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What’s New
Pro Tools LE™ 7.0
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Copyright
© 2005 Digidesign, a division of Avid Technology, Inc. All rights
reserved. This guide may not be duplicated in whole or in part
without the express written consent of Digidesign.
Avid, Digidesign, and Pro Tools are either trademarks or
registered trademarks of Avid Technology, Inc. in the US and
other countries. All other trademarks contained herein are the
property of their respective owners.
Product features, specifications, system requirements, and
availability are subject to change without notice.
PN 9320-17735-00 REV A 11/05
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contents
Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
New Features in Pro Tools LE 7.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Chapter 2. System Configuration Updates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Mbox 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Increased Sends and Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Up to 999 Markers/Memory Locations per Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Localization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
General Performance Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Chapter 3. Pro Tools Menus and Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Improved and Expanded Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
New Consolidated Region List for Audio, MIDI, and Region Groups . . . . . . . . . . . . . . . . . . . . . 12
Tool Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
New Shortcuts and Tools for Mix and Edit Window Display Options . . . . . . . . . . . . . . . . . . . . 15
Enhancements to I/O Setup and Disk Allocation Dialogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
DigiBase Changes and Additions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Improved Window Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Chapter 4. New Track Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Instrument Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Increase in Total Number of Sends Per Track to Ten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Moving and Copying Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
New Duplicate Tracks Dialog and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Color Coding Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Importing and Exporting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Contents
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Chapter 5. Audio and MIDI Features for Composition . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Importing REX Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Importing ACID Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Region Looping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Special Cut, Copy, Paste, and Clear Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Drag and Drop Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Preview Files from Windows Explorer or Macintosh Finder . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Link Track and Edit Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Zoom Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Additions to Strip Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Additions to Separate Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Chapter 6. MIDI Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
MIDI Real-Time Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Sample-Based MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Mirrored MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Previewing MIDI Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Default Thru Follows First Selected MIDI Track Selection Preference . . . . . . . . . . . . . . . . . . . 62
Selection of Note Ranges from Track Mini-Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
New Select and Split Notes Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
New Quantize Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Legato, Overlap, and Duplicate Additions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
New Remove Duplicate Notes Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Transpose Window Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
New Import MIDI Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
New Export MIDI Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
MIDI File Support in DigiBase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
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Chapter 7. Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
RTAS Performance Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
New Shortcuts to Enable All Plug-In Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
RMS and Peak Calibration Modes for Signal Generator Plug-In . . . . . . . . . . . . . . . . . . . . . . . 73
RMS and Peak Calibration Modes for Normalize Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
RMS and Peak Calibration Modes for Gain Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
TimeAdjuster RTAS Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Trim Plug-In +12 dB Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
EQ III Band-Pass Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Synchronic Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Bomb Factory Updates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Chapter 8. Control Surface Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Control|24 New Features and Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Command|8 New Features and Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Digi 002 New Features and Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Contents
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chapter 1
Introduction
This document is an overview of new features in
Pro Tools 7.0 for Pro Tools LE systems on Windows XP or Mac OS X.
System Requirements
For complete system requirements, visit the
compatibility page of the Digidesign Web site
(www.digidesign.com/compato).
New Features in
Pro Tools LE 7.0
Pro Tools LE 7.0 includes the following new or
enhanced features:
System Configuration and Session
Compatibility Updates
• Mbox 2 support
• Increased Sends and Busses
Compatibility Information
Digidesign can only assure compatibility and
provide support for hardware and software it
has tested and approved.
For a list of Digidesign-qualified computers, operating systems, hard drives, and third-party devices, refer to the latest compatibility information on the Digidesign Web site
(www.digidesign.com/compato).
• 999 Markers/Memory Locations per session
• Sessions and compatibility:
• New session file format (“.ptf”)
• Support for long file names
• Removal of +6 dB option for new sessions
• All sessions are Mac/PC compatible
• Recommended BWAV dialog
• Localization:
• Cross-platform and language session compatibility
• Traditional Chinese localization
• General Performance Enhancements:
• Faster session opening on Windows XP
• Improved editing speed
• Improved window redraw on Windows XP
Chapter 1: Introduction
1
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Pro Tools Menus and Windows
Audio and MIDI Composition Features
• Improved and expanded menus
• Region groups:
• Tool Tips
• Audio and MIDI regions
• Consolidated Region List with improved
search tools
• Multitrack region groups
• Shortcuts and new tools for Mix and Edit window views
• Fades and crossfades across grouped regions
• Resizable I/O Setup and Disk Allocation dialogs
• DigiBase changes and additions:
• Support for Standard MIDI Files
• Importing and exporting region groups
• DigiBase support for grouped files
• Looping audio and MIDI regions or region
groups
• Bar|Beat display of Duration (length) for
tick-based audio and MIDI files
• Special Cut, Copy, Paste, and Clear commands
• New Tempo column
• Drag and drop features:
• Improved window interaction for
Windows XP
• Drag and drop audio, REX, ACID, or MIDI
files from Windows Explorer or Macintosh
Finder to the timeline or Region List
Track Features
• New Timeline Drop Order Modes to drop
multiple regions (Top to Bottom or Left to
Right)
• Instrument tracks
• Software and hardware instruments
• Unrestricted MIDI and audio routing
• Increased sends per track to 10
• Ability to move and copy sends
• Increased busses on Pro Tools LE and M-Powered to 32
• New Duplicate Tracks dialog and options
• Color Coding improvements
• Importing and exporting:
• REX and ACID files
• AAC files
• Groups and markers from other sessions
• Importing audio from audio CDs
(Windows XP)
• AAF files with embedded audio (DigiTranslator only)
2
• Nested groups
What’s New in Pro Tools LE 7.0
• Drag and drop audio files to plug-ins from
DigiBase
• DigiBase support for drag and drop of REX,
ACID, region groups, and Standard MIDI
files
• Ability to preview files from Windows Explorer or Macintosh Finder
• Link Track and Edit Selection command
• Zooming enhancements:
• Improved Zoom Toggle for streamlined
MIDI and audio editing
• Continuous zoom with Zoom tool
• Marquee Zoom both vertical and horizontal zoom on MIDI tracks
• Independent vertical track zoom
• Automatic “Show All Notes” scaling for
vertical zoom of MIDI regions
What’s New in LE 7.0.book Page 3 Friday, October 21, 2005 1:54 PM
• Additions to Strip Silence:
New or Enhanced Plug-In Features
• New Extract function (extract silence)
• Multi-processor support for RTAS plug-ins
• New Separate function
• RTAS performance enhancements
• Additions to Separate Regions commands:
• Separate on Grid command
• Separate at Transients command
MIDI Features
• MIDI Real-Time Properties
• Sample-based (tempo-independent) MIDI
• Mirrored MIDI Editing
• MIDI region previewing in the Region List
• Selection of note ranges from on-screen minikeyboard
• New Preference for “Default Thru follows
Track Selection”
• New shortcuts to enable plug-in parameters
• RMS and Peak calibration modes for Signal
Generator, Gain, and Normalize plug-ins
• Support for RTAS version of Time Adjuster
plug-in
• Trim plug-in +12 dB update
• EQ III Band-Pass mode
• Synchronic updates:
• Drag and drop audio files to Synchronic
Waveform display
• Support for AudioSuite version of Synchronic
• Bomb Factory updates:
• New Select/Split Notes window
• Updated rotary control behavior
• New Grid/Groove Quantize window
• Restore Bomb Factory plug-in settings
• Groove Quantize support for Input Quantize
• New Remove Duplicate Notes command
• Legato and Overlap additions
• Transpose Window enhancements
• New Import MIDI to Timeline options
Control Surface Features
• Support for 10 sends on Control|24, Command|8, and Digi 002
• Support for Instrument tracks on Control|24,
Command|8, and Digi 002
• Support for exporting MIDI files
Chapter 1: Introduction
3
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4
What’s New in Pro Tools LE 7.0
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chapter 2
System Configuration Updates
This chapter describes changes to Pro Tools system capabilities.
Mbox 2
Pro Tools LE 7.0 supports the Mbox 2, a new
USB audio and MIDI interface from Digidesign.
The analog and digital connectors on the
Mbox 2 support four channels of input for recording and two channels of monitor output.
Both channels of analog input support mic,
line, and instrument level sources. Two identical sets of front panel input controls each provide input gain controls, input source switching
and a pad switch.
The Mbox 2 also provides MIDI input and output for connecting keyboard controllers, sound
modules, and other external MIDI devices.
The front panel provides headphone, monitor,
and mix level controls, as well as mono-listen
and phantom power switches.
For more information, see the Mbox 2 Getting Started Guide.
Increased Sends and Busses
On all systems, each audio, Auxiliary Input, and
Instrument track now provides 10 sends for
routing audio to internal busses or hardware
outputs. For instructions on displaying and using the increased number of sends, see “Increase
in Total Number of Sends Per Track to Ten” on
page 22.
On Pro Tools LE and M-Powered, 32 internal
busses are now available. (In previous versions
of Pro Tools LE and M-Powered, the maximum
was 16). This provides greater bussing resources
for sessions, and simplifies session interchange
between Pro Tools HD, LE and M-Powered sessions.
Up to 999 Markers/Memory
Locations per Session
Each session can include up to 999 Markers/Memory Locations. (In previous versions of
Pro Tools, the maximum number of memory locations was 200 per session).
Chapter 2: System Configuration Updates
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Markers and Memory Locations are useful for
identifying sections of songs or scenes, to
quickly navigate to specific locations, and to
store selections for consistency when auditioning, editing, and bouncing to disk.
Markers/Memory Locations are also available as choices in the Import Session Data
command, to transfer markers or memory
locations from one session into another. For
more information, see “Importing and Exporting” on page 26.
Compatibility
New Session File Format (“.ptf”)
Pro Tools 7.0 uses a new session file format and
extension (.ptf) to distinguish its sessions from
sessions created with previous versions.
The new .ptf file format supports many new options for session compatibility and transfer as
described in the following sections.
Pro Tools 7.0 file icons identify Pro Tools HD,
Pro Tools LE, and Pro Tools M-Powered session
files. Each Pro Tools system features a unique
icon which will be used for all session files on
that system (regardless of whether a session file
was created on a different Pro Tools system).
Pro Tools HD
Pro Tools LE
Session file icons
6
What’s New in Pro Tools LE 7.0
Pro Tools M-Powered
WaveCache
Each session folder also contains a WaveCache
file. Pro Tools creates this file automatically and
uses it to store waveform overview data. By storing waveform data in the WaveCache file, sessions are able to open more quickly. The session
WaveCache file can be included whenever a session is transferred to another Pro Tools 7.0 system.
Pro Tools also maintains a distinct WaveCache
file inside the local Digidesign Databases folder
(C:\\Digidesign Databases) which retains waveform data for all files used on the system. Additional WaveCache files are created on each external hard drive attached to your system, and
stored in the Digidesign Databases folder on
each drive.
Deleting or trashing any of the WaveCache files
will not harm the session or your system. Each
session will merely need more time to open due
to having to recalculate waveform data for associated audio (and store that data in a new WaveCache file).
Session Compatibility
A Pro Tools 7.0 format session cannot be played
on Pro Tools versions 6.9.x or lower. To save a
7.0 session that is compatible with previous versions of Pro Tools, use the File > Save Copy In
command to choose the destination session format (such as 5.1–6.x) and other options. See the
Pro Tools Reference Guide for details on session
and file compatibility.
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Pro Tools 7.0 and later session attributes are
changed in the following ways when the session
is saved to a prior version of Pro Tools:
• Long file names are shortened.
• Region groups are dropped.
• Region loops are dropped.
• Sample based MIDI regions are dropped.
• Sample based MIDI tracks are dropped.
• Sends F–J and automation (if any) are
dropped.
• Markers/Memory Locations 201–999 are
dropped.
• Instrument tracks are converted to MIDI
and Auxiliary Input tracks.
Support for Long File Names and
Unsupported Characters
Pro Tools 7.0 lets you name files with as many as
128 characters.
However, files can be renamed in certain situations when saving a copy of a session to a
Pro Tools version that does not support long file
names. See “Renamed Audio Files Folder” on
page 7.
Pro Tools also automatically renames files while
opening sessions when file names contain illegal characters.
Opening a Session that Contains Audio File
Names with Illegal Characters
Pro Tools 7.0 does not support audio file names
that contain certain ASCII characters (such as *
and @).
When opening sessions that contain audio file
names with illegal characters, Pro Tools automatically creates a renamed copy of each file
that contains illegal characters (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. By default, the
Notes text file is saved to the Session folder.
It is possible to have a Pro Tools 7.0 session
that contains audio file names with illegal
characters. In this case, if you Save Copy In
the session to Pro Tools 6.9.x or lower with
Mac/PC Compatibility on, the tracks will
be renamed with legal characters. If you
Save Copy In the session to Pro Tools 6.9.x
or lower with Mac/PC Compatibility off,
the characters are not changed.
Renamed Audio Files Folder
This folder includes file that have been renamed. Files can be renamed when you open a
session that references audio file names with incompatible characters. Files can also be renamed
in certain situations when saving a copy of a session to a Pro Tools version that does not support
long file names.
Chapter 2: System Configuration Updates
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Saving a Copy of a Session that Contains Long
Audio File Names
When saving files to Pro Tools 6.9.x and lower
(using Save Copy In), audio files with file names
that exceed the limits of the destination format
will be truncated and located in the Session
folder, as follows:
• If the new session is saved to the same directory as the original, a Renamed Audio Files
folder is created in the session’s original
folder, and the renamed audio files are placed
in it.
• If the new session is saved to a different directory than the original the All Audio Files option is not checked, a new Session folder is
created, which includes an Audio Files folder
and a Renamed Audio Files folder. Renamed
audio file will be included in the Audio Files
folder.
• If the new session is saved to a different directory than the original and the All Audio Files
option is checked, a new Session folder is created, which includes an Audio Files folder. Renamed audio files will be included in the
Audio Files folder.
Opening a session with different settings than the
current configuration
When saving a Pro Tools 7.0 session to a previous version, session notes list all parameters that
are not supported and will be dropped when
opened on the destination system. To save a text
(.txt) file containing a more detailed Notes report while saving a copy of a session to a previous version, follow the on-screen instructions.
The Notes report will be named with the session
name, followed by Notes.txt. You can choose to
save this file in your Session folder, or in another location.
Saving a Notes Report
Pro Tools Session notes list the old and new
names of converted files. To save a text (.txt) file
containing a more detailed Notes report while
opening a session, follow the on-screen instructions when prompted. The Notes report will be
named with the session name, followed by
Notes.txt. You can choose to save this file in
your Session folder, or in another location.
8
What’s New in Pro Tools LE 7.0
Reminder before saving a Pro Tools 7 session to a
previous version
What’s New in LE 7.0.book Page 9 Friday, October 21, 2005 1:54 PM
Fader Gain Always +12 dB in
Pro Tools 7.0 Sessions
All sessions created with Pro Tools 7.0 are
“+12 dB” sessions. (The previously available
+6 dB fader gain option has been removed from
the New Session dialog.)
You can save Pro Tools 7.0 sessions to lower versions of Pro Tools that do support +6 dB using
the File > Save Copy In command.
All Pro Tools 7.0 Sessions Are Mac/PC
Compatible
Sessions created and saved as Pro Tools 7.0 sessions are always compatible on both Windows
and Macintosh systems.
The previously available setting for new sessions “Mac/PC Compatibility Mode” is no
longer required and has been removed from
the New Session dialog.
The Enforce Mac/PC Compatibility option remains available in the Save Copy In dialog for
saving sessions to be compatible with lower versions of Pro Tools. In addition, there are crossplatform limits to consider when completing
the Save Copy In. For more information, see the
Pro Tools Reference Guide.
Recommended BWAV Dialog
The recommended file format for cross-platform
interoperability is BWF (.WAV). To support optimal session interchange, Pro Tools defaults to
BWF format for new sessions.
Pro Tools lets you save, bounce, and export in a
variety of file formats. If you attempt to create a
session and use the SD II format, however, a
warning dialog will appear reminding you of its
limitations:
• SD II is not supported on Windows XP.
• The maximum sample rate for SD II files is
48 kHz.
Localization
Pro Tools 7.0 provides improved cross-platform
language session compatibility. This lets sessions from localized versions of Pro Tools be
transferred between compatible languages while
preserving the appropriate settings.
In addition, Pro Tools is now fully localized for
Traditional Chinese.
For the most current information on localized
versions of Pro Tools, see the compatibility
pages of the Digidesign Web site for your language.
General Performance
Enhancements
Pro Tools 7.0 includes the following enhancements to general Pro Tools system performance:
• Faster session opening on Windows XP
• Improved window redraw on Windows XP
• Improved editing speed
Chapter 2: System Configuration Updates
9
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chapter 3
Pro Tools Menus and Windows
Pro Tools menus and windows have been updated, as described in the following sections.
