Reference Guide Pro Tools Version 7.3

Reference Guide Pro Tools Version 7.3
Pro Tools®
Reference Guide
Version 7.3
Copyright
This guide is copyrighted ©2007 by Digidesign, a division of
Avid Technology, Inc. (hereafter “Digidesign”), with all rights
reserved. Under copyright laws, this guide may not be
duplicated in whole or in part without the written consent of
Digidesign.
96 I/O, 96i I/O, 192 I/O, 888|24 I/O, 882|20 I/O, 1622 I/O,
24-Bit ADAT Bridge I/O, AudioSuite, Avid, AVoption, Digi 002,
Digi 002 Rack, DigiDelivery, Digidesign, DigiTranslator, DINR,
DV Toolkit, M-Audio, Mbox, Mbox 2, Mbox 2 Pro, Mbox 2 Mini,
Pro Tools M-Powered, Pro Tools, Pro Tools|HD, Pro Tools LE,
RTAS, Smack!, SoundReplacer, and TL Space Native are
trademarks or registered trademarks of Digidesign and/or Avid
Technology, Inc. All other trademarks are the property of their
respective owners.
Product features, specifications, system requirements, and
availability are subject to change without notice.
PN 9106-55991-00 REV A 1/07
Contents
Part I
Introduction
Chapter 1. Welcome to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
The Pro Tools Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Compatibility Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
About www.digidesign.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Chapter 2. Pro Tools Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Hard Disk Audio Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
The Digidesign Audio Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Pro Tools Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
System Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
DigiBase. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Chapter 3. Keyboard and Right-Click Mouse Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Right-Click Mouse Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Global Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Keyboard Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Numeric Keypad Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Part II
15
15
16
17
System Configuration
Chapter 4. Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Pro Tools|HD Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pro Tools LE Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pro Tools M-Powered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pro Tools Academic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DV Toolkit 2 and Music Production Toolkit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
21
25
27
27
27
Contents
iii
Chapter 5. System Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Configuring Pro Tools System Settings (in the Playback Engine) . . . . . . . . . . . . . . . . . . . . . .
Configuring Pro Tools Hardware Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
System Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
32
38
42
Chapter 6. I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
The I/O Setup Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Routing Hardware I/O to Pro Tools I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating and Editing Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I/O Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I/O Setup Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
H/W Insert Delay Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46
48
49
57
59
62
Chapter 7. Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Display Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Operation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mixing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Processing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Synchronization Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Part III
63
66
71
73
76
77
78
Sessions & Tracks
Chapter 8. Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Creating a New Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Session Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Opening a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Opening Recent Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Saving a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating Custom Session Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Closing a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exiting or Quitting Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
83
84
85
87
87
91
93
93
Chapter 9. Pro Tools Main Windows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Mix Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
DigiBase Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Window Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Tool Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
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Chapter 10. Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Track Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Track Channel Strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Track Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Adjusting Track Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Track List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Track Name Right-Click Pop-Up Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Assigning Inputs and Outputs to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Track Priority and Voice Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting MIDI Input and Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Soloing and Muting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Making Tracks Inactive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Color Coding for Tracks, Regions, Markers and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Group Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Working with Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting Group Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Enabling Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grouped Control Offsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
117
119
122
124
125
129
132
133
136
139
141
145
146
149
150
154
159
161
162
Chapter 11. DigiBase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
DigiBase Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Performance and Transfer Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Digidesign Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Browser Windows and Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Indexing DigiBase Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Browser Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Browser Panes and Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Column Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Waveforms and Auditioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Moving, Copying, Duplicating, and Deleting Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Searching Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Linking and Relinking Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Relink Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Workspace Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Project Browser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DigiBase Pro Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Task Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Workflow Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
163
167
167
168
172
174
175
177
180
182
182
183
187
191
195
198
199
204
208
Contents
v
Chapter 12. Importing and Exporting Session Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Importing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sample Rate Conversion Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing Audio Files and Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing Tracks and Track Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing Items with Drag and Drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting Pro Tools Tracks as AAF or OMFI Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting Sessions as Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Send via DigiDelivery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Send to Sibelius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing and Exporting Region Group Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
211
213
214
218
225
228
230
230
233
234
236
237
238
Chapter 13. File and Session Management and Compatibility . . . . . . . . . . . . . . . . . . . . . . . 241
Audio File Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
WAV File Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sharing Sessions Created on Different Computer Platforms . . . . . . . . . . . . . . . . . . . . . . . .
Sharing Sessions Created on Different Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . .
Sharing Sessions Created on Different Pro Tools Software Versions. . . . . . . . . . . . . . . . . . .
Multilingual Application Support for Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . . . .
Part IV
241
244
244
248
250
254
Recording
Chapter 14. Record Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Input Connections and Audio Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Record Enabling Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Record Monitoring Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Monitor Levels for Record and Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Monitoring Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Low Latency Monitoring with Delay Compensation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Default Track Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Disk Allocation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Allocating Hard Drive Space for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Monitoring Drive Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Record Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording with a Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting the Default Meter and Tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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257
258
261
262
263
264
264
265
268
268
268
271
274
Chapter 15. Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Recording an Audio Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Record Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Record Pause Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording Additional Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Punch Recording Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Loop Recording Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Auditioning Different Record Takes in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting Punch/Loop Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording from a Digital Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Half-Speed Recording and Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
277
280
281
281
283
284
286
288
293
295
Chapter 16. MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Recording from MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Enabling Input Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Input Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Input Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Wait for Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Merge/Replace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Configuring MIDI or Instrument Tracks for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording MIDI and Instrument Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Punch Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Loop Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Step Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording System Exclusive Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording Audio from a MIDI Instrument. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
297
298
299
299
300
300
301
301
303
305
307
310
310
311
Chapter 17. Advanced Punch Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
QuickPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
TrackPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
DestructivePunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Contents
vii
Part V
Editing
Chapter 18. Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Pro Tools Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Displaying Region Names, Region Times, and Other Data in Playlists . . . . . . . . . . . . . . . . .
Audio Regions and Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Regions and MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Timebase Rulers and Conductor Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Main Time Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tick-Based Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Multiple Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Region Name Right-Click Pop-Up Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Edit Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Edit Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Zoomer Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Trim Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Selector Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Smart Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Scrubber Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Universe Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
333
334
340
341
343
346
348
350
352
355
357
363
363
366
367
374
380
380
381
383
386
386
Chapter 19. Playing and Selecting Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Playing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Auto-Scrolling Tracks in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Scrolling Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Linking or Unlinking Timeline and Edit Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Linking or Unlinking Track and Edit Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playing Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Timeline Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TCE (Time Compression and Expansion) Edit To Timeline Selection . . . . . . . . . . . . . . . . . . .
Playing Timeline and Edit Selections with the Playhead . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dynamic Transport Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
viii
Pro Tools Reference Guide
389
394
395
396
398
398
408
410
411
412
413
Chapter 20. Working with Regions and Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Creating New Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Trimming Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Healing Separated Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Placing Regions in Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sync Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Nudging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Shift Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Quantizing Regions to Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Locking Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Muting/Unmuting Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Replacing Audio Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio Regions from Field Recorders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Edit Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Duplicate Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Repeat Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing Stereo and Multichannel Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Processing Audio with AudioSuite Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Waveform Repair with the Pencil Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Region Looping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
417
421
423
423
434
435
437
438
438
439
439
441
443
449
449
450
451
451
452
461
Chapter 21. Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Using Fades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fades Dialog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating Fades at the Beginnings and Ends of Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a Crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using AutoFades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating Fades and Crossfades in Batches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Moving and Nudging Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Separating Regions That Include Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Trimming Regions That Include Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fade Boundaries and Shapes in Displayed Automation View . . . . . . . . . . . . . . . . . . . . . . . .
465
467
472
474
475
476
477
480
481
481
Chapter 22. Managing Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
Stripping Silence from Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Inserting Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Compacting an Audio File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Naming and Displaying Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
483
486
487
488
488
Contents
ix
Chapter 23. Conductor Tracks and Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491
Song Start Marker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Graphic Tempo Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Changing the Linearity Display Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tempo Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Identify Beat Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Meter Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Time Operations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Renumbering Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Key Signatures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Memory Locations and Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Memory Locations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
491
492
496
502
503
509
512
515
521
521
524
531
Chapter 24. Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
Beat Detective Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Beat Detective Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Beat Detective Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Defining a Beat Detective Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Calculating Tempo with Beat Detective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Generating Beat Triggers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Generating Bar|Beat Markers with Beat Detective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
DigiGroove Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Separating Regions with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Conforming Regions with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Edit Smoothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Detection (Normal) and Collection Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
x
Pro Tools Reference Guide
536
537
537
538
539
540
545
546
548
550
552
554
Part VI
MIDI Editing
Chapter 25. MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
Mirrored MIDI Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Custom Note Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting the Grid Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Inserting MIDI Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Manually Editing MIDI Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Time Compression/Expansion Trim Tool Functionality on MIDI Regions . . . . . . . . . . . . . . . .
Continuous Controller Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Patch Select (Program and Bank Changes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
System Exclusive Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Note and Controller Chasing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Offsetting MIDI Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stuck Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Remove Duplicate Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
559
560
561
562
562
564
570
571
574
578
578
580
581
581
Chapter 26. MIDI Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583
MIDI Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grid/Groove Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Restore Performance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Flatten Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Change Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Change Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Select/Split Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Input Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Step Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Real-Time Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
583
584
594
595
596
598
600
601
604
604
607
Chapter 27. MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
The MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Inserting Events in the MIDI Event List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing Events in the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Event List Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
615
618
620
622
Contents
xi
Part VII
Mixing
Chapter 28. Basic Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
Mixing Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Metering and Calibration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Track Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Views in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio Input and Output Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Output Windows for Tracks and Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Signal Routing for Monitoring and Submixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Delay Compensation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using a Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
625
625
626
633
634
637
639
645
650
656
660
662
Chapter 29. Plug-in and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663
Inserting Plug-ins on Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Plug-in Menu Organization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Moving and Duplicating Plug-in and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Plug-in Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Librarian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing Plug-in Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Instrument Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Connecting and Integrating External Devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
668
669
672
672
675
681
684
684
685
Chapter 30. Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689
Automation QuickStart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Automation Playlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Automation Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Automation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Viewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Writing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Enabling and Suspending Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Deleting Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Thinning Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Drawing Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Trimming Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Writing Automation to the Start, End, or All of a Track or Selection . . . . . . . . . . . . . . . . . . .
Writing Automation to the Next Breakpoint or to the Punch Point . . . . . . . . . . . . . . . . . . . .
Guidelines for “Write To” Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Overwriting or Extending Mute Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Pro Tools Reference Guide
689
690
692
696
698
700
708
711
711
712
713
722
724
726
729
730
Creating Snapshot Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Previewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Capturing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
VCA Master Track Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
732
735
737
740
Chapter 31. Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743
Recording to Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bounce to Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bounce Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording a Submix (with Bounce to Disk). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Final Mixdown. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Part VIII
745
746
747
753
754
755
Video, Sync, Surround
Chapter 32. Pro Tools Setup for Surround (Pro Tools HD Only) . . . . . . . . . . . . . . . . . . . . . . 759
Pro Tools Audio Connections for 5.1 Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Configuring Pro Tools for Multichannel Sessions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Default I/O Selectors in I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5.1 Track Layouts, Routing, and Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
759
760
763
764
Chapter 33. Multichannel Tracks and Signal Routing (Pro Tools HD Only) . . . . . . . . . . . . . 765
Multichannel QuickStart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Multichannel Signal Routing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Paths in Surround Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Example Paths and Signal Routing for a Surround Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . .
765
766
769
772
774
Chapter 34. Surround Panning and Mixing (Pro Tools HD Only) . . . . . . . . . . . . . . . . . . . . . . 779
Introduction to Pro Tools Surround Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Output Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Standard Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Surround Panner Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Panning Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Divergence and Center Percentage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
LFE Faders in Multichannel Panners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pan Playlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Surround Scope Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
779
780
781
782
784
788
790
790
791
Contents
xiii
Chapter 35. Working with Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793
Pro Tools Synchronization Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preparing to Work with SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Configuring Pro Tools for SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pull Up and Pull Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Putting Pro Tools Online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Generating Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting Minimum Sync Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting Pro Tools LTC Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Remote Track Arming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Beat Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Spotting Regions to SMPTE Frame Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Time Stamping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Identifying a Synchronization Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Troubleshooting Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
793
795
799
799
802
805
806
807
810
811
811
811
812
814
816
817
Chapter 36. Working with Video in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Before Starting Your Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Video Track Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Locking Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting the Video Engine Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing Video into Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Extracting Audio from QuickTime-Compatible Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Video Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
General Video Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Renaming Video Disk Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Video Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Video Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Browsing Video in the Video Universe Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playback of HD QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
FireWire Playback of QuickTime DV Movies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bouncing the Video Track to a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Pro Tools LE to Import Video from Other Versions of Pro Tools . . . . . . . . . . . . . . . . . .
819
820
820
821
822
824
825
826
829
830
831
833
833
834
835
837
838
840
841
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843
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Pro Tools Reference Guide
Part I: Introduction
1
2
Chapter 1: Welcome to Pro Tools
Welcome to Pro Tools®. Pro Tools integrates
powerful multitrack digital audio and MIDI
sequencing features, giving you everything you
need to record, arrange, compose, edit, mix, and
master professional quality MIDI and audio for
music, video, film, and multimedia.
The Pro Tools Guides
Pro Tools systems include the following guides:
Getting Started Guide Instructions for installing
your Pro Tools system and connecting your
studio. For Pro Tools LE™ and M-Powered™,
these guides also contain specific methods for
accomplishing common tasks (such as recording in a Pro Tools session, importing audio from
a CD, and creating an audio CD from a Pro Tools
session).
Pro Tools Reference Guide Full details on all
Pro Tools functionality and operations.
(Pro Tools LE and M-Powered systems only include an electronic PDF version of the Reference
Guide.)
Pro Tools Menus Guide Electronic PDF guide to
the Pro Tools on-screen menus.
Pro Tools Shortcuts Guides Separate electronic
PDF guides for Windows and Mac that list keyboard and Right-click shortcuts, including those
shown in Pro Tools menus.
DigiRack Plug-ins Guide Electronic PDF guide
with instructions for using the DigiRack™ plugins (included with Pro Tools) for both real-time
and file-based audio processing in Pro Tools.
Digidesign Plug-ins Guide Electronic PDF guide
with instructions for using optional Digidesign ®
plug-ins for both real-time and file-based audio
processing in Pro Tools.
Expanded Systems Guide (Pro Tools|HD Systems
Only) Instructions for expanding a
Pro Tools|HD® system with optional Digidesign
cards or an expansion chassis.
MachineControl™ Guide (Pro Tools|HD Systems
Only) Electronic PDF guide for MachineControl™ option, includes installation and operation instructions for using the MachineControl option for Pro Tools to enable serial
communication with remote audio and video
transports.
Additional Guides
Additional PDF guides (such as a Glossary) are
installed with Pro Tools. Refer to your Pro Tool
documentation folder.
Digidesign also provides guides with audio interfaces, dedicated worksurfaces (such as D-Control™) and controllers (such as Command|8 ®),
and other Digidesign options (such as
MIDI I/O™, PRE, and SYNC I/O™). Refer to the
separate guide provided with each Digidesign
product.
Chapter 1: Welcome to Pro Tools
3
Conventions Used in These Guides
The Pro Tools guides use the following conventions to indicate menu choices, keyboard commands, and mouse commands:
:
Convention
Action
File > Save
Choose Save from the
File menu
Control+N
Hold down the Control
key and press the N key
Control-click
Hold down the Control
key and click the mouse
button
Right-click
Click with the right
mouse button
The following symbols are used to highlight important information:
User Tips are helpful hints for getting the
most from your Pro Tools system.
Important Notices include information that
could affect your Pro Tools session data or
the performance of your Pro Tools system.
Shortcuts show you useful keyboard or
mouse shortcuts.
Cross References point to related sections in
this guide and other Digidesign guides.
Pro Tools M-Powered and Academic
References to Pro Tools LE™ in this guide
are usually interchangeable with Pro Tools
M-Powered™ or Pro Tools Academic™, except as noted in the Pro Tools M-Powered
and Academic Getting Started Guides.
4
Pro Tools Reference Guide
Compatibility Information
Digidesign can only assure compatibility and
provide support for hardware and software it
has tested and approved.
For a list of Digidesign-qualified computers, operating systems, hard drives, and third-party devices, visit the Digidesign website
(www.digidesign.com).
About www.digidesign.com
The Digidesign website (www.digidesign.com)
is your best online source for information to
help you get the most out of your Pro Tools system. The following are just a few of the services
and features available.
Registration Register your purchase online. See
the Digidesign Registration Information Card
included with your system for instructions.
Support Contact Digidesign Technical Support
or Customer Service; download software updates and the latest online manuals; browse the
Compatibility documents for system requirements; search the online Answerbase or join the
worldwide Pro Tools community on the Digidesign User Conference.
Training and Education Study on your own using
courses available online or find out how you can
learn in a classroom setting at a certified
Pro Tools training center.
Products and Developers Learn about Digidesign
products; download demo software or learn
about our Development Partners and their plugins, applications, and hardware.
News and Events Get the latest news from Digidesign or sign up for a Pro Tools demo.
Chapter 2: Pro Tools Concepts
This chapter explains the principles and concepts that form the foundation of Pro Tools operation and functionality.
Hard Disk Audio Recording
Tape-based recording is a linear medium—you
need to rewind or fast forward a tape to hear a
particular spot in a recording. To rearrange or repeat material in a linear system, you need to rerecord it, or cut and splice it.
Hard disk recording is a nonlinear (or random access) medium—you can go immediately to any
spot in a recording without having to rewind or
fast forward.
Nonlinear systems have several advantages. You
can easily rearrange or repeat parts of a recording by making the hard disk read parts of the recording in a different order and/or multiple
times. In addition, this re-arrangement is nondestructive, meaning that the original recorded
material is not altered.
Pro Tools is a nonlinear recording system that
lets you rearrange and mix recorded material
nondestructively.
The Digidesign Audio Engine
DAE (or Digidesign Audio Engine) is Digidesign’s real-time operating system for digital
audio recording, playback, and processing.
When you install Pro Tools, DAE is automatically installed on your system.
In the same way that a computer’s operating
system provides the foundation for programs
that run on the computer, DAE provides the
foundation for much of the hard disk recording,
digital signal processing, and mix automation
required by Pro Tools and other products from
Digidesign and its Development Partners.
The DAE Playback Buffer Size determines the
amount of memory DAE allocates to manage
disk buffers. The DAE Playback Buffer Size can
be changed in the Playback Engine dialog.
For information on configuring the DAE
Playback Buffer Size, see “DAE Playback
Buffer Size” on page 37.
Playback Engine Dialog
Pro Tools takes advantage of your computer’s
host processor for certain tasks and optional
host-based DSP processing.
Chapter 2: Pro Tools Concepts
5
Pro Tools LE uses host (CPU) processing to provide audio track recording, playback, mixing,
and effects processing. Pro Tools HD also uses
host processing to run RTAS® plug-ins for effects
processing. Performance is determined by your
system and its Playback Engine settings.
The Playback Engine dialog lets you set a hardware buffer size and allocate a percentage of
CPU resources for these tasks.
Playback Engine dialog for Pro Tools HD
On Pro Tools|HD systems, you can select the
number of voices and voiceable tracks for your
system and its sessions. Voice count choices are
based on how much DSP processing you want to
allocate for voicing.
For more information, see “Configuring
Pro Tools System Settings (in the Playback
Engine)” on page 32. See also “System Resources” on page 10.
Pro Tools Sessions
When you start a project in Pro Tools, you create
a session. Some basic elements of sessions are explained in this section.
Session File
A session file is the document that Pro Tools creates when you choose File > New Session and
configure a new session. Pro Tools can open
only one session file at a time. The session file is
named with a .ptf (Pro Tools file) extension. Session files contain maps of all elements associated with a project, including audio files, MIDI
data, and all your edit and mix information. It is
important to realize that a Pro Tools session file
does not contain any media files (audio or
video). Instead, it references audio, video, MIDI,
and other files. You can make changes to a session and save those changes in a new session
file. This lets you create multiple versions of a
session or back up your editing and mixing
work.
Pro Tools HD, Pro Tools LE, and Pro Tools
M-Powered have different session file icons.
Pro Tools HD
Pro Tools LE
Pro Tools M-Powered
Pro Tools Academic
On Pro Tools|HD systems, the Playback Engine
dialog is also where you assign dedicated DSP resources for Delay Compensation.
Session file icons
6
Pro Tools Reference Guide
Although there are different session file icons,
the session files may be opened by all three applications (with certain restrictions). See “Opening a Session” on page 85.
When a session is transferred to a different
Pro Tools system, its session file icon
changes to the icon type of the destination
system.
Tracks
Pro Tools tracks are where audio, MIDI, video,
and automation data are recorded and edited.
Pro Tools tracks also provide audio channels for
routing internal busses, and physical inputs and
outputs for audio and MIDI.
Pro Tools provides seven types of tracks: audio,
Auxiliary Input, Master Fader, VCA Master,
MIDI, Instrument, and video.
Master Fader tracks provide controls for physical
audio output channels, including the volume
level of your mix, panning, and plug-in inserts.
VCA Master tracks (Pro Tools HD only) provide
control of tracks in a Mix Group that has been
assigned to the VCA Master.
Video tracks support both QuickTime movies
and Avid video, but an individual video track
can play back only one of these types of video at
a time.
Audio, Auxiliary Input, Master Fader, VCA Master (Pro Tools HD only), and Instrument tracks
can be mono, stereo, or multichannel
(Pro Tools HD only). When creating a new
track, select from the list of channel formats
supported by your system.
Audio File
When you record audio into a Pro Tools session,
audio files are created.
Audio track in the Edit window (stereo track shown)
Audio file icon
MIDI track in the Edit window
Audio, MIDI, and Instrument track data can be
edited into regions or repeated in different locations to create loops, re-arrange sections or entire songs, or to assemble tracks using material
from multiple takes.
Audio files for each session are stored in a folder
named “Audio Files.” Audio files are listed in the
Pro Tools Region List and can appear in an audio track. A section of an audio file can be defined as a region. See “Regions” on page 8.
Auxiliary Input tracks can route internal audio
busses or physical inputs to internal busses or
physical outputs. Auxiliary Inputs are typically
used for audio effects busses, audio throughput
(monitoring), and submixing.
Chapter 2: Pro Tools Concepts
7
Regions
Audio region
A region is a segment of audio, MIDI, or video
data. A region could be a drum loop, a guitar riff,
a verse of a song, a recording take, a sound effect, some dialog, or an entire sound file. Regions are especially useful for arranging audio
and MIDI. A region can also have associated automation data. In Pro Tools, regions are created
from audio files or MIDI data, and can be arranged in audio and MIDI track playlists. Regions can also be grouped and looped.
Playlist
dio can be used in different places and have different effects applied. On MIDI and Instrument
tracks, edit playlists can store multiple MIDI sequences (or performances) on a track.
A playlist can be made up of a single region or
many separate regions. It can be made up of
similar elements, such as regions from several
different takes of a solo, or dissimilar elements,
such as several sound effects.
You can create any number of alternate edit
playlists for a track. This lets you assemble different versions of performances or edits on a single track and choose between them from a popup menu on the track.
Each track also has a single set of automation
playlists, for volume, pan, mute, and each automation-enabled control for the insert and send
assignments on that track.
Channel
Playlist selector pop-up menu
A playlist is a sequence of regions arranged on an
audio, MIDI, or video track. Tracks have edit
playlists and automation playlists.
On audio tracks, an edit playlist tells the hard
disk which audio regions to play in what order.
For example, you can use the same audio region
to access the same piece of audio multiple times
at different locations and not use additional disk
space. Different versions of the same original au-
8
Pro Tools Reference Guide
The term channel is used to describe several related components of a Pro Tools system. The
first example of channel refers to a physical input or output of your Pro Tools system. For example, a 96 I/O audio interface provides up to
16 channels of input and output to a
Pro Tools|HD system, while an Mbox 2 audio interface provides up to four inputs and two outputs.
The second use of the term channel refers to a
channel strip in the Pro Tools Mix window.
Each track in a Pro Tools session has a corresponding channel strip in the Mix window.
Audio and MIDI channel strips have similar
controls, but those controls have slightly different effects. For example, audio, Auxiliary Input,
and Instrument track channel strip faders con-
trol the output gain to the mix bus for that
channel, while MIDI channel strip faders send
MIDI volume data (MIDI controller 7) to the
MIDI instrument.
Signal Routing
Pro Tools provides software-based mixing and
signal routing controls, which are located in the
Mix window. Some of these controls can also be
accessed from the Edit window.
A common signal routing task is to submix multiple tracks to a single channel strip (such as an
Auxiliary Input) for shared processing and level
control. The following example shows three audio tracks submixed to a stereo Auxiliary Input.
Stereo
plug-in
Inserts
Sends
Input from
stereo bus
path
Outputs to
stereo bus
path
Output to
stereo output
path
Auxiliary
Input track
Channel strip in the Mix window (audio track)
The term MIDI channel also describes a
separate aspect of MIDI operation. See
“MIDI” on page 12.
Audio tracks
Submixing to an Auxiliary Input
Chapter 2: Pro Tools Concepts
9
Signal Routing Options
Signal routing options include the following:
Track Input and Output (I/O) Controls The most
basic type of signal routing is track input and
output. A track needs to have an assigned input
path to record audio, and an assigned output
path in order to be audible through a hardware
output. Signals can also be routed to or from
other tracks in Pro Tools (or hardware inputs
and outputs) using internal busses.
Auxiliary Input and Master Fader Tracks Auxiliary Inputs can be used as returns, submixers,
and bus masters. Master Fader tracks are used as
bus and output master level controls. Both Auxiliary Input and Master Fader tracks can have
plug-in and hardware inserts.
System Resources
Track count, plug-in processing, signal path and
routing options, and voice availability are ultimately limited by the combined resources available from the host computer, and from your
Pro Tools hardware.
Instrument Tracks Instrument tracks let you
route sound from a physical input or instrument
plug-in to outputs, sends and busses, or other
inserts.
Pro Tools provides several ways to manage and
conserve resources to maximize the performance of your system. As you begin working
with Pro Tools sessions and tracks, you can take
advantage of the following features to extend
the effectiveness of your available DSP and
other resources:
Sends Sends route audio from tracks to hardware outputs, or to internal busses that are in
turn routed to other tracks within Pro Tools.
Master Fader and VCA Master tracks do not have
sends.
◆ Pro Tools lets you adjust the performance of
your system by changing system settings that affect its capacity for processing, playback, and recording. See “Configuring Pro Tools System
Settings (in the Playback Engine)” on page 32.
Plug-in and Hardware Inserts Plug-in processing
occurs completely within the Pro Tools system.
Hardware inserts use audio interface inputs and
outputs, for traditional insert routing to and
from external effects and other devices.
◆ In order to free up needed DSP resources,
Pro Tools allows for certain items (such as tracks
and inserts) to be manually made inactive. Inactive elements are viewable, editable, and retained within the session. See “Active and
Inactive Items” on page 11.
Paths Paths are any routing option in Pro Tools,
including internal or external inputs, outputs,
busses, and inserts. Pro Tools lets you name
these paths, and these path names appear in the
Audio Input and Output Path selectors and
other menus. See Chapter 6, “I/O Setup” for
more information.
10
Mixing Formats Sessions can include combinations of mono, stereo, and greater-than-stereo
multichannel format tracks, busses, inputs, outputs, and inserts. Greater-than-stereo multichannel formats are supported on Pro Tools|HD
systems only.
Pro Tools Reference Guide
◆ All Pro Tools systems provide flexible voice
options for audio tracks, to help maximize use
of available voices in your system. For more information on voice management and options,
see “Voice Borrowing” on page 139.
Active and Inactive Items
Pro Tools lets you make certain items (such as
tracks and inserts) inactive, in order to free up
DSP resources and mixer connections.
Items in Pro Tools that can be made inactive (or
active) include the following:
• Audio, Auxiliary Input, Master Fader,
VCA Master, and Instrument tracks
• Track Inputs and Outputs
Tracks When a track is made inactive, its voices
become available for another track. Mono inactive tracks free up one voice; stereo and multichannel tracks free up one voice per channel.
Additionally, when an audio, Auxiliary Input,
Instrument, or Master Fader track is made inactive, its plug-ins, inserts, sends, and I/O assignments become inactive, and the associated DSP
used is freed up for use elsewhere in the session.
Display of Inactive Items
• Sends
• Side-chain inputs
• Plug-ins
• Hardware inserts
When items are inactive, their names appear in
italics, and their background becomes dark grey.
When a track is inactive, the entire channel strip
is grayed out.
• Paths (session-wide)
Active
Inactive plug-in
MIDI tracks cannot be made inactive.
In addition to manually setting Active and Inactive modes, Pro Tools automatically makes
items inactive if there are insufficient or unavailable resources.
When active, items are fully engaged and operational.
Inactive track
When inactive, items are silent and off, although
most associated controls can still be adjusted.
Different inactive items affect available system
resources in specific ways, as follows:
Plug-ins When a plug-in is inactive on a track, its
DSP is made available for other plug-ins and
processing. Plug-in assignments can be made inactive manually, or automatically (see “Automatic and Manual Inactive Mode” on page 12).
Paths and Path Assignments When a path or
path assignment is inactive, its mixer resources
are made available for other signal routing purposes in the session. Paths and assignments can
be made inactive manually, or automatically
(see “Automatic and Manual Inactive Mode” on
page 12).
Active and inactive items and tracks
Chapter 2: Pro Tools Concepts
11
Automatic and Manual Inactive Mode
Active and Inactive modes are powerful options
for session transfer and system resource management. Pro Tools provides automatic and
manual Inactive mode switching. You can manually make items inactive (or active) to selectively manage system resources while editing
and mixing.
Automatically Inactive Items
When opening a session, it is possible that not
all signal paths, plug-ins, or audio interfaces
used in the session will be available as defined
on the current system. When opening a session,
sufficient voices may also be unavailable if the
session was created on a different Pro Tools system type (for example, opening a session created on a Pro Tools HD system on a Pro Tools LE
system).
Whenever this occurs, the session will open as it
was last saved. All items that are unavailable, or
cannot be loaded due to insufficient resources,
are made inactive.
Manual Inactive Switching
You can manually apply Active or Inactive
modes to manage system resources. By making
an item inactive, its associated resources are
made available elsewhere in the session.
You can apply Active or Inactive modes to all or
all selected tracks using standard Pro Tools modifiers (Alt and Alt+Shift in Windows, Option and
Option+Shift on the Mac).
Side-chain inputs support direct active and inactive switching, but do not follow switching all
or all selected side-chain inputs.
MIDI
MIDI (Musical Instrument Digital Interface) is a
communication protocol for musical instruments. This industry standard enables connections between a variety of devices from different
manufacturers. Examples of MIDI-compatible
equipment include synthesizers, sound modules, drum machines, patch bays, effects processors, MIDI interfaces, MIDI control surfaces, and
sequencers.
MIDI devices are equipped with 5-pin DIN connectors, labeled as either IN, OUT, or THRU. The
MIDI OUT port transmits messages. The MIDI
IN port receives messages. The MIDI THRU outputs whatever is received from the IN port. MIDI
devices are connected with MIDI cables that are
available at most music stores.
passes input
The following are basic instructions for manually making items inactive. Throughout the
Pro Tools Reference Guide, instructions are provided whenever an item can be made inactive.
To toggle an item active or inactive:
■ Control-Start-click (Windows) or CommandControl-click (Mac) the item.
12
Pro Tools Reference Guide
MIDI signal flow
Not all devices will have all three MIDI
ports (IN, OUT, and THRU).
The MIDI protocol provides 16 channels of
MIDI per port. A single MIDI cable can transmit
a separate set of messages for each of the 16
channels. These 16 channels can correspond to
separate MIDI devices or to multiple channels
within a single device (if the device is multitimbral). Each channel can control a different
instrument sound. For example, bass on
channel 1, piano on channel 2, and drums on
channel 10. Similar to a multitrack tape recorder, a MIDI sequencer can record complex arrangements—even using only a single multitimbral keyboard.
MIDI Terms
The following are some basic MIDI terms:
MIDI Instrument A hardware MIDI device or software instrument (such as an instrument plugin).
MIDI Interface Hardware that lets computers
connect to and communicate with MIDI devices.
MIDI Device Any physical MIDI keyboard,
sound module, effects device, or other equipment that can send or receive MIDI information.
MIDI Controller Any MIDI device that transmits
MIDI performance data. These include MIDI
keyboards, MIDI guitar controllers, MIDI wind
controllers, and others. Controllers transmit
MIDI from their MIDI OUT ports.
MIDI Control Surface Any device (such as the
Digidesign Command|8), which uses a MIDI
connection to send control messages to a software program, but is not generally used to
record MIDI information.
MIDI Tone Generator (MIDI Sound Source) Any
MIDI device capable of playing back MIDI-triggered sound. Sound sources receive MIDI from
their MIDI IN ports and output audio from their
audio outputs.
Multitimbral The ability of one MIDI device to
play several different instrument sounds (such
as piano, bass, and drums) simultaneously on
separate MIDI channels. This makes it possible
for a single multi-timbral MIDI instrument to
play back entire arrangements.
MIDI Channel Up to 16 channels of MIDI performance data can be transmitted on a single MIDI
cable. The channel number separates the different messages so your sound sources can receive
the right ones.
Program Change Event A MIDI command that
tells a sound source which of its sounds (or
sound patches) to use. The MIDI protocol lets
you choose from a range of 128 patches.
Bank Select Message Many devices have more
than 128 patches, which are arranged in banks.
The Bank Select Message is a MIDI command
that specifies the bank of patches from which to
choose.
Local Control A controller setting found on most
MIDI keyboards that lets them play their own
sound source. Disabling “local control” ensures
that a device’s internal sound source is only
played by external MIDI messages (such as those
sent from Pro Tools when MIDI in Pro Tools is
routed to the MIDI keyboard). When using
Pro Tools, “local control” should usually be disabled. When “local control” is off, your keyboard still transmits data to its MIDI OUT port.
Continuous Controller Events MIDI instructions
that allow real-time changes to notes that are
currently sounding. These include pitch bend,
modulation, volume, pan, and many others.
Chapter 2: Pro Tools Concepts
13
System Exclusive Data MIDI data commonly
used for sending and retrieving patch parameter
information for storage purposes.
Common MIDI Misconceptions
MIDI is not audio, and by itself makes no sound.
MIDI is control information only. It is like the
piano roll for a player piano; it provides control
information for what note to play when, for
how long, and at what volume. For example,
when you strike a key on a MIDI keyboard, it
sends a message to a MIDI instrument or tone
generator to play that particular note at that
particular velocity. This could be its internal
tone generator, an external MIDI instrument, or
an instrument plug-in, which can be contained
completely within Pro Tools. In order to create
or play a MIDI recording, you must have a MIDI
instrument. Audio from your instrument can be
sent to an external mixer or monitored through
your Pro Tools audio interface.
If you are using an external MIDI instrument, it
must be connected to MIDI ports that are recognized by your computer. These ports can be on a
Pro Tools interface that has MIDI ports (such as
an Mbox 2) or some other MIDI interface (such
as a Digidesign MIDI I/O).
Signal paths for external MIDI instruments
To actually hear an external MIDI instrument,
you need to connect its audio outputs to a mixing console or connect it to one of the audio inputs of your Pro Tools audio interface.
14
Pro Tools Reference Guide
Just as each Pro Tools system has unique hardware features, each MIDI device has its own features (and limitations) as to the number of
voices and instruments it can play at one time.
Consult the device’s documentation for information on its capabilities.
Virtual MIDI Nodes
When using MIDI with instrument plug-ins in
Pro Tools, virtual MIDI nodes are created. These
nodes act like MIDI ports and provide software
MIDI connections between Pro Tools and other
MIDI software, such as instrument plug-ins. For
example, when you insert Propellerhead’s Reason as a ReWire client on a track, its various
MIDI inputs to Reason become available to
Pro Tools MIDI and Instrument track MIDI outputs.
DigiBase
DigiBase is a database management tool for
Pro Tools. DigiBase expands upon basic
Pro Tools search and import capabilities by providing powerful tools to manage your data both
inside and outside of your sessions, on any hard
drive connected to the system.
A database is a way of organizing data such that
it can easily be searched, sorted, managed, and
utilized. Your checkbook is an example of a database file. For every check you write, you enter
a new record. That record contains information
about the check, such as when you wrote it, to
whom you wrote it, and for what amount. This
information is written in specific columns, or
fields. Everything you need to know (the check’s
metadata) is there, even though the check itself
is not.
Chapter 3: Keyboard and Right-Click
Mouse Shortcuts
This chapter provides an overview of Pro Tools
keyboard and mouse shortcuts.
A PDF listing of all shortcuts is available in
Pro Tools. Choose Help > Keyboard Shortcuts.
Global Key Commands
This section shows keyboard shortcuts that apply to many functions in Pro Tools.
Track Functions
Right-Click Mouse Shortcuts
Pro Tools provides Right-click shortcuts for
choosing various Pro Tools commands and
menus with any Right-click capable mouse.
For a complete list of Right-click shortcuts,
refer to the PDF versions of the Keyboard
Shortcuts Guides.
Pro Tools provides keyboard shortcuts for the
following track functions:
• Changing Automation mode
• Enabling playlists
• Adding plug-ins
• Record enabling, soloing, and muting
tracks
• Record safing and solo safing tracks
• Assigning inputs, outputs, and sends
• Toggling volume/peak/delay display
• Clearing meters
• Changing track heights
Command
Windows
Mac
Apply action to all
channel strips/tracks
Alt+
action
Option+
action
Apply action to
selected channel
strips/tracks
Alt+
Shift+
action
Option+
Shift+
action
Chapter 3: Keyboard and Right-Click Mouse Shortcuts
15
List and Parameter Selection
There are three types of Keyboard Focus:
Pro Tools provides keyboard shortcuts for the
following items:
Commands Keyboard Focus When selected, this
provides a wide range of single key shortcuts
from the QWERTY keyboard for editing and
playing.
• Selection of tracks in Track List
• Enabling of groups in Group List
• Automation Enable window parameters
• Setting Memory Location parameters
Command
Windows
Mac
Toggle item and set
all others to same
new state
Alt-click item
Option-click
item
Toggle item and set
all others to opposite state
Control-click
item
Commandclick item
Controls and Editing Tools
Pro Tools provides keyboard shortcuts for moving plug-in controls, faders and sliders, the
Scrubber, and automation data.
Command
Windows
Mac
Fine adjustment
of sliders,
knobs, and
breakpoints
Hold Control
while clicking the item
Hold Command
while clicking
the item
With Commands Keyboard Focus disabled, you
can still access any of its key shortcuts by pressing the Start key (Windows) or Control (Mac)
along with the key.
Region List Keyboard Focus When selected, audio regions, MIDI regions, and Region Groups
can be located and selected in the Region List by
typing the first few letters of the region’s name.
Group List Keyboard Focus When selected, Mix
and Edit Groups can be enabled or disabled by
typing the Group ID letter (in either the Mix or
Edit window).
Commands Keyboard Focus
(in the Edit Window bar)
Group List
Keyboard Focus
Keyboard Focus
The Keyboard Focus in Pro Tools determines
how the alpha keys function. Depending on
which Keyboard Focus is enabled, you can use
the keys on your QWERTY (alpha) keyboard to
select regions in the Region List, enable or disable groups, or perform an edit or play command.
You can only enable one of the three Keyboard
Focus modes at a time. Enabling a Keyboard Focus will disable the one previously enabled.
16
Pro Tools Reference Guide
Keyboard Focus buttons
Region List
Keyboard Focus
To set the Keyboard Focus, do one of the following:
Shuttle Lock Modes
Click the a–z button for the focus you want to
enable.
With either Shuttle Lock mode (Classic or Transport) you can use the numeric keypad to shuttle
forward or backwards at specific speeds.
■
– or –
While pressing Control+Alt (Windows) or
Command+Option (Mac), press one of the following keys: 1 (Commands), 2 (Region List), or
3 (Group List).
■
Although multiple plug-in windows can
have a keyboard focus enabled, only the
front-most window receives any keyboard
input.
Numeric Keypad Modes
The Operation preference for Numeric Keypad
mode determines how the numeric keypad
functions for Transport.
There are two Shuttle Lock modes (Classic and
Transport), and one Shuttle mode.
No matter which Numeric Keypad mode is selected, you can always use the numeric keypad
to select and enter values in the Event Edit Area,
Edit Selection indicators, Main and Sub
Counters, and Transport fields.
To set the Numeric Keypad Mode:
• 5 is normal speed.
• 6–9 provide increasingly faster fast-forward
speeds.
• 1–4 provide progressively faster rewind
speeds (4 is the slowest rewind Shuttle Lock
speed, 1 is the fastest).
• Press 0 to stop Shuttle Lock, then press the
number to resume Shuttle Lock speed.
• Press Escape or Spacebar to exit Shuttle
Lock mode.
Custom Shuttle Lock Speed
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
The highest fast-forward Shuttle Lock speed
(key 9) can be customized.
For information, see “Custom Shuttle Lock
Speed” on page 385.
Classic Mode
This mode emulates the way Pro Tools worked
in versions lower than 5.0. With the Numeric
Keypad mode set to Classic, you can:
2 In the Transport section, select a Numeric Key-
• Play up to two tracks of audio in Shuttle
Lock mode. Press the Start key (Windows)
or Control (Mac), followed by 1–9 for different play speeds.
pad mode (Classic, Transport, or Shuttle).
• Press Plus or Minus to reverse direction.
3 Click OK.
• Press 0 to stop Shuttle Lock, then press the
number to resume Shuttle Lock speed.
1 Choose Setup > Preferences and click the Op-
eration tab.
For more information on each mode, see
“Numeric Keypad Mode” on page 67.
• Press Escape or Spacebar to exit Shuttle
Lock mode.
• Recall Memory Locations by typing the
Memory Location, followed by a Period (.).
Chapter 3: Keyboard and Right-Click Mouse Shortcuts
17
Transport Mode
Shuttle Mode
This mode allows you to set a number of record
and play functions, and also operate the Transport from the numeric keypad.
(Pro Tools HD Only)
:
Pro Tools offers another form of shuttling, different from that of the two Shuttle Lock modes.
With the Numeric Keypad mode set to Shuttle,
playback of the current Edit selection is triggered by pressing and holding the keys on the
numeric keypad—playback stops once the keys
are released. Various playback speeds are available in both forward and reverse. In this mode,
pre- and post-roll are ignored.
Function
Key
Click on/off
7
Countoff on/off
8
MIDI Merge/Replace mode
9
Loop Playback mode on/off
4
Loop Record mode on/off
5
Playback Speeds
Key
QuickPunch mode on/off
6
1x Forward
6
Rewind
1
1x Rewind
4
Fast Forward
2
4x Forward
9
Record enable
3
4x Rewind
7
Play/Stop
0
1/4x Forward
3
1/4x Rewind
1
1/2x Forward
5+6
1/2x Rewind
5+4
2x Forward
8+9
2x Rewind
8+7
1/16x Forward
2+3
1/16x Rewind
2+1
Loop Selection (1x)
0
With the Numeric Keypad mode set to Transport, you can also:
• Play up to two tracks of audio in Shuttle
Lock mode. Press the Start key (Windows)
or Control (Mac), followed by 1–9 for different play speeds.
:
• Press Plus or Minus to reverse direction.
• Press 0 to stop Shuttle Lock, then press the
number to resume Shuttle Lock speed.
• Press Escape or Spacebar to exit Shuttle
Lock mode.
• Recall Memory Locations by typing Period
(.), the Memory Location number, and Period (.) again.
With the Numeric Keypad mode set to Shuttle,
you can also:
• Recall Memory Locations by typing Period (.),
the Memory Location number, and Period (.)
again.
Shuttle Lock modes are not available when
the Numeric Keypad mode is set to Shuttle.
18
Pro Tools Reference Guide
Part II: System Configuration
19
20
Chapter 4: Pro Tools Systems
There are four types of Pro Tools systems:
Pro Tools|HD These systems include
Pro Tools HD® software for Pro Tools|HD system hardware.
Pro Tools LE These systems include Pro Tools LE
software for Digi 002®, Digi 002 Rack™, Mbox®
2, Mbox 2 Pro, Mbox 2 Mini, or Mbox hardware.
Pro Tools M-Powered These systems include
Pro Tools M-Powered software for Digidesignqualified M-Audio® interfaces.
Pro Tools Academic These systems include
Pro Tools Academic software for Mbox 2 and for
Digidesign-qualified M-Audio® interfaces.
References to Pro Tools LE in this guide are
usually interchangeable with Pro Tools MPowered or Pro Tools Academic, except as
noted in the Pro Tools M-Powered and Academic Getting Started Guides.
Pro Tools|HD Systems
Pro Tools|HD systems are available in the configurations shown on page 22. Each system requires at least one Digidesign audio interface
(sold separately). Pro Tools|HD systems can be
expanded by adding Pro Tools|HD system cards
to increase track count, add to the amount of
possible plug-in and mixer processing, and connect additional audio interfaces.
Pro Tools system performance depends on
factors such as computer processor speed,
amount of system memory, and hard drive
performance. Contact your Digidesign
dealer or visit the Digidesign website
(www.digidesign.com) for the latest system
requirements and compatibility information.
Optional Systems
Pro Tools LE with DV Toolkit 2 Pro Tools LE systems that have been upgraded with the
DV Toolkit™ 2 software option.
Pro Tools LE or M-Powered with Music Production
Toolkit Pro Tools LE or M-Powered systems that
have been upgraded with the Music Production
Toolkit software option.
Chapter 4: Pro Tools Systems
21
Pro Tools|HD Systems
Pro Tools|HD 1
Includes:
• HD Core card
• Pro Tools HD software
Pro Tools|HD 2 Accel
Includes:
• HD Core card
• HD Accel card
• Pro Tools HD software
Pro Tools|HD 3 Accel
Includes:
• HD Core card
• Two HD Accel cards
• Pro Tools HD software
Pro Tools|HD 2
Includes:
• HD Core card
• HD Process card
• Pro Tools HD software
Expanded Pro Tools|HD Systems
Any Pro Tools|HD system can be expanded by
adding additional HD Process or HD Accel cards.
For more information, see the Expanded Systems
Guide.
HD Accel and HD Process cards can be used
in the same system. For more information,
refer to the Pro Tools|HD Getting Started
Guide.
Supported Audio Interfaces
(Pro Tools|HD Systems Only)
The following audio interfaces are compatible
with Pro Tools|HD systems:
• 192 I/O™
• 192 Digital I/O™
• 96 I/O™
• 96i I/O™
Pro Tools|HD systems require the use of at
least one 192 I/O, 192 Digital I/O, 96 I/O,
or 96i I/O.
The following “Legacy” Digidesign audio interfaces are supported with Pro Tools|HD systems:
• 888|24 I/O™ and 882|20 I/O™
• 1622 I/O™
Pro Tools|HD 3
Includes:
• HD Core card
• Two HD Process cards
• Pro Tools HD software
22
Pro Tools Reference Guide
• 24-bit ADAT Bridge I/O™
“Legacy” I/Os (such as 888|24 I/O) require
the use of at least one 192 I/O, 192 Digital
I/O, 96 I/O, or 96i I/O.
Pro Tools|HD System Playback, Recording and Voice Limits
The following table lists the audio playback, recording, and voiceable track limits of each type of
Pro Tools|HD 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.) Voice limits are dependent on the session sample rate and the number of DSP chips dedicated to the system’s Playback Engine.
Pro Tools|HD systems can open sessions with up to 256 audio tracks, but any audio tracks beyond
that system’s voiceable track limit will be automatically set to Voice Off.
Table 5. Pro Tools|HD system audio playback, recording and voice limits
Core System Type
Sample
Rate
(kHz)
Playback
Voices
(Mono Tracks of
Simultaneous
Playback)
Recording
Voices
(Mono Tracks of
Simultaneous
Recording)
Total
Voiceable
Tracks
Pro Tools|HD 1
44.1/48
96
96
112
88.2/96
48
48
48
176.4/192
12
12
12
44.1/48
192
192
224
88.2/96
96
96
120
176.4/192
36
36
36
44.1/48
128
128
224
88.2/96
64
64
80
176.4/192
24
24
24
Pro Tools|HD Accel 2,
Pro Tools|HD Accel 3
Pro Tools|HD 2,
Pro Tools|HD 3,
or any expanded Pro Tools|HD system
Pro Tools|HD systems provide up to 160 Auxiliary Input tracks and a total of 128 internal mix busses.
These systems also provide up to 5 inserts and 10 sends per track (depending on the DSP capacity of
your system). Pro Tools|HD systems also support up to 128 Instrument tracks, 256 MIDI tracks, 128
VCA tracks, and multiple video tracks.
Chapter 4: Pro Tools Systems
23
Audio Interfaces for Pro Tools|HD Systems
Table 6 lists the input and output capabilities of the various audio interfaces for Pro Tools|HD systems.
Table 6. Pro Tools|HD system audio interface channel capabilities
Interface Type
Number of I/O
Channels
Sample Rates
(kHz)
A/D
Conversion
D/A
Conversion
Digital I/O
192 I/O
16 in/16 out
44.1, 48, 88.2,
96, 176.4, 192
24-bit
24-bit
24-bit
192 Digital I/O
16 in/16 out
44.1, 48, 88.2,
96, 176.4, 192
None
None
24-bit
96 I/O
16 in/16 out
44.1, 48, 88.2,
96
24-bit
24-bit
24-bit
96i I/O
16 in/2 out
44.1, 48, 88.2,
96
24-bit
24-bit
24-bit
888|24 I/O
8 in/8 out
44.1, 48
24-bit
24-bit (or
20-bit, on
older I/O)
24-bit
882|20 I/O
8 in/8 out
44.1, 48
20-bit
20-bit
24-bit
1622 I/O
16 in/2 out
44.1, 48
20-bit
24-bit
24-bit
24-bit ADAT
Bridge I/O
16 in/16 out
44.1, 48
None
24-bit
24-bit
You can expand your Pro Tools|HD system by adding Pro Tools|HD cards to your computer, either directly in the computer or using an expansion chassis. Expanding your Pro Tools system will provide
an increased track count, add to the amount of possible plug-in and mixer processing, and let you
connect additional audio interfaces. For more information, see the Expanded Systems Guide.
“Legacy” I/Os (such as 888|24 I/O) require the use of at least one 192 I/O, 192 Digital I/O, 96 I/O,
or 96i I/O.
24
Pro Tools Reference Guide
Pro Tools LE Systems
Mbox
An Mbox system includes:
Pro Tools LE-based systems are available in the
following configurations:
• Pro Tools LE software
• Mbox audio interface
Digi 002
A Digi 002 system includes:
• Pro Tools LE software
• Digi 002 audio and MIDI interface, with control surface
Digi 002 Rack
A Digi 002 Rack system includes:
Processing Capacity
The total processing capacity of a
Pro Tools LE system depends on the processing power of your computer. Contact
your Digidesign dealer or visit Digidesign’s
website (www.digidesign.com) for the latest
system requirements and compatibility information.
• Pro Tools LE software
• Digi 002 audio and MIDI interface
Mbox 2 Pro
An Mbox 2 system includes:
• Pro Tools LE software
• Mbox 2 Pro audio and MIDI interface
Mbox 2
An Mbox 2 system includes:
• Pro Tools LE software
• Mbox 2 audio and MIDI interface
Mbox 2 Mini
An Mbox 2 system includes:
• Pro Tools LE software
• Mbox 2 Mini audio interface
Chapter 4: Pro Tools Systems
25
Pro Tools LE System Capabilities
Table 7 lists the playback, recording, and input and output capabilities of each Pro Tools LE system.
Mono tracks of simultaneous playback refers to the number of unique simultaneous playback and
record tracks on your system. Total voiceable tracks refers to the maximum number of audio tracks
that can share the available voices on your system. (Mono tracks take up a single audio track, while
stereo tracks take up two tracks.) If you open a Pro Tools session created on a Pro Tools|HD system
containing more than the number of tracks supported on the LE-based system, audio tracks beyond
the LE system’s voiceable track limit will be automatically set to inactive.
Table 7. Pro Tools LE system audio playback, recording, and channel capabilities
Mono Tracks of
Simultaneous
Playback
Total
Voiceable
Tracks
Digi 002
or
Digi 002
Rack
32
128
Mbox 2
Pro
32
System
Type
Number of I/O
Channels
A/D
Conversion
D/A
Conversion
Digital
I/O
up to 18 in/18 out
(48 kHz or lower)
24-bit
24-bit
24-bit
24-bit
24-bit
24-bit
up to 10 in/10 out
(88.2 or 96 kHz)
128
up to 6 in/8 out
(48 kHz or lower)
up to 4 in/6 out
(88.2 or 96 kHz)
Mbox 2
or Mbox
32
128
up to 2 in/2 out
24-bit
24-bit
24-bit
Mbox 2
Mini
32
128
up to 2 in/2 out
24-bit
24-bit
N/A
Pro Tools LE systems provide up to 128 Auxiliary Input tracks, a total of 32 internal mix busses, and
up to 5 inserts and 10 sends per track (depending on your computer’s processing capacity). In addition, Pro Tools LE systems support up to 32 Instrument tracks and 256 MIDI tracks. Pro Tools LE also
supports a single QuickTime video track.
For details on transferring session material between Pro Tools|HD and Pro Tools LE systems, see
“Sharing Sessions Created on Different Pro Tools Systems” on page 248.
26
Pro Tools Reference Guide
Pro Tools M-Powered
A Pro Tools M-Powered system includes:
• Pro Tools M-Powered software
• Digidesign-qualified M-Audio interface (not
supplied with M-Powered software)
References to Pro Tools LE in this guide are
usually interchangeable with Pro Tools
M-Powered, except as noted in the
Pro Tools M-Powered Getting Started
Guide.
For the most current list of Digidesign-qualified M-Audio interfaces, visit the Digidesign website (www.digidesign.com).
Pro Tools Academic
A Pro Tools Academic system includes:
• Pro Tools Academic software
DV Toolkit 2 and Music
Production Toolkit
In addition to all the regular capabilities provided with Pro Tools LE and Pro Tools M-Powered, Pro Tools LE systems equipped with
DV Toolkit 2 and Pro Tools LE and M-Powered
systems equipped with Music Production Toolkit provide expanded capabilities.
Support for 48 Mono or Stereo
Tracks
Pro Tools LE systems with the DV Toolkit 2 option and Pro Tools LE or M-Powered systems
with the Music Production Toolkit option let
you play or record up to 48 simultaneous stereo
or mono tracks. These higher track counts may
require additional drives and faster Digidesignqualified computers.
Visit the Digidesign website for more information (www.digidesign.com).
• One of the following:
• Mbox 2 audio and MIDI interface
– or –
• Digidesign-qualified M-Audio interface
References to Pro Tools LE in this guide are
usually interchangeable with Pro Tools Academic, except as noted in the Pro Tools Academic Getting Started Guide.
For the most current list of Digidesign-qualified M-Audio interfaces, see the Digidesign
website (www.digidesign.com).
For more information on track priority and
voice assignment, see “Voice Assignment
with Toolkit Options” on page 138.
Support for Up to 24 QuickPunch
Tracks
With DV Toolkit 2 or Music Production Toolkit,
up to 24 mono or stereo audio tracks can be simultaneously recorded with QuickPunch.
The combination of audio tracks and
QuickPunch tracks cannot be greater than
48.
Chapter 4: Pro Tools Systems
27
DV Toolkit 2 Capabilitites
(Pro Tools LE Only)
• Timebase rulers (Time Code and
Feet+Frames)
Pro Tools LE Features
• Time Code Rate selector
DV Toolkit 2 enables the following features for
working with audio, film, video, or digital video
in Pro Tools LE:
• Session and track features:
• Up to 48 audio tracks of simultaneous playback or recording, mono or stereo
• Multiple video tracks, with multiple video
playlists and multiple QuickTime movies
per track.
• Ability to use QuickPunch on up to 24
tracks
• Import Session Data options (Destination
Track Names, Time Code Mapping, Find
Matching Tracks, Session Data to Import,
Track Playlist)
• MP3 export option (for bounce recording
or exporting a region as an MP3 file)
• DigiBase Pro (including support for Catalog
browsers and the ability to search on multiple criteria simultaneously in DigiBase
browsers)
• Editing features:
• Universe window
• Continuous Scroll
• Scrub Trim tool
• Replace Region command
• TCE Edit to Timeline Selection command
• Selection of alternate field recorder audio
channels in the Pro Tools timeline
• Expanding alternate field recorder audio
channels to new tracks
• Mixing and Automation features
• Snapshot automation for writing or trimming automation data
• Glide Automation commands
28
• Time code and synchronization features:
Pro Tools Reference Guide
• Feet+Frame Rate selector
• Current Time Code Position command
• Current Feet+Frames Position command
• Use Subframes option
• Audio Rate Pull Up and Pull Down
• Video Rate Pull Up and Pull Down
Additional Software
DV Toolkit 2 includes the following additional
software for working with audio or digital video
in Pro Tools LE:
DINR™ (Digidesign Intelligent Noise Reduction™)
LE Plug-in For reducing noise in audio.
DigiTranslator™ Software Option For exchanging
audio and video files, and sequences with other
AAF and OMFI-compatible applications.
TL Space Native™ Convolution Reverb
Plug-in For applying convolution reverb to your
audio.
VocALign Project Plug-in from Synchro Arts Software For automatically adjusting the timing of
one audio signal to match another.
Music Production Toolkit
Overview
(Pro Tools LE and Pro Tools M-Powered Only)
Pro Tools Features
Music Production Toolkit enables the following
features in Pro Tools LE and M-Powered:
• Session and track features:
• Up to 48 audio tracks of simultaneous playback or recording, mono or stereo
• Ability to use QuickPunch on up to 24
tracks
• MP3 export option (for bounce recording
or exporting a region as an MP3 file)
• Beat Detective features:
• Ability to apply Beat Detective across multiple tracks
• Collection Mode
Additional Software
Music Production Toolkit includes the following additional software for working with
Pro Tools LE and M-Powered:
DINR™ (Digidesign Intelligent Noise Reduction™)
LE Plug-in For reducing noise in audio.
Hybrid RTAS Synthesizer Plug-in For use as a virtual instrument in your Pro Tools sessions.
Smack!™ LE Compressor Plug-in For applying
compression to your audio.
SoundReplacer™ Plug-in For replacing one
sound in a track with another (such as replacing
only the snares in your drum track with a different one-hit sample)
TL Space Native™ Convolution Reverb
Plug-in For applying convolution reverb to your
audio.
Chapter 4: Pro Tools Systems
29
30
Pro Tools Reference Guide
Chapter 5: System Setup
Starting Up or Shutting Down
Your System
To ensure that the components of your
Pro Tools system communicate properly with
each other, you need to start them in a particular order.
Start up your Pro Tools system in this order:
7 Launch Pro Tools or any third-party audio or
MIDI applications.
Shut down your Pro Tools system in this order:
1 Quit Pro Tools and any other running applications.
To quit Pro Tools, choose File > Exit (Windows) or Pro Tools > Quit (Mac).
1 For Pro Tools|HD systems with an expansion
2 Turn off or lower the volume of all output de-
chassis, turn on the chassis.
vices in your system.
2 Turn on any external hard drives. Wait ap-
3 Turn off your computer.
proximately ten seconds for them to spin up to
speed.
4 Do one of the following depending on your
3 Turn on any MIDI interfaces, MIDI devices, or
synchronization peripherals.
• For Pro Tools|HD systems, turn off your
Pro Tools audio interfaces.
4 Lower the volume of all output devices in
• For Pro Tools LE, M-Powered, and Academic systems that use hardware requiring
external power (such as the Digi 002), turn
off the hardware.
your system.
5 Do one of the following, depending on your
Pro Tools system:
Pro Tools system:
• For Pro Tools|HD systems, turn on your
Pro Tools audio interfaces. Wait at least fifteen seconds for your system hardware to
initialize.
• For Pro Tools LE, M-Powered, and Academic systems that use hardware requiring
external power (such as the Digi 002), turn
on the hardware.
5 For Pro Tools|HD systems with an expansion
chassis, turn off the chassis.
6 Turn off any MIDI interfaces, MIDI devices, or
synchronization peripherals.
7 Turn off any external hard drives.
6 Turn on your computer.
Chapter 5: System Setup
31
Configuring Pro Tools System
Settings (in the Playback
Engine)
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 Dialog (Setup > Playback Engine).
In most cases, the default settings for your system provide optimum performance, but you
may want to adjust them to accommodate large
or processing-intensive Pro Tools sessions.
Hardware Buffer Size
The Hardware Buffer Size (H/W Buffer Size) controls the size of the hardware cache used to handle host-based tasks such as Real-Time AudioSuite (RTAS) plug-in processing.
◆ Lower Hardware Buffer Size settings reduce
monitoring latency, and are useful when you are
recording live input.
◆ Higher Hardware Buffer Size settings allow for
more audio processing, and are useful when you
are mixing large sessions and using more RTAS
plug-ins.
In addition to causing slower screen response and monitoring latency, higher
Hardware Buffer Size settings can affect the
accuracy of plug-in automation, mute data,
and timing for MIDI tracks.
To change the Hardware Buffer Size:
1 Choose Setup > Playback Engine.
2 From the H/W Buffer Size pop-up menu, select
the audio buffer size, in samples.
3 Click OK.
32
Pro Tools Reference Guide
RTAS Processors
The RTAS Processors setting determines the
number of processors in your computer allocated for RTAS (real-time plug-ins) plug-in processing.
With computers that have multiple processors,
or that feature multi-core processing or hyperthreading, this setting lets you enable multi-processor support for RTAS plug-ins. Used in combination with the CPU Usage Limit setting, the
RTAS Processors setting lets you control the way
RTAS processing and other Pro Tools tasks are
handled by the system. For example:
• For sessions with large numbers of RTAS plugins, you can allocate 2 or more processors to
RTAS processing and set a high CPU Usage
Limit.
• For sessions with few RTAS plug-ins, you can
allocate fewer processors to RTAS and set a low
CPU Usage Limit to leave more CPU resources
available for automation accuracy, screen response, and video.
• Increase these settings to accommodate TDM
to RTAS plug-in conversion. Conversely, decrease these settings if you are only using
TDM plug-ins or are converting RTAS plug-ins
to TDM. TDM/RTAS conversion can be desirable during recording, depending on latency,
voicing needs, and record-monitoring capabilities of the specific TDM and RTAS plug-ins.
• Depending on the importance of video and
overall screen response, and on the density of
automation being employed, try different
combinations of RTAS Processing and CPU
Usage Limit settings to achieve the best results. For example, to improve screen response in a medium-sized session using a
moderate number of RTAS plug-ins, try reducing the number of RTAS plug-ins, but keep the
CPU Usage Limit set to the maximum (99%)
on a single processor system.
To set the number of RTAS Processors:
1 Choose Setup > Playback Engine.
that you are at the limit of available resources,
increase the number of RTAS processors and adjust the CPU Usage Limit setting. (For more information, see “System Usage” on page 42.)
CPU Usage Limit
The CPU Usage Limit controls the percentage of
CPU resources allocated to Pro Tools host processing tasks. Used in combination with the
RTAS Processors setting, the CPU Usage Limit
setting lets you control the way Pro Tools tasks
are carried out by the system.
Playback Engine dialog
2 From the RTAS Processing pop-up menu, se-
lect the number of available processors you
want to allocate. The number of processors
available varies depending on how many processors are available on your computer:
• Choose 1 Processor to limit RTAS processing to one CPU in the system.
• Choose 2 Processors to enable load balancing across two available processors.
• On systems running four or more processors, choose the desired number of RTAS
processors as needed.
3 Click OK.
System Usage Window and RTAS Processing
The System Usage window displays the combined amount of RTAS processing occurring on
all enabled processors with a single indicator, regardless of how many processors are available in
the system. If the System Usage Window shows
◆ Lower CPU Usage Limit settings limit the effect of Pro Tools processing on other CPU-intensive tasks, such as screen redraws, and are useful
when you are experiencing slow system response, or when running other applications at
the same time as Pro Tools.
◆ Higher CPU Usage Limit settings allocate
more processing power to Pro Tools, and are
useful for playing back large sessions or using
more RTAS plug-ins.
The maximum CPU Usage Limit is 85 percent
for single-processor computers (except for
Digi 002, which has a limit of 99 percent), and
99 percent for multiprocessor computers (which
dedicate one entire processor to Pro Tools).
On multiprocessor computers, the maximum
CPU Usage Limit is reduced when you use all
your processors (as selected in the RTAS Processing pop-up menu). For example, on dual-processors, the limit will be 90%. On four-processor
computers, the limit will be 95%.
Increasing the CPU Usage Limit may slow
down screen responses on slower computers.
Chapter 5: System Setup
33
To change the CPU Usage Limit:
Enabling RTAS Error Suppression
1 Choose Setup > Playback Engine.
To enable RTAS error suppression:
2 From the CPU Usage Limit pop-up menu, se-
lect the percentage of CPU processing you want
to allocate to Pro Tools.
1 Choose Setup > Playback Engine.
3 Click OK.
RTAS Engine Options
Pro Tools provides two RTAS Engine options in
the Playback Engine dialog for suppressing RTAS
error reporting during playback and recording.
This is especially useful when working with instrument plug-ins.
You should only enable RTAS error suppression
if you are experiencing frequent RTAS errors
that are interrupting your creative workflow.
When RTAS error suppression is enabled, you
can experience a degradation of audio quality.
However, this may be acceptable in order to
avoid interrupting playback and recording
when working with instrument plug-ins. Be sure
to disable RTAS error suppression when you
need to ensure the highest possible audio quality, such as for a final mix.
34
Pro Tools Reference Guide
Playback Engine dialog, Mbox 2
2 Select Ignore Errors During Playback/Record.
3 If available, you can also select Minimize Ad-
ditional I/O Latency.
4 Click OK.
RTAS Error Suppression Options
Number of Voices
Ignore Errors During Playback/Record When enabled, Pro Tools continues to play and record
even if the RTAS processing requirements exceed the selected CPU Usage Limit. This can result in pops and clicks in the audio, but does not
stop the transport.
(Pro Tools HD Only)
Minimize Additional I/O Latency When enabled,
any additional latency due to suppressing RTAS
errors during playback and record is minimized
to 128 samples. Suppressing RTAS errors requires at least 128 samples of additional buffering on some systems. If this option is disabled,
the buffer is half the H/W Buffer Size, or at least
128 samples (whichever is greater). If you are on
an older, slower computer, you may want to disable this option to avoid adverse performance.
This option is only available if the Ignore Errors
During Playback/Record option is enabled and
the Pro Tools system you are using requires additional buffering for RTAS error suppression, as
follows:
• Windows XP:
On Pro Tools|HD systems, the Number of Voices
setting lets you control the number of available
voices and how those voices are allocated to
DSPs in your system. For example, the default
number of voices on a Pro Tools|HD 1 system is
48 voices, using one DSP (at sample rates of
44.1 kHz or 48 kHz).
Changing the number of voices affects
DSP usage, the total number of voiceable
tracks, and overall system performance.
Depending on the session sample rate and the
number of Pro Tools|HD cards in your system,
there are different choices for voice count. For
voice limits on different Pro Tools|HD systems,
see “Pro Tools|HD System Playback, Recording
and Voice Limits” on page 23.
To change the number of voices and DSP to
allocate for voicing:
1 Choose Setup > Playback Engine.
• Mbox 2 Pro
• Digidesign-qualified M-Audio interfaces
with Pro Tools M-Powered or Academic
• Mac OS X:
• Mbox
• Mbox 2
• Mbox 2 Mini
• Mbox 2 Pro
• Digi 002 and 002 Rack
• All Pro Tools M-Powered systems
• All Pro Tools Academic systems
Playback Engine dialog, Ignore Errors During
Playback/Record option enabled
Chapter 5: System Setup
35
2 Select the number of voices and DSPs to allocate for voicing by selecting a value from the
Number of Voices pop-up menu as follows:
• Select higher voice numbers when your
Pro Tools|HD cards are the only PCI cards
in your computer, or when you are using
an expansion chassis to run higher track
counts.
• Select medium voice numbers when your
Pro Tools|HD cards are in an expansion
chassis, or when you are using other PCI
cards along with Pro Tools|HD cards.
• Select minimum voice numbers if you are
using high-bandwidth PCI cards (such as
video capture cards) along with your
Pro Tools|HD cards. In addition, to free up
DSP for plug-ins and processing, select the
minimum number of voices and DSPs
needed to play back the current session.
3 Click OK.
Default Sample Rate
The Sample Rate setting appears as the default
sample rate when you create a new session.
With Pro Tools HD, the Sample Rate setting can affect the number of available
voices.
To change the default Sample Rate:
1 Choose Setup > Playback Engine.
2 Select the sample rate from the Sample Rate
pop-up menu.
This setting is available only when there is
no session open. Otherwise, the current session sample rate is displayed, but cannot be
changed.
3 Click OK.
You can change the sample rate when creating a new Pro Tools session by selecting a
different sample rate in the New Session dialog. (See “Creating a New Session” on
page 83.)
Delay Compensation Engine
(Pro Tools HD Only)
The Delay Compensation Engine lets you manage DSP delays in the Pro Tools mixer.
There are three settings in the Playback Engine
dialog for dedicating DSP resources for Delay
Compensation:
None Allocates no DSP resources for Delay Compensation.
Short Allocates minimal DSP resources for Delay
Compensation for each channel. This is the
most efficient setting for Pro Tools|HD Accel
systems.
Long Allocates maximum DSP resources for Delay Compensation for each channel. Long Delay
Compensation uses the SRAM contained on
DSPs needed by DSP-intensive plug-ins.
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Pro Tools Reference Guide
To configure the Delay Compensation Engine:
To change the DAE Playback Buffer Size:
1 Choose Setup > Playback Engine.
1 Choose Setup > Playback Engine.
2 From the Delay Compensation Engine pop-up
menu, select a Delay compensation setting.
3 Click OK.
The Delay Compensation setting is saved as a
session and system preference.
For more information, see “Delay Compensation” on page 656.
DAE Playback Buffer Size
The DAE Playback Buffer Size determines the
amount of memory DAE allocates for disk buffers. The optimum DAE Playback Buffer Size for
most disk operations is Level 2.
Playback Engine dialog
DAE Playback Buffer Size settings lower than
Level 2 may improve playback and recording
initiation speed, but may make it difficult to
play or record tracks reliably with sessions containing a large number of tracks or a high density of edits, or running on slower or heavily
fragmented hard drives.
2 From the DAE Playback Buffer pop-up menu,
select a buffer size. Memory requirements for
each setting are shown at the bottom of the
Playback Engine dialog.
DAE Playback Buffer Size settings higher than
Level 2 will allow for a higher density of edits in
a session or a higher track count when using
slower hard drives. However, a higher setting
can also cause a time lag to occur when starting
playback or recording, and result in a longer audible time lag while editing during playback.
the DAE Playback Buffer, it will prompt you to
restart your computer.
◆
◆
3 Click OK.
4 If Pro Tools needs more system memory for
Using a larger DAE Playback Buffer Size
leaves less system memory for other tasks.
The default setting of Level 2 is recommended unless you are encountering -9073
(“Disk too slow or fragmented”) errors.
Chapter 5: System Setup
37
System Memory Allocation
(Pro Tools HD Only)
Configuring Pro Tools
Hardware Settings
When you start your computer, Pro Tools automatically reserves a portion of system memory
for the DAE Playback Buffer. This reserved memory is unavailable to other applications, even if
Pro Tools is not running.
Pro Tools allows you to configure the signal
routing, digital I/O format, default sample rate,
clock source, and other hardware-based settings
depending on your system configuration.
You can set Pro Tools to reserve only the minimum amount of required memory, so that system memory is available to other applications.
The following section outlines the configuration of a Pro Tools|HD system with one or more
Pro Tools|HD interfaces (with one or more Legacy interfaces attached).
To minimize system memory allocation:
1 Choose Setup > Playback Engine.
2 Select the “Minimize System Memory Allocation” option.
3 Click OK.
4 Do one of the following:
• On Windows systems, restart your computer.
– or –
• On Mac systems, if prompted, enter your
password, then restart your computer.
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Pro Tools Reference Guide
To configure another Pro Tools system, refer to the Getting Started Guide that came
with your system.
Configuring Pro Tools|HD
Hardware
On Pro Tools|HD systems, you configure Hardware settings for each audio interface connected
to your system. For example, Pro Tools|HD systems can have 192 I/O, 192 Digital I/O, 96 I/O,
or 96i I/O audio interfaces connected to
HD Core and HD Accel or HD Process cards in
the system. The 192 I/O, 192 Digital I/O, and
96 I/O can have additional interfaces attached
(including older Digidesign audio interfaces—
Legacy I/Os—such as the 888|24 I/O, 882|20 I/O
or 1622 I/O). For more information, see
Chapter 4, “Pro Tools Systems.”
Configuring Hardware Setup
The Main page of the Hardware Setup dialog is
where you define which physical inputs and
outputs on your audio interface are routed to
available inputs and outputs in Pro Tools.
4 From the Clock Source pop-up menu, select
the appropriate clock source for the system. In
many cases, you will use Internal. The other
choices are for resolving Pro Tools to external
clock sources. Depending on your audio interface, Clock Source options can include:
AES/EBU [Encl], S/PDIF, Optical [Encl], AES/EBU
1–8, TDIF, ADAT, and Word Clock (optional
Word Clock rates are available when operating
at higher sample rates).
5 From the Ext. Clock Output pop-up menu, se-
lect the appropriate clock output to send to devices attached to your audio interface.
Hardware Setup dialog for 96 I/O (Main page)
6 Select which digital I/O port on your audio in-
Additional pages are available to configure other
controls for each audio interface (such as setting
operating levels). For details, refer to the Getting
Started Guide for your system, or to the guide for
your audio interface.
terface enclosure is active under Digital Format.
Choices include: AES/EBU, S/PDIF, and Optical
(S/PDIF). Selecting Optical (S/PDIF) resets the
Optical I/O port (which is, by default, eight
channels of ADAT I/O) to two channels of
S/PDIF Optical I/O.
Identify audio interface connections at any
time by selecting the interface name in the
Peripherals list, then clicking Identify. All
the LEDs on the interface front panel illuminate.
To configure audio interfaces on a Pro Tools|HD
system:
1 Choose Setup > Hardware.
2 From the Peripherals list, select the Digidesign
audio interface connected to the first card in
your system. This will be the interface at the top
of the list.
3 Click the Main tab.
7 For S/PDIF compatibility with Tascam DA-30
DAT recorders select the Tascam option under
S/PDIF Format.
8 For the 96 I/O and 96i I/O, click the Meters
pop-up menu and select whether to meter the
input or output signal.
9 From the Input and Output pop-up menus, se-
lect the physical ports (such as Analog 1–2 or
Optical 1–2), that will be routed to the corresponding Pro Tools input and output channels
(such as Ch 1–2 or Ch 3–4), listed on the left side
of the Main page.
Inputs and outputs of similar format are differentiated in the input and output channel popup menus. For example, the AES/EBU inputs
and outputs in the 192 I/O enclosure are listed
as AES/EBU [Encl], while the AES/EBU inputs
and outputs on the factory-installed Digital I/O
card are listed (in pairs) as AES/EBU 1–2,
AES/EBU 3–4, AES/EBU 5–6, and AES/EBU 7–8.
Chapter 5: System Setup
39
For 192 I/Os equipped with the optional
Digital I/O Card, the additional AES/EBU I/O
ports on the optional card are listed as AES/EBU
9–10, AES/EBU 11–12, AES/EBU 13–14, and
AES/EBU 15–16.
10 Click other tabs (such as Analog In and Ana-
log Out) for additional configuration options
specific to the audio interface. These include:
• On the 96 I/O, configuring the operating
levels of analog inputs and outputs (+4 dBu
or –10 dBV).
• On the 96i I/O, configuring the operating
levels of analog inputs and outputs (+4 dBu
or –10 dBV).
• On the 192 I/O analog input, setting the
input connector and Soft Limit
• On the 192 I/O, configuring the two sets of
trims for analog inputs and outputs.
• On the 192 I/O and 192 Digital I/O, configuring real-time Sample Rate Conversion for
digital inputs.
• On the 192 I/O and 192 I/O Digital, configuring inputs and outputs on any optional
A/D card, D/A card, or Digital I/O cards installed in the unit.
For more information on Hardware Setup
controls for each Pro Tools|HD audio interface, refer to the Pro Tools|HD Getting
Started Guide or the guide for that audio interface.
11 Repeat the above steps for each additional
Pro Tools|HD audio interface.
Use the Up and Down Arrow keys to scroll
though peripherals in the Peripherals list.
12 Repeat the above steps for any Legacy I/Os
connected to the Pro Tools|HD audio interfaces
in your system. Before you can configure a Legacy I/O, it must first be initialized in Hardware
Setup.
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Pro Tools Reference Guide
13 Click OK.
Initializing MIX-Series Legacy
Peripherals (on a Pro Tools|HD System)
Before you can configure a Legacy I/O, it must
first be initialized in Hardware Setup.
To initialize a Legacy I/O on a Pro Tools|HD
system:
1 Start up your Pro Tools system. See “Starting
Up or Shutting Down Your System” on page 31.
2 Make sure to lower the volume of your output
devices. Very loud digital noise may be emitted
before the Legacy I/O is initialized.
3 Turn on your Legacy I/O.
4 From the Peripherals list, choose the primary
audio interface (the Pro Tools|HD interface to
which your Legacy I/O is connected).
5 In the Main page of the Hardware Setup dia-
log, select the Legacy I/O option under Port Settings.
6 In the Peripherals list, “No Interface” is listed
twice, directly below the primary audio interface. Click the first “No Interface.” An Interface
pop-up menu appears in the Hardware Setup dialog, listing supported I/O choices.
7 From the Interface pop-up menu, select the
type of Legacy I/O you connected.
The Main page updates with controls that can
be configured.
8 Repeat the above steps for each additional
Legacy I/O.
For information on Hardware Setup controls
for each Legacy audio interface, refer to the
guide for that interface.
Configuring I/O Setup
The I/O Setup dialog provides a graphical representation of the signal routing for each connected audio interface, with controls to route
physical ports on the audio interface to
Pro Tools inputs and outputs. These controls
mirror the routing controls found in the Hardware Setup dialog—changes made to physical
routing in one dialog are always reflected in the
other.
The I/O Setup dialog lets you label and map
Pro Tools input, output, insert, and bus signal
paths. The I/O Setup dialog also provides important audition, meter, and surround settings. For
more information, see Chapter 6, “I/O Setup.”
Routing a Pro Tools Output Pair to
Multiple Destinations
Pro Tools channel pairs can be routed to multiple outputs on an audio interface through the
Hardware Setup dialog. For example, if you assign both Analog 1–2 and Analog 3–4 interface
outputs to Pro Tools Output pair 1–2, when you
send a signal to Pro Tools Outputs 1–2, that signal will be routed simultaneously to both pairs
of output ports on your audio interface.
This lets you send the same signal (such as a stereo pair, a stem mix, or a multichannel mix) to
multiple destinations (such as multiple mastering devices).
To select multiple output ports for a Pro Tools
output channel pair:
1 Choose Setup > Hardware.
2 From the Peripherals list, select an interface.
3 Click the Main tab.
4 Select an output port pair from an Output
pop-up menu.
5 Start-click (Windows) or Control-click (Mac)
the same pop-up menu a second time to choose
an additional output port pair.
The output name updates with a plus sign (“+”)
before it to indicate that multiple output ports
are selected. In the pop-up menu, each physical
port pair assigned to that Pro Tools output pair
is indicated by a check mark.
Hardware Setup dialog for 96 I/O (Main page)
6 Repeat the above steps to select additional
output destinations. The only limit to output
choices is the number of outputs available in
your system.
Pro Tools output pairs can also be routed to
multiple audio interface outputs in the
I/O Setup dialog. For more information, see
“Routing Hardware I/O to Pro Tools I/O” on
page 48.
Chapter 5: System Setup
41
System Usage
About Processing Bandwidth
Meters in the System Usage window indicate
how much of your system’s processing power is
being used in processing audio, and when writing and playing back automation.
Pro Tools HD, LE, M-Powered, and Academic
have three common meters, showing PCI bus
activity, CPU processing activity, and Disk processing activity.
System activity meters
System Usage window (Pro Tools LE shown)
As these meters approach their limits, native
processing and recording or playback of automation data can be affected.
With Pro Tools HD, there are addition meters,
showing TDM Time Slot usage and DSP usage of
each Pro Tools|HD system card.
If CPU or PCI Activity are high, a system error
may occur. If Disk Activity is high, Pro Tools
may miss playback of some automation data
during particularly dense periods of activity,
such as while using the Bounce to Disk command.
To monitor the usage of resources during a
Pro Tools session:
■
Choose Window > System Usage.
For more information, see “Bounce to Disk”
on page 746.
To reduce processing load, try one of the
following:
■ Reduce the density of automation in places
where it shows the most activity. For details, see
“Thinning Automation” on page 711.
■ Turn off meters in Sends View, if enabled (by
disabling Show Meters in Sends View in the Display Preferences page). For details, see “Individual Send Views and Meters” on page 642.
System Usage Views
(Pro Tools HD Only)
System activity meters
TDM Time Slot usage
With Pro Tools HD, there are five different System Usage Views: Small, Large, Detailed, Gas
Gauge, and Activity Only. The Detailed and Gas
Gauge formats show the percentage of each DSP
chip in use.
DSP usage
To change the System Usage View:
■ Choose View > System Usage, and one of the
System Usage View formats (such as Small).
For information on using different views to
monitor DSP usage, see the Pro Tools|HD
Getting Started Guide.
System Usage window (Pro Tools HD shown)
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Pro Tools Reference Guide
Chapter 6: I/O Setup
The I/O Setup dialog provides tools to label, format, and map Pro Tools input, output, insert, or
bus signal paths for each session.
A signal path is a logical grouping of multiple
inputs, outputs or busses that has a single name
and (channel) format. In Pro Tools, paths are
similar to stems, as they are known in the film
and video industry (see “Stems and Stem Mixes”
on page 45). The I/O Setup dialog lets you define and name paths according to the needs of
each project.
With Pro Tools HD, the I/O Setup dialog provides a graphical representation of the signal
routing for each connected audio interface, with
controls to route physical ports to Pro Tools inputs and outputs. These controls mirror the
routing controls found in the Hardware Setup
dialog—changes made to physical routing in
one dialog are always reflected in the other.
Each Pro Tools system can have a different
I/O Setup configuration, determined by:
• Whether it is a Pro Tools|HD, Pro Tools LE,
Pro Tools M-Powered, or Pro Tools Academic system
• On Pro Tools|HD systems, the number and
types of audio interfaces
Each Pro Tools session retains its path configurations as I/O Settings. The I/O Settings saved
with the session are loaded automatically when
the session is opened. Unavailable items (including hardware, paths, or required resources)
remain in the session as inactive items (see “Active and Inactive Paths” on page 54).
When you create a new session, you can specify
a default I/O Setup configuration, including
presets for stereo or multichannel mixing formats. Multichannel mixing requires a
Pro Tools|HD system.
The I/O Setup dialog also lets you save and import I/O Settings files.
Navigating in the I/O Setup Dialog
To resize the I/O Setup dialog:
■ Drag the lower-right corner of the window according to standard convention for your operating system.
To scroll left or right in the I/O Setup dialog:
■ Press Alt+Page Up/Down (Windows) or Option+Page Up/Down (Mac).
• On Pro Tools|HD systems, the installed
Mixer plug-in (Stereo or Surround)
Chapter 6: I/O Setup
43
Paths in Sessions
In sessions, audio is routed using the track Input, Output, Insert, Plug-in, and Send selectors.
These selectors let you assign tracks to hardware
inputs and outputs, internal busses, and other
Pro Tools signal paths.
Paths comprise the lists of available signal routing choices in track Input, Output, Insert and
Send selectors.
Output Path selector and paths
Paths and I/O Setup
The signal routing choices available in a session
are defined in the I/O Setup dialog.
Input Path selector and paths
I/O Setup dialog Output paths (Pro Tools HD)
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Pro Tools Reference Guide
Main Paths and Sub-Paths
Default Settings Files
Paths in the I/O Setup dialog include main paths
and sub-paths.
The default Stereo settings file is available on all
Pro Tools systems, and provides stereo main
paths, each with its own mono sub-paths.
Stereo main path
mono sub-path
mono sub-path
Main and sub-paths in the I/O Setup Channel Grid
Main Paths
Main paths are logical groupings of inputs, inserts, busses, or outputs. For example, a master
stereo output path could be named Main Out.
Path names in a stereo path are often appended
with “.L” and “.R” for left and right.
Multichannel settings files are available on
Pro Tools|HD systems. These settings provide
specialized path definitions for surround mixing. See “Configuring Pro Tools for Multichannel Sessions” on page 760.
Default Path Names
Default names for input, output, and insert
paths are based on the type of system (such as
specific Pro Tools LE systems) or type and number of interfaces (Pro Tools|HD systems) you are
using.
Sub-Paths
A sub-path represents a signal path within a
main path. For example, a default stereo output
path consists of two mono sub-paths, left and
right. Mono tracks and sends can be routed to
either mono sub-path of the stereo output path.
It is especially useful to define and name
sub-paths for complex mixing setups, such
as a 5.1 Surround mix.
Default I/O Settings
A default I/O Settings file is installed automatically by Pro Tools, so you have a set of default
paths that will get you started, without the need
to configure the I/O Setup dialog. You can then
customize your I/O Setup configuration at any
time, according to the needs of each project (see
“The I/O Setup Dialog” on page 46).
Stems and Stem Mixes
The use of stems and stem mixes originated in
the post production industry as a method to organize and manage elements of a mix by type or
content.
For example, a film mix often requires a stem
mix for Foley, a stem mix for sound effects, a
stem mix for dialog, and another for music. In
this scenario, the dialog stem would contain all
the dialog elements mixed relative to each
other. The dialog stem can then be mixed with
the other stems during the final mix of the scene
or reel. The final mix is simplified by the ability
to control the level of each stem, rather than the
multitude of individual tracks that comprise a
typical film mix.
In Pro Tools, you can work with main and subpaths as you would stem mixes. These can be assigned as needed, including the ability to assign
multiple outputs to individual tracks and sends.
For more information, see “Multiple Output Assignments” on page 638.
Chapter 6: I/O Setup
45
The I/O Setup Dialog
The I/O Setup dialog defines Pro Tools input, output, insert, and bus paths. Routing I/O ports to
Pro Tools inputs and outputs can also be done here.
Path Format selector
Path Name column
Path Type tabs
Interface label
Input and Output
selectors
Expand/collapse paths
Channel Grid
Main and Sub-Paths
Active/Inactive
Status
Path tools
Options
Figure 1. I/O Setup dialog on a Pro Tools|HD system with a 96 I/O
To open the I/O Setup dialog:
Closing the I/O Setup Dialog
1 Make sure your audio interfaces are enabled
and configured properly in the Hardware Setup.
See “Configuring Pro Tools Hardware Settings”
on page 38.
You can click Cancel at any time to close the
I/O Setup dialog without saving any changes.
When you click OK, Pro Tools checks several settings for routing validity (to prevent feedback
loops). If there are any overlapping or invalid
settings, you will be required to correct them before the I/O Setup dialog will close. For more information, see “Setting the I/O Setup” on
page 54.
2 Choose Setup > I/O.
To open the Input, Output, Insert, Bus, Mic
Preamps (Pro Tools HD only), or H/W Insert Delay
page (Pro Tools HD only) in the I/O Setup dialog:
■ Click the corresponding tab at the top of the
I/O Setup dialog.
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Pro Tools Reference Guide
I/O Setup Dialog Controls
This section provides an overview of the controls in the I/O Setup dialog.
Path Type Tabs Select the type of I/O control to
configure. Choices are Input, Output, Insert,
Bus, Mic Preamps (Pro Tools HD only), or H/W
Insert Delay (Pro Tools HD only).
Input and Output Selectors Select the physical
ports on your audio interface to route to
Pro Tools inputs and outputs. Ports are selectable in channel pairs. Available ports for each
displayed interface are based on Hardware Setup
settings; for example, if the AES/EBU inputs and
outputs of an interface are enabled in Hardware
Setup, they are available for routing in I/O
Setup. The functionality provided with the Input and Output selector is the same as that provided on the Main page of the Hardware Setup
dialog.
Compensation for Input and Output Delays
(Pro Tools HD Only) Allows automatic compensation for input and output delays caused by
Digidesign analog-to-digital and digital-to-analog hardware.
Path Tools Customize the I/O Setup configuration. Buttons include: New Path, New Sub-Path,
Delete Path, and Default.
Show Last Saved Setup Appears in the I/O Setup
dialog in certain session transfer situations. For
details on this feature, see “Show Last Saved
Setup and Show Current Setup” on page 56.
Options Provide selectors with pop-up menus to
set paths or orders for Controller Meter Path,
Audition Paths (Region List previewing), New
Track Default Output, Default Path Order,
AFL/PFL Path (Pro Tools HD only), and AFL/PFL
Mutes (Pro Tools HD only). See “I/O Setup Options” on page 59.
Path Name Column Shows paths that are available for selection, including the name of each
defined path. Path names can be renamed.
Expand/Collapse Shows or hides the sub-paths
associated with a main path.
Active/Inactive Status Shows and changes the
active/inactive status of each path.
Path Format Selector Shows and selects the
type/format (such as Mono, Stereo, Quad, or
5.1) of each defined path (greater-than-stereo
multichannel formats are supported with
Pro Tools|HD systems only).
Channel Grid Maps paths to specific interfaces
and channels.
Chapter 6: I/O Setup
47
Routing Hardware I/O to
Pro Tools I/O
The I/O Setup dialog lets you define which
physical ports on your I/O peripheral are routed
to available inputs and outputs in Pro Tools. Use
the Input and Output selectors in the I/O Setup
dialog to serve as a patchbay to route any of the
physical inputs or outputs to your Pro Tools
mixer.
4 From the pop-up menu, select a physical port
pair (such as Analog 1–2), to route to a Pro Tools
channel pair (such as A 1–2) in the Path Name
column on the left.
5 Repeat the above step for additional channel
pairs.
6 Click OK.
Routing a Pro Tools Output Pair to
Multiple Destinations
Pro Tools channel pairs can be routed to multiple outputs on an audio interface through the
I/O Setup dialog. For example, if you assign both
Analog 1–2 and Analog 3–4 interface outputs to
Pro Tools Output pair 1–2, when you send a signal to Pro Tools Outputs 1–2, that signal will be
routed simultaneously to both pairs of output
ports on your audio interface.
This lets you send the same signal (such as a stereo pair, a stem mix, or a multichannel mix) to
multiple destinations (such as multiple mastering devices).
The only limit to output choices is the number
of outputs available in your system.
I/O Channel selector pop-up menu
To configure I/O routing in I/O Setup:
1 Choose Setup > I/O.
2 Click the Input or Output tab to display the
corresponding path type.
3 Click the Input or Output selector for the first
interface channel pair, located below the first
audio interface icon.
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Pro Tools Reference Guide
0utput path assignments cannot overlap.
See “Valid Paths and Requirements” on
page 54 for details.
Pro Tools outputs pairs can also be routed to
multiple audio interface outputs in the Hardware Setup dialog. For information, see “Routing a Pro Tools Output Pair to Multiple Destinations” on page 41.
To route a Pro Tools output channel pair to
multiple audio interface output ports:
1 Choose Setup > I/O.
2 Click the Output tab.
3 Click the Output selector for an interface
channel pair, just below an audio interface icon.
4 From the pop-up menu, select a physical port
pair (such as Analog 1–2) to route to the corresponding Pro Tools channel pair (such as A 1–2)
in the Path Name column on the left.
5 Start-click (Windows) or Control-click (Mac)
the same Output selector and select an additional output pair from the same pop-up menu.
The output name updates with a plus sign (“+”)
before it to indicate that multiple output ports
are selected. In the pop-up menu, each physical
port pair assigned to that Pro Tools output pair
is indicated by a check mark.
6 Repeat the above steps to select additional
output destinations.
7 Click OK.
Creating and Editing Paths
The I/O Setup dialog lets you create and customize signal path definitions.
Paths can be:
• Renamed, for easier identification after
changing or renaming audio interfaces
• Remapped, to or from different sources or
destinations
• Deactivated (or reactivated) to manage unavailable or unnecessary I/O resources
• Deleted
In addition, you can import and export your
I/O Setup configurations as I/O Settings files, as
well as set default path parameters.
The following table lists the available path attributes for each path type.
Path options by type
Path Type
Path Options (Attributes)
Input
Names, formats, and source
channel (analog or digital audio
interface)
Output
Names, formats, and destination
(audio interface output channel or
internal send bus)
Insert
Names, formats and destination
(audio interface channels)
Bus
Names and formats
Chapter 6: I/O Setup
49
Creating a Default Main or SubPath
You can set an I/O Setup path type to its default
path configuration at any time.
Creating New Paths
You can create new main path and sub-paths
with custom names, format, and mapping. Custom path names appear in a session’s track Input, Output, Insert, and Bus selectors.
To restore default paths and path names:
1 Choose Setup > I/O.
2 Click the Input, Output, Insert, or Bus tab to
display the corresponding path type.
3 Click Default.
To create a new path:
1 Choose Setup > I/O.
2 Click the Input, Output, Insert, or Bus tab to
display the corresponding path type.
3 Do one of the following:
Pro Tools creates all possible stereo main paths.
Mono sub-paths are also auto-created for every
stereo main path. These default path names appear in a session’s track Audio Input and Output
Path selectors.
• Click New Path, or press Control+N (Windows) or Command+N (Mac).
– or –
• Select a main path and click New Sub-Path.
4 Double-click in the Name field and enter a
name for the path.
5 Press Tab to set the new path name and move
to the next path’s Name Field, or press Enter
(Windows) or Return (Mac) to set the new path
name.
6 Choose a format from the Path Format selec-
Default stereo output paths
tor (mono, stereo, or multichannel).
With Pro Tools|HD systems, to optimize
DSP resources, it is best to create mono subpaths for Outputs and Busses, rather than
mono main paths.
Path Format selector
7 Repeat the previous steps to configure other
path types (Input, Output, Insert, or Bus).
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Pro Tools Reference Guide
8 Click OK to close the I/O Setup dialog. If there
3 Press Enter (Windows) or Return (Mac).
are any overlapping or identically named paths,
you will be instructed to correct them before the
I/O Setup dialog will close. For more information, see “Setting the I/O Setup” on page 54.
Interface name
Multichannel paths and mixing are explained in Chapter 32, “Pro Tools Setup for
Surround (Pro Tools HD Only).”
Changing Path Names
Interface Names
Path names can be customized in the I/O Setup
dialog.
Selecting and Arranging Paths
I/O paths can also be renamed directly from
the Edit or Mix window by Right-clicking
the Input or Output selector and choosing
Rename.
To rename a path in the I/O Setup dialog:
1 Double-click the path name.
Individual and multiple paths can be selected in
the I/O Setup dialog Path Name column. Selected paths and sub-paths can be moved higher
or lower in the Path Name column to change
their menu order in track Input, Output, Insert,
and Bus selectors. Paths can also be deleted. Subpaths follow their main paths when they are
moved in the I/O Setup dialog.
2 Enter a new path name.
To select a main path or sub-path:
3 Press Enter (Windows) or Return (Mac).
■
Click the path name.
Changing Interface Names
Audio interface names can be customized in the
I/O Setup dialog. With Pro Tools HD only, the
I/O Setup dialog then bases default Input and
Output path names on the custom names.
To rename an audio interface in the I/O Setup
dialog:
1 Double-click the label above an interface.
2 Enter a new interface name.
Selecting paths in the I/O Setup dialog
To select a range of paths:
1 Click the path name.
2 Shift-click an additional path name.
All paths that occur between the first path name
selected and the additional path name will also
be selected.
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To select or deselect noncontiguous paths, do one
of the following:
Control-click (Windows) or Command-click
(Mac) path names that are unhighlighted to select them.
To reset path names:
■
Click Default.
■
– or –
■ Control-click (Windows) or Command-click
(Mac) path names that are highlighted to deselect them.
To select all paths and sub-paths:
■ Alt-click (Windows) or Option-click (Mac)
any path name that is unhighlighted.
To deselect all paths and sub-paths:
■ Alt-click (Windows) or Option-click (Mac)
any path name that is highlighted.
To rearrange paths:
■
Drag one or more path names up or down.
Resetting to Default Paths
The Default button in the I/O Setup dialog provides two primary functions:
• Creates new default paths up to the capacity
of your system’s available audio interfaces and
resources. See “Creating a Default Main or
Sub-Path” on page 50.
• Resets selected path names to matching or
corresponding paths in the current I/O Setup
configuration. For example, if you replace an
audio interface on a Pro Tools|HD system, you
can use the Default switch to update your
I/O Setup definitions with the new hardware
configuration.
Interface names can be customized. See
“Changing Interface Names” on page 51.
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If there are matching paths available with the
new system configuration, existing paths will be
updated to include new audio interfaces
(Pro Tools|HD systems).
Resetting Mix Busses
(Pro Tools HD Only)
Pro Tools HD supports up to 128 mix busses
(Pro Tools HD 7.x and Pro Tools TDM 6.9).
However, lower versions of Pro Tools TDM and
Pro Tools LE provide only up to 64 or 32 mix
busses respectively. When you open a session
that was created with Pro Tools LE or a lower
version of Pro Tools TDM on a current version
of Pro Tools HD, only the number of busses supported on the original system are initially available. You can reset the number of available busses to match your Pro Tools HD system’s full
capabilities.
To make all of your busses available in sessions
that support a lower number of mix busses:
1 Open the I/O Setup dialog.
2 Click the Bus tab in the upper left.
3 Click Default.
Setting busses to the default setting will rename all busses to their default name.
Deleting Paths
Path definitions can be deleted from the current
session to reflect changes to your hardware
setup, or to clean up track selector menus by removing unwanted or unnecessary path definitions. After deleting a path, any tracks or send
assignments to that path are reset to No Output.
For example, when mapping a new stereo path,
clicking in the path row under output channel 1
fills both channel 1 and 2 (left to 1, right to 2).
To remap channels in a path, see “Remapping Channels” on page 53.
Channel Mapping and Surround Mixer
(Pro Tools HD Only)
To delete a main path or sub-path:
1 In the I/O Setup dialog, select the path you
want to delete.
2 Click Delete Path.
To delete all paths:
1 Alt-click (Windows) or Option-click (Mac) any
path name.
When mapping multichannel paths, the left
channel (L) is mapped first to the clicked Grid
box, and remaining channels fill immediately to
the right according to the default path order. Because some multichannel mixing formats use
unique track layouts, Pro Tools lets you set the
default format in the I/O Setup dialog (see “I/O
Setup Options” on page 59).
2 Click Delete Path.
Channel Mapping
Once a path has been created and formatted, it
can be mapped to specific audio interface, or bus
channels in the Grid.
To map channels:
1 Select a main or sub-path.
2 In the row for the selected path, click in the
Grid column under an audio interface and
channel. Other channels for the path type, if
any, fill to the right.
Customized Output paths for a 5.1 mix
Remapping Channels
You can move the individual assignments to different channels, to reorder the path’s definition
(for example, changing a multichannel map to
L-R-C-LF-LS-RS).
Mapping channels
To remap channels in a path:
■ Drag the channel to the new location in the
Grid. Other channel assignments will move
(shuffle) to accommodate dragged channels.
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53
Channel Shuffling
Moving a signal from right to left results in a
shuffle of other signals after the new destination
channel. Moving a signal from left to right shuffles any and all signals after the new destination
channel and leaves the previous channel empty.
Changing a path’s format erases any current channel mapping.
Sub-Paths Follow Main Paths
When a main path is remapped, its sub-paths (if
any) will remap automatically to maintain consistent routing. For example, remapping a stereo
path to different hardware outputs results in
any of its sub-paths moving with it.
Setting the I/O Setup
To set the current I/O Setup configuration:
■
Click OK in the I/O Setup dialog.
All paths must be valid before the I/O Setup configuration can be applied.
Valid Paths and Requirements
While configuring the I/O Setup dialog, certain
rules apply for path definition and channel
mapping.
Though it is possible to set up invalid mappings
in the Channel Grid, Pro Tools will not accept
an I/O Setup configuration unless all paths meet
the path definition and channel mapping requirements, as follows:
Minimum Path Definitions All paths must have a
name, be of a specific format, and have a valid
I/O mapping.
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Pro Tools Reference Guide
Overlapping Channels and Valid Paths Channel
mapping follows certain rules regarding overlapping paths.
• There can be no partial or complete overlaps between any two main Output paths,
any two Insert paths, or any two main Bus
paths.
• A newly-created Output or Bus path must
either be completely independent of other
maps (not mapped to any other available
I/O interface/channels), or it must be a subpath completely contained within a larger
path (for example, an LCR sub-path within
a larger 5.1 path).
• Output and Insert paths can overlap in I/O
Setup, but only one or the other can be
used at any given time in a session. (Inputs,
however, can be routed to multiple tracks.)
Active and Inactive Paths
Pro Tools paths can be Active (on) or Inactive
(off, or unavailable). You can manually switch
paths between Active or Inactive on a track-bytrack or session-wide basis. In addition,
Pro Tools sets paths to Inactive automatically
when I/O is unavailable.
