, and busses are defined as in the I/O Setup paths Open in MIDI Event List (MIDI and Instrument dialog (see Chapter 7, “I/O Setup”). Tracks Only) Opens the track in the MIDI Event List. Automatic Input and Output Notation Display Track Se ttings (MIDI and Instru- Assignments ment Tracks Only) Opens the Notation Display the track. Music nota- Track Settings window for When adding tracks to a new session, inputs are tion can only be viewed in the Score Editor or in automatically assigned in ascending order. For MIDI Editor windows set to Notation view. example, if you have an audio interface with eight inputs, creating four new mono audio Expand Channels to New Tracks Expands multi- tracks will automatically add four audio tracks channel audio files imported from a field re- with inputs assigned to the first four paths de- corder to new tracks, such that every channel re- fined in the I/O Setup dialog. When creating ste- sides on its own mono audio track. Pro Tools reo tracks, inputs are au tomatically assigned to also automatically conforms all expanded tracks subsequent input pairs. to the edits in the guide (expanded) track. You can expand multichannel f iles to new tracks or- The outputs automatically assigned to new dered by channel name, by channel number, by tracks are determined by the New Track Default channel name and number, or by Time Code specified in the I/O Setup dialog. Output Bus only. Assigning Audio Inputs (Audio, Auxiliary Input, and Instrument Tracks) Assigning Audio Inputs and Outputs to Tracks of an audio, Auxiliary To assign an audio input Input, or Instrument track: Inputs for audio, Auxilia ry Input, and Instru- 1 In order to assign audio track inputs in the ment tracks can be assigned to audio interface View > Edit Window > I/O Edit window, select . channels or busses. Outputs for audio, Auxiliary Input, Master Fader, and Instrument tracks can In the Mix or Edit window, click the track’s In- 2 also be assigned to audio interface channels or put Path selector and choose from the available busses. audio interface channels and busses. Stereo and multichannel surround tr acks have inputs avail- Track Input set Track set to Track Input able as pairs and multichannel groups. to Audio 2 No Input set to Bus 2 The Input Path selector lets you route any audio input or any of the Pro Tools internal busses to or Instrument track. an audio, Auxiliary Input, The choices available in this pop-up menu are Input/output assignments fo r three mono audio tracks 226 Pro Tools Reference Guide

249 determined by the Input Path configuration in Assigning Audio Outputs the I/O Setup. Inputs in use by another track ap- (Audio, Auxiliary Input, Master Fader, and pear bold in the Input Path selector pop-up Instrument Tracks) menu. To assign an audio output of an audio, Auxiliary Instrument tracks automatically assign the Input, Master Fader, or Instrument track: audio output from the instrument plug-in 1 In order to assign audio track outputs in the inserted on the track to the track audio In- Edit window, select View > Edit Window > I/O . put. In the Mix or Edit window, click the track’s 2 To automatically assign all track inputs (of the Output Path selector and choose from the avail- same type and channel width) to unique ascending able audio interface channe ls and busses. Stereo Input paths (cascading): tracks have outputs and multichannel surround Command-Option-click (Mac) or Control-Alt- „ available as pairs and multichannel paths. click (Windows) the Input Path selector of the or and select the first left-most Input Path select Input Path (mono or stereo, depending on e mono or stereo). whether your tracks ar All visible tracks of the same channel width (mono or stereo) are auto-assigned to unique In- ascending order. For ex- put Path assignments in ample, Track 1 to A1, Track 2 to A2, Track 3 to A3, and so on. ‘ Output Path selector The Output Path selector lets you route a track to any configured audio output or internal bus. The choices available in this pop-up menu are determined by the Output Bus Path configura- tion in the I/O Setup. Outputs in use by another track appear bold in the Output Path selector’s pop-up menu. Command-Option-click (Mac) or Control- Alt-click (Windows) the Output Path selec- tor of the left-most track and select the first Output Path (mono or stereo). All visible tracks are automatically assigned to unique Input Path selector Output Bus Path assignments in ascending To remove an input assignment: order. For example, Track 1 to A1–2, Track 2 to A3–4, Track 3 to A5–6, and so on. from the Input Path selector. No Input Select „ 227 Chapter 13: Tracks

250 Pro Tools creates a new track with the output of To remove an output assignment: the originating track automatically routed to the „ No Output from the Output Path selec- Select input of the new track using an available inter- tor. Playlists become dimmed for tracks with no nal mix bus. output assignment. When creating a new internal mix bus, the new k, Auxiliary Input, Assigning an audio trac bus will be named after what you typed for the Master Fader, or Instrument track to “No new track. For example, if you entered the name Output” will cause its automation data for “Drum Sub,” Pro Tools creates a new Auxiliary pan and plug-in controls to be lost. Input track named “Drum Sub” and also creates an internal mix bus named “Drum Sub.” Create and Assign New Track from Track Output Pro Tools lets you create a new Auxiliary Input, Audio, or Instrument track from the Output se- assign the Output of lector and automatically the original track to the Input of the new track using an available internal mix bus. To create a new track from a track output: On an existing track, click the Output selector 1 . for the track and select New Track In the New Destination dialog, select the 2 Width for the new track. Time Base Type , and , New Destination dialog Type a Name for the new track. 3 New Auxiliary Input track with audio track output Select (or deselect) whether you want the new 4 automatically assigned to Bus 1–2 track to be created next to the current track. . OK Click 5 228 Pro Tools Reference Guide

251 Assign Existing Track from a Track Output Renaming Track Inputs and Outputs from the Edit or Mix Pro Tools lets you assign the Output of a track to Window the Input of an existing track using an available internal mix bus. Note that the destination track I/O path names can be renamed in the Edit or No must be set to either an internal mix bus or to Mix windows, or in the I/O Setup. Input in order to be available for assignment. To rename an I/O path in the Edit or Mix window: To assign the output of a track to an available 1 In the Edit or Mix window, Right-click the In- input on an existing track: lector for a track, and put selector or Output se On an existing track, click the Output selector 1 choose Rename from the pop-up menu. Track for a track and select . 2 In the Rename I/O dialog, type a name for the Track From the 2 submenu, select the destina- OK . I/O Path, and click tion track you want. ‘ Rename I/O dialog Making Track Inputs and Outputs Inactive from the Edit or Mix Window Track Input, Output, and Bus Path assignments can be made inactive using the corresponding selector on the track. Ma king a track’s Input or Output inactive silences that Input or Output, while retaining all automation and playlist data. For Pro Tools|HD systems, inactive Inputs and Outputs do not consume resources for TDM mixer connections, but any active assigned plug-ins on the track continue to use their re- an existing Auxiliary Input Assigning a track output to quired DSP resources. Fo r Pro Tools host-based track systems, inactive Inputs and Outputs do not consume host-processing resources. RTAS plug- Pro Tools automatically routes the track or send ins require CPU resources, and TDM plug-ins use to the input of the selected track using an avail- the DSP available on Pro Tools|HD cards. able internal mix bus. 229 Chapter 13: Tracks

252 To make all selected tracks’ Inputs or Outputs You can make track inputs and outputs inactive assigned to the same path inactive (or active), do the Edit or Mix win- (or active) directly from one of the following: dows. Inactive I/O Paths are grayed out. In the Edit or Mix window, Option-Shift- „ You can also make a path globally inactive Right-click (Mac) or Alt-Shift-Right-click (Win- (or active) in the I/O Setup dialog. See Output selector for a dows) the Input selector or “Making Paths Active or Inactive” on Make Active (or Make Inactive ) track, and choose page 106. from the pop-up menu. – or – To make a track’s Input or Output Path inactive (or active), do one of the following: -Shift-click (Mac) Command-Option-Control „ „ In the Edit or Mix window, Right-click the In- or Control-Alt-Start-Shift-click (Windows) the lector for a track, and put selector or Output se Input or Output selector in the Mix or Edit win- (or Make Active choose Make Inactive ) from the dow. pop-up menu. Toggling Multiple Paths – or – If a track has only one main output assignment, „ Command-Control-click (Mac) or Control- Command-Control-click (Mac) or Control-Start- Start-click (Windows) the Input or Output selec- click (Windows) the track’s Output Path selector tor in the Mix or Edit window. to toggle the main output to inactive. When there are multiple assignments, the track selec- To make all tracks’ Inputs or Outputs assigned to tor will be displayed for you to specify the Input, r active), do one of the the same path inactive (o following: Output, Insert, or Bus Path. „ In the Edit or Mix window, Option-Right-click If a Send (A–J) has multiple Output Path as- (Mac) or Alt-Right-click (Windows) the Input se- signments and one of those is toggled active lector or Output selector for a track, and choose or inactive, then of the Output Path as- all Make Inactive (or Make Active ) from the pop-up signments for that Send (A–J) are toggled menu. active or inactive. – or – Command-Option-Control-click (Mac) or „ Control-Alt-Start-click (Windows) the Input or Output selector in the Mix or Edit window. 230 Pro Tools Reference Guide

253 With Pro Tools|HD systems, you can assign spe- Track Priority and Voice tracks such that those cific voices to multiple voices are shared by more than one track. This Assignment feature is called voice borrowing . The combina- Pro Tools|HD systems prov ide a certain number tion of playback/record tr acks and shared voiced channels of audio play- of voices (simultaneous voiceable tracks comprises the total number of back and recording), depending on the system. tracks on a Pro Tools|HD system. For example, a Pro Tools|HD 1 system can pro- vide up to 96 voices of audio playback and re- To set multiple tracks to the same voice, see cording, at 44.1 or 48 kHz. For details on “Setting Voice Assignment” on page 232. For s, see “Playback, Re- Pro Tools system capabilitie additional information on voice borrowing, cording, and Voice Limits with Pro Tools HD” see“Voice Borrowing” on page 234). on page 44. Changing a Track’s Playback Priority Pro Tools systems let you play or record up to 96 simultaneous stereo or mono tracks. For details Tracks with higher positions (leftmost in the on system capabilities, see “Pro Tools System Mix window or topmost in the Edit window) Capabilities” on page 53. have priority over tracks in lower positions in a session. Track Priority To increase a track’s priority, do any of the dware allows a fixed While your Pro Tools har following: number of voices, Pro Tools software allows for „ In the Mix window, drag the Track Name but- additional audio tracks beyond that fixed num- ton to the left of other tracks in the session. ber of voices. While all of these tracks can be re- Tracks at the left of the Mix window have higher cued for arranged, and corded to or imported, priority than those on the right. can be played back si- playback, not all of them In the Edit window, drag the Track Name but- „ multaneously. ton above other tracks in the session. Tracks at When the number of tracks exceeds the number the top of the Edit window have higher priority of available voices, tracks with lower priority than those below. may not be heard. For these situations, „ In the Track List, drag the Track Name to a Pro Tools assigns priorities to tracks that com- higher position in the list. Tracks at the top of pete for the available voices. Because there can this list have higher priority than those below. ailable voices, Pro Tools be more tracks than av of adjusting the play- provides multiple ways back priority of audio tracks. See “Changing a Track’s Playback Priority” on page 231 and “Freeing up Voices on a Track” on page 232. 231 Chapter 13: Tracks

254 Freeing up Voices on a Track Setting Voice Assignment tive priority of tracks You can also adjust the rela A track’s voice assignment can be turned off or by freeing up the voices of individual tracks, set to be dynamically allocated, and with making them available to other tracks in the ses- Pro Tools HD, can also be explicitly assigned to a sion. specific voice number. On all Pro Tools systems, you can use Dynami- To free up the voice of a track, do one of the cally Allocated Voicing to automatically take following: care of voice management in the background, „ Click the Voice selector of the track and set it assigning voices not in use by other tracks. . See “Setting Voice Assignment” on Off to page 232. Pro Tools supports Dynamically Allocated t support explicit voice Voicing only; it does no „ Deactivate the track by Control-Start-clicking assignments. (Windows) or Command-Control-clicking (Mac) its track type icon in the Mix window. With Pro Tools HD, tracks assigned to a specific ty over dynamically al- voice number take priori „ Make sure the track do es not have an Output located tracks and support voice borrowing (see Path or Send assignment. “Voice Borrowing” on page 234). To ensure that „ With Pro Tools HD, you can temporarily free a a track is heard, or that it is available for Quick- track’s voice during playba ck by muting it (see Punch, TrackPunch, or DestructivePunch re- “Mute Frees Assigned Voice” on page 240). cording, assign an explicit voice to that track. With Pro Tools HD, QuickPunch, Track- Punch, and DestructivePunch require addi- re information, see tional voices. For mo Chapter 24, “Punch Recording Modes.” With Pro Tools HD, the initial insert of an RTAS plug-in uses additional voices in cer- tain situations. See “Voice Usage and Total Latency for RTAS Plug-Ins” on page 971. nel tracks, voices ap- For stereo and multichan pear in pairs and multichannel groups. Voices to another track ap- already explicitly assigned pear in bold in the Voice selector’s pop-up menu. 232 Pro Tools Reference Guide

255 To set the voice assignment for a track: Voice Assignment with Complete Production Toolkit 2 „ Click the Voice selector and set the track to Off , Dyn , or select a voice number (Pro Tools HD Complete Production Toolkit 2 lets you play or only). record up to 192 voices simultaneously at 44.1 or 48 kHz and up to 96 voices at 88.2 or 96 kHz. Each channel of an audio track uses a single voice. For example, you can have up to 192 mono audio tracks or up to 96 stereo audio tracks at 44.1 or 48 kHz. Maximum track counts are only supported with multiple hard drives and faster Avid-qualified systems. Track Priority and Dynamic Voicing The lowest-numbered (highest priority) audio and tracks that are active have their voice assign- ment set to (Dynamically Allocated Voic- DYN ing) are the tracks that play back. (The total number of tracks that play back depends on the maximum number of voiced audio tracks al- lowed by your system.) -numbered (lower prior- Tracks that are higher Voice selector for stereo audio track (Pro Tools HD shown) ity) than these tracks do not play back and you Dynamically Allo- cannot record to them. Their cated Voicing button are blue to indicate they are Elastic Audio and RTAS plug-ins are not unavailable for playback or recording. allowed on explicitly voiced tracks (Pro Tools HD only). Use Dynamically Al- Tracks do not play back when they are inactive located Voicing for tracks on which you or their voice assignment is set to Off. want to use Elastic Audio or RTAS plug-ins. 233 Chapter 13: Tracks

256 The voice is assigned to the first track, with suc- When working with more than the maximum tracks (with the same cessive voices assigned to tracks allowed by your number of voiced audio format) of lower priority. system, you can only play back audio from higher-numbered (lower priority) tracks by changing the track priority by doing any of the To assign all selected audio tracks to successive voices: following: • Make a lower-numbered track inactive Select the audio tracks by Control-clicking 1 Track > and select Track Name (click the (Windows) or Command-clicking (Mac) their ). Make Inactive names. • Set the voice assignment in a lower-num- To select multiple tracks, Command-click (click the Voice selector Off bered track to (Mac) or Control-click (Windows) addi- ). and select Off tional Track Names. •Drag the Track Name button of the higher- left (Mix window) or numbered track to the To select a range of tracks, Shift-click upwards (in the Edit window or Track List) additional Track Names. until it is in the range of the maximum 2 While pressing Control+Alt+Shift (Windows) number of voiced audi o tracks allowed by or Command+Option+Shift (Mac), select the your system. The previo usly last voiced au- om the Voice selector starting voice number fr dio track is moved out of range and its for the left (Mix window) or top (Edit window) . Off voice assignment is changed to selected track. When the priority of the higher-numbered track The voice is assigned to the starting track, with gnment is automatically is changed, its voice assi to currently selected successive voices assigned changed from Off to DYN . rmat) of lower priority. tracks (with the same fo Automatic Assignment of Ascending Voice Borrowing Voices (Pro Tools HD Only) (Pro Tools HD Only) , which lets Pro Tools HD features voice borrowing You can automatically assign all tracks or all se- you assign more than one track to the same lected tracks to succes sive voices. For example, voice. The track with the highest priority takes you may want to select eight audio tracks and over that voice, but when a hole opens up in the reassign them to voices 9–16. higher-priority track, it s shared voice is tempo- rarily available, and the track with the next To assign all audio tracks to successive voices: highest priority “sounds through” and begins to „ While pressing Control+Alt (Windows) or play. When the original track returns, the track Command+Option (Mac), select the starting that had sounded through relinquishes the voice number from the Voice selector for the shared voice to the higher priority track. track at the far left of the Mix window, or at the top of the Edit window. 234 Pro Tools Reference Guide

257 The following example demonstrates the con- Assigning MIDI Track Input cept of voice borrowing: Pro Tools lets you assign specific MIDI ports and channels to a MIDI track input. The default se- lection of All receives all incoming MIDI data from all ports on all c hannels. Use the MIDI In- put selector to specify a MIDI port and channel for input. For information on assigning MIDI input to e “Assigning MIDI In- Instrument tracks, se “Rhythm” regions play only when there is no “Lead” put and Output for Instrument Tracks” on region page 236. In the figure above, the two visible tracks are as- To assign a MIDI track input: signed to the same voice. There is an open area in the top track where no region appears. At this „ Input selector and as- Click the track’s MIDI point, the voice is free since it is not being used, sign a port and channel for MIDI input. Chan- rity track assigned to and the next highest prio nels already assigned to another track appear in that voice (the bottom track) sounds through bold. the open area and plays. In the Edit window, select View > Edit By experimenting with track priority, voice Window > I/O to access any track’s Input assignment, and arranging regions so that they selector. are positioned to sound through holes in higher priority tracks, yo u can find many useful ways to maximize voiceable tracks with Pro Tools HD. Assigning MIDI Inputs and Outputs to Tracks MIDI recording and playback is supported with MIDI tracks and In strument tracks. MIDI ports in your system can be named and configured for use in Pro Tools (for Windows, see “Configuring MIDI Studio Setup” and for Mac, see “Configuring AMS”). MIDI Input selector (MIDI Track shown) 235 Chapter 13: Tracks

258 ations to a single MIDI To assign multiple destin Assigning MIDI Track Output track: Pro Tools lets you assign specific MIDI ports and Control-click (Mac) or Right-click (Mac or „ channels to a MIDI track output. The default se- Windows) the MIDI Output selector and select lection of none sends MIDI data to no port on additional channels from any device. any channel. Use the MIDI Output selector to and channel for output. specify a MIDI port For information on recording and importing MIDI data, see Chapter 23, MIDI tracks in Pro Tools cannot contain “MIDI Recording.” multiple channels of MIDI data. Assigning MIDI Input and Output For information on assigning MIDI output for Instrument Tracks to Instrument tracks, see “Assigning MIDI Instrument tracks have a specific view for MIDI Input and Output for Instrument Tracks” controls, including MIDI Input and Output se- on page 236. lectors. To assign a MIDI track (and all its regions) to a In addition to assigning MIDI input and specific MIDI device channel: output for recording and playing back MIDI tput selector and as- Click the track’s MIDI Ou „ data, Instrument tracks can also be used to sign a port and channel for MIDI output. Chan- monitor the audio from your hardware another track appear in nels already assigned to MIDI instruments and instrument plug-ins. bold. See “Signal Routing for Monitoring and Sub- mixing” on page 949. In the Edit window, select View > Edit Window > I/O to access any track’s Output To view Instrument track MIDI controls, do one of selector. the following: „ Select . View > Mix Window > Instruments – or – View > Edit Window > Instruments „ Select . MIDI Input selector MIDI Output selector Instruments view, Mix window MIDI Output selector (MIDI track shown) 236 Pro Tools Reference Guide

259 Instrument Track MIDI Input Soloing and Muting Tracks Pro Tools lets you assign specific MIDI ports and The Solo and Mute buttons can be engaged at channels to an Instrument tracks’ MIDI input. k. The Solo and Mute any time during playbac The default selection of All receives all incoming ll as audio tracks. It is buttons affect MIDI as we MIDI data from all port s on all channels. Use the possible to have more th an one track soloed or MIDI Input selector to specify a MIDI port and muted at the same time in a session. channel for input. Instrument tracks have separate sets of Solo Channels in use by another track input appear and Mute buttons for MIDI and audio mon- bold in the MIDI Input pop-up menu. itoring. To assign an Instrument track MIDI input: Track grouping also affects mute and solo be- „ Click the track’s MIDI Input selector and as- havior. Muting or soloin g a track that is a mem- sign a port and channel for MIDI input. Chan- ber of an active Mix Group will mute or solo all another track appear in nels already assigned to other tracks that are a me mber of that active Mix bold. Group as well. Instrument Track MIDI Output Soloing Tracks Pro Tools lets you assign specific MIDI ports and To solo tracks: tracks’ MIDI output. channels to an Instrument The default selection of none sends MIDI data to Click the Solo button on a track. The button is 1 no device, port, or node on any channel. Use the her tracks are muted. highlighted and all ot MIDI Output selector to specify a MIDI port and Click the Solo button on another track. The 2 channel for output. buttons for both tracks are highlighted and all Channels in use by another track input appear other tracks are muted. as bold in the MIDI Input pop-up menu. To un-solo tracks: To assign an Instrument track MIDI output: „ Click the Solo button on soloed tracks. Click the track’s MIDI Ou „ tput selector and as- For information on creating and modifying sign a port and channel for MIDI output. Chan- groups for track soloing and muting, see another track appear in nels already assigned to “Grouping Tracks” on page 245. bold. 237 Chapter 13: Tracks

260 The Solo button routes PFL (Pre Fader Listen) Solo Button the track’s pre-fader/pre-pan signal to the The Solo button normally mutes other tracks so AFL/PFL Path output. The AFL/PFL Path is con- that the selected track can be auditioned inde- figured in the Output page of the I/O Setup dia- pendently. log (see “AFL/PFL Path” on page 92). With Pro Tools HD, this behavior is selected as a With PFL, the fader level and pan are ignored, Solo mode, called “Solo In Place.” Additional and the level you hear is dependent on the sig- Solo modes are provided to change how the Solo nal’s recorded level. Additionally, there is a sep- button works. See “Solo Modes” on page 238 . arate master level setting for PFL that affects the output of any or all trac ks you solo in PFL mode (see “AFL/PFL Path” on page 92). This level set- Solo Modes ting is independent of the AFL level setting. (Pro Tools HD Only) AFL and PFL Solo modes require the With Pro Tools HD, the Solo button can be used Surround Mixer plug-in. to: • Mute other tracks so that the selected track ings are unavailable Custom Pan Depth sett can be auditioned alone. when either AFL or PFL Solo mode is en- – or – abled. • Route a selected track to a separate output. Solo button behavior is defined by the Solo If Mutes Frees Assigned Voice is enabled, mode, as follows: muted tracks will not be audible in PFL mode. The Solo button mutes other SIP (Solo In Place) tracks. When this mode is enabled, tracks can be To select a Solo mode: solo safed (see “Solo Safe Mode” on page 240). Choose Options > Solo Mode . 1 AFL (After Fader Listen) The Solo button routes 2 PFL SIP , AFL , or Select . the track’s post-fader/post-pan signal to the AFL/PFL Path output. The AFL/PFL Path is con- soloed tracks can be The Solo mode for all figured in the Output page of the I/O Setup dia- changed “on-the-fly” from any Solo mode to log (see “AFL/PFL Path” on page 92). either SIP or AFL. Previously soloed tracks will switch their solo behavior to the new With AFL, the level you hear is dependent on mode. the fader level for that track. Additionally, there is a separate master level setting for AFL that af- Switching the Solo mode for all soloed tracks all tracks you solo in fects the output of any or “on-the-fly” to PFL clears all previously so- AFL mode (see “AFL/PFL Path” on page 92). This loed tracks before entering PFL mode. This level setting is indepe ndent of the PFL level prevents potentially large boosts in level. setting. 238 Pro Tools Reference Guide

261 When AFL or PFL is select ed as a Solo mode and DSP Usage when Using AFL or PFL Mode a track is soloed, the main output path will mute AFL and PFL are accomplished by Pro Tools cre- and the AFL/PFL signal will appear at the ating a “behind the scenes” mixer to route the AFL/PFL Path for monitoring. signal to the chosen AFL/PFL Path. Depending on the size of your main mixer, Pro Tools will Solo Latch Options devote a substantial portion of its available DSP when using AFL/PFL mode. Solos can be latched (where pressing subsequent buttons adds them to the soloed mix of tracks), Un-declaring the AFL/PFL Path will free up all unlatched, or temporarily latched (Pro Tools HD DSP resources previously used for AFL/PFL and Pro Tools with Complete Production Tool- mode. kit 2 only). Using AFL/PFL on Pro Tools Systems with a To select a Solo Latch mode: D-Control or D-Command Choose and select from Options > Solo Mode „ AFL/PFL is optimized for Pro Tools systems us- the following options: mmand control surface, ing a D-Control or D-Co where the XMON automatically switches its When selected, pressing subsequent Solo Latch monitor source between the main output and buttons adds them to the soloed mix of tracks. the AFL/PFL output from Pro Tools. evious Solos) When selected, X–OR (Cancels Pr For more information on using XMON and ancels previ- pressing subsequent Solo buttons c AFL/PFL, see your control surface guide. ous solos. Using AFL/PFL on Pro Tools Systems without To override X–OR mode and solo more than D-Control or D-Command ess and hold the Solo one track at a time, pr button on the first track. Subsequently If you are not using a D-Control or D-Command pressed Solo buttons will latch. control surface, your regular Pro Tools output path is not necessarily muted when you send a Momentary (Pro Tools HD and Pro Tools with Com- signal to the AFL/PFL Path. If you need the main plete Production Toolkit 2 Only) When selected, signal to automatically mute when an AFL/PFL ky. A track is soloed Solo buttons are not stic signal is invoked, you need to do the following: only when its Solo switch is held down. Configure the output path for AFL or PFL so- 1 With a qualified control surface, additional loed tracks. tracks can be soloed by pressing their SOLO Select the main output path that will mute 2 switches (as long as at least one Solo button is when you solo a track in AFL or PFL mode (see held down). When no SOLO switch is held “AFL/PFL Mutes (Output Path)” on page 93). down, all soloed tracks will unsolo. Set up your hardware to monitor both the 3 main and AFL/PFL paths simultaneously. 239 Chapter 13: Tracks

262 Temporarily Latching Solos in Momentary Mute Button Solo Mode The Mute button silences a chosen track. More (Pro Tools HD and Pro Tools with Complete Op- than one track can be muted at one time. If Production Toolkit 2 Only) tions > Mute Frees Assigned Voice (Pro Tools HD only) is enabled, muting a track will allocate its To temporarily latch solos: voice to the next highest priority voiceable track 1 Options > Solo Mode > Momentary . Choose (assigned to the same voice). Press and hold the Solo button on the first 2 To mute a track: track that will be soloed. „ Click the Mute button on the track. 3 While still holding the first Solo button, press Solo buttons will re- additional Solo buttons. To unmute a track: main soloed as long as one Solo button is held. „ Click the Mute button again. As long as at least one Solo button is held down, all the solos will remain latched. Mute Frees Assigned Voice (Pro Tools HD Only) Solo Safe Mode Selecting Options > Mute Frees Assigned Voice a track. This prevents solo safe Pro Tools lets you es playback of that and muting a track disabl the track from being muted even if you solo track, and surrenders control of its voice to the other tracks. This feature is useful for tracks such next highest priority track with the same voice as Auxiliary Inputs that are being used as a sub- assignment. mix of audio tracks, or effects returns, allowing the audio or effects track to remain in a mix Muting a track with Mute Frees Assigned e soloed. It is also use- even when other tracks ar Voice enabled does not free up the voice for ful to solo safe MIDI trac ks so that their playback ch, or Destructive- QuickPunch, TrackPun is not affected when you solo audio tracks. Punch recording. AFL or PFL soloed tracks (Pro Tools HD With this option enabled, there may be a delay only) cannot be solo safed. (ranging in length from one to several seconds depending on the processing power of your sys- To solo safe a track: tem) between the time you mute or unmute a „ Control-click (Windows) or Command-click track and when you hear the effect on playback. (Mac) the Solo button on the track. This pre- ffer Sizes can also Larger DAE Playback Bu vents the track from being muted even if you increase the time between clicking the Mute lo button changes to a solo other tracks. The So button and the onset of muting. See “DAE transparent color in Solo Safe mode. Playback Buffer Size” on page 67. To return a solo safe track to normal: Control-click (Windows) or Command-click „ (Mac) the Solo button on the track again. 240 Pro Tools Reference Guide

263 To make one or more tracks inactive or active, do MIDI Mute one of the following: The Mute button on a MIDI track mutes MIDI Select the track and select „ Track > Make Inac- data, not audio. Muting MIDI results in no MIDI tive/Active . data being passed to the MIDI output. On In- – or – strument tracks, the track’s Mute button mutes the audio signal and the MIDI Mute button is „ Right-click the Track Name in the Track List, only available in Instruments view. or Mix or Edit windows and choose Make Inac- tive/Active . tracks, Command-click To select multiple (Mac) or Control-click (Windows) addi- tional Track Names. To select a range of tracks, Shift-click the Track Names bounding the range of tracks MIDI Mute button, Instruments view, Mix window you want selected. Making Tracks Inactive Color Coding for Tracks, Regions, Markers, and Groups Audio, Auxiliary Input, Master Fader, VCA Mas- ter (Pro Tools HD and Pro Tools with Complete Separate colors can be assigned to audio and Production Toolkit 2 only), and Instrument MIDI regions, tracks, markers, and groups. Re- ve. Inactive tracks use tracks can be made inacti gions shown in Waveform and Block Views in no DSP or voices. Plug-Ins , sends, voices, and au- the Edit window are dr awn in color. Tracks tomation on inactive tracks are all disabled. shown in the Track List, Group List, and Mix Tracks may also be automatically made inactive and Edit windows have as sociated color bars. if a session is opened on a system with less DSP power than the system that it was created on. Color Bars MIDI tracks cannot be made inactive. Color coding at the track level is displayed using color bars, as follows: To toggle a track active/inactive: Track colors are displayed in hori- Mix Window „ Command-Control-click (Mac) or Control- zontal color bars that appear above each chan- Start-click (Windows) the Track Type indicator nel strip, and below the track name. in the Mix window. Track colors are displayed in verti- Edit Window Playlists for inactive tracks are dimmed and cal color bars that appear to the left of each are grayed out. track controls track. Track colors are displayed in vertical Track List color bars that appear to the left of each track name. 241 Chapter 13: Tracks

264 Track colors are displayed in vertical Group List MIDI Note Color Shows Velocity color bars that appear to the left of each Group When this option is enabled, MIDI notes display Name. varying shades of the assigned track color in Default colors are automatically assigned to MIDI notes view in th e Edit window and in tracks, but you can override those colors by MIDI Editor windows. Notes with high veloci- choosing from a color palette of 96 possible col- ties are darker and notes with lower velocities ors. For more information, see “Color Palette” are lighter. on page 243. Default Track Color Coding Display Page Preferences for The Default Track Color Coding options determine Color Coding how colors are assigned to the display of tracks. Color Coding options determine how colors are None Turns off default color assignment for assigned to the display of tracks and regions. tracks. Tracks and MIDI Channels Assigns a color to To change Color Coding options: Edit window according each track in the Mix or . 1 Choose Setup > Preferences to its voice assignment or MIDI channel assign- tab. Click the 2 Display ment. Always Display Marker Col- Select or deselect the 3 Assigns a color to each Tracks and MIDI Devices option. ors track in the Mix or Edit window according to its voice assignment or MIDI device assignment. op- MIDI Note Color Shows Velocity Select the 4 tion. Groups Assigns a color to each track according to its Mix or Edit Group ID. If groups are suspended 5 Select or deselect the Apply Color Coding to using the command, the tracks Suspend Groups option. Track Channel Strip color bars are not shown. option. Select a 6 Default Track Color Coding Assigns a color to each track accord- Track Type option. 7 Select a Default Region Color Coding ing to its type (audio, Auxiliary Input, Master . OK 8 Click Fader, VCA Master, MIDI, Instrument, or video). Always Display Marker Colors This option lets you view Marker colors in the Markers ruler, regardless of the option you op- Default Region Color Coding choose for the tion. 242 Pro Tools Reference Guide

265 Default Region Color Coding Color Palette Default Region Color Coding options deter- The The Color Palette lets you make color selections mine how colors are assigned to the display of for tracks, regions, groups and markers. tracks, regions in the track playlist and Region Apply to Selected List, and Marker Locations. None Apply to Channel Strip Default Saturation None Turns off default color assignment for re- Brightness gions. Regions are drawn as black waveforms or light gray background. black MIDI notes on a Assigns a color to Tracks and MIDI Channels each region in the Edit window according to its voice or MIDI channel assignment. Hold Last assigned color Assigns a color to each Tracks and MIDI Devices Color Palette window region in the Edit window according to its voice The Color Palette supports independent region assignment or MIDI device assignment. color coding in the Region List and in tracks. Groups Assigns a color to each region according to the Group ID of its track. If groups are sus- To apply a color from the Color Palette: Suspend Groups command) pended (using the Window > Color Palette Choose 1 . all regions display black waveforms or MIDI notes on a light gray background. 2 Do one of the following: pop-up menu, se- •In the Apply to Selected Assigns a region color based on the Track Color lect the destination for color coding: color assigned to the track. (See “Color Palette” Regions in Tracks Group , , or Marker Tracks , , on page 243.) Regions in Region List . Marker Locations Assigns a unique color to each – or – marker area in the Marker ruler, including the • Select a track, marker, group, track region, area preceding the first marker. or Region List region in the appropriate Pro Tools window. The Apply to Selected Region List Color Assigns a color to each region menu will display the type of item you based on its color in the Region List. When this have selected. Default Region Color Coding option is enabled, the assigned region color is maintained even if the If selecting a marker does not display the region is placed in a track set to a different color Marker option in the Apply to Selected coding. pop-up menu, then the Always Display Marker Colors option in the Display Prefer- Enabling any Default Region Color Coding ences page is deselected. See “Always Dis- option other than Region List Color will play Marker Colors” on page 242 for more override Region List Color and reassign the information. parent track color to copies of the region placed in tracks. Copies of the region in the Region List will retain their unique color. 243 Chapter 13: Tracks

266 3 4 To turn off Hold and return the Color Palette to Select a color from the palette, or select one of button until it the following: its default mode, click the Hold turns off. Default Removes any custom coloring and re- fault color orientation. stores the color to the de Applying Track Color Coding to See “Display Page Preferences for Color Coding” Channel Strips on page 242 for more information. The Color Palette lets you apply the Track color Turns off color assignment. Affected re- None coding to channel strips in the Mix and Edit gions are drawn with black waveform or MIDI windows. ground. Affect ed tracks notes on light gray back show their color bars. and groups no longer To apply track color coding to channel strips: 1 Enable the Apply to Channel Strip button. Using the Hold Button If necessary, adjust the Saturation slider to get 2 The Color Palette provides a Hold button to sim- the color saturation you want. plify the process of assigning the same colors to track and regions). multiple items (such as 3 If necessary, adjust the Brightness slider. Hold button is off. When off, the By default, the Color Palette automatically highlights the as- signed color (if any) of items as you select them. button is enabled, the assigned When the Hold color selected in the Color Palette persists and does not change when a di fferent track or region is selected. To use the Hold button to assign the same color to multiple items: button to enable it. The Hold Click the Hold 1 button becomes white, and the currently se- lected color is now highlighted with a wider white outline. 2 Select additional tracks or regions to which Color Coding applied to channel strips, Mix window you want to assign the same color. Because the button is enabled, the Color Palette does Hold not follow item selection; it remains (or “holds”) at the last currently assigned color. Click the assigned color again to assign it to 3 the new selection of tracks or regions. Use the Apply to Selected pop-up menu to determine which selected elements are affected. 244 Pro Tools Reference Guide

267 Chapter 14: Grouping Tracks Pro Tools provides a relative grouping function Edit Groups and their controls. for linking tracks following items in the Edit Groups affect the Edit and MIDI Editor windows: •Track View Grouping Tracks • Track Height Groups are useful for editing several tracks in ex- • Track Timebase actly the same way, or for mixing several tracks editing functions •Audio and MIDI (such as a pair of stereo tracks or a submix) while • Automation editing functions keeping them at the same relative volume level. Mix Groups in Pro Tools HD and Pro Tools provides the following grouping Pro Tools with Complete Production features: Toolkit 2 • Up to 104 different groups are available, ar- ranged in 4 banks of 26 Group IDs. Mix Groups in Pro Tools HD and Complete Pro- • Groups can be nested (subgroups within duction Toolkit 2 can be set to affect the follow- groups). ing items: • Grouped faders or controllers preserve their •Main Mute levels relative to each other. •Solo • Groups are assignable to an available VCA •Send Level Master track (Pro Tools HD and Pro Tools • Send Mute with Complete Production Toolkit 2 only). •Main Volume •Main Pan Mix Groups, Edit Groups, and • Main LFE Level Mix/Edit Groups •Record Enable Mix Groups only affect mixing functions and • Input Monitoring (Pro Tools HD only) Edit Groups only affe ct editing. Mix/Edit • Automation Mode Groups link the grouping functions of the Mix •Send Pan Group and the Edit Group. • Send LFE Level • Plug-In Controls •Plug-In Bypass 245 Chapter 14: Grouping Tracks

268 • With Mix Groups in Pro Tools HD and In Pro Tools HD and Pro Tools with Com- Pro Tools with Complete Production Toolkit 2 plete Production Toolkit 2, when the Main only, by choosing whethe r the selected attri- Pan attribute is enable d for groups, grouped butes apply globally to all groups or to indi- behavior applies to th e Link, Front inverse, vidual groups. Rear inverse and Front/Rear inverse controls in stereo and multichannel panner windows. Linking Mix and Edit Groupings Mix Groups in Pro Tools Link Mix and Edit Group Enables The option links group enabling between the Mix and Edit win- Mix Groups in Pro Tools always affect the fol- dows. lowing: • Main volume Pro Tools allows you to cr eate groups that are Mix and Edit Groups, but in some cases you both • Automation mode may prefer not to link enabling of Mix and Edit Mix Groups in Pro Tools can also be set to affect Groups. For example, wh en you are using the the following: Mix window for mixing, you may prefer to work • Main Mute with large, nested groups . However, in the Edit window or a MIDI Ed itor window, you may •Solo want to perform editing tasks within a smaller •Send Level Link Mix and Edit Group En- group. Disabling the • Send Mute ables preference lets you work with different groups in the two windows. Grouping Limitations To unlink Mix and Edit Groups: Grouping does not affect these parameters: • Voice assignment 1 Mix- and click the Setup > Preferences Choose ing tab. • Output assignment • Inserting plug-ins Link Mix and Edit Group Enables 2 Deselect the • Elastic Audio plug-ins option. 3 Click OK . Selectable Group Attributes You can select which parameters, or attributes , are linked in groups by the following methods: • By making the group an Edit Group, a Mix Group, or both (Mix/Edit Group). • With Mix and Mix/Edit Groups, by selecting from a list of attributes for the group. 246 Pro Tools Reference Guide

269 Mix Groups and VCA Masters Group List menu (Pro Tools HD and Pro Tools with Complete Click to select a Production Toolkit 2 Only) group by typing its An existing Mix Group can be assigned to a VCA letter Click to Master, or a new Mix Group can be assigned to a select group Click to VCA Master while it is being created. Only one members activate a on-screen group group can be assigned to a VCA Master at a time. A VCA Master cannot cont rol a group that in- cludes itself. For information on assigning groups to Colors Group IDs Show/Hide VCA Masters, see “Assigning Groups to Group List VCA Masters” on page 927. Group List Show/Hide Track List/Group List View Group Controls Button Menus and commands for creating and modify- ing groups are accessible in the following: To show the Group List (and Track List): •Group List „ Click the Show/Hide Track List/Group List • Group name in the Group List View button in the Mix, Edit, or MIDI Editor window. • Group ID indicator on a track • menu Track > Group Group ID The Group List To the left of each name in the Group List is a letter denoting its Grou p ID (“a” through “z”). The Pro Tools track grouping functions are lo- cated at the left side of the Mix, Edit, and MIDI Editor windows in the Group List. This scrolling window contains the names of all the groups in a pop-up menu for ac- your session, as well as cessing grouping commands. From this menu, you can select and enable groups. By default, every session has a group named All , which includes every track in the session. The group cannot be edited or deleted. All 247 Chapter 14: Grouping Tracks

270 Modify Groups Opens Group dialog to modify Group Symbols existing groups only. To the left of each Group ID (“a” through “z”) is Deletes only currently ac- Delete Active Groups a symbol indicating whether that group is se- tive groups. lected in the current window (either the Mix or Edit window). There are three types of Group symbols, as shown in the following figure: Hollow Circle Filled In Circle Group List menu Circle with a Dot Group Name and Track Group ID Group Symbols Indicator Pop-Up Menus The Group symbols indicate the following: When you click and hold on a group name in Filled-in Circle Indicates that all members of the the Group List (or Right-click), or click a Group group are currently selected, and no members ID indicator in a track, a pop-up menu provides from outside the group are selected the following commands: Hollow Circle Indicates that only some members Tracks Displays track membership in group. of the group are currently selected Displays attributes of group. Attributes Indicates that all members of Circle with a Dot the group are currently se lected, plus additional Modify Opens Group dialog to modify existing outside members the group groups only. Opens Group dialog for duplicated Duplicate Group List Menu group. The pop-up menu at the top of the Group List Deletes a single group. Delete provides the following commands: Selects tracks in the Select Tracks in Group New Group Track > Group com- Executes the group. mand. Show/Hide Tracks in Group Shows or hides Provides commands to show Edit groups Display tracks in the current group. only, Mix groups only, or all groups (Edit, Mix, and Mix/Edit). Show Only Tracks in Group Shows only the tracks in the group and hides all other tracks. Suspends group behavior for Suspend All Groups all Mix and Edit groups. 248 Pro Tools Reference Guide

271 Show All Tracks Shows all tracks in the session. Group Dialog in Pro Tools HD and Pro Tools with Complete Production Toolkit 2 In Pro Tools HD and Pro Tools with Complete Production Toolkit 2, the Group dialog has three pages: Lets you add and remove tracks from the Tracks current group. Attributes Lets you select which parameters are Group Name pop-up menu linked for the current Mix or Mix/Edit Group. Globals Lets you select parameters to use as a template that can be applied to individual groups by selecting the Follow Globals option . Group ID indicator pop-up menu Group Dialog or modifying groups Whether you are creating with the Group List, a tracks’s Group ID indica- tor, or the menu command, you Track > Group use the Groups dialog. The Group dialog lets you create new groups and assign attributes to groups. Group dialog (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 249 Chapter 14: Grouping Tracks

272 2 Do one of the following: Group Dialog in Pro Tools . Track > Group • Choose In Pro Tools, the Group dialog has a single page. – or – from the Group List New Group • Choose menu. 3 Type a name for the group. 4 Mix , Edit Select the type of group to create: , or Mix/Edit . Selecting a Group Type pop-up menu. 5 Choose a Group ID from the ID , , , a–z Four banks of 26 are available: 2a–z 3a–z 4a–z . (If you do not choose a Group ID, Pro Tools automatically assigns the next avail- Group dialog (Pro Tools) able ID to a new group.) Working with Groups Creating Groups You can select the tracks you want to add to a group before creating it, or add and remove tracks from a group after it has been created. Creating Groups in Pro Tools HD and Choosing a Group ID Pro Tools with Complete Production Toolkit 2 To create a group in Pro Tools HD or Pro Tools with Complete Production Toolkit 2: Select the tracks you want to include in the 1 group. (If you do not select tracks at this time, you can add tracks later.) 250 Pro Tools Reference Guide

273 If the group is a Mix Group or a Mix/Edit Click Tracks in the Group dialog, and do any 6 7 of the following: Group, do the following: • To add the tracks that are currently selected • Set the Attributes for the Group (see “Set- ting Group Attributes” on page 254). Add in the session to the group, click the button at the bottom of the Group dialog. • If you want to assign the group to an avail- • To add tracks to the group, select the track able VCA, select the VCA Master track from pop-up menu. names in the Available track list, and click the VCA or press A on the computer keyboard. Add • To remove tracks from the group, select the ently In Group list, track names in the Curr or press R on the com- Remove and click puter keyboard. • Double-click track names in either list to move them to the opposite column. • To replace all tracks in the group with the tracks that are currently selected in the ses- button at the bot- Replace sion, click the Choosing a VCA track to control a group tom of the Group dialog. 8 Click OK . Creating Groups in Pro Tools To create a group in Pro Tools: 1 Select the tracks you want to include in the group. (If you do not select tracks at this time, you can add tracks later.) Do one of the following: 2 Track > Group . • Choose Selecting track names to add to a group – or – from the Group List • Choose New Group In either list, Shift-click to select a range of menu. track names. Control-click (Windows) or Command-click (Mac) to select discontigu- Type a name for the group. 3 ous track names. , or Mix 4 Select the type of group to create: Edit , . Mix/Edit 5 Choose a Group ID from the ID pop-up menu. a–z , , , 2a–z Four banks of 26 are available: 3a–z 4a–z . (If you do not choose a Group ID, Pro Tools automatically assigns the next avail- able ID to a new group.) 251 Chapter 14: Grouping Tracks

274 6 Do any of the following: Modifying Groups • To add the tracks that are currently selected To modify a group: Add in the session to the group, click the button at the bottom of the Group dialog. Do one of the following: 1 • To add tracks to the group, select the track Modify Groups • Choose from the Group List names in the Available track list, and click menu. or press A on the computer keyboard. Add • In the Mix window, click the Group ID in- • To remove tracks from the group, select the dicator on a track and choose Modify from track names in the Curr ently In Group list, the pop-up menu. or press R on the com- Remove and click • Right-click the Group name in the Group puter keyboard. Modify from the pop-up List and choose • Double-click track names in either list to menu. move them to the opposite column. 2 In the Groups dialog, choose the group you • To replace all tracks in the group with the pop-up menu. want to modify from the ID tracks that are currently selected in the ses- Replace button at the bot- sion, click the Change any of the following for the current 3 tom of the Group dialog. group: •Group name In either list, Shift-clic k to select a range of Mix , or •Group type ( ) , Edit Mix/Edit track names. Control-click (Windows) or • VCA status (Pro Tools HD and Pro Tools Command-click (Mac) to select discontigu- with Complete Production Toolkit 2 only) ous track names. • Follows Global status (Pro Tools HD and Linked Within Groups Select the items to be 7 Pro Tools with Complete Production Tool- ( , Send Mute , Solos , Mutes Send Levels ). kit 2 only) • Track membership • Attributes (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only) • Linked Within Group items (Pro Tools HD Linked Within Groups options (Pro Tools) and Pro Tools with Complete Production . OK Click 8 Toolkit 2 only) 4 Click OK . Pro Tools Reference Guide 252

275 To modify the settings for the “All” group in To modify the settings for the “All” group in Pro Tools HD and Pro Tools with Complete Pro Tools: Production Toolkit 2: Right-click the “All” group name in the Group 1 Right-click the “All” group name in the Group 1 List and choose Modify from the pop-up menu. Modify from the pop-up menu. List and choose Mix , Edit In the Group dialog, select 2 , or Mix , Edit In the Group dialog, select 2 , or to change the settings for the “All” Mix/Edit to change the settings for the “All” Mix/Edit only, the Mix only or group. If you select Edit Mix only or Edit group. If you select only, the “All” group will apply only to that Group type. “All” group will apply only to that Group type. Modify ALL Group dialog For Mix or Mix/Edit groups, you can change 3 op- Linked Within Groups any of the following tions: Mutes • Solos • Send Mutes • Send Levels • OK 4 Click . Deleting Groups One or all groups can be deleted at a time. Modify ALL Group dialog 3 For Mix or Mix/Edit Groups, you can change Deleting a group cannot be undone. any of the following: To delete a single group, do one of the following: • status Follows Global • Attributes „ In the Mix window, click the Group ID indica- Delete from the pop- tor on a track and choose OK . Click 4 up menu. – or – „ Right-click the Group nam e in the Group List and choose Delete from the pop-up menu. 253 Chapter 14: Grouping Tracks

276 To delete all currently active groups Setting Group Attributes Choose Delete Active Groups from the Group „ (Pro Tools HD and Pro Tools with Complete List menu. Production Toolkit 2 Only) The “All” group cannot be deleted. When creating a Mix Group or a Mix/Edit Group, you can select the Mix window parame- Duplicating Groups ters that will be linked for that group. These You can duplicate a group and modify its set- of the group. attributes linked parameters are the tings in order to quickly set up a mix. You can select attributes in the Globals page and then set individual groups to follow the Global To duplicate a group: settings, or you can select attributes for groups Do one of the following: 1 individually. • Click the Group ID indicator on a track and Duplicate from the pop-up menu. choose Selecting Attributes in the Global – or – Page • Right-click the Group name in the Group from the pop-up Duplicate List and choose To select attributes in the Global page: menu. 1 While creating or modifying a group, click Globals in the Group dialog. 2 Change any of the following for the current group: • Group name • Group type (Edit, Mix, or Mix/Edit) • VCA status (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only) status (Pro Tools HD and • Follows Global Pro Tools with Complete Production Tool- kit 2 only) • Track membership • Attributes (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only) • Linked Within Group items (Pro Tools only) OK 3 . Click Globals page of Group dialog 254 Pro Tools Reference Guide

277 2 2 to save the settings. OK Click Select the base set of attributes for groups in your session. 3 to save the group and the new OK Click Globals settings. For information on selecting attributes, see “Selecting Group Attributes” on page 256. To select attributes for an individual group: 1 While creating or modifying a Mix Group or a Mix/Edit Group, do one of the following: the Group dialog, and • Click Attributes in select the attributes you want to link. – or – to follow the base set Follow Globals •Enable ibutes page grays out of attributes. The Attr to indicate that the group is following the selections in the Globals page. For information on selecting attributes, see “Selecting Group Attributes” on page 256. Attributes page of Group dialog 255 Chapter 14: Grouping Tracks

278 To select or deselect attributes for a single con- „ Selecting Group Attributes trol across all Sends, all Inserts, or for the four The following attributes can be selected for own a column), Alt-click (Win- track controls (d Global settings and for individual groups. dows) or Option-click (Mac) any attribute in that column. Track controls: • Main Volume Saving Group Attribute Presets • Main Mute • Main Pan You can define six Group presets that can be re- called on either the Attributes or Globals page • Main LFE Level whenever you are creating or modifying a Mix • Record Enable or Mix/Edit Group. • Input Monitoring (Pro Tools HD only) •Solo To save the current attribute settings as a Group • Automation Mode preset: 1 Save . (Follow In the Groups dialog, click Send controls (Sends A–J): Globals must be unchecked to save a setting •Send Level from the Attributes page.) • Send Mute •Send Pan •Send LFE Level Insert controls (Inserts A–J): Saving a Group preset • Plug-In Controls 2 In the Save Group Settings dialog, select one •Insert Bypass pop- Location of the six preset locations from the Save . up menu, and click To select the attributes for a group, do any of the following: Select individual attrib utes by clicking their „ checkboxes. „ To select or deselect all attributes, Alt-Shift- click (Windows) or Option-Shift-click (Mac) any attribute. Selecting a Group Se ttings Location l attributes for a single „ To select or deselect al Send or Insert (across a row), Start-click (Win- To save the current attribute settings dows) or Control-click (Mac) any attribute in directly to a preset location, Control-click that row. (Windows) or Command-click (Mac) the preset button. 256 Pro Tools Reference Guide

