Reference Guide Pro Tools Version 7.2

Reference Guide Pro Tools Version 7.2
Pro Tools®
Reference Guide
Version 7.2
Copyright
This guide is copyrighted ©2006 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, Pro Tools M-Powered, Pro Tools,
Pro Tools|HD, Pro Tools LE, 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 9106-55481-00 REV A 06/06
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 System Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Pro Tools|HD Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Pro Tools LE Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Pro Tools M-Powered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Pro Tools LE with DV Toolkit 2 and Pro Tools LE or M-Powered with Music Production Toolkit . . 11
Chapter 3. Pro Tools Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Hard Disk Audio Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Digidesign Audio Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pro Tools Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
System Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13
13
14
18
20
Chapter 4. Pro Tools Main Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
The Mix Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Menus and Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tool Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
23
23
27
32
33
Chapter 5. Keyboard and Right-Click Mouse Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Right-Click Mouse Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Global Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Keyboard Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Numeric Keypad Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
35
35
36
37
Contents
iii
Part II
Sessions & Tracks
Chapter 6. Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Configuring Pro Tools System Settings (in the Playback Engine) . . . . . . . . . . . . . . . . . . . . . .
Configuring Pro Tools Hardware Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a New Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Session Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Opening a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Saving a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating Custom Session Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Closing a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Quitting Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
System Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41
41
46
49
50
51
53
57
58
58
59
60
Chapter 7. I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
78
79
81
88
90
93
Chapter 8. Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Track Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Track Channel Strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Track Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Adjusting Track Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Creating Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
The Track List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Track Name Right-Click Pop-Up Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Assigning Inputs and Outputs to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Track Priority and Voice Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Setting MIDI Input and Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Soloing and Muting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Making Tracks Inactive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Color Coding for Tracks, Regions, Markers and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Grouping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Group Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Working with Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Setting Group Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Enabling Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Grouped Control Offsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
iv
Pro Tools Reference Guide
Chapter 9. Importing and Exporting Session Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Importing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Conversion Quality. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing Audio Files and Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing Tracks and Track Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting Pro Tools Tracks as OMFI or AAF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting Sessions as Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Send via DigiDelivery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Importing and Exporting Region Group Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
137
139
140
144
150
153
153
155
156
158
159
Chapter 10. File and Session Management and Compatibility . . . . . . . . . . . . . . . . . . . . . . . 163
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 III
163
165
166
170
172
175
Recording
Chapter 11. Record Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
179
180
182
184
184
185
186
187
189
190
190
193
194
Chapter 12. Basic Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Recording an Audio Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Record Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Record Pause Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording Additional Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
197
200
201
201
Contents
v
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
203
204
205
208
212
214
Chapter 13. MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
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 to MIDI and Instrument Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Punch Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Loop Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Step Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording System Exclusive Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
215
216
217
218
218
219
219
220
222
223
225
228
231
Chapter 14. Advanced Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
QuickPunch Audio Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
TrackPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
DestructivePunch Audio Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Part IV
Editing
Chapter 15. Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Edit Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Edit Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
vi
Pro Tools Reference Guide
253
254
259
260
262
265
266
268
270
273
275
280
283
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
284
289
293
293
294
296
299
299
Chapter 16. Playing and Selecting Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
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 . . . . . . . . . . . . . . . . . . . . . . . . . . .
301
306
307
308
310
310
320
322
323
324
Chapter 17. Working with Regions and Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Creating New Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Trimming Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Healing Separated Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Placing Regions in Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sync Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Nudging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Shift Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Quantizing Regions to Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Locking Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Muting/Unmuting Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Replacing Audio Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Choosing an Alternate Channel for a Specific Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
327
331
333
333
344
345
347
348
348
349
349
352
353
358
359
360
361
361
362
370
Contents
vii
Chapter 18. Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Using Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a Crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating Fades at the Beginnings and Ends of Regions . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using AutoFades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating Fades and Crossfades in Batches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Moving and Nudging Fades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Separating Regions That Include Fades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Trimming Regions That Include Fades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fade Boundaries and Shapes in Displayed Automation View . . . . . . . . . . . . . . . . . . . . . . .
375
381
383
384
385
386
389
389
390
Chapter 19. Managing Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Stripping Silence from Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Inserting Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Compacting an Audio File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Naming and Displaying Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
391
394
395
395
396
Chapter 20. Conductor Tracks and Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Song Start Marker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Graphic Tempo Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Changing the Linearity Display Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tempo Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Identify Beat Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Meter Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Time Operations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Renumbering Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Memory Locations and Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Memory Locations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
399
400
404
409
410
416
420
422
428
428
435
Chapter 21. Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
viii
Pro Tools Reference Guide
438
439
439
440
441
442
447
448
450
452
454
456
Part V
MIDI Editing
Chapter 22. MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
461
462
463
464
464
465
470
472
474
478
479
480
481
481
Chapter 23. MIDI Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
483
484
494
495
496
498
500
501
503
503
506
Chapter 24. MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
The MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Inserting Events in the MIDI Event List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing in the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Event List Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
513
516
518
520
Contents
ix
Part VI
Mixing
Chapter 25. Basic Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Submixing for Signal Routing and Effects Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Delay Compensation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using a Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
523
523
524
531
532
535
537
543
548
553
557
558
Chapter 26. Plug-in and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
Inserting Plug-ins on Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Plug-in Menu Organization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Default EQ and Dynamics Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Moving and Duplicating Plug-in and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Plug-in Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Librarian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing Plug-in Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Connecting and Integrating External Devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
563
565
567
567
568
571
576
578
579
Chapter 27. Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Automation Quick Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
x
Pro Tools Reference Guide
581
582
584
589
591
592
601
603
604
605
606
615
617
619
622
623
Creating Snapshot Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Previewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Capturing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
VCA Master Track Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
625
628
630
632
Chapter 28. Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
Recording to Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bounce to Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bounce Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recording a Submix (with Bounce to Disk). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Final Mixdown. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Part VII
637
638
639
645
646
647
Video, Sync, & Surround
Chapter 29. Working with Video in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
651
652
652
653
654
656
656
657
660
661
662
665
665
666
668
668
671
Chapter 30. Working with Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
673
675
679
679
682
686
686
687
Contents
xi
Setting Minimum Sync Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Remote Track Arming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Beat Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Spotting Regions to SMPTE Frame Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Time Stamping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Identifying a Synchronization Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Troubleshooting Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
690
690
691
691
694
696
696
Chapter 31. Pro Tools Setup for Surround (Pro Tools HD Only) . . . . . . . . . . . . . . . . . . . . . . 699
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
699
700
703
704
Chapter 32. Multichannel Tracks and Signal Routing (Pro Tools HD Only). . . . . . . . . . . . . 705
Multichannel Quick Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Multichannel Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Paths in Surround Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Example Paths and Signal Routing for a Surround Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . .
705
706
709
712
714
Chapter 33. Surround Panning and Mixing (Pro Tools HD Only) . . . . . . . . . . . . . . . . . . . . . 719
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
719
720
721
722
724
727
729
730
730
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731
xii
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, edit, mix, and master
quality 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 Keyboard Shortcuts 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.
DigiBase Guide Full details on using Pro Tools
DigiBase databasing and browsers for data and
media management. (Pro Tools LE and M-Powered systems only include an electronic PDF version of this guide.)
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.
Chapter 1: Welcome to Pro Tools
3
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.
Conventions Used in These Guides
The Pro Tools guides use the following conventions to indicate menu choices, keyboard commands, and mouse commands:
Compatibility Information
Digidesign can only assure compatibility and
provide support for hardware and software it
has tested and approved.
For a list of Digidesign-qualified computers, operating systems, hard drives, and third-party devices, refer to the Digidesign Web site
(www.digidesign.com).
:
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.
The Digidesign Web site (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 registration form 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.
Important Notices include information that
could affect your Pro Tools session data or
the performance of your Pro Tools system.
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.
Shortcuts show you useful keyboard or
mouse shortcuts.
Products and Developers Learn about Digidesign
products; download demo software or learn
about our Development Partners and their plugins, applications, and hardware.
Cross References point to related sections in
this guide and other Digidesign guides.
4
About www.digidesign.com
Pro Tools Reference Guide
News and Events Get the latest news from Digidesign or sign up for a Pro Tools demo.
Chapter 2: Pro Tools System
Configurations
There are three 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, or Mbox® hardware.
Pro Tools M-Powered™ These systems include
Pro Tools M-Powered software for Digidesignqualified M-Audio® interfaces.
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|HD Systems
Pro Tools|HD systems are available in the configurations shown on page 6. 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 Digidesign’s Web site for the
latest system requirements and compatibility information.
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 2: Pro Tools System Configurations
5
Pro Tools|HD Systems
Supported Audio Interfaces
(Pro Tools|HD Systems Only)
Pro Tools|HD 1
Includes:
The following audio interfaces are compatible
with Pro Tools|HD systems:
• HD Core card
• 192 I/O™
• Pro Tools HD software
• 192 Digital I/O™
• 96 I/O™
Pro Tools|HD 2 Accel
Includes:
• HD Core card
• HD Accel card
• 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.
• Pro Tools HD software
Pro Tools|HD 3 Accel
The following “Legacy” Digidesign audio interfaces are supported with Pro Tools|HD systems:
• 888|24 I/O™ and 882|20 I/O™
Includes:
• HD Core card
• 1622 I/O™
• 24-bit ADAT Bridge I/O™
• Two HD Accel cards
• Pro Tools HD software
Pro Tools|HD 2
Includes:
• HD Core card
• HD Process card
• Pro Tools HD software
Pro Tools|HD 3
Includes:
• HD Core card
• Two HD Process cards
• Pro Tools HD software
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.
6
Pro Tools Reference 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.
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 3. 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). In addition, Pro Tools|HD systems support up to 128 Instrument tracks and 256 MIDI
tracks.
Chapter 2: Pro Tools System Configurations
7
Audio Interfaces for Pro Tools|HD Systems
Table 4 lists the input and output capabilities of the various audio interfaces for Pro Tools|HD systems.
Table 4. 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.
8
Pro Tools Reference Guide
Pro Tools LE Systems
Pro Tools LE-based systems are available in the
following configurations:
Digi 002
A Digi 002 system includes:
• Digi 002 combined audio and MIDI interface, with a controller
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
Web site (www.digidesign.com) for the latest system requirements and compatibility
information.
• Pro Tools LE software
Digi 002 Rack
A Digi 002 Rack system includes:
• Digi 002 audio and MIDI interface
• Pro Tools LE software
Mbox 2
An Mbox 2 system includes:
• Mbox 2 audio and MIDI interface
• Pro Tools LE software
Mbox
An Mbox system includes:
• Mbox audio interface
• Pro Tools LE software
Chapter 2: Pro Tools System Configurations
9
Pro Tools LE System Capabilities
Table 5 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 5. 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
or Mbox
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 2 in/2 out
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.
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 170.
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 this guide and the Pro Tools M-Powered Getting Started Guide.
For the most current list of Digidesign-qualified M-Audio interfaces, see the Digidesign Web site
(www.digidesign.com).
10
Pro Tools Reference Guide
Pro Tools LE with DV Toolkit 2 and Pro Tools LE or M-Powered
with 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.
DV Toolkit 2 Capabilitites
(Pro Tools LE Only)
Pro Tools LE Features
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
• 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)
Visit the Digidesign Web site for more information (www.digidesign.com).
• MP3 export option (for bounce recording
or exporting a region as an MP3 file)
For more information on track priority and
voice assignment, see “Voice Assignment
with Toolkit Options” on page 114.
• DigiBase Pro (including support for Catalog
browsers and the ability to search on multiple criteria simultaneously in DigiBase
browsers)
• Editing features:
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.
• Universe window
• Continuous Scroll
• Scrub Trim tool
• Replace Region command
• TCE Edit to Timeline Selection command
• Mixing and Automation features
• Snapshot automation for writing or trimming automation data
• Glide Automation commands
Chapter 2: Pro Tools System Configurations
11
• Time code and synchronization features:
• Timebase rulers (Time Code and
Feet+Frames)
Music Production Toolkit
Overview
(Pro Tools LE and Pro Tools M-Powered Only)
• Time Code Rate selector
• 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
Optional Software
DV Toolkit 2 includes the following optional
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 reverbs to your
audio.
VocALign Project Plug-in from Synchro Arts Software For automatically adjusting the timing of
one audio signal to match another.
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
Optional Software
Music Production Toolkit includes the following optional 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 reverbs to your
audio.
12
Pro Tools Reference Guide
Chapter 3: 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.
For information on configuring the DAE
Playback Buffer Size, see “DAE Playback
Buffer Size” on page 45.
The DAE Playback Buffer Size can be changed in
the Playback Engine dialog (see “Playback Engine Dialog” on page 14).
Chapter 3: Pro Tools Concepts
13
Playback Engine Dialog
Pro Tools takes advantage of your computer’s
host processor for certain tasks and optional
host-based DSP processing.
Pro Tools LE uses host (CPU) processing to provide audio track recording, playback, mixing,
and effects processing. Pro Tools HD can also
use 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
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 MPowered have different session file icons.
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.
Pro Tools HD
For more information, see “Configuring
Pro Tools System Settings (in the Playback
Engine)” on page 41. See also “System Resources” on page 18.
On Pro Tools|HD systems, the Playback Engine
dialog is also where you assign dedicated DSP resources for Delay Compensation.
14
Pro Tools Reference Guide
Pro Tools LE
Pro Tools M-Powered
Session file icons
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 51.
When a session is transferred to a different
Pro Tools system, its session file icon will
change to the icon type of the destination
system.
Tracks
Pro Tools tracks are where audio, MIDI, 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
tracks, Auxiliary Inputs, Master Faders, VCA
Masters, MIDI tracks, Instruments tracks, and
video tracks.
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, you can choose from a list of 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 15.
Regions
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,
and submixing.
Audio region
Master Fader tracks provide controls for physical
audio output channels, including the volume
level of your mix, panning, and plug-in inserts.
VCA Masters (Pro Tools HD only) provide control of tracks in a Mix Group that has been assigned to the VCA Master.
A region is a segment of audio or MIDI 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. A region can also
have associated automation data. In Pro Tools,
regions are created from audio or MIDI files, and
can be arranged in audio and MIDI track playlists. Regions can also be grouped and looped.
Chapter 3: Pro Tools Concepts
15
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.
Playlist
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.
Playlist selector pop-up menu
A playlist is a sequence of regions arranged on an
audio or MIDI 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 audio 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.
INPUTS 1-4
INPUTS 5-16
SW CTRL GAIN
1
2
4
5
6
Channel
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 (Figure 1)
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
OUTPUT
+4dBu/–12dBV
3
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.
+4dBu/–10dBV
7
9
11
13
15
1
8
10
12
14
16
2
Figure 1. Back view of 96 I/O, with eight analog inputs, eight analog outputs, and eight digital input/output channels
(using a lightpipe)
16
Pro Tools Reference Guide
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 and Auxiliary Input channel strip faders control 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. Instrument track channel strips combine a MIDI
track and Auxiliary Input into a single channel
strip.
Signal Routing
Pro Tools provides software-based mixing and
signal routing controls. The Mix window is
where these controls are located. (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 or a Master Fader) 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
Figure 2. Channel strip in the Mix window (audio track)
The term channel also describes a separate
aspect of MIDI operation. See “MIDI Concepts” on page 20.
Auxiliary
Inputs
Audio tracks
Submixing to an Auxiliary Input
Chapter 3: Pro Tools Concepts
17
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 Inputs and Master Faders Auxiliary Inputs are tracks that can be used as returns, submixers, and bus masters. Master Faders are used
as bus and output master level controls. Both
Auxiliary Inputs and Master Faders 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 plug-in instrument 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 Faders and VCA Masters 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 41.
Plug-in and Hardware Inserts Plug-in processing
occurs completely within the Pro Tools system.
Hardware inserts utilize 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 19.
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 7, “I/O Setup” for
more information.
18
Mixing Formats Sessions can include combinations of mono, stereo, and multichannel format
tracks, busses, inputs, outputs, and inserts.
(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 115.
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 20).
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 20).
Active and inactive items and tracks
Chapter 3: Pro Tools Concepts
19
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 Concepts
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 echoes whatever is received from the IN port. MIDI
devices are connected with MIDI cables that are
available at most music stores.
echoed from IN
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.
20
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 correspond to separate MIDI devices or to multiple channels
within a single device (if the device is multi-timbral). 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 a single multi-timbral
keyboard.
MIDI Terms
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.
Multi-Timbral 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.
The following are some basic MIDI terms:
MIDI Instrument A hardware MIDI device or software plug-in (such as a virtual synth or instrument plug-in). In this guide, “instrument” usually refers to soft synths and plug-in
instruments.
