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Table Of Contents

Pro Tools Reference Guide

Version 9.0

Summary of content (1246 pages)

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® Pro Tools Reference Guide Version 9.
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Legal Notices This guide is copyrighted ©2010 by Avid Technology, Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid.
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Contents Part I Introduction Chapter 1. Welcome to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Pro Tools Documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 System Requirements and Compatibility Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chapter 4. Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Accessing the Help System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Understanding the Help Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Help Navigation Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Editing Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assigning Paths to Hardware I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Valid Paths and Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Factory I/O Settings .
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Part III Sessions & Tracks Chapter 11. Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Quick Start Session Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating a New Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Session Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Assigning MIDI Inputs and Outputs to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Soloing and Muting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Making Tracks Inactive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Color Coding for Tracks, Regions, Markers, and Groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 237 241 241 Chapter 14.
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Relink Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Workspace Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Project Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chapter 19. Mac HFS+ Disk Support Option (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . 395 Installing the Mac HFS+ Disk Support Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Removing the Mac HFS+ Disk Support Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Media Compatibility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Session Compatibility . . . . . . . . . . . . . . . . .
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Chapter 22. Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449 Recording Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prime for Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setting Punch and Loop Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Part V Editing Chapter 25. Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509 Track Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Audio Regions and Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Regions and MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chapter 27. Making Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559 Linking or Unlinking Timeline and Edit Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Linking or Unlinking Track and Edit Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Timeline Selections . . . . . . . .
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Chapter 31. Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635 Beat Detective and Source Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Uses for Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Beat Detective Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chapter 33. MIDI Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699 Opening a MIDI Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Editor Window Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Editor Zoom Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Track List . . . . .
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Part VII Arranging Chapter 36. Time, Tempo, Meter, Key, and Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749 Timebase Rulers and Conductor Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Main Time Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Sub Counter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Snapping to the Preceding or Next Region on a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . Slipping Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Spotting Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sliding Regions in Grid Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Replacing Audio Regions. . . . . .
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Elastic Audio Track Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elastic Audio Track Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elastic Audio Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Real-Time and Rendered Elastic Audio Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elastic Audio Plug-Ins . . . .
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Instrument Tracks and Signal Flow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VCA Master Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Configuring Inserts View in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . HEAT. . . . . . . . . . . . . .
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Writing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Automating Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Automating Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AutoMatching Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chapter 48. Multichannel Tracks and Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1085 Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Multichannel Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paths in Surround Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chapter 51. Working with Video in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1143 Introduction to Pro Tools and Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . QuickTime Movies Support in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Windows Media Video (VC-1 AP Codec) Support in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . Before Starting Your Project . . . . . . . . . . . . . .
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Part I: Introduction 1
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2
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Chapter 1: Welcome to Pro Tools Welcome to Pro Tools®, brought to you by Avid® Technology. Pro Tools integrates powerful multitrack digital audio and MIDI sequencing features, giving you everything you need to record, arrange, compose, edit, mix, and master professional quality audio and MIDI for music, video, film, and multimedia. Pro Tools Documentation Pro Tools documentation provides you with workflow and reference information to help you successfully use Pro Tools.
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Guides Accessible in Pro Tools The following guides are available from the Pro Tools Help Menu: • Audio Plug-Ins Guide • Pro Tools Menus Guide • Pro Tools Reference Guide • Pro Tools Shortcuts For information on these guides, see “Pro Tools Documentation in the Documentation Folder” on page 4. Accessing Pro Tools Guides in the Documentation Folder PDF (Portable Document Format) versions of many Pro Tools guides are installed with Pro Tools. They are accessible from the Pro Tools Documentation folder.
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96i I/O Guide Supports 96i I/O audio interfaces for Pro Tools|HD and Pro Tools|HD Native systems. Mbox User Guide Provides hardware installation and operation information for Mbox audio interface. DigiTest Guide Provides information about using DigiTest to troubleshoot your Pro Tools|HD or Pro Tools|HD Native system. PRE Guide Provides detailed information for installing, configuring, using PRE, both standalone and with Pro Tools.
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Focusrite Plug-Ins Guide Provides detailed information for installing, authorizing, and using Focusrite plug-ins. Sync & Surround Concepts Provides an introduction to key synchronization, surround mixing and monitoring concepts for Pro Tools users. MDW EQ Plug-In Guide Provides detailed information for installing, authorizing, and using the MDW EQ plug-in. What’s New In Pro Tools Provides an overview of new features in the current version of Pro Tools.
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Pro Tools Avid Interop Provides a list of web resources for interoperability with Pro Tools and Avid video editing systems. Pro Tools Avid Interplay Describes how to use the Avid Interplay system to pass sequences and audio files back and forth between Avid video editing systems and Pro Tools HD audio editing and mixing systems. Pro Tools Avid MediaNetwork Provides information on setting up and using a Pro Tools client on Avid Unity MediaNetwork networked storage systems.
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About www.avid.com The Avid website (www.avid.com) is your best online source for information to help you get the most out of your Pro Tools system. The following are just a few of the services and features available. Product Registration Register your purchase online.
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Chapter 2: Pro Tools Concepts Before you begin to use Pro Tools, you may find it helpful to review Pro Tools concepts.These concepts are the foundation of Pro Tools operation and functionality. Hard Disk Audio Recording Hard disk recording is a nonlinear (or random access) medium—you can go immediately to any spot in a recording without having to rewind or fast forward.
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Digidesign Audio Engine The Digidesign Audio Engine (DAE) is a realtime operating system for digital audio recording, playback, and processing. When you install Pro Tools, DAE is automatically installed on your system.
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Core Audio Apple’s Core Audio provides audio stream connectivity between software applications and audio hardware on Mac OS X. Pro Tools software can use audio interfaces with supported Core Audio drivers for playback and recording with up to 32 channels of I/O. ASIO Steinberg’s Audio Stream Input/Output (ASIO) provides audio stream connectivity between software applications and audio hardware on Windows.
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MIDI Device Any physical MIDI keyboard, sound module, effects device, or other equipment that can send or receive MIDI information. MIDI Controller Any MIDI device that transmits MIDI performance data. These include MIDI keyboards, MIDI guitar controllers, MIDI wind controllers, and others. Controllers transmit MIDI from their MIDI OUT ports.
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ternal tone generator (like a synthesizer or sampler), another external MIDI instrument, or an instrument plug-in within Pro Tools. In order to play and hear a MIDI recording, you must have a MIDI instrument. Audio from an external MIDI instrument can be sent to an external mixer or monitored through your Pro Tools audio interface (using either an Instrument track or Auxiliary track). If you are using an external MIDI instrument, it must be connected to MIDI ports that are recognized by your computer.
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Surround Sound Pro Tools Sessions Surround sound simply means having one or more speakers with discrete audio signals (channels) placed behind the listener in addition to the typical stereo pair. When you start a project in Pro Tools, you create a session. It can be helpful to understand the basic elements of a session. There are multiple types of surround formats in use (from three-channel LCR to 7.1, which has eight channels). Session File The most common surround format is 5.
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Pro Tools provides multiple types of tracks: audio, Auxiliary Input, Master Fader, VCA Master, MIDI, Instrument, and video. Audio track in the Edit window (stereo track shown) MIDI track in the Edit window Video track in Frames view Audio, MIDI, Instrument, and video track data can be edited into regions or repeated in different locations to create loops, re-arrange sections or entire songs, or to assemble tracks using material from multiple takes.
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Voices can be allocated dynamically (with all Pro Tools systems, any available voices are automatically assigned as they are needed) or explicitly (with Pro Tools HD only, you can explicitly assign audio channels to specific available voices to ensure that audio on that channel is always voiced). On Pro Tools|HD systems, the number of available voices is dependent on the amount of dedicated DSP processing in your system (see “Playback, Recording, and Voice Limits with Pro Tools HD” on page 44).
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from audio files or MIDI data, and can be arranged in audio and MIDI track playlists. Regions can also be grouped (a region of regions) and looped (repeated). Playlist A playlist is a sequence of regions arranged on an audio, MIDI, or video track. Tracks have edit playlists and automation playlists. Audio region Playlist selector pop-up menu MIDI region Video region (Frames view) On audio tracks, an edit playlist tells the hard disk which audio regions to play in what order.
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Each audio, Auxiliary Input, Instrument, Master Fader, and VCA track also has a single set of automation playlists. Automation playlists can include volume, pan, mute, and each automationenabled control for the insert and send assignments on that track. MIDI controller data on Instrument and MIDI tracks is always included as part of the track playlist. Channel The term channel is used to describe several related components of a Pro Tools system.
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Signal Routing Signal Routing Options Pro Tools provides software-based mixing and signal routing controls for audio and MIDI. These controls are located in the Mix window. Some of these controls can also be accessed from the Edit window. Signal routing options include the following: A common audio signal routing task is to submix multiple tracks to a single channel strip (such as an Auxiliary Input) for shared processing and level control.
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Plug-In and Hardware Inserts Plug-In processing occurs completely within the Pro Tools system. Hardware inserts use audio interface inputs and outputs for traditional insert routing to and from external effects and other devices. MIDI and VCA Master tracks do not have inserts. Instrument Plug-Ins Instrument plug-ins are different from processing plug-ins in that they generate audio rather than process the audio signal from a track’s audio input or from hard disk.
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Tick-Based Audio and MIDI Tick-based audio is fixed to a Bars|Beat location, and moves relative to the sample Timeline when tempo and meter changes occur. However, MIDI events and tick-based audio respond differently to tempo changes with respect to duration. MIDI note events change length when tempo or meter is adjusted, while audio regions do not (unless Elastic Audio is enabled).
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In order to free up needed DSP resources, Pro Tools allows for certain items (such as tracks and inserts) to be manually made inactive. Inactive elements are viewable, editable, and retained within the session. See “Active and Inactive Items” on page 22. All Pro Tools systems provide flexible voice options for audio tracks, to help maximize use of available voices in your system. For more information on voice management and options, see “Voice Borrowing” on page 234.
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Display of Inactive Items Automatic and Manual Inactive Mode When items are inactive, their names appear in italics, and their background becomes dark gray. When a track is inactive, the entire channel strip is grayed out. Active and Inactive modes are powerful options for session transfer and system resource management. Pro Tools provides automatic and manual Inactive mode switching. You can manually make items inactive (or active) to selectively manage system resources while editing and mixing.
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DigiBase AAF, MXF, and OMF DigiBase is a database management tool for Pro Tools. DigiBase expands upon basic Pro Tools search and import capabilities by providing powerful tools to manage your data both inside and outside of your sessions, on any hard drive connected to the system. Pro Tools lets you exchange audio, video, and sequences with other AAF-, MXF-, and OMFcompatible applications (such as Avid editors).
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Metadata Metadata is used to describe the following: • Information embedded in a media file. This may include scene, take, sample rate, bit depth, region names, the name of the videotape from which the media file was captured, and even time code values. • Information embedded in Pro Tools sessions or other sequences, including what files are used, where they appear in a timeline, and automation.
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MXF Pro Tools and Avid Terminology MXF is a media file format. There are MXF video files and MXF audio files, but there are no MXF sequences. An AAF sequence may refer to or include MXF media files, but OMF sequences cannot refer to or include MXF files. Pro Tools and Avid use different terms to describe the same items. For example, a Pro Tools session is equivalent to an Avid sequence. The following table lists common Pro Tools elements and their Avid equivalents.
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Embedded Media and Linked Media There are two types of AAF and OMF files: ones with embedded media, and ones with linked media. Embedded Media Exporting to AAF or OMF with embedded media results in one large AAF or OMF file containing both the metadata and all associated media files. When working with OMF embedded media or creating AAF embedded audio, Pro Tools limits file size to 2 GB.
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Linked Media Exporting AAF or OMF with linked media results in a single metadata file (.AAF or .OMF) and all associated media stored as separate 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.
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Chapter 3: Keyboard and Right-Click Mouse Shortcuts A PDF listing of all shortcuts is available in Pro Tools. Choose Help > Shortcuts. Right-Click Mouse Shortcuts Pro Tools provides Right-click shortcuts for choosing various Pro Tools commands and menus with any Right-click capable mouse. For a complete list of Right-click shortcuts, see the Shortcuts Guide.
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List and Parameter Selection There are three types of Keyboard Focus: Pro Tools provides keyboard shortcuts for the following items: Commands Keyboard Focus When selected in the Tracks pane in the Edit window or in the Notes pane of any MIDI Editor window, this provides a wide range of single key shortcuts from the computer keyboard for editing and playing. The frontmost Edit or MIDI Editor window always receives Commands Keyboard Focus when it is enabled.
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To set the Keyboard Focus, do one of the following: Click the a–z button for the focus you want to enable. To enable Toolbar focus for the MIDI Editor pane, do one of the following: – or – While pressing Control+Alt (Windows) or Command+Option (Mac), press one of the following keys: 1 (Commands), 2 (Region List), or 3 (Group List). Click the Toolbar right above the MIDI Editor pane.
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Shuttle Lock Modes Transport Mode There are two Shuttle Lock modes (Classic and Transport). Both modes let you use the numeric keypad to shuttle forward or backwards at specific speeds. This mode lets you set a number of record and play functions, and also operate the Transport from the numeric keypad. • 5 is normal speed. Function Key • 6–9 provide increasingly faster fast-forward speeds.
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Shuttle Mode (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) Pro Tools offers another form of shuttling, different from that of the two Shuttle Lock modes. With the Numeric Keypad mode set to Shuttle, playback of the current Edit selection is triggered by pressing and holding the keys on the numeric keypad—playback stops once the keys are released. Various playback speeds are available in both forward and reverse. In this mode, pre- and post-roll are ignored.
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Chapter 4: Using Help Pro Tools Help provides quick access to workflows and reference information. Built-in search capabilities and an index are included to better support your Help needs. Understanding the Help Display Accessing the Help System • Help topics open in the right frame of the browser. To access Help in Pro Tools: • Navigation buttons and links for controlling the Help display appear in the top area. Choose Help > Online Help.
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Using the Help Navigation Tools How the Search Feature Works The left frame of the Help browser is the display area for most of the Help system’s main navigation tools. The Search feature provides the best combination of usefulness and speed. To use Search successfully, you should understand the following aspects of the Search feature: The Contents provides a list of links to the main topics in the Help system. By default, the Contents tab shows only links to the first topic in each chapter.
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Printing Help Topics Copying from a Help Topic You can print a Help topic if you need to refer to it during a complicated procedure or to use it for reference later. You cannot paste text from one topic into another. (Windows only) You can print a topic by clicking the right mouse button and selecting Print. (Mac only) The print button does not appear in Internet Explorer 5.2.
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Part II: System Configuration 39
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Chapter 5: Pro Tools Systems There are three types of Pro Tools systems, classified by their audio hardware: Pro Tools|HD and Pro Tools|HD Native Systems These systems include Pro Tools HD software with Pro Tools|HD or Pro Tools|HD Native hardware. Pro Tools|HD Systems Each system requires at least one Pro Tools|HD audio interface (sold separately).
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Pro Tools|HD systems are available in the following configurations: Supported Pro Tools|HD Audio Interfaces Pro Tools|HD 1 The following audio interfaces are compatible with Pro Tools|HD systems: Includes: • Accel Core (for PCIe) card or HD Core™ (for PCI) card • Pro Tools HD software Pro Tools|HD 2 Accel Includes: • Accel Core (for PCIe) card or HD Core (for PCI) card • HD Accel card • Pro Tools HD software Pro Tools|HD 3 Accel Includes: • Accel Core (for PCIe) card or HD Core (for PCI) card • Two HD
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Expanded Pro Tools|HD Systems Supported Pro Tools|HD Audio Interfaces You can expand your Pro Tools|HD system by adding Pro Tools|HD cards to your computer, either directly in the computer or using an expansion chassis. Expanding your Pro Tools system provides increased track counts, adds to the amount of possible plug-in and mixer processing, and lets you connect additional audio interfaces.
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Playback, Recording, and Voice Limits with Pro Tools HD The table below lists the audio playback, recording, and voiceable track limits of each type of Pro Tools|HD or Pro Tools|HD Native system. Playback and recording voices refers to the number of unique simultaneous playback and record tracks on your system. Total voiceable tracks refers to the maximum number of audio tracks that can share the available voices on your system. (Mono tracks take up one voice.
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Pro Tools|HD Audio Interfaces The following table lists the input and output capabilities of the various Pro Tools|HD audio interfaces for Pro Tools|HD systems. Pro Tools|HD cards support a maximum of 32 channels of I/O each. To record and play audio with Pro Tools HD, you must have at least one Pro Tools|HD audio interface connected to the Pro Tools|HD Core card in your system. Table 6.
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HD OMNI Audio Interface HD OMNI is a professional digital audio interface designed for use with Pro Tools|HD systems. HD OMNI provides a compact preamp, monitoring, and I/O solution for music production and recording, and post production studios. HD OMNI Features HD OMNI provides up to 8 discrete channels of Pro Tools input and output, with 4-segment LED meters for input or output (selectable).
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Synchronization • Loop Sync input and output for connecting additional Pro Tools|HD interfaces and peripherals • External Clock input and output for synchronizing HD OMNI with external Word Clock devices For more information, see the HD OMNI Guide. HD I/O Audio Interface • Soft Clip and Curv limiting circuits to protect against clipping on analog input Digital I/O • Up to sixteen channels of 24-bit digital I/O, using AES/EBU, TDIF DB-25, or Optical at sample rates of 44.1 kHz, 48 kHz, 88.
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HD MADI Digital Audio Interface HD MADI is a 64-channel, digital audio interface designed for use with Pro Tools|HD systems. HD MADI supports the Multichannel Audio Digital Interface (MADI) format and sample rates of up to 192 kHz. HD MADI provides simplified connectivity between your Pro Tools|HD system and MADI-compatible audio equipment, such as routers, digital mixing consoles, and converters.
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192 I/O Audio Interface ™ 192 Digital I/O Audio Interface 192 I/O is a multichannel digital audio interface designed for use with Pro Tools|HD systems. 192 I/O features high quality 24-bit analog-to-digital (A/D) and digital-to-analog (D/A) converters, and supports sample rates of up to 192 kHz. 192 Digital I/O™ is a multichannel digital audio interface designed for use with Pro Tools|HD systems, and supports sample rates of up to 192 kHz.
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96 I/O Audio Interface ™ 96i I/O Audio Interface 96 I/O is a multichannel digital audio interface designed for use with Pro Tools|HD systems. 96 I/O features high quality 24-bit analog-todigital (A/D) and digital-to-analog (D/A) converters, and supports sample rates of up to 96 kHz. 96i I/O™ is a multichannel digital audio interface designed for use with Pro Tools|HD systems.
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Additional Pro Tools|HD Hardware Options Pro Tools HD also supports the following Pro Tools|HD hardware options.
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Mbox Family Core Audio An Mbox system includes: A Pro Tools Core Audio system includes: • Pro Tools software • Pro Tools software • One of the following: • A third-party audio interface with supported Core Audio drivers (including Built-in Mac audio hardware) • Mbox Pro or Mbox 2 Pro audio and MIDI interface • Mbox or Mbox 2 audio and MIDI interface • Mbox Mini or Mbox 2 Mini audio interface • Mbox 2 Micro audio interface (output only) The original Digidesign Mbox audio interface is not supported w
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Pro Tools System Capabilities The following table lists the playback, recording, and input and output capabilities of several Pro Tools systems with Avid audio interfaces. Table 7. Pro Tools system audio playback, recording, and channel capabilities Max.
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Mono tracks of simultaneous playback refers to the number of unique simultaneous playback and record tracks on your system. Total voiceable tracks refers to the maximum number of audio tracks that can share the available voices on your system. (Mono tracks take up a single audio track, while stereo tracks take up two tracks.) Pro Tools systems can open sessions with up to 128 audio tracks, but any audio tracks beyond that system’s voiceable track limit will be automatically set to Voice Off.
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Pro Tools System Options Pro Tools with Complete Production Toolkit 2 Pro Tools systems that have been upgraded with the Complete Production Toolkit 2 software option. For more information, see “Complete Production Toolkit 2 Capabilities” on page 56. Pro Tools|HD Systems with HEAT Pro Tools|HD systems that have been upgraded with the HEAT Software option. HEAT (Harmonically Enhanced Algorithm Technology) is a paid software option that adds “analog color” to Pro Tools|HD systems.
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Complete Production Toolkit 2 Capabilities Complete Production Toolkit 2 enables the following features in Pro Tools: • Surround mixing, editing, and automation up to 7.
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• Preferences • Back/Forward Amount • Shuttle • Auto Region Fade In/Out Length • Use Absolute Pan Linking • Suppress Automation “Write To” Warning • Allow Latch Prime in Stop • Coalesce when Removing Slaves from VCA Group • Standard VCA Logic for Group Attributes • Include Sends in Trim Mode • AutoGlide Time • Coalesce Trim Automation Options • D-Control support Checking For Software Updates Pro Tools can check for Pro Tools application and plug-in updates, either automatically or manually.
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58 Pro Tools Reference Guide
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Chapter 6: System Setup You can review and update your system’s setup to ensure it is configured for your needs. Starting Up or Shutting Down Your System To ensure that the components of your Pro Tools system communicate properly with each other, you need to start them in a particular order. Start up your Pro Tools system in this order: 1 Make sure all your equipment (including your computer) is off. 2 Lower the volume of all output devices in your system.
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4 Do one of the following depending on your Pro Tools system: • For Pro Tools|HD systems, turn off your Pro Tools audio interfaces. In most cases, the default settings for your system provide optimum performance, but you may want to adjust them to accommodate large or processing-intensive Pro Tools sessions. – or – • For Pro Tools systems that use hardware requiring external power (such as 003), turn off the hardware. 5 For Pro Tools|HD systems with an expansion chassis, turn off the chassis.
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Current Engine In the Playback Engine dialog, Pro Tools lets you select the audio engine for use with your audio interfaces. The available options are determined by which audio interfaces are connected and have compatible drivers installed.
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You can configure the Input and Output options for Pro Tools Aggregate I/O in the Mac Audio Setup, which can be accessed from the Pro Tools Hardware Setup. If you need simultaneous input (recording) and output (playback and monitoring) with Pro Tools using the built-in audio options on Mac, use the Pro Tools Aggregate I/O option. If you only need to playback audio for editing and mixing, select the appropriate built-in audio output option.
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For example: • For sessions with large numbers of RTAS plugins, you can allocate 2 or more processors to RTAS processing and set a high CPU Usage Limit. • For sessions with few RTAS plug-ins, you can allocate fewer processors to RTAS processing and set a low CPU Usage Limit to leave more CPU resources available for automation accuracy, screen response, and video. • Increase these settings to accommodate TDM to RTAS plug-in conversion.
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The maximum available CPU Usage Limit depends on the number of processors in your computer and on the number of processors you specify for host processing. This value can range from 85% for single-processor computers (except for 003, 003 Rack+, 003 Rack, Digi 002, and Digi 002 Rack, which have a limit of 99%), and 99% for multiprocessor computers (which dedicate one entire processor to Pro Tools).
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This option is only available if the Ignore Errors During Playback/Record option is enabled and the Pro Tools system you are using requires additional buffering for error suppression, as follows: 1 Choose Setup > Playback Engine.
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Sample Rate (Playback Engine) Delay Compensation Engine (Pro Tools HD Only) The Delay Compensation Engine setting in the Playback Engine determines how much DSP resources are dedicated to Pro Tools Delay Compensation, which manages DSP and host-based delays in the Pro Tools mixer. The Sample Rate setting in the Playback Engine determines the default sample rate when you create a new session. This setting is available only when there is no session open.
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DAE Playback Buffer Size To change the DAE Playback Buffer Size: 1 Choose Setup > Playback Engine. The DAE Playback Buffer Size setting in the Playback Engine determines the amount of memory DAE allocates for disk buffers. In addition to levels, the DAE Playback Buffer Size shows values in milliseconds, which indicate the amount of audio buffered when the system reads from disk. 2 From the DAE Playback Buffer pop-up menu, select a buffer size.
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To change the Cache Size: Plug-In Streaming Buffer Size 1 Choose Setup > Playback Engine. (Structure Plug-In Only) 2 From the Cache Size pop-up menu, select a This setting appears in the Playback Engine only if the Structure sampler instrument plug-in is installed on your system (this applies to Structure LE and Structure Free as well). The Plug-In Streaming Buffer Size determines the amount of memory DAE allocates for streaming playback from disk with the Structure plug-in.
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Optimizing the Plug-In Streaming Buffer Size (Structure Plug-In Only) This option appears in the Playback Engine only if the Structure plug-in is installed on your system. This option is useful when you are playing samples from the same drive that contains audio for the current session. When this option is selected, Pro Tools automatically optimizes the size of the Plug-In Streaming Buffer to facilitate disk access from both Pro Tools and Structure.
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Selecting an Audio Interface to Configure The Peripherals list in the Hardware Setup lets you select any audio interface connected to your Pro Tools system associated with the selected Current Engine setting in the Playback Engine dialog. To change the Current Engine setting to use a specific audio interface or DAE (such as HD TDM, 003, a third-party Core Audio or ASIO interface, or Pro Tools Aggregate I/O), see “Current Engine” on page 61).
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Configuring Pro Tools Aggregate I/O (Mac Only) On Mac systems using Core Audio, you can select Pro Tools Aggregate I/O as the Current Engine to use the built-in audio inputs and outputs on your Mac computer. You can configure the Pro Tools Aggregate I/O setting in the Mac Audio Setup, which can be accessed from the Pro Tools Hardware Setup. To configure Pro Tools Aggregate I/O settings: Pro Tools Aggregate I/O in the Audio Devices window 1 Choose Setup > Hardware.
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To change the default Sample Rate in the Hardware Setup: 1 Choose Setup > Hardware Setup. 2 Select the sample rate from the Sample Rate pop-up menu. 3 Click OK. Configuring Clock Source The Pro Tools Hardware Setup lets you select the Clock Source for the system. Changes made to Clock Source in the Session Setup window will be reflected in the Hardware Setup window and vice versa.
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For example, Pro Tools|HD systems can have HD I/O, HD OMNI, HD MADI, 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O audio interfaces connected to Accel Core or HD Core and HD Accel or HD Process cards in the system. The HD I/O, HD OMNI, 192 I/O, 192 Digital I/O, and 96 I/O can also have additional interfaces attached using the Expansion port on each interface.
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3 Click the Main tab. Press Command+Left or Right Arrow keys (Mac) or Control+Left or Right Arrow keys (Windows) to move though the different pages of the Hardware Setup. 4 From the Clock Source pop-up menu, select the appropriate clock source for the interface. In many cases, you will use Internal. The other choices are for resolving Pro Tools to external clock sources.
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Configuring HD OMNI Controls 5 Click the Analog In tab and configure the options. For detailed information about configuring HD OMNI, see the HD OMNI Guide. To configure HD OMNI in Pro Tools: 1 Choose Setup > Hardware. 2 From the Peripherals list, select the HD OMNI audio interface. 3 Click the Monitor tab and configure the options. When working with HD OMNI, you should always configure the Monitor page first. HD OMNI Hardware Setup, Analog In page 6 Click the Analog Out tab and configure the options.
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Configuring HD I/O Controls 5 If you have two HD I/O AD cards, click the Analog In 9–16 tab and configure the options. For detailed information about configuring HD I/O, see the HD I/O Guide. To configure controls for HD I/O: 1 Choose Setup > Hardware. 2 From the Peripherals list, select the HD I/O audio interface. 3 Click the Main tab and configure the options. HD I/O Hardware Setup, Analog In 9–16 page 6 If you have at least one HD I/O Digital card, click the Digital tab and configure the options.
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Configuring HD MADI Controls For detailed information about configuring HD MADI, see the HD MADI Guide. To configure controls for HD MADI: 1 Choose Setup > Hardware. 2 From the Peripherals list, select either HD MADI Port 1 or HD MADI Port 2 and configure the options.
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• Each of the analog channels in the 192 I/O has two Output Trims, labeled A and B, respectively. You can select Output Trim A or B on a channel-by-channel basis. Configuring 96 I/O Controls To configure controls for a 96 I/O: 1 With the 96 I/O selected in the Peripherals list, configure your I/O front panel meters for input or output metering from the Meters pop-up.
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Configuring 96i I/O Controls To select analog or digital input for channels 1-2: To configure controls for a 96i I/O: 1 Choose Setup > Hardware, and select 96i I/O in the Peripherals list to display the 96i I/O window. 1 With the 96i I/O selected in the Peripherals list, configure your I/O front panel meters for input or output metering from the Meters pop-up.
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Routing a Pro Tools Output Pair to Multiple Destinations Pro Tools channel pairs can be routed to multiple physical outputs on an audio interface through the Hardware Setup. For example, if you assign Channels 1–2 to both outputs Analog 1–2 and Analog 3–4, when you send a signal to Pro Tools Channels 1–2, that signal will be routed simultaneously to both pairs of output ports on your audio interface.
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Additional System Usage Meters in Pro Tools|HD Systems Pro Tools|HD systems (TDM only) provide three additional meters below the Activity meter (see page 80): TDM Voices Allocated Displays the total number of TDM voices that can be allocated and the number of voices currently allocated. This includes all voices whether they are allocated explicitly or dynamically, as well as any voices used for routing RTAS processing.
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To enable (or disable) DSP Caching: 1 Open the System Usage window (Windows > System Usage). 2 Click the DSP Cache pop-up menu and select (or deselect) Use DSP Cache. System Usage window, DSP Cache pop-up menu To purge the DSP cache: 1 Open the System Usage window (Windows > System Usage). 2 Click the DSP Cache pop-up menu and select (or deselect) Purge Cache. This refreshes the System Usage display.
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Chapter 7: I/O Setup The I/O Setup provides tools to label, format, and assign Pro Tools input, output, insert, and bus audio signal 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.
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The I/O Setup displays a graphical representation (cross-point matrix) of the signal routing for physical input and output paths for each connected audio interface. Like a virtual patchbay, I/O Setup controls let you route physical inputs and outputs on the audio interface to Pro Tools input and output channels. For Pro Tools|HD 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.
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Sub-Paths A sub-path represents a signal path within a main path. For example, a default stereo output bus path consists of two mono subpaths, left and right. Mono tracks and sends can be routed to either mono sub-path of the stereo output bus path.
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Default I/O Settings Pro Tools comes with default I/O Setup settings to get you started (see “Factory I/O Settings” on page 111). You should only need to open the I/O Setup if you want to customize I/O paths or if you change your system hardware (for example, adding an expansion card to HD I/O, or adding or removing an audio interface). You can always return to the default settings for an I/O Settings page by clicking the Default button.
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Input Page Output Page The Input page of the I/O Setup lets you create and assign Pro Tools Input channels to receive audio from the physical inputs of your audio hardware. The Output page of the I/O Setup lets you create and assign Pro Tools Output channels to send audio to the physical outputs of your audio hardware. Configure input signal path names, formats, and source channel (analog or digital) on the Input page. Multichannel input paths (stereo or greater) can have any number of sub-paths.
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Bus Page Insert Page The Bus page of the I/O Setup lets you create and edit internal mix busses and output busses. The Bus page also lets you map output busses to output paths (as configured in the Output page of the I/O Setup). The Insert page of the I/O Setup lets you create and edit hardware insert signal paths for the Pro Tools mixer. Hardware inserts can route audio through an external device connected to parallel inputs and outputs of a Pro Tools audio interface.
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Mic Preamps Page On the Mic Preamps page of the I/O Setup, signal paths for one or more PRE multi-purpose microphone preamplifiers can be mapped to audio interfaces. For more information, see the PRE Guide. I/O Setup Signal Path Controls Depending on the I/O Setup page, the I/O Setup provides the following controls in its graphical section for configuring signal routing paths.
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Path Format Selector Shows and selects the type/format (such as Mono, Stereo, Quad, or 5.1) of each defined path (greater-than-stereo multichannel formats are supported with Pro Tools|HD systems and Pro Tools systems with Complete Production Toolkit 2 only). Channel Grid Assigns paths to specific interfaces and channels. I/O Setup Buttons Depending on the I/O Setup page, the I/O Setup can provide the following buttons for configuring signal routing.
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I/O Setup Options Pro Tools systems have several additional I/O Setup options depending on which page of the I/O Setup you are viewing. These include default signal routing for metering and auditioning, and default track layout for multichannel mix formats. I/O Setup, Signal Path options (Output page shown) Compensate for Delays After Record Pass (Pro Tools HD Only) Pro Tools provide two options for compensating for input and output latency (due to ADC and DAC) after recording.
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Using the Default Audition Path Default Output Bus When you preview a file or region in the Region List in a DigiBase browser, or when AudioSuite processing, Pro Tools routes the audio output through the specified Audition Path. Pro Tools assigns a default Audition Path to the first available main Output path of the corresponding format. You can also select a different Audition Path in the I/O Setup. You can specify the default output bus path assignment for new tracks, in each available format.
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To select the AFL/PFL Path output: AFL/PFL Mutes (Output Path) Select a path from the AFL/PFL Path pop-up menu. (Systems without a D-Control or D-Command Control Surface) Selecting None as the AFL/PFL Path disables AFL and PFL Solo modes. When None is selected, AFL and PFL cannot be used. If you do not see the AFL/PFL Path selector, confirm that you have installed the Surround Mixer in the Plug-Ins (Used) folder. For information on switching Mixer plugins, see the Pro Tools|HD User Guide.
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To configure Low Latency Monitoring in the I/O Setup: 1 Open the I/O Setup dialog (Setup > I/O). 2 Click the Output tab. 3 Enable the Low Latency Monitoring option. 5.1 Path Order (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) The 5.1 Path Order pop-up menu lets you specify the default track layout for all new 5.1 format paths you create. 4 From the Low Latency Monitoring pop-up menu, select the Output path you want to use for Low Latency Monitoring.
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When the Sessions Overwrite Current I/O Setup When Opened option is enabled (default), Pro Tools recalls these settings from the session rather than the system. Choose this option when exchanging sessions with systems running lower versions of Pro Tools (see “Session Interchange” on page 113). Enabling or disabling this option in any page of the I/O Setups affects all of the other pages as well.
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7 If you are using one or more PRE peripherals, click the Mic Preamps tab and configure it accordingly (see the PRE Guide). Configuring Hardware in I/O Setup 8 Click the Bus tab. (Pro Tools HD Only) 9 Create internal mix bus paths and sub-paths. With Pro Tools HD, you can define which physical ports on your audio interface are routed to available input and output channels in the I/O Setup.
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4 From the pop-up menu, select a physical port pair (such as Analog 1–2), to route to a Pro Tools channel pair (such as A 1–2) in the Path Name column on the left. The only limit to output choices is the number of outputs available in your system. 0utput path assignments can overlap in certain situations. See “Valid Paths and Requirements” on page 108 for details. Pro Tools outputs pairs can also be routed to multiple audio interface outputs in the Hardware Setup.
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Signal Path Routing for Audio Input The following example shows the signal path from the physical analog input of an HD OMNI audio interface, and then through the Pro Tools audio input path to the Input of an audio track in the Pro Tools mixer: 1 3 2 Input signal path from an HD OMNI to the Pro Tools mixer as mapped in I/O Setup (1) Physical Input For Pro Tools|HD interfaces such as the HD OMNI, the physical inputs that are available to Pro Tools are set on the Main page of the Hardware Setup (this sel
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Signal Path Routing for Audio Output The following example shows the signal path from the output of an audio track, through an output bus mapped to an output path that is routed to a physical output on an HD I/O audio interface: 1 2 4 3 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 and routed from the Track Output to Output Bus “B 1–2.” (2) Output Bus Path The Output Bus is defined on the Bus page of the I/O Setup.
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5 Do any of the following: For Pro Tools systems such as the Mbox and the 003, physical outputs are fixed. For third-party and built-in hardware, click the Launch Setup App button in the Hardware Setup for available configuration options. Creating New Paths The I/O Setup lets you create new paths with custom names, formats, and assignments to physical I/O. Custom path names appear in a session’s track Input, Output, Insert, and Bus selectors.
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10 Click OK to save changes and close the I/O Setup. If there are any identically named paths, you will be instructed to correct them before the I/O Setup will close. For more information, see “Valid Paths and Requirements” on page 108. Multichannel paths and mixing are explained in Chapter 47, “Pro Tools Setup for Surround.” Path Name Enter the path name.
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Auto-Create Sub-Paths Option For input, bus, and insert paths, enable the Auto Create Sub-Paths option to have Pro Tools automatically create the default set of sub-paths for the path format (channel width), as follows: Default Sub-Paths You can create sub-paths for main paths in the Input, Bus, and Insert pages of the I/O Setup. You cannot create sub-paths for outputs in the Outputs page of IO Setups. You can, however create overlapping output paths.
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Editing Paths The I/O Setup lets you edit or customize signal path definitions.
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Renaming Paths Path names can be customized in the I/O Setup. I/O paths can also be renamed directly from the Edit or Mix window by Right-clicking the Input or Output selector and choosing Rename. Here are some examples of standard industry naming schemes: • Main A, Main B • Studio A, Studio B • Stereo A, Stereo B • Meter • Monitor To rename a path in the I/O Setup: • Aux A, Aux B 1 Double-click the path name.
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Default Path Names Default names for input, output, and insert paths are based on the hardware you are using for physical I/O. For Pro Tools|HD systems, default path names are based on the names of interfaces you are using. If you have renamed your interface, default path names are based on the custom name. Selecting Paths Individual and multiple paths can be selected in the I/O Setup Path Name column.
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To delete a main path or sub-path: 3 Set the Active/Inactive control for the path. 1 In the I/O Setup, select the path you want to delete. 2 Click Delete Path. 3 Click OK to save changes and close the I/O Setup. Active (top) and inactive (bottom) path settings To delete all paths: 1 Option-click (Mac) or Alt-click (Windows) any path name. 2 Click Delete Path. 3 Click OK to save changes and close the I/O Setup.
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Grid column under an audio interface and channel. Because some multichannel mixing formats use unique track layouts, Pro Tools lets you set the default format in the I/O Setup (see “I/O Setup Options” on page 91). Assigning channels Customized Output paths for a 5.1 mix Other channels for the path type, if any, fill to the right. For example, when assigning a new stereo path, clicking in the path row under output channel 1 fills both channel 1 and 2 (left to 1, right to 2).
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Valid Paths and Requirements While configuring the I/O Setup, certain rules apply for path definition and channel assignment. All paths must be valid before the I/O Setup configuration can be applied.
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When you create a new output path on the Output page of the IO 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 creating a new session or restoring defaults (see “Restoring Default Paths and Path Names” on page 103). To create a bus and map it to an output path: 1 On the Bus page of the I/O Setup, click New Path.
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All mapped output busses of the same format (such as stereo) are all assigned to the same output path. For example, you can assign all stereo output busses to output path A 1–2. To map all output busses of the same format to one output path: 1 Do one of the following: • Shift click to select contiguous Output busses. – or – • Command-click (Mac) or Control-click (Windows) to select noncontiguous Output busses.
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Sorting Bus Paths Factory I/O Settings The Bus page provide controls to sort busses by name (ascending or descending), format (ascending or descending), or by mapped to output status (ascending only). Click to sort by Name Click to sort by mapping to output status Click to sort by Format Pro Tools provides factory I/O settings for stereo and surround mixing, and are automatically installed with Pro Tools. These settings provide new sessions with generic path and sub-paths for either mixing format.
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I/O Settings Files I/O settings files (.pio files) provide default path configurations for new sessions. I/O settings can be imported and exported for use with sessions shared between systems. I/O settings files are also available in the I/O Settings pop-up menu in the Quick Start and New Session dialogs.
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If the import results in overlapping paths, the new paths will appear in the I/O Setup as Inactive. See “Making Paths Active or Inactive” on page 106. After importing I/O Settings, you can then reassign path routing definitions in the I/O Setup by remapping, renaming, and deleting paths. See “Pro Tools Signal Paths” on page 84. Exporting I/O Settings When you export I/O settings, all pages of the I/O Setup are exported.
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Pro Tools 8.1 and Higher Path Order and Overlapping Output Paths When exchanging sessions among systems running Pro Tools 8.1 or higher, it is generally recommended that the Sessions Overwrite Current I/O Setup When Opened option be disabled. This maintains any system IO settings when opening a session from another system (see “Sessions Overwrite Current I/O Setup When Opened” on page 94). When exchanging sessions between Pro Tools 8.1 or higher and Pro Tools 8.0.
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Chapter 8: Preferences The settings in the Pro Tools Preferences define how Pro Tools features work. The Preferences dialog has several tabbed pages in which you can specify your preferred settings. To change Pro Tools preferences: 1 Choose Setup > Preferences. 2 Click the tab for the page that has preferences you want to change. 3 Change preferences. 4 Click OK to save your changes and close the Preferences dialog.
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Global and Local Preferences Pro Tools preferences are either global (systemwide) or local (for the current session only). Global (System-Wide) Preferences Global preferences are applied to all sessions. These preferences become the default preferences for any existing sessions that you subsequently open or any new sessions that are created. Local (Current Session) Preferences Local preferences are applied to the current session (if one is open).
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Display Preferences Edit Window Default Length This preference sets a default length for the Edit window in hours, minutes, seconds, and frames (Pro Tools HD or Pro Tools with Complete Production Toolkit 2 only). This is useful if you want to assemble a session of a particular length or leave extra room to expand the Edit window’s work area in your session. The maximum length is 12 hours and 25 seconds at 48 kHz, and proportionally less at higher sampling rates.
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Category and Manufacturer Organizes plug-ins in two levels of menus. The top menus display plug-ins by process category (such as EQ, Dynamics, and Delay), with individual plug-ins listed in the category submenus. The bottom menus display plug-ins by manufacturer (such as Bomb Factory, Focusrite, or TL Labs), with individual plug-ins listed in the manufacturer submenus.
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Color Coding Default Region Color Coding Options Always Display Marker Colors Lets you choose to view Marker colors in the Markers ruler, regardless of the settings you choose for Default Region Color Coding. These color coding options determine the default color coding assignment for tracks, Marker Locations, and regions residing in the track playlist and Region List.
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Operation Preferences Latch Forward/Rewind When selected, fast forward 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 down the mouse after clicking either button on the Transport (or hold down the corresponding switch on a Control Surface).
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Back/Forward Amount (Pro Tools HD and Complete Production Toolkit 2 only) Sets the default length of Back, Back and Play, Forward and Forward and Play. The timebase of the Back/Forward Amount settings follows the Main Time Scale by default, or you can deselect the Follow Main Time Scale option and select another timebase format: Bars|Beats, Min:Sec, Time Code, Feet+Frames, or Samples. Numeric Keypad Mode Numeric Keypad mode determines how the numeric keypad functions.
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Video Section Record Section High Quality QuickTime Image (DV25 Only) Latch Record Enable Buttons When selected, multiple audio tracks can be record-enabled. When not selected, multiple audio tracks cannot be record-enabled. Record-enabling an audio track takes all other audio tracks out of record-enabled mode. When enabled, Pro Tools decompresses both fields of each interlaced frame of QuickTime video.
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Transport RecordLock (Pro Tools HD Only) This option lets the Transport Record (the Record button in the Transport controls) be configured to either emulate a digital dubber, or to maintain legacy behavior for the Transport master Record. • When selected, the Transport Record remains armed when playback or recording stops. This saves having to re-arm the Transport between takes, emulating digital dubber behavior.
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Online Options Record Online at Time Code (or ADAT) Lock When selected, online recording begins as soon as Pro Tools receives and locks to incoming time code. Record Online at Insertion/Selection When selected, online recording begins at the edit cursor location. Recording continues until Pro Tools stops receiving time code. If you make a selection, Pro Tools records online for the length of the selection.
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Editing Preferences Tracks Section New Tracks Default To Tick Timebase When selected, all new tracks default to ticks. When deselected, audio, Auxiliary Input, Master Fader, and VCA (Pro Tools HD only) tracks default to samples. Memory Locations Section Auto-Name Memory Locations When Playing When selected, Pro Tools gives new Memory Locations default names based on their time location in the session. The time units currently chosen in the View menu determine the units for the names.
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Default Fade Settings Fade In Selects the default envelope shape for fade-ins when using the Smart Tool. Fade Out Selects the default envelope shape for fade-outs when using the Smart Tool. Crossfade Selects the default envelope shape for crossfades when using the Smart Tool. To apply a Fade In, Fade Out, or Crossfade to an Edit selection using the Default Fade settings, and without opening the Fades dialog, press Control+Start+F (Windows) or Command+Control+F (Mac).
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Mixing Preferences Use Absolute Pan Linking (Pro Tools HD and Complete Production Toolkit 2 Only) This option affects behavior of grouped pan controls. • When selected, grouped pan controls do not maintain relative offsets when any of the grouped pan controls is adjusted. All grouped pan controls snap to the absolute value of the adjusted control. • When not selected, grouped pan controls maintain relative offsets when any of the linked controls is adjusted.
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Controllers Section Automation Section Edit Window Follows Bank Selection If you are using a supported control surface with Pro Tools, this option scrolls the Edit window to display the selected bank of tracks when you switch banks on the control surface, ensuring that the current bank is viewable on-screen. Smooth and Thin Data After Pass When selected, Pro Tools automatically smooths and then applies the specified amount of thinning to the automation data created in an automation pass.
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Allow Latch Prime in Stop (Pro Tools HD and Complete Production Toolkit 2 Only) When selected and any tracks are in Latch mode, any automation-enabled controls on those tracks can be set to new values while the transport is stopped by touching or moving controls, to prepare for the next automation pass. Coalesce when Removing Slaves from VCA Group (Pro Tools HD and Complete Production Toolkit 2 Only) This option determines the behavior when removing slave tracks from a VCA-controlled group.
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After Write Pass, Switch To Options Processing Preferences These options select the Automation mode that Pro Tools tracks automatically switches to after an automation pass in Write (or Write Trim) mode. Select one of the following options: Touch Switches to Touch mode after an automation pass in Write (or Write Trim) mode. Latch Switches to Latch mode after an automation pass in Write (or Write Trim) mode. No Change Stays in Write mode after an automation pass in Write (or Write Trim) mode.
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Automatically Copy Files on Import When selected, all audio files that are imported by dragging and dropping are copied to the current session’s Audio Files folder, regardless of whether the files need to be converted to the current session’s file type, bit depth or sample rate. Additionally, when selected, the Copy from Source Media option is automatically enabled in the Import Session Data dialog. The Automatically Copy Files on Import preference does not affect the Import Audio command.
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TC/E (Time Compression/Expansion) Section TC/E Plug-In Lets you select the plug-in used for Time Compression and Expansion when you edit audio with the Time Compression/Expansion Trim tool. This Trim tool works by using Time Compression/Expansion to match an audio region to the length of another region, a tempo grid, a video scene, or other reference point. The DigiRack Time Shift plug-in is selected by default.
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MIDI Preferences Default Thru Instrument This option lets you set the default MIDI Thru instrument. You can select a predefined device from your available MIDI instruments, or select First Selected MIDI Track to use the assigned MIDI output of the first selected MIDI or Instrument track. When multiple MIDI or Instrument tracks are selected, the instrument in the selected track that is closest to the top of the Edit window (or closest to the left edge of the Mix window) is used.
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MIDI Event List Opens the MIDI region in the MIDI Event List. Synchronization Preferences Name Dialog Opens the Name dialog for the MIDI region. Note Display Options These options set the reference for middle C as C3, C4, or MIDI note number 60. Delay for External Devices Section (Pro Tools HD Only) These options only apply when a Delay Compensation Engine is selected in the Playback Engine and Delay Compensation is enabled in Pro Tools.
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tion at full speed to within 10 seconds of the cue point. Cueing will then slow to normal speed until the point is reached. This can significantly speed up tape cueing with certain video transports. Stop at Shuttle Speed Zero (Pro Tools HD Only) Causes Pro Tools to send a Stop command whenever you stop shuttling. This is useful if you have a machine that requires an explicit stop command to park correctly.
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Satellites Section (Pro Tools HD Only) These preferences are available only with the Satellite Link option. The Pro Tools Satellite Link option lets you link up to 5 Pro Tools systems (or 4 Pro Tools systems and an Avid® Media Composer® with the Video Satellite option or a Video Satellite LE system) over an Ethernet network so that you can cue, play, and stop the transport, make play selections, and solo tracks across any of the systems from any linked workstation.
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Chapter 9: Peripherals The settings in the Peripherals dialog define how Pro Tools works with various synchronization, machine control, MIDI control surface, Ethernet worksurface, Mic Preamp, satellite peripherals and devices, and linked VENUE systems. To configure settings for Pro Tools peripherals: 1 Choose Setup > Peripherals. 2 Click the tab for the type of peripheral you want to configure. 3 Change the settings. 4 Click OK to save your changes and close the Peripherals dialog.
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Synchronization Device LTC Output Level (Pro Tools HD Only) This setting adjusts the analog audio level of the LTC output, from –24 dBu to +9 dBu. The Synchronization Device settings let you configure a synchronization peripheral, such as the SYNC HD or SYNC I/O. Enable SYNC Peripheral When this option is selected, any connected synchronization peripheral is enabled for use with Pro Tools.
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Reset Bi-Phase This button lets you set the Bi-Phase/Tach start frame from Pro Tools. Click the button to update the Time Code Display on the synchronization peripheral to match the session time code value. so that the time code numbers are displayed directly on top of the video signal, without a contrasting background box.) The default setting is White on Black Bkgnd.
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MIDI Out Port The MIDI Out Port pop-up menu lets you select the MIDI Out port to which the slave device is connected. MMC ID The MMC ID setting lets you specify the MMC ID number for which MMC information will be sent. MMC commands contain an ID number to identify which machine should respond to the MMC command. There are 128 MMC ID numbers, from 0–127. The default of ID #127 is a special setting that transmits to all 128 MMC IDs. With a setting of 127, Pro Tools will transmit MMC commands to all MMC IDs.
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non-linear machines. Longer preroll values are usually better for older tape transports. The Machine preroll value is added to any preroll specified in the Transport window. the machine to Pro Tools time code, you can avoid the waiting (and tape wear) that occurs while a machine transport locates and bumps tape to the cue point.
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Receive From EUCON (Extended User Control) The Receive From setting lets you select the MIDI In port to which your MIDI controller is connected. When selected, Pro Tools is enabled for control by one or more EUCON-compatible controllers. EUCON is an innovative high-speed Ethernet protocol developed by Avid to allow a hardware control surface to directly communicate with a software application. Send To The Send To setting lets you select the MIDI Out port to which your MIDI controller is connected.
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Mic Preamps The Mic Preamps page lets you configure up to nine different Mic Preamps (PRE) for Pro Tools. For information about the PRE, see the PRE Guide. Type The Type setting lets you select none or PRE. Select the PRE option to declare any connected PRE. Receive From The Receive From setting lets you specify the MIDI In port to which the PRE is connected. Send To The Send To setting lets you specify the MIDI Out port to which the PRE is connected.
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Satellites The Satellites page lets you configure Pro Tools for use with Satellite Link, Video Satellite, and Video Satellite LE software options. The Pro Tools Satellite Link option lets you link up to 5 Pro Tools systems (or 4 Pro Tools systems and an Avid Media Composer with the Video Satellite option or a Video Satellite LE system) over an Ethernet network so that you can cue, play, and stop the transport, make play selections, and solo tracks across any of the systems from any linked workstation.
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VENUE The VENUE page lets you configure Pro Tools for use with a VENUE system over Ethernet using VENUE Link. Pro Tools VENUE Link lets you import VENUE Settings into Pro Tools, create Pro Tools markers from VENUE Snapshots, and locate to Pro Tools markers from VENUE Snapshots. Advanced Network Settings The Advanced Network settings let you specify an IP address and port for VENUE Link communication.
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Chapter 10: Configuring MIDI If you are using external MIDI devices with Pro Tools (such as controllers or sound modules), you can customize your MIDI studio setup to display the names of your MIDI devices in Pro Tools. To configure your MIDI studio in AMS: 1 Do one of the following: • Launch Audio MIDI Setup (located in Applications/Utilities). – or – MIDI Studio Setup (Mac) Pro Tools recognizes the ports on your MIDI interface as generic ports.
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4 Drag the new device icon to a convenient lo- cation within the window. 5 Connect the MIDI device to the MIDI inter- To customize an external MIDI device in AMS: 1 Select the external device icon and click Show Info (or double-click the new device icon). face by clicking the arrow for the appropriate output port of the device and dragging a connection or “cable” to the input arrow of the corresponding port of the MIDI interface.
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3 Click the More Information arrow to expand the dialog, then enable the appropriate MIDI channels (1–16) for the Transmits and Receives options. (These determine which channels the device will use to send and receive MIDI.) 4 Click the device image. The window expands to show images for various MIDI devices (such as keyboards, modules, interfaces, and mixers). Select an icon for your device.
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MIDI Studio Setup (Windows) MIDI Studio Setup (MSS) lets you configure the MIDI controllers and sound modules that are connected to your system, and control the routing of MIDI data between your MIDI equipment and Pro Tools. MSS automatically finds MIDI interfaces, and lets you specify a custom name for each of the MIDI ports within the MIDI Studio Setup document. MIDI Studio Setup Window The MIDI Studio Setup window is organized into three sections. Interface controls are at the top of the window.
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Show Duplicate Emulated Ports When this option is selected and you are using a MIDI interface that supports time-stamping (such as MIDI I/O), in addition to the MIDI ports on Mbox 2, the MIDI Studio setup window shows both the DirectMusic time-stamped output ports, and non-stamped duplicate emulated output ports. Some MIDI Interfaces will not properly load or unload their drivers unless you quit and re-launch Pro Tools. Check the documentation that came with your MIDI interface for more information.
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Input Port The Input Port pop-up menu displays a list of available MIDI interface input ports. The MIDI interface port that is set and displayed here is the port through which MIDI data is sent from the external MIDI device specified in the Instrument Name field into your MIDI interface. If you set the input port to None, the defined instrument will not appear as a choice in a MIDI Input Selector. Output Port The Output Port pop-up menu displays a list of available MIDI interface output ports.
