DigiDesign Pro Tools Specifications

®
What’s New in Pro Tools
Version 9.0
Legal Notices
This guide is copyrighted ©2011 by Avid Technology, Inc.,
(hereafter “Avid”), with all rights reserved. Under copyright
laws, this guide may not be duplicated in whole or in part
without the written consent of Avid.
003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O,
882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite,
Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS,
Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory,
Bruno, C|24, Command|8, Control|24, D-Command, D-Control,
D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase,
DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign
Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive,
DigiRack, DigiTest, DigiTranslator, DINR, DV Toolkit, EditPack,
Eleven, EUCON, HD Core, HD Process, Hybrid, Impact,
Interplay, LoFi, M-Audio, MachineControl, Maxim, Mbox,
MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF,
OMF Interchange, PRE, ProControl, Pro Tools M-Powered,
Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Recti-Fi,
Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius,
Smack!, SoundReplacer, Sound Designer II, Strike, Structure,
SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan,
TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune,
TL MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser,
Trillium Lane Labs, Vari-Fi, Velvet, X-Form, and XMON are
trademarks or registered trademarks of Avid Technology, Inc.
Xpand! is Registered in the U.S. Patent and Trademark Office.
All other trademarks are the property of their respective
owners.
Product features, specifications, system requirements, and
availability are subject to change without notice.
Guide Part Number 9329-65040-00 REV D 2/11
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contents
Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
New Features in Pro Tools 9.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Chapter 2. Pro Tools Application and System Changes . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Unified Pro Tools Installer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Authorizing Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Core Audio Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
ASIO Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
New Pro Tools System Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
New Pro Tools Hardware Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Chapter 3. Mixing and Recording Features and Enhancements . . . . . . . . . . . . . . . . . 11
Increased Number of Audio and MIDI Tracks, and Internal Mix Busses . . . . . . . . . . . . . . . . . . 11
New Track and Send Output Selector Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Variable Stereo Pan Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
7.1 and 7.0 Surround Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
EUCON Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Chapter 4. Import and Export Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Advanced Import Session Data Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Importing and Exporting AAF and OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Avid Interplay Support on Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Check Data Into and Out of Avid Interplay with Interplay Access . . . . . . . . . . . . . . . . . . . . . . 19
Export MP3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Export Sessions as Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Contents
iii
Chapter 5. I/O Setup Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
System Settings vs. Session Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Importing I/O Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Overlapping Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Input and Output Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Session Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Chapter 6. Advanced DigiBase Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Searching for Multiple Criteria Simultaneously in DigiBase Browsers . . . . . . . . . . . . . . . . . . . 33
Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Chapter 7. Editing Features and Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Auto-Scrolling Tracks in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Advanced Beat Detective Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Chapter 8. Automatic Delay Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Enabling Delay Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Configuring the Delay Compensation Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Delay Compensation View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Low Latency Monitoring During Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Delay Compensation on Auxiliary Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Delay Compensation for MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
H/W Insert Delay (Compensation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Chapter 9. Time Code and Synchronization Features. . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Timebase Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Secondary Time Code Ruler. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Selecting Time Code and Time Code 2 Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Selecting Feet+Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Redefining Time Code Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Redefining Current Feet+Frames Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Use Subframes Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Pull Up and Pull Down Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
iv
What’s New in Pro Tools 9.0
Chapter 10. PRE Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Mic Preamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Mic Preamps in I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Mic Preamps in Pro Tools Edit and Mix Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Viewing Mic Preamp Controls in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Mic Preamp Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Mic Preamp Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Adjusting Mic Preamp Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Adjusting Controls on Multiple PREs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Chapter 11. Complete Production Toolkit 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Complete Production Toolkit 2 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Contents
v
vi
What’s New in Pro Tools 9.0
chapter 1
Introduction
New Features in Pro Tools 9.0
This chapter provides an overview of new features in Pro Tools® 9.0 for Pro Tools,
Pro Tools|HD, and Pro Tools|HD Native systems
on qualified versions of Mac OS X and Windows.
What’s New for all Pro Tools 9.0
Users
Pro Tools 9.0 provides a single, unified installer
for all versions of Pro Tools:
If you install Pro Tools 9.0 on your Pro Tools|HD
or Pro Tools|HD Native system, launching
Pro Tools 9.0 will run Pro Tools HD software (if
a valid Pro Tools HD authorization is detected
on a connected iLok and Pro Tools|HD or
Pro Tools|HD Native hardware is present).
If you install Pro Tools on a system with any
other hardware, launching Pro Tools 9.0 will
run Pro Tools software (if a valid Pro Tools authorization is detected on a connected iLok).
Pro Tools Features and Enhancements
The following features and enhancements are
new to Pro Tools and Pro Tools HD:
Single, Unified Version of Pro Tools
• Pro Tools 9.0 provides a single, unified installer for Pro Tools and Pro Tools HD
• New Pro Tools 9.0 PACE copy protection with
iLok USB key
Pro Tools Audio Engine
• Support for Core Audio hardware (including
Mac built-in audio) with supported Core Audio drivers installed
• Support for ASIO hardware with supported
ASIO drivers installed
• New Pro Tools Playback Engine settings
• Current Engine setting for selecting which
audio engine to use
• Pro Tools Aggregate I/O option for using
the built in audio on Mac
• Delay Compensation settings for all versions of Pro Tools
• New Pro Tools Hardware settings
• Ability to select Core Audio and ASIO interfaces
• Launch Setup Application command for
Core Audio and ASIO audio interfaces
Chapter 1: Introduction
1
Mixing and Recording
• Increased number of audio and MIDI tracks
• Increased number of internal mix busses
• New Track and Send Output selector commands for faster, simplified signal routing and
mixer configuration
• Multiple Stereo Pan Depth options
• 7.1 and 7.0 standard HD surround formats
(Pro Tools HD and Pro Tools with Complete
Production Toolkit 2 only)
• Support for EUCON™ for controlling
Pro Tools with EUCON-aware control surfaces
Import and Export Options for All Pro Tools
Systems
What’s New for Pro Tools LE Users
With Pro Tools 9.0, Pro Tools is now a single,
unified application. Pro Tools LE will no longer
be developed. Pro Tools 9.0 effectively replaces
all lower versions of Pro Tools LE software. The
following features and enhancements are new
to Pro Tools for former Pro Tools LE users.
These features have been available in lower
versions of Pro Tools for Pro Tools HD users. Subsets of these features have been
available in lower versions of Pro Tools in
various combinations for Pro Tools LE users
with Music Production Toolkit 2, DV Toolkit 2, or Complete Production Toolkit.
I/O Setup Improvements
• Advanced Import Session Data (formerly
Pro Tools HD only, or Pro Tools LE with
DV Toolkit 2 or Complete Production Toolkit
only)
• Session and System settings
• Import AAF and OMF sequences (formerly
with the DigiTranslator 2.0 option only)
• Overlapping Paths
• Output and internal mix busses
• Ability to Import I/O Settings by page
• Improved session interchange
• New AAF import features and enhancements:
• Ability to import stereo AAF audio tracks
Advanced DigiBase Features
• Ability to import RTAS plug-in data from
AAF sequences
• Advanced search features
• New Locators To Import setting for importing locators from Media Composer–generated AAF sequences
• Export AAF and OMF sequences (formerly
with the DigiTranslator 2.0 option only)
Editing Features
• Auto-Scrolling tracks in the Mix and Edit windows
• Advanced Beat Detective features
• Avid Interplay Support with Mac
• Separate multiple tracks
• Ability to check data into and out of Avid Interplay directly with the Interplay Access
browser
• Collection mode
• Export MP3 (formerly with the MP3 Export
option only)
• Export Session as Text (formerly Pro Tools HD
only)
2
• DigiBase Catalogs
What’s New in Pro Tools 9.0
Delay Compensation
• Delay Compensation option
• Delay Compensation Engine
• Delay Compensation view
System Requirements and
Compatibility
Pro Tools can be used with an Avid-qualified
Mac or Windows computer.
• Low Latency Monitoring During Recording
• Delay Compensation on Auxiliary Input
tracks
• Delay Compensation for MIDI
• H/W Insert Delay (Compensation)
Time Code and Synchronization Features
• Timebase Rulers
• Time Code Ruler
• Secondary Time Code Ruler
• Feet+Frames
A DVD drive is required to use the Pro Tools Installer disc.
Avid can only assure compatibility and provide
support for hardware and software it has tested
and approved.
For complete system requirements and a list of
qualified computers, operating systems, hard
drives, and third-party devices, refer to the latest
information on our website:
www.avid.com
• Ability to set Time Code and Feet+Frame rates
• Ability to redefine Time Code Position
• Ability to redefine Current Feet+Frames Position
• Use Subframes option for Go To command
• Pull Up and Pull Down commands
• Audio Rate Pull Up/Down
• Video Rate Pull Up/Down
PRE Support
• Mic Pre Peripherals
• Mic Pre I/O Setup
• Mic PRE view
• Mic Preamp window
Plug-in and Software Options
• Complete Production Toolkit 2
Chapter 1: Introduction
3
4
What’s New in Pro Tools 9.0
chapter 2
Pro Tools Application and System Changes
Unified Pro Tools Installer
Pro Tools 9.0 provides a single, unified installer
for Pro Tools and Pro Tools HD. Pro Tools 9.0 is
supported on the following types of systems:
Pro Tools Core Audio/ASIO
Pro Tools Core Audio/ASIO systems include
Pro Tools 9.0 software with third-party audio interfaces with compatible Core Audio (Mac) or
ASIO (Windows) drivers, including the built-in
audio available on Mac computers (Core Audio).
Pro Tools HD
These systems include Pro Tools HD software
with Pro Tools|HD or Pro Tools|HD Native hardware.
Pro Tools
These systems include Pro Tools software with
003® or Digi 002™ family audio interfaces,
Eleven® Rack, Mbox®, and Mbox 2 family audio
interfaces, or M-Audio hardware.
For a list of qualified audio interfaces
and computers, refer to our website:
www.avid.com/compatibility.
Authorizing Pro Tools
Pro Tools 9.0 software is authorized using the
iLok USB Smart Key (iLok) from PACE Anti-Piracy.
The original Mbox hardware is not supported
with Pro Tools 8.0.3 and higher.
Pro Tools LE software will no longer be developed. Pro Tools 9.0 effectively replaces all
lower versions of Pro Tools LE software.
You can upgrade from lower versions of
Pro Tools LE to Pro Tools 9.0 for use with
your Pro Tools LE hardware.
iLok USB key
You can use either the new version of the
iLok (shown above) or the previous version
of the iLok to hold your Pro Tools authorizations.
Chapter 2: Pro Tools Application and System Changes
5
An iLok can hold hundreds of authorizations for
all of your iLok-enabled software. Once an iLok
is authorized for a given piece of software, you
can use the iLok to authorize that software on
any computer.
Pro Tools HD Authorization
A Pro Tools HD 9.0 authorization lets you run
Pro Tools HD 9.0 on a supported Mac or Windows computer with Pro Tools|HD or
Pro Tools|HD Native hardware. A Pro Tools HD
9.0 authorization also authorizes Pro Tools with
Complete Production Toolkit 2 functionality on
supported Mac or Windows systems without
Pro Tools|HD or Pro Tools|HD Native hardware.
Pro Tools 9.0 Authorization
A Pro Tools 9.0 authorization lets you run
Pro Tools 9.0 on a supported Mac or Windows
computer with a Pro Tools or M-Audio interface,
or any third-party audio interface with supported Core Audio (Mac) or ASIO (Windows) device drivers (including the built-in audio on Mac
computers using Core Audio).
Complete Production Toolkit 2
Authorization
A Complete Production Toolkit 2 authorization
(in addition to Pro Tools 9.0 authorization) lets
you run Pro Tools 9.0 with Complete Production Toolkit 2 functionality. Pro Tools 9.0 with
Complete Production Toolkit 2 is supported
with Pro Tools audio interfaces, M-Audio audio
interfaces, or any third-party audio interface
with supported Core Audio (Mac) or ASIO (Windows) device drivers.
For more information about Complete Production Toolkit 2, see the Complete Production Toolkit 2 Guide.
6
What’s New in Pro Tools 9.0
Core Audio Support
Apple’s Core Audio provides audio stream connectivity between software applications and audio hardware on Mac OS X. Pro Tools 9.0 is compatible with third-party audio interfaces with
Core Audio device drivers on Mac computers.
Pro Tools software can use audio interfaces with
compatible Core Audio drivers for playback and
recording with up to 32 channels of I/O.
Additionally, Pro Tools hardware continues to
provide Core Audio drivers for use with
third-party Core Audio software applications.
ASIO Support
Steinberg’s Audio Stream Input/Output (ASIO)
provides audio stream connectivity between
software applications and audio hardware on
Windows. Pro Tools 9.0 is compatible with
third-party audio interfaces with ASIO device
drivers on Windows computers.
Pro Tools software can use audio interfaces with
compatible ASIO drivers for playback and recording with up to 32 channels of I/O.
Additionally, Pro Tools hardware continues to
provide ASIO drivers for use with third-party
ASIO software applications.
New Pro Tools System
Settings
New Playback Engine Settings
Pro Tools lets you adjust the performance of
your system by changing system settings that
affect its capacity for processing, playback, and
recording. These system settings are available in
the Playback Engine (Setup > Playback
Engine).