Improved and Expanded
Menus
Menus have been restructured to simplify learning and using Pro Tools, as follows.
File Menu Provides commands that read and
write session data to and from disk.
Edit Menu Provides actions that operate on the
current selection and affect data in tracks or the
clipboard.
View Menu Provides choices to customize what
is shown in various windows.
Track Menu Provides actions that operate at the
track level (affecting whole tracks).
Region Menu Provides actions that operate at
the region level.
Setup Menu Provides dialogs and windows to
configure application and hardware peripheral
settings.
Window Menu Provides actions for selecting and
opening specific Pro Tools windows.
Help Menu Provides links to important Pro Tools
documentation, including Keyboard Shortcuts,
DigiBase Guide, DigiRack Plug-Ins Guide, Pro Tools
Menus Guide, Pro Tools Reference Guide.
For more information, see the Pro Tools Menus
Guide.
Tracks, Regions, and Groups List Pop-Up
Menus
Pop-up menus are provided at the top of the
Track, Region, and Group Lists. These pop-up
menus provide commands that affect the contents of their corresponding lists, as follows:
Tracks List Pop-Up Menu Provides commands to
show, hide and sort tracks in the Mix and Edit
windows.
Event Menu Provides actions that operate at the
event level (such as MIDI and other tick-based
data).
AudioSuite Menu Provides AudioSuite plug-ins.
Options Menu Provides items that determine
how Pro Tools responds.
Tracks List pop-up menu
Chapter 3: Pro Tools Menus and Windows
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Region List Pop-Up Menu Provides commands to
find, select, sort, clear, rename, time stamp,
compact, and export items in the Region List.
The Region List pop-up menu also provides the
Recalculate Waveform Overviews and Timeline
Drop Order commands.
New Consolidated Region List
for Audio, MIDI, and
Region Groups
The Edit Window displays all audio regions,
MIDI regions and region groups in a single,
comprehensive Region List.
Region List pop-up menu
Mix and Edit Group List Pop-Up Menus Provide
commands to create, display, suspend, and delete Mix and Edit Groups.
Mix and Edit Group List pop-up menu
Region List
Previous versions of Pro Tools provided two
separate lists (the Audio Region List and the
MIDI Region List) and each list had its own
menu. The new Region List and Region List
menu consolidate the functions of these previously available items.
All regions can be shown in the Region List.
Items can be dragged from the list to tracks and
arranged in any order. All types of regions can
be auditioned from the Region List by Alt-clicking (Windows) or Option-clicking (Macintosh)
them.
At the top of the Region List is the Region List
pop-up menu, which provides commands and
tools for managing the contents of the Region
List.
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2 Select a basis for sorting from the submenu:
Region List Menu
The Region List pop-up menu provides tools to
search, select, sort, export, clear, and manage
items in the Region List.
• Region Type
• Name
• Length
• Original Time Stamp
To access the Region List menu:
• User Time Stamp
In the Edit window, click the Region List popup at the top of the Region List.
• Time Base
■
• Start in Parent
• End in Parent
Click to
display
• File Name
• File Length
• File Creation Date
• File Modification Date
• Disk Name (audio and region groups only
• Track Format/Width
3 To adjust sort results in an ascending or de-
Region List pop-up menu
Enhancements for Sorting and
Searching the Region List
The more regions a session contains, the harder
it can become to locate a particular region in the
Region List. The ability to search and sort regions in the Region List is useful in large sessions.
scending order, choose Region List > Sort By,
and select Ascending or Descending.
Finding Regions
The Find command has been enhanced with a
new Find History and improved search tools.
Use the Find command to display all regions in
a list whose names contain a particular word or
phrase.
Sorting Regions
To find and display regions that match a word or
phrase:
To sort regions in the Region List:
1 Click the Region List pop-up menu at the top
of the Region List, and choose Find. Or press
Control+Shift+F (Windows) or Command+Shift+F (Macintosh).
1 Click the Region List pop-up menu (at the top
of the Region List) and choose Sort By.
Find Regions
Chapter 3: Pro Tools Menus and Windows
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2 Type the name, or any portion of the name,
for the regions you want to find.
As you enter search text, it is displayed at the
top of the Region List. Matching results appear
in the list as they are found.
Display of
search text
In addition to storing each text string previously
entered, you can insert multiple entries into the
Find History manually (without having to perform each Find in order to store words or
phrases).
To compile a Find History without performing each
search:
1 Choose Region List > Find.
2 Type the name, or any portion of the name,
Region List while searching
for the regions you want to find.
3 Click OK. Regions of any type whose name
match the word or phrase you searched are displayed in the Region List. The search string is
displayed at the top of the Region List in brackets.
3 Click and hold the arrow to the right of the
Text entered into the Find dialog is saved in a
Find History, letting you quickly repeat previous
searches with a minimum of retyping.
To repeat a previous search:
1 Click the Region List pop-up menu at the top
text field in the Find dialog and choose Insert
Entry from the pop-up menu.
Region List while searching
4 Type another entry and choose Insert Entry
again to add additional search strings to the history.
of the Region List, and choose Find.
2 Click the small arrow to the right of the text
To remove an entry from the history:
field in the Find dialog and select a text string
from the Find History pop-up menu.
1 Select it from the Find History pop-up menu
so it is displayed in the text field.
2 Choose Remove Entry from the Find History
pop-up menu.
To clear the Find History:
■ Choose Remove All Entries from the Find History pop-up menu.
An example of a Find History
The Find History is saved with the session.
14
What’s New in Pro Tools LE 7.0
For more information on using the Region
List and Regions menu, see the Pro Tools
Reference Guide. For an overview of the Regions, see the Pro Tools Menus Guide.
What’s New in LE 7.0.book Page 15 Friday, October 21, 2005 1:54 PM
Tool Tips
Pro Tools provides Tool Tips in all main windows. Parking the cursor for a few seconds over
an abbreviated name, or unlabeled icon or tool,
will display either the function or details of the
item (depending on the Tool Tips preferences
settings).
To configure Tool Tips for Pro Tools:
1 Choose Setup > Preferences, and click the Dis-
play tab.
2 In the Tool Tips Display section, click the Tool
New Shortcuts and Tools for
Mix and Edit Window Display
Options
This section describes new ways to manage control views in the Mix and Edit windows.
Shortcut for Hiding Edit Window Views
In the Edit window, you can you use a keyboard
shortcut to hide an Edit window view (such as
Comments, Instruments, Inserts, Sends A–E,
Sends F–J, I/O, Real-Time Properties and Track
Color).
Tip options you want displayed.
Function Shows the functional name of different
Pro Tools items (such as specific buttons, indicators, modes, selectors, and Edit tools).
Details Shows abbreviated or hidden Pro Tools
names or values for different Pro Tools items
(such as insert names, gain levels, settings, and
routing assignments).
Leave both options unchecked to turn off
Tool Tips.
3 Click Done.
To hide an Edit Window view:
■ Alt-click (Windows) or Option-click (Macintosh) the name of the Edit window view (located
at the top of the View's column). Choices include Mic Pre, Comments, Instrument, Inserts,
Sends A–E, Sends F–J, I/O, Real-Time MIDI Properties, and Track Color.
New Mix Window View Selector
The new Mix Window View selector is located
in the lower-left corner of the Mix window.
Click to display
Mix Window Shows selector
The Mix Window View selector provides options that are identical to the options as found
in the View > Mix Window submenu.
Chapter 3: Pro Tools Menus and Windows
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Enhancements to I/O Setup
and Disk Allocation Dialogs
DigiBase Changes and
Additions
Resizing Enhancements
DigiBase browsers have been enhanced with the
following additions:
With Pro Tools 7.0, the I/O Setup and Disk Allocation dialogs can be resized, and provide shortcuts for scrolling.
To resize the I/O Setup or Disk Allocation dialogs:
■ Drag the lower-right corner of the dialog according to standard convention for your operating system.
Scrolling Enhancements
With Pro Tools 7.0, scrolling is supported in the
I/O Setup and Disk Allocation dialogs.
To scroll up or down in the I/O Setup and Disk
Allocation dialogs:
■
Press Page Up or Page Down.
To scroll left or right in the I/O Setup dialog:
■ Press Alt+Page Up/Down (Windows) or Option+Page Up/Down (Macintosh).
The Disk Allocation dialog does not scroll
horizontally, but can be resized to display
more information.
Support for Standard MIDI Files
DigiBase supports standard MIDI files in browsers, and lets you import (drag and drop) them
directly into Pro Tools sessions. See “Drag and
Drop Features” on page 45.
Bar|Beat Display of Duration
DigiBase browsers show the length (duration) of
the following items in Bar|Beats: tick-based audio and MIDI files, region groups, REX files, and
ACID files. See “DigiBase Support for Region
Group Files” on page 37.
New Tempo Column
When showing tick-based audio and MIDI files,
region groups, REX and ACID files, DigiBase
browsers now provide a Tempo column. This
new column displays the native tempo associated with the item.
Improved Window
Management
(Windows XP Only)
Pro Tools main window displays can be independently resized and maximized, letting you
take advantage of standard Windows XP window controls while navigating through sessions.
16
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chapter 4
New Track Features
This chapter explains the following new or
changed features that relate to sessions, tracks,
and compatibility.
• Combine sounds from instrument plug-ins
and external MIDI devices, and trigger them
from the same Instrument track.
• “Instrument Tracks” on page 17
• Route and monitor audio output from instrument plug-ins or external MIDI devices.
• “Increase in Total Number of Sends Per Track
to Ten” on page 22
• “Moving and Copying Sends” on page 23
• “New Duplicate Tracks Dialog and Options”
on page 23
• “Color Coding Improvements” on page 24
• “Importing and Exporting” on page 26
Instrument Tracks
Instrument tracks are a special type of track that
provide MIDI and audio capabilities in a single
channel strip. Instrument tracks make it easy to
use software and hardware MIDI instruments,
record MIDI, and monitor audio from the instrument.
• Automate all parameters directly in the Instrument track, and record and play back
MIDI controller data on the Instrument track.
• Insert processing plug-ins to process audio
from instrument plug-ins and external MIDI
devices.
• Insert multiple instrument plug-ins in a row
so that instrument plug-ins that support (audio) input mode can be used to further process audio coming from the first instrument
on the Instrument track.
• Insert up to 10 sends on each Instrument
track to route audio to internal busses or hardware outputs.
• Use fewer total tracks per session, which
streamlines use of some system resources and
simplifies session navigation.
Instrument tracks let you do all of the following:
• Insert RTAS instrument plug-ins or assign external MIDI devices as inputs.
• Record and edit MIDI data for inserted instrument plug-ins, or trigger external MIDI devices.
Instrument tracks are supported on all versions
of Pro Tools and all supported control surfaces.
Sessions can include up to 128 Instrument
tracks with Pro Tools HD, and up to 32 Instrument tracks with Pro Tools LE and M-Powered
Chapter 4: New Track Features
17
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Instrument Tracks Quickstart
• Select the timebase (samples or ticks) from
the Track Timebase pop-up menu.
The basic procedure for using Instrument tracks
includes the following:
• Enter the number of new tracks.
• Click create.
1 Create a new Instrument track in a session.
2 Select an Instrument, by doing one of the fol-
For more information on the New Track dialog, see the Pro Tools Reference Guide.
lowing:
• Insert an instrument plug-in, such as a software synthesizer, on the Instrument track.
The track’s MIDI output is automatically
assigned to the inserted instrument plugin.
• Assign the Instrument track audio input to
the corresponding hardware inputs from
an external MIDI device, such as a hardware sampler or synthesizer, then assign
the desired MIDI output in the Instrument
track to the appropriate MIDI port and
channel for the external MIDI device.
3 Record-enable the Instrument track and play
your MIDI controller. You can now record MIDI
data to the Instrument track while playing
through the instrument plug-in or external
MIDI device.
Creating Instrument Tracks
Inserting Instrument Plug-Ins on
Instrument Tracks
To insert an instrument plug-in on an Instrument
track:
■ Click an Insert selector on the Instrument
track and select the instrument plug-in that you
want to use.
A MIDI node is automatically created and assigned as the track’s MIDI output.
Insert with instrument plug-in
Instrument track with an instrument plug-in (Digidesign
Synchronic shown)
To add Instrument Tracks to a session:
1 Choose Track > New.
New Tracks dialog.
2 In the New Tracks dialog, do the following:
• Select Instrument Track from the Track
Type pop-up menu.
• Select the track format (mono or stereo)
from the Track Format pop-up menu.
18
What’s New in Pro Tools LE 7.0
Instrument Track Display Options
Instrument tracks follow Pro Tools display settings for the Mix and Edit windows. You can
show all or some of the control sections for Instrument tracks by choosing the desired options
from the View menus, including the new Instruments View. Views can be configured for the
Mix and Edit windows separately.
What’s New in LE 7.0.book Page 19 Friday, October 21, 2005 1:54 PM
To show or hide Instruments View in the Mix or
Edit windows:
1 Choose View > Mix Window > Instruments, or
View > Edit Window > Instruments.
For more information on View options, see
the Pro Tools Reference Guide.
Instruments View Controls
MIDI Volume pop-up fader
Instruments View (View > Mix Window > Instruments, or View > Edit Window > Instruments), provides controls for Instrument tracks
that affect MIDI data or performance.
MIDI Input selector
MIDI Output selector
MIDI Volume pop-up fader
MIDI Activity LED and Velocity Meter
MIDI Pan pop-up slider
and Mute button
MIDI Activity LED and Velocity Meter Shows
MIDI input activity on the track.
MIDI Pan Pop-Up Slider Lets you view and
change the MIDI pan (MIDI controller number
10) on the track.
Instruments View (Mix window)
MIDI Input Selector Lets you view and change
the MIDI Input assigned to the track.
MIDI Output Selector Shows the current MIDI
output assignment (usually the instrument
plug-in on the track), and lets you choose a different MIDI destination to replace or add to the
current MIDI output assignment. If you insert
an instrument plug-in, or if you replace one instrument plug-in with another one, the plugin’s MIDI node will be connected automatically.
MIDI Volume Pop-Up Fader Lets you change the
MIDI volume (MIDI controller number 7) of the
track. MIDI volume data is unique from the Instrument track’s audio Volume automation.
MIDI Pan pop-up slider
MIDI Mute Button Mutes the MIDI output of the
track. MIDI mute is independent of audio mute.
Instrument Track Controls
Each Instrument track has its own set of controls for audio and MIDI. Instrument tracks can
be color coded, grouped, shown or hidden, and
support active and inactive track states.
Chapter 4: New Track Features
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Instrument Track Controls (Edit
Window)
Instrument Track Controls (Mix
Window)
MIDI Input selector
Record Enable (MIDI)
MIDI Output selector
Track View
Patch selector
Keyboard Lets you select, audition, and view
MIDI data.
MIDI Volume pop-up fader
MIDI Activity LED and Velocity meter
MIDI Input selector
MIDI Output selector
MIDI Volume pop-up fader
MIDI Activity LED and Velocity meter
MIDI Pan pop-up slider
and Mute button
Inserts
Timebase
selector
Solo (audio)
Mute (audio)
MIDI Mute button
Keyboard
MIDI Pan pop-up slider
MIDI Playlist selector
Instrument track (Edit window)
Record Enable Enables MIDI recording on the
track.
Solo Mutes post-fader audio output on all other
(un-soloed) tracks.
Mute Mutes the post-fader audio output of the
track.
Track View Selects the Instrument track’s view:
Blocks, Regions, Notes, Volume, Pan, Mute, Velocity, Pitch Bend, After Touch, Program, SysEx,
and any continuous controller type for MIDI, as
well as Volume, Pan, Mute, or any plug-in controls that have been automated for audio.
Playlist Selector Shows the main and alternate
MIDI playlists for the track.
Patch Selector Opens the Patch Select dialog
where you can specify patch, program, and bank
changes for the instrument.
Timebase Selector Sets the Instrument track’s
timebase to ticks or samples.
Automation Mode Selector Controls how the
track’s automation data is written and played
back.
20
What’s New in Pro Tools LE 7.0
Sends
Audio Input selector
Audio Output selector
Automation Mode selector
Audio Pan sliders and indicators
Record Enable (MIDI)
Solo and Mute (audio)
Output Window button
Volume Fader (audio)
Level Meters (audio)
Patch selector
Group ID
Track Type indicator
Volume indicator (audio)
Instrument track (Mix window)
Audio Input Selector Selects the audio input
path for the track. If you are using an external
MIDI instrument, select the audio input path to
which audio outputs of the MIDI instrument are
connected. For instrument plug-ins, the audio
input path is effectively bypassed.