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Part III: Sessions & Tracks 153
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Chapter 11: Sessions The first step in beginning a Pro Tools project is creating a new session. Sessions are represented by session files that can be saved, copied and made into templates. Creating a New Session from a Template To create a new session from a template: 1 Select Create Session from Template. Quick Start Session Dialog Pro Tools provides a Quick Start dialog on launch that lets you quickly and easily create a new session or open an existing one.
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3 Select the session template you want to use Creating a New Blank Session from the list (on the right). To create a new blank session: 1 Select Create Blank Session. Quick Start dialog, Session Parameters revealed 4 If you want to change any of the session pa- rameters, click the Session Parameters reveal button and do any of the following: • Select the Audio File Type for the session. For optimum compatibility between Windows and Mac, set the file type to BWF (.WAV).
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Opening a Recent Session The Open Recent Session option is not available the first time you launch Pro Tools (or if you have cleared the Recent Sessions list by choosing File > Open Recent > Clear). Sound Designer II (SD II) files are not supported on Pro Tools systems higher than version 8.0.3. When opening a session created with a lower version of Pro Tools that uses the SD II file format, you are prompted to convert the session and all SD II files to WAV.
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Creating a New Session The New Session dialog lets you create a new session from a template or create a new blank session (with no tracks or media). Sound Designer II (SD II) files can be imported and exported, but are not supported as the session Audio File Type on Pro Tools systems version 8.0.3 or higher. 6 Select the Bit Depth (16 bit or 24 bit) and the Creating a New Session from a Template To create a new session from a template: 1 Choose File > New. Sample Rate. 7 Click OK.
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5 Select the I/O Settings to use for the session. Several pre-configured I/O Settings are included with your system, or you can select a custom I/O Setting. For more information, see Chapter 7, “I/O Setup.” 6 Click OK. 7 In the Save dialog, name the session, navigate to the location where you want to save the new session and click Save. Session Files and Folders When you create a new session, Pro Tools automatically creates a new folder named for your session.
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Fade Files Folder Session File Backups Folder The Fade Files folder contains any crossfaded audio data generated by the session. The Session File Backups folder contains automatically-generated backups of your Pro Tools sessions. These files are created when working on a session and the Operations preference for Enable Session File Auto Backup is enabled. (See “Enable Session File Auto Backup” on page 121.
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Sound Designer II (SD II) files are not supported on Pro Tools systems higher than 8.0.3. When opening a session created with an lower version of Pro Tools that uses the SD II file format, you will be prompted to convert the session and all SD II files to WAV. action, click Yes. The Notes report is named with the session name, followed by Notes.txt. You can choose to save this file in your Session folder, or in another location.
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When opening sessions that contain audio files with illegal characters, Pro Tools automatically creates a renamed copy of each file (replacing these characters with an underscore “_”). Renamed files are copied to the Renamed Audio Files folder. The original files are left intact in the Audio Files folder. Before the session opens, you are prompted to save a detailed report of the renamed files and their original file names to a Notes text file. Follow the on-screen instructions.
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To re-open the same session with all plug-ins set to active, do one of the following: Choose File > Revert To Saved. – or – Choose File > Open Recent and select the most recent session in the submenu. Reverting to a Previously Saved Session File If you have made changes to a session since you last saved it, you can discard those changes and revert to its previously saved state.
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The renamed session file is saved in the session folder along with the original session (unless you specify a different destination). Any new audio files that you record in your renamed session will be placed into the same Audio Files folder that was created for your original session. Saving a Copy of the Session To save a copy of the current session with or without its audio files and fade files, use the Save Copy In command.
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Using the Save Copy In command is the only way to change the sample rate of a session. The sample rate of each of the session’s copied audio files is converted to the selected sample rate. When saving a session copy to a different sample rate, Pro Tools uses the selected Sample Rate Conversion Quality option in the Import section of the Processing Preferences page (Setup > Preferences). When you save a copy of the session to a lower bit depth, Dither (and Noise Shaping) are applied.
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Session Parameters When saving a copy of a session with the Save Copy In command, the following Session Parameters are available: OMNI, HD MADI, 192 I/O, or 192 Digital I/O). If your session is at a different sample rate, audio files are converted to the new session sample rate, and copied to the specified location. Fader Gain Audio File Type You can save the session to reference BWF (.WAV) or AIFF audio files. Using Mixed File Types A session can use mixed audio file types.
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Items to Copy When saving a copy of a session with the Save Copy In command, you can select which items are copied, as follows: When opening the new session, Pro Tools opens the session with all available media and any missing Rendered files are regenerated automatically. Session Plug-In Settings Folder All Audio Files When this option is selected, all audio files are copied to the new location. This setting is automatically selected if you change the bit depth or sample rate of the session.
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Session Templates In addition to the Session Templates provided in the Pro Tools Session Quick Start dialog, Pro Tools lets you create and share your own custom Session Templates. Pro Tools Session Template files use the suffix “.ptt” to differentiate them from regular Pro Tools session files (“.ptf”). 4 Select the Include Media option if there is any audio, MIDI, or video media in the session that you want included in the template.
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Name The Name setting is only available if the Install 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 field), you can select from a list of all of the templates available in the currently selected Category. Selecting one places that name in the Name field, letting you overwrite, or create a incremental version of, an existing template.
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Closing a Session Exiting or Quitting Pro Tools 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 recommended that you save your work using the Save or Save As command before closing a session.
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Chapter 12: Pro Tools Main Windows Pro Tools provides two complementary ways of viewing tracks in a session: Edit Window Shows tracks and track material against the Timeline (see “” on page 173). Mix Window Shows tracks as channel strips, like a mixing board (see “Mix Window” on page 172). To toggle between the Mix and Edit windows, press Control+Equals (=) (Windows), or press Command+Equals (=) (Mac).
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Pro Tools provides several other types of windows: Mix Window Transport Window Lets you control the transport and transport-related functions (see “Transport Window” on page 180). In the Mix window, tracks appear as channel strips just like a mixing console, with controls for: • Inserts Plug-In Windows Let you control plug-in parameters, such as Frequency and Q for an EQ (see “The Plug-In Window” on page 978).
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Channel strips (page 201) Instrument View (page 931) Track List (page 222) Inserts (A–E) View (page 932) Sends (A–E) View (page 932) Track Path selectors (page 226 and page 235) Group ID indicator (page 248) Automation Mode selector (page 1004) Input Monitoring / Record Enable (page 442 and page 436) Pan knob (page 208) Solo/Mute (page 237) Volume fader (page 208) Voice selector (page 232) Level meter (page 209) AutoMatch indicator (page 1013) Track Name (page 212) Mix Group List (page 245) Tr
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Edit Window The Edit window provides a Timeline display of audio, video, MIDI notes, as well as other MIDI data and mixer automation for recording, editing, and arranging on tracks. As in the Mix window, each track has controls for record enable, solo, mute, and automation mode. To display the Edit window: Choose Window > Edit. To display all Edit window view options: Select View > Edit Window > All. Edit window view options can be selected individually.
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Zoom buttons (page 532) Edit Mode buttons (page 527) Universe view (page 575) Grid and Nudge values (page 177) Edit tools (page 531) Counters and Edit Selection indicators (page 573) Transport controls (page 180) Edit Window Toolbar and menu (page 176) Region List (page 259) Timebase and Conductor rulers (page 749) Track List (page 222) Tracks (page 199) Edit Group List (page 755) Playlists Track View (page 621) MIDI Editor pane (Notation view) (page 183) Elastic Audio Warp Track View (page 855)
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Edit Window Toolbar Counters and Edit Selection Indicators At the top of the Edit window is the Edit Window Toolbar and menu. This Toolbar provides access to the editing modes, tools, options, indicators, and displays for Pro Tools. You can customize the Toolbar in the Edit, MIDI Editor, or Score Editor windows by re-arranging, showing, and hiding the available controls and displays. The Counters and Edit selection indicators provide information where selections are in the Timeline.
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Timeline Data Online Status Indicator Is green when all files in use in track playlists are available for playback. If files are offline, being processed, or otherwise unavailable for playback, this indicator is red. Session Data Online Status Indicator Is green when all audio and fade files referenced by the session are available for playback. If files are offline, being processed, or otherwise unavailable for playback, this indicator is red.
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Synchronization When selected, the Synchronization controls are displayed in the Edit window toolbar. Rearranging Controls and Displays To rearrange controls and displays in the Edit, MIDI Editor, or Score Editor window toolbar: Control-click (Windows) or Command-click (Mac) the control or display you want to move and drag it to a new location in the toolbar. Minimal When selected, the Zoom, Transport, MIDI, and Synchronization controls are not displayed in the Edit window toolbar.
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Audio Zoom button, Edit window Horizontal Zoom button, Edit window MIDI Zoom button, Edit window Vertical Zoom button, Edit window Edit Window Default Length Vertical Zoom Buttons Zoom the track heights proportionally in the Edit window. Pro Tools lets you set a default length for the Edit window in hours, minutes, seconds, and frames. This is useful if you want to assemble a session of a particular length or leave extra room to expand the Edit window’s work area in your session.
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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. To display the Transport window: Choose Window > Transport.
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Stop Stops playback or recording. You can also stop the transport by pressing the Spacebar, or with the Numeric Keypad mode set to Transport, pressing 0. Play Starts playback or (if the Record button was clicked first) recording from the Timeline insertion point or the Play Start Marker location if Dynamic Transport mode is enabled. You can also begin playback by pressing the Spacebar, or with the Numeric Keypad mode set to Transport, pressing 0.
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Transport Window Menu Lets you select what options to show in the Transport window: Counters, MIDI Controls, Synchronization, Minimal, All, and Expanded Transport. Pre-Roll During playback or record, specifies the amount of audio that plays before the Play (Timeline) Cursor or Play Start Marker location, or beginning of the Timeline selection. Pre-roll is particularly useful with punch recording since it gives you time to “catch the beat” before reaching the punch-in point.
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Wait for Note When selected, recording does not begin until a MIDI event is received. This ensures that you begin recording when you’re ready to play, and that the first note, or other MIDI data, is recorded precisely at the beginning of the record range. You can press F11 to turn on Wait for Note, unless the MIDI preference for “Disable F11 for Wait for Note” is enabled. On Mac, the Desktop Keyboard Shortcut uses the same key command that Pro Tools uses for Wait For Note (F11).
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view, or on separate tracks in Notation view, and lets you view and edit MIDI controller data (such as velocity, pitch bend, and mod wheel) in controller lanes under the Notes pane. For more information, see Chapter 33, “MIDI Editors.” Displaying the MIDI Editor in the Edit Window You can choose to show (or hide) a MIDI Editor pane at the bottom of the Edit window (below the Tracks pane).
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DigiBase Browsers DigiBase databases are accessed through DigiBase browsers. Browsers provide an intuitive user interface to DigiBase databases with many convenient features for various file management tasks (such as search and sort functions). Browsers in Pro Tools are analogous to windows in your computer’s operating system (such as Windows Explorer or the Mac Finder), but are specially designed for working in Pro Tools.
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The main elements of a DigiBase browser (see the figure below) include the following: Title Bar Shows the browser type (Workspace, Volume, Project, or Catalog), and the name of its associated volume, session or catalog. Toolbar Provides the Browser menu, Search icon, View Presets (numbered 1–5), and browser navigation tools. Column Headers Display the type of metadata displayed in the Items List. Column Headers can be: Items List Displays the contents of a volume, folder, session, or Catalog database.
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Workspace Browser Project Browser The Workspace browser provides access to all your mounted volumes, as well as the folders and files they contain. The Project browser provides powerful search and management tools for the files referenced in your current session, regardless of where they are stored. Using the Project browser, you can: Using the Workspace browser, you can: • Access all Catalogs. • Show all the media files associated with the current session, including any missing files.
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Task Window The Task window is a utility for viewing and managing all of the background tasks that you initiate with Pro Tools. Use the Task window to monitor, pause, or cancel background tasks such as file copies, searches, indexing, and fade creation. For detailed information about the Task window, see “Task Window” on page 317. Relink Window The Relink window provides tools and features for relinking sessions and catalogs to media files.
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5 You can type a different number for the new Window Configuration. If the number you type is already used by another Window Configuration, you are prompted to replace it or Cancel. Otherwise, Pro Tools automatically fills in the first available number (1–99) for the Window Configuration. 6 Type any comments for the new Window Configuration. The Pro Tools session’s screen layout updates with the stored Window Configuration.
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After you recall a stored Window Configuration, you can make changes to the window layout and window settings, and then update the stored Window Configuration with your changes. You can do this manually, or you can have Pro Tools automatically update the active configuration. Window Configurations that do not include Window Layout and only store Window Display Settings cannot be made active and thus won't automatically update.
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Importing Window Configurations Hiding All Floating Windows You can import Window Configurations from another session using Import Session Data. The Hide All Floating Windows command hides or shows all floating windows. This is useful for quickly clearing the screen of all floating windows so that you can work in the Edit or Mix windows. To import Window Configurations: 1 Choose File > Import > Session Data. 2 Select the Window Configurations option.
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How Windows Configuration Works A Window Configuration can store the location and size of all open windows, including: • Edit window • Mix window • Targeted MIDI Editor window • Score Editor window • Workspace browser • Project browser • DigiBase browsers • Session Setup window The location and size of the Window Configuration List is not stored with Window Configurations.
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Window Configuration Properties Window Configurations can be stored and recalled with the layout of windows in your Pro Tools session, as well as with the settings for the Edit, Mix, and Transport windows. You can specify which of these properties are stored for each Window Configuration either in the New Window Configuration dialog or the Edit Window Configuration dialog. figuration (such as whether or not the Region List is shown in the Edit window).
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Window Configuration Commands and Options There are three main types of Window Configuration commands and options • View Filter icons • Window Configuration List pop-up menu items To show or hide Window Configurations in the Window Configuration List, do one of the following: Click the View Filter icon to show or hide Window Configurations that include that property (Window Layout, Edit Window Settings, Mix Window Settings, Score Editor Window Settings, MIDI Editor Window Settings, or Transport Window Se
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Update Updates the selected Window Configuration with any changes to the layout and settings of windows depending on the Window Configuration’s properties. This command is also available from Window > Configurations. Edit Opens the Edit Window Configuration dialog where you can edit the properties of the selected Window Configuration. Clear Clears the selected Window Configuration without deleting the slot (number).
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Menus Pro Tools menus provide commands and options for configuring and working with Pro Tools, sessions, and session material. For detailed information on Pro Tools main menus and Region List menus, see the Menus Guide. Pro Tools Main Menus Pro Tools includes the following main menus: File Provides commands that are used to create and maintain Pro Tools sessions. Edit Provides commands that are used to edit and manipulate the current selection and affect data in the Timeline or the clipboard.
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Region List Menu (Edit Window Only) Provides commands to find, select, sort, clear, rename, time stamp, compact, export, and recalculate waveform overviews of items in the Region List. The pop-up menu also lets you set the drop order for regions dragged from the Region List and dropped in the Timeline. For more information, see Chapter 15, “The Region List.
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Chapter 13: Tracks Pro Tools provides different types of tracks for working with audio, MIDI and video in Pro Tools sessions. Track Types In a Pro Tools session, you can have several different types of tracks. These can include audio, Auxiliary Input, Master Fader, VCA Master (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only), MIDI, Instrument, and video tracks.
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MIDI Tracks MIDI tracks record, store, and playback MIDI data. You cannot select a track format when you create a MIDI track, because audio does not pass through it. Instrument Tracks Instrument tracks are a special type of track that provide both MIDI and audio capabilities in a single channel strip. Instrument tracks simplify using software and hardware instruments to record and monitor MIDI instruments.
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Track Channel Strips Auxiliary Input Track Channel Strips Each Auxiliary Input track has its own set of channel strip controls, including volume, pan, automation mode, solo, and mute. (Mix Window) Audio Track Channel Strips Each audio track has its own set of channel strip controls, including volume, pan, record enable, input monitoring (Pro Tools HD only), automation mode, solo, mute, and voice assignment.
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Master Fader Track Channel Strips VCA Master Track Channel Strips Each Master Fader track has its own set of channel strip controls, including volume and automation mode. (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) Inserts (A-E shown) Each VCA Master track has its own set of channel strip controls, including volume, record enable, input monitoring (Pro Tools HD only), automation mode, solo, and mute. For more information, see “VCA Master Tracks” on page 925.
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MIDI Track Channel Strips Each MIDI track has its own set of channel strip controls, including MIDI volume, pan, record enable, automation mode, solo, mute, patch assignment, and channel assignment. Track Color Coding MIDI Input selector MIDI Output selector Automation Mode selector Group ID cord enable. Instrument tracks have an additional Instruments view that provides controls for MIDI input, output, mute, volume, and pan (like on a MIDI track).
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Track Controls and Indicators Auxiliary Input Track Controls Each Auxiliary Input track has its own set of track controls, including Track Name, Solo, Mute, Track View, Track Height, Timebase, and Automation mode. (Edit Window) Audio Track Controls Each audio track has its own set of track controls, including Track Name, Playlist, Record Enable, Input Monitoring (Pro Tools HD only), Solo, Mute, Track View, Track Height, Timebase, Elastic Audio, Voice Assignment, and Automation mode.
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VCA Master Track Controls MIDI Track Controls (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) Each MIDI track has its own set of track controls, including Track Name, Playlist, Record Enable, Solo, Mute, Track View, Track Height, Patch, Timebase, and Automation mode. Each VCA Master track has its own set of track controls, including Track Name, Playlist, Record Enable, Input Monitoring (Pro Tools HD only), Solo, Mute, Track View, Track Height, Timebase, and Automation mode.
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Instrument Track Controls Each Instrument track has its own set of track controls, including Track Name, Playlist, Record Enable, Solo, Mute, Track View, Track Height, Patch, Timebase, and Automation mode.
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Instruments View To show the I/O View in the Edit window: Instruments view provides MIDI controls for Instrument tracks: MIDI Input selector, MIDI Output selector, MIDI Volume, MIDI Pan, and MIDI Mute. For more information, see “Assigning MIDI Input and Output for Instrument Tracks” on page 236.
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Channel Delay Indicator (Pro Tools HD Only) Shows the total delay, in samples, incurred on the track from the use of any TDM plug-ins or hardware inserts on that channel. Pan Indicator The Pan indicator displays the current pan setting of a track. Pan values range from <100 (full left) to 100> (full right). Pan controls are only available for stereo tracks or for mono tracks routed to a stereo output.
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Track Level Meter On audio tracks, level meters indicate the level of the signal being recorded or played back from the hard drive. On Auxiliary Input, Master Fader, and Instrument tracks, level meters indicate the level of the signal being played through the channel output. Green indicates nominal levels; Yellow indicates pre-clipping (–6 dB below full scale); and Red indicates clipping. When an audio track is record-enabled, these meters indicate record levels.
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Wide Meters View Wide Meters view expands the width of the level meters for tracks in both the Mix and Edit windows, to make the track level meters easier to read. Wide Meters view are also available Narrow Mix view. To toggle Wide Meters View on or off: Command-Option-Control-click (Mac) or Control-Alt-Start-click (Windows) any track level meter in the Mix or Edit window. Creating Tracks You can create mono and stereo tracks on all Pro Tools systems.
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To create new tracks: 1 Do one of the following to open the New Tracks dialog: • Choose Track > New. – or – • Right-click any Track Name in the Mix or Edit windows, or Track List, and choose New. Press Control+Shift+N (Windows) or Command+Shift+N (Mac) to open the New Tracks dialog Number of new tracks Track Type Track Format Add/Remove Row Track Timebase New Tracks dialog 2 Select the type of track you want to add from 4 Select the timebase (samples or ticks) from the Track Timebase pop-up menu.
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Default Track Names 2 In the Track Name/Comments dialog, type a new track name. When creating new audio, Auxiliary Input, Master Fader, VCA Master, MIDI, and Instrument tracks, Pro Tools names them as “Audio,” “Aux,” “Master,” “VCA,” “MIDI, or “Inst” accordingly and numbers them consecutively. For example, when you create the first two audio tracks in a new session, their default names are “Audio 1” and “Audio 2.” You can rename tracks and also log comments for each track.
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Track Numbering With Track Number view enabled, each track is assigned a number corresponding to its position in the Mix and Edit Windows. When tracks are reordered, they are renumbered to maintain positional sequence. To select a track: Click the name of an unhighlighted track in its track channel strip. To enable Track Number view: Choose View > Track Number. To navigate directly to any track number: 1 Choose Track > Scroll to Track.
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To deselect all tracks: To delete a track: Option-click (Mac) or Alt-click (Windows) any Track Name button that is highlighted. 1 Click the name of the track in its track chan- Selecting Tracks when Making Edit Selections Pro Tools lets you link Track selection with Edit selections. When Track and Edit selections are linked, you can make a selection within a track or across multiple tracks for editing and each associated track is selected (track names automatically highlight). nel strip to select it.
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4 If duplicating multiple tracks, do one of the following: • If you want all the newly created tracks to follow the last selected source track (to the far-right of the Mix window, and at the bottom of the Edit window), select the Insert after Last Selected Track option. – or – • If you want each newly-created track to be inserted directly after its source track, deselect this option.
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Track Views The Track View determines which data is displayed and edited in the track’s playlist area. Track View data can be set to Playlists, Blocks, Analysis, Warp, Waveform, Volume, Volume Trim, Mute, Pan, Send, or an automated control or continuous controller, based on the track type and your Pro Tools system. Audio Tracks Can be set to Blocks, Playlists, Analysis, Warp, Waveform, Volume, Volume Trim, Mute, Pan, Send controls, or any plug-in controls that are enabled for automation.
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Analysis and Warp Tracks View Notes View (Audio Tracks Only) (MIDI Only) With the Track View set to Analysis or Warp, you can edit Elastic Audio analysis and warp markers on Elastic Audio-enabled tracks. With the Track View set to Notes, you can insert and edit MIDI notes on MIDI and Instrument tracks.
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Setting Track Views To set the Track View: Click the Track View selector for the track and select the view from the pop-up menu. The track displays the new view. If the track is part of an active Edit Group, all tracks in the group are set to the new view.
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Changing Track Views Toggling Common Track Views For audio, Auxiliary Input, MIDI, and Instrument tracks, you can change to the next or previous Track View, or toggle between pre-defined common views. The most common editing view for audio tracks are Waveform and Volume view. The most common editing views for MIDI and Instrument tracks are Notes and Regions view. Pro Tools provides an easy way to toggle these views.
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Master Views for Tracks Audio, MIDI, and Instrument tracks have Track Views that act as “master.” When a track is displayed in its Master view, any edits performed apply to all data in the track. For instance, when an audio track is set to Waveform, copying and pasting affects not just the waveform information, but all of the automation data as well.
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Continuously Variable Track Height In the Edit window, you can continuously resize the Track Height of any given track by dragging the lower boundary of the Track Controls column. To resize the Track Height of any track in the Edit window: Drag the bottom line of any given track’s Track Controls column up or down. The cursor changes to indicate that you can resize the track. The track’s Track Height changes incrementally.
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The Track List The Track List (at the left of both the Mix and Edit windows) shows all tracks in the session. It allows you to show or hide a track in the Mix, Edit, MIDI Editor, and Score Editor windows. Even though a track is hidden, the material on the track will still play as part of the session. Inactive tracks appear in italics in the Track List. The Track List can also be used to create new tracks when importing media from DigiBase. See “Importing Files with Drag and Drop” on page 326.
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The Sort Tracks By command lets you set the track order according to Name, Type, Edit Group, Mix Group, or Voice. The sort order will be reflected in the Track List in the Mix, Edit, MIDI Editor, and Score Editor windows. window, but not in the Score Editor or MIDI Editor windows. Also, hiding a specific track in a MIDI Editor window hides it only in that MIDI Editor window. To hide a track, do one of the following: Click the Track Show/Hide icon in the Track List.
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To show all tracks: Click the Track List menu and choose Show All Tracks. To show or hide a range of tracks in the Track List with the Marquee: 1 Move the cursor to the left of a track name un- til the Marquee with a small “+” symbol appears. You can also show all tracks by Option-clicking (Mac) or Alt-clicking (Windows) the Show/Hide icon of any track that is hidden. To hide all tracks: Click the Track List menu and choose Hide All Tracks.
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Track Numbering and Hidden Tracks In the Mix and Edit windows, Track Position Numbers can include hidden tracks in their numbering sequence, or ignore them, as follows: • Numbers are only assigned to tracks that are shown (when Track Position Numbers Stay with Hidden Tracks is not selected in the Display Preferences page). In this case, active tracks are then numbered sequentially. Hidden tracks are un-numbered.
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Open in Score Editor (MIDI and Instrument Tracks Only) Opens the track in the Score Editor window. Open in MIDI Event List (MIDI and Instrument Tracks Only) Opens the track in the MIDI Event List. Notation Display Track Settings (MIDI and Instrument Tracks Only) Opens the Notation Display Track Settings window for the track. Music notation can only be viewed in the Score Editor or in MIDI Editor windows set to Notation view.
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determined by the Input Path configuration in the I/O Setup. Inputs in use by another track appear bold in the Input Path selector pop-up menu. Instrument tracks automatically assign the audio output from the instrument plug-in inserted on the track to the track audio Input.
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To remove an output assignment: Select No Output from the Output Path selector. Playlists become dimmed for tracks with no output assignment. Assigning an audio track, Auxiliary Input, Master Fader, or Instrument track to “No Output” will cause its automation data for pan and plug-in controls to be lost.
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Assign Existing Track from a Track Output Pro Tools lets you assign the Output of a track to the Input of an existing track using an available internal mix bus. Note that the destination track must be set to either an internal mix bus or to No Input in order to be available for assignment. Renaming Track Inputs and Outputs from the Edit or Mix Window I/O path names can be renamed in the Edit or Mix windows, or in the I/O Setup.
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You can make track inputs and outputs inactive (or active) directly from the Edit or Mix windows. Inactive I/O Paths are grayed out. You can also make a path globally inactive (or active) in the I/O Setup dialog. See “Making Paths Active or Inactive” on page 106. To make a track’s Input or Output Path inactive (or active), do one of the following: In the Edit or Mix window, Right-click the Input selector or Output selector for a track, and choose Make Inactive (or Make Active) from the pop-up menu.
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Track Priority and Voice Assignment Pro Tools|HD systems provide a certain number of voices (simultaneous channels of audio playback and recording), depending on the system. For example, a Pro Tools|HD 1 system can provide up to 96 voices of audio playback and recording, at 44.1 or 48 kHz. For details on Pro Tools system capabilities, see “Playback, Recording, and Voice Limits with Pro Tools HD” on page 44. Pro Tools systems let you play or record up to 96 simultaneous stereo or mono tracks.
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Freeing up Voices on a Track Setting Voice Assignment You can also adjust the relative priority of tracks by freeing up the voices of individual tracks, making them available to other tracks in the session. A track’s voice assignment can be turned off or set to be dynamically allocated, and with Pro Tools HD, can also be explicitly assigned to a specific voice number. To free up the voice of a track, do one of the following: Click the Voice selector of the track and set it to Off.
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To set the voice assignment for a track: Click the Voice selector and set the track to Dyn, Off, or select a voice number (Pro Tools HD only). Voice Assignment with Complete Production Toolkit 2 Complete Production Toolkit 2 lets you play or record up to 192 voices simultaneously at 44.1 or 48 kHz and up to 96 voices at 88.2 or 96 kHz. Each channel of an audio track uses a single voice. For example, you can have up to 192 mono audio tracks or up to 96 stereo audio tracks at 44.1 or 48 kHz.
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When working with more than the maximum number of voiced audio tracks allowed by your system, you can only play back audio from higher-numbered (lower priority) tracks by changing the track priority by doing any of the following: • Make a lower-numbered track inactive (click the Track Name and select Track > Make Inactive). • Set the voice assignment in a lower-numbered track to Off (click the Voice selector and select Off).
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The following example demonstrates the concept of voice borrowing: Assigning MIDI Track Input Pro Tools lets you assign specific MIDI ports and channels to a MIDI track input. The default selection of All receives all incoming MIDI data from all ports on all channels. Use the MIDI Input selector to specify a MIDI port and channel for input. For information on assigning MIDI input to Instrument tracks, see “Assigning MIDI Input and Output for Instrument Tracks” on page 236.
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Assigning MIDI Track Output Pro Tools lets you assign specific MIDI ports and channels to a MIDI track output. The default selection of none sends MIDI data to no port on any channel. Use the MIDI Output selector to specify a MIDI port and channel for output. To assign multiple destinations to a single MIDI track: Control-click (Mac) or Right-click (Mac or Windows) the MIDI Output selector and select additional channels from any device.
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Instrument Track MIDI Input Pro Tools lets you assign specific MIDI ports and channels to an Instrument tracks’ MIDI input. The default selection of All receives all incoming MIDI data from all ports on all channels. Use the MIDI Input selector to specify a MIDI port and channel for input. Soloing and Muting Tracks The Solo and Mute buttons can be engaged at any time during playback. The Solo and Mute buttons affect MIDI as well as audio tracks.
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Solo Button The Solo button normally mutes other tracks so that the selected track can be auditioned independently. With Pro Tools HD, this behavior is selected as a Solo mode, called “Solo In Place.” Additional Solo modes are provided to change how the Solo button works. See “Solo Modes” on page 238. Solo Modes (Pro Tools HD Only) With Pro Tools HD, the Solo button can be used to: • Mute other tracks so that the selected track can be auditioned alone. – or – • Route a selected track to a separate output.
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DSP Usage when Using AFL or PFL Mode AFL and PFL are accomplished by Pro Tools creating a “behind the scenes” mixer to route the signal 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. Un-declaring the AFL/PFL Path will free up all DSP resources previously used for AFL/PFL mode.
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Temporarily Latching Solos in Momentary Solo Mode (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) To temporarily latch solos: 1 Choose Options > Solo Mode > Momentary. 2 Press and hold the Solo button on the first track that will be soloed. 3 While still holding the first Solo button, press additional Solo buttons. Solo buttons will remain soloed as long as one Solo button is held. Mute Button The Mute button silences a chosen track. More than one track can be muted at one time.
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MIDI Mute The Mute button on a MIDI track mutes MIDI data, not audio. Muting MIDI results in no MIDI data being passed to the MIDI output. On Instrument tracks, the track’s Mute button mutes the audio signal and the MIDI Mute button is only available in Instruments view. To make one or more tracks inactive or active, do one of the following: Select the track and select Track > Make Inactive/Active.
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Group List Track colors are displayed in vertical color bars that appear to the left of each Group Name. Default colors are automatically assigned to tracks, but you can override those colors by choosing from a color palette of 96 possible colors. For more information, see “Color Palette” on page 243. MIDI Note Color Shows Velocity When this option is enabled, MIDI notes display varying shades of the assigned track color in MIDI notes view in the Edit window and in MIDI Editor windows.
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Default Region Color Coding Color Palette The Default Region Color Coding options determine how colors are assigned to the display of tracks, regions in the track playlist and Region List, and Marker Locations. The Color Palette lets you make color selections for tracks, regions, groups and markers. Apply to Selected None Apply to Channel Strip Default Saturation Brightness None Turns off default color assignment for regions.
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3 Select a color from the palette, or select one of 4 To turn off Hold and return the Color Palette to the following: its default mode, click the Hold button until it turns off. Default Removes any custom coloring and restores the color to the default color orientation. See “Display Page Preferences for Color Coding” on page 242 for more information. None Turns off color assignment. Affected regions are drawn with black waveform or MIDI notes on light gray background.
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Chapter 14: Grouping Tracks Pro Tools provides a relative grouping function for linking tracks and their controls. Grouping Tracks Groups are useful for editing several tracks in exactly the same way, or for mixing several tracks (such as a pair of stereo tracks or a submix) while keeping them at the same relative volume level. Pro Tools provides the following grouping features: • Up to 104 different groups are available, arranged in 4 banks of 26 Group IDs.
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In Pro Tools HD and Pro Tools with Complete Production Toolkit 2, when the Main Pan attribute is enabled for groups, grouped behavior applies to the Link, Front inverse, Rear inverse and Front/Rear inverse controls in stereo and multichannel panner windows.
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Mix Groups and VCA Masters Group List menu (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) An existing Mix Group can be assigned to a VCA Master, or a new Mix Group can be assigned to a VCA Master while it is being created. Only one group can be assigned to a VCA Master at a time. A VCA Master cannot control a group that includes itself.
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Group Symbols To the left of each Group ID (“a” through “z”) is a symbol indicating whether that group is selected in the current window (either the Mix or Edit window). There are three types of Group symbols, as shown in the following figure: Modify Groups Opens Group dialog to modify existing groups only. Delete Active Groups Deletes only currently active groups.
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Show All Tracks Shows all tracks in the session. Group Dialog in Pro Tools HD and Pro Tools with Complete Production Toolkit 2 In Pro Tools HD and Pro Tools with Complete Production Toolkit 2, the Group dialog has three pages: Tracks Lets you add and remove tracks from the current group. Group Name pop-up menu Attributes Lets you select which parameters are linked for the current Mix or Mix/Edit Group.
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Group Dialog in Pro Tools In Pro Tools, the Group dialog has a single page. 2 Do one of the following: • Choose Track > Group. – or – • Choose New Group from the Group List menu. 3 Type a name for the group. 4 Select the type of group to create: Edit, Mix, or Mix/Edit. Selecting a Group Type 5 Choose a Group ID from the ID pop-up menu. Group dialog (Pro Tools) Four banks of 26 are available: a–z, 2a–z, 3a–z, 4a–z.
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6 Click Tracks in the Group dialog, and do any 7 If the group is a Mix Group or a Mix/Edit of the following: Group, do the following: • To add the tracks that are currently selected in the session to the group, click the Add button at the bottom of the Group dialog. • To add tracks to the group, select the track names in the Available track list, and click Add or press A on the computer keyboard. • Set the Attributes for the Group (see “Setting Group Attributes” on page 254).
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6 Do any of the following: • To add the tracks that are currently selected in the session to the group, click the Add button at the bottom of the Group dialog. • To add tracks to the group, select the track names in the Available track list, and click Add or press A on the computer keyboard. • To remove tracks from the group, select the track names in the Currently In Group list, and click Remove or press R on the computer keyboard.
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To modify the settings for the “All” group in Pro Tools HD and Pro Tools with Complete Production Toolkit 2: 1 Right-click the “All” group name in the Group List and choose Modify from the pop-up menu. 2 In the Group dialog, select Edit, Mix, or Mix/Edit to change the settings for the “All” group. If you select Edit only or Mix only, the “All” group will apply only to that Group type.
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To delete all currently active groups Choose Delete Active Groups from the Group List menu. Setting Group Attributes (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) The “All” group cannot be deleted. 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.
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2 Select the base set of attributes for groups in 2 Click OK to save the settings. your session. 3 Click OK to save the group and the new Globals settings. For information on selecting attributes, see “Selecting Group Attributes” on page 256. To select attributes for an individual group: 1 While creating or modifying a Mix Group or a Mix/Edit Group, do one of the following: • Click Attributes in the Group dialog, and select the attributes you want to link.
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Selecting Group Attributes The following attributes can be selected for Global settings and for individual groups. Track controls: To select or deselect attributes for a single control across all Sends, all Inserts, or for the four track controls (down a column), Alt-click (Windows) or Option-click (Mac) any attribute in that column.
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To recall a Group preset: Keyboard Selection of Groups Click the corresponding Preset button (1–6) in the Groups dialog. (Follow Globals must be unchecked to recall a setting in the Attributes page.) The Group List Keyboard Focus lets you type a Group ID letter to automatically toggle that group’s enable status. In the Mix window, the Group List Keyboard Focus is always enabled. In the Edit window, you need to enable the Group List Keyboard Focus to use it.
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Temporarily Isolating Control of an Item from Group Operation Grouped Control Offsets You can temporarily isolate control of a group item from group operation by Right-clicking on the item. When the following controls are grouped with offsets and moved to their extremes, relative offsets are preserved when the controls are moved back from their extremes: You can also temporarily suspend group behavior for a track by Control-clicking (Mac) or Start-clicking (Windows) a group function.
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Chapter 15: The Region List The Edit Window displays all audio regions, MIDI regions, and region groups in a single, comprehensive Region List. All regions of all types that are recorded, imported, or created by editing appear in the Region List. Items can be dragged from the list to tracks and arranged in any order. You can also preview audio and MIDI regions and region groups in the Region List. Because region information can become lengthy, the Region List can be scrolled or resized as necessary.
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Region List Menu Audio Shows or hides audio regions in the Region List. The Region List menu provides tools to search, select, sort, export, clear, and manage items in the Region List. MIDI Shows or hides MIDI regions in the Region List. To access the Region List menu: Video Shows or hides video regions in the Region List. In the Edit window, click the Region List menu. Groups Shows or hides region groups in the Region List.
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Displaying File Info for Audio Regions In addition to region names, the Region List can also display information about the region’s color coding, type (audio, MIDI, and region group), timebase, Elastic Audio processing, and parent file: Color Displays Track Color Coding as assigned with Default Region Color Coding option in Display Preferences page, or as assigned in the Color Palette. Icon Displays the icon for audio and MIDI regions, and region groups.
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Sort By Options Finding Regions The Sort By options let you sort regions to help keep track of large numbers of regions. Use the Find command to display all regions in a list whose names contain a particular word or phrase. Audio regions can be sorted by: • Region Type • Name • Length • Original Time Stamp • User Time Stamp • Timebase • Start in Parent To find and display regions in the Region List: 1 Do one of the following: • Click the Region List menu and choose Find.
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2 In the Find Regions dialog, do any of the fol- lowing: • Select By Name and type the name, or any portion of the name, for regions you want to find. The search string appears at the top of the Region List. To repeat a previous search: 1 Click the Region List menu, and choose Find. 2 Click the small arrow to the right of the text field in the Find dialog and select a text string from the Find History pop-up menu. • Select Include Subsequently Added Regions to limit the display to newly added regions.
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To compile a Find History without performing each search: 1 Click the Region List menu, and choose Find. 2 Type the name, or any portion of the name, for the regions you want to find. 3 Click and hold the double arrow to the right of the text field in the Find dialog and choose Insert Entry from the pop-up menu. Selecting Regions in the Region List In the Region List, you can select regions so they can be dragged to tracks, processed with AudioSuite plug-ins, or exported.
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To select or deselect a range of regions with the Marquee: 1 Move the cursor to the left of the region name To enable and use the Region List Keyboard Focus: 1 Click the Keyboard Focus button in the upper right of the Region List. until the Marquee icon with a small “+” symbol appears: • To select regions, the Marquee should be to the left of an unhighlighted region name. • To deselect regions, the Marquee should be to the left of a highlighted region name.
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Unused Except Whole Files Selects regions that have not been placed in a track in the current session, but do not include Whole-file regions. Whole-file regions are regions that were created when recording or importing audio, consolidating existing regions, and when nondestructively processing with an AudioSuite plug-in. Wholefile audio regions reference an entire audio file that resides on your hard drive.
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To audition through all channels of the main audition path: Shift-Option-click (Mac) or Shift-Alt-click (Windows) on the signal in the Region List. Stereo and Multichannel Regions in the Region List Stereo and multichannel regions, whether imported or recorded into Pro Tools, are displayed as single items in the Region List. For example, two mono source regions named “Main Piano.L” and “Main Piano.R” are listed as “Main Piano (Stereo).
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You can also rename a region in a track using the Rename command in the Region List menu or the Right-click menu. To rename one or more regions from the Region List: 1 If you will be renaming an auto-created re- gion, select Show > Auto-Created from the Region List menu. 2 Select one or more regions to be renamed in the Region List. Auto-Naming Options You can specify the auto-naming options for a region when new regions are created from it in the course of editing.
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Managing Regions in the Region List In the course of editing a session, the Region List can quickly fill up with many regions—with ones you have created intentionally and also with those that are automatically created by cutting, pasting, and separating other regions, or importing Region Group files (or REX files as region groups). Pro Tools lets you hide or remove regions in your session so you do not have to scroll through a long Region List.
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3 In the Clear Audio dialog, do one of the fol- lowing: • Click Remove to remove the unused regions from the session. – or – • If clearing a whole-file audio region and you want to permanently remove the audio file from your hard drive, click Delete. Region Name Right-Click Commands When you Right-click a region name in the Region List, a pop-up menu provides access to the following commands: Clear Removes selected regions from the session. Rename Renames selected regions.
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Chapter 16: DigiBase DigiBase combines an intuitive, browser-style interface with an integrated databasing engine, optimized for Pro Tools data and media management. DigiBase browsers provide extensive databasing tools for searching, sorting, auditioning, and importing of audio, MIDI, video, plug-in settings (.txf), and session files. Multiple browsers can be displayed and arranged, with custom display settings provided to optimize your work environment.
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DigiBase Browsers DigiBase databases are accessed through DigiBase browsers. Browsers provide an intuitive user interface to DigiBase databases with many convenient features for various file management tasks (such as search and sort functions). Browsers in Pro Tools are analogous to windows in your computer’s operating system, but are specifically designed for Pro Tools workflow. Multiple browsers can be displayed simultaneously, and arranged independently with custom display settings for each.
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Catalogs Catalogs provide the highest level of Pro Tools file management. Catalogs make it easy to organize files from multiple sources into libraries of favorite files. Catalogs can be sorted and searched, even when the files they reference are offline. Catalogs can also be shared. Using Catalogs, you can: • Collect and organize files from any combination of volumes. • Create catalogs of complete volumes to view and search even if a volume is offline.
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Digidesign Databases The information displayed in browsers is stored in individual databases. Pro Tools creates these databases automatically for all mounted volumes, including Transfer volumes, on your system drive. Digidesign databases use three file types: volume.ddb Stores media and session file metadata for a particular volume. catalog.ddb Stores media and session file metadata for a user defined Catalog. Cataloged media and session files are can reside on multiple volumes, including Transfer volumes.
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Browser Windows and Tools Browsers display all files in their database, including Pro Tools and non-Pro Tools files. Unknown file types can be shown, as well as aliases, and desktop folders.
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Columns Identifies the type of metadata displayed in the items list (such as file name and format) for volumes, folders, and files in the Items List. 1 Open the Workspace browser (Window > Work- space). • Columns can be resized by dragging the column border, or rearranged by dragging the Column headers. 2 Click the Expand/Collapse icon next to the • Columns can be dragged to either of two available panes, the Fixed or Scrolling panes. 3 Double-click a Catalog.
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Moving Browsers to the Foreground or Background Working wIth Items in Browsers To bring all open browsers to the foreground: Choose Window > Browsers > Bring to Front. To bring all browsers to the foreground, press Option+J (Mac) or Alt+J (Windows). To send all browsers to the background: Choose Window > Browsers > Send to Back. To send all browsers to the background, press Option+Shift+J (Mac) or Alt+Shift+J (Windows).
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Creating and Opening Browser Folders Scrolling and Moving Selections To scroll the active pane up or down: Browsers let you create and manipulate folders (file system sub-directories). All folders have Expand/Collapse icons to show their contents. Dragging items onto a folder icon is the same as dragging into an open browser. Press the Page Up or Page Down key. To scroll to the top or bottom of the active pane: Press Home (for the top) or End (for the bottom).
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If a volume or folder has not been indexed, it is indexed automatically the first time it is opened in a DigiBase browser. Volumes or folders containing a lot of media files can take a long time to index. For this reason, you may want to manually index specific volumes or files prior to starting a project to help expedite workflow. Manual Indexing Manual indexing fills in all missing data, and updates changed data for selected folders and all of their sub-folders.
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The Browser Menu All Browser windows provide a Browser menu in the upper right corner of their toolbar. The Browser menu provides commands specific to each type of browser, as described below. Calculate Elastic Analysis Calculates Elastic Audio analysis data for all selected audio files. Analyzed files are indicated by a check mark to the left of the file name.
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Relink Selected Opens the Relink window, with all selected files from the current browser displayed and selected as Files to Match. Available in Catalogs and Project browsers only. Copy and Relink Copies items currently selected in the Project browser to a chosen location, and relinks the session to the copies instead of the originals. Use this to easily move files from a Transfer to a Performance volume. This command is also available in Catalogs to copy items and relink the current Catalog to the copies.
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Additional DigiBase Commands in Catalogs In Catalogs, the following additional commands are available to manage Comments in selected items. To move columns between panes: Drag the column header to a different pane. To show or hide the right-hand pane: Click the Show/Hide icon in the lower right corner of the lefthand pane. For more information on Comments, see “Comments Fields” on page 286. Copy Database Comments to Clip Names Copies an item’s Database comments to its Clip Name.
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To show or hide individual columns: To store a View Preset: Control-click (Mac), Start-click (Windows), or Right-click a column label and select or deselect the column name from the pop-up menu. 1 Open a browser, or the Relink window. 2 Arrange columns and views. 3 Command-click (Mac) or Control-click (Win- dows) one of the five View Preset buttons.
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To add a secondary sort: Option-click (Mac) or Alt-click (Windows) the column title for the secondary sort criteria. Primary Sort Secondary Sort Name Displays the name of the file, folder, volume, catalog, or session. This text field is editable in all browsers except Catalogs. A Designates volumes for audio R (Record and Playback), P (Playback only), or T (Transfer). Available in the Workspace browser only. V Designates volumes as video R (Record and Playback), P (Playback only), or T (Transfer).
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File Comment Displays any embedded comments associated with the file. File comments are supported with BWF and SD II files, but are not supported with AIFF files. File Comments always remain with the file when copied, converted, or transferred. See “Comments Fields” on page 286 for more information. When importing SD II files into Pro Tools 8.0.3 sessions or higher, they must be converted to a supported session file format (.WAV or .AIF).
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Scene Displays scene number data embedded in audio files. Plug-In Name Displays the name of the plug-in for Plug-In Settings files (.txf). Take Displays take number data embedded in audio files. Plug-In Manufacturer Name Displays the plug-in manufacturer’s name for Plug-In Settings files (.txf). Shoot Date Displays origination date and time information embedded in audio files.
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Database Comments To select multiple items: (Catalogs and Project Browsers Only) Marquee-select a group of items, or Shift-click additional items. Command-click (Mac) or Control-click (Windows) to select multiple noncontinuous items. Database Comments in a Catalog are stored in the Catalog database. Database comments in the Project browser are stored in the Session. Database Comments, which can be up to 256 characters in length, are searchable, cross-platform, and editable.
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Moving Items To move items: Select one or more items and drag them to a new location. Moving to a new location on the same volume moves the item, while moving to a different volume copies the item. You can drag items directly into the Timeline or Region List of the current session. See “Importing Files with Drag and Drop” on page 326. Deleting Items and Folders You can select and delete files and folders in all browsers. If a selected item resides on a readonly volume, it cannot be deleted.
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Deleting Catalog Items When you delete a folder or item from a Catalog, Pro Tools lets you choose whether to delete only the alias from the Catalog, or also delete the original files from the disk. To delete an item from a Catalog. 1 Open a Catalog and select one or more items. 2 Do one of the following: • Press Delete. – or – • Choose Delete Selected from the Browser menu. 3 When prompted, do one of the following: • To remove the aliases for the selected items from the Catalog, click Aliases.
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• Search in Quick or Advanced Search mode. Quick mode assumes (fills in) wildcard characters for faster data entry while searching. Advanced Search mode lets you specify wildcard characters for more precise searching. See “Search Modes” on page 292 for more information. • Type text into the File Name field to search by name, or type a date, or select a kind from the Kind pop-up menu. See “Entering Data for Searches” on page 291 for more information. – or – • Choose additional search criteria as needed.
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Entering Data for Searches Field Formats and Searching The following describe the types of data formats available (not all search fields are available on all systems). Text Fields Allow direct entry of text. By default, the field is empty. Pull-Down Menus Provide options for certain fields. For example, the Bit Depth pull-down provides choices for Any, 16-bit, or 24-bit. Date and Time Accepts date and time entries in a variety of formats.
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AND Searches If you enter two or more words in a text field, Pro Tools finds files that contain all of those words. For example, if you type Dog Bark, only files that contain both the words Dog and Bark are found. To enable Advanced Search mode: Click to enable the Advanced Search mode option. Quotations Marks for Text Strings Text enclosed in quotation marks is searched as one text string.
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Saving Search Results as a Catalog To save the results of your search as a Catalog: 1 Choose Edit > Select All, or press Command+A (Mac) or Control+A (Windows), to select all items in the Items List. 2 From the Browser menu, choose Create The waveform overview is stored in the file, or in the Digidesign Databases folder on your system drive. For more information, see “WaveCache” on page 293. Summed Waveforms for Multichannel Files Waveform displays for stereo and multichannel files are summed. Catalog.
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Elastic Audio Analysis You can both calculate and clear Elastic Audio analysis for selected audio files in DigiBase browsers. Only AIFF and WAV files are supported for Elastic Audio analysis and processing. Any other file format (such as MP3) must be converted to AIFF or WAV for Elastic Audio analysis and processing.
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File Timebase and Elastic Audio Analysis Icons DigiBase browsers provide three icons to indicate whether a file has Elastic Audio analysis and the file’s timebase. Elastic Audio Analysis icon Tick-based file icon Sample-based file icon Previewing Audio in DigiBase Audio files can be previewed in DigiBase browsers. Previewing follows the master Audition path as selected in the Output pane of the I/O Setup (see “Audition Paths” on page 91).
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Interleaved Files When previewed in DigiBase, interleaved audio files with more than two channels are summed to mono for auditioning. Multi-Mono Files Multi-mono files must be previewed one file at a time. Preview Controls and Indicators Every DigiBase browser provides the following preview controls in the Toolbar: Preview, Volume, Meters, Audio Files Conform to Session Tempo, and Elastic Audio Plug-In.
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To change the volume for previewing in DigiBase browsers: 1 Click the Volume field to display the Volume fader. 2 Adjust the Volume fader (from –INF to +12 dB). When the Audio Files Conform to Session Tempo button is enabled, Pro Tools analyzes any un-analyzed files on preview or import. Tick-based audio files conform to the session tempo during preview and on import. Samplebased files, those where no tempo has been detected, always preview and import at their original speed and duration.
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Loop Preview To stop loop audition: Loop Preview plays the selected file by looping playback of the file. If multiple files are selected, only the first selected file previews. When Loop Preview mode is enabled, the Preview button updates to show a Loop Preview Mode icon. • Click the Browser Preview button again. • If Spacebar Toggles File Preview is selected in the Browser menu, press the Spacebar again. • Press Command+P (Mac) or Control+P (Windows).
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Conforming Preview to the Session Tempo Pro Tools lets you preview Elastic Audio analyzed files at the session tempo. The selected default Elastic Audio plug-in is used for previewing Elastic Audio analyzed audio files at the session tempo. Additionally, other tick-based files, such as REX and ACID files, can also be previewed at the session tempo and in time with playback.
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To reserve for voices for preview in context: 1 Choose Setup > Preferences. 2 Select the Operation tab. 3 Enable the Reserve Voices For Preview In Context option. 4 Click OK to close the Preferences dialog. Linking and Relinking Files A Pro Tools session is made up of references, or links, to audio files and other session media. Audio and video files must be stored on suitable Performance volumes and be properly linked in order to be playable in the session.
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Opening a Session with Transfer Files If a session finds files on a volume unsuitable for playback, a dialog appears prompting you to copy them to a suitable volume. To copy items to a new location and Relink to the copies: 1 Do one of the following: • Choose Window > Project. – or – • Open the appropriate Catalog. To copy Transfer files found when opening a session, do one of the following: Click Yes to open the Copy and Relink dialog.
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Manually Find and Relink This option opens the Relink window. Use the Relink window to search, compare, verify, and relink missing files. Files can be relinked one at a time or in batches. See “Relink Window” on page 303 for more information. Missing files warning when opening a session 2 Select one of the following: • Skip All—or press Command+S (Mac) or Control+S (Windows). • Manually Find Relink—or press Command+M (Mac) or Control+M (Windows).
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Regenerate Missing Fades Without Searching To relink missing (offline) files in an open session: Enable this option to exclude fades files from the relinking process (fades are recalculated instead). This option is available when Automatically Find and Relink or Manually Find and Relink is enabled. 1 Choose Window > Project. Regenerate Missing Rendered Files Without Searching Enable this option to exclude rendered Elastic Audio files from the relinking process (rendered files are recalculated instead).
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Menu and Toolbar Includes the Relink menu, View Presets, and relinking buttons. Status is displayed at the far right. Areas to Search Selects volumes on which to search for missing items. Files to Relink Lists missing files. Candidates Lists files that match the “relinking criteria” for a particular missing file. The Link icon next to the candidate can be toggled on or off to link (or unlink) the proposed candidate to the selected missing file. The Relink window controls each phase of the relinking process.
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2 Click each item’s Search column to toggle it to be included or excluded in the search. A check next to an item indicates it will be included in the search. All folders within items are also checked. Single and Multi-File Relinking The Relink window can be used to relink one missing file at a time, or to relink missing files in batches. Relinking Individual Missing Files In some situations, individual files must be relinked one at a time in order to relink the session to the correct file.
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Relinking Multiple Missing Files Using the Find Links button, multiple files can be matched and linked in one procedure. To relink multiple missing files: 1 Configure Areas to Search. (See “Selecting Ar- eas to Search” on page 304.) 2 Select one or more items in the Files to Relink list. The Find Links button becomes available. 3 Click Find Links. 4 Configure criteria for relinking, if necessary, in Link Path column shows the location of the selected candidate.
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Committing Links There is no Undo for relinking. Once a file has been relinked and the session saved, the session always remembers the new link (the original link is forgotten). For this reason, no files are actually relinked until you click Commit Links. The Automatically Find and Relink option is the only relinking process that does not ask you to verify links before they are committed.
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Workspace Browser The Workspace browser is your starting point for managing media. The Workspace browser is always available while Pro Tools is running, even if no session is open.