Changing the Current Engine setting can be useful if you have multiple audio interfaces connected to your computer with different routing
configurations in your studio, or if you want to
prepare a session for use with a specific interface
on a different system (for example you might
want to prepare a session created on your HD
system for use with the built-in audio on your
Mac laptop).
To select the audio engine for Pro Tools to use
with your audio interface:
1 Choose Setup > Playback Engine.
2 From the Current Engine selector, select your
audio interface:
• For Pro Tools|HD and Pro Tools|HD Native
systems, use the default setting of HD TDM
or HD Native.
• For supported Pro Tools and M-Audio audio interfaces (such as the Mbox Pro or ProFire 2626), selecting the name of the
corresponding interface uses the Direct I/O
engine for Pro Tools.
• For third-party audio interfaces with compatible CoreAudio (Mac) or ASIO (Windows), select the name of the
corresponding Core Audio (Mac) or ASIO
(Windows) compatible audio interface.
Playback Engine for Pro Tools|HD system
Current Engine
Pro Tools 9.0 provides a new system setting for
selecting the audio engine for Pro Tools to use
with your audio interface. The available options
are determined by which audio interfaces are
connected and have compatible drivers installed.
• On Mac systems, if you are using built-in
audio, select any of the available built-in
options for playback or select Pro Tools Aggregate I/O for simultaneous input and output with the built-in I/O hardware options.
3 Click OK.
When changing engines with a Pro Tools session open, Pro Tools must close and relaunch
the session to be able to initialize the new engine.
Chapter 2: Pro Tools Application and System Changes
7
On Pro Tools|HD systems, changing engines requires that you quit and relaunch Pro Tools for
the new setting to take effect.
When changing engines on any Pro Tools
system, you may need to reset the default
I/O settings to match the selected audio interface.
Pro Tools Aggregate I/O
(Mac Only)
On Mac systems using Core Audio, you can use
Pro Tools with the built-in audio inputs and
outputs on your Mac by selecting any of the
available built-in inputs and outputs, or by selecting the Pro Tools Aggregate I/O option for using a combination of built-in inputs and outputs simultaneously (for recording and
monitoring).
New Pro Tools Hardware
Settings
Pro Tools lets you configure the signal routing,
digital I/O format, default sample rate, clock
source, and other hardware-based settings depending on your system configuration. These
system settings are available in the Hardware
Setup (Setup > Hardware).
Pro Tools 9.0 lets you configure the hardware
settings for any audio interfaces associated with
the selected Current Engine setting in the Playback Engine dialog: Pro Tools|HD, Pro Tools,
M-Audio, or other third-party Core Audio (Mac)
or ASIO (Windows) audio interfaces connected
to your Pro Tools system.
Hardware Setup for an ASIO device
Selecting Pro Tools Aggregate I/O in the Playback
Engine (Mac only)
You can configure the Input and Output options for Pro Tools Aggregate I/O in the Mac Audio Setup, which can be accessed from the
Pro Tools Hardware Setup (see “Configuring
Built-in or Pro Tools Aggregate I/O” on page 9).
If you need simultaneous input (recording)
and output (playback and monitoring) with
Pro Tools using the built-in audio options
on Mac, use the Pro Tools Aggregate I/O option. If you only need to playback audio for
editing and mixing, select the appropriate
built-in audio output option.
8
What’s New in Pro Tools 9.0
Selecting an Audio Interface to
Configure
The Peripherals list in the Hardware Setup lets
you select any audio interface connected to your
Pro Tools system associated with the selected
Current Engine setting in the Playback Engine dialog.
For Pro Tools|HD audio interfaces (such as
HD OMNI or HD I/O) you can configure the
signal routing, digital I/O format, default sample
rate, clock source, and other hardware-based
settings for each HD peripheral connected to
your system.
For Pro Tools audio interfaces (such as 003 or
Mbox) you can configure the signal routing, digital I/O format, default sample rate, clock
source, and other hardware-based settings depending on your system configuration.
For M-Audio audio interfaces and third-party
Core Audio (Mac) and ASIO (Windows) compatible audio interfaces, use the Launch Setup App
button to launch the control panel for configuring your specific audio interface.
Configuring Built-in or Pro Tools Aggregate I/O
(Mac Only)
On Mac systems using Core Audio, you can use
any of the built-in I/O options or the Pro Tools
Aggregate I/O option as the Current Engine for using the built-in audio inputs and outputs on
your Mac computer. You can configure the
built-in option or the Pro Tools Aggregate I/O option in the Mac Audio Setup, which can be accessed from the Pro Tools Hardware Setup dialog.
Launch Setup Application
Using the setup application (control panel) for
your audio interface, you can change settings in
the following areas depending on your audio interface:
• Mixer Settings
• Output Settings
• Hardware Settings (including sample rate,
hardware buffer size, and sync source).
To configure the built-in audio or the Pro Tools
Aggregate I/O settings:
1 Choose Setup > Hardware.
2 In the Peripherals list, select the built-in auto
option or the Pro Tools Aggregate I/O option (the
Current Engine setting in the Playback Engine dialog determines which option is available in the
Peripherals list in the Hardware Setup dialog).
You can set the sample rate when creating a
new Pro Tools session by selecting a different sample rate in the New Session dialog.
(Refer to the Pro Tools Reference Guide for
details.)
To change control panel settings:
1 In the Hardware Setup dialog, click the Launch
Setup App button.
Hardware Setup for Pro Tools Aggregate I/O (Mac only)
2 To change settings in the Control Panel, refer
to the documentation that came with your audio interface.
3 Click the Launch Setup App button.
3 When finished, close the Control Panel.
Chapter 2: Pro Tools Application and System Changes
9
4 In the Audio Devices window of the Mac Au-
dio Setup, configure the corresponding Built-in
audio options or the Pro Tools Aggregate I/O option as desired.
Configuring Pro Tools Aggregate I/O in the Audio
Devices window of the Mac Audio Setup (Mac only)
5 Quit the Mac Audio Setup.
10
What’s New in Pro Tools 9.0
chapter 3
Mixing and Recording Features and
Enhancements
Increased Number of Audio
and MIDI Tracks, and Internal
Mix Busses
Pro Tools HD 9.0 and Pro Tools with Complete
Production Toolkit 2 increase the number of
available voiceable audio tracks to 512. Any audio tracks beyond that system’s voiceable track
limit will be automatically set to Voice Off.
Pro Tools 9.0 increases the number of available
voiceable audio tracks to 128. Any audio tracks
beyond that system’s voiceable track limit will
be automatically set to Voice Off.
All versions of Pro Tools 9.0 provide up to 256
internal mix busses. All versions of Pro Tools 9.0
also provide up to 512 MIDI tracks.
Table 4 on page 11 lists the audio playback, recording, and voiceable track limits of each type
of Pro Tools system. Playback and recording
voices refer to the number of unique simultaneous playback and record tracks on your system.
Total voiceable tracks refers to the maximum
number of audio tracks that can share the available voices on your system. (Mono tracks take
up one voice. Stereo and multichannel tracks
take up one voice per channel.)
Table 4. Pro Tools system audio playback, recording and voice limits
Playback and Recording
Voices (Mono Tracks of
Simultaneous Playback
and Recording)
Total
Voiceable
Tracks
Core System Type
Maximum I/O
Sample
Rate (kHz)
Pro Tools|HD 1
32 channels
44.1/48
96
512
88.2/96
48
512
176.4/192
24
512
44.1/48
192
512
88.2/96
96
512
176.4/192
36
512
Pro Tools|HD 2,
Pro Tools|HD 3,
or any expanded
Pro Tools|HD system
64 channels (HD 2)
96 channels (HD 3)
or up to
160 channels (HD 5)
Chapter 3: Mixing and Recording Features and Enhancements
11
Table 4. Pro Tools system audio playback, recording and voice limits
Total
Voiceable
Tracks
Core System Type
Maximum I/O
Pro Tools|HD Native
64 channels
44.1/48
192
512
88.2/96
96
512
176.4/192
48
512
44.1/48
96 (mono or stereo)
128
88.2/96
48 (mono or stereo)
128
176.4/192
24 (mono or stereo)
128
44.1/48
192
512
88.2/96
96
512
176.4/192
48
512
Pro Tools
Pro Tools with
Complete Production
Toolkit 2
12
Playback and Recording
Voices (Mono Tracks of
Simultaneous Playback
and Recording)
Sample
Rate (kHz)
What’s New in Pro Tools 9.0
32 channels
32 channels
New Track and Send Output
Selector Commands
Pro Tools 9.0 offers two new commands to the
Output selector for assigning tracks and sends to
new tracks or existing tracks.
The name entered is used for both the new track
and the new mix bus. (For example, if you entered the name “Drum Sub,” Pro Tools creates a
new Auxiliary Input track named “Drum Sub”
and also creates an internal mix bus named
“Drum Sub.”)
4 Select (or deselect) whether you want the new
Create and Assign New Track from Send or
Track Output
track to be created next to the current track or at
the bottom of the Track List.
Pro Tools 9.0 lets you create a new Auxiliary Input, Audio, or Instrument track from a track or
send Output selector. When you create a new
track in this way, the source track (or send) output is automatically assigned to an available internal mix bus, as is the input for the newly created track.
5 Click OK.
Pro Tools creates a new track with the output of
the originating track or send automatically
routed to the input of the new track using the
first available internal mix bus.
To create a new track from a send or track output:
1 On an existing track, click the Output selector
for a send or for the track and select New Track.
Option-click (Mac) or Alt-click (Windows)
to set all track outputs or send (of the same
slot) outputs to the new track.
Option-Shift click (Mac) or Alt-Shift-click
(Windows) to set all selected track or send
(of the same slot) outputs to the new track.
2 In the resulting New Destination dialog, select
the desired Width, Type, and Time Base for the
new track.
New Destination dialog
3 Type a Name for the new track.
New Auxiliary Input track with audio track send
automatically assigned to an internal mix bus named
“Drum Sub”
Chapter 3: Mixing and Recording Features and Enhancements
13
Assign Existing Track from Send or Track
Output
Pro Tools 9.0 lets you assign the output of a
track or send directly to an active audio, Auxiliary Input, or Instrument track using any available internal mix bus.
To assign the output of a track or send to an
available input on an existing track:
Variable Stereo Pan Depth
Pro Tools 9.0 lets you select the pan depth for
stereo output paths. You can set the Pan Depth
in the Session Setup window. The Pan Depth setting lets you set the amount of signal attenuation when a track is routed to a stereo output
and panned to center.
1 On an existing track, click the Output selector
for a send or for the track and select Track.
2 From the Track submenu, select the destina-
tion track you want. The destination track must
be set to either an internal mix bus or to No Input
in order to be available for assignment.
Session Setup window
The Pan Depth setting is a session setting,
which is stored with and recalled from the
session (rather than the system).
On Pro Tools|HD systems only, if the Stereo
Mixer plug-in is installed in the Plug-ins
folder, the Pan Depth setting defaults to
–2.5 dB and cannot be changed. Move the
Stereo Mixer plug-in to the Plug-ins (Unused) folder to be able to change the Pan
Depth setting.
To set the stereo pan depth:
1 Choose Setup > Session to open the Session
Setup window.
2 Select the desired option from the Pan Depth
selector.
Assigning a track output to an existing Auxiliary Input
track
Pro Tools automatically routes the track or send
to the input of the selected track using an available internal mix bus.
Session Setup window
14
What’s New in Pro Tools 9.0
The following Pan Depth options are available:
–2.5 This is the standard stereo pan depth setting in Pro Tools 8.x and lower. When opening
Pro Tools 8.x or lower session in Pro Tools 9.0 or
higher, this is the default option.
–3.0 This is the industry standard for surround
mixers and many consoles. This is the default
setting for new Pro Tools 9.0 sessions.
–4.5 This is the standard for many British analog consoles.
–6.0 This is the standard for full mono compatibility.
Pan depth on multi-channel formats (such
as LCR or 5.1) is fixed at –3.0 dB. The variable pan depth setting only affects stereo
panning.
7.1 and 7.0 Surround Formats
(Pro Tools HD and Pro Tools with Complete
Production Toolkit 2 Only)
Pro Tools HD and Pro Tools with Complete Production Toolkit 2 support two 7.0/7.1 surround
formats: standard HD and SDDS.
Standard HD 7.1 and 7.0 Surround
Formats
Pro Tools 9.0 supports the standard HD 7.1 and
7.0 surround formats. HD-DVD and Blue-Ray
systems use the standard HD format, which utilizes the following track layout:
• 3 front channels (Left, Center, Right)
• 2 side channels (Left Surround Side, Right
Surround Side)
• 2 rear channels (Left Surround Rear, Right
Surround Rear)
• 1 LFE channel (x.1 only)
SDDS 7.1 and 7.0 Surround
Formats
The Sony Dynamic Digital Sound (SDDS) 7.1
and 7.0 surround formats that Pro Tools has
supported since version 5.1 have been renamed
“7.1 SDDS” and “7.0 SDDS” to differentiate
these formats from the standard 7.1 and 7.0 surround formats.