MIDI Interface Hardware that lets computers
connect to and communicate with MIDI devices.
MIDI Device Any 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 keyboards, MIDI guitar controllers, MIDI wind instruments, 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.
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 3: Pro Tools Concepts
21
System Exclusive Data MIDI data commonly
used for sending and retrieving patch parameter
information for storage purposes.
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.
Common MIDI Misconceptions
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.
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
MIDI I/O, Mbox 2, or a Digidesign-qualified MAudio interface) or some other MIDI interface.
Signal paths for external MIDI instruments
22
Pro Tools Reference Guide
When using MIDI with instrument plug-ins in
Pro Tools, virtual MIDI nodes. These nodes act
like virtual 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.
Chapter 4: Pro Tools Main Windows
Pro Tools provides two complementary ways of
viewing a session: the Mix window and the Edit
window. Pro Tools also lets you control the
transport and transport-related functions using
the Transport window.
To display the Mix window:
■
To display all Mix window view options:
■
To toggle between the Mix and Edit windows, press Control+Equals (=) (Windows),
or press Command+Equals (=) (Mac).
For information on the main elements of the
Mix window and Edit window, see the page
references provided in Figure 3 on page 24,
and Figure 4 on page 25.
The Mix Window
In the Mix window, tracks appear as channel
strips, with controls for:
• inserts
• sends
Choose Window > Mix.
Select View > Mix Window > All.
For information on selecting individual view
options, see “Views in the Mix and Edit Windows” on page 532.
The 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
• automation mode
• solo/mute
• mic preamps (Pro Tools HD only)
For information on selecting individual view
options, see “Views in the Mix and Edit Windows” on page 532.
Chapter 4: Pro Tools Main Windows
23
Send with
Send controls
(page 537)
Track Color
Coding
(page 123)
Plug-in Insert
(page 528)
Instrument
View
(page 533)
Track List
(page 107)
Inserts
View
(page 533)
Sends
View
(page 533)
Automation
Mode selector
(page 584)
Track
Path Selectors
and Controls
(page 26)
Pan Slider
(page 100)
Output Window
button
(page 543)
Volume
Fader
(page 101)
Group ID
indicator
(page 129)
Level meter
(page 101)
Voice selector
(page 114)
MIDI Track
Patch Select
button
(page 474)
Mix Group
List
(page 126)
AutoMatch
indicator
(page 592)
Track Name
button
(page 103)
Delay
Compensation
View (page 534)
Show/Hide
Track List/Group List
View
(page 107)
Mono
Audio Track
(page 96)
Mix Window
View selector
(page 532)
Figure 3. Pro Tools Mix window
24
Pro Tools Reference Guide
Stereo
Audio Track
(page 96)
Instrument
Track
(page 99)
Auxiliary
Input
(page 97)
MIDI
Track
(page 99)
Master
Fader
(page 98)
Track
Comments
View
(page 533)
Timeline Selections
(page 322)
Zoom buttons
(page 284)
Edit Selection indicators
(page 26)
Commands Keyboard Focus
(page 36)
Edit tools
(page 26)
Graphic Tempo
Editor
(page 404)
Grid and
Nudge values
(page 27)
Transport controls
(page 27)
Event Edit Area
(page 26)
Timeline
Edit Mode
buttons
(page 280)
Tab to
Transients
(page 319)
Region
List
(page 275)
Timebase
rulers
(page 265)
Region
Group
(page 362)
Track List
(page 107)
Volume
Automation
View
(page 591)
Audio Track
(page 95)
Track View
selector
(page 255)
Audio
Waveform
View
(page 260)
Timebase
selector
(page 269)
Edit Group
List
(page 269)
Show/Hide
Track List/Group List
View
(page 107)
MIDI Track
(page 96)
MIDI Velocity View
(page 468)
MIDI Notes View
(page 262)
Show/Hide
Region List
(page 275)
Selected Region
(page 311)
Figure 4. Pro Tools Edit window
Chapter 4: Pro Tools Main Windows
25
Track Path Selectors and Controls
Edit Window Counters and
Selection Indicators
Audio Input Path selector (page 100)
Audio Output Path selector (page 100)
Main and Sub Counters
Automation Mode selector (page 584)
Record Enable button (page 180)
Main and Sub Counters (page 305)
TrackInput Monitor button (page 183)
Mute Button (page 121)
Edit window display showing counters
Solo button (page 119)
Mix window track controls for mono audio track
(Wide View)
Record Enable button
(page 180)
Track Name button (page 103)
Playlist selector (page 270)
Solo button (page 119)
Mute button (page 121)
Track Height selector (page 258)
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 266.
These counters are also displayed in the Transport window.
Edit Selection Indicators
Edit Selection indicators (page 305)
Voice selector (page 114)
Automation Mode selector
(page 584)
Track View selector (page 255)
Edit Selection indicators in the Edit window
TrackInput Monitor button (page 183)
Timebase selector (page 269)
Edit window track controls for stereo audio track
(medium track height)
Edit Tools
Trim tools
(page 289)
Zoomer tool
(page 284)
Selector
tool
(page 301)
Grabber
tools
(page 312)
Scrubber tool
(page 296)
Pencil tool
(page 462)
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 266.
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 keyboard.
Note Attributes (page 469)
Zoom Toggle
(page 284)
Smart Tool
(page 294)
Edit tools in Edit window
Custom Note
Duration button (page 463)
Pitch
Attack
Velocity
Release Velocity
Event Edit Area showing MIDI track information
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Pro Tools Reference Guide
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 301)
View Selectors
Cursor Location Value indicator
(page 301)
Cursor Location indicators in the Edit Window bar
Ruler View selector (page 532)
The Transport Window
Edit window View selector (page 532)
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 409)
Mirrored MIDI
Editing
(page 461)
Tab to Transients
(page 319)
Commands Keyboard Focus
(page 36)
Link Track and Edit Selection
(page 310)
■
Choose Window > Transport.
Basic Transport Controls and
Counters
Link Timeline and Edit Selection
(page 308)
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
Enable
Stop
Pre-Roll
Post-Roll
Grid Value indicator
(page 342)
Nudge Value
pop-up menu
(page 345)
Grid Value pop-up menu
(page 342)
Nudge Value indicator
(page 345))
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
Chapter 4: Pro Tools Main Windows
27
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)
1 second
With the Numeric Keypad mode set to
Transport, you can rewind by pressing 1.
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Pro Tools Reference Guide
You can also stop the transport by pressing
the Spacebar, or with the Numeric Keypad
mode set to Transport, pressing 0.
Play Starts playback or (if the Record Enable button was clicked first) recording from the Timeline insertion point.
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 choose a
playback mode from the pop-up menu:
• Half Speed
• Prime for Playback
• Loop Playback
Main Time Scale Format
Sample
Stop Stops playback or recording.
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.
For more information on loop playback, see
“Looping Playback” on page 321.
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
Main Time Scale Format
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)
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 Enable Arms Pro Tools for recording (the
button flashes). Clicking Play then initiates recording on record-enabled tracks only.
You can also begin recording by pressing
F12, pressing Control+Spacebar (Windows)
or Command+Spacebar (Mac), or with the
Numeric Keypad mode set to Transport,
pressing 3.
Right-clicking the Record Enable button lets you
choose a record mode from the pop-up menu.
You can also cycle through the Pro Tools record
modes with the Transport stopped, by Startclicking (Windows) or Control-clicking (Mac)
the Record Enable button.
The Record Enable 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 that plays before the play (timeline)
Cursor 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” before reaching the punch-in
point. To set the pre-roll 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.
Chapter 4: Pro Tools Main Windows
29
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 Playback Marker in the Main
Timebase ruler. For more information, see “Playback Markers” on page 208.
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
Playback Marker in the Main Timebase ruler. For
more information, see “Playback Markers” on
page 208.
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 drag in a track’s playlist to
set the play and record range. See “Linking
or Unlinking Timeline and Edit Selections”
on page 308
Transport Master Selector Specifies the “master”
for transport functions and provides a control to
take enabled devices offline.
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Pro Tools Reference Guide
To set a Transport Master:
■ Click the Transport Master selector, click the
Transport pop-up menu, and select a Transport
Master: Pro Tools, Machine, MMC (MIDI Machine Control), or Remote.
To take a device offline:
■ Click the Transport Master selector, click the
Online pop-up menu, and uncheck the device
(MIDI or Machine). Device choices depend on
the current Transport Master, and which devices
have been set up in Pro Tools.
To bring the device back online, recheck it in
the Online pop-up menu.
If you using an MMC device, see Chapter 30,
“Working with Synchronization.”
If you are using the Digidesign MachineControl option, see the MachineControl
Guide.
Metronome Click When selected, Pro Tools will
generate 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)
pop-up menu
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
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 selected.
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, you can 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, you can 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, you can press 9 to enable MIDI
Merge.
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 by
clicking the T key on your QWERTY keyboard.
Chapter 4: Pro Tools Main Windows
31
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.
Region Provides commands that are used to
manage and edit regions.
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.
AudioSuite Provides AudioSuite plug-ins.
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.
Setup Provides commands to open dialogs and
windows or configure various Pro Tools hardware and software parameters.
Event Provides commands for editing audio and
MIDI events.
Options Provides commands that let you select
several editing, recording, monitoring, playback, and display options.
Window Provides commands to toggle the display of various Pro Tools windows.
Track, Region, and Group List Menus
Menus and Windows
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.
Edit Provides commands that are used to edit
and manipulate the current selection and affect
data in the timeline or the clipboard.
View Provides options and commands to customize what is shown in various windows.
Track Provides commands that are used to create, manage, and edit tracks.
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Pro Tools Reference Guide
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 a complete list, see “The Track List” on
page 107.
Group List Pop-Up Menus (Edit Groups and Mix
Groups) Provides commands to create, display,
suspend, and delete Mix and Edit Groups.
For a complete list, see “The Group List” on
page 127
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 a complete list, see “The Region List” on
page 275.
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 a complete list, see “Track Name RightClick Pop-Up Menus” on page 110.
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 a complete list, see “The Region List” on
page 275.
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 a complete list, see “Group Name and
Track Group ID Indicator Pop-Up Menus”
on page 129.
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, click 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.
Chapter 4: Pro Tools Main Windows
33
34
Pro Tools Reference Guide
Chapter 5: 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 5: Keyboard and Right-Click Mouse Shortcuts
35
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.
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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 will receive 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 298.
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 63.
• Press Escape or Spacebar to exit Shuttle
Lock mode.
• Recall Memory Locations by typing the
Memory Location, followed by a Period (.).
Chapter 5: Keyboard and Right-Click Mouse Shortcuts
37
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.
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Pro Tools Reference Guide
Part II: Sessions & Tracks
39
40
Chapter 6: Sessions
This chapter covers the basics of starting a
project in Pro Tools, including how to set up
and save a Pro Tools session.
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)
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.
2 Turn off or lower the volume of all output de-
vices in your system.
3 Turn off your computer.
4 For Pro Tools|HD systems, turn off audio inter-
faces.
5 For Pro Tools|HD systems with an expansion
Start up your Pro Tools system in this order:
1 For Pro Tools|HD systems with an expansion
chassis, turn on the chassis.
2 Turn on any external hard drives. Wait ap-
proximately ten seconds for them to spin up to
speed.
3 Turn on any MIDI interfaces, MIDI devices, or
synchronization peripherals.
4 Lower the volume of all output devices in
chassis, turn off the chassis.
6 Turn off any MIDI interfaces, MIDI devices, or
synchronization peripherals.
7 Turn off any external hard drives.
Configuring Pro Tools System
Settings (in the Playback
Engine)
your system.
5 For Pro Tools|HD systems, turn on your
Pro Tools audio interfaces. Wait at least fifteen
seconds for your system hardware to initialize.
6 Turn on your computer.
7 Launch Pro Tools or any third-party audio or
MIDI applications.
Pro Tools allows you to adjust the performance
of your system by changing system settings that
affect its capacity for processing, playback, and
recording.
These system settings are changed in the Playback Engine Dialog (Setup > Playback Engine).
Chapter 6: Sessions
41
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 effects, and are useful when you are mixing 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.
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 processes. Used in com42
Pro Tools Reference Guide
bination with the CPU Usage Limit setting, the
RTAS Processors setting lets you control the way
RTAS processing and other Pro Tools tasks are
carried out by the system.
For example:
• For sessions with large numbers of RTAS plugins you can allocate 2 or more processors to
RTAS and set a high CPU Usage Limit.
• In sessions with few RTAS plug-ins, you can allocate fewer processors to RTAS and set a low
CPU Usage Limit to leave more CPU resources
available for automation accuracy, screen response, or video.
• Increase or decrease these settings to accommodate TDM/RTAS plug-in conversion.
TDM/RTAS conversion can be desirable during recording, depending on the latencies,
voicing needs, and record-monitoring capabilities of TDM and RTAS plug-ins.
• Depending on the importance of video and
overall screen response, and on the density of
automation being employed, different combinations of RTAS Processing and CPU Usage
Limit settings may achieve the best results.
For example, to improve screen response in a
medium-sized session using a moderate number of RTAS plug-ins, try reducing the number
of RTAS processors but keep the CPU Usage
Limit set to the maximum (99%) on a single
processor system.
The System Usage window shows the combined
amount of RTAS processing occurring on all enabled processors with a single indicator, regardless of how many CPUs are in the system. If the
System Usage Window shows that you are at the
limit of available resources, increase the number
of RTAS processors and/or the CPU Usage Limit
setting. (For more information, see “System Usage” on page 59.)
To set the number of RTAS Processors:
1 Choose Setup > Playback Engine.
◆ Higher CPU Usage Limit settings allocate
more processing power to Pro Tools, and are
useful for playing back large sessions or using
more real-time plug-ins.
The maximum CPU Usage Limit is 85 percent
for single-processor computers (except for
Digi 002, which has a limit of 99 percent), and
99 percent for multi-process computers. (The 99
percent setting dedicates one entire processor to
Pro Tools.
Playback Engine dialog
2 From the RTAS Processing pop-up menu, 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.
On multi-processor 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.
To change the CPU Usage Limit:
1 Choose Setup > Playback Engine.
2 From the CPU Usage Limit pop-up menu, se-
lect the percentage of CPU processing you want
to allocate to Pro Tools.
3 Click OK.
3 Click OK.
CPU Usage Limit
Number of Voices
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.
(Pro Tools HD Only)
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.
◆
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.
Chapter 6: Sessions
43
Depending on the current sample rate and the
number of Pro Tools|HD cards in your system,
you will have 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 7.
To change the number of voices and DSP to
allocate for voicing:
Default Sample Rate
The Sample Rate setting appears as the default
sample rate when you create a new session.
(This setting is available only when there is no
session open.)
With Pro Tools HD, the Sample Rate setting can affect the number of available
voices.
1 Choose Setup > Playback Engine.
To change the default Sample Rate:
1 Choose Setup > Playback Engine.
2 Select the sample rate from the Sample Rate
pop-up menu.
3 Click OK.
Playback Engine dialog
2 Select the number of voices and DSPs to allocate for voicing by selecting a value from the
Number of Voices pop-up menu.
• 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.
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Pro Tools Reference Guide
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 49.)
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.
To configure the Delay Compensation Engine:
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.
1 Choose Setup > Playback Engine.
To change the DAE Playback Buffer Size:
2 From the Delay Compensation Engine pop-up
menu, select a Delay compensation setting.
1 Choose Setup > Playback Engine.
3 Click OK.
The Delay Compensation setting is saved as a
session and system preference.
For more information, see “Delay Compensation” on page 553.
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.
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.
◆
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.
◆
Playback Engine dialog
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.
3 Click OK.
4 If Pro Tools needs more system memory for
the DAE Playback Buffer, it will prompt you to
restart your computer.
System Memory Allocation
(Pro Tools HD Only)
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.
You can set Pro Tools to reserve only the minimum amount of required memory, so that system memory is available to other applications.
Chapter 6: Sessions
45
To minimize system memory allocation:
1 Choose Setup > Playback Engine.
2 Select the “Minimize System Memory Allocation” option.
96 I/O can have additional interfaces attached
(including older Digidesign audio interfaces, or
Legacy I/Os, such as the 888|24 I/O, 882|20 I/O
or 1622 I/O). For more information, see
Chapter 2, “Pro Tools System Configurations.”
3 Click OK.
Configuring Hardware Setup
4 Do one of the following:
• On Windows systems, restart your computer.
