Professional Documents
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Version 12.3
Legal Notices Sundance Digital, SurroundScope, Symphony, SYNC HD,
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Contents
Contents iii
Chapter 4. Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Accessing Guides in Pro Tools Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Accessing the Help System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Help Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Using the Contents and Index Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Using the Search Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Search Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Copying from a Help Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Printing Help Topics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Chapter 8. Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Display Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Operation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Editing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Mixing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Metering Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Processing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
MIDI Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Synchronization Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Global and Local Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Contents v
Chapter 9. Peripherals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Ethernet Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Mic Preamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Satellites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
VENUE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Contents vii
Chapter 15. The Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Clip List Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Sorting and Searching in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Selecting Clips in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Previewing Clips in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Stereo and Multichannel Clips in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Naming and Displaying Clips in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Managing Clips in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Clip Name Right-Click Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Contents ix
Part IV Playback and Recording
Chapter 19. Playing Back Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Setting the Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Scrolling Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Playing Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Transport Fade-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Playing Timeline and Edit Selections with the Playhead . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Playback Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
MIDI Beat Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
MIDI Beat Clock Offsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Contents xi
Part V Editing
Chapter 24. Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477
Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
Audio Clips and Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
MIDI Clips and MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
Naming Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Displaying Clip Names, Clip Times, and Other Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
Multiple Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488
Basic Editing Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
Editing Across Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
Contents xiii
Chapter 29. Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Working with Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Track Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588
Playlists View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
Matching Alternate Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
Matching Criteria Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Selecting Alternate Takes on Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Automatically Create New Playlists when Loop Recording . . . . . . . . . . . . . . . . . . . . . . . . . 599
Expanding Alternate Takes to New Playlists or Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Expanding Alternate Channels to New Playlists or Tracks . . . . . . . . . . . . . . . . . . . . . . . . . 600
Part VI MIDI
Chapter 31. MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
MIDI Editing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
Setting the Grid Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
Using the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
Inserting MIDI Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
Inserting a Series of Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Contents xv
Double Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690
Cursor Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690
Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
Score Editor Window Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
Score Editor Window Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692
Customizable Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693
Track List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693
Page Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694
Score Editor Zoom Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695
Notation Display Track Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696
Score Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699
Score Editor Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Key Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Meter Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Chord Symbols and Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704
Exporting Scores. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706
Printing Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706
Contents xvii
Sync Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 783
Shift Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784
Locking Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785
Muting/Unmuting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 786
Stripping Silence from Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 786
Inserting Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789
Duplicating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 790
Repeating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791
Contents xix
Change Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 876
Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 878
Select/Split Notes Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880
Input Quantize Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 882
Step Input Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 883
Part IX Mixing
Chapter 44. Basic Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 896
Mixing Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 896
Metering and Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 896
Signal Flow by Track Type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 897
Audio Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 897
Auxiliary Input Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 898
Master Fader Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 899
Instrument Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 900
VCA Master Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 901
Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 904
Configuring Inserts View in the Mix and Edit Windows. . . . . . . . . . . . . . . . . . . . . . . . . . . . 905
HEAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905
Stereo Pan Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905
Views in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 906
Audio Input and Output Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 910
Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 912
Configuring Sends View in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . 916
Sends View Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 916
Editing Sends in the Mix and Edit Windows (Individual Send Views) . . . . . . . . . . . . . . . . . 918
Bus Interrogation Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 920
Contents xxi
AutoMatching Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 992
Priming Controls for Writing Automation in Latch Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 993
Enabling and Suspending Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 996
Deleting Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 998
Thinning Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 999
Drawing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1000
Editing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1001
Cutting, Copying, and Pasting Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1006
Glide Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1010
Trimming Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1011
Writing Automation to the Start, End, or All of a Track or Selection . . . . . . . . . . . . . . . . . 1013
Writing Automation to the Next Breakpoint or to the Punch Point . . . . . . . . . . . . . . . . . . . 1015
Guidelines for “Write To” Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1018
Overwriting or Extending Mute Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1019
Creating Snapshot Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1021
Previewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1024
Capturing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1026
VCA Master Track Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1029
Coalescing VCA Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1030
Contents xxiii
Putting Pro Tools Online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1100
Generating Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1101
Using MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1102
Enabling MIDI Machine Control in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1103
MMC Transport Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1105
Setting Minimum Sync Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1106
Remote Track Arming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1106
Spotting Clips to SMPTE Frame Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1107
The Spot Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1107
Capturing Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1108
Auto-Spotting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1109
Using the Trim Tools in Spot Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1110
Time Stamping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1110
Identifying a Synchronization Point. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1111
Troubleshooting SMPTE Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1112
Speed Correction for Film, NTSC Video, and PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . 1114
Contents xxv
Chapter 55. Pro Tools Video Satellite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1180
Video Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1180
Connecting a Pro Tools Video Satellite System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1180
Linking the Pro Tools Video Satellite System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1181
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1200
Convention Action
Before you begin to use Pro Tools, you may find it Nonlinear editing provides significant advantages
helpful to review Pro Tools concepts. These con- over dubbing (re-recording), and cutting and splic-
cepts are the foundation of Pro Tools operation ing magnetic tape. It gives you the greatest possi-
and functionality. ble flexibility for editing and arranging, and it is all
nondestructive and “undoable.” Additionally, with
nonlinear editing in Pro Tools, you will never in-
Hard Disk Audio Recording troduce any degradation of audio fidelity as you
would with tape.
Hard disk recording is a nonlinear (or random ac-
cess) medium—you can go immediately to any
spot in a recording without having to rewind or fast
Audio Engines
forward.
Pro Tools can stream audio between the applica-
This differs from tape-based recording, which is a tion and your audio hardware using the Avid Au-
linear medium—where you need to rewind or fast dio Engine (Avid audio hardware only), Core Au-
forward to hear a particular spot in a recording. To dio (Mac only with third-party audio hardware), or
rearrange or repeat material in a linear system, you ASIO (Windows only with third-party audio hard-
need to re-record it, or cut and splice it. ware).
Nonlinear systems have several advantages. You
Avid Audio Engine
can easily rearrange or repeat parts of a recording
by making the hard disk read parts of the recording The Avid audio engine (AAE) is a real-time oper-
in a different order or multiple times. In addition, ating system for digital audio recording, playback,
this re-arrangement is nondestructive, meaning and processing with Pro Tools and Avid audio
that the original recorded material is not altered. hardware. When you install Pro Tools, AAE is au-
tomatically installed on your system. AAE pro-
vides the foundation for much of the hard disk re-
Nonlinear Editing cording, digital signal processing, and mix
automation required by Pro Tools and other prod-
Pro Tools is a nonlinear editing system that lets
ucts from Avid and its Development Partners.
you rearrange and mix recorded material nonde-
structively. Nonlinear editing simply means that
you can cut, copy, paste, move, delete, trim, and
otherwise rearrange any audio, MIDI, or video in
the Pro Tools Edit window.
Voices
MIDI track in the Edit window
In Pro Tools, voices are unique, discrete audio
streams that can be routed to and from Pro Tools
audio tracks, and 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 exceed the
Video track in Frames view number of available voices in your system, you
have effectively exceeded the available number of
Audio, MIDI, Instrument, and video track data can audio paths. Voices are allocated dynamically.
be edited into clips or repeated in different loca-
tions to create loops, re-arrange sections or entire Typically, each audio channel for each track in
songs, or to assemble tracks using material from your Pro Tools session uses a single voice. So, for
multiple takes. a mono audio track, a single voice is used; for a ste-
reo audio track, two voices are used. When using
Auxiliary Input tracks can route internal audio bus- Punch Recording, two voices are needed for every
ses or physical inputs to internal busses or physical single audio channel (one for playback and one for
outputs. Auxiliary Inputs are typically used for au- recording on punch in and out). In some situations,
dio effects busses, audio throughput (monitoring), with Pro Tools | HDX systems, more than one
and submixing. voice may be necessary for a single channel (such
Master Fader tracks provide controls for physical as when using host processing on a DSP bus).
audio output channels, including the volume level On HDX systems, the number of available voices
of your mix, panning, and plug-in inserts. is dependent on the amount of dedicated DSP pro-
VCA Master tracks provide control of tracks in a cessing in your system (see “Playback, Recording,
Mix Group that has been assigned to the VCA and Voice Limits with Pro Tools | HD Software”
Master. on page 37).
Media Files
Pro Tools sessions create, import, export, and ref-
erence media files. Media files are audio, MIDI,
and video files. Audio and video media files are
stored separately from the Pro Tools session file. MIDI file icon
MIDI data is stored in the session file.
Video Files
Audio Files When you record or import video into a Pro Tools
session, all video data is stored as the correspond-
When you record audio into a Pro Tools session,
ing video file type (such as QuickTime). Video
audio files are created.
files can be created in (or copied to) the Video
Files folder in the session folder. However, in most
cases, Pro Tools references video files that have
been captured by another application, such as Avid
Media Composer® | Software.
MIDI clip
Clip group (Mixed audio and MIDI multitrack clip You can create any number of alternate edit play-
group) lists for a track. This lets you assemble different
versions of performances or edits on a single track
and choose between them from the Playlists menu
on the track.
Channels
The term channel is used to describe several re-
lated components of a Pro Tools system.
Pro Tools provides software-based mixing and Signal routing options include the following:
signal routing controls for audio and MIDI. These
Track Input and Output (I/O) Controls The most
controls are located in the Mix window. Some of
these controls can also be accessed from the Edit basic type of signal routing is track input and out-
window. put. A track needs to have an assigned input path to
record audio, and an assigned mapped output path
A common audio signal routing task is to submix in order to be audible through a hardware output.
multiple tracks to a single channel strip (such as an Signals can also be routed to or from other tracks in
Auxiliary Input) for shared processing and level Pro Tools (or hardware inputs and outputs) using
control. The following example shows two audio internal busses.
tracks submixed to a stereo Auxiliary Input.
Auxiliary Input and Master Fader Tracks Auxil-
iary Inputs can be used as returns, submixers, and
bus masters. Master Fader tracks are used as bus
Inserts and output master level controls. Both Auxiliary
Input and Master Fader tracks can have plug-in and
hardware inserts.
Paths Paths are any routing option in Pro Tools, You can select whether a track is sample-based or
including internal or external inputs, outputs, bus- tick-based when it is created, or change timebases
ses, and inserts. Pro Tools lets you name these later.
paths, and these path names appear in the Audio
Input and Output Path selectors and other menus.
Sample-Based Audio and MIDI
For more information, see Chapter 7, “I/O Setup.”
With a sample-based audio track, all clips in the
Mixing Formats Sessions can include combina- track have an absolute location on the Timeline.
tions of mono, stereo, and greater-than-stereo mul- Clips stay fixed to the sample time, regardless of
tichannel format tracks, busses, inputs, outputs, where tempo or meter changes occur in a session.
and inserts. Greater-than-stereo multichannel for-
mats are supported with Pro Tools HD only. If you make a MIDI track sample-based, all MIDI
events in the track have an absolute location on the
Grouping and VCA Tracks Tracks can be grouped
Timeline. MIDI events stay fixed to sample time,
together for mixing so that their relative mix set- regardless of any tempo or meter changes in a
tings are maintained when changing a mix setting session.
for any track in the group. For example, changing
the volume of one track affects the volume of all
the other tracks in the group. VCA Master tracks Tick-Based Audio and MIDI
control the relative mix settings for all tracks Tick-based audio is fixed to a Bars|Beat location,
within the selected group. and moves relative to the sample Timeline when
tempo and meter changes occur. However, MIDI
events and tick-based audio respond differently to
Tick-Based and tempo changes with respect to duration. MIDI note
Sample-Based Time events change length when tempo or meter is ad-
justed, while audio clips do not (unless Elastic Au-
Pro Tools lets you set any track timebase to
dio is enabled). When Elastic Audio is not enabled
either sample-based or tick-based. You can also set
on an audio track, meter and tempo changes affect
the Timeline to be viewed as tick-based or sample-
only the start point (or sync point) for each audio
based.
clip in a tick-based track. If Elastic Audio is en-
Audio in Pro Tools is sample-based by default. abled on an audio track, tempo changes apply Elas-
This means that if an audio clip is located at a par- tic Audio processing, which changes the duration
ticular sample location, it will not move from that of the audio clip.
location if the tempo changes in the session—
though its Bar|Beat location will change.
Media Data (Media Files) • For AAF or OMF sequences, information about
automation (clip-based gain or keyframe gain).
Media data represents raw audio or video material
and is stored in individual media files. Every time
you record a piece of video or audio material into
AAF, OMF, and MXF Basics
an application, you are creating a media file. Audio AAF and OMF files are mechanisms for storing
media files hold samples (such as 44,100 or 48,000 and retrieving media files and metadata so that
samples per second of recording) while video me- projects can be freely exchanged between different
dia files use frames (24, 25, or 30 frames per sec- applications and platforms. MXF is a media file
ond of recording). format that can be used with AAF (but not OMF)
files.
The size of each media file depends on how much
audio or video material it contains. For example, a Media data and metadata enable an application that
file containing ten minutes of high resolution video receives AAF and OMF sequence files (such as
might be approximately 2 GB in size, whereas a Pro Tools) to automatically and quickly reassem-
ten-minute audio recording at the might result in a ble the composition. A simple metaphor for this
100 MB file. Media files tend to be large, since approach is that media data files are the pieces of a
high quality audio and video signals are data inten- puzzle and metadata is the set of instructions for
sive. Video data generally requires considerably assembling the puzzle.
more storage than audio data.
In the simplest case, only an AAF or OMF se-
quence is exchanged. If this sequence points to ex-
Metadata isting media files, the size of the sequence file is
Metadata is used to describe the following: relatively small and the export/import process is
relatively fast.
• Information embedded in a media file. This may
include scene, take, sample rate, bit depth, exter- AAF and OMF sequences can also have media
nal clip names, the name of the videotape from data embedded in them. This creates a single,
which the media file was captured, and even larger file that is slower to export and import, but
timecode values. which may be easier to manage than thousands of
• Information embedded in Pro Tools sessions or files stored on different volumes.
other sequences, including what files are used,
where they appear in a timeline, and automation.
clip subclip
Embedded Media
Exporting to AAF or OMF with embedded media results in one large AAF or OMF file containing both the
metadata and all associated media files.
The main benefit to this approach is that fewer copies of media files may need to be made, so the
export and import process can be much faster. Using this approach, it is less likely that you will
encounter any file size limitations since the data is broken up into many smaller files.
The main disadvantage to this approach is that there are potentially many files (for example, one AAF or
OMF file and hundreds of media files) that must be transported between systems.
Linked to:
Pro Tools provides keyboard shortcuts for Group List Keyboard Focus When selected, Mix
moving plug-in controls, faders and sliders, the and Edit Groups can be enabled or disabled by typ-
Scrubber, and automation data. ing the Group ID letter (in either the Mix or Edit
window).
Command Windows Mac
Fine adjustment Hold Control Hold Command Commands Keyboard Focus Clip List
of sliders, while clicking while clicking (Edit window) Keyboard Focus
knobs, and the item the item
breakpoints
Keyboard Focus
The Keyboard Focus in Pro Tools determines how
the alpha keys function. Depending on which Key-
board Focus is enabled, you can use the keys on Group List
your computer (alpha) keyboard to select clips in Keyboard Focus
You can only enable one of the three Keyboard Fo- Keyboard Focus buttons
cus modes at a time. Enabling a Keyboard Focus
will disable the one previously enabled.
Click the a–z button for the focus you want to Click the Toolbar right above the MIDI Editor
enable. pane.
While pressing Command+Option (Mac) or Press Command+Option+5 (Mac) or
Control+Alt (Windows), press one of the fol- Control+Alt+5 (Windows).
lowing keys: 1 (Commands), 2 (Clip List), or 3
(Group List).
Toolbar Focus There are two Shuttle Lock modes (Classic and
Transport), and one Shuttle mode.
In the Edit window, the MIDI Editor pane can be
displayed in addition to the Tracks pane (View > No matter which Numeric Keypad mode is se-
Other Displays > MIDI Editor). When the MIDI Ed- lected, you can always use the numeric keypad to
itor pane is displayed, there are two separate Tool- select and enter values in the Event Edit Area, Edit
bars and Timelines in the Edit window: one for the Selection indicators, Main and Sub Counters, and
Tracks pane and one for the MIDI Editor pane. Transport fields.
Only one Toolbar and Timeline can be focused for
Menu and Toolbar commands (including the cor- To set the Numeric Keypad Mode:
responding keyboard shortcuts) at a time. The fo- 1 Choose Setup > Preferences and click the
cused Toolbar displays a yellow outline. Operation tab.
If Keyboard Focus for the Edit window is enabled, 2 In the Transport section, select a Numeric Key-
it follows the selected Toolbar focus. pad mode (Classic, Transport, or Shuttle).
3 Click OK.
To enable Toolbar focus for the Tracks pane, do
one of the following:
There are two Shuttle Lock modes (Classic and This mode lets you set a number of record and play
Transport). Both modes let you use the numeric functions, and also operate the Transport from the
keypad to shuttle forward or backwards at specific numeric keypad.
speeds.
Function Key
• 5 is normal speed.
• 6–9 provide increasingly greater fast-forward Click on/off 7
speeds. Countoff on/off 8
• 1–4 provide progressively greater rewind speeds MIDI Merge/Replace mode 9
(4 is the slowest, 1 is the fastest).
Loop Playback mode on/off 4
• Press 0 to stop Shuttle Lock, then press the num-
ber to resume Shuttle Lock speed. Loop Record mode on/off 5
• Press Escape or Spacebar to exit Shuttle Lock QuickPunch mode on/off 6
mode.
Rewind 1
Custom Shuttle Lock Speed Fast Forward 2
(Pro Tools HD Only)
Record enable 3
The highest fast-forward Shuttle Lock speed
(key 9) can be customized. Play/Stop 0
For more information, see “Custom Shuttle With the Numeric Keypad mode set to Transport,
Lock Speed” on page 520. you can also:
• Play up to two tracks of audio in Shuttle Lock
Classic Mode
mode. Press the Control key (Mac) or the Start
This mode emulates the way Pro Tools worked in key (Windows), followed by 1–9 for different
versions lower than 5.0. With the Numeric Keypad play speeds.
mode set to Classic, you can: • Press Plus or Minus to reverse direction.
• Play up to two tracks of audio in Shuttle Lock • Press 0 to stop Shuttle Lock, then press the num-
mode. Press the Control key (Mac) or the Start ber to resume Shuttle Lock speed.
key (Windows), followed by 1–9 for different
• Press Escape or Spacebar to exit Shuttle Lock
play speeds.
mode.
• Press Plus or Minus to reverse direction.
• Recall Memory Locations by typing Period (.),
• Press 0 to stop Shuttle Lock, then press the num- the Memory Location number, and Period (.)
ber to resume Shuttle Lock speed. again.
• Press Escape or Spacebar to exit Shuttle Lock
mode.
• Recall Memory Locations by typing the Mem-
ory Location, followed by a Period (.).
1x Forward 6
1x Rewind 4
4x Forward 9
4x Rewind 7
1/4x Forward 3
1/4x Rewind 1
2x Forward 8+9
2x Rewind 8+7
The Pro Tools Help menu provides quick access to Guides Accessible in Pro Tools
installed PDF documentation and online Help. The
The following guides are available from the
Help system is HTML-based and launches in the
Pro Tools Help menu:
Pro Tools in-application browser. It also runs on
most common web browsers. Audio Plug-Ins Guide Describes the plug-ins in-
cluded free with Pro Tools, as well as additional
The Pro Tools Help menu also provides direct ac-
plug-ins available for purchase separately.
cess to the online Pro Tools Knowledge Base,
Avid Audio Forums, and the Avid Support Center Pro Tools Reference Guide Explains Pro Tools
using the in-application browser (an internet con- systems and software in detail.
nection is required).
Pro Tools Shortcuts Lists keyboard and
The Pro Tools in-application Web browser Right-click shortcuts for Pro Tools, including
is not available outside Pro Tools. To use those shown in Pro Tools menus.
Pro Tools Help while Pro Tools is not
running, use the default Web browser for
your operating system. Accessing the Help System
There are several ways to access the Help system.
Accessing Guides in • Open Help at its Welcome page from the Help
Pro Tools Software menu in Pro Tools
PDF (Portable Document Format) versions of the • Open Help at its Welcome page from within a
main Pro Tools guides are accessible from the Help browser in Pro Tools
Pro Tools Help menu. Adobe Reader is recom- • Open Help at its Welcome page outside of
mended for PDF documentation. Pro Tools
3 Follow the on-screen instructions to open a You can expand and collapse the contents to view
version of Help. the logical organization of the Help system, and
you can move to any topic by clicking its entry in
To close the Help system: the Contents.
Click the Help viewer’s Close button.
When you move to a new topic, the contents ex-
pands to the level of that topic and highlights the
topic. This feature, like the hierarchy links at the
Help Display top of each topic, lets you see exactly where the
The Help system includes the following display el- current topic is positioned within the logical orga-
ements: nization of the Help system.
Topics Help topics open in the right pane of the To display a topic from the contents:
Help viewer. Click the Contents tab, and then click a topic’s
Navigation Tools Contents, Index, and Search tabs entry in the contents.
open in the left pane of the Help viewer.
To expand or close a section in the contents:
Hierarchy Links Use these links to verify the
Click the Contents tab, and then click a book
location of the currently displayed topic within its
icon to the left of a link.
chapter and to jump to relevant higher-level topics,
including the Main Topic.
The Index provides an alphabetized list of entries 1 Click the Search tab.
similar to the index of a printed book. 2 In the Search pop-up menu (located below the
Search text box), click whether you want to
If Java is enabled in your browser, the Index dis-
search in “All Available Books” or a specific
plays as a dynamic index where the listing scrolls
book (such as Pro Tools Shortcuts).
as you type a word in the text box. If you do not
have Java enabled in your browser, or if your 3 In the Search text box, type the word or words
browser does not support Java implementations, a that you want to find.
JavaScript version of the index displays, which lets
4 Click Go.
you scroll manually through the entries.
A list of topics and ranking numbers appears.
To find topics by using the Index tab:
Additional Search Information
1 Click the Index tab.
The Search feature provides the best combination
2 Click the first character of the topic in the
of usefulness and speed:
Numerics, Letters, Symbols list.
• The Search feature uses a database of valid
To view the topic associated with an index entry: words. This database includes all words that are
Click the index entry. significant for identifying topics and excludes
all other words. When you type words in the
search text box, the system ignores any invalid
words that you have typed and searches for valid
Using the Search Tab words.
The Search tab lets you search the entire text of the • The Search feature cannot search for words in a
Help system for one or more words and then lists certain order. For example, if you type “TIFF
the topics that include those words. The list of re- graphics import” as a search entry, Search dis-
sults is ranked, placing the topics that the Search plays all topics that contains these three words
feature considers most likely to be relevant at the regardless of their location in the topic. The re-
top of the list. sults include topics where the three words ap-
pear together as a phrase, and also topics where
When you search for text, the text string automati-
the three words are scattered throughout the
cally highlights by default. You can turn these
topic.
highlights off. You can also stop displaying high-
lights after a search by using the Back and Forward • The Search feature cannot distinguish between
buttons to go to a different topic. When you come words that are similar but not identical. For ex-
back to your searched topic, the highlights no lon- ample, if you type “capture” as a search entry,
ger display. Search displays topics that include that word,
but it does not find topics that include related
For more guidelines on using the Search feature ef- words such as “captures” or “capturing.” If a
fectively, see “Search Guidelines” on page 30. search for a word fails to produce useful results,
you might be more successful if you search
again using one of the related words.
• Punctuation marks (such as the period, colon, 1 Click the topic pane within the browser window
semicolon, comma, and hyphen) are ignored that you want to print.
during a search, unless they are part of the topic 2 Do one of the following:
(such as .WAV).
• Click the Print button in the Topic pane.
• You can search for a literal phrase by using quo-
tation marks. You cannot search for quotation • Right-click in the Topic pane and select Print.
marks. • Select File > Print.
3 Select the print options.
You can copy information from a Help topic for Topics that you print from Help have limited
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want to print a higher quality version of Help
To copy information from a Help topic to another information, Avid recommends that you print
document: all or part of the PDF version of the appro-
1 Open or click the topic to make it active. priate guide.
There are three types of Pro Tools systems: Pro Tools HD Software with Avid or Third-Party
Hardware
Pro Tools Software with Avid or Third-Party
Hardware These systems include Pro Tools HD software
with any compatible non-HDX or non-HD Native
These systems include Pro Tools software with Avid audio interfaces (such as Mbox Pro), or Core
Avid audio hardware (such as Pro Tools | Quartet, Audio (Mac) or ASIO (Windows) hardware.
Pro Tools | Duet, Pro Tools | Fast Track family,
Pro Tools | Mbox® family (third generation),
Pro Tools | Eleven® Rack, or Avid 003™ family Pro Tools Software
audio interfaces). These systems also include
Pro Tools software using third-party audio inter- Pro Tools software provides the following
faces with supported Core Audio (Mac, including capabilities, depending on your hardware
the built-in audio on Mac computers), ASIO (Win- configuration:
dows), or WASAPI (Windows). • Up to 32 channels of I/O depending on your sys-
tem and audio hardware
For a list of qualified audio interfaces and
computers for all Pro Tools systems, visit • Up to a total of 128 mono or stereo audio tracks
www.avid.com/compatibility. per session:
• Playback of up to 128 tracks, or a combina-
Pro Tools HD Software with HDX or HD Native
tion of playing back and recording up to 128
Hardware
tracks, mono or stereo, at 44.1 kHz and
Hardware accelerated Pro Tools HD systems in- 48 kHz
clude Pro Tools HD software with HDX or • Playback of up to 64 tracks, or a combination
HD Native (PCIe or Thunderbolt) hardware. Hard- of playing back and recording up to 64 tracks,
ware accelerated systems provide expanded I/O mono tracks or stereo, at 88.2 kHz and
capabilities and low latency monitoring. HDX sys- 96 kHz
tems also provide dedicated DSP for plug-in pro- • Playback of up to 32 tracks, or a combination
cessing and for large mixer configurations. of playing back and recording up to 32 tracks,
mono or stereo, at 176.4 kHz and 192 kHz
• Up to 128 Auxiliary Input tracks
• Up to 64 Master Fader tracks
• Up to 512 MIDI tracks
• Up to 512 Instrument tracks
For more information about the I/O For details on transferring session material
capabilities of your audio interface with between Pro Tools HD and Pro Tools sys-
Pro Tools, see the documentation that came tems, see “Sharing Sessions Created on
with your audio interface. Different Pro Tools Systems” on page 366.
Supported Hardware
Configurations with Pro Tools Pro Tools | HD Software with
Software Pro Tools | HDX Hardware
Pro Tools Software works seamlessly with Each system requires at least one Avid HD audio
non-HD Avid audio hardware (such as interface (sold separately). HDX systems can be
Pro Tools | Quartet). For the latest information on expanded by adding HDX cards to increase track
supported hardware configurations with Pro Tools count and the amount of plug-in and mixer
Software, visit: processing, and by adding additional audio
http://www.avid.com/compatibility interfaces.
• FPGA-based low latency monitoring (LLM) • HD OMNI (only 1 HD OMNI interface is sup-
ported in a single HD Native system)
• Audio processing with up to 10 inserts per track
(in any combination of real-time, host-based • HD I/O (up to 4 HD I/O interfaces can be used
plug-in and hardware inserts), depending on simultaneously)
your computer’s capabilities, and the number • HD MADI (full connectivity with 1 HD MADI
and type of installed audio interfaces interface is possible when both DigiLink ports
• Up to 10 sends per track of the HD MADI are connected to both Dig-
iLink ports on the HD Native PCIe card or
Thunderbolt interface)
With HDX hardware accelerated systems, voice limits are dependent on the session sample rate and the
number of DSP chips dedicated to the system’s Playback Engine. Pro Tools HD can open sessions with up
to 768 audio tracks, but any audio tracks beyond that system’s voiceable track limit will be automatically
set to Voice Off.
s
Pro Tools HD audio playback, recording and voice limits by hardware configuration
Playback and
Recording
Voices Total
Sample
Core System Type Maximum I/O (Mono Tracks of Voiceable
Rate (kHz)
Simultaneous Tracks
Playback and
Recording)
176.4/192 64 768
176.4/192 64 768
Playback and
Recording
Voices Total
Sample
Core System Type Maximum I/O (Mono Tracks of Voiceable
Rate (kHz)
Simultaneous Tracks
Playback and
Recording)
176.4/192 64 768
HD OMNI is a professional digital audio interface • 8 channels of AES/EBU output (up to 192 kHz
designed for use with Pro Tools HD systems. Single Wire) using a DB-25 breakout cable (sold
HD OMNI provides a compact preamp, monitor- separately)
ing, and I/O solution for music production and re- • 2 channels of AES/EBU XLR input (up to
cording, and post production studios. 192 kHz Single Wire)
• 2 channels of S/PDIF RCA input and output (up
HD OMNI Features
to 192 kHz)
HD OMNI provides up to 8 discrete channels of • 8 channels of ADAT TOSLINK input and output
Pro Tools input and output, with 4-segment LED
• Support for ADAT S/MUX Optical for sample
meters for input or output (selectable).
rates of 88.2 kHz, 96 kHz, 176.4 kHz, and
Analog I/O
192 kHz
• 24-bit analog-to-digital (A/D) and digital-to-an- • Support for two channels of S/PDIF Optical
alog (D/A) converters, with support for sample with sample rates of up to 96 kHz
rates up to 192 kHz • Real-time sample rate conversion (SRC) on Dig-
• 2 high-quality Mic/DI preamps (Channels 1–2) ital Inputs 1–2 of either AES/EBU, S/PDIF, or
Optical (S/PDIF)
• 2 combined XLR and 1/4-inch TRS front panel
inputs for microphone and instrument level in- SRC is not supported with ADAT S/MUX.
put
Monitoring
• 2 XLR back panel microphone inputs
• An additional stereo “CUE” output path in
• 2 1/4-inch TRS Send and 2 1/4-inch TRS Return
Pro Tools for headphone monitoring from the
back panel jacks for hardware inserts on chan-
front panel headphone jack
nels 1 and 2
• Front panel Control Room (MAIN/ALT) and
• 4 analog TRS line level back panel inputs
Headphone monitoring volume control
(Channels 1–4)
• Flexible monitoring with fold-down from all ste-
HD OMNI provides multiple analog input con- reo and surround formats (up to 7.1 surround)
nections, but only provides up to four channels
• Input mixer for low latency direct monitoring of
of simultaneous analog input for Pro Tools.
a variety of incoming signals (configured in the
• Soft Clip and Curv limiting circuits to protect Pro Tools Hardware Setup)
against clipping on analog input
Synchronization
• 8 channels of analog back panel output using a • Loop Sync input and output for connecting
DB-25 breakout cable (sold separately) with additional HD peripherals
variable output gain
• External Clock input and output for synchroniz-
• 2 channels of analog back panel output using ing HD OMNI with external Word Clock de-
TRS (Mirrors channels 1–2 or 7–8 on DB-25 vices
connector)
• Front panel stereo 1/4-inch headphone jack For more information, see the HD OMNI Guide.
HD I/O is a multichannel digital audio interface • Up to sixteen channels of 24-bit digital I/O, us-
designed for use with Pro Tools HD systems. ing AES/EBU, TDIF DB-25, or Optical at sam-
HD I/O features extremely high quality 24-bit an- ple rates of 44.1, 48, 88.2, 96, 176.4, and
alog-to-digital (A/D) and digital-to-analog (D/A) 192 kHz with a Digital HD I/O card
converters, and supports sample rates of up to • Real-time sample rate conversion on digital in-
192 kHz. puts with a Digital I/O card (up to sixteen chan-
nels of AES/EBU, Optical, or TDIF)
HD I/O comes in three standard configurations:
• Support for S/MUX Optical for sample rates of
• 8 x 8 x 8 (8 analog in, 8 analog out, and 8 digital 88.2 kHz and higher
in and out)
• Support for 2 channels of S/PDIF Optical
• 16 x 16 analog in and out (enclosed) with sample rates of up to 96 kHz
• 16 x 16 digital in and out • 2 channels of AES/EBU I/O (enclosed) with
You can also add or remove HD I/O Analog Ex- support for sample rates up to 192 kHz
pansion cards (ADC and DAC) and HD I/O Digi- • 2 channels of 24-bit-capable S/PDIF I/O
tal Expansion cards for custom configurations. (enclosed) with support for sample rates up to
192 kHz
HD I/O Features
Synchronization
HD I/O provides up to 16 discrete channels of
• Loop Sync input and output for connecting addi-
Pro Tools input and output, with 4-segment LED
tional Avid HD audio interfaces and peripherals
meters for input and output.
• External Clock input and output for synchroniz-
Analog I/O ing HD I/O with external Word Clock devices
• Up to sixteen channels of 24-bit D/A and A/D
Expandability
converters for superior analog input and output
at sample rates of 44.1 kHz, 48 kHz, 88.2 kHz, • Optional addition of I/O cards to expand analog
96 kHz, 176.4 kHz, and 192 kHz with Analog In or digital I/O
and Analog Out HD I/O cards • Simultaneous use of multiple Avid HD audio in-
• Soft Clip and Curv limiting circuits to protect terfaces to further expand system input and out-
against clipping on analog input put
You can review and update the setup of your sys- 7 Do one of the following, depending on your
tem to ensure it is configured for your needs. Pro Tools system:
• For HDX and HD Native systems, with the vol-
ume of all output devices lowered, turn on your
Starting Up or Shutting Down audio interfaces (such as HD OMNI). Wait at
Your System least fifteen seconds for your system hardware
to initialize.
To ensure that the components of your Pro Tools
system communicate properly with each other, you • For Pro Tools systems that use hardware requir-
need to start them in a particular order. ing external power (such as 003), with the vol-
ume of all output devices lowered, turn on the
Start up your Pro Tools system in this order: hardware.
1 Make sure all your equipment (including your 8 Turn on your computer.
computer) is off.
9 Launch Pro Tools or any third-party audio or
2 Lower the volume of all output devices in your MIDI applications.
system.
Shut down your Pro Tools system in this order:
3 For systems with an expansion chassis, turn on
the chassis. 1 Quit Pro Tools and any other running applica-
tions.
4 Turn on any external hard drives. Wait approxi-
mately ten seconds for them to spin up to speed. To quit Pro Tools, choose Pro Tools >
5 Turn on any control surfaces (such as Quit (Mac) or File > Exit (Windows).
D-Command® or Avid Artist Control).
2 Turn off or lower the volume of all output
6 Turn on any MIDI interfaces, MIDI devices, or devices in your system.
synchronization peripherals.
3 Turn off your computer.
• For third-party audio interfaces with compatible You can configure the Input and Output options
Core Audio (Mac) or ASIO (Windows), select for Pro Tools Aggregate I/O in the Mac Audio
the name of the corresponding Core Audio Setup, which can be accessed from the Pro Tools
(Mac) or ASIO (Windows) compatible audio in- Hardware Setup.
terface.
If you need simultaneous input (recording)
• On Mac systems, if you are using built-in audio, and output (playback and monitoring) with
select any of the available built-in options for Pro Tools using the built-in audio options on
playback or select Pro Tools Aggregate I/O for Mac, use the Pro Tools Aggregate I/O option.
simultaneous input and output with the built-in If you only need to play back audio for editing
I/O hardware options. and mixing, select the appropriate built-in
3 Click OK. audio output option.
3 Click OK.
Configuring MIDI Setup
Cache Size
If you plan to use any external MIDI devices with
The Cache Size setting in the Playback Engine de- Pro Tools (such as controllers, keyboards, synthe-
termines the amount of memory AAE allocates to sizers, drum machines, samplers, sequencers, or
pre-buffer audio for playback and recording. In sound modules), you may want to configure your
most cases, the default setting of Normal is the op- MIDI setup using Audio MIDI Setup (Mac) or
timum Cache Size for most sessions. MIDI Studio Setup (Windows).
Pro Tools can also load audio files used in For more information, see Chapter 10,
Pro Tools sessions into RAM for cached playback. “Configuring MIDI.”
Pro Tools prioritizes files closest to the current
play head location. This way, when you start play-
2 Select the sample rate from the Sample Rate 3 Click OK.
pop-up menu.
Your digital input device must be
3 Click OK. connected and powered on for Pro Tools to
synchronize to it. If your input device is not
powered on, leave the Clock Source set to
Internal.
6 Repeat the above steps for each additional audio 2 From the Peripherals list, select the audio
interface in your setup. interface connected to the first card in your
system. This will be the interface at the top of
the list.
Configuring Avid HD Audio
Interfaces 3 Click the Main tab.
HD OMNI supports up to eight channels of simul- Press Command+Left or Right Arrow keys
taneous I/O and multiple I/O formats (such as ana- (Mac) or Control+Left or Right Arrow keys
log, AES/EBU, ADAT Optical, and S/PDIF). (Windows) to move though the different
pages of the Hardware Setup.
HD I/O audio interfaces support sixteen channels
of simultaneous I/O and multiple I/O formats (such 4 From the Clock Source pop-up menu, select the
as analog, AES/EBU, ADAT Optical, S/PDIF, and appropriate clock source for the interface.
TDIF). HD MADI supports up to 64 channels of
MADI I/O. In many cases, you will use Internal. The other
choices are for resolving Pro Tools to external
The Main page of the Hardware Setup is where clock sources. Depending on your audio interface,
you define which physical inputs and outputs on Clock Source options can include: AES/EBU
your audio interface are routed to available inputs [Encl], S/PDIF, Optical [Encl], AES/EBU 1–8, TDIF,
and outputs in Pro Tools. You can think of this ADAT, and Word Clock (optional Word Clock rates
window as a patchbay that allows you to route any are available when operating at higher sample
of the inputs or outputs on your audio interfaces to rates).
channel assignments in the Pro Tools mixer.
5 If you want to send clock output to other de-
vices attached to the audio interface, select the
appropriate output from the Ext. Clock Output
pop-up menu.
6 Select which digital I/O port on your audio in-
terface enclosure is active by selecting the cor-
responding option under Digital Format.
Depending on the type of interfaces in your
system, choices include AES/EBU, S/PDIF, and
Optical (S/PDIF). Selecting Optical (S/PDIF) re-
Hardware Setup for HD I/O, Main page
sets the Optical I/O port (which is, by default,
eight channels of ADAT Optical I/O) to two
channels of S/PDIF Optical I/O.
Inputs and outputs of similar format are differenti- 3 Click the Monitor tab and configure the options.
ated in the input and output channel pop-up menus. When working with HD OMNI, you should al-
For example, the AES/EBU inputs and outputs in ways configure the Monitor page first.
the HD I/O enclosure are listed as AES/EBU [Encl],
while the AES/EBU inputs and outputs on the fac-
tory-installed Digital I/O card are listed (in pairs)
as AES/EBU 1–2, AES/EBU 3–4, AES/EBU 5–6,
and AES/EBU 7–8. For HD I/Os equipped with a
second Digital I/O Card, the additional AES/EBU
I/O ports on the optional card are listed as
AES/EBU 9–10, AES/EBU 11–12, AES/EBU
13–14, and AES/EBU 15–16.
9 Configure any specific controls for your audio HD OMNI Hardware Setup, Monitor page
interface:
4 Click the Main tab and configure the options.
• “Configuring HD OMNI Controls” on page 54.
• “Configuring HD I/O Controls” on page 55.
• “Configuring HD MADI Controls” on page 56.
10 For additional audio interfaces, select them in
the Peripherals list, and repeat the above steps.
HD OMNI Hardware Setup, Mixer page 5 If you have two HD I/O AD cards, click the
Analog In 9–16 tab and configure the options.
8 When you are finished, click OK.
6 If you have at least one HD I/O Digital card,
click the Digital tab and configure the options.
CPU Meters
The settings for HD MADI Port 1 and
HD MADI Port 2 are linked. Any changes are The CPU Total meter displays session performance
global regardless of which is selected in the for Elastic Audio processing, Clip Gain process-
Peripherals list. ing, and Native plug-in and mixer processing.
3 When you are finished, click OK. The individual CPU meters provide a general indi-
cation of how much Pro Tools is using each of the
processors in your computer.
The Activity section of the System Usage window The Memory meter displays how much of the in-
display meters for disk usage and memory usage. stalled physical RAM in the system is being used
by Pro Tools. This includes RAM used by the au-
Disk Meter dio engine, the video engine (if enabled), plug-ins,
and the disk cache. Other than Pro Tools, it does
As in previous versions of Pro Tools, the Disk me-
not show any other RAM usage by the system. If
ter displays the amount of hard disk processing ac-
the Memory meter approached 100%, install more
tivity.
physical RAM or lower the Disk Cache setting in
the Playback Engine dialog.
Disk Cache Meter
(Pro Tools HD Only)
DSP Usage Meters
Pro Tools HD provides a meter in the System Us- (HDX Systems Only)
age window for monitoring the Disk Cache. This
meter is only present if a fixed Cache Size is se- HDX systems provide additional meters below the
lected in the Playback Engine dialog. Activity meter:
Voices
Time Slots
System Usage window showing Disk Cache meter
The Time Slots meter displays the total number of
The Disk Cache meter indicates the amount of al- DSP Time Slots available and the number of DSP
located memory being used to cache audio in the Time Slots currently used.
timeline (up to the amount of RAM selected for the
Disk Cache setting in the Playback Engine). An DSP
additional peak-meter style indicator is included to The DSP meters display how much of each DSP
show how much of the allocated RAM is needed chip on each HDX card is currently being used for
for caching the session. mixer configurations and DSP-based plug-ins.
DSP Usage
The I/O Setup provides tools to label, format, and assign Pro Tools input, output, insert, and bus audio sig-
nal paths both for individual sessions as well as for your specific Pro Tools system. I/O Setup also provides
controls for PRE (Mic Preamp) signal paths, and Delay Compensation settings for hardware inserts.
The I/O Setup displays a graphical representation (cross-point matrix) of the signal routing for physical in-
put and output paths for each connected audio interface. Like a virtual patchbay, I/O Setup controls let you
route physical inputs and outputs on audio interfaces to Pro Tools input and output channels. For HDX and
HD Native systems, some of these controls mirror the routing controls found in the Hardware Setup—
changes made to physical routing in one is always reflected in the other. The I/O Setup also includes con-
trols for creating internal mix busses and for creating and mapping output busses.
Active/Inactive
Status
Channel Grid
Options
Path tools
Import/Export Settings
To close the I/O Setup without saving changes: A sub-path represents a signal path within a main
path. For example, a default stereo output bus path
Click Cancel.
consists of two mono sub-paths, left and right.
Mono tracks and sends can be routed to either
Navigating in the I/O Setup mono sub-path of the stereo output bus path.
To scroll left or right in the I/O Setup:
Configure input signal path names, formats, and Configure output signal path names and formats on
source channel (analog or digital) on the Input the Output page. Output channels can have over-
page. Multichannel input paths (stereo or greater) lapping output paths. Multichannel Output paths
can have any number of sub-paths. Input channels (stereo or greater) can have any number of sub-
can have overlapping input paths. Input names, paths. Output names, channel widths, and physical
channel widths, and physical input mappings are output assignments are saved with the system and
saved with the system and the session, and can be the session, and can be recalled from either.
recalled from either.
I/O Setup, Bus page For more information, see “Using Hard-
ware Inserts” on page 971.
For more information, see “Configuring
Busses” on page 85.
Expand/Collapse
Mic Preamps page triangle Channel Grid
Channel Grid Assigns paths to specific interfaces Apply to All Tabs Applies imported I/O settings to
and channels. all pages of the I/O Setup.
Compensation for Input Delays After Pro Tools automatically downmixes or upmixes
Record Pass the session Monitor path to the system Monitor
path so that you always hear session playback re-
When enabled, this option provides automatic gardless of name and width of the Output path on
compensation for any analog or digital input delay either system.
with Avid HD interfaces. Enable this option for all
recording situations. When recording from a digi- The Monitor path is graphically indicated by a
tal source, both the Compensation for Input Delays speaker icon in track and send Output selectors,
After Record Pass and the Compensation for Out- Output paths, and in the Output and Bus pages of
put Delays After Record Pass options must be en- the I/O Setup.
abled.
Audition Paths Submenus Each path format The Default Output Bus can be set for
choice has a submenu listing Output paths of that internal mix bus paths, as well as for
given format. (The mono submenu lists Output output bus paths.
paths of any format.)
To specify a default output for new tracks in the
I/O Setup:
To configure an Audition Path:
Click the Default Output Bus pop-up menu and
Select a path from the Audition Paths pop-up
select a format and output bus path.
menu or submenus.
Tracks soloed in AFL (After Fader Listen) or PFL You can set a separate master AFL/PFL Path level
(Pre Fader Listen) Solo mode are routed to the cur- for all AFL solos and all PFL solos.
rent AFL/PFL Path, as set with the AFL/PFL Path
selector. Tracks do not need to be soloed to have the
master AFL/PFL Path level adjusted.
Pro Tools provides a combined AFL/PFL Path set-
ting that can use any available Output path, regard- To set the AFL/PFL Path level for AFL or PFL
solos:
less of channel width. For mismatched channel
widths, the AFL/PFL path is automatically down- 1 Choose Options > Solo Mode, and select a Solo
mixed or upmixed to the selected Output path. mode:
• To set the level for AFL solos, select AFL.
Note that if you assign the AFL/PFL Path to a phys-
ical output used for monitoring, that signal is • To set the level for PFL solos, select PFL.
muted when soloed and the solo path is used for 2 In the Mix or Edit window, Control-click Com-
monitoring instead. However, if the AFL/PFL Path mand-click (Mac) or (Windows) a Solo button
is assigned to a different output, the main output on any track.
continues to pass signal even when the AFL/PFL
path is soloed. This lets you use XMON “Broad- 3 Adjust the AFL/PFL Path fader.
cast Mode” without XMON (ICON) hardware. 4 Click on the new fader position (or press Esc) to
The AFL/PFL Path selector is available in the Out- close the fader display.
put page of the I/O Setup.
To set the AFL/PFL Path level to 0 dB,
See “Solo Modes” on page 228 for more in- Command-Control-click (Mac) or
formation on using AFL or PFL Solo modes. Control-Start-click (Windows) any Solo
button.
To select the AFL/PFL Path output:
Select a path from the AFL/PFL Path pop-up AFL/PFL Mutes (Output Path)
menu. (Systems without a D-Control or D-Command
Control Surface)
Selecting None as the AFL/PFL Path disables
If you are not using a D-Control™ or D-Command
AFL and PFL Solo modes. When None is
console, your regular Pro Tools output path can be
selected, AFL and PFL cannot be used.
muted when you send a signal to the AFL/PFL
Path. The muted path is set with the AFL/PFL
Mutes (Output Path) selector.
1 Open the I/O Setup dialog (Setup > I/O). The Path Order pop-up menu lets you specify the
default channel order for all new paths created.
2 Click the Output tab. The selected Path Order setting determines the
3 Enable the Low Latency Monitoring option. channel order for the following:
4 From the Low Latency Monitoring pop-up menu, • Channels added to newly created path (first
select the Output path you want to use for Low paths) when hitting the Default button.
Latency Monitoring. • Channels added to empty paths when penciling
in channel assignments.
5 Click OK to save your changes and close the I/O
Setup. • Channels added when creating a new path and
selecting the Add default channel assignments
option.
Default Format
(Pro Tools HD Only) The Path Order selector is available in the Input,
Output, and Insert pages of I/O Setup. Setting the
The Default Format pop-up menu lets you select
Path Order on any page of I/O Setup affects the
the default format (Mono, Stereo, and all multi-
other pages.
channel formats) for new paths and for when you
click the Default button.
• Rename input paths and sub-paths to match your 11 Export your I/O settings to create a backup of
studio configuration. your current settings (see “Exporting I/O Set-
tings” on page 92).
5 Click the Output tab and do the following:
12 Click OK. You should not have to open the I/O
• Create output paths with appropriate widths and
Setup again unless you add or remove hardware
physical output assignments that match your stu-
to or from your system, or if you open a session
dio configuration.
created on a different system (see “Session In-
• Rename output paths to match your studio con- terchange and I/O Mapping” on page 93).
figuration.
6 If you plan on using hardware inserts, click the
Insert tab and do the following: Configuring Hardware in
• Create insert paths with appropriate widths and
I/O Setup
physical input and output assignments that (Pro Tools HDX and HD Native Systems Only)
match your studio configuration. With HDX and HD Native systems, you can define
• Name insert paths to match your studio configu- which physical ports on your audio interface are
ration. Name insert paths using standard indus- routed to available input and output channels in the
try terminology if possible, such as I/O Setup. Any changes made here are also re-
“Compressor,” “Reverb,” “EQ,” and so on. flected in the Hardware Setup, and vice-versa (see
• Click the H/W Insert Delay tab and enter the cor- “Configuring Hardware Settings in Pro Tools” on
rect insert delay in milliseconds for each in- page 49).
put/output pair that you are using for hardware
HD MADI and Pro Tools systems such as
inserts. (See “H/W Insert Delay (Compensation)
Mbox Pro and 003 are “hard-wired” and
Page” on page 65.)
cannot be changed. For third-party and built-
7 If you are using one or more PRE peripherals, in hardware, in the Hardware Setup click the
click the Mic Preamps tab and configure it ac- Launch Setup App button to for available
cordingly (see the PRE Guide). configuration options.
9 Create internal mix bus paths and sub-paths. 1 Choose Setup > I/O.
Ensure that output busses are mapped to the cor-
2 Click the Input or Output tab to display the
rect output paths (see “Output Busses” on
corresponding path type.
page 86).
3 Click the Input or Output selector for the first
Output busses are automatically created and interface channel pair, located below the first
mapped to outputs when new output paths are audio interface icon.
created.
Routing a Pro Tools Output Pair The output name updates with a plus sign (“+”) be-
to Multiple Destinations fore it to indicate that multiple output ports are se-
lected. In the pop-up menu, each physical port pair
Pro Tools channel pairs can be routed to assigned to that Pro Tools output pair is indicated
multiple outputs on an audio interface through the by a check mark.
I/O Setup. For example, if you assign both Analog
1–2 and Analog 3–4 interface outputs to Pro Tools 6 Repeat the above steps to select additional
Output pair 1–2, when you send a signal to output destinations.
Pro Tools Outputs 1–2, that signal will be routed 7 Click OK to save changes and close the
simultaneously to both pairs of output ports on I/O Setup.
your audio interface.
Input signal path from an HD OMNI to the Pro Tools mixer as mapped in I/O Setup
(1) Physical Input For Avid HD interfaces, such as (2) Input Path Main input paths and sub-paths are
the HD OMNI, the physical inputs that are avail- routed (patched) to physical inputs using cross-
able to Pro Tools are set on the Main page of the point matrix mapping in the I/O Setup. In this ex-
Hardware Setup (this selector is mirrored in the In- ample, audio input is routed from HD OMNI phys-
put page of the I/O Setup). ical inputs Analog 1–2 to Pro Tools Input channels
A 1–2.
For Pro Tools systems such as the Mbox Pro
and the 003, physical inputs are fixed. For (3) Track Input Input paths and sub-paths are
third-party and built-in hardware, in the routed to track inputs in the Pro Tools mixer by se-
Hardware Setup click the Launch Setup App lecting the path (or sub-path) from the Track Input
button for available configuration options. selector. In this example, input sub-path A1 is
routed to the input of track “Audio 1.”
74 Pro Tools Reference Guide
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:
Output signal path from an audio track to a physical output as mapped in I/O Setup
(1) Track Output Audio is played back from disk (3) Output Path On the Output page of the I/O
and routed from the Track Output to Output Bus Setup, the Grid is used to route the output path (to
“B 1–2.” which the output bus is mapped) to physical out-
puts.
(2) Output Bus Path The Output Bus is defined on
the Bus page of the I/O Setup. On the Bus page of (4) Physical Output For Avid HD audio interfaces,
the I/O Setup, the Output Bus “B 1–2” is mapped such as the HD OMNI, the physical outputs that
to Output “B 1–2,” which is defined on the Output are available to Pro Tools are set on the Main page
page of the I/O Setup. of the Hardware Setup (this selector is mirrored in
the Output page of the I/O Setup).
Add/Remove Rows Click the Add Row button to LCR 1 Stereo (LR), Stereo: <main path
add more paths, or click Click the Remove Row 3 Mono (one for name >.LR
each channel) Mono: <main path
button to remove paths.
name >.L, .C, .R
Move Row Icon Drag a Move Row icon up or
down to reorder paths.
5.1 – 1 Stereo (LR), Stereo: <main path Number of New Sub-Paths Enter the number of
6.1 – 6–8 Mono name >.LR new sub-paths you want to create for the selected
7.1 (one for each Mono: <main path main path.
channel) name >.L, .C, .R,
.Ls, .Rs, and so on, Sub-Path Format Select the channel width from
and LFE the Path Format selector.
Enable Add Default Channel Assignments option if LCRS 1 Stereo (LR), Stereo: <main path
you want Pro Tools to automatically assign input, 4 Mono (one for name > .LR
each channel) Mono: <main path
output, and insert sub-paths to physical inputs and
name>.L, .C, .R, .S
outputs in the Grid (from the first available channel
to the maximum number of channels available). If Quad 1 Stereo (LR), Stereo: <main path
the number of new sub-paths of a certain width ex- 4 Mono (one for name > .LR
each channel) Mono: <main path
ceeds the number of available channels, Pro Tools
name>.L, .R, .Ls, .Rs
wraps around and starts over at channel 1.
5.0 – 1 Stereo (LR), Stereo: <main path
6.0 – 5–7 Mono name >.LR
Create Default Sub-Paths Option 7.0 (one for each Mono: <main path
(Bus Sub-Paths Only) channel) name >.L, .C, .R,
.Ls, .Rs, and so on
Pro Tools lets you create the default sub-paths for
busses in the New Sub-Path dialog when accessed 5.1 – 1 Stereo (LR), Stereo: <main path
from the Bus page. Enable the Create Default Sub- 6.1 – 6–8 Mono name >.LR
7.1 (one for each Mono: <main path
Paths option to have Pro Tools automatically cre- channel) name >.L, .C, .R,
ate the default set of sub-paths for the path format .Ls, .Rs, and so on,
(channel width) of the selected main bus path, as and LFE
follows:
Default Sub-Paths When the Create Default Sub-Paths option is en-
abled, all other custom options in the New Sub-
Main
Sub-Paths Sub-Path Name Paths dialog are grayed-out and unavailable.
Path
Input Names, formats, and source 4 Click OK to save changes and close the I/O
channel (physical input) Setup.
Path names can be customized in the I/O Setup. 1 Double-click the label above an interface.
Reordering Paths
Selected paths and sub-paths can be reordered
Selecting paths in the I/O Setup
higher or lower in the Path Name column to
To select a range of paths: change their menu order in track Input, Output,
1 Click the path name. Insert, and Bus selectors.
2 Shift-click an additional path name. To reorder paths in the I/O Setup and Track
selectors:
All paths between the first selected path name and
1 Drag one or more selected path names up or
the additional path name will also be
down.
selected.
2 Click OK to save changes and close the I/O
Setup.
Path definitions can be deleted from the current 1 Choose Setup > I/O.
session to reflect changes to your hardware setup, 2 Select a path type using the tabs at the top of the
or to clean up track selector menus by removing window.
unwanted or unnecessary path definitions. After
deleting a path, any tracks or send assignments to 3 Set the Active/Inactive control for the path.
that path are reset to No Output.
3 Click OK to save changes and close the I/O Any tracks that were assigned to the now inactive
Setup. path will show that path's name in italics on the
track's I/O selectors.
To delete all paths:
4 Click OK to save changes and close the I/O
1 Option-click (Mac) or Alt-click (Windows) any
Setup. Path status is displayed as follows:
path name.
Italics Indicates the path is inactive.
2 Click Delete Path.
3 Click OK to save changes and close the I/O Non-Italics Indicates the path is active.
Setup. With overlapping output paths of different
channel widths, if the widest path is made in-
Making Paths Active or Inactive active, all other overlapped output paths will
not pass audio from Pro Tools.
Pro Tools paths can be Active (on) or Inactive (off,
or unavailable). Paths can be globally activated or
deactivated in the I/O Setup. Making a signal path
inactive will turn off the signal path on any and all
tracks currently assigned to it.
Reassiging Paths
You can move the individual assignments to dif-
Assigning channels ferent channels, to reorder the path’s definition
(for example, changing a multichannel path to
Other channels for the path type, if any, fill to the
L-R-C-LFE-Ls-Rs).
right. For example, when assigning a new stereo
path, clicking in the path row under output channel To reassign channels in a path:
1 fills both channel 1 and 2 (left to 1, right to 2).
Drag the channel to the new location in the
To reassign channels in a path, see Grid. Other channel assignments move (shuffle)
“Reassiging Paths” on page 84. to accommodate dragged channels.
Output busses are mapped (routed) to output paths, 1 On the Bus page of the I/O Setup, click New
as configured on the Output page of the I/O Setup. Path.
Output paths are then assigned to the system’s 2 In the New Paths dialog, specify the number of
physical audio outputs in the I/O Setups Grid (see new paths you want to create, the channel width
“Assigning Paths to Hardware I/O” on page 84). for each path, and the path name.
When you create a new output path on the Output
page of the I/O Setup, a new output bus of the same
width is automatically created and mapped to that
output path. Output busses are also created and
mapped according to default settings when creat-
ing a new session or restoring defaults (see “Re-
storing Default Paths and Path Names” on New Paths dialog
page 80).
3 Click Create to create the new paths.
Physical outputs for output paths are configured on
the Outputs page of the I/O Setups (see “Assigning
Paths to Hardware I/O” on page 84).
• Output Busses
• Internal Busses
4 Click Default.
Pro Tools lets you import I/O Settings from session 1 Click the tab for the page of the I/O Setup for
files (.ptx) I/O settings files (.pio) before or after which you want to import settings.
you open a session. I/O Settings are only imported 2 Click Import Settings.
for the current page of the I/O Setup. For example,
if you are viewing the Output page and import I/O Enable the Apply to all tabs option or press
Settings, only the settings for the Output page are Option (Mac) or Alt (Windows) while click-
imported. This helps to avoid overwriting your ing Import Settings to overwrite I/O Settings
custom I/O Settings on other pages. in all pages with the settings imported from a
session file or I/O settings file.
When you import I/O Settings, you can choose to
delete any unused path definitions before import- 3 Select an I/O settings file (.pio) or a Pro Tools
ing the new paths, or leave unused path definitions session file (.ptx) in the Import Settings dialog
intact and add the new paths to the current I/O and click Import.
Setup configuration.
4 A dialog appears asking whether you want to
To import I/O settings for your Pro Tools system
delete existing paths. Do one of the following:
from a Pro Tools session file: • Click Yes to remove any unused paths and add
1 Open the I/O Setup (Setup > I/O). the imported paths to the current I/O Setup con-
figuration.
2 Select the tab for the page where you want to
import settings. • Click No to add the imported paths to the current
I/O Setup configuration.
3 Click Import Settings.
If the import results in overlapping paths, the new
Enable the Apply to all tabs option or press paths will appear in the I/O Setup as Inactive. See
Option (Mac) or Alt (Windows) while click- “Making Paths Active or Inactive” on page 83.
ing Import Settings to overwrite I/O Settings
in all pages with the settings imported from a After importing I/O Settings, you can then reassign
session file. path routing definitions in the I/O Setup by remap-
ping, renaming, and deleting paths. See “Pro Tools
4 In the Open dialog, navigate to and select the Software Signal Paths” on page 60.
session file from which you want to import I/O
settings. Exporting I/O Settings
5 Click Open. When you export I/O settings, all pages of the I/O
6 Click OK to save your changes and close I/O Setup are exported.
Setup.
To export and save an I/O Setup configuration as a
You can also import I/O paths and path custom I/O Settings file:
names, as well as other session data, from 1 Configure the I/O Setup settings.
a different session by using the Import Ses-
2 Click Export Settings.
sion Data command (File > Import > Ses-
sion Data). For information, see “Import-
ing Session Data” on page 322.
1 Open the I/O Setup (Setup > I/O). • Otherwise, session Output busses that are
mapped to system Output paths by name and
2 Select the tab for the page that you want to re- format if there is an exact match.
store from the session.
If there is no match between session Output busses
3 Click Restore from Session.
and system Output paths, you can manually remap
Enable the Apply to all tabs option or press Output busses. Pro Tools uses the manually re-
Option (Mac) or Alt (Windows) while click- mapped unique ID the next time the session is
ing Restore from Session to restore settings opened on that system.
for all I/O Setup pages from the session. After configuring the I/O Setup on any given sys-
tem for a session, the settings are retained with the
4 Click OK to save your changes and close I/O
session file.
Setup.
You can recall the I/O settings saved with the
session and overwrite the system settings (see
“Restore from Session” on page 93).
Additionally, a Previous Output Mappings column Show Last Saved Setup button in the Input page
appears to the right of the Output Mappings col- When showing the I/O Setup last saved with the
umn. This lets you take note of the output map- session, any unavailable hardware Inputs or Out-
pings that the session used the last time it was puts are displayed in italics.
saved.
Chapter 8: Preferences 97
Flat List Organizes plug-ins in a single list, in Type Displays only the I/O Type (Interface or Bus)
alphabetical order. as I/O categories in Track I/O menus.
Category Organizes plug-ins by process category Width Displays only the I/O Channel Width (such
(such as EQ, Dynamics, and Delay), with individ- as stereo or 5.1) as I/O categories in Track I/O
ual plug-ins listed in the category submenus. Plug- menus.
Ins that do not fit into a standard category (such as
Type and Width Displays both Type and Width as
the Signal Generator), or third-party plug-ins that
have not had a category designated by their devel- I/O categories in Track I/O menus.
opers, appear in the Other category. Plug-Ins can
Language Options (Windows Only)
appear in more than one category.
You must have Administrator privileges for the
Manufacturer Organizes plug-ins by their manu-
Pro Tools application Properties to change these
facturer (such as Bomb Factory, Focusrite, or TL
options.
Labs), with individual plug-ins listed in the manu-
facturer submenus. Plug-Ins that do not have a Language Sets the language to use in the
Manufacturer defined will appear in the “Other” Pro Tools application, independently of what lan-
manufacturer folder. guage version of Windows is used.
Category and Manufacturer Organizes plug-ins in Default Automatic Naming to English Causes au-
two levels of menus. The top menus display plug- tomatically named session elements in a session to
ins by process category (such as EQ, Dynamics, be named in English even when working with the
and Delay), with individual plug-ins listed in the Pro Tools application set to another language.
category submenus. The bottom menus display
plug-ins by manufacturer (such as Bomb Factory, Auto-Switch Input Language
Focusrite, or TL Labs), with individual plug-ins
When the Auto-Switch Input Language option is
listed in the manufacturer submenus.
enabled, the input language is switched automati-
“Organize Track I/O Menus By” Options
cally from English to the current OS input lan-
guage when entering text. It automatically
These options determine how track I/O menus are switches back to English for using Keyboard com-
organized in the Track Input selector, and Send mands in Pro Tools. When disabled, English is
and Track Output selectors. used when entering text regardless of the current
OS input language.
Always Display Marker Colors Lets you choose to None Turns off color assignment for clips. Clips
view Marker colors in the Markers ruler, regard- are drawn with black waveform or MIDI notes on
less of the settings you choose for Default Clip a light gray background.
Color Coding.
Tracks and MIDI Channels Assigns a color to each
MIDI Note Color Shows Velocity When enabled, clip in the Edit window according to its voice or
MIDI notes display varying shades of the assigned MIDI channel assignment.
track color in MIDI notes view in the Edit window
Tracks and MIDI Devices Assigns a color to each
and in MIDI Editor windows. Notes with high ve-
clip in the Edit window according to its voice as-
locities are darker and notes with lower velocities
signment or MIDI device assignment.
are lighter.
Groups Assigns a color to each clip according to
Default Track Color Coding Options the Group ID of its track. If groups are suspended
using the Suspend Groups command, all clips dis-
These color coding options determine the default
play black waveforms or MIDI notes on a light
color coding assignment for tracks in the Edit and
gray background.
Mix windows. The options are:
Track Color Assigns a clip color based on the color
None Turns off color assignment for tracks.
assigned to the track.
Tracks and MIDI Channels Assigns a color to each
Marker Locations Assigns a unique color to each
track in the Mix or Edit window according to its
marker area in the Marker ruler, including the area
voice or MIDI channel assignment.
preceding the first marker.
Tracks and MIDI Devices Assigns a color to each
Clip List Color Assigns a color to each clip based
track in the Mix or Edit window according to its
on its color in the Clip List.
voice assignment or MIDI device assignment.