279 To recall a Group preset: Keyboard Selection of Groups ) in Click the corresponding Preset button ( „ 1–6 The Group List Keyboard Focus lets you type a must be un- Follow Globals the Groups dialog. ( Group ID letter to automatically toggle that checked to recall a setting in the Attributes group’s enable status. page.) In the Mix window, the Group List Keyboard ‹ Focus is always enabled. ‹ In the Edit window, you need to enable the Group List Keyboard Focus to use it. Recalling a Group preset To enable the Edit Group List Keyboard Focus, do one of the following: Enabling Groups „ Click the Keyboard Focus button in upper right of the Edit Group List. Editing operations are not applied to members of a group that are hidden with the Track List. – or – Mix operations (with th e exception of record- „ Press Control+Alt+3 (Windows) or Com- enabling of tracks) are applied to hidden tracks. mand+Option+3 (Mac). Pro Tools lets you create separate groups for ed- iting and mixing. You set this option when you command. Groups that apply New Group use the to both editing and mixing can be decoupled. To enable a group: „ In the Group List, click the name of the group name is highlighted to you want to enable. The indicate that it is enabled. Group List Keyboard Focus enabled To enable additional groups, click their names To enable and disable groups using the Edit and in the Group List. Mix Group List Keyboard Focus: With Group List Keyboard Focus enabled, „ Moving a fader of a group member causes all type the Group ID letter (a–z) to automatically other group members to move relative to it. If a enable or disable the corresponding group. fader belongs to multiple groups, and the groups e moved, the fader will conflict when faders ar follow the top-most or “parent” group to which it belongs. To disable a group: In the Group List, click the name of the group „ you want to disable. The name is unhighlighted to indicate that it is not enabled. 257 Chapter 14: Grouping Tracks

280 Temporarily Isolating Control of an Grouped Control Offsets Item from Group Operation When the following controls are grouped with You can temporarily isolate control of a group offsets and moved to their extremes, relative off- item from group operation by Right-clicking on sets are preserved when the controls are moved the item. back from their extremes: You can also temporarily suspend group •Main Volume behavior for a track by Control-clicking • Main Pan (Pro Tools HD and Pro Tools with (Mac) or Start-clicking (Windows) a group Complete Production Toolkit 2 only) function. •Send Level •Send Pan isolated from group The following items can be operation: For example, when a grouped Volume fader is • Pan slider (Pro Tools HD and Pro Tools with moved to its maximum value, any other faders Complete Production Toolkit 2 only) higher values will re- in that group that had • Channel Record Enable (Pro Tools HD and member their relative offset whenever the first Pro Tools with Complete Production Tool- fader is pulled down again. kit 2 only) In Automation views, this “overflow” is indi- • Channel TrackInput (Pro Tools HD only) cated on the automation playlist by blue auto- • Send Pan slider mation breakpoints at the extremes of the auto- • Channel Volume fader mation playlist. • Channel Pan slider • Channel Mute button Setting Group Pan Controls to • Channel Solo button Ignore Offsets • Channel Record Enable button By default, offsets are preserved for grouped pan • Channel TrackInput button controls. In some workflows, it is desirable to • Send fader have grouped pan controls match absolute val- • Send Pan slider ues rather than preserve offsets. To set grouped pan controls to ignore offsets: 1 Setup > Preferences and click the Mix- Choose ing tab. Use Absolute Pan Linking option. 2 Select the When this option is enabled, grouped pan con- olute value of the pan trols will snap to the abs control that is being adjusted. 258 Pro Tools Reference Guide

281 Chapter 15: The Region List Because region information can become The Edit Window displays all audio regions, lengthy, the Region List can be scrolled or re- MIDI regions, and region groups in a single, sized as necessary. comprehensive Region List. All regions of all types that are recorded, im- Keyboard Focus Drag to resize width of Region List ported, or created by editing appear in the Re- Region List menu gion List. Items can be dragged from the list to tracks and arranged in any order. You can also preview audio and MIDI regions and region groups in the Region List. Click Show/Hide Region List button to hide Region List Region List Use the Region List as a bin for storing your favorite audio loops and MIDI clips. Save the session as a template and the regions are available for future sessions (see “Session Templates” on page 168). 259 Chapter 15: The Region List

282 Audio Shows or hides audio regions in the Re- Region List Menu gion List. The Region List menu provides tools to search, MIDI Shows or hides MIDI regions in the Region select, sort, export, clear, and manage items in List. the Region List. Shows or hides video regions in the Re- Video gion List. To access the Region List menu: „ In the Edit window, click the Region List Groups Shows or hides region groups in the Re- menu. gion List. Shows or hides automatically-cre- Auto-Created ated regions (of all types) in the Region List. These are regions that were created as a by-prod- uct of cutting, pasting, and separating other re- gions. Since these auto-created regions can be- come numerous, hiding them (by deselecting the option) helps you to avoid scrolling through an unnecessarily long Region List. Hiding Auto-Created regions can be useful when importing region groups (or REX files as region groups), because these file types can contain so many separate regions that it Region List menu ad the Region List. becomes difficult to re Displaying Regions in the Region In the Region List, whole-file audio regions are List displayed in bold, and stereo and multichannel audio regions can be expanded to display indi- The Region List can show all region types (au- vidual channels. dio, MIDI, video, Groups, Auto-Created), or only certain region types. This is useful for iso- If the Follows Edit Selection Region List Selection lating the type of regions you want to work with option is enabled in the Editing preferences, se- while editing and arranging. For example, when lecting a region or region group in the Region , you may want the Re- arranging region groups k where it is present in List selects it on any trac gion List to show only region groups. assigned playlists. Likewise , selecting a region or region group on a track selects it in the Region To show or hide certain types of regions in the List. Region List: Click the Region List menu (at the top of the „ Region List) and choose Show . From the sub- menu, select or deselect the region type you want to show or hide. 260 Pro Tools Reference Guide

283 Displaying File Info for Audio Regions In addition to region names, the Region List can also display information about the region’s color coding, type (audio, MIDI, and region group), timebase, Elastic Audio processing, and parent file: Color Displays Track Color Coding as assigned Regions with file information shown in the Region List with Default Region Color Coding option in Pro Tools displays only the region name in the Display Preferences page, or as assigned in the Region List by default. Color Palette. When editing, the Region List can become Icon Displays the icon for audio and MIDI re- cluttered with auto-created regions. You can gions, and region groups. hide auto-created regions by choosing Show Displays the timebase (samples or Timebase in the Region List menu, and deselecting ticks) for audio and MIDI regions, and region Auto-Created. groups. Displays the Warp Indicator icon Warp Indicator Sorting and Searching in the if Elastic Audio processing has been applied to Region List the region. Most sessions will contain many regions, which Displays the parent file name. File Name can make it challenging to swiftly locate a par- Displays the name of the hard drive Disk Name ticular region in the Region List. Pro Tools lets on which referenced file resides. you sort and search regions in the Region List to quickly locate any region you want. Displays the full directory path of the Full Path region’s parent file. Sorting Regions Displays the channel name for Channel Name audio files imported from field recorders. the Region List: To sor t regions in Click the Region List menu (at the top of the 1 Displays the scene and take for Scene and Take Sort By Region List) and choose . audio files imported from field recorders. 2 From the submenu, select a basis for sorting. Different options are available for audio and MIDI regions. See “Sort By Options” on page 262. 3 To set whether regions are listed in ascending or descending order, click the Region List menu, or Descend- choose Sort By , and select Ascending . ing 261 Chapter 15: The Region List

284 Sort By Options Finding Regions The Sort By options let you sort regions to help Use the Find command to display all regions in a list whose names contai n a particular word or keep track of large numbers of regions. phrase. Audio regions can be sorted by: •Region Type To find and display regions in the Region List: •Name Do one of the following: 1 •Length • Click the Region List menu and choose • Original Time Stamp . Find •User Time Stamp – or – •Timebase • Press Command+Shift+F (Mac) or Con- • Start in Parent trol+Shift+F (Windows). • End in Parent • File Name • File Length • File Creation Date • File Modification Date • Disk Name (audio and region groups only •Track Format/Width Find Regions dialog • By Channel Name •By Scene and Take MIDI regions can be sorted by: • Name, Length • Original Time Stamp •User Time Stamp •Timebase • Start in Parent • End in Parent Region Type (Audio Regions can also be sorted by order. Descending or Ascending and MIDI), or in 262 Pro Tools Reference Guide

285 To repeat a previous search: 2 In the Find Regions dialog, do any of the fol- lowing: Find 1 Click the Region List menu, and choose . and type the name, or any By Name • Select 2 Click the small arrow to the right of the text portion of the name, for regions you want field in the Find dialog and select a text string to find. The search string appears at the top pop-up menu. Find History from the of the Region List. Include Subsequently Added Regions • Select to limit the display to newly added regions. A plus (+) sign appears at the top of the Re- gion List to indicate this option is selected. • Select both options to start with a list of named regions and allow display of added regions. An example of a Find history The Find History is saved with the session. In addition to storing each text string previously entered, you can insert multiple entries into the Find History manually (without having to per- Found Regions in the Region List form each Find in order to store words or phrases). Regions of any type whose name match the word or phrase you searched are displayed in the Region List. The search string is displayed at the top of the Region List in brackets. Text entered into the Find dialog is saved in a Find History, letting you quickly re- peat previous searches with a minimum of retyping. Click OK . 3 263 Chapter 15: The Region List

286 To compile a Find History without performing each Selecting Regions in the search: Region List Click the Region List menu, and choose . 1 Find In the Region List, you can select regions so they 2 Type the name, or any portion of the name, can be dragged to tracks, processed with Audio- for the regions you want to find. Suite plug-ins, or exported. 3 Click and hold the double arrow to the right of the text field in the Find dialog and choose To select or deselect a region in the Region List, Insert Entry from the pop-up menu. do the following: „ Click a region name that is unhighlighted to select it. – or – „ is highlighted to de- Click a region name that select it. To select a range of regions in the Region List, do one of the following: Move the cursor to the left of the region „ names, so the Marquee appears, and drag Region List while searching around the regions you want to select. 4 Type another entry and choose Insert Entry again to add additional search strings to the history. To remove an entry from the history: Find History 1 Select it from the pop-up menu so it is displayed in the text field. Regions selected with Marquee 2 Choose Remove Entry from the Find History – or – pop-up menu. „ Click the name of a region in the Region List, To clear the Find History: and Shift-click an additional region name. from the Find History „ Choose Remove All Entries All regions that occur between the first region pop-up menu. selected and the additional region will also be selected. 264 Pro Tools Reference Guide

287 To enable and use the Region List Keyboard Focus: To select or deselect a range of regions with the Marquee: 1 Click the Keyboard Focus button in the upper 1 Move the cursor to the left of the region name right of the Region List. until the Marquee icon with a small “+” symbol appears: • To select regions, the Marquee should be to the left of an unhighlighted region name. • To deselect regions, the Marquee should be to the left of a highlighted region name. 2 Click on the region name and drag up or Region List Keyboard Focus enabled down (to select or deselect regions immediately 2 Type the first or first few letters of the region above or below the region name). to automatically locate and select it. Once a re- ncontiguous regions in To select multiple no gion is located and selected, it can be dragged to the Region List, press and hold Command a track. (Mac) or Control (Windows) when making Keyboard selection of audio regions locates re- subsequent selections. gions based on their region name, not on the names for their parent audio files or the volumes To select or deselect noncontiguous regions, do one of the following: on which they reside. Command-click (Mac) or Control-click „ (Windows) region names that are unhighlighted Select Options to select them. In the Region List, you can select specific regions – or – so they can be dragged to tracks, processed with AudioSuite plug-ins, or exported. Command-click (Mac) or Control-click „ (Windows) region names that are highlighted to To select specific regi ons in the Region List: deselect them. „ From the Region List menu, choose Select , and then choose one of the Select options: Keyboard Selection of Regions Selects all regions in the Region List. All If Region List Keyboard Focus is enabled, you can type the first few letters of a region’s name Unused Selects regions that have not been and Pro Tools will automatically locate and se- placed in a track in the current session. Offline lect the region in the Region List. regions appear in the Region List italicized and dimmed. 265 Chapter 15: The Region List

288 Sample-based regions play back at their native Unused Except Whole Files Selects regions that tempo. Tick-based MIDI and Elastic Audio pro- a track in the current have not been placed in cessed regions play back at the session tempo session, but do not include Whole-file regions. (based on the location of the playback cursor). Whole-file regions are regions that were created You can also preview regions from the Region ing audio, consolidat- when recording or import List during session playback. ing existing regions, and when nondestructively processing with an AudioSuite plug-in. Whole- MIDI regions play back using the Default Thru file audio regions refere nce an entire audio file Instrument selected in the MIDI Preferences that resides on your hard drive. Whole-file audio page (see “The Default Thru Instrument” on regions are displayed in bold in the Region List page 471). Offline Selects regions whose parent files cannot be located, or are not available, when opening a Auditioning Discrete Signals in session or importing a track. Offline regions ap- Multichannel Items pear in the Region List as italicized and dimmed; they appear in playlists as light blue regions In the Region List, multichannel regions are au- with italicized names. ditioned through the Audition Path specified in the I/O Setup. Signals can be auditioned “in- place,” or through all outputs, as described be- low. Previewing Regions in the Region List Audition In-Place You can preview audio and MIDI regions and re- When auditioning a mono component of a gion groups in the Region List. Previewing fol- mono component region, the mono region can lows the master Audition path as selected in the be played from the corresponding channel of its Output page of the I/O Setup. The base level for parent mono component region. This playback previewing is determined by the Master Fader . audition in-place method is called (or Auxiliary Input) level assigned to the Audi- tion path. To audition in-place: 1 In the Region List, make sure the stereo or The Preview Volume control in the Import multichannel region is in expanded view (show- Audio dialog also affects the preview ing .L, .R, and other component channels). volume when auditioning regions in the Region List. 2 Alt-click (Windows) or Option-click (Mac) the region for the channel you want to audition. To preview a region in the Region List: „ Option-click (Mac) or Alt-click (Windows) the Audition to All Outputs region name. When auditioning a mono component of a Audio regions and region groups play back mono component region, the region can be through the specified Audition Path (see “Audi- routed equally to all outputs of the parent re- tion Paths” on page 91). gion’s Audition Path. 266 Pro Tools Reference Guide

289 To audition through all channels of the main Rules for Stereo and Multichannel audition path: Regions „ Shift-Option-click (Mac) or Shift-Alt-click For stereo and multichannel audio regions to be (Windows) on the signal in the Region List. shown as collective regions, the component re- gions must be the same length. If an existing ste- reo or multichannel region has been dragged ks and edited such a onto multiple mono trac Stereo and Multichannel mponents are no longer way that one or more co Regions in the Region List the same length, the stereo display is removed Stereo and multichannel regions, whether im- and the regions are displayed as individual re- ported or recorded into Pro Tools, are displayed gions in the Region List. as single items in the Region List. For example, two mono source regions named “Main Pi- ano.L” and “Main Piano.R” are listed as “Main Naming and Displaying Piano (Stereo).” An expand/collapse triangle in- Regions in the Region List dicates stereo and multichannel regions. A typical session can become cluttered with doz- Stereo and multichannel regions are displayed ens of tracks and hundreds of regions. There are in the Region List by default in collapsed view. a number of things you can do to keep track of The individual regions can be displayed by click- and manage a session’s regions, including: ing the arrow to the left of the region to expand the name. • Renaming existing regions • Specifying how auto-created regions are named • Hiding auto-created regions • Removing unused regions Renaming Regions In the course of a session you can rename re- gions to give them more descriptive names, or Stereo regions, expanded (top) and collapsed (bottom) to shorten or simplify existing names. When re- To expand or collapse all stereo and multichannel s auto-creat ed during naming a region that wa regions: editing, the region becomes a user-defined re- gion and is displayed in the Region List even „ Press Option (Mac) or Alt (Windows) while when auto-created regions are hidden. clicking the expand/collapse triangle. If a region resides in a track, you can easily re- Individual items of an expanded-view stereo or name it by double-clicking it with one of the multichannel region can be selected indepen- Grabber tools. However, if the region does not dently of the other associated regions in the Re- reside in a track, or if you want to rename sev- gion List. eral regions, use the Rename command in the Region List. 267 Chapter 15: The Region List

290 You can also rename a region in a track using Auto-Naming Options the command in the Region List menu Rename You can specify the auto-naming options for a or the Right-click menu. region when new regions are created from it in the course of editing. To rename one or more regions from the Region List: Auto-naming of regions does not affect the If you will be renaming an auto-created re- 1 s. Instead, it stores names of parent audio file from the Region gion, select Show > Auto-Created pointers to the regions within the parent source List menu. file. 2 Select one or more regions to be renamed in To set auto-naming options for a region: the Region List. 1 Select a region in the Region List. If the Region List Sele ction Follows Edit Se- Choose 2 from the Region List Auto Rename e Editing Preferences lection option in th menu. page is enabled, you can highlight a region selecting it in a track. in the Region List by In the Rename Regions dialog, enter the text 3 to be used when naming regions created from 3 Do one of the following: the selected region. • From the Region List menu, choose Re- . name – or – • Right-click on any selected region and se- lect from the pop-up menu. Rename 4 In the Name dialog, type a new name for the region. If a whole-file au dio region was selected, Rename Selected Regions dialog specify whether to rename just the region, or the disk file. and both the region Name Determines the root name for the auto- created regions. Number Sets the start number for the sequen- tially numbered new regions. Determines the number of zeros that oc- Zeros cur before the auto numbers. Suffix Specifies text to be appended to the end of Name dialog the name, following the auto numbering. 5 OK Click to rename the region. If renaming OK 4 Click . multiple regions, you are prompted, succes- sively, to rename each region. 268 Pro Tools Reference Guide

291 When auto-created regions are hidden, Managing Regions in the Pro Tools warns you if the number of auto-cre- ated regions exceeds a certain threshold, and Region List gives you the option of deleting them. If you In the course of editing a session, the Region List choose to delete them, all auto-created regions can quickly fill up with many regions—with are deleted at the same time. ones you have created intentionally and also with those that are automatically created by cut- To ensure that you keep any specific auto-cre- ting, pasting, and separating other regions, or ated regions, rename them. When you name a importing Region Group files (or REX files as re- region, it is promoted from being an auto-cre- gion groups). Pro Tools lets you hide or remove ated region to a user-defined region (see “Re- regions in your session so you do not have to naming Regions” on page 267). scroll through a long Region List. Removing Unwanted Regions Hiding Auto-Created Regions In the Region List, you can select unwanted re- hat were automatically You can hide regions t gions and then use the Clear command to re- created during the course of editing. move them from the session. Whole-file regions can also be permanently removed from the hard To hide auto-created regions: drive on which they are stored. From the Region List menu, deselect „ Show > The Clear command cannot be undone. Auto-Created . With this option deselected, only user-defined regions appear in the Region List. To find and remove unused regions in a session: Do any of the following: 1 User-defined regions include: • For MIDI regions, from the Region List • Whole-file regions menu, choose . Select > Unused • Regions created during recording – or – • Imported regions • For audio regions, from the Region List • Renamed regions Select menu, choose , , then choose Unused • Regions created as a result of AudioSuite Offline Unused Except Whole Files (as ap- , or processing propriate). Region > • New regions created with the command or the Edit > Separate Capture 2 After all unused regions are selected, choose commands Region from the Region List menu. Clear • Regions created by trimming whole-file audio regions 269 Chapter 15: The Region List

292 In the Clear Audio dialog, do one of the fol- 3 Region Name Right-Click lowing: Commands • Click Remove to remove the unused regions from the session. When you Right-click a region name in the Re- – or – gion List, a pop-up menu provides access to the following commands: • If clearing a whole-file audio region and you want to permanently remove the au- Removes selected regions from the ses- Clear Delete . hard drive, click dio file from your sion. Renames selected regions. Rename Time Stamp Redefines the time stamp of se- lected regions. Replace Region Replaces multiple instances of a region with another region. Clear Selected dialog (audio regions) Compacts selected regions. Compact When deleting audio files for multiple regions, Exports definitions for Export Region Definitions Pro Tools presents a warning dialog for each au- selected regions. dio file. Export Regions as Files Exports selected regions To bypass repeated warning dialogs: as files. „ Option-click (Mac) or Alt-click (Windows) the Redraws wave- Recalculate Waveform Overviews button in the Clea r dialog. This perma- Delete forms for selected regions. nently deletes each successive audio file from your hard drive (for each of the unused regions) Highlights the par- Select Parent in Workspace without any further warning. ent file of selected region in the DigiBase Work- space Browser. Use this “power delete mode” with caution: Deletion of these file s cannot be undone. Selects region as an Object Select in Edit Window object in the Edit window. 270 Pro Tools Reference Guide

293 Chapter 16: DigiBase DigiBase combines an intuitive, browser-style DigiBase Data Flow interface with an integrated databasing engine, optimized for Pro Tools data and media man- The following figure shows the data flow of a agement. Pro Tools session and DigiBase browsers. Arrows show how files can be moved between the ele- DigiBase browsers provide extensive databasing ments. ing, auditioning, and tools for searching, sort importing of audio, MIDI, video, plug-in set- For information on dragging and dropping tings (.txf), and session files. Multiple browsers files from DigiBase browsers to your can be displayed and arranged, with custom dis- Pro Tools session, see “Importing Files with play settings provided to optimize your work en- Drag and Drop” on page 326. vironment. Workspace browser Volume browsers Catalogs Pro Tools Project browser session Relink window Task window session and DigiBase browsers Data flow between a Pro Tools 271 Chapter 16: DigiBase

294 • Unmount volumes. DigiBase Browsers • View, manage, audition, and import indi- DigiBase databases are accessed through Di- vidual items in any catalog or mounted browsers giBase . Browsers provide an intuitive volume. user interface to DigiBase databases with many • Update databases for entire volumes. convenient features for various file manage- ment tasks (such as sear ch and sort functions). For detailed information about the Work- space browser, see “Wor kspace Browser” on e analogous to windows Browsers in Pro Tools ar page 308. erating system, but are in your computer’s op specifically designed for Pro Tools workflow. Volume Browsers Multiple browsers can be displayed simultane- ously, and arranged independently with custom Volume browsers provide file management for display settings for each. local and network volumes . Volumes are format- ted partitions on a phys ical drive (hard drive). Browsers let you search and sort audio files, Open a Volume browser by double-clicking a video files, and sessions. Audio, video, and ses- volume in the Workspace browser. Any changes sion files displayed in browsers can be dragged made in Volume browsers (such as copying, de- directly into the current Pro Tools session. leting, or moving files and folders) is mirrored on the volumes themselves. Volumes include When offline items are needed, Pro Tools lets mounted hard drives, network storage, and re- you find the correct matching files, then relink movable media (such as CD-ROMs). to online media. Using Volume browsers you can: There are three types of Pro Tools browsers • View, manage, audition, and import indi- available on all supported systems: vidual items on the volume. • The Workspace browser • Update a database for contents of the vol- • Volume browsers ume. • The Project browser • Catalogs Project Browser ides powerful search The Project browser prov Workspace Browser and management tools for the files referenced in ovides access to all The Workspace browser pr your current session, regardless of where they your mounted volumes, as well as the folders are stored. Using the Project browser, you can: and files they contain. • Show all the media files associated with the current session, including any missing Using the Workspace browser, you can: files. • Access all mounted volumes. • View, manage, audition, and spot individ- • Access all Catalogs. ual items. • Search across multiple volumes and Cata- logs simultaneously. For detailed information about the Project • Designate volumes for Record and Play- browser, see “Project Browser” on page 311. back, Playback Only, or Transfer. 272 Pro Tools Reference Guide

295 Catalogs Performance and Transfer Catalogs provide the highest level of Pro Tools Volumes file management. Catalogs make it easy to orga- nize files from multiple sources into libraries of DigiBase lets you view, manage, and import ses- gs can be sorted and favorite files. Catalo both Performance and sions and media from files they reference are searched, even when the Transfer volumes. offline. Catalogs can also be shared. Performance Volumes Are storage volumes (hard Using Catalogs, you can: drives) that are suitable for playback and have been designated in the Workspace browser as • Collect and organize files from any combi- Record and Playback (R) or Playback Only (P) of nation of volumes. media files in a Pro Tools session. • Create catalogs of complete volumes to view and search even if a volume is offline. Are volumes that are not sup- Transfer Volumes • View, manage, audition, and import indi- ported for media playback in Pro Tools (such as vidual items in the catalog. shared network volumes or CD-ROMs), or stor- • Update a database for contents of catalog. age volumes (hard drives) that have been desig- nated in the Workspace browser as Transfer (T) For detailed information about Catalogs, volumes. Transfer volumes be used to re- cannot see “Catalogs” on page 313. cord or play back media in a Pro Tools session. Designated Transfer (T) volumes can be useful Task Window for transferring session and media files between different Pro Tools systems. The Task window is a utility for viewing and managing all of the background tasks that you For more information on volume designa- initiate with Pro Tools. Use the Task window to tions, see “Audio an d Video Volume Desig- background tasks such monitor, pause, or cancel nators” on page 309. as file copies, searches, indexing, and fade cre- ation. ion about the Task For detailed informat window, see “Task Window” on page 317. Relink Window The Relink window provid es tools and features for relinking sessions and catalogs to media files. Use Relink tools to search and reacquire missing files for use in the current session. For detailed information about the Relink window, see “Relink Window” on page 303. 273 Chapter 16: DigiBase

296 Sharing Database Files Digidesign Databases Database files can be shared among users. This is The information displayed in browsers is stored particularly useful for Transfer volumes, elimi- in individual databases. Pro Tools creates these nating duplicate processing (indexing) time. databases automatically for all mounted vol- mes (such as network For example, shared volu umes, including Transfer volumes, on your sys- storage volumes) tend to be large, and indexing tem drive. can be a time consuming task. To avoid dupli- Digidesign databases use three file types: cate effort, one user can manually index part or all of the shared volume just once, then email volume.ddb Stores media and session file meta- the database files to other users. Database files data for a particular volume. can be added by placing them within each user’s Volumes folder. Periodic manual indexing then catalog.ddb Stores media and session file meta- keeps all databases current. data for a user defined Catalog. Cataloged media and session files are can reside on multiple vol- Sharing Catalogs umes, including Transfer volumes. Catalogs can be created for a particular project Stores waveform overviews for Wavecache.wfm and then shared among multiple systems to all audio files referenced by each session. help facilitate more efficient workflow. Catalogs are stored as database files on your system drive. Volume Databases On Windows, Catalog database files are stored For each volume (whether they be local hard in the Program Files\Digidesign\Pro Tools\ drives, removable media, or shared network Databases\Catalogs folder. storage), a database file is created in a folder named Digidesign Databases, on the system On Mac, Catalog database files are stored in the drive. Library/Application Support/ Digidesign/ Databases/Catalogs folder. ored in the Library/ On Mac, they are st Application Support/Digidesign/Databases/ Volumes folder. On Windows, these databases are stored in the Program Files\Digidesign\Pro Tools\ Databases\Volumes folder. If you delete the Di gidesign Database folder, all existing database information is lost. To recreate a deleted Digidesign Data- base folder, re-index your storage volumes (see “Indexing DigiBase Databases” on page 278). 274 Pro Tools Reference Guide

297 Browser Windows and Tools r database, including Pro Tools and non-Pro Tools files. Unknown file Browsers display all files in thei types can be shown, as well as aliases, and desktop folders. Browser Back arrow Title bar Browser menu Preview controls Columns Search icon View Presets Toolbar Column headers Items List Scrolling pane Fixed pane Show/Hide Pane split Basic browser tools, panes, an d columns (Volume browser shown) The main elements of a DigiBase browser in- To maximize processing speed and protect vital clude the following. components, DigiBase does not display all fold- ers. For example, in Windows, DigiBase brows- Title Bar Shows the browser type (Work-space, ers do not display the Program Files, Windows, Volume, Project or Catalog), and the name of its Digidesign Databases, WU Temp, or System Vol- ssion or catalog. associated volume, se ume Information fo lders; and on Mac, DigiBase browsers do not display the System, Applica- Provides the Browser menu, Search icon, Toolbar tions, Library, or Digidesign Databases folders. View Presets (numbere d 1–5), browser naviga- This excludes them from being indexed, tion tools, and preview tools. cted in any way by Di- searched, sorted, or affe Displays the contents of a volume, Items List giBase tasks. You should not store Pro Tools ses- folder, session, or Ca talog database in rows. sion or media files in any of these folders. 275 Chapter 16: DigiBase

298 Columns Identifies the type of metadata dis- To open a Catalog browser: played in the items list (such as file name and 1 Open the Workspace browser ( Window > Work- format) for volumes, folders, and files in the space ). Items List. 2 Click the Expand/Collapse icon next to the • Columns can be resized by dragging the Catalogs icon to show all Catalogs, if they are ranged by dragging column border, or rear not already visible. the Column headers. • Columns can be dragged to either of two Double-click a Catalog. 3 available panes, the Fixed or Scrolling panes. To open another Volume or Catalog in a new browser window and leave the current Volume or Each row of data in a browser represents an Item Catalog browser open: (such as a file or folder). Data about each item is Command-double-click (Mac) or Control- „ displayed in columns. Columns can be arranged double-click (Windows) the Volume or Catalog. and placed in either the Fixed pane or the Scroll- ing pane. Viewing the Contents of a Volume, Folder, or Catalog Opening Browsers To expand or collapse the currently selected There are several ways to open, close, and navi- folder, do one of the following: gate within browsers. „ Click the Expand/Collapse icon next to the To open the Workspace browser: folder. „ Choose Window > Workspace . – or – „ Select a volume, folder, or Catalog, and press To open a Volume browser: the Right Arrow key to expand, or the left Arrow 1 Open the Workspace browser ( Window > Work- key to collapse. ). space To move up one browser level: Double-click a volume or folder in the Items 2 List. A new Volume browser opens. Click the Back arrow in the Browser toolbar. „ To move up one browser level, press Com- To open the Project browser: mand+Up Arrow key (Mac) or Control+Up 1 Open a Pro Tools session. Arrow key (Windows). Window > Project . 2 Choose 276 Pro Tools Reference Guide

299 Moving Browsers to the Working wIth Items in Foreground or Background Browsers To bring all open browsers to the foreground: Opening Sessions Choose . Window > Browsers > Bring to Front „ To bring all browsers to the foreground, To open a Pro Tools session listed in a browser: press Option+J (Mac) or Alt+J (Windows). With no Pro Tools session currently open, „ double-click a Pro Tools session file in any Di- To send all browsers to the background: giBase browser. . Choose Window > Browsers > Send to Back „ To send all browsers to the background, Opening AAF and OMF Sequences press Option+Shift+J (Mac) or Alt+Shift+J AAF and OMF sequences can be opened from (Windows). DigiBase browsers. All open browsers are moved to the background, You can also drag and drop AAF and OMF se- ows to the foreground. bringing the other wind to the current session. quences from browsers in Browsers remain open and accessible. To open an AAF or OMF sequence from a DigiBase To bring an open browser to the foreground: browser: Window > Browsers Choose „ , and select an open 1 Do one of the following: browser from the submenu. • With no Pro Tools session currently open, double-click the AAF or OMF sequence in a To cycle to the next or previous browser: browser. Press Control+Left/Right Arrow keys (Win- „ – or – dows) or Command+Left/Right Arrow keys • Drag the AAF or OMF sequence from a (Mac). browser to the Timeline in an open session. 2 Configure the Import Session Data dialog. Closing Browsers 3 Click OK . To close all browsers: Option-click (Mac) or Alt-click (Windows) the „ Close box of any browser. Because the Task window is a utility and not a browser, it remains open. 277 Chapter 16: DigiBase

300 Scrolling and Moving Selections Creating and Opening Browser Folders To scroll the active pane up or down: Browsers let you create and manipulate folders Press the Page Up or Page Down key. „ (file system sub-directories). All folders have Ex- pand/Collapse icons to show their contents. To scroll to the top or bottom of the active pane: Dragging items onto a folder icon is the same as dragging into an open browser. „ Press Home (for the top) or End (for the bot- tom). To create a new folder in a Volume browser or Catalog: To move items up or down in the current browser: Choose New Folder from the Browser menu. 1 Select items in a browser, and make sure that 1 window is in the foreground. OK . Type a name for the folder, and click 2 Cancel to cancel the new folder.) (Click 2 Press the Up or Down Arrow key. In Volume browsers, the folder is created on disk. In Catalogs, the folder is created in the Cat- Text Entry in Browsers alog only. The Items List updates as new items Many text fields can be edited to replace or up- are added. date data for an item. To open a folder in the current browser: To enter an edit to a text field and exit, and return Double-click the folder, or click the Ex- „ to the previous display state: pand/Collapse icon for the item. „ Press Enter. With the browser in the foreground and the To revert to the previous text and cancel a text folder selected, press Command+Down Ar- edit: row key (Mac) or Control+Down Arrow key (Windows) to open a folder in the current „ Press Esc. browser. For details on column editing, see “Column To create and open a folder in its own new Data” on page 284. browser: „ Command-double-click (Mac) or Control- double-click (Windows) the folder. The previous Indexing DigiBase Databases (parent) Browser window remains open. Indexing is the process of reading media files, ta for each file, then extracting just the metada With the browser in the foreground and the storing that data in an associated database so ss Control+Alt+Down folder selected, pre that it may be displayed in the columns of a Arrow key (Windows) or Command+Op- browser. Once a volume or folder has been fully tion+Down Arrow key (Mac) to open a indexed, it can be search ed very quickly because folder in its own new browser. all of the metadata has already been sorted and organized. 278 Pro Tools Reference Guide

301 not been indexed, it is If a volume or folder has Manual Indexing indexed automatically the first time it is opened Manual indexing fills in all missing data, and in a DigiBase browser. Volumes or folders con- updates changed data for selected folders and all taining a lot of media files can take a long time of their sub-folders. to index. For this reason, you may want to man- ually index specific volumes or files prior to To update the index for a folder and all sub-folders: starting a project to help expedite workflow. 1 Select the item in a browser Items List. Indexing while Browsing 2 Choose from the Update Database for Selected Browser menu. The first time you open a Volume browser for a volume or folder that has never been indexed, To update the index for an entire volume: Pro Tools automatically begins to fill the data- base for that level of the volume. Files and fold- Select the volume to update in the Workspace 1 ers appear in the browser Items List, along with browser. metadata in the columns for each item. Index- from the Choose 2 Update Database for Selected ing continues until you either close the browser, Browser menu. or until that folder is completely indexed. Last Indexed Date Display The next time you open that browser, metadata for items that have alread y been indexed is visi- The Last Indexed column shows the date that ble immediately. If the browser or folder was and all of its sub-folders the index for that folder closed before indexing was complete, or if the was updated. Keep in mind that individual sub- contents of the folder have changed since the folders may have been updated more recently. last time it was browsed, Pro Tools automati- cally updates the database the next time it is Automatic Updating for Pro Tools Actions opened. This way, the database is always up to Whenever Pro Tools adds, deletes, or modifies a date for the folder you are browsing. (View the file on a volume or in a session, the appropriate Task Manager to see current activity.) database is immediately updated to reflect the Indexing while Browsing saves time because it change. only fills the database for items on the level of Changes that are made with Windows Ex- the volume that you are currently browsing. For plorer or the Mac Finder (such as copying or example, if you are browsing the root level of moving files) are not tracked by Pro Tools ly the folders and files the volume, it indexes on and are only indexed if the necessary folder on the root level. If you open a folder, Pro Tools is browsed or if a manual index is per- that folder. As a result, indexes just the items in formed. a database is only indexed for the parts of the volume that you have browsed. However, searches are faster and more complete when a volume is already completely indexed. 279 Chapter 16: DigiBase

302 Calculates Elastic Au- Calculate Elastic Analysis The Browser Menu dio analysis data for all selected audio files. An- alyzed files are indicated by a check mark to the ide a Browser menu in All Browser windows prov left of the file name. Analyzed files where a the upper right corner of their toolbar. The tempo has been detected are also updated as Browser menu provides commands specific to tick-based, display their duration in Bars|Beats, each type of browser, as described below. and display their native tempo in the Tempo column. Clear Elastic Analysis Clears Elastic Audio analy- sis data for all selected audio files. Files cleared of Elastic Audio analysis data revert to sample timebase, display their duration in minutes and seconds, and do not report a tempo. For more information, see “Elastic Audio Browser menu icon Analysis” on page 294. Not all browser commands are available in all Select Offline Files Selects all files that are cur- browsers, as noted. rently offline. New Folder Creates a new folder on the current Select Transfer Files Selects all files identified as volume, or within the current Catalog. In Vol- Transfer files (files found on media that do not ume browsers, a new folder is created on disk. support playback). Available in Catalog and Volume browsers only. For more information, see “Creating and Open- Selects all files that are on- Select Online Files ing Browser Folders” on page 278. line. Creates a new, empty Catalog. New Catalog Reverses (inverts) the current se- Invert Selection Available in the Workspace browser only. lection. Creates a fully in- Create Catalog from Selection Reveal in Finder/Explorer Opens the corre- dexed catalog of the selected items. sponding parent window in the Finder (Mac) or Explorer (Windows) for the currently selected Calculate Waveform Calculates the waveform file. displays for selected audi o files, or all files con- tained in selected folders. Opens the parent browser for Reveal in Browser the selected item. The selected item is high- For more information, see “Waveforms” on lighted in its parent browser. page 293. Opens the Relink window. Avail- Relink Offline Update Database for Selected Updates the data- able in the Project browsers only. base for the currently selected volumes or fold- ers. Available in Workspace and Volume brows- ers only. 280 Pro Tools Reference Guide

303 Loop Preview Previews the selected file by loop- Opens the Relink window, with Relink Selected ing playback of the file. If multiple files are se- all files from the current browser dis- selected lected, only the first selected file previews. played and selected as F iles to Match. Available When Loop Preview mode is enabled, the Pre- in Catalogs and Project browsers only. view button updates to show a Loop Preview Copies items curr ently selected Copy and Relink Mode icon. in the Project browser to a chosen location, and Enables or dis- Spacebar Toggles File Preview relinks the session to the copies instead of the ables the Spacebar for starting and stopping pre- originals. Use this to easily move files from a view. When this option is disabled, use the Pre- Transfer to a Performance volume. This com- view button to start and stop preview. In this mand is also available in Catalogs to copy items mode, the spacebar starts and stops session play- and relink the current Catalog to the copies. back. This lets you play back the session and, Duplicate Selected Creates a duplicate of the se- Audio Files Conform to Session Tempo with the lected items in the same location. option enabled, preview the selected audio file in time with the session. Locks all selected items. Any files Lock Selected already locked remain so. Locking a folder locks When a browser is front-most, Control+P all files and sub-folders it contains. (Windows) or Command+P (Mac) starts and stops preview. Al so, the Esc key stops Unlocks the selected items. Unlock Selected preview. Delete Selected Deletes any selected item. In the Con- Audio Files Conform to Session Tempo Workspace, Project, and Volume browsers, de- forms all tick-based audio files with Elastic Au- leting an item deletes it from the disk. In Cata- dio analysis, as well as REX and ACID files, to logs, you are asked whether you want to clear the session tempo. This option lets you play the items from the Catalog (leaving your disks back the session and simultaneously preview unchanged) or delete the files referenced by the the selected files in time with the session. This Catalog items. option is only available when a session is open. Unmount Lets you unmount any online volume. For more information, see “Conforming Preview Available in the Workspace browser only. to the Session Tempo” on page 299. While Pro Tools is running, always use the When the Audio Files Conform to Session Tempo Unmount command in the Workspace option is enabled, Pro Tools analyzes un-ana- browser menu to unmount the volume, or lyzed files on preview or import. Audio files that quit Pro Tools and then unmount the have been analyzed as ti ck-based can then be volume. previewed at the session tempo and conform to the session tempo on import. Enables or disables automatic pre- Auto-Preview When the Audio Files Conform to Session Tempo view of files. When this option is enabled, se- option is disabled, any tick-based audio files lecting a file in the browser starts preview. The with Elastic Audio analysis, and REX and ACID Auto-Pre- Preview button updates to show that files preview and import at their native tempo. is enabled. Additionally, the Preview but- view ton updates to show an Auto-Preview icon. 281 Chapter 16: DigiBase

304 To move columns between panes: Additional DigiBase Commands in Catalogs „ Drag the column header to a different pane. In Catalogs, the following additional com- To show or hide the right-hand pane: mands are available to manage Comments in se- lected items. „ Click the Show/Hide icon in the lower right corner of the lefthand pane. For more information on Comments, see “Comments Fields” on page 286. Copies Copy Database Comments to Clip Names an item’s Database comments to its Clip Name. Copy File Comments to Clip Names (Mac Only) Copies an item’s File Comments to its Clip Name. Show/Hide Pane icon Arranging and Resizing Columns Browser Panes and Display To rearrange columns in a pane: Browsers display an Items List consisting of var- „ Drag the column header to a new position. ious columns (such as file name, size, creation date, and sample rate). The Items List is split To resize a column: into two panes. Individual columns can be placed in either pane, and all columns can be Drag the column header boundary to a new „ reordered, and sorted. shown or hidden, resized, width. Moving Columns Between Panes Showing and Hiding Columns Columns in browser can be placed in either You can show or hide individual columns in Di- pane. Move columns you frequently need to see giBase browsers to fit your workflow. The default into the left-hand pane. Columns that you use column display includes the items you would less often can be moved to the right-hand pane. use in most sessions. 282 Pro Tools Reference Guide

305 To store a View Preset: To show or hide individual columns: „ 1 Open a browser, or the Relink window. Control-click (Mac), Start-click (Windows), or Right-click a column label and select or deselect Arrange columns and views. 2 the column name from the pop-up menu. Command-click (Mac) or Control-click (Win- 3 dows) one of the five View Preset buttons. Browser View preset buttons Showing and hiding columns To recall a saved preset: Click the appropriate View Preset button. „ To show or hide all columns: „ Control-click (Mac), Start-click (Windows), or About View Preset 1 Right-click a column header and choose or ALL from the pop-up menu. (Only the Name NONE Preset 1 becomes the default layout for other and Clip Name columns remain when you en they are opened for browsers of its type wh choose NONE .) the first time. To show the default set of columns: Sorting Columns Control-click (Mac), Start-click (Windows), or „ Columns can be sorted in ascending or descend- Right-click a column header and choose DE- sorts can be applied (up ing order, and multiple FAULT from the pop-up menu. to four levels). View Presets To sort by columns: Pro Tools lets you save up to five preset views for Click the column title header. „ each type of browser, and the Relink window. perform a secondary sort It is often helpful to Presets can be recalled by clicking a View Preset (for example, to sort by tape and timestamp). button. View Presets are specific to each type of browser. 283 Chapter 16: DigiBase

306 Name Displays the name of the file, folder, vol- To add a secondary sort: ume, catalog, or session. This text field is edit- Option-click (Mac) or Alt-click (Windows) the „ rs except Catalogs. able in all browse column title for the secondary sort criteria. r audio R (Record and Designates volumes fo A Primary Sort Secondary Sort Playback), P (Playback only), or T (Transfer). Available in the Workspace browser only. Designates volumes as V video R (Record and Playback), P (Playback only), or T (Transfer). Available in the Workspace browser only. Performing a secondary sort For more informatio n, see “Audio and To toggle the current sort order between ators” on page 309. Video Volume Design ascending and descending: „ Click the Sort toggle arrow, at the top of the Kind Displays whether the volume, folder, cata- vertical scroll bars. log, or file. For files, this column displays what kind of file it is: session file, audio file, video file, or other. This field cannot be edited. For audio files, this column also indicates whether the file Column Data is sample-based to tick-based. data represents an item In browsers, each row of Size Displays the size of a file in kilobytes. For in a database (such as a file, session, or volume). folders, the total size of all files in the folder is Each column displays specific data for an item, displayed. This field cannot be edited. as follows. Date Indexed Displays the last indexed date for Status The Status column is the first column on the item. This field cannot be edited. the left, and it displays the status of each item, as follows. Displays the total capacity of a volume. Capacity This field cannot be edited. Status Icons and Display Icon Text Status space on volumes. Free Displays the unused This field cannot be edited. none Black Online Displays a graphical overview of an Waveform none Blue italics Offline audio file. See “Waveforms” on page 293 for T Blue italics Transfer more information. Blue Elastic Audio √ Duration Displays the duration of a file in abso- Analysis seconds), regardless of lute time (minutes and Calculated the time code format. For region groups, MIDI, tick-based Elastic Audio files, REX, and ACID files, Duration displays Bars and Beats. This field cannot be edited. 284 Pro Tools Reference Guide

307 Displays the tempo associated with re- Tempo File Comment Displays any embedded com- gion group, MIDI, tick-based Elastic Audio files, ments associated with the file. File comments REX, and ACID files, and session files. This field are supported with BWF and SD II files, but are cannot be edited. not supported with AIFF files. File Comments al- ways remain with the file when copied, con- Displays the compression ra- Video Compression verted, or transferred. See “Comments Fields” tio of video files where applicable. on page 286 for more information. Displays the frame rate of video files Frame Rate When importing SD II files into Pro Tools where applicable. 8.0.3 sessions or highe r, they must be con- verted to a supported session file format Displays the original time Original Time Stamp (.WAV or .AIF). stamp (time code location) of audio or video files. Database Comment Displays user comments stored with the database, with support for User Time Stamp Displays the user time stamp, Finder comments. Avai lable in the Project if any, of audio files only. browser and Catalogs only. See “Comments Path Displays the directory path to the item. Fields” on page 286 for more information. Unique ID Displays the unique ID for a Pro Tools Date Modified Displays the last modified date for file. the item. This field cannot be edited. Tape This column displays the original Avid Displays the creation date of an Date Created tape name if the item is an OMF file (audio or item. This field cannot be edited. video). If an audio file was originally recorded in Displays the number of Number of Channels Pro Tools, this field displays the name of the channels in an audio file: mono, stereo, or 3–8 original session. as appropriate for support ed multichannel files. Video files originally recorded in Pro Tools This field cannot be edited. with AVoption|XL do not display a tape Format Displays the audio file format: WAV, name. WAV (ACID) for ACID f iles, WAV (BWF), AIFF, This column displays the frame rate of TC Rate MP3, or ReCycle for REX files. This field cannot the item if the item is an AAF sequence or an be edited. OMF sequence or file: 24, 25, 29.97, 30, drop or Displays an audio file’s sample Sample Rate non-drop. For sequences, the frame rate at the rate. This field can be edited in browsers for start of the sequence is displayed. WAV and SDII files only. This can be useful Channel Names Displays the channel name and when dealing with audio that has been pulled number data embedded in multichannel audio up or down, or to force a sample rate conversion files. You can edit the Channel name for mono ssary before importing a to occur if that is nece BWF files only. When editing the channel file that otherwise wo uld not require conver- name, anything entered in parentheses is dis- sion. carded. However, the channel number will al- Displays an audio file’s bit depth. This Bit Depth ways be preserved. field cannot be edited. 285 Chapter 16: DigiBase

308 Plug-In Name Displays the name of the plug-in Displays scene number data embedded in Scene for Plug-In Settings files (.txf). audio files. Displays the plug-in Plug-In Manufacturer Name Take Displays take number data embedded in Plug-In Settings files manufacturer’s name for audio files. (.txf). Displays origination date and time Shoot Date Displays the path to the file used for Link Path information embedded in audio files. However, relinking. Available in the Relink window only. many field recorders do not populate the Shoot Date field, relying instead on the file’s Creation Clip Name Displays the name of the file, or the Date to indicate date of production. When Avid clip name when the item is an AAF or OMF Pro Tools imports a field re corder file, it checks file. The Clip Name is what appears in the Time- to see if the Shoot Date field is populated. If it is line and Region List when a file is imported into empty, Pro Tools copies the Creation Date of the a session. This field can be edited in Catalogs original source file to the Shoot Date field of the only, and can be generated using either of the new imported files. This field cannot be edited. Copy Comments to Clip Name commands in the Browser menu (see “Additional DigiBase Sound Roll Displays sound roll number data Commands in Catalogs” on page 282). (This data is usually named “Tape” in BWF files, but is distinct from the date displayed in the Di- giBase Tape column). This field cannot be ed- Comments Fields ited. Comments about individual files can be stored Displays the starting time code of Sound Roll TC in the database, and embedded with the file’s audio files. This field cannot be edited. metadata wrapper. Sound Roll TC Rate Displays the frame rate in- There are two types of comments fields: File formation embedded in audio files: 24, 25, Comments and Database Comments. 29.97, 30, drop or non-dr op. This field cannot be edited. File Comments rmation embedded User Bits Displays text info File Comments are stored with the metadata of in audio files. This field can be used for user ile types support File Com- the file itself. Not all f comments, or auto-generated info with certain ments. Indexing stores File Comments in the da- field recorders. tabase, allowing them to be searched and viewed even if the file is offline. File Comments Displays tape ID information embedded Tape ID can be edited in browsers, as long as the files or in audio files. This field cannot be edited. their parent media are not defined as read-only. Displays the project name data embed- Project You can also add and ed it File Comments to ded in audio files. Pro Tools Session files from the Project browser. File Comments cannot be edited in Catalogs. Indicates if the status of a take is set to Circled ) in audio files. This is usually Ye s or No “circled” ( for indicating which take should be used. 286 Pro Tools Reference Guide

309 To select multiple items: Database Comments (Catalogs and Project Browsers Only) Marquee-select a group of items, or Shift-click „ additional items. Command-click (Mac) or Con- Database Comments in a Catalog are stored in trol-click (Windows) to select multiple noncon- the Catalog database. Database comments in the tinuous items. in the Session. Data- Project browser are stored base Comments, which can be up to 256 charac- To select all items listed: ters in length, are searchable, cross-platform, Press Command-A (Mac) or Control-A (Win- „ information, see “Com- and editable. For more dows). ments and Catalogs” on page 314. To select all Transfer files in the current window: Adding and Editing Comments from the Browser Select Transfer Files Choose „ menu. To add, view, or edit a Comment: 1 Click the Comments field. The field expands To select all offline files: to display the entire contents of the field if nec- from the Browser „ Select Offline Files Choose essary. menu. 2 Enter or edit a comment. To select all online files: tside the text box to 3 Press Enter, or click ou close it. „ Choose Select Online Files from the Browser menu. To reverse the current selection: Selecting Items Choose from the Browser Invert Selected „ To select a single item in a browser: menu. Click the icon for an item. When selected, the „ item Name is highlighted. Moving, Copying, Duplicating, You can also type the first letter, or the first and Deleting Items few letters, of the item you want to select in the browser. For example, if you have a Moving, copying, duplicating, and deleting folder full of drum loops, and the one you items in browsers follow the same rules and be- are looking for is named “Ska Loop,” just havior as in the operating system. For example, type the letters S and K on your computer moving a file to another volume copies the file, keyboard and the first item that starts with and Pro Tools warns you if an items is about to “sk” will be highlighted in the list. be overwritten or replaced. Dragging an item from a Catalog to a Volume browser always makes a new copy of the item. 287 Chapter 16: DigiBase