• 5 front channels (Left, Left Center, Center,
Right Center, Right)
• 2 rear channels (Left Rear, Right Rear)
• 1 LFE channel (x.1 only)
Chapter 3: Mixing and Recording Features and Enhancements
15
EUCON Support
Pro Tools 9.0 supports “EUCON-aware” control
surfaces. EUCON is a high-speed Ethernet protocol that enables control of software applications
such as Pro Tools by EUCON-compatible controllers.
To enable EUCON control in Pro Tools:
1 Choose Setup > Peripherals.
2 Select the Ethernet Controllers tab.
3 Select the Enable EUCON option.
Enable EUCON option selected in the Ethernet
Controllers page of the Peripherals dialog
4 Click OK.
When the EUCON option is selected, Pro Tools is
enabled for control by one or more hardware
controllers using the EUCON control protocol.
For information about setting up Pro Tools
for use with EUCON-compatible controllers,
see the Pro Tools EUCON Guide.
16
What’s New in Pro Tools 9.0
chapter 4
Import and Export Options
Advanced Import Session
Data Options
Pro Tools 9.0 provides advanced Import Session
Data options that were previously only available
with Pro Tools HD, Pro Tools LE with DV Toolkit 2, or Pro Tools LE with Complete Production
Toolkit.
The Import Session Data dialog lets you view the
properties of a session, select which tracks to import, and choose which attributes of those tracks
you want to import into the current session.
For more information on Import Session
Data, see the Pro Tools Reference Guide.
Importing and Exporting AAF
and OMF Sequences
Pro Tools 9.0 lets you import and export AAF
and OMF sequences. Lower versions of
Pro Tools require the DigiTranslator 2.0 option
to be able to import and export AAF and OMF
sequences. All DigiTranslator 2.0 functionality
is now included with Pro Tools 9.0.
Improved AAF Import Capabilities
Pro Tools 9.0 offers expanded functionality
when importing AAF sequences and audio
tracks.
Importing Stereo AAF Audio Tracks
Pro Tools 9.0 lets you import stereo tracks from
AAF sequences to new or existing stereo audio
tracks in Pro Tools. Lower versions of Pro Tools
could only import only mono tracks from AAF
sequences.
For more information on importing AAF audio tracks and sequences into Pro Tools, see
the Pro Tools Reference Guide.
When importing stereo AAF audio tracks
into Pro Tools, the “Pan Odd Tracks
Left/Even Tracks Right” setting in the Import Session Data window is greyed out and
unavailable.
For more information about importing and
exporting AAF and OMF sequences, and
MXF files, to and from Pro Tools, see the
Pro Tools Reference Guide.
Chapter 4: Import and Export Options
17
Importing RTAS Plug-in Data From AAF
Sequences
Avid Media Composer (version 5 and higher)
lets you process audio tracks with RTAS (Real
Time AudioSuite) plug-ins. Pro Tools 9.0 lets you
import RTAS plug-in data from audio tracks in
Media Composer–generated AAF sequences.
Pro Tools 9.0 does not export RTAS plug-in
data when exporting an AAF for use with
Media Composer. Because Pro Tools mixes
often contain complex busing, routing, and
plug-in automation, tracks should be
printed or bounced to retain new processing
changes before exporting to AAF.
New Import AAF and OMF
Translation Options
Pro Tools 9.0 provides a new Import Translation
option and slight changes to two existing options when importing AAF and OMF sequences.
Pan Odd Tracks Left/Even Tracks Right
The Pan Odd Tracks Left/Even Tracks Right setting
enables you to set the basic track pan setting so
that odd-numbered tracks translate with full-left
panning, and even-numbered tracks translate
with full-right panning. However, when importing stereo AAF audio tracks into Pro Tools, the
Pan Odd Tracks Left/Even Tracks Right setting in
the Import Session Data window is greyed out
and unavailable.
Locators To Import
Pro Tools 9.0 lets you import Media Composer
locators as Pro Tools markers. The Locators to
Import menu lets you choose to import all locators, no locators or locators of certain colors.
To import all locators:
„ Click the Locators to Import menu and
choose All.
To import no locators,
„ Click the Locators to Import menu and
choose None.
To import locators based on locator color,
1 Click the Locators to Import menu.
Translation settings
2 Select the colors of locators you want to im-
Ignore Auto-Gain
port. Check marks will appear next to the colors
you choose.
Keyframe gain is referred to as “Auto-Gain” in
Media Composer, and has been renamed in
Pro Tools to match. The Ignore Keyframe Gain option is now the Ignore Auto-Gain option.
18
What’s New in Pro Tools 9.0
Avid Interplay Support on Mac
Avid Interplay now supports Mac clients.
Pro Tools 9.0 lets you to access the Avid Interplay networked file management system on an
Avid-qualified Mac system.
For more information on using Avid Interplay with Pro Tools, see the Pro Tools Avid
Interplay Guide.
Check Data Into and Out of
Avid Interplay with Interplay
Access
In previous versions, Pro Tools had a limitedfunctionality tool for accessing files on Interplay
servers. Pro Tools 9.0 directly supports the Interplay Access browser, which offers expanded
functionality for previewing, searching, and
sorting media.
To check out a sequence from Interplay and import
it into Pro Tools using Interplay Access:
1 Start Pro Tools.
2 If you want to import the sequence into an existing session, open that session.
3 Choose File > Import > Sequence from Avid Inter-
play. The Interplay Access window appears.
4 In the Interplay Access window, expand the
Interplay database by clicking the plus sign (+)
next to it.
5 Expand the root folder of the database—usu-
ally titled AvidWG or a variation thereof—by
clicking the plus sign (+) next to its name.
8 The Logon to Interplay dialog appears.
9 Enter your username and password, and click
OK.
10 In the Interplay Access window, locate and
select the sequence that you want to import.
11 Click OK.
12 If the Name the Session dialog appears, nav-
igate to the appropriate location either on local
storage or on a dedicated workspace on the network, and click Save.
This dialog does not appear if you are importing a sequence into an existing session.
If the Pro Tools Import Session Data dialog
appears, select the appropriate options and
click OK.
This dialog does not appear if you are importing a sequence into an existing session.
If the Pro Tools Import Session Data dialog
appears, select the appropriate options and
click OK.
13 Pro Tools imports the sequence, copies any
media (if the settings require copying), and displays the imported sequence within the
Pro Tools session.
If the sequence was linked to media files on unmounted volumes, the system provides a warning and asks you to mount those volumes before
you proceed with copying or linking to media.
For more information on using Avid Interplay with Pro Tools, see the Pro Tools Avid
Interplay Guide.
6 Expand the Projects folder.
7 Expand the project containing the sequence
you want to check out and import to Pro Tools.
Chapter 4: Import and Export Options
19
Export MP3
Export Sessions as Text
Pro Tools 9.0 lets you export MP3 files. Lower
versions of Pro Tools require the MP3 Export option to be able to export MP3 files.
Pro Tools 9.0 now provides the Export Session
Info as Text command for all versions of
Pro Tools. In lower versions of Pro Tools, the Export Session Info as Text command was only
available in Pro Tools HD. Use the Export Session Info as Text command to create a text file
that contains extensive information about your
session.
To export an MP3 from Pro Tools:
1 Do one of the following:
• Select a region and use the Export Selected
Region as File command.
• Use the Bounce to Disk command.
2 For File Type, select MP3.
3 Configure other settings as desired.
4 Click Export or Bounce.
5 Set the MP3 settings as desired.
This text file can contain a list of audio files, audio regions, audio track EDL (Edit Decision List)
information, extended timestamp information,
and information about crossfades.
Track EDLs are exported as tab-delimited text—
that is, with tabs between each column heading,
and tabs between each event parameter. You
can use this data in a program for reading EDLs,
or you can format the EDL data into tables using
a word processor or spreadsheet application.
For more information about Export Sessions
as Text command, see the Pro Tools Reference Guide.
MP3 Export dialog
6 Click OK.
For more information about exporting MP3
files from Pro Tools, see the Pro Tools Reference Guide.
20
What’s New in Pro Tools 9.0
chapter 5
I/O Setup Improvements
Pro Tools 9.0 provides I/O Setup improvements
for all Pro Tools systems that were first introduced in Pro Tools HD 8.1. These changes have
been made in order to solve session interchange
issues (such as maintaining studio settings when
exchanging sessions between different Pro Tools
systems) and to provide better overall workflows
for session interchange.
In lower versions of Pro Tools, I/O settings are
recalled from the Pro Tools session document,
so studio settings corresponding to your hardware could potentially change each time a session is opened. This can result in a temporary
loss of monitor paths.
In Pro Tools 9.0, I/O settings can be recalled
from the system. This means that your studio
settings can be maintained when opening sessions created on other Pro Tools systems.
See the I/O Setup Primer or the Pro Tools
Reference Guide for more detailed information on configuring the I/O Setup.
System Settings vs. Session
Settings
In Pro Tools 9.0, I/O settings (Input, Output, Insert, Mic Preamps, and H/W Insert Delay settings) are system settings. These settings are
stored with the system and the session file, and
they can be recalled from either. When opening
a session created or edited on another system,
you can choose whether or not the I/O settings
stored with the session overwrite I/O settings
stored with your system.
See “Sessions Overwrite Current I/O Setup
When Opened” on page 22.
Use this feature along with customized I/O settings to improve workflows when exchanging
sessions between Pro Tools systems.
See “Session Interchange” on page 30.
In Pro Tools 8.0.4 and lower, I/O settings are session settings. They are stored and recalled from
the session. When opening a session created or
edited on another system, any studio settings
configured for your system are overwritten by
the settings stored with the session file.
Chapter 5: I/O Setup Improvements
21
Sessions Overwrite Current I/O
Setup When Opened
This option determines whether or not, when
opening a session, Input, Output, and Insert I/O
settings as currently configured on your system
will be overwritten by any of these I/O Settings
stored with a session. These settings are always
stored with the session as well as with the system.
Enable the Sessions Overwrite Current I/O
Setup When Opened option for legacy
Pro Tools behavior (versions lower than
9.0). This option is enabled by default.
I/O Setup dialog showing Sessions Overwrite button
‹ When the Sessions Overwrite Current I/O Setup
When Opened option is disabled, Pro Tools recalls these settings from the system. The output
bus paths of the session automatically remap to
the system output paths according to certain criteria (see “Path Names and Automatic Output
Bus Remapping” on page 30).
‹ When the Sessions Overwrite Current I/O Setup
When Opened option is enabled (default),
Pro Tools recalls these settings from the session
rather than the system. The output bus paths of
the session remain mapped to the output paths
saved with the session.
22
What’s New in Pro Tools 9.0
The Sessions Overwrite Current I/O Setup When
Opened option is available in the Input, Output
Bus, and Insert pages of the I/O Setup. Enabling
or disabling this option in one page affects all of
the other pages as well.
When to Enable (or Disable) the
“Sessions Overwrite Current I/O Setup
When Opened” Option for Optimal
Session Interchange
When exchanging sessions among different systems running Pro Tools 9.0, it is generally recommended that the Sessions Overwrite Current
I/O Setup When Opened option be disabled. This
maintains your custom system settings and
Pro Tools automatically remaps session output
busses to the system output paths when opening sessions created (or edited and saved) on
other systems.
When exchanging sessions with systems running lower versions of Pro Tools, it is generally
recommended that the Sessions Overwrite Current I/O Setup When Opened option be enabled.
In this case, any custom settings saved with the
session that do not match your system may need
to be reconfigured in the I/O Setup.
For more information, see “Session Interchange” on page 30.
Busses
To better understand how output busses
work in I/O Setup, consider how an analog
console works. In Pro Tools, the output bus
is equivalent to a console's bus system. The
output bus as defined on the left side of the
Bus page in the Pro Tools I/O Setup is analogous to the outputs on a console's patchbay. The Mapping to Output selector is like
the patch cords used to patch into the studio’s various audio feeds, which in turn are
like the physical output paths in Pro Tools.
Pro Tools 9.0 provides two types of busses:
• Internal Mix Busses
• Output Busses
Internal Mix Busses
Pro Tools 9.0 provides up to 256 internal mix
busses. Internal mix busses in Pro Tools 9.0 are
the same as those in lower versions of Pro Tools.
Use internal mix busses to route audio signal
from track outputs and sends to other track inputs. Common uses for internal mix busses include effects sends and returns (such as bussing
sends from audio tracks to an Auxiliary Input
track for plug-in effects processing) and bus recording.
Output Busses
In addition to internal mix busses, Pro Tools 9.0
and higher provide output busses, which appear
along with internal busses on the Bus page of
the I/O Setup. When you create a new output
path on the Outputs page, an output buss is automatically created and routed (mapped) to the
corresponding output path. Output paths are assigned to the system’s physical audio outputs in
the I/O Setups Grid.
Creating and Mapping Busses to
Outputs
Any available bus can be mapped to any of the
available output paths of the same channel
width or greater. For example, a mono bus can
be mapped to a mono output path, a stereo bus
can be mapped to a stereo output path, and a 5.1
surround bus can be mapped to a 5.1 surround
output path.
To create a bus and map it to an output path:
1 On the Bus page of the I/O Setup, click New
Path.
2 In the New Paths dialog, specify the number
of new paths you want to create, the channel
width for each path, and the path name.
Internal mix busses can also be mapped to
any output path. Busses can be unmapped
at any time.
Because Bus settings are saved with and recalled
from the session, when moving sessions between Pro Tools systems, the output bus routing
from tracks and sends in the Pro Tools mixer is
maintained.