Chapter 8: Preferences 99
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 Forward and
Rewind only last as long as you hold the mouse af-
ter clicking either button on the Transport (or hold
the corresponding switch on a Control Surface).
Default EQ
K-14 Use K-14 for mastering when working in a The Decay settings determine the decibel range
calibrated mastering suite. (dBs) that the meters fall at the specified rate in
seconds after peak level is registered. For some
K-20 Using K-20 during mix encourages a clean- Meter Types, these settings are not adjustable
sounding mix that is advantageous to the mastering (such as VU).
engineer. At that point, the producer and mastering
engineer should discuss whether the program 0 dBFS
should be converted to K-14, or remain at K-20. If
mixing to analog tape, work at K-20, and realize The 0 dBFS setting determines the unity reference
that the peak levels off tape will not exceed about level for the meter scale in decibels compared to
+14. digital 0 dB. Exceeding this level should result in
clipping at the digital to analog converters or to the
K-scale meters are RMS based scales with an specified clipping level for broadcast. For some
integrated sample peak meter as a secondary Meter Types, this setting is not adjustable (such as
value. For more information about K-scale K-meters).
metering, see the paper “An Integrated Ap-
proach to Metering, Monitoring, and Leveling Integration Time
Practices” by Bob Katz, Digital Domain, Inc. The Integration Time setting determines the
amount of time it takes, in milliseconds, to average
VENUE Peak Provides the same ballistics as Sam-
the peak level as registered on the meter display.
ple Peak, but with VENUE meter scaling to
You can think of this as the attack time for regis-
+20 dB.
tering peak levels on the meters. For some Meter
VENUE RMS Provides the same ballistics as RMS, Types, this setting is not adjustable (such as Peak).
but with VENUE meter scaling to +20 dB.
The Color Break High setting determines the high These options determine how long the clip indica-
point in dB where the color changes for metering. tors on plug-in, send, and track meters stay lit after
Typically, this will be the ceiling level for the cur- a clip is detected.
rent Meter Type. When this level is exceeded clip-
3 Seconds When selected, meters display the last
ping will occur. Levels registering on the meters
between the Color Break High setting and the Color clip indication for three seconds.
Break Low setting should be considered the “sweet Infinite When selected, meters display the last clip
spot” for the loudness of the program material. indications until you click them to clear them.
Color Break Low None When selected, meters do not hold the clip
indication.
The Color Break Low setting determines the low
point in dB where the color changes for metering.
Typically, this will be the minimum level for the Display Section
current Meter Type. Use this setting to provide a The Display section of the Metering preferences
visual indication in the meters for the lowest level provides options for configuring the display of the
of the dynamic range of the program material for new Gain Reduction meters on tracks and in sends.
the intended delivery format (such as film, DVD,
CD, MP3, or broadcast). Show Send Assignment Level Meter
Use F11 Key for Wait for Note When enabled, This option lets you specify what happens when
pressing the F11 Function key puts MIDI record- you double-click MIDI clips with the Grabber tool.
ing in Wait for Note mode.
MIDI Editor Opens the MIDI clip in a MIDI Editor
Automatically Create Click Track in New window.
Sessions When enabled, Pro Tools automatically
Score Editor Opens the MIDI clip in the Score Ed-
creates a new click track in new sessions.
itor window.
Default Thru Instrument
MIDI Event List Opens the MIDI clip in the MIDI
This option lets you set the default MIDI Thru in- Event List.
strument. You can select a predefined device from
Name Dialog Opens the Name dialog for the MIDI
your available MIDI instruments, or select First
clip.
Selected MIDI Track to use the assigned MIDI out-
put of the first selected MIDI or Instrument track.
When multiple MIDI or Instrument tracks are se- Note Display Options
lected, the instrument in the selected track that is These options set the reference for middle C as C3,
closest to the top of the Edit window (or closest to C4, or MIDI note number 60.
the left edge of the Mix window) is used. Select
None to only route MIDI Thru record enabled
MIDI and Instrument tracks. Delay Compensation for
External Devices Options
Pencil Tool Resolution When Drawing These options only apply when a Delay Compen-
Controller Data sation Engine is selected in the Playback Engine
This option lets you set the default resolution for and Delay Compensation is enabled in Pro Tools.
MIDI controller data created with the Pencil tool. These options are distinct from the hardware off-
Setting this to a lower resolution helps avoid creat- sets available for hardware inserts in the I/O Setup.
ing controller data that is unnecessarily dense. The MIDI Timecode When selected, Pro Tools applies
value range is from 1 to 100 milliseconds. Delay Compensation to Pro Tools-generated
MIDI Timecode (MTC). Enable this option when
synchronizing video to Pro Tools using MTC.
This setting lets you specify the default number of Machine Cues Intelligently (HDX and HD Native
Systems Only) When selected, if you navigate to a
empty bars that appear in the Score Editor window
after the end of the last MIDI clip in the session. cue point that is more than 10 seconds from the
current location, Pro Tools will command a con-
nected transport to fast wind to the new location at
full speed to within 10 seconds of the cue point.
Synchronization Preferences Cueing will then slow to normal speed until the
point is reached. This can significantly speed up
tape cueing with certain video transports.
Synchronization Section
Machine Control Section Minimum Sync Delay Sets the initial amount of
Machine Chases Memory Location When se- prime time (in frames) your system’s devices need
lected, navigating to a specific location in a session to achieve synchronization “lock.” This amount
with a Memory Location causes a connected trans- varies for each device. Pro Tools lock up delay is
port to chase to that location. set by entering a value for Minimum Sync Delay in
the Synchronization page of the Preferences. The
Machine Follows Edit Insertion/Scrub When se- lowest value available is 15 frames. Find the short-
lected, navigating to a specific location in a session est possible lock-up time that your equipment can
by moving the selection point or by scrubbing a operate at consistently, and set this as the Minimum
track will cause a connected transport to chase to Sync Delay. On systems using MachineControl,
that location.
Chapter 8: Preferences 119
enabling the Use Serial Timecode option will Allow 9-Pin Transport Commands in Local
make machines lock up much faster. (Serial time- Mode Sets Pro Tools to respond to incoming trans-
code requires both a qualified synchronization pe- port commands even when the system is not in Re-
ripheral and external devices to be locked to house mote mode. This is useful when using Satellite
video reference.) Link in conjunction with a 9-pin controller. You
can receive the transport controls from the 9-pin
Delay Before Locking to Longitudinal Timecode controller, but not experience the lag-time associ-
(HDX and HD Native Systems Only) Sets the ated with a 9-pin device.
amount of time (in frames) for Pro Tools to lock to
incoming LTC. Use this option when locking Punch In Frame Offset Sets an offset (in frames)
Pro Tools to a stable timecode source (such as a to compensate for punch in timing advances or
non-linear tape machine or LTC generator) and not delays.
a linear tape machine.
Punch Out Frame Offset Sets an offset (in frames)
Delay Before Locking to Serial Timecode (HDX to compensate for punch out timing advances or
and HD Native Systems Only) Sets the amount of delays.
time (in frames) for Pro Tools to wait before at-
tempting to lock to machines that issue servo lock Delay After Play Command Sets the amount of
messages. This setting allows time for the servo time (in frames) for Pro Tools to wait after receiv-
mechanisms to achieve stable lock. ing a Play command before starting the audio en-
gine. This can prevent false starts when locking to
synchronizers that are not fully supported by
Remote Mode Section Pro Tools.
(HDX and HD Native Systems Only)
Ignore Track Arming Sets Pro Tools to ignore in- Satellites Section
coming track arming (record enable) commands. (HDX and HD Native Systems Only)
This is useful if you are using a master controller to
arm tracks on other machines, but you do not want Satellite Link lets you link up to 12 Pro Tools HD
to arm tracks in Pro Tools. systems, or 11 Pro Tools HD systems and an Avid
Video Satellite (Media Composer or Avid Sym-
Set Servo Lock Bit at Play Enable this option phony Nitris DX) or a Pro Tools Video Satellite
when using a synchronizer to control Pro Tools in system, over an Ethernet network so that you can
Remote mode to minimize lock-up times during cue, play, and stop the transport, make play selec-
recording. tions, and solo tracks across any of the systems
from any linked workstation.
Allow 9-Pin Track Arm Commands in Local
Mode Sets Pro Tools to respond to incoming track Transmit Solos Causes a linked Pro Tools system
arming (record enable) commands even when the to send the solo status of its tracks to all other
system is not in Remote mode. This is useful if you linked Pro Tools systems. On other linked systems
are using a paddle device to control Pro Tools that are set to receive solos, tracks follow solo be-
track arming or punching. havior as if the solo were on the local system.
• Back/Forward Amount (Pro Tools HD only) • Automatically Create Click Track in New
Sessions
• PEC/Direct Style Input Monitoring
(Pro Tools HD only) • Default Thru Instrument
• Clip Auto Fade In/Out Length • Delay for External Devices Options
(Pro Tools HD Only) • Synchronization Preferences
• Delay Comp Time Mode • None
• Compensate side chains
(HDX systems only)
When this option is selected, VITC is inserted into This setting lets you select from the following op-
the outgoing video signal—assuming that a video tions for Bi-Phase or Tach wiring:
signal is present at a synchronization peripheral • Bi-Phase: FWD = A leads B
video input, and that the synchronization periph-
eral is in a valid mode for inserting VITC. • Bi-Phase: FWD = B leads A
• Tach:FWD = B is Low
Pitch Memory Enabled
• Tach: FWD = B is High
When this option is selected, the synchronization
peripheral will remain at a pitch (sample rate) that
corresponds to the last known incoming timecode
speed. When deselected, the Synchronization pe-
This button lets you set the Bi-Phase/Tach start Machine Control
frame from Pro Tools. Click the button to update
the Timecode Display on the synchronization pe- The Machine Control page lets you configure
ripheral to match the session timecode value. Pro Tools for use with MIDI Machine Control or
9-Pin Machine Control.
Enable Dub Window
For information about the MachineControl
When this option is selected, you can insert a time- Software Option for Pro Tools, see the
code window into a video signal with the follow- MachineControl Guide.
ing Window dub appearance settings:
Enable Enable
When the Enable option is selected, Pro Tools is When the Enable option is selected, Pro Tools is
the Master and it sends MMC commands to the the slave and it receives MMC commands from the
slave device and receives MTC information back master device and sends MTC information back to
from the slave device. the slave device.
The MIDI Out Port pop-up menu lets you select the The MMC ID setting lets you specify the MMC ID
MIDI Out port to which the slave device is con- number for which MMC information will be re-
nected. ceived.
MMC ID
9-Pin Machine Control (Deck
The MMC ID setting lets you specify the MMC ID Control)
number for which MMC information will be sent. (HDX and HD Native Systems with
MMC commands contain an ID number to identify MachineControl Only)
which machine should respond to the MMC com- The 9-Pin Machine Control (Deck Control) settings
mand. There are 128 MMC ID numbers, from let you configure a Machine Control device for Se-
0–127. The default of ID #127 is a special setting rial Deck Control mode with Pro Tools. Serial
that transmits to all 128 MMC IDs. With a setting Deck Control mode is available whenever Ma-
of 127, Pro Tools will transmit MMC commands chine Control is connected using the Serial Deck
to all MMC IDs. Control cable. When connected for Serial Deck
Control mode, Machine Control enables all
Preroll
Pro Tools track arming, synchronization, and
The Preroll setting lets you specify a pre-roll time Transport features, as available on your system.
in frames for your MMC slave device. Pre-roll is Serial Deck Control mode also supports 9-pin se-
needed to provide the device with sufficient time rial timecode.
to lock to the timecode transmitted by Pro Tools.
This value will vary depending on the external de- Enable
vice. If the pre-roll time is insufficient, the device When the Enable option is selected, Pro Tools is in
may not be ready to lock until after the current Serial Deck Control mode.
timecode position has passed.
Port
After you select a port, Pro Tools automatically The Machine Type setting lets you select the ma-
polls the port to see what kind of machine is con- chine description for specific machine controllers
nected. If the machine is recognized, Pro Tools (such as the Soundmaster ATOM). By default,
loads the corresponding Machine Type. This in- Pro Tools emulates a Sony BVW-75.
cludes the corresponding track layout and auto-
matically enters the name of that machine into the Chase LTC
Machine Track Arming window. However, if the
When Chase LTC is enabled, Pro Tools still re-
machine is not recognized, the “Generic 1” per-
sponds to track arming and record commands.
sonality is automatically loaded.
However, Pro Tools will chase incoming LTC in-
stead of behaving as a master or slave device with
Preroll
the machine controller. By slaving Pro Tools to the
The Preroll setting lets you specify a variable LTC source instead of slaving the machine to
amount of machine preroll to account for the time Pro Tools timecode, you can avoid the waiting
it may take the machine to achieve servo lock. (and tape wear) that occurs while a machine trans-
Shorter preroll values are usually better for non- port locates and bumps tape to the cue point.
linear machines. Longer preroll values are usually
better for older tape transports. The Machine pre-
roll value is added to any preroll specified in the MIDI Controllers
Transport window.
The MIDI Controllers page lets you configure up
to four different MIDI controllers for Pro Tools.
9-Pin Remote (Deck Emulation)
(HDX and HD Native Systems with
MachineControl Only)
Enable
Port
Type
Receive From
Ethernet Controller
Click the Name button to enter a name for the se- The Type setting lets you select none or PRE.
lected Ethernet controller. Select the PRE option to declare any connected
PRE.
Enable EUCON (Extended User Control)
Receive From
When selected, Pro Tools is enabled for control by
one or more EUCON-compatible controllers. EU- The Receive From setting lets you specify the
CON is an innovative high-speed Ethernet proto- MIDI In port to which the PRE is connected.
col developed by Avid to allow hardware control
surface to directly communicate with a software Send To
application.
The Send To setting lets you specify the MIDI Out
For more information about using Pro Tools port to which the PRE is connected.
with EUCON, see the documentation
Defaults
included with your controller.
Click the Reset button reset the corresponding
PRE to its default settings.
Mic Preamps
Retain Current Settings
The Mic Preamps page lets you configure up to
nine different Mic Preamps (PRE) for Pro Tools. Select the Retain Current Settings option to retain
PRE channel settings when an existing session
For information about the PRE, see the with different settings is loaded. New sessions will
PRE Guide. automatically retain the current settings.
Satellite Link lets you link up to 12 HDX or The Mode settings let you configure the satellite
HD Native systems (or any combinations of 11 behavior of the local system.
HDX or HD Native systems and an Avid Video
Administrator When enabled, the Administrator
Satellite system or a Pro Tools Video Satellite sys-
tem) over an Ethernet network so that you can cue, option sets the local system to be the administrator
play, and stop the transport, make play selections, system for any satellite systems on the network.
and solo tracks across any of the systems from any Satellite systems can be declared from the admin-
linked workstation. istrator system.
If you are using external MIDI devices with 2 If the MIDI Studio window is not showing,
Pro Tools (such as controllers or sound modules), choose Window > MIDI Studio.
you can customize your MIDI studio setup to dis-
play the names of your MIDI devices in Pro Tools.
Making MIDI input and output connections For Manufacturer and Model names, AMS
refers to one or more files with the suffix
6 Click the arrow for the appropriate input port of “.middev” in the directory Root/Library/
the device and drag a cable to the output arrow Audio/MIDI Devices. Pro Tools installs a file
of the corresponding port of the MIDI interface. that contains information for many commer-
cially available MIDI devices, named
To remove a connection, select the cable and
“Digidesign Device List.middev.” If the
press Delete.
Manufacturer or Model names for any of
7 Repeat steps 3–6 for each MIDI device in your your external MIDI devices is not available in
MIDI setup. the AMS Manufacturer and Model pop-up
menus, you can add them by editing the
To customize an external MIDI device in AMS: .middev file in any text editor (such as
TextEdit).
1 Select the external device icon and click Show
Info (or double-click the new device icon).
For more information, see “MIDI Patch
Names” on page 652.
Interface Controls
MSS also supports XML-based patch file names
for storing and importing patch names for your ex- Create Adds a new instrument to the Instrument
ternal MIDI devices. Name list.
Entire MIDI Studio Setup configurations created Delete Deletes the instrument or instruments
within MSS can be imported and exported. selected in the Instrument Name list.
To configure your MIDI studio with MSS: Import Imports an existing MIDI Studio Setup file.
1 In Pro Tools, choose Setup > MIDI > MIDI Export Exports the current MIDI Studio Setup file.
Studio.
Show Duplicate Emulated Ports When this option
2 Configure the MIDI Studio Setup windows. is selected and you are using a MIDI interface that
3 When you are finished configuring the MIDI supports time-stamping, the MIDI Studio setup
Studio Setup, close the MIDI Studio Setup window shows both the DirectMusic time-stamped
window. output ports, and non-stamped duplicate emulated
output ports.
MIDI Studio Setup Window Some MIDI Interfaces will not properly load
The MIDI Studio Setup window is organized into or unload their drivers unless you quit and
three sections. Interface controls are at the top of re-launch Pro Tools. Refer to the documenta-
the window. All the currently defined instruments tion that came with your MIDI interface for
are displayed in the Instrument Name list on the more information.
left side of the window. A detailed view of MIDI Instrument List
parameters is shown in the Properties section on
the right. The Instrument list contains all the currently de-
fined instruments. Selecting an instrument in the
list displays that instrument’s properties in the
Properties section of the window.
The Properties section lets you edit information for The Instrument Name field shows the user-defin-
new instruments, or instrument currently selected able instrument name for the currently selected in-
in the Instrument list. strument.
6 From the Output pop-up menu, choose the out- If you set the input port to None, the defined
put port on your MIDI interface that is con- instrument will not appear as a choice in a
nected to the MIDI In of your instrument. MIDI Input Selector.
Send Channels
Receive Channels
The first step in beginning a Pro Tools project is Creating a New Session from a
creating a new session. Sessions are represented by Template
session files that can be saved, copied and made
into templates. To create a new session from a template:
1 In the Dashboard, click the Create tab.
Dashboard Window
You can create your own custom categories.
For more information, see “Session Tem-
Pro Tools presents the Dashboard window on plates” on page 154.
launch that lets you quickly and easily create a new
session or open an existing one. You can choose to 2 Select the Create From Template option.
show or hide the Dashboard on launch in the 3 From the Template Group pop-up menu, select
Pro Tools Display Preferences. the category for the session templates you want.
When you first launch Pro Tools, you are
prompted by the Dashboard window 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.
For optimum compatibility between Mac • Select the Audio File Type for the session (WAV
and Windows, set the file type to BWF or AIF).
(.WAV). • Select the Bit Depth (16 bit, 24 bit, or 32 bit float).
• Select the Sample Rate.
Creating a New Blank Session
• Select the I/O Settings to use for the session.
To create a new blank session: Several pre-configured I/O Settings are included
1 In the Dashboard, select Create. with your system, or you can select a custom I/O
Setting. For more information, see Chapter 7,
2 If not already shown, click the Create tab. “I/O Setup.”
• To create interleaved multichannel audio files in
the session, select Interleaved.
• Select either the Prompt for location option or the
Location option. If you select the Location op-
tion, you can specify the default location for sav-
ing sessions by clicking the Location button.
5 Click Create.
6 In the Save dialog, name the session, choose
where you want to save the session, and click
Save.
Bit Depths
Opening Any Session
16-Bit Using 16-bit for audio files is useful for
To open any session: keeping audio file sizes down. You may want to
1 Do one of the following: use 16-bit for sessions with few tracks, and little
• In the Dashboard, click the Open from Disk but- mixing and plug-in processing. CDs (Compact
ton. Discs) use 16-bit.
• If Pro Tools is running, choose File > Open Ses- 24-Bit Using 24-bit for audio files is commonly
sion. used for most music production and post-produc-
• Press Command+O (Mac) or Control+O (Win- tion sessions with multiple audio tracks, mixing,
dows). and plug-in processing. 24-bit files take up a third
as much space as 16-bit files.
2 In the Open dialog, navigate to the location of
the session file you want to open and select it.
You can change the audio file format for all newly
Session Setup window, selecting 32 Bit Float
recorded or imported (and converted) files in a ses-
sion by selecting a different Audio Format option
Sample Rates in the Session Setup window.
44.1 kHz Is the sample rate used for CDs and is To change the Audio Format for the Pro Tools
used in most common music production environ- session:
ments. 1 Choose Setup > Session.
48 kHz Is the standard sample rate for film and 2 In the Session Setup window, select an audio
video projects, and is commonly used in post-pro- file format (AIF or WAV) from the Audio For-
duction environments. It is the sample rate used for mat selector.
DVDs.
The Fade Files folder may be present in legacy Deleting or trashing a WaveCache file does not
Pro Tools sessions. Versions of Pro Tools lower harm the session or your system. However, the ses-
than 10.0 use rendered fades and cross-fades that sion will take longer to open because it has to re-
are written to the “Fade Files” folder in the session calculate waveform data for any associated
folder. audio files and store that data in a new WaveCache
file.
Rendered Files Folder
Session File Backups Folder
The Rendered Files folder contains any temporary
files created by Rendered Elastic Audio The Session File Backups folder contains automat-
processing in the session. It may also contain tem- ically-generated backups of your Pro Tools ses-
porary filtered analysis files (.aan) as a result of sions. These files are created when working on a
any changes to Elastic Audio analysis. session and the Operations preference for Enable
Session File Auto Backup is enabled. (See “Enable
Clip Groups Folder Session File Auto Backup” on page 101.)
Opening a Session that Contains The Unavailable Resources dialog provides an ini-
Fade Files tial report of the missing session components. To
save a text (.txt) file containing a more detailed
When opening a session created in a version of Notes report, along with the resulting action, click
Pro Tools lower than 10.0, Pro Tools calculates Yes. The Notes report is named with the session
and plays back all fades in real time. The “Fade name, followed by Notes.txt. You can choose to
Files” folder in the session folder is neither deleted save this file in your Session folder, or in another
nor used. Any rendered fades created in legacy ses- location.
sions are calculated and played back in real time.
Any new fades created in the session do not gener- The following occurs when opening a session with
ate any new rendered fade files in the pre-existing unavailable items:
“Fade Files” folder.
With all Pro Tools Systems:
Press Command+Shift+O (Mac) or Con- To revert to the last saved version of a session:
trol+Shift+O (Windows) to open the most Choose File > Revert to Saved.
recent session.
If you have enabled the Operation preference
for Auto Backup, you can also open up a
Instead of reverting to the saved version of
backup copy of your session. This feature lets
the session to open the session with all plug-
you specify the total number of incremental
ins active, you can simply make an individual
backups that are kept and how often the ses-
plug-in active by Command-Control-clicking
sion is saved. See “Auto Backup Section” on
(Mac) or Control-Start-clicking (Windows)
page 101.
it. To make an entire row of plug-ins active,
Command-Option-Control-click (Mac) or
Control-Alt-Start-click (Windows) any Reverting to a previously saved session file
plug-in in the row of inserts. can also be used to open a session with all of
its plug-ins active, after opening it with all of
its plug-ins inactive. See “Opening a Session
Saving a Session with Plug-Ins Deactivated” on page 148.
You should save regularly while working on your
session to ensure that your work is preserved on Saving the Session File with a
your hard drive.
New Name
To save a copy of the current session with a new
Saving the Session File name or to a different hard drive location, use the
Save As command. The Save As command closes
The Save command saves the changes you have the current session and lets you keep working on
made to your session and writes them over the pre- the renamed copy. This is useful if you are experi-
viously saved version of the session file. The Save menting and want to save successive versions of
command cannot be undone. the session.
To save a session: By working this way, you can quickly retrace your
Choose File > Save. steps if you want to go back to an earlier version of
your session. The Save As command saves a new
version of the session file only, and does not dupli-
cate versions of the audio or fade files.
9 Click Save.
When you save a copy of the session to a lower bit When saving a copy of a session with the Save
depth, Dither (and Noise Shaping) are applied. See Copy In command, you can save the session copy
the following table: in the following formats, depending on your plat-
form:
Dither and Noise Shaping with Save Copy In
Mac:
Noise
Bit Depth Dither
Shaping • Latest; supports Pro Tools 10.x and higher
sessions (.ptx)
32-bit float to 32-bit float Yes Yes
• Pro Tools 7.x -> 9.x Session (.ptf)
32-bit float to 24-bit Yes Yes • Pro Tools 5.1 -> 6.9 Session
16-bit to 16-bit No No
You can save the session to reference BWF
(.WAV) or AIFF audio files.
16-bit to 8-bit Yes No
A session can use mixed audio file types. If your When saving a Pro Tools 7.x or higher session to a
original session has mixed file types, they are not lower version that supports +12 dB fader gain, you
converted to the selected file type unless you spec- can save the new session with either a +6 dB or a
ify that they be converted by selecting the Convert +12 dB maximum fader gain. When saving a
to Specified Format option in the Items To Copy +12 dB session as a +6 dB session, any automation
section (see “Items to Copy” on page 152). over +6 dB will be lowered to +6 dB.
You can save the session at a Bit Depth of 16 Bit, When saving a Pro Tools 7.x or higher session to a
24 Bit, or 32 Bit Float. lower version, enable the Enforce Mac/PC Com-
patibility option to force Windows or Mac versions
Pro Tools 10.0 and higher sessions can use audio of Pro Tools to create sessions and audio files that
files with different bit depths. If your original ses- are compatible on both platforms.
sion has mixed bit depths, they are not converted to
the selected bit depth unless you specify that they For more information, see “Saving Copies
be converted by selecting the Convert to Specified of Mac Sessions to be Compatible with Win-
Format option in the Items To Copy section (see dows” on page 364.
“Items to Copy” on page 152).
Limit Character Set
When saving to a Session Format lower than 10.0,
if your session is in a different bit depth, audio files When saving a copy of a session to the current ses-
are converted to the new session bit depth, and sion format, you can choose to limit the character
copied to the specified location. Also, 32 Bit Float set to a single language by selecting the Limit Char-
is not available for session formats lower than acter Set option.
10.0. When saving a copy of a session to a lower session
For information on bouncing to disk and format, the Limit Character Set option is automati-
dither, see “Using Dither” on page 1033. cally selected. Select a language from the Limit
Character Set pop-up menu.
Sample Rate
To choose the language encoding when saving a
You can save the session at various sample rates copy of a session:
depending on your system hardware. See “Sup- 1 Choose File > Save Copy In.
ported Hardware Configurations with Pro Tools
Software” on page 34. 2 Select the Limit Character Set option.
If your session is at a different sample rate, audio 3 Choose the language you want to use from the
files are converted to the new session sample rate, Limit Character Set pop-up menu.
and copied to the specified location.
Items to Copy
When this option is selected, all audio files are When this option is selected, only the selected
copied to the new location. This setting is automat- tracks in the source session are saved with the ses-
ically selected if you select a Session Format lower sion copy. This option is automatically enabled
than 10.0. when choosing File > Export > Selected Tracks As
New Session.
Convert To Specified Format
When this option is not selected, all tracks in the
When the Convert To Specified Format option is source session are saved with the session copy.
selected, all copied audio files are converted to the This option is automatically disabled when choos-
specified audio file format settings in the Session ing File > Save Session Copy.
Parameters section. When this option is not se-
lected, any copied audio files retain their original Session Plug-In Settings Folder
audio file format settings (including sample rate
and bit depth), and are exactly copied, bit-by-bit. When this option is selected, the session’s Plug-In
Settings folder is copied to the new location. The
Note that copying formats bit-by-bit is much references to these plug-in settings in the session
faster than converting files. are redirected to the copied settings files.
This option is automatically selected if you do any Root Plug-In Settings Folder
of the following:
When this option is selected, the contents of the
• Save to a session format lower than 10.0. root-level Plug-In Settings Folder are copied into a
• Enable Enforce Mac/PC Compatibility. folder named Place in Root Settings Folder, indi-
cating that these files will need to be moved to the
Don’t Copy Elastic Audio Rendered Files root level plug-in settings folder on the destination
system before you can use them. The references to
When this option is selected, Elastic Audio Ren-
these settings files in the session are not redirected
dered files are not copied to the new session’s Ren-
to point to the copied files.
dered Files folder.
When opening the new session, Pro Tools opens Movie/Video Files
the session with all available media and any miss- When this option is selected, session video files
ing Rendered files are regenerated automatically. (Avid or QuickTime) are copied to the new loca-
tion, and session references are updated to point to
Main Playlist Only
the copied video files.
When this option is selected, only the main play-
lists are included with the session copy. Any alter-
nate playlists are not included with the session
copy.
For example, if you are a songwriter you If you selected the Select Location For Template
might simply want a session consisting of a option, you are prompted by the Save As Template
stereo Instrument track with an instrument dialog to save the file to another location on your
plug-in (such as Xpand! 2 with a piano pre- system.
set), a mono audio track (for tracking vocals),
When you are ready to use a template as the
a stereo Auxiliary Input track (for an effects
basis for a new session, see “Creating a New
bus), and a stereo Master Fader track. You
Session from a Template” on page 141.
can then use this template every time you sit
down to work on a new song.
The Save Template dialog provides the following Select this option to save the template file to any
options: directory location on your system. Note that the
saved session template will not appear in the Dash-
Install Template In System board unless it is in a subdirectory (Category) in
the Session Templates folder in the Pro Tools Root
Select this option to save the template file in the
Settings folder. You can change the location of the
system folder referenced by the Dashboard (the
Root Settings Folder in the Operation Preferences
Session Templates in the Pro Tools application
(see “User Library Section” on page 102).
folder).
Include Media
Category
Select this option to include any audio, MIDI, or
The Category pop-up menu is only available if the
video media in the session with the template.
Install Template In System option is enabled. The
Category pop-up menu lets you select the subdi-
rectory in which to save the template file. It also Creating New Sessions from
provides options for adding a category and reveal- Templates
ing the Session Templates folder in Windows Ex- You can create new session from templates by
plorer or the Mac Finder. opening a template. You can open any Pro Tools
Add Category Select this option from the Cate- Session Template file (.ptt) to start a new session
gory pop-up menu to create a new subdirectory in based on that template.
the Session Templates folder.
For information on creating new sessions
from templates using the Dashboard, see
Name
“Creating a New Session from a Template”
The Name setting is only available if the Install on page 141.
Template In System option is enabled. This lets
you type a new name for the template file. From
the Name pop-up menu (to the right of the Name Session Metadata
field), you can select from a list of all of the tem-
Pro Tools provides a Metadata Inspector window
plates available in the currently selected Category.
for sessions. This window lets you view and edit
Selecting one places that name in the Name field,
metadata for sessions—such as Artist, Contribu-
letting you overwrite, or create a incremental ver-
tors, Sample Rate, Bit Depth, Location, and so on.
sion of, an existing template.
Certain session metadata is display only. Metadata
is stored with the session file (.ptx). You can also
view session metadata in Pro Tools Browser win-
dows.
Closing a Session
Pro Tools only lets you work on just one session at
a time. The Close Session command closes your
current Pro Tools session but leaves the Pro Tools
application running. Pro Tools prompts you to
save a session when closing it, but it is recom-
mended that you save your work using the Save or
Session Metadata Inspector window Save As command before closing a session.
Sample Rate Is display only and shows the session Choose File > Exit.
sample rate.
Pro Tools provides two complementary ways of Edit Window Shows tracks and track material
viewing tracks in a session: against the Timeline (see “Edit Window” on
page 160).
Mix Window Shows tracks as channel strips, like a
mixing board (see “Mix Window” on page 158). To toggle between the Mix and Edit windows,
press Control+Equals (=) (Windows), or
press Command+Equals (=) (Mac).
Plug-In window
Edit window
Mix window
Workspace browser
Transport window
Instrument
Track List View
(page 214) (page 908)
Inserts View
(page 908)
Sends View
(page 908)
Solo/Mute
(page 228)
Volume
fader
(page 195)
Level meter
Voice selector (page 196)
(page 224)
AutoMatch
indicator Track Name
(page 986) (page 204)
Universe view
Grid and
(page 539)
Nudge values
Zoom buttons (page 500) (page 162) Edit Window
Counters and Edit Toolbar and menu
Edit Mode
Edit tools Selection indicators Transport controls (page 160)
buttons
(page 495) (page 499) (page 536) (page 165)
Track List
(page 214)
Tracks
(page 185)
Edit Group
List
(page 723)
At the top of the Edit window is the Edit Window The Counters and Edit selection indicators provide
Toolbar and menu. This Toolbar provides access information where selections are in the Timeline.
to the editing modes, tools, options, indicators, and
displays for Pro Tools. You can customize the MIDI Selection
Transport When selected, the Transport controls Minimal When selected, the Zoom, Transport,
are displayed in the Edit window toolbar. MIDI, and Synchronization controls are not dis-
played in the Edit window toolbar.
MIDI Controls When selected, the MIDI controls Expanded Transport When selected, the
are displayed in the window toolbar. Expanded Transport controls are displayed in the
Edit window toolbar if Transport is also
selected.
Transport Window
The Transport window can be set to show basic
transport controls, counters, MIDI controls, and
expanded features. The counters in the Transport
window mirror the controls and counters at the top
of the Edit window.
MIDI Zoom button (Edit window)
To display the Transport window:
Sample 1 second
Pre-
Roll
Fast Forward Fast forwards from the Timeline in-
Post-
Roll sertion point. You can also click repeatedly to fast
forward incrementally (by an amount based on the
Start, End, and Length Main Time Scale).
Selection indicators
TrackInput Monitor
indicator
With Numeric Keypad mode set to Trans-
port, you can fast forward by pressing 2.
Transport window showing basic transport controls
and counters (Main and Sub Counters and MIDI not Go to End Locates to the end of the session.
shown)
Online Puts Pro Tools online so that playback and You can press Option+Return (Mac) or Con-
recording is triggered by an external timecode trol+Enter (Windows) on the alphanumeric
source. keyboard to locate to the end of the session.
You can Right-click the Return to Zero but- You can also stop the transport by pressing
ton to access the Write to Start and Write to the Spacebar, or with the Numeric Keypad
All automation commands. mode set to Transport, pressing 0.
Rewind Rewinds from the current play location. Play Starts playback or (if the Record button was
You can also click repeatedly to rewind incremen- clicked first) recording from the Timeline insertion
tally, by an amount based on the Main Time Scale, point or the Play Start Marker location if Dynamic
as follows: Transport mode is enabled.
With the Numeric Keypad mode set to Trans- You can also begin playback by pressing the
port, you can rewind by pressing 1. Spacebar, or with the Numeric Keypad mode
set to Transport, pressing 0.
Search Tools Let you search your system for files For detailed information about the Task win-
and folders by simple or advanced search criteria. dow, see “Task Manager Window” on
page 299.
Browser Menu Provides commands for file man-
agement.
Column Headers Display the type of metadata dis- In-Application Web Browser
played in the Items List. Column Headers can be:
Pro Tools provides easy access to the online Avid
• Resized by dragging the column border, or rear- Store, as well as web-based Pro Tools Help, the
ranged by dragging the Column headers. Avid Support Center, and other online resources
• Dragged to either of two available panes, the using two in-application Web browsers.
Fixed or Scrolling panes.
Avid Marketplace Provides a secure web connec-
Locations Pane Provides a view of Volumes (and tion to Avid’s online commerce web pages for
folders and files), Catalogs, and the currently open Pro Tools.
Session for your system. Pro Tools Online Provides easy access to web-
Browser Pane Provides a view of items on your based Pro Tools Help, the Knowledge Base, and
system contained within the Volume (or folder), Avid Audio community forums.
Catalog, or open session that is selected in the Lo-
To launch the Pro Tools in-application Web
cations pane. Alternatively, the Browser pane dis-
browser for online commerce, choose one of the
plays search results. following from the Marketplace menu:
Go Backward
Go Forward Locations Open in external browser
Refresh
Click Help and choose one of the following: The Avid Support Center command provides ac-
cess to the online Avid Support Center using the
• Pro Tools Help Pro Tools in-application web browser. The Avid
• Pro Tools Knowledge Base Support Center provides support instructions for
• Avid Audio Forums your Avid products.
Window Configurations
Pro Tools provides a powerful means of managing
the configuration of windows in your session, as
well as the internal configurations of the Edit, Mix,
MIDI Editor, Score Editor, and Transport win-
dows. Use the Window Configuration List to cre-
ate (or delete) and manage stored Window Config-
urations. Pro Tools lets you store up to 99 Window
Configurations. Window Configurations are saved New Window Configuration dialog
with the session.
3 In the New Window Configuration dialog, do
Create a session template with your favorite one of the following:
Window Configurations. You can then use the • Select Window Layout and whether or not to in-
template when you start a new session, or you clude the Edit, Mix, Targeted MIDI Editor,
can use Import Session Data to Score Editor, and Transport window display set-
import Window Configurations into your cur- tings.
rent session.
• Select a Window Display Settings option from
the pop-up menu (Edit Window, Mix Window,
Creating New Window MIDI Editor (Targeted), Score Editor Window, or
Configurations
Transport Window.
To create a new Window Configuration: 4 Name the Window Configuration.
1 Open the windows you want to include in the
5 You can type a different number for the new
Window Configuration and position them
Window Configuration. If the number you type
where you want on the screen.
is already used by another Window Configura-
2 Do one of the following: tion, you are prompted to replace it or Cancel.
• Choose Window > Configurations > New Config- Otherwise, Pro Tools automatically fills in the
uration. first available number (1–99) for the Window
Configuration.
• If the Window Configuration List is open,
choose New Configuration from the Window
Configuration List pop-up menu.
Choose Window > Configurations > Update Ac- 2 From the Window Configuration List pop-up
tive Configuration. The active Window Config- menu, select Clear <Name>.
uration updates to include any changes to its
included properties (Window Layout and Win- Deleting Window Configurations
dow Display Settings).
Deleting a Window Configuration removes it and
From the Window Configuration List pop-up its slot number, and renumbers any subsequent
menu, choose Update <Name>. The selected Window Configurations.
Window Configuration updates with any
changes to its included properties. To delete a Window Configuration:
1 In the Window Configuration List, select the
To have Pro Tools automatically update the active Window Configuration you want to delete.
Window Configuration, do one of the following:
2 From the Window Configuration List pop-up
Select Window > Configurations > Auto-Update
menu, select Delete <Name>.
Active Configuration.
From the Window Configuration List pop-up To delete all Window Configurations:
menu, select Auto-Update Active Configuration. From the Window Configuration List pop-up
When Auto-Update Active Configuration is menu, select Delete All.
selected, the active Window Configuration
updates with every change to the Window Layout
and Window Display Settings.
1 Choose File > Import > Session Data. To hide or show all floating windows:
2 Select the Window Configurations option. Select or deselect Window > Hide All Floating
Windows.
3 If you only want to import Window Configura-
tions, click the Session Data to Import pop-up Press Command+Option+Control+W (Mac)
menu and select None. or Control+Alt+Start+W (Windows) to hide
or show all floating windows.
4 Click OK.
Closing Windows
Arranging Windows
To close an open window:
Pro Tools provides commands to tile or cascade all
open windows. Floating windows (such as plug-in 1 Make sure the window you want to close is in
windows) and the Transport window are not af- the foreground.
fected by these commands. 2 Do one of the following:
To arrange windows:
• Click the Close button for the window.
• Choose Window > Close Window.
Choose Window > Arrange and select one of the
following: Press Command+W (Mac) or Control+W
Tile Arranges all open windows in a tiled pattern (Windows) to close the frontmost window.
on the screen.
• Beat Detective window The location and size of the Window Con-
• Plug-In windows figuration List is not stored with Window
Configurations.
• Panner windows
• Mic Pre windows A Window Configuration can also store the Win-
dow Display settings for the Edit, Mix, Targeted
MIDI Editor, Score Editor, and Transport win-
dows.
Comments Lets you type comments for the Window Configuration List view filter icons
Window Configuration.
Pro Tools Main Menus The Help menu also provides access to the Avid
Support Center and to the Check For Updates
Pro Tools includes the following main menus: command.
File Provides commands that are used to create and
maintain Pro Tools sessions.
Track List Menu Provides commands to show and Track Name Right-Click Menu Right-clicking a
hide tracks in the Mix, Edit, MIDI Editor, and track name in the Edit window, Mix window, or
Score Editor windows. The Track List pop-up the Track List provides access to various track
menu also lets you sort the contents of the Track commands (such as show/hide, make active/inac-
List. tive, rename, duplicate, and delete tracks).
For more information, see “Track List” on For more information, see “Track Name
page 214. Right-Click Menu” on page 217.
Group List Menu (Edit Groups and Mix Clip Name Right-Click Menu (Edit Window Only)
Groups) Provides commands to create, display,
suspend, and delete Mix and Edit Groups. Right-clicking a clip name in the Clip List pro-
vides commands to clear, rename, time stamp, or
For more information, see “The Group List” replace clips (Pro Tools HD software only). The
on page 239 pop-up menu also lets you export clip definitions
or selected clips as files, recalculate waveform
Clip List Menu (Edit Window Only) Provides com- overviews, select the parent file of selected clips in
mands to find, select, sort, clear, rename, time a Workspace Browser, or select a clip as an object
stamp, compact, export, and recalculate waveform in the Edit window.
overviews of items in the Clip List. The pop-up
menu also lets you set the drop order for clips For more information, see Chapter 15,
dragged from the Clip List and dropped in the “The Clip List.”
Timeline.
Group Name and Track Group ID
For more information, see Chapter 15, Indicator Pop-Up Menus
“The Clip List.”
When you click and hold on a group name in the
Group List, or click on a Group ID indicator in a
track, a pop-up menu provides access to various
group commands (such as selecting tracks in a
group).
3 Click OK.
Pro Tools provides different types of tracks for Master Fader Tracks Master Fader tracks control
working with audio, MIDI, and video in Pro Tools the overall level of audio paths that are routed to
sessions. physical output paths. For example, you could
have 24 tracks in a session with channels 1–8
routed to Analog Output 1–2, channels 9–16 to
Track Types Analog Output 3–4, and channels 17–24 to Analog
Output 5–6. You could then create three master
In a Pro Tools session, you can have several differ- faders, one to control each of these output pairs.
ent types of tracks. These can include audio, Aux-
iliary Input, Master Fader, VCA Master, MIDI, In- Master Fader tracks have additional uses (such as
strument, and video tracks. controlling submix levels). For more information,
see “Master Fader Tracks and Signal Flow” on
Video track features are described in page 899.
Chapter 53, “Working with Video in
Pro Tools” VCA Master Tracks VCA Master tracks (or VCA
Masters) emulate the operation of voltage-con-
Audio, Auxiliary Input, Master Fader, and VCA trolled amplifier channels on analog consoles,
Master Tracks where a VCA channel fader would be used to con-
trol, group, or offset the signal levels of other chan-
Pro Tools provides mono, stereo, and multichan-
nels on the console.
nel format audio, Auxiliary Input, Master Fader,
and VCA Master tracks. VCA Master tracks do not pass audio, so they do
not have inputs, outputs, inserts, or sends. A Mix
Audio Tracks Audio tracks let you record to disk
Group is assigned to a VCA Master track, which
and play back from disk recorded or imported au-
appears in the VCA track’s Assignment selector.
dio files.
Auxiliary Input Tracks Auxiliary Input tracks can The controls of the tracks in that Group, called the
be used as effects sends, destinations for submixes, slave tracks, are modified by the controls on the
as a bounce destination, as inputs to monitor or VCA Master. For more information, see “VCA
process audio (such as audio from external MIDI Master Tracks” on page 901.
instruments), and for many other audio routing
tasks.
Volume fader
Level meter
Voice selector
Peak/Delay and Headroom indicators
Track Type indicator
Track Name button
Delay Compensation view
Track Comments
Group ID Group ID
Pan knobs
Pan indicators
Solo/Mute buttons
Volume fader
Volume fader
Level meters
Level meters
Solo/Mute buttons
Record
TrackInput Enable MIDI Volume fader
Solo Mute
MIDI Velocity meter
Volume
fader
Level meter Patch Select
MIDI Volume indicator
Track Type indicator
Track Name button
Volume indicator
Track Type indicator Track Comments
Pan knobs
Pan indicators
Record Enable
Solo/Mute buttons
Volume fader
Level meters
Patch Select
Peak/Delay and Headroom indicators
Track Type indicator
Track Name
Delay Compensation view
Track Comments
Timebase selector
Playlist selector Show/Hide Automation lanes
Timebase selector
Each video track has its own set of track controls, For more information on Comments view,
including Track Name, Playlist, Online, Track see “Adding Comments to Tracks” on
View, and Track Height. page 205.
Instruments view provides MIDI controls for In- Select View > Edit Window > I/O.
strument tracks: MIDI Input selector, MIDI Output
Channel strips in the Mix window always dis-
selector, MIDI Volume, MIDI Pan, and MIDI
play Input and Output selectors as well as
Mute.
volume and pan values, so there is no I/O
For more information, see “Assigning MIDI view display option for the Mix window.
Input and Output for Instrument Tracks” on
page 227. For details on Input and Output selectors, see
“Assigning Audio Inputs and Outputs to
Inserts View (A–E and F–J) Tracks” on page 218.
Inserts view provides up to ten inserts (software Volume/Peak/Channel Delay Indicator
plug-ins and hardware I/O inserts for generating
and processing audio) on each audio, Auxiliary In- The Volume indicator on an audio track has three
put, Master Fader, and Instrument track. display modes: Volume, Peak, and Channel Delay.
For more information on inserts, see To toggle the Volume indicator display:
Chapter 45, “Plug-In and Hardware
Command-click (Mac) or Control-click (Win-
Inserts.”
dows) the indicator to toggle it between the fol-
lowing modes:
Sends View (A–E and F–J)
Volume Indicator (and Pop-Up Fader) Shows the
Sends view shows send assignments in each audio,
current volume, or input level of a track as set by
Auxiliary Input, and Instrument track.
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” on Volume pop-up fader, which can be used to adjust
page 916. the volume.
I/O View
In the Edit window, I/O view provides Input and
Output selectors on audio, Auxiliary Input, Master
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 indicator
Volume indicator based on the last peak playback level. To reset the
Pan indicator
peak counter, click anywhere in the meter. Values
Output Path selector
range from – (no signal) to 0 dB.
Edit window I/O view (audio track)
The Pan indicator displays the current pan setting The Volume fader controls the playback level of a
of a track. Pan values range from <100 (full left) to track when it is playing back, and the monitor level
100> (full right). Pan controls are only available of the track when it is recording. You can link the
for stereo tracks or for mono tracks routed to a ste- record and monitor levels by enabling the Link Re-
reo output. cord and Play Faders option in the Operation pref-
erences.
In I/O view (Edit window), click the Pan indicator
to display the Pan pop-up slider, which can be used The maximum fader gain for a volume fader is
to adjust panning. +12 dB.
The Pan slider controls the balance of a track be- Track Color
tween the assigned output pair. It only appears if
you are using stereo tracks or mono tracks routed In the Edit window, Track Color view displays the
to a stereo output. Track Color strip at the left-most side of the Track
controls.
The Pan slider on a MIDI track is effective only if
you are controlling a sound module that supports
MIDI panning.
Pro Tools meters provide a Peak Hold feature with To clear a clip indicator:
three options: 3 Second, Infinite, or None.
Click anywhere on the meter.
To choose a Peak Hold setting:
To clear all clip indicators, do one of the following:
1 Choose Setup > Preferences and click the
Option-click (Mac) or Alt-click (Windows) any
Metering tab.
meter.
2 Select a Peak Hold option.
Choose Track > Clear All Clip Indicators.
3 Click OK.
Press Option+C (Mac) or Alt+C (Windows).
To clear a meter:
Clip Indication
Because Pro Tools uses 64-bit floating point calcu-
lations for the mixer, there will never be any inter-
nal clipping in the mixer. However, it is possible to
clip at the converters on your audio interface. It is
also possible to clip when writing audio to disk in
fixed point audio files (16-bit or 24-bit files only, Audio, Auxiliary Input, Instrument, and Master Fader
tracks showing clipping
32-bit floating point files will not clip).
Audio track clip indicators display red under the Command-Option-Control-click (Mac) or Con-
following circumstances, otherwise they display trol-Alt-Start-click (Windows) any track level
yellow: meter in the Mix or Edit window.
Meter Type
Mix Window View selector scale
Peak VU
Different Meter Type scales
3 Click OK.
To select a range of tracks: Select Options > Link Track and Edit Selection.
1 Click the name of an unhighlighted track in its
track channel strip. Scrolling a Track into View
2 Shift-click an additional button. To scroll a track into view:
All tracks between the first track selected and the In the Track List, or Mix or Edit window, Right-
additional track will also be selected. click the track name and select Scroll into View.
Video Tracks For information on video track Track View set to Waveform for audio track
views, see “Video Track View” on page 1142.
On audio tracks, the Waveform is also visi-
Blocks Track View ble in Playlists, Analysis, Warp, and Auto-
mation views.
With the Track View set to Blocks, audio and
MIDI clips are displayed as empty blocks bearing Clips View
the clip’s name. This Track View is most useful
(MIDI Only)
once you have finished capturing and editing clips
at the waveform or MIDI event level and are mov- With the Track View set to Clips, you can edit and
ing and rearranging them. Screen redraws are fast- arrange MIDI clips on MIDI and Instrument
est with this format. tracks.
1 Click in the track you want to toggle. To toggle The Master view is based on the type of track, as
multiple tracks, Shift-click or drag with the Se- follows:
lector tool to select additional tracks. • Audio tracks: Waveform and Blocks
2 Do one of the following: • MIDI and Instrument tracks: Clips, Blocks, and
Notes (when using the Selector tool)
• Press Control+Minus (Mac) or Start+Minus
(Windows) on the alphanumeric keyboard.
• With Commands Keyboard Focus enabled (see
Track Height
“Keyboard Focus” on page 22), press Minus on
the alphanumeric keyboard. Tracks can be viewed in the Edit window at any of
eight heights: Micro, Mini, Small, Medium, Large,
To toggle Track Views for all tracks, press Jumbo, Extreme and Fit To Window. Larger track
Option+Control+Minus (Mac) or heights are particularly useful for precise editing,
Alt+Start+Minus (Windows) on the especially for MIDI. Smaller track heights are use-
alphanumeric keyboard. ful for conserving screen space in a large session.
Right-click on the vertical zoom scale just to the The track’s Track Height changes incrementally.
right of the track controls and choose the height
from the pop-up menu.
Track Show/Hide
Track Color Code
Track Height set to Mini
Track Type icon
When the Track Height is set to Medium, Large, Track name
Track List menu
Jumbo, or Extreme, all track controls are displayed
at their full size.
Click the Track Show/Hide icon in the Track Click the Track List menu and choose Hide All
List. Tracks.
In the Track List (or on the track channel strip), You can also hide all tracks by Option-clicking
Right-click the track name and select Hide (or (Mac) or Alt-clicking (Windows) the
Hide and Make Inactive if the track is active and Show/Hide icon of any track that is shown.
you also want to make it inactive).
Hidden track icon in the Track List To show or hide a range of tracks in the Track List
with the Marquee:
To show a track that is currently hidden, do one of
the following: 1 Move the cursor to the left of a track name until
Click the Track Show/Hide icon in the Track the Marquee with a small “+” symbol appears.
List. 2 Click on the track in the list and drag up or down
In the Track List (or on the track channel strip), over the Show/Hide icons (to show or hide the
Right-click the track name and select Show (or track and the tracks immediately above or be-
Show and Make Active if the track is inactive low it).
and you also want to make it active).
To show or hide non-contiguous tracks:
To show all tracks: Click the Show/Hide icon for the tracks you
Click the Track List menu and choose Show All want to show or hide.
Tracks.
To restore previously shown tracks after using the
You can also show all tracks by Option-click- Show All Tracks, Show Only Selected Tracks, or
Show Only Tracks by <Track Type> commands:
ing (Mac) or Alt-clicking (Windows) the
Show/Hide icon of any track that is hidden. From the Track List menu, choose the Restore
Previously Shown Tracks option.
In the Mix and Edit windows, Track Position Scroll Into View Scrolls the track to the top of the
Numbers can either include hidden tracks in their Edit window or to the left of the Mix window.
numbering sequence, or ignore them
Export MIDI (MIDI and Instrument Tracks
• When Track Position Numbers Stay with Hidden Only) Exports the MIDI data from one or more
Tracks is not selected in the Display Preferences MIDI or Instrument tracks to a standard MIDI file.
page, numbers are only assigned to tracks that For more information, see “Exporting MIDI Files”
are shown. In this case, active tracks are then on page 320.
numbered sequentially. Hidden tracks are un-
numbered. Coalesce VCA Master Automation (VCA Master
Tracks Only) Coalesces the VCA automation to
• When Track Position Numbers Stay With Hidden the slave tracks of the VCA.
Tracks is selected in the Display Preferences
page, tracks keep their Track Position Numbers Coalesce Trim Automation (Pro Tools HD
even when hidden. Only) Coalesces Trim automation on the track (or
selected tracks if any).
Open in Score Editor (MIDI and Instrument Tracks For stereo and multichannel surround tracks, in-
Only) Opens the track in the Score Editor window. puts and outputs appear as stereo pairs and multi-
channel groups. The available inputs, outputs, and
Open in MIDI Event List (MIDI and Instrument
busses are defined as paths in the I/O Setup dialog
Tracks Only) Opens the track in the MIDI Event
(see Chapter 7, “I/O Setup”).
List.
Notation Display Track Settings (MIDI and Instru- Automatic Input and Output
ment Tracks Only) Opens the Notation Display Assignments
Track Settings window for the track. Music nota-
tion can only be viewed in the Score Editor or in When adding tracks to a new session, inputs are
MIDI Editor windows set to Notation view. automatically assigned in ascending order. For ex-
ample, if you have an audio interface with eight in-
Expand Channels to New Tracks Expands multi- puts, creating four new mono audio tracks will au-
channel audio files imported from a field recorder tomatically add four audio tracks with inputs
to new tracks, such that every channel resides on assigned to the first four paths defined in the I/O
its own mono audio track. Pro Tools also automat- Setup dialog. When creating stereo tracks, inputs
ically conforms all expanded tracks to the edits in are automatically assigned to subsequent input
the guide (expanded) track. You can expand multi- pairs.
channel files to new tracks ordered by channel
name, by channel number, by channel name and The outputs automatically assigned to new tracks
number, or by Timecode only. are determined by the New Track Default Output
Bus specified in the I/O Setup dialog.
choose Rename from the pop-up menu. In the Edit or Mix window, Right-click the In-
put selector or Output selector for a track, and
2 In the Rename I/O dialog, type a name for the
choose Make Inactive (or Make Active) from the
I/O Path, and click OK.
pop-up menu.
‘
You can also adjust the relative priority of tracks Click the Voice selector and set the track to Dyn,
by freeing up the voices of individual tracks, mak- Off.
ing them available to other tracks in the session.
In the Edit window, select View > Edit Control-click (Mac) or Right-click (Mac or
Window > I/O to access any track’s Output Windows) the MIDI Output selector and select
selector. additional channels from any device.
Select View > Mix Window > Instruments. Instrument Track MIDI Output
Select View > Edit Window > Instruments. Pro Tools lets you assign specific MIDI ports and
channels to an Instrument tracks’ MIDI output.
MIDI Input selector The default selection of none sends MIDI data to
MIDI Output selector no device, port, or node on any channel. Use the
MIDI Output selector to specify a MIDI port and
channel for output.
Instruments view, Mix window
Channels in use by another track input appear as
bold in the MIDI Input pop-up menu.
2 Click the Solo button on another track. The but- AFL (After Fader Listen) The Solo button routes
tons for both tracks are highlighted and all other the track’s post-fader/post-pan signal to the
tracks are muted. AFL/PFL Path output. The AFL/PFL Path is con-
figured in the Output page of the I/O Setup dialog
To un-solo tracks: (see “AFL/PFL Path” on page 69).
Click the Solo button on soloed tracks.
With AFL, the level you hear is dependent on the
For information on creating and modifying fader level for that track. Additionally, there is a
groups for track soloing and muting, see separate master level setting for AFL that affects
“Grouping Tracks” on page 237. the output of any or all tracks you solo in AFL
mode (see “AFL/PFL Path” on page 69). This
level setting is independent of the PFL level
setting.
The Solo mode for all soloed tracks can be 1 Configure the output path for AFL or PFL so-
changed from any Solo mode to either SIP or loed tracks.
AFL. Previously soloed tracks will switch 2 Select the main output path that will mute when
their solo behavior to the new mode. you solo a track in AFL or PFL mode (see
“AFL/PFL Mutes (Output Path)” on page 69).
Switching the Solo mode for all soloed tracks
to PFL clears all previously soloed tracks 3 Set up your hardware to monitor both the main
before entering PFL mode. This prevents and AFL/PFL paths simultaneously.
potentially large boosts in level.
When AFL or PFL is selected as a Solo mode and
DSP Usage when Using AFL or PFL Mode a track is soloed, the main output path will mute
and the AFL/PFL signal will appear at the
AFL and PFL are accomplished by Pro Tools cre- AFL/PFL Path for monitoring.
ating a “behind the scenes” mixer to route the sig-
nal to the chosen AFL/PFL Path. Depending on the
size of your main mixer, Pro Tools will devote a
substantial portion of its available DSP when using
AFL/PFL mode.
The Mute button on a MIDI track mutes MIDI To toggle a track active/inactive:
data, not audio. Muting MIDI results in no MIDI
Command-Control-click (Mac) or Control-
data being passed to the MIDI output. On Instru-
Start-click (Windows) the Track Type indicator
ment tracks, the track’s Mute button mutes the au-
in the Mix window.
dio signal and the MIDI Mute button is only avail-
able in Instruments view. Playlists for inactive tracks are dimmed and track
controls are grayed out.
Default colors are automatically assigned to tracks, MIDI Note Color Shows Velocity
but you can override those colors by choosing When this option is enabled, MIDI notes display
from a color palette of 96 possible colors. For more varying shades of the assigned track color in MIDI
information, see “Color Palette” on page 234. notes view in the Edit window and in MIDI Editor
windows. Notes with high velocities are darker
and notes with lower velocities are lighter.
Track Type Assigns a color to each track according Enabling any Default Clip Color Coding op-
to its type (audio, Auxiliary Input, Master Fader, tion other than Clip List Color will override
VCA Master, MIDI, Instrument, or video). Clip List Color and reassign the parent track
color to copies of the clip placed in tracks.
Default Clip Color Coding Copies of the clip in the Clip List will retain
their unique color.
The Default Clip Color Coding options determine
how colors are assigned to the display of tracks,
clips in the track playlist and Clip List, and Marker
Locations.
To apply a color from the Color Palette: When the Hold button is enabled, the assigned
color selected in the Color Palette persists and does
1 Choose Window > Color Palette.
not change when a different track or clip is se-
2 Do one of the following: lected.
• In the Apply to Selected pop-up menu, select the
To use the Hold button to assign the same color to
destination for color coding: Tracks, Marker,
multiple items:
Group, Clips in Tracks, or Clips in Clip List.
1 Click the Hold button to enable it. The Hold but-
• Select a track, marker, group, track clip, or Clip
ton becomes white, and the currently selected
List clip in the appropriate Pro Tools window.
color is now highlighted with a wider white out-
The Apply to Selected menu will display the
line.
type of item you have selected.
2 Select additional tracks or clips to which you
If selecting a marker does not display the want to assign the same color. Because the Hold
Marker option in the Apply to Selected button is enabled, the Color Palette does not fol-
pop-up menu, then the Always Display low item selection; it remains (or “holds”) at the
Marker Colors option in the Display Prefer- last currently assigned color.
ences page is deselected. See “Always Dis-
play Marker Colors” on page 232 for more 3 Click the assigned color again to assign it to the
information. new selection of tracks or clips. Use the Apply to
Selected pop-up menu to determine which se-
3 Select a color from the palette, or select one of lected elements are affected.
the following:
4 To turn off Hold and return the Color Palette to
its default mode, click the Hold button until it
turns off.
Pro Tools provides a relative grouping function for Mix Groups, Edit Groups, and
linking tracks and their controls. Mix/Edit Groups
Mix Groups only affect mixing functions and Edit
Groups only affect editing. Mix/Edit Groups link
Grouping Tracks the grouping functions of the Mix Group and the
Groups are useful for editing several tracks in ex- Edit Group.
actly the same way, or for mixing several tracks
(such as a pair of stereo tracks or a submix) while Edit Groups
keeping them at the same relative volume level. Edit Groups affect the following items in the Edit
and MIDI Editor windows:
Pro Tools provides the following grouping
features: • Track View
• Up to 104 different groups are available, ar- • Track Height
ranged in 4 banks of 26 Group IDs. • Track Timebase
• Groups can be nested (subgroups within • Audio and MIDI editing functions
groups).
• Automation editing functions
• Grouped faders or controllers preserve their lev-
els relative to each other.
• Groups are assignable to an available VCA Mas-
ter track.
Group Controls
Group List
Menus and commands for creating and modifying
groups are accessible in the following: Show/Hide Track List/Group List View
Button
• Group List
• Group name in the Group List To show the Group List (and Track List):
The Pro Tools track grouping functions are located To the left of each name in the Group List is a letter
at the left side of the Mix, Edit, and MIDI Editor denoting its Group ID (“a” through “z”).
windows in the Group List. This scrolling window
contains the names of all the groups in your ses-
sion, as well as a pop-up menu for accessing
grouping commands. From this menu, you can se-
lect and enable groups.
Hollow Circle
Hollow Circle Indicates that only some members Modify Opens Group dialog to modify existing
of the group are currently selected. groups only.
Circle with a Dot Indicates that all members of the Duplicate Opens Group dialog for duplicated
group are currently selected, plus additional mem- group.
bers outside the group. Delete Deletes a single group.
Group Dialog
Whether you are creating or modifying groups
with the Group List, a track's Group ID indicator,
or the Track > Group menu command, you use the
Groups dialog.
2 Do one of the following: • To replace all tracks in the group with the tracks
that are currently selected in the session, click
• Choose Track > Group.
the Replace button at the bottom of the Group
• Choose New Group from the Group List menu. dialog.
3 Type a name for the group. In either list, Shift-click to select a range of
4 Select the type of group to create: Edit, Mix, or track names. Command-click (Mac) or Con-
Mix/Edit. trol-click (Windows) to select discontiguous
track names.
5 Choose a Group ID from the ID pop-up menu.
Four banks of 26 are available: a–z, 2a–z, 3a–z, 7 If the group is a Mix Group or a Mix/Edit
4a–z. (If you do not choose a Group ID, Group, do the following:
Pro Tools automatically assigns the next avail-
• Set the Attributes for the Group (see “Setting
able ID to a new group.)
Group Attributes” on page 244).
• If you want to assign the group to an available
VCA, select the VCA Master track from the
VCA pop-up menu.
8 Click OK.
The “All” group cannot be deleted. 1 While creating or modifying a group, click Glo-
bals in the Group dialog.
Duplicating Groups
You can duplicate a group and modify its settings
in order to quickly set up a mix.
To duplicate a group:
1 Do one of the following:
• Click the Group ID indicator on a track and
choose Duplicate from the pop-up menu.
• Right-click the Group name in the Group List
and choose Duplicate from the pop-up menu.
2 Change any of the following for the current
group:
• Group name
• Group type (Edit, Mix, or Mix/Edit)
• VCA status (Pro Tools HD only)
• Follows Global status (Pro Tools HD only)
• Track membership
• Attributes (Pro Tools HD only) Globals page of Group dialog
• Linked Within Group items (Pro Tools HD only) 2 Select the base set of attributes for groups in
3 Click OK. your session.
3 Click OK to save the group and the new Globals
settings.
Setting Group Attributes
For information on selecting attributes, see
When creating a Mix Group or a Mix/Edit Group, “Selecting Group Attributes” on page 245.
you can select the Mix window parameters that
will be linked for that group. These linked param- To select attributes for an individual group:
eters are the attributes of the group. 1 While creating or modifying a Mix Group or a
Mix/Edit Group, do one of the following:
You can select attributes in the Globals page and
then set individual groups to follow the Global set- • Click Attributes in the Group dialog, and select
tings, or you can select attributes for groups indi- the attributes you want to link.
vidually.