310 Deleting Items and Folders Moving Items You can select and delete files and folders in all To move items: browsers. If a selected item resides on a read- „ Select one or more items and drag them to a only volume, it cannot be deleted. new location. Moving to a new location on the For Catalogs, see “Deleting Catalog Items” on same volume moves the item, while moving to a page 289 for additional information. different volume copies the item. You can drag items directly into the Time- To delete one or more items: line or Region List of the current session. See 1 Select one or more items. “Importing Files with Drag and Drop” on page 326. Do one of the following: 2 •Press Delete. Copying Items – or – Delete Selected • Choose from the Browser To copy and move items: menu. Select one or more items and Option-drag „ 3 Pro Tools asks you to ve rify that you want to them to a new location. permanently delete selected files from disk. Click Delete to leave Cancel to proceed, or click Duplicating Items your files and disks unchanged. To duplicate one or more items: To skip the warning dialog, hold down the Option key while pressing Delete (or while 1 Select one or more items. choosing Delete Selected). from the Browser 2 Choose Duplicate Selected To delete locked files: menu. 1 Select one or more items. items in the Browser, To Duplicate selected press Command-D (Mac) or Control-D Press Command+Delete (Mac) or Control+De- 2 (Windows). lete (Windows). 288 Pro Tools Reference Guide

311 Deleting Catalog Items Searching Items When you delete a folder or item from a Cata- DigiBase provides powerful search capabilities log, Pro Tools lets you choose whether to delete so you can quickly search and find files. only the alias from the Catalog, or also delete the original files from the disk. ts you search across The Workspace browser le multiple volumes and catalogs (if available). All To delete an item from a Catalog. other browsers let you search the currently dis- played contents of that individual browser. Open a Catalog and select one or more items. 1 Do one of the following: 2 Performing a search filters the Items List or Search Results pane to display only found items •Press Delete. that match the search criteria. – or – Delete Selected from the Browser • Choose es specialized search The Relink window provid menu. capabilities for finding and relinking missing files. For more information, see “Linking and 3 When prompted, do one of the following: Relinking Files” on page 300. • To remove the aliases for the selected items from the Catalog, click Aliases . Search Features for All Systems – or – • To delete the selected items from disk (and All systems provide the following search capa- remove their aliases from the Catalog), bility: click Files. • Search by item Name, Kind, and Date Modi- fied. Deleting Folders in Catalogs • Results of a search are displayed in the Items Deleting a folder from a Catalog does not delete List, where they can immediately be selected the folder on disk (even if you choose to delete for auditioning, copy ing, and other opera- all files from disk). Because Catalogs are “snap- tions. In the Workspace browser, a separate shots” of items, their aliases only include files “Search Results” pane displays found items. that resided in the corresponding folder at the • Utilize search syntax modifiers, such as OR, time the Catalog was created. To avoid potential wildcard characters, and greater than/less data loss, folders are never deleted from disk, than. See “Search Modifiers” on page 291. even though you might choose to delete Files in- stead of Aliases. 289 Chapter 16: DigiBase

312 • Search in Quick or Advanced Search mode. • Type text into the File Name field to search in) wildcard charac- Quick mode assumes (fills by name, or type a da te, or select a kind ters for faster data entry while searching. Ad- Kind pop-up menu. See “Entering from the vanced Search mode lets you specify wildcard Data for Searches” on page 291 for more in- characters for more precise searching. See formation. “Search Modes” on page 292 for more infor- – or – mation. • Choose additional search criteria as • Search by any data column, such as Com- needed. Press Tab to move to the next avail- ments fields, sample rate, format, and tempo able search field, or Shift+Tab to move to the previous. • Save the results of a search as a new Catalog. Click the 3 button, or press Return (Mac) Search or Enter (Windows). Starting a Search Searching begins, indicated by the spinning ar- To search the current browser: Search button rows in the toolbar, and by the 1 Click the Search icon to display the Search Stop changing to . The Results List (at the bottom pane. of the browser) fills with items that match the search criteria. Items can be selected and audi- Search icon tioned as they are found. To stop a search: „ During a search, click the Stop button. Search Pane Stop This stops the search routine, and the but- ton changes back to Search . Whatever results have already been found continue to be dis- played, and all entries in search fields are re- tained. To reset your search settings: „ Click Reset to clear all criteria in search fields, Search icon and Search pane and return to the main Browser view (all items). The Search pane remains open. You can also start a search by pressing To close the search pane and return to the Command+F (Mac) or Control+F (Win- complete Browser view: dows). „ Click the browser Search icon to toggle the 2 Do one of the following: Search pane closed or open. The search is stopped, the Search (and Search the window returns to Results pane) close, and show the main Browser view. 290 Pro Tools Reference Guide

313 Wildcard Characters (* and ?) Entering Data for Searches An asterisk (*) can be entered at the beginning or end of a text entry when you want to perform Field Formats and Searching wildcard searches. For example, if you want to , find all files with a name that ends with scratch The following describe the types of data formats you could enter *scratch in the Search field. This available (not all search fields are available on all vocal.scratch finds files with names such as , and systems). . dialog2.scratch Text Fields Allow direct entry of text. By default, A question mark (?) can be used for single-char- the field is empty. acter wildcards. For example, a search on f?ee Pull-Down Menus Provide options for certain free finds f*ee . A similar search on flee , and finds fields. For example, the Bit Depth pull-down frendlee flee , free flippee , , , and so on. provides choices for Any, 16-bit, or 24-bit. Accepts date and time entries in a Date and Time OR Searches variety of formats. The Plus (+) and Minus (–) buttons add and de- lete OR rows to find re sults that match the crite- Uses standard Pro Tools time code Time Code ria either in the top row or the additional rows. entry shortcuts in hh:min:sec:frames. To add and use OR rows in a search: Search Modifiers Click the (+) button to add an OR row identi- 1 Certain fields have small pull-down menus con- cal to the upper row, but with no entries in the taining modifiers , which limit the search criteria search fields. entered in the field. To add an additional OR row, click the Plus (+) 2 Modifiers include: button again. (An empty OR row has no effect on the search.) •Equal to (=) • Not Equal to ( != ) Enter search criteria. 3 • Less Than (<) For example, to find all files named either Dog • Greater Than (>) or Bark: • Less Than or Equal to (<=) •Type Dog in the first File Name field. • Greater Than or Equal To (>=) • Add an OR row. • Range (<...>) Bark •Type in the second File Name field. When enabled, a second About Range-Limited 4 Click Search. search field is added so that a range of two val- ues can be entered (such as two dates). Pro Tools To remove OR rows: finds all items that fall between or are equal to „ Click the Minus (–) button to delete the bot- those two values. tom OR row. 291 Chapter 16: DigiBase

314 To enable Advanced Search mode: AND Searches „ Click to enable the Advanced Search mode If you enter two or more words in a text field, option. Pro Tools finds files that contain all of those Dog Bark words. For example, if you type , only Bark and Dog files that contain both the words are found. Quotations Marks for Text Strings Text enclosed in quotation marks is searched as one text string. For example, if you type “Dog (with quotes), only items with Dog Bark Bark” anywhere in the File Na me are considered a match. Advanced Search mode option, in Search pane Search Modes To return to Quick Search mode: DigiBase provides two di fferent text searching „ Click to deselect the Advanced Search mode. environments: Toggling search mode affects all DigiBase Applies wildcards before and Quick Search Mode browsers. after each text string. For example, a Quick search for Dog , and dog_bark finds Dogs , About the Search Process . howling_dogs Searches are conducted in two passes, each indi- Advanced Search Mode Does not automatically cated by Search Status displayed in the Search erefore, an Advanced apply any wildcards. Th pane (and the Task window). Dog finds Big Dog Dogs search on (unless , but not you manually add a wild card, as described in The existing databases are Searching Databases “Wildcard Characters (* and ?)” on page 291). searched first. While this is the fastest search pass, this search pass can only be as accurate as word In addition, Advanced Search recognizes the database (in other words, if the database is breaks such as underscores and capitalization. not completely up to date you might not find also For example, an Advanced search on Dog the files you want). (Big-underscore-Dog) and Big_Dog finds , BigDog though it would not find . BigDogs File System Search Pass This is the second pass of a search. This search is not as fast as the Data- base pass, but it is more thorough because it is not relying on the database, which may or may not be current. Each pass is completed before the next pass begins. 292 Pro Tools Reference Guide

315 The waveform overview is stored in the file, or Saving Search Results as a in the Digidesign Databases folder on your sys- Catalog tem drive. For more information, see “Wave- Cache” on page 293. To save the results of your search as a Catalog: , or press Command+A Choose Edit > Select All 1 Summed Waveforms for Multichannel Files (Mac) or Control+A (Windows), to select all items in the Items List. Waveform displays for stereo and multichannel files are summed. Create From the Browser menu, choose 2 Catalog . Calculating Waveforms for Display For more information, see “Catalogs” on If an audio file item does not have a waveform, page 313. the waveform must be calculated to be visible in a browser Waveform display. Waveforms To calculate waveforms in a browser: The Waveform column displays waveforms for 1 Select online audio files, or folders containing audio files. Waveform display depends on the audio files, in a browser. following: 2 from the Browser Choose Calculate Waveform • Waveforms are displayed if they have already menu. been calculated and stored, either with the file metadata or in the global Waveform cache. WaveCache • When a file is imported into a session, a wave- form is automatically calculated for it, if nec- stores waveforms that A global WaveCache file essary. cannot be written back to the sound file, such as read-only files, files on network and other read- only volumes, and interleaved files. WaveCache files are stored in the Digidesign Databases folder on your system drive. Waveform displays in a browser • Waveforms are gray if they have not been stored with the file metadata or in the global Waveform cache. 293 Chapter 16: DigiBase

316 Analyzed files in which no tempo was detected Elastic Audio Analysis remain sample-based. These files typically con- tain only a single transient (such as a snare hit) You can both calculate and clear Elastic Audio or they are longer files without a readily identi- analysis for selected audio files in DigiBase fiable regular tempo (such as entire songs). browsers. Only AIFF and WAV files are sup- ported for Elastic Audio analysis and processing. On Mac, if you do not see the Elastic Audio Any other file format (such as MP3) must be Analysis icon or the duration does not converted to AIFF or WAV for Elastic Audio change to tick-based du ring the preview pro- analysis and processing. cess, check the permissions for the folder in the Mac Finder. You must have write access Even though the MP3 file formats are not of the directory for this feature to work. directly supported by Elastic Audio, you can import them into a WAV- or AIFF-based To clear Elastic Audio analysis: session and then use the converted files on In a browser, select the files with Elastic Audio 1 Elastic Audio-enabled tracks. File formats analysis that you want to clear. that do not match the session are converted automatically on import. Do one of the following: 2 Clear Elas- • From the Browser menu, choose . tic Analysis For more information on Elastic Audio, see Chapter 41, “Elastic Audio.” – or – • Right-click one of the selected files and To calculate Elastic Audio analysis: choose Clear Elastic Analysis from the pop- In a browser, select the files you want to ana- 1 up menu. lyze. Files cleared of Elastic Audio analysis data revert Do one of the following: 2 to sample timebase, display their duration in • From the Browser menu, choose Calculate minutes and seconds, and do not report a . Elastic Analysis tempo. • Right-click one of the selected files and Calculate Elastic Analysis choose from the pop-up menu. • Preview the file with the Audio Files Conform to Session Tempo option enabled. Analyzed files are indicated by a check mark to the left of the file name. Analyzed files in which a regular tempo was de- tected are updated as tick-based, display their duration in Bars|Beats, and display their native tempo in the Tempo column. 294 Pro Tools Reference Guide

317 File Timebase and Elastic Audio Previewing Audio in DigiBase Analysis Icons Audio files can be previewed in DigiBase brows- DigiBase browsers provide three icons to indi- ers. Previewing follows the master Audition cate whether a file has Elastic Audio analysis and path as selected in the Output pane of the the file’s timebase. I/O Setup (see “Audition Paths” on page 91). The base level for previewing is determined by Elastic Audio Sample-based Tick-based Analysis icon file icon file icon the Master Fader (or Auxiliary Input) level as- signed to the Audition path. You can also adjust the Preview Volume in the browser. To preview an audio file in a browser: Select an audio file in a browser Items List. 1 Make sure the browser is the foreground (active) window. 2 Do one of the following: • Click the Waveform Preview button (the speaker icon to the left of the waveform display). Click again to stop auditioning. Elastic Audio and Timebase icons in DigiBase browsers •If Spacebar Toggles File Preview is selected in Indicates that the file Elastic Audio Analysis Icon the Browser menu, pres s the Spacebar. Press has Elastic Audio analysis data. stop auditioning. the Spacebar again to • Press Control+P (Windows) or Com- Indicates that the file is Sample-Based File Icon mand+P (Mac) to star t and stop preview- sample-based. The file’s duration is displayed in ing. minutes and seconds. • Press the Esc key to stop previewing. Tick-Based File Icon Indicates that the file is tick-based. The file’s duration is displayed in If the Auto-Preview option is enabled, pre- Bars|Beats and the file’s native tempo is dis- viewing starts as soon as the file is selected played in the tempo column. in a browser. To audition from a specific location within the file: Click in the waveform display at the location. „ Auditioning an audio file 295 Chapter 16: DigiBase

318 Interleaved Files Preview Controls and When previewed in DigiBase, interleaved audio Indicators files with more than two channels are summed to mono for auditioning. Every DigiBase browser provides the following preview controls in the Toolbar: Preview, Vol- Multi-Mono Files ume, Meters, Audio Files Conform to Session Tempo, and Elastic Audio Plug-In. Multi-mono files must be previewed one file at a time. Audio Files Conform to Split Stereo Files Preview Together Session Tempo button Preview button Elastic Audio When selecting one of a pair of Split Stereo files, Volume Plug-In selector Meters such as “Drums.L” and “Drums.R,” both files preview together. To prev iew only the selected channel of a split stereo pair, press the Shift key and start preview. Some Pro Tools operations can cause temporary interrupti ons in DigiBase auditioning. Preview controls in DigiBase browsers MIDI files can be previewed from the ses- Preview Button sion Region List, but not from DigiBase browsers. See “Previewing Regions in the The Preview button starts and stops preview of Region List” on page 266. audio files selected in browsers. You can also Right-click the Preview button to change the Preview mode and set whether or not the space- bar toggles file preview. DigiBase Browser, Preview button Right-click menu Volume The Volume control in DigiBase browsers lets you boost or attenuate the gain for previewing selected files. 296 Pro Tools Reference Guide

319 When the Audio Files Conform to Session To change the volume for previewing in DigiBase browsers: Tempo button is enabled, Pro Tools analyzes any un-analyzed files on preview or import. Click the Volume field to display the Volume 1 Tick-based audio files conform to the session fader. tempo during preview and on import. Sample- Adjust the Volume fader (from –INF to 2 based files, those where no tempo has been de- +12 dB). tected, always preview and import at their origi- nal speed and duration. When the Audio Files Conform to Session Tempo button is disabled , any tick-based audio files with Elastic Audio analysis, and REX and ACID files preview at their native tempo. For more information, see “Conforming DigiBase Browser, Preview Volume fader Preview to the Session Tempo” on page 299 Meters Elastic Audio Plug-In Selector The meters display the level of the audio and The Elastic Audio Plug-In selector lets you select also provide clip indicators. For mono files, the any Real-Time Elastic Audio plug-in as the de- mono signal is shown in both meters. For stereo fault plug-in for previewing and importing Elas- files, the top and bottom meters show the left tic Audio. Changing the plug-in in any DigiBase and right channels respectively. Greater than browser also affects the Elastic Audio Default Plug- stereo multichannel files are displayed as In option in the Processing preferences. summed mono in both meters. For information on Elastic Audio plug-ins, The Clip LED lights when clipping occurs and see “Elastic Audio Plug-Ins” on page 866. clears automatically after 3 seconds. Audio Files Conform to Session Tempo Button Preview Modes The Audio Files Conform to Session Tempo but- ton mirrors the corresponding Browser menu DigiBase browsers provide three Preview modes: command. When enabled, all tick-based audio Normal Preview, Loop Preview, and Auto-Pre- files with Elastic Audio analysis, as well as REX view. and ACID files, conform to the session tempo. This lets you play back the session, and then si- Normal Preview multaneously preview the selected files in time with the session. The Audio Files Conform to Normal Preview simply plays the selected audio Session Tempo button is only available when a file and stops at the end of the file. Deselect e it is disabled and session is open, otherwis Loop Preview and Auto-Preview for Normal Pre- grayed out. view mode. 297 Chapter 16: DigiBase

320 To stop loop audition: Loop Preview „ Do one of the following: Loop Preview plays the selected file by looping • Click the Browser Preview button again. playback of the file. If mu ltiple files are selected, only the first selected file previews. When Loop •If is selected in Spacebar Toggles File Preview Preview mode is enabled, the Preview button the Browser menu, press the Spacebar updates to show a Loop Preview Mode icon. again. • Press Command+P (Mac) or Control+P Control-click (Mac) or Start-click (Win- (Windows). dows) the Preview button to toggle Loop Pre- •Press the Esc key. view mode on and off. in a DigiBase browser: To loop preview a file Auto-Preview 1 Do one of the following: Auto-Preview plays the audio file as soon as it is • In the Browser menu, select Loop Preview . selected. Additionally, the Preview button up- The Browser Preview button updates to dates to show an Auto-Preview icon. show the Loop Preview icon. Command-click (Mac) or Control-click – or – (Windows) the Preview button to toggle • Right-click the Preview button and select Auto-Preview mode on and off. Loop Preview. To automatically preview files when selected: Do one of the following: „ Auto-Pre- • From the Browser menu, select . The Preview button updates to show view DigiBase Preview button, Loop Preview mode that Auto-Preview is enabled. 2 Select an audio file in a browser Items List. • Right-click the Preview button and select Make sure the browser is the foreground (active) Auto-Preview. window. 3 Do one of the following: • Click the Browser Preview button. • Click the Waveform Preview button. DigiBase Preview button, Auto-Preview enabled is selected in Spacebar Toggles File Preview •If the Browser menu, press the Spacebar. 298 Pro Tools Reference Guide

321 Conforming Preview to the Deselect the Spacebar Toggles File Preview Session Tempo option in the Browser menu to be able to Pro Tools lets you preview Elastic Audio ana- start and stop session playback with the lyzed files at the session tempo. The selected de- ng and stopping au- spacebar without starti fault Elastic Audio plug-in is used for previewing ditioning in the browser. Use Command+P Elastic Audio analyzed audio files at the session (Mac) or Control+P (Windows) to start and tempo. Additionally, other tick-based files, such stop preview in the front-most browser dur- as REX and ACID files, can also be previewed at ing session playback. the session tempo and in time with playback. The DAE Playback Buffer setting in the To preview files at the session tempo: Playback Engine dialog affects the amount 1 In the session, place the insertion point at the of time it takes befo re preview starts. Pre- location where you want to preview the file in view takes longer to start with higher set- DigiBase. tings (which are necessary for sessions with a lot of tracks and ed its). Use lower settings In a DigiBase browser, select the file you want 2 eview start times. For for more responsive pr to preview. more information, see “DAE Playback Buf- Do one of the following: 3 fer Size” on page 67 • Click the Audio Files Conform to Session Reserve Voices for Preview in Context Tempo button. It highlights when enabled. (Pro Tools HD Only) Audio Files • From the Browser menu, select . Conform to Session Tempo Preview in context (previewing audio files in Di- • Right-click the file you want to preview and giBase during session playback) uses disk voices select Audio Files Conform to Session Tempo for playback. The number of voices required de- from the pop-up menu. pends on the channel widt h of the selected Au- dition Paths on the Output page of the I/O Setup in the browser and 4 Click the Preview button window. For example, if a stereo audition path the file plays at the session tempo. p requires 2 voices for selected in the I/O Setu preview in context, whereas a 5.1 audition path Preview in Context requires 6 voices. If one or more voices are not available for preview in context because they are Pro Tools lets you preview audio files in Di- in use by disk tracks (or routing for RTAS pro- giBase browsers while playing back a Pro Tools cessing), the Preview button in DigiBase brows- session. Tick-based audio files (those with ers will be unavailable du ring session playback. tempo detected Elastic Audio analysis, as well as REX and ACID files) can play back in tempo, Pro Tools provides an option to reserve voices and at the corresponding bar and beat location, for preview in context. The number of reserved with session playback. Tick-based audio files au- voices is determined by the channel width of dition at the session tempo when the Audio Files the selected Audition Paths in the I/O Setup. Conform to Session Tempo option is enabled. Voices reserved for preview in context are un- available for disk tracks. 299 Chapter 16: DigiBase

322 To reserve for voices for preview in context: Catalogs have unique linking characteris- Choose Setup > Preferences . 1 tics. See “Relinking and Aliases in Cata- logs” on page 307. 2 tab. Select the Operation Reserve Voices For Preview In Con- 3 Enable the Choosing When to Relink option. text Pro Tools lets you relink files while opening a 4 OK to close the Preferences dialog. Click session or after a session is already open, as fol- lows: Relinking when opening a session ensures ‹ Linking and Relinking Files that the session opens with all media playable. Automatic and manual relinking can be per- A Pro Tools session is made up of references, or formed. See “Opening a Session with Missing her session media. Au- , to audio files and ot links Files” on page 301. be stored on suitable dio and video files must Performance volumes and be properly linked in ‹ Relinking later (after a session is already open) order to be playable in the session. is the fastest way to open the session, but all missing items remain offline and unplayable. The following types of files are not playable: When items are needed, go to the Project browser to relink offline items. See “Missing Transfer Files Files that are st ored on volumes Files in an Open Session” on page 303. not suitable for playback, such as network vol- umes or CD-ROMs. Forcing a Relink Files that cannot be found where Missing Files If you cannot relink to the original file, you can the session expects them, either because they force a relink to another file. See “Force Relink- have been moved, or beca use they are stored on ing Files” on page 306. volumes that are not currently mounted (offline volumes). The process of reacquiring missing files is re- Transfer Files . Relinking can involve cer- ferred to as relinking tain sub-tasks, depending on the situation. Unlike missing files, Transfer files are files that • Transfer files must first be copied to a suitable have been found but which reside on volumes Performance volume. The session is then unsuitable for playback, such as CD-ROMs or relinked to the copies on the Performance vol- lumes appear as Trans- network drives. These vo umes instead of the original Transfer files. fer volumes in the Workspace browser. • Volumes may be searched for missing files and, when the files are found, Pro Tools relinks the session to the file's new location. • Files that reside on offline volumes must first have their volumes mounted (brought online) before they can be relinked. 300 Pro Tools Reference Guide

323 To copy items to a new location and Relink to the Opening a Session with Transfer copies: Files 1 Do one of the following: If a session finds files on a volume unsuitable for • Choose Window > Project . playback, a dialog appears prompting you to copy them to a suitable volume. – or – • Open the appropriate Catalog. To copy Transfer files found when opening a 2 Select the items you want to copy and relink. session, do one of the following: You can select any media files (online, offline, „ Click Yes to open the Copy and Relink dialog. and Transfer files). – or – 3 Choose from the Copy and Relink Selected „ No to open the session with all Transfer Click Browser menu. files offline. When opened, the session’s Project If the default location for the copies (the ses- 4 browser indicates Transfer files with a “T” in sion’s Audio Files folder) is not appropriate, their Status column. specify a different location and click . Choose 5 The files are copied to the chosen destination Transfer Files in an Open Session and the session or Catalog is relinked in the background. To make Transfer files playable in the current session: . Choose Window > Project 1 Missing Files Double click the Audio Files folder to display 2 all of the audio files. Files are missing if they are not found in the same location as when the session was last Choose Select Transfer Files from the Browser 3 saved. This could be because you moved the files menu. or the session folder, or because the files are on a from the Browser Copy and Relink Choose 4 volume that is not currently mounted. menu. Specify a location for the copied files on a 5 Opening a Session with Missing . valid Performance volume and click OK Files Repeat for video and fade files, as necessary. 6 To open a session with missing files: 1 When you open a session, Pro Tools opens the Copy and Relink session with all available media, then shows you Copy and Relink command is a file manage- The how many files are missing (if any) and asks ment option in the Project browser and in Di- how you want to proceed. (If told that files are giBase Catalogs. unsuitable for playback, see “Transfer Files” on page 300.) Copy and Relink provides a convenient way to copy files and relink the session or Catalog to the copies rather than to the originals. 301 Chapter 16: DigiBase

324 Manually Find and Relink This option opens the Relink window. Use the Relink window to search, compare, verify, and relink missing files. Files can be relinked one at a time or in batches. See “Relink Window” on page 303 for more information. Automatically Find and Relink Missing files warning when opening a session is the simplest Automatically Fi nd and Relink 2 Select one of the following: method to relink sessions to required media, but • —or press Command+S (Mac) or Skip All it provides no way to compare files or verify Control+S (Windows). links. This option cannot be undone. The Auto- Manually Find Relink • —or press Com- matically Find and Relink option does the follow- mand+M (Mac) or Control+M (Windows). ing: —or press Com- • Automatically Find Relink • Searches all Performance volumes for all miss- mand+A (Mac) or Control+A (Windows). ing items with matching Name, ID, Format, and Length. Regenerate Missing Fades Without Select 3 Searching —or press Command+R (Mac) or Con- • Links missing items to the first matches trol+R (Windows)—to exclude fade files from found. the relink process and regenerate them instead. • Commits links for all items possible, in the 4 Regenerate Missing Rendered Files With- Select background. out Searching to exclude rendered Elastic Audio cannot be undone Links, once committed, files from the relink process and regenerate once the session is saved. The only way to them instead. revert to previous links is to close the session OK 5 Click . without saving changes. Skip All • If some files remain unlinked, the Task win- dow opens and a failed task appears in the Use the Skip All option to skip all missing files Paused Tasks pane. Double-click the Task icon and fades. This option is the fastest way to open to open the Relink window and manually find the session utilizing all available media. Missing and relink files. files are offline in the session, and shown in the Region List and the Project browser with italic Even if all of the missing files are later text. Missing fades are regenerated if the con- found and relinked, the failed task remains tributing files are online. in the Task Window. Like all failed tasks, it must be manually sele cted and deleted. See “About Failed Tasks” on page 319. 302 Pro Tools Reference Guide

325 To relink missing (offline) files in an open session: Regenerate Missing Fades Without Searching Window > Project . Choose 1 Enable this option to exclude fades files from the relinking process (fades are recalculated in- from the Browser menu Relink Offline 2 Choose Automati- stead). This option is available when to open the Relink window. cally Find and Relink or Manually Find and Relink is Configure the Relink window as needed. See 3 enabled. “Relink Window” on page 303 for more infor- mation. Regenerate Missing Rendered Files Without Searching To relink selected files in an open session: Enable this option to exclude rendered Elastic 1 Window > Project Choose . king process (rendered Audio files from the relin files are recalculated instead). This option is Select the files to relink. Any file can be 2 Automatically Find and Relink available when or relinked, even if it is not an offline file. Manually Find and Relink is enabled. 3 Choose Relink Selected from the Browser menu. Missing Files in an Open Session 4 Configure the Relink window as needed. See You can open the Project browser to select and “Relink Window” on page 303 for more infor- relink some or all missing files. mation. Relink Window The Relink window provides tools for all relinking tasks. Menu and toolbar Areas to Search Files to Relink Candidates Main elements in the Relink window 303 Chapter 16: DigiBase

326 Includes the Relink menu, Menu and Toolbar Opening the Relink Window View Presets, and relinking buttons. Status is When opening a session with missing files, use displayed at the far right. option to open the Manually Find and Relink the Selects volumes on which to Areas to Search Relink window. search for missing items. The Relink window can also be accessed after a Lists missing files. Files to Relink session is open. Candidates Lists files that match the “relinking To access the Relink window from an open criteria” for a particular missing file. The Link session: icon next to the candidate can be toggled on or . Window > Project Choose 1 off to link (or unlink) the proposed candidate to the selected missing file. from the Browser menu. 2 Relink Offline Choose The Relink window controls each phase of the relinking process. Selecting Areas to Search lders in the Areas to Selecting volumes and fo The following topics explain how to: Search pane lets you focus the search for missing • Open the Relink window (“Opening the files. This can speed the relinking process by Relink Window” on page 304). limiting the number of volumes or folders to ers to search and not • Select volumes and fold search. In addition, excluding folders from a search (“Selecting Areas to Search” on search for missing files also lets you redirect a page 304). session or Catalog to a more appropriate copy of an item. • Search, compare, and link individual files to one or more candidates (“Relinking Individ- ual Missing Files” on page 305). • Quickly match and link missing files in batches, with the ability to adjust the criteria by which files are matched (“Relinking Multi- ple Missing Files” on page 306). • Toggle links on or off for any candidate (“Force Relinking Files” on page 306). • Compare and review links before committing (“Committing Links” on page 307). Volumes selected to include in the search To select volumes or folders to include or exclude in a search: 1 Configure the Areas to Search pane to display the appropriate volume, Catalog, or folder. 304 Pro Tools Reference Guide

327 Pro Tools searches the selected volumes and dis- 2 Click each item’s Search column to toggle it to plays all files that match File Name or Unique ID in the search. A check be included or excluded in the Candidates list. Link icons indicate if a next to an item indicates it will be included in Candidate is already linked. the search. All folders within items are also checked. OMF video clips can only be relinked to a session if they have matching Unique IDs. Single and Multi-File Relinking The Relink window can be used to relink one QuickTime video clips can only be relinked missing file at a time, or to relink missing files in to a session by file name and file format batches. (QuickTime). Relinking Individual Missing Files To control matching and linking criteria when relinking an individual missing file, vidual files must be In some situations, indi use the Find Links button. Find Links is ex- relinked one at a time in order to relink the ses- plained in “Relinking Multiple Missing sion to the correct file. This is necessary if mul- Files” on page 306. tiple copies of a media file are online, or when- ever you want the most control and flexibility 4 Click the Link icon next to the appropriate over the relinking process. Candidate to which you want to relink. A Link icon next to an item indicates it will be relinked To relink a missing file: to the item currently selected in the Files to 1 Configure the Areas to Search pane. Relink list. Select one item in the Files to Relink list. 2 Find All Candidates Click 3 . Link icon, indicating Linked status Click the Link icon next to other Candidates, 5 if you want to relink to additional missing files. button. Commit Links Click the 6 Find All Candidates, for relinking a selected missing file 305 Chapter 16: DigiBase

328 Link Path column shows the location of the se- Relinking Multiple Missing Files ls continues searching, lected candidate. Pro Too Using the Find Links button, multiple files can matching, and linking for each missing file in be matched and linked in one procedure. the Files to Relink list. 6 To view a candidate for a missing file, select to To relink multiple missing files: highlight the missing file. That file’s candidate 1 Configure Areas to Search. (See “Selecting Ar- appears in the Candidates pane, where you can eas to Search” on page 304.) view its information and waveform. Select one or more items in the Files to Relink 2 If you are not satisfied with the candidate for 7 list. The Find Links button becomes available. Find All file, you can click a particular missing Candidates for the selected file (see “Relinking Find Links Click . 3 Individual Missing Files” on page 305). Configure criteria for relinking, if necessary, in 4 the Linking Options dialog: Force Relinking Files • By default, Find by Name and ID is en- abled. If you want to link to a substitute file (for exam- • To add additional matching criteria, select ple, if you know a file has the same audio or an option from the Linking Options dialog. video but does not have a matching File Name (Modification Date is only applicable to or Unique ID), you can force a relink. Catalogs.) ‹ To force relink an audio file, its file format Match Duration is enabled, Pro Tools only •If (WAV, AIFF, or MXF), sample rate and bit depth selects files of the same length or greater . must match those of the original file. ‹ To force relink a video file, its format (Quick- Time, Avid, MXF, or OMF) and frame rate must match those of the original file. To force a relink: 1 Choose Window > Project . Choose Relink Offline from the Browser menu. 2 3 In the Relink window, select one item in the Linking options Files to Relink list. 5 Click OK to continue (or click Cancel to return Navigate in the Areas to Search pane to locate 4 to the Relink window). the file you want to relink. Pro Tools searches for an acceptable candidate 5 Drag the file to the Candidates pane in the he first item selected in for the first missing file (t Relink window. the Files to Relink list). A link icon appears next 6 Click the Link icon next to the file you to each file as Pro Tools finds and links the first dragged to the Candidates pane. acceptable candidate to the missing file. The 7 Click the Commit Links button. 306 Pro Tools Reference Guide

329 Committing Links There is no Undo for relinking. Once a file has been relinked and the session saved, the session always remembers the new link (the original link is forgotten). For this reason, no files are ac- tually relinked until you click Commit Links . The Automatically Find and Relink option is the only relinking process that does not ask you to verify links before they are com- mitted. If you use this option and are unsat- isfied with the results, close the session without saving to prevent the new links from being committed. To commit links: 1 Use the Relink window to link files as ex- plained in “Single and Multi-File Relinking” on page 305. 2 . You are asked to verify commit- Commit Click ting links. Do one of the following: 3 to commit links. • Click Yes – or – No to stop without affecting files. • Click Relinking and Aliases in Catalogs Catalogs are collections of “aliases” or “short- cuts” to actual files. If the files are moved, an item in a Catalog can become unlinked from the file it references. To relink a Catalog: Open the Catalog. 1 2 Select items to relink. Choose Relink Selected from the Browser 3 menu in that Catalog window. 307 Chapter 16: DigiBase

330 Workspace Browser managing media. The Workspace browser is always The Workspace browser is your starting point for available while Pro Tools is running, even if no session is open. Volume designators Browser name Menu and toolbar Search pane Items List Search Results Show/Hide Scrolling pane Fixed pane Pane split Workspace browser, with the Search pane displayed and access to all files. In addition, the Work- Only the Workspace browser lets you do the fol- ive allocation settings, space browser provides dr lowing: access to catalo gs, and the ability to search mul- • Designate volumes as Performance vol- tiple volumes and catalogs simultaneously. umes (Playback or Record volumes) or as Transfer volumes. • View and access all available volumes Opening the Workspace Browser • Unmount volumes To open the Workspace browser: • Create, view, and access Catalogs. 1 Launch Pro Tools. • Search multiple volumes and Catalogs si- multaneously. Window > Workspace . Choose 2 The Workspace browser is similar to your com- Press Option+; (Mac) or Alt+; (Windows) to puter’s desktop, in that it shows all of the open the Workspace browser. mounted local and network volumes. The Workspace browser has all the common browser ems list, View presets, elements, including an It 308 Pro Tools Reference Guide

331 Mounting and Unmounting Audio and Video Volume Volumes Designators The Workspace includes columns for Audio and The Workspace browser lets you unmount vol- umes while Pro Tools is running, and shows Video Volume designators. These two columns newly mounted volumes as they come online. display, and let you designate, whether a vol- ume is a Record, Playback, or Transfer volume. To unmount a volume from within the Workspace R (Record and Playback) Able to play audio and browser: video files already on the volume, and record 1 Select a volume in the Workspace browser. new files. Choose from the Browser Unmount Volumes 2 Can play audio and video files P (Playback Only) menu. already on the volume, but cannot have new files recorded to it. The Workspace browser cl oses the database file for the selected online volume and removes it Can only be used for storing, trans- T (Transfer) owser, and unmounts from the Workspace br ferring, or auditioning files, and cannot be used the disk from the computer. for recording or playback. Pro Tools alerts you if the volume being un- If you have a Pro Tools system with multi- mounted has files referenced in the Timeline. ple drives, and you intend to record multiple , you may want to tracks simultaneously Always use the Unmount command in the designate the System drive as a Playback Workspace browser me nu to unmount vol- only or Transfer only drive for optimal per- umes, or quit Pro Tools and then unmount formance. the volume. Do not use any other method to unmount a volume while Pro Tools is run- To change a volume designator: ning. Open the Workspace browser. 1 Click and select the appropriate Audio or 2 Video designator for the volume. Designating a volume in the Workspace 309 Chapter 16: DigiBase

332 in the search, and which to exclude. The Work- Catalogs in the Workspace space also provides a separate Search Results Browser pane to view, select and manage the results of The Workspace browser provides special tools searches. for creating and accessing Catalogs. Once Cata- logs have been created, they appear in the Workspace browser in the Catalogs folder. Search pane To show all Catalogs: Areas to Open the Workspace browser. 1 search 2 Click the Expand/Collapse icon next to the Catalogs folder. Search results Search and Search Results panes in the Workspace The Search Results pane lets you maintain the results of searches, while still viewing and con- figuring options for additional searches. To search from the Workspace: Viewing Catalogs in the Workspace. Choose to open the Window > Workspace 1 Workspace browser. To open an individual Catalog: „ Double-clicking a catalog opens a Browser 2 Click the Search icon to display the Workspace window for that catalog. Search pane. 3 Configure search criteria. For complete instructions on creating and working with Catalogs, see “Catalogs” on Click next to each item in the Areas to Search 4 page 313. list to include or exclude volumes to be searched. Checked items and their sub-folders Searching in the Workspace are included in the search. (The next time you Browser open a Search pane in the Workspace, these set- tings remain in effect.) The Workspace browser provides the most com- Search 5 . Click prehensive DigiBase search capabilities. The Workspace browser lets you perform searches The results of the search are shown in the 6 across a single volumes, multiple volumes, or Search Results pane. volumes, folders, and across any combination of Catalogs. You select which volumes to include For more information on searching, see “Searching Items” on page 289. 310 Pro Tools Reference Guide

333 Project Browser and manages all the files related to the current session, regardless of what The Project browser displays volume they reside on. Browser menu and toolbar Folders and files Figure 1. Project browser The Project browser is similar to the Region List Opening the Project Browser iles associated with a ses- in that it contains all f sion, with the added data, searching, and sort- To open the Project browser: ing capabilities of Pro Tools browsers. Launch Pro Tools and open a session. 1 Unlike the Region List, however, individual re- . Window > Project Choose 2 gions are not displayed in the Project browser (in which only complete files are listed). Press Alt+O (Windows) or Option+O (Mac) to open the Workspace browser. Use the Project browser and its Browser menu commands to: The Project browser displays the following: • View all media files associated with a ses- Audio Files Folder Contains all of the audio files sion currently referenced by th e session, regardless of • Identify, select, and relink offline files where they are located. • Identify, select, copy, and relink Transfer Contains all of the fade files Fade Files Folder files referenced by the session, regardless of where they are located. Contains all files that Render Sources Folder have been imported into the session, but are still being converted, copied, or processed. 311 Chapter 16: DigiBase

334 Video Files Folder Contains any video files refer- About the Project Browser enced by the session. No Drag and Drop to the Project Each of the folder type s in the Project browser Browser has an Expand/Collapse icon. Clicking the icon shows or hides all of the files in the sub-group. To import a file from another browser into the The folders displayed in the Project browser are current session, you must drag files to the Time- session-specific groupings of files, not physical line or Region List. You cannot import a file into folders on disk. a session by dragging it to the Project browser. (You can, however, spot files from the Project browser into the current session using Locating Parent Files of Regions drag/drop.) The Project Browser can be set to automatically highlight the parent file of any region selected Deleting Items in the Project Browser in the Pro Tools Region List. Deleting items in the Workspace browser or in Volume browsers deletes the files from disk. To highlight the parent file of a selected region: Video and session files cannot be deleted in the Select a region in the Region List. If the 1 Region Project Browser. preference is List Selection Follo ws Track Selection a region on a track. enabled, you can select Deleting an item from the Project browser lets you remove items from the current session, or From the Region List menu, select 2 Select Par- delete them from disk (using the Pro Tools Clear . ent in Project Browser Regions dialog). When the Select Parent in Project Browser Copy and Relink Restrictions e Project browser auto- option is enabled, th matically highlights the parent file of any Copy and Relink com- In the Project Browser, the file or region selected in the Region List. mand (in the Browser menu) cannot be used on session files, or on offline audio files. Use the Relink window to first bring items online. In ad- Relink Selected dition, the command cannot be used on session files. Updating the Project Browser The Project browser is automatically updated whenever a file is added to or deleted from the session, so it is always fully indexed and up to date. For instructions on searching, sorting, and working with the Project Browser, see “Proj- ect Browser” on page 311. 312 Pro Tools Reference Guide

335 Catalogs While Volume browsers are designed to be an accura te representation of the file structure on a given folder, and serve as a way to collect and organize volume, Catalogs are similar to having a Favorites frequently used items regardless of where they are stored. A Catalog is analogous to a folder full of aliases or shortcuts. Placing a file in a Catalog does not create a copy of th e file, and does not change ores a reference (or alias) to the file so that it can be found and ma- where the file is stored. Rather, it st ch for its physical location. nipulated without having to sear Catalog name Menu and toolbar Items List Show/Hide Fixed pane Scrolling pane Pane split Catalog browser To open a Catalog browser: Opening a Catalog Browser 1 Open the Workspace browser. Catalogs are displayed in the Workspace browser. 2 Click the Catalogs Expand/Collapse icon. Do one of the following: 3 • Click the Expand/Collapse icon for the Cat- ts in the Workspace. alog to view its conten – or – • Double-click the Catalog name to open it in its own browser window. Catalogs item in the Workspace 313 Chapter 16: DigiBase

336 Copy OS X Finder Comment to Database Com- Clip Names in Catalogs Copies an item’s OS X Finder ments (Mac Only) Clip Names are the names that appear in the comments to its Database comments. Timeline and Region List when a file is imported Copy Database Comments to Clip Names Copies into a session. an item’s Database comments to Clip Name. For most files, the Clip name is the same as the Copies an Copy File Comments to Clip Names file name. For OMF Files, the Clip Name is the item’s File Comments to Clip Name. name that appears in the Avid bin. Clip names can only be edited in a Catalog. Ed- Creating Catalogs iting the Clip name does not affect the actual file; however, if you add the same file to a new Catalogs can be added to the Workspace as new, Catalog, it retains its original Clip Name. When empty Catalogs, or you c an select items first and you drag a file from a Catalog into a session, the then save a Catalog of all selected items. edited Clip Name is what appears in the Time- line and Region List. To create a new, empty Catalog: 1 Open the Workspace browser. If the Clip Name is longer than 32 characters, Pro Tools truncates the name automatically from the browser menu. New Catalog 2 Choose when imported into the session. . OK Type a unique name and click 3 Comments and Catalogs To catalog a selection of items: s for managing OS 9 Catalogs provide command 1 Open any browser (including an existing Cat- Finder comments, Database comments, and alog). Clip Names. Select the items you want to include in the 2 Database Comments in a Catalog are stored in new Catalog. Database Comments, the Catalog database. from the Choose 3 Create Catalog from Selection which can be up to 256 characters in length, are Browser menu. searchable, cross-platform, and editable. A new, fully indexed Catalog database of the se- Copy OS 9 Finder Comment to Database Com- lected items is created. ments (Mac Only) Copies an item’s OS 9 Finder comments to its Database comments. Creating Catalogs of Folders OS 9 Finder comments (from the OS 9 Get Info window) are not supported in OS X Get To create a Catalog of an entire folder and all its Info windows. Use the Copy OS 9 Finder contents: Comment to Database Comments com- 1 Open the Workspace browser, if not already mand to utilize any OS 9 Finder comments open. stored with your media. Drag and drop a single folder onto the Catalog 2 icon in the Workspace browser. 314 Pro Tools Reference Guide

337 Pro Tools first indexes the folder, then a fully in- In the warning dialog, do one of the follow- 3 dexed Catalog is created, with the same name as ing: the dropped folder. Cancel • Click to cancel the delete operation. Delete Files • Click to delete aliases and asso- ciated files from disk. Renaming a Catalog Delete Aliases • Click to delete only the Catalogs can be renamed at any time. aliases and not the associated files. To rename a Catalog: This operation cannot be undone. 1 Click the Catalog item in the Workspace browser until its name highlights. Consolidating Files with Catalogs Type a new name for the Catalog. 2 Catalogs are excellent tools for consolidating files from a variety of sources. Modifying Catalogs Catalog named “Thumps” For example, create a and fill it with sound effects from three different To add items to a Catalog, do one of the following: volumes. You can then drag the Catalog from „ Open the Catalog and drop new items from the Workspace browser to another volume, and another browser. a folder named “Thumps” is created on that vol- ume. All of the files referenced by the Catalog – or – to the volume. Folders are automatically copied „ Click the main Catalogs icon in the Work- and sub-folders, if any, and their contents are space, to expand your view of all existing Cata- included in the copy. logs, then drop items onto any Catalog. Updating Catalogs To add a folder to a Catalog: Since a Catalog database is not linked to any par- 1 Open the Catalog. ticular volume, there is a limit to the abilities of 2 Choose Create Folder from the Browser menu. command. When Update Data- Update Index the base for Selected is selected from the Browser To delete items from a Catalog: menu in a Catalog, Pro Tools searches for the items represented by the aliases in the Catalog Select the items. 1 and updates the following information: Press the Delete key, or choose 2 Delete Selected from the Browser menu. A warning dialog ap- Metadata Metadata for all files found online, in- pears. cluding File comments, are updated. Database Comments Database Comments are not updated, because they are unique to each Catalog and are not part of the file’s metadata. 315 Chapter 16: DigiBase

338 Importing Offline Items from a Catalog Relinking Catalog Items With Catalogs, it is possible to search and im- If files are ever missing from a Catalog, use the port files that are offline. For example, if you Relink window to locate, copy, and relink files. have a music cue that you know you want to For more information, see “Linking and Relink- use, but it resides on a CD-ROM or other un- ing Files” on page 300. mounted volume, you can spot the file from a Catalog to the session Timeline, and it is auto- Deleting Catalogs matically imported into the session when the volume is mounted. To delete a Catalog: The first step is to add files to a Catalog (files 1 Select one or more Catalogs in the Workspace must be online to be added to a Catalog). Once browser. added to a Catalog, if the items are taken offline Delete Selected 2 Press the Delete key, or choose they are listed in italicized text. from the Browser menu. A warning dialog ap- Offline files can be dropped from a Catalog to pears. the Timeline just like online files. When you In the warning dialog, do one of the follow- 3 drop the files, a dialog appears asking if you ing: want to relink the files or skip relinking. Click • Click Cancel to cancel the delete operation. to load all the items as offline files (in the Skip All to delete aliases and asso- Delete Files • Click Timeline, their regions appear in light blue). In ciated files from disk. the Project browser, these items are listed in the ensure that Pro Tools Render Sources folder, to Delete Aliases • Click to delete only the remembers that these items need to be relinked. aliases and not the associated files. Whenever the volume containing the offline This operation cannot be undone. items is mounted, Pro Tools automatically starts to import the files, in the background. This is Importing Catalog Items true even if you have sa ved the session, quit, and relaunched Pro Tools. You can import online and offline items from Catalogs into the current session. Once the items are comp letely imported, they appear as online items in the Timeline, Region Importing Online Items from a Catalog List, and in the Project browser. Dragging and dropping audio files to the If the offline items match the session sample Pro Tools Region List and Timeline is identical rate, bit depth, and file format, no conversion is to dragging and droppi ng from Volume brows- necessary. As long as th e volume is playable, the ers. items become playable in the session as soon as the volume is mounted. see “Importing Files For more information, with Drag and Drop” on page 326. 316 Pro Tools Reference Guide

339 If the volume is unsuitable for playback, you are Opening the Task Window informed that some items must be copied to suitable volumes first. To open the Task Window: In Pro Tools, choose . „ Window > Task Manager For more information on Transfer files, missing files, and relinking, see “Relink Press Option+’ (Mac) or Alt+’ (Windows) to Window” on page 303. open the Workspace browser. Task Window Messages Task Window If any background task cannot be successfully For maximum performance and flexibility with completed, the Task window comes to the fore- file management tasks, Pro Tools provides the ground to notify you. The incomplete task is Task window. File management with Pro Tools shown in the Paused Tasks pane of the Task win- involves nearly constant creating, copying, con- dow. verting, processing, searching, and indexing files. These tasks occur in the background, let- Because the Task window is a floating window, ting you continue recording, editing, and mix- it does not interrupt current work. This allows ing without delay. you to continue recording and editing, and postpone file management until a more conve- The Task window lets you monitor, pause and nient time. cancel ongoing tasks including file copying, fade creation and indexing. Task Window Views You cannot drag and drop items to or from The Task window provides a maximized and the Task window. minimized view. View Toggle (Maximize/Minimize) Status Active Tasks Paused Tasks Task window, maximum view 317 Chapter 16: DigiBase

340 Any task that fails to complete successfully is To toggle between maximized and minimized views: moved to the Paused Tasks pane (see below). The Status column displays a description of the Click the View Toggle icon in the top of the „ failure. Task window. Paused Tasks Pane The Paused Tasks pane is displayed below the Active Tasks pane, and is separated by a move- Task window, minimum view able horizontal divider. Tasks listed in this pane will not be processed until they are moved back Task Window Tools, Columns, and to the Active Tasks pane. Displays The Task window menu provides commands for Pausing and Cancelling Tasks Task window operations. The Task window lets you pause, resume, and The following data is always displayed in the cancel tasks. Task window (both views): To pause a task: Indicates affected item, whether a Item Name „ Drag the appropriate task from the Active file, database, or other supported item. Tasks pane to the Paused Tasks pane. Status Action being taken (for example, copy- The task moves to the top of the Paused Tasks ing, processing, indexing and so on). pane. Indicates the progress of the task or its Progress sub-tasks, which include assessing the size of the To pause all tasks: items and the estimated amount of time neces- from the Task window Pause All „ Choose sary to complete the task. menu. Progress Indicator Indicates processing is ongo- ing. To resume a task: Drag a task from the Paused Tasks pane to the „ Shows percentage of progress of Quantification Active Tasks pane. The task returns to its previ- the current task. ous position in the queue. Active Tasks Pane To resume all paused tasks: The upper Active Tasks pane shows the tasks from the Task window Resume All Select „ waiting to start. The cur- that are in progress or menu. All tasks in the Paused Tasks pane (except rently executing task is at the top. Tasks in this failed tasks) are moved to the Active Tasks pane. pane will be processed. As tasks complete, they disappear from the queue. 318 Pro Tools Reference Guide

341 To cancel a task: About Failed Tasks Highlight any task in either pane of the Task 1 The Paused Tasks pane shows any tasks that window. could not be completed. The reason for the fail- ure is shown in the Status column. 2 Press Delete to remove it from the Task win- dow. Failed Tasks cannot be resumed, and must be de- leted manually from the Paused Tasks pane. To cancel all tasks: If was unable to find Automatically Find and Relink Select any single task in either pane. 1 all files in a session, a failed task is placed in the Press Command+A (Mac) Control+A (Win- 2 Paused Tasks pane of the Task window. It re- dows) to select all the tasks in that pane. anually remove it from mains there unless you m the Task window (even if you have since found Press Delete. 3 the files through a subsequent search and relink This command cannot be undone. task). About Cancelling Tasks Task Prioritization Some tasks involve one or more sub-tasks. Delet- A task that is in progress may be interrupted by ing a task cannot undo sub-tasks already com- a task of higher priority. When this happens, the pleted. For example, if importing and convert- partially completed task is halted and resched- ing multiple files appe ars as a single task, uled later in the queue, and shown with a prog- deleting that task before it is completed stops ress bar in the Active Tasks pane. When the process, but files al- the import and conversion higher priority task is finished the first incom- ready converted and imported remain on disk. If plete task in the queue resumes. you want to cancel a task involving multiple sub-tasks, you can instead let the process com- Tips for Using the Task Window plete and then use to completely undo all Undo sub-tasks, as available. Pause Tasks During Playback A global preference is pro- Pause During Playback Closing Sessions with Pending vided in the Task window Browser menu. When Tasks enabled, Active Tasks are paused whenever If you close a session or quit Pro Tools while Pro Tools is playing (or recording). This setting tasks are still pending (either in the Active or is especially useful when working on slower Paused Tasks panes of the Task window) CPUs, or whenever you want to minimize sys- Pro Tools asks if you want to cancel, or complete tem load for maximum playback and recording the pending tasks. You can choose to open the performance. This preference maintains its set- Task window and wait for pending tasks to com- ting until the next time it is changed. plete, cancel the pending tasks, or quit. If you quit, some tasks are cancelled. Tasks that in- volve file copies are remembered and restarted when you relaunch Pro Tools. 319 Chapter 16: DigiBase