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Audio and Video Volume Designators Mounting and Unmounting Volumes The Workspace includes columns for Audio and Video Volume designators. These two columns display, and let you designate, whether a volume is a Record, Playback, or Transfer volume. The Workspace browser lets you unmount volumes while Pro Tools is running, and shows newly mounted volumes as they come online. R (Record and Playback) Able to play audio and video files already on the volume, and record new files.
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Catalogs in the Workspace Browser The Workspace browser provides special tools for creating and accessing Catalogs. Once Catalogs have been created, they appear in the Workspace browser in the Catalogs folder. in the search, and which to exclude. The Workspace also provides a separate Search Results pane to view, select and manage the results of searches. Search pane To show all Catalogs: 1 Open the Workspace browser. Areas to search 2 Click the Expand/Collapse icon next to the Catalogs folder.
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Project Browser The Project browser displays and manages all the files related to the current session, regardless of what volume they reside on. Browser menu and toolbar Folders and files Figure 1. Project browser The Project browser is similar to the Region List in that it contains all files associated with a session, with the added data, searching, and sorting capabilities of Pro Tools browsers.
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Video Files Folder Contains any video files referenced by the session. Each of the folder types in the Project browser has an Expand/Collapse icon. Clicking the icon shows or hides all of the files in the sub-group. The folders displayed in the Project browser are session-specific groupings of files, not physical folders on disk.
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Catalogs While Volume browsers are designed to be an accurate representation of the file structure on a given volume, Catalogs are similar to having a Favorites folder, and serve as a way to collect and organize frequently used items regardless of where they are stored. A Catalog is analogous to a folder full of aliases or shortcuts. Placing a file in a Catalog does not create a copy of the file, and does not change where the file is stored.
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Clip Names in Catalogs Clip Names are the names that appear in the Timeline and Region List when a file is imported into a session. For most files, the Clip name is the same as the file name. For OMF Files, the Clip Name is the name that appears in the Avid bin. Clip names can only be edited in a Catalog. Editing the Clip name does not affect the actual file; however, if you add the same file to a new Catalog, it retains its original Clip Name.
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Pro Tools first indexes the folder, then a fully indexed Catalog is created, with the same name as the dropped folder. Renaming a Catalog Catalogs can be renamed at any time. To rename a Catalog: 3 In the warning dialog, do one of the follow- ing: • Click Cancel to cancel the delete operation. • Click Delete Files to delete aliases and associated files from disk. • Click Delete Aliases to delete only the aliases and not the associated files. This operation cannot be undone.
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Relinking Catalog Items Importing Offline Items from a Catalog If files are ever missing from a Catalog, use the Relink window to locate, copy, and relink files. For more information, see “Linking and Relinking Files” on page 300. With Catalogs, it is possible to search and import files that are offline.
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If the volume is unsuitable for playback, you are informed that some items must be copied to suitable volumes first. For more information on Transfer files, missing files, and relinking, see “Relink Window” on page 303. Task Window For maximum performance and flexibility with file management tasks, Pro Tools provides the Task window. File management with Pro Tools involves nearly constant creating, copying, converting, processing, searching, and indexing files.
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To toggle between maximized and minimized views: Click the View Toggle icon in the top of the Task window. Any task that fails to complete successfully is moved to the Paused Tasks pane (see below). The Status column displays a description of the failure. Paused Tasks Pane Task window, minimum view Task Window Tools, Columns, and Displays The Task window menu provides commands for Task window operations.
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To cancel a task: About Failed Tasks 1 Highlight any task in either pane of the Task The Paused Tasks pane shows any tasks that could not be completed. The reason for the failure is shown in the Status column. window. 2 Press Delete to remove it from the Task win- dow. To cancel all tasks: 1 Select any single task in either pane. 2 Press Command+A (Mac) Control+A (Win- dows) to select all the tasks in that pane. 3 Press Delete. This command cannot be undone.
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Stored Tasks Any task that imports files into a session is stored with a session when it is closed, and resumes when the session is re-opened. For example, if you Import Session Data with Copy From Source Media selected, then Save and Close the session before the copy completes, the copy tasks resume when the session is reopened. Grouped Tasks Some tasks consist of many smaller tasks. For instance, Copy and Relink may require hundreds of individual files to be copied.
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Chapter 17: Importing and Exporting Session Data Pro Tools lets you import and export a variety of data into and out of a session, including audio and MIDI files, region groups, video files, track playlists, I/O configurations, and signal routing configurations. You can import individual audio and MIDI files into a session, or import entire audio or MIDI tracks, along with all of their attributes, from another session.
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Exporting Pro Tools lets you export audio, video, MIDI, region groups, and session data by: • Using the Send Via DigiDelivery command • Using the Export to Sibelius or Send to Sibelius command (MIDI only) • Using the File menu Export commands: • Selected Tracks as New AAF/OMF • MIDI • Score • Session Info As Text • Using the Tracks Right-click menu: • Send To Sibelius command (Score Editor only) • Export MIDI command • Using the Region List menu: • Export Region Definitions command • Export Regions as Files
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Supported Audio File Formats Audio files of the following types can be imported (and, if necessary, converted) into Pro Tools sessions: • AIFF • WAV or BWF (.WAV) • SD II Rate Conversion Quality setting is local to that specific dialog. The Sample Rate Conversion Quality preference only applies to conversion on import by drag and drop. To set the sample rate conversion quality for importing audio by drag and drop: • SD I 1 Choose Setup > Preferences and click the Processing tab.
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Importing Interleaved Files When using the Import Audio command, interleaved stereo files are automatically imported to stereo tracks. Split stereo (dual mono) audio files can be automatically imported to stereo tracks. Split stereo audio files must have the channel identifiers “.L” and “.R” in their names (for example, filename.L and filename.R), and the files must be the same length. In Windows, or in Mac/PC Compatibility mode, these files will have a 3-letter file extension appended after the “.L” or “.
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Drag and Drop From Desktop Conforms to Session Tempo The Drag and Drop From Desktop Conforms to Session Tempo options determine whether or not REX, ACID, and all other audio file formats dragged and dropped from Windows Explorer or Mac Finder are imported as tick-based Elastic Audio and conformed to the session tempo. None When enabled, all audio files, including REX and ACID files, are not conformed to the session tempo when imported by drag and drop from Windows Explorer or the Mac Finder.
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The Elastic Properties window inherits the Default Input Gain preference. To apply further region-based Input Gain for Elastic Audio processing, select the region and adjust the Input Gain setting in the Elastic Properties window (see “Elastic Properties Window” on page 880). only applied to imported REX files if the Import REX Files as Region Groups option and the Automatically Create Fades option are both enabled on the Processing Preferences page.
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Workspace Volumes Catalogs Drop media or session files to existing tracks, or to the Track List to add as new tracks Drop files in the Region List to import Importing from browsers by drag and drop To import files into the Region List: Importing does not always convert or copy audio files. See “Audio Conversion on Import” on page 322. Importing using drag and drop does not necessarily bring the Edit window to the foreground.
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To import files as new tracks: 1 Select the files you want to import in a Di- giBase browser, or Windows Explorer, or Mac Finder. 2 Do any of the following: • Shift-drag files and drop anywhere in the Edit window. • Drop files to the Track List. • Drop files to empty space in the Edit window, below or between tracks. To import and spot files into a track: 1 Enable Spot mode. 2 Select the files you want to import in a Di- giBase browser, or Windows Explorer, or Mac Finder.
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Elastic Audio on Import When importing any audio file by drag and drop to an Elastic Audio-enabled track, the audio file is imported and analyzed (if not already analyzed). If the imported audio file is tickbased, it is conformed to tempo using the track’s Elastic Audio plug-in. If it is a sample-based audio file, such as a single drum hit or short sound effect, it maintains its original duration. Longer audio files with no detectable tempo also remain sample-based.
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You can choose to display only a certain file type (such as AIFF) by selecting the type from the Show pop-up menu. To display all supported file types, select All Documents from the Show pop-up menu. Adjust the preview volume with the vertical slider. To navigate to a particular location in the file, use the horizontal slider under the Play and Stop buttons. The Preview Volume control in the Import Audio dialog also affects the preview volume when auditioning regions in the Region List.
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6 Click Done. 7 If you are copying or converting files, choose a location for the new files. Choose a folder on a valid audio drive, such as the Audio Files folder for the current session. Spot Displays the Spot dialog, which lets you spot the file or region to a precise location based on any of the Time Scales. 10 Click OK.
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Importing ACID and REX Files ACID files and REX 1 and 2 files are converted to the session audio file type. Depending on the preferences settings, ACID and REX files can be imported as sample-based regions or as tickbased Elastic Audio regions. For REX files only, Pro Tools uses any slice data to create Event markers with 100% confidence. ACID files are analyzed for Elastic Audio events just like WAV files, and so events are detected with varying degrees of confidence.
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6 Do one of the following: • Import the REX files you want by drag and drop from a DigiBase browser • Import the REX files you want by drag and drop from the Desktop. • Use the Import Audio command (see “Importing Audio Files and Regions Using the Import Audio Command” on page 329).
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Exporting Audio Pro Tools supports exporting audio regions as audio files, exporting left and right audio files as stereo interleaved files, and exporting region information. You can also export audio from Pro Tools by bouncing or consolidating audio tracks. For more information, see “Bounce to Disk” on page 1062 and “Consolidating Regions” on page 592. Exporting a Region as a New Audio File You can export regions as audio files with the Export Regions as Files command.
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The Dither used for any conversion is the DigiRack Dither plug-in (with or without Noise Shaping enabled. For more information about using Dither, see “Dither” on page 963. 4 If you are exporting to an 8-bit file, enable the Use Squeezer option. This optimizes the dynamics of the exported audio by preprocessing it using compression, limiting, and gating before conversion to 8-bit resolution (for more information, see “Use Squeezer” on page 1068).
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To export region definitions for an audio file: 4 In the Source section, select tracks to import 1 In the Region List, select any regions or region by clicking the pop-up menu to the right of each track name and selecting New Track. groups for which you want to export definitions. You do not have to select the parent file audio region. 2 Choose Export Region Definitions from the Re- To select multiple tracks, Alt-click (Windows) or Opt-click (Mac) on any track popup menu and select Import As New Track.
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13 To import Markers and Memory Locations from the source session, select the Import Marker/Memory Locations option. 14 To import Window Configurations, select the Import Window Configurations option. 15 With Pro Tools HD, select the Import Mic Pre Settings option to import any Mic Pre settings from the source session. 16 Click OK when you are finished. 17 If you chose to copy or consolidate media, choose a location to place the media files.
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Copying During Import If no conversion is necessary, and the files reside on a suitable Performance volume, Pro Tools references the original version of the media. You can also choose to copy media while importing by using key commands, or enabling the Automatically Copy Files on Import preference. Copies are created in the session’s Audio Files Folder.
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Text Encoding Pro Tools allows entry and display of any language characters supported in Unicode anywhere in the Pro Tools application. This lets you use multiple languages in session names, and in path names, file names and region names. However, Pro Tools 7.3.x and lower does not support Unicode. When importing data from sessions or OMF sequences created or saved with older versions of Pro Tools, you may need to identify the language encoding used in the imported elements.
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Link to Source Media Select this option to avoid duplicating video files by referring to the original files. Copy from Source Media Select this setting to copy all video files related to the imported tracks from the source media to a new specified location. Import as Offline Satellite Media (Pro Tools HD Only) Select this option to import a video track with offline media. You will be able to see cuts and clip names, but the video media remains offline.
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Source Sample Rate For audio files created in any session, no matter what the session sample rate is, you can have the sample rate conversion process treat the files in several ways to compensate for pull-up, pull-down, and NTSC or PAL frame rates. This setting allows you to choose the sample rate from which you want the sample rate conversion process to start. Destination Sample Rate The destination sample rate is always set to the sample rate of your current session.
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Replacing Track Path Names When you import a track’s input, output, send output or hardware insert assignments, any custom path names and I/O configurations from the source session are not imported. You can import path names and I/O configurations by importing I/O Setup settings. For more information, see “Factory I/O Settings” on page 111. Selecting Track Data to Import You can select All, None, or any combination of the listed track data to import.
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Input Assignments Imports the source track’s channel input assignment. The Input assignment in the destination track is replaced. Side-Chain Assignments When the source track’s plug-in assignments are imported, this option imports any side-chain assignments associated with the plug-ins. If no plug-in assignments are imported, this option has no effect. Track Active State Imports the active/inactive state of the source track from the source session.
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Main Playlist Options In the Import Session Data dialog, you can select from the following options to control how the main playlist from each source track is imported to the destination track in the current session. Import – Replace Existing Playlists Imports the main playlist from the source track. When you import the playlist into an existing track, the main playlist in the destination track is deleted and replaced with the imported playlist.
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To import AAF or OMF sequences into Pro Tools, do one of the following: To open and import an AAF or OMF sequence in Pro Tools: Use the File > Import > Session Data command. 1 Launch Pro Tools. Use the File > Open Session command. 2 Choose File > Open Session. Drag and drop them from any DigiBase browser or the desktop. To import individual Avid video files into Pro Tools, do one of the following: 3 In the Open Session dialog, navigate to the AAF or OMF sequence you want to import.
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Pro Tools creates a new Audio Files folder, a Fade Files folder, Region Groups folder, a Session File Backups folder, a Video Files folder, a cache.wfm file, and a session file where you have designated their locations. This session will match the audio file type, sample rate, and bit depth of the audio in the OMF or AAF you selected. Pro Tools does not import video embedded in a sequence. If you are opening an AAF or OMF sequence created on an Avid system, you might be prompted to locate Fade files.
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Multi-Cam Resolution Files On an Avid system, Multi-Cam Resolution files display multiple individual camera angles of the same scene. The Avid operator chooses which of the Multi-Cam files (and therefore camera angles) will be dominant, at the time of creating an AAF or OMF export. When you import an AAF or OMF sequence into a Pro Tools session, only the clip representing the dominant camera angle will be displayed.
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12 If your audio or video source media is on a volume that is not suitable for playback (shown as a Transfer volume in the Workspace browser), Pro Tools displays a dialog that guides you to copy the media to a volume designated for Playback or Record. (Click Yes.) Pro Tools imports the audio and video media to the Timeline. Audio tracks with mixed sample rates or bit depth are automatically converted to the same sample rate and bit depth as the session.
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Import Options when Importing AAF or OMF Sequences When importing AAF or OMF sequences, Pro Tools provides the following import options through the Import Session Data dialog: Copy from Source Media Use this setting to copy referenced audio to a new drive or folder. You can perform sample rate conversion on audio during translation.
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Video Media Options Time Code Mapping Options When importing AAF or OMF tracks into Pro Tools, use the pop-up menu in the Video Media Options section to copy or link to the source video media. When importing AAF or OMF tracks into Pro Tools, you can specify where the imported tracks are placed in the current session. Times are indicated in time code.
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Track Offset Options Source Sample Rate When importing AAF or OMF tracks into Pro Tools, specify a track offset in addition to any offset incurred with the Time Code Mapping options. Any imported audio is offset in the current session’s timeline by the specified amount. Values can be entered in Bars|Beats, Min:Sec, Time Code, Feet+Frames, or Samples. This setting lets you specify the sample rate of the audio material you are working with in Pro Tools, independent of the project sample rate settings.
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Destination Sample Rate Ignore Rendered Audio Effects This setting determines the target session’s audio sample rate setting, as shown in the Session Setup window, and the sample rate of all audio files in the target session. Available settings include Pro Tools standard sample rates of 44.1 kHz or 48 kHz. Pro Tools|HD systems support sample rates higher than 48 kHz (88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz).
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Pan Odd Tracks Left/Even Tracks Right To import Locators based on locator color: The Pan Odd Tracks Left/Even Tracks Right setting enables you to set the basic track pan setting so that odd-numbered tracks translate with full-left panning, and even-numbered tracks translate with full-right panning. This is useful if you want to pan the currently unpanned audio fullleft or full-right. 1 Click the Locators to Import menu.
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Importing RTAS Plug-In Settings from AAF Main Playlist Options Avid Media Composer 5 and higher lets you process audio tracks with RTAS plug-ins. Pro Tools lets you import RTAS plug-in data from audio tracks in Media Composer-generated AAF sequences. Plug-in type, order, and control settings are preserved.
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Media Composer Export Options for Audio and Video Mixdowns You can request the following export options for the AAF you are receiving from an Avid application: • To export both a video mixdown and its corresponding editing metadata, the Avid video editor should select Video Mixdown from the Export Method pop-up menu, then select Mixdown with Video Edits in the Export Settings dialog.
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Translation Notes and Categories Ignored Effects The Translation Notes File is separated into different categories. The following are sample messages in each category, with explanations of what has happened and solutions if necessary. A1<01:00:02:00–01:00:07:01>ignoring rendering for effect: EFF_AUDIO_EQMB;using bypass clip. Parsing Errors This indicates that the user has selected “Ignore Rendered Audio Effects” in Pro Tools.
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Exporting Pro Tools Tracks as AAF or OMFI Sequences Pro Tools lets you export individual tracks in AAF or OMFI format. Use the Export Selected Tracks as AAF/OMF command. AAF and OMF sequences exported from Pro Tools do not support video files, or retain information about plug-in assignments or parameters, routing, or grouping. It is recommended that you render any effects prior to export. Stereo and greater-than-stereo multichannel tracks are split into separate mono tracks on export.
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7 Set the Audio Media Options settings as nec- essary: • Ensure that the Format and Bit Depth match the settings in your target project (as set for the project in your video software application). – or – • Select a Copy Option (Link to Source Media, Copy from Source Media, or Consolidate from Source Media). 14 In the “Please Choose a Folder for Converted Audio Files” dialog, navigate to a folder where the media files can be easily located (such as the same folder where AAF or OMF sequence resides).
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To export selected audio tracks from Pro Tools as an AAF sequence referring to MXF audio files: 1 In Pro Tools, select the tracks you want to ex- port. 2 Choose File > Export > Selected Tracks as OMF/AAF. 3 Under OMF/AAF Options, select AAF from the Export As pop-up menu. An OMF sequence cannot reference MXF media files. When using the Export Selected Tracks as OMF/AAF dialog, choose AAF in the Export As pop-up menu to enable MXF in the Audio Format menu. 4 Select Enforce Avid Compatibility.
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Exporting MXF Audio Files Using Bounce to Disk You can use the Bounce to Disk command to create pre-mixed MXF audio files of the current Pro Tools session. This does not export all of the individual files on the Timeline, but it does guarantee that the mix you hear in another application will be identical to the mix you hear in Pro Tools, including all panning, effects and automation. 4 Select Enforce Avid Compatibility.
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Exporting a Region as a New MXF File You can export regions as MXF audio files with the Export Selected As Files command. Use this command if you intend to use a region in other sessions or other audio applications without using its parent source file. This command also provides a way to convert regions to a different sample rate or bit depth. 3 In the Export Selected dialog, select the En- force Avid Compatibility option.
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Enforce Avid Compatibility If the Enforce Avid Compatibility option is enabled, all AAF and OMF files and sequences will meet the specific requirements of Avid Video workstations. Sample rates are limited to 44.1 kHz or 48 kHz. Exported regions will be padded to the nearest frame boundaries (Quantize Edits to Frame Boundaries). This padding ensures that the placement of a file in the Timeline will be the same on sample-accurate as well as frame-accurate systems.
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A master clip consisting of the region plus the handle size (length) on both front and back will be exported. The exported sequence creates a subclip which is equivalent to the original region, but extended to the farthest frame boundaries. For example, if the region starts at 1:15 and 500 samples, the subclip would start at 1:15; and if the region ends at 4:00 and 500 samples, the subclip would end at 4:01.
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Source Audio Sample Rate Audio Media Options This setting allows you to specify the sample rate of the material you are working with in Pro Tools, independent of the session’s sample rate settings. Destination Audio Sample Rate This setting allows you to specify the sample rate for audio files after the AAF or OMF translation. If this setting differs from the Source Audio Sample Rate setting, audio is sample-rate converted digitally to the Destination Audio Sample Rate.
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Source Media Publishing Options When exporting tracks from Pro Tools to AAF or OMF, there are three ways that Pro Tools can handle source audio media (as set in the Export to OMF/AAF dialog’s Audio Media Options popup menu). When exporting AAF or OMF files from Pro Tools, specific publishing options that provide information about the sequence or media are available through the Publishing Options dialog. These options will vary depending on which method of exporting files you use.
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Time Stamping When you export to AAF or OMF, all exported media is time stamped. A time stamp is a specific time code location stored within an individual media file.
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Exporting a File With No Time Stamp To export a session as text: If you import a file that does not contain a time stamp (such as a sound effect from a CD), the time stamp will be 0 when it is exported. 1 Choose File > Export > Session Info as Text. Importing Files from an Avid AAF or OMF Sequence If you import a file from an Avid AAF or OMF sequence, the media file's source tape time stamp becomes the original time stamp of the new Pro Tools file. The User Timestamp maintains the original time stamp.
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Exported Session Text Files Session Information Export Session Info as Text Options The session text file starts with basic information about the session. This information includes the session name, sample rate, bit depth, time code format, and number of audio tracks, audio regions, and audio files, as shown in the following example. Session Information example SESSION NAME: Ripleys II-092700 SAMPLE RATE: 48000.
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When exporting track EDLs, the following options are available: Show Subframes This option allows you to export subframe time information with track EDLs, if used in your session. Include User Timestamps You can include user timestamps with track EDLs. User timestamps indicate a user-defined session location for the region, or the original location of the region when recorded. Fade Handling For track EDLs, you can choose whether to show crossfades, not to show them, or to combine crossfaded regions.
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3 In the Send to DigiDelivery dialog, select which files to include. Importing MIDI Files You can import Standard MIDI Files (SMF) into your Pro Tools sessions. Pro Tools provides several ways to import MIDI files into an open session. • “Importing MIDI Files Using Pro Tools Menu Commands” on page 371. • “Importing MIDI Files with Drag and Drop” on page 372. Include in Delivery dialog You have the option to include: • Audio files • Fade files Pro Tools does not import proprietary sequence files.
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Importing MIDI Files Using Pro Tools Menu Commands Pro Tools provides commands to import MIDI files. To import Standard MIDI files into a session using the Pro Tools File menu: Selection Aligns the beginning of the file to the edit cursor or to the beginning of a selection in the Timeline. Spot Displays the Spot dialog, which lets you spot the file to a precise location based on any of the Time Scales.
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6 In the Mix window, click the MIDI Output selector for each new track and assign a MIDI instrument and channel. Importing MIDI Files with Drag and Drop You can drag and drop MIDI files from a DigiBase browser, Windows Explorer, or Mac Finder to the Timeline, a track, the Track List, or the Region List.
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6 Click OK. 7 Specify a folder destination and name for the MIDI file. Pro Tools automatically adds the “.mid” extension when exporting MIDI files. 8 Click Save. Pro Tools exports all unmuted MIDI and Instrument tracks in the current session to a Standard MIDI File and writes it to your hard drive. Exported MIDI information includes notes, controller events, program changes, and System Exclusive data, as well as events for tempo, meter, and markers.
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5 In the Save dialog, type a name for the MIDI file, specify where you want to save it, and click Save. Alt-Right-click (Windows) or Option-Rightclick (Mac) to export all tracks to a single MIDI file. Importing and Exporting Region Group Files Pro Tools can export and import the region group file format (.rgrp).
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Pro Tools provides several ways to import region groups into an open session: • “Importing Region Groups with Pro Tools Menu Commands” on page 375 • “Importing Region Groups with Drag and Drop” on page 375 Importing Region Groups with Pro Tools Menu Commands To import a region group with Pro Tools menu commands: 1 Choose File > Import > region groups and select the region group you want to import.
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To import region groups into new tracks: 1 Select one or more region groups in a DigiBase browser, Windows Explorer or Mac Finder. 2 Do one of the following: • From the DigiBase browser, Shift-drag the files anywhere in the Edit window of the current session. • Drag the files onto any empty space in the Edit window of the current session. • Drag the files to the Track List.
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Chapter 18: File and Session Management and Compatibility When working with Pro Tools, you will encounter several different kinds of computer files. Pro Tools systems require that you keep certain files in specific hard drive locations in order to function properly: • Pro Tools software files (such as the application and plug-ins files) should be located on your Startup drive (the drive that contains your operating system and other system-related files).
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Audio File Management Unique File IDs Pro Tools tags each audio file in a session with a unique identifier that allows it to distinguish a particular file even if its name or location has changed. Locating Audio Files With Pro Tools, you manage links to audio and other media files using the Relink window. Pro Tools classifies storage volumes according to their suitability for performance (recording or playback) or transfer (storage or copying) of audio and other media files.
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Missing Files A file is missing if it is not found in the same location as when the session was last saved. To open a session with missing files: 1 Open the Pro Tools session. If any files are missing, Pro Tools posts a Missing Files warning. Renamed Audio Files and the Renamed Audio Files Folder Renamed audio files are located in the auto-created Renamed Audio Files folder in the Pro Tools session folder.
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Before the session opens, you are prompted to save a detailed report of the renamed files and their original file names to a Notes text file. By default, the Notes text file is saved to the Session folder. It is possible to have a Pro Tools 7.x or higher session that contains audio file names with illegal characters. If you Save Copy In the session to Pro Tools 6.9.x or lower with Mac/PC Compatibility on, the tracks are renamed with legal characters.
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Sharing Sessions Created on Different Computer Platforms Working with Mac-Based HFS+ Drives on Windows Computers To transfer Pro Tools Windows sessions from NTFS drives to HFS+ drives: 1 Set the HFS+ Disk Support Options or the MacDrive Options to Backup/File Transfer. 2 Do one of the following: Either the HFS+ Disk Support option or the MacDrive Utility is required to mount HFS+ drives on an NTFS system for use with Pro Tools.
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To transfer Pro Tools Mac sessions from HFS+ drives to NTFS drives: To record or play back from HFS+ drives with Windows using MacDrive: 1 Set the HFS+ Disk Support option or the Mac- 1 In Windows, go to the MacDrive Control Drive Options to Normal Use. Panel. 2 Do one of the following: 2 Choose Options > File Names and select the In- • Drag the session folder from the HFS+ drive to the NTFS drive.
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? (Question mark) Cross-Platform Session Limits When saving (or creating) a copy of a Pro Tools session that you want to be compatible on both Mac and Windows, keep in mind the following limits and how Pro Tools deals with them: “ (Quotation marks) < (Less-than symbol) > (Greater-than symbol) | (vertical line or pipe) Any “high order” ASCII character (created with a key combination) Audio File Types The recommended file format for cross-platform interoperability is BWF (.WAV).
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Sharing Sessions Created on Different Pro Tools Systems Pro Tools makes it easy to share sessions between Pro Tools|HD systems and Pro Tools systems. There are some important differences between the three types of systems that can affect how session material is transferred. For details on transferring sessions between Windows and Mac systems, see “Sharing Sessions Created on Different Computer Platforms” on page 381.
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• HEAT (if present) is removed (Pro Tools HD 8.1 and higher sessions with HEAT option only). Sharing Sessions Created on Different Pro Tools Software Versions Groups • Mix Groups keep only Main Volume information. • Mix/Edit Groups keep only Main Volume and Automation Mode information. Pro Tools makes it easy to share sessions between different software versions of a particular Pro Tools system. See the following: • Automation overflow information for grouped controls is be preserved.
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When opening a Pro Tools HD 9.0 session with Pro Tools HD 8.1 or 8.5, the following occurs: When opening a Pro Tools HD 9.0 session with Pro Tools HD 7.4.x, the following occurs: • Any audio tracks beyond 256 are made inactive. • All that occurs when opening a Pro Tools HD 9.0 session with Pro Tools HD 8.0. • Any internal mix busses beyond 128 are made inactive. • Inserts F–J and any associated automation are removed. • The Stereo Pan Depth reverts to –2.5 dB.
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Opening Pro Tools HD 7.2 or Higher Sessions with Pro Tools HD 7.1 or 7.0 A Pro Tools HD 7.2 or higher session without video tracks or VCA Masters can be opened with Pro Tools HD 7.1 or 7.0, but certain session components open differently or not at all. When opening a Pro Tools 7.4 or higher session with Pro Tools 7.2, 7.1, or 7.0, you are not be warned that not all session components will be available. • Mix/Edit Groups keep only Main Volume and Automation Mode information.
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Opening Pro Tools HD 7.2 or Higher Sessions with Pro Tools LE 8.0 A Pro Tools HD 7.2 or higher session that does not contain video tracks or VCA Masters can be opened with Pro Tools LE 8.0, but certain session components open differently or not at all. Pro Tools HD 7.2 sessions that contain video tracks or VCA Master tracks can only be opened with Pro Tools LE 7.0cs3 and higher. When opening a Pro Tools HD 7.x or higher session in Pro Tools LE 8.0, the following occurs: • In Pro Tools LE 7.
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Saving Pro Tools HD 9.0 Sessions to Pro Tools 5.1 -> 6.9 Format • Fader Gain levels and automation breakpoints higher than +6 dB are changed to +6 dB. • Long names are shortened to 31 characters. Pro Tools 7.x and higher sessions cannot be opened with Pro Tools versions 6.9.x through 5.1. • The following attributes are dropped: • Region groups To save a Pro Tools 9.0 session so it is compatible with Pro Tools version 6.9.x through 5.1, use the File > Save Copy In command to choose the Pro Tools 5.
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• Video regions and video region groups are not shown or saved. Language Compatibility • The Limit Character Set option must be enabled and you must select a single language and character set. Saving Pro Tools HD 9.0 Sessions to Pro Tools 5.0 Format Pro Tools 7.x and higher sessions cannot be opened with Pro Tools version 5.0. To save a Pro Tools 9.0 session so it is compatible with Pro Tools version 5.0, use the File > Save Copy In command to choose the Pro Tools 5.0 Session format. Sharing Pro Tools 9.
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• Regions from audio files larger than 2 GB appear offline. • Sessions that use mixed file formats must convert audio files to a single file format Opening Pro Tools LE 7.3.x or higher Sessions with Pro Tools LE 7.1 or 7.0 • Chord markers are removed. A Pro Tools LE 7.3.x or higher session that does not contain video tracks can be opened with Pro Tools LE 7.1 or 7.0, but certain session components open differently or not at all. Opening Pro Tools 9.0 Sessions with Pro Tools LE 7.3.
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Sharing Pro Tools LE 7.x or Higher Sessions with Pro Tools LE 6.9 or Lower • Only the main video track is displayed. Pro Tools 7.x and higher format sessions cannot be opened on Pro Tools versions 6.9.x or lower, but they can be saved to a lower compatible version. Some session components in the new copy open differently or not at all.
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Saving Pro Tools 9.0 Sessions to Pro Tools LE 5.0 Format Language Compatibility To save a Pro Tools 9.0 session so it is compatible with Pro Tools version 5.0, use the File > Save Copy In command to select the Pro Tools 5.0 Session format. When saving a Pro Tools 9.0 session to Pro Tools 5.0 format, the following occurs: Unicode Support for Languages Pro Tools supports entry and display of any language characters supported in Unicode anywhere in the Pro Tools application.
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Pro Tools Application Language (Windows Only) To change to a different language version of Pro Tools: 1 Close Pro Tools if it is currently open. You can choose the language you want to use in the Pro Tools application, independently of what language version of Windows you are using. 2 Launch Apple System Preferences. 3 Click International (the “flag” icon). 4 Click the Language tab.
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Chapter 19: Mac HFS+ Disk Support Option (Windows Only) The Mac HFS+ Disk Support option lets you interchange sessions between Mac-based and Windows-based Pro Tools systems using local HFS+ (Mac OS Extended) formatted hard drives. With the Mac HFS+ Disk Support option installed on a Windows computer, you can mount an HFS+ drive on a Windows-based Pro Tools system, and record and play back Pro Tools sessions directly on that drive as if it were nativelyformatted for Windows.
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The HFS+ Disk Support option only works on a computer that has a valid installation of the Pro Tools application. If you remove the Pro Tools application from your system, the HFS+ Disk Support option will also be removed. Removing the Mac HFS+ Disk Support Option If you need to remove the Mac HFS+ Disk Support option from your computer, use the uninstall command in Windows. To remove the Mac HFS+ Disk Support Option from your computer: 1 Choose Start > Control Panel > Programs and Features.
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Viewing Mac Drive and File Properties While it is possible to use the Mac HFS+ Support option with drives mounted as part of a Storage Area Network (SAN), this configuration not been qualified. When you view properties for a Mac-formatted drive or a file or folder on a Mac-formatted drive, you can view the Mac-specific properties of that drive, file or folder from its shortcut menu. Mac RAID disk volumes are not supported by the Mac HFS+ Disk Support option.
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File type and File creator For files, displays the four-character codes stored by Mac OS that indicate the type of data contained in the file and the software that created the file. Files on volume and Folders on volume For drives, displays the numbers of files and folders on the drive. Advanced Opens a window with additional advanced attributes of the disk, folder or file. Only the Name Locked attribute can be changed in this window. The other attributes are shown only for your reference.
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and inserting another. Mac HFS+ Disk Support remembers which session you last used on a particular disc, and will return you to that session if that disc is used again. To choose which volume of a multisession CD to display: 1 Right-click the multisession disc whose dis- play you want to change, and choose Mac Volumes from the shortcut menu. 2 Choose the name of the volume you want to display from the submenu.
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• You cannot use HFS+ Disk Manager to add a Mac partition to a PC-partitioned disk. Using Mac HFS+ Disk Manager on a PC-partitioned disk will destroy all PC partitions. • You cannot use Mac HFS+ Disk Manager to resize a partition and retain its contents. The only way to resize a partition is to delete and recreate it at a different size, which will result in the loss of any files in the original partition.
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Mac HFS+ Disk Support Warnings Volume Check Whenever a disk is mounted, Mac HFS+ Disk Support checks the disk to see if it was properly unmounted the last time it was used. If there are signs that it wasn't unmounted correctly, Mac HFS+ Disk Support displays a warning so that you will know there is a risk that the disk was improperly unmounted. If Mac HFS+ Disk Support displays a Volume Check warning, do one of the following: To mount the drive, click Mount Anyway.
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Part IV: Playback and Recording 403
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Chapter 20: Playing Back Track Material After importing or recording audio or MIDI to tracks, you will want to play back the material when editing and mixing. Starting and Stopping Playback To start playback, do one of the following: To stop playback, do one of the following: • Click Stop in the Transport. • Press the Spacebar. • With the Numeric Keypad mode set to Transport or Shuttle, press 0 on the numeric keypad. • Press the Spacebar.
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Example: Playing Back MIDI To play back MIDI (and monitor the audio): 1 Import, record, or enter MIDI into an Instru- ment or MIDI track. • Set the Auxiliary Input or Instrument track’s audio Output selector to the main monitoring path. • Set the MIDI track’s output selector to the Instrument plug-in, or MIDI device (port), and channel you want to play back. 2 For an Instrument track, do the following: • Set the Instrument track’s audio Output selector to the main monitoring path.
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Pro Tools also provides a pre-roll control for setting playback to begin before the playback location. See “Basic Transport Controls and Counters” on page 180. To display the Sub Counter in the Transport window: 1 Select View > Transport > Counters. 2 Select View > Transport > Expanded. Counters and Indicators that Display the Playback Location Main and Sub Counters and Edit Selection Indicators To display Edit Selection indicators in the Transport window: Select View > Transport > Expanded.
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Edit Cursor The edit cursor is a flashing line that appears when you click with the Selector tool in a track’s playlist. The flashing edit cursor indicates the start point for any editing tasks performed. If you make a selection and perform an edit, the selection is the target of the edit. Locating the Playback Cursor when It Is Off-Screen Use the Playback Cursor locator to locate the playback cursor when it is off-screen.
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To begin playing from a specific point within a track: 1 Make sure that Options > Link Timeline and Edit Setting Playback Location with the Main Counter or Edit Selection Start Indicator Selection is enabled. 2 With the Selector tool, click in the track where you want playback to begin. 3 Start playback. 4 Stop playback.
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Time Code Moves back or forward in one-second steps (while adjusting for current SMPTE format). Feet+Frames Moves back or forward in one-foot steps. Setting the Back/Forward Amount The length of the Back/Forward move is determined by the Back/Forward Amount preference in the Operation page (Setup > Preferences). To configure the Back/Forward Amount: Samples Moves back or forward in one-second steps.
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To move the playback location backward by the Back/Forward Amount and then begin playback: Press Command+Option (Mac) or Control+Alt (Windows), and click Rewind in the Transport window. To move the playback location forward by the Back/Forward Amount and then begin playback: Press Command+Option (Mac) or Control+Alt (Windows), and click Fast Forward in the Transport window.
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Scrolling Options You can configure how contents of the Edit window scroll during playback and recording. To configure Scrolling options: Choose Options > Scrolling and select one of the following options: None The Edit window does not scroll during or after playback. The playback cursor moves across the Edit window, indicating the playback location.
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Scrolling During Playback uses host processing power, so use this option with host-based Pro Tools systems only when absolutely necessary. Center Playhead Scrolling (Pro Tools HD Only) When this scrolling option is selected, the Edit window’s contents scroll continuously past the Playhead, which is a blue line in the center of the window (or a red line when recording). The Playhead indicates where playback begins when clicking Play in the Transport window.
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4 Click Play in the Transport window, or press the Spacebar. plays start (for post-roll amount) plays end (for pre-roll amount) All tracks play for the range of the selection, including pre-roll and post-roll if enabled. To play an Edit selection with Link Timeline and Edit Selection disabled: Choose Edit > Selection > Play Edit. To play a Timeline selection with Link Timeline and Edit Selection disabled: Choose Edit > Selection > Play Timeline.
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Playing Timeline and Edit Selections with the Playhead (Pro Tools HD Only) When the Scrolling option is set to Center Playhead, selections in the Timeline do not determine when playback begins. The Playhead itself denotes where playback begins when clicking Play in the Transport. Timeline and Edit selections, however, can still be played when the Playhead is enabled.
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Half-Speed Playback Mode Use Half-Speed Playback mode to learn or transcribe difficult passages in recorded tracks. When synchronizing to time code, use Prime for Playback mode to play back large numbers of tracks. This decreases the time it takes to lock to time code. To play at half-speed: 1 Do one of the following: • Shift-click the Play button in the Transport. – or – • Right-click the Play button in the Transport and select Half-Speed. Then click Play to start Half-Speed Playback.
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When enabled, a loop symbol appears in the Play button in the Transport window. To enable or disable Dynamic Transport mode, do one of the following: Loop Playback enabled 4 Click Play in the Transport window. Playback begins from the pre-roll point (if enabled) and continues to the selection’s end point, where it loops back to the selection’s start point. 5 Click Stop in the Transport window to stop Select or deselect Options > Dynamic Transport.
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To reposition the Play Start Marker, do one of the following: With any Edit tool selected, click in the Play Start Marker strip in the Main Timebase ruler. To move the Timeline selection: With any Edit tool selected, drag the selection on the Main Timeline ruler to another location. With any Edit tool selected, drag the Play Start Marker to a new location.
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Timeline Insertion/Play Start Marker Follows Playback 4 Reposition the Play Start Marker before the Timeline Selection End Marker. When enabled, the Play Start Marker moves to the point in the Timeline when playback stops. When disabled, the Play Start Marker does not follow playback. When not in Dynamic Transport mode, the Timeline Insertion follows playback. To have the Timeline Insertion and the Play Start Marker follow playback: 1 Choose Setup > Preferences. 2 Click the Operation tab.
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The Enter key starts playback. The Zero key stops playback. Pressing Zero twice locates the Play Start Marker to the Timeline Selection start. To move the Play Start to a specific bar: With Bars|Beats selected as the Main Timebase ruler, do the following on the numeric keypad: • Press Asterisk (*).
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3 Select the devices you want to receive MIDI 3 Configure the IAC Driver ports and confirm Beat Clock. If your MIDI interface does not support transmitting MIDI Beat Clock to separate ports, only the interface appears as a destination. that it is online. 4 Choose Setup > MIDI > MIDI Beat Clock. 5 In the MIDI Beat Clock dialog, select the En- able MIDI Beat Clock option. 6 Select the IAC Driver ports you want to enable for sending MIDI Beat Clock. 7 Click OK.
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5 Set the Main Time Scale to Bars|Beats. 6 Create a new audio track and select the audio input channels for your external MIDI device. 13 In the MIDI Beat Clock dialog, enter the Sample Offset value as a negative number. 7 Record enable the audio track and start recording. MIDI Beat Clock is sent to the external MIDI device, which starts playing back the pattern. 8 Stop recording after a few bars. MIDI Beat Clock Sample Offset 9 Enable both Snap to Grid and Show Grid.
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Chapter 21: Record Setup Before you start recording in Pro Tools, you need to set up your Pro Tools system, a session, and one or more tracks for recording. You will also need to configure how Pro Tools monitors the input you intend to record. While some of the information here is relevant to preparing to record MIDI, there are more specific setup details for MIDI recording in Chapter 23, “MIDI Recording.” For information on recording audio, see Chapter 22, “Audio Recording.
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Configuring Pro Tools Hardware I/O for Recording Before you start recording, make sure your Pro Tools system hardware is connected and configured properly. For details on connecting Pro Tools to your studio and configuring your Hardware in the Hardware Setup dialog, see the User Guide that came with your system. For information on how to route signal paths in Pro Tools, see Chapter 7, “I/O Setup.” For input information for qualified M-Audio devices, see your M-Audio documentation.
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You can display a track’s input levels in its Volume/Peak/Delay indicator. Normally, this indicator is set to be a Volume indicator. When you change it into a Peak indicator, it can function as a headroom indicator based on the last peak playback level. To display a track’s peak level: Control-click (Windows) or Command-click (Mac) a track’s Volume indicator to step through the different indicator modes (Volume, Peak, and Channel Delay) until the indicator displays peak (pk) level.
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Recording with a Click To create a click track using the DigiRack Click plug-in: (Optional) If you intend to work with MIDI or Instrument tracks in your session, or if the audio you’re working with is bar and beat-oriented, you can record your tracks while listening to a click. This ensures that recorded material, both MIDI and audio, aligns with the session’s bar and beat boundaries. Pro Tools creates a new Auxiliary Input track named “Click” with the DigiRack Click plug-in already inserted.
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Enabling Click 2 In the Transport, click the Metronome button so it is highlighted. Click tracks must be enabled to be heard during playback or recording. To enable click from the MIDI menu: Select Options > Click. To enable click in the Transport: 1 Display the MIDI controls in the Transport by doing one of the following: Metronome button, enabled • Select View > Transport > MIDI Controls. 3 To hear the click count off when recording or • From the Transport window menu, select MIDI Controls.
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To configure click options: 1 Open the Click/Countoff Options dialog by doing one of the following: • Choose Setup > Click/Countoff. – or – • Double-click the Metronome button in the Transport window. 2 In the Click/Countoff Options dialog, do one of the following: • If using the TL Metro or DigiRack Click plug-in, select None in the Output pop-up menu.
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To set the meter for a session: To change the session tempo: 1 Double-click the Current Meter button in the Transport window. 1 Double-click the Song Start Marker in the Edit window (see “Song Start Marker” on page 756). 2 Enter the BPM value for the session. You can type in a specific tempo, or you can use the T key to tap in the tempo. Meter button 3 Set the Location to 1|1|000 (to ensure that the inserted tempo event replaces the default).
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To set the Manual Tempo with the Tempo slider: To set the Manual Tempo by tapping: 1 To view the MIDI controls in the Transport 1 Ensure that the MIDI controls are shown in window, select View > Transport > MIDI Controls. the Transport window (select View > Transport > MIDI Controls). 2 In the Transport window, click the Tempo Ruler Enable button (Conductor) button so it becomes unhighlighted. Pro Tools switches to Manual Tempo mode. In this mode, any tempo events in the Tempo track are ignored.
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Record Modes For recording audio, Pro Tools provides the following Record modes: • Normal (Nondestructive) When recording, you can preserve disk space by removing unwanted record takes (see “Removing Unwanted Regions” on page 269) and compacting audio files (see “Compacting an Audio File” on page 593). • Destructive • Loop • QuickPunch • TrackPunch (Pro Tools HD only) • DestructivePunch (Pro Tools HD only) To select the Record mode, do one of the following: Select the Record mode in the Options menu.
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Destructive Record Mode In Destructive Record mode, recording over existing regions replaces the original audio permanently, which allows you to keep disk use to a minimum. However, if you have sufficient drive space, it is usually best to use Pro Tools in Nondestructive Record mode, to avoid losing any previously recorded material. When defining the record range and setting preand post-roll, Destructive Record mode works the same as Normal (Nondestructive) mode.
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TrackPunch Record Modes and MIDI (Pro Tools HD Only) In addition to the various record modes, there is also a MIDI Merge button in the Transport window that determines how MIDI is recorded. When enabled (Merge mode), recording over existing MIDI regions results in the new data being merged with the old. When the MIDI Merge button is disabled (Replace mode), the new material replaces the old.
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Configuring Default Names for Audio Files and Regions (Optional) Track names define new file and region names when recording to a track (see “Naming Tracks” on page 212). When recording to an audio track, the resulting file and region names are based on the name of the track. For example, after recording for the first time on a track called “Electric Gtr,” an audio file is created with the name “Electric Gtr_01.” In addition, a region appears in the Region List with the name “Electric Gtr_01.
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Names for Multichannel Tracks To assign I/O on a track: (Pro Tools HD or Pro Tools with Complete Production Toolkit 2 Only) 1 Assign a hardware input (recording source) by When recording to multichannel surround tracks, audio file and region names for each channel are appended with the following suffixes: Multichannel Format File and Region Suffixes LCR L, C, R Quad L, R, Ls, Rs LCRS L, C, R, S 5.0 L, C, R, Ls, Rs 5.1 L, C, R, Ls, Rs, LFE 6.0 L, C, R, Ls, Cs, Rs, LFE 6.
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2 Assign an output bus (for monitoring record- ing) by doing one of the following: • In the Mix window, select the corresponding output bus for monitoring (such as “Monitor” or “A 1–2”) from the track’s Output Path selector. Record Enabling Tracks To record audio or MIDI to a track you must first enable the track’s Record Enable button. To record simultaneously to multiple tracks, record enable multiple audio, Instrument, or MIDI tracks.
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To record enable MIDI and Instrument tracks using the Up/Down Arrows: Edit window Mix window Record-enabled audio track in Mix and Edit windows Press Shift+R to record enable any track containing the Edit cursor on an Edit selection. To record enable multiple audio tracks: From either the Mix or Edit window, click each audio track’s Record Enable button to toggle record enable on or off for each track.
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To record enable all selected audio tracks, or all selected MIDI and Instrument tracks: Option-Shift-click (Mac) or Alt-Shift-click (Windows) the Record Enable button on any selected audio, or MIDI or Instrument track to toggle record enable on or off for all selected audio, or MIDI and Instrument tracks. Record enabling a track that is part of a Mix Group does not record enable the other tracks in the Group.
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Working with Hard Drives for Recording Recording with Multiple Hard Drives (Optional) Pro Tools lets you check how much drive space is available. The Disk Usage window shows the available drive space for each drive connected to your system as text and as a gauge display. By default, Pro Tools records audio files to the Audio Files folder inside the session folder.
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Allocating Audio Drives in Your System To allocate the audio drives in your system: 1 Choose Setup > Disk Allocation. 2 In the Disk Allocation window, assign a hard drive for each track by clicking in the Root Media Folder column and selecting a volume from the Disk Allocation pop-up menu. A folder with the session name is created on each hard drive, containing subfolders for audio and fade files. • To assign a track to a different hard drive, click the track and select a drive name.
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If you want to exclude individual, valid, mounted volumes from Round Robin Allocation passes, open the Workspace browser and make the volume safe, by designating it as P (Playback only) or T (Transfer). For more information, see “Audio and Video Volume Designators” on page 309.
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By default, the system volume is not included in Round Robin Allocation (regardless of volume designation in the Workspace browser). To include the System Volume in Round Robin Allocations, see “Allocating Audio Drives in Your System” on page 440. If you have a Pro Tools system with multiple drives, and you intend to record multiple tracks simultaneously, you may want to designate the System drive as a Playback only or Transfer only drive for optimal performance.
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Auto Input Monitoring In Auto Input mode, when session playback is stopped, Pro Tools monitors audio input. When playback is started for a punch-in, Pro Tools monitors existing track material up until the punch point. While punched in, the input signal is monitored. On punch-out, monitoring switches back to the existing track material. This is similar to the auto-switching logic found on digital and analog multitrack tape machines.
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When the TrackInput button in a track is disabled, the track monitors in Auto Input mode. To toggle the TrackInput button states of all record-enabled tracks, do one of the following: To change all record-enabled tracks to Auto Input monitoring, select Track > Set Record Tracks to Auto Input. – or – To change all record-enabled tracks to Input Only monitoring, select Track > Set Record Tracks to Input Only.
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Setting Monitor Levels for Record and Playback Reducing Monitoring Latency Pro Tools remembers two different fader levels for monitoring each audio track: one for when the track is record-enabled, and one for when it is not record-enabled. There will inevitably be some audio delay, or latency, in the monitoring signal (even if only a few samples) due to the process of converting an analog signal to a digital signal (input) and back again (output).
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The latency amount is related to the H/W Buffer Size setting—the larger the buffer size the greater the latency. You can reduce the amount of monitoring latency by reducing the H/W Buffer Size setting. However, even at the smallest buffer size, there is still some latency. In addition, reducing the buffer size limits the number of simultaneous audio tracks you can record without encountering performance errors.
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To use Low Latency Monitoring: 1 Do one of the following: • For Pro Tools|HD Native systems, assign each track to the selected Low Latency Monitoring Path as set in the I/O Setup Output page (see “Low Latency Monitoring” on page 93). Only tracks assigned to these outputs use Low Latency Monitoring. – or – • For Pro Tools (non-HD), assign each track output to either Output 1 or Output 2 (mono), or both (stereo). Only tracks assigned to these outputs use Low Latency Monitoring.
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Chapter 22: Audio Recording In Pro Tools, you record audio to audio tracks. Audio tracks can be mono, stereo, or multichannel as appropriate for the recording source. When recording a mono source, record to a single, mono audio track in Pro Tools. A single, mono audio file is written to disk, and the file appears as a region both in the track’s playlist and in the Region List. When recording a stereo audio source, record to a single, stereo audio track in Pro Tools.
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4 Adjust the output level of your sound source (instrument, mixer, or preamp). Monitor the track’s meter levels in Pro Tools to ensure that levels peak within at least –6 dB to –12 dB on the input meter without triggering the clipping indicator on your audio interface. 5 Do one of the following: • In the Mix window, adjust the track’s volume and pan faders. These settings are for monitoring purposes only and do not affect the recorded material.
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Undo or Cancel Audio Recording Canceling a Record Take Once you have recorded an audio track and the transport is stopped, you can undo the record take. While recording, it is possible to discard the current record take. This removes the audio (recorded up to that point) from your hard drive and deletes the region from the track’s playlist and the Region List. When using Loop Record mode, all takes from each record pass are discarded. Canceling recording when in Destructive Record mode is prohibited.
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Recording Shortcuts In addition to clicking the Record button in the Transport or Edit window to arm Pro Tools recording, you can arm and start recording with the following keyboard shortcuts: • Press F12 to start recording immediately. On Mac systems, to use F12 for recording, the Mac “Dashboard” feature must be disabled or remapped. See your User Guide for details. • Press Command+Spacebar (Mac) or Control+Spacebar (Windows) to start recording.
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To set the record range in a track’s playlist: To set the record range in a Timebase ruler: 1 If you want to constrain the selection to the 1 If you want to constrain the selection to the current Grid value, set the Edit mode to Grid. current Grid value, set the Edit mode to Grid. 2 Select Options > Link Timeline and Edit Selection. 2 Select the record range in any Timebase ruler. 3 Do one of the following: • With the Selector tool, select the record range in a track’s playlist.
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To set the record range by dragging the Timeline Selection Markers: 1 If you want the Timeline Selection Markers to snap to the current Grid value, set the Edit mode to Grid 2 Drag the first Timeline Selection Marker (down arrow) to the start point of the range. You can enter locations in the start and end fields to set the record or play range. The Timeline Selection Markers in the Main Timebase ruler are updated accordingly.
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Memory Locations You can store Edit selections as Memory Locations, which can also include current pre- and post-roll values. For more information on Memory Locations, see Chapter 37, “Memory Locations.” To save an Edit selection with a Memory Location: 1 Ensure that Options > Link Timeline and Edit Selection is selected. 2 Set the record range by making an Edit or Timeline selection, or by entering start and end times in the Transport window.
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3 Do one of the following: • In the Memory Locations window, click the name or number of the Memory Location. Setting Pre- and Post-Roll in the Transport Window – or – Pre- and post-roll can be enabled and set in the Transport window. • Recall the Memory Location by typing Period (.), the Memory Location number, and Period (.) again on the numeric keypad. (See “Numeric Keypad Modes” on page 31).
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Setting Pre- and Post-Roll in a Playlist Enabling Pre/Post-Roll from the Options Menu You can use the Selector tool to enable and disable pre- and post-roll by clicking in a track’s playlist. Pre- and post-roll (as a pair) can be enabled and disabled from the Options menu. To set and enable the pre- and post-roll by clicking in a playlist: To enable both pre/post-roll from the Options menu: Select Options > Pre/Post-Roll. 1 Select Options > Link Timeline and Edit Selection.
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Audio Punch Recording Over a Specified Range Pre-roll flag Punch In Post-roll flag Punch Out You can set Pro Tools to automatically punch record over a specific range in an audio track (for example, to replace a portion of a recorded track). The range’s start (punch in) and end (punch out) points must be specified before recording. To manually punch in and out on recordenabled audio tracks during playback, see Chapter 24, “Punch Recording Modes.
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5 To hear any existing track material up to the start point, or after the end point, enable and set pre- and post-roll times (see “Setting Pre- and Post-Roll” on page 456). 6 Click Record in the Transport to arm Pro Tools for recording. 7 Click Play to start recording. Pro Tools starts recording from the punch-in (start) point. If there is any pre-roll, recording starts when the punch-in (start) point is reached.