Mix Attributes:
• Record Enable
• Input Monitoring
• Solos
• Automation Mode
• HEAT Pre/Post (Pro Tools HD only)
• HEAT Bypass (Pro Tools HD only)
To disable a group:
Selecting a Group Settings Location
In the Group List, click the name of the group
you want to disable. The name is unhighlighted
To save the current attribute settings
to indicate that it is not enabled.
directly to a preset location, Command-
click (Mac) or Control-click (Windows) the
preset button. Keyboard Selection of Groups
The Group List Keyboard Focus lets you type a
To recall a Group preset:
Group ID letter to automatically toggle that
Click the corresponding Preset button (1–6) in group’s enable status.
the Groups dialog. (Follow Globals must be de-
selected to recall a setting in the Attributes In the Mix window, the Group List Keyboard
page.) Focus is always enabled.
In the Edit window, you need to enable the
Group List Keyboard Focus to use it.
The Edit Window displays all audio clips, MIDI Because clip information can become lengthy, the
clips, and clip groups in a single, comprehensive Clip List can be scrolled or resized as necessary.
Clip List.
Use the Clip List as a bin for storing your
Drag to resize width Keyboard Focus favorite audio loops and MIDI clips. Save
of Clip List the session as a template and the clips are
Clip List menu
available for future sessions (see “Session
Templates” on page 154).
Clip List
2 From the submenu, select a basis for sorting. • User Time Stamp
Different options are available for audio and • Timebase
MIDI clips. See “Sort By Options” on page 251. • Start in Parent
3 To set whether clips are listed in ascending or • End in Parent
descending order, click the Clip List menu,
choose Sort By, and select Ascending or Clips can also be sorted by Clip Type (Audio and
Descending. MIDI), or in Ascending or Descending order.
Unused Except Whole Files Selects clips that To preview a clip in the Clip List:
have not been placed in a track in the current ses-
Option-click (Mac) or Alt-click (Windows) the
sion, but do not include Whole-file clips. Whole-
clip name.
file clips are clips that were created when record-
ing or importing audio, consolidating existing Audio clips and clip groups play back through the
clips, and when nondestructively processing with specified Audition Path (see “Audition Path” on
an AudioSuite plug-in. Whole-file audio clips ref- page 67).
erence an entire audio file that resides on your hard
drive. Whole-file audio clips are displayed in bold Sample-based clips play back at their native
in the Clip List tempo. Tick-based MIDI and Elastic Audio pro-
cessed clips play back at the session tempo (based
Offline Selects clips whose parent files cannot be on the location of the playback cursor). You can
located, or are not available, when opening a ses- also preview clips from the Clip List during ses-
sion or importing a track. Offline clips appear in sion playback.
the Clip List as italicized and dimmed; they appear
in playlists as light blue clips with italicized MIDI clips play back using the Default Thru In-
names. strument selected in the MIDI Preferences page
(see “The Default Thru Instrument” on page 443).
“Select Unused” Ignores Parent Clip Enabling
the “Select Unused” Ignores Parent Clip option af-
fects the behavior of the Select Unused command.
When it is enabled, all unused clips are selected ex-
cept for any unused whole clips that have related
sub-clips currently on tracks in the session.
When auditioning a mono component of a mono Stereo clips, expanded (top) and collapsed (bottom)
component clip, the clip can be routed equally to To expand or collapse all stereo and multichannel
all outputs of the parent clip’s Audition Path. clips:
in the Clip List • From the Clip List menu, choose Rename.
A typical session can become cluttered with doz- • Right-click on any selected clip and select Re-
ens of tracks and hundreds of clips. There are a name from the pop-up menu.
number of things you can do to keep track of and 4 In the Name dialog, type a new name for the
manage a session’s clips, including: clip. If a whole-file audio clip was selected,
• Renaming existing clips specify whether to rename just the clip, or both
the clip and the disk file.
• Specifying how auto-created clips are named
• Hiding auto-created clips
• Removing unused clips
Renaming Clips
In the course of a session you can rename clips to
give them more descriptive names, or to shorten or
simplify existing names. When renaming a clip
that was auto-created during editing, the clip be- Name dialog
comes a user-defined clip and is displayed in the 5 Click OK to rename the clip. If renaming multi-
Clip List even when auto-created clips are hidden. ple clips, you are prompted, successively, to re-
If a clip resides in a track, you can easily rename it name each clip.
by double-clicking it with one of the Grabber tools. You can resize the Name dialog by dragging
However, if the clip does not reside in a track, or if the boundaries of the dialog.
you want to rename several clips, use the Rename
command in the Clip List.
The Name dialog provides the option to view in- In the Name dialog, click the show/hide triangle
formation about the selected clip. This information for Clip Info.
is not editable from the Name dialog. The follow-
ing clip information is available:
Suffix Specifies text to be appended to the end of • Clips created by trimming whole-file
the name, following the auto numbering. audio clips
The Pro Tools Workspace combines an intuitive, Workspace browsers let you search and sort audio
browser-style interface with an integrated databas- files, video files, and sessions. Audio, video, and
ing engine, optimized for metadata and media session files displayed in browsers can be dragged
management. directly into the current Pro Tools session.
Workspace browsers provide extensive databasing When offline items are needed, Pro Tools lets you
tools for searching, sorting, auditioning, and im- find the correct matching files, then relink to on-
porting of audio, MIDI, video, plug-in settings line media.
(.tfx), Guitar Rig Settings (Eleven Rack only), and
session files. Multiple browsers can be displayed The Workspace browser provides access to all
and arranged, with custom display settings pro- your mounted volumes, as well as the folders and
vided to customize your work environment. files they contain.
Workspace browsers provide file management for Catalogs provide the highest level of Pro Tools file
local and network volumes. Volumes are formatted management. Catalogs make it easy to organize
partitions on a physical drive (hard drive). Any files from multiple sources into libraries of favorite
changes made in the Workspace (such as copying, files. Catalogs can be sorted and searched, even
or moving files and folders) is mirrored on the vol- when the files they reference are offline.
umes themselves. Volumes include mounted hard
drives, network storage, and removable media Using Catalogs, you can:
(such as CD-ROMs). • Collect and organize files from any combination
of volumes
When Volumes are focused in the Locations pane
you can: • Create catalogs of complete volumes to view
and search even if a volume is offline
• View, manage, audition, and import individual
items on the volume • View, manage, audition, and import individual
items in the catalog
• Update a database for contents of the volume
• Update a database for contents of catalog
Session
For more information, see “Catalogs” on
Workspace browsers provide powerful search and page 296.
management tools for the files referenced in your
current session, regardless of where they are Task Manager Window
stored.
The Task Manager window is a utility for viewing
When the currently open session is focused in the and managing all of the background tasks that you
Locations pane you can: initiate with Pro Tools. Use the Task Manager
window to monitor, pause, or cancel background
• Show all the media files associated with the cur-
tasks such as file copies, searches, and indexing.
rent session, including any missing files
• View, manage, audition, and spot individual For more information, see “Task Manager
items Window” on page 299.
Relink Window
The Relink window provides 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.
Toolbar
Column headers
Items List
Pane split
To maximize processing speed and protect vital The main elements of a Workspace browser
components, Workspace browsers do not display include the following.
all folders. For example, in Windows, Workspace
Toolbar Provides the Browser menu, Search icon,
browsers do not display the WU Temp or System
Volume Information folders; and on Mac, Work- View Presets (numbered 1–5), Workspace browser
space browsers do not display the System folder. navigation tools, and preview tools.
This excludes them from being indexed, searched, Items List Displays the contents of a volume,
sorted, or affected in any way by Workspace tasks. folder, session, or Catalog database in rows.
You should not store Pro Tools session or media
files in any of these folders.
Each row of data in a Workspace browser rep- Press Option+O (Mac) or Alt+O (Windows).
resents an Item (such as a file or folder). Data
To open a new Workspace browser from a selected
about each item is displayed in columns. volume, catalog, or folder, do one of the following:
Locations Pane Used to navigate the volumes (lo- Command-double-click (Mac) or Control-dou-
cal and networked drives) on your system, the cur- ble-click (Windows) a volume, catalog, or
rently open session, indexed Catalogs of media, folder in the currently open Workspace browser.
and the system User directory.
Press Option+Down Arrow (Mac) or
Browser Pane Displays the contents of items se- Alt+Down Arrow (Windows) to open the cur-
lected in the Locations pane or search results. rently selected volume, catalog, or folder in a
new Workspace browser.
Opening Workspace Browsers
Viewing the Contents of a
There are several ways to open, close, and navigate
Volume, Folder, or Catalog
one or more Workspace browsers.
To expand or collapse the currently selected
To open the Workspace browser if no workspace folder, do one of the following:
browser is currently open, do one of the following:
Click the Expand/Collapse icon next to the vol-
Choose Window > Workspace. ume, folder, session, or catalog in either the
Press Option+; (Mac) or Alt+; (Windows). to Browser pane or the Locations pane.
open and close a single Workspace browser. If Select a volume, folder, or Catalog, and press
multiple Workspace browsers are open, these the Right Arrow key to expand, or the left
key commands bring successive Workspace Arrow key to collapse.
browsers to the foreground.
To move up one level in a browser:
These key commands also close the Work-
space browser if the selection in the Loca- Click the Browse Back arrow in the toolbar.
tions pane is on the Volumes root folder. If
To move up one level in a browser, press
another item is selected in the Locations
Command+Up Arrow key (Mac) or Con-
pane, these key commands will open a new
trol+Up Arrow key (Windows).
browser focused on that item.
All open Workspace browsers are moved to the If you have a Pro Tools system with multiple
background, bringing the other windows to the drives, and you intend to record multiple
foreground. Nonetheless, all Workspace browsers tracks simultaneously, you may want to des-
remain open and accessible. ignate the System drive as a Playback only or
Transfer only drive for optimal performance.
To bring an open Workspace browser to the
foreground: To change a volume designator:
Choose Window > Browsers, and select an open 1 Open a Workspace browser.
Workspace browser from the submenu.
2 In the Locations pane, select Volumes.
To cycle to the next or previous Workspace 3 In the Browser pane, click and select the appro-
browser:
priate permissions for any volume.
Press Command+Left/Right Arrow keys (Mac)
or Control+Left/Right Arrow keys (Windows). You can also Right-click any volume in either
the Locations pane or the Browser pane and set
the desired permissions setting for the selected
Closing Workspace Browsers volume.
To close all Workspace browsers:
AAF and OMF sequences can be opened from To open a folder in the current Workspace
Workspace browsers. browser:
You can also drag and drop AAF and OMF se- Double-click the folder, or click the
quences from Workspace browsers into the current Expand/Collapse icon for the item.
session.
With a browser in the foreground and the
To open an AAF or OMF sequence from a
folder selected, press Command+Down
Workspace browser: Arrow (Mac) or Control+Down Arrow
(Windows) to open a folder in the
1 Do one of the following:
current Workspace browser.
• With no Pro Tools session currently open, dou-
ble-click the AAF or OMF sequence in the To open a folder in its own new Workspace
browser:
Browser pane of any Workspace browser.
• Drag the AAF or OMF sequence from the Command-double-click (Mac) or Control-dou-
Browser pane of any Workspace browser to the ble-click (Windows) the folder. The previous
Timeline in an open session. (parent) Workspace browsers window remains
open.
2 Configure the Import Session Data dialog.
With a browser in the foreground and the
3 Click OK.
folder selected, press Command+
Option+Down Arrow (Mac) or
Control+Alt+Down Arrow (Windows) to
open a folder in its own new browser.
Many text fields can be edited to replace or update The next time you open that browser, metadata for
data for an item. items that have already been indexed is visible im-
mediately. If the browser or folder was closed be-
To enter an edit to a text field and exit, and return fore indexing was complete, or if the contents of
to the previous display state: the folder have changed since the last time it was
Press Enter. browsed, Pro Tools automatically updates the da-
tabase the next time it is opened. This way, the da-
To revert to the previous text and cancel a text edit: tabase is always up to date for the folder you are
browsing. (View the Task Manager to see current
Press Esc.
activity.)
For details on column editing, see “Column
Indexing while Browsing saves time because it
Data” on page 273.
only fills the database for items on the level of the
volume that you are currently browsing. For exam-
ple, if you are browsing the root level of the vol-
Indexing Workspace ume, it indexes only the folders and files on the
Databases root level. If you open a folder, Pro Tools indexes
Indexing is the process of reading media files, ex- just the items in that folder. As a result, a database
tracting just the metadata for each file, then storing is only indexed for the parts of the volume that you
that data in an associated database so that it may be have browsed. However, searches are faster and
displayed in the columns of a Workspace browser. more complete when a volume is already com-
Once a volume or folder has been fully indexed, it pletely indexed.
can be searched very quickly because all of the
metadata has already been sorted and organized.
Load Guitar Rig Settings (Eleven Rack Delete Lets you delete selected files, folders, and
Only) Loads the Guitar Rig Settings for selected catalogs from disk, or move selected items to the
audio files with embedded Guitar Rig Settings Trash (Mac) or to the Recycle Bin (Windows).
from an Eleven Rack.
To recall a saved preset: Size Displays the size of a file. This field cannot be
edited.
Click the appropriate View Preset button.
Waveform Displays a graphical overview of an au-
Sorting Columns dio file. See “Waveforms” on page 282 for more
information.
Columns can be sorted in ascending or descending
order, and multiple sorts can be applied (up to four Duration Displays the duration of a file in absolute
levels). time (minutes and seconds), regardless of the time-
code format. For clip groups, MIDI, tick-based
To sort by columns: Elastic Audio files, REX, and ACID files, Dura-
Click the column title header. tion displays Bars and Beats. This field cannot be
edited.
To toggle the current sort order between
Date Indexed Displays the last indexed date for the
ascending and descending:
item. This field cannot be edited.
Click the column title header a second time.
Capacity Displays the total capacity of a volume.
To sort by multiple columns: This field cannot be edited.
Option-click (Mac) or Alt-click (Windows) suc- Free Displays the unused space on volumes. This
cessive column headers. field cannot be edited.
Chapter 16: Workspace Browsers 273
File Comment Displays any embedded comments Tempo Displays the tempo associated with clip
associated with the file. File comments are sup- group, MIDI, tick-based Elastic Audio files, REX,
ported with BWF and SD II files, but are not sup- and ACID files, and session files. This field cannot
ported with AIFF files. File Comments always re- be edited.
main with the file when copied, converted, or
Video Compression Displays the compression ra-
transferred. See “Comments Fields” on page 275
for more information. tio of video files where applicable.
Circled Indicates if the status of a take is set to “cir- 1 Click the Comments field. The field expands to
cled” (No or Yes) in audio files. This is usually for display the entire contents of the field if neces-
indicating which take should be used. sary.
Plug-In Name Displays the name of the plug-in for 2 Enter or edit a comment.
Plug-In Settings files (.tfx). 3 Press Enter, or click outside the text box to close
it.
Volume selected for search Advanced Search settings Advanced Search enabled
Folders checked for search Advanced Search settings Advanced Search enabled
Search Checked
option (enabled) Search results
Add Row button Pro Tools lets you refine your search by up to 8
Search Text field rows of search criteria.
Search Column selector
Add Row Button Click the Add button (“+”) to
add another row to refine the advanced search.
1 In a Workspace browser, select the files you Files cleared of Elastic Audio analysis data revert
want to analyze. to sample timebase, display their duration in min-
utes and seconds, and do not report a tempo.
2 Do one of the following:
• Right-click one of the selected files and choose
Calculate Elastic Analysis from the pop-up
menu.
• Preview the file with the Audio Files
Conform to Session Tempo option enabled.
Multi-Mono Files
4 Click the Preview button in the Workspace Pro Tools provides an option to reserve voices for
browser and the file plays at the session tempo. preview in context. The number of reserved voices
is determined by the channel width of the selected
Audition Paths in the I/O Setup. Voices reserved
Preview in Context for preview in context are unavailable for disk
Pro Tools lets you preview audio files in Work- tracks.
space browsers while playing back a Pro Tools
session. Tick-based audio files (those with tempo To reserve for voices for preview in context:
detected Elastic Audio analysis, as well as REX 1 Choose Setup > Preferences.
and ACID files) can play back in tempo, and at the
corresponding bar and beat location, with session 2 Select the Operation tab.
playback. Tick-based audio files audition at the 3 Enable the Reserve Voices For Preview In
session tempo when the Audio Files Conform to Context option.
Session Tempo option is enabled.
4 Click OK to close the Preferences dialog.
Areas to Search
Files to Relink
Candidates
Menu and Toolbar Includes the Relink menu, Opening the Relink Window
View Presets, and relinking buttons. Status is dis-
played at the far right. When opening a session with missing files, use the
Manually Find and Relink option to open the Relink
Areas to Search Selects volumes on which to window.
search for missing items.
The Relink window can also be accessed after a
Files to Relink Lists missing files. 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 icon session:
next to the candidate can be toggled on or off to
1 In the Workspace browser, select the item you
link (or unlink) the proposed candidate to the se-
want to relink.
lected missing file.
2 Choose Relink Offline from the Browser menu.
The Relink window controls each phase of the
relinking process.
OMF video clips can only be relinked to a To relink multiple missing files:
session if they have matching Unique IDs. 1 Configure Areas to Search. (See “Selecting Ar-
eas to Search” on page 293.)
QuickTime video clips can only be relinked to 2 Select one or more items in the Files to Relink
a session by file name and file format (Quick- list. The Find Links button becomes available.
Time).
3 Click Find Links.
4 Configure criteria for relinking, if necessary, in
To control matching and linking criteria
the Linking Options dialog:
when relinking an individual missing file,
use the Find Links button. Find Links is ex- • By default, Find by Name and ID is enabled.
plained in “Relinking Multiple Missing • To add additional matching criteria, select an op-
Files” on page 294. tion from the Linking Options dialog. (Modifi-
cation Date is only applicable to Catalogs.)
4 Click the Link icon next to the appropriate Can-
didate to which you want to relink. A Link icon • If Match Duration is enabled, Pro Tools only se-
next to an item indicates it will be relinked to lects files of the same length or greater.
the item currently selected in the Files to Relink
list.
To force a relink:
Relinking and Aliases in
Catalogs
1 Select the items you want to relink.
Catalogs are collections of “aliases” or “shortcuts”
2 Choose Relink Offline from the Browser menu. to actual files. If the files are moved, an item in a
3 In the Relink window, select one item in the Catalog can become unlinked from the file it refer-
Files to Relink list. ences.
2 In the Browser pane, select one or more items in Metadata Metadata for all files found online, in-
the catalog that you want to remove. cluding File comments, are updated.
3 Choose Remove Selected Items from the Database Comments Database Comments are not
Browser menu. updated, because they are unique to each Catalog
and are not part of the file’s metadata.
4 When prompted, do one of the following:
• To remove the aliases for the selected items from
the Catalog, click Remove.
Relinking Catalog Items
• To delete the selected items from disk (and re- If files are ever missing from a Catalog, use the
move their aliases from the Catalog), click Move Relink window to locate, copy, and relink files.
To Trash (Mac) or Move To Recycle Bin (Win- For more information, see “Linking and Relinking
dows). Files” on page 289.
The Task window lets you monitor, pause and cancel ongoing tasks including file copying, fade regener-
ation, and indexing.
Status
Active Tasks
Paused Tasks
The Task window provides a maximized and min- Any task that fails to complete successfully is
imized view. moved to the Paused Tasks pane (see below). The
Status column displays a description of the failure.
To toggle between maximized and minimized
views: Paused Tasks Pane
Click the View Toggle icon in the top of the
The Paused Tasks pane is displayed below the Ac-
Task window.
tive Tasks pane, and is separated by a movable hor-
izontal divider. Tasks listed in this pane will not be
processed until they are moved back to the Active
Tasks pane.
Task window, minimum view
Pausing and Canceling Tasks
Task Window Tools, Columns, The Task window lets you pause, resume, and can-
and Displays cel tasks.
The Task window menu provides commands for
Task window operations. To pause a task:
Item Name Indicates affected item, whether a file, To pause all tasks:
database, or other supported item. Choose Pause All from the Task window menu.
Status Action being taken (for example, copying,
To resume a task:
processing, indexing and so on).
Drag a task from the Paused Tasks pane to the
Progress Indicates the progress of the task or its Active Tasks pane. The task returns to its previ-
sub-tasks, which include assessing the size of the ous position in the queue.
items and the estimated amount of time necessary
to complete the task. To resume all paused tasks:
Progress Indicator Indicates processing is ongo- Select Resume All from the Task window menu.
ing. All tasks in the Paused Tasks pane (except
failed tasks) are moved to the Active Tasks
Quantification Shows percentage of progress of pane.
the current task.
To cancel a task:
Active Tasks Pane
1 Highlight any task in either pane of the Task
The upper Active Tasks pane shows the tasks that window.
are in progress or waiting to start. The currently ex- 2 Press Delete to remove it from the Task win-
ecuting task is at the top. Tasks in this pane will be dow.
processed.
Pro Tools lets you import and export a variety of • Using the File menu Import commands:
data into and out of a session, including audio and • Session Data
MIDI files, clip groups, video files, track playlists,
• Audio
I/O configurations, and signal routing configura-
tions. • MIDI
• Video
You can import individual audio and MIDI files
• Clip Groups
into a session, or import entire audio or MIDI
tracks, along with all of their attributes, from an- • VENUE Channel Names as Track Names
other session. Additionally, with Pro Tools HD,
Session data, audio files and clips can be imported
you have the option of importing any combination
to existing tracks, new tracks, the Track List, or the
of track attributes from another session, such as a
Clip List in a Pro Tools session.
track’s audio or MIDI playlists, signal routing,
plug-ins, or automation (see “Importing Session Exporting
Data” on page 322).
Pro Tools lets you export audio, video, MIDI, clip
When you are working with video, you can import groups, and session data by:
and export video files from a session (see
• Using the Export to Sibelius or Send to Sibelius
Chapter 53, “Working with Video in Pro Tools”).
command (MIDI only)
• Using the File menu Export commands:
Importing and Exporting • Selected Tracks as New AAF/OMF
Data to and from a Session • Selected Tracks as New Session
• MIDI
Importing
• Sibelius
Pro Tools lets you import audio, video, MIDI, clip
• Session Info As Text
groups, or session files into the current Pro Tools
session by: • Using the Tracks Right-click menu:
• Dragging and dropping from: • Send To Sibelius command (Score Editor
only)
• A Workspace browser
• Export MIDI command
• Mac Finder or Windows Explorer
When files are added to a Pro Tools session, Audio files formats other than WAV and AIFF
they remain at their current hard drive location and must be converted on import. Pro Tools automati-
are not moved or copied. The session references cally converts these files to the current session file
the original files wherever they are on your system. format on import. Also, if the session is not en-
Additionally, the files referenced by the session re- abled for Interleaved files, Pro Tools splits inter-
tain their original file format, sample rate, and bit leaved audio files into multiple mono files on im-
depth. port.
When files are copied into the session, the orig- If clip definitions are present in an audio file, you
inal files remain wherever they are on your system can convert and import the audio for a clip without
and are copied to the session’s Audio Files folder importing the entire parent audio file using the Im-
and are then added to the session. The session ref- port Audio command.
erences the copied files, not the original files. Ad-
ditionally, the copied files referenced by the Pro Tools 7.x and higher does not support
session retain their original file format, sample audio file names that contain certain ASCII
rate, and bit depth. characters (see “Opening a Session that
Contains Audio File Names with Illegal
When files are converted into the session, the
Characters” on page 361).
original files remain wherever they are on your
system, converted to the session file format, sam-
Supported Audio File Formats
ple rate, and bit depth, and are written to the ses-
sion’s Audio Files folder. The session references Audio files of the following types can be
the converted files, not the original files. imported into Pro Tools sessions without
conversion:
Files That Can Be Added to a Session Without
Conversion • AIFF
• WAV or BWF (.WAV) (including support for
Any audio file of a supported file format (WAV
WAV Extensible and RF64)
and AIFF) and bit depth (16, 24, and 32-bit float)
can be added to sessions without conversion. Au-
dio files with sample rates that do not match the
• QuickTime (Mac only) 2 From the Sample Rate Conversion Quality pop-
up menu, select a quality setting. For most ap-
• ReCycle (REX 1 and 2) files
plications, the Good or Better setting will yield
• Sound Resource (AIFL—Mac only) very good results.
When using the Import Audio command, inter- 1 Select audio, video, MIDI, clip group, REX, or
leaved stereo files are automatically imported to ACID files in a Workspace browser, or Win-
stereo tracks. With Pro Tools HD, greater-than- dows Explorer, or Mac Finder.
stereo multichannel audio files are automatically 2 Drag the selected files onto the Clip List.
imported to tracks with the corresponding multi-
channel audio file format. To import files into an existing track:
If the Interleaved option is enabled for the session, 1 Select the files you want to import in a Work-
or is enabled on import, interleaved files are im- space browser, or Windows Explorer or Mac
ported to the session and remain interleaved files. Finder.
If this option is not enabled, interleaved files are 2 Drag the selected file to a location on an exist-
split into multi-mono. ing, compatible track. The file is imported and
placed where it was dropped.
Conversely, split stereo (dual mono) audio files
can be automatically imported to stereo tracks. To import files as new tracks:
Split stereo audio files must have the channel iden-
tifiers “.L” and “.R” in their names (for example, 1 Select the files you want to import in a Work-
filename.L and filename.R), and the files must be space browser, or Windows Explorer or Mac
the same length. In Windows, or in Mac/PC Com- Finder.
patibility mode, these files will have a 3-letter file 2 Do any of the following:
extension appended after the “.L” or “.R” channel
• Shift-drag files and drop anywhere in the Edit
identifier.
window.
• Drop files to the Track List.
Importing Files with Drag • Drop files to empty space in the Edit window,
and Drop below or between tracks.
Pro Tools lets you import audio, MIDI, video, and Importing does not always convert or copy
session files by dragging and dropping files from a audio files. See “Audio Conversion on Im-
Workspace browser, Windows Explorer, or Mac port” on page 304.
Finder to the Pro Tools application icon, the ses-
sion Timeline, a track, the Track List, or the Clip
List. Importing using drag and drop does not
necessarily bring the Edit window to the
The following figure illustrates some of the foreground. For example, dragging and
options available to import files using drag and dropping a file from a browser into a track
drop from Workspace browsers. leaves the source browser in the fore-
ground (not the Edit window). Always
verify the active, foreground window or
browser before continuing.
Adjust the preview volume with the vertical slider. 5 When you have added all audio files and clips to
To navigate to a particular location in the file, use the Import list, you can apply sample rate
the horizontal slider under the Play and Stop but- conversion by doing the following:
tons.
• Enable Apply SRC.
The Preview Volume control in the Import • Specify the Source Sample Rate either by typ-
Audio dialog also affects the preview volume ing a number, or by selecting a sample rate from
when auditioning clips in the Clip List. the pop-up menu.
The audition output path defaults to channels 1–2. • Select the sample rate conversion quality from
For Pro Tools systems with more than 2 channels the Quality pop-up menu. This setting overrides
of output, the audition path can be changed in the the Sample Rate Conversion Quality setting in
I/O Setup (see “Audition Path” on page 67). the Processing Preferences page.
6 Click Done.
To import ACID and REX flies as sample-based To import REX files as tick-based clip groups:
clips: 1 Choose Setup > Preferences and click the
1 Choose Setup > Preferences and click the Pro- Processing tab.
cessing tab.
2 Select the Import REX Files as Clip Groups
2 Disable the Import REX Files as Clip Groups op- option.
tion.
3 To apply real-time crossfades to the files, enable
3 Select No Files as the Drag and Drop from the Automatically Create Fades option (see
Desktop Conforms to Session Tempo prefer- “Automatic Fades for Imported REX Files” on
ence. page 313).
4 Click OK to close the Preferences dialog. 4 Select REX and ACID Files Only or All Files as
the Drag and Drop from Desktop Conforms to
5 When importing by drag and drop from Work-
Session Tempo preference.
space browsers, make sure that the Audio Files
Conform to Session Tempo option is disabled. 5 Click OK to close the Preferences dialog.
6 Import the ACID and REX files you want by 6 Do one of the following:
drag and drop from a Workspace browser or the • Import the REX files you want by drag and drop
Desktop, or using the Import Audio command from a Workspace browser
(see “Importing Audio Files and Clips Using
• Import the REX files you want by drag and drop
the Import Audio Command” on page 309).
from the Desktop.
4 In the Preferences dialog, click the Editing tab. When you import monophonic audio files that
were recorded simultaneously, they are converted
5 Under Default Fade Settings, click REX.
to multichannel clips and displayed together in the
6 In the REX Auto-Crossfades dialog, select the Clip List. Any metadata is also imported with the
shapes you want for crossfades, and click OK. files.
7 Click OK to close the Preferences dialog.
Importing Polyphonic Audio
Depending on your edits or tempo changes Files
after importing REX files, fades can be
deleted and you will have to recreate them
A polyphonic audio file contains multiple mono
manually.
channels and relevant metadata recorded simulta-
neously in a multichannel recording.
Exporting Audio
Pro Tools supports exporting audio clips as audio
files, exporting left and right audio files as stereo
interleaved files, and exporting clip information.
Exporting a Clip as a New Audio 3 In the Export Selected dialog, set the File Type,
File Format, Bit Depth, and Sample Rate. In addi-
You can export clips as audio files with the tion, specify the Conversion Quality, and choose
Export Clips as Files command. Use this the Destination Directory.
command if you intend to use a clip in other ses-
sions (or other audio applications) without using
its parent source file.
Additional Options
Pro Tools exports all unmuted MIDI and Instru- Exporting Individual MIDI and
ment tracks in the current session to a Standard Instrument Tracks
MIDI File and writes it to your hard drive. Ex-
You can also export individual MIDI and Instru-
ported MIDI information includes notes, controller
ment tracks as MIDI files. This can be useful for
events, program changes, and System Exclusive
storing libraries of your favorite MIDI sequences
data, as well as events for tempo, meter, and mark-
or Sysex data (such as bulk or individual patch
ers.
dumps for your external MIDI devices), or for im-
The SMPTE start time for the session or the song porting MIDI into notation applications (other than
(depending on the selection from the Location Ref- Sibelius).
erence pop-up menu) is also exported. This en-
To export a single MIDI or Instrument track as a
sures that the exported tracks, when played from
MIDI file:
another MIDI application, will align with the cor-
rect SMPTE frames, and also synchronize cor- 1 Do one of the following:
rectly to tape and video devices, or Pro Tools. • Right-click the Track name of an unselected
track in the Edit or Mix window, or in the Track
See your third-party MIDI sequencer documenta-
List.
tion to determine whether it supports importing
SMPTE start times from MIDI files. • In the Track List, or Mix or Edit window, Com-
mand-Right-click (Mac) or Control-Right-click
Items Not Exported with MIDI Files (Windows) the track name.
Mute automation and muted clips do not affect ex- 2 From the Right-click menu, select Export MIDI.
ported MIDI. As long as a MIDI track is not muted 3 Set the Export MIDI settings in the Export
by clicking its Mute button, or an Instrument track MIDI Settings dialog.
is not muted by clicking its MIDI Mute button (In-
struments view), all of its MIDI data is exported. 4 Click OK.
13 To import Markers and Memory Locations from • Dragging a session to a track in Pro Tools lets
the source session, select the Import you import tracks.
Marker/Memory Locations option. • Dragging a session to a track playlist in
Pro Tools opens the Import Session Data dialog,
14 To import Window Configurations, select the
letting you select tracks and attributes to import.
Import Window Configurations option.
The imported session data will begin wherever
15 With Pro Tools HD, select the Import Mic Pre you drop the session in the Timeline.
Settings option to import any Mic Pre settings
from the source session.
16 Click OK when you are finished.
In the Import Session Data dialog, you can make You can select All, None, or any combination of the
sure track names match when you are importing listed track data to import. The following are avail-
playlists from source tracks with the same name as able for import:
destination tracks in the current session (such as a
All Imports all of the source track’s playlists, ac-
new cut of a scene). Click Matching Tracks to au-
cording to the Main Playlist Option setting, and all
tomatically match the track names. Tracks must
of the attributes in the Track Data to Import list.
have the same name, track type, and channel for-
mat to be automatically matched. None Imports only the source track’s main play-
list, according to the Main Playlist Options setting,
Track Data to Import and no other attributes of the source track.
In the Import Session Data dialog, the Track Data Alternate Playlists Imports all of the alternate
to Import pop-up menu is where you select which playlists from source track. The alternate playlists
attributes of the selected tracks you want to import appear in the playlist pop-up menu of the destina-
into the current session. tion track.
Selected attributes are applied to all tracks that you Clips and Media Imports all of the audio files or
choose to import into the current session. clips in the source track, and places them in the
Clip List.
Replacing Track Attributes
Clips Gain Imports the clip gain settings for all im-
When you import an attribute of the source track ported audio clips.
into an existing track in the current session, it re-
places the corresponding attribute in the destina- Volume Automation and Setting Imports the
tion track. If you choose not to import an attribute source track’s Volume fader setting and any auto-
of the source track, the corresponding attribute in mation data on the track’s Volume Automation
the destination track is playlist. The Volume fader setting and any Vol-
retained. ume automation data in the destination track are re-
placed.
Replacing Track Path Names
Pan Automation and Setting Imports the source
When you import a track’s input, output, send out- track’s Pan Slider settings and any automation data
put or hardware insert assignments, any custom on the track’s Pan Automation playlist. The Pan
path names and I/O configurations from the source Slider setting and any Pan automation data in the
session are not imported. You can import path destination track are replaced.
names and I/O configurations by importing I/O
Mute Automation and Setting Imports the source
Setup settings. For more information, see “Factory
track’s Mute setting and any automation data on
I/O Settings” on page 90.
the track’s Mute automation playlist. The Mute
setting and any Mute automation data in the desti-
nation track are replaced.
Import Marker/Memory Locations Imports mark- If you select this option and do not import any
ers and Memory Locations as they appear in the of the source track’s attributes, you replace the au-
Marker ruler, from the source session. Any mark- dio playlists while keeping your current mixer set-
ers and Memory Locations in the destination ses- tings.
sion are retained. Imported marker and Memory Import – Overlay New On Existing Playlists Im-
Locations are assigned the next available ports the main playlist from the source track. When
Marker/Memory Location numbers. you import the playlist into an existing track, any
Import Window Configurations Imports the Win- existing playlist data that overlaps data imported
dow Configurations from the source session. from the source track is trimmed and replaced with
the imported data. Any playlist data in the destina-
Import Mic Pre Settings Imports any Pro Tools tion track that does not overlap remains in the des-
Mic Pre settings from the source session. Any Mic tination track.
Pre settings in the destination session are replaced.
Do Not Import Does not import the main playlist
Import HEAT Master Settings (Pro Tools HD with from the source track. No audio is imported; only
the HEAT Software Option Only) Imports any the attributes selected in the Track Data to Import
HEAT Master settings from the source session, in- list are imported to the selected tracks. When se-
cluding Bypass, Drive, and Tone settings. The lected, importing all of the source track’s input,
HEAT Master settings in the destination session output, send, insert and plug-in attributes is equiv-
are replaced. alent to importing a channel strip.
When importing AAF sequences generated from Avid Mojo SDI or Avid Mojo is required for im-
an Avid video editing application, Pro Tools can porting MXF and OMF video.
import mono, stereo, and 5.1 and 7.1 surround au-
dio tracks. Mono tracks with 5.1 or 7.1 surround To import AAF or OMF sequences into Pro Tools,
panning can also be imported, with panning infor- do one of the following:
mation intact. (Greater-than-stereo multichannel Use the File > Import > Session Data command.
formats are supported with Pro Tools HD only.)
Use the File > Open Session command.
When opening and importing an AAF or OMF se-
Drag and drop them from any Workspace
quence, the New Session dialog opens and
browser or the desktop.
prompts you to name and save the sequence as a
new session. Once you name and save the new ses- For more information, see “Importing an
sion, the Import Session Data dialog opens. For AAF or OMF Sequence into an Existing
more information, see “AAF/OMF Source Track Session” on page 333.
Translation Settings” on page 338.
To import individual Avid MXF or OMF video files
into Pro Tools, do one of the following:
8 Name your session in the Save As field. 11 Select an option for importing video from the
Video Media Options pop-up menu (see “Video
9 Click Save. The Import Session Data dialog Media Options” on page 336).
opens.
12 Change other settings and options as necessary
You can open and import OMF or AAF (see “Import Options when Importing AAF or
sequences that reference audio files with OMF Sequences” on page 335).
mixed sample rates or bit depths.
13 Click OK.
If there are any errors or clip name truncations, You can use the Source Sample Rate settings
a dialog will appear asking you if you want a to compensate for any pull up or pull down
detailed report of the changes. Click Yes and factors that may have been applied to the au-
choose where you want to save the log. dio prior to importing. In a sequence with files
of mixed sample rates, set the Source Sample
12 If your audio or video source media is on a vol- Rate in proportion to the Target sample rate
ume that is not suitable for playback (shown as of the session, and the pull up or pull down
a Transfer volume in the Workspace browser), compensation will be applied correctly to all
Pro Tools displays a dialog that guides you to files in proportion with their original sample
copy the media to a volume designated for Play- rate.
back or Record. (Click Yes.)
Pro Tools imports the audio and video media to the Importing Audio from AAF
Timeline. Audio tracks with mixed sample rates Sequences with Unsupported
are automatically converted to the same sample
Video Formats
rate as the session. Pro Tools lets you import audio from AAF se-
quences containing unsupported video formats, in-
cluding high-definition Avid video files with
frame rates over 30 frames per second.
You can sample-rate convert the audio during Select this option to import a video track with of-
translation. fline media. You will be able to see cuts and clip
names, but the video media remains offline. You
Force to Target Session Format can view the video media on the connected Video
Satellite system. This option is only available
Use this setting to convert source media to the ses- when New Satellite Track is selected for the video
sion audio file format if the source media file for- track.
mat differs from the session file format.
The Import Volume Automation setting lets you Click the Markers to Import menu and select
import volume breakpoint automation, or ignore it None.
entirely. Media Composer and other Avid products
To import Markers based on marker color:
provide volume automation, for continuous vol-
ume change throughout a sequence. 1 Click the Markers to Import menu.
9 Select other export options. 16 Click Choose (Mac) or Use Current Folder
(Windows).
For more information, see “Export Options
when Exporting to AAF or OMF Sequences” on Pro Tools exports the composition and related me-
page 347. dia to the appropriate folders.
10 Click OK.
5 Ensure the Target Project Timecode Format is Pro Tools exports the AAF sequence to the se-
correct for the Avid application project to which lected folder, and exports the related media to the
you are exporting the AAF sequence. OMFI MediaFiles folder (OMF files) or the Avid
MediaFiles folder (MXF files).
6 Under the Audio Media Options section, select
MXF from the Audio Format pop-up menu. 16 If you are ready to import the files into the Avid
application, exit Pro Tools.
7 Verify the Audio Bit Depth setting is acceptable
for the recipient of this export. For more information on working in Avid
8 If you’re exporting a sequence that contains ste- applications, see the appropriate Avid
reo, 5.1 or 7.1 l tracks and want to export those application guide.
tracks as multi-channel audio files, enable the
Export Stereo, 5.1 and 7.1 Tracks as Multi-
Channel option.
9 Click OK.
10 In the Publishing Options dialog, type the
Pro Tools Comment and Sequence Name.
4 Select Enforce Avid Compatibility. 6 Select a Sample Rate and Bit Depth.
7 Click Bounce.
Enforce Avid Compatibility creates frame-
accurate edits, wraps the files as OMFI (unless 8 In the Publishing Options dialog, do the
you choose MXF), and limits the sample rate following:
options to 44.1 or 48 kHz. Dither without noise • Type the Pro Tools Comment and Clip Name.
shaping will be applied to files being
exported from 24-bit to 16-bit. • Choose a Target Project Timecode Format that
matches the Avid application project to which
5 Select MXF for the File Type. you are exporting the MXF audio.
2 Choose File > Export > Selected Tracks As New 8 In the Save dialog, name the session.
Session. The Save Session Copy dialog opens.
9 Navigate to where you want to save the session.
(You can also open the Save Session Copy dia-
log by choosing File > Save Copy In.) 10 Click Save.
2 Select whether to include the File List, Clip Next, if you choose to include them, are the lists of
List, and track EDLs. audio files and clips.
3 If you choose to include track EDLs, select Track EDLs
whether to show subframes, and whether to in-
clude user timestamps. Also select an option for The final item, if exported, is the list of track
crossfade handling. EDLs. A track EDL lists the track name, and all ed-
its, including the event number, the clip name, clip
4 If you choose to include track EDLs, select the start and end time, and clip duration. The clip time-
Time Format for the exported session text from
stamp is also exported, if you select this option.
the pop-up menu. Subframes are shown in each time field if you se-
5 Select the File Format for exported text using lect this option.
the pop-up menu.
File Format
• Plug-Ins
• Track routing
On Mac, you can to export to TextEdit, UTF-8, MS
Excel, MS Word, Write Now, Word Perfect, and • Meter map
AppleWorks text formats. On Windows, you can • Clip List information
export to either TextEdit or UTF-8.
Pro Tools provides several ways to import clip
groups into an open session:
Importing and Exporting Clip • “Importing Clip Groups with Pro Tools Menu
Group Files Commands” on page 355
• “Importing Clip Groups with Drag and Drop” on
Pro Tools can export and import the clip group file
page 356
format (.rgrp). This lets you do the following:
• Separate clip group metadata from audio files to
avoid unnecessary file copy operations when ex- Importing Clip Groups with
Pro Tools Menu Commands
porting audio clip groups composed from multi-
ple source files. To import a clip group with Pro Tools menu
• Export MIDI data as part of a clip group. commands:
• Create multitrack loops. 1 Choose File > Import > clip groups and select the
clip group you want to import.
Clip group files store the following metadata:
2 In the Clip Group Import Options dialog,
• References to all audio files within the clip choose where the clip group will go:
group
New Track Creates a new track where the clip
• Clip names and relative location in tracks
group will be imported.
• Embedded fades and crossfades
Clip List Imports the clip group into the Clip List,
• Clip group names and format (single or multi-
where it will be where it will be available to place
track)
into tracks.
• All MIDI data present in the clip group (such as
notes, controllers, and Sysex)
• Track names
• Elastic Audio Warp markers and TCE factor
• Clip timebase (samples or ticks)
• Sync points
To export a clip group: Generally, if you are exporting clip groups to an-
other hard drive, you should copy any referenced
1 Select one or more clip groups in the Clip List.
audio files. This way you can move clip groups not
2 From the Clip List menu, choose Export Clip only from one session to another, but from one sys-
Groups. tem to another.
Transfer Files
AES31/Broadcast Wave is a variant of the stan- When using the WAV file format in Pro Tools
dard audio WAV file type. The AES31 format con- sessions, the corresponding channel order for
tains SMPTE time stamps and other information each channel of greater-than-stereo, inter-
beyond the raw PCM audio data. leaved multichannel files is displayed in the
Clip List.
This variant complies with standards set by the
AES (Audio Engineering Society) and EBU (Eu- RF64
ropean Broadcasters Union). Choose this option to
Pro Tools supports the RF64 audio file format.
ensure compatibility with other workstations that
RF64 is an extension to the WAV audio file format
recognize this file type.
that addresses the 4 gigabyte size limitation of
To make imported WAV files compliant with the
other WAV audio file formats. RF64 audio files
AES31/EBU Broadcast standard: are identified in Workspace browsers with the des-
ignation “MBWF” in the Attributes field.
1 Choose Setup > Preferences and click the Pro-
cessing tab. Lower versions of Pro Tools cannot read
2 Select the Convert Imported “.wav” Files to RF64 files. These files have to be manually ed-
AES31/BroadcastWave option. ited and consolidated so that they are no
larger than 4 GB in order to be available to
3 Click OK. systems running lower versions of Pro Tools.
2 Do one of the following: To transfer Pro Tools Mac sessions from HFS+
drives to NTFS drives:
• Drag the session folder from the NTFS drive to
the HFS+ drive. 1 Set the MacDrive Options to Normal Use.
• Open the Windows session on the NTFS drive, 2 Do one of the following:
choose Save Copy In, and save a copy of the ses- • Drag the session folder from the HFS+ drive to
sion to the HFS+ drive. the NTFS drive.
• Open the Mac session on the HFS+ drive, and
when prompted, choose Save Copy In and save a
copy of the session to the HFS+ drive.
To record or play back from HFS+ drives with When saving (or creating) a copy of a Pro Tools
Windows using MacDrive: session that you want to be compatible on both
1 In Windows, go to the MacDrive Control Panel. Mac and Windows, keep in mind the following
limits and how Pro Tools deals with them:
2 Choose Options > File Names and select the In-
ternational Use option. Audio File Types
3 Delete all options listed under “File Name The recommended file format for cross-platform
Maps.” interoperability is BWF (.WAV). To support opti-
mal session interchange, Pro Tools defaults to
4 In Pro Tools, choose Window > Workspace and
BWF format for new sessions.
make sure that all Mac-formatted volumes are
set to R (record) or P (playback) in the A (Au- Pro Tools lets you save, bounce, and export in a
dio) and V (Video) columns. variety of audio file formats, including WAV,
AIFF, MP3, and QuickTime.
Clip names, track names, file names, and plug-in To save an existing session to Pro Tools 6.9.x or
settings cannot use ASCII characters that are in- lower and maintain Mac and Windows
compatible with either system. compatibility:
1 Choose File > Save Copy In.
When importing files into a session, incompatible
characters are converted to underscores (“_”) and 2 In the Save Session Copy dialog, choose a des-
the renamed files are placed in the tination and type a name for the new session
Renamed Files folder. file.
The following characters cannot be used in 3 Set the Audio File Type to AIFF or BWF
Windows sessions: (.WAV). These file formats are compatible with
/ (Forward Slash) either platform.
\ (Backslash) 4 Set the Sample Rate and Bit Depth for the
: (Colon) session.
* (Asterisk) 5 Select Enforce Mac/PC Compatibility. This op-
? (Question mark) tion must be selected to make the session cross-
“ (Quotation marks) platform compatible.
< (Less-than symbol) 6 Select the Items to Copy options for the new
> (Greater-than symbol) session.
| (vertical line or pipe) 7 Click Save.
Any “high order” ASCII character (created with
If the session previously used SD II files, the files
a key combination)
are converted to the new audio file format.
For details on transferring sessions between Windows and Mac systems, see “Sharing Sessions Created
on Different Computer Platforms” on page 363.
Maximum number of 512 Aux Input tracks 512 Aux Input tracks 128 Aux Input tracks
Auxiliary Input tracks
Maximum number of 512 Instrument tracks 512 Instrument tracks 512 Instrument tracks
Instrument tracks
When opening a Pro Tools 9.0 session with When opening a Pro Tools 9.0 session with
Pro Tools 8.1 or 8.5, you are warned that you Pro Tools 7.4.x, you are warned that you are
are opening a session created with a newer opening a session created with a newer ver-
version of Pro Tools and that not all session sion of Pro Tools and that not all session
components will be available. components will be available.
When opening a Pro Tools 9.0 session with When opening a Pro Tools 9.0 session with
Pro Tools 8.1 or 8.5, the following occurs: Pro Tools 7.4.x, the following occurs:
• Any audio tracks beyond 256 are made inactive. • All that occurs when opening a Pro Tools 9.0
• Any internal mix busses beyond 128 are made session with Pro Tools 8.0.
inactive. • Inserts F–J and any associated automation are
• The Stereo Pan Depth reverts to –2.5 dB. removed.
• Clips from audio files larger than 2 GB
Opening Pro Tools 9.0 Sessions appear offline.
with Pro Tools 8.0 • Pitch transpositions of Elastic clips are
removed.
A Pro Tools 9.0 session can be opened with
Pro Tools 8.0, but certain session components • Chord markers are removed.
open differently or not at all.
• Any assignments to busses beyond 32 are made • If the session contains QuickTime movies in the
inactive. Clip List but no video track, the session opens
with a new QuickTime Movie track containing
• Any Instrument tracks beyond 32 are made inac- the first QuickTime movie from the Clip List.
tive.
• The Timeline displays and plays back only the
• TDM plug-ins with RTAS equivalents are con- video playlist that was last active. Alternate
verted; those without equivalents are made inac- video playlists are not available.
tive.
• In Pro Tools LE 7.1 or lower only, video clips
• Multichannel surround tracks are removed from and video clip groups are not shown or saved.
the session.
• Unavailable input and output paths are made in-
active.
• Any Delay Compensation settings are removed.
• VCA Master tracks are removed and any unco-
alesced VCA automation is dropped.
• HEAT (if present) is removed (Pro Tools HD 8.1
or higher sessions with HEAT option only).
• Output Bus assignments are removed
(Pro Tools HD 8.1 or higher sessions only).
2 Choose the language you want to use in To change to a different language version of
Pro Tools from the Language pop-up menu. Pro Tools:
1 Close Pro Tools if it is currently open.
2 Launch Apple System Preferences.
3 Click International (the “flag” icon).
4 Click the Language tab.
5 In the Languages column, drag the language
you want to the top of the list.
6 Close the International window.
7 Do one of the following:
• If you are changing from a localized language to
English, launch Pro Tools.
• If you are changing from one language to an-
other (or from English to a localized language),
log out and log in from the Apple menu, then
launch Pro Tools.
After importing or recording audio or MIDI to To stop playback, do one of the following:
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 Transport
Starting and Stopping Playback
or Shuttle, press 0 on the numeric keypad.
To start playback, do one of the following: • If you have a control surface connected and con-
• Click Play in the Transport. figured, press the Stop switch.
• Press the Spacebar. • If Pro Tools is online and slaved to another deck,
press stop on the master deck (see “Putting
• With the Numeric Keypad mode set to Transport
Pro Tools Online” on page 1100).
or Shuttle, press 0 on the numeric keypad.
• If the Numeric Keypad mode is set to Transport,
and the Use Separate Play and Stop Keys option
Playing Back Audio
is enabled, press Enter on the numeric keypad. To play back audio:
• If you have a worksurface or MIDI control sur- 1 Import or record audio to a track.
face connected and configured, press the Play
switch. 2 Assign the track’s Output selector to your main
monitoring path.
• If Pro Tools is online and slaved to another deck,
press play on the master deck (see “Putting 3 To have playback start from the beginning of
Pro Tools Online” on page 1100). the session, click Return to Zero in the Trans-
port.
For more information about the Numeric
Keypad modes, see “Numeric Keypad 4 Start playback.
Modes” on page 23. 5 The audio plays through the selected Output
Path. Adjust the track’s volume and pan faders
as necessary.
6 When you are finished, stop playback.
With the Timeline and Edit selections linked, you Setting Playback Location with
can click a clip or MIDI note with the Time Grab- Fast Forward/Rewind
ber tool to automatically update the Timeline with You can use the Fast Forward and Rewind buttons
the selection’s start time, letting you play from that in the Transport window to move the playback lo-
point. cation. If the Operation preference for Audio
During Fast Forward/Rewind is selected, the
Setting Playback Location with scanned audio is heard (similar to a CD player)
Basic Transport Controls when clicking the Fast Forward and Rewind but-
tons.
Transport controls in the Transport window and
top of the Edit window can be used to move the You can also fast forward or rewind incrementally
playback location. These include Rewind, Fast by repeatedly clicking the appropriate button. The
Forward, and Return to Zero (to move playback lo- size of these increments is determined by the Main
cation to the beginning of the session). For more Time Scale:
information, see “Basic Transport Controls and
Counters” on page 166. Bars|Beats Moves to the beginning of the previous
or next bar.
You can also move the playback location in multi- • Select a preset amount in the Back/Forward
ple increments by repeating the command (See Amount pop-up menu.
“Repeating Back/Forward Commands” on • In the Back/Forward Amount field, enter a
page 383). custom amount.
You can audition and play just the pre-roll or post- To audition a selection start point:
roll material for a selection. Press Command+Left Arrow (Mac) or
Control+Left Arrow (Windows).
To play from the pre-roll point to the start of a
selection, or to the current Cursor location: When auditioning the beginning of a selection, the
Press Option+Left Arrow (Mac) or Alt+Left selection plays from the start point for a duration
Arrow (Windows). equal to the post-roll amount.
To play to the post-roll point from the end of a To audition a selection start point with pre-roll:
selection, or from the current Cursor location: Press Command+Option+Left Arrow (Mac) or
Press Command+Right Arrow (Mac) or Control+Alt+Left Arrow (Windows).
Control+Right Arrow (Windows).
To audition a selection end point:
Auditioning Start and End Points Press Option+Right Arrow (Mac) or Alt+Right
for Selections Arrow (Windows).
There may be times when you want to audition the When auditioning the end of a selection, playback
start or end of an audio selection without hearing begins before the end point by the pre-roll amount.
the entire selection. This allows you to check, for
instance, whether the beginning or end of a selec- To audition a selection end point with post-roll:
tion includes any unwanted clicks or pops. Press Command+Option+Right Arrow (Mac)
or Control+Alt+Right Arrow (Windows).
2 With the Selector tool, select the track range Dynamic Transport Mode
you want to loop.
Dynamic Transport mode lets you decouple the
3 Enable Loop Playback by doing one of the playback location from the Timeline selection.
following: This means that you can start playback from any-
where on the Timeline without losing your Time-
• Select Options > Loop Playback.
line or Edit selections. For example, you can use
• Right-click the Play button in the Transport win- Dynamic Transport mode in conjunction with
dow and select Loop from the pop-up menu. Loop Playback mode to quickly audition loop tran-
• Control-click (Mac) or Start-click sitions.
(Windows) the Play button in the Transport win-
When Dynamic Transport mode is enabled, the
dow.
Main Timebase ruler expands to double-height and
• Press Command+Shift+L (Mac) or reveals the Play Start Marker. The Play Start
Control+Shift+L (Windows). Marker determines where playback starts when the
• With the Numeric Keypad mode set to Trans- Transport is engaged. You can position the Play
port, press 4 on the numeric keypad. Start Marker independently of the Timeline Selec-
tion. The Play Start Marker can be repositioned
during playback and playback continues from the
new location.
Select or deselect Options > Dynamic With any Edit tool selected, click in the Play
Transport. Start Marker strip in the Main Timebase ruler.
Right-click the Play button in the Transport With any Edit tool selected, drag the Play Start
window and select Dynamic Transport from the Marker to a new location.
pop-up menu.
Click Fast Forward or Rewind in the Transport
Press Command+Control+P (Mac) or to relocate the Play Start Marker forward or
Control+Start+P (Windows) to toggle Dynamic backward by the standard Fast Forward and Re-
Transport mode on or off. wind increment amount.
Enabling Dynamic Transport mode automat- Double-click anywhere in the Play Start
ically disables Link Timeline and Edit Selec- Marker strip in the Main Timebase ruler to
tion, and automatically enables Loop Play- move the Play Start Marker to that location
back mode. and start playback.
4 Click OK.
2 Ensure that Loop Playback mode is enabled. 2 Click the Operation tab.
4 Reposition the Play Start Marker before the 4 Select Use Separate Play and Stop Keys.
Timeline Selection Out Point.
This option overrides using the Enter key to
add Memory Location markers. Press Pe-
riod (.) and then Enter on the numeric key-
pad to add a Memory Location marker.
5 Click OK.
5 Start playback.
Since MIDI is not sample accurate, you may want to make several measurements at different grid
locations and average them to come up with the best value for the MIDI Beat Clock Offset.
Once you have measured the latency for your MIDI Beat Clock-enabled devices, be sure to keep
a record of these values in case you need to re-enter the MIDI Beat Clock Sample Offset in other
sessions.
Before you start recording in Pro Tools, you need Session Setup for Recording
to set up your Pro Tools system, a session, and one • Configuring a new or existing session for
or more tracks for recording. You will also need to recording:
configure how Pro Tools monitors the input you
• “Working with Hard Drives for Recording”
intend to record.
on page 412
While some of the information here is relevant to • “Recording with a Click” on page 400
preparing to record MIDI, there are more • “Setting the Session Meter and Tempo” on
specific setup details for MIDI recording in page 402
Chapter 22, “MIDI Recording.”
• Setting a Record Mode. See “Record Modes”
For information on recording audio, see on page 405
Chapter 21, “Audio Recording.”
Track Setup for Recording
For information on digitizing (recording) • Configuring one or more tracks for recording:
video in Pro Tools, see Chapter 53, “Work-
• “Configuring Default Names for Audio Files
ing with Video in Pro Tools” or the Avid
and Clips” on page 408
Video Peripherals Guide.
• “Assigning Hardware I/O on a Track” on
page 409
Record Setup Overview • “Record Enabling Tracks” on page 410
Record setup includes the following: • “Recording with Multiple Hard Drives” on
page 413
Hardware Setup for Recording
Monitoring Setup for Recording
• “Configuring Pro Tools Hardware I/O for Re-
cording” on page 398 • “Selecting a Record Input Monitoring Mode” on
page 415
• “Connecting a Sound Source” on page 400
• “Setting Monitor Levels for Record and Play-
back” on page 417
• “Reducing Monitoring Latency” on page 417
• “Recording with Delay Compensation” on
page 418
003 Rack+ has eight inputs with preamps, to which Set Input Levels
you can connect low-level signals.
When you feed a signal into any audio recording
003 and 003 Rack have four inputs with preamps, system, including Pro Tools, make sure to adjust
to which you can connect low-level signals, and the input level to optimize the dynamic range and
four additional line-level inputs with switchable signal-to-noise ratio of the recorded file. If the in-
gain. put level is too low, you will not take full advan-
tage of the dynamic range of your Pro Tools sys-
Eleven Rack has one Mic input with a preamp and tem. If the input level is too high, the waveform
1 instrument-level Guitar input with a special vari- can clip and distort the recording. Set the input lev-
able-impedance circuit called True-Z (for more in- els high, but not high enough to clip.
formation, see the Eleven Rack User Guide.)
As a general rule of thumb, try to set levels so that
Mbox (3rd generation), Mbox 2, Mbox Pro, Mbox they peak within –3 dB to –12 dB on the input me-
2 Pro, Mbox Mini, and Mbox 2 Mini each have two ter without triggering the clipping indicator on
inputs with preamps, to which you can connect your audio interface. Depending on the type of ma-
low-level signals. terial you are recording and its dynamic range and
peak content, you may want to record with higher
or lower levels.
Headroom Indicator
Headroom indicator
Pro Tools provides a numeric display (in dB) of Audio Volume indicator
the available headroom on tracks based on the last
Audio Volume and Headroom indicators
registered sample peak level in relation to the ref-
erence level of the currently selected Meter Type. Calibration Mode
The Headroom indicator is just to the right of the (HDX and HD Native Systems Only)
Audio Volume indicator below the faders and me-
ters in the Mix window. Click the Headroom indi- You can use the Calibration mode in Pro Tools to
cator to reset the current value. adjust the input and output levels for your audio in-
terface so they match those of your mixing console
Option-click (Mac) or Alt-click (Windows) to and other audio devices in your studio.
reset all Headroom indicators. Shift-Option-
click (Mac) or Shift-Alt-click (Windows) to HD I/O has one set of adjustable trim pots for its
reset the Headroom indicators for only se- inputs. Additionally, the reference level for the in-
lected tracks. put can be set to +4 dBu or –10 dBV. For more in-
formation on calibrating HD I/O, see the HD I/O
If the Headroom indicator is displayed in blue, Guide.
it is measuring below the dB value of the lowest
scale marking for the currently selected Meter There are no input or output trims on the following
Type. audio interfaces: HD OMNI, HD MADI. Some
Pro Tools audio interfaces that do not have output
trims (such as the HD OMNI) offer software-con-
trollable input levels, adjustable from Setup >
Hardware (see the guide for your particular audio
interface).
When your track material lines up with the beats, To create a click track using MIDI:
you can take advantage of some very useful editing
1 Create a new (mono) Auxiliary Input or Instru-
functions in Pro Tools, such as quantizing MIDI
ment track.
and audio events or clips, quantizing individual
MIDI notes, and copying and pasting measures 2 Do one of the following:
and song sections in Grid mode.
• From the track’s Input selector, select the path to
Material that is recorded without listening to which the MIDI device is connected.
a click can still be aligned to bar and beat • Insert an instrument plug-in on the track (such as
boundaries in Pro Tools with Beat Detective TL Metro or Xpand2).
(see Chapter 30, “Beat Detective”), or by us-
3 Configure the Click/Countoff options, and be
ing the Identify Beat command to determine
sure to select the port for the MIDI device or in-
the tempo (see “Identify Beat Command” on
strument plug-in from the Output pop-up menu
page 744).
(see “Click Options” on page 402).
4 Enable Click (see “Enabling the Click” on
page 401).
Selecting MIDI Controls from the Transport window Count Off button, enabled
menu
Hearing the countoff before recording helps musi-
• Command-click (Mac) or Control-click (Win- cians to start playing at the right time and in tempo.
dows) the Expand/Collapse “+” button in the The Count Off button in the Transport window dis-
Transport window to display the MIDI controls. plays the number of bars counted before the trans-
port starts.
• Option-click (Mac) or Alt-click (Windows) the
Expand/Collapse “+” button in the Transport The countoff is ignored when Pro Tools is on-
window to display the MIDI controls and the line and synchronized to SMPTE timecode.
Counters.
• Choose Setup > Click/Countoff. 4 Select whether the click is heard During Play
and Record, or Only During Record, or Only
• Double-click the Metronome button in the
During Countoff.
Transport window.
5 If using a countoff, specify the number of Bars
2 In the Click/Countoff Options dialog, do one of
to be counted off. To hear the countoff only
the following:
when recording, select that option.
• If using the TL Metro or Click plug-in, select
None in the Output pop-up menu. 6 Click OK.
To set the Manual Tempo with the Tempo slider: 2 In the Transport window, click the Tempo Ruler
Enable (Conductor) button so it becomes un-
1 To view the MIDI controls in the Transport win-
highlighted. Pro Tools switches to Manual
dow, select View > Transport > MIDI Controls.
Tempo mode. In this mode, any tempo events in
2 In the Transport window, click the Tempo Ruler the Tempo ruler are ignored.
Enable button (Conductor) button so it becomes
3 Do one of the following:
unhighlighted. Pro Tools switches to Manual
Tempo mode. In this mode, any tempo events in • Click in the Tempo field so it becomes high-
the Tempo ruler are ignored. lighted and tap the “T” key on your computer
keyboard repeatedly at the new tempo.
Tempo Resolution selector • If the Use MIDI to Tap Tempo option is enabled
Tempo value in BPM in the MIDI Preferences, click in the Tempo
Tempo Ruler field so it becomes highlighted and tap in the
Enable button tempo by playing a note repeatedly at the new
Manual Tempo mode tempo on your MIDI keyboard controller.
3 To base the BPM value on something other than To compute the new tempo, Pro Tools averages
the default quarter-note, click the Tempo Reso- the last eight (or fewer) taps to determine the cor-
lution selector and select a different note value. rect tempo. The computed BPM value appears in
(For example, if you are in 6/8, select a dotted- the Transport window’s Tempo field.
quarter note.)
To lock in the new tempo:
4 To enter a new tempo, do one of the following:
Take Pro Tools out of Manual Tempo mode by
• Drag the Tempo value up or down. For finer res-
clicking the Tempo Ruler Enable (Conductor)
olution, press Command (Mac) or Control (Win-
button, then set the default tempo for the Song
dows) while dragging.
Start Marker to the new tempo.
• Click the Tempo value, type a new number, and
press Enter.
(Optional)
• In the Mix or Edit window, double-click the
Track Name button for the track you want to re-
Track names define new file and clip names when name.
recording to a track (see “Naming Tracks” on • In the Track List in the Mix, Edit, MIDI Editor,
page 204). or Score Editor window, Right-click the track
When recording to an audio track, the resulting file name for the track you want to rename.
and clip names are based on the name of the track. 2 In the Track Name/Comments dialog, type a
For example, after recording for the first time on a new track name.
track called “Electric Gtr,” an audio file is created
with the name “Electric Gtr_01.” In addition, a clip 3 Click OK.
appears in the Clip List with the name “Electric
Gtr_01.” This clip is a whole-file clip. Names for Stereo Audio Tracks
Subsequent record takes on the same track are When recording to stereo audio tracks, audio file
named identically, but the digits (indicating the and clip names for the left and right channels are
take number) are incremented (for example, “Elec- appended with a “.L” and “.R” suffix.
tric Gtr_02.”) A second set of digits (such as used
in “Electric Gtr_01-01”) indicates that the clip was
auto-created from an edit.
To record enable multiple audio tracks: To record enable all selected audio tracks, or all
selected MIDI and Instrument tracks:
From either the Mix or Edit window, click each
audio track’s Record Enable button to toggle re- Option-Shift-click (Mac) or Alt-Shift-click
cord enable on or off for each track. (Windows) the Record Enable button on any se-
lected audio, or MIDI or Instrument track to
If Latch Record mode is not enabled, Shift- toggle record enable on or off for all selected
click each track’s Record Enable button to audio, or MIDI and Instrument tracks.
toggle record enable on or off for each track.