342 Stored Tasks Any task that imports files into a session is it is closed, and re- stored with a session when sumes when the session is re-opened. For example, if you Import Session Data with selected, then Copy From Source Media and Save Close the session before the copy completes, the copy tasks resume when the session is reopened. Grouped Tasks Some tasks consist of many smaller tasks. For in- stance, Copy and Relink may require hundreds of individual files to be copied. To help manage these tasks, they are grouped under the originat- ing command. So in the example of a Copy and Relink command, one copy task would appear with an Expand/Collapse icon in the Task win- dow. Clicking the icon shows each of the indi- vidual sub-tasks. If there is more than one grouped task in the queue, all of the sub-tasks for the first group must be completed before the sub-tasks of the second group can be processed. If the session is saved and closed while several of these group tasks are in the queue, and if those tasks are the type that can be interrupted and saved when closing the session, all of the tasks reappear as part of the same group when the ses- sion is reopened. 320 Pro Tools Reference Guide

343 Chapter 17: Importing and Exporting Session Data Pro Tools lets you import and export a variety of Importing and Exporting Data data into and out of a session, including audio and MIDI files, region groups, video files, track to and from a Session playlists, I/O configurations, and signal routing Importing configurations. Pro Tools lets you import audio, video, MIDI, re- audio and MIDI files You can import individual gion groups, or session files into the current into a session, or import entire audio or MIDI Pro Tools session by: their attributes, from an- tracks, along with all of other session. Additionally, with Pro Tools HD, • Dragging and dropping from: you have the option of importing any combina- • A DigiBase browser tion of track attributes from another session, • Mac Finder or Windows Explorer MIDI playlists, signal such as a track’s audio or • Using the File menu Import commands: routing, plug-ins, or automation (see “Import- •Session Data ing Session Data” on page 336). •Audio When you are working with video, you can im- •MIDI port and export video files from a session (see •Video Chapter 51, “Working with Video in •Region Groups Pro Tools” ). Session data, audio files and regions can be im- ported to existing tracks, new tracks, the Track List, or the Region List in a Pro Tools session. 321 Chapter 17: Importing and Exporting Session Data

344 When files are into the session, the ‹ converted Exporting original files remain where ever they are on your Pro Tools lets you export audio, video, MIDI, re- system and are copied to the session’s Audio gion groups, and session data by: Files folder and converted to the session’s audio Send Via DigiDelivery •Using the command file format, sample rate , and bit depth. The ses- sion references the converted files, not the orig- Export to Sibelius Send to Sibelius •Using the or inal files. command (MIDI only) • Using the File menu Export commands: Files that Can Be Added to a Session without • Selected Tracks as New AAF/OMF Conversion • MIDI Mono and split stereo (or split multichannel) • Score e same audio file format, audio files that are of th Session Info As Text • sample rate, and bit depth of the session can be added to the session without conversion and • Using the Tracks Right-click menu: with or without copying the files to the session’s Send To Sibelius command (Score Editor • Audio Files folder. only) • Export MIDI command You can enable the Automatically Copy Files on Import option in the Processing • Using the Region List menu: Preferences page to be sure to always copy • command Export Region Definitions files to the session’s Au dio Files folder when command Export Regions as Files • importing audio by drag and drop. command • Export Region Groups Files that Must Be Converted on Import Pro Tools automatically conv erts files that don’t Audio Conversion on Import match the session’s audio file type, sample rate, or bit depth. Audio file s that don’t match the Depending on the properties of the audio files session audio file type, sample rate, and bit can add, copy, or con- you are importing, you depth must be converted on import. Pro Tools vert the files: also splits interleaved audio files into multiple ‹ When files are added to a Pro Tools session, mono files. they remain at their current hard drive location If region definitions are present in an audio file, and are not moved or copied. The session refer- you can convert and impo rt the audio for a re- ences the original files where ever they are on gion without importing the entire parent audio your system. file using the Import Audio command. copied into the session, the ‹ When files are original files remain where ever they are on your Pro Tools 7.x and higher does not support system and are copied to the session’s Audio audio file names that contain certain ASCII Files folder and are then added to the session. characters (see “Opening a Session that The session references the copied files, not the Contains Audio File Names with Illegal original files. Characters” on page 379). 322 Pro Tools Reference Guide

345 Rate Conversion Quality setting is local to that Supported Audio File Formats specific dialog. The Sample Rate Conversion Qual- Audio files of the following types can be im- ity preference only applies to conversion on im- ported (and, if necess ary, converted) into port by drag and drop. Pro Tools sessions: •AIFF To set the sample rate conversion quality for importing audio by drag and drop: •WAV or BWF (.WAV) •SDII and click the 1 Setup > Preferences Choose Processing tab. •SDI •MP3 pop- 2 From the Sample Rate Conversion Quality •MXF audio up menu, select a quality setting. For most appli- setting will yield very Better or Good cations, the • Sound Resource (AIFL—Mac only) good results. • WMA (Windows Media—Windows only) •QuickTime (Mac only) • AAC audio (including audio with AAC, Mp4, and M4a file extensions) • ReCycle (REX 1 and 2) files • ACID files Sample Rate Conversion Quality preference protected AAC or Pro Tools cannot import . Click OK 3 MP4 files with the .M4p file extension. The Import Audio, Import Session Data, These files are protected under the rules of and Bounce To Disk dialogs provide local digital rights management. controls for sample rate conversion quality. Sample Rate Conversion Quality Bit Depth Conversion and Sample Rate Conversion Quality The setting deter- Dithering mines the quality of sample rate conversion a lower bit depth than When importing audio at used when converting an d importing audio into the session, Pro Tools converts the file to match a session. It can also applied when exporting the session bit depth by adding empty bits. For files at different sample rate and when bouncing example, when importing a 16-bit file into a to disk. There are five possible settings, ranging 24-bit session, Pro Tools converts the file to from Tweak (fastest, but lowest quality) to Low 24-bit. (highest quality, but slowest). The higher Head the quality of sample rate conversion you When importing audio at a higher bit depth choose, the longer Pro Tools will take to process than the session, Pro Tools automatically ap- the audio file. plies a preset, noise-shap ed dither and converts bit depth. For example, the file to the session The options are Sample Rate Conversion Quality when importing a 24-bit file into a 16-bit ses- available in the Import Audio, the Import Ses- sion, dither is applied automatically and the file sion Data, the Export Regions as Files, and the is converted to 16-bit. Bounce to Disk dialogs. In each case, the Sample 323 Chapter 17: Importing and Exporting Session Data

346 Convert Imported “WAV” Files To AES31/Broad- Importing Interleaved Files When selected, this option applies to castWave When using the command, inter- Import Audio all newly imported WAV files, making them leaved stereo files are au tomatically imported to compliant with the AES31/EBU Broadcast stereo tracks. standard. Split stereo (dual mono) audio files can be auto- Automatically Copy Files on Import When se- eo tracks. Split stereo matically imported to ster lected, all audio files that are imported by drag- audio files must have the channel identifiers ging and dropping are copied to the current ses- “.L” and “.R” in their names (for example, file- , regardless of whether sion’s Audio Files folder name .L and filename .R), and the files must be the the files need to be converted to the current ses- same length. In Windows, or in Mac/PC Com- sion’s file type, bit depth, or sample rate. Addi- patibility mode, these files will have a 3-letter tionally, when selected, the Import Session Data file extension appended after the “.L” or “.R” . The dialog defaults to Copy from Source Media channel identifier. Automatically Copy Files on Import preference does command. not affect the Import Audio Pro Tools also lets you import multichannel in- terleaved files of any supported file type. When se- Import REX Files as Region Groups lected, REX flies are impo rted as region groups, all the underlying slices are imported as individ- ual regions contained within the region group. Import Options and When this option is no t selected, importing REX Preferences files into a session converts them to the session’s audio file format, the in dividual slices are con- Pro Tools provides several options and prefer- solidated, and the slice in formation is used for dio import. Configure ences that affect au Elastic Audio analysis. These files remain tick- Pro Tools to match your most common work- based after import and conversion. flows. For example, if you frequently work by importing REX files for loop-based composition, Automatically Create Fades When selected, you can configure Pro Tools to always import crossfades are applied automatically to the REX files to conform to tempo and create new sliced regions within re gion groups created by tick-based Elastic Audio tracks. importing REX files. If the Import REX Files as Re- gion Groups option is not selected, the Automati- cally Create Fades option does not apply. To change the default fade settings for REX files, click the REX button in the Default Fade Settings section on the Editing Preferences page (see “Fades Editing Preference” on page 326). Import options in the Pr ocessing Preferences page 324 Pro Tools Reference Guide

347 Drag and Drop From Desktop Conforms to Elastic Audio Options Session Tempo The Elastic Audio preferences determine which The Drag and Drop From Desktop Conforms to Ses- Elastic Audio plug-in is used for preview and im- sion Tempo options determine whether or not new tracks are created port, and whether or not REX, ACID, and all othe r audio file formats with Elastic Audio enabled using the selected de- dragged and dropped from Windows Explorer or fault plug-in. Mac Finder are imported as tick-based Elastic Audio and conformed to the session tempo. When enabled, all audio files, including None REX and ACID files, ar e not conformed to the ed by drag and drop session tempo when import from Windows Explorer or the Mac Finder. They Processing Preferences, Elastic Audio are imported as sample-based files and con- Default Plug-In Lets you select any Real-Time verted to the sessions audio file format. Elastic Audio plug-in as the default plug-in for REX and ACID Files Only When enabled, only previewing and importing Elastic Audio. The se- nformed to the session REX and ACID files are co lected default Elastic Audi o plug-in is also used tempo when imported by drag and drop from when new tracks are created with Elastic Audio Windows Explorer or the Mac Finder. REX files enabled. The Elastic Audio Plug-In selector in are imported either as tick-based Elastic Audio DigiBase browsers inherits the selected default Import REX Files as Region Groups op- or, if the plug-in. Likewise, changing the selected plug-in tion is enabled, as tick-based region groups. in DigiBase browsers updates the selected Default Plug-In in the Processing preferences. All Files When enabled, all audio files are im- ported as tick-based El astic Audio and conform Default Input Gain Lets you attenuate the signal to the session tempo. input to Elastic Audio plug-ins by 0 to –6 dB for preview and import. If you experience clipping Sample Rate Conversion Quality due to Elastic Audio processing during preview Default or after import, you may want to set the preference The Sample Rate Conversion Quality to slightly attenuate (lower) the audio Input Gain determines the quality of sample rate conver- signal input for Elastic Audio processing. This sion used when converting and importing audio preference also applies to any audio imported to into a session by drag and drop. Sample rate an Elastic Audio-enabled track. conversion is used in a variety of Pro Tools pro- cesses including converting and importing au- If you commit any regions on a track (by dis- dio files of different form ats into a session, and abling Elastic Audio on the track) that were im- bouncing and saving tracks to a different sample ported with the Default Input Gain applied, their rate or bit depth. The higher the quality of sam- is reset to 0. region-based In put Gain ple rate conversion you choose, the longer Pro Tools will take to process the audio file. 325 Chapter 17: Importing and Exporting Session Data

348 only applied to imported REX files if the Import The Elastic Properties window inherits the De- Auto- REX Files as Region Groups option and the fault Input Gain preferen ce. To apply further re- option are both enabled matically Create Fades gion-based Input Gain for Elastic Audio process- on the Processing Preferences page. ing, select the region and adjust the Input Gain setting in the Elastic Properties window (see “Elastic Properties Window” on page 880). Enable Elastic Audio on New Tracks When se- lected, new tracks are created with Elastic Audio enabled. The selected default Elastic Audio plug- in is used. When importing audio to new tracks, with Elastic Audio en- new tracks are created abled if this option is enabled. If the Enable Elastic Audio on New Tracks option is selected, you may want to also select the New Tracks Default to Tick Time- base option in the Editing Preferences page. REX Auto-Crossfades preference and dialog Tracks Preference New Tracks Default To Tick Timebase When the Importing Files with Drag and option is enabled, all new tracks default to ticks. Drop This includes importing audio to new tracks. When deselected, audio, Auxiliary Input, Master Pro Tools lets you import audio, MIDI, video, Fader, and VCA (Pro Tools HD and Pro Tools and session files by dragging and dropping files with Complete Production Toolkit 2 only) tracks from a DigiBase browser, Windows Explorer, or default to samples. MIDI and Instrument tracks Mac Finder to the Pro Tools application icon, always default to ticks. the session Timeline, a track, the Track List, or the Region List. Fades Editing Preference The following figure illustrates some of the op- The Default Fade Settings for REX files in the Ed- tions available to import files using drag and iting preferences lets you select the default enve- drop from DigiBase browsers. lope shape for fades and crossfades between re- gions (“slices”) in imported REX files. Fades are 326 Pro Tools Reference Guide

349 Workspace Volumes Volumes Catalogs Drop media or session files to existing tracks, or to the Drop files in the Track List to add as new tracks Region List to import Importing from browsers by drag and drop To import files into the Region List: Importing does not always convert or copy Select audio, video, MIDI, region group, REX, 1 audio files. See “Audio Conversion on Im- or ACID files in a DigiBase browser, or Windows port” on page 322. Explorer, or Mac Finder. 2 Drag the selected files onto the Region List. Importing using drag and drop does not nec- window to the fore- essarily bring the Edit To import files into an existing track: ground. For example, dragging and drop- ser into a track leaves ping a file from a brow 1 Select the files you want to import in a Di- the source browser in the foreground (not giBase browser, or Windows Explorer, or Mac the Edit window). Always verify the active, Finder. foreground window or browser before con- 2 Drag the selected file to a location on an exist- tinuing. ing, compatible track. The file is imported and placed where it was dropped. 327 Chapter 17: Importing and Exporting Session Data

350 To import files as new tracks: Snapping to Head and Tail Select the files you want to import in a Di- 1 You can drag and drop files to tracks and have giBase browser, or Windows Explorer, or Mac them snap to the head or the tail of the current Finder. Edit selection or insertion point. When snap- ping to head, the beginning of the imported file Do any of the following: 2 the Edit selection. snaps to the beginning of • Shift-drag files and drop anywhere in the When snapping to tail, the end of the imported Edit window. file snaps to the beginning of the Edit selection. • Drop files to the Track List. • Drop files to empty space in the Edit win- To import and snap to head: dow, below or between tracks. Start-drag (Windows) or Control-drag (Mac) a „ file onto a track. To import and spot files into a track: Enable Spot mode. 1 To snap to head and copy the file to the session Audio files folder: Select the files you want to import in a Di- 2 giBase browser, or Windows Explorer, or Mac „ Alt-Start-drag (Windows) or Option-Control- Finder. drag (Mac) a file onto a track. 3 Drag the files onto an existing, compatible To snap to tail: track. The Spot dialog appears. Control-Start-drag (Windows) or Command- „ Enter the appropriate time code location 4 Control-drag (Mac) a file onto a track. (where you want to spot the imported file). OK 5 . Click To snap to tail and copy the file to the session Audio Files folder: To import and spot an audio file by its Waveform in Control-Alt-Start-drag (Windows) or Com- „ DigiBase browsers: mand-Option-Control-drag (Mac) a file onto a In a DigiBase browser, Control-click (Win- 1 track. dows) or Command-click (Mac) the file’s Wave- form display at the approximate reference point you want to use for placement in a track. While continuing to press Control (Win- 2 dows), or Command (Mac), drag the waveform onto an existing audio track (the source audio n audio track must have file and the destinatio the same number of channels). 328 Pro Tools Reference Guide

351 Elastic Audio on Import Importing Tempo from Tick-Based Audio When importing any audio file by drag and drop to an Elastic Audio-enabled track, the au- the session, and you im- If there are no tracks in dio file is imported and analyzed (if not already port a tick-based audio file to the Region List, analyzed). If the imported audio file is tick- e in the Edit window, Track List, or empty spac based, it is conformed to tempo using the track’s you are prompted to ei ther import the tempo Elastic Audio plug-in. If it is a sample-based au- from the file or use the default session tempo. To dio file, such as a single drum hit or short sound keep the default session tempo, and have the effect, it maintains its original duration. Longer loop conform to the session tempo, click Don’t audio files with no detectable tempo also remain Import . sample-based. If the session already cont ains at least one track You can also import audio by drag and drop to (regardless of track type ), you are not prompted create new tick-based Elastic Audio-enabled to import the tempo from the file and the file is tracks. conformed to the session tempo. When importing tick-based audio by drag and drop from DigiBase browsers to the Track List or Importing Audio Files and empty space in the Edit window, Pro Tools cre- ates a new tick-based, Elastic Audio-enabled Regions Using the Import track using the default Elastic Audio plug-in se- Audio Command lected in the Processing Preferences page (see command lets you import au- Import Audio The “Elastic Audio Options” on page 325). dio files or regions into your Pro Tools session. If you are importing an audio file by drag and To import entire tracks from other sessions, drop from Windows Explorer or Mac Finder to see “Importing Session Data” on page 336. the Track List or to empty space in the Edit win- dow, files are imported as sample-based or as To import audio files or regions into a session tick-based Elastic Audio depending on the Drag using the Import Audio command: and Drop from Desktop Conforms to Session 1 File > Import > Audio . Choose preference (see “Drag and Drop From Tempo Desktop Conforms to Session Tempo” on In the Import Audio dialog, locate and select 2 page 325). an audio file to display it s properties and associ- ated regions. Importing Elastic Audio from DigiBase to the Region List Audio Files Conform to Session Tempo With the option enabled, dragging and dropping tick- based audio from DigiBase browsers to the Re- gion List (or to the Track List), creates two sepa- rate regions in the Region List. The first is a sam- ple-based whole file region and the second is a tick-based copy of the same region. 329 Chapter 17: Importing and Exporting Session Data

352 Adjust the preview volume with the vertical You can choose to display only a certain file slider. To navigate to a particular location in the type (such as AIFF) by selecting the type from file, use the horizontal slider under the Play and the Show pop-up menu. To display all supported Stop buttons. All Documents file types, select from the Show pop-up menu. The Preview Volume co ntrol in the Import cts the preview volume Audio dialog also affe when auditioning regions in the Region List. The audition output path defaults to channels 1–2. For Pro Tools systems with more than 2 channels of output, the audition path can be changed in the I/O Setup (see “Audition Paths” on page 91). 4 Do any of the following: • To place a file or region in the Import list, Add or Convert . select the file and click • To import all files and regions in the cur- rent directory, click Add All or Convert All . • To remove a file or region from the Import Remove . list, select it and click • To remove all files and regions, click Re- Figure 2. Import Audio dialog move All . In the import list, audio files are distinguished from regions by their icons. Pro Tools lets you add files to a session that are at a different sam ple rate than your session. In the comments field of the Import Audio File icon Audio dialog, a warning is posted that these files will play back at the wrong speed and Audio Region icon pitch if they are not converted. File and Region icons in the Import Audio dialog 5 When you have added all audio files and re- gions to the Import list, you can apply sample files must have the On Mac, Sound Resource rate conversion by doing the following: “.SFIL” extension to be imported by • Enable Apply SRC. Pro Tools. •Specify the either by Source Sample Rate 3 To preview a selected file or region before you typing a number, or by selecting a sample import it, click the Play and Stop buttons in the rate from the pop-up menu. Import Audio dialog. • Select the sample rate conversion quality pop-up menu. This setting Quality from the Sample Rate Conversion Qual- overrides the setting in the Processing Preferences ity page. Pro Tools Reference Guide 330

353 Spot Displays the Spot dialog, which lets you Done . 6 Click spot the file or region to a precise location based If you are copying or converting files, choose 7 on any of the Time Scales. a location for the new files. Choose a folder on a the Audio Files folder valid audio drive, such as 10 . OK Click for the current session. In the Audio Import Options dialog, select 8 where the imported files will go in the session: Importing Audio from Audio CDs Pro Tools lets you import tracks from audio CDs using the same methods that you use to import audio files, as follows: • Drag and drop CD audio from the CD folder. • Drag and drop files from DigiBase Browser. command. Import Audio •Use the Before importing CD audio, make sure your Audio Import Options dialog hard drive has enough space for the converted New Track Each audio file is imported into its audio files. own individual track and into the Region List. Importing CD audio with either drag and When importing audio into a track, you can also continue working in drop method lets you choose the location in the track where the audio the session foreground (such as in the Mix or file will begin (such as Session Start). Edit window), while the Task Manager (Window > Task Manager) works in the Audio files are imported into the Re- Region List background (importing and converting the gion List without creating a new track. Imported audio until the import is completed). For audio files appear in the Region List and can more information on the Task Manager, see then be dragged to audio tracks. “Task Window” on page 317. 9 If you chose to create a new track, choose a lo- Because the transfer is made in the digital do- cation for the imported file in the track: main, there is no signal loss. Places the file or region at the start Session Start The sample rate for audio CDs is 44.1 kHz. of the session. Therefore, if your session’s sample rate is set to Aligns the beginning of the file or re- Song Start 48 kHz or higher, Pro Tools will convert the gion to the Song Start point. sample rate for the imported audio. Before im- porting CD audio, set the Sample Rate Conver- Aligns the beginning of the file or re- Selection sion Quality preference accordingly. For more in- gion to the edit cursor or to the beginning of a formation, see “Sample Rate Conversion selection in the Timeline. Quality” on page 323. 331 Chapter 17: Importing and Exporting Session Data

354 To import ACID and REX files as tick-based Elastic Importing ACID and REX Files Audio regions: Setup > Preferences Choose 1 Pro- and click the ACID files and REX 1 and 2 files are converted to cessing tab. the session audio file type. Depending on the preferences settings, ACID and REX files can be Disable the Import REX Files as Region Groups 2 imported as sample-based regions or as tick- option. based Elastic Audio regions. For REX files only, as the REX and ACID Files Only or All Files 3 Select Pro Tools uses any slice data to create Event Drag and Drop from Desktop Conforms to Session markers with 100% confidence. ACID files are preference. Tempo analyzed for Elastic Audio events just like WAV detected with varying de- files, and so events are 4 OK to close the Preferences dialog. Click grees of confidence. 5 Do one of the following: For information on Elastic Audio, see • Import the REX files you want by drag and Chapter 41, “Elastic Audio.” drop from a DigiBase browser • Import the REX files you want by drag and REX files can also be imported as tick-based re- drop from the Desktop. gion groups. •Use the Import Audio command (see “Im- For information on region groups, see porting Audio Files and Regions Using the “Region Groups” on page 833). Import Audio Command” on page 329). To import ACID and REX flies as sample-based To import REX files as tick-based region groups: regions: Pro- and click the Setup > Preferences Choose 1 Setup > Preferences Choose and click the Pro- 1 cessing tab. cessing tab. 2 Select the Import REX Files as Region Groups op- Import REX Files as Region Groups 2 Disable the tion. option. To apply real-time crossfades to the files, en- 3 3 Select No Files as the Drag and Drop from Desk- option (see Automatically Create Fades able the top Conforms to Session Tempo preference. “Automatic Fades for Imported REX Files” on page 333). to close the Preferences dialog. OK 4 Click Select as the REX and ACID Files Only or All Files 4 When importing by drag and drop from Di- 5 Drag and Drop from Desktop Conforms to Session giBase browsers, make sure that the Audio Files preference. Tempo Conform to Session Tempo option is disabled. 5 to close the Preferences dialog. OK Click 6 Import the ACID and RE X files you want by drag and drop from a Di giBase browser or the command Import Audio Desktop, or using the (see “Importing Audio Files and Regions Using the Import Audio Command” on page 329). 332 Pro Tools Reference Guide

355 6 Do one of the following: Importing Multichannel Audio • Import the REX files you want by drag and Files from a Field Recorder drop from a DigiBase browser • Import the REX files you want by drag and Pro Tools lets you use any of its import methods drop from the Desktop. to import monophonic and polyphonic audio command (see “Im- •Use the Import Audio files recorded by a field recorder. When you im- porting Audio Files and Regions Using the port these types of files, they must be converted Import Audio Command” on page 329). to an audio format compatible with Pro Tools. For more information on importing files Automatic Fades for Imported REX Files from a field recorder, see Chapter 52, Import REX Files as Region Groups If the option is “Working with Field Recorders in enabled in the Processing Preferences page, Pro Tools.” Pro Tools can automatically apply real-time crossfades to the regions or “slices” in imported Importing Monophonic Audio Files REX format files. A monophonic audio file contains one mono To apply real-time crossfades to REX files: channel and relevant metadata from a single multichannel recording. 1 Pro- and click the Choose Setup > Preferences cessing tab. When you import monophonic audio files that were recorded simultaneously, they are con- 2 Enable the Import REX Files as Region Groups regions and displayed verted to multichannel option. together in the Region List. Any metadata is also option. 3 Create Fades Automatically Enable the imported with the files. Editing 4 In the Preferences dialog, click the tab. Importing Polyphonic Audio Files Under Default Fade Settings, click REX . 5 A polyphonic audio file contains multiple mono In the REX Auto-Crossfades dialog, select the 6 channels and relevant metadata recorded simul- OK . shapes you want for crossfades, and click taneously in a multichannel recording. Click to close the Preferences dialog. OK 7 When imported into Pro Tools, a polyphonic Depending on your edits or tempo changes audio file is divided into individual mono- after importing REX files, the fades can be phonic audio files written to disk—one file for deleted and you will have to recreate them each channel. Regions for each channel appear manually. in the playlist, and a multichannel region ap- pears in the Region List with the channels ex- pandable underneath. Any metadata is also im- ported with the files. 333 Chapter 17: Importing and Exporting Session Data

356 Exporting Audio Pro Tools supports exporting audio regions as audio files, exporting left and right audio files as stereo interleaved files, and exporting region in- formation. You can also export audio from Pro Tools by bouncing or consolidat ing audio tracks. For more information, see “Bounce to Disk” on page 1062 and “Consolidating Regions” on page 592. Exporting a Region as a New Audio File You can export regions as audio files with the Export Regions as Files command. Use this command if you intend to use a region in other sessions (or other audio applications) without Export Selected dialog using its parent source file. 3 In the Export Selected dialog, set the , File Type This command also provides a way to convert , Format . In addition, Sample Rate , and Bit Depth regions to a different audio format, sample rate, Conversion Quality , and choose the specify the or bit depth. . Destination Directory To export regions as new audio files: When you export regions to a lower bit depth, Dither (with or without Noise Shaping) is ap- 1 In the Region List, select the regions you want plied as shown in the following table. to export. Dither and Noise Shaping with Export Selected dialog Warped regions (Elastic Audio) will be ex- Noise ported unwarped at their original duration. Bit Depth Dither Shaping Export Re- 2 From the Region List menu, choose 24-bit to 24-bit No No gions as Files . 16-bit to 24-bit No No 24-bit to 16-bit Yes Yes 16-bit to 16-bit No No 24-bit to 8-bit Yes No No Yes 16-bit to 8-bit 334 Pro Tools Reference Guide

357 Pro Tools HD and Pro Tools with Complete Pro- The Dither used for any conversion is the Digi- duction Toolkit 2 also let you bounce multi- Rack Dither plug-in (with or without Noise channel interleaved files of any supported file Shaping enabled. type. For more information about using Dither, see “Dither” on page 963. To export regions as a stereo or multichannel interleaved file: If you are exporting to an 8-bit file, enable the 4 1 Select the stereo or multichannel audio region option. This optimizes the dynam- Use Squeezer in the Region List or in the track playlist. If the ics of the exported audio by preprocessing it us- regions appear on mono tracks in the session, ing compression, limiting, and gating before select the two mono regions. conversion to 8-bit resolution (for more infor- mation, see “Use Squeezer” on page 1068). Export Re- From the Region List menu, choose 2 . gions as Files 5 Select an option for how Pro Tools should re- solve duplicate file names. 3 In the Export Selected dialog, select Stereo In- Format pop-up menu. For multi- in the terleaved Prompts you for a Prompting for Each Duplicate option channel regions, the Stereo Interleaved file name for any file that has the same name as produces a multichannel interleaved file. a file in your destination directory. Configure any other output settings, then 4 Auto Renaming Automatically changes the to export the new stereo interleaved click Export name of any duplicate file by adding a number file. at the end of the file name (such as file_01). Replaces files with the Replacing with New Files Exporting Region Definitions same name with the new files. Pro Tools stores region definitions for audio files Export 6 to export the new audio files. Click within each session. If you want to use an audio file’s regions in another session, or with another s them, you can export application that support Exporting Stereo or Multichannel the region information. Interleaved Files com- You can use the Export Regions as Files If you plan to transfer Pro Tools session mand to export audio regions to stereo or multi- data to another session, you should export channel interleaved files for use in other appli- r sessions containing region definitions fo cations. (Pro Tools cannot use interleaved files d with Loop Record. multiple takes create directly in the Timeline—these must be con- The command does not Export Region Definitions verted into multiple mono files.) For example, Export export regions as audio files (unlike the for this to work with a stereo file, the selected re- command). Instead, it stores Regions as Files gions must have identical names with “.L” and pointers to the regions within the parent source “.R” suffixes (for instance, vocals_01.L and file. vocals_01.R). These regions appear as a stereo re- gion in the Region List. 335 Chapter 17: Importing and Exporting Session Data

358 To export region definitions for an audio file: 4 In the Source section, select tracks to import by clicking the pop-up menu to the right of each In the Region List, select any regions or region 1 track name and selecting New Track . groups for which you want to export defini- tions. You do not have to select the parent file To select multiple tracks, Alt-click (Win- audio region. dows) or Opt-click (Mac) on any track pop- up menu and select Import As New Track. Export Region Definitions from the Re- Choose 2 gion List menu. If the destination Pro T ools system does not Export . 3 Click support surround mixing, surround tracks are not displayed in th e Source Track List. Importing Session Data For each track you select, you can choose to 5 import it as a new track, or choose a destination You can import entire tracks from other track from the corresponding pop-up menu. Pro Tools sessions into the current Pro Tools ses- Click Match Tracks to automatically match command or Import Session Data sion using the source and destination tracks with the same drag and drop. names. With Pro Tools, you can import tracks and you 6 Select any additional track data you want to can select specific session data (such as automa- import from the pop-up Track Data to Import tion and routing) to import. You can also import menu. main playlist options—either replacing existing Main Playlist Options Select from among the 7 to options or overlaying elements onto existing choose how you want to import the source tracks. tracks. To import tracks or their attributes: 8 If applicable, choose options for how media files should be imported from the Audio Media 1 Open or create a new session. pop-up Video Media Options and the Options Do one of the following: 2 menus. • Choose , select File > Import > Session Data for im- Time Code Mapping Options Choose the 9 data from, and click the session to import ported data. Open . If the sample rates of the sessions are differ- 10 – or – ent, select the sample rate for the source session • Drag the session file whose tracks or attri- Source Sample Rate pop-up menu. from the butes you want to import from a DigiBase browser, Windows Explorer, or Mac Finder 11 To import the meter and tempo maps from into empty space in th e Edit window or to the source session, select the Import Tempo/Meter the Track List. Map option. setting of the session is differ- Fader Gain 3 If the 12 To import key signatures from the source ses- ent, you will be prompted to keep or change the Import Key Signature Map sion, select the option. Fader Gain before the Session Data dialog opens. 336 Pro Tools Reference Guide

359 13 To import Markers and Memory Locations Importing Sessions and Tracks by from the source session, select the Import Drag and Drop Marker/Memory Locations option. Session files can be dragged into the current To import Window Configurations, select 14 ot) audio, video, MIDI, session to import (and sp Import Window Configurations option. the region group, REX and ACID files, tracks, and session data. Import Mic Pre 15 With Pro Tools HD, select the Settings option to import any Mic Pre settings • Dragging a session to the Region List imports from the source session. all the regions from that session (without im- porting tracks). Click when you are finished. OK 16 • Dragging a session to a track in Pro Tools lets If you chose to copy or consolidate media, 17 you import tracks. choose a location to place the media files. • Dragging a session to a track playlist in Pro Tools opens the Import Session Data dia- Imported tracks are made inactive if their log, letting you select tr acks and attr ibutes to source media is unavailable, or if the cur- import. The imported session data will begin rent session does not contain an equivalent wherever you drop the session in the Time- output path. line. Importing Grouped Playlists from To import tracks and other session data by drag Other Sessions and drop: You can import tracks t hat use Grouped Playlists 1 Open a browser. ssion, and the playlist from another Pro Tools se Drag a Pro Tools session file, or an AAF or OMF 2 grouping function will remain intact for those t session, as follows: sequence, into the curren imported tracks. There is, however, a restriction Pro Tools 6.1 sessions: for importing from pre- • Drag onto an existing track to overlay or After importing a partial set of grouped playlists overwrite data on the target tracks. Hold (such as tracks 1–7 of a 10-track group), you can- the Shift key while dragging if you intend tracks 8–10 and have not subsequently import to replace the current track playlists with them rejoin the playlist group for tracks 1–7. those being imported (the Shift key pre- configures the settings in the Import Ses- sion Data dialog). • Drag to empty space in the Edit window to create new tracks for the imported session data. • Configure the Import Session Data options (see “Import Session Data Dialog” on page 338). 337 Chapter 17: Importing and Exporting Session Data

360 Copying During Import Import Session Data Dialog If no conversion is necessary, and the files reside The Import Session Data dialog lets you view the on a suitable Performance volume, Pro Tools ref- properties of the source session, select which erences the original version of the media. You tracks to import, and with Pro Tools HD, choose can also choose to copy media while importing which attributes of those tracks you want to im- by using key commands, or enabling the Auto- port into the current session. matically Copy Files on Import preference. Copies are created in the session’s Audio Files Folder. To manually copy files on import: „ Alt-drag (Windows) or Option-drag (Mac) the files. A copy is created in the session Audio Files folder. When importing sessions or tracks, the Import Session Data dialog lets you specify whether to reference the source media, or copy it. To automatically copy files on import: 1 Choose Setup > Preferences , and click the Op- erations tab. Files on Import . 2 Automatically Copy Select OK Click 3 to close the Preferences dialog. Import Session Data dialog (Pro Tools HD) Using Undo after Importing Source Properties Using after importing any files to the Undo The Import Session Data dialog displays proper- Timeline removes the files from the Timeline. n. These properties in- ties for the source sessio However, the files remain in the session (in the clude source session name, session type, start Region List and Project browser) and are offline. time of the session, audio bit depth, and sample If you do not remove or delete the files from the rate. For Pro Tools 5.1 or higher sessions, the will report them as session manually, Pro Tools program that created the session and the ses- the session is opened. missing files the next time sion’s audio file type are listed. 338 Pro Tools Reference Guide

361 essary. This is useful if you are importing tracks Text Encoding from a source such as CD or DVDs or shared Pro Tools allows entry and display of any lan- storage, and you want to place the audio files on guage characters suppo rted in Unicode any- a different hard drive. where in the Pro Tools application. This lets you use multiple languages in session names, and in This option con- Consolidate from Source Media path names, file names and region names. solidates audio while copyin g it. This is useful if you want to copy only the regions of the audio However, Pro Tools 7.3.x and lower does not files used in the source tracks, without copying importing data from support Unicode. When unused audio. This option copies and converts sessions or OMF sequences created or saved with e current session’s au- consolidated audio to th older versions of Pro Tools, you may need to dio file format, bit depth, and sample rate if nec- identify the language encoding used in the im- essary. ported elements. When you choose this option, you can also To choose the language encoding when importing (in milliseconds) applied Handle Size choose the data from a legacy Pro Tools session: is the amount of Handle to consolidated audio. the original audio file that is preserved before Choose 1 . > Session Data File > Import and after each region in case you need to make Choose the language used in the legacy ses- 2 any edits (such as applying fades or trimming) sion from the pop-up menu. Text Encoding to the new regions. Consolidate From Source Media is not Audio Media Options available when importing Elastic Audio The following Audio Media Options are avail- tracks. able in the Import Session Data dialog: This option cop- Force to Target Session Format Link to Source Media (Where Possible) This op- ies and converts any files that do not match the tion lets you avoid duplicating audio files by re- rmat, bit depth, and sam- current session’s file fo ferring to the original files when possible. If the ple rate. Files that do match the current session’s source files do not reside on supported playback file type, bit depth and sample rate are referred media (such as a CDs or DVDs), or if they require to directly and not copied. bit depth or sample rate conversion, the source files are copied instead. This option allows the Video Media Options current session to refer to files that do not match In the Import Session Data dialog, you can ei- the current session’s audio file format. ther choose to leave video media files in their Copy from Source Media This option copies all original locations or copy them to a new loca- audio files related to the imported tracks from tion. This is useful if you are importing tracks the source media to a new specified location, from a source such as CDs or DVDs or shared and converts the files to the current session’s au- storage, and you want to place video files on a dio file format, bit depth, and sample rate if nec- different drive. 339 Chapter 17: Importing and Exporting Session Data

362 This option Maintain Relative Time Code Values Link to Source Media places tracks at the same offset from session start Select this option to avoid duplicating video as they had in the source session. For example, if files by referring to the original files. the source session starts at 01:00:00:00 and con- tains a track that starts at 01:01:00:00, and the Copy from Source Media current session start is 02 :00:00:00, the track will be placed at 02:01:00:00 in the current session. Select this setting to copy all video files related om the source media to to the imported tracks fr Map Start Time Code To This option places a new specified location. tracks relative to their or iginal session start time. hh:mm:ss:ff) For exam- (Times are expressed in Import as Offline Satellite Media ple, if the current sessio n starts at 00:01:00:00, (Pro Tools HD Only) and the session from which you are importing starts at 10:00:00:00, you can reset the start time Select this option to import a video track with code to 00:01:00:00, to avoid placing files 9 offline media. You will be able to see cuts and the start of your ses- hours and 59 minutes from clip names, but the video media remains offline. sion. You can view the video media on a connected option is only avail- Video Satellite system. This able when New Satellite Track is selected for the Track Offset Options video track. In the Import Session Data dialog, you can spec- ify a track offset in addition to any offset in- Time Code Mapping Options . Any Time Code Mapping Options curred with the in the current session’s imported audio is offset In the Import Session Data dialog, you can spec- Timeline by the specified amount. You can en- acks are placed in the ify where the imported tr ter values in Minutes:Seconds, Bars|Beats, Sam- current session. Times are indicated in time ples, Time Code, or Feet/Frames. code. The following Time Code Ma pping Options are Sample Rate Conversion (SRC) available: Options This op- Maintain Absolute Time Code Values In the Import Session Data dialog, you can set tion places tracks at the locations where they options that control how sample rate conver- were located in the source session. For example, sion is applied to imported audio files. If the if the current session starts at 00:01:00:00, and source session and the current session have the the session from which yo u are importing starts same sample rate, this portion of the dialog is at 10:00:00:00, the earlie st imported tracks can unavailable. appear in your session is 9 hours and 59 minutes after the start of the session. The following Sample Rate Conversion (SRC) Op- are available: tions 340 Pro Tools Reference Guide

363 Destination Track Names The names of possible Source Sample Rate For audio files created in the current session are destination tracks in any session, no matter what the session sample listed at the bottom of the pop-up menu. Im- rate is, you can have the sample rate conversion ttributes selected in the ported playlists and all a process treat the files in several ways to compen- pop-up menu will be placed Track Data to Import sate for pull-up, pull-down, and NTSC or PAL in the destination track you select. frame rates. This setting allows you to choose the sample rate from which you want the sam- that match the track Only destination tracks ple rate conversion process to start. type (audio, Instrument, MIDI, Auxiliary Input, or Master Fader) and the channel format (mono, The destination sample Destination Sample Rate e supported multichannel stereo, or any of th rate is always set to the sample rate of your cur- formats) of the source track appear in the pop- rent session. up menu. Conversion Quality This option lets you set the quality of the sample-rate conversion process Matching Tracks (see “Sample Rate Conversion Quality” on page 323). In the Import Session Data dialog, you can make sure track names match when you are importing playlists from source tracks with the same name Source Tracks the current session (such as destination tracks in This area of the Import Session Data dialog lists to Matching Tracks as a new cut of a scene). Click the tracks in the source session that can be im- automatically match the track names. Tracks ported, each with a corresponding pop-up must have the same name, track type, and chan- menu. nel format to be automatically matched. Operation/Destination Track Track Data to Import Pop-Up Menus In the Import Session Data dialog, the Track Data In the Import Session Data dialog, each source pop-up menu is where you select which to Import track has a correspondin g pop-up menu that tracks you want to im- attributes of the selected the track as well as for lists options for importing port into the current session. possible destination tracks in the current ses- are applied to all tracks that Selected attributes sion. The pop-up menus display the following you choose to import into the current session. items: Do Not Import Neither the source track nor any Replacing Track Attributes of its attributes are imported. When you import an attribute of the source The source track and all at- Import as New Track track into an existing track in the current ses- pop- Track Data to Import tributes selected in the sion, it replaces the corresponding attribute in up menu are imported in to a new track in the the destination track. If you choose not to im- current session. source track, the corre- port an attribute of the sponding attribute in the destination track is re- tained. 341 Chapter 17: Importing and Exporting Session Data

364 Mute Automation and Setting Imports the source Replacing Track Path Names track’s Mute setting and any automation data When you import a track’s input, output, send on the track’s Mute automation playlist. The assignments, any cus- output or hardware insert Mute setting and any Mute automation data in tom path names and I/O configurations from the destination track are replaced. the source session are not imported. You can im- port path names and I/O configurations by im- Main Output Assignments Imports the source porting I/O Setup settings. For more informa- track’s channel output assignments, including tion, see “Factory I/O Settings” on page 111. any multiple output assignments. The channel output assignments in the destination track are Selecting Track Data to Import replaced. , or any combination of None , You can select All Send Output Assignments Imports the source the listed track data to import. The following are track’s send output assi gnments. Any Send out- available for import: put assignments in the de stination track are re- placed. All Imports all of the source track’s playlists, ac- Main Playlist Option setting, and all cording to the Plug-In Assignments Imports the source track’s of the attributes in the Track Data to Import list. plug-in assignments. Any plug-ins in the desti- nation track are removed, and their associated None Imports only the source track’s main play- mation are lost. settings and auto list, according to the Main Playlist Option s setting, of the source track. and no other attributes If the source track uses a plug-in that is not avail- able on the destination system, it appears in the Alternate Playlists Imports all of the source destination track and is made inactive. track’s alternate playlists. The alternate playlists appear in the destination track’s playlist pop-up When the Plug-In Settings and Automation menu. source track’s plug-in assignments are imported, this option imports the track’s plug-in settings Regions and Media Imports all of the audio files and any automation data associated with the or regions in the source track, and places them plug-ins. If no plug-in assignments are im- in the Region List. ported, this option has no effect. Imports the Volume Automation and Setting Elastic Audio Track State Imports the source source track’s Volume fader setting and any au- track’s Elastic Audio trac k state. Any Elastic Au- tomation data on the track’s Volume Automa- dio settings in the destination track are replaced. tion playlist. The Volume fader setting and any Volume automation data in the destination HW Insert Assignments Imports the source track are replaced. track’s hardware Insert assignments. Any Insert assignments in the destination track are re- Pan Automation and Setting Imports the source placed. gs and any automation track’s Pan Slider settin data on the track’s Pan Automation playlist. The Voice Assignments Imports the source track’s Pan Slider setting and any Pan automation data voice assignment from the source session. Any in the destination track are replaced. voice assignments in the destination track are replaced. 342 Pro Tools Reference Guide

365 HEAT Switch Settings (Pro Tools|HD Systems with Input Assignments Imports the source track’s Imports any the HEAT Software Option Only) channel input assignment. The Input assign- stored HEAT switch settings from the source ses- ment in the destination track is replaced. sion. When the source track’s Side-Chain Assignments plug-in assignments are imported, this option Import Options imports any side-chain as signments associated with the plug-ins. If no plug-in assignments are The following Import Options are available in imported, this option has no effect. the Import Session Data dialog: Imports the active/inactive Track Active State Import Tempo/Meter Map Imports the meter state of the source track from the source session. and tempo maps, as they appear in the Tempo and Meter Conductor rule rs, from the source Imports the track comments Track Comments session. Any Tempo or Meter events in the des- ce track. Any comments associated with the sour tination session are replaced. in the destination track are replaced. Imports all key Import Key Signature/Chord Map Imports the track color associated Track Colors signatures (if present) and chord markers into with the source track. Any color for the destina- Pro Tools with the imported session data. Any tion track is changed. key signatures and chord markers in the destina- tion session are replaced. Safe Settings Record Safe/Solo Imports the re- cord safe and solo safe settings of the source Imports Import Marker/Memory Locations track from the source session. Any record safe or markers and Memory Locations as they appear solo safe settings in the destination track are re- in the Marker ruler, from the source session. Any placed. markers and Memory Locations in the destina- tion session are retained. Imported marker and Imports the track height Track View Settings Memory Locations are assigned the next avail- and playlist view of the source track from the able Marker/Memory Location numbers. source session. Imports the Win- Import Window Configurations Mix/Edit Groups Imports track groups from the dow Configurations from the source session. source session. Import Mic Pre Settings Imports any Pro Tools ICON Custom Fader Groups (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Mic Pre settings from the source session. Any Only) Imports any ICON Custom Fader Groups Mic Pre settings in the destination session are re- from the source session. placed. ICON Automation Snapshots (Pro Tools HD and Import HEAT Master Settings (Pro Tools HD with Pro Tools with Complete Production Toolkit 2 Imports any HEAT Master settings HEAT Only) Only) Imports any ICON Automation Snapshots from the source session, including Bypass, from the source session. Drive, and Tone settings . The HEAT Master set- tings in the destination session are replaced. 343 Chapter 17: Importing and Exporting Session Data

366 Main Playlist Options Importing AAF and OMF In the Import Session Data dialog, you can select Sequences from the following options to control how the Pro Tools lets you open AAF and OMF sequences urce track is imported main playlist from each so , or you can import as new Pro Tools sessions to the destination track in the current session. AAF and OMF sequences into existing Pro Tools Import – Replace Existing Playlists Imports the sessions. Pro Tools can im port AAF and OMF se- main playlist from the source track. When you quences exported from ot her Pro Tools sessions, import the playlist into an existing track, the from Avid Media Composer, or from third-party main playlist in the destination track is deleted applications (such as Fina l Cut Pro, Logic Audio, and replaced with the imported playlist. Adobe Premiere Pro, or Nuendo). If you select this option and import all of the ‹ Avid-generated OMF sequences with clip-based source track’s attributes, this is equivalent to im- pan are supported. However, Pro Tools will not porting the entire track. import automation (keyfr ame) pan data from an ‹ If you select this option and do not import OMF. any of the source track’s attributes, you replace When importing AAF sequences, Pro Tools can the audio playlists while keeping your current import mono and stereo audio tracks. mixer settings. When opening and importing an AAF or OMF Import – Overlay New On Existing Playlists Im- sequence the New Session dialog opens, ports the main playlist fr om the source track. prompting you to name and save the sequence When you import the playlist into an existing as a new session. Once you name and save the track, any existing playlist data that overlaps new session, the Import Session Data dialog data imported from the source track is trimmed opens. For more information, see “AAF/OMF and replaced with the imported data. Any play- Source Track Translation Settings” on page 352. list data in the destination track that does not overlap remains in the destination track. You can import the following types of files into Pro Tools: Does not import the main playlist Do Not Import from the source track. No audio is imported; • AAF or OMF sequences (including those only the attributes selected in the Track Data to with embedded audio) Import list are imported to the selected tracks. • Individual Avid video files in the MXF or When selected, importing all of the source OMF format track’s input, output, send , insert and plug-in at- • OMF audio files to importing a channel tributes is equivalent strip. jo is required for Avid Mojo SDI or Avid Mo importing MXF and OMF video. 344 Pro Tools Reference Guide

367 To open and import an AAF or OMF sequence in To import AAF or OMF sequences into Pro Tools, Pro Tools: do one of the following: „ Launch Pro Tools. command. 1 > Session Data Use the File > Import Use the command. File > Open Session 2 Choose . File > Open Session „ „ In the Open Session dialog, navigate to the 3 Drag and drop them from any DigiBase browser or the desktop. AAF or OMF sequence you want to import. . 4 Click Open video files into Pro Tools, To import individual Avid do one of the following: „ Use the File > Import > Video command. – or – „ Drag and drop them from any DigiBase browser or the desktop. To import individual OMF audio files into Pro Tools, New Session From dialog do one of the following: 5 Select the audio file type, sample rate, and bit command. File > Import > Audio „ Use the depth to use for the session. – or – Click OK . 6 Drag and drop them from any DigiBase „ 7 Name your session in the Save As field. browser or the desktop. Click Save . 8 Importing an AAF or OMF You can open and import OMF or AAF se- Sequence as a Pro Tools Session quences that reference audio files with mixed The easiest way of using Pro Tools to edit a se- sample rates or bit depths. Audio files will be Avid application (such quence exported from an converted to the highest sample rate and bit as Media Composer) is to open it as a new ses- depth of the files being imported (for new ses- sion. sions) or to the curr ent sample rate or bit depth (for existing sessions). Pro Tools cannot play MXF audio or video files embedded within an AAF or OMF se- quence. 345 Chapter 17: Importing and Exporting Session Data

368 o Files folder, a Fade Pro Tools creates a new Audi folder, a Session File Files folder, Region Groups Backups folder, a Video Files folder, a cache.wfm file, and a session file where you have desig- This session will match nated their locations. the audio file type, sample rate, and bit depth of the audio in the OMF or AAF you selected. Pro Tools does not import video embedded in a sequence. If you are opening an AAF or OMF sequence cre- you might be prompted ated on an Avid system, is recommended that you to locate Fade files. It Skip All Fades select the option because fades cre- ated on an Avid system are not compatible with Pro Tools. Pro Tools always recreates all fades. If there are any errors, region name trunca- Import Session Data dialog tions, or other notes (such as missing effect renderings), during the import, a dialog ap- Depending on how you want to import the 9 want a detailed report pears asking you if you audio, select the appropriate option from the Au- of the changes. Click Yes and choose where pop-up menu (see “Audio Me- dio Media Options you want to save the log. The log is a text file dia Options” on page 349). that you can open in any text editing applica- 10 Depending on how you want to import the tion. video, select the appropriate option from the Video Media Options pop-up menu (see “Video Every AAF and OMF file has a filename and Media Options” on page 350). unique identifier stored in the AAF and OMF Change other settings and options as neces- 11 metadata, and a name which is displayed on sary (see “Import Options when Importing AAF the desktop. Truncating a region name in the or OMF Sequences” on page 349). not change the AAF translation process does or OMF filename or unique ID. . OK Click 12 346 Pro Tools Reference Guide