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To destructively record over a previous take: 1 Do one of the following: • Select Options > Destructive Record. When in Destructive Record mode. Appending New Material to the End of a Track You can also append new material to the end of a track. – or – • Right-click the Record button in the Transport and select Destructive. A “D” appears in the Record button.
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To record to a new playlist for a track: 1 From the track’s Playlist selector, choose New. Loop Recording Audio Pro Tools provides a loop recording feature that lets you record take after take while the same section of audio repeats over and over. This is a convenient technique for quickly recording multiple takes of a part without losing spontaneity. Playlist selector 2 Type a name for the new playlist. 3 Click OK. When a new playlist is created, its name replaces the track name.
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To loop record an audio track: 1 Do one of the following: • Select Options > Loop Record. When Loop Record mode is enabled, a loop symbol appears in the Record button. – or – • Right-click the Record button in the Transport and select Loop. Loop Recording enabled 2 Record enable the audio track by clicking its Record Enable button. If you stop recording before you reach the midpoint of the loop, Pro Tools discards that take.
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Alternate Takes When punch recording or loop recording, Pro Tools creates matching alternate takes (regions). Pro Tools lets you exchange regions in the main playlist on tracks with matching alternate regions from other playlists associated with the same track, from other tracks, or from the Region List. Matching alternate regions are regions that meet certain criteria, for example, regions that have the same User Time Stamp match (see “Matching Alternate Regions” on page 626).
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2 With the Selector tool, select the take range for each track you want to replace. 3 Do one of the following: • Right-click the Edit selection and select a different matching alternate take from the Matches submenu. – or – Alternate Takes pop-up menu The selected matching alternate region (take) replaces the region in the main playlist and snaps precisely to the correct location.
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Alternates Match Options The following Alternates Match options can be selected in any combination: Track ID Any regions recorded to the same track are considered matching. Use this option for selecting alternate takes from loop or punch recording. Track Name Any regions that share the same root name with the track or playlist are considered matching. For example, the Matches for a track named “Gtr.L” would show the regions “Gtr.L_01” and “Gtr.L_02-01,” but not “Guitar.L_01.
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All matching alternate regions are copied to new playlists on the track. To view all playlists for the 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 more information, see “Playlists View” on page 621. By Track and Region Name Names all new tracks after the source track name, but with the corresponding original region names in parenthesis.
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Enclosure digital sources come standard with Pro Tools|HD audio interfaces and are labelled on-screen as [Encl] versions, to differentiate them from digital inputs and outputs available on the Digital card installed in HD I/O or 192 I/O. For example, the AES/EBU inputs and outputs that come standard in the 192 I/O enclosure are identified as AES/EBU [Encl].
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8 In the Options menu, ensure that the follow- ing options are deselected: Destructive Record, Loop Record, QuickPunch, TrackPunch, and DestructivePunch. 9 To have recording start from the beginning of the session, click Return to Zero in the Transport. 10 Record enable the new audio track. 11 Click Record in the Transport to arm Pro Tools for recording. 12 Click Play to start recording. 13 Start playback on the recording source.
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Chapter 23: MIDI Recording Although recording MIDI in Pro Tools is similar to recording audio, there are some important differences: Unlike audio, MIDI recording is almost always destructive. See “Record Modes and MIDI” on page 433 for details. Unlike audio tracks, MIDI and Instrument tracks can be record-enabled on-the-fly during playback or recording.
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In addition, the following options affect how MIDI data is recorded in Pro Tools: The MIDI Input Filter can filter out MIDI messages that you may not want to record, such as Polyphonic Aftertouch or System Exclusive data. For more information, see “MIDI Input Filter” on page 472. Input Quantize, when enabled, automatically quantizes (time corrects) all MIDI notes that are recorded. For more information, see “Input Quantize” on page 472. To enable input devices: 1 Choose Setup > MIDI > Input Devices.
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MIDI Thru To monitor MIDI tracks while recording, enable MIDI Thru. When enabled, Pro Tools routes MIDI from your controllers to the device and channels assigned to the currently record-enabled MIDI track. The MIDI preference for Global MIDI Playback Offset and individual MIDI track offsets do not affect MIDI routed with MIDI Thru.
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MIDI Input Filter Input Quantize Use the MIDI Input Filter to prevent certain types of MIDI messages from being recorded. The MIDI Input Filter can be set to record All messages, Only the specified messages, or All Except the specified messages. When Input Quantize is enabled in the Input Quantize Event Operations dialog (Event > Event Operations > Input Quantize), all recorded MIDI notes are quantized automatically. Quantizing MIDI on input is useful for achieving rhythmically precise MIDI recordings.
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To enable Wait for Note: 1 To view the MIDI controls in the Transport window, select View > Transport > MIDI Controls. Transport window with MIDI Controls 2 In the Transport window, click the Wait for Note button so it becomes highlighted. MIDI Merge/Replace The MIDI Merge button, located in the Transport window, determines how MIDI is recorded when overdubbing or punching in. When MIDI Merge is on (Merge mode), recorded MIDI is merged with existing track material.
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Configuring MIDI or Instrument Tracks for Recording To configure one or more MIDI or Instrument tracks for recording: 1 Create a new MIDI or Instrument track, or use an existing MIDI or Instrument track. 2 For Instrument tracks, select View > Mix MIDI track Output selector, Mix window Window > Instruments or View > Edit Window > Instruments. 3 From the track’s MIDI Input selector, select the device and channel to be recorded.
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7 If recording to multiple MIDI or Instrument tracks, repeat the preceding steps for each track, then continue to the next step. Recording MIDI and Instrument Tracks 8 To use a click, enable and configure the click, and set a default tempo and meter for the session (see “Recording with a Click” on page 426). In Pro Tools, you can record to one or more MIDI and Instrument tracks. Recording simultaneously to multiple tracks lets you: 9 Enable either Wait for Note or Countoff in the Transport window.
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To record enable additional MIDI and Instrument tracks, Shift-click their Record Enable buttons. 3 Ensure that Normal Record mode is selected (see “Record Modes” on page 431). 4 Click Record in the Transport to arm Pro Tools for recording (Record Ready mode). The Track Record Enabled indicator lights red. MIDI Regions Are Created on Barlines When recording MIDI, or when manually entering MIDI notes, the beginning and ending of MIDI regions are created on bar boundaries.
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Playing Back Recorded MIDI Canceling a Record Take To play back recorded MIDI and Instrument tracks: It is also possible to discard the current record take before the Transport is stopped. 1 To start from the beginning of the session, click Return to Zero in the Transport. 2 Click Play in the Transport to begin playback. The recorded MIDI data plays back through each track’s assigned Output device (port) and channel.
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6 To hear existing track material up to the start point, or after the end point, enable and set preand post-roll times (see “Setting Pre- and PostRoll” on page 456). 1 Configure a MIDI or Instrument track for re- 7 Record enable the track containing the previous take. 2 Ensure that Normal Record mode is selected 8 Click Record in the Transport to arm Pro Tools for recording. The Record button flashes. 9 Click Play to start recording.
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MIDI Regions and Punch Recording Depending on the record range, new regions may be created after punch recording. For example, if MIDI Merge mode is disabled, recording overwrites any existing MIDI data within the record range. Since the start and end times for recording are located within both of the existing regions, newly recorded notes are written into both of the existing regions, and into a new region created to fill the space between them.
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Make sure that MIDI Merge is enabled in the Transport window, otherwise (in Replace mode) each subsequent take destructively replaces the previous take. You can record enable a different MIDI or Instrument track on-the-fly while loop recording. While pressing Command (Mac) or Control (Windows), use the Up/Down Arrows to record enable the previous or next MIDI or Instrument track.
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Loop Recording Multiple Takes When recording MIDI in Loop Record mode, new regions are created each time new material is received during a record pass. This differs somewhat from loop recording audio, where Pro Tools creates a single audio file that comprises all takes, which appear as individual regions in the Region List. You can use MIDI loop recording to record successive takes without stopping the record process, thereby capturing your creative spontaneity.
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To select the various record takes: 1 Ensure that the Matching Criteria window is correctly configured (see “Matching Criteria Window” on page 464). 2 Do one of the following: • Right-click the region with the Selector or Grabber tools, and select a take from the Matches submenu in the pop-up menu. MIDI Step Input Step Input lets you use a MIDI keyboard (or any other MIDI controller that sends MIDI note data) to enter notes individually, one step at a time.
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6 Enable Wait for Note in the Transport window. 7 To start recording from the beginning of the session, click Return to Zero in the Transport. 8 When you are ready to begin recording, click Record in the Transport window. The Record, Play, and Wait for Note buttons flash, indicating that Pro Tools is waiting for MIDI data.
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Recording Audio from a MIDI Instrument Typically, you will monitor the audio from MIDI instruments (both hardware and plug-ins) using Instrument and Auxiliary Input tracks. During the final mixdown, audio from Instrument and Auxiliary Input tracks can be included when using Bounce to Disk, or on a bussed recording path if recording to a new track. When using instrument plug-ins, you may want to record the audio from a MIDI instrument to a new track before mixing in order to free up DSP resources.
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Recording Audio from an External MIDI Instrument You can record audio from an external MIDI instrument in one of two ways: • By bussing audio from the output of the Instrument (or Auxiliary Input) track used to monitor the MIDI instrument to an audio track for recording. • By setting the audio track’s Audio Input Path selector to the same Audio Input Path as the Instrument (or Auxiliary Input) track used for monitoring the external MIDI instrument.
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486 Pro Tools Reference Guide
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Chapter 24: Punch Recording Modes Punch recording is used in many areas of audio production for film, video, and music. Pro Tools Punch Recording Modes Pro Tools provides three different manual punch recording modes: Introduction to Punch Recording Modes Once basic track material has been recorded, it is often necessary to replace some, but not all, of the audio that makes up each track.
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System, Session, and Track Guidelines for Punch Recording This topic lists the basic settings and guidelines for Pro Tools punch recording, including the following: • “Voice Requirements for Punch Recording” on page 488. • “Delay Compensation and DestructivePunch Mode” on page 489. • “Audio Files, Regions and Takes” on page 490. • “Preferences for Punch Recording” on page 490 (for crossfades, as well as transport and monitor configuration settings).
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To make more voices available for punch recording: 1 Identify tracks that are not record-enabled, and do not need to be heard while recording, and do any of the following: • Set voice assignments for tracks to Off. • Make tracks inactive. • Group all RTAS plug-ins before TDM plugins. Voices that are in use by other tracks, but not record-enabled, may be “stolen” during punch recording as necessary.
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To apply Delay Compensation to all selected tracks where Delay Compensation was suspended, do one of the following: Shift-Right-click the Track Compensation indicator on the track and select Auto Low Latency Off. – or – Audio Files, Regions and Takes If you stop playback and record additional punches with QuickPunch (or TrackPunch), a new whole file region is created (since one is created for each pass), and subsequent regions are named by incrementing the first two digits in the name.
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Crossfades while Punch Recording Pro Tools places crossfades at each in and out point, for smooth transitions between punch regions. You can specify the crossfade length for QuickPunch and TrackPunch modes (DestructivePunch uses a fixed crossfade length which cannot be changed). After punch recording is completed, all crossfades can be edited in the same manner as standard crossfades (see Chapter 29, “Fades and Crossfades”).
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Transport RecordLock This setting lets the Transport Record be configured to either emulate a digital dubber, or to maintain legacy behavior for the Transport master Record. When not enabled, the Transport Record disarms when Pro Tools is manually stopped or stops due to a loss of time code. This replicates legacy Pro Tools recording behavior. When enabled, the Transport Record remains armed when playback or recording stops.
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Recording with QuickPunch To punch on-the-fly with QuickPunch: 1 Do one of the following: • Select Options > QuickPunch. – or – • Right-click the Record button in the Transport and select QuickPunch. When QuickPunch is enabled, a “P” appears in the Record button in the Transport. QuickPunch enabled QuickPunch enabled 2 Check or reconfigure the crossfade setting for punch recording (see “QuickPunch/TrackPunch Crossfade Length” on page 491).
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• If you select Record Online at Time Code Lock, QuickPunch disregards the selection and punches in and out whenever you want (after Pro Tools has locked to time code). For information about online playback with Pro Tools, see the User Guide that came with your system or with a Toolkit option (if you purchase one). For information about synchronization with TrackPunch and DestructivePunch recording, see “Synchronization and Track Arming Options for Punch Recording” on page 492.
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Transport Display of TrackPunch Status TrackPunch enabled Record Enable Status indicator Input Status indicator TrackPunch and TrackInput Status indicators in the Transport window The Transport Record button indicates TrackPunch and Record status as follows: TrackPunch Enabling Tracks Before each pass, you must TrackPunch enable all tracks that you intend to punch (you can TrackPunch enable tracks without record enabling them).
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Track Record Status Display Monitoring and Levels Each track’s Record Enable button indicates its TrackPunch and record enable status as follows: To complete the setup for TrackPunch: • When a track is TrackPunch-enabled but not record-enabled, its Record Enable button lights solid blue. 1 Configure monitoring for record-enabled tracks by selecting a mode from the Track menu, or using the TrackInput button, as appropriate.
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3 Click Record in the Transport to enter the TrackPunch Record Ready mode. The Record button flashes blue and red. 4 Click Play in the Transport to begin playback. 5 During playback, punch in and out on indi- vidual TrackPunch-enabled tracks by clicking their respective Record Enable buttons. 6 While continuing local or remote playback, do any of the following: • Punch in on other TrackPunch enabled tracks individually.
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Start Recording on All Tracks You can choose to begin a punch pass in record, to punch out and back in as needed. DestructivePunch Audio Recording (Pro Tools HD Only) To punch in on all tracks: 1 Enable TrackPunch mode (see “Transport Dis- play of TrackPunch Status” on page 495). 2 Click the Record Enable button on each track you want to punch in, so that the track is both TrackPunch- and Record-enabled. The track’s Record Enable button flashes blue and red.
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DestructivePunch Setup Before using DestructivePunch in a record pass you must configure Pro Tools, session, and track settings. Configure Pro Tools for DestructivePunch Transport Display of DestructivePunch Status When DestructivePunch mode is enabled: The letters “dp” appears in the Record button in the Transport. If at least one track is DestructivePunch-enabled, the Record button in the Transport lights solid blue.
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Prepare Tracks for DestructivePunch Recording In order for a track to be enabled for DestructivePunch recording, the track must contain a contiguous audio file that meets the following requirements: 1 Choose Setup > Preferences and click the Oper- ation tab. 2 Type a value for DestructivePunch File Length. 3 Click OK. • The file must start at the beginning (sample 0) of the session.
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DestructivePunch Enabling Tracks without Record Enabling Them This method lets you use the Prepare DPE Tracks command to consolidate files for DestructivePunch recording. To DestructivePunch-enable an audio track: Control-click (Mac) or Start-click (Windows) the track’s Record Enable button to toggle the button to solid blue. To simultaneously DestructivePunch enable and record enable an audio track: Click the track’s Record Enable button. The track’s Record Enable button flashes blue and red.
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To complete the setup for DestructivePunch: 3 Click Record in the Transport to enter Record Ready mode. The Record Enable button flashes blue and red. 1 Configure monitoring for record-enabled 4 Click Play in the Transport to begin playback. tracks by selecting a mode from the Track menu, as appropriate. Choices include: 5 During playback, punch in and out on indi- Monitoring and Levels • Set Record Tracks to Auto Input vidual DestructivePunch-enabled tracks by clicking their Record Enable buttons.
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Starting Recording Immediately on Multiple Tracks To punch in on multiple tracks: 1 Enable DestructivePunch mode (“Enable De- structivePunch Mode” on page 499). 2 Click the Record Enable button on each track you want to punch in, so that the track is both DestructivePunch-enabled and Record-enabled. Each track’s Record Enable button flashes blue and red. 3 Click Record in the Transport to enter Record Ready mode. The Record button flashes blue and red. 4 Click Play in the Transport to begin playback.
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Film Dubbing and Mixing Film dubbing and mixing features of TrackPunch and DestructivePunch let you do the following: • Arm and punch Pro Tools audio tracks remotely from a master synchronizer such as SoundMaster through P2 commands at any time, without having to stop playback and while maintaining time code lock. (Requires the MachineControl option.) • Toggle Pro Tools audio tracks between input and disk monitoring. • Use Pro Tools as the time code master (generating) or when slaving.
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Loading Dailies Using RecordLock Foley Recording Dailies and similar types of transfers are comprised of multiple takes or scenes, each recorded while locked to unique time-of-day time code. In between each take, time code does not continue but stops completely. Because of this, the time code on dailies and similar source material is said to be “discontinuous” or discontinuous (also known as broken time code).
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Tracking and Overdubbing Music Modern multitrack recording requires the flexibility to “capture the moment” by allowing on-the-fly record enabling and punch recording, as provided by TrackPunch. Features of TrackPunch for all tracking, overdubbing, and punching situations include the following: • Record enable tracks on-the-fly. • Punch tracks in and out using on-screen Record Enable buttons, remotely from a synchronizer, from a control surface, or using a foot switch.
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Part V: Editing 507
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Chapter 25: Editing Basics Use the Edit window in Pro Tools to edit and arrange audio, video, and MIDI. Track material can be edited nondestructively and in real time during playback. files remain untouched. However, certain processes or tools work destructively (can permanently change audio files on your hard disk), as noted in other topics.
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• Audition different playlists. • Adjust or scale automation and MIDI continuous controller data. • Insert real-time plug-ins. • Apply Real-Time (and Rendered) Elastic Audio processing. • Process audio with an AudioSuite plug-in. • Automation editing. There are a few things that cannot be changed while Pro Tools plays, as noted in relevant topics.
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Offline Regions Regions are offline when their parent files cannot be located, or are not available, when opening a session or importing a track. Offline regions appear in the Region List as italicized and dimmed; they appear in playlists as light blue regions with italicized names. Offline regions can be edited like other regions, but they cannot be processed with AudioSuite plug-ins.
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Calculating Waveform Overviews Waveforms can be calculated using Peak or Power overviews. yond the sample level. For mastering applications in particular, it can be more revealing of the sonic characteristics of the audio than Peak view. To set how the Waveform view is calculated: Choose View > Waveforms and select one of the following: • Peak – or – Normal Power Waveform view with Outlines • Power Peak When selected, the waveform display is calculated based on the sample-by-sample peak level.
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To show waveforms rectified (or normally): To show (or hide) waveform outlines: Select (or deselect) View > Waveforms > Rectified. Select (or deselect) View > Waveforms > Outlines. Rectified Peak Waveform view with Outlines Peak Waveform view without Outlines Rectified Power Waveform view with Outlines Power Waveform view without Outlines When zoomed in to the sample level, Pro Tools always displays waveforms in Normal Peak view.
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Guidelines for Editing Waveforms Avoiding Clicks and Pops With the Selector tool in the Edit window, you can select portions of audio waveforms and divide them into segments called regions, so that you can rearrange and manipulate them in tracks. If an edited region begins or ends at a point of high amplitude, you may hear a click when Pro Tools plays from one region to another.
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Nondestructive Audio Editing When editing an audio track’s playlist in Pro Tools, you are not actually cutting and moving pieces of sound as you would if you were cutting and splicing analog tape. Instead, Pro Tools creates a map of the audio file on your hard disk, which describes the order in which to play various portions of the audio.
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There are a few things to consider when selecting, copying and cutting, and trimming MIDI regions: When cutting or clearing a region or region group selection that includes a note’s start point, the entire note is removed. This is even the case when only a portion of the note (that includes its start point) is selected. When cutting or clearing a region or region group selection that includes a note’s end point (but not its start point), the note remains and overlaps the edge of the region.
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MIDI Mute Automation Unlike continuous controller events, which represent nuances that are part of a MIDI performance, Mute in Pro Tools is an automation playlist that actually mutes the MIDI engine. Mute automation does not correspond to actual MIDI events and is therefore not exported when saving as a Standard MIDI File. Notes View for MIDI and Instrument Tracks When a MIDI or Instrument track’s Track View is set to Notes, MIDI notes are displayed in a “piano roll” format.
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Using the Edit tools, notes can be inserted, deleted, transposed, trimmed, and moved. For more information, see “Manually Editing MIDI Notes” on page 668. Nondestructive MIDI Editing While editing audio regions is usually nondestructive, this is generally not the case for MIDI regions. For instance, if a MIDI region resides in just one track at a single location, editing for that region is destructive.
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Displaying Region Names, Region Times, and Other Data Region names and times can sometimes get in the way of editing audio waveforms and MIDI data. In these instances, you may want to disable their display. In other instances, such as arranging or spotting Foley, displaying region names and times is extremely useful.
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Multiple Undo Pro Tools can keep track of up to 32 of the last undoable operations, allowing you to return to a previous editing state. The Undo operations in Pro Tools are stored in a queue, in the order in which they were invoked. When choosing Edit > Undo, the most recent operation is undone. If you choose Undo again, the next operation in the queue is undone. You can also choose Edit > Redo to redo an operation, which moves back through the Undo queue by one step.
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To toggle display of creation times in the Undo History window: Click the Options pop-up menu and choose Show Creation Times. To undo all the operations in the Undo Queue: Click the Options pop-up menu and choose Undo All. To redo all the operations in the Redo Queue: Click the Options pop-up menu and choose Redo All. Levels of Undo and Memory Because Pro Tools needs to keep track of the playlists for all tracks that are edited, the use of multiple levels of Undo can be memory intensive.
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Basic Editing Commands Pro Tools provides many standard edit commands (such as Cut, Copy, and Paste). Pro Tools also provides many specialized edit commands that are optimized for audio and MIDI production (such as Repeat Paste to Fill). Cut, Copy, Paste, and Clear Use the Cut, Copy, Paste, and Clear commands to rearrange and edit track material. Edits can operate on entire regions selected with the Time Grabber tool, or on track ranges selected with the Selector tool.
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The Shuffle Regions option affects how material is cut and pasted: • When Shuffle Regions is enabled, the Cut command leaves no empty space, since the regions to the right of the cut slide over, closing the gap. Otherwise the Cut command leaves an empty space corresponding to the data removed from the track. • When Shuffle Regions is enabled, pasted data causes all regions to slide over to make room for the pasted material. Otherwise, pasted data can overlap an adjacent region.
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Paste Command Clear Command Use the Paste command to place the contents of the Clipboard at the Edit insertion point, and overwrite any material already there. Use the Clear command to remove a selection from a track without placing it on the Clipboard. To paste a selection or region: To clear a selection or region: 1 If you want to constrain the insertion point or the selection to the current Grid value, enable Snap to Grid.
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Special Cut, Copy, Paste, and Clear Commands Use the four “special” Edit menu commands (Cut Special, Copy Special, Paste Special, and Clear Special) for cutting, copying, pasting, and clearing automation (volume, pan, mute, and plug-in automation) on audio, Auxiliary Input, Master Fader, VCA Master, and Instrument tracks. These commands can also be used for MIDI controller data on MIDI and Instrument tracks. You cannot paste MIDI controller data to automation data nor automation to MIDI.
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To copy all types of automation on all selected tracks when copying only automation or controller data: Choose Edit > Copy Special > All Automation. To paste to multiple tracks: 1 Do one of the following: • Place the insertion point in each of the destination tracks by Shift-clicking in them. • Make a selection in one of the Timebase rulers. 2 Choose Edit > Paste. When you paste multiple types of data, whatever data has been copied is pasted into the correct type of playlist.
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Chapter 26: Edit Modes and Tools Pro Tools provides four Edit modes and various Edit tools to help you successfully edit material. Edit Modes Pro Tools has four Edit modes: Shuffle, Spot, Slip, and Grid. Grid mode provides two modes of operation, Relative and Absolute, explained below. The Edit mode is selected by clicking the corresponding button in the upper left of the Edit window.
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Shuffle Lock With certain workflows, it is important to exclude Shuffle mode in order to ensure that regions stay time-aligned while editing. Shuffle Lock prevents you from inadvertently entering Shuffle mode by disabling all key commands and control surface switches for Shuffle mode. You cannot invoke Shuffle Lock while in Shuffle mode. Slip Mode In Slip mode, regions can be moved freely within a track or to other tracks.
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Grid Mode In Grid mode, regions and MIDI notes that are moved, trimmed or inserted “snap” to the currently selected Grid value, or to precise increments on a user-definable time grid. Press F4 to enable Grid mode. Displaying Grid Lines To show (or hide) the Grid lines in the Edit window or in a MIDI Editor window, do one of the following: Select (or deselect) the Grid button. Grid button selected in the Edit window – or – Click the Name of the currently selected Timebase ruler.
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Snap To Grid Configuring the Grid Pro Tools lets you enable Snap To Grid while in Shuffle, Slip, or Spot mode. When in any of these modes with Snap To Grid also enabled, placing the Edit cursor and making Edit selections is constrained by the Grid, but any region editing is also affected by the other selected Edit mode.
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The Regions/Markers option in the Grid Value menu allows events to be placed freely (as in Slip mode), but they will snap to region locations (start, end, and sync points), markers, and Edit selections when placed near them. MIDI notes inserted with the Pencil tool ignore the Regions/Markers option, and instead snap to the time value selected in the Grid Value selector.
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Zoom Buttons Use the Zoom buttons to zoom in and out vertically and horizontally on MIDI and audio track material. You can also store and recall five Zoom presets. Zoomer Tool Use the Zoomer tool to select a zoom view in a track. Zoom Toggle Use the Zoom Toggle to switch between the current zoom view and a defined zoom view. Trimmer Tools Use the Trimmer tools to trim regions and region groups. Selector Tool Use the Selector to make selections on tracks.
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Audio and MIDI Zoom In and Out Buttons The Audio and MIDI Zoom buttons let you zoom in and out vertically on audio and MIDI data respectively. To zoom out vertically for all audio tracks, do one of the following: Click the Audio Zoom Out button. Click the Audio Vertical Zoom buttons. Press Control+Alt+[ or Control+Alt+] (Windows) or Command+Option+[ or Command+Option+] (Mac).
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To zoom in or out vertically for a single MIDI or Instrument track: To zoom horizontally to show the entire session, do one of the following: 1 Make sure the Track View is not set to Regions. Double-click the Zoomer tool in the toolbar. 2 Select the Zoomer tool. Press Alt+A (Windows) or Option+A (Mac).
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Normal Zoomer Tool To zoom into a particular track area: 1 Do one of the following: To zoom around a certain point in a track: 1 Do one of the following: • Click the Zoomer tool pop-up menu and select Normal Zoom mode. • Click the Zoomer tool pop-up menu and select Normal Zoom mode. – or – • Right-click on any track and select Tools > Zoomer Tools > Normal Zoom. 2 Do either of the following: Zoomer tool • To zoom horizontally only, drag with the Zoomer tool in the track’s playlist.
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Single Zoom Mode Single Zoom mode returns you to the previously selected tool after a zoom has been performed. For example, when using the Smart Tool you can click the Single Zoomer tool, and once the Zoom operation has been performed, Pro Tools automatically switches back to the Smart Tool. To use Single Zoom mode, do one of the following: Click the Zoomer tool pop-up menu and select Single Zoom mode. Right-click on any track and select Tools > Zoomer Tools > Single Zoom.
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Vertical Zooming In or Out of All Audio Tracks Continuously To set all audio track waveform heights to match the waveform height of the topmost audio track in the Edit window: To vertically zoom in or out of all audio tracks using continuous zoom: Control-Shift-click (Windows) or CommandShift-click (Mac) the Audio Zoom button. All waveform height offsets will be lost. Drag up or down on the Audio Zoom In or Out button.
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To recall a saved Zoom preset, do one of the following: Click the appropriate Zoom Preset button (1–5). – or – Click and hold the Zoom Preset button and choose Recall Zoom Preset from the Zoom Preset pop-up menu. Zoom Toggle preferences Zoom Toggle Zoom Toggle lets you define and toggle between zoom states in the Edit window.
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Remove Range Selection After Zooming In When the Remove Range Selection After Zooming In option is selected, the current Edit selection collapses into an insertion point after zoom toggling in. Track View Track Height Last Used When selected, zoom toggling in changes all tracks containing an Edit Selection to the last used Track Height. Warp/Notes When selected, zoom toggling in changes the Track View for audio tracks to Warp view, and changes the Track View for Instrument and MIDI tracks to Notes view.
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Using Zoom Toggle Depending on the Zoom Toggle preferences settings, the Zoom Toggle button in the Edit window lets you define a zoom state and toggle between it and the current zoom state, or it zooms to the settings in the Zoom Toggle preferences. When Zoom Toggle is enabled, the Edit window displays the stored zoom state. Additionally, any changes made to the view while Zoom Toggle is enabled are also stored in the zoom state. When Zoom Toggle is disabled, the Edit window reverts to the last zoom state.
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To use Zoom Toggle without changing playlist views: 1 Make a selection on one or more tracks. 2 Do one of the following: • Press Alt+Start+E (Windows) or Option+Control+E (Mac). – or – • With Commands Keyboard Focus enabled (see “Keyboard Focus” on page 30), press Alt+E (Windows) or Option+E (Mac).
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Zooming with a Scroll Wheel Using the Trimmer Tools If you have a mouse with a scroll wheel, you can use the scroll wheel to zoom in and out of tracks, both vertically and horizontally. Trimmer tools provide region, note, and data trimming functions. The following Trimmer tools are available: To continuously zoom horizontally using a scroll wheel: Hold Alt (Windows) or Option (Mac) while turning the mouse scroll wheel.
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Use of the Trimmer tool is affected by the current Edit mode: Shuffle, Slip, Spot, or Grid (see “Edit Modes” on page 527). The Trimmer tool can also be used to lengthen and shorten MIDI notes (see “Trimming Note Start and End Times” on page 671), and also to scale automation and controller data up or down “Drawing Automation” on page 1027. To trim a region with the Trimmer tool: 3 Do one of the following: • If trimming the end, drag left to shorten the region, right to lengthen.
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You can match an Edit selection to the length of a Timeline selection by selecting Edit > TCE Edit to Timeline Selection command (see “TCE (Time Compression and Expansion) Edit To Timeline Selection” on page 594. 3 From the TC/E Plug-In pop-up menu, select the AudioSuite plug-in to be used with the Time Compression/Expansion Trimmer tool.
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To use the TCE Trimmer tool in Grid mode: To use the TCE Trimmer tool in Spot mode: 1 Set the Edit mode to Grid. 1 Set the Edit mode to Spot. 2 Do one of the following: 2 Click the Trimmer tool pop-up menu and se- • Click the Trimmer tool pop-up menu and select TCE. lect TCE. 3 Click the region near its start or end point. The Spot dialog opens. Using any Time Scale, enter a new start or end time (or duration) for the region, then click OK.
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To scrub trim a track: 1 Do one of the following: • Click the Trimmer tool pop-up menu and select Scrub. – or – • Right-click on any track and select Tools > Trimmer Tools > Scrub. Creating Loops with the Loop Trimmer Tool To create loop regions using the Loop Trimmer tool: 1 Do one of the following: • Click the Trimmer tool pop-up menu and select Loop. The tool changes to a speaker with a bracket. – or – 2 Drag within a track to the left or right.
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Trimming Looped Regions You can trim looped regions in two ways: • Loop Trim a looped region to change how long the region is looped. For example, Loop Trim a looped region from 2 bars to four bars. With a 1 bar region, the number of loops changes from 2 to 4. Each loop iteration remains the same length, but the length of the entire looped region changes. • Trim the source region (loop iteration) while keeping the overall loop length unchanged.
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To trim the source region (loop iteration) of a looped region: 1 Select the Loop Trimmer tool. 2 Move the cursor over a Loop icon in the looped region, or anywhere along the bottom of the region. The cursor indicates the Trimmer tool icon. Using the Selector Tool Use the Selector tool to place the edit cursor in a track or Timebase ruler, or to make Timeline selections or Edit selections on tracks.
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Using the Grabber Tools Use the Grabber tools to select, move, separate, and arrange regions on tracks. There are three modes for the Grabber tool: Time Grabber, Separation Grabber, and Object Grabber. For more information about arranging regions, also see Chapter 38, “Arranging Regions.” Making a selection with the Selector tool To select an entire region with the Selector tool: 1 Select the Selector tool in the Edit window. Time Grabber Selects an entire region on a track with a single click.
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To select one of the Grabber tools, do one of the following: Click the Grabber tool in the Edit window and select the Grabber tool from the pop-up menu. The Smart Tool in Waveform View (Audio) or Regions View (MIDI) Fade-In Selector tool Fade-Out Trimmer tool (start) Trimmer tool (end) Grabber tool Crossfade Smart Tool in Waveform view Selecting a Grabber tool – or – Right-click on any track and select the Grabber tool from Tools > Grabber Tools.
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For a crossfade, position the cursor between two adjacent audio regions, near the bottom of the region. Once the Crossfade cursor appears drag left or right to set the crossfade length. The crossfade is created automatically with the Default Fade Settings (in the Editing Preferences page). To temporarily switch the Smart Tool to the Scrubber, place the cursor over the region so that the Selector tool is enabled, then press Start (Windows) or Control (Mac).
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For the Velocity Trimmer tool, position the cursor over the note and press Control (Windows) or Command (Mac). To edit existing breakpoints, move the cursor near a breakpoint for the Grabber tool. For fine control with the Grabber tool, press Control (Windows) or Command (Mac)—or continue to hold the key if you are creating a new breakpoint. To vertically constrain Grabber tool movement, press Shift.
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While viewing an audio waveform in Pro Tools can be helpful in visually finding an edit point, sometimes a waveform display (because of its sonic characteristics) may not reveal the desired spot in the audio material. By scrubbing back and forth in Pro Tools, you can listen and locate an exact edit point. When the Edit Insertion Follows Scrub/Shuttle option is enabled in the Operation Preferences page, the edit cursor automatically locates to the point where scrubbing stops.
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Scrub/Shuttle Mode When scrubbing normally, you can scrub at normal playback speeds or slower. Scrub/Shuttle mode, however, lets you scrub at several times normal speed, which is helpful in playing through large ranges and locating material. To scrub in Shuttle mode (at several times normal speed): 1 Select the Scrubber tool. 2 While pressing Alt (Windows) or Option (Mac), drag within the track—left for reverse, right for forward. The Fast Forward and Rewind buttons in the Transport window engage.
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Custom Shuttle Lock Speed (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) Use the Custom Shuttle Lock Speed preference to customize the highest fast-forward Shuttle Lock speed (key 9) to better match your editing and auditioning needs. To configure Custom Shuttle Lock Speed: 1 In Pro Tools, select Setup > Preferences and click the Operation tab. 2 Be sure that the Numeric Keypad mode is set to Transport or Classic (see “Operation Preferences” on page 120).
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Using the Pencil Tool The Pencil tool lets you draw several types of Pro Tools data: • audio waveforms (see “Waveform Repair with the Pencil Tool” on page 556) • MIDI data (see “Using the Pencil Tool” on page 664) • tempo changes (see “Editing Tempo Events in the Tempo Editor” on page 763) • automation (see “Drawing Automation” on page 1027). Waveform Repair with the Pencil Tool On audio tracks, the Pencil tool lets you destructively “redraw” waveform data.
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Edit/Tool Mode Keyboard Lock Enable Options > Edit/Tool Mode Keyboard Lock to lock the currently selected Edit Tools (Zoom, Trim, Grabber, and Pencil only) in place and prevent them from being inadvertently changed when using keyboard shortcuts. However, even when Edit/Tool Mode Keyboard Lock is enabled, Edit Tool types can still be changed using the mouse or by using the Right-click menu. You can also switch between tools (such as switching from the Grabber to the Trimmer) using keyboard shortcuts.
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Chapter 27: Making Selections Pro Tools provides many tools for selecting material in the Edit window. Linking or Unlinking Timeline and Edit Selections Pro Tools lets you link or unlink the Timeline and Edit selections. When the Timeline and Edit selections are linked, selecting in a track’s playlist (making an Edit selection) also defines the play and record range (the Timeline selection).
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See the following topics for more information on working with Timeline and Edit selections: • “Selecting Track Material” on page 561 • “Timeline Selections” on page 571 • “Setting Punch and Loop Points” on page 452 • “Setting Pre- and Post-Roll” on page 456 Timeline and Edit selections unlinked While you could theoretically do this with the Timeline and Edit selections linked, as soon as playback is stopped, the playback range would then be updated to that of the more recent edit range, or to a single note
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Selections and Edit Groups When making selections on tracks that are part of an Edit Group, all tracks within the group become selected. Selections and Hidden Tracks Link Track and Edit Selection enabled Selecting Track Material Before audio and MIDI material can be edited, it must first be selected. The Track View determines how the material is viewed and selected.
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To select an entire region, do one of the following: Click the region with the Time Grabber tool. – or – Double-click the region with the Selector tool. To select two regions and the time range between them: 1 With the Time Grabber, click the first region. 2 Shift-click the second region. Both regions are selected, along with the time range between them (including any other regions).
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Making Selections While Playing Object Selections Pro Tools lets you make on-the-fly selections with the Up and Down Arrow keys. Use the Object Grabber tool to select noncontiguous regions on one or more tracks. Noncontiguous selections must encompass entire regions. If you want a noncontiguous selection to include a portion of a region, first turn the portion into a new region with the Separate Region command (see “Separate Commands” on page 582).
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Object to Time Selection You can convert between Time- and Objectbased selections. Time selections are made with the Selector and Time Grabber tools. Object selections are made with the Object Grabber tool. Converting to an Object selection is useful when you are working with large selections, especially across multiple tracks, and you want to remove certain regions from the selection. Converting to a Time selection is useful if you want to select all regions between a noncontiguous Object selection.
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If Link Timeline and Edit Selection is disabled, drag the Edit Marker to change the selection length. Nudging Selection Start/End Points Start and end points for selections can be moved by nudging them. Edit Markers To make a long-length selection: 1 With the Selector tool, click at where you want the selection to start. 2 Scroll to the end point and Shift-click at the point where you want the selection to end.
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Extending Selections You can extend selections to region start and end points, to include an adjacent region, or to Markers and Memory Locations. To extend a selection to a region start or end point: 1 With the Selector tool, select a portion of a re- gion, or click anywhere in the region. 2 Do one of the following: • Press Shift+Tab to extend the selection to the region’s end point. – or – • Press Control+Shift+Tab (Windows) or Option+Shift+Tab (Mac) to extend the selection to the region’s start point.
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To make a selection with the Edit Selection indicators: 1 Click with the Selector tool in the track you want to select. Calculator Entry Mode You can perform calculator-style editing of values in the Edit Selection indicators. 2 Click in the Start field at the top of the Edit To subtract time values: window. 1 In the Edit Selection indicator, highlight the 3 Type in the start point for the selection and time field you want to change.
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To shorten or lengthen the selection across each of the tracks, press Shift while dragging to change the range of the selection. 2 With the Selector or Time Grabber tool, make a selection. 3 Do one of the following: To select across all tracks, do one of the following: • Press P on your computer keyboard to move the selection to the previous track. Enable the All Edit Group and make a selection in any track.
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To remove the bottom track from a selection: Press Alt+Start+Semicolon (;) (Windows) or Option+Control+Semicolon (;) (Mac) to remove the bottom track. Other Useful Selection Techniques Following are some additional selection techniques. To position the edit cursor precisely at a region start, end, or sync point: 1 Make sure the Tab to Transients button is not enabled. (See “Tabbing to Transients” on page 570.) 2 Click with the Selector tool in the track.
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Right-Click Commands and Selection Preservation You can use Right-click commands with key combinations to perform operations on objects while maintaining selections in the Edit and Mix windows.
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Once selected, the material can be looped for recording or playback, or it can be turned into a new region with the Separate or Capture command. Peak transients are usually visible in the waveform. However, some low-frequency transients may not appear as visible peaks in the waveform. To make a Timeline selection with the Selector tool: 1 If you want to constrain the selection to the current Grid value, set the Edit mode to Grid. 2 Drag with the Selector tool in any Timebase ruler.
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To set the Timeline selection by dragging the Timeline Selection Markers: 1 If you want to constrain movement to the cur- rent Grid value, set the Edit mode to Grid. 2 With the Time Grabber, drag the first Timeline Selection Marker (down arrow) to set the start point. 3 Drag the other Timeline Selection Marker (up arrow) to set the end point. Sliding a Timeline Selection Like Edit selections, Timeline selections can be slid in the Main Timebase ruler.
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Navigating the Timeline with the Edit Window Counters and Indicators The counters and indicators at the top of the Edit window display the current playback location and Edit selection. These include the Main and Sub Counters, and the Edit Selection Start, End, and Length indicators. All Edit window counters and indicators (except the Sub Counter) let you enter a location in their counter display to navigate to a specific time location.
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Scrolling with a Scroll Wheel If you have a mouse with a scroll wheel, you can use the scroll wheel to scroll vertically or horizontally in any Pro Tools window that has a scroll bar (such as the MIDI Event List). To scroll a Pro Tools window vertically: 1 Place the mouse over the window you want to scroll (for example, in the Edit window you might want to scroll either the track display or the Region List). 2 Scroll the scroll wheel up or down to scroll the window up or down.
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Universe View The Universe view displays an overview of the entire Pro Tools session above the tracks pane in the Edit window. Universe view at the top of the Edit window 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 regions). The order in which material is displayed in the Universe view corresponds to the track order in the Edit window.
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From the Edit window pop-up menu, select or deselect Universe. Framed Area in the Universe View The framed area in the Universe view represents what is visible in the Tracks pane in the Edit window. If you change what is displayed in the Edit window—by zooming, scrolling horizontally or vertically, hiding or showing tracks, or changing track heights—the framed area in the Universe view relocates and resizes accordingly.
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Navigating with the Universe View By clicking in the Universe view, you can scroll the material displayed in the Edit window horizontally, vertically, or both. This provides a convenient method of focusing the Edit window anywhere in the session. To navigate the session using the Universe view: 1 Ensure that Universe view is shown (View > Other Displays > Universe). Resizing the Universe view 2 Click anywhere in the Universe view to move the framed area and the Edit window updates accordingly.
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Navigating Your Pro Tools Session In addition the Universe view, Pro Tools let you quickly and easily navigate your session using keyboard shortcuts. This topic provides an overview of the essential key commands for navigating and making Edit selections in your session. Zooming to the Entire Session and to the Edit Selection To zoom to an Edit selection using Zoom Toggle: 1 With the Selector or the Grabber tool, make an Edit selection. Press F7 for the Selector tool or F8 for the Grabber tool.
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You can also do the following: • Press Control+Tab (Windows) or Option+Tab (Mac) to move the Edit cursor to the previous transient. Changing the Edit Selection Pro Tools provides several keyboard shortcuts for moving and extending or decreasing the range of an Edit (or Timeline) selection. – and – • Press Control+Shift+Tab (Windows) or Option+Shift+Tab (Mac) to extend the selection to the previous transient.
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Moving the Insertion to the Beginning or End of the Selection With the Transport stopped, you can use the Down and Up Arrows on your alphanumeric keyboard to the beginning or end of the Edit (or Timeline) selection (and collapse the selection). To move the insertion to the beginning of the selection: Press the Down Arrow. To move the insertion to the end of the selection: Press the Up Arrow. Restoring the Last Selection There are times when editing that you can loose your selection.
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Chapter 28: Editing Regions and Selections Regions are the basic building blocks for arranging audio and MIDI in Pro Tools. Understanding how regions are created, edited, and arranged is essential to taking full advantage of the editing capabilities of Pro Tools. This topic covers basic editing functions as they apply to regions and region groups, and selections, which for the most part apply to both MIDI and audio data. For editing procedures more specific to MIDI, see Chapter 32, “MIDI Editing.
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To capture a new region: 1 With the Selector tool, drag in an existing re- gion to select the material for the new region. Selecting a portion of a region 2 Choose Region > Capture. Press Control+R (Windows) or Command+R (Mac) for Capture Region. 3 Type a name for the new region and click OK. The new region appears in the Region List. The original region remains intact and unchanged.
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To separate regions (or MIDI notes) according to the current grid resolution: 1 Make an Edit selection. 2 Choose Edit > Separate > On Grid. 3 In the Pre-Separate Amount dialog, type a pre-separate amount in milliseconds. This can be useful to pad the beginnings of the new regions. By separating a region, additional regions are auto-created from data on either side of the separation, which have new numbers assigned to their names. The original region remains intact and unchanged on the Region List.
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Separating Multiple Tracks Separation Grabber Tool The following figure illustrates a separation across one mono audio track and two stereo tracks. For some tracks, the selection resides within a region, while others reside at the start or end of a region. You can use the Separation Grabber tool to automatically separate an Edit selection and move it to another location or another track. To separate a selection with the Separation Grabber tool: 1 With the Selector tool, make an Edit selection.
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To separate a selection without affecting the original regions: 1 With the Selector tool, make an Edit selection. The selection can reside within a single region, across adjacent regions within the same track, or across multiple tracks. Region Overlap and Underlap When a tick-based audio track has multiple regions, an increase in tempo can cause neighboring regions to overlap. Audio regions can be set to display a small “dog-ear” corner to indicate overlapping region boundaries.
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Healing Separated Regions Trimming Regions The Heal Separation command returns separated regions to their original state—provided the regions are still next to each other and their relative start and end points have not changed since the separation. In addition to the Trimmer tools (see “Using the Trimmer Tools” on page 542), Pro Tools provides several options for editing region and region group boundaries.
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Trim to Insertion Commands Trim to Fill Selection Commands You can trim a region or MIDI note by automatically removing the material between the Edit insertion point and the start or end point of the region.
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The end point of the region in front of the gap is automatically trimmed (expanded) to the next region, or as far as possible if there is not enough underlying material to cover the gap. Trimming with Nudge You can trim the start and end points of a region by nudging them. To trim a region’s start or end point by the Nudge value: 1 Configure the Nudge value (see “Defining the Nudge Value” on page 589). 2 With the Time Grabber tool, select the region you want to trim.
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Defining the Nudge Value The Nudge value determines how far regions and selections are moved when nudging. Start and end points for selections can also be moved by the Nudge value (see “Nudging Selection Start/End Points” on page 565). In addition, regions can be trimmed by the Nudge value (see “Trimming with Nudge” on page 588). To set the Nudge value: Nudge Value pop-up menu showing Time Code 1 Do one of the following: • From the View > Main Counter menu, select the Time Scale for the Nudge value.
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Nudging Regions on Multiple Tracks and in Multichannel Tracks When nudging a selection of multiple regions within a single track or across multiple tracks, that also contains silence, any automation data residing within the silence is also nudged. Nudging a Region’s Contents Often a region’s start point will reside at the correct location, perhaps at a SMPTE frame or barline, but the material within the region starts too late or early.
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Quantizing Regions to Grid The Quantize to Grid command adjusts the placement of selected audio and MIDI regions so that their start points (or sync points, if present) align precisely to the nearest Grid boundary. To quantize individual MIDI notes or Elastic Audio Events, use the Quantize Event Operations. You can also use the Quantize Event Operation to quantize audio regions (see “Quantize Command” on page 890).
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Names for the new tracks are based on the source track name and channel suffix. For example, if a stereo track called “Funkit” is split, two new tracks called “Funkit.L” and “Funkit.R” are created. Output and send assignments and volume and pan settings are retained in the new tracks. Mono equivalents of stereo and multi-mono plug-in assignments are assigned in the new tracks. However, multichannel plug-in assignments are not assigned in the new tracks.
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To consolidate regions within a track: To compact an audio file: 1 Do one of the following: 1 In the Region List, select the region or regions • Using the Time Grabber or Selector tool, select the regions you want to consolidate. – or – • To select all regions in a track, triple-click in its playlist with the Selector tool. 2 Choose Edit > Consolidate. Press Alt+Shift+3 (Windows) or Option+Shift+3 (Mac) to Consolidate.
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TCE (Time Compression and Expansion) Edit To Timeline Selection (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) When the Edit and Timeline selections are unlinked, you can compress or expand an audio selection to fit the Timeline selection. On audio tracks, TCE Edit to Timeline Selection uses the TCE AudioSuite Plug-In selected in the Processing preferences (see “Processing Preferences” on page 130).
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Rating Regions You can rate different regions on a scale of 1 to 5, where 5 is the highest (or best) and 1 is the lowest (or worst). Region rating is useful for identifying which takes (regions) you like the most when compositing playlists. You can display or hide the region rating in regions to facilitate track compositing or regular editing. You can also show or hide Playlist lanes based on the ratings of regions in the playlist (see “Filtering Lanes” on page 626). To rate a region: 1 Select the region.
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Chapter 29: Fades and Crossfades You can quickly and easily apply a fade-in or fade-out on a audio region, as well as crossfades between adjacent audio regions. Crossfading is the process of fading between two regions of audio to prevent pops, clicks, or sudden changes in sound. Crossfades have many applications, from smoothing transitions between regions to creating special audio effects. The crossfade duration, position, and shape are all user-definable. Fades are computed and written to disk.
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If a region references insufficient data to execute a selected fade or crossfade, you are prompted to either skip those fades or to adjust the bounds of the selection to be able to execute those fades. Standard Crossfade (Centered) splice fade-out curve point fade-in curve region 2 region 1 crossfade selection This type of selection creates a crossfade before the splice point.
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Fades Dialog The controls in the Fades dialog include: Audition When choosing the Edit > Fades command you can use the Fades dialog to select, view, and preview fades and crossfades, and to edit the curves used to perform fades and crossfades. A fade-in shows the In Shape settings, but not the Out Shape settings, and likewise a fade-out shows the Out Shape settings, but not the In Shape settings. Click this button to audition fades.
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Fade Curves Only Zoom In Click this button to display the specified fade curves without showing the actual audio waveforms. This is the default view when you open the Fades dialog. Click this button to scale the view of the waveform’s amplitude upwards. Control-click (Windows) or Command-click (Mac) for the default view scale. Fade Curves and Separate Waveforms Zoom Out Click this button to display the specified fade curves along with separate views of the fade-in and fade-out waveforms.
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Preset Curves Seven commonly used preset curves are provided for fast crossfade creation. These can be edited by dragging the end points of the curve in the curve editor portion of this dialog. The seven presets are as follows: Preset Curve 1 stays at full volume throughout the fade, then immediately drops the volume at the end of the fade. Preset Curve 5 fades out quickly at the beginning of the crossfade.
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Equal Power Recommended for material that is not phase coherent, as in the case of a crossfade between two completely different types of material. Use this option to avoid the volume drop that can occur with an Equal Gain crossfade. With this fade, you can Alt-click (Windows) or Option-click (Mac) the fade curve to reset it to its default shape.
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Fade-In Shape Settings The In Shape setting lets you define the shape of the fade-in to a region for a fade, or to region 2 for a crossfade. Preset Curve 3 Standard Selects a single continuous fade curve. This creates a general-purpose fade that can be edited by dragging the curve itself. Preset Curve 4 fades in with a linear fade curve. This is the default curve. S-Curve Selects an S-shaped curve, which inverts its beginning and end characteristics.
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Typical Curve Combinations 1. Out 2. In Following are the available combinations of fade-out and fade-in curves. Linear Crossfade This is a good general purpose crossfade with a smooth, even transition between region 1 and region 2. 1. Out 2. In Overlap Crossfade Fade and Crossfade Preferences You can set default fade and crossfade settings. These settings load as your “base” settings when you use the Create Fades command, and the Fade to Start and Fade to End commands.
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5 Click Crossfade and set the default shape for crossfades when using the Smart Tool, then click OK. Although fades appear to be discrete regions, they cannot be separated from the regions in which they were created. 6 Click OK. When changing tempo in a tick-based audio track, fade-ins and fade-outs remain with their parent regions. Fades maintain their absolute duration and are consequently recalculated after any tempo changes.
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Pro Tools calculates the fade and writes it to disk. The selected fade curve appears in the region. To create a fade-out: 1 Select the end of the region that you want to fade out. The selection must extend to the exact end of the region or a blank area after the region in the track. Fade lengths can be resized with any of the Trimmer tools, including Nudge Trim commands. See “Using the Trimmer Tools” on page 542 and “Trimming with Nudge” on page 588.
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Creating a Crossfade To create a crossfade between two regions: 1 With the Selector tool, click at the point where you want the crossfade to begin in the first region and drag to where you want it to end in the second region. Crossfade selections can begin and end anywhere in their respective regions. 2 Do one of the following: • Choose Edit > Fades > Create. – or – • Press Control+F (Windows) or Command+F (Mac).
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If there is not enough audio material to complete the crossfade, or if the new crossfade area falls outside of valid region boundaries, the crossfade is removed. Pre and Post Crossfade Selections By making a selection that begins or ends precisely on the border of two regions, you can create “pre” or “post” crossfades. Use the Tab key to place the insertion point at the exact beginning or end of a region.
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Regions As Files command (from the Region List) are used to duplicate multiple regions as a continuous file. To render these real-time auto fades to disk, choose File > Bounce to > Disk. To set the length of automatic fade-ins/outs: 1 Choose Setup > Preferences and click the Operation tab. 2 Type a value between 0 and 10 ms for the Auto Region Fade In/Out Length. A value of zero (the default) means that no auto-fading will occur. 3 Click OK.
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Pro Tools creates the fades for all selected regions. Fade lengths can be resized with any of the Trimmer tools, including Nudge Trim commands. See “Using the Trimmer Tools” on page 542 and “Trimming with Nudge” on page 588. 2 Move the fade by doing one of the following: • Drag the fade with the Time Grabber tool to a new location on the track. – or – • Nudge the fade by pressing Plus (+) or Minus (–) on the numeric keypad to move the fade forward or backward on the track.
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2 Move the region selection by doing one of the following: • Drag the region selection with the Grabber tool to a new location on the track. – or – • Nudge the region selection by pressing Plus (+) or Minus (–) on the numeric keypad to move the region forward or backward on the track. Moving Regions Adjacent to Crossfades When you move either of the regions that contributes to a crossfade, the regions separate.