See “Latch Record Enable Buttons Prefer- Record enabling a track that is part of a Mix
ence” on page 412. Group does not record enable the other
tracks in the Group. To record enable all
To record enable multiple MIDI and Instrument tracks in a group, click directly to the left of
tracks: the group’s name in the Group List to select
From either the Mix or Edit window, Shift-click all tracks in the group, and then Option-Shift-
each MIDI or Instrument track’s Record Enable click (Mac) or Alt-Shift-click (Windows) the
button to toggle record enable on or off for each Record Enable button of one of the tracks to
track. record enable the selected tracks.
When the Latch Record Enable Buttons option is Command-Option-click (Mac) or Control-Alt-
selected in the Operation Preferences, you can re- click (Windows) the Record Enable button on
cord enable additional audio tracks by clicking any track.
their Record Enable buttons. Previously record-en- Command-Option-click (Mac) or Control-Alt-
abled tracks remain enabled. The Latch click (Windows) again to take all tracks out of Re-
Record Enable Buttons option affects audio tracks cord Safe mode.
only.
To put all currently selected tracks into Record
When the Latch Record Enable Buttons option is Safe mode:
deselected, record enabling a subsequent audio
track disables the previously record-enabled audio Command-Option-Shift-click (Mac) or Con-
track. trol-Alt-Shift-click (Windows) the Record En-
able button on any of the selected tracks to
To enable the Latch Record Enable Buttons toggle them in and out of Record Safe mode.
preference:
If you are using Round Robin Allocation and want Workspace Volume Designation
audio to be recorded to your system’s start-up
The Workspace volume designation can alter disk
drive, do the following:
availability, thus affecting Disk Allocation. From
• Open the Workspace browser (Window > Work- the Workspace browser, you can designate vol-
space) and set the Volume Designator for your umes as Record, Playback, or Transfer. If you
system volume to R (Record and Playback). See change a drive’s designation, making it read-only
“Workspace Volume Designation” on page 414. (Play Only or Transfer), check the Disk Allocation
window for any tracks formerly allocated to that
Round Robin Allocation is not supported with drive. For more information, see “Volume Permis-
partitioned hard drives. sions” on page 266.
Select Track > Auto Input Monitoring. When the TrackInput button in a track is disabled,
the track monitors in Auto Input mode.
For record-enabled tracks to use Input Only
Monitoring:
Press Shift+I to enable the TrackInput When audio tracks are record-enabled, their vol-
Monitor button for any track containing the ume faders in the Mix window turn red, indicating
Edit cursor on an Edit selection. that the record monitor level is active.
In Pro Tools, you record audio to audio tracks. Au- Basic Recording Steps
dio tracks can be mono, stereo, or multichannel as
appropriate for the recording source. To record an audio track:
7 Click Record in the Transport window to arm Undo or Cancel Audio Recording
Pro Tools for recording. The Record button Once you have recorded an audio track and the
flashes red to indicate that Pro Tools is ready to transport is stopped, you can undo the record take.
record.
To undo an audio recording:
8 Ensure that Normal Record mode is selected
(see “Record Modes” on page 405). Once the Transport has been stopped, choose
Edit > Undo Record Audio.
9 When you are ready to start recording, click
Play or press the Spacebar. The track’s playlist is restored to its previous state
and material is discarded as follows:
If using Countoff, Pro Tools counts off the speci-
fied number of measures and then begins record- • When in normal Record mode, only the most re-
ing. See “Recording with a Click” on page 400. cent take is discarded.
10 Record your performance. • When in Loop Record mode, all takes from each
record pass are discarded.
11 Click Stop in the Transport window or press the
Spacebar when you are finished recording.
Pro Tools can record multiple audio tracks simul- • Press 3 on the numeric keypad (when the Nu-
taneously, up to the track recording limits of your meric Keypad mode is set to Transport) to start
system. To record to multiple tracks, configure and recording.
record enable each track, then record. Follow the
same steps as in “Basic Recording Steps” on To initiate recording at half speed, press
page 421. Command+Shift+Spacebar (Mac) or
Control+Shift+Spacebar (Windows). See
“Half-Speed Recording” on page 440.
The Stop button lights and both the Play and Re-
cord buttons flash.
3 To begin recording instantaneously, click Play.
4 Click Stop to stop recording.
Timeline selection
Memory Locations
You can store Edit selections as Memory Loca-
tions, which can also include current pre- and post-
Transport window with Start, End, and Length fields roll values.
displayed
For more information on Memory Locations,
You can enter locations in the start and end fields
see Chapter 36, “Memory Locations.”
to set the record or play range. The Timeline Selec-
tion Markers in the Main Timebase ruler are up- To save an Edit selection with a Memory Location:
dated accordingly.
1 Ensure that Options > Link Timeline and Edit
To set the record range by entering start and end
Selection is selected.
times in the Transport window: 2 Set the record range by making an Edit or Time-
1 To see the start, end, and length times, do one of line selection, or by entering start and end times
the following: in the Transport window.
• Select View > Transport > Expanded. 3 To save the pre- and post-roll values, enable and
• Shift-click the Expand/Collapse “+” button in set the pre- and post-roll amounts by entering
the Transport window. them in the Transport window, or by dragging
the Pre- and Post-Roll Flags in the ruler that
2 Do one of the following: represents the Main Time Scale (see “Setting
• In the Transport window, click in the Start field. Pre- and Post-Roll” on page 427).
• Press Option+Forward Slash (/) (Mac) or 4 Press Enter on the numeric keypad or click the
Alt+Forward Slash (/) (Windows) on the nu- Add Marker/Memory Location button in the
meric keypad to select the start field in the Edit window.
Transport window.
5 In the New Memory Location dialog, set Time
3 Type in the start location and press Option+For- Properties to Selection, and if saving pre- and
ward Slash (/) (Mac) or Alt+Forward Slash (/) post-roll values, select the Pre/Post Roll Times
(Windows) on the numeric keypad to enter the option in the General Properties section.
value and automatically move to the end field.
The start and end times and pre- and post-roll set-
tings stored with the Memory Location are re-
called.
New Memory Location dialog Green Pre- and Post-Roll Flags (enabled) in the Main
Timebase ruler
6 Type a name for the new Memory Location.
Pre- and post-roll amounts can be entered in the
7 Click OK. Transport window, set from a track’s playlist or
Timebase ruler, or by recalling a Memory Loca-
To recall an Edit selection with a Memory Location: tion.
1 Make sure to select Options > Link Timeline and
Edit Selection.
To set and enable the pre- and post-roll times in To set and enable the pre- and post-roll by clicking
the Transport window: in a playlist:
1 Select View > Transport > Expanded. 1 Select Options > Link Timeline and Edit Selec-
tion.
2 In the Transport window, click in the pre-roll
field. 2 With the Selector tool, select the record range in
the track’s playlist.
3 Type in the pre-roll amount and press Forward
Slash (/) on the numeric keypad to enter the 3 With the Selector tool, Option-click (Mac) or
value and automatically move to the post-roll Alt-click (Windows) in the track’s playlist be-
field. fore the selection to enable the pre-roll at that
location.
4 Type in the post-roll amount and press Enter to
accept the new value. 4 With the Selector tool, Option-click (Mac) or
Alt-click (Windows) in the track’s playlist after
the selection to enable the post-roll at that
location.
• To record from the beginning of the session, • To record from the beginning of the track, click
click Return to Zero in the Transport. Return to Zero in the Transport.
• If Options > Link Timeline and Edit Selection is • If Options > Link Timeline and Edit Selection is
enabled, click anywhere in the track’s playlist to enabled, click anywhere in the track’s playlist to
begin recording from that point. begin recording from that point.
To record a specific track range, with precise To record a specific track range, with precise
start and end points, see “Audio Punch Re- start and end points, see “Audio Punch Re-
cording Over a Specified Range” on cording Over a Specified Range” on
page 429. page 429.
4 Click Record in the Transport to arm Pro Tools 4 Click Record in the Transport to arm Pro Tools
for recording. for recording.
6 Click Stop to stop recording. 6 When finished, click Stop to stop recording.
Pro Tools adds the new material to the end of the 4 Record enable the track.
track. If using Destructive Record mode, the new 5 To start from the beginning of the session, click
audio is appended to the audio file and clip from Return to Zero in the Transport.
the first take. In Nondestructive Record mode, a
new file and clip are created. 6 Click Record in the Transport to arm Pro Tools
for recording.
Recording to a New Playlist 7 Click Play to start recording.
Instead of recording over existing audio clips, 8 Click Stop to stop recording.
there is another way to nondestructively record
new takes to the same track. Do this by creating a An audio file for the new take is written to disk and
new playlist for the track, then record just as be- appears as an audio clip both in the track’s new
fore. playlist and in the Clip List.
Tracks can have multiple edit playlists, each of Selecting a previous playlist from track’s Playlist
which stores a list of clips strung together in a par- selector recalls its clips as they previously ap-
ticular order. Also, since playlists follow groups, peared in the track. At any time, all clips from all
duplicating or selecting alternate playlists for a playlists are available in the Clip List, and can be
track in an enabled group will affect all tracks in mixed and matched between playlists and tracks.
the group. For more information on playlists and play-
list editing, see “Playlists” on page 585.
When loop recording audio, Pro Tools creates a 5 To hear track material up to the start point of the
single audio file that includes all takes. Takes ap- loop, enable pre-roll and set the pre-roll time
pear as individual clips in the Clip List and are (see “Setting Pre- and Post-Roll” on page 427).
numbered sequentially. Once you stop recording, 6 Click Record in the Transport to arm Pro Tools
you can audition any of the recorded takes. for recording.
To use alternate takes created with Loop 7 Click Play to start recording.
Record in other sessions (such as when us-
ing Import Session Data), export clip defi- The Record button flashes during the pre-roll.
nitions (see “Exporting Clip Definitions” When the start point is reached, Pro Tools begins
on page 318). If clip definitions are not ex- recording. When the end point is reached,
ported, alternate takes created with Loop Pro Tools loops back to the start time and contin-
Record will be inaccessible when im- ues recording.
ported into another session. 8 To cancel all recorded takes while loop record-
ing, press Command+Period (.) (Mac) or Con-
trol+Period (.) (Windows).
9 When finished, click Stop to stop recording.
When loop recording, Pro Tools creates a single Selecting Alternate Takes from the Clip
file containing all recording passes where each re- List
cording pass is a clip in the file. On the track, only
the last recording pass is present as a clip in the To select a take from the Clip List:
main playlist. All other clips (recording passes) are 1 In the Edit window, select the current clip (take)
hidden and can only be recalled as matching alter- with the Time Grabber tool.
nate clips (takes). When enabled, the new Auto-
2 Option-click (Mac) or Alt-click (Windows) dif-
matically Create New Playlists When Loop Record-
ferent clips in the Clip List to audition them.
ing option in the Operation Preferences page
automatically copies each clip (take) to a new play- 3 Control-drag (Mac) or Start-drag (Windows)
list in the track. This facilitates using Playlists the clip you want from the Clip List into the
view for auditioning and selecting alternate takes. playlist.
To automatically create new playlists when loop The clip replaces the previous take and snaps pre-
recording: cisely to the correct location.
1 Choose Setup > Preferences and click the Op-
eration tab.
The following In Addition To Match options are 1 Identify the clip on the main playlist with
mutually exclusive. matching alternate clips (takes).
2 Do one of the following:
All Any clips that include the time location of the
Edit cursor; or any clips that are either partly or • Right-click the clip and choose Matches >
fully within the current time range of the Edit se- Expand Alternates To New Playlists.
lection. • If the clip is selected, with the Selector tool,
Clip Start Any clips that have the same start time
Command-click (Mac) or Control-click (Win-
as the time location of the Edit cursor or Edit selec- dows) anywhere on the selected clip and choose
Matches > Expand Alternates To New Playlists.
tion.
• If the clip is not selected, with the Selector tool,
Clip Start and End Any clips that have the same
Command-click (Mac) or Control-click (Win-
start and end times as the Edit selection. dows) at the precise beginning of the loop or
Within Selection Any complete clips that are en- punch range and choose Matches >
tirely within the Edit selection. Expand Alternates To New Playlists.
None No other criteria in addition to the selected All matching alternate clips are copied to new
Alternates Match options are used to filter match- playlists on the track. To view all playlists for the
ing alternate clips. track, select Playlists view. In any track view, you
can also select any available alternate playlist as
the main playlist from the Playlist selector. For
Expanding Alternate Takes to more information, see “Playlists View” on
New Playlists or Tracks
page 590.
Pro Tools lets you copy alternate takes to new
playlists or tracks. This is especially useful for au- Expanding Alternate Takes to New
ditioning, editing, and mixing multiple alternate Tracks
takes or channels. Alternate takes are created when
Expanding alternate takes to new tracks readily fa-
punch and loop recording.
cilitates auditioning, editing, and mixing alternate
takes, each on separate tracks.
Expanding Alternate Takes to New
Playlists
To expand alternate takes to new tracks:
Expanding alternate takes to new playlists readily 1 Identify the clip on the main playlist with
facilitates track compositing. Once you have ex- matching alternate clips (takes).
panded alternate takes to new playlists on a track,
you can audition and edit them in Playlists view to 2 Do one of the following:
assemble the best takes in the main playlist. • Right-click the clip and choose Matches >
Expand Alternates To New Tracks.
• If the clip is selected, with the Selector tool,
Command-click (Mac) or Control-click (Win-
dows) anywhere on the selected clip and choose
Matches > Expand Alternates To New Tracks.
By Clip Name Names each new tracks after the On HD I/O and HD OMNI, Pro Tools can receive
corresponding original clip names that you see in digital audio from the factory-installed Optical
the Matches list. (ADAT) I/O at any time (if it is not set to S/PDIF).
However, Pro Tools can only receive digital audio
By Track and Clip Name Names all new tracks af-
from one of its enclosure [Encl] digital sources—
ter the source track name, but with the correspond-
AES/EBU, S/PDIF, or Optical (S/PDIF)—at a
ing original clip names in parenthesis.
time.
All matching alternate clips are copied to new
Enclosure digital sources come standard with Avid
tracks.
HD audio interfaces and are labeled on-screen as
[Encl] versions, to differentiate them from digital
inputs and outputs available on the Digital card in-
Recording from a Digital stalled in HD I/O. For example, the AES/EBU in-
Source puts and outputs that come standard in the HD I/O
If you plan to use a DAT player, digital-output CD enclosure are identified as AES/EBU [Encl].
recorder, or other digital device with your
The additional digital ports on the HD I/O are
Pro Tools system, make sure it supports the correct
TDIF, AES/EBU, and ADAT. Pro Tools can only
digital format. For example, your Pro Tools audio
receive digital audio from one of these ports at a
interface’s AES/EBU inputs and outputs should
time.
only be connected to another AES/EBU device.
Inputs on the HD I/O enclosure I/O and Digital
For additional information on configuring card can be used simultaneously. For example, on
your particular Pro Tools system for record- an HD I/O, it is possible to clock off a source from
ing from a digital source, see your User one of the enclosure inputs and have another digi-
Guide. tal input from the digital ports doing a sample rate
conversion, thus having two digital sources.
Half-Speed Recording
Pro Tools lets you play and record at half speed.
This capability is similar to that of a tape deck
where you can record material at half-speed and
then play it back at normal speed (faster and up an
octave), or record material at normal speed and
play it back at half speed (slower and down an oc-
tave), for special effects.
have audio Input and Output selectors. These Devices that are assigned as a MIDI Controller
selectors are different than the Instrument track’s in the Peripherals dialog (Setup > Peripherals) are
selectors for MIDI Input and Output and are pri- ignored when MIDI tracks are recorded. This is to
marily used for monitoring audio from MIDI in- avoid recording data from MIDI control surfaces
struments or instrument plug-ins. (such as Command|8).
It is not necessary to use QuickPunch, Track- To record and play MIDI, the device must be
Punch, or DestructivePunch to punch in with MIDI enabled in the MIDI Input Enable dialog. For more
or Instrument tracks. This capability is available information, see “Enabling Input Devices” on
both in Normal (Nondestructive) Record mode and page 442.
Destructive Record mode.
MIDI Control Surfaces In order to use any MIDI MIDI Input Enable dialog
control surfaces (such as Command|8), they must
be enabled in the MIDI Input Enable dialog.
Devices do not need to be selected to receive
MMC In order for Pro Tools to synchronize to MIDI data from Pro Tools. For example, a
MIDI Machine Control (MMC), the MMC source device used exclusively as a sound module
must be enabled in the MIDI Input Enable dialog. does not need to be selected in the MIDI
For more information on using MMC with Input Enable dialog.
Pro Tools, see “Using MIDI Machine Control” on
page 1102. 4 Click OK.
2 In the MIDI Input Filter dialog, select the All Ex- For more information on Input Quantize, see
cept option. “Input Quantize Command” on page 882.
3 Select the option for Program Changes. Leave
all other messages deselected.
Wait for Note
The Wait for Note button, located in the Transport
window, determines how Pro Tools begins record-
ing. When enabled, Pro Tools does not start re-
cording until a MIDI event is received. This en-
sures that recording begins only when you start
playing, and that the first note, or other MIDI data,
is recorded precisely at the beginning of the set re-
cord range (start time).
4 Select Options > Link Timeline and Edit 1 Configure a MIDI or Instrument track for re-
Selection. cording (see “Configuring MIDI or Instrument
Tracks for Recording” on page 446).
5 With the Selector tool, select the punch range in
the track’s playlist. 2 Ensure that Normal Record mode is selected
(see “Record Modes” on page 405).
For other methods of setting the record
range, see “Setting Punch and Loop Points” 3 In the Transport window, disable Wait for Note
on page 424. and Countoff.
4 Record enable the track containing the previous
6 To hear existing track material up to the start
take.
point, or after the end point, enable and set pre-
and post-roll times (see “Setting Pre- and Post- 5 Click Play in the Transport to start playback.
Roll” on page 427).
6 When you reach the punch-in point, do one of
7 Record enable the track containing the previous the following:
take. • Click Record in the Transport.
8 Click Record in the Transport to arm Pro Tools • For Pro Tools systems that support a connected
for recording. The Record button flashes. footswitch, press the footswitch at the punch-in
point.
9 Click Play to start recording.
10 When you have finished recording, click Stop in Footswitches are supported by 003 family in-
the Transport. The newly recorded MIDI data terfaces, Mbox Pro, and Mbox 2 Pro, as well
appears in the track. as any Pro Tools system with a supported con-
trol surface.
3 Select Options > Loop Playback. When Loop 13 To switch to a new record track, press Com-
Playback is enabled, a loop symbol appears in mand (Mac) or Control (Windows), and press
the Play button. the Up/Down Arrow keys to record enable the
previous or next MIDI or Instrument track.
14 When you are finished recording, click Stop in
the Transport.
Loop Playback enabled The newly recorded MIDI data appears as a MIDI
clip in the track’s playlist, and in the Clip List.
4 Record enable the MIDI or Instrument track.
Ensure that no audio tracks are record-enabled.
Loop Recording Multiple Takes
5 In the Transport window, click the MIDI Merge
When recording MIDI in Loop Record mode, new
button so it is highlighted.
clips are created each time new material is received
6 Disable Wait for Note and Countoff in the during a record pass. This differs somewhat from
Transport window. loop recording audio, where Pro Tools creates a
single audio file that comprises all takes, which ap-
7 Select Options > Link Timeline and Edit Selec-
pear as individual clips in the Clip List.
tion.
To record MIDI in Loop Record mode: The Record button flashes during the pre-roll.
When the start point is reached, Pro Tools begins
1 Configure a MIDI or Instrument track for re-
recording. When the end point is reached,
cording (see “Configuring MIDI or Instrument
Pro Tools loops back to the start point and contin-
Tracks for Recording” on page 446).
ues playing and recording.
2 Select Options > Loop Record. When Loop Re-
10 Play your MIDI controller. A new MIDI clip
cord mode is enabled, a loop symbol appears in
containing the newly recorded material is auto-
the Record button.
matically created and appears in the track’s
playlist, replacing the previous clip.
3 If you have not done so already, record enable 11 When you are finished recording, click Stop in
the MIDI or Instrument track by clicking its Re- the Transport.
cord Enable button. Make sure no audio tracks
The recorded takes appear as clips in the Clip List
are record-enabled.
and are numbered sequentially. The takes, which
4 Disable Wait for Note and Countoff in the are the same length and easily interchangeable, can
Transport window. be selected from the Matches pop-up menu—even
while the session plays or loops.
5 Select Options > Link Timeline and Edit
Selection.
Punch recording is used in many areas of audio Pro Tools Punch Recording
production for film, video, and music. Modes
Pro Tools provides three different manual punch
recording modes:
Introduction to Punch
Recording Modes QuickPunch A nondestructive Record mode that
lets record-enabled tracks be punched in and
Once basic track material has been recorded, it is punched out during playback by clicking the Re-
often necessary to replace some, but not all, of the cord button in the Transport. QuickPunch mode is
audio that makes up each track. Punch recording available on all systems.
lets you manually punch one or more audio tracks
in and out of recording without stopping the Trans- TrackPunch (Pro Tools HD Only) A nondestruc-
port. tive Record mode that lets individual tracks be
punched in, punched out, and taken out of record
You do not need to use QuickPunch or any enable without interrupting online recording and
other audio punch recording mode to punch playback.
record with MIDI tracks. MIDI tracks can be
punched while in Normal (Nondestructive) DestructivePunch (Pro Tools HD Only) A de-
Record mode, and in Destructive Record structive Record mode that maintains a single
mode. continuous audio file per punch track, and lets in-
dividual tracks be punched in, punched out, and
taken out of record enable without interrupting
online recording and playback.
• Tracks with assigned voices that are record-en- Command-Control-click (Mac) or Control-
abled. Start-click (Windows) the Track Compensation
indicator on the track.
• Tracks with Dynamically Allocated Voicing that
are not record-enabled. To apply Delay Compensation to all selected
• Tracks with Dynamically Allocated Voicing that tracks where Delay Compensation was
are record-enabled. suspended, do one of the following:
Transport and Record preferences for punch re- Punching out of record by pressing Record
cording appear on the Operation Preferences page. on the Transport takes the transport out of re-
These preferences specify how track and Transport cord enable.
record status respond during, between, and after
Destructive Recording and Transport RecordLock
punches and passes.
As a precaution against accidentally recording
over previous material, the Transport RecordLock
option is automatically disabled and grayed out
when Destructive record mode is enabled.
Audio Track RecordLock
Choose Setup > Machine Track Arming • Select Options > QuickPunch.
Profiles to configure your system, and choose • Right-click the Record button in the Transport
Window > Machine Track Arming to display and select QuickPunch.
the Machine Track Arming window.
When QuickPunch is enabled, a “P” appears in the
Record button in the Transport.
For information on remote track arming
with MachineControl, see the Machine-
Control Guide.
QuickPunch enabled
Before each pass, you must TrackPunch enable all Each track’s Record Enable button indicates its
tracks that you intend to punch (you can Track- TrackPunch and record enable status as follows:
Punch enable tracks without record enabling • When a track is TrackPunch-enabled but not re-
them). cord-enabled, its Record Enable button lights
solid blue.
To TrackPunch enable one audio track:
Option-Control-Shift-click (Mac) or
Alt-Start-Shift-click (Windows) a track’s
Record Enable button.
When TrackPunch enabled, Track record enable Record Enable button, enabled
buttons light solid blue.
• When a track is both TrackPunch-enabled and
Create track groups for each stem or set of record-enabled, its Record enable button flashes
tracks on which you plan to punch, then use blue and red.
the Group List to quickly select all tracks in • When a track is record-enabled only, its Record
the group. Enable button flashes red.
• While a track is recording (in any mode), its Re-
cord Enable button lights solid red.
To complete the setup for TrackPunch: 5 During playback, punch in and out on individ-
ual TrackPunch-enabled tracks by clicking their
1 Configure monitoring for record-enabled tracks respective Record Enable buttons.
by selecting a mode from the Track menu, or us-
ing the TrackInput button, as appropriate. 6 While continuing local or remote playback, do
Choices include: any of the following:
• Set Record Tracks to Auto Input • Punch in on other TrackPunch enabled tracks in-
dividually.
• Set Record Tracks to Input Only
• After punching out, take tracks out of record en-
Selecting either monitoring mode only affects able then record enable different TrackPunch en-
tracks that are record-enabled. abled tracks.
2 Start playback and compare levels of the input • Repeat as needed to punch other stems, tracks,
source with audio on disk. Click the TrackInput or takes.
button to toggle the track source. When lit
7 Stop playback. When you are finished with the
(green), the track is monitoring input. When un-
record pass, track Record Enable status and
lit (gray), the track is monitoring from disk (see
transport Record Arm status follow the current
“Selecting Record Monitor Modes with Track-
Audio Track RecordLock and Transport Record-
Input Monitoring” on page 416).
Lock preference settings.
3 When you are satisfied with your levels, you are
ready to start punch recording. After a TrackPunch recording pass, the punched
track’s playlist in the Edit window displays the
clips created by punching. You can use any of the
Trim tools after punch recording to open up the
Using TrackPunch head or tail of TrackPunch recorded clips, or to re-
After you have configured Pro Tools, tracks, and veal the parent audio file that was recorded in the
levels, you can record with TrackPunch in background. This lets you compensate for any late
several ways. or missed punches.
4 Click Play in the Transport to begin playback. Before using DestructivePunch in a record pass
you must configure Pro Tools, session, and track
5 During playback, punch out and back in on in-
settings.
dividual TrackPunch-enabled tracks by clicking
their respective Record Enable buttons.
6 Stop playback. When you are finished with the
record pass, track Record Enable status and
transport Record Arm status follow the current
Audio Track RecordLock and Transport Record-
Lock preference settings.
When DestructivePunch mode is enabled: • The File Length must be equal to or greater than
the DestructivePunch File Length setting (see
The letters “DP” appear in the Record button in “DestructivePunch File Length” on page 469).
the Transport.
If a track does not contain a file that meets these re-
If at least one track is DestructivePunch-en-
quirements, you can do any of the following to
abled, the Record button in the Transport lights
meet the requirements:
solid blue.
• Move the current file in the track Timeline so
that its beginning aligns with the session start.
• Use the Consolidate command to create a con-
tinuous file of the required length.
This method can be used when tracks already meet Monitoring and Levels
the requirements for DestructivePunch recording.
To complete the setup for DestructivePunch:
To simultaneously DestructivePunch enable and 1 Configure monitoring for record-enabled tracks
record enable an audio track:
by selecting a mode from the Track menu, as ap-
Click the track’s Record Enable button. The propriate. Choices include:
track’s Record Enable button flashes blue and
• Set Record Tracks to Auto Input
red.
• Set Record Tracks to Input Only
To simultaneously DestructivePunch enable and
record enable all audio tracks: Selecting either monitoring mode only affects
tracks that are record-enabled.
Option-click (Mac) or Alt-click (Windows) a
track’s Record Enable button. All tracks’ Re- 2 Start playback.
cord Enable buttons flash blue and red. 3 To compare levels of the input source with au-
dio on disk, click the TrackInput button. When
To simultaneously DestructivePunch enable and
record enable all selected audio tracks:
lit (green), the track is monitoring input. When
unlit (gray), the track is monitoring from disk
Option-Shift-click (Mac) or Alt-Shift-click (see “Selecting Record Monitor Modes with
(Windows) a track’s Record Enable button. The TrackInput Monitoring” on page 416).
Record Enable buttons for the selected audio
tracks flash blue and red. When you are satisfied with your levels, you are
ready to start punch recording.
8 Group the tracks into groups of eight. By default, Pro Tools drops out of recording when
it goes offline due to broken timecode. However,
9 Click the record enable buttons in the first eight
you can change this behavior so that Pro Tools will
tracks to TrackPunch enable the first eight
instead remain armed, waiting to begin recording
tracks (or, the group for the first pre-dub).
again when lock is re-established with the time-
Use the Group List to quickly select all tracks code of the next take.
in the group, and Option-Shift-click (Mac) or
To configure RecordLock for loading:
Alt-Shift-click (Windows) to record-enable
all the tracks in the group. 1 Choose Setup > Preferences and click the
Operation tab.
10 Assign the console paddles to the first eight-
track group in the session. 2 Enable Transport RecordLock.
11 Begin the pre-dub pass. Use the console paddles 3 Enable Audio Track RecordLock.
to arm Pro Tools, and to punch in and out on the 4 Configure synchronization and other settings as
first group. required.
12 When the first pre-dub is over and all tracks are 5 Put Pro Tools online, and start the external
punched out, clear all TrackPunch or Destruc- source player.
tivePunch enabled tracks.
6 Whenever timecode drops out or stops,
13 Select the next group of tracks and TrackPunch- Pro Tools remains online and waits to receive
or DestructivePunch-enable them. new timecode. The Transport and record-en-
14 Punch in and out on the second group of tracks. abled tracks remain record-enabled. When
timecode resumes, Pro Tools begins recording
15 Repeat the preceding steps as necessary. to a new audio file (properly time stamped
based on the incoming code).
Use the Edit window in Pro Tools to edit and ar- While editing for MIDI tracks is in some instances
range audio, video, and MIDI. Track material can destructive, with a few precautions you can keep
be edited nondestructively and in real time during important MIDI tracks and clips safe when per-
playback. forming edits (see “Nondestructive MIDI Editing”
on page 486).
The Edit window also lets you graphically edit
other data, as follows:
Editing During Playback
Editing Clips and Selections See Chapter 27,
Pro Tools lets you perform many editing tasks
“Editing Clips and Selections.” Also, see
while the session plays. This powerful capability
Chapter 37, “Arranging Clips.”
lets you interactively modify and edit a session,
Editing Fades and Crossfades See Chapter 28, hearing the changes as you make them.
“Fades and Crossfades.”
Use Loop and Dynamic Transport modes for
Editing Elastic Audio See Chapter 40, “Elastic auditioning and editing loops during play-
Audio.” back. See “Playback Modes” on page 388.
Editing MIDI See Chapter 31, “MIDI Editing.” Following are just a few examples of editing and
arranging tasks that can be performed while play-
Editing Automation See Chapter 46, “Automa-
ing back a Pro Tools session:
tion.”
• Capture, separate, cut, copy, paste, and trim clips
Editing Video See Chapter 53, “Working with
Video in Pro Tools.” • Place, spot, or rearrange clips
• Add fades or crossfades to audio clips
Nondestructive Editing • Quantize MIDI notes and audio events
The vast majority of audio editing in Pro Tools is • Transpose and otherwise modify MIDI tracks
nondestructive. Whether cutting, pasting, trim- • Nudge audio or MIDI clips
ming, separating, or clearing clips, you are only
• Audition different playlists
performing these functions on a map of the actual
media (such as audio files). The source files re- • Adjust or scale automation and MIDI
main untouched. However, certain processes or continuous controller data
tools work destructively (can permanently change • Insert real-time plug-ins
audio files on your hard disk), as noted in other
• Apply Real-Time (and Rendered) Elastic
topics.
Audio processing
Peak When selected, the waveform display is cal- Peak view is always shown during recording.
culated based on the sample-by-sample peak level. Power waveform view is calculated and
Peak view is traditionally how Pro Tools calcu- shown only after you stop recording.
lates the waveform overview and can be used for
normal or rectified views. Peak view clearly dis-
plays any clipping in the waveform. Power view is not available in Destructive
Punch mode or when zoomed to the sample
level.
Some important rules to keep in mind when Apply a crossfade between clips where a click
defining clips: or pop occurs. See “Creating a Crossfade” on
page 577 for details.
Whenever possible, begin a clip precisely
before a volume peak, and end it immediately be- With Pro Tools HD, use the AutoFade feature to
fore another volume peak. apply real-time fade-ins/outs to all clip boundaries
that do not touch or overlap other clips. See “Using
Whenever possible, make sure a clip starts and AutoFades” on page 578 for details.
ends on exactly the same part of a beat.
Use the following Pro Tools features to help
you edit rhythmic material or audio with clear tran-
sients into precise clips:
• Tab to Transients (see “Tabbing to Transients”
on page 534.)
• Editing to a Grid (see “Grid Mode” on page 496)
• Beat Detective (see Chapter 30, “Beat Detec-
tive”)
Cutting a MIDI clip with note overlap MIDI Clips and Continuous Controller
Events
Similar rules also apply when MIDI clips or clip
groups containing MIDI clips are trimmed with Continuous controller events reside in MIDI clips
any of the Trim tools. If the MIDI clip’s start point and not in tracks. This means that when dragging
is moved beyond a note’s start point, the note is re- clips that contain controller data from either a track
moved. If the clip’s end point is trimmed so that a or the Clip List, the controller data is written to the
note’s start point is within the clip but its end point destination track.
is not, the note remains and overlaps the edge of
You can edit continuous controller events by
the clip.
switching track views or by revealing the control-
ler lanes under the track.
When a MIDI or Instrument track’s Track View is To scroll the Notes display up or down for a MIDI or
set to Notes, MIDI notes are displayed in a Instrument track, do one of the following:
“piano roll” format. Each note is displayed as a Click either the up or down arrow of the mini-
small rectangle with its vertical placement indicat- keyboard.
ing pitch and its horizontal placement indicating
location in time (and duration).
Clip Gain Line Shows the Clip Gain Line for all
Display enabled for clip names, Overlap, and times clips in the Edit window. The Clip Gain Line lets
you edit the clip gain settings for any given clip us-
Displaying Clip Data on All Channels ing breakpoint editing, much like with track-based
For stereo and greater-than-stereo multichannel volume automation. See “Clip Gain Line” on
tracks, clip data can be shown on all channels. page 557.
To undo the last operation, do one of the following: Choose Window > Undo History.
Choose Edit > Undo. To undo operations in the Undo History window:
Press Command+Z (Mac) or Control+Z (Win- Click the operation (bold) in the list to undo.
dows).
All operations in the queue that were performed af-
If no actions are available to undo, the menu ter the operation you select are also undone. In the
displays Can’t Undo. Undo History window, undoable operations are
shown in bold and redoable operations (operations
that have already been undone) are shown in ital-
ics.
To redo all the operations in the Redo Queue: To set the Levels of Undo in Pro Tools:
Click the Options pop-up menu and choose 1 Choose Setup > Preferences and click the
Redo All. Editing tab.
Cut, Copy, Paste, and Clear When a track is displaying automation data or con-
troller data, only that data is placed on the Clip-
Use the Cut, Copy, Paste, and Clear commands to
board. Also, whenever you cut or copy automation
rearrange and edit track material. Edits can operate
data, bounding breakpoints are created at each end
on entire clips selected with the Time Grabber tool,
of the selected area, in order to preserve the slope
or on track ranges selected with the Selector tool.
of the automation both inside and outside the se-
Edits can also work across multiple tracks (see
lection.
“Editing Across Multiple Tracks” on page 494).
Edit mode buttons When using any of the Trim tools in Shuffle mode,
changing a clip’s start or end point automatically
The Edit mode affects the movement and place-
moves any subsequent clips as necessary. The
ment of audio and MIDI clips (and MIDI notes),
placement and insertion of MIDI notes is not af-
how commands like Copy and Paste function, and
fected by Shuffle mode.
also how the various Edit tools (Trim, Selector,
Grabber, and Pencil tools) work. Press F1 to enable Shuffle mode.
While in any Edit mode other than Shuffle Press F3 to enable Spot mode.
mode, Command-click (Mac) or Control-click
(Windows) the Shuffle button on-screen. A lock
icon appears in the Shuffle button. Grid Mode
In Grid mode, clips and MIDI notes that are
To unlock Shuffle Mode:
moved, trimmed or inserted “snap” to the currently
Command-click (Mac) or Control-click (Win- selected Grid value, or to precise increments on a
dows) the locked Shuffle button on-screen. user-definable time grid.
Slip Mode
Displaying Grid Lines
In Slip mode, clips can be moved freely within a
track or to other tracks. In this mode, it is possible To show (or hide) the Grid lines in the Edit window
or in a MIDI Editor window, do one of the following:
to place a clip so that there is space between it and
other clips in a track. When the track is played Select (or deselect) the Grid button.
back, this space is silent. It is also possible to move
a clip so that it overlaps or completely covers an-
other clip.
To select Absolute or Relative Grid mode: Press F1+F4 to enable Snap To Grid and
Click the Grid mode selector and choose Abso- Shuffle mode; press F2+F4 to enable Snap
lute or Relative. To Grid and Slip mode; and press F3+F4 to
enable Snap To Grid and Spot mode.
To temporarily suspend Grid mode and
switch to Slip mode while dragging a clip,
hold the Command key (Mac) or Control
key (Windows) after clicking.
To zoom in horizontally for all tracks, do one of the MIDI Vertical Zoom only affects tracks in not
following:
in Clips view.
Click the Horizontal Zoom In button.
To zoom in vertically for all audio tracks, do one of
Drag on the Horizontal Zoom In button to zoom the following:
in continuously.
Click the Audio Zoom In button.
Press Command+] (Mac) or Control+] (Win-
Drag on the Audio Zoom In button to zoom
dows).
continuously.
To zoom out horizontally for all tracks, do one of Press Command+Option+] (Mac) or Con-
the following: trol+Alt+] (Windows).
Click the Horizontal Zoom Out button.
To zoom out vertically for all audio tracks, do one
Drag on the Horizontal Zoom Out button to of the following:
zoom out continuously.
Click the Audio Zoom Out button.
Press Command+[ (Mac) or Control+[ (Win-
Click the Audio Vertical Zoom buttons.
dows).
Press Command+Option+[ or Command+Op-
tion+] (Mac) or Control+Alt+[ or Con-
trol+Alt+] (Windows).
To zoom MIDI vertically to show all notes (lowest to To zoom in horizontally on a selection without
highest) in MIDI and Instrument tracks: affecting vertical zoom or scrolling, do one of the
following:
Press Command+Control+Shift+[ (Mac) or
Control+Start+Shift+[ (Windows). Press Option+Control+F (Mac) Alt+Start+F
(Windows).
To zoom in or out vertically for a single MIDI or
Press Command+Control+] (Mac) or Con-
Instrument track:
trol+Start+] (Windows).
1 Make sure the Track View is not set to Clips.
To zoom horizontally to show the entire session,
2 Select the Zoomer tool.
do one of the following:
3 Hold Control (Mac) or Start (Windows) and Double-click the Zoomer tool in the toolbar.
drag upwards to zoom in, or downward to zoom
out. Press Option+A (Mac) or Alt+A (Windows).
Zoomer tool
To zoom horizontally and show the entire session, To store a view as a Zoom preset:
and to reset the audio waveform to show the
1 Use the Zoomer tool to configure the Track
default height, zoom MIDI to show all notes in a
track, and zoom the Tempo Editor to show all View.
tempo events, do one of the following:
2 Click and hold one of the Zoom Preset buttons
Double-click the Zoomer tool. (1–5) and choose Save Zoom Preset from the
Zoom Preset pop-up menu. The preset button
Press Option+A (Mac) or Alt+A (Windows).
flashes momentarily, and any previously stored
This will also affect your MIDI note heights. Zoom preset at that number is replaced.
Last Used When selected, zoom toggling in When this option is selected, the Grid setting
changes all tracks containing an Edit Selection to stored with Zoom toggle is recalled when zoom
the last used Track Height. toggling in. When this option is deselected, the
same (current) grid setting is used whether zoom
Medium When selected, zoom toggling in changes
toggling in or out.
all tracks containing an Edit Selection to the Me-
dium Track Height. Zoom Toggle Follows Edit Selection
Large When selected, zoom toggling in changes When selected, this option ensures that zoom tog-
all tracks containing an Edit Selection to the Large gle automatically follows the current Edit selec-
Track Height. tion. When disabled, changing the Edit selection
Jumbo When selected, zoom toggling in changes
has no affect on the currently toggled-in track.
all tracks containing an Edit Selection to the
Jumbo Track Height. Using Zoom Toggle
Extreme When selected, zoom toggling in changes Depending on the Zoom Toggle preference set-
all tracks containing an Edit Selection to the Ex- tings, the Zoom Toggle button in the Edit window
treme Track Height. lets you define a zoom state and toggle between it
and the current zoom state, or it zooms to the set-
Fit To Window When selected, zoom toggling in tings in the Zoom Toggle preferences. When
changes all tracks containing an Edit Selection to Zoom Toggle is enabled, the Edit window displays
the Fit To Window Track Height. the stored zoom state. Additionally, any changes
made to the view while Zoom Toggle is enabled
Track View
are also stored in the zoom state.
Waveform/Notes When selected, zoom toggling in
When Zoom Toggle is disabled, the Edit window
changes the Track View for audio tracks to Wave-
reverts to the last zoom state.
form view, and changes the Track View for Instru-
ment and MIDI tracks to Notes view.
Trim tool
Time Compression/Expansion Trim tool over a clip To set the AudioSuite plug-in for use with the TCE
Trim tool:
The TCE Trim tool unloops and consolidates 1 Choose Setup > Preferences.
looped clips.
2 Click the Processing tab.
3 From the TC/E Plug-In pop-up menu, select the
You can match an Edit selection to the length
AudioSuite plug-in to be used with the Time
of a Timeline selection by selecting Edit > TCE
Compression/Expansion Trim tool.
Edit to Timeline Selection command (see
“TCE (Time Compression and Expansion)
Edit To Timeline Selection” on page 565.
• Click the Trim tool pop-up menu and select 1 Set the Edit mode to Spot.
TCE. 2 Click the Trim tool pop-up menu and select
TCE.
3 Click the clip near its start or end point. The
Spot dialog opens. Using any Time Scale, enter
a new start or end time (or duration) for the clip,
Time Compression/Expansion Trim tool
then click OK.
• Right-click on any track and select Tools >
Trim Tools > TCE.
• Click at the end of the clip, and drag left or right 1 Select the Loop Trim tool.
to the point you want the loop to stop.
2 Move the cursor over the top half of the looped
• Click at the beginning of the clip, and drag left or clip (not over a Loop icon). The cursor indicates
right to the point you want the loop to start. the Loop Trim tool.
Loop Trim tool
Loop icon
Trim Trim
tool tool
(start) (end)
The following capabilities are available with the Tool switching for the Smart Tool in stereo and
Smart Tool when working in both automation and multichannel tracks is determined by the position
controller views: within the entire track, and not within individual
channels.
For the Selector tool, position the cursor any-
where in the bottom 75% of the playlist for the Se-
lector tool. Drag with the Selector tool to select
breakpoints. Using the Scrubber Tool
For Trim tools, position the cursor in the top The Scrubber tool lets you “scrub” up to two tracks
25% of the playlist for the Trim tool. Drag with the of audio in the Edit Window. Scrubbing is a tech-
Trim tool to trim breakpoints. Press Command nique that originated in tape editing, where the tape
(Mac) or Control (Windows) while trimming for was rocked back and forth past the playhead at
fine control. slower than normal speeds to find a particular loca-
tion (usually for cutting and splicing).
For Grabber tools, Command (Mac) or Control
(Windows) for the Grabber tool, then click in on While viewing an audio waveform in Pro Tools
the automation line to create breakpoints. can be helpful in visually finding an edit point,
sometimes a waveform display (because of its
• To edit existing breakpoints, move the cursor
sonic characteristics) may not reveal the desired
near a breakpoint for the Grabber tool.
spot in the audio material. By scrubbing back and
• For fine control with the Grabber tool, press forth in Pro Tools, you can listen and locate an ex-
Command (Mac) or Control (Windows)—or act edit point.
continue to hold the key if you are creating a
new breakpoint. When the Edit Insertion Follows Scrub/Shuttle op-
tion is enabled in the Operation Preferences page,
• To vertically constrain Grabber tool movement,
the edit cursor automatically locates to the point
press Shift.
where scrubbing stops.
• To vertically constrain Grabber tool movement
with fine control, press Command+Shift (Mac) When the Scrolling option is set to Continuous
or Control+Shift (Windows). (Pro Tools HD only) or Center Playhead
(Pro Tools HD only), clicking with the Scrubber in
a track’s playlist centers the Edit window around
that point, and moves the Playhead there. With
these Scrolling Options, scrubbed material moves
past the Playhead, which remains stationary and
centered.
2 Drag within the track: left for reverse or right When scrubbing multiple tracks, only the first two
for forward. tracks are heard.
The distance and speed with which you drag (with Scrub/Shuttle Mode
either the mouse, or the scrub wheel on a control When scrubbing normally, you can scrub at nor-
surface) determine the length and speed of the mal playback speeds or slower. Scrub/Shuttle
scrubbed audio. Audio from the scrubbed track is mode, however, lets you scrub at several times nor-
routed to its output, along with any effects as- mal speed, which is helpful in playing through
signed to the track. large ranges and locating material.
The resolution for the Scrubber is dependent on the
To scrub in Shuttle mode (at several times normal
zoom factor for the scrubbed track. speed):
You can temporarily switch the Selector tool 1 Select the Scrubber tool.
to the Scrubber tool by Control-clicking
2 While pressing Option (Mac) or Alt (Windows),
(Mac) or Start-clicking (Windows). For finer
drag within the track—left for reverse, right for
resolution, Command-Control-click (Mac) or
forward. The Fast Forward and Rewind buttons
Control-Start-click (Windows).
in the Transport window engage.
To scrub multiple audio tracks, do one of the
The distance and speed dragged determine the
following:
speed for the scrubbed audio.
With the Scrubber selected, drag between two
adjacent tracks.
Shuttle Lock Mode
Shuttle Lock mode lets you use the numeric key-
pad to shuttle up to two tracks forward or back-
wards at specific speeds: 5 is normal speed, num-
bers from 6 up to 9 provide increasingly faster fast-
forward speeds, and numbers from 4 down to 1
provide progressively faster rewind speeds (4 is
the slowest rewind Shuttle Lock speed, 1 is the
fastest). If multiple tracks are selected, only the
first two tracks are shuttled.
Scrubbing between two audio tracks
3 Press the Control (Mac) or Start key (Windows) 1 In Pro Tools, select Setup > Preferences and
and a number on the numeric keypad: 0–9 (9 is click the Operation tab.
fastest, 5 is normal speed, and 0 stops shuttling). 2 Be sure that the Numeric Keypad mode is set to
Transport or Classic (see “Operation Prefer-
Once Shuttle Lock mode is initiated, Fast Forward
ences” on page 100).
and Rewind become highlighted in the Transport
window. 3 Enter a percentage for the Custom Shuttle Lock
Speed setting. The range for this setting is
4 Press additional keys to change the playback
50–800%. You can use the Up and Down Arrow
speed, or press Plus (+) or Minus (–) to switch
keys to increase or decrease the setting.
the playback direction (plus for forward, minus
for backward). 4 Click OK.
5 To stop playback, press Control+0 (Mac) or The Custom Shuttle Lock Speed setting is saved
Start+0 (Windows). with your Pro Tools system preferences (not with
the session).
To exit Shuttle Lock mode, do one of the following:
Press Stop in the Transport window. To enable Custom Shuttle Lock Speed:
4 Hold any of the following keys (or key combi- Although you can Undo a Pencil tool edit, it is rec-
nations) on the numeric keypad to trigger play- ommended that you create a backup copy of the
back. target audio before using the Pencil tool. You can
do this by using the AudioSuite Duplicate plug-in.
Shuttle Speed Rewind Key Forward Key
The Pencil tool is a destructive editing tool
1 X Speed 4 6
that permanently modifies the audio file on
4 X Speed 7 9 disk and should be used with caution.
1/4 X Speed 1 3
For information about the AudioSuite Du-
1/2 X Speed 4+5 5+6
plicate plug-in, see the Audio Plug-Ins
2 X Speed 7+8 8+9 Guide.
Pencil tool
Timeline Selection Markers with Pre- and Post-Roll Select or deselect Options > Link Track and Edit
Flags Selection.
When the Timeline and Edit selections are un- In the upper left of the Edit window, under the
linked, Edit selections are displayed in the ruler Edit tools, click the Link Track and Edit Selec-
with Edit Markers, which appear as black brackets. tion button so it becomes highlighted (selected)
or unhighlighted (not selected).
Edit Markers
Double-click the clip with the Selector tool. When the Editing preference for Clip List Selection
Follows Edit Selection is enabled, selecting a clip
To select two clips and the time range between in a track also causes the clip to become selected in
them: the Clip List.
1 With the Time Grabber, click the first clip. Conversely, if the Editing preference for Edit
2 Shift-click the second clip. Both clips are se- Selection Follows Clip List Selection is enabled, se-
lected, along with the time range between them lecting a clip in the Clip List causes the initial oc-
(including any other clips). currence of that clip to become selected within the
track.
To select an entire track, do one of the following:
Click in the track with the Selector tool and then Selecting All from Timebase
choose Edit > Select All. Rulers
Triple-click with the Selector tool in the track. To select all material in all displayed audio and
MIDI tracks:
Press Command+A (Mac) or Control+A
1 Enable Link Timeline and Edit Selection
(Windows) for Select All.
(Options > Link Timeline and Edit Selection).
To select all clips in all tracks: 2 Double-click in any Timebase ruler. All clips in
1 Select the “All” Edit Group in the Group List all displayed audio and MIDI tracks are se-
pop-up menu. lected. Tracks that are hidden are not selected.
• Press Escape to exit the Edit Selection indicators 1 Using the Selector or Time Grabber tool, make
without entering any values. a selection in the first track or tracks.
2 Shift-click in additional tracks with the Selector
These shortcuts can also be used to enter start
tool. An identical range is selected for each ad-
and end values in the Transport window.
ditional track.
1 Enable Commands Keyboard Focus (see “Key- In either instance, the original Edit selection re-
board Focus” on page 22). mains selected.
To position the edit cursor precisely at a clip start, In either instance, the original clip becomes dese-
end, or sync point: lected.
1 Make sure the Tab to Transients button is not
enabled. (See “Tabbing to Transients” on To slide an Edit selection in the Main Timebase
ruler:
page 534.)
1 With the Selector or Time Grabber tool, make a
2 Click with the Selector tool in the track. selection.
3 Do one of the following: 2 While pressing Option (Mac) or Alt (Windows),
• Press Tab to move the cursor to the next clip or move the cursor over either of the Timeline Se-
clip group start, end, or sync point. lection Markers in the ruler (the Time Grabber
• Press Option+Tab (Mac) or Control+Tab (Win- appears).
dows) to move the cursor to the previous clip or
clip group start, end, or sync point.
2 Select the option for “Edit Insertion Follows Sliding an Edit selection in the Main Timebase ruler
Scrub/Shuttle,” then click OK.
3 Drag left or right to move the Edit selection
3 Scrub with the Scrubber to find an appropriate back or forward in time while preserving its
start point for the selection, then release. length.
4 While pressing Shift, scrub to an appropriate If Link Timeline and Edit Selection is disabled
end point for the selection, then release. The (Options > Link Timeline and Edit Selection), Op-
range between the initial and final scrub be- tion-drag (Mac) or Alt-drag (Windows) the Edit
comes selected. Markers instead.
To apply a command to an object while keeping the To toggle Tab to Transients on and off,
current selection: press Command+Option+Tab (Mac) or
Control+Alt+Tab (Windows).
Command-Right-click (Mac) or Control-Right-
click (Windows) the object and choose a com- To set the start and end points of a selection with
mand from the pop-up menu. Tab to Transients:
2 Drag left or right to move the Timeline selection All Edit window counters and indicators (except
back or forward in time, while preserving its the Sub Counter) let you enter a location in their
length. counter display to navigate to a specific time loca-
tion.
The Main and Sub Counters, as well as the Edit Se- Scrolling in a ruler
lection indicators, also appear in the Transport
window when it is set to display Counters. Scrolling with a Scroll Wheel
If you have a mouse with a scroll wheel, you can
To navigate with the Edit window Main Counter (or use the scroll wheel to scroll vertically or horizon-
one of the Edit Selection indicators):
tally in any Pro Tools window that has a scroll bar
1 Do one of the following: (such as the MIDI Event List).
• Click in one of the counters.
To scroll a Pro Tools window vertically:
• Press asterisk (*) on the numeric keypad to high-
light the Main Counter in the Edit window (or 1 Place the mouse over the window you want to
the Main Counter in the Transport window or scroll (for example, in the Edit window you
Big Counter window, if either are displayed). might want to scroll either the track display or
the Clip List).
2 Type in the new location. Press Period (.) to cy-
cle through to the different time fields. 2 Scroll the scroll wheel up or down to scroll the
window up or down.
3 Press Enter to accept the new value and auto-
matically locate there. To scroll a Pro Tools window horizontally:
1 Place the mouse over the window you want to
Scrolling in a Timebase Ruler scroll (for example, in the Edit window you
might want to scroll either the track display or
You can scroll the contents of the Edit window by
the Clip List).
dragging in a ruler. While this does not actually up-
date the session’s Current Location, it does let you 2 Shift-scroll the scroll wheel up or down to scroll
conveniently shift the display left or right for the the window to the left or right.
sake of finding and editing material.
This overview represents audio and MIDI material on all tracks in the session that are not hidden (including
tracks that are inactive, or that contain offline clips). The order in which material is displayed in the Uni-
verse view corresponds to the track order in the Edit window.
In the Universe view, audio, MIDI, and video clips on tracks are represented by horizontal lines that are the
same colors as the clips on the tracks. Each audio track is represented at the same height regardless of how
many channels it has. Additionally, tracks that show Automation, Controller, or Playlist lanes are repre-
sented with increasing height for each lane shown.
Since Auxiliary Input, Master Fader, and VCA Master tracks do not contain audio or MIDI clips, they are
displayed as blank areas in the Universe view.
2 Click anywhere in the Universe view to move Scrolling the Universe View
the framed area and the Edit window updates
accordingly. If you have more tracks in the session than are vis-
ible in the Universe view, you can scroll up or
down to show the other tracks.
Zooming to the Entire Session Set the Track Height option for Zoom Toggle
and to the Edit Selection to Fit To Window in the Editing Preferences.
Press F7 for the Selector tool or F8 for the Press Command+Option+Tab (Mac) or Con-
Grabber tool. trol+Alt+Tab (Windows).
2 Press Option+Control+F (Mac) or Alt+Start To navigate and extend selections forward with
(Windows) to fit the length of the selection to Tab to Transients:
the length of the Edit window. 1 With the Selector tool, place the Edit cursor be-
3 Press Command+Control+Up Arrow (Mac) or fore the first transient your want in your selec-
Control+Start+Up Arrow (Windows) to zoom tion.
the Track Height of the Edit selection to fit to 2 Press Tab to place the Edit cursor at the first
the height of the Edit window. transient.
3 Press Shift+Tab to extend the selection to the
next transient.
Making an Edit Selection During To extend the Edit selection down across
Playback tracks, Press Control+Shift+; (semicolon)
(Mac) or Start+Shift+; (semicolon) (Win-
To make an Edit selection during playback: dows).
1 Place the Edit cursor in the track or across mul-
tiple tracks where you want to make the selec- To move the selection up to the next track:
Press Command+Control+Option+Shift+L
(Mac) or Control+Alt+Start+Shift+L (Win-
dows).
You can also press Command+Option+Z To change Track views for all tracks together:
(Mac) or Control+Alt+Z (Windows) to restore Press Command+Option+Control+Left or
the previous selection. Right arrows (Mac) or Control+Alt+Start+Left
or Right arrows (Windows).
Clips are the basic building blocks for arranging To capture a new clip:
audio and MIDI in Pro Tools. Understanding how 1 With the Selector tool, drag in an existing clip to
clips are created, edited, and arranged is essential select the material for the new clip.
to taking full advantage of the editing capabilities
of Pro Tools.
For editing procedures more specific to MIDI, see Selecting a portion of a clip
Chapter 31, “MIDI Editing.” For editing proce- 2 Choose Clip > Capture.
dures specific to video, see “Video Clips” on
page 1154. Press Command+R (Mac) or Control+R
(Windows) for Capture Clip.
Pro Tools provides several commands for creating The new clip appears in the Clip List. The original
clips and clip groups, each of them having a clip remains intact and unchanged.
slightly different effect on the selection. When you
create a new clip or clip group, it appears in the Separate Commands
Clip List and in the track’s playlist. When creating
The Separate commands define a selection within
a new clip from an existing clip, the original clip
an existing clip, or a partially selected clip, as a
remains in the Clip List. New clips are named au-
new clip and separate it from surrounding material.
tomatically (see “Auto-Naming Options” on
The Separate commands can also be applied to
page 259).
MIDI notes (see “Separating MIDI Notes” on
page 641).
Capture Clip Command
New clips appear in the tracks in which they are
The Capture Clip command defines a selection as a created, separate from the data surrounding them.
new clip and adds it to the Clip List. From there, They also appear in the Clip List.
the new clip can be dragged to any existing tracks.
On Grid Creates new clips according to the se- 3 In the Pre-Separate Amount dialog, type a
lected Grid value (see “Defining the Grid Value” pre-separate amount in milliseconds. This can
on page 779). Likewise, MIDI notes can be sepa- be useful to pad the beginnings of the new clips.
rated on the grid.
This option helps you compare different sections Once separated, this material can be moved or cop-
from a group of related takes. For example, you ied to another location.
can quickly separate an entire group of related vo-
cal takes into sections, then audition and select the Separation Grabber Tool
best material from each section independently.
You can use the Separation Grabber tool to auto-
If this option is selected, make sure the Track matically separate an Edit selection and move it to
Name and Clip Start and End options are also se- another location or another track.
lected in the Matching Criteria window (see
“Matching Criteria” on page 596). If they are not, To separate a selection with the Separation
all clips in the session that have the same User Grabber tool:
Time Stamp will be affected. 1 With the Selector tool, make an Edit selection.
The selection can reside within a single clip,
In most instances, you will want to disable the
across adjacent clips within the same track, or
Separate Clip Operates On All Related Takes op-
across multiple tracks.
tion, to prevent a large number of clips from being
created when you use the Separate Clip command.
If you have trimmed or otherwise changed the start To trim unwanted data from a clip or note:
or end points of the two clips, or moved them fur- 1 With the Selector tool, select a portion of a clip
ther away from each other, you will not be able to or note (or a range of notes).
repair them with the Heal Separation command. It
is not possible to heal two clips created from dif- 2 Choose Edit > Trim Clip > To Selection to
ferent audio files. remove material outside of the selection.
The Trim to Fill Selection command is the inverse 2 Choose Edit > Trim Clip > To File Boundaries.
of the Trim to Fit Selection command: where the
To trim the selected clip to both the beginning
Trim to Fill Selection command trims a clip out to
and end of the file, press Command+Con-
match the Edit selection, the Trim to Fit Selection
trol+T (Mac) or Control+Start+T.
command trims a clip in to match the Edit selec-
tion.
To trim a clip’s start or end point by the Nudge Start and end points for selections can also be
value: moved by the Nudge value (see “Nudging Selec-
1 Configure the Nudge value (see “Defining the tion Start/End Points” on page 529). In addition,
Nudge Value” on page 552). clips can be trimmed by the Nudge value (see
“Trimming with Nudge” on page 552).
2 With the Time Grabber tool, select the clip you
want to trim. To set the Nudge value:
• On the numeric keypad, press Plus (+) to move When Commands Keyboard Focus is not
the selection forward by the Nudge value. enabled, press Control+Forward Slash (/)
• Press Minus (–) to move the selection back by (Mac) or Start+Forward Slash (/) (Win-
the Nudge value. dows) to nudge the selected material for-
ward by the next Nudge value, and press
The Nudge command works the same regardless of Control+M (Mac) or Start+M (Windows)
the Edit mode. Adjacent clips are overlapped in to nudge the selected material back by the
Shuffle mode, the Spot dialog does not appear next Nudge value.
when in Spot mode, and shifted material does not
snap to the Grid when in Grid mode. Nudging the Contents of a Clip
Often a clip’s start point will reside at the correct
Nudging Clips on Multiple location, perhaps at a SMPTE frame or barline, but
Tracks and in Multichannel
the material within the clip starts too late or early.
Tracks
You can, in effect, nudge a clip’s audio waveform
When nudging a selection of multiple clips within or MIDI notes without displacing the clip start and
a single track or across multiple tracks, that also end points.
contains silence, any automation data residing
within the silence is also nudged.
2 With the Selector or Time Grabber tool, select When clips in multichannel tracks are edited with
the clip or clips you want to quantize. The clips any of the Trim tools or dragged with the Time
can be on multiple tracks. Only clips that are en- Grabber tool, material on all channels is affected
tirely selected will be quantized. equally as a group.
Names for the new tracks are based on the source Dragging a stereo clip to two mono audio tracks
track name and channel suffix. For example, if a
stereo track called “Funkit” is split, two new tracks When dragging clips to or from stereo or
called “Funkit.L” and “Funkit.R” are created. multichannel tracks, the following rules apply:
Provided the number of tracks and channels are
Output and send assignments and volume and pan
the same for the source and destination, you can
settings are retained in the new tracks. Mono
drag clips between multichannel tracks and mono
equivalents of stereo and multi-mono plug-in as-
tracks.
signments are assigned in the new tracks. How-
ever, multichannel plug-in assignments are not as- The source and destination for dragged clips
signed in the new tracks. can be mixed. For example, you can drag clips
from a 5.0 track (containing five channels) to a ste-
reo track and three mono audio tracks.
When dragging multichannel clips to mono
tracks, the destination tracks must be adjacent.
When dragging clips from mono tracks to a
multichannel track, the source tracks need not be
adjacent.
Clip gain is applied on a clip-by-clip basis. When You can adjust clip gain using the Clip Gain Fader
cross-fading between clips, the Clip Gain Line for icon for quick and easy clip gain adjustments.
the first clip carries through the fade out segment
of the crossfade and the Clip Gain Line for the sec- To boost or attenuate the current clip gain settings
ond clip carries through the fade in segment of the for a single clip:
crossfade. Consequently, crossfades can display 1 Ensure that the Clip Gain Info option is enabled.
two Clip Gain Lines, one for the first clip and one
2 Click the Clip Gain Fader icon on the clip and
for the second clip.
drag the Clip Gain fader up or down to boost or
attenuate the clip gain settings for the clip.
To nudge the selected clip gain up: To clear clip gain, do one of the following:
Press Control+Shift+Up Arrow (Mac) or Right-click a clip or Edit selection and choose
Start+Shift+Up Arrow (Windows). Clip Gain > Clear Clip Gain.
To nudge the selected clip gain backward, do one Cutting, Copying, and Pasting Clip Gain
of the following:
Pro Tools lets you cut, copy, and paste clip gain
Press Control+Shift+“–” (Minus) (Mac) or
settings, so that you can apply the clip gain settings
Start+Shift+“–” (Minus) (Windows).
from one clip to any other. Clip gain settings can-
Press Control+Shift+M (Mac) or not be cut, copied, or pasted across clip boundar-
Start+Shift+M (Windows). ies.
1 Select a clip or make an Edit selection. 1 Select a clip or make an Edit selection.
2 Choose Edit > Automation > Convert Clip Gain 2 Choose Edit > Automation > Coalesce Volume
to Volume Automation. to Clip Gain.
Any clip gain settings above +12 dB are lost Any clip gain settings above +12 dB are lost
when converted to volume automation. Also, when it is coalesced to volume automation.
clip gain settings within crossfades are cross- Also, clip gain within crossfades is cross-
faded as part of the volume automation. faded as part of the volume automation.
When coalescing track-based volume automation The clip gain settings for any whole clips within
to clip gain, the volume automation is cut from the the Edit selection are bypassed (or unbypassed).
track volume automation playlist and coalesced
with the selected clip gain settings. Once volume
automation has been coalesced to clip gain, vol-
ume automation is set to 0 dB for the selection.
Clip gain for any whole clips within the Edit selec- Consolidating an audio track does not
tion is rendered and their clip gain settings are reset consolidate underlying automation data. To
to 0 dB. create a single file with automation data ap-
plied to the audio, use Bounce to Disk (see
For clips with any clip gain settings other “Bounce to Disk” on page 1035).
than 0 dB, the Prepare DPE Tracks com-
mand (for DestructivePunch) automatically To consolidate clips within a track:
renders all clip gain settings and resets all 1 Do one of the following:
clip gain settings to 0 dB.
• Using the Time Grabber or Selector tool, select
the clips you want to consolidate.