New Paths dialog
IO Setup Improvements
23
3 Click Create to create the new paths.
To map all output busses of the same format to
one output path:
1 Do one of the following:
• Shift click to select contiguous Output busses.
Unmapped “MAIN” output bus
– or –
4 Enable Mapping To Output for the bus path.
• Command-click (Mac) or Control-click
(Windows) to select noncontiguous Output
busses.
5 Select the desired output path from the Map-
ping To Output selector.
2 Option-Shift click (Mac) or Alt-Shift-click
(Windows) the Mapping To Output selector for
one of the selected Output busses and select the
desired output path (mono or stereo).
Mapping the “MAIN” output bus to output path “A 1–2”
Any signals from tracks or sends sent to the bus
are now sent to the hardware outputs assigned
to the corresponding Output paths.
To map all output busses of the same format to an
output path:
„ Option-click (Mac) or Alt-click (Windows) any
Mapping To Output selector and select the desired output path (mono or stereo).
All mapped output busses of the same format
(such as stereo) are all assigned to the same output path. For example, you can assign all stereo
output busses to output path A 1–2.
24
What’s New in Pro Tools 9.0
Only the selected mapped output busses of the
same format (such as stereo) are assigned to the
same output path. For example, you can assign
only the selected stereo output busses to output
path A 1–2.
To map all busses of the same format to unique
ascending output paths (cascading):
„ Command-Option-click (Mac) or Control-Altclick (Windows) the Mapping to Output selector
of the top-most output path and select the first
output path.
All busses of the same channel format are automatically assigned to unique output path assignments in ascending order. For example, for
stereo output paths, output bus A 1–2 is assigned to output path A 1–2, A 3–4 to A 3–4, A
5–6 to A 5–6, and so on.
Resetting Busses
When you open a session that was created with
Pro Tools any lower version of Pro Tools on a
current version of Pro Tools, only the number of
busses supported on the original system are initially available.You can reset the number of
available internal mix busses in your session to
match your system’s full capabilities by reverting to the default bus configuration.
Pro Tools 9.0 creates 128 (out of 256) internal busses by default.
To revert to the default bus configuration for your
system:
1 Open the I/O Setup.
2 Click the Bus tab in the upper left.
3 From the pop-up menu to the right of the Default button, select one of the following:
• All Busses
Importing I/O Settings
In Pro Tools 9.0, the Import Settings button lets
you import the settings for only the currently
viewed page of the I/O Setup. For example, if
you are viewing the Input page and import I/O
Settings, only the settings for the Input page are
imported. This helps avoid overwriting your
custom I/O Settings on other pages. In lower
versions of Pro Tools, importing I/O Settings always imports settings for all pages in the I/O
Setup.
When you import I/O Settings, you can choose
to delete any unused path definitions before importing the new paths, or leave unused path definitions intact and add the new paths to the current I/O Setup configuration.
For more information on importing and exporting I/O settings, see the I/O Setup
Primer or the Pro Tools Reference Guide.
• Output Busses
• Internal Busses
4 Click Default.
Resetting busses to the default setting will
rename all busses to their default name
(Bus 1–2, Bus 3–4, and so on).
5 Click OK to save changes and close the I/O
Setup.
To import I/O Settings:
1 Click the tab for the page of the I/O Setup for
which you want to import settings.
2 Click Import Settings.
Option-click (Mac) or Alt-click (Windows)
the Import Settings button to import settings to all pages of I/O Setup.
3 Select an I/O settings file in the Import Set-
tings dialog and click Import.
IO Setup Improvements
25
4 A dialog appears asking whether you want to
delete existing paths. Do one of the following:
• Click Yes to remove any unused paths and
add the imported paths to the current I/O
Setup configuration. Any I/O assignments
and automation data associated with the
unused paths are also deleted.
output path that maps to output channels 1–6
(L, C, R, Ls, Rs, LFE) and also have a stereo output path that maps to output channels 1 and 3
(L, R).
– or –
• Click No to add the imported paths to the
current I/O Setup configuration.
If the import results in overlapping paths, the
new paths will appear in the I/O Setup as Inactive.
You can also import I/O paths and path
names, as well as other session data, from a
different session by using the Import Session
Data command (File > Import > Session
Data). See the Pro Tools Reference Guide for
more information.
Overlapping Paths
In Pro Tools 9.0, you can create overlapping output paths–multiple paths that can share the
same physical output assignments. This can be
especially useful if you are working with multiple monitoring configurations of different channel widths.
In Pro Tools 8.1 and higher, you cannot create output sub-paths. Use overlapping output paths as you used output sub-paths in
Pro Tools 8.0.4 or lower.
For example, you may want to switch monitoring between discrete surround (such as 5.1) and
basic stereo, but without having to have two
completely different sets of monitors. To be able
to switch between the two, you can create a 5.1
26
What’s New in Pro Tools 9.0
Overlapping output paths
Note that overlapping paths must overlap completely. For example, you can have a 5.1 path
mapped to channels 1–6 and a stereo path
mapped to channels 1 and 3 because the stereo
path is “contained” by the 5.1 path. As another
example, you can have two separate stereo paths
assigned to channels 1–2, but you cannot have
one stereo path assigned to channels 1–2 and
the other assigned to 2–3 since they only partially overlap.
With overlapping output paths of different
channel widths, if the widest path is made
inactive, all other overlapped output paths
will not pass audio from Pro Tools.
See “Path Order and Overlapping Output
Paths” on page 31 for information on overlapping path sub-path and behavior when
exchanging sessions between systems running different versions of Pro Tools.
Input and Output Signal
Routing
Signal Path Routing for Audio
Output
To better understand the routing of audio signals to and from physical I/O and the Pro Tools
mixer, consider the following two examples.
Figure 2 on page 29 shows the signal path from
the output of an audio track, through an output
bus mapped to an output path that is routed to
a physical output on an HD I/O audio interface:
Signal Path Routing for Audio
Input
(1) Track Output Audio is played back from disk
and routed from the Track Output to Output
Bus “B 1–2.”
Figure 1 on page 28 shows the signal path from
the physical analog input of an HD OMNI audio
interface, and then through the Pro Tools audio
input path to the Input of an audio track in the
Pro Tools mixer:
(1) Physical Input For Pro Tools|HD interfaces
such as the HD OMNI, the physical inputs that
are available to Pro Tools are set on the Main
page of the Hardware Setup (this selector is mirrored in the Input page of the I/O Setup).
For Pro Tools systems such as the Mbox and
the 003, physical inputs are fixed. For thirdparty and built-in hardware, click the
Launch Setup App button for available configuration options.
(2) Input Path Main input paths and sub-paths
are routed (patched) to physical inputs using
cross-point matrix mapping in the I/O Setup. In
this example, audio input is routed from HD
OMNI physical inputs Analog 1–2 to Pro Tools
Input channels A 1–2.
(2) Output Bus Path The Output Bus is defined
on the Bus page of the I/O Setup. On the Bus
page of the I/O Setup, the Output Bus “B 1–2” is
mapped to Output “B 1–2,” which is defined on
the Output page of the I/O Setup.
(3) Output Path On the Output page of the I/O
Setup, the Grid is used to route the output path
(to which the output bus is mapped) to physical
outputs.
(4) Physical Output For Pro Tools|HD interfaces
such as the HD OMNI, the physical outputs that
are available to Pro Tools are set on the Main
page of the Hardware Setup (this selector is mirrored in the Output page of the I/O Setup).
For Pro Tools systems such as the Mbox and
the 003, physical outputs are fixed. For
third-party and built-in hardware, click the
Launch Setup App button in the Hardware
Setup for available configuration options.
(3) Track Input Input paths and sub-paths are
routed to track inputs in the Pro Tools mixer by
selecting the path (or sub-path) from the Track
Input selector. In this example, input sub-path
A1 is routed to the input of track “Audio 1.”
IO Setup Improvements
27
1
3
2
Figure 1. Input signal path from an HD OMNI to the Pro Tools mixer as mapped in I/O Setup
28
What’s New in Pro Tools 9.0
1
2
4
3
Figure 2. Output signal path from an audio track to a physical output as mapped in I/O Setup
IO Setup Improvements
29
Session Interchange
When exchanging a session between Pro Tools
systems, you may need to reconfigure the session’s I/O settings. This will depend on system
ID, path names and/or path format, as well as on
the Pro Tools versions of each system on which
the session is transferred.
Path Names and Automatic Output
Bus Remapping
A system ID is created and saved in a session for
every computer the session is opened on (using
the computer’s MAC address). If Pro Tools finds
a matching system ID when opening a session,
output paths are restored and no reconfiguring
is necessary.
When a Pro Tools session is opened on a system
for the first time, Pro Tools attempts to automatically remap output busses.
If Pro Tools does not find a matching system ID,
Pro Tools attempts to remap output busses according to the following criteria (in order):
Path Name and Format Path names must be exactly the same, and of the same format. Use the
suggested path naming schemes (see “Recommended Output Path Naming Schemes” on
page 30).
Path Format Only If matching path names are
not found, Pro Tools remaps paths to existing
paths of the same format (channel width).
Any output bus path that cannot be automatically remapped is opened as Inactive. You must
manually remap those paths to an active output
path.
30
What’s New in Pro Tools 9.0
Recommended Output Path Naming
Schemes
Generally, you will want to use standard naming schemes for output paths in your Pro Tools
sessions. This facilitates session exchange between different Pro Tools systems.
Here are some examples of standard industry
naming schemes:
• Main A, Main B
• Studio A, Studio B
• Stereo A, Stereo B
• Meter
• Monitor
• Aux A, Aux B
• Cue A, Cue B, Cue C, Cue D, Cue E, Cue F,
Cue G, Cue H, Cue I, Cue J
• Dial Main, Dial A, Dial B, Dial C, Dial B,
Dial E
• Efx Main, Efx A, Efx B, Efx C, Efx D, Efx E
• Music Main, Music A, Music B, Music C,
Music D, Music E
Pro Tools Versions and Session
Interchange
When exchanging a session between systems
with different versions of Pro Tools software
(such as your Pro Tools 9.0 system and a colleague’s Pro Tools 8.x system), use the following
to maintain paths and signal routing.
Pro Tools 8.1 and Higher
When exchanging sessions among systems running Pro Tools 8.1 or higher, it is generally recommended that the Sessions Overwrite Current
I/O Setup When Opened option be disabled. This
maintains any system I/O settings when opening a session from another system (see “Sessions
Overwrite Current I/O Setup When Opened” on
page 22).
Pro Tools 8.0.4 and Lower
When exchanging sessions with systems running lower versions of Pro Tools, it is generally
recommended that the Sessions Overwrite Current I/O Setup When Opened option be enabled
(see “Sessions Overwrite Current I/O Setup
When Opened” on page 22). In this case, any
custom settings saved with the session that do
not match your system may need to be reconfigured manually in the I/O Setup to match your
current studio setup.
If you created a backup of your I/O settings
by exporting your I/O settings, you can import settings after opening the session. “Importing I/O Settings” on page 25.
Opening Older Sessions in Pro Tools 8.1
and Higher
When opening sessions created in Pro Tools
8.0.4 and lower in Pro Tools 8.1 or higher, output paths from the legacy session are re-created
as output buses. If the Sessions Overwrite Current
I/O Setup When Opened option is enabled, the
output buses are mapped to session output
paths.
Path Order and Overlapping Output
Paths
When exchanging sessions between Pro Tools
8.1 or higher and Pro Tools 8.0.4 and lower, output paths and sub-paths are changed as follows,
depending on the order in which they appear in
the I/O Setups.
‹ If a session created in Pro Tools 8.1 or higher
contains overlapping paths with a larger path
created above smaller paths in the I/O Setup, the
smaller paths are converted to sub-paths of the
larger path when the session is opened in
Pro Tools 8.0.4 and lower.
‹ If a session created in Pro Tools 8.1 or higher
contains overlapping paths where a smaller
path appears above a larger path in the I/O
Setup, the larger path will be made inactive
when the session is opened in Pro Tools 8.0.4
and lower.
Show Last Saved Setup and Show
Current Setup
When a session is opened that contains path
definitions for unavailable I/O interfaces, the
I/O Setup lists those paths in italics.
Clicking the Show Last Saved Setup button displays the audio interfaces used in the original
session. This temporary display lets you check
the last saved I/O configuration for reference
while configuring the I/O settings for your system.
Once a session has been opened with unavailable I/O retained, you can then reassign tracks
to available I/O paths.
If your hardware configuration has
changed, you may need to manually reconfigure output assignments the I/O Setup
Grid.
IO Setup Improvements
31
32
What’s New in Pro Tools 9.0
chapter 6
Advanced DigiBase Features
Pro Tools 9.0 provides advanced search features
and Catalogs that were previously only available
with Pro Tools HD, Pro Tools LE with DV Toolkit 2, or Pro Tools LE with Complete Production
Toolkit.
For more information on DigiBase, see the
Pro Tools Reference Guide.
Searching for Multiple Criteria
Simultaneously in DigiBase
Browsers
Use DigiBase to find files by name, modification
date, and kind. With Pro Tools 9.0, you can also
search multiple criteria simultaneously, and
search on any criteria.