369 3 In the Import Session Data dialog, deselect Multi-Cam Resolution Files want im- any source tracks that you do not On an Avid system, Multi-Cam Resolution files ported. (If importing Session Data from AAF or display multiple individual camera angles of the OMF sequences, all tracks are selected by de- same scene. The Avid operator chooses which of fault. If you are importing tracks from a the Multi-Cam files (and therefore camera an- ks are selected by de- Pro Tools session, no trac gles) will be dominant, at the time of creating an fault.) AAF or OMF export. When you import an AAF or OMF sequence into a Pro Tools session, only the clip representing the dominant camera an- gle will be displayed. Importing an AAF or OMF Source Tracks Sequence into an Existing Session Select the AAF/OMF translation settings, if 4 You can import an AAF or OMF sequence con- any (see “AAF/OMF Source Track Translation taining audio and video media into an existing Settings” on page 352). Pro Tools session. Audio Media Options (see “Audio Me- Select the 5 dia Options” on page 349). To open and import audio and/or video tracks from an OMF or AAF sequence: Video Media Options Select the (see “Video Me- 6 dia Options” on page 350). 1 Launch Pro Tools, and open an existing Pro Tools session. 7 Select the Time Code Ma pping Options , if any (see “Time Code Mapping Options” on 2 , and select File > Import > Session Data Choose page 350). the AAF or OMF sequence that you want to im- port. 8 Set the Track Offset Options , if any (see “Track Offset Options” on page 351). You can also open an AAF or OMF sequence , if any (see 9 Set the Sample Rate Convert Options by dragging it from any location on your com- “Sample Rate Conversion Options” on puter or the DigiBase browser to the Pro Tools page 351). Timeline. options as neces- Change other settings and 10 sary (for more information about the Import Session Data dialog, see “Import Session Data Dialog” on page 338). Click OK . 11 If there are any errors or region name trunca- tions, a dialog will appear asking you if you want a detailed report of the changes. Click Yes and choose where you want to save the log. 347 Chapter 17: Importing and Exporting Session Data

370 12 If your audio or video source media is on a Importing Audio from AAF volume that is not suitable for playback (shown Sequences with Unsupported as a Transfer volume in the Workspace browser), Video Formats og that guides you to Pro Tools displays a dial Pro Tools with an Avid video peripheral lets you copy the media to a volume designated for Play- import audio from AAF sequences containing .) Yes back or Record. (Click unsupported video formats, including high-def- Pro Tools imports the audio and video media to inition Avid video files with frame rates over 30 the Timeline. Audio tracks with mixed sample frames per second. rates or bit depth are automatically converted to The following rules apply when importing AAF the same sample rate and bit depth as the ses- sequences of this type: sion. • Supported audio in these sequences will play Now you are ready to edit or mix the audio files back, but unsupported video will not. in Pro Tools. • Unsupported video appears in the Timeline as orange blocks. Importing AAF/OMF Audio Media Composer 4.0 added a check box to the Sequences with Mixed Sample AAF export settings called “AAF Edit Protocol.” Rates or Bit Depth This allows AAF exports larger than 4 GB. AAFs You can open and import AAF or OMF se- exported with this check box checked are com- quences with mixed audio sample rates and/or patible with Pro Tools 7.2 and higher, but will bit-depths into Pro Tools. not import into PT 7.1 and previous. Audio files that are not of the same bit depth or sample rate as a session must be converted to be Importing AAF/OMF Sequences used with the session. When an audio file is con- Containing Media Mixdowns verted, a new file with the correct bit depth, file Pro Tools with an Avid video peripheral lets you type, and sample rate is created and placed in a quences exported from import AAF and OMF se folder you choose. Avid editing applications by selecting File > Im- or by dragging them from port > Session Data You can use the Source Sample Rate settings the desktop or a DigiBase browser to Pro Tools. ll up or pull down to compensate for any pu For more information, see “Importing Session factors that may have been applied to the au- Data” on page 336. dio prior to importing. In a sequence with files of mixed sample rates, set the Source Sample If the sequence contains a video mixdown, the Rate in proportion to the Target sample rate video mixdown and its corresponding metadata of the session, and the pull up or pull down are displayed in two separate video tracks on the compensation will be app lied correctly to all Timeline. their original sample files in proportion with rate. If the sequence contains an audio mixdown, the audio mixdown and its corresponding metadata are displayed in two separate video tracks on the Timeline. 348 Pro Tools Reference Guide

371 Copy from Source Media Import Options when Use this setting to copy referenced audio to a Importing AAF or OMF new drive or folder. Sequences You can perform sample rate conversion on au- When importing AAF or OMF sequences, dio during translation. Pro Tools provides the following import options through the Import Session Data dialog: Consolidate from Source Media • Audio Media options Use this setting to copy the audio from the • Video Media options source project to the Pro Tools session, while re- • Time Code Mapping options moving all unused areas in the copies. For exam- • Track Offset options ple, you might only be using ten seconds of a • Sample Rate Conversion options ten-minute audio file in your project. Consoli- dating this audio saves a great deal of disk space • AAF/OMF Source Track Translation settings by preserving only the audio you use and a user- • Main Playlist options defined amount of handle , and discarding the rest. Audio Media Options You can sample-rate convert the audio during When importing AAF or OMF tracks into translation. Pro Tools, use the Audio Media Options pop-up to select whether to copy, consolidate, or link to Force to Target Session Format the source audio media. Use this setting to convert source media to the session audio file format if the source media file format differs from th e session file format. Locators To (Milliseconds) Audio Media Options Consolidate from Source Me- If you have selected Link to Source Audio Media (Where Possible) dia , you can specify the number of milliseconds of each original audio file to retain both before Select this option to translate the AAF or OMF and after the region boundaries defined in the file to a Pro Tools session that refers to as many nables you to extend re- source project. This e of the original media files as possible. In this gion boundaries even after you’ve consolidated, case, the Pro Tools session points to the BWF by the amount you specify. (WAV) or AIF files from the source project. It is a good idea to hav e at least 1000 millisec- When importing audio embedded in an AAF se- onds of handle, so you can “trim out” edits that quence, Pro Tools copies the audio to a new sound “clipped” or “up-cut.” drive or folder even if this setting is selected. 349 Chapter 17: Importing and Exporting Session Data

372 Time Code Mapping Options Video Media Options When importing AAF or OMF tracks into When importing AAF or OMF tracks into Pro Tools, use the pop-up menu in the Video Pro Tools, you can specify where the imported Media Options section to copy or link to the tracks are placed in the current session. Times are indicated in time code. source video media. Video Media Options Time Code Mapping Options Link to Source Media Maintain Absolute Time Code Values Select this option to avoid duplicating video This option places tracks at the locations where files by referring to the original files. they were located in the source session. For ex- ample, if the current session starts at Copy from Source Media ion from which you are 00:01:00:00, and the sess Select this setting to copy all video files related importing starts at 10:00:00:00, the earliest im- om the source media to to the imported tracks fr ported tracks can appear in your session is 9 a new specified location. hours and 59 minutes after the start of the ses- sion. Import as Offline Satellite Media (Pro Tools HD Only) Maintain Relative Time Code Values at the same offset from This option places tracks Select this option to import a video track with session start as they had in the source session. offline media. You will be able to see cuts and For example, if the source session starts at clip names, but the video media remains offline. 01:00:00:00 and a contains a track that starts at You can view the video media on the connected 01:01:00:00, and the current session start is Video Satellite system. This option is only avail- 02:00:00:00, the track will be placed at able when New Satellite Track is selected for the 02:01:00:00 in the current session. video track. Map Start Time Code to hh:mm:ss:ff This option places tracks relative to their origi- nal session start time. For example, if the current session starts at 00: 01:00:00, and the session from which you are importing starts at 10:00:00:00, you can reset the start time code to 00:01:00:00, to avoid placing files 9 hours and 59 minutes from the start of your session. 350 Pro Tools Reference Guide

373 Source Sample Rate Track Offset Options This setting lets you specify the sample rate of When importing AAF or OMF tracks into are working with in the audio material you Pro Tools, specify a track offset in addition to Pro Tools, independent of the project sample any offset incurred with the Time Code Map- rate settings. ping options. Any imported audio is offset in the current session’s timeline by the specified For example, you may receive a project origi- , amount. Values can be entered in Bars|Beats nated on Media Composer at 44.1 kHz. If you Min:Sec , Time Code , Feet+Frames , or Samples . want to work at 48 kHz in Pro Tools, you should set the Source Audio Sample Rate setting to 44,100 and the Destination Audio Sample Rate to 48,000. These settings can also be used to correct for Track Offset Options pull-up or pull-down pr oblems. For example, you may receive an AAF or OMF transfer from a Sample Rate Conversion Options Film Composer that cont ains audio media at “film speed” when played back at 48 kHz. You When importing AAF or OMF tracks into may want to convert all the audio files and edits Pro Tools, these settings let you convert the to play back at NTSC video speed and 48 kHz. sample rate of the session’s audio files. For ex- ert from 48 kHz to ample, you can conv In this case, set the Source Audio Sample Rate .1 kHz to 48 kHz. 44.1 kHz, or from 44 setting to 47,952 and the Destination Audio Pro Tools|HD systems support sample rates Sample Rate to 48,000. These settings tell higher than 48 kHz (88.2 kHz, 96 kHz, Pro Tools that you want to fit 47,952 of the orig- 176.4 kHz, and 192 kHz). These settings also en- inal “film speed” samples into 48,000 of the new able you to convert to compensate for the 0.1% “video speed” samples. With these settings, you speed change (pull-up or pull-down) between sample-rate-convert the material to NTSC video 24 fps film and 29.97 fps NTSC video, or the 4% speed. speed change (pull-up or pull-down) between You can set the Source Audio Sample Rate either 24 fps film and 25 fps PAL video. by selecting one of the predefined sample rates from the pop-up menu, or by typing a value into the text box. Sample Rate Conversion Options See “Speed Correction fo r Film, NTSC Video, and PAL Video” on page 1141, for informa- tion about converting between different speeds and sample rates. 351 Chapter 17: Importing and Exporting Session Data

374 Destination Sample Rate Ignore Rendered Audio Effects Ignore Rendered Audio Effects Enabling the This setting determines the target session’s au- op- dio sample rate setting, as shown in the Session tion imports clips as audio regions without the Setup window, and the sample rate of all audio rendered effects, such as EQ, that are applied to files in the target session. Available settings in- the clip. You might do this if you want to use clude Pro Tools standard sample rates of Pro Tools audio effects and audio processing ex- 44.1 kHz or 48 kHz. Pro Tools|HD systems sup- clusively for your audio post production work. port sample rates higher than 48 kHz (88.2 kHz, The resulting audio with this setting is the un- processed source material. 96 kHz, 176.4 kHz, and 192 kHz). See “Speed Correction for Film, NTSC Video, Clip-Based Gain Pop-Up Menu and PAL Video” on page 1141, for informa- Clip-Based Gain The setting lets you map clip- tion about converting between different based gain settings in the sequence you are im- speeds and sample rates. porting to Pro Tools breakpoint automation, or If this setting differs from the Source Audio Sam- ignore clip-based gain entirely. Media Composer ple Rate setting, audio is sample-rate converted and other Avid products provide clip-based gain digitally to the Destination Audio Sample Rate. to adjust the volume of an individual audio clip. This differs from Pro Tools volume adjustments Conversion Quality Pop-Up Menu volume breakpoint auto- for an entire track, or mation. This pop-up menu lets you select settings corre- sponding to Pro Tools sample rate conversion Select this option to dis- Ignore Clip-Based Gain option pro- Tweak Head (Slowest) settings. The card the project’s clip-b ased gain settings, and vides the best results. adjust volume using Pro Tools mixing capabili- ties. AAF/OMF Source Track Translation Convert Clip-Based Ga in to Automation Select Settings this option to convert clip-based gain to break- point automation in Pro Tools. Breakpoint auto- Pro Tools provides specific options for “translat- mation is ramped across crossfades. Clip-based ing” audio clips when importing AAF sequences gain exceeding +6 dB will be ignored by sessions or OMF files and sequences. saved in versions of Pro Tools lower than 6.4. Ignore Auto-Gain Ignore Auto-Gain Enable the option to discard the Ignore ttings. Disable the project’s auto-gain se Auto-Gain option (it is disabled by default) to translate keyframe gain to breakpoint automa- tion in Pro Tools. Keyframe gain exceeding Translation settings +6 dB will be ignored by sessions saved in ver- sions of Pro Tools lower than 6.4. 352 Pro Tools Reference Guide

375 To import Locators based on locator color: Pan Odd Tracks Left/Even Tracks Right 1 Click the Locators to Import menu. Pan Odd Tracks Left/Even Tracks Right setting The enables you to set the basic track pan setting so Select the colors of locators you want to im- 2 that odd-numbered tracks translate with full-left port. Check marks appear next to the selected red tracks translate panning, and even-numbe colors. with full-right panning. This is useful if you Once imported, the new Markers can be edited want to pan the currently unpanned audio full- as normal. left or full-right. Unlike Pro Tools Marker s, which only mark The Pan Odd Tracks Left/Even Tracks Right specific points in time in a session, Media setting is not supporte d when importing ste- Composer Locators point specifically to in- reo audio tracks from an AAF. When im- dividual audio or video tracks. Information porting stereo tracks, the setting is greyed- on which track each Locator was associated out and the imported stereo channels are with can be found in the Comments section panned hard right and hard left. in the Memory Locations window in Locators To Import Pro Tools. Avid Media Composer sequences can contain metadata points called Locators that serve a sim- ported to Pro Tools as When Locators are im ilar purpose to Markers in Pro Tools, adding Markers, the associated comment text is color-coded contextual information to the time- added to the Marker name in Pro Tools (up line. Even though locators are associated with to 31 characters). Comments over 31 char- specific tracks in Media Composer, you can im- acters can be viewed in full in the Memory port locators into Pro Tools without importing Locations window in Pro Tools. those tracks. Track Data to Import Pop-Up Menu When exporting an AAF from Media Composer, The Track Data to Import pop-up menu lets you Locator information is included and can be im- select which attributes of the selected tracks you ported into Pro Tools as Markers, thus preserv- want to import into the current session. The se- ing this data. d to all tracks that you lected attributes are applie Locators can only be imported from AAF se- choose to import into the current session. For quences. more information about Track Data To Import op- tions, see “Track Data to Import” on page 341. To import all Locators: Locators to Import menu and select „ Click the All . To import no Locators: Locators to Import „ Click the menu and select None . 353 Chapter 17: Importing and Exporting Session Data

376 Importing RTAS Plug-In Settings from AAF Main Playlist Options Avid Media Composer 5 and higher lets you pro- When importing AAF or OMF tracks into cess audio tracks with RTAS plug-ins. Pro Tools Pro Tools, you can select from the following op- lets you import RTAS plug-in data from audio tions to control how the main playlist from each tracks in Media Composer-generated AAF se- to the destination track source track is imported quences. Plug-in type, order, and control set- in the current session. tings are preserved. Pro Tools cannot export RTAS plug-in data when outputting an AAF for use with Media Composer. Because Pro Tools mixes often contain complex busing, routing, and plug- in automation, tracks should be printed or Main Playlist options bounced to retain new processing changes before exporting to AAF. Import - Replace Existing Playlists This option imports selected source pl aylists from the source When importing an AAF into Pro Tools, use the track. When you import selected playlists into Track Data to Import menu to specify whether or existing tracks, Pro Tools deletes the original ns and plug-in settings. not to import the plug-i playlists in destination tr acks and replaces them with imported playlists. To import plug-in settings when importing AAF tracks or sequences: This Import - Overlay New on Existing Playlists option lets you overlay the selected source play- Track Data to Import Open the 1 menu. playlists. Any existing lists on top of existing Do one of the following: 2 ps data imported from playlist data that overla • Choose All . the source track is trimmed and replaced with the imported data. Any playlist data in the des- – or – tination track that does not overlap remains in • Choose Some, and ensure that Plug-in As- the destination track. is checked. signments This option does not import se- Do Not Import To avoid importing plug-in settings when importing lected playlists from source tracks. No media is AAF tracks or sequences: only attributes that imported; Pro Tools imports are selected in the Session Data to Import pop- menu. 1 Track Data to Import Open the up menu into the current session. 2 Choose Some, and ensure that Plug-in Assign- ments is unchecked. 354 Pro Tools Reference Guide

377 Sound Designer II Audio File Media Composer Export Format Options for Audio and Video Support for AAF Sequences Referencing SDII Mixdowns Audio Files You can request the following export options for Pro Tools lets you import AAF sequences that the AAF you are receiving from an Avid applica- reference Sound Designer II (SDII) audio files. tion: However, any referenced Sound Designer II files • To export both a video mixdown and its will need to be converted to the session file for- corresponding editing metadata, the Avid mat (WAV or AIF). Pro Tools does this automat- Video Mixdown video editor should select ically. from the Export Method pop-up menu, then select in the Mixdown with Video Edits With Pro Tools 8.0.3 and higher, Sound Export Settings dialog. Designer II files are no longer supported as a • To export both an audio mixdown and its u can still import and session file format. Yo corresponding editing metadata, the Avid export SDII files, but the must be converted video editor should select Add Audio Mix- to the session file form at (WAV or AIF) on down Track(s) in the Export Settings dialog. import. • To export directly to DigiDelivery, the Avid video editor should choose DigiDelivery Translation Notes File from the Export Method pop-up menu. gion name truncations, If there are any errors, re or other notes (such as missing effect render- ings), during import of an AAF or OMF file or se- Audio File Format quence, a dialog appears asking if you want a de- Compatibility Issues tailed report of the changes. Click Yes and choose where you want to save the translation notes file. AIFC Audio File Format The Translation Notes File can be opened by Avid Media Composer and other Avid editors ications that can read most word processing appl support audio files in the AIFC format, a version plain text files. of the Audio Interchange File Format (AIFF) that supports compressed media. Pro Tools can im- Translation Notes Format port and use this format , but not compress au- dio in this format. Translation Notes are presented in the following format: Track Name

378 Translation Notes and Categories Ignored Effects A1<01:00:02:00–01:00:07: 01>ignoring rendering The Translation Notes File is separated into dif- for effect: EFF_AUDIO_EQMB;using bypass clip. ferent categories. The following are sample mes- sages in each category, with explanations of This indicates that the user has selected “Ignore what has happened and solutions if necessary. Rendered Audio Effects” in Pro Tools. This note is a convenience so that if something is odd in the translated sequence, the user can determine Parsing Errors red is actually required. if an effect that was igno Example Incomplete Rendering A1<01:00:00:00–01:00:04:20>error reading component “Assertion in OMF_Objects2x.cpp”, line A1<00:00:28:29-00:00:31:17>incomplete 2871;substituting fill. rendering for effect Audio MultiBand EQ;using This error indicates a problem that may have bypass clip. originated in Pro Tools or the application that This indicates that an effect was not rendered produced the AAF or OMF file. In the translated completely at a fade boundary in an Avid sys- composition, there will be silence or video black tem. On import, Pro Tools bypassed the incom- at the given interval. plete rendering and imported the audio without the effect. If you need the effect, re-render the Missing Renderings effect and fade on the Avid system, and export again. Example 1 A1<01:00:02:00–01:00:07: 01> no rendering for Miscellaneous Errors (Misc Errors) effect:EFF_AUDIO_EQMB;using bypass clip. This indicates the presence of an effect for Example which there is no renderin g. The “bypass clip” is A1<01:00:00:00–01:00:1 6:06>“Jag film to the (unprocessed) source material for the effect. Whirl.01.Sub.06.new.01”; insufficient source material for clip;shortening clip by 1 sample. Example 2 This Translation Note is primarily informa- V1<01:00:48:25–01:00:49:26>no rendering for that Pro Tools was not tional, informing you effect: omfi:effect: VideoRepeat;substituting able to translate the AAF or OMF sequence ex- silence/video black. actly, and has had to make an adjustment so Pro Tools can understand it. For some effects, the length of the output is dif- ferent than the length of the input. In this case, This error occurs because applications don’t al- substituting a bypass when a rendering is miss- ways calculate the number of samples in a frame ing doesn't make sense, because it won't sync in the same way. In some cases, there may be properly. Pro Tools substitutes silence or video one too few samples of media to support a given black. clip from the Pro Tools standpoint. In this situ- ation, there can potentially be an audio “pop.” 356 Pro Tools Reference Guide

379 Exporting Pro Tools Tracks as AAF or OMFI Sequences Pro Tools lets you export individual tracks in Export Selected AAF or OMFI format. Use the Tracks as AAF/OMF command. AAF and OMF sequences exported from Pro Tools do not support video files, or retain in- formation about plug-in assignments or param- eters, routing, or grou ping. It is recommended that you render any effects prior to export. Ste- reo and greater-than-ster eo multichannel tracks are split into separate mono tracks on export. Pro Tools does export volume automation to AAF and OMF, but only if the Quantize Edits to Frames Boundaries option (Avid Compatibility Mode) is disabled. Tracks are exported in their entirety and time selections are ignored. Volume and pan automation is not retained Export to OMF/AAF dialog on export if Quantize Edits to Frame Bound- AAF or pop-up menu, select Export As From the 3 aries is enabled (Avid Compatibility Mode). OMF . Enforce Avid Compatibility If desired, select 4 . The video track cannot be exported to AAF or OMF from Pro Tools. ility limits the sample Enforce Avid Compatib rate options to 44.1 or 48 kHz. Dithering To export selected audio tracks as an AAF or OMF without noise shaping will be applied to files sequence: being exported from 24-bit to 16-bit. 1 In Pro Tools, select the tracks you want to ex- port. Choose either mixed or unmixed files. 5 Be sure to select the correct Target Project Time option for the project as set for the Code Format Shift-click to select multiple tracks; or project in your target a pplication (such as Avid Option-click (Mac) or Alt-click (Windows) Media Composer). to select all tracks. 6 as nec- Sample Rate Conversion Options Set the Choose 2 File > Export > Selected Tracks as essary. . OMF/AAF Chapter 17: Importing and Exporting Session Data 357

380 7 Set the Audio Media Options settings as nec- 14 In the “Please Choose a Folder for Converted essary: Audio Files” dialog, navigate to a folder where the media files can be easily located (such as the • Ensure that the Format and match Bit Depth same folder where AAF or OMF sequence re- the settings in your target project (as set for sides). the project in your video software applica- tion). Some video editors (such as Avid Media Com- – or – poser), require all media files to be in specific • Select a Copy Option ( Link to Source Media , folders to allow proper relinking. Consolidate from Copy from Source Media , or 15 Use Current Folder (Mac) or Choose Click Source Media ). (Windows). Select other options. 8 Pro Tools exports the co mposition and related For more information, see “Export Options media to the appropriate folders. when Exporting to AAF or OMF Sequences” on page 361. 9 Click OK . Exporting Pro Tools Tracks as MXF Audio Files 10 In the Publishing Options dialog, type the Pro Tools Comment and Sequence Name. You can export MXF audio files using the fol- lowing commands: • Export Selected Tracks as OMF/AAF • Bounce to Disk • Export Selected Regions as Files Exporting AAF Sequences Publishing Options dialog (Export Selected Tracks as Containing MXF Audio OMF/AAF) shown Export Selected Tracks as OMF/AAF to export Use OK . 11 Click individual tracks or an entire Pro Tools session 12 In the Save dialog, navigate to a folder where as an AAF sequence referring to MXF audio files. you can easily locate the AAF or OMF sequence when it is time to distribute it to another editor Tracks are exported in their entirety and time or import it into Media Composer. selections are ignored. Click . Save 13 Volume and pan automation is not exported if Quantize Edits to Frame Boundaries or Avid Compatibility Mode are enabled. 358 Pro Tools Reference Guide

381 9 To export selected audio tracks from Pro Tools as In the Publishing Options dialog, type the an AAF sequence referring to MXF audio files: Pro Tools Comment and Sequence Name. In Pro Tools, select the tracks you want to ex- 1 Pro Tools will create a sequence with the name port. you supply. The comment appears in the Avid application bin in the Pro Tools Comment col- 2 File > Export > Selected Tracks as Choose umn. OMF/AAF . 10 Click OK . AAF , select OMF/AAF Options Under 3 from the pop-up menu. Export As 11 In the Name the AAF File to Export dialog, navigate to a folder where you can easily locate An OMF sequence cannot reference MXF me- the AAF sequence when it is time to distribute it dia files. When using the Export Selected import it into to another editor or Tracks as OMF/AAF dialog, choose AAF in Media Composer. the Export As pop-up menu to enable MXF in the Audio Format menu. 12 Click Save. Please Choose a Folder for Converted Au- In the 13 Select 4 . Enforce Avid Compatibility dialog, navigate to a folder where the dio Files Enforce Avid Compatib ility creates frame-ac- media files can be easily located (such as the curate edits, wraps the files as OMFI (unless same folder where AAF or OMF sequence re- you choose MXF), and limits the sample rate sides). options to 44.1 or 48 kHz. Dithering without Some video editors (such as Avid Media Com- noise shaping will be app lied to files being ex- poser), require all media f iles to be in specific ported from 24-bit to 16-bit. folders to allow proper relinking. 5 Ensure the Target Project Time Code Format is (Mac) or Use Current Folder 14 Click Choose correct for the Avid application project to which (Windows). you are exporting the AAF sequence. Under the Audio Media Options section, se- 6 Pro Tools exports the AAF sequence to the se- MXF from the Audio Format pop-up menu. lect lected folder, and exports the related media to the OMFI MediaFiles folder (OMF files) or the setting is acceptable Audio Bit-Depth Verify the 7 Avid MediaFiles folder (MXF files). for the recipient of this export. If you are ready to import the files into the 15 Many versions of Avid editors only support Avid application, exit Pro Tools. 16-bit audio. However, all versions of Media Composer Adrenaline editors and For more information on working in Avid Xpress Pro versions 4.5 or higher sup- Avid applications, see the appropriate port 24-bit audio. Avid application guide. . OK Click 8 359 Chapter 17: Importing and Exporting Session Data

382 4 Select Enforce Avid Compatibility . Exporting MXF Audio Files Using Bounce to Disk Enforce Avid Compatibil ity creates frame-ac- You can use the Bounce to Disk command to curate edits, wraps the files as OMFI (unless create pre-mixed MXF audio files of the current you choose MXF), and limits the sample rate Pro Tools session. This does not export all of the options to 44.1 or 48 kHz. Dithering without individual files on the Timeline, but it does pplied to files being ex- noise shaping will be a guarantee that the mix you hear in another ap- ported from 24-bit to 16-bit. plication will be identical to the mix you hear in Select 5 . File Type for the MXF Pro Tools, including all panning, effects and au- tomation. and . Bit Depth Sample Rate 6 Select a Bounce Click 7 . To export to MXF using Bounce to Disk: 8 In the Publishing Options dialog, do the fol- 1 After you have finished recording and mixing lowing: a session in Pro Tools, highlight the length of • Type the Pro Tools Comment and Clip the session in the timeline ruler (or on a track), Name. plus an additional amount of time to avoid cut- ting off any reverb tails that might continue past – or – the end of the region. • Choose a Target Project Time Code Format that matches the Avid application project 2 Choose File > Bounce To > Disk. rting the MXF audio. to which you are expo 3 In the Bounce dialog, select the Bounce Source . Pro Tools Bounce to Disk dialog All audible audio in the selection will be ex- ported to two multi-mono audio files. 9 In the Save Bounce As dialog, choose the drive where you want to save the files. 10 Save Click . Pro Tools will begin bouncing to disk. Pro Tools bounces are done in real time, so you hear audio Pro Tools Bounce to Disk dialog playback of your mix during the bounce process (though you cannot adjust it). 360 Pro Tools Reference Guide

383 In the Export Selected dialog, select the 3 En- Exporting a Region as a New MXF force Avid Compatibility option. File You can export regions as MXF audio files with Enforce Avid Compatibi lity creates frame-ac- the Export Selected As Files command. Use this curate edits, wraps the files as OMFI (unless command if you intend to use a region in other you choose MXF), and limits the sample rate sessions or other audio applications without us- options to 44.1 or 48 kHz. Dithering without ing its parent source file. noise shaping will be ap plied to files being ex- ported from 24-bit to 16-bit. This command also provides a way to convert regions to a different sample rate or bit depth. Select from the Audio Format pop-up MXF 4 menu. To export regions as new MXF files: 5 Set the bit resolution and sample rate. In ad- In the Regions List, select the regions you 1 dition, specify the Conversion Quality and Des- want to export. tination Directory. 2 From the Audio Region s List pop-up menu, . Click 6 OK . choose Export Selected As Files Export Options when Exporting to AAF or OMF Sequences Pro Tools provides several translation settings when exporting tracks to OMF/AAF, including OMF/AAF Options, Sample Rate Conversion Op- tions, and Audio Media Options. OMF/AAF Options When exporting tracks to AAF or OMF, Pro Tools provides the following OMF/AAF Op- tions: Export Selected dialog Export to OMF/AAF Options 361 Chapter 17: Importing and Exporting Session Data

384 The option al- Quantize Edits to Frame Boundaries Enforce Avid Compatibility lows Pro Tools to export your sample-accurate option is enabled, If the Enforce Avid Compatibility Pro Tools edits into an AAF or OMF file so they all AAF and OMF files and sequences will meet appear as frame-accurate. the specific requirements of Avid Video worksta- tions. Sample rates are limited to 44.1 kHz or The Quantize Edits to Frame Boundaries set- 48 kHz. Exported regions will be padded to the ting must be selected when you are translating (Quantize Edits to nearest frame boundaries r use in frame-accu- your Pro Tools session fo Frame Boundaries). This padding ensures that rate editing workstations. Therefore, it is au- the placement of a file in the Timeline will be tomatically selected whenever you export the same on sample-accurate as well as frame-ac- tracks with Enforce Avid Compatibility curate systems. checked. Target Project Time Code Format Select the time code format for the project into which this file or sequence will be imported. Figure 3. Original region This may be different from the time code format of the current session. This parameter allows re- gions to be placed correctly in sessions with dif- s, and also calculates ferent time code format how many samples must be added to pad re- Figure 4. Region exported with handles gions to frame boundaries. Quantize Edits to Frame Boundaries ccurate placement of Pro Tools allows sample-a Figure 5. Subclip: Region stretched to farthest frame boundaries regions. In Pro Tools, you can place a region of any length at any position, without any require- ment for aligning regions with frame boundar- ies. Figure 6. Subclip with OFFs (One-frame files) laid over However, most video editing programs, such as end frames Media Composer, only support frame-accurate editing. In these programs, you can only edit s to frame boundaries, When you quantize edit sounds on whole frame boundaries, limiting you must enter a handle size (length) under Au- your precision. dio Media Options. See “Consolidate Handle Size (Milliseconds)” on page 365. Enforce Avid Compatibility Selecting will automat- ically select . Quantize Edits to Frame Boundaries 362 Pro Tools Reference Guide

385 A master clip consisting of the region plus the Sample Rate Conversion Options handle size (length) on both front and back will be exported. The exported sequence creates a subclip which is equivalent to the original re- gion, but extended to the farthest frame bound- aries. For example, if the region starts at 1:15 lip would start at 1:15; and 500 samples, the subc and if the region ends at 4:00 and 500 samples, the subclip would end at 4:01. Sample Rate Conversion Options Because quantizing edits to frame boundaries These settings allow you to convert the sample extends the regions, extra undesired audio may rate of your Pro Tools session during export to be heard. To prevent this extra audio from play- AAF or OMF by sample-rate converting each au- ing, special one-frame sound files are rendered dio file, and adjusting the edits in the resulting to duplicate the original boundaries of the re- AAF or OMF file to compensate for this change. gion. In the exported sequence, these one-frame files are placed over the start and end frames of See “Speed Correction for Film, NTSC Video, the extended region so you cannot hear the ex- and PAL Video” on page 1141, for informa- tension. tion about converting between different speeds and sample rates. e imported into Avid One-frame files (OFFs) ar workstations as part of the AAF or OMF se- You might want to change the sample rate of a quence like any other sound file. In the Avid session if you are exporting to a system or are at Timeline, they appear as one-frame edits on ei- a stage in the process that requires a different ther side of a subclip. sample rate. If you decide you need to extend the subclip at Check the Audio and Video pull options be- any point, discard the OFF and trim the subclip fore applying a sample rate conversion to the as needed. entire session. This solution is only available when you ex- n contains audio media For example, your sessio en you export individ- port a sequence, not wh at 29.97 fps (NTSC video) at 48 kHz, while the ual files. film composer to whom you are exporting your session requires audio media at 24 fps (film speed) at 48 kHz. To convert all the audio files If Quantize Edits to Frame Boundaries is se- 24 fps (film speed) at 48 and edits to play back at lected, Pro Tools volume automation will not kHz, you would set the Source Audio Sample be exported. Rate setting to 48,048 (a pull-up rate of 0.1%) and the Destination Audio Sample Rate to 48,000. These settings tell Pro Tools that you want to fit 48,048 of the original video speed samples into 48,000 of the new film speed sam- ples. With these settings, you sample-rate con- vert the video material to film speed. 363 Chapter 17: Importing and Exporting Session Data

386 Source Audio Sample Rate Audio Media Options This setting allows you to specify the sample rate of the material you are working with in Pro Tools, independent of the session’s sample rate settings. Destination Audio Sample Rate This setting allows you to specify the sample Audio Media Options rate for audio files after the AAF or OMF transla- When exporting tracks to AAF or OMF, tion. Pro Tools provides the following Audio Media If this setting differs from the Source Audio Sam- Options: ple Rate setting, audio is sample-rate converted . digitally to the Destination Audio Sample Rate Audio Format Choose whether you want the resulting AAF or Sample Rate Conversion Quality OMF file to refer to BWF (.WAV), AIFF, SD II (Mac to Pro Tools sample These settings correspond and OMF only), MXF (AAF only), or embedded rate conversion settings. It is not recommended ill be converted accord- files. The audio files w setting. The Tweak that you use the Low (Fastest) ingly. setting provides the highest qual- Head (Slowest) If you create AIFF or BWF (.WAV) audio, the ity sample rate conversion. audio files have extra OMF data attached to them. Though most applications will not have problems reading these audio files, they may not be compatible with all applications. MXF is only available if you have selected the Enforce Avid Compatibility option. Bit-Depth Select 16-bit or 24-bit as the target bit-depth for the exported media. Pro Tools will apply the Au- dioSuite dithering algorithm, without noise shaping, when reducing bit-depth from 24-bit to 16-bit. 364 Pro Tools Reference Guide

387 Source Media Publishing Options When exporting tracks from Pro Tools to AAF or When exporting AAF or OMF files from OMF, there are three ways that Pro Tools can hing options that pro- Pro Tools, specific publis handle source audio media (as set in the Export vide information about the sequence or media to OMF/AAF dialog’s Audio Media Options pop- are available through the Publishing Options di- up menu). alog. These options will vary depending on which method of exporting files you use. Creates an AAF or OMF file Link To Source Media that refers to as many of the original media files OMFI/AAF Options as possible. In this case, the AAF or OMF file points to the BWF (.WAV), MXF, AIFC, or Sound Pro Tools Comment Identifies the source of the Designer II files from the source project. file, and defaults to the name of the current ses- sion. The Pro Tools Comment field does not ap- Copy From Source Media Copies audio to an- pear if you are using the Export Selected as You can sample-rate con- other drive or folder. Tracks command, since audio on one track may vert the audio during this translation. have many different sources. Consolidate From Source Media Copies only the Sequence Name This is the name that will be actually used by the ses- part of the files that are displayed when the file is imported into another sion. For example, you may only be using a ten AAF- or OMF-compatible program. The se- second region of a ten-minute audio file in your quence name is not the file name that will ap- session. Consolidating this audio saves a great pear in the finder. This field defaults to the deal of disk space by copying only the audio you Pro Tools region name. When exporting more use, and discarding the rest. than one region, all clip names are automati- cally set to the region name. Consolidate Source Audio Media is the only usable option for a Pro Tools to AAF or OMF This is the time Target Project Time Code Format tize Edits to Frame translation when Quan code format for the project into which this file Boundaries is selected. See “Quantize Edits to or sequence will be imported. This may be dif- Frame Boundaries” on page 362. ferent from the time code format of the current session. This parameter allows regions to be Specifies Consolidate Handle Size (Milliseconds) placed correctly in sessions with different time the number of milliseconds of the original audio calculates how many code formats, and also file to retain at the beginning and end of each samples must be added to pad regions to frame audio clip that is created. This lets you extend boundaries. clip boundaries even after you have consoli- dated, by the amount you specify. It is a good idea to have at least 1000 milliseconds (one sec- ond) of handle, so you can “trim out” edits that Consolidate Handle sound “clipped” or “up-cut.” is only available when Size Consolidate From Source Media is selected. 365 Chapter 17: Importing and Exporting Session Data

388 Time Stamping Exporting a Region as Part of a Sequence When you export to AAF or OMF, all exported media is time stamped . A time stamp is a specific When you export a region as part of a sequence, time code location stored within an individual the region’s original time stamp reflects the re- media file. gion’s position in the Timeline of the sequence. The time stamp can indicate: Exporting a File • Time Code location on the source tape Recorded in Pro Tools If the file was recorded in • Where the file was originally recorded in Pro Tools, the time stamp is the location in the the Pro Tools Timeline Timeline at which the recording began. For in- • Where a region was placed in an Avid or stance, if you record the file from 1:00 to 2:00, Pro Tools Timeline the time stamp would be 1:00. • User entered time codes If the file was created by AudioSuite with Playlist AudioSuite, using the Playlist option, the time Time stamps can be stored in three different stamp is the location in the Timeline to which places within a media file: the source region was spotted. For example, if • In a region definition you record a file from 1:00 to 2:00, then move it • In the file format metadata (for would be duplicated, pro- to start at 4:00, the file example, .WAV file wrappers) cessed with the plug-in and the new time stamp • In the AAF or OMF wrapper for the duplicate would be 4:00. If the file was cre- AudioSuite with Region List Exporting a Region ated by AudioSuite, usin g the Region List op- If you are exporting a region, the time stamp tion, the time stamp reflects the original time will be the start point of the region, relative to stamp of the source file. For example, if you re- the point where the file originally started to re- cord a file from 1:00 to 2:00m then trim it to cord. For example, if you record a file from 1:00 is duplicated, processed start at 1:15, the file to 1:30, then trim it to start at 1:15, the time with the plug-in, and the new time stamp is stamp for the exported region would be 1:15. 1:15. This is true even if the region is slipped else- where in the Timeline. Existing Time Stamp If a file is imported with an existing time stamp, it will remain the time stamp for the exported file as well. If the original file contained a time stamp in the format wrap- per, it will be copied to the OMF wrapper when exported. 366 Pro Tools Reference Guide

389 To export a session as text: Exporting a File With No Time Stamp 1 Choose File > Export > Session Info as Text . If you import a file that does not contain a time stamp (such as a sound effect from a CD), the Select whether to include the File List, Region 2 time stamp will be 0 when it is exported. List, and track EDLs. 3 If you choose to include track EDLs, select Importing Files from an Avid AAF or OMF whether to show subframe s, and whether to in- Sequence clude user timestamps. Also select an option for crossfade handling. If you import a file from an Avid AAF or OMF se- quence, the media file's source tape time stamp If you choose to include track EDLs, select the 4 becomes the original time stamp of the new for the exported session text from Time Format Pro Tools file. The User Timestamp maintains the pop-up menu. the original time stamp. Select the File Format for exported text using 5 DigiBase provides columns for specific Avid the pop-up menu. OMF metadata, including: Clip Name, Tape, . 6 When you have set your options, click OK FPS, Original Timestamp, and User Time- stamp. 7 Select a location and type a filename for the exported text file. In Windows, Pro Tools adds the correct 3-letter filename extension, while on the Mac, the file extension “.txt” is added. Exporting Sessions as Text You can use the Export Session Info as Text com- mand to create a text file that contains extensive information about your session. This text file can contain a list of audio files, au- dio regions, audio track EDL (Edit Decision List) information, extended ti mestamp information, and information about crossfades. Track EDLs are exported as tab-delimited text— that is, with tabs between each column heading, and tabs between each event parameter. You can use this data in a program for reading EDLs, or you can format the EDL data into tables using a word processor or sp readsheet application. 367 Chapter 17: Importing and Exporting Session Data

390 Exported Session Text Files Export Session Info as Text Session Information Options The session text file starts with basic informa- tion about the session. This information in- cludes the session name, sample rate, bit depth, time code format, and nu mber of audio tracks, audio regions, and audio files, as shown in the following example. ation example Session Inform Ripleys II-092700 SESSION NAME: 48000.000000 SAMPLE RATE: 24-bit BIT DEPTH: 30 Frame TIME CODE FORMAT: # OF AUDIO TRACKS: 19 # OF AUDIO REGIONS: 203 Export Session Info as Text dialog # OF AUDIO FILES: 54 Include File List/Region List File List and Region List You can choose to export a list of the session’s Next, if you choose to in clude them, are the lists audio files and regions. The File List provides a of audio files and regions. list of all the audio files and fades in the session, and their hard drive locations. The Region List Track EDLs displays all audio regions in the session, and the source audio file for each region. The final item, if exported, is the list of track EDLs. A track EDL lists the track name, and all Include Track EDLs (Playlists) edits, including the event number, the region name, region start and en d time, and region du- You can export track EDLs (playlists). Track ration. The region timestamp is also exported, if EDLs can be used to sp ot-check region place- you select this option. Subframes are shown in ment and edits, or in a conforming program for each time field if you select this option. post applications. In ex treme circumstances the EDL can be used to recreate the entire session. MIDI track EDLs are not exported. 368 Pro Tools Reference Guide

391 When exporting track EDLs, the following op- Send via DigiDelivery tions are available: ® Aspera DigiDelivery is a system for efficient This option allows you to ex- Show Subframes and reliable transfer of digital media files over port subframe time information with track Send via DigiDelivery lets you send a the Internet. EDLs, if used in your session. Pro Tools session and all of its related files using You can include user Include User Timestamps DigiDelivery from within Pro Tools. timestamps with track EDLs. User timestamps Like the Save Copy In command, DigiDelivery indicate a user-defined session location for the copies all files of the same type, regardless of region, or the original location of the region their location, into a single destination folder. when recorded. Anyone can send and receive files from a For track EDLs, you can choose Fade Handling DigiDelivery system, even if they do not own a whether to show crossfades, not to show them, DigiDelivery network appliance, as follows: or to combine crossfaded regions. When regions are combined, their durations and locations are ‹ To send a delivery, senders must have an In- listed up to the center of the crossfade (for the ternet connection, an account on a DigiDelivery leading region) and from the center of the cross- network appliance, and the DigiDelivery client fade (for the following region). application. To receive a delivery, recipients only need an ‹ Time Format You can select the appropriate time Internet connection and the DigiDelivery client L information is based format that exported ED application. An account on the network appli- on. For example, for post work, you might select ance is not needed. SMPTE time, but for music creation locked to a Bars:Beats grid, you might select . For more information about DigiDelivery, visit the Aspera website File Format (http://www.asperasoft.com). You can choose to export to any of several differ- To send a session from Pro Tools using e include standard text ent text formats. Thes DigiDelivery: rd and Excel formats. formats, and Microsoft Wo File > Send via DigiDelivery Choose 1 . 2 Do one of the following: • If the DigiDelivery client is not installed on your system, Pro Tools will launch your Web browser, and connect to the DigiDe- livery site where you can download the current DigiDelivery client. – or – • If the DigiDelivery client is installed on your system, the Send to DigiDelivery dia- log will open. 369 Chapter 17: Importing and Exporting Session Data

392 In the Send to DigiDelivery dialog, select 3 Importing MIDI Files which files to include. You can import Standard MIDI Files (SMF) into your Pro Tools sessions. Pro Tools provides several ways to import MIDI files into an open session. • “Importing MIDI Files Using Pro Tools Menu Commands” on page 371. • “Importing MIDI Files with Drag and Drop” on page 372. Pro Tools does not import proprietary sequence Include in Delivery dialog files. To use sequences from other MIDI applica- tions in a Pro Tools session, you will need to first You have the option to include: save them as Standard MIDI Files. See the man- • Audio files ufacturer’s documentation for details on saving • Fade files Standard MIDI Files. • Video files There are two types of St andard MIDI Files, both • Plug-In settings files of which are supported by Pro Tools: • Visible Timeline files only (files that are ref- • Type 0 MIDI files store data for all MIDI chan- erenced in the current session Timeline on nels in a single track. When importing these tracks that are shown) files, Pro Tools separates the data by channel Click . The DigiDelivery client will launch, 4 OK and places each track’s data in separate re- and the DigiDelivery Send Wizard (Page 1) will gions and tracks. open. On this page you can name the delivery • Type 1 MIDI files, sometimes referred to as and add or remove files. multitrack MIDI files, contain multiple tracks 5 Complete the remaining DigiDelivery Send of MIDI data. When importing these files, Wizard pages and send the file, following the in- each track’s data is placed on its own new structions that came with the DigiDelivery cli- MIDI track in the Pro Tools session. ent software. 370 Pro Tools Reference Guide

393 Selection Aligns the beginning of the file to the Importing MIDI Files Using edit cursor or to the beginning of a selection in Pro Tools Menu Commands the Timeline. Pro Tools provides commands to import MIDI Spot Displays the Spot dialog, which lets you files. spot the file to a precise location based on any of the Time Scales. To import Standard MIDI files into a session using the Pro Tools File menu: Select any of the following Import options: 4 and select the file File > Import > MIDI Choose 1 Import Tempo Map From MIDI File When se- you want to import. lected, overwrites any existing tempo and meter 2 In the MIDI Import Options dialog, choose map with tempo and meter information read where the imported file will go: from the MIDI file. Creates a new track where the file will New Track When se- Import Key Signature From MIDI File be imported. lected, overwrites any existing key signatures with key signature information read from the Region List Imports the file into the Region List, MIDI file. where it will be available to place into tracks. When se- Remove Existing Instrument Tracks lected, deletes any existing Instrument tracks. Selecting this option does not remove any cur- rent MIDI tracks. All existing MIDI regions will be left in the Region List. When selected, de- Remove Existing MIDI Tracks tracks. Enabling this op- letes any existing MIDI tion does not remove any current Instrument tracks. All existing MIDI regions will be left in the Region List. When selected, Remove Existing MIDI Regions deletes existing MIDI regions (all data on all ks) but leaves existing MIDI and Instrument trac MIDI Import Options dialog tracks in place. MIDI and Instrument If you chose to create a new track, choose a lo- 3 Click . OK 5 cation for the imported file in the track: The MIDI file will be imported according to the Places the file or region at the start Session Start settings in the Import MIDI Settings dialog. of the session. If the Standard MIDI File contains markers, Song Start Aligns the beginning of the file to the they are only imported if the current session Song Start point. does not contain any markers. 371 Chapter 17: Importing and Exporting Session Data

394 In the Mix window, clic k the MIDI Output se- 6 Exporting MIDI Files k and assign a MIDI in- lector for each new trac strument and channel. To export a session’s MIDI tracks for use in an- other MIDI application, or for playback with an sequencer, you can external (hardware) MIDI Importing MIDI Files with Drag and export Pro Tools MIDI and Instrument tracks as Drop a Standard MIDI File. You can drag and drop MIDI files from a Di- giBase browser, Windows Explorer, or Mac MIDI can be exported from Pro Tools as a Finder to the Timeline, a track, the Track List, or merged, single, multichannel track (Type 0), or the Region List. as multiple tracks (Type 1). If your Pro Tools session uses key signatures and To import MIDI into the Region List: meters, they are exported with the MIDI file. Select MIDI files in a DigiBase browser, or 1 Windows Explorer, or Mac Finder. To export all MIDI and Instrument tracks in the current session: 2 Drag the files onto the Region List of the cur- rent session. 1 Make sure to unmute any MIDI tracks in the session that you want in cluded in the exported To import MIDI into an existing track: , mute any MIDI tracks MIDI file. (Or, conversely you do not want included in the exported MIDI 1 Select MIDI files in a DigiBase browser, Win- file.) For Instrument trac ks, enable or disable the dows Explorer, or Mac Finder. (Instruments view). MIDI mute button 2 Drag the files onto an existing track in the Edit Choose File > Export > MIDI 2 . The Export MIDI window of the current session. Settings dialog opens. To import MIDI into new tracks: 1 Select MIDI files in a DigiBase browser, Win- dows Explorer or Mac Finder. 2 Do one of the following: • From the DigiBase browser, Shift-drag the files anywhere in the Edit window of the current session. Export MIDI Settings dialog • Drag the files to the Timeline of the current session. 3 From the MIDI File Format pop-up menu, select • Drag the files to the Track List. or 0 (single track) . 1 (multitrack) If the Song Start time is different from the Ses- 4 For more information on using DigiBase Session Start or Song Start sion Start time, select browsers, see “DigiBase” on page 271. Location Reference pop-up menu. from the 5 Enable or disable the Apply Real-Time Properties option. 372 Pro Tools Reference Guide

395 iles from Pro Tools, de- When exporting MIDI f OK Click . 6 acks are not retained vice assignments for tr Specify a folder destination and name for the 7 (though channel assignments are). If you export MIDI file. MIDI or Instrument tracks from Pro Tools and later re-import them, you will need to reassign Pro Tools automatically adds the “.mid” the tracks to devices in your studio. extension when exporting MIDI files. All playlist information for MIDI and Instru- . Save Click 8 ment tracks is lost when exporting. For example, Pro Tools exports all unmuted MIDI and Instru- tracks that previously co ntained dozens of MIDI ment tracks in the curr ent session to a Standard regions will be flattened and only contain single to your hard drive. Ex- MIDI File and writes it regions after exporting and re-importing. ported MIDI information includes notes, con- anges, and System Ex- troller events, program ch Exporting Individual MIDI and clusive data, as well as events for tempo, meter, Instrument Tracks and markers. You can also export individual MIDI and Instru- The SMPTE start time for the session or the song ment tracks as MIDI files. This can be useful for (depending on the selection from the Location storing libraries of your favorite MIDI sequences Reference pop-up menu) is also exported. This or Sysex data (such as bulk or individual patch ensures that the exported tracks, when played dumps for your external MIDI devices), or for from another MIDI application, will align with importing MIDI into notation applications the correct SMPTE frames , and also synchronize (other than Sibelius). correctly to tape and video devices, or Pro Tools. To export a single MIDI or Instrument track as a See your third-party MIDI sequencer documen- MIDI file: tation to determine whether it supports import- ing SMPTE start times from MIDI files. Do one of the following: 1 • Right-click the Track name of an unselected Items Not Exported with MIDI Files track in the Edit or Mix window, or in the Track List. Mute automation and muted regions do not af- fect exported MIDI. As long as a MIDI track is – or – not muted by clicking its Mute button, or an In- • In the Track List, or Mix or Edit window, strument track is not muted by clicking its MIDI Control-Right-click (Windows) or Com- Mute button (Instruments view), all of its MIDI mand-Right-click (Mac) the track name. data is exported. 2 From the Right-click menu, select Export MIDI . Chord symbols and chord diagrams are not ex- 3 Set the Export MIDI settings in the Export ported with MIDI files. MIDI Settings dialog. 4 Click OK . 373 Chapter 17: Importing and Exporting Session Data

396 5 In the Save dialog, type a name for the MIDI Importing and Exporting to save it, and click file, specify where you want . Save Region Group Files Pro Tools can export and import the region Alt-Right-click (Windows) or Option-Right- group file format (.rgrp). This lets you do the fol- click (Mac) to export all tracks to a single lowing: MIDI file. • Separate region group metadata from audio To export all selected Pro Tools Instrument or files to avoid unnecessary file copy opera- MIDI tracks as a MIDI file: tions when exporting audio region groups composed from multiple source files. Select the tracks you want to export to a MIDI 1 file. • Export MIDI data as part of a region group. • Create multitrack loops. 2 Right-click the Track name of one of the se- or Mix window, or in the lected tracks in the Edit Region group files store the following metadata: Track List. • References to all audio files within the re- From the Right-click menu, select Export MIDI . 3 gion group • Region names and relative location in Set the Export MIDI settings. 4 tracks 5 . OK Click • Embedded fades and crossfades In the Save dialog, type a name for the MIDI 6 • Region group names and format (single or file, specify where you want to save it, and click multitrack) . Save • All MIDI data present in the region group (such as notes, controllers, and Sysex) Alt-Shift-Right-click (Windows) or Option-- • Track names Shift-Right-click (Mac) to export all selected • Elastic Audio Warp markers and TCE factor tracks as a single MIDI file. • Region timebase (samples or ticks) •Sync points Exporting Sibelius Files • Loops •Tempo map Pro Tools can export the score of your session as a Sibelius file (.sib). You can choose to export Region group files do not store the following: the score as Sibelius file for later use or score •Audio transfer, or to open the score in Sibelius imme- • Automation diately (if Sibelius) is installed on your com- •Plug-Ins Pro Tools transcription puter. Sibelius uses the of MIDI in your session as seen in the Pro Tools • Track routing Score Editor window (for more information, see • Meter map “Exporting Scores” on page 738). • Region List information Sibelius 5.x or higher is required to open .sib files exported from Pro Tools. 374 Pro Tools Reference Guide