Track Path Assignments Track input, output,
and bus path assignments can be switched to Inactive using the corresponding selector on the
track. This leaves track playlists intact, while disconnecting that particular track from the output
or bus path. Use this to remove a track from a
signal path.
Session-Wide Path Assignments Paths can be
globally activated or deactivated in the
I/O Setup dialog. Use this to turn off a signal
path on any and all tracks currently assigned to
it. Pro Tools also sets unavailable paths to inac-
tive. Paths can be unavailable when hardware or
other system resources are unavailable, such as
when opening a session saved on a different system.
Session-Wide Path Assignments
(I/O Setup Dialog)
Paths can be globally configured for Active or
Inactive status in the I/O Setup Dialog.
Track Path Assignments
(Mix and Edit Windows)
To globally activate or deactivate a path:
1 Choose Setup > I/O.
To toggle a track path assignment to be Active or
Inactive:
In the Mix or Edit window, Control-Start-click
(Windows) or Command-Control-click (Mac)
the track’s Input, Output, Insert, or Send selector.
2 Select a path type using the tabs at the top of
the window.
■
Inactive track path assignments are listed in italics and are unhighlighted.
Toggling All or All Selected
The Alt (Windows) and Option (Mac) modifiers
apply the path toggle to all tracks. The Alt+Shift
(Windows) and Option+Shift (Mac) modifiers
apply the path toggle to all selected tracks. However, Pro Tools will only apply the change to
identical path assignments, if any, in the current track or tracks. Toggling multiple tracks
only affects tracks that have the same path assignment as the one you are explicitly toggling.
3 Set the Active/Inactive control for the path.
Active
Inactive
Active and inactive path settings in I/O Setup
Any track path assignment can also be deactivated on a track-by-track basis. See
“Track Path Assignments” on page 55.
Inactive paths are displayed in italics in the
track path selectors.
Toggling Multiple Paths
If a track has only one main output assignment,
Control-Start-click (Windows) or CommandControl-click (Mac) the track’s Output Path selector to toggle the main output to inactive.
When there are multiple assignments, the track
selector will be displayed for you to specify the
input, output, insert, or bus path.
Active and inactive paths in a track Output Path
selector
If a Send (A–J) has multiple output assignments
and one of those is toggled, then all of the output assignments for that Send (A–J) will be toggled.
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Display of Active and Inactive Status
Unhighlighted (Italics) Indicates the path is inactive.
Highlighted (Non-Italics) Indicates the path is active.
Highlighted (Italics) Indicates the path is active,
but there are not enough system resources available.
Hardware Setup and Session
Transfer
Pro Tools sessions store the type and order of audio interfaces connected and active when the
session was last saved.
Unavailable I/O
When opening a session, Pro Tools checks to see
if the hardware configuration has changed since
the session was last saved. If the current hardware configuration differs from that saved in the
session, paths associated with the unavailable
I/O are made inactive.
Remapping
Remapping occurs when a session’s original
I/O Setup does not match that of the current
system and session paths are remapped to current hardware.
Systems of equivalent I/O capability are
remapped directly. For example, a session
tracked to a Pro Tools|HD system through two
192 I/O audio interfaces would include 32 input
paths spread across the two 16-channel interfaces. The session is taken to a second Pro Tools
system that has a 96 I/O audio interface (a 16channel I/O unit) and a 1622 I/O (with its 16 an-
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Pro Tools Reference Guide
alog inputs) connected to its Legacy Port. When
the session is first opened on the second system,
Pro Tools will map the 32 input paths to the inputs of the two interfaces.
When hardware is unavailable to a session being
opened, assignments can either be replaced using the remap option, or opened as Inactive.
Any tracks left assigned to an unavailable path
will not be audible. This can be beneficial, however, when you want to reassign tracks into your
system’s mix one at a time.
See “Active and Inactive Paths” on page 54
for more information.
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 dialog lists those paths in italics.
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 session for your system.
Once a session has been opened with unavailable I/O retained, you can then reassign tracks
to available I/O paths.
To redefine the paths, see “Creating and
Editing Paths” on page 49.
I/O Settings Files
I/O Settings can be managed when transferring
sessions, and when developing I/O Setup configurations over the course of multiple sessions
and projects.
Defaults, Settings Files, and Last
Used Settings for New Sessions
When creating new sessions, you can set the session’s I/O Setup configuration using the following options:
Importing and Exporting I/O Settings
Files
You can export and import I/O Setup configurations as I/O Settings files. This lets you save settings for different projects, import settings for
reconfiguring I/O Setup, and manage path definitions and signal routing setups.
Exporting I/O Settings
To export and save an I/O Setup configuration:
1 Click Export Settings.
2 Name and save the settings file.
Default I/O Setups The Pro Tools Installer provides factory presets for factory I/O setups for
stereo and surround (Pro Tools HD only). See
“Factory I/O Settings Files” on page 58 for more
information.
Custom Presets You can store and recall custom
presets using the export and import features of
the I/O Setup dialog.
Last Used The most recent (or last used)
I/O Setup configuration is saved as a Last Used
settings file. See “Last Used I/O Settings” on
page 58 for more information.
Default I/O Settings at First Launch
The first time you create a session, you can
choose default Stereo Mix or Surround Mix settings, depending on your system and installation choices. See “Factory I/O Settings Files” on
page 58.
To start sessions with a blank or empty
I/O Setup dialog, you can create and export
an I/O Settings file in which all definitions
have been deleted.
Importing I/O Settings
I/O Settings can be imported before you open a
session, or you can import settings into a session
that is already open (see “Default I/O Settings at
First Launch” on page 57).
When you import I/O Settings in an existing session, 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.
Chapter 6: I/O Setup
57
To import I/O Settings:
Factory I/O Settings Files
1 Click Import Settings in the I/O Setup dialog.
Pro Tools provides I/O Settings files for Stereo
and Surround mixing. These files provide generic main and sub-path definitions for either
mixing format.
2 Select an I/O settings file in the Import Set-
tings dialog and click Import.
3 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.
– 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 dialog as
Inactive. See “Active and Inactive Paths” on
page 54.
Stereo Mix Settings File
The Stereo Mix preset consists of all possible stereo and mono paths for your session.
Using the “Stereo Mix” preset has the same
effect as clicking Default for every individual tab in I/O Settings. See “Creating and
Editing Paths” on page 49 for details.
Specifically, the Stereo Mix preset will create the
maximum number paths of each type, as determined by the available system’s I/O Setup and
hardware configuration.
Surround Mix Settings File (Pro Tools HD Only)
After importing I/O Settings, you can then reassign path routing definitions in the I/O Setup dialog by remapping, renaming, and deleting
paths. See “Creating and Editing Paths” on
page 49.
The Surround Mix provides additional, surround-specific Output and Bus presets. See “Surround Mix Settings Files” on page 761 for more
information.
Last Used I/O Settings
About Direct Outputs Mode
If any changes are made to the I/O Setup dialog
during a session, these changes are saved to the
Last Used settings file when the I/O Setup dialog
is closed (by clicking OK).
Direct Outputs mode, as found in older versions
of Pro Tools, has been replaced by the default
mono sub-paths available through all valid I/O
in the I/O Setup dialog.
Changes to I/O Setup are saved along with the
current session. User Presets files will not contain recent changes unless you export an updated settings file.
The Default switch creates main Output paths
with appropriate mono sub-paths. These subpaths provide discrete monophonic routing.
The Last Used settings are available as a choice
when creating or opening sessions, in addition
to the factory presets described below.
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When a session is opened that was saved in Direct Outputs mode, Pro Tools maps all the output assignments to equivalent mono sub-paths
(as available). See “Hardware Setup and Session
Transfer” on page 56 for more information on
remapping.
To convert a session so that it emulates Direct
Outputs mode, use the Auto Assign Ascending
Outputs feature, as follows:
To auto assign track outputs for Direct Outputs:
1 Make sure that all tracks you want to assign
are visible (hidden tracks will not be affected).
2 Select the tracks you want to assign.
3 Control-Alt-click (Windows) or Command-
Option-click (Mac) the Output selector of the
left-most track and assign it to the sub-path for
Output #1. All visible tracks will be auto-assigned to unique mono sub-path outputs in ascending order.
You can identify audio interface connections at any time by selecting the interface
name in the Peripherals list of the Hardware
Setup dialog, then clicking Identify. All the
LEDs on the interface front panel will illuminate.
I/O Setup Options
Pro Tools systems have additional I/O Setup features. These include default signal routing for
metering and auditioning, and default track layout for multichannel mix formats.
Controller Meter Path
Audition Paths
You can specify the output path through which
files and regions are auditioned in the Region
List or in DigiBase browsers.
Using the Default Audition Path
When you audition a file or region in the Region
List, Pro Tools routes the audio output through
the Audition Path. Pro Tools assigns a default
Audition Path to the first available main Output
path of the corresponding format. You can also
select a different Audition Path in the I/O Setup
dialog.
On Pro Tools|HD systems with more than
one audio interface, you can only select the
first audio interface as an audition path.
Configuring Audition Paths
You can specify the monitoring outputs for Region List auditioning using the Audition Paths
menu.
Audition Paths Main Menu The main menu consists of all path format choices available on the
current system (Mono and Stereo on all systems,
and LCR and greater on Pro Tools|HD systems).
Audition Paths Submenus Each path format
choice has a submenu listing Output paths of
that given format. (The mono submenu lists
Output paths of any format.)
(D-Control, D-Command, and ProControl Only)
The Controller Meter Path selector determines
the path displayed across the Output meters of
D-Control, D-Command, or ProControl control
surfaces. For more details, refer to your control
surface documentation.
To configure an Audition Path:
■ Select a path from the Audition Paths menu or
submenus.
To audition regions in the Region List:
■ Alt-click (Windows) or Option-click (Mac) the
region in the list.
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59
Auditioning Discrete Signals in Multichannel
Items
In the Region List, multichannel regions are auditioned through the current Audition Path. Signals can be auditioned “in-place,” or through all
outputs, as described below.
Audition In-Place
When auditioning a mono component of a
mono component region, the mono region can
be played from the corresponding channel of its
parent mono component region. This playback
method is called audition in-place.
To audition in-place:
1 In the Region List, make sure the stereo or
multichannel region is in expanded view (showing .L, .R, and other component channels).
New Track Default Output Path
You can specify the default output path assignment for new tracks, in each available format.
The New Track Default Output can be set to
bus paths, as well as output paths.
To specify a default output for new tracks in the
I/O Setup dialog:
■ Click the New Track Default Output selector
and select a format and Output.
AFL/PFL Path
(Pro Tools HD Only)
Tracks soloed in AFL (After Fader Listen) or PFL
(Pre Fader Listen) Solo mode are routed to the
current AFL/PFL Path, as set with the AFL/PFL
Path selector.
2 Alt-click (Windows) or Option-click (Mac) the
region for the channel you want to audition.
Audition to All Outputs
When auditioning a mono component of a
mono component region, the region can be
routed equally to all outputs of the parent region’s Audition Path.
To audition through all channels of the main
audition path:
■ Shift-Alt-click (Windows) or Shift-Optionclick (Mac) on the signal in the Region List.
See “Solo Modes” on page 142 for more information on using AFL or PFL Solo modes.
To select the AFL/PFL Path output:
1 Choose Setup > I/O.
2 Click the Output tab to display the Output
page.
If you do not see the AFL/PFL Path selector,
check that you have installed the Surround
Mixer.
3 Select a path from the AFL/PFL Path selector.
Selecting None as the AFL/PFL Path disables
AFL and PFL Solo modes. When None is selected, AFL and PFL cannot be used.
4 Click OK to close the I/O Setup dialog.
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Setting AFL or PFL Path Levels
You can set a separate master AFL/PFL Path level
for all AFL solos and all PFL solos.
Tracks do not need to be soloed to have the
master AFL/PFL Path level adjusted.
To set which output path is muted when tracks are
soloed in AFL or PFL Solo mode:
1 Choose Setup > I/O.
2 Click the Output tab to display the Output
page.
3 Select a path from the AFL/PFL Mutes (Output
To set the AFL/PFL Path level for AFL or PFL solos:
Path) selector.
1 Choose Options > Solo Mode, and select a
4 Click OK to close the I/O Setup dialog.
Solo mode, as follows:
• If you want to set the level for AFL solos, select AFL.
– or –
• If you want to set the level for PFL solos, select PFL.
2 In the Mix or Edit window, Control-click
(Windows) or Command-click (Mac) a Solo button on any track.
3 Adjust the AFL/PFL Path fader.
Default Path Order
(Pro Tools HD Only)
The Default Path Order selector lets you select
the default track layout you want Pro Tools to
follow when creating and mapping 5.1-format
main or sub-paths in the I/O Setup dialog.
This setting does not affect existing path definitions or metering—it only specifies channel
mapping in new 5.1-format paths.
4 Click on the new fader position (or press Esc)
to close the fader display.
To set the AFL/PFL Path level to 0 dB, Control-Start-click (Windows) or Control-Command-click (Mac) any Solo button.
To choose a Default Path Order:
■ Select the channel mapping from the Default
Path Order menu.
AFL/PFL Mutes (Output Path) Selector
(Systems without a D-Control or D-Command
Control Surface)
If you are not using a D-Control or D-Command
control surface, your regular Pro Tools output
path can be muted when you send a signal to
the AFL/PFL Path. The muted path is set with
the AFL/PFL Mutes (Output Path) selector.
Default Path Order selector
For more information about multichannel
mixing, see Chapter 32, “Pro Tools Setup
for Surround (Pro Tools HD Only).”
See “Solo Modes” on page 142 for more information on selecting and using AFL or
PFL Solo modes.
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61
H/W Insert Delay
Compensation
(Pro Tools HD Only)
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
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 Comp is enabled.
Insert offset delay field
To set an insert delay offset:
■ Enter a value, in milliseconds, in the field corresponding with the input where the hardware
insert is connected.
Insert delay offsets only have an effect when
the I/O is used for hardware inserts.
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Chapter 7: Preferences
The Preferences dialog has several tabbed pages
in which you can specify your preferred settings
for various session parameters. Each new session
uses these preferences.
Display Preferences
To change Pro Tools preferences:
1 Choose Setup > Preferences.
2 Click the tab for the page that has preferences
you want to change.
3 When finished, click OK.
Basics Section
Draw Grids in Edit Window Adds grid lines to the
Edit window. Grid line resolution is based on
the zoom level of the Edit window.
Draw Waveforms Rectified Displays audio waveform data in rectified view. In this view, audio
waveforms are displayed so that their positive
and negative waveform excursions (the portions
that fall above and below the center line) are
summed together and viewed as a single positive-value signal. This view allows more waveform detail to be seen in either normal or reduced track height views. It can be particularly
useful when editing volume automation data,
since it depicts waveform levels as starting at the
bottom of the track.
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63
Recompute Invalid Overviews Prompts Pro Tools
to look for missing or corrupted overview data
(the data used to create waveform displays)
when it opens sessions. If Pro Tools finds that
overview data is missing or corrupted, it will recreate one or more overviews for the session.
This may take some time if there are many
tracks in the session. If you suspect that overview data for a session has become corrupted, or
if you import audio files which have no overview data into a session, make sure this preference is enabled for the session, save and close
the session, then reopen it. Pro Tools will recreate any overviews for the session when it opens.
Track Position Numbers Stay with Hidden
Tracks When selected, tracks keep their track
numbers even when hidden. When not selected, numbers are only assigned to tracks that
are shown. In this case, shown tracks are then
numbered sequentially, and hidden tracks are
not numbered.
Tool Tips Display Options
Function Configures Tool Tips to show the basic
function of the item.
Details Configures Tool Tips to show the complete name of an abbreviated name or item. Details view can also show the hidden or abbreviated value of parameters, as well as input and
output assignments.
Edit Window Default Length
This preference sets a default length for the Edit
window in hours, minutes, seconds, and frames
(Pro Tools HD or Pro Tools LE with DV Toolkit 2
only). This is useful if you want to assemble a
session of a particular length or leave extra room
to expand the Edit window’s work area in your
session. The maximum length is 12 hours and
25 seconds at 48 kHz, and proportionally less at
higher sampling rates.
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Pro Tools Reference Guide
“Organize Plug-in Menus By” Options
These option customize how plug-in menus are
organized in the Insert selector or Plug-in selector.
Flat List Organizes plug-ins in a single list, in alphabetical order.
Category Organizes plug-ins by process category
(such as EQ, Dynamics, and Delay), with individual plug-ins listed in the category submenus.
Plug-ins that do not fit into a standard category
(such as the DigiRack Signal Generator), or
third-party plug-ins that have not had a category designated by their developers, appear in
the Other category. Plug-ins can appear in more
than one category.
Manufacturer Organizes plug-ins by their manufacturer (such as Digidesign, Eventide, Line 6,
and McDSP), with individual plug-ins listed in
the manufacturer submenus. Plug-ins that do
not have a Manufacturer defined will appear in
the “Other” manufacturer folder.
Most Digidesign-distributed third party plug-ins
will be grouped under Digidesign when Manufacturer view is enabled.
Category and Manufacturer Organizes plug-ins
in two levels of menus. The top menus display
plug-ins by process category (such as EQ, Dynamics, and Delay), with individual plug-ins
listed in the category submenus. The bottom
menus display plug-ins by manufacturer (such
as Digidesign, Eventide, Line 6, or McDSP), with
individual plug-ins listed in the manufacturer
submenus.
Meters Section
Color Coding
Peak Hold Options
Always Display Marker Colors Lets you choose to
view Marker colors in the Markers ruler, regardless of the settings you choose for Default Region Color Coding.
These options determine how long the peak indicators on track meters stay lit after a peak is
detected.
3 Second Peak Hold When selected, track meters
display the last peak level for three seconds.
Infinite Peak Hold When selected, track meters
display the last peak level until you click them
to clear them.
No Peak Hold When selected, track meters do
not hold the peak level.
Default Track Color Coding Options
These color coding options determine the default color coding assignment for tracks in the
Edit and Mix windows. Choices are:
None Turns off color assignment for tracks.
Clip Indication Options
Tracks and MIDI Channels Assigns a color to
each track in the Mix or Edit window according
to its voice assignment or MIDI channel assignment.
These options determine how long the clip indicators on plug-in, send, and track meters stay lit
after a clip is detected.
Tracks and MIDI Devices Assigns a color to each
track in the Mix or Edit window according to its
voice assignment or MIDI device assignment.
3 Second Clip Hold When selected, meters display the last clip indication for three seconds.
Groups Assigns a color to each track according to
its Group ID. If groups are suspended using the
Suspend Groups command, the tracks color bars
are not shown.
Infinite Clip Hold When selected, meters display
the last clip indications until you click them to
clear them.
No Clip Hold When selected, meters do not hold
the clip indication.
Track Type Assigns a color to each track according to its type (audio, MIDI, Instrument, Auxiliary or Master Fader).
Show Meters in Sends View
When the Sends View is displaying individual
send controls, you can select this option to
show send level meters. Deselecting this option
can help speed up screen redraws and processing.
Chapter 7: Preferences
65
Default Region Color Coding Options
Operation Preferences
These color coding options determine the default color coding assignment for regions in the
track playlist. Choices are:
None Turns off color assignment for regions. Regions are drawn with black waveform or MIDI
notes on a light gray background.
Tracks and MIDI Channels Assigns a color to
each region in the Edit window according to its
voice or MIDI channel assignment.
Tracks and MIDI Devices Assigns a color to each
region in the Edit window according to its voice
assignment or MIDI device assignment.
Groups Assigns a color to each region according
to the Group ID of its track. If groups are suspended using the Suspend Groups command,
all regions display black waveforms or MIDI
notes on a light gray background.
Track Color Assigns a region color based on the
color assigned to the track.
Marker Locations Assigns a color to data across
all tracks based on the nearest preceding marker.
Region List Color Assigns a color to each region
based on its color in the Region List.
Transport Section
Timeline Insertion/Play Start Marker Follows
Playback When selected, the Timeline Insertion
and the Play Start Marker both move to the
point in the Timeline where playback stops.
When deselected, the Timeline Insertion and
Play Start Marker do not follow playback.
Edit Insertion Follows Scrub/Shuttle When selected, the edit cursor automatically locates to
the point where scrubbing stops.
Audio During Fast Forward/Rewind When selected, audio is audible during fast forward or rewind.
Play Start Marker Follows Timeline
Selection When enabled, the Play Start Marker
snaps to the Timeline Selection Start Marker
when you move the Timeline Selection, draw a
new Timeline Selection, or adjust the Timeline
Selection Start. When disabled, the Play Start
Marker doesn’t move with the Timeline selection.
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Custom Shuttle Lock Speed Sets the highest fastforward Shuttle Lock speed (key 9) for Shuttle
Lock modes (Classic or Transport). The range for
this setting is 50–800%.
For more information, see “Custom Shuttle
Lock Speed” on page 385.
Back/Forward Amount Sets the default length of
Back, Back and Play, Forward and Forward and
Play. The timebase of the Back/Forward Amount
settings follows the Main Time Scale by default,
or you can deselect Follow Main Time Scale and
select another timebase format: Bars:Beats,
Min:Sec, Time Code, Feet+Frames, or Samples
Numeric Keypad Mode
Numeric Keypad mode determines how the numeric keypad functions. You can always use the
numeric keypad to select and enter values in the
Event Edit Area, Edit Selection indicators, Main
and Sub Counters, and Transport fields.
Classic Selects a Shuttle Lock mode that emulates the way Pro Tools worked in versions lower
than 5.0. With the Numeric Keypad mode set to
Classic, you can play up to two tracks of audio in
Shuttle Lock mode. Press the Start key (Windows) or Control (Mac), followed by 0–9 for different play speeds. Press Plus (+) or Minus (–) to
reverse direction. Recall Memory Locations by
typing the Memory Location number, followed
by Period (.).
To customize the highest fast-forward Shuttle Lock speed, see “Custom Shuttle Lock
Speed” on page 385.
Transport Selects a Shuttle Lock mode that lets
you set a number of record and play functions,
and also operate the Transport from the numeric keypad. With the Numeric Keypad mode
set to Transport, you can play up to two tracks of
audio in Shuttle Lock mode. Press the Start key
(Windows) or Control (Mac), followed by 0–9
for different play speeds. Press Plus (+) or Minus
(–) to reverse direction. Recall Memory Locations by typing Period (.), the Memory Location
number, and Period (.) again.
To customize the highest fast-forward Shuttle Lock speed, see “Custom Shuttle Lock
Speed” on page 385.
Shuttle (Pro Tools HD Only) Selects a type of
shuttling different from that of Shuttle Lock
mode. With the Numeric Keypad mode set to
Shuttle, playback is triggered by pressing and
holding the keys on the numeric keypad—playback stops once the keys are released. Various
playback speeds are available in both forward
and reverse. You can also recall Memory Locations by typing Period (.), the Memory Location
number, and Period (.) again.
Use Separate Play and Stop Keys
When enabled, this option lets you start playback with the Enter key and stop playback with
the 0 key on the numeric keypad. This is useful
for quickly starting and stopping playback when
auditioning loop transitions. Use Separate Play
and Stop Keys is only available in Transport Numeric Keypad mode.
When this option is enabled, it overrides using the Enter key to add Memory Location
markers. Instead, press Period (.) and then
Enter on the numeric keypad to add a Memory Location marker.
Chapter 7: Preferences
67
Video Section
QuickTime Playback Priority Options
Normal This is the default setting for QuickTime
Movie Playback Priority. It gives no extra priority to movie playback over other screen update
tasks such as metering, moving faders, and so
on. In most cases you should use this setting.
Medium This setting gives QuickTime movie
playback a higher priority relative to other
Pro Tools screen update tasks. Use this setting if
you experience inconsistent QuickTime movie
playback with the Normal setting.
When not selected, Pro Tools continues playback of audio even if frames are dropped. In
most cases, video playback will recover within a
few frames and continue playing audio and
video in sync.
Avid Video NTSC Has Setup (NTSC-J)
(Pro Tools HD with Avid Video Engine Only)
This preference lets you adjust the level of NTSC
video black output between 7.5 IRE (standard)
or 0 IRE. When this option is selected, output
level is 0 IRE.
Auto Backup Section
Highest This setting gives QuickTime movie
playback highest priority. In this mode,
Pro Tools disables screen activity and requires
you to use the Spacebar to stop playback. Use
this setting if you require uninterrupted QuickTime movie playback.
Enable Session File Auto Backup When selected,
Pro Tools automatically saves backups of your
Pro Tools session file while you work. Backups
are saved to in the Session Files Backup folder in
your session folder.
High Quality QuickTime Image
Keep specifies the total number of incremental
backups that are kept.
When enabled, Pro Tools decompresses both
fields of each interlaced frame of QuickTime
video. When viewing a QuickTime movie in the
Pro Tools Video window, select this option to
display the movie at the highest possible resolution. Deselecting this option can help improve
performance if your system experiences problems playing back a session with QuickTime
video.
Avid Video Errors Stop Playback
Backup Every Specifies how often the session is
saved.
Record Section
Latch Record Enable Buttons When selected,
multiple audio tracks can be record-enabled.
When not selected, multiple audio tracks cannot be record-enabled. Record-enabling an audio track takes other audio tracks out of recordenabled mode.
(Pro Tools HD with Avid Video Engine Only)
When selected, Pro Tools automatically stops
playback of audio and video if a single frame of
video is dropped.
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Link Record and Play Faders When selected,
Pro Tools does not remember separate fader levels for tracks when they are record-enabled, allowing you to maintain the same monitoring
level for tracks during recording and playback.
Audio Track RecordLock (Pro Tools HD
Only) This option configures Pro Tools tracks to
either emulate a digital dubber, or to maintain
legacy behavior for track record status.
• When selected, the record-enabled audio
tracks remain record-enabled when playback or recording stops.
• When not selected, record-enabled audio
tracks are taken out of record enable when
Pro Tools is stopped. This prevents tracks
from remaining armed from pass to pass,
emulating track record behavior of a digital
dubber.
Transport RecordLock (Pro Tools HD Only) This
option lets the Transport Record (the Record
button in the Transport controls) be configured
to either emulate a digital dubber, or to maintain legacy behavior for the Transport master
Record.
• When selected, the Transport Record remains armed when playback or recording
stops. This saves having to re-arm the
Transport between takes, emulating digital
dubber behavior.
• When not selected, the Transport Record
disarms when Pro Tools is manually
stopped or stops due to a loss of time code.
This replicates standard Pro Tools recording behavior.
The Transport RecordLock preference is automatically disabled and greyed out when
Destructive record mode is enabled.
Disable “Input” When Disarming Track (In “Stop”)
(Pro Tools HD Only) For flexibility, TrackInput
monitoring can be customized to remain selected regardless of track record status, or to automatically switch to Auto Input monitoring after a recording pass. This lets you optimize
monitoring for a typical dubbing workflow (in
which you might want tracks to remain in Input
Only mode until explicitly switched to Auto In-
put monitoring) or a typical music tracking
workflow (in which leaving a track in Input
Only monitoring mode after recording can result in accidental double-monitoring).
• When selected, taking an audio track out of
record enable (any mode) takes it out of Input Only mode, regardless of the global
monitor mode, and switches it to monitor
audio from disk only.
• When not selected, audio tracks remain in
Input Only monitoring mode until explicitly switched to Auto Input monitoring.
Mute Record-Armed Tracks While Stopped
(Pro Tools HD Only) This setting determines
monitor status of record-armed tracks.
• When selected, Pro Tools mutes all recordenabled tracks when the transport is
stopped. Input can still be monitored while
stopped using the TrackInput Monitor button.
• When not selected, Pro Tools does not
mute audio input on record-enabled tracks
when the transport is stopped.
PEC/Direct Style Input Monitoring (Pro Tools HD
Only) This option changes the way the TrackInput monitoring mode is indicated on-screen
(and on supported control surfaces) to emulate
“PEC” (playback) and “Direct” (input/bus) indication on some large format consoles.
• When not selected, the TrackInput button
shows the letter “I.” The button remains
gray to indicate Auto Input mode and
lights green to indicate Input Only mode.
• When selected, the TrackInput button remains gray and shows the letter “D” to indicated Input Only mode (“Direct”); it
lights green and shows the letter “P” to indicate Auto Input mode (“Pec” or playback).
Chapter 7: Preferences
69
Online Options
Misc (Miscellaneous) Section
Record Online at Time Code (or ADAT)
Lock When selected, online recording begins as
soon as Pro Tools receives and locks to incoming time code.
(Pro Tools HD Only)
Record Online at Insertion/Selection When selected, online recording begins at the edit cursor
location. Recording continues until Pro Tools
stops receiving time code. If you make a selection, Pro Tools records online for the length of
the selection.
Open Ended Record Allocation
This preference determines how much of your
available hard drive space is allocated for recording.
Use All Available Space When selected, the
drive’s entire available space is allocated. This
can sometimes slow down the recording process
for hard drives that use certain file systems, including HFS+ and NTFS.
Limit To Sets the maximum allowable recording
duration. This can help reduce the time it takes
to begin recording by allocating only a portion
of your hard drive. The number of minutes specified is allocated for each record-enabled track.
You may want to experiment with this number
to achieve the recording performance you want.
DestructivePunch File Length (Pro Tools HD
Only)
This preference sets the duration of consolidated audio files when preparing tracks for DestructivePunch mode. The default value for this
setting is 25 minutes.
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Pro Tools Reference Guide
Auto Region Fade In/Out Length Sets a default
length for fade-ins and fade-outs automatically
applied to region boundaries. Using automatic
fade-ins and fade-outs saves you the trouble of
editing to zero-crossings or creating numerous
rendered fades in order to eliminate clicks or
pops in playback. Autofades are not written to
disk. Value range is from 0–10 ms for the Auto
Region Fade In/Out Length. A value of zero
means that no auto-fading will occur. The Auto
Fade value is saved with the session, and is automatically applied to all free-standing region
boundaries until you change it.
Calibration Reference Level Sets a default calibration reference level in dB when Pro Tools is
in Calibration mode. For audio interfaces that
have trims (such as the 192 I/O), see the interface’s guide for calibration instructions.
Delay Compensation Time Mode This option lets
you choose whether information in the Delay
Manager is displayed in milliseconds or samples. This option is only available when Delay
Compensation is enabled (Options > Delay
Compensation).
Editing Preferences
ternates pop-up menu) whose time stamp
matches the current Cursor location. The following preferences determine which regions, or
takes, appear in this list:
Includes Take Region Names That Match Track
Names When selected, only regions that share
the same root name with the track and playlist
appear in the Matches Right-click submenu or
the Alternates pop-up menu.
Includes Take Region Lengths That Match When
selected, only regions that match the length of
the current selection appear in the Matches
Right-click submenu or the Alternates pop-up
menu.
Regions Section
Region List Selection Follows Edit
Selection When selected, selecting a region in a
track also selects it in the Region List.
Edit Selection Follows Region List
Selection When selected, selecting a region in
the Region List causes Pro Tools to highlight
that region’s occurrence in a track.
Auto-Name Separated Regions When selected,
Pro Tools automatically names newly separated
regions by appending a number to the region’s
name. Disabling this option can be useful when
importing region groups, REX files, or ACID
files, because these file types can contain so
many separate regions that it becomes difficult
to read the Region List.
“Matching Start Time” Takes List
When you Right-click, or Control-click (Windows) or Command-click (Mac) a region in a
track, Pro Tools displays a list of regions (either
in the Matches Right-click submenu or the Al-
“Separate Region” Operates On All Related
Takes When selected, editing a region with the
Separate Region command also affects all other
related takes (recording passes) with the same
User Time Stamp. This option helps you compare different sections from a group of related
takes.
Memory Locations Section
Auto-Name Memory Locations When
Playing When selected, Pro Tools gives new
Memory Locations default names based on their
time location in the session. The time units currently chosen in the View menu determine the
units for the names.
Recall Memory Location at Original Track When
selected, Memory Locations that recall a selection also recall the track in which the selection
was made.
Tracks Section
New Tracks Default To Tick Timebase When selected, all new tracks default to ticks. When deselected, audio, Auxiliary Input, Master Fader,
and VCA (Pro Tools HD only) tracks default to
samples.
Chapter 7: Preferences
71
Fades Section
Crossfade Preview Pre-Roll This option specifies
the amount of pre-roll to be added when you are
auditioning crossfades in the Fades dialog.
Crossfade Preview Post-Roll This option specifies the amount of post-roll to be added when
you are auditioning crossfades in the Fades dialog.
QuickPunch/TrackPunch Crossfade Length Specifies a default length for crossfades created by
QuickPunch or TrackPunch (Pro Tools HD only)
recordings. Crossfades occur before the punch
in and after the punch out.
Preserve Fades when Editing This option preserves fade-ins and fade outs, and converts separated crossfades into corresponding fade-ins
and fade-outs.
gap between slices, a fade out is applied to the
end of the first region. (The fade shapes applied
to REX/ACID files follow the Default Fade Settings for REX/ACID.)
Zoom Toggle
Vertical Zoom Select Selection or Last Used for
the Zoom Toggle Vertical Zoom.
Horizontal Zoom Select Selection or Last Used for
the Zoom Toggle Horizontal Zoom.
Remove Range Selection After Zooming
In When selected, the current Edit selection collapses into an insertion point after zoom toggling in. Zoom toggling back out reverts to the
previous selection.
Track Height Select Last Used, Medium, Large,
Extreme, or Fit To Window for the Zoom Toggle
Track Height.
Default Fade Settings
Fade In Selects the default envelope shape for
fade-ins.
Fade Out Selects the default envelope shape for
fade-outs.
Crossfade Selects the default envelope shape for
crossfades.
REX/ACID Selects the default envelope shape for
fades and crossfades between regions (“slices”)
in imported REX and ACID files.
Automatically Create Fades for Imported REX
and ACID files
When selected, this option automatically applies fades between regions (“slices”) within imported REX and ACID files to minimize clicks or
pops during playback. If there is overlap between slices, a crossfade is applied. If there is a
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Track View Select Waveform/Notes, Last Used,
or No Change for the Zoom Toggle Track View.
Separate Grid Settings When Zoomed In When
selected, this option retains the same (current)
grid setting when zoom toggling in or out.
When this option is deselected, the grid setting
stored with Zoom toggle is recalled when zoom
toggling in.
Levels of Undo
This preference sets the maximum number of
actions that can be undone with the multiple
undo feature. Setting this to a lower number can
speed up the performance of slower computers.
Pro Tools supports up to 32 Levels of Undo.
Mixing Preferences
Use Absolute Pan Linking (Pro Tools HD
Only) This option affects behavior of grouped
pan controls.
• When selected, grouped pan controls do
not maintain relative offsets when any of
the grouped pan controls is adjusted. All
grouped pan controls snap to the absolute
value of the adjusted control.
• When not selected, grouped pan controls
maintain relative offsets when any of the
linked controls is adjusted.
Default EQ
Setup Section
Sends Default to –INF When selected, the initial
fader level of newly-created sends is set to –∞
(no audible signal level). When not selected, the
initial fader level of newly-created sends is set to
0 dB.
Send Pans Default to Follow Main Pan When selected, newly created sends have Follow Main
Pan turned on, so the Send Pan controls follow
the pan controls of the track. When not selected, newly created sends have Follow Main
Pan turned off.
Link Mix and Edit Group Enables When selected,
this option links enabling and disabling of Mix
and Edit Groups. For example, enabling Group
A in the Mix Window automatically enables
Group A in the Edit window.
This preference lets you choose any installed EQ
plug-in as the default, which makes it available
for quick assignment, both on-screen and on
ICON work surfaces. On-screen, the plug-in appears at the top of the Insert selector pop-up
menu. On ICON work surfaces (Pro Tools HD
only), the plug-in appears first in the list of
menu choices on the rotary encoders.
Default Dynamics
This preference lets you choose any installed
Dynamics plug-in as the default, which makes it
available for quick assignment, both on-screen
and on ICON work surfaces. On-screen, the
plug-in appears at the top of the Insert selector
pop-up menu. On ICON work surfaces
(Pro Tools HD only), the plug-in appears first in
the list of menu choices on the rotary encoders.
Chapter 7: Preferences
73
Controllers
Automation Section
Edit Window Follows Bank Selection If you are
using a supported control surface with
Pro Tools, this option scrolls the Edit window to
display the selected bank of tracks when you
switch banks on the control surface, ensuring
that the current bank is viewable on-screen.
Smooth and Thin Data After Pass When selected, Pro Tools automatically smooths and
then applies the specified amount of thinning
to the automation data created in an automation pass.
Mix Window Follows Bank Selection If you are
using a supported control surface with
Pro Tools, this option scrolls the Mix window to
display the selected bank of tracks when you
switch banks on the control surface, ensuring
that the current bank is viewable on-screen.
“Scroll to Track” Banks Controllers When using
a control surface (such as D-Control or ProControl) you can select this option to bank control
surface faders to a numbered track when using
the Track > Scroll to Track command.
Always Fill Channel Strips When Banking If you
are using an ICON work surface (Pro Tools HD
only), or other supported Digidesign control
surface, you can select this option to maximize
the number of channels displayed when banking. This setting optimizes the Bank commands
to prevent the display of a small number of
channels at the extremes of the surface.
Touch Timeout If you are writing automation in
Touch mode and you stop moving a non-touch
sensitive fader or encoder, Pro Tools continues
to write automation for the Touch Timeout
value.
After the Touch Timeout period, writing of automation stops and the automation data returns
to its previous automation value at the rate specified in the AutoMatch Time setting.
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Degree of Thinning Specifies the amount of thinning performed on automation data when you
using the Thin Automation command, or if you
have selected the Smooth and Thin Data After
Pass option.
Plug-in Controls Default to Auto-Enabled When
selected, all applicable controls of newly added
plug-ins are enabled for automation. When not
selected, the controls of newly added plug-ins
must be manually enabled for automation.
Suppress Automation “Write To” Warnings
(Pro Tools HD Only) When selected, Pro Tools
suppresses the warnings that appear after invoking any of the Write Automation To Start, Selection, End, or Punch commands and then stopping the transport.
Latching Behavior for Switch Controls in
“Touch” This option determines the behavior of
switch-type controls (such as mute or plug-in
bypass) when writing automation in Touch
mode.
• When selected, controls in Touch mode
will latch in their current state. If an existing breakpoint is encountered, writing of
automation stops. If the transport is
stopped while writing, the control will AutoMatch to the underlying value.
• When not selected, controls in Touch
mode will not latch.
Allow Latch Prime in Stop (Pro Tools HD
Only) When selected and any tracks are in Latch
mode, any automation-enabled controls on
those tracks can be set to new values while the
transport is stopped by touching or moving controls, to prepare for the next automation pass.
Coalesce when Removing Slaves from VCA Group
(Pro Tools HD Only) This option determines the
behavior when removing slave tracks from a
VCA-controlled group.
• When selected, any automation on the
VCA Master is automatically coalesced
(without confirmation) to its slave tracks
when the tracks are removed from the
group.
• When not selected, a confirmation dialog
lets you choose whether or not to coalesce
the VCA Master automation to the slave
tracks.
Standard VCA Logic for Group Attributes
(Pro Tools HD Only) This option determines
which Mix group attributes may be selected in
the Group dialog when the group is assigned to
a VCA Master.
Include Sends in Trim Mode (Pro Tools HD
Only) This option determines the Trim status of
Send faders when a track is put in Trim mode.
• When selected, Send faders go into Trim
mode along with the Main Volume fader.
• When deselected, the Main Volume fader
goes into Trim mode, but the Send fader
stays in the corresponding standard Automation mode.
Include Control Changes in Undo Queue This option determines whether certain mixer control
changes, such as moving a fader or pan control,
are entered into the Undo queue.
• When selected, mixer control changes appear in the Undo queue, and are undone if
any prior operation is undone.
• When deselected, mixer control changes
will not appear in the undo queue, allowing you to undo other types of operations
without losing the current mixer settings.
Any set to default operations that affect
mixer controls will be entered into the Undo
queue.
• When selected, Main Volume, Mute, Solo,
Record Enable, and Input Monitoring controls on slave tracks follow the VCA Master
only and are not available to be independently linked. (This emulates the behavior
of analog console VCA masters.)
AutoMatch Time If you are writing automation
in Touch mode, when you release a fader or control, writing of automation stops and the automation data returns to its previous value. The
rate of return to the previous value is the AutoMatch Time.
• When deselected, Main Volume, Mute,
Solo, Record Enable, and Input Monitoring
controls follow the VCA Master, but also remain available for independent linking
with groups.
AutoGlide Time (Pro Tools HD Only) Specifies
how quickly Pro Tools transitions (glides) from
one automation value to another, when AutoGlide mode is used.
Chapter 7: Preferences
75
After Write Pass, Switch To Selects the Automation mode that Pro Tools tracks automatically
switch to after an automation pass in Write (or
Write Trim) mode. You can choose to switch to
Touch or Latch mode, or stay in Write mode by
selecting No Change. After an automation pass
in Write Trim mode, tracks automatically switch
to the Trim version of the specified setting.
Processing Preferences
Coalesce Trim Automation Options
(Pro Tools HD Only)
These options determine when Trim automation is committed to the main automation playlist on a track.
After Every Pass Sets Trim automation to coalesce when the transport is stopped at the end of
each Trim automation pass. No Composite Playlist is indicated.
AudioSuite Section
Buffer Size
On Exiting Trim Mode Sets Trim Automation to
coalesce on a track when the track is taken out
of Trim mode. A Composite Playlist can be
viewed before committing Trim moves.
AudioSuite Buffer Size sets the size of the memory buffer used for audio processing and previewing with AudioSuite plug-ins. If AudioSuite
preview stutters, set the buffer to Mini or Small.
Manually Trim Automation can be coalesced
only with the Coalesce Trim Automation command. A Composite Playlist can be viewed before committing Trim moves.
Use AudioSuite Dither When selected, applies a
selectable dither plug-in to specific AudioSuite
processing tasks (such as Gain and Normalize).
Plug-in Specifies the plug-in used for dither processing when the Use AudioSuite Dither option
is selected.
Bit Depth Lets you select a bit depth for the dithered audio (24-bit, 20-bit, 18-bit, or 16-bit).
TC/E (Time Compression/Expansion) Section
TC/E Plug-in Lets you choose the plug-in used
for Time Compression and Expansion when you
edit audio with the Time Compression/Expansion Trim tool. This Trim tool works by using
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Pro Tools Reference Guide
Time Compression/Expansion to match an audio region to the length of another region, a
tempo grid, a video scene, or other reference
point.
MIDI Preferences
Default Settings Specifies the default settings
used by the chosen Time Compression/Expansion plug-in.
Import Section
Convert Imported “WAV” Files To AES31/BroadcastWave When selected, this option applies to
all newly imported WAV files, making them
compliant with the AES31/EBU Broadcast standard.
Automatically Copy Files on Import When selected, all audio files that are imported by dragging and dropping are copied to the current session’s Audio Files folder, regardless of whether
the files need to be converted to the current session’s file type, bit depth or sample rate. Additionally, when selected, the Import Session Data
dialog defaults to “Copy from Source Media.”
The Automatically Copy Files on Import preference does not affect the Import Audio command.
Sample Rate Conversion Quality Lets you select
the default sample rate conversion quality. Sample rate conversion is used in a variety of
Pro Tools processes including converting and
importing audio files of different formats into a
session, and bouncing and saving tracks to a different sample rate or bit depth. The higher the
quality of sample rate conversion you choose,
the longer Pro Tools will take to process the audio file.
Basics Section
Play MIDI Notes When Editing When selected,
causes MIDI notes to sound when you insert
them with the Pencil tool or drag them with any
of the Grabber tools.
Use MIDI to Tap Tempo When selected, you can
tap a MIDI keyboard to enter a new tempo value
into a tempo field.
Display Events as Modified by Real-Time Properties When selected, Pro Tools displays the effects of Real-Time Properties in both the Edit
window and the MIDI Event List.
Use F11 Key for Wait for Note When selected,
pressing the F11 Function key puts MIDI recording in Wait for Note mode.
Automatically Create Click Track in New
Sessions When enabled, Pro Tools automatically creates a new click track in new sessions.
Default Note On Velocity Sets the default Note
On velocity for MIDI notes inserted in the Edit
window and the MIDI Event List.
Chapter 7: Preferences
77
Default Thru Instrument Sets the default MIDI
Thru instrument. Select a predefined device
from your available MIDI instruments, or select
“First Selected MIDI Track” to use the assigned
MIDI output of the first selected MIDI or Instrument track. When multiple tracks are selected,
the instrument in the selected track that is closest to the top of the Edit window (or closest to
the left edge of the Mix window) is used.
Synchronization Preferences
Pencil Tool Resolution When Drawing Controller
Data Sets the default resolution for MIDI controller data created with the Pencil tool. Setting
this to a lower resolution helps avoid creating
controller data that is unnecessarily dense. The
value range is from 1 to 100 milliseconds.
Global MIDI Playback Offset Sets an offset in
samples to compensate for MIDI latency. Entering a value here has the same effect as setting an
offset with the MIDI Track Offsets command.
Offset values can be positive (later) or negative
(earlier).
Note Display Options
These options set the reference for middle C as
C3, C4, or MIDI note number 60.
Delay for External Devices Options
(Pro Tools HD Only)
These options let you apply Delay Compensation to Pro Tools-generated MIDI Time Code or
MIDI Beat Clock. Generally, this delay should be
applied when the external MIDI instrument is
mixed externally, and when the external MIDI
instrument is mixed through Pro Tools.
These options are only available when a Delay
Compensation Engine is chosen in the Playback
Engine dialog and Delay Compensation is enabled in Pro Tools. These options are distinct
from the hardware offsets available for hardware
inserts (in I/O Setup).
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These preferences determine how a connected
transport responds to Pro Tools.
Machine Control Section
Machine Chases Memory Location When selected, navigating to a specific location in a session with a Memory Location causes a connected transport to chase to that location.
Machine Follows Edit Insertion/Scrub When selected, navigating to a specific location in a session by moving the selection point or by scrubbing a track will cause a connected transport to
chase to that location.
Machine Cues Intelligently (Pro Tools HD
Only) When selected, if you navigate to a cue
point that is more than 10 seconds from the current location, Pro Tools will command a connected transport to fast wind to the new location at full speed to within 10 seconds of the cue
point. Cueing will then slow to normal speed
until the point is reached. This can significantly
speed up tape cueing with certain video transports.
Stop at Shuttle Speed Zero (Pro Tools HD
Only) Causes Pro Tools to send a Stop command
whenever you stop shuttling. This is useful if
you have a machine that requires an explicit
stop command to park correctly.
Non-Linear Transport Error Suppression (Pro Tools
HD Only) When Transport = Pro Tools, keeps
Pro Tools from sending a Stop command when
taken offline. This prevents Pro Tools from stopping any other 9-pin devices connected to the
system.
Delay Before Locking to Time Code (Pro Tools HD
Only) Sets the amount of time (in frames) for
Pro Tools to wait before attempting to lock to
machines that issue servo lock messages. This
setting allows time for the servo mechanisms to
achieve stable lock.
Remote Mode Section
(Pro Tools HD Only)
Ignore Track Arming Sets Pro Tools to ignore incoming track arming (record enable) commands. This is useful if you are using a master
controller to arm tracks on other machines, but
you do not want to arm tracks in Pro Tools.
Set Servo Lock Bit at Play (Tamura Support) Enable this option when using a Tamura synchronizer to control Pro Tools in Remote mode to
minimize lock-up times during recording.
Allow Track Arm Commands in Local Mode Sets
Pro Tools to respond to incoming track arming
(record enable) commands even when the system is not in Remote Mode. This is useful if you
are using a paddle device to control Pro Tools
track arming or punching.
Punch In Frame Offset Sets an offset (in frames)
to compensate for punch in timing advances or
delays.
Punch Out Frame Offset Sets an offset (in frames)
to compensate for punch out timing advances
or delays.
Delay After Play Command Sets the amount of
time (in frames) for Pro Tools to wait after receiving a Play command before starting the audio engine. This can prevent false starts when
locking to synchronizers that are not fully supported by Pro Tools.
Synchronization Section
Minimum Sync Delay Sets the amount of time (in
frames) your system’s devices need to achieve
synchronization “lock.” This amount varies for
each device. Pro Tools lock up delay is set by entering a value for Minimum Sync Delay in the
Synchronization page of the Preferences dialog.
The lowest value available is 15 frames. Find the
shortest possible lock-up time that your equipment can operate at consistently, and set this as
the Minimum Sync Delay. On systems utilizing
Digidesign MachineControl, enabling the Use
Serial Time Code setting will make machines
lock up much faster. (Serial time code requires
both a Digidesign-qualified synchronization peripheral and external devices to be locked to
house video reference.)
Stable LTC Source (Pro Tools HD Only) When selected, this option suppresses the normal 1-second wait time before Pro Tools attempts to lock
to incoming LTC. Enable this option when locking Pro Tools to a stable time code source (such
as a non-linear tape machine or LTC generator)
and not a linear tape machine.
Chapter 7: Preferences
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Part III: Sessions & Tracks
81
82
Chapter 8: Sessions
This chapter covers the basics of starting a
project in Pro Tools, including how to create
and save a Pro Tools session.
3 Select the audio file format for the session.
For optimum compatibility between Windows and Mac, set the file type to BWF
(.WAV).
Creating a New Session
The first step in beginning a Pro Tools project is
creating a new session.
To create a new session:
1 Choose File > New Session.
Sound Designer II (SD II) files are not supported on Windows systems or at sample
rates above 48 kHz.
4 Select the bit depth (16 bit or 24 bit) and the
sample rate.
5 Select the I/O Settings to use for the session.
Several pre-configured I/O Settings are included
with your system, or you can select a custom I/O
Setting. For more information, see Chapter 6,
“I/O Setup.”
6 Name the Session.
7 Click Save.
Selecting Bit Depth and Sample Rate
When selecting a bit depth or sample rate for
your session, consider fidelity, any compatibility issues with others systems, and storage space.
New Session dialog
2 Select the drive where you want to save the
session. The session should be saved on a dedicated audio drive.
Bit depth and sample rate also have an effect on
the amount of mixing power available in a session. Fewer mixer channels are available with
24-bit sessions and with sessions at higher sample rates. (For more information, see your Getting Started Guide.)
Chapter 8: Sessions
83
It is not possible to combine different bit depths
within a single Pro Tools session; files of different bit depths must be converted and imported
into the session.
Fade Files Folder
The Fade Files folder contains any crossfaded audio data generated by the session.
Region Groups Folder
Session Files and Folders
When you create a new session, Pro Tools automatically creates a new folder named for your
session. Within this folder is the session file, a
WaveCache.wfm file, and several subfolders (including (but not limited to) an Audio Files
folder, a Fade Files folder, and a Region Group
folder).
The Region Groups folder is the default directory for any region groups that you export from
your Pro Tools session.
WaveCache File
The WaveCache.wfm file stores all of the waveform display data for the session. If you delete
the WaveCache.wfm file, Pro Tools creates a
new one the next time you open the session.
By storing waveform data in the WaveCache
file, sessions open more quickly. The session
WaveCache file can be included whenever a session is transferred to another Pro Tools 7.x system.
Typical session folder contents
Session File
The session file is the document that Pro Tools
creates when you start a new project. Pro Tools
can open only one session file at a time. The session file is appended with the extension .ptf
(Pro Tools file).
Audio Files Folder
The Audio Files folder contains all audio recorded or converted during the session.
When you record a new audio track, the track is
saved as a new audio file to the Audio Files
folder. You can also import other audio files into
the session, and work with them as well.
For details on allocating audio tracks to different hard drive locations, including
shared media volumes, see “Disk Allocation” on page 265.
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Pro Tools also maintains a distinct WaveCache
file inside the local Digidesign Databases folder
(C:\\Digidesign Databases), which retains
waveform data for all files used on the system.
Additional WaveCache files are created on each
hard drive attached to your system, and stored
in the Digidesign Databases folder on each
drive.
Deleting or trashing a WaveCache file does not
harm the session or your system. However, each
session takes longer to open because it has to recalculate waveform data for any associated audio files and store that data in a new WaveCache
file.
Session File Backups Folder
To open an existing session:
The Session File Backups folder contains automatically-generated backups of your Pro Tools
sessions. These files are created when working
on a session and the Operations preference for
Enable Session File Auto Backup is enabled. (See
“Enable Session File Auto Backup” on page 68.)
1 Choose File > Open Session.
2 Locate the session you want to open and click
Open.
Renamed Audio Files Folder
This folder includes file names that have been
renamed when you open a session that contains
audio file names with incompatible characters,
or, in certain situations, save a copy of a session
to a Pro Tools version that does not support
long file names.
For more information, see “Renamed Audio
Files and the Renamed Audio Files Folder” on
page 243.
Open Session dialog
You can also open a session from a DigiBase browser by double-clicking it.
Opening a Session
When you open a session, Pro Tools looks in the
session folder for audio and fade files linked to
the session.
For more information on opening sessions
created on different platforms, Pro Tools
systems, or versions of Pro Tools software,
see Chapter 13, “File and Session Management and Compatibility.”
Opening a Session that Contains
Unavailable Files
DigiBase notifies you if files are located but reside on Transfer volumes (such as CD or DVD
discs), or if any required files cannot be found.
For more information, see “Locating Audio
Files” on page 241.
Opening a Session from a Transfer
Volume
When opening a session from a Transfer volume
(such as a CD or DVD disc), DigiBase prompts
you to save the session on a Performance volume, and copy and convert any referenced media files. For more information, see “Locating
Audio Files” on page 241.
Chapter 8: Sessions
85
Opening a Session that Contains
Unavailable Resources
Pro Tools prompts you when opening a session
that contains unavailable voices, I/O paths, DSP
resources, or plug-ins. This is common when
transferring sessions between systems with different Digidesign hardware.
The Unavailable Resources dialog provides an
initial report of the missing session components. To save a text (.txt) file containing a more
detailed Notes report, along with the resulting
action, click Yes. The Notes report is named
with the session name, followed by Notes.txt.
You can choose to save this file in your Session
folder, or in another location.
The following occurs when opening a session
with unavailable items:
With all Pro Tools Systems:
◆ Inserts assigned to unavailable plug-ins are
made inactive.
◆ Inputs, outputs, and sends that are assigned to
unavailable paths are made inactive.
With Pro Tools HD Only:
Any tracks beyond the maximum number of
available voices on the current system are made
inactive.
◆
Opening a Session with Audio File
Names that Contain Illegal
Characters
Pro Tools 7.x does not support audio file names
that contain the following ASCII characters:
/ (Forward Slash)
\ (Backslash)
: (Colon)
* (Asterisk)
? (Question mark)
“ (Quotation marks)
< (Less-than symbol)
> (Greater-than symbol)
| (vertical line or pipe)
Any “high order” ASCII character (created
with a key combination)
When opening sessions that contain audio files
with illegal characters, Pro Tools automatically
creates a renamed copy of each file (replacing
these characters with an underscore “_”). Renamed files are copied to the Renamed Audio
Files folder. The original files are left intact in
the Audio Files folder.
Before the session opens, you are prompted to
save a detailed report of the renamed files and
their original file names to a Notes text file. Follow the on-screen instructions. By default, the
Notes text file is saved to the Session folder.
With Pro Tools LE Only:
◆ Any tracks beyond the maximum number of
available voices on the current system are set to
voice off.
Opening a Session that Was Saved
with +6 dB Fader Gain
All Pro Tools 7.x sessions have a +12 dB fader
gain level. However, when saving a Pro Tools
7.x session to a lower version of Pro Tools that
supports +6 dB and +12 dB fader gain, the new
session can be saved with either a +6 dB or a
+12 dB maximum fader gain.
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When saving a +12 dB session as a +6 dB session, Pro Tools alerts you that any automation
settings over +6 dB will be lowered to +6 dB. See
“Saving a Copy of the Session” on page 88.
In Pro Tools 7.x, when opening a session that
was saved with a +6 dB maximum gain level, the
session will update to a +12 dB range.
Saving the Session File
The Save command saves the changes you have
made to your session and writes them over the
previously saved version of the session file. The
Save command cannot be undone.
To save a session:
■
Choose File > Save.
Opening Recent Sessions
Revert to Saved Command
The Open Recent submenu in the File menu lets
you open any of the 10 most recently opened
Pro Tools sessions.
If you have made changes to a session since you
last saved it, you can discard those changes and
revert to its previously saved state.
To open a recent session:
To revert to the last saved version of a session:
Choose File > Open Recent and choose the
session you want to open.
■
If a session is open when choosing a recent session, you are prompted to save it before
Pro Tools closes the session and opens the chosen recent session.
Control+Shift+O (Windows) or Command+Shift+O (Mac) opens the most recent
session.
Saving a Session
You should save regularly while working on
your session to ensure that your work is preserved on your hard drive.
■
Choose File > Revert to Saved.
If you have enabled the Operation preference for Auto Backup, you can also open up
a backup copy of your session. This feature
lets you specify the total number of incremental backups that are kept and how often
the session is saved. See “Auto Backup Section” on page 68.
Saving the Session File with a
New Name
To save a copy of the current session with a new
name or to a different hard drive location, use
the Save As command. The Save As command
closes the current session and lets you keep
working on the renamed copy. This is useful if
you are experimenting and want to save successive versions of the session.
By working this way, you can quickly retrace
your steps if you want to go back to an earlier
version of your session. The Save As command
saves a new version of the session file only, and
does not duplicate versions of the audio or fade
files.
Chapter 8: Sessions
87
To save a session with a new name:
1 Choose File > Save As.
2 Enter a new name for your session.
Pro Tools 7.x lets you name files with as
many characters as your operating system
supports.
3 Click Save.
The renamed session file is saved in the session
folder along with the original session (unless
you specify a different destination). Any new
audio files that you record in your renamed session will be placed into the same Audio Files
folder that was created for your original session.
Saving a Copy of the Session
To save a copy of the current session with or
without its audio files and fade files, use the
Save Copy In command. In addition, you can
specify the session file format, audio file format,
bit depth, and sample rate for the session copy.
For information on sharing sessions between different platforms, Pro Tools systems, or Pro Tools software versions, see
Chapter 13, “File and Session Management
and Compatibility.”
Unlike the Save As command, Save Copy In does
not close the original session, so subsequent edits are made to the original session. Session copies can be used to archive important sessions, or
as a means to prepare sessions for transfer to another Pro Tools system.
Save Copy In can save only the audio being used
in the session. Any audio that was recorded or
imported and then later removed from the session, but not deleted from disk, is not included
in the new session copy.
To include all audio with the session copy,
All Audio Files must be selected in the Items
to Copy section.
Using the Save Copy In command is the only
way to change the sample rate of a session. The
sample rate of each of the session’s copied audio
files is converted to the selected sample rate.
When you save a copy of the session to a lower
bit depth, Dither (and Noise Shaping) are applied. See the following table:
Dither and Noise Shaping with Save Copy In
Dither
Noise
Shaping
24-bit to 24-bit
No
No
16-bit to 24-bit
No
No
24-bit to 16-bit
Yes
Yes
16-bit to 16-bit
No
No
Session Bit Depth
The Dither setting used for any conversion is the
Digidesign Dither plug-in with Noise Shaping
enabled.
For more information about using Dither,
see “Dither” on page 660.
Save Copy In dialog
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Pro Tools Reference Guide
To save a session copy in a new location:
1 Choose File > Save Copy In.
2 In the Save Copy In dialog, choose a destina-
tion and enter a name for the new session file.
Mac:
• Latest; supports Pro Tools 7.x
• Pro Tools 5.1 -> 6.9 Session
• Pro Tools 5.0 Session
• Pro Tools 4 24-Bit Session
3 Choose a session file format for the copied ses-
sion.
• Pro Tools 4 16-Bit Session
• Pro Tools 3.2 Session
4 Set the Audio File Type for the copied session.
If the audio files need to be compatible with either Windows or Mac, select BWF (.WAV) or
AIFF.
5 Set the session Sample Rate and Bit Depth for
the copied session.
When saving sessions to versions lower
than Pro Tools 5.1, multichannel tracks
(including stereo) and multi-mono plug-ins
are lost. In this case, separate the tracks and
plug-ins to individual mono tracks before
saving as a Pro Tools 5.0 session or lower.
6 If applicable, select a Fader Gain level for the
copied session.
Session Parameters
7 If applicable, select “Enforce Mac/PC Compatibility” to create session and audio files that can
be used on both Windows and Mac Pro Tools
systems (see “Saving Copies of Mac Sessions to
be Compatible with Windows” on page 246).
Audio File Type
You can save the session to reference BWF
(.WAV) or AIFF audio files. On the Mac, you can
also save the session to reference SD II audio
files (at sample rates up to 48 kHz).
8 Select the Items to Copy for the copied ses-
sion.
To include audio with the session copy, All
Audio Files must be selected.
9 Click Save.
SD II sessions are not supported with
Pro Tools on Windows, or with sample
rates higher than 48 kHz. For optimal compatibility, convert SD II sessions to BWF
(.WAV).
Using Mixed File Types
Session Format
You can save the session copy in the following
formats, depending on your platform:
Windows:
• Pro Tools Session (.ptf); supports Pro Tools
7.x
A session can use mixed audio file types. If your
original session has mixed file types, they are
not converted to a different file type unless you
specify that they be converted. However, when
using mixed file types, audio performance will
be reduced (due to additional file handling required for some file formats).
• Pro Tools 5.1 -> 6.9 Session (.pts);
• Pro Tools 5.0 Session (.pt5)
• Pro Tools 4 24-Bit Session (.p24)
• Pro Tools 4 16-Bit Session (.pt4)
Chapter 8: Sessions
89
Bit Depth
You can save the session at 16-bit or 24-bit
depth. If your session is in a different bit depth,
audio files are converted to the new session bit
depth, and copied to the specified location.
For information on bouncing to disk and
dither, see “Dither and Bounce to Disk” on
page 744.
Items to Copy
All Audio Files
When this option is selected, all audio files are
copied to the new location.
This setting is automatically selected if you
change the bit depth or sample rate of the session.
Sample Rate
All “Non-Native” Audio Files
You can save the session at sample rates of
44.1 kHz or 48 kHz (on Mbox 2, Mbox 2 Mini,
and Mbox) and at sample rates up to 96 kHz (on
Mbox 2 Pro, Digi 002, Digi 002 Rack, and
Pro Tools|HD systems with a 96 I/O or 96i I/O)
or up to 192 kHz (on Pro Tools|HD systems with
a 192 I/O or 192 Digital I/O). If your session is at
a different sample rate, audio files are converted
to the new session sample rate, and copied to
the specified location.
The name of this option varies depending on
the audio file type you select. If you change the
audio file type of the session, this option ensures
that all files in the copied session are converted
to the selected file type. Use this option to avoid
the reduced performance of a session with
mixed file types.
This option is automatically selected if you do
any of the following:
• Change bit depth or sample rate.
Fader Gain
When saving a Pro Tools 7.x session to a lower
version of Pro Tools that supports +6 dB and
+12 dB fader gain, you can save the new session
with either a +6 dB or a +12 dB maximum fader
gain. When saving a +12 dB session as a +6 dB
session, Pro Tools alerts you that any automation settings over +6 dB will be lowered to
+6 dB.
Enforce Mac/PC Compatibility
When saving a Pro Tools 7.x session to a lower
version of Pro Tools, this setting forces Windows
or Mac versions of Pro Tools to create sessions
and audio files that are usable on both platforms.
For more information, see “Saving Copies of
Mac Sessions to be Compatible with Windows” on page 246.
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• Copy a session on the Mac from SD II format to AIFF or BWF (.WAV) format.
• Select Enforce Mac/PC Compatibility.
Don’t Copy Fade Files
When this option is selected, Fade Files are not
copied to the new session Fade Files folder.
Pro Tools opens the session with all available
media, then shows you how many files are missing (if any) and asks how you want to proceed.
You can choose to locate the existing fades, using Manually Find Relink or Automatically Find
Relink, or choose to Skip All to let Pro Tools recreate the fades from the session document. You
can also select Regenerate Missing Fades to exclude fade files from the relink process and regenerate them instead.
Session Plug-in Settings Folder
When this option is selected, the session’s Plugin Settings folder is copied to the new location.
The references to these plug-in settings in the
session are redirected to the copied settings files.
Root Plug-in Settings Folder
When this option is selected, the contents of the
root-level Plug-in Settings Folder are copied into
a folder named Place in Root Settings Folder, indicating that these files will need to be moved to
the root level plug-in settings folder on the destination system before you can use them. The
references to these settings files in the session
are not redirected to point to the copied files.
Movie/Video Files
When this option is selected, session video files
(Avid or QuickTime) are copied to the new location, and session references are updated to point
to the copied video files.
Creating Custom Session
Templates
You can create custom session documents that
are pre-configured to the track setups, mixer setups, window arrangements, and zoom level
Memory Locations that you use most frequently. Doing this will save you the trouble of
having to create your studio setup from scratch
every time you start a new session.
You can also install and use the factory
Pro Tools Session Templates included on
the Pro Tools Installer disc in the Additional
Files folder.
Creating Windows Templates
In Windows, you can create a session template
by making a session file a Read Only document.
To create a custom session template in Windows:
1 Create a session and arrange its elements as
Preserve Folder Hierarchy (Pro Tools HD
Only) When selected, the relative arrangement
of session audio files located across different
drives or folders is maintained. The main folder
for the session copy will include subfolders for
each drive or folder in the original session and
the destination subfolders will use the same
names as the source drives and folders.
you want them to appear in the template. You
can also define elements such as signal routing,
insert and send configurations, Track Views,
ruler settings, and Preference settings.
2 Choose File > Save As.
3 Name the session and click Save.
4 Close the session.
When this option is not selected, the Save Copy
In command copies all files of the same type, regardless of their location, into a single destination folder.
5 In Windows Explorer, locate the session file
that you just saved.
6 Right-click the file and choose Properties.
Chapter 8: Sessions
91
7 Under Attributes, select Read Only.
Creating Mac Templates
On the Mac, create a session template by saving
a session file as a Stationery Pad document. Once
a session is saved as a Stationery Pad, it acts as a
template that you can open and then resave as a
normal Pro Tools session.
To create a custom session template on the Mac:
1 Create a session and arrange its elements as
Making a session a Read Only file (Windows)
8 Click OK.
you want them to appear in the template. In addition to track setup, you can also define elements such as signal routing, insert and send
configurations, Mix and Edit window views,
ruler settings, and Preference settings.
2 Choose File > Save As.
3 Name the session and click Save.
To use a session template, do one of the following:
Double-click the session template in Windows Explorer.
■
– or –
In Pro Tools, open the session template using
the File > Open Session command.
4 Close the session.
5 In the Mac Finder, locate the session file that
you just saved.
6 Click once on the file to select it.
■
7 Choose File > Get Info.
Pro Tools prompts you to name the new session.
The original session template remains unchanged.
To modify the session template:
1 In Windows Explorer, open the session’s Prop-
erties.
2 Deselect the Read Only option and click Apply.
3 Open the session in Pro Tools and make your
changes.
4 Save the session and quit Pro Tools.
5 In Windows Explorer, reopen its Properties,
and change it back to a Read Only file.
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Saving a session as a Stationery Pad (Mac)
8 If necessary, click the General expand/collapse
triangle to display the General information and
options.
9 Select the Stationery Pad option.
10 Select the Locked option.
11 Close the information window.
To use a session template, do one of the following:
Double-click the session template in the Mac
Finder.
Exiting or Quitting Pro Tools
When you exit (Windows) or quit (Mac) the
Pro Tools application, Pro Tools prompts you to
save any open session before exiting or closing
the application.
■
– or –
In Pro Tools, open the session template using
the File > Open Session command.
To exit Pro Tools in Windows:
■
Choose File > Exit.
■
When you open a session saved as a Stationery
Pad, Pro Tools gives you the option of editing
the template or starting a new session using the
template settings. If you choose New Session,
Pro Tools creates a new folder containing a copy
of your session template and Audio and Fades
folders.
To quit Pro Tools on the Mac:
■
Choose Pro Tools > Quit Pro Tools.
Closing a Session
Pro Tools only lets you work on just one session
at a time. The Close Session command closes
your current Pro Tools session but leaves the
Pro Tools application running. Pro Tools
prompts you to save a session when closing it,
but it is recommended that you save your work
using the Save or Save As command before closing a session regardless.
To close a session:
■
Choose File > Close Session.
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Chapter 9: Pro Tools Main Windows
Pro Tools provides two complementary ways of
viewing a session: the Mix window and the Edit
window. Pro Tools lets you control the transport and transport-related functions using the
Transport window. Additionally, DigiBase
browsers let you manage and import media in
Pro Tools sessions.
To toggle between the Mix and Edit windows, press Control+Equals (=) (Windows),
or press Command+Equals (=) (Mac).
Mix Window
In the Mix window, tracks appear as channel
strips, with controls for:
• Inserts
• Sends
To display all Mix window view options:
■
Select View > Mix Window > All.
For information on selecting individual view
options, see “Views in the Mix and Edit Windows” on page 634.
Edit Window
The Edit window provides a timeline display of
audio, as well as MIDI data and mixer automation for recording, editing, and arranging tracks.
As in the Mix window, each track has controls
for record enable, solo, mute, and automation
mode.
To display the Edit window:
■
Choose Window > Edit.
• Input and output assignments
• Volume
• Panning
To display all Edit window view options:
■
Select View > Edit Window > All.
• Record enable
• Track Input monitoring
• Automation mode
• Solo and Mute
For information on selecting individual view
options, see “Views in the Mix and Edit Windows” on page 634.
• Instrument controls
• Mic preamps (Pro Tools HD only)
To display the Mix window:
■
Choose Window > Mix.
Chapter 9: Pro Tools Main Windows
95
Send with
Send controls
(page 639)
Track Color
Coding
(page 146)
Plug-in Insert
(page 630)
Instrument
View
(page 635)
Track List
(page 129)
Inserts
View
(page 635)
Sends
View
(page 635)
Automation
Mode selector
(page 692)
Track
Path Selectors
and Controls
(page 98)
Pan Slider
(page 123)
Output Window
button
(page 645)
Volume
Fader
(page 123)
Group ID
indicator
(page 152)
Level Meter
(page 123)
Voice selector
(page 137)
Mix Group
List
(page 149)
MIDI Track
Patch Select
button
(page 574)
AutoMatch
indicator
(page 699)
Track Name
(page 126)
Delay
Compensation
View (page 636)
Show/Hide
Track List/Group List
View
(page 130)
Mono
Audio Track
(page 118)
Mix Window
View selector
(page 634)
Figure 2. Pro Tools Mix window
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Pro Tools Reference Guide
Stereo
Audio Track
(page 118)
Instrument
Track
(page 121)
Auxiliary
Input
(page 119
MIDI
Track
(page 12
Master
Fader
(page 120)
Track
Comments
View
(page 635)
Commands Keyboard Focus
(page 16)
Timeline Selections
(page 410)
Zoom buttons (page 367)
Edit Selection indicators
(page 98)
Tab to Transients (page 407)
Edit tools
(page 98)
Graphic Tempo Editor
(page 496)
Grid and
Nudge values
(page 99)
Transport controls
(page 99)
Event Edit Area
(page 98)
Edit Window bar
(page 99)
Timeline
Edit Mode
buttons
(page 363)
View Selectors
(page 99)
Region
List
(page 357)
Track List
(page 129)
Region
Group
(page 452)
Timebase rulers
(page 346)
Volume
Automation
View
(page 698)
Audio Track
(page 117)
Track View
selector
(page 335)
Audio
Waveform
View
(page 341)
Timebase
selector
(page 351)
Edit Group
List
(page 352)
Show/Hide
Track List/Group List
View
(page 130)
MIDI Track
(page 118)
MIDI Velocity View
(page 567)
MIDI Notes View
(page 344)
Show/Hide
Region List
(page 357)
Selected Region
(page 399)
Figure 3. Pro Tools Edit window
Chapter 9: Pro Tools Main Windows
97
Track Path Selectors and Controls
Edit Window Counters and
Selection Indicators
Audio Input Path selector (page 122)
Audio Output Path selector (page 122)
Main and Sub Counters
Automation Mode selector (page 692)
Record Enable button (page 258)
Main and Sub Counters (page 393)
TrackInput Monitor button (page 261)
(Pro Tools HD only)
Mute Button (page 145)
Edit window display showing counters
Solo button (page 142)
Mix window track controls for mono audio track
(Wide View)
Record Enable button
(page 258)
Track Name (page 126)
Playlist selector (page 352)
Solo button (page 142)
Mute button (page 145)
Track Height selector (page 338)
The Main and Sub Counters can be set for different Time Scale formats (such as Samples,
Bars:Beats, or Minutes:Seconds). For more information, see “Main Time Scale” on page 348.
These counters are also displayed in the Transport window.
Edit Selection Indicators
Edit Selection indicators (page 393)
Voice selector (page 137)
Automation Mode selector
(page 692)
Track View selector (page 335)
Edit Selection indicators in the Edit window
TrackInput Monitor button (page 261)
Timebase selector (page 351)
Edit window track controls for stereo audio track
(medium track height)
Edit Tools
Trim tools
(page 374)
Zoomer tool
(page 367)
Selector
tool
(page 389)
Grabber
tools
(page 400)
Scrubber tool
(page 383)
Pencil tool
(page 560)
The Edit Selection Start, End, and Length indicators display can be set for different Time Scale
formats (such as Samples, Bars:Beats, or Minutes:Seconds). For more information, see “Main
Time Scale” on page 348.
Event Edit Area
The Event Edit Area provides time, pitch, and
other information for the currently selected audio or MIDI data. It also lets you define selections using the computer keyboard.
Note Attributes (page 568)
Zoom Toggle
(page 367)
Smart Tool
(page 381)
Edit tools in Edit window
Custom Note
Duration button (page 561)
Pitch
Attack
Velocity
Release Velocity
Event Edit Area showing MIDI track information
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Edit Window Bar
Cursor Location Indicators
The Edit Window bar contain various selectors,
commands, indicators, and pop-up menus for
working in the Pro Tools Edit window.
Cursor Location indicator (page 389)
View Selectors
Cursor Location Value indicator
(page 389)
Cursor Location indicators in the Edit Window bar
Ruler View selector (page 634)
Transport Window
Edit window View selector (page 634)
The Transport window can be set to show basic
transport controls, counters, MIDI controls, and
expanded features. The counters in the Transport window mirror the controls and counters at
the top of the Edit window.
View selectors in the Edit Window bar
Commands
To display the Transport window:
Linearity Display
Mode (page 502)
Mirrored MIDI
Editing
(page 559)
Tab to Transients
(page 407)
Commands Keyboard Focus
(page 16)
Link Track and Edit Selection
(page 398)
■
Choose Window > Transport.
Basic Transport Controls and
Counters
Link Timeline and Edit Selection
(page 396)
Track Record Enable indicator
Commands in the Edit Window bar
Fast Forward
Return to Zero
Grid/Nudge Value Indicators and PopUp Menus
Rewind
Online
Play
Go to End
Record
Stop
Pre-Roll
Post-Roll
Grid Value indicator
(page 433)
Nudge Value
pop-up menu
(page 435)
Grid Value pop-up menu
(page 433)
Nudge Value indicator
(page 435))
Transport Master
Pre-Roll indicator
Start, End, and Length
Selection indicators
Post-Roll indicator
TrackInput Monitor
indicator
Transport window showing basic transport controls and
counters (Main and Sub Counters and MIDI not shown)
Grid/Nudge Value indicators and pop-up menus in the
Edit Window bar
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99
Online Puts Pro Tools online so that playback
and recording is triggered by an external time
code source.
Return to Zero Locates to the beginning of the
session.
Press Enter (Windows) or Return (Mac) to
Return to Zero.
Right-clicking the Return to Zero button accesses the Write to Start and Write to All automation commands.
Rewind Rewinds from the current play location.
You can also click repeatedly to rewind incrementally, by an amount based on the Main
Time Scale, as follows:
Rewind Increments
Increment Amount
Min:Sec
1 second
Time Code
1 frame
(Pro Tools HD or Pro Tools LE
with DV Toolkit 2)
Bars:Beats
1 bar
Feet+Frame
1 foot
(Pro Tools HD or Pro Tools LE
with DV Toolkit 2)
Pro Tools Reference Guide
Play Starts playback or (if the Record button was
clicked first) recording from the Timeline insertion point or the Play Start Marker location if
Dynamic Transport mode is enabled.
You can also begin playback by pressing the
Spacebar, or with the Numeric Keypad
mode set to Transport, pressing 0.
Right-clicking the Play button lets you select the
playback mode from a pop-up menu:
• Half-Speed
• Loop
• Dynamic Transport
To initiate playback at half-speed, you can
also press Shift+Spacebar (Windows or
Mac) or Shift-click (Mac) the Play button.
With the Transport stopped, Start-click Play
(Windows) or Control-click Play (Mac) to toggle
Loop Playback mode. When enabled, a loop
symbol appears in the Play button and Pro Tools
plays continuously from the beginning of the
selection to the end.
1 second
With the Numeric Keypad mode set to
Transport, you can rewind by pressing 1.
100
You can also stop the transport by pressing
the Spacebar, or with the Numeric Keypad
mode set to Transport, pressing 0.
• Prime for Playback
Main Time Scale Format
Sample
Stop Stops playback or recording.
For more information on loop playback and
Dynamic Transport mode, see “Looping
Playback” on page 409.
Fast Forward Fast forwards from the Timeline insertion point. You can also click repeatedly to
fast forward incrementally (by an amount based
on the Main Time Scale).
Fast Forward Increments
Right-clicking the Record button lets you select
the record mode from a pop-up menu:
• Normal
• Loop
• Destructive
Main Time Scale Format
Increment Amount
• QuickPunch
Min:Sec
1 second
• TrackPunch (Pro Tools HD only)
Time Code
1 frame
• Destructive Punch (Pro Tools HD only)
(Pro Tools HD or Pro Tools
LE with DV Toolkit 2)
Bars:Beats
1 bar
Feet+Frame
1 foot
(Pro Tools HD or Pro Tools
LE with DV Toolkit 2)
Sample
1 second
With Numeric Keypad mode set to Transport, you can fast forward by pressing 2.
Go to End Locates to the end of the session.
You can press Control+Enter (Windows) or
Option+Return (Mac) on the QWERTY keyboard to locate to the end of the session.
You can also Right-click the Go to End button to access automation commands Write
to End and Write to All.
Record Arms Pro Tools for recording (the button
flashes). Clicking Play then starts recording on
record-enabled tracks only.
You can also begin recording immediately
by pressing F12, pressing Control+Spacebar
(Windows) or Command+Spacebar (Mac),
or with the Numeric Keypad mode set to
Transport, pressing 3.
You can also cycle through the Pro Tools record
modes with the Transport stopped, by Startclicking (Windows) or Control-clicking (Mac)
the Record button.
The Record button changes to indicate the currently selected mode: blank for Nondestructive,
“D” for Destructive, a loop symbol for Loop
Record, “P” for QuickPunch, “T” for TrackPunch, and “DP” for DestructivePunch.
To initiate recording at half-speed, you can
press Control+Shift+Spacebar (Windows)
or Command+Shift+Spacebar (Mac).
Track Record Enable Indicator When lit (red), indicates that at least one audio track is currently
record-enabled. When off (grey), no tracks are
currently record-enabled.
TrackInput Monitor Indicator When lit (green),
indicates that at least one audio track is currently set to Input Only monitoring (regardless
of record enable status). When off (grey), all
tracks are in Auto Input monitoring.
Pre-Roll During playback or record, specifies the
amount of audio that plays before the Play
(Timeline) Cursor or Play Start Marker location,
or beginning of the Timeline selection. Pre-roll
is particularly useful with punch recording since
it provides you with time to “catch the beat” be-
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101
fore reaching the punch-in point. To set the preroll amount, enter a new value in this field, or
drag the Pre-Roll flag in the Main Timebase
ruler.
To enable pre-roll:
■ Click the Pre-Roll button to the left of the preroll field so it becomes highlighted.
Post-Roll During playback or record, specifies
the amount that plays after the end of a Timeline selection. Post-roll is useful in punch recording since playback continues after the
punch-out point so you can check for a smooth
transition to previously recorded material. To
set the post-roll amount, enter a new value in
this field, or drag the Post-Roll flag in the Main
Timebase ruler.
To enable post-roll:
■ Click the Post-Roll button to the left of the
post-roll field so it becomes highlighted.
Start Specifies the beginning of the play or
record range. You can set the start point by entering a location in this field, or by dragging the
corresponding Timeline Selection or Play Start
Marker in the Main Timebase ruler. For more information, see “Timeline Selection Markers” on
page 289.
End Specifies the end of the play or record range.
You can set the end point by entering a location
in this field, or by dragging the corresponding
Timeline Selection Marker in the Main Timebase ruler. For more information, see “Timeline
Selection Markers” on page 289.
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Pro Tools Reference Guide
Length Specifies the length for the play or record
range. You can set the length by entering a location in this field, or by selecting a range in any
Timebase ruler.
When the Timeline and Edit selections are
linked, you can make an Edit selection in a
track’s playlist to set the play and record
range. See “Linking or Unlinking Timeline
and Edit Selections” on page 396
Transport Master Selector Specifies the “master”
for transport functions and provides a control to
take enabled devices offline.
To set a Transport Master:
■ Click the Transport Master selector, from the
Transport submenu, select a Transport Master:
Pro Tools, Machine, MMC (MIDI Machine Control), or Remote.
To take a device offline:
■ Click the Transport Master selector, from the
Online submenu, deselect the device (MIDI or
Machine). Device options depend on the current Transport Master, and which devices have
been set up in Pro Tools.
To bring the device back online, select it in the
Online submenu.
If you using an MMC device, see Chapter 35,
“Working with Synchronization.”
If you are using the Digidesign MachineControl option, see the MachineControl
Guide.
Metronome Click When selected, Pro Tools generates a metronome pulse that can be set to trigger built-in sounds or MIDI instruments during
playback and recording.
MIDI Controls
Countoff
Metronome Click
MIDI Merge
Wait for Note
Current Meter
Tempo Ruler
Enable
Current Tempo
Tempo Resolution
(Beat Value)
Tempo slider
Transport window showing MIDI controls
To view the MIDI controls in the Transport, do one
of the following:
■
Select View > Transport > MIDI Controls.
– or –
Control-click (Windows) or Command-click
(Mac) the Expand/Collapse “+” button in the
Transport window to display the MIDI controls.
■
Expand/Collapse “+” button
The Pro Tools metronome is configured in the
Click/Countoff Options dialog. Double-click the
Metronome Click button to open the
Click/Countoff Options dialog.
With the Numeric Keypad mode set to
Transport, press 7 to enable the Metronome
Click.
Countoff When selected, Pro Tools counts off a
specified number of measures (indicated in the
button) before playback or recording begins.
Double-click the Countoff button, to open the
Click/Countoff Options dialog.
With the Numeric Keypad mode set to
Transport, press 8 to enable the Countoff.
MIDI Merge When selected (Merge mode), recorded MIDI data is merged with existing track
material. When deselected (Replace mode), recorded MIDI data replaces existing track material.
With the Numeric Keypad mode set to
Transport, press 9 to enable MIDI Merge.
Transport Window with MIDI Controls
Wait for Note When selected, recording does not
begin until a MIDI event is received. This ensures that you begin recording when you’re
ready to play, and that the first note, or other
MIDI data, is recorded precisely at the beginning
of the record range.
You can press F11 to turn on Wait for Note,
unless the MIDI preference for “Disable F11
for Wait for Note” is enabled.
Tempo Ruler Enable (Conductor) When selected,
Pro Tools uses the tempo map defined in the
Tempo ruler. When deselected, Pro Tools
switches to Manual Tempo mode and ignores
the Tempo ruler.
In Manual Tempo mode, you can enter a BPM
value in the tempo field, or tap in the tempo
with the T key on your QWERTY keyboard.
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103
Tempo Slider When the Tempo Ruler Enable
(Conductor) is disabled, Pro Tools ignores the
tempo events in the Tempo track and instead
plays back the specified Manual Tempo. This
tempo can be set with the Tempo slider.
Current Meter Displays the session’s current
meter based on the play location. Double-click
the Current Meter indicator to open the Change
Meter window.
Current Tempo Displays the session’s current
tempo based on the play location. In Manual
Tempo mode, you can enter a BPM value into
this field, or manually tap in a tempo with a
computer keyboard or an external MIDI keyboard.
The main elements of a DigiBase browser (see
Figure 4 on page 105) include the following:
Title Bar Shows the browser type (Work-space,
Volume, Project, or Catalog), and the name of
its associated volume, session or catalog.
Toolbar Provides the Browser menu, Search icon,
View Presets (numbered 1–5), and browser navigation tools.
Column Headers Display the type of metadata
displayed in the Items List. Column Headers can
be:
• Resized by dragging the column border, or
rearranged by dragging the Column headers.
• Dragged to either of two available panes,
the Fixed or Scrolling panes.
DigiBase Browsers
DigiBase databases are accessed through DigiBase browsers. Browsers provide an intuitive user
interface to DigiBase databases with many convenient features for various file management
tasks (such as search and sort functions).
Browsers in Pro Tools are analogous to windows
in your computer’s operating system (such as
Windows Explorer or the Mac Finder), but are
designed for Pro Tools workflow. Multiple
browsers can be displayed simultaneously, and
arranged independently with custom display
settings for each.
Browsers let you search and sort audio files,
video files, and sessions. These files are displayed in browsers and can be dragged directly
into the current Pro Tools session.
When offline items are needed, Pro Tools lets
you find the correct matching files, then relink
to online media.
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Items List Displays the contents of a volume,
folder, session, or Catalog database. Each column in the items list displays metadata (such as
file name and format) for volumes, folders, and
files in the Items List.
TItle bar
Toolbar
Column headers
Items
List
Fixed pane
Scrolling pane
Show/Hide
Pane split
Figure 4. Main elements of a DigiBase browser (Volume browser shown).
There are three types of Pro Tools browsers
available on all supported systems:
Using the Workspace browser, you can:
• Access all mounted volumes.
• The Workspace browser
• Access all Catalogs.
• Volume browsers
• Search across multiple volumes and Catalogs simultaneously.
• The Project browser
DigiBase Pro (Pro Tools HD or Pro Tools LE with
DV Toolkit 2 only) provides one additional
browser:
• Catalogs
Workspace Browser
The Workspace browser provides access to all
your mounted volumes, as well as the folders
and files they contain.
• Designate volumes for Record and Playback, Playback Only, or Transfer.
• Unmount volumes.
• View, manage, audition and import individual items in any catalog or mounted
volume.
• Update databases for entire volumes.
For more information about the Workspace
browser, see “Workspace Browser” on
page 195.
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105
Volume Browsers
Catalogs (DigiBase Pro Only)
Volume browsers provide file management for
local and network volumes. Volumes are formatted partitions on a physical drive (hard drive).
Open a Volume browser by double-clicking a
volume in the Workspace browser. Any changes
made in Volume browsers (such as copying, deleting, or moving files and folders) is mirrored
on the volumes themselves. Volumes include
mounted hard drives, network storage, and
CD/DVD-ROMs.
Catalogs provide the highest level of Pro Tools
file management. Catalogs make it easy to organize files from multiple sources into libraries of
favorite files. Catalogs can be sorted and
searched, even when the files they reference are
offline. Catalogs can also be shared.
Using Volume browsers you can:
Using Catalogs, you can:
• Collect and organize files from any combination of volumes.
• Create catalogs of complete volumes to
view and search even if a volume is offline.
• View, manage, audition and import individual items on the volume.
• View, manage, audition, and import individual items in the catalog.
• Update a database for contents of the volume.
• Update a database for contents of catalog.
Project Browser
The Project browser provides powerful search
and management tools for the files referenced in
your current session, regardless of where they
are stored. Using the Project browser, you can:
• Show all the media files associated with the
current session, including any missing
files.
• View, manage, audition and spot individual items.
For detailed information about the Project
browser, see “Project Browser” on page 198.
For detailed information about Catalogs,
see “DigiBase Pro Catalogs” on page 199.
Task Window
The Task window is a utility for viewing and
managing all of the background tasks that you
initiate with Pro Tools. Use the Task window to
monitor, pause, or cancel background tasks such
as file copies, searches, indexing, and fade creation.
For detailed information about the Task
window, see “Task Window” on page 204.
Relink Window
The Relink window provides tools and features
for relinking sessions and catalogs to media files.
Use Relink tools to search and reacquire missing
files for use in the current session.
For detailed information about the Relink
window, see “Relink Window” on
page 191.
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Pro Tools Reference Guide
Window Configurations
Pro Tools provides a powerful means of managing the configuration of windows in your session, as well as the internal window configurations of the Edit, Mix, and Transport windows.
Use the Window Configuration List to create (or
delete) and manage stored Window Configurations. Pro Tools lets you store up to 99 Window
Configurations. Window Configurations are
saved with the session.
Create a session template with your favorite
Window Configurations. You can then use
the template when you start a new session,
or you can use Import Session Data to import Window Configurations into your current session.
A Window Configuration can store the location
and size of all open windows, including:
• Edit window
• Mix window
• All floating windows listed in the Window
menu:
• Task Manager window
• Transport window
• Big Counter window
• Automation window
• Memory Locations window
• Machine Track Arming window
• Universe window
• Video window
• Color Palette window
• Undo History window
• Disk Space window
• System Usage window
The location and size of the Window Configuration List is not stored with Window
Configurations.
A Window Configuration can also store the
Window Display Settings for the Edit, Mix, and
Transport windows.
• Workspace browser
• Project browser
Window Configuration List
• DigiBase browsers
• Session Setup window
• Time, Tempo, and MIDI Operations windows
The Window Configuration List lets you recall
and manage stored Window Configurations, as
well as create new Window Configurations.
• MIDI Event List
• Real-time MIDI Properties window
• Beat Detective window
• Plug-in windows
• Panner windows
• Mic Pre windows
Window Configuration List
Chapter 9: Pro Tools Main Windows
107
To open the Window Configuration List:
■ Select Window > Configurations > Window
Configuration List.
Press Control+Alt+J (Windows) or Command+Option+J (Mac) to show or hide the
Window Configuration List.
Window Configuration Properties
Include Edit, Mix, and Transport Display
Settings When enabled, stores all window display settings for the Edit, Mix, and Transport
windows with the Window Configuration (such
as whether or not the Region List is shown in
the Edit window).
Edit Window Display Settings Stores only the
window display settings for the Edit window:
• Width of the Tracks List and Group List
Window Configurations can be stored and recalled with the layout of windows in your
Pro Tools session, as well as with the settings for
the Edit, Mix, and Transport windows. You can
specify which of these properties are stored for
each Window Configuration either in the New
Window Configuration dialog or the Edit Window Configuration dialog.
• Height of the Tracks List
• Width of the Region List
• What rulers are shown (the main ruler is always shown)
• What track columns are shown (such as Inserts, Sends, or Comments)
• Tempo editor display
• Whether Transport controls are shown in
the Edit window
Mix Window Display Settings Stores all window
display settings for the Mix window:
• Width of the Tracks List and Group List
• Height of the Tracks List
• What track rows are shown (such as Inserts,
Sends, or Comments)
• Narrow/wide mixer view
Edit Window Configuration dialog
Number Is the number of the slot in which the
Window Configuration is stored (1–99). You
can type Period (.), the number of the Window
Configuration, and then Asterisk (*) on the numeric keypad on your computer keyboard to recall the Window Configuration stored in that
slot.
Name Is the name of the stored Window Configuration.
Window Layout When enabled, stores the size
and location of all open windows.
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Transport Window Display Settings Stores all
window display settings for the Transport window:
• Counters display
• MIDI controls display
• Expanded view
Comments Lets you type comments for the Window Configuration.
Window Configuration Commands and
Options
View Filter Icons
Using the View Filter icons, the Window Configuration List lets you show or hide Window
Configurations based on whether or not they
are stored with Window Layout, Edit Window
settings, Mix Window settings, or Transport
Window settings.
Window Layout
Edit Window settings
Mix Window settings
Transport Window settings
Window Configuration List view filter icons
To filter Window Configurations in the Window
Configuration List, do one of the following:
Click the View Filter icon to show or hide
Window Configurations that include that property (Window Layout, Edit Window Settings,
Mix Window Settings, or Transport Window
Settings).
■
– or –
Select or deselect the View Filter item in the
Window Configuration List pop-up menu.
■
Window Configuration List Pop-Up Menu
You can select viewing and sorting options,
along with commands for creating and removing Window Configurations, from the pop-up
menu in the Window Configuration List.
Window Configuration List pop-up menu
View Filter Lets you show or hide Window Configuration filter icons in the Window Configuration List as well as show or hide Window Configurations with Window Layout, Edit Window
Settings, Mix Window Settings, or Transport
Window Settings.
Show Comments Lets you show or hide Comments in the Window Configuration List.
New Configuration Creates a new Window Configuration. This command is also available from
Window > Configurations.
Update <Name> Updates the selected Window
Configuration with any changes to the layout
and settings of windows depending on the Window Configuration’s properties. This command
is also available from Window > Configurations.
Edit <Name> Opens the Edit Window Configuration dialog where you can edit the properties
of the selected Window Configuration.
Clear <Name> Clears the selected Window Configuration without deleting the slot (number).
Delete All Deletes all Window Configurations.
Chapter 9: Pro Tools Main Windows
109
Insert Slot Before <Name> Inserts a new slot before the selected Window Configuration and, if
necessary, increments the number of each following slot.
Creating a New Window Configuration
Delete <Name> Slot Deletes the selected Window Configuration and its slot (number), and
renumbers each subsequent slot.
Window Configuration and position them
where you want on the screen.
Auto-Update Active Configuration Automatically
updates the active Window Configuration as
you make changes to the layout and settings of
windows. This command is also available from
Window > Configurations.
To create a new Window Configuration:
1 Open the windows you want to include in the
2 Do one of the following:
• Choose Window > Configurations > New
Configuration.
– or –
• Choose New Configuration from the Window Configuration List pop-up menu.
Active Window Configuration
The active Window Configuration is indicated
by a diamond to the left of the Window Configuration Number in the Window Configuration
List and in the Configurations submenu (Window > Configuration). If Auto-Update Active
Configuration is enabled, the number of the active configuration is also displayed in the Window menu. Only Window Configurations that
include Window Layout can be made active.
Window Configurations that do not include
Window Layout can be selected and update the
Window Display Settings in the active Window
Layout.
Active Window Configuration
New Window Configuration dialog
3 In the New Window Configuration dialog, do
one of the following:
• Select Window Layout and whether or not
to include the Edit, Mix, and Transport
window display settings.
– or –
Active Window Configuration
• Select a Window Display Settings option
from the pop-up menu (Edit Window Display Settings, Mix Window Display Settings, or Transport Window Display
Settings)
4 Name the Window Configuration.
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5 You can type a different number for the new
Undoing a Window Configuration
Window Configuration (if the number you type
is already used by another Window Configuration, you are prompted to replace it or Cancel),
otherwise Pro Tools automatically fills in the
first available number (1–99) for the Window
Configuration.
Pro Tools lets you revert to the previous Window Layout and Window Settings with a single
level of undo. This is useful, for example, if you
recall a Window Configuration, but then decide
you want to revert to the previous screen state.
6 Type any comments for the new Window
To undo a Window Configuration:
Configuration.
7 Click OK to store the new Window Configura-
■ On the numeric keypad, press Period (.), 0,
and then Asterisk (*).
tion, or cancel.
The new Window Configuration is added to the
Window Configuration List.
On the numeric keypad, type Period (.), a
number (1–99), and then Plus (+) to add a
new Window Configuration at that number
slot. If a Window Configuration already exists at that numbered slot, the new Window
Configuration overwrites it.
To redo a Window Configuration:
■ On the numeric keypad, press Period (.), 0,
and then Asterisk (*).
If Auto-Update Active Configuration is enabled,
undoing the Window Configuration reverts to
the previously stored Window Configuration
without automatically saving changes (see “Updating Window Configurations” on page 112).
Recalling Window Configurations
Editing Window Configurations
You can use the Window Configuration List to
recall stored Window Configurations. You can
also use the Number Keypad on your computer
keyboard to recall a specific Window Configuration.
You can change which properties are stored
with Window Configurations, as well as the
number, name, or comments.
To recall a Window Configuration, do one of the
following:
Select the Window Configuration from Window > Configurations.
■
In the Window Configuration List, click the
Window Configuration to recall it.
■
To edit a Window Configuration:
1 In the Window Configuration List, select the
Window Configuration you want to edit.
2 From the Window Configuration List pop-up
menu, select Edit <Name>.
3 In the Edit Window Configuration dialog,
make the desired changes and click OK.
On the numeric keypad, press Period (.), the
number of the Window Configuration (1–99),
and then Asterisk (*).
■
The Pro Tools session’s screen layout updates
with the stored Window Configuration.
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111
Updating Window Configurations
After you recall a stored Window Configuration,
you can make changes to the window layout
and window settings, and then update the
stored Window Configuration with your
changes. You can do this manually, or you can
have Pro Tools automatically update the active
configuration.
To manually update a Window Configuration, do
one of the following:
■ Choose Window > Configurations > Update
Active Configuration.
The active Window Configuration updates to
include any changes to its included properties
(Window Layout and Window Display Settings).
– or –
Window Configuration with changes to the
Window Display Settings (such as the width of
the Region List in the Edit window), use the Update command in the Window Configuration
List.
Clearing Window Configurations
Clearing a window configuration removes it and
its associated slot number while keeping the slot
numbers of other window configurations unchanged. The Clear command is useful if you
want to insert another configuration it the same
slot.
To clear a Window Configuration:
1 In the Window Configuration List, select the
Window Configuration you want to clear.
2 From the Window Configuration List pop-up
menu, select Clear <Name>.
From the Window Configuration List pop-up
menu, choose Update <Name>.
■
The selected Window Configuration updates
with any changes to its included properties.
To have Pro Tools automatically update the active
Window Configuration, do one of the following:
Select Window > Configurations > Auto-Update Active Configuration.
■
– or –
Deleting a Window Configuration removes the
it and its slot number, and renumbers any subsequent Window Configurations.
To delete a Window Configuration:
1 In the Window Configuration List, select the
Window Configuration you want to delete.
2 Do one of the following:
■
From the Window Configuration List pop-up
menu, select Auto-Update Active Configuration.
• From the Window Configuration List popup menu, select Delete <Name>.
When Auto-Update Active Configuration is selected, the active Window Configuration updates with every change to the Window Layout
and Window Display Settings.
– or –
Window Configurations that do not include
Window Layout and only store Window Display
Settings cannot be made active and thus won't
automatically update. If you want to update a
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Pro Tools Reference Guide
• You can delete all Window Configurations
by choosing Delete All.
Importing Window Configurations
You can import Window Configurations from
another session using Import Session Data.
To import Window Configurations:
1 Choose File > Import > Session Data.
2 Select the Window Configurations option.
Menus
Pro Tools menus provide commands and options for configuring and working with
Pro Tools, sessions, and session material.
For detailed information on Pro Tools main
menus and Region List pop-up menus, see
the Pro Tools Menus Guide.
Pro Tools Main Menus
Pro Tools includes the following main menus:
File Provides commands that are used to create
and maintain Pro Tools sessions.
Import Window Configurations
3 If you only want to import Window Configu-
Edit Provides commands that are used to edit
and manipulate the current selection and affect
data in the timeline or the clipboard.
rations, click the Session Data to Import pop-up
menu and select None.
View Provides options and commands to customize what is shown in various windows.
4 Click OK.
Track Provides commands that are used to create, manage, and edit tracks.
Hiding All Floating Windows
The Hide All Floating Windows command hides
or shows all floating windows. This is useful for
quickly clearing the screen of all floating windows so that you can work in the Edit or Mix
windows.
To hide or show all floating windows:
Select or deselect Window > Hide All Floating
Windows.
■
Press Control+Alt+Start+W (Windows) or
Command+Option+Control+W (Mac) to
hide or show all floating windows.
Region Provides commands that are used to
manage and edit regions.
Event Provides commands for editing audio and
MIDI events.
AudioSuite Provides AudioSuite plug-ins.
Options Provides commands that let you select
several editing, recording, monitoring, playback, and display options.
Setup Provides commands to open dialogs and
windows or configure various Pro Tools hardware and software parameters.
Window Provides commands to toggle the display of various Pro Tools windows.
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113
Help Provides access to PDF documentation for
Keyboard Shortcuts, Digidesign FAQ, the DigiRack
Plug-ins Guide, the Pro Tools Menus Guide, and
the Pro Tools Reference Guide.
Track, Region, and Group List Menus
The Track, Region, and Group Lists provide popup menus for managing and working with the
contents of each list, as follows:
Track List Pop-Up Menu Provides commands to
show and hide tracks in the Mix and Edit windows. The Track List pop-up menu also lets you
sort the contents of the Track List.
For more information, see “The Track List”
on page 129.
Group List Pop-Up Menus (Edit Groups and Mix
Groups) Provides commands to create, display,
suspend, and delete Mix and Edit Groups.
For more information, see “The Group List”
on page 150
Region List Pop-Up Menu (Edit Window
Only) Provides commands to find, select, sort,
clear, rename, time stamp, compact, export, and
recalculate waveform overviews of items in the
Region List. The pop-up menu also lets you set
the drop order for regions dragged from the Region List and dropped in the Timeline.