With Pro Tools 9.0, you can:
• Search on any combination of file metadata simultaneously.
• Create and share custom Catalog browsers
(Catalogs) that reference files wherever
they are stored.
• View, search, and import files from Catalogs even if they are on offline volumes.
To start a search:
1 Open any browser.
2 Click the Search icon to display the Search
pane.
You can also start a search by pressing
Command+F (Mac) or Control+F (Windows).
3 If in the Workspace browser, select volumes or
folders to search.
4 Enter text into the File Name field to search by
name, or enter a date, or select a kind from the
Kind pop-up menu.
5 Choose additional search criteria as needed.
Press Tab to move to the next available search
field, or Shift+Tab to move to the previous.
6 Click the Search button, or press Enter (Win-
dows) or Return (Mac).
Chapter 6: Advanced DigiBase Features
33
Searching begins, indicated by the spinning arrows in the toolbar, and by the Search button
changing to Stop. The Results List (at the bottom of the browser) fills with items that match
the search criteria. Items can be selected and auditioned as they are found.
7 Click the Stop button at any time to stop the
search, and keep the list of files already found (if
any).
For detailed information on DigiBase
search functions, see the Pro Tools
Reference Guide.
Saving Search Results as a
Catalog
Catalogs
While Volume browsers are designed to be an
accurate representation of the file structure on a
given volume, Catalogs are similar to having a
Favorites folder, and serve as a way to collect
and organize frequently used items regardless of
where they are stored.
A Catalog is analogous to a folder full of aliases
or shortcuts. Placing a file in a Catalog does not
create a copy of the file, and does not change
where the file is stored. Rather, it stores a reference (or alias) to the file so that it can be found
and manipulated without having to search for
its physical location.
To save the results of your search as a Catalog:
Opening a Catalog Browser
1 Choose Edit > Select All, or press Control+A
(Windows) or Command+A (Mac), to select all
items in the Items List.
Catalogs are displayed in the Workspace
browser.
2 From the Browser menu, choose
Create Catalog.
To open a Catalog browser:
1 Open the Workspace browser.
2 Click the Catalogs Expand/Collapse icon.
3 Do one of the following:
• Click the Expand/Collapse icon for the desired Catalog to view its contents in the
Workspace.
– or –
• Double-click the Catalog name to open it
in its own browser window.
34
What’s New in Pro Tools 9.0
Clip Names in Catalogs
Comments and Catalogs
Clip Names are the names that appear in the
Timeline and Region List when a file is imported
into a session.
Catalogs provide commands for managing Mac
Finder comments, Database comments, and
Clip Names.
For most files, the Clip name is the same as the
file name. For OMF Files, the Clip Name is the
name that appears in the Avid bin.
Database Comments in a Catalog are stored in
the Catalog database. Database Comments,
which can be up to 256 characters in length, are
searchable, cross-platform, and editable.
Clip names can only be edited in a Catalog. Editing the Clip name does not affect the actual
file; however, if you add the same file to a new
Catalog, it retains its original Clip Name. When
you drag a file from a Catalog into a session, the
edited Clip Name is what appears in the Timeline and Region List.
If the Clip Name is longer than 32 characters,
Pro Tools truncates the name automatically
when imported into the session.
Copy OS 9 Finder Comment to Database Comments (Mac Only) Copies an item’s OS 9 Finder
comments to its Database comments.
OS 9 Finder comments (from the OS 9 Get
Info window) are not supported in OS X Get
Info windows. Use the Copy OS 9 Finder
Comment to Database Comments command to utilize any OS 9 Finder comments
stored with your media.
Copy OS X Finder Comment to Database Comments (Mac Only) Copies an item’s OS X Finder
comments to its Database comments.
Copy Database Comments to Clip Names Copies
an item’s Database comments to Clip Name.
Copy File Comments to Clip Names Copies an
item’s File Comments to Clip Name.
Chapter 6: Advanced DigiBase Features
35
Creating Catalogs
Renaming a Catalog
Catalogs can be added to the Workspace as new,
empty Catalogs, or you can select items first and
then save a Catalog of all selected items.
Catalogs can be renamed at any time.
To create a new, empty Catalog:
1 Open the Workspace browser.
To rename a Catalog:
1 Click the Catalog item in the Workspace
browser until its name highlights.
2 Enter a new name for the Catalog.
2 Choose New Catalog from the browser menu.
3 Enter a unique name and click OK.
Modifying Catalogs
To catalog a selection of items:
To add items to a Catalog, do one of the following:
1 Open any browser (including an existing Cat-
„ Open the Catalog and drop new items from
another browser.
alog).
2 Select the items you want to include in the
new Catalog.
3 Choose Create Catalog from Selection from the
Browser menu.
– or –
„ Click the main Catalogs icon in the Workspace, to expand your view of all existing Catalogs, then drop items onto any Catalog.
A new, fully indexed Catalog database of the selected items is created.
To add a folder to a Catalog:
Creating Catalogs of Folders
2 Choose Create Folder from the Browser menu.
To create a Catalog of an entire folder and all its
contents:
To delete items from a Catalog:
1 Open the Workspace browser, if not already
open.
2 Drag and drop a single folder onto the Catalog
icon in the Workspace browser.
Pro Tools first indexes the folder, then a fully indexed Catalog is created, with the same name as
the dropped folder.
1 Open the Catalog.
1 Select the items.
2 Press the Delete key, or choose Delete Selected
from the Browser menu. A warning dialog appears.
3 In the warning dialog, do one of the follow-
ing:
• Click Cancel to cancel the delete operation.
• Click Delete Files to delete aliases and associated files from disk.
• Click Delete Aliases to delete only the
aliases and not the associated files.
This operation cannot be undone.
36
What’s New in Pro Tools 9.0
Consolidating Files with Catalogs
Relinking Catalog Items
Catalogs are excellent tools for consolidating
files from a variety of sources.
If files are ever missing from a Catalog, use the
Relink window to locate, copy, and relink files.
For more information, see the Pro Tools Reference
Guide.
For example, create a Catalog named “Thumps”
and fill it with sound effects from three different
volumes. You can then drag the Catalog from
the Workspace browser to another volume, and
a folder named “Thumps” is created on that volume. All of the files referenced by the Catalog
are automatically copied to the volume. Folders
and sub-folders, if any, and their contents are
included in the copy.
Deleting Catalogs
To delete a Catalog:
1 Select one or more Catalogs in the Workspace
browser.
2 Press the Delete key, or choose Delete Selected
Updating Catalogs
Since a Catalog database is not linked to any particular volume, there is a limit to the abilities of
the Update Index command. When Update Database for Selected is selected from the Browser
menu in a Catalog, Pro Tools searches for the
items represented by the aliases in the Catalog
and updates the following information:
Metadata Metadata for all files found online, including File comments, are updated.
from the Browser menu. A warning dialog appears.
3 In the warning dialog, do one of the follow-
ing:
• Click Cancel to cancel the delete operation.
• Click Delete Files to delete aliases and associated files from disk.
• Click Delete Aliases to delete only the
aliases and not the associated files.
This operation cannot be undone.
Database Comments Database Comments are
not updated, because they are unique to each
Catalog and are not part of the file’s metadata.
Chapter 6: Advanced DigiBase Features
37
Importing Catalog Items
You can import online and offline items from
Catalogs into the current session.
Importing Online Items from a Catalog
Dragging and dropping audio files to the
Pro Tools Region List and Timeline is identical
to dragging and dropping from Volume
browsers.
For more information on importing files by
dragging and dropping from DigiBase, see
the Pro Tools Reference Guide.
Importing Offline Items from a Catalog
With Catalogs, it is possible to search and import files that are offline. For example, if you
have a music cue that you know you want to
use, but it resides on a CD-ROM or other unmounted volume, you can spot the file from a
Catalog to the session Timeline, and it is automatically imported into the session when the
volume is mounted.
The first step is to add files to a Catalog (files
must be online to be added to a Catalog). Once
added to a Catalog, if the items are taken offline
they are listed in italicized text.
38
What’s New in Pro Tools 9.0
Offline files can be dropped from a Catalog to
the Timeline just like online files. When you
drop the files, a dialog appears asking if you
want to relink the files or skip relinking. Click
Skip All to load all the items as offline files (in the
Timeline, their regions appear in light blue). In
the Project browser, these items are listed in the
Render Sources folder, to ensure that Pro Tools
remembers that these items need to be relinked.
Whenever the volume containing the offline
items is mounted, Pro Tools automatically starts
to import the files, in the background. This is
true even if you have saved the session, quit,
and relaunched Pro Tools.
Once the items are completely imported, they
appear as online items in the Timeline, Region
List, and in the Project browser.
If the offline items match the session sample
rate, bit depth, and file format, no conversion is
necessary. As long as the volume is playable, the
items become playable in the session as soon as
the volume is mounted.
If the volume is unsuitable for playback, you are
informed that some items must be copied to
suitable volumes first.
For more information on Transfer files,
missing files, and relinking, see the
Pro Tools Reference Guide.
chapter 7
Editing Features and Enhancements
Auto-Scrolling Tracks in the
Mix and Edit Windows
Pro Tools 9.0 supports auto-scrolling in the Mix
and Edit windows. This feature was previously
only available with Pro Tools HD. If you are
working with more tracks than can be displayed
at one time in the Mix or Edit windows, you can
select a track in one window and Pro Tools will
automatically scroll to that track in both windows.
To auto-scroll the Mix and Edit windows to show a
track, do one of the following:
„ In the Track List, Right-click the track name
and select Scroll Into View.
Navigating to Tracks Using Track
Position Numbers
With Track Number View enabled, each track is
assigned a number corresponding to its position
in the Mix and Edit Windows. You can scroll directly to any track by its positional number.
When tracks are reordered, Track Position
Numbers are reassigned to keep them in numerical sequence.
To navigate directly to any track using Track
Position Numbers:
1 Choose Track > Scroll to Track.
Press Command+Option+F (Mac) or Control+Alt+F (Windows) to Scroll to Track.
– or –
„ In the Track List, Control-click (Mac) the track
name and select Scroll Into View.
The track becomes selected, and the Mix and
Edit windows both scroll to display the selected
track.
Scroll To Track dialog
2 In the Scroll To Track dialog, enter the Track
Number for the track you want to view.
3 Click OK.
Chapter 7: Editing Features and Enhancements
39
The track is selected, and the windows scroll as
follows:
• The Edit window tracks scroll to bring the selected track as close to the top as possible.
• The Mix window tracks scroll to bring the selected track as close to the left as possible.
Extending the selection to the snare, hi-hat, and
overhead microphones tracks, and then performing the separation, results in separated regions in each of the drum tracks at the same location, based on the beat triggers from the kick
drum track.
Advanced Beat Detective
Features
Pro Tools 9.0 provides advanced Beat Detective
that were previously only available with
Pro Tools HD, Pro Tools LE with Music Production Toolkit 2, or Pro Tools LE with Complete
Production Toolkit.
For information about other Beat Detective
features, see the Pro Tools Reference Guide.
Separating Multiple Tracks
You can use beat triggers from a single track, or
subset of tracks, to separate a group of tracks.
In the following example, the defined selection
is a drum loop consisting of two bars of 5/4. The
kick, snare, hi-hat, and overhead microphones
are recorded to separate tracks.
Analyzing the loop’s kick drum track, with Detection Resolution set to Beats, Beat Detective
places beat triggers at the transients on beats 1
and 4 (see Figure 3).
Figure 3. Kick drum track
40
What’s New in Pro Tools 9.0
Figure 4. Kick drum, snare, hi-hat, and overhead
microphones tracks
The separated regions can then be conformed as
a group.
You can also utilize Collection mode when
working with multiple tracks. Collection mode
lets you analyze and detect triggers on tracks individually, and if you choose, add only the
unique triggers from the current track to the
overall collection.
Detection (Normal) and Collection
Mode
In some instances, it may be difficult for Beat
Detective to successfully analyze multiple tracks
with the same Detection settings. With Beat Detective’s Collection mode, you can collect a set
of beat triggers from different tracks, each with
different Detection settings, and use the collection of triggers to generate Bar|Beat Markers or
DigiGroove templates, or separate new regions.
Collection mode is the only way to analyze and
create beat triggers on one track, and apply
them to another track.
the selection to the other drum tracks and separate them, the regions from the kick, snare, and
tom tracks will be cut slightly late (see Figure 5
below).
Figure 5. Overhead mics generate late beat triggers
This method of selectively adding beat triggers
from separate analysis passes on different tracks,
until you get only the triggers you want, is potentially much more effective than manually deleting, inserting, or adjusting incorrect or false
triggers.
Drum Tracks and Collection Mode
Suppose you have drum tracks for kick, snare,
hi-hat, and overhead mics. If you analyze a selection across all of the tracks, you may get
many false triggers when you raise the Sensitivity slider high enough to capture the hi-hat material (coming mainly from the tracks for the
overhead mics).
However, if you analyze only the track for the
overhead mics, the resulting beat triggers are
slightly later than the material on the other
tracks (since it will take more time for the sound
to reach the overhead mics). If you then extend
Using Collection mode, you can analyze each
drum track separately, one at a time, optimizing
the Detection settings for each track until you
get the triggers you want. The triggers for each
track can be added successively to the collection, or you can choose to collect only the
unique triggers from a track. The collection of
triggers that results can then be used to generate
Bar|Beat Markers or a DigiGroove template, or
separate new regions.
