Specifications

Chapter 32: Multichannel Tracks and Signal Routing 519
To link the controls of specific channels:
1 Deselect the Master Link button if it is not al-
ready deselected.
2 Click the Link Enable buttons for the chan-
nels whose controls you want to link.
Paths in Surround Mixes
Because Pro Tools provides a flexible routing
and submixing environment, you can maximize
your system’s available resources by first identi-
fying the elements that you want to pan dynam-
ically and those that can be placed in certain
channels only. (See “Mixing with Paths and
Sub-Paths” on page 519 for an explanation of
this concept.)
Once you have identified these elements in your
session, you can use a combination of main and
sub-path assignments, and multichannel pan-
ning.
Mixing with Paths and Sub-Paths
It is rare that every track needs to be “flown” (ac-
tively panned in between more than a pair of
speakers). In most situations, certain elements
are placed in certain speakers and remain there,
providing the foundation for a mix.
Figure 37 on page 520 illustrates an example of
how panning and signal routing can be com-
bined in a multichannel mix. The following sec-
tions show you how to organize your session
and signal routing to maximize the available re-
sources.
When to Assign Multichannel Outputs
■ Assign 5.1 paths only to those tracks that need
to be panned to all six channels.
For example, a sound effects track with a jet fly-
over should be assigned a 5.1 path to be able to
fly the sound from front-to-back. In a music
mix, fly a solo instrument or make a synth pad
swirl around the room as a special effect.
Elements that need to be heard in all speakers si-
multaneously can also be assigned to the multi-
channel output, whether or not they need ac-
tive panning in the sound field.
When to Use Sub-Paths
■ To help simplify large sessions, use sub-paths
to route
static (or, stationary) elements directly
to the output channel or channels.
For example, film dialog is often mixed to the
center channel to anchor this essential sound el-
ement 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.
For information on the Trim plug-in, see the
DigiRack Plug-Ins Guide.
See “Extending Stereo Mixing Conventions
to Surround Mixing” on page 520 for re-
lated information.