397 Session Start Places the group at the start of the Pro Tools provides several ways to import region session. groups into an open session: • “Importing Region Groups with Pro Tools Aligns the beginning of the group to Song Start Menu Commands” on page 375 the Song Start point. • “Importing Region Groups with Drag and Aligns the beginning of the group to Selection Drop” on page 375 e beginning of a selection the edit cursor or to th in the Timeline. Importing Region Groups with Pro Tools Menu Commands Spot Displays the Spot dialog, which lets you spot the group to a precise location based on any To import a region group with Pro Tools menu of the Time Scales. commands: 4 Select any of the following import options: and select File > Import > region groups Choose 1 the region group you want to import. When Import Tempo Map from Region Group File selected, replaces the session tempo map with 2 In the Region Group Import Options dialog, the tempo map of the region group. This option choose where the region group will go: is only available when importing the region group to the Session Start. Creates a new track where the region New Track group will be imported. Click OK 5 . Imports the region group into the Region List Region List, where it will be where it will be Importing Region Groups with available to place into tracks. Drag and Drop You can drag and drop region groups from a DigiBase browser or from Windows Explorer or the Mac Finder to the Timeline, a track, the Track List, or the Region List. To import region groups into the Region List: 1 Select one or more region groups in a DigiBase browser, Windows Explorer or Mac Finder. Drag the files onto the Region List of the cur- 2 Region Group Import Options dialog rent session. 3 If you chose to create a new track, choose a lo- cation for the imported group in the track: To import region groups into an existing track: 1 Select one or more region groups in a DigiBase browser or from Windows Explorer or Mac Finder. 2 Drag the files onto an existing track in the Edit window of the current session. 375 Chapter 17: Importing and Exporting Session Data

398 To import region groups into new tracks: 4 Enable one of the following options for resolv- ing duplicate region group file names: Select one or more region groups in a DigiBase 1 Prompting for Ea ch Duplicate (default) • browser, Windows Explorer or Mac Finder. • Auto Renaming 2 Do one of the following: • Replacing with New Files • From the DigiBase browser, Shift-drag the 5 . Click OK files anywhere in the Edit window of the current session. Exporting Region Groups to Another Hard Drive • Drag the files onto any empty space in the Edit window of the current session. ting region groups to Generally, if you are expor • Drag the files to the Track List. another hard drive, you should copy any refer- enced audio files. This way you can move region groups not only from one session to another, Exporting Region Groups but from one system to another. To export a region group: To export a region group to a different hard drive 1 Select one or more region groups in the Re- and include its audio files: gion List. Export one or more region groups to the new 1 2 From the Region List menu, choose Export Re- drive. gion Groups . The Export Region Groups dialog Create a new session on the new drive. 2 opens. . Setup > Preferences Choose 3 Processing In the Preferences dialog, click the 4 tab and select Files on Import . Automatically Copy Click OK 5 to close the Preferences dialog. 6 Import all previously exported region groups by dragging and dropping them into the ses- sion. The audio files folder of the new session now contains all files referenced by the region Export Region Groups dialog groups. 3 The Destination Directory defaults to the auto-created Region Groups folder in the session folder. You can change the Destination Direc- Choose button, navigating tory by clicking the to a new location, and clicking Choose . Click Re- to reset the Destination Directory to the de- set fault location. 376 Pro Tools Reference Guide

399 Chapter 18: File and Session Management and Compatibility In Pro Tools sessions, use the Disk Allocation When working with Pro Tools, you will encoun- command to specify wher e you want newly re- ter several different kinds of computer files. corded audio files to be stored (see “Working Pro Tools systems require that you keep certain with Hard Drives for Recording” on page 439). files in specific hard drive locations in order to function properly: Although Pro Tools lets you record to your • Pro Tools software files (such as the appli- system drive, this is generally not recom- cation and plug-ins files) should be located mended. You should record to system drives on your Startup drive (the drive that con- r example, if your only when necessary—fo tains your operating system and other sys- one hard drive, or computer system has just tem-related files). es are completely full. it your other hard driv • Data files (such as session files, audio files, and fade files) can be located on any com- If you have a system with multiple drives, to your computer’s patible drive connected you can designate the System drive as a internal or external SAS, SATA, IDE/ATA, Playback only or Transfer only drive for op- FireWire, or SCSI busses (including SCSI timal performance (see “Audio and Video HBA). Volume Designators” on page 309). You can specify the location of new session files ions (see “Creating a when creating new sess New Session” on page 158). Management and Compatibility 377 Chapter 18: File and Session

400 Transfer Files Audio File Management Transfer files reside on volumes unsuitable for playback, such as CD or DVD discs, or network Unique File IDs drives. Pro Tools tags each audio file in a session with a To open a session containing Transfer files: unique identifier that allows it to distinguish a particular file even if its name or location has Open the Pro Tools session. If any files are on „ changed. a volume unsuitable for playback, Pro Tools prompts you to do one of the following: • Click Yes to open the Copy and Relink win- Locating Audio Files dow. to audio and With Pro Tools, you manage links – or – other media files using the Relink window. to open the session with all Trans- • Click No Pro Tools classifies storage volumes according to fer files offline. their suitability for performance (recording or playback) or transfer (storage or copying) of au- To make Transfer files playable in the current dio and other media files. Audio files must be session: ormance volumes and be stored on suitable Perf 1 Choose . Window > Project properly linked in order to be playable in a Pro Tools session. Double-click the Audio Files folder to display 2 all of the audio files. When you open a session, if Pro Tools deter- from the Browser Select Transfer Files 3 Choose mines that audio files are not located on a Per- menu. formance volume, or if it is unable to locate au- dio files contained in the session, you can locate 4 Choose Copy and Relink from the Browser or copy the files in order to play back the ses- menu. sion. This process is called relinking . 5 Specify a location for the copied files on a For more information on storage volume valid Performance volume. classifications, see “Performance and . 6 Click OK Transfer Volumes” on page 273. For more information on relinking Transfer d Relinking Files” on files, see “Linking an page 300. 378 Pro Tools Reference Guide

401 Missing Files Renamed Audio Files and the Renamed Audio Files Folder A file is missing if it is not found in the same lo- cation as when the session was last saved. Renamed audio files are located in the auto-cre- ated Renamed Audio Files folder in the To open a session with missing files: Files can be renamed Pro Tools session folder. when you open a session that references audio 1 Open the Pro Tools session. If any files are file names with incompatible characters. Files missing, Pro Tools posts a Missing Files warning. certain situations when can also be renamed in saving a copy of a session to a Pro Tools version rt long file names that does not suppo Opening a Session that Contains Audio File Names with Illegal Characters Pro Tools 7.x and higher does not support audio file names that contain the following ASCII Missing files warning when opening a session characters: / (Forward Slash) 2 Choose one of the following options: \ (Backslash) Skip All Ignores all missing files and fades. The : (Colon) missing files are offline in the session. * (Asterisk) Manually Find and Relink Opens the Relink win- ? (Question mark) dow, where you can search, compare, verify, and “ (Quotation marks) relink missing files. < (Less-than symbol) Automatically Find and Relink Searches all Per- > (Greater-than symbol) formance volumes for all missing files with | (vertical line or pipe) matching name, unique file ID, format, and Any “high order” ASCII character (created length, and automatically commits links to with a key combination) missing files where possible. When opening sessions that contain audio file To exclude fades from the relinking process, 3 acters, Pro Tools auto- names with illegal char and have them recalculated instead, select Re- matically creates a renamed copy of each file generate Missing Fades Without Searching . that contains illegal characters (replacing these 4 To exclude any Rendered Elastic Audio files characters with an underscore “_”). Renamed from the relink process and regenerate them in- files are copied to the Renamed Audio Files stead, select Regenerate Missing Rendered Files folder. The original files are left intact in the . Without Searching Audio Files folder. Click 5 OK . For more information on missing files, see “Linking and Relinking Files” on page 300. Management and Compatibility 379 Chapter 18: File and Session

402 Before the session opens, you are prompted to WAV File Compatibility save a detailed report of the renamed files and their original file names to a Notes text file. By Convert Imported WAV files to default, the Notes text file is saved to the Session AES31/BroadcastWave folder. Pro Tools always creates AES31/Broadcast com- It is possible to have a Pro Tools 7.x or pliant BWF (.wav) files wh en the file originates higher session that contains audio file in Pro Tools. Non-BWF .wav files can be added names with illegal characters. If you Save to BWF (WAV) format Pro Tools sessions with- Copy In the session to Pro Tools 6.9.x or out conversion. This option ensures that all lower with Mac/PC Compatibility on, the WAV files are imported, and if necessary, con- tracks are renamed with legal characters. If verted to BWF (WAV), compliant with the Mac/PC Compatibility is off, the characters AES31/EBU Broadcast standard. are not changed. AES31/Broadcast Wave is a variant of the stan- Saving a Copy of a Session that Contains Long dard audio WAV file type. The AES31 format Audio File Names contains SMPTE time stamps and other informa- tion beyond the raw PCM audio data. When saving files to Pro Tools 6.9.x and lower (using Save Copy In), audio files with file names th standards set by the This variant complies wi that exceed the limits of the destination format AES (Audio Engineering Society) and EBU (Euro- are truncated and located in the Session folder, pean Broadcasters Union). Choose this option as follows: to ensure compatibility with other workstations that recognize this file type. • If the new session is saved to the same direc- tory as the original, a Renamed Audio Files To make imported WAV f iles compliant with the folder is created in the session’s original AES31/EBU Broadc ast standard: folder, and the renamed audio files are placed in it. 1 Pro- and click the Setup > Preferences Choose cessing tab. • If the new session is saved to a different direc- tory than the original and the All Audio Files Convert Imported “.wav” Files to Select the 2 is not checked option , a new Session folder is AES31/BroadcastWave option. an Audio Files folder created, which includes OK . Click 3 and a Renamed Audio Files folder. Renamed audio files are included in the Audio Files folder. • If the new session is saved to a different direc- tory than the original and the All Audio Files is checked , a new Session folder is cre- option ated, which includes an Audio Files folder. Re- named audio files are included in the Audio Files folder. 380 Pro Tools Reference Guide

403 To transfer Pro Tools Windows sessions from NTFS Sharing Sessions Created on drives to HFS+ drives: Different Computer Platforms Set the HFS+ Disk Support Options or the Mac- 1 Drive Options to Backup/File Transfer . Working with Mac-Based HFS+ Do one of the following: 2 Drives on Windows Computers • Drag the session folder from the NTFS drive to the HFS+ drive. Either the HFS+ Disk Support option or the Mac- Drive Utility is required to mount HFS+ drives – or – on an NTFS system for use with Pro Tools. • Open the Windows session on the NTFS , and save a copy drive, choose Save Copy In HFS+ Drive Support Option of the session to the HFS+ drive. (Windows Only) Moving Mac-Based Sessions on Pro Tools for Windows support recording and HFS+ Drives to Windows Systems playback of sessions di rectly from Mac-format- ted (HFS+) drives using the HFS+ Disk Support (To Windows-Based NTFS Drives Only) option. The HFS+ Disk Support option is auto- There are specific steps fo r transferring files from matically installed with Pro Tools software by Mac-based HFS+ drives to Windows-based NTFS default. drives. When using the HFS+ Disk Support option for To save (or create) Ma c sessions to be com- recording and playback on a Windows system, patible on Windows systems, see “Saving the session file and all associated files (such as Copies of Mac Sessions to be Compatible audio and MIDI files) must be stored on Mac- with Windows” on page 382. formatted (HFS+) drives . Recording and play- back of a session from a mixture of Windows- and Mac-formatted drives is not supported. When transferring Pro Tools sessions from HFS+ drives to NTFS drives, Pro Tools ses- For more information, see Chapter 19, sions cannot relink to audio files and fades “Mac HFS+ Disk Support Option that have Mac characters that are illegal in (Windows Only).” Windows. These characters are automati- cally converted to unde rscore (“_”) charac- Moving Sessions on Windows ters. These files are saved to the Renamed Systems to Mac-Based HFS+ Audio Files folder. You need to manually Drives relink each file by File ID. See “Missing Files” on page 379. (From Window-Based NTFS Drives Only) There are specific steps for transferring session To save session with no illegal characters, files from Windows-based NTFS drives to Mac- see “Saving Copies of Mac Sessions to be based HFS+ drives. Compatible with Windows” on page 382. Management and Compatibility 381 Chapter 18: File and Session

404 To record or play back from HFS+ drives with To transfer Pro Tools Mac sessions from HFS+ Windows using MacDrive: drives to NTFS drives: 1 Set the HFS+ Disk Support option or the Mac- In Windows, go to the MacDrive Control 1 Panel. Normal Use . Drive Options to Options > File Names 2 2 Do one of the following: In- and select the Choose option. ternational Use • Drag the session folder from the HFS+ drive to the NTFS drive. 3 Delete all options listed under “File Name Maps.” – or – • Open the Mac session on the HFS+ drive, 4 Window > Workspace and In Pro Tools, choose Save Copy In and when prompted, choose make sure that all Mac-formatted volumes are and save a copy of the session to the HFS+ set to R (record) or P (playback) in the A (Audio) drive. and V (Video) columns. If the session previously used SD II files, the files are converted to the new audio file format. Saving Copies of Mac Sessions to be Compatible with Windows (Save Copy In to Pro Tools 6.9.x and Lower Recording and Playback from Only) HFS+ Drives on Windows Sessions created and saved as Pro Tools 7.x and Windows supports recording and playback of higher sessions are always compatible on both sessions directly from Mac-formatted (HFS+) drives using either the HFS+ Disk Support op- Windows and Mac systems. tion or the MacDrive software application. If you create a Pro Tools 6.9.x or lower session ion is only compatible on a Mac system, the sess In older versions of Pro Tools, Mac-for- on Windows systems if the Enforce Mac/PC Com- matted HFS+ drives could only be used as Save option is selected when using the patibility en connected to Transfer volumes wh command. In addition, there are cross- Copy In Windows systems using MacDrive. platform limits to consider when completing When using either the HFS+ Disk Support op- command. Save Copy In the tion or MacDrive for recording and playback on a Windows system, the session file and all audio files must be stored on Mac-formatted (HFS+) drives. Recording and play back of a session from a mixture of Windows- and Mac-formatted drives is not supported. For information on using the HFS+ Disk Support option, see the Mac HFS+ Disk Sup- port Option Guide. 382 Pro Tools Reference Guide

405 ? (Question mark) Cross-Platform Session Limits “ (Quotation marks) When saving (or creating) a copy of a Pro Tools < (Less-than symbol) session that you want to be compatible on both > (Greater-than symbol) Mac and Windows, keep in mind the following limits and how Pro Tools deals with them: | (vertical line or pipe) Any “high order” ASCII character (created Audio File Types with a key combination) The recommended file format for cross-platform Saving Cross-Platform Sessions interoperability is BWF (.WAV). To support op- timal session interchange, Pro Tools defaults to To save an existing session to Pro Tools 6.9.x or BWF format for new sessions. lower and maintain Mac and Windows compatibility: bounce, and export in a Pro Tools lets you save, variety of audio file formats, including WAV, 1 Copy In File > Save Choose . AIFF, SD II, MP3, and QuickTime. 2 In the Save Session Copy dialog, choose a des- tination and type a name for the new session File Name Extensions file. For cross-platform compatibility, all files in a to AIFF or BWF (.WAV). 3 Set the Audio File Type session must have a 3-letter file extension added These file formats are compatible with either to the file name. Pro Tools 5.1 to 6.9.x session platform. files have the extension “.pts,” and Pro Tools 5 sessions have the extension “.pt5.” Wave files Sample Rate 4 Set the for the ses- Bit Depth and have the “.wav” file extension, and AIFF files sion. have the “.aif” file extension. . This op- 5 Select Enforce Mac/PC Compatibility tion must be selected to make the session cross- Incompatible ASCII Characters platform compatible. Region names, track names, file names, and options for the new Items to Copy Select the 6 e ASCII characters that plug-in settings cannot us session. are incompatible with either system. 7 Click . Save When importing files into a session, incompati- ble characters are converted to underscores (“_”) If the session previously used SD II files, the files and the renamed files are placed in the Renamed are converted to the new audio file format. Files folder. Pro Tools can convert a file created on a The following characters cannot be used in Mac and saved without the “Enforce Windows sessions: Mac/PC compatibility” option selected to a / (Forward Slash) Windows compatible file. For more infor- \ (Backslash) mation, see “Sharing Sessions Created on Different Computer Platforms” on : (Colon) page 381. * (Asterisk) Management and Compatibility 383 Chapter 18: File and Session

406 Different Pro Tools Systems Sharing Sessions Created on Pro Tools makes it easy to share sessions between Pro Tools|HD systems and Pro Tools systems. There are some important differences between the three ty pes of systems that can affect how session mate- rial is transferred. For details on transferring sessions between Windows and Mac systems, see t Computer Platforms” on page 381. “Sharing Sessions Created on Differen The following table also includes Pro Tools sys tems with the Complete Production Toolkit 2. Differences between Pro Tools systems Pro Tools Systems with Pro Tools Systems Pro Tools|HD Systems Feature Complete Production Toolkit 2 up to 512 tracks (up to Maximum number of up to 512 tracks (up to up to 128 tracks (up to 64 voiceable) audio tracks 192 voiceable) 192 voiceable) 128 Maximum number of 160 160 Auxiliary Input tracks Maximum number of 128 64 128 Instrument tracks 256 internal mix bus- 256 internal mix bus- 256 internal mix bus- Maximum number of ses ses internal mix busses ses Inserts per track up to 10 inserts up to 10 inserts up to 10 inserts up to 10 sends up to 10 sends up to 10 sends Sends per track • Any Instrument tracks beyond 64 are made Opening Pro Tools HD Sessions in inactive. Pro Tools • Any Auxiliary Input tr acks beyond 128 are A Pro Tools HD session can be opened with made inactive. Pro Tools, but certain session components open • TDM plug-ins with RTAS equivalents are con- differently or not at all. verted; those without equivalents are made inactive. When opening a Pro Tools HD 9.0 session in Pro Tools 9.0, the following occurs: • Multichannel surround tracks are removed from the session. Tracks • Unavailable input and output paths are made • Any tracks beyond the first 128, as well any inactive. inactive tracks, are set to voice off . 384 Pro Tools Reference Guide

407 • HEAT (if present) is removed (Pro Tools HD Sharing Sessions Created on 8.1 and higher sessions with HEAT option only). Different Pro Tools Software Versions Groups Pro Tools makes it easy to share sessions be- • Mix Groups keep only Main Volume informa- tween different software versions of a particular tion. Pro Tools system. • Mix/Edit Groups keep only Main Volume and Automation Mode information. See the following: • Automation overflow information for • “Sharing Pro Tools HD 9.0 Sessions with grouped controls is be preserved. Lower Versions of Pro Tools” on page 385 • “Sharing Pro Tools 9.0 Sessions with • Group behavior of Solos, Mutes, Send Levels, Pro Tools LE” on page 390 Send Mutes is be preserved. • Solo Mode and Solo Latch settings are dropped. Sharing Pro Tools HD 9.0 Video Sessions with Lower Versions • Only the main video track is displayed. of Pro Tools • Only the first QuickTime movie in the session is displayed or played back. Opening Pro Tools HD 9.0 • If the session contains QuickTime movies in Sessions with Pro Tools HD 8.1 the Region List but no video track, the session and 8.5 opens with a new QuickTime Movie track A Pro Tools HD 9.0 session can be opened with containing the first QuickTime movie from Pro Tools HD 8.1 and 8.5, but certain session the Region List. components open differently or not at all. • The Timeline displays and plays back only the video playlist that was last active. Alternate When opening a Pro Tools 9.0 session with video playlists are not available. Pro Tools 8.1 or 8.5, you are warned that you are opening a session created with a newer version of Pro Tools and that not all session components will be available. Management and Compatibility 385 Chapter 18: File and Session

408 When opening a Pro Tools HD 9.0 session with When opening a Pro Tools HD 9.0 session with Pro Tools HD 8.1 or 8.5, the following occurs: Pro Tools HD 7.4.x, the following occurs: • Any audio tracks beyond 256 are made inac- • All that occurs when opening a Pro Tools HD 9.0 session with Pro Tools HD 8.0. tive. ciated automation are • Inserts F–J and any asso beyond 128 are made • Any internal mix busses inactive. removed. • Regions from audio files larger than 2 GB • The Stereo Pan Depth reverts to –2.5 dB. appear offline. • Pitch transpositions of Elastic regions are Opening Pro Tools HD 9.0 removed. Sessions with Pro Tools HD 8.0 • Chord markers are removed. A Pro Tools HD 9.0 session can be opened with Pro Tools HD 8.0, but certain session compo- nents open differently or not at all. Opening Pro Tools HD 7.4 or Higher Sessions with Pro Tools HD When opening a Pro Tools 9.0 session with 7.3.x or 7.2 Pro Tools 8.0, you are warned that you are A Pro Tools HD 7.4 or higher session can be opening a session created with a newer ver- opened with Pro Tools HD 7.3.x or 7.2, but cer- sion of Pro Tools and that not all session tain session components open differently or not components will be available. at all. When opening a Pro Tools HD 9.0 session with Pro Tools HD 8.0, the following occurs: When opening a Pro Tools 7.4 or higher session with Pro Tools 7.3.x, you are • All that occurs when opening a Pro Tools HD warned that you are opening a session cre- 9.0 session with Pro Tools HD 8.1. ated with a newer version of Pro Tools and • Output bus assignments are removed. that not all session components will be • HEAT (if present) is removed. available. When opening a Pro Tools HD 7.4.x or higher Opening Pro Tools HD 9.0 session with Pro Tools HD 7.3.x or 7.2, the Sessions with Pro Tools HD 7.4.x following occurs: • All that occurs when opening a Pro Tools HD A Pro Tools HD 9.0 session can be opened with 8.x or higher session with Pro Tools HD 7.4.x. Pro Tools HD 7.4.x, but certain session compo- nents open differently or not at all. • Elastic Audio-enabled tracks open without Elastic Audio and region durations revert to When opening a Pro Tools 9.0 session with the timing of the original source file. Pro Tools 7.4.x, you are warned that you • Sessions with mixed language characters sup- are opening a session created with a newer t open or, if they do ported in Unicode may no version of Pro Tools and that not all session open, Pro Tools displays “garbage” text. components will be available. Pro Tools Reference Guide 386

409 • Mix/Edit Groups keep only Main Volume and Opening Pro Tools HD 7.2 or Automation Mode information. Higher Sessions with Pro Tools HD 7.1 or 7.0 • Automation overflow information for grouped controls is not preserved. A Pro Tools HD 7.2 or higher session without • Group behavior of Solos, LFEs, Mutes, Send video tracks or VCA Masters can be opened with Levels, Send Mutes is not preserved. Pro Tools HD 7.1 or 7.0, but certain session com- ponents open differently or not at all. • Solo Mode and Solo Latch settings are dropped. When opening a Pro Tools 7.4 or higher session with Pro Tools 7.2, 7.1, or 7.0, you Video not all session com- are not be warned that • Only the main video track is displayed. ponents will be available. • Only the first QuickTime movie in the session is displayed or played back. Pro Tools HD 7.2 or higher sessions that • If the session contains QuickTime movies in contain video tracks or VCA Masters can the Region List but no video track, the session only be opened with Pro Tools HD 7.1cs3 opens with a new QuickTime Movie track and higher. containing the first QuickTime movie from the Region List. When opening a Pro Tools HD 7.4 or higher session with a version of Pro Tools HD 7.1 or • The Timeline displays and plays back only the 7.0 the following occurs: video playlist that was last active. Alternate • All that occurs when opening a Pro Tools HD video playlists are not available. 7.4 or higher session with Pro Tools HD 7.3.x • Video regions and video region groups are not or 7.2. shown or saved. Tracks • VCA Master tracks are removed and any unco- alesced VCA automation is dropped. • Any uncoalesced Trim automation is dropped. Groups • All groups beyond the first 26 (Bank 1, Groups a–z) are dropped. • Mix Groups keep only Main Volume informa- tion. Management and Compatibility 387 Chapter 18: File and Session

410 Groups Opening Pro Tools HD 7.2 or Higher Sessions with • In Pro Tools LE 7.1 or lower only, all groups Pro Tools LE 8.0 beyond the first 26 (Bank 1, Groups a–z) are dropped. A Pro Tools HD 7.2 or higher session that does • Mix Groups keep only Main Volume informa- not contain video tracks or VCA Masters can be tion. opened with Pro Tools LE 8.0, but certain ses- sion components open differently or not at all. only Main Volume and • Mix/Edit Groups keep Automation Mode information. Pro Tools HD 7.2 sessions that contain • Automation overflow information for video tracks or VCA Master tracks can only grouped controls is be preserved. be opened with Pro Tools LE 7.0cs3 and higher. • Group behavior of Solos, Mutes, Send Levels, Send Mutes is be preserved. When opening a Pro Tools HD 7.x or higher • Solo Mode and Solo Latch settings are session in Pro Tools LE 8.0, the following dropped. occurs: Video Tracks • Only the main video track is displayed. • Any tracks beyond the first 48, as well any in- voice off active tracks, are set to . • Only the first QuickTime movie in the session is displayed or played back. • Any assignments to busses beyond 32 are made inactive. • If the session contains QuickTime movies in the Region List but no video track, the session • Any Instrument tracks beyond 32 are made opens with a new QuickTime Movie track inactive. containing the first QuickTime movie from • TDM plug-ins with RTAS equivalents are con- the Region List. verted; those without equivalents are made • The Timeline displays and plays back only the inactive. video playlist that was last active. Alternate • Multichannel surround tracks are removed video playlists are not available. from the session. • In Pro Tools LE 7.1 or lower only, video re- • Unavailable input and output paths are made gions and video region groups are not shown inactive. or saved. • Any Delay Compensation settings are re- moved. • VCA Master tracks are removed and any unco- alesced VCA automation is dropped. • HEAT (if present) is removed (Pro Tools HD 8.1 sessions with HEAT option only). • Output Bus assignments are removed (Pro Tools HD 8.1 sessions only). 388 Pro Tools Reference Guide

411 • Fader Gain levels and automation breakpoints Saving Pro Tools HD 9.0 Sessions higher than +6 dB are changed to +6 dB. to Pro Tools 5.1 -> 6.9 Format • Long names are shortened to 31 characters. Pro Tools 7.x and higher sessions cannot be ibutes are dropped: • The following attr opened with Pro Tools versions 6.9.x through 5.1. •Region groups • Region loops To save a Pro Tools 9.0 session so it is compati- • Sample-based MIDI regions ble with Pro Tools version 6.9.x through 5.1, use • Sample-based MIDI tracks File > Save Copy In command to choose the the Pro Tools 5.1 -> 6.9 Session format. • Inserts F–J and any associated automation • Sends F–J and any associated automation Pro Tools 8.x and higher supports file sizes • Marker/Memory Locations 201–999 up to 3.4 GB. However Pro Tools 5.1 through 6.9 on Mac only support file sizes Groups up to 2 GB. rst 26 (Bank 1, Groups • All groups beyond the fi If your session references audio files larger a–z) are dropped. than 2 GB, be sure to edit and consolidate • Mix Groups keep only Main Volume informa- regions as necessary to reference only files tion. smaller than 2 GB. only Main Volume and • Mix/Edit Groups keep When saving a Pro Tools HD 9.0 session to Automation Mode information. Pro Tools HD 5.1 -> 6.9 format, the following • Automation overflow information for occurs: grouped controls is not preserved. Tracks • Group behavior of Solos, LFEs, Mutes, Send • Any audio tracks beyond 256 are removed. Levels, Send Mutes is not preserved. • Any internal mix busses beyond 128 are re- • Solo Mode and Solo Latch settings are moved. dropped. • Output bus assignments are removed. Video • HEAT (if present) is removed. • Only the main video track is displayed. • Elastic Audio-enabled tracks are saved un- • Only the first QuickTime movie in the session transposed, unwarped, and region durations is displayed or played back. revert to the timing of the original source file. • If the session contains QuickTime movies in • Instrument tracks are split into separate Aux- the Region List but no video track, the session iliary Input and MIDI tracks. opens with a new QuickTime Movie track • VCA Master tracks are removed and VCA au- containing the first QuickTime movie from tomation is coalesced to the corresponding the Region List. slave tracks. • The Timeline displays and plays back only the • Trim automation playlists are coalesced to video playlist that was last active. Alternate their corresponding automation playlists. video playlists are not available. Management and Compatibility 389 Chapter 18: File and Session

412 • Video regions and video region groups are not Sharing Pro Tools 9.0 shown or saved. Sessions with Pro Tools LE Language Compatibility • The Limit Character Set option must be en- Opening Pro Tools 9.0 Sessions abled and you must select a single language with Pro Tools LE 8.x and character set. A Pro Tools 9.0 session can be opened with Pro Tools LE 8.x, but certain session compo- Saving Pro Tools HD 9.0 Sessions nents open differently or not at all. to Pro Tools 5.0 Format When opening a Pro Tools 9.0 session with Pro Tools 7.x and higher sessions cannot be Pro Tools LE 8.x, you are warned that you opened with Pro Tools version 5.0. are opening a session created with a newer To save a Pro Tools 9.0 session so it is compati- version of Pro Tools and that not all session File > Save ble with Pro Tools version 5.0, use the components will be available. command to choose the Pro Tools 5.0 Copy In When opening a Pro Tools 9.0 session with Session format. Pro Tools LE 8.x, the following occurs: When saving a Pro Tools HD 9.0 session to • Any audio tracks beyond 256 are made inac- Pro Tools 5.0 format, the following occurs: tive. saving a Pro Tools HD • All that occurs when • Any internal mix busses beyond 128 are made 9.0 session to Pro Tools HD 5.1->6.9 format. inactive. • Multichannel surround tracks are removed • Stereo Pan Depths other than –2.5 dB revert to from the session. –2.5 dB. • Inactive tracks are removed from the session. • Tracks assigned to “No Output” are routed to Opening Pro Tools 9.0 Sessions busses 31 and 32. with Pro Tools LE 7.4.x • Tracks or sends assigned to busses 33–64 are A Pro Tools 9.0 session can be opened with routed to busses 31 and 32. Pro Tools LE 7.4.x, but certain session compo- nents open differently or not at all. • Tracks assigned to multichannel paths or sub- paths of multichannel paths are routed to bus- When opening a Pro Tools 9.0 session with ses 31 and 32. Pro Tools 7.4.x, you are warned that you • Sends assigned to multichannel paths or sub- created with a newer are opening a session paths of multichannel paths are dropped. version of Pro Tools and that not all session • Tracks or sends assigned to stereo paths refer- components will be available. ring to even/odd channels (such as 2–3) are When opening a Pro Tools 9.0 session with routed to busses 31 and 32. Pro Tools LE 7.4.x, the following occurs: • Multi-mono plug-in instances are dropped. ciated automation are • Inserts F–J and any asso removed. 390 Pro Tools Reference Guide

413 • Regions from audio files larger than 2 GB ap- Opening Pro Tools LE 7.3.x or pear offline. higher Sessions with Pro Tools LE 7.1 or 7.0 file formats must con- • Sessions that use mixed vert audio files to a single file format er session that does A Pro Tools LE 7.3.x or high • Pitch transpositions of Elastic regions re- not contain video tracks can be opened with moved. Pro Tools LE 7.1 or 7.0, but certain session com- ponents open differently or not at all. • Chord markers are removed. When opening a Pro Tools LE 7.3.x or higher Opening Pro Tools 9.0 Sessions session with a version of Pro Tools LE 7.1 or with Pro Tools LE 7.3.x 7.0: • All that occurs when opening a Pro Tools LE A Pro Tools LE 7.4.x or higher session can be 7.4.x session or higher on Pro Tools LE 7.3.x. opened with Pro Tools LE 7.3.x, but certain ses- sion components open differently or not at all. Groups • All groups beyond the fi rst 26 (Bank 1, Groups When opening a Pro Tools LE 7.4 or higher a–z) are dropped. session with Pro Tools LE 7.3.x, the following occurs: • Mix Groups keep only Main Volume informa- tion. • All that occurs when opening a Pro Tools LE 8.x session with Pro Tools LE 7.4.x. only Main Volume and • Mix/Edit Groups keep Automation Mode information. Tracks Video • Any Elastic Audio-enabled tracks open with- all audio regions on out Elastic Audio and • Only the main video track is displayed. those tracks are at their original duration. All • Only the first QuickTime movie in the session warping is lost. is displayed or played back. • Sessions with mixed language characters sup- • If the session contains QuickTime movies in ported in Unicode may not open or, if they do the Region List but no video track, the session open, Pro Tools displays “garbage” text. opens with a new QuickTime Movie track containing the first QuickTime movie from When opening a Pro Tools 7.4 session with the Region List. Pro Tools 7.3.x, you are warned that you created with a newer are opening a session • The Timeline displays and plays back only the version of Pro Tools and that not all session video playlist that was last active. Alternate components will be available. When open- video playlists are not available. ing a Pro Tools 7.4 session with Pro Tools • Video regions and video region groups are not t be warned that not 7.1, or 7.0, you will no shown or saved. all session components will be available. Management and Compatibility 391 Chapter 18: File and Session

414 • Only the main video track is displayed. Sharing Pro Tools LE 7.x or Higher Sessions with Pro Tools LE 6.9 or • Only the first QuickTime movie in the session Lower is displayed or played back. • If the session contains QuickTime movies in Pro Tools 7.x and higher format sessions cannot the Region List but no video track, the session be opened on Pro Tools versions 6.9.x or lower, opens with a new QuickTime Movie track but they can be saved to a lower compatible ver- containing the first QuickTime movie from sion. Some session components in the new copy the Region List. open differently or not at all. • The Timeline displays and plays back only the video playlist that was last active. Alternate Saving Pro Tools 9.0 Sessions to video playlists are not available. Pro Tools LE 5.1 -> 6.9 Format • Video regions and video region groups are not Pro Tools 7.x and higher sessions cannot be shown or saved. opened with Pro Tools versions 6.9.x through • Fader Gain levels and automation breakpoints 5.1. higher than +6 dB are changed to +6 dB. To save a Pro Tools 9.0 session so it is compati- • Long names are shortened to 31 characters. ble with Pro Tools version 6.9.x through 5.1, use • Instrument tracks are split into separate Aux- command to choose the Copy In File > Save the iliary Input and MIDI tracks. format. Pro Tools 5.1 -> 6.9 Session ibutes are dropped: • The following attr Pro Tools 8.x supports file sizes up to •Region groups ls 5.1 through 6.9 3.4 GB. However Pro Too • Region loops on Mac only support file sizes up to 2 GB. • Sample-based MIDI regions If your session references audio files larger than 2 GB, be sure to edit and consolidate • Sample-based MIDI tracks regions as necessary to reference only files associated automation • Inserts F–J and any smaller than 2 GB. • Sends F–J and any associated automation • Marker/Memory Locations 201–999 When saving a Pro Tools 9.0 session to Pro Tools LE 5.1 -> 6.9 format, the following • busses 17–32 (Pro Tools LE) occurs: • The Limit Character Set option must be en- abled and you must select a single language Tracks and character set. • Elastic Audio-enabled tracks are saved un- transposed, unwarped, and region durations revert to the timing of the original source file. • All groups beyond the first 26 (Bank 1, Groups a–z) are dropped. • Mix Groups keep only Main Volume informa- tion. • Mix/Edit Groups keep only Main Volume and Automation Mode information. 392 Pro Tools Reference Guide

415 Saving Pro Tools 9.0 Sessions to Language Compatibility Pro Tools LE 5.0 Format To save a Pro Tools 9.0 session so it is compati- Unicode Support for Languages ble with Pro Tools version 5.0, use the File > Save Pro Tools 5.0 Ses- Copy In command to select the Pro Tools supports entry and display of any lan- format. sion guage characters suppo rted in Unicode any- where in the Pro Tools application. This lets When saving a Pro Tools 9.0 session to you: Pro Tools 5.0 format, the following occurs: • Use multiple languages in session names, saving a Pro Tools 9.0 • All that occurs when and in path names, file names and region session to Pro Tools 5.1->6.9 format. names within the same session. • Search for terms in multiple languages in • Fader Gain levels and automation breakpoints DigiBase browsers. higher than +6 dB are changed to +6 dB. • Multi-mono plug-in instances are dropped. Pro Tools Automatic Naming • Sends assigned to multichannel paths or sub- Language paths of multichannel paths are dropped. When working in a language other than Eng- •Tracks assigned to “No Output” are routed to lish, you can set Pro Tools to automatically busses 31 and 32. name session elements (such as regions, tracks, • Tracks/sends assigned to busses 33–64 are and I/O paths) in English. This is useful when routed to busses 31 and 32. sharing sessions with other users working in • Tracks assigned to multichannel paths or sub- English. paths of multichannel paths are routed to bus- ses 31 and 32. To set the Automatic Nami ng Language to match the language selected for the Pro Tools • Tracks/sends assigned to stereo paths referring application: to even/odd channels (such as 2–3) are routed to busses 31 and 32. and click the 1 Choose Setup > Preferences Dis- play tab. 2 Choose the language you want to use in Pro Tools from the Language pop-up menu. Default Automatic Naming to Eng- 3 Deselect the option. lish Management and Compatibility 393 Chapter 18: File and Session

416 To change to a different language version of Pro Tools Application Language Pro Tools: (Windows Only) 1 Close Pro Tools if it is currently open. You can choose the language you want to use in 2 Launch Apple System Preferences. the Pro Tools application, independently of what language version of Windows you are us- Click International (the “flag” icon). 3 ing. 4 Click the Language tab. To select the language for Pro Tools: 5 In the Languages column, drag the language you want to the top of the list. Dis- 1 Choose Setup > Preferences and select the play tab. 6 Close the International window. 2 Choose the language you want to use in 7 Do one of the following: Language pop-up menu. Pro Tools from the • If you are changing from a localized lan- guage to English, launch Pro Tools. Multilingual Application Support – or – for Pro Tools Systems • If you are changing from one localized lan- (Localized OS on Mac Only) guage to another (or from English to a lo- calized language), log out and log in from Pro Tools (such as Localized versions of the Apple menu, then launch Pro Tools. Pro Tools Korean, simplified Chinese, or Japa- nese) can be opened on a qualified Mac that sup- er to start with the If you want your comput calized language ver- ports English and the lo previous language (after working on a dif- sions of Mac. You can also select a different ferent language version) follow the above language in any localized version of Pro Tools International prefer- steps and change the (including English) in the Apple System Prefer- ence back to the previous language. ences. 394 Pro Tools Reference Guide

417 Chapter 19: Mac HFS+ Disk Support Option (Windows Only) The Mac HFS+ Disk Support option lets you in- While the Mac HFS+ Disk Support option terchange sessions between Mac-based and will allow your system to read/write HFS Windows-based Pro Tools systems using local (Mac Standard format) disks, HFS drives HFS+ (Mac OS Extended) formatted hard drives. are not supported for either record/playback With the Mac HFS+ Disk Support option in- or transfer. stalled on a Windows computer, you can mount an HFS+ drive on a Windows-based Pro Tools system, and record and play back Pro Tools ses- Installing the Mac HFS+ Disk sions directly on that drive as if it were natively- Support Option formatted for Windows. The Mac HFS+ Disk Support option is available When using the Mac HFS+ Disk Support as part of the Pro Tools installation procedure. If option for recording and playback on a you did not install it with Pro Tools, you can run the session file and Windows-based system, the Pro Tools installer again. all associated files (such as audio and MIDI files) must be stored on Mac-formatted To install the Mac HFS+ Disk Support option: drives. Recording and playback of a session 8 Insert the Pro Tools installer disc in your DVD from a mixture of Windows- and Mac-for- drive. Locate and open the Pro Tools Installer matted drives is not supported. folder, and double-click the Setup icon. In the Installer Wizard, select Modify , and click 9 If you use the Format Mac Disk command Next . that is installed as part of the Mac HFS+ initialize or partition Disk Support option to option for Select the 10 Mac HFS+ Disk Support a Mac-formatted drive, it will not be offi- installation, and click Next . cially supported as a Pl ayback/Record drive. 11 Follow the on-screen in structions to proceed Though Pro Tools may be able to play back with the installation. ive, only HFS+ disks and record to such a dr formatted on a Mac using Apple Disk Util- 12 . When Installation is complete, click Finish ity are supported for playback and record- ing. pport Option (Windows Only) 395 Chapter 19: Mac HFS+ Disk Su

418 If the disk device is new to your Windows sys- The HFS+ Disk Support option only works tem (as would be the case, for example, when on a computer that has a valid installation plugging an external drive from a Mac OS sys- of the Pro Tools application. If you remove tem into your Windows PC FireWire adapter for the Pro Tools application from your system, the first time), it is likely that it will be recog- the HFS+ Disk Support option will also be nized by Windows and work properly without removed. requiring the installation of driver software r manufacturer, but this from the drive or adapte is not guaranteed. Removing the Mac HFS+ Disk When attaching a removable media drive, if Support Option Windows presents no drive letter for the remov- may not be properly in- able drive, the hardware If you need to remove the Mac HFS+ Disk Sup- stalled, or driver software may be necessary. port option from your computer, use the unin- When attaching a Mac external hard drive, Win- stall command in Windows. dows will not present a dr ive letter unless both the drive and the Mac HFS+ Disk Support option To remove the Mac HFS+ Disk Support Option from your computer: are properly installed. 1 and Start > Control Panel > Programs Choose If you are using SCSI or Fibre Channel drives, Features. you can watch for notification from the SCSI or Fibre Channel adapter during the boot process . HFS+ Disk Support Select 2 detailing detected drives. If a newly-attached . 3 Click Uninstall SCSI drive is not detected, check for ID conflicts and proper termination. Regardless of the drive Follow the on-screen instructions to remove 4 type, if it is not detected, look for faulty cables, the option. check both drive and adap ter configuration, and try PC-formatted disks in order to confirm whether the drive is working. Media Compatibility The Mac HFS+ Disk Support option works with The Mac HFS+ Disk Support option enables the following: Windows and other software running under ‹ Zip, CD-ROM, CD-R/RW, DVD±RW/±R, Jaz, Windows to access nearly any type of Mac disk. iPod, hard drives, SyQuest, MO, ORB and nearly Windows, however, must be able to communi- any other disk device that works with Windows cate with the drive to allow Mac HFS+ Disk Sup- can be accessed. port to function. ‹ High-density (1.44MB) Mac floppies can be If you are currently able to use your removable accessed on any Windows system with a floppy media drive with normal PC-formatted disks, drive. you can be confident that Windows is success- fully communicating with the drive, and that Low-density (400KB and 800KB) Mac Mac HFS+ Disk Support will be able to recognize floppies cannot be accessed due to physical Mac disks when they are inserted. differences between the floppy drives in Mac OS systems and Windows PCs. 396 Pro Tools Reference Guide

419 While it is possible to use the Mac HFS+ Viewing Mac Drive and File Support option with drives mounted as part Properties ork (SAN), this con- of a Storage Area Netw es for a Mac-formatted When you view properti figuration not been qualified. drive or a file or folder on a Mac-formatted Mac-specific properties drive, you can view the Mac RAID disk volume s are not supported of that drive, file or folder from its shortcut by the Mac HFS+ Disk Support option. menu. You can also display the Mac properties of files in the Windows Explorer Details view. Session Compatibility The Mac HFS+ Disk Support option enables To view the properties of a Mac drive, file or folder: Windows to recognize Pro Tools sessions cre- 1 Right-click the element whose properties you ools 7.x–9.x (.ptf) and ated on Mac-based Pro T Properties from the want to view, and choose Pro Tools 5.x–6.x (.pts) systems. shortcut menu. Mac-based Pro Tools 5.x–6. x sessions that refer- In the Properties window, click the 2 HFS+ Disk ence audio files in Sound Designer II (SD II) for- tab. Support mat are not supported on Windows. Click OK to close the Properties window. 3 If your Mac-based Pro Tools session includes The following information is displayed for the any audio files in SD II format, you will need to element, where applicable: return to the Mac-based Pro Tools system and re-save the session so that its audio files are Win- Displays the file’s true Mac name as it Mac name dows-compatible, then open it on your Win- exists on disk. This may be different from the dows system. name reported by Windows due to the fact that certain Mac filenames automatically have Win- To save a Mac-based Pro Tools 5.x–6.x session dows file extensions added to them, and the ne- with SD II files to be Windows compatible: cessity of changing some Mac file names slightly Open the session on the Mac-based Pro Tools 1 to conform to Windows file-naming rules. system. Displays the size of the file's data fork, Data size Choose 2 . File > Save Session Copy In where cross-platform da ta is usually stored. 3 Enforce In the Save Session Copy dialog, select Resource size Displays the size of the file's re- . Mac/PC Compatibility source fork, where additional data, usually Mac- Choose the audio file type (.WAV), sample 4 specific, is stored. rate, and bit depth for the session. Backed up Displays the date that the file was last 5 Choose a destination and enter a name for the backed up, if ever. new session. . Save Click 6 pport Option (Windows Only) 397 Chapter 19: Mac HFS+ Disk Su

420 For files, displays the File type and File creator Viewing Multisession and by Mac OS that indi- four-character codes stored cate the type of data contained in the file and Dual-Format Discs the software that created the file. When you mount a Mac-formatted multisession CD or a dual-format CD, you can select view op- Files on volume and Folders on volume For tions for each from the disc shortcut menu. drives, displays the number s of files and folders on the drive. On some computers, after choosing a new Advanced Opens a window with additional ad- volume on a multisession CD-R or a new sk, folder or file. Only vanced attributes of the di file set on a dual-format CD-ROM, the the Name Locked attribute can be changed in name of the disk as it appears under Win- this window. The other attributes are shown dows Explorer may not be properly updated. only for your reference. Refer to the disc shortcut menu or its con- tents, rather than the name of the disc, to assure that the volume is available. To view the properties of a Mac file in Windows Explorer (Windows XP only): Dual-Format Mac CD-ROMs 1 View > Choose In Windows Explorer, choose Details . Some CD-ROMs have both Windows (ISO-9660) and Mac (HFS or HFS+) volumes on them. You 2 In the Choose Details window, select any of can choose which volume to access from the the following: disc shortcut menu. The effect is much like ejecting one disc and inserting another. Mac Displays information about the Mac Resources HFS+ Disk Support remembers which volume, file’s resource fork. used on a particular Windows or Mac, you last Mac Type Displays the four-character code that that setting if that disc, and will return you to indicates the type of data contained in the file. disc is used again. Mac Creator Displays the code that indicates the To switch display of a CD between Windows and software that created the file. Mac volumes: Mac Backup Date Displays the date that the file „ Right-click the disc whose display you want to was last backed up, if ever. Show Win- change, and choose Show Mac Files or dows Files from the shortcut menu. OK 3 Click . Multisession Mac CD-Rs Columns for the selected properties appear in Windows Explorer when you choose View > De- A list of available volumes appears in the disc . tails ession CD-Rs. Selecting shortcut menus of multis a new volume causes the current volume to dis- appear, and the new volume to appear in its place. The effect is much like ejecting one disc 398 Pro Tools Reference Guide

421 International This mode is appropriate for a disk and inserting another. Mac HFS+ Disk Support containing files named using international Uni- remembers which session you last used on a par- code characters, in cases where preservation of ticular disc, and will return you to that session if portant, but compatibility those characters is im that disc is used again. with a wide range of soft ware is less important. This is the default setting. To choose which volume of a multisession CD to display: Backup/File Transfer This mode is appropriate 1 Right-click the multisession disc whose dis- for tape backups of Mac disks, or transfers of files play you want to change, and choose from one Mac disk to another, including be- Mac Volumes from the shortcut menu. tween a true Mac disk and an NTFS volume stor- twork share. This mode ing a Services for Mac ne volume you want to 2 Choose the name of the ters, but, unlike the preserves Unicode charac display from the submenu. other two modes above, do es not append artifi- cial file name extensions for software-compati- bility purposes. Setting the F ile Naming Mode When you view files on a Mac-formatted drive, you can change the way the filenames are dis- Partitioning Mac Drives played for that drive fr om the shortcut menu. The HFS+ Disk Manager gives you the ability to Mac HFS+ Disk Support does not change the ions on Mac-formatted create and delete partit names of files on the Mac-formatted drive, hard drives. it only affects the way they are displayed in If you use this command to partition a Mac- Windows. Similarly, setting the File Nam- not be officially sup- formatted drive, it will ing Mode does not affect filenames on disk, ported as a Playback/Record volume. y they are displayed it only changes the wa Though Pro Tools may be able to play back in Windows. and record to such a drive, only HFS+ disks To set the file naming mode for a Mac drive: formatted on a Mac using Apple Disk Util- ity are supported for playback and recording 1 Right-click the drive whose file naming mode you want to change, and choose Mac File Names When using HFS+ Disk Manager, make sure to from the shor tcut menu. note the following: 2 Choose one of the following from the sub- • While you can leave part of a disk unused menu: (called Unallocated space by HFS+ Disk Man- ager), you will not be able to make a PC parti- This mode maximizes compatibility Normal tion or volume (FAT, FAT32, NTFS, or with a wide range of software, and preserves in- otherwise) in the unallocated space. The only rs where possible. ternational characte thing you can do with unallocated space is to make additional Mac partitions in it in the fu- ture, or simply leave it unused. pport Option (Windows Only) 399 Chapter 19: Mac HFS+ Disk Su

422 • You cannot use HFS+ Disk Manager to add a Initializing Mac Drives Mac partition to a PC-partitioned disk. Using Mac HFS+ Disk Manager on a PC-partitioned The HFS+ Disk Manager gives you the ability to disk will destroy all PC partitions. initialize the drive in HFS+ format. • You cannot use Mac HFS+ Disk Manager to re- This process will erase any data on the drive. size a partition and retain its contents. The only way to resize a partition is to delete and All formatting and maintenance of HFS+ recreate it at a different size, which will result drives for Pro Tools should be carried out in the loss of any files in the original partition. when the drives are connected to a Mac, us- • Mac HFS+ Disk Manager works only with ing Apple Disk Utility. If you use this com- fixed hard drives; it c annot be used to parti- mand to initialize a Mac-formatted drive, tion removable disks. the drive will be qualif ied only as a Transfer drive in Pro Tools. To partition a Mac drive: c-formatted drive: To initialize a Ma Make sure Pro Tools is not running. 1 Click the Start menu and choose Programs > 1 2 Programs > Click the Start menu and choose Digidesign > HFS+ Disk Support > Create or Digidesign > HFS+ Disk Support > Create or . Change Mac Hard Disks . Change Mac Hard Disks In the Modify Mac Volumes window, Mac-for- In the Modify Mac Volumes window, Mac-for- matted drives appear with a small red apple icon matted drives appear with a small red apple icon next to them. next to them. 2 Select the Mac-formatted drive you want to 3 Click a Mac-formatted drive to display its par- initialize. titions. Click 3 . Initialize Disk 4 To add a partition where unallocated space is 4 . Finish When formatting is complete, click available, select the Free Space listed under the drive and do the following; . New Volume • Click • Enter a name for the new partition. • Set the size of the partition by entering it in the Size box or by adjusting the slider. 5 To change or remove a partition, select the partition and do any of the following: to rename or change • Click Format Volume the format of the partition. to remove the parti- Delete Volume • Click tion. When you have finished configuring the par- 6 titions, click . Finish 400 Pro Tools Reference Guide