For more information, see “The Region
List” on page 357.
Track Name and Region Name RightClick Pop-Up Menus
Track and region names provide pop-up menus
for managing and working with tracks or regions, as follows:
Track Name Right-Click Pop-Up Menu Rightclicking a track name in the Edit window, Mix
window, or the Track List provides access to various track commands (such as show/hide, make
active/inactive, rename, duplicate, and delete
tracks).
For more information, see “Track Name
Right-Click Pop-Up Menus” on page 132.
Region Name Right-Click Pop-Up Menu (Edit
Window Only) Right-clicking a region name in
the Region List provides commands to clear, rename, time stamp, or replace regions. The popup menu also lets you export region definitions
or selected regions as files, recalculate waveform
overviews, select the parent file of selected regions in the DigiBase Workspace Browser, or select a region as an object in the Edit window.
For more information, see “The Region
List” on page 357.
Group Name and Track Group ID
Indicator Pop-Up Menus
When you click and hold on a group name in
the Group List, or click on a Group ID indicator
in a track, a pop-up menu provides access to various group commands (such as selecting tracks
in a group).
For more information, see “Group Name
and Track Group ID Indicator Pop-Up
Menus” on page 152.
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Tool Tips
Pro Tools provides Tool Tips in all main windows. Holding the cursor for a few seconds over
an abbreviated name, or unlabeled icon or tool,
displays either the function or details of the
item (depending on the Tool Tips preferences
settings).
To configure Tool Tips for Pro Tools:
1 Choose Setup > Preferences, and click the Dis-
play tab.
2 In the Basics section, enable the Tool Tips op-
tions you want displayed.
Function Shows the functional name of different
Pro Tools items (such as specific buttons, indicators, modes, selectors, and Edit tools).
Details Shows abbreviated or hidden Pro Tools
names or values for different Pro Tools items
(such as insert names, gain levels, settings, and
routing assignments).
Leave both options unchecked to turn off
Tool Tips.
3 Click OK.
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Chapter 10: Tracks
This chapter covers basic track management
tasks such as creating and deleting tracks, assigning voices and output channels, and grouping tracks.
Auxiliary Input Tracks
Auxiliary Input tracks can be used as effects
sends, destinations for submixes, as a bounce
destination, as inputs to monitor or process audio (such as audio from external MIDI instruments), and for many other audio routing tasks.
Track Types
In a Pro Tools session, you can have several different types of tracks. These can include audio,
Auxiliary Input, Master Fader, VCA Master
(Pro Tools HD only), MIDI, Instrument, and
video tracks.
Video track features are described in
Chapter 36, “Working with Video in
Pro Tools”
Audio, Auxiliary Input, Master Fader,
and VCA Master Tracks
Pro Tools provides mono, stereo, and multichannel format audio, Auxiliary Input, Master
Fader, and VCA Master tracks.
Master Fader Tracks
Master Fader tracks control the overall level of
audio paths that are routed to physical output
paths. For example, you could have 24 tracks in
a session with channels 1–8 routed to Analog
Output 1–2, channels 9–16 to Analog Output
3–4, and channels 17–24 to Analog Output 5–6.
You could then create three master faders, one
to control each of these output pairs.
Master Fader tracks have additional uses (such as
controlling submix levels). For more information, see “Master Fader Tracks” on page 628.
Audio Tracks
Audio tracks let you record to disk and play back
from disk recorded or imported audio files.
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117
VCA Master Tracks
(Pro Tools HD Only)
VCA Master tracks (or VCA Masters) emulate the
operation of voltage-controlled amplifier channels on analog consoles, where a VCA channel
fader would be used to control, group, or offset
the signal levels of other channels on the console.
VCA Master tracks do not pass audio, so they do
not have inputs, outputs, inserts or sends. A Mix
Group is assigned to a VCA Master track, which
appears in the VCA track’s Assignment selector.
The controls of the tracks in that Mix Group,
called the slave tracks, are modified by the controls on the VCA Master.
For more information, see “VCA Master
Tracks” on page 630.
MIDI Tracks
MIDI tracks store MIDI note, instrument, and
controller data. You cannot select a track format
when you create a MIDI track, because audio
does not pass through it.
Instrument Tracks
Instrument tracks are a special type of track that
provide both MIDI and audio capabilities in a
single channel strip. Instrument tracks simplify
using software and hardware instruments to
record and monitor MIDI instruments.
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Track Formats
Mono Tracks
A mono audio, Auxiliary Input, Master Fader, or
Instrument track controls volume, and, in some
cases, panning, for a single channel of audio. A
mono audio track uses a single voice. A mono
track can also be routed to a multichannel output.
Stereo Tracks
A stereo audio, Auxiliary Input, Master Fader, or
Instrument track is a single channel strip that
plays two channels of audio as a stereo pair. Stereo audio tracks use two voices.
Multichannel Tracks (Pro Tools HD Only)
A multichannel track is a single channel strip
that plays multiple channels of audio (from 3–8
channels at a time). This allows Pro Tools to
support multichannel mixing formats including
LCRS, 5.1, 6.1, and others. Audio, Auxiliary Input, Master Fader, and Instrument tracks can all
use any supported multichannel format.
For more information on surround mixing with
Pro Tools, see the following chapters:
• Chapter 32, “Pro Tools Setup for Surround
(Pro Tools HD Only)”
• Chapter 33, “Multichannel Tracks and
Signal Routing (Pro Tools HD Only)”
• Chapter 34, “Surround Panning and Mixing
(Pro Tools HD Only)”
Track Channel Strips
Audio Track Channel Strips
Each audio track has its own set of channel strip
controls, including volume, pan, record enable,
input monitoring (Pro Tools HD only), automation mode, solo, mute, and voice assignment.
Audio tracks also have a Comments View to enter and display comments.
Inserts
Auxiliary Input Track Channel Strips
Each Auxiliary Input track has its own set of
channel strip controls, including volume, pan,
automation mode, solo, and mute. Auxiliary Input tracks also have a Comments View to enter
and display comments.
Inserts
Sends (only A–E shown)
Audio Input/Output Path selectors
Sends (only A–E shown)
Automation Mode selector
Pan sliders
Pan indicators
Audio Input/Output Path selectors
Automation Mode selector
Solo/Mute buttons
Pan slider
Pan indicator
Track Record Enable button
TrackInput Monitor button
(Pro Tools HD only)
Solo/Mute buttons
Output Window button
Volume fader
Level meters
Output Window button
Volume fader
Group ID
Level meter
Track Type indicator
Volume/Peak/Delay indicator
Voice selector
Delay Compensation View (Pro Tools HD only)
Group ID
Track Name button
Track Color Coding
Track Type indicator
Volume/Peak/Delay indicator
Track Comments
Delay Compensation View (Pro Tools HD only)
Track Name button
Track Color Coding
Stereo Auxiliary Input track channel strip
Track Comments
Mono audio track channel strip
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119
Master Fader Track Channel Strips
VCA Master Track Channel Strips
Each Master Fader track has its own set of channel strip controls, including volume and automation mode. Master Fader tracks also have a
Comments View to enter and display comments.
(Pro Tools HD Only)
Inserts
Each VCA Master track has its own set of channel strip controls, including volume, record enable, input monitoring, automation mode, solo,
and mute. VCA Master tracks also have a Comments View to enter and display comments.
For more information, see “VCA Master
Tracks” on page 630.
Group Assignment
selector
Audio Output Path selectors
Automation Mode selector
Record
Enable
Solo
TrackInput
Mute
VCA Group ID
Volume
Level meter
Output Window button
Volume fader
Level meters
VCA Track Type indicators
Group ID
Track Type indicator
Volume/Peak/Delay indicator
Delay Compensation View (Pro Tools HD only)
Track Name button
Track Color Coding
Track Comments
Stereo Master Fader track channel strip
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VCA Master track
MIDI Track Channel Strips
Each MIDI track has its own set of channel strip
controls, including MIDI volume, pan, record
enable, automation mode, solo, mute, patch assignment, and channel assignment. MIDI tracks
also have a Comments View to enter and display
comments.
for MIDI input, output, mute, volume, and pan
(like on a MIDI track). Instrument tracks also
have a Comments View to enter and display
comments.
MIDI Volume
MIDI Input selector
MIDI Output selector
MIDI Velocity meter
MIDI Input selector
MIDI Mute button
MIDI Output selector
MIDI Pan slider
Automation Mode selector
Inserts
MIDI Pan slider
MIDI Pan indicator
Record Enable
Sends
Solo/Mute buttons
MIDI Volume fader
Audio Input/Output Path selectors
Automation Mode selector
MIDI Velocity meter
Pan sliders
Pan indicators
Patch Select
Record Enable
Group ID
Track Type indicator
MIDI Volume indicator
Solo/Mute buttons
Output Window button
Volume fader
Track Name button
Track Color Coding
Level meters
Track Comments
Patch Select
Group ID
MIDI channel strip
Instrument Track Channel Strips
Each Instrument track has its own set of channel
strip controls, including audio (like an Auxiliary
Input track) volume, pan, automation mode,
solo, and mute, and MIDI (like a MIDI track)
record enable. Instrument tracks have an additional Instruments View that provides controls
Track Type indicator
Volume/Peak/Delay indicator
Delay Compensation View (Pro Tools HD only)
Track Name
Track Color Coding
Track Comments
Stereo Instrument track channel strip
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121
Track Controls and Indicators
Input/Output Selectors
The I/O View shows Input and Output selectors
on audio, Auxiliary Input, Master Fader (output
only), MIDI, and Instrument tracks.
Volume Indicator (and Pop-Up Fader) Shows the
current volume, or input level of a track as set by
the track Volume fader. In I/O View (Edit window), click the Volume indicator to display the
Volume pop-up fader, which can be used to adjust the volume.
Input Path selector
Output Path selector
Volume indicator
Pan indicator
Output Window button
Edit window I/O View (audio track)
For information on other track views, see
“Views in the Mix and Edit Windows” on
page 634.
To show the I/O View in the Edit window:
■
Select View > Edit Window > I/O.
Channel strips in the Mix window always
display Input and Output selectors as well
as volume and pan values, so there is no I/O
View display option for the Mix window.
For details on Input and Output selectors,
see “Assigning Inputs and Outputs to
Tracks” on page 133.
Volume/Peak/Channel Delay
Indicator
Edit window I/O View, Volume pop-up fader (audio track)
Peak Indicator Functions as a headroom indicator based on the last peak playback level. To reset the peak counter, click anywhere in the
meter. Values range from –∞ (no signal) to 0 dB.
Channel Delay Indicator Shows the total delay, in
samples, incurred on the track from the use of
any TDM plug-ins on that channel.
Pan Indicator
The Pan indicator displays the current pan setting of a track. Pan values range from <100 (full
left) to 100> (full right). Pan controls are only
available for stereo tracks or for mono tracks
routed to a stereo output.
In I/O View (Edit window), click the Pan indicator to display the Pan pop-up slider, which can
be used to adjust panning.
The Volume indicator on an audio track has
three display modes: Volume, Peak, and Channel Delay.
To toggle the Volume indicator display:
■ Control-click (Windows) or Command-click
(Mac) the indicator to toggle it between the following modes:
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Edit window I/O View, Pan pop-up slider (audio track)
Pan Slider
The Pan slider controls the balance of a track between the assigned output pair. It only appears
if you are using stereo tracks or mono tracks
routed to a stereo output.
The Pan slider on a MIDI track is effective only if
you are controlling a sound module that supports MIDI panning.
Send Pan controls can be linked to the Main
Pan controls of a track by enabling the Follow Main Pan button in Send window.
Volume Fader
The Volume fader controls the volume of a track
when it is in playback, and the monitor level of
the track when it is in record. You can link the
record and monitor levels by enabling the Operation preference for “Link Record and Play Faders.”
The maximum fader gain for a volume fader is
+12 dB.
levels; Yellow indicates pre-clipping (–6 dB below full scale); and Red indicates clipping.
When an audio track is record-enabled, these
meters indicate record levels.
On MIDI tracks, the level meter shows the MIDI
velocity of the most recent MIDI event.
Pre- and Post-Fader Metering
You can globally set audio track level meters to
indicate pre- or post-fader levels. When prefader metering is selected, the level meters show
levels independent of fader position. With postfader metering, the level meters respond to fader
position.
To toggle track level metering between pre- fader
and post-fader metering:
■
Select Options > Pre-Fader Metering.
Peak Hold
Pro Tools meters provide a Peak Hold feature
with three options: 3 Second, Infinite, or None.
To choose a Peak Hold setting:
MIDI Volume Fader
If your MIDI sound module supports volume,
the volume fader on a MIDI or Instrument track
can send a value of 0–127 to the MIDI volume
controller.
Track Level Meter
On audio tracks, Level meters indicate the level
of the signal being recorded or played back from
the hard drive. On Auxiliary Input, Master
Fader, and Instrument tracks, Level meters indicate the level of the signal being played through
the channel output. Green indicates nominal
1 Choose Setup > Preferences and click the
Display tab.
2 Select a Peak Hold option.
3 Click OK.
To clear a meter:
■
Click anywhere on the meter.
To clear all meters, do one of the following:
■ Alt-click (Windows) or Option-click (Mac)
any meter.
■
Choose Track > Clear All Clip Indicators.
■
Press Alt+C (Windows) or Option+C (Mac).
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123
Clip Indication
To toggle Wide Meters View on or off:
Pro Tools meters provide Clip Indication with
three options: 3 Second, Infinite, or None. If
clipping occurs, the topmost LED will stay lit
(red).
■ Control-Alt-Start-click (Windows) or Command-Option-Control-click (Mac) any track
level meter in the Mix or Edit window.
Clip indicators appear in plug-in, send, and
track windows.
To choose a Clip Indication setting:
1 Choose Setup > Preferences and click the
Display tab.
2 Select a Clip Indication option.
3 Click OK.
Wide Meters View, Mix and Edit windows
To clear a clip indicator:
■
Click anywhere on the meter.
To clear all clip indicators, do one of the following:
■ Alt-click (Windows) or Option-click (Mac)
any meter.
■
Choose Track > Clear All Clip Indicators.
■
Press Alt+C (Windows) or Option+C (Mac).
Adjusting Track Width
Mix Window
The Narrow Mix command lets you view all
tracks/channels in the Mix window at a reduced
width to conserve screen space in a large session.
(See “Track Height” on page 338, to adjust track
height in the Edit Window.)
Wide Meters View
To reduce the width of tracks in the Mix window:
Wide Meters View expands the width of the
level meters for tracks in both the Mix and Edit
windows, to make the track level meters easier
to read. Wide Meters View are also available Narrow Mix View.
■
Select View > Narrow Mix.
To display tracks at normal width:
■
Deselect View > Narrow Mix.
You can toggle track width by pressing Control+Alt+M (Windows) or Command+Option+M (Mac).
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3 Select the track format (mono, stereo, or one
Creating Tracks
On all systems, you can create mono and stereo
tracks. With Pro Tools HD, you can also create
multichannel tracks (LCR to 7.1 tracks).
When new tracks are created, they are given a
default name that can be changed at any time.
To insert new tracks next to a specific track in
a session, select that track by clicking the track’s
name in the Mix or Edit window before opening
the New Tracks dialog. The new tracks are added
immediately after the selected track.
of the multichannel surround formats) from the
Track Format pop-up menu. Surround formats
are available on Pro Tools|HD systems only.
To auto-scroll the Track Format pop-up
menu, press Control (Windows) or Command (Mac) and use the Left/Right Arrow
keys.
◆
To insert new tracks after the last tracks in a
session, make sure that no track names are selected on-screen before opening the New Tracks
dialog.
◆
You can also add tracks to your session by
importing them from preexisting sessions.
See “Importing Tracks and Track Attributes” on page 218.
1 Choose Track > New.
Add/Remove Row
Track Type
Track Format
To auto-scroll the Track Timebase pop-up
menu, press Control-Alt (Windows) or
Command-Option (Mac) and use the
Up/Down Arrow keys.
5 Enter the number of new tracks.
6 Do the following, if desired:
• To add more tracks, click the Add Row button.
– or –
• To remove the previous track, click the Remove Row button.
To create new tracks:
Number of new tracks
4 Select the timebase (samples or ticks) from the
Track Timebase pop-up menu.
Track Timebase
You can also add a new track by pressing
Control+N (Windows) or Command+N
(Mac). To delete a track from the New
Tracks dialog Control+Minus (–) (Windows) or Command+Minus (–) (Mac).
7 To reorder tracks, click a Move Row icon and
New Tracks dialog
drag it up or down.
2 Select the type of track you want to add from
the Track Type pop-up menu.
To auto-scroll the Track Type pop-up menu
in the New Tracks dialog, press Control
(Windows) or Command (Mac) and use the
Up/Down Arrow keys.
Move Row icon
Move Row icon in the New Tracks dialog
8 Click Create.
Chapter 10: Tracks
125
Naming Tracks
Adding Comments to Tracks
Track names are used to auto-name recorded audio files and regions (see “Default Track Names”
on page 264).
To enter comments for a track, do one of the
following:
■ From the track channel strip, click directly in
the Comments area, type any comments for the
track, and press Enter (Windows) or Return
(Mac).
– or –
Track Name/Comments dialog
To rename a track:
■ In the Edit or Mix window, double-click the
Track Name button for a track. Then click directly in the Comments area, type any comments for the track, and press Enter (Windows)
or Return (Mac).
To enter a carriage return in the Comments
area, press Shift+Enter (Windows) or
Shift+Return (Mac) on the QWERTY keyboard.
1 Do one of the following:
• In the Mix or Edit window, double-click the
Track Name button for the track you want
to rename.
– or –
• In the Track List, or Mix or Edit window,
Right-click the track name for the track you
want to rename.
2 In the Track Name/Comments dialog, type a
new track name.
With Track Number View enabled, each track is
assigned a number corresponding to its position
in the Mix and Edit Windows. When tracks are
reordered, they are renumbered to maintain positional sequence.
3 Click Previous or Next to rename other displayed tracks.
To enable Track Number View:
To move to the previous or next track in the
Track Name/Comments dialog, you can
press Control (Windows) or Command
(Mac) and use the Up/Down or Left/Right
Arrows.
4 Click OK.
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Track Numbering
Pro Tools Reference Guide
■
Choose View > Track Number.
To navigate directly to any track number:
1 Do one of the following:
• Choose Track > Scroll to Track.
– or –
• Press Control+Alt+G (Windows) or Command+Option+G (Mac).
All tracks between the first track selected and
the additional track will also be selected.
To select or deselect noncontiguous tracks, do
one of the following:
■ Control-click (Windows) or Command-click
(Mac) Track Name buttons that are unhighlighted to select them.
– or –
■ Control-click (Windows) or Command-click
(Mac) Track Name buttons that are highlighted
to deselect them.
Scroll To Track dialog
To select all tracks:
2 In the Scroll To Track dialog, enter the Track
■ Alt-click (Windows) or Option-click (Mac)
any Track Name button that is unhighlighted.
Position Number.
3 Click OK.
To deselect all tracks:
The track is selected, and the windows scroll as
follows:
• The Mix window tracks scroll to bring the
selected track as close to the left as possible.
• The Edit window tracks scroll to bring the
selected track as close to the top as possible.
Selecting Tracks
Tracks need to be selected for operations such as
duplicating tracks or adding tracks to a group.
One or more tracks can be selected at a time.
■ Alt-click (Windows) or Option-click (Mac)
any Track Name button that is highlighted.
Selecting Tracks when Making Edit Selections
Pro Tools lets you link Track selection with Edit
selections. When Track and Edit selections are
linked, you can make a selection within a track
or across multiple tracks for editing and each associated track is selected (track names automatically highlight).
To link Track and Edit selections:
To select a track:
Click the name of an unhighlighted track in
its track channel strip.
■
■ Select Options > Link Track and Edit Selection.
Scrolling a Track into View
To select a range of tracks:
(Pro Tools HD Only)
1 Click the name of an unhighlighted track in
its track channel strip.
To scroll a track into view:
2 Shift-click an additional Track Name button.
■ In the Track List, or Mix or Edit window,
Right-click the track name and select Scroll into
View.
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127
The track is selected, and the windows scroll as
follows:
• The Mix window tracks scroll to bring the
selected track as close to the left as possible.
• The Edit window tracks scroll to bring the
selected track as close to the top as possible.
Duplicating Tracks
The Duplicate Track command lets you duplicate one or more tracks, including their audio or
MIDI data, playlists, automation, and other attributes.
To duplicate one or more tracks:
Deleting Tracks
When you delete tracks, your audio or MIDI region data remains in the Region List, but your
arrangement of the regions on the deleted track
(the track’s playlist) will be lost.
If the track contains playlists that are not assigned to any track, you are prompted to delete
or retain them.
The Delete Track command cannot be undone.
1 Select the tracks you want to duplicate.
For information, see “Selecting Tracks” on
page 127.
2 Do one of the following:
• Choose Track > Duplicate.
• Press Alt+Shift+D (Windows) or Option+Shift+D (Mac).
• Right-click the name of the track in the
Track List, or Mix or Edit window, and select Duplicate.
To delete a track:
1 Click the name of the track in its track channel strip to select it.
To select multiple tracks, Control-click
(Windows) or Command-click (Mac) additional Track Names.
To select a range of tracks, Shift-click additional Track Names.
2 Do one of the following:
• Choose Track > Delete.
– or –
• In the Track List, or Mix or Edit window,
Right-click the track name and select Duplicate.
3 Click OK to remove the selected tracks from
the session.
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Duplicate Tracks dialog
3 In the Duplicate Tracks dialog, configure the
following options as needed:
• Enter how many copies you want to create
by typing into the Number of Duplicates
field.
• To copy the currently active (visible) Edit
playlist from the source track, enable Active Playlist.
Duplicating VCA Slave Tracks
(Pro Tools HD Only)
Duplicating a VCA slave track without duplicating its group assignments will coalesce any automation on the duplicate track. The coalesced
duplicate plays back exactly as if it were in the
VCA group.
• To copy all Edit playlists on the source
track, enable Alternate Playlists
• To copy all automation from the source
track, enable Automation.
• To copy all plug-in and insert assignments,
enable Inserts.
• To copy all sends and send assignments,
enable Sends.
• To maintain all Mix and Edit Group assignments, enable Group Assignments.
4 If duplicating multiple tracks, do one of the
following:
• If you want all the newly created tracks to
follow the last selected source track (to the
far-right of the Mix window, and at the bottom of the Edit window), enable the Insert
after Last Selected Track option.
The Track List
The Track List (at the left of both the Mix and
Edit windows) shows all tracks in the session. It
allows you to show or hide a track in the Mix
and Edit windows, by selecting or deselecting its
name. Even though a track is hidden, the material on the track will still play as part of the session. Inactive tracks appear in italics in the
Track List.
The Track List can also be used to create
new tracks while importing media from
DigiBase. See “Importing Items with Drag
and Drop” on page 225.
Track List pop-up menu
– or –
• If you want each newly-created track to be
inserted directly after its source track, disable the option.
Track Type
icon
5 Click OK to duplicate tracks according to the
Track Color
Code
settings in the Duplicate Tracks dialog. Click
Cancel to close the dialog and not create duplicate tracks.
In the Mix window, each duplicate track is created to the right of its original track. In the Edit
window, each duplicate track is created below
its original track. When duplicating multiple
tracks, you can also choose to have the new
tracks follow the last selected track (or have each
new track follow its source track).
Track name
Track Number
Track List
Chapter 10: Tracks
129
Show/Hide Track List/Group List View
Button
To show (or hide) the Track List (and Group List):
■ Click the Show/Hide Track List/Group List
View button in the Mix or Edit window.
Show Only option
The Sort Tracks By command allows you to set
the track order according to Name, Type, Edit
Group, Mix Group, or Voice. The sort order will
be reflected in the Track List in the Mix or Edit
Window.
Show/Hide Track List/Group List View
Track List shown in Edit Window
Track List Pop-Up Menu
The pop-up menu at the top of the Track List
provides commands that allow you to show or
hide all tracks, tracks currently selected onscreen, or specific types of tracks (audio, Auxiliary Input, Master Fader, MIDI, or Instrument).
Sort Tracks By option
When a track that is a member of an active
group is hidden from view, editing operations
performed on other members of the group in
the Edit window will not affect the hidden track.
In the Mix window, however, all operations
other than record-enable will affect a hidden
track that is a member of an active group.
With Pro Tools HD, even if a track is hidden from view, its position relative to other
tracks still affects its voiceable track playback priority (see “Voice Borrowing” on
page 139 for details).
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To hide a track, do one of the following:
To show a range of tracks:
Click the highlighted name of the track in the
Track List.
1 Click the name of an unhighlighted track
■
– or –
In the Track List, or Mix or Edit window,
Right-click the track name and select Hide (or
Hide and Make Inactive if the track is active and
you also want to make the track inactive).
■
To show a track that is currently hidden, do one of
the following:
Click the unhighlighted name of the track in
the Track List.
■
– or –
In the Track List, or Mix or Edit window,
Right-click the track name and select Show (or
Show and Make Active if the track is active and
you also want to make it active).
■
To show all tracks:
Click the Track List pop-up menu and choose
Show All Tracks.
■
You can also show all tracks by Alt-clicking
(Windows) or Option-clicking (Mac) the
name of any track that is unhighlighted.
To hide all tracks:
Click the Track List pop-up menu and choose
Hide All Tracks.
name in the Track List.
2 Shift-click an additional track name.
All track names that occur between the first
track name selected and the additional track
name will also be selected.
You can also select a range of tracks by
moving the cursor to the left of the track
names, so the Marquee appears, and dragging around the track names you want to select.
To show or hide a range of tracks in the Track List
with the Marquee:
1 Press and hold Control (Windows) or Com-
mand (Mac).
2 Move the cursor to the left of a track name until the Marquee with a small “+” symbol appears.
• To show tracks, the Marquee should be to
the left of an unhighlighted track name.
• To hide tracks, the Marquee should be to
the left of a highlighted track name.
3 Click on the track name and drag up or down
(to show or hide the track and the tracks immediately above or below it).
■
You can also hide all tracks by Alt-clicking
(Windows) or Option-clicking (Mac) the
name of any track that is highlighted, or by
clicking on a track symbol to the left of any
highlighted track name.
To show or hide non-contiguous tracks, do one of
the following:
■ Click track names that are unhighlighted to
select them.
– or –
■ Click track names that are highlighted to deselect them.
To reorder tracks on-screen, drag the track
names to new positions within the Track
List or in the Mix or Edit window.
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131
About Mix/Edit Groups and Hidden
Tracks
In the Mix window, if a hidden track is part of
an enabled group, all Mix window operations
performed on other members of the group also
affect the hidden track—with the exception of audio or MIDI record-enabling. If you solo, mute,
or automation write-enable a grouped track, any
group members that are hidden are soloed,
muted, or automation write-enabled as well.
In the Edit window, however, editing operations
performed on members of an enabled group do
not affect hidden tracks that are also members of
the enabled group.
About Clipping and the Track List
Track Name Right-Click
Pop-Up Menus
(Edit Window, Mix Window, or Track List)
When you Right-click a track name in the Edit
window, Mix window, or the Track List, a popup menu provides access to the following commands:
Hide/Show Hides (or shows) the track (or selected tracks if any).
Hide and Make Inactive Hides the track and
makes it inactive (or selected tracks if any).
Make Active/Inactive Toggles the active status
of the track (or all selected tracks in the Mix or
Edit window only).
(Pro Tools HD Only)
When a track, send, or plug-in clips, the Track
List displays the track’s name in red. Both
shown and hidden tracks display clipping indication.
About Track Numbering and Hidden
Tracks
In the Mix and Edit windows, Track Position
Numbers can include hidden tracks in their
numbering sequence, or ignore them, as follows:
• Numbers are only assigned to tracks that are
shown (when Track Position Numbers Stay
with Hidden Tracks is not enabled in the Display Preferences page). In this case, active
tracks are then numbered sequentially. Hidden tracks are un-numbered.
– or –
• Tracks keep their Track Position Numbers
even when hidden (when Track Position
Numbers Stay With Hidden Tracks is enabled
in the Display Preferences page).
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Pro Tools Reference Guide
Scroll Into View Scrolls the track to the top of the
Edit window or to the left of the Mix window.
Send to Sibelius (MIDI and Instrument Tracks
Only) Exports the MIDI data from one or more
MIDI or Instrument tracks and automatically
imports that MIDI data into Sibelius (or G7). For
more information, see “Send to Sibelius” on
page 237.
Export MIDI (MIDI and Instrument Tracks
Only) Exports the MIDI data from one or more
MIDI or Instrument tracks to a standard MIDI
file. For more information, see “Exporting MIDI
Files” on page 236.
Coalesce VCA Master Automation (Pro Tools HD
Only) Coalesces the VCA automation to the
slave tracks of the VCA.
Coalesce Trim Automation (Pro Tools HD
Only) Coalesces Trim automation on the track
(or selected tracks if any).
Clear Trim Automation (Pro Tools HD
Only) Clears Trim automation on the track (or
selected tracks if any).
Locked (Video Track Only) Toggles the
locked/unlocked status of the video track (or selected video tracks if any).
Rename Opens the Track Name dialog.
Duplicate Duplicates the track (or selected tracks
if any).
Split Into Mono (Multichannel Tracks Only) Splits
a multichannel track (or selected multichannel
tracks if any) into their mono component
tracks.
Delete Deletes the track (or selected tracks if
any).
Expand to New Tracks Expands multichannel
audio files imported from a field recorder to new
tracks, such that every channel resides on its
own mono audio track. Pro Tools also automatically conforms all expanded tracks to the edits
in the guide (expanded) track. You can expand
multichannel files to new tracks ordered by
channel name, by channel number, or by channel name and number.
For stereo and multichannel surround tracks, inputs and outputs appear as stereo pairs and multichannel groups. The available inputs, outputs,
and busses are defined as paths in the I/O Setup
dialog (see Chapter 6, “I/O Setup”).
Automatic Input and Output
Assignments
When adding tracks to a new session, inputs are
automatically assigned in ascending order. For
example, if you have an audio interface with
eight inputs, creating four new mono audio
tracks will automatically add four audio tracks
with inputs assigned to the first four paths defined in the I/O Setup dialog. When creating stereo tracks, inputs are automatically assigned to
subsequent input pairs.
The outputs automatically assigned to new
tracks are determined by the New Track Default
Output specified in the I/O Setup dialog.
Assigning Audio Track Inputs
(Audio Tracks, Auxiliary Inputs, Instrument
Tracks)
Assigning Inputs and Outputs
to Tracks
Inputs for audio, Auxiliary Input, and Instrument tracks can be assigned to audio interface
channels or busses. Outputs for audio, Auxiliary
Input, Master Fader, and Instrument tracks can
also be assigned to audio interface channels or
busses.
Track set to
Audio Input 2
Track set to
No Input
Track set to
Bus 2
Instrument tracks route their input automatically to any inserted Instrument plugin.
To assign an audio track input:
1 In order to assign audio track inputs in the
Edit window, select View > Edit Window > I/O.
2 In the Mix or Edit window, click the track’s In-
put Path selector and choose from the available
audio interface channels and busses. Stereo and
multichannel surround tracks have inputs available as pairs and multichannel groups.
Input/output assignments for three mono audio tracks
Chapter 10: Tracks
133
The Input Path selector allows you to route any
audio input or any of the Pro Tools internal busses to an audio track or an Auxiliary Input track.
The choices available in this pop-up menu are
determined by the I/O Setup configuration. Inputs in use by another track appear as bold in
the selector.
Assigning Audio Track Outputs
(Audio Tracks, Auxiliary Inputs, Instrument
Tracks, Master Faders)
To assign an audio track output:
1 In order to assign audio track outputs in the
Edit window, select View > Edit Window > I/O.
‘
2 In the Mix or Edit window, click the track’s
Output Path selector and choose from the available audio interface channels and busses. Stereo
and multichannel surround tracks have outputs
available as pairs and multichannel paths.
Input Path selector
To remove an input assignment:
■
Select No Input from the Input Path selector.
Output Path selector
The Output Path selector lets you route a track
to any configured audio output or internal bus.
The choices available in this pop-up menu are
determined by the I/O Setup configuration.
Outputs in use by another track appear as bold
in the selector.
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Pro Tools Reference Guide
To auto-assign all visible tracks to unique mono
sub-path outputs in ascending order:
1 Make sure you have enough mono sub-paths
2 In the Rename I/O dialog, enter a name for the
I/O Path, and click OK.
‘
defined in I/O Setup (see Chapter 6, “I/O
Setup”).
2 Control-Alt-click (Windows) or Command-
Option-click (Mac) the Output Path selector of
the left-most track and assign it to the sub-path
for Output #1. All visible tracks will be auto-assigned to unique mono sub-path outputs in ascending order.
To remove an output assignment:
Select No Output from the Output Path selector. Playlists become dimmed for tracks with no
output assignment.
■
Assigning an audio track, Auxiliary Input,
Master Fader, or Instrument track to “No
Output” will cause its automation data for
pan and plug-in controls to be lost.
Renaming Track Inputs and
Outputs from the Edit or Mix
Window
I/O path names can be renamed in the Edit or
Mix windows, or in the I/O Setup dialog.
To rename an I/O path in the Edit or Mix window:
1 In the Edit or Mix window, Right-click the In-
put selector or Output selector for a track, and
choose Rename from the pop-up menu.
Rename I/O dialog
Making Track Inputs and Outputs
Inactive from the Edit or Mix
Window
Inputs and outputs can be made inactive. Making a track input or output inactive silences the
input or output, while retaining all automation
and playlist data. Inactive inputs and outputs do
not consume resources for TDM mixer connections, but any assigned plug-ins on the track
continue to use their required DSP resources.
RTAS plug-ins require CPU resources, and TDM
plug-ins use the DSP available on Pro Tools|HD
cards.
You can make track inputs and outputs inactive
(or active) directly from the Edit or Mix windows. Inactive I/O paths are grayed out.
To make a track input or output inactive (or
active) using the I/O’s selector pop-up menu:
■ In the Edit or Mix window, Right-click the Input selector or Output selector for a track, and
choose Make Inactive (or Make Active) from the
pop-up menu.
To toggle an input or output active/inactive:
■ Control-Start-click (Windows) or CommandControl-click (Mac) the Input or Output selector
in the Mix or Edit window.
Chapter 10: Tracks
135
Track Priority and Voice
Assignment
Pro Tools LE systems provide up to 32 voices of
simultaneous audio playback and recording, depending on the system. For details on LE system
capabilities, see Table 7 on page 26.
Pro Tools|HD systems provide a certain number
of voices (simultaneous channels of audio playback and recording), depending on the system.
For example, a Pro Tools|HD 1 system can provide up to 96 voices of audio playback and recording, at 44.1 or 48 kHz. For details on
Pro Tools system capabilities, see Table 5 on
page 23.
Pro Tools LE systems with the DV Toolkit 2 option or the Music Production Toolkit option let
you play or record up to 48 simultaneous stereo
or mono tracks. For details on system capabilities with these options, see “DV Toolkit 2 and
Music Production Toolkit” on page 27.
Track Priority
While your Pro Tools hardware allows a fixed
number of voices, Pro Tools software allows for
additional audio tracks beyond that fixed number of voices. While all of these tracks can be recorded to or imported, arranged, and cued for
playback, not all of them can be played back simultaneously.
When the number of tracks exceeds the number
of available voices, tracks with lower priority
may not be heard. For these situations,
Pro Tools assigns priorities to tracks that compete for the available voices. Because there can
be more tracks than available voices, Pro Tools
provides multiple ways of adjusting the playback priority of audio tracks. See “Changing a
Track’s Playback Priority” on page 136 and
“Freeing up Voices on a Track” on page 137.
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Pro Tools Reference Guide
With Pro Tools|HD systems, you can assign specific voices to multiple tracks such that those
voices are shared by more than one track. This
feature is called voice borrowing. The combination of playback/record tracks and shared voiced
tracks comprises the total number of voiceable
tracks on a Pro Tools|HD system.
To set multiple tracks to the same voice, see
“Setting Voice Assignment” on page 137. For
additional information on voice borrowing,
see“Voice Borrowing” on page 139).
Changing a Track’s Playback Priority
Tracks with higher positions (leftmost in the
Mix window or topmost in the Edit window)
have priority over tracks in lower positions in a
session.
To increase a track’s priority, do any of the
following:
■ In the Mix window, drag the Track Name button to the left of other tracks in the session.
Tracks at the left of the Mix window have higher
priority than those on the right.
■ In the Edit window, drag the Track Name button above other tracks in the session. Tracks at
the top of the Edit window have higher priority
than those below.
■ In the Track List, drag the Track Name button
to a higher position in the list. Tracks at the top
of this list have higher priority than those below.
Freeing up Voices on a Track
You can also adjust the relative priority of tracks
by freeing up the voices of individual tracks,
making them available to other tracks in the session.
To free up the voice of a track, do one of the
following:
Click the Voice selector of the track and set it
to Off. See “Setting Voice Assignment” on
page 137.
■
Deactivate the track by Control-Start-clicking
(Windows) or Command-Control-clicking
(Mac) its track type icon in the Mix window.
With Pro Tools HD, tracks assigned to a specific
voice number take priority over dynamically allocated tracks and support voice borrowing (see
“Voice Borrowing” on page 139). To ensure a
track is heard, or that it is available for QuickPunch, TrackPunch, or DestructivePunch recording, assign a voice number to that track.
With Pro Tools HD, QuickPunch, TrackPunch, and DestructivePunch require additional voices. For more information, see
Chapter 17, “Advanced Punch Recording.”
■
Make sure the track does not have an output
or send assignment.
■
With Pro Tools HD, the initial insert of an
RTAS plug-in uses additional voices in certain situations. See“Voice Usage and Total
Latency for RTAS Plug-ins” on page 665.
With Pro Tools HD, you can temporarily free a
track’s voice during playback by muting it (see
“Mute Frees Assigned Voice” on page 145).
For stereo and multichannel tracks, voices appear in pairs and multichannel groups. Voices
already assigned to another track appear in bold
in the Voice selector pop-up menu.
Setting Voice Assignment
To set the voice assignment for a track:
A track’s voice assignment can be turned off or
set to be dynamically allocated, and with
Pro Tools HD, can also be assigned to a specific
voice number.
■ Click the Voice selector and set the track to
Dyn, Off, or select a voice number (Pro Tools HD
only).
■
On all Pro Tools systems, you can use Dynamically Allocated Voicing to automatically take
care of voice management in the background,
assigning voices not in use by other tracks.
Pro Tools LE supports Dynamically Allocated Voicing only; it does not support individual voice assignments.
Voice selector for stereo audio track (Pro Tools HD
shown)
Chapter 10: Tracks
137
Voice Assignment with Toolkit Options
Automatic Assignment of Ascending Voices
(Pro Tools LE with DV Toolkit 2 or Music
Production Toolkit)
(Pro Tools HD Only)
Pro Tools LE systems with the DV Toolkit 2 option or the Music Production Toolkit option let
you play or record up to 48 simultaneous stereo
or mono tracks. Higher track counts are only
supported with multiple hard drives and faster
Digidesign-qualified systems.
The first 48 audio tracks that are active and have
their voice assignment set to DYN (Dynamically
Allocated Voicing) play back. Tracks which occur after these 48 tracks do not play back and
cannot be recorded on. Their Dynamically Allocated Voicing button will be blue to indicate
they are unavailable for playback or record.
Tracks do not play back when they are inactive or their voice assignment is set to Off.
When working with more than 48 audio tracks,
you can play back audio in tracks 49 and higher
by changing the higher track’s priority, as follows:
• Make a lower track inactive (click the Track
Name and select Track > Make Inactive).
• Set the voice assignment in a lower track to
Off (click the Voice selector and select Off).
• Drag the Track Name button of the higher
track to the left (Mix window) or upwards
(in the Edit window or Track List) until it is
one of the first 48 audio tracks. The previous 48th audio track will become the 49th
audio track and its voice assignment will
change to Off.
If the original track 49 (or higher) had its voice
assignment set to Off, it automatically resets to
DYN when you do any of the above steps.
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Pro Tools Reference Guide
You can automatically assign all tracks or all selected tracks to successive voices. For example,
you may want to select eight audio tracks and
reassign them to voices 9–16.
To assign all audio tracks to successive voices:
■ While pressing Control+Alt (Windows) or
Command+Option (Mac), select the starting
voice number from the Voice selector for the
track at the far left of the Mix window, or at the
top of the Edit window.
The voice is assigned to the first track, with successive voices assigned to tracks (with the same
format) of lower priority.
To assign all selected audio tracks to successive
voices:
1 Select the audio tracks by Control-clicking
(Windows) or Command-clicking (Mac) their
names.
To select multiple tracks, Control-click
(Windows) or Command-click (Mac) additional Track Names.
To select a range of tracks, Shift-click additional Track Names.
2 While pressing Control+Alt+Shift (Windows)
or Command+Option+Shift (Mac), select the
starting voice number from the Voice selector
for the left (Mix window) or top (Edit window)
selected track.
The voice is assigned to the starting track, with
successive voices assigned to currently selected
tracks (with the same format) of lower priority.
Voice Borrowing
(Pro Tools HD Only)
Pro Tools HD features voice borrowing, which lets
you assign more than one track to the same
voice. The track with the highest priority takes
over that voice, but when a hole opens up in the
higher-priority track, its shared voice is temporarily available, and the track with the next
highest priority “pops through” and begins to
play. When the original track returns, the track
that had popped through relinquishes the
shared voice to the higher priority track.
The following example demonstrates the concept of voice borrowing:
Setting MIDI Input and Output
MIDI recording and playback is supported with
MIDI tracks and Instrument tracks.
Assigning MIDI Track Input
Pro Tools lets you assign specific MIDI ports and
channels to a MIDI track input. The default selection of All receives all incoming MIDI data
from all ports on all channels. Use the MIDI Input selector to specify a MIDI port and channel
for input.
For information on assigning MIDI input to
Instrument tracks, see “Assigning MIDI Input and Output for Instrument Tracks” on
page 140.
To assign a MIDI track input:
“Rhythm” regions play when there is no “Lead” region
In the above illustration, the two visible tracks
are assigned to the same voice. There is an open
area in the top track where no region appears. At
this point, the voice is free since it is not being
used, and the next highest priority track assigned to that voice (the bottom track) pops
through the open area and plays.
■ Click the track’s MIDI Input selector and assign a port and channel for MIDI input. Channels already assigned to another track appear in
bold.
In the Edit window, select View > Edit Window > I/O to access any track’s Input selector.
By experimenting with track priority, voice assignment, and arranging regions so that they are
positioned to “pop through” holes in higher priority tracks, you can find many useful ways to
maximize voiceable tracks with Pro Tools HD.
MIDI Input selector (MIDI Track shown)
Chapter 10: Tracks
139
Assigning MIDI Track Output
Pro Tools lets you assign specific MIDI ports and
channels to a MIDI track output. The default selection of none sends MIDI data to no port on
any channel. Use the MIDI Output selector to
specify a MIDI port and channel for output.
To assign multiple destinations to a single MIDI
track:
■ Right-click (Windows) or Control-click (Mac)
the MIDI Output selector and select additional
channels from any device.
For information on recording and importing
MIDI data, see Chapter 16, “MIDI Recording.”
MIDI tracks in Pro Tools cannot contain
multiple channels of MIDI data.
For information on assigning MIDI output
to Instrument tracks, see “Assigning MIDI
Input and Output for Instrument Tracks”
on page 140.
To assign a MIDI track (and all its regions) to a
specific MIDI device channel:
■ Click the track’s MIDI Output selector and assign a port and channel for MIDI output. Channels already assigned to another track appear in
bold.
Assigning MIDI Input and Output
for Instrument Tracks
Instrument tracks have a specific view for MIDI
controls, including MIDI Input and Output selectors.
To view Instrument track MIDI controls, do one of
the following:
■
Select View > Mix Window > Instruments.
– or –
■
Select View > Edit Window > Instruments.
In the Edit window, select View > Edit Window > I/O to access any track’s Output selector.
MIDI Input selector
MIDI Output selector
Instrument View
MIDI Output selector (MIDI track shown)
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Pro Tools Reference Guide
Instrument Track MIDI Input
Pro Tools lets you assign specific MIDI ports and
channels to an Instrument tracks’ MIDI input.
The default selection of All receives all incoming
MIDI data from all ports on all channels. Use the
MIDI Input selector to specify a MIDI port and
channel for input.
Channels in use by another track input appear
bold in the MIDI Input Selector pop-up menu.
To assign an Instrument track MIDI input:
Click the track’s MIDI Input selector and assign a port and channel for MIDI input. Channels already assigned to another track appear in
bold.
Inserting Instrument Plug-ins on
Instrument Tracks
To insert an instrument plug-in on an Instrument
track:
■ Click the Insert Selector on the Instrument
track and select the instrument plug-in that you
want to use.
A MIDI node (virtual MIDI port) is automatically created and assigned the track’s MIDI output.
■
Insert with instrument plug-in
Instrument Track MIDI Output
Pro Tools lets you assign specific MIDI ports and
channels to an Instrument tracks’ MIDI output.
The default selection of none sends MIDI data to
no device, port, or node on any channel. Use
the MIDI Output selector to specify a MIDI port
and channel for output.
Channels in use by another track input appear
as bold in the MIDI Input Selector pop-up
menu.
To assign an Instrument track MIDI output:
Click the track’s MIDI Output selector and assign a port and channel for MIDI output. Channels already assigned to another track appear in
bold.
■
Instrument track with an instrument plug-in (Digidesign
Synchronic shown)
Soloing and Muting Tracks
The Solo and Mute buttons can be engaged at
any time during playback. The Solo and Mute
buttons affect MIDI as well as audio tracks. It is
possible to have more than one track soloed or
muted at the same time in a session.
Instrument tracks have separate sets of Solo
and Mute buttons for MIDI and audio monitoring.
Chapter 10: Tracks
141
Track grouping also affects mute and solo behavior. Muting or soloing a track that is a member of an active Mix Group will mute or solo all
other tracks that are a member of that active
Mix Group as well.
For information on creating and modifying
groups for track soloing and muting, see
“Grouping Tracks” on page 149.
Solo Button
The Solo button normally mutes other tracks so
that the selected track can be auditioned independently.
With Pro Tools HD, this behavior is selected as a
Solo mode, called “Solo In Place.” Additional
Solo modes are provided to change how the Solo
button works. See “Solo Modes” on page 142.
To solo tracks:
1 Click the Solo button on a track. The button is
Solo button behavior is defined by the Solo
mode, as follows:
SIP (Solo In Place) The Solo button mutes other
tracks. When this mode is enabled, tracks can be
solo safed (see “Solo Safe Mode” on page 144).
AFL (After Fader Listen) The Solo button routes
the track’s post-fader/post-pan signal to the
AFL/PFL Path output. The AFL/PFL Path is configured in the Output page of the I/O Setup dialog (see “AFL/PFL Path” on page 60).
With AFL, the level you hear is dependent on
the fader level for that track. Additionally, there
is a separate master level setting for AFL that affects the output of any or all tracks you solo in
AFL mode (see “AFL/PFL Path” on page 60). This
level setting is independent of the PFL level setting.
AFL and PFL Solo modes require the Surround Mixer plug-in (see the Pro Tools|HD
Getting Started Guide).
highlighted and all other tracks are muted.
2 Click the Solo button on another track. The
buttons for both tracks are highlighted and all
other tracks are muted.
PFL (Pre Fader Listen) The Solo button routes
the track’s pre-fader/pre-pan signal to the
AFL/PFL Path output. The AFL/PFL Path is configured in the Output page of the I/O Setup dialog (see “AFL/PFL Path” on page 60).
To un-solo tracks:
■
Click the Solo button on soloed tracks.
Solo Modes
(Pro Tools HD Only)
With Pro Tools HD, the Solo button can be used
to:
• Mute other tracks so that the chosen track
can be auditioned alone.
With PFL, the fader level and pan are ignored,
and the level you hear is dependent on the signal’s recorded level. Additionally, there is a separate master level setting for PFL that affects the
output of any or all tracks you solo in PFL mode
(see “AFL/PFL Path” on page 60). This level setting is independent of the AFL level setting.
AFL and PFL Solo modes require the Surround Mixer plug-in.
– or –
• Route a chosen track to a separate output.
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Pro Tools Reference Guide
If Mutes Frees Assigned Voice is enabled,
muted tracks will not be audible in PFL
mode.
To select a Solo mode:
1 Choose Options > Solo Mode.
2 Select SIP, AFL, or PFL.
The Solo mode for all soloed tracks can be
changed “on-the-fly” from any Solo mode to
either SIP or AFL. Previously soloed tracks
will switch their solo behavior to the new
mode.
Switching the Solo mode for all soloed
tracks “on-the-fly” to PFL will clear all previously soloed tracks before entering PFL
mode. This prevents potentially large boosts
in level.
DSP Usage when Using AFL or PFL Mode
AFL and PFL are accomplished by Pro Tools creating a “behind the scenes” mixer to route the
signal to the chosen AFL/PFL Path. Depending
on the size of your main mixer, Pro Tools will
devote a substantial portion of its available DSP
when using AFL/PFL mode.
Using AFL/PFL on Pro Tools Systems without
D-Control or D-Command
If you are not using a D-Control or D-Command
control surface, your regular Pro Tools output
path is not necessarily muted when you send a
signal to the AFL/PFL Path. If you need the main
signal to automatically mute when an AFL/PFL
signal is invoked, you need to do the following:
1 Configure the output path for AFL or PFL so-
loed tracks.
2 Select the main output path that will mute
when you solo a track in AFL or PFL mode (see
“AFL/PFL Mutes (Output Path) Selector” on
page 61).
3 Set up your hardware to monitor both the
main and AFL/PFL paths simultaneously.
When AFL or PFL is selected as a Solo mode and
a track is soloed, the main output path will mute
and the AFL/PFL signal will appear at the
AFL/PFL Path for monitoring.
Un-declaring the AFL/PFL Path will free up all
DSP resources previously used for AFL/PFL
mode.
Using AFL/PFL on Pro Tools Systems with a
D-Control or D-Command
AFL/PFL is optimized for Pro Tools systems using a D-Control or D-Command control surface,
where the XMON automatically switches its
monitor source between the main output and
the AFL/PFL output from Pro Tools.
For more information on using XMON and
AFL/PFL, see your control surface guide.
Chapter 10: Tracks
143
Solo Latch Options
Solos can be latched (where pressing subsequent
buttons adds them to the soloed mix of tracks),
unlatched, or temporarily latched (Pro Tools
HD only).
Temporarily Latching Solos in Momentary Solo
Mode
(Pro Tools HD Only)
To temporarily latch solos:
1 Choose Options > Solo Mode > Momentary.
To select a Solo Latch mode:
Choose Options > Solo Mode and select from
the following options:
2 Press and hold the Solo button on the first
■
track that will be soloed.
Latch When selected, pressing subsequent Solo
buttons adds them to the soloed mix of tracks.
3 While still holding the first Solo button, press
additional Solo buttons. Solo buttons will remain soloed as long as one Solo button is held.
X–OR (Cancels Previous Solos) When selected,
pressing subsequent Solo buttons cancels previous solos.
As long as at least one Solo button is held
down, all the solos will remain latched.
Solo Safe Mode
To override X–OR mode and solo more than
one track at a time, press and hold the Solo
button on the first track. Subsequently
pressed Solo buttons will latch.
Momentary (Pro Tools HD Only) When selected,
Solo buttons are not sticky. A track is soloed
only when its Solo switch is held down.
With a Digidesign-qualified control surface, additional tracks can be soloed by pressing their
Solo switches (as long as at least one Solo button
is held down). When no Solo switch is held
down, all soloed tracks will unsolo.
Pro Tools lets you solo safe a track. This prevents
the track from being muted even if you solo
other tracks. This feature is useful for tracks such
as Auxiliary Inputs that are being used as a submix of audio tracks, or effects returns, allowing
the audio or effects track to remain in a mix
even when other tracks are soloed. It is also useful to solo safe MIDI tracks so that their playback is not affected when you solo audio tracks.
AFL or PFL soloed tracks (Pro Tools HD
only) cannot be solo safed.
To solo safe a track:
■ Control-click (Windows) or Command-click
(Mac) the Solo button on the track. This prevents the track from being muted even if you
solo other tracks. The Solo button changes to a
transparent color in Solo Safe mode.
To return a solo safe track to normal:
■ Control-click (Windows) or Command-click
(Mac) the Solo button on the track again.
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Mute Button
The Mute button silences a chosen track. More
than one track can be muted at one time. If Options > Mute Frees Assigned Voice (Pro Tools HD
only) is enabled, muting a track will allocate its
voice to the next highest priority voiceable track
(assigned to the same voice).
To mute a track:
Click the Mute button on the track. The track
is grayed-out and muted.
Making Tracks Inactive
Audio, Auxiliary Input, Master Fader, VCA Master (Pro Tools HD only), and Instrument tracks
can be made inactive. Inactive tracks use no DSP
or voices. Plug-ins, sends, voices, and automation on inactive tracks are all disabled. Tracks
may also be automatically made inactive if a session is opened on a system with less DSP power
than the system that it was created on.
■
To unmute a track:
■
Click the Mute button again.
Mute Frees Assigned Voice
MIDI tracks cannot be made inactive.
To toggle a track active/inactive:
■ Control-Start-click (Windows) or CommandControl-click (Mac) the Track Type indicator in
the Mix window.
(Pro Tools HD Only)
Track Type indicator
Selecting Options > Mute Frees Assigned Voice
and muting a track disables playback of that
track, and surrenders control of its voice to the
next highest priority track with the same voice
assignment.
Muting a track with Mute Frees Assigned
Voice enabled does not free up the voice for
QuickPunch, TrackPunch, or DestructivePunch recording.
With this option enabled, there may be a delay
(ranging in length from one to several seconds
depending on the processing power of your system) between the time you mute or unmute a
track and when you hear the effect on playback.
Larger DAE Playback Buffer Sizes can also
increase the lag time between the time you
click the Mute button and the onset of muting. See “DAE Playback Buffer Size” on
page 37.
Toggling a track active/inactive
Playlists for inactive tracks are dimmed and
track controls are grayed out.
To make one or more tracks inactive:
1 Click the name of the track (in its track channel strip) and select Make Inactive.
To select multiple tracks, Control-click
(Windows) or Command-click (Mac) additional Track Names.
To select a range of tracks, Shift-click additional Track Names.
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145
Color Coding for Tracks,
Regions, Markers and Groups
Separate colors can be assigned to audio and
MIDI regions, tracks, markers, and groups.
Regions shown in Waveform and Block Views in
the Edit window are drawn in color. Tracks
shown in the Track List, Group List, and Mix
and Edit windows have associated color bars.
Display Page Preferences for
Color Coding
Color Coding options determine how colors are
assigned to the display of tracks and regions.
To change Color Coding options:
1 Choose Setup > Preferences.
2 Click Display.
3 Select a Default Track Color Coding option.
Color Bars
Color coding at the track level is displayed using
color bars, as follows:
Mix Window Track colors are displayed in horizontal color bars that appear above each channel strip, and below the track name.
Edit Window Track colors are displayed in vertical color bars that appear to the left of each
track.
Track List Track colors are displayed in vertical
color bars that appear to the left of each track
name.
Group List Track colors are displayed in vertical
color bars that appear to the left of each Group
Name.
4 Select a Default Region Color Coding option.
5 Select or deselect the Always Display Marker
Colors option.
6 Click OK.
Always Display Marker Colors
This setting lets you choose to view Marker colors in the Markers ruler, regardless of the settings you choose for Default Region Color Coding.
Default Track Color Coding
The Default Track Color Coding options determine how colors are assigned to the display of
tracks.
Default colors are automatically assigned to
tracks, but you can override those colors by
choosing from a color palette of 96 possible colors. For more information, see “Color Palette”
on page 147.
Default Region Color Coding options
None Turns off default color assignment for
tracks.
Tracks and MIDI Channels Assigns a color to
each track in the Mix or Edit window according
to its voice assignment or MIDI channel assignment.
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Tracks and MIDI Devices Assigns a color to each
track in the Mix or Edit window according to its
voice assignment or MIDI device assignment.
Track Color Assigns a region color based on the
color assigned to the track. (See “Color Palette”
on page 147.)
Groups Assigns a color to each track according to
its Mix or Edit Group ID. If groups are suspended using the Suspend Groups command,
the tracks color bars are not shown.
Marker Locations Assigns a color to data across
all tracks based on the nearest preceding marker.
Track Type Assigns a color to each track according to its type (audio, Auxiliary Input, Instrument, MIDI, or Master Fader).
Default Region Color Coding
The Default Region Color Coding options determine how colors are assigned to the display of
regions.
Region List Color Assigns a color to each region
based on its color in the Region List. When this
Default Region Color Coding option is enabled,
the assigned region color is maintained even if
the region is placed in a track set to a different
color coding.
Enabling any Default Region Color Coding
option other than Region List Color will
override Region List Color and reassign the
parent track color to copies of the region
placed in tracks. Copies of the region in the
Region List will retain their unique color, if
any.
Color Palette
The Color Palette lets you make color selections
for tracks, regions, groups and markers.
Default Region Color Coding options
None Turns off default color assignment for regions. Regions are drawn as black waveforms or
black MIDI notes on a light gray background.
Tracks and MIDI Channels Assigns a color to
each region in the Edit window according to its
voice or MIDI channel assignment.
Tracks and MIDI Devices Assigns a color to each
region in the Edit window according to its voice
assignment or MIDI device assignment.
Apply to Selected
Hold
Default
None
Last Assigned Color
Color Palette window
The Color Palette supports independent region
color coding in the Region List and in tracks.
Groups Assigns a color to each region according
to the Group ID of its track. If groups are suspended (using the Suspend Groups command)
all regions display black waveforms or MIDI
notes on a light gray background.
Chapter 10: Tracks
147
To apply a color from the Color Palette:
Using the Hold Button
1 Choose Window > Color Palette.
The Color Palette provides a Hold button to simplify the process of assigning the same colors to
multiple items (such as track and regions).
2 Do one of the following:
• In the Apply to Selected pop-up menu, select the destination for color coding:
Tracks, Marker, Group, Regions in Tracks,
or Regions in Region List.
– or –
• Select a track, marker, group, track region,
or Region List region in the appropriate
Pro Tools window. The Apply to Selected
menu will display the type of item you
have selected.
If selecting a marker does not display the
Marker option in the Apply to Selected popup menu, then the Always Display Marker
Colors option in the Display Preferences
page is deselected. See “Always Display
Marker Colors” on page 146 for more information.
3 Select a color from the palette, or select one of
the following:
Default Removes any custom coloring and restores the color to the default color orientation.
See “Display Page Preferences for Color Coding”
on page 146 for more information.
None Turns off color assignment. Affected regions are drawn with black waveform or MIDI
notes on light gray background. Affected tracks
and groups no longer show their color bars.
By default, the Hold button is off. When off, the
Color Palette automatically highlights the assigned color (if any) of items as you select them.
By default, the Hold button is off. When off, the
Color Palette automatically highlights the assigned color (if any) of items as you select them.
When the Hold button is enabled, the assigned
color selected in the Color Palette persists and
does not change when a different track or region
is selected.
To use the Hold button to assign the same color to
multiple items:
1 Click the Hold button to enable it. The Hold
button becomes white, and the currently selected color is now highlighted with a wider
white outline.
2 Select additional tracks or regions to which
you want to assign the same color. Because the
Hold button is enabled, the Color Palette does
not follow item selection; it remains (or
“holds”) at the last currently assigned color.
3 Click the assigned color again to assign it to
the new selection of tracks or regions. Use the
Apply to Selected popup menu to determine
which selected elements are affected.
4 To turn off Hold and return the Color Palette
to its default mode, click the Hold button until
it turns off.
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Pro Tools Reference Guide
Grouping Tracks
Pro Tools provides a relative grouping function
for linking tracks and their controls.
Mix Groups in Pro Tools HD
Mix Groups in Pro Tools HD can be set to affect
the following items:
• Main Mute
Groups are useful for editing several tracks in exactly the same way, or for mixing several tracks
(such as a pair of stereo tracks or a submix) while
keeping them at the same relative volume level.
• Solo
Pro Tools provides the following grouping features:
• Main Pan
• Send Level
• Send Mute
• Main Volume
• Main LFE Level
• Up to 104 different groups are available, arranged in 4 banks of 26 Group IDs.
• Record Enable
• Groups can be nested (subgroups within
groups).
• Automation Mode
• Grouped faders or controllers preserve
their levels relative to each other.
• Send LFE Level
• Groups are assignable to an available VCA
Master track (Pro Tools HD only).
• Plug-in Bypass
You can also group regions into region
groups. See “Region Groups” on page 452.
Mix Groups, Edit Groups, and
Mix/Edit Groups
Mix Groups only affect mixing functions and
Edit Groups only affect editing. Mix/Edit
Groups link the grouping functions of the Mix
Group and the Edit Group.
• Input Monitoring
• Send Pan
• Plug-in Controls
In Pro Tools HD, when the Main Pan attribute is enabled for groups, grouped behavior applies to the Link, Front inverse,
Rear inverse and Front/Rear inverse controls
in stereo and multichannel panner windows.
Mix Groups in Pro Tools LE
Mix Groups in Pro Tools LE always affect the following:
• Main volume
Edit Groups
Edit Groups affect the following items in the
Edit window:
• Track View
• Track Height
• Track Timebase
• Audio and MIDI editing functions
• Automation editing functions
• Automation mode
Mix Groups in Pro Tools LE can also be set to affect the following:
• Main Mute
• Solo
• Send Level
• Send Mute
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149
Grouping Limitations
To unlink Mix and Edit Groups:
Grouping does not affect these parameters:
1 Choose Setup > Preferences and click the Mixing tab.
• Voice assignment
• Output assignment
2 Deselect the “Link Mix and Edit Group En-
• Inserting plug-ins
ables” option and click OK.
Selectable Group Attributes
You can select which parameters, or attributes,
are linked in groups by the following methods:
• By making the group an Edit Group, a Mix
Group, or both (Mix/Edit Group)
• With Mix and Mix/Edit Groups, by selecting
from a list of attributes for the group
• With Mix Groups in Pro Tools HD only, by
choosing whether the selected attributes apply globally to all groups or to individual
groups
Linking Mix and Edit Groupings
The “Link Mix and Edit Group Enables” option
links group enabling between the Mix and Edit
windows.
Pro Tools allows you to create groups that are
both Mix and Edit Groups, but in some cases you
may prefer not to link enabling of Mix and Edit
Groups. For example, when you are using the
Mix window for mixing, you may prefer to work
with large, nested groups. However, in the Edit
window, you may want to perform editing tasks
within a smaller group. You could disable the
Link Mix and Edit Group Enables preference.
This would allow you to work with different
groups in the two windows.
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Mix Groups and VCA Masters
(Pro Tools HD Only)
An existing Mix Group can be assigned to a VCA
Master, or a new Mix Group can be assigned to a
VCA Master while it is being created. Only one
group can be assigned to a VCA Master at a time.
A VCA Master cannot control a group that includes itself.
For information on assigning groups to
VCA Masters, see “Assigning Groups to
VCA Masters” on page 633.
Group Controls
Menus and commands for creating and modifying groups are accessible in the following:
• Group List
• Group name in the Group List
• Group ID indicator on a track
• Track > Group menu
The Group List
The Pro Tools track grouping functions are located at the left side of the Mix or Edit window
in the Group List. This scrolling window contains the names of all the groups in your session,
as well as a pop-up menu for accessing grouping
commands. From this menu, you can select and
enable groups.
By default, every session has a group named All,
which includes every track in the session. The
All group cannot be edited or deleted.
Group List pop-up menu
Click to
select group
members
on-screen
Click to
select a
group by
typing its
letter
Group Symbols
To the left of each Group ID (“a” through “z”) is
a symbol indicating whether that group is selected in the current window (either the Mix or
Edit window). There are three types of Group
symbols, as shown in the following figure:
Filled In Circle
Click to
activate a
group
Hollow Circle
Colors
Group IDs
Click to hide
Group List
Circle with a Dot
Groups Symbols
Group List
The Group symbols indicate the following:
Show/Hide Track List/Group List View
Button
Filled-in Circle Indicates that all members of the
group are currently selected, and no members
from outside the group are selected
To show the Group List (and Track List):
Click the Show/Hide Track List/Group List
View button in the Mix or Edit window.
■
Hollow Circle Indicates that only some members
of the group are currently selected
Circle with a Dot Indicates that all members of
the group are currently selected, plus additional
members outside the group
Group List Pop-Up Menu
The pop-up menu at the top of the Group List
provides the following commands:
New Group Executes Track > Group command
Show/Hide Track List/Group List View
Group ID
Display Provides commands to show Edit groups
only, Mix groups only, or all groups (Edit, Mix,
and Mix/Edit)
To the left of each name in the Group List is a
letter denoting its Group ID (“a” through “z”).
Suspend All Groups Suspends group behavior for
all Mix and Edit groups
Edit Group List in Edit Window
Modify Groups Opens Group dialog to modify
existing groups only
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151
Delete Active Groups Deletes only currently active groups
Group Name pop-up menu
Group List pop-up menu
Group Name and Track Group ID
Indicator Pop-Up Menus
When you click and hold on a group name in
the Group List, or click a Group ID indicator in
a track, a pop-up menu provides the following
commands:
Tracks Displays track membership in group
Group Dialog
Attributes Displays attributes of group
Whether you are creating or modifying groups
with the Group List, a tracks’s Group ID indicator, or the Track > Group menu command, you
will be using the Groups dialog.
Modify Opens Group dialog to modify existing
groups only
Duplicate Opens Group dialog for duplicated
group
Delete Deletes a single group
Select Tracks in Group Selects tracks in the
group
Show/Hide Tracks in Group Shows or hides
tracks in the current group
Show Only Tracks in Group Shows only the tracks
in the group and hides all other tracks
Show All Tracks Shows all tracks in the session
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Group ID indicator pop-up menu
Pro Tools Reference Guide
The Group dialog lets you create new groups
and assign attributes to groups.
Group Dialog in Pro Tools HD
Group Dialog in Pro Tools LE
In Pro Tools HD, the Group dialog has three
pages:
In Pro Tools LE, the Group dialog has only a single page.
Tracks Lets you add and remove tracks from the
current group
Attributes Lets you select which parameters are
linked for the current Mix or Mix/Edit Group
Globals Lets you select parameters to use as a
template that can be applied to individual
groups by selecting Follow Globals
Group dialog (Pro Tools LE)
Group dialog (Pro Tools HD)
Chapter 10: Tracks
153
Working with Groups
Creating Groups
5 Choose a Group ID from the ID pop-up menu.
Four banks of 26 are available: a–z, 2a–z, 3a–z,
4a–z. (If you do not choose a Group ID,
Pro Tools automatically assigns the next available ID to a new group.)
You can select the tracks you want to add to a
group before creating it, or add and remove
tracks from a group after it has been created.
Creating Groups in Pro Tools HD
To create a group in Pro Tools HD:
1 Select the tracks you want to include in the
group. (If you do not select tracks at this time,
you can add tracks later.)
2 Do one of the following:
• Choose Track > Group.
– or –
• Choose New Group from the Group List
pop-up menu.
3 Enter a name for the group.
4 Select the type of group to create: Edit Group,
Mix Group, or Mix/Edit Group.
Choosing a Group ID
6 Click Tracks in the Group dialog, and do any
of the following:
• To add the tracks that are currently selected
in the session to the group, click the Add
button at the bottom of the Group dialog.
• To add tracks to the group, select the track
names in the Available track list, and click
Add or press A on the computer keyboard.
• To remove tracks from the group, select the
track names in the Currently In Group list,
and click Remove or press R on the computer keyboard.
• Double-click track names in either list to
move them to the opposite column.
• To replace all tracks in the group with the
tracks that are currently selected in the session, click the Replace button at the bottom of the Group dialog.
Selecting a Group Type
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Creating Groups in Pro Tools LE
To create a group in Pro Tools LE:
1 Select the tracks you want to include in the
group. (If you do not select tracks at this time,
you can add tracks later.)
2 Do one of the following:
• Choose Track > Group.
– or –
• Choose New Group from the Group List
pop-up menu.
3 Enter a name for the group.
4 Select the type of group to create: Edit Group,
Mix Group, or Mix/Edit Group.
Selecting track names to add to a group
In either list, Shift-click to select a range of
track names. Control-click (Windows) or
Command-click (Mac) to select discontiguous track names.
7 If the group is if the group is a Mix Group or
a Mix/Edit Group, do the following:
• Set the Attributes for the Group (see “Setting Group Attributes” on page 159).
• If you want to assign the group to an available VCA, select the VCA track from the
VCA pop-up menu.
Selecting a Group Type
5 Choose a Group ID from the ID pop-up menu.
Four banks of 26 are available: a–z, 2a–z, 3a–z,
4a–z. (If you do not choose a Group ID,
Pro Tools automatically assigns the next available ID to a new group.)
Choosing a VCA track to control a group
8 Click OK.
Chapter 10: Tracks
155
6 Do any of the following:
• To add the tracks that are currently selected
in the session to the group, click the Add
button at the bottom of the Group dialog.
• To add tracks to the group, select the track
names in the Available track list, and click
Add or press A on the computer keyboard.
7 Select the items to be Linked within Groups
(Mutes, Solos, Send Mute, Send Levels).
Linked Within Groups options (Pro Tools LE)
• To remove tracks from the group, select the
track names in the Currently In Group list,
and click Remove or press R on the computer keyboard.
8 Click OK.
• Double-click track names in either list to
move them to the opposite column.
To modify a group:
• To replace all tracks in the group with the
tracks that are currently selected in the session, click the Replace button at the bottom of the Group dialog.
Modifying Groups
1 Do one of the following:
• Choose Modify Groups from the Group
List pop-up menu.
• In the Mix window, click the Group ID indicator on a track and choose Modify from
the pop-up menu.
• Right-click the Group name in the Group
List and choose Modify from the pop-up
menu.
Group List pop-up menu
2 In the Groups dialog, choose the group you
want to modify from the ID pop-up menu.
Selecting track names to add to a group
In either list, Shift-click to select a range of
track names. Control-click (Windows) or
Command-click (Mac) to select discontiguous track names.
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Pro Tools Reference Guide
3 Change any of the following for the current
group:
• Group name
• Group type (Edit, Mix or Mix/Edit)
• VCA status (Pro Tools HD only)
• Follows Global status (Pro Tools HD only)
• Track membership
• Attributes (Pro Tools HD only)
• Linked within Group items (Pro Tools LE
only)
4 Click OK.
To modify the settings for the “All” group in
Pro Tools HD:
1 Right-click the “All” group name in the Group
List and choose Modify from the pop-up menu.
Modify ALL Group dialog
3 For Mix or Mix/Edit Groups, you can change
any of the following:
• Follows Global status
• Attributes
4 Click OK.
All Group pop-up menu
2 In the Group dialog, select Edit, Mix, or
Mix/Edit to change the settings for the ALL
group. If you select Edit only or Mix only, the
ALL group will apply only to that Group type.
To modify the settings for the “All” group in
Pro Tools LE:
1 Right-click the “All” group name in the Group
List and choose Modify from the pop-up menu.
2 In the Group dialog, select Edit, Mix, or
Mix/Edit to change the settings for the ALL
group. If you select Edit only or Mix only, the
ALL group will apply only to that Group type.
Modify ALL Group dialog
Chapter 10: Tracks
157
3 For Mix or Mix/Edit groups, you can change
any of the following Linked Within Groups options:
• Mutes
• Solos
• Send Mutes
• Send Levels
4 Click OK.
Duplicating Groups
You can duplicate a group and modify its settings in order to quickly set up a mix.
To duplicate a group:
1 Do one of the following:
• Click the Group ID indicator on a track and
choose Duplicate from the pop-up menu.
– or –
Deleting Groups
One or all groups can be deleted at a time.
Deleting a group cannot be undone.
To delete a single group, do one of the following:
In the Mix window, click the Group ID indicator on a track and choose Delete from the popup menu.
■
– or –
Right-click the Group name in the Group List
and choose Delete from the pop-up menu.
■
To delete all currently active groups
Choose Delete Active Groups from the Group
List pop-up menu.
■
Group List pop-up menu
The ALL group cannot be deleted.
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Pro Tools Reference Guide
• Right-click the Group name in the Group
List and choose Duplicate from the pop-up
menu.
2 Change any of the following for the current
group:
• Group name
• Group type (Edit, Mix, or Mix/Edit)
• VCA status (Pro Tools HD only)
• Follows Global status (Pro Tools HD only)
• Track membership
• Attributes (Pro Tools HD only)
• Linked within Group items (Pro Tools LE
only)
3 Click OK.
Setting Group Attributes
(Pro Tools HD Only)
When creating a Mix Group or a Mix/Edit
Group, you can select the Mix window parameters that will be linked for that group. These
linked parameters are the attributes of the group.
3 Click OK to save the group and the new Glo-
bals settings.
For information on selecting attributes, see
“Selecting Group Attributes” on page 160.
To select attributes for an individual group:
1 While creating or modifying a Mix Group or a
Mix/Edit Group, do one of the following:
You can select attributes in the Globals page and
then set individual groups to follow the Global
settings, or you can select attributes for groups
individually.
To select attributes in the Global page:
1 While creating or modifying a group, click
Globals in the Group dialog.
• Click Attributes in the Group dialog, and
select the attributes you want to link.
– or –
• Click Follow Globals to follow the base set
of attributes. The Attributes page greys out
to indicate that the group is following the
selections in the Globals page.
For information on selecting attributes, see
“Selecting Group Attributes” on page 160.
2 Click OK to save the settings.
Globals page of Group dialog
2 Select the base set of attributes for groups in
your session.
Attributes page of Group dialog
Chapter 10: Tracks
159
Selecting Group Attributes
The following attributes can be selected for Global settings and for individual groups.
Track controls:
■ To select or deselect attributes for a single control across all Sends, all Inserts, or for the four
track controls (down a column), Alt-click (Windows) or Option-click (Mac) any attribute in
that column.
• Main Volume
• Main Mute
Saving Group Attribute Presets
• Main Pan
You can define six Group presets that can be recalled on either the Attributes or Globals page
whenever you are creating or modifying a Mix
or Mix/Edit Group.
• Main LFE Level
• Record Enable
• Input Monitoring
• Solo
• Automation Mode
To save the current attribute settings as a Group
preset:
Send controls (Sends A–J):
1 In the Groups dialog, click Save. (Follow Glo-
• Send Level
• Send Mute
bals must be unchecked to save a setting from
the Attributes page.)
• Send Pan
• Send LFE Level
Insert controls (Inserts A–E):
• Plug-in Controls
• Insert Bypass
To select the attributes for a group, do any of the
following:
Select individual attributes by clicking their
checkboxes.
■
■ To select or deselect all attributes, Alt-Shiftclick (Windows) or Option-Shift-click (Mac) any
attribute.
To select or deselect all attributes for a single
Send or Insert (across a row), Start-click (Windows) or Control-click (Mac) any attribute in
that row.
■
Saving a Group preset
2 Choose one of the six preset locations from
the Location pop-up menu, and click Save.
To save the current attribute settings directly to a preset location, Control-click
(Windows) or Command-click (Mac) the
preset button.
To recall a Group preset:
■ Click the corresponding Preset button (1–6) in
the Groups dialog. (Follow Globals must be unchecked to recall a setting in the Attributes
page.)
Recalling a Group preset
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Enabling Groups
Editing operations are not applied to members
of a group that are hidden with the Track List.
Mix operations (with the exception of recordenabling of tracks) are applied to hidden tracks.
Pro Tools lets you create separate groups for editing and mixing. You set this option when you
use the New Group command. Groups that apply to both editing and mixing can be decoupled.
To enable a group:
In the Group List, click the name of the group
you want to enable. The Group Name is highlighted to indicate that it is enabled.
■
To enable additional groups, click their names
in the Group List.
Moving a fader of a group member will cause all
other group members to move relative to it. If a
fader belongs to multiple groups, and the
groups conflict when faders are moved, the
fader will follow the topmost or “parent” group
that it belongs to.
To disable a group:
In the Group List, click the name of the group
you want to disable. The Group Name is unhighlighted to indicate that it is not enabled.
■
Keyboard Selection of Groups
The Group List Keyboard Focus allows you to
type a Group ID letter to automatically toggle
that group’s enable status.
◆ In the Mix window, the Group List Keyboard
Focus is always enabled.
◆ In the Edit window, you need to enable the
Group List Keyboard Focus to use it.
To enable the Edit Group List Keyboard Focus, do
one of the following:
■ Click the Keyboard Focus button in upper
right of the Edit Group List.
– or –
■ Press Control+Alt+3 (Windows) or Command+Option+3 (Mac).
Group List Keyboard Focus enabled
To enable and disable groups using the Edit and
Mix Group List Keyboard Focus:
■ With Group List Keyboard Focus enabled,
type the Group ID letter (a–z) to automatically
enable or disable the corresponding group.
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161
Temporarily Isolating Control of an
Item from Group Operation
Grouped Control Offsets
You can temporarily isolate control of a group
item from group operation by Right-clicking on
the item.
When the following controls are grouped with
offsets, and moved to their extremes, relative
offsets are preserved when the controls are
moved back from their extremes:
You can also temporarily suspend group behavior for a track by Start-clicking (Windows) or Control-clicking (Mac) the desired
group function.
The following items can be isolated from group
operation:
• Pan slider (Pro Tools HD only)
• Channel Record Enable (Pro Tools HD
only)
• Main Volume
• Main Pan (Pro Tools HD only)
• Send Level
• Send Pan
For example, when a grouped Volume fader is
moved to its maximum value, any other faders
in that group that had higher values will remember their relative offset whenever the first
fader is pulled down again.
• Channel TrackInput (Pro Tools HD only)
• Send Pan slider
• Channel Volume fader
• Channel Pan slider
In Automation views, this “overflow” is indicated on the automation playlist by blue automation breakpoints at the extremes of the automation playlist.
• Channel Mute button
• Channel Solo button
• Channel Record Enable button
• Channel TrackInput button
• Send fader
• Send Pan slider
Setting Group Pan Controls to
Ignore Offsets
By default, offsets are preserved for grouped pan
controls. In some workflows, it is desirable to
have grouped pan controls match absolute values rather than preserve offsets.
To set grouped pan controls to ignore offsets:
1 Choose Setup > Preferences and click Mixing.
2 Select “Use Absolute Pan Linking.”
When this option is enabled, grouped pan controls will snap to the absolute value of the pan
control that is being adjusted.
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Chapter 11: DigiBase
DigiBase and DigiBase Pro (Pro Tools HD and
Pro Tools LE with DV Toolkit 2 only) combine
an intuitive, browser-style interface with an integrated databasing engine, optimized for
Pro Tools data and media management.
DigiBase Elements
Figure 5 shows the various elements of DigiBase.
Arrows show how files can be moved between
the elements.
DigiBase browsers provide extensive databasing
tools for searching, sorting, auditioning, and
importing of audio, MIDI, video, plug-in settings (.txf), and session files. Multiple browsers
can be displayed and arranged, with custom display settings provided to optimize your work
environment.
For information on dragging and dropping
files from DigiBase browsers to your
Pro Tools session, see “Importing Items
with Drag and Drop” on page 225.
Workspace Browser
Volume Browsers
Catalogs
(DigiBase Pro Only)
Pro Tools
Session
Relink Window
Project Browser
Task Window
Figure 5. Data flow between a Pro Tools session and DigiBase browsers
Chapter 11: DigiBase
163
DigiBase Browsers
DigiBase databases are accessed through DigiBase browsers (see Figure 6). Browsers provide an
intuitive user interface to DigiBase databases
with many convenient features for various file
management tasks (such as search and sort
functions).
Browsers in Pro Tools are analogous to windows
in your computer’s operating system, but are
specifically designed for Pro Tools workflow.
Multiple browsers can be displayed simultaneously, and arranged independently with custom display settings for each.
Browsers let you search and sort audio files,
video files, and sessions. Audio, video, and session files displayed in browsers can be dragged
directly into the current Pro Tools session.
When offline items are needed, Pro Tools lets
you find the correct matching files, then relink
to online media.
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The main elements of a DigiBase browser (see
Figure 6) include the following.
Title Bar Shows the browser type (Work-space,
Volume, Project or Catalog), and the name of its
associated volume, session or catalog.
Toolbar Provides the Browser menu, Search icon,
View Presets (numbered 1–5), and browser navigation tools.
Items List Displays the contents of a volume,
folder, session, or Catalog database.
Columns Identifies the type of metadata displayed in the items list (such as file name and
format) for volumes, folders, and files in the
Items List.
• Columns can be resized by dragging the
column border, or rearranged by dragging
the Column headers.
• Columns can be dragged to either of two
available panes, the Fixed or Scrolling
panes.
TItle bar
Toolbar
Column headers
Items
List
Fixed pane
Scrolling pane
Show/Hide
Pane split
Figure 6. Main elements of a DigiBase browser (Volume browser shown).
There are three types of Pro Tools browsers
available on all supported systems:
Using the Workspace browser, you can:
• Access all mounted volumes.
• The Workspace browser
• Access all Catalogs.
• Volume browsers
• Search across multiple volumes and Catalogs simultaneously.
• The Project browser
DigiBase Pro (Pro Tools HD and Pro Tools LE
with DV Toolkit 2 only) provides one additional
browser:
• Catalogs
Workspace Browser
The Workspace browser provides access to all
your mounted volumes, as well as the folders
and files they contain.
• Designate volumes for Record and Playback, Playback Only, or Transfer.
• Unmount volumes.
• View, manage, audition and import individual items in any catalog or mounted
volume.
• Update databases for entire volumes.
For detailed information about the Workspace browser, see “Workspace Browser” on
page 195.
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165
Volume Browsers
Catalogs
Volume browsers provide file management for
local and network volumes. Volumes are formatted partitions on a physical drive (hard drive).
Open a Volume browser by double-clicking a
volume in the Workspace browser. Any changes
made in Volume browsers (such as copying, deleting, or moving files and folders) is mirrored
on the volumes themselves. Volumes include
mounted hard drives, network storage, and CDROMs.
(DigiBase Pro Only)
Using Volume browsers you can:
• View, manage, audition and import individual items on the volume.
• Update a database for contents of the volume.
Catalogs provide the highest level of Pro Tools
file management. Catalogs make it easy to organize files from multiple sources into libraries of
favorite files. Catalogs can be sorted and
searched, even when the files they reference are
offline. Catalogs can also be shared.
Using Catalogs, you can:
• Collect and organize files from any combination of volumes.
• Create catalogs of complete volumes to
view and search even if a volume is offline.
• View, manage, audition, and import individual items in the catalog.
• Update a database for contents of catalog.
Project Browser
The Project browser provides powerful search
and management tools for the files referenced in
your current session, regardless of where they
are stored. Using the Project browser, you can:
• Show all the media files associated with the
current session, including any missing
files.
• View, manage, audition and spot individual items.
For detailed information about the Project
browser, see “Project Browser” on page 198.
For detailed information about Catalogs,
see “DigiBase Pro Catalogs” on page 199.
Task Window
The Task window is a utility for viewing and
managing all of the background tasks that you
initiate with Pro Tools. Use the Task window to
monitor, pause, or cancel background tasks such
as file copies, searches, indexing, and fade creation.
For detailed information about the Task
window, see “Task Window” on page 204.
Relink Window
The Relink window provides tools and features
for relinking sessions and catalogs to media files.
Use Relink tools to search and reacquire missing
files for use in the current session.
For detailed information about the Relink
window, see “Relink Window” on
page 191.
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Performance and Transfer
Volumes
DigiBase lets you view, manage, and import sessions and media from both Performance and
Transfer volumes.
Performance Volumes Are storage volumes (hard
drives) that are suitable for playback and have
been designated in the Workspace browser as
Record and Playback (R) or Playback Only (P) of
media files in a Pro Tools session.
Transfer Volumes Are volumes that are not supported for media playback in Pro Tools (such as
shared network volumes or CD-ROMs), or storage volumes (hard drives) that have been designated in the Workspace browser as Transfer (T)
volumes. Transfer volumes cannot be used to
record or play back media in a Pro Tools session.
Designated Transfer (T) volumes can be useful
for transferring session and media files between
different Pro Tools systems.
For more information on volume designations, see “Audio and Video Volume Designators” on page 196.
Digidesign Databases
The information displayed in browsers is stored
in individual databases. Pro Tools creates these
databases automatically for all mounted volumes, including Transfer volumes.
Digidesign databases use three file types:
volume.ddb Stores media and session file metadata for a particular volume.
catalog.ddb (DigiBase Pro Only) Stores media and
session file metadata for a user defined Catalog.
Cataloged media and session files are can reside
on multiple volumes, including Transfer volumes.
Wavecache.wfm Stores waveform overviews for
all audio files referenced by each session.
Read/Write Volume Databases (Hard Drives)
For each volume, a database file is created in a
folder named Digidesign Databases, on the root
level of the volume. The database is stored with
the volume it describes so that if the volume is
later moved to a different system the database
does not have to be recreated.
If you delete the Digidesign Database
folder, all existing database information for
that volume is lost. To recreate a deleted
Digidesign Database folder, re-index the
volume (see “Indexing DigiBase Databases” on page 172).
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167
Read-Only Volume Databases
Sharing Catalogs
(CD/DVD-ROMs and Write-Protected Volumes)
(DigiBase Pro Only)
Since data cannot be written to read-only volumes, databases for read-only volumes are
stored locally on your system drive.
Catalogs can be created for a particular project
and then shared among multiple systems to
help facilitate more efficient workflow. DigiBase
Pro Catalogs are stored as database files on your
system drive.
On Windows, these databases are stored in the
Program Files\Digidesign\Pro Tools\
Databases\Volumes folder.
On Mac, they are stored in the Library/
Application Support/Digidesign/Databases/
Volumes folder.
Shared Network Volume Databases
Though a shared volume may be read/write,
Pro Tools treats it as if it were a Transfer volume
and no database is stored on the shared volume.
Consequently, databases for shared volumes are
stored locally on your system drive.
On Windows, volume databases are stored in
the Program Files\Digidesign\Pro Tools\
Databases\Volumes folder.
On Mac, volume databases are stored in the
Library/Application Support/Digidesign/
Databases/Volumes folder.
Sharing Database Files
Database files can be shared among users. This is
particularly useful for Transfer volumes, eliminating duplicate processing (indexing) time.
For example, shared volumes (such as network
storage volumes) tend to be large, and indexing
can be a time consuming task. To avoid duplicate effort, one user can manually index part or
all of the shared volume just once, then email
the database files to other users. Database files
can be added by placing them within each user’s
Volumes folder. Periodic manual indexing then
keeps all databases current.
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On Windows, Catalog database files are stored
in the Program Files\Digidesign\Pro Tools\
Databases\Catalogs folder.
On Mac, Catalog database files are stored in the
Library/Application Support/ Digidesign/
Databases/Catalogs folder.
Browser Windows and Tools
Browsers display all files in their database (see
Figure 7 on page 169), including Pro Tools and
non-Pro Tools files. Unknown file types can be
shown, as well as aliases, and desktop folders.
To maximize processing speed and protect vital
components, DigiBase does not display all folders. For example, in Windows, DigiBase browsers do not display the Program Files, Windows,
Digidesign Databases, WU Temp, or System Volume Information folders; and on Mac, DigiBase
browsers do not display the System, Applications, Library, or Digidesign Databases folders.
This excludes them from being indexed,
searched, sorted, or affected in any way by DigiBase tasks. You should not store Pro Tools session or media files in any of these folders.
The main elements of a DigiBase browser (see
Figure 6 on page 165) include the following:
Title Bar Shows the browser type (Workspace,
Volume, or Project), and the name of its associated volume or Catalog.
Toolbar Includes the Browser menu, Search icon,
View Presets, and browser navigation tools.
Columns Display metadata (such as file name
and format) for volumes, folders, and files in the
Items List.
Each row of data in a browser represents an Item
(such as a file or folder). Data about each item is
displayed in columns. Columns can be arranged
and placed in either the Fixed pane or the Scrolling pane.
Items List Displays the contents of a volume,
folder, session, or Catalog database.
Search icon
View Presets
Columns
Title bar
Browser menu
Toolbar
Column headers
Items
List
Fixed pane
Scrolling pane
Show/Hide
Pane split
Figure 7. Basic browser tools, panes, and columns (Workspace browser shown)
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169
Opening Browsers
There are several ways to open, close, and navigate within browsers.
To open the Workspace browser:
■
Choose Window > Workspace.
Viewing the Contents of a Volume,
Folder, or Catalog
To expand or collapse the currently selected
folder, do one of the following:
■ Click the Expand/Collapse icon next to the
folder.
– or –
To open a Volume browser:
1 Open the Workspace browser (Window >
Workspace).
2 Double-click a volume or folder in the Items
List. A new Volume browser opens.
To open the Project browser:
■ Select a volume, folder, or Catalog, and press
the Right Arrow key to expand, or the left Arrow
key to collapse.
To move up one browser level:
■
Click the Back arrow in the Browser toolbar.
To move up one browser level, press Control+Up Arrow key (Windows), or Command+Up Arrow key (Mac).
1 Open a Pro Tools session.
2 Choose Window > Project.
To open a Catalog browser (DigiBase Pro only):
Browser Back arrow
1 Open the Workspace browser (Window >
Workspace).
2 Click the Expand/Collapse icon next to the
Catalogs icon to show all Catalogs, if they are
not already visible.
3 Double-click a Catalog.
To open another Volume or Catalog in a new
browser window and leave the current Volume or
Catalog browser open:
Control-double-click (Windows) or Command-double-click (Mac) the Volume or Catalog.
Browser navigation icon
Moving Browsers to the Foreground or
Background
To bring all open browsers to the foreground:
■
Choose Window > Browsers > Bring to Front.
To bring all browsers to the foreground,
press Alt+J (Windows) or Option+J (Mac).
■
To send all browsers to the background:
■
Choose Window > Browsers > Send to Back.
To send all browsers to the background,
press Alt+Shift+J (Windows) or
Option+Shift+J (Mac).
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All open browsers are moved to the background,
bringing the other windows to the foreground.
Browsers remain open and accessible.
To bring an open browser to the foreground:
Choose Window > Browsers, and select an
open browser from the sub-menu.
■
To cycle to the next or previous browser:
Press Control+Left/Right Arrow keys (Windows) or Command+Left/Right Arrow keys
(Mac).
■
Closing Browsers
To close all browsers:
Alt-click (Windows) or Option-click (Mac) the
Close box of any browser.
■
Because the Task window is a utility and
not a browser, it remains open.
Working wIth Items in Browsers
To open an AAF or OMF sequence from a DigiBase
browser:
1 Do one of the following:
• With no Pro Tools session currently open,
double-click the AAF or OMF sequence in a
browser.
– or –
• Drag the AAF or OMF sequence from a
browser to the Timeline in an open session.
2 Configure the Import Session Data dialog.
3 Click OK.
For more information on importing AAF
and OMF sequences, refer to the DigiTranslator Integrated Option Guide.
Creating and Opening Folders
Browsers let you create and manipulate folders
(file system sub-directories). All folders have Expand/Collapse icons to show their contents.
Dragging items onto a folder icon is the same as
dragging into an open browser.
Opening Sessions
To create a new folder in a Volume browser or
Catalog:
To open a Pro Tools session listed in a browser:
1 Choose New Folder from the Browser menu.
With no Pro Tools session currently open,
double-click a Pro Tools session file in any DigiBase browser.
2 Enter a name for the folder, and click OK.
■
Opening AAF and OMF Sequences
(DigiTranslator Only)
(Click Cancel to cancel the new folder.)
In Volume browsers, the folder is created on
disk. In Catalogs, the folder is created in the Catalog only. The Items List updates as new items
are added.
On systems with the DigiTranslator 2.0 Option,
AAF and OMF sequences can be opened from
DigiBase browsers.
You can also drag and drop AAF and OMF sequences from browsers into the current session.
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171
To open a folder in the current browser:
■ Double-click the folder, or click the Expand/Collapse icon for the item.
With the browser in the foreground and the
folder selected, press Control+Down Arrow
key (Windows) or Command+Down Arrow
key (Mac) to open a folder in the current
browser.
To create and open a folder in its own new
browser:
Control-double-click (Windows) or Command-double-click (Mac) the folder. The previous (parent) Browser window remains open.
■
With the browser in the foreground and the
folder selected, press Control+Alt+Down
Arrow key (Windows) or Command+Option+Down Arrow key (Mac) to open a
folder in its own new browser.
Scrolling and Moving Selections
To enter an edit to a text field and exit, and return
to the previous display state:
■
Press Enter.
To revert to the previous text and cancel a text
edit:
■
Press Esc.
For details on column editing, see “Column
Data” on page 177.
Designating Volumes for Record,
Playback, and Transfer
To manage volumes and data, the Workspace
browser lets you designate volumes as R (Record
and Playback), P (Playback only), or T (Transfer).
Separate columns are provided for audio designation (“A”) and video (“V”).
For detailed information on volume designation, see “Audio and Video Volume Designators” on page 196.
To scroll the active pane up or down:
■
Press the Page Up or Page Down key.
To scroll to the top or bottom of the active pane:
■ Press Home (for the top) or End (for the bottom).
To move items up or down in the current browser:
1 Select items in a browser, and make sure that
window is in the foreground.
2 Press the Up or Down Arrow key.
Text Entry in Browsers
Many text fields can be edited to replace or update data for an item.
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Indexing DigiBase Databases
Indexing is the process of reading media files,
extracting just the metadata for each file, then
storing that data in an associated database so
that it may be displayed in the columns of a
browser. Once a volume or folder has been fully
indexed, it can be searched very quickly because
all of the metadata has already been sorted and
organized.
If a volume or folder has not been indexed, it is
indexed automatically the first time it is opened
in a DigiBase browser. Volumes or folders containing a lot of media files can take a long time
to index. For this reason, you may want to manually index specific volumes or files prior to
starting a project to help expedite workflow.
Indexing while Browsing
Manual Indexing
The first time you open a Volume browser for a
volume or folder that has never been indexed,
Pro Tools automatically begins to fill the database for that level of the volume. Files and folders appear in the browser Items List, along with
metadata in the columns for each item. Indexing continues until you either close the browser,
or until that folder is completely indexed.
Manual indexing fills in all missing data, and
updates changed data for selected folders and all
of their sub-folders.
The next time you open that browser, metadata
for items that have already been indexed is visible immediately. If the browser or folder was
closed before indexing was complete, or if the
contents of the folder have changed since the
last time it was browsed, Pro Tools automatically updates the database the next time it is
opened. This way, the database is always up to
date for the folder you are browsing. (View the
Task Manager to see current activity.)
Indexing while Browsing saves time because it
only fills the database for items on the level of
the volume that you are currently browsing. For
example, if you are browsing the root level of
the volume, it indexes only the folders and files
on the root level. If you open a folder, Pro Tools
indexes just the items in that folder. As a result,
a database is only indexed for the parts of the
volume that you have browsed. However,
searches are faster and more complete when a
volume is already completely indexed.
To update the index for a folder and all sub-folders:
1 Select the item in a browser Items List.
2 Choose Update Database for Selected from the
Browser menu.
To update the index for an entire volume:
1 Select the volume to update in the Workspace
browser.
2 Choose Update Database for Selected from the
Browser menu.
Last Indexed Date Display
The Last Indexed column shows the date that
the index for that folder and all of its sub-folders
was updated. Keep in mind that individual subfolders may have been updated more recently.
Automatic Updating for Pro Tools Actions
Whenever Pro Tools adds, deletes, or modifies a
file on a volume or in a session, the appropriate
database is immediately updated to reflect the
change.
Changes that are made with Windows Explorer or the Mac Finder (such as copying or
moving files) are not tracked by Pro Tools
and are only indexed if the necessary folder
is browsed or if a manual index is performed.
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173
The Browser Menu
All Browser windows provide a Browser menu in
the upper left corner of their toolbar. The
Browser menu provides commands specific to
each type of browser, as described below.
Browser
menu
Browser menu icon
Not all browser commands are available in all
browsers, as noted.
New Folder Creates a new folder on the current
volume, or within the current Catalog. In Volume browsers, a new folder is created on disk.
For more information, see “Creating and Opening Folders” on page 171.
Update Database for Selected Updates the database for the currently selected volumes or folders.
New Catalog Creates a new, empty Catalog. Requires DigiBase Pro.
Create Catalog from Selection Creates a fully indexed catalog of the selected items. Requires
DigiBase Pro.
Calculate Waveform Calculates the waveform
displays for selected audio files, or all files contained in selected folders.
Reveal in Finder/Explorer Opens the corresponding parent window in the Finder (Mac) or
Explorer (Windows) for the currently selected
file.
Reveal in Browser Opens the parent browser for
the selected item. The selected item is highlighted in its parent browser.
Select Offline Files Selects all files that are currently offline.
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Select Transfer Files Selects all files identified as
Transfer files (files found on media that do not
support playback).
Select Online Files Selects all files that are online.
Invert Selection Reverses (inverts) the current selection.
Copy and Relink Copies items currently selected
in the Project browser to a chosen location, and
relinks the session to the copies instead of the
originals. Use this to easily move files from a
Transfer to a Performance volume. This command is also available in DigiBase Pro Catalogs
to copy items and relink the current Catalog to
the copies.
Relink Offline Opens the Relink window. Available in the Project browsers only.
Relink Selected Opens the Relink window, with
all selected files from the current browser displayed and selected as Files to Match. Available
in Catalogs and Project browsers only.
Duplicate Selected Creates a duplicate of the selected items in the same location.
Lock Selected Locks all selected items. Any files
already locked remain so. Locking a folder locks
all files and sub-folders it contains.
Unlock Selected Unlocks the selected items.
Delete Selected Deletes any selected item. In
the Workspace, Project, and Volume browsers,
deleting an item deletes it from the disk. In Catalogs, you are asked whether you want to clear
the items from the Catalog (leaving your disks
unchanged) or delete the files referenced by the
Catalog items.
Unmount Lets you unmount any online volume.
Available in the Workspace browser only.
While Pro Tools is running, always use the
Unmount command in the Workspace
browser menu to unmount the volume, or
quit Pro Tools and then unmount the volume.
Spacebar Toggles File Preview Enables or disables the Spacebar for starting and stopping preview. When this option is disabled, use the Preview button to start and stop preview.
When a browser is front-most, Control+P
(Windows) or Command+P (Mac) starts
and stops preview. Also, the Esc key stops
preview.
Auto-Preview Enables or disables automatic preview of files. When this option is enabled, selecting a file in the browser starts preview. The
Preview button updates to show that Auto-Preview is enabled.
Loop Preview Mode Previews the selected file by
looping playback of the file. If multiple files are
selected, only the first selected file previews. The
Preview button updates to show that Loop Preview mode is enabled.
Copy File Comments to Clip Names (Mac Only)
Copies an item’s File Comments to its Clip
Name.
Browser Panes and Display
Browsers display an Items List consisting of various columns (such as file name, size, creation
date, and sample rate). The Items List is split
into two panes. Individual columns can be
placed in either pane, and all columns can be
shown or hidden, resized, reordered, and sorted.
Moving Columns Between Panes
Columns in browser can be placed in either
pane. Move columns you frequently need to see
into the left-hand pane. Columns that you use
less often can be moved to the right-hand pane.
To move columns between panes:
■ Click the column header and drag it to a different pane.
To show or hide the right-hand pane:
■ Click the Show/Hide icon in the lower right
corner of the leviathan pane.
Additional DigiBase Pro Commands
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
Show/Hide
In Catalogs, the following additional commands are available to manage Comments in selected items.
For more information on Comments, see
“Comments Fields” on page 179.
Copy Database Comments to Clip Names Copies
an item’s Database comments to its Clip Name.
Show/Hide Pane icon
Arranging and Resizing Columns
To rearrange columns in a pane:
■
Drag the column header to a new position.
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175
To resize a column:
■ Drag the column header boundary to the desired width.
Showing and Hiding Columns
You can show or hide individual columns in DigiBase browsers to fit your workflow. The default column display includes the items you
would use in most sessions.
To show or hide individual columns:
Start-click (Windows), Control-click (Mac), or
Right-click a column label and select or deselect
the column name from the pop-up menu.
■
View Presets
Pro Tools lets you save up to five preset views for
each type of browser, and the Relink window.
Presets can be recalled by clicking a View Preset
button. View Presets are specific to each type of
browser.
To store a View Preset:
1 Open a browser, or the Relink window.
2 Arrange columns and views.
3 Control-click (Windows) or Command-click
(Mac) one of the five View Preset buttons.
Browser View Presets
View preset buttons
To recall a saved preset:
■
Showing and hiding columns
To show or hide all columns:
Start-click (Windows), Control-click (Mac), or
Right-click a column header and choose ALL or
NONE from the pop-up menu. (Only the Name
and Clip Name columns remain when you
choose NONE.)
■
To show the default set of columns:
■ Start-click (Windows), Control-click (Mac), or
Right-click a column header and choose DEFAULT from the pop-up menu.
Click the appropriate View Preset button.
About View Preset 1
Preset 1 becomes the default layout for other
browsers of its type when they are opened for
the first time.