– or –
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.
• On Mac systems, enter your password
when prompted, then restart your computer.
Configuring Pro Tools
Hardware Settings
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.
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 configure a Pro Tools LE system, refer to
the Getting Started Guide that came with
that 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
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Pro Tools Reference Guide
Hardware Setup dialog for 96 I/O (Main page)
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.
You can 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 will 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.
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.
6 Select which digital I/O port on your audio in-
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.
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, 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.
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 Analog 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.
Chapter 6: Sessions
47
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.
See “Initializing MIX-Series Legacy Peripherals (on a Pro Tools|HD System)” on page 48.
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 41.
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 dialog, 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.
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Pro Tools Reference Guide
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 that came with the 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 7, “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.
Creating a New Session
The first step in beginning a Pro Tools project is
creating a new session.
3 Click the Main tab.
To create a new session:
4 Select an output port pair from an Output
1 Choose File > New Session.
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.
New Session dialog
2 Choose the drive where you want to save the
session. The session should be saved on a dedicated audio drive.
3 Select the audio file format for the session.
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 79.
For optimum compatibility between Windows
and Mac, set the file type to BWF (.WAV).
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 that you have created. See Chapter 7,
“I/O Setup” for more information.
6 Name the Session.
7 Click Save.
Chapter 6: Sessions
49
Selecting Bit Depth and Sample Rate
Audio Files Folder
When selecting a bit depth or sample rate for
your session, consider fidelity, any compatibility issues with others systems, and storage space.
The Audio Files folder contains all audio recorded or converted during the session.
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 the
Pro Tools|HD Getting Started Guide.)
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.
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 187.
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 (an
Audio Files folder, a Fade Files folder, a Region
Group folder, and a Session File Backups folder).
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 named with a .ptf (Pro Tools file) extension.
50
Pro Tools Reference Guide
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 will create a
new one the next time you open the session.
By storing waveform data in the WaveCache
file, sessions are able to open more quickly. The
session WaveCache file can be included whenever a session is transferred to another
Pro Tools 7.x system.
Pro Tools also maintains a distinct WaveCache
file inside the local Digidesign Databases folder
(C:\\Digidesign Databases) which retains waveform data for all files used on the system. Additional WaveCache files are created on each external hard drive attached to your system, and
stored in the Digidesign Databases folder on
each drive.
Deleting or trashing any of the WaveCache files
will not harm the session or your system. Each
session will merely need more time to open due
to having to recalculate waveform data for associated audio (and store that data in a new WaveCache file).
To open an existing session:
1 Choose File > Open Session.
2 Locate the session you want to open and click
Open.
Session File Backups Folder
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 64.)
Renamed Audio Files Folder
Open Session dialog
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.
Opening a Session that Contains
Unavailable Files
For more information, see “Renamed Audio
Files and the Renamed Audio Files Folder” on
page 164.
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 Pro Tools software versions, see
Chapter 10, “File and Session Management
and Compatibility.”
The DigiBase feature will prompt you if files are
located but reside on Transfer volumes (such as
CD or DVD discs), or if any required files cannot
be found. See “Locating Audio Files” on
page 163 for more details.
Opening a Session from a Transfer
Volume
When opening a session from a Transfer volume
(such as a CD or DVD disc), the DigiBase feature
will prompt you to save the session on a Performance volume, and copy and convert any referenced media files. See “Locating Audio Files” on
page 163 for more details.
Chapter 6: Sessions
51
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 to 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 will be named
with the session name, followed by Notes.txt.
You can choose to save this file in your Session
folder, or in another location.
The following will occur 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 and M-Powered 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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Pro Tools Reference Guide
When saving a +12 dB session as a +6 dB session, Pro Tools alerts you that any automation
breakpoints over +6 dB will be lowered to +6 dB.
See “Saving a Copy of the Session” on page 54.
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 a Session
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, you
can use the Save As command. Because the Save
As command closes the current session and lets
you keep working on the renamed copy, it is
useful if you are experimenting and want to save
successive versions of the session.
You should save regularly while working on
your session to ensure that your work is preserved on your hard drive.
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—not
duplicate versions of the audio or fade files.
Saving the Session File
To save a session with a new name:
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.
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.
To save a session:
3 Click Save.
■
Choose File > Save.
Revert to Saved Command
If you have made changes to a session since you
last saved it, you can discard the changes and revert to its previously saved state.
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.
To revert to the last saved version of a session:
■
Choose File > Revert to Saved.
You can also open up a backup copy of your
session, if you have enabled the Operation
preference for Auto Backup. 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 64.
Chapter 6: Sessions
53
Saving a Copy of the Session
To save a copy of the current session with or
without its audio files and fade files, you can use
the Save Copy In command. In addition, you
can specify a session file format, audio file format, bit depth, and sample rate for the session
copy.
Using the Save Copy In command is the only
way to change the sample rate of a session.
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
For information on sharing sessions between different platforms, Pro Tools systems, or Pro Tools software versions, see
Chapter 10, “File and Session Management
and Compatibility.”
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 557.
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-
Save Copy In dialog
tion and enter a name for the new session file.
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.
3 Choose a session file format for the copied session.
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 will not be included in the new session
copy.
To include audio with the session copy, All
Audio Files must be selected in the Items to
Copy section.
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Pro Tools Reference Guide
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.
6 If applicable, select a Fader Gain level for the
copied session.
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 168.
8 Select the Items to Copy for the copied ses-
sion.
To include audio with the session copy, All
Audio Files must be selected.
Session Parameters
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).
SD II sessions are not supported with
Pro Tools on Windows, or with sample
rates higher than 48 kHz.
9 Click Save.
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)
Mac:
Bit Depth
You can save the new 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 location you specify.
• Latest; supports Pro Tools 7.x
• Pro Tools 5.1 -> 6.9 Session
• Pro Tools 5.0 Session
For information on bouncing to disk and
dither, see “Dither and Bounce to Disk” on
page 636.
• Pro Tools 4 24-Bit Session
• Pro Tools 4 16-Bit Session
Sample Rate
• Pro Tools 3.2 Session
You can save the new session at sample rates of
44.1 kHz or 48 kHz (on Mbox 2 and Mbox) and
at sample rates up to 96 kHz (on 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 location
you specify.
When saving sessions to versions lower than
5.1, multichannel tracks (including stereo) and
multi-mono plug-ins are lost. In this case, make
sure to first separate the tracks and plug-ins to
individual mono tracks.
Chapter 6: Sessions
55
The higher the quality of sample rate conversion you choose, the longer Pro Tools will take
to process the audio file.
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 breakpoints over +6 dB will be lowered to
+6 dB.
All “Non-Native” Audio Files
The name of this option varies depending on
the audio file type you select. If you are changing 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 are
changing bit depth or sample rate, or copying a
session on the Mac from SD II format to AIFF or
BWF (.WAV) format with Enforce Mac/PC Compatibility selected.
Enforce Mac/PC Compatibility
Don’t Copy Fade Files
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 168.
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 are
changing the bit depth or sample rate of the session.
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
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Pro Tools Reference Guide
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 movie files
(such as Avid or QuickTime video files) are copied to the new location, and session references
are updated to point to the copied movie files.
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.
To create a custom session template in Windows:
1 Create a session and arrange its elements as
you want them to appear in the template. You
can also define elements such as signal routings,
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.
5 Locate the session file that you just saved.
6 Right-click the file and choose Properties.
7 Under Attributes, select Read Only.
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.
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.
Creating Windows Templates
In Windows, you can create a session template
by making a session file a Read Only document.
Making a session a Read Only file (Windows)
8 Click OK.
To use this template, double-click it or open it
with the Open Session command. When you
first save the session, Pro Tools will ask you to
give the session a new name. Your original session template will remain unchanged.
To modify the session template, you will need to
reopen its Properties, deselect the Read Only option, make your modifications, then change it
back to a Read Only file.
Chapter 6: Sessions
57
Creating Mac Templates
10 Select the Locked option.
On the Mac, you can 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 session.
11 Close the information window.
To create a custom session template on the Mac:
1 Create a session and arrange its elements as
you want them to appear in the template. In addition to track setup, you can also define elements such as signal routings, insert and send
configurations, Mix and Edit window views,
ruler settings, and Preference settings.
2 Choose File > Save As.
To use this template, double-click it or open it
with the Open Session command if you are already running Pro Tools.
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 will create a new folder containing a
copy of your session template and Audio and
Fades folders.
Closing a Session
3 Name the session and click Save.
4 Close the session.
5 Locate the session file that you just saved.
6 Click once on the file to select it.
7 Choose File > Get Info.
Because Pro Tools lets you work on just one session at a time, you must close the current session if you want to work on another. The Close
Session command closes your current Pro Tools
session but leaves the Pro Tools application
open. You can save your work using the Save or
Save As command before closing a session.
To close a session:
■
Choose File > Close Session.
Quitting Pro Tools
Although Pro Tools will warn you before allowing you to quit without saving changes, you
should generally save your work before quitting.
To exit Pro Tools in Windows:
Saving a session as a Stationery Pad (Mac)
■
Choose File > Exit.
8 If necessary, click the General expand/collapse
triangle to display the General information and
options.
9 Select the Stationery Pad option.
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Pro Tools Reference Guide
To quit Pro Tools on the Mac:
■
Choose Pro Tools > Quit Pro Tools.
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, and M-Powered 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)
With Pro Tools HD, there are addition meters,
showing TDM Time Slot usage and DSP usage of
each Pro Tools|HD system card.
System activity meters
TDM Time Slot usage
If CPU or PCI Activity are high, a system error
may occur. If Disk Activity is high, Pro Tools
may miss playback of some of your 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 638.
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 604.
■ 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 540.
System Usage Views
(Pro Tools HD Only)
DSP 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.
To change the System Usage View:
■ Choose View > System Usage, and one of the
System Usage View formats (such as Small).
System Usage window (Pro Tools HD shown)
As these meters approach their limits, recording
or playback of automation data may be affected.
For information on using different views to
monitor DSP usage, see the Pro Tools|HD
Getting Started Guide.
Chapter 6: Sessions
59
Preferences
The Preferences dialog has several tabbed pages
in which you can specify your preferred settings
for various session parameters. Each new session
will use these preferences.
Display Preferences
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.
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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Pro Tools Reference Guide
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.
“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.
Meters Section
Peak Hold Options
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.
Clip Indication Options
These options determine how long the clip indicators on plug-in, send, and track meters stay lit
after a clip is detected.
3 Second Clip Hold When selected, meters display the last clip indication for three seconds.
Most Digidesign-distributed third party plug-ins
will be grouped under Digidesign when Manufacturer view is enabled.
Infinite Clip Hold When selected, meters display
the last clip indications until you click them to
clear them.
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.
No Clip Hold When selected, meters do not hold
the clip indication.
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 6: Sessions
61
Color Coding
Default Region Color Coding Options
Always Display Marker Colors Lets you choose to
view Marker colors in the Markers ruler, regardless of the settings you choose for Default Region Color Coding.
These color coding options determine the default color coding assignment for regions in the
track playlist. Choices are:
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 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.
None Turns off 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.
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.
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.
Track Type Assigns a color to each track according to its type (audio, MIDI, Instrument, Auxiliary or Master Fader).
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Pro Tools Reference Guide
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.
Operation Preferences
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.
Transport Section
Timeline Insertion Follows Playback This option
causes the screen’s play cursor to update its location to the point where playback stops.
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.
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 298.
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
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 298.
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 298.
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
Chapter 6: Sessions
63
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.
Video Section
Avid Video NTSC Has Setup (NTSC-J)
(Pro Tools HD 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.
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.
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.
Avid Video Errors Stop Playback
(Pro Tools HD Only)
When selected, Pro Tools automatically stops
playback of audio and video if a single frame of
video is dropped.
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.
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Pro Tools Reference Guide
Auto Backup Section
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.
Keep specifies the total number of incremental
backups that are kept.
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.
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 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 This option lets the Transport Record (the Record Enable 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”) 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 Input
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 This
setting determines monitor status of recordarmed 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.
Chapter 6: Sessions
65
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).
DestructivePunch File Length
This preference sets the duration of consolidated audio files when preparing tracks for DestructivePunch mode. The default value for this
setting is 25 minutes.
Misc (Miscellaneous) Section
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.
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.
Open Ended Record Allocation
Calibration Reference Level (Pro Tools HD Only)
This preference determines how much of your
available hard drive space is allocated for recording.
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.
Online Options
Record Online at Time Code (or ADAT)
Lock When selected, online recording begins as
soon as Pro Tools receives and locks to incoming time code.
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.
66
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.
Pro Tools Reference Guide
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
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 Takes List pop-up menu.
Includes Take Region Lengths That Match When
selected, only regions that match the length of
the current selection appear in the Takes List
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 Control-click (Windows) or Command-click (Mac) a region in a track, Pro Tools
displays a list of regions whose time stamp
matches the current Cursor location. The following preferences determine which regions, or
takes, appear in this list:
“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.
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.
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QuickPunch/TrackPunch Crossfade Length Specifies a default length for crossfades created by
QuickPunch or TrackPunch recordings. Crossfades occur before the punch in and after the
punch out.
Mixing Preferences
Preserve Fades when Editing This option preserves fade-ins and fade outs, and converts separated crossfades into corresponding fade-ins
and fade-outs.
Default Fade Settings
Fade In Selects the default envelope shape for
fade-ins.
Crossfade Selects the default envelope shape for
crossfades.
Fade Out Selects the default envelope shape for
fade-outs.
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
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.)
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.
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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.
Use Absolute Pan Linking 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
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, 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, the
plug-in appears first in the list of menu choices
on the rotary encoders.
“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 worksurface, 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.
Automation Section
Controllers
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.
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.
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.
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.
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Suppress Automation “Write To” Warnings 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.
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.
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, 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.)
• 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 When selected and
any tracks are in Latch mode, any automationenabled 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.
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• 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.
Include Sends in Trim Mode 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.
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.
Processing Preferences
AutoGlide Time (Pro Tools HD Only) Specifies
how quickly Pro Tools transitions (glides) from
one automation value to another, when AutoGlide mode is used.
Amount of Memory to Reserve for Automation Recording Allocates memory for automation.
After Write Pass, Switch To (Pro Tools HD
Only) 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.
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.
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.
Manually Trim Automation can be coalesced
only with the Coalesce Trim Automation command. A Composite Playlist can be viewed before committing Trim moves.
AudioSuite Section
Buffer Size
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.
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
Time Compression/Expansion to match an audio region to the length of another region, a
tempo grid, a video scene, or other reference
point.
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Default Settings Specifies the default settings
used by the chosen Time Compression/Expansion plug-in.
MIDI Preferences
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.
Default Note On Velocity Sets the default Note
On velocity for MIDI notes inserted in the Edit
window and the MIDI Event List.
Default Thru Instrument Sets the default MIDI
Thru instrument. You can select a predefined
device from your available MIDI instruments, or
select “First Selected MIDI Track” to use the assigned MIDI output of the first selected MIDI or
Instrument track. When multiple MIDI or In-
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Pro Tools Reference Guide
strument 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) will be 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).
These preferences determine how a connected
transport responds to Pro Tools.
Note Display Options
Machine Control Section
These options set the reference for middle C as
C3, C4, or MIDI note number 60.
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.
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 should not be applied
when the external MIDI instrument is mixed
through the Pro Tools mixer.
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.
This option is distinct from the hardware offsets
available for hardware inserts (in I/O Setup).
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 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.
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Stop at Shuttle Speed Zero 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
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 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 (9-Pin Deck Emulation)
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.
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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
(Pro Tools HD)
Stable LTC Source 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: 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, known to the film and video industries (see “Stems and Stem Mixes” on
page 77). 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 LE, Pro Tools
M-Powered, or Pro Tools|HD system
• On Pro Tools|HD systems, the number and
types of audio interfaces
• On Pro Tools|HD systems, the Mixer plugin currently installed (Stereo or Surround)
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 86).
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 (Windows or Mac).
To scroll up or down in the Disk Allocation dialog:
■
Press Page Up or Page Down.
To scroll left or right in the I/O Setup dialog:
■ Press Alt+Page Up/Down (Windows) or Option+Page Up/Down (Mac).
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75
Paths in Sessions
Paths and I/O Setup
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.
The signal routing choices available in a session
are defined in the I/O Setup dialog.
Paths comprise the lists of available signal routing choices in track Input, Output, Insert and
Send selectors.