423 Disk Protection Mac HFS+ Disk Support Whenever an attempt is made to change the Warnings partitioning on Mac disk by any Windows soft- ware other than HFS+ Disk Manager, Mac HFS+ Volume Check Disk Support steps in to mediate the situation. Whenever a disk is mounted, Mac HFS+ Disk Windows software other This is done because if Support checks the disk to see if it was properly than HFS+ Disk Manager makes changes to the unmounted the last time it was used. partitioning on a Mac disk, the disk will no lon- or Mac-formatted, and ger be Mac-partitioned If there are signs that it wasn't unmounted cor- all contents of the Mac disk will be lost. rectly, Mac HFS+ Disk Support displays a warn- ing so that you will know there is a risk that the Sometimes this is a desirable outcome, if a Mac disk was improperly unmounted. , and you want to repar- disk is no longer needed tition and reformat it for use exclusively with If Mac HFS+ Disk Support displays a Volume Windows. In this case, you should select Erase Check warning, do one of the following: the Mac Disk. . Mount Anyway To mount the drive, click „ At other times, however, Mac HFS+ Disk Support Cancel To cancel mounting the drive, click „ . c disk from accidental steps in and protects a Ma damage. In that case, you should select Don’t Mac HFS+ Disk Support will only mount such a Change the Mac Disk. drive in Read-Only state, so it cannot be used to record in Pro Tools. If you decide that you really do want to change partitions on the Mac disk, but want it to remain Note that this warning does not mean that the done, you should select a Mac disk when you are disk has been judged to be corrupt; it merely Modify the Mac Disk. gnificant risk, and that means that there is a si the disk should be remounted and then cor- rectly unmounted on a Mac system before re- connecting it to a Windows system. If the problem persists, the disk should either be repaired or reformatted (using Mac OS X Disk Utility) in order to avoid future problems. pport Option (Windows Only) 401 Chapter 19: Mac HFS+ Disk Su

424 Pro Tools Reference Guide 402

425 Part IV: Playback and Recording 403

426 404

427 Chapter 20: Playing Back Track Material To stop playback, do one of the following: After importing or recording audio or MIDI to tracks, you will want to play back the material • Click Stop in the Transport. when editing and mixing. • Press the Spacebar. • With the Numeric Keypad mode set to Starting and Stopping Playback Transport or Shuttle, press 0 on the nu- meric keypad. To start playback, do one of the following: • If you have a worksurface or MIDI control • Click Play in the Transport. surface connected and configured, press the Stop switch. • Press the Spacebar. • If Pro Tools is online and slaved to another • With the Numeric Keypad mode set to deck, press stop on the master deck (see Transport or Shuttle, press 0 on the nu- “Putting Pro Tools Online” on page 1127). meric keypad. • If the Numeric Keypad mode is set to Trans- port, and the Use Separate Play and Stop Example: Playing Back Audio Keys option is enabled, press Enter on the numeric keypad. To play back audio: ace or MIDI control • If you have a worksurf Import or record audio to a track. 1 configured, press surface connected and 2 Assign the track’s Output selector to your the Play switch. main monitoring path. • If Pro Tools is online and slaved to another deck, press play on the master deck (see 3 To have playback start from the beginning of “Putting Pro Tools Online” on page 1127). the session, click Return to Zero in the Trans- port. For more information about the Numeric 4 Start playback. Keypad modes, see “Numeric Keypad Modes” on page 31. The audio plays through the selected Output 5 Path. Adjust the track’s volume and pan faders as necessary. 6 When you are finished, stop playback. 405 Chapter 20: Playing Back Track Material

428 • Set the Auxiliary Input or Instrument Example: Playing Back MIDI track’s audio Output selector to the main monitoring path. To play back MIDI (and monitor the audio): • Set the MIDI track’s output selector to the 1 Import, record, or enter MIDI into an Instru- Instrument plug-in, or MIDI device (port), ment or MIDI track. and channel you want to play back. 2 For an Instrument track, do the following: To have playback start from the beginning of 4 • Set the Instrument track’s audio Output se- the session, click Return to Zero in the Trans- lector to the main monitoring path. port. • If you are using an Instrument Plug-In, in- Start playback. 5 sert the plug-in on the track. The track’s MIDI Output selector (in Instrument view) The MIDI plays the selected MIDI device, and 6 should be automatically set to the plug-in. the audio from the MIDI device is monitored • If you are using an external MIDI device through the selected Output Path on the Auxil- (not an Instrument plug-in), set the MIDI iary Input or Instrument track. Adjust the MIDI, strument view to the Output selector in In Auxiliary Input, or Instrument track’s volume MIDI device (port) and channel you want and pan faders as necessary. to play back. 7 When you are finished, stop playback. • If you are using an external MIDI device (not an Instrument plug-in), set the Instru- synchronizing exter- For information about ment track’s audio Input selector to the In- nal MIDI devices with Pro Tools for play- put path to which your MIDI device’s audio back and recording using MIDI Beat Clock, outputs are connected. see “MIDI Beat Clock” on page 420, and for information about using MIDI Time 3 For a MIDI track, do the following: Code, see “Generating Time Code” on • If you are using an Instrument plug-in, cre- page 1128. or Instrument track ate an Auxiliary Input insert the Instrument plug-in on the track. • If you are using an external MIDI device Playback Location (not an Instrument plug-in), create an Aux- iliary Input or Instrument track to monitor The playback location is the point in the the audio from an external MIDI device or Pro Tools Timeline where you can begin playing Instrument plug-in. back audio or MIDI in your session. • If you are using an external MIDI device The playback location is displayed in counters (not an Instrument plug-in), set the Auxil- and indicators in the Edit window, Transport iary Input or Instrument track’s audio In- window, and Big Counter. The playback loca- put selector to the Input path to which tion (or Edit selection) is also indicated by a your MIDI device’s audio outputs are con- playback or edit cursor in the Timeline or play- nected. list of the Edit window. 406 Pro Tools Reference Guide

429 Pro Tools also provides a pre-roll control for set- To display the Sub Counter in the Transport window: ting playback to begin before the playback loca- tion. See “Basic Transport Controls and Coun- . View > Transport > Counters Select 1 ters” on page 180. View > Transport > Expanded Select 2 . Counters and Indicators that To display Edit Select ion indicators in the Display the Playback Location Transport window: . View > Transport > Expanded „ Select Main and Sub Counters and Edit Selection Indicators The Big Counter At the top of the Edit window, the playback lo- The current playback location can also be dis- cation is displayed in the Main and Sub coun- played in the Big Counter. ters, and the Edit Selectio n Start indicator. If no selection is made, the playback location is also displayed in the Edit Selection End indicator. Big Counter window To display the Big Counter: . Window > Big Counter Choose „ Main and Sub Counters, Edit Selection indicators Counters and Edit Selection indicators can also Cursors that Indicate the Playback be displayed in the Transport window. (or Edit) Location rsors in the Pro Tools There are two types of cu ng the current playback Edit window for indicati or Edit selection: Transport with Counters displayed Playback Cursor To display the Main C ounter in the Transport The playback cursor is a solid line that moves window: across the Edit window to indicate the current Select „ View > Transport > Counters . playback location. or Start-click (Win- Control-click (Mac) The selected Scrolling Option determines how dows) the Expand/Collapse button in the s during playback, and the Edit window scroll Transport window to show or hide counters. how the playback cursor functions. See “Scroll- ing Options” on page 412 for details. Option-click (Mac) or Alt-click (Windows) the Expand/Collapse button in the Trans- port window to show or hide counters and MIDI controls. 407 Chapter 20: Playing Back Track Material

430 To locate the playback cursor when it is off-screen: Edit Cursor „ Click the Playback Cursor locator in the Main edit cursor is a flashing line that appears The Timebase ruler. when you click with the Selector tool in a track’s playlist. The flashing edit cursor indicates the The Edit window changes to center the playback start point for any editing tasks performed. If cursor on-screen. you make a selection and perform an edit, the selection is the target of the edit. Setting the Playback Location Locating the Playback Cursor when It Is Off-Screen Pro Tools provides commands for different ways of setting or moving the playback location in a Use the Playback Cursor locator to locate the session. These include finding a passage in a playback cursor when it is off-screen. song, moving to a different section of your ar- The Playback Cursor locator appears on the rangement, or comparing different sections. right edge of the Main Timebase ruler if the playback cursor is located beyond the time visi- Setting Playback Location Using the playback cursor is ble in the Edit window. If the Selector Tool located before the time visible in the Edit win- dow, the Playback Cursor locator appears on the To set where playback begins, you can click any- left edge of the Main Timebase ruler. where in a track with the Selector tool (as long as the Timeline and Edit selections are linked). See “Linking or Unlinking Timeline and Edit Selec- tions” on page 559). Playback Cursor locator, recording enabled (playback cursor located after cu rrently viewed audio) For example, if the Scrolling option is set to Setting a playback point with the Selector tool None, the playback cursor moves off-screen af- ter it has played past the time currently visible in the Edit window. The Playback Cursor locator appears on the right edge of the Main Timebase ruler after the playback cursor has moved be- yond the time visible in the Edit window. The Playback Cursor locator is red when a track is record-enabled and blue when no track is re- cord-enabled. 408 Pro Tools Reference Guide

431 To begin playing from a specific point within a Setting Playback Location with track: the Main Counter or Edit Selection Start Indicator 1 Make sure that Options > Link Timeline and Edit Selection is enabled. To set the playback location using a Main Counter With the Selector tool, click in the track where 2 (or the Edit Selection Start indicator): you want playback to begin. Do one of the following: 1 3 Start playback. • Click in one of the counters. 4 Stop playback. – or – • Press asterisk (*) on the numeric keypad to To jump to a different location and begin playing highlight the Main Counter in the Edit from there, do one of the following: window (or the Main Counter in the Trans- „ When playback is stopped, click with the Se- port window or Big Counter window, if ei- lector tool at the point you want to start play- ther are displayed). back and click Play in the Transport window. Type in the new location. Press Period (.) to cy- 2 – or – cle through to the different time fields. During playback, click the new location in „ 3 Press Enter to accept the new value and auto- any Timebase Ruler. matically locate there. With the Timeline and Edit selections linked, you can click a region or MIDI note with the Setting Playback Location with Time Grabber tool to automatically update the Fast Forward/Rewind Timeline with the selection’s start time, letting You can use the Fast Forward and Rewind but- you play from that point. tons in the Transport window to move the play- Au- back location. If the Operation preference for Setting Playback Location with dio During Fast Forward/Rewind is selected, the Basic Transport Controls scanned audio is heard (similar to a CD player) when clicking the Fast Forward and Rewind but- Transport controls in th e Transport window and tons. top of the Edit window can be used to move the playback location. These include Rewind, Fast You can also fast forwar d or rewind incremen- Forward, and Return to Zero (to move playback tally by repeatedly clic king the appropriate but- location to the beginning of the session). For ton. The size of these in crements is determined more information, see “Basic Transport Con- by the Main Time Scale: trols and Counters” on page 180. Bars|Beats Moves to the beginning of the previ- ous or next bar. Min:Sec Moves back or forward in one-second steps. 409 Chapter 20: Playing Back Track Material

432 Time Code Moves back or forward in one-second Setting the Back/Forward Amount steps (while adjusting for current SMPTE for- The length of the Back/Forward move is deter- mat). mined by the Back/Forward Amount preference in the Operation page (Setup > Preferences). Moves back or forward in one-foot Feet+Frames steps. To configure the Back/Forward Amount: Samples Moves back or forward in one-second 1 Oper- and click the Setup > Preferences Choose steps. tab. ation The timebase of the Back/Forward Amount set- Setting Playback Location with tings follows the Main Time Scale by default, or Back and Forward Commands you can deselect Follow Main Time and select (Pro Tools HD and Pro Tools with Complete any of the following timebase formats: Production Toolkit 2 Only) • Bars|Beats Pro Tools provides four Back/Forward com- •Min:Sec mands (sometimes calle d “rollback”) for mov- • Time Code ing the playback location in the Edit window. • Feet+Frames You can also move the playback location in •Samples multiple increments by repeating the command 2 Do one of the following: (See “Repeating Back/Forward Commands” on • Select a preset amount in the Back/Forward page 411). Amount pop-up menu. Back/Forward commands also work when – or – controlling a 9-pin device. See the Machine- Back/Forward Amount field, enter a •In the Control Guide for details. custom amount. Back Moves the playback location backward by Using Back or Forward Commands rd Amount. the Back/Forwa To move the playback location backward by the Back and Play Moves the current playback loca- Back/Forward Amount: and Back/Forward Amount tion backward by the automatically begins playback. „ Press Command (Mac) or Control (Windows), and click Rewind in the Transport window. Moves the playback location forward by Forward rd Amount. the Back/Forwa To move the playback location forward by the Back/Forward Amount: Forward and Play Moves the current playback lo- cation forward by the Back/Forward Amount „ Press Command (Mac) or Control (Windows), and automatically begins playback. and click Fast Forward in the Transport window. 410 Pro Tools Reference Guide

433 To move the playback location backward by the 2 With the Selector tool, drag within a track to Back/Forward Amount and then begin playback: make a selection. „ Press Command+Option (Mac) or Con- Do one of the following: 3 trol+Alt (Windows), and click Rewind in the • To extend the selection backwards by the Transport window. Back/Forward Amount, press Shift+Com- mand (Mac) or Shift+Control (Windows) To move the playback location forward by the and click Rewind in the Transport window. Back/Forward Amount and then begin playback: – or – Press Command+Option (Mac) or Con- „ • To extend the selection backwards by the trol+Alt (Windows), and click Fast Forward in Back/Forward Amount and then begin the Transport window. playback, press Shift+Command+Option (Mac) or Shift+Control+Alt (Windows) and Repeating Back/Forward Commands click Rewind in the Transport window. All the commands can be repeated Back/Forward in order to increase the amount of the total Back Additional Ways of Moving the or Forward move. Playback Location To repeat Back/Forward moves: You can also move the playback location with the following: 1 Press and hold Command (Mac) or Control (Windows). Shuttle Lock Modes With either Shuttle Lock mode (Classic or Transpo rt) you can use the nu- Click Rewind or Fast Forward the number of 2 meric keypad to shuttle forward or backwards at times you want to repeat moving the playback specific speeds. For more information, see location backwards or forwards by the specified “Shuttle Lock Modes” on page 32. Back/Forward Amount. Memory Locations can be Memory Locations Extending Selections with Back or Back and used to move the playback location (or Edit se- Play Commands lection). When a Memory Location is recalled, Back and Play The Back commands can be or the playback location (or Edit selection) up- used to extend a sele ction backwards by the dates. Memory Locations can be recalled from length of the specified Back/Forward Amount. the Memory Locations window and from the numeric keypad. In addition, Marker Memory Although you cannot extend a selection Selections can be recalled by clicking them in with the Forward or Forward and Play com- the Markers ruler. For more information, see mands, you can use the following proce- “Recalling Memory Locations” on page 798. dures with Forward or Forward and Play to a current selection. move the start point of Tabbing to Transients With the Tab to Transients button enabled, you can automatically navigate To extend a selection with Back or Back and Play to transients in audio waveforms, placing the commands: cursor just before the detected transient peak. Specify the Back/Forward Amount. (See “Set- 1 For more information, see “Tabbing to Tran- ting the Back/Forward Amount” on page 410.) sients” on page 570. 411 Chapter 20: Playing Back Track Material

434 Page Scrolling During Playback Scrolling Options You can set Pro Tools to scroll the track display You can configure how contents of the Edit win- while playing, and also ha ve the edit cursor ap- dow scroll during playback and recording. pear wherever playback stops. To configure Scrolling options: To make the track display and the edit cursor follow playback: and select one of „ Choose Options > Scrolling the following options: „ Enable the Timeline Insertion/Play Start Marker Follows Playback button in the Edit win- The Edit window does not scroll during or None dow. after playback. The playback cursor moves across the Edit window, indicating the playback location. 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. Timeline Insertion/Play Start Marker Follows Playback Page The playback cursor moves across the Edit button enabled window, indicating the playback location. When the right edge of the Edit window is You can enable or disable the Timeline In- reached, its entire conten ts are scrolled, and the sertion/Play Start Mark er Follows Playback playback cursor continues moving from the left option in the Oper ation Preferences. edge of the window. For more information, see “Page Scrolling During Playback” on page 412. Press Control+N (Mac) or Start+N (Win- Continuous (Pro Tools HD and Pro Tools with Com- dows) to toggle the Timeline Insertion/Play See “Continu- plete Production Toolkit 2 Only) Start Marker Follows Playback preference ous Scrolling During Playback” on page 412. on and off. See “Cen- Center Playhead (Pro Tools HD Only) ter Playhead Scrolling” on page 413. Continuous Scrolling During Playback Making a selection in the Timeline or a (Pro Tools HD and Pro Tools with Complete playlist, or manually scrolling the Timeline Production Toolkit 2 Only) while in Page Scroll or Continuous Scroll mode suspends page scrolling. To resume When this scrolling option is selected, the Edit page scrolling and jump to the curr ent play- window’s contents scroll continuously past the back location, click the Playback Cursor playback cursor, which remains in the center of locator in the Main Timebase ruler (see the window. With this option, playback is al- “Locating the Playback Cursor when It Is ways based on the Timeline selection (unlike the Off-Screen” on page 408). Continuous option). Center Playhead Scrolling 412 Pro Tools Reference Guide

435 Scrolling During Playback uses host processing Center Playhead Scrolling and Dynamic power, so use this option with host-based Transport mode cannot be used at the same Pro Tools systems only when absolutely neces- time. Selecting Center Playhead Scrolling sary. disables Dynamic Transport mode (if it is enabled). Likewise, enabling Dynamic Center Playhead Scrolling Transport mode when Center Playhead (Pro Tools HD Only) Scrolling is selected automatically changes the Scrolling option to No Scrolling. When this scrolling option is selected, the Edit window’s contents scroll continuously past the Half-Screen Edit Window , which is a blue line in the center of the Playhead window (or a red line when recording). Continuous or When the Scrolling option is set to Center Playhead , a half-screen appears at the far The Playhead indicates where playback begins left of the Edit window (before the beginning of when clicking Play in the Transport window. the session) when the Playhead is at the begin- ning of the session. Center Playhead Scrolling option Half-screen for Center Playhead Scrolling option To move the Playhead to a particular location for playback, you can scroll there in a ruler (see “Scrolling in a Timebase Ruler” on page 573), Playing Selections use the Edit window’s horizontal scroll bar, or type the location into one of the Edit Selection Once an Edit selection is made, you can audi- indicators or one of the Counters. tion it by clicking Play in the Transport window. If enabled, the pre- and post-roll amounts play Moving the Playhead with these methods does as well. not update the Timeline selection. However, up- dating the Timeline selection automatically To play a selection: moves the Playhead to the Timeline insertion . 1 Select Options > Link Timelin e and Edit Selection point. With the Selector or Time Grabber tool, make 2 With the Playhead enabled, you can jump to a track selection. and play an Edit or Timeline selection. For de- tails, see “Playing Timeline and Edit Selections If you want to use pre-roll or post-roll, enable 3 with the Playhead” on page 415. and set the pre-roll and post-roll amounts. For details, see “Setting Pre- and Post-Roll” on page 456. 413 Chapter 20: Playing Back Track Material

436 4 Click Play in the Transport window, or press the Spacebar. plays end plays start (for post-roll amount) (for pre-roll amount) All tracks play for the range of the selection, in- cluding pre-roll and post-roll if enabled. To play an Edit selection with Link Timeline and Edit Selection disabled: Choose Edit > Selection > Play Edit „ . To play a Timeline selection with Link Timeline and Edit Selection disabled: plays pre-roll + start plays end + post-roll . Edit > Selection > Play Timeline Choose „ Playback ranges for auditioning start/end points Auditioning Pre-Roll and Post-Roll To audition a selection start point: You can audition and play just the pre-roll or Press Command+Left Arrow (Mac) or Con- „ post-roll material for a selection. trol+Left Arrow (Windows). To play from the pre-roll point to the start of a When auditioning the beginning of a selection, selection, or to the current Cursor location: the selection plays from the start point for a du- ration equal to the post-roll amount. „ Press Option+Left Arrow (Mac) or Alt+Left Ar- row (Windows). To audition a selection start point with pre-roll: To play to the post-roll point from the end of a „ Press Command+Option+Left Arrow (Mac) or selection, or from the current Cursor location: Control+Alt+Left Arrow (Windows). Press Command+Right Arrow (Mac) or Con- „ To audition a selection end point: trol+Right Arrow (Windows). Press Option+Right Arrow (Mac) or Alt+Right „ Arrow (Windows). Auditioning Start and End Points for Selections When auditioning the end of a selection, play- back begins before the end point by the pre-roll There may be times when you want to audition amount. the start or end of an audio selection without hearing the entire selection. This allows you to To audition a selection end point with post-roll: check, for instance, whether the beginning or es any unwanted clicks end of a selection includ „ Press Command+Option+ Right Arrow (Mac) or pops. or Control+Alt+Right Arrow (Windows). 414 Pro Tools Reference Guide

437 Moving the Playhead Playing Timeline and Edit Center Play- When the Scrolling option is set to Selections with the Playhead , the Playhead can be moved forward or head (Pro Tools HD Only) back to the next region boundary in the selected track. When the Scrolling option is set to Center Play- head , selections in the Timeline do not deter- To move the Playhead through a track’s region mine when playback begins. The Playhead itself boundaries: denotes where playback begins when clicking Make sure the Tab to Transients button is not 1 Play in the Transport. enabled (see “Tabbing to Transients” on Timeline and Edit selections, however, can still page 570). be played when the Playhead is enabled. Click in the track with 2 the Selector tool. To play an Edit selection with the Playhead 3 Do one of the following: enabled: • Press Tab to move the Playhead forward to 1 Deselect Options > Link Timeline and Edit Selec- the next region boundary. tions . – or – Options > Scrolling > Center Playhead 2 Select . • Press Option+Tab (Mac) or Control+Tab (Windows) to move the Playhead back to 3 With the Selector or Time Grabber tool, make the previous region boundary. a track selection. 4 . Edit > Selection > Play Edit Choose Playback Modes The Playhead jumps to the Edit selection and plays it from beginning to end, and then stops. Pro Tools provides several Playback modes: • Normal Playback mode To play a Timeline selection with the Playhead • Half-Speed Playback mode enabled: • Prime for Playback mode Deselect Options > Link Timeline and Edit Selec- 1 • Loop Playback mode tions . • Dynamic Transport mode Options > Scrolling > Center Playhead Select 2 . 3 Drag with the Selector tool in any Timebase Normal Playback Mode ruler to set the play range. Normal Playback mode is simply when none of . Edit > Selection > Play Timeline Choose 4 the other Playback modes are selected. In Nor- mal Playback mode, Pro Tools plays back at the The Playhead jumps to the Timeline selection session sample rate. and plays it from beginning to end, and then stops. 415 Chapter 20: Playing Back Track Material

438 Half-Speed Playback Mode When synchronizing to time code, use Use Half-Speed Playback mode to learn or tran- Prime for Playback mode to play back large scribe difficult passages in recorded tracks. numbers of tracks. This decreases the time it takes to lock to time code. To play at half-speed: Loop Playback Mode Do one of the following: 1 • Shift-click the Play button in the Transport. When Loop Playback mode is enabled, the se- lected track range repeats on playback. If there is – or – no selection, playback occurs normally from the • Right-click the Play button in the Transport current Cursor location. . Then click Play to Half-Speed and select start Half-Speed Playback. A selection must be at least 500 ms in length for it to loop on playback. You can also play at half-speed by pressing Shift+Spacebar. Looping playback is a useful way to check the rhythmic continuity of a selection when work- Click Stop in the Transport to stop playback. 2 ing with musical material. If you’re working with one-bar selections, you can loop playback Prime for Playback Mode to see if the material loops cleanly. If it seems to skip, you should then adjust the length of the When playing back a large number of tracks, selection until it works “musically” within the Pro Tools may take a little longer to actually context of the playlist and the other tracks. start playback. To avoid this delay, put Pro Tools in Prime for Playback mode before starting play- To loop playback of a selection: back. . e and Edit Selection Options > Link Timelin Select 1 To enable Prime for Playback mode and start select the track range With the Selector tool, 2 playback: you want to loop. 1 Do one of the following: 3 Enable Loop Playback by doing one of the fol- • Option-click (Mac) or Alt-click (Windows) lowing: Play in the Transport to put Pro Tools in . • Select Options > Loop Playback Prime for Playback mode. • Right-click the Play button in the Transport – or – window and select Loop from the pop-up • Right-click the Play button and select Prime menu. for Playback . • Control-click (Mac) or Start-click (Win- dows) the Play button in the Transport The Stop button lights and the Play button window. flashes. • Press Command+Shift+L (Mac) or Con- To begin playback instantaneously, click Play. 2 trol+Shift+L (Windows). 3 Click Stop to stop playback. • With the Numeric Keypad mode set to Transport, press 4 on the numeric keypad. 416 Pro Tools Reference Guide

439 To enable or disable Dynamic Transport mode, do When enabled, a loop symbol appears in the one of the following: Play button in the Transport window. Options > Dynamic Transport . „ Select or deselect tton in the Transport Right-click the Play bu „ from the Dynamic Transport window and select pop-up menu. Loop Playback enabled „ Press Command+Control+P (Mac) or Con- Click Play in the Transport window. 4 trol+Start+P (Windows) to toggle Dynamic Transport mode on or off. Playback begins from the pre-roll point (if en- abled) and continues to the selection’s end Enabling Dynamic Transport mode auto- point, where it loops back to the selection’s start matically disables Link Timeline and Edit point. Selection, and automatically enables Loop 5 Click Stop in the Transport window to stop Playback mode. playback. Center Playhead Scrolling (Pro Tools HD Loop Playback and Audio Recording only) and Dynamic Transport mode cannot not enable loop record- Looping playback does be used at the same time. Selecting Center ing. Use Loop Record mode to loop during re- Playhead Scrolling disables Dynamic cording (see “Loop Recording Audio” on Transport mode (if it is enabled). Likewise, page 461). enabling Dynamic Transport mode when Center Playhead Scrolling is selected auto- matically changes the Scrolling option to Dynamic Transport Mode No Scrolling. Dynamic Transport mode lets you decouple the playback location from the Timeline selection. Play Start Marker strip This means that you c an start playback from Timeline selection anywhere on the Timeline without losing your Play Start Marker Timeline or Edit selections. For example, you can use Dynamic Transport mode in conjunc- tion with Loop Playback mode to quickly audi- tion loop transitions. When Dynamic Transport mode is enabled, the Main Timebase ruler expands to double-height and reveals the new Play Start Marker. The Play Start Marker determines where playback starts Dynamic Transport mode, Play Start Marker shown in when the Transport is engaged. You can posi- expanded Main Timebase ruler tion the Play Start Marker independently of the Timeline Selection. The Play Start Marker can be repositioned during playback and playback con- tinues from the new location. 417 Chapter 20: Playing Back Track Material

440 To move the Timeline selection: To reposition the Play Start Marker, do one of the following: With any Edit tool selected, drag the selection „ With any Edit tool selected, click in the Play „ on the Main Timeline ruler to another location. Start Marker strip in the Main Timebase ruler. With any Edit tool selected, drag the Play Start „ Marker to a new location. „ Click Fast Forward or Rewind in the Transport to relocate the Play Start Marker forward or Fast Forward and Re- backward by the standard wind increment amount. Dynamic Transport mode, moving the Edit selection Double-click anywhere in the Play Start When the Link Timeline and Edit Selection Marker strip in the Main Timebase ruler to option is disabled, Option-drag (Mac) or move the Play Start Marker to that location Alt-drag (Windows) the Timeline selection and start playback. ion to the Timeline se- to snap the Edit select To change the Timeline Selection Start or End lection and move both in tandem. Markers: Play Start Marker Follows Timeline Selection 1 Make a Timeline selection with the Selector tool by dragging in the Main Timebase ruler. If When enabled, the Play Start Marker snaps to Link Timeline and Edit Selection option is en- the the Timeline Selection Start Marker when you abled, you can make an Edit selection with the move the Timeline Selection, draw a new Time- Selector or any of the Grabber tools. line Selection, or adjust the Timeline Selection Start. When disabled, the Play Start Marker 2 With any Edit tool selected, drag either the doesn’t move with the Timeline selection. Timeline Selection Start or End Markers left or right, extending or constricting the Timeline se- To have the Play Start Marker always snap to the lection. Timeline Selection Start Marker: Changes to the Timeline selection during 1 Setup > Preferences . Choose playback temporarily interrupt playback. Click the Operation tab. 2 rruption, reduce the To minimize this inte DAE Playback Buffer size in the Playback Select 3 Play Start Marker Follows Timeline Selec- Engine dialog. . tion OK Click . 4 418 Pro Tools Reference Guide

441 4 Reposition the Play Start Marker before the Timeline Insertion/Play Start Marker Follows Playback Timeline Selection End Marker. When enabled, the Play Start Marker moves to the point in the Timeline when playback stops. When disabled, the Play Start Marker does not follow playback. When not in Dynamic Transport mode, the Timeline Insertion follows playback. Dynamic Transport mode, auditioning the loop transition To have the Timeline Insertion and the Play Start Marker follow playback: Start playback. 5 . Setup > Preferences 1 Choose Playback starts before the loop end point and tab. 2 Operation Click the continues across the loop point through the loop start. You can reposition the Timeline Se- 3 Start Marker Fol- Timeline Insertion/Play Select lection Start and End Markers by dragging them lows Playback . left or right, even during playback. . OK Click 4 Using Separate Play and Stop Press Control+N (Mac) or Start+N (Win- Keys dows) to toggle the Timeline Insertion/Play Start Marker Follows Playback preference When enabled, the Use Separate Play and Stop on and off. option lets you start playback with the En- Keys ter key and stop playback with the 0 key on the Using Dynamic Transport Mode numeric keypad. This is useful for quickly start- with Loop Playback ing and stopping playback when auditioning loop transitions. Use Dynamic Transport mode in conjunction with Loop Playback to specify the loop start and To use separate play and stop keys on the numeric end points with the Timeline selection while us- keypad: ing the Play Start Marker to specify where play- Setup > Preferences 1 Choose . back begins. This is espe cially useful for audi- tioning loop transitions. Note that enabling Operation Click the 2 tab. Dynamic Transport mode automatically enables for 3 Select Transport Numeric Keypad . Loop Playback mode. Use Separate Play and Stop Keys 4 Select . To audition a loop transition: This option overrides using the Enter key to Enable Dynamic Transport mode. 1 add Memory Location markers. Press Period Ensure that Loop Playback mode is enabled. 2 (.) and then Enter on the numeric keypad to add a Memory Location marker. Make a Timeline selection to loop. 3 . OK Click 5 419 Chapter 20: Playing Back Track Material

442 The Enter key starts playback. The Zero key stops To move the Play Start to a specific bar: playback. Pressing Zero twice locates the Play „ With Bars|Beats selected as the Main Timebase Start Marker to the Timeline Selection start. ruler, do the following on the numeric keypad: • Press Asterisk (*). Keyboard Shortcuts for Relocating • Type the bar number. the Play Start Marker •Press Enter. In Dynamic Transport mode, you can use key- board shortcuts to quickly relocate the Play Start Recording in Dynamic Transport Marker either during playback or when the Mode Transport is stopped. Recording in Dynamic Transport mode lets you start playback independently of the Timeline se- To move the Play Start Marker to the Timeline lection. Use the Play Start marker as a manual Selection Start: pre-roll before the Timeline selection. Recording Press Period (.) on the numeric keypad and „ punches in and out based on the Timeline selec- then the Left Arrow. tion. To move the Play Start Marker to the Timeline Selection End: MIDI Beat Clock Press Period (.) on the numeric keypad and „ then the Right Arrow. Pro Tools can transmit MIDI Beat Clock to syn- chronize external MIDI devices that receive To move the Play Start Marker to the Edit MIDI Beat Clock (such as drum machines, hard- Selection Start: ware sequencers, or arpeggiators) with the „ Press Period (.) on the numeric keypad and Pro Tools session tempo for playback and re- then the Down Arrow. cording. Some instrument plug-ins also support MIDI Beat Clock for synchronizing to the To move the Play Start Marker to location of the Pro Tools tempo. Playhead: For information about synchronizing exter- Press Period (.) on the numeric keypad and „ nal MIDI devices with Pro Tools for play- then the Up Arrow. back and recording using MIDI Time Code, see “Generating Time Code” on page 1128. To nudge the Play Start Marker backward (rewind): Transmitting Beat Clock „ Press 1 on the numeric keypad. To transmit MIDI Beat Clock: To nudge the Play Start Marker forward (fast Choose Setup > MIDI > MIDI Beat Clock . 1 forward): In the MIDI Beat Clock dialog, select the En- 2 „ Press 2 on the numeric keypad. able MIDI Beat Clock option. 420 Pro Tools Reference Guide

443 3 Configure the IAC Driver ports and confirm 3 Select the devices you want to receive MIDI that it is online. Beat Clock. If your MIDI interface does not sup- port transmitting MIDI Beat Clock to separate . 4 Choose Setup > MIDI > MIDI Beat Clock ports, only the interface appears as a destina- tion. 5 In the MIDI Beat Clock dialog, select the En- able MIDI Beat Clock option. 6 Select the IAC Driver po rts you want to enable for sending MIDI Beat Clock. OK Click . 7 MIDI Beat Clock Offsets You can set an offset for MIDI Beat Clock on a port-by-port basis with your MIDI interface and external MIDI devices. This lets you adjust the timing for each device where some devices sound late due to different, fixed latencies. Where appropriate, enter negative offset values in samples for each port to correctly synchro- MIDI Beat Clock dialog nize the audio signals from your external MIDI 4 Enter the correct negative offset values (such devices with Pro Tools playback. as “–200” samples) for each port that is enabled for transmitting MIDI Be at Clock (see “Measur- Measuring Beat Clock Latency ing Beat Clock Latency” on page 421). . OK Click 5 To determine the correct MIDI Beat Clock offset for an external MIDI device: Ensure that your comp 1 uter and external MIDI Sending MIDI Beat Clock Over IAC nnected and configured device are correctly co (Mac Only) its audio output is correctly for MIDI, and that You can synchronize other MIDI applications connected to audio inputs on your Pro Tools au- that use the Apple Inter-Application Communi- dio interface. cation (IAC) driver to Pro Tools by transmitting 2 Ensure that your external MIDI device is con- MIDI Beat Clock on the IAC bus. Clock, and that it is figured to receive MIDI Beat play back a simple rhyth- correctly configured to To transmit MIDI Beat Clock on the IAC bus: mic pattern “on the beat.” Setup > MIDI > MIDI Studio 1 Choose . Create a new Pro Tools session. 3 2 In the MIDI Devices window of Audio MIDI In the MIDI Beat Clock dialog, ensure that 4 Setup, double-click the IAC Driver icon. MIDI Beat Clock is enabled and that the device is selected. 421 Chapter 20: Playing Back Track Material

444 5 Set the Main Time Scale to Bars|Beats. 13 In the MIDI Beat Clock dialog, enter the Sam- ple Offset value as a negative number. 6 Create a new audio track and select the audio input channels for your external MIDI device. 7 Record enable the audio track and start record- ing. MIDI Beat Clock is sent to the external MIDI device, which starts playing back the pattern. MIDI Beat Clock Sample Offset Stop recording after a few bars. 8 Enable both Snap to Grid and Show Grid. 9 Since MIDI is not sample accurate, you may want to make severa l measurements at dif- With the Selector tool, place the edit cursor 10 and average them to ferent grid locations on the beat grid prior to a prominent transient come up with the best value for the MIDI in the waveform that is “on the beat.” Beat Clock Offset. 11 Enable Tab to Transients and Shift+Tab to the transient. The duration of this selection is the Once you have measured the latency for approximate amount of latency for your exter- enabled devices, be your MIDI Beat Clock- nal MIDI device (see Figure 7 below). sure to keep a record of these values in case Switch the Main Time Scale to Samples. The 12 you need to re-enter the MIDI Beat Clock length of the selected region in samples is the Sample Offset in other sessions. MIDI Beat Clock latency for that device. Figure 7. Measuring the offset for MIDI Beat Clock in samples 422 Pro Tools Reference Guide

445 Chapter 21: Record Setup Before you start recording in Pro Tools, you need Session Setup for Recording to set up your Pro Tools system, a session, and • Configuring a new or existing session for re- one or more tracks for recording. You will also cording: need to configure how Pro Tools monitors the • “Working with Hard Drives for Recording” input you intend to record. on page 439 While some of the information here is relevant • “Recording with a Click” on page 426 MIDI, there are more spe- to preparing to record • “Setting the Session Meter and Tempo” on cific setup details for MIDI recording in page 428 Chapter 23, “MIDI Recording.” • Setting a Record Mode. See “Record Modes” on page 431 For information on recording audio, see Chapter 22, “Audio Recording.” Track Setup for Recording For information on digitizing (recording) • Configuring one or more tracks for recording: video in Pro Tools, see Chapter 51, “Work- • “Configuring Default Names for Audio ing with Video in Pro Tools” or the Avid Files and Regions” on page 434 Video Peripherals Guide. • “Assigning Hardware I/O on a Track” on page 435 • “Record Enabling Tracks” on page 436 Record Setup Overview • “Recording with Multiple Hard Drives” on Record setup includes the following: page 439 Hardware Setup for Recording Monitoring Setup for Recording • “Configuring Pro Tools Hardware I/O for Re- • “Selecting a Record Input Monitoring Mode” cording” on page 424 on page 442 • “Connecting a Sound Source” on page 425 • “Setting Monitor Levels for Record and Play- back” on page 445 • “Reducing Monitoring Latency” on page 445 • “Recording with Delay Compensation” on page 446 423 Chapter 21: Record Setup

446 For input information fo r qualified M-Audio de- Configuring Pro Tools vices, see your M-Audio documentation. Hardware I/O for Recording For all systems, volume and pan controls for Before you start recording, make sure your tracks in Pro Tools only affect monitoring lev- are is connected and Pro Tools system hardw els—not the recording input gain. The LED me- configured properly. For details on connecting ters on Pro Tools audio interfaces indicate both and configuring your Pro Tools to your studio full-code (highest level before clipping) and true Hardware in the Hardware Setup dialog, see the clipping of Pro Tools output signals. The on- User Guide that came with your system. For in- s indicate only true screen meters in Pro Tool formation on how to ro ute signal paths in clipping. Pro Tools, see Chapter 7, “I/O Setup.” Digital Clipping Input Connections and Audio Clipping occurs when you feed a signal to a re- Levels louder or “hotter” than corder or mixer that is the device allows. On many analog tape decks, a Pro Tools|HD audio interfaces operate as line- little clipping adds a perceived warmth to the level devices and offer no pre-amplification. sound due to tape compression. In digital re- Low-level sources like microphones and electric cording, however, clipping causes digital distor- guitars need to be pre-am plified. You can do this tion, which is undesirable and should always be with a quality mixing board or dedicated pre- avoided. amp (such as PRE). PRE can be remote-controlled from within Set Input Levels Pro Tools sessions. When you feed a signal into any audio record- 003 Rack+ has eight inputs with preamps, to ing system, including Pro Tools, make sure to which you can connect low-level signals. adjust the input level to optimize the dynamic range and signal-to-noise ratio of the recorded 003, 003 Rack, Digi 002, and Digi 002 Rack have file. If the input level is too low, you will not four inputs with preamps, to which you can take full advantage of the dynamic range of your connect low-level signals, and four additional Pro Tools system. If the in put level is too high, line-level inputs with switchable gain. the waveform can clip and distort the recording. Set the input levels high, but not high enough Eleven Rack has one Mic input with a preamp to clip. and 1 instrument-level Guitar input with a spe- cial variable-impedance circuit called True-Z (for As a general rule of thumb, try to set levels so more information, see the Eleven Rack User that they peak within –6 dB to –12 dB on the in- .) Guide put meter without triggering the clipping indi- cator on your audio interface. Depending on the Mbox, Mbox 2, Mbox Pro, Mbox 2 Pro, Mbox type of material you ar e recording and its dy- Mini, and Mbox 2 Mini each have two inputs namic range and peak content, you may want to with preamps, to which you can connect low- record with higher or lower levels. level signals. 424 Pro Tools Reference Guide

447 192 I/O has two sets of adjustable trim pots for You can display a track’s input levels in its Vol- of adjustable trim pots its inputs, and two sets ume/Peak/Delay indicator. Normally, this indi- for its outputs. Additionally, the reference level cator is set to be a Volume indicator. When you for the input can be set to +4 dBu or –10 dBV. change it into a Peak indicator, it can function For more information on calibrating 192 I/O, as a headroom indicator based on the last peak 192 I/O Guide . see the playback level. There are no input or output trims on the fol- To display a track’s peak level: lowing audio interfaces: HD OMNI, HD MADI, „ Control-click (Windows) or Command-click 192 Digital I/O, 96 I/O, and 96i I/O. Some (Mac) a track’s Volume indicator to step through Pro Tools audio interfaces that do not have out- the different indicator modes (Volume, Peak, put trims (such as the 96i I/O) offer software- and Channel Delay) until the indicator displays controllable input levels, adjustable from Setup peak (pk) level. your particular au- > Hardware (see the guide for dio interface). Calibration Mode (Pro Tools HD Only) Connecting a Sound Source You can use the Calibration mode in Pro Tools to adjust the input and ou tput levels for your au- Depending on your Pro Tools audio interfaces, tch those of your mix- dio interface so they ma you can connect different types of sound ing console and other audio devices in your stu- sources (such as musical instruments, mics, and dio. mixer outputs). See the for your User Guide Pro Tools system. For additional information, HD I/O has one set of adjust able trim pots for its see the documentation that came with your inputs. Additionally, the reference level for the sound source. input can be set to +4 dBu or –10 dBV. For more HD information on calibrating HD I/O, see the If you connect a sound source to a Pro Tools in- . I/O Guide put that was not previously configured to accept input, you may need to reconfigure you hard- ware in the Hardware Setup dialog (see your User ). You may also need to reset your I/O sig- Guide nal paths in I/O Setup (see Chapter 7, “I/O Setup.”). 425 Chapter 21: Record Setup

448 To create a click track using the DigiRack Click Recording with a Click plug-in: „ Choose Track > Create Click Track . (Optional) Auxiliary Input track Pro Tools creates a new If you intend to work wi th MIDI or Instrument named “Click” with the DigiRack Click plug-in tracks in your session, or if the audio you’re already inserted. In the Edit window, the click working with is bar and beat-oriented, you can set to Mini. You can cre- track’s Track Height is . This click while listening to a record your tracks ate more than one click track and each subse- ensures that recorded material, both MIDI and quent click track is nam ed in sequence. For ex- audio, aligns with the session’s bar and beat ample, Click 1, Click 2, and Click 3. boundaries. To hear the click during playback and recording, When your track material lines up with the configure the Click Options (see “Click Op- beats, you can take adv antage of some very use- tions” on page 427) and ensure that Click is en- ful editing functions in Pro Tools, such as quan- abled (see “Enabling Click” on page 427). tizing MIDI and audio ev ents or regions, quan- tizing individual MIDI notes, and copying and pasting measures and so ng sections in Grid To create a click track using MIDI: mode. 1 Create a new (mono) Auxiliary Input or In- strument track. Material that is recorded without listening to a click can still be aligned to bar and beat 2 Do one of the following: boundaries in Pro Tools with Beat Detective • From the track’s Input selector, select the (see Chapter 31, “Beat Detective”), or by us- path to which the MIDI device is con- ing the Identify Beat command to determine nected. the tempo (see “Identify Beat Command” – or – on page 776). • Insert an instrument plug-in on the track 2 (such as Xpand ). Creating a Click Track Configure the Click/Countoff options, and be 3 Pro Tools lets you create a Click track using the sure to select the port for the MIDI device or in- DigiRack Click plug-in. You can also create a strument plug-in from the Output pop-up menu click track using the TL Metro plug-in (included (see “Click Options” on page 427). with Pro Tools) or using a MIDI instrument. (see “Enabling Click” on Click Enable 4 For more information on the DigiRack Click page 427). or the TL Metro, s ee the Audio Plug-Ins Guide. 426 Pro Tools Reference Guide

449 In the Transport, click the Metronome button 2 Enabling Click so it is highlighted. Click tracks must be enab led to be heard during playback or recording. To enable click from the MIDI menu: . „ Select Options > Click in the Transport: To enable click 1 Display the MIDI controls in the Transport by Metronome button, enabled doing one of the following: To hear the click when recording or 3 count off • Select View > Transport > MIDI Controls . playing, click the Count Off button in the Trans- • From the Transport window menu, select port so it is highlighted. MIDI Controls . Selecting MIDI Controls from the Transport window menu Count Off button, enabled • Control-click (Windows) or Command- Hearing the countoff before recording helps mu- click (Mac) the Expand/Collapse “+” but- sicians to start playing at the right time and in ton in the Transport window to display the tempo. The Count Off button in the Transport MIDI controls. window displays the number of bars counted be- fore the transport starts. Option-click (Mac) • Alt-click (Windows) or the Expand/Collapse “+” button in the The countoff is ignored when Pro Tools is Transport window to display the MIDI con- online and synchronized to SMPTE time trols and the Counters. code. Click Options Pro Tools provides options and controls for driv- ing a click. The following steps are for configur- ing and enabling a click using the DigiRack Click plug-in or MIDI. Expand/Collapse “+” button, Transport Window with MIDI Controls 427 Chapter 21: Record Setup

450 When listening to the click in your Pro Tools To configure click options: sessions, the accented note sounds on the first Open the Click/Countoff Options dialog by 1 beat of each measure and the unaccented note doing one of the following: sounds on the remaining beats. • Choose Setup > Click/Countoff . During Play Select whether the click is heard 4 – or – , or Only During Record , or and Record Only During • Double-click the Metronome button in the Countoff . Transport window. If using a countoff, specify the number of Bars 5 2 In the Click/Countoff Options dialog, do one to be counted off. To hear the countoff only of the following: when recording, select that option. • If using the TL Metro or DigiRack Click . 6 Click OK None plug-in, select pop-up in the Output menu. – or – Setting the Session Meter • If playing a click using MIDI, select the port and Tempo number (device) and channel for the click from the pop-up menu. Output (Optional) Setting the Session Meter When opening a new session in Pro Tools, the meter defaults to 4/4. If you intend to record with a click in a meter other than 4/4, make sure to set the meter accordingly. If a session’s meter does not match the music you’re recording, the a ccented clicks will not playing, and, as a re- line up with what you’re sult, the recorded material may not align with the bars and beats in the Edit window. occur anywhere within Meter events, which can a Pro Tools session, appear in the Meter ruler. Click/Countoff Options dialog For more information on inserting and editing meter events, see “Meter Events” on page 779. 3 Specify the note, velocity, and duration for the accented and unaccented notes. If one is connected, you can also play new note values on a MIDI controller keyboard. 428 Pro Tools Reference Guide

451 To change the session tempo: To set the meter for a session: 1 Double-click the Current Meter button in the 1 Double-click the Song Start Marker in the Edit Transport window. window (see “Song Start Marker” on page 756). 2 Enter the BPM value for the session. You can type in a specific tempo, or you can use the T key to tap in the tempo. 3 Set the Location to 1|1|000 (to ensure that the Meter button inserted tempo event replaces the default). Lo- for the session and set the Meter Enter the 2 to 1|1|000 (to ensure that the inserted me- cation ter event replaces the default). Tempo Change window pop-up menu, select the Resolution From the 4 note value for the beat. (For example, if you are Meter Change window in 6/8, select a dotted-quarter note.) From the 3 Click pop-up menu, select a note . OK Click 5 example, if you are in value for the beat. (For 6/8, select a dotted-quarter note). Using Manual Tempo Mode Click 4 OK to insert the new meter event. In Manual Tempo mode, Pro Tools ignores tempo events in the Tempo track and instead plays Setting the Session Tempo back a Manual Tempo. This tempo can be set When opening a new session in Pro Tools, the with the Tempo slider, or if you are not sure of tempo defaults to 120 BPM. If you intend to re- the actual tempo, by tapping in the tempo. cord with a click at a tempo other than 120 BPM, make sure to set the tempo accord- While you can adjust the Manual Tempo during ingly. playback, doing so momentarily interrupts play- back. Tempo events, which can occur anywhere within a Pro Tools session, appear in the Tempo ruler. For more information on in- serting and editing tempo events, see “Tempo” on page 757. 429 Chapter 21: Record Setup

452 To set the Manual Tempo by tapping: To set the Manual Tempo with the Tempo slider: 1 To view the MIDI cont rols in the Transport 1 Ensure that the MIDI controls are shown in the Transport window (select window, select View > Transport > MIDI Controls View > Transport > . MIDI Controls ). 2 In the Transport window, click the Tempo Ruler Enable button ( Conductor) button so it In the Transport window, click the Tempo 2 becomes unhighlighted. Pr o Tools switches to Ruler Enable (Conductor) button so it becomes Manual Tempo mode. In this mode, any tempo unhighlighted. Pro Tools switches to Manual events in the Tempo track are ignored. Tempo mode. In this mode, any tempo events in the Tempo track are ignored. Tempo Resolution selector 3 Do one of the following: Tempo value in BPM • Click in the Tempo field so it becomes Te m p o R u l e r highlighted and tap the “T” key on your Enable button computer keyboard repeatedly at the new Manual Tempo mode tempo. 3 To base the BPM value on something other – or – than the default quarter-note, click the Tempo Use MIDI to Tap Tempo •If the option is en- Resolution selector and select a different note abled in the MIDI Preferences, click in the value. (For example, if you are in 6/8, select a Tempo field so it becomes highlighted and dotted-quarter note.) tap in the tempo by playing a note repeat- edly at the new tempo on your MIDI key- To enter a new tempo, do one of the follow- 4 board controller. ing: • Drag the Tempo value up or down. For finer To compute the new tempo, Pro Tools averages resolution, press Control (Windows) or the last eight (or fewer) taps to determine the Command (Mac) while dragging. correct tempo. The computed BPM value ap- – or – pears in the Transport window’s Tempo field. • Click the Tempo value, type a new number, and press Enter. To lock in the new tempo: „ Take Pro Tools out of Manual Tempo mode by To exit Manual Tempo mode and enable the Tempo clicking the Tempo Rule r Enable (Conductor) track: button, then set the default tempo for the Song Click the Tempo Ruler Enable (Conductor) „ Start Marker to the new tempo. button in the Transport window so it becomes highlighted. 430 Pro Tools Reference Guide