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4 Use the Time Grabber or Separation Grabber 2 Nudge the region by pressing Plus (+) or tool to select one of the contributing regions to a crossfade. Minus (–) on the numeric keypad. Selecting a region with a crossfade Stretching the crossfade by nudging 5 Drag the selected region with the Grabber.
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Trimming Regions that Include Fades or Crossfades You can trim regions that include fades or crossfades. Result of Separate Region command on fade-in Where your selection overlaps a crossfade, the crossfade is separated into a fade-out and fade-in at the selection boundary. Trimming a Region to a Fade Boundary You can trim regions that are adjacent to fade and crossfade boundaries.
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To trim a region to a selection that includes fades, do one of the following: Make a selection in the track and choose Edit > Trim > To Selection. You can Trim across multiple regions and fades. Affected fades are adjusted to the new region boundaries. – or – Click with the Selector in the region and choose Edit > Trim > Start to Insertion or End to Insertion. You can trim to region or fade boundary in the track.
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Chapter 30: Playlists The ability to create playlists is a powerful feature of Pro Tools. Each track maintains a “main” playlist and any number of “alternate” edit playlists. Edit playlists let you take a snapshot of a track’s current arrangement of regions, thereby freeing you to experiment with alternate arrangements, returning as necessary to previously saved playlists. A playlist, which can consist of a single region or many regions, can only be assigned to a track if it is not in use by another track.
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Creating a Playlist You can create new empty playlists for recording or importing audio and MIDI. This can be useful for creating alternate takes of audio or MIDI, or for constructing alternate arrangements. To create a new (empty) playlist: 1 Click the track’s Playlist selector and choose New. 2 Type a name for the new playlist and click OK. An empty playlist with the specified name appears in the track. Press Command+\ (Mac) or Control+\ (Windows) to create a new playlist for the first selected track i
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Renaming a Playlist Playlists and Edit Groups You can rename a playlist by renaming the track to which it is assigned. Creating new playlists with grouped tracks automatically increments the suffixes of the playlist names for each track of the active edit group. This lets you revert back to an earlier take by switching the playlist takes by group. To rename a track’s assigned playlist: 1 Double-click the track’s name. 2 Type a new name and click OK. Both the track and playlist names are updated.
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All the playlists will now have the same suffix appended to them. (Creating additional playlists in any of the group tracks will increment all of their playlists to keep them synchronized.) 7 If you want to hear the .01 take on the first group of tracks, you can switch any playlist in the group back to playlist .01. Track Compositing Example In this workflow, you will be introduced to some common track compositing tasks: • Configure a session for this workflow.
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To loop record multiple takes: 1 Create a new audio track (stereo or mono), or use an existing track. 2 Make sure the source you want to record is After you have stopped loop recording, notice that all of the loop recording takes are revealed in Playlist lanes below the main playlist (including the whole audio file region of all of the loop record passes). correctly connected and routed to the track input. 3 From the Track View selector, select Playlists.
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To hide the playlist for the whole file region, do one of the following: To select and copy the best take to the main playlist: Right-click on the Playlist lane and choose Hide. 1 Once you have identified the best take, make any changes to the Edit selection. This is the selection that will be copied to the main playlist.
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Playlists View Playlists view lets you view the main playlist in the track, and also any alternate playlists associated with the track. Alternate playlists are displayed directly below the track in Playlist lanes. If the track does not contain any alternate playlists in addition to the main playlist, only a single, empty Playlist lane is shown under the main playlist.
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Auditioning Alternate Playlists Only the main playlist plays back through the track audio output path. To hear an alternate playlist, you need to solo the Playlist lane. The soloed lane then plays through the track audio output path instead of the main playlist. To audition an alternate playlist: 1 Click the Solo button for the Playlist lane you want to audition. (Soloing a Playlist lane only solos the playlist in the track, it does not mute any other tracks in the session.
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To copy a selection in an alternate playlist to the main playlist: 1 In Playlists view, make a selection in an alter- The selection from the alternate playlist is copied to the same time location in the main playlist. nate playlist.
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To copy a selection in an alternate playlist to a duplicate of the main playlist: 1 In Playlists view, make a selection in an alter- nate playlist. 2 Choose Edit > Copy Selection to Duplicate Playlist. Editing in Playlist Lanes You can edit regions in Playlist lanes in the same way that you do in the main playlist. You can even move regions between different Playlist lanes (including the main playlist), between different tracks, and to different points in time.
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Resizing Playlist Lanes You can resize Playlist lanes the same way you resize tracks. Control-Right-click the vertical scale between the playlist area and the Playlist Lane controls and select the lane size you want. To resize the track and all Playlist lanes together, do one of the following: Click the line in between lanes and drag up or down. The track and all Playlist lanes resize accordingly.
PAGE 648
You can also access the Right-click menu for alternate playlists, which lets you apply Show or Hide, Scroll Into View, Rename, Delete, and Filter Lanes commands. Matching Alternate Regions Pro Tools lets you exchange regions in the main playlist on tracks with matching alternate regions from other playlists associated with the same track, from other tracks, or from the Region List. Matching alternate regions are regions that meet certain criteria.
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• Use the Expand Alternates to New Playlists command to copy matching alternate regions to new alternate playlists on the same track. Then use Playlists view to access the alternate playlists. 2 In the Matching Criteria window, select any combination of the following Alternates Match options: • Track ID • Track Name • Region Rating Matching Criteria The Matching Criteria window lets you select the criteria for matching alternate regions.
PAGE 650
Region Rating Any regions that have the same Rating are considered matching. Enable this option if you have rated regions (see “Rating Regions” on page 595). 2 Do one of the following: • Right-click the region with the Selector or the Grabber tool, and select a matching alternate take from the Matches submenu in the pop-up menu. In Addition To Match Options The following In Addition To Match options are mutually exclusive.
PAGE 651
One way to ensure that subsequent recording takes have the same User Time Stamp (and as such can be available as matching alternate regions) is to store punch and loop record selections as Memory Locations. Then, if you later need to record additional takes, recall the corresponding Memory Location. To change the User Time Stamp of other regions so that they can be available as alternate matching regions for a specific location, use the Time Stamp command in the Region List menu.
PAGE 652
Expanding Alternate Takes to New Playlists or Tracks Pro Tools lets you copy alternate takes and channels to new playlists or tracks. This is useful for auditioning, editing, and mixing multiple alternate takes or channels. Alternate takes are created when punch and loop recording. Alternate channels are included with files imported into Pro Tools from field recorders. Expanding Alternate Takes to New Playlists Expanding alternate takes to new playlists readily facilitates track compositing.
PAGE 653
By Track and Region Name Names all new tracks after the source track name, but with the corresponding original region names in parenthesis. All matching alternate regions are copied to new tracks.
PAGE 654
If alternate channels are available, Pro Tools expands them to new playlists (including the channel represented in the original track) according to the selected option. Expanding Channels to New Tracks To expand alternate channels to new tracks: 1 In the Timeline, do one of the following: • To expand only a portion of the regions on the track, make a selection that includes or overlaps any number of regions on a track, and Right-click (Windows or Mac) or Control-click (Mac) the selection.
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Relinking the Original Unedited Guide Track After importing the AAF (or OMF) sequence and original source audio files into the session, it is recommended that you relink the edited guide track to the original unedited source audio. To relink the original unedited guide track: 1 Open the Project Browser for the session and open the Audio Files folder. 2 Right-click the edited guide track audio file in the browser and choose Relink Selected.
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634 Pro Tools Reference Guide
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Chapter 31: Beat Detective Beat Detective is a powerful tool for analyzing, editing, and manipulating audio or MIDI data that has an inherent rhythmic character. Beat Detective analyzes an audio or MIDI selection, identifies its peak transients or accented notes, and generates beat triggers based on the detected peak transients or MIDI notes. From these beat triggers, Beat Detective can: • Extract tempo and beat information to create Bar|Beat Markers that can be used to define the session’s tempo map.
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Conforming Audio Regions Beat Detective can conform (“quantize”) audio with a different tempo, or with varying tempos, to the session’s current tempo map, or to a groove template. “Tighten Up” Performances Beat Detective can be used to improve the timing of some audio material by calculating and extracting its average tempo, and then conforming its rhythmic components—regions separated with Beat Detective—to the session’s tempo map.
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The Beat Detective Window Beat Detective is managed from the Beat Detective window. Beat Detective window To open the Beat Detective window, do one of the following: Choose Event > Beat Detective. The Beat Detective modes include the following: Operation Lets you choose to analyze either MIDI or audio material. – or – Press Control+8 (Windows) or Command+8 (Mac) on the numeric keypad. Beat Detective is a floating window that can be left open while working.
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Defining a Beat Detective Selection Whether you will be generating Bar|Beat Markers, extracting a DigiGroove template, or separating regions to be conformed, you must always define the audio or MIDI selection to be analyzed. The Beat Detective window provides tools to define and capture the selection range, time signature, and swing (sub-division) content for the selected audio.
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Beat Detective Analysis Beat Detective provides several analysis algorithms for beat detection appropriate to different types of audio material. Beat Detective, Selection options As long as the audio material is correctly aligned with the session’s tempo map, use Capture Selection each time you make a new selection or make any changes to the tempo map (such as changing tempo or meter).
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Calculating Tempo with Beat Detective If you know the meter, and start and end points of the audio selection, use Beat Detective to calculate its tempo. To calculate a selection’s tempo with Beat Detective: 1 Make an Edit selection in the Edit window or a MIDI Editor window (MIDI only) and define the selection in the Beat Detective window as described in “Defining a Beat Detective Selection” on page 638. 2 Select Bar|Beat Marker Generation.
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Bar triggers are indicated with thick lines, beat triggers with medium lines, and sub-beat triggers with thin lines. To generate beat triggers from a MIDI selection: 1 In the Edit window, set the MIDI track you want to use to Notes view. 2 In the Edit window, or in a MIDI Editor win- dow, make a selection across a range of MIDI notes. Make certain that the selection start and end points are at musically relevant locations, such as barlines.
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MIDI Chord Recognition Realign Session Since MIDI notes in a chord may be played at slightly different moments, Beat Detective interprets notes that are close together (closer than half the time value that is set in the Selection Contains field) as a chord. Beat Detective’s Realign Session function lets you generate Bar|Beat markers without tick-based material shifting.
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To generate Bar|Beat Markers with Beat Detective in a session with tick-based tracks: Tips for Getting Useful Beat Triggers 1 In the Edit window, make an audio or MIDI selection. Use the following tips to verify beat triggers: 2 In the Beat Detective window, select Bar|Beat Marker Generation. 3 Define or capture the selection as described in“Defining a Beat Detective Selection” on page 638. 4 Set the Resolution to Bars or Beats. 5 Click Generate.
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Editing Beat Triggers Even though Beat Detective offers a great deal of flexibility in how transients are detected, there may be times when beat triggers must be deleted, moved, or manually inserted. Additionally, triggers can be promoted so they are retained at lower sensitivity settings. To move a beat trigger: 1 With the Beat Detective window open, select any Grabber tool in the Edit window. 2 Locate the beat trigger you want to move and drag it left or right.
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Promoting Beat Triggers To ensure that important beat triggers do not disappear when lowering the Sensitivity, you can promote them. This is useful if a selection has numerous false triggers (too many to bother deleting) at a Sensitivity level where crucial, necessary beat triggers are also displayed. If lowering the Sensitivity and the needed triggers to disappear, simply promote them first.
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Generating Bar|Beat Markers with Beat Detective Once Beat Detective has accurately detected the peak transients in the audio selection and accurately generated beat triggers, the triggers can be converted to Bar|Beat Markers. Bar|Beat Markers generated by Beat Detective create a tempo map that can be used throughout the session. Bar|Beat Markers are generated, based on the beat triggers, and appear in the Tempo ruler.
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DigiGroove Templates Beat Detective allows the fine timing nuances of a rhythmic performance to be extracted and saved as a groove template, called a DigiGroove template. DigiGrooves can be saved locally to the Groove Clipboard, or saved to disk as DigiGrooves. Capturing this information is very important to preserving the feel of a performance, and can add life to MIDI tracks that lack dynamics. Beat Detective only captures duration data from MIDI tracks, not from audio tracks.
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Swing Content for Generating Groove Templates Extract Groove Template dialog 7 Do one of the following: • To save the extracted template for use in the current session, without writing the template file to disk, click Save To Groove Clipboard. (This template will be lost when you close the current session.) • To save the extracted template to disk in order to use it in other sessions or share it with other Pro Tools users, click Save To Disk. Enter a name for the template and click Save.
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Separating Regions with Beat Detective Trigger Pad When separating regions, the Beat Detective window displays an option called Trigger Pad. (Audio Only) Once beat triggers appear in your selection, they can be used to define start and end points for new regions that can be separated automatically. The new regions can then be conformed to the session’s existing tempo map, or to a groove template.
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Separating Multiple Tracks You can use beat triggers from a single track, or subset of tracks, to separate a group of tracks. In the following example, the defined selection is a drum loop consisting of two bars of 5/4. The kick, snare, hi-hat, and overhead microphones are recorded to separate tracks. Analyzing the loop’s kick drum track, with the detection Resolution set to Beats, Beat Detective places beat triggers at the transients on beats 1 and 4.
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Standard Conform This is similar to using the Region > Quantize to Grid command, but with one important difference: With a single operation, Beat Detective can adjust the position of all regions, whether they have a straight or swing feel.
PAGE 674
8 Click Conform to automatically conform all re- gions in the selection. To conform regions using Groove Conform: 1 In the Beat Detective window, select Region Conform. 2 Select Groove. Regions conformed with Beat Detective 9 Audition the new conformed regions by click- ing Play in the Transport. 10 Do one of the following: • If necessary, select Edit > Undo, and repeat steps 4–8 trying a different set of Conform settings. – or – • If necessary, apply Edit Smoothing (see “Edit Smoothing” on page 653).
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7 To affect how strongly the regions are con- 9 Click Conform to automatically conform all re- formed to the groove template, select the Timing option and specify a percentage value with either the slider or by typing in a value: gions in the selection. • Lower percentage values preserve the original feel of the regions. 10 Audition the new conformed regions by clicking Play in the Transport.
PAGE 676
To use Edit Smoothing on conformed regions: 1 In the Beat Detective window, select Edit Smoothing. 2 Select a Smoothing option: Fill Gaps Select this option to trim region end points so that the gaps between regions are filled. Fill And Crossfade Select this option to trim region end points and automatically add a prefade (in ms) directly before each region start point. 3 In the Edit window, if not already selected, select the range of conformed audio regions you want to smooth.
PAGE 677
Once you are satisfied with the results from Beat Detective, it is recommended that you flatten the tracks with the Consolidate command. For all regions selected, Consolidate creates a single, contiguous audio file to reduce the session’s edit density. See “Consolidating Regions” on page 592. Before consolidating a large selection across multiple tracks, make sure there is enough RAM available. See “RAM Requirements for Beat Detective” on page 636.
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Using Collection Mode Collection mode is available in Bar|Beat Marker Generation, Groove Template Extraction, or Region Separation mode (audio only), and is accessed by selecting Collection in the Detection pop-up menu. Beat Detective, Collection mode options mal and move the selection to the next track you want to analyze. Make sure to keep the selection range constant for each track.
PAGE 679
1. Beat triggers detected in Kick track added to collection 2. Unique beat triggers detected in Snare track added to collection 3. Unique beat triggers detected in Hi-hat track added to collection 4.Collected beat triggers applied to Overhead microphones track Figure 9. Overhead mic track displaying a collection of beat triggers containing unique triggers generated from the kick, snare, and hi-hat tracks 11 Repeat steps 7–10 for each additional track you are analyzing.
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658 Pro Tools Reference Guide
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Part VI: MIDI 659
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660
PAGE 683
Chapter 32: MIDI Editing Pro Tools provides powerful MIDI editing tools. You can create and edit individual MIDI notes and controller events with the Pencil, Trim, and Grabber tools in the Edit window, MIDI Editor windows (see Chapter 33, “MIDI Editors”), and the Score Editor window (Chapter 34, “Score Editor”). For information on region-specific editing for both MIDI and audio, see Chapter 28, “Editing Regions and Selections.
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Default Note Duration 3 To define a dotted or triplet duration, do one of the following: The Default Note Duration setting lets you define the default note duration for inserting notes manually. The Edit window, MIDI Editor windows, and Score Editor window can each have a different Default Note Duration setting. To select a Default Note Duration: 1 Click the Default Note Duration setting in the Edit window, a MIDI Editor window, or the Score Editor window.
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Mirrored MIDI Editing Mirrored MIDI Editing lets you edit MIDI regions and have your edits apply to every copy of the same MIDI region. This can be particularly useful when editing looped MIDI regions. To enable Mirrored MIDI Editing, do one of the following: Select Options > Mirror MIDI Editing. – or – Enable the Mirrored MIDI Editing button in the Edit window, MIDI Editor window, or Score Editor window.
PAGE 686
3 To define a dotted or triplet value, do one of the following: • To dot the selected Grid value, click the Grid Value selector again and select Dotted. – or – • To make the selected Grid value a triplet, click the Grid Value selector again and select Triplet. ferent types of MIDI control data—for example, try using Line for volume, Triangle for pan, Free Hand for pitch bend, and Square or Random for velocity. Parabolic and S-Curve Pencil shapes are used for drawing tempo events only in the Tempo Editor.
PAGE 687
When editing MIDI velocities or continuous controller data, the Free Hand shape draws freely according to the movement of the mouse. The shape is reproduced as a series of steps according to the Pencil Tool Resolution When Drawing Controller Data MIDI preference. When editing MIDI velocities or continuous controller data, the Triangle shape draws a triangular pattern that changes direction according to the current Grid value.
PAGE 688
Inserting MIDI Notes In addition to recording, step recording, and importing MIDI into Pro Tools, you can manually insert MIDI notes using the Pencil tool. When using the Pencil tool, the Cursor location and value are displayed in the Window Toolbar. Cursor pitch location Pencil Cursor Cursor Timeline location When inserting MIDI notes or other MIDI data with the Pencil tool, MIDI region boundaries are created on the nearest barlines.
PAGE 689
The velocity for inserted notes is determined by the Default Note On Velocity setting. The duration is determined by the Default Note Duration value. When in Grid mode, the Note On location is determined by the Grid value. If the Play MIDI Notes When Editing option is enabled, each note sounds as it is inserted. The Pencil tool can be dragged after clicking (and before releasing) to adjust the note’s pitch or duration. Drag right to lengthen the note without changing its start point.
PAGE 690
With the Selector tool, drag across a range of notes. Manually Editing MIDI Notes All aspects of a MIDI note can be edited in the Edit window or in a MIDI Editor window, including start and end points, duration, pitch, and velocity. The Selector, Grabber, and Pencil tools can operate on individual notes or groups of notes. Selecting MIDI Notes MIDI notes must be selected before they can be edited.
PAGE 691
Selecting and Auditioning MIDI Notes with the Mini-Keyboard Use the mini-keyboard on MIDI and Instrument tracks to select and play notes on that track. You can click on the mini-keyboard with any Edit tool. To select and play a range of notes on a MIDI or Instrument track: With any Edit tool selected, click a key and drag up or down on the mini-keyboard.
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2 On MIDI or Instrument tracks in the Edit win- dow in Notes or Velocity view, or in a MIDI Editor window, Alt-drag (Windows) or Option-drag (Mac) over the time range that includes the notes you want to select. 2 Select the Pencil tool or any Grabber tool. 3 While pressing Shift, drag the note up or down. Transposing with a Grabber tool The Shift key ensures that the transposed note maintains its original start point.
PAGE 693
As the note is dragged, the Cursor Location Value indicator (in the Edit window) displays the new start point. If the Edit mode is set to Grid, the dragged note snaps to the nearest Grid boundary. If the Edit mode is set to Spot, the Spot dialog opens. To copy the selected notes, leaving the originals intact, press Alt (Windows) or Option (Mac) while dragging. The placement of MIDI notes can also be adjusted with Shift (see “Shift Command” on page 820) or Nudge (see “Nudging Regions” on page 588).
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To separate MIDI notes at the Edit cursor location or at the boundaries of the Edit selection: 1 Make an Edit selection or place the Edit cursor at the location where you want to separate one or more MIDI notes. To separate a MIDI note with the Separation tool: With the Grabber or Pencil tool, Start-Shiftclick (Windows) or Control-Shift-click (Mac) on the MIDI note at the location where you want the separation. 2 Do one of the following: • Choose Edit > Separate > At Selection.
PAGE 695
To consolidate MIDI notes: 1 Select the MIDI notes you want to consoli- Manually Editing Note Velocities – or – When a MIDI or Instrument track is set to Velocity view, or when the Velocity lane is revealed under a track, each note’s attack velocity is represented with a velocity stalk. The taller the velocity stalk, the higher the velocity value (0–127). • Right-click the selected notes and choose Consolidate. To edit MIDI velocity in the Edit window: date.
PAGE 696
The velocities for a range of notes can be edited with any Pencil tool. To scale velocities with the Trimmer tool: 1 Set the MIDI or Instrument track to Velocity view. To draw velocity values for a crescendo: 1 Do one of the following: • Set the MIDI or Instrument track to Velocity view. – or – • Reveal the Controller lane for the MIDI or Instrument track and show Velocity. 2 Using the Selector tool or any Grabber tool, select the range of notes to be edited.
PAGE 697
Drag up to increase the velocity value, or down to decrease it. While dragging, the diamond turns blue and the associated note becomes selected. The dragged velocity values are reflected in the Cursor Location Value indicator (in the Edit window). If two notes have the same start time (with velocity stalks on top of each other), Control-drag (Windows) or Command-drag (Mac) the actual note up or down to adjust its velocity.
PAGE 698
Values entered in the pitch and velocity fields add to or subtract from the values for all selected notes. For example, to transpose all selected notes down an octave, enter a value of –12 for pitch. To delete a single MIDI note with the Pencil tool: With the Pencil tool selected, Alt-click (Windows) or Option-click (Mac) the note. The Pencil tool changes to an Eraser when Alt (Windows) or Option (Mac) is pressed.
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With the Time Compression/Expansion Trimmer tool, you can move the MIDI region’s start or end point to expand or compress the region, scaling the MIDI data accordingly regardless of the track’s timebase (ticks or samples). Using the Time Compression/ Expansion Trimmer Tool in Slip Mode To compress or expand MIDI regions in Slip mode: 1 Set the Edit mode to Slip. 2 Set the MIDI or Instrument track to Regions view.
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Using the Time Compression/ Expansion Trimmer Tool in Shuffle Mode In Shuffle mode, the trimmed region will always begin at the original region’s start point regardless of whether you trim from the front to the rear or from the rear to the front. To show MIDI Controller data for a track, do one of the following: Select the corresponding Track View from the Track View menu. To compress or expand MIDI regions in Shuffle mode: 1 Set the Edit mode to Shuffle.
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MIDI controller #7 (volume) and #10 (pan) are treated by Pro Tools as automation data. This means that these controller events (along with Mutes) can be recorded and automated from the Mix window; in addition, each MIDI or Instrument track’s automation mode affects how these events are played back and recorded. While a MIDI track’s volume, pan, and mute events can be suspended, all other controller events in the track always play.
PAGE 702
To edit a continuous controller event with the Pencil tool, the controller first has to be added to the Automated MIDI Controllers list. The controller is automatically added to the Automated MIDI Controllers list when you record controller information from an external device. To manually enable a continuous controller for automation: 1 Do one of the following: • Click the Track View selector for the MIDI or Instrument track you want to edit, and select Add/Remove Controller from the controllers submenu.
PAGE 703
Patch Select (Program and Bank Changes) Each MIDI and Instrument track can have a default program change that is sent each time the track plays. Additional program changes can be inserted at any point within the track. Program changes are sent to external MIDI devices. Instrument plug-ins in Pro Tools do not respond to program change information.
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2 Do one of the following: Some older MIDI devices (such as the Kurzweil K1000) use a program change instead of a Bank Select message to switch banks. For these devices you may find it necessary to send two program change messages to access a particular program, where the first sets the bank and the second sets the program. • In the Patch Select dialog, select a program number.
PAGE 705
MIDI Patch Names Pro Tools supports XML (Extensible Markup Language) for storing and importing patch names for external MIDI devices (such as MIDI instruments). Pro Tools installs MIDI patch name files (.midnam) for the factory default patch names of many common MIDI devices. MIDI patch name files (.midnam) can be edited in any text editor, or you can use third-party patch librarian and editor software to create your own custom patch names.
PAGE 706
5 In the Patch Select dialog, click Change. 8 Click Open. The Patch Select dialog is popu- lated by patch names from the selected file. Change button Patch Select dialog 6 In the Open dialog, do one of the following depending on your computer platform: • On Mac, navigate to /Library/Audio/MIDI Patch Names/Digidesign/, and select the MIDI Patch Name file (.midnam) for the MIDI device.
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Inserting and Editing Program Changes Program changes can be inserted into a track’s playlist with the Pencil tool. Existing program changes can be edited, moved, and copied and pasted. On some instruments, changing programs during playback can interrupt playback. To avoid this, place program change events in the track where there are no notes sounding.
PAGE 708
Auditioning Programs When the Patch Select dialog is open, Pro Tools can automatically scroll through the different patches for a track’s assigned MIDI device. To audition patches: 1 If you want to audition patches for a MIDI System Exclusive Events System Exclusive (Sysex) events can be recorded to MIDI or Instrument tracks in Pro Tools (see “MIDI Step Input” on page 482).
PAGE 709
To move a Sysex event: 1 Do one of the following: • Set the MIDI or Instrument track to Sysex view. – or – • Reveal the Controller lane for the MIDI or Instrument track and show Sysex. 2 With any Grabber tool, drag the Sysex event left or right. If the Edit mode is set to Grid, the dragged event snaps to the nearest Grid boundary. If the Edit mode is set to Spot, the Spot dialog opens.
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Controller and Program Chasing Pro Tools always chases continuous controller events and program changes for MIDI tracks. This ensures that controller values and patches for MIDI devices are always set correctly. For example, suppose a MIDI track lasting 32 measures starts with a MIDI volume of 127 and in the last bar fades down to 0.
PAGE 711
By configuring the Global MIDI Playback Offset setting, you can align your MIDI tracks to play back slightly earlier (by a specified number of samples), thereby compensating for any latency when monitoring audio in Pro Tools host-based systems. You can measure the latency for a MIDI device assigned to a MIDI track by recording its audio output back into Pro Tools. Compare the sample locations for the recorded audio events against the original MIDI notes to calculate the latency.
PAGE 712
The equivalent offset in milliseconds is displayed in the msec Offset column. This value cannot be edited, but updates when a new value is entered in the Sample Offset column. 3 Press Enter (Windows) or Return (Mac) to ac- cept the entered offset value. To reset all offsets for all MIDI and Instrument tracks, click the Reset button in the upper left of the window. Stuck Notes If you encounter stuck notes with any of your MIDI devices, you can silence them with the All MIDI Notes Off command.
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Real-Time Properties View Real-Time Properties Window Real-Time Properties view in the Edit window only applies to tracks. To apply Real-Time Properties to regions, use the Real-Time Properties window (see “Real-Time Properties Window” on page 691). Using the Real-Time Properties window, you can apply Real-Time Properties to selected tracks or regions. To open the Real-Time Properties window: To enable Real-Time Properties view in the Edit window: Choose Event > MIDI Real-Time Properties.
PAGE 714
Expanded Real-Time Properties Window In the Real-Time Properties window, Quantize, Duration, and Velocity each provide an expand/collapse triangle to show or hide additional settings. 3 If you are using the Real-Time Properties win- dow and Link Track and Edit Selection mode is enabled, select the track or region to affect from the Apply To pop-up menu. 4 Configure the Real-Time Properties settings (see “Real-Time Properties Settings” on page 692).
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Quantize Pop-Up Menu Select the quantize value, including all standard note rhythm values between whole notes and 64th notes, including dotted and triplet options. This pop-up menu also provides access to all standard and custom groove templates. Duration Duration can be used to increase or decrease the duration of MIDI notes by a fixed amount or by a percentage. This is useful for creating legato or staccato passages. Duration cannot be applied as a Real-Time Property to MIDI Input and Thru.
PAGE 716
Duration Amount Delay If the Ticks/Notes pop-up menu is set to ticks, enter a duration as a number of quarter-notes plus a number of ticks, such as 4|000. If the Ticks/Notes pop-up menu is set to a note size, enter a number to by which to multiply that note size, such as 7 16th-notes. Delay lets you delay or advance all MIDI data in the selected region or track. Select “+” from the Delay pop-up menu to delay MIDI data, or select “–” to advance MIDI data.
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Transpose Transpose lets you transpose MIDI notes up or down by a specified number of octaves and semitones, or in key by scale steps (based on the Key Signature ruler). You can also transpose to a specified pitch. Select By, To, or In from the Transpose pop-up menu to transpose by an interval, to a specific pitch, or in key by scale steps. To transpose by an interval, enter the number of octaves and semitones as a positive or negative numbers. To transpose to a specific pitch, enter the MIDI note name.
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Writing Real-Time Properties to Tracks or Regions To write Real-Time Properties to regions: 1 Select one or more regions to which you want to apply Real-Time Properties. Once you have found the settings you want, you can write Real-Time Properties to the selected tracks or regions using the Real-Time Properties window. Real-Time Properties are applied to the current MIDI data on the track or in a region. 2 Open the Real-Time Properties window (Event > MIDI Real-Time Properties).
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Display of Real-Time Properties Effects The Display Events as Modified by the Real-Time Properties option determines if Pro Tools displays the effects of Real-Time Properties in both the Edit window, MIDI Editor windows, the Score Editor window, and the MIDI Event List. The Edit window, MIDI Editor windows, the Score Editor window, and the MIDI Event List all display the effects of Real-Time Properties when the Display Events as Modified by Real-Time Properties option is enabled.
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698 Pro Tools Reference Guide
PAGE 721
Chapter 33: MIDI Editors Pro Tools provides MIDI Editor windows for detailed MIDI editing.
PAGE 722
Superimposed MIDI and Instrument Tracks MIDI Editor windows display and let you edit MIDI data (notes, velocities, and continuous controller data) for one or more MIDI or Instrument tracks. When displaying multiple tracks in a MIDI Editor window, MIDI notes from different tracks are superimposed. MIDI Editor windows can also show Auxiliary Input tracks.
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MIDI Editor Window Toolbar The MIDI Editor window toolbar is similar to the Edit window toolbar, but with a few exceptions. Each MIDI Editor window and the Edit window can be configured independently of one another. For example, you can have Notation view enabled in one MIDI Editor window, but not another; or you can have a MIDI Editor window set to Grid mode, but the Edit window set to Slip mode. You can also customize the toolbar in MIDI Editor windows.
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Edit Tools The Edit tools in MIDI Editor windows can be viewed as a single tool with a pop-up menu for selecting other tools, or as an expanded, complete row of Edit tool icons just like in the Edit window. The Edit tools in MIDI Editor windows function exactly the same way for MIDI data as in the Edit window. Edit tool settings can be set independently in each MIDI Editor window, and are independent of tool selection in the Edit window and Score Editor.
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Mirrored MIDI Editing Mirrored MIDI Editing lets you edit MIDI regions and have your edits apply to every copy of the same MIDI region. This can be particularly useful when editing looped MIDI regions. If Mirrored MIDI Editing mode is disabled, and you edit notes of looped regions in Notes view, the edit flattens the loop. Similarly editing region groups separates the region groups. Edit Modes The Edit modes in MIDI Editor windows function exactly the same way for MIDI data as in the Edit window.
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One or more untargeted MIDI Editor windows can remain open and available at the same time, just like untargeted Plug-In windows. Targeting an untargeted MIDI Editor window disables any other targeted MIDI Editor window. The front-most window, regardless of whether it is targeted, always receives Keyboard Command focus and control surface focus.
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When selected, the Selection Display option shows the Edit Selection Display in the MIDI Editor window toolbar. Continuous The MIDI Editor window scrolls continuously past the playback cursor, which remains in the center of the window. With this option, playback is always based on the Timeline selection (unlike the Center Playhead Scrolling option).
PAGE 728
Rearranging Controls and Displays MIDI Zoom In and Out Buttons You can rearrange the controls and displays in the MIDI Editor window toolbar just like in the Edit window or the Score Editor window. Pro Tools provides MIDI Zoom In and Out buttons in the upper-right corner of MIDI Editor windows. These controls function exactly the same as the MIDI Zoom controls in the toolbar, and let you zoom in and out vertically on MIDI notes.
PAGE 729
Track List Columns In MIDI Editor windows there are four columns for the Track List: Show/Hide Indicates which tracks are shown or hidden in the MIDI Editor window. Track Color Displays the track color for each track by type or by track. Name Displays the name for each track. Pencil Lets you enable a track for manually entering MIDI notes with the Pencil tool.
PAGE 730
Sorting Tracks in the Track List New Opens the New Track dialog. You can sort tracks in the Track List by the following criteria: Rename Renames the selected track. Name Sorts the order of tracks in the Track List by Track Name. Type Sorts the order of tracks in the Track List by Track Type. Edit Group Sorts the order of tracks in the Track List by Edit Groups. Mix Group Sorts the order of tracks in the Track List by Mix Groups. Duplicate Duplicates the selected track.
PAGE 731
Timebase and Conductor Rulers Timebase and Conductor rulers in MIDI Editor windows function exactly the same as in the Edit window. However, the Edit window and each MIDI Editor window can have a unique view of the Timeline in terms of which Timebase and Conductor rulers are shown, and in terms of zoom level and time location.
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Color Coding by Track 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.
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Editing MIDI Notes • Click the Pencil column in the Track List to pencil-enable the track you want. You can edit any note on any track shown in the Notes pane. You edit MIDI notes in the Notes pane the same way as in Notes view for MIDI and Instrument tracks in the Edit window, except that notes from different tracks are superimposed. For more information on editing MIDI notes, see Chapter 32, “MIDI Editing.
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Notes Pane Right-Click Menu The Notes Pane Right-click menu provides several useful commands for editing, exporting, and viewing MIDI data. Insert The Insert submenu lets you insert key changes, meter changes, and chord symbols at the location of the Edit cursor. Key Inserts a key change. To access the MIDI Editor Right-click menu: Meter Inserts a meter change. Right-click anywhere in the Notes pane. Chord Inserts a chord symbol.
PAGE 735
Clear Open In New MIDI Editor The Clear command clears (deletes) the current Edit selection. Selecting the Open In New MIDI Editor option opens all shown tracks in a new MIDI Editor window. Separate The Separate command lets you separate MIDI notes at the Edit cursor location. Open In Score Editor The Open In Score Editor option opens the shown tracks in the Score Editor window. Consolidate The Consolidate command lets you consolidate selected multiple consecutive MIDI notes of the same pitch.
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Notation View The Notes pane in MIDI Editor windows can also display MIDI notes in standard music notation. In Notation view, each MIDI and Instrument track is displayed independently, with one track per staff. MIDI Editor window, Notes pane in Notation view In MIDI Editor windows, notation is displayed as a continuous timeline and not in page view as in the Score Editor window. To enable Notation view: Enable the Notation view button in the MIDI Editor window toolbar.
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Editing in Notation view in a MIDI Editor window works the same way as in the Score Editor window, but with the advantage of having access to Velocity, Controller, and Automation lanes. Note that in Notation view, the Trimmer tool functions as the Grabber tool when over a note and as the Note Selector tool when not over a note. Notation View Right-Click Menu When in Notation view, the Notes Pane Rightclick menu provides slightly different options than when in Superimposed Notes view.
PAGE 738
Velocity, Controller, and Automation Lanes MIDI Editor windows let you edit velocities, MIDI controller data, and automation for all shown MIDI, Instrument, and Auxiliary Input tracks in lanes under the Notes pane.
PAGE 739
Chapter 34: Score Editor 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.
PAGE 740
Opening the Score Editor Window To open the Score Editor window: Choose Window > Score Editor. Press Alt+Start+“=” (Windows) or Option+Control+“=” (Mac) to show the Score Editor window. To open the Score Editor window with a single MIDI or Instrument track shown: 1 Ensure that there is no Edit selection. 2 Right-click the Track name of an unselected track in the Edit or Mix window, or in the Track List of the Edit, Mix, or MIDI Editor window. 3 From the Right-click menu, choose Open In Score Editor.
PAGE 741
To marquee zoom to a particular area of the score: 1 Click the Zoomer tool pop-up menu and select Normal Zoom mode. 2 Drag in the score, making a marquee selection of the area to which you want to zoom. Trimmer The Trimmer tool lets you lengthen or shorten the duration of a note in the Score Editor window. Press the F6 key to select the Trimmer 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.
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To select a Pencil tool: Click the Pencil tool pop-up menu and select the Pencil tool you want. Press the F10 key to select the current Pencil tool. Press the F10 key repeatedly to cycle through the different Pencil tools. The following Pencil tools are available in the Score Editor: Free Hand The Free Hand Pencil tool lets you draw single notes of varying duration. Note velocities are determined by the Default Note Velocity setting (see “Default Note On Velocity” on page 721).
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Default Note Duration Play MIDI Notes When Editing The Default Note Duration selector lets you define the default note duration for manually inserted notes. When enabled, the Play MIDI Notes When Editing option causes MIDI notes to sound when you insert them with the Pencil tool or drag them with the Grabber tool. To define the Default Note Duration: From the Default Note Duration selector, select a note value.
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Mirrored MIDI Editing Double Bar Mirrored MIDI Editing lets you edit MIDI regions and have your edits apply to every copy of the same MIDI region. This can be particularly useful when editing looped MIDI regions. When enabled, the Double Bar option shows the final double bar line in the Score Editor window. The double bar line is located at the end of the last MIDI region or event in the session. Enable the Double Bar option when you are ready to print the score.
PAGE 745
Grid The Grid selector lets you define the Grid value for MIDI notes inserted and displayed in the Score Editor window. For example, if the Default Note Duration is set to quarter notes and the Grid is set to half notes, drawing with the Line Pencil tool creates alternating quarter notes and quarter note rests. To set the Grid value for the Score Editor window: From the Grid Value pop-up menu, select a note value.
PAGE 746
Score Editor Window Menu The Score Editor Window menu provides access to the Expanded Edit Tools, Selection Display, Track List, and Scrolling options. Expanded Edit Tools When selected, the Expanded Edit Tools option displays all of the relevant Edit Tools in the Score Editor window toolbar. When this option is not selected, only the icon for the selected Edit tool is displayed. Any of the other Edit tools can be selected from the Edit Tool pop-up menu.
PAGE 747
Customizable Toolbar Track List You can customize the toolbar in the Score Editor window by re-arranging, and showing or hiding the available controls and displays just like in the Edit window or MIDI Editor windows. The Track List lets you show and hide MIDI and Instrument tracks in the Score Editor. It also provides access to the Notation Display Track Settings and Score Setup (see “Notation Display Track Settings” on page 728 and “Score Setup” on page 729).
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To show all MIDI and Instrument tracks in the Score Editor: From the Track List pop-up menu, select Show All Tracks. To show only selected MIDI and Instrument tracks in the Score Editor: Page Controls The Score Editor window provides controls for navigating forward and backward by page. The current page number is displayed in the lowerleft corner of the window. 1 In the Track List, select the MIDI and Instru- ment tracks you want to show in the score.
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Score Editor Zoom Controls In addition to the Zoomer tool, the Score Editor provides Zoom In and Out buttons in the lower right hand corner of the window. It also provides a Zoom selector that lets you zoom to a preset percentage or page size. When using these Zoom controls, the Score Editor zooms around the current Edit selection. Selecting a zoom percentage from the Zoom pop-up menu Zoom In Zoom Out Zoom selector Score Editor Zoom controls To zoom in one level: Click the Zoom In button.
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Notation Display Track Settings The Notation Display Track settings determine how individual MIDI and Instrument tracks appear in the Score Editor. You can set the Clef, Display Quantization, and whether or not to display the track at “concert pitch” or as a transposing instrument (such as a B-flat tenor sax). Notation Display Track Settings Options Track From the Track pop-up menu, select the track you want to configure.
PAGE 751
Split Point When the Clef for the selected track is set to Grand Staff, the selected Split Point setting determines at which pitch the notes are placed in either the upper or lower staff of the Grand Staff. Automatic When selected, Pro Tools splits notes between the upper and lower staves of the Grand Staff based on logical note groupings.
PAGE 752
Score Setup Window Options Title and Composer Select to display the Title and Composer on the score. Page Numbers Select to display Page Numbers at the bottom of each page. Bar Numbers Select to display Bar Numbers at the beginning of each system above the top staff. Track Names Select to display Track Names for each staff at the beginning of the score. Chord Symbols Select to display chord symbols in the score.
PAGE 753
Layout Selecting Notes Page Size Select the page size (Letter, Legal, Tabloid, or A4). You can use either the Note Selector tool or the Grabber tool to select notes on one or more staves. Portrait Select to set the page orientation to Portrait. Landscape Select to set the page orientation to Landscape. Staff Size Enter the Staff Size. To select notes on one or more staves with the Note Selector tool: 1 Click the Note Selector tool. 2 Drag in the score to highlight the notes you want to select.
PAGE 754
To transpose a single note: 1 Click the Grabber tool. 3 Drag any of the selected notes to another time location on the same staff. 2 Drag the note you want to transpose up or down. Transposing a note with the Grabber tool To transpose all selected notes: Moving selected notes with the Grabber tool 1 Click the Grabber tool. 2 Drag around the notes you want to Transpose to select them. 3 Drag any of the selected notes up or down to transpose them.
PAGE 755
5 With the Free Hand Pencil tool, do any of the following: • Single-click at the time location and pitch you want to enter a single note of the selected Default Note Duration. 4 Click the Pencil tool and select any of the following shapes: • Line • Triangle • Square • Random 5 Click at the time location and pitch you want Entering a single note with the Pencil tool – or – and drag to the right. Repeated notes of the selected Default Note Duration are entered on the selected Grid.
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Score Editor Right-Click Menu Paste The Score Editor Right-click menu provides several useful commands for editing, exporting, and formatting the score and MIDI data. The Paste command pastes the clipboard to the current Edit selection or at the current Edit cursor location. Any MIDI notes already present at the same location are overwritten. To access the Score Editor Right-click menu: Merge Right-click anywhere on the score.
PAGE 757
Score Setup To edit a Key Signature: Choosing the Score Setup option opens the Score Setup dialog (see “Score Setup” on page 729). 1 With the Grabber tool, double-click the Key Send to Sibelius Choosing the Send to Sibelius option command sends the score exactly as it appears in the Score Editor window to Sibelius notation software (see “Exporting Scores” on page 738). Signature you want to edit. 2 Enter values in the Key Change dialog and click OK.
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2 In the Meter Change dialog, do the following: • Enter the Location and Meter for the meter change. To edit a Meter change: 1 With the Grabber tool, double-click the Meter event you want to edit. 2 Enter values in the Meter Change dialog and click OK. To delete a Meter change: With the Grabber tool, Alt-click (Windows) or Option-click (Mac) the Meter event you want to delete.
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To insert a chord symbol: 1 With the Note Selector, Grabber, or Pencil The selected chord symbol is placed above the top staff in the system. tool, Right-click at the location in the score where you want to add a chord symbol and select Insert > Chord. 2 In the Chord Change dialog, select the name for the root of the Chord from the Chord selector (such as D).
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Exporting Scores Printing Scores Pro Tools lets you export the score from your session as a Sibelius (.sib) file. You can then open your score in Sibelius as transcribed by Pro Tools, edit the notation in Sibelius, and print the score and parts from Sibelius. Pro Tools lets you print the score from your Pro Tools session. The score will be printed exactly as it appears in the Score Editor window. Configure the Score Setup and show or hide any MIDI and Instrument tracks.
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Chapter 35: MIDI Event List The MIDI Event List displays a detailed list of all events in a single MIDI or Instrument track. The events are displayed with text and numbers, allowing you to precisely edit their location, length, and event values. Mute data for MIDI and Instrument tracks is not displayed in the MIDI Event List. Opening the MIDI Event List Number of Events Track selector MIDI Event List menu Target To open the MIDI Event List, do one of the following: Choose Window > MIDI Event List.
PAGE 762
Target The Target button for the MIDI Event List determines whether or not the MIDI Event List follows the Edit cursor and Edit selections in the Edit window and MIDI Editor windows. For example, when the Target is enabled, the Events shown in the MIDI Event List update to show the event in the Edit selection in the Edit window. When the Target is disabled, the MIDI Event List shows the same events regardless of changes to the Edit selection in other windows.
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Example: To filter the display of aftertouch and System Exclusive Messages in the MIDI Event List: 1 In the MIDI Event List, choose View Filter from the MIDI Event List menu. With the MIDI Event List as the front-most window, press Control+F (Windows) or Command+F (Mac) to open the MIDI Event List View Filter dialog. 2 In the MIDI Event List View Filter dialog, se- lect the All Except option. Navigating in the MIDI Event List You can use the Tab and Arrow keys to move through the MIDI Event List.
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Inserting Events in the MIDI Event List You can insert events in the MIDI Event List by choosing an event type from the MIDI Event List menu. Following are several examples of inserting events in the MIDI Event List. To insert a note in the MIDI Event List: 1 From the MIDI Event List menu, select Insert > Go To dialog 3 If using Time Code, you can select the Use Subframes option. 4 Enter the location you want to go to, then Note.
PAGE 765
3 Do one of the following: • To insert the note and remain in Event Entry mode, press Enter on the numeric keypad. • To insert the note and exit Event Entry mode, press Enter (Windows) or Return (Mac) on the alphanumeric keyboard. • To exit Event Entry mode, without inserting the note event, press Escape on the alphanumeric keyboard. To insert a controller event in the MIDI Event List: 1 From the MIDI Event List menu, choose Insert > Controller.
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To insert a program change in the MIDI Event List: 1 From the MIDI Event List menu, choose Insert > Program Change. With the MIDI Event List as the front-most window, press Control+P (Windows) or Command+P (Mac) to Insert a program change event. 2 Enter the location for the new event. 3 Enter a Program Change number and Bank Se- lect value (if necessary). The program change name is displayed in the Info column.
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2 Enter a new value with any of the following methods: To select noncontiguous events in the MIDI Event List: • Enter the new value on the numeric keypad. Control-click (Windows) or Command-click (Mac) each event. • While pressing Alt (Windows) or Option (Mac), press the Up or Down Arrow to scroll to a new value. To deselect an event in the MIDI Event List: • While pressing Control (Windows) or Command (Mac), drag up or down to scroll to a new value.
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Copying and Pasting Events in the MIDI Event List MIDI Event List Options To copy and paste events in the MIDI Event List: The MIDI Event List menu provides the following options: 1 Select the events you want to copy in the MIDI Event List. Show Sub Counter Displays event times in the Sub Time Scale. Go To Opens the Go To dialog, where you can specify a location, based on any of the supported Time Scales, to which the Edit insertion point is moved.
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Part VII: Arranging 747
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748
PAGE 771
Chapter 36: Time, Tempo, Meter, Key, and Chords In Pro Tools, editing and arranging is typically done on tracks against a fixed Timeline. Regions and events can be anchored to points in absolute time, or relative time, as measured on the session’s Timeline. The Timeline includes two different types of rulers for measuring time: Timebase rulers and Conductor rulers. Timebase Rulers and Conductor Rulers Pro Tools also provides a Markers ruler for Memory Location (see Chapter 37, “Memory Locations”).
PAGE 772
To ensure your tracks align with the bars and beats in your session, record with a click (see “Recording with a Click” on page 426). Material that is recorded without listening to a click can still be aligned to bar and beat boundaries in Pro Tools with the Identify Beat command (see “Identify Beat Command” on page 776), or with Beat Detective (see Chapter 31, “Beat Detective”). Minutes:Seconds Displays the Time Scale in minutes and seconds.
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Conductor Rulers Any or all of the following Conductor rulers can be displayed: • Markers • Tempo (and Tempo Editor) • Meter To add a specific ruler to the display, such as the Markers ruler, for instance: Select View > Rulers > Marker. To change the display order for the rulers: Drag a ruler’s name up or down to a new location. • Keys (and Key Signature Staff) • Chords The Meter and Tempo rulers indicate changes in meter and tempo within the Session.
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Main Time Scale While all Timebase rulers can be displayed simultaneously in the Edit and MIDI Editor windows, there is only one that represents the Main Time Scale. This ruler is also called the Main Timebase ruler. If a Timebase ruler is displayed, click its name so it becomes highlighted. Setting the Main Time Scale to the timebase currently displayed in the Sub Counter switches the two Time Scales, setting the Sub Time Scale to the previous timebase of the Main Time Scale.
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The Sub Counter Tick-Based Timing Below each Main Counter is a Sub Counter that can be shown or hidden. The Sub Counter provides an additional timing reference. Pro Tools is a sample-based program with an internal MIDI resolution of 960,000 pulses per quarter note (ppq). However, when the Time Scale is set to Bars|Beats, the display resolution in Pro Tools is 960 ppq and the Timebase is tickbased.
PAGE 776
The following table lists the number of ticks for each of the main note sizes: Note Value Normal Dotted Triplet 1/2 note 1920 2880 1280 1/4 note 960 1440 640 1/8 note 480 720 320 1/16 note 240 360 160 1/32 note 120 180 80 1/64 note 60 90 40 Tick- and Sample-Based Timebases Pro Tools lets you set any track timebase to either sample-based or tick-based. Audio tracks in Pro Tools are sample-based by default.
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Tick-Based Elastic Audio . Tick-based Elastic Audio tracks automatically apply Real-Time (or Rendered) Elastic Audio processing (TCE) when changing tempo. For more information, see “Tempo Changes and Tick-Based Elastic Audio Tracks” on page 761. Switching Timebases All Pro Tools tracks can be switched between being sample-based or tick-based. Track height affects how various track controls appear in the Edit window.
PAGE 778
Audio Region Location In tick-based audio tracks, the location of an audio region is determined by the region’s start point, unless the region contains a sync point. If the region contains a sync point, the sync point determines where the audio region is fixed to the grid. Marker Location Song Start Marker The Song Start Marker defines the initial tempo for Bar|Beat-based material. New sessions open with a default tempo of 120 BPM.
PAGE 779
If the Edit mode is set to Grid, the Song Start Marker moves in increments of the current Grid value. To move the Song Start Marker only, without moving any tick-based data, press Start+Shift (Windows) or Control+Shift (Mac) while dragging. When dragging the Song Start Marker only, dragging is constrained to whole bar increments only.
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3 In the Tempo Change window, enter the Lo- Moving and Editing Tempo Events cation and BPM value for the tempo change. Existing tempo events can be moved, edited, deleted, copied, and pasted. To move a tempo event by dragging: In the Tempo ruler, drag the triangle for the tempo event left or right. Tempo Change dialog Dragging a tempo event 4 To place the inserted tempo event cleanly on the first beat of the nearest measure, select the Snap To Bar option.
PAGE 781
To copy and paste several tempo events: To clear a range of selected tempo events: 1 With the Selector tool, drag in the Tempo ruler 1 If you want to constrain the selection to the to select the range of bars that includes the tempo events. current Grid value, set the Edit mode to Grid. 2 Drag with the Selector tool in the Tempo ruler to select the tempo events you want to remove. 3 Choose Edit > Clear to delete the selected tempo events.
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To set the Manual Tempo by tapping on an external MIDI keyboard: 1 To view the MIDI controls in the Transport window, select View > Transport > MIDI Controls. 2 Choose Setup > Preferences and click the MIDI tab. 3 Ensure that Use MIDI to Tap Tempo is selected. 4 In the Transport window, click the Tempo Ruler Enable (Conductor) button so it becomes unhighlighted. Pro Tools switches to Manual Tempo mode. In this mode, any tempo events in the Tempo track are ignored.
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Minimizing Automation Drift In general, automation drift is more pronounced with larger sample-based audio regions. By creating many small regions, the effects of automation drift can be minimized, because the start points of each subsequent region changes as the tempo changes. When tempo is decreased, automation expands. When tempo is increased, automation contracts. Using many smaller regions... ...keeps audio aligned with automation changes.
PAGE 784
For tempo curves, such as an accelerando or ritardando, Tempo Event Warp markers are automatically created corresponding to each tempo event, and the region conforms accordingly. The following figure shows a region in Warp view. Notice how the audio conforms to the tempo curve. To conform a region to the session tempo: 1 Select the region you want to conform to the session tempo. 2 Do one of the following: • Choose Region > Conform to Tempo.
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Graphic Tempo Editor Zooming and Scrolling in the Tempo Editor The Tempo Editor, a resizeable window beneath the Tempo ruler in the Edit Window, lets you view and edit tempo information graphically. To zoom in vertically in the Tempo Editor: Displaying the Tempo Editor To zoom out vertically in the Tempo Editor: The Tempo Editor is an expansion of the Tempo ruler, opening in the rulers section of the Edit Window. Click the Tempo Editor Zoom In button (“+”).
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Drawing Tempo Events Tempo events can be drawn in the Tempo Editor using the follow Pencil tool shapes. Free Hand The Free Hand shape draws freely according to the movement of the mouse. The shape is reproduced as a series of steps according to the Tempo Edit Density setting. (For more information, see “Selecting Tempo Edit Density” on page 765.) Selecting Tempo Resolution (BPM Rate) The Tempo Editor lets you specify the beat note value for tempo events by changing the Tempo Resolution.
PAGE 787
Curve Adjustment Mode Quarter note click Dotted-quarter click Immediately after you draw new tempos using the Pencil tool, a tempo curve appears in blue, outlining the newly created tempo graph. Blue adjustment handles on the curve let you adjust the shape and size of the new tempo graph. Tempo curve with different click values Selecting Tempo Edit Density The Tempo Editor lets you specify the density of tempo events created in the Tempo ruler when you draw a tempo curve with the Pencil tool.