Sorting Columns
Columns can be sorted in ascending or descending order, and multiple sorts can be applied (up
to four levels).
To sort by columns:
■
Click the column title header.
It is often helpful to perform a secondary sort
(for example, to sort by tape and timestamp).
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To add a secondary sort:
Alt-click (Windows) or Option-click (Mac) the
column title for the secondary sort criteria.
■
V Designates volumes as video R (Record and
Playback), P (Playback only), or T (Transfer).
Available in the Workspace browser only.
For more information, see “Audio and
Video Volume Designators” on page 196.
Performing a secondary sort
To toggle the current sort order between
ascending and descending:
Click the Sort toggle arrow, at the top of the
vertical scroll bars.
■
Column Data
In browsers, each row of data represents an item
in a database (such as a file, session, or volume).
Each column displays specific data for an item,
as follows.
Status The Status column is the first column on
the left, and it displays the status of each item,
as follows.
Status Icons and Display
Icon
Text
Status
none
Black
Online
none
Blue italics
Offline
T
Blue italics
Transfer
Name Displays the name of the file, folder, volume, catalog, or session. This text field is editable in all browsers except Catalogs.
A Designates volumes for audio R (Record and
Playback), P (Playback only), or T (Transfer).
Available in the Workspace browser only.
Kind Displays whether the volume, folder, catalog, or file. For files, this column displays what
kind of file it is: session file, audio file, video file,
or other. This field cannot be edited.
Size Displays the size of a file in kilobytes. For
folders, the total size of all files in the folder is
displayed. This field cannot be edited.
Date Indexed Displays the last indexed date for
the item. This field cannot be edited.
Capacity Displays the total capacity of a volume.
This field cannot be edited.
Free Displays the unused space on volumes.
This field cannot be edited.
Waveform Displays a graphical overview of an
audio file. See “Waveforms and Auditioning” on
page 180 for more information.
Duration Displays the duration of a file in absolute time (wall clock), regardless of the time
code format. For region groups, Duration displays Bars and Beats. This field cannot be edited.
File Comment Displays any embedded comments associated with the file. File comments
are supported with BWF and SD II files, but are
not supported with AIFF files. File Comments always remain with the file when copied, converted, or transferred. See “Comments Fields”
on page 179 for more information.
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Database Comment Displays user comments
stored with the database, with support for
Finder comments. Available in the Project
browser and Catalogs only. See “Comments
Fields” on page 179 for more information.
Date Modified Displays the last modified date for
the item. This field cannot be edited.
Date Created Displays the creation date of an
item. This field cannot be edited.
Number of Channels Displays the number of
channels in an audio file: mono, stereo, or 3–8
as appropriate for supported multichannel files.
This field cannot be edited.
Format Displays the audio file format (such as
BWF (.WAV) or AIFF). This field cannot be edited.
Sample Rate Displays an audio file’s sample
rate. This field can be edited in browsers for
WAV and SDII files only. This can be useful
when dealing with audio that has been pulled
up or down, or to force a sample rate conversion
to occur if that is necessary before importing a
file that otherwise would not require conversion.
Bit Depth Displays an audio file’s bit depth. This
field cannot be edited.
Tempo Displays the tempo associated with region group, MIDI, REX, and ACID files, and session files. This field cannot be edited.
Original Time Stamp Displays the original time
stamp (time code location) of audio or video
files.
User Time Stamp Displays the user time stamp,
if any, of audio files only.
Path Displays the directory path to the item.
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Unique ID Displays the unique ID for a Pro Tools
file.
Tape (DigiTranslator 2.0 Only) This column displays the original Avid tape name if the item is
an OMF file (audio or video). If an audio file was
originally recorded in Pro Tools, this field displays the name of the original session. Video
files originally recorded in Pro Tools with AVoption|XL do not display a tape name.
TC Rate When DigiTranslator 2.0 is installed,
this column displays the frame rate of the item if
the item is an AAF sequence or an OMF sequence or file: 24, 25, 29.97, 30, drop or nondrop. For sequences, the frame rate at the start
of the sequence is displayed.
Video Compression Displays the compression ratio of video files where applicable.
Frame Rate Displays the frame rate of video files
where applicable.
Channel Names Displays the channel name and
number data embedded in multichannel audio
files. This field cannot be edited.
Scene Displays scene number data embedded in
audio files.
Take Displays take number data embedded in
audio files.
Shoot Date Displays origination date and time
information embedded in audio files. This field
cannot be edited.
Sound Roll Displays sound roll number data
(This data is usually named “Tape” in BWF files,
but is distinct from the date displayed in the DigiBase Tape column). This field cannot be edited.
Sound Roll TC Displays the starting time code of
audio files. This field cannot be edited.
Sound Roll TC Rate Displays the frame rate information embedded in audio files: 24, 25,
29.97, 30, drop or non-drop. This field cannot
be edited.
User Bits Displays text information embedded
in audio files. This field can be used for user
comments, or auto-generated info with certain
field recorders.
Tape ID Displays tape ID information embedded
in audio files. This field cannot be edited.
Project Displays the project name data embedded in audio files.
Circled Indicates if the status of a take is set to
“circled” (No or Yes) in audio files. This is usually
for indicating which take should be used.
Plug-in Name Displays the name of the plug-in
for Plug-in Settings files (.txf).
Plug-in Manufacturer Name Displays the plug-in
manufacturer’s name for Plug-in Settings files
(.txf).
Link Path Displays the path to the file used for
relinking. Available in the Relink window only.
Clip Name Displays the name of the file, or the
Avid clip name when the item is an AAF or OMF
file. The Clip Name is what appears in the Timeline and Region List when a file is imported into
a session. This field can be edited in Catalogs
only, and can be generated using either of the
Copy Comments to Clip Name commands in
the Browser menu (see “Additional DigiBase Pro
Commands” on page 175).
Comments Fields
Comments about individual files can be stored
in the database, and embedded with the file’s
metadata wrapper.
There are two types of comments fields: File
Comments and Database Comments.
File Comments
File Comments are stored with the metadata of
the file itself. Not all file types support File Comments. Indexing stores File Comments in the
database, allowing them to be searched and
viewed even if the file is offline. File Comments
can be edited in browsers, as long as the files or
their parent media are not defined as read-only.
You can also add and edit File Comments to
Pro Tools Session files from the Project browser.
File Comments cannot be edited in Catalogs.
Database Comments
(Catalogs and Project Browsers Only)
Database Comments in a Catalog are stored in
the Catalog database. Database comments in
the Project browser are stored in the Session. Database Comments, which can be up to 256 characters in length, are searchable, cross-platform,
and editable. For more information, see “Comments and Catalogs” on page 201.
Adding and Editing Comments
To add, view, or edit a Comment:
1 Click the Comments field. The field expands
to display the entire contents of the field if necessary.
2 Enter or edit a comment.
3 Press Enter, or click outside the text box to
close it.
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Waveforms and Auditioning
The Waveform column shows the waveforms
calculated for items that are audio files. Waveform display depends on the following:
• Waveforms are displayed if they have already
been calculated and stored, either with the file
metadata or in the global Waveform cache.
• When a file is imported into a session, a waveform is automatically calculated for it, if necessary.
Calculating Waveforms for Display
If an audio file item does not have a waveform,
the waveform must be calculated to be visible in
a browser Waveform display.
To calculate waveforms in a browser:
1 Select online audio files, or folders containing
audio files, in a browser.
2 Choose Calculate Waveform from the Browser
menu.
Auditioning Audio Files
Waveform displays in a browser
• Waveforms are grey if they have not been
stored with the file metadata or in the global
Waveform cache.
Item waveforms prior to calculation
The waveform overview is stored in the file, or
in the appropriate Digidesign Databases folder.
For more information, see “WaveCache” on
page 181.
MIDI files can be auditioned from the session Region List, but not from DigiBase
browsers.
Summed Waveforms for Multichannel Files
Waveform displays for stereo and multichannel
files are summed.
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Audio items can be auditioned from within DigiBase browsers to preview items before importing, copying, or deleting them.
Auditioning follows the master Audition path as
selected in the Output pane of the Pro Tools
I/O Setup dialog. Level is determined by the
Master Fader (or Auxiliary Input) level in effect
on the Audition path.
When auditioned from DigiBase, interleaved audio files with more than two channels are
summed to mono for auditioning. Multi-mono
files must be auditioned one file at a time.
Some Pro Tools operations can cause temporary interruptions in DigiBase auditioning.
To start or stop auditioning an audio file in a
browser:
1 Select an audio file in a browser Items List.
Make sure the browser is the foreground (active)
window.
2 Do one of the following:
• Click the Waveform Preview button (the
speaker icon to the left of the waveform
display). Click again to stop auditioning.
To stop loop audition, do one of the following:
■
Click the Browser Preview button again.
■ If Spacebar Toggles File Preview is selected in
the Browser menu, press the Spacebar again.
To audition from a specific location within the file:
■ Click in the waveform display at the desired
location. Press the Spacebar to stop playback.
• If Spacebar Toggles File Preview is selected
in the Browser menu, press the Spacebar.
Press the Spacebar again to stop auditioning.
• Press Control+P (Windows) or Command+P (Mac) to start and stop auditioning.
• Press the Esc key to stop auditioning.
Auditioning an audio file
To automatically audition files when selected:
If the Auto-Preview option is enabled, auditioning starts as soon as the file is selected
in a browser.
■ From the Browser menu, select Auto-Preview.
The Preview button updates to show that AutoPreview is enabled.
To loop audition:
1 In the Browser menu, select Loop Preview
Mode. The Browser Preview button updates to
show the Loop Preview icon.
DigiBase Preview button, Auto-Preview enabled
WaveCache
DigiBase Preview button, Loop Preview mode
2 Select an audio file in a browser Items List.
Make sure the browser is the foreground (active)
window.
3 Do one of the following:
• Click the Browser Preview button.
• Click the Waveform Preview button.
A global WaveCache file stores waveforms that
cannot be written back to the sound file, such as
read-only files, files on network and other readonly volumes, and interleaved files. The global
WaveCache is stored in the Digidesign Databases folder on your Pro Tools startup volume.
For write-enabled volumes, the cache is stored
with the volume’s Digidesign Database files, on
that volume.
• If Spacebar Toggles File Preview is selected
in the Browser menu, press the Spacebar.
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Selecting Items
Moving, Copying, Duplicating,
and Deleting Items
To select a single item in a browser:
Click the icon for an item. When selected, the
item Name is highlighted.
■
To select multiple items:
■ Marquee-select a group of items, or Shift-click
additional items. Control-click (Windows) or
Command-click (Mac) to select multiple noncontinuous items.
Moving, copying, duplicating, and deleting
items in browsers follow the same rules and behavior as in the operating system. For example,
moving a file to another volume copies the file,
and Pro Tools warns you if an items is about to
be overwritten or replaced. Dragging an item
from a Catalog to a Volume browser always
makes a new copy of the item.
Moving Items
To select all items listed:
Press Control-A (Windows) or Command-A
(Mac).
■
To select all Transfer files in the current window:
■ Choose Select Transfer Files from the Browser
menu.
To select all offline files:
■ Choose Select Offline Files from the Browser
menu.
To move items:
■ Select one or more items and drag them to a
new location. Moving to a new location on the
same volume moves the item, while moving to a
different volume copies the item.
You can drag items directly into the Timeline or Region List of the current session. See
“Importing Items with Drag and Drop” on
page 225.
Copying Items
To select all online files:
Choose Select Online Files from the Browser
menu.
To copy and move items:
■
■ Select one or more items and Option-drag
them to a new location.
To reverse the current selection:
Choose Invert Selected from the Browser
menu.
■
Duplicating Items
To duplicate one or more items:
1 Select one or more items.
2 Choose Duplicate Selected from the Browser
menu.
To Duplicate selected items in the Browser,
press Control-D (Windows) or
Command-D (Mac).
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Deleting Items and Folders
You can select and delete files and folders in all
browsers. If a selected item resides on a readonly volume, it cannot be deleted.
If using DigiBase Pro, see “Deleting Catalog
Items” on page 183 for additional information.
To delete one or more items:
1 Select one or more items.
2 Press Delete, or choose Delete Selected from
the Browser menu.
3 Pro Tools asks you to verify that you want to
permanently delete selected files from disk.
Click Delete to proceed, or click Cancel to leave
your files and disks unchanged.
To skip the warning dialog, hold down the
Option key while pressing Delete (or while
choosing Delete Selected).
To delete locked files:
1 Select one or more items.
3 When prompted, do one of the following:
• To remove the aliases for the selected items
from the Catalog, click Aliases.
– or –
• To delete the selected items from disk (and
remove their aliases from the Catalog),
click Files.
Deleting Folders in Catalogs
Deleting a folder from a Catalog does not delete
the folder on disk (even if you choose to delete
all files from disk). Because Catalogs are “snapshots” of items, their aliases only include files
that resided in the corresponding folder at the
time the Catalog was created. To avoid potential
data loss, folders are never deleted from disk,
even though you might choose to delete Files
instead of Aliases.
Searching Items
DigiBase provides powerful search capabilities
so you can quickly search and find files.
2 Press Control+Delete (Windows) or Com-
mand+Delete (Mac).
Deleting Catalog Items
The Workspace browser lets you search across
multiple volumes and catalogs (if available). All
other browsers let you search the currently displayed contents of that individual browser.
(DigiBase Pro Only)
When you delete a folder or item from a DigiBase Pro Catalog, Pro Tools lets you choose
whether to delete only the alias from the Catalog, or also delete the original files from the disk.
To delete an item from a Catalog.
1 Open a Catalog and select one or more items.
2 Press Delete, or choose Delete Selected from
the Browser menu.
Performing a search filters the Items List or
Search Results pane to display only found items
that match the search criteria.
DigiBase Pro lets you search on multiple criteria
in a single search pass, and search Catalogs.
The Relink window provides specialized search
capabilities for finding and relinking missing
files. For more information, see “Linking and
Relinking Files” on page 187.
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Search Features for All Systems
Starting a Search
All systems provide the following search capability:
To search the current browser:
• Search by item Name, Kind, and Date Modified.
• Results of a search are displayed in the Items
List, where they can immediately be selected
for auditioning, copying, and other operations. In the Workspace browser, a separate
“Search Results” pane displays found items.
• Utilize search syntax modifiers, such as OR,
wildcard characters, and greater than/less
than. See “Search Modifiers” on page 185.
• Search in Quick or Advanced Search mode.
Quick mode assumes (fills in) wildcard characters for faster data entry while searching. Advanced Search mode lets you specify wildcard
characters for more precise searching. See
“Search Modes” on page 186 for more information.
Additional Search Features for DigiBase Pro
Only
With DigiBase Pro you can also:
• Search by any data column, such as Comments fields, sample rate, format, and tempo
• Save the results of a search as a new Catalog.
1 Click the Search icon to display the Search
pane.
Search Icon
Search
Pane
Search icon and Search pane
You can also start a search by pressing Control+F (Windows) or Command+F (Mac).
2 Do one of the following:
• On all systems, 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. See “Entering Data for Searches” on
page 185 for more information.
– or –
• If using DigiBase Pro (Pro Tools HD and
Pro Tools LE with DV Toolkit 2), choose additional search criteria as needed. Press Tab
to move to the next available search field,
or Shift+Tab to move to the previous.
3 Click the Search button, or press Enter (Win-
dows) or Return (Mac).
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.
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To stop a search:
■
During a search, click the Stop button.
This stops the search routine, and the Stop button changes back to Search. Whatever results
have already been found continue to be displayed, and all entries in search fields are retained.
To reset your search settings:
Click Reset to clear all criteria in search fields,
and return to the main Browser view (all items).
The Search pane remains open.
■
Search Modifiers
Certain fields have small pull-down menus containing modifiers, which limit the search criteria
entered in the field.
Modifiers include:
• Equal to (=)
• Not Equal to (!=)
• Less Than (<)
• Greater Than (>)
• Less Than or Equal to (<=)
• Greater Than or Equal To (>=)
• Range (<…>)
To close the search pane and return to the
complete Browser view:
Click the browser Search icon to toggle the
Search pane closed or open.
■
The search is stopped, the Search (and Search
Results pane) close, and the window returns to
show the main Browser view.
Entering Data for Searches
Field Formats and Searching
The following describe the types of data formats
available (not all search fields are available on all
systems).
Text Fields Allow direct entry of text. By default,
the field is empty.
Pull-Down Menus Provide options for certain
fields. For example, the Bit Depth pull-down
provides choices for Any, 16-bit, or 24-bit.
About Range-Limited When enabled, a second
search field is added so that a range of two values can be entered (such as two dates). Pro Tools
finds all items that fall between or are equal to
those two values.
Wildcard Characters (* and ?)
An asterisk (*) can be entered at the beginning
or end of a text entry when you want to perform
wildcard searches. For example, if you want to
find all files with a name that ends with scratch,
you could enter *scratch in the Search field. This
finds files with names such as vocal.scratch, and
dialog2.scratch.
A question mark (?) can be used for single-character wildcards. For example, a search on f?ee
finds free, and flee. A similar search on f*ee finds
frendlee, flippee, flee, free, and so on.
Date and Time Accepts date and time entries in a
variety of formats.
Time Code Uses standard Pro Tools time code
entry shortcuts in hh:min:sec:frames.
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OR Searches
Search Modes
The Plus (+) and Minus (–) buttons add and delete OR rows to find results that match the criteria either in the top row or the additional rows.
DigiBase provides two different text searching
environments:
To add and use OR rows in a search:
1 Click the Plus (+) button to add an OR row
identical to the upper row, but with no entries
in the search fields.
2 To add an additional OR row, click the Plus (+)
button again. (An empty OR row has no effect
on the search.)
3 Enter search criteria.
For example, to find all files named either Dog
or Bark:
• Type Dog in the first File Name field.
• Add an OR row.
• Type Bark in the second File Name field.
4 Click Search.
Quick Search Mode Applies wildcards before
and after each text string. For example, a Quick
search for Dog finds Dogs, dog_bark, and
howling_dogs.
Advanced Search Mode Does not automatically
apply any wildcards. Therefore, an Advanced
search on Dog finds Big Dog, but not Dogs (unless
you manually add a wildcard, as described in
“Wildcard Characters (* and ?)” on page 185).
In addition, Advanced Search recognizes word
breaks such as underscores and capitalization.
For example, an Advanced search on Dog also
finds Big_Dog (Big-underscore-Dog) and BigDog,
though it would not find BigDogs.
To enable Advanced Search mode:
■ Click to enable the Advanced Search mode
option.
To remove OR rows:
Advanced Search
■ Click the Minus (–) button to delete the bottom OR row.
AND Searches
If you enter two or more words in a text field,
Pro Tools finds files that contain all of those
words. For example, if you type Dog Bark, only
files that contain both the words Dog and Bark
are found.
Quotations Marks for Text Strings
Text enclosed in quotation marks is searched as
one text string. For example, if you type “Dog
Bark” (with quotes), only items with Dog Bark
anywhere in the File Name are considered a
match.
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Search pane
To return to Quick Search mode:
■
Click to deselect the Advanced Search mode.
Toggling search mode affects all DigiBase
browsers.
About the Searching Process
Searches are conducted in two passes, each indicated by Search Status displayed in the Search
pane (and the Task window).
Searching Databases The existing databases are
searched first. While this is the fastest search
pass, this search pass can only be as accurate as
the database (in other words, if the database is
not completely up to date you might not find
the files you want).
File System Search Pass This is the second pass
of a search. This search is not as fast as the Database pass, but it is more thorough because it is
not relying on the database, which may or may
not be current.
Each pass is completed before the next pass
begins.
Saving Search Results as a
Catalog
(DigiBase Pro Only)
To save the results of your search as a Catalog:
1 Choose Edit > Select All, or press Control+A
(Windows) or Command+A (Mac), to select all
items in the Items List.
2 From the Browser menu, choose Create Cata-
log.
For more information, see “DigiBase Pro
Catalogs” on page 199.
Linking and Relinking Files
A Pro Tools session is made up of references, or
links, to audio files and other session media. Audio and video files must be stored on suitable
Performance volumes and be properly linked in
order to be playable in the session.
The following types of files are not playable:
Transfer Files Files that are stored on volumes
not suitable for playback, such as network volumes or CD-ROMs.
Missing Files Files that cannot be found where
the session expects them, either because they
have been moved, or because they are stored on
volumes that are not currently mounted (offline
volumes).
The process of reacquiring Transfer and missing
files is referred to as relinking. Relinking can involve certain sub-tasks, depending on the situation.
• Transfer files must first be copied to a suitable
Performance volume. The session is then
relinked to the copies on the Performance volumes instead of the original Transfer files.
• Volumes may be searched for missing files
and, when the files are found, Pro Tools
relinks the session to the file's new location.
• Files that reside on offline volumes must first
have their volumes mounted (brought online)
before they can be relinked.
DigiBase Pro Catalogs have unique linking
characteristics. See “Relinking and Aliases
in Catalogs” on page 195.
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Choosing When to Relink
Opening a Session with Transfer Files
Pro Tools lets you relink files while opening a
session or after a session is already open, as follows:
If a session finds files on a volume unsuitable for
playback, a dialog appears prompting you to
copy them to a suitable volume. Do one of the
following:
◆ Relinking when opening a session ensures
that the session opens with all media playable.
Automatic and manual relinking can be performed. See “Opening a Session with Missing
Files” on page 189.
◆ Relinking later (after a session is already open)
is the fastest way to open the session, but all
missing items remain offline and unplayable.
When items are needed, go to the Project
browser to relink offline items. See “Missing
Files in an Open Session” on page 190.
Forcing a Relink
If you cannot relink to the original file, you can
force a relink to another file. See “Force Relinking Files” on page 194.
Transfer Files
Unlike missing files, Transfer files are files that
have been found but which reside on volumes
unsuitable for playback, such as CD-ROMs or
network drives. These volumes appear as Transfer volumes in the Workspace browser.
◆
Click Yes to open the Copy and Relink dialog.
– or –
◆ Click No to open the session with all Transfer
files offline. When opened, the session’s Project
browser indicates Transfer files with a “T” in
their Status column.
Transfer Files in an Open Session
To make Transfer files playable in the current
session:
1 Choose Window > Project.
2 Double click the Audio Files folder to display
all of the audio files.
3 Choose Select Transfer Files from the Browser
menu.
4 Choose Copy and Relink from the Browser
menu.
5 Specify a location for the copied files on a
valid Performance volume and click OK.
6 Repeat for video and fade files, as necessary.
Copy and Relink
The Copy and Relink command is a file management option in the Project browser and in
DigiBase Pro Catalogs.
Copy and Relink provides a convenient way to
copy files and relink the session or Catalog to
the copies rather than to the originals.
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To copy items to a new location and Relink to the
copies:
Opening a Session with Missing Files
1 Do one of the following:
To open a session with missing files:
• Choose Window > Project.
– or –
• Open the appropriate Catalog.
2 Select the items you want to copy and relink.
You can select any media files (online, offline,
and Transfer files).
1 When you open a session, Pro Tools opens the
session with all available media, then shows you
how many files are missing (if any) and asks
how you want to proceed. (If told that files are
unsuitable for playback, see “Transfer Files” on
page 188.)
3 Choose Copy and Relink Selected from the
Browser menu.
4 If the default location for the copies (the ses-
sion’s Audio Files folder) is not appropriate,
specify a different location and click Choose.
5 The files are copied to the chosen destination
Missing files warning when opening a session
and the session or Catalog is relinked in the
background.
2 Select one of the following:
Missing Files
Files are missing if they are not found in the
same location as when the session was last
saved. This could be because you moved the files
or the session folder, or because the files are on
a volume that is not currently mounted.
• Skip All. You can also select Skip All by
pressing Control+A (Windows) or Command+A (Mac).
• Manually Find Relink. You can also select
Manually Find Relink by pressing Control+M (Windows) or Command+M (Mac).
• Automatically Find Relink. You can also select Automatically Find Relink by pressing
Control+A (Windows) or Command+A
(Mac).
3 Select Regenerate Missing Fades to exclude
fade files from the relink process and regenerate
them instead.
You can also select Regenerate Missing
Fades by pressing Control+R (Windows) or
Command+R (Mac).
4 Click OK
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Skip All
Use the Skip All option to skip all missing files
and fades. This option is the fastest way to open
the session utilizing all available media. Missing
files are offline in the session, and shown in the
Region List and the Project browser with italic
text. Missing fades are regenerated if the contributing files are online.
Manually Find and Relink
This option opens the Relink window. Use the
Relink window to search, compare, verify, and
relink missing files. Files can be relinked one at a
time or in batches. See “Relink Window” on
page 191 for more information.
Automatically Find and Relink
Automatically Find and Relink is the simplest
method to relink sessions to required media, but
it provides no way to compare files or verify
links. This option cannot be undone. The Automatically Find and Relink option does the following:
• Searches all Performance volumes for all missing items with matching Name, ID, Format,
and Length
Even if all of the missing files are later
found and relinked, the failed task remains
in the Task Window. Like all failed tasks, it
must be manually selected and deleted. See
“About Failed Tasks” on page 207.
Regenerate Missing Fades
Enable this option to exclude fades from the
relinking process (fades are recalculated instead). This option is available when Automatically Find and Relink or Manually Find and
Relink is enabled.
Missing Files in an Open Session
You can open the Project browser to select and
relink some or all missing files.
To relink missing (offline) files in an open session:
1 Choose Window > Project.
2 Choose Relink Offline from the Browser menu
to open the Relink window.
3 Configure the Relink window as needed. See
“Relink Window” on page 191 for more information.
• Links missing items to the first matches found
To relink selected files in an open session:
• Commits links for all items possible, in the
background
1 Choose Window > Project.
Links, once committed, cannot be undone
once the session is saved. The only way to
revert to previous links is to close the session
without saving changes.
2 Select the files to relink. Any file can be
relinked, even if it is not an offline file.
3 Choose Relink Selected from the Browser
menu.
4 Configure the Relink window as needed. See
• If some files remain unlinked, the Task window opens and a failed task appears in the
Paused Tasks pane. Double-click the Task icon
to open the Relink window and manually find
and relink files.
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“Relink Window” on page 191 for more information.
Relink Window
The Relink window controls each phase of the
relinking process.
The Relink window provides tools for all relinking tasks (see Figure 8 on page 191).
The following sections explain how to:
The Relink window includes the following:
• Select volumes and folders to search (and not
search).
Menu and Toolbar Includes the Relink menu,
View Presets, and relinking buttons. Status is
displayed at the far right.
• Open the Relink window.
• Search, compare, and link individual files to
one or more candidates.
Areas to Search Selects volumes on which to
search for missing items.
• Quickly match and link missing files in
batches, with the ability to adjust the criteria
by which files are matched.
Files to Relink Lists missing files.
• Toggle links on or off for any candidate
Candidates Lists files that match the “relinking
criteria” for a particular missing file. The Link
icon next to the candidate can be toggled on or
off to link (or unlink) the proposed candidate to
the selected missing file.
• Compare and review links before committing.
Menu and toolbar
Areas to Search
Files to Relink
Candidates
Figure 8. Main elements in the Relink window
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Opening the Relink Window
Single and Multi-File Relinking
When opening a session with missing files, use
the Manually Find and Relink option to open
the Relink window.
The Relink window can be used to relink one
missing file at a time, or to relink missing files in
batches.
The Relink window can also be accessed after a
session is open.
Relinking Individual Missing Files
To access the Relink window from an open
session:
1 Choose Window > Project.
2 Choose Relink Offline from the Browser
menu.
In some situations, individual files must be
relinked one at a time in order to relink the session to the correct file. This is necessary if multiple copies of a media file are online, or whenever you want the most control and flexibility
over the relinking process.
To relink a missing file:
Selecting Areas to Search
Selecting volumes and folders in the Areas to
Search pane lets you focus the search for missing
files. This can speed the relinking process by
limiting the number of volumes or folders to
search. In addition, excluding folders from a
search for missing files also lets you redirect a
session or Catalog to a more appropriate copy of
an item.
1 Configure the Areas to Search pane.
2 Select one item in the Files to Relink list.
3 Click Find All Candidates.
Find All Candidates
Volumes selected to include in the search
To select volumes or folders to include or exclude
in a search:
1 Configure the Areas to Search pane to display
the appropriate volume, Catalog, or folder.
2 Click each item’s Search column to toggle it to
be included or excluded in the search. A check
next to an item indicates it will be included in
the search. All folders within items are also
checked.
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Relinking a selected missing file
Pro Tools searches the selected volumes and displays all files that match File Name and/or
Unique ID in the Candidates list. Link icons indicate if a Candidate is already linked.
OMF video clips can only be relinked to a
session if they have matching Unique IDs.
QuickTime video clips can only be relinked
to a session by file name and file format
(QuickTime).
To control matching and linking criteria
when relinking an individual missing file,
use the Find Links button. Find Links is explained in “Relinking Multiple Missing
Files” on page 193.
4 Click the Link icon next to the appropriate
4 Configure criteria for relinking, if necessary, in
the Linking Options dialog:
• By default, Find by Name and ID is enabled.
• To add additional matching criteria, select
an option from the Linking Options dialog.
(Modification Date is only applicable to
Catalogs.)
• If Match Duration is enabled, Pro Tools
only selects files of the same length or
greater.
Candidate to which you want to relink. A Link
icon next to an item indicates it will be relinked
to the item currently selected in the Files to
Relink list.
Link
icon
Indication of Linked status
5 Click the Link icon next to other Candidates,
if you want to relink to additional missing files.
6 Click the Commit Links button.
Relinking Multiple Missing Files
Using the Find Links button, multiple files can
be matched and linked in one procedure.
To relink multiple missing files:
1 Configure Areas to Search. (See “Selecting Ar-
eas to Search” on page 192.)
2 Select one or more items in the Files to Relink
list. The Find Links button becomes available.
3 Click Find Links.
Linking options
5 Click OK to continue (or click Cancel to re-
turn to the Relink window).
Pro Tools begins to search for an acceptable candidate for the first missing file (the first item selected in the Files to Relink list). A link icon appears next to each file as Pro Tools finds and
links the first acceptable candidate to the missing file. The Link Path column shows the location of the selected candidate. Pro Tools continues searching, matching, and linking for each
missing file in the Files to Relink list.
6 To view the selected candidate for a particular
missing file, select to highlight the missing file.
That file’s candidate appears in the Candidates
pane, where you can view its file information
and waveform.
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7 If, after the Find Links process is finished, you
are not satisfied with the candidate selected for a
particular missing file, you can click Find All
Candidates for the selected file (see “Relinking
Individual Missing Files” on page 192).
Force Relinking Files
If you want to link to a substitute file (for example, if you know a file has the same audio or
video but does not have a matching File Name
or Unique ID), you can force a relink.
◆ To force relink an audio file, its file format
(WAV, SD2, AIFF, or MXF), sample rate and bit
depth must match those of the original file.
To force relink a video file, its format (QuickTime, Avid, MXF, or OMF) and frame rate must
match those of the original file.
◆
To force a relink:
1 Choose Window > Project.
Committing Links
There is no Undo for relinking. Once a file has
been relinked and the session saved, the session
always remembers the new link (the original
link is forgotten). For this reason, no files are actually relinked until you click Commit Links.
The Automatically Find and Relink option
is the only relinking process that does not
ask you to verify links before they are committed. If you use this option and are unsatisfied with the results, close the session
without saving to prevent the new links
from being committed.
To commit links:
1 Use the Relink window to link files as ex-
plained in “Single and Multi-File Relinking” on
page 192.
2 Click Commit. You are asked to verify com-
mitting links.
2 Choose Relink Offline from the Browser
menu.
3 In the Relink window, select one item in the
Files to Relink list.
4 Navigate in the Areas to Search pane to locate
the file you want to relink.
Commit Links dialog
5 Drag the file to the Candidates pane in the
3 Do one of the following:
Relink window.
• Click Yes to commit links.
6 Click the Link icon next to the file you
– or –
dragged to the Candidates pane.
• Click No to stop without affecting files.
7 Click the Commit Links button.
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Only the Workspace browser lets you do the following:
Relinking and Aliases in Catalogs
DigiBase Pro Catalogs are collections of “aliases”
or “shortcuts” to actual files. If the files are
moved, an item in a Catalog can become unlinked from the file it references.
• Designate volumes as Performance volumes (Playback or Record volumes) or as
Transfer volumes.
To relink a Catalog:
• Unmount volumes
• View and access all available volumes
• Create, view, and access Catalogs.
1 Open the Catalog.
• Search multiple volumes and Catalogs simultaneously.
2 Select items to relink.
3 Choose Relink Selected from the Browser
The Workspace browser is similar to your computer’s desktop, in that it shows all of the
mounted local and network volumes. The
Workspace browser has all the common browser
elements, including an Items list, View presets,
and access to all files. In addition, the Workspace browser provides drive allocation settings,
access to catalogs, and the ability to search multiple volumes and catalogs simultaneously.
menu in that Catalog window.
Workspace Browser
The Workspace browser is your starting point
for managing media (see Figure 9 on page 195).
The Workspace browser is always available
while Pro Tools is running, even if no session is
open.
Volume designators
Browser name
Menu and toolbar
Search pane
Items List
Search Results
Fixed pane
Show/Hide
Scrolling pane
Pane split
Figure 9. Workspace browser, with the Search pane displayed
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Opening the Workspace Browser
Mounting and Unmounting
Volumes
To open the Workspace browser:
1 Launch Pro Tools.
2 Choose Window > Workspace.
Press Alt+; (Windows) or Option+; (Mac) to
open the Workspace browser.
The Workspace browser lets you unmount volumes while Pro Tools is running, and shows
newly mounted volumes as they come online.
To unmount a volume from within the Workspace
browser:
1 Select a volume in the Workspace browser.
Audio and Video Volume
Designators
The Workspace includes columns for Audio and
Video Volume designators. These two columns
display, and let you designate, whether a volume is a Record, Playback, or Transfer volume.
R (Record and Playback) Able to play audio and
video files already on the volume, and record
new files.
P (Playback Only) Can play audio and video files
already on the volume, but cannot have new
files recorded to it.
T (Transfer) Can only be used for storing, transferring, or auditioning files, and cannot be used
for recording or playback.
To change a volume designator:
1 Open the Workspace browser.
2 Click and select the appropriate Audio and/or
Video designator for the volume.
Designating a volume in the Workspace
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2 Choose Unmount Volumes from the Browser
menu.
The Workspace browser closes the database file
for the selected online volume and removes it
from the Workspace browser, and unmounts
the disk from the computer. If the item represents a removable volume (such as CD-ROM), it
is ejected.
Pro Tools alerts you if the volume being unmounted has files referenced in the Timeline.
Always use the Unmount command in the
Workspace browser menu to unmount volumes, or quit Pro Tools and then unmount
the volume. Do not use any other method to
unmount a volume while Pro Tools is running.
Catalogs in the Workspace
Browser
(DigiBase Pro Only)
With DigiBase Pro, the Workspace browser provides special tools for creating and accessing
Catalogs. Once Catalogs have been created, they
appear in the Workspace browser in the Catalogs folder.
To show all Catalogs:
Search
pane
Areas to
search
Search
results
1 Open the Workspace browser.
2 Click the Expand/Collapse icon next to the
Catalogs folder.
Search and Search Results panes in the Workspace
The Search Results pane lets you maintain the
results of searches, while still viewing and configuring options for additional searches.
To search from the Workspace:
Viewing Catalogs in the Workspace.
1 Choose Window > Workspace to open the
To open an individual Catalog:
Workspace browser.
Double-clicking a catalog opens a Browser
window for that catalog.
■
For complete instructions on creating and
working with Catalogs, see “DigiBase Pro
Catalogs” on page 199.
Searching in the Workspace
Browser
The Workspace browser provides the most comprehensive DigiBase search capabilities. The
Workspace browser lets you perform searches
across a single volumes, multiple volumes, or
across any combination of volumes, folders, and
Catalogs. You select which volumes to include
in the search, and which to exclude. The Workspace also provides a separate Search Results
pane to view, select and manage the results of
searches.
2 Click the Search icon to display the Work-
space Search pane.
3 Configure search criteria.
4 Click next to each item in the Areas to Search
list to include or exclude volumes to be
searched. Checked items and their sub-folders
are included in the search. (The next time you
open a Search pane in the Workspace, these settings remain in effect.)
5 Click Search.
6 The results of the search are shown in the
Search Results pane.
For more information on searching, see
“Searching Items” on page 183.
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Project Browser
The Project browser displays and manages all
the files related to the current session, regardless
of what volume they reside on (see Figure 10 on
page 198).
The Project browser is similar to the Region List
in that it contains all files associated with a session, with the added data, searching, and sorting capabilities of Pro Tools browsers.
Unlike the Region List, however, individual regions are not displayed in the Project browser
(in which only complete files are listed).
Use the Project browser and its Browser menu
commands to:
• View all media files associated with a session
• Identify, select, and relink offline files
• Identify, select, copy, and relink Transfer
files
Opening the Project Browser
To open the Project browser:
1 Launch Pro Tools and open a session.
2 Choose Window > Project.
Press Alt+O (Windows) or Option+O (Mac)
to open the Workspace browser.
The Project browser displays the following:
Audio Files Folder Contains all of the audio files
currently referenced by the session, regardless of
where they are located.
Fade Files Folder Contains all of the fade files
referenced by the session, regardless of where
they are located.
Render Sources Folder Contains all files that
have been imported into the session, but are still
being converted, copied, or processed.
Video Files Folder Contains any video files referenced by the session.
Each of the folder types in the Project browser
has an Expand/Collapse icon. Clicking the icon
shows or hides all of the files in the sub-group.
The folders displayed in the Project browser are
session-specific groupings of files, not physical
folders on disk.
Browser menu
and toolbar
Folders and
files
Figure 10. Project browser
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Locating Parent FIles of Regions
Copy and Relink Restrictions
The Project Browser can be set to automatically
highlight the parent file of any region selected
in the Pro Tools Region List.
In the Project Browser, the Copy and Relink
command (in the Browser menu) cannot be
used on session files, or on offline audio files.
Use the Relink window to first bring items online. In addition, the Relink Selected command
cannot be used on session files.
To highlight the parent file of a selected region:
1 Select a region in the Region List. If the Region
List Selection Follows Track Selection preference
is enabled, you can select a region on a track.
2 From the Region List pop-up menu, select Se-
lect Parent in Project Browser.
When the Select Parent in Project Browser
option is enabled, the Project browser automatically highlights the parent file of any
file or region selected in the Region List.
Updating the Project Browser
The Project browser is automatically updated
whenever a file is added to or deleted from the
session, so it is always fully indexed and up to
date.
For instructions on searching, sorting, and
working with the Project Browser, see
“Project Browser” on page 198.
About the Project Browser
No Drag and Drop to the Project
Browser
To import a file from another browser into the
current session, you must drag files to the Timeline or Region List. You cannot import a file into
a session by dragging it to the Project browser.
(You can, however, spot files from the Project
browser into the current session using
drag/drop.)
Deleting Items in the Project Browser
Deleting items in the Workspace browser or in
Volume browsers deletes the files from disk.
Video and session files cannot be deleted in the
Project Browser.
Deleting an item from the Project browser lets
you remove items from the current session, or
delete them from disk (using the Pro Tools Clear
Regions dialog).
DigiBase Pro Catalogs
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
Catalogs are available with DigiBase Pro, which
is included with Pro Tools HD and Pro Tools LE
with DV Toolkit 2 (see Figure 11).
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.
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Catalog name
Menu and
toolbar
Items List
Fixed pane
Scrolling pane
Show/Hide
Pane split
Figure 11. Catalog browser
Opening a Catalog Browser
Catalogs are displayed in the Workspace
browser.
3 Do one of the following:
• Click the Expand/Collapse icon for the desired Catalog to view its contents in the
Workspace.
– or –
Catalogs
Catalogs item in the Workspace
To open a Catalog browser:
1 Open the Workspace browser.
2 Click the Catalogs Expand/Collapse icon.
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• Double-click the Catalog name to open it
in its own browser window.
Clip Names in Catalogs
Clip Names are the names that appear in the
timeline and Region List when a file is imported
into a session.
For most files, the Clip name is the same as the
file name. For OMF Files, the Clip Name is the
name that appears in the Avid bin.
Clip names can only be edited in a Catalog. Editing the Clip name does not affect the actual
file; however, if you add the same file to a new
Catalog, it retains its original Clip Name. 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.
Creating Catalogs
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.
To create a new, empty Catalog:
1 Open the Workspace browser.
2 Choose New Catalog from the browser menu.
3 Enter a unique name and click OK.
Comments and Catalogs
To catalog a selection of items:
Catalogs provide commands for managing OS 9
Finder comments, Database comments, and
Clip Names.
1 Open any browser (including an existing Catalog).
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.
Copy OS 9 Finder Comment to Database Comments 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 Database Comments to Clip Names Copies
an item’s Database comments to Clip Name.
2 Select the items you want to include in the
new Catalog.
3 Choose Create Catalog from Selection from
the Browser menu.
A new, fully indexed Catalog database of the selected items is created.
Creating Catalogs of Folders
To create a Catalog of an entire folder and all its
contents:
1 Open the Workspace browser, if not already
open.
2 Drag and drop a single folder onto the Catalog
icon in the Workspace browser.
Copy File Comments to Clip Names Copies an
item’s File Comments to Clip Name.
Pro Tools first indexes the folder, then a fully indexed Catalog is created, with the same name as
the dropped folder.
Renaming a Catalog
To rename a Catalog:
Catalogs can be renamed at any time.
1 Click the Catalog item in the Workspace
browser until its name highlights.
2 Enter a new name for the Catalog.
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Modifying Catalogs
3 In the warning dialog, do one of the follow-
ing:
To add items to a Catalog, do one of the following:
• Click Cancel to cancel the delete operation.
■ Open the Catalog and drop new items from
another browser.
• Click Delete Files to delete aliases and associated files from disk.
– or –
■ Click the main Catalogs icon in the Workspace, to expand your view of all existing Catalogs, then drop items onto any Catalog.
• Click Delete Aliases to delete only the
aliases and not the associated files.
This operation cannot be undone.
Consolidating Files with Catalogs
To add a folder to a Catalog:
1 Open the Catalog.
2 Choose Create Folder from the Browser menu.
To delete items from a Catalog:
1 Select the items.
2 Press the Delete key, or choose Delete Selected
from the Browser menu. A warning dialog appears.
Catalogs are excellent tools for consolidating
files from a variety of sources.
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.
Updating Catalogs
Delete Catalog warning dialog
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.
Database Comments Database Comments are
not updated, because they are unique to each
Catalog and are not part of the file’s metadata.
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Relinking Catalog Items
Importing Catalog Items
If files are ever missing from a Catalog, use the
Relink window to locate, copy, and relink files.
For more information, see “Linking and Relinking Files” on page 187.
You can import online and offline items from
Catalogs into the current session.
Deleting Catalogs
To delete a Catalog:
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.
1 Select one or more Catalogs in the Workspace
browser.
For more information, see “Importing Items
with Drag and Drop” on page 225.
2 Press the Delete key, or choose Delete Selected
from the Browser menu. A warning dialog appears.
Delete Catalog warning dialog
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.
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.
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.
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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.
Task Window
For maximum performance and flexibility with
file management tasks, Pro Tools provides the
Task window (see Figure 12 on page 205). File
management with Pro Tools involves nearly
constant creating, copying, converting, searching, and indexing files. These tasks occur in the
background, letting you continue recording, editing, and mixing without delay.
The Task window lets you monitor, pause and
cancel ongoing tasks including file copying,
fade creation and indexing.
You cannot drag and drop items to or from
the Task window.
If the volume is unsuitable for playback, you are
informed that some items must be copied to
suitable volumes first.
Opening the Task Window
For more information on Transfer files,
missing files, and relinking, see “Relink
Window” on page 191.
To open the Task Window:
■
In Pro Tools, choose Window > Task Manager.
Press Alt+’ (Windows) or Option+’ (Mac) to
open the Workspace browser.
Task Window Messages
If any background task cannot be successfully
completed, the Task window comes to the foreground to notify you. The incomplete task is
shown in the Paused Tasks pane of the Task window.
Because the Task window is a floating window,
it does not interrupt current work. This allows
you to continue recording and editing, and
postpone file management until a more convenient time.
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View Toggle
(Minimize)
Status
Active Tasks
Paused Tasks
View Toggle
(Maximize)
Status
Figure 12. Task window, maximum view (upper) and minimized view (lower)
Task Window Views
The Task window provides a maximized and
minimized view.
Status Action being taken (for example, Copying, Processing, Indexing and so on).
To toggle between maximized and minimized
views:
Progress Indicates the progress of the task or its
sub-tasks, which include assessing the size of the
items and the estimated amount of time necessary to complete the task.
Click the View Toggle icon in the top of the
Task window.
Progress Indicator Indicates processing is ongoing.
■
Task Window Tools, Columns, and
Displays
The Task window menu provides commands for
Task window operations.
The following data is always displayed in the
Task window (both views):
Item Name Indicates affected item, whether a
file, database, or other supported item.
Quantification Shows percentage of progress of
the current task.
Active Tasks Pane
The upper Active Tasks pane shows the tasks
that are in progress or waiting to start. The currently executing task is at the top. Tasks in this
pane will be processed.
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As tasks complete, they disappear from the
queue.
To cancel a task:
Any task that fails to complete successfully is
moved to the Paused Tasks pane (see below).
The Status column displays a description of the
failure.
window.
1 Highlight any task in either pane of the Task
2 Press Delete to remove it from the Task win-
dow.
To cancel all tasks:
Paused Tasks Pane
The Paused Tasks pane is displayed below the
Active Tasks pane, and is separated by a moveable horizontal divider. Tasks listed in this pane
will not be processed until they are moved back
to the Active Tasks pane.
1 Select any single task in either pane.
2 Press Control-A (Windows) or Command-A
(Mac) to select all the tasks in that pane.
3 Press Delete.
This command cannot be undone.
Pausing and Cancelling Tasks
About Cancelling Tasks
The Task window lets you pause, resume, and
cancel tasks.
Some tasks involve one or more sub-tasks. Deleting a task cannot undo sub-tasks already completed. For example, if importing and converting multiple files appears as a single task,
deleting that task before it is completed stops
the import and conversion process, but files already converted and imported remain on disk. If
you want to cancel a task involving multiple
sub-tasks, you can instead let the process complete and then use Undo to completely undo all
sub-tasks, as available.
To pause a task:
■ Drag the appropriate task from the Active
Tasks pane to the Paused Tasks pane.
The task moves to the top of the Paused Tasks
pane.
To pause all tasks:
■ Choose Pause All from the Task window
menu.
Closing Sessions with Pending
Tasks
To resume a task:
Drag a task from the Paused Tasks pane to the
Active Tasks pane. The task returns to its previous position in the queue.
■
To resume all paused tasks:
■ Select Resume All from the Task window
menu. All tasks in the Paused Tasks pane (except
failed tasks) are moved to the Active Tasks pane.
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If you close a session or quit Pro Tools while
tasks are still pending (either in the Active or
Paused Tasks panes of the Task window)
Pro Tools asks if you want to cancel, or complete
the pending tasks. You can choose to open the
Task window and wait for pending tasks to complete, cancel the pending tasks, or quit. If you
quit, some tasks are cancelled. Tasks that involve file copies are remembered and restarted
when you relaunch Pro Tools.
About Failed Tasks
Stored Tasks
The Paused Tasks pane shows any tasks that
could not be completed. The reason for the failure is shown in the Status column.
Any task that imports files into a session is
stored with a session when it is closed, and resumes when the session is re-opened.
Failed Tasks cannot be resumed, and must be deleted manually from the Paused Tasks pane.
For example, if you Import Tracks with Copy
Media selected, then save and quit before the
copy completes, the copy tasks resume when
the session is reopened.
If Automatically Find and Relink was unable to
find all files in a session, a failed task is placed in
the Paused Tasks pane of the Task window. It remains there unless you manually remove it
from the Task window (even if you have since
found the files through a subsequent search and
relink task).
Task Prioritization
A task that is in progress may be interrupted by
a task of higher priority. When this happens,
the partially completed task is halted and rescheduled later in the queue, and shown with a
progress bar in the Active Tasks pane. When the
higher priority task is finished the first incomplete task in the queue resumes.
Tips for Using the Task Window
Pause Tasks During Playback
A global preference Pause during Playback is
provided in the Task window Browser menu.
When enabled, Active Tasks are paused whenever Pro Tools is playing (or recording). This setting is especially useful when working on slower
CPUs, or whenever you want to minimize system load for maximum playback and recording
performance. This Preference maintains its setting until the next time it is changed.
Grouped Tasks
Some tasks consist of many smaller tasks. For instance, Copy and Relink may require hundreds
of individual files to be copied. To help manage
these tasks, they are grouped under the originating command. So in the example of a Copy and
Relink command, one Copy task would appear
with an Expand/Collapse icon in the Task window. Clicking the icon shows each of the individual sub-tasks.
If there is more than one grouped task in the
queue, all of the sub-tasks for the first group
must be completed before the sub-tasks of the
second group can be processed.
If the session is saved and closed while several of
these group tasks are in the queue, and if those
tasks are the type that are saved across close and
reopen, all of the tasks appear when the session
is reopened as part of the same group.
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Workflow Example
This example demonstrates how DigiBase
browser features, including DigiBase Pro Catalogs, can be used in a typical post production
project.
For this example, imagine posting audio for an
animated television commercial for a line of
products from the Aviary Fish & Chips company.
Launch Pro Tools and Check the Workspace:
1 Launch Pro Tools. The Workspace browser dis-
plays all mounted volumes. It also shows the
Catalogs icon.
5 Click OK.
A new folder named Aviary appears under the
Catalog icon in the Workspace browser.
A new Catalog shown in the Workspace browser
Find and Select Audio for the Project:
6 You need to use the sound of footsteps for this
project and you already have some footsteps recorded into the session on a local hard drive. To
view them, return to the Workspace browser
and open the Volume browser for this drive.
7 To find all footstep recordings, click the Search
icon in the Volume browser to show the Search
tools.
Search icon
Items in the Workspace browser
2 Click the Expand/Collapse icon next to the
Catalogs icon to show all the Catalogs in the
Catalogs folder. Since this project does not have
a Catalog, start by creating one.
the Search icon in the Browser toolbar
8 In the File Name Find field, type “foot” and
press Enter (or click Search).
Matching files are displayed as they are found.
Create a Catalog (Pro Tools HD and Pro Tools LE
with DV Toolkit Only):
3 From the Browser menu select New Catalog.
Browser menu
Selecting New Catalog from the browser menu
4 Name the Catalog Aviary.
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Search results in the Workspace browser
9 Select all the files found on that volume and
drag them onto the Aviary Catalog icon (listed
in the Workspace browser).
10 Close the Volume browser and double-click
the Aviary Catalog, the Aviary Catalog browser
opens, showing the footstep files completely indexed.
16 Select the three best files, and drag them to
the Aviary Catalog browser. They now appear
there next to the footsteps we found in the previous step.
17 Close the browser for the CD-ROM.
Search on Multiple Criteria:
18 Next, you need a car crash that is 5–6 seconds
long. A Catalog already exists for a five-disc
sound effects library, and even though the CDROMs are not mounted their contents can be
searched.
Items in the Catalog
11 Next, you need to find some mouse squeaks
from a new sound effects CD-ROM. Mount the
CD-ROM and it appears as a new volume in the
Workspace browser.
19 Click the Search icon in the Workspace
browser, select the five Catalogs to be included
in the search, type “car crash” in the File Name
Find field, and configure the Absolute Duration
field to find files that are between 5 and 6 seconds in duration. Despite the fact that the CDROMs are offline (not mounted), matching candidates can still be found.
12 To avoid having to index and search through
every file on the CD-ROM, double-click on the
CD-ROM’s icon in the Workspace browser to
open the Volume browser for the CD-ROM. The
browser shows twenty or more folders (typical
of sound effects libraries, where sounds are organized by contents).
13 Click to select (highlight) just the folder
named Animals, and select Update Database for
Selected from the Browser menu. This indexes
only the selected folder, rather than the entire
disc.
14 With the folder indexed, perform a search on
“Mouse.” Several files are found and listed in the
browser.
Searching for audio files between 5 and 6 seconds
20 Four files are found that match the search criteria. Drag them onto the Aviary Catalog
browser to add them to the Catalog (they appear
as offline items).
15 Audition each item by clicking the Speaker
icon next to the waveform.
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Spot Files from the Catalog (Pro Tools HD and
Pro Tools LE with DV Toolkit Only):
21 Close all the browsers except the Aviary Catalog.
22 From the Aviary Catalog browser, drag files
onto the current session Timeline to spot the
files to the desired locations:
• The footsteps are immediately available
and playable because they are already located in the Audio Files folder.
• When mouse squeaks are added, copies of
the files are automatically made from the
mounted CD-ROM to the Audio Files folder
for the session. Copying, and any necessary
conversion, takes place in the background.
• Spot the desired car crash from the Catalog
(the crash found on one of the offline CDROMs). Even though the disc is not
mounted, the car crash file appears in the
Timeline and the Region List as an offline
audio file. When you are ready to listen to
and work with the (offline) car crash effects, mount the CD-ROM with the car
crashes. Because the CD-ROM is not a qualified playback drive, the file still appears in
the Timeline as offline.
Spotting audio from a Catalog into the session
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23 In the Project browser, highlight the desired
file and choose Copy and Relink from the
Browser menu. Then select an available playback volume for the file. Once the copy is completed, the file appears online in the session,
indicating it is ready to play.
For more information about linking, see
“Relink Window” on page 191.
Chapter 12: Importing and Exporting
Session Data
Pro Tools lets you import a variety of data into a
session, including audio and MIDI files, region
groups, video files, track playlists, I/O configurations, and signal routing configurations.
You can import audio and MIDI files into a session, or transfer entire audio or MIDI tracks,
along with all of their attributes, from another
session. Additionally, with Pro Tools HD, you
also have the option of importing any combination of track attributes from another session,
such as a track’s audio or MIDI playlists, signal
routing, plug-ins, or automation. See “Importing Audio” on page 211 and “Importing Tracks
and Track Attributes” on page 218.
To import or export video files, see
Chapter 36, “Working with Video in
Pro Tools”
Importing Audio
Audio files and regions can be imported to new
tracks, or they can be imported into the Region
List, where they can be dragged to existing
tracks.
Pro Tools can automatically convert files that
don’t match the session’s audio file type, sample
rate, or bit depth. Audio files that don’t match
the session audio file type, sample rate, and bit
depth must be converted on import. Pro Tools
also splits interleaved audio files into multiple
mono files.
Files and regions can be auditioned before they
are imported.
If region definitions are present in an audio file,
you can convert and import the audio for a region without importing the entire parent audio
file.
Pro Tools 7.x does not support audio file
names that contain certain ASCII characters (see “Opening a Session that Contains
Audio File Names with Illegal Characters”
on page 243).
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211
Audio files of the following types can be imported into Pro Tools sessions:
• AIFF
• WAV or BWF (.WAV)
• SD II
• SD I
Copying, Adding, and Converting Audio
Depending on the properties of the audio files
you are importing, you can add, copy, or convert the files. The following options appear in
the Import Audio dialog when they are applicable to the selected audio file.
• MP3
• MXF audio
• Sound Resource (AIFL—Mac only)
• WMA (Windows Media—Windows only)
• QuickTime (Mac only)
• AAC audio (including audio with AAC,
Mp4, and M4a file extensions)
Pro Tools cannot import protected AAC or
MP4 files with the .M4p file extension.
These files are protected under the rules of
digital rights management.
• ReCycle (REX 1 and 2) files
• ACID files
Importing ACID and REX Files
When working with ACID files or REX 1 and 2
files, consider the following:
◆ ACID files without slice data are imported as
audio regions.
Add
Audio files that are of the same file type and bit
depth as a session can be added directly to the
session. When you add an audio file, the session
references the original audio file in its original
location. Use this option when you do not want
to use extra hard drive space for audio files that
are already of the same bit depth and sample
rate as your session.
Pro Tools does allow audio files that are not the
session’s native file type to be added to the session. For example, Windows sessions allow AIFF
or WAV files to be added to any session, and
Mac sessions allow SD II, AIFF, or WAV files to
be added to any session. However, sessions with
mixed file types have reduced performance.
Audio files that are of a different bit depth than
the session must be converted before they can
be imported.
Pro Tools allows you to add files to a session that are at a different sample rate than
your session. In the comments field of the
Import Audio dialog, a warning is posted
that these files will play back at the wrong
speed and pitch if they are not converted.
Sliced ACID files and REX 1 and 2 files are imported as region groups (see “Importing and Exporting Region Group Files” on page 238).
◆
◆ After importing ACID files and REX 1 and 2
files, you can reduce clutter in the Region List by
hiding auto-created regions in the Region List
(deselect Show > Auto-Created in the Region
List pop-up menu).
Pro Tools can automatically apply real-time
crossfades to imported REX and ACID files (see
“Automatic Fades for Imported REX and ACID
Files” on page 213).
◆
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Copy
If a file can be added to your session, you will
also be given the option to copy it. This option
creates a copy of the audio file and places it in a
folder you choose. When you copy an audio file,
the session references the copied file in its new
location.
Use Copy to move audio from an unsupported
or removable drive to an audio drive, or to archive audio files for a session to a specific location.
Convert
Automatic Fades for Imported REX and
ACID Files
Pro Tools can automatically apply real-time
crossfades to the regions or “slices” in imported
REX and ACID format files.
Audio files that are not of the same bit depth or
sample rate as a session, or audio files that are of
an incompatible file type (such as SD II files in
Windows) must be converted to be used with
the session. When an audio file is converted, a
new file with the correct bit depth, file type, and
sample rate is created and placed in a folder you
choose.
To apply real-time crossfades to REX and ACID
files:
The quality of sample rate conversion used by
Pro Tools is determined by the preference for
Conversion Quality. For details, see “Sample
Rate Conversion Quality” on page 213.
4 Click OK to close the Preferences dialog.
Importing Stereo Files
When using the Import Audio command, interleaved stereo files are automatically imported to
stereo tracks.
Split stereo (dual mono) audio files can be automatically imported to stereo tracks. Split stereo
audio files must have the channel identifiers
“.L” and “.R” in their names (for example, filename.L and filename.R), and the files must be the
same length. In Windows, or in Mac/PC Compatibility mode, these files will have a 3-letter
file extension appended after the “.L” or “.R”
channel identifier.
Pro Tools also lets you import multichannel interleaved files of any supported file type.
1 Choose Setup > Preferences and click Editing.
2 Select the “Automatically Create Fades For Im-
ported REX and ACID files” option.
3 Click REX/ACID and choose the shapes for the
crossfades, and click OK.
Depending on your edits or tempo changes
after importing REX or ACID files, the
fades may get deleted and you will have to
recreate them yourself.
Sample Rate Conversion
Quality
The Sample Rate Conversion Quality preference
determines the quality of sample rate conversion used when converting and importing audio
into a session. There are five possible settings,
ranging from Low (lowest quality) to Tweak Head
(highest quality). The higher the quality, and
the larger the conversion, the longer it will take.
To set the sample rate conversion quality:
1 Choose Setup > Preferences and click the
Processing tab.
Chapter 12: Importing and Exporting Session Data
213
2 From the Sample Rate Conversion Quality
pop-up menu, select a quality setting. For most
applications, the Good or Better setting will
yield very good results.
To import audio files or regions into a session from
the Pro Tools File menu:
1 Choose File > Import > Audio.
2 In the Import Audio dialog, select an audio file
to display its properties and associated regions.
Sample Rate Conversion Quality preference
3 Click OK.
Importing Audio Files and
Regions
Pro Tools provides several ways to import audio
files and regions into an open session.
• “Importing Audio Files and Regions Using
Pro Tools Menu Commands” on page 214
• “Importing Audio Files Using the Pro Tools
Application Icon or Alias” on page 216
• “Importing Audio Files with Drag & Drop”
on page 216
• “Importing Audio from Audio CDs” on
page 216
Importing Audio Files and Regions
Using Pro Tools Menu Commands
Pro Tools provides menu commands to import
audio files or regions.
To import entire tracks from other sessions,
see “Importing Tracks and Track Attributes” on page 218.
Figure 13. Import Audio dialog
You can choose to display only a certain file
type (such as AIFF) by selecting the type from
the Show pop-up menu. To display all supported file types, select All Documents from the
Show pop-up menu.
In the import list, audio files are distinguished
from regions by their icons.
Audio File icon
Audio Region icon
File and Region icons in the Import Audio dialog
On the Mac, Sound Resource files must
have the “.SFIL” extension to be imported
by Pro Tools.
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3 To audition a selected file or region before you
import it, click the Play and Stop buttons in the
Import Audio dialog.
Adjust playback volume with the vertical slider.
To navigate to a particular location in the file,
use the horizontal slider under the Play and Stop
buttons.
The audition output defaults to channels 1–2.
With Pro Tools HD, the audition output channels can be changed in I/O Setup or Hardware
Setup.
8 In the Audio Import Options dialog, choose
where the imported files will go in the session:
New Track Each audio file is imported into its
own individual track and into the Region List.
When importing audio into a track, you can also
choose the location in the track where the audio
file will begin (such as Session Start).
Region List Audio files are imported into the Region List without creating a new track. Imported
audio files appear in the Region List and can
then be dragged into an audio track.
4 Do any of the following:
• To place a file or region in the Import list,
select the file and click Add or Convert.
• To import all files and regions in the current directory, click Add All or Convert All.
• To remove a file or region from the Import
list, select it and click Remove.
• To remove all files and regions, click Remove All.
5 When you have added all audio files and re-
gions to the Import list, you can apply sample
rate conversion by doing the following:
Audio Import Options dialog
9 If you chose to create a new track, choose a lo-
• Enable Apply SRC.
cation for the imported file in the track:
• Specify the Source Sample Rate either by
typing a number, or by selecting a sample
rate from the pop-up menu.
Session Start Places the file or region at the start
of the session.
• Select the sample rate conversion quality
from the Quality pop-up menu. This setting overrides the Sample Rate Conversion
Quality setting in the Processing Preferences page.
Song Start Aligns the beginning of the file or region to the Song Start point.
6 Click Done.
7 If you are copying or converting files, choose
a location for the new files. Choose a folder on a
valid audio drive, such as the Audio Files folder
for the current session.
Selection Aligns the beginning of the file or region to the edit cursor or to the beginning of a
selection in the timeline.
Spot Displays the Spot dialog, which lets you
spot the file or region to a precise location based
on any of the Time Scales.
10 Click OK.
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215
Importing Audio Files Using the
Pro Tools Application Icon or Alias
Audio files can be imported into a session using
the Pro Tools application icon or alias.
To import audio into an existing track:
1 Select audio files in a DigiBase browser, or
Windows Explorer or Mac Finder.
2 Drag the files onto an existing track in the Edit
window of the current session.
To import audio files into a session, using the
Pro Tools application icon or alias:
To import audio into new tracks:
1 Open or create a new session.
1 Select audio files in a DigiBase browser, or
2 From Windows Explorer or Mac Finder, locate
Windows Explorer or Mac Finder.
the audio files you want to import.
2 Do one of the following:
Audio files must be in WAV, SD II, or AIFF/AIFC
format in order to be dropped into Pro Tools.
• Shift-click the files and drag them anywhere in the Edit window of the current
session.
Audio files will be converted if they are not of
the correct bit depth or number of channels.
They will be converted to mono files of the default audio file format, with the session’s bit
depth and sample rate.
• Drag the files onto any empty space in the
Edit window of the current session.
3 Drag the audio files onto the Pro Tools application icon or alias.
• Drag the files to the Track List.
For more information on using DigiBase
browsers, see Chapter 11, “DigiBase.”
Importing Audio from Audio CDs
Importing Audio Files with Drag &
Drop
You can drag and drop audio files from a
DigiBase browser, Windows Explorer or Mac
Finder to the Timeline, a track, the Track List, or
the Region List.
Pro Tools lets you import tracks from audio CDs
using the same methods that you use to import
audio files, as follows
• Drag and drop CD audio from the CD
folder.
• Drag and drop files from DigiBase Browser.
• Use the Import Audio command.
To import audio into the Region List:
1 Select audio files in a DigiBase browser, or
Windows Explorer or Mac Finder.
2 Drag the files onto the Region List of the current session.
Importing CD audio with either drag and
drop method lets you continue working in
the session foreground (such as in the Mix
or Edit window), while the Task Manager
(Window > Task Manager) works in the
background (importing and converting the
audio until the import is completed).
For more information on the Task Manager,
see “Task Window” on page 204.
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Since the transfer is made in the digital domain,
there is no signal loss.
Importing Multichannel Audio
Files from a Field Recorder
The sample rate for audio CDs is 44.1 kHz.
Therefore, if your session’s sample rate is set to
48 kHz or higher, Pro Tools will convert the
sample rate for the imported audio. Before importing CD audio, set the Conversion Quality
preference accordingly. For more information,
see “Sample Rate Conversion Quality” on
page 213.
Pro Tools lets you use any of the import methods to import monophonic and polyphonic audio files recorded by a field recorder. When you
import these types of files, they must be converted to an audio format compatible with
Pro Tools.
Before importing CD audio, make sure your
hard drive has enough space for the converted
audio files.
To import a CD audio track using the DigiBase
Browser:
1 Insert the audio CD into your CD/DVD drive.
If Autoplay is enabled, stop playback and
close the application that is configured for
Autoplay.
2 Choose Window > Workspace.
3 In the DigiBase browser, click on the CD and
For more information on importing files
from a field recorder, refer to the Field
Recorder Workflow Guide.
Importing Monophonic Audio Files
A monophonic audio file contains one mono
channel and relevant metadata from a single
multichannel recording.
When you import monophonic audio files that
were recorded simultaneously, they are converted to multichannel regions and displayed
together in the Region List. Any metadata is also
imported with the files.
Importing Polyphonic Audio Files
select the audio track.
4 Do one of the following:
• Drag the file to the Region List to add it to
the session.
• Drag the file to a track to place (or spot) it
in the track.
• Drag the file to the Track List to add and
create a new track.
Pro Tools converts the CD audio track to the session’s audio file format, bit depth, and sample
rate, and saves it on your hard drive.
A polyphonic audio file contains multiple mono
channels and relevant metadata recorded simultaneously in a multichannel recording.
When imported into Pro Tools, a polyphonic
audio file is divided into individual monophonic audio files written to disk—one file for each
channel. Regions for each channel appear in the
playlist, and a multichannel region appears in
the Region List with the channels expandable
underneath. Any metadata is also imported
with the files.
The imported audio file appears in the Region
List. From there you can drag the region to a
track in your session.
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217
Importing Tracks and Track
Attributes
you will be prompted to keep or change Fader
Gain before the Session Data dialog opens.
You can import entire tracks from other
Pro Tools sessions into the current Pro Tools session using the Import Session Data command or
drag and drop.
4 In the Source Tracks section, select tracks to
With Pro Tools HD or Pro Tools LE with DV
Toolkit 2, you can select specific session data
(such as automation and routing) to import.
You can also import main playlist options—either replacing existing options or overlaying elements onto existing tracks.
To select multiple tracks, Alt-click (Windows) or Opt-click (Mac) on any track popup men and select Import As New Track.
For example, with Pro Tools HD or Pro Tools LE
with DV Toolkit 2, you can choose to import
only the track’s audio into your current
Pro Tools session. This is analogous to “changing the tape reel” in a traditional studio setup
with a tape machine and mixing console. Or,
you can choose to import all of a track’s mixer
settings without its audio, effectively importing
a channel strip and using it on a track in your
current session. By importing mixer settings for
all of the tracks in a session or session template,
you can reuse an entire Pro Tools mixer on all
the sessions in a project.
To import tracks or their attributes:
1 Open or create a new session.
2 Do one of the following:
• Choose File > Import > Session Data, select
the session to import data from, and click
Open.
– or –
• Drag the session file whose tracks or attributes
you want to import from a DigiBase browser,
Windows Explorer, or Mac Finder into the
track playlist area in the current session’s Edit
window or to the Track List.
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3 If the Fader Gain of the sessions are different,
Pro Tools Reference Guide
import by clicking the pop-up menu to the right
of each track name and selecting Import As New
Track.
If the current Pro Tools system does not
support surround mixing, surround tracks
are not displayed in the Source Tracks list.
5 With Pro Tools HD or Pro Tools LE with
DV Toolkit 2, for each track you select, you can
choose to import it as a new track, or choose a
destination track from the corresponding popup menu. Click Match Tracks to automatically
match source and destination tracks with the
same names.
6 With Pro Tools HD or Pro Tools LE with
DV Toolkit 2, select from among the Track Playlist options to choose how you want to import
the source tracks.
7 If applicable, choose options for how media
files should be imported from the Audio Media
Options and the Video Media Options pop-up
menus.
8 Choose the Time Code Mapping option for
imported data.
9 If the sample rates of the sessions are different,
select the sample rate for the source session from
the Source Sample Rate pop-up menu.
10 To import the meter and tempo maps from
the source session, select the Import
Tempo/Meter Map option.
11 To import key signatures from the source session, select the Import Key Signature Map option.
12 To import Markers and Memory Locations
from the source session, select the Import
Marker/Memory Locations option.
13 With Pro Tools HD or Pro Tools LE with
DV Toolkit 2, select the Import Mix/Edit Groups
option to import any Mix or Edit Groups from
the source session.
14 With Pro Tools HD, select the Import Mic Pre
Settings option to import any Mic Pre settings
from the source session.
15 Click OK when you are finished.
16 If you chose to copy or consolidate media,
choose a location to place the media files.
Imported tracks are made inactive if their
source media is unavailable, or if the current session does not contain an equivalent
output path.
Import Session Data dialog (Pro Tools HD)
Importing Grouped Playlists from Other
Sessions
You can import tracks that use Grouped Playlists
from another Pro Tools session, and the playlist
grouping function will remain intact for those
imported tracks. There is, however, a restriction
for importing from pre-Pro Tools 6.1 sessions:
After importing a partial set of grouped playlists
(such as tracks 1–7 of a 10-track group), you cannot subsequently import tracks 8–10 and have
them “rejoin” the playlist group for tracks 1–7.
Import Session Data Dialog
The Import Session Data dialog lets you view the
properties of the source session, select which
tracks to import, and with Pro Tools HD, choose
which attributes of those tracks you want to import into the current session.
Import Session Data dialog (Pro Tools LE)
Chapter 12: Importing and Exporting Session Data
219
Source Properties
The Import Session Data dialog displays properties for the source session. These properties include source session name, session type, start
time of the session, audio bit depth, and sample
rate. For Pro Tools 5.1 or higher sessions, the
program that created the session and the session’s audio file type are listed.
Audio Media Options
Refer to Source Media (Where Possible) This option lets you avoid duplicating audio files by referring to the original files when possible. If the
source files do not reside on supported playback
media (such as a CDs or DVDs), or if they require bit depth or sample rate conversion, the
source files are copied instead. This option allows the current session to refer to files that do
not match the current session’s audio file format.
Copy from Source Media This option copies all
audio files related to the imported tracks from
the source media to a new specified location,
and converts the files to the current session’s audio file format, bit depth, and sample rate if necessary. This is useful if you are importing tracks
from a source such as CD or DVDs or shared
storage, and you want to place the audio files on
a different hard drive.
Consolidate from Source Media This option consolidates audio while copying it. This is useful if
you want to copy only the regions of the audio
files used in the source tracks, without copying
unused audio. This option copies and converts
consolidated audio to the current session’s audio file format, bit depth, and sample rate if necessary.
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When you choose this option, you can also
choose the size of the handle (in milliseconds)
applied to consolidated audio. Handle is the
amount of the original audio file that is preserved before and after each region in case you
need to make any edits to the new regions.
Force to Target Session Format This option copies and converts any files that do not match the
current session’s file format, bit depth, and sample rate. Files that do match the current session’s
file type, bit depth and sample rate are referred
to directly and not copied.
Video Media Options
You can either choose to leave video media files
in their original locations or copy them to a new
location. This is useful if you are importing
tracks from a source such as CDs or DVDs or
shared storage, and you want to place video files
on a different drive.
Time Code Mapping Options
You can specify where the imported tracks are
placed in the current session. Times are indicated in time code for Pro Tools|HD and
Pro Tools LE with DV Toolkit 2, and minutes:seconds for other Pro Tools LE systems.
From the Import Session Data dialog, the following Import Mapping Options are available:
Maintain Absolute Time Code Values This option
places tracks at the locations where they were located in the source session. For example, if the
current session starts at 00:01:00:00, and the session from which you are importing starts at
10:00:00:00, the earliest imported tracks can appear in your session is 9 hours and 59 minutes
after the start of the session.
Maintain Relative Time Code Values This option
places tracks at the same offset from session start
as they had in the source session. For example, if
the source session starts at 01:00:00:00 and contains a track that starts at 01:01:00:00, and the
current session start is 02:00:00:00, the track
will be placed at 02:01:00:00 in the current session.
sate for pull-up, pull-down, and NTSC or PAL
frame rates. This setting allows you to choose
the sample rate from which you want the sample rate conversion process to start.
Map Start Time Code To This option places
tracks relative to their original session start time.
(With Pro Tools|HD or Pro Tools LE with DV
Toolkit 2 systems, times are expressed in
hh:mm:ss:ff, and on Pro Tools LE systems, times
are expressed in hh:mm:ss.) For example, if the
current session starts at 00:01:00:00, and the session from which you are importing starts at
10:00:00:00, you can reset the start time code to
00:01:00:00, to avoid placing files 9 hours and
59 minutes from the start of your session.
Conversion Quality This option lets you set the
quality of the sample-rate conversion process.
See “Sample Rate Conversion Quality” on
page 213.
Track Offset Options
You can specify a track offset in addition to any
offset incurred with the Time Code Mapping options. Any imported audio is offset in the current session’s timeline by the specified amount.
You can enter values in Minutes:Seconds,
Bars|Beats, Samples, Time Code, or Feet/Frames.
Sample Rate Conversion (SRC) Options
You can set options that control how sample
rate conversion is applied to imported audio
files. If the source session and the current session have the same sample rate, this portion of
the dialog is unavailable.
Source Sample Rate For audio files created in
any session, no matter what the session sample
rate is, you can have the sample rate conversion
process treat the files in several ways to compen-
Destination Sample Rate The destination sample rate is always set to the sample rate of your
current session.
Source Tracks
This area of the dialog lists the tracks in the
source session that can be imported, each with a
corresponding pop-up menu.
Operation/Destination Track Pop-Up
Menus
For each source track, there is a corresponding
pop-up menu that lists options for importing
the track and, with Pro Tools HD and Pro Tools
LE with DV Toolkit 2, possible destination tracks
in the current session. The pop-up menus display the following items:
Do Not Import Neither the source track nor any
of its attributes are imported.
Import as New Track The source track and all attributes selected in the Session Data to Import
menu are imported into a new track in the current session.
Destination Track Names (Pro Tools HD and
Pro Tools LE with DV Toolkit 2 Only) The names
of possible destination tracks in the current session are listed at the bottom of the pop-up
menu. Imported playlists and all attributes selected in the Session Data to Import will be
placed in the destination track you choose.
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221
Only destination tracks that match the track
type (audio, Instrument, MIDI, Auxiliary Input,
or Master Fader) and the channel format (mono,
stereo, or any of the supported multichannel
formats) of the source track appear in the popup menu.
Find Matching Tracks
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
If you are importing playlists from source tracks
with the same name as destination tracks in the
current session (such as a new cut of a scene),
click Find Matching Tracks to automatically
match the track names. Tracks must have the
same name, track type, and channel format to
be automatically matched.
Session Data to Import
Selected attributes are applied to all tracks that
you choose to import into the current session.
Replacing Track Attributes
When you import an attribute of the source
track into an existing track in the current session, it replaces the corresponding attribute in
the destination track. If you choose not to import an attribute of the source track, the corresponding attribute in the destination track is retained.
Replacing Track Path Names
When you import a track’s input, output, send
output or hardware insert assignments, any custom path names and I/O configurations from
the source session are not imported. You can import path names and I/O configurations by importing I/O Setup settings. See “I/O Settings
Files” on page 57 for more information.
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
Selecting Track Attributes to Import
The Session Data to Import menu is where you
select which attributes of the selected tracks you
want to import into the current session.
You can select All, None, or any combination of
the listed attributes to import. The following attributes are available to import:
All Imports all of the source track’s playlists, according to the Track Playlist Option setting, and
all of the attributes in the Session Data to Import
list.
None Imports only the source track’s main playlist, according to the Track Playlist Option setting, and no other attributes of the source track.
Alternate Playlists Imports all of the source
track’s alternate playlists. The alternate playlists
appear in the destination track’s playlist pop-up
menu.
Session Data options in the Import Session Data dialog
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Regions and Media Imports all of the audio files
or regions in the source track, and places them
in the Region List.
Volume Automation and Setting Imports the
source track’s Volume fader setting and any automation data on the track’s Volume Automation playlist. The Volume fader setting and any
Volume automation data in the destination
track are replaced.
Pan Automation and Setting Imports the source
track’s Pan Slider settings and any automation
data on the track’s Pan Automation playlist. The
Pan Slider setting and any Pan automation data
in the destination track are replaced.
Mute Automation and Setting Imports the source
track’s Mute setting and any automation data
on the track’s Mute Automation playlist. The
Mute setting and any Mute automation data in
the destination track are replaced.
Main Output Assignments Imports the source
track’s channel output assignments, including
any multiple output assignments. The channel
output assignments in the destination track are
replaced.
Hardware Insert Assignments Imports the source
track’s hardware Insert assignments. Any Insert
assignments in the destination track are replaced.
Voice Assignments Imports the source track’s
voice assignment from the source session. Any
voice assignments in the destination track are
replaced.
Input Assignments Imports the source track’s
channel input assignment. The Input assignment in the destination track is replaced.
Side-Chain Assignments When the source track’s
plug-in assignments are imported, this option
imports any side-chain assignments associated
with the plug-ins. If no plug-in assignments are
imported, this option has no effect.
I/O Labels (Path Names) Imports the source
track’s path names.
Track Active State Imports the active/inactive
state of the source track from the source session.
Send Output Assignments Imports the source
track’s send output assignments. Any Send output assignments in the destination track are replaced.
Track Comments Imports the track comments
associated with the source track. Any comments
in the destination track are replaced.
Plug-in Assignments Imports the source track’s
plug-in assignments. Any plug-ins in the destination track are removed, and their associated
settings and automation are lost.
Record Safe/Solo Safe Settings Imports the
record safe and solo safe settings of the source
track from the source session. Any record safe or
solo safe settings in the destination track are replaced.
If the source track uses a plug-in that is not
available on the destination system, it appears
in the destination track and is made inactive.
Track View Settings Imports the track height
and playlist view of the source track from the
source session.
Plug-in Settings and Automation When the
source track’s plug-in assignments are imported,
this option imports the track’s plug-in settings
and any automation data associated with the
plug-ins. If no plug-in assignments are imported, this option has no effect.
Mix/Edit Groups: Imports track groups from
source session.
Chapter 12: Importing and Exporting Session Data
223
Import Options
Track Playlist Options
Import Tempo/Meter Map Imports the meter
and tempo maps, as they appear in the Tempo
and Meter Conductor rulers, from the source
session. Any Tempo or Meter events in the destination session are replaced.
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
Import Key Signature Map Imports all key signatures (if present) into Pro Tools with the imported session data. Any Key Signatures in the
destination session are replaced.
Import Marker/Memory Locations Imports
markers and Memory Locations as they appear
in the Marker ruler, from the source session.
Any markers and Memory Locations in the destination session are retained. Imported marker
and Memory Locations are assigned the next
available Marker/Memory Location numbers.
Import Window Configurations Imports the Window Configurations from the source session.
Import Pre Settings
(Pro Tools HD Only)
Imports any Pro Tools Mic Pre settings from the
source session. Any Mic Pre settings in the destination session are replaced.
You can select from the following options to
control how the main playlist from each source
track is imported to the destination track in the
current session.
Import Main Playlists — Replacing Destination
Main Playlists Imports the main playlist from
the source track. When you import the playlist
into an existing track, the main playlist in the
destination track is deleted and replaced with
the imported playlist.
◆ If you select the above option and import all
of the source track’s attributes, this is equivalent
to importing the entire track.
◆ If you select the above option and do not import any of the source track’s attributes, you replace the audio playlists while keeping your
current mixer settings.
Import Main Playlists—Overlaying New with Existing, Trimming Existing Regions Imports the
main playlist from the source track. When you
import the playlist into an existing track, any
existing playlist data that overlaps data imported from the source track is trimmed and replaced with the imported data. Any playlist data
in the destination track that does not overlap remains in the destination track.
Do Not Import Main Playlists—Leaving Destination Playlists Intact Does not import the main
playlist from the source track. No audio is imported; only the attributes selected in the Session Data to Import list are imported to the selected tracks. When selected, importing all of
the source track’s input, output, send, insert and
plug-in attributes is equivalent to importing a
channel strip.
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Importing Items with Drag and
Drop
Importing Media Files
Importing does not always convert or copy
audio files. See “File Conversion on Import”
on page 227 and “Copying during Import”
on page 228 for details.
Figure 14 illustrates some of the options available to import media using DigiBase.
Importing using drag and drop does not necessarily bring the Edit window to the foreground. For example, dragging and dropping a file from a browser into a track leaves
the source browser in the foreground (not
the Edit window). Always verify the active,
foreground window or browser before continuing.
Workspace
Volumes
Catalogs
Drop items or session files
to existing tracks, or to the
Track List to add as new tracks
Drop items in the
Region List to import
Figure 14. Importing from browsers by drag and drop
Chapter 12: Importing and Exporting Session Data
225
To import items into the Region List:
To import and spot an audio file by its Waveform:
1 Select audio, video, MIDI, region group, REX,
1 Control-click (Windows) or Command-click
or ACID files in a browser.
(Mac) in an item Waveform display at the approximate reference point you want to use for
placement in a track.
2 Drag the selected item onto the Region List.
To import items into an existing track:
1 Select an item in a browser.
2 Drag the selected file onto an existing, compatible track at the desired location. The file is
imported and placed where it was dropped.
2 While continuing to press Control (Win-
dows), or Command (Mac), drag the waveform
onto an existing audio track (the source audio
file and the destination audio track must have
the same number of channels).
Snapping to Head and Tail
To import items as new tracks:
1 Select items in a browser.
2 Do any of the following:
• Shift-drag items and drop anywhere in the
Edit window.
• Drop items to the Track List.
• Drop items on to empty space in the Edit
window, below or between tracks.
To import and spot audio into a track:
1 Enable Spot mode.
2 Select an audio file in a DigiBase browser.
3 Drag the items onto a Track playlist in the
Pro Tools Timeline. The Spot dialog appears.
4 Enter the appropriate time code location
(where you want to spot the imported item).
Auto Spot mode is not supported when importing from DigiBase browsers. Import to
the Region List first, then drag from there to
utilize Auto Spot mode. See the Pro Tools
Reference Guide for more information.
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To import and snap to head:
■ Start-drag (Windows) or Control-drag (Mac)
an item onto a track.
To snap to head and copy the item to the session
Audio files folder:
■ Alt-Start-drag (Windows) or Option-Controldrag (Mac) an item onto a track.
To snap to tail:
■ Control-Start-drag (Windows) or CommandControl-drag (Mac) an item onto a track.
To snap to tail and copy the item to the session
Audio Files folder:
■ Control-Alt-Start-drag (Windows) or Command-Option-Control-drag (Mac) an item onto
a track.
Importing AAF and OMF
Sequences
To import tracks and other session data by drag
and drop:
(DigiTranslator 2.0 Required)
1 Open a browser.
You can import AAF and OMF sequences from
browsers by doing the following.
To import sequences into an existing track:
1 Select an AAF or OMF sequence in a browser.
2 Drag the item at the desired location in the
current session. The file is imported and placed
where it was dropped. If the sequence contains
video the video track will also be imported.
2 Drag a Pro Tools session file, or an AAF or OMF
sequence (requires DigiTranslator 2.0), into the
current session, as follows:
• Drag onto an existing track to overlay or
overwrite data on the target tracks. Hold
the Shift key while dragging if you intend
to replace the current track playlists with
those being imported (the Shift key preconfigures the settings in the Import Session Data dialog).
Importing Sessions and Tracks
• Drag onto an empty (non-track) space in
the Edit window Timeline to create new
tracks for the imported session data.
Session files can be dragged into the current session to import (and spot) audio, video, MIDI, region group, REX and ACID files, tracks, and session data.
• Configure the Import Session Data dialog
as appropriate. (See the Pro Tools Reference
Guide for details on the Import Session
Data dialog.)
• Dragging a session to the Region List imports
all the regions from that session (without importing tracks).
• Dragging a session to a track in Pro Tools LE
lets you import tracks.
• Dragging a session to a track playlist in
Pro Tools HD opens the Import Session Data
dialog, letting you select tracks and attributes
to import. The imported session data will begin wherever you drop the session in the
Timeline.
File Conversion on Import
By default, files added to the session by drag and
drop reference the original media, unless they
do not reside on a valid Performance volume, or
unless any of the following are true:
• Sample Rate does not match.
• Bit Depth does not match.
• The file is compressed.
• The file is multichannel interleaved.
• The file is WAV format, but the Pro Tools Preference to Convert all imported.WAV files to
AES31/Broadcast Wave is enabled.
Sample Rate Conversion quality follows the
Pro Tools Preference setting.
Chapter 12: Importing and Exporting Session Data
227
Assuming that the file resides on a suitable Performance volume, and that the bit-depth
matches, automatic sample rate conversion can
be suppressed (for example, to speed importing
for rough auditioning or when playback speed is
not critical).
Copying during Import
If no conversion is necessary, and the files reside
on a suitable Performance volume, Pro Tools
references the original version of the media. You
can also choose to copy media while importing
by using key commands, or enabling the Automatically Copy Files on Import preference. Copies are created in the session’s Audio Files Folder.
Pro Tools supports exporting regions as audio
files, exporting left and right audio files as stereo
interleaved files, and exporting region information.
You can also export audio from Pro Tools by
bouncing or consolidating audio tracks. For
more information, see “Consolidate Command” on page 487 and “Bounce to Disk” on
page 746.
Exporting a Region as a New
Audio File
■ Alt-drag (Windows) or Option-drag (Mac) the
files. A copy is created in the session Audio Files
folder.
You can export regions as audio files with the
Export Regions as Files command. Use this command if you intend to use a region in other sessions (or other audio applications) without using its parent source file.
When importing sessions or tracks, the Import
Session Data dialog lets you specify whether to
reference the source media, or copy it.
This command also provides a way to convert
regions to a different audio format, sample rate,
or bit depth.
To automatically copy files on import:
To export regions as new audio files:
1 Choose Setup > Preferences, and click the Op-
1 In the Region List, select the regions you want
erations tab.
to export.
2 Select Automatically Copy Files on Import.
2 From the Region List pop-up menu, choose
3 Click OK to close the Preferences dialog.
Export Regions as Files. The Export Selected dialog appears.
To manually copy files on import:
Using Undo after Importing
Using Undo after importing removes any affected files from the Timeline. However, imported items remain in the session (in the Region List and Project browser) and are off-line. If
you do not remove or delete the files from the
session manually, Pro Tools will report them as
missing files the next time the session is opened.
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Exporting Audio
Pro Tools Reference Guide
Table 13. Dither and Noise Shaping with Export
Selected dialog
Dither
Noise
Shaping
24-bit to 8-bit
Yes
No
16-bit to 8-bit
Yes
No
Bit Depth
The Dither setting used for any conversion is the
Digidesign Dither plug-in (with or without
Noise Shaping enabled, as noted in Table 13).
For more information about using Dither,
see “Dither” on page 660.
4 Select an option for how Pro Tools should re-
solve duplicate file names.
Prompting for Each Duplicate Prompts you for a
file name for any file that has the same name as
a file in your destination directory.
Export Selected dialog
3 In the Export Selected dialog, set the file type,
format, bit resolution, and sample rate. In addition, specify the Conversion Quality, and
choose the destination directory.
Auto Renaming Automatically changes the
name of any duplicate file by adding a number
at the end of the file name (such as file_01).
Replacing with New Files Replaces files with the
same name with the new files.
When you export regions to a lower bit depth,
Dither (with or without Noise Shaping) is applied as shown in Table 13.
5 Once the Export Options are configured, click
Export to export the new audio files.
Table 13. Dither and Noise Shaping with Export
Selected dialog
Exporting Stereo or Multichannel
Interleaved Files
Dither
Noise
Shaping
24-bit to 24-bit
No
No
16-bit to 24-bit
No
No
24-bit to 16-bit
Yes
Yes
16-bit to 16-bit
No
No
Bit Depth
You can use the Export Regions as Files command to export audio regions to stereo or multichannel interleaved files for use in other applications. (Pro Tools cannot use interleaved files
directly in the timeline—these must be converted into multi-mono files.) For example, for
this to work with a stereo file, the selected re-
Chapter 12: Importing and Exporting Session Data
229
gions must have identical names with “.L” and
“.R” suffixes (for instance, vocals_01.L and
vocals_01.R). These regions appear as a stereo region in the Region List.
Pro Tools HD also lets you bounce multichannel
interleaved files of any supported file type.
To export region definitions for an audio file:
1 In the Region List, select any regions or region
groups for which you want to export definitions. You do not have to select the parent file
audio region.
2 Choose Export Region Definitions from the
Region List pop-up menu.
To export regions as a stereo or multichannel
interleaved file:
3 Click Export.
1 Select the stereo or multichannel audio region
in the Region List or in the track playlist. If the
regions appear on mono tracks in the session,
select the two mono regions.
2 From the Region List pop-up menu, choose
Export Regions as Files.
3 In the Export Selected dialog, select “Stereo
Interleaved” in the Format pop-up menu. For
multichannel regions, the Stereo Interleaved option produces a multichannel interleaved file.
4 Configure any other output settings, then
click Export to export the new stereo interleaved
file.
Exporting Region Definitions
Pro Tools stores region definitions for audio files
within each session. If you want to use an audio
file’s regions in another session, or with another
application that supports them, you can export
the region information.
If you plan to transfer Pro Tools session
data to another session, you should export
region definitions for sessions containing
multiple takes created with Loop Record.
The Export Region Definitions command does
not export regions as audio files (unlike the Export Regions as Files command). Instead, it
stores pointers to the regions within the parent
source file.
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Exporting Pro Tools Tracks as
AAF or OMFI Sequences
With the DigiTranslator Integrated Option (DigiTranslator 2.0 or higher), Pro Tools lets you export individual tracks in AAF or OMFI format.
Use the Export Selected Tracks as AAF/OMF
command.
Pro Tools with DigiTranslator does not
support AAF files with embedded media.
For more information on installing, using,
or removing DigiTranslator with Pro Tools,
refer to the DigiTranslator Guide.
Exporting Sessions as Text
(Pro Tools HD Only)
You can use the Export Session Info as Text command to create a text file that contains extensive
information about your session.
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.
Export Session Info as Text
Options
Include Track EDLs (Playlists)
You can export track EDLs (playlists). Track
EDLs can be used to spot-check region placement and edits, or in a conforming program for
post applications. In extreme circumstances the
EDL can be used to recreate the entire session.
MIDI track EDLs are not exported.
When exporting track EDLs, the following options are available:
Show Subframes This option allows you to export subframe time information with track
EDLs, if used in your session.
Include User Timestamps You can include user
timestamps with track EDLs. User timestamps
indicate a user-defined session location for the
region, or the original location of the region
when recorded.
Export Session Info as Text dialog
Include File List/Region List
You can choose to export a list of the session’s
audio files and regions. The File List provides a
list of all the audio files and fades in the session,
and their hard drive locations. The Region List
displays all audio regions in the session, and the
source audio file for each region.
Fade Handling For track EDLs, you can choose
whether to show crossfades, not to show them,
or to combine crossfaded regions. When regions
are combined, their durations and locations are
listed up to the center of the crossfade (for the
leading region) and from the center of the crossfade (for the following region).
Time Format You can select the appropriate time
format that exported EDL information is based
on. For example, for post work, you might select
SMPTE time, but for music creation locked to a
grid, you might select Bars & Beats.
File Format
You can choose to export to any of several different text formats. These include standard text
formats, and Microsoft Word and Excel formats.
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231
Exported Session Text
Session Information
The session text file starts with basic information about the session. This information includes the session name, sample rate, bit depth,
time code format, and number of audio tracks,
audio regions, and audio files, as shown in the
following example.
Track EDLs
The final item, if exported, is the list of track
EDLs. A track EDL lists the track name, and all
edits, including the event number, the region
name, region start and end time, and region duration. The region timestamp is also exported, if
you select this option. Subframes are shown in
each time field if you select this option.
To export a session as text:
Session Information example
SESSION NAME:
Ripleys II-092700
1 Choose File > Export > Session Info as Text.
SAMPLE RATE:
48000.000000
2 Select whether to include the File List, Region
BIT DEPTH:
24-bit
TIME CODE FORMAT:
30 Frame
# OF AUDIO TRACKS:
19
# OF AUDIO REGIONS:
203
# OF AUDIO FILES:
54
List, and track EDLs.
3 If you choose to include track EDLs, select
whether to show subframes, and whether to include user timestamps. Also select an option for
crossfade handling.
4 If you choose to include track EDLs, select the
File List and Region List
Next, if you choose to include them, are the lists
of audio files and regions.
Time Format for the exported session text from
the pop-up menu.
5 Select the File Format for exported text using
the pop-up menu.
6 When you have set your options, click OK.
7 Select a location and enter a filename for the
exported text file. In Windows, Pro Tools adds
the correct 3-letter filename extension, while on
the Mac, the file extension “.txt” is added.
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Send via DigiDelivery
3 In the Send to DigiDelivery dialog, select
which files to include.
®
DigiDelivery is Digidesign’s system for efficient and reliable transfer of digital media files
over the Internet. Send via DigiDelivery lets you
send a Pro Tools session and all of its related files
using DigiDelivery from within Pro Tools.
Like the Save Copy In command, DigiDelivery
copies all files of the same type, regardless of
their location, into a single destination folder.
Anyone can send and receive files from a DigiDelivery system, even if they do not own a DigiDelivery network appliance, as follows:
To send a delivery, senders must have an Internet connection, an account on a DigiDelivery
network appliance, and the DigiDelivery client
application.
◆
To receive a delivery, recipients only need an
Internet connection and the DigiDelivery client
application. An account on the network appliance is not needed.
◆
For more information, visit the
DigiDelivery website
(www.digidesign.com/digidelivery).
To send a session from Pro Tools using
DigiDelivery:
Include in Delivery dialog
You have the option to include:
• Audio files
• Fade files
• Video files
• Plug-in settings files
• Timeline files only (files that are referenced
in the current session timeline)
4 Click OK. The DigiDelivery client will launch,
and the DigiDelivery Send Wizard (Page 1) will
open. On this page you can name the delivery
and add or remove files.
5 Complete the remaining DigiDelivery Send
Wizard pages and send the file, following the instructions that came with the DigiDelivery client software.
1 Choose File > Send via DigiDelivery.
2 Do one of the following:
• If the DigiDelivery client is not installed on
your system, Pro Tools will launch your
Web browser, and connect to the DigiDelivery site where you can download the
current DigiDelivery client.
– or –
• If the DigiDelivery client is installed on
your system, the Send to DigiDelivery dialog will open.
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233
Importing MIDI Files
Importing MIDI Files Using
Pro Tools Menu Commands
You can import Standard MIDI Files (SMF) into
your Pro Tools sessions.
Pro Tools provides menu commands to import
MIDI files.
Pro Tools provides several ways to import MIDI
files into an open session.
• “Importing MIDI Files Using Pro Tools
Menu Commands” on page 234
• “Importing MIDI Files with Drag & Drop”
on page 235
Pro Tools does not import proprietary sequence
files. To use sequences from other MIDI applications in a Pro Tools session, you will need to first
save them as Standard MIDI Files. Refer to the
manufacturer’s documentation for details on
saving Standard MIDI Files.
To import Standard MIDI files into a session using
the Pro Tools File menu:
1 Choose File > Import > MIDI and select the file
you want to import.
2 In the MIDI Import Options dialog, choose
where the imported file will go:
New Track Creates a new track where the file will
be imported.
Region List Imports the file into the Region List,
where it will be available to place into tracks.
There are two types of Standard MIDI Files, both
of which are supported by Pro Tools:
◆ Type 0 MIDI files store data for all MIDI channels in a single track. When importing these
files, Pro Tools separates the data by channel
and places each track’s data in separate regions
and tracks.
◆ Type 1 MIDI files, sometimes referred to as
multitrack MIDI files, contain multiple tracks of
MIDI data. When importing these files, each
track’s data is placed on its own new MIDI track
in the Pro Tools session.
MIDI Import Options dialog
3 If you chose to create a new track, choose a lo-
cation for the imported file in the track:
Session Start Places the file or region at the start
of the session.
Song Start Aligns the beginning of the file to
the Song Start point.
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Selection Aligns the beginning of the file to the
edit cursor or to the beginning of a selection in
the timeline.
6 In the Mix window, click the MIDI Output selector for each new track and assign a MIDI instrument and channel.
Spot Displays the Spot dialog, which lets you
spot the file to a precise location based on any of
the Time Scales.
Importing MIDI Files with Drag &
Drop
4 Select any of the following Import options:
Import Tempo Map From MIDI File When selected, overwrites any existing tempo and meter
map with tempo and meter information read
from the MIDI file.
Import Key Signature From MIDI File When selected, overwrites any existing key signatures
with key signature information read from the
MIDI file.
Remove Existing Instrument Tracks When selected, deletes any existing Instrument tracks.
Selecting this option does not remove any current MIDI tracks. All existing MIDI regions will
be left in the Region List.
Remove Existing MIDI Tracks When selected, deletes any existing MIDI tracks. Enabling this option does not remove any current Instrument
tracks. All existing MIDI regions will be left in
the region bin.
Remove Existing MIDI Regions When selected,
deletes existing MIDI regions (all data on all
MIDI and Instrument tracks) but leaves existing
MIDI and Instrument tracks in place.
5 Click OK.
The MIDI file will be imported according to the
settings in the Import MIDI Settings dialog.
If the Standard MIDI File contains markers,
they are only imported if the current session
does not contain any markers.
You can drag and drop MIDI files from a
DigiBase browser, Windows Explorer or Mac
Finder to the Timeline, a track, the Track List, or
the Region List.
To import MIDI into the Region List:
1 Select MIDI files in a DigiBase browser, or
Windows Explorer or Mac Finder.
2 Drag the files onto the Region List of the cur-
rent session.
To import MIDI into an existing track:
1 Select MIDI files in a DigiBase browser, Win-
dows Explorer or Mac Finder.
2 Drag the files onto an existing track in the Edit
window of the current session.
To import MIDI into new tracks:
1 Select MIDI files in a DigiBase browser, Win-
dows Explorer or Mac Finder.
2 Do one of the following:
• From the DigiBase browser, Shift-drag the
files and drag them anywhere in the Edit
window of the current session.
• Drag the files onto any empty space in the
Edit window of the current session.
• Drag the files to the Track List.
For more information on using DigiBase
browsers, refer to the DigiBase Guide.
Chapter 12: Importing and Exporting Session Data
235
Exporting MIDI Files
5 Enable or disable the Apply Real-Time Proper-
ties option as desired.
To export a session’s MIDI tracks for use in another MIDI application, or for playback with an
external (hardware) MIDI sequencer, you can
export Pro Tools MIDI and Instrument tracks as
a Standard MIDI File.
6 Click OK. A Save dialog opens.
MIDI can be exported from Pro Tools as a
merged, single, multichannel track (Type 0), or
as multiple tracks (Type 1).
Pro Tools exports all unmuted MIDI and Instrument tracks in the current session to a Standard
MIDI File and writes it to your hard drive. Exported MIDI information includes notes, controller events, program changes, and System Exclusive data, as well as events for tempo, meter,
and markers.
If your Pro Tools session uses key signatures and
meters, they are exported with the MIDI file.
To export all MIDI and Instrument tracks in the
current session:
1 Make sure to unmute any MIDI tracks in the
session that you want included in the exported
MIDI file. (Or, conversely, mute any MIDI tracks
you do not want included in the exported MIDI
file.) For Instrument tracks, enable or disable the
MIDI mute button (Instruments View) as desired.
2 Choose File > Export > MIDI. The Export MIDI
Settings dialog opens.
7 Specify a folder destination and name for the
MIDI file.
8 Click Save.
The SMPTE start time for the session or the song
(depending on the selection from the Location
Reference pop-up menu) is also exported. This
ensures that the exported tracks, when played
from another MIDI application, will align with
the correct SMPTE frames, and also synchronize
correctly to tape and video devices, or Pro Tools.
Refer to your third-party MIDI sequencer documentation to determine whether it supports importing SMPTE start times from MIDI files.
Items Not Exported with MIDI Files
Mute automation and muted regions do not affect exported MIDI. As long as a MIDI track is
not muted by clicking its Mute button, or an Instrument track is not muted by clicking its MIDI
mute button (Instruments View), all of its MIDI
data is exported.
Export MIDI Settings dialog
3 From the MIDI File Format pop-up menu, se-
lect 1 (multi-track) or 0 (single-track).