What’s New in LE 7.0.book Page 21 Friday, October 21, 2005 1:54 PM
Audio Output Selector Selects the audio output
path for monitoring audio from the Instrument
track.
To make an Instrument track inactive or active:
1 Select the desired track.
2 Choose Track > Make Inactive or Make Active.
Automation Mode Selector Controls how the
track’s automation data is written and played
back.
Audio Pan Sliders Controls the balance between
assigned stereo audio output paths for the track.
– or –
In the Mix window, click the Instrument track’s
Track Type Indicator and select Make Inactive or
Make Active.
Record Enable Enables MIDI recording on the
track.
Instrument Tracks and Mix/Edit
Groups
Solo Mutes post-fader audio output on all other
(un-soloed) tracks.
When Instrument tracks are grouped, MIDI volume and MIDI mute states follow standard Mix
and Edit group behavior. MIDI input and output
routings do not follow grouping. Other parameters follow grouping when the control being adjusted supports grouping (such as audio mute
and solo) and when a matching parameter is
available on the Instrument track.
Mute Mutes the post-fader audio output of the
track.
Volume Fader Controls the audio volume for the
track.
Patch Selector Opens the Patch Select dialog
where you can specify patch, program, and bank
changes for the instrument.
Duplicating Instrument Tracks
When you duplicate an Instrument track, all
MIDI and audio routing as well as inserts and
sends are copied. Instrument plug-ins (if any)
are also copied in the duplicated tracks.
Active and Inactive Instrument
Tracks
Instrument tracks support Pro Tools active and
inactive states. Inactive instrument tracks gray
out, and do not consume any DSP or other system resources.
Instrument tracks support the Pro Tools
keyboard shortcut for applying edits to all
items: Alt-click (Windows) and Optionclick (Macintosh). These tracks also support
the keyboard shortcut for applying edits to
all selected items: Alt-Shift-click (Windows) and Option-Shift-click (Macintosh).
Editing Instrument Tracks
In the Edit window, Instrument tracks can be
edited just like MIDI tracks. Instrument tracks
also let you edit automation playlists just like
Auxiliary Input tracks.
For information on editing MIDI data and
automation on tracks, see the Pro Tools Reference Guide.
Chapter 4: New Track Features
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What’s New in LE 7.0.book Page 22 Friday, October 21, 2005 1:54 PM
Increase in Total Number of
Sends Per Track to Ten
Each audio, Auxiliary Input, and Instrument
track provides 10 sends for routing audio to internal busses or hardware outputs.
All 10 sends provide identical controls, routing
options and automation capabilities.
Compatibility Note
In prior versions of Pro Tools, only 5 sends are
supported per track. If you save a copy of a
Pro Tools 7.0 session as a “5.1 –.> 6.9.x” and
lower version, sends F–J will be dropped and
their automation cleared (if any).
Pro Tools LE and M-Powered 7.0 also provide an increased number of internal busses
(32 maximum instead of the previous maximum of 16). Opening a Pro Tools HD 7.0
session on a Pro Tools LE or M-Powered system will retain the first 32 internal busses,
and subsequent busses will be made inactive.
Configuring Sends View in the Mix
and Edit Windows
To show or hide Sends in the Mix window:
■ Click the Mix Window View selector (in the
lower-left corner of the screen) and choose
Sends A–E or Sends F–J.
To show or hide Sends in the Edit window:
■ Click the Edit Window View selector (in the
black Edit bar below the Zoom Presets) and
choose Sends A–E or Sends F–J.
To hide one of the Sends columns in the
Edit window (or any other column) Alt-click
(Windows) or Option-click (Macintosh) the
name of that column, near the top of the
Edit window.
Sends View Options
Sends are displayed in the Mix and Edit window
according to the Sends A–E View and Sends F–J
View options. Each Send View has six view
choices: Assignments View and five individual
Send Views (A–E or F–J).
Assignments View
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.
Audio tracks, Auxiliary Inputs, and Instrument
tracks include two sets of Sends Views: Sends
A–E (sends 1–5) and Sends F–J (sends 6–10). The
View menu provides separate options for viewing these sends in the Mix and Edit windows.
Send A, Assignment View
Send selectors
To display sends in the Mix or Edit window:
■ Choose View > Mix Window (or Edit Window) > Sends A–E (or Sends F–J).
Assignments View, no sends (left) and with an assigned
send (right)
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In Assignment View, send controls are adjusted
from Send windows.
To show all send assignments:
1 If sends are not currently visible on your
tracks, choose View > Mix Window (or Edit Window) > Sends A–E (or Sends F–J).
2 Do one of the following:
• Choose View > Sends A–E > Assignments or
View > Sends F–J > Assignments.
– or –
• When displaying sends in an individual
send view (such as Send A View), Controlclick (Windows) or Command-click (Macintosh) the Send selector and select Assignments.
Moving and Copying Sends
Sends can be moved and copied to other tracks,
or to other positions on the same track using
conventional drag and drop. Sends can be
dropped to create new sends at the destination,
or dropped onto existing send assignments to
replace them.
Sends can be moved and copied to tracks with
compatible send formats (mono or stereo).
Pro Tools alerts you when you try to move or
copy a send to an incompatible destination. (For
more information, see “Send Format and Track
Compatibility” on page 23).
To copy a send:
1 Make sure the Transport is stopped.
2 Alt-drag (Windows) or Option-drag (Macin-
tosh) the send and drop it at a new position.
Moving or copying a send maintains all routing
assignments, automation (if any),
level/pan/mute settings, and output format.
Send Format and Track Compatibility
Sends can only be copied to other tracks with a
compatible send output format (mono or stereo). In addition, the following conditions apply when moving or copying sends among
tracks:
• When copying a stereo send from a mono
track to a stereo track, Send pan automation
(if any) will be dropped without warning.
• When copying a stereo send from a stereo
track to a mono track, the left Send pan automation data is retained and the right side data
is dropped. A warning dialog appears for you
to confirm or cancel this destructive operation.
• When moving or copying a send and replacing an existing send, all automation on the
existing send will be replaced. A warning dialog appears for you to confirm or cancel this
destructive operation.
New Duplicate Tracks Dialog
and Options
To move a send:
1 Make sure the Transport is stopped.
2 Click the send name and drag it at a new po-
sition in the original track or in a different track.
The Duplicate Tracks dialog lets you define how
many copies of a track you want to create, and
specify which properties will be copied to duplicated tracks.
To duplicate tracks:
1 Select a track in the Mix or Edit window.
Chapter 4: New Track Features
23
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2 Choose Track > Duplicate. Or press
Alt+Shift+D (Windows) or Option+Shift+D
(Macintosh).
• To have the new duplicate tracks added after all currently visible tracks (to the farright in the Mix window, and at the bottom
in the Edit window), enable the option.
This lets you keep all originals tracks in
their current location (and Track number),
and keep all duplicates together below or to
the right of all previously existing tracks.
5 Click OK to duplicate tracks according to the
settings in the Duplicate Tracks dialog. Click
Cancel to close the dialog and not create duplicate tracks.
Color Coding Improvements
Duplicate Tracks
3 Configure the following options as needed:
• Enter how many copies you want to create
by typing into the Number of Duplicates
field.
• To copy the currently active (visible) Edit
playlist from the source track, enable Active Playlist.
• To copy all Edit playlists on the source
track, enable Alternate Playlists
• To copy all automation from the source
track, enable Automation.
• To copy all plug-in and insert assignments,
enable Inserts.
• To copy all sends and send assignments,
enable Sends.
• To maintain all Mix and Edit Group assignments, enable Group Assignments.
4 Configure the “Insert after last selected track”
option as desired:
• If you want the duplicate tracks to be added
next to each of the selected source tracks,
deselect the option. This lets you keep originals and their duplicates together (moving
and renumbering tracks accordingly).
24
What’s New in Pro Tools LE 7.0
Pro Tools provides new Preference options for
color coding, as well as improved tools and features in the Color Palette that let you more easily assign and manage color coding of session elements.
Region List Color Coding Option
With Pro Tools 7.0, the default color coding assignment for regions in the track playlist includes a Region List Color option. With this option selected, you can change (default) the color
of any region in the track to match its color in
the Region List.
To configure Region Color Coding default
assignment to the color of regions in the Region
List:
1 Choose Setup > Preferences > Display.
2 In the Default Region Color Coding section,
click to enable Region List Color.
See “Enhancements to the Color Palette” on
page 25 to learn how to define default colors
for regions in the Region List and how to apply them to regions in tracks.
What’s New in LE 7.0.book Page 25 Friday, October 21, 2005 1:54 PM
Enhancements to the Color
Palette
The Color Palette has an updated Apply to Selected pop-up menu and new Hold button.
Apply to Selected
Hold Default
None
Last Assigned Color
Color Palette
Enhancements to Apply to Selected
Pop-Up Menu
With Pro Tools 7.0, regions in tracks and the Region List can be independently color coded. The
Apply to Selected pop-up menu in the Color Palette includes the following new options
Regions in Tracks Lets you apply a chosen color
to regions in the currently selected track without changing the color of corresponding regions
in the Region List.
Regions in Region List Lets you apply a chosen
color to regions currently selected in the Region
List without changing the color of corresponding regions (copies) in tracks.
• Select a track, marker, group, track region
or Region List region in the appropriate
Pro Tools window. The Apply to Selected
menu will display the type of item you
have selected.
If selecting a marker does not display the
Marker option in the Apply to Selected popup menu, then the Always Display Marker
Colors option in the Display Preferences
page is deselected. See the Pro Tools Reference Guide for more information.
3 Select a color from the palette, or select one of
the following:
Default Removes any custom coloring and restores the color to the default color orientation.
None Turns off color assignment. Affected regions are drawn with black waveform or MIDI
notes on light gray background. Affected tracks
and groups no longer show their color bars.
New Hold Button
The Color Palette provides a Hold button to simplify the process of assigning colors.
Hold
To apply a color from the Color Palette:
1 Choose Window > Color Palette.
2 Do one of the following:
• In the Apply to Selected pop-up menu, select the destination for color coding:
Tracks, Markers, Group, Regions in Tracks,
or Regions in Region List.
– or –
Last Assigned Color
Color Palette
By default, the Hold button is off. When off, the
Color Palette automatically highlights the assigned color (if any) of items as you select them.
When the Hold button is enabled, the assigned
color selected in the Color Palette persists and
does not change when a different track or region
is selected.
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To use the Hold button to assign the same color to
multiple items:
Importing Markers Using Import
Session Data
1 Click the Hold button to enable it. The Hold
button becomes white, and the currently selected color is now highlighted with a wider
white outline.
Pro Tools 7.0 lets you import Markers/Memory
Locations from one session into the current session.
2 Select additional tracks or regions to which
you want to assign the same color. Because the
Hold button is enabled, the Color Palette does
not follow item selection; it remains (or
“holds”) at the last currently assigned color.
3 Click the assigned color again to assign it to
the new selection of tracks or regions. Use the
Apply to Selected pop-up menu to determine
which selected elements are affected.
4 To turn off Hold and return the Color Palette
to its default mode of color-selection-followsitem-selection, click the Hold button until it
turns off.
To import Markers/Memory Locations:
1 Choose File > Import Session Data.
2 Enable the Markers/Memory Locations option
to import all markers and memory locations
from the imported session into the current session. Markers will be added after any existing
markers or memory locations.
3 Configure other Import Session Data settings
as needed (for details, see the Pro Tools
Reference Guide).
4 Click OK to import data to the current session.
Importing Audio from Audio CDs
on Windows XP
Importing and Exporting
Pro Tools 7.0 provides the following new file importing and exporting features.
REX and ACID File Support
Pro Tools lets you import and export REX and
ACID files. For information on REX and ACID
files, see “Region Groups” on page 29.
Importing AAC Files
Pro Tools 7.0 adds new support for AAC audio,
including audio with AAC, Mp4, and M4a file
extensions.
Pro Tools cannot import protected AAC or MP4
files with the M4p file extension. These files are
protected under the rules of digital rights management, and cannot be imported.
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What’s New in Pro Tools LE 7.0
Pro Tools 7.0 and DigiBase support importing
audio from Red Book audio CDs on Windows
XP. This lets you import audio CD tracks from
the Workspace directly into Pro Tools sessions
and browsers, with look-up of CD metadata
through supported Windows XP protocols.
AAF Files with Embedded Audio
(DigiTranslator Only)
With Pro Tools HD 7.0 and DigiTranslator, you
can import or export AAF files with embedded
audio.
See the DigiTranslator Guide for more information.
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New Drag and Drop Features
You can import audio and many other types of
items using drag and drop. This is the fastest
way to import loops and samples while creating,
composing, and editing.
New drag and drop features include the following:
• Support for drag and drop of MIDI, region
group, REX, and ACID files.
• Drag and drop items directly from Windows
Explorer or Macintosh Finder with enhanced
capabilities to create new tracks with drag and
drop.
• Timeline Drop Order modes for dropping
multiple Region List items to a single track or
to multiple tracks.
• Drag and drop to plug-ins.
For more information, see “Drag and Drop
Features” on page 45.
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chapter 5
Audio and MIDI Features for Composition
This chapter describes the following new and
changed audio and MIDI features that enhance
composition, arranging, and spotting in
Pro Tools 7.0.
• “Region Groups” on page 29
• “Importing REX Files” on page 38
• “Importing ACID Files” on page 39
• “Region Looping” on page 40
• “Special Cut, Copy, Paste, and Clear Commands” on page 44
• “Drag and Drop Features” on page 45
• “Link Track and Edit Selection” on page 47
• “Zoom Enhancements” on page 48
• “Additions to Strip Silence” on page 51
• “Additions to Separate Regions” on page 52
Region Groups
A region group is a collection of any combination
of audio and MIDI regions that looks and acts
like a single region. Region groups can be created on a single or on multiple adjacent audio,
MIDI, and Instrument tracks. Region groups let
you “nest” multiple regions into “macro” regions for groove and tempo manipulation, editing, and arranging.
Region groups are essentially containers holding
one or more regions. Region groups can be
placed on tracks alongside standard regions, and
edited using many of the same Pro Tools editing
techniques. Certain edits to a region group will
apply to all regions contained by the region
group, such as Cut or Delete. Other edits only
apply to the boundaries off the region group
and do not affect the underling regions, such as
Trim.
Region groups are particularly useful for:
• Grouping tick-based audio regions that have
been separated into many small regions, such
as with individual hits of a drum pattern.
Many such small regions can easily be created
with Beat Detective or the Separate Region At
Transients command, or imported as REX and
ACID files.
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• Grouping parts and sections to facilitate composition and arranging. For example, grouping the regions of a brass section during the
chorus to copy it to the next chorus.
The region group will appear as one region with
a region group icon in the lower left corner. Region groups also appear in the Region List.
Region groups have no relation to and are
completely independent of Mix and Edit
Groups.
The region group file type is identified with an
.rgrp extension and has its own icon.
Region group icon
A region group on an audio track and in the Region List
Region Group Timebase Format
Region group file icon
Creating Region Groups
Region groups are created in the same timebase
format (samples or ticks) as the tracks they are
on. Multitrack region groups can include both
sample-based and tick-based tracks.
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 31).
The size of the selection determines the size of
the region group. The selection can start and
end on any region boundary, empty space, or
even in the middle of a region. Selections starting or ending within a region will separate the
region at the selection boundary when you create a region group. Region groups created from
object-based selections include all regions between the first and last selected region on the
track whether they are selected or not.
Audio region group icon
A region group on an audio track
MIDI region group icon
A region group on a MIDI track
Region groups can be created from empty selections. This can be useful when working
in Shuffle mode to preserve the gaps between
regions.
Selecting regions to be grouped on a single audio track
2 Choose Region > Group.
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What’s New in Pro Tools LE 7.0
The Group and Ungroup Regions commands apply to any Time or Edit selection
regardless of the current Track View.
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Ungrouping Regions
To ungroup a region group:
1 Select a region group.
2 Choose Region > Ungroup.
The region group disappears, revealing all underlying regions and any nested region groups.
When there are multiple nested region groups,
the Ungroup command ungroups the frontmost top-layer region group only, preserving
any underlying region groups.
To ungroup all a region group, including all of its
nested region groups:
1 Select a region group.
2 Choose Region > Ungroup All.
Regrouping Regions
The Regroup command undoes the last Ungroup command and regroups the individual regions back to their former region group state.
This lets you ungroup a grouped region, edit its
underlying regions in any way desired, and regroup it to continue working on higher-level
composition and arranging.