I/O Setup dialog Output paths (Pro Tools HD)
Input Path selector and paths
Main Paths and Sub-Paths
Paths in the I/O Setup dialog include main paths
and sub-paths.
Stereo main path
mono sub-path
mono sub-path
Main and sub-paths in the I/O Setup Channel Grid
Main Paths
Output Path selector and 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.
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Sub-Paths
Stems and Stem Mixes
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.
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.
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 78).
Default Settings Files
The default Stereo settings file is available on all
Pro Tools systems, and provides stereo main
paths, each with its own mono sub-paths.
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 536.
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 700.
Default Path Names
Default names for input, output, and insert
paths are based on the type of system (Pro Tools
LE systems) or type and number of interfaces
(Pro Tools|HD systems) you are using.
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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 5. 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 46.
You can click Cancel at any time to close the
I/O Setup dialog. 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 “Initializing
I/O Setup” on page 85.
2 Choose Setup > I/O.
To open the Input, Output, Insert, Bus, Mic
Preamps, or H/W Insert Delay page in the I/O
Setup dialog:
■ Click the corresponding tab at the top of the
I/O Setup dialog.
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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, or H/W Insert Delay.
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.
Path Name Column Shows paths that are available for selection, including the name of each
defined path. Path names can be renamed.
Show Original Setup Appears in the I/O Setup dialog in certain session transfer situations. For
details on this feature, see “Show Original Setup
and Show Current Setup” on page 88.
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, and Default Path Order.
See “I/O Setup Options” on page 90.
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.
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.
Channel Grid Maps paths to specific interfaces
and channels.
Compensation for Input and Output Delays Allows automatic compensation for input and
output delays caused by Digidesign analog-todigital and digital-to-analog hardware.
I/O Channel selector pop-up menu
Path Tools Customize the I/O Setup configuration. Buttons include: New Path, New Sub-Path,
Delete Path, and Default.
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79
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.
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 48.
3 Click the Input or Output selector for the first
interface channel pair, located below the first
audio interface icon.
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.
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.
Routing a Pro Tools Output Pair to
Multiple Destinations
5 Start-click (Windows) or Control-click (Mac)
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.
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.
the same Output selector and select an additional output pair from the same pop-up menu.
6 Repeat the above steps to select additional
output destinations.
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.
0utput path assignments cannot overlap.
See “Valid Paths and Requirements” on
page 86 for details.
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7 Click OK.
Creating and Editing Paths
Creating a Default Main or SubPath
The I/O Setup dialog lets you create and customize signal path definitions.
You can set an I/O Setup path type to its default
path configuration at any time.
Paths can be:
• Renamed, for easier identification after
changing or renaming audio interfaces
To restore default paths and path names:
1 Choose Setup > I/O.
• Remapped, to or from different sources or
destinations
2 Click the Input, Output, Insert, or Bus tab to
• Deactivated (or reactivated) to manage unavailable or unnecessary I/O resources
3 Click Default.
• 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.
display the corresponding path type.
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.
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
Default stereo output paths
To optimize Pro Tools DSP resources, it is
best to create mono sub-paths for Outputs
and Busses, rather than mono main paths.
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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 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:
• 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
8 Click OK to close the I/O Setup dialog. If there
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 “Initializing I/O Setup” on page 85.
Multichannel paths and mixing are explained in Chapter 31, “Pro Tools Setup for
Surround (Pro Tools HD Only).”
Changing Path Names
Path names can be customized in the I/O Setup
dialog.
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.
to the next path’s Name Field, or press Enter
(Windows) or Return (Mac) to set the new path
name.
2 Enter a new path name.
6 Choose a format from the Path Format selector (mono, stereo, or multichannel).
Changing Interface Names
3 Press Enter (Windows) or Return (Mac).
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.
Path Format selector
2 Enter a new interface name.
7 Repeat the previous steps to configure other
path types (Input, Output, Insert, or Bus).
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3 Press Enter (Windows) or Return (Mac).
Interface Name
To select or deselect non-contiguous paths, do
one of the following:
■ Control-click (Windows) or Command-click
(Mac) path names that are unhighlighted to select them.
– or –
Interface Names
■ Control-click (Windows) or Command-click
(Mac) path names that are highlighted to deselect them.
Selecting and Arranging Paths
To select all paths and sub-paths:
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.
■ Alt-click (Windows) or Option-click (Mac)
any path name that is unhighlighted.
To select a main path or sub-path:
■
■
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.
Click the path name.
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 81.
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.
• 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 82.
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83
To reset path names:
■
Click Default.
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).
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
Resetting Mix Busses
path name.
(Pro Tools HD Only)
2 Click Delete Path.
Pro Tools supports up to 128 mix busses
(Pro Tools HD 7.x and Pro Tools TDM 6.9), 64
mix busses (Pro Tools TDM 6.7.x and lower), or
32 busses (Pro Tools 7.x and 5.0.1 and lower).
When you open a session created with a lower
version of Pro Tools, only the number of busses
supported on the lower system are initially
available. You can reset the number of available
busses to match your system’s capabilities.
To make all of your busses available in sessions
created with a lower version of Pro Tools:
1 Open the I/O Setup dialog.
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.
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.
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Mapping channels
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 85.
Channel Mapping and Surround Mixer
Channel Shuffling
(Pro Tools HD Only)
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.
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 90).
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.
Initializing I/O Setup
To set the current I/O Setup configuration:
■
Customized Output paths for a 5.1 mix
Remapping Channels
Click OK in the I/O Setup dialog.
All paths must be valid before the I/O Setup configuration can be applied.
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).
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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85
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.
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.
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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 inactive. Paths can be unavailable when hardware or
other system resources are unavailable, such as
when opening a session saved on a different system.
Track Path Assignments
(Mix and Edit Windows)
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.
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.
Toggling Multiple Paths
If a track has only one main output assignment,
you can Control-start-click (Windows) or Command-Control-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.
Any track path assignment can also be deactivated on a track-by-track basis. See
“Track Path Assignments” on page 86.
Inactive paths are displayed in italics in the
track path selectors.
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.
Session-Wide Path Assignments
(I/O Setup Dialog)
Paths can be globally configured for Active or
Inactive status in the I/O Setup Dialog.
Active and inactive paths in a track Output Path
selector
Display of Active and Inactive Status
Unhighlighted (Italics) Indicates the path is inactive.
Hardware Setup and Session
Transfer
Highlighted (Non-Italics) Indicates the path is active.
Pro Tools sessions store the type and order of audio interfaces connected and active when the
session was last saved.
Highlighted (Italics) Indicates the path is active,
but there are not enough system resources available.
Unavailable I/O
Active
Inactive
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.
Active and inactive path settings in I/O Setup
Remapping
To globally activate or deactivate a path:
1 Choose Setup > I/O.
2 Select a path type using the tabs at the top of
the window.
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.
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87
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 analog 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 86
for more information.
Show Original 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 Original Setup button displays the audio interfaces used in the original session. This
temporary display lets you check the original
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 81.
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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:
Default I/O Setups The Pro Tools Installer provides factory presets for stereo and surround I/O
Setups (surround mixing is only supported on
Pro Tools|HD systems). See “Factory I/O Settings
Files” on page 90 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 89 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 90.
Importing and Exporting I/O Settings
Files
To import I/O Settings:
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.
2 Select an I/O settings file in the Import Set-
Exporting I/O Settings
To export and save an I/O Setup configuration:
1 Click Export Settings.
2 Name and save the settings file.
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 88).
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.
1 Click Import Settings in the I/O Setup dialog.
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 86.
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 81.
Last Used I/O Settings
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).
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 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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89
Factory I/O Settings Files
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.
To convert a session so that it emulates Direct
Outs mode, use the Auto Assign Ascending Outputs feature, as follows:
To auto assign track outputs for Direct Out:
1 Make sure that all tracks you want to assign
Stereo Mix Settings File
are visible (hidden tracks will not be affected).
The Stereo Mix preset consists of all possible stereo and mono paths for your session.
2 Select the tracks you want to assign.
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 81 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)
The Surround Mix provides additional, surround-specific Output and Bus presets. See “Surround Mix Settings Files” on page 701for more
information.
About Direct Outputs Mode
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.
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
(D-Control, D-Command, and ProControl Only)
The Default switch creates main Output paths
with appropriate mono sub-paths. These subpaths provide discrete monophonic routing.
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 87 for more information on
remapping.
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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.
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.)
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 multichannel region, that mono component will by
default be auditioned in-place. That is, it will
play from the corresponding speaker channel of
its parent multichannel region.
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).
2 Alt-click (Windows) or Option-click (Mac) the
region for the channel you want to audition.
Audition to All Outputs
Mono regions 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.
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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New Track Default Output Path
Setting AFL or PFL Path Levels
You can specify the default output path assignment for new tracks, in each available format.
You can set a separate master AFL/PFL Path level
for all AFL solos and all PFL solos.
The New Track Default Output can be set to
bus paths, as well as output paths.
Tracks do not need to be soloed to have the
master AFL/PFL Path level adjusted.
To specify a default output for new tracks in the
I/O Setup dialog:
To set the AFL/PFL Path level for AFL or PFL solos:
Click the New Track Default Output selector
and select a format and Output.
Solo mode, as follows:
■
1 Choose Options > Solo Mode, and select a
• If you want to set the level for AFL solos, select AFL.
AFL/PFL Path
– or –
(Pro Tools HD Only)
• If you want to set the level for PFL solos, select PFL.
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.
See “Solo Modes” on page 119 for more information on using AFL or PFL Solo modes.
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.
4 Click on the new fader position (or press Esc)
to close the fader display.
To select the AFL/PFL Path output:
1 Choose Setup > I/O.
2 Click the Output tab to display the Output
page.
To set the AFL/PFL Path level to 0 dB, Control-Start-click (Windows) or Control-Command-click (Mac) any Solo button.
AFL/PFL Mutes (Output Path) Selector
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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(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.
See “Solo Modes” on page 119 for more information on selecting and using AFL or
PFL Solo modes.
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
Path) selector.
4 Click OK to close the I/O Setup dialog.
Default Path Order
(Pro Tools HD Only)
H/W Insert Delay
Compensation
(Pro Tools HD Only)
You can specify the latency of outboard hardware (such as effects devices) in the H/W Insert
Delay page of the I/O Setup dialog. You can enter hardware insert latency, in milliseconds, in a
field that corresponds to every input/output
pair. These times will be used by the Delay Compensation Engine to time align input paths
when a hardware insert is used.
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.
Insert offset delay field
To set an insert delay offset:
To choose a Default Path Order:
Select the channel mapping from the Default
Path Order menu.
■
■ 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.
Default Path Order selector
For more information about multichannel
mixing, see Chapter 31, “Pro Tools Setup
for Surround (Pro Tools HD Only).”
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Chapter 8: Tracks
This chapter covers basic track management
tasks such as creating and deleting tracks, assigning voices and output channels, and grouping tracks.
Track Types
In a Pro Tools session, you can have several different types of tracks. These can include audio
tracks, Auxiliary Input tracks, Master Fader
tracks, VCA Master tracks, MIDI tracks, Instrument tracks, and video tracks.
Video track features are described in
Chapter 29, “Working with Video in
Pro Tools”
Audio Tracks, Auxiliary Input Tracks,
Master Fader Tracks, and VCA Master
Tracks
Pro Tools provides mono, stereo, and multichannel format audio tracks, Auxiliary Input
tracks, Master Fader tracks, and VCA Master
tracks.
Auxiliary Input Tracks
Auxiliary Input tracks (or Auxiliary Inputs) can
be used as effects sends, destinations for submixes, as a bounce destination, as inputs to
monitor or process audio (such as audio from
MIDI sources), and for many other audio routing tasks.
Master Fader Tracks
Master Fader tracks (or Master Faders) control
the overall level of the audio tracks that are
routed to the session’s main 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 526.
Audio Tracks
Audio tracks contain arrangements of recorded
(or imported) audio files.
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95
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 528.
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 MIDI and audio capabilities in a single
channel strip. Instrument tracks simplify using
software and hardware instruments to record
MIDI and monitor audio from the instrument.
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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.
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 31, “Pro Tools Setup for Surround
(Pro Tools HD Only)”
• Chapter 32, “Multichannel Tracks and
Signal Routing (Pro Tools HD Only)”
• Chapter 33, “Surround Panning and Mixing
(Pro Tools HD Only)”
Track Channel Strips
Audio Track Channel Strips
Each audio track has its own set of controls for
volume, pan, record enable, input monitoring,
automation mode, solo, mute, and voice assignment. Audio tracks also have a Comments View
to enter and display comments.
Auxiliary Input Track Channel Strips
Each Auxiliary Input track has its own set of
controls for volume, pan, automation mode,
solo, and mute. Auxiliary Input tracks also have
a Comments View to enter and display comments.
Inserts
Inserts
Sends
Sends
Audio Input/Output Path selectors
Automation Mode selector
Pan sliders
Audio Input/Output Path selectors
Pan indicators
Automation Mode selector
Pan slider
Pan indicator
Track Record Enable button
TrackInput Monitor button
Solo/Mute buttons
Output Window button
Solo/Mute buttons
Output Window button
Volume fader
Level meters
Volume fader
Level meter
Group ID
Track Type indicator
Voice selector
Volume/Peak/Delay indicator
Group ID
Delay Compensation View
Track Type indicator
Track Name button
Track Color Coding
Volume/Peak/Delay indicator
Delay Compensation View
Track Comments
Track Name button
Track Color Coding
Track Comments
Stereo Auxiliary Input track channel strip
Mono audio track channel strip
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97
Master Fader Track Channel Strips
VCA Master Track Channel Strips
Each Master Fader track has its own set of controls for 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 controls for 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 528.
Group Assignment
selector
Audio Output Path selectors
Automation Mode selector
Record
Enable
Solo
TrackInput
Mute
VCA Group ID
Volume
Output Window button
Level meter
Volume fader
Level meters
VCA Track Type indicators
Group ID
Track Type indicator
Volume/Peak/Delay indicator
Delay Compensation View
Track Name button
Track Color Coding
Track Comments
Stereo Master Fader track channel strip
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Pro Tools Reference Guide
VCA Master track
MIDI Track Channel Strips
Each MIDI track has its own set of controls for
volume, pan, record enable, automation mode,
solo, mute, MIDI patch assignment, and MIDI
channel assignment. MIDI tracks also have a
Comments View to enter and display comments.
MIDI Volume
MIDI Input selector
MIDI Output selector
MIDI Velocity meter
MIDI Mute button
MIDI Pan slider
Inserts
MIDI Input selector
MIDI Output selector
Automation Mode selector
Sends
MIDI Pan slider
MIDI Pan indicator
Record Enable
Audio Input/Output Path selectors
Automation Mode selector
Solo/Mute buttons
Pan sliders
MIDI Volume fader
Pan indicators
Record Enable
Solo/Mute buttons
MIDI Velocity meter
Patch Select
Output Window button
Volume fader
Group ID
Track Type indicator
Level meters
MIDI Volume indicator
Track Name button
Track Color Coding
Track Comments
Patch Select
Group ID
Track Type indicator
Volume/Peak/Delay indicator
Delay Compensation View
Track Name
Track Color Coding
MIDI channel strip
Track Comments
Instrument Track Channel Strips
Each Instrument track has its own set of controls for volume, pan, record enable, automation mode, solo, and mute. Instrument tracks
have an additional Instruments View that provides controls for MIDI input, output, mute,
volume, and pan. Instrument tracks also have a
Comments View to enter and display comments.
Stereo Instrument track channel strip
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99
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.
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 532.
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 110.
Volume/Peak/Channel Delay
Indicator
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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Pro Tools Reference Guide
Volume Indicator (and Pop-Up Slider) 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 slider, which can be used to adjust the volume.
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.
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.
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:
1 Choose Setup > Preferences and click the
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.
Display tab.
2 Select a Peak Hold option.
3 Click OK.
To clear a meter:
■
Click anywhere on the meter.
Track Level Meter
On audio tracks, Level meters indicate the level
of the signal being recorded or played back from
the hard drive. On Auxiliary Input, Master
Fader, and Instrument tracks, Level meters indicate the level of the signal being played through
the channel output. Green indicates nominal
levels; Yellow indicates pre-clipping (–6 dB below full scale); and Red indicates clipping.
When an audio track is record-enabled, these
meters indicate record levels.
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 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).
Clip Indication
Pro Tools meters provide Clip Indication with
three options: 3 Second, Infinite, or None. If
clipping occurs, the topmost LED will stay lit
(red).