4 If the Song Start time is different from the Session Start time, select Session Start or Song Start
from the Location Reference pop-up menu.
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When exporting MIDI files from Pro Tools, device assignments for tracks are not retained
(though channel assignments are). If you export
MIDI or Instrument tracks from Pro Tools and
later re-import them, you will need to reassign
the tracks to devices in your studio.
All playlist information for MIDI and Instrument tracks is lost when exporting. For example, tracks that previously contained dozens of
MIDI regions will be flattened and only contain
single regions after exporting and re-importing.
To export all selected Pro Tools Instrument or
MIDI tracks as a MIDI file:
1 Select the tracks you want to export to a MIDI
file.
2 Right-click the Track name of one of the se-
Exporting Individual MIDI and
Instrument Tracks
lected tracks in the Edit or Mix window, or in
the Track List.
3 From the Right-click pop-up menu, select Ex-
You can also export individual MIDI and Instrument tracks as MIDI files. This can be useful for
storing libraries of your favorite MIDI sequences
or SysEx data (such as bulk or individual patch
dumps for your external MIDI devices), or for
importing MIDI into notation applications
(other than Sibelius or G7).
port MIDI.
4 Set the Export MIDI Settings as desired.
5 Click OK.
6 In the Save dialog, type a name for the MIDI
file, specify where you want to save it, and click
Save.
To export a single MIDI or Instrument track as a
MIDI file:
Alt-Shift-Right-click (Windows) or Option-Shift-Right-click (Mac) to export all selected
tracks as a single MIDI file.
1 Do one of the following:
• Right-click the Track name of an unselected track in the Edit or Mix window, or
in the Track List.
– or –
• In the Track List, or Mix or Edit window,
Control-Right-click (Windows) or Command-Right-click (Mac) the track name.
2 From the Right-click pop-up menu, select Ex-
port MIDI.
3 Set the Export MIDI settings in the Export
MIDI Settings dialog.
4 Click OK.
5 In the Save dialog, type a name for the MIDI
file, specify where you want to save it, and click
Save.
Alt-Right-click (Windows) or Option-Rightclick (Mac) to export all tracks to a single
MIDI file.
Send to Sibelius
Pro Tools lets you send all or only selected MIDI
and Instrument tracks to Sibelius or G7 notation
software. This lets you print the score and parts
from your Pro Tools session. For example, if you
are working in Pro Tools with a sampled trumpet part, but you want to bring in a real trumpet
player to play the part, you can send just the
trumpet track to Sibelius and print the part for
the trumpet player. You can then record the
trumpet player reading the part.
To send all Pro Tools Instrument and MIDI tracks
to Sibelius:
■
Choose File > Send To Sibelius.
Pro Tools exports all Instrument and MIDI
tracks to Sibelius as a MIDI file. If Sibelius is installed on your computer, it launches Sibelius. If
Sibelius is not installed, but G7 is, G7 launches.
Chapter 12: Importing and Exporting Session Data
237
Sibelius (or G7) prompts you to import the MIDI
file exported from Pro Tools with the Open
MIDI File dialog. You can then further edit the
notation in Sibelius and print the score of your
session.
If your Pro Tools session uses key signatures and
meters, they are exported with the MIDI file and
imported into Sibelius.
MIDI files exported from Pro Tools using the
Send to Sibelius command are saved in an automatically created “MIDI Files” folder in the
Pro Tools session folder. MIDI files are named
after the session, or if only one track is exported,
MIDI files are named after the track.
To send a single Pro Tools Instrument or MIDI
track to Sibelius:
1 Do one of the following:
• Right-click the Track name of an unselected track in the Edit or Mix window, or
in the Track List.
– or –
• In the Track List, or Mix or Edit window,
Control-Right-click (Windows) or Command-Right-click (Mac) the track name.
2 From the Right-click pop-up menu, select
Send To Sibelius.
The track is selected and sent to Sibelius.
Alt-Right-click (Windows) or Option-Rightclick (Mac) to send all tracks to Sibelius.
To send all selected Pro Tools Instrument or MIDI
tracks to Sibelius:
1 Select the tracks you want to send to Sibelius.
2 Right-click the Track name of one of the selected tracks in the Edit or Mix window, or in
the Track List.
3 From the Right-click pop-up menu, select
Send To Sibelius.
All selected tracks are sent to Sibelius.
Alt-Shift-Right-click (Windows) or OptionShift-Right-click (Mac) to send all selected
tracks to Sibelius.
Importing and Exporting
Region Group Files
Pro Tools can export and import the region
group file format (.rgrp). This lets you do the following:
• Separate region group metadata from audio
files to avoid unnecessary file copy operations when exporting audio region groups
composed from multiple source files.
• Export MIDI data as part of a region group.
• Create multitrack loops.
Region group files store the following metadata:
• References to all audio files within the region group
• Region names and relative location in
tracks
• Fades and crossfades
• Region group names and format (single or
multitrack)
• All MIDI data present in the region group
(such as notes, controllers, and Sysex)
• Track names
Region group files do not store the following:
• Audio
• Automation
• Plug-ins
• Track routing
• Tempo and Meter map
• Region List information
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Pro Tools Reference Guide
Pro Tools provides several ways to import Region Groups into an open session:
• “Importing Region Groups with Pro Tools
Menu Commands” on page 239
• “Importing Region Groups with Drag &
Drop” on page 239
Importing Region Groups with
Pro Tools Menu Commands
To import a region group with Pro Tools menu
commands:
1 Choose File > Import > Region Groups and select the region group you want to import.
Selection Aligns the beginning of the group to
the edit cursor or to the beginning of a selection
in the timeline.
Spot Displays the Spot dialog, which lets you
spot the group to a precise location based on
any of the Time Scales.
4 Select any of the following import options:
Import Tempo Map from Region Group File When
selected, replaces the session tempo map with
the tempo map of the region group. This option
is only available when importing the region
group to the Session Start.
5 Click OK.
2 In the Region Group Import Options dialog,
choose where the region group will go:
New Track Creates a new track where the region
group will be imported.
Region List Imports the region group into the
Region List, where it will be where it will be
available to place into tracks.
Importing Region Groups with
Drag & Drop
You can drag and drop Region Groups from a
DigiBase browser or from Windows Explorer or
the Mac Finder to the Timeline, a track, the
Track List, or the Region List.
To import Region Groups into the Region List:
1 Select one or more Region Groups in a Digi-
Base browser, Windows Explorer or Mac Finder.
2 Drag the files onto the Region List of the cur-
rent session.
To import Region Groups into an existing track:
1 Select one or more Region Groups in a
Region Group Import Options dialog
3 If you chose to create a new track, choose a lo-
cation for the imported group in the track:
DigiBase browser or from Windows Explorer or
Mac Finder.
2 Drag the files onto an existing track in the Edit
window of the current session.
Session Start Places the group at the start of the
session.
Song Start Aligns the beginning of the group to
the Song Start point.
Chapter 12: Importing and Exporting Session Data
239
To import Region Groups into new tracks:
1 Select one or more Region Groups in a DigiBase browser, Windows Explorer or Mac Finder.
2 Do one of the following:
• From the DigiBase browser, Shift-drag the
files and drag them anywhere in the Edit
window of the current session.
• Drag the files onto any empty space in the
Edit window of the current session.
• Drag the files to the Track List.
For more information on using DigiBase
browsers, refer to the DigiBase Guide.
Exporting Region Groups
To export a region group:
1 Select one or more region groups in the Re-
gion List.
2 From the Region List pop-up menu, choose
Export Region Groups. The Export Region
Groups dialog opens.
4 Enable one of the following options for resolving duplicate region group file names:
• Prompting for Each Duplicate (default)
• Auto Renaming
• Replacing with New Files
5 Click OK.
Exporting Region Groups to Another Hard Drive
Generally, if you are exporting region groups to
another hard drive, you should copy any referenced audio files. This way you can move region
groups not only from one session to another,
but from one system to another.
To export a region group to a different hard drive
and include its audio files:
1 Export one or more region groups to the de-
sired drive.
2 Create a new session on the new drive.
3 Choose Setup > Preferences.
4 In the Preferences dialog, click the Processing
tab and select Automatically Copy Files on Import.
5 Click OK to close the Preferences dialog.
6 Import all previously exported region groups
by dragging and dropping them into the session.
The audio files folder of the new session now
contains all files referenced by the region
groups.
Export Region Groups dialog
3 The Destination Directory defaults to the
auto-created Region Groups folder in the session
folder. You can change the Destination Directory by clicking the Choose button, navigating
to the desired location, and clicking Choose.
Click Reset to reset the Destination Directory to
the default location.
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Pro Tools Reference Guide
Chapter 13: File and Session
Management and Compatibility
When you work with Pro Tools, you encounter
several different kinds of computer files.
Pro Tools systems require that you keep certain
files in specific hard drive locations in order to
function properly.
Pro Tools software files (such as the application and plug-ins files) should be located on
your Startup drive (the drive that contains your
operating system and other system-related files).
◆
On Pro Tools|HD systems, data files (such as
session files, audio files, and fade files) can be located on any compatible drive connected to
your computer’s internal or external ATA/IDE,
FireWire, or SCSI busses (including SCSI HBA).
For maximum performance, SCSI drives are recommended for Pro Tools|HD systems. FireWire
and ATA/IDE drives are also supported. See the
Digidesign website for details (www.digidesign.com).
◆
On Pro Tools LE systems, data files (such as
session files, audio files, and fade files) can be located on any compatible hard drive connected
to your computer’s internal or external
ATA/IDE, FireWire, or SCSI busses.
◆
Although Pro Tools lets you record to your
system drive, this is generally not recommended. You should record to system drives
only when necessary—for example, if your
computer system has just one hard drive, or
it your other hard drives are completely out
of space.
Audio File Management
Unique File IDs
Pro Tools tags each audio file in a session with a
unique identifier that allows it to distinguish a
particular file even if its name or location has
changed.
Locating Audio Files
With Pro Tools, you manage links to audio and
other media files using the Relink window.
Pro Tools classifies storage volumes according to
their suitability for performance (recording or
playback) or transfer (storage or copying) of audio and other media files. Audio files must be
stored on suitable Performance volumes and be
properly linked in order to be playable in a
Pro Tools session.
Chapter 13: File and Session Management and Compatibility
241
When you open a session, if Pro Tools determines that audio files are not located on a Performance volume, or if it is unable to locate audio files contained in the session, you can locate
or copy the files in order to play back the session. This process is called relinking.
For more information on storage volume
classifications, see “Performance and
Transfer Volumes” on page 167.
Transfer Files
Transfer files reside on volumes unsuitable for
playback, such as CD or DVD discs, or network
drives.
For complete information on relinking
Transfer files, see “Linking and Relinking
Files” on page 187.
Missing Files
A file is missing if it is not found in the same location as when the session was last saved.
To open a session with missing files:
1 Open the Pro Tools session. If any files are
missing, Pro Tools posts a Missing Files warning.
To open a session containing Transfer files:
■ Open the Pro Tools session. If any files are on
a volume unsuitable for playback, Pro Tools
prompts you to do one of the following:
• Click Yes to open the Copy and Relink window.
– or –
• Click No to open the session with all Transfer files offline.
To make Transfer files playable in the current
session:
1 Choose Window > Project.
2 Double-click the Audio Files folder to display
all of the audio files.
3 Choose Select Transfer Files from the Browser
menu.
4 Choose Copy and Relink from the Browser
menu.
5 Specify a location for the copied files on a
valid Performance volume.
6 Click OK.
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Pro Tools Reference Guide
Missing files warning when opening a session
2 Choose one of the following options:
Skip All Ignores all missing files and fades. The
missing files are offline in the session.
Manually Find and Relink Opens the Relink window, where you can search, compare, verify, and
relink missing files.
Automatically Find and Relink Searches all Performance volumes for all missing files with
matching name, unique file ID, format, and
length, and automatically commits links to
missing files where possible.
3 To exclude fades from the relinking process,
and have them recalculated instead, select Regenerate Missing Fades.
4 Click OK.
For more information on relinking missing
files, see “Linking and Relinking Files” on
page 187.
Renamed Audio Files and the Renamed
Audio Files Folder
Renamed audio files are located in the auto-created Renamed Audio Files folder in the
Pro Tools session folder. Files can be renamed
when you open a session that references audio
file names with incompatible characters. Files
can also be renamed in certain situations when
saving a copy of a session to a Pro Tools version
that does not support long file names
Opening a Session that Contains Audio File
Names with Illegal Characters
Pro Tools 7.x does not support audio file names
that contain the following ASCII characters:
Before the session opens, you are prompted to
save a detailed report of the renamed files and
their original file names to a Notes text file. By
default, the Notes text file is saved to the Session
folder.
It is possible to have a Pro Tools 7.x session
that contains audio file names with illegal
characters. If you Save Copy In the session
to Pro Tools 6.9.x or lower with Mac/PC
Compatibility on, the tracks are renamed
with legal characters. If Mac/PC Compatibility is off, the characters are not changed.
Saving a Copy of a Session that Contains Long
Audio File Names
When saving files to Pro Tools 6.9.x and lower
(using Save Copy In), audio files with file names
that exceed the limits of the destination format
are truncated and located in the Session folder,
as follows:
/ (Forward Slash)
\ (Backslash)
: (Colon)
* (Asterisk)
? (Question mark)
• If the new session is saved to the same directory as the original, a Renamed Audio Files
folder is created in the session’s original
folder, and the renamed audio files are placed
in it.
“ (Quotation marks)
< (Less-than symbol)
> (Greater-than symbol)
| (vertical line or pipe)
Any “high order” ASCII character (created
with a key combination)
When opening sessions that contain audio file
names with illegal characters, Pro Tools automatically creates a renamed copy of each file
that contains illegal characters (replacing these
characters with an underscore “_”). Renamed
files are copied to the Renamed Audio Files
folder. The original files are left intact in the Audio Files folder.
• If the new session is saved to a different directory than the original and the All Audio Files
option is not checked, a new Session folder is
created, which includes an Audio Files folder
and a Renamed Audio Files folder. Renamed
audio files are included in the Audio Files
folder.
• If the new session is saved to a different directory than the original and the All Audio Files
option is checked, a new Session folder is created, which includes an Audio Files folder. Renamed audio files are included in the Audio
Files folder.
Chapter 13: File and Session Management and Compatibility
243
WAV File Compatibility
Convert Imported WAV files to
AES31/BroadcastWave
Pro Tools always creates AES31/Broadcast compliant BWF (.WAV) files when the file originates
in Pro Tools. This option makes imported WAV
files compliant with the AES31/EBU Broadcast
standard.
AES31/Broadcast Wave is a variant of the standard audio WAV file type. The AES31 format
contains SMPTE time stamps and other information beyond the raw PCM audio data.
This variant complies with standards set by the
AES (Audio Engineering Society) and EBU (European Broadcasters Union). Choose this option
to ensure compatibility with other workstations
that recognize this file type.
To make imported WAV files compliant with the
AES31/EBU Broadcast standard:
1 Choose Setup > Preferences and click the Pro-
cessing tab.
2 Select Convert imported “wav” files to
AES31/BroadcastWave, then click OK.
Sharing Sessions Created on
Different Computer Platforms
This section includes the following:
• “Working with Mac-Based HFS+ Drives on
Windows Computers” on page 244.
• “Saving Copies of Mac Sessions to be Compatible with Windows” on page 246.
Working with Mac-Based HFS+
Drives on Windows Computers
Either the Digidesign HFS+ Disk Support option
or the MacDrive Utility is required to mount
HFS+ drives on an NTFS system for use with
Pro Tools.
Digidesign HFS+ Drive Support Option
(Pro Tools HD and Pro Tools LE on Windows
Only)
Pro Tools HD and Pro Tools LE for Windows XP
support recording and playback of sessions directly from Mac-formatted (HFS+) drives using
the Digidesign HFS+ Disk Support option. The
HFS+ Disk Support option is automatically installed with Pro Tools HD and Pro Tools LE software by default.
When using the Digidesign HFS+ Disk Support
option for recording and playback on a Windows system, the session file and all associated
files (such as audio and MIDI files) must be
stored on Mac-formatted (HFS+) drives. Recording and playback of a session from a mixture of
Windows- and Mac-formatted drives is not supported.
For more information, see the Mac HFS+
Disk Support Option Guide.
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Pro Tools Reference Guide
Moving Sessions on Windows Systems
to Mac-Based HFS+ Drives
Moving Mac-Based Sessions on HFS+
Drives to Windows Systems
(From Window-Based NTFS Drives Only)
(To Windows-Based NTFS Drives Only)
There are specific steps for transferring session
files from Windows-based NTFS drives to Macbased HFS+ drives.
There are specific steps for transferring files from
Mac-based HFS+ drives to Windows-based NTFS
drives.
Mac systems can read (but not write to) sessions located on Windows-based Fat 32
formatted drives.
To save (or create) Mac sessions to be compatible on Windows systems, see “Saving
Copies of Mac Sessions to be Compatible
with Windows” on page 246.
To transfer Pro Tools Windows sessions from NTFS
drives to HFS+ drives:
1 Set the Digidesign HFS+ Disk Support Options
or the MacDrive Options to Backup/File Transfer.
2 Do one of the following:
• Drag the session folder from the NTFS drive
to the HFS+ drive.
– or –
• Open the Windows session on the NTFS
drive, choose Save Copy In, and save a
copy of the session to the HFS+ drive.
When transferring Pro Tools sessions from
HFS+ drives to NTFS drives, Pro Tools sessions cannot relink to audio files and fades
that have Mac characters that are illegal in
Windows. These characters are automatically converted to underscore (“_”) characters. These files are saved to the Renamed
Audio Files folder. You need to manually
relink each file by File ID. See “Missing
Files” on page 242.
To save session with no illegal characters,
see “Saving Copies of Mac Sessions to be
Compatible with Windows” on page 246.
To transfer Pro Tools Mac sessions from HFS+
drives to NTFS drives:
1 Set the Digidesign HFS+ Disk Support option
or the MacDrive Options to Normal Use.
Chapter 13: File and Session Management and Compatibility
245
2 Do one of the following:
• Drag the session folder from the HFS+ drive
to the NTFS drive.
– or –
• Open the Mac session on the HFS+ drive,
and when prompted, choose Save Copy In
and save a copy of the session to the HFS+
drive.
In previous versions of Pro Tools, Macformatted HFS+ drives could only be used
as Transfer volumes when connected to
Windows XP systems using MacDrive.
When using either the Digidesign HFS+ Disk
Support option or MacDrive for recording and
playback on a Windows system, the session file
and all audio files must be stored on Mac-formatted (HFS+) drives. Recording and playback
of a session from a mixture of Windows- and
Mac-formatted drives is not supported.
For information on using the Digidesign
HFS+ Disk Support option, see the Mac
HFS+ Disk Support Option Guide.
To record or play back from HFS+ drives with
Windows using MacDrive:
1 In Windows, go to the MacDrive Control
Panel.
2 Choose Options > File Names and select the
“International Use” option.
3 Delete all options listed under “File Name
Maps.”
4 In Pro Tools, choose Window > Workspace
and make sure that all Mac-formatted volumes
are set to R (record) or P (playback) in the A (Audio) and V (Video) columns.
Save Copy In dialog
If the session previously used SD II files, the files
are converted to the new audio file format.
Recording and Playback from HFS+
Drives on Windows
Windows XP supports recording and playback
of sessions directly from Mac-formatted (HFS+)
drives using either the Digidesign HFS+ Disk
Support option or the MacDrive software application.
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Saving Copies of Mac Sessions to
be Compatible with Windows
(Save Copy In to Pro Tools 6.9.x and Lower
Only)
Sessions created and saved as Pro Tools 7.x sessions are always compatible on both Windows
and Mac systems.
If you create a Pro Tools 6.9.x or lower session
on a Mac system, the session is only compatible
on Windows systems if the Enforce Mac/PC
Compatibility option is selected during the Save
Copy In. In addition, there are cross-platform
limits to consider when completing the Save
Copy In.
When importing files into a session, incompatible characters are converted to underscores (“_”)
and the renamed files are placed in the Renamed Files folder.
The following characters cannot be used in
Windows sessions:
/ (Forward Slash)
\ (Backslash)
Cross-Platform Session Limits
When saving (or creating) a copy of a Pro Tools
session that you want to be compatible on both
Mac and Windows, keep in mind the following
limits and how Pro Tools deals with them:
: (Colon)
* (Asterisk)
? (Question mark)
“ (Quotation marks)
< (Less-than symbol)
Audio File Types
> (Greater-than symbol)
The recommended file format for cross-platform
interoperability is BWF (.WAV). To support optimal session interchange, Pro Tools defaults to
BWF format for new sessions.
| (vertical line or pipe)
Pro Tools lets you save, bounce, and export in a
variety of file formats. However, if you create a
session using the SD II format, a warning dialog
appears reminding you of its limitations:
• SD II is not supported on Windows XP.
• The maximum sample rate for SD II files is
48 kHz.
Any “high order” ASCII character (created
with a key combination)
Saving Cross-Platform Sessions
To save an existing session to Pro Tools 6.9.x or
lower and maintain Mac and Windows
compatibility:
1 Choose File > Save Copy In.
2 In the Save Copy In dialog, choose a destina-
tion and enter a name for the new session file.
File Name Extensions
3 Set the Audio File Type to AIFF or BWF (.WAV).
For cross-platform compatibility, all files in a
session must have a 3-letter file extension added
to the file name. Pro Tools 5.1 to 6.9.x session
files have the extension “.pts,” and Pro Tools 5
sessions have the extension “.pt5.” Wave files
have the “.wav” file extension, and AIFF files
have the “.aif” file extension.
Incompatible ASCII Characters
Region names, track names, file names, and
plug-in settings cannot use ASCII characters
that are incompatible with either system.
These file formats are compatible with either
platform.
4 Set the Sample Rate and Bit Depth for the ses-
sion.
5 Select Enforce Mac/PC Compatibility. This option must be selected to make the session crossplatform compatible.
6 Select the Items to Copy to the new session.
7 Click Save.
Chapter 13: File and Session Management and Compatibility
247
If the session previously used SD II files, the files
are converted to the new audio file format.
Pro Tools can convert a file created on a
Mac and saved without the “Enforce
Mac/PC compatibility” option selected to a
Windows compatible file. For more information, see “Sharing Sessions Created on
Different Computer Platforms” on
page 244.
Sharing Sessions Created on
Different Pro Tools Systems
Pro Tools makes it easy to share sessions between Pro Tools|HD systems and Pro Tools LE
systems. There are some important differences
between the three types of systems that can affect how session material is transferred.
For details on transferring sessions between
Windows and Mac systems, see “Sharing
Sessions Created on Different Computer
Platforms” on page 244.
The following table also includes Pro Tools LE
systems with the DV Toolkit 2 option, as well as
Pro Tools LE systems with the Music Production
Toolkit option.
Differences between Pro Tools systems
Pro Tools|HD
Systems
Pro Tools LE
Systems
Pro Tools LE
Systems with
DV Toolkit 2
Pro Tools LE
Systems with Music
Production Toolkit
Maximum number
of audio tracks
up to 256 tracks
up to 128 tracks
(32 voiceable)
up to 128 tracks
(48 voiceable)
up to 128 tracks
(48 voiceable)
Maximum number
of Instrument
tracks
128
32
32
32
Maximum number
of mix busses
128 busses
(Pro Tools 6.9
and higher)
32 busses
(Pro Tools 7.x)
32
32
Feature
64 busses
(Pro Tools 6.7
and lower)
248
16 busses
(Pro Tools 6.9.x
and lower)
Inserts per track
up to 5 inserts
up to 5 inserts
up to 5 inserts
up to 5 inserts
Sends per track
up to 10 sends
(Pro Tools 7.x)
up to 10 sends
(Pro Tools 7.x)
up to 10 sends
up to 10 sends
up to 5 sends
(Pro Tools 6.9.x
and lower)
up to 5 sends
(Pro Tools 6.9.x
and lower)
Pro Tools Reference Guide
Opening Pro Tools HD Sessions in
Pro Tools LE
Groups
A Pro Tools HD 7.2 or higher session that does
not contain video tracks or VCA Masters can be
opened with Pro Tools LE 7.x, but certain session components open differently or not at all.
• In Pro Tools LE 7.1 or lower only, all groups
beyond the first 26 (Bank 1, Groups a–z) are
dropped.
• Mix Groups keep only Main Volume information.
• Mix/Edit Groups keep only Main Volume and
Automation Mode information.
Pro Tools HD 7.2 sessions that contain
video tracks or VCA Master tracks can only
be opened with Pro Tools LE 7.0cs3 and
higher.
• Automation overflow information for
grouped controls is be preserved.
• Group behavior of Solos, Mutes, Send Levels,
Send Mutes is be preserved.
When opening a Pro Tools HD 7.x session in
Pro Tools LE 7.x, the following occurs:
Tracks
• Solo Mode and Solo Latch settings are
dropped.
• Any tracks beyond the first 32, as well any inactive tracks, are set to voice off.
Video
• Only the main video track is displayed.
• Any assignments to busses beyond 32 are
made inactive.
• Only the first QuickTime movie in the session
is displayed or played back.
• Any Instrument tracks beyond 32 are made
inactive.
• TDM plug-ins with RTAS equivalents are converted; those without equivalents are made
inactive.
• Multichannel surround tracks are removed
from the session.
• Unavailable input and output paths are made
inactive.
• Any Delay Compensation settings are removed.
• If the session contains QuickTime movies in
the Region List but no video track, the session
opens with a new QuickTime Movie track
containing the first QuickTime movie from
the Region List.
• The Timeline displays and plays back only the
video playlist that was last active. Alternate
video playlists are not available.
• In Pro Tools LE 7.1 or lower only, video regions and video region groups are not shown
or saved.
• VCA Master tracks are removed and any uncoalesced VCA automation is dropped.
Chapter 13: File and Session Management and Compatibility
249
Sharing Sessions Created on
Different Pro Tools Software
Versions
Pro Tools makes it easy to share sessions between different software versions of a particular
Pro Tools system (such as sharing sessions between Pro Tools HD 7.x and Pro Tools HD 6.x).
Sharing Pro Tools HD 7.2 or Higher
Sessions with Lower Versions of
Pro Tools HD
Opening Pro Tools HD 7.2 or Higher
Sessions with Pro Tools HD 7.1 or 7.0
A Pro Tools HD 7.2 or higher session that does
not contain video tracks or VCA Masters can be
opened with Pro Tools HD 7.1 or 7.0, but certain
session components open differently or not at
all.
Pro Tools HD 7.2 or higher sessions that
contain video tracks or VCA Masters can
only be opened with Pro Tools HD 7.1cs3
and higher.
When opening a Pro Tools HD 7.2 a higher
session with a version of Pro Tools HD 7.1 or
7.0, the following occurs:
Tracks
• VCA Master tracks are removed and any uncoalesced VCA automation is dropped.
• Any uncoalesced Trim automation is dropped.
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Pro Tools Reference Guide
Groups
• All groups beyond the first 26 (Bank 1, Groups
a–z) are dropped.
• Mix Groups keep only Main Volume information.
• Mix/Edit Groups keep only Main Volume and
Automation Mode information.
• Automation overflow information for
grouped controls is not preserved.
• Group behavior of Solos, LFEs, Mutes, Send
Levels, Send Mutes is not preserved.
• Solo Mode and Solo Latch settings are
dropped.
Video
• Only the main video track is displayed.
• Only the first QuickTime movie in the session
is displayed or played back.
• If the session contains QuickTime movies in
the Region List but no video track, the session
opens with a new QuickTime Movie track
containing the first QuickTime movie from
the Region List.
• The Timeline displays and plays back only the
video playlist that was last active. Alternate
video playlists are not available.
• Video regions and video region groups are not
shown or saved.
Saving Pro Tools HD 7.2 or Higher
Sessions to Pro Tools 5.1 -> 6.9 Format
A Pro Tools 7.2 or higher session cannot be
opened with Pro Tools versions 6.9.x through
5.1.
Groups
• All groups beyond the first 26 (Bank 1, Groups
a–z) are dropped.
• Mix Groups keep only Main Volume information.
To save a Pro Tools 7.x session so it is compatible with Pro Tools version 6.9.x through 5.1, use
the File > Save Copy In command to choose the
“Pro Tools 5.1 -> 6.9” session format.
When saving a Pro Tools HD 7.2 or higher
session to Pro Tools HD 5.1 -> 6.9 format, the
following occurs:
Tracks
• Mix/Edit Groups keep only Main Volume and
Automation Mode information.
• Automation overflow information for
grouped controls is not preserved.
• Group behavior of Solos, LFEs, Mutes, Send
Levels, Send Mutes is not preserved.
• Solo Mode and Solo Latch settings are
dropped.
• Instrument tracks are split into separate Auxiliary Input and MIDI tracks.
Video
• VCA Master tracks are removed and VCA automation is coalesced to the corresponding
slave tracks.
• Only the first QuickTime movie in the session
is displayed or played back.
• Trim automation playlists are coalesced to
their corresponding automation playlists.
• Fader Gain levels and automation breakpoints
higher than +6 dB are changed to +6 dB.
• Long names are shortened to 31 characters.
• The following attributes are dropped:
• Region groups
• Region loops
• Only the main video track is displayed.
• If the session contains QuickTime movies in
the Region List but no video track, the session
opens with a new QuickTime Movie track
containing the first QuickTime movie from
the Region List.
• The Timeline displays and plays back only the
video playlist that was last active. Alternate
video playlists are not available.
• Video regions and video region groups are not
shown or saved.
• Sample-based MIDI regions
• Sample-based MIDI tracks
• Sends F–J and any associated automation
• Marker/Memory Locations 201–999
Chapter 13: File and Session Management and Compatibility
251
Saving Pro Tools HD 7.2 or Higher
Sessions to Pro Tools 5.0 Format
A Pro Tools 7.2 or higher session cannot be
opened with Pro Tools version 5.0.
To save a Pro Tools 7.x session so it is compatible with Pro Tools version 5.0, use the File >
Save Copy In command to choose the
“Pro Tools 5.0” session format.
When saving a Pro Tools HD 7.2 or higher
session to Pro Tools 5.0 format, all items that
occur when saving a Pro Tools HD 7.2 session
to Pro Tools HD 5.1->6.9 format, plus the
following:
• Multichannel surround tracks are removed
from the session.
Sharing Pro Tools LE 7.3 Sessions
with Lower Versions of
Pro Tools LE
Opening Pro Tools LE 7.3 Sessions with
Pro Tools LE 7.1 or 7.0
A Pro Tools LE 7.3 session that does not contain
video tracks can be opened with Pro Tools LE
7.1 or 7.0, but certain session components open
differently or not at all.
When opening a Pro Tools LE 7.3 session with a
version of Pro Tools LE 7.1 or 7.0, the following
occurs:
Groups
• Inactive tracks are removed from the session.
• All groups beyond the first 26 (Bank 1, Groups
a–z) are dropped.
• Tracks assigned to “No Output” are routed to
Busses 31 and 32.
• Mix Groups keep only Main Volume information.
• Tracks or sends assigned to Busses 33–64 are
routed to Busses 31 and 32.
• Mix/Edit Groups keep only Main Volume and
Automation Mode information.
• Tracks assigned to multichannel paths or subpaths of multichannel paths are routed to
Busses 31 and 32.
Video
• Sends assigned to multichannel paths or subpaths of multichannel paths are dropped.
• Tracks or sends assigned to stereo paths referring to even/odd channels (such as 2–3) are
routed to Busses 31 and 32.
• Multi-mono plug-in instances are dropped
• Only the main video track is displayed.
• Only the first QuickTime movie in the session
is displayed or played back.
• If the session contains QuickTime movies in
the Region List but no video track, the session
opens with a new QuickTime Movie track
containing the first QuickTime movie from
the Region List.
• The Timeline displays and plays back only the
video playlist that was last active. Alternate
video playlists are not available.
• Video regions and video region groups are not
shown or saved.
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Sharing Pro Tools LE 7.3 Sessions
with Pro Tools LE 6.9 or Lower
A Pro Tools LE 7.3 format session cannot be
opened on Pro Tools LE versions 6.9.x or lower,
but it can be saved to a lower compatible version. Some session components in the new copy
open differently or not at all.
• Instrument tracks are split into separate Auxiliary Input and MIDI tracks.
• The following attributes are dropped.
• Region groups
• Region loops
• Sample-based MIDI regions
• Sample-based MIDI tracks
• Sends F–J and any associated automation
Saving Pro Tools LE 7.x Sessions to
Pro Tools LE 5.1 -> 6.9 Format
• Marker/Memory Locations 201–999
• Busses 17–32 (Pro Tools LE)
To save a Pro Tools 7.x session so it is compatible with Pro Tools version 6.9.x through 5.1, use
the File > Save Copy In command to choose the
“Pro Tools 5.1 -> 6.9” session format.
Saving Pro Tools LE 7.x Sessions to
Pro Tools LE 5.0 Format
When saving a Pro Tools LE session to Pro Tools
5.1 -> 6.9 format, the following occurs:
To save a Pro Tools LE 7.x session so it is compatible with Pro Tools version 5.0, use the File >
Save Copy In command to choose the
“Pro Tools 5.0” session format.
• All groups beyond the first 26 (Bank 1, Groups
a–z) are dropped.
• Mix Groups keep only Main Volume information.
• Mix/Edit Groups keep only Main Volume and
Automation Mode information.
• Only the main video track is displayed.
• Only the first QuickTime movie in the session
is displayed or played back.
• If the session contains QuickTime movies in
the Region List but no video track, the session
opens with a new QuickTime Movie track
containing the first QuickTime movie from
the Region List.
When saving a Pro Tools LE 7.x session to
Pro Tools 5.0 format, all items that occur when
saving a Pro Tools LE 7.3 session to Pro Tools
5.1->6.9 format, plus the following:
• Fader Gain levels and automation breakpoints
higher than +6 dB are changed to +6 dB.
• Multi-mono plug-in instances are dropped.
• Sends assigned to multichannel paths or subpaths of multichannel paths are dropped.
• Tracks assigned to “No Output” are routed to
Busses 31 and 32.
• Tracks/sends assigned to Busses 33–64 are
routed to Busses 31 and 32.
• The Timeline displays and plays back only the
video playlist that was last active. Alternate
video playlists are not available.
• Tracks assigned to multichannel paths or subpaths of multichannel paths are routed to
Busses 31 and 32.
• Video regions and video region groups are not
shown or saved.
• Tracks/sends assigned to stereo paths referring
to even/odd channels (such as 2–3) are routed
to Busses 31 and 32.
• Fader Gain levels and automation breakpoints
higher than +6 dB are changed to +6 dB.
• Long names are shortened to 31 characters.
Chapter 13: File and Session Management and Compatibility
253
Multilingual Application
Support for Pro Tools
Systems
(Localized OS on Mac OS X Only)
An English and localized version of Pro Tools
(such as Pro Tools Korean, simplified Chinese,
or Japanese) can be opened on a Digidesignqualified Mac that can run English and the localized language versions of Mac OS X. Only
one language version of Pro Tools can be open
at a time.
To change to a different language version of
Pro Tools:
1 Close Pro Tools if it is currently open.
2 Launch Apple System Preferences.
3 Click International (the “flag” icon).
4 Click the Language tab if the Language page is
not the current page.
5 In the Languages column, click the language
you want, and drag it to the top of the list.
6 Close the International window.
7 Do one of the following:
• If you are changing from a localized language to English, launch Pro Tools.
– or –
• If you are changing from one localized language to another (or from English to a localized language), log out and log in from
the Apple menu, then launch Pro Tools.
If you want your computer to start with the
previous language (after working on a different language version) follow the above
steps and change the International preference back to the previous language.
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Pro Tools Reference Guide
Part IV: Recording
255
256
Chapter 14: Record Setup
Before you start recording, make sure your
Pro Tools system is connected and configured
properly. For details on connecting Pro Tools to
your studio, refer to the Getting Started Guide
that came with your system.
While some of the information in this chapter is
relevant to recording MIDI, there are more specific setup details for MIDI recording in
Chapter 16, “MIDI Recording.”
Input Connections and Audio
Levels
Pro Tools|HD audio interfaces operate as linelevel devices and offer no pre-amplification.
Low-level sources like microphones and electric
guitars need to be pre-amplified. You can do this
with a quality mixing board or dedicated
preamp (such as the Digidesign PRE).
The Digidesign PRE can be used as a standalone preamp with all Pro Tools systems, or
it can be remote-controlled from within a
Pro Tools session when used with a
Pro Tools|HD system.
Mbox 2, Mbox 2 Pro, Mbox 2 Mini, and Mbox
each have two inputs with preamps, to which
you can connect low-level signals.
For input information on Digidesign-qualified
M-Audio units, refer to your M-Audio documentation.
For all systems, volume and pan controls for
tracks in Pro Tools only affect monitoring levels—not the recording input gain. The LED
meters on Digidesign audio interfaces indicate
both full-code (highest level before clipping)
and true clipping of Pro Tools output signals.
The on-screen meters in Pro Tools indicate only
true clipping.
Digital Clipping
Clipping occurs when you feed a signal to a recorder or mixer that is louder or “hotter” than
the device allows. On many analog tape decks, a
little clipping adds a perceived warmth to the
sound due to tape compression. In digital recording, however, clipping causes digital distortion, which is undesirable and should always be
avoided.
The Digi 002 and Digi 002 Rack have four inputs with preamps, to which you can connect
low-level signals, and four additional line-level
inputs with switchable gain.
Chapter 14: Record Setup
257
Set Input Levels High But Not High
Enough to Clip
When you feed a signal into any audio recording system, including Pro Tools, make sure to
adjust the input level to optimize the dynamic
range and signal-to-noise ratio of the recorded
file. If the input level is too low, you will not
take full advantage of the dynamic range of your
Pro Tools system. If the input level is too high,
the waveform clips and distorts the recording.
Try to set levels so that they register within the
top 6 dB of the input meter without triggering
the clipping indicator on your audio interface.
Calibration Mode
(Pro Tools HD Only)
You can use the Calibration mode in Pro Tools
to adjust the input and output levels for your
audio interface so they match those of your
mixing console and other audio devices in your
studio.
The 192 I/O has two sets of adjustable trim pots
for its inputs, and two sets of adjustable trim
pots for its outputs. Additionally, the reference
level for the input can be set to +4 dBu or
–10 dBV. The 888|24 I/O has adjustable trim
pots for its inputs and outputs.
For more information on calibrating your
audio interface, or using Calibration mode,
see the 192 I/O Guide (or Calibration Mode
Instructions included with earlier shipments of 192 I/O), or the 888|24 I/O
Guide.
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Pro Tools Reference Guide
There are no input or output trims on the following audio interfaces: 192 Digital I/O, 96 I/O,
96i I/O, 882|20 I/O, 1622 I/O, and 24-bit ADAT
Bridge I/O. Some Digidesign I/Os that do not
have output trims (such as the 96i I/O) offer
software-controllable input levels, adjustable
from Setup > Hardware (refer to the guide for
your particular I/O).
Record Enabling Tracks
To record to a track you must first enable the
track’s Record Enable button. To record simultaneously to multiple tracks, record enable multiple audio, Instrument, or MIDI tracks.
When one or more tracks are record-enabled,
click the Record button (in the Transport or Edit
window) to arm recording, and then click the
Play button (in the Transport or Edit window) to
start recording.
MIDI and Instrument tracks can be recordenabled during playback or record. To
record enable audio tracks, the Transport
must be stopped, or QuickPunch, TrackPunch, or DestructivePunch must be enabled. For more information on QuickPunch, TrackPunch, and DestructivePunch,
see “Record Modes” on page 268.
For information on digitizing (recording)
video in Pro Tools, see Chapter 36, “Working with Video in Pro Tools” or the Avid
Video Peripherals Guide.
To record enable an audio, MIDI, or Instrument
track:
To record enable MIDI and Instrument tracks
using the Up/Down Arrows:
From either the Mix or Edit window, click the
track’s Record Enable button to toggle record enable on or off for the track. The Record Enable
button is lit when on; also, in the Mix window,
the track’s fader is highlighted.
■ While pressing Control (Windows) or Command (Mac), press the Up/Down Arrows to
record enable the previous or next MIDI or Instrument track. The previous (or next) record
track is no longer record-enabled.
■
To keep the previous track record-enabled
while enabling new tracks, press Control+Shift+Up/Down (Windows) or Command+Shift+Up/Down (Mac).
Edit window
To record enable all audio, or all MIDI and
Instrument tracks:
■ Alt-click (Windows) or Option-click (Mac) the
Record Enable button to toggle record enable on
or off for all audio, or Instrument and MIDI
tracks.
Mix window
Record-enabled audio track in Mix and Edit windows
To record enable multiple audio tracks:
For record-enable, Pro Tools treats MIDI and Instrument tracks as the same type. Consequently,
Alt-clicking (Windows) or Option-clicking
(Mac) the Record Enable button on any MIDI or
Instrument track will record enable all MIDI and
Instrument tracks.
From either the Mix or Edit window, click
each audio track’s Record Enable button to toggle record enable on or off for each track.
■
If Latch Record mode is not enabled, Shiftclick each track’s Record Enable button to
toggle record enable on or off for each track.
See “Latch Record Enable Buttons Preference” on page 260.
To record enable multiple MIDI and Instrument
tracks:
From either the Mix or Edit window, Shiftclick each MIDI or Instrument track’s Record Enable button to toggle record enable on or off for
each track.
■
Chapter 14: Record Setup
259
To record enable all selected audio, or all selected
MIDI and Instrument tracks:
Alt-Shift-click (Windows) or Option-Shiftclick (Mac) the Record Enable button on any selected audio, or MIDI or Instrument track to toggle record enable on or off for all selected audio,
or MIDI and Instrument tracks.
■
Record enabling a track that is part of a Mix
Group does not record enable the other
tracks in the Group. To record enable all
tracks in a group, click directly to the left of
the group’s name in the Group List to select
all tracks in the group, and then Alt-Shiftclick (Windows) or Option-Shift-click (Mac)
the Record Enable button of one of the
tracks to record enable the selected tracks.
Latch Record Enable Buttons
Preference
When the Latch Record Enable Buttons preference is selected, record enable additional audio
tracks by clicking their Record Enable buttons.
Previously record-enabled tracks will remain enabled. The Latch Record Enable Buttons preference affects audio tracks only.
When the Latch Record Enable Buttons preference is deselected, record enabling a subsequent
audio track disables the previously record-enabled audio track.
To enable the Latch Record Enable Buttons
preference:
1 Choose Setup > Preferences and click the
Operations tab.
2 Select Latch Record Enable Buttons.
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Pro Tools Reference Guide
Record Safe Mode
Pro Tools provides a Record Safe mode on a per
track basis that prevents tracks from being
record-enabled. Use Record Safe mode to protect
important track recordings.
To put an audio or MIDI track in Record Safe mode:
■ Control-click (Windows) or Command-click
(Mac) the track’s Record Enable button. The
Record Enable button is greyed out.
Control-click (Windows) or Command-click
(Mac) again to take the track out of Record Safe
mode.
To put all tracks in Record Safe mode:
■ Control-Alt-click (Windows) or CommandOption-click (Mac) the Record Enable button on
any track.
Control-Alt-click (Windows) or Command-Option-click (Mac) again to take all tracks out of
Record Safe mode.
To put all currently selected tracks into Record
Safe mode:
■ Control-Alt-Shift-click (Windows) or Command-Option-Shift-click (Mac) the Record Enable button on any of the selected tracks to
toggle them in and out of Record Safe mode.
Record Monitoring Modes
Pro Tools offers two modes of input monitoring:
Auto Input and Input Only. These monitoring
modes determine how input signals are monitored during playback, record, or while the
transport is stopped.
For Pro Tools LE, the Input Monitor Enabled
Status indicator (in the Transport window)
lights green when Input Only mode is enabled.
Input Monitor Enabled Status indicator
Auto Input Monitoring
In Auto Input mode, when session playback is
stopped, Pro Tools monitors audio input. When
playback is started for a punch-in, Pro Tools
monitors existing track material up until the
punch point. While punched in, the input signal is monitored. On punch-out, monitoring
switches back to the existing track material. This
is similar to the auto-switching logic found on
digital and analog multitrack tape machines.
When in Auto Input mode, the switch back
to monitoring track material on punch-out
is not instantaneous.
With Pro Tools HD, tracks are in Auto Input mode by default, and a monitoring control (TrackInput button) is provided for each
track. See “Selecting Record Monitor Modes
with TrackInput Monitoring” on page 261.
Input Only Monitoring
In Input Only mode, when a track is record-enabled, Pro Tools monitors audio input only, regardless of any punch-in/out selection or state.
Transport window
For Pro Tools HD, the indicator lights green
when one or more tracks have TrackInput enabled.
Selecting a Record Monitor Mode
in Pro Tools LE
For record-enabled tracks to use Auto Input
Monitoring:
■
Select Track > Auto Input Monitoring.
For record-enabled tracks to use Input Only
Monitoring:
■
Select Tracks > Input Only Monitoring.
To toggle between Auto Input and Input
Only monitoring, press Alt+K (Windows)
or Option+K (Mac).
Selecting Record Monitor Modes
with TrackInput Monitoring
(Pro Tools HD Only)
TrackInput monitoring lets you toggle individual
audio tracks between Auto Input and Input
Only monitoring modes at any time, during
playback, recording, while stopped, and even
when a track is not record-enabled. TrackInput
monitoring provides the necessary monitoring
flexibility for overdubbing and mixing, and is
similar to input switching on analog multitrack
recorders and similar machines.
Chapter 14: Record Setup
261
When the TrackInput button in a track is enabled (green), the track monitors audio in Input
Only mode.
When the TrackInput button in a track is disabled, the track monitors in Auto Input mode.
TrackInput button
Off (Auto Input)
Disable “Input” When Disarming Track
With this Operation preference checked, TrackInput monitoring is disabled whenever a track is
taken out of record enable. This is useful for certain workflows, such as when you are recording
on a series of tracks, one at a time.
Disabling this option allows TrackInput buttons
to remain enabled when deselecting the track’s
Record Enable button.
TrackInput button
On (Input Only)
TrackInput Monitor buttons in the Edit Window
To toggle the monitoring mode of audio tracks, do
one of the following:
■ To toggle individual tracks, click the TrackInput Monitor button for each track you want to
toggle.
■ To toggle all tracks in the session, Alt-click
(Windows) or Option-click (Mac) a TrackInput
Monitor button.
■ To toggle all selected tracks in the session, AltShift-click (Windows) or Option-Shift-click
(Mac) a selected track’s TrackInput Monitor button.
To toggle the TrackInput button states of all
record-enabled tracks, do one of the following:
To change all record-enabled tracks to Auto
Input monitoring, select Track > Set Record
Tracks to Auto Input.
■
■ To change all record-enabled tracks to Input
Only monitoring, select Tracks > Set Record
Tracks to Input Only.
To toggle record-enabled tracks between
Auto Input and Input Only monitoring,
press Alt+K (Windows) or Option+K
(Mac).
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Pro Tools Reference Guide
Monitor Levels for Record and
Playback
Pro Tools remembers two different fader levels
for monitoring each audio track: one for when
the track is record-enabled, and one for when it
is not record-enabled.
Pro Tools keeps track of these two states for
fader levels automatically. If you adjust a fader
when a track is record-enabled and then turn off
record enable for the track, the fader returns to
its playback level.
When audio tracks are record-enabled, their volume faders in the Mix window turn red, indicating that the record monitor level is active.
Link Record and Play Faders
When the Operation preference for “Link
Record and Play Faders” is selected, Pro Tools
does not keep track of record and play levels for
audio tracks. In this case, record enabling an audio track has no effect on the fader level for the
track. This lets you maintain a consistent mix
regardless of whether you're recording or just listening.
Monitoring Latency
Zero Latency Monitoring
(Mbox 2, Mbox 2 Mini, and Mbox Only)
(Pro Tools LE)
Because Pro Tools LE uses the host processor in
your computer for all audio processing, playback, and recording, there is a small amount of
audio delay, or latency, in the system. This latency amount is related to the H/W Buffer Size—
the larger the buffer size the greater the latency.
You can reduce the amount of monitoring latency for Pro Tools LE systems by reducing the
H/W Buffer Size. However, even at the smallest
buffer size, there is still some latency. In addition, reducing the buffer size limits the number
of simultaneous audio tracks you can record
without encountering performance errors.
While there may be times when you want a
larger buffer size, such as when you have higher
track counts with more plug-ins, you’ll generally want a smaller buffer size when recording
audio that is monitored through your
Pro Tools LE system.
If you are monitoring the recording source with
an external mixer before it is routed to
Pro Tools, you will not hear any latency.
Mbox 2, Mbox Mini, and Mbox give you the
ability to monitor your analog input signals
while recording, without hearing any latency.
This zero-latency analog monitoring is controlled by the front panel Mix knob, which you
can use to blend and adjust the ratio between
the interface’s analog input and Pro Tools playback. For more information, refer to your system’s Getting Started Guide.
Low Latency Monitoring
(Digi 002, Digi 002 Rack, and Mbox 2 Pro
Only)
Digi 002, Digi 002 Rack, and Mbox 2 Pro systems can use the Low Latency Monitoring option to record with an extremely small amount
of monitoring latency, to as many tracks as each
system supports. Only tracks with inputs set to
an audio interface (not a bus) use Low Latency
Monitoring.
To use Low Latency Monitoring:
1 Record enable audio tracks by clicking their
Record Enable buttons.
To set the Hardware Buffer Size:
1 Choose Setup > Playback Engine.
2 Choose the number of samples from the H/W
Buffer Size pop-up menu.
3 Click OK.
Computers with slower CPUs may not be
able to use the 128 buffer size without encountering performance errors.
2 From the Output Path selector, assign each
track to either Output 1 or Output 2 (mono), or
both (stereo). Only tracks assigned to these outputs use Low Latency Monitoring.
3 Select Options > Low Latency Monitoring.
When Low Latency Monitoring is enabled, any
plug-ins and sends assigned to record-enabled
tracks (routed to Outputs 1–2) are automatically
bypassed, and must remain bypassed. Also,
these tracks do not register on meters for Master
Faders.
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263
Low Latency Monitoring and
Bounce To Disk
With Low Latency Monitoring enabled, only audio tracks are included with the Bounce to Disk
command—Auxiliary Input and Instrument
tracks are ignored. To include Auxiliary Input
and Instrument tracks, disable Low Latency
Monitoring before using Bounce to Disk.
External input cannot be recorded during a
Bounce to Disk. To include external input
in your bounce, it must be recorded to new
audio tracks before using Bounce to Disk
(see “Recording to Tracks” on page 745).
Low Latency Monitoring with
Delay Compensation
(Pro Tools HD Only)
If you choose to record with Delay Compensation active, Pro Tools automatically suspends
Delay Compensation for tracks that are
“punched in” or monitoring input. In either of
these cases, no compensating delay is added to
the track, and the Track Compensation indicator displays zero.
Delay Compensation should be enabled whenever possible during mixing and playback. In
some cases when recording, Delay Compensation should be disabled.
The automatic suspension of Delay Compensation on record-enabled tracks during recording
can be defeated on a per-track basis, regardless
of record status or input mode.
For information about defeating suspended
Delay Compensation, see “Low Latency
Monitoring During Recording” on
page 659.
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Default Track Names
When creating new audio, Auxiliary Input, Master Fader, VCA Master, MIDI, and Instrument
tracks, Pro Tools names them as “Audio,”
“Aux,” “Master,” “VCA,” “MIDI, or “Inst” accordingly and numbers them consecutively. For
example, when you create two new audio tracks,
their default names are “Audio 1” and
“Audio 2.” You can rename tracks and also log
comments for each track.
Track names define new file and region names
when recording to a track. See “Naming Tracks”
on page 126.
Default Names for Audio Files and
Regions
When recording to an audio track, the resulting
file and region names are based on the name of
the track. For example, after recording for the
first time on a track called “Electric Gtr,” an audio file is created with the name “Electric
Gtr_01.” In addition, a region appears in the Region List with the name “Electric Gtr_01.” This
region is a whole-file region.
Subsequent record takes on the same track are
named identically, but the digits (indicating the
take number) are incremented (for example,
“Electric Gtr_02.”) A second set of digits (such as
used in “Electric Gtr_01-01”) indicates that the
region was auto-created from an edit.
QuickPunch, TrackPunch, and Destructive
Punch modes use a different method for
numbering regions. For details, see “Region
and Take Numbering with QuickPunch” on
page 316.
When recording MIDI tracks, a similar naming
scheme is used, though with only one set of digits. For example, after recording to a track called
“Synth 1,” a region is created called “Synth 101.” Subsequent regions for that track, generating either from additional record takes or region
edits, are numbered sequentially (for example,
“Synth 1-02”).
Names for Stereo Audio Tracks
When recording to stereo audio tracks, audio
file and region names for the left and right
channels are appended with a “.L” and “.R” suffix.
Disk Allocation
By default, Pro Tools records audio files to the
Audio Files folder inside the session folder. You
can use the Disk Allocation window to specify
other locations for your audio files for each audio track.
Hard drives that are full do not appear in the
Disk Allocation window.
To increase system performance, Pro Tools can
record and play each track from a different hard
drive. You can also automatically distribute any
newly created tracks to multiple audio drives
with Round Robin Allocation.
Names for Multichannel Tracks
(Pro Tools HD Only)
When recording to multichannel surround
tracks, audio file and region names for each
channel are appended with the following suffixes:
Multichannel
Format
File and Region Suffixes
LCR
L, C, R
Quad
L, R, Ls, Rs
LCRS
L, C, R, S
5.0
L, C, R, Ls, Rs
5.1
L, C, R, Ls, Rs, LFE
6.0
L, C, R, Ls, Cs, Rs, LFE
6.1
L, C, R, Ls, Cs, Rs
7.0
L, Lc, C, R, Rc, Ls, Rs
7.1
L, Lc, C, R, Rc, Ls, Rs, LFE
Navigating in the Disk Allocation Window
To resize the Disk Allocation window:
■ Drag the lower-right corner of the window according to standard convention for your operating system (Windows or Mac).
To scroll up or down in the Disk Allocation window:
■
Press Page Up or Page Down.
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Allocating Audio Drives in Your System
To allocate the audio drives in your system:
1 Choose Setup > Disk Allocation.
2 In the Disk Allocation window, assign a hard
drive for each track by clicking in the Root Media Folder column and selecting a volume from
the Disk Allocation pop-up menu.
• To make a continuous selection, Shift-click
a track name (in the Track column) to extend the selection to include already-selected tracks and all tracks in between.
• To make a noncontiguous selection, Control-click (Windows) or Command-click
(Mac) a track name in the Track column to
extend the selection to include already-selected tracks without including tracks inbetween.
3 To save recorded audio files to an existing
folder (without creating another session folder),
select Customize Allocation Options, then click
the Change button and choose the folder. To
create subfolders in this folder, select “Create
Subfolders for audio, video, and fade files.”
4 To automatically distribute any newly created
Disk Allocation window
Only drives designated as R (Play and Record)
can be selected in the Disk Allocation window.
For more information, see “Performance and
Transfer Volumes” on page 167.
Disk Allocation pop-up menu
A folder with the session name is created on
each hard drive, containing subfolders for audio
and fade files.
• To assign a track to a different hard drive,
click the track and select a drive name.
• To assign all tracks to the same hard drive,
press Alt (Windows) or Option (Mac) while
selecting a drive name.
tracks among the drives connected to your system, select “Use Round Robin Allocation for
New Tracks.”
If you are using Round Robin Allocation and
want audio to be recorded to your system’s startup drive, do the following:
• Open the Workspace browser (Window >
Workspace) and set the Volume Designator
for your system volume to R (Record and
Playback). See “Workspace Volume Designation” on page 267.
Round Robin Allocation is not supported
with partitioned hard drives.
If you want to exclude individual, valid,
mounted volumes from Round Robin Allocation passes, open the Workspace browser
and make the volume safe, by designating it
as P (Playback only) or T (Transfer). For
more information, see “Audio and Video
Volume Designators” on page 196.
5 When you are finished, click OK.
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Saving Disk Allocation Settings
Workspace Volume Designation
To save Disk Allocation settings for use with future sessions, save the session as a template. For
details, see “Creating Custom Session Templates” on page 91.
The Workspace volume designation can alter
disk availability, thus affecting Disk Allocation.
From the Workspace browser, you can designate
volumes as Record, Playback, or Transfer. If you
change a drive’s designation, making it readonly (Play Only or Transfer), check the Disk Allocation window for any tracks formerly allocated to that drive. For more information, see
“Audio and Video Volume Designators” on
page 196.
Disk Allocation and Cross-Platform
Sessions
To ensure cross-platform operation, it is required that Mac Pro Tools sessions and their associated audio files be on Mac-formatted (HFS or
HFS+) drives. Windows Pro Tools sessions and
their associated audio files must be on Windows-formatted (NTFS or FAT32) drives.
See “Saving Copies of Mac Sessions to be
Compatible with Windows” on page 246
and “Sharing Sessions Created on Different
Computer Platforms” on page 244.
On Windows, with the Digidesign HFS+
Disk Support option installed, you can
record to and play back from Mac-formatted
HFS+ drives. For more information, see the
Mac HFS+ Disk Support Option Guide.
Reallocating Tracks
When opening a session where some of the previously assigned hard drives are no longer available (or do not match the current session platform), Pro Tools automatically reassigns tracks
to the volume where the session file is stored. In
such cases, use Disk Allocation if you need to reallocate tracks to other drives.
Recording to the System Volume
Pro Tools lets you record to your system volume, however this is generally not recommended. Performance for audio recording and
playback on system drives is not as good as on
non-system hard drives.
Record to system drives only when absolutely
necessary, such as if your computer system has
only one hard drive, or if your other hard drives
are completely full.
By default, the system volume is not included in
Round Robin Allocation (regardless of volume
designation in the Workspace browser). To include the System Volume in Round Robin Allocations, see “Allocating Audio Drives in Your
System” on page 266.
Reallocating tracks does not affect the previously recorded audio. Reallocating tracks
only affects where new audio recording is
saved.
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267
Allocating Hard Drive Space
for Recording
The Operation preference for Open Ended
Record Allocation determines how much of
your available hard drive space is allocated
whenever you record into one or more tracks in
Pro Tools.
When this allocation preference is set to Use All
Available Space, the drive’s entire available
space is allocated. This setting lets you record
lengthy takes, or longer sessions.
However, when allocating all available space,
Pro Tools may take a little longer to begin recording. You can reduce this delay by allocating
a specific amount of time for recording.
You can also avoid recording delays by putting Pro Tools in Record Pause mode before
beginning to record. See“Record Pause
Mode” on page 281.
3 When you are finished, click OK.
Monitoring Drive Space
To monitor available space on your drive during a
Pro Tools session:
■
Choose Window > Disk Space.
To display available drive space in different view
formats:
■ Choose View > Disk Space, and select a format
(Text View or Gas Gauge).
Record Modes
For recording audio, Pro Tools has the following
Record modes:
• Normal (Nondestructive)
• Destructive
• Loop
In general, the Use All Available Space preference makes hard drives work harder. In addition
to record and punch lag times, many systems
see better overall recording performance when
the Open Ended Record Allocation is limited.
To allocate a specific amount of time to recording:
1 Choose Setup > Preferences and click the
Operation tab.
2 Under the Open Ended Record Allocation op-
tion, select Limit To and enter the number of
minutes to be allocated.
Open Ended Record Allocation, Operation preference
The number of minutes specified is allocated for
each record-enabled track.
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• QuickPunch
• TrackPunch (Pro Tools HD only)
• DestructivePunch (Pro Tools HD only)
To select the Record mode, do one of the
following:
■ Select the Record mode in the Options menu.
If no Record mode is selected, Pro Tools is in
Normal (Nondestructive) Record mode.
■ Right-click the Record button in the Transport
and select the Record mode from the pop-up
menu.
You can also cycle through the Pro Tools
record modes with the Transport stopped,
by Start-clicking (Windows) or Controlclicking (Mac) the Record button.
The Record button changes to indicate the selected Record mode as follows:
• Blank for Normal (Nondestructive)
• “D” for Destructive
• Loop symbol for Loop Record
• “P” for QuickPunch
In Normal Record mode, the record range can be
defined by selecting a range in a ruler or in a
track’s playlist, or by specifying start and end
points in the Transport window. If there is no
selection, recording begins from the current
Cursor location and continues until the Transport’s Stop button is clicked.
• “T” for TrackPunch (Pro Tools HD only)
• “DP” for DestructivePunch (Pro Tools HD
only)
Destructive Record mode enabled
When recording, you can preserve disk
space by removing unwanted record takes
(see “Removing Unwanted Regions” on
page 490) and compacting audio files (see
“Compacting an Audio File” on page 488).
Normal (Nondestructive) Record Mode
In Normal, Nondestructive Record mode,
Pro Tools records audio nondestructively, which
means that if you record over a track’s existing
regions, the audio is not erased from your hard
drive. Both the new and old audio files remain
on your hard drive, available as regions from the
Region List.
To set a record range by selecting within a
track’s playlist, the Timeline and Edit selections must be linked. See “Linking or Unlinking Timeline and Edit Selections” on
page 396.
The pre- and post-roll settings allow material to
be heard up to and after the start and end
points, which is useful when punch recording
(see “Punch Recording Audio” on page 283).
Destructive Record Mode
In Destructive Record mode, recording over existing regions replaces the original audio permanently, which allows you to keep disk use to a
minimum. However, if you have sufficient drive
space, it is usually best to use Pro Tools in Nondestructive Record mode, to avoid losing any
previously recorded material.
When defining the record range and setting preand post-roll, Destructive Record mode works
the same as Normal (Nondestructive) mode.
Unlike the other record modes, it is not possible
to cancel or Undo record takes when using Destructive Record mode (see “Canceling a Record
Take” on page 280).
In Destructive Record mode, the waveform
overview is not redrawn until you stop recording.
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269
Loop Record Mode
Loop Record mode allows you to record take after take (nondestructively) while the same section of audio repeats. This is a convenient technique for quickly recording multiple takes of a
part without losing spontaneity.
The time range that is looped and recorded—
which must be at least one second in length—is
defined by selecting a range in a ruler or in a
track’s playlist, or by specifying start and end
points in the Transport window. The pre-roll
setting, if enabled, is used during the first record
pass, but on each successive loop the pre- and
post-roll times are ignored.
To set a record range by selecting within a
track’s playlist, the Timeline and Edit selections must be linked. See “Linking or Unlinking Timeline and Edit Selections” on
page 396.
When using Loop Record mode, each successive
take appears as a region in the Region List and
each is numbered sequentially. The various
takes, which are identical in length and start
time, are easily auditioned and placed in the
track at the correct location with the Matches
pop-up menu (see “Auditioning Different
Record Takes in the Timeline” on page 286).
In Loop Record mode, the waveform overview is not redrawn until you stop recording.
QuickPunch
QuickPunch gives you the ability to manually
and instantaneously punch in (initiate recording) and punch out (stop recording) on recordenabled audio tracks during playback by clicking the Record button in the Transport. Recording with QuickPunch is nondestructive.
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When using QuickPunch, Pro Tools begins recording a new file when playback begins, automatically generating regions in that file at each
punch in/out point. These regions appear in the
track’s playlist; and the complete audio file appears in the Region List along with the QuickPunch created regions. Up to 200 of these “running punches” can be performed in a single
pass.
Though you can punch record in the other
record modes by manually specifying the record
range, only QuickPunch provides instantaneous
monitor switching on punch-out.
For more information on QuickPunch, see
“QuickPunch Audio Recording” on
page 313.
TrackPunch
(Pro Tools HD Only)
TrackPunch lets individual tracks be punched
in, punched out, and taken out of record enable
without interrupting online recording and playback.
TrackPunch is a nondestructive recording
mode. When a track is TrackPunch-enabled,
Pro Tools begins recording a new file when playback begins. During playback, you may record
arm or disarm, or punch in or out a combination of any or all TrackPunch enabled tracks.
TrackPunch automatically creates regions in
that file at each punch-in and punch-out point.
These regions appear in the track’s playlist, and
the complete audio file appears in the Region
List along with the TrackPunch created regions.
Up to 200 of these “running punches” can be
performed in a single pass.
For more information on TrackPunch, see
“TrackPunch Audio Recording” on
page 316.
DestructivePunch
(Pro Tools HD Only)
Destructive Punch is a destructive recording
mode that lets you instantaneously punch in
(start recording) and punch out (stop recording)
on individual audio tracks during playback,
while preserving a contiguous audio file on each
punched track.
For more information on DestructivePunch,
see “DestructivePunch Audio Recording” on
page 325.
Record Modes and MIDI
In addition to the various record modes, there is
also a MIDI Merge button in the Transport window that determines how MIDI is recorded.
When enabled (Merge mode), recording over existing MIDI regions results in the new data being
merged with the old. When the MIDI Merge
button is disabled (Replace mode), the new material replaces the old.
MIDI Merge button
MIDI Merge enabled
MIDI recording works the same whether using
Nondestructive or Destructive Record mode. In
addition, neither QuickPunch nor TrackPunch
need to be enabled to punch on-the-fly with
MIDI—this capability is available in Nondestructive and Destructive Record modes.
Unlike audio loop recording, the state of the
MIDI Merge toggle determines whether existing
material is replaced or merged.
Unless MIDI Merge is enabled, MIDI recording is
destructive (though you can undo a MIDI record
pass), either overwriting or adding to region material. One exception to this rule is when Loop
Record mode is enabled; in this mode, existing
track regions are replaced with new regions
when new material is recorded. The old regions
remain intact and available from the Region
List, and from the Matches pop-up menu. In
Loop Record mode, MIDI Merge has no effect, so
its button is dimmed.
Recording with a Click
If you intend to work with MIDI or Instrument
tracks in your session, or if the audio you’re
working with is bar and beat-oriented, you can
record your tracks while listening to a click. This
ensures that recorded material, both MIDI and
audio, aligns with the session’s bar and beat
boundaries.
When your track material lines up with the
beats, you can take advantage of some useful editing functions in Pro Tools, such as quantizing
MIDI and audio regions, quantizing individual
MIDI notes, and copying and pasting measures
and song sections in Grid mode.
Material that is recorded without listening
to a click can still be aligned to bar and beat
boundaries in Pro Tools with Beat Detective
(see Chapter 24, “Beat Detective”), or use
the Identify Beat command to determine the
tempo (see “Identify Beat Command” on
page 509).
You can record MIDI with or without a click
and manually add Bar|Beat markers or generate a tempo and meter map from it by using Beat Detective. See Chapter 24, “Beat
Detective.”
Chapter 14: Record Setup
271
Creating a Click Track
Click Options
Pro Tools lets you create a Click track using the
DigiRack Click plug-in. You can also create a
click track using MIDI.
Pro Tools provides options and controls for
driving a click. The following steps are for configuring and enabling a click using the DigiRack
Click plug-in or MIDI.
For more information on the Click plug-in,
see the DigiRack Plug-ins Guide.
To create a click track using the DigiRack Click
plug-in:
■
Choose Track > Create Click Track.
Pro Tools creates a new Auxiliary Input track
named “Click” with the Click plug-in already
inserted. In the Edit window, the click track’s
Track Height is set to Mini. You can create more
than one click track and each subsequent click
track is named in sequence. For example, Click
1, Click 2, and Click 3.
To hear the click during playback and recording,
configure the Click Options (see “Click Options” on page 272) and ensure that Click is enabled (see “Enabling Click” on page 273).
To configure click options:
1 Open the Click/Countoff Options dialog by
doing one of the following:
• Choose Setup > Click.
– or –
• Double-click the Metronome Click or
Countoff button in the Transport window.
2 In the Click/Countoff Options dialog, do one
of the following:
• If using the DigiRack Click plug-in, select
None in the Output pop-up menu.
– or –
• If playing a click using MIDI, select the port
number (device) and channel for the click
from the Output pop-up menu.
To create a click track using MIDI:
1 Create a new (mono) Auxiliary Input or Instrument track.
2 Do one of the following:
• From the track’s Input selector, select the
path to which the MIDI device is connected.
– or –
• Insert an instrument plug-in on the track
(such as Digidesign’s Xpand!).
3 Configure the Click/Countoff options, and be
sure to select the port for the MIDI device or instrument plug-in from the Output pop-up menu
(see “Click Options” on page 272).
4 Enable Click (see “Enabling Click” on
page 273).
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Click/Countoff Options dialog
3 Specify the note, velocity, and duration for
the accented and unaccented notes.
If one is connected, you can also play new
note values on a MIDI controller keyboard.
When listening to the click in your Pro Tools
sessions, the accented note sounds on the first
beat of each measure and the unaccented note
sounds on the remaining beats.
2 In the Transport, click the Metronome Click
button so it is highlighted.
4 Select whether the click is heard “During play
and record,” or “Only during record,” or “Only
during countoff.”
5 If using a countoff, specify the number of Bars
to be counted off. To hear the countoff only
when recording, select that option.
6 Click OK.
Metronome Click button
Metronome Click enabled
3 To use a countoff when recording or playing,
click the Countoff button in the Transport so it
is highlighted.
Enabling Click
Click tracks must be enabled to be heard during
playback or recording.
Countoff button
To enable click from the MIDI menu:
■
Select Options > Click.
To enable click in the Transport:
1 Display the MIDI controls in the Transport by
doing one of the following:
• Select View > Transport > MIDI Controls.
• Control-click (Windows) or Commandclick (Mac) the Expand/Collapse “+” button in the Transport window to display the
MIDI controls.
Countoff enabled
Hearing the countoff before recording helps
musicians to start playing at the right time and
in tempo. The Countoff button in the Transport
window displays the number of bars counted
off.
The countoff is ignored when Pro Tools is
online and synchronized to SMPTE time
code.
• Alt-click (Windows) or Option-click (Mac)
the Expand/Collapse “+” button in the
Transport window to display the MIDI controls and the Counters.
Expand/Collapse “+” button
Transport Window with MIDI Controls
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273
Setting the Default Meter and
Tempo
2 Enter the Meter for the session and set the Lo-
cation to 1|1|000 (to ensure that the inserted
meter event replaces the default).
Setting the Default Meter
When opening a new session in Pro Tools, the
meter defaults to 4/4. If you intend to record
with a click in a meter other than 4/4, make sure
to set the default meter accordingly.
If a session’s meter does not match the music
you’re recording, the accented clicks will not
line up with what you’re playing, and, as a result, the recorded material may not align with
the bars and beats in the Edit window.
Meter events, which can occur anywhere within
a Pro Tools session, are stored in the Meter Track
and appear in the Meter ruler. For more information on inserting and editing meter events,
see “Meter Events” on page 512.
To set the default meter for a session:
1 Double-click the Current Meter button in the
Transport window.
Current Meter button
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Meter Change window
3 From the Click pop-up menu, select a note
value for the beat.
4 Click OK to insert the new meter event.
Setting the Default Tempo
When opening a new session in Pro Tools, the
tempo defaults to 120 BPM. If you intend to
record with a click at a tempo other than
120 bpm, make sure to set the default tempo accordingly.
Tempo events, which can occur anywhere
within a Pro Tools session, are stored in the
Tempo track and appear in the Tempo
ruler. For more information on inserting
and editing tempo events, see “Tempo” on
page 492.
To insert a default tempo event:
To set the Manual Tempo with the Tempo slider:
1 Double-click the Song Start Marker in the Edit
window (see “Song Start Marker” on page 491).
1 To view the MIDI controls in the Transport
2 Enter the BPM value you will use for the ses-
sion.
3 Set the Location to 1|1|000 (to ensure that the
inserted tempo event replaces the default).
window, select View > Transport > MIDI Controls.
2 In the Transport window, click the Tempo
Ruler Enable button (Conductor) button so it
becomes unhighlighted. Pro Tools switches to
Manual Tempo mode. In this mode, any tempo
events in the Tempo track are ignored.
Tempo Ruler
Enable button
Tempo Resolution selector
Manual Tempo mode enabled
3 To base the BPM value on something other
Tempo Change window
4 From the Resolution pop-up menu, select the
than the default quarter-note, click the Tempo
Resolution selector and select a different note
value.
note value for the beat.
4 To enter a new tempo, drag the horizontal
5 Click OK.
Tempo slider in the Transport window.
Using Manual Tempo Mode
In Manual Tempo mode, Pro Tools ignores tempo
events in the Tempo track and instead plays
back a Manual Tempo. This tempo can be set
with the Tempo slider, or if you are not sure of
the actual tempo, by tapping in the tempo.
While you can adjust the Manual Tempo during
playback, doing so momentarily interrupts playback.
Tempo slider
Tempo slider
For finer resolution with the Tempo slider, press
Control (Windows) or Command (Mac) while
dragging.
To exit Manual Tempo mode and enable the Tempo
track:
■ Click the Tempo Ruler Enable (Conductor)
button in the Transport window so it becomes
highlighted.
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275
To set the Manual Tempo by tapping:
1 To view the MIDI controls in the Transport
window, select View > Transport > MIDI Controls.
2 In the Transport window, click the Tempo
Ruler Enable (Conductor) button so it becomes
unhighlighted. Pro Tools switches to Manual
Tempo mode. In this mode, any tempo events in
the Tempo track are ignored.
3 Do one of the following:
• Click in the Tempo field so it becomes
highlighted and tap the “T” key on your
computer keyboard repeatedly at the new
tempo.
– or –
• Click in the Tempo field so it becomes
highlighted and tap in the tempo by playing a note repeatedly at the new tempo on
your MIDI keyboard controller.
To compute the new tempo, Pro Tools averages
the last eight (or fewer) taps to determine the
correct tempo. The computed BPM value appears in the Transport window’s Tempo field.
To lock in the new tempo:
■ Take Pro Tools out of Manual Tempo mode by
clicking the Tempo Ruler Enable (Conductor)
button, then set the default tempo for the Song
Start Marker to the new tempo.
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Chapter 15: Audio Recording
Recording an Audio Track
In Pro Tools, you record audio to audio tracks.
Audio tracks can be mono, stereo, or multichannel as appropriate for the recording source.
When recording a mono source, record to a single, mono audio track in Pro Tools. A single,
mono audio file is written to disk, and the file
appears as a region both in the track’s playlist
and in the Region List.
When recording a stereo audio source, record to
a single, stereo audio track in Pro Tools. A single,
mono audio file is written to disk for each channel of a stereo track: one for the left channel,
and one for the right channel. These files appear
as a stereo region both in the track’s playlist and
in the Region List.
Recording a multichannel source to a multichannel track (Pro Tools HD only) is similar to
recording stereo audio tracks. A single, mono
audio file is written for each channel in the
track, and these files appear as multichannel regions in both the track’s playlist and in the Region List.
To configure an audio track for recording:
1 Connect mono or stereo sound sources to in-
puts on your Pro Tools audio interface.
2 Choose Setup > Hardware and do the follow-
ing:
• Select the audio interface to be used for recording your source.
• Select the channel format corresponding to
the number of channels for your source.
Some Pro Tools audio interfaces (such as
Mbox 2), have only two channels that can
only be set to either analog or digital.
3 Create a new mono or stereo audio track (see
“Creating Tracks” on page 125).
4 Rename the track something descriptive or
your source (such as “Guitar” or “Vocal”), or use
the default track name.
For more information on multichannel
tracks, see “Multichannel Audio Tracks” on
page 766.
Chapter 15: Audio Recording
277
5 Assign a hardware input (recording source) by
doing one of the following:
• In the Mix window, select the corresponding hardware input for your source from
the track’s Input Path selector.
Output Path selector, Edit window
7 Record enable the track by doing one of the
following:
• In the Mix window, click the track’s Record
Enable button.
Input Path selector, Mix window
– or –
• In the Edit window, with I/O View enabled,
select the corresponding hardware input
for your source from the track’s Input Path
selector.
Record
Enable
Input Path selector, Edit window
6 Assign a hardware output by doing one of the
following:
• In the Mix window, select the corresponding hardware output for monitoring (such
as A 1–2) from the track’s Output Path selector.
Track Record Enable button (Mix window)
– or –
• In the Edit window, click the track’s Record
Enable button.
Record
Enable
Output Path selector, Mix window
278
– or –
Track Record Enable button (Edit window)
• In the Edit window, with I/O View enabled,
select the corresponding hardware output
for monitoring (such as A 1–2) from the
track’s Output Path selector.
The track’s Record Enable button flashes red, the
track’s fader is solid red, and the Track Record
Enabled indicator in the Transport turns red (indicating at least one track is record-enabled).
Pro Tools Reference Guide
8 Adjust the output level of your sound source
5 To have recording start from the beginning of
(instrument, mixer, or preamp). Monitor the
track’s meter levels in Pro Tools to ensure that
you get the highest possible signal without clipping.
the session, click Return to Zero in the Transport.
9 Do one of the following:
• In the Mix window, adjust the track’s volume and pan faders. These settings are for
monitoring purposes only and do not affect the recorded material.
– or –
• In the Output window for the track, adjust
the track’s Volume fader and Pan sliders.
These settings are for monitoring purposes
only and do not affect the recorded material. (See “Output Windows for Tracks and
Sends” on page 645.)
To record to an audio track:
1 With Pro Tools HD, make sure that Delay
Compensation is deselected in the Options
menu.
Digidesign recommends recording without
Delay Compensation in most cases. For
more information, see “Delay Compensation” on page 656.
2 In the Options menu, ensure that the follow-
ing are deselected: Destructive Record, Loop
Record, QuickPunch, TrackPunch, and DestructivePunch.
3 Enable Click and Countoff in the Transport
window to record with a click and countoff (see
“Recording with a Click” on page 271).
4 If you are using meter and tempo informa-
6 Click Record in the Transport to arm Pro Tools
for recording (Record Ready mode). The Record
button flashes.
7 Click Play in the Transport to begin recording.
If using Countoff, Pro Tools counts off the specified number of measures and then begins recording.
8 Click Stop in the Transport to stop recording.
The newly recorded audio is written to disk and
appears as an audio region both in the track’s
playlist and in the Region List.
To play back the audio track:
1 Click the Record Enable button for the audio
track so that it is no longer record-enabled.
Track volume faders now function as playback
level controls.
If a record-enabled track is in Auto Input
Monitor mode, you will hear “through” the
input while the Transport is stopped. The
track automatically switches to playback
when you press play, then back to Input
mode when you either stop, or punch into
record. For more information, see “Auto Input Monitoring” on page 261.
2 To have playback start from the beginning of
the session, click Return to Zero in the Transport.
3 To start playback, click Play in the Transport.
Adjust the track’s volume and pan faders.
tion, specify the session’s default meter and
tempo (see “Setting the Default Meter and
Tempo” on page 274).
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Undo or Cancel Audio Recording
Recording Multiple Audio Tracks
Once you have recorded an audio track and the
transport is stopped, you can undo the record
take.
Pro Tools can record multiple audio tracks simultaneously, up to the track recording limits of
your system. To record to multiple tracks, configure and record enable each track, then record.
Follow the same steps as in “Recording an Audio
Track” on page 277.
To undo an audio recording:
■ Once the Transport has been stopped, choose
Edit > Undo Record Audio.
The track’s playlist is restored to its previous
state and material is discarded as follows:
• When in normal Record mode, only the
most recent take is discarded.
• When in Loop Record mode, all takes from
each record pass are discarded.
• When using QuickPunch, TrackPunch, or
DestructivePunch mode, all punches from
the last recording pass are discarded.
If you undo a record pass during recording,
Pro Tools removes any previously undone
record pass from the session and lets you delete the previous record pass from your hard
drive.
If no actions are available to undo, the menu
displays a grayed out Can’t Undo.
Canceling a Record Take
While recording, it is possible to discard the current record take. This removes the audio (recorded up to that point) from your hard drive
and deletes the region from the track’s playlist
and the Region List. When using Loop Record
mode, all takes from each record pass are discarded. Canceling recording when in Destructive Record mode is prohibited.
To cancel a record take while recording:
■ Press Control+Period (.) (Windows) or Command+Period (.) (Mac) before the Transport is
stopped.
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For each record-enabled track, a new audio file is
written to disk, and a new region is created that
appears both in the track’s playlist and in the
Region List.
Record Shortcuts
In addition to clicking the Record button in the
Transport or Edit window to arm Pro Tools recording, you can arm and start recording with
the following keyboard shortcuts:
• Press F12 to start recording immediately.
On Mac systems, to use F12 for recording,
the Mac “Dashboard” feature must be disabled or remapped. See your Getting Started
Guide for details.
• Press Control+Spacebar (Windows) or Command+Spacebar (Mac) to start recording.
On Mac systems, to use Command+Spacebar
for recording, the Mac “Spotlight” feature
must be disabled or remapped. See your Getting Started Guide for details.
• Press 3 on the numeric keypad (when the Numeric Keypad mode is set to Transport) to
start recording.
To initiate recording at half-speed, press
Control+Shift+Spacebar (Windows) or
Command+Shift+Spacebar (Mac). For details, see “Half-Speed Recording and Playback” on page 295.
Record Pause Mode
When recording a large number of tracks or
channels, or playing back a large number of
tracks while recording, Pro Tools may take a little longer to begin recording. To avoid this delay, put Pro Tools in Record Pause mode before
beginning to record.
To nondestructively record a new take on the
same track:
1 In the Options menu, ensure that the follow-
ing options are deselected: Destructive Record,
Loop Record, QuickPunch, TrackPunch, and DestructivePunch.
2 Record enable the track.
3 Do one of the following:
To record from Record Pause mode:
1 Click Record in the Transport. The Record button flashes.
2 Alt-click (Windows) or Option-click (Mac)
Play in the Transport to put Pro Tools in Record
Pause mode. The Play and Record buttons both
flash.
3 To begin recording instantaneously, click Play.
4 Click Stop to stop recording.
When synchronizing to time code, use
Record Pause mode to record or play back
large numbers of tracks. This decreases the
time it takes to lock to time code.
• To record from the beginning of the session, click Return to Zero in the Transport.
– or –
• If Options > Link Timeline and Edit Selection is enabled, click anywhere in the
track’s playlist to begin recording from that
point.
To record a specific track range, with precise
start and end points, see “Punch Recording
Audio” on page 283.
4 Click Record in the Transport to arm Pro Tools
for recording.
5 Click Play to start recording.
6 Click Stop to stop recording.
Recording Additional Takes
After recording to an audio track, you can record
additional takes to the same track. However, if
you record these additional takes in Destructive
Record mode, the audio residing on your hard
drive from the previous takes is permanently
lost.
An audio file for the new take is written to disk
and appears as an audio region both in the
track’s playlist and in the Region List.
The audio from the original take remains on
your hard drive, and is still available as a region
in the Region List.
To keep the audio from previous takes, record
the new takes in Normal (Nondestructive)
Record mode.
For information on audio file and region
names for new takes, see “Default Track
Names” on page 264.
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To destructively record over a previous take:
1 Select Options > Destructive Record. When in
Destructive Record mode, a “D” appears in the
Record button.
Destructive
Record
Destructive Record mode enabled
2 Record enable the track.
3 Do one of the following:
• To record from the beginning of the track,
click Return to Zero in the Transport.
Appending New Material to the End of a
Track
You can also append new material to the end of
a track.
To append new material to the end of a track:
1 Do one of the following:
• Click the Go to End button in the Transport to locate to the end of the track (this
locates the end of the session).
– or –
• Tab to the end point of the last region on
the track.
– or –
• If Options > Link Timeline and Edit Selection is enabled, click anywhere in the
track’s playlist to begin recording from that
point.
To record a specific track range, with precise
start and end points, see “Punch Recording
Audio” on page 283.
4 Click Record in the Transport to arm Pro Tools
for recording.
5 Click Play to start recording.
6 When finished, click Stop to stop recording.
The audio for the new take is written to disk,
permanently overwriting the original. The new
material replaces the original material within
the existing region and the region is not renamed.
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2 From there, begin recording.
Pro Tools adds the new material to the end of
the track. If using Destructive Record mode, the
new audio is appended to the audio file and region from the first take. In Nondestructive
Record mode, a new file and region are created.
Recording to a New Playlist
Instead of recording over existing audio regions,
there is another way to nondestructively record
new takes to the same track. Do this by creating
a new playlist for the track, then record just as
before.
Tracks can have multiple edit playlists, each of
which stores a list of regions strung together in a
particular order. Also, since playlists follow
groups, duplicating or selecting alternate playlists for a track in an enabled group will affect all
tracks in the group.
To record to a new playlist for a track:
1 From the track’s Playlist selector, choose New.
Punch Recording Audio
To define a record range in the playlist, or replace a portion of a recorded track, you can
punch in by specifying the record range before
recording.
Playlist selector
2 Enter a name for the new playlist.
3 Click OK.
When a new playlist is created, its name replaces
the track name. Names for new audio files and
regions are based on the track name.
4 Record enable the track.
5 To start from the beginning of the session,
click Return to Zero in the Transport.
6 Click Record in the Transport to arm Pro Tools
for recording.
7 Click Play to start recording.
8 Click Stop to stop recording.
An audio file for the new take is written to disk
and appears as an audio region both in the
track’s new playlist and in the Region List.
Selecting a previous playlist from track’s Playlist
selector recalls its regions as they previously appeared in the track. At any time, all regions from
all playlists are available in the Region List, and
can be mixed and matched between playlists
and tracks.
To manually punch in and out on recordenabled audio tracks during playback, refer
to Chapter 17, “Advanced Punch Recording.”
Though there are several ways to set record and
play ranges (see “Setting Punch/Loop Points” on
page 288), perhaps the easiest is to select within
the track’s playlist the range for recording.
To set a record or play range by selecting
within a playlist, the Edit and Timeline selections must be linked (select Options >
Link Timeline and Edit Selection).
During the recording process, playback begins
at the pre-roll time (if enabled) and proceeds to
the start time (the punch-in point), where recording begins. When the end time (the punchout point) is reached, Pro Tools automatically
switches out of Record mode and continues
playing through the specified amount of postroll. This automated punch-in/out feature is a
powerful and precise way of recording or re-recording on a track.
For more information on playlists and playlist editing, see “Playlists” on page 352.
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To punch record on an audio track:
1 Do one of the following:
• To record nondestructively, make sure that
Options > Destructive Record is not selected.
– or –
• If you do want to permanently record over
the specified record range, select Options >
Destructive Record.
If you are recording in any mode other than
Destructive Record mode, punches do not
permanently replace previously recorded
material. If you do want to permanently
record over the specified record range (and
keep only the most recent take), select Options > Destructive Record.
2 Record enable the track.
3 Select Options > Link Timeline and Edit Selec-
tion.
4 With the Selector tool, drag in the track’s play-
list until the selection encompasses the punch
range (see “Setting Punch/Loop Points” on
page 288).
5 To hear any existing track material up to the
start point, or after the end point, enable and set
pre- and post-roll times (see “Setting Pre- and
Post-Roll” on page 291).
6 Click Record in the Transport to arm Pro Tools
for recording.
7 Click Play to start recording.
Pro Tools starts recording from the punch-in
(start) point. If there is any pre-roll, recording
starts when the punch-in (start) point is
reached. Recording continues until the punchout (end) point is reached (unless you manually
stop recording first). If post-roll is enabled, playback continues for the specified post-roll
amount.
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If recording nondestructively, a new audio file is
written to your hard drive and a new audio region appears both in the track and the Region
List.
If recording in Destructive Record mode, the
new audio overwrites the previous material in
the existing audio file and region.
Monitoring During Punch-Ins
Pro Tools provides two monitoring modes for
recording: Auto Input monitoring and Input
Only monitoring.
For more information, see “Auto Input
Monitoring” on page 261.
Loop Recording Audio
Pro Tools provides a loop recording feature that
lets you record take after take while the same
section of audio repeats over and over. This is a
convenient technique for quickly recording
multiple takes of a part without losing spontaneity.
When loop recording, you must first specify the
start and end points for the loop. Though there
are several ways to set record and play ranges
(see “Setting Punch/Loop Points” on page 288),
the easiest is to select the range to be looped in
the track’s playlist (ensure that Options > Link
Timeline and Edit Selection is selected).
The pre-roll setting, if enabled, is used only during the first record pass, and the post-roll setting, if enabled, is used only on the last record
pass. Pre- and post-roll times are ignored on
each successive loop. To compensate for this,
you may want to make the loop range slightly
longer. Later, you can trim back the recorded
takes to the proper length with the Trim tool
(see “Using the Trim Tools” on page 374).
When loop recording audio, Pro Tools creates a
single audio file that includes all takes. Takes appear as individual regions in the Region List and
are numbered sequentially. Once you stop recording, you can audition any of the recorded
takes.
To use alternate takes created with Loop
Record in other sessions (such as when using Import Session Data), export region definitions (see “Exporting Region Definitions” on page 230). If region definitions
are not exported, alternate takes created
with Loop Record will be inaccessible when
imported into another session.
To loop record an audio track:
1 Select Options > Loop Record. When Loop
Record mode is enabled, a loop symbol appears
in the Record button.
Loop Recording enabled
7 Click Play to start recording.
The Record button flashes during the pre-roll.
When the start point is reached, Pro Tools begins recording. When the end point is reached,
Pro Tools loops back to the start time and continues recording.
8 To cancel all recorded takes while loop recording, press Control+Period (.) (Windows) or
Command+Period (.) (Mac).
9 When finished, click Stop to stop recording.
If you stop recording before you reach the midpoint of the loop, Pro Tools discards that take. If
you record more than half of the looped take,
Pro Tools will leave the take in the track when
you stop recording.
The recorded takes appear as regions in the Region List and are numbered sequentially. The
most recently recorded take appears in the active playlist on the track. For details on auditioning the different takes, see “Auditioning Different Record Takes in the Timeline” on
page 286.
2 Record enable the audio track by clicking its
Record Enable button.
3 Select Options > Link Timeline and Edit Selec-
tion.
4 With the Selector tool, select the loop range
Loop Playback and Audio Recording
Pro Tools ignores “loop playback” when recording. The only way to loop while recording is to
enable Loop Record mode.
on the track. For other methods of setting the
record range, see “Setting Punch/Loop Points”
on page 288.
5 To hear track material up to the start point of
the loop, enable pre-roll and set the pre-roll
time (see “Setting Pre- and Post-Roll” on
page 291).
6 Click Record in the Transport to arm Pro Tools
for recording.
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Auditioning Different Record
Takes in the Timeline
After recording multiple takes with loop or
punch recording, you can replace the current
take in the track’s active playlist with previous
takes. (Takes must have the same start time to be
available.) Different takes (regions) can also be
auditioned by Alt-clicking (Windows) or Option-clicking (Mac) them in the Region List.
To select an alternate take, do one of the
following:
■ Right-click the region with the Selector or
Grabber tools, and select a different take from
the Matches submenu in the pop-up menu.
All takes are numbered sequentially.
Selecting a Different Take from
the Region List
To select a take from the Region List:
1 In the Edit window, select the current take
with the Time Grabber tool.
2 Control-drag (Windows) or Command-drag
(Mac) another take from the Region List into the
playlist.
The region replaces the previous take and snaps
precisely to the correct location.
3 Repeat the above steps to audition other takes.
Selecting an Alternate Take on a
Track
Right-click Matches submenu
■ With the Selector tool, Control-click (Windows) or Command-click (Mac) at the precise
beginning of the loop or punch range and select
a different take from the Alternate Takes pop-up
menu.
■ If the take currently residing in the track is selected, with the Selector tool, Control-click
(Windows) or Command-click (Mac) anywhere
on the selected take and select a different take
from the Alternate Takes pop-up menu.
Each region resulting from a punch or loop
record pass has an identical start time (the User
Time Stamp). You can select and audition alternate takes from the Right-click Matches submenu or the Alternate Takes pop-up menu—
even during playback.
Alternate Takes pop-up menu
The selected take (region) replaces the previous
take and snaps precisely to the correct location.
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One way to ensure that future takes have the
same User Time Stamp (and appear in the
Matches pop-up menu) is to store punch and
loop record selections as Memory Locations.
Then, if you later need to record additional
takes, recall the Memory Location. For more information, see “Memory Locations” on
page 290.
To change the User Time Stamp of other regions
so that they appear in the Matches pop-up
menu for a specific location, use the Time Stamp
command in the Region List pop-up menu. For
more information, see “Time Stamping” on
page 814.
5 Do one of the following:
• Right-click any of the selected takes and select a different take from the Matches submenu.
– or –
• Control-click (Windows) or Commandclick (Mac) any of the selected takes and select a different take from the Alternate
Takes pop-up menu.
The selected take replaces the previous take and
snaps precisely to the correct location on each
track.
Editing Preferences for Takes
Matches and Multiple Tracks
If you have recorded in Loop Record mode on
multiple tracks, and each contains multiple
takes with identical User Time Stamps, you can
change all takes simultaneously.
In addition to having the same User Time
Stamp, regions that appear in the Matches submenu and the Alternate Takes pop-up menu are
also restricted according to options in the Preferences dialog.
To switch takes for multiple tracks:
To set Editing preferences for takes:
1 Choose Setup > Preferences and click the
1 Choose Setup > Preferences and click the
Editing tab.
Editing tab.
2 Enable the following options under “Match-
2 Enable or disable the following options in the
ing Start Time” Takes List:
“Matching Start Time” Takes List section:
• Includes Take Region Name(s) that Match
Track Names
– and –
• Includes Take Regions Lengths That Match
3 Click OK to close the Preferences dialog.
4 With the Selector tool, select the take range
for each track you want to replace.
Includes Take Region Name(s) That Match Track
Names When selected, only regions that share
the same root name with the track/playlist appear in the Matches submenu and the Alternate
Takes pop-up menu. For example, the Matches
for a track named “Gtr.L” would show the regions “Gtr.L_01” and “Gtr.L_02-01,” but not
“Guitar.L_01.”
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Includes Take Region Lengths That Match When
selected, only regions that match the length of
the current selection (even if it is not an entire region) appear in the Matches submenu and the
Alternate Takes pop-up menu. If there is no selection, all takes with the same User Time Stamp
are displayed.
“Separate Region” Operates On All Related
Takes When selected, editing a region with the
Separate Region command also affects all other
related takes with the same User Time Stamp.
This option helps you compare different sections from a group of related takes. For example,
you can quickly separate an entire group of related vocal takes into sections, then audition
and select the best material from each section
independently.
If this option is selected, make sure the Include
Take Region Names That Match Track Name(s)
and Include Take Region Lengths That Match
options are also selected. If they are not, all regions in the session that have the same User
Time Stamp will be affected.
Setting Punch/Loop Points
The start and end points of a record range for
punch and loop recording can be set by the following methods:
• Select a range in a track’s playlist (with Options > Link Timeline and Edit Selection
enabled).
• Select a range in a Timebase ruler.
• Drag the Timeline Selection Markers in the
ruler.
• Enter start and end times in the Transport
window.
• Recall a Memory Location that includes an
Edit selection (with Options > Link Timeline and Edit Selection enabled).
To set the record range in a track’s playlist:
1 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
2 Select Options > Link Timeline and Edit Selec-
tion.
3 Do one of the following:
In most instances, you’ll want to deselect the
Separate Region Operates On All Related Takes
option, to prevent a large number of regions
from being created when you use the Separate
Region command.
• With the Selector tool, select the record
range in a track’s playlist.
Playlist selection
– or –
• If a region’s start and end points define the
record range, select the entire region.
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You can also enter a start and end point
during playback. Press the Down Arrow to
set the start point, and press the Up Arrow
to set the end points. Note that when in Grid
mode, start and end point when entered in
this manner do not snap to the grid.
To set the record range by dragging the Timeline
Selection Markers:
1 If you want the Timeline Selection Markers to
snap to the current Grid value, set the Edit mode
to Grid
2 Drag the first Timeline Selection Marker
(down arrow) to the start point of the range.
To set the record range in a Timebase ruler:
1 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
2 Select the record range in any Timebase ruler.
Dragging a Timeline Selection Marker (start time) in the
Main Timebase ruler
3 Drag the second Timeline Selection Marker
(up arrow) to the end point of the range.
Timeline selection
If the Selector tool is not active, you do not
need to manually select it. Other Edit tools
(such as the Time Grabber tool) automatically turn into the Selector tool when used in
Timebase rulers.
Timeline Selection Markers
When tracks are record-enabled, Timeline Selection Markers for start and end times appear as
red up and down arrows in the Main Timebase
ruler. If no tracks are record-enabled, the Timeline Selection Markers are blue.
Timeline Selection Markers in the Main Timebase ruler
The Timeline Selection Markers can be moved,
either separately or at the same time, to set
record and play ranges.
If the current record range is already the
right length and the range needs only to be
moved to a new location, Alt-drag (Windows) or Option-drag (Mac) either Timeline
Selection Marker to move both to a new location (while keeping the same length).
Start, End, and Length Fields
In its Expanded View, the Transport window can
display start, end, and length times, and preand post-roll settings. When setting a record or
play range, the range is reflected in these fields.
Transport window with Start, End, and Length fields
displayed
You can enter locations in the start and end
fields to set the record or play range. The Timeline Selection Markers in the Main Timebase
ruler are updated accordingly.
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To set the record range by entering start and end
times in the Transport window:
To save an Edit selection with a Memory Location:
1 To see the start, end, and length times, do one
Selection is selected.
of the following:
• Select View > Transport > Expanded.
– or –
• Shift-click the Expand/Collapse “+” button
in the Transport window.
2 Do one of the following:
• In the Transport window, click in the Start
field.
– or –
• Press Alt+Forward Slash (/) (Windows) or
Option+Forward Slash (/) (Mac) on the numeric keypad to select the start field in the
Transport window.
3 Type in the start location and press Alt+For-
ward Slash (/) (Windows) or Option+Forward
Slash (/) (Mac) on the numeric keypad to enter
the value and automatically move to the end
field.
1 Ensure that Options > Link Timeline and Edit
2 Set the record range by making an Edit or
Timeline selection, or by entering start and end
times in the Transport window.
3 To save the pre- and post-roll values, enable
and set the pre- and post-roll amounts by entering them in the Transport window, or by dragging the Pre- and Post-Roll Flags in the ruler that
represents the Main Time Scale (see “Setting Preand Post-Roll” on page 291).
4 Press Enter on the numeric keypad or click the
Add Marker/Memory Location button in the
Edit window.
5 In the New Memory Location dialog, set Time
Properties to Selection, and if saving pre- and
post-roll values, select the General Properties
option for Pre/Post Roll Times.
4 Type in the end location and press Enter to accept the value.
Use the Period (.) or Left/Right Arrow keys
to move through the different time fields for
Start and End. Use the Up/Down Arrow
keys to increase or decrease the numerical
values.
Memory Locations
You can store Edit selections as Memory Locations, which can also include current pre- and
post-roll values.
New Memory Location dialog
6 Enter a name for the new Memory Location.
7 Click OK.
For more information on Memory Locations, see “Memory Locations and Markers”
on page 524.
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To recall an Edit selection with a Memory
Location:
1 Make sure to select Options > Link Timeline
and Edit Selection.
2 Choose Windows > Memory Locations.
Setting Pre- and Post-Roll
Pre- and post-roll times appear as flags in the
ruler that represents the Main Time Scale. When
pre- and post-roll are enabled, the flags are
green, otherwise they are gray.
Green Pre- and Post-Roll Flags (enabled) in the Main
Timebase ruler
Pre- and post-roll amounts can be entered in the
Transport window, set from a track’s playlist or
Timebase ruler, or by recalling a Memory Location.
Memory Locations window
Setting Pre- and Post-Roll in the
Transport Window
3 Do one of the following:
• In the Memory Locations window, click the
name or number of the Memory Location.
– or –
• Recall the Memory Location by typing Period (.), the Memory Location number, and
Period (.) again on the numeric keypad.
(See “Numeric Keypad Modes” on
page 17).
The start and end times and pre- and post-roll
settings stored with the Memory Location are recalled.
Pre- and post-roll can be enabled and set in the
Transport window.
To set and enable the pre- and post-roll times in
the Transport window:
1 Select View > Transport > Expanded.
2 In the Transport window, click in the pre-roll
field.
3 Type in the pre-roll amount and press Forward
Slash (/) on the numeric keypad to enter the
value and automatically move to the post-roll
field.
4 Type in the post-roll amount and press Enter
to accept the new value.
5 To enable either pre- or post-roll, click the appropriate button so it is highlighted.
Use the Period (.) or Left/Right Arrow keys
to move through the different time fields for
pre and post-roll. Use the Up/Down Arrow
keys to increase or decrease the numerical
values.
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Setting Pre- and Post-Roll in a Playlist
You can use the Selector tool to enable and disable pre- and post-roll by clicking in a track’s
playlist.
Enabling Pre/Post-Roll from the
Options Menu
Pre- and post-roll (as a pair) can be enabled and
disabled from the Options menu.
To set and enable the pre- and post-roll by clicking
in a playlist:
To enable both pre/post-roll from the Options
menu:
1 Select Options > Link Timeline and Edit Selec-
■
Select Options > Pre/Post-Roll.
tion.
2 With the Selector tool, select the record range
in the track’s playlist.
3 With the Selector tool, Alt-click (Windows) or
Option-click (Mac) in the track’s playlist before
the selection to enable the pre-roll at that location.
4 With the Selector tool, Alt-click (Windows) or
Option-click (Mac) in the track’s playlist after
the selection to enable the post-roll at that location.