4 Do one of the following:
• Choose Modify to apply your changes to all
other instances of the same region group.
• Choose Copy to create a copy and apply
your changes only to the copied region
group.
Multitrack Region Groups
Multitrack region groups (region groups created
across multiple tracks) are useful for grouping
parts, such as multi-miked drum tracks, and for
composing and arranging. Multitrack region
groups can be created across any combination of
audio, MIDI, and Instrument tracks, and can include either or both tick-based or sample-based
tracks.
Multitrack region groups work much like singletrack region groups. Multitrack region groups
appear as a single object across adjacent tracks.
To create a multitrack region group:
1 Select regions across multiple adjacent tracks.
To regroup a region group:
1 Select any region from the ungrouped region
group.
2 Choose Region > Regroup.
If you used the Ungroup All command, the Regroup command recreates all previous nested region groups.
3 If you regroup an ungrouped region group
that is used more than once in the session, the
Change All dialog opens.
Selecting regions to be grouped across multiple tracks
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2 Choose Region > Group.
Multitrack region groups create nested region groups of multiple regions by track before grouping them across tracks.
The Regroup command supports multitrack
region groups.
Separated Multitrack Region Groups
Region group icon
Multitrack region group (audio regions only)
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.
Separated region group icon
Region group separated by deleting a track
Mixed region group icon
Mixed multitrack region group (sample- and tick-based
audio, and tick-based MIDI)
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A region group is separated when you do any of
the following:
• Insert a track within a multitrack region
group.
Changing Region Group Timebase
The timebase format of a region group can be
changed by:
◆
• Move a track that is part of a multitrack region
group so that it is no longer adjacent with the
other tracks of the region group.
• Hide a track that is part of a multitrack region
group.
• Delete a track that is part of a multitrack region group.
• Change the tempo of a mixed sample-based
and tick-based region group.
• Record into a region group.
• Change playlists on a track that is part of a
multitrack region group.
There may be situations where you want separated region groups. For example, if you use the
same accompaniment on verses one and two of
a song, you can group the parts of verse one and
copy them as a region group for verse two, but
still have a continuous vocal track in the middle
of those region groups.
If you want to delete a track and keep the region group intact, first ungroup the region
group, then delete the desired track, and
then Regroup the region group. The region
group will be recreated intact, but without
the deleted track.
Changing the track’s timebase.
◆ Dragging the region group to a track with a
different timebase.
Changing the timebase creates a copy of the
original region group. Both region groups (the
original and the copy) appear in the Region List,
but they have different timebases.
Converting Samples to Ticks
When dragging a region group from a samplebased track to a tick-based track, the length of
the region group will not change. This is because region groups are converted from samples
to ticks after they are moved into tick-based
tracks. The length of the region group will only
change with subsequent tempo changes. If possible, change the local tempo on the tick-based
track to match the tempo of the sample-based
region group before moving a sample-based region group to a tick-based track.
Converting Ticks to Samples
When dragging a region group from a tick-based
track to a sample-based track, the length of the
region group will not change unless it is moved
to another time location with a different tempo.
This is because region groups are converted
from ticks to samples after they are moved into
the sample-based tracks.
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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. Changing the
tempo will break the region group between sample-based tracks and tick-based tracks.
Editing Region Groups
Region groups are edited in much the same way
as regular regions: They can be named, moved,
cut, copied, pasted, trimmed, muted, locked,
and so on. However, there are a few significant
differences between editing regular regions and
region groups.
Editing MIDI Region Groups
A multitrack region group separated across samplebased and tick-based tracks after changing tempo
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 is useful for arranging rhythmic material
and for playing back REX and ACID files.
If a MIDI region within a region group is modified in any way, a new region copy is created
and placed over of the region group. For example, if you record, draw in a new note, edit MIDI
controller data, or Quantize a Timeline selection, a new region is created over the region
group.
To avoid creating new regions over region
groups when editing, ungroup the region
group, make the desired edits, then regroup
the region group.
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.
The following edit commands create new regions over region groups:
• AudioSuite processing of a grouped region results in a new region over the region group.
A region group on a tick-based audio track 120 BPM
and at 160 BPM
• Consolidating a selection of a grouped region
creates a new audio file and region over the region group.
• Recording into a region group creates a new
audio file and region over the region group.
• Pencil tool waveform redraw results in a new
region over the region group.
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Tabbing to Transients and Region Boundaries
With Tab to Transients enabled, the Tab key
moves the Location Cursor to transients and region boundaries within a region group.
With Tab to Transients disabled, the Tab key
moves the cursor to region group boundaries
only (and the sync point, if present).
Fades and Crossfades on Region
Groups
Region groups can have fades and crossfades
just like regular regions. Fades only apply to audio regions. In addition to crossfading between
region groups, you can also crossfade between
region groups and regular audio regions.
Trimming Region Groups
Trimming region groups works the same way as
trimming regular regions, regardless of whether
the you are trimming a single-track region
group or a multitrack region group. The exception is the TCE Trim Tool.
Trimming a region group does not trim the underlying regions. All underlying regions retain
their length and location. This is true for all underlying audio and MIDI regions, and nested region groups. Consequently, if you trim the region group shorter, underlying regions may not
be heard on playback because they are outside
the region boundaries of the trimmed region
group.
The TCE Trim Tool applies only to audio regions, and creates a new region over any region
group.
If you Ungroup after trimming a region group in
(shorter), audio regions falling outside of the
bounds of the current region group are trimmed
to fit and removed.
Recording
When recording audio or MIDI, new regions are
created over (in front) of region groups instead
of being included in the region group. To record
into a region group, first ungroup the region
group, then record, and then regroup the region
group. The region group will be recreated intact
with the newly recorded material.
Two multitrack region groups with crossfades on the
audio tracks, but not on the MIDI track
Ungrouping a region group removes any region group level fades or crossfades. Fades
and crossfades are restored by the Regroup
command.
Import and Export of Region
Group Files
Pro Tools can export and import the new region
group file format (.rgrp). The ability to import
and export these files lets you do the following
benefits:
• Separate region group metadata from audio
files to avoid unnecessary file copy operations when exporting audio region groups
composed from multiple source files
• Export MID data as part of a region group
• Create multitrack loops
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Region group files store the following metadata:
• References to all audio files within the region group
• Region names and relative location in
tracks
• Fades and crossfades
• Region group names and format (single or
multitrack)
• All MIDI data present in the region group
(such as notes, controllers, and Sysex)
• Track names
Region group files do not store the following:
• Automation
• Plug-ins
• Track routing
• Tempo and Meter map
• Region List information
3 The Destination Directory defaults to the
auto-created Region Groups folder in the session
folder. You can change the Destination Directory by clicking the Choose button, navigating
to the desired location, and clicking Choose.
Click Reset to reset the Destination Directory to
the default location.
4 Enable one of the following options for resolving duplicate region group file names:
• Prompting for Each Duplicate (default)
• Auto Renaming
• Replacing with New Files
5 Click OK.
To import a region group:
1 Choose File > Import > Region Groups.
2 Navigate to and select the desired region
group for import.
To export a region group:
1 Select one or more region groups in the Re-
gion List.
2 From the Region List pop-up menu, choose
Export Region Groups. The Export Region
Groups dialog opens.
Export Region Groups dialog
36
What’s New in Pro Tools LE 7.0
3 Click Import.
– or –
Drag and drop the region group file from a
DigiBase browser or from Windows Explorer or
Macintosh Finder to the Timeline, a track, the
Track List, or the Region List.
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Dropping a region group has the following different results depending on where you drop it:
To export a region group to a different hard drive
and include its audio files:
• When dropping a region group in a track,
Pro Tools checks for the matching track format, number of channels, and (in the case of
multitrack region groups) if there are enough
matching adjacent tracks to import the region
group file. If these criteria match, the region
group is imported and spotted to the drop location in the track or tracks.
1 Export one or more region groups to the de-
• Dropping a region group on the Timeline or
on the Track List creates new tracks for the imported region group.
• Dropping a region group in the Region List
adds a new region group in the Region List.
All audio and MIDI regions, and even other
region groups, contained within the dropped
region group also appear in the Region List.
Exporting Region Groups to Another Hard Drive
Generally, if you are exporting region groups to
another hard drive, you should copy any referenced audio files. This way you can move region
groups not only from one session to another,
but from one system to another.
sired drive.
2 Create a new session on the new drive and en-
able the Automatically Copy Files on Import
preference.
3 Import all previously exported region groups.
The audio files folder of the new session now
contains all files referenced by the region
groups.
DigiBase Support for Region
Group Files
In DigiBase browsers, region group files display
a unique icon and include the following information (see “Region group files displayed in a
DigiBase browser” on page 37):
Duration As measured in the last specified
(saved) timebase.
Kind Region Group File.
Number of Channels Can include multitrack region groups, indicated in the number of audio
(n A) and the number of MIDI and Instrument
tracks (n M).
Format Region Group.
Figure 1. Region group files displayed in a DigiBase browser
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Importing REX Files
The REX file format was invented by Propellerhead Software. REX files are created exclusively
with their ReCycle application and consist of
both audio data and metadata. REX file metadata includes slice (like a Pro Tools region) and
tempo information. REX files are typically edited into small slices (regions) so that when you
put them on a tick-based audio track the slices
adjust with changes in tempo.
Pro Tools lets you import two different REX file
formats: .rex and .rx2. The original REX file format (.rex) stores uncompressed PCM audio data
and only supports mono. The REX 2 file format
(.rx2) supports mono or stereo and also stores
compressed PCM audio data and metadata.
Pro Tools lets you import both REX and REX 2
file formats.
To import a REX file into Pro Tools:
■ Drag and drop the REX file from a DigiBase
browser or from Windows Explorer or Macintosh Finder to a track, the Track List, the Timeline, or the Region List.
The REX file is converted to a region group on
import, and all its slices are converted into individual audio files and regions.
Larger REX files may contain many audio
regions that can quickly fill up the Region
List. To hide these individual audio regions,
deselect Show > Auto-Created in the Region
List pop-up menu.
REX files can be previewed in DigiBase
browsers just like regular audio files. Playback speed of REX files when previewed in
browsers follows the tempo at the current
insertion point or selection start.
DigiBase Support for REX Files
In DigiBase browsers, REX files display a unique
icon and the following information:
Duration As measured in the last specified
(saved) timebase.
Kind Audio File.
Format AIFF (REX 1 files) or ReCycle (REX 2
files).
Figure 2. REX files displayed in a DigiBase browser
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Importing ACID Files
The ACID file format was created as a “stretchable” and “tunable” format for Sony ACID®
software. ACID files are created by Acid and consist of the original audio data (WAVE files) plus
metadata about tempo, number of bars, pitch,
and slice information. ACID files may not always contain slice metadata. If this information
is not available, you may need to manually slice
the imported file (using, for example, the Separate Regions At Transients command or Beat Detective).
DigiBase Support for ACID Files
In DigiBase browsers, ACID files display a
unique icon and the following information:
Duration As measured in the last specified
(saved) timebase.
To import an ACID file into Pro Tools:
■ Drag and drop the ACID file from a DigiBase
browser or from the Desktop to the Timeline, a
track, the Track List, or the Region List.
If slice metadata is present in the ACID file, it is
converted and imported as a region group, and
all slices are converted into individual audio
files and regions. If slice data is not available, it
is imported as a regular audio file.
ACID files can be previewed in DigiBase
browsers just like regular audio files. Playback speed when previewing ACID files that
contain slice data follows the tempo at the
current insertion point or selection start.
Use the Separate Region At Transients command or Beat Detective to slice an unsliced
ACID file.
Kind Audio File.
Format Wav (Wave ACID) or Wav (WAVE).
Sliced ACID files display WAV (Wave ACID) in
the Format column. ACID files with no slice
data display Wav (WAVE) in the Format column.
Figure 3. ACID files displayed in a DigiBase browser
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Region Looping
Audio regions, MIDI regions, and region groups
can all be looped using the Loop and Unloop Region menu commands. 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 traditional Pro Tools Repeat
and Duplicate Edit menu commands.
When looping regions, you can specify the
number of loops, the loop length, or enough to
fill the specified Loop Length (such as 30 seconds or until the next region on the track). The
source region is the original region selected for
looping. Loop iterations are all looped regions
following the source region. In cases where a
specific number of repetitions has not been indicated, the last loop iteration will be truncated
to fill to the end of the selection or specified
Loop Length.
Once looped, the looped region can be edited
much like a region group. For example, selecting
and moving a looped region selects and moves
the source region and all its loop iterations together.
You can select regions across multiple tracks
for looping.
Selecting and looping more than one region
on a track will loop only the first region in
the selection.
Looping a region does not loop any automation associated with the source region. Use
the Copy Special and Paste Special Repeat
To Fill Selection commands to copy automation for the source loop to all loop iterations (see “Automation and Looped Regions” on page 43).
Creating Looped Regions
Looped region
To loop a region:
Source region
Loop iterations
1 Select an audio or MIDI region, or region
group.
2 Choose Region > Loop. The Region Looping
dialog opens.
Loop icons
Looped region
Region Looping dialog
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3 Do one of the following:
• Select the Number of Loops option and enter the number of times to loop the region.
• Select the Loop Length option and enter
the duration according to the main timebase. If the duration is not an exact multiple of the source loop’s duration, the last
loop iteration will be truncated.
• Select the Loop Until End of Session or
Next Region option. The looped region will
be repeated until the end of the session, or
until the next region on the track. The last
loop iteration will be truncated to fit.
4 If desired, select the Enable Crossfade option.
This will create a crossfade at the loop point. To
edit the loop crossfade:
Looped regions (all iterations) display a Loop
icon in the lower, right corner.
To edit the Region Looping dialog settings for a
looped region, do one of the following:
■ Select the looped region and choose Region >
Loop Region.
– or –
■
Double-click the loop icon with the Grabber.
To unloop a looped region:
1 Select the looped region.
2 Choose Region > Unloop. The Unloop Re-
gions dialog opens.
• Click the Settings button.
• Configure the Loop Crossfades dialog as
desired.
• In the Loop Crossfade dialog, click OK.
Unloop Regions dialog
3 Do one of the following:
• Click Remove to unloop and remove all
loop iterations except the first full loop iteration.
– or –
• Click Flatten to unloop and create individual regions from each loop iteration.
Region Ungroup functions on loops the
same as using the Unloop command and
choosing Flatten.
To unloop and ungroup a selection down to its
individual regions:
Loop Crossfade dialog
5 Click OK.
1 Select a looped region that contains one or
more region groups.
2 Choose Region > Ungroup All.
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Editing Looped Regions
Tabbing to Transients and Region Boundaries
Looped regions can be edited as a group or as individual regions. For example, selecting a
looped region with the Grabber Tool will select
the entire loop (the source region and all its loop
iterations), but clicking the Loop icon of one of
the loop iterations will select only that one iteration.
Tab to Transients tabs to transients and region
boundaries in a looped region. Normal Tab (Tab
to Transients disabled) tabs to the start and end
boundaries of the entire looped region.
Moving a looped region moves the source region and all its looped aliases together as a
group. Loop iterations cannot be moved independent of their source region. If you move or
paste another shorter region over of a looped region the loop is continued after the new region.
The parts of a separated looped region can be adjusted independently.
Trimming Looped Regions
Trimming looped regions can be done using the
Trim tool, the Loop Trimmer, or one of the Trim
Region commands. The Trim Tool trims the entire looped region. The Loop Trimmer provides
the most unique feature of loop editing and
trims the duration of the individual loop iteration while filling the total length of the looped
region.
To trim a looped region as a group:
To select a looped region as a group, do one of the
following:
With the Grabber or Smart Tool, single-click
the looped region.
■
1 Select the Standard or Scrub Trim Tool.
2 Trim the start or end of the looped region as
desired.
– or –
■ With the Selector, double-click the looped region.
Trimming a looped region with the Standard Trim Tool
The source region and all its loop iteration will
be selected.
To select an individual source region or loop
iteration, do one of the following:
■ With the Grabber or Smart Tool, single-click
the Loop icon of the source region or loop iteration.
Hold down the Start key on Windows, or
the Control key on Macintosh, while trimming to trim in loop iteration increments.
Trimming a loop does not trim any underlying Fades.
– or –
With the Selector Tool, single click the
Looped Region icon and drag to the left until
the region is selected.
■
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What’s New in Pro Tools LE 7.0
The TCE Trimmer unloops and consolidates the looped region.
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To trim a looped region using the Loop Trimmer:
1 Select the Standard or Scrub Trim Tool.
2 Move the cursor over a Loop icon in the
looped region. The cursor changes to the Loop
Trimmer icon.