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.
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101
To clear a clip indicator:
■
Click anywhere on the meter.
Adjusting Track Width
Mix Window
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).
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 258, to adjust track
height in the Edit Window.)
To reduce the width of tracks in the Mix window:
Wide Meters View
Wide Meters View expands the width of the
level meters for tracks in both the Mix and Edit
windows, to make the track level meters easier
to read. Wide Meters View also supports Narrow
Mix View.
To enable Wide Meters View:
■ Control-Start-Alt-click (Windows) or Command-Option-Control-click (Mac) the track
level meters in either the Mix or Edit window.
■
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).
Creating Tracks
On all systems, you can create mono and stereo
tracks. In addition, with Pro Tools HD, you can
create multichannel tracks.
When new tracks are created, they are given a
default name which can be changed at any time.
Wide Meters View, Mix and Edit windows
To disable Wide Meters View:
■ Control-Start-Alt-click (Windows) or Command-Option-Control-click (Mac) the track
level meters a second time in either the Mix or
the Edit window.
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Pro Tools Reference Guide
◆ 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.
◆ 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 144.
To create new tracks:
You can also add or delete a new track by
pressing Control+N or Control+Minus (–).
1 Choose Track > New.
Number of new tracks
Add/Remove Row
Track Type
Track Format
Track Timebase
7 To reorder tracks, click a Move Row icon and
drag it up or down.
New Tracks dialog
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.
3 Select the track format (mono, stereo, or one
of the multichannel surround formats) from the
Track Format pop-up menu. Surround formats
are available on Pro Tools|HD systems only.
Move Row icon
New Tracks dialog
8 Click Create.
Naming Tracks
Track names are used to auto-name recorded audio files and regions (see “Default Track Names”
on page 186).
To auto-scroll the Track Format pop-up
menu, press Control (Windows) or Command (Mac) and use the Left/Right Arrow
keys.
4 Select the timebase (samples or ticks) from the
Track Timebase pop-up menu.
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.
Track Name/Comments dialog
To rename a track:
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.
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103
3 Click Previous or Next to rename other displayed tracks.
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.
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).
4 Click OK.
Adding Comments to Tracks
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 –
■ 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.
Track Numbering
With Track Number View enabled, each track is
assigned a number corresponding to its position
in the Mix and Edit Windows. When tracks are
reordered, they are renumbered to maintain positional sequence.
To enable Track Number View:
■
104
Choose View > Track Number.
Pro Tools Reference Guide
Scroll To Track dialog
2 In the Scroll To Track dialog, enter the Track
Position Number.
3 Click OK.
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.
To select a track:
■ Click the name of an unhighlighted track in
its track channel strip.
To select a range of tracks:
1 Click the name of an unhighlighted track in
its track channel strip.
2 Shift-click an additional Track Name button.
All tracks between the first track selected and
the additional track will also be selected.
To select or deselect non-contiguous 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.
■
To select all tracks:
Alt-click (Windows) or Option-click (Mac)
any Track Name button that is unhighlighted.
■
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.
Deleting Tracks
When you delete tracks, your audio or MIDI region data will remain 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 will be prompted to delete or retain them.
The Delete Track command cannot be undone.
Alt-click (Windows) or Option-click (Mac)
any Track Name button that is highlighted.
To delete a track:
Selecting Tracks when Making Edit Selections
nel strip to select it.
■
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).
1 Click the name of the track in its track chan-
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:
To link Track and Edit selections:
Select Options > Link Track and Edit Selection.
■
Scrolling a Track into View
(Pro Tools HD Only)
To scroll a track into view:
• 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.
In the Track List, or Mix or Edit window,
Right-click the track name and select Scroll into
View.
■
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105
Duplicating Tracks
The Duplicate Track command lets you duplicate one or more tracks, including their audio or
MIDI data, playlists, automation, and other attributes.
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).
To duplicate one or more tracks:
1 Select the tracks you want to duplicate.
For information, see “Selecting Tracks” on
page 104.
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.
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.
• 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.
– or –
• If you want each newly-created track to be
inserted directly after its source track, disable the option.
5 Click OK to duplicate tracks according to the
settings in the Duplicate Tracks dialog. Click
Cancel to close the dialog and not create duplicate tracks.
Duplicate Tracks dialog
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Pro Tools Reference Guide
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.
The Track List
The Track List (at the left of both the Mix and
Edit windows) lists 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 the DigiBase Guide.
Track List pop-up menu
Track Type
icon
Show/Hide Track List/Group List View
Track name
Track Color
Code
Track List shown in Edit Window
Track List Pop-Up Menu
Track Number
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).
Track List
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
Chapter 8: Tracks
107
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.
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.
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 115 for details).
To hide a track, do one of the following:
Click the highlighted 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 Hide (or
Hide and Make Inactive if the track is active and
you also want to make the track inactive).
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Pro Tools Reference Guide
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.
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 reorder tracks on-screen, drag the track
names to new positions within the Track
List or in the Mix or Edit window.
To show a range of tracks:
1 Click the name of an unhighlighted track
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).
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.
■
About Mix/Edit Groups and Hidden
Tracks
Even if a track is hidden, if it is a member of an
enabled group, all Mix window operations performed on other members of the group will 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 will be soloed,
muted, or automation write-enabled as well.
In the Edit window, however, editing operations
performed on members of an enabled group will
not affect hidden tracks that are also members of
the enabled group.
About Clipping and the Track List
(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
There are two ways to display Track Position
Numbers when tracks are hidden.
• 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).
Chapter 8: Tracks
109
Track Name Right-Click
Pop-Up Menus
Assigning Inputs and Outputs
to Tracks
(Edit Window, Mix Window or Track List)
Inputs for audio tracks and Auxiliary Input
tracks can be assigned to audio interface channels or busses. Outputs for audio tracks, Auxiliary Input tracks, and Master Fader tracks can be
assigned to audio interface channels or busses.
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)
Track set to
Audio Input 2
Track set to
No Input
Track set to
Bus 2
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 selected tracks if any)
Scroll Into View Scrolls the track to the top of the
Edit window or the left of the Mix window
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)
Delete Deletes the track (or selected tracks if
any)
Coalesce VCA Master Automation Coalesces the
VCA automation to the slave tracks of the VCA
Coalesce Trim Automation Coalesces Trim automation on the track (or selected tracks if any)
Clear Trim Automation Clears Trim automation
on 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
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Input/output assignments for three mono audio tracks
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 7, “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
ascending input pairs.
The outputs automatically assigned to new
tracks are determined by the New Track Default
Output defined in the I/O Setup dialog.
Assigning Audio Track Inputs
Assigning Audio Track Outputs
(Audio Tracks, Auxiliary Inputs, Instrument
Tracks)
(Audio Tracks, Auxiliary Inputs, Instrument
Tracks, Master Faders)
Instrument tracks set their input automatically to any inserted Instrument plug-in.
To assign an audio track input:
To assign an audio track output:
1 In order to assign audio track outputs in the
Edit window, select View > Edit Window > I/O.
1 In order to assign audio track inputs in the
2 In the Mix or Edit window, click the track’s
Edit window, select View > Edit Window > I/O.
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.
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.
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.
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.
‘
Input Path selector
To remove an input assignment:
■
Output Path selector
Select No Input from the Input Path selector.
To auto-assign all visible tracks to unique mono
sub-path outputs in ascending order:
1 Make sure you have enough mono sub-paths
defined in I/O Setup (see Chapter 7, “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.
Chapter 8: Tracks
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To remove an output assignment:
■ Select No Output from the Output Path selector. Playlists become dimmed for tracks with no
output assignment.
Assigning an audio track, Auxiliary Input,
Master Fader, or Instrument track to “No
Output” will cause its automation data for
pan and plug-in controls to be lost.
Renaming Track Inputs and
Outputs from the Edit or Mix
Window
■ 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.
I/O path names can be renamed in the Edit or
Mix windows, or in the I/O Setup dialog.
Track Priority and Voice
Assignment
To rename an I/O path in the Edit or Mix window:
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 5 on page 10.
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.
2 In the Rename I/O dialog, enter a name for the
I/O Path, and click OK.
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.
112
To make a track input or output inactive (or
active) using the I/O’s selector pop-up menu:
Pro Tools Reference Guide
Pro Tools HD provides 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 3 on
page 7.
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. For details on system capabilities with these options, see “Pro Tools LE with
DV Toolkit 2 and Pro Tools LE or M-Powered
with Music Production Toolkit” on page 11.
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 voice s, 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 113 and
“Freeing up Voices on a Track” on page 113.
With Pro Tools HD, you can also assign specific
voices to multiple tracks so 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 114. For
additional information on voice borrowing,
see“Voice Borrowing” on page 115).
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 114.
■ Deactivate the track by Control-Start-clicking
(Windows) or Command-Control-clicking
(Mac) its track type icon in the Mix window.
Changing a Track’s Playback Priority
■ Make sure the track does not have an output
or send assignment.
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.
■ With Pro Tools HD, you can temporarily free a
track’s voice during playback by muting it (see
“Mute Frees Assigned Voice” on page 122).
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113
Setting Voice Assignment
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.
To set the voice assignment for a track:
■ Click the Voice selector and set the track to
Dyn, Off, or select a voice number (Pro Tools HD
only).
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.
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 115). 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 14, “Advanced Recording.”
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 561.
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.
Voice selector for stereo audio track (Pro Tools HD
shown)
Voice Assignment with Toolkit Options
(Pro Tools LE with DV Toolkit 2 or Pro Tools LE
or M-Powered Music Production Toolkit)
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. 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.
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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 will automatically be reset to DYN when you do any of the above steps.
Automatic Assignment of Ascending Voices
(Pro Tools HD Only)
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.
■
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 voice is assigned to the first track, with successive voices assigned to tracks (with the same
format) of lower priority.
Chapter 8: Tracks
115
The following example demonstrates the concept of voice borrowing:
Setting MIDI Input and Output
MIDI is supported on MIDI tracks and Instrument tracks.
Assigning 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.
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.
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 117.
To assign a MIDI track 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.
In the Edit window, select View > Edit Window > I/O to access any track’s Input selector.
MIDI Input selector (MIDI Track shown)
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Assigning MIDI Track Output
Pro Tools lets you assign specific MIDI ports and
channels to a MIDI track output. The default selection of none sends MIDI data to no port on
any channel. Use the MIDI Output selector to
specify a MIDI port and channel for output.
To assign multiple destinations to a single MIDI
track:
■ 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 13, “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 117.
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)
Chapter 8: Tracks
117
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
as bold in the MIDI Input Selector pop-up
menu.
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.
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.
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.
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.
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.
■
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Instrument tracks have separate sets of Solo
and Mute buttons for MIDI and audio monitoring.
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 126.
Solo Button
The Solo button normally mutes other tracks so
that the chosen track can be auditioned alone.
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 119.
To solo tracks:
1 Click the Solo button on a track. The button is
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.
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.
– or –
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 121).
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 92).
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 92). 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).
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 92).
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 92). This level setting is independent of the AFL level setting.
AFL and PFL Solo modes require the Surround Mixer plug-in.
• Route a chosen track to a separate output.
If Mutes Frees Assigned Voice is enabled,
muted tracks will not be audible in PFL
mode.
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119
To select a Solo mode:
1 Choose Options > Solo Mode, and 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.
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-
Switching the Solo mode for all soloed
tracks “on-the-fly” to PFL will clear all previously soloed tracks before entering PFL
mode. This will prevent potentially large
boosts in level.
DSP Usage when Using AFL or PFL Mode
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 92).
3 Set up your hardware to monitor both the
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.
main and AFL/PFL paths simultaneously.
Un-declaring the AFL/PFL Path will free up all
DSP resources previously used for AFL/PFL
mode.
Solo Latch Options
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.
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Pro Tools Reference Guide
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.
Solos can be latched (where pressing subsequent
buttons adds them to the soloed mix of tracks),
unlatched, or temporarily latched (Pro Tools
HD only).
To select a Solo Latch mode:
■ Choose Options > Solo Mode and select from
the following options:
Latch When selected, pressing subsequent Solo
buttons adds them to the soloed mix of tracks.
X–OR (Cancels Previous Solos) When selected,
pressing subsequent Solo buttons cancels previous solos.
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.
Solo Safe Mode
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:
(Pro Tools HD Only)
■ 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 temporarily latch solos:
To return a solo safe track to normal:
1 Choose Options > Solo Mode > Momentary.
■ Control-click (Windows) or Command-click
(Mac) the Solo button on the track again.
Using Momentary Solo Latch
2 Press and hold the Solo button on the first
track that will be soloed.
3 While still holding the first Solo button, press
additional Solo buttons. Solo buttons will remain soloed as long as one Solo button is held.
As long as at least one Solo button is held
down, all the solos will remain latched.
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.
To unmute a track:
■
Click the Mute button again.
Chapter 8: Tracks
121
Mute Frees Assigned Voice
(Pro Tools HD Only)
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 45.
Making Tracks Inactive
Audio, Auxiliary Input, Master Fader, VCA Master, 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.
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.
Track Type indicator
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) 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 Choose Track > Make Inactive.
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Color Coding for Tracks,
Regions, Markers and Groups
To change Color Coding options:
1 Choose Setup > Preferences.
2 Click Display.
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.
3 Select a Default Track Color Coding option.
4 Select a Default Region Color Coding option.
5 Select or deselect the Always Display Marker
Colors option.
6 Click OK.
Color Bars
Always Display Marker Colors
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.
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.
Group List Track colors are displayed in vertical
color bars that appear to the left of each Group
Name.
Default colors are automatically assigned to
tracks, but you can override those colors by
choosing from a color palette of 96 possible colors. For more information, see “Color Palette”
on page 124.
Display Page Preferences for
Color Coding
Color Coding options determine how colors are
assigned to the display of tracks and regions.
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.
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.
Chapter 8: Tracks
123
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.
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.
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. 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
Last Assigned Color
Color Palette window
The Color Palette supports independent region
color coding in the Region List and in tracks.
To apply a color from the Color Palette:
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. (See “Color Palette”
on page 124.)
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None
1 Choose Window > Color Palette.
2 Do one of the following:
• In the Apply to Selected pop-up menu, select the destination for color coding:
Tracks, 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 123 for more information.
Using the Hold Button
The Color Palette provides a Hold button to simplify the process of assigning the same colors to
multiple items (such as track and regions).
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:
3 Select a color from the palette, or select one of
1 Click the Hold button to enable it. The Hold
the following:
button becomes white, and the currently selected color is now highlighted with a wider
white outline.
Default Removes any custom coloring and restores the color to the default color orientation.
See “Display Page Preferences for Color Coding”
on page 123 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.
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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125
Grouping Tracks
Mix Groups, Edit Groups, and
Mix/Edit Groups
Pro Tools provides a relative grouping function
for linking tracks and their controls.
Pro Tools includes the following types of groups
for affecting track controls and items:
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.
Mix Groups can be set to affect the following parameters on tracks in the Mix or Edit window:
Pro Tools provides the following grouping features:
• Main Volume
• Main Mute
• Main Pan
• 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).
• Solo
• Grouped faders or controllers preserve
their levels relative to each other.
• Groups are assignable to an available VCA
Master track.
• Input Monitoring
• Automation Mode
• Send Level
• Send Mute
• Send Pan
• Send LFE Level
You can also group regions into region
groups. See “Region Groups” on page 362.
• Plug-in Controls
• Plug-in Bypass
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.
Edit Groups
Edit Groups affect the following items in the
Edit window:
• Track View
• Track Height
• Track Timebase
• Editing functions
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Mix/Edit Groups
To unlink Mix and Edit Groups:
Mix/Edit Groups link the grouping functions of
the Mix Group and the Edit Group.
1 Choose Setup > Preferences and click the Mixing tab.
2 Deselect the “Link Mix and Edit Group En-
Grouping Limitations
ables” option and click OK.
Grouping does not affect these parameters:
• Voice assignment
Mix Groups and VCA Masters
• Output assignment
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.
• Inserting plug-ins
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)
For information on assigning groups to
VCA Masters, see “Assigning Groups to
VCA Masters” on page 530.
• With Mix and Mix/Edit Groups, by selecting
from a list of attributes for the group
• With Mix Groups, by choosing whether the
selected attributes apply globally to all groups
or to individual groups
Linking Mix and Edit Groupings
Group Controls
Menus and commands for creating and modifying groups are accessible in the following:
• Group List
• Group name in the Group List
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.