453 When recording, you can preserve disk space Record Modes by removing unwanted record takes (see For recording audio, Pro Tools provides the fol- “Removing Unwanted Regions” on lowing Record modes: page 269) and compacting audio files (see • Normal (Nondestructive) “Compacting an Audio File” on page 593). •Destructive • Loop Normal (Nondestructive) Record Mode •QuickPunch • TrackPunch (Pro Tools HD only) In Normal, Nondestructive Record mode, • DestructivePunch (Pro Tools HD only) Pro Tools records audio nondestructively, which means that if you record over a track’s existing To select the Record mode, do one of the regions, the audio is not erased from your hard following: drive. Both the new and old audio files remain on your hard drive, available as regions from the Select the Record mode in the Options menu. „ Region List. selected, Pro Tools is in If no Record mode is Normal (Nondestructive) Record mode. In Normal Record mode, the record range can be – or – defined by selecting a range in a ruler or in a track’s playlist, or by specifying start and end Right-click the Record button in the Transport „ window. If there is no points in the Transport and select the Record mode from the pop-up selection, recording begins from the current menu. Cursor location and continues until the Trans- port’s Stop button is clicked. You can also cycle through the Pro Tools re- cord modes with the Transport stopped, by by selecting within a To set a record range ws) or Control-click- Start-clicking (Windo track’s playlist, the Timeline and Edit selec- ing (Mac) the Record button. See “Linking or Un- tions must be linked. linking Timeline and Edit Selections” on The Record button changes to indicate the se- page 559. lected Record mode as follows: • Blank for Normal (Nondestructive) The pre- and post-roll settings allow material to • “D” for Destructive be heard up to and af ter the start and end • Loop symbol for Loop Record points, which is useful when punch recording •“P” for QuickPunch (see “Audio Punch Recording Over a Specified Range” on page 458). • “T” for TrackPunch (Pro Tools HD only) • “DP” for DestructivePunch (Pro Tools HD only) Destructive Record mode enabled 431 Chapter 21: Record Setup

454 When using Loop Record mode, each successive Destructive Record Mode take appears as a region in the Region List and In Destructive Record mode, recording over ex- each is numbered sequentially. The various isting regions replaces the original audio perma- takes, which are identical in length and start nently, which allows you to keep disk use to a time, are easily auditioned and placed in the minimum. However, if you have sufficient drive track at the correct location with the Matches space, it is usually best to use Pro Tools in Non- pop-up menu (see “Selecting Alternate Takes” destructive Record mode, to avoid losing any on page 463). previously recorded material. In Loop Record mode, the waveform over- When defining the record range and setting pre- view is not redrawn until you stop and post-roll, Destructive Record mode works recording. the same as Normal (Nondestructive) mode. QuickPunch Unlike the other record modes, it is not possible to cancel or undo record takes when using De- QuickPunch gives you the ability to manually structive Record mode (see “Canceling a Record punch and instantaneously (initiate record- in Take” on page 451). ing) and punch out (stop recording) on record- enabled audio tracks during playback by click- In Destructive Record mode, the waveform ing the Record button in the Transport. Record- overview is not redrawn until you stop ing with QuickPunch is nondestructive. recording. When using QuickPunch , Pro Tools begins re- Loop Record Mode cording a new file when playback begins, auto- matically generating regions in that file at each Loop Record mode lets you record take after take punch in/out point. These regions appear in the (nondestructively) while the same section of au- track’s playlist; and the complete audio file ap- dio repeats. This is a convenient technique for pears in the Region List along with the Quick- quickly recording multiple takes of a part with- Punch created regions. Up to 200 of these “run- out losing spontaneity. ning punches” can be performed in a single pass. looped and recorded— The time range that is which must be at least one second in length—is Though you can punch record in the other re- defined by selecting a range in a ruler or in a cord modes by manually specifying the record track’s playlist, or by specifying start and end range, only QuickPunch provides instantaneous points in the Transport window. The pre-roll monitor switching on punch-out. setting, if enabled, is used during the first record pass, but on each succes sive loop the pre- and For more information on QuickPunch, see post-roll times are ignored. “QuickPunch Audio Recording” on page 492. To set a record range by selecting within a le the Link Timeline track’s playlist, enab on. See “Linking or and Edit Selection opti Unlinking Timeline and Edit Selections” on page 559. 432 Pro Tools Reference Guide

455 Record Modes and MIDI TrackPunch (Pro Tools HD Only) In addition to the various record modes, there is also a MIDI Merge button in the Transport win- TrackPunch lets individual tracks be punched dow that determines how MIDI is recorded. n out of record enable in, punched out, and take mode), recording over ex- When enabled ( Merge without interrupting online recording and play- isting MIDI regions results in the new data being back. merged with the old. When the MIDI Merge mode), the new ma- button is disabled ( Replace TrackPunch is a nondestructive recording mode. terial replaces the old. When a track is TrackPunch-enabled, Pro Tools begins recording a new file when playback be- gins. During playback, you may record arm or disarm, or punch in or out a combination of any or all TrackPunch enabled tracks. TrackPunch automatically creates regions in that file at each punch-in and punch-out point. the track’s playlist, and These regions appear in the complete audio file appears in the Region MIDI Merge button, enabled List along with the TrackPunch created regions. MIDI recording works the same whether using Up to 200 of these “running punches” can be Nondestructive or Destructive Record mode. In performed in a single pass. addition, neither QuickPunch nor TrackPunch For more information on TrackPunch, see need to be enabled to punch on-the-fly with “TrackPunch Audio Recording” on MIDI—this capability is available in Nonde- page 494. structive and Destructive Record modes. Unlike audio loop recording, the state of the DestructivePunch MIDI Merge toggle determines whether existing (Pro Tools HD Only) material is replaced or merged. destructive recording Destructive Punch is a Unless MIDI Merge is enab led, MIDI recording is mode that lets you instantaneously punch in destructive (though you can undo a MIDI record punch out (stop recording) (start recording) and pass), either overwriting or adding to region ma- on individual audio tracks during playback, terial. One exception to this rule is when Loop while preserving a contiguous audio file on each Record mode is enabled; in this mode, existing punched track. track regions are replaced with new regions when new material is recorded. The old regions For more information on DestructivePunch, remain intact and available from the Region see “DestructivePunch Audio Recording” on Matches List, and from the pop-up menu. In page 498. Loop Record mode, MIDI Merge has no effect, so its button is dimmed. 433 Chapter 21: Record Setup

456 acks, a similar naming When recording MIDI tr Configuring Default Names th only one set of dig- scheme is used, though wi its. For example, after recording to a track called for Audio Files and Regions “Synth 1,” a region is created called “Synth 1- (Optional) 01.” Subsequent regions for that track, generat- record takes or region ing either from additional Track names define new file and region names edits, are numbered sequentially (for example, k (see “Naming Tracks” when recording to a trac “Synth 1-02”). on page 212 ). When recording to an audio track, the resulting To rename a track: file and region names are based on the name of Do one of the following: 1 the track. For example, after recording for the • In the Mix or Edit window, double-click the first time on a track called “Electric Gtr,” an au- Track Name button for the track you want dio file is created with the name “Electric to rename. Gtr_01.” In addition, a region appears in the Re- gion List with the name “Electric Gtr_01.” This – or – region is a whole-file region. e Mix, Edit, MIDI Ed- • In the Track List in th itor, or Score Editor window, Right-click the Subsequent record takes on the same track are track name for the track you want to re- named identically, but the digits (indicating the name. take number) are incremented (for example, set of digits (such as “Electric Gtr_02.”) A second 2 In the Track Name/Comments dialog, type a used in “Electric Gtr_01-01”) indicates that the new track name. region was from an edit. auto-created OK 3 Click . ch, and Destructive QuickPunch, TrackPun Punch modes use a different method for Names for Stereo Audio Tracks numbering regions. For details, see “Track- When recording to ster eo audio tracks, audio Punch Audio Recording” on page 494. file and region names for the left and right chan- nels are appended with a “.L” and “.R” suffix. 434 Pro Tools Reference Guide

457 To assign I/O on a track: Names for Multichannel Tracks Assign a hardware input (recording source) by 1 (Pro Tools HD or Pro Tools with Complete doing one of the following: Production Toolkit 2 Only) • In the Mix window, select the correspond- When recording to multichannel surround your source from ing hardware input for tracks, audio file and region names for each the track’s Input Path selector. channel are appended with the following suf- fixes: Multichannel File and Region Suffixes Format L, C, R LCR L, R, Ls, Rs Quad L, C, R, S LCRS L, C, R, Ls, Rs 5.0 5.1 L, C, R, Ls, Rs, LFE 6.0 L, C, R, Ls, Cs, Rs, LFE 6.1 L, C, R, Ls, Cs, Rs 7.0 L, C, R, Lss, Rss, Lsr, Rsr 7.1 L, C, R, Lss, Rss, Lsr, Rsr, LFE 7.0 SDDS L, Lc, C, R, Rc, Ls, Rs 7.1 SDDS L, Lc, C, R, Rc, Ls, Rs, LFE Input Path selector, Mix window – or – • In the Edit window, with I/O view enabled, Assigning Hardware I/O on a select the corresponding hardware input Track for your source from the track’s Input Path Before recording to a track, you must specify the selector. input and output signal path for the material you are recording. You will do this by assigning ng source) and an out- a hardware input (recordi put bus (for monitoring recording) on the track. Input Path selector, Edit window 435 Chapter 21: Record Setup

458 2 Assign an output bus (for monitoring record- Record Enabling Tracks ing) by doing one of the following: • In the Mix window, select the correspond- To record audio or MIDI to a track you must first ing output bus for monitoring (such as enable the track’s Record Enable button. To re- “Monitor” or “A 1–2”) from the track’s cord simultaneously to mu ltiple tracks, record Output Path selector. enable multiple audio, Instrument, or MIDI tracks. When one or more tracks are record-enabled, click the Record button in the Transport to arm recording, and then click the Play button in the Transport to start recording. MIDI and Instrument tracks can be record- enabled during playback or record. To re- cord enable audio tr acks, the Transport pped, or QuickPunch, Track- must be sto Punch, or DestructivePunch must be en- abled. For more information on Quick- d DestructivePunch, Punch, TrackPunch, an see “Record Modes” on page 431. To record enable an audio, MIDI, or Instrument track: „ From either the Mix or Edit window, click the on to toggle record en- track’s Record Enable butt able on or off for the track. The track’s Record Output Path selector, Mix window Enable button flashes red, the track’s fader is – or – solid red, and the Track Record Enabled indica- • In the Edit window, with I/O view enabled, tor in the Transport turns red (indicating at least select the corresponding output bus for one track is record-enabled). monitoring (such as “Monitor” or “A 1–2”) from the track’s Output Path selector. Output Path selector, Edit window Pro Tools Reference Guide 436

459 To record enable MIDI and Instrument tracks using the Up/Down Arrows: „ While pressing Command (Mac) or Control (Windows), press the Up/Down Arrows to re- cord enable the previous or next MIDI or Instru- ment track. The previous (or next) record track Edit window is no longer record-enabled. To keep the previous track record-enabled while enabling new tracks, press Command+Shift+Up/Down (Mac) or Mix window Control+Shift+Up/Down (Windows). To record enable all audio tracks, or all MIDI and Record-enabled audio track in Mix and Edit windows Instrument tracks: Option-click (Mac) or Alt-click (Windows) the „ Press Shift+R to reco rd enable any track Record Enable button to toggle record enable on containing the Edit cursor on an Edit , or all Instrument and or off for all audio tracks selection. MIDI tracks. To record enable multiple audio tracks: For record-enable, Pro Tool s treats MIDI and In- „ From either the Mix or Edit window, click strument tracks as the same type. Consequently, each audio track’s Record Enable button to tog- Option-clicking (Mac) or Alt-clicking (Win- gle record enable on or off for each track. dows) the Record Enable button on any MIDI or rd enable all MIDI and Instrument track will reco If Latch Record mode is not enabled, Shift- Instrument tracks in the session. click each track’s Record Enable button to toggle record enable on or off for each track. See “Latch Record En able Buttons Prefer- ence” on page 438. To record enable multiple MIDI and Instrument tracks: „ From either the Mix or Edit window, Shift- click each MIDI or Instrument track’s Record En- able button to toggle record enable on or off for each track. 437 Chapter 21: Record Setup

460 To record enable all selected audio tracks, or all Record Safe Mode selected MIDI and Instrument tracks: Pro Tools provides a mode on a per Record Safe „ Option-Shift-click (Mac) or Alt-Shift-click track basis that prevents tracks from being re- (Windows) the Record Enable button on any se- cord-enabled by accident. Use Record Safe mode lected audio, or MIDI or Instrument track to tog- to protect important audio or MIDI data on a gle record enable on or o ff for all selected audio, track from being recorded over. or MIDI and Inst rument tracks. To put an audio, MIDI, or Instrument track in Record enabling a track that is part of a Mix Record Safe mode: Group does not record enable the other „ Command-click (Mac) or Control-click (Win- tracks in the Group. To record enable all dows) the track’s Record Enable button. The Re- tracks in a group, click directly to the left of n is grayed out. cord Enable butto Group List to select the group’s name in the all tracks in the group, and then Option- Command-click (Mac) or Control-click (Win- Shift-click (Mac) or Alt-Shift-click (Win- dows) again to take the track out of Record Safe dows) the Record Enable button of one of mode. the tracks to record enable the selected tracks. To put all audio, MIDI, and Instrument tracks in Record Safe mode: Latch Record Enable Buttons Command-Option-click (Mac) or Control-Alt- „ Preference click (Windows) the Record Enable button on Latch Record Enable Buttons option is When the any track. selected in the Operation Preferences, you can Command-Option-click (Mac) or Control-Alt- record enable additional audio tracks by clicking click (Windows) again to take all tracks out of their Record Enable butt ons. Previously record- Record Safe mode. enabled tracks remain enabled. The Latch Record option affects audio tracks only. Enable Buttons To put all currently selected tracks into Record option is Latch Record Enable Buttons When the Safe mode: deselected, record enabling a subsequent audio „ Command-Option-Shift-click (Mac) or Con- usly record-enabled au- track disables the previo dows) the Record Enable trol-Alt-Shift-click (Win dio track. button on any of the selected tracks to toggle them in and out of Record Safe mode. To enable the Latch Record Enable Buttons preference: Setup > Preferences 1 Choose and click the Operation tab. . Latch Record Enable Buttons Select 2 438 Pro Tools Reference Guide

461 Recording with Multiple Hard Working with Hard Drives for Drives Recording (Optional) By default, Pro Tools records audio files to the Monitoring Drive Space Audio Files folder inside the session folder. If Pro Tools lets you check how much drive space you have multiple hard drives for recording, you is available. The Disk Usage window shows the can use the Disk Allocation window to specify available drive space for each drive connected to other hard drive locations to record audio files your system as text and as a gauge display. on a track-by-track basis. ll do not appear in the Hard drives that are fu To monitor available space on your drive during a Disk Allocation window. Pro Tools session: „ . Window > Disk Space Choose To increase system performance, Pro Tools can record and play each track from a different hard drive. You can also automatically distribute any newly created tracks to multiple audio drives with Round Robin Allocation. Navigating in the Disk Allocation Window Disk Usage window To display available drive space in Text Only view To resize the Disk Allocation window: only: „ Drag the lower-right corner of the window ac- Text Only From the Disk Usage menu, select „ . cording to standard conven tion for your operat- ing system (Windows or Mac). To scroll up or down in the Disk Allocation window: „ Press Page Up or Page Down. Disk Usage window, selecting Text Only view 439 Chapter 21: Record Setup

462 A folder with the session name is created on Allocating Audio Drives in Your each hard drive, containing subfolders for audio System and fade files. To allocate the audio drives in your system: • To assign a track to a different hard drive, click the track and select a drive name. . Choose 1 Setup > Disk Allocation • To assign all tracks to the same hard drive, 2 In the Disk Allocation window, assign a hard press Option (Mac) or Alt (Windows) while drive for each track by clicking in the Root Me- selecting a drive name. dia Folder column and selecting a volume from • To make a continuous selection, Shift-click the Disk Allocation pop-up menu. a track name (in the Track column) to ex- tend the selection to include already-se- lected tracks and all tracks in between. • To make a noncontiguous selection, Com- mand-click (Mac) or Control-click (Win- dows) a track name in the Track column to extend the selection to include already-se- lected tracks without including tracks in- between. 3 To save recorded audio files to an existing another session folder), folder (without creating select , then click Customize Allocation Options Change and choose the folder. To create subfold- Disk Allocation window ers in this folder, select the Create Subfolders for Audio, Video, and Fade Files option. Only drives designated as R (Play and Record) can be selected in the Disk Allocation window. 4 To automatically distribute any newly created see “Performance and For more information, tracks among the drives connected to your sys- Transfer Volumes” on page 273. tem, select the Use Round Robin Allocation for New Tracks option. If you are using Round Robin Allocation and want audio to be recorded to your system’s start- up drive, do the following: • Open the Workspace browser ( Window > Workspace ) and set the Volume Designator Disk Allocation pop-up menu for your system volume to R (Record and Playback). See “Workspace Volume Desig- nation” on page 441. Round Robin Allocation is not supported with partitioned hard drives. 440 Pro Tools Reference Guide

463 Reallocating Tracks If you want to exclude individual, valid, When opening a session where some of the pre- mounted volumes from Round Robin Allo- viously assigned hard drives are no longer avail- cation passes, open the Workspace browser able (or do not match the current session plat- and make the volume safe, by designating it form), Pro Tools automati cally reassigns tracks as P (Playback only) or T (Transfer). For to the volume where the se ssion file is stored. In e “Audio and Video more information, se such cases, use Disk Allocation if you need to re- Volume Designators” on page 309. allocate tracks to other drives. When you are finished, click OK . 5 Reallocating tracks does not affect the previ- ously recorded audio. Reallocating tracks Saving Disk Allocation Settings only affects where new audio recording is saved. To save Disk Allocation settings for use with fu- ture sessions, save the session as a template. For details, see “Session Templates” on page 168. Workspace Volume Designation The Workspace volume designation can alter Disk Allocation and Cross- disk availability, thus affecting Disk Allocation. Platform Sessions From the Workspace browser, you can designate volumes as Record, Playbac k, or Transfer. If you To ensure cross-platform operation, it is re- change a drive’s designation, making it read- sessions and their as- quired that Mac Pro Tools only (Play Only or Transfer), check the Disk Al- sociated audio files be on Mac-formatted (HFS or location window for any tracks formerly allo- HFS+) drives. Windows Pro Tools sessions and cated to that drive. For more information, see their associated audio files must be on Win- “Audio and Video Volume Designators” on dows-formatted NTFS drives. page 309. See “Saving Copies of Mac Sessions to be Compatible with Windows” on page 382 Recording to the System Volume and “Sharing Sessions Created on Different Although Pro Tools lets you record to your sys- Computer Platforms” on page 381. tem volume, this is generally not recommended. Performance for audio recording and playback On Windows, with the HFS+ Disk Support on system drives is not as good as on non-sys- option installed, you ca n record to and play tem hard drives. back from Mac-formatted HFS+ drives. For more information, se e the Mac HFS+ Disk Record to system drives only when absolutely Support Option Guide. necessary, such as if your computer system has your other hard drives only one hard drive, or if are completely full. 441 Chapter 21: Record Setup

464 To allocate a specific amount of time to recording: lume is not included in By default, the system vo Round Robin Allocation (regardless of volume 1 Choose Setup > Preferences and click the designation in the Workspace browser). To in- Operation tab. clude the System Volume in Round Robin Allo- , select Open Ended Record Allocation Under 2 cations, see “Allocating Audio Drives in Your Limit To and enter the number of minutes to be System” on page 440. allocated. If you have a Pro Tools system with multi- ple drives, and you intend to record multiple tracks simultaneously , you may want to designate the System drive as a Playback only or Transfer only drive for optimal per- formance. Open Ended Record Allocation, Operation preference The number of minutes specified is allocated for Open Ended Record Allocation each record-enabled track. The Operation preference for Open Ended Record When you are finished, click . OK 3 Allocation determines how much of your avail- able hard drive space is allocated whenever you record into one or more tracks in Pro Tools. Selecting a Record Input When this allocation preference is set to Use All Monitoring Mode Available Space , the drive’s entire available space is allocated. This setting lets you record lengthy Pro Tools offers two modes of input monitoring: takes, or longer sessions. and Auto Input These monitoring Input Only. modes determine how input signals are moni- However, when allocating all available space, tored during playback, recording, or while the Pro Tools may take a little longer to begin re- transport is stopped. cording. You can reduce this delay by allocating time for recording. a specific amount of You can also avoid reco rding delays by put- ting Pro Tools in Record Pause mode before beginning to record. See“Prime for Record Mode” on page 452. Use All Available Space In general, the preference makes hard drives work harder. In addition to record and punch lag times, many systems see better overall recording performance when the setting is limited. Open Ended Record Allocation 442 Pro Tools Reference Guide

465 Auto Input Monitoring Selecting a Record Monitor Mode In Auto Input mode, when session playback is For record-enabled tracks to use Auto Input stopped, Pro Tools monitors audio input. When Monitoring: playback is started for a punch-in, Pro Tools . Select Track > Auto Input Monitoring „ monitors existing track material up until the punch point. While punched in, the input sig- For record-enabled tracks to use Input Only punch-out, monitoring nal is monitored. On Monitoring: switches back to the existing track material. This . Track > Input Only Monitoring Select „ is similar to the auto-switching logic found on digital and analog multitrack tape machines. To toggle between Auto Input and Input Only monitoring, press Option+K (Mac) or When in Auto Input mode, the switch back to monitoring track material on punch-out is not Alt+K (Windows). instantaneous. Selecting Record Monitor Modes With Pro Tools HD, tracks are in Auto In- with TrackInput Monitoring put mode by default, and a monitoring con- (Pro Tools HD Only) trol (TrackInput button) is provided for each TrackInput monitoring lets you toggle individual track. See “Selecting Record Monitor Modes audio tracks between Auto Input and Input with TrackInput Monitoring” on page 443. Only monitoring modes at any time, during playback, recording, while stopped, and even Input Only Monitoring when a track is not record-enabled. TrackInput In Input Only mode, when a track is record-en- monitoring provides the necessary monitoring abled, Pro Tools monitors audio input only, re- flexibility for overdubbing and mixing, and is gardless of any punch-in /out selection or state. similar to input switching on analog multitrack recorders and similar machines. For Pro Tools, the Input Monitor Enabled Status rt window) lights green indicator (in the Transpo on in a track is en- When the TrackInput butt when Input Only mode is enabled. abled (green), the track monitors audio in Input Only mode. Input Monitor Enabled Status, Transport window For Pro Tools HD, the indicator lights green when one or more tracks have TrackInput en- TrackInput Monitor button On (Input Only), in the Edit abled (see “Selecting Record Monitor Modes Window with TrackInput Monitoring” on page 443). 443 Chapter 21: Record Setup

466 To toggle the TrackInput button states of all When the TrackInput button in a track is dis- record-enabled tracks, do one of the following: abled, the track monitors in Auto Input mode. To change all record-enabled tracks to Auto „ Track > Set Record Input monitoring, select Tracks to Auto Input . – or – „ To change all record-enabled tracks to Input Only monitoring, select Track > Set Record Tracks to Input Only . TrackInput Monitor button Off (Audio Input), in the Edit Window To toggle record-enabled tracks between Auto Input and Input Only monitoring, To toggle the monitoring mode of audio tracks, do press Option+K (Mac) or Alt+K (Windows). one of the following: To toggle individual tracks, click the TrackIn- „ Disable “Input” When Disarming Track put Monitor button for each track you want to Disable “Input” When Disarming Track When the toggle. (in “Stop”) option is enabled in the Operation To toggle all tracks in the session, Option-click „ monitoring is disabled Preferences, TrackInput (Mac) or Alt-click (Win dows) a TrackInput Mon- whenever a track is taken out of record enable. itor button. This is useful for certain workflows, such as when you are recording on a series of tracks, one „ To toggle all selected tracks in the session, Op- at a time. tion-Shift-click (Mac) or Alt-Shift-click (Win- dows) a selected track’ s TrackInput Monitor Disabling this option allows TrackInput buttons button. to remain enabled when deselecting the track Record Enable button. Press Shift+I to enable the TrackInput Mon- itor button for any track containing the Edit cursor on an Edit selection. 444 Pro Tools Reference Guide

467 Reducing Monitoring Latency Setting Monitor Levels for Record and Playback la- There will inevitably be some audio delay, or tency , in the monitoring signal (even if only a Pro Tools remembers two different fader levels process of converting an few samples) due to the for monitoring each audio track: one for when analog signal to a digital signal (input) and back the track is record-enabled, and one for when it again (output). There may be additional latency not is record-enabled. ions and processing. due to mixer configurat Pro Tools keeps track of these two states for Pro Tools|HD systems have additional latency fader levels automatically. If you adjust a fader when using RTAS plug-ins because these plug- when a track is record-e nabled and then turn off ins also use your computer’s host processor. record enable for the track, the fader returns to its playback level. Host-based Pro Tools systems use the host pro- cessor in your computer for all audio processing, When audio tracks are record-enabled, their vol- so there is always a playback, and recording, ume faders in the Mix window turn red, indicat- small amount of latency in the system. For ex- ing that the record monitor level is active. ample, there may be some audible delay be- tween the incoming signal and outgoing signal Link Record and Play Faders when monitoring recording through Pro Tools. When the Link Record and Play Faders option is With Pro Tools, latency occurs as follows: n Preferences, Pro Tools selected in the Operatio • All Pro Tools systems can have RTAS MIDI- does not keep track of record and play levels for to-audio latency (such as when playing an audio tracks. In this case, record enabling an au- RTAS virtual instrument live and monitor- dio track has no effect on the fader level for the ing the instrument’s output). track. This lets you maintain a consistent mix re- • Pro Tools systems have input-to-output gardless of whether you ar e recording or just lis- monitoring latency on any record-armed tening. tracks or Auxiliary In puts with live inputs. • Pro Tools|HD systems have monitoring la- tency on tracks that have one or more RTAS plug-ins. 445 Chapter 21: Record Setup

468 The latency amount is related to the H/W Buffer Recording with Delay Size setting—the larger the buffer size the Compensation greater the latency. You can reduce the amount Generally, you will want to record with Delay of monitoring latency by reducing the H/W Buf- Compensation enabled to maintain phase co- fer Size setting. However, even at the smallest herent time alignment between tracks with dif- buffer size, there is still some latency. ferent DSP delays. However, you will generally In addition, reducing the buffer size limits the want to avoid using inse rts on recording tracks number of simultaneous audio tracks you can or tracks used for cont rolling the levels of cue record without encountering performance er- mixes. For more information, see “Delay Com- rors. pensation” on page 956. While there may be times when you want a Zero Latency Monitoring larger buffer size, such as when you have higher track counts with more plug-ins, you will gener- (Mbox, Mbox 2, Mbox Mini, and Mbox 2 Mini ally want the smallest possible buffer size when Only) latency is present during recording and moni- Mbox, Mbox 2, Mbox Mini, and Mbox Mini 2 toring. give you the ability to monitor your analog in- If you are monitoring the recording source with put signals while recording, without hearing an external mixer before it is routed to any latency. This zero-l atency analog monitor- Pro Tools, you will not hear any latency. ing is controlled by the front panel Mix knob, which you can use to blend and adjust the mix To set the Hardware Buffer Size: between the interface’s analog input and re information, see Pro Tools playback. For mo 1 Setup > Playback Engine . Choose . your system’s User Guide H/W 2 Choose the number of samples from the pop-up menu. Buffer Size Low Latency Monitoring 3 OK Click . (Pro Tools|HD Native, 003, 003 Rack, 003 Rack+, Digi 002, Digi 002 Rack, Mbox Pro, H/W Buffer Size For more information on and Mbox Pro 2 Only) e Buffer Size” on setting, see “Hardwar page 62. Pro Tools|HD Native, 003, 003 Rack, 003 Rack+, Digi 002, Digi 002 Rack, Mbox Pro, and Mbox Low Latency Monitoring Pro 2 systems can use the Computers with slower CPUs may not be option to record with an extremely small able to use a H/W Buffer Size setting lower amount of monitoring latency, to as many than 512 samples buffer size without en- pports. Only tracks with tracks as each system su countering performance errors. inputs set to an audio interface (not a bus) use Low Latency Monitoring. 446 Pro Tools Reference Guide

469 To use Low Latency Monitoring: Low Latency Monitoring and Bounce To Disk 1 Do one of the following: • For Pro Tools|HD Native systems, assign Low Latency Monitoring enabled, only audio With each track to the selected Low Latency tracks are included with the Bounce to Disk com- Monitoring Path as set in the I/O Setup mand—Auxiliary Input and Instrument tracks Output page (see “Low Latency Monitor- are ignored. To include Auxiliary Input and In- ing” on page 93). Only tracks assigned to Low Latency Monitoring strument tracks, disable these outputs use Low Latency Monitoring. before using Bounce to Disk . – or – External input cannot be recorded during a • For Pro Tools (non-HD), assign each track Bounce to Disk. To include external input in output to either Output 1 or Output 2 your bounce, it must be recorded to new au- (mono), or both (stereo). Only tracks as- dio tracks before using Bounce to Disk (see signed to these outputs use Low Latency “Bounce to Disk” on page 1062). Monitoring. Record enable audio tracks by clicking their 2 Record Enable buttons. Select . Options > Low Latency Monitoring 3 is enabled, any When Low Latency Monitoring plug-ins and sends assigned to record-enabled tracks (routed to the selected Low Latency Mon- itoring Path with Pro Tools|HD Native systems, or to Outputs 1–2 with all other systems) are au- tomatically bypassed, and must remain by- passed. Also, these tracks do not register on me- ters for Master Faders. In Pro Tools with the Complete Production Toolkit 2 option, Low Latency Monitoring is not available in surround sessions. 447 Chapter 21: Record Setup

470 Pro Tools Reference Guide 448

471 Chapter 22: Audio Recording In Pro Tools, you record audio to audio tracks. Before Recording Audio tracks can be mono, stereo, or multichan- Before you start recording in Pro Tools, you need nel as appropriate for the recording source. to set up your Pro Tools system, a session, and When recording a mono source, record to a sin- one or more tracks for recording. You will also gle, mono audio track in Pro Tools. A single, need to configure how Pro Tools monitors the mono audio file is written to disk, and the file input you intend to record. For information, see appears as a region both in the track’s playlist Chapter 21, “Record Setup.” and in the Region List. Basic Recording Steps When recording a stereo audio source, record to a single, stereo audio track in Pro Tools. A single, To record an audio track: mono audio file is written to disk for each chan- nel of a stereo track: one for the left channel, From the track’s Input Path selector, select the 1 and one for the right channel. These files appear audio Input Path you want to record (see “As- in the track’s playlist and as a stereo region both signing Hardware I/O on a Track” on page 435). in the Region List. 2 From the track’s Output Path selector, select Recording a multichannel source to a multi- the main monitoring path. channel track (Pro Tools HD and Pro Tools with Select the Record Enable button for the audio 3 Complete Production Toolkit 2 only) is similar track. It lights red. o tracks. A single, mono to recording stereo audi audio file is written for each channel in the ppear as multichannel re- track, and these files a gions in both the track’s playlist and in the Re- gion List (see “Multichannel Audio Tracks” on page 1085). Record enabling a track in the Mix window 449 Chapter 22: Audio Recording

472 If using Countoff, Pro Tools counts off the spec- 4 Adjust the output level of your sound source ified number of measures and then begins re- preamp). Monitor the (instrument, mixer, or cording. See “Recording with a Click” on track’s meter levels in Pro Tools to ensure that page 426. levels peak within at least –6 dB to –12 dB on the input meter without triggering the clipping in- 10 Record your performance. dicator on your audio interface. 11 Click Stop in the Transport window or press Do one of the following: 5 the Spacebar when you are finished recording. • In the Mix window, adjust the track’s vol- The newly recorded audio is written to disk and ume and pan faders. Th ese settings are for appears as an audio region both in the track’s monitoring purposes only and do not af- playlist and in the Region List. fect the recorded material. – or – To play back the audio track: for the track, adjust • In the Output window 1 Click the Record Enable button for the audio the track’s Volume fader and Pan sliders. track so that it is no longer record-enabled. These settings are for monitoring purposes Track volume faders now function as playback only and do not affect the recorded mate- level controls. rial. (See “Output Wi ndows for Tracks and Sends” on page 944.) If a record-enabled track is in Auto Input 6 Window > Transport to display the Choose Monitor mode, you will hear “through” the Transport window. Click Return to Zero to go to input while the Transport is stopped. The the beginning of the session. track automatically switches to playback when you press play, then back to Input Rewind mode when you either st op, or punch into re- Return to Zero Fast Forward cord. For more information, see “Auto Input Go to End Monitoring” on page 443. 2 To have playback start from the beginning of the session, click Return to Zero in the Trans- port. Online Record Stop To start playback, click Play in the Transport 3 Play or press the Spacebar. Transpor t window 7 Click Record in the Transport window to arm Pro Tools for recording. The Record button flashes red to indicate that Pro Tools is ready to record. Ensure that Normal Record mode is selected 8 (see “Record Modes” on page 431). 9 When you are ready to start recording, click Play or press the Spacebar. 450 Pro Tools Reference Guide

473 Undo or Cancel Audio Recording Canceling a Record Take Once you have recorded an audio track and the While recording, it is possible to discard the cur- transport is stopped, yo u can undo the record rent record take. This removes the audio (re- take. corded up to that point) from your hard drive and deletes the region from the track’s playlist and the Region List. When using Loop Record To undo an audio recording: mode, all takes from each record pass are dis- Once the Transport has been stopped, choose „ carded. Canceling recording when in Destruc- . Edit > Undo Record Audio tive Record mode is prohibited. stored to its previous The track’s playlist is re To cancel a record take while recording: state and material is discarded as follows: • When in normal Record mode, only the Press Command+Period (.) (Mac) or Con- „ most recent take is discarded. trol+Period (.) (Windows) before the Transport is stopped. • When in Loop Record mode, all takes from each record pass are discarded. • When using QuickPunch, TrackPunch, or Recording Multiple Audio Tracks , all punches from DestructivePunch mode Pro Tools can record multiple audio tracks si- the last recording pass are discarded. multaneously, up to the track recording limits of pass during recording, If you undo a record your system. To record to multiple tracks, con- Pro Tools removes any previously undone re- figure and record enable each track, then record. cord pass from the session and lets you Follow the same steps as in “Basic Recording delete the previous re cord pass from your Steps” on page 449. hard drive. For each record-enabled track, a new audio file is If no actions are available to undo, the menu written to disk, and a new region is created that . displays a grayed out Can’t Undo appears both in the track’s playlist and in the Region List. If you have a Pro Tools system with multi- ple drives, and you intend to record multiple tracks simultaneously, you may want to designate the System drive as a Transfer only drive for optimal performance. 451 Chapter 22: Audio Recording

474 To enable Prime for Record mode and start Recording Shortcuts recording: 1 Click Record in the Transport. The Record but- In addition to clicking the Record button in the ton flashes. Transport or Edit wind ow to arm Pro Tools re- cording, you can arm and start recording with 2 Do one of the following: the following keyboard shortcuts: • Option-click (Mac) or Alt-click (Windows) • Press F12 to start recording immediately. Play in the Transport to put Pro Tools in Prime for Record mode. On Mac systems, to use F12 for recording, the – or – Mac “Dashboard” fe ature must be • Right-click the Play button and select Prime disabled or remapped. See your User Guide . for Record for details. The Stop button lights and both the Play and Re- • Press Command+Spacebar (Mac) or Con- cord buttons flash. trol+Spacebar (Windows) to start recording. To begin recording instantaneously, click Play. 3 On Mac systems, to use Command+Spacebar for recording, the Mac “Spotlight” feature 4 Click Stop to stop recording. must be disabled or remapped. See your User When synchronizing to time code, use Guide for details. Prime for Record mode to record or play back • Press 3 on the numeric keypad (when the Nu- large numbers of tracks. This decreases the Transport ) to start meric Keypad mode is set to time it takes to lock to time code. recording. To initiate recording at half speed, press Setting Punch and Loop Command+Shift+Spacebar (Mac) or Con- Points trol+Shift+Spacebar (Windows). For details, see “Half-Speed Recording” on The start and end points of a record range for page 468. punch and loop recording can be set by the fol- lowing methods: • Select a range in a track’s playlist (with Op- Prime for Record Mode tions > Link Timeline and Edit Selection en- abled). When recording a large number of tracks or • Select a range in a Timebase ruler. channels, or playing back a large number of tracks while recording, Pro Tools may take a lit- • Drag the Timeline Selection Markers in the tle longer to begin recording. To avoid this de- ruler. lay, put Pro Tools in Prime for Record mode be- • Enter start and end times in the Transport fore beginning to record. window. • Recall a Memory Location that includes an Options > Link Timeline Edit selection (with enabled). and Edit Selection 452 Pro Tools Reference Guide

475 To set the record range in a Timebase ruler: To set the record range in a track’s playlist: If you want to constrain the selection to the 1 If you want to constrain the selection to the 1 current Grid value, set the Edit mode to Grid. the Edit mode to Grid. current Grid value, set 2 2 Select Options > Link Timelin e and Edit Selection . Select the record range in any Timebase ruler. 3 Do one of the following: , select the record • With the Selector tool range in a track’s playlist. Timeline selection not active, you do not If the Selector tool is need to manually select it. Other Edit tools Playlist selection (such as the Time Grabber tool) automati- – or – cally turn into the Selector tool when used in Timebase rulers. • If a region’s start and end points define the record range, select the entire region. Timeline Selection Markers You can also enter a start and end point When tracks are record-enabled, Timeline Selec- during playback. Pre ss the Down Arrow to tion Markers for start and end times appear as set the start point, and press the Up Arrow to red up and down arrows in the Main Timebase set the end points. Note that when in Grid record-enabled, the Time- ruler. If no tracks are mode, start and end point when entered in line Selection Markers are blue. this manner do not snap to the grid. Timeline Selection Markers in the Main Timebase ruler The Timeline Selection Markers can be moved, either separately or at the same time, to set re- cord and play ranges. 453 Chapter 22: Audio Recording

476 You can enter locations in the start and end To set the record range by dragging the Timeline Selection Markers: fields to set the record or play range. The Time- line Selection Markers in the Main Timebase If you want the Timeline Selection Markers to 1 ruler are updated accordingly. snap to the current Grid value, set the Edit mode to Grid To set the record range by entering start and end Drag the first Timeline Selection Marker 2 times in the Transport window: (down arrow) to the start point of the range. To see the start, end, and length times, do one 1 of the following: . View > Transport > Expanded • Select – or – • Shift-click the Expand/Collapse “+” button in the Transport window. Do one of the following: 2 • In the Transport window, click in the Start field. Dragging a Timeline Selection Marker (start time) in the Main Timebase ruler – or – • Press Option+Forward Slash (/) (Mac) or Drag the second Timeline Selection Marker 3 Alt+Forward Slash (/) (Windows) on the (up arrow) to the end point of the range. ct the start field in numeric keypad to sele If the current record range is already the the Transport window. right length and the range needs only to be 3 Type in the start location and press Op- moved to a new location, Option-drag (Mac) tion+Forward Slash (/) (Mac) or Alt+Forward or Alt-drag (Windows) either Timeline Se- Slash (/) (Windows) on the numeric keypad to lection Marker to move both to a new loca- enter the value and automatically move to the tion (while keeping the same length). end field. 4 Type in the end location and press Enter to ac- Start, End, and Length Fields cept the value. In its Expanded view, the Transport window can display start, end, and length times, and pre- Use the Period (.) or Left/Right Arrow keys en setting a record or and post-roll settings. Wh to move through the different time fields for play range, the range is reflected in these fields. Start and End. Use the Up/Down Arrow keys to increase or decrease the numerical values. Transport window with Start, End, and Length fields displayed 454 Pro Tools Reference Guide

477 Memory Locations You can store Edit selections as Memory Loca- tions, which can also include current pre- and post-roll values. For more information on Memory Locations, see Chapter 37, “Memory Locations.” To save an Edit selection with a Memory Location: Ensure that 1 Options > Link Timeline and Edit Selection is selected. 2 Set the record range by making an Edit or Timeline selection, or by entering start and end times in the Transport window. 3 To save the pre- and po st-roll values, enable and set the pre- and post-roll amounts by enter- ing them in the Transport window, or by drag- New Memory Location dialog ging the Pre- and Post-Roll Flags in the ruler that Type a name for the new Memory Location. 6 represents the Main Time Scale (see “Setting Pre- and Post-Roll” on page 456). 7 Click . OK Press Enter on the numeric keypad or click the 4 To recall an Edit selection with a Memory Add Marker/Memory Location button in the Location: Edit window. Options > Link Timeline and Make sure to select 1 5 In the New Memory Location dialog, set Time Selection. Edit Properties to , and if saving pre- and Selection post-roll values, select the Pre/Post Roll Times Choose Windows > Memo ry Locations . 2 option in the General Properties section. Memory Locations window 455 Chapter 22: Audio Recording

478 3 Do one of the following: Setting Pre- and Post-Roll in the • In the Memory Locations window, click the Transport Window name or number of the Memory Location. enabled and set in the Pre- and post-roll can be – or – Transport window. • Recall the Memory Location by typing Pe- riod (.), the Memory Location number, and To set and enable the pre- and post-roll times in the Period (.) again on the numeric keypad. Transport window: (See “Numeric Keypad Modes” on page 31). View > Transport > Expanded . Select 1 and pre- and post-roll The start and end times In the Transport window, click in the pre-roll 2 settings stored with the Memory Location are re- field. called. 3 Type in the pre-roll amount and press Forward Slash (/) on the numeric keypad to enter the value and automatically move to the post-roll Setting Pre- and Post-Roll field. Pre- and post-roll times appear as flags in the Type in the post-roll amount and press Enter 4 ruler that represents the Main Time Scale. When to accept the new value. pre- and post-roll are enabled, the flags are green, otherwise they are gray. Pre-roll enabled for 2 beats; Post-roll disabled 5 To enable either pre- or post-roll, click the ap- Green Pre- and Post-Roll Flags (enabled) in the Main propriate button so it is highlighted. Timebase ruler s can be entered in the Pre- and post-roll amount Use the Period (.) or Left/Right Arrow keys Transport window, set from a track’s playlist or to move through the different time fields for Timebase ruler, or by recalling a Memory Loca- pre and post-roll. Us e the Up/Down Arrow tion. keys to increase or decrease the numerical values. 456 Pro Tools Reference Guide

479 Setting Pre- and Post-Roll in a Enabling Pre/Post-Roll from the Playlist Options Menu Pre- and post-roll (as a pair) can be enabled and You can use the Selector tool to enable and dis- disabled from the Options menu. able pre- and post-roll by clicking in a track’s playlist. To enable both pre/post-roll from the Options menu: To set and enable the pre- and post-roll by clicking in a playlist: „ . Select Options > Pre/Post-Roll 1 . e and Edit Selection Options > Link Timelin Select 2 With the Selector tool, select the record range Dragging Pre- and Post-Roll Flags in the track’s playlist. in the Timebase Ruler With the Selector tool, Option-click (Mac) or 3 The Pre- and Post-Roll Flags can be moved in the Alt-click (Windows) in the track’s playlist before Main Timebase ruler, either separately or at the the selection to enable the pre-roll at that loca- same time, to set their location. tion. To set the pre- and post-roll amounts by dragging in With the Selector tool, Option-click (Mac) or 4 the Main Timebase ruler: Alt-click (Windows) in the track’s playlist after 1 If you want the Pre- and Post-Roll flags to snap the selection to enable the post-roll at that loca- to the current Grid value, set the Edit mode to tion. Grid. To disable the pre- and post-roll by clicking in a 2 Drag the Pre-Roll Flag to a new location in the playlist: ruler. 1 With the Selector tool, Option-click (Mac) or e Edit selection near Alt-click (Windows) in th the start to disable the pre-roll. 2 With the Selector tool, Option-click (Mac) or e Edit selection near Alt-click (Windows) in th Dragging a Pre-Roll Flag in a Timebase ruler the end to disable the post-roll. 3 Drag the Post-Roll Flag to a new location in In the Timeline, you can reset the pre- and the Timebase ruler. post-roll to zero. First, drag the Pre-Roll Flag To set pre- and post-roll values to the same to the Timeline Selection Start Marker, then amount, Option-drag (Mac) or Alt-drag drag the Post-Roll Flag to the Timeline Se- (Windows) either the Pre- or the Post-Roll lection End Marker. Flag in the ruler. The deselected flag will Drag the Pre-Roll Flag to the Timeline Selec- 3 immediately reset to the same value, and tion Start Marker. will adjust accordingly as you drag the selected flag. 4 Drag the Post-Roll Flag to the Timeline Selec- tion End Marker. 457 Chapter 22: Audio Recording

480 Pre-roll flag Post-roll flag Audio Punch Recording Over a Punch In Punch Out Specified Range punch re- You can set Pro Tools to automatically cord over a specific rang e in an audio track (for example, to replace a portion of a recorded punch in ) and end track). The range’s start ( ) points must be specified before re- punch out ( cording. To manually punch in and out on record- enabled audio tracks during playback, see Chapter 24, “Punch Recording Modes.” Pre-roll Post-roll Though there are several ways to set record and enabled enabled play ranges (see “Setting Punch and Loop recording with Pre-roll and Timeline selection for punch Points” on page 452), perhaps the easiest is to Post-roll select within the track’s playlist the range for re- To punch record on an audio track: cording. Do one of the following: 1 To set a record or pl ay range by selecting vely, make sure that • To record nondestructi within a playlist, the Edit and Timeline se- Options > Destructive Record is not selected. lections must be linked (select Options > – or – Link Timeline and Edit Selection). want to permanently record over do •If you During the recording process, playback begins at Options > the specified record range, select the pre-roll time (if enabled) and proceeds to the Destructive Record . start time (the punch-in point), where recording any mode other than If you are recording in begins. When the end time (the punch-out Destructive Record mode, punches do not point) is reached, Pro Tools automatically permanently replace previously recorded switches out of Record mode and continues material. If you want to permanently re- do playing through the specified amount of cord over the specified record range (and post-roll. This automate d punch-in/out feature keep only the most recent take), select is a powerful and precise way of recording or Options > Destructive Record. re-recording on a track. 2 Record enable the track. e and Edit Selection Options > Link Timelin Select 3 . With the Selector tool, drag in the track’s play- 4 list or in one of the Timebase rulers until the se- lection encompasses the punch range (see “Setting Punch and Loop Points” on page 452). 458 Pro Tools Reference Guide

481 Recording additional takes in Destructive Re- 5 To hear any existing track material up to the cord mode overwrites prev ious take. To keep the end point, enable and set start point, or after the audio from previous takes, record the new takes pre- and post-roll times (see “Setting Pre- and in Normal (Nondestructive) Record mode. Post-Roll” on page 456). port to arm Pro Tools 6 Click Record in the Trans For information on audio file and region for recording. names for new takes, see “Configuring De- fault Names for Audio Files and Regions” Click Play to start recording. 7 on page 434. Pro Tools starts recording from the punch-in To nondestructively record a new take on the (start) point. If there is any pre-roll, recording same track: starts when the punch-in (start) point is reached. Recording continues until the punch- Ensure that Normal Record mode is selected 1 out (end) point is reached (unless you manually (see “Record Modes” on page 431). stop recording first). If post-roll is enabled, play- 2 Record enable the track. back continues for the specified post-roll amount. Do one of the following: 3 • To record from the beginning of the ses- If recording nondestructively, a new audio file is sion, click Return to Zero in the Transport. written to your hard drive and a new audio re- – or – gion appears both in the track and the Region List. •If is Options > Link Timeline and Edit Selection enabled, click anywhere in the track’s play- If recording in Destructive Record mode, the list to begin recording from that point. previous material in new audio overwrites the the existing audio file and region. To record a specific track range, with precise start and end points, see “Audio Punch Re- Monitoring during Punch-Ins cording Over a Specified Range” on page 458. Pro Tools provides two monitoring modes for recording: Auto Input monitoring and Input 4 Click Record in the Transport to arm Pro Tools Only monitoring (see “Selecting a Record Input for recording. Monitoring Mode” on page 442). Click Play to start recording. 5 Click Stop to stop recording. 6 Recording Additional Takes An audio file for the new take is written to disk and appears as an audio region both in the o track, you can record After recording to an audi track’s playlist and in the Region List. additional takes to the same track. Any of these additional takes can be used in the main play- The audio from the original take remains on list. For information about accessing alternate your hard drive, and is still available as a region takes, see “Alternate Takes” on page 463. in the Region List. 459 Chapter 22: Audio Recording

482 To destructively record over a previous take: Appending New Material to the End of a Track Do one of the following: 1 Options > Destructive Record . When • Select You can also append new material to the end of in Destructive Record mode. a track. – or – To append new material to the end of a track: • Right-click the Record button in the Trans- Destructive port and select . Do one of the following: 1 • Click the Go to End button in the Trans- A “D” appears in the Record button. port to locate to the end of the track (this locates the end of the session). – or – • Tab to the end point of the last region on the track. Destructive Record mode enabled Record enable the track. 2 From there, begin recording. 2 3 Do one of the following: Pro Tools adds the new material to the end of • To record from the be ginning of the track, the track. If using Destructive Record mode, the click Return to Zero in the Transport. new audio is appended to the audio file and re- gion from the first take. In Nondestructive Re- – or – cord mode, a new file and region are created. is Options > Link Timeline and Edit Selection •If enabled, click anywhere in the track’s play- list to begin recording from that point. Recording to a New Playlist Instead of recording over existing audio regions, To record a specific track range, with precise there is another way to nondestructively record see “Audio Punch Re- start and end points, new takes to the same track. Do this by creating cording Over a Specified Range” on a new playlist for the track, then record just as page 458. before. 4 Click Record in the Trans port to arm Pro Tools edit playlists, each of Tracks can have multiple for recording. which stores a list of regions strung together in a Click Play to start recording. 5 particular order. Also, since playlists follow groups, duplicating or se lecting alternate play- When finished, click Stop to stop recording. 6 lists for a track in an enab led group will affect all The audio for the new take is written to disk, tracks in the group. permanently overwriting the original. The new material replaces the original material within the existing region and the region is not re- named. 460 Pro Tools Reference Guide

483 To record to a new playlist for a track: Loop Recording Audio 1 From the track’s Playlist selector, choose New . Pro Tools provides a loop recording feature that lets you record take after take while the same section of audio repeats ov er and over. This is a convenient technique for quickly recording multiple takes of a part without losing sponta- neity. When loop recording, you must first specify the start and end points for the loop. Though there are several ways to set record and play ranges Playlist selector (see “Setting Punch and Loop Points” on 2 Type a name for the new playlist. page 452), the easiest is to select the range to be looped in the track’s playlist (ensure that Options OK . 3 Click is selected). > Link Timeline an d Edit Selection When a new playlist is created, its name replaces The pre-roll setting, if enabled, is used only dur- the track name. Names for new audio files and ing the first record pass. Pre- and post-roll times regions are based on the track name. are ignored on each successive loop. To com- 4 Record enable the track. want to make the loop pensate for this, you may range slightly longer. Later, you can trim back To start from the beginning of the session, 5 the recorded takes to the proper length with the click Return to Zero in the Transport. Trim tool (see “Using the Trimmer Tools” on 6 port to arm Pro Tools Click Record in the Trans page 542). for recording. When loop recording audio, Pro Tools creates a 7 Click Play to start recording. single audio file that includes all takes. Takes ap- pear as individual regions in the Region List and 8