Loop Trimmer
Trimming a loop using the Loop Trimmer
If the source region is extended to the left using
the Trimmer tool for the total length of the
loop, the source region is moved earlier in the
Timeline and loop iterations fill in up to the
point where the last original loop iteration
ended. If the trim to the left is part of the source
region’s length, the source region is not moved
and a partial loop iteration is created to the left
of the source region. This is a powerful feature
that lets you make quick changes to your arrangement by using partial loops as upbeats, or
by extending looped sound effects or ambience
earlier in a film score.
Automation and Looped Regions
3 Trim the start or end of the loop iteration as
desired.
Looped region trimmed using the Loop Trimmer
The number of repetitions of the trimmed loop
increases or decreases to fill the length of the entire looped region.
To trim a looped region to selection:
1 Use the Selection Tool to make an Edit selec-
tion including some or all of the looped region.
Looping an audio region does not loop any automation associated with the source region.
This is useful in that automation can be applied
across an entire looped region. For example, you
may want to have a long fade across part or all of
the looped region.
You can also repeat automation on individual
loops. Use the Copy Special and Paste Special
Repeat to Fill Selection commands to copy and
paste any or all automation data from the source
region to some or all of its loop iterations.
Looped MIDI regions always loop all MIDI
data within the region, including all continuous MIDI controller data (such as pitch
bend, modulation, and volume).
2 Choose Edit > Trim Region, and one of the following Trim Region commands:
• To Selection.
• To Fill Selection.
• Start to Fill Selection.
• End to Fill Selection.
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To copy and paste automation from the source
region to loop iterations:
1 Select the source region.
Pan Automation Cuts only pan automation or
MIDI pan data whether it is shown or not.
2 Choose Edit > Copy Special > All Automation,
Plug-In Automation Cuts only the plug-in automation that it is shown.
or Pan Automation, or Plug-In Automation, depending on what automation you want to copy.
Copy Special
All Automation Copies all automation or MIDI
controller data whether it is shown or not.
Selected Pan automation for Special Copy
3 Select the looped region.
4 Choose Edit > Paste Special > Repeat to Fill Selection.
Pan Automation Copies only pan automation or
MIDI pan data whether it is shown or not.
Plug-In Automation Copies only the plug-in automation that it is shown.
Paste Special
Merges Pastes the MIDI note data from the clipboard to the selection and merges it with any
MIDI note data in the current selection.
Pan automation Special Paste to Fill Selection
Special Cut, Copy, Paste, and
Clear Commands
The Edit menu commands, Cut Special, Copy
Special, Paste Special, and Clear Special are provided for editing automation playlists (volume,
pan, mute, and plug-in automation) on audio,
Auxiliary Input, Master Fader, and Instrument
tracks. The commands can also be used for MIDI
controller data.
You cannot paste MIDI controller data to
automation data nor automation to MIDI.
Repeat to Fill Selection Repeatedly pastes the
automation data or MIDI controller data from
the clipboard to fill the selection. This command makes it easy to fill passages with room
tone, ambience, or musical loops in a single
command.
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 Pan automation to Plug-In
automation. Or, you can copy MIDI volume
data and paste it to MIDI pan.
Clear Special
Cut Special
All Automation Cuts all automation or MIDI
controller data whether it is shown or not.
All Automation Clears all automation or MIDI
controller data whether it is shown or not.
Pan Automation Clears only pan automation or
MIDI pan whether it is shown or not.
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Plug-In Automation Clears only the plug-in automation that it is shown.
Drag and Drop Features
Drag and Drop from Windows
Explorer or Macintosh Finder
Pro Tools lets you drag and drop audio, MIDI,
region group, REX, and ACID files from Windows Explorer or Macintosh Finder to the Timeline or Region List. You can also drag and drop a
Pro Tools session file to the Timeline to open
the Import Session Data dialog.
Drag and Drop from the Region
List
Top to Bottom When enabled, regions spread
across multiple destination (drop) tracks or on
new tracks (when dragging to the area below the
last track or to the Track List).
Left to Right When enabled, regions are placed
sequentially in a single destination (drop) track
or on a new track (when dragging to the area below the last track or on to the Track List).
To set the Region List Drop Order:
■ Choose Region List > Timeline Drop Order,
and then Top to Bottom or Left to Right.
To drag and drop multiple items from the Region
List to multiple new tracks:
1 From the Region List pop-up menu, choose
Timeline Drop Order > Top to Bottom.
2 Search and sort the Region List if desired to
Multiple regions can be selected in the Region
List and dragged to the Timeline in order to
place multiple regions in a single track, or place
each region in its own new track, in one operation.
Region List Timeline Drop Order
Command
The Timeline Drop Order command sets
whether regions dragged from the Region List
are dropped sequentially in a single track or
spread across multiple tracks. You can drag and
drop multiple audio or MIDI regions or region
groups. Multiple items can be dropped to create
new tracks for the items, or to place items in existing, compatible tracks.
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 new tracks and place items to a
specific location, drop items at the desired
location along the area below the last track.
• To create new tracks and have items placed
at the start of the session, drop the items on
the Track list.
The Region List pop-up menu provides the
Timeline Drop Order command and submenu
with the following two choices:
New tracks after dropping multiple Region List items,
with Timeline Drop Order set to Top to Bottom mode
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To spot multiple items across multiple existing
tracks:
1 From the Region List pop-up menu, choose
Timeline Drop Order > Top to Bottom.
2 Select multiple items in the Region List and
drop them in the playlist of a compatible track
at the desired location. When the cursor is over
a compatible destination, the region outlines
appear at the location.
To drag and drop multiple items from the Region
List to a single track:
1 From the Region List pop-up menu, choose
Timeline Drop Order > Left to Right.
2 Search and sort the Region List if desired to
configure the order in which items will be
placed.
If the selected items include mixed types of regions (such as audio and MIDI, or region groups
and MIDI) the appropriate track types will be
created and each corresponding item will be
placed in them. Similarly, if the selected items
include multiple formats (mono or stereo) new
tracks of each format will be created and those
regions placed in them.
Drag and Drop to Plug-Ins
Audio files can be dragged from any DigiBase
browser to a plug-in window to quickly load
samples into plug-ins, such as Digidesign Synchronic. You can also drag and drop MIDI data
from a plug-in to the Timeline, Track List, or to
the Region List. Check with the plug-in manufacturer as to whether or not your plug-in supports drag and drop with Pro Tools.
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 desired location in the area below the last track
shown in the Edit window.
• To create a new track and have the first
item placed at the start of the session, drop
the items on the Track list.
• To place items in an existing track, drop the
items in the Edit playlist for the desired
track.
DigiBase Support for Standard
MIDI File Drag and Drop
DigiBase supports standard MIDI files as well as
audio files and region groups. MIDI files can be
dragged from browsers and dropped into
Pro Tools sessions.
Drag and Drop to Track List to
Create New Tracks
Pro Tools creates new tracks when you drag
items (regions, region groups, audio files, or
MIDI files) from the Region List, browsers, or the
desktop, to the Track List.
In previous versions of Pro Tools, the Tracks
List was known as the Show/Hide List.
New tracks created by dropping multiple Region List
items with Timeline Drop Order set to Left to Right
mode
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To import items as new tracks using drag and
drop:
1 Select items in the Region List, browsers, or on
the desktop.
To preview an audio file from Windows Explorer:
■ While Pro Tools is launched, double-click an
audio file.
– or –
2 Drag the items and drop them onto the Track
List.
■ Drag an audio file onto the Pro Tools application icon.
A DigiBase browser window opens, with the file
selected and it's directory displayed, and the file
begins playing back.
To preview an audio file from Macintosh Finder:
■ While Pro Tools is launched, double-click an
audio file.
– or –
Tracks list
Browser
Dragging an audio file from a DigiBase browser and
dropping it on the Tracks list
Pro Tools creates new tracks (below the currently selected track in the Edit window or to
the right of the currently selected track in the
Mix window), and places the items you dropped
into the new tracks.
Preview Files from Windows
Explorer or Macintosh Finder
Pro Tools lets you preview files from Windows
Explorer or Macintosh Finder.
To preview an audio file by double-clicking
it in Windows Explorer or Macintosh
Finder, the audio file must be set to open in
Pro Tools. Select Pro Tools as the application to use in Properties dialog (Windows)
or the Info dialog (Macintosh).
■ Drag an audio file onto the Pro Tools application icon in the Finder or in the Dock.
A DigiBase browser window opens, with the file
selected and it's directory displayed, and the file
begins playing back.
Link Track and Edit Selection
Link Track and Edit Selection links or unlinks
the Track selection with Edit selections. When
Link Track and Edit Selection is enabled, you
can make an Edit selection within a track or
across multiple tracks and each associated track
is selected. This lets you quickly apply tracklevel commands (such as Track View toggle or
change track heights) to have the command apply to all selected tracks (using Alt+Shift on
Windows or Option+Shift on Macintosh). For
example, you can make an Edit selection in a
track with Link Track and Edit Selection en-
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abled, and then apply the Duplicate Tracks command to duplicate the track. Conversely, you
can select one or more tracks to make an Edit selection of the entire track.
Linking the Track and Edit selection can be
useful for switching from region-based RealTime Properties to track-based Real-Time
Properties (see “MIDI Real-Time Properties”
on page 53).
When Link Track and Edit Selection is disabled,
making an Edit selection does not automatically
select all associated tracks.
Zoom Enhancements
Pro Tools 7.0 provides enhancements to Zoom
Toggle and continuous zooming, to streamline
audio and MIDI editing.
To enable Link Track and Edit Selection:
Select Options > Link Track and Edit Selection.
■
– or –
■ Click the Link Track and Edit Selection button.
Enhancements to Zoom Toggle
MIDI editing frequently involves repeatedly
switching back and forth between different
views of data such as zoom states, track heights,
and track views. The Zoom Toggle feature has
been improved to simplify MIDI display and editing.
Link Track and Edit Selection button
The Zoom Toggle lets you define and toggle between zoom states directly from the Edit window, with enough flexibility and control to provide separate track views for audio, Auxiliary
Input, and Master Fader tracks, and MIDI and
Instrument tracks.
Zoom Toggle Parameters
The Zoom Toggle stores and recalls the following parameters:
• Track Height
• Display mode (track view)
• MIDI and Audio Zoom In and Out
• Horizontal Zoom
• Grid setting
The Zoom Toggle lets you set separate track
heights for audio, Auxiliary Input, and Master
Fader tracks, and MIDI and Instrument tracks.
Link Track and Edit Selection toggle
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Using Zoom Toggle
To modify the stored Zoom Toggle state:
The Zoom Toggle button in the Edit window lets
you define a zoom state and toggle between it
and the current zoom state. When Zoom Toggle
is enabled, the Edit window displays the stored
zoom state. When Zoom Toggle is disabled, the
Edit window reverts to the last zoom state.
1 Make sure the Zoom Toggle button is lit (en-
To store a zoom state using Zoom Toggle:
1 Make an Edit selection.
2 Click the Zoom Toggle button. It will light to
indicate that Zoom Toggle is enabled.
abled).
2 Adjust Track Height, Vertical Zoom, Track
view, and the Grid as desired. As you adjust settings they are stored as the new Zoom Toggle
state.
– or –
Click and hold the Zoom Toggle button select
one of the following options from the Zoom
Toggle pop-up menu:
• Zoom Toggle In
• Zoom Toggle Out
• Cancel Zoom Toggle
Zoom Toggle button
Zoom Toggle button in the Tool bar
Zoom Toggle pop-up menu
3 Adjust Track Height, Vertical Zoom, Track
view, and the Grid as desired.
To clear the stored Zoom Toggle state:
4 Click the lit Zoom Toggle button again to re-
1 Make sure the Zoom Toggle button is lit (en-
vert to the last zoom state.
abled).
5 Make another Edit selection and click the
2 Alt-click (Windows) or Option-click (Macin-
Zoom Toggle button to recall the stored zoom
state and continue editing.
tosh) the Zoom Toggle button.
In Command Keyboard Focus mode, press
the E key to enable or disable Zoom Toggle.
– or –
Select Cancel Zoom Toggle from the Zoom Toggle pop-up menu.
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Continuous Zoom with the Zoomer
Tool
You can use the Zoomer tool to zoom in or out
continuously.
To use continuous zoom:
1 Select the Zoomer tool.
To store a view as a Zoom preset:
1 Use the Zoomer tool to configure the Track
view as desired.
2 Click and hold one of the Zoom Preset but-
tons (1–5) and choose Save Zoom Preset from
the Zoom Preset pop-up menu. The Zoom Preset
button flashes momentarily, and any previously
stored zoom preset at that number is replaced.
2 Hold the Start key (Windows) or Control
(Macintosh) and do one of the following:
• Drag up to zoom in vertically
• Drag down to zoom out vertically
• Drag to the right to zoom in horizontally
• Drag to the left to zoom out horizontally
Zoom Preset pop-up menu
For horizontal zoom, all tracks zoom together.
Tracks will zoom in or out centered horizontally
on the location where you click.
Zooming In or Out of All Audio Tracks
Continuously
The continuous zoom feature usually only affects the track or group of tracks in which you
click and drag. When using continuous zoom
on audio tracks, you can choose to have all
shown audio tracks zoom as one.
To vertically zoom all audio tracks using
continuous zoom:
1 Select the Zoomer tool.
■ 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.
MIDI Zoom and View
Improvements
Pro Tools 7.0 introduces several improvements
to how MIDI data is displayed and accessed, including the following:
2 Press Start+Shift (Windows) or Control+Shift
(Macintosh) and drag up or down. When you release the mouse, all shown audio tracks will
zoom to the same zoom level.
• Marquee Zoom support for Horizontal
Zoom In and Out, and MIDI Zoom In and
Out on MIDI and Instrument tracks.
Zoom Presets Enhancements
• Automatic scaling of MIDI Zoom In and
Out to always show all notes in Region
tracks view.
The Zoom Preset buttons (1–5) now provide
pop-up menus to recall and save Zoom presets.
50
To recall a saved Zoom preset:
What’s New in Pro Tools LE 7.0
• Independent MIDI Zoom In and Out on
MIDI and Instrument tracks.
What’s New in LE 7.0.book Page 51 Friday, October 21, 2005 1:54 PM
Marquee Zooming
Regions View Shows all Notes
Pro Tools 7.0 supports Marquee Zooming for
MIDI and Instrument tracks. With the Zoomer
tool selected, Control-click on Windows and
Command-click on Macintosh to make a marquee zoom selection on a single track for Horizontal Zoom In and Out, and MIDI Zoom In and
Out at the same time. Marquee Zooming is not
available in Regions view.
In MIDI Regions view the MIDI Zoom In and
Out level is automatically constrained to encompass and display all notes on the track.
Tracks scale their vertical range in regions view
to always show all notes at all times, regardless
of individual track vertical zoom levels or track
height.
With the Zoomer tool, Alt-F-click on Windows or Option-F-click on Macintosh to
zoom tracks horizontally to the current Edit
selection. MIDI tracks that contain the Edit
selection or edit cursor will zoom out vertically so that all notes within the selection
are shown.
Independent MIDI Zoom In and Out
In Notes view, MIDI and Instrument tracks can
be independently zoomed vertically. Independent vertical track zoom is not available in Regions view.
Additions to Strip Silence
Pro Tools 7.0 provides two new buttons for extracting and separating regions in the Strip Silence window:
Extract Extracts audio and leaves the silent portions of the track (in other words, an “inverse”
strip silence feature that is ideal for generating
room tone or ambience to use elsewhere).
Separate Separates regions based on the boundaries detected by Strip Silence.
To zoom vertically on a single track:
Hold the Start key (Windows) or the Control
key (Macintosh) and click and drag up to zoom
in vertically, or click and drag down to zoom out
vertically.
■
Strip Silence window
With the Zoomer tool selected, Alt-A-click a
track on Windows or Option-A-click a track
on Macintosh to zoom out all the way horizontally and vertically. MIDI and Instrument tracks will zoom vertically to display
all notes.
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Additions to Separate
Regions
To simplify the task of separating regions into
multiple smaller regions, the following two new
choices are provided in the Edit menu:
Separate Regions On Grid Separates regions
based on the currently displayed Grid values
and boundaries.
Separate Regions At Transients Separates regions at each detected transient using the same
algorithm as the Tab to Transients feature.
The Grid and Transient choices let you specify a
Pre-Separate amount (handle) to pad the head of
the newly separated regions.
Pre-Separate Amount dialog for Separate Regions on
Grid or at Transients commands
When working with looped regions, the Separate Regions commands (At Selection, On Grid,
and At Transients) automatically unloop and
flatten the looped regions before separating
them.