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Creating New Tempo Settings with Grabber Tools The Grabber tools let you create new tempo settings by dragging tempo events in the Tempo Editor. Selecting a single tempo event To Select a tempo curve in the Tempo Editor: Using the Selector tool or any Grabber tool, triple-click on a horizontal tempo line in the curve that you want to select. Using a Grabber tool to change a tempo event To change the tempo of a tempo event: With the Grabber tool, drag a tempo event up or down.
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Scaling and Stretching Tempo Events with the Trimmer Tool The Trimmer tool lets you scale all the tempo events of the session, or within a Timeline selection. The Trimmer tool also lets you stretch a region of tempo events to cover a longer or shorter area in the Timeline. 3 With the Trimmer tool, click within the se- lected area, and drag up or down. Dragging up increases the tempo values of the selection in BPM; dragging down decreases them.
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To scale the duration of tempo changes with the Trimmer tool: To copy and Paste tempo events in the Tempo Editor: 1 Open the Tempo Editor. 1 Open the Tempo Editor. 2 With the Selector tool, select the area you 2 With the Selector tool, select the area you want to edit. want to copy. 3 With the Trimmer tool, click at the start or end 3 Choose Edit > Copy. of the selection, and drag horizontally.
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Changing the Linearity Display Mode The Timeline can be viewed in either a Linear Tick (relative) scale or a Linear Sample (absolute) Time Scale. MIDI and Instrument tracks, audio tracks, and Tempo curves can appear and function very differently depending on the timebase display settings. Linear Tick Display The display of tempo events is tick-based and tempo event Bar|Beat locations remain constant after the tempo curve is drawn and all sample-based events move against bar beat locations in the Timeline.
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Tempo Operations Window The Tempo Operations window lets you define tempo events over a range of time (or measures). The time range is specified in the time format chosen for your Main Time Scale. In addition, the Tempo Operations window lets you: • Fit a specific number of Bars|Beats into a precise time range. To open a specific Tempo Operations window page: Choose Event > Tempo Operations, followed by one of the Tempo Operations page commands (such as Constant).
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Constant The Constant page in the Tempo Operations window lets you create a constant tempo over a selected range of time. Resolution (Advanced Option) Lets you select the BPM note value for your tempo setting. Selecting “Follow Metronome Click” will set the tempo BPM note value to mirror the click value set in the meter markers. Density (Advanced Option) Lets you specify the density of the tempo change events written to the Tempo ruler.
PAGE 794
Calculate (Advanced Option) Calculates either the selection end time, the start tempo, or the end tempo. Selection Start and End Displays the start and end points for the tempo change in the currently selected Main timebase. When an Edit selection is made, the Start and End fields will display the selection boundaries. Changing start or end values changes the selection range.
PAGE 795
End Time (Advanced Option) Displays the absolute time for the selection end. When the Main Time Scale is set to Bars|Beats, the end time is displayed in the Sub Time Scale. When the Main Time Scale is set to any absolute timebase, the end time is calculated and displayed in Bars|Beats. Changing the end time value causes the tempo to change.
PAGE 796
Start and End Time (Advanced Option) Displays the absolute time for the selection end. When the Main Time Scale is set to Bars|Beats, the end time is displayed in the Sub Time Scale. When the Main Time Scale is set to any absolute timebase, the end time is calculated and displayed in Bars|Beats. Tempo Start and End Displays the tempo, in beats per minute (BPM), for the start and end points of the selected range. Changing the tempo causes the end time value to change.
PAGE 797
Scale (Advanced Option) In combination with settings chosen in the Calculate pop-up menu, the Scale pop-up menu lets you scale all tempos, the start tempo, or the end tempo. Scaling all tempos scales each tempo in the selected range equally. Scaling the start tempo scales the tempos unevenly, scaling the first tempo event the most, scaling each consecutive tempo event less until the end tempo which is not scaled.
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Stretch To Start (Advanced Option) Specifies a new start point for the region to which you want to apply the selected tempo events. Changing the end point causes the Stretch percentage to change. Bar|Beat Markers Bar|Beat Markers look similar to tempo events, but instead have small blue triangles to indicate their location. Stretch Specifies the percentage of time for the the selected tempo events to cover.
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Identifying Beats Identifying the beat of a one-bar drum loop and creating Bar|Beat Markers for it: 1 Place a one-bar drum loop at the beginning of an audio track. 2 Select View > Rulers > Samples. This ensures that the selected audio material will be sampleaccurate. 3 Select the audio region with the Time Grabber tool and choose Event > Identify Beat. 4 In the Bar|Beat Markers dialog, specify the start and end locations for the inserted Bar|Beat Markers.
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Dragging Bar|Beat Markers Bar|Beat Markers can be dragged to new locations so they can align with audio regions that have been moved, or so that they can align to a slightly different point within an audio region. This results in neighboring MIDI data being adjusted to align with the new tempo map. Because Bar|Beat Markers are sample-based and tempo events are tick-based, they behave differently when you drag them in the Tempo ruler.
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Inserting Bar|Beat Markers One at a Time Sample-Based Material with Varying Tempos You can insert Bar|Beat Markers one at a time by setting an Edit insertion point (instead of making a selection) before using the Identify Beat command. The ability to identify each beat, one at a time, is especially useful when working with sample-based material with varying tempos.
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Inserting Meter Events To insert a meter event: 1 Do one of the following: • Choose Event > Time Operations > Change Meter. • Click the Add Meter Change button at the right of the Meter ruler. Meter Change window 3 Select a note value for the number of clicks to sound in each measure. For a dotted-note click value, select the dot (.) option. Add Meter Change button • With the Grabber, Start-click (Windows) or Control-click (Mac) at the location where you want to insert the event.
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Editing Meter Events Existing meter events can be edited, deleted, copied, and pasted. To extend an Edit selection in a track to the Meter ruler: 1 Using the Selector tool or any Grabber tool, select a track range. To edit a meter event: 2 Shift-click in the Meter ruler. 1 In the Meter ruler, double-click the meter Shift-click again in the Meter ruler to remove it from the selection. event. 2 In the Meter Change dialog, enter a new Loca- tion or Meter for the event. 3 Click OK.
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Partial measures can also occur when pasting meter events to locations other than the first beat of a measure. To insert meter events while avoiding partial bars, use the Change Meter command in the Time Operations window. See “Change Meter” on page 782. Change Meter Change Meter in the Time Operation window lets you specify complex meter changes for Bar|Beat-based material.
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3 Specify a new meter and click setting. Pro Tools will automatically set the selection options to fit the new meter to the selected range as closely as possible, adding or subtracting beats a necessary. 4 Select To Selected Range in the Apply Change pop-up menu. 5 Select which rulers and tracks you want to re- align after meter changes have been made. 6 Click Apply.
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Realign The Realign controls let you choose which items to realign after a meter change has been made. You can choose to realign meter events, or choose to realign meter and tempo events, tickbased markers and tracks, and also all or none of the sample-based markers and tracks. Insert Time Insert Time in the Time Operation window lets you insert an amount of blank time (silence) into Conductor rulers, MIDI tracks, and audio tracks.
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Insert Time Options Options for the Insert Time command include: Start, End, and Length Sets the start and end points for the selection, and the selection length. Set Meter If your Main Time Scale is Bars|Beats, Set Meter lets you specify a new meter for the inserted time. The selection is quantized to the nearest bars, and the previous meter is inserted after the selection. If your Main Time Scale is sample-based, Set Meter is not available.
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Cut Time Cut Time Options Options for the Cut Time command include: Cut Time in the Time Operation window lets you cut a specified amount of time (both Timebase and track data) from Conductor rulers, MIDI tracks, and audio tracks. Start, End, and Length Sets the start and end points for the selection, and the selection length.
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Using the pop-up menu, you can also choose to cut time from All or No sample-based markers and tracks. If All is selected and the selection includes any audio regions on sample-based tracks, the selected area of the regions is deleted, and regions following the selection are shifted forward. 4 If you want to renumber the bars so that the Song Start Marker sits at a different bar, select the Renumber Song Start option, and enter the bar number.
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Renumbering Bars You can use the Renumber Bars command to renumber all bars in the session, effectively changing the bar locations for all regions, meter and tempo events while leaving their position intact. In doing so, however, the SMPTE and sample locations of the session data are not changed. Key Signature Ruler The Key Signature ruler lets you add, edit, and delete key signatures. You can use key signatures to indicate key and key changes in your Pro Tools session.
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Changing Key Signatures Key Change Dialog You can add, edit, or delete key signatures. The Key Change dialog lets you specify the mode (major or minor), the key (from seven flats to seven sharps), the range affected (for example, from Bar 1 to the next key change), and whether or not MIDI notes on pitched tracks are transposed or constrained to key (see “Pitched Tracks” on page 790). The Key Change dialog opens whenever you add or edit a Key Signature marker.
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Edit Pitched Tracks Enabling the Edit Pitched Tracks option lets you transpose existing MIDI notes on Pitched tracks up or down, either diatonically or chromatically based on the key change, or constrain pitches to the new key. For more information on Pitched tracks, see “Pitched Tracks” on page 790. Transpose When the Edit Pitched Tracks option is enabled, lets you transpose existing MIDI notes on Pitched tracks up or down, diatonically or chromatically.
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Importing Key Signatures When importing MIDI (or session data with MIDI), you can select whether or not to import any key signatures stored in MIDI files. Import MIDI The Import MIDI dialog includes the Import Key Signature from MIDI File option. When selected, key signatures (if present) are imported into Pro Tools with any other MIDI data. Chord Symbols The Chord Symbols ruler lets you add chord symbols to Pro Tools sessions in the Edit window and in MIDI Editor windows.
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To add a chord symbol: 1 Place the cursor in the Timeline where you want to add a chord symbol. 2 Do one of the following: • Place the cursor in the timeline, then click the Plus (+) button in the Chords ruler. – or – • While pressing the Start key (Windows) or Control (Mac), move the cursor into the Chords ruler (where the cursor changes to the Grabber with a “+”) and click at the location where you want to place the chord symbol.
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Chapter 37: Memory Locations Memory Locations provide a powerful way to navigate your session while editing and arranging.
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To create a Marker Memory Location: 5 In the New Memory Location dialog, select 1 Configure any session settings you will save the Marker option and set the Reference to either Bar|Beat or Absolute. with the Marker Memory Location, such as zoom settings, pre- and post-roll times, Show/Hide status for tracks, Track Heights, and Edit and Mix Group enables. 2 If necessary, enable Options > Link Timeline and Edit Selection.
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To create a General Properties Memory Location: To create a Marker during playback: 1 Configure any session settings you will save 1 From the Memory Locations Window menu, with the Selection Memory Location, such as zoom settings, pre- and post-roll times, Show/Hide status for tracks, Track Heights, and Edit and Mix Group enables. select Default To Marker. This ensures that new Memory Locations default to being Markers. 2 Press Enter on the numeric keypad.
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Properties of Memory Locations When creating a new Memory Location (see “Creating Memory Locations” on page 793) you are prompted to define its Time Properties and General Properties. times in the Transport window are also updated. If the Timeline and Edit Selections are linked, the edit cursor also moves to the Marker location. Markers appear in the Markers ruler with a thin yellow line extending down through all tracks in the Edit window (to assist in arranging and aligning track material).
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Bar|Beat and Absolute Reference The Reference pop-up determines whether the Marker or Selection Memory Location is Bar|Beat or Absolute. When set to Bar|Beat, the Memory Location is tick-based and its bar and beat location remains constant if the tempo is changed—though its relation to the absolute sample location changes accordingly.
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Recalling Memory Locations Editing Memory Locations Memory Locations can be recalled from the Memory Locations window and from the numeric keypad. Additionally, Memory Location Markers can be recalled by clicking them in the Markers ruler. Memory Locations can be renamed, edited, deleted, and copied and pasted. To recall a Memory Location: 1 Select Window > Memory Locations to display the Memory Locations window.
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3 In the Memory Location dialog, select the General Properties you want to save with the Memory Location. To change the Selection stored with a Memory Location: 4 Enter a name for the Memory Location and 1 Select View > Rulers > Markers to display the Markers ruler. click OK. 2 Select a range of material in one or more tracks.
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Deleting Memory Locations To delete a Memory Location, do one of the following: Select the Memory Location and choose Delete Memory Location from the Memory Locations Window menu. – or – In the Memory Locations window, Alt-click (Windows) or Option-click (Mac) the Memory Location. To delete all Memory Locations, do one of the following: Choose Delete All from the Memory Locations Window menu.
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Memory Locations Window In the Memory Locations windows, Memory Locations are listed with assigned number, name, and View Filter icons. Locations can be recalled or edited from this window. Memory Locations Commands and Options You can select viewing and sorting options, along with commands for creating and removing Memory Locations, from the Memory Locations Window menu.
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Main Time Scale Sub Time Scale Sort by Time When selected, Markers are sorted by their order in the Timeline, followed by Selection and General Properties Memory Locations, which are listed in the order in which they were created. When Sort by Time is deselected, all Memory Locations are listed in the order of their assigned numbers. Main/Sub Counters in the Memory Locations window You can click at the top of the Main Time Scale column for a pop-up menu that lets you change the Main Time Scale.
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Auto-Name Memory Location When selected, Memory Locations are created automatically without encountering the New Memory Location dialog. If the Default To Marker option is selected, a Marker Memory Location is auto-created. Otherwise, the Memory Location type is determined by whatever type (Marker, Selection, or None) was created last.
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Chapter 38: Arranging Regions Once you have created a region, it appears in the Region List. From the Region List you can drag it to a track to add to an existing arrangement of regions, or you can create a new track and start adding regions from scratch. The exact placement of regions in a track depends on whether the Edit mode is set to Shuffle, Slip, Spot, or Grid (see “Edit Modes” on page 527).
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Working with Multiple Items from the Region List Setting Timeline Drop Order The Timeline Drop Order option in the Region List menu sets whether tracks dragged from the Region List are dropped sequentially in a single track or spread across multiple tracks, as follows: 3 Select multiple items in the Region List and do one of the following: • To create new tracks and place items to a specific location, drop items at the location along the area below the last track.
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To drag and drop multiple items from the Region List to a single track: 1 From the Region List menu, choose Timeline Drop Order > Left to Right. 2 Search and sort the Region List to configure the order in which items will be placed. 3 Select multiple items in the Region 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 below the last track shown in the Edit window.
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To place the end of a region at the Edit insertion point: Aligning Region Start Points 1 With the Selector tool, click in the track at the time location where you want to place the end of the region. The start, end, and sync point of one region can be aligned to the start of a different region on another track. 2 Do one of the following: • While pressing Control+Start (Windows) or Command+Control (Mac), drag the region from the Region List, or from another track, to the destination track.
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To align the end point of a region to the start of another region (on a different track): 1 With the Time Grabber tool, select the region you want to align to by clicking it. 2 If the Scrolling option is set to Center Play- head (Pro Tools HD only), move the playhead to the start of the selected region (see “Moving the Playhead” on page 415).
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To shuffle regions: 1 Enable Shuffle mode (see “Edit Modes” on page 527). 2 Drag a mono region from the Region List to an empty track. The region snaps to the beginning of the track. 3 Drag a second region from the Region List to the same track, somewhere in the middle. The start point for the second region snaps to the end of the first region. Shuffling Multiple Tracks and Multichannel Regions Selections across multiple tracks or on multichannel tracks can be shuffled.
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Moving Regions with the Grabber Tools Separation Grabber The Separation Grabber replaces the entire selected range on the destination track Timeline. Use the Grabber tools to move one or more regions, or the Edit selection, to another location. The Grabber tools cut the selection and paste it to the new location. Hold Alt (Windows) or Option (Mac) when dragging the selection with a Grabber tool to copy the selection rather than cut it.
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Snapping to the Preceding or Next Region on a Track The selected region snaps to the following region on the track so that the two regions are “butt-spliced.” A region—or an Edit selection including one or more regions on the same track or on multiple tracks—can snap to the end of the preceding region or to the beginning of the following region. This is useful for “butt splicing” adjacent regions on a track.
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To slip regions: To spot a region: 1 Enable Slip mode (see “Edit Modes” on 1 Enable Spot mode (see “Edit Modes” on page 527). page 527). 2 Drag a region from the Region List to an 2 Do one of the following: empty track. 3 Drag a second region from the Region List to the same track, somewhere in the middle. The second region is placed wherever you release it. It does not snap to the first region as in Shuffle mode.
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• Click one of the up arrows next to Original Time Stamp or User Time Stamp to enter the associated values into the currently selected field. • If you are using an external SMPTE time code source, click the down arrow next to the Current Time Code display—or press Equal (=) on the numeric keypad—to capture an incoming time code address. 6 Click OK. The region is moved to the new lo- cation specified for its start, end, or sync point.
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Grid mode also provides two operational modes, Absolute and Relative. These modes control how the Grid is applied (see “Absolute and Relative Grid Mode” on page 815). 2 Do one of the following: • 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 region, hold down the Control key (Windows) or Command key (Mac).
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To select Absolute or Relative Grid mode: Click the Grid mode selector and select Absolute Grid or Relative Grid. To temporarily suspend Grid mode and switch to Slip mode while dragging a region, hold down the Control key (Windows) or Command key (Mac). To place or move a region while in Grid mode: 1 Configure the Grid value (see “Defining the Grid Value” on page 815). 2 Do one of the following: • Drag a region from the Region List to an existing track.
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Replacing Regions from the Region List The Replace Regions command is also available in the Region List menu. To use this command, make sure there is a region selected in a track and a different (replacement) region selected in the Region List. gion List. However, you cannot replace it with two mono audio regions. Additionally, you cannot replace regions in multiple mono tracks with multichannel regions.
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Replace: All Instances of the Original Region Replaces all instances of the selected region that fit the On criteria with the replacement region from the Region List. • On This Track: replaces regions that fit the Match criteria and are on the same track as the original region. • On All Tracks: replaces regions that fit the Match criteria for all tracks in the session. • On Within the Selection: replaces regions that fit the Match criteria within the current selection.
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For example, suppose you had an audio region for a door slam that included the creak of the door closing, the actual slam, and the reverb of the slam. Using a sync point for the slam sound in the region lets you spot it to a specific time in the session. Removing Sync Points To remove a sync point, do one of the following: Select the entire region and choose Region > Remove Sync Point. – or – To define a region sync point: 1 Enable Slip mode (see “Edit Modes” on page 527).
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Scrubbing Sync Points While viewing an audio waveform can be a good way to set a sync point, a waveform display may not always reveal the desired spot in the audio material. By scrubbing while moving the sync point over an audio waveform, you can listen for the exact location to place the sync point. 2 Choose Edit > Shift. In the Shift dialog, select whether the data will be moved Earlier or Later. 3 Click in one of the Timebase fields to specify the amount by which the material will be shifted.
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Locking Regions In many cases you may want to “lock” regions or region groups to a specific time location to keep them from being moved inadvertently. You may also want to protect them from being inadvertently edited. Pro Tools provides two different commands for locking regions: Edit locking and Time locking. Edit Locking Regions If you have a region or group of regions that you want to protect from being inadvertently edited, you can Edit lock them.
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When Time-locked, a small Time Lock icon appears in the region and the region cannot be moved, but it can be edited or even deleted. Muting/Unmuting Regions Choosing the Mute/Unmute Region command mutes playback of a selected region. Choosing the command a second time unmutes the region. Regions that are muted become dimmed to indicate their status.
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Auto-Naming for Strip Silence The Rename button in the Strip Silence window opens the Rename Selected Regions dialog, which determines how regions are named when stripping silence. The dialog remembers your previous settings, which can be cleared by clicking the Clear button. Using Strip Silence To strip silence from an audio selection: 1 Select one or more audio regions. 2 Choose Edit > Strip Silence. Press Control+U (Windows) or Command+U (Mac) to open the Strip Silence window.
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5 To retain material before and after the new regions, adjust the settings for Region Start Pad and Region End Pad. To extract audio from an audio selection using Strip Silence: 1 Make an Edit selection. 2 Choose Edit > Strip Silence. Attack to be padded Decay to be padded 3 To set the naming scheme for regions created with Strip Silence, click Rename to open the Rename Selected Regions dialog (see “Auto-Naming for Strip Silence” on page 823).
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The Strip Silence Window The Strip Silence window contains the following controls that let you set the parameters by which silence is defined when using Strip Silence. Strip Threshold Sets the amplitude threshold (from –96 dB to 0 dB) for Strip Silence. Audio falling below this threshold is considered silence and removed. Audio above the threshold is retained and defined as new regions.
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Inserting Silence The Insert Silence command is a simple and convenient way to insert silence on audio, MIDI, and Instrument tracks. This command lets you make a selection on a track (or tracks) and insert precisely that amount of silence. The Insert Silence command also affects markers in any selected Conductor Rulers (such as the Tempo or Meter rulers). In Shuffle mode, all data on the track is shuffled later in the track by an amount equal to the selection.
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Duplicating Regions The Duplicate command copies a selection and places it immediately after the end of the selection. Though this is similar to using Copy and Paste, Duplicate is more convenient and faster, particularly when working with data on multiple tracks. To make more than one copy of a selection, use the Repeat command (see “Repeating Regions” on page 828). You can also loop regions (see “Region Looping” on page 829).
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Repeating Regions The Repeat command is similar to Duplicate, but lets you specify the number of times the selected material is duplicated. 3 Make an Edit selection. 4 Choose Edit > Repeat. In the Repeat dialog, enter the number of times you want the material to repeat, then click OK. As with the Copy and Paste commands, certain rules apply when repeating material on multiple tracks (see “Editing Across Multiple Tracks” on page 525).
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Chapter 39: Region Loops and Groups Pro Tools lets you loop regions or a group of regions (called a Region Group). Region Looping Pro Tools lets you loop audio regions, MIDI regions, and region groups. Looping regions is an easy and powerful way to repeat a single region on a track or regions across tracks for composing and arranging. Looping regions provides more flexibility than the Repeat and Duplicate commands.
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Creating Looped Regions 3 In the Region Looping dialog, do one of the following: You can create looped regions using the Loop command or using the Loop Trimmer tool. • Select the Number of Loops option and enter the number of times to loop the region. For information on using the Loop Trimmer tool, see “Loop Trimmer Tool” on page 546. • Select the Loop Length option and enter the duration according to the main timebase.
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Unlooping Regions To unloop a looped region: 1 Select the looped region. 2 Do one of the following: • Choose Region > Unloop. – or – • Right-click the region you want to unloop and select Unloop. 3 Do one of the following: • Click Remove to unloop and remove all loop iterations except the first full loop iteration (source region). – or – • Click Flatten to unloop and create individual regions from each loop iteration.
PAGE 854
To select an individual source region or loop iteration, do one of the following: With the Grabber tool or Smart Tool, singleclick the Loop icon of the source region or loop iteration. – or – With the Selector tool, single click the Loop icon and drag to the left until the region is selected.
PAGE 855
To copy and paste automation from the source region to loop iterations: 1 Select the source region. 2 Choose Edit > Copy Special and one of the Copy Special commands (All Automation, Pan Automation, or Plug-In Automation), depending on what automation you want to copy. Region groups can be placed on tracks alongside standard regions, and edited using many of the same editing techniques as regular regions.
PAGE 856
Creating Region Groups To create a region group: 1 Select one or more regions on one or more tracks. (For more information on multitrack region groups, see “Multitrack Region Groups” on page 835). Region Group icons on an audio track and in the Region List Region Group Timebase Format Selecting regions to be grouped on a single audio track The size of the selection determines the size of the region group.
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Ungrouping Regions To ungroup a region group: 1 Select a region group. 2 Do one of the following: • Choose Region > Ungroup. – or – • Right-click the Edit selection and choose Ungroup. Press Control+Alt+U (Windows) or Command+Option+U (Mac) to ungroup selected region groups. The region group disappears, revealing all underlying regions and any nested region groups.
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To create a multitrack region group: 1 Select regions across multiple adjacent tracks. Selecting regions to be grouped across multiple tracks 2 Choose Region > Group. Mixed Region Group icon (for a multitrack region group of sample- and tick-based audio, and tick-based MIDI) Multitrack region groups create nested region groups of multiple regions by track before grouping them across tracks. The Regroup command supports multitrack region groups.
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Separated Multitrack Region Groups You can insert, move, hide, or delete tracks in multitrack region groups, but it may break the region group. A separated region group displays a break in the Region Group icon. Separated region groups will continue to function as a single region group, but the separated icon indicates that the region group displayed is somehow incomplete or separated across nonadjacent tracks. • Hide a track that is part of a multitrack region group.
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Region Groups on Tick-Based Tracks When changing tempos, region groups on tickbased tracks adjust their length by adjusting the position of all enclosed regions accordingly. This can be useful for arranging rhythmic material and for playing back region groups imported from REX and ACID files. Changing Region Group Timebase The timebase format of a region group can be changed by: • Changing the track’s timebase. – or – • Dragging the region group to a track with a different timebase.
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Multitrack Region Groups with Sample- and Tick-Based Tracks Multitrack region groups can include both sample-based and tick-based tracks. However, changing the tempo separates the region group between sample-based tracks and tick-based tracks. Editing Audio Region Groups Certain audio editing commands create new regions over region groups. To use these commands and maintain the region group, ungroup the region group, perform the edit, and then regroup the region group.
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Trimming Region Groups Trimming region groups with the Standard Trimmer tool works the same way as trimming regular regions, regardless of whether you are trimming a single-track region group or a multitrack region group. Trimming a region group does not trim the underlying regions, but rather trims the region group boundaries. All underlying regions retain their original length and location. This is true for all underlying audio and MIDI regions, and nested region groups.
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Importing and Exporting Region Group Files Pro Tools can export and import region groups as region group files (.
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Part VIII: Processing 843
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Chapter 40: AudioSuite Processing The following explains the use of AudioSuite plug-ins in Pro Tools. AudioSuite plug-ins are used to process and modify audio files on disk. AudioSuite processing applies non-real-time, or rendered, audio processing to selected audio regions in your Pro Tools session. Depending on how you configure an AudioSuite plug-in, it will either alter the original source audio file or create an entirely new audio source file.
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The AudioSuite Window When you select a plug-in from the AudioSuite menu, the AudioSuite window appears. From this floating window you can access and edit the controls for the selected AudioSuite plug-in. AudioSuite window, EQ III 1-Band shown AudioSuite Window Header The AudioSuite Window header provides controls for changing AudioSuite plug-ins and setting presets, and how AudioSuite processing will be applied.
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Region List Applies AudioSuite processing only to selected regions in the Region List. Processing is not be applied to regions on the Timeline (playlists on audio tracks). If the Use In Playlist option is enabled in addition to Region List being selected in the Selection Reference pop-up menu, the processing will be applied to the selected region in both the playlist and the Region List.
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There are three options: Overwrite Files Processes the selected regions destructively, overwriting the original audio. Not all AudioSuite plug-ins can be used destructively. Create Individual Files Processes the selected regions nondestructively, creating a new audio file for each region. The new audio files are added to the session, leaving the original source audio files in the Region List unchanged.
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Next (+) and Previous (–) Setting Buttons Lets you select the next or previous plug-in setting from the Plug-In Librarian menu. You will lose the current plug-in settings if they are not saved before you use the Next and Previous Setting buttons. Always save your plug-ins settings as presets using the Plug-In Settings menu. Peak On All Chans/Tracks Uses all currently selected channels and tracks for analysis.
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Stereo Mode Processes each contiguous pair of channels within a selected region as a stereo track. When applied to an odd number of channels, the plug-in processes the last odd, unpaired channel as mono, using the left channel settings of the stereo plug-in. If you want the last track to be processed in stereo, you must select an additional track to pair it with—an empty one if necessary.
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Preview Volume Control Process Button The Preview Volume control in the AudioSuite window lets you adjust the volume for previewing AudioSuite processing. Clicking the Process button in the AudioSuite window begins AudioSuite processing of the selected audio. Processing can occur during playback (though it may take slightly longer). Processed files are auto-named with the region or audio file’s name and include an acronym for the chosen AudioSuite process.
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Undoing AudioSuite Processing If you have processed an audio selection nondestructively, the Undo and Redo commands let you undo the selected AudioSuite process. You can undo or redo an AudioSuite process during audio playback. Undo is not available when a plug-in is configured for destructive editing since the process has already overwritten the source audio file.
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Follow these guidelines: • To process the selected region only in the track in which it appears, select Playlist for the Selection Reference. Alternatively, if you want to process the selected region in the Region List only, select Region List. • If you want to process and update every occurrence of the selected region throughout your session, enable the Use In Playlist button (and also select Region List as the Selection Reference).
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Using AudioSuite Plug-Ins in Stereo Some AudioSuite plug-ins can be used in either mono or stereo. If you plan to use them in stereo, consider the following: To process a mono track and obtain a stereo result, select the track or region plus an empty track or region. Then set the plug-in to Stereo mode and select the Sum Inputs button (if present) to center the dry signal.
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Chapter 41: Elastic Audio Elastic Audio provides track-based Real-Time and Rendered Time Compression and Expansion (TCE) and region-based pitch shifting (transposition). Pro Tools Elastic Audio uses exceptionally high-quality transient detection algorithms, beat and tempo analysis, and realtime TCE and pitch shifting processing algorithms. Elastic Audio lets you quickly and easily transpose the pitch of audio regions and tempo conform (beat match) audio to the session’s Tempo map.
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Remixing Elastic Audio lets you quickly beat match an entire song to the session tempo and Bar|Beat grid. You can also transpose regions to match pitch. Sound Design and Special Effects Use Elastic Audio to achieve special effects with extreme or widely variable TCE or pitch manipulation. Use the Varispeed algorithm to achieve tape-like effects for speed and pitch change. Film Scoring If you are scoring a film scene, use Elastic Audio to fit the music to the required duration.
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Locate and preview a loop in DigiBase at the session tempo: 1 Open the Workspace (Window > Workspace). 2 Navigate to the folder where you keep your drum loops. Double-click the folder name to open a volume browser of just the folder’s contents. 3 Select the loop you want to preview. Audition Paths for previewing are selected in the I/O Setup window (Choose Setup > I/O and click the Output tab).
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2 Drag and drop the loop from the browser to 4 A new tick-based audio track is created with the Track List in the session’s Edit window (see Figure 1 below). the Default Elastic Audio plug-in enabled. If All Files is selected as the Drag and Drop From Desktop Conforms to Session Tempo option in the Processing Preferences page, you can also drag and drop audio files from the Desktop and they are imported as tickbased Elastic Audio.
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Warp indicators Sample-based whole-file region Tick-based Elastic Audio–processed region Figure 2. Imported tick-based audio file with Elastic Audio processing Change the session tempo to change the tempo of the region: 1 Change the tempo from the default 120 BPM to 110 BPM (see “Tempo” on page 757). Quantize audio to apply a Groove Template: 1 Select the region on the tick-based, Real-Time Elastic Audio-enabled track. 2 Choose Event > Event Operations > Quantize.
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Figure 3. Quantized audio events (Warp markers) in Warp view Transpose the audio region down a whole-tone: 1 Select the region on the Elastic Audio-enabled track. 2 Choose Event > Event Operations > Transpose. 3 Select the Transpose By option. 4 Enter “–2” semitones. 5 Click Apply.
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Elastic Audio Tracks Any audio track in your Pro Tools session can be Elastic Audio enabled. Elastic Audio tracks can be either sample- or tick-based. Sample-based Elastic Audio-enabled tracks let you apply realtime or rendered Elastic Audio processing by editing in Warp view, applying Quantize, and using the TCE Trimmer tool. However, only tickbased Elastic Audio tracks also automatically apply Elastic Audio processing based on tempo changes in the session.
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3 From the track’s Elastic Audio Plug-In pop-up menu, select Real-Time Processing or Rendered Processing for Real-Time or Rendered Elastic Audio processing. Elastic Audio processing can be Real-Time or Rendered. Real-Time Elastic Audio processing is immediate, but it is more demanding of system resources. Rendered Elastic Audio processing is non-real-time, but is less demanding of system resources. If you are working on a system with limited resources, use Rendered Elastic Audio processing.
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Elastic Audio Track Controls Elastic Audio Track Views Audio tracks provide controls for enabling Elastic Audio, selecting the Elastic Audio plug-in, and selecting whether Real-Time or Rendered Elastic Audio processing. There are two special Track Views for Elastic Audio-enabled tracks: Warp and Analysis.
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Elastic Audio Analysis When recording, pasting, moving, or importing un-analyzed audio to an Elastic Audio-enabled track, or when enabling Elastic Audio on an existing audio track, Pro Tools automatically analyzes the audio for transient events. In Waveform view, the waveform initially appears grayed out because regions go offline during Elastic Audio analysis. Once the analysis is complete, the audio comes back online.
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Pro Tools is very aggressive with its transient detection in order to detect every possible audio event. Consequently, it is possible to have erroneously detected events. These events will be analyzed with a low degree of confidence and can be filtered out by lowering the Event Sensitivity in the Elastic Properties window (see “Event Sensitivity Property” on page 881). Filtering out any false transients can result in higher quality Elastic Audio processing.
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Elastic Audio Region Clip indicators Warp indicators Elastic Audio Region Clip indicator Elastic Audio Plug-In selector and pop-up menu To toggle between Real-Time and Rendered Elastic Audio processing, Control-Start-click (Windows) or Command-Control-click (Mac) the Elastic Audio Plug-In button. About Rendered Files Pro Tools creates temporary files for Rendered Elastic Audio processing. These files are kept in an auto-created Rendered Files folder in the session folder.
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Next (+) and Previous (–) Setting Buttons Lets you select the next or previous preset from the Plug-In Librarian menu. Elastic Audio Plug-In Window Controls The Elastic Audio Plug-In window provides a set of controls in the window header that are common to all Elastic Audio plug-ins. Plug-In selector Track selector Librarian menu Settings menu Clip LED Target button You will lose the current plug-in settings if they are not saved before you use the Next and Previous Setting buttons.
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Target Button When multiple Elastic Audio Plug-In windows are open, clicking this button selects that plug-in as the target for any computer keyboard commands. Deselecting the Target button lets you open another targeted Elastic Audio Plug-In window. Polyphonic Plug-In The Polyphonic plug-in is a general, all-purpose algorithm that is effective with a wide range of material. For complex loops and multi-instrument mixes, use the Polyphonic plug-in.
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Decay Rate The Decay Rate control determines how much of the decay from a transient is heard in the processed audio when time stretching. When the Rhythmic plug-in is selected, any gaps between transients resulting from time stretching are filled in with audio. The Decay Rate determines how much of this audio is heard by applying a fade out rate. Adjust the Decay Rate up to 100% to hear the audio that is filling the gaps created by the time stretching with only a slight fade, or adjust down to 1.
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X-Form Plug-In Formant (Rendered Only) For audio material with clear formants, enable Formant to preserve the formant shape of audio when applying TCE processing. The X-Form Elastic Audio plug-in is a modified version of the standalone X-Form AudioSuite processing plug-in (based on the Radius® algorithm from iZotope). The X-Form Elastic Audio plug-in is for Rendered Elastic Audio processing only and cannot process in real-time or as an AudioSuite plug-in.
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Editing in Warp View In Warp view, you can manually “time warp” (TCE) audio to correct or adjust the timing of a performance, or create special effects. In Warp view, you can add, move, and delete Warp markers. Warp markers are used to fix a specific point in the audio (typically a detected transient event) to a specific point in the Timeline. In this way, you can apply detailed and nuanced “warping” (TCE) of audio events. Warp view is only available for Elastic Audio-enabled tracks.
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• With any Edit tool, Right-click anywhere in the region 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. rubber band will be stretched (or expanded) between the first and middle pins, and relaxed (or compressed) between the middle pin and the last pin. In Warp view, you can add, relocate (without warping), and delete Warp markers.
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Tempo Event–Generated Warp Markers Tempo Event–generated Warp markers are not editable and are only displayed to indicate where Elastic Audio processing has been applied to conform the audio to Tempo Events. You will only see Tempo Event–generated Warp markers on tick-based tracks. If you change the track timebase from ticks to samples, any Tempo Event–generated Warp markers convert to regular, editable Warp markers. For more information, see “Tempo Changes and Tick-Based Elastic Audio Tracks” on page 761.
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Workflow Example Beat match a song to the session tempo and Bar|Beat grid using Telescoping Warp: 1 Make sure the Main Timebase ruler is set to Bars|Beats. 2 Set the default tempo and meter. To apply Accordion Warp to a region: 1 In Warp view, add a single Warp marker at the point in the region that you want to remain fixed on the Timeline. 2 With the Grabber tool, drag any Event marker that is before or after the single Warp marker to the left or the right. 3 Select Grid mode.
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3 With the Grabber tool, drag an Event marker 5 With the Grabber tool, drag any of the Warp between the two Warp markers to the left or right. A Warp marker is added on top of the Event marker and the audio is compressed or expanded on either side of the dragged marker while the audio outside the bounding markers remains unaffected. markers within the Edit Selection to the left or the right.
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To toggle the display of the Warp indicator in Elastic Audio regions: Select or deselect View > Region > Processing State. Out of Range Processing Pro Tools lets you apply extreme amounts of Elastic Audio processing. However, at such extremes, it is possible to go out of the selected Elastic Audio plug-in’s processing range. When this happens, it is possible that not every sample will be processed correctly and you may encounter audio drop outs.
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Removing Region Warping If you have applied any warping to a region, you can remove warping and revert the region to its original duration. This can be useful if you are not satisfied with the results and want to revert to the pre-warped region. Warp markers are not deleted when applying the Remove Warp command, but any warping is undone. To remove region warping: 1 Select the region for which you want to re- Editing in Analysis View In Analysis view, you can add, move, promote, and delete Event markers.
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Adding Event Markers To add an Event marker: In Analysis view, do one of the following: • With the Pencil tool, click at the location where you want to add an Event marker. • With the Grabber tool, double-click at the location where you want to add an Event marker. • With the Grabber tool, Start-click (Windows) or Control-click (Mac) at the location where you want to add an Event marker.
PAGE 901
Deleting Event Markers To delete an Event marker: In Analysis view, do one of the following: • With the Pencil tool, Alt-click (Windows) or Option-click (Mac) the Event marker you want to delete. • With the Grabber tool, Alt-click (Windows) or Option-click (Mac) the Event marker you want to delete. • With the Selector tool, make an Edit selection that includes any Event markers you want to delete and press Delete or Backspace on your computer keyboard.
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Elastic Properties Window selected, the number of selected regions is displayed. If regions on both tick and sample-based tracks are selected, only the reduced set of properties are displayed. The Elastic Properties window displays information about Elastic Audio processing and analysis for one or more regions. You can also use the Elastic Properties window to adjust Elastic Audio processing and analysis data.
PAGE 903
To change Source Tempo of a region: 1 Open the Elastic Properties window for the re- gion. 2 Select the correct note value for the beat from the Tempo Resolution pop-up menu. For example, if the source file is in 5/8, select 1/8 note. 3 Do one of the following: • Type the tempo in the Source Tempo field. • If the tempo was incorrectly analyzed as being half the tempo of the source file, click the x2 button.
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For REX files, Pro Tools converts the slices as Events with 100% confidence. Consequently, setting the Event Sensitivity from 99% to 1% does not filter out any events based on slices. However, if you set the Event Sensitivity to 0%, all markers are filtered out regardless. When you change the Event Sensitivity property, Pro Tools writes temporary filtered Elastic Audio analysis files (.aan) to the session’s Rendered Files folder.
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3 Open the Elastic Properties window for the re- gion. 4 Adjust the Pitch Shift settings up (“+”) or down (“–”) by an amount in semitones and cents. 4 Do one of the following: • Adjust the Transpose By settings by an amount in semitones and cents. – or – • Adjust the Transpose From and To settings by an amount in Semitones and Cents. The Transpose All Notes To and the Transpose In Key settings can only be applied to MIDI notes. When only audio regions are selected, these options are unavailable.
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Removing Region Pitch Shifting If you have applied any pitch shifting to a region, you can remove pitch shifting and revert the region to its original pitch. This can be useful if you are not satisfied with the results and want to revert to the pre–pitch shifted region. To remove region pitch shifting: 1 Select the region for which you want to re- move warping. 2 Do one of the following: • Choose Region > Remove Pitch Shift.
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Moving Elastic Audio Between Tracks Pro Tools analyzes, conforms, and commits audio in different ways when moving audio regions between tracks with Elastic Audio enabled and tracks without Elastic Audio enabled. The following table shows the different results for moving regions between real-time Elastic Audio-enabled tracks, Rendered Elastic Audio-enabled tracks, and audio tracks without Elastic Audio.
PAGE 908
Fades and MicroFades Fades and Elastic Audio Processing When applying fades to warped regions (regions that have been processed by Elastic Audio), the audio selected for the fade is first rendered and then the fade is generated based on the rendered audio file. While you can create fades and crossfades on regions on Elastic Audio-enabled tracks, neither Real-Time nor Rendered Elastic Audio processing can be applied to fades.
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Approximate Waveforms Another consequence of Real-Time Elastic Audio processing is that the drawing of the waveforms is only approximate. For example, if you bus record a Real-Time Elastic Audio processed track, you will notice that the Waveform on the source track does not necessarily exactly match the recorded track. However, be assured that what you hear is an accurate rendition of the Real-Time Elastic Audio processing even if the waveform drawing on the source track is only approximate.
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888 Pro Tools Reference Guide
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Chapter 42: Event Operations Various events in Pro Tools (such as groups of MIDI Notes, audio region start times or sync points, and whole regions) can be transformed with Event Operations. Event Operations Window The Event Operations window provides commands to transform groups of MIDI notes to affect pitch, timing, and phrasing. The Quantize and Restore Performance Event Operations can also be applied to audio region start times (or sync points) and Elastic Audio events.
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To open the last active Event Operations window page: Choose Event > Event Operations > Event Operations. To open the Event Operations window, press Option+3 (Mac) or Alt+3 (Windows). If the Event Operations window is already open, you can select any of the pages from the pop-up menu at the top of the window. To apply an Event Operations command, do one of the following: Click Apply or press Enter on the numeric keypad. This applies the command and leaves the window in the foreground.
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The Quantize Event Operation and Quantize to Grid commands can both be used to quantize regions. However, each command also has a specific additional use. To open the Quantize window: Choose Event > Event Operations > Quantize. Press Option+0 (Mac) or Alt+0 (Windows) to open the Quantize window. Use the Quantize to Grid command (Region > Quantize to Grid) to adjust the start points (or sync points) for selected regions.
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Grid Quantize The Quantize window can apply Grid Quantize when a specific rhythmic value is selected in the Quantize Grid pop-up menu. When a groove template is selected in the Quantize pop-up menu, Groove Quantize can be applied. For information on Groove Quantize, see “Groove Quantize” on page 896. The following figure shows how MIDI notes are adjusted by the different What To Quantize options.
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MIDI notes and Elastic Audio events. Warp markers are created automatically on top of Event markers nearest the quantize grid. Quantize then uses these Warp markers to apply quantization. 50%, notes and events are placed up to a 32nd note before or after the beat boundary. The Randomize setting also affects note durations (if Releases is selected).
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Grid Quantize Examples The following examples illustrate some of the more common uses for Grid Quantize. Include Within option Exclude Within When selected, MIDI Note Ons and MIDI Note Offs, Elastic Audio events, and audio regions are not quantized if located within the specified percentage of the Quantize Grid. Use this option to preserve the feel of events close to the beat, while correcting others that are drastically away from the beat.
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Quantizing While Preserving the Original “Feel” You can quantize less strictly, to preserve the original feel of your recorded MIDI and audio tracks. Quantizing with Swing If you are working with MIDI hi-hats or bass lines or audio equivalents, you may want to apply more of a swing feel when quantizing.
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Quantizing with Randomize If quantized events sound too mechanical or “on the beat,” use the Randomize option in the Quantize window to make them sound more natural. To “humanize” the rhythmic feel of events: 1 Select the range of MIDI notes, Elastic Audio events, or audio regions to be quantized. 2 Choose Event > Event Operations > Quantize. 3 Under What to Quantize, select the Note On option for quantizing MIDI notes. To also quantize MIDI note durations, select the Note Off option.
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Groove Templates Groove Quantize Settings Groove templates (such as DigiGroove templates) are “quantization maps” derived from real musical performances. The rhythmic character of each performance is analyzed and stored as a groove template. Groove templates can be used to transfer the feel of a particular performance to MIDI notes (Timing, Duration, and Velocity), Elastic Audio events, and audio regions. Quantize Grid Pop-Up Menu Determines which groove template to use for quantization.
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For example, if an event was played at Bar 1|1|060 (a 16th note), and the corresponding template event is at 1|1|073, a slider value of 100% results in the event being shifted to 1|1|073 (a slider value of 200% shifts the note to 1|1|086). The default value for the Timing slider is 100%. Duration Enable to influence the durations of the selected MIDI notes. The Duration option does not apply to audio selections. At a setting of 100%, durations are changed to match the current groove template.
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Applying Groove Templates Groove templates can be of any length and can be applied to any number of bars. Typically, you will apply groove templates to selections of the same bar length and meter. However, groove templates can be applied to different meters— for example, a groove template in 6/8 can be applied to a selection in 4/4. Also, it is not necessary to start on the downbeat when making a selection to apply a groove template.
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Mapping Groove Templates Pro Tools applies groove templates relative to the song start. For example, a two-bar groove template repeats starting at every odd-numbered bar in the session (bar 1, 3, 5, 7…). 2-bar groove template 2-bar groove template 2-bar groove template Template Mapping for Equal Meters And Even Bars If a selection starts on an even bar, only the appropriate portion of the groove template will be used.
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If the Groove Template contains more beats than the selection on a track, such as a one-bar template in 6/4 being applied to a two-bar selection in 4/4, only uses the appropriate number of beats.
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audio regions without applying TCE, and is especially useful when working with “one-shot” regions (single-event regions) such as sliced regions or region groups. Use Restore Performance to undo quantization of audio and MIDI. See “Restore Performance Command” on page 903. Quantizing Audio Regions Pro Tools lets you quantize audio region start times (or sync points) using the Quantize operation. Audio region start times (or sync points) are quantized to the nearest quantize grid value.
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Quantizing Mixed Selections The following MIDI note, Elastic Audio Event, and audio region attributes can be restored: You can apply Quantize to both MIDI notes and audio regions, or both MIDI notes and Elastic Audio events at the same time. However, you cannot apply Quantize to both audio regions (non-Elastic Audio) and Elastic Audio events at the same time. Timing (Quantization) Restores the original start times of the selected notes, audio regions, and Elastic Audio Events.
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Any changes made through the Quantize, Change Duration (MIDI only), Change Velocity (MIDI only), or Transpose commands are undone and the original “performance” is restored. Also, any MIDI notes that were recorded with Input Quantize enabled are restored (see “Input Quantize Command” on page 913).
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Change Velocity Preserving Existing Velocity Relationships The Change Velocity command in the Event Operations window automatically adjusts Note On (attack) and Note Off (release) velocities for selected MIDI notes. Use it to make notes louder or softer, or to create crescendos or decrescendos. To partially preserve the existing velocity relationships and still achieve velocity fades, use the option for Change Smoothly by Percentage.
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3 Select the Scale By option with the percentage value set to 120. 4 Click Apply. Change Velocity Settings Note On Applies the Change Velocity options to the MIDI Note On. Note Off Applies the Change Velocity options to the MIDI Note Off. While there are options for adjusting both the Note On (attack) and Note Off (release) velocities for notes, most MIDI devices ignore release velocity information. To see if your instrument supports release velocities, see the manufacturer’s documentation.
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value of 64, and with Randomize enabled and set to a value of 50%, the resulting velocities will be anywhere between 48 and 80 (+/– 25% of the velocity value). Change Duration Settings To randomize selected velocities without applying any other Change Velocity options: 1 Enable the Scale By option and set it to 100%. 2 Enable Randomize and set the amount of ran- domization you want. 3 Click Apply. Velocity Ranges The valid range for MIDI note velocities is 1–127.
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Legato Enable the legato option to add legato to the MIDI selection. Select Gap or Overlap from the Legato pop-up menu and enter the gap or overlap in beats and ticks. Change Continuously by Percentage Allows note lengths to change smoothly from one percentage value to another over time. The curve for this change can be adjusted (+/– 99) to affect how gradually the change occurs. Remove Overlap The Remove Overlap option removes any note overlap for all notes of the same pitch.
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To make notes more legato: 1 Select the range of MIDI notes to be edited. 2 Choose Event > Event Operations > Change Duration. 3 Select the Legato option. 4 From the Legato pop-up menu, select Overlap. 5 Enter 0|000 for the amount of overlap. 6 Click Apply. For information on Transposing Elastic Audio regions, see “Elastic Audio RegionBased Pitch Shifting” on page 882. Elastic Audio pitch transposition is not supported with the Monophonic algorithm.
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Transpose All Notes To Transposes all selected notes to the same pitch. Use the slider or the number entry box to enter the pitch to which to transpose all selected notes. This option is not applicable to Elastic Audio regions. To transpose selected notes in key: Transpose In Key Transposes selected notes in key up or down by scale steps (based on the Key Signature ruler). This option is not applicable to Elastic Audio regions.
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Select/Split Notes Command The Select/Split Notes command in the Event Operations window provides a complete set of tools to select and split MIDI notes based on a wide variety of criteria. Additional tools are provided to specify whether selected data is copied to the clipboard or to new tracks, whether the data is split to multiple new tracks or a single destination, and more. Bottom Selects the lowest note or notes in each chord.
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Selecting and Splitting Notes To select and split notes: 1 Do one of the following: • With the Grabber or Selector tool, select the range of MIDI notes that contains the notes. – or – • To affect all the MIDI notes on a track, click in the track with the Selector tool, so that it contains a flashing edit cursor. 2 Choose Event > Event Operations > Select/Split A common use for Select/Split Notes is to select a single note for the entire length of a region or track.
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Selecting Notes in a Chord Another use for Select/Split Notes is to select only the upper or lower notes in a chord. Many times you may only want to affect the upper or lower notes in a chord—for example, to increase velocities or transpose pitches. Input Quantize Command When Input Quantize is enabled in the Event Operations window, all recorded MIDI notes are quantized automatically.
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Step Input Command Step Input in the Event Operations window lets you use a MIDI controller to enter notes individually, one step at a time. This gives you precise control over note placement, duration, and velocity. With MIDI step input you can also create musical passages that might be difficult to play accurately, or at a fast tempo.
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Destination Lets you select the destination track for the Step Input from a pop-up list of all the MIDI tracks in your session. Enable Numeric Keypad Shortcuts When selected, Step Input options can be selected from the numeric keypad. See “Numeric Keypad Shortcuts for Step Input” on page 916. Step Increment Section Controls Undo Step, Next Step, and Redo Step The controls in the Step Increment section let you set the spacing and duration of MIDI events entered using the Step Input operation.
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While the note is being held, the Step Increment value can be changed, allowing you to create notes of any musical length. Redo Step Reinserts the last note that was removed by the Undo Step operation. Triggering the Undo Step, Next Step, or Redo Step Buttons The Undo Step, Next Step, and Redo Step buttons can be set to be triggered by an external MIDI synth, drum pad, or other controller.
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Part IX: Mixing 917
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918
PAGE 941
Chapter 43: Basic Mixing Mixing in Pro Tools involves working with elements of audio signal flow, including inputs, outputs, busses, inserts, and sends, for purposes of submixing and mixdown. In addition to the final mixdown, mixing tasks can occur any time during a session. During mixing, real-time plug-ins and hardware inserts provide effects and signal processing (see Chapter 44, “Plug-In and Hardware Inserts”).
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Metering and Calibration Signal Flow by Track Type Meters provide a visual display of signal levels. They tell whether signal is getting to a channel, and how loud or soft a signal is relative to (above or below) “0.” Pro Tools provides the following track types: By calibrating all your equipment to standard reference levels, a consistent level can be achieved (and metered) among different recording devices in a studio, throughout a facility, or throughout an entire production chain.
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Multichannel audio tracks and surround mixing formats are supported by Pro Tools HD or Pro Tools with Complete Production Toolkit 2 only. Source or Input Source: any mono, stereo, or multichannel audio file, playing back from disk Input: while record-monitoring or in TrackInput monitoring mode Auxiliary Input Tracks and Signal Flow Auxiliary Input tracks provide the same signal routing options as audio tracks, except that their input must come from an internal bus or hardware input.
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Common Uses for Auxiliary Inputs Auxiliary Inputs can be used to: • Apply real-time plug-ins or an external processor to a submix, using the Auxiliary Input as an effects return (such as reverb or bus line compression) • Input audio from external MIDI instruments and other audio sources into the mix, to monitor or route to audio tracks for recording to disk (such as from the audio outputs of a MIDI synthesizer) • Consolidate volume control of any submix under a single fader • Mix multiple outputs from an in
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Unlike inserts on audio tracks and Auxiliary Inputs, Master Fader inserts are post-fader. This lets you insert a dither plug-in, or similar plugin, on your master mix, and affect its processing with the Master Fader level (for more information, see “Dither” on page 963). If you absolutely must have a pre-fader insert on your Master Fader signal, set up an Auxiliary Input before the Master Fader.
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3 Create a stereo Master Fader track and assign the Output to the bus path that feeds the Auxiliary Input track. Instrument Tracks and Signal Flow Instrument tracks provide the same audio signal routing options as Auxiliary Input tracks, except that their input must come from an instrument plug-in inserted on that Instrument track, or from a bus or hardware input.
PAGE 947
For information on assigning MIDI input and output for Instrument tracks, see “Assigning MIDI Input and Output for Instrument Tracks” on page 236. For information inserting plug-ins on tracks, see “Inserting Plug-Ins on Tracks” on page 974.
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the Groups dialog. This lets you control the output levels of the group’s member tracks while retaining the ability to adjust individual member track levels. Slave tracks can be set to follow normal grouped behavior. See “Assigning Groups to VCA Masters” on page 927. The VCA Mute button controls the mute state of audio, Auxiliary Input, Instrument, MIDI, and other VCA Master tracks in a VCA-controlled group. Muting a VCA-controlled group does not change the underlying mute state of slave tracks.