When processing in an AudioSuite mode that
• To select all clips in a track, triple-click in its
renders in clip gain, any clip gain settings
playlist with the Selector tool.
are rendered first, and then AudioSuite pro-
cessing is applied. Clip gain is reset to 0 dB 2 Choose Edit > Consolidate.
for the resultant clip. However, when creat-
ing individual files with AudioSuite, or over- Press Option+Shift+3 (Mac) or Alt+Shift+3
writing files clip-by-clip, clip gain settings (Windows) to Consolidate.
are preserved. For more information, see
“Conditions for AudioSuite Rendering with
Handles, Fades, Clip Gain, and Metadata”
on page 818.
Pro Tools calculates fades and crossfades in RAM The type of selection you make determines the
in real-time. You can quickly and easily apply a character of the crossfade.
fade-in or fade-out on a audio clip, as well as apply
crossfades between adjacent audio clips. Crossfad- Since crossfades are created by fading
ing is the process of fading between two clips of between overlapping audio material, a
audio to prevent pops, clicks, or sudden changes in crossfade cannot be performed on clips
sound. Crossfades have many applications, from that do not contain audio material
smoothing transitions between clips to creating beyond their clip boundaries.
special audio effects. The crossfade duration, posi-
tion, and shape are all user-definable. If a clip references insufficient data to
execute a selected fade or crossfade, you
are prompted to either skip those fades
About Crossfades and Curves or to adjust the bounds of the selection to
execute those fades.
To create a crossfade between two clips, use the
Selector tool to select across the end point of the
first clip and the start point of the second. The
Standard Crossfade (Centered)
length of the selection determines the length of the splice
crossfade. Though fades may appear to be discrete fade-out curve point fade-in curve
clips, they cannot actually be separated from the
clips in which they were created. You can, how-
ever, create fade-ins and fade-outs for individual clip 1 clip 2
Use the Fades dialog to select, view, and manipu- crossfade selection
late the curves used to perform fades and cross- Centered crossfade
fades. Different volume curves can be assigned to
the fade-out and fade-in portions of crossfades. This type of selection creates a crossfade on both
The Fades dialog can also be used to audition a sides of the splice point, which affects the volume
fade or crossfade before applying it. of clip 1 and clip 2. It is the most common type of
crossfade.
This crossfade type requires that clip 2 contain au- Select (or deselect) View > Waveform > Over-
lapping Crossfades.
dio material before its start point.
Post Crossfade
splice
point
clip 1 clip 2
crossfade selection
Post crossfade
Click this button to display the specified fade Click this button to scale the view of the wave-
curves without showing the actual audio wave- form’s amplitude upwards. Command-click (Mac)
forms. This is the default view when you open the or Control-click (Windows) for the default view
Fades dialog. scale.
Fade Curves and Separate Waveforms Zoom Out
Click this button to display the specified fade Click this button to scale the view of the wave-
curves along with separate views of the fade-in and form’s amplitude downwards. Command-click
fade-out waveforms. (Mac) or Control-click (Windows) for the default
view scale.
Fade Curves and Superimposed Waveforms
the fade, then immediately drops the volume at the Preset Curve 5
end of the fade. Preset Curve 6 drops the volume even more
quickly at the beginning of the fade.
Preset Curve 1
Preset Curve 1
Preset Curve 3
Fade Link
Linear Crossfade
Fade Presets
Fade and Crossfade
Preferences Pro Tools provides five Fade Presets so that you
can easily store and recall your most commonly
You can set default fade and crossfade settings. used fade settings. You can also save and import
These settings load as your “base” settings when Fade Preset settings.
you use the Create Fades command, and the Fade
to Start and Fade to End commands.
To create a fade-in:
To apply a Fade In using the Default Fade 3 Select the fade-out curve and configure the
In setting (in the Editing Preferences page), other Fade settings.
and without opening the Fades dialog, 4 Click the Audition button to audition the fade.
press Command+Control+F (Mac) or
Control+Start+F (Windows). 5 Adjust the curve by dragging it or by selecting a
different shape from the Out Shape pop-up
3 Select the fade-in curve and configure the other menu.
Fade settings.
6 Click OK.
4 Click the Audition button to audition the fade.
Pro Tools calculates the fade and the selected fade
5 Adjust the curve by dragging it or by selecting a curve appears in the clip.
different shape from the In Shape pop-up menu.
Fade lengths can be resized with any of the
6 Click OK.
Trim tools, including Nudge Trim
The selected fade curve appears in the clip. commands. See “Using the Trim Tools” on
page 508 and “Trimming with Nudge” on
page 552.
• Choose Edit > Fades > Fade To End. • Drag the Fade-In and Fade-Out curves to a cus-
tom shape. By choosing None as the Linking op-
• Press Control+G (Mac) or Alt+G (Windows).
tion, you can drag the beginning or end points of
The fade is applied based on the Fade Out prefer- a fade curve to adjust its beginning or end point.
ences (see “Fade and Crossfade Preferences” on 8 Click the Audition button to audition the cross-
page 574). fade again.
9 When the crossfade sounds right, click OK.
Creating a Crossfade Crossfade lengths can be resized with any of
the Trim tools, including Nudge Trim com-
To create a crossfade between two clips:
mands. See “Using the Trim Tools” on
1 With the Selector tool, click at the point where page 508 and “Trimming with Nudge” on
you want the crossfade to begin in the first clip page 552.
and drag to where you want it to end in the sec-
ond clip. Crossfade selections can begin and To remove a crossfade, do one of the following:
end anywhere in their respective clips. Select the area of the track containing any cross-
2 Do one of the following: fades you want to delete and choose Edit >
Fades > Delete.
• Choose Edit > Fades > Create.
• Press Command+F (Mac) or Control+F (Win- Select the crossfade with the Time Grabber tool
dows). and press Delete (Mac) or Backspace (Win-
dows).
To apply a Crossfade using the Default
Right-click the crossfade with any of the edit
Crossfade setting (in the Editing Prefer-
tools and select Delete Fades from the pop-up
ences), and without opening the Fades dia-
menu.
log, press Command+Control+F (Mac) or
Control+Start+F (Windows).
• Press Option+Tab (Mac) or Control+Tab (Win- This feature is especially useful in post production
dows) to move back to the previous clip bound- situations such as dialogue tracking. For example,
ary. you can assign both a dialogue track and a “room
tone” track with matching background to the same
3 Extend the selection by doing one of the follow-
voice. You can then set the AutoFade option to a
ing:
• Use the Time Grabber tool to select the fade. 1 Do one of the following:
• Use the Selector tool to select a range that in- • Click a clip with the Time Grabber tool (or dou-
cludes the fade. ble-click with the Selector tool) to select the clip
along with the fade (in or out).
• Select multiple clips that include the fades and
crossfades you want to move.
2 Move the clip selection by doing one of the fol-
lowing:
Selecting a fade with the Time Grabber
• Drag the clip selection with the Grabber tool to a
new location on the track.
• Nudge the clip selection by pressing Plus (+) or
Minus (–) on the numeric keypad to move the
clip forward or backward on the track.
2 Type a new name and click OK. Using this method, you can add new tracks to the
existing group and the suffixes for their playlist
Both the track and playlist names are updated. names are synchronized with the original tracks.
1 Click the track’s Playlist selector and choose For more information on grouping tracks,
Delete Unused. see “Grouping Tracks” on page 237.
2 Select the unassigned playlists you want to 2 Make sure the group is enabled.
delete. Shift-click (Windows or Mac), Control-
3 Create a new playlist (by clicking the Playlist
click (Windows), or Command-click (Mac) to
selector in one of the tracks in the group and
select multiple playlists.
choosing New). The default suffix will now be
3 Click OK to delete the selected playlists. This “.01”—signifying take 1.
operation cannot be undone.
4 Record take 1, then create a new playlist. The
You can also delete playlists in Playlists view. playlists on all tracks in the group increment to
Right-click the Playlist Name on a lane or in “.02.”
the Track List and choose Delete. 5 Create new tracks (for example, for an addi-
tional musician or microphone), then add these
When deleting a track from a session, you tracks to the group (or create a new group with
have the option of deleting or keeping its all the tracks).
playlists, so they can be used on other tracks. 6 Increment all the playlists by clicking the Play-
list selector in one of the tracks in the group and
choosing New.
All the playlists will now have the same suffix ap-
pended to them. (Creating additional playlists in
any of the group tracks will increment all of their
playlists to keep them synchronized.)
Playlists view showing multiple alternate playlists Filtering Playlist lanes viewed
• Choose Edit > Copy Selection To > Main You can edit alternate playlists in Playlists view
Playlist. just like the main playlist in Waveform view. In
• Right-click the selection and choose Copy Playlists view, edits that are applied to range selec-
Selection to Main Playlist. tions are applied to all shown alternate playlists.
Alternate playlists that are not shown are not af-
• Click the Copy Selection to Main Playlist button fected.
for the Playlist lane.
Before starting work with Track Composit-
Copy Selection to ing, duplicate the track’s Main Playlist to
Main Playlist button
keep it intact as a backup alternate playlist.
Copy Selection to New Playlist Creates a new, Making a selection in an alternate playlist
empty main playlist and copies and pastes the se-
2 Do one of the following:
lection to the new main playlist
• Click the Copy Selection To Main Playlist but-
Copy Selection to Duplicate Playlist Duplicates ton in the Playlist Lane controls.
the current main playlist and copies and pastes the
• Choose Edit > Copy Selection to Main
selection to the duplicate of the main playlist. The
Playlist.
previous main playlist moves to a new Playlist
lane. • Right-click the selection and choose Copy
Selection To Main Playlist.
When an audio track is set to Playlists view, all of • Show Only Lanes With > Clips Outside The Edit
its associated playlists appear listed under the track Selection
name in the Track List. The names of associated al- • Show Only Lanes With > “Clips Rated >= 1–5”
ternate playlists are indented to distinguish Playlist
• Hide All Lanes
lanes from tracks. From the Track List you can
show and hide alternate playlists. You can also ac- • Hide Only Lanes With > Clips Within The Edit
cess the Right-click menu for alternate playlists, Selection
which lets you apply Show or Hide, Scroll Into • Hide Only Lanes With > Clips Outside The Edit
View, Rename, Delete, and Filter Lanes com- Selection
mands.
• Hide Only Lanes With > “Clips Rated >= 1–5”
Clip Start and End Any clips that have the same
Matching Criteria settings are saved with
start and end times as the Edit selection.
your Pro Tools session.
Within Selection Any complete clips that are en-
tirely within the Edit selection.
Matching Criteria Options
None No other criteria in addition to the selected
Alternates Match Options Alternates Match options are used to filter match-
ing alternate clips.
The following Alternates Match options can be se-
lected in any combination:
Track ID Any clips recorded to the same track are Selecting Alternate Takes on
considered matching. Use this option for selecting Tracks
alternate takes from loop or punch recording. Each clip resulting from a punch or loop record
Track Name Any clips that share the same root
pass has an identical start time (the User Time
name with the track or playlist are considered Stamp). You can select and audition alternate takes
matching. For example, the Matches for a track from the Right-click Matches submenu or the Al-
named “Gtr.L” would show the clips “Gtr.L_01” ternate Takes pop-up menu—even during play-
and “Gtr.L_02-01,” but not “Guitar.L_01.” back.
When enabled, the new Automatically Create New 2 Do one of the following:
Playlists When Loop Recording option in the Oper- • Right-click the clip and choose Matches >
ation Preferences page automatically copies each Expand Alternates To New Playlists.
clip (take) to a new playlist in the track. This facil-
• If the clip is selected, with the Selector tool,
itates using Playlists view for auditioning and se-
Command-click (Mac) or Control-click (Win-
lecting alternate takes.
dows) anywhere on the selected clip and choose
To automatically create new playlists when loop Matches > Expand Alternates To New Playlists.
recording: • If the clip is not selected, with the Selector tool,
1 Choose Setup > Preferences and click the Command-click (Mac) or Control-click (Win-
Operation tab. dows) at the precise beginning of the loop or
punch range and choose Matches > Expand
2 In the Recording section, enable the Automati-
Alternates To New Playlists.
cally Create New Playlists When Loop Record-
ing option. All matching alternate clips are copied to new
playlists on the track. To view all playlists for the
3 Click OK.
track, select Playlists view. In any track view, you
For more information on loop recording, see can also select any available alternate playlist as
“Loop Recording Audio” on page 433. the main playlist from the Playlist selector.
To open the Beat Detective window, do one of the The Beat Detective modes include the following:
following:
Operation Lets you choose to analyze either MIDI
Choose Event > Beat Detective.
or audio material.
Press Command+8 (Mac) or Control+8 (Win-
Bar|Beat Marker Generation Generates Bar|Beat
dows) on the numeric keypad.
Markers corresponding to transients detected in
Beat Detective is a floating window that can be left the audio selection or according to accent patterns
open while working. This lets you adjust the con- with MIDI notes.
trols in real time during playback, while viewing
Groove Template Extraction Extracts the rhyth-
the beat triggers that appear in your selection in the
mic and dynamic information from audio or MIDI,
Edit window.
and saves this information to the Groove Clip-
board, or as a DigiGroove template.
Beat Detective Modes Clip Separation (Audio Only) Separates and cre-
ates new clips based on transients detected in the
The Beat Detective window is divided into three audio selection.
sections: Operation, Selection, and Detection. De-
pending on the Operation mode, the controls in the Clip Conform (Audio Only) Conforms all sepa-
Action section change. The Selection options for rated clips within the selection to the current tempo
Beat Detective are available in each of the Opera- map. Beat Detective can conform audio clips to
tion modes. groove templates (such as DigiGroove templates)
in addition to standard quantization.
As long as the audio material is correctly Beat Detection Across Multiple Tracks
aligned with the session’s tempo map, use
When analyzing a selection with multiple tracks,
Capture Selection each time you make a new
Beat Detective analyzes each independently. Tran-
selection or make any changes to the tempo
sients that are detected in any track appear as Beat
map (such as changing tempo or meter).
Triggers across all selected tracks regardless of
whether or not the detected transient resides in any
The Selection definition is not retained when other track. However, for closely aligned events on
a session is closed and re-opened multiple tracks, Beat Detective only identifies the
first detected transient of a beat event.
4 To improve Beat Detective’s accuracy in ana-
lyzing swung notes, select the Contains option For example, if you have four drum tracks—kick,
that indicates the smallest sub-division of the snare, and a pair of overheads—transients in the
beat contained in the selection. The Contains overhead mics tracks occur a little later than the
option includes quarter-notes, eighth-notes, six- closely miked snare and kick tracks because it
teenth-notes (the default setting), thirty-second- takes more time for the sound to travel from the
notes, and a triplet modifier. The selected Con- source to the microphones. If you make a selection
tains option determines the groove template across all four tracks and analyze them using Beat
grid locations for DigiGroove templates. Detective, only the transients in the kick and snare
tracks will be identified as beat triggers because
the transients on overheads will be recognized as
being part of the same beat events (only a little bit
late). For information on individually analyzing
multiple tracks, see “Using Collection Mode” on
page 624.
10 To display the metric locations for the triggers, 7 If your MIDI track contains chords, choose one
select the Show Trigger Time option. of the following MIDI chord recognition algo-
rithms from the Analysis pop-up menu:
11 If you cannot get the beat triggers to appear at
• Last Note
the right locations, repeat steps 5–10, trying one
of the other Analysis algorithms (High or Low • First Note
Emphasis). • Loudest Note
• Average Location
• Highest Note
• Lowest Note
8 Click Analyze.
Beat Detective translates the amplitude of signals 6 In the Extract Groove Template dialog, enter
in audio tracks to MIDI velocity according to a lin- comments about the groove. You can enter a
ear scale. For example: maximum of 255 characters to describe the
groove. Comments can be viewed using the
• A 0 dBFS signal equals a MIDI velocity of 127.
Show Info button in the Beat Detective window.
• A –6 dBFS signal equals a MIDI velocity of 64.
• A –12 dBFS signal equals a MIDI velocity of
32.
• A –48 dBFS signal equals a MIDI velocity of 1.
2 Select Groove.
Fill And Crossfade Select this option to trim clip For more information on clip sync points, see
end points and automatically add a pre-fade (in ms) “Sync Points” on page 783.
directly before each clip start point.
Consolidating Clips after Edit
3 In the Edit window, if not already selected, se- Smoothing
lect the range of conformed audio clips you
want to smooth. Make sure the selection’s start The process of separating, conforming, and
and end points fall cleanly on the beat. smoothing with Beat Detective can leave tracks
with many clips and many crossfades. If you are
4 Click Smooth to smooth the edits for the se- working with multiple tracks, the density of these
lected clips. edits may lead to system performance problems.
Clips before and after Edit Smoothing Once you are satisfied with the results from Beat
Detective, it is recommended that you flatten the
5 Audition the results by clicking Play in the
tracks with the Consolidate command. For all clips
Transport.
selected, Consolidate creates a single, contiguous
6 If necessary, select Edit > Undo, and repeat steps audio file to reduce the session’s edit density. See
2–5 trying a different Crossfade Length. “Consolidating Clips” on page 564.
Overhead mic track displaying a collection of beat triggers containing unique triggers generated from the kick,
snare, and hi-hat tracks
The Default Note Duration setting updates to show Click the Default Note On Velocity setting in
the selected note value. the Edit window, a MIDI Editor window, or the
Score Editor window, type a new number and
press Enter.
Inserting a Series of Notes With these settings, the notes are inserted spaced
one quarter note apart.
In the Edit window and in MIDI Editor windows,
the Line, Triangle, Square, and Random Pencil 4 Click at the point to insert the first note and drag
tool shapes can be used to enter a series of identical to the right until the number of notes you want
pitches with varying velocities. The duration and have been inserted.
spacing for the inserted notes are determined by
the current Grid value and the Default Note Dura-
tion setting.
Use the mini-keyboard on MIDI and Instrument With any Edit tool selected, click a key and drag
tracks to select and play notes on that track. You up or down on the mini-keyboard.
can click on the mini-keyboard with any Edit tool.
Transposing Notes
MIDI notes can be transposed by dragging them up
or down with the Pencil tool or any Grabber tool. If
several notes are selected before dragging, each is
transposed.
Changing note end times with the Trim tool Transposing MIDI Notes with
Nudge
If the Edit mode is set to Grid, the dragged start or
end point snaps to the nearest Grid boundary. If the You can transpose selected MIDI notes by semi-
Edit mode is set to Spot, the Spot dialog opens, tonal increments using Plus (+) or Minus (–) on the
where you can enter the new location for the note’s numeric keypad.
start or end point.
To transpose the selected MIDI notes by
When in Grid mode, use the Command key semitones:
(Mac) or Control key (Windows) to temporar- 1 With the Time Grabber tool, select the MIDI
ily disable Grid mode. notes you want to transpose.
Notes can also be trimmed with the Trim Clip to Se- 2 Do one of the following:
lection command (see “Trim to Selection Com- • While pressing Control (Mac) or Start (Win-
mand” on page 549) and the Trim To Insertion dows), press Plus (+) on the numeric keypad
command (see “Trimming with Nudge” on transpose the selected MIDI notes up by one
page 552). semitone.
• While pressing Control (Mac) or Start (Win-
Trimming MIDI Notes with dows), press Minus (–) on the numeric keypad
Nudge transpose the selected MIDI notes down by one
You can trim the start and end points of selected semitone.
MIDI notes by the current Nudge value.
Consolidating MIDI notes into one using the 1 Select the MIDI notes you want to unmute.
Consolidate Tool
2 Do one of the following:
Consolidating MIDI Notes • Choose Edit > Unmute Notes.
The Consolidate command lets you combine two • Right-click the selected MIDI notes and choose
or more consecutive MIDI notes of the same pitch Unmute Notes.
into a single MIDI note.
Press Command+M (Mac) or Control+M
To consolidate MIDI notes: (Windows) to mute and unmute selected
MIDI notes.
1 Select the MIDI notes you want to consolidate.
2 Do one of the following:
• Choose Edit > Consolidate.
• Right-click the selected notes and choose Con-
solidate.
With the Pencil tool selected, Option-click After trimming a MIDI clip with the Time Compression/
(Mac) or Alt-click (Windows) the note. The Expansion Trim tool
Pencil tool changes to an Eraser when Option
(Mac) or Alt (Windows) is pressed.
To compress or expand MIDI clips in Grid mode: To compress or expand MIDI clips in Spot mode:
1 Set the Edit mode to Grid. 1 Set the Edit mode to Spot.
2 If necessary, set the MIDI or Instrument track to 2 Set the MIDI or Instrument track to Clips view.
Clips view.
3 Select the TCE Trim tool.
3 Select the TCE Trim tool.
4 Click the MIDI clip near its start or end point.
4 With the TCE Trim tool, drag the MIDI clip’s The Spot dialog opens. Using any Time Scale,
start or end point to compress or expand the clip enter a new start or end time (or duration) for
to the Grid (for example, by quarter notes). A the clip, and then click OK. A new MIDI clip is
new MIDI clip is automatically created, and ap- automatically created, and appears both in the
pears both in the playlist and in the Clip List. playlist and in the Clip List.
Patch Select button, Mix window Patch Select dialog with patch names
5 In the Patch Select dialog, click Change. 9 For MIDI devices that have multiple banks of
patches, select which bank of patches you want
from the Bank pop-up menu.
Change button
Patch Select dialog
To insert a program change with the Pencil tool: The placement of program changes can also
1 Do one of the following: be adjusted with Shift (see “Shift Command”
on page 784) or Nudge (see “Nudging Clips”
• Set the MIDI or Instrument track to Program on page 552).
Change view.
• Reveal the Controller lane for the MIDI or In- To delete a program change event:
strument track and show Program Change. 1 With the Track View or Controller lane set to
Program Change view, click the program
2 If you want the inserted event to snap to a Grid
change event with any Grabber tool to select it.
value, enable Grid mode.
3 Click with the Pencil tool in the track’s playlist If the clip contains other events you want to
at the point where you want to insert the pro- delete, you can delete the clip and the Pro-
gram change. gram Change event will also be deleted.
6 When you are finished auditioning settings, de- 3 Configure your MIDI device to send Sysex
select the Increment Patch option and select the (such as a bulk dump).
program number (or patch name) you want and 4 Start recording in the Transport.
click Done.
To begin recording the Sysex transfer from
your MIDI device at the Timeline insertion
point, enable Wait For Note.
Choose Event > All MIDI Notes Off. For MIDI Real-Time Properties to apply to
incoming MIDI data with MIDI Thru
Press Command+Shift+Period (.) (Mac) or
enabled, the corresponding MIDI and
Control+Shift+Period (.) (Windows) for the
Instrument tracks must be record-enabled.
All MIDI Notes Off command.
Real-Time Properties
Expand/collapse
triangles
Settings
Quantize
Quantize either can be based on a grid or a groove
template. For grid quantize, additional tuplet and
grid offset settings are available in addition to the
standard MIDI quantize properties. For groove
quantize, additional controls are provided to set the
extent to which the groove’s duration and veloci-
ties are applied. Both grid and groove quantize also
Real-Time Properties window, expanded view let you set a strength amount, an “include” range,
and a randomize amount.
Enabling Real-Time Properties
Quantize cannot be applied as a Real-Time
To enable Real-Time Properties: Property to MIDI Input and Thru.
1 Select a track, or make an Edit selection.
Quantize Pop-Up Menu Select the quantize value,
When using Real-Time Properties, enable including all standard note rhythm values between
Link Track and Edit Selection mode to make a whole notes and 64th notes, including dotted and
track selection from an Edit selection (see triplet options. This pop-up menu also provides ac-
“Linking or Unlinking Track and Edit Selec- cess to all standard and custom groove templates.
tions” on page 524).
To transpose by an interval, enter the number of The presence of track-based Real-Time Properties
octaves and semitones as a positive or negative are indicated by a “T” displayed in the upper right-
numbers. hand corner of MIDI clips. Clip-based Real-Time
Properties are indicated by an “R” displayed in the
To transpose to a specific pitch, enter the MIDI upper right-hand corner of the clip. Clips boundar-
note name. ies including the “T” and the “R” displays are indi-
cated in Notes view and in MIDI Editor windows,
To transpose in key by scale steps, enter the num- but not in the Score Editor window.
ber of steps as a positive or negative numbers. For
example, enter +2 to transpose up by thirds in key
Indicates Indicates
(a unison plus a second equals a third). track-based clip-based
Real-Time Properties Real-Time Properties
Transpose can be applied as a Real-Time
Property to MIDI Input and Thru on record-
enabled MIDI and Instrument tracks.
All track-based Real-Time Properties consistently • Click the Write to Track button in the Real-Time
apply to MIDI data throughout the entire track. Properties window.
However, clips with clip-based Real-Time Proper- • Choose Track > Write MIDI Real-Time Proper-
ties will take precedence over any track-based ties.
Real-Time Properties. You can clear clip-based
Real-Time Properties by selecting the clip and To write Real-Time Properties to clips:
clicking the Clear Clip Properties button in the 1 Select one or more clips to which you want to
Real-Time Properties window (see “Writing Real- apply Real-Time Properties.
Time Properties to Tracks or Clips” on page 665).
2 Open the Real-Time Properties window (Event
For greater flexibility, when Real-Time Properties > MIDI Real-Time Properties).
are assigned on a track basis they are actually con-
3 If Link Track and Edit Selection is enabled, se-
tained in a track playlist. This lets you create mul-
lect Clips from the Real-Time Properties Apply
tiple playlists containing different Real-Time
To pop-up menu.
Property settings.
4 Configure the Real-Time Property settings.
5 Click the Write to Clip button.
Writing Real-Time Properties
to Tracks or Clips To clear Real-Time Properties from a clip:
Once you have found the settings you want, you 1 Select the clip for which you want to clear Real-
can write Real-Time Properties to the selected Time Properties.
tracks or clips using the Real-Time Properties win-
2 Open the Real-Time Properties window (Event
dow. Real-Time Properties are applied to the cur-
> MIDI Real-Time Properties).
rent MIDI data on the track or in a clip.
3 Select Clips from the Real-Time Properties Ap-
To write Real-Time Properties to tracks: ply To pop-up menu.
1 Enable Link Track and Edit Selection. 4 Click the Clear Clip Properties button.
2 Select one or more tracks to which you want to
apply Real-Time Properties.
Open the Real-Time Properties window (Event
Real-Time Properties In the
MIDI Event List
3
> MIDI Real-Time Properties).
In the MIDI Event List, the presence of track-
4 Select Tracks from the Real-Time Properties
based Real-Time Properties are indicated by a “T”
Apply To pop-up menu.
displayed to the right of each event. Clip-based
5 Configure the Real-Time Property settings. Real-Time Properties are indicated by an “R.”
Pro Tools provides MIDI Editor windows for detailed MIDI editing.
Solo
Notation view enabled in a MIDI Editor window
The Solo button lets you solo all the tracks cur-
rently displayed in the MIDI Editor window. You can access the Notation Display Track
Settings in a MIDI Editor window when in
Notation view. Select the Notation Display
Track Settings option from the Track List
menu or Right-click in the Notes pane and se-
lect the Notation Display Track Settings op-
Mute tion from the Right-click menu. For more in-
formation, see “Notation Display Track
The Mute button lets you mute all the tracks cur-
Settings” on page 696.
rently displayed in the MIDI Editor window.
Scrolling Submenu
Customizable Toolbar
The Scrolling submenu lets you select the scrolling
options for the MIDI Editor window inde- You can customize the toolbar in MIDI Editor
pendently of other MIDI Editor windows and the windows by rearranging, and showing and hiding
Edit window. The scrolling options include: the available controls and displays just like in the
Edit window or the Score Editor window.
No Scrolling The MIDI Editor window does not
scroll during or after playback. The playback cur- Changing Toolbar Display Options
sor moves across the MIDI Editor window, indi-
cating the playback location. To change the toolbar display options in a MIDI
Editor window toolbar:
After Playback The playback cursor moves across 1 Do one of the following:
the MIDI Editor window, indicating the playback
location. When playback has stopped, the MIDI • Click the MIDI Editor Window Toolbar menu.
Editor window scrolls to the final playback loca- • Right-click in the toolbar.
tion.
2 From the pop-up menu, select or deselect any of
Page The playback cursor moves across the MIDI the following:
Editor window, indicating the playback location. • Expanded Edit Tools
When the right edge of the MIDI Editor window is
• Expanded Grid/Nudge Display
reached, its entire contents are scrolled, and the
playback cursor continues moving from the left • Selection Display
edge of the window.
You can rearrange the controls and displays in the Pro Tools provides MIDI Zoom In and Out buttons
MIDI Editor window toolbar just like in the Edit in the upper-right corner of MIDI Editor windows.
window or the Score Editor window. These controls function exactly the same as the
MIDI Zoom controls in the toolbar, and let you
To rearrange controls and displays in a MIDI Editor zoom in and out vertically on MIDI notes.
window toolbar:
Track List
The Track List menu lets you show and hide MIDI, Disable the Track Show/Hide icon for tracks
Instrument, and Auxiliary Input tracks in the MIDI you want to hide in the MIDI Editor window.
Editor window (see “Showing and Hiding Tracks”
on page 675). To hide all (but one) MIDI, Instrument, and
Auxiliary Input tracks in a MIDI Editor window:
The Track List menu also lets you sort tracks in the From the Track List pop-up menu, select Hide
Track List by Name, Type, Edit Group, Mix All Tracks.
Group, or Voice (see “Sorting Tracks in the Track
List” on page 676). All but the top MIDI or Instrument track in the
Track List are hidden. MIDI Editor windows re-
Showing and Hiding Tracks quire that at least one MIDI or Instrument track al-
ways be shown in the window.
To show MIDI, Instrument, and Auxiliary Input
tracks in a MIDI Editor window: To hide selected MIDI, Instrument, and Auxiliary
Input tracks in a MIDI Editor window:
Enable the Track Show/Hide icon in the Track
List for tracks you want to show in the MIDI 1 In the Track List, select the MIDI, Instrument,
Editor window. and Auxiliary Input tracks you want to hide.
2 From the Track List pop-up menu, select Hide
To show all MIDI, Instrument, and Auxiliary Input
Selected Tracks.
tracks in a MIDI Editor window:
You can sort tracks in the Track List by the follow- Rename Renames the selected track.
ing criteria:
Duplicate Duplicates the selected track.
Name Sorts the order of tracks in the Track List by
Split into Mono Splits the selected stereo Instru-
Track Name.
ment or Auxiliary Input track into two mono
Type Sorts the order of tracks in the Track List by tracks.
Track Type.
Delete Deletes the selected track.
Edit Group Sorts the order of tracks in the Track
MIDI Real-Time Properties Opens the MIDI Real-
List by Edit Groups.
Time Properties window for the selected track.
Mix Group Sorts the order of tracks in the Track
Open in New MIDI Editor Opens the tracks dis-
List by Mix Groups.
played in the current MIDI Editor window in a new
Voice Sorts the order of tracks in the Track List by MIDI Editor window. The new MIDI Editor win-
Voice allocations. dow will be untargeted.
MIDI Editor window, Notes pane with five superimposed Instrument tracks
When Color Coding by Track is enabled, tracks in the MIDI Editor are temporarily assigned one of
sixteen fixed colors, in the order they appear in the track list.
When Color Coding by Velocity is enabled, MIDI notes are all the same red color (hue) on all tracks dis-
played, and MIDI notes vary in color saturation (from a light red to a dark red) based on the Note On ve-
locity. Notes with low velocities are lighter in color and those with high velocities are darker.
When neither Color Coding by Track nor Color Coding by Velocity are enabled, notes are drawn in the
MIDI Editor in as the same color they are in the Edit window—using the color coding options as set in the
Track Color Coding settings in the Display Preferences.
Right-click anywhere in the Notes pane. The Cut command cuts the current Edit selection.
Copy
The Paste command pastes the clipboard to the Selecting the Open In New MIDI Editor option
current Edit selection or at the current Edit cursor opens all shown tracks in a new MIDI Editor win-
location. Any MIDI notes already present at the dow.
same location are overwritten.
Open In Score Editor
Merge
The Open In Score Editor option opens the shown
The Merge command pastes the clipboard to the tracks in the Score Editor window.
current Edit selection or at the current Edit cursor
location and merges the pasted data with any MIDI Open in MIDI Event List
notes already present at the same location.
The Open In MIDI Event List option opens the se-
lected track in the MIDI Event List.
Clear
Consolidate
Mute Notes
Event Operations
In MIDI Editor windows, notation is displayed as a To enable Notation view, do one of the following:
continuous timeline and not in page view as in the Enable the Notation view button in the MIDI
Score Editor window. Editor window toolbar.
For information on editing notation, see
“Editing Notes” on page 699.
Show/Hide lanes
Velocity lane
(2 tracks superimposed)
Remove lane
Add lane
Controller/Automation
Type selector
Paired Automation
lanes for separate
tracks
Velocity, Controller, and Automation lanes for two stereo Instrument tracks
The Score Editor window lets you view, edit, arrange, and print MIDI from your session as music
notation. MIDI notes are transcribed in real-time whether you record, import, draw (with the Pencil tool),
or Step Enter MIDI.
1 Ensure that there is no Edit selection. Normal Zoom The Zoomer tool remains selected
after zooming.
2 Right-click the Track name of an unselected
track in the Edit or Mix window, or in the Track Single Zoom The previously selected Edit tool is
List of the Edit, Mix, or MIDI Editor window. automatically reselected after zooming.
3 From the Right-click menu, choose Open In Press the F5 key to select the Zoomer tool
Score Editor. and toggle between Normal and Single Zoom
modes.
To open the Score Editor window with the current
Edit selection shown:
1 In the Edit window or in a MIDI Editor window, Also see “Score Editor Zoom Controls” on
make an Edit selection on one or more tracks page 695
that includes what you want shown in the Score
Normal Zoom Mode
Editor window.
2 Right-click the Edit selection and choose Open To zoom around a certain point in the score:
In Score Editor. 1 Click the Zoomer tool pop-up menu and select
Normal Zoom mode.
If the Score Editor option is selected as the
“Double Clicking a MIDI Clip Opens” set- 2 Click once with the Zoomer tool at a location
ting in the MIDI Preferences page, you can within the score. The score is zoomed in by one
double-click a MIDI clip to open it in the level and is centered around the zoomed loca-
Score Editor. tion.
3 To zoom back to the previous level, Option-
click (Mac) or Alt-click (Windows) with the
Zoomer tool.
Note Selector
Use the Note Selector tool to select notes on one or
more staves in the Score Editor window. Selected
notes highlight blue. Selected notes can be deleted,
moved, transposed, and processed (using Event
Operations).
Use the Pencil tools to insert, select, move, or de- The Triangle Pencil tool lets you draw a series of
lete notes in the Score Editor window. The various MIDI notes on a single pitch whose velocities os-
Pencil tools differ in how they draw note durations, cillate between the defined Default Note Velocity
repeated notes, and velocities, but function the and 127 in a triangle pattern. The duration of each
same when drawing notes on tracks in Notes view note is determined by the current Grid value.
in the Edit window or in a MIDI Editor window.
The duration is determined by the selected Default
To select a Pencil tool: Note Duration (see “Default Note Duration” on
page 689).
Click the Pencil tool pop-up menu and select the
Pencil tool you want. The start time for each note is determined by the
selected Grid value (see “Grid” on page 691).
Press the F10 key repeatedly to cycle through
the different Pencil tools. Square
The following Pencil tools are available in the The Square Pencil tool lets you draw a series of
Score Editor: MIDI notes on a single pitch whose velocities al-
ternate between the defined Default Note Velocity
Free Hand and 127 in a square pattern. The duration of each
note is determined by the current Grid value.
The Free Hand Pencil tool lets you draw single
notes of varying duration. The duration is determined by the selected Default
Note Duration (see “Default Note Duration” on
Note velocities are determined by the Default Note
page 689).
Velocity setting (see “Default Note On Velocity”
on page 689). The start time for each note is determined by the
selected Grid value (see “Grid” on page 691).
The minimum duration of the note is determined
by the selected Default Note Duration (see “De- Random
fault Note Duration” on page 689).
The Square Pencil tool lets you draw a series of
Line MIDI notes on a single pitch whose velocities
change randomly within the range between the de-
The Line Pencil tool lets you draw multiple notes
fined Default Note Velocity and 127 in a square
of the same pitch and duration.
pattern. The duration of each note is determined by
Note velocities are determined by the Default Note the current Grid value.
Velocity setting (see “Default Note On Velocity”
The duration is determined by the selected Default
on page 689).
Note Duration (see “Default Note Duration” on
The duration is determined by the selected Default page 689).
Note Duration (see “Default Note Duration” on
The start time for each note is determined by the
page 689).
selected Grid value (see “Grid” on page 691).
The start time for each note is determined by the
selected Grid value (see “Grid” on page 691).
If you want dotted note values, also select the Dot- Play MIDI Notes When Editing enabled in the Score
ted option. Editor window
When inserting MIDI notes with the Pencil tool When the Target is disabled, the Score Editor does
(using the Line, Triangle, Square, or Random not update to show the current Edit window selec-
shapes), the Grid value determines the Note On lo- tion or Edit cursor location.
cation and the Default Note Duration value deter-
mines the note duration (see “Default Note Dura-
tion” on page 689).
2 From the pop-up menu, select or deselect any of Use the Track List to show and hide MIDI and In-
the following: strument tracks as staves in the score.
Display Transposition
Spacing
Portrait Select to set the page orientation to Por- To select notes on one or more staves with the
trait. Note Selector tool:
Landscape Select to set the page orientation to 1 Click the Note Selector tool.
Landscape. 2 Drag in the score to highlight the notes you
Staff Size Enter the Staff Size. want to select.
The Score Editor automatically adds rests as nec- The Copy command copies the current Edit selec-
essary. Rests cannot be moved or inserted manu- tion.
ally.
Paste
Choosing the Score Setup option opens the Score 1 With the Grabber tool, double-click the Key
Setup dialog (see “Score Setup” on page 697). Signature you want to edit.
2 Enter values in the Key Change dialog and click
Send to Sibelius
OK.
Choosing the Send to Sibelius option command
To delete a Key Signature:
sends the score exactly as it appears in the Score
Editor window to Sibelius notation software (see With the Grabber tool, Option-click (Mac) or
“Exporting Scores” on page 706). Alt-click (Windows) the Key Signature you
want to delete.
Print Score
Chord Quality
selector
Chord selector Bass selector
To export a score from Pro Tools: 1 Open the Score Editor window and configure
your score.
1 Configure the score for your session in Score
Editor window. 2 Choose File > Print Score.
2 Choose File > Export > To Sibelius. 3 Configure the Print dialog as necessary and
click Print (Mac) or OK (Windows).
3 Select a destination and click Save.
Press Command+P (Mac) or Control+P
To send the score from your Pro Tools session to (Windows) to print the score.
Sibelius, do one of the following:
Track Selector
The Track selector in the MIDI Event List both in-
dicates the currently displayed MIDI or Instrument
track and can be used to choose a different MIDI or
Instrument track to be displayed.
Number of Events
MIDI Event List The number of MIDI events on the selected track
are displayed at the top of the MIDI Event List.
Events in the MIDI Event List can be copied and
pasted, selected, or deleted. Any MIDI event (ex-
cept Sysex data) can be inserted and edited in the Target
list. Certain MIDI event types can be hidden with The Target button for the MIDI Event List deter-
the View Filter. mines whether or not the MIDI Event List follows
the Edit cursor and Edit selections in the Edit win-
Unlike playlists in the Edit window, you can
dow and MIDI Editor windows. For example,
insert and display polyphonic aftertouch in
when the Target is enabled, the Events shown in
the MIDI Event List.
the MIDI Event List update to show the event in
The playback cursor appears as a blue arrow (red, When inserting an event type that has been
when tracks are record-enabled) in the Start col- filtered from the MIDI Event List, that event
umn. type will no longer be filtered.
Playback cursor
double-click
to edit
simultaneous
MIDI events
Go To dialog
4 Enter the location you want to go to, then click Pitch Release velocity
OK.
Attack velocity
The following items from the MIDI Event List Event Entry fields for note
menu affect navigating in the MIDI Event List:
When a field is selected, enter a value with any of
• When the Page Scroll During Playback option is the following methods:
selected, the MIDI Event List scrolls during
• Enter the value on the numeric keypad.
playback.
• Drag up or down to scroll to the value.
• When Scroll During Edit Selection is selected,
the MIDI Event List is scrolled automatically • Play the note on your MIDI controller keyboard,
when the Edit selection changes in the Edit win- then press Return (Mac) or Enter (Windows) on
dow. the alphanumeric keyboard to confirm the value.
Controller value
2 Enter the location for the new event. From the MIDI Event List menu, select Insert >
Another Note.
3 Enter a Program Change number and Bank Se-
lect value (if necessary). The program change With the MIDI Event List as the front-most
name is displayed in the Info column. window, press Command+M (Mac) or Con-
trol+M (Windows) to Insert a note.
With the Start field selected, you can auto- To edit an event in the MIDI Event List:
matically enter the location of another event
1 Do one of the following:
already in the track by clicking that event.
• Double-click the event field you want to edit.
4 Do one of the following:
• To edit a selected event, press Command+Enter
• To insert the program change and remain in (Mac) or Control+Enter (Windows).
Event Entry mode, press Enter on the numeric
keypad.
• To insert the program change and exit Event En-
try mode, press Return (Mac) or Enter (Win-
dows) on the alphanumeric keyboard.
• To exit Event Entry mode, without inserting the
program change, press Escape on the alphanu-
meric keyboard.
• Enter the new value on the numeric keypad. Command-click (Mac) or Control-click (Win-
dows) each event.
• While pressing Option (Mac) or Alt (Windows),
press the Up or Down Arrow to scroll to a new To deselect an event in the MIDI Event List:
value.
Command-click (Mac) or Control-click (Win-
• While pressing Command (Mac) or Control
dows) the selected event.
(Windows), drag up or down to scroll to a new
value. Notes selected in the MIDI Event List can be
• Play the new note or controller value on your modified by any of the commands in the Event
MIDI controller keyboard, then press Return Operations window (see Chapter 42, “Event
(Mac) or Enter (Windows) on the alphanumeric Operations”).
keyboard to confirm.
Deleting Events in the MIDI
3 Do one of the following: Event List
• To enter the new event value and move to an-
other field or event, use the Arrow keys. To delete an event in the MIDI Event List:
• To enter the new value and remain in Edit Entry Option-click (Mac) or Alt-click (Windows) the
mode, press Enter on the numeric keypad. event you want to delete.
• To enter the new value and exit Edit Entry mode, To delete a selection of events in the MIDI Event
press Return (Mac) or Enter (Windows) on the List:
alphanumeric keyboard.
1 Select the events you want to delete by either
• To exit Edit Entry mode without entering the dragging in the Start column, or by Shift-click-
new value, press Escape on the alphanumeric ing each event.
keyboard.
2 To view only the events you want to delete, use
the View Filter (see “View Filter for MIDI
Selecting Events in the MIDI Event List” on page 708). Events not displayed
Event List cannot be deleted.
To select a range of events in the MIDI Event List, 3 Do one of the following:
do one of the following:
• Choose Edit > Clear to delete all selected events.
Click the event at the beginning of the selection
• Press Delete (Mac) or Backspace (Windows) on
and drag to the ending event.
the alphanumeric keyboard.
Shift-click the event at the beginning of the se-
lection, then Shift-click the ending event.
Displaying Rulers
To display all rulers:
The Main Time Scale determines the time format Main Counter selector (in the Edit window)
used for: If a Timebase ruler is displayed, click its name
• The Main Counter in the Transport so it becomes highlighted.
• The Main Counter at the top of the Edit window Setting the Main Time Scale to the timebase
or MIDI Editor window currently displayed in the Sub Counter
• Start, End, and Length values switches the two Time Scales, setting the Sub
• Pre- and post-roll amounts Time Scale to the previous timebase of the
Main Time Scale.
• Grid and Nudge values
From the Main Counter selector, select (or dese- In the Bars|Beats Time Scale, Pro Tools is
lect) the Show Sub Counter option. tick-based (960 ticks to a quarter note). Some
amount of sample-rounding may occur when
To show the Sub Counter in the Transport window: placing events at certain locations (see
“Sample Rounding and Edit Operations” on
From the Transport Window menu, ensure that
page 724).
the Counters and Expanded Transport options
are enabled. When working in Bars|Beats, you will often want
to specify tick values for a number of operations,
To set the Time Scale for the Sub Counter: including:
Click the Sub Counter selector and select a • Placing and spotting clips
Time Scale.
• Setting lengths for clips or MIDI notes
• Locating and setting play and record ranges (in-
cluding pre- and post-roll)
• Specifying settings in the Quantize and Change
Duration pages of the Event Operations window
• Setting the Grid and Nudge values
Sub Counter selector (in the Edit window)
When the Main Time Scale is set to
Bars|Beats, and you are using tempo
changes, set the Linearity Display Mode to
Linear Tick Display (see “Changing the
Linearity Display Mode” on page 737).
This will keep the Bars|Beats ruler fixed (at
the selected zoom level) and sample-based
rulers such as Minutes:Seconds will scale
to fit any tempo changes while bar lengths
remain constant.
For the greatest accuracy, type the selection In the Tempo ruler with any Edit tool, drag the
Start and End points in the Event Edit area. Song Start Marker left or right.
Do not select the material with any of the Grab-
ber tools (or by double-clicking with the Selector
tool).
Tempo
The Tempo ruler lets you edit Tempo events one at
a time or according to tempo curves. You can edit Current Tempo in Transport window
tempo visually in the Tempo Editor, or make pre-
cise changes in tempo using the Tempo Operations Inserting Tempo Events
window.
To insert a tempo event:
To display the Tempo ruler: 1 Click in the Tempo ruler where you want to in-
Select View > Rulers > Tempo. sert the tempo event.
To set the default session tempo, see “Setting 2 Click the Add Tempo Change button at the left
the Session Meter and Tempo” on page 402. of the Tempo ruler.
Tempo events selected 1 To view the MIDI controls in the Transport win-
dow, select View > Transport > MIDI Controls.
Press Option (Mac) or Alt (Windows) while 2 In the Transport window, click the Tempo Ruler
dragging to select across all Conductor Enable (Conductor) button so it becomes un-
tracks. highlighted. Pro Tools switches to Manual
Tempo mode. In this mode, any tempo events in
2 Choose Edit > Copy.
the Tempo ruler are ignored.
3 Click in the Tempo ruler at the point where you
want to paste the tempo events.
4 Choose Edit > Paste. The contents of the Clip-
board are pasted from the insertion point, re-
placing any existing tempo events.
Tempo Ruler button (unhighlighted), set to Manual
Tempo mode
To extend an Edit selection in a track to the Tempo
ruler: 3 Click in the Tempo field so it becomes high-
1 With the Selector or Grabber tool, make a Time- lighted and tap the “T” key on your computer
line selection. keyboard repeatedly at the new tempo.
2 Shift-click in the Tempo ruler. You can apply the new tempo to the entire
session by changing the default tempo of the
To select all tempo events: Song Start Marker. See “Song Start Marker”
Double-click with the Selector tool in the on page 724.
Tempo ruler.
Tempo at 92 bpm
Tempo Editor
Editing Tempo Events in the
Tempo Editor
To display the Tempo Editor, do one of the
following:
Select View > Rulers > Tempo, then select Tempo events in the Tempo Editor can be edited
View > Rulers > Tempo > Tempo Editor. with any of the following methods:
Click the Tempo Editor expand/collapse Individual tempo events can be dragged with
triangle. any of the Grabber tools to adjust their location or
value.
A group of selected tempos can be scaled up or
down with the Trim tool.
New tempo events can be drawn in with the
Pencil tool to replace existing ones.
Tempo events can be copied and pasted,
nudged, and shifted.
You can easily select a single tempo event, or an • Press Shift+Tab to extend the selection to the
entire tempo curve within the Tempo Editor. next tempo event.
• Press Shift+Option+Tab (Mac) or Shift+Con-
To Select a tempo event in the Tempo Editor: trol+Tab (Windows) to extend the
Using the Selector tool or any Grabber tool, selection to the previous tempo event.
double-click between two tempo events. The
first event is selected.
The Tempo Operations window lets you define Choose Event > Tempo Operations, followed
tempo events over a range of time (or measures). by one of the Tempo Operations page com-
The time range is specified in the time format cho- mands (such as Constant).
sen for your Main Time Scale. In addition, the
Tempo Operations window lets you: If the Tempo Operations window is already
open, you can select any of the pages from the
• Fit a specific number of Bars|Beats into a precise pop-up menu at the top of the window.
time range.
To open the last active Tempo Operations window
• Create tempos that speed up or slow down, both
page:
linearly and over various curves.
Choose Event > Tempo Operations > Tempo
• Scale and stretch existing tempos.
Operations Window.
The Tempo Operations window is not
Press Option+2 (Mac) or Alt+2 (Windows)
available in Manual Tempo mode.
on the number keypad to open the Tempo Op-
The Tempo Operations window has six pages, one erations window and display the last active
for each type of tempo operation. Tempo Operations page.
Constant Lets you create a constant tempo over a To define tempo events over a range of time:
selected range of time. 1 Make a selection in the Timebase or in a track.
Linear Lets you create tempos that change evenly 2 Choose Event > Tempo Operations > Tempo
over a selected range of time. Operations Window.
Parabolic Lets you create tempos that accelerate or 3 Select a Tempo Operation page from the pop-up
decelerate following a tempo curve that changes menu at the top of the Tempo Operation win-
the tempo more rapidly or less rapidly over the se- dow.
lection time.
4 Change the settings for the page you have cho-
S-Curve Lets you create tempos that accelerate or sen, as necessary.
decelerate following a tempo curve with a defin- 5 Do one of the following:
able breakpoint that determines mid-curve times
and tempo values. • Click Apply.
• Press Return (Mac) or Enter (Windows) to auto-
Scale Lets you scale tempos within the selection
matically apply the values and close the window.
by a percentage amount.
Preserve Tempo after Selection If selected, the Calculate (Advanced Option) Calculates either
previous tempo setting that was in effect at the se- the selection end time, the start tempo, the end
lection end point is preserved after the selection. If tempo or the curvature of the tempo change.
unselected, the last tempo event created by the
Selection Start and End Displays the start and end
tempo operation continues to the end of the ses-
points for the tempo change in the currently se-
sion, or until the next tempo event beyond the se-
lected Main timebase. When an Edit selection is
lected range.
made, the Start and End fields will display the se-
lection boundaries. Changing start or end values
changes the selection range.
Resolution (Advanced Option) Lets you select the Scale page (Advanced Option)
BPM note value for your tempo setting. Advanced When this option is selected, the
selection range changes to the Main Time Scale
Select “Follow Metronome Click” will set the
format, and additional and modified options be-
tempo BPM note value to mirror the click
come available.
value set in the meter markers.
Calculate (Advanced Option) In combination with
Density (Advanced Option) Lets you specify the
settings chosen in the Scale pop-up menu, the Cal-
density of the tempo change events written to the culate pop-up menu lets you calculate the selection
Tempo ruler. end time, the average tempo, the start tempo, or the
end tempo.
Average Tempo Displays the Average Tempo, in Stretch To End Specifies a new end point for the
beats per minute (BPM), across the selected range. clip to which you want to apply the selected tempo
Changing the Average Tempo changes the Scale events. Changing the end point causes the Stretch
percentage. percentage to change.
Scale Displays the percentage by which the tempo Stretch To Start (Advanced Option) Specifies a
is scaled, in beats per minute (BPM), across the se- new start point for the clip to which you want to
lected range. Changing Scale changes Average apply the selected tempo events. Changing the end
Tempo. point causes the Stretch percentage to change.
Preserve Tempo after Selection If selected, the Stretch Specifies the percentage of time for the se-
previous tempo setting that was in effect at the se- lected tempo events to cover.
lection end point is preserved after the selection. If
unselected, the last tempo event created by the
tempo operation continues to the end of the ses-
sion, or until the next tempo event beyond the se-
lected range.
Chapter 35: Time, Tempo, Meter, Key, and Chords 743
Preserve Tempo after Selection If selected, the Choosing Bar|Beat Markers or
previous tempo setting that was in effect at the se- Tempo Events
lection end point is preserved after the selection. If
Because tempo events are tick-based, and Bar|Beat
unselected, the last tempo event created by the
Markers are sample-based, they cannot be mixed.
tempo operation continues to the end of the ses-
If a session contains tempo events and you attempt
sion, or until the next tempo event beyond the se-
to insert Bar|Beat Markers, existing tempo events
lected range.
are converted to Bar|Beat Markers (and vice
versa).
The Identify Beat command analyzes a selection 1 Press Command (Mac) or Control (Windows)
range (usually with a distinct number of beats or and click the Add Tempo Change button.
measures) and calculates its tempo based on the
2 Select either Tempo Events or Bar|Beat
specified meter. In doing this, Bar|Beat Markers
Markers from the pop-up menu.
for the calculated tempo are inserted and appear in
the Tempo ruler at the beginning and end of the se-
lection; in addition, meter events are inserted into
the Meter ruler.
Bar|Beat Marker
Current Meter
As meter events are encountered during playback,
the session’s current meter is displayed in the
Transport window.
6 Click Apply.
Set Meter If your Main Time Scale is Bars|Beats, If your Main Time Scale is sample-based,
Set Meter lets you specify a new meter for the in- Realign Meter Ruler Only is not available.
serted time. The selection is quantized to the near-
Meter, Tempo, Key, and Chord Rulers, Tick-Based
est bars, and the previous meter is inserted after the Markers and Tracks, and Sample-Based Markers
selection. If your Main Time Scale is sample- and Tracks Lets you insert time into the Meter,
based, Set Meter is not available. Tempo, Key, and Chord rulers, and all tick-based
markers and tracks. Events after the start point of
Realign the selection are shifted past the end point by the
The Realign settings let you select which items length of time inserted.
shift (occur later) when time is inserted, as follows: If the Timeline selection includes any audio clips
• If your Main Time Scale is set to Bars|Beats, you on tick-based tracks, the audio clips are separated
can choose to realign meter events only, or at the Start point, and the new clip containing the
choose to realign a combination of Meter and previous selection is shifted to the end point.
Tempo rulers, all tick-based markers and tracks,
and your choice of sample-based tracks. Using the pop-up menu, you can also choose to in-
sert time into All or No sample-based markers and
• If your Main Time Scale is set to an absolute tracks. If All is selected and the selection includes
timebase (such as Min:Secs), you can choose to any audio clips on sample-based tracks, the se-
independently realign conductor events, tick- lected portions of the audio clips are separated at
based markers and tracks, and your choice of the Start point, and the new clip containing the pre-
sample-based tracks. vious selection is shifted to the end point.
Move
To renumber bars:
1 Choose Event > Renumber Bars.
2 Specify the bar you want to renumber, along
with the new bar number, then click Renumber.
Key Signature ruler
Key Signatures To view the staff for the Key Signature ruler:
The Key Signature ruler lets you add key signa- 1 Show the Key Signature ruler.
tures to Pro Tools sessions. Key signatures can be
imported and exported with MIDI data. This is es- 2 Do one of the following:
pecially useful when exporting MIDI sequences • Select View > Rulers > Key Signature Staff.
for use in notation programs like Sibelius (see “Ex- • Click the Show/Hide triangle on the Key Signa-
porting Sibelius Files” on page 322). The default ture ruler.
key signature is C major.
To delete a key signature, do one of the following: Major Keys Displays the major keys from seven
flats to seven sharps.
Option-click (Mac) or Alt-click (Windows) the
Key Signature marker in the Key Signature Minor Keys Displays the minor keys from seven
ruler. flats to seven sharps. Pro Tools only applies the
natural minor mode.
Make a selection in the Key Signature ruler that
includes the key signature you want to delete Sharps Lets you select any of the sharp keys to
and choose Edit > Clear or press Delete. seven sharps and C major (or A minor).
Chords ruler
Add Chord Symbol
Chord Symbol markers
The Import Session Data dialog includes the Im- Chord Symbols ruler
port Key Signature/Chord Map option. When se- To view the Chord Symbols ruler, do one of the
lected, key signatures (if present) and chord mark- following:
ers (if present) are imported into the current
Select View > Rulers > Chord Symbols.
session with the imported session data.
From the Ruler View selector in the Edit win-
dow or in a MIDI Editor window, select Chords.
Chord Change Dialog Chord Diagram Select the chord diagram for
guitar tablature.
The Chord Change dialog lets you specify a com-
mercial chord symbol and chord diagram (guitar To show or hide chord symbols and diagrams
tab) to place in the Chords ruler or on the score in in the Score Editor, select or deselect the cor-
the Score Editor. The Chord Change dialog opens responding option in the Score Setup dialog.
whenever you add or edit a Chord marker.
Memory Locations provide a powerful way to nav- When creating Memory Locations, the next avail-
igate your session while editing and arranging. able number is assigned to it (1–999). This number
is used in recalling the Memory Location from the
Each session can save up to 999 Memory Loca- numeric keypad.
tions that can be used to recall:
• Markers to important locations in the session To create a Marker Memory Location:
• Edit selections across one or more tracks 1 Configure any session settings you will save
with the Marker Memory Location, such as
• Record and play ranges, along with pre- and
zoom settings, pre- and post-roll times,
post-roll times
Show/Hide status for tracks, Track Heights, and
• Track settings that include Show/Hide status, Edit and Mix Group enables.
Track Heights, and zoom values
2 If necessary, enable Options > Link Timeline and
• Edit and Mix Groups enables Edit Selection.
• Window Configurations
3 Ensure that the Markers ruler is displayed (View
Memory Locations are viewed and sorted in the > Rulers > Markers).
Memory Locations window, where they can be re- 4 Do one of the following:
called by clicking the Memory Location.
• Click with the Selector tool in any track or ruler
at the location where you want to place the
Marker. To place a Marker at the beginning of a
Creating Memory Locations clip, select the clip with the Time Grabber tool.
Memory Locations can be created in different Click the Add Marker/Memory Location button
ways, based on the type of Memory Location: (or press Enter on the numeric keypad).
• In the Marker ruler, double-click the Marker to 2 Select a range of material in one or more tracks.
open the Edit Memory Location dialog and relo-
3 In the Memory Locations window, Control-
cate the insertion point at the marker location.
click (Mac) or Right-click (Windows) the
• In the Marker ruler, Control-click (Mac) or Memory Location that you want to redefine.
Start-click (Windows) the Marker to open the
4 Enter a name for the Memory Location and
Edit Memory Location dialog without locating
click OK.
the insertion point at the marker location.
To move a Marker by dragging:
3 In the Memory Locations window or the Mark- If the beginning of the selection includes a Marker,
ers ruler, Control-click (Mac) or Start-click press Command (Mac) or Control (Windows) so
(Windows) the Marker Memory Location that the Selector tool appears.
you want to redefine.
Press Option (Mac) or Alt (Windows) while
4 Enter a name for the Marker and click OK. dragging to select across all Conductor
tracks.
Select the Memory Location and choose Delete 5 Choose Edit > Paste. The contents of the Clip-
Memory Location from the Memory Locations board are pasted from the insertion point, re-
Window menu. placing any existing Markers.
In the Memory Locations window, Option-click To extend an Edit selection in a track to the
(Mac) or Alt-click (Windows) the Memory Lo- Markers ruler:
cation. 1 Using the Selector or Grabber tool, select a
track range.
To delete all Memory Locations, do one of the
following: 2 Shift-click in the Markers ruler.
Choose Delete All from the Memory Locations Shift-click again in the Markers ruler to remove it
Window menu. from the selection.
Option-Shift-click (Mac) or Alt-Shift-click
(Windows) any Memory Location in the Mem- To select all Markers in the Markers ruler:
ory Locations window. With the Selector tool, double-click in the
Markers ruler.
Click the Memory Location. Show Main Counter When selected, a column ap-
pears in the Memory Locations window that dis-
With the Numeric Keypad mode set to plays the locations based on the Main Time-scale
Classic, press the Memory Location number for Markers, and the start times for Selection
followed by Period (.). With the Numeric Memory Locations. General Property Memory Lo-
Keypad mode set to Transport or Shuttle, cations display nothing in this column.
press Period (.), the Memory Location
number, and Period (.) again. Main Time Scale
Sub Time Scale
Memory Locations
Commands and Options
You can select viewing and sorting options, along
with commands for creating and removing Mem-
ory Locations, from the Memory Locations Win-
dow menu. Main/Sub Counters in the Memory Locations window
Once you have created a clip, it appears in the Clip Clips are placed according to the current Edit
List. From the Clip List you can drag it to a track to mode:
add to an existing arrangement of clips, or you can • In Shuffle mode, existing track clips are slid as
create a new track and start adding clips from necessary to make room for the new clip.
scratch. The exact placement of clips in a track de-
pends on whether the Edit mode is set to Shuffle, • In Spot mode, you are prompted by the Spot di-
Slip, Spot, or Grid (see “Edit Modes” on alog to enter a location for the dragged clip (see
page 495). “Spotting Clips” on page 778).
• In Grid mode, the dragged clip snaps to the near-
You can locate clips in the Clip List by est Grid boundary.
typing the first few letters of their name
(see “Keyboard Selection of Clips” on You can temporarily disable Grid mode while
page 254). dragging a clip by holding down the Com-
mand key (Mac) or Control key (Windows)
after clicking with the mouse.
Placing Clips in Tracks
• In Slip mode, the clips are placed exactly where
To place a clip in a track: they are dropped in the destination track.
1 In the Clip List, select the clip or clips you want
to place.
Working with Multiple Items
Drag the selected clips from the Clip List to a
2
from the Clip List
location in a track.
If dragging multiple clips, the clips are placed on Setting Timeline Drop Order
adjacent tracks left to right or on multiple tracks
The Timeline Drop Order option in the Clip List
from top to bottom depending on the selected
menu sets whether tracks dragged from the Clip
Timeline Drop Order option (see “Setting Timeline
List are dropped sequentially in a single track or
Drop Order” on page 771). If dragging a stereo au-
spread across multiple tracks, as follows:
dio clip, it must be placed in a stereo track or in two
mono tracks. Top to Bottom When enabled, clips spread across
multiple destination (drop) tracks or on new tracks
(when dragging to the area below the last track or
to the Track List).
To set the Clip List Drop Order: 2 Select multiple items in the Clip List and drop
them in the playlist of a compatible track at the
Choose Clip List > Timeline Drop Order, and target location. When the cursor is over a com-
then Top to Bottom or Left to Right. patible destination, the clip outlines appear at
the location.
Dragging and Dropping Multiple
Items from the Clip List To drag and drop multiple items from the Clip List
to a single track:
To drag and drop multiple items from the Clip List
to multiple new tracks:
1 From the Clip List menu, choose Timeline Drop
Order > Left to Right.
1 From the Clip List menu, choose Timeline Drop
Order > Top to Bottom. 2 Search and sort the Clip List to configure the or-
der in which items will be placed.
2 Search and sort the Clip List to configure the or-
der in which items will be placed. 3 Select multiple items in the Clip List and do one
of the following:
3 Select multiple items in the Clip List and do one
of the following: • To create a new track and spot the first item to a
specific location, drop at the location in the area
• To create new tracks and place items to a spe- below the last track shown in the Edit window.
cific location, drop items at the location along
the area below the last track. • To create a new track and have the first item
placed at the start of the session, drop the items
• To create new tracks and have items placed at on the Track List.
the start of the session, drop the items on the
Track List. • To place items in an existing track, drop the
items in the Edit playlist for the track.
The start, end, and sync point of one clip can be 1 With the Time Grabber tool, select the clip you
aligned to the start of a different clip on another want to align.
track. 2 If the Scrolling option is set to Center Playhead
(Pro Tools HD only), move the playhead to the
With Pro Tools HD, when the Scrolling
start of the selected clip (see “Moving the Play-
option is set to Center Playhead, clip start,
head” on page 388).
end, and sync points align to the playhead.
3 Do one of the following:
To align the start points of clips on different tracks:
• Control-Shift-drag (Mac) or Start-Shift-drag
1 With the Time Grabber tool, select the clip you
(Windows) a clip from the Clip List to another
want to align to by clicking it.
track.
2 If the Scrolling option is set to Center Playhead • If the clip is already in the track, Control-Shift-
(Pro Tools HD only), move the playhead to the click (Mac) or Start-Shift-click (Windows) the
start of the selected clip. For details, see “Mov- clip you want to move with the Time Grabber
ing the Playhead” on page 388. tool.
3 Do one of the following:
• Control-drag (Mac) or Start-drag (Windows) a
clip from the Clip List to another track. Sliding Clips
• If the clip is already in the track, Control-click A clip or group of selected clips (on the same track
(Mac) or Start-click (Windows) the clip you or on multiple tracks) can be slid with the Time
want to move with the Time Grabber tool. Grabber tool to new locations or to other tracks.