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chapter 6
MIDI Features
This chapter describes the following new and
changed MIDI features in Pro Tools 7.0:
• “MIDI Real-Time Properties” on page 53
• “Sample-Based MIDI” on page 60
• “Mirrored MIDI Editing” on page 61
• “Previewing MIDI Regions” on page 62
• “Default Thru Follows First Selected MIDI
Track Selection Preference” on page 62
• “Selection of Note Ranges from Track MiniKeyboard” on page 63
• “New Select and Split Notes Window” on
page 65
• “New Quantize Features” on page 66
• “Legato, Overlap, and Duplicate Additions”
on page 67
• “New Remove Duplicate Notes Command”
on page 68
• “Transpose Window Enhancements” on
page 68
• “New Import MIDI Options” on page 68
• “New Export MIDI Options” on page 69
• “MIDI File Support in DigiBase” on page 70
MIDI Real-Time Properties
MIDI Real-Time Properties let you change some
MIDI properties in MIDI and Instrument tracks
(or MIDI regions) during playback. There are
five types of MIDI Real-Time Properties: Quantize, Duration, Delay, Velocity, and Transpose.
In previous versions of Pro Tools, these edits
could only be made while the Transport was
stopped.
MIDI Real-Time Properties can be adjusted during playback, while you listen for the desired result. Once you have found the desired settings,
you can write the settings to the selected tracks
or regions. This overwrites the corresponding
MIDI properties on selected tracks or regions
and resets the Real-TIme Properties display.
Real-Time Properties can be edited in the RealTime Properties view in the Edit window, or in
the Real-Time Properties window.
Real-Time Properties View
The 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 54).
Chapter 6: MIDI Features
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To enable Real-Time Properties View in the Edit
window:
■ Select View > Edit Window > Real-Time Properties.
Real-Time Properties window with properties enabled
Real-Time Properties View in the Edit window
For Mini and Small track heights, the Real-Time
Properties View only displays one or two properties, respectively. By default, the first one or
two properties that are enabled are displayed automatically.
The Real-Time Properties window can be used to
apply either track-based or region-based RealTime Properties by making an Edit or Time selection and selecting the desired tracks or regions from the Apply To pop-up menu.
Expanded Real-Time Properties View
To select a different Real-Time Property in Mini or
Small View:
■ Control-click (Windows) or Command-click
(Macintosh) on a real-time property element to
select a different element from the pop-up
menu.
In the Real-Time Properties window, Quantize,
Duration, and Velocity each provide an expand/collapse triangle to show or hide additional settings.
Real-Time Properties Window
Using the Real-Time Properties window, you
can apply Real-Time Properties to selected tracks
or regions.
Expand/collapse
triangles
To open the Real-Time Properties window:
■
Choose Event > MIDI Real-Time Properties.
Real-Time Properties window, expanded view
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Enabling Real-Time Properties
To enable Real-Time Properties:
1 Select a track, or make and Edit or Time selec-
tion.
Quantize Pop-Up Menu Select the desired 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 grooves.
When using Real-Time Properties, enable
Link Track and Edit Selection mode to make
a track selection from an Edit selection. See
“Link Track and Edit Selection” on page 47.
2 In Real-Time Properties View in the Edit win-
dow, or in the Real-Time Properties window, select the desired Real-Time Properties by clicking
the property name (Quantize, Duration, Delay,
Velocity, or Transpose). Enabled Real-Time Properties are highlighted and display their settings.
3 If you are using the Real-Time Properties window 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 as
desired.
Selecting a Grid Quantize value or a Groove Template
Swing Value Enter the desired amount of swing
as a percentage between 0 and 300%.
Enabled Real-Time Properties will be heard on
playback and play through for the selected
tracks and regions.
Tuplet Value Enable Tuplet and enter the ratio
for the tuplet (1–99), such as 3 to 2 or 5 to 4. Tuplet is only available in the expanded Real-Time
Properties window.
Real-Time Properties Settings
Offset Value Enable Offset and enter the desired
offset value in Ticks between –2000 and 2000.
Offset is only available in the expanded RealTime Properties window.
Quantize
Quantize either can be based on a grid or a
groove template. For grid quantize, additional
tuplet and grid offset settings are available in addition to the standard MIDI quantize properties.
For groove quantize, additional controls are provided to set the extent to which the groove’s duration and velocities are applied. Both grid and
groove quantize also let you set a strength
amount, an “include” range, and a randomize
amount.
Strength Value Enable Strength and enter the
amount as a percentage between 0 and 100%.
Strength is only available in the expanded RealTime Properties window.
Include Enable Include and enter the range between 0 and 100%. Include is only available in
the expanded Real-Time Properties window.
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Random Enable Random and enter a percentage
between 0 and 100%. Random is only available
in the expanded Real-Time Properties window.
Legato/Overlap Select to extend each note to the
following note. The specified duration is then
added to create a consistent amount of overlap.
Duration
Duration Amount
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.
If the Ticks or 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
or Notes pop-up menu is set to a note size, enter
a number to by which to multiply that note size,
such as seven 16th-notes.
Duration Mode Pop-Up Menu
Select one of the following options from the Duration Mode pop-up menu: Set, Add, Subtract,
Scale, Legato/Gap, or Legato/Overlap.
Ticks or Notes Pop-Up Menus
Selects either Ticks or a note size for Note Durations. There is also a Ticks or Notes pop-up
menu for the Minimum and Maximum Durations options.
Minimum and Maximum Durations
Enable either or both minimum and maximum
durations and enter a value in quarter notes plus
ticks or as a multiple of a note size. The Minimum and Maximum Durations options are only
available in the expanded Real-Time Properties
window.
Selecting a Duration mode
Set Select to set notes to the specified duration.
Add Select to add the specified duration to the
current duration of each note.
Subtract Select to subtract the specified duration
from the current duration of each note.
Scale Select to scale the current duration of each
note by a percentage from 1 to 400%.
Legato/Gap Select to extend each note to the
following note. The specified duration is the
subtracted to create a consistent gap between
notes.
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What’s New in Pro Tools LE 7.0
Delay
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. Select Ticks or Milliseconds from the Ticks or Milliseconds pop-up
menu. Enter the Delay amount in Tick or Millisecond values. Delay is limited to a maximum of
value of 2000 ms or 999 ticks.
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Velocity
Velocity lets you change MIDI velocity by a percentage or by constant value. Enter a percentage
value in the Dynamics field to scale velocity
around the median velocity of 64. You can also
enter an offset by adding (+) or subtracting (–)
values between 1 and 127. You can also enter
Minimum and Maximum Velocity value limits.
The Minimum and Maximum Durations options are only available in the expanded RealTime Properties window.
Velocity can be applied as a Real-Time Property
to MIDI Input and Thru.
Transpose
Transpose lets you transpose MIDI notes up or
down by a specified number of octaves and
semitones. You can also transpose to a specified
pitch. Select By or To from the Transpose popup menu to transpose by and interval or to a
specific pitch. To transpose by an interval, enter
the desired number of octaves and semitones as
a positive or negative numbers. To transpose to
a specific pitch, enter the desired MIDI note.
Transpose can be applied as a Real-Time Property to MIDI Input and Thru.
Real-Time Properties On Tracks
and Regions
Real-Time Properties can be configured to apply
to an entire track (all regions on that track), or
on a region-by-region basis. Track-level properties also provide real-time MIDI input processing of velocity and transposition.
The presence of track-based Real-Time Properties are indicated by a “T” displayed in the upper
right-hand corner of MIDI regions. Regionbased Real-Time Properties are indicated by an
“R” displayed in the upper right-hand corner of
the region. Regions boundaries are indicated in
notes view.
Indicates
track-based
Real-Time Properties
Indicates
region-based
Real-Time Properties
Track-based and region-based Real-Time Property
indicators
In previous versions of Pro Tools, MIDI region boundaries were only visible in Regions
view.
Region-Based Real-Time Properties
Region-Based Real-Time Properties can only be
applied using the Real-Time Properties window
(Event > MIDI Real-Time Properties). Real-Time
Properties can be applied to multiple regions.
Once Real-Time Properties have been assigned
to a region, the region can be moved or copied
and pasted and retain its Real-Time Properties.
Track-Based Real-Time Properties
All track-based Real-Time Properties consistently apply to MIDI sequences throughout the
entire track. However, regions with regionbased Real-Time Properties will take precedence
over any track-based Real-Time Properties. You
can clear region-based Real-Time Properties by
selecting the region and clicking the Clear Region Properties button in the Real-Time Properties window (see “Writing Real-Time Properties
to Tracks or Regions” on page 58).
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To allow greater flexibility when using RealTime Properties, whenever Real-Time Properties
are assigned on a track basis they are actually
contained in a track playlist. This lets you create
multiple playlists containing different RealTime Property settings.
Writing Real-Time Properties to
Tracks or Regions
Once you have found the desired settings, 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.
To write Real-Time Properties to tracks:
1 Select one or more tracks to which you want
to apply Real-Time Properties.
2 Open the Real-Time Properties window (Event
5 Click the Write to Region button.
To clear Real-Time Properties from a region:
1 Select the region for which you want to clear
Real-Time Properties.
2 Open the Real-Time Properties window (Event
> MIDI Real-Time Properties).
3 Select Regions from the Real-Time Properties
Apply To pop-up menu.
4 Click the Clear Region Properties button.
Real-Time Properties In the MIDI
Events List
In the MIDI Events List, the presence of trackbased Real-Time Properties are indicated by a
“T” displayed to the right of each event. Regionbased Real-Time Properties are indicated by an
“R.”
> MIDI Real-Time Properties).
3 If Link Track and Edit Selection mode is enabled, select Tracks from the Real-Time Properties Apply To pop-up menu.
4 Configure the Real-Time Property settings as
desired.
5 Click the Write to Track button.
To write Real-Time Properties to regions:
1 Select one or more regions to which you want
to apply Real-Time Properties.
2 Open the Real-Time Properties window (Event
> MIDI Real-Time Properties).
3 If Link Track and Edit Selection mode is enabled, select Regions from the Real-Time Properties Apply To pop-up menu.
4 Configure the Real-Time Property settings as
desired.
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What’s New in Pro Tools LE 7.0
Track-based and region-based Real-Time Properties
indicated in the MIDI Event List
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Display of Real-Time Properties
Effects
Real-Time Properties Effects Displayed
in the MIDI Event List
Typically, the effects of Real-Time Properties are
heard but not seen—you see the notes and other
MIDI events in their original location, but you
hear them as they are effected by the Real-Time
Properties settings. Pro Tools provides a preference, Display Events as Modified by Real-Time
Properties, to display or not display the effects
of Real-Time Properties in both the Edit window
and the MIDI Event List. This preference is off
by default.
The MIDI Event List takes into account the effect of Real-Time Properties whenever the Display Events as Modified by Real-Time Properties
preference is enabled. When editing or inserting
an event in a track or region with active RealTime Properties, Pro Tools takes the properties
into account and edits or inserts the event in a
different place if necessary to match the effect of
the Real-Time Properties.
To enable or disable the Display Events as
Modified by Real-Time Properties preference:
1 Choose Setup > Preferences.
2 Click the MIDI Tab.
3 Enable or disable the Display Events as Modi-
fied by Real-Time Properties option.
Real-Time Properties Effects Displayed
in the Edit Window
In the Edit window with the Display Events as
Modified by Real-Time Properties preference enabled, MIDI events appear where they sound.
However, MIDI events are not actually written
to their modified locations until you write the
Real-Time Properties to the track or region.
When moving MIDI events, the actual locations
(pitch or time) move by the amount the events
are dragged, but the effect of Real-Time Properties is displayed.
When inserting an event in a track or region
with active properties, Pro Tools takes the properties into account and edits or inserts the event
in a different place if necessary to match the effect of the Real-Time Properties.
Display Events as Modified by Real-Time Properties
preference
4 Click Done.
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Sample-Based MIDI
Pro Tools supports sample-based MIDI on MIDI
and Instrument tracks. MIDI events on samplebased tracks are anchored to a sample location
rather than the usual tick-based grid. Samplebased MIDI is useful for keeping MIDI data independent of the current tempo. For example, you
can create a tempo map from a MIDI performance with rubato, and tempo and meter
changes. This frees you from having to record
your MIDI performances with a click, and predetermined tempo and meter tracks.
Sample-based MIDI tracks are also useful in post
production when triggering samples or other external devices (such as color streamers) while
keeping MIDI notes locked to Timecode.
All MIDI editing functions apply to samplebased MIDI just as they do to tick-based MIDI.
The only difference is that with sample-based
MIDI, MIDI events are anchored to a sample and
do not move according to changes in tempo.
To create a sample-based MIDI or Instrument
track:
1 Choose Track > New.
2 Configure the New Tracks dialog as desired in-
cluding a MIDI or Instrument track.
3 For the MIDI or Instrument track, select Samples from the Timebase pop-up menu.
Creating a sample-based MIDI track
4 Click Create.
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What’s New in Pro Tools LE 7.0
To change a MIDI or Instrument track’s timebase:
■ Select Samples or Ticks from the MIDI track’s
Timebase Selector pop-up menu.
Selecting a sample-based MIDI track
Tempo Change and Sample-Based MIDI
Since sample-based MIDI is anchored to the
sample and not to the Conductor track (tempo
map), it does not respond to changes in tempo.
In Figure 1 on page 61, the top graphic is a MIDI
sequence at 49 bpm (the original tempo). In
terms of absolute time, it will be the same
whether the track is tick-based or sample-based.
The middle graphic shows the same MIDI sequence on a sample-based track, but the tempo
has been changed to 64 bpm. Notice that the
MIDI data stays the same in terms of absolute
time, but the location of the bar lines changes
relative to the change in tempo (the Conductor
track and Bar|Beats ruler are always tick-based).
The bottom graphic shows the same MIDI sequence on a tick-based track with a tempo of 64
bpm. The MIDI events maintain their relationship to the Bar|Beat ruler and Conductor track,
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but change the position in absolute time (minutes and seconds). The dotted line help to show
the timebase relationships between the three
graphics.
If you switch a MIDI or Instrument track from
ticks to samples, all MIDI regions will be converted and new regions appear in the Region
List. You can show which regions are tick or
sample-based by selecting Show > Time Base
from the Region List pop-up menu.
Sample-Based MIDI Regions and TickBased Tracks
If you drag and drop, or cut or copy and paste, a
sample-based MIDI region to a tick-based MIDI
track, the region and all its data are copied and
converted to a tick-based time format. The same
is true if you change a track’s timebase from
sample-based to tick-based.
Mirrored MIDI Editing
Figure 1. Top: Sample-based MIDI at 49 bpm, Middle:
Sample-based MIDI at 64 bpm, Bottom: Tick-based
MIDI at 64 bpm
Tick-Based MIDI Regions and SampleBased Tracks
If you drag and drop, or cut or copy and paste,
tick-based MIDI region to a sample-based MIDI
track, the region and all its data are copied and
converted to a sample-based time format. The
absolute time of the MIDI events at the current
tempo in the tick-based track will be preserved
when they is copied to the sample-based track.
The same is true if you change a track’s timebase
from tick-based to sample-based.
Mirrored MIDI Editing lets you edit MIDI regions and have your edits apply to every MIDI
region of the same name. 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 Edit button in the
Edit window.
Mirrored MIDI Edit button
Mirrored MIDI Edit toggle in the Edit window
In Mirrored MIDI Editing mode, the Mirrored
MIDI Edit button will blink Red once as an edit
is made to alert you that your edit is being applied to more than one region.
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To disable Mirrored MIDI Editing, do one of the
following:
■
Deselect Options > Mirror MIDI Editing.
– or –
■ Disable the Mirrored MIDI Edit button in the
Edit window.
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.
• Select “Follows First Selected MIDI Track”
to have MIDI preview assignment follow
the first selected MIDI or Instrument track’s
assigned MIDI output (see “Default Thru
Follows First Selected MIDI Track Selection
Preference” on page 62). When multiple
MIDI or Instrument tracks are selected, previewing will use the top track in the Edit
window and the left track in the Mix window.
Previewing MIDI Regions
MIDI regions in the Region List can be previewed to audition them through an instrument
plug-in or external MIDI device. Previewed
MIDI regions are played through the default
MIDI Thru instrument.
You can define a specific MIDI Thru instrument, or configure the MIDI Thru assignment to follow track selection in the
Pro Tools MIDI Preferences.
To preview a MIDI region in the Region List:
■ Alt-click (Windows) or Option-click (Macintosh) the MIDI region in the Region List.
To set the MIDI device used to preview MIDI:
1 Choose Setup > Preferences.
2 Click the MIDI tab.
3 Do one of the following:
• Select a specific device from the Default
Thru Instrument pop-up menu to define a
consistent preview sound source.