To disable the pre- and post-roll by clicking in a
playlist:
Dragging Pre- and Post-Roll Flags in the
Timebase Ruler
The Pre- and Post-Roll Flags can be moved in the
Main Timebase ruler, either separately or at the
same time, to set their location.
To set the pre- and post-roll amounts by dragging
in the Main Timebase ruler:
1 If you want the Pre- and Post-Roll flags to snap
to the current Grid value, set the Edit mode to
Grid.
2 Drag the Pre-Roll Flag to a new location in the
ruler.
1 With the Selector tool, Alt-click (Windows) or
Option-click (Mac) in the Edit selection near the
start to disable the pre-roll.
2 With the Selector tool, Alt-click (Windows) or
Option-click (Mac) in the Edit selection near the
end to disable the post-roll.
In the timeline, you can reset the pre- and
post-roll to zero. First, drag the Pre-Roll Flag
to the Timeline Selection Start Marker, then
drag the Post-Roll Flag to the Timeline Selection End Marker.
3 Drag the Pre-Roll Flag to the Timeline Selection Start Marker.
4 Drag the Post-Roll Flag to the Timeline Selection End Marker.
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Dragging a Pre-Roll Flag in a Timebase ruler
3 Drag the Post-Roll Flag to a new location in
the Timebase ruler.
To set pre- and post-roll values to the same
amount, Alt-drag (Windows) or Optiondrag (Mac) either the Pre- or the Post-Roll
Flag in the ruler. The deselected flag will
immediately reset to the same value, and
will adjust accordingly as you drag the selected flag.
Recording from a Digital
Source
If you plan to use a DAT player, digital-output
CD recorder, or other digital device with your
Pro Tools system, make sure it supports the correct digital format. For example, your Pro Tools
audio interface’s AES/EBU inputs and outputs
should only be connected to another AES/EBU
device.
For additional information on configuring
your particular Pro Tools system for recording from a digital source, see your Getting
Started Guide.
The additional digital ports on the 192 I/O and
192 Digital I/O are TDIF, AES/EBU, and ADAT.
Pro Tools can only receive digital audio from
one of these ports at a time.
However, inputs on both the 192 I/O enclosure
I/O and Digital card can be used simultaneously.
For example, on a 192 I/O, it is possible to clock
off a source from one of the enclosure inputs
and have another digital input from the digital
ports doing a sample rate conversion, thus having two digital sources.
Pro Tools LE Digital Options
The Digi 002 and Digi 002 Rack include S/PDIF
and ADAT digital I/O.
Pro Tools|HD Digital Options
The 192 I/O, 192 Digital I/O, and 96 I/O include
AES/EBU, S/PDIF, and ADAT digital options. Additionally, the 192 I/O and 192 Digital I/O include TDIF digital I/O options. The 96i I/O includes only the S/PDIF digital option.
On a 192 I/O, 192 Digital I/O, or 96 I/O,
Pro Tools can receive digital audio from the factory-installed Optical (ADAT) I/O at any time (if
it is not set to S/PDIF). However, Pro Tools can
only receive digital audio from one of its enclosure [Encl] digital sources—AES/EBU, S/PDIF, or
Optical (S/PDIF) at a time.
Enclosure digital sources come standard with
Pro Tools|HD I/Os and are labelled on-screen as
[Encl] versions, to differentiate them from digital inputs and outputs available on the 192’s
Digital I/O card. For example, the AES/EBU inputs and outputs that come standard in the
192 I/O enclosure are identified as AES/EBU
[Encl].
Mbox 2, Mbox 2 Pro, and Mbox include only
the S/PDIF digital option.
All digital outputs are active at all times, so you
can actually send digital audio to different digital devices simultaneously at mix time.
Recording from Digital Sources
To record from a digital source with Pro Tools:
1 Connect the digital output of the recording
source to the appropriate digital input of your
audio hardware.
2 If you want to start a new session with a dif-
ferent sample rate, do the following:
• Choose File > New Session
• Select the sample rate.
• Configure the rest of the New Session dialog accordingly.
• Click Save.
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3 Specify the format (digital) of the inputs of the
audio interface to which the digital recording
source is connected:
• Choose Setup > Hardware.
• Choose the audio interface.
• Select the digital format for the appropriate
channel pair (such as AES/EBU or S/PDIF).
Some Digidesign I/O units only have two
channels that can be set for analog or digital. For example, Mbox 2 has S/PDIF L–R
(Stereo) digital inputs and In 1–2 analog inputs. Mbox 2 can record through analog
and digital inputs simultaneously.
4 For Pro Tools|HD systems only, do the follow-
ing:
• In the Session Setup window, select the appropriate Clock Source.
– or –
• Choose Setup > Hardware.
• Select the appropriate Clock Source connected to the appropriate audio interface.
• Click OK to close the Hardware Setup dialog.
5 Create a new stereo audio track.
6 Assign the Input Path selector for the track to
the appropriate input. Since this is a digital
transfer, you do not need to worry about input
levels.
7 Assign the Output Path selector for the track
to the appropriate output for monitoring (such
as A 1–2).
8 In the Options menu, ensure that the following options are deselected: Destructive Record,
Loop Record, QuickPunch, TrackPunch, and DestructivePunch.
9 To have recording start from the beginning of
the session, click Return to Zero in the Transport.
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10 Record enable the new audio track.
11 Click Record in the Transport to arm
Pro Tools for recording.
12 Click Play to start recording.
13 Start playback on the recording source.
14 When the material from the source has finished, click Stop in the Transport.
15 Stop playback on the recording source.
After a Digital Transfer
After you have finished recording digitally, set
the Clock Source pop-up menu in the Session
Setup window back to Internal. Otherwise,
Pro Tools will not switch back to its own internal clock and may not record or play audio
properly. Failure to switch back to Internal synchronization typically results in pitch problems
(fast or slow playback), clicks and pops, or DAE
errors, since a DAT machine or CD Recorder that
is idle can default to a different sample rate or
stop outputting a sample rate clock altogether.
Half-Speed Recording and
Playback
Pro Tools lets you play and record at half-speed.
This capability is similar to that of a tape deck
where you can record material at half-speed and
then play it back at normal speed (faster and up
an octave), or record material at normal speed
and play it back at half-speed (slower and down
an octave), for special effects.
Half-Speed Recording
Use half-speed recording to record difficult to
play MIDI tracks or to record complex automation moves.
To record at half-speed:
1 Record enable the tracks you want to record at
half-speed.
2 Click Record in the Transport to arm Pro Tools
for recording.
3 Press Control+Shift+Spacebar (Windows) or
Command+Shift+Spacebar (Mac). Recording begins and all existing track material plays at halfspeed.
4 When you have finished recording, click Stop.
Half-Speed Playback
Use half-speed playback to learn or transcribe
difficult passages in recorded tracks.
To play at half-speed:
1 Shift-click the Play button in the Transport.
You can also play at half-speed by pressing
Shift+Spacebar.
2 Click Stop in the Transport to stop playback.
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Chapter 16: MIDI Recording
Although recording MIDI in Pro Tools is similar
to recording audio, there are some important
differences:
Unlike audio, MIDI recording is almost always
destructive. See “Record Modes and MIDI” on
page 271 for details.
◆
Unlike audio tracks, MIDI and Instrument
tracks can be record-enabled on-the-fly during
playback or recording.
◆
MIDI and Instrument tracks have an Input selector that determines which port on your MIDI
interface (devices) and which MIDI channel is
routed and recorded to the track. If the MIDI Input selector is set to All, all channels for all devices are routed to the track.
◆
Similar to Auxiliary Inputs, Instrument tracks
have audio Input and Output selectors. These
selectors are different than the Instrument
track’s selectors for MIDI Input and Output and
are primarily used for monitoring audio from
MIDI instruments or instrument plug-ins.
◆
It is not necessary to use QuickPunch, TrackPunch, or DestructivePunch to punch in on-thefly with MIDI or Instrument tracks. This capability is available both in Normal (Nondestructive)
Record mode and Destructive Record mode.
◆
Recording from MIDI Devices
The MIDI Inputs for record-enabled MIDI and
Instrument tracks determine what MIDI data is
recorded in Pro Tools. MIDI Inputs can be set to
a specific device (port) and channel, or they can
be set to All, where all channels for all devices
are merged to the track.
MIDI and Instrument tracks in Pro Tools do not
contain multiple channels and always play back
on the track’s assigned MIDI output devices and
channels. Multiple MIDI channels can be simultaneously recorded to multiple tracks.
The following Pro Tools options determine
whether you can record from a MIDI controller
(such as a MIDI keyboard or drum pad):
◆ Devices that are assigned as a MIDI Controller
in the Peripherals dialog (Setup > Peripherals)
are ignored when MIDI tracks are recorded. This
is to avoid recording data from MIDI control
surfaces (such as the Digidesign Command|8).
◆ To record and play MIDI, the device must be
enabled in the Input Devices dialog. For more
information, see “Enabling Input Devices” on
page 298.
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297
In addition, the following options affect how
MIDI data is recorded in Pro Tools:
The MIDI Input Filter can filter out MIDI messages that you may not want to record, such as
Polyphonic Aftertouch or System Exclusive
data. For more information, see “MIDI Input Filter” on page 299.
◆
◆ Input Quantize, when enabled, automatically
quantizes (time corrects) all MIDI notes that are
recorded. For more information, see “Input
Quantize” on page 300.
To enable input devices:
1 Choose Setup > MIDI > Input Devices.
2 In the MIDI Input Enable dialog, do the fol-
lowing:
• Select the MIDI devices you want to record.
Also, select any device to be used as a control surface.
• Deselect any input devices you want to ignore while recording MIDI.
Enabling Input Devices
To record from a MIDI device (such as a MIDI
keyboard) in Pro Tools, the device must be enabled in the Input Devices dialog. You can also
use this dialog to make sure unwanted notes
from certain devices, such as drum machines or
arpeggiators, are not recorded.
MIDI Control Surfaces In order to use any MIDI
control surfaces (such as the Digidesign Command|8), they must be enabled in the Input Devices dialog.
MMC In order for Pro Tools to synchronize to
MMC, the MMC source must be enabled in the
Input Devices dialog.
MIDI Input Enable dialog
Devices do not need to be selected to receive
MIDI data from Pro Tools. For example, a
device used exclusively as a sound module
does not need to be selected in the MIDI Input Enable dialog.
3 Click OK.
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MIDI Thru
To monitor MIDI tracks while recording, enable
MIDI Thru. When enabled, Pro Tools routes
MIDI from your controllers to the device and
channels assigned to the MIDI track currently
record-enabled.
The MIDI preference for Global MIDI Playback Offset and individual MIDI track offsets do not affect MIDI routed with MIDI
Thru.
When MIDI Thru is enabled, System Exclusive (Sysex) events are echoed to the MIDI
device assigned to the record-enabled
track—but only if the Sysex events are
smaller than 256 bytes.
To enable MIDI Thru:
■
Select Options > MIDI Thru.
When using MIDI Thru, you should disable
Local Control, if present, on your MIDI devices. Otherwise, your MIDI device may receive double MIDI notes, which can lead to
stuck notes. If you are unsure how to disable
Local Control for your instrument, refer to
the manufacturer’s documentation.
If the Default Thru Instrument is assigned to a
record-enabled MIDI track, Pro Tools only
routes incoming MIDI to the record-enabled
track.
To configure a default Thru instrument:
1 Choose Setup > Preferences.
2 Click the MIDI tab.
3 Do one of the following:
• Select a specific device from the Default
Thru Instrument pop-up menu to play
MIDI through on that device by default.
• Select “Follows First Selected MIDI Track”
to have MIDI preview assignment follow
MIDI track selection. When multiple MIDI
tracks are selected, previewing uses the top
track or left track in the Edit or Mix windows.
• To disable the Default Thru Instrument, select None.
The Default Thru Follows First Selected
MIDI Track Selection option also lets you
play an instrument without having to create
and record-enable a MIDI or Instrument
track.
MIDI Input Filter
The Default Thru Instrument
In addition to any MIDI tracks that are recordenabled, you can also route MIDI to the Default
Thru Instrument. This saves the extra steps of
creating a MIDI track and record enabling it to
hear a particular MIDI device and channel.
Unlike MIDI tracks, which only receive MIDI
from the device and channel assigned to its
MIDI Input selector, all incoming MIDI data is
routed to the Default Thru Instrument.
Use the MIDI Input Filter to prevent certain
types of MIDI messages from being recorded.
The MIDI Input Filter can be set to record All
messages, Only the specified messages, or All Except the specified messages.
For example, to filter out program changes:
1 Choose Setup > MIDI > Input Filter.
2 In the MIDI Input Filter dialog, select the All
Except option.
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299
3 Select the option for Program Changes. Leave
all other messages deselected.
Wait for Note
The Wait for Note button, located in the Transport window, determines how Pro Tools begins
recording. When enabled, Pro Tools does not
start recording until a MIDI event is received.
This ensures that recording begins only when
you start playing, and that the first note, or
other MIDI data, is recorded precisely at the beginning of the record range (start time).
Wait for Note can be used when recording normally, when punching in, or when loop recording. If pre-roll is enabled, it occurs after the
MIDI event is received and before recording begins.
MIDI Input Filter dialog
4 Click OK.
When using the All Except option, the selected
types of MIDI messages are not recorded. Conversely, when using the Only option, only the
selected types of MIDI messages are recorded.
Wait for Note and Countoff are mutually
exclusive and cannot both be enabled at the
same time. If, for instance, Countoff is enabled and you click the Wait for Note button, Countoff is disabled.
To enable Wait for Note:
1 To view the MIDI controls in the Transport
window, select View > Transport > MIDI Controls.
Input Quantize
When Input Quantize is enabled, all recorded
MIDI notes are quantized automatically. Input
Quantize is often useful for achieving rhythmically precise MIDI recordings. However, to preserve all of the original nuance of your recorded
MIDI tracks (such as rubato phrasing), disable
this option.
For more information on Input Quantize,
see “Input Quantize” on page 604.
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Transport window with MIDI Controls
2 In the Transport window, click the Wait for
Note button so it becomes highlighted.
Wait for Note button
To enable MIDI Merge:
1 To view the MIDI controls in the Transport
window, select View > Transport > MIDI Controls.
2 In the Transport window, click the MIDI
Merge button so it becomes highlighted.
Wait for Note enabled
With the Operation preference for “Use F11
for Wait for Note” enabled, you can press
F11 to turn on Wait for Note. (On Mac systems, the Mac “Desktop” keyboard shortcut
must be disabled or remapped.)
MIDI Merge/Replace
The MIDI Merge button, located in the Transport window, determines how MIDI is recorded
when overdubbing or punching in. When MIDI
Merge is on (Merge mode), recorded MIDI is
merged with existing track material. When
MIDI Merge is off (Replace mode), existing data
within the punched region is replaced by the
newly recorded material.
The MIDI Merge button can be turned on and
off during playback and recording. In Loop
Record mode, MIDI Merge has no effect, and the
button is dimmed.
MIDI Merge button
MIDI Merge enabled
Configuring MIDI or
Instrument Tracks for
Recording
To configure one or more MIDI or Instrument
tracks for recording:
1 Create a new MIDI or Instrument track, or use
an existing MIDI or Instrument track.
2 For Instrument tracks, select View > Mix Window > Instruments or View > Edit Window > Instruments.
To enable MIDI Merge with a keyboard
shortcut, set the Numeric Keypad mode to
Transport, and press the 9 key on the numeric keypad.
You can also paste and merge MIDI notes
using Paste Special commands. See “Special
Paste Function for Automation Data” on
page 720.
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301
3 From the track’s MIDI Input selector, select
the device and channel to be recorded. (For Instrument tracks, the MIDI Input selector is available in Instruments View.)
4 From the MIDI Output selector, select the de-
vice and channel for MIDI play back.
MIDI Output selector
MIDI Input selector
MIDI track MIDI Output selector, Mix window
MIDI track Input selector, Mix window
MIDI Output selector
MIDI Input selector
Instrument track MIDI Output selector, Mix window
Instrument track MIDI Input selector, Mix window
MIDI Output selector
MIDI Input selector
MIDI track MIDI Output selector, Edit window
MIDI track MIDI Input selector, Edit window
MIDI Output selector
MIDI Input selector
Instrument track MIDI Output selector, Edit window
Instrument track MIDI Input selector, Edit window
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5 To assign multiple destinations to a single
MIDI or Instrument track, Start-click (Windows)
or Control-click (Mac) the MIDI Output selector
and select additional channels from any device.
When multiple destinations are selected for a
single MIDI track, an Asterisk (*) appears next to
the first destination name in the track’s MIDI
Output selector.
14 Select Options > MIDI Thru is selected, then
play your MIDI controller. The MIDI device or
instrument plug-in assigned to the track’s MIDI
Output sounds, and the track’s meters register
MIDI activity.
You are now ready to record MIDI data to the
record-enabled MIDI and Instrument tracks.
6 To assign a default program change to the
track, do the following:
• Click the Patch Select button.
• Make the necessary selections for program
and bank select.
• Click Done.
Default program changes are sent whenever
the track is played. For more information,
see “Patch Select (Program and Bank
Changes)” on page 574.
7 If recording to multiple MIDI or Instrument
tracks, repeat the preceding steps for each track,
then continue to the next step.
Recording MIDI and
Instrument Tracks
In Pro Tools, you can record to one or more
MIDI and Instrument tracks. Recording simultaneously to multiple tracks lets you:
• Record from multiple MIDI devices at the
same time, such as when recording several
performers.
• Record multiple channels from the same device, such as recording from a split keyboard.
• Transfer MIDI tracks from an external MIDI
sequencer.
8 To use a click, enable and configure the click,
and set a default tempo and meter for the session (see “Recording with a Click” on page 271).
9 Enable either Wait for Note or Countoff in the
Transport window as appropriate.
10 To replace existing track material, disable
MIDI Merge in the Transport window (see
“MIDI Merge/Replace” on page 301).
11 To automatically quantize material as it is re-
corded, enable Input Quantize (see “Input
Quantize” on page 300).
12 To start recording from the beginning of the
session, click Return to Zero in the Transport.
13 Record enable the MIDI or Instrument track
by clicking its Record Enable button.
To take full advantage of the MIDI editing
capabilities in Pro Tools, make sure to
record tick-based MIDI tracks with a click.
This ensures that recorded data aligns with
the session’s bar and beat boundaries. You
can also record to sample-based MIDI
tracks without a click and derive the tempo
and meter from the performance.
To record audio from a MIDI instrument or
instrument plug-in, bus the audio output of
the Instrument or Auxiliary Input track that
is monitoring the instrument to an audio
track. Record enable the audio track and
start recording. See “Recording Audio from a
MIDI Instrument” on page 311.
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To record to one or more MIDI or Instrument
tracks:
1 With Pro Tools HD, make sure that Delay
Compensation is disabled in the Options menu.
Digidesign recommends recording without
Delay Compensation in most cases. For
more information, see “Delay Compensation” on page 656.
2 Configure a MIDI or Instrument track for recording (see “Configuring MIDI or Instrument
Tracks for Recording” on page 301).
3 Record enable the track you want to record by
clicking its Record Enable button.
To record enable additional MIDI and Instrument tracks, Shift-click their Record Enable buttons.
4 Ensure that Pro Tools is in Normal (Nonde-
structive) Record mode. If necessary, deselect
the following in the Options menu: Destructive
Record, Loop Record, QuickPunch, TrackPunch
(Pro Tools HD only), and DestructivePunch
(Pro Tools HD only).
5 Check your MIDI Merge settings.
6 Check the pre-roll and Countoff settings.
7 To have recording start from the beginning of
the session, click Return to Zero in the Transport.
9 Click Play to start recording. If using Count-
off, Pro Tools counts off the specified number of
measures and then begins recording. If using
Wait for Note, recording begins as soon as you
start playing (when a MIDI event is received).
10 Play your MIDI controller.
11 When you are finished playing, click Stop in
the Transport to stop recording.
For each record-enabled track, a new MIDI region is created and appears both in the playlist
and in the Region List.
Press F12 to start recording immediately.
You can also Press Control+Spacebar (Windows) or Command+Spacebar (Mac) to
start recording. For more information, see
“Record Shortcuts” on page 280.
MIDI Regions Created on Barlines
When recording MIDI, or when manually entering MIDI notes, the beginning and ending of
MIDI regions are created on bar boundaries.
This greatly facilitates arranging MIDI regions in
a musically meaningful way, in whole bar
lengths.
The beginning of a recorded MIDI region always
starts on the barline immediately before the first
MIDI note (note on) of the region. Likewise, the
MIDI region ends on the barline immediately
following the last note (note off) of the region.
8 Click Record in the Transport to arm Pro Tools
for recording (Record Ready mode). The Track
Record Enabled indicator lights red.
Record button in Record Ready mode
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Recording Over Exisiting MIDI Regions
Unlike audio regions, existing MIDI regions are
never overwritten even though MIDI data
within regions can be overwritten. When MIDI
Merge mode is disabled and recording MIDI on
a track with existing regions, newly recorded
MIDI data overwrites existing MIDI data within
existing regions, but the existing region boundaries remain. New MIDI regions are only created
to fill the gaps between existing MIDI region
boundaries. Typically, new MIDI regions are always created on barlines. However, if existing
region boundaries are not on barlines, newly
created regions are bound by the existing regions.
It is possible to have the note on of a MIDI
note be in one MIDI region, and its note off
be in a subsequent MIDI region. It is also
possible to have the region end before the
note off, resulting in notes that extend beyond the region boundary. However, note
ons can never precede the beginning of a region.
Playing Back Recorded MIDI
To play back recorded MIDI and Instrument
tracks:
Canceling a Record Take
It is also possible to discard the current record
take before the Transport is stopped.
To cancel a take while recording:
■ Press Control+Period (.) (Windows) or Command+Period (.) (Mac) before the Transport is
stopped.
When in Loop Record mode, all takes from each
record pass are discarded.
Punch Recording MIDI
To replace a portion of a MIDI or Instrument
track, you can punch in by specifying the record
range before recording.
1 To start from the beginning of the session,
To punch in on a MIDI or Instrument track:
click Return to Zero in the Transport.
1 Configure a MIDI or Instrument track for re-
2 Click Play in the Transport to begin playback.
cording (see “Configuring MIDI or Instrument
Tracks for Recording” on page 301).
The recorded MIDI data plays back through
each track’s assigned Output device (port) and
channel.
Undoing MIDI Recording
You can undo previous MIDI record takes.
2 Ensure that Pro Tools is in Normal (Nonde-
structive) Record mode. If necessary, deselect
the following in the Options menu: Destructive
Record, Loop Record, QuickPunch, TrackPunch
(Pro Tools HD only), and DestructivePunch
(Pro Tools HD only).
3 In the Transport window, disable Wait for
To undo a MIDI recording:
Note and Countoff.
Once the Transport has been stopped, choose
Edit > Undo MIDI Recording.
4 Select Options > Link Timeline and Edit Selec-
The track’s playlist is restored to its previous
state. However, the following conditions apply:
5 With the Selector tool, select the punch range
in the track’s playlist.
■
• If you punched in and out several times before stopping the Transport, only the last
punch is undone.
tion.
For other methods of setting the record
range, see “Setting Punch/Loop Points” on
page 288.
• When using Loop Record mode, all takes
from each record pass are discarded.
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305
6 To hear existing track material up to the start
point, or after the end point, enable and set preand post-roll times (see “Setting Pre- and PostRoll” on page 291).
7 Record enable the track containing the previous take.
8 Click Record in the Transport to arm Pro Tools
for recording. The Record button flashes.
9 Click Play to start recording.
If pre-roll is enabled, the track material leading
up to the punch-in point plays. You can start
playing during the pre-roll to get the “feel.”
MIDI is not recorded until the start point is
reached.
When the start point is reached, Pro Tools begins recording. Recording continues until the
end point is reached. If post-roll is enabled,
playback continues for the specified post-roll
amount.
10 When you have finished recording, click
Stop in the Transport.
The newly recorded MIDI data appears in the
track.
Punch Recording During Playback with
MIDI
You do not have to set a record range to punch
in on a MIDI or Instrument track. In fact, you
can punch in and out on-the-fly at any time during playback. Unlike audio tracks, it is not necessary to enable QuickPunch to perform realtime punch recording.
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To punch record on-the-fly with MIDI:
1 Configure a MIDI or Instrument track for re-
cording (see “Configuring MIDI or Instrument
Tracks for Recording” on page 301).
2 Ensure that Pro Tools is in Normal (Nonde-
structive) Record mode. If necessary, deselect
the following in the Options menu: Destructive
Record, Loop Record, QuickPunch, TrackPunch
(Pro Tools HD only), and DestructivePunch
(Pro Tools HD only).
3 In the Transport window, disable Wait for
Note and Countoff.
4 Record enable the track containing the previ-
ous take.
5 Click Play in the Transport to start playback.
6 When you reach the punch-in point, do one
of the following:
• Click Record in the Transport.
– or –
• For Pro Tools systems using a Digidesign
control surface, or Digi 002 and Digi 002
Rack systems, with a connected footswitch,
press the footswitch at the punch-in point.
The Record button in the Transport and the
track’s Record Enable button stop flashing and
stay lit during recording.
7 To punch out, click Record again (or press the
footswitch).
Pro Tools exits Record mode and continues
playing. You can perform additional punches
during the same pass.
Regions and Punch Recording
Depending on the record range, new regions
may be created after punch recording. For example, Figure 15 shows two existing regions before
recording. If MIDI Merge mode is disabled, recording overwrites any existing MIDI data
within the record range. Since the start and end
times for recording are located within both of
the existing regions, newly recorded notes are
written into both of the existing regions, and
into a new region created to fill the space between them.
MIDI Merge was enabled during recording). If
an existing region contains material you want to
keep, use Duplicate to make a copy of the region
(“Duplicate Command” on page 449), or duplicate the track’s playlist or record in a new playlist to keep a backup (see “Working with Playlists” on page 353).
Loop Recording MIDI
Loop recording with MIDI is supported by two
methods:
• In Normal (Nondestructive) Record mode, enable Loop Playback and MIDI Merge for drum
machine style loop recording.
before punch record
– or –
after punch record
newly recorded
material
• Use Loop Record mode to record multiple
takes on each record pass. This is similar to
loop recording audio.
Loop Recording in MIDI Merge
Mode
new region
Figure 15. Region added after punch record
When selecting an entire region, or a section
within a region, before punching, no new regions are created. In this instance, only the material residing within the existing region
changes, with no new material recorded outside
the region.
Unlike audio recording, MIDI recording in this
scenario is destructive. Newly recorded MIDI
data overwrites existing MIDI data while leaving
the existing region boundaries intact.
For MIDI loop recording, use Normal (Nondestructive) Record mode with Loop Playback and
MIDI Merge enabled. With this method, MIDI is
recorded and merged to the same region with
each new record pass—for example, you can
record hi-hats on the first pass and kick and
snare on the next.
For drum machine style step entry, use Step
Input (see “Step Input” on page 604).
If the MIDI data within a region is altered because of a record take, the original material is either lost (unless you choose Edit > Undo MIDI
Recording) or combined with new material (if
Chapter 16: MIDI Recording
307
Make sure that MIDI Merge is enabled in the
Transport window, otherwise (in Replace mode)
each subsequent take destructively replaces the
previous take.
You can record enable a different MIDI or
Instrument track on-the-fly while loop recording. While pressing Control (Windows)
or Command (Mac), use the Up/Down Arrows to record enable the previous or next
MIDI or Instrument track.
To loop record in MIDI Merge mode:
1 Configure a MIDI or Instrument track for recording (see “Configuring MIDI or Instrument
Tracks for Recording” on page 301).
2 Ensure that Pro Tools is in Normal (Nondestructive) Record mode. If necessary, deselect
the following in the Options menu: Destructive
Record, Loop Record, QuickPunch, TrackPunch
(Pro Tools HD only), and DestructivePunch
(Pro Tools HD only).
3 Select Options > Loop Playback. When Loop
Playback is enabled, a loop symbol appears in
the Play button.
8 With the Selector tool, select the loop range in
the track’s playlist.
For other methods of setting the record
range, see “Setting Punch/Loop Points” on
page 288.
9 To hear track material up to the start point of
the loop, enable and set the pre-roll time (see
“Setting Pre- and Post-Roll” on page 291).
10 Click Record in the Transport to arm
Pro Tools for recording. The Record button
flashes.
11 Click Play to start recording.
The Record button flashes during pre-roll.
When the start point is reached, Pro Tools begins recording. When the end point is reached,
Pro Tools loops back to the start point and continues playing and recording.
12 Play your MIDI controller. Newly recorded
MIDI data appears as a region in the record
track. On each successive take, recorded material shows up in the region, without replacing
material from previous takes.
13 To switch to a new record track, press Control (Windows) or Command (Mac), and press
the Up/Down Arrow keys to record enable the
previous or next MIDI or Instrument track.
Loop Playback enabled
14 When you are finished recording, click Stop
4 Record enable the MIDI or Instrument track.
in the Transport.
Ensure that no audio tracks are record-enabled.
5 In the Transport window, click the MIDI
Merge button so it is highlighted.
6 Disable Wait for Note and Countoff in the
Transport window.
7 Select Options > Link Timeline and Edit Selec-
tion.
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The newly recorded MIDI data appears as a MIDI
region in the track’s playlist, and in the Region
List.
Loop Recording Multiple Takes
When recording MIDI in Loop Record mode,
new regions are created each time new material
is received during a record pass. This differs
somewhat from loop recording audio, where
Pro Tools creates a single audio file that comprises all takes, which appear as individual regions in the Region List.
You can use MIDI loop recording to record successive takes without stopping the record process, thereby capturing your creative spontaneity. Another advantage with this method of
recording MIDI, which is nondestructive, is that
all existing and newly recorded regions remain
intact (and available in the Region List).
To record MIDI in Loop Record mode:
1 Configure a MIDI or Instrument track for re-
cording (see “Configuring MIDI or Instrument
Tracks for Recording” on page 301).
2 Select Options > Loop Record. When Loop
Record mode is enabled, a loop symbol appears
in the Record button.
6 With the Selector tool, select the loop range in
the track’s playlist.
For other methods of setting the record
range, see “Setting Punch/Loop Points” on
page 288.
7 To hear track material up to the start point of
the loop, enable and set the pre-roll time (see
“Setting Pre- and Post-Roll” on page 291).
8 Click Record in the Transport to arm Pro Tools
for recording. The Record button flashes.
9 Click Play to start recording.
The Record button flashes during the pre-roll.
When the start point is reached, Pro Tools begins recording. When the end point is reached,
Pro Tools loops back to the start point and continues playing and recording.
10 Play your MIDI controller. A new MIDI region containing the newly recorded material is
automatically created and appears in the track’s
playlist, replacing the previous region.
Regions are replaced (nondestructively) during
subsequent record passes when new MIDI material is received.
11 When you are finished recording, click Stop
in the Transport.
Loop Recording enabled
3 If you have not done so already, record enable
the MIDI or Instrument track by clicking its
Record Enable button. Make sure no audio
tracks are record-enabled.
4 Disable Wait for Note and Countoff in the
The recorded takes appear as regions in the Region List and are numbered sequentially. The
takes, which are the same length and easily interchangeable, can be auditioned from the
Matches pop-up menu—even while the session
plays or loops.
Transport window.
5 Select Options > Link Timeline and Edit Selec-
tion.
Chapter 16: MIDI Recording
309
To audition the various record takes, do one of the
following:
■ Right-click the region with the Selector or
Grabber tools, and select the desired take from
the Matches submenu in the pop-up menu.
■ With the Selector tool, Control-click (Windows) or Command-click (Mac) at the precise
beginning of the loop or punch range and select
a different take from the Alternate Takes pop-up
menu.
■ If the take currently residing in the track is selected, with the Selector tool, Control-click
(Windows) or Command-click (Mac) anywhere
on the selected take and select a different take
from the Alternate Takes pop-up menu.
Selecting an alternate MIDI take
The selected take (region) replaces the previous
take and snaps precisely to the correct location.
For more information on auditioning and
managing takes, see “Auditioning Different
Record Takes in the Timeline” on page 286.
MIDI Step Input
Step Input lets you use a MIDI keyboard (or any
other MIDI controller that sends MIDI note
data) to enter notes individually, one step at a
time. This gives you precise control over note
placement, duration, and velocity. With MIDI
Step Input you can also create musical passages
that might be difficult to play accurately, or at
faster tempos.
For more information on Step Input, see
“Step Input” on page 604.
Recording System Exclusive
Data
Pro Tools supports recording and playing System Exclusive data (Sysex) with MIDI tracks.
This allows you to use MIDI tracks in Pro Tools
to store patch and configuration data for your
MIDI devices, or to record real-time Sysex
changes for a particular parameter of a MIDI device that cannot be controlled by a standard
MIDI controller.
To record a Sysex dump at the beginning of a MIDI
track:
1 Make sure that the MIDI OUT for the device
sending the Sysex is connected to your MIDI interface’s MIDI IN.
2 In the MIDI Input Filter dialog, enable Only
and System Exclusive.
3 Configure a MIDI track for recording (see
“Configuring MIDI or Instrument Tracks for Recording” on page 301).
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4 Ensure that Pro Tools is in Normal (Nonde-
structive) Record mode. If necessary, deselect
the following in the Options menu: Destructive
Record, Loop Record, QuickPunch, TrackPunch
(Pro Tools HD only), and DestructivePunch
(Pro Tools HD only).
5 Record enable a MIDI track.
6 Enable Wait for Note in the Transport win-
To send Sysex data from Pro Tools to an external
MIDI device:
1 For the device receiving the System Exclusive
data, make sure its MIDI IN is connected to the
MIDI interface’s MIDI OUT. Also, make sure the
device is set to receive Sysex. Some devices require that memory protect be off. For more information, refer to the manufacturer’s
instructions.
dow.
7 To start recording from the beginning of the
2 Make sure that the MIDI track containing the
Sysex data is not record enabled.
session, click Return to Zero in the Transport.
8 When you are ready to begin recording, click
3 Click the track’s MIDI Output selector and assign the device from the pop-up menu.
Record in the Transport window.
4 Configure the external MIDI device to receive
The Record, Play, and Wait for Note buttons
flash, indicating that Pro Tools is waiting for
MIDI data.
9 Initiate the Sysex transfer from the MIDI de-
vice, according to the manufacturer’s instructions. Pro Tools automatically begins recording
as soon as it starts to receive Sysex data.
10 When the Sysex transfer is complete, click
Stop in the Transport.
The newly recorded MIDI data appears as a MIDI
region in the track’s playlist, and in the Region
List. MIDI regions that contain System Exclusive
data appear blank when the MIDI Track View is
set to Regions.
To see the Sysex event blocks, which indicate
the location of the data, set the MIDI Track View
to display Sysex (see “Regions View for MIDI
and Instrument Tracks” on page 345).
For information on moving and copying of
Sysex data, see “System Exclusive Events”
on page 578.
Sysex data according to the manufacturer’s instructions.
5 Click Play in the Transport to begin playback.
Pro Tools begins playing and transmits the previously recorded Sysex to the assigned MIDI device.
Recording Audio from a MIDI
Instrument
Typically, you can monitor the audio from MIDI
instruments (both hardware and plug-ins) using
Instrument and Auxiliary Input tracks. During
the final mixdown, audio from Instrument and
Auxiliary Input tracks can be included when using Bounce to Disk, or on a bussed recording
path if recording to a new track.
When using instrument plug-ins, you may
want to record the audio from a MIDI instrument to a new track before mixing in order to free up DSP resources.
Chapter 16: MIDI Recording
311
Recording Audio from an Instrument
Plug-in
To record audio from an instrument plug-in:
1 Create a new Instrument track.
2 Insert an instrument plug-in on that track.
3 Do one of the following:
• Record your MIDI performance on the Instrument track.
• Manually enter MIDI data in the Instrument track.
You can also record both the MIDI and audio from your performance at the same
time.
4 Create a new audio track with the same num-
ber of channels as the Instrument track.
Recording audio from an instrument plug-in
5 Set the Instrument track’s Audio Output Path
selector to a bus (for example, Bus 1–2).
6 Set the audio track’s Audio Input Path selector
12 When your previously recorded MIDI performance is finished playing, click Stop in the
Transport to stop recording.
to the same bus.
7 Set the audio track’s Audio Output Path selec-
tor to the main monitoring path (for example,
A 1–2).
8 Record enable the audio track.
9 Do one of the following:
• To record from the beginning of the session, click Return To Zero in the Transport.
– or –
• Make a Timeline selection for the record
range.
10 Click Record in the Transport to arm
Pro Tools for recording.
11 Click Play in the Transport to start recording.
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Pro Tools Reference Guide
Recording Audio from an External MIDI
Instrument
You can record audio from an external MIDI instrument in one of two ways:
• By bussing audio from the output of the Instrument (or Auxiliary Input) track used to
monitor the MIDI instrument to an audio
track for recording.
• By setting the audio track’s Audio Input Path
selector to the same Audio Input Path as the
Instrument (or Auxiliary Input) track used for
monitoring the external MIDI instrument.
This second method avoids any additional latency associated with bussing. However, be sure
to mute the Instrument (or Auxiliary Input)
track used for monitoring while recording the
same audio path to the audio track.
Chapter 17: Advanced Punch Recording
There are three advanced recording methods
that differ from basic recording: QuickPunch,
TrackPunch, and DestructivePunch.
QuickPunch A nondestructive Record mode that
lets record-enabled tracks be punched in and
punched out during playback by clicking the
Record button in the Transport.
TrackPunch (Pro Tools HD Only) A nondestructive Record mode that lets individual tracks be
punched in, punched out, and taken out of
record enable without interrupting online recording and playback.
DestructivePunch (Pro Tools HD Only) A destructive Record mode that maintains a single continuos audio file, and lets individual tracks be
punched in, punched out, and taken out of
record enable without interrupting online recording and playback.
QuickPunch Audio Recording
Pro Tools features an on-the-fly punch capability called QuickPunch. QuickPunch lets you instantaneously punch in and out on record-enabled audio tracks during playback by clicking
the Record button in the Transport.
For Pro Tools systems with Digidesign control surfaces, and Digi 002 and Digi 002
Rack systems, you can use a footswitch to
punch in and out when recording with
QuickPunch.
When using QuickPunch, Pro Tools begins recording a new file when playback begins, automatically generating regions in that file at each
punch-in and punch-out point. These regions
appear in the track’s playlist; and the complete
audio file appears in the Region List along with
the QuickPunch created regions. Up to 200 of
these “running punches” can be performed in a
single pass. Unlike normal punch recording (see
“Punch Recording Audio” on page 283), QuickPunch provides instantaneous monitor switching on punch-out. All QuickPunch recording is
nondestructive.
You do not need to use QuickPunch to
punch on-the-fly with MIDI tracks. This capability is available in Normal (Nondestructive) Record mode, and in Destructive
Record mode.
Chapter 17: Advanced Punch Recording
313
QuickPunch/TrackPunch Crossfade
Length
QuickPunch Guidelines for
Pro Tools HD
Pro Tools can automatically write a crossfade for
each punch point when using QuickPunch. The
length for these crossfades is set with the QuickPunch Crossfade/TrackPunch Length option in
the Editing Preferences page.
When using QuickPunch with Pro Tools HD,
two voices are required for each record-enabled,
mono track. This means that you can record up
to half the total number of voices available on
your system. For example, a Pro Tools|HD Accel
system configured for 192 voices can simultaneously record on up to 96 mono tracks with
QuickPunch (or 48 stereo tracks).
To set the QuickPunch Crossfade Length:
1 Choose Setup > Preferences and click the
Editing tab.
2 Enter a new value (in msec) for the Quick-
Punch/TrackPunch CrossFade Length.
A good general-purpose crossfade length for
punches is 10 milliseconds. If you set the preference to zero, Pro Tools will not create any crossfades at the punch-in/out points.
To free up voices on tracks that are not recordenabled, and do not need to be heard while
recording, do any of the following:
3 Click OK.
■
Set voice assignments for tracks to Off.
■
Make tracks inactive.
■
Group all RTAS plug-ins before TDM plug-ins.
If a value other than zero is specified for the
QuickPunch/TrackPunch Crossfade Length,
Pro Tools writes a pre-crossfade at the punch-in
point (which occurs up to but not into the
punched region boundary), and a post-crossfade
at the punch-out point (which occurs after the
punched region).
Even if the QuickPunch/TrackPunch Crossfade
Length is set to zero, Pro Tools always executes a
4 millisecond “monitor only” crossfade (which
is not written to disk) to avoid distracting pops
or clicks that might occur as you enter and exit
record mode.
QuickPunch crossfades can be edited in the
same manner as standard crossfades (see “Using
Fades” on page 465).
314
If the required number of voices for the recordenabled tracks is not available when switching
to QuickPunch mode, you are prompted to free
up the necessary voices.
Pro Tools Reference Guide
Voices that are in use by others track, but not
record-enabled, may be “stolen” while recording with QuickPunch as necessary. Priority for
tracks while recording with QuickPunch are as
follows:
• Tracks with assigned voices that are not
record-enabled.
• Tracks with assigned voices that are recordenabled.
• Tracks with Dynamically Allocated Voicing
that are not record-enabled.
• Tracks with Dynamically Allocated Voicing
that are record-enabled.
If the session has plenty of available voices, you
should have no trouble using QuickPunch with
tracks using Dynamically Allocated Voicing.
However, if you are running out of voices, and
want to ensure that a track is heard when recording with QuickPunch, assign it a voice.
QuickPunch and Dynamically Allocated
Voicing
For Pro Tools LE with DV Toolkit 2 or Music Production Toolkit, up to 24 mono or stereo audio
tracks can be simultaneously recorded with
QuickPunch. On these systems, the combination of audio tracks and QuickPunch cannot be
greater than 48.
QuickPunch uses CPU processing power,
and may reduce the number of tracks and
plug-ins you can use.
(Pro Tools HD Only)
When using QuickPunch with a Pro Tools|HD
system configured for its maximum number of
voices, make sure to set the voice assignment for
each audio track to Dyn (for Dynamically Allocated Voicing). This ensures that Pro Tools handles the distribution of voices between each set
of voices automatically. For example, for a 192voice configured Pro Tools|HD Accel system,
Dynamically Allocated Voicing distributes
voices evenly across four sets of voices (1–48,
49–96, 97–144, and 145–192).
Recording with QuickPunch
To punch on-the-fly with QuickPunch:
1 With Pro Tools HD, make sure that Delay
Compensation is deselected in the Options
menu.
Digidesign recommends recording without
Delay Compensation. For more information, see “Delay Compensation” on
page 656.
If you do not use Dynamically Allocated Voicing, the voices must be evenly distributed between all DSP engines. For example, to use
QuickPunch on 32 tracks without Dynamically
Allocated Voicing, tracks 1–16 must be assigned
to voices 1–16 and tracks 17–32 must be assigned to voices 33–48.
2 Select Options > QuickPunch. When Quick-
QuickPunch Guidelines for
Pro Tools LE
QuickPunch enabled
Punch is enabled, a “P” appears in the Record
button in the Transport.
QuickPunch enabled
For Pro Tools LE systems, up to 16 mono, or 8
stereo audio tracks can be simultaneously recorded with QuickPunch (see “Pro Tools LE System Capabilities” on page 26).
3 To change the automatic crossfade used by
QuickPunch, configure QuickPunch Crossfade
Length option in the Editing Preferences page
(see “QuickPunch/TrackPunch Crossfade
Length” on page 314).
4 Record enable the tracks on which you want
to punch in. Make sure there are enough available voices on your system.
Chapter 17: Advanced Punch Recording
315
5 Prepare to record by cueing Pro Tools to an appropriate location. To use pre-roll, enable a preroll value in the Transport window.
6 Start playback by clicking Play in the Transport window.
7 Do one of the following:
• When you reach the punch-in point, click
Record in the Transport.
– or –
• For Pro Tools systems using a Digidesign
control surface, or Digi 002 or Digi 002
Rack systems, with a connected footswitch,
press the footswitch at the punch-in point.
The Record button stops flashing and stays lit
during recording.
8 To punch out, click Record again (or press the
footswitch).
As Pro Tools continues playing, you can perform additional punches (up to 100). When recording multiple punches during a single pass, a
single audio file is recorded from which
Pro Tools creates the appropriate regions.
QuickPunch with an Edit Selection
If you make an Edit selection and use QuickPunch, the following rules apply:
If the Transport is not online, recording begins and stops whenever you click the Record
button in the Transport—regardless of the selection’s start or end point.
◆
◆ If the Transport is online, punch-in/out behavior is controlled by the Online Options setting in the Operation Preferences page. If you
select Record Online at Insertion/Selection,
QuickPunch punches in and out only within
the selection (or in the case of an insertion
point, only after the insertion point). If you se-
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Pro Tools Reference Guide
lect Record Online at Time Code Lock, QuickPunch disregards the selection and punches in
and out whenever you want (after Pro Tools has
locked to time code).
Region and Take Numbering with
QuickPunch
After recording with QuickPunch, the new audio regions appear in the Region List. This includes the whole-file audio region encompassing all punches from the record pass, along with
the regions derived for each punch.
Names for the punched regions are numbered
consecutively starting with “01.” For example, if
QuickPunch is used to punch in twice on a track
called “Lead Gtr,” a region for the parent audio
file appears and is named “Lead Gtr_01,” and
two regions for the punches are named “Lead
Gtr_01-01” and “Lead Gtr_01-02.”
If you stop playback and record additional
punches with QuickPunch, subsequent regions
are named by incrementing the first two digits
in the name. For example, on the second pass,
the punched regions are named “Lead Gtr_0201,” “Lead Gtr_02-02,” and so forth.
TrackPunch Audio Recording
(Pro Tools HD Only)
TrackPunch is especially useful as a digital dubber for film re-recording (dubbing) and mixing.
Keyboard shortcuts and preference settings for
recording and input monitoring provide flexibility that makes TrackPunch equally useful for
loading dailies and recording Foley, as well as
over-dubbing and tracking in music sessions.
TrackPunch Usage Guidelines
TrackPunch and Dynamically Allocated Voicing
When using TrackPunch with a Pro Tools|HD
system configured for maximum voices, make
sure to set the voice assignment for each audio
track to dyn for Dynamically Allocated Voicing
(this mode was previously known as Auto Voice
mode). This ensures that Pro Tools can automatically manage voices most efficiently.
Audio Files and TrackPunch
After a TrackPunch recording pass, the punched
track’s playlist in the Edit window displays the
regions created by punching. You can use any of
the Trim tools after punch recording to open up
the head or tail of TrackPunch (and QuickPunch) recorded regions, or to reveal the parent
audio file that was recorded in the background.
This lets you compensate for any late or missed
punches.
Voice Requirements for
TrackPunch Recording
TrackPunch requires two voices for each recordenabled, mono track. This means that you can
record up to half the total number of voices
available on your system.
When switching to TrackPunch mode, you are
prompted to free up additional voices if not
enough are available.
To free up voices on tracks that are not recordenabled, and do not need to be heard while
recording, do any of the following:
■
Set voice assignments for tracks to Off.
■
Make tracks inactive.
■
Group all RTAS plug-ins before TDM plug-ins.
As necessary, voices in use by other tracks may
be “stolen” while recording with TrackPunch
(thus silencing some tracks).
TrackPunch voice playback priority follows the
same guidelines as QuickPunch, as follows
(from highest to lowest playback priority):
• Tracks with assigned voices that are not
record-enabled.
• Tracks with assigned voices that are recordenabled.
• Tracks with Dynamically Allocated Voicing
that are not record-enabled.
• Tracks with Dynamically Allocated Voicing
that are record-enabled.
If the session has plenty of available voices, you
should have no trouble using TrackPunch with
tracks that use Dynamically Allocated Voicing.
However, if you are running out of voices, and
want to ensure that a track will be heard when
recording with TrackPunch, assign it a voice.
TrackPunch Recording
Before using TrackPunch, configure Pro Tools
and TrackPunch as follows:
To configure Pro Tools and TrackPunch:
1 Configure TrackPunch preferences (see
“TrackPunch Preferences” on page 318).
2 If necessary, configure Pro Tools synchroniza-
tion settings for online recording and track arming (see “Configuring Synchronization and
Track Arming” on page 319).
Chapter 17: Advanced Punch Recording
317
To use TrackPunch:
1 Make sure Pro Tools is not recording or play-
ing back (the Transport is stopped).
2 Make sure that Delay Compensation is deselected in the Options menu.
Digidesign recommends recording without
Delay Compensation. For more information about using Delay Compensation, see
“Delay Compensation” on page 656.
3 Enable TrackPunch mode (see “Enabling
TrackPunch Mode” on page 320).
4 TrackPunch enable all audio tracks that you
want to punch during the record pass (see
“TrackPunch Enabling Tracks” on page 321).
5 Configure monitoring for record-enabled
tracks by selecting the appropriate mode from
the Track menu, as appropriate. Choices include:
• Set Record Tracks to Auto Input
• Set Record Tracks to Input Only
Selecting either monitoring mode only affects
tracks that are record-enabled.
You can also use the TrackInput buttons to
switch the monitor source for record-enabled tracks.
6 Start playback.
7 To compare levels of the input source with au-
dio on disk, click the TrackInput button. When
lit (green), the track is monitoring input. When
unlit (grey), the track is monitoring from disk
(see “Selecting Record Monitor Modes with
TrackInput Monitoring” on page 261).
8 To punch tracks one at a time, click Record in
the Transport and then use each individual
track’s Record Enable button to punch in and
out on-the-fly.
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Pro Tools Reference Guide
9 To punch multiple tracks simultaneously, do
one of the following:
• Record enable as many as 16 TrackPunch
enabled audio tracks, then click Record in
the Transport to punch in and out all
TrackPunch-enabled tracks simultaneously.
– or –
• Click Record in the Transport first, then
Alt-Shift-click (Win) or Option-Shift-click
(Mac) track’s Record Enable button to simultaneously punch in and out on all currently selected TrackPunch enabled tracks.
Use groups for single-click selection of multiple tracks (click to the left of the Group
Name in the Group List).
10 While continuing local or remote playback,
do any of the following:
• Punch in on other TrackPunch enabled
tracks individually.
• After punching out, take tracks out of
record enable then record enable different
TrackPunch enabled tracks.
• Repeat as needed to punch other stems,
tracks, or takes.
TrackPunch Preferences
The following preference settings let you customize TrackPunch performance.
TrackPunch Crossfade Length
Pro Tools can automatically write a crossfade for
each punch point when using TrackPunch. The
length for these crossfades is set with the QuickPunch Crossfade/TrackPunch Length option in
the Editing Preferences page. For more information, see “QuickPunch/TrackPunch Crossfade
Length” on page 314.
Transport and Track Record Settings
The TrackPunch preferences appear on the Operation Preferences page. These preferences
specify how track and Transport record status respond when the Transport is stopped (during
playback and recording), and let you optimize
Pro Tools for film, video, and music production
workflows.
Destructive Recording and Transport
RecordLock
As a precaution against accidentally recording
over previous material, the Transport RecordLock preference is automatically disabled and
greyed out when Destructive record mode is enabled.
Audio Track RecordLock
This setting lets Pro Tools tracks either emulate
a digital dubber, or maintain legacy behavior for
track record status.
◆ When the Audio RecordLock preference is enabled, the record-enabled audio tracks remain
armed when playback or recording stops.
TrackPunch preferences
Transport RecordLock
This setting lets the Transport Record be configured to either emulate a digital dubber, or to
maintain legacy behavior for the Transport master Record.
When not enabled, the Transport Record disarms when Pro Tools is manually stopped or
stops due to a loss of time code. This replicates
legacy Pro Tools recording behavior.
◆
When enabled, the Transport Record remains
armed when playback or recording stops. This
saves having to re-arm the Transport between
takes, emulating digital dubber behavior.
◆
Punching out of record by pressing Record
on the Transport takes the transport out of
record enable.
◆ When the Audio RecordLock preference is not
enabled, record-enabled audio tracks are taken
out of record enable when Pro Tools is stopped.
This prevents tracks from remaining armed
from pass to pass, emulating track record behavior of a digital dubber.
Destructive Recording and Transport
RecordLock
As a precaution against accidentally recording
over previous material, the Transport RecordLock preference is automatically disabled and
greyed out when Destructive record mode is enabled.
Configuring Synchronization and
Track Arming
For online recording and punching, configure
the following Peripheral and Session Setup settings. For best lockup times when synchronizing, it is recommended that no more than 16
tracks be TrackPunch-enabled at a time.
Chapter 17: Advanced Punch Recording
319
To record online using TrackPunch switching:
2 Do one of the following:
1 Choose Setup > Peripherals. Make sure the
• Select Options > TrackPunch.
Digidesign SYNC peripheral is the selected synchronization peripheral, and that it is communicating with Pro Tools.
• Right-click the Record button in the Transport, and select TrackPunch from the popup menu.
2 Choose Setup > Session, and do the following:
• Select a Clock and Positional reference.
• If you want Pro Tools to be the time code
master, enable Using SYNC. This option is
located in the Generator controls in the
Time Code Settings section of the Session
Setup window.
• Start-click (Windows) or Control-click
(Mac) the Record button in the Transport
to cycle through available Record modes
until TrackPunch mode is selected (a “T”
indicates TrackPunch mode).
• Press Control+Shift+T (Windows) or Command+Shift+T (Mac).
3 If you are controlling Pro Tools using 9-pin
protocol, do the following:
• Click the Machine Control tab to display
the Machine Control page of the Peripherals dialog (Setup > Peripherals).
• Configure Remote 9-pin Deck Emulation
mode settings (see the MachineControl
Guide for details).
Transport Record with TrackPunch mode enabled
Transport Display of TrackPunch
Status
TrackPunch enabled
• Click OK to close the Peripherals dialog.
Record Enable
Status indicator
Consult the manufacturer of your controller
for the most recent machine profiles and updates available for Pro Tools support.
Enabling TrackPunch Mode
Before you can enable individual audio tracks
for TrackPunch recording, TrackPunch mode
must be enabled in the Pro Tools transport.
Input Status
indicator
TrackPunch and TrackInput Status indicators in the
Transport window
Transport Record Button
The Transport Record button indicates TrackPunch and Record status as follows:
To enable TrackPunch mode:
1 Make sure Pro Tools is not recording or play-
ing back (the Transport is stopped).
When TrackPunch mode is enabled:
◆ A “T” appears in the Record button in the
Transport.
◆ If at least one track is TrackPunch-enabled,
the Record button lights solid blue.
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When TrackPunch mode is enabled and the
transport is armed for recording:
If no tracks are TrackPunch-enabled, the
Record button in the Transport flashes gray and
red.
◆
If at least one track is TrackPunch-enabled,
the Record button flashes blue and red.
◆
Create track groups for each stem or set of
tracks on which you plan to punch. Use the
Group List to quickly select all tracks in the
group. This makes it easier and faster to
take multiple tracks in and out of TrackPunch enable simultaneously.
If at least one TrackPunch-enabled track is
also record-enabled, the Record button flashes
blue and red, and the record LED lights.
Track Record Status Display
Whenever at least one audio track is recording, the Transport Record button lights solid
red.
• When a track is both TrackPunch-enabled and
record-enabled, its Record enable button
flashes blue and red.
◆
◆
Each track’s Record Enable button indicates its
TrackPunch and record enable status as follows:
TrackPunch Enabling Tracks
You can TrackPunch enable tracks without
record enabling them. This lets you punch in
and out on individual tracks after you start playback.
Record Enable button
To TrackPunch enable or disable an audio track:
Start-click (Windows) or Control-click (Mac)
the track’s Record Enable button. When TrackPunch enabled, the button is solid blue.
■
To TrackPunch enable or disable all audio tracks:
Alt-Start-click (Windows) or Option-Controlclick (Mac) a track’s Record Enable button.
When TrackPunch enabled, the tracks’ Record
Enable buttons are solid blue.
■
To TrackPunch enable or disable all selected audio
tracks:
Alt-Start-Shift-click (Windows) or OptionControl-Shift-click (Mac) a track’s Record Enable
button. When TrackPunch enabled, the selected
tracks’ buttons are solid blue.
TrackPunch status indication in an audio track in the
Mix window
• When a track is TrackPunch-enabled but not
record-enabled, its Record Enable button
lights solid blue.
• When a track is record-enabled only, its
Record Enable button flashes red.
• While a track is recording (in any mode), its
Record Enable button lights solid red.
Red (not flashing) indicates recording
(all modes)
■
Track Record status in the Edit window
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321
TrackPunch Recording
After you have put Pro Tools in TrackPunch
mode, and enabled tracks for TrackPunch recording, you can record with TrackPunch in several ways.
4 During playback, click Record in the Transport
to punch in and out on all TrackPunch-enabled
tracks simultaneously.
5 Stop playback. When you are finished with
Punching In on Individual Tracks
the record pass, track Record Enable status and
transport Record Arm status follow the current
TrackPunch preference settings.
To punch in on individual tracks:
Start Recording on All Tracks
1 Put Pro Tools in TrackPunch mode.
To punch in on all tracks:
2 Start-click (Windows) or Control-click (Mac)
1 Enable TrackPunch mode (see “Enabling
the Record Enable button for each track you
want to punch in, so that the track is TrackPunch-enabled only. The track’s Record Enable
button should light solid blue.
TrackPunch Mode” on page 320).
3 Click Record in the Transport to enter the
TrackPunch Record Ready mode. The Record
button flashes blue and red.
4 Click Play in the Transport to begin playback.
5 During playback, punch in and out on individual TrackPunch-enabled tracks by clicking
their respective Record Enable buttons.
2 Click the Record Enable button on each track
you want to punch in, so that the track is both
TrackPunch- and Record-enabled. The track’s
Record Enable button flashes blue and red.
3 Click Record in the Transport to enter the
TrackPunch Record Ready mode. The Record
button flashes blue and red.
4 Click Play in the Transport to begin playback.
5 During playback, punch out and back in on
6 Stop playback. When you are finished with
individual TrackPunch-enabled tracks by clicking their respective Record Enable buttons.
the record pass, track Record Enable status and
transport Record Arm status follow the current
TrackPunch preference settings.
6 Stop playback. When you are finished with
Punching In on Multiple Tracks
Simultaneously
the record pass, track Record Enable status and
transport Record Arm status follow the current
TrackPunch preference settings.
Example TrackPunch Workflows
To punch in on multiple tracks simultaneously:
1 Enable TrackPunch mode (see “Enabling
TrackPunch Mode” on page 320).
2 Click the Record Enable button on each track
you want to punch in, so that the track is both
TrackPunch- and Record-enabled. The track’s
Record Enable button flashes blue and red.
3 Click Play in the Transport to begin playback.
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Pro Tools emulates and enhances the following
four “workflows” commonly performed in film,
video, and music production:
• Dubbing and mixing film (see “Film Dubbing
and Mixing with TrackPunch” on page 323)
• Loading dailies (see “Loading Dailies Using
RecordLock” on page 324)
• Recording Foley (see “Foley Recording with
TrackPunch” on page 324)
A typical pre-dub session using TrackPunch
includes the following steps:
• Tracking and overdubbing in music production and any other recording situation (see
“Tracking and Overdubbing Music with
TrackPunch” on page 325)
1 Configure synchronization between Pro Tools
and other devices as appropriate.
Each of these workflows takes advantage of
TrackPunch features and options.
3 Select (enable) Transport RecordLock. This
In the following example workflows, it is assumed you already familiar with routing, selecting, and grouping Pro Tools tracks. If you are
not, see Chapter 10, “Tracks” and Chapter 28,
“Basic Mixing.”
Film Dubbing and Mixing with
TrackPunch
By providing all the essential online punch recording and monitor switching capabilities of a
digital dubber, TrackPunch optimizes Pro Tools
for re-recording and mixing for film.
Film dubbing and mixing features of TrackPunch let you do the following:
• Arm and punch Pro Tools audio tracks remotely from a master synchronizer such as
SoundMaster through P2 commands at any
time, without having to stop playback and
while maintaining time code lock. (Requires
Digidesign MachineControl.)
• Toggle Pro Tools audio tracks between input
and disk monitoring.
• Use TrackPunch when Pro Tools is the time
code master (generating) or when slaving.
• Because Pro Tools can be networked, TrackPunch (and all other) audio files and whole
sessions can be available for secure transfer to
other systems for review, editing, and archiving.
2 Choose Setup > Preferences and click the
Operation tab.
keeps the Transport Record armed after the
transport stops.
In Remote mode, Transport RecordLock has
no effect. The synchronizer determines the
behavior.
4 Deselect Audio Track RecordLock. This causes
the audio track record to disarm when the transport stops.
In Remote mode, Audio Track RecordLock
has no effect. The synchronizer determines
the behavior.
5 Choose Options > TrackPunch to enable
TrackPunch mode.
6 Create 32 new tracks, then do the following:
• Assign their inputs
• Group them into eight-track groups.
7 Click the record enable buttons in the first
eight tracks to TrackPunch enable the first eight
tracks (or, the group for the first pre-dub).
Use the Group List to quickly select all
tracks in the group, and Alt-Shift-click
(Windows) or Option-Shift-click (Mac) to
record-enable all the tracks in the group.
8 Assign the console paddles to the first eight-
track group in the session.
9 Begin the pre-dub pass. Use the console pad-
dles to arm Pro Tools, and to punch in and out
on the first group.
Chapter 17: Advanced Punch Recording
323
10 When the first pre-dub is over and all tracks
6 Whenever time code drops out or stops,
are punched out, clear all TrackPunch enabled
tracks.
Pro Tools remains online and waits to receive
new time code. The Transport and record-enabled tracks remain record-enabled (or TrackPunch enabled). When time code resumes,
Pro Tools begins recording to a new audio file
(properly time stamped based on the incoming
code).
11 Select the next group of tracks and TrackPunch-enable them.
12 Punch in and out on the second group of
tracks.
13 Repeat the preceding steps as necessary.
Loading Dailies Using RecordLock
In addition to its uses on dub and mix stages,
Pro Tools makes it easy to load dailies. Dailies
and similar types of transfers are comprised of
multiple takes or scenes, each recorded while
locked to unique time-of-day time code. In between each take, time code does not continue
but stops completely. Because of this, the time
code on dailies and similar source material is
said to be “discontiguous” or discontinuous
(also known as broken time code).
When a session is taken offline while recording
due to broken time code, Pro Tools remains
armed and waits for time code to resume.
Pro Tools begins recording again when lock is
re-established with the time code of the next
take. Each take is recorded to its own audio file.
Because Pro Tools has a 13-hour timeline
limit, you must use multiple sessions to
load dailies if the span is more than
13 hours.
Foley Recording with TrackPunch
Foley recording is one of the more specialized
forms of recording in film production with
unique monitoring requirements. Between
punches and takes, inputs must be muted while
Foley artists move themselves and equipment as
they progress through a scene.
TrackInput monitoring can be configured to
support Foley style TrackPunch recording using
the Mute Record-Armed Tracks While Stopped
preference.
To configure Pro Tools for Foley-style punch record
monitoring:
1 Choose Setup > Preferences and click the
To configure RecordLock for loading:
Operation tab.
1 Choose Setup > Preferences and click the
Operation tab.
2 Enable Mute Record-Armed Tracks While
2 Enable Transport RecordLock.
3 Enable Audio Track RecordLock.
4 Configure synchronization and other settings
as required.
5 Put Pro Tools online, and start the external
source player.
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Stopped.
3 Configure synchronization and other settings
for Pro Tools and your other devices, then enable TrackPunch mode and proceed with punch
recording. (See “TrackPunch Recording” on
page 317 for the complete steps.)
When recording online and Mute RecordArmed Tracks While Stopped is enabled, recordenabled tracks mute when the Transport is
stopped. Input can still be monitored at any
time by using the TrackInput switch.
Tracking and Overdubbing Music
with TrackPunch
DestructivePunch is essentially a destructive
version of TrackPunch mode. Where TrackPunch always records audio to a new file in the
background, DestructivePunch destructively
records audio directly into the original file, using a fixed 10-millisecond linear crossfade. Up
to 200 “running punches” can be performed in
a track during a single DestructivePunch pass.
Modern multitrack recording requires the flexibility to “capture the moment” by allowing onthe-fly record enabling and punch recording, as
provided by TrackPunch. Features of TrackPunch for all tracking, overdubbing, and punching situations include the following:
DestructivePunch and MachineControl
• Record enable tracks on-the-fly.
DestructivePunch and Voice Allocation
• Punch tracks in and out using on-screen
Record Enable buttons, remotely from a synchronizer, from a control surface, or using a
foot switch.
As with TrackPunch and QuickPunch, DestructivePunch requires 2 available voices per mono
track. When using DestructivePunch with a
Pro Tools|HD system configured for maximum
voices, make sure to set the voice assignment for
each audio track to dyn for Dynamically Allocated Voicing. This ensures that Pro Tools can
automatically manage voices most efficiently.
• Compare and match levels using TrackInput
switching.
DestructivePunch Audio
Recording
(Pro Tools HD Only)
DestructivePunch is a destructive recording
mode that lets you instantaneously punch in
(start recording) and punch out (stop recording)
on individual audio tracks during playback,
while preserving a contiguous audio file on each
punched track. No additional regions are created when recording in DestructivePunch
mode.
DestructivePunch is useful for mixing and predubbing workflows where you want the final result to be a single, contiguous file without any
edits.
When using Digidesign MachineControl software in Remote 9-Pin Deck Emulation Mode,
DestructivePunch can be controlled via P2 protocol.
Configuring Pro Tools for
DestructivePunch Recording
Before using DestructivePunch, configure DestructivePunch preferences and related
Pro Tools settings as described in this section.
Transport and Track Record Settings
The Transport RecordLock and Audio RecordLock preferences specify track and Transport
Record Enable behavior when playback or recording are stopped. They function with DestructivePunch as with TrackPunch. For more
information, see “TrackPunch Preferences” on
page 318.
Chapter 17: Advanced Punch Recording
325
Delay Compensation Settings
Enabling DestructivePunch Mode
When using DestructivePunch to punch in on
an existing recording, make sure the Delay
Compensation settings are the same as when
the original file was recorded.
Before you can enable individual audio tracks
for DestructivePunch recording, you must put
Pro Tools in DestructivePunch mode.
If Delay Compensation was active when recording the original file, it should be kept active
while punching into the original file in DestructivePunch mode.
To enable DestructivePunch mode:
◆
If Delay Compensation was inactive when recording the original file, it should be deactivated
while punching into the original file in DestructivePunch mode.
◆
To ensure that the Delay Compensation path on
record tracks remains consistent while using DestructivePunch, you need to prevent Pro Tools
from using the Low Latency monitoring path
when record tracks switch to Input monitoring.
To ensure that Low-Latency monitoring is disabled
for a record track:
Control-Start-click (Windows) or CommandControl-click (Mac) the Track Compensation indicator on the track.
■
To ensure that Low-Latency monitoring is disabled
for all selected record tracks:
ing back (the Transport is stopped).
2 Do one of the following:
• Select Options > DestructivePunch.
• Right-click the Record button in the Transport and select DestructivePunch from the
pop-up menu.
• Start-click (Windows) or Control-click
(Mac) the Record button in the Transport
to cycle through available Record modes
until DestructivePunch mode is indicated
by “dp” in the Transport Record Enable
button.
Enabling Tracks for
DestructivePunch Recording
DestructivePunch Enabling Tracks
without Record Enabling Them
Control-Start-Shift-click (Windows) or Command-Control-Shift-click (Mac) the Track Compensation indicator on the track.
You can enable tracks for DestructivePunch
without record enabling them. This lets you
punch in on individual tracks at any time after
starting playback by clicking their respective
Record Enable buttons.
To ensure that Low-Latency monitoring is disabled
for all record tracks:
To DestructivePunch-enable an audio track:
■ Control-Alt-Start-Shift-click (Windows) or
Command-Option-Control-Shift-click (Mac)
the Track Compensation indicator on the track.
■ Start-click (Windows) or Control-click (Mac)
the track’s Record Enable button to toggle the
button to solid blue.
■
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1 Make sure Pro Tools is not recording or play-
Pro Tools Reference Guide
To DestructivePunch-enable all audio tracks:
Alt-Start-click (Windows) or Option-Controlclick (Mac) a track’s Record Enable button to
toggle all Record Enable buttons to solid blue.
■
To DestructivePunch-enable all selected audio
tracks:
Alt-Start-Shift-click (Windows) or ControlOption-Shift-click (Mac) a track’s Record Enable
button to toggle the Record Enable buttons for
the selected audio tracks solid blue.
■
Create a VCA group for each stem or set of
tracks on which you plan to punch, and use
the VCA Record Enable button to arm all
tracks in the group for DestructivePunch.
For more information, see “VCA Master
Tracks” on page 630.
DestructivePunch-Enabling and RecordEnabling Tracks Simultaneously
You can simultaneously DestructivePunch enable tracks and record enable them. This starts
recording as soon as the transport is recordarmed and playback begins.
To simultaneously DestructivePunch enable and
record enable an audio track:
Click the track’s Record Enable button. The
track’s Record Enable button flashes blue and
red.
To simultaneously DestructivePunch enable and
record enable all selected audio tracks:
■ Alt-Shift-click (Windows) or Option-Shiftclick (Mac) a track’s Record Enable button. The
Record Enable buttons for the selected audio
tracks flash blue and red.
Display of DestructivePunch
Status
Transport Record Enable Button
The Transport Record Enable button indicates
DestructivePunch mode and Record status as
follows:
When DestructivePunch mode is enabled:
◆ The letters “dp” appears in the Record button
in the Transport.
Transport Record Enable button with DestructivePunch
mode enabled
◆ If at least one track is DestructivePunch-enabled, the Record button in the Transport lights
solid blue.
■
To simultaneously DestructivePunch enable and
record enable all audio tracks:
Alt-click (Windows) or Option-click (Mac) a
track’s Record Enable button. All tracks’ Record
Enable buttons flash blue and red.
DestructivePunch Enabled
Record LED
Input Status
LED
■
DestructivePunch status in the Transport window
Chapter 17: Advanced Punch Recording
327
When DestructivePunch mode is enabled and the
transport is armed for recording:
◆ If no tracks are DestructivePunch-enabled, the
Record button in the Transport flashes gray and
red.
◆ If at least one track is DestructivePunch-enabled, the Record button flashes blue and red.
If at least one DestructivePunch-enabled track
is also record enabled, the Record button flashes
blue and red, and the record LED lights.
◆
◆ Whenever at least one audio track is recording, the Record button lights solid red.
Track Record Status Display
When Pro Tools is in DestructivePunch mode,
each track’s Record Enable button indicates its
DestructivePunch and record enable status as
follows:
• When a track is both DestructivePunch-enabled and record-enabled, its Record Enable
button flashes blue and red.
Record Enable button
DestructivePunch status indication in an audio track in
the Mix window
• When a track is DestructivePunch-enabled
but not record-enabled, its Record Enable button lights solid blue.
• When a track is record-enabled only, its
Record Enable button flashes red.
• While a track is recording (in any mode), its
Record Enable button lights solid red.
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Red (not flashing) indicates recording
(all modes)
Track Record status in the Edit window
Record and Input Status LEDs
Record and Input LEDs next to the Transport
Record Enable button indicate track Record and
Input status as follows, in all recording modes:
Record Status LED When lit (red), indicates that
at least one audio track is currently record-enabled. When off (grey), no tracks are currently
record-enabled.
Input Status LED When lit (green), indicates
that at least one audio track is currently set to
Input Only monitoring (regardless of record enable status). When off (grey), all tracks are in
Auto Input monitoring
.
Track Record Enable buttons also appear in
blue to indicate that track is DestructivePunch-enabled.
Preparing Tracks for
DestructivePunch Recording
In order for a track to be enabled for DestructivePunch recording, the track must contain a contiguous audio file that meets the following requirements:
• The file must start at the beginning
(sample 0) of the session.
– and –
• The File Length must be equal to or greater
than the DestructivePunch File Length setting (see “DestructivePunch File Length”
on page 329).
If a track does not contain a file that meets these
requirements, you can do any of the following
to meet the requirements:
• Move the current file in the track timeline
so that its beginning aligns with the session
start.
• Select the material in the track and use the
Consolidate command to create a continuous file of the required length.
3 Choose Options > Prepare DPE Tracks.
Pro Tools consolidates audio on all DestructivePunch-enabled tracks from the beginning of the
session to the value specified in the DestructivePunch File Length preference.
DestructivePunch Recording
• Change the DestructivePunch File Length
setting so that the current file is equal to or
greater than the required length.
After you have put Pro Tools in DestructivePunch mode, enabled tracks for DestructivePunch recording, and prepared tracks if necessary, you can record in several ways.
• Use the Prepare DPE Tracks command to
consolidate audio on all DestructivePunchenabled tracks. (See “Using the Prepare DPE
Tracks Command” on page 329.)
Punching In On Single Tracks
DestructivePunch File Length
To use DestructivePunch on an audio track, the
track must contain a contiguous audio file of a
minimum length, which is set in the Pro Tools
Operation preferences page.
To punch in on single tracks:
1 Enable DestructivePunch mode (“Enabling
DestructivePunch Mode” on page 326).
2 Start-click (Windows) or Control-click (Mac)
the Record Enable button for each track you
want to punch in, so that the track is DestructivePunch-enabled only. The track’s Record Enable button lights solid blue.
To set DestructivePunch File Length:
1 Choose Setup > Preferences and click Opera-
tion.
2 Enter a value for DestructivePunch File
Length.
3 Click OK.
3 Click Record in the Transport to enter Record
Ready mode. The Record Enable button flashes
blue and red.
4 Click Play in the Transport to begin playback.
5 During playback, punch in and out on indi-
vidual DestructivePunch-enabled tracks by
clicking their Record Enable buttons.
Using the Prepare DPE Tracks Command
6 Stop playback. When you are finished with
To prepare a track for DestructivePunch recording:
1 Enable DestructivePunch mode (“Enabling
DestructivePunch Mode” on page 326).
the record pass, track Record Enable status and
transport Record Arm status follow the current
Audio Track RecordLock and Transport RecordLock preference settings.
2 Make sure the tracks you want to prepare are
DestructivePunch-enabled (“DestructivePunch
Enabling Tracks without Record Enabling
Them” on page 326).
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329
Punching In on Multiple Tracks
Starting Recording Immediately on
Multiple Tracks
To punch in on multiple tracks simultaneously:
1 Enable DestructivePunch mode (“Enabling
DestructivePunch Mode” on page 326).
2 Click the Record Enable button on each track
you want to punch in, so that the track is both
DestructivePunch-enabled and Record-enabled.
Each track’s Record Enable button flashes blue
and red.
3 Click Play in the Transport to begin playback.
4 During playback, click Record in the Transport
to punch in and out on all DestructivePunchenabled tracks simultaneously.
5 Stop playback. When you are finished with
the record pass, track Record Enable status and
transport Record Arm status follow the current
Audio Track RecordLock and Transport RecordLock preference settings.
To punch in on multiple tracks:
1 Enable DestructivePunch mode (“Enabling
DestructivePunch Mode” on page 326).
2 Click the Record Enable button on each track
you want to punch in, so that the track is both
DestructivePunch-enabled and Record-enabled.
Each track’s Record Enable button flashes blue
and red.
3 Click Record in the Transport to enter Record
Ready mode. The Record button flashes blue
and red.
4 Click Play in the Transport to begin playback.
5 During playback, punch out and back in on
individual DestructivePunch-enabled tracks by
clicking their respective Record Enable buttons.
6 Stop playback. When you are finished with
the record pass, track Record Enable status and
transport Record Arm status follow the current
Audio Track RecordLock and Transport RecordLock preference settings.
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Part V: Editing
331
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Chapter 18: Editing Basics
Pro Tools Editing
The Edit window in Pro Tools provides a powerful collection of tools for editing and assembling
audio, video, and MIDI. Track material can be
edited nondestructively and in real time during
playback. The Edit window also lets you graphically edit track automation.
For more information on MIDI editing, see
Chapter 25, “MIDI Editing.”
For more information on video editing, see
Chapter 36, “Working with Video in
Pro Tools.”
For more information on Automation in the
Edit window, see Chapter 30, “Automation.”
While editing for MIDI tracks is in some instances destructive, with a few precautions you
can keep important MIDI tracks and regions safe
when performing edits (see “Nondestructive
MIDI Editing” on page 346).
Editing During Playback
Pro Tools lets you perform many editing tasks
while the session plays. This powerful capability
lets you interactively modify and edit a session,
hearing the changes as you make them. You will
find many instances where you can use this capability to increase your productivity when
working with a session.
Following are just a few examples of editing that
can be performed while your tracks loop or play:
• Capture, separate, and trim regions
• Place, spot, or rearrange regions
• Add fades or crossfades to audio regions
Nondestructive Editing
The vast majority of audio editing in Pro Tools is
nondestructive. Whether cutting, pasting, trimming, separating, or clearing regions, you are
only performing these functions on a map of
the actual audio data. The source audio files remain untouched. However, certain processes or
tools work destructively (that is, it can permanently change audio files on your hard disk), as
noted in this guide.
• Transpose, quantize (including Groove
Quantize), and otherwise modify MIDI
tracks
• Nudge audio or MIDI regions
• Audition different playlists
• Adjust or scale automation data
• Insert a real-time plug-in
• Process audio with an AudioSuite plug-in
• Automation breakpoint editing
Chapter 18: Editing Basics
333
There are a few things that cannot be changed
while Pro Tools plays, as noted throughout this
guide.
Track Material
Each time you record or import audio, video,
and MIDI, Pro Tools creates regions for the new
track data, which not only indicate where the
material begins and ends, but also provides
good feedback on its general shape and content.
When you record additional takes, or “punch
in” on a specific location within a track,
Pro Tools creates additional regions.
Regions are also created by cutting and pasting,
resizing, separating, and re-capturing existing
regions. Regions in a session are listed in the Region List, where they can be dragged to existing
tracks. A track can contain any number of regions, in any arrangement. The order and location of regions in a track define its playlist.
In addition to audio and MIDI regions,
tracks provide automation playlists of any
automation data (such as volume). Automation can be recorded and edited in the
Mix or Edit windows. For more information, see Chapter 30, “Automation.”
Region Types
There are different types of audio and MIDI regions, based on how they are created:
For information on video regions, see
Chapter 36, “Working with Video in
Pro Tools.”
Whole-File Audio Regions These audio regions
are created when recording or importing audio,
consolidating existing regions, and when nondestructively processing with an AudioSuite
plug-in. Whole-file audio regions reference an
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entire audio file that resides on your hard drive.
Whole-file audio regions are displayed in bold
in the Region List (see “The Region List” on
page 357). Normal regions often reference only
a portion of the parent audio file and are created
in the course of editing and, in some instances,
when punch recording.
User-Defined Regions These are regions that are
explicitly defined, such as when you record or
import audio or MIDI; capture, separate, or consolidate a selection; trim a whole-file audio region; or rename an existing region.
Auto-Created Regions These regions are automatically created in the course of editing, and,
in some instances, when punch recording over
existing regions. Since these regions can accumulate rapidly in a session, you can hide them
in the Region List (see “Naming and Displaying
Regions” on page 488). Auto-created regions
can be turned into user-defined regions by renaming them.
Offline Regions Regions are offline when their
parent files cannot be located, or are not available, when opening a session or importing a
track. Offline regions appear in the Region List
as italicized and dimmed; they appear in playlists as light blue regions with italicized names.
Offline regions can be edited like other regions,
but they cannot be processed with AudioSuite
plug-ins.
Multichannel Regions These regions, which are
displayed as a single region in the Region List,
reference multiple regions and audio files for
stereo and surround tracks. Multichannel regions can be expanded (by clicking the triangle
next to their name) to see the individual channels, which can be dragged independently to
tracks.
Region Groups A region group is a collection of
any combination of audio and MIDI regions
that looks and acts like a single region. Region
groups are essentially containers holding one or
more regions. Region groups can be created on a
single track or on multiple adjacent audio,
MIDI, and Instrument tracks. Region groups let
you “nest” multiple regions into “macro” regions for groove and tempo manipulation, editing, and arranging.
For more information on region groups, see
“Region Groups” on page 452.
VCA Master Tracks (Pro Tools HD Only) Can be
set to Volume, Volume Trim, or Mute.
MIDI Tracks Can be set to Blocks, Regions, Notes,
Volume, Pan, Mute, Velocity, Pitch Bend, After
Touch, Program, Sysex, and any continuous controller type. MIDI tracks are commonly set to
Notes or Regions, each of which displays notes
in a “piano roll” format. Use Notes View for inserting, editing, and copying and pasting MIDI
notes. Use Regions View to arrange, capture, or
consolidate regions. Other MIDI track views are
useful for editing controller data, program
changes, and Sysex events.
Track View
The Track View determines which data is displayed and edited in the track’s playlist area.
Track View data can be set to Blocks, Waveform,
Volume, Pan, Mute, or an automated control or
continuous controller, based on the track type.
Audio Tracks Can be set to Blocks, Waveform, Volume, Volume Trim, Pan, Mute, or any plug-in controls that are enabled for automation. By default, audio tracks are set to Waveform view
where track material is graphically drawn with
amplitude waveforms (a time-domain representation of sound). This Track View provides the
necessary detail for important region edits.
Track View set to Regions for MIDI track
Instrument Tracks Can be set to Blocks, Regions,
Notes, Volume, Pan, Mute, Velocity, Pitch Bend, After Touch, Program, Sysex, and any continuous
controller type for MIDI, as well as Volume, Volume Trim, Pan, Mute, or any plug-in controls that
enabled for automation. Instrument tracks are
commonly set to Notes or Regions, each of
which displays notes in a “piano roll” format.
Use Notes View for inserting, editing, and copying and pasting MIDI notes. Use Regions View
to arrange, capture, or consolidate regions.
Other Instrument track views are useful for editing automation, controller data, program
changes, and Sysex events.
Track View set to Waveform for audio track
Auxiliary Input Tracks Can be set to Volume, Volume Trim, Pan, Mute, or any plug-in controls that
are enabled for automation.
Master Fader Tracks Can be set to Volume, Volume Trim, or any plug-in controls that are enabled for automation.
With the Track View set to Blocks, audio and
MIDI regions are displayed as empty blocks
bearing the region’s name. This mode is most
useful once you have finished capturing and editing regions at the waveform or MIDI event
level and are moving and rearranging them.
Screen redraws are fastest with this format.
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When an audio or Instrument track is displayed
as Volume, Pan, or another automated control,
or when a MIDI or Instrument track is set to one
of the continuous controller types (Volume,
Pitch Bend, After Touch), the data for that track
appears in the form of a line graph with a series
of editable breakpoints. The breakpoints can be
dragged to modify the automation data, and
new breakpoints can be inserted with the Pencil
tool or a Grabber tool.
Click for Track View pop-up menu
Auxiliary Track View selector
Click for Track View pop-up menu
Master Fader Track View selector
Track View set to Pan for audio track
Click for Track View pop-up menu
For details on editing automation data for
audio tracks, see Chapter 30, “Automation.”
VCA Master Track View selector (Pro Tools HD only)
For details on inserting and editing controller data for MIDI tracks, see “Continuous
Controller Events” on page 571.
Click for Track View pop-up menu
To set the Track View:
■ Click the Track View selector for the track and
select the format from the pop-up menu.
The track displays the new format. If the track is
part of an active Edit Group, all tracks in the
group are set to the new format.
Click for Track View pop-up menu
Audio Track View selector
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MIDI Track View selector
To change to the previous or next Track View:
Click for Track View pop-up menu
1 Click in the track you want to change. To
change views on multiple tracks, Shift-click or
drag the Selector tool to select additional tracks,
or select a group.
2 Do one of the following:
• To change to the previous or next Track
View on all selected tracks, press Control+Start (Windows) or Control+Command (Mac) and the Left or Right Arrow
key.
– or –
Instrument Track View selector
For information on video track views, see
“Video Track View” on page 822.
Changing Track Views
For audio, Auxiliary Input, MIDI, and Instrument tracks, you can change to the next or previous Track View, or toggle between pre-defined
common views.
• To change to the previous or next Track
View on all tracks, press Control+Alt+Start
(Windows) or Control+Option+Command
(Mac) and the Left or Right Arrow key.
Toggling Common Track Views
The most common editing view for audio tracks
are Waveform and Volume View. The most common editing views for MIDI and Instrument
tracks are Notes and Regions View. Pro Tools
provides an easy way to toggle these views.
To toggle Track Views on selected tracks:
Changing to Previous or Next Track View
When changing to the next or previous Track
View, Track View list ordering is maintained as
shown in the Track View selector.
1 Click in the track you want to toggle. To tog-
gle multiple tracks, Shift-click or click and drag
with the Selector tool to select additional tracks.
Track Views at the beginning of the list
(such as Blocks for audio or MIDI tracks)
cannot be changed to the previous Track
View. Tracks Views at the end of the list
(such as a MIDI controllers option) cannot
be changed to the next Track View.
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2 Do one of the following:
• Press Start+Minus (Windows) or Control+Minus (Mac) on the QWERTY keyboard.
To toggle Track Views for all tracks, press
Alt+Start+Minus (Windows) or Option+Control+Minus (Mac) on the QWERTY keyboard.
– or –
• With Commands Keyboard Focus enabled
(see “Keyboard Focus” on page 16), press
Minus on the QWERTY keyboard.
To toggle Track Views for all tracks with
Command Focus enabled, press Alt+Minus
(Windows) or Option+Minus (Mac) on the
QWERTY keyboard.
Audio tracks are toggled between Waveform and
Volume View. MIDI and Instrument tracks are
toggled between Notes and Regions View.
Auxiliary Input, Master Fader, and VCA Master
tracks also have a Master View (Volume). When
an Auxiliary Input or Master Fader track is displayed in its Master View, any edits performed
apply to all automation data in the track.
Track Height
Tracks can be viewed in the Edit window at any
of eight heights: Micro, Mini, Small, Medium,
Large, Jumbo, Extreme and Fit To Window. Larger
track heights are particularly useful for precise
editing, especially for MIDI. Smaller track
heights are useful for conserving screen space in
a large session.
You can adjust track heights on an individual
track basis or set all tracks to the same height.
Track heights can be adjusted during playback.
To set the Track Height, do one of the following:
■ Click the small arrow next to the Track View
selector to get the Track Height pop-up menu.
Master Views for Tracks
Audio, MIDI, and Instrument tracks have Track
Views that act as “master.” When a track is displayed in its Master View, any edits performed
apply to all data in the track. For instance, when
an audio track is set to Waveform, copying and
pasting affects not just the waveform information, but all of the automation data as well.
Track Height pop-up menu
– or –
The Master View is based on the type of track, as
follows:
• Audio tracks: Waveform and Blocks
• MIDI and Instrument tracks: Regions,
Blocks, and Notes (when using the Selector
tool)
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■ Right-click in the area just to the right of the
track controls and choose the height from the
pop-up menu.
The track is resized to the new height. If the
track is part of an Edit Group, all tracks in the
group are set to the new height.
To turn on Expanded Track Display:
■ From the Track Height selector, click Expanded Track Display.
Press Start+Up/Down Arrow key (Windows) or Control+Up/Down Arrow key
(Mac) to increase/decrease track height of
any track that contains a selection or in
which the edit cursor is currently placed.
Expanded Track Display
Stereo and multichannel tracks share a single
playlist for volume and mute. This shared playlist normally occupies the entire height of the
track, extending across all channels.
Track Height pop-up menu
Track Controls and Track Height
Volume playlist for stereo track
With Expanded Track Display, you can display
playlists individually for each channel, thereby
allowing for more accurate breakpoint editing.
This is also useful for editing pan or multi-mono
plug-in data, both of which can be different for
each channel.
The Track Height affects how the various track
controls appear in the Edit window. For instance, when a track’s height is set to Small,
most of the buttons are reduced in size.
Track Height set to Small
When the Track Height is set to Mini or Micro,
only controls for Record, Solo, and Mute appear,
and the menus for Playlist, Track Timebase,
Track Height, and Track View are accessed from
the same selector.
Track Height set to Mini
Stereo track in Expanded Track Display
Expanded Track Display also provides for a
larger waveform display (equal to mono tracks),
as well as a separate Track View selector and
meter for each channel.
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When the Track Height is set to Large, Jumbo, or
Extreme, all track controls are displayed at their
full size.
The track’s Track Height changes incrementally.
Adjusting the Track Height of an audio track
Press and hold Control (Windows) or Command (Mac) while adjusting track height
for continuous, non-incremental adjustments.
Track Height set to Large
Continuously Variable Track Height
In the Edit window, you can continuously resize
the Track Height of any given track by simply
clicking and dragging the lower boundary of the
Track Controls column.
To continuously resize all tracks, Alt-click
(Windows) or Option-click (Mac) and drag.
To resize the Track Height of any track in the Edit
window:
To continuously resize all selected tracks,
Alt-Shift-click (Windows) or Option-Shiftclick (Mac) and drag.
■ Click and drag the bottom line of any given
track’s Track Controls column up or down. The
cursor changes to indicate that you can resize
the track.
Displaying Region Names,
Region Times, and Other Data
in Playlists
Region names and times can sometimes get in
the way of editing audio waveforms and MIDI
data. In these instances, you may want to disable their display. In other instances, such as arranging or spotting Foley, displaying region
names and times is extremely useful.
To enable or disable the display of region names in
playlists:
■
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Select or deselect View > Region > Name.
To display region times:
From View > Region, select one of the following options:
■
No Time Disables display of region times.
Current Time Displays start and end times for regions.
Original Time Stamp Displays the Original Time
Stamp for each region. The Original Time Stamp
is the original time code location for the region
when it was first recorded or created.
User Time Stamp Displays the User Time Stamp
for each region. The User Time Stamp, which
defaults to the Original Time Stamp, can be redefined with the Time Stamp command.
Display enabled for region names, Overlap, and times
Region and region group Sync Points can be displayed on regions in playlists (see “Sync Points”
on page 434). This is useful when visually spotting to time code or in arranging in Grid mode.
Region Overlaps can be displayed on regions in
playlists. This is useful for arranging and when
working with tick-based audio tracks (see “Region Overlap and Underlap” on page 420).
Audio Regions and Waveforms
When the Track View for audio tracks is set to
Waveform, Pro Tools draws a waveform diagram of the audio. Audio waveforms tell you
several things about the recorded sound.
Figure 16. Audio waveform of a drum track
In Figure 16, the “peaks” represent places in the
recording where the attack of the sound causes
the volume to increase momentarily. These are
followed by “valleys,” where the volume decreases.
Different types of sounds produce different
types of waveforms. Drums, for example, generally produce waveforms with sharp transients
(peaks of short duration) that are clearly defined. A drum hit has a loud, sharp attack and a
rapid decay.
Other sounds, such as vocals or sustained synthesizer pads, produce very different waveforms.
These sounds have less pronounced peaks and
valleys because they generally have softer attacks and longer decays.
Channel Name and Scene And Take information can be displayed in regions in playlists and
in the Region List. This is useful for working
with multichannel recordings and metadata
made by field recorders.
See the Field Recorder Workflow Guide for
detailed information on workflows for field
recorders.
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341
Draw Waveforms Rectified Preference
Guidelines for Editing Waveforms
When the Display preference for Draw Waveforms Rectified is selected (in the Display Preferences page), audio waveforms are displayed so
that their positive and negative waveform excursions are summed together and viewed as a
single positive-value signal. However, even
when this preference is enabled, zooming in beyond a certain point will cause the waveforms to
be displayed normally.
With the Selector tool in the Edit window, you
can select portions of audio waveforms and divide them into segments called regions, so that
you can rearrange and manipulate them in
tracks.
Audio displayed in Rectified mode
While editing, try to create regions that let you
maintain a consistent beat. If you always define
regions so that they contain a whole number of
beats, you will be able to string the regions together and maintain a smooth, steady rhythm.
It is sometimes useful to have a steady, well-defined waveform (such as a drum track) as a guide
when selecting and defining other regions. If
you have played in time with the beat, it should
be easier to create rhythmically accurate regions
by referring to the drum waveform.
Some important rules to keep in mind when defining regions:
Audio displayed in Normal mode
Rectified mode displays more detailed waveforms when using track heights of Medium or
Small, and can be particularly useful when editing volume automation data, since it depicts
waveform “levels” as starting at the bottom of
the track.
◆ Whenever possible, begin a region precisely
before a volume peak, and end it immediately
before another volume peak.
◆ Whenever possible, make sure a region starts
and ends on exactly the same part of a beat.
◆ Use the following Pro Tools features to help
you edit rhythmic material or audio with clear
transients into precise regions:
• Tab to Transients (see “Tabbing to Transients” on page 407.)
• Editing to a Grid (see “Grid” on page 365)
• Beat Detective (see Chapter 24, “Beat Detective”)
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Avoiding Clicks and Pops
If an edited region begins or ends at a point of
high amplitude, you may hear a click when
Pro Tools plays from one region to another. In
order to avoid clicks or pops do any of the following:
Make sure that the start and end points of
your selection are as close as possible to the
point where the amplitude of the waveform
tapers down to meet the zero-crossing line (the
center line of the track’s waveform display). If
necessary, use the zooming tools in the Edit
window (see “Using the Zoomer Tools” on
page 367) to display waveforms in greater detail.
◆
When trimming audio regions with any of the
Trim tools, or when editing the placement or order of regions within a track, use multiple playlists to easily return to a track’s previous state.
For more information, see “Playlists” on
page 352.
Audio Regions and Automation
Data
Automation data for audio resides in tracks and
not in the Region List. This means that when
you drag an audio region from the Region List to
a new track, no automation data is placed in the
track. However, if you drag an audio region
from an existing track (that contains automation data) to another track, the automation
from the source track is placed in the destination track.
MIDI Regions and MIDI Data
Selection that begins and ends at zero crossings
Apply a crossfade between regions where a
click or pop occurs. See “Creating a Crossfade”
on page 474 for details.
◆
With Pro Tools HD, use the AutoFade feature
to apply real-time fade-ins/outs to all region
boundaries that do not touch or overlap other
regions. See “Using AutoFades” on page 475 for
details.
◆
The two most common Track Views you will use
for MIDI and Instrument tracks are Notes and
Regions.
Use Notes View for inserting and editing individual MIDI notes, and for working with and affecting groups of notes.
Use Regions View for arranging regions.
For more information on setting Track
View, see “Track View” on page 335.
Nondestructive Audio Editing
When editing an audio track’s playlist in
Pro Tools, you are not actually cutting and moving pieces of sound as you would if you were
cutting and splicing analog tape. Instead,
Pro Tools creates a map of the audio file on your
hard disk, which describes the order in which to
play the track portions.
To toggle the Track View, click in the track
you want to toggle and press Start+Minus
(Windows) or Control+Minus (Mac) on the
QWERTY keyboard.
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Notes View for MIDI and
Instrument Tracks
When a MIDI or Instrument track’s Track View is
set to Notes, MIDI notes are displayed in a
“piano roll” format. Each note is displayed as a
small rectangle with its vertical placement indicating pitch and its horizontal placement indicating location (and duration).
Up arrow
MIDI note above the
current display
To scroll the Notes display up or down for a MIDI or
Instrument track, do one of the following:
■ Click either the up or down arrow of the minikeyboard.
Scrolling notes with the Up arrow on mini-keyboard
– or –
■ With any of the Edit tools (such as the Time
Grabber tool) selected, press Control+Alt+Start
(Windows) or Command+Option+Control
(Mac) and click and drag up or down on the
mini-keyboard.
Keyboard reference
MIDI note
Down arrow
Figure 17. MIDI track displaying notes
Scrolling Notes display by dragging
To the left of the MIDI or Instrument track’s
playlist is a vertical mini-keyboard, complete
with octave numbering, for pitch reference. You
can click the mini-keyboard to audition pitches.
Arrows at the top and bottom of the mini-keyboard (not available in the smaller track heights)
are used to scroll the Notes display up and
down.
Using the Edit tools, notes can be inserted,
transposed, trimmed, and moved. For more information, see “Manually Editing MIDI Notes”
on page 564.
In Notes View, the pitch range of MIDI notes
that can be displayed depends on the track
height, and on the current zoom value. Any
time a track’s notes do not fit within its current
height, notes above or below the viewed area are
displayed as single-pixel lines at the very top
and bottom of the range (see Figure 17 above).
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If you have a mouse with a scroll wheel, you
can use it to scroll a MIDI or Instrument
track’s Notes display. Place the mouse over
a MIDI or Instrument track in the Edit window, and Control-Alt-Start-scroll (Windows) or Command-Option-Control-scroll
(Mac) the scroll wheel to scroll the Notes
display for that track.
Regions View for MIDI and
Instrument Tracks
MIDI and Instrument tracks can also be viewed
as Regions, which is similar to Waveform View
for audio tracks. While a track’s notes are visible
in Regions View, individual note editing is not
available in this view. Instead, all editing occurs
across a time range encompassing all track data,
including continuous controller events, program changes, and System Exclusive events.
Use Regions View to define regions that represent song sections and clips, or to rearrange or
assemble track material.
In Regions View, the vertical Zoom is automatically scaled to fit the entire range of pitches of
MIDI notes on a track.
For more information on setting Track
View, see “Track View” on page 335.
To toggle Track View between notes and regions, click in the track you want and press
Start+Minus (Windows) or Control+Minus
(Mac) on the QWERTY keyboard, or press
Control+Alt (Windows) or Command+Option (Mac) and use the Left and Right Arrow
keys to cycle between Track Views.
There are a few things to consider when selecting, copying and cutting, and trimming MIDI
regions:
Cutting a MIDI region with note overlap
◆ Similar rules also apply when MIDI regions or
region groups containing MIDI regions are
trimmed with any of the Trim tools. If the MIDI
region’s start point is moved beyond a note’s
start point, the note is removed. If the region’s
end point is trimmed so that a note’s start point
is within the region but its end point is not, the
note remains and overlaps the edge of the region.
When moving and placing MIDI regions with
overlapping notes, the notes always move with
the regions. When placing MIDI regions with
overlapping notes next to or near another region, the overlapping notes extend into the
next region on the track.
When cutting or clearing a region or region
group selection that includes a note’s start
point, the entire note is removed. This is even
the case when only a portion of the note (that
includes its start point) is selected.
◆
When cutting or clearing a region or region
group selection that includes a note’s end point
(but not its start point), the note remains and
overlaps the edge of the region.
◆
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MIDI Regions Created on Barlines
When recording MIDI, or when manually entering MIDI notes, the beginning and ending of resulting MIDI regions are constrained to bar
boundaries. This greatly facilitates arranging
MIDI regions in a musically meaningful way, in
whole bar lengths.
The beginning of a recorded MIDI region always
starts on the barline immediately before the first
MIDI note (note on) of the region. Likewise, the
MIDI region ends on the barline immediately
following the last note (note off) of the region.
Nondestructive MIDI Editing
While editing audio regions is usually nondestructive, this is generally not the case for MIDI
regions. For instance, if a MIDI region resides in
just one track at a single location, editing for
that region is destructive. This means that altering the pitch, duration, or placement of notes in
Notes View permanently alters the region.
However, when editing a MIDI region that appears elsewhere, in the same track (at another
location or in a different playlist) or in another
track, the editing is nondestructive and creates a
new auto-created region. To go back to the previous material, drag the original region from the
Region List, or return to a previously saved playlist.
One way to safely return to a track’s previous state is with playlists. Before you edit
notes, trim regions, or rearrange the order of
regions, make a duplicate of the track’s existing playlist and then edit the duplicate
(see “Playlists” on page 352).
MIDI Regions and Continuous
Controller Events
Continuous controller events reside in MIDI regions and not in tracks. This means that when
dragging regions that contain controller data
from either a track or the Region List, the controller data is written to the destination track.
Unlike continuous controller events, which represent nuances that are part of a MIDI performance, Mute in Pro Tools is an automation
playlist that actually mutes the MIDI engine.
Mute automation does not correspond to actual
MIDI events and is therefore not exported when
saving as a Standard MIDI File.
Timebase Rulers and
Conductor Rulers
All rulers displayed
Any or all of the following Timebase rulers can
be displayed at the top of the Edit window:
• Bars:Beats
• Minutes:Seconds
• Time Code (Pro Tools HD and Pro Tools LE
with DV Toolkit 2 only)
• Feet+Frames (Pro Tools HD and Pro Tools
LE with DV Toolkit 2 only)
• Samples
To apply edits to all instances of a MIDI region, enable Mirrored MIDI Editing mode
(see “Mirrored MIDI Editing” on page 559).
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• Time Code 2 (Pro Tools HD and Pro Tools
LE with DV Toolkit 2 only)
In addition to providing a timing reference for
track material, the Timebase rulers are also used
to define Edit selections for track material, and
Timeline selections for record and play ranges.
With the Selector tool, drag in any Timebase ruler to select material across all tracks
in the Edit window. To include the Conductor tracks in the selection, press Alt (Windows) or Option (Mac) while dragging.
To display only the Main Time Scale in the
Timebase ruler:
■ Select View > Rulers > None (“Main Time
Scale” on page 348.)
To add a specific ruler to the display, such as the
Markers ruler, for instance:
■
Select View > Rulers > Marker.