This feature is useful in post production applica-
To align the end point of a clip to the start of tions where the timing of audio events such as
another clip (on a different track): sound effects and dialog need to be spotted to mu-
1 With the Time Grabber tool, select the clip you sic, film, or video.
want to align to by clicking it.
Sliding clips is affected by whether the current
2 If the Scrolling option is set to Center Playhead Edit mode is set to Shuffle, Slip, Spot, or Grid (see
(Pro Tools HD only), move the playhead to the “Edit Modes” on page 495).
start of the selected clip (see “Moving the Play-
head” on page 388). You can slide a copy of a clip to another lo-
cation or track by pressing Option (Mac)
3 Do one of the following: or Alt (Windows) while dragging.
• Command-Control-drag (Mac) or Control-Start-
drag (Windows) a clip from the Clip List to an-
To retain a clip’s time location when drag-
other track.
ging to another track, press the Control
• If the clip is already in the track, Command- (Mac) or Start key (Windows) while drag-
Control-click (Mac) or Control-Start-click ging.
(Windows) the clip you want to move with the
Time Grabber tool.
For more information on using SMPTE with 4 If the Time Scale is set to Timecode, select the
Pro Tools, see Chapter 51, “Working with Use Subframes option to display subframes in
Synchronization.” the fields for improved accuracy.
5 Do one of the following:
To spot a clip:
• Click in the field for Start, Sync Point, or End
1 Enable Spot mode (see “Edit Modes” on
and type in a new location. Changing one of
page 495).
these locate points automatically updates the
2 Do one of the following: other locate points.
• Drag a clip from the Clip List, or drag audio files • Click one of the up arrows next to Original Time
or sessions from a Workspace browser to an Stamp or User Time Stamp to enter the associ-
existing track. ated values into the currently selected field.
• Click a clip already in a track with the Time • If you are using an external SMPTE timecode
Grabber tool. source, click the down arrow next to the Current
Timecode display—or press Equal (=) on the nu-
3 In the Spot dialog, select a time format from the
meric keypad—to capture an incoming time-
Time Scale pop-up menu.
code address.
6 Click OK. The clip is moved to the new location
specified for its start, end, or sync point.
1 Do one of the following: Grid (or Nudge) units. If a clip’s start point falls
between beats and the Grid is set to 1/4 notes, drag-
• From the View > Main Counter menu, select the
ging the clip will be constrained to 1/4 notes, pre-
Time Scale for the Grid value.
serving the clip’s relative position to the nearest
• To keep the Main Time Scale and use a different beat.
time format for the Grid, deselect Follow Main
Timebase in the Grid value pop-up menu. To select Absolute or Relative Grid mode:
2 Do one of the following: Click the Grid mode selector and select Abso-
lute Grid or Relative Grid.
• From the Grid value pop-up menu, select the
time value for the Grid boundaries. To temporarily suspend Grid mode and
switch to Slip mode while dragging a clip,
hold the Command key (Mac) or Control key
(Windows).
Sync Points
The placement of clips in Grid and Spot mode can
be based on the definition of a clip sync point. Sync Point
Sync points can be added to audio, MIDI, and
video clips and also to clip groups. Sync points are To change the location of a sync point:
used when a specific point within a clip must be With the Selector tool, click at a point in a clip
aligned to the Grid or to a particular SMPTE or and choose Clip > Identify Sync Point. The new
bar/beat location. This capability is especially im- location is identified as the sync point for the
portant when placing music and sound effects for clip.
film and video work.
You can also move the location of a sync
For example, suppose you had an audio clip for a point by dragging it (see “Dragging Sync
door slam that included the creak of the door clos- Points” on page 784).
ing, the actual slam, and the reverb of the slam. Us-
ing a sync point for the slam sound in the clip lets Removing Sync Points
you spot it to a specific time in the session.
To remove a sync point, do one of the following:
Sync points in audio clips may displayed or 1 If you want the sync point to snap to the current
hidden. Grid value when you finish scrubbing, set the
Edit mode to Grid (see “Edit Modes” on
To disable the display of sync points in audio clips: page 495).
Deselect View > Clip > Sync Point. 2 Select the Scrubber tool.
3 Drag the sync point to a new location. The sync
To enable the display of sync points in audio clips:
point scrubs the audio as you move it.
Choose View > Clip > Sync Point.
In Shuffle mode, Time-locked clips, and all clips Stripping Silence from Clips
occurring after the locked clip, are not displaced
when other neighboring clips are moved. Strip Silence analyzes audio selections—across
multiple tracks—and removes (or extracts) any ar-
On tick-based Elastic Audio-enabled tracks, Time- eas of silence, dividing the selection into smaller
locked clips conform to tempo changes, but not clips and removing the silent areas.
other Elastic Audio processing (such as Quantize
or manual warping) can be applied. You can use Strip Silence to strip (remove) silence
from a clip, or instead, extract the audio and keep
the silence. Getting rid of silent areas is useful
Allowing Editing of Edit-Locked when preparing to compact audio (see “Compact-
Clips
ing an Audio File” on page 565). Strip Silence au-
If you attempt to edit an Edit-locked clip, tomatically separates the selection into separate
Pro Tools warns you and prompts you to Cancel or clips, which is useful if you want to quantize audio
Allow the edit. If you allow an edit that keeps any to musical values, or locate sound effects to
part of the clip intact, the clip remains locked. SMPTE locations.
Strip Silence, padding clip start and end points 5 Click the Extract button.
6 Once the Strip Silence rectangles encompass All audio above the designated threshold is deleted
the audio that you want to keep, press the Strip and the “silent” portions of the track are left.
button.
To separate clips using Strip Silence:
The material defined as silence is removed from
1 Make an Edit or Timeline selection.
the selection and new clips are created, which also
appear in the Clip List. 2 Choose Edit > Strip Silence.
Strip Silence is nondestructive and does not re- 3 To set the naming scheme for clips created with
move audio data from parent audio files. In addi- Strip Silence, click Rename to open the Re-
tion to the Undo command, you can use the Heal name Selected Clips dialog (see “Auto-Naming
Separation command to restore stripped material. for Strip Silence” on page 787).
Strip Silence works with stereo and multi- 4 In the Strip Silence window, adjust the settings
channel tracks, and keeps their audio clips for Strip Threshold and Minimum Strip Dura-
phase-coherent. tion (Min Strip) until the Strip Silence rectangles
appear in the selection.
5 Click the Separate button.
Inserting Silence
The Insert Silence command is a simple and con-
venient way to insert silence on audio, MIDI, and
Strip Silence rectangles Instrument tracks. This command lets you make a
selection on a track (or tracks) and insert precisely
Strip Threshold Sets the amplitude threshold that amount of silence.
(from –96 dB to 0 dB) for Strip Silence. Audio
falling below this threshold is considered silence The Insert Silence command also affects
and removed. Audio above the threshold is re- markers in any selected Conductor Rulers
tained and defined as new clips. (such as the Tempo or Meter rulers).
Minimum Strip Duration Sets the minimum dura- In Shuffle mode, all data on the track is shuffled
tion (from 0 to 4,000 ms) that the material above later in the track by an amount equal to the
the threshold must last to be considered silence. selection.
Use this control to avoid countless small clips that
may occur within a selection. In Grid mode, the Insert Silence command works
just like the Clear command.
Clip Start Pad Specifies a time value to be added
to the beginning of each new clip created with
Strip Silence. This is useful for preserving musical
material that falls below the threshold, such as the
breath before a vocal phrase, or the finger slide be-
fore a guitar chord.
Duplicating Audio and Keeping 1 If working with material that is bar- and beat-
It On The Beat based, such as loops, set the Main Time Scale to
Bars|Beats.
When using Duplicate (or Repeat) for audio that
must fall cleanly on the beat (such as rhythmic 2 If you want to constrain the selection to the cur-
loops), it is important that you select the audio ma- rent Grid value, set the Edit mode to Grid.
terial with the Selector tool, or by typing in the 3 Make an Edit selection.
start and end points in the Event Edit area. If you
select an audio clip with the Time Grabber tool (or
by double-clicking it with the Selector tool), the
material may drift by several ticks because of sam-
ple-rounding.
Repeat dialog
Pro Tools lets you loop clips or a group of clips Looped clips (all iterations) display a Loop icon in
(called a clip group). the lower, right corner or each loop iteration.
Looped clip
For information on trimming looped clips us- 1 Select the source clip.
ing the Loop Trim tool, see “Loop Trim 2 Choose Edit > Copy Special and one of the Copy
Tool” on page 512. Special commands (All Automation, Pan Auto-
mation, or Plug-In Automation), depending on
If the source clip is extended to the left by using the
what automation you want to copy.
Trim tool to change the total length of the looped
clip, the source clip is moved earlier in the Time-
line and loop iterations fill in up to the point where
the last original loop iteration ended. If the trim to
the left is part of the source clip’s length, the
source clip is not moved and a partial loop iteration Selected Pan automation for Special Copy
is created to the left of the source clip. This is a
3 Select the entire looped clip.
powerful feature that lets you make quick changes
to your arrangement by using partial loops as up- 4 Choose Edit > Paste Special > Repeat to Fill
beats, or by extending looped sound effects or am- Selection.
bience earlier in a film score.
Clip groups are not supported on audio The Group and Ungroup Clip menu
tracks set to Playlists view. Changing an commands apply to any Edit selection
audio track to Playlist View automatically regardless of the current Track View.
ungroups any clip groups on the track.
Regrouping Clips
The Regroup menu command undoes the last Un-
group command and regroups all the individual
clips as a clip group. This lets you ungroup a
grouped clip, edit its underlying clips, and regroup
MIDI Clip Group icon on a MIDI track it to continue working on higher-level composition
and arranging.
Clip groups can be created from empty
selections. This can be useful when working
in Shuffle mode to preserve the gaps between
clips.
If a MIDI clip within a clip group is modified in Trimming clip groups with the Standard Trim tool
any way, a new clip copy is created and placed works the same way as trimming regular clips, re-
over the clip group. For example, if you record, gardless of whether you are trimming a single-
draw in a new note, edit MIDI controller data, or track clip group or a multitrack clip group.
quantize a Timeline selection, a new clip is created
over the clip group. Trimming a clip group does not trim the underly-
ing clips, but rather trims the clip group boundar-
ies. All underlying clips retain their original length
Editing Audio Clip Groups and location. This is true for all underlying audio
Certain audio editing commands create new clips and MIDI clips, and nested clip groups. If you trim
over clip groups. To use these commands and the clip group shorter, underlying clips may not be
maintain the clip group, ungroup the clip group, heard on playback because they are outside the clip
perform the edit, and then regroup the clip group. boundaries of the trimmed clip group.
The following edit commands create new clips When trimming clip groups with the TC/E Trim
over clip groups: tool, it applies only to audio or MIDI clips, de-
pending on which clip type in the group you trim,
• AudioSuite processing of a grouped clip
and creates a new clip over the clip group.
results in a new clip over the clip group.
• Consolidating a selection of a grouped clip cre- If you ungroup clips after trimming a clip group in
ates a new audio file and clip over the clip group. (shorter), audio clips falling outside of the bounds
of the current clip group are trimmed to fit the clip
• Recording into a clip group creates a new
group boundary or removed.
audio file and clip over the clip group.
• Pencil tool waveform redraw results in a new
Recording
clip over the clip group.
When recording audio or MIDI, new clips are cre-
Tabbing to Transients and Clip ated over (in front) of clip groups instead of being
Boundaries included in the clip group. To record into a clip
group, first ungroup the clip group, then record,
With Tab to Transients enabled, the Tab key and then regroup the clip group. The clip group
moves the Location Cursor to transients and clip will be recreated intact with the newly recorded
boundaries within a clip group. material.
With Tab to Transients disabled, the Tab key
moves the Location Cursor to clip group boundar-
ies only (and the sync point, if present).
AudioSuite Menu
AudioSuite plug-ins are accessed through the Au-
dioSuite menu. Plug-ins can be organized in the
AudioSuite menu in Pro Tools by Flat List (with
plug-ins in alphabetical order), Category, Manu- AudioSuite window, EQ III 1-Band shown
facturer, or Category and Manufacturer.
From this menu you can select any AudioSuite Clip List Applies AudioSuite processing only to
plug-in installed in your Plug-Ins folder. Plug-Ins selected clips in the Clip List. Processing is not be
are listed in the Plug-In selector pop-up menu ac- applied to clips on the Timeline (playlists on audio
cording to the Organize Plug-Ins Menu By setting tracks).
in the Display Preferences page.
If the Use In Playlist option is enabled in ad-
dition to Clip List being selected in the Selec-
tion Reference pop-up menu, the processing
will be applied to the selected clip in both the
playlist and the Clip List.
Automatic File Naming of AudioSuite- Processing a locked clip will cause the clip to
Processed Audio become unlocked, and processing a muted
clip will cause it to become unmuted.
When new audio files are created as a result of Au-
dioSuite processing, Pro Tools will auto-name Only audio files on locally connected hard drives
these files according to the type of plug-in used. can be processed with AudioSuite plug-ins. You
The name of the clip determines the prefix, while cannot process audio files on remote hard drives
the type of AudioSuite plug-in determines the suf- over a network (unless it is an Avid Unity net-
fix. work).
Automatic file naming follows these rules: To process audio with an AudioSuite plug-in:
New clips are named beginning with the clip 1 Do one of the following:
name, followed by an abbreviation of the current • Make an Edit selection of the audio you want to
AudioSuite process, followed by standard process.
Pro Tools file and clip numbering.
• Select audio clips in the Clip List that you want
If a plug-in’s File Mode is set to Overwrite Files, to process.
the original clip’s name will not be changed.
2 Choose an AudioSuite plug-in from the
If a plug-in’s File Mode is set to Create Individ- AudioSuite menu.
ual Files, the resulting clips will have an abbrevi-
3 Adjust the plug-in controls for the effect you
ated version of the plug-in name appended to them.
want. These settings determine how the file is
processed and what effect the processing has on
the original clips.
• If you have selected multiple clips for process- To compensate for this, place the clip in a track and
ing and want to create a new file that connects select the audio plus an amount of blank space at
and consolidates all of these clips together, se- the end of the clip equal to the amount of delay or
lect Create Continuous File for the File Mode. reverb decay that you have added in the plug-in.
The plug-in will then have space at the end of the
4 Click the Preview button to audition the Audio-
clip in which to write the final delay or decay. If
Suite processing of the selected material.
you select more time than needed, you can trim it
5 Make any further adjustments to the plug-in after applying AudioSuite processing.
controls if necessary.
6 When you are satisfied with the results, click AudioSuite Handles
the Render button.
Pro Tools lets you render clips with AudioSuite
The selected audio is processed according to the plug-ins and include “handles” beyond the current
specified settings. Pro Tools appends text to the edit selection from 0.00 to 60.00 seconds, or even
clip name indicating the AudioSuite process that the whole file referenced by the clip. This means
has been applied. Any new audio files appear in the that you trim clips out past the rendered selection
Clip List. after processing.
• Select the Whole File option to render the whole Default Handle Length in the AudioSuite section of the
file. Note that only the current edit selection will Processing Preferences
appear in the Timeline.
4 Click OK.
5 Click Render.
Rendering Handle
File Mode Whole File Fades Clip Gain Metadata
Mode Behavior
Some plug-ins that rely on the Edit selection for processing (including plug-ins that require an anal-
ysis pass) may not work as expected when using handles. In this case, it is recommended that the han-
dle length be set to zero.
Destructive recording and Destructive Punch recording are not supported with AudioSuite rendered
clips with handles.
Use Elastic Audio to achieve special effects with • Create and configure a new session for this
extreme or widely variable TCE or pitch manipu- workflow.
lation. Use the Varispeed algorithm to achieve • Locate and preview a loop in a Workspace
tape-like effects for speed and pitch change. browser at the session tempo.
• Import the loop at the session tempo on a tick-
Film Scoring
based, Elastic Audio-enabled track.
If you are scoring a film scene, use Elastic Audio • Change the session tempo to change the tempo
to fit the music to the required duration. You can of the clip on tick-based, Elastic Audio-enabled
even use tempo changes to achieve accelerandos tracks.
and ritardandos.
• Quantize the audio to apply a Groove Template
Remember, when using tempo adjustments to the rhythm.
for sessions that include multiple cues, tempo • Transposition the clip to match the pitch of the
changes may affect the timecode position of imported audio to other audio and MIDI in the
other cues later on the Timeline. session.
7 Notice that if the loop was sample-based to be- • If there are no tracks in the session and the file is
gin with, once it is analyzed the file’s Duration tick-based, you are prompted to either import the
is now measured in Bars and Beats instead of tempo from the file or use the session tempo. To
Minutes and Seconds, the Sample-based icon is keep the session tempo and have the loop con-
replaced by the Tick-based icon, and the de- form to the session tempo, click Don’t Import.
tected tempo of the file is displayed in the • If there are tracks in the session, the file is im-
Tempo column. ported and automatically conformed to the ses-
sion tempo.
New tick-based,
Elastic Audio–enabled
track
Dragging and dropping a tick-based audio file from a Workspace browser to the Track List
Change the session tempo to change the tempo of Quantize audio to apply a Groove Template:
the clip:
1 Select the clip on the tick-based, Real-Time
1 Change the tempo from the default 120 BPM to Elastic Audio-enabled track.
110 BPM (see “Tempo” on page 725).
2 Choose Event > Event Operations > Quantize.
3 In the What to Quantize section, make sure
Elastic Audio Events option is selected.
Real-Time or
Elastic Audio Rendered
Plug-In selector Processing
indicator
Elastic Audio
Plug-In button Track View pop-up menu
Plug-In selector Librarian menu Plug-Ins Settings Select Button Accesses the
Target
Track selector Settings menu button Plug-In Settings dialog, which lists the presets for
the current plug-in. From this list, you can select a
new preset, or audition a series of presets.
Window
Quality
• With the Pencil tool, click anywhere in the clip 2 Do one of the following:
to add a Warp marker at that location. If you • With the Grabber tool, double-click a Warp
click on an Event marker, a Warp marker is cre- marker.
ated on top of the Event marker.
• With the Grabber or the Pencil tool, Option-click
• With the Grabber tool, Control-click (Mac) or (Mac) or Alt-click (Windows) a Warp marker.
Start-click (Windows) anywhere in the clip to
• With any Edit tool, Right-click a Warp marker
add a Warp marker at that location. If you click
and select Remove Warp Marker from the pop-
on an Event marker, a Warp marker is created on
up menu.
top of the Event marker.
• With the Grabber tool, if no Warp markers are To delete all Warp markers in a selection:
present in the clip, or if Warp markers are only 1 In Warp view, make an Edit selection that in-
present prior to the location where you want to cludes only the Warp markers you want to de-
add a new Warp marker, double-click an Event lete (and none of the Warp markers you want to
marker to add a Warp marker on top of the Event keep).
marker.
2 Do one of the following:
• With the Grabber tool, double-click anywhere in
the clip where an Event marker is not present to • Press Delete or Backspace on your computer
add a Warp marker at that location. keyboard.
• With the Grabber tool, single-click any Event • With any Edit tool, Right-click the Edit selection
marker prior to another existing Warp marker in and select Remove Warp Marker from the pop-
the clip to add a Warp marker on top of that up menu.
Event marker.
• With any Edit tool, Right-click anywhere in the
clip and select Add Warp Marker from the pop-
up menu to add a Warp marker at that location. If
there is an Edit selection, Warp markers are
added at the selection start and end.
Telescoping Warp
Telescoping Warp can be applied to any audio clip
before or after a Warp marker as long as no other
Warp marker precedes or follows it accordingly.
The audio can be on a sample- or tick-based track. Before and after warping, applying Telescoping Warp
Telescoping Warp is especially useful for adjust- with the clip start fixed
ing audio files to match the session tempo map and
Bar|Beat grid.
Edit Groups and Warp Editing Analysis view is only available for Elastic
Audio-enabled tracks.
Elastic Audio-enabled tracks can be included in
Edit Groups. For Elastic Audio-enabled tracks that
In Analysis view, you can only edit Analysis
are part of an Edit Group, applying Elastic Audio
markers using the Edit tools. You cannot use
processing on one track likewise applies it to all
the Edit tools for any clip editing. Switch to
other tracks within that Edit Group.
Warp or Waveform views for clip-based edit-
If corresponding Warp markers are not already ing capabilities with the Edit tools.
present on Elastic Audio-enabled tracks that are
part of an Edit Group, new Warp markers are cre-
When manually editing Analysis markers,
ated on those tracks when you add or move a Warp
Pro Tools writes temporary Elastic Audio
marker on any track that is part of the Edit Group.
analysis files (.aan) to the session’s
Rendered Files folder. Any unused tempo-
rary analysis files are purged when you close
the session.
• With the Pencil tool, Option-click (Mac) or Alt- The Elastic Properties window lets you view and
click (Windows) the Event marker you want to change the properties for selected clips. For exam-
delete. ple, you can reduce the Input Gain for Elastic Au-
• With the Grabber tool, Option-click (Mac) or dio processing to avoid clipping that can occur
Alt-click (Windows) the Event marker you want during processing.
to delete. From the Elastic Properties window, you can also
• With the Selector tool, make an Edit selection filter Event markers for Elastic Audio clips on
that includes any Event markers you want to de- tick-based tracks. Filtering Event markers can re-
lete and press Delete or Backspace on your com- sult in better quality Elastic Audio processing of
puter keyboard. material with ambiguous transients.
• With the Selector tool, make an Edit selection
To view the Elastic Properties for a clip:
that includes any Event markers you want to de-
lete, Right-click the selection, and choose Re- 1 Select a clip on an Elastic Audio-enabled track.
move Event Marker from the pop-up menu. The track can be either sample- or tick-based.
2 Do one of the following:
• Choose Clip > Elastic Properties.
• Right-click the clip and choose Elastic
Properties.
Deleting an Event marker with the Pencil tool
Press Option+5 (Mac) or Alt+5 (Windows)
Edit Groups and Event Editing on the numeric keypad to open the Elastic
Properties window.
Elastic Audio-enabled tracks can be included in
Edit Groups. For Elastic Audio-enabled tracks that
are part of an Edit Group, editing Event markers on
one track likewise applies to all other tracks within
that Edit Group.
Elastic Properties window The Transpose All Notes To and the Trans-
pose In Key settings can only be applied to
To transpose the pitch of an audio clip in the
MIDI notes. When only audio clips are se-
Transpose window:
lected, these options are unavailable.
1 Make sure the clip, or clips, you want to Trans-
pose are on Elastic Audio-enabled tracks (using 5 Click Apply.
the Polyphonic, Rhythmic, or X-Form algo-
rithm).
2 With the Grabber or Selector tool, select the au-
dio clip you want to transpose. Only clips that
are completely selected will be affected.
Real-time Elastic Rendered Elastic Render clip with destination track’s Elastic Audio plug-in
Audio–enabled track Audio–enabled track
Real-time Elastic Audio track Render clip with source track’s Elastic Audio plug-in and
Audio–enabled track (no Elastic Audio) commit the clip to the destination track
Rendered Elastic Real-time Elastic Apply real-time Elastic Audio processing using the
Audio–enabled track Audio–enabled track destination track’s Elastic Audio plug-in
Audio track Real-time Elastic Calculate Elastic Audio analysis and apply real-time
(no Elastic Audio) Audio–enabled track Elastic Audio processing using the destination track’s
Elastic Audio plug-in
Audio track Rendered Elastic Calculate Elastic Audio analysis and render the clip
(no Elastic Audio) Audio–enabled track using the destination track’s Elastic Audio plug-in
Pitched Elastic Audio track Render clip pitch shift with source track’s Elastic Audio
Audio–enabled track (no Elastic Audio) plug-in and commit the clip to the destination track
Clips that are committed, either by disabling Elastic Audio on a track or by moving a clip to a track with-
out Elastic Audio enabled, are written to disk as new audio files (see “Committed Clips” on page 826.)
Elastic Audio Preferences The Elastic Properties window inherits the Default
Input Gain preference. To apply further clip-based
The Elastic Audio settings in the Processing Pref- Input Gain for Elastic Audio processing, select the
erences page determine which Elastic Audio plug- clip and adjust the Input Gain setting in the Elastic
in is used for preview and import, and whether or Properties window (see “Elastic Properties Win-
not new tracks are created with Elastic Audio en- dow” on page 844).
abled using the selected default plug-in.
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.
You can commit the following track types: audio, The following source track data is always copied to
Auxiliary Input, MIDI (only when routed to an In- the new track when committed:
strument plug-in), and Instrument tracks. Commit- • Timebase
ting a track is undo-able. • Elastic Audio Algorithm
To commit one or more tracks: • Solo Safe
1 Select one or more tracks and do one of the fol- • Track Input assignment (unless the channel
lowing: width changes)
• Choose Track > Commit. • Track Output assignment
• Right-click a track and choose Commit Tracks. • HEAT settings (Pro Tools HD only)
• Press Option+Shift+C (Mac) or Alt+Shift+C. The following source track data can optionally be
2 Configure the resulting Commit Tracks dialog rendered if selected in the Commit Tracks dialog:
as desired (see “Commit Tracks Dialog” on • Pan automation
page 852). • Volume automation
3 Click OK.
The following source track data can optionally be
copied if selected in the Commit Tracks dialog:
• Sends
• Group assignments
Commit
Source Track (top) and Committed track (bottom) with Select either Selected Tracks or Edit Selection to
Commit set to Edit Selection and the Consolidate Clips
determine what is committed.
the option disabled
option is disabled, all clip boundaries are main- Sends cannot be copied if pan automation is
tained. rendered resulting in a different channel
width and follow main pan (FMP) is not en-
Edit Selection Commits only the current Edit se- abled, or if volume automation is rendered
lection. If the Consolidate Clips option is disabled, and the send is set to pre-fader (PRE).
all clip boundaries within the edit selection are
maintained. Group Assignments Select to copy Group Assign-
ments from the source track to the committed track.
If there is an Edit selection in the session,
press Command+Up/Down Arrow (Mac) or Insert After Last Selected Track
Control+Up/Down Arrow (Windows) to
Select the Insert After Last Selected Track option to
switch between the Commit options.
have new committed tracks placed after the last se-
Consolidate Clips lected track. When disabled, each committed track
is placed immediately following the source track.
Select to consolidate all clips on a track (or all clips
in the edit selection) into a single new complete file Source Tracks
clip.
The Source Tracks options determine what hap-
Render Automation pens to the source tracks that are committed to new
tracks.
The Render Automation options determine whether
or not Volume and Mute or Pan automation is ren- Hide and Make Inactive Select to hide and make
dered in committed tracks. the source tracks inactive.
Volume and Mute Select to render Volume and Make Inactive Select to make the source tracks in-
Mute automation to committed tracks. If this option active (without hiding them).
is selected, Volume automation is reset to unity and
Delete Select to delete the source tracks.
Mute automation is reset to unmuted for all com-
mitted tracks. If it is not enabled, Volume and Mute Do Nothing Select to leave the source tracks intact.
automation playlists are copied to committed
tracks. Press Command+Left/Right Arrow (Mac) or
Control+Left/Right Arrow (Windows) to
Pan Select to render Pan automation to committed move through the Source Track options.
tracks. If this option is selected, Pan automation
playlists are reset to the defaults for all committed Offline
tracks. If it is not enabled, Pan automation playlists
Select to commit selected tracks offline. When this
are copied to committed tracks.
option is deselected, Pro Tools commits selected
Copy tracks in real time. Any source tracks that use Hard-
ware Inserts include their processing as well.
The Copy options determine whether or not sends
or Group assignments are copied to committed
tracks.
Chapter 41: Commit Tracks and Track Bounce 853
Commit Up To This Insert Committing MIDI
Pro Tools lets you commit a track or Edit selection Pro Tools lets you commit MIDI tracks as long as
up to an individual plug-in insert on a track. For ex- the MIDI output assignment is set to an Instrument
ample, you might want to commit a virtual instru- plug-in on another track. Commit is unavailable for
ment plug-in, but continue to adjust processing MIDI tracks assigned to external MIDI devices.
plug-ins, like EQ or dynamics.
Various events in Pro Tools (such as groups of The Event Operations window can be left open,
MIDI Notes, audio clip start times or sync points, This provides quick access to apply a command or
and whole clips) can be transformed with Event try out different options for a particular command.
Operations.
You can also apply quantize, duration,
delay, and transpose to MIDI nondestruc-
What to Quantize
The What to Quantize settings determine what as-
pects of any selected MIDI notes are quantized:
Note Ons (attacks), Note Offs (releases), or both.
You can also select whether to quantize audio clips
or Elastic Audio events. Depending on what type
of track material is selected, not all options will be
available. If only MIDI is selected, the Audio Clips
and Elastic Audio Events options are unavailable.
If only audio is selected, the Note On, Note Off, and
Before quantizing, followed by two examples showing
Preserve Note Duration options are not available. the results of different What To Quantize settings
Note On When selected, MIDI note start points are Audio Clips When selected in the What to Quan-
quantized. tize pop-up menu, Quantize is applied to clip start
times (or sync points if present) for selected audio
Note Off When selected, MIDI note end points are
clips. MIDI clips are not affected. Typically, you
quantized.
will only want to apply quantization to sliced audio
Preserve Note Duration When selected, MIDI clips or clip groups (such as imported REX files or
note durations are preserved. clips created using the Separate Clips at Transients
command or Beat Detective). Quantization can be
When deselected with the Note On option selected, applied to mixed selections of MIDI notes and au-
note end points are not moved. dio clips.
When deselected with the Note Off option selected, Elastic Audio Events When selected in the What
note start points are not moved. to Quantize pop-up menu, Quantize is applied to
detected transient events within the Edit selection
If the options for both Note On and Note Off are se-
on Elastic Audio-enabled tracks. Quantization can
lected, the Preserve Note Durations option is un-
be applied to mixed selections of MIDI notes and
available.
Elastic Audio events. Warp markers are created
The following figure shows how MIDI notes are automatically on top of Event markers nearest the
adjusted by the different What To Quantize op- quantize grid. Quantize then uses these Warp
tions. markers to apply quantization.
Straight Quantize
To quantize to a straight sixteenth note feel:
Strength When selected, MIDI notes, Elastic Au- 2 Choose Event > Event Operations > Quantize.
dio events, and audio clips are moved a percentage
3 Under What to Quantize, select the Note On op-
toward the Quantize Grid. Lower percentages pre-
tion for quantizing MIDI notes. To also quantize
serve the original feel of the events, higher per-
MIDI note durations, select the Note Off
centages align the notes more tightly to the Grid.
option. If you are quantizing audio, select Audio
Clips or Elastic Audio Events from the pop-up
menu.
4 From the Quantize Grid pop-up menu, select
sixteenth notes (1/16). Make sure that the other
options for Tuplet, Offset Grid By, and Swing
are not selected.
5 Ensure that the remaining Quantize options are
deselected.
6 Click Apply.
To quantize while preserving the original feel: To quantize with an eighth note swing feel:
1 Select the range of MIDI notes, Elastic Audio 1 Select the range of MIDI notes, Elastic Audio
events, or audio clips to be quantized. events, or audio clips to be quantized.
2 Choose Event > Event Operations > Quantize. 2 Choose Event > Event Operations > Quantize.
3 Under What to Quantize, select the Note On op- 3 Under What to Quantize, select the Note On op-
tion for quantizing MIDI notes. To also quantize tion for quantizing MIDI notes. To also quantize
MIDI note durations, select the Note Off MIDI note durations, select the Note Off
option. If you are quantizing audio, select Audio option. If you are quantizing audio, select Audio
Clips or Elastic Audio Events from the pop-up Clips or Elastic Audio Events from the pop-up
menu. menu.
4 From the Quantize Grid pop-up menu, select the 4 From the Quantize Grid pop-up menu, select
note value you want to use. eighth notes (1/8).
5 Ensure that the other options for Tuplet, Offset 5 Select the Swing option with the Swing percent-
Grid By, and Swing are not selected. age you want:
6 Select the Exclude Within option with a value of • For a light swing, use 12%.
10–15%. • For a tighter swing-like groove, use 24%.
7 Select the Strength option with a value of • For a true “triplet-like” swing feel, use 50–75%.
70–80%.
6 Ensure that the options for Tuplet, Offset Grid
8 Ensure that the remaining Quantize options are By, and Randomize are not selected.
deselected.
7 Click Apply.
9 Click Apply.
8 Audition the change. If the desired effect is not
10 Audition the change. If the desired effect is not achieved, undo the edit and experiment with
achieved, undo the edit and experiment with different Swing percentages.
different values for Exclude Within and
Strength.
Groove templates can be of any length and can be 1 With the Grabber or Selector tool, select the
applied to any number of bars. Typically, you will MIDI notes, Elastic Audio events, or audio clips
apply groove templates to selections of the same you want to Groove Quantize.
bar length and meter. However, groove templates 2 Choose Event > Event Operations > Quantize.
can be applied to different meters—for example, a
groove template in 6/8 can be applied to a selection 3 Select a groove template from the Grid Quan-
in 4/4. Also, it is not necessary to start on the tize pop-up menu.
downbeat when making a selection to apply a 4 Enable Timing, Duration, and Velocity, and ad-
groove template. just their sliders to the percentages you want.
5 If desired, enable Pre-Quantize.
6 Click the Apply button.
A DigiGroove template (derived from the audio shown) applied to a series of sixteenth-notes with Timing and
Velocity both set to 100%
4/4 bar 1
If the selection contains mixed meters, the groove You can reset the groove template grid by
template will always be mapped so that the down- adding a new meter marker (it can be the
beats are aligned. For example, if the Groove Tem- same meter). The groove template will
plate consists of one-bar of 4/4 and it is being ap- restart at the meter marker regardless of the
plied to a selection of one-bar of 4/4 followed by a measure number or whether or not the
bar of 7/16 and one-bar of 5/8, the downbeat of the meter has actually changed.
Groove Template is aligned with the downbeats in
the selection and only uses the appropriate number
of beats from the Groove Template. Quantizing Elastic Audio
Pro Tools lets you apply Quantize to Elastic Audio
events as well as MIDI notes. Quantize can be ap-
plied to Event and Warp markers closest to the
quantize grid on Elastic Audio-enabled tracks, re-
gardless of whether they are sample- or tick-based.
When quantizing, Event markers closest to the
quantize grid are promoted to Warp markers and
all Warp markers closest to the quantize grid are
quantized based on the Quantize settings.
3 In the Quantize window, select Elastic Audio 2 Choose Events > Event Operations > Quantize.
Events from the What to Quantize pop-up
menu. 3 In the Quantize window, select Audio Clips from
the What to Quantize pop-up menu.
4 Set the Quantize Grid and Options settings.
4 Set the Quantize Grid and Options settings.
5 Click Apply.
5 Click Apply.
The Warp and Event markers closest to the Quan-
tize Grid are quantized accordingly. TCE is ap- The clip start times (or sync points if present) are
plied between these markers and all other markers quantized according to the quantize settings.
maintain their position relative to the Quantize
Grid.
Event Operations window, Restore Performance page 3 Select which performance attributes to restore.
4 Click Apply.
The Restore Performance command can be
undone.
3 Select the Change Smoothly option with the 1 Select the range of MIDI notes to be edited.
range set from 127 to 0. 2 Choose Event > Event Operations > Change
4 Click Apply. Velocity.
Original velocities
Event Operations window, Change Velocity page Scale By Scales all velocities by a percentage
amount (1–400%).
Velocity values usually affect the loudness of Change Smoothly Allows velocities to change
MIDI notes. Depending on how velocity is smoothly from one value to another over time.
mapped with any MIDI instrument, velocities
may also affect other aspects of an Change Smoothly by Percentage Allows veloci-
instrument’s sound (such as filter cutoff, ties to change smoothly from one percentage value
envelopes, and modulations). to another over time.
3 Click Apply.
Velocity Ranges
The valid range for MIDI note velocities is 1–127.
The Change Velocity command will never result in
moving velocities outside this range; 1 is always
the lowest and 127 is always the highest. This
means that you can encounter situations where the
Change Velocity command has no effect on a par-
ticular note.
Set All To Sets all durations to a length specified in The Change Continuously option lets you change
quarter notes and ticks. the duration of notes continuously in ticks or by
percentage. Adjust the Curve slider to modify the
Add Adds to the durations by a specified number
shape of the change.
of quarter notes and ticks.
Change Continuously in Ticks Allows note
Subtract Subtracts from the durations by a speci-
lengths to change smoothly from one duration to
fied number of quarter notes and ticks.
another over time. Duration values are specified in
Scale by Shortens or lengthens durations based on quarter notes and ticks.
a percentage value (1–400%).
Change Continuously by Percentage Allows
note lengths to change smoothly from one percent-
Legato
age value to another over time.
Enable the legato option to add legato to the MIDI
selection. Select Gap or Overlap from the Legato The curve for this change can be adjusted (+/– 99)
pop-up menu and enter the gap or overlap in beats to affect how gradually the change occurs.
and ticks. Limit Range When selected, restricts the Change
Duration command to a minimum and maximum
Remove Overlap
range (in quarter notes and ticks).
The Remove Overlap option removes any note
Randomize When selected, the Change Duration
overlap for all notes of the same pitch. This com-
command is randomized by the specified percent-
mand is different from Legato in that non-overlap-
age value. For example, using “Set all to” with a
ping notes of the same or different pitches remain
value of 480 ticks, along with a Randomize value
unchanged. To create a gap between previously
of 50%, yields durations anywhere between 360
overlapping notes, enter the gap in beats and ticks.
and 600 (+/– 25% of the duration value).
Transform Sustain Pedal To Duration
Change Duration Examples
The Transform Sustain Pedal To Duration option
extends the length of all notes that are sounding To make notes more staccato:
when the sustain pedal (controller 64) is down (64
1 Select the range of MIDI notes to be edited.
to 127) to the point when the sustain pedal goes up
(0 to 63). Enable the Delete Sustain Pedal Events 2 Choose Event > Event Operations > Change
option to convert sustain pedal events to note dura- Duration.
tions. Converting sustain pedal events to note du-
ration can greatly simplify editing while maintain- Press Alt+P on Windows or Option+P on
ing the desired performance effect. For example, if Mac to open the Change Duration window.
a sustain pedal down event is deleted while editing,
3 Select the option for Scale By with a percentage
the subsequent MIDI performance loses its legato
value of 50.
effect.
4 Click Apply. The durations for the selected notes
are reduced by 50%.
1 Select the range of MIDI notes to be edited. Elastic Audio pitch transposition cannot be
applied to looped clips or clip groups.
2 Choose Event > Event Operations > Change
Duration.
Transpose
Event Operations window, Transpose
While the Grabber tools can be used to manually
transpose individual MIDI notes, or small groups Transpose By (Octaves) Transposes selected
of notes, the Transpose command in the Event Op- MIDI notes by up to +/– 10 octaves, or transposes
erations window can be used for entire MIDI selected Elastic Audio clips up to +/– 2
tracks and clips. One of the more common uses for octaves.
Transpose is to change the key for your MIDI
Transpose By (Semitones) Transposes selected
tracks. You can define an Edit Group for MIDI
MIDI notes up or down chromatically by up to
tracks that you want to transpose, making sure to
+/–127 semitones, or transposes selected Elastic
exclude any drum tracks from the group so they
Audio clips up or down chromatically by up to +/–
aren’t transposed. You can even transpose in key.
48 semitones (4 octaves).
You can also transpose MIDI notes nonde- Transpose (From and To) Transposes selected
structively in real-time using MIDI Real- MIDI notes, or selected Elastic Audio clips, by
Time Properties. See “MIDI Real-Time semitones, as expressed by the difference between
Properties” on page 659. the source and destination pitches. Transposing
from C3 to F#3, for example, transposes the notes
The Transpose command can also be applied to
up by an augmented fourth (six semitones).
whole clips on Elastic Audio-enabled tracks using
the Polyphonic, Rhythmic, or X-Form plug-ins.
5 Set the corresponding pitch fields. 3 Choose Event > Event Operations > Transpose.
4 Do one of the following:
With any pitch field selected, play a note on your
MIDI controller to automatically enter it as the • Adjust the Transpose By settings by an amount
pitch value. in semitones and cents.
Action
Event Operations window, Select/Split Notes Split Notes: A New Track per Pitch Copies all se-
lected data to multiple new tracks (one new track
Select/Split Notes Settings for each pitch). New tracks zoom to single-note
display. If the selection includes multiple tracks,
Pitch Criteria
each track has its data split separately.
All Notes Selects all notes.
Include All Continuous MIDI Data Includes all
Notes Between Selects a range of notes between continuous MIDI data, including pitch bend and
the specified upper and lower note. Values for the aftertouch, on the entire track, without any restric-
notes can be entered in pitch (C1–G8) or MIDI tion on time selection.
note numbers (0–127).
2 Choose Event > Event Operations > Select/Split To select only the hi-hats in a General MIDI drum
Notes. track:
Step Input in the Event Operations window lets 1 Make certain your external MIDI device is
you use a MIDI controller to enter notes individu- properly connected and working with
ally, one step at a time. This gives you precise con- Pro Tools.
trol over note placement, duration, and velocity. 2 Choose Event > Event Operations > Step Input.
With MIDI step input you can also create musical
passages that might be difficult to play accurately, 3 Select the Enable option.
or at a fast tempo.
When Step Input is enabled, each previously
record-enabled MIDI or Instrument track is
taken out of record enable, and if the
Default Thru Instrument preference is
defined, it is disabled.
The controls in the Step Increment section let you Enable Numeric Keypad Shortcuts When se-
set the spacing and duration of MIDI events en- lected, Step Input options can be selected from the
tered using the Step Input operation. You can se- numeric keypad. See “Numeric Keypad Shortcuts
lect any size from whole notes to sixty-fourth notes for Step Input” on page 885.
(including dotted values).
Undo Step, Next Step, and Redo Step
Tuplet Lets you input irregular note groupings
(such as triplets or quintuplets). The tuplet length Use the Undo Step and Next Step buttons to do the
is calculated from the note spacing selection and following:
the Tuplet values. For example, an eighth note • Move the step insertion point, by either remov-
equals 480 ticks, so tuplet eighth notes with 3 in ing the previous note or by advancing the inser-
time of 2 would yield a note spacing of 320 ticks tion point by the Step Increment value.
(480 ticks / 3 * 2). • Lengthen and shorten notes that are being held
Note Length Lets you select the note length as a on the MIDI controller, by adding or removing
percentage of the spacing value. For example, an Step Increment values. The Step Increment
eighth note equals 480 ticks, so an eighth note with value can be changed mid-note to create a note
an 80% duration would be 384 ticks long. with a hybrid note length.
To set Undo Step, Next Step and Redo Step MIDI Toggle Tuplet on/off 3
triggers:
Next step Enter
1 Place the Edit insertion on a track at the location
Undo step 0
where you want to enter the first MIDI note.
Nudge forward +
2 Choose Event > Event Operations > Step Input.
Nudge back –
3 Locate the button you want to assign a MIDI
event to, and click in the field below the button. Select Main Counter =
HEAT (Harmonically Enhanced Algorithm Tech- To enable (or disable) HEAT in a session, do one of
nology) is a paid software option that adds “analog the following:
color” to Pro Tools | HD systems. HEAT is avail- Select (or deselect) Options > Activate HEAT.
able in both DSP and Native formats. To use
HEAT, iLok authorizations are required for both Select (or deselect) the HEAT On/Off button in
Pro Tools | HD Software and HEAT. the Mix window in HEAT view.
HEAT is applied to all active audio tracks in your You can also enable the Enable HEAT in New Ses-
session, emulating magnetic recording tape com- sions option in the Pro Tools Preferences to have
bined with harmonic coloration commonly experi- HEAT automatically enabled for all new sessions.
enced with analog mixing consoles. Use HEAT to
To enable (or disable) HEAT for new sessions:
open up your mixes with warm, analog-modeled
soft-saturated distortion. 1 Choose Setup > Preferences.
2 Click the Processing tab.
The amount of processing can result in subtle Meter Displays the average amount of HEAT pro-
changes or drastic changes depending on what the cessing across all audio tracks.
program is like, and how it was recorded. The dif-
Drive Adjusts the amount of Drive for HEAT,
ference between processing an analog or digital re-
which emulates the distortion you get when over-
cording can be subtle or drastic. It may be easier to
driving an analog channel strip on a console. At the
hear the effect of the processing in material that is
default 12 o’clock position, no HEAT processing
more “open,” as opposed to material that is more
is applied. Turn the knob counter-clockwise to add
dense. The amount of low frequency information
odd harmonics to the mix (a magnetic tape satura-
added also affects how you hear the processing.
tion–like effect). Turn the knob clockwise to add
even harmonics to the odd harmonic series for the
effect of simulating a triode tube circuit.
HEAT Controls
Tone Adjust the Tone (bass to treble) for HEAT.
HEAT provides a simple set of master controls for Turn the control to the right for a brighter sound
the tuning the color of the effect, and a set of con- and to the left for a darker sound.
trols for each audio track in your session.
Showing and Hiding HEAT Master
HEAT Master Controls Controls
The HEAT Master controls let you adjust the HEAT Master controls can be viewed in the Mix
amount and color of HEAT processing for all au- window.
dio tracks. Take some time to experiment with dif-
ferent settings until you get the desired tone color To show (or hide) HEAT Master controls:
for your mix. Click the Show/Hide HEAT View button in the
lower right corner of the Mix window.
Master Controls
Press the Soft Keys switch in the Channel Bar. To exit, press the Soft Keys switch again.
HEAT Master Controls are mapped to the encoder and encoder switches of channel strips 21–24, as shown
in Table 1 on page 893.
When HEAT is enabled in a session, each channel strip provides HEAT Bypass and Pre/Post. You can ac-
cess these channel settings directly from C|24 channel strips. Channel HEAT controls follow Do To All
and Do to All Selected modifiers.
Rotate the channel encoder, or press the encoder switch, and choose Pre or Post.
Table 1. HEAT Master Controls on C|24
Encoder: 21 22 23 24
Master Fader track audio signal flow When a Master Fader track is inactive, its associ-
ated plug-ins, I/O assignments, and their resources
Master Faders do not consume any of your sys-
are made inactive.
tem’s audio processing power. Master Faders pro-
vide up to five post-fader inserts and no sends. When a Master Fader output assignment (path as-
Also, Master Fader tracks do not have Pan sliders, signment) is made inactive, the Master Fader no
or Mute and Solo buttons. longer controls the master gain of that path.
Option-click (Mac) or Alt-click (Windows) the To assign an existing group to a VCA Master:
VCA Master TrackInput button on the VCA Click the Group Assignment selector on the
Master. VCA Master track and choose an available
group from the pop-up menu.
Level Meter
Click the Mix Window View selector (or Edit Comments View in the Mix and Edit windows
Window View selector), and select None.
Mic Preamps View Shows controls in each track
for PRE. For detailed information, see the PRE
To show or hide available views in the Mix and Edit
windows, do one of the following: Guide.
Instruments View
Sends (A–E) View
HEAT View (Pro Tools HD with the HEAT Software
Option Only) (Mix Window Only) Shows HEAT
track controls on audio tracks in the Mix window.
This view is only available in the Mix window for Sends (F–J) View
HDX systems with an authorized version of the
HEAT option installed.
I/O View
Delay indicator
I/O View Volume pop-up fader (Edit window)
User Offset
Track Compensation
indicator
Muting Sends
Pro Tools lets you mute sends individually, for all
selected tracks in your session, or just for sends
A–E or F–J on selected tracks.
Send window (stereo)
To mute (or unmute) a sends from the Send
3 Set the output level of the send in the Send win-
window or in the Mix window in Expanded Send
dow by doing one of the following: view:
• Adjust the Send Level fader.
Click the Mute button for the send.
• Set the send level to unity gain (0 dB) by Op-
tion-clicking (Mac) or Alt-clicking (Windows) To mute (or unmute) sends from the Track menu:
the Send Level fader. 1 Select the tracks on which you want to mute
sends. Option-click (Mac) or Alt-click (Win-
When you create a new send, its initial output level
dows) to select all tracks shown in the session.
depends on the setting of the Sends Default to –INF
preference. 2 Select one of the following:
Pans for sends can be linked to the panning on the Track > Mute Sends > All.
track’s main output path by enabling the Send
Track > Mute Sends > A–E.
Pans Default To Follow Main Pan preference.
Track > Mute Sends > F–J.
Pro Tools lets you expand any combination of in- Choose View > Expanded Sends > All.
dividual send assignments views. Expanded Send
Command-Option-click (Mac) or Control-Alt-
Views provide send level, pan, and mute controls
click (Windows) a send selector to expand or
for a single send across all tracks. Send controls
collapse all sends within the send group
can be adjusted directly from these Send Views.
(Sends A–E or Sends F–J).
Sends can also be opened for control or metering in
Send windows. See “Output Windows for Tracks To collapse all sends:
and Sends” on page 921.
Choose View > Expanded Sends > None.
To move a send:
To toggle sends in the same position (A–J) and Send Format and Track Compatibility
assigned to the same path on all tracks active or
inactive: Sends can only be copied to other tracks with a
compatible send output format (mono, stereo, or
Command-Control-Option click (Mac) or Con-
other). In addition, the following conditions apply
trol-Start-Alt click (Windows) a send button in
when moving or copying sends among tracks:
the position you want to toggle.
• When copying a stereo send from a mono track
to a stereo track, Send pan automation (if any)
will be dropped without warning.
Sometimes you need send settings to match the Bus Interrogation Options
settings in the track itself—for example, to provide
Pro Tools lets you select or show tracks based on
a headphone mix based on the main mix. You can
the track input or output assignment, send assign-
copy the current values or the entire automation
ment, or hardware insert assignment. This can be
playlist from selected tracks to any of their sends.
useful for quickly identifying all tracks that use a
For more information, see “Copying Track specific input, internal bus, output bus, or hard-
Automation to Sends” on page 989. ware insert.
To select tracks based on the track Input or Output Right-click any assignment selector and choose
assignment, Send assignment, or Hardware Insert Restore Previously Shown Tracks.
assignment:
Click the Output Window button in the channel Click the Send Assignment button in the Mix or
strip. Edit window.
Inverse icon
Link icon
Path Meter
selector
4 Click OK.
4 Specify the track type (Aux Input) and format To create an effects return submix with a plug-in or
(stereo), then click Create. hardware insert:
1 Assign each track’s main output to your main
5 Set the input of the Auxiliary Input to the same
mix outputs.
bus path to which you assigned all contributing
tracks. 2 On the source tracks, assign a send (mono or
stereo) and select a mono or stereo bus path
6 Set the output of the Auxiliary Input track to
from the Send selector. Configure the sends for
your main stereo mix outputs (typically, outputs
pre- or post-fader, as needed.
1–2).
3 Choose Track > New.
7 Set the Auxiliary Input Track level.
4 Specify the track type (Aux Input) and format
8 To process the submix, assign a plug-in or hard-
(stereo), then click Create.
ware insert on the Auxiliary Input.
5 From the Auxiliary Input track’s Input Path se-
9 Set the controls of the plug-in. The plug-in By-
lector, select the send bus path.
pass and Wet/Dry controls (if available) deter-
mine the amount of effect heard. 6 Solo safe the track so that if you solo another
track that uses the effects send, you won’t mute
The contributing track faders control the balance
the effects return (see “Solo Safe Mode” on
within the submix. The Auxiliary Input track con-
page 230).
trols the output levels of all tracks routed to it.
7 Assign a plug-in or hardware insert on the Aux-
You can apply mix automation to the volume, pan, iliary Input.
mute, and send level, send pan, and send mute con-
trols of the Auxiliary Input. 8 Set the effect to “100% wet,” and set any other
controls.
2 Specify the track type (Master Fader), and To create a “stereo” effect from a mono source,
mono, stereo, or any of the supported multi- you must use reverb, delay, or other time domain
channel formats for surround mixing. effects.
3 Click Create.
To maintain phase coherent time alignment, Delay Delay Compensation Time Mode
Compensation should always be enabled during
Delay values can be specified in either samples or
playback and mixing. Delay Compensation should
milliseconds, as selected with the Delay Compen-
also be used in most recording situations.
sation Time Mode setting in the Operation Prefer-
ences page.
Enabling Delay Compensation
To enable Delay Compensation: System Delay
Select Options > Delay Compensation. Pro Tools adds the exact amount of delay to each
track necessary to make that particular track’s de-
When Delay Compensation is enabled, the Delay lay equal to the total System Delay. The total sys-
Compensation status indicator in the Edit Window tem delay is the longest delay reported on a track,
Toolbar is displayed. plus any additional delay caused by mixer routing.
The Delay Compensation View displays the total Green Indicates that track delay reporting is en-
amount of plug-in and hardware insert delay (HD abled and the track does not exceed the available
only), and the total amount of delay that Pro Tools amount of Delay Compensation.
applies to each track. You can also apply an offset
Orange Indicates that this is the track reporting the
for track delay on a track-by-track basis. The De-
longest plug-in and hardware insert delay in the
lay Compensation View can be shown or hidden in
session.
the Mix Window.
Red Indicates that the amount of plug-in and hard-
ware insert delay on the track exceeds the available
amount of Delay Compensation (see “Delay that
Exceeds the Compensation Limit” on page 937).
Delay indicator
User Offset field
Track Gray Track delay report is bypassed.
Compensation
indicator
Delay Compensation View
This indicator shows the amount of Delay Com- 3 Select (or deselect) the Compensate Side
Chains option.
pensation Pro Tools applies to each track.
4 Click OK.
The display color indicates the amount of Delay
Compensation applied, as follows:
However, you can manually compensate for delay Tracks that are not record-enabled still apply De-
on tracks that exceed the Delay Compensation lay Compensation. Pro Tools automatically com-
limit. pensates for any timing discrepancies between the
recorded material and the delay-compensated mix.
To compensate for delay that exceeds the
compensation limit:
Overriding Low Latency
1 Bypass the reported delay for the track by doing Monitoring During Recording
one of the following:
You can override Low Latency Monitoring During
• Command-Control-click (Mac) or Control-
Recording on record-enabled tracks, but this may
Start-click (Windows) the Delay indicator.
introduce latency in the signal path corresponding
• Right-click the Delay indicator and select Dis- to the amount of Delay Compensation. This la-
able Plug-In Delay. tency may be acceptable depending on the record-
ing source. For example, in certain “non-perfor-
The track information is grayed out once it is by-
mance” workflows, overriding Low Latency
passed.
Monitoring During Recording ensures that delay
2 Manually nudge any audio data on the track ear- compensation is applied consistently regardless of
lier by the amount of delay reported in the whether a track is record- or punch-enabled, or
track’s Delay indicator. whether Pro Tools is recording or playing back.
Use the Time Adjuster plug-ins to manually In certain dubbing workflows you may want
offset tracks in real-time. For more informa- to cascade bus recordings to multiple tracks.
tion, see the Audio Plug-ins Guide. In these cases you should be sure to override
Low Latency Monitoring on the recording
tracks.
4 Click OK.
Connecting a MIDI Control
When the EUCON option is selected, Pro Tools is Surface
enabled for control by one or more EUCON-com- If your Pro Tools hardware includes MIDI ports,
patible controllers. you can connect a MIDI control surface directly to
your system. If it does not include MIDI ports, you
For more information about using Pro Tools
will need to use a MIDI Interface. USB MIDI con-
with EUCON, see the Pro Tools EUCON
trol surfaces (such as the Command|8) and Fire-
Guide.
Wire control surfaces (such as the 003) do not re-
quire an additional MIDI connection to your
computer.
Using a MIDI Control Surface
with Pro Tools To connect a (non-USB or FireWire) MIDI control
MIDI Control Surfaces add hands-on control to surface:
many Pro Tools functions, allowing you to adjust 1 Using a standard 5-pin MIDI cable, connect the
faders and knobs, activate transport controls, or MIDI Out port on your MIDI control surface to
edit plug-in parameters. the MIDI In port on your Pro Tools hardware or
MIDI interface.
Command|8
2 Using a standard 5-pin MIDI cable, connect the
Command|8 is a compact USB-based MIDI con- MIDI In port on your MIDI control surface to
trol surface for Pro Tools systems. the MIDI Out port on your Pro Tools hardware
or MIDI interface.
For complete instructions on connecting
and configuring Command|8, see the 3 If you have a multi-port MIDI interface, note
Command|8 Guide. which MIDI port the control surface is con-
nected to.
Other MIDI Control Surfaces
A Pro Tools insert routes the signal from the track Inserts on audio tracks and Auxiliary Inputs and
to an effect of your choice and automatically re- Instrument tracks are pre-fader. You can cause
turns it to the same track. Inserts do not alter the clipping if you boost their gain to extremes, espe-
original audio source files, but process audio in cially on tracks recorded at high amplitude. Watch
real time, during playback. You can permanently on-screen metering for indication of clipping. (In-
apply real-time effects to tracks by recording or serts on Master Faders are post-fader.)
bouncing the effect to disk (see Chapter 47, “Mix-
down” for more information).
Insert selector
Types of Inserts
An insert can be either a software DSP plug-in or a
Insert button hardware insert.
Plug-In Inserts
Plug-In inserts are software inserts that process au-
Insert button and selector on a track dio material on a track in real time. For example,
the EQ, compressor, and delay plug-ins supplied
Pro Tools provides up to ten unity-gain inserts on
with your Pro Tools system can be used as real-
each audio, Auxiliary Input, Master Fader, and In-
time plug-in inserts.
strument track. Audio, Auxiliary Input, and Instru-
ment track inserts are pre-fader, and Master Faders For more information about the plug-ins
inserts are post-fader. included with your Pro Tools system, see the
Audio Plug-Ins Guide.
When more than one plug-in or hardware insert is
used on a track, they are processed in series. Each Additional real-time plug-ins are available from
effect is added to that of any previous inserts Avid and from many third-party developers.
(flowing from top to bottom in the Mix window In-
serts View, and left to right in the Edit window In- For information about optional plug-ins,
serts View). visit www.avid.com.
HDX Systems
DSP and Native plug-ins can be used on audio, Sends (F–J) View
Auxiliary Input, Master Fader, and Instrument
tracks.
I/O View
With HDX systems, Native plug-ins may
use additional voices and introduce extra inserts and Sends in the Mix window
latency based on the HW Buffer Size. See
“Inserting Native and DSP Plug-Ins on Select Inserts A–E or Inserts F–J from the Edit
Tracks” on page 949. Window or Mix Window View selector.
The current controller focus, if any, is indicated To make an insert inactive, do one of the following:
with a color outline around its name:
Command-Control-click (Mac) or Control-
Start-click (Windows) the Insert button.
Right-click the Insert button and select Make In-
active.
Command-Control-Option-Shift-click (Mac) or
Control-Start-Alt-Shift-click (Windows) an In-
sert button in the position you want to toggle.
• Specific plug-ins located in the plug-in subfold- The Effects subfolder organizes special effects,
ers (such as EQ III in the EQ subfolder) are indi- multi-effect processors, and other plug-ins. All
cated in green text. plug-ins that specify their plug-in category as an
“Effects” type will be displayed within the Effects
Control surfaces with single-color displays (such subfolder.
as Command|8) do not indicate plug-in view
choices. They display contents of a plug-in folder If no plug-ins within a certain category are
as a single list of plug-ins. installed on your system, the subfolder
named for that category will not appear in
“Organize Plug-In Menus By” the menu.
Setting
Manufacturer Organizes plug-ins by their manu-
Flat List Organizes plug-ins in a single list, in al- facturer, with individual plug-ins listed in the man-
phabetical order. ufacturer submenus. Plug-Ins that do not have a
Manufacturer defined will appear in the “Other”
Category Organizes plug-ins by process category
manufacturer folder.
(such as EQ, Dynamics, and Delay), with individ-
ual plug-ins listed in the category submenus. Plug- If no plug-ins by a certain manufacturer are
Ins that do not fit into a standard category (such as installed on your system, the subfolder
the Signal Generator), or third-party plug-ins that named for that manufacturer will not
have not had a category designated by their devel- appear in the menu.
opers, appear in the Other category. Plug-Ins can
appear in more than one category.
Default plug-in display in the Insert selector menu When selecting the plug-in favorite to change, you
can select the plug-in from the list of favorites at
the top of the plug-in menu, or in its plug-in cate-
gory (where the plug-in appears in bold).
To move an insert:
Moving a plug-in
To duplicate an insert:
Plug-In Selector Lets you select any real-time MIDI Node Display indicator (Transfuser shown)
plug-in installed in the Plug-Ins folder (that is cre-
ated when you install Pro Tools). Preset Controls in the Plug-In Window
Key Input Selector Lets you select audio on a par- Plug-In Settings menu
ticular input or bus and route it to trigger the plug-
in. This selector only appears on plug-ins that fea-
ture side-chain processing. Key inputs are mono- Plug-In Librarian menu
Compare button
phonic.
Settings Select
Next Setting
Previous Setting
Preset controls in the plug-in window
Key Input selector (Dyn III Compressor/Limiter shown) Plug-In Settings Menu Lets you copy, paste, save,
and import plug-in settings.
You will lose the current settings if they are When a supported control surface is declared in
not saved before you use the Next and Pre- Pro Tools, Plug-In Map controls appear in the
vious Setting buttons. Always save your plug-in window.
plug-in settings as a preset using the Plug-
In Settings menu. Map Options menu
lected plug-in. From this list, you can audition and Learn button
Editing Plug-In Parameters 2 Change the value by doing one of the following.
Using a Mouse • To increase a value, press the Up Arrow on your
You can adjust rotary controls by dragging hori- keyboard.
zontally or vertically. Parameter values increase as • To decrease a value, press the Down Arrow on
you drag upward or to the right, and decrease as your keyboard.
you drag downward or to the left.
• Type the value.
Keyboard Shortcuts
In fields that support values in kilohertz, typ-
For finer adjustments, Command-drag (Mac) or ing “k” after a number value will multiply the
Control-drag (Windows) the control. value by 1,000. For example, type “8k” to en-
ter a value of 8,000.
To return a control to its default value, Option-
click (Mac) or Alt-click (Windows) the control.
Side-Chain Input
The side-chain input is the split-off signal used by
a plug-in's detector to trigger dynamics processing,
and is generally drawn internally from the input Selecting a Key Input
signal. However, some plug-ins let you switch be-
tween internal and external side-chain processing. 2 Click the External Key to activate external side-
chain processing.
With external side-chain processing, a plug-in's
3 Press the Spacebar to begin playback. The plug-
detector is triggered by an external signal (such as
in uses the input or bus that you chose as a key
a separate reference track or audio source) known
input to trigger its effect.
as the key input.
Set As User Default Defines the current preset as To select a destination folder:
the User Default for the selected plug-in. From the Plug-In Settings menu, choose
Settings Preferences > Save Plug-In Settings
Settings Preferences To, and select Session Folder or Root Settings
Folder.
The Settings Preferences submenu provides com-
mands for configuring preferences for saving and If you selected Root Settings Folder, Pro Tools
importing presets. They include: saves to the default Root Plug-In Settings folder
unless you have specified a different location for
Set Plug-In Default To Sets the default preset to ei-
the Root Settings folder.
ther Factory Default (the standard default setting
for that plug-in) or User Default (your custom set- To select a different Root Settings folder:
ting).
1 From the Plug-In Settings menu, choose Set-
Save Plug-In Settings To Selects the folder where tings Preferences > Set Root Settings Folder.
presets (plug-in settings files) are saved. If you se-
2 Select the folder you want to use as your Root
lect Session Folder, the settings are saved in a
folder and click Select.
folder named “Plug-In Settings” within the current
Session folder. If you select Root Settings Folder,
the settings are saved in the folder you specified Creating Subfolders for Settings
with the Set Root Settings Folder command. You To make it easier to find specific types of settings,
can change the location of the Root Settings Folder you can subdivide settings files by creating sub-
in the Operation Preferences (see “User Library folders for them.
Section” on page 102).
To create a settings subfolder:
To save plug-in settings to any location other
than the default Plug-In Settings folder, you 1 From the Plug-In Settings menu, choose Save
must first create a folder named “Plug-In Settings.
Settings” in the new location and then save to 2 Click the New Folder button and type a name for
that folder. the subfolder.
3 Name the preset and click Save. The plug-in
settings file is saved within the subfolder.
Use the Plug-In Settings menu to manage plug-in 1 Open the destination plug-in.
presets. 2 Choose Paste Settings from the Plug-In Set-
tings menu.