Using Collection Mode
Collection mode is available in Bar|Beat Marker
Generation, Groove Template Extraction, or Region Separation mode (audio only), and is accessed by clicking the Collection Mode button
in the Detection section.
Beat Detective, Collection mode options
Chapter 7: Editing Features and Enhancements
41
To use Collection mode:
1 In the Edit window, make an audio selection
on a single track. Make sure the selection’s start
and end points fall cleanly on the beat.
2 In the Beat Detective window, select one of
the following modes:
• Bar|Beat Marker Generation
• Groove Template Extraction
• Region Separation (audio only)
3 Define or capture the selection.
For information on defining a Beat Detective selection, see the Pro Tools Reference
Guide.
4 Configure the Detection options so the selec-
tion’s peak transients are accurately detected.
For information on generating beat triggers,
see the Pro Tools Reference Guide.
5 Click the Collection Mode button.
6 In the Detection (Collection Mode) section,
click Add to add all the current beat triggers to
the collection.
42
What’s New in Pro Tools 9.0
7 Click the Normal Mode button and move the
selection to the next track you want to analyze.
Make sure to keep the selection range constant
for each track.
Press Start+P (Windows) or Control+P
(Mac) to move the selection up, or
Start+Semi-colon (Windows) or Control+Semi-colon (Mac) to move the selection
down.
With Commands Keyboard Focus enabled,
press “P” to move the selection up, or Semicolon (;) to move the selection down. Hold
down the Shift key to retain and add to the
current selection. (See the Pro Tools Reference Guide for information on enabling
Commands Keyboard Focus.)
8 Configure the Detection options so the selec-
tion’s peak transients are accurately detected.
For information on generating beat triggers,
see the Pro Tools Reference Guide.
9 Click the Collection Mode button again.
10 Do one of the following:
• In the Detection (Collection Mode) section, click Add Unique Triggers to add only
the unique triggers from the track to the collection.
• Click Add All to add all triggers to the collection.
• Click Clear All to clear all triggers from the
collection.
Each new set of triggers added to the collection
appears in a different color. If successive triggers
in the collection are located closely together (for
example, because of microphone leakage), Beat
Detective keeps only the earlier triggers (see
Figure 6 on page 43).
11 Repeat steps 7–10 for each additional track
you are analyzing.
The beat triggers stored in the Collection mode
are saved with sessions. Therefore, when a session is opened later, the previous collection material is still there (until it is cleared).
12 Once the desired beat triggers have been
added to the collection, you can use them to
generate Bar|Beat Markers or a groove template,
or separate regions. However, this must be done
from the Collection Mode section (when the
triggers are displayed in multiple colors).
To separate regions across multiple tracks,
make sure to extend the selection to any additional tracks before separating.
1. Beat triggers
detected in Kick track
added to collection
2. Unique beat triggers
detected in Snare track
added to collection
3. Unique beat triggers
detected in Hi-hat track
added to collection
4.Collected beat triggers
applied to Overhead
microphones track
Figure 6. Overhead mic track displaying a collection of beat triggers containing unique triggers generated from the
kick, snare, and hi-hat tracks
Chapter 7: Editing Features and Enhancements
43
44
What’s New in Pro Tools 9.0
chapter 8
Delay Compensation
Pro Tools 9.0 provides automatic Delay Compensation for managing DSP and host-based delays from plug-in inserts, and mixer routing
(bussing and sends). Lower versions of Pro Tools
only provided Automatic Delay Compensation
with Pro Tools HD.
With Delay Compensation enabled, Pro Tools
maintains phase coherent time alignment between tracks that have plug-ins with differing
DSP and host-based delays, tracks with different
mixing paths, tracks that are split off and recombined within the mixer, and tracks with hardware inserts.
To maintain phase coherent time alignment,
Delay Compensation should always be enabled
during playback and mixing. Delay Compensation should also be used in most recording situations.
Enabling Delay Compensation
To enable Delay Compensation:
„
Select Options > Delay Compensation.
When Delay Compensation is enabled, the Delay Compensation status indicator in the Edit
Window Toolbar is displayed.
Delay Compensation indicator
The Delay Compensation View for tracks can be
displayed in the Mix Window (see “Delay Compensation View” on page 47).
For detailed information about using Delay
Compensation, see the Pro Tools Reference
Guide (Help > Pro Tools Reference Guide).
Chapter 8: Delay Compensation
45
Configuring the Delay
Compensation Engine
To configure the Delay Compensation Engine:
1 Choose Setup > Playback Engine.
2 From the Delay Compensation Engine pop-up
The amount of Delay Compensation available
for your session is set in the Playback Engine.
menu, select Short, Long, or None.
3 Click OK.
Delay Compensation Engine
Delay Compensation Settings
Pro Tools 9.0 supports Automatic Delay Compensation for all Pro Tools systems. In lower versions of Pro Tools, only Pro Tools HD provided
Delay Compensation.
There are three settings in the Playback Engine
to dedicate processing resources for Delay Compensation:
None Allocates no resources for Delay Compensation.
Short Allocates minimum resources for Delay
Compensation for each channel. This is the
most efficient setting. For sessions with only a
few plug-ins that do not induce too much DSP
and host–based delay, this setting should be sufficient.
Short Delay Compensation Engine selected with Mbox 2
The Delay Compensation Engine setting determines how much DSP resources are dedicated to
Pro Tools Delay Compensation, which manages
DSP and host-based delays in the Pro Tools
mixer.
Within a session, you can choose to enable or
disable Delay Compensation (Options > Delay
Compensation).
46
What’s New in Pro Tools 9.0
Long Allocates maximum resources for Delay
Compensation for each mixer channel. For sessions with a lot of plug-ins resulting in a large
amount of DSP and host–based delay, select this
setting.
Delay Compensation Time Mode
Delay values can be specified in either samples
or milliseconds, as selected with the Delay Compensation Time Mode setting in the Operation
Preferences page.
Delay Compensation Limit
The Delay Compensation limit is displayed in
samples in the Delay Compensation Engine
pop-up menu in the Playback Engine dialog.
This is the maximum amount of Delay Compensation available for the session. This value is different depending on the session sample rate and
which Delay Compensation Engine option is selected.
System Delay
Delay Compensation View
The Delay Compensation View displays the total amount of plug-in (TDM and RTAS) and
hardware insert delay (HD only), if any, on each
track. Delay Compensation View displays the
total amount of delay that Pro Tools applies to
each track. You can also apply an offset for track
delay on a track-by-track basis. The Delay Compensation View can be shown or hidden in the
Mix Window.
Pro Tools adds the exact amount of delay to
each track necessary to make that particular
track’s delay equal to the total System Delay.
The total system delay is the longest delay reported on a track, plus any additional delay
caused by mixer routing.
Delay indicator
User Offset field
Track
Compensation
indicator
Delay Compensation View
The System Delay is shown in the Session Setup
window (Session > Setup). Reference the reported System Delay to monitor whether or not
you are close to exceeding the Delay Compensation limit.
Delay Compensation view only shows the
insert delay for each track. To view the complete system delay, including mixer delays,
check the System Delay in the Session Setup
window.
To view Delay Compensation information:
„ Select View > Mix Window > Delay Compensation.
System Delay
System Delay in Session Setup window
Pro Tools HD accounts for converter delays
when using Automatic Delay Compensation. However, when using non-HD hardware, System Delay only displays internal
delay and does not take into account any latency incurred by the analog-to-digital
(ADC) or digital-to-analog (DAC) converters in your audio interface.
Delay Compensation View
Indicators and Field
Delay (dly) Indicator
The Delay (dly) indicator reports the total plugin (TDM and RTAS) and hardware insert delay
on the track.
Chapter 8: Delay Compensation
47
The Delay indicator’s report to Pro Tools Delay
Compensation Engine can be bypassed when
Delay Compensation is enabled. This is useful
for manually time-aligning a track when the total delay on a track exceeds the Delay Compensation limit (for more information, see the
Pro Tools Reference Guide).
The display color indicates reported track delay,
as follows:
Green Indicates that track delay reporting is enabled and the track does not exceed the available amount of Delay Compensation.
Orange Indicates that this is the track reporting
the longest plug-in and hardware insert delay in
the session.
Red Indicates that the amount of plug-in and
hardware insert delay on the track exceeds the
available amount of Delay Compensation (for
more information, see the Pro Tools Reference
Guide).
Gray Track delay report is bypassed.
User Offset (+/–) Field
This field lets you adjust track delays manually
while Delay Compensation is enabled. The User
Offset is added to or subtracted from the
amount of delay applied by Track Compensation. The User Offset is useful for the following
cases:
• For manually time-aligning a track if a
plug-in is incorrectly reporting its delay.
• For adjusting the timing “feel” of a track.
The color of the values in this field indicate User
Offset status, as follows:
White Indicates that the User Offset is enabled
on the track and the User Offset compensation
value is applied to the track.
48
What’s New in Pro Tools 9.0
Gray Indicates that the User Offset is disabled on
the track and the User Offset compensation
value is not applied.
To change track delay using the User Offset field:
1 In the Delay Compensation View, click in the
User Offset edit field.
2 To set your delay value (in samples or millisec-
onds depending on your current preferences),
do one of the following:
• Enter a positive number (with or without
the “+” modifier) for a positive delay (later
in time) or negative number (with the “–”
modifier) for a negative delay (earlier in
time).
• Drag in the User Offset field to scroll to a
new value. For finer resolution, Controldrag (Windows) or Command-drag (Mac).
• Press the Up and Down Arrow keys to increase or decrease the numerical values.
3 Press Enter.
To bypass the user delay:
„ Start-Control-click (Windows) or CommandControl-click (Mac) the User Offset field. The
user-defined delay appears grayed out and does
not apply to the track.
Track Compensation (cmp) Indicator
This indicator shows the amount of Delay Compensation Pro Tools applies to each track.
The display color indicates the amount of Delay
Compensation applied, as follows:
Green Track compensation is enabled and the
track does not exceed the Delay Compensation
limit. The amount of Delay Compensation
shown in the indicator is applied to the track.
Blue (Audio Tracks Only) Indicates that Delay
Compensation is force-enabled on the track.
When the track is record-enabled or TrackInputenabled, Delay Compensation is not suspended
and remains enabled (see “Overriding Low Latency Monitoring During Recording” on
page 49).
Red Indicates that the track delay exceeds the
available amount of Delay Compensation and
no Delay Compensation is applied to the track
(for more information, see the Pro Tools Reference
Guide).
Gray Indicates that Delay Compensation for the
track is bypassed and no delay is applied to the
track.
Low Latency Monitoring
During Recording
When an audio track is armed for recording (record-enabled), TrackInput-enabled, DestructivePunch-enabled, or punched in, the track’s Delay
Compensation is automatically suspended (and
the Track Compensation indicator displays 0).
This reduces monitoring latency on those track
outputs. When the track is played back (with
both record-enable and TrackInput disabled) it
is correctly time-aligned with the other delaycompensated tracks.
Tracks that are not record-enabled still apply Delay Compensation. Pro Tools automatically
compensates for any timing discrepancies between the recorded material and the delay-compensated mix.
Overriding Low Latency Monitoring During
Recording
You can override Low Latency Monitoring During Recording on record-enabled tracks, but this
may introduce latency in the signal path corresponding to the amount of Delay Compensation. This latency may be acceptable depending
on the recording source. For example, in certain
“non-performance” workflows, overriding Low
Latency Monitoring During Recording ensures
that delay compensation is applied consistently
regardless of whether a track is record- or punchenabled, or whether Pro Tools is recording or
playing back.
In certain dubbing workflows you may want
to cascade bus recordings to multiple tracks.
In these cases you should be sure to override
Low Latency Monitoring on the recording
tracks.
To override Low Latency Monitoring During
Recording on specific record tracks:
„ Command-Control-click (Mac) or ControlStart-click (Windows) the Track Compensation
indicator. Delay Compensations is applied to
the track and the Track Compensation indicator
displays in blue.
Command-Control-Shift-click (Mac) or
Control-Start-Shift-click (Windows) the
Track Compensation indicator to override
Low Latency Monitoring for all selected
tracks.
Command-Option-Control-click (Mac) or
Control-Alt-Start-click (Windows) the
Track Compensation indicator to override
Low Latency Monitoring for all tracks.
Chapter 8: Delay Compensation
49
Delay Compensation on
Auxiliary Inputs
Delay Compensation on Auxiliary Inputs can be
bypassed to let you monitor outside sources
(such as the audio tracks of a slaved video deck)
with minimal latency, while still reporting the
track’s delay.
To bypass an Auxiliary Input’s Delay
Compensation:
Start-Control-click (Windows) or CommandControl-click (Mac) the Track Compensation indicator. The reported track delay will be zero,
and will appear grayed out.
„
Delay Compensation for MIDI
Pro Tools automatically maintains time alignment between recorded MIDI events and delay
compensated playback.
When Delay Compensation is enabled, a MIDI
event that is recorded to sound “in time” with
delay-compensated material actually is recorded
late by the length of total delay in effect. To
compensate, MIDI events are shifted back in
time by the total session delay following each
MIDI recording pass. MIDI playback after a record pass with Delay Compensation enabled accounts for the low latency recording path and
maintains phase coherent time alignment with
MIDI playback.