• 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.
Chapter 8: Tracks
127
Group Symbols
Group List pop-up menu
Click to
select group
members
on-screen
Click to
select a
group by
typing its
letter
Click to
activate a
group
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
Colors
Group IDs
Click to hide
Group List
Hollow Circle
Group List
Circle with a Dot
Show/Hide Track List/Group List View
Button
Groups Symbols
To show the Group List (and Track List):
Filled-in Circle Indicates that all members of the
group are currently selected, and no members
from outside the group are selected.
Click the Show/Hide Track List/Group List
View button in the Mix or Edit window.
■
The Group symbols indicate the following:
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
Show/Hide Track List/Group List View
The pop-up menu at the top of the Group List
provides the following commands:
Edit Group List in Edit Window
New Group Executes Track > Group command
Group ID
To the left of each name in the Group List is a
letter denoting its Group ID (“a” through “z”).
Display Provides commands to show Edit groups
only, Mix groups only, or all groups (Edit, Mix,
and Mix/Edit)
Suspend All Groups Suspends group behavior for
all Mix and Edit groups
Modify Groups Opens Group dialog to modify
existing groups only
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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:
Group ID indicator pop-up menu
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
The Group dialog lets you create new groups
and assign attributes to groups.
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
Group dialog
Chapter 8: Tracks
129
The Group dialog has three pages:
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
Working with Groups
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.)
Creating Groups
You can select the tracks you want to add to a
group before creating it, as well as add and remove tracks from a group after it has been created.
In previous versions of Pro Tools, to add or
remove tracks from a group, you had to select tracks and overwrite the group.
To create a group:
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.
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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.
9 Click OK.
Modifying Groups
To modify a group:
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.
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.
Group List pop-up menu
2 In the Groups dialog, choose the group you
want to modify from the ID pop-up menu.
3 Change any of the following for the current
7 If the group is a Mix Group or a Mix/Edit
group:
Group, set the attributes for the group. See “Setting Group Attributes” on page 133.
• Group name
8 If the group is a Mix Group or a Mix/Edit
• VCA status
Group and you want to assign the group to an
available VCA Master track, choose the VCA
track from the VCA pop-up menu.
• Group type (Edit, Mix or Mix/Edit)
• Follows Global status
• Track membership
• Attributes
4 Click OK.
Choosing a VCA track to control a group
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131
To modify the settings for the “All” group:
1 Right-click the “All” group name in the Group
List and choose Modify from the pop-up menu.
Deleting Groups
You can delete groups in several ways.
Deleting a group is not undoable.
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.
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.
– 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.
Duplicating Groups
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.
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 –
• Right-click the Group name in the Group
List and choose Duplicate from the pop-up
menu.
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2 Change any of the following for the current
3 Click OK to save the group and the new Glo-
group:
bals settings.
• Group name
• Group type (Edit, Mix, or Mix/Edit)
For information on selecting attributes, see
“Selecting Group Attributes” on page 134.
• VCA status
• Follows Global status
• Track membership
• Attributes
3 Click OK.
Setting Group Attributes
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.
Globals page of Group dialog
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.
2 Select the base set of attributes for groups in
your session.
To select attributes for an individual group:
1 While creating or modifying a Mix Group or a
Mix/Edit Group, do one of the following:
• Click Attributes in the Group dialog, and
select the attributes you want to link.
– 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 134.
Chapter 8: Tracks
133
2 Click OK to save the settings.
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.
Attributes page of Group dialog
Selecting Group Attributes
The following attributes can be selected for Global settings and for individual groups:
Track controls:
• Main Volume
• Main Mute
• Main Pan
• Main LFE Level
■ 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.
Saving Group Attribute Presets
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.
• Record Enable
• Input Monitoring
• Solo
• Automation Mode
Send controls (Sends A–J):
To save the current attribute settings as a Group
preset:
1 In the Groups dialog, click Save. (Follow Glo-
bals must be unchecked to save a setting from
the Attributes page.)
• Send Level
• Send Mute
• Send Pan
• Send LFE Level
Insert controls (Inserts A–E):
• Plug-in Controls
• Insert Bypass
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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.)
■
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.
Recalling a Group preset
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.
◆ 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).
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.
■
Group List Keyboard Focus enabled
To enable additional groups, click their names
in the Group List.
Chapter 8: Tracks
135
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.
Temporarily Isolating Control of an
Item from Group Operation
You can temporarily isolate control of a group
item from group operation by Right-clicking on
the item.
You can also temporarily suspend group behavior for a track by Right-clicking (Windows) or Control-clicking (Mac) the desired
group function.
The following items can be isolated from group
operation:
• Channel Volume fader
Grouped Control Offsets
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:
• Main Volume
• Main Pan
• 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.
In Automation views, this “overflow” is indicated on the automation playlist by blue automation breakpoints at the extremes of the automation playlist.
• Channel Pan slider
• 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 9: 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 137 and “Importing Tracks
and Track Attributes” on page 144.
To import or export video files, see
Chapter 29, “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.
Files of types that are not supported in the session must be converted when importing. Files
with sample rates that are different from the
sample rate of the current session must be converted in order for the files to play back at the
correct pitch and speed.
Supported 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 165).
Chapter 9: Importing and Exporting Session Data
137
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
ACID files without slice data are imported
as audio regions.
Sliced ACID files and REX 1 and 2 files are
imported as region groups. For more information on Region Groups, see “Importing
and Exporting Region Group Files” on
page 159.
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 realtime crossfades to imported REX and ACID
files. See “Automatic Fades for Imported
REX and ACID Files” on page 139
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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 will 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.
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 “Conversion Quality” on page 139.
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.
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.
Conversion Quality
The 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
Pro Tools also lets you import multichannel interleaved files of any supported file type.
Processing tab.
Chapter 9: Importing and Exporting Session Data
139
2 From the Conversion Quality pop-up menu,
select a quality setting.
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.
Conversion Quality preference
For most applications, the Good or Better setting will yield very good results.
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 140
• “Importing Audio Files Using the Pro Tools
Application Icon or Alias” on page 141
• “Importing Audio Files and Regions with
Drag & Drop” on page 142
• “Importing Audio from Audio CDs” on
page 142
Importing Audio Files and Regions
Using Pro Tools Menu Commands
Figure 6. 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
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 144.
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Pro Tools Reference Guide
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.
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.
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.
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.
4 Do any of the following:
• To place a file or region in the Import list,
select the file and click Add or Convert.
Audio Import Options dialog
• To import all files and regions in the current directory, click Add All or Convert All.
cation for the imported file in the track:
• To remove a file or region from the Import
list, select it and click Remove.
8 If you chose to create a new track, choose a lo-
Session Start Places the file or region at the start
of the session.
• To remove all files and regions, click Remove All.
Song Start Aligns the beginning of the file or region to the Song Start point.
5 When you have added all audio files and re-
Selection Aligns the beginning of the file or region to the edit cursor or to the beginning of a
selection in the timeline.
gions to the Import list, click Done.
6 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.
7 In the Audio Import Options dialog, choose
Spot Displays the Spot dialog, which lets you
spot the file or region to a precise location based
on any of the Time Scales.
9 Click OK.
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.
Importing Audio Files Using the
Pro Tools Application Icon or Alias
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).
Audio files can be imported into a session using
the Pro Tools application icon or alias.
To import audio files into a session, using the
Pro Tools application icon or alias:
1 Open or create a new session.
Chapter 9: Importing and Exporting Session Data
141
2 From Windows Explorer or Mac Finder, locate
the audio files you want to import.
Audio files must be in WAV, SD II, or AIFF/AIFC
format in order to be dropped into Pro Tools.
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.
3 Drag the audio files onto the Pro Tools application icon or alias.
Importing Audio Files and Regions
with Drag & Drop
You can drag and drop audio files or regions
from a DigiBase browser or from Windows Explorer or Mac Finder to the Timeline, a track, the
Track List, or the Region List.
To import audio into the Region List:
1 Select audio files in a DigiBase browser, Windows Explorer or Mac Finder.
2 Drag the files onto the Region List of the current session.
To import audio into an existing track:
1 Select audio files in a DigiBase browser, Windows Explorer or Mac Finder.
2 Drag the files onto an existing track in the Edit
window of the current session.
To import audio into new tracks:
1 Select audio files in a DigiBase browser, Windows Explorer or Mac Finder.
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2 Do one of the following:
• 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.
Importing Audio from Audio CDs
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.
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 the DigiBase Guide.
Since the transfer is made in the digital domain,
there is no signal loss.
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. See “Conversion Quality” on page 139 for details.
Before importing CD audio, make sure your
hard drive has enough space for the converted
audio files.
Importing Multichannel Audio
Files from a Field Recorder
To import a CD audio track using the DigiBase
Browser:
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.
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
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.
The imported audio file appears in the Region
List. From there you can drag the region to a
track in your session.
(Pro Tools HD)
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
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.
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143
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 Markers and Memory Locations
from the source session, select the Import
Marker/Memory Locations option.
12 With Pro Tools HD or Pro Tools LE with
DV Toolkit 2, to import any Mix or Edit Groups
from the source session, select the Import
Mix/Edit Groups option.
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.
13 With Pro Tools HD, to import any mic pre
settings from the source session, select the Import Mic Pre Settings option.
14 Click OK when you are finished.
15 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.
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 (Pro Tools HD)
Import Session Data dialog (Pro Tools LE)
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145
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 “Conversion Quality” on page 139.
Track Offset Options
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:
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
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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147
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 88 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.
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149
Track Playlist Options
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
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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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.
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 Pre Settings
(Pro Tools HD Only)
Imports any Pro Tools mic preamplifier settings
from the source session. Any mic preamplifier
settings in the destination session are replaced.
Exporting Audio
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 395 and “Bounce to Disk” on
page 638.
Exporting a Region as a New
Audio File
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.
This command also provides a way to convert
regions to a different audio format, sample rate,
or bit depth.
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.
When you export regions to a lower bit depth,
Dither (with or without Noise Shaping) is applied as shown in Table 10.
Table 10. Dither and Noise Shaping with Export
Selected dialog
Dither
Noise
Shaping
24-bit to 24-bit
No
No
to export.
16-bit to 24-bit
No
No
2 From the Region List pop-up menu, choose
24-bit to 16-bit
Yes
Yes
Export Regions as Files. The Export Selected dialog appears.
16-bit to 16-bit
No
No
24-bit to 8-bit
Yes
No
16-bit to 8-bit
Yes
No
To export regions as new audio files:
Bit Depth
1 In the Region List, select the regions you want
The Dither setting used for any conversion is the
Digidesign Dither plug-in (with or without
Noise Shaping enabled, as noted in Table 10).
For more information about using Dither,
see “Dither” on page 557.
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.
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).
Export Selected dialog
Replacing with New Files Replaces files with the
same name with the new files.
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151
5 Once the Export Options are configured, click
Export to export the new audio files.
Exporting Stereo or Multichannel
Interleaved Files
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 regions 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.
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.
To export region definitions for an audio file:
1 In the Region List, select any regions or region
To export regions as a stereo or multichannel
interleaved file:
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.
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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.
3 Click Export.
Exporting Pro Tools Tracks as
OMFI or AAF Sequences
Export Session Info as Text
Options
With the DigiTranslator Integrated Option
(DigiTranslator 2.0 or higher), Pro Tools lets you
export individual tracks in OMFI format or AAF
format. Use the Export Selected Tracks as
OMF/AAF 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)
Export Session Info as Text dialog
You can use the Export Session Info as Text command to create a text file that contains extensive
information about your session.
Include File List/Region List
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.
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.
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.
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Include Track EDLs (Playlists)
Exported Session Text
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.
Session Information
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.
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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The session text file starts with basic information about the session. This information includes the session name, sample rate, bit depth,
time code format, and number of audio tracks,
audio regions, and audio files, as shown in the
following example.
Session Information example
SESSION NAME:
Ripleys II-092700
SAMPLE RATE:
48000.000000
BIT DEPTH:
24-bit
TIME CODE FORMAT:
30 Frame
# OF AUDIO TRACKS:
19
# OF AUDIO REGIONS:
203
# OF AUDIO FILES:
54
File List and Region List
Next, if you choose to include them, are the lists
of audio files and regions.
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:
1 Choose File > Export > Session Info as Text.
2 Select whether to include the File List, Region
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
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.
Send via DigiDelivery
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.
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, see the DigiDelivery
Guide, or refer to the DigiDelivery Web site
(www.digidesign.com/digidelivery).
To send a session from Pro Tools using
DigiDelivery:
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.
Like the Save Copy In command, DigiDelivery
copies all files of the same type, regardless of
their location, into a single destination folder.
Chapter 9: Importing and Exporting Session Data
155
3 In the Send to DigiDelivery dialog, select
which files to include.
Importing MIDI Files
You can import Standard MIDI Files (SMF) into
your Pro Tools sessions.
Pro Tools provides several ways to import MIDI
files into an open session.
• “Importing MIDI Files Using Pro Tools
Menu Commands” on page 157
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.
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• “Importing MIDI Files with Drag & Drop”
on page 158
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.
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.
Importing MIDI Files Using
Pro Tools Menu Commands
3 If you chose to create a new track, choose a lo-
Pro Tools provides menu commands to import
MIDI files.
Session Start Places the file or region at the start
of the session.
To import Standard MIDI Files into a session using
Pro Tools menus:
Song Start Aligns the beginning of the file to
the Song Start point.
1 Choose File > Import > MIDI.
cation for the imported file in the track:
Selection Aligns the beginning of the file to the
edit cursor or to the beginning of a selection in
the timeline.
Spot Displays the Spot dialog, which lets you
spot the file to a precise location based on any of
the Time Scales.
4 Select any of the following Import options:
Import Tempo Map From MIDI File When selected, overwrites any existing tempo map with
tempo information read from the MIDI file.
MIDI Import Options dialog
2 In the MIDI Import Options dialog, choose
the Import Location (where the imported file
will go):
New Track Each MIDI file is imported into its
own individual new track and into the Region
List.
When importing MIDI into a track, you can also
choose the location in the track where the MIDI
file will begin (such as Session Start).
Region List MIDI files are imported into the Region List without creating a new track. Imported
MIDI files appear in the Region List and can
then be dragged into a MIDI track.
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.
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157
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.
6 In the Mix window, click the MIDI Output selector for each new track and assign a MIDI instrument and channel.
Importing MIDI Files with Drag &
Drop
You can drag and drop MIDI files from a
DigiBase browser or from 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, Windows Explorer or Mac Finder.
2 Drag the files onto the Region List of the current session.
To import MIDI into an existing track:
1 Select MIDI files in a DigiBase browser, Windows Explorer or Mac Finder.
2 Drag the files onto an existing track in the Edit
window of the current session.
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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.
Exporting MIDI Files
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.
MIDI can be exported from Pro Tools as a
merged, single, multichannel track (Type 0), or
as multiple tracks (Type 1).
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.
Refer to your third-party MIDI sequencer documentation to determine whether it supports importing SMPTE start times from MIDI files.
Not Exported with MIDI Files
Export MIDI Settings dialog
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.
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.
5 Enable or disable the Apply Real-Time Proper-
ties option as desired.
6 Click OK. A Save dialog opens.
7 Specify a folder destination and name for the
MIDI file.
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.
8 Click Save.
Pro Tools exports all unmuted MIDI and Instrument tracks in the current session to a Standard
MIDI File and writes it to your hard drive. Exported MIDI information includes notes, controller events, program changes, and System Exclusive data, as well as events for tempo, meter,
and markers.
The SMPTE start time for the session or the song
(depending on the selection from the Location
Reference pop-up menu) is also exported. This
ensures that the exported tracks, when played
from another MIDI application, will align with
the correct SMPTE frames, and also synchronize
correctly to tape and video devices, or Pro Tools.
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.
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159
Region group files store the following metadata:
• References to all audio files within the region group
Region List Imports the region group into the
Region List, where it will be where it will be
available to place into tracks.
• 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
Region Group Import Options dialog
• Automation
3 If you chose to create a new track, choose a lo-
• Plug-ins
cation for the imported group in the track:
• Track routing
• Tempo and Meter map
Session Start Places the group at the start of the
session.
• Region List information
Pro Tools provides several ways to import Region Groups into an open session.
• “Importing Region Groups with Pro Tools
Menu Commands” on page 160
• “Importing Region Groups with Drag &
Drop” on page 161
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.
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.
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Song Start Aligns the beginning of the group to
the Song Start point.