– or –
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What’s New in Pro Tools LE 7.0
MIDI Default Thru Instrument Preference
Default Thru Follows First
Selected MIDI Track Selection
Preference
In addition to setting the Pro Tools MIDI Thru
to a specific device and channel, you can also assign the default MIDI Thru to use the first selected MIDI or Instrument track’s assigned MIDI
output. The Default MIDI Thru Instrument setting determines the device used to preview MIDI
regions in the Region List.
The Default Thru Follows First Selected
MIDI Track Selection also lets you play an
instrument without having to create and
record-enable a MIDI or Instrument track.
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To configure a default Thru instrument:
1 Choose Setup > Preferences.
Selection of Note Ranges
from Track Mini-Keyboard
2 Click the MIDI tab.
3 Do one of the following:
• Select a specific device from the Default
Thru Instrument pop-up menu to define a
consistent preview sound source.
The MIDI or Instrument track’s mini-keyboard
lets you select all instances of a specific note or a
range of pitches. See Table 7 on page 64 for a
summary of modifier keys for selecting MIDI
notes.
– or –
• Select “Follows First Selected MIDI Track”
to have MIDI preview assignment follow
MIDI track selection. When multiple MIDI
tracks are selected, previewing will use the
top track/left track in the Edit and Mix windows.
To select all instances of a specific note on a MIDI
or Instrument track:
■ Control-click (Windows) or Command-click
(Macintosh) a key on a MIDI or Instrument
track’s mini-keyboard. The selected note will
playback through the MIDI or Instrument
track’s assigned output.
Selecting all instances of a note with the mini-keyboard
To select a range of notes on a MIDI or Instrument
track:
■ Control-Shift-click (Windows) or CommandShift-click (Macintosh) a bottom key and a top
key on a MIDI or Instrument track’s mini-keyboard.
MIDI Default Thru Instrument Preference
– or –
■ Start-click (Windows) or Control-click (Macintosh) and drag across a range of keys on a
MIDI or Instrument track’s mini-keyboard.
Selecting a range of notes with the mini-keyboard
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Table 7. Summary of key commands for selecting MIDI notes using a MIDI or Instrument track’s mini-keyboard
64
Task
Windows Shortcuts
Macintosh Shortcuts
Audition and select a single note
(deselecting all other notes)
Control-Start-click
Command-Control-click
Audition and add all notes the
mouse passes over to the selection
Control-Start-drag
Command-Control-drag
Auditions clicked note and
extends the selection to that note
Control-Shift-click
Command-Shift-click
Auditions the note and toggles its
selection state
Control-Alt-click
Command-Option-click
Auditions the note mouse is currently over and toggles the selection state of that note
Control-Alt-drag
Command-Option-drag
Select a single note (deselecting
all other notes)
Start-click
Control-click
Add all notes the mouse passes
over to the selection
Start-drag
Control-drag
Extends the selection to the
clicked on note
Start-Shift-click
Control-Shift-click
Toggles the note’s selection state
Start-Alt-click
Control-Option-click
Toggles the selection state of the
note the mouse is currently over
Start-Alt-drag
Control-Option-drag
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New Select and Split Notes
Window
To select and split notes:
1 Choose Event > Select/Split Notes.
2 Configure the Pitch Criteria as desired.
Pro Tools 7.0 combines the Select Notes and
Split Notes MIDI Operation in a single new Select/Split Notes window. The Select/Split Notes
window provides a complete set of tools to select and split notes based on a wide variety of
criteria.
3 Configure the Other Criteria (Velocity, Dura-
tion, and Position) as desired.
4 Enable the Select or Split option as desired.
5 From the Split Notes pop-up menu, select
Copy or Cut.
6 Select the desired Copy or Cut to destination:
The Clipboard Copies the selected data to the
clipboard only.
A New Track Copies all selected data to a single,
new track. If the selection includes multiple
tracks, that same number of tracks will be created. The new tracks will duplicate the original
track type (Instrument or MIDI).
A New Track per Pitch Copies all selected data to
multiple new tracks (one new track for each
pitch). If the selection includes multiple tracks,
each track will have its data split separately.
MIDI Operations window, Select/Split Notes
In previous versions of Pro Tools, two separate windows provided Select Notes and
Split Notes functionality.
New selection options have been added for velocity, duration, and relative position.
In addition, 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.
7 If desired, enable the Include MIDI Controller
Data option. Enabling this option will include
all controller data associated with the split notes
in newly created tracks. Leave this option unchecked to split only note data to new tracks.
8 Click Apply.
Any real-time MIDI properties associated with
the track or regions are copied to new tracks created by Select/Split Notes.
New Other Criteria Settings
Velocity Enable the Velocity option to specify a
range of velocities for selecting or splitting
notes. Enter the desired minimum and maximum velocities.
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Duration Enable the Duration option to specify a
range of durations (in beats and ticks) for selecting or splitting notes. Enter the desired minimum and maximum durations.
Position Enable the Position option to select or
split all notes that fall into a range of relative
beat and tick locations within each bar. The
minimum value determines the start of the
range, the maximum value sets the end of the
range.
New Quantize Features
The Quantize, Groove Quantize, and Input
Quantize commands have been consolidated,
and updated with new capabilities.
In previous versions of Pro Tools, two separate windows provided Grid Quantize and
Groove Quantize functionality.
Groove Quantize also includes randomization
to make grooves applied to multiple tracks
sound more lively and realistic.
Press Alt+0 (zero) (Windows) or Option+0
(zero) (Macintosh) to open the Grid/Groove
Quantize window.
Groove Quantize Support for Input
Quantize
The updated Input Quantize window provides
all the options available in the primary Quantize window, to apply quantization or grooves
to MIDI on input.
Grid/Groove Quantize Window
The new Grid/Quantize window provides both
standard Quantize and Groove Quantize features.
MIDI Operations window, Input Quantize
MIDI Operations window, Grid/Groove Quantize
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What’s New in Pro Tools LE 7.0
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Legato, Overlap, and
Duplicate Additions
The Change Duration window has been updated to provide more control over legato, and
the overlap of or gaps between notes.
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 desired gap
or overlap in beats and ticks. To avoid the possibility of stuck notes, notes of the same pitch will
not overlap, even with Overlap enabled.
Remove Overlap
The Remove Overlap option removes any note
overlap for all notes of the same pitch. This
command is different from Legato in that nonoverlapping notes of the same or different
pitches remain unchanged. To create a gap between previously overlapping notes, enter the
desired gap in beats and ticks.
Transform Sustain Pedal To Duration
MIDI Operations window, Change Duration
Press Alt+P on Windows or Option+P on
Macintosh to open the Change Duration
window.
The new Transform Sustain Pedal To Duration
option extends the length of all notes which are
sounding when the sustain pedal (controller 64)
is down (0 to 63) to the point when the sustain
pedal goes up (64 to 127). Enable the Delete Sustain Pedal Events option to delete the sustain
pedal events within the selection.
Consolidated Change Continuously Option
New Consolidated Set/Add/Subtract/Scale
Option
In Pro Tools 7.0, the Set, Add, Subtract, and
Scale Duration options have been combined
into a single pop-up menu. In previous versions
of Pro Tools, there were separate options for Set,
Add, Subtract, and Scale Duration.
The new consolidated Change Continuously
option (previously called “Change Smoothly”)
lets you change the duration of notes continuously in ticks or by percentage. Adjust the Curve
slider to modify the shape of the change.
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New Remove Duplicate Notes
Command
The Remove Duplicate Notes command lets you
quickly identify and remove any duplicate MIDI
notes. If a note starts within the first 25% of the
duration of a note of the same pitch which is already sounding (or within an eighth-note,
whichever is shorter), it is considered a duplicate and is combined with the previous note. If
it starts later than that, the first note is shortened so that it ends at the same tick at which the
new one starts.
To remove duplicate notes:
1 Make an Edit selection including the duplicate
notes that you want to remove.
2 Choose Event > Remove Duplicate Notes.
Transpose Window
Enhancements
The Transpose window provides a new Transpose by Octaves option and a new Transpose all
Notes To option.
Press Alt+T on Windows or Option+T on
Macintosh to open the Transpose window.
Transpose By Octaves
In addition to the Transpose by Semitones option, the Transpose by Octaves option lets you
transpose the selected MIDI notes by up to +/–
10 octaves. Previous versions of Pro Tools only
provided a Transpose by Semitones option.
Transpose All Notes To
The new Transpose All Notes To option sets all
selected notes to the same pitch. Use the slider
or the number entry box to enter the desired
pitch to which to transpose all selected notes.
New Import MIDI Options
Pro Tools 7.0 provides new import MIDI options. You can import MIDI files to tracks or to
the Region List using File > Import > MIDI to
Tracks or > MIDI to Region List menu commands. You can also drag and drop MIDI files
from a DigiBase browser or from the Desktop to
the Region List or existing tracks, or to the Track
List or the Timeline to create new tracks. Whenever you import MIDI to tracks, use the Import
MIDI Settings dialog to configure MIDI import
options.
To import MIDI files to the Region List, do one of
the following:
• Choose File > Import > MIDI to Region List.
The MIDI file is imported to the Region List.
– or –
MIDI Operations window, Transpose
68
What’s New in Pro Tools LE 7.0
• Drag and drop a MIDI file from a DigiBase
browser or the Desktop to the Region List. The
MIDI file is imported to the Region List.
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To import MIDI files to tracks:
1 Do one of the following:
• Choose File > Import > MIDI to Track to import MIDI files to tracks. The Import MIDI
Settings dialog opens.
• Drag and drop a MIDI file from a DigiBase
browser or the Desktop to the Track List or
the Timeline. The Import MIDI Settings dialog opens.
2 Configure the Import MIDI Settings as de-
sired.
Remove Existing Instrument Tracks Enable this
option to delete any existing Instrument tracks.
All existing MIDI regions will be left in the region bin.
Remove Existing MIDI Tracks Enable this option
to delete any existing MIDI tracks. All existing
MIDI regions will be left in the region bin.
Remove Existing MIDI Regions Enable this option to delete existing MIDI regions (thus all
data on all MIDI and Instrument tracks) but
leave existing MIDI and Instrument tracks in
place.
New Export MIDI Options
Pro Tools 7.0 provides new export MIDI options. You can export MIDI files from tracks using File > Export > MIDI.
Import MIDI Settings dialog
The MIDI file will be imported according to the
settings in the Import MIDI Settings dialog.
Import MIDI Settings
Import Location Select Session Start or Song
Start. This option is available only if the Song
Start marker is not located at the session start
(sample zero). The imported MIDI sequence will
start at either at the Session Start or Song Start
Marker accordingly.
To export all MIDI and Instrument tracks in the
current session:
1 Make sure to unmute any MIDI tracks in the
session that you want included in the exported
MIDI file. (Or, conversely, mute any MIDI tracks
you do not want included in the exported MIDI
file.) For Instrument tracks, enable or disable the
MIDI mute button (Instruments View) as desired.
Import Tempo Map From MIDI File Enable this
option to overwrite any existing tempo map
with tempo information read from the MIDI
file.
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2 Choose File > Export > MIDI. The Export MIDI
Settings dialog opens.
Export MIDI dialog
3 From the MIDI File Format pop-up menu, select 1 (multi-track) or 0 (single-track).
4 If the Song Start time is different from the Session Start time, select Session Start or Song Start
from the Location Reference pop-up menu.
Export MIDI Settings
MIDI File Format Determines whether the exported MIDI file is a Type-0 Standard MIDI File
(single-track) or Type-1 Standard MIDI File
(multi-track).
Location Reference Determines the SMPTE start
time for the exported MIDI file as being the session start time or the song start time (if different
from the session start time).
Apply Real-Time Properties Determines whether
or not any enabled Real-Time Properties are applied on export. For more information on RealTime Properties, see “MIDI Real-Time Properties” on page 53.
5 Enable or disable the Apply Real-Time Proper-
ties option as desired.
MIDI File Support in DigiBase
6 Click OK. A Save dialog opens.
7 Specify a folder destination and name for the
MIDI file.
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.
The SMPTE start time for the session or the song
(depending on the selection from the Location
Reference pop-up menu) is also exported. This
ensures that the exported tracks, when played
from another MIDI application, will align with
the correct SMPTE frames, and also synchronize
correctly to tape and video devices, or Pro Tools.
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What’s New in Pro Tools LE 7.0
Standard MIDI Files are now supported in DigiBase. This means you can now view, sort, and
drag/drop standard MIDI files from the Workspace to the Region List or Timeline. For more
information about DigiBase, see the DigiBase
Guide.
MIDI files cannot be previewed in the
Workspace, but they can be previewed from
the Region List. For more information, see
“Previewing MIDI Regions” on page 62.
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chapter 7
Plug-Ins
This chapter describes the following new and
changed plug-in features in Pro Tools 7.0.
RTAS Performance Features
• New options for maximizing RTAS performance
This section describes new features for optimizing Pro Tools RTAS performance on all systems.
• Numerous additions and changes to individual DigiRack and Digidesign Development
Partner plug-ins:
Multiple RTAS Processors
• Peak and RMS calibration modes for Signal
Generator
• TimeAdjuster RTAS version
• Trim plug-in +12 dB
• EQ III Band-Pass Filter
• Synchronic updates
• Bomb Factory updates
Pro Tools supports multi-processor computers,
as well as Hyperthreaded and “multi-core” processors, for RTAS processing.
When using Pro Tools on dual- and multi-processor computers, you can allocate two or more
available processors to RTAS processing tasks. In
combination with the CPU Usage Limit setting,
Pro Tools provides extensive control over the
way RTAS processing and other Pro Tools tasks
occur on your particular system. For example:
• For sessions with large numbers of RTAS plugins you can allocate two or more processors to
RTAS and set a high CPU Usage Limit.
• In sessions with few RTAS plug-ins, you can allocate fewer processors to RTAS and set a low
CPU Usage Limit to leave more CPU resources
available for automation accuracy, screen response, or video.
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• Depending on the importance of video and
overall screen response, and on the density of
automation being employed, different combinations of RTAS Processing and CPU Usage
Limit settings may achieve the best results.
For example, try reducing the number of RTAS
processors but keep the CPU Usage Limit at a
high setting.
The System Usage window shows the combined
amount of RTAS processing occurring on all enabled processors with a single indicator, regardless of how many CPUs are in the system. If the
System Usage Window shows that you are at the
limit of available resources, increase the number
of RTAS processors and/or the CPU Usage Limit
setting.
Adjusting RTAS Processing Resources
Multi-processor support is controlled using the
new RTAS Processing selector in the Playback
Engine dialog.
To specify the number of processors for RTAS:
1 Choose Setup > Playback Engine.
• Choose 2 Processors to enable load balancing across two available processors.
• On systems running four or more processors, choose the desired number of RTAS
processors as needed.
3 From the CPU Usage Limit pop-up menu, se-
lect the percentage of each enabled RTAS processor you want to allocate to RTAS performance.
CPU Usage Limit
The CPU Usage Limit controls the percentage of
CPU resources allocated to Pro Tools host processing tasks.
◆ Lower CPU Usage Limit settings limit the effect of Pro Tools processing on other CPU-intensive tasks, such as screen redraws, and are useful
when you are experiencing slow system response, or when running other applications at
the same time as Pro Tools.
◆ Higher CPU Usage Limit settings allocate
more processing power to Pro Tools, and are
useful for playing back large sessions or using
more real-time plug-ins.
The maximum CPU Usage Limit is 85 percent
for single-processor computers (except for
Digi 002, which has a limit of 99 percent), and
99 percent for multi-process computers. (The 99
percent setting dedicates one entire processor to
Pro Tools.)
Playback Engine dialog
2 From the RTAS Processing pop-up menu,
choose the number of available processors you
want to allocate:
• Choose 1 Processor to limit RTAS processing to one CPU in the system.
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What’s New in Pro Tools LE 7.0
On multi-processors computers, the maximum
CPU Usage Limit is reduced when you use all
your processors (as selected in the RTAS Processing pop-up menu). For example, on dual-processors, the limit will be 90%. On four-processor
computers, the limit will be 95%.
Increasing the CPU Usage Limit may slow
down screen responses on slower computers.
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To change the CPU Usage Limit:
1 Choose Setups > Playback Engine.
2 From the CPU Usage Limit pop-up menu, se-
lect the percentage of CPU processing you want
to allocate to Pro Tools.
3 Click OK.
In previous versions of Pro Tools, the maximum CPU Usage Limit setting on singleprocessor computers was 85%.