When any Instrument or MIDI track is record enabled, all Instrument and Auxiliary
Input tracks with Instrument plug-in inserts
that are configured to receive MIDI in
Pro Tools are set to low-latency mode. In
this case, the Delay Compensation indicators for those tracks display 0.
50
What’s New in Pro Tools 9.0
Low-Latency Recording with
Virtual MIDI Instruments
When a MIDI or Instrument track that is routing
MIDI data to an instrument plug-in is record-enabled, Pro Tools automatically suspends Delay
Compensation through the main outputs of the
audio track, Auxiliary Input, or Instrument track
on which the instrument plug-in is inserted. This
allows for latency-free monitoring of the instrument plug-in during recording.
Delay Compensation for virtual MIDI instruments works only when all MIDI and
audio connections take place inside
Pro Tools. While Pro Tools does not
suspend Delay Compensation when you are
using ReWire to connect software synthesizers and samplers in other ReWire client applications (such as Reason), Pro Tools cannot account for any latency within the
ReWire client itself.
MIDI and Audio Processing Plug-Ins
Some audio processing plug-ins (such as Bruno
and Reso) and many instrument plug-ins let you
process audio while allowing MIDI data to control processing parameters. When you record
enable a MIDI or Instrument track that is controlling an audio processing plug-in, the track
the plug-in is inserted on will go into low-latency mode, effectively making the processed
audio play early. The steps to prevent this and
keep audio time-aligned depend on the type of
track on which the plug-in resides.
To keep audio time-aligned when recording using a
MIDI controlled plug-in on an audio track:
„ Start-Control-click (Windows) or CommandControl-click (Mac) the Track Compensation indicator for the audio track to apply Delay Compensation.
To keep audio time-aligned when recording using a
MIDI controlled plug-in on an Auxiliary Input:
1 Start-Control-click (Windows) or Command-
3 Type a value, in milliseconds, in the field cor-
responding with the input where the hardware
insert is connected.
Control-click (Mac) the Track Compensation indicator for the Auxiliary Input to bypass Delay
Compensation.
Insert delay offsets only have an effect when
the I/O is used for hardware inserts.
2 Enter the total system delay into the User Offset field.
Determining Your Hardware’s
Insert Delay
H/W Insert Delay
(Compensation)
Check the documentation for your external
hardware to see if it identifies the hardware latency, or use the following procedure in
Pro Tools to determine the latency for hardware
inserts.
Pro Tools 9.0 supports manual H/W Insert Delay
Compensation. This feature was previously only
available with Pro Tools HD. To compensate for
the delay (latency) of any external hardware devices (such as an effects unit) used in your session, you can set the amount of Hardware Insert
Delay Compensation (in milliseconds) for each
external device. These times will be used by the
Delay Compensation Engine to time-align input
paths when the hardware insert is in use and Delay Compensation is enabled.
To determine your hardware’s insert delay:
1 Ensure that Automatic Delay Compensation is
enabled (Options > Delay Compensation).
2 Change your session’s Main Time Scale to
Min:Sec.
3 Create two tracks.
4 Place a short tone (or other sound with a de-
finitive beginning) on track 1.
5 Insert the HW insert on track 1.
6 Ensure that only the dry signal is being passed
through the device.
7 Bus the output of track 1 to the input of track
2.
Insert offset delay fields
8 Record enable track 2 and press Record Enable
Setting an Insert Delay Offset
and Play in the Transport window to play back
the audio in track 1 and record it to track 2.
To set an insert delay offset:
9 After recording, zoom in and measure the difference between where the audio starts in track
1 and track 2. The difference is the value you
would enter as your hardware’s insert delay offset.
1 Choose Setup > I/O.
2 Click the H/W Insert Delay tab.
Chapter 8: Delay Compensation
51
52
What’s New in Pro Tools 9.0
chapter 9
Time Code and Synchronization Features
Pro Tools 9.0 provides various time code and
synchronization features for working with audio, film, video, or digital video that were previously only available with Pro Tools HD,
Pro Tools LE with DV Toolkit 2, or Pro Tools LE
with Complete Production Toolkit.
For more information on working in
Pro Tools with time code and synchronization, see the Pro Tools Reference Guide.
Time Code Displays the Time Scale in SMPTE
frames. The Time Code Rate and Session Start
time are set from the Session Setup window. The
Time Code Time Scale is absolute based on the
frame rate.
Pro Tools supports the following frame rates:
• 23.976 FPS
• 24 FPS
• 25 FPS
• 29.97 FPS
Timebase Rulers
• 29.97 FPS Drop
Pro Tools provides three additional Timebase
rulers to Pro Tools that were previously only
available with Pro Tools HD, Pro Tools LE with
DV Toolkit 2, or Pro Tools LE with Complete
Production Toolkit: Time Code, Time Code 2,
and Feet+Frames. You can also spot audio to
Time Code or Feet+Frames.
• 30 FPS Drop
For information on other Timebase rulers,
see the Pro Tools Reference Guide.
To add one of these rulers to the Timebase ruler:
„
• 30 FPS
Secondary Time Code Ruler A secondary time
code ruler, labeled Time Code 2, lets you reference video frame rates in the Timeline that are
different from the session Time Code rate. However, you cannot Spot to the Time Code 2 ruler
and it cannot be set as the Main Time Scale. The
secondary time code ruler can be set to show
any Pro Tools supported frame rate. The Time
Code 2 ruler can also display the additional following frame rates:
Do one of the following:
• 50 FPS
• Select View > Rulers > Time Code.
• 59.94 FPS
• Select View > Rulers > Time Code 2.
• 59.94 FPS Drop
• Select View > Rulers > Feet+Frame.
• 60 FPS
• 60 FPS Drop
Chapter 9: Time Code and Synchronization Features
53
Feet+Frames Displays the Time Scale in feet and
frames for referencing audio-for-film projects.
The Feet+Frames time display is based on the 35
millimeter film format. The Feet+Frames Time
Scale is absolute based on the frame rate.
Half-Frame Nudge/Grid
Pro Tools provides an additional grid resolution
of 1/2 Frame to allow for easy alignment of material when referencing a high-definition (HD)
frame rate on the secondary time code
(Time Code 2) ruler.
Secondary Time Code Ruler
Pro Tools provides an additional time code
ruler, labeled Time Code 2, in the Pro Tools Edit
window. This secondary time code ruler lets you
re-reference video frame rates in the Timeline
that are different from the session time code
rate.
The Time Code 2 ruler can be set to show any of
the following rates:
Selecting Time Code and Time
Code 2 Rates
The Time Code Rate and Time Code 2 Rate for
the session can be set in the Session Setup window with the Time Code Rate and Time Code
Rate 2 selectors. The Time Code ruler displays
the Time Scale in SMPTE frames (hours:minutes:seconds:frames).
• 23.976 FPS
• 24 FPS
• 25 FPS
• 29.97 FPS
• 29.97 FPS Drop
• 30 FPS
• 30 FPS Drop
• 50 FPS
• 59.94 FPS
Pro Tools supports the following rates and formats: 23.976 fps, 24 fps, 25 fps, 29.97 fps NonDrop, 29.97 fps Drop, 30 fps Non-Drop, and
30 fps Drop. In addition, Pro Tools supports audio pull up and pull down (see “Pull Up and Pull
Down Commands” on page 56).
See the Pro Tools Reference Guide for
more information on time code and
synchronization.
• 59.94 FPS Drop
• 60 FPS
• 60 FPS Drop
The Time Code 2 ruler cannot be set to the Main
Ruler in Pro Tools.
Selecting Feet+Frame Rate
The Feet+Frame Rate for the session can be set in
the Session Setup window with the Feet+Frame
Rate selector. Supported rates are 23.976, 24,
and 25 fps.
Set this rate to match the rate of the film projector, or the video if the film projector speed is
taken into account.
54
What’s New in Pro Tools 9.0
Redefining Time Code
Position
To set the Main Time Scale to SMPTE Time Code,
do one of the following:
„
Choose View > Rulers > Time Code.
– or –
Redefining a Time Code Position
Use the Current Time Code Position command to
redefine the current time code position and session start time. By creating an insertion point
(or selection), and then entering the new time
code position for that location, the session start
time will be recalculated based on the new, relative Time Code location.
To redefine a current Time Code code position:
1 With the Selector tool, click in a track (or
make a selection) where you want to redefine
the position.
If your insertion or selection is not on a
grid boundary, it will round to the closest
boundary.
2 Choose Setup > Current Time Code Position.
3 Enter a new SMPTE frame number in the dia-
log to correspond to the time code shown in the
dialog.
4 Click OK.
Displaying Time in SMPTE Frames
In Pro Tools, you can set the Main Time Scale to
Time Code (SMPTE) and this will be displayed in
the Main Counter. Though Pro Tools will still
synchronize to incoming SMPTE time code if
the Time Scale is displayed in Bars|Beats, Minutes:Seconds, or Feet.Frames, it is usually more
useful to use SMPTE time code as your reference.
„ Click the Main Counter selector in the Edit
window and select Time Code.
Pro Tools displays time code values in the currently selected SMPTE frame rate.
Sub Counter and Sub Time Scale
Display
You can display a Sub Time Scale in the Sub
Counter. For example, if the Main Time Scale is
set to Time Code, and you want to compare
SMPTE time to “wall clock,” when you are using
29.97 Non-Drop frame rate, click the Sub Counter selector and select Min:Secs as the Sub Time
Scale.
Redefining Current
Feet+Frames Position
Use the Current Feet+Frames command to redefine the Feet+Frames position at the current insertion point. The session start time is recalculated based on the new, relative Feet+Frames
location.
Typically, this command is used for integrating
test tones, pre-roll, Academy leader, and similar
pre-program material into Pro Tools sessions.
Redefining Feet+Frames does not redefine the
session start time.
Chapter 9: Time Code and Synchronization Features
55
To set a relative frame position for a session
(Feet+Frames):
1 With the Selector tool, click in a track (or
make a selection) where you want to redefine
the position.
If your insertion or selection is not on
a grid boundary, it will round to the
closest boundary.
2 Choose Setup > Current Feet+Frames Position.
3 Enter a Feet+Frame position to correspond to
the time code shown in the dialog.
4 Click OK.
Use Subframes Option
When spotting or shifting material in Pro Tools,
or using the Go To dialog, enable the Use Subframes option for greater precision.
Shift dialog with the Use Subframes option enabled
A subframe is 1/100th of a frame. The Use Subframes option enables you to use these smaller
units for greater accuracy. When enabled, this
command adds a decimal and two decimal
places of additional time for subframes in
SMPTE and Feet+Frames–based fields in the
Spot, Shift, and Go To dialogs.
56
What’s New in Pro Tools 9.0
Pull Up and Pull Down
Commands
Use Audio Rate Pull Up/Down and Video Rate
Pull Up/Down for audio layback to film or
video, or when recording audio for film or
video. See the Pro Tools Reference Guide for more
information.
When using a video I/O (such as the Avid
Mojo) as the S/PDIF clock source, Audio
Rate Pull Up/Pull Down is not supported.
Audio Rate Pull Up/Down Applies pull up or pull
down factors to session audio record and playback. The Audio Rate Pull Up/Down pop-up
menu is located in the Session Setup window.
Video Rate Pull Up/Down Lets you change the
frame rate of video playback independently
from the audio pull-ups (if any). The Video Pull
Up/Down pop-up menu is located below the Audio Rate Pull Up/Down pop-up menu in the Session Setup window. Choices are determined by
the file format of the video clip, as well as its
frame rate.
Audio Pull Down Factors and QuickTime Movies
Audio “pulls” are an industry standard method
of adjusting the speed of audio playback to line
up with off-speed picture.
In normal industry standard workflows, when
audio is pulled down, video and time code
maintain their current speed, and only the audio and MIDI are pulled down, in relationship
to the video and time code.
For example, when 24 frame film to 29.97 NTSC
video transfers are made, it is necessary to slow
the film playback speed during the transfer process by 0.1%.
In order to make the same speed change for production audio to match the speed of this new
slower picture, Pro Tools audio needs to also be
“pulled down” by 0.1%.
To slow audio in Pro Tools, the audio can either
be sample rate converted on import or the incoming word clock sample rate source must be
“pulled down” by 0.1% (resulting in a 48,000 Hz
session speed to be pulled down to play in real
time at 47,952 Hz). The pull down setting in
Pro Tools adjusts the visual representation of regions on the timeline to equal the word clock
pull up/down change.
When the clock is reset to the non-pulled down
sample rate, the audio plays at the original film
speed.
MIDI is always pulled in line with audio
pulls.
Pro Tools offers limited pull capabilities, primarily for Pro Tools HD users who have a secondary
Pro Tools system that they use to perform
smaller tasks or for remote work.
Although Pro Tools offers some pull down options, it does not have the ability to adjust the
internal sample clock the same way
Pro Tools|HD and Pro Tools|HD Native systems
do in tandem with a SYNC peripheral (such as
SYNC HD).
Since Pro Tools does not have any means to adjust the Pro Tools sample clock, it instead simulates the audio/video pull relationship by pulling up the video instead of pulling down the
audio. This maintains the proper video/audio
speed relationship when using the fixed
Pro Tools internal clock. The audio sample clock
is not pulled down, so the digital outputs are not
outputting a pulled down sample clock.