To change the display order for the rulers:
Any or all of the following Conductor rulers can
be displayed:
• Tempo (and Tempo Editor)
• Meter
■ Click a ruler’s name and drag up or down to
the new location.
Ruler View Selector
• Key Signature
• Markers
The Meter and Tempo rulers indicate changes in
meter and tempo within the Session. The Key
Signature ruler indicates changes of key. The
Markers ruler displays markers to important
track locations.
The Timebase and Conductor rulers can also be
configured with the Ruler View selector.
Click the Ruler View selector
For more information on Memory Location
markers and Meter, Tempo, and Key Signature rulers, see Chapter 23, “Conductor
Tracks and Memory Locations.”
To display all rulers:
■
Select View > Rulers > All.
To remove a ruler from the display, do one of the
following:
Option-click the ruler’s name (to the left of
the ruler display).
■
– or –
Choose View > Rulers, and select a ruler option.
■
Ruler View selector in the Edit Window.
Secondary Time Code Ruler
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
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.
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The secondary time code ruler can be set to
show any of the following rates:
• 23.976 FPS
• 24 FPS
• 25 FPS
• 29.97 FPS
• 29.97 FPS Drop
• 30 FPS
• 30 FPS Drop
• 50 FPS
• 59.94 FPS
• 59.94 FPS Drop
• 60 FPS
• 60 FPS Drop
Main Time Scale
While all Timebase rulers can be displayed simultaneously in the Edit window, there is only
one that represents the Main Time Scale. This
ruler is also called the Main Timebase ruler.
The Main Time Scale determines the time format used for:
• The Main Counter in the Transport window
• The Main Counter at the top of the Edit
window
• Start, End, and Length values
• Pre- and post-roll amounts
• Grid and Nudge values
The Main Time Scale can be set to the following
formats:
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Bars:Beats Displays the Time Scale in bars and
beats. Use this Time Scale if you are working
with musical material that must align with bars
and beats.
To ensure your tracks align with the bars
and beats in your session, record with a
click (see “Recording with a Click” on
page 271). Material that is recorded without listening to the click can still be aligned
to bar and beat boundaries in Pro Tools
with the Identify Beat command (see “Identify Beat Command” on page 509), or with
Beat Detective (see Chapter 24, “Beat Detective”).
Minutes:Seconds Displays the Time Scale in
minutes and seconds. As you zoom in farther
with the Zoomer tool, the Time Scale begins to
display tenths, hundredths, and thousandths of
a second.
Time Code (Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only) Displays the Time Scale in
SMPTE frames. The Time Code Rate and Session
Start time are set from the Session Setup window.
Pro Tools supports the following frame rates:
23.976, 24, 25, 29.97 Non-Drop, 29.97 Drop,
30 Non-Drop, and 30 Drop frames per second.
Feet+Frames (Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only) 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.
Samples Displays the Time Scale in samples.
This format is very useful for high-precision
sample editing.
Setting the Main Time Scale
To set the Main Time Scale, do one of the
following:
Click a Main Counter selector (located at the
top of the Edit window and also in the Transport
window, when it is set to display Counters) and
select a Time Scale.
■
Navigating with the Main Counters
The Main Counters (at the top of the Edit window and in the Transport window) provide a
convenient way to navigate to a specific time location.
The Main Counter indicator in the Transport window only displays when the Transport is set to display Counters.
To navigate with a Main Counter:
1 Click in a Main Counter.
2 Type in a location.
Main Counter selector (in the Edit window)
If a Timebase ruler is displayed, click its name
so it becomes highlighted.
■
Setting the Main Time Scale to the timebase
currently displayed in the Sub Counter
switches the two Time Scales, setting the
Sub Time Scale to the previous timebase of
the Main Time Scale.
3 Press Enter (Windows or Mac) or Return (Mac)
to automatically navigate to a new location.
Setting the Sub Counter Time Scale
Below each Main Counter is a Sub Counter,
which provides an additional timing reference.
The Sub Counter indicator in the Transport
window only displays when the Transport is
set to display Counters and its view is maximized.
To set the Time Scale for the Sub Counter:
■ Click a Sub Counter selector and select a Time
Scale.
Switching the Main Time Scale
Sub Counter selector (in the Edit window)
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Tick- and Sample-Based
Timebases
Tick-Based Timing
Pro Tools is a sample-based program with an internal MIDI resolution of 960,000 pulses per
quarter note (ppq). However, when the Time
Scale is set to Bars|Beats, the display resolution
in Pro Tools is 960 ppq.
In Bars|Beats, Pro Tools is tick-based (960 ticks
to a quarter note), which means that some
amount of sample-rounding may occur when
placing events at certain locations (see “Sample
Rounding and Edit Operations” on page 352).
When working in Bars|Beats, you will often
want to specify tick values for a number of operations, including:
• Placing and spotting regions
Pro Tools lets you set any track timebase to either sample-based or tick-based.
Audio in Pro Tools is sample-based by default.
This means that if an audio region is located at a
particular sample location, it will not move
from that location if the tempo changes in the
session—though its bar and beat location will
change.
MIDI data in Pro Tools is tick-based by default.
This means that if a MIDI region is located at a
particular bar and beat location, it will not move
from that location if the tempo changes in the
session—though its sample location will
change.
• Setting lengths for regions or MIDI notes
• Locating and setting play and record
ranges (including pre- and post-roll)
• Specifying settings in the Grid/Groove
Quantize and Change Duration pages of
the MIDI Operations window
• Setting the Grid and Nudge values
The following table lists the number of ticks for
each of the main note sizes:
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Note Value
Normal
Dotted
Triplet
1/2 note
1920
2880
1280
1/4 note
960
1440
640
1/8 note
480
720
320
1/16 note
240
360
160
1/32 note
120
180
80
1/64 note
60
90
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Pro Tools Reference Guide
Sample-Based Audio and MIDI
With a sample-based audio track, all audio regions in the track have an absolute location on
the Timeline. Audio stays fixed to the sample
time, regardless of where tempo or meter
changes occur in a session.
If you make a MIDI track sample-based, all MIDI
events in the track have an absolute location on
the timeline. MIDI events stay fixed to the sample time, regardless of where tempo or meter
changes occur in a session.
Tick-Based Audio and MIDI
Tick-based audio is fixed to Bars|Beats, and
moves relative to the sample timeline when
tempo and meter changes occur. However,
MIDI events and tick-based audio respond differently to tempo changes in respect to duration. MIDI note events change length when
tempo or meter is adjusted, while audio regions
do not. Meter and tempo changes affect only
the start point (or sync point) for each audio region in a tick-based track.
You can select whether a track is sample-based
or tick-based when it is created, or change timebases later.
To switch the timebase of a track, do one of the
following:
■ If the track’s height is set to Small or larger,
click the Timebase selector for the track and select the desired timebase. The Timebase selector
icon changes to reflect your choice.
.
Timebase selector
(ticks)
Timebase selector
(samples)
Track Timebase selector on a track with a Medium
height
To have all new tracks default to tick-based,
enable the New Tracks Default to Tick
Timebase option in the Editing Preferences.
Switching Timebases
All Pro Tools tracks can be switched between being sample-based or tick-based.
Track height affects how various track controls
appear in the Edit window. The Timebase selector, which is used for switching a track’s timebase, is only visible in Small or larger track
heights.
Timebase selector
(ticks)
Timebase selector
(samples)
Track Timebase selector on a track with a Small height
– or –
■ If the track’s height is set to Mini, click the
small arrow next to the Track View selector to
get the Track Height pop-up menu, and select
the desired timebase from the Track Timebase
sub-menu.
Track Height pop-up menu
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Alternate Playlist Timebases
Sample Rounding and Edit Operations
When you change a track’s timebase, you can
choose to apply the timebase change to the active Playlist on that track only, or to that track
and all the alternate playlists for that track.
When audio material in Pro Tools is samplebased, some amount of sample-rounding may
occur with some edits when the Main Time
Scale is set to Bars|Beats. This is most evident
when you need audio regions to fall cleanly on
the beat (as when looping) and notice that the
material is sometimes a tick or two off. With a
few simple precautions, this can be avoided.
To configure a timebase change to affect
timebases of all playlists in a track:
■ Click the Timebase selector and enable the
“Selection Changes Alternate Playlists” option.
Timebase selector and pop-up menu
When selecting audio regions to be copied, duplicated, or repeated, make sure to select the material with the Selector tool (enable Grid mode
for precise selections), or set the selection range
by typing in the start and end points in the
Event Edit area. Do not select the material with
any of the Grabber tools (or by double-clicking
with the Selector tool). This ensures that the selection is precise in terms of the grid (and not
based on the length of the material in samples).
Groups
When you change the timebase for an audio
track that is part of an active group, all the tracks
in the group will change to the same timebase.
Playlists
Audio Region Location
The ability to create playlists is a powerful feature of Pro Tools. Each track maintains a “main”
playlist and any number of “alternate” edit playlists.
In tick-based audio tracks, the location of an audio region is determined by the region’s start
point, unless the region contains a sync point.
If the region contains a sync point, the sync
point determines where the audio region is
fixed to the grid.
Marker Location
When creating markers and Selection Memory
Locations, you can specify whether they have
an Absolute (sample-based) or Bar|Beat (tickbased) reference. For more information, see
“Bar|Beat and Absolute Reference” on page 525.
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Edit playlists let you take a snapshot of a track’s
current arrangement of regions, thereby freeing
you to experiment with alternate arrangements,
returning as necessary to previously saved playlists.
A playlist, which can consist of a single region or
many regions, can only be assigned to a track if
it is not in use by another track. While you can
create an almost unlimited number of edit playlists, which are shared among all tracks, each
track has its own set of dedicated automation
playlists.
Automation playlists for audio tracks store data
for volume, pan, mute, and plug-in controls.
Automation playlists for MIDI tracks, however,
store only mute information; continuous controller events, program changes, and Sysex
events are stored in MIDI regions and therefore
reside within edit playlists.
For more information on automation playlists, see Chapter 30, “Automation.”
Duplicating a Playlist
When you edit a track, you can work with a
copy of the track's playlist and keep the original
playlist arrangement intact.
To duplicate a track’s current playlist:
1 Click the track’s Playlist selector and choose
Duplicate from the pop-up menu.
2 Enter a name for the new playlist and click
Working with Playlists
OK.
When you create a new track, it contains a single, empty playlist until you record, import, or
drag and drop material to it.
The duplicated playlist appears in the track and
the track’s name is changed to the name of the
new playlist.
Audio material can be dragged and dropped
onto a track from the Region List, DigiBase
browsers, from Windows Explorer or the
Mac Finder.
New playlists can be created that are empty or
duplicates of the current playlist. Once created,
you can recall, rename, and delete playlists as
needed by using the Playlist selector.
New and duplicated playlists are auto-named
with the track name, followed by a Period (.)
and the playlist number. For example, the first
duplicated playlist on a track named “Kick” is
auto-named “Kick.01,” subsequent duplicated
playlists are auto-named “Kick.02,” “Kick.03,”
and so on.
Creating a Playlist
You can create new empty playlists for recording or importing audio and MIDI. This can be
useful for creating alternate takes of audio or
MIDI, or for constructing alternate arrangements.
To create a new (empty) playlist:
Playlist selector
1 Click the track’s Playlist selector and choose
New.
2 Enter a name for the new playlist and click
OK. An empty playlist with the specified name
appears in the track.
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Assigning a Playlist to Another Track
Renaming a Playlist
By default, a playlist is typically available only
for the track on which it was created. However,
if the playlist is no longer in use on its original
track or any other track, it can be reassigned in
another track using the Other Playlists feature.
When a playlist is reassigned to another track
(assigned on any track), it is unavailable to other
tracks including the track on which it originated.
You can rename a playlist by renaming the track
to which it is assigned.
An audio playlist’s timebase is saved with the
playlist. When assigning an unassigned playlist
to any track, the track assumes the saved timebase of the playlist.
To rename a track’s assigned playlist:
1 Double-click the track’s name.
2 Enter a new name and click OK. Both the track
and playlist names are updated.
Deleting a Playlist
You can delete a playlist from a session entirely.
However, since playlists require minimal disk
space, you do not need to delete them to conserve storage.
To assign a track playlist:
Click the track’s Playlist selector and do one of
the following:
■
To delete one or more playlists from a track:
1 Click the track’s Playlist selector and choose
• Select one of the track’s playlists.
Delete Unused.
– or –
2 Select the unassigned playlists you want to de-
• Select a playlist from a different track by
clicking the Other Playlists submenu, and
selecting the desired playlist.
lete. Shift-click (Windows or Mac), Control-click
(Windows), or Command-click (Mac) to select
multiple playlists.
3 Click OK to delete the selected playlists. This
operation cannot be undone.
When deleting a track from a session, you
have the option of deleting or keeping its
playlists, so they can be used on other
tracks.
Playlists and Groups
Selecting a playlist from a different track
The selected playlist appears in the track and the
track’s name is updated to that of the selected
playlist.
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Creating new playlists with grouped tracks automatically increments the suffixes of the playlist
names for each track of the active group. This
lets you revert back to an earlier take by switching the playlist takes by group.
Using this method, you can add new tracks to
the existing group and the suffixes for their
playlist names are synchronized with the original tracks.
“Empty” playlists are created automatically to
keep the playlist takes synchronized when
switching back to the earliest playlist takes in
the group.
To keep your playlist names and performances
synchronized (example workflow):
1 Create new tracks and group them together.
For more information on grouping tracks,
see “Grouping Tracks” on page 149.
2 Make sure the group is enabled.
3 Create a new playlist (by clicking the Playlist
selector in one of the tracks in the group and
choosing New). The default suffix will now be
“.01”—signifying take 1.
4 Record take 1, then create a new playlist. The
playlists on all tracks in the group increment to
“.02.”
5 Create new tracks (for example, for an addi-
tional musician or microphone), then add these
tracks to the group (or create a new group with
all the tracks).
6 Increment all the playlists by clicking the
Playlist selector in one of the tracks in the group
and choosing New.
All the playlists will now have the same suffix
appended to them. (Creating additional playlists in any of the group tracks will increment
their playlists to keep them synchronized.)
All tracks in the group have playlists numbered
with .01 suffixes (even those tracks that were
added to the original group after the earlier
takes). Empty playlists are automatically created
on these newly-added members so that playlist
numbers match across all members of the
group.
Multiple Undo
Pro Tools can keep track of up to 32 of the last
undoable operations, allowing you to return to
a previous editing state.
The Undo operations in Pro Tools are stored in a
queue, in the order in which they were invoked.
When choosing Edit > Undo, the most recent
operation is undone. If you choose Undo again,
the next operation in the queue is undone. You
can also choose Edit > Redo to redo an operation, which moves back through the Undo
queue by one step.
When the number of operations in the Undo
queue reaches the maximum Level of Undo,
performing another undoable operation will remove the oldest operation at the top of the
queue.
To undo the last operation, do one of the following:
■
Choose Edit > Undo.
– or –
■ Press Control+Z (Windows) or Command+Z
(Mac).
If no actions are available to undo, the
menu displays Can’t Undo.
7 If you want to hear the .01 take on the first
group of tracks, you can switch any playlist in
the group back to playlist .01.
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To redo the last undone operation, do one of the
following:
■
Choose Edit > Redo.
– or –
■ Press Shift+Control+Z (Windows) or
Shift+Command+Z (Mac).
All operations in the queue that were performed
after the operation you select are also undone.
In the Undo History window, undoable operations are shown in bold and redoable operations
(operations that have already been undone) are
shown in italics.
To redo operations in the Undo History window:
If no actions are available to redo, the menu
displays Can’t Redo.
■
Click the operation (italics) in the list to redo.
The operation you choose, as well as all the operations in the queue before it, are redone.
Undo History Window
You can use the Undo History window to view
the queue of the undoable and redoable operations and return to any previous state. The
Undo History can show edit creation times, enabling you to revert to the state a session held at
a particular time.
To toggle display of creation times in the Undo
History window:
■ Click the Options pop-up menu and choose
Show Creation Times.
To undo all the operations in the Undo Queue:
Options selector
■ Click the Options pop-up menu and choose
Undo All.
Undoable
operations
Redoable
operations
To redo all the operations in the Redo Queue:
■ Click the Options pop-up menu and choose
Redo All.
To clear the Undo Queue
Creation times
Undo History Window
To show (or hide) the Undo History window:
■
Choose Window > Undo History.
To undo operations in the Undo History window:
■
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Click the operation (bold) in the list to undo.
Pro Tools Reference Guide
■ Click the Options pop-up menu and choose
Clear Undo Queue.
Other operations that clear the Undo Queue include:
• Deleting a track, or clearing a region from
the Region List
• Selecting “Select > Unused,” or “Select >
Unused Audio Except Whole Files” in the
Region List pop-up menu
When the number of operations in the Undo
History reaches the maximum level of Undo,
performing another undoable operation removes the oldest operation at the top of the
Undo History queue. When the oldest operation
is one operation away from being pushed out of
the queue, it is shown in red.
Levels of Undo and Memory
Because Pro Tools needs to keep track of the
playlists for all tracks that are edited, the use of
multiple Levels of Undo can be memory intensive. You can lower the Levels of Undo in
Pro Tools to reduce the amount of system memory (RAM) used by the Undo queue. If you have
plenty of memory available for Pro Tools, you
can use higher Levels Of Undo.
The Region List
The Edit Window displays all audio regions,
MIDI regions, and region groups in a single,
comprehensive Region List.
All regions of all types that are recorded, imported, or created by editing appear in the Region List. Items can be dragged from the list to
tracks and arranged in any order. All types of regions can be auditioned from the Region List by
Alt-clicking (Windows) or Option-clicking
(Mac) them.
At the top of the Region List is the Region List
pop-up menu, which provides commands and
tools for managing the contents of the list.
Drag to resize width
of Region List
Click for pop-up menu
Keyboard Focus
Use the Undo History window to view a
queue of undo operations and return to a
previous state.
To set the Levels of Undo in Pro Tools:
1 Choose Setup > Preferences and click the
Editing tab.
2 Click in the Levels of Undo field and enter a
value of between 1–32.
Levels of Undo preference
3 Click OK.
Click Show/Hide Region List button to hide Region List
Figure 18. Region List
Region List Pop-Up Menu
The Region List pop-up menu provides tools to
search, select, sort, export, clear, and manage
items in the Region List.
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To access the Region List pop-up menu:
■ In the Edit window, click the Region List popup menu.
Region List menu
Displaying File Info for Audio Regions
In addition to region names, the Region List can
also display information about the region’s
color coding, type (audio, MIDI, and region
group), timebase, and parent file:
Color Displays the color coding for regions.
Icon Displays the icon for audio and MIDI regions, and region groups.
Timebase Displays the timebase for audio and
MIDI regions, and region groups.
File Name Displays the parent file name.
Region List menu
Disk Name Displays the name of the hard drive
on which referenced file resides.
Displaying Regions in the Region List
Full Path Displays the full directory path of the
region’s parent file.
In the Region List, whole-file audio regions are
displayed in bold, and stereo and multichannel
regions can be expanded to display individual
channels.
Channel Name Displays the channel name for
audio files imported from field recorders.
Because region names can become lengthy, the
Region List can be scrolled or resized as necessary (see Figure 18 on page 357).
Scene and Take Displays the scene and take for
audio files imported from field recorders.
If the Editing preference for “Region List Selection Follows Edit Selection” is enabled, selecting
a region or region group in the Region List selects it on any track where it is present in assigned playlist. Likewise, selecting a region or region group on a track selects it in the Region
List.
Use the Region List as a bin for storing your
favorite audio loops and MIDI clips. Save
the session as a template and the regions are
available for future sessions (see “Creating
Custom Session Templates” on page 91).
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Regions with file information shown in the Region List
Pro Tools displays only the region name in the
Region List by default.
When editing, the Region List can become
cluttered with auto-created regions. You can
hide auto-created regions by choosing Show
in the Region List pop-up menu, and deselecting Auto-Created.
Sorting and Searching in the
Region List
Most sessions will contain many regions, which
can make it challenging to swiftly locate a particular region in the Region List. Pro Tools lets
you sort and search regions in the Region List to
quickly locate any region you want.
To sort regions in the Region List:
1 Click the Region List pop-up menu (at the top
of the Region List) and choose Sort By.
3 Click the Region List pop-up menu, choose
Sort By, and select one of the following to apply
additional sort criteria (in other words, to add a
secondary sort criteria):
• Ascending
• Descending
Finding Regions
Use the Find command to display all regions in
a list whose names contain a particular word or
phrase.
To find and display regions in the Region List:
1 Do one of the following:
• Click the Region List pop-up menu and
choose Find.
– or –
• Press Control+Shift+F (Windows) or Command+Shift+F (Mac).
2 Select a basis for sorting from the submenu:
• Region Type (audio regions, region groups,
MIDI regions)
• Name
• Length
• Original Time Stamp
• User Time Stamp
Find Regions dialog
• Timebase
• Start in Parent
• End in Parent
• File Name
• File Length
• File Creation Date
• File Modification Date
• Disk Name (audio and region groups only)
• Track Format/Width
• By Channel Name
• By Scene and Take
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359
2 In the Find Regions dialog, do any of the following:
• Select By Name and type the name, or any
portion of the name, for regions you want
to find. The search string appears at the top
of the Region List.
• Select Include Subsequently Added Regions
to limit the display to newly added regions.
A plus (+) sign appears at the top of the Region List to indicate this option is selected.
• Select both options to start with a list of
named regions and allow display of added
regions.
To repeat a previous search:
1 Click the Region List pop-up menu, and
choose Find.
2 Click the small arrow to the right of the text
field in the Find dialog and select a text string
from the Find History pop-up menu.
An example of a Find history
The Find History is saved with the session.
Found Regions in the Region List
3 Click OK.
Regions of any type whose name match the
word or phrase you searched are displayed in
the Region List. The search string is displayed at
the top of the Region List in brackets.
Text entered into the Find dialog is saved in a
Find History, letting you quickly repeat previous
searches with a minimum of retyping.
In addition to storing each text string previously
entered, you can insert multiple entries into the
Find History manually (without having to perform each Find in order to store words or
phrases).
To compile a Find History without performing each
search:
1 Click the Region List pop-up menu, and
choose Find.
2 Type the name, or any portion of the name,
for the regions you want to find.
3 Click and hold the double arrow to the right
of the text field in the Find dialog and choose
Insert Entry from the pop-up menu.
Region List while searching
4 Type another entry and choose Insert Entry
again to add additional search strings to the history.
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To remove an entry from the history:
1 Select it from the Find History pop-up menu
so it is displayed in the text field.
2 Choose Remove Entry from the Find History
pop-up menu.
■ Click the name of a region in the Region List,
and Shift-click an additional region name.
All regions that occur between the first region
selected and the additional region will also be
selected.
To clear the Find History:
To select or deselect a range of regions with the
Marquee:
Choose Remove All Entries from the Find History pop-up menu.
1 Move the cursor to the left of the region name
■
Selecting Regions in the Region
List
In the Region List, you can select regions so they
can be dragged to tracks, processed with AudioSuite plug-ins, or exported.
To select or deselect a region in the Region List,
do the following:
Click a region name that is unhighlighted to
select it.
■
– or –
Click a region name that is highlighted to deselect it.
until the Marquee icon with a small “+” symbol
appears:
• To select regions, the Marquee should be to
the left of an unhighlighted region name.
• To deselect regions, the Marquee should be
to the left of a highlighted region name.
2 Click on the region name and drag up or
down (to select or deselect regions immediately
above or below the region name).
To select multiple noncontiguous regions in
the Region List, press and hold Control
(Windows) or Command (Mac) when making subsequent selections.
■
To select a range of regions in the Region List, do
one of the following:
Move the cursor to the left of the region
names, so the Marquee appears, and drag
around the regions you want to select.
■
To select or deselect noncontiguous regions, do
one of the following:
■ Control-click (Windows) or Command-click
(Mac) region names that are unhighlighted to
select them.
– or –
■ Control-click (Windows) or Command-click
(Mac) region names that are highlighted to deselect them.
Keyboard Selection of Regions
Regions selected with Marquee
If the Region List Keyboard Focus is enabled,
you can type the first few letters of a region’s
name and Pro Tools will automatically locate
and select the region in the Region List.
– or –
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To enable and use the Region List Keyboard Focus:
1 Click the Keyboard Focus button in the upper
right of the Region List.
Click to enable
or disable
Keyboard Focus
Stereo and multichannel regions are displayed
in the Region List by default in collapsed view.
The individual regions can be displayed by clicking the arrow to the left of the region to expand
the name.
Expand/collapse
triangles
Stereo regions, collapsed (top) and expanded (bottom)
Region List Keyboard Focus enabled
2 Type the first or first few letters of the region
to automatically locate and select it. Once a region is located and selected, it can be dragged to
a track.
■ Press Alt (Windows) or Option (Mac) while
clicking the expand/collapse triangle.
Keyboard selection of audio regions locates regions based on their region name, not on the
names for their parent audio files or the volumes on which they reside.
Individual items of an expanded-view stereo or
multichannel region can be selected independently of the other associated regions in the Region List.
Auditioning Regions in the Region List
Rules for Stereo and Multichannel
Regions
To audition a region in the Region List:
For stereo and multichannel audio regions to be
shown as collective regions, the component regions must be the same length. If an existing stereo or multichannel region has been dragged
onto multiple mono tracks and edited such a
way that one or more components are no longer
the same length, the stereo display is removed
and the regions are displayed as individual regions in the Region List.
Alt-click (Windows) or Option-click (Mac) the
region name.
■
Stereo and Multichannel Tracks in
the Region List
Stereo and multichannel regions, whether imported or recorded into Pro Tools, are displayed
as single items in the Region List. For example,
two mono source regions named “Main Piano.L” and “Main Piano.R” are listed as “Main
Piano (Stereo).” An expand/collapse triangle indicates stereo and multichannel regions.
362
To expand or collapse all stereo and multichannel
regions:
Pro Tools Reference Guide
Region Name Right-Click
Pop-Up Menus
(Region List)
When you Right-click a region name in the Region List, a pop-up menu provides access to the
following commands:
Edit Modes
Pro Tools has four Edit modes: Shuffle, Spot,
Slip, and Grid. Grid mode provides two modes
of operation, Relative and Absolute, explained
below. The Edit mode is selected by clicking the
corresponding button in the upper left of the
Edit window.
Clear Removes selected regions from the session.
Rename Renames selected regions.
Time Stamp Redefines the time stamp of selected regions.
Replace Region (Pro Tools LE with DV Toolkit 2
Only) Replaces multiple instances of a region
with another region.
Compact Compacts selected regions.
Export Region Definitions Exports definitions for
selected regions.
Export Regions as Files Exports selected regions
as files.
Edit mode buttons
You can also use F1 (Shuffle), F2 (Slip), F3
(Spot), and F4 (Grid) to set the Edit mode.
The Edit mode affects the movement and placement of audio and MIDI regions (and MIDI
notes), how commands like Copy and Paste
function, and also how the various Edit tools
(Trim, Selector, Grabber, and Pencil tools) work.
Use the Accent key ( ` ) to toggle through the
Edit modes.
Recalculate Waveform Overviews Redraws waveforms for selected regions.
Select Parent in Workspace Highlights the parent file of selected region in the DigiBase Workspace Browser.
Object Select in Edit Window Selects region as an
object in the Edit window.
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Shuffle
In Shuffle mode, you can move, trim, cut, or
paste regions freely within a track or to other
tracks, but their movement is constrained by
other regions. That is, if you place several regions in a track, they automatically snap to each
other. You can then “shuffle” their order, but
you cannot separate them from each other and
you cannot make them overlap as in Slip mode.
However, if there is silence between existing regions, and the regions are shuffled, the silence is
maintained, and not removed.
In Shuffle mode, adding another region to the
beginning of a track moves all subsequent regions to the right by the length of the region
added.
When using any of the Trim tools in Shuffle
mode, changing a region’s start or end point automatically moves any subsequent regions as
necessary. The placement and insertion of MIDI
notes is not affected by Shuffle mode.
Shuffle Lock
With certain workflows, it is important to exclude Shuffle mode in order to ensure that regions stay time-aligned while editing. Shuffle
Lock prevents you from inadvertently entering
Shuffle mode by disabling all key commands
and control surface switches for Shuffle mode.
You cannot invoke Shuffle Lock while in Shuffle
mode.
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To lock out Shuffle Mode:
■ While in any Edit mode other than Shuffle
mode, Control-click (Windows) or Commandclick (Mac) the Shuffle button on-screen. A lock
icon appears in the Shuffle button.
Shuffle
Lock
Lock icon indicating Shuffle Lock
To unlock Shuffle Mode:
■ Control-click (Windows) or Command-click
(Mac) the locked Shuffle button on-screen.
Slip
In Slip mode, regions can be moved freely
within a track or to other tracks. In this mode, it
is possible to place a region so that there is space
between it and other regions in a track. When
the track is played back, this space is silent. It is
also possible to move a region so that it overlaps
or completely covers another region.
Use Slip mode when you want the Trim, Selector, Grabber, and Pencil tools to work without
any restrictions to placement in time.
Spot
Use Spot mode to place regions at precise locations. In Spot mode you can specify a frame location (or a location based on any of the other
time formats), capture an incoming Time Code
address, or use a region’s time stamps as reference points for spotting. This can be particularly
useful when performing post production tasks
around SMPTE frame locations.
When Spot mode is enabled, Pro Tools asks you
to specify a destination location when a region
is dragged from the Region List, a DigiBase
browser, Windows Explorer, or the Mac Finder.
Grid
In Grid mode, regions and MIDI notes that are
moved, trimmed or inserted “snap” to the currently selected Grid value, or to precise increments on a user-definable time grid.
Configuring the Grid
The actual Grid size, chosen from the Grid value
pop-up menu can be based on a time value using the Main Time Scale; or, if Follow Main Time
Scale is deselected, another time format can be
used for the Grid size.
The Grid Value indicator and pop-up menu are
located in the Edit window.
Absolute and Relative Grid
Grid mode can be applied in Absolute or Relative mode:
In Absolute Grid mode, moving any region
snaps the region start to Grid boundaries. If a region’s start point falls between beats, and the
Grid is set to 1/4 notes, dragging the region will
snap its start time to the nearest 1/4 note (the
current absolute Grid value).
◆
In Relative Grid mode, regions can be moved
by Grid (or Nudge) units. If a region’s start point
falls between beats and the Grid is set to 1/4
notes, dragging the region will be constrained to
1/4 notes, preserving the region’s relative position to the nearest beat.
◆
To select Absolute or Relative Grid mode:
Click the Grid mode selector and choose Absolute or Relative.
■
To temporarily suspend Grid mode and
switch to Slip mode while dragging a region,
hold down the Control key (Windows) or
Command key (Mac) after clicking with the
mouse.
Grid Value indicator and pop-up menu
The current Grid value is also used for the
Quantize to Grid command (see “Quantizing Regions to Grid” on page 438) and Separated Region At Grid command (see “Separate Region Commands” on page 418).
For more information on Relative Grid
mode, see “Sliding Regions in Grid Mode”
on page 432.
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Also available in the Grid Value pop-up is an option for Regions/Markers. When selected, events
can be placed freely (as in Slip mode) but will
snap to region locations (start, end, and sync
points), markers, and Edit selections when
placed near them.
MIDI notes inserted with the Pencil tool ignore the Regions/Markers option, and instead snap to the time value selected in the
Grid Value pop-up menu.
To display the Grid lines in the Edit window, do one
of the following:
Edit Tools
Pro Tools has several Edit tools: the Zoomer,
Trim, Selector, Grabber, Scrubber, and Pencil
tools, and the multifunctional Smart Tool. Select an Edit tool by clicking it in the Edit window. The Zoom, Trim, Grabber, and Pencil tools
have multiple modes, which you can select from
a pop-up menu when you click the tool.
Zoomer tool Selector tool Scrubber tool
Zoom buttons
Trim tools Grabber tools Pencil tool
■ Choose Setup > Preferences and click the
Display tab, then Enable Draw Grids in Edit
Window.
Zoom Toggle Smart Tool
Zoom buttons and Edit tools
You can use F5 (Zoomer), F6 (Trim), F7
(Selector), and F8 (Grabber), F9 (Scrubber),
and F10 (Pencil) to select the Edit tool and
toggle through each tools’ respective subset
of tools.
Grid lines displayed in the Edit Window
– or –
■ Enable (and disable) Grid lines by clicking the
currently selected Timebase ruler name.
Click to enable or disable Grid lines
Press the Escape key to toggle through the
Edit tools.
Zoom Buttons Use the Zoom buttons to zoom in
and out vertically and horizontally on MIDI and
audio track material. You can also store and recall five Zoom presets.
Zoomer Tool Use the Zoomer tool to select a
zoom view in a track.
Turning on Grid lines from a Timebase ruler
Zoom Toggle Use the Zoom Toggle to switch between the current zoom view and a defined
zoom view.
Trim Tools Use the Trim tools to trim regions and
region groups.
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Selector Tool Use the Selector to make selections
on tracks.
Grabber Tools Use the Grabber tools to select,
separate, or move regions on tracks.
Smart Tool Use the Smart tool to Trim, Select, or
Grab regions in tracks.
Scrubber Tool Use the Scrubber tool to scrub
through track material.
Pencil Tool Use the Pencil tool to draw automation and MIDI data.
To zoom out horizontally for all tracks, do one of
the following:
■
Click the Horizontal Zoom Out button.
■ Press Control+[ (Windows) or Command+[
(Mac).
■ Click and drag on the Horizontal Zoom Out
button to zoom out continuously.
Audio and MIDI Zoom In and Out Buttons
The Audio and MIDI Zoom buttons let you
zoom in and out vertically on audio and MIDI
data respectively.
Audio Vertical MIDI Vertical
Zoom buttons Zoom buttons
Using the Zoomer Tools
Zooming options in Pro Tools include Zoom
buttons, the Zoomer tool, the Zoom Preset buttons, and the Zoom Toggle command.
Audio and MIDI Vertical Zoom buttons
Zoom Buttons
Pro Tools include different Zoom buttons for
zooming on track data.
Horizontal Zoom In and Out Buttons
The Horizontal Zoom In and Out buttons let
you zoom in and out horizontally on track data.
Horizontal
Zoom Out
button
Horizontal Zoom
In button
(selected)
To zoom in vertically for all audio tracks, do one of
the following:
■
Click the Audio Zoom In button.
■ Press Control+Alt+] (Windows) or Command+Option+] (Mac).
■ Click and drag on the Audio Zoom In button
to zoom continuously.
To zoom out vertically for all audio tracks, do one
of the following:
Click the Audio Zoom Out button.
Horizontal Zoom In button
■
To zoom in horizontally for all tracks, do one of the
following:
■ Press Control+Alt+[ (Windows) or press Command+Option+[ (Mac).
■
Click the Horizontal Zoom In button.
Press Control+] (Windows) or Command+]
(Mac).
■
■ Click and drag on the Audio Zoom Out button to zoom continuously.
Click and drag on the Horizontal Zoom In
button to zoom in continuously.
■
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To zoom in vertically for all MIDI and Instrument
tracks, do one of the following:
■
Click the MIDI Zoom In button.
To zoom so that all regions are visible in the Edit
window, do one of the following:
■
– or –
■ Press Control+Shift+] (Windows) or Command+Shift+] (Mac).
To zoom out vertically for all MIDI and Instrument
tracks, do one of the following:
■
Click the MIDI Zoom Out button.
– or –
■ Press Control+Shift+[ (Windows) or Command+Shift+[ (Mac).
To zoom in or out vertically for a single MIDI or
Instrument track:
1 Make sure the Track View is not set to Regions
View.
Double-click the Zoomer tool in the toolbar.
– or –
■
Press Alt+A (Windows) or Option+A (Mac).
Zoomer Tool
Use the Zoomer tool to zoom in and out around
a particular area within a track. The Zoomer tool
offers two modes: Normal, and Single Zoom
mode.
◆ In Normal Zoom mode, the Zoomer tool remains selected after zooming.
◆ In Single Zoom mode, the previously selected
Edit tool is automatically reselected after zooming.
Normal Zoomer Tool
2 Select the Zoomer tool.
3 Hold Start (Windows) or Control (Mac) and
click and drag upwards to zoom in, or downward to zoom out.
Additional Zoom Button Features
To zoom around a certain track point:
1 Enable Normal Zoom mode by doing one of
the following:
• Click the Zoomer tool pop-up menu and
select Normal Zoom mode.
– or –
To return to the previous zoom level, do one of the
following:
• Press the F5 key to toggle to Normal Zoom
mode.
■ Alt-click (Windows) or Option-click (Mac)
any of the Horizontal, Audio, or MIDI Zoom
buttons.
– or –
Zoomer tool
Press Control+Alt+E (Windows) or Command+Option+E (Mac).
■
To zoom in on a selection:
■
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Press Alt+F (Windows) or Option+F (Mac).
Pro Tools Reference Guide
2 Click once with the Zoomer tool at a location
within the track. All tracks are zoomed in by one
level and the Edit window is centered around
the zoomed location.
3 To zoom back to the previous level, Alt-click
(Window) or Option-click (Mac) with the
Zoomer tool.
To zoom into a particular track area:
1 Enable Normal Zoom mode by doing one of
the following:
• Click the Zoomer tool pop-up menu and
select Normal Zoom mode.
To use Single Zoom mode, do one of the following:
■ Click the Zoomer tool pop-up menu and select Single Zoom mode.
– or –
■ Press the F5 key to toggle to Single Zoom
mode.
Single Zoom is identified with an arrow to the
right of the Zoomer icon.
– or –
• Press the F5 key to toggle to Normal Zoom
mode.
2 Do any of the following:
• To zoom horizontally, drag with the
Zoomer tool in the track’s playlist.
Single Zoom mode
Normal Zoom mode does not have the arrow.
– or –
• To zoom horizontally and vertically, press
Control (Windows) or Command (Mac)
while dragging in the track’s playlist.
Normal Zoom mode
Zooming in a Ruler
To zoom horizontally in a ruler:
1 Press Control+Alt (Windows) or Com-
mand+Control (Mac) and move the cursor into
the ruler area, so the Zoomer tool appears.
Zooming horizontally with Zoomer tool
Zooming in a ruler
The zoomed area fills the entire Edit window.
2 Do one of the following:
Single Zoom Mode
• Click once to zoom in one level around a
certain point.
Single Zoom mode returns you to the previously
selected tool after a zoom has been performed.
– or –
For example, when using the Smart Tool you
can click the Single Zoomer tool, and once the
Zoom operation has been performed, Pro Tools
automatically switches back to the Smart Tool.
• Drag to zoom in around a particular ruler
range.
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Continuous Zoom with the Zoomer Tool
Zoom Preset Buttons
Use the Zoomer tool to zoom in or out continuously.
Pro Tools lets you save up to five horizontal Edit
window Zoom presets, which can be recalled by
typing a number or by clicking a Zoom Preset
button.
To use continuous zoom on one track or a group of
tracks:
1 Select the Zoomer tool.
2 Hold the Start key (Windows) or Control
(Mac) and do one of the following:
To store a view as a Zoom preset:
1 Use the Zoomer tool to configure the Track
View as desired.
• Drag up to zoom in vertically
2 Click and hold one of the Zoom Preset but-
• Drag down to zoom out vertically
tons (1–5) and choose Save Zoom Preset from
the Zoom Preset pop-up menu. The preset button flashes momentarily, and any previously
stored Zoom preset at that number is replaced.
• Drag to the right to zoom in horizontally
• Drag to the left to zoom out horizontally
For horizontal zoom, all tracks zoom together.
Tracks will zoom in or out centered horizontally
on the location where you click.
Vertical Zooming In or Out of All Audio Tracks
Continuously
The continuous zoom feature usually only affects the track or group of tracks in which you
click and drag up or down to zoom out or in.
When using continuous zoom on audio tracks,
you can choose to have all shown audio tracks
zoom as one.
To vertically zoom in or out of all audio tracks
using continuous zoom:
1 Select the Zoomer tool.
2 Press Start+Shift (Windows) or Control+Shift
(Mac) and drag up or down. When you release
the mouse, all shown audio tracks will zoom to
the same zoom level.
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Zoom Preset pop-up menu
To recall a saved Zoom preset, do one of the
following:
■ Click the appropriate Zoom Preset button
(1–5).
– or –
■ Click and hold the Zoom Preset button and
choose Recall Zoom Preset from the Zoom Preset
pop-up menu.
Zoom Toggle
Vertical Zoom
Zoom Toggle lets you define and toggle between
zoom states directly from the Edit window.
Selection When selected, zoom toggling in
zooms vertically to the current Edit Selection.
Zoom Toggle Parameters
The Zoom Toggle stores and recalls the following parameters:
• Vertical Zoom
• Horizontal Zoom
• Track Height
• Track View
• Grid setting
Zoom Toggle Preferences
The Zoom Toggle preferences determine how
Zoom Toggle works. Adjust the Zoom Toggle
preferences to fit your workflow.
Last Used When selected, zoom toggling in
zooms vertically to the last stored Zoom Toggle
state for MIDI notes in Notes view only.
Horizontal Zoom
Selection When selected, zoom toggling in
zooms horizontally to the current selection.
This is especially useful for audio editing.
Last Used When selected, zoom toggling in
zooms horizontally to the last stored Zoom Toggle state. This option can emulate a separate editor window. This is especially useful for editing
MIDI notes.
Remove Range Selection After Zooming In
When the Remove Range Selection After Zooming In option is selected, the current Edit selection collapses into an insertion point after zoom
toggling in.
Track Height
Zoom Toggle preferences
For MIDI Editing, set the Zoom Toggle preferences as follows: Vertical Zoom to Last
Used, Horizontal Zoom to Last Used, Track
View to Waveform/Notes, and Track
Height to Fit to Window.
For audio editing, set the Zoom Toggle preferences as follows: Vertical Zoom to Selection, Horizontal Zoom to Selection, Track
Height to Fit to Window, and Track View to
No Change.
Last Used When selected, zoom toggling in
changes all tracks containing an Edit Selection
to the last used Track Height.
Medium When selected, zoom toggling in
changes all tracks containing an Edit Selection
to the Medium Track Height.
Large When selected, zoom toggling in changes
all tracks containing an Edit Selection to the
Large Track Height.
Jumbo When selected, zoom toggling in changes
all tracks containing an Edit Selection to the
Jumbo Track Height.
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Extreme When selected, zoom toggling in
changes all tracks containing an Edit Selection
to the Extreme Track Height.
To store a zoom state using Zoom Toggle:
1 Set the Zoom Toggle preferences.
2 Make an Edit selection.
Fit To Window When selected, zoom toggling in
changes all tracks containing an Edit Selection
to the Fit To Window Track Height.
Track View
3 Click the Zoom Toggle button. It lights to in-
dicate that Zoom Toggle is enabled and
Pro Tools zoom toggles in based on the settings
of the Zoom Toggle preferences.
Waveform/Notes When selected, zoom toggling
in changes the Track View for audio tracks to
Waveform view, and changes the Track View for
Instrument and MIDI tracks to Notes view.
Zoom Toggle button
Last Used When selected, zoom toggling in
changes the Track View to the last used Track
View that was stored with Zoom Toggle.
No Change When selected, the track view does
not change when zoom toggling in or out.
Separate Grid Settings When Zoomed In When
selected, this option retains the same (current)
grid setting when zoom toggling in or out.
When this option is deselected, the grid setting
stored with Zoom toggle is recalled when zoom
toggling in.
Using Zoom Toggle
Depending on the Zoom Toggle preferences settings, the Zoom Toggle button in the Edit window lets you define a zoom state and toggle between it and the current zoom state, or it zooms
to the settings in the Zoom Toggle preferences.
When Zoom Toggle is enabled, the Edit window
displays the stored zoom state. Additionally,
any changes made to the view while Zoom Toggle is enabled are also stored in the zoom state.
When Zoom Toggle is disabled, the Edit window
reverts to the last zoom state.
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Zoom Toggle button in the Edit window
If Last Used is selected for any of the following,
you can adjust the corresponding zoom, height,
or view in the Edit window to update the stored
zoom state:
• Vertical Zoom
• Horizontal Zoom
• Track Height
• Track View
In Commands Keyboard Focus mode (see
“Keyboard Focus” on page 16), press the E
key to enable or disable Zoom Toggle.
To modify the stored Zoom Toggle state, do one of
the following:
■
To use Zoom Toggle without changing playlist
views:
Change the Zoom Toggle preferences.
1 Make a selection on one or more tracks.
– or –
2 Do one of the following:
If Last Used is selected for any of the Vertical
Zoom, Horizontal Zoom, Track Height, or Track
View preferences, do the following:
■
• Make sure the Zoom Toggle button is lit
(enabled).
– and –
• Press Alt+Start+E (Windows) or Option+Control+E (Mac).
– or –
• With Commands Keyboard Focus enabled
(see “Keyboard Focus” on page 16), press
Alt+E (Windows) or Option+E (Mac).
• Adjust the Track Height, Vertical Zoom,
Track View, or the Grid depending on
which preferences are set to Last Used.
Changes are stored as the new Zoom Toggle
state.
To clear the stored Zoom Toggle state:
1 Make sure the Zoom Toggle button is lit (en-
abled).
2 Alt-click (Windows) or Option-click (Mac) the
Zoom Toggle button.
Using the Zoom Toggle
Auto-Toggle When Changing Selection
When Zoom Toggle is enabled, selecting a different range of material, or selecting material on
a different track affects Zoom Toggle as follows:
• Changing the selection length does not rezoom the window, the current zoom level
is maintained.
• Changing the selection to a different track
sets the toggle-in state for track height and
view. However, horizontal zoom remains
unchanged. When moving the selection
from a toggled in track, the toggled out
track height and view are restored.
Auto-Toggle does not work for Edit selections across multiple tracks that are Zoomtoggled to Fit to Window.
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Zooming with a Scroll Wheel
If you have a mouse with a scroll wheel, you can
use the scroll wheel to zoom in and out of
tracks, both vertically and horizontally.
To continuously zoom in the Edit window
(horizontal zoom):
■ Hold Alt (Windows) or Option (Mac) while
turning the mouse scroll wheel.
Using the Trim Tools
Trim tools provide region, note, and data trimming functions. The following Trim tools are
available:
• Trim tool; also called Standard Trim tool
• Time Compression/Expansion Trim tool;
also called TC/E Trim tool
• Scrub Trim tool (Pro Tools HD only)
• Loop Trim tool
To continuously zoom audio (vertical zoom) in the
Edit window:
■ Hold Alt+Shift (Windows) or Option+Shift
(Mac) while turning the mouse scroll wheel.
To continuously zoom MIDI (vertical zoom) in the
Edit window:
Hold Alt+Start (Windows) or Option+Control
(Mac) while turning the mouse scroll wheel.
■
To scroll the contents of the Edit window or Mix
window horizontally:
1 Focus the window you want to scroll by click-
ing in it or bringing it forward.
2 Hold the Shift key while turning the mouse
scroll wheel.
The Trim tools are constrained by boundary regions, regardless of the current Edit mode, as follows:
• Trimming towards the left is constrained
by the next region’s left-most boundary (region start).
• Trimming towards the right is constrained
by the region’s right-most boundary (region end).
• The Trim tool provides special functions
when used on looped regions and region
groups. For more information, see “Region
Groups” on page 452 and “Region Looping” on page 461.
Trim Tool
With the Trim tool, you can quickly shorten or
expand a region (up to the entire length of the
source audio file). The first time you trim a region, Pro Tools automatically adds it to the Region List as a new region (with a name derived
from the original) in order to differentiate it
from the original.
The Trim tool is a nondestructive tool and does
not actually modify the original audio or MIDI
data (when working on regions). To return to
the length of the original region, drag it from
the Region List, or resize the edited region with
the Trim tool to its original length.
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Use of the Trim tool is affected by the current
Edit mode: Shuffle, Slip, Spot, or Grid (see “Edit
Modes” on page 363).
The Trim tool can also be used to lengthen
and shorten MIDI notes (see “Trimming
Note Start and End Times” on page 566),
and also to scale automation and controller
data up or down “Drawing Automation” on
page 712.
To trim a region with the Trim tool:
1 Select the Trim tool.
2 With Pro Tools HD, click the Trim tool pop-up
menu and select “Standard.”
When using Shuffle mode, subsequent regions
are slid as necessary to make room for the edited
region. If using Grid mode, the dragged
start/end times snap to the nearest Grid boundary. If using Spot mode, the Spot dialog opens,
where you can enter the new location for the region’s start or end point.
Time Compression/Expansion
Trim Tool
The Time Compression/Expansion Trim tool is a
convenient tool for matching an audio region to
the length of another region, a tempo grid, a
video scene, or to practically any other reference
point you want.
Trim tool
3 Move the cursor near the start or end of the re-
gion, so the Trim tool appears.
Time Compression/Expansion Trim tool over a region
The TC/E Trim tool unloops and consolidates the looped region.
Trim tool
To reverse the direction of the Trim tool, press
Alt (Windows) or Option (Mac).
4 Do one of the following:
• If trimming the end, drag left to shorten
the region, right to lengthen.
– or –
• If trimming the start, drag right to shorten
the region, left to lengthen.
When working with audio, you cannot trim
past the boundaries of adjacent regions.
The Time Compression/Expansion Trim tool
works by using the Time Compression/Expansion (TC/E) AudioSuite plug-in (or a third party
plug-in) to create a new audio file. You use this
tool by dragging the region’s start or end point
to expand or compress the region.
With Pro Tools HD or LE with DV Toolkit
2, you can match an Edit selection to the
length of a Timeline selection by selecting
Edit > TCE Edit to Timeline Selection command (see “TCE (Time Compression and
Expansion) Edit To Timeline Selection” on
page 411.
When trimming regions in a stereo or multichannel track, all channels are trimmed.
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Time Compression/Expansion Plug-in
Preferences
Using the Time Compression/Expansion Trim
Tool in Grid Mode
You can select which AudioSuite plug-in is used
for trimming with the TCE Trim tool.
The Time Compression/Expansion Trim tool
can be used in Grid mode to match a region to
the tempo of a session or a section of a session.
For example, you might import a one-bar drum
loop with a tempo of 90 BPM into a session with
a tempo of 120 BPM. In Grid mode, you can use
this tool to simply and quickly “time compress”
the drum loop to the length of one measure,
with minimal loss of audio fidelity.
To set the AudioSuite plug-in for use with the Time
Compression/Expansion Trim tool:
1 Choose Setup > Preferences.
2 Click the Processing tab.
3 From the TC/E Plug-in pop-up menu, select
the AudioSuite plug-in to be used with the Time
Compression/Expansion Trim tool.
Trimming regions while in Relative Grid
mode will trim the regions in grid increments while maintaining their relative offset (if any) from the grid.
To use the Time Compression/Expansion Trim tool
in Grid mode:
TC/E Preferences
1 Set the Edit mode to Grid.
4 From the Default Settings pop-up menu, select
the plug-in setting.
2 Click the Trim tool pop-up menu and select
TCE.
5 Click OK.
Refer to the DigiRack Plug-ins Guide for
more information about AudioSuite plugins.
Time Compression/Expansion Trim tool
3 With the Time Compression/Expansion tool,
drag the audio region’s start or end point to
compress or expand the region to the Grid (for
example, by quarter notes). The audio region is
automatically processed using the Time Compression/Expansion AudioSuite plug-in. The
new audio region appears in the playlist and in
the Region List.
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Using the Time Compression/Expansion Tool in
Slip Mode
Scrub Trim Tool
To use the Time Compression/Expansion tool in
Slip mode:
The Scrub Trim tool is a convenient tool for auditioning material (on up to two tracks) to find a
trim point. You can drag in a track to hear the
audio information, then trim at a specific location by releasing the mouse button.
1 Set the Edit mode to Slip.
2 Click the Trim tool pop-up menu and select
TCE.
3 With the Time Compression/Expansion Trim
tool, drag the region’s start or end point to compress or expand the region freely. A new region
is automatically processed using the Time Compression/Expansion AudioSuite plug-in. The
new region appears in the playlist and in the Region List.
(Pro Tools HD Only)
This action creates a new region. Note that the
Scrub Trim tool changes into a “right trim” or
“left trim” shape as it is placed over the right or
left side of a region. To reverse the direction of
the Scrub Trim tool, press Alt (Windows) or Option (Mac) before you click the region.
Using the Time Compression/Expansion Trim
Tool in Spot Mode
In Spot mode, clicking with the Time Compression/Expansion Trim tool in a region opens the
Spot Dialog. You can specify the location you
want the region to start or end at, or the duration of the region, and the region is automatically compressed or expanded as specified.
To use the Time Compression/Expansion Trim tool
in Spot mode:
1 Set the Edit mode to Spot.
Scrub Trim tool over a region
Scrub playback speed and direction vary with
controller movement. Scrubbed audio is routed
through the track signal path, so you hear any
effects in the signal path.
To scrub trim a track:
1 Click the Trim tool pop-up menu and select
Scrub. The tool changes to a speaker with a
bracket.
2 Click the Trim tool pop-up menu and select
TCE.
3 Click the region near its start or end point.
The Spot Dialog opens. Using any Time Scale,
enter a new start or end time (or duration) for
the region, then click OK. A new region is automatically processed using the Time Compression/Expansion AudioSuite plug-in. The new
region appears in the playlist and in the Region
List.
2 Drag within a track to the left or right. Audio
from a scrubbed track is routed through the
track signal path, including any TDM effects.
When you locate the trim point, release the
mouse button to trim the region.
To scrub trim two tracks, click with the Scrub
Trim tool between two adjacent tracks and drag.
To scrub with finer resolution (without having
to zoom in), press Control (Windows) or Command (Mac) while scrubbing.
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Loop Trim Tool
Use the Loop Trim tool to create or trim looped
regions.
4 Do one of the following:
• Click at the end of the region, and drag left
or right to the point you want the loop to
stop.
– or –
• Click at the beginning of the region, and
drag left or right to the point you want the
loop to start.
Loop Trim tool
Loop Trim tool
For more information on looping regions,
see “Region Looping” on page 461.
Creating Loops with the Loop Trim Tool
Loop icon
To create loop regions using the Loop Trim tool:
Looped region
1 Click the Trim tool icon in the Edit window to
access the Trim Tool Selector pop-up menu.
Trimming Looped Regions
2 Select Loop.
3 Position the cursor over the top half of an un-
looped audio or MIDI region, or region group.
The cursor changes to indicate that you can
loop trim the region. (Positioning the cursor
over the bottom half of the region results in the
Standard Trim cursor.)
Loop Trim cursor
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You can trim looped regions in two ways:
• Loop Trim a looped region to change how
long the region is looped. For example, Loop
Trim a looped region from 2 bars to four bars.
With a 1 bar region, the number of loops
changes from 2 to 4. Each loop iteration remains the same length, but the length of the
entire looped region changes.
• Trim the source region (loop iteration) while
keeping the overall loop length unchanged.
The number of loop iterations within the
looped region changes accordingly. For example, trim a 2 bar loop iteration of a 4 bar
looped region to 1 bar. The 4 bar looped region remains constant, but the number of
loop iterations changes from 2 to 4. Each loop
iteration’s length changes, but how long the
region is looped does not.
To Loop Trim a looped region:
1 Select the Loop Trim tool.
2 Move the cursor over the top half of the
looped region (not over a Loop icon). The cursor
indicates the Loop Trim tool.
Loop Trim tool
To trim the source region (loop iteration) of a
looped region:
1 Select the Loop Trim tool.
2 Move the cursor over a Loop icon in the
looped region, or anywhere along the bottom of
the region. The cursor indicates the Trim tool
icon.
Loop icon
Trim tool
Loop icon
Looped region
Looped region
3 Trim the looped region.
3 Trim the start or end of the loop iteration.
Loop trimming a looped region
Trimming a looped region
The number of loops increases or decreases to
fill the new length of the entire looped region.
Hold down the Start key on Windows, or
the Control key on Mac, while trimming to
trim in loop iteration increments.
The number of trimmed loop iterations increases or decreases to fill the original length of
the entire looped region.
Trimming a looped region does not trim any
underlying Fades.
Trimmed looped region
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Using the Selector Tool
Use the Selector tool to place the edit cursor in a
track or Timebase ruler, or to make Timeline selections or Edit selections on tracks. For more information on selecting, see “Selecting Track Material” on page 398.
To select an entire region with the Selector tool:
1 Select the Selector tool in the Edit window.
2 Double-click the desired region on a track.
To select an entire track with the Selector tool:
1 Select the Selector tool in the Edit window.
2 Triple-click the desired track.
Placing the Edit Cursor
To place the edit cursor with the Selector tool:
Making a Timeline Selection with the
Selector Tool
1 Select the Selector tool in the Edit window.
2 Click the desired location in a track or on a
Timebase ruler.
To make a Timeline selection with the Selector
tool:
1 Select the Selector tool in the Edit window.
2 Click and drag in a on Timebase ruler or in a
track (if Link Timeline and Edit Selection is enabled).
Using the Grabber Tools
Placing the edit cursor with the Selector tool
Making an Edit Selection with the
Selector Tool
To make an Edit selection with the Selector tool:
1 Select the Selector tool in the Edit window.
2 Click and drag in a track, across multiple
tracks, or on Timebase ruler (if Link Timeline
and Edit Selection is enabled).
Use the Grabber tools to select, move, separate,
and arrange regions on tracks. There are three
modes for the Grabber tool: Time Grabber, Separation Grabber, and Object Grabber.
Time Grabber Selects an entire region on a track
with a single click. For more information on selecting, see “Selecting Track Material” on
page 398.
Time Grabber tool
Making a selection with the Selector tool
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Separation Grabber Cuts and pastes an Edit selection from one location to another by clicking
and dragging. For more information, see “Separation Grabber Tool” on page 419.
Separation Grabber tool
Using the Smart Tool
With the Smart Tool you can instantly access
the Selector, Grabber, and Trim tools, and you
can also perform fades and crossfades. The position of the cursor in relation to a region or note,
or within an automation playlist, determines
how the Smart Tool functions.
Object Grabber Lets you select multiple, noncontiguous regions. For more information, see
“Object Selections” on page 400.
Smart Tool in Edit window
Object Grabber tool
To select one of the Grabber tools:
To select the Smart Tool, click its icon in the upper left of the Edit window, or press F6+F7 (or
F7+F8) simultaneously.
1 Click and hold the Grabber tool in the Edit
window.
2 From the Grabber tool pop-up menu, select
The Smart Tool in Waveform View (or
MIDI Track Regions View)
the desired Grabber tool.
Fade-In
Selector tool
Fade-Out
Trim
tool
(start)
Trim tool
(end)
Grabber tool
Crossfade
Smart Tool in Waveform View
Selecting a Grabber tool
The following capabilities are available with the
Smart Tool when working with audio tracks in
Waveform or Blocks View, or MIDI or Instrument tracks in Regions View:
◆ For the Selector tool, position the cursor over
the middle of the region, in the upper half.
◆ For the Grabber tools, position the cursor over
the middle of a region, in the lower half.
◆ For the Trim tools, position the cursor near
the region’s start or end point.
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◆ For a fade-in or fade-out, position the cursor
near an audio region’s start or end point, near
the top. Once the Fade cursor appears, drag into
the region to set the fade length. The fade is created automatically with the Default Fade Settings (in the Editing Preferences page).
◆ For a crossfade, position the cursor between
two adjacent audio regions, near the bottom.
Once the Crossfade cursor appears drag left or
right to set the crossfade length. The crossfade is
created automatically with the Default Fade Settings (in the Editing Preferences page).
To temporarily switch the Smart Tool to the
Scrubber, place the cursor over the region so
that the Selector tool is enabled, then press
Start (Windows) or Control (Mac).
The Smart Tool in Notes View
Grabber tool
Trim note end
Smart Tool in Notes View
The following capabilities are available with the
Smart Tool when working with MIDI and Instrument tracks in Notes View:
◆ For the Selector tool, position the cursor so it
does not cover any notes.
◆ To get the Selector tool while positioning the
cursor over notes, press Control (Windows) or
Command (Mac).
For the Grabber tools, position the cursor over
the note, near its middle.
◆
To get the Marquee so you can select a group
of notes, position the cursor so it does not cover
any notes and press Control (Windows) or Command (Mac).
◆
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To temporarily switch the Smart Tool to the
Eraser, place the cursor over the region so
that the Selector tool is enabled, then press
Alt+Start (Windows) or Option+Control
(Mac).
The Smart Tool in Automation and
Controller Views
The following capabilities are available with the
Smart Tool when working in both automation
and controller views:
◆ For the Selector tool, position the cursor anywhere in the bottom 75% of the playlist for the
Selector tool. Drag with the Selector tool to select breakpoints.
◆ For Trim tools, position the cursor in the top
25% of the playlist for the Trim tool. Drag with
the Trim tool to trim breakpoints. Press Control
(Windows) or Command (Mac) while trimming
for fine control.
Selector tool
Trim note start
◆ For the Trim tools, position the cursor near
the note’s start or end point.
◆ For Grabber tools, Control (Windows) or
Command (Mac) for the Grabber tool, then
click in on the automation line to create breakpoints
To edit existing breakpoints, move the cursor
near a breakpoint for the Grabber tool.
For fine control with the Grabber tool, press
Control (Windows) or Command (Mac)—or
continue to hold the key if you are creating a
new breakpoint.
To vertically constrain Grabber tool movement,
press Shift.
To vertically constrain Grabber tool movement
with fine control, press Control+Shift (Windows) or Command+Shift (Mac).
The Smart Tool with Stereo and
Multichannel Tracks
When using the Smart Tool on stereo and multichannel tracks, individual channels cannot be
independently edited. All edits affects all channels as a whole.
Tool switching for the Smart Tool in stereo and
multichannel tracks is determined by the position within the entire track, and not within individual channels.
Edit window around that point, and moves the
Playhead there. With these Scrolling Options,
scrubbed material moves past the Playhead,
which remains stationary and centered.
Scrubbing is only supported for audio
tracks. MIDI and Instrument tracks cannot
be scrubbed.
To scrub a single audio track:
1 Select the Scrubber tool.
2 Drag within the track: left for reverse or right
for forward.
Using the Scrubber Tool
The Scrubber tool lets you “scrub” up to two
tracks of audio in the Edit Window. Scrubbing is
a technique that originated in tape editing,
where the tape was rocked back and forth past
the playhead at slower than normal speeds to
find a particular location (usually for cutting
and splicing).
While viewing an audio waveform in Pro Tools
can be helpful in visually finding an edit point,
sometimes a waveform display (because of its
sonic characteristics) may not reveal the desired
spot in the audio material. By scrubbing back
and forth in Pro Tools, you can listen and locate
an exact edit point.
When the Operation preference for “Edit Insertion Follows Scrub/Shuttle” is enabled, the edit
cursor automatically locates to the point where
scrubbing stops.
Scrubbing an audio track with the Scrubber
The distance and speed with which you drag
(with either the mouse, or the scrub wheel on a
control surface) determine the length and speed
of the scrubbed audio. Audio from the scrubbed
track is routed to its output, along with any effects assigned to the track.
The resolution for the Scrubber is dependent on
the zoom factor for the scrubbed track.
You can temporarily switch the Selector tool
to the Scrubber tool by Start-clicking (Windows) or Control-clicking (Mac). For finer
resolution, Control-Start-click (Windows)
or Command-Control-click (Mac).
When the Scrolling option is set to Continuous
(Pro Tools HD and LE with DV Toolkit 2 only) or
Center Playhead (Pro Tools HD only), clicking
with the Scrubber in a track’s playlist centers the
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To scrub multiple audio tracks, do one of the
following:
The distance and speed dragged determine the
speed for the scrubbed audio.
■ With the Scrubber selected, drag between two
adjacent tracks.
Shuttle Lock Mode
Scrubbing between two audio tracks
– or –
■ Scrub within a selection that contains multiple tracks.
When scrubbing multiple tracks, only the first
two tracks are heard.
The maximum number of channels
scrubbed in Pro Tools is eight, which lets
you scrub a 7.1 track, two stereo tracks
(four channels), but not two 5.1 surround
tracks (12 channels).
Scrub/Shuttle Mode
When scrubbing normally, you can scrub at normal playback speeds or slower. Scrub/Shuttle
mode, however, lets you scrub at several times
normal speed, which is helpful in playing
through large ranges and locating material.
Shuttle Lock mode lets you use the numeric keypad to shuttle up to two tracks forward or backwards at specific speeds: 5 is normal speed, numbers from 6 up to 9 provide increasingly faster
fast-forward speeds, and numbers from 4 down
to 1 provide progressively faster rewind speeds
(4 is the slowest rewind Shuttle Lock speed, 1 is
the fastest). If multiple tracks are selected, only
the first two tracks are shuttled.
To play one or two tracks with the shuttle lock:
1 With Pro Tools HD, make sure the Operation
preference for Numeric Keypad mode is not set
to Shuttle (see “Operation Preferences” on
page 66).
2 With the Selector tool, click in the track where
you want playback to begin. To shuttle on two
tracks, Shift-click in a second track.
3 Press the Start key (Windows) or Control
(Mac) and a number on the numeric keypad:
0–9 (9 is fastest, 5 is normal speed, and 0 stops
shuttling).
Once Shuttle Lock mode is initiated, Fast Forward and Rewind become highlighted in the
Transport window.
4 Press additional keys to change the playback
To scrub in Shuttle mode (at several times normal
speed):
1 Select the Scrubber tool.
2 While pressing Alt (Windows) or Option
(Mac), drag within the track—left for reverse,
right for forward. The Fast Forward and Rewind
buttons in the Transport window engage.
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speed, or press Plus (+) or Minus (–) to switch the
playback direction (plus for forward, minus for
backward).
5 To stop playback, press Start+0 (Windows) or
Control+0 (Mac).
To exit Shuttle Lock mode, do one of the following:
■
■
Numeric Keypad Set to Shuttle
Press Stop in the Transport window.
(Pro Tools HD Only)
– or –
Pro Tools offers another form of shuttling, different from that of Shuttle Lock mode. With the
Numeric Keypad mode set to Shuttle, playback
of the current Edit selection is triggered by pressing and holding the keys on the numeric keypad—playback stops once the keys are released.
Various playback speeds are available in both
forward and reverse. In this mode, pre- and
post-roll are ignored.
Press the Spacebar.
Custom Shuttle Lock Speed
Use the Custom Shuttle Lock Speed preference
to customize the highest fast-forward Shuttle
Lock speed (key 9) to better match your editing
and auditioning needs.
To configure Custom Shuttle Lock Speed:
1 In Pro Tools, select Setup > Preferences and
To shuttle with the Numeric Keypad mode set to
Shuttle:
click the Operation tab.
1 Choose Setup > Preferences and click the Op-
2 Be sure that the Numeric Keypad mode is set
eration tab.
to Transport or Classic (see “Operation Preferences” on page 66).
2 Set the Numeric Keypad mode to Shuttle and
click OK.
3 Enter a desired percentage for the Custom
3 With the Selector tool, click in the track where
Shuttle Lock Speed setting. The range for this
setting is 50–800%. You can use the Up and
Down Arrow keys to increase or decrease the setting.
you want playback to begin. To shuttle on two
tracks, Shift-click in a second track.
4 Press and hold any of the following keys (or
4 Click OK.
key combinations) on the numeric keypad to
trigger playback.
The Custom Shuttle Lock Speed will be saved
with your Pro Tools preferences (not with the
session).
To enable Custom Shuttle Lock Speed:
Press Start+9 (Windows) or Control+ 9 (Mac)
on the numeric keypad.
■
Shuttle Speed
Rewind Key
Forward Key
1 X Speed
4
6
4 X Speed
7
9
1/4 X Speed
1
3
1/2 X Speed
4+5
5+6
2 X Speed
7+8
8+9
5 Press a different key to switch the playback direction or speed. Release to stop.
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Using the Pencil Tool
The Universe Window
The Pencil tool lets you draw audio waveforms
(at the sample level), tempo changes, MIDI data,
and automation.
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
For information on drawing on the audio
waveform, see “Waveform Repair with the
Pencil Tool” on page 451.
For information on drawing tempo changes,
see “Editing Tempo Events in the Tempo
Editor” on page 497.
The Universe window displays an overview of
the entire session, representing audio and MIDI
material on all tracks that are not hidden (including tracks that are inactive, or that contain
offline regions). The order in which material is
displayed in the Universe window corresponds
to the track order in the Edit window.
To open the Universe window:
■
For information on drawing MIDI data, see
“The Pencil Tool” on page 560.
Choose Window > Universe.
shaded area indicates what’s
visible in the Edit window
For information on drawing automation,
see “Drawing Automation” on page 712.
Universe window
Audio material residing in audio tracks is represented by a single, horizontal line in the Universe window. Each channel in a stereo or multichannel track is represented individually.
Since Auxiliary Input, Master Fader, and VCA
Master tracks do not contain audio, they are displayed as blank areas in the Universe window.
MIDI and Instrument tracks containing MIDI
data are represented by single, horizontal lines.
Resizing the Universe Window
Even though the Universe window can be resized horizontally and vertically, the length of
the entire session is always displayed in the Universe window. If the Universe window is resized
so some of the session’s track are not displayed,
a vertical scroll bar becomes available.
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Shaded Area in the Universe Window
Video Universe Window
The shaded area in the Universe window represents what is visible in the Edit window. If you
change what is displayed in the Edit window—
by zooming, scrolling horizontally or vertically,
hiding or showing tracks, or changing track
heights—the highlighted area in the Universe
window updates.
The Universe window also provides a Right-click
pop-up menu for displaying the Video Universe
window, which lets you view, navigate, zoom,
and select video regions on the main video track
For information on the Video Universe window, see “Browsing Video in the Video Universe Window” on page 835.
During playback, if the Edit window is set to
scroll, the highlighted area in the Universe window also scrolls.
Scrolling in the Universe Window
By clicking in the Universe window, you can automatically scroll, either horizontally or vertically, the material displayed in the Edit window.
This provides a convenient method of locating
anywhere in the session, or adjusting which
shown tracks are visible in the Edit window.
To move the highlighted area in the Universe
window:
1 Choose Window > Universe.
2 Drag the highlighted area to a different posi-
tion in the Universe window to affect which
tracks are displayed in the Edit window.
When all tracks are visible in the Edit window
and the session is zoomed all the way out, with
all regions visible, the entire Universe window is
shaded.
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Chapter 19: Playing and Selecting
Track Material
Playing Tracks
After recording or importing audio or MIDI to
tracks, you will want to listen to the material for
editing and mixing.
To set where playback begins, you can click anywhere in a track with the Selector tool (as long as
the Timeline and Edit selections are linked). See
“Linking or Unlinking Timeline and Edit Selections” on page 396).
Playback Location
The playback location is displayed in the
counters at the top of the Edit window and in
the Transport window, and in the Big Counter
window.
To display the Counters in the Transport window:
■
Choose View > Transport > Counters.
Transport with Counters displayed
Setting a playback point with the Selector tool
Playback Cursor
The playback cursor is a solid unblinking line
that moves across the Edit window to indicate
the current playback location.
The selected Scrolling Option determines how
the Edit window scrolls during playback, and
how the playback cursor functions. See “Scrolling Options” on page 395 for details.
Start-click (Windows) or Control-click
(Mac) the Expand/Collapse button in the
Transport window to show or hide counters.
Control-click (Windows) or Commandclick (Mac) the Expand/Collapse button in
the Transport window to show or hide MIDI
controls.
Alt-click (Windows) or Option-click (Mac)
the Expand/Collapse button in the Transport window to show or hide counters and
MIDI controls.
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To display the Big Counter:
■
Choose Window > Big Counter.
With the Timeline and Edit selections linked,
you can click a region or MIDI note with the
Time Grabber tool to automatically update the
Timeline with the selection’s start time, letting
you play from that point.
Big Counter window
Page Scrolling During Playback
Edit Cursor
You can set Pro Tools to scroll the track display
while playing, and also have the edit cursor appear wherever playback stops.
The edit cursor is a flashing line that appears
when you click with the Selector tool in a track’s
playlist. The blinking edit cursor indicates the
start point for any editing tasks performed. If
you make a selection and perform an edit, the
selection is the target of the edit.
To make the track display and the edit cursor
follow playback:
1 Select Options > Scrolling > Page.
2 Choose Setup > Preferences and click the
Basic Playback from a Specific
Point
To begin playing from a specific point within a
track:
1 Make sure that Options > Link Timeline and
Edit Selection is enabled.
3 Select the option for “Timeline Insertion/Play
Start Marker Follows Playback,” then click OK.
Pressing Start+N (Windows) or Control+N
(Mac) toggles Timeline Insertion/Play Start
Marker Follows Playback.
2 With the Selector tool, click in the track where
4 Make sure to select Options > Link Timeline
you want playback to begin.
and Edit Selection.
3 Click Play in the Transport window to begin
playback.
5 With the Selector tool, click in the track where
4 Click Stop in the Transport window to stop
6 Click Play in the Transport window to begin
playback.
playback. The playback cursor scrolls across the
Edit window, indicating the current playback location.
To jump to a different location and begin playing
from there, do one of the following:
When playback is stopped, click with the Selector tool at that point and click Play in the
Transport window.
■
– or –
■ Click the desired location in a Timebase Ruler
during playback.
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you want playback to begin.
7 Click Stop in the Transport window to stop
playback. The edit cursor appears at the location
where playback stops.
Locating and Auditioning with Fast
Forward/Rewind
You can use the Fast Forward and Rewind buttons in the Transport window to locate material
on tracks. If the Operation preference for “Audio
During Fast Forward/Rewind” is selected, the
scanned audio is heard (similar to a CD player)
when clicking the Fast Forward and Rewind buttons.
You can also move the playback location in
multiple increments by repeating the command
(See “Repeating Back/Forward Commands” on
page 392).
Back/Forward commands also work when
controlling a 9-pin device. See the MachineControl Guide for details.
Back Moves the playback location backward by
the Back/Forward Amount.
You can also fast forward or rewind incrementally by repeatedly clicking the appropriate button. The size of these increments is determined
by the Main Time Scale:
Back and Play Moves the current playback location backward by the Back/Forward Amount and
automatically begins playback.
Bars:Beats Moves to the beginning of the previous or next bar.
Forward Moves the playback location forward by
the Back/Forward Amount.
Min:Sec Moves back or forward in one-second
steps.
Forward and Play Moves the current playback location forward by the Back/Forward Amount
and automatically begins playback.
Time Code Moves back or forward in one-second
steps (while adjusting for current SMPTE format).
Setting the Back/Forward Amount
Feet+Frames Moves back or forward in one-foot
steps.
Samples Moves back or forward in one-second
steps.
The length of the Back/Forward move is determined by the Back/Forward Amount preference
in the Operation page (Setup > Preferences).
To configure the Back/Forward Amount:
1 Choose Setup > Preferences and click the Op-
eration tab.
Locating with Back and Forward
Commands
(Pro Tools HD Only)
Pro Tools provides four Back/Forward commands (sometimes called “rollback”) for moving the playback location in the Edit window.
The timebase of the Back/Forward Amount settings follows the Main Time Scale by default, or
you can deselect Follow Main Time and select
any of the following timebase formats:
• Bars:Beats
• Min:Sec
• Time Code
• Feet+Frames
• Samples
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2 Do one of the following:
• Select a preset amount in the Back/Forward
Amount pop-up menu.
– or –
• In the Back/Forward Amount field, enter a
custom amount.
To repeat Back/Forward moves:
1 Press and hold Control (Windows) or Com-
mand (Mac).
2 Click Rewind or Fast Forward the number of
times you want to repeat moving the playback
location backwards or forwards by the Back/Forward Amount.
Using Back or Forward Commands
To move the playback location backward by the
Back/Forward Amount:
Press Control (Windows) or Command (Mac),
and click Rewind in the Transport window.
■
To move the playback location forward by the
Back/Forward Amount:
■ Press Control (Windows) or Command (Mac),
and click Fast Forward in the Transport window.
To move the playback location backward by the
Back/Forward Amount and then begin playback:
■ Press Control+Alt (Windows) or Command+Option (Mac), and click Rewind in the
Transport window.
To move the playback location forward by the
Back/Forward Amount and then begin playback:
■ Press Control+Alt (Windows) or Command+Option (Mac), and click Fast Forward in
the Transport window.
Repeating Back/Forward Commands
All the Back/Forward commands can be repeated in order to increase the amount of the total Back or Forward move.
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Extending Selections with Back or Back and
Play Commands
The Back or Back and Play commands can be
used to extend a selection backwards by the
length of the Back/Forward Amount.
Although you cannot extend a selection
with the Forward or Forward and Play commands, you can use the following procedures with Forward or Forward and Play to
move the start point of a current selection.
To extend a selection with Back or Back and Play
commands:
1 Configure the Back/Forward Amount.
(See“Setting the Back/Forward Amount” on
page 391.)
2 With the Selector tool, drag within a track to
make a selection.
3 Do one of the following:
• To extend the selection backwards by the
Back/Forward Amount, press Shift+Control
(Windows) or Shift+Command (Mac) and
click Rewind in the Transport window.
– or –
• To extend the selection backwards by the
Back/Forward Amount and then begin
playback, press Shift+Control+Alt (Windows) or Shift+Command+Option (Mac)
and click Rewind in the Transport window.
Edit Window Counters and
Indicators
2 Type in the new location. Press Period (.) to cycle through to the different time fields.
The counters and indicators at the top of the
Edit window display the current playback location and Edit selection. These include the Main
and Sub Counters, and the Edit Selection Start,
End, and Length indicators.
3 Press Enter to accept the new value and auto-
matically locate there.
Scrolling in a Timebase Ruler
All Edit window counters and indicators (except
the Sub Counter) let you enter a location in
their counter display to navigate to a specific
time location.
You can scroll the contents of the Edit window
by clicking and dragging in a ruler. While this
does not actually update the session’s Current
Location, it does let you conveniently shift the
display left or right for the sake of finding and
editing material.
Main and Sub Counters, Edit Selection indicators
This method of scrolling is especially useful
when using the Continuous Scrolling option
(Pro Tools HD and Pro Tools LE with DV Toolkit
2 only), which does not update or follow Timeline selections.
The Main Counter displays the playback location in the time format for the Main Time Scale.
The Sub Counter can be set to any of the other
Time Scale formats for another timing reference.
The Edit Selection indicators (to the right of the
Main and Sub counters) display the Start and
End times, and Length of the current Edit selection according to the Main Timebase.
The Main and Sub Counters, as well as the Edit
Selection indicators, also appear in the Transport window when it is set to display Counters.
To navigate with the Edit window Main Counter (or
one of the Edit Selection indicators):
1 Do one of the following:
• Click in one of the counters.
– or –
To scroll the entire contents of the Edit window
from a ruler:
■ While pressing Control+Alt+Start (Windows)
or Command+Option+Control (Mac), drag left
or right in any of the Timebase rulers.
Scrolling in a ruler
Scrolling with a Scroll Wheel
If you have a mouse with a scroll wheel, you can
use the scroll wheel to scroll vertically or horizontally in any Pro Tools window that has a
scroll bar (such as the MIDI Event List).
• Press asterisk (*) on the numeric keypad to
highlight the Main Counter in the Edit
window (or the Main Counter in the Transport window or Big Counter window, if either are displayed).
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To scroll a Pro Tools window vertically:
1 Place the mouse over the window you want to
scroll (for example, in the Edit window you
might want to scroll either the track display or
the Region List).
2 Scroll the scroll wheel up or down to scroll the
window up or down.
To scroll a Pro Tools window horizontally:
1 Place the mouse over the window you want to
scroll (for example, in the Edit window you
might want to scroll either the track display or
the Region List).
2 Shift-scroll the scroll wheel up or down to
scroll the window to the left or right.
Locating the Playback Cursor
Use the Playback Cursor locator to locate the
playback cursor when it is off-screen. The Playback Cursor locator appears on the right edge of
the Main Timebase ruler if the playback cursor is
located beyond the time visible in the Edit window. If the playback cursor is located before the
time visible in the Edit window, the Playback
Cursor locator appears on the left edge of the
Main Timebase ruler.
The Playback Cursor locator is red when a track
is record-enabled and blue when no track is
record-enabled.
To locate the playback cursor when it is off-screen:
■ Click the Playback Cursor locator in the Main
Timebase ruler.
The Edit window changes to center the playback
cursor on-screen.
Auto-Scrolling Tracks in the
Mix and Edit Windows
(Pro Tools HD Only)
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 the other window.
To auto-scroll the Mix window to show a selected
track in the Edit window:
■ In the Edit window, Start-click (Windows) or
Control-click (Mac) the track name.
The track becomes selected, and the Mix window scrolls to display the selected track.
Playback Cursor locator
To auto-scroll the Edit window to show a selected
track in the Mix window:
Playback Cursor locator, recording enabled (playback
cursor located after currently viewed audio)
For example, if the Scrolling option is set to
None, the playback cursor will move off-screen
after it has played past the time currently visible
in the Edit window. The Playback Cursor locator
will appear on the right edge of the Main Timebase ruler after the playback cursor moves beyond the time visible in the Edit window.
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■ In the Mix window, Start-click (Windows) or
Control-click (Mac) the track name.
The track becomes selected, and the Edit window scrolls to display the selected track.
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 View > Track Number.
2 Do one of the following:
• Choose Track > Scroll to Track.
– or –
• Press Control+Alt+F (Windows) or Command+Option+F (Mac).
Scroll To Track dialog
3 In the Scroll To Track dialog, enter the Track
Position Number.
4 Click OK.
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.
Scrolling Options
You can configure how contents of the Edit window scroll during playback and recording.
To configure Scrolling options:
■ Choose Options > Scrolling and select one of
the following options:
None The Edit window does not scroll during or
after playback. The playback cursor moves
across the Edit window, indicating the playback
location.
After Playback The playback cursor moves
across the Edit window, indicating the playback
location. When playback has stopped, the Edit
window scrolls to the final playback location.
Page The playback cursor moves across the Edit
window, indicating the playback location.
When the right edge of the Edit window is
reached, its entire contents are scrolled, and the
playback cursor continues moving from the left
edge of the window.
Continuous (Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only) See “Continuous Scrolling
During Playback” on page 396.
Center Playhead (Pro Tools HD Only) See “Center Playhead Scrolling” on page 396.
Making a selection in the Timeline or a
playlist, or manually scrolling the Timeline
while in Page Scroll or Continuous Scroll
mode suspends page scrolling. To resume
page scrolling and jump to the current playback location, click the Playback Cursor locator in the Main Timebase ruler (see “Locating the Playback Cursor” on page 394).
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395
Continuous Scrolling During Playback
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
When this scrolling option is selected, the Edit
window’s contents scroll continuously past the
playback cursor, which remains in the center of
the window. With this option, playback is always based on the Timeline selection (unlike
the Center Playhead Scrolling option). Continuous Scrolling During Playback uses host processing power, so use this option with Pro Tools LE
with DV Toolkit 2 only when absolutely necessary.
With the Playhead enabled, you can jump to
and play an Edit or Timeline selection. For details, see “Playing Timeline and Edit Selections
with the Playhead” on page 412.
Half-Screen Edit Window
When the Scrolling option is set to Continuous
or Center Playhead, a half-screen appears at the
far left of the Edit window (before the beginning
of the session).
Center Playhead Scrolling
(Pro Tools HD Only)
When this scrolling option is selected, the Edit
window’s contents scroll continuously past the
Playhead, which is a blue line in the center of the
window (red when recording).
The Playhead indicates where playback begins
when clicking Play in the Transport window.
Half-screen for Center Playhead Scrolling option
Linking or Unlinking Timeline
and Edit Selections
Pro Tools lets you link or unlink the Timeline
and Edit selections.
When the Timeline and Edit selections are
linked, selecting in a track’s playlist (making an
Edit selection) also defines the play and record
range (the Timeline selection).
Center Playhead Scrolling option
To move the Playhead to a particular location
for playback, you can scroll there in a ruler (see
“Scrolling in a Timebase Ruler” on page 393),
use the Edit window’s horizontal scroll bar, or
type the location into one of the Edit Selection
indicators or one of the Counters.
Moving the Playhead with these methods does
not update the Timeline selection. However, updating the Timeline selection automatically
moves the Playhead to the Timeline insertion
point.
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Unlinking Timeline and Edit selections lets you
make a selection within a track for editing purposes that is distinct from the selection in the
Timeline (which determines the playback and
recording range).
To link or unlink the Timeline and Edit selections,
do one of the following:
Select or deselect Options > Link Timeline and
Edit Selection.
■
lected for editing purposes. During playback,
the Edit selection can be nudged, quantized, or
transposed while the loop plays back completely independent and uninterrupted.
– or –
In the upper left of the Edit window, click the
Link Timeline and Edit Selection button so it becomes highlighted (selected) or un-highlighted
(not selected).
■
Link Timeline and Edit Selection enabled
Press Shift+Forward Slash (/) to toggle Link
Timeline and Edit Selection on and off.
If you are working on a film or video scene, you
may want to unlink the Timeline and Edit selections to find or audition material that is at a different location than the current Timeline selection. Edit selections can be played (choose Edit >
Selection > Play Edit) without disrupting the
current Timeline selection. Once you find the
material, you can then go back to the Timeline
selection and place it within the context of the
scene.
Figure 19 illustrates another reason why you
might want to unlink the Timeline and Edit selections. In this example, the Timeline selection
sets a range to be looped on playback, while a
MIDI region (residing within the loop) is se-
Figure 19. Timeline and Edit selections unlinked
While you could theoretically do this with the
Timeline and Edit selections linked, as soon as
playback is stopped, the playback range would
then be updated to that of the more recent edit
range, or to a single note when editing MIDI.
Timeline and Edit Selection Markers
Timeline selections are displayed in the Main
Timebase ruler with Timeline Selection Markers,
which appear as blue arrows (red when recording). In addition, there are Pre- and Post-Roll
Flags (which are green when enabled) indicating
the location for pre- and post-roll.
Timeline Selection Markers with Pre- and Post-Roll
Flags
When the Timeline and Edit selections are unlinked, Edit selections are displayed in the ruler
with Edit Markers, which appear as black brackets.
Figure 20. Edit Markers
If the Timeline and Edit selections are linked,
Edit selections are represented by the blue Timeline Selection Markers.
Chapter 19: Playing and Selecting Track Material
397
See the following sections for more information
on working with Timeline and Edit selections:
• “Selecting Track Material” on page 398
• “Timeline Selections” on page 410
• “Setting Punch/Loop Points” on page 288
• “Setting Pre- and Post-Roll” on page 291
Linking or Unlinking Track and
Edit Selections
Selecting Track Material
Before audio and MIDI material can be edited, it
must first be selected. The Track View determines how the material is viewed and selected.
When you make a selection, it appears as a highlighted area of the tracks, and is also indicated
by blue start and end arrows (Timeline Selection
Markers) in the Main Timebase ruler. If any track
(audio or MIDI) in the session is record-enabled,
even if it is hidden, these markers appear red.
Pro Tools lets you link or unlink Track selection
with Edit selections.
When Track and Edit selections are linked, you
can make a selection within a track or across
multiple tracks for editing and each associated
track is selected (track names automatically
highlight). This lets you quickly apply tracklevel commands (such as Track View toggle,
change track heights) and have the command
apply to all tracks you are working on.
When Track and Edit selections are unlinked,
making an Edit selection does not automatically
select all associated tracks.
If the Timeline and Edit selections are unlinked,
the Edit selection range is indicated by Edit
Markers in the Main Timebase ruler. See “Linking or Unlinking Timeline and Edit Selections”
on page 396 for details.
Selections and Edit Groups
To link or unlink Track and Edit selection, do one of
the following:
When making selections on tracks that are part
of an Edit Group, all tracks within the group become selected.
■ Select or deselect Options > Link Track and
Edit Selection.
Selections and Hidden Tracks
– or –
■ In the upper left of the Edit window, click the
Link Track and Edit Selection button so it becomes highlighted (selected) or un-highlighted
(not selected).
Link Track and Edit Selection enabled
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Timeline Selection Markers indicating Edit selection
Pro Tools Reference Guide
When editing tracks that are part of an active
Edit Group, any tracks within the group that are
hidden are not affected by the edits. To edit all
members of a group, make sure they are visible
by highlighting their names in the Track List.
Selections in Multiple Tracks
To select all regions in all tracks:
1 Select the “All” Edit Group in the Group List
To make a selection in multiple tracks:
With the Selector tool, click and drag horizontally to include adjacent tracks in a selection
(drag vertically to define the time range).
■
pop-up menu.
2 Do one of the following:
• Click in any track with the Selector tool
and choose Edit > Select All.
Selecting Regions
– or –
To select a portion of a region:
• Triple-click with the Selector tool in any
track.
With the Selector tool, drag within a region
(left or right) to select the material on a single
track. (You can also use the Selector tool across
multiple, adjacent tracks to make multitrack selections.)
■
Selecting a portion of a region
To select an entire region, do one of the following:
■
Click the region with the Time Grabber tool.
– or –
■
Double-click the region with the Selector tool.
To select two regions and the time range between
them:
1 With the Time Grabber, click the first region.
Another way to select all regions in all
tracks, without having to select the “All”
Edit Group, is to press Enter (Windows) or
Return (Mac), then press Control+A (Windows) or Command+A (Mac). The Link
Timeline and Edit Selection option must be
enabled.
Region List Selection Follows Edit
Selection
When the Editing preference for “Region List Selection Follows Edit Selection” is enabled, selecting a region in a track also causes the region to
become selected in the Region List.
Conversely, if the Editing preference for “Edit
Selection Follows Region List Selection” is
enabled, selecting a region in the Region List
causes the initial occurrence of that region to
become selected within the track.
2 Shift-click the second region. Both regions are
selected, along with the time range between
them (including any other regions).
To select an entire track, do one of the following:
Click in the track with the Selector tool and
then choose Edit > Select All.
■
– or –
■
Triple-click with the Selector tool in the track.
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399
Selecting All from Timebase Rulers
6 To stop playback, click Stop in the Transport
window.
To select all material in all displayed audio and
MIDI tracks:
1 Enable Link Timeline and Edit Selection (Options > Link Timeline and Edit Selection).
2 Double-click in any Timebase ruler. All regions
in all displayed audio and MIDI tracks are selected. Tracks that are hidden are not selected.
To select all material in all tracks, including
Conductor events:
1 Enable Link Timeline and Edit Selection (Options > Link Timeline and Edit Selection).
To automatically scroll to the beginning of the
selection (or to the location of the on-screen
cursor), press the Left Arrow key. To scroll to the
end of the selection, press the Right Arrow key.
While in Page Scroll or Continuous Scroll mode,
making a selection in the Timeline or a playlist
during playback as the playback cursor moves
off-screen suspends page scrolling. To resume
page scrolling and jump to the current playback
location, click the Playback Cursor locator in
the Main Timebase ruler (see “Locating the Playback Cursor” on page 394).
2 While pressing Control (Windows) or Option
(Mac), double-click in any Timebase ruler. All regions in all displayed audio and MIDI tracks are
selected, including all events in each of the Conductor tracks.
Making Selections While Playing
Pro Tools lets you make on-the-fly selections
with the Up and Down Arrow keys.
To make a selection while playing:
1 Enable Link Timeline and Edit Selection (Op-
Object Selections
Use the Object Grabber tool to select noncontiguous regions on one or more tracks. Noncontiguous selections must encompass entire regions.
If you want a noncontiguous selection to include a portion of a region, first turn the portion
into a new region with the Separate Region command (see “Separate Region Commands” on
page 418).
The Object Grabber is not available when
the Edit mode is set to Shuffle or Spot.
tions > Link Timeline and Edit Selection).
To select noncontiguous regions:
2 With the Selector tool, click somewhere near
the beginning of the track in which you want to
make the selection.
1 Set the Edit mode to either Slip or Grid.
3 Click Play in the Transport window to begin
lect “Object.”
2 Click the Grabber tools pop-up menu and se-
playback.
4 When playback reaches the point where you
want the selection to begin, press the Down Arrow key.
5 Press the Up Arrow key at the point where you
want the selection to end. The selected range becomes highlighted.
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Pro Tools Reference Guide
Object Grabber tool
3 Shift-click each region you want to include in
the selection. The regions can even reside on different tracks.
To change a Time selection to an Object selection:
1 Drag with the Selector tool in any track to de-
fine a selection, or select in a Timebase ruler to
select across all tracks.
Noncontiguous selection
Each clicked region is surrounded by a dark border, indicating it is selected.
Selected regions
The Object Grabber tool ignores Edit Groups
when making selections. For instance, selecting
a region on a grouped track does not cause regions in the other tracks in the group to become
selected.
ble-click the Grabber icon in the toolbar. Regions falling within the selection range become
selected as objects. Regions that were partially
selected become deselected.
2 With the Object Grabber tool selected, dou-
Object to Time Selection
You can convert between Time- and Objectbased selections. Time selections are made with
the Selector and Time Grabber tools. Object selections are made with the Object Grabber tool.
Converting to an Object selection is useful
when you are working with large selections, especially across multiple tracks, and you want to
remove certain regions from the selection.
Converting to a Time selection is useful if you
want to select all regions between a noncontiguous Object selection.
Regions selected as objects
To select regions that were partially selected,
press Start (Windows) or Control (Mac) while
double-clicking the Grabber icon.
To change an Object selection to a Time selection:
1 Select any number of regions with the Object
Grabber tool.
2 Double-click the Selector tool in the toolbar.
The time range between the first and last region
becomes selected.
When using the Object Grabber tool on tracks
that belong to an Edit Group, regions in the
other grouped tracks are selected if they fall
within the range of the selected region.
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401
Changing a Selection Length
Nudging a Selection Range
The selection range can be shortened or lengthened. This does not affect the material within
the selection.
The selection range (not the material within the
selection) can be moved by the Nudge value.
To nudge a selection range:
To change the length of a selection, do one of the
following:
With the Selector tool, position the cursor
over one end of the current selection and Shiftclick or Shift-click and drag left or right.
■
In the Main Timebase ruler, drag the Timeline
Selection Marker for the selection’s start or end
point.
■
1 Configure the Nudge value. For details, see
“Defining the Nudge Value” on page 435.
2 Make the initial selection with the Selector
tool.
3 While pressing Shift, press Plus (+) or
Minus (–) on the numeric keypad to move the
selection range by the Nudge value.
Nudging Selection Start/End Points
Dragging a Timeline Selection Marker
■ If Link Timeline and Edit Selection is disabled,
drag the Edit Markers (see Figure 20 on
page 397) to change the selection length.
Start and end points for selections can be moved
by nudging them.
To move a selection start or end point by the
Nudge value:
1 Configure the Nudge value. For details, see
“Defining the Nudge Value” on page 435.
To make a long-length selection:
1 With the Selector tool, click at where you
want the selection to start.
2 Scroll to the end point and Shift-click at the
point where you want the selection to end.
To verify the start and end points of a long selection, press the Left Arrow key to scroll to the beginning of the selection, or press the Right Arrow key to scroll to the end.
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Pro Tools Reference Guide
2 Make the initial selection with the Selector
tool.
3 Do one of the following:
• While pressing Alt+Shift (Windows) or Option+Shift (Mac), press Plus (+) or Minus (–)
on the numeric keypad to move the selection’s start point by the Nudge value.
– or –
• While pressing Control+Shift (Windows)
or Command+Shift (Mac), press Plus (+) or
Minus (–) on the numeric keypad to move
the selection’s end point by the Nudge
value.
Extending Selections
You can extend selections to region start and
end points, to include an adjacent region, or to
Markers and Memory Locations.
To extend a selection to a region start or end
point:
1 With the Selector tool, select a portion of a region, or click anywhere in the region.
2 Do one of the following:
• Press Shift+Tab to extend the selection to
the region’s end point.
– or –
• Press Control+Shift+Tab (Windows) or Option+Shift+Tab (Mac) to extend the selection to the region’s start point.
To extend a selection to include an adjacent
region:
1 Select the first region with the Time Grabber
tool.
2 Do one of the following:
• With Tab to Transients disabled, press
Start+Shift+Tab (Windows) or Control+Shift+Tab (Mac) to extend the selection to the next region boundary.
To extend a selection to a Marker or Memory
Location:
1 Do one of the following:
• Click in a track with the Selector tool at the
desired start or end point.
– or –
• Make a selection with the Selector or Time
Grabber tool.
2 Do one of the following:
• Shift-click a Marker in the Markers ruler.
– or –
• Shift-click a Memory Location in the Memory Locations window.
The selection is extended from the original Insertion point to the Marker or Memory Location.
Using the Edit Selection
Indicators (Start, End, and Length)
The Edit Selection indicators at the top of the
Edit window can define precise Edit selections.
Time values for the Edit Selection indicators use
the time format for the Main Time Scale.
– or –
• Press Control+Start+Shift+Tab (Windows)
or Option+Control+Shift+Tab (Mac) to extend the selection to include the previous
region boundary.
Edit Selection indicators
To make a selection with the Edit Selection
indicators:
1 Click with the Selector tool in the track you
want to select.
2 Click in the Start field at the top of the Edit
window.
3 Type in the start point for the selection and
press the Forward Slash key (/) to enter the value
and automatically move to the end field.
Chapter 19: Playing and Selecting Track Material
403
4 Type in the end point for the selection and
press Enter to accept the value.
Numeric Entry Shortcuts for Selection
Indicators
3 Type the amount you want to subtract from
the current time value, then press Enter.
4 Press Enter again to apply the change.
To add time values:
You can use the following shortcuts for entering
values in the Edit Selection indicators:
1 In the Edit Selection indicator, highlight the
• Press the Forward Slash (/) key to cycle
through the three Edit Selection indicators.
2 Press Plus (+) on the numeric keypad.
• Use Period (.) or the Left and Right Arrow keys
to move through the different time fields in
each Edit Selection indicator.
• Press the Up or Down Arrow keys to increase
or decrease the numerical values.
• Control-drag (Windows) or Command-drag
(Mac) in a field to scroll to a new value.
• Press Plus (+) or Minus (–), along with an accompanying number, to add or subtract from
the current field value. For example, to add 10
to a current field value, cycle to the field, press
the Plus (+) key, type “10” and then press Enter.
■ Press Escape to exit the Edit Selection indicators without entering any values.
These shortcuts can also be used to enter
start and end values in the Transport window.
Calculator Entry Mode
You can perform calculator-style editing of values in the Edit Selection indicators.
To subtract time values:
1 In the Edit Selection indicator, highlight the
time field you want to change.
2 Press Minus (–) on the numeric keypad.
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Pro Tools Reference Guide
time field you want to change.
3 Type the amount you want to add to the cur-
rent time value, then press Enter.
4 Press Enter again to apply the change.
Selecting Across Multiple Tracks
To perform edits across multiple tracks or all
tracks, you must first select the tracks. Do this by
including other tracks in the selection, or by selecting in a Timebase ruler (for all tracks).
To make a selection in multiple tracks:
■ With the Selector tool, click and drag vertically to include adjacent tracks in a selection
(drag horizontally to define the time range).
To extend a selection to another track:
1 Using the Selector or Time Grabber tool, make
a selection in the first track or tracks.
2 Shift-click in additional tracks with the Selec-
tor tool. An identical range is selected for each
additional track.
To shorten or lengthen the selection across each
of the tracks, press Shift while dragging to
change the range of the selection.
To select across all tracks, do one of the following:
Enable the All Edit Group and make a selection in any track.
■
– or –
Drag with the Selector tool in any Timebase
ruler (make sure the Timeline and Edit Selections are linked).
■
These selections include all tracks in the Edit
window, but do not include the Conductor
tracks (for Tempo, Meter, and Markers).
To select across all tracks, including the
Conductor tracks (for Tempo, Meter, and
Markers):
Alt-drag (Windows) or Option-drag (Mac)
with the Selector tool in any Timebase ruler.
3 Do one of the following:
• Press P on your computer keyboard to
move the selection to the previous track.
– or –
• Press semicolon (;) to move the selection to
the next track.
In either instance, the original Edit selection becomes deselected.
With Commands Keyboard Focus disabled,
press Start+P (Windows) or Control+P
(Mac) to move the selection to the previous
track, or Start+Semicolon (;) (Windows) or
Control+Semicolon (;) (Mac) to move the
selection to the next track.
■
Moving and Extending Selections
Between Tracks
With Commands Keyboard Focus enabled, Edit
selections can be moved or extended to adjacent
tracks.
To move a selection to an adjacent track:
1 Enable Commands Keyboard Focus (see “Key-
board Focus” on page 16).
To extend a selection to an adjacent track:
1 Enable Commands Keyboard Focus (see “Keyboard Focus” on page 16).
2 With the Selector or Time Grabber tool, make
a selection.
3 Do one of the following:
• Press Shift+P to extend the selection to the
previous track.
– or –
• Press Shift+Semicolon (;) to extend the selection to the next track.
In either instance, the original Edit selection remains selected.
Commands Keyboard Focus button enabled
2 With the Selector or Time Grabber tool, make
a selection.
With Commands Keyboard Focus disabled,
press Start+Shift+P (Windows) or Control+Shift+P (Mac) to extend the selection to
the previous track, or Start+Shift+Semicolon (;) (Windows) or Control+Shift+Semicolon (;) (Mac) to extend the selection to the
next track.