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.
Importing Region Groups with
Drag & Drop
Exporting Region Groups
To export a region group:
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 the Re-
gion List.
2 From the Region List pop-up menu, choose
Export Region Groups. The Export Region
Groups dialog opens.
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
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.
To import Region Groups into new tracks:
1 Select one or more Region Groups in a Digi-
Base 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.
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.
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.
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161
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 desired 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.
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Pro Tools Reference Guide
Chapter 10: File and Session
Management and Compatibility
When you work with Pro Tools, you will encounter several different kinds of computer files.
Pro Tools systems require that you keep certain
files in specific hard drive locations in order to
function properly.
Pro Tools software files 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 the
internal SCSI bus or the external SCSI bus of
your computer, or to a SCSI host bus adapter
card in your computer. For maximum performance, SCSI drives are recommended for
Pro Tools|HD systems. FireWire and ATA/IDE
drives are also supported. See the Digidesign
Web site for details (www.digidesign.com).
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.
◆
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 will let 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.
Locating Audio Files
With Pro Tools, you manage links to audio and
other media files with 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.
For complete information on storage volume classifications, refer to the DigiBase
Guide.
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.
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163
Transfer Files
To open a session with missing files:
Transfer files reside on volumes unsuitable for
playback, such as CD or DVD discs, or network
drives.
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:
1 Open the Pro Tools session. If any files are on
a volume unsuitable for playback, Pro Tools
posts a warning.
Missing files warning when opening a session
2 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.
2 Choose one of the following options:
Skip All Ignores all missing files and fades. The
missing files will be 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 complete information on relinking
missing files, refer to the DigiBase Guide.
6 Click OK.
For complete information on relinking
Transfer files, refer to the DigiBase Guide.
Missing Files
A file is missing if it is not found in the same location as when the session was last saved.
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Renamed Audio Files and the Renamed
Audio Files Folder
Renamed audio files are located in the Renamed
Audio Files 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
Saving a Copy of a Session that Contains Long
Audio File Names
Pro Tools 7.x does not support audio file names
that contain the following ASCII characters:
When saving files to Pro Tools 6.9.x and lower
(using Save Copy In), audio files with file names
that exceed the limits of the destination format
will be truncated and located in the Session
folder, as follows:
/ (Forward Slash)
\ (Backslash)
: (Colon)
• 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.
* (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 file
names with illegal characters, Pro Tools automatically creates a renamed copy of each file
that contains illegal characters (replacing these
characters with an underscore “_”). Renamed
files are copied to the Renamed Audio Files
folder. The original files are left intact in the Audio Files folder.
Before the session opens, you are prompted to
save a detailed report of the renamed files and
their original file names to a Notes text file. Follow the on-screen instructions. By default, the
Notes text file is saved to the Session folder.
It is possible to have a Pro Tools 7.x session
that contains audio file names with illegal
characters. In this case, if you Save Copy In
the session to Pro Tools 6.9.x or lower with
Mac/PC Compatibility on, the tracks will
be renamed with legal characters. If you
Save Copy In the session to Pro Tools 6.9.x
or lower with Mac/PC Compatibility off,
the characters are not changed.
• 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 will be included in the Audio Files
folder.
• If the new session is saved to a different directory than the original and the All Audio Files
option is checked, a new Session folder is created, which includes an Audio Files folder. Renamed audio files will be included in the
Audio Files folder.
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.
Chapter 10: File and Session Management and Compatibility
165
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 transfer Pro Tools Windows sessions from NTFS
drives to HFS+ drives:
1 Set the MacDrive Options to Backup/File
Transfer.
2 Do one of the following:
To make imported WAV files compliant with the
AES31/EBU Broadcast standard:
• Drag the session folder from the NTFS drive
to the HFS+ drive.
1 Choose Setup > Preferences and click the Pro-
– or –
cessing tab.
• Open the Windows session on the NTFS
drive, choose Save Copy In, and save a
copy of the session to the HFS+ drive.
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 166
• “Saving Copies of Mac Sessions to be Compatible with Windows” on page 168
Working with Mac-Based HFS+
Drives on Windows Computers
Moving Sessions on Windows Systems
to Mac-Based HFS+ Drives
(From Window-Based NTFS Drives Only)
There are specific steps for transferring session
files from Windows-based NTFS drives to Macbased HFS+ drives.
Mac systems can read (but not write to) sessions located on Windows-based Fat 32
formatted drives.
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Moving Mac-Based Sessions on HFS+
Drives to Windows Systems
(To Windows-Based NTFS Drives Only)
There are specific steps for transferring files from
Mac-based HFS+ drives to Windows-based NTFS
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 168.
The MacDrive Utility is required to mount HFS+
drives on an NTFS system.
To transfer Pro Tools Mac sessions from HFS+
drives to NTFS drives:
1 Set the MacDrive Options to Normal Use.
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.
Recording and Playback from HFS+
Drives
(Pro Tools 7.2 Only)
Windows XP supports recording and playback
of sessions directly from Mac-formatted (HFS+)
drives using the MacDrive software application.
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 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.
Save Copy In dialog
When transferring Pro Tools sessions from
HFS+ drives to NTFS drives, the Pro Tools
sessions are unable to relink to audio files
and fades that have Mac characters that are
illegal in Windows.
To record or play back from HFS+ drives with
Windows:
1 In Windows, go to the MacDrive Control
Panel.
2 Choose Options > File Names and select the
These characters will automatically be converted to underscore (“_”) characters. These
files will be saved to the Renamed Audio
Files folder. You will need to manually
relink each file by File ID. See “Missing
Files” on page 164.
“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.
To save session with no illegal characters,
see “Saving Copies of Mac Sessions to be
Compatible with Windows” on page 168.
If the session previously used SD II files, the files
are converted to the new audio file format.
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167
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 will only be compatible on Windows systems if the Enforce
Mac/PC Compatibility option is selected during
the Save Copy In. In addition, there are crossplatform limits to consider when completing
the Save Copy In.
Cross-Platform Session Limits
File Name Extensions
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.
When you import files into a session, incompatible characters are converted to underscores
(“_”) and the renamed files are placed in the Renamed Files folder.
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:
The following characters cannot be used in
Windows sessions:
Audio File Types
\ (Backslash)
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.
/ (Forward Slash)
: (Colon)
* (Asterisk)
? (Question mark)
Pro Tools lets you save, bounce, and export in a
variety of file formats. If you attempt to create a
session and use the SD II format, however, a
warning dialog will appear reminding you of its
limitations:
• SD II is not supported on Windows XP.
• The maximum sample rate for SD II files is
48 kHz.
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“ (Quotation marks)
< (Less-than symbol)
> (Greater-than symbol)
| (vertical line or pipe)
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.
3 Set the Audio File Type to AIFF or BWF (.WAV).
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
cross-platform compatible.
6 Select the Items to Copy to the new session.
7 Click Save.
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 166.
Chapter 10: File and Session Management and Compatibility
169
Sharing Sessions Created on Different Pro Tools Systems
(Pro Tools|HD, Pro Tools LE, and Pro Tools M-Powered)
Pro Tools makes it easy to share sessions between Pro Tools|HD systems and Pro Tools LE or M-Powered systems. There are some important differences between the three types of systems that can affect
how session material is transferred.
The following table also includes Pro Tools LE systems with the DV Toolkit 2 option, as well as
Pro Tools LE or M-Powered systems with the Music Production Toolkit option.
Differences between Pro Tools systems
Feature
Pro Tools|HD
Systems
Pro Tools LE or
M-Powered
Systems
Pro Tools LE
Systems with
DV Toolkit 2
Pro Tools LE or
M-Powered
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
64 busses
(Pro Tools 6.7
and lower)
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)
For details on transferring sessions between Windows and Mac systems, see “Sharing Sessions
Created on Different Computer Platforms” on page 166.
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Opening Pro Tools HD Sessions in
Pro Tools LE or M-Powered
Groups
A Pro Tools HD 7.2 session that does not contain video tracks or VCA Masters can be opened
with Pro Tools LE or M-Powered 7.x, but certain
session components will open differently or not
at all.
• All groups beyond the first 26 (Bank 1, Groups
a–z) will be dropped.
• Mix Groups will keep only Main Volume information.
• Mix/Edit Groups will keep only Main Volume
and Automation Mode information.
• Automation overflow information for
grouped controls will not be preserved.
Pro Tools HD 7.2 sessions that contain
video tracks or VCA Master tracks can only
be opened with Pro Tools LE or M-Powered
7.0cs3 and higher.
• Group behavior of Solos, Mutes, Send Levels,
Send Mutes will not be preserved.
• Solo Mode and Solo Latch settings will be
dropped.
When opening a Pro Tools HD 7.x session in
Pro Tools LE or M-Powered 7.x, the following
will occur:
Video
Tracks
• Only the main video track will be displayed.
• Any tracks beyond the first 32, as well any
inactive tracks, will be set to voice off.
• Any assignments to busses beyond 32 will
be made inactive.
• Any Instrument tracks beyond 32 will be
made inactive.
• TDM plug-ins with RTAS equivalents will
be converted; those without equivalents
are made inactive.
• Only the first QuickTime movie in the session
will be 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 will display and play back only
the video playlist that was last active. Alternate video playlists will not be available.
• Multichannel surround tracks will be removed from the session.
• Unavailable input and output paths will be
made inactive.
• Video regions and video region groups will
not be shown or saved.
• Any Delay Compensation settings will be
removed.
• VCA Master tracks will be removed and any
uncoalesced VCA automation will be
dropped.
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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 Sessions
with Lower Versions of
Pro Tools HD
Opening Pro Tools HD 7.2 Sessions with
Lower Versions of Pro Tools HD 7.x
A Pro Tools HD 7.2 session that does not contain video tracks or VCA Masters can be opened
with Pro Tools HD 7.x, but certain session components will open differently or not at all.
Pro Tools HD 7.2 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 session with
a lower version of Pro Tools HD 7.x, the
following will occur:
Tracks
• VCA Master tracks will be removed and any
uncoalesced VCA automation will be
dropped.
• Any uncoalesced Trim automation will be
dropped.
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Groups
• All groups beyond the first 26 (Bank 1, Groups
a–z) will be dropped.
• Mix Groups will keep only Main Volume information.
• Mix/Edit Groups will keep only Main Volume
and Automation Mode information.
• Automation overflow information for
grouped controls will not be preserved.
• Group behavior of Solos, LFEs, Mutes, Send
Levels, Send Mutes will not be preserved.
• Solo Mode and Solo Latch settings will be
dropped.
Video
• Only the main video track will be displayed.
• Only the first QuickTime movie in the session
will be 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 will display and play back only
the video playlist that was last active. Alternate video playlists will not be available.
• Video regions and video region groups will
not be shown or saved.
Saving Pro Tools HD 7.2 Sessions to
Pro Tools 5.1 -> 6.9 Format
Groups
A Pro Tools 7.2 session cannot be opened with
Pro Tools versions 6.9.x through 5.1.
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.
• All groups beyond the first 26 (Bank 1, Groups
a–z) will be dropped.
• Mix Groups will keep only Main Volume information.
• Mix/Edit Groups will keep only Main Volume
and Automation Mode information.
• Automation overflow information for
grouped controls will not be preserved.
When saving a Pro Tools HD 7.2 session to
Pro Tools HD 5.1 -> 6.9 format, the following
will occur:
• Group behavior of Solos, LFEs, Mutes, Send
Levels, Send Mutes will not be preserved.
Tracks
• Solo Mode and Solo Latch settings will be
dropped.
• Instrument tracks will be split into separate
Auxiliary Input and MIDI tracks.
Video
• VCA Master tracks will be removed and VCA
automation will be coalesced to the corresponding slave tracks.
• Only the main video track will be displayed.
• Trim automation playlists will be coalesced to
their corresponding automation playlists.
• 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.
• Fader Gain levels and automation breakpoints
higher than +6 dB will be changed to +6 dB.
• Long names will be shortened to 31 characters.
• The following attributes will be dropped:
• Region groups
• Region loops
• Only the first QuickTime movie in the session
will be displayed or played back.
• The Timeline will display and play back only
the video playlist that was last active. Alternate video playlists will not be available.
• Video regions and video region groups will
not be shown or saved.
• Sample-based MIDI regions
• Sample-based MIDI tracks
• Sends F–J and any associated automation
• Marker/Memory Locations 201–999
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173
Saving Pro Tools HD 7.2 Sessions to
Pro Tools 5.0 Format
A Pro Tools 7.2 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 session to
Pro Tools 5.0 format, the following will occur:
• All the 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 will be removed from the session.
A Pro Tools LE 7.x 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
will open differently or not at all.
Saving Pro Tools LE 7.x Sessions to
Pro Tools LE 5.1 -> 6.9 Format
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.
• Inactive tracks will be removed from the
session.
When saving a Pro Tools LE session to Pro Tools
5.1 -> 6.9 format, the following occurs:
• Tracks assigned to “No Output” will be
routed to Busses 31 and 32.
• Fader Gain levels and automation breakpoints
higher than +6 dB will be changed to +6 dB.
• Tracks or sends assigned to Busses 33–64
will be routed to Busses 31 and 32.
• Long names will be shortened to 31 characters.
• Tracks assigned to multichannel paths or
subpaths of multichannel paths will be
routed to Busses 31 and 32.
• Instrument tracks will be split into separate
Auxiliary Input and MIDI tracks.
• Sends assigned to multichannel paths or
subpaths of multichannel paths will be
dropped.
• Tracks or sends assigned to stereo paths referring to even/odd channels (such as 2–3)
will be routed to Busses 31 and 32.
• Multi-mono plug-in instances will be
dropped
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with Previous Versions of
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Pro Tools Reference Guide
• The following attributes will be dropped.
• Region groups
• Region loops
• Sample-based MIDI regions
• Sample-based MIDI tracks
• Sends F–J and any associated automation
• Marker/Memory Locations 201–999
• Busses 17–32 (Pro Tools LE and Pro Tools
M-Powered)
Saving Pro Tools LE 7.x Sessions to
Pro Tools LE 5.0 Format
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.
When saving a Pro Tools LE 7.x session to
Pro Tools 5.0 format, the following occurs:
• All the items that occur when saving a
Pro Tools LE 7.x session to Pro Tools 5.1->6.9
format, plus the following:
• Fader Gain levels and automation breakpoints higher than +6 dB will be changed
to +6 dB.
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 now be opened on a Digidesign-qualified 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:
• Multi-mono plug-in instances will be
dropped
1 Close Pro Tools if it is currently open.
2 Launch Apple System Preferences.
• Sends assigned to multichannel paths or
subpaths of multichannel paths will be
dropped
3 Double-click International (the “flag” icon).
4 Click the Language tab if the Language page is
not the current page.
• Tracks assigned to “No Output” will be
routed to Busses 31 and 32.
• Tracks/sends assigned to Busses 33–64 will
be routed to Busses 31 and 32.
• Tracks assigned to multichannel paths or
subpaths of multichannel paths will be
routed to Busses 31 and 32.
5 In the Languages column, click the language
you want to change to, and drag the language to
the top of the list.
6 Close the International window.
• Tracks/sends assigned to stereo paths referring to even/odd channels (such as 2–3)
will be routed to Busses 31 and 32.
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.
Chapter 10: File and Session Management and Compatibility
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Part III: Recording
177
178
Chapter 11: 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 13, “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.
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.
Mbox 2 and Mbox 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.
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179
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 ration 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
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 record enable
it with the Record Enable button. To record simultaneously to multiple tracks, you can record
enable multiple audio, Instrument, or MIDI
tracks.
(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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When one or more tracks are record-enabled,
click the Record and Play buttons in the Transport 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 TrackPunch, QuickPunch, or DestructivePunch must be enabled. For more information on TrackPunch, QuickPunch, and DestructivePunch,
see “Record Modes” on page 190.
You can digitize video in Pro Tools if you
have an Avid video peripheral (such as a
Digidesign AVooption|V10) attached. For
more information, see Chapter 29, “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 Shift+Control+Up/Down (Windows) or Shift+Command+Up/Down (Mac).
Edit window
To record enable all audio, or 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:
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.
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.
■
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 182.
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.
■
To record enable all selected audio, or 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.
While record enabling does not affect audio
tracks that are grouped, you can select all
tracks in a group by clicking directly to the
left of the group’s name in the Group List.
Then you can Shift-Alt-click (Windows) or
Shift-Option-click (Mac) the Record Enable
button of one of the tracks to record enable
all selected tracks.