Unlinked multi-mono plug-ins have specific
rules for settings. See “Linking and Unlink- Press Command+Shift+V (Mac) or Con-
ing Controls on Multi-Mono Plug-Ins” on trol+Shift+V (Windows) to paste plug-in
page 970. settings.
To save a preset: To create a custom User Default preset:
1 Choose Save Settings from the Plug-In Settings 1 Create and save a plug-in settings file.
menu.
2 Select Set As User Default from the Plug-In Set-
2 Type a name and click OK. The setting appears tings menu.
in the Plug-In Librarian menu.
To make a plug-in default to your custom preset:
Press Command+Shift+S (Mac) or Con-
trol+Shift+S (Windows) to save plug-in From the Plug-In Settings menu, select Settings
settings. Preferences > Set Plug-In Default To > User
Setting.
To load a plug-in preset:
Choose the name of the preset from the Plug-In Changing Presets with the Next
Librarian menu. (+) and Previous (–) Setting
Buttons
To import a preset:
These buttons let you select the next or previous
1 Choose Import Settings from the Plug-In Set- preset in the Plug-In Librarian menu.
tings menu.
To change plug-in presets using the +/– buttons:
2 Locate the settings file you want to import and
click Open. Pro Tools loads the setting and cop- Click the Plus (+) or Minus (–) buttons to select
ies it to the root destination folder. the next or previous preset. The next (or previ-
ous) preset is enabled, and the Plug-In Librarian
To copy plug-in settings: menu changes to show the name of the new pre-
set.
Choose Copy Settings from the Plug-In Settings
menu. You will lose the current plug-in settings if
they are not saved before you use the Next
Press Command+Shift+C (Mac) or Con-
and Previous Setting buttons. Always save
trol+Shift+C (Windows) to copy plug-in
your plug-in settings to the selected Root Set-
settings.
tings folder.
3 Click Done.
Click the Learn button in the plug-in window. To change parameter mapping in a plug-in map:
To create a custom map of plug-in parameters: 1 Open the plug-in whose custom map you want
to change.
1 Open the plug-in whose mapping you want to
customize. 2 Choose the map you want to change from the
Map Preset pop-up menu.
2 Put the plug-in into Learn mode. The plug-in is
focused on the control surface, but with a blank 3 Put the plug-in into Learn mode. The plug-in is
page of controls, ready for mapping. focused on the control surface.
3 In the plug-in window, click the plug-in param- 4 Do the following for each parameter mapping
eter you want to map. The parameter name ap- you want to remove:
pears in the Parameter menu. • Make sure the Parameter menu displays No Con-
4 On the control surface, do one of the following: trol.
• Turn the encoder or press the channel Select • On the control surface, page to the encoder or
switch where you want to map the parameter. switch where you want to remove the mapping,
and turn the encoder or press the switch.
• If the control surface is in Flip mode, move the
fader or press the channel Select switch where 5 Take the plug-in out of Learn mode.
you want to map the parameter.
5 Repeat steps 3-4 for each parameter you want to
map.
You can also export plug-in maps for use on other 1 Open the plug-in whose map you want to delete.
Pro Tools systems with a similar control surface 2 Choose the map you want to delete from the
(see “Exporting and Importing Plug-In Maps” on Map Presets pop-up menu.
page 968.
3 From the Map Options pop-up menu, choose
To save a copy of a custom plug-in map: Delete Current Map.
1 Open the plug-in whose map you want to copy. 4 Click Delete.
2 Choose the map you want to copy from the Map
To delete all plug-in maps from the system:
Presets pop-up menu.
1 Open any plug-in in the session.
3 From the Map Options pop-up menu, choose
Save Map As. 2 From the Map Options pop-up menu, choose
Delete All Maps.
4 Enter a name for the plug-in map.
3 Click Delete.
5 Click OK. The new copy becomes the active
plug-in map.
Setting a Custom Plug-In Map as
To rename a custom plug-in map: the Default Map
1 Open the plug-in whose map you want to re- You can set a custom plug-in map as the default
name. map for a plug-in, instead of the Factory Default
map.
2 Choose the map you want to rename from the
Map Presets pop-up menu. When you set a custom plug-in map as the default,
it applies across the entire session. All instances of
3 From the Map Options pop-up menu, choose
that plug-in that were set to the Factory Default
Rename Map.
map, or to another custom default map, change to
4 Enter a new name for the plug-in map. the new default.
When you export a plug-in map, the default To hide the Factory Default pages of a plug-in map:
map setting for that plug-in is also exported.
1 Open the plug-in whose default plug-in map
When that map is imported, the default setting
pages you want to hide.
is also updated, and all instances of the plug-
in change to the new default. 2 From the Map Options pop-up menu, choose
Hide Factory Default Pages.
How Default Plug-In Map Settings are Stored
Default map settings are stored as global (system- Exporting and Importing Plug-In
wide) Pro Tools preferences, so they are applied to Maps
all sessions that you subsequently open or create Plug-In maps can be exported as .pim files for use
on that system. on other Pro Tools systems.
If you plan to work with the same plug-in When exporting plug-in maps, you can choose to
mapping on multiple sessions, back up your save individual map files for each plug-in, or a sin-
settings by exporting all plug-in maps on a gle map file containing all the plug-in maps for the
regular basis and saving the .pim file with system.
your sessions.
On D-Control and D-Command systems,
To set a custom plug-in map as the default plug-in
when you export all plug-in maps, you are
map:
also exporting Custom Fader Plug-In map-
1 Open the plug-in whose default plug-in map ping to the same file. For more information,
you want to change. see the D-Control Guide or D-Command
2 Choose the map you want to use as the new Guide.
default from the Map Presets pop-up menu. To export an individual plug-in map:
3 From the Map Options pop-up menu, choose 1 Open the plug-in whose map you want to ex-
Set As Default. port.
2 Choose the map you want to export from the
Hiding Default Plug-In Map Map Presets pop-up menu.
Pages
3 From the Map Options pop-up menu, choose
When you create a custom plug-in map, its param-
Export Current Plug-In Map.
eters are arranged in pages that correspond to the
groups of controls that appear on a control surface. 4 Choose a location for the map file.
When you page through the controls for a plug-in 5 Click Save.
on a control surface, the pages for custom plug-in
maps appear first, and the pages for the Factory
Default map appear after the custom pages.
Press Shift+E to bypass (or un-bypass) all EQ To access controls for a specific channel:
plug-ins on selected tracks. Select the channel from the Channel selector.
Press Shift+C to bypass (or un-bypass) all Dy-
namics plug-ins on selected tracks. To link the controls of specific channels:
1 Deselect the Master Link button if it is not al-
Press Shift+V to bypass (or un-bypass) all Re-
ready deselected.
verb plug-ins on selected tracks.
2 Click the Link Enable buttons for the channels
Press Shift+D to bypass (or un-bypass) all De-
whose controls you want to link.
lay plug-ins on selected tracks.
Press Shift+W to bypass (or un-bypass) all
Connecting Effects Units 5 Optionally, configure the I/O Setup dialog with
Digitally new path names for effects routing.
If you want to use the digital inputs and outputs on If you set the Optical Format to S/PDIF,
your Pro Tools system as effects sends and returns Pro Tools will watch the Optical port for
to a digital effects device, Pro Tools should be the any audio input, and ignore any audio in-
clock master in most cases. Set your digital effects put on the S/PDIF RCA jacks.
device to accept an external digital clock so that it
synchronizes to Pro Tools. Using External Clock Sources
(for Recording and Monitoring)
To set up a digital send to an external device for
HDX and HD Native systems: When recording or monitoring, Pro Tools can syn-
1 Choose Setup > Hardware chronize to an external clock source. Options for
external clock vary according to the type of
2 Select the audio interface from the Peripherals Pro Tools system you are using.
list (HD I/O, HD MADI, or HD OMNI).
3 Select an audio format and clock format, and set
the appropriate channel pair to Digital.
2 Select the appropriate audio interface in order to To select an external clock source for Eleven
display its settings in the Main page. Rack:
3 If necessary, enable the appropriate Digital For- 1 Choose Setup > Hardware.
mat (if you have not already done so, according
2 Set the Clock Source to match the type of
to the instructions in your User Guide or I/O
input.
Guide).
4 Set the Clock Source to match the type of Pro Tools Systems with Mbox Pro or Mbox (3rd
generation)
input.
5 Configure input routing of the digital source, Pro Tools can receive external clock from the
using the Input and Output pop-up menus, if S/PDIF input on these interfaces.
necessary.
To select an external clock source from Pro Tools
6 Click OK to close the Hardware Setup dialog. with an Mbox Pro or Mbox (3rd generation):
1 Choose Setup > Hardware.
Pro Tools Systems with 003, 003 Rack+, or
003 Rack 2 Select SPDIF/RCA (Mac) or SPDIF (Windows)
from the Clock Source pop-up menu.
Pro Tools can receive external clock from the Op-
tical input or S/PDIF input. 3 Click OK.
To select an external clock source for a Pro Tools Your digital input device must be connected
system with 003, 003 Rack+, or 003 Rack: and powered on for Pro Tools to synchronize to
1 Choose Setup > Hardware. it. If your input device is not powered on, leave
the Clock Source set to Internal.
2 Set the Clock Source to match the type of input.
On MIDI tracks and Instrument tracks, all control- When you copy or cut audio data from a track
ler automation data except for MIDI Mute data, or while it is in Waveform view, the underlying auto-
audio mute (Instrument tracks only), is stored in mation data is cut or copied with it.
the MIDI clip that contains it. Each edit playlist on If you paste audio data from other locations or
the track is separate, and represents a distinct per- tracks into an edit playlist, you may change the un-
formance, complete with controller automation. derlying automation data on the track.
MIDI Mute data is independent of the When you trim clips using Edit > Trim, the un-
MIDI data in a MIDI clip. This lets you derlying automation data remains unchanged.
mute playback of individual MIDI or
Instrument tracks in Pro Tools without For more information, see “Editing
altering the controller data. Automation” on page 1001.
Automation can be switched from Off to another In Touch mode, certain control surfaces start writ-
Automation mode during playback or record. ing automation as soon as you touch them. These
include touch-sensitive fader controllers, such as
D-Control, D-Command, C|24, 003, or Com-
Read Mode mand|8.
Read mode plays any automation that was previ-
ously written for a track. With other control surfaces in Touch mode, writ-
ing of automation does not begin until the fader
hits the pass-through point, or the previously auto-
Write Mode mated position. Once you reach the pass-through
Write mode writes automation from the time play- point with the fader, or a non-touch sensitive rotary
back starts to the time it stops, erasing any previ- control, writing of automation begins and contin-
ously written automation for the duration of the au- ues until you stop moving the fader.
tomation pass.
Latch mode works in the same way as Touch 1 Choose Window > Automation.
mode, writing automation only if you touch or 2 Click the AutoJoin button.
move a control. However, unlike Touch, writing of
automation continues until you stop playback or
“punch out” of the automation pass by changing
the Automation mode to Read or Touch.
AutoJoin with Latch Mode AutoJoin Enable button in the Automation window
(Pro Tools HD Only)
Pro Tools provides two different methods to See your control surface guide for details on
resume writing automation on controls that were using Join and AutoJoin with a control surface.
active at the point where the transport stopped:
To use Join or AutoJoin to resume writing Pro Tools HD can adjust (or trim) existing track
on controls that were writing when the volume and send level automation data in real
transport stopped, restart the transport be- time. Pan, mute and plug-in automation cannot be
fore the AutoJoin indicator. trimmed in this manner. Trim mode works in com-
bination with the other Automation modes (Read,
Touch, Latch, Touch/Latch, and Write) and is use-
ful when you want to preserve all of your volume
automation moves, but need to make levels a bit
louder or softer to balance a mix. For more infor-
mation, see “Trim Automation Modes” on
page 980.
Touch/Latch Trim
Track Views
Automation Follows Edit indicator in the Edit window
You can view automation data by type by selecting
Automation Safe the corresponding Track View.
Outputs, sends, and plug-ins can be placed in Au- To display an automation playlist in the Track
tomation Safe mode. In Automation Safe mode, View:
any automation associated with an Output window Click the Track View selector and select from
(such as track or send level, panning, or mute), or the automation type you want to view.
plug-in on that track, is protected from being over-
written while automating other items on that track.
To add a lane:
To remove lanes:
To resize the height of all Automation and To display the Trim automation playlist along with
Controller lanes for a track, do one of the main automation playlist on tracks:
following:
Select View > Automation > Trim Playlist.
Right-click on the vertical zoom scale just to the
right of the track controls and select the height Volume
Trim
from the pop-up menu. data
Drag the bottom line of any given Lane Con- Volume
data
trols column up or down. The cursor changes to
indicate that you can resize the lane.
Display of Trim automation in a main Volume playlist
Press Control+Up/Down Arrow key (Mac)
or Start+Up/Down Arrow key (Windows) to
Displaying the Composite
Automation Playlist
increase or decrease height of any lane that
(Pro Tools HD Only)
contains the Edit cursor or an Edit selection.
If automation is not set to coalesce after every au-
To resize the height of a single Automation or
tomation pass, you can display a composite auto-
Controller lane for a track:
mation playlist that shows the contribution of the
Press Control (Mac) or Start (Windows) while Trim automation to the main Volume or Send
selecting the Lane Height setting. Level automation data. This composite playlist
display cannot be directly edited.
To reorder lanes:
To reorder lanes on-screen, drag the lane control The composite playlist is shown in both the main
section to new positions in the Edit window. automation playlist and the Trim automation play-
list.
AutoMatch Indicators
There are triangular AutoMatch indicators at the
bottom left of each channel strip in the Mix win-
dow. When lit, these indicate the direction the
fader will automatically move when Auto-Match-
ing.
Automation window
Automating Switched Controls Send level and mute can also be configured to fol-
in Touch Mode low groups.
When automating switched controls (including To automate a send level, mute or pan:
mute, plug-in bypass, and any switched control on
1 In the Automation window, make sure the auto-
a plug-in) in Touch mode, these controls will latch
mation type is write-enabled (send level, send
in their current state after they are touched.
mute, send pan).
However, to preserve any automation for that 2 In the Mix or Edit window, set the Automation
switched control later in the Timeline, this latched mode for each track containing sends you want
behavior ends if either of the following occurs: to automate. For each track, click the Automa-
• If an existing automation breakpoint is encoun- tion Mode selector and set the Automation
tered, Pro Tools stops writing automation at that mode. For the initial automation pass, choose
point. Write mode.
• If you stop playback or punch out of writing au- 3 If sends are not currently visible on your tracks,
tomation before reaching an existing automation select View > Mix Window (or Edit Window) >
breakpoint, Pro Tools AutoMatches to the un- Sends A–E (or Sends F–J).
derlying automation state.
• Click the send to open the Output window for 1 Select the tracks you want to edit by clicking on
the send that you want to automate. the track names to highlight them.
• Select View > Sends A–E (or Sends F–J) and se- 2 Choose Edit > Automation > Copy to Send.
lect one of the individual views (such as Send
A).
To automate a plug-in:
1 In the Plug-In Automation Enable window,
Automation Enable button for accessing the Plug-In make sure plug-in automation is enabled for the
Automation dialog controls you want to automate.
• Command-Option-Control-click (Mac) or Con- 2 In the Mix or Edit window, for each track con-
trol-Alt-Start-click (Windows) the Track View taining plug-ins you want to automate, click the
selector in the Edit window. Automation Mode selector and set the Automa-
3 In the plug-in automation dialog, choose the tion mode. For the initial automation pass, se-
controls to automate and click Add. If there are lect Write.
multiple plug-ins on the same track, you can se- 3 Start playback to begin writing automation, and
lect from among them by clicking their buttons move the controls you want to automate.
in the Inserts section of this dialog.
4 When you have finished, stop playback.
To take an automation type out of Latch Prime on To set Pro Tools to automatically punch in
automation writing on a track:
all tracks, do one of the following:
1 Locate the cursor where you want to punch in
In the Automation window, Command-click
automation.
(Mac) or Control-click (Windows) the button
for the automation type (Volume, Pan, Mute, 2 Prime controls for writing while the transport is
Plug-In, Send level, Send pan, or Send mute). stopped. (See “Priming Controls for Writing
Automation in Latch Mode” on page 993.)
3 In the Automation window, click the AutoJoin
button.
6 Start playback. When the transport reaches the 1 Choose Window > Automation.
punch-in point, automation writing begins.
2 Do one of the following:
• To suspend writing of all automation on all
tracks, click the Suspend button.
• To suspend writing of a specific type of automa-
tion on all tracks, click the button for that auto-
mation type (volume, mute, pan, plug-in, send
level, send mute, or send pan).
Enabled
Not Enabled
Thinning Automation
To remove several breakpoints at once:
Clearing Trim Automation In the default settings for new sessions, the Smooth
(Pro Tools HD Only) and Thin Data After Pass option is selected, with
the Degree of Thinning setting set to Some. In most
If Trim automation has not been coalesced on a
cases, this setting yields optimum performance
track, you can clear it. When you clear Trim auto-
while providing an accurate reproduction of your
mation, automation breakpoints on all Trim play-
automation moves.
lists are deleted and all Trim faders are reset to
zero.
Automation breakpoint
Using the Grabber tool to create a new breakpoint
By dragging these breakpoints, you can modify the
Using the Pencil Tool
automation data directly in the Edit window and
MIDI Editor windows. When you drag an automa- The Pencil tool lets you create new breakpoints by
tion breakpoint up or down, the change in value is clicking once on the graph line. Option-click
numerically or textually indicated. (Mac) or Alt-click (Windows) breakpoints with
the Pencil tool to remove them.
Dragging an automation breakpoint to the left or The Trim tools let you adjust all selected break-
right adjusts the timing of the automation event. points up or down by dragging anywhere within
that selection.
To view the breakpoint automation type on any
track, either select the corresponding Track View
or reveal the corresponding Automation or Con-
troller lane under the track.
Each automatable control has its own automation Drag the breakpoint down to mute a section. Drag
playlist, that can be displayed by choosing it from a breakpoint up to unmute the section. Drag a
the Track View selector. “Viewing Automation” breakpoint to the left or right to adjust the timing of
on page 983. the mute.
• Edit automation and MIDI controller data only Pan Automation Copies only pan automation or
(without associated audio or MIDI notes). MIDI pan data whether it is shown or not.
• Edit automation and MIDI controller data with- Plug-In Automation Copies only the plug-in auto-
out having to change Track Views mation that is shown.
In addition, the Paste Special command lets you Paste Special
copy one data type to another (for example, Left
Pan data into the Right Pan playlist) The Paste Special commands let you paste auto-
mation data into another clip (without affecting as-
You cannot paste MIDI controller data to au- sociated audio or MIDI notes) in the following
tomation data nor automation to MIDI. ways:
Cut Special Merge Lets you add the pasted data to any existing
automation data of the same type in the destination
The Cut Special commands let you cut just auto-
selection. This can be useful for consolidating
mation data from the current selection (without as-
MIDI data from several tracks into a single MIDI
sociated audio or MIDI notes) and place it in mem-
track. For example, you like the pitch bend on the
ory to paste elsewhere, as follows:
synth trombones and want to apply it to the synth
All Automation Cuts all automation or MIDI con- guitar.
troller data whether it is shown or not.
Repeat to Fill Selection Pastes multiple iterations
Pan Automation Cuts only pan automation or of the automation data to the entire selection range.
MIDI pan data whether it is shown or not. If you select an area that is not an exact multiple of
the copied clip size, the remaining selection area is
Plug-In Automation Cuts only the plug-in automa- filled with a trimmed version of the original selec-
tion that is shown. tion. This lets you easily create drum loops and
other repetitive effects. Before the data is pasted,
Pro Tools prompts you to specify a crossfade to
smooth transitions between clips.
For MIDI automation, Glide To commands 4 In each track you want to automate, change the
only apply to MIDI Volume, MIDI Pan, and automation parameter to the value you want at
MIDI Mute. MIDI parameters cannot use the the end of the selection.
Write To commands. 5 Choose Edit > Automation > Glide to All En-
abled.
To apply a Glide Automation to the current
automation parameter type:
You can also press Option+Shift+Forward
1 In the Automation window, make sure the Slash (/) (Mac) or Alt+Shift+Forward Slash
automation type is write-enabled. (/) (Windows).
2 Click the Track View selector to choose the To apply a Glide Automation to pan only:
automation type you want to automate.
1 In the Automation window, make sure that Pan
3 Drag with the Selector tool in the track to automation is write-enabled.
select the area you want to write the glide to.
2 Click the Track View selector to choose Pan au-
4 Change the automation parameter to the value tomation.
you want at the end of the selection. For exam-
ple, to glide automation volume to –Infinity, 3 Drag with the Selector tool in the track to
move the Volume fader to –Infinity. select the area you want to write the glide to.
5 Choose Edit > Automation > Glide to Current. 4 Change the pan automation to the value you
want at the end of the selection.
You can also press Option+Forward Slash
5 Choose Edit > Automation > Glide Pan Only.
(/) (Mac) or Alt+Forward Slash (/) (Win-
dows). You can also press Control+Shift+Forward
Slash (/) (Mac) or Start+Shift+Forward
Slash (/) (Windows).
Latch Mode The control for the parameter must be To write current trim delta values to the start, end,
changed (touched) during the automation pass. or all of a track or selection:
2 Click the Write Automation to Next Breakpoint • Write to Start/Selection Start: Currently writing
on Stop button or the Write Automation to controls continue writing automation
Punch Point button. • Write to All/Selection: Currently writing con-
trols (except controls in Write mode) punch out
When this option is enabled, automation writing
of writing automation
will be performed automatically forward to the
next breakpoint after a valid automation pass has • Write to End/Selection End: Currently writing
been performed. controls (except controls in Write mode) punch
out of writing automation
To configure Write Automation to Punch Point on • Write to Next Breakpoint: Currently writing
Stop:
controls (except controls in Write mode) punch
1 Choose Window > Automation. out of writing automation
2 Click the Write Automation to Punch Point on • Write to Punch point: Currently writing controls
Stop button. continue writing automation
When this option is enabled, automation writing For MIDI automation, the Write To com-
will be performed automatically back to the auto- mands only apply to MIDI Volume, MIDI
mation punch-in point after a valid automation Pan, and MIDI Mute. MIDI parameters can-
pass has been performed. not use the Write To commands.
Overwriting or Extending
Mute Automation
(Pro Tools HD Only) Mute off event extended (up to automation pass end)
Extending a mute automation event
Pro Tools lets you overwrite or extend an existing
mute event in real time, without changing the cur- Mute Overwrite/Extend is
rent mute state. supported in Touch and Latch
mode, as follows:
A mute event can be overwritten when the automa-
tion pass begins before the first mute event and Touch Mode Writes the current state as long as the
ends after the second event. In this case, the current Mute button is held.
on/off state of the mute is maintained.
Latch Mode Writes the current state until you stop
or AutoMatch out.
Creating Snapshot
Placing the cursor before the start of a mute event Automation
6 Start playback. (Pro Tools HD Only)
7 Press Command (Mac) or Control (Windows) Pro Tools HD lets you write automation data val-
and the track Mute button before the start of the ues for multiple parameters in a single step. You
mute event you want to extend. can write snapshot automation in two ways:
To extend mute states on multiple tracks, To a Selection Automation data is written to the
press Option+Command (Mac) or Alt+Con- Timeline selection (as well as the Edit selection if
trol (Windows) and the Mute button on the linked). Anchor breakpoints are placed just before
track. and after the selection so that data outside the se-
lection is not affected.
8 Before the end of the second mute event, release
the key and the Mute button. To a Cursor Location Automation data is written
at the insertion point. After the insertion point, the
If you extend past the subsequent on or off automation ramps to the next breakpoint value, or
event, the entire event will be changed. if no breakpoints exist, remains at the newly writ-
ten value for the remainder of the session.
2 In the Edit window, click the Track View selec- If you do not want the Write Automation command
tor to show the automation you want to edit. to write the selected automation value to the entire
playlist, you can:
3 Write a breakpoint in the playlist if none cur-
rently exists, as follows: • Anchor the automation data by placing the cur-
sor at the end of the session (or any other end
• Place the cursor in the playlist (or make an Edit
point) and choosing Write to Current.
selection), then press Command+Forward Slash
(/) (Mac) or Control+Forward Slash (/) (Win- • Click with any Grabber tool on each side of the
dows). selection.
• Select the Grabber tool and click anywhere in This lets the Write Automation command write
the playlist. only to the selected area.
4 Do one of the following:
• Select an area in the track’s playlist (or within
Writing Snapshot Automation
over Existing Automation Data
multiple tracks) where you want to apply the au-
tomation. When you move the playback cursor, the auto-
• Place the cursor at an Edit insertion point. mated controls in Pro Tools update to reflect the
automation data that is already on the track. To
5 Adjust the controls you want to automate. You keep the settings you have made for a snapshot,
can also change a plug-in preset. you can suspend automation parameters to prevent
6 Choose Edit > Automation and do one of the them from updating.
following:
To write snapshot automation over existing data:
• To write the current value to only the
1 In the Automation window, make sure that the
currently displayed automation parameter,
automation parameters you want to edit are
choose Write to Current.
write-enabled. Deselect any parameters whose
• To write the current settings for all automation automation you want to preserve.
parameters enabled in the Automation window,
choose Write to All Enabled. 2 Adjust the controls for the parameters you want
to automate.
Adding Snapshot Automation to 3 Click the Automation Mode selector and select
Empty Automation Playlists Off mode for the tracks where you want to apply
the automation.
When you use a Write Automation command on an
automation playlist with no previously written au- 4 With the Selector, select the range where you
tomation data, the selected value is written to the want to apply the automation.
entire playlist and not just the selected area.
Loading Captured Values into Preview When you are in Preview mode, you can capture
the values of isolated controls and apply them else-
You can preview and modify captured automation where on a track. By capturing preview values, you
values in Preview mode before punching the val- can leave the underlying automation unchanged at
ues to the automation playlist. the place where you capture.
To capture an automation value and use it to On ICON systems, you can use preview mode to
preview: capture multiple snapshots without changing auto-
1 Make sure the track where you want to preview mation.
the value is enabled for automation (Touch,
Latch, Touch/Latch or their corresponding To capture a preview value:
Trim modes). 1 Activate Preview mode and isolate a control.
(See “Previewing New Automation Values” on
2 Make sure the automation type you want to pre-
page 1024).
view is enabled in the Automation window
(Volume, Pan, Mute, Send level, Send pan, 2 Start playback and adjust the isolated control to
Send mute, or Plug-In). audition the changes.
3 Capture an automation value that you want to 3 When you are ready to capture preview value,
preview in another location on a track. (See click the Capture button in the Automation win-
“Capturing Automation Values” on page 1026.) dow.
4 Go to a location where you want to preview the The Punch Capture button in the Automation win-
captured automation states, and click the Pre- dow lights to indicate a captured value is available
view button in the Automation window. to punch.
5 Click the Punch Capture button.
2 Choose Track > Duplicate. • Hold Control (Mac) or Start (Windows) and
Right-click the VCA Master track name and
3 In the Duplicate Track dialog, deselect Group choose Coalesce VCA Master Automation.
Assignments.
The composite Volume level and Mute state are
4 Click OK. committed to each of the slave tracks over the Edit
The composite Volume level and Mute state are selection. The VCA Master Volume is set to zero,
coalesced to the duplicate track. The original slave the VCA Mute state is set to unmuted, and any au-
track is preserved, and the VCA group is un- tomation on the VCA Master is cleared for the se-
changed. lected area only.
Selection or Track Length If you make a selection Track Output Right-Click menu in the Mix window
in a track, the bounced mix will be the length of the
selection. If there is no selection in any track, the
bounce will be the length of the longest audible
track in the session.
Bounced Files Are Delay-Compensated Send Right-Click menu in the Mix window
Pro Tools compensates for any bus and plug-in de- To Bounce an Output or Send path to disk:
lays when bouncing to disk. This means that if a 1 Right-click the Output Path selector or the Send
bounced file is imported back into a session, and Path selector for the desired track Output or
placed directly in time against the source mix, it is Send.
time-aligned with the original source mix.
2 From the right-click menu, choose Bounce
Record-Enabled Tracks and TrackInput- <path>.
Enabled Tracks Cannot Be Bounced
3 The Bounce dialog opens with the Output or
Pro Tools does not include tracks that are either re- Send path selected as the Bounce Source.
cord-enabled or in Input Only monitoring mode in 4 Configure the other Bounce settings as desired
the bounce. and click Bounce.
File Type
The File Type selector lets you select the file type
for bounced files.
Windows Media formatted files can contain audio, 5 Configure all other Bounce options as desired.
video, or script data stored in Windows Media For- 6 Click Bounce.
mat. A Windows Media Format file may have an
.asf, or .wmv file name extension. 7 Configure the resulting MP3 dialog as desired
and click OK.
MXF (Material Exchange Format)
AAF and OMF sequence format files can refer to Select a file format from the Format selector.
MXF media files, or have MXF media files Mono (Summed) Creates a single disk file that is a
embedded within them. Pro Tools supports AAF summed mono mix of the current sources being
embedded sequences. monitored.
Bouncing to MP3 and Another File Type Before bouncing to disk, make sure your levels are
Simultaneously below –3 dB to avoid clipping that occurs when
left and right signals exceed –3 dB below maxi-
The new Add MP3 option in the Bounce to Disk di-
mum, or full code (0 dBFS).
alog lets you simultaneously create an MP3 ver-
sion of each bounce source in addition to the se- Multiple Mono Creates multiple mono files with
lected File Type (such as WAV). the same number of channels as the source path.
When the Add MP3 option is selected, and you are • If the source output or bus path is stereo, two
adding the bounce to your iTunes Library, the se- mono files will be created, and appended with
lected File Type is used rather than the MP3. To “.L” and “.R” suffixes on bounce.
share an MP3, select MP3 as the File Type. • If a multichannel format is used (for example,
six-channel, 5.1), individual mono files will be
The Add MP3 option is not available for Quick-
created for each member of the path. Files will
Time bounce.
be appended with path suffixes according to the
path definition in the I/O Setup dialog.
To bounce multiple sources to disk:
• If the source output or bus path is mono, the pop-
1 Make a Timeline selection to define the range to
up menu will switch from multiple mono to
be bounced.
mono, and will create one mono file (no sum-
2 Choose File > Bounce to > Disk. ming of multiple sources).
3 Select the desired File Type.
Pro Tools also lets you bounce multichannel inter- To set the resolution of the bounced file:
leaved files of any supported multichannel file
Select a bit depth from the Bit Depth selector.
type (such as 5.1). This can simplify file manage-
ment of mixes and projects for backup and ar-
chiving. Sample Rate
This option lets you save to any of several sample
Bit Depth rates. Choices are dependent on your Pro Tools
system and audio interfaces. Options can include
This setting lets you select between four different
sample rates from 8 kHz to 192 kHz, including
bit depths for the bounce conversion. Note that
sample rates with Pull Up and Pull Down options.
Bounce to Disk does not apply dither when con-
verting during or after a bounce to a lower resolu-
Common Sample Rates
tion. If you need to bounce to a lower resolution
file, use a dither plug-in on a Master Fader track The following are the more common sample rates,
assigned to the bounce source path. This dithers and their applications. Higher sample rates provide
the bounced file, before the Bounce to Disk conver- better audio fidelity for recording and playback,
sion truncates the bounced file to the selected bit and also for processing with dynamics, dither
depth resolution. (See “Using Dither” on (with noise shaping), and analog emulation plug-
page 1033.) ins.
The following Bit Depth options are available: 192 kHz This is a supported sample rate for some
audio DVDs, and provides the highest quality au-
16-Bit This is the Compact Disc standard bit reso- dio fidelity with compatible audio interfaces (such
lution. as the HD I/O).
If your session is 16-bit, you should still use a 176.4 kHz You may want to work at a sample rate
dither plug-in on the output mix, because all of 176.4 kHz if the final delivery will be at
Pro Tools systems process audio internally at 44.1 kHz (such as compact disc). This will provide
higher bit depths. a slightly faster sample rate conversion to
44.1 kHz than from 192 kHz.
24-Bit This setting provides the highest resolution
that is compatible with most audio interfaces. It is 96 kHz This is a supported sample rate for DVD
useful when you want to create a final mix without audio and provides high-quality audio fidelity with
losing any resolution (for example, if you are de- compatible audio interfaces (such as the HD I/O
livering a final mix that will be ready to master). and 003).
Additional sample rate options include 8 kHz, The Add to iTunes Library option is only
11.025 kHz, 16 kHz, 22.050 kHz, and 32 kHz. available if the Bounce Source is set to a
mono or stereo path, and Format is set to
Custom For a custom sample rate, click in the
Mono (Summed) or Interleaved.
sample rate window and manually enter in a value
from 4,000 to 200,200 samples. 4 Click Bounce.
Pull Up and Pull Down Rates All available sam-
ple rates support pull up and pull down rates, or Import After Bounce
other specialized rates.
The Import After Bounce option automatically im-
ports the newly bounced files into the Clip List so
Enforce Avid Compatibility you can place them in tracks. If your newly
bounced files are split stereo files (Multiple
Enable this option in the Bounce to Disk dialog to
Mono), they are listed together in the Clip List.
create a bounced file with frame-accurate edits,
wrapped as OMFI (unless File Type is MXF), and The Import After Bounce option is only avail-
with the sample rate options limited to 44.1 kHz or able if the target file type and sample rate for
48 kHz. Dither without noise shaping will be ap- the bounce is the same as the file type and
plied to files being exported from 24-bit to 16-bit. sample rate of the current session, and the
target resolution (bit rate) is the same or
Add to iTunes Library lower than the resolution of the session. In
addition, tracks bounced to a Stereo Inter-
Pro Tools lets you bounce your mix to your iTunes
leaved file cannot be automatically imported
library using the Add to iTunes Library option in
after a bounce.
the Bounce to Disk dialog. When this option is se-
lected, the bounced file is copied to your local
iTunes library. You can specify the location of
your iTunes library using the new iTunes Library
Folder setting in the Pro Tools Operation prefer-
ences.
Pro Tools provides a File Name text entry field for When using the Offline Bounce option, the follow-
Bounce to Disk. In the Bounce dialog, type the File ing are not included in the bounce:
Name you want for the bounced file. For multi- • Hardware Inserts
source bounces, the entered file name is appended
with the name of the Bounce Source and a number • External MIDI driven audio (such as outboard
(incremented for each source): “<file MIDI synthesizers or samplers).
name>_<source name>_<n>.” • External audio sources monitored by Auxiliary
Input tracks.
Directory • DSP only plug-ins (Offline Bounce always uses
the Native version of DSP plug-ins, but only if
Click the Choose button to specify a different di-
they are available).
rectory for bounced files than the default location.
• Any audio source that is synchronized exter-
nally.
Offline Bounce
Pro Tools provides an Offline option for Bounce to On Pro Tools HD systems with HDX hard-
Disk and Bounce to QuickTime. This lets you ware, any HEAT processing in the bounce
bounce faster-than-real-time in most cases (de- path is included with offline bounce.
pending on the session mixer size and DSP plug-in
Speed of Offline Bounce
complement).
The speed of offline bounce can be affected by the
To bounce audio to disk offline: following:
1 Make a Timeline selection to define the range to • CPU Usage—The speed of your CPU and how
be bounced. much CPU is in use by the system and other ap-
2 Choose File > Bounce to > Disk. plications. You can monitor CPU usage in the
System Usage window.
3 In the Bounce dialog, enable the Offline option.
• Disk Usage—For example, if the Disk meter in
4 Configure the Bounce options as desired. the System Usage window reads 50% when you
are playing back the session, offline bounce will
5 Click Bounce.
max out at two times the speed of real-time sim-
ply because it is physically impossible to read
the disk data from the drive fast enough. If you
can increase the Disk Playback Cache Size
(Setup > Playback Engine) to cache all audio on
the timeline, this should not be an issue
(Pro Tools HD only).
The Cancel button closes the Bounce to Disk dia- 2 Do one of the following:
log without initiating the bounce to disk conver- • To bounce the entire session, click Return to
sion. Zero in the Transport window to go to the begin-
ning of the session.
Bounce • To bounce a portion of the session, enable
The Bounce button initiates the bounce to disk Options > Link Timeline and Edit Selection, and
conversion. A Save dialog opens in which you can make a selection in the Edit window.
navigate to and select where you want to save the 3 Choose File > Bounce to > Disk.
bounced file. Once you have selected the location
and clicked Save, a progress window opens and 4 Configure bounce options and settings.
progressively shows you how much time remains 5 Verify the bit resolution for the bounced file
for the bounce to complete. matches the bit resolution of the session.
6 Verify the sample rate for the bounced file is
supported by the session and the audio inter-
face.
7 If required, verify the file type and format for
the bounced file matches the file type and for-
mat of the session.
8 Click Bounce.
Drag and drop the bounced files from a Work- • To bounce a portion of the session, enable Op-
space browser or the desktop. tions > Link Timeline and Edit Selection, and
make a selection in the Edit window.
7 Choose File > Bounce to > Disk.
Final Mixdown (with Bounce Choose the source path you want to bounce.
to Disk)
8
Pro Tools | HD Software lets you work with sur- Track Layouts for 5.1 Formats
round formats up to 7.1.
Formats Track Layout
1 2 3 4 5 6
C|24 L C R Ls Rs Lf
For information on fundamental surround
concepts, see the Pro Tools Sync & Surround The following table shows the X-MON mono track
Concepts Guide. routing for a 7.1 SDDS mix. A 5.1 mix should use
the same routing, excluding outputs 2 and 4 (Lc
and Rc).
Pro Tools Audio Connections
for 5.1 Mixing Default Track Layout for 7.1 SDDS Format
Formats Track Layout
While all 5.1 mixing formats provide the same
1 2 3 4 5 6 7 8
speaker arrangement, there are three primary stan-
dards in use for the track layout of the individual X-MON L Lc C Rc R Ls Rs LFE
channels that comprise the 5.1-format multichan-
nel mix.
The following table shows the default mono track You can create a new session and choose a sur-
routing for a 7.1 mix in Pro Tools. round mix I/O Settings file as the default
Default Track Layout for 7.1 Format I/O Setup. See “New Sessions and I/O Settings” on
Track Layout
page 1052.
1 2 3 4 5 6 7 8 Remixing Sessions in Surround (Importing
L C R Lss Rss Lsr Rsr LFE Multichannel I/O Setups)
When you create a new session, you can specify a • 5.1 Film Mix
surround format that you want to use as your • SMPTE/ITU
I/O Setup. Default path configurations are
• DTS Monitoring
provided as I/O Settings files, for stereo and
surround mixing. • C24 Mix
• ICON X-MON Mix
To see multichannel options in Pro Tools, the
Surround Mixer plug-in must be installed in 5 Click OK.
the Plug-Ins folder. This plug-in can be in-
6 In the Save dialog, name the session, navigate to
stalled with Pro Tools (see the User Guide
the location where you want to save the new
for your Pro Tools system). If it is not in-
session, and click Save.
stalled, you can move it from the Plug-Ins
(Unused) folder to the Plug-Ins folder. The surround presets preconfigure the I/O Setup
dialog for the new session with default 5.1 format
Once you create the new session, you can create main and sub-paths for outputs and busses.
and import tracks, import audio, and assign signal
routing to set up your mix.
The surround mix I/O Settings provide output and • One 5.1 main output bus path, with sub-paths for
bus paths for six specific track layout standards in 5.0 (no LFE), left/right (stereo), LCR, and center
the new session. (For information on inputs and in- (mono).
sert paths, see “Default Input and Insert Paths with • One stereo main output bus path with two mono
5.1 Settings” on page 1053.) sub-paths.
Settings Files and Track Layouts
5.1 Settings Track Layout
C24 Mix L C R Ls Rs Lf
Importing Multichannel
I/O Setups
The I/O Setup dialog can import and export set-
tings files. This is useful when you want to remix a
stereo session in surround. You can also use this
I/O Setup, Output page, default 5.1 (Film) Output feature to prepare a session for transfer to a differ-
assignments ent Pro Tools system, or to save and exchange
I/O Settings.
8 Select the new LCRS path and click the Reveal Pro Tools track layout of 5.1 format audio tracks in
Sub-paths triangle. the Edit window also conforms to the Film layout
(arranged top to bottom). See “5.1 Track Layouts,
Routing, and Metering” on page 1057
Default 5.1 Path Order I/O Setup Options Default Path Order for 5.1
Tracks
Default selectors in the I/O Setup dialog
You can specify the default track layout for all new
Default Monitor Format Sets the default monitor 5.1 format paths you create.
format (Stereo, 5.1, or 7.1) for new Output paths
and for when you click the Default button. To choose a new default 5.1-format path order
(track layout):
5.1 Path Order Selects the default track layout (or, 1 Choose Setup > I/O.
path order) for new 5.1 format (six-channel) Out-
put paths. 2 Click the Output tab.
3 Use the 5.1 Default Path Order setting to select
the track layout you want (Film, SMPTE/ITU, or
DTS Monitoring).
Film
(Pro Tools Standard,
and C|24 Mix)
L C R Ls Rs LFE
L C R Ls Rs LFE
L C R Ls Rs LFE
same same
SMPTE/ITU
L C R Ls Rs LFE L C R Ls Rs LFE
(Control|24 Mix) (top to bottom)
L R C LFE Ls Rs (left to right)
L R C LFE Ls Rs
DTS
same same
L R Ls Rs C LFE L C R Ls Rs LFE L C R Ls Rs LFE
L R Ls Rs C LFE
same same
ICON X-MON L C R Ls Rs LFE L C R Ls Rs LFE
(8-channel 7.1) (top to bottom) (left to right)
L x C x R Ls Rs LFE
L x C x R Ls Rs LFE
Multichannel I/O and signal routing is determined • Imported from other Pro Tools sessions
by the paths defined in the I/O Setup dialog. • Edited, processed, and mixed in combination
with mono and stereo tracks
When you create new tracks, you specify mono, When a track is assigned to more than one path of
stereo, or a supported multichannel format for the differing formats, the main output for that track
new tracks. will match the format of the assigned path with the
greatest number of channels.
In the Mix and Edit windows, the track format of a
track’s output is always visible by the number of Multiple Outputs and Automation Playlists
track meters contained in its fader strip (for exam-
ple, a single meter for mono tracks, a pair of meters When a track has multiple output assignments,
for stereo tracks, and six meters for 5.1 tracks). Pro Tools sorts panning data appropriately for
each assigned path. For example, if you assign a
Assigning track output determines the format of mono track to a stereo path and a 5.1 path simulta-
that output. For example, a mono track always has neously, that track will have a 5.1 panner in the
a single track meter, even when assigned to a ste- Mix or Edit window. When you pan the track,
reo output path. If that same mono track is assigned Pro Tools interprets the 5.1 panning moves into
to a 5.1 output path, it's output will be split among stereo panning moves.
those six output channels, depending on the posi-
tion of its panner. This provides a type of parallel mixing. You can
create a variety of mixes of differing formats all at
Changing Format the same time by routing your elements to multiple
paths.
Changing the output format for a given track has
several effects: Command-Control-click (Mac) or Control-
• The panner that appears in the track will change Start-click (Windows) any control in an Out-
to reflect the new output format. put window to show its automation playlist
in the Edit window and view any pan auto-
• It may be necessary for one or more pan related mation.
automation playlists to be created or deleted.
Multichannel send
Multichannel output
path
Multi-mono plugs-ins can also be inserted on ste- Channel selector and Link controls
reo tracks, to apply unlinked plug-ins on the left
and right channels. Channel Selector Accesses a specific channel
within a multichannel track for plug-in parameter
Multichannel Plug-Ins Are designed for use on editing. This menu appears only on multi-mono
stereo and multichannel tracks that require cor- plug-ins inserted on tracks with more than two
related processing, including stereo and multi- channels.
channel limiting, compression, and similar effects.
Master Link Button When enabled, links the con-
trols on all channels of a multi-mono plug-in so
that they can be adjusted in tandem.
To access controls for a specific channel: Once you have identified these elements in your
session, you can use a combination of main and
Select the channel from the Channel selector.
sub-path assignments, and multichannel panning.
To open a plug-in window for all channels of a
multi-mono plug-in: Mixing with Paths and Sub-Paths
Option-click (Mac) or Alt-click (Windows) the It is rare that every track needs to be “flown” (ac-
Channel selector. tively panned in between more than a pair of
speakers). In most situations, certain elements are
To link the controls of specific channels:
placed in certain speakers and remain there, pro-
1 Deselect the Master Link button if it is not al- viding the foundation for a mix.
ready deselected.
The following figure illustrates an example of how
2 Click the Link Enable buttons for the channels panning and signal routing can be combined in a
whose controls you want to link. multichannel mix.
To help simplify large sessions, use sub-paths to route static (or, stationary) elements directly to the out-
put channel or channels.
For example, film dialog is often mixed to the center channel to anchor this essential sound element to the
picture. Instead of assigning a six-channel panner to dialog tracks and panning the tracks to the center
speaker only, you can route the dialog track’s main output to a mono (Center) sub-path.
Effect
bus routing
Outputs to
sub-paths
Stereo Sub-Path The forward stereo sub-path. Use Extending Stereo Mixing Conventions to
this type of sub-path routing to mix music stems Surround Mixing
and effects to the front left and right speakers. Stereo mixing sets the precedent for active and
Center Sub-Path The front center-channel sub- static panning, and surround mixing can benefit
path provides a discrete mono path for the center from the same basic principles.
channel. Panning a sound back-and-forth between the left
Ls/Rs Sub-Path The surround, rear left and right and right speakers is best used as a special effect.
stereo sub-path. Use this type of sub-path to mix In a typical music mix, the basic tracks are placed
surround effects. in the stereo sound field and remain there.
LFE Path The LFE sub-path provides a discrete Surround mixes can become incoherent if too
mono path for the LFE channel. many elements are continuously moving, For spe-
cial effects, some tracks can be panned dynami-
5.0 Sub-Path The 5.0 path is a 5-channel sub-path. cally, bouncing between speakers or sweeping
Use this type of sub-path routing to conserve mix- from one side to the other.
ing resources with tracks you want to keep out of
the LFE channel.
FX stem
Music stem
LFE Examples
LFE tracks and other audio can contribute to the
LFE output in two ways:
• Using the LFE fader in Output windows. This
LFE signal is post-fader.
• Using a custom sub-path to route channels dis-
cretely.
LFE fader
Show meters
Track selector Path selector Target icon
This section identifies all the controls and features found in Pro Tools multichannel panners.
LFE fader
Pan Location
cursor
Track Automation.
Solo, and Mute
X/Y Grid
Position
(knob panners)
Divergence
Center %
Yellow The track is in automation Off mode (or For examples of how divergence settings
Automation Suspend) mode. affect output panning, see “Divergence and
Center Percentage” on page 1080.
Rear Displays and controls the current rear X-axis The LFE fader determines how much of the current
(left/right) position of the panner. In default X/Y track’s signal will be routed to the LFE channel.
Panning mode, Rear is linked to Front position and LFE faders in Track and Send windows can follow
cannot be controlled independently. groups. The Pro Tools LFE channel is always full-
bandwidth. For more information on how to use
F/R (Front/Rear) Displays and controls the current the LFE fader, see “LFE Faders in Multichannel
Y-axis position of the panner. Panners” on page 1083.
Link
To pan in X/Y mode:
Front Inverse
1 Click on the Panning Mode button until the X/Y
mode icon is displayed.
Front/Rear Inverse
2 Drag the Pan Location cursor, or click any-
Rear Inverse where in the Grid and drag to pan the track. The
Stereo multichannel panner controls showing default location of the Pan Location cursor determines
linking the pan position of the signal. For example, to
pan something to the left rear speaker, move the
Pan Location cursor to the lower-left corner of
Panning Modes the Grid.
The Panning Mode button provides access to four
It is not necessary to click exactly on the Pan
panning modes: X/Y mode, Divergence Editing,
Location cursor. Clicking anywhere in the
3-Knob mode, and AutoGlide mode. Panning con-
Grid will move the Pan Location cursor rela-
trols can be automated in all four modes.
tive to where you click or take over with a
Pro Tools provides the following Panning Modes: hardware panner. Panning does not jump to
the click position.
X/Y Mode Joystick-style panning by dragging the
Pan Location cursor within the X/Y Speaker Grid.
See “X/Y Panning” on page 1077 for more infor-
mation.
Display Automation in Edit Window Control- By comparison, in X/Y mode a diagonal pan may
Command-Control-click (Mac) or Start-click result in audio being heard in some or all channels.
(Windows) a control to display that control’s play-
list in the Edit window. The difference is that 3-Knob mode pans discretely
between the front and rear position of the panning
All Pan controls can be automated, including trajectory, while X/Y mode panning takes place in
pan position and divergence. See Chapter 46, the full 360° Panning Grid. Divergence and Center
“Automation” for details. Percentage are variable in both Panning modes.
Pro Tools provides 3-Knob mode as an additional Click on the Panning Mode button until the 3-
way to input pan moves. Knob mode icon is displayed.
To change the current trajectory position (left-to- 2 In the Mix or Edit window, click the Automa-
right) and retain its current angles: tion Mode selector and select an Automation
mode for the track you want to automate.
Drag the trajectory line (not its end points) to a
new position. 3 Press Play to begin playback.
4 Set a new destination for the cursor by doing
AutoGlide Mode one of the following:
AutoGlide mode lets you quickly write Surround • Click a Snap Pan to Speaker icon to glide to its
Panner automation by clicking new locations in the speaker location.
Surround Panner window, instead of manually • Click in the pan window to glide to a specific lo-
moving the Surround Panner controls. cation in the X/Y Grid.
When writing automation in AutoGlide
Snap Pan to
mode, the Pan Location cursor cannot be Speaker
dragged from its location. icons
The time it takes to glide from point to point (from Pan Location
cursor
the Pan Location cursor to the new destination) is
called the AutoGlide Time. This time is set in the
Mixing Preferences page and has a range of
10 msec to 10000 msec (10 seconds).
2 Set the AutoGlide Time in the Automation Panning Mode button (AutoGlide mode shown)
section.
Pan Location
cursor
To adjust divergence:
Adjust the LFE fader in any “.1” surround for- LFE Enable in the multichannel Dynamics III
Compressor/Limiter
mat Output window.
To process the LFE channel in a multichannel
LFE Faders and Groups
plug-in:
Pan Playlists
Multichannel panners have an automation playlist
for each position and divergence control.
Synchronization allows one system to output time- SMPTE Trigger Resolved with a
code and the other device to chase (follow) that SYNC HD
timecode. Pro Tools is synchronized to other de- (HDX and HD Native Systems Only)
vices using SMPTE/EBU timecode or MIDI
Timecode. You can use SYNC HD to resolve Pro Tools re-
cording and playback speed with any of the follow-
ing clock reference sources while slaving
Pro Tools to timecode:
Pro Tools Synchronization
Options • LTC
• Video source
There are several options for synchronizing
Pro Tools to an external source or using Pro Tools • House video reference (SD or HD)
as the master device. • VITC
• 1x Word Clock
SMPTE Trigger Only
• AES/EBU “null” clock
This solution is useful for short projects if both • Pilot Tone
systems are extremely close in speed, but even the
best systems will rarely stay perfectly synchro- • Bi-Phase
nized for longer than a couple of minutes. This enables long-term, high-fidelity synchroniza-
tion when all transports within the system are re-
solved to this common synchronization source, or
by resolving to any variations in incoming time-
code while slaving to timecode.
The Session Setup window is organized into three sections. The Format section is at the top of the window.
The SYNC Setup & Timecode Offsets section and the Timecode Settings section can be shown or hidden.
Format Section
SYNC Setup
& Timecode Offsets
section
External Timecode
SYNC Setup settings Offset settings
Timecode Reader
Timecode section offset
Freewheel settings
To show the Session Setup window: The controls in this section configure SYNC HD
From a Pro Tools session, choose Setup > settings. Settings are provided for Clock and Posi-
Session. tional Reference, Video Ref Format, Video In For-
mat, and Variable Speed Override.
Press Command+2 (Mac) or Control+2
(Windows) to open the Session Setup win- To show Timecode Settings section:
dow. Click the Timecode Settings expand/collapse
triangle.
To expand SYNC Setup & Session Offset section:
Click the SYNC Setup & Timecode Offsets ex- The controls in this section provide timecode gen-
pand/collapse triangle. eration and freewheel options, and separate pull up
and down selectors for audio and video rates.
The SYNC Setup and Timecode Offsets section of Video Ref Format
the Session Setup window includes displays and
menus for timecode-related settings on your sys- Sets the video reference format for the SYNC HD.
tem.
Video In Format
This menu lets you set the Pro Tools clock refer- Varispeed maximum sample rate limits
ence. Nominal Channel Maximum
sample rate Count Frequency
When using a SYNC HD, the Clock Reference
selector lists all supported clock types. 44.1/48 kHz 64 48.8 kHz
When using HDX or HD Native systems with- 44.1/48 kHz 56 55.6 kHz
out a SYNC HD, choices include any currently-en- 88.2/96 kHz 32 97.5 kHz
abled digital format or source available from your
Avid HD audio interface (such as AES, S/PDIF, or 88.2/96 kHz 28 111.5 kHz
1x Word arriving at the HD audio interface’s Word 176.4/192 kHz 16 194.9 kHz
Clock In port).
176.4/192 kHz 14 223.0 kHz
Freewheel
The choices in the Freewheel section let you con-
figure how Pro Tools will freewheel, or continue
playback if timecode is interrupted or corrupted.
Use these options to protect against errors that can
occur if your SMPTE timecode source has “drop
Redefine External Timecode Offset dialog outs” or temporary lost signals.
2 In the Redefine External Timecode Offset None No freewheel is applied.
dialog, enter the offset you want in the Desired
Timecode Position field. Frames Sets a number of frames to freewheel,
from 1 to 120 frames. This value defaults to 8
3 Click OK. frames, which is the recommended setting for most
applications.
Sample Offset (Sync Offset)
Jam Sync Lets Pro Tools trigger synchronization
This field lets you set a trigger offset for incoming to incoming timecode, and continue to play back
MIDI Timecode (anywhere from –100000 to even if timecode input is completely interrupted. It
+100000 samples). This lets you create a perma- can be useful if timecode is damaged, or has been
nent offset to fine-tune the point at which accidentally erased from your source tape.
Pro Tools synchronizes relative to incoming time-
code. For example, a value of –50 makes an event
in Pro Tools occur 50 samples before the same Pull Up/Down
event in the incoming MIDI Timecode. Use this to When Pro Tools is used in conjunction with a
compensate for timing differences between vari- SYNC HD, this option lets you “pull up” or “pull
ous SMPTE-to-MIDI Timecode converters or ana- down” the current sample rate.
log-to-digital/digital-to-analog converters.
For more information on applying pull factors in
Pro Tools, see “Pull Up and Pull Down” on
page 1096.
Synchronization and MachineControl system set- If you are generating timecode, it is a good practice
tings are enabled in the Pro Tools Peripherals dia- to stripe your timecode beginning at 01:00:00:00
log (Setup > Peripherals). These settings are sys- (subtracting time for the head format, such as ini-
tem settings, and remain constant regardless of the tial black, bars and tone, or logos). This prevents
particular session you are working on. Configure problems that can occur with some synchronizers
these settings before opening a session. when the striped timecode crosses from
23:59:59:29 to 00:00:00:00 (commonly referred to
MachineControl is supported on HDX and as the “midnight” boundary).
HD Native systems only.
To set a SMPTE Start Time for your session:
Other settings are configured in the Session Setup
1 Choose Setup > Session.
window, such as the session Timecode rate, the
Feet+Frames rate, the session start frame, and time 2 Enter a SMPTE frame number in the Session
display format. These settings are session-specific Start field.
settings. These settings can only be configured
when a session is open. To capture an incoming SMPTE address as the
session start time:
Pro Tools displays timecode values in the cur- Press Command+2 (Mac) or Control+2
rently selected SMPTE frame rate. (Windows) to open the Session Setup
window.
Sub Counter and Sub Time Scale Display
2 From the Timecode Settings section of the Ses-
You can display a Sub Time Scale in the Sub sion Setup window, select a Pull Up/Down
Counter. For example, if the Main Time Scale is Rate.
set to Timecode, and you want to compare SMPTE
time to “wall clock,” when you are using 29.97
Non-Drop frame rate, click the Sub Counter selec-
tor and select Min:Secs as the Sub Time Scale.
Video Frame Rate Pull Up and With no video hardware, Pro Tools supports 0.1%
Down pull up and pull down at all project frame rates
when monitoring video in the Pro Tools Video
The Video Pull Up/Down setting lets you change
window.
the frame rate of video playback independently
from the audio pull up/down rate. Note that video However, when monitoring with video hardware,
pull rates are saved with the session. certain frame rates only support pull in certain di-
rections (as follows):
See also “Auto Match Pull Factors” on
page 1097. • 23pNTSC can only pull up by 0.1%
• 24pNTSC can only pull down by 0.1%
The choices available for Video Rate Pull Up/Down
depend on the file format and frame rate of the • 24pPAL can only pull up by 4%
video, and whether or not you are using video • 25pPAL can only pull down by 4%
hardware.
* Suggested pull rates for any given project frame rates appear highlighted in the Video Rate Pull Up /Down
selector.
When working with 25 fps Avid media and the Clicking the Online button in the Transport
video is set to pull down by 4%, set the session
Frame Rate to 24 fps. The Online button flashes while Pro Tools waits
for a SMPTE frame to trigger playback. When
timecode is received, playback begins and the On-
Plug-Ins and Pull Up and Pull
line button becomes highlighted. The Edit Selec-
Down
tion indicators in the Edit window, and the Incom-
For proper operation at larger (4%) pull rates, ing Time field in the Session Setup window
plug-ins must utilize sample clock instead of an display the incoming timecode.
absolute time clock. All Pro Tools audio plug-ins
are based on sample clock. To take Pro Tools offline, do one of the following:
window.
4% audio pull rates are not available in 176.4 and
192 kHz sample rate sessions.
To generate MIDI Timecode from Pro Tools: 5 Click OK to close the Peripherals dialog.
1 Choose Setup > Peripherals and click the 6 Choose Setup > Session, and choose the appro-
Synchronization tab. priate frame rate for the Timecode Rate setting.
2 From the MTC Generator Port setting, select the 7 In the SYNC Setup section of the Session Setup
MIDI output port on which you want to transmit window, choose a clock reference from the
MIDI Timecode (MTC). Clock Reference selector. Not all clock choices
are available at all sample rates. See “External
Clock Sources” on page 1089.)
8 From the Transport Window menu (or the Edit
Window menu), select Synchronization.
To slave Pro Tools to an external device using MIDI Pro Tools will now respond to MMC commands
Machine Control: from the external device.
1 Connect a MIDI In port on your Pro Tools MIDI
interface to an appropriate port on the master Operating MMC Devices with the
device. Pro Tools Transport
2 Connect a MIDI Out port on your Pro Tools You can use the Pro Tools Transport window as
MIDI Interface to the MTC in port on the mas- the remote controller for all your enabled devices
ter device. (such as a nonlinear video deck). To do so, set the
enabled devices to listen to the address you enter
3 In Pro Tools, choose Setup > Session. for MMC. The Transport window will then drive
4 In the Timecode Settings section of the Session the Pro Tools transport and any slaved devices.
Setup window, select Using MTC.
5 Choose Setup > Peripherals and click the Syn-
chronization tab.
Machine Chases Memory Location When se- To set up MIDI devices, see “Enabling MIDI
lected, navigating to a specific location in a session Machine Control in Pro Tools” on
with a Memory Location causes a connected trans- page 1103.
port to chase to that location. To set up machine devices, see the Machine-
Machine Follows Edit Insertion/Scrub When se- Control Guide.
lected, navigating to a specific location in a session
by moving the selection point or by scrubbing a
track causes a connected transport to chase to that
location.
Spot Mode
In Spot mode, a clip in a track can be quickly spot-
ted by simply clicking it with the Time Grabber
tool.
Spot dialog
3 Enter a new SMPTE time by doing one of the For more information on Sync Points, see
following: “Sync Points” on page 783.
• Enter the numbers manually (with the help of the
To create a sync point in a clip:
arrow keys).
1 Do one of the following:
• To capture the incoming timecode address, click
the Current Timecode button (or press the Equal • Click with the Selector tool at the point in the
key). clip that you want to synchronize to a SMPTE
frame location.
• To enter the start time of the current on-screen
selection, click the Current Selection button. • Press the Down Arrow key while playing back.
4 Click OK. 2 Choose Clip > Identify Sync Point. The current
SMPTE time is automatically entered as the
This command can be used in “batch mode” to set SMPTE location for the sync point. A small
new time stamps for several clips at a time. To do down arrow appears at the bottom of the clip,
this, select several clips and choose the Time with a vertical, light gray line indicating the
Stamp command. One after another, a dialog will location of the sync point.
open for each clip, allowing you to quickly enter
new values.
To show (or hide) User Time Stamps in clips: Sync Point in an audio clip
Select (or deselect) View > Clip > User Time
Stamp.
By the time you get the tape, you may have no idea
what’s actually on it. Feeding 29.97 Non-Drop to
Pro Tools when it is set for 30 fps Non-Drop will
result in timing errors of about 1.8 frames per min-
ute, causing audio playback to trigger out of sync.
faster
25 fps
slower
NTSC PAL +0.1% then 45983 50050 91967 100100 n/a n/a
Video +4.1667%
PAL NTSC –4.0% then 42294 46034 84587 92068 n/a n/a
Video 0.1%
Sample Rate Conversion Using Destination Sample Rates at Pull Up and Pull Down Setting
NTSC PAL +0.1% then 42294 46034 84587 92068 n/a n/a
Video +4.1667%
PAL NTSC –4.0% then 45983 50050 91967 100100 n/a n/a
Video 0.1%
Pro Tools HD lets you import multichannel audio Digital Field Recorders
files and metadata recorded by field recorders.
A field recorder, also known as a hard disk loca-
(Field recorder workflows are not available with
tion audio recorder, is a device used by a produc-
Pro Tools Software.)
tion sound mixer during a film or video shoot to
make a multichannel recording of multiple micro-
phone inputs recorded simultaneously.
Field Recorder and
Production Workflow Depending on the capabilities and settings of a
Terminology field recorder, multichannel recordings can in-
clude one or more tracks (up to 32) and are saved
Before working with field recorders in
as monophonic or polyphonic audio files on a hard
Pro Tools HD, you may want to review a brief
drive, DVD-RAM, or Flash media.
glossary of common field recorder and production
terms. Multichannel recordings made by a field recorder
should be encoded with start and end time stamps
Field Recorder Terminology representing SMPTE timecode or linear timecode
(also known as LTC). Most field recorders also al-
The following terminology applies to field record- low manual entry of additional types of metadata,
ers in general: including Channel Name/Number, Scene, Take,
Circled Take, User Bits, and more.
Metadata
Pro Tools can import monophonic and polyphonic
Metadata is used to describe the following:
files and certain types of metadata entered on field
• Information embedded in a media file. This may recorders.
include scene, take, sample rate, bit depth, exter-
nal clip names, the name of the videotape from Production Sound Mix
which the media file was captured, and even
For each multichannel recording made by a field
timecode values.
recorder, the production sound mixer may desig-
• Information embedded in Pro Tools sessions or nate a production sound mix comprising either a
other sequences, including what files are used, representative channel or a mixdown of other se-
where they appear in a timeline, and automation. lected channels in the recording.
• For AAF or OMF sequences, information about
automation or clip-based gain.
BEXT and iXML Chunks SMPTE Timecode Also known as LTC or linear
timecode. The generating clock of this timecode
BEXT and iXML chunks are sets of metadata can be based on the time of day or can be set to as-
found within a Broadcast WAV file. cend beginning from a certain starting time of day.
Limitations Minutes:Seconds Timecode based on minutes and
seconds.
The following limitations apply to handling of im-
ported metadata from field recorders. Wild No timecode. Most consumer digital video
• The BEXT specification as described here adds recorders do not have the ability to generate time-
some features that conform to standards used by code.