If you are using an external clocking source
(such as S/PDIF or ADAT Optical), Pro Tools audio and MIDI are resolved to the digital input’s
clock speed. If you select audio pull down, the
audio still doesn’t pull down in Pro Tools LE;
the video still pulls up to maintain the proper relationship, and the actual Pro Tools sample rate
is now dependent on the digital clock source.
However, if the incoming digital clock speed is
pulled down, Pro Tools audio and MIDI will run
at a pulled down rate, and the video will play
back at its normal speed.
When pull down is selected in Pro Tools, the following occurs:
• If the external clock is not pulled down, the
actual sample rate of Pro Tools audio and
MIDI is not pulled down, but the video is
pulled up.
• If the external clock is pulled down, the actual sample rate of Pro Tools audio and
MIDI is pulled down, and the video plays at
its original non-pulled speed.
Chapter 9: Time Code and Synchronization Features
57
58
What’s New in Pro Tools 9.0
chapter 10
PRE Support
Pro Tools 9.0 provides support for PRE that was
previously only available with Pro Tools HD.
For information about PRE, see the PRE
Guide.
Type
The Type setting lets you select none or PRE. Select the PRE option to declare any connected
PRE.
Receive From
Mic Preamps
In the Peripherals dialog, the Mic Preamps page
lets you configure up to nine different Mic Preamps (PRE) for Pro Tools.
The Receive From setting lets you specify the
MIDI In port to which the PRE is connected.
Send To
The Send To setting lets you specify the MIDI
Out port to which the PRE is connected.
Defaults
Click the Reset button reset the corresponding
PRE to its default settings.
Retain Current Settings
Select the Retain Current Settings option to retain
PRE channel settings when an existing session
with different settings is loaded. New sessions
will automatically retain the current settings.
Chapter 10: PRE Support
59
Mic Preamps in I/O Setup
On the Mic Preamps page of the I/O Setup, signal paths for one or more PRE multi-purpose microphone preamplifiers can be mapped to audio
interfaces. For more information, see the PRE
Guide.
Mic Preamp Paths
When audio tracks or Auxiliary Inputs are created, their mono, stereo, or multichannel format is defined. This format determines the Mic
Preamp behavior. Mono tracks control a single
channel, stereo tracks control two channels, and
multichannel tracks control multiple channels.
Using multi-channel input paths
Mic Preamps
Mic Preamps in Pro Tools Edit
and Mix Windows
After you create a new track and set the track input to an analog input that the PRE output
channel is mapped to, the PRE controls (identified as Mic Preamps) appear on top of the track
channel strip. If you do not see these controls,
choose Display > Mix Windows Shows > Mic Preamps View.
To create a track with a Mic Preamp
1 Choose Track > New, and create a mono or stereo audio or Auxiliary Input track.
2 Select an input path from the track Input Se-
lector. Make sure you choose an input that a PRE
output was mapped to in I/O Setup.
If the Mic Preamps view doesn’t appear at the
top of the channel strip, you may need to set the
Mix or Edit window to show PRE controls (see
“Viewing Mic Preamp Controls in Pro Tools” on
page 61).
60
What’s New in Pro Tools 9.0
Pro Tools allows you to create multichannel input paths in the Inputs tab of I/O Setups. When
these multichannel inputs use a physical input
which has been mapped to a PRE output, their
controls will become automatically ganged together when a multichannel track input assignment is made.
This is useful for stereo-pair miking situations
where you may want both microphones to behave in a similar manner—for example, gain
and phantom power controls affect both channels simultaneously.
If you are using advanced miking patterns, such
as M/S pairing, you will not want the microphones to be ganged together. In this example,
you would want phantom power enabled on the
condenser mic, but not on the dynamic mic.
Furthermore, it is unlikely that they would have
the same gain setting. If you need to use multimicrophone configurations and do not want
their PRE controls to be linked, use individual
mono inputs and mono paths.
Viewing Mic Preamp Controls
in Pro Tools
Source and
Impedance
Mic Pre window
Phase
HPF
Pad
Insert
Phantom
Power
Gain
Mic Preamps View, Mix window
Both the Mix and Edit windows can be configured to show or hide PRE controls.
Mic Preamp Controls
The Mic Preamps view provides all the essential
controls for a PRE channel in the Mix and Edit
windows.
Source and Input Impedance Selector
Clicking the up/down arrows in the Mic Preamp
window accesses two sets of controls. The top
half of this pop-up menu sets the input source
for the PRE channel to Mic, Line, or DI (instrument). The bottom half of this pop-up menu
sets the input impedance for a PRE channel to
1.5 kΩ, 15 kΩ, or 1.5 MΩ.
To show or hide Mic Preamp controls in the Mix
and Edit windows:
Mic Preamp Window Button
Choose View > Mix Window or View > Edit Window, or click the View Selector in the Edit window or Mix window, and do one of the
following:
Clicking the Mic Preamp Window button
(labeled mic, inst, or DI) opens a floating Mic
Preamp window, an alternative to Mix and Edit
window views. See “Mic Preamp Window” on
page 62.
„
• Select Mic Preamps View to show all Mic Preamp controls, or deselect to hide.
• Select All to display the Pro Tools input/output controls, Mic Preamps, inserts, sends,
and comments.
• Select None to hide Pro Tools input/output
controls, Mic Preamps, inserts, sends, and
comments.
Phase Button
This button applies phase reversal to individual
channels.
High-Pass Filter Button
This button applies a high-pass filter to individual channels.
Each PRE channel includes a high-pass filter
with a center frequency of 85 Hz and a roll-off of
–18 dB/octave. Use the high-pass filter to remove microphone proximity effects, hum, rumble, wind, and other low frequency sounds.
Chapter 10: PRE Support
61
Pad Button and LED
This button applies an input pad to individual
channels to reduce input sensitivity by 18 dB.
Insert Button
This button enables insert points on individual
channels. PRE’s back panel has eight pairs of
Send and Return jacks for inserting external processors (such as compressors or EQs) in the audio path. Inserts are post the output trims.
The Mic Preamp window provides all the essential PRE controls, plus a gain fader and access to
the channel strip Input Selector, as an alternative to Mix and Edit window views.
To open a Mic Preamp window:
„ Click the Mic Preamp Window button
(labeled mic, line, or DI).
If you do not have your signal routed through
an external effects unit, enabling the Insert will
effectively mute your signal.
To view a different Mic Preamp window:
Gain Indicator and Mini Fader
To open additional Mic Preamp windows:
The Gain indicator features a mini fader to adjust gain to the input signal on the PRE. The
gain range for each input (Mic, Line, and Instrument) is 0 dB to +69 dB, adjustable in increments of approximately 3 dB.
„ Shift-click the Source button in another Mic
Preamp window.
Phantom Power
This button toggles 48V phantom power to Mic
inputs.
62
Mic Preamp Window
What’s New in Pro Tools 9.0
„ Click the Mic Preamp Windows button
(labeled mic, line, or DI).
To set a window to remain open:
„
Make sure the Target is deselected (gray, unlit).
Mic Preamp Window Controls
Mic Preamp windows provide standard selectors
for PRE controls and other controls in the top
area of the window.
Input
Target
Source
Phase
Pad
HPF
Insert
Phantom
Power
Gain Level Fader and Field Mic Preamp gain can
be changed by clicking on the fader and moving
the mouse, or by typing a valid gain value in the
field and clicking Enter. Other values will snap
to the closest permitted value (for example, entering 10 will snap to +9 dB).
Target When the Target icon is red, the next
window opened of the same type replaces the
current display. When unlit, the current window anchors to its current contents and location on-screen. Opening additional windows
does not affect anchored windows.
To set an open Mic Preamp window as the Target
window:
Gain
„ Click to enable the Target (it is red when enabled, gray when disabled).
Adjusting Mic Preamp
Controls
To adjust a control on a single channel:
Mic Preamp window standard controls
Standard Controls
1 Choose View > Mix Window Views > Mic Preamps.
2 Click the Mic Preamp control that you want to
adjust.
Refer to “Mic Preamp Controls” on page 61 for a
description of Mic Preamp view controls that are
mirrored in the Mic Preamp window. The following controls are not available in Mic Preamps view:
Input Selector Allows you to change which
channel you wish to assign this track. Changing
the Mic Preamp channel will also change the input of the track.
Chapter 10: PRE Support
63
Adjusting Controls on Multiple
PREs
When working with PRE controls on multiple
channels in Pro Tools, you must select tracks
from within Pro Tools. Pro Tools does not register selections from the PRE front panel.
To adjust PRE controls on multiple channels:
1 Hold Shift and select the tracks whose PRE
controls you want to adjust.
2 Hold Shift+Option (Mac) or Shift+Alt (Win-
dows) and adjust PRE parameters on any selected track.
Adjustments made to any control on a selected
track are made to the corresponding controls on
all selected tracks.
To adjust controls on all channels:
„ Hold Option (Mac) or Alt (Windows) and adjust PRE controls on any track.
64
What’s New in Pro Tools 9.0
chapter 11
Complete Production Toolkit 2
The Complete Production Toolkit 2 software option for Pro Tools 9.0 provides additional features and plug-ins for music creation and post
production.
For detailed information about the Complete Production Toolkit 2 software option,
see the Complete Production Toolkit 2
Guide.
For information on standard Pro Tools features, refer to the Pro Tools Reference Guide
(Help > Pro Tools Reference Guide).
Complete Production Toolkit 2
Overview
Complete Production Toolkit 2 enables the following features in Pro Tools:
• Up to 32 channels of I/O depending on your
audio interface
• Surround mixing up to 7.1 (depending on the
output capabilities of your audio interface)
Use the Neyrinck SoundCode™ Stereo down
mixer plug-in for monitoring surround sessions in stereo with audio interfaces that
have fewer than six outputs.
• Up to a total of 192 voiced audio tracks (up to
512 voiceable audio tracks):
• Playback of up to or a combination of playing back and recording up to 192 mono
tracks or 96 stereo tracks (192 available
voices) at 44.1 kHz and 48 kHz
• Playback of up to or a combination of playing back and recording up to 96 mono
tracks or 48 stereo tracks (96 available
voices) at 88.2 kHz and 96 kHz
• Playback of up to or a combination of playing back and recording up to 48 mono
tracks or 24 stereo tracks (48 available
voices) at 176.4 kHz and 192 kHz
Pro Tools with Complete Production Toolkit 2
displays up to 512 tracks, with a simultaneous voice limit of 192 tracks. Tracks in excess
of the 192-voice limit are set to inactive.
• Ability to use QuickPunch™ on up to 64 tracks
• Up to 160 Auxiliary Input tracks per session
• Up to 128 Instrument tracks
• Advanced Group dialog:
• VCA assignments
• Attributes tab
• Follow globals
• Momentary Solo Latch Back/Forward commands
• Custom Shuttle Lock speeds
Chapter 11: Complete Production Toolkit 2
65
• Numeric Keypad set to Shuttle mode
• AutoFades
• Back/Forward Amount
• Advanced editing features:
• Shuttle
• Continuous Scrolling
• Auto Region Fade In/Out Length
• Scrub Trim tool
• Use Absolute Pan Linking
• Replace Region command
• Suppress Automation “Write To” Warning
• TCE Edit to Timeline Selection command
• Allow Latch Prime in Stop
• Selection of alternate field recorder audio
channels in the Pro Tools Timeline
• Coalesce when Removing Slaves from VCA
Group
• Expanding alternate field recorder channels to new tracks
• Standard VCA Logic for Group Attributes
• Advanced automation features:
• AutoJoin with Latch mode
• Include Sends in Trim Mode
• AutoGlide Time
• Coalesce Trim Automation Options
• Touch/Latch mode
• D-Control support
• Trim mode
• D-Command support
• Composite automation playlist
• Copy track automation to sends
• AutoMatch
• Prime controls for writing automation in
Latch mode
For information about using D-Control and
D-Command worksurfaces with Pro Tools,
refer to the D-Command and D-Controls
Guides, and the Pro Tools Reference Guide.
• Glide automation
Additional Software
• Trim automation
Complete Production Toolkit includes additional software for working with Pro Tools:
• Write automation to Start, End, or All
• Write automation to next breakpoint or
punch point
• Overwrite or extend Mute automation
• Snapshot automation
• Preview automation
• Capture automation
• VCA Master track automation
• Advanced video features:
• Multiple video tracks
• Multiple video playlists
• Video editing
66
• Preferences
What’s New in Pro Tools 9.0
Neyrinck SoundCode Stereo For monitoring up
to 7.1 surround sessions (down mixed to stereo)
with all Pro Tools interfaces including 2 channel
interfaces (such as the Mbox Mini). This plug-in
also lets you quickly and easily create stereo
mixes from up to 7.1 surround sessions.
X-Form Plug-In For high-quality time compression and expansion, and formant corrected
pitch-shifting (based on the Radius® algorithm
from iZotope).
Avid
Technical Support (USA)
Product Information
2001 Junipero Serra Boulevard
Daly City, CA 94014-3886 USA
Visit the Online Support Center at
www.avid.com/support
For company and product information,
visit us on the web at www.avid.com