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TrackInput Assigning Groups to VCA Masters The VCA TrackInput button toggles the input monitor status of only those audio tracks in a VCA-controlled group that are record-enabled. You can toggle input monitor status for those tracks using the VCA Master TrackInput button. An existing Mix group can be assigned to a VCA Master, or a new Mix group can be assigned to a VCA Master while it is being created. Only one group can be assigned to a VCA Master at a time.
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Allowing Grouped Behavior of VCA Slave Track Controls When a track is a VCA slave track, its Volume, Mute, Solo, Record Enable, and TrackInput controls follow VCA functions, and normally do not follow Mix group behavior. • Hardware inserts send and return the signal to corresponding input and output channels of an audio interface, which can be connected to outboard effects. • Some Instrument plug-ins (such as Transfuser) accept audio from the track input (letting you use them as processing plug-ins.
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Configuring Inserts View in the Mix and Edit Windows Audio tracks, Auxiliary Inputs, Master tracks, and Instrument tracks include two sets of inserts Views: Inserts A–E (inserts 1–5) and Inserts F–J (inserts 6–10). The View menu provides separate options for viewing each of set of inserts in the Mix and Edit windows. Stereo Pan Depth Pro Tools lets you select the pan depth for stereo output paths. You can set the Pan Depth in the Session Setup window.
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To set the stereo pan depth: 1 Choose Setup > Session to open the Session Most of these views are available in both windows, unless noted. Setup window. 2 Select an option from the Pan Depth selector. Window View Selectors Both the Edit window and Mix window provide Window View selectors to configure their views. Session Setup window Stereo Pan Depth Options The following Pan Depth options are available: –2.5 Used to be the standard stereo pan depth setting in Pro Tools 8.0.x and lower.
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Displaying Views To display all views in the Mix or Edit window, do one of the following: Select View > Mix Window (or Edit Window) > All. Window View Options Comments View Shows any text entered as comments in the Track Name/Comments dialog. For more information, see “Naming Tracks” on page 212. – or – Click the Mix Window View selector (or Edit Window View selector), and select All.
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HEAT View (Pro Tools HD with HEAT 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 Pro Tools|HD systems with an authorized version of the HEAT option installed. For more information, see the HEAT Software Option Guide. I/O View (Edit Window Only) Shows Input and Output selectors, and Volume and Pan indicators in each track.
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Real-Time Properties View (Edit Window Only) Shows controls for Real-Time Properties for MIDI and Instrument tracks. For more information on Real-Time Properties, see “MIDI RealTime Properties” on page 690.
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The track format (mono, stereo, or multichannel) determines the available main and sub-path choices for track output. For detailed information on assigning track outputs, see “Assigning Audio Outputs” on page 227. When audio, Auxiliary Input, Master Fader, and Instrument tracks are created, their mono, stereo, or greater-than-stereo multichannel format is defined: • Mono tracks can be assigned to any available mono, stereo, multichannel main and subpaths.
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• In the Output Path selector menu, all currently assigned track outputs are checked to indicate they are active for the current track. • An asterisk (*) indicates that one or more currently assigned outputs is Inactive. To make an inactive output path active, do one of the following: Command-Control-click (Mac) or ControlStart-click (Windows) the Output selector. – or – Right-click the Output selector and select Make Active.
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Sends Pro Tools lets you insert up to ten sends (A–E and F–J) on each audio track, Auxiliary Input, or Instrument track. Sends provide the following features: • Sends can be set as pre- or post-fader. Assigning Sends to Tracks To add a send to a track: 1 Make sure Sends View is enabled in the Mix or Edit window (see “Views in the Mix and Edit Windows” on page 930 for information). 2 Click the Send selector on the track and choose a path from the pop-up menu.
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3 Set the output level of the send in the Send window by doing one of the following: • Adjust the Send Level fader. – or – • Set the send level to unity gain (0 dB) by Alt-clicking (Windows) or Option-clicking (Mac) the Send Level fader. When you create a new send, its initial output level depends on the setting of the Sends Default to –INF preference.
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Pro Tools creates a new track with the output of the originating send automatically routed to the input of the new track using an available internal mix bus. To assign a send to an available input on an existing track: 1 On an existing track, click the Send selector and select Track. 2 From the Track submenu, select the destina- tion track you want.
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Send Formats Mono and Stereo Sends When you click the Sends button on a track, you can choose from a list of mono or stereo output or bus paths. Multichannel Sends (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) When you click the Sends button on a track, you can choose from a list of multichannel output or bus paths.
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Assignments View Individual Send Views (A–J) This is the default Sends View, showing all five of the Sends A–E or Sends F–J sends on all tracks displayed in the Mix and Edit windows. Individual Send Views (such as Send A) provide send level, pan, and mute controls for a single send across all tracks.
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Individual Send Views and Meters When you display the controls for an individual send, you also have the option of displaying send level meters. Sends Views, A–E set to “A” and F–J set to “Assignments” Send level meters show peak values and indicate clipping that occurs while the meter is displayed (if a send clips any time before its meter is displayed, this is not shown). If you are using a slower computer, hiding send level meters can improve screen redraw times.
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To make a send inactive, do one of the following: Unmuted Clipped (red text) Muted (blue) Window is open (lit Send) Control-Start-click (Windows) or CommandControl-click (Mac) on the Send assignment. – or – Make the Track inactive. See “Making Tracks Inactive” on page 241. Indication of Send mute, clipping, and window status If you use a control surface (such as D-Control or 003) with Pro Tools, colored outlines around sends, inserts, and outputs indicate the current controller focus.
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To move a send: Copying Track Settings to Sends Drag the send name to a new position in the original track or in a different track. (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) To copy a send: Alt-drag (Windows) or Option-drag (Mac) the send to a new position. Moving or copying a send maintains all routing assignments, automation, level/pan/mute settings, and output format.
PAGE 966
To link a Send’s Pan controls to the Main Pan controls of a track: 1 Click the Send Assignment button for the To open a track Output window: Click the Output Window button in the channel strip. Send you want to link to open the Send window. 2 In the Send window, click the FMP (Follow Main Pan) button. To change the default FMP (Follows Main Pan) setting for newly created Sends: 1 Choose Setup > Preferences and click the Mixing tab.
PAGE 967
To open a Send window: Opening Multiple Output Windows Click the Send Assignment button in the Mix or Edit window. Multiple track and Send windows can be displayed simultaneously using either of the following methods. To open additional Output windows: Shift-click any Output Window button or Send Assignment button. To set a window to remain open when opening additional Output windows: Make sure the Target is disabled.
PAGE 968
Panner Linking Inverse Linked Panning Stereo outputs provide two panning controls, one for each side of the left/right pair. Multichannel outputs provide a multichannel panner. When linked and set to Inverse mode, panning moves are inverted or reversed in the other channels. The Output window provides controls to link channels for precise panning of stereo and multichannel tracks. In the linked state, all sides match changes to any other side’s Pan control. This is Absolute Link mode.
PAGE 969
Standard Selector Controls in Output Windows All Output windows provide standard selectors for path, automation, and other controls in the top area of the window (the Output Editor area).
PAGE 970
Track Fader, Pan Controls, and Solo, Mute, and Automation Controls Output windows provide the associated track’s Volume fader, Pan controls, Solo and Mute switches, and Automation Mode selector. Use these to adjust or automate the controls of the Output window. Targeted Windows When lit (red), the Target indicates its window is “targeted,” and the next window opened of the same type replaces the current display (unless it is opened as an additional window with the Shift modifier).
PAGE 971
Signal Routing for Monitoring and Submixing The bussing and mixing features in Pro Tools support many possibilities for submixing and monitoring, including the ability to: Monitoring and Mixing Audio with Instrument Tracks Use Instrument tracks to monitor and mix audio from instrument plug-ins or external MIDI instruments in a Pro Tools mix.
PAGE 972
4 The virtual MIDI node (port) for the instru- 7 Set the audio input of the Instrument track to ment plug-in should be automatically selected for the Instrument track’s MIDI Output. If not, select the MIDI channel and corresponding port for the instrument plug-in from the MIDI Output selector. the corresponding input path. 5 Assign the track audio output to the appropriate path or paths for monitoring.
PAGE 973
To monitor and mix audio from an Instrument plugin with multiple audio outputs: 9 Adjust the Auxiliary Input faders to mix the individual outputs of the plug-in. 1 Use an existing or create a new Instrument track. Instrument plug-in 2 Choose View > Mix Window > Instruments to show the MIDI controls of the Instrument track. 3 Select a multi-output instrument plug-in from Inputs from plug-in outputs the first Insert selector on the Instrument track (such as Transfuser).
PAGE 974
Submixing with Track Outputs or Sends You can use both track outputs and sends to route audio for submixing, depending on whether you want a discrete or send and return submix. Discrete Submix Output Pro Tools lets you discretely route source audio through a submix. This is preferred for dither or other mastering processing, where you do not want unprocessed audio heard in addition to the processed signals. Use track outputs (not sends) to assign tracks to a bus path for discrete submixing.
PAGE 975
To create an effects return submix with a plug-in or hardware insert: 1 Assign each track’s main output to your main Effect (plug-in or hardware) Insert mix outputs. 2 On the source tracks, assign a send (mono or stereo) and select a mono or stereo bus path from the Send selector. Configure the sends for pre- or post-fader, as needed. 3 Choose Track > New.
PAGE 976
5 From the Auxiliary Input track’s Input Path selector, select the input path connected to the external device. 6 From the Auxiliary Input track’s Output Path selector, select an output path (main outputs). 7 Adjust the individual track faders to balance the dry (unprocessed) tracks. The amount of effect is controlled by the level of the Send Level fader or the Auxiliary Input Volume fader.
PAGE 977
Adjust the Auxiliary Input track fader to control the volume for the monitor mix. 4 Do one of the following: • Set the output of the Master Fader to the same path that you are using to send to an Auxiliary Input track. • Set the output of the Master Fader to match the path that you have chosen for your effects send. You can then adjust send levels to balance the source tracks, and use the Master Fader as a master level control for the entire submix.
PAGE 978
Delay Compensation Pro Tools provides automatic Delay Compensation for managing DSP and host-based delays from plug-in and hardware inserts, and mixer routing (bussing and sends). With Delay Compensation enabled, Pro Tools maintains phase coherent time alignment between tracks that have plug-ins with differing delays, tracks with different mixing paths, tracks that are split off and recombined within the mixer, and tracks with hardware inserts.
PAGE 979
Long Allocates maximum resources for Delay Compensation for each mixer channel. For sessions with a lot of plug-ins resulting in a large amount of DSP and host–based delay, select this setting. To configure the Delay Compensation Engine: System Delay Pro Tools adds the exact amount of delay to each track necessary to make that particular track’s delay equal to the total System Delay. The total system delay is the longest delay reported on a track, plus any additional delay caused by mixer routing.
PAGE 980
Delay Compensation View The Delay Compensation View displays the total amount of plug-in (TDM and RTAS) and hardware insert delay (HD only), and the total amount of delay that Pro Tools applies to each track. You can also apply an offset for track delay on a track-by-track basis. The Delay Compensation View can be shown or hidden in the Mix Window.
PAGE 981
To change track delay using the User Offset field: 1 In the Delay Compensation View, click in the User Offset edit field. 2 To set your delay value (in samples or millisec- onds depending on your current preferences), do one of the following: • Enter a positive number (with or without the “+” modifier) for a positive delay (later in time) or negative number (with the “–” modifier) for a negative delay (earlier in time). • Drag in the User Offset field to scroll to a new value.
PAGE 982
To compensate for delay that exceeds the compensation limit, do one of the following: If the Delay Compensation Engine setting in the Playback Engine is set to Short, change the setting to Long. – or – If the Delay Compensation Engine is already set to Long, do the following: • Bypass the reported delay for the track by Start-Control-clicking (Windows) or Command-Control-clicking (Mac) the Delay indicator. The track information is grayed out once it is bypassed.
PAGE 983
Delay Compensation on Auxiliary Inputs Delay Compensation on Auxiliary Inputs can be bypassed to let you monitor outside sources (such as the audio tracks of a slaved video deck) with minimal latency, while still reporting the track’s delay. To bypass an Auxiliary Input’s Delay Compensation: Start-Control-click (Windows) or CommandControl-click (Mac) the Track Compensation indicator. The reported track delay will be zero, and will appear grayed out.
PAGE 984
To keep audio time-aligned when recording using a MIDI controlled plug-in on an Auxiliary Input: 1 Start-Control-click (Windows) or Command- Control-click (Mac) the Track Compensation indicator for the Auxiliary Input to bypass Delay Compensation. 2 Enter the total system delay into the User Off- 5 Choose Track > New. set field. 6 Specify the track type (Main Fader) and format (stereo), then click Create.
PAGE 985
To set an insert delay offset: 1 Choose Setup > I/O. 2 Click the H/W Insert Delay tab. 3 Type a value, in milliseconds, in the field cor- responding with the input where the hardware insert is connected. Insert delay offsets only have an effect when the I/O is used for hardware inserts. Dither Dither is used to minimize quantization artifacts when reducing the bit depth of an audio signal, for example, from 24-bit to 16-bit.
PAGE 986
AudioSuite Dither Some AudioSuite plug-ins can automatically apply dither when processing. You can select this option in the Processing Preferences page. The Use AudioSuite Dither option enables a preset, noise-shaped dither for the following DigiRack AudioSuite plug-ins: Dithered Mixer Plug-Ins (Pro Tools HD Only) Avid has developed a mixer that provides all of the benefits of the standard Stereo Mixer and Surround Mixer plug-ins, but also provides uncorrelated dither on any summed output.
PAGE 987
Using an Ethernet Control Surface with Pro Tools Avid offers several Ethernet-based control surface options for Pro Tools. D-Control and D-Command (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) D-Control and D-Command tactile worksurfaces are part of ICON, a flexible, integrated system that extends the functionality of Pro Tools.
PAGE 988
MIDI Control Surface Personalities MIDI Control Surface Personalities are files that allow Pro Tools to communicate with the MIDI control surface. When you install Pro Tools, these files are installed by default in the Controllers folder inside the Pro Tools application folder. If the files are not present, run the Pro Tools installer to install the personality files.
PAGE 989
Enabling a MIDI Control Surface in Pro Tools Enabling the MIDI Control Surface as an Input Device To enable a MIDI control surface in Pro Tools: You must ensure that the MIDI control surface is enable as an input device in Pro Tools. 1 Choose Setup > Peripherals and click the MIDI Controllers tab. 2 Choose your MIDI control surface device To enable a MIDI control surface as an input device: name from the Type pop-up menu. 1 Choose Setup > MIDI > Input Devices.
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968 Pro Tools Reference Guide
PAGE 991
Chapter 44: Plug-In and Hardware Inserts Pro Tools provides up to ten unity-gain inserts on each audio, Auxiliary Input, Master Fader, and Instrument track. Audio, Auxiliary Input, and Instrument track inserts are pre-fader, and Master Faders inserts are post-fader. Insert selector Insert button Insert button and selector on a track An insert can be either a software DSP plug-in or a hardware insert.
PAGE 992
Hardware I/O Inserts Insert Formats Hardware I/O inserts can route audio through an external device connected to parallel inputs and outputs of an audio interface. You can process the audio material on a track with a hardware insert in real time. Mono Inserts Used on mono tracks. Inserts that occur on a track after a stereo insert are automatically used in stereo as well.
PAGE 993
Plug-In Formats There are three plug-in formats supported by Pro Tools (TDM, RTAS, and AudioSuite), two of which can be used as real-time inserts, as follows: TDM Plug-Ins Used with Pro Tools HD systems, these plug-ins rely on the processing power of DSP on Pro Tools|HD system cards. RTAS Plug-Ins Similar to their TDM counterparts, but unlike TDM plug-ins, they rely on and are limited by the host processing power of your computer.
PAGE 994
Furthermore, one additional voice is used for each occurrence of any of the following conditions when using voices for RTAS plug-ins on a track: To show (or hide) inserts, do one of the following: In the Mix window (or Edit window), select View > Mix Window (or Edit Window) > Inserts A–E or Inserts F–J.
PAGE 995
Display of Plug-In Window Status In the Mix and Edit window, the plug-in button and selector display the currently inserted plugin, its bypass state (see “Bypassing Plug-Ins” on page 996), focus status, and window status. Making Inserts Inactive Plug-In and hardware inserts can be made inactive to free up their resources for other uses. When a plug-in insert is inactive it retains its assignment, position, and related automation playlists.
PAGE 996
To toggle inserts in the same position on all selected tracks active or inactive: Control-Start-Alt-Shift-click (Windows) or Command-Control-Option-Shift-click (Mac) an Insert button in the position you want to toggle. Inserting Plug-Ins on Tracks To use a real-time plug-in, insert it on a track. Plug-Ins cannot be inserted or removed during recording. Inactive Plug-In Inserts To insert a plug-in on a track: Inactive plug-in inserts retain all associated automation playlists.
PAGE 997
Ordering RTAS and TDM Plug-Ins on Audio Tracks (Pro Tools|HD Systems Only) With Pro Tools|HD systems, when RTAS and TDM plug-ins are combined on an audio track, Auxiliary Input, or Master Fader, the order in which they are inserted produces different results: RTAS Plug-Ins Grouped Before TDM Plug-Ins No additional voices will be used, and no processing latency will occur. RTAS plug-ins will be bypassed when Record Enable or TrackInput monitoring is enabled for that track.
PAGE 998
Manufacturer Organizes plug-ins by their manufacturer (such as Bomb Factory, Digidesign, and Trillium Lane Labs), with individual plug-ins listed in the manufacturer submenus. Plug-Ins that do not have a Manufacturer defined will appear in the “Other” manufacturer folder.
PAGE 999
3 Click the Organize Plug-In Menus By pop-up Plug-In Favorites menu, and select one of the view options. 4 Click OK. The Organize Plug-In Menus By setting is saved with Pro Tools preferences (it is not saved with the Pro Tools session file). To find a plug-in faster, a plug-in can be designated as a favorite. Favorite plug-ins are shown at the top of the plug-in menu. When a plug-in becomes a favorite, it is still shown in its plug-in category and its name appears in bold.
PAGE 1000
Moving and Duplicating Plug-In and Hardware Inserts You can move or duplicate an insert by dragging it to a different position on the same track or a different track. Inserts that are moved or duplicated retain their original settings and automation. The Plug-In Window The Plug-In window appears whenever you click a plug-in’s Insert button on a track. This floating window lets you edit the adjust the controls of any real-time plug-in insert in use on a track.
PAGE 1001
Track Controls in the Plug-In Window Track selector Insert Position selector Plug-In selector Track controls in the plug-in window MIDI Node Display Shows MIDI node information for MIDI-enabled plug-ins. MIDI nodes are virtual connections from Pro Tools to software instruments and other MIDI-enabled plug-ins. MIDI nodes are useful for routing multiple MIDI tracks to different channels of a single virtual MIDI device. MIDI node numbers are also displayed in a track’s MIDI Output selector.
PAGE 1002
Next (+) and Previous (–) Setting Buttons Let you select the next or previous preset from the Librarian menu. You will lose the current settings if they are not saved before you use the Next and Previous Setting buttons. Always save your plug-in settings as a preset using the Plug-In Settings menu. Plug-In Settings Select Button Accesses the PlugIn Settings dialog, which lists the presets for the selected plug-in. From this list, you can audition and select plug-in presets.
PAGE 1003
Additional Plug-In Controls in the Plug-In Window Plug-In Bypass button Multi-Mono Controls in the Plug-In Window Link Enable buttons Clip indicator Target button Master Link button Channel Selector Plug-In window (multi-mono 1-Band EQ shown) Convert Plug-In selector Plug-In Map controls in the plug-in window Effect Bypass Button Disables the currently displayed plug-in. This lets you compare the track with and without the effect.
PAGE 1004
Opening Plug-In Windows Using Plug-In Window Controls To open a plug-in window: Click the plug-in button in Inserts view in the Mix or Edit window. By default, each plug-in you open will appear in the same location as a currently open plug-in, replacing it in the same window location. Opening Multiple Plug-In Windows Pro Tools normally displays a single plug-in window from which you can adjust the controls of any session plug-in. You can also open additional Plug-In windows for specific plug-ins.
PAGE 1005
Editing Plug-In Controls You can adjust plug-in controls by dragging the control’s slider or knob, or by typing a value into the control’s text box. For instructions on editing specific plug-ins, see the plug-in’s documentation. Editing Plug-In Parameters Using a Computer Keyboard You can use your computer keyboard to edit plug-in controls. If multiple Plug-In windows are open, Tab and keyboard entry remain focused on the plug-in that is the target window.
PAGE 1006
3 Do one of the following to confirm the value: • Press Enter on the numeric keyboard to input the value and remain in keyboard editing mode. – or – • Press Enter on the alpha keyboard (Windows) or Return (Mac) to enter the value and leave keyboard editing mode. To clear all clip indicators in the session, including plug-in clipping: Press Alt+C (Windows) or Option+C (Mac).
PAGE 1007
2 Click the External Key to activate external Plug-In Settings Menu side-chain processing. 3 Press the Spacebar to begin playback. The plug-in uses the input or bus that you chose as a key input to trigger its effect. Use the Plug-In Settings menu commands to save, copy, paste, and manage plug-in settings as presets (plug-in settings files).
PAGE 1008
Set As User Default Defines the current preset as the User Default for the selected plug-in. Choosing a Destination for Settings Settings Preferences Before you save plug-in settings, select their destination folder. The Settings Preferences submenu provides commands for configuring preferences for saving and importing presets.
PAGE 1009
Managing Presets Use the Plug-In Settings menu to manage plugin presets. Unlinked multi-mono plug-ins have specific rules for settings. See “Linking and Unlinking Controls on Multi-Mono Plug-Ins” on page 997. To paste plug-in settings: 1 Open the destination plug-in. 2 Choose Paste Settings from the Plug-In Set- tings menu. Press Control+Shift+V (Windows) or Command+Shift+V (Mac) to paste plug-in settings.
PAGE 1010
Editing Settings on Unlinked MultiMono Plug-Ins When a multi-mono plug-in is unlinked, importing, copying, pasting, or bypassing settings affects only the currently selected channel. Increment Patch Every X Sec This option lets you audition plug-in presets in series by automatically scrolling through them for a specified number of seconds. To change plug-in presets using the Plug-In Settings dialog: 1 Click the Settings Select button.
PAGE 1011
5 When you are finished auditioning presets, do one of the following: • Click Done to stop incrementing patches, and to close the Plug-In Settings dialog. 4 Click Search. 5 To sort your search by Plug-In Name or Man- ufacturer, click the corresponding column title. – or – • Deselect the Increment Patch option to stop incrementing patches and keep the Plug-In Settings dialog open. Then select the preset you want and click Done.
PAGE 1012
To insert a plug-in by drag and drop: Drag a plug-in settings file from a DigiBase browser to an Insert in the Mix (or Edit) window. Plug-In Mapping Pro Tools lets you customize the arrangement of plug-in parameter controls on supported control surfaces. You can save these customized plug-in maps as presets and export them for use across different sessions and systems.
PAGE 1013
Control Surface Mapping When you create a custom plug-in map, its parameters are arranged in pages that correspond to the controls on the control surface. The size of a page depends on the type of control surface. Each custom plug-in map allows up to 200 pages of mapped parameters.
PAGE 1014
Plug-In Map Controls Creating Plug-In Maps When a supported control surface is declared in Pro Tools, Plug-In Map controls appear in the plug-in window. This topic covers creating plug-in maps on the following control surfaces: • C|24 • Control|24 Map Options menu • 003 • Digi 002 Map Presets menu • Command|8 Learn button For details on plug-in mapping for D-Control and D-Command, see the D-Control Guide and D-Command Guide.
PAGE 1015
Plug-Ins are automatically taken out of Learn mode when moved to a different insert position, made inactive, or converted between TDM and RTAS formats. Creating and Editing Plug-In Maps To create a custom map of plug-in parameters: 1 Open the plug-in whose mapping you want to customize. 2 Put the plug-in into Learn mode. The plug-in is focused on the control surface, but with a blank page of controls, ready for mapping. 3 In the plug-in window, click the plug-in pa- rameter you want to map.
PAGE 1016
Saving Plug-In Maps You can save plug-in maps as presets for reuse on the same Pro Tools system. Plug-In maps are saved as global preferences on a Pro Tools system, so they are available to all sessions created on the system. When you create a map for a plug-in, that map becomes available to all other plug-ins of the same type and channel format. If you want to map the same plug-in in different channel formats (such as mono, stereo and 5.
PAGE 1017
Setting a Custom Plug-In Map as the Default Map You can set a custom plug-in map as the default map for a plug-in, instead of the Factory Default map. When you set a custom plug-in map as the default, it applies across the entire session. All instances of that plug-in that were set to the Factory Default map, or to another custom default map, change to the new default.
PAGE 1018
Exporting and Importing Plug-In Maps Plug-In maps can be exported as .pim files for use on other Pro Tools systems. When exporting plug-in maps, you can choose to save individual map files for each plug-in, or a single map file containing all the plug-in maps for the system. On D-Control and D-Command systems, when you export all plug-in maps, you are also exporting Custom Fader Plug-In mapping to the same file. For more information, see the D-Control Guide or D-Command Guide.
PAGE 1019
Linking and Unlinking Controls on Multi-Mono Plug-Ins When a multi-mono plug-in is used on a stereo track or greater-than-stereo multichannel track (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only), the controls are linked by default. Adjusting the Gain control on one channel, for example, will adjust it for all channels. You can unlink multi-mono plug-in controls on specific channels of a track and edit them independently. You can also selectively link the controls of specific channels.
PAGE 1020
Assigning Hardware Inserts Connecting and Integrating External Devices To assign an external hardware insert to a track: Select an insert from the track Insert selector. Pro Tools can create dedicated connections to external analog or digital devices. The number and type of connections depends on what kind of system you have.
PAGE 1021
Connecting Effects Units Digitally If you want to use the digital inputs and outputs on your Pro Tools system as effects sends and returns to a digital effects device, Pro Tools should be the clock master in most cases. Set your digital effects device to accept an external digital clock so that it synchronizes to Pro Tools.
PAGE 1022
Pro Tools Systems with 003, 003 Rack+, 003 Rack, Digi 002, or Digi 002 Rack Pro Tools Systems with Mbox Pro, Mbox 2 Pro, Mbox, or Mbox 2 Pro Tools can receive external clock from the Optical input or S/PDIF input. Pro Tools can receive external clock from the S/PDIF input on these interfaces.
PAGE 1023
Chapter 45: Automation Pro Tools features dynamic automation of mixing controls on each of the track types. You can write automation moves and view them in real time during playback of your session. You can also edit automation data with the same techniques you use to edit audio and MIDI data.
PAGE 1024
Automation Playlists Each Pro Tools track contains a single automation playlist for each automatable parameter.
PAGE 1025
Automation Playlists with Audio and MIDI Regions Pro Tools handles audio regions and their automation playlists differently from MIDI regions and their automation playlists. Each Trim automation playlist shows the position of the Trim fader with yellow breakpoint automation that can be edited. For more information on Trim playlists, see “Trim Mode” on page 1006 and “Viewing Automation” on page 1010. Audio Tracks On audio tracks, automation data resides on a separate playlist from audio data and regions.
PAGE 1026
Duplicating Tracks for Playlist Editing The Duplicate Track command provides a convenient way to make a working copy of a track to experiment with routing, plug-ins, and automation. This protects the original track and its automation data from being edited or overwritten. For more information on duplicating tracks command, see “Duplicating Tracks” on page 214. Read Mode Read mode plays any automation that was previously written for a track.
PAGE 1027
In Touch mode, certain control surfaces start writing automation as soon as you touch them. These include touch-sensitive fader controllers, such as D-Control, D-Command, ProControl, C|24, 003, Digi 002, or Command|8. With other control surfaces in Touch mode, writing of automation does not begin until the fader hits the pass-through point, or the previously automated position.
PAGE 1028
AutoJoin Indicator Touch/Latch Mode After a Latch automation pass with AutoJoin enabled, the AutoJoin indicator appears in the Pro Tools Edit window. (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) Touch/Latch Automation mode places a track’s Volume control in Touch mode and all other automatable controls in Latch mode. In Touch/Latch mode, the Volume control follows Touch behavior, writing automation when touched and returning to previously written levels when released.
PAGE 1029
When writing automation in Trim mode, fader moves write relative rather than absolute values. The existing automation data is changed by the amount of increase or decrease (or the delta value) indicated by the faders. When Trim mode is enabled, non-trimmable controls behave in the same manner as in the standard Automation modes, with the exception of Write/Trim mode, where non-trimmable controls operate as in Touch mode.
PAGE 1030
Latch Trim The “After Write Pass, Switch To” preference affects Write Trim mode. After an automation pass in Write/Trim mode, tracks automatically switch to the Trim mode version of the setting specified by this preference. In Latch Trim mode, Volume and Send level Trim faders are disengaged from the main automation playlist and follow any existing Trim automation. When a Trim fader is touched, writing of Trim automation begins.
PAGE 1031
Send Levels and Trim Mode Thinning (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) Thinning automatically reduces the overall number of breakpoints in an automation playlist (including Trim playlists) in order to improve system performance. The amount of thinning applied is determined by the Degree of Thinning setting in the Automation Preferences page. When using high amounts of thinning, the resulting automation may differ noticeably from the original automation moves.
PAGE 1032
Automation Follows Edit Option When disabled, automation events are not affected by edits to audio or MIDI notes. When enabled, automation events are affected by edits to audio or MIDI notes. To disable Automation Follows Edit: Choose Options > Automation Follows Edit. Automation Safe Outputs, sends, and plug-ins can be placed in Automation Safe mode.
PAGE 1033
Automation and Controller lanes can be shown or hidden. You can also add and remove lanes. These lanes always remain under the track, but you can resize and reorder lanes independently of one another. To show or hide Automation lanes under the main track view: Click the Show/Hide Lanes button. To add a lane: Displaying Trim automation playlists Click the Add Lane button. To remove lanes: Click the Remove Lane button.
PAGE 1034
To replace all Automation and Controller lanes under the track with a single lane of the specified automation or controller type: To reorder lanes: To reorder lanes on-screen, drag the lane control section to new positions in the Edit window. 1 Right-click the Show/Hide Lanes button. 2 Select the Automation or Controller type you want.
PAGE 1035
The composite playlist is shown in both the main automation playlist and the Trim automation playlist. To display the composite playlist: Writing Automation You can write automation for all automatable controls by moving those controls during playback. Select View > Automation > Composite Playlist. To write automation on tracks: Volume Trim data 1 Choose Window > Automation. 2 Make sure the automation type is write-en- Composite playlist abled.
PAGE 1036
4 Start playback to begin writing automation. Storing an Initial Control Position 5 Move the controls you want to automate When you create a new audio, Auxiliary Input, VCA Master, MIDI, or Instrument track, it is automatically placed in Read mode. Even though the track is in Read mode, you can set the initial position of any automatable control, and it is saved with your session. (such as a track volume fader). 6 When you have finished, stop playback.
PAGE 1037
To automate a switched control (such as the Mute button): 1 Perform another automation pass on the track. 2 When you reach the location of the mute state you want to remove, press and hold down the switched control (such as the Mute button). Setting Switched Controls for Momentary Behavior In some cases, such as when overwriting or extending Mute automation, you may want to momentarily write automation for a control by holding it down, and not have the control latch.
PAGE 1038
4 To display send controls, do one of the follow- ing: To copy a track’s settings or automation to one of its sends: • Click the send to open the Output window for the send that you want to automate. 1 Select the tracks you want to edit by clicking – or – 2 Choose Edit > Automation > Copy to Send. on the track names to highlight them. • Select View > Sends A–E (or Sends F–J) and select one of the individual views (such as Send A). 5 Start playback to begin writing automation.
PAGE 1039
Automating Plug-Ins You can automate changes to virtually all plugin controls. Automating a plug-in is slightly different from other automation procedures, because you must enable individual plug-in controls for automation. To enable plug-in controls for automation: 1 Open the Plug-In window for the plug-in you want to automate. 2 Do one of the following: • Click the Automation Enable button in the Plug-In window. Plug-In automation dialog 4 Click OK to close the Plug-In Automation dialog.
PAGE 1040
Enabling Automation for Individual Plug-In Parameters Automatically Enabling Plug-Ins for Automation You can enable individual plug-in controls directly from the Plug-In window. You can set Pro Tools to automatically enable all controls of a plug-in for automation when you first add the plug-in to your session. To enable a plug-in parameter from the plug-in window: 1 Make sure the plug-in window is open for the To automatically enable all plug-in controls for automation: plug-in you want to automate.
PAGE 1041
Record Safing Plug-In Automation AutoMatching All Controls You can protect plug-in automation from being overwritten by using Automation Safe mode. You can AutoMatch all currently writing controls to their existing automation levels. To enable plug-in safe mode: To AutoMatch all currently writing controls: 1 Open a plug-in. 1 Choose Window > Automation. 2 Click the Safe button so that it is highlighted. 2 Make sure the automation types you want to AutoMatch are write-enabled. 3 Start playback.
PAGE 1042
AutoMatching Individual Automation Types You can invoke AutoMatch on individual automation types across a session. To AutoMatch all controls of one automation type: In the Automation window, Control-click (Windows) or Command-click (Mac) the button for the automation type (Volume, Pan, Mute, Plug-In, Send level, Send pan, or Send mute).
PAGE 1043
To prime controls for writing automation in Latch mode while the transport is stopped: 1 Choose Setup > Preferences and click Mixing. 2 Under Automation, select Allow Latch Prime in Stop. 3 Click OK to close the Preferences window. 8 Stop playback to finish the automation pass. All tracks are taken out of their Latch Prime state. You can use the Write to Punch command at the end of your automation pass to write the current value back to the start of the pass.
PAGE 1044
To take all tracks out of Latch Prime, do one of the following: Alt-Control-click (Windows) or Option-Command-click (Mac) the Automation Mode selector on a track. – or – Click the AutoMatch button in the Automation window. Automation type buttons in the Automation window AutoMatch button in the Automation window To take all selected tracks out of Latch Prime, do one of the following: Alt-Control-Shift-click (Windows) or OptionCommand-Shift-click (Mac) the Automation Mode selector on a track.
PAGE 1045
4 In the Automation window, click the Capture • Send level trim button and then click the Punch Capture button. The AutoJoin marker (a vertical red line) appears on-screen at the punch point. • Send pan • Send mute Automation can be suspended or enabled during playback (without having to stop the Transport). Suspending Automation on All Tracks Capture button in the Automation window To suspend automation on all tracks: 1 Choose Window > Automation.
PAGE 1046
To suspend Trim automation on all tracks (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only): To suspend Trim automation for individual controls on a track (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only): In the Automation window, Command-click (Mac) or Control-click (Windows) the Suspend button. 1 In the Edit window, set the Track View selector to show the automation playlist for the Trim control you want to suspend (Volume Trim or Send level Trim).
PAGE 1047
Automation Window Buttons When an automation type is writing automation on any track in the session, the corresponding button in the Automation window displays bold red text. When an automation type is enabled but is not writing anywhere in the session, the corresponding button in the Automation window displays normal red text. Enabled Deleting Automation Automation data takes the form of a line graph with editable breakpoints.
PAGE 1048
All automation data within the selection is removed for all automation playlists on that track, regardless of whether automation is write-enabled for those controls. Pro Tools provides two different ways to thin automation data: automatically with the Smooth and Thin Data After Pass option and manually with the Thin Automation commands.
PAGE 1049
To manually thin automation: 1 In the Edit window, click the Track View selec- tor to display an automation type you want to thin, or reveal the corresponding Automation lane. 2 With the Selector tool, highlight the automa- tion data you want to thin. To thin automation for the entire track, click in the track with the Selector tool and choose Edit > Select All. 3 Do one of the following: • To thin only the currently displayed type of automation, choose Edit > Automation > Thin.
PAGE 1050
Resolution of MIDI Controller Data When using the Pencil tool to draw MIDI automation, the data is drawn as a series of discrete steps. You can control the resolution (or density) of these steps to help manage the amount of MIDI data sent for a given MIDI controller move. To set the resolution for the Pencil tool: 1 Choose Setup > Preferences and click MIDI. 2 Enter a value for Pencil Tool Resolution When Drawing Controller Data. The value can range from 1 to 100 milliseconds.
PAGE 1051
Dragging an automation breakpoint to the left or right adjusts the timing of the automation event. To view the breakpoint automation type on any track, either select the corresponding Track View or reveal the corresponding Automation or Controller lane under the track. Using the Trimmer Tools The Trimmer tools let you adjust all selected breakpoints up or down by dragging anywhere within that selection.
PAGE 1052
Editing Pan Automation Editing Stepped Control Automation Drag a breakpoint down to pan right, and up to pan left. Drag a breakpoint to the left or right to adjust the timing of the panning moves. Automation for certain controls (such as MIDI controller values or plug-in settings) appears as a stepped pattern on the breakpoint line. Drag a breakpoint up or down to a different step to change to a new control value. Drag a breakpoint to the left or right to adjust the timing of the stepped control change.
PAGE 1053
To create a new breakpoint: Click with the Pencil tool or any Grabber tool on the line graph. To edit a single breakpoint: Click an existing point on the line graph with any Grabber tool and drag it to a new position. Constrain New Breakpoints to Next or Previous Automation Value New automation breakpoints can be constrained and written to the same value as the next or previous breakpoint.
PAGE 1054
Editing Automation on Stereo and Multichannel Tracks Editing Automation on Grouped Tracks Stereo and multichannel tracks display a single automation playlist per track. Only one playlist for volume and mute is available for the stereo or multichannel track. When you edit automation on an audio track that is a member of an active Edit Group, the same type of automation is also edited on all tracks that are part of that group.
PAGE 1055
Cutting, Copying, and Pasting Automation Cutting automation data is different from deleting it, and yields different results (although both change the existing automation data). Copying automation leaves the original automation data intact. You delete automation data by selecting a range of breakpoints and pressing Backspace (Windows) or Delete (Mac). See “Deleting Automation” on page 1025 for details.
PAGE 1056
Editing and Track Views Audio, MIDI, and Instrument tracks each have a Track View that acts as the Master View for purposes of editing. When the Master View is displayed, any edits performed on the track apply to all data in the track.
PAGE 1057
Cut, Copy, Clear, and Paste Special Commands Four “special” commands—Cut Special, Copy Special, Paste Special, and Clear Special—simplify the tasks involved with moving or clearing different types of automation data and MIDI controller data between tracks, sends, and plugins. These commands let you • Edit automation and MIDI controller data only (without associated audio or MIDI notes).
PAGE 1058
To Current Automation Type Pastes the automation data or MIDI controller data from the clipboard to the selection as current automation type or MIDI controller. This lets you copy automation from any type to any other type. For example, you can copy a Left Pan automation to Plug-In automation. Or, you can copy MIDI volume data and paste it to MIDI pan.
PAGE 1059
To apply a Glide Automation to the current automation parameter type: 1 In the Automation window, make sure the au- tomation type is write-enabled. 2 Click the Track View selector to choose the au- tomation type you want to automate. 3 Drag with the Selector tool in the track to se- lect the area you want to write the glide to. 4 Change the automation parameter to the value you want at the end of the selection. For example, to glide automation volume to –Infinity, move the Volume fader to –Infinity.
PAGE 1060
To enable Trim mode: In the Mix or Edit window, click the Automation Mode selector of the track where you want to trim automation, and select Trim. 3 Click the Automation Mode selector and se- lect Trim. 4 Start playback, and adjust the Volume or Send levels. 5 Stop playback to finish the Trim pass.
PAGE 1061
To set the method by which Trim Automation is coalesced: 1 Choose Setup > Preferences and click Mixing. The Trim automation is applied to the main automation playlist, Trim automation playlists are cleared, and Trim faders are returned to zero. 2 Under Coalesce Trim Automation, select one of the following: • After Every Pass • On Exiting Trim Mode • Manually To coalesce Trim automation on a track when exiting Trim mode: 1 Choose Setup > Preferences and click Mixing.
PAGE 1062
Optionally, Write Automation to Start, All, and End can be configured to always be applied automatically. See “Writing Automation to the Start, End or All of a Track or Selection on Stop” on page 1041. For MIDI automation, the Write To commands only apply to MIDI Volume, MIDI Pan, and MIDI Mute. MIDI parameters cannot use the Write To commands.
PAGE 1063
6 When you reach a point in the track or selec- tion that contains the trim setting (delta value) you want to apply, click the Write Automation to Start, All, or End button in the Automation window. To configure Write on Stop modes to disable after an automation pass: 1 Choose Window > Automation. 2 Click to enable one of the Write On Stop modes (Start, All, End). 7 Stop playback.
PAGE 1064
Like the standard Write Automation to Start, End, and All commands, the Write Automation to Next Breakpoint and Write Automation to Punch Point commands do not operate when the Pro Tools transport is stopped. They only affect automation for those parameters that are currently write-enabled and currently writing automation data. 6 When you reach a point in the track where you want to apply the current settings, click the Write Automation to Next Breakpoint button.
PAGE 1065
6 When you reach a point in the track where 5 Start playback. you want to apply the current settings, click the Write Automation to Punch Point button. 6 When you reach a point in the track where you want to apply the current trim values, click the Write Automation to Next Breakpoint button in the Automation window. To write current trim values to the punch point: 1 Choose Window > Automation.
PAGE 1066
To configure Write Automation to Next Breakpoint on Stop: 1 Choose Window > Automation. 2 Click the Write Automation to Next Break- point on Stop button or the Write Automation to Punch Point button. When this option is enabled, automation writing will be performed automatically forward to the next breakpoint after a valid automation pass has been performed. To configure Write Automation to Punch Point on Stop: 1 Choose Window > Automation. 2 Click the Write Automation to Punch Point on Stop button.
PAGE 1067
Applying “Write To” Commands to Selected Tracks The Write Automation To commands normally apply to all tracks currently writing automation. It is possible to apply these commands to selected tracks only. To apply any of the “Write Automation To” commands to currently selected tracks: 1 Select the tracks where you want to apply the Write To commands.
PAGE 1068
A mute event can be extended when the automation pass begins before an on or off event and stops before the end of the second event. To overwrite a mute state on one or more tracks: 1 Choose Window > Automation. 2 Make sure Mute is write-enabled.
PAGE 1069
7 Press Control (Windows) or Command (Mac) and the track Mute button before the start of the mute event you want to overwrite. To overwrite mute states on multiple tracks, press Alt+Control (Windows) or Option+Command (Mac) and the Mute button on one of the tracks to be automated. 8 After the end of the second mute event, re- lease the key and the Mute button. With Touch mode, you have to hold the Mute button for the duration of the write.
PAGE 1070
To a Cursor Location Automation data is written at the insertion point. After the insertion point, the automation ramps to the next breakpoint value, or if no breakpoints exist, remains at the newly written value for the remainder of the session. Stopping automation before the end of a mute event 9 When you have finished the automation pass, click Stop. For MIDI automation, the Write To, Trim To, and Glide To commands only apply to MIDI Volume, MIDI Pan, and MIDI Mute.
PAGE 1071
5 Adjust the controls you want to automate. You can also change a plug-in preset. 6 Choose Edit > Automation and do one of the following: • To write the current value to only the currently displayed automation parameter, choose Write to Current. – or – • To write the current settings for all automation parameters enabled in the Automation window, choose Write to All Enabled.
PAGE 1072
Capturing Automation and Applying it Elsewhere The Write Automation commands can also be used to capture automation states at specific locations in a track and apply them to other locations in the track. To capture and apply automation: 1 In the Automation window, make sure that the automation parameters you want to edit are write-enabled. Deselect any parameters whose automation you want to preserve.
PAGE 1073
4 Choose Edit > Automation and do one of the following: • To write the current delta value to only the currently displayed automation parameter, choose Trim to Current. – or – • To write the current delta value for all automation parameters enabled in the Automation window, choose Trim to All Enabled.
PAGE 1074
The Automation Mode indicator on the track lights green to indicate that at least one of its controls is isolated, and the Punch Preview button in the Automation window lights to indicate a preview value is available to punch. 5 Start playback and adjust the isolated control to audition the changes. Taking Controls Out of Isolated State You can take controls out of their isolated state without leaving Preview mode.
PAGE 1075
Capturing Automation (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) You can capture current automation values at one location in a session and quickly apply them in another location with the Capture and Punch Capture commands. The Capture command temporarily stores the value of all controls currently writing automation, and the Punch Capture commands writes those stored values to all enabled automation types.
PAGE 1076
To punch captured automation values: 1 Move to a location where you want to apply the captured automation states. You can do this during playback or while the transport is stopped. 2 Click the Punch Capture button in the Auto- mation window to apply the captured automation states. The captured states are applied to all automation types that are currently enabled in the Automation window.
PAGE 1077
Punch Capture and “Write To” Commands After issuing a Punch Capture command, the affected controls are writing automation (in Latch mode), so any of the Write Automation To commands can be used to extend the punched value in the same manner as other automation. The affected controls are isolated and updated to the captured values. The Punch Preview button in the Automation window lights to indicate the preview value is available to punch.
PAGE 1078
VCA Master Track Automation (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) Displaying Automation on VCA Master Tracks The following controls on VCA Master tracks can be automated and have separate automation playlists: • Volume Excluding VCA Slave Tracks from VCA Master Automation When you are writing automation on a VCA Master track, the corresponding moves will appear on the composite automation playlist of each of its slave tracks.
PAGE 1079
Coalescing VCA Automation There are several ways to commit, or coalesce, the contribution of a selected VCA Master track’s Volume and Mute automation to the automation playlists of its slave tracks. Deleting the VCA Master You can temporarily use a VCA Master to write grouped automation, then coalesce the VCA automation to all of the slave tracks by deleting the VCA Master. The coalesced tracks will play back exactly as they did when they were in the VCA group.
PAGE 1080
To coalesce automation from a VCA Master to an individual slave track: 1 Do one of the following: • Choose Modify Groups from the Group List menu. • Click the Group ID indicator on the track and choose Modify. • Right-click the Group name in the Group List and choose Modify. Coalescing Automation Across an Edit Selection You can commit VCA automation across an Edit selection in a VCA Master track, without committing the automation on the entire length of the track.
PAGE 1081
Chapter 46: Mixdown Pro Tools lets you mix down by recording a mix to new audio tracks or by bouncing a mix to disk. Recording to Tracks This is the process of submixing and recording the submix to new audio tracks, as you would any other track input signals. This method requires available tracks, voices, and bus paths to accommodate the submix and the new tracks. While recording to tracks, you can manually adjust mixer or other controls.
PAGE 1082
Dithering • During normal recording and playback, bypass any dither plug-in on the main output. Dither can significantly improve audio quality when reducing the bit depth of digital audio. Bounce to Disk and Dither When to Use a Dither Plug-In You should use a dither plug-in in any situation where you are reducing bit depth, for example, when mixing down to a 16-bit file with the Bounce to Disk command, or when sending your final mix to an external digital device that records at 16-bit resolution.
PAGE 1083
5 In the dither plug-in window, choose an out- put Bit Resolution and Noise Shaping setting. 6 Do one of the following: • Play back the session to record (or “layback”) Pro Tools output to lower bit-rate media (such as a DAT). – or – • Choose File > Bounce To > Disk. In the Bounce to Disk dialog, select the appropriate bit depth (such as 16-bit for CD audio).
PAGE 1084
To record a submix to a track: 1 Apply any plug-ins or external processors you want to add to your audio tracks or Auxiliary Inputs before you record. 2 Set the main channel output of the tracks you want to include in the submix to a bus path. If you are using stereo or multichannel tracks, set the panning of each track. 3 Make sure Loop Record is not enabled. 4 Choose Track > New and create one or more mono, stereo, or multichannel audio tracks.
PAGE 1085
Time Stamp Information Bounced material is automatically time stamped so that you can drag it into a track and place it at the same location as the original material. For more information about time stamping, see “Time Stamping” on page 1137. Bounce Options When you use the Bounce to Disk command, you can configure several file options. Bounced Files Are Delay-Compensated Pro Tools compensates for any bus and plug-in delays due to a bounce.
PAGE 1086
Enforce Avid Compatibility QuickTime Enable this control in the Bounce to Disk dialog to create frame-accurate edits, wraps the files as OMFI (unless File Type is MXF), and limits the sample rate options to 44.1 kHz or 48 kHz. Dither without noise shaping will be applied to files being exported from 24-bit to 16-bit. QuickTime is Apple’s multimedia audio file format. Pro Tools does not directly support this type of file in its sessions.
PAGE 1087
MPEG-1 Layer 3 (MP3) Encoder Settings The MPEG-1 Layer 3 compression format (MP3) is used for streaming and downloading audio over the Internet, and for playback on portable devices. Encoder Speed Determines the audio quality of the bounced file. There are two options: Highest Quality and Fastest Encoding Time. MP3 Export Options When you select this format, the Resolution popup menu in the Pro Tools Output Options dialog is unavailable. The resolution is set by the encoder.
PAGE 1088
Title/Artist/Album/Comment Type the title, artist, and other information for the MP3 file. This information is displayed by many MP3 players. Mono (Summed) Creates a single disk file that is a summed mono mix of the current sources being monitored. Genre Choose a genre for the file. This information is displayed by many MP3 players, and can appear in searchable catalogs and databases.
PAGE 1089
Resolution Sample Rate This option lets you select between three different bit resolutions for the bounce conversion. This option lets you save to any of several sample rates. Choices are dependent on your Pro Tools system and Pro Tools audio interfaces. Bounce to Disk does not apply dither when converting during or after a bounce to a lower resolution (including when bouncing to 16-bit).
PAGE 1090
48000 This is a standard sample rate for Professional and DVD video, as well as some broadcast and recording label archiving, and is supported by DA-88/98, DAT, and ADAT decks. loudness in the signal, and improved intelligibility. If you are converting a more complex 16bit audio file to 8-bit resolution, test this option before converting all of your material. 44100 This is the standard sample rate for compact discs (CD), and is supported by DA-88/98, DAT, and ADAT decks.
PAGE 1091
Recording a Submix (with Bounce to Disk) You can create a submix with the Bounce to Disk command by muting tracks or bypassing inserts that are not part of the submix, and selecting the part of the session you want to bounce; or, you could solo only the audio you want to bounce. You can also create a submix by recording to new tracks. For details, see “Sample Rate Conversion and Bit Depth Reduction” on page 1061.
PAGE 1092
Final Mixdown In final mixdown, you create a mix that includes all your edits, automation, and effects processing. To bounce a final mix to disk: 1 Adjust track output levels, and finalize any mix automation for each track in the session. 2 Adjust any real-time plug-in and effects set- tings and their automation for each track in the session. 3 Make sure that all of the tracks you want to in- clude in the bounce are audible (not muted or inactive).
PAGE 1093
Mastering In the final mastering process, you might record directly to disk, DAT, DVD, CD, stereo mastering recorder, or a multitrack recorder (for surround mixes). Once you have created a master of your session, you can transfer it to a portable medium for duplication. You can transfer the master file to CD or DAT to be used as a master for pressing compact discs.
PAGE 1094
To configure Pro Tools for direct digital stereo mastering: 1 Connect your digital recorder to your system’s digital outputs. If your system has multiple digital outputs, use channel 1 and 2 of the audio interface. 2 In Pro Tools, set the appropriate digital format and output from the Hardware Setup dialog or I/O Setup dialog. (See “Configuring Pro Tools Hardware Settings” on page 69.) 3 Set the clock on the master device to slave to Pro Tools digital clock, or to provide master clock to Pro Tools.
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Part X: Surround 1073
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1074
PAGE 1097
Chapter 47: Pro Tools Setup for Surround Pro Tools HD and Pro Tools with Complete Production Toolkit 2 let you work with surround formats up to 7.1. Pro Tools Audio Connections for 5.1 Mixing Surround Mixing in Pro Tools While all 5.1 mixing formats provide the same speaker arrangement, there are three primary standards in use for the track layout of the individual channels that comprise the 5.1-format multichannel mix.
PAGE 1098
The following table shows the X-MON mono track routing for a 7.1 SDDS mix. A 5.1 mix should use the same routing, excluding outputs 2 and 4 (Lc and Rc). Default Track Layout for 7.1 SDDS Format Formats ICON X-MON 7.1 and 7.0 Formats 7.1 and 7.0 Format HD-DVD and Blu-Ray systems use the following track layout for 7.1 and 7.0 surround formats: Track Layout 1 2 3 4 5 6 7 8 L Lc C Rc R Ls Rs LFE To connect your audio interfaces for 5.1 format mixing and monitoring: 1 Determine the 5.
PAGE 1099
Configuring Pro Tools for Multichannel Sessions Configuring Pro Tools and sessions for multichannel mixing can be done in any (or all) of the following ways: New Sessions You can create a new session and choose a surround mix I/O Settings file as the default I/O Setup. See “New Sessions and I/O Settings” on page 1077.
PAGE 1100
4 From the I/O Settings menu, select one of the following options: Surround Mix Settings Files • C24 Mix The surround mix I/O Settings provide output and bus paths for six specific track layout standards in the new session. (For information on inputs and insert paths, see “Default Input and Insert Paths with 5.1 Settings” on page 1079.) • Control 24 Mix Settings Files and Track Layouts • 5.1 Film Mix • SMPTE/ITU • DTS/ProControl Monitoring • ICON X-MON Mix 5 Click OK.
PAGE 1101
Default 5.1 Bus Paths To import a multichannel I/O Setup settings file: • One 5.1 main output bus path, with subpaths for 5.0 (no LFE), left/right (stereo), LCR, and center (mono). 1 Choose Setup > I/O. – and – 3 Click Import Settings. • One stereo main output bus path with two mono sub-paths. 4 Select the settings file (.pio) to import and 2 Click the Output tab. click Open.