Avid video editing applications and Pro Tools—
Production Sound Mixer
specifically, Description metadata is interpreted
differently. The production sound mixer uses a field recorder
• When you import multiple files in which the to record multichannel audio during a shoot, and
same metadata are populated with different val- later delivers those source files to one or more par-
ues, Pro Tools imports the value that is first pres- ties:
ent based on the following order: • Telecine operator (film workflow only)
• Avid OMF-wrapped media or MXF media • Avid video editor
• Any iXML chunk metadata in a BWF • Pro Tools editor
• Any BEXT chunk metadata in a BWF
About Shoot Date Metadata 4 Replace edits from the production sound mix
with audio from different takes of the same
Many field recorders do not populate the Shoot scene (“Selecting a Matching Field Recorder
Date field, relying instead on the file's Creation Channel to Replace a Clip” on page 1125).
Date to indicate date of production. When
Pro Tools imports a field recorder file, it checks to
see if the Shoot Date field is populated. If it is
Ensuring Metadata of Source
empty, Pro Tools copies the Creation Date of the
Files Have Been Preserved
original file to the Shoot Date field of the new files.
Before you receive source files, it is important to
ensure that the files have been prepared properly at
Editing the Channel Name
each phase of the production process so that their
The Channel Names field in the Workspace dis- original metadata is preserved.
plays the channel name, followed the by channel
number in parentheses. You can edit the Channel If the original metadata has not been preserved,
name for BWF files. When editing the channel you can use other types of data (such as File Cre-
name, anything you enter in parentheses will be ation Date or File Name) to find related channels.
discarded. However, the channel number will al- However, the matching process will be easier if
ways be preserved. metadata has been preserved.
• Raw Production source files representing multi- Production Source Audio in Timeline Auto-
channel recordings from a field recorder Synced to Edited Production Sound Mix The
production source audio in the Avid Bin has been
You will receive these files either separately (from auto-synced to the edited located sound mix, and
the Avid video editor and production sound mixer) all audio channels reside in the Avid Timeline.
or together as part of an AAF or OMF sequence ex-
port including raw production source audio (from When you import this type of sequence into
the Avid video editor). Pro Tools, the edited video, edited production
sound mix, and all production source audio will be
available to import directly into the Timeline.
Separate Deliveries of Source
Files Production Source Audio Auto-Synced and Re-
sides Only in the Avid Bin In an Avid video edit-
When you receive an AAF or OMF sequence from
ing application, the raw production source audio
the Avid editor and raw production source audio
has been auto-synced to the edited production
from the production sound mixer, you import the
sound mix, but all audio channels reside only in the
sequence, then either import the raw production
Avid Bin.
source audio, or instruct Pro Tools to search for
matching audio outside the session. In this case, the AAF or OMF sequence does
not contain or reference the production
Once the production audio is imported or
source audio when imported into Pro Tools.
located, Pro Tools will be able to match them
The Avid editor must deliver the production
together.
files to Pro Tools separately. The Avid editor
See “Importing an AAF or OMF Sequence may either deliver the production audio files
into Pro Tools” on page 1122 and “Import- from the Avid or OMFI Media Files folder, or
ing Raw Production Source Audio Directly they may deliver the raw production source
into Pro Tools” on page 1122. audio files, which have not passed through
Media Composer.
2 Click Field Recorder Guide Track. • Same clip name prefix (such as Audio File or
Audio File_01)
3 Repeat for each field recorder track in the
• Consecutively-numbered clip name suffix, from
session.
A1 through A8
Each mono field recorder track must be
For example, the clips Audio File_01.A1 and Au-
designated to enable the special Pro Tools
dio File_01.A2 would be grouped as a multichan-
field recorder features for that track.
nel clip in the Clip List.
Replacing a Clip with a Matching 3 From the Matching Field Recorder Channels
Segment from a Matching Field pop-up menu, select the name of the matching
Recorder Channel clip that you want to use to replace the original
clip.
You can replace a mono clip (or selected portion of
a mono clip) with a matching segment of a match- You can hold Command-option (Mac) or
ing field recorder channel that was recorded simul- Control-alt (Windows) and use the up and
taneously. Any fades performed on the original down arrow keys to step through the list of
clip are automatically applied to the replacement available matches for the selection.
clip, and any pre-existing automation on that track
is unchanged.
The first time you open the Matching Field
Using this feature is especially useful when Recorder Channels menu for a certain clip,
combining it with duplicating the production Pro Tools must search for matching chan-
sound mix track. For example, you could re- nels, and displays “Searching for metadata in
place the audio from a boom microphone the background.” Close and open the menu
with the audio from a lavalier microphone— again once the search is complete to see the
while preserving any edits or fades from the found matches.
original edited production sound mix in the
AAF or OMF sequence. If the production sound mixer entered the
channel name (or some other descriptive
reference) during shooting, the Matching
Field Recorder Channels pop-up menu dis-
plays this information.
Name and Sort Tracks By The Reset button toggles all criteria to their
default values.
This option lets you set the method Pro Tools uses
to name and sort the audio files created by expand-
Option-click (Mac) or Alt-click (Windows)
ing matching field recorder channels.
any item to select or deselect all criteria in
the dialog.
By default, Pro Tools searches for matching field • Click Save to close the Select Areas to Search
recorder files in the Audio Files folder for the cur- dialog and save the new search area settings.
rent session. Because field recorders often accu- • Click Save & Index to save the new search area
mulate large amounts of audio data, importing the settings and re-index the selected folders. For
necessary files into your Pro Tools session can be a more information, see “Re-Indexing” on
slow and complex task. page 1128.
5 The original source audio files and unedited 5 Drag the original unedited guide track audio file
guide track are also imported into the session. into the Candidates pane. If a dialog appears
stating that one or more files are shorter than the
6 The original unedited guide track is relinked to media file you are trying to relink, click Yes to
the session (see “Relinking the Original Uned- select it for relinking anyway.
ited Guide Track” on page 1132).
6 Check the box to the left of the file in the Can-
7 The Pro Tools editor Right-clicks the name of didates pane so that the Link icon appears.
the guide track and selects Expand Channels to
New Tracks > By Timecode Only. The original 7 Click Commit Links at the top of the Relink win-
source tracks expand to new tracks with edits dow and then close the Relink window.
and fades that match the guide track.
You can now Right-click the name of the guide
and select Expand To New Tracks > By Timecode
Only. All expanded tracks should be synchronous
with the guide track.
• Multichannel location audio 8 Insert a blank videotape into the VTR con-
nected to the telecine, and manually assign lin-
• Written shootlist and sound log
ear timecode (LTC) information to the
The telecine operator generates the dailies (a vid- videotape.
eotape containing the day’s shots) by transferring 9 Begin the telecine capture. During the telecine
the film and audio to a videotape. The shootlists capture, the following occurs:
will be used as a guide.
• The telecine begins capturing the synchronized
To use a telecine to create dailies: film and audio to the videotape, with linear time-
code (LTC) assigned to the videotape beginning
1 Load film and audio into the telecine.
from where you entered the start timecode.
2 Enter the Tape name or Sound Roll name • A FLEx file is created, where scene and take in-
(whichever was used during the production) formation is automatically written and associ-
character for character into the telecine. ated to the film keycode and telecine videotape
timecode relative to audio timecode.
To ensure that metadata are preserved for
the Pro Tools editor, it is critical to enter the 10 When the telecine transfer is complete, deliver
Tape name or Sound Roll name character for the following to the Avid editor:
character. For example, if the metadata was
• Telecine videotape
T001 (with two zeroes), enter T001 with two
zeroes—not T01 with one zero or T0001 with • FLEx file
three zeroes. • Shootlist
When you are finished editing, export the edited 4 Use the Avid video editing application to edit
sequence as an AAF or OMF sequence so that it audio and video.
can be imported into Pro Tools.
5 When you are finished editing, export the edited
sequence as an AAF or OMF sequence so that it
can be imported into Pro Tools.
When working with someone who is preparing Separate Video-Only and Audio-Only Drives For
QuickTime movies for use with Pro Tools, ensure best results, always use separate video-only and
that you communicate the following: audio-only drives. For complete information on
hard drive requirements, visit www.avid.com.
Consolidated and Referenced Media QuickTime
DV movies can be either complete (consolidated)
QuickTime files (where media is copied into a
QuickTime file) or QuickTime reference files
(where just a small composition is in the Quick-
Time file which references the original media
files).
Video Tracks
Video tracks let you add or import video to the
New Video options in the Pro Tools Operation Timeline, as follows:
preferences • Pro Tools lets you add or import one video track
The Video section of the Pro Tools Operation per session, with a limit of one video playlist and
Preferences provides the following options: one Avid or QuickTime video file on that track.
• Pro Tools HD lets you add multiple video tracks
Enable GPU to the Timeline, with multiple video playlists
Pro Tools video processing is done on the GPU and multiple video files per track.
(Graphics Processing Unit) in order to free up the • Pro Tools HD lets you mix QuickTime and Avid
CPU for Pro Tools audio and MIDI. If you are us- video tracks in the Timeline (but not on the same
ing a slower GPU and encounter poor video play- video track).
back, you may want to disable this option and have
the video processing done on the CPU. To create a video track in Pro Tools, do one of the
following:
Prevent Tearing Use File > Import to import a video file.
When enabled, Pro Tools buffers video to prevent Drag a video file to the Timeline.
visual artifacts with horizontal movement in situa-
tions where video sync does not match the screen Use File > Import > Session Data to import a
refresh rate. This options is not available when the session or AAF sequence containing a video
Enable GPU option is disabled.
track.
Frames do not display properly if you change Video tracks displaying a QuickTime icon
zoom settings during playback. Blank frames are
You can add any supported video to an empty
drawn until playback is stopped. You should stop
video track.
playback before changing zoom settings if you
want to view frames.
Project Type
Video Quality
Output Settings
Project Type
While Pro Tools does not allow mixed frame rates,
Video Online button (offline (top) and online (bottom)
it does allow different resolutions. The Project
To switch a video track online or offline: Type selector lets you set the Project Type (resolu-
tion) to best match mixed resolutions for the ses-
Click the Video Online button of any track that
sion. In general, you will not need to change the
is offline (gray) to put it online (blue), making
Project Type.
that track the main video track.
Click the Video Online button of the main video For Avid MXF video, Project Type is set automat-
track to take it offline, and Pro Tools will not ically. However, when you are working with
output video. mixed resolutions, Pro Tools lets you set the clos-
est matching resolution for the session using the
With Pro Tools HD, press Shift+J to cycle Project Type setting.
through all shown video tracks to determine
which one is online.
Pro Tools provides an Output Settings window for In the Video Output Tool window, click the Op-
configuring your Avid or Avid-qualified third- tions tab to configure the options for video output
party video peripheral. The Output Settings are that are relevant to your video hardware and proj-
saved with the system. The Output Settings button ect type.
is unavailable when working with video without a
video peripheral.
The Sync Lock setting locks your video peripheral The options for HDMI Color Space are dynamic
to an external reference or an internal clock. depending on whether a Mojo DX or Nitris DX is
Pro Tools automatically detects the type of Avid connected, as well as other settings. The HDMI
video hardware you have and displays the appro- Color Space setting determines the color standard
priate options from the following: (either YCbCr or Convert to RGB) to use for your
• Mojo DX options: HDMI (High-Definition Multimedia Interface)
output. You must have HDMI-compatible Avid
• Internal
video hardware attached to your system.
• Reference
• Nitris DX options: HDMI Format
If a SYNC HD is installed and enabled, and Clock Output PSF or True Progressive
Reference is set to Video Reference in the Session
Setup window, suggested formats are highlighted When working with HD video, this setting lets you
in the Video Ref Format selector of the Session toggle the hardware between PSF and Progressive
Setup window for Avid DX and DNxIO hardware. output formats:
• PSF Output
• True Progressive
The Sub Pixel H Phase setting lets you adjust the Select the Best Performance option to process and
horizontal blanking interval used to synchronize play back the full image raster for the project using
the timing of two or more video signals. The Sub 1/16 of the image information. The Best Perfor-
Pixel H Phase setting is available on some systems mance option uses a bit depth of 8 bits. This option
for S Video, Component, or Composite output. subsamples 25% of the raster width. For interlaced
projects, this option uses 50% of the lines in one
field. For progressive projects, this option uses
Video Quality 25% of the scan lines. This option is only available
Use the Video Quality selector to set the video with Avid Mojo and Nitris DX.
quality for the track on playback. You can choose
from options that range from best performance
(lower video quality) to full quality.
Remove Existing Video Tracks When selected, all Importing Audio from a
existing video tracks will be deleted before QuickTime Video Clip
Pro Tools imports video into the session. For QuickTime Video clips, Pro Tools lets you
Remove Existing Video Clips When selected, all right-click on selected clips to import the audio
existing video clips will be removed from the from the QuickTime movie clips even if you im-
Timeline and the Clip List before Pro Tools im- ported QuickTime video without its associated au-
ports video into the session (but left on disk). This dio.
option is useful if you want to import a video file
To import audio from a QuickTime video clip:
into the session with a video frame rate that does
not match the current video engine rate. 1 Right-click on a QuickTime video clip in a
video track or in the Clip list.
See “Video Engine Rate” on page 1149 for
more information. 2 Choose Import Audio From Movie.
3 In the resulting dialog, specify the location
Clear Main Video Track Playlist When selected,
where you want to save the audio and click
all existing video clips in the currently-selected
Open.
playlist on the main video track will be removed
from the track before Pro Tools imports video into 4 In the Audio Import Options dialog, select
the session. No other playlists, video tracks, or whether you want to import the audio to the Clip
video clips will be affected. (This option is only List or to a New Track.
enabled if the main video track is selected as the
5 If you selected New Track, select the Location
Destination option.)
for the audio:
• Session Start
Bypassing the Video Import
Options Dialog • Song Start
ated by Pro Tools HD, only the main or first 1 In the Edit window, click the Clip List menu,
available video track containing QuickTime and choose Show.
clips will be imported. You can play back and
2 Select the Video option to show or hide video
view multiple clips, and tab through clip bound-
clips.
aries. However, you cannot edit them.
Renaming Video Disk Files To display the Video window, do one of the
following:
When renaming audio clips in either the Timeline
Select Window > Video.
or the Clip List, you have the option of also renam-
ing the audio files on disk. However, this does not Press Command+9 (Mac) or Control+9 (Win-
apply to video files on disk. dows).
Pillarbox/Letterbox
Pro Tools lets you scrub video directly on a video 1 With Pro Tools HD, make sure the Operation
track. When scrubbing on a video track, only the preference for Numeric Keypad mode is not set
video scrubs (no audio plays). Video scrubbing is to Shuttle (see “Operation Preferences” on
displayed in the Video window. If video hardware page 100).
is connected, you can choose to scrub video with 2 Make sure the Video Online button in the video
external video monitoring as well as in the Video track you want to scrub is set to an online (blue)
window. status.
When scrubbing audio with a video track online, 3 With the Selector tool, click in the audio track
both audio and video scrub synchronously. where you want playback to begin. To shuttle on
two tracks, Shift-click in a second audio track.
For information on enabling (or disabling)
video scrubbing with video hardware, see 4 Press the Control (Mac) or Start key (Windows)
“Enable Hardware During Scrub” on and a number on the numeric keypad: 0–9 (9 is
page 1140. fastest, 5 is normal speed, and 0 stops shuttling).
To scrub a video track: Once Shuttle Lock mode is initiated, Fast Forward
and Rewind become highlighted in the Transport
1 Select the Scrubber tool.
window.
2 Click in the video track and drag the Scrubber.
5 Press additional keys to change the playback
To scrub with finer precision, press the Com- speed, or press Plus (+) or Minus (–) to switch
mand key while scrubbing. the playback direction (plus for forward, minus
for backward).
Shuttling the Video Track 6 To stop playback, press Control+0 (Mac) or
Start+0 (Windows).
Shuttle Lock mode lets you use the numeric key-
pad to shuttle a video track and one or two audio
To exit Shuttle Lock mode, do one of the following:
tracks forward or backwards at specific speeds.
Numbers 0 through 9 provide progressively faster Click Stop in the Transport.
speeds, as follows: Press the Spacebar.
• To stop shuttling, press 0.
• To increase the speed progressively towards nor-
mal speed, press numbers 1 through 4.
• To shuttle at normal speed, press 5.
• To increase the speed progressively faster than
normal speed, press numbers 6 through 9.
5 Do one of the following: 8 Configure the File Type, Format, Bit Depth, and
other Bounce options as desired (see “Bounce
• To bounce the entire session, click Return to
Options” on page 1037).
Zero in the Transport to go to the beginning of
the session.
11 If you are bouncing Avid to QuickTime and you Enable this option to include the online video track
want to configure QuickTime video settings, in the bounced QuickTime file.
click QuickTime Settings.
Same as Source
Refer to Apple’s documentation for detailed
information on configuring QuickTime movie Select the Same As Source option to bounce to
settings. QuickTime using the same video resolution as the
online video track. The Same As Source option is
12 Enable the Offline option for faster-than-real- not always available with some types of LongGOP
time bounce. QuickTime media (such as XDCAM), or when
mixing multiple Codecs on a track.
13 Click Bounce.
14 Select a destination for the new QuickTime Use Avid Codecs
movie, enter a new name, and click Save. The Use Avid Codecs option is only available
when using codecs that are installed with the Avid
Bouncing video may can take longer than
LE (available from www.avid.com) or PE Codec
real-time, depending on the format of the
packs (included with the Pro Tools installer). Se-
source video, the format of the bounced
lect this option if two similar codecs are present on
video, and processing speed.
a system. For example, DV25 is usually included
with a standard QuickTime installation, but Avid
also offers a DV25 codec that is optimized for use
with Avid products (such as Pro Tools and
Media Composer).
5 Click OK.
6 In the QuickTime Bounce dialog, configure the
other settings as desired.
7 Click Bounce.
Avid Satellite Link lets you link up to twelve On systems with a D-Control or D-Command con-
Pro Tools HD systems over an Ethernet network sole, Satellite Link can work in conjunction with
so that you can cue, play, and stop the transports, ICON Multi-mode. This lets you operate the trans-
make play selections, and solo tracks across any of port selectively for up to four networked
the systems from any linked workstation. Pro Tools HD systems from a single D-Control
console, or up to two Pro Tools HD systems from a
Alternatively, you can link up to eleven D-Command.
Pro Tools HD systems and one of the following:
• A Pro Tools Video Satellite system, which uses a
separate Pro Tools system for video playback. Satellite Link Requirements
• An Avid Video Satellite system, which uses an and Compatibility
Avid Media Composer or Avid Symphony sys-
tem for video playback, capture, and conversion. Satellite System Requirements
For more information, see Chapter 55, The following is required for each Pro Tools HD
“Pro Tools Video Satellite” and system on the network:
Chapter 56, “Avid Video Satellite.” • Avid-qualified computer
From each linked Pro Tools HD system, Satellite • Pro Tools | HD Software
Link lets you link and unlink networked systems • HDX or HD Native hardware
and see the link status of other connected systems.
• Pro Tools | SYNC HD
By setting Satellite Link preferences, you can con- • Ethernet connection to a Local Area Network
figure linked Pro Tools HD systems for single- or (LAN)
multi-operator workflows.
All Pro Tools systems in a Satellite Link
Satellite Link can be used simultaneously with network must be resolved to a common
Avid MachineControl, allowing one linked video reference, or “house sync,” using
Pro Tools HD system to go online and drive a SYNC HD.
9-pin capable device.
Other systems on the network are configured as 3 In the Video Satellite Settings window, select
satellite systems, and are added to the network Video Satellite Mode.
from the administrator system.
4 Click OK.
Configuring Satellite Systems To configure a non-HD Pro Tools System system
as a video satellite:
Do the following for each Pro Tools system you
want to configure as a Satellite Link satellite: 1 On the satellite Pro Tools system, choose Setup
> Peripherals and click Satellites.
1 Choose Setup > Peripherals and click Satellites.
2 In the System Name text box, enter a name for
2 In the System Name text box, enter a name for
the system.
the system.
3 Under Mode, choose Enable Satellite Mode.
3 Under Mode, choose Satellite.
4 Click OK.
4 Click OK.
1 Choose Setup > Peripherals and click Satellites. 2 Under Administrator, declare the systems you
want to use as satellites from the System 2-12
2 In the System Name text box, enter a name for pop-up menus.
the system.
3 Click OK.
3 Under Mode, choose Administrator.
The administrator and declared satellite systems
4 Under Administrator, choose the current system
appear in the Synchronization section of the Trans-
from the System 1 pop-up menu.
port. The display resizes to show all available sys-
5 Click OK. tems.
Clearing Errors on Linked Systems If one or more satellite systems on the network en-
counters a problem and the network becomes un-
By default, linked systems continue to operate if stable, Pro Tools lets you reset all Satellites on the
one of the systems experiences an error and its network to get back up and running as quickly as
transport stops. The Satellite Link button for the possible.
remote system reporting the error highlights red on
all other systems in the network. Any error mes- To reset all satellite systems on a network, do one
sage on a linked system appears in the tool tip for of the following:
the corresponding Satellite Link button in the Command-Option-Control-Click (Mac) or
Transport. Control-Alt-Start-Click (Windows) the Satellite
Link button in the Transport of any Pro Tools
You can set each system independently to stop
Satellite system on the network.
playback when it encounters an error.
In the Satellite page of the Peripherals window
To clear an error dialog on a remote linked system: (Setup > Peripherals > Satellite), click the Re-
In the Transport on any other system in the net- set Network button, and then click OK.
work, Shift-click the Satellite Link button for
the affected system.
Using Satellite Link with
To set a linked system to stop the transport on all MachineControl
systems when an error occurs:
MachineControl Deck Control Mode can be used
Make sure the DAE Errors Stop All Linked Sys-
to operate a 9-pin synchronization device (such as
tems option is selected in the Synchronization
a Soundmaster ATOM or a CB Electronics 9-Pin
Preferences.
synchronizer), allowing Pro Tools to act as a “code
To set all systems to stop the transport when an er- only master” for systems controlled by the syn-
ror occurs, make sure this option is selected on all chronizer.
linked systems.
Satellite Link lets you use MachineControl on one
Playback and Modal Dialogs
linked Pro Tools system at a time.
When one linked Pro Tools system is already
Linked systems stop playback (or prevent play-
online and you go online with another linked
back from starting) if a modal dialog (such as the
Pro Tools system, Satellite Link will automatically
I/O Setup, Hardware Setup, or Playback Engine di-
take the first system offliine.
alog) is opened on any linked system.
Any linked Pro Tools systems set to
To avoid interrupting playback on another “Transport=Pro Tools” will follow Satellite Link
system when opening a modal dialog, transport commands.
unlink the system before opening the dialog.
Any linked Pro Tools systems set to
“Transport=Machine” cannot transmit Satellite
Link transport commands, but will follow Satellite
Link transport commands if they are offline.
To set up the Pro Tools Video Satellite system: The administrator Pro Tools system does not
See “Configuring Satellite Systems” on respond to playback commands from the
page 1172. Pro Tools Video Satellite system. Transport
commands must originate from the main
Pro Tools system.
Declaring the Pro Tools Video
Satellite System
Link Controls
When the Pro Tools Video Satellite system has
When a Pro Tools system has been declared as a
been configured as a satellite, it becomes available
satellite, the following controls appear in the
on the administrator system. The satellite system is
Transport window:
then declared by the Administrator.
Link Button Controls the link status of the local
To declare the satellite system on the
system.
administrator system:
See “Adding Satellites to the Network” on Satellite Link Buttons control the link status of the
page 1173. other satellite systems. On every system, one of
these buttons corresponds to that system’s main
The systems appear, in order, from left to right, in Link button.
the Synchronization section of the Transport win-
dow. Link buttons highlight to indicate linked status.
To link or unlink the administrator Pro Tools To set the Pro Tools Video Satellite system to stop
system or other satellite systems: the transport on both systems when an error
occurs:
Click the corresponding Satellite Link button in
the Transport window. On the administrator Pro Tools system, make
sure the AAE Errors Stop All Linked Systems
To link or unlink all declared satellite systems: option is selected in the Synchronization Prefer-
Option-click (Mac) or Alt-click (Windows) the ences page.
Link button or one of the Satellite Link buttons If one of the systems encounters an AAE er-
in the Transport window. ror, its satellite link button will light up red in
the transport window on the other system.
Linking Systems During Playback
Hold the mouse pointer over the button to
You can link the Pro Tools Video Satellite system view the error, if necessary.
while the administrator Pro Tools HD system is
playing back, and the transports will synchronize. Modal Dialogs
Avid Video Satellite is a powerful post-production • Media Composer or Symphony System Identifi-
option for Pro Tools, employing a separate com- cation Number and serial number, or Avid Ap-
puter running Avid Media Composer or Sym- plication Key (included with Media Composer
phony software for synchronized video playback, or Symphony)
capture, and conversion. • Avid video peripheral (optional; required for
Avid Video Satellite can use either a single high-quality video output)
Media Composer or Symphony system in a Satel-
Avid Video Peripherals
lite configuration. Avid Video Satellite can play
full sequences and does not require a video mix- For high-quality frame edge-aligned playback of
down. Avid Video Satellite requires a HD or SD video (or 1080 HD video converted to
Pro Tools HD Administrator in the Satellite con- SD video), you must add the I/O capabilities of an
figuration. Avid video peripheral.
Media Composer or Symphony software with the Media Composer supports the following Avid
Video Satellite option can output and capture video peripherals:
video using the following Avid video peripherals:
• Media Composer | Nitris DX
• Media Composer | Nitris DX
• Media Composer | Mojo DX
• Media Composer | Mojo DX
When using an Avid video peripheral, the follow-
ing is required:
Avid Video Satellite
Requirements • An NTSC/PAL black burst generator
Avid Video Satellite requires the following system • A tri-level sync generator (when working with
components: HD-capable Avid video peripherals)
• Avid-qualified computer
• Pro Tools | HD Software
• HDX or HD Native hardware
• Pro Tools | SYNC HD
• A second Avid-qualified computer for
Media Composer or Symphony
When working with 24p and 23.976 projects, The Project Type is also established when
Media Composer defaults to displaying frames creating a new project in Media Composer.
mapped to 29.97 fps timecode. In order to keep the
3 In Pro Tools, choose Setup > Session.
Pro Tools and Media Composer or Symphony
timecode displays in sync when working in 24p or 4 Select a timecode setting from the Timecode
23.976 projects, click the timecode display above Rate pop-up menu that is compatible to the
the Record monitor and choose Sequence > Time- Media Composer Project Type setting.
code > 24 > Mas.
5 Make sure that a compatible clock source is
To avoid sync problems during later stages of available and connected correctly.
post production, it is strongly recommended 6 Select the connected clock reference from the
in most cases to change the settings in Clock Reference pop-up menu.
Pro Tools to match those of the sequence
open in Media Composer. 7 Select a compatible video format from the
Video Ref Format pop-up menu.
The following table describes compatibility between Avid Project Format and Edit Play Rate, and
Pro Tools Timecode Rates, Audio Pull Up/Down Rate, Clock Reference, and Video Format.
Rate and Sync Ref Compatibility between Avid and Pro Tools
25 PAL 25 4% Up PAL
*Although Media Composer standalone supports locking the video peripheral to black burst or tri-level
sync at these HD rates, Video Satellite will only support locking the Media Composer video peripheral to
tri-level sync when using these HD rates.
In almost all cases, the first frame of video is You can compensate for any offsets that might oc-
located at the start of the Media Composer se- cur if the start times of an Avid sequence differ be-
quence. However, Pro Tools sessions often have tween Media Composer and Pro Tools.
silence at the head to create countoffs or silence.
To compensate for different sequence start times:
For example, a Media Composer sequence may
1 In Pro Tools, go to Setup > Session. The Ses-
start at 01:00:00:00 while the matching Pro Tools
sion Setup window will appear.
session starts at 00:59:55:00—allowing five sec-
onds of silence before the audio starts. 2 In the External Timecode Offset section, com-
pensate for the offset between Pro Tools and
In some cases, starting playback from Video Satellite as follows:
Media Composer at a point which is more
• If the start time of the video satellite sequence
than a minute earlier than the start of the
falls before the start time of the Pro Tools se-
Pro Tools session may fail. Change the
quence, type a positive timecode value into the
Pro Tools session start time to be earlier.
Satellite Offset field.
To set the default start time for new sequences in • If the start time of the video satellite sequence
Media Composer:
falls after the start time of the Pro Tools se-
1 In the Project window, click the Settings tab and quence, type a negative timecode value into the
then double-click the General setting. Satellite Offset field.
2 Type in the desired starting timecode in the De-
fault Starting TC field. Compensating for Monitor-
Induced Output Delay
To change the start time of an existing sequence in
Media Composer:
Many monitors add a delay to the video output of
one or more frames. You can compensate for this
1 In Media Composer, open the bin containing delay by advancing the video output by the neces-
the existing sequence. sary number of frames.
2 If needed, re-size the bin window so that you
can see the Start column of the bin window. To set the number of frames to offset video output:
1 In Media Composer, choose Settings > Video
3 In the Start column for the sequence for which
Satellite Settings.
you want to set a new start time, type the new
start time using semi-colons (for Drop Frame) 2 In the Video Satellite Offset field, type a posi-
or colons (for Non-Drop Frame), and press En- tive value that matches the amount of delay in
ter. the monitors. You may need to try a few differ-
ent settings.
4 Click OK to confirm.
To link or unlink other satellite systems: 3 The softkeys corresponding with each machine
can then be pressed to link or unlink that ma-
Click the corresponding Satellite Link button in
chine.
the Transport window.
Video Satellite and EUCON Control and
To link or unlink the video satellite system from
Work Surfaces
within Media Composer, do one of the following:
Click the Satellite Link button to change it to a A selection of system linking controls have been
linked (green) or unlinked (grey) state. EUCONized. For more information on controlling
Video Satellite functions from EUCON
Press Shift-Alt-L (Windows) to toggle the link devices, see the Pro Tools EUCON Guide.
state between linked and unlinked.
Since video and audio are streamed in one signal 1 In Pro Tools, choose Setup > Session, and en-
over FireWire, it is not necessary to connect any sure the following:
audio inputs. • Clock Source pop-up menu is set to SYNC.
If you are capturing video using FireWire, you • Clock Reference pop-up menu is set to Video
must capture both audio and video into Reference.
Media Composer, because a single FireWire cable • If Clock Reference pop-up menu is set to an-
provides both video and audio. This audio can then other source, like Word Clock, make sure that
be exported over to Pro Tools. the Ref Present LED is lit, and that the clock ref-
erence that the SYNC is locked to matches that
of the VTR.
2 Route the audio inputs to the desired tracks.
Avid Video Satellite supports video capture to a When using this procedure with a video satellite,
new or existing sequence using the Capture Tools you must capture the audio to Media Composer
in Media Composer or Symphony. See and then export an AAF sequence referencing or
Media Composer or Symphony documentation for containing the embedded audio to Pro Tools.
configuration details.
Playing Back Captured Audio and Video Laying Back Audio and Video
with a Video Satellite System
to Tape
Once you have finished capturing with a video sat- You can layback audio from Pro Tools and video
ellite system, the captured clip appears in the Re- from Media Composer to tape using the Digital
cord Monitor and in the Timeline. Audio appears Cut Tool in Media Composer. See
in the Pro Tools Timeline. Media Composer documentation for configuration
details. Note that the 9-pin connection must be on
To view the captured clip, do the following:
the Media Composer composer system.
Click Play (or press the Spacebar) in Pro Tools
or Media Composer. The Universal Mastering feature in Sym-
phony is not supported with Video Satellite.
Source Record
Track Track Record Enable Preview
button button
Index 1200
5.1 format 1050 takes 434
and Output format 1060 Auto Accept Adjust Bounds option 105
and surround sessions 1058 Auto Backup option 101
bouncing to disk 1035 Auto button (plug-ins) 954
channel strips 187 Auto Input Monitoring mode 415, 416
creating a tempo map for 744 Auto Insert Default Plug-Ins preference 107
disabling Elastic Audio 826 Auto Match Pull Factors 1097
enabling Elastic Audio 825 Auto Rename Clip List command 259
loop recording 433 auto-created clips 478
placing audio in multichannel tracks 1059 hiding 259
punch recording 429 renaming 257
recording multiple 423 AutoFades 578
signal flow 897 AutoGlide mode 1079
track controls 191 AutoGlide Time preference 109, 1079
Waveform View 479 AutoJoin
Audio Zoom In button 500 command 978
Audio Zoom Out button 500 indicator 979
AudioSuite menu 182 AutoMatch
AudioSuite plug-ins 807, 808, 814, 946 all controls 993
Bypass button 813 button 992
Clip by Clip mode 810 indicators 986
Clip List command 808 individual automation types 993
Create Continuous File command 810 individual controls 992
Create Individual Files command 810 AutoMatch Time preference 109, 982
Default Handle Length preferences 115 Automatically Copy Files on Import option 115, 314,
Entire Selection mode 810 324
File Mode selector 809 Automatically Create Click Track in New Sessions
Handle Length setting 813 option 118
multichannel processing 813 Automatically Find and Relink 360
Overwrite File command 810 automating
Playlist command 808 plug-ins 990, 991
Preview 812 sends 988
Preview Volume 812 switched controls 987
Render button 813 VCA Masters 1029
Reverse button 813 automation 974
Selection Reference selector 808 and multichannel pan 1083
Target button 811 and multiple output assignments 1060
Use in Playlist button 809 breakpoints 1003
using 814 capturing and applying elsewhere 1023, 1026
Whole File button 813 clips 483
AudioSuite window 807 coalescing clip gain to volume automation 563
Audition Paths selector 67 coalescing Trim automation 1012
auditioning coalescing VCA automation 1030
clips in the Clip List 68, 255 coalescing volume automation to clip gain 563
fades 569 converting clip gain to volume automation 563
in browsers 284 converting volume automation to clip gain 563
MIDI notes 637 copying 1006
pre/post-roll 386 creating 990
programs 655 cutting 1006
selection start and end points 386 deleting 998
Index 1204
Clip menu 182 inserting silence into 789
Bring to Front command 549 locking 785
Capture command 545 looping 793
Identify Sync Point command 1111 managing 257
Lock command 785 MIDI 448
Mute/Unmute command 786 moving clips with fades 580
Quantize to Grid command 554 moving in Grid mode 780
Remove Sync Point command 783 multichannel 479
Send to Back command 549 muting 786
Ungroup All Clips command 798 nudging 553
Ungroup Clips command 798 nudging clips with fades 580
Unlock command 785 offline 479
Unloop Clips command 794 Original Time Stamp 779
Clip Name pasting 492
Right-click menu 183, 260 placing at Edit insertion point 773
View option 487 placing in tracks 771
Clip Time View option 487 quantizing 554, 871
clip-based gain 338, 556 removing pitch shift (Elastic Audio) 848
clipping 398 removing silence from 787
clips 9, 209, 479 removing unused 260
aligning to clip start points 774 removing warp (Elastic Audio) 841
auto-created 478 renaming in the Clip List 257
automation 483 renaming on a track 486
auto-naming options 259 repeating 791
auto-spotting 1109 replacing 780
bringing to front 549 Select options 255
capturing 545 selecting 515, 525
clearing 492 selecting all in a track 526
clearing Real-Time Properties 665 sending to back 549
Conform to Tempo 730 separating 545
conforming with Beat Detective 618 separating with Beat Detective 617
consolidating 564 separating with Separation Grabber 547
copying 491 shifting 784
creating 545 shuffling 775
crossfading between 577 sliding 774
cutting 491 slipping 777
default names 408 snapping to 776
displaying names 487 snapping to next 777
displaying times 487 sorting 251
dragging from Clip List 771 spotting 778, 1109
dragging to multichannel tracks 555 stripping silence from 786
duplicating 791 sync points 783, 1111
Edit-locking 785 time stamping 1110
exporting as audio files 316 Time-locking 786
extending selections to include 530 trimming by Nudge value 552, 640
finding 252 trimming start/end points 509
fitting to an Edit selection 566 trimming to Edit insertion point 550
gain 556 trimming unwanted data from 549
healing separations 549 unlocking 785
hiding auto-created 259 User Time Stamp 779
Index 1206
MIDI notes with the Split command 880 Cut Time command 750, 754
plug-in settings 961 cutting
selections and clips 491 automation 1006
track automation to sends 989 MIDI notes with the Split command 880
track control settings to sends 920 selections and clips 491
Core Audio 6
count off 401 D
Countoff button 169 Dashboard window 141
Create Click Track command 400 DAT recorder, recording from 439
Create Fades command 577, 578 D-Command 941
creating D-Control 941
clip groups 797 default
clips 545 audition path 67
crossfades 577 meter 402
fade-ins/outs 575 output path 68
Mac and PC compatible sessions 364 path order 70
Markers and Memory Locations 761 paths 80
settings subfolders 960 program change 651
Crossfade Preference for Pre/Post-Roll option 105, start time for Media Composer sequences
574 1193
crossfades tempo 403
creating with Smart Tool 516 Default (Paths) 80
DestructivePunch 461 Default Automatic Naming to English option 98
equal gain 573 Default Clip Color Coding options 99
equal power 573 Default Dynamics preference 107, 951
Fades dialog 569 Default EQ preference 107, 951
in batches 579 Default Fade Settings 106
linear 573 Default Format selector 70
overlap 574 Default Handle Length options 115
Overlapping Waveforms view 568 Default Input Gain preference 117
pre/post 578 Default Note Duration 630
removing 577 Default Note On Velocity setting 630
TrackPunch 460 Default Plug-In preference 117
trimming 578 Default Settings, for TC/E plug-in 116
Current Feet+Frames command 1095 Default Thru Instrument 443
Current Meter indicator 169, 747 Default Thru Instrument preference 118
current tempo 169, 725 Default Track Color Coding options 99
Current Time display 1090 Degree of Thinning preference 108
Current Timecode Position command 1095 delay 1183, 1193
Custom FF/REW Speed preference 100 MIDI Track Offsets 658
Custom Note Duration Delay (dly) indicator 935
Follow Grid 630 Delay After Play Command preference 120
custom session templates 154 Delay Before Locking to LTC option 120
Custom Shuttle Lock Speed preference 100, 520 Delay Before Locking to Timecode option 120
Cut Clip Gain command 561 Delay Compensation 934
Cut command 491 applying to automatically bypassed tracks 459,
Cut Special commands 1008 938
All Automation 1008 bypassing 936
Pan Automation 1008 changing track delay 936
Plug-In Automation 1008 Delay (dly) indicator 935
1207 Pro Tools Reference Guide
enabling 934 Disable “Input” When Disarming Track (In “Stop”)
exceeding compensation limit 937 option 103
H/W Insert 65 discrete signal control 1059
hardware insert delays 65, 940 Disk Allocation 413
MIDI Beat Clock 118 and cross-platform sessions 414
MIDI Timecode 118 and system volume 415
mode 934 Disk Space window 412
Time Mode option 110 Display (Group List) command 240
User Offset (+/–) field 936 Display Events as Modified by Real-Time
viewing 202, 909 Properties option 118, 666
Delay Compensation Status indicator 162 Display Preferences 97
Delay Compensation Time Mode option 110, 934 Clip Hold options 113
Delay Compensation View 202, 909, 935 Draw Grids in Edit Window option 496
Delay Compensation View option 935 Language options 98
Delay for External Devices options 118 Peak Hold options 113
Delay plug-ins 944 displaying
Delay setting (Real-Time Properties) 663 all rulers 719
Delete Active Groups (Group List) command 240, clip names 487
244 clip times 487
Delete Current Settings File command 959 file info for audio clips 250
Delete Current Settings File command (fades) 575 Meter Ruler 747
Delete Fades command 577 Original Time Stamps 1110
Delete Group command 240, 243 Tempo ruler 725
Delete Track command 207, 218 User Time Stamps 1111
deleting dither
automation 998, 1006 and Bounce to Disk 1033
groups 243 on Master Faders 1033
Memory Locations 767 resolution and Bounce to Disk 1041
MIDI Event List items 713 divergence
MIDI notes 646 drawing 1081
paths in I/O Setup 83 using 1080
playlists 587 Double-Clicking a MIDI Clip Opens option 118
program changes 654 drag and drop
sysex events 656 from the Clip List to tracks 772
tracks 207 importing audio files 306
unused clips 260 importing MIDI files 320
Destination Audio Sample Rate 338, 349 Drag and Drop From Desktop Conforms to Session
destination folder for plug-in settings 960 Tempo options 116, 314
destructive editing 565 Draw Grids in Edit Window option 496
Destructive Record mode 406, 431 DSP
destructive recording 431 active and inactive items 15
DestructivePunch 467 and inactive inputs and outputs 222
crossfades 461 and inactive outputs 912
Prepare DPE Tracks command 469 and inactive sends 919
preparing for 468 and no output 912
DestructivePunch File Length preference 104, 469 and overall resources 14
DigiGroove templates 615 and Send meters 918
Digital Cut Tool (Media Composer) 1198 DSP usage meters 57
DigiTest 44 dubber emulation 103, 461
Duplicate command 790
Index 1208
Duplicate Group command 240 Heal Separation command 549
Duplicate Track command 207, 218, 976 Identify Sync Point command 783
duplicating Insert Silence command 789
inserts 952 Paste command 492
MIDI note selections 791 Play Edit Selection command 387
playlists 586 Play Timeline Selection command 387
selections and clips 791 Redo command 488
sends 919 Repeat command 791
Duration Repeat to Fill Selection command 493
Real-Time Properties 662 Select All command 526
durations, for MIDI notes Separate Clip commands 545
editing with Change Duration command 876 Shift command 784
making more legato 878 Strip Silence command 786, 787
making more staccato 877 TCE Edit to Timeline Selection command 565
randomizing 877 Thin All Automation command 1000
Dynamic Plug-In Processing option 47 Thin Automation command 1000
Dynamic Transport mode 389 Trim Automation to All Enabled command
Dynamics plug-ins 944 1024
Trim Automation to Current command 1024
E Trim Clip End to Fill Selection command 550
Edit commands 490, 491, 492 Trim Clip End to Insertion command 550
edit cursor 380 Trim Clip Start to Fill Selection command 550
and scrubbing 518 Trim Clip Start to Insertion command 550
moving to clip boundaries 533 Trim Clip to File commands 551
placing with the Selector tool 514 Trim Clip to Fill Selection command 551
Edit Groups 242 Trim Clip to Selection command 549
and selections 525 Undo command 488
Edit Insertion Follows Scrub/Shuttle option 100, 518 Write Automation commands 1022, 1023
Edit insertion point Edit mode buttons 161, 495
placing clips at 773 Edit modes 495
trimming clips to 550 and placing clips 771
Edit Markers 524 Grid 496
and selection length 529 Relative Grid 497
Edit menu 182 Shuffle 495
Change Edit to Match Timeline command 536 Shuffle Lock 496
Change Timeline to Match Edit command 536 Slip 496
Clear command 492 Spot 496, 1107
Clear Special commands 1009 Edit Play Rate setting 1188, 1189
Consolidate command 564 edit playlists 585
Copy command 491 Edit Selection Follows Clip List Selection option
Copy Special commands (automation) 1008 105, 526
Copy to Send command 989 Edit Selection indicators 530
Create Fades command 577, 578 Edit selections
Cut command 491 auditioning with Playhead enabled 387
Cut Special commands 1008 copied from Timeline selection 536
Delete Fades command 577 copied to Timeline selection 536
Duplicate command 790 making with the Selector tool 514
Fade To End command 577 sliding in the Ruler 533
Fade To Start command 577 edit smoothing (Beat Detective) 621
Fades command 569 Edit tools 499
Index 1210
removing pitch shift 848 All MIDI Notes Off command 659
removing warp 841 Beat Detective command 605
Rendered files 830 Change Meter command 748
regenerating 291, 360 Event commands 858
Rhythmic plug-in 832 Identify Beat command 744
TCE algorithms 830 MIDI commands 858
Telescoping Warp 837 MIDI Event List 707
tempo detection 828 MIDI Track Offsets command 658
Tempo Event–generated Warp markers 837 Remove Duplicate Notes command 659
tempo-based warping 729 Renumber Bars command 756
track controls 827 Tempo commands 738
track views 827 Time commands 750
tracks 825 Event Operations commands 858
transpose 847 Change Duration command 876
Varispeed plug-in 833 Change Velocity command 874
Warp indicator 840 Flatten Performance command 873
Warp markers 835 Input Quantize command 882
Warp view 827, 835 Quantize command 859
warped clips 840 Restore Performance command 872
workflows 819, 820 Select/Split Notes command 881
X-Form plug-in 834 Step Input command 883
Elastic Audio Plug-In Selector 827 Transpose command 878
Elastic Audio preferences 117 Event Operations window 858, 859
Elastic Audio-enabled tracks 825 Exit command (Windows) 156
Elastic Properties window 843 Expand Channels to New Playlists 600
Embed Eleven Setting From selector 71 Expand to New Tracks command 218
embedded media 19 Expanded Transport View 180, 426
Enable Dub Window option 125 Export
Enable Elastic Audio on New Tracks preference 117 Audio Media options 349
Enable GPU option 102 OMF/AAF Options 347
Enable Hardware During Scrub option 102 Sample Rate Conversion options 349
Enable Session File Auto Backup option 101 Export Clip Definitions command 260, 318
Enable SYNC Peripheral option 124 Export Clip Groups command 357
enabling Export Clips as Files command 260, 316
Auto Backup option 101 Export MIDI command 320
automation 996 Export MIDI Settings dialog
groups 246 Apply Real-Time Properties option 321
MIDI input devices 442 MIDI File Format pop-up menu 320
plug-in automation 958 Export Selected As Files command 347
End To Insertion command 550 Export Selected Tracks as OMF/AAF command
Enforce Avid Compatibility option 347 342, 344
Enforce Mac/PC Compatibility option 152, 364 Export Session Info as Text command 353
EQ plug-ins 944 Export Settings button (I/O Setup) 92
equal gain crossfades 573 exporting 303
equal power crossfades 573 AAF files 342, 350
error suppression 46 audio 316
Ethernet Controllers 128 clip definitions 318
EUCON 129, 941, 974 clip groups 357
Event Edit Area 644 markers 321
Event menu 182 MIDI tracks 320
Index 1212
Front Divergence 1080 keyboard selection 246
Front/Rear Divergence 1080 linking Mix and Edit Groups 238
Mix Groups 242
G modifying 243
Gain Reduction meter 200 renaming 243
generating timecode 1101 unlinking Mix and Edit Groups 238
Glide Automation commands 1010 Groups dialog 241
global (system-wide) preferences 121 guitar tablature 760
Global MIDI Playback Offset preference 118, 657
Go to End button 166 H
Grabber tools 499, 515, 527, 638 H/W Buffer Size 418
editing breakpoints with 734, 1002 H/W Insert Delay 65
editing clip gain breakpoints with 559 half-screen 385
Object Grabber tool 515, 527 half-speed playback 388
selecting MIDI notes with 636 half-speed recording 440
Separation Grabber tool 515, 547 hard drives
Time Grabber tool 515 and Compacting Audio 565
Grid mode 496, 780 recording to system volume 415
Absolute 497, 780 Round Robin Allocation 414
Clips/Markers option 498 Hardware Buffer Size 44, 46
configuring 498 hardware I/O inserts 945
Draw Grids in Edit Window option 496 delays 65
Relative 497, 780 hardware I/O sends 915
setting the Grid value 780 Hardware Insert Delay Compensation 65, 940
suspending 780 Hardware Setup
with Slip, Shuffle, or Spot enabled 497 Buffer Size 418
Grid value 631, 779 Ext. Clock Output 53
setting for MIDI editing 631 Launch Setup App 50
Grid Value selector 498 HD audio interfaces 36
Groove Quantize 865 HD I/O 40
groove templates 615, 866 HD MADI 41
applying 868 HD Native systems 35
mapping 869 HD OMNI 39, 54
Group Assignment selector 901 HDX systems 34
Group ID indicator 240 Heal Separation command 549
Group List 239 HEAT 42, 886
Keyboard Focus 22 import Master Settings 330
pop-up menu 240 Help 182
Group Name 240 Tool Tips 97, 184
Group Track command 242 Help menu 21, 182
groups HFS+ drives
attributes 244 and Windows systems 363
automation editing 1005 hidden tracks
control offsets 248 and selections 525
creating 242 group edits 217
deleting 243 groups 217
duplicating 244 Hide All Floating Windows command 177
Edit Groups 242 Hide and Make Inactive Track command 217
enabling 246 Hide/Show Track command 217
hidden tracks 217 hiding
1213 Pro Tools Reference Guide
auto-created clips 259 Import Memory Locations 330
High-Definition video Import MIDI 318
playback 1162, 1185 Import Rendered Audio Effects 338
Horizontal Position setting 125 Import REX Files as Clip Groups option 115, 314
Horizontal Zoom In button 500 Import Session Data command 322
Horizontal Zoom Out button 500 Import Settings button (I/O Setup) 92
Host Engine 46 Import Settings command (plug-ins) 959
Import Settings command fades) 575
I Import Video command 1151
I/O Settings 90 Import Volume Automation 339
I/O Setup 59 Import Window Configurations 330
Bus page 64 importing 303
controls 65 audio 304
customizing 71 clip groups 355
dialog 60 copying during 324
factory settings files 90 copying imported files 324
H/W Insert Delay page 65 HEAT Master Settings 330
I/O routing 72 key signature map 330
importing for surround 1053 Markers 318, 330
Input page 63 Memory Locations 330
Insert page 64 MIDI tracks 318
last used 92 multichannel audio files from a field recorder
Low Latency Monitoring 70 313
Mic Preamps 65 multichannel I/O Settings 1053
options 66 offline items from Catalogs 298
Output page 63 plug-in settings 961
paths 76 PRE settings 330
settings files 90 referencing imported files 324
sub-paths 78 session data 324
surround 1066 tempo and meter map 330
surround formats 1052 tracks for other sessions 322
surround mix settings file 90 using drag and drop 306
I/O View 194, 909 Window Configurations 330
Identify Beat command 744, 745 importing audio from QuickTime movies 1153
Identify Sync Point command 783, 1111 importing video 1150
Idle MTC Enabled option 124 inactive 15
Ignore Errors During Playback/Record option 46 inputs 222
Ignore Track Arming option 120 inserts 947
illegal characters 148, 361 Master Faders and assignments 899
Import outputs 222
Audio Media options 335 paths 83
Sample Rate Conversion options 337 paths, global 83
Timecode Mapping options 336 sends 919
Import as Offline Satellite Media 326, 336 track path assignments 222
Import Audio dialog 309 tracks 231
Import Audio to Track command 309 Include Control Changes in Undo Queue option 109
Import Clip Groups command 355 Include Sends in Trim Mode option 109
Import HEAT Master Settings 330 Incoming Time display 1090
Import Key Signature Map option 330 in-place auditioning 256
Import Markers 330 input connections 11, 398
Index 1214
Input Devices command 442 Interchange Workflow
Input Filter command 444 linked media 20
MIDI Event List View Filter dialog 709 Interchange workflow
MIDI Input Filter dialog 444 embedded media 19
input levels 398 interleaved audio file 145
Input Only Monitoring mode 416 interleaved option (sessions) 145, 1090
Input Path selector 194, 219 Internal mode (Clock Source option) 1089
Input Quantize command 858, 882 internal side-chain processing 958
Insert Position selector 953 Inverse linked panning 924
Insert Silence command 789 Items to Copy 152
Insert Time command 750, 752 Preserve Folder Hierarchy command 154
inserting
controller events 649 J
events in MIDI Event List 710 Jam Sync 1093
meter events 748 Join command 978
MIDI notes 634
plug-ins on tracks 948
program changes 654 K
tempo events 725 key input 953, 958
Insertion Follows Playback option 100, 391 Key Input selector 811, 953
inserts 904, 944 key signature map 330
duplicating 952 Keyboard Focus 21
hardware I/O 945 Clip List 22, 254
hardware insert delays 65 Commands 22
labeling 971 Group List 22
making inactive (and active) 947 keyboard shortcuts 957
mono 945 global key commands 21
mono-to-stereo 945 numeric entry 531
moving 952 recording 423
plug-ins 944 Knowledge Base 182
post-fader on Master Faders 899, 944
send and return processing 945 L
shared within a submix 930 Language options 98
single track processing 945 Last Used 92
stereo 945 Latch automation mode 978
Inserts View 908 AutoJoin 978
Inserts View options 905 Join 978
Instrument plug-ins 455 Latch option 230
Instrument tracks 186 Latch Record Enable Buttons option 102
channel strips 190 Latch Trim automation mode 981
Clips View 209 Latching Behavior for Switch Controls in “Touch”
MIDI Input selector 227 option 108
MIDI Output selector 227 latency 46
monitoring and mixing 927 Launch Setup App button 50
Notes View 209 LCRS path examples 1055
recording 446 Level meters
signal flow 900 for audio tracks 196
surround mixing 1062 for Aux Input, Master Fader, and Instrument
track controls 193 tracks 196
Instruments View 908 Levels of Undo preference 106, 489
Index 1218
enabling input devices 442 track controls 158
Input Filter 444 track width 202
Merge/Replace mode 445 Mix Window Follows Bank Selection option 108
monitoring with MIDI Thru 443 Mix window View options 907
quantizing on input 444, 882 Mix Window View selector 906
System Exclusive data 454 mixed bit depths 152
undoing a take 449 mixed file types 152
Wait for Note 444 mixing down to stereo 1045
MIDI Replace mode 169, 407, 445 Mixing Preferences 107
MIDI Setup commands MMC (see MIDI Machine Control)
Input Devices command 442 Modify Group command 240
Input Filter command 444 Modify Groups command 240
MIDI Beat Clock command 393 Mojo DX 1138
MIDI Studio Setup (MSS) (Windows) 48, 136, 652 Momentary Solo Latch option 230
MIDI Thru command 443 monitoring
MIDI Timecode (MTC) during punch recording 430
Idle MTC Output 124 MIDI recording with MIDI Thru 443
MIDI Track Offsets command 658 monitoring modes 415
MIDI tracks Auto Input 415
and MIDI offsets 657 Input Only 416
assigning to multiple channels 446 Move Song Start command 750, 755
channel strips 189 moving
Clips View 208, 209, 483 Bar|Beat Markers 745
default program change 651 clips with fades 580
input 225 fades 580
loop recording 451 inserts 952
note chasing 656 Markers 766
Notes View 208, 209, 485 MIDI notes 639
output 226 program changes 654
punch recording 449, 450 sysex events 656
recording 441, 446 MP3 file format 1038
selecting a pitch range in 881 importing 305
Sysex View 655 MTC (MIDI Timecode) 1093
track controls 192 MTC Generator Port setting 124
Velocity View 643 MTC Reader Port setting 124
MIDI Volume fader 195 Multi-Cam Resolution files 333
MIDI Zoom In button 500 multichannel clips 479
MIDI Zoom Out button 500 multichannel plug-ins 1063
mini-keyboard 485, 637 multichannel tracks 421
Minimize Additional I/O Latency option 47 and automation 1005
Minimum Sync Delay option 119, 1106 dragging clips to 555
Minutes:Seconds Time Scale 718 names for 409
Mirror MIDI Editing 631 replacing clips in 781
missing files 360 splitting 555
skipping 291 multilingual application support 374
mix busses 915 multi-mono
Mix Groups 242 plug-in Channel selector 1063
Mix window 158, 159 plug-ins 1063
All View option 158, 907 multi-mono audio files 145
None Views option 907 multiple tracks
Index 1222
automation playlists 585, 975, 983 multichannel 945
auto-naming 585 multi-mono 945, 1063
changing timebase of 723 Next Setting button 954
deleting 587 Organize Plug-In Menus By command 950
duplicating 586 Plug-In Settings menu 953
edit playlists 585 Plug-In Settings Select button 954
Playlist selector 585 presets 959
recalling 586 Previous Setting button 954
recording to new 432 removing from tracks 948
renaming 587 post crossfades 568, 578
setting pre/post-roll in 428 Post-Roll button 167
Playlists view 590 Power view 480
plug-in controls PRE 41
adjusting 957 configuring 129
linking 970 I/O Setup 65
Plug-In Controls Default to Auto-Enabled option 108 pre crossfades 568, 578
plug-in inserts 944 Pre Fader Listen (PFL) mode 228
plug-in maps 964 PRE settings 330
creating 965 Pre/Post Fader button 924
deleting 967 Pre/Post Roll option 429
importing and exporting 968 pre/post-fader inserts 944
Learn mode 964 pre/post-roll
managing 967 and loop recording 433
setting default 967 and punch recording 429
Plug-In selector auditioning 386
for AudioSuite plug-ins 808 setting 427
for real-time plug-ins 953 Pre/Post-Roll Flags 429, 524
plug-in settings 961 Pre-Fader Metering option 197
Plug-In Settings menu 953, 959 preferences
Plug-In Settings Select button 954 Automatically Copy Files on Import option 324
plug-in windows changing 97
opening and closing 956 DestructivePunch 461
plug-ins DestructivePunch File Length 469
and pull rates 1100 global 121
and surround mixing 1063 local 121
automating 990 Mute Audio Inputs in Auto Input 474
bypassing from window 969 Mute Record-Armed Tracks While Stopped
Category 950 474
Category and Manufacturer 951 Pause during Playback 302
Channel selector for multi-mono 1063 Tool Tips Display 184
creating a default setting 961 TrackInput 417
enabling for automation 958, 991 TrackPunch 461
favorites 951 Zoom Toggle 106
Flat List 950 Preferences dialog 97
for surround 1063 Prepare DPE Tracks command 469
inserting on tracks 948 Pre-Process using Standard Conform 621
Librarian menu 953 Pre-Roll button 167
linking and unlinking 970, 1063 Preserve Fades when Editing option 105
Manufacturer 950 Preserve Folder Hierarchy command 154
mono-to-stereo 945 presets
Index 1228
Video Sync Offset command 1164 smoothing automation 982
Shift command 784 SMPTE
shortcuts for keyboard input 957 configuration 1094
Show All Tracks Group command 241 start frame (sessions) 1090
Show Auto-Created option 259 Snap Pan to Speaker icons 1076
Show Only Tracks in Group command 240 Snap To Bar option 748
Show/Hide Clip List button 249 Snap To commands 776
Show/Hide Track List/Group List View button 215, Snap To Grid 497
239 snapping to the following or preceding clip 776
Show/Hide Tracks in Group command 240 snapshot automation 1021
Shuffle Lock mode 496 adding to empty automation playlists 1022
Shuffle mode 495 and trim values 1023
and locked clips 785, 786 writing over existing automation 1022
and moving clips 775 Solo button 228
shuttle Solo in Place (SIP) mode 228
fixed mode option 520 Solo Latch options 230
Shuttle Numeric Keypad mode 25, 101, 521 Solo modes 228, 229
Sibelius (.sib) file 706 Solo Safe mode 230
Side % (Percentage) 1080 soloing
side-chain 958 tracks 228
filters 958 tracks in a submix 933
processing 953 Song Start Marker 724
signal flow editing tempo 725
audio tracks 897 moving 724
Auxiliary Inputs 898 Sony Dynamic Digital Sound (SDDS) 1051
Instrument tracks 900 Sort By options 251
Master Faders 899 sorting
signal paths 60 clips 251
signal routing data in browsers 273
and default path order 70 Markers 769
basics for surround 1061 Source Audio Sample Rate 337, 349
example 12 source media 335, 350
surround examples 1067 Source Path 1037
Single Zoom mode 503, 687 Special Paste 1009
SIP (Solo In Place) 228 Speed Cal indicator 1092
Size setting (for window dub) 125 split (MIDI) 880
Skip All 360 Split Into Mono Track command 218, 555, 1059
slices 604 split mono audio files 145
sliding clips 774 Split notes action 880
Slip mode 496 splitting stereo and multichannel tracks 555
and moving clips 777 Spot dialog 778, 1107
Smart Tool 499, 516 Use Subframes option 1108
creating crossfades with 516 User Time Stamp button 1110
creating fades with 516 Spot mode 496, 1107
editing automation 518 and moving clips 778
editing controller events with 518 trimming clips in 1110
Elastic Audio tracks 517 spotting
MIDI tracks 517 auto-spotting 1109
multichannel tracks 518 clips 778, 1107, 1109
Smooth and Thin Data After Pass option 108, 999 SRC (Sample Rate Conversion) options 327
Index 1232
TrackInput Monitor button 416 selecting in Workspace 271
TrackInput Monitor indicator 167 Transfer volume 263
TrackPunch transients 479
crossfades 460 detecting with Beat Detective 608
preferences 461 tabbing to 383, 534
tracks 7 Transport 165
5.1 format track layout 1058 Count Off 401
adding comments 205 Meter 403
adding to selection 531, 532 Metronome 401
appending new material to end of 432 Transport Master 1105
Color Coding options 232 Transport Numeric Keypad mode 24, 101
commit 851 Transport Online option 1100
converting multichannel tracks into mono Transport RecordLock option 103, 461, 472
tracks 1059 Transport View options 168, 379, 426, 428
creating a click track 400 Transport window 165
creating new Elastic Audio tracks 826 MIDI controls 168
deleting 207 pre/post-roll 167, 428
duplicating 207, 976 record status display 464
Elastic Audio 825 start, end, and length fields 168, 426
formats 186 transport controls 165
grouping 237 Transpose
hiding 216 Elastic Audio 847
locating with Fast Forward/Rewind 381 MIDI notes 878
making inactive/active 231 Real-Time Properties 664
Master View 212, 1007 Transpose command 858, 878
metering 197 transposing 878
moving selections between 532 by octave 879
muting 231 key 879
names 202, 204 MIDI notes 638
placing clips in 771 tracks 878
playback priority 224 Trim automation
playing 377, 422 coalescing 1012
record enabling 410 Trim Automation commands 1024
removing from a selection 533 Trim to All Enabled 1024
scrolling shortcut 538 Trim to Current 1024
selecting across multiple 531 Trim Clip commands
selecting clips 526 End to Fill Selection 550
selecting in Timebase rulers 532 End to Insertion 550
selecting material in 525 Start to Fill Selection 550
soloing 228 Start to Insertion 550
surround 1058 To File 551
Track Height 212 To Fill Selection 551
Track View 208, 211 To Selection 549
transposing 878 Trim Clip to File Boundaries command 551
trimming unwanted data from 549 Trim Clip to File End command 551
types 185 Trim Clip to File Start command 551
video 1140 Trim to All Enabled Automation command 1024
Tracks (Group List) command 240 Trim to Current Automation command 1024
trajectory panning 1079 Trim tools 499, 509
Transfer files 360 Loop Trim tool 512
Index 1234
mixed aspect ratios 1159 WaveCache.wfm file 146, 263
Video Window command 1158 Waveform View 479
View Filter (Memory Locations window) 770 Waveform View options 480
View Filter (MIDI Event List) 708 Outlines 481
View menu 182 Peak 480
Clip Name View option 487 Power 480
Clip Sync Point View option 784 Rectified 481
Clip Time View options 487 waveforms 479
Edit window View options 160, 907 and zero-crossing 482
Mix window View options 158, 907 avoiding clicks and pops 482
Narrow Mix View option 202 guidelines for editing 482
Track Number command 205, 538 repairing with Pencil tool 521
Transport View options 168, 379, 426, 428 WaveCache 282
viewing blocks in the video track 1142 Workspace 282
views Whole File button (AudioSuite) 813
Delay Compensation 202 whole-file clips 478
I/O View 194 Wide Meters View 198
Inserts View 908 Window Configuration List 179
Sends View 908 Window Configurations 174
Wide Meters View 198 importing 330
VITC window dub
Generate Lines setting 124 horizontal position 125
Read Lines setting 124 setting color 125
Read Lines, defaults 124 size 125
VITC Insertion Enabled option 124 vertical position 125
Voice selector 224 Window menu 182
voices 458 Automation Enable command 986
and track priority 224 Big Counter command 379
Voices meter 57 Color Palette 234
volume Disk Space command 412
Performance 263 Edit command 160
Transfer 263 Machine Track Arming command 1106
Volume automation 1003 Memory Locations command 765
Volume fader 195 Mix command 158
Volume indicator 194 System Usage command 58
Volume permissions 266 Task Manager command 311
Transport command 165
W Undo History command 488
Wait for Note 168, 444 Workspace command 414
Warp indicator 840 windows
Warp markers 835 arranging 177
adding 836 Cascade 177
deleting 836 closing 177
relocating (without applying warping) 836 hiding all floating windows 177
Warp view 827, 835 Tile 177
warped clips (Elastic Audio) 479 Tile Horizontal 177
warping audio (Elastic Audio) 837 Tile Vertical 177
WAV file format 362, 1038 Windows sessions
AES31/Broadcast compliant 362 compatibility with Mac 364
WaveCache 282 Word Clock 53, 1196
Index 1236
with a scroll wheel 508
Zoom Toggle 505