RMS and Peak Calibration
Modes for Signal Generator
Plug-In
In Pro Tools 7.0, Signal Generator has been updated to include an RMS/Peak toggle that lets
you switch calibration between RMS and Peak
modes:
RMS Generates signal at levels consistent with
the RMS (Root-Mean-Square) value, or the effective average level of the signal.
RTAS Performance Enhancements
In addition to support for multiple RTAS processors, plug-ins that have been updated for
Pro Tools 7.0 can take advantage of a larger
RTAS buffer for improved RTAS processing and
system performance.
Peak Generates signal at the maximum possible
level without clipping.
Contact the manufacturer of your plug-ins
for information about updates for
Pro Tools 7.0 compatibility.
New Shortcuts to Enable All
Plug-In Parameters
Pro Tools 7.0 provides a new shortcut to enable
all parameters for a single plug-in in one step.
RMS and
Peak toggles
Signal Generator plug-in
For more information on Signal Generator,
see the DigiRack Plug-Ins Guide.
To enable all plug-in parameters:
1 Make sure the plug-in window is open for the
plug-in you want to automate.
2 Control+Alt+Start-click (Windows) or Com-
mand+Option+Control-click (Macintosh) on
the Auto button at the top of the plug-in window.
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RMS and Peak Calibration
Modes for Normalize Plug-In
Peak Boosts or lowers the gain of the selected input signal to the maximum possible level without clipping.
In Pro Tools 7.0, the AudioSuite Normalize
plug-in has been updated to include an
RMS/Peak toggle that lets you switch calibration
between RMS and Peak modes.
RMS Normalizes the input signal at a level consistent with the RMS (Root-Mean-Square) value,
or the effective average level of the selected region.
Peak Normalizes the input signal at the maximum possible level without clipping.
RMS and
Peak toggles
Gain plug-in
For more information on Gain, see the DigiRack Plug-Ins Guide.
TimeAdjuster RTAS Plug-In
RMS and
Peak toggles
Normalize plug-in
In Pro Tools 7.0, TimeAdjuster has been updated to include an RTAS version, which lets
you compensate for delays incurred with RTAS
plug-ins.
For more information on Normalize, see the
DigiRack Plug-Ins Guide.
RMS and Peak Calibration
Modes for Gain Plug-In
In Pro Tools 7.0, the Gain plug-in has been updated to include an RMS/Peak toggle that lets
you switch calibration between RMS and Peak
modes.
RMS Boosts or lowers the selected input signal
to a level consistent with the RMS (Root-MeanSquare) value, or the effective average level of
the selected region.
74
What’s New in Pro Tools LE 7.0
TimeAdjuster RTAS (short version, mono track shown)
For more information on TimeAdjuster, see
the DigiRack Plug-Ins Guide.
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Trim Plug-In +12 dB Updates
EQ III Band-Pass Mode
In Pro Tools 7.0, the Trim plug-in includes a
Gain toggle, which lets you switch the maximum level of attenuation (controlled by the
Gain slider) to +6 dB and +12 dB.
In Pro Tools 7.0, you can temporarily set any
EQ III control to Band-Pass mode. Band-Pass
mode cuts frequencies above and below the Frequency setting, leaving a narrow band of midrange frequencies. It is especially useful for adjusting limited bandwidth in order to solo and
fine-tune each individual filter before reverting
the control to notch filter or peaking filter type
operations.
In previous versions of Pro Tools, the Trim
plug-in could be used to attenuate an audio
signal from –∞ (Infinity) dB to +6 dB.
+6 Switches the maximum level of attenuation
to +6 dB.
+12 Switches the maximum level of attenuation
to +12 dB.
Band-Pass mode does not affect EQ III Gain
controls.
To switch an EQ III control to Band-Pass mode:
• Hold Start+Shift (Windows) or Control+Shift
(Macintosh), and drag any rotary control or
control point horizontally or vertically.
Gain
slider
Gain
toggle
Trim +12 dB update
Automation data adjusts to reflect the current Gain setting. When working with automation data from an older version of the
Trim plug-in, ensure the Gain setting is set
at +6 dB.
For more information on Trim, see the DigiRack Plug-Ins Guide.
EQ III interactive graph displaying Band-Pass mode
When in Band-Pass mode, the Frequency and Q
controls function differently.
Frequency Sets the frequency above and below
which other frequencies are cut off, leaving a
narrow band of mid-range frequencies.
Q Sets the width of the narrow band of midrange frequencies centered around the Frequency setting.
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To switch an EQ III control out of Band-Pass mode:
• Release Start+Shift (Windows) or Control+Shift (Macintosh), and drag any rotary
control or control point horizontally or vertically.
Synchronic Updates
Dragging and Dropping Audio Files
to Synchronic Waveform Display
In Pro Tools 7.0, you can drag and drop audio
files from the Workspace directly into the Synchronic Waveform display.
Synchronic (AudioSuite version shown)
Synchronic AudioSuite
In Pro Tools 7.0, Synchronic has been updated
to support AudioSuite. The AudioSuite version
of Synchronic replicates most of the features
found in its real-time counterpart, with the following differences:
New Load Selection Button
The AudioSuite version of Synchronic has a
Load Selection button, which lets you automatically load a selected portion of a Pro Tools track
into the Waveform display.
• New Load Selection button
• One-loop limit
• Changes to modules for AudioSuite
New Load Selection button
See “Loading a Pro Tools Selection into Synchronic” on page 78 for more information.
One-Loop Limit
You can work with one audio loop for each instance of Synchronic AudioSuite.
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Changes to Synchronic Modules for
AudioSuite
The AudioSuite version of Synchronic includes
three of the five modules found in its real-time
counterpart: Sound, Playback, and Effect. Each
of these modules has been modified slightly for
the AudioSuite version.
The XFade and MIDI modules are real-time
based and are included only in the RTAS
version of Synchronic.
Edit Mode Only in AudioSuite Modules
In the RTAS version of Synchronic, each module
can be independently switched between Edit
and Performance modes with the Mode toggle.
In the AudioSuite version of Synchronic, the
modules function only in Edit mode. Performance mode is not available since its features
are not relevant to non-real time functionality,
and the Mode toggle does not exist.
Load Selection Button The Load Selection button lets you automatically load a selected portion of audio from the Pro Tools Edit window
into the Waveform display.
The Load Selection button is only available
in the AudioSuite version of Synchronic.
One Loop Limitation The AudioSuite version of
Synchronic lets you work with one audio loop at
a time.
See the Synchronic Guide for detailed information on using the Sound module in Edit
mode
Changes to the Playback Module in AudioSuite
In Synchronic AudioSuite, the Playback module
lets you edit the Playback parameters.
Pitch and Offset
Select and Enable
buttons
Changes to the Sound Module in AudioSuite
In Synchronic AudioSuite, the Sound module
lets you import, delete, slice-up, and fine-tune
audio (loops) for Synchronic playback.
Pitch or Offset
parameters
Synchronic Playback module (AudioSuite version)
This module replicates the Edit mode functionality of its real-time counterpart, with the following differences:
Synchronic Sound module (AudioSuite version)
This module replicates the Edit mode functionality of its real-time counterpart, with the following differences:
Playback User Knobs Unavailable The Playback
user knobs are available only in the RTAS version of Synchronic.
See the Synchronic Guide for detailed information on using the Playback module in
Edit mode.
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Changes to the Effect Module in AudioSuite
The Effect module provides easy access to the
Gain, Noise, Filter, and Delay effects and their
parameters.
Working with Synchronic
AudioSuite
The AudioSuite version of Synchronic adds two
new features:
• Loading a Pro Tools selection into the
Waveform display
• Printing an audio loop to a track
For more information about using general
features in Synchronic, see the Synchronic
Guide.
Loading a Pro Tools Selection into
Synchronic
Synchronic AudioSuite Effect module
This module replicates the Edit mode functionality of its real-time counterpart, with the following differences:
The AudioSuite version of Synchronic lets you
load a selected portion of a Pro Tools audio track
directly into the Waveform display.
To load a selection from Pro Tools into Synchronic:
1 In the Pro Tools Edit window, select the por-
tion of audio you want to loop in Synchronic.
Effect User Knobs Unavailable The Effect user
knobs are available only in the RTAS version of
Synchronic.
See the Synchronic Guide for detailed information on using the Effect module in Edit
mode.
Making a selection in Pro Tools
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2 In the Sound module of the AudioSuite ver-
sion of Synchronic (AudioSuite > Instrument >
Synchronic), click Load Selection.
Bomb Factory Updates
Updated Rotary Control Behavior
Load
Selection
In Pro Tools 7.0, the behavior of rotary controls
in all Bomb Factory plug-ins has been updated
to be consistent with the behavior of rotary controls in other Digidesign plug-ins. Parameter
values increase as you drag upward or to the
right, and decrease as you drag downward or to
the left.
Making a selection in Pro Tools
The selected portion of audio appears in the
Synchronic Waveform display.
Bomb Factory rotary control (BF-2A shown)
Pro Tools selection loaded into Waveform display
Printing a Loop to a Pro Tools Track
Processing the AudioSuite version of Synchronic
involves “printing” the audio loop to a selected
track or portion of a track.
Printing an audio loop from Synchronic AudioSuite to a selection in a Pro Tools audio
track will overwrite any audio material in
that selection.
To print an audio loop to Pro Tools:
1 In the Pro Tools Edit window, select the por-
tion of an audio track where you want to print
the audio loop.
In previous versions of Bomb Factory, it was
necessary to drag around a rotary control in
a circular motion to adjust the parameters.
You can temporarily revert to this behavior
by holding down Start+Shift (Windows) or
Control+Shift (Macintosh) while adjusting
the control.
Restoring Bomb Factory Plug-In
Settings
In Pro Tools 7.0, you can restore the default settings of any Bomb Factory control by Alt-clicking (Windows) or Option-clicking (Macintosh)
the control.
This addition affects the functionality of the
Fairchild 670 and the BF76 Bomb Factory plugins.
2 Click Process to print the audio loop to the se-
lection.
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Changes to Stereo-Linking Controls in
Fairchild 670
Changes to Enabling “All Buttons In”
Mode in BF76
In previous versions of the Bomb Factory Fairchild 670 plug-in, you could stereo-link its controls by Alt-clicking (Windows) or Option-clicking (Macintosh) either control.
In previous versions of the Bomb Factory BF76
plug-in, Alt-clicking (Windows) or Option-clicking (Macintosh) one of the Ratio Push switches
would enable all of the Ratio Push switches
(known as “All Buttons In” mode).
In Pro Tools 7.0, Shift-click a control to link a
control to the other control’s settings.
In Pro Tools 7.0, Shift-click or double-click one
of the Ratio Push switches to enable “All Buttons In” mode.
Bomb Factory BF76 plug-in
Bomb Factory Fairchild 670 plug-in
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chapter 8
Control Surface Features
This chapter provides information about new
features and enhancements in Pro Tools LE 7.0
for the following Digidesign control surfaces:
To assign Sends F–J from Home mode:
1 Press the ASSIGN switch in the ASSIGNMENT
section.
• Control|24
• Command|8
• Digi 002
Control|24 New Features and
Enhancements
2 Hold SHIFT/ADD or the Shift key on the computer keyboard, and press a send switch (SEND
F–J) in the SENDS section to select a send.
3 On each channel where you want to assign a
send, turn the channel data encoder to scroll
through the available path choices.
4 Press the flashing switch below the encoder
Support for 10 Sends
The ten available sends in Pro Tools can be
viewed and assigned from Home mode or from
Pan/Send mode on Control|24.
Viewing and Assigning Sends from
Home Mode
The five Send switches in the SENDS section are
dual-function (A/F, B/G, C/H, D/I, E/J). Sends
F–J are accessed with the Shift key.
on each channel to confirm the Send assignment.
5 Press the ASSIGN switch to confirm all assign-
ments.
Viewing and Assigning Sends in
Pan/Send Mode
The ten available sends in Pro Tools can be displayed in two groups of five (Sends A–E and
Sends F–J) in the Control|24 Channel Bar.
To view Sends F–J in from Pan/Send mode:
To view Sends F–J in from Home mode:
Hold SHIFT/ADD or the Shift key on the computer keyboard, and press a SEND switch (SEND
F–J) in the SENDS section to select a send.
■
1 Press the PAN/SEND switch on a channel to
display its Sends in the Channel Bar.
2 Press the right-hand Channel Bar Scroll switch
to page the Channel Bar display to Sends F–J.
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To assign Sends F–J in from Pan/Send mode:
MIDI Controls on Instrument Tracks
1 Press the PAN/SEND switch on a channel to
display its Sends in the Channel Bar.
The Instruments View in Pro Tools contains
MIDI controls that can be displayed on Control|24 data encoders.
2 Press the right-hand Channel Bar Scroll switch
to page the Channel Bar display to Sends F–J.
To display MIDI controls (“Input Mode”):
3 Press the ASSIGN switch in the ASSIGNMENT
4 For each send where you want to make an as-
1 Press F1 to make sure you are in Home mode.
(MIDI controls cannot be accessed from Channel mode.)
signment, turn the channel data encoder to
scroll through the available path choices.
2 Press the F3 switch.
section.
5 Press the ASSIGN switch to confirm all assign-
ments.
Support for Instrument Tracks
The Instruments View in Pro Tools lets you assign MIDI Inputs and Outputs and provides access to MIDI controls for Instrument tracks.
The MIDI controls appear on each channel as
follows:
◆
Channel data encoder: MIDI Volume
◆
Select switch: MIDI Mute
Track meter in Meter Bridge: MIDI Velocity
Meter
◆
MIDI Input, MIDI Output, and MIDI Pan
controls can be accessed on-screen.
MIDI Input selector
MIDI Output selector
MIDI Volume
MIDI Pan
■
MIDI Mute button
Instruments view in an Instrument track
82
What’s New in Pro Tools LE 7.0
To exit display of MIDI controls:
Press the F3 switch again.
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Command|8 New Features and
Enhancements
Support for 10 Sends
The ten available sends in Pro Tools can be
viewed from Sends View on Command|8.
MIDI Controls on Instrument Tracks
The Instruments View in Pro Tools contains
MIDI controls that can be displayed on Command|8 data encoders.
To display MIDI controls (“Input Mode”):
1 Press the Pan switch to make sure you are in
Home view.
The five Console View switches are dual-function (A/F, B/G, C/H, D/I, E/J). Sends F–J are accessed with the Shift key.
2 Hold the Command/Control switch and press
To view Sends F–J:
The MIDI controls appear on each channel as
follows:
To view Sends F–J, put Command|8 in Sends
view, then hold Shift/Add and press the corresponding switch (A=F, B=G, C=H, D=I, or E=J).
The switches flash to indicate display of Sends
F–J.
the F5 switch.
◆
Support for Instrument Tracks
The Instruments View in Pro Tools lets you assign MIDI Inputs and Outputs and provides access to MIDI controls for Instrument tracks.
◆
Rotary encoder: MIDI Volume
◆
Select switch: MIDI Mute
MIDI Input, MIDI Output, and MIDI Pan
controls can be accessed on-screen.
To exit display of MIDI controls:
■ Hold the Command switch and press the F5
switch again.
MIDI Input selector
MIDI Output selector
MIDI Volume
MIDI Pan
MIDI Mute button
Instruments view in an Instrument track
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Digi 002 New Features and
Enhancements
Support for 10 Sends
The ten available sends in Pro Tools can be
viewed from Sends View on Digi 002.
The Instruments View in Pro Tools contains
MIDI controls that can be displayed on Digi 002
data encoders.
To display MIDI controls (“Input Mode”):
1 Press the Pan switch to make sure you are in
Home view.
The five Send switches are dual-function (A/F,
B/G, C/H, D/I, E/J). Sends F–J are accessed with
the Shift key.
2 Hold the Command/Control switch and press
To view Sends F–J:
The MIDI controls appear on each channel as
follows:
◆ To view Sends F–J, put Digi 002 in Sends view,
then hold Shift/Add and press the corresponding switch (A=F, B=G, C=H, D=I, or E=J). The
switches flash to indicate display of Sends F–J.
Support for Instrument Tracks
The Instruments View in Pro Tools lets you assign MIDI Inputs and Outputs and provides access to MIDI controls for Instrument tracks.
MIDI Input selector
MIDI Output selector
MIDI Volume
MIDI Pan
MIDI Mute button
Instruments view in an Instrument track
84
MIDI Controls on Instrument Tracks
What’s New in Pro Tools LE 7.0
the F5 switch.
◆
Rotary encoder: MIDI Volume
◆
Select switch: MIDI Mute
MIDI Input, MIDI Output, and MIDI Pan
controls can be accessed on-screen.
To exit display of MIDI controls:
■ Hold the Command switch and press the F5
switch again.
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