PAGE 1102
Custom Multichannel Paths Example LCRS Setup The I/O Setup dialog lets you create and customize signal paths for any supported multichannel mixing format. The following example shows one possible way to configure the I/O Setup dialog to mix in 4-channel LCRS format, with an HD I/O. Multichannel paths and sub-paths are assigned to input and output channels in the Channel Grid. When you select a preset 5.
PAGE 1103
9 If not all of the sub-paths are present, do the following: • Click New Sub-Path. • Name the new sub-path LCR and select LCR as the Path format. Click in channel 1 in the LCR row to assign the bus path. • Select the LCRS path, click New Sub-Path, and create a stereo sub-path for front Left and front Right. • Select the LCRS path, click New Sub-Path, and create a mono sub-path for the Center channel. • Select the LCRS path, click New Sub-Path, and create a mono sub-path for the Surround channel.
PAGE 1104
Default Monitor Format Sets the default monitor format (Stereo, 5.1, or 7.1) for new Output paths and for when you click the Default button. 5.1 Path Order Selects the default track layout (or, path order) for new 5.1 format (six-channel) Output paths. Controller Meter Path Selects the path that will be shown in the control surface output meters. See “5.1 Tracks, Formats, Assignments, and Metering” on page 1081 for more information.
PAGE 1105
5.1 Track Layouts, Routing, and Metering 5.1 Format Tracks Track Meters Channel Assignments in I/O Setup Film (Pro Tools Standard, and C|24 Mix) L C R Ls Rs LFE L C R Ls Rs LFE SMPTE/ITU (Control|24 Mix) L R C LFE Ls Rs same L C R Ls Rs LFE (top to bottom) L C R Ls Rs LFE same L C R Ls Rs LFE (left to right) L R C LFE Ls Rs DTS (ProControl Monitoring) L R Ls Rs C LFE same L C R Ls Rs LFE same L C R Ls Rs LFE L R Ls Rs C LFE ICON X-MON (8-channel 7.
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1084 Pro Tools Reference Guide
PAGE 1107
Chapter 48: Multichannel Tracks and Signal Routing Surround sessions typically include a combination of mono, stereo, and multichannel audio, Auxiliary Input, Master Fader, and Instrument tracks, and inserts and busses. Multichannel surround mixing is supported with Pro Tools HD or Pro Tools with Complete Production Toolkit 2 only.
PAGE 1108
Multichannel audio tracks are not required to mix in multichannel formats. Mono, stereo, and all supported track formats can be mixed using Pro Tools track outputs and sends (see “Multichannel Signal Routing” on page 1088). Placing Audio in Multichannel Tracks You can drag audio files and regions from DigiBase browsers, the Region List, Windows Explorer, or Mac Finder, or from other tracks, to place them in multichannel audio tracks.
PAGE 1109
To have discrete control of gain on individual channels of a multichannel track: 1 Insert a multi-mono Trim plug-in on the mul- tichannel track. 2 Unlink the Trim plug-in by clicking the Link icon so that it is unlit. 3 Use the Channel selector to display the con- trols for a channel, and adjust the gain. See “Linking and Unlinking Controls on Multi-Mono Plug-Ins” on page 1089 for more information.
PAGE 1110
Multichannel Signal Routing To mix in a multichannel format, tracks are assigned to multichannel paths. Tracks can be mixed in surround using the following two methods: • By setting a track main output to a multichannel path. • By assigning a multichannel send to route audio to a multichannel path. Additional output assignments can be added by Start-clicking (Windows) or Control-clicking (Mac) the Selector tool and assigning another path.
PAGE 1111
Pro Tools bussing and submixing features are available for all channel formats, from mono/stereo through 8-channel. For examples of multichannel monitoring, effects processing, and bussing, see “Mixing with Paths and SubPaths” on page 1090. For mono and stereo mix examples, see Chapter 43, “Basic Mixing.” Multi-Mono Plug-Ins Are designed for use on stereo or greater-than-stereo multichannel tracks.
PAGE 1112
For example, to apply equal filter cutoffs to the Ls and Rs (surround) channels in a 5.1 mix, you could link enable just those channels in an unlinked, multi-mono EQ plug-in. Adjusting the controls in the plug-in window for either channel (Ls or Rs) adjusts the other, linked channel as well. Master Link button Link Enable buttons Channel selector Channel selector and Link controls Channel Selector Accesses a specific channel within a multichannel track for plug-in parameter editing.
PAGE 1113
Tracks routed to subpaths Tracks routed to main 5.1 surround path Auxiliary Input routed to main 5.1 surround path Effect bus routing Outputs to sub-paths Outputs to main 5.1 path for surround panning Using signal routing and sub-paths to mix in surround The following topics describe how to organize your session and signal routing to maximize the available resources. over should be assigned a 5.1 path to fly the sound from front-to-back.
PAGE 1114
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 element to the picture. Instead of assigning a sixchannel 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.
PAGE 1115
Example Bus Paths The following figure shows example bus paths. LFE Path A custom LFE sub-path (“Lf”) has been added to provide a discrete mono path for the LFE channel. Signal Routing Examples The following examples show how main and sub-paths can be used, using an example session consisting of a 5.1 main mix, with music and effects stems (or submixes). Submix Stem Examples I/O Setup, example bus paths The figure below shows a routing configuration for an effects submix.
PAGE 1116
FX stem The following figure shows a routing configuration for music tracks.
PAGE 1117
Most of the music tracks in this example are routed to the front left/right channels, using a stereo sub-path. A 5.1 Auxiliary Input controls the bus and stem output. Multiple Output Assignments Multiple output assignments make it possible to configure a number of multi-format mixes. For example, you can assign an additional stereo output to tracks and create a stereo mix at the same time as a 5.1 mix. For more information, see “Multiple Output Assignments” on page 934.
PAGE 1118
The following figure shows how a “traditional” LFE track can be routed to only the LFE channel. This example uses a custom-defined LFE subpath to the FX main bus path. Discrete LFE routing, with main output to mono LFE channel LFE faders can follow Mix and Edit Groups. For information, see “Selecting Group Attributes” on page 256. For instructions on how to create a subpath, see “Custom Multichannel Paths” on page 1080. LFE and Filtering Pro Tools applies no filtering to LFE signals.
PAGE 1119
Chapter 49: Surround Panning and Mixing Before you can pan a track in surround, it must be assigned to an appropriate multichannel output or bus path. See Chapter 47, “Pro Tools Setup for Surround” for more information on multichannel configurations and I/O Setup options. For multichannel signal routing, see Chapter 48, “Multichannel Tracks and Signal Routing.” Multichannel surround mixing is supported with Pro Tools HD or Pro Tools with Complete Production Toolkit 2 only.
PAGE 1120
Mix and Edit Window Panner Grids Pan Location Cursor Color while Automating In the Mix and Edit window, multichannel Panner Grids are displayed on tracks that have multichannel track or send output assignments. The Pan Location cursor is green when the track is in Automation Read mode, red in an Automation Touch, Latch, Touch/Latch, or Write modes, and yellow in Automation Off (or Automation Suspend) mode.
PAGE 1121
To open an Output window: Click the Output Window button (the small fader at the right edge of the Output selector for a track in the Mix or Edit window (I/O View). Standard Controls All Output windows provide standard Pro Tools controls for routing, path assignment and other track features. These controls are located at the top of all Output, Send, Insert, and Plug-In windows (see “Standard Selector Controls in Output Windows” on page 947).
PAGE 1122
Surround Panner Controls When assigned to tracks or paths with four or more channels, the Output window provides an X/Y Grid for surround panning. The speakers associated with the panner’s multichannel format are displayed in their relative positions outside the Panner Grid. These speakers are also used as Snap Pan to Speaker controls. This section identifies all the controls and features found in Pro Tools multichannel panners.
PAGE 1123
The X/Y Grid and Pan Location Cursor The X/Y Grid is where multichannel panning information is input and displayed. You can input pan information using X/Y mode, 3-Knob mode, or by entering numeric values in the Position data fields. You can also edit pan automation graphically in the Edit window. Panning Mode Button This button, located below the X/Y Grid, provides access to Surround panning modes (see “Panning Modes” on page 1103).
PAGE 1124
Divergence Controls Divergence determines the width of the panned signal with respect to neighboring speakers. (For more information, see the Pro Tools Sync & Surround Concepts Guide). There are three Divergence controls: Front, Rear, and F/R Divergence Provide separate, automatable divergence control over front speakers, rear speakers, and between front/rear, respectively. Divergence controls The LFE fader determines how much of the current track’s signal will be routed to the LFE channel.
PAGE 1125
Panning Modes The Panning Mode button provides access to four panning modes: X/Y mode, Divergence Editing, 3-Knob mode, and AutoGlide mode. Panning controls can be automated in all four modes. To enable a Panning Mode: Click on the Panning Mode button in the Surround Panner until the mode icon is displayed. X/Y Panning To pan in X/Y mode: 1 Click on the Panning Mode button until the X/Y mode icon is displayed.
PAGE 1126
To snap the Pan Location cursor to a location in the Grid: Control-Shift-click (Windows) or CommandShift-click (Mac) at the location in the X/Y Grid. For example, when panning front-left to rearright in 3-Knob mode, audio will be heard from just those two speakers (assuming full divergence is in effect). Grid Options and Shortcuts Fine-Adjust Mode Hold down the Control key (Windows) or Command key (Mac) for fine adjustment of all Panner controls.
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To pan in 3-Knob mode: To do an AutoGlide automation pass: 1 Adjust the Front and Rear Position knobs to 1 Click the Panning Mode button until the set the trajectory line. AutoGlide mode icon is displayed. 2 Rotate the Front/Rear Position knob to pan along the trajectory. The Pan Location cursor is constrained to the white trajectory line.
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The Pan Location cursor will begin to move towards the new destination in the time it takes to travel the AutoGlide Time. When the new destination point is reached, a new breakpoint will be written at the new location. Divergence In the Panner Grid, the current divergence values are displayed using a purple outline. 5 Repeat the previous step if you want to write additional panning moves. 6 Stop the transport when finished.
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To adjust divergence: To adjust Center Percentage: Adjust the Front, Rear, and Front/Rear Divergence controls as necessary. Divergence Editing Mode In Divergence Editing mode, you can adjust the divergence boundaries by dragging directly in the Divergence Grid. Adjust the Center Percentage knob as appropriate. As you reduce the Center Percentage value, the center speaker at the top of the Grid becomes less visible.
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As you reduce the Side Percentage value, the speakers at the sides of the Grid become less visible. At 0, the side speakers are completely invisible, reflecting the setting for fully phantom center. LFE Faders and Groups Track and send LFE faders can follow Mix and Edit Groups by being enabled in the Group Attributes page in either the Create Groups or Modify Groups dialog. LFE faders can be assigned to follow groups as a global attribute or on a group by group basis.
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Pan Playlists Multichannel panners have an automation playlist for each position and divergence control. Pan automation can be drawn, edited, cut, copied, and pasted from the Edit window. For more information, see Chapter 45, “Automation.” Surround Scope Plug-In The Surround Scope plug-in provides a 360° meter for metering multichannel paths during mixing. 5.1 Format Track Layouts All 5.
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1110 Pro Tools Reference Guide
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Part XI: Sync and Video 1111
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1112
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Chapter 50: Working with Synchronization Synchronization allows one system to output time code and the other device to chase (follow) that time code. Pro Tools is synchronized to other devices using SMPTE/EBU time code or MIDI Time Code. See the Sync & Surround Concepts Guide for an introduction to key synchronization, surround mixing and monitoring concepts.
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SMPTE Trigger while Locking to an Unresolved Source SMPTE Trigger can be used with an optional SYNC peripheral or equivalent qualified device to resolve Pro Tools recording and playback speed while slaving to LTC. This enables longterm, accurate synchronization by resolving to any variations in incoming time code. SYNC peripherals also support VITC and Bi-phase/Tach positional reference.
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Session Setup Window The Session Setup window lets you configure various time code-related settings on your system. The window also includes display-only areas for session sample rate, file format, bit depth, and pull up and pull down rates. The Session Setup window is organized into three sections. Session displays and settings are displayed at the top of the window.
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Session Displays and Settings Sample Rate This display indicates the sample rate for the current session. Bit Depth This display indicates the bit depth for the current session. Audio Format This display indicates the file format for files recorded in the session. Clock Source Use this menu to configure the system Clock Source. You can choose between a SYNC peripheral, an internal clock source from a peripheral, or an external clock source connected to a Pro Tools|HD audio interface.
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Time Code Rate The Time Code Rate setting lets you set the SMPTE time code rate for the current session. Feet+Frame Rate The Feet+Frame Rate setting lets you set the Feet+Frame rates for sessions. Supported rates include 23.976, 24, and 25 fps. SYNC Setup Set this rate to match the rate of the film projector, or the video if the film projector speed is taken into account. For example, doing a Telecine transfer from a 24 fps film projector to NTSC video would necessitate the projector running at 23.
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Ref Present, Locked, and Speed Cal Indicators The Ref Present, Locked, and Speed Cal indicators in the SYNC Setup section of the Session Setup window display synchronization status of the SYNC peripheral. The Locked and Speed Cal indicators reflect the state of the same LEDs on the front panel. • Yellow Flashing Fast: SYNC HD is locked but the clock reference is between 0.025% and 4% faster than the expected rate • Yellow Flashing Slow: SYNC HD is locked but the clock reference is between 0.
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External Time Code Offsets In the External Time Code Offsets section, Pro Tools lets you compensate for devices that are consistently offset by a fixed number of frames (such as some color–corrected video masters), or for material that starts at a different time than the session. Pro Tools provides four different types of External Time Code Offset settings.
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Pull Up/Down When Pro Tools is used in conjunction with a Synchronization peripheral, or a qualified thirdparty peripheral that supports pulled sample rates, this option lets you “pull up” or “pull down” the current sample rate. For general information, see the Pro Tools Sync & Surround Concepts Guide. For more information on applying pull factors in Pro Tools, see “Pull Up and Pull Down” on page 1123. Remember, pull up and pull down are applied differently in different workflows.
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Setting a SMPTE Session Start Time (Start Frame) The Session Setup window also allows you to set a SMPTE Start Frame for your session. Video work tapes are rarely striped beginning at a SMPTE frame address of 00:00:00:00. You can quickly enter a start time for your session based on an appropriate frame number from your project tape. The Pro Tools SMPTE-related functions (such as Spot mode) will then use this value as their reference for the session’s start point.
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Redefining a Feet+Frames Position Use the Current Feet+Frames command to redefine the Feet+Frames position at the current insertion point. The session start time is recalculated based on the new, relative Feet+Frames location. Typically, this command is used for integrating test tones, pre-roll, Academy leader, and similar pre-program material into Pro Tools sessions. Redefining Feet+Frames does not redefine the session start time.
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Displaying Time in SMPTE Frames In Pro Tools, you can set the Main Time Scale to Time Code (SMPTE) and this will be displayed in the Main Counter. Though Pro Tools will still synchronize to incoming SMPTE time code if the Time Scale is displayed in Bars|Beats, Minutes:Seconds, or Feet.Frames, it is usually more useful to use SMPTE time code as your reference. To set the Main Time Scale to SMPTE Time Code, do one of the following: Choose View > Rulers > Time Code.
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Configuring Pull Up and Pull Down To pull up or pull down audio or video: 1 Choose Setup > Session. Press Control+2 (Windows) or Command+2 (Mac) to open the Session Setup window. 2 From the Time Code Settings section of the Session Setup window, select a Pull Up/Down Rate. Session Setup window Audio Rate Pull Up/Down Controls the audio sample rate. See “Audio Sample Rate Pull Up and Down” on page 1125. Video Rate Pull Up/Down Controls the video rate. See “Video Frame Rate Pull Up and Down” on page 1126.
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Example of Auto Match Pull Factors Audio Sample Rate Pull Up and Down The Auto Match Pull Factors option links audio and video pull factors when changing session frame rate. The Audio Rate Pull Up/Down setting applies pull up or down factors to session audio record and playback. All pull rates are available, regardless of session frame rate.
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Audio Rates and Pull Up/Down Options The following table lists actual sample rates of each pull up and pull down option and combination (rounded to the nearest whole Hz): Sample Rates at Pull Up and Pull Down Settings Sample Rate Pull Up/Down 44100 48000 88200 96000 176400 192000 +4.1667% and +0.1% 45983 50050 91967 100100 n/a n/a +4.1667% 45938 50000 91875 100000 n/a n/a +4.1667% and –0.1% 45892 49950 91783 99900 n/a n/a +0.1% 44144 48048 88288 96096 176576 192192 –0.
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Rate to 25 fps to keep the Time Code ruler aligned. Similarly, if working with 24 fps video that is pulled down by 0.1%, switch the frame rate of the session to 29.97. When working with 25 fps Avid media and the video is set to pull down by 4%, set the session Frame Rate to 24 fps. Putting Pro Tools Online To trigger playback or recording from an external source, the Pro Tools Transport must be placed online. This tells Pro Tools to listen for incoming time code.
PAGE 1150
Recording Online The Operation Preferences page contains two options that affect how Pro Tools initiates recording when online. Record Online at Time Code (or ADAT) Lock Makes online recording begin as soon as Pro Tools receives and locks to time code or ADAT sync. In this case, you do not need to make an insertion or selection in a track to designate a start point. Record Online at Insertion/Selection Makes online recording begin wherever you have placed the insertion point in a track.
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6 Choose Setup > Session, and choose the ap- propriate frame rate for the Time Code Rate setting. 7 In the SYNC Setup section of the Session Setup window, choose a clock reference from the Clock Reference selector. Not all clock choices are available at all sample rates. See “External Clock Sources” on page 1116.) 8 From the Transport Window menu (or the Edit Window menu), select Synchronization. 9 Select one of the following: • Gen MTC to generate MIDI Time Code.
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Using MIDI Machine Control Pro Tools provides the capability to transmit location information to external devices and to control their transports using MIDI Machine Control (MMC). Controlling External Devices Using MMC Any device that supports MMC can be controlled directly from within Pro Tools, with either the device or Pro Tools acting as clock master. The external devices supported by Pro Tools implement “open loop” communications only.
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8 In the MIDI Machine Control (Master) sec- tion, select the MIDI Out port to which the slave device is connected from the pop-up menu. Pro Tools will now be able to control the selected device’s transport and act as the clock master. 13 To have the Pro Tools transport chase the playback location of the slave device, click the Online button in the Transport window.
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9 In the MIDI Machine Control (Slave) section, select Enable. To control external devices from the Pro Tools Transport: Select either Pro Tools or MMC from the Transport pop-up in the Pro Tools Transport window. The selected item will act as Transport Master. Machine Control page of the Peripherals dialog 10 Set the MMC ID number (channel) on which this information will be received in the “ID” field. 11 Click OK to close the Peripherals dialog.
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Taking a Device Offline Use the Online pop-up menu in the Transport Master selector to take a MIDI (or Machine) device offline. To take a device offline: 1 Click the Transport Master selector. 2 In the Transport, click on the Online pop-up menu and deselect the device (Machine or MIDI). Device choices depend on the current Transport Master and which devices have been set up in Pro Tools.
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Remote Track Arming The MachineControl option for Pro Tools lets you remotely arm tracks on supported 9-pin (or V-LAN for transport only) decks. Without MachineControl, Pro Tools does not support remote track arming of external devices. MachineControl lets Pro Tools act as the master or slave to external Sony 9-pin (or V-LAN for transport only) machines, in addition to providing remote track arming from within Pro Tools.
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The Spot Dialog The Spot dialog appears when you drag a region to a track or click a region with the Time Grabber tool in Spot mode. The numeric fields function as both data displays and editing controls for the currently selected regions. Information in these fields is displayed in SMPTE Time Code, Minutes:Seconds, Feet.Frames, Samples, or Bars & Beats, depending on which Time Scale format is selected.
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Capturing Time Code Pro Tools also allows you to easily capture frame locations on-the-fly in the Spot dialog by pressing the Equal key, or by clicking the Current Time Code button while valid time code is being received by Pro Tools. With VITC, you can accurately capture a paused or “crawling” VTR’s SMPTE location. When Time Code is selected for the Time Scale, pressing the Equal key captures the incoming time code.
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To Auto-Spot a region: 1 Choose Options > Auto-Spot Regions. 2 If you are using VITC, identify the SMPTE frame location where you want to trigger playback of your region by pausing your video deck on that frame. Time Stamping Pro Tools time stamps every region recorded online with the original SMPTE time at which audio was recorded. You can recall this original SMPTE time for a region by clicking the Original Time Stamp button in the Spot dialog. 3 Click the region with the Time Grabber tool.
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When audio is first recorded, the User Time Stamp will match the Original Time Stamp, but you can change the User Time Stamp at any time using the Time Stamp command. This feature is particularly useful in post production situations where the SMPTE time code on video “work prints” often changes from one edit revision to another. To time stamp a region (or regions) with a new SMPTE frame number: 1 In a track, select the region that you want to time stamp.
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To create a sync point in a region: 1 Do one of the following: • Click with the Selector tool at the point in the region that you want to synchronize to a SMPTE frame location. – or – • Press the Down Arrow key while playing back. 2 Choose Region > Identify Sync Point. The current SMPTE time is automatically entered as the SMPTE location for the sync point. A small down arrow appears at the bottom of the region, with a vertical, light gray line indicating the location of the sync point.
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Know the True Frame Rate on Your Media If you get your media from a production company instead of recording them yourself, be absolutely sure that they indicate the SMPTE frame rate used on the tape correctly. Several time code formats use the same frame count (such as 23.976 fps and 24 fps) yet they run at slightly different frame rates per second. A Synchronization peripheral (and some thirdparty products) can be used to help determine frame rate. 29.97 fps Non-Drop Rate Not Recognized 29.
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Speed Correction for Film, NTSC Video, and PAL Video faster 25 fps x104.1667% up x96.0% down (4% pull up) (4% pull down) Telecine 24 fps 30 fps x100.1% up x99.9% down x100.1% up x99.9% down (0.1% pull up) (0.1% pull down) (0.1% pull up) (0.1% pull down) 23.976 fps Telecine 29.97 fps slower same program speed, less frames per second same program speed, more frames per second Figure 7.
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Table 51. Sample Rate Conversion Using Source Sample Rates at Pull Up and Pull Down Setting From: To: Pull: NTSC Video PAL +0.1% then +4.1667% 45983 50050 91967 100100 n/a n/a Film PAL +4.1667% 45938 50000 91875 100000 n/a n/a NTSC Video Film +0.1% 44144 48048 88288 96096 176576 192192 Film NTSC Video –0.1% 44056 47952 88112 95904 176224 191808 PAL Film –4.0% 42336 46080 84672 92160 n/a n/a PAL NTSC Video –4.0% then 0.
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Chapter 51: Working with Video in Pro Tools This topic covers video features in Pro Tools. Differences between support for QuickTime, Windows Media, and Avid video are noted throughout. The Avid Video Peripherals Guide provides instructions for using Avid Mojo SDI and Avid Mojo video peripherals with Pro Tools systems.
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QuickTime Movies Support in Pro Tools Pro Tools supports the import, playback, and editing of QuickTime movies. QuickTime Required Quicktime must be installed if you plan to include movie files, or import MP3 or MP4 (AAC) files in your Pro Tools sessions. QuickTime for Windows is available as a free download from the Apple website (www.apple.com). For information on which version of QuickTime is compatible with your version of Pro Tools, visit www.avid.com.
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Windows Media Video (VC-1 AP Codec) Support in Pro Tools (Windows Only) Pro Tools supports the import and playback of Windows Media video files created using the VC-1 Advanced Profile codec. See your Windows documentation for detailed information about Windows Media video. Though not prohibited, editing Windows Media video or adding multiple clips to the Timeline can lead to irregular video output performance.
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Video Tracks To create a new video track with Pro Tools HD and Pro Tools with Complete Production Toolkit 2, or with an Avid video peripheral: Video tracks let you add or import video to the Timeline, as follows: 1 Choose Track > New. • Pro Tools lets you add or import one video track per session, with a limit of one video playlist and one QuickTime or Windows Media video file on that track.
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Multiple Video Track Playlists (Pro Tools HD and Pro Tools with Complete Production Toolkit 2, or with an Avid Video Peripheral Only) Playlists provide an easy way of changing back and forth between alternate versions of a video track. You can perform all of the same operations with video playlists as you can with audio playlists, including: Main Video Track The main video track is the video track that is currently online, and will be played back with any audio in the session.
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Video Track Controls and Indicators Video Track View The video track can be viewed in Frames View or in Blocks View, both of which display all video region boundaries and metadata. Video frame images are displayed only in Frames View. When switching from Blocks mode to Frames mode during playback, the video track will not update to displaying frames until playback is stopped.
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You can add any supported video to an empty video track, in which case the icon will update and the video track will play back only that type of video. Differences in Video Tracks with Avid Video Video Online Button The Video Online button lets you select the main video track, switch that track online or offline, and see at a glance by color whether a video track is offline (gray) or online (blue).
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Locking Video Tracks Video Engine Rate You can lock one or more video tracks to prevent any video regions on those tracks from being edited. The video engine rate represents the number of video frames output by Pro Tools per second, and is determined automatically by the frame rate of the first video file added to a session. Video files subsequently added to the session must have the same video frame rate as the video engine rate.
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Video Engine Rate Indicator The Video Engine Rate indicator displays only in the main video track (whether it is online or offline) and shows the video engine rate, which is the number of video frames per second output by Pro Tools. Video Frame Rate The Video Engine Rate indicator is normally black, but turns red if one of the following conditions are present: • The video engine rate does not match the session’s current Time Code Rate setting.
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Importing Video into Pro Tools Using the Import Video Command The Import Video menu command lets you choose one or more video files to import into Pro Tools. When you use this method to import video into Pro Tools, the Video Import Options dialog appears. This dialog contains multiple options for customizing how files are imported.
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Configuring Video Import Options The Video Import Options dialog appears when you import video into Pro Tools by using the Import Video command or dragging video files from a DigiBase browser or from Windows Explorer or Mac Finder. Region List (Pro Tools HD and Pro Tools with Complete Production Toolkit or2, or an Avid Video Peripheral Only) Each video file is imported directly into the Region List, where it will be available to drag and drop into the Timeline.
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Import Audio from File (QuickTime and Windows Media Video Only) When selected, the audio from the QuickTime or Windows Media video file you are importing will be extracted and placed into new mono or stereo audio tracks in the Timeline. (Mono or stereo audio with a sampling rate of 48 kHz or lower are supported.) When unselected, only the video portion of the video file will be imported into Pro Tools.
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4 Select other audio files, and click Done to import the audio. 5 In the Audio Import Options dialog, choose whether to import the audio into a new track (and the Region List) or the Region List only. Sample Rate Conversion Quality If you import QuickTime audio that was not originally recorded at the session’s sample rate, the sample rate is converted to match the audio to your session.
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Video Regions in the Region List (Pro Tools HD and Pro Tools with Complete Production Toolkit 2, or with an Avid Video Peripheral Only) A video region displays in the Region List with a small video icon next to its name. General Video Editing (Pro Tools HD and Pro Tools with Complete Production Toolkit 2, or with an Avid Video Peripheral Only) Most editing operations that are available for audio regions can also be applied to video regions. This section describes all available video editing operations.
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Playing and Selecting Video Track Material Managing Regions • Selecting within video frame boundaries (see “Selecting within Video Frame Boundaries” on page 1158) • Insert space (see “Using the Insert Silence Command to Insert Space in Video Tracks” on page 1158) • Selecting and editing across multiple tracks (see “Selecting and Editing Across Multiple Audio and Video Tracks” on page 1158) • Compact Selected (nothing happens to the video, and at least one audio track must be selected) • Link or unlink
PAGE 1180
Selecting and Editing Across Multiple Audio and Video Tracks Selecting within Video Frame Boundaries You can create a selection across multiple audio and video tracks, and cut, copy, or paste audio and video simultaneously. Pro Tools does not let you select, play back, or edit a partial video frame.
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To insert space into a video track: 1 Make a selection in a track or tracks. The length of the selection determines the duration of the space inserted. Using the Video Window Pro Tools provides a Video window that lets you view, display, or scrub video. 2 Choose Edit > Insert Silence. Renaming Video Disk Files When renaming audio regions in either the Timeline or the Region List, you have the option of also renaming the audio files on disk. However, this does not apply to video files on disk.
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To toggle the online status of the main video track: Right-click (Windows or Mac) or Control-click (Mac) the Video window, and select Online. To toggle output of QuickTime video between the Video window and PCIe, do one of the following (Mac only): Select (or deselect) Options > Video Out PCIe.
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Scrubbing the Video Track Due to the latency introduced by all FireWirebased video peripherals, the video on an external monitor will not be in sync with the Scrubber tool. To scrub video without latency, you can scrub in the Video window. If you scrub directly on the video track, only the video will scrub (no audio will play). If you scrub on an audio track, audio and video will scrub simultaneously.
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Browsing Video in the Video Universe Window (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only) The Video Universe window lets you view, navigate, zoom, and select video regions on the main video track. Selecting Zoom Resolutions in the Video Universe When you move the cursor over the top half of a video frame in the Video Universe, it displays and behaves as a zoom tool. This tool lets you zoom in on one or more video regions to fill the entire Edit window display.
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Selecting Ranges in the Video Universe When you move the cursor over the bottom half of a video frame in the Video Universe, it displays and behaves as a selector tool. This tool lets you select ranges within one or more video regions in the Edit window. Selecting Zoom Resolutions and Ranges Simultaneously in the Video Universe When you move the cursor over a video frame in the Video Universe while pressing Alt (Windows) or Option (Mac), the cursor appears as a selector tool.
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Setting Session Time Code Rate for HD QuickTime and HD Windows Media Video Import When playing back QuickTime and Windows Media video with frame rates higher than 30 fps, Pro Tools syncs properly only if the Time Code Rate in the Session Setup window is set to half of the video frame rate of the video files. For example, to properly play back QuickTime or Windows Media HD video at 59.94 fps, change the session’s Time Code Rate to 29.97 frames per second.
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Exporting QuickTime DV from Avid The following instructions describe export settings for Media Composer, Media Station|PT, or Avid Xpress Pro. These settings are required to create QuickTime DV movies that can be played back in Pro Tools through the Firewire port.
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The amount of delay introduced varies based on your system and the type of video peripheral you are using. When using an Avid peripheral with QuickTime, 18 quarter-frames is a good starting point, but you will need to verify the precise setting for your system. (Third-party devices are available to help you measure this delay.
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Video Reference Supported Video Formats using a PCIe video card Video output can be locked to external video reference, including Black Burst and Tri-Level Sync. Pro Tools HD should be locked to a suitable clock reference, such as a Synchronization peripheral. If no external audio clock is referenced, audio will not be frame-edge aligned and may drift. Video Reference Rate 720p/ 29.97 HDV 720p/ 59.94 or NTSC 29.97 720p/ 59.
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Bouncing the Video Track to a QuickTime Movie When you have finished your final mix and synchronized your audio events to the movie, you can bounce the main video track (QuickTime or Avid video) and a mono or stereo mixdown of your session to a new QuickTime movie. You can choose from a variety of standard QuickTime codecs, which are fully compatible with other QuickTime applications. Because all formats and codecs have not been tested, you should verify the QuickTime movie bounced successfully.
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Bouncing a Video Track with Windows Media Video to a WIndows Media Movie You can bounce the main video track and a mono or stereo mixdown of your session to a new Windows Media movie. QuickTime and Avid video cannot be bounced to Windows Media video, and vice versa. Because all formats and codecs have not been tested, you should verify the Windows Media movie file bounced successfully. To bounce video and audio in the video track to a Windows Media movie: 1 Finalize your mix.
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Using Pro Tools to Import Video from Other Versions of Pro Tools When you use Pro Tools to import video or open a session created by Pro Tools HD or Pro Tools with Complete Production Toolkit 2, or an Avid video peripheral, some components of the session may open differently or not open at all, as follows: • Only the main video track is displayed.
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Chapter 52: Working with Field Recorders in Pro Tools Pro Tools HD and Pro Tools with Complete Production Toolkit 2 let you import multichannel audio files and metadata recorded by field recorders. • For AAF or OMF sequences, information about automation (clip-based gain or keyframe gain). Digital Field Recorders Field Recorder and Production Workflow Terminology This topic provides a brief glossary of terms used for this topic.
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Production Sound Mix For each multichannel recording made by a field recorder, the production sound mixer may designate a production sound mix comprising either a representative channel or a mixdown of other selected channels in the recording. The production sound mix is intended to function as a general reference of all audio recorded within an individual multichannel recording, and is typically used by the Avid® editor when assembling a sequence.
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Production Terminology for Film Workflows Only The following terminology applies only to film workflows: Shootlist The shootlist is a document in which the camera assistant records each scene and take relative to its keycode value on the film stock. It is later used by the telecine operator to synchronize the audio and video together. Sound Log The sound log is a document in which the production sound mixer records each scene and take relative to its beginning time code position.
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Displaying Field Recorder Metadata in Pro Tools DigiBase Support for Field Recorder Metadata You can enable or disable the display of field recorder metadata within regions in the Timeline and the Region List. DigiBase browsers display the following metadata from multichannel recordings made with field recorders.
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To show or hide field recorder metadata in DigiBase browsers: Field Recorder Workflows Control-click (Mac) or Start-click (Windows) the column header and select or deselect either of the following options: Using Pro Tools to work with field recorder files from a film, video, or digital shoot involves the following steps: • Channel Name • Scene and Take About Tape and Sound Roll Metadata Avid application and field recorders use Tape to represent different kinds of metadata: Avid uses Tape to store the
PAGE 1198
Receiving Source Files When involved in the audio post-production of edited video sequences, you need both of the following sets of source files: • Alternate source audio has been autosynced in the Avid Bin but not placed on the Timeline • AAF or OMF sequence with an edited production sound mix synced to video (such as referenced QuickTime movies or Avid video) • Alternate source audio has been autosynced in the Avid Bin and placed on the Timeline • Alternate source files representing multichannel recor
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Alternate Source Audio Not Auto-Synchronized to Edited Production Sound Mix In the Avid application, the alternate source audio has not been auto-synced to the edited production sound mix residing in the Avid Timeline. In such a case, the AAF or OMF sequence does not contain or reference the alternate source audio when imported into Pro Tools—the Avid editor must auto-sync the alternate source audio to the edited production sound mix, then re-deliver the sequence to you.
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If alternate source audio files were located only in the Avid Bin (and auto-synced to the location audio mix on the Timeline) when exported from the Avid application, they will not be available in the Source Tracks section. However, they will be imported directly into the Region List. 12 Change other parameters. 13 Click OK. Pro Tools creates a new Audio Files folder, Fade Files folder, Video Files folder, cache.wfm file, and session file at the designated locations.
PAGE 1201
Displaying Multichannel Files from a Field Recorder in the Region List When importing multichannel recordings from a field recorder, Pro Tools saves each channel as a separate region. Regions from the same multichannel recording are collected into a multichannel region, which displays as a single item in the Region List. An expand/collapse triangle next to an item in the Region List indicates a multichannel region.
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2 Do one of the following: • With any Edit tool, Right-click the selection you want to replace, then select Matches from the pop-up menu. – or – • With the Selector tool, Command-click (Mac) or Control-click (Windows) the selection you want to replace. 3 From the Matches pop-up menu, select the name of the alternate region that you want to use to replace the original region.
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To expand alternate channels to new tracks: 1 In the Timeline, do one of the following: • To expand only a portion of the regions on the track, make a selection that includes or overlaps any number of regions on a track, and Control-click (Mac) or Right-click (Mac or Windows) the selection. If alternate channels are available, Pro Tools expands them (plus the channel represented in the original track) to new tracks according to the chosen parameters.
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If duplicate channel names are encountered, additional tracks are created for each duplicate channel name, as follows: • If the duplicate channel has a different Sound Roll or Tape name from another channel with the same channel name, an additional track is created for that duplicate channel and its Sound Roll or Tape name is appended to the track name. (See “How Tracks Are Named When Expanding Alternate Channels by Channel Name” on page 1182.
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• If the duplicate channel has the same Sound Roll or Tape name as another channel with the same channel number, only the topmost duplicate channel in that list of alternate matching channels will be expanded to a new track. Each new track contains only channels sharing a particular channel number, with edits and fades preserved from the original selection. Gaps reflect regions from the original selection that did not have an alternate matching channel with that channel number.
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Each new track contains only channels sharing a particular channel name and number, with edits and fades preserved from the original selection. Gaps reflect regions from the original selection that did not have an alternate matching channel with the channel name and number.
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Relinking the Original Unedited Guide Track After importing the AAF (or OMF) sequence and original source audio files into the session, it is recommended that you relink the edited guide track to the original unedited source audio.
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Film Workflow Shooting (Film Workflow) 1 Shooting proceeds as follows: This topic describes the film workflow from shooting to the point where the Avid editor is ready for editing, and is intended for the following parties: • Camera assistant • Camera operator • Production sound mixer • Film camera begins rolling. • One or more field recorders begin recording.
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Telecine Transfer (Film Workflow) When shooting is complete for the day, the following components are delivered to the telecine operator: • Processed film stock • Multichannel location audio • Written shootlist and sound log The telecine operator generates the dailies (a videotape containing the day’s shots) by transferring the film and audio to a videotape. The shootlists will be used as a guide. To use a telecine to create dailies: 1 Load film and audio into the telecine.
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Batch Digitizing the Telecine Videotape to Digital Files (Film Workflow) This phase of the workflow begins after the Avid editor receives the following components from the telecine operator: • Telecine videotape • FLEx file 5 Load the telecine videotape into the Avid, and begin the batch digitize.
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Following these steps ensures that time code and other metadata are preserved from the moment shooting begins to the final delivery of source files to the Pro Tools editor. Setting Up Before Shooting (Video and Fuly Non-Linear Workflows) Before shooting begins, the camera operator and the production sound mixer should ensure the following: • The field recorder’s audio output feeds the video camera’s audio input.
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Digitizing a Videotape in the Avid Application Importing Digital Video Directly into the Avid Application (Video Workflow Only) (Fully Non-Linear Workflow Only) This phase of the workflow begins after the Avid editor receives the following components from the camera operator and the production sound mixer: This phase of the workflow begins after the Avid editor receives the following components from the camera operator and the production sound mixer: • Videotape • Multichannel recordings • Multichann
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Index Symbols + and – (see Plus (+) and Minus (–)) Numerics 003 51 003 Rack 51 003 Rack+ 51 16-bit Bounce to Disk 1067 176.4 kHz and pull factors 1127 192 Digital I/O 42, 43, 49, 77, 78 192 I/O 42, 43, 49, 77, 78 192 kHz and pull factors 1127 24-bit Bounce to Disk 1067 29.97 FPS Non-Drop 1140 3 Second Clip Hold option 118, 209 3 Second Peak Hold option 118, 209 3-knob panning 1104 5.0 paths in 5.1 mixes 1093 5.1 Path Order selector 94 5.1 surround formats in Pro Tools 1081 7.1 and 7.
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audio files compacting 593 concepts 16 default names 434 formats 1064 importing 322 mixed file types 166 Audio Files Conform to Session Tempo button 297 Audio Files folder 159 Audio Format 364 audio format, for session 1116 audio interfaces input channels 18 Pro Tools|HD 45 Audio Media Options 364 on export 364 on import 349 Audio Media options 339 Audio MIDI Setup 69 Audio MIDI Setup (AMS) (Mac) 147 Audio Pull Up and Pull Down 1124 audio regions 511 and automation 515 fitting to an Edit selection 594 strip
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pasting 1033 playlists 615, 1002, 1010 plug-in accuracy in bounce 1068 relative and absolute 1007 Safe button 980 safing 1010 smoothing 1009 snapshot 1048 Special Paste mode 1036 stepped 1030 suspending 1023, 1024 thinning 1009, 1026 to next breakpoint 1041 Track View 522 trimming 1037 writing 1013 writing to selection, selection start, or selection end 1039 Automation Enable window 1013 Automation Follows Edit option 1010 Automation lanes 1011 in MIDI Editor windows 716 in the Edit window 1011 Automation M
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Use Squeezer option 1068 Bounce to QuickTime Movie command 1168 bouncing to a stereo mix 1070 to a submix 1069 breakpoints 1030 Avid keyframes 1028 Bring to Front command 585 browsers 186, 275 display options 282 foreground 277 navigating 276 opening 276 sorting 283 Buffer Size (Hardware) 446 bussing multichannel sends 1089 sends 936 signal paths 83 submixing and effects processing 949 surround examples 1093 BWF (.
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configuring click options 428 MMC 1130, 1131 SMPTE 1120 Conform to Tempo command 762 connecting effects units digitally 999 external audio devices 998 Consolidate command audio 592 MIDI notes 672 Consolidate From Source Media 365 Consolidate Handle Length 349, 365 Consolidate Handle Size 365 Consolidate Source Audio Media 349 consolidating media 315 Constant command (Tempo Operations) 771 continuous controller events 12 Continuous Scroll with Playhead option 413 Continuous Scrolling During Playback option 4
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default audition path 91 meter 428 metering path 91 output path 92 path order 94 paths 103 program change 682 tempo 429 Default (Paths) 103 Default Automatic Naming to English option 118 Default Dynamics preference 127, 977 Default EQ preference 127, 977 Default Fade Settings 126 Default Input Gain preference 132 Default Monitor Format selector 94 Default Note Duration 662 Default Note On Velocity setting 662 Default Plug-In preference 132 Default Region Color Coding options 119 Default Settings, for TC/E p
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Paused Tasks 318 Performance Volume 273 Plus (+) and Minus (–) buttons 291 preferences 319 preview at session tempo 299 preview controls 296 previewing 295 Project browser 272, 311 Quick Search 289 Quick Search mode 292 Regenerate Missing Fades 303 Regenerate Missing Rendered Files 303 Relink window 273, 303 relinking 300 saving a search as a Catalog 293 search modes 292 search modifiers 291 searching 289, 291, 292 sharing catalog database files 274 sharing database files 274 Skip All 302 sorting columns 28
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E Edit commands 522 copy 523 cut 523 paste 524 edit cursor 408 and scrubbing 553 moving to region boundaries 569 placing with the Selector tool 548 Edit Groups 250 and selections 561 Edit Insertion Follows Scrub/Shuttle option 120, 553 Edit insertion point placing regions at 807 trimming regions to 587 Edit Markers 560 and selection length 565 Edit menu 196 Change Edit to Match Timeline command 572 Change Timeline to Match Edit command 572 Clear command 524 Clear Special commands 1036 Consolidate command 59
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regions as grid 531 Shuffle Lock mode 528 Shuffle mode 527 Slip mode 528 Spot mode 528 tempo events 758 waveforms 514 Editing Preferences 125 Auto-Name Memory Locations While Playing option 795 Auto-Name Separated Regions option 583 Conversion Quality option 323 Crossfade Preference for Pre/Post-Roll option 125, 604 Edit Selection Follows Region List Selection option 562 QuickPunch Crossfade Length preference 491 Region List Selection Follows Edit Selection option 260, 562 Separate Region Operates On All Re
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Event Operations commands 889 Change Duration command 907 Change Velocity command 905 Flatten Performance command 904 Input Quantize command 913 Quantize command 890 Restore Performance command 903 Select/Split Notes command 912 Step Input command 914 Transpose command 909 Event Operations window 889, 890 Exit command (Windows) 170 Expand Channels to New Playlists 631 Expand to New Tracks command 226 Expanded Transport View 193, 454 explicit voice allocation 232 Export 364 OMF/AAF Options 361 Sample Rate Co
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Find History 264 Find Matching Tracks option 341 Find Region List command 262 Find Regions By Name 263 Include Subsequently Added Regions 263 finding regions 262 Find History 263 FireWire QuickTime DV25 playback 1164 First Selected MIDI Track option 133 Flatten Performance command 889, 904 folders creating and opening 278 footswitch 72 Force Audio Media to Target Session Format 349 foreground 277 Forward and Play command 410 Forward command 410 frame rate pull up and pull down 1124 Frames 1148 Frames View v
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HEAT import Master Settings 343 HEAT (Harmonically Enhanced Algorithm Technology) 55 Help 196 help Bounce to Disk 1063 Tool Tips 117, 197 Help menu 29, 196 HFS+ Disk Support option 381 HFS+ drives and Windows systems 381 hidden tracks and group edits 224 and groups 224 and selections 561 Hide All Floating Windows command 191 Hide and Make Inactive Track command 225 Hide/Show Track command 225 hiding all tracks 224 auto-created regions 269 tracks 223 High Quality QuickTime Image option 122 history (Find regi
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input levels 424 Input Only Monitoring mode 443 Input Path selector 207, 226 Input Quantize command 889, 913 Input selectors 226 Insert Position selector 979 Insert Silence command 826 and Shuffle mode 826 and Slip mode 826 Insert Time command 782, 784 inserting controller events 679 events in MIDI Event List 742 meter events 780 MIDI notes 666 plug-ins on tracks 974 program changes 685 tempo events 757 Insertion Follows Playback option 120, 419 inserts 928, 969 as a shared bus 970 duplicating 978 for hardw
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local (current session) preferences 116 Local Control 12, 471 locating the playback cursor 408 with Fast Forward/Rewind 409 with Location indicators 573 Location indicators 573 locating with 573 locations, for MIDI notes dragging 670 quantizing 894 randomizing 893, 896 Locators to Import 353 Lock Region command 821 Lock Settings File command 985 Locked indicator 1118 locked regions and AudioSuite processing 852 Locked Track command 225 Loop Playback option 416 and Touch mode 1014 loop points 452 Timeline Se
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Memory Locations window 796, 798 View Filter 803 viewing options for Markers 801 Merge mode (see MIDI Merge mode) metadata 25, 1171 meter current 779 default 428 display 183 Meter button 429 meter events 779 editing 781 inserting 780 meter map importing 343 Meter Path selector 91 Meter Ruler displaying 779 extending an Edit selection to 781 meters and control surfaces 91 for MIDI tracks 209 pre/post fader levels 209 Sends View 941 SurroundScope plug-in 1109 Meters options 118 Metronome button 427 Metronome
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MIDI Preferences 132 Global MIDI Playback Offset preference 688 Pencil Tool Resolution When Drawing Controller Data option 133, 679, 1028 MIDI Preferences page 132 MIDI Real-Time Properties 690 on tracks and regions 695 settings 692 MIDI recording 469 cancelling takes 477 enabling input devices 470 Input Filter 472 Merge/Replace mode 473 monitoring with MIDI Thru 471 quantizing on input 472, 913 System Exclusive data 482 undoing a take 477 Wait for Note 472 MIDI regions 515 and controller events 516 and pun
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multiple tracks and Beat Detective 650 audition takes 464, 629 editing across 525 extending selections to 567, 568 fitting audio regions to Edit selection 594 nudging regions in 590 pasting to 526 selecting 567 separating regions on 584 shuffling regions on 810 multitimbral 12 Mute Audio Inputs in Auto Input option 505 Mute automation 1030 Mute button 240 Mute Frees Assigned Voice option 240 Mute Overwrite/Extend 1045 Mute Record-Armed Tracks While Stopped option 123, 505 Mute/Unmute Region command 822 mute
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Machine Chases Memory Location option 1132 Machine Follows Edit Insertion/Scrub option 1132 Open Ended Record Allocation preference 442 Record Online option 1128 Use F11 for Wait for Note 473 Operation/Destination Track pop-up menus 341 Operations menu Calibration Mode command 425 Link Timeline and Edit Selection option 559 Link Track and Edit Selection 214, 560 Low Latency Monitoring option 446 Options menu 196 Auto-Spot Regions command 1136 Delay Compensation option 956 Destructive Record mode 460 Link Tr
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Square 665 Triangle 665 Pencil Tool Resolution When Drawing Controller Data option 133, 679, 1028 pending tasks 319 Performance Volume 273 Peripherals Ethernet controllers 142 Machine Control 139 MIDI Controllers 141 PRE 143 Satellites 144 Synchronization 137 VENUE 145 Peripherals dialog 137, 469 Peripherals list 73 personalities 966 PFL (Pre Fader Listen) 238 Pitch Memory Enabled option 138 pitch shifting 882 pitch, for MIDI notes transposing 670 transposing with Transpose command 909 Play button 181 Play
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mono-to-stereo 970 multichannel 970 multi-mono 970, 1089 multiprocessors 63 Next Setting button 980 Organize Plug-In Menus By command 975 Plug-In Settings menu 979 Plug-In Settings Select button 980 presets 985 Previous Setting button 980 removing from tracks 974 pops, avoiding 468 post crossfades 598, 608 Post-Roll button 182 Power view 512 PRE 51 configuring 143 I/O Setup 89 pre crossfades 598, 608 Pre Fader Listen mode 238 PRE settings importing 343 Pre/Post Fader button 947 Pre/Post Roll option 457 pre/
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punch recording and monitoring 459 and pre/post-roll 458 audio 458 MIDI 477 MIDI on-the-fly 478 Q Quantize audio regions 892, 902 Elastic Audio events 893, 901 quantizing regions to grid 591 Real-Time Properties 692 Quantize command 889, 890 experimenting with 896 Quantize Edits to Frame Boundaries 362 Quantize Regions command and Grid value 815 Quantize to Grid command 591 Quantize window 893 quantizing MIDI notes 892, 896 MIDI on input 472, 913 Quick Start dialog 155 QuickPunch 432, 488, 492 crossfades 4
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region boundaries extending selections to 566, 766 moving edit cursor to 569 moving Playhead to 415 Region by Region mode 848 region definitions 335 region group file format (.
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separating with Beat Detective 649 separating with Separation Grabber 584 shifting 820 shuffling 810 on multiple tracks 810 sliding 809 slipping 813 snapping to 812 snapping to next 812 sorting 261 spotting 813, 1136 sync points 818, 1138 time stamping 1137 Time-locking 821 trimming by Nudge value 588 trimming start/end points 543 trimming to Edit insertion point 587 trimming unwanted data from 586 unlocking 821 User Time Stamp 814 user-defined 267, 269, 510 warped 511 warping (Elastic Audio) 876 whole-file
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page controls 726 printing 738 rests 733 zoom controls 727 Score Setup window 729 Scroll Into View command 225 Scroll into View command 214 Scroll to Track Banks Controllers option 128 Scroll To Track command 213, 574 scroll wheel and MIDI track Note display 517 and MIDI track’s Note display 542 scrolling a Pro Tools window 574 zooming in the Edit window 542 zooming in the Edit windows 542 scrolling a track into view 214 in the ruler 573 Mix and Edit to tracks 574 Notes View up or down 517, 542 Pro Tools wi
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displaying controls for 941 for hardware I/O 939 for mix buses 939 labeling 997 mono or stereo 939 multichannel 1088 removing 937 view options 939 Sends Default to -INF option 127 Sends View 932 Separate MIDI notes 671 Separate Region commands 582 and multiple tracks 584 and related takes 583 At Selection 582 At Transients 582 On Grid 582 Separate Region Operates On All Related Takes option 125, 583 Separation Grabber 584 Separation Grabber tool 549 session data importing 336 Session Data Online Status indi
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snapping to the following or preceding region 812 snapshot automation 1048 adding to empty automation playlists 1049 and trim values 1050 writing over existing automation 1049 software updates 57 Solo button 238 Solo in Place mode 238 Solo Latch options 239 Solo modes 238 Solo Safe mode 240 soloing tracks 237 tracks in a submix 955 Song Start Marker 756 editing tempo 757 moving 756 Sony Dynamic Digital Sound (SDDS) 1076 Sort By options 261, 262 sorting data in browsers 283 Markers 802 regions 261 secondary
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System Exclusive data 12, 686 deleting 687 moving 687 recording 482 System Memory Allocation 68 system resources 21 system settings Cache Size 67 Clock Source system setting 71 CPU Usage Limit 63 Current Engine 61 Hardware Buffer Size 10, 60, 62 Hardware Setup 71 Host Engine 64 Number of Voices 65 Plug-In Streaming Buffer 69 Plug-In Streaming Buffer Size 68 Sample Rate 66 System Memory Allocation 68 System Usage window 80, 81 T T (Transfer volumes) 309 Tab to Transients button 411, 570 take over (surround
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Time Scale 752 Bars|Beats 749 Feet.
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creating new Elastic Audio tracks 862 deleting 214 duplicating 214, 1004 Elastic Audio 861 formats 200 grouping 245 hiding 223 locating with Fast Forward/Rewind 409 making inactive/active 241 Master View 220, 1034 metering 209 moving selections between 568 muting 240 names 210, 212 placing regions in 805 playback priority 232 playing 405, 450 record enabling 436 removing from a selection 569 scrolling shortcut 574 selecting across multiple 567 selecting all regions in 562 selecting material in 561 soloing 2
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1220 V VITC VCA Masters assigning groups 927 channel strips 202 clearing 1057 controls 926 deleting 1057 displaying automation 1056 mixing 925 track controls 205 track type 199, 925 velocities, for MIDI notes drawing with Pencil 674 editing 673, 905 editing velocity 673 fading 905 Real-Time Properties 694 scaling 905 scaling with Trim tool 674 Velocity Trimmer tool 674 Velocity View 673 VENUE 145 VENUE Link 145 Vertical Position setting 139 video recording limits with pull 1127 Video Designator 309 Video
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Window menu 196 Automation Enable command 1013 Big Counter command 407 Color Palette 243 Disk Space command 439 Edit command 174 Machine Track Arming command 1134 Memory Locations command 798 Mix command 172 Project command 378 System Usage command 81 Task Manager command 331 Transport command 180 Undo History command 520 Workspace command 440 windows arranging 191 Cascade 191 closing 191 hiding all floating windows 191 Tile 191 Tile Horizontal 191 Tile Vertical 191 Windows sessions compatibility with Mac 3
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1222 Pro Tools Reference Guide
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Avid Technical Support (USA) Product Information 2001 Junipero Serra Boulevard Daly City, CA 94014-3886 USA Visit the Online Support Center at www.avid.com/support For company and product information, visit us on the web at www.avid.