Chapter 19: Playing and Selecting Track Material
405
To remove the bottom track from a selection:
■ Press Alt+Start+Semicolon (;) (Windows) or
Option+Control+Semicolon (;) (Mac) to remove
the bottom track.
Other Useful Selection Techniques
Following are some additional selection techniques.
To position the edit cursor precisely at a region
start, end, or sync point:
1 Make sure the Tab to Transients button is not
enabled. (See “Tabbing to Transients” on
page 407.)
2 Click with the Selector tool in the track.
3 Do one of the following:
• Press Tab to move the cursor to the next region or region group start, end, or sync
point.
– or –
• Press Control+Tab (Windows) or Option+Tab (Mac) to move the cursor to the
previous region or region group start, end,
or sync point.
To make a selection with the Scrubber:
1 Choose Setup > Preferences and click the
Operation tab.
2 Select the option for “Edit Insertion Follows
Scrub/Shuttle,” then click OK.
3 Scrub with the Scrubber to find an appropriate
start point for the selection, then release.
4 While pressing Shift, scrub to an appropriate
end point for the selection, then release. The
range between the initial and final scrub becomes selected.
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Pro Tools Reference Guide
To move a selection to an adjacent region on the
same track:
1 Select a region with the Time Grabber.
2 Do one of the following:
• Press Start+Tab (Windows) or Control+Tab
(Mac) to move the selection to the next region.
– or –
• Press Control+Start+Tab (Windows) or Option+Control+Tab (Mac) to move the selection to the previous region.
In either instance, the original region becomes
deselected.
To slide an Edit selection in the Main Timebase
ruler:
1 With the Selector or Time Grabber tool, make
a selection.
2 While pressing Alt (Windows) or Option
(Mac), move the cursor over either of the Timeline Selection Markers in the ruler (the Time
Grabber appears).
Sliding an Edit selection in the Main Timebase ruler
3 Drag left or right to move the Edit selection
back or forward in time while preserving its
length.
If Link Timeline and Edit Selection is disabled
(Options > Link Timeline and Edit Selection),
Alt-drag (Windows) or Option-drag (Mac) the
Edit Markers instead.
Right-Click Commands and Selection
Preservation
You can use Right-click commands with key
combinations to perform operations on objects
while maintaining selections in the Edit and
Mix windows. For example, you can maintain
selections in the following areas while carrying
out certain commands:
• Region selections in the Timeline
To set the start and end points of a selection with
Tab to Transients:
1 In the upper left of the Edit window, click the
Tab to Transients button so it becomes selected.
2 If you will be setting the play range with this
selection, enable Options > Link Timeline and
Edit Selection.
3 Click in the audio track just before the beginning of the material you want to select.
• Region name selections in the Region List
• Track selections
To apply a command to an object while keeping
the current selection:
Control-Right-click (Windows) or CommandRight-click (Mac) the object and choose a command from the pop-up menu.
■
Tabbing to Transients
With the Tab to Transients button enabled, you
can automatically navigate to transients in audio waveforms, placing the cursor just before
the detected transient peak. This lets you define
selections and play ranges, as well as start and
end points for new regions, without having to
zoom in on the waveform.
4 Press Tab repeatedly until the cursor locates to
the transient where you want to start the selection.
If necessary, you can move to the previous transient by pressing Control+Tab (Windows) or
Option+Tab (Mac).
5 Press Shift+Tab until the cursor locates to the
end of the material you want to select.
To move the selection end point to the previous
transient, press Control+Shift+Tab (Windows)
or Option+Shift+Tab (Mac).
Once selected, the material can be looped for recording or playback, or it can be turned into a
new region with the Separate or Capture command.
Peak transients are usually visible in the
waveform. However, some low-frequency
transients may not appear as visible peaks
in the waveform.
Tab to Transients button enabled
When Tab to Transients is enabled, the Tabbing
function also locates the cursor to region start
and end points, but not to sync points.
Chapter 19: Playing and Selecting Track Material
407
Playing Selections
Once an Edit selection is made, you can audition it by clicking Play in the Transport window.
If enabled, the pre- and post-roll amounts play
as well.
To play a selection:
1 Enable Link Timeline and Edit Selection (Op-
tions > Link Timeline and Edit Selection).
2 With the Selector or Time Grabber tool, make
a track selection.
To play to the post-roll point from the end of a
selection, or from the current Cursor location:
■ Press Control+Right Arrow (Windows) or
Command+Right Arrow (Mac).
Auditioning Start and End Points for
Selections
There may be times when you want to audition
the start or end of an audio selection without
hearing the entire selection. This allows you to
check, for instance, whether the beginning or
end of a selection includes any unwanted clicks
or pops.
3 If you want to use pre-roll or post-roll, enable
and set the pre-roll and post-roll amounts. For
details, see “Setting Pre- and Post-Roll” on
page 291.
4 Click Play in the Transport window, or press
the Spacebar.
All tracks play for the range of the selection, including pre-roll and post-roll if enabled.
plays start
(for post amount)
plays pre-roll + start
To play an Edit selection with Link Timeline and
Edit Selection disabled, do one of the following:
■
Choose Edit > Selection > Play Edit.
To play a Timeline selection with Link Timeline and
Edit Selection disabled:
■
Choose Edit > Selection > Play Timeline.
plays end
(for pre amount)
plays end + post-roll
Playback ranges for auditioning start/end points
To audition a selection start point:
■ Press Control+Left Arrow (Windows) or Command+Left Arrow (Mac).
When auditioning the beginning of a selection,
the selection plays from the start point for a duration equal to the post-roll amount.
Auditioning Pre-Roll and Post-Roll
You can audition and play just the pre-roll or
post-roll material for a selection.
To play from the pre-roll point to the start of a
selection, or to the current Cursor location:
■ Press Alt+Left Arrow (Windows) or Option+Left Arrow (Mac).
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Pro Tools Reference Guide
To audition a selection start point with pre-roll:
■ Press Control+Alt+Left Arrow (Windows) or
Command+Option+Left Arrow (Mac).
To audition a selection end point:
Press Alt+Right Arrow (Windows) or Option+Right Arrow (Mac).
■
When auditioning the end of a selection, playback begins before the end point by the pre-roll
amount.
To audition a selection end point with post-roll:
3 Enable Loop Playback by doing one of the fol-
lowing:
• Select Options > Loop Playback.
• Right-click the Play button in the Transport
window and select Loop from the pop-up
menu.
• Start-click (Windows) or Control-click
(Mac) the Play button in the Transport window.
Press Control+Alt+Right Arrow (Windows) or
Command+Option+Right Arrow (Mac).
• Press Control+Shift+L (Windows) or Command+Shift+L (Mac).
Looping Playback
• With the Numeric Keypad mode set to
Transport, press 4 on the numeric keypad.
■
When Loop Playback is enabled, the selected
track range repeats on playback. If there is no selection, playback occurs normally from the current Cursor location.
A selection must be at least 500 ms in
length for it to loop on playback.
When enabled, a loop symbol appears in the
Play button in the Transport window.
Loop Playback enabled
Looping playback is a useful way to check the
rhythmic continuity of a selection when working with musical material. If you’re working
with one-bar selections, you can loop playback
to see if the material loops cleanly. If it seems to
skip, you should then adjust the length of the
selection until it works “musically” within the
context of the playlist and the other tracks.
4 Click Play in the Transport window.
To loop playback of a selection:
Loop Playback and Audio Recording
1 Enable Link Timeline and Edit Selection (Op-
tions > Link Timeline and Edit Selection).
2 With the Selector tool, select the track range
you want to loop.
Playback begins from the pre-roll point (if enabled) and continues to the selection’s end
point, where it loops back to the selection’s start
point.
5 Click Stop in the Transport window to stop
playback.
When Loop Playback is enabled, Pro Tools will
not loop when attempting to record audio
tracks with QuickPunch, Destructive Record, or
Nondestructive Record mode.
To loop record audio tracks in Pro Tools, you
must enable Loop Record mode (see “Loop Recording Audio” on page 284).
Chapter 19: Playing and Selecting Track Material
409
Timeline Selections
With the Link Timeline and Edit Selection option disabled, selections can be made in the
Timeline that are distinct and separate from Edit
selections.
With the Timeline and Edit selections linked,
any Edit selections that are made are mirrored in
the Timeline, and any Timeline selection is mirrored as an Edit selection across all tracks.
Whether the Timeline and Edit selections are
linked or not, the range indicated by the Timeline Selection Markers always determines the
range for playback and recording (except when
in Dynamic Transport mode, see “Dynamic
Transport Mode” on page 413).
With Pro Tools HD, when the Scrolling option is
set to Center Playhead, it determines where
playback begins (see “Playing Timeline and Edit
Selections with the Playhead” on page 412).
The Timeline selection is indicated in the Main
Timebase ruler by the blue Timeline Selection
Markers (or if a track is record-enabled, the
Timeline Selection Markers are red). The start,
end, and length for the Timeline selection is displayed in the corresponding fields in the Transport window.
To select all tracks, including Conductor
tracks, press Alt (Windows) or Option
(Mac) while clicking and dragging in a
Timebase ruler with the Selector tool.
To set the Timeline selection by dragging the
Timeline Selection Markers:
1 If you want to constrain movement to the cur-
rent Grid value, set the Edit mode to Grid.
2 With the Time Grabber, drag the first Timeline
Selection Marker (down arrow) to set the start
point.
3 Drag the other Timeline Selection Marker (up
arrow) to set the end point.
To make a Timeline selection with the Selector
tool:
1 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
2 Click and drag with the Selector tool in any
Timebase ruler.
Dragging a Timeline Selection Marker
To set the Timeline selection by typing into the
Transport window:
1 If necessary, resize the Transport window to
Expanded View so the start and end times are
displayed (View > Transport > Expanded).
Making a Timeline selection with the Selector tool
2 Do one of the following:
• In the Transport window, click in the start
field.
– or –
• Press Alt+Forward Slash (/) (Windows) or
Option+Forward Slash (/) (Mac) on the numeric keypad to select the start field in the
Transport window.
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3 Type in the new start location and press For-
ward Slash (/) to enter the value and automatically move to the end field.
4 Type in the new end location and press Enter
to accept the value.
Shortcuts for entering start and end values
in the Transport window are listed in “Numeric Entry Shortcuts for Selection Indicators” on page 404.
Sliding a Timeline Selection
Like Edit selections, Timeline selections can be
slid in the Main Timebase ruler.
To move a Timeline selection in the Main
Timebase ruler:
TCE (Time Compression and
Expansion) Edit To Timeline
Selection
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
When the Edit and Timeline selections are unlinked, you can compress or expand an audio selection to fit the Timeline selection. This feature
works by using a Time Compression/Expansion
plug-in to expand or compress the selected audio material.
For information on TCE processing preferences, see “Processing Preferences” on
page 76.
1 While pressing Alt (Windows) or Option
To fit an Edit selection to the Timeline:
(Mac), move the cursor over either of the Timeline Selection Markers (the Time Grabber appears).
1 Deselect Options > Link Timeline and Edit Se-
2 Drag left or right to move the Timeline selec-
rial to be compressed or expanded.
tion back or forward in time, while preserving
its length.
3 In any Timebase ruler, select the time range
Timeline Selections to/from Edit
Selections
When the Timeline and Edit selections are unlinked, you can copy selections between them.
To copy the current Edit selection to the Timeline:
Choose Edit > Selection > Change Edit to
Match Timeline.
■
To copy the current Timeline selection to an Edit
selection:
Choose Edit > Selection > Change Timeline to
Match Edit.
■
lections.
2 With the Selector tool, select the audio mate-
where you want to fit the audio material.
4 Choose Edit > TCE Edit to Timeline Selection.
The Edit selection is compressed or expanded to
the length of the Timeline selection.
TCE Edit to Timeline Selection on
Multiple Tracks and Channels
The TCE Edit to Timeline command can be used
on multichannel selections, and selections
across multiple tracks. All regions are compressed or expanded equally by the same percentage value, based on Edit selection range.
This ensures that the rhythmic relationship between the different channels or tracks is retained.
Chapter 19: Playing and Selecting Track Material
411
Fitting an Audio Region to an Edit
Selection
Regions can be dragged from the Region List to
fit within an Edit selection. The dragged region
is compressed or expanded to fit within the selection. This feature uses the Time Compression/Expansion plug-in to expand or compress
the audio region.
Playing Timeline and Edit
Selections with the Playhead
(Pro Tools HD Only)
When the Scrolling option is set to Center Playhead, selections in the Timeline do not determine when playback begins. The Playhead, itself, denotes where playback begins when
clicking Play in the Transport.
To fit an audio region to an Edit selection:
1 With the Selector tool, select a time range in
an audio track.
2 Control-Alt-drag (Windows) or CommandOption-drag (Mac) the region from the Region
List to the track with the selection. The start of
the region is positioned at the selection start,
and the region is compressed or expanded to
match the length of the selection.
Fit to Selection on Multiple Tracks and
Channels
The Timeline and Edit selections, however, can
still be played when the Playhead is enabled.
To play an Edit selection with the Playhead
enabled:
1 Deselect Options > Linked Timeline and Edit
Selections.
2 Select Options > Scrolling > Center Playhead.
3 With the Selector or Time Grabber tool, make
a track selection.
4 Choose Edit > Selection > Play Edit.
The Fit to Selection command supports dragging multiple regions from the Region List to
multiple tracks, or multichannel tracks.
However, all dragged regions are compressed or
expanded equally by the same percentage value,
based on length of the region last clicked before
dragging.
The Playhead jumps to the Edit selection and
plays it from beginning to end, and then stops.
To play a Timeline selection with the Playhead
enabled:
1 Deselect Options > Linked Timeline and Edit
Selections.
2 Select Options > Scrolling > Center Playhead.
3 Drag with the Selector tool in any Timebase
ruler to set the play range.
4 Choose Edit > Selection > Play Timeline.
The Playhead jumps to the Timeline selection
and plays it from beginning to end, and then
stops.
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Moving the Playhead
When the Scrolling option is set to Center Playhead, the Playhead can be moved forward or
back to the next region boundary in the selected
track.
To move the Playhead through a track’s region
boundaries:
1 Make sure the Tab to Transients button is not
enabled (see “Tabbing to Transients” on
page 407).
To enable or disable Dynamic Transport mode:
■ Select or deselect Options > Dynamic Transport.
Press Control+Start+P (Windows) or Command+Control+P (Mac) to toggle Dynamic
Transport mode on or off.
Enabling Dynamic Transport mode automatically disables Link Timeline and Edit
Selection, and automatically enables Loop
Playback mode.
2 Click in the track with the Selector tool.
3 Do one of the following:
• Press Tab to move the Playhead forward to
the next region boundary.
Play Start Marker strip
Play Start Marker
Timeline selection
– or –
• Press Control+Tab (Windows) or Option+Tab (Mac) to move the Playhead back
to the previous region boundary.
Dynamic Transport Mode
Dynamic Transport mode lets you decouple the
playback location from the Timeline selection.
This means that you can start playback from
anywhere on the Timeline without losing your
Timeline or Edit selections. For example, you
can use Dynamic Transport mode in conjunction with Loop Playback mode to quickly audition loop transitions.
When Dynamic Transport mode is enabled, the
Main Timebase ruler expands to double-height
and reveals the new Play Start Marker. The Play
Start Marker determines where playback starts
when the Transport is engaged. You can position the Play Start Marker independently of the
Timeline Selection. You can reposition the Play
Start Marker during playback and playback continues from the new location.
Dynamic Transport mode, Play Start Marker shown in
expanded Main Timebase ruler
To reposition the Play Start Marker, do one of the
following:
■ With any Edit tool selected, click in the Play
Start Marker strip in the Main Timebase ruler.
■ With any Edit tool selected, click and drag the
Play Start Marker to a new location.
■ Click Fast Forward or Rewind in the Transport
to relocate the Play Start Marker forward or
backward by the standard Fast Forward and Rewind increment amount.
Double-click anywhere in the Play Start
Marker strip in the Main Timebase ruler to
move the Play Start Marker to that location
and start playback.
Chapter 19: Playing and Selecting Track Material
413
To change the Timeline Selection Start or End
Markers:
1 Make a Timeline selection with the Selector
tool by clicking and dragging in the Main Timebase ruler. If Link Timeline and Edit Selection is
enabled (Options > Link Timeline and Edit Selection), you can make an Edit selection with
the Selector or any of the Grabber tools.
2 With any Edit tool selected, click and drag ei-
ther the Timeline Selection Start or End Markers
left or right, extending or constricting the Timeline selection.
Changes to the Timeline selection during
playback temporarily interrupts playback.
To minimize this interruption, reduce the
DAE Playback Buffer size in the Playback
Engine dialog.
To move the Timeline selection:
■ With any Edit tool selected, click and drag the
selection on the Main Timeline ruler to another
location.
When the Link Timeline and Edit Selection
option is disabled, press Alt-click (Windows) or Option-click (Mac) and drag the
Timeline selection to snap the Edit selection
to the Timeline selection and move both in
tandem.
Play Start Marker Follows Timeline
Selection
When enabled, the Play Start Marker snaps to
the Timeline Selection Start Marker when you
move the Timeline Selection, draw a new Timeline Selection, or adjust the Timeline Selection
Start. When disabled, the Play Start Marker
doesn’t move with the Timeline selection.
To have the Play Start Marker always snap to the
Timeline Selection Start Marker:
1 Choose Setup > Preferences.
2 Click the Operation tab.
3 Select Play Start Marker Follows Timeline Se-
lection.
4 Click OK.
Dynamic Transport mode, moving the Edit selection
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Timeline Insertion/Play Start Marker
Follows Playback
To audition a loop transition:
When enabled, the Play Start Marker moves to
the point in the Timeline when playback stops.
When disabled, the Play Start Marker does not
follow playback.
Dynamic Transport).
1 Enable Dynamic Transport mode (Options >
2 Ensure that Loop Playback mode is enabled
(Options > Loop Playback).
3 Make a Timeline selection to loop. If Link
When not in Dynamic Transport mode, the
Timeline Insertion follows playback.
To have the Timeline Insertion and the Play Start
Marker follow playback:
Timeline and Edit Selection is enabled (Options
> Link Timeline and Edit Selection), you can
make an Edit selection instead.
4 Reposition the Play Start Marker before the
Timeline Selection End Marker.
1 Choose Setup > Preferences.
2 Click the Operation tab.
3 Select Timeline Insertion/Play Start Marker
Follows Playback.
4 Click OK.
Using Dynamic Transport Mode
with Loop Playback
Use Dynamic Transport mode in conjunction
with Loop Playback to specify the loop start and
end points with the Timeline selection while using the Play Start Marker to specify where playback begins. This is especially useful for auditioning loop transitions.
Enabling Dynamic Transport mode automatically enables Loop Playback mode.
Dynamic Transport mode, auditioning the loop
transition
5 Start playback.
Playback starts before the loop end point and
continues across the loop point through the
loop start. You can reposition the Timeline Selection Start and End Markers by clicking and
dragging them left or right, even during playback.
Chapter 19: Playing and Selecting Track Material
415
Using Separate Play and Stop Keys
When enabled, the Use Separate Play and Stop
Keys option lets you start playback with the Enter key and stop playback with the 0 key on the
numeric keypad. This is useful for quickly starting and stopping playback when auditioning
loop transitions.
To use separate play and stop keys on the numeric
keypad:
1 Choose Setup > Preferences.
2 Click the Operation tab.
3 Select Transport for the Numeric Keypad.
4 Select Use Separate Play and Stop Keys.
When this option is enabled, it overrides using the Enter key to add Memory Location
markers. Press Period (.) and then Enter on
the numeric keypad to add a Memory Location marker. The new marker is created
when you press Enter.
5 Click OK.
The Enter key starts playback. The Zero key
stops playback. Pressing Zero twice locates the
Play Start Marker to the Timeline Selection start.
Keyboard Shortcuts for Relocating the
Play Start Marker
In Dynamic Transport mode, you can use keyboard shortcuts to quickly relocate the Play Start
Marker either during playback or when the
Transport is stopped.
To move the Play Start Marker to the Timeline
Selection Start:
■ Press Period (.) on the numeric keypad and
then the Left Arrow.
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To move the Play Start Marker to the Timeline
Selection End:
■ Press Period (.) on the numeric keypad and
then the Right Arrow.
To move the Play Start Marker to the Edit
Selection Start:
■ Press Period (.) on the numeric keypad and
then the Down Arrow.
To move the Play Start Marker to location of the
Playhead:
■ Press Period (.) on the numeric keypad and
then the Up Arrow.
To nudge the Play Start Marker backward
(rewind):
■
Press 1 on the numeric keypad.
To nudge the Play Start Marker forward (fast
forward):
■
Press 2 on the numeric keypad.
To move the Play Start to a specific bar:
■ With Bars:Beats selected as the Main Timebase
ruler, do the following on the numeric keypad:
• Press Asterisk (*).
• Type the bar number.
• Press Enter.
Recording in Dynamic Transport
Mode
Recording in Dynamic Transport mode lets you
start playback independently of the Timeline selection. Recording punches in and out based on
the Timeline selection.
Chapter 20: Working with Regions and
Selections
Regions are the basic building blocks for arranging audio and MIDI in Pro Tools. Understanding
how regions are created, edited, and arranged is
essential to taking full advantage of the editing
capabilities of Pro Tools.
This chapter covers basic editing functions as
they apply to regions and region groups, and selections, which for the most part apply to both
MIDI and audio data.
For editing procedures more specific to
MIDI, see Chapter 25, “MIDI Editing.”
Capture Region Command
The Capture Region command defines a selection as a new region and adds it to the Region
List. From there, the new region can be dragged
to any existing tracks.
To capture a new region:
1 With the Selector tool, click and drag within
an existing region to select the material for the
new region.
For editing procedures specific to video, see
“Video Regions” on page 830.
Selecting a region portion
Creating New Regions
Pro Tools provides several commands for creating regions and region groups, each of them
having a slightly different effect on the selection. When you create a new region or region
group, it appears in the Region List and in the
track’s playlist. For details on how these new regions are automatically named, see “Auto-Naming Options” on page 489.
2 Choose Region > Capture.
3 Enter a name for the new region and click OK.
The new region appears in the Region List. The
original region remains intact and unchanged.
When creating a new region from an existing region, the original region remains in the Region
List.
Chapter 20: Working with Regions and Selections
417
Separate Region Commands
The Separate Region commands define a selection within an existing region, or a partially selected region, as a new region and separate it
from surrounding material.
rated Regions is disabled, enter a name for the
new region when prompted, then click OK.
To separate regions according to the current grid
resolution:
New regions appear in the tracks in which they
are created, separate from the data surrounding
them. They also appear in the Region List.
1 Make an Edit selection.
There are three different Separate Region commands:
To separate regions at transients:
At Selection (or Edit Cursor) Creates new region
boundaries at the selection start and end points.
If there is no selection and the edit cursor is
placed within the region, the region is split into
two new regions at the insertion point.
On Grid Creates new regions according to the
current grid resolution.
At Transients Automatically creates region
boundaries on detected transients within a selection. This uses the same algorithm for transient detection as the Tab To Transients feature.
To separate one or more regions at the selection
(or at the edit cursor):
1 Do one of the following:
• With the Selector tool, make an Edit selection.
• With the Selector tool, click at the point
where you want to separate the region.
2 Do one of the following:
• Choose Edit > Separate Region > At Selection.
• Press Control+E (Windows) or Command+E (Mac).
• With an Edit selection, Right-click near the
cursor position or selection and choose
Separate from the pop-up menu.
418
3 If the Editing preference for Auto-Name Sepa-
Pro Tools Reference Guide
2 Choose Edit > Separate Region > On Grid.
1 Make an Edit selection.
2 Choose Edit > Separate Region > At Transients.
Auto-Name Separated Regions Option
With the Auto-Name Separated Regions option
in the Editing Preferences page selected,
Pro Tools automatically names separated regions for you. The name is a numbered variation
of the original region’s name.
By separating a region, additional regions are
auto-created from data on either side of the separation, which have new numbers assigned to
their names. The original region remains intact
and unchanged on the Region List.
If the Separate Region Operates On All Related Takes option (Editing Preferences
page) is selected and you are editing a region that is one of a number of related takes
with the same User Time Stamp (for example, as created with loop recording), the Separate Region command affects each take.
For more information see, “Editing Preferences for Takes” on page 287.
The Region List can quickly fill up with
auto-created regions. For easier region management, click the Region List pop-up menu,
deselect Show > Auto-Created to hide all
auto-created regions in the Region List.
Separating Multiple Tracks
Separation Grabber Tool
Figure 21 illustrates a separation across three
mono audio tracks and one stereo track. For
some tracks, the selection resides within a region, while others reside at the start or end of a
region.
You can use the Separation Grabber tool to automatically separate an Edit selection and move it
to another location or another track.
To separate a selection with the Separation
Grabber tool:
1 With the Selector tool, make an Edit selection.
The selection can reside within a single region,
across adjacent regions within the same track, or
across multiple tracks.
2 From the Grabber tools pop-up menu, choose
the Separation Grabber tool.
Separation Grabber tool
3 Click and drag the selection to the new loca-
tion, or to another track.
Figure 21. Separating across multiple tracks
Once separated, this material can be moved or
copied to another location.
before
after
Dragging later in track with Separation Grabber tool
A new region (or regions) containing the previous selection is created, separate from the original selection. New regions are also created from
the material outside the original selection.
Chapter 20: Working with Regions and Selections
419
To separate a selection without affecting the
original regions:
To toggle the display of overlap and underlap
region boundaries:
1 With the Selector tool, make an Edit selection.
The selection can reside within a single region,
across adjacent regions within the same track, or
across multiple tracks.
■
2 From the Grabber tools pop-up menu, choose
the Separation Grabber tool.
3 While pressing Alt (Windows) or Option
(Mac), click and drag the selection to the new location, or to another track.
Choose View > Region > Overlap.
Changing Region Overlap/Underlap
After tempo changes with tick-based audio, and
other edits, regions may overlap in undesired
ways. To correct this, a region can be brought to
the front, or sent behind neighboring regions as
needed.
To change the region overlap or underlap:
1 In the Edit window, choose the region or re-
gions you want to re-order.
2 Do one of the following:
• Choose Region > Bring to Front to make
the region overlap the neighboring regions.
– or –
Dragging to another track with the Separation Grabber
tool
New regions containing the previous selection
are created and placed at the new location. The
original selection and regions remain intact.
Region Overlap and Underlap
When a tick-based audio track has multiple regions, an increase in tempo can cause neighboring regions to overlap. Audio regions can be set
to display a small “dog-ear” corner to indicate
overlapping region boundaries.
Overlap region
Underlap region
Region overlap and underlap
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• Choose Region > Send to Back to make the
region underlap the neighboring regions.
If multiple overlapping regions are selected,
Pro Tools will apply the command to each region as that region relates to the neighboring region on the right.
Trimming Regions
In addition to the Trim tools, Pro Tools provides
several options for editing region and region
group boundaries.
For information on using the Trim tools, see
“Using the Trim Tools” on page 374.
To trim from an end point to insertion:
1 With the Selector tool, click inside the region
or note where you want the new end point.
2 Choose Edit > Trim Region > End To Insertion.
The region’s end point is automatically trimmed
to the insertion point.
Trim Region to Selection
Command
The Trim Region to Selection command removes data before and after a region or MIDI
note selection, leaving only the selection. This
command lets you quickly remove all data in a
region (and in some instances the entire track)
except for the current selection.
Region end trimmed to insertion
To trim unwanted data from a region or note:
1 With the Selector tool, select a portion of a re-
gion or note (or a range of notes).
2 Choose Edit > Trim Region > To Selection to
remove material outside of the selection.
Trim Region to Insertion
Commands
Trim to Fill Selection Commands
The Trim to Fill Selection commands let you automatically reveal underlying material in the
gaps between regions, as follow:
To trim from a start point to fill gaps:
1 With the Selector tool, select across at least
one gap between regions.
You can trim a region or MIDI note by automatically removing the material between the Edit
insertion point and the start or end point of the
region.
To trim from a start point to insertion:
1 With the Selector tool, click inside the region
or note where you want the new start point to
be.
2 Choose Edit > Trim Region > Start To Inser-
tion. The region’s start point is automatically
trimmed to the insertion point.
Chapter 20: Working with Regions and Selections
421
2 Choose Edit > Trim Region > Start to Fill Selection.
The start point of the region behind the gap is
automatically trimmed (expanded) to the previous region, or as far as possible if there is not
enough underlying material to cover the gap.
To trim from a region’s start and end points to fill
gaps:
1 With the Selector tool, select across at least
one gap between regions.
2 Choose Edit > Trim Region > To Fill Selection.
The start point of the region behind the gap is
automatically trimmed (expanded) to the previous region, or as far as possible if there is not
enough underlying material to cover the gap;
and the end point of the region in front of the
gap is automatically trimmed (expanded) to the
next region, or as far as possible if there is not
enough underlying material to cover the gap.
Trimming with Nudge
Region start trimmed to fill gap
You can trim the start and end points of a region
by nudging them.
To trim from an end point to fill gaps:
1 With the Selector tool, select across at least
one gap between regions.
2 Choose Edit > Trim Region > End To Fill Selec-
tion.
To trim a region’s start or end point by the Nudge
value:
1 Configure the Nudge value (see “Defining the
Nudge Value” on page 435).
2 With the Time Grabber tool, select the region
The end point of the region in front of the gap is
automatically trimmed (expanded) to the next
region, or as far as possible if there is not enough
underlying material to cover the gap.
you want to trim.
3 Do one of the following:
• While pressing Alt (Windows) or Option
(Mac), press Plus (+) or Minus (–) on the numeric keypad to trim the region’s start
point by the Nudge value.
– or –
• While pressing Control (Windows) or
Command (Mac), press Plus (+) or Minus
(–) on the numeric keypad to trim the region’s end point by the Nudge value.
Region end trimmed to fill gap
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Healing Separated Regions
Placing Regions in Tracks
The Heal Separation command returns separated regions to their original state—provided
the regions are still next to each other and their
relative start/end points haven’t changed since
the separation.
Once you have created a region, it appears in the
Region List. From the Region List you can drag it
to a track to add to an existing arrangement of
regions, or you can create a new track and start
adding regions from scratch. The exact placement of regions in a track depends on whether
the Edit mode is set to Shuffle, Slip, Spot, or Grid
(see “Edit Modes” on page 363).
If you have trimmed or otherwise changed the
start or end points of the two regions, or moved
them further away from each other, you will not
be able to repair them with the Heal Separation
command. It is not possible to heal two regions
created from different audio files.
For information on locating regions in the
Region List by typing the first few letters of
their name, see “Keyboard Selection of Regions” on page 361.
To heal a separation between two regions:
1 With the Selector tool, make a selection that
To place a region in a track:
includes part of the first region, the entire separation between the regions, and part of the second region.
1 In the Region List, select the region or regions
2 Choose Edit > Heal Separation.
to a location in a track.
If the regions do not heal with Heal Separation, do
one of the following to return the separated
regions to a single region:
Delete one of the two separated regions (verify that Slip mode is enabled so the gap does not
close) and use the Trim tool to expand the remaining region to its original length (see “Using
the Trim Tools” on page 374).
■
you want to place.
2 Drag the selected regions from the Region List
If dragging multiple regions, the regions are
placed on adjacent tracks left to right or on multiple tracks from top to bottom depending on
the selected Region List Timeline Drop Order
(see “Timeline Drop Order” on page 424). If
dragging a stereo region, it must be placed in a
stereo track or in two mono tracks.
– or –
Delete both of the separated regions and drag
the original region from the Region List to the
original location (see “Placing Regions in
Tracks” on page 423).
■
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423
Regions are placed according to the current Edit
mode:
To drag and drop multiple items from the Region
List to multiple new tracks:
• In Shuffle mode, existing track regions are slid
as necessary to make room for the new region.
1 From the Region List pop-up menu, choose
• In Spot mode, you are prompted by the Spot
dialog to enter a location for the dragged region (see “Spotting Regions” on page 431).
2 Search and sort the Region List if desired to
• In Grid mode, the dragged region snaps to the
nearest Grid boundary.
3 Select multiple items in the Region List and do
You can temporarily disable Grid mode
while dragging a region by holding down the
Control key (Windows) or Command key
(Mac) after clicking with the mouse.
• In Slip mode, the regions are placed exactly
where they are dropped in the destination
track.
Timeline Drop Order > Top to Bottom.
configure the order in which items will be
placed.
one of the following:
• To create new tracks and place items to a
specific location, drop items at the desired
location along the area below the last track.
• To create new tracks and have items placed
at the start of the session, drop the items on
the Track List.
Timeline Drop Order
The Timeline Drop Order command in the Region List pop-up menu sets whether tracks
dragged from the Region List are dropped sequentially in a single track or spread across multiple tracks, as follows:
Top to Bottom When enabled, regions spread
across multiple destination (drop) tracks or on
new tracks (when dragging to the area below the
last track or to the Track List).
Left to Right When enabled, regions are placed
sequentially in a single destination (drop) track
or on a new track (when dragging to the area below the last track or on to the Track List).
To set the Region List Drop Order:
■ Choose Region List > Timeline Drop Order,
and then Top to Bottom or Left to Right.
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New tracks after dropping multiple Region List items,
with Timeline Drop Order set to Top to Bottom mode
To place multiple items across multiple existing
tracks:
1 From the Region List pop-up menu, choose
Timeline Drop Order > Top to Bottom.
2 Select multiple items in the Region List and
drop them in the playlist of a compatible track
at the desired location. When the cursor is over
a compatible destination, the region outlines
appear at the location.
To drag and drop multiple items from the Region
List to a single track:
1 From the Region List pop-up menu, choose
Timeline Drop Order > Left to Right.
2 Search and sort the Region List if desired to
configure the order in which items will be
placed.
3 Select multiple items in the Region List and do
one of the following:
• To create a new track and spot the first item
to a specific location, drop at the desired location in the area below the last track
shown in the Edit window.
• To create a new track and have the first
item placed at the start of the session, drop
the items on the Track List.
• To place items in an existing track, drop the
items in the Edit playlist for the desired
track.
Placing Regions at the Edit
Insertion Point
You can drag a region from the same track, from
another track, or from the Region List, and align
its start, end, or sync point to the Edit insertion
point. This technique is useful in post production since it lets you set an Edit selection point
during playback or while stopped and then
quickly place sound effects at the edit insertion
point.
With Pro Tools HD, when the Scrolling option is set to Center Playhead, regions snap
to the playhead, instead of the Edit insertion point.
To place the start of a region at the Edit insertion
point:
1 With the Selector tool, click in the track at the
time location where you want to place the start
of the region.
2 Do one of the following:
• While pressing the Start key (Windows) or
Control (Mac), drag the region from the Region List, or from another track, to the destination track.
– or –
New tracks created by dropping multiple Region List
items with Timeline Drop Order set to Left to Right
mode
• If the region is already in the track, Startclick (Windows) or Control-click (Mac) the
region with the Time Grabber tool.
If the selected items include mixed types of regions (such as audio and MIDI, or region groups
and MIDI) the appropriate track types will be
created and each corresponding item will be
placed in them. Similarly, if the selected items
include multiple formats (mono, stereo, or
other) new tracks of each format will be created
and those regions placed in them.
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To place the end of a region at the Edit insertion
point:
1 With the Selector tool, click in the track at the
time location where you want to place the end
of the region.
2 Do one of the following:
Aligning to Region Start Points
The start, end, and sync point of one region can
be aligned to the start of a different region on
another track.
With Pro Tools HD, when the Scrolling option is set to Center Playhead, region start,
end, and sync points align to the playhead.
• While pressing Control+Start (Windows)
or Command+Control (Mac), drag the region from the Region List, or from another
track, to the destination track.
To align the start points of regions on different
tracks:
– or –
1 With the Time Grabber tool, select the region
• If the region is already in the track, Control-Start-click (Windows) or CommandControl-click (Mac) the region with the
Time Grabber tool.
you want to align to by clicking it.
To place the sync point of a region at the Edit
insertion point:
2 If the Scrolling option is set to Center Play-
head (Pro Tools HD only), move the playhead to
the start of the selected region. For details, see
“Moving the Playhead” on page 413.
3 Do one of the following:
1 With the Selector tool, click in the track at the
time location where you want to place the sync
point of the region.
• Start-drag (Windows) or Control-drag
(Mac) a region from the Region List to another track.
2 Do one of the following:
– or –
• While pressing Start+Shift (Windows) or
Control+Shift (Mac), drag the region from
the Region List, or from another track, to
the destination track.
– or –
• If the region is already in the track, ShiftStart-click (Windows) or Shift-Controlclick (Mac) the region with the Time Grabber tool.
• If the region is already in the track, Startclick (Windows) or Control-click (Mac) the
region you want to move with the Time
Grabber tool.
The start point of the second region is aligned to
the start of the first region.
To align the end point of a region to the start of
another region (on a different track):
1 With the Time Grabber tool, select the region
you want to align to by clicking it.
2 If the Scrolling option is set to Center Play-
head (Pro Tools HD only), move the playhead to
the start of the selected region (see “Moving the
Playhead” on page 413).
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3 Do one of the following:
• Control-Start-drag (Windows) or Command-Control-drag (Mac) a region from
the Region List to another track.
– or –
• If the region is already in the track, Control-Start-click (Windows) or CommandControl-click (Mac) the region you want to
move with the Time Grabber tool.
The end point of the second region is aligned to
the start of the first region.
To align the sync point of a region to the start of
another region (on a different track):
1 With the Time Grabber tool, select the region
Sliding Regions
A region or group of selected regions (on the
same track or on multiple tracks) can be slid
with the Time Grabber tool to new locations or
to other tracks. This feature is useful in post production applications where the timing of audio
events such as sound effects and dialog need to
be spotted to music, film, or video.
Sliding regions is affected by whether the current Edit mode is set to Shuffle, Slip, Spot, or
Grid (see “Edit Modes” on page 363).
You can slide a copy of a region to another
location or track by pressing Alt (Windows)
or Option (Mac) while dragging.
you want to align.
2 If the Scrolling option is set to Center Play-
head (Pro Tools HD only), move the playhead to
the start of the selected region (see “Moving the
Playhead” on page 413).
3 Do one of the following:
• Start-Shift-drag (Windows) or ControlShift-drag (Mac) a region from the Region
List to another track.
– or –
• If the region is already in the track, StartShift-click (Windows) or Control-Shiftclick (Mac) the region you want to move
with the Time Grabber tool.
The sync point of the second region is aligned to
the start of the first region.
To retain a region’s time location when
dragging to another track, press the Start key
(Windows) or Control (Mac) while dragging.
Shuffling Regions
In Shuffle mode, you can move regions freely
within a track or onto another track, but their
movement is constrained by other regions. That
is, if you place several regions in a track, their
start and end points automatically snap to each
other. You can then “shuffle” their order, but
you cannot separate them from each other and
you cannot make them overlap as in Slip mode.
In Shuffle mode, adding another region to the
beginning of a track moves all subsequent regions to the right by the length of the region
added.
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To shuffle regions:
1 Set the Edit mode to Shuffle by clicking its
button in the upper left of the Edit window.
2 Drag a mono region from the Region List to an
empty track. The region snaps to the beginning
of the track.
3 Drag a second region from the Region List to
Shuffling Multiple Tracks and
Multichannel Regions
Selections across multiple tracks or on multichannel tracks can be shuffled. Unlike shuffling
regions on a single track, any partially selected
regions are cut and moved along with the
dragged region. This lets you retain only the material that corresponds to the dragged region.
the same track, somewhere in the middle. The
start point for the second region snaps to the
end of the first region.
4 With the Time Grabber tool, drag the second
region to the beginning of the track.
Pro Tools “shuffles” the position of the two regions. The second region now occurs first, yet
the two still cling together.
Shuffling this region cuts this channel
5 Experiment more with Shuffle mode by dragging additional regions to the track and rearranging them.
Locked regions (see “Locking Regions” on
page 438), and all regions occurring after the
locked region, are not displaced when other
neighboring regions are moved in Shuffle mode.
If there is not enough room to place or duplicate
a region in front of a locked region, the insertion
area is disabled.
If you place a region while in Slip mode and
switch to Shuffle mode, Pro Tools preserves the
relative timing and position of the slipped region, and any space between it and other regions.
With certain workflows, it is important to
exclude Shuffle mode in order to ensure that
regions stay time-aligned while editing.
Shuffle Lock prevents you from inadvertently entering Shuffle mode by disabling all
key commands and control surface switches
for Shuffle mode. For more information, see
“Shuffle Lock” on page 364.
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Shuffling multichannel regions
Moving Regions with the Grabber
Tools
Use the Grabber tools to move one or more regions, or the Edit selection, to another location.
The Grabber tools cut the selection and paste it
to the new location.
Hold down Alt (Windows) or Option (Mac)
when clicking and dragging the selection
with a Grabber tool to copy the selection
rather than cut it.
To move one or more regions, or the Edit selection,
with one of the Grabber tools:
1 Make a selection.
2 With of the Grabber tools (Time, Separation,
or Object), click and drag the selection to the
new location.
Time Grabber and Object Grabber
If you are moving audio data, the Time Grabber
and Object Grabber tools overlay only the audio
data on the destination track.
Snapping to the Preceding or Next
Region on a Track
A region—or an Edit selection including one or
more regions on the same track or on multiple
tracks)—can snap to the end of the preceding region or to the beginning of the following region
using the Snap To Next or Snap To Previous
commands. This is useful for “butt splicing” adjacent regions on a track.
To snap to the preceding region on a track:
1 Do one of the following:
• With the Time Grabber, select a region.
– or –
• With the Selector, select an area in a track
that contains whole regions. The regions
do not need to be adjacent.
Moving a selection with the Time Grabber
2 Do one of the following:
• Choose Edit > Snap To > Previous.
Separation Grabber
The Separation Grabber replaces the entire selected range on the destination track timeline.
– or –
• Right-click the region or Edit selection and
choose Snap to Previous in the pop-up
menu.
The selected region snaps to the preceding region on the track so that the two regions are
“butt-spliced.”
Moving a selection with the Separation Grabber
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To snap to the next region on a track:
1 Do one of the following:
• With the Time Grabber, select a region.
– or –
• With the Selector, select an area in a track
that contains whole regions. The regions
do not need to be adjacent.
2 Do one of the following:
Slipping Regions
In Slip mode, regions can be moved with the
Time Grabber tool freely within a track, or onto
other tracks. In this mode, it is possible to place
a region so that there is space between it and
other regions in a track. When the track is
played back, this space is silent. It is also possible to move a region so that it overlaps or completely covers another region.
• Choose Edit > Snap To > Next.
– or –
To slip regions:
• Right-click the region or Edit selection and
choose Snap to Next in the pop-up menu.
1 Enable Slip mode (see “Edit Modes” on
The selected region snaps to the following region on the track so that the two regions are
“butt-spliced.”
page 363).
2 Drag a region from the Region List to an
empty track.
3 Drag a second region from the Region List to
the same track, somewhere in the middle. The
second region is placed wherever you release it.
It doesn’t snap to the first region as in Shuffle
mode.
4 Drag the regions to different locations within
the track to get a feel for moving them in Slip
mode. Try placing the second region so that it
slightly overlaps the first region. Play back the
results.
Snapping a region to the next region in a track
You can also use the Snap To commands
with an Edit selection that includes multiple regions on one or more tracks.
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Spotting Regions
Spot mode is useful for sessions in which you
want to spot regions to precise locations based
on any of the Time Scales. This is useful when
performing post production tasks. In Spot mode
you can spot a region by specifying a SMPTE
frame (Pro Tools HD and Pro Tools LE with DV
Toolkit 2 only) or bar and beat location, by capturing an incoming time code address, or by using the region’s time stamps.
For even quicker spotting, if you are using
VITC, use the Auto-Spot Regions command
to spot a region to the current SMPTE frame
location with the Time Grabber tool. For
more information, see “Auto-Spotting Regions” on page 814.
To spot a region:
1 Set the Edit mode to Spot by clicking its but-
ton in the upper left of the Edit window.
2 Do one of the following:
• Drag a region from the Region List, or drag
audio files or sessions from a DigiBase
browser, to an existing track.
– or –
• Click a region already in a track with the
Time Grabber tool.
3 In the Spot dialog, select a time format from
the Time Scale pop-up menu.
Spot dialog
4 With Pro Tools HD or Pro Tools LE with DV
Toolkit 2, if the Time Scale is set to Time Code,
select the Use Subframes option to display subframes in the fields for improved accuracy.
5 Do one of the following:
• Click in the field for Start, Sync Point, or
End and type in a new location. Changing
one of these locate points automatically
updates the other locate points.
• Click one of the up arrows next to Original
Time Stamp or User Time Stamp to enter
the associated values into the currently selected field.
• If you are using an external SMPTE time
code source, click the down arrow next to
the Current Time Code display—or press
Equal (=) on the numeric keypad—to capture an incoming time code address.
6 Click OK. The region is moved to the new lo-
Each of the fields in the Spot dialog are displayed in the chosen Time Scale.
cation specified for its start, end, or sync point.
If a region does not have a sync point defined,
the Sync Point field in the Spot dialog functions
the same as the Start field.
For more information on using SMPTE with
Pro Tools, see Chapter 35, “Working with
Synchronization.”
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431
Right-Click Commands for Spotting Regions
Time Stamps and Matches
You can use Right-click commands with a key
combination to spot regions in a track.
Regions with identical User Time Stamps appear
together in the Matches submenu in the Rightclick pop-up menu when auditioning takes (see
“Selecting an Alternate Take on a Track” on
page 286).
In previous versions of Pro Tools, Rightclicking in a region with the Grabber tool
would spot the region to a selection.
To spot a region to a selection:
Sliding Regions in Grid Mode
1 Click or drag with the Selector tool to locate
the cursor or make a selection in the track where
you want to spot the region.
Grid mode provides several useful capabilities
for sliding and moving regions in track playlists.
This mode is especially useful for lining up regions at precise intervals, as when working with
a session that is bar- and beat-based. Grid
boundaries, depending on the Main Time Scale,
can be based on frames, bar and beat values,
minutes or seconds, or a number of samples.
2 Control-Right-click (Windows) or CommandRight-click (Mac) the region and choose any of
the following from the pop-up menu:
• Move Region Start to Selection Start
• Move Region Sync to Selection Start
• Move Region End to Selection Start
Region Time Stamps
When a region is created, it is time stamped relative to the SMPTE start time specified for the
session. This Original Time Stamp is permanently stored with the region and cannot be
changed. If a region is ever moved, it can easily
be placed at its original position from the Spot
dialog.
When the Original Time Stamp for a region is
initially set, this same location is also used to define the region’s User Time Stamp.
Unlike the Original Time Stamp, the User Time
Stamp can be redefined with the Time Stamp
command in the Region List pop-up menu (see
“Time Stamping” on page 814).
Time Stamps in DigiBase
Columns are provided in DigiBase browsers for
both the Original and User Time Stamps.
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Grid mode also provides two operational
modes, Absolute and Relative. These modes control how the Grid is applied (see “Absolute and
Relative Grid Mode” on page 433).
To temporarily suspend Grid mode and
switch to Slip mode while dragging a region,
hold down the Control key (Windows) or
Command key (Mac).
Setting Up the Grid
When the Draw Grid in Edit Window option is
enabled in the Display Preferences page, vertical
Grid lines appear in the Edit window.
Grid lines in the Edit window can also be enabled and disabled by clicking the Timebase
ruler name after it becomes highlighted.
Defining the Grid Value
Absolute and Relative Grid Mode
In addition to affecting the placement of regions, the Grid value also constrains Timeline
and Edit selections, and determines how the Region > Quantize to Grid command works.
Grid mode can be applied in Absolute or Relative mode.
To set the Grid value:
1 Do one of the following:
• From the View > Main Counter menu, select the Time Scale for the Grid value.
– or –
• To keep the Main Time Scale and use a different time format for the Grid, deselect
Follow Main Timebase in the Grid value
pop-up menu in the Edit window.
2 Do one of the following:
• From the Grid value pop-up menu in the
Edit window, select the time value for defining the Grid boundaries.
◆ In Absolute Grid mode, moving any region
snaps the region start to Grid boundaries. If a region’s start point falls between beats, and the
Grid is set to 1/4 notes, dragging the region will
snap its start time to the nearest 1/4 note (the
current absolute Grid value).
◆ In Relative Grid mode, regions can be moved
by Grid (or Nudge) units. If a region’s start point
falls between beats and the Grid is set to 1/4
notes, dragging the region will be constrained to
1/4 notes, preserving the region’s relative position to the nearest beat.
To select Absolute or Relative Grid mode:
■ Click the Grid mode selector and choose Absolute or Relative.
To temporarily suspend Grid mode and
switch to Slip mode while dragging a region,
hold down the Control key (Windows) or
Command key (Mac).
To place or move a region while in Grid mode:
1 Configure the Grid value (see “Defining the
Grid Value” on page 433).
2 Do one of the following:
• Drag a region from the Region List to an existing track.
– or –
• With the Time Grabber tool, drag a region
already in a track to a new location.
Grid value pop-up menu showing Bars:Beats
– or –
• To define a Grid based on the session’s
Markers, selections, and region boundaries,
select Regions/Markers from the Grid value
pop-up menu.
The region’s start point snaps to the closest Grid
boundary. If the region has a sync point defined, the sync point snaps to the Grid boundary.
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433
To change the location of a sync point:
Sync Points
The placement of regions in Grid and Spot
mode can be based on the definition of a region
sync point. Sync points are used when a specific
point within a region must be aligned to the
Grid or to a particular SMPTE or bar/beat location. This capability is important in placing music and sound effects for film and video work.
For example, suppose you had an audio region
for a door slam that included the creak of the
door closing, the actual slam, and the reverb of
the slam. Using a sync point for the slam lets
you spot the slam to a specific time in the session.
To define a region sync point:
1 Enable Slip mode (see “Edit Modes” on
page 363).
2 Do one of the following:
• With the Selector tool, click at the point in
the region where you want the sync point.
– or –
• Press the Down Arrow key while playing
back.
■ With the Selector tool, click at a point in a region and choose Region > Identify Sync Point.
The new location is identified as the sync point
for the region.
You can also move the location of a sync
point by clicking and dragging it. See
“Dragging Sync Points” on page 435.
Removing Sync Points
To remove a sync point, do one of the following:
■ Select the entire region and choose Region >
Remove Sync Point.
– or –
■ Choose the Time Grabber tool, then Alt-click
(Windows) or Option-click (Mac) the sync point
to delete it.
Displaying Sync Points
Sync points in audio regions may displayed or
hidden.
To disable the display of sync points in audio
regions:
3 Choose Region > Identify Sync Point. A small
■
down arrow appears at the bottom of the region,
with a vertical, light grey line indicating the location of the sync point.
To enable the display of sync points in audio
regions:
■
Sync points
Sync Points
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Deselect View > Region > Sync Point.
Choose View > Region > Sync Point.
Dragging Sync Points
You can click and drag a sync point to another
position in the audio region.
To set the sync point by dragging:
1 If you want the sync point to snap to the cur-
rent Grid value, enable Grid mode (see “Edit
Modes” on page 363).
2 Select the Time Grabber tool.
3 Click and drag the sync point to a new loca-
tion.
Scrubbing Sync Points
While viewing an audio waveform can be a good
way to set a sync point, a waveform display may
not always reveal the desired spot in the audio
material. By scrubbing while moving the sync
point over an audio waveform, you can listen
for the exact location to place the sync point.
Sync Point Scrub cursor
Nudging
Pro Tools can nudge regions (or MIDI notes) by
precise increments with the Plus (+) and Minus
(–) keys on the numeric keypad. The amount of
the nudge is determined by the value specified
in the Nudge Value pop-up menu. The Nudge
function can be used in any of the Edit modes.
Nudging can be invaluable for adjusting the
“groove” of a musical phrase or a sound effect
relative to other elements in the session. Since
Pro Tools can nudge material during playback,
you can nudge continuously in real time to adjust the timing relationship between tracks.
Nudge can also be used to adjust the placement
of automation breakpoints. For more information, see “Editing Automation” on page 713.
Defining the Nudge Value
The Nudge value determines how far regions
and selections are moved when nudging.
Start and end points for selections can also be
moved by the Nudge value (see “Nudging Selection Start/End Points” on page 402). In addition, regions can be trimmed by the Nudge
value (see “Trimming with Nudge” on
page 422).
Scrubbing a Sync Point
To set the Nudge value:
To scrub while dragging the sync point:
1 If you want the sync point to snap to the cur-
rent Grid value when you finish scrubbing, set
the Edit mode to Grid (see “Edit Modes” on
page 363).
2 Select the Scrubber tool.
3 Click and drag the sync point to a new loca-
tion. The sync point scrubs the audio as you
move it.
1 Do one of the following:
• From the View > Main Counter menu, select the Time Scale for the Nudge value.
– or –
• To keep the Main Time Scale and use a different time format for the Nudge value, deselect Follow Main Timebase in the Nudge
Value pop-up menu.
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2 Specify a Nudge value by doing one of the following:
• From the Nudge value pop-up menu in the
Edit window, select the Nudge value.
– or –
• To specify a Nudge value not listed in the
Nudge Value pop-up menu, click the
Nudge Value indicator and type in the
value.
The Nudge command works the same regardless
of the Edit mode. Adjacent regions are overlapped in Shuffle mode, the Spot dialog does not
appear when in Spot mode, and shifted material
does not snap to the Grid when in Grid mode.
Nudging Regions on Multiple Tracks and
in Multichannel Tracks
When nudging a selection of multiple regions
within a single track or across multiple tracks,
that also contains silence, any automation data
residing within the silence is also nudged.
Nudging by Next Nudge Value
In addition to nudging by the current Nudge
value, you can also nudge by the next, larger
value in the Nudge pop-up menu.
Nudge Value pop-up menu showing Time Code
Nudging Regions
To nudge one or more region:
1 Configure the Nudge value. For details, see
“Defining the Nudge Value” on page 435.
2 With the Time Grabber or Selector tool, select
the region, regions, or region groups you want
to nudge. The regions can reside on multiple
tracks. Only regions that are completely selected
are nudged.
3 Do one of the following:
• On the numeric keypad, press Plus (+) to
move the selection forward by the Nudge
value.
– or –
• Press Minus (–) to move the selection back
by the Nudge value.
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For example, if the Nudge value is set to 1 frame
and you want to nudge by a larger valuer, you
can nudge by the next, larger Nudge value of 10
frames.
To nudge forward or back by the next, larger Nudge
value:
1 Enable Commands Keyboard Focus (see “Keyboard Focus” on page 16).
2 With the Selector or Time Grabber tool, select
the regions or notes you want to nudge.
3 Press Forward Slash (/) to nudge the selected
material forward by the next Nudge value. Press
M to nudge the selection back.
You can also nudge by the next Nudge value
without enabling the Commands Keyboard
Focus. While pressing the Start key (Windows) or Control (Mac), press Forward
Slash (/) or M.
Nudging a Region’s Contents
Often a region’s start point will reside at the correct location, perhaps at a SMPTE frame or bar,
but the material within the region starts too late
or early. You can, in effect, nudge a region’s audio waveform or MIDI notes without displacing
the region’s start and end points.
before
Shift Command
Use the Shift command to move track material
forward or back in time by a specified amount.
The Shift command can operate on selections,
regions, MIDI notes, MIDI controller data, and
automation breakpoints.
To shift a selection or region:
1 With the Selector or Time Grabber tool, select
the track material you want to shift. The selected material can reside on multiple tracks.
Region contents are slid, moving waveform material
into and out of the current region boundaries
2 Choose Edit > Shift. In the Shift dialog, select
whether the data will be moved Earlier or Later.
3 Click in one of the Timebase fields to specify
after
the amount by which the material will be
shifted. Entering a value in one Timebase field
automatically updates the others.
Nudging region content
This “sliding” of region contents is only possible
if there is material residing outside the region’s
start and end points—from the region having
been trimmed, or perhaps captured from a larger
region.
To nudge the contents of a region without
changing the region start and end points:
1 Configure the Nudge value (see “Defining the
Nudge Value” on page 435).
Shift dialog
2 With the Time Grabber tool, select the region
cision, select the Use Subframes option.
whose contents you want to nudge.
3 While pressing the Start key (Windows) or
Control (Mac), press Plus (+) or Minus (–) on the
numeric keypad to move the material by the
Nudge value.
4 If you want to shift material with greater pre-
5 Click OK. The material is shifted earlier or
later by the specified amount.
If a portion of a region was selected, new regions
are created from the selection and from any material outside of the selection.
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The Shift command works the same regardless
of the Edit mode. For example, adjacent regions
are overlapped in Shuffle mode, the Spot dialog
does not appear when in Spot mode, and shifted
material does not snap to the Grid when in Grid
mode.
Locking Regions
If you have a region or group of regions that you
want to permanently associate with a particular
location in a track (a beat, SMPTE frame, or sample location), you can lock it in place so it cannot be moved accidentally. Locked regions cannot be moved or deleted.
Quantizing Regions to Grid
The Quantize to Grid command adjusts the
placement of selected audio and MIDI regions
so that their start points (or sync points, if
present) precisely align to the nearest Grid
boundary.
To lock (or unlock) a region:
1 With the Time Grabber, select the region or re-
gions to lock (or unlock). The regions can reside
on multiple tracks.
2 Choose Region > Lock (or Region > Unlock).
To quantize one or more regions:
1 Configure the Grid value (see “Defining the
Grid Value” on page 433).
2 With the Selector or Time Grabber tool, select
the region or regions you want to quantize. The
regions can be on multiple tracks. Only regions
that are entirely selected will be quantized.
3 Choose Region > Quantize to Grid. Region
start times (or sync points) are aligned to the
nearest boundaries for the defined Grid.
For MIDI regions, only the regions are quantized
and all MIDI data contained within the regions
(such as notes) are moved equally, thereby retaining their rhythmic relationships. To quantize individual MIDI notes, choose Event > MIDI
Grid/Groove Quantize (see “Grid/Groove Quantize” on page 584).
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Locked audio region
When locked, a small lock appears in the region
and it cannot be moved or deleted. If you attempt to perform edits that would move a
locked region, Pro Tools alerts you.
In Shuffle mode, locked regions, and all regions
occurring after the locked region, are not displaced when other neighboring regions are
moved.
Muting/Unmuting Regions
The Replace Region Dialog
Choosing the Mute/Unmute Region command
mutes playback of a selected region. Choosing
the command a second time unmutes the region. Regions that are muted become dimmed
to indicate their status.
Muted audio region (middle)
To mute or unmute a region or regions:
1 With the Time Grabber, select the region or re-
gions you want to mute or unmute. The regions
can even reside on multiple tracks.
2 Choose Region > Mute/Unmute. When
muted, regions are dimmed.
Replace Region dialog
Replacing Audio Regions
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
Use the Replace Region function to replace multiple instances of an audio region in a playlist
with another region. This is useful in post production if you use a sound effect, room noise, or
atmosphere region many times in a session, and
later decide to replace one or all of the original
regions with a different region.
This is also useful in music production if you
want to replace a certain loop or sample (for example, a drum beat) with a new one. You can
use this compositionally, if you know the tempo
of a section or session, to create a scratch piece
with “rough” regions of the correct length, and
later replace them with “final” regions of the
same length.
The following options are available in the Replace Region dialog:
Replace: Original Region Only Replaces only the
selected region with the replacement region
dragged from the Region List.
Replace: All Instances of the Original Region Replaces all instances of the selected region that fit
the On criteria with the replacement region
from the Region List.
• On This Track: replaces regions that fit the
Match criteria and are on the same track as
the original region.
• On All Tracks: replaces regions that fit the
Match criteria for all tracks in the session.
• On Within the Selection: replaces regions
that fit the Match criteria within the current selection.
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Replace: All Regions That Match Original Region’s Replaces all regions that fit the Match criteria and the On criteria with the replacement
region from the Region List.
• Start Position: replaces all regions that have
the same original start time as the selected
region. This includes regions that may
have been auto-created when trimming
end points.
• End Position: replaces all regions that have
the same original end time as the selected
region. This includes regions that may
have been auto-created when trimming
start points.
• Name: replaces all regions that come from
the same audio file and have been renamed
to the same name
• On This Track: replaces regions that fit the
Match criteria and are on the same track as
the original region.
• On All Tracks: replaces regions that fit the
Match criteria for all tracks in the session.
• On Within the Selection: replaces regions
that fit the Match criteria within the current selection.
Region matching uses all specified Match criteria. For example, if you select Start Position and
End Position, all regions from the same original
audio file as your selection with the same original start and end times will be replaced.
Fit Region Using The: Original Region Length If
the replacement region is smaller than the original region, the region is placed in the playlist
and any remaining audio from the original region is removed.
If the replacement region is larger than the selection, it is placed in the playlist and trimmed
to fit within the length of the original region.
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Fit Region Using The: Original Selection
Length When the playlist selection extends beyond the original region, the replacement region (if larger than the original region) is
trimmed to fit within the selection.
Fit Region Using The: Replacement Region
Length The replacement region is placed in its
entirety, regardless of the length of the original
region or selection.
To replace regions:
1 Select a region in a track’s playlist that you
want to replace. The selection can extend beyond the region’s end point, to include material
from the replacement region that is longer than
the original region.
Control-Shift-drag (Windows) or Command-Shift-drag (Mac) any region from the
Region List to any unselected region on a
track to open the Replace Region dialog
without first making a selection.
2 Control-Shift-drag (Windows) or Command-
Shift-drag (Mac) the replacement region from
the Region List to the selected region. The Replace Region dialog opens.
3 Configure the Replace Region dialog (see “The
Replace Region Dialog” on page 439).
4 Click OK.
Replacing Regions from the Region List
The Replace Regions command is also available
in the Region List pop-up menu. To use this
command, make sure there is a region selected
in a track and a different (replacement) region
selected in the Region List.
To Replace Regions using the Region List pop-up
menu:
Replacing a Region with an
Alternate Channel
1 Select a region in a track to be replaced.
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
2 Control-click (Windows) or Command-click
(Mac) the desired replacement region in the Region List. (The Control key is only required if
the Region List Selection Follows Edit Selection
option is enabled in the Editing Preferences
page.)
3 Choose Replace Regions from the Region List
pop-up menu.
4 Configure the Replace Region dialog (see “The
Replace Region Dialog” on page 439).
5 Click OK.
Replace Region and Multichannel
Tracks
The Replace Region command supports dragging multichannel regions from the Region List
to multichannel tracks, provided they are the
same channel format. For example, you can replace a selected stereo region in a stereo audio
track with another stereo region from the Region List. However, you cannot replace it with
two mono audio regions. Additionally, you cannot replace regions in multiple mono tracks
with multichannel regions.
Pro Tools provides region replacement tools specifically for field recording workflows. You can
replace a mono region (or selected portion of a
mono region) with a matching segment of an alternate channel that was recorded simultaneously. Any fades performed on the original region are automatically recalculated against the
replacement region, and any pre-existing automation on that track is unchanged.
For detailed information on working with
multichannel recordings made with field recorders, see the Field Recorder Workflow
Guide.
To replace a region with a matching alternate
channel:
1 In the Timeline, make a selection that in-
cludes or overlaps the region or portion of the
region you want to replace.
2 Do one of the following:
• With any Edit tool, Right-click (Windows
or Mac) or Control-click (Mac) the selection you want to replace, then select
Matches from the pop-up menu.
– or –
Audio Regions from Field
Recorders
Pro Tools provides region replacement tools specifically for field recording workflows. For audio
imported from a field recorder, you can replace
regions on tracks with alternate channels and
you can expand multiple channels to new
tracks.
• With the Selector tool, Control-click (Windows) or Command-click (Mac) the selection you want to replace.
The Matches submenu displays matching alternate channels under the Channels header. (This
submenu also displays any available alternate
takes under the Alternates header.)
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441
3 From the Matches submenu, select the name
of the alternate region that you want to use to
replace the original region.
With multichannel recordings from one or
more field recorders, both channels must overlap at least once between their start time code
and end time code positions, and must also
meet one of the following conditions:
• Matching Scene and Take
• Matching Shoot Date (applies only if Scene
and Take contain any information for both
channels)
• Matching Tape name
• Matching Sound Roll name
• Alternate channel Sound Roll name
matches current channel Tape name
Selecting an alternate channel from a channel group to
replace a region
4 Repeat this procedure for every region you
want to replace on each track.
Conditions for Alternate Channel
Availability
An alternate channel is available to replace the
original channel (represented by the region or
portion of a region selected on the Timeline) if
all of the following are true:
• Both channels are part of a multichannel
part of a recording made simultaneously
on one or more field recorders.
• Certain metadata matches between the
original channel and the alternate channel.
• The metadata embedded during shooting
and recording has been preserved prior to
import into Pro Tools.
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• Alternate channel Tape name matches current channel Sound Roll name
Expanding Alternate Channels to
New Tracks
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
When working with a mono region that is part
of a multichannel recording, you can expand
that region (or a selected portion of it) to new
tracks that reflect its matching alternate channels while preserving any edits or fades.
For example, you can use this feature to easily
create different versions of an edited dialogue
track corresponding to multiple channel inputs
(microphones) that were recorded simultaneously.
Matching alternate channels are mono
channels that were recorded simultaneously
with the original region (such as multichannel recordings made by one or more field recorders). For detailed criteria that alternate
matching channels must meet, see the Field
Recorder Workflow Guide.
To expand alternate channels to new tracks:
1 In the Timeline, do one of the following:
• To expand only a portion of the regions on
the track, make a selection that includes or
overlaps any number of regions on a track,
and Right-click (Windows or Mac) or Control-click (Mac) the selection.
– or –
• To expand all of the regions on the track,
Right-click (Windows or Mac) or Controlclick (Mac) the track name.
2 Choose the Expand to New Tracks pop-up
menu, and select one of the following methods
by which to expand alternate channels for the
selection to new tracks:
• By Channel Name
Result of expanding a selection to new tracks
• By Channel Number
• By Channel Name and Number
Edit Commands
Pro Tools provides many standard edit commands (such as cut, copy, and paste). Pro Tools
also many specialized edit commands that are
optimized for audio and MIDI production (such
as Repeat Paste to Fill).
Expanding a selection to new tracks
For detailed information on how each of
these options expand to new tracks, see the
Field Recorder Workflow Guide.
If alternate channels are available, Pro Tools expands them to new tracks (including the channel represented in the original track) according
to the chosen parameters.
Cut, Copy, Paste, and Clear
Use the Cut, Copy, Paste, and Clear commands
to rearrange and edit track material. Edits can
operate on entire regions selected with the Time
Grabber tool, or on track ranges selected with
the Selector tool. Edits can also work across multiple tracks (see “Editing Across Multiple Tracks”
on page 448).
You can cut, copy, and paste noncontiguous
regions by selecting them with the Object
Grabber tool.
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443
Track View and Edit Content
When cutting or copying track material, the
Track View determines the type of data placed
on the Clipboard. When displaying waveforms
for audio tracks, or when viewing MIDI or Instrument tracks in Notes or Regions Views, selections include all underlying automation and
controller data. Thus, cutting an audio region
also cuts any volume, pan, mute, send, or plugin automation that is also on the track. This
saves you from having to individually cut from
each automation playlist on the track.
When a track is displaying automation data or
controller data, only that data is placed on the
Clipboard. Also, whenever you cut or copy automation data, bounding breakpoints are created
at each end of the selected area, in order to preserve the slope of the automation both inside
and outside the selection.
Automation data (breakpoint-type data) with Cut and
Pasted audio region
Audio waveform data
However, when selecting groups of MIDI notes
with any of the Grabber tools (by drawing a rectangle around them), only the note data is placed
on the Clipboard. When selecting a time range
of MIDI notes with the Selector tool, all controller data in the track is selected (similar to selecting with the Selector tool for audio tracks in
Waveform View).
If tracks are grouped, copying and pasting on
any of the tracks affects each of the other tracks
in the group. Tracks that are hidden—even if
they are part of a group being edited—are not affected by edits.
The Edit mode affects how material is selected,
copied, and pasted:
• In Slip mode, the Cut command leaves an
empty space corresponding to the data removed from the track.
• In Slip mode, pasted data can overlap an adjacent region.
• In Shuffle mode, the Cut command leaves no
empty space, since the regions to the right of
the cut slide over, closing the gap.
• In Shuffle mode, pasted data causes all regions
to slide over to make room for the pasted material.
New regions are often auto-created when performing edits. For instance, when clearing a selection from a region, new regions are auto-created from the material residing outside of the
selection.
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Cut and Copy Commands
Deleting Underlying Region Data
Use the Cut command to remove the selection
from the track and place it on the Clipboard.
When removing a region or selection, you can
choose to remove or keep the underlying region
data.
Use the Copy command to place a copy of the
selection on the Clipboard so it can be pasted to
another track, or to the same track at a different
location, while leaving the original intact and in
place.
To delete a region or selection along with the
underlying region data:
To cut or copy a selection or region:
To delete a region or selection without removing
the underlying region data:
1 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
2 Set the Track View for the tracks you want to
edit.
When displaying waveforms for audio tracks, or
notes or regions for MIDI tracks, selections include underlying automation and controller
data. If the track is displaying automation data,
only the automation data is affected by the edits.
3 Make an Edit selection of the material you
want to cut or copy.
4 Do one of the following:
■
■
Choose Edit > Cut.
Choose Edit > Clear.
Paste Command
Use the Paste command to place the contents of
the Clipboard at the Edit insertion point, and
overwrite any material already there.
To paste a selection or region:
1 If you want to constrain the insertion point or
the selection to the current Grid value, set the
Edit mode to Grid.
2 Do one of the following:
• Choose Edit > Cut to remove the selection
and place it on the Clipboard.
• With the Selector tool, click in a track at
the point where you want to paste the material.
– or –
– or –
• Choose Edit > Copy to place the selection
on the Clipboard, without removing it.
• Use the Selector or Time Grabber tool to
make a selection where the material will be
placed.
If a portion of a region was cut or copied, the
material on the Clipboard appears as a new region in the Region List. If a portion of a region
was cut, new regions are auto-created from the
material residing outside of the selection.
When working in Shuffle mode, any subsequent
regions slide over to fill any empty space.
3 Choose Edit > Paste.
If pasting at an insertion point in Shuffle mode,
material to the right of the paste point is shifted
to the right. In Slip mode, the material is overwritten.
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445
If pasting into a selection in Shuffle mode, the
selection is replaced by the Clipboard’s contents
with the adjacent material slid left or right as
necessary. In Slip mode, the selection is also replaced but with the surrounding material remaining unchanged.
When working with MIDI, you can merge
the contents of the Clipboard with material
in the destination track. For more information, see “Merge” on page 447.
Special Cut, Copy, Paste, and
Clear Commands
Use the four “special” Edit menu commands
(Cut Special, Copy Special, Paste Special, and
Clear Special) for cutting, copying, pasting, and
clearing automation (volume, pan, mute, and
plug-in automation) on audio, Auxiliary Input,
Master Fader, VCA Master, and Instrument
tracks. These commands can also be used for
MIDI controller data on MIDI and Instrument
tracks.
Clear Command
Use the Clear command to remove a selection
from a track without placing it on the Clipboard.
To clear a selection or region:
1 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
2 Set the Track View for the tracks you want to
edit.
When displaying waveforms for audio tracks, or
notes or regions for MIDI tracks, selections include underlying automation and controller
data. If the track is displaying automation data,
only the automation data is affected by the edits.
You cannot paste MIDI controller data to
automation data nor automation to MIDI.
Cut Special
The Cut Special commands let you cut just automation data from the current selection (without
associated audio, video, or MIDI notes) and
place it in memory to paste elsewhere. Choices
include:
All Automation Cuts all automation or MIDI
controller data whether it is shown or not.
Pan Automation Cuts only pan automation or
MIDI pan data whether it is shown or not.
Plug-in Automation Cuts only plug-in automation that is shown.
3 Make an Edit selection.
Copy Special
4 Choose Edit > Clear to remove the selection.
If a portion of a region was cleared, new regions
are auto-created from the material residing outside of the selection. If working in Shuffle mode,
any subsequent regions slide over to fill any
empty space.
The Copy Special commands let you copy just
automation data from the current selection
(without associated audio, video, or MIDI notes)
and place a copy of it in memory to paste elsewhere.
All Automation Copies all automation or MIDI
controller data whether it is shown or not.
Pan Automation Copies only pan automation or
MIDI pan data whether it is shown or not.
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Plug-in Automation Copies only the plug-in automation that it is shown.
Paste Special
The Paste Special commands let you paste automation data into another region (without affecting associated audio, video, or MIDI notes) in
the following ways:
Merge Pastes MIDI controller data from the clipboard to the selection and merges it with any
current MIDI controller data in the selection, or
at the insertion point. This can be useful for
consolidating MIDI data from several tracks into
a single MIDI track.
Repeat to Fill Selection Pastes multiple iterations of audio, video, or MIDI data from the
Clipboard to fill the selection. If you select an
area that is not an exact multiple of the copied
region size, the remaining selection area is filled
with a trimmed version of the original selection.
This allows you to easily create drum loops and
other repetitive effects. Before the data is pasted,
Pro Tools prompts you to specify a crossfade to
smooth transitions between regions.
To Current Automation Type Pastes the automation or MIDI controller data from the clipboard
to the selection, or at the insertion point, as the
current type of automation or continuous MIDI
data. This lets you copy one type of automation
data to another, or one type of continuous MIDI
date to another type of contiguous MIDI data.
Clear Special
The Clear Special commands let you clear just
automation data from the current region.
Choices are:
All Automation Clears all automation or MIDI
controller data whether it is shown or not.
Pan Automation Clears only pan automation or
MIDI pan data whether it is shown or not.
Plug-in Automation Clears only plug-in automation that is shown.
For more information on working with automation data, see Chapter 30, “Automation.”
Repeat To Fill Selection
The Repeat to Fill Selection command lets you
automatically fill a selection with audio or MIDI
regions or data without requiring that you manually duplicate the regions. To use Repeat to Fill
Selection, cut or copy a region, then make a selection and use the command to fill the selection. When pasting audio regions, you are
prompted to specify a crossfade to be used for
the pasted regions.
If you fill an area that is an exact multiple of the
copied region size (for example, filling 16 bars
with a 4-bar region), the copied selection is
pasted as many times as it takes to fill the selection. If you fill an area that is not an exact multiple of the copied region size (for example, filling 15 seconds of a track with a 2-second region
of room noise), the remaining selection area is
filled with an automatically trimmed version of
the original selection.
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447
To fill a selection with Repeat to Fill Selection:
1 Select the region you want to copy.
2 Choose Edit > Copy.
3 Select the area you want to fill using the Selec-
tor tool and choose Edit > Paste Special > Repeat
to Fill Selection.
To copy all types of automation on all selected
tracks when copying only automation or controller
data:
■ Press and hold the Start key (Windows) or
Control (Mac), and choose Edit > Copy Special >
All Automation.
To paste to multiple tracks:
4 Do one of the following:
• If pasting audio regions to larger areas, the
Batch Fades dialog opens. Configure the dialog to create crossfades between each
pasted region, then click OK.
– or –
• If you do not want crossfades for the pasted
audio, click Cancel in the Batch Fades dialog.
Editing Across Multiple Tracks
When working with data from multiple tracks,
there are some important points to remember.
For example, if any selected tracks are set to
their master view (see “Master Views for Tracks”
on page 338), edits affect not only audio and
MIDI for the selected tracks, but all automation
and controller data as well.
If all selected tracks are displayed as automation
data, edits only affect the type of automation
data displayed in each track. Furthermore, if
track 1 displays Pan automation, track 2 displays
Volume automation, and track 3 displays Mute
automation, the Cut command cuts only pan
data from track 1, volume data from track 2, and
mute data from track 3.
For more information on selecting data on
multiple tracks, see “Selecting Across Multiple Tracks” on page 404.
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1 Do one of the following:
• Place the insertion point in each of the destination tracks by Shift-clicking in them
• Alt-Shift-click (Windows) or Option-Shiftclick (Mac) in a track to select all tracks
• Make a selection in one of the Timebase
rulers.
2 Choose Edit > Paste.
When you paste multiple types of data, whatever data has been copied is pasted into the correct type of playlist. Automation data is pasted
into the corresponding automation playlist. Audio or MIDI data is pasted into the audio or
MIDI playlist. You do not need to set target
tracks to the specific type of data being pasted
for the paste to work correctly.
If all destination tracks in a multitrack paste are
displayed as automation, the paste replaces any
previous data on the target track without shuffling—regardless of whether you are in Slip or
Shuffle mode.
Duplicate Command
The Duplicate command copies a selection and
places it immediately after the end of the selection. Though this is similar to using Copy and
Paste, Duplicate is more convenient and faster,
particularly when working with data on multiple tracks.
To make more than one copy of a selection, use
the Repeat command (see “Repeat Command”
on page 449). You can also loop regions (see
“Region Looping” on page 461).
As with the Copy and Paste commands, certain
rules apply when duplicating material on multiple tracks (see “Editing Across Multiple Tracks”
on page 448).
Duplicating Audio
When using Duplicate (or Repeat) for audio that
must fall cleanly on the beat (such as rhythmic
loops), it is important that you select the audio
material with the Selector tool, or by typing in
the start and end points in the Event Edit area. If
you select an audio region with the Time Grabber tool (or by double-clicking it with the Selector tool), the material may drift by several ticks
because of sample-rounding.
If, on the other hand, you want to Duplicate (or
Repeat) audio that is not bar- and beat-based, set
the Time Scale to any format except Bars:Beats.
This ensures that the duplicated audio material
has the correct number of samples and is accurately placed.
To duplicate a selection or region:
1 If working with material that is bar- and beat-
based, such as loops, set the Main Time Scale to
Bars:Beats.
2 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
3 Make an Edit selection.
4 Choose Edit > Duplicate. The material is
placed immediately after the selection’s end
point.
In Shuffle mode, the duplicated data is placed
directly after the end of the selection. Regions
occurring after it slide to accommodate the duplicated material. In Slip mode, the duplicated
material overlaps any adjacent data.
When using Duplicate (or Repeat) with MIDI
notes that were selected with the Time Grabber
tool, material is always duplicated one measure
later, and is merged with existing track material
(instead of replacing it).
Repeat Command
The Repeat command is similar to Duplicate,
but lets you specify the number of times the selected material is duplicated.
As with the Copy and Paste commands, certain
rules apply when repeating material on multiple
tracks (see “Editing Across Multiple Tracks” on
page 448).
You can repeatedly paste copied data until it
completely fills a selection (see “Repeat To Fill
Selection” on page 447).
You can also loop regions (see “Region Looping”
on page 461).
To repeat a selection or region:
1 If working with material that is bar- and beatbased, such as loops, set the Main Time Scale to
Bars:Beats.
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449
2 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
3 Make an Edit selection.
4 Choose Edit > Repeat. In the Repeat dialog,
enter the number of times you want the material to repeat, then click OK.
Split Selected Tracks
To edit a specific channel within a stereo or
multichannel track without affecting the other
channels, you can split the track into separate
mono tracks. Once the edits have been made to
the separated material, you can then drag or
copy it back to the original multichannel track.
To split a stereo or multichannel track:
1 Select one or more stereo or multichannel
tracks (see “Selecting Tracks” on page 127).
2 Choose Track > Split Into Mono. Regions from
Repeat dialog
The material is placed immediately after the selection’s end point, and duplicated the specified
number of times.
In Shuffle mode, the repeated data is placed directly after the end of the selection. Regions occurring after it slide to accommodate the repeated material. In Slip mode, the repeated
material overlaps any subsequent data.
Editing Stereo and
Multichannel Tracks
Regions on individual channels within stereo
and multichannel tracks cannot be independently selected. All selections for these tracks are
time-based, which means that selections made
with the Selector or Time Grabber tool extend to
each and every channel in the track.
When regions in multichannel tracks are edited
with any of the Trim tools or dragged with the
Time Grabber tool, material on all channels is
affected equally as a group.
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the channels on the selected tracks are placed
on new, mono audio tracks.
Names for the new tracks are based on the
source track name and channel suffix. For example, if a stereo track called “Funkit” is split, two
new tracks called “Funkit.L” and “Funkit.R” are
created.
Output and send assignments and volume and
pan settings are retained in the new tracks.
Mono equivalents of stereo and multi-mono
plug-in assignments are assigned in the new
tracks. However, multichannel plug-in assignments are not assigned in the new tracks.
Dragging Regions to and from Stereo
and Multichannel Tracks
Processing Audio with
AudioSuite Plug-ins
The AudioSuite plug-ins included with your
Pro Tools system can be used to process and
modify audio regions or even entire audio files.
Do this in order to apply a specific AudioSuite
process (such as Normalization or DC Offset Removal) any number of audio regions in your session.
Dragging a stereo region to two mono audio tracks
When dragging regions to or from stereo or
multichannel tracks, the following rules apply:
Provided the number of tracks and channels
are the same for the source and destination, you
can drag regions between multichannel tracks
and mono tracks.
Refer to the DigiRack Plug-ins Guide for
more information about AudioSuite plugins.
◆
The source and destination for dragged regions can be mixed. For example, you can drag
regions from a 5.0 track (containing five channels) to a stereo track and three mono audio
tracks.
◆
When dragging multichannel regions to
mono tracks, the destination tracks must be adjacent.
◆
When dragging regions from mono tracks to a
multichannel track, the source tracks need not
be adjacent.
◆
Multichannel regions can also be dragged from
the Region List, to multichannel tracks of the
same format, groups of mono audio tracks, or a
combination of both.
Conversely, a collection of single, mono regions
can be dragged from the Region List to multichannel tracks—provided the dragged number
of regions matches the number of channels in
the destination track.
Waveform Repair with the
Pencil Tool
The Pencil tool lets you destructively “redraw”
waveform data. This tool is most commonly
used to repair a pop or click in an audio file. A
pop or click appears as a sudden sharp spike in a
waveform. This tool only becomes active when
the Edit window is zoomed in to the sample
level.
The Pencil tool is a destructive editing tool
that permanently modifies the audio file on
disk and should be used with caution.
Although you can Undo a Pencil tool edit, it is
recommended that you create a backup copy of
the target audio, before using the Pencil tool.
You can do this by using the AudioSuite Duplicate plug-in.
Refer to the DigiRack Plug-ins Guide for information about the AudioSuite Duplicate
plug-in.
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451
To destructively edit an audio waveform with the
Pencil tool:
1 Locate the area you want to edit.
2 Using the Zoomer tool or the Zoom buttons,
zoom down to the sample level so the waveform
appears as a continuous thin line. Adjust the
Track Height, as necessary, to edit the waveform
with greater precision. You can also use vertical
zoom for greater visual resolution.
You can recall zoom levels with the Zoom
Preset buttons (see “Using the Zoomer
Tools” on page 367), or with Memory Locations (see “Memory Locations and Markers”
on page 524).
3 Select the Pencil tool.
Pencil tool
4 Carefully draw with the Pencil tool by dragging over the area of the waveform.
Do not over-edit or the results may be undesirable. However, you can use the Undo command
to undo your previous edit.
Repairing a “pop” with the Pencil tool
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Try to limit editing to smoothing over a very
small problem area, and keep the “fixes” in
character with the shape of the surrounding
waveform.
If you have trouble zooming in far enough to
perform Pencil tool editing, check the Edit
window (session) length. Shorten the overall
Edit window (session) length, if possible,
until the Pencil tool becomes usable.
Region Groups
A region group is a collection of any combination of audio and MIDI regions that looks and
acts like a single region. Region groups are essentially containers holding one or more regions.
Region groups can be created on a single or on
multiple adjacent audio, MIDI, and Instrument
tracks. Region groups let you “nest” multiple regions into “macro” regions for groove and
tempo manipulation, editing, and arranging.
Region groups can be placed on tracks alongside
standard regions, and edited using many of the
same Pro Tools editing techniques. Certain edits
to a region group will apply to all regions contained by the region group, such as Cut or Delete. Other edits only apply to the boundaries of
the region group and do not affect the underlining regions, such as Trim.
Each region group is saved with the session as a
Region Group file (.rgrp). Region Group files can
be exported from and imported into different
Pro Tools sessions.
Region groups are especially useful for:
• Grouping tick-based audio regions that have
been separated into many small regions, such
as with individual hits of a drum pattern.
Many such small regions can easily be created
with Beat Detective or the Separate Region At
Transients command, or imported as REX or
ACID files.
• Grouping parts and sections of your session to
facilitate composition and arranging. For example, grouping the regions of a brass section
during the chorus to copy it to the next chorus.
Region groups are completely independent
of Mix and Edit Groups.
Creating Region Groups
The region group appears as one region with the
region groups icon in the lower left corner. Region groups also appear in the Region List.
Region Group icon
A region group on an audio track and in the Region List
Region Group Timebase Format
Region groups are created in the same timebase
format (samples or ticks) as the tracks on which
they are created. Multitrack region groups can
include both sample-based and tick-based
tracks.
To create a region group:
1 Select one or more regions on one or more
tracks. (For more information on multitrack region groups, see “Multitrack Region Groups” on
page 454).
Audio Region Group icon
A region group on an audio track
Selecting regions to be grouped on a single audio track
The size of the selection determines the size of
the region group. The selection can start and
end on any region boundary, empty space, or
even in the middle of a region. Selections starting or ending within a region will separate the
region at the selection boundary when you create a region group. Region groups created from
object-based selections include all selected and
unselected regions between the first and last selected region on the track.
2 Choose Region > Group.
MIDI Region Group icon
A region group on a MIDI track
Region groups can be created from empty selections. This can be useful when working
in Shuffle mode to preserve the gaps between
regions.
The Group and Ungroup Region menu commands apply to any Edit selection regardless of the current Track View.
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Ungrouping Regions
To regroup a region group:
1 Select any region from the ungrouped region
To ungroup a region group:
1 Select a region group.
2 Choose Region > Ungroup.
The region group disappears, revealing all underlying regions and any nested region groups.
When there are multiple nested region groups,
the Ungroup command will ungroup the frontmost top-layer region group only, preserving
any underlying region groups.
To ungroup a region group (and include all of its
nested region groups):
1 Select a region group.
2 Choose Region > Ungroup All.
group.
2 Choose Region > Regroup.
If you used the Ungroup All command, the Regroup command recreates all previous nested region groups.
3 If you regrouped an ungrouped region group
that was used more than once in the session, do
one of the following when the Change All dialog opens.
• Choose Modify to apply your changes to all
other instances of the same region group.
– or –
• Choose Copy to create a copy and apply
your changes only to the copied region
group.
Regrouping Regions
The Regroup menu command undoes the last
Ungroup command and regroups all the individual regions as a region group. This lets you
ungroup a grouped region, edit its underlying
regions in any way desired, and regroup it to
continue working on higher-level composition
and arranging.
Multitrack Region Groups
Multitrack region groups (region groups created
across multiple tracks) are useful for grouping
parts (such as multi-miked drum tracks), and for
composing and arranging. Multitrack region
groups can be created across any combination of
audio, MIDI, and Instrument tracks, and can include either or both tick-based or sample-based
tracks.
Multitrack region groups work much like singletrack region groups. Multitrack region groups
appear as a single object across adjacent tracks.
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To create a multitrack region group:
1 Select regions across multiple adjacent tracks.
Mixed Region Group icon
Mixed multitrack region group (sample- and tick-based
audio, and tick-based MIDI)
Selecting regions to be grouped across multiple tracks
2 Choose Region > Group.
Multitrack region groups create nested region groups of multiple regions by track before grouping them across tracks.
The Regroup command supports multitrack
region groups.
Region Group icon
Multitrack region group
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Separated Multitrack Region Groups
You can insert, move, hide, or delete tracks in
multitrack region groups, but it may break the
region group. A separated region group displays
a break in the Region Group icon. Separated region groups will continue to function as a single
region group, but the separated icon indicates
that the region group displayed is somehow incomplete or separated across nonadjacent
tracks.
There may be situations where you want separated region groups. For example, if you use the
same accompaniment on verses one and two of
a song, you can group the parts of verse one and
copy them as a region group for verse two, but
still have a continuous vocal track in the middle
of those region groups.
If you want to delete a track and keep the region group intact, first ungroup the region
group, then delete the desired track, and
then Regroup the region group. The region
group will be recreated intact, but without
the deleted track.
Region Groups on Tick-Based
Tracks
Separated Region Group icon
Region group separated by deleting a track
When changing tempos, region groups on tickbased tracks adjust their length by adjusting the
position of all enclosed regions accordingly.
This is useful for arranging rhythmic material
and for playing back region groups imported
from REX and ACID files.
A region group is separated when you do any of
the following:
• Insert a track within a multitrack region
group.
• Move a track that is part of a multitrack region
group so that it is no longer adjacent with the
other tracks of the region group.
• Hide a track that is part of a multitrack region
group.
• Delete a track that is part of a multitrack region group.
• Change the tempo of a mixed sample-based
and tick-based region group.
• Record into a region group.
• Change playlists on a track that is part of a
multitrack region group.
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A region group on a tick-based audio track 120 BPM
and at 160 BPM
Changing Region Group Timebase
The timebase format of a region group can be
changed by:
• Changing the track’s timebase.
• Dragging the region group to a track with a
different timebase.
Multitrack Region Groups with Sample- and
Tick-Based Tracks
Multitrack region groups can include both sample-based and tick-based tracks. However,
changing the tempo separates the region group
between sample-based tracks and tick-based
tracks.
Changing the timebase creates a copy of the
original region group. Both region groups (the
original and the copy) appear in the Region List,
but they have different timebases.
Converting Samples to Ticks
When dragging a region group from a samplebased track to a tick-based track, the length of
the region group does not change. This is because region groups are converted from samples
to ticks after they are moved into tick-based
tracks. The length of the region group only
changes with subsequent tempo changes. If appropriate, change the local tempo on the tickbased track to match the tempo of the samplebased region group before moving a samplebased region group to a tick-based track.
Converting Ticks to Samples
When dragging a region group from a tick-based
track to a sample-based track, the length of the
region group does not change unless it is moved
to another time location with a different tempo.
This is because region groups are converted
from ticks to samples after they are moved into
the sample-based tracks.
A multitrack region group separated across samplebased and tick-based tracks after changing tempo
Editing Region Groups
Region groups are edited in much the same way
as regular regions: They can be named, moved,
cut, copied, pasted, trimmed, muted, locked,
and so on. However, there are a few significant
differences between editing regular regions and
region groups.
Editing MIDI Region Groups
If a MIDI region within a region group is modified in any way, a new region copy is created
and placed over of the region group. For example, if you record, draw in a new note, edit MIDI
controller data, or Quantize a Timeline selection, a new region is created over the region
group.
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Editing Audio Region Groups
Trimming Region Groups
Certain audio editing commands create new regions over region groups. To use these commands and maintain the region group, ungroup
the region group, perform the edit, and then regroup the region group.
Trimming region groups with the Standard Trim
tool works the same way as trimming regular regions, regardless of whether you are trimming a
single-track region group or a multitrack region
group.
The following edit commands create new regions over region groups:
Trimming a region group does not trim the underlying regions, but rather trims the region
group boundaries. All underlying regions retain
their original length and location. This is true
for all underlying audio and MIDI regions, and
nested region groups. If you trim the region
group shorter, underlying regions may not be
heard on playback because they are outside the
region boundaries of the trimmed region group.
• AudioSuite processing of a grouped region results in a new region over the region group.
• Consolidating a selection of a grouped region
creates a new audio file and region over the region group.
• Recording into a region group creates a new
audio file and region over the region group.
• Pencil tool waveform redraw results in a new
region over the region group.
Tabbing to Transients and Region Boundaries
With Tab to Transients enabled, the Tab key
moves the Location Cursor to transients and region boundaries within a region group.
With Tab to Transients disabled, the Tab key
moves the Location Cursor to region group
boundaries only (and the sync point, if present).
For more information, see “Tabbing to
Transients” on page 407.
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When trimming region groups with the TC/E
Trim tool, it applies only to audio regions, and
creates a new region over the region group.
If you Ungroup after trimming a region group in
(shorter), audio regions falling outside of the
bounds of the current region group are trimmed
to fit the region group boundary or removed.
Recording
When recording audio or MIDI, new regions are
created over (in front) of region groups instead
of being included in the region group. To record
into a region group, first ungroup the region
group, then record, and then regroup the region
group. The region group will be recreated intact
with the newly recorded material.
Fades and Crossfades on Region
Groups
Importing and Exporting Region
Group Files
Region groups can have fades and crossfades
just like regular regions. Fades only apply to audio regions. In addition to crossfading between
region groups, you can also crossfade between
region groups and regular audio regions.
Pro Tools can export and import region groups
as region group files (.rgrp) to do any of the following:
• Separate region group metadata from audio
files to avoid unnecessary file copy operations when exporting audio region groups
composed from multiple source files
• Export MIDI data as part of a region group
• Create multitrack loops
Region group files store the following metadata:
• References to all audio files within the region group
• Region names and relative location in
tracks
• Fades and crossfades
Two multitrack region groups with crossfades on the
audio tracks, but not on the MIDI track
Ungrouping a region group removes any region group level fades or crossfades. Fades
and crossfades are restored by the Regroup
command.
• Region group names and format (single or
multitrack)
• All MIDI data present in the region group
(such as notes, controllers, Sysex, and so
on)
• Track names
Region group files do not store the following:
When changing tempo with region groups
on tick-based tracks, you may need to Ungroup, redo or create new fades, and then
Regroup in order to maintain the desired
fades.
For information on working with fades and
crossfades in Pro Tools, see Chapter 21,
“Fades and Crossfades.”
• Automation
• Plug-ins
• Track routing
• Tempo and Meter map
• Region List information
Importing Region Groups
To import a region group:
■ Drag and drop the region group file from a
DigiBase browser, Windows Explorer, or Mac
Finder to the Timeline, a track, the Track List, or
the Region List.
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Dropping a region group has the following different results depending on where you drop it:
• When dropping a region group in a track,
Pro Tools checks for the matching track format, number of channels, and (in the case of
multitrack region groups) if there are enough
matching adjacent tracks to import the region
group file. If these criteria match, the region
group is imported and spotted to the drop location in the track or tracks.
• Dropping a region group on the Timeline or
on the Track List creates new tracks for the imported region group.
• Dropping a region group in the Region List
adds a new region group in the Region List.
All audio and MIDI regions, and even other
region groups, contained within the dropped
region group also appear in the Region List.
Exporting Region Groups
To export a region group, excluding its audio files:
1 Select one or more region groups in the Region List.
2 From the Region List pop-up menu, choose
Export Region Groups. The Export Region
Groups dialog opens.
3 If you want to change the Destination Direc-
tory from the default auto-created Region
Groups folder to another location, do the following:
• Click the Choose button.
• Navigate to the desired location.
• Clicking Choose.
4 To reset the Destination Directory to the de-
fault location, click Reset.
5 Enable one of the following options for resolving duplicate region group file names:
• Prompting for Each Duplicate
• Auto Renaming
• Replacing with New Files
6 Click OK.
Generally, if you are exporting region groups to
another hard drive, you should copy any referenced audio files. This way you can move region
groups not only from one session to another,
but from one system to another.
To export a region group and include its audio
files:
1 Export one or more region groups to the de-
sired drive.
2 Create a new session on the new drive.
3 Choose Setup > Preferences.
4 In the Preferences dialog, click the Processing
tab and select Automatically Copy Files on Import.
5 Click OK to close the Preferences dialog.
Export Region Groups dialog
6 Import all previously exported region groups
by dragging and dropping them into the session.
The audio files folder of the new session now
contains all files referenced by the region
groups.
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Region Looping
Pro Tools lets you loop audio regions, MIDI regions, and region groups. Looping regions is an
easy and powerful way to repeat a single region
on a track or regions across tracks for composing
and arranging. Looping regions provides more
flexibility than the Repeat and Duplicate commands.
Looped regions repeat the source region as
many times as specified in the Region Looping
dialog, or enough to fill the specified Loop
Length (such as 30 seconds or until the next region on the track). The source region is the original region selected for looping. Loop iterations
are all looped regions following the source region. In cases where a specific number of repetitions has not been indicated, the last loop iteration is truncated to fill to the end of the
selection or specified Loop Length.
Once looped, the looped region can be edited
much like a region group. For example, selecting
and moving a looped region selects and moves
the source region and all its loop iterations together.
Looped regions (all iterations) display a Loop
icon in the lower, right corner or each loop iteration.
Looped region
Source region
Loop iterations
Loop icons
Looped region
Looping a region does not loop any automation associated with the source region. Use
the Copy Special and Paste Special Repeat
To Fill Selection commands to copy automation for the source loop to all loop iterations (see “Automation and Looped Regions” on page 464).
Creating Looped Regions
You can create looped regions using the Loop
command or using the Loop Trim tool.
For information on using the Loop Trim
tool, see “Loop Trim Tool” on page 378.
To loop a region:
1 Select an audio or MIDI region, or region
group.
You can also select regions across tracks for
looping.
Selecting and looping more than one region
on a track only loops the first region in the
selection.
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461
2 Choose Region > Loop. The Region Looping
dialog opens.
4 If desired, select the Enable Crossfade option.
This will create a crossfade at the loop point. To
edit the loop crossfade, do the following:
• Click the Settings button.
• Configure the Loop Crossfades.
• Click OK.
Region Looping dialog
3 Do one of the following:
• Select the Number of Loops option and enter the number of times to loop the region.
• Select the Loop Length option and enter
the duration according to the main timebase. If the duration is not an exact multiple of the source loop’s duration, the last
loop iteration will be truncated.
• Select the Loop Until End of Session or
Next Region option. The looped region will
be repeated until the end of the session, or
until the next region on the track. If necessary, the last loop iteration will be truncated to fit.
Loop Crossfade dialog
For information on working with crossfades
in Pro Tools, see Chapter 21, “Fades and
Crossfades.”
5 In the Region Looping dialog, click OK.
To rename the looped region name only (or the
region name and disk file name):
1 Double-click the loop icon with the Grabber.
2 Type in a new name.
3 Choose to name region name only, or rename
region name and disk file name.
4 Click OK.
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To unloop a looped region:
1 Select the looped region.
2 Choose Region > Unloop. The Unloop Re-
gions dialog opens.
Unloop Regions dialog
3 Do one of the following:
• Click Remove to unloop and remove all
loop iterations except the first full loop iteration (source region).
– or –
• Click Flatten to unloop and create individual regions from each loop iteration.
Region Ungroup functions on loops the
same as using the Unloop command and
choosing Flatten.
To unloop and ungroup a selection down to its
individual regions:
1 Select a looped region that contains one or
more region groups.
Editing Looped Regions
Looped regions can be edited as a group (all loop
iterations together) or as individual regions
(each loop iteration). For example, selecting a
looped region with the Grabber tool selects the
entire loop (the source region and all its loop iterations), but clicking the Loop icon of one of
the loop iterations selects only that one iteration.
Moving a looped region moves the source region and all its loop iterations together as a
group. Loop iterations cannot be moved independently of their source region. If you move or
paste another shorter region over a looped region the loop is continued after the new region.
The parts of a separated looped region can be adjusted independently.
To select a looped region as a group (all loop
iterations), do one of the following:
■ With the Grabber tool or Smart Tool, singleclick the looped region.
– or –
■ With the Selector tool, double-click the
looped region.
The source region and all its loop iterations are
selected.
2 Choose Region > Ungroup All.
Unlooping and Flattening Looped Regions with
Separate Regions Menu Commands
The Separate Regions commands (At Selection,
On Grid, and At Transients) will automatically
unloop and flatten looped regions before separating.
To select an individual source region or loop
iteration, do one of the following:
■ With the Grabber tool or Smart Tool, singleclick the Loop icon of the source region or loop
iteration.
– or –
■ With the Selector tool, single click the Looped
Region icon and drag to the left until the region
is selected.
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Tabbing to Transients and Region Boundaries
Automation and Looped Regions
Tab to Transients tabs to transients and region
boundaries in a looped region. Normal Tab (Tab
to Transients disabled) tabs to the start and end
boundaries of the entire looped region.
Looping an audio region does not loop any automation associated with the source region.
This lets you apply automation across an entire
looped region. For example, you may want to
have a long fade across part or all of a looped region that is independent of any one loop iteration.
Trimming Looped Regions
Trimming looped regions can be done using the
Trim tool, the Loop Trim tool, or one of the
Trim Region commands. The Loop Trim tool
trims the entire looped region. The Trim tool
trims only the individual loop iteration while
increasing or decreasing the number of loop iterations to fill the total length of the looped region.
For information on trimming looped regions
using the Loop Trim tool, see “Loop Trim
Tool” on page 378.
If the source region is extended to the left by using the Trim tool to change the total length of
the looped region, the source region is moved
earlier in the Timeline and loop iterations fill in
up to the point where the last original loop iteration ended. If the trim to the left is part of the
source region’s length, the source region is not
moved and a partial loop iteration is created to
the left of the source region. This is a powerful
feature that lets you make quick changes to your
arrangement by using partial loops as upbeats,
or by extending looped sound effects or ambience earlier in a film score.
You can also repeat automation on each loop iteration. For looped audio regions, use the Copy
Special and Paste Special Repeat to Fill Selection
commands to copy and paste any or all automation data from the source region to some or all
of its loop iterations.
To copy and paste automation from the source
region to loop iterations:
1 Select the source region.
2 Choose Edit > Copy S