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181
Latch Record Enable Buttons
Preference
When the Latch Record Enable Buttons preference is selected, you can 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 makes the previously record-enabled
audio track no longer record-enabled.
To enable the Latch Record Enable Buttons
preference:
1 Choose Setup > Preferences and click the
Operations tab.
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.
2 Select Latch Record Enable Buttons.
Auto Input Monitoring
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.
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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 using Auto Input, 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 183.
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.
For Pro Tools LE, the Input Monitor Enabled
Status indicator (in the Transport window)
lights green when Input Only mode is enabled.
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, stop, and even when a
track is not record-enabled. TrackInput monitoring provides the monitoring flexibility
needed in overdubbing and mixing, and is similar to the input switching on analog multitrack
recorders and similar machines.
Input Monitor Enabled Status indicator
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).
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)
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.
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183
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).
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
(Pro Tools LE)
Disable “Input” When Disarming Track
With this Operation preference checked, TrackInput monitoring will be disabled whenever deselecting a track’s record Enable button. 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.
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.
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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 larger 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, for the sake of 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.
To set the Hardware Buffer Size:
3 Select Options > Low Latency Monitoring.
1 Choose Setup > Playback Engine.
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 will not register on meters for Master Faders.
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.
Zero Latency Monitoring
(Mbox 2 and Mbox Only)
Mbox 2 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 Basics Guide or
its Getting Started Guide.
Low Latency Monitoring
(Digi 002 and Digi 002 Rack Only)
Digi 002 and Digi 002 Rack 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.
To use Low Latency Monitoring:
1 Record enable audio tracks by clicking their
Record Enable buttons. Only tracks with inputs
set to an audio interface (not a bus) use Low Latency Monitoring.
2 From the Output Path selector, assign each
track to either Output 1 or Output 2. Only tracks
assigned to these outputs use Low Latency Monitoring.
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, turn off 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 637).
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 turned off.
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185
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 555.
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 103.
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.
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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 a region
auto-created from an edit.
TrackPunch, QuickPunch, Destructive
Punch modes use a different method for
numbering regions. For details, see “Region
and Take Numbering with QuickPunch” on
page 236.
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.
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.
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:
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
■
Press Page Up or Page Down.
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.
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.
Disk Allocation window
Only drives designated as R (Play and Record)
can be selected in the Disk Allocation window.
For more information, see the DigiBase Guide.
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.
Disk Allocation pop-up menu
Chapter 11: Record Setup
187
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.
• 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 non-contiguous 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
tracks among the drives connected to your system, select “Use Round Robin Allocation for
New Tracks.”
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).
5 When you are finished, click OK.
Saving Disk Allocation Settings
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 57.
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 168
and “Sharing Sessions Created on Different
Computer Platforms” on page 166.
Reallocating 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 189.
Round Robin Allocation is not supported
with partitioned hard drives.
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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.
Reallocating tracks does not affect the previously recorded audio. Reallocating tracks
only affects where new audio recording is
saved.
Workspace Volume Designation
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), you also need to
check the Disk Allocation for any tracks formerly allocated to that drive. For more information, see the DigiBase Guide.
Recording to the System Volume
Though Pro Tools will let you record to your system volume, this is generally not recommended. Performance for audio recording and
playback on system drives is worse than on nonsystem hard drives.
You should record to system drives only when
absolutely necessary—if your computer system
has just the one hard drive, or if your other hard
drives are completely out of space.
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 “To allocate the audio drives in your
system:” on page 187.
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 201.
In general, the Use All Available Space preference makes hard drives work harder. In addition
to record and punch lag times, many system 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
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.
The number of minutes specified is allocated for
each record-enabled track.
3 When you are finished, click OK.
Chapter 11: Record Setup
189
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:
• Nondestructive Record (default)
• Destructive Record
• Loop Record
• QuickPunch
• TrackPunch (Pro Tools HD only)
• DestructivePunch (Pro Tools HD only)
To enable Destructive Record, Loop Record,
QuickPunch, TrackPunch, or DestructivePunch,
select them from the Options menu. If none of
these record modes are selected, Pro Tools is in
normal Nondestructive Record mode.
Destructive Record mode enabled
The record mode can also be switched by Rightclicking (Windows and Mac) or Control-clicking
(Mac) the Transport Record Enable button. This
cycles through the modes with the Record Enable button changing to indicate the currently
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selected mode: blank for Nondestructive, “D”
for Destructive, a loop symbol for Loop Record,
“T” for TrackPunch, “P” for QuickPunch, and
“dp” for DestructivePunch.
When recording, you can preserve disk
space by removing unwanted record takes
(see “Removing Unwanted Regions” on
page 398) and compacting audio files (see
“Compacting an Audio File” on page 395).
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.
In Nondestructive 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.
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 308.
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 203).
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 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 200).
In Destructive Record mode, the waveform
overview is not redrawn until you stop recording.
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 308.
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 205).
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 Transport’s Record Enable button. Recording with QuickPunch is nondestructive.
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 233.
Chapter 11: Record Setup
191
TrackPunch
Record Modes and MIDI
(Pro Tools HD Only)
In addition to the various record modes, there is
also a MIDI Merge button in the Transport window that determines how MIDI is recorded.
When enabled (Merge mode), recording over existing MIDI regions results in the new data being
merged with the old. When the MIDI Merge
button is disabled (Replace mode), the new material replaces the old.
TrackPunch lets individual tracks be punched
in, punched out, and taken out of record enable
without interrupting online recording and playback.
TrackPunch is a non-destructive 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 236.
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 245.
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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 21, “Beat Detective”), or use
the Identify Beat command to determine the
tempo (see “Identify Beat Command” on
page 416).
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. (For information on using the Click plug-in, see
the DigiRack Plug-ins Guide.)
– or –
• If playing a click using MIDI, select the port
number (device) and channel that will play
the click from the Output pop-up menu.
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 21, “Beat
Detective.”
Pro Tools provides a built-in click generator, the
DigiRack Click plug-in. Click includes presets
with different click sounds, supports accented
and unaccented click sounds, and lets you adjust their volumes. Click is integrated directly
into Pro Tools, avoiding MIDI time delays. Refer
to the DigiRack Plug-ins Guide for details.
Pro Tools also provides options and controls for
driving a click using MIDI. The following steps
are for configuring and enabling a click using
MIDI.
Click/Countoff Options dialog
3 For the accented and unaccented notes, spec-
ify the note, velocity, and duration with the numeric keypad. If connected, you can also play
new note values on your 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.
Chapter 11: Record Setup
193
4 Select whether the click is heard “During play
and record,” or “Only during record,” or “Only
during countoff.”
3 To use a countoff when recording or playing,
click the Countoff button in the Transport so it
too becomes highlighted.
5 If using a countoff, specify the number of Bars
to be counted off. To hear the countoff only
when recording, select that option.
Countoff button
6 Click OK.
To enable a click from the MIDI menu:
■
Select Options > Click.
To enable a click in the Transport:
1 To view the MIDI controls in the Transport, do
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.
• 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
Countoff enabled
Hearing the countoff before recording is helpful
in getting the feel for the tempo before you begin playing. The Countoff button in the Transport window displays the number of bars to be
counted off.
The countoff is ignored when Pro Tools is
online and synchronized to SMPTE time
code.
Wait for Note and Countoff
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.
Setting the Default Meter and
Tempo
Transport Window with MIDI Controls
2 In the Transport, click the Metronome Click
button so it becomes highlighted.
Metronome Click button
Metronome Click enabled
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Pro Tools Reference Guide
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 and are working with a different
meter, 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.
3 Choose a note value for the number of clicks
to sound in each measure.
4 Click OK to insert the new meter event.
Setting the Default Tempo
Beat Detective requires identical meters to
work with DigiGrooves. For example, if
Beat Detective extracts the feel from a bar of
3/4, it can only be applied to another bar of
3/4.
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 420.
To set the default meter for a session:
1 Double-click the Current Meter button in the
Transport window.
When opening a new session in Pro Tools, the
tempo defaults to 120 BPM. If you intend to
record with a click and are working with a different tempo, make sure to set the default tempo
accordingly. If you know the tempo you will use
for the session, you can insert a tempo event at
the beginning of the Tempo track.
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 400.
To insert a default tempo event:
1 Double-click the Song Start Marker in the Edit
window.
Current Meter button
2 Enter the BPM value you will use for the ses-
sion and set the Location to 1|1|000 (so the inserted tempo event replaces the default tempo).
2 Enter the Meter you will use for the session
and set the Location to 1|1|000 (so the inserted
meter event replaces the default one).
Tempo Change window
3 To base the BPM value on something other
Meter Change window
than the default quarter-note, select another
note value from the Resolution pop-up menu.
4 Click OK to insert the new tempo event.
Chapter 11: Record Setup
195
See “Song Start Marker” on page 399 for more
information on the default tempo.
For finer resolution with the Tempo slider, press
Control (Windows) or Command (Mac) while
dragging.
Using Manual Tempo Mode
In Manual Tempo mode, Pro Tools can ignore the
tempo events in the Tempo track and instead
play 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.
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.
To set the Manual Tempo by tapping:
1 To view the MIDI controls in the Transport
window, select View > Transport Window >
MIDI Controls.
To set the Manual Tempo with the Tempo slider:
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 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
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 –
Tempo Resolution selector
Manual Tempo mode enabled
3 To base the BPM value on something other
than the default quarter-note, click the Tempo
Resolution selector and select a different note
value.
4 To enter a new tempo, drag the horizontal
Tempo slider in the Transport window.
Tempo slider
Tempo slider
196
2 In the Transport window, click the Tempo
Pro Tools Reference Guide
• 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’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.
Chapter 12: Basic Audio Recording
Recording an Audio Track
When recording from a mono source, record to
a single, mono audio track in Pro Tools. A single, mono audio file is written to disk; the region
appears in the playlist and in the Region List.
To record a stereo audio source in Pro Tools,
record to a single, stereo audio track. 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; regions appear in
the playlists for both channels. In addition, a
multichannel (stereo) region appears in the Region List.
Recording multichannel tracks (Pro Tools HD
only) is very similar to recording stereo audio
tracks. A single, mono audio file is written for
each channel in the track, and regions appear in
the playlists for each channel. In addition, a
multichannel region for each track appears in
the Region List.
For more information on multichannel
tracks, see “Multichannel Audio Tracks” on
page 706.
To configure an audio track for recording:
1 Connect a mono or stereo sound source to the
appropriate input of your audio hardware.
2 Make sure to specify the format (analog or dig-
ital) of the inputs of the audio interface you will
be using. Choose Setup > Hardware, choose the
audio interface, and select the format for the
channel pair.
Some Digidesign I/O units (such as Mbox 2),
have only two channels that can be set for analog or digital.
3 If a track does not already exist, choose Track
> New and specify 1 Mono or Stereo Audio
Track, then click Create.
New Tracks dialog
To auto-scroll the Track Type pop-up in the
New Tracks dialog, press Control (Windows) or Command (Mac) and use the
Up/Down Arrow keys.
To auto-scroll the Track Formats pop-up in
the New Tracks dialog, press Control (Windows) or Command (Mac) and use the
Left/Right Arrow keys.
4 If desired, rename the track. Track names are
used to auto-name recorded audio files and regions. For more information, see “Default Track
Names” on page 186.
Chapter 12: Basic Audio Recording
197
5 Assign a hardware input by doing one of the
following:
• In the Mix window, use the track’s Input
Path selector to assign a hardware input.
7 Record enable a track by doing one of the fol-
lowing:
• In the Mix window, click the audio track’s
Record Enable button to record enable the
track. The Record Enable button flashes
red, while the fader stays solid red, and the
Transport Window Record Enable button
turns red (indicating at least one track is
record-enabled).
Input Path selector, Mix window
– or –
• In the Edit window, with I/O View enabled,
use the track’s Input Path selector to assign
a hardware input.
Record
Enable
Input Path selector, Edit window
6 Assign a hardware output by doing one of the
following:
• In the Mix window, click the track’s Output
Path selector and assign a hardware output.
Track Record Enable button (Mix window)
– or –
• In the Edit window, click the Track Record
Enable button to record enable the track.
Output Path selector, Mix window
Record
Enable
– or –
• In the Edit window, with I/O View enabled,
use the track’s Output Path selector to assign a hardware output.
Track Record Enable button (Edit window)
8 Adjust the output level of your sound source
(instrument, mixer, or preamp). Monitor the
track’s meter levels in Pro Tools to ensure that
you get the highest possible signal without clipping.
Output Path selector, Edit window
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Pro Tools Reference Guide
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 543.)
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 some cases. For
more information, see “Delay Compensation” on page 553.
2 In the Options menu, deselect Destructive
Record, Loop Record, QuickPunch, TrackPunch,
and DestructivePunch.
3 Enable Click and Countoff in the Transport
7 When you are ready to begin recording, click
Play. If using Countoff, Pro Tools counts off the
specified number of measures and then begins
recording.
8 When you have finished recording, click Stop
in the Transport window.
The newly recorded audio is written to disk and
appears as an audio region in the track’s playlist.
The new audio region also appears 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 182.
window if you want to use these features. For details, see “Recording with a Click” on page 193.
2 In the Transport window, click Return to Zero
to start playback from the beginning of the session.
4 If you are using meter and tempo informa-
3 Click Play in the Transport window to start
tion, specify the session’s default meter and
tempo. For details, see “Setting the Default
Meter and Tempo” on page 194.
playback. Adjust the track’s volume and pan faders.
5 In the Transport window, click Return to Zero
so the start and end times are cleared. This ensures that you’ll start recording from the beginning of the track.
Undo or Cancel Audio Recording
Once you've recorded an audio track and the
transport is stopped, you can undo the previous
record take.
6 Click Record in the Transport window to enter
Record Ready mode. The Record Enable button
flashes.
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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 the following material is discarded:
• When in normal Record mode, the previous 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 will remove any previously undone
record pass from the session, and gives you
the option of deleting 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.
This capability is not available in Destructive
Record mode.
To cancel a record take while recording:
■ Press Control+Period (.) (Windows) or Command+Period (.) (Mac) before the Transport is
stopped.
When using Loop Record mode, all takes from
each record pass are discarded.
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Recording Multiple Audio Tracks
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 197.
For each record-enabled track, a new audio file is
written to disk and a new region is created and
appears in the playlist. The new audio regions
appear in the Region List.
Record Shortcuts
In addition to clicking the Record Enable button
in the Transport window, you can also begin 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 214.
Record Pause Mode
To nondestructively record a new take on the
same track:
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.
1 Put Pro Tools in Nondestructive Record mode.
In the Options menu, deselect Destructive
Record, Loop Record, QuickPunch, TrackPunch,
or DestructivePunch if selected.
To record from Record Pause mode:
3 Do one of the following:
1 Click Record Enable in the Transport window.
The Record Enable button flashes.
2 Alt-click (Windows) or Option-click (Mac)
Play in the Transport window to put Pro Tools in
Record Pause mode. The Play and Record Enable
buttons flash.
3 To begin recording instantaneously, click Play.
When you have finished recording, click Stop in
the Transport window.
Use Pause mode when recording or playing
large numbers of tracks to speed up lock-up
time when synchronizing to time code.
2 Make sure the track containing the previous
take is still record-enabled.
• To record from the beginning of the track,
click Return to Zero in the Transport window.
– 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 203.
4 Click Record Enable in the Transport window.
When you are ready to begin recording, click
Play.
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 will be permanently lost.
To keep the audio from previous takes, record
the new takes nondestructively in Nondestructive Record mode.
5 When you have finished recording, click Stop
in the Transport window.
An audio file for the new take is written to disk
and appears as an audio region in the track’s
playlist. The new audio region appears 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.
For details on audio file and region names
for new takes, see “Default Track Names”
on page 186.
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To destructively record over a previous take:
1 Select Options > Destructive Record. When us-
ing Destructive Record mode, a “D” appears in
the Record Enable button.
Destructive
Record
Destructive Record mode enabled
2 Make sure the track containing the previous
take is still record-enabled.
If Options > Link Timeline and Edit Selection is
enabled, click anywhere in the track’s playlist to
begin recording from that point.
Appending New Material to the End of a
Track
You can also append new material to the end of
a track. To do this, locate to the end of the track
with the Go to End button in the Transport window (this will locate the end of the session), or
tab to the end point of the last region on the
track. From there, begin recording and 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
3 Do one of the following:
• To record from the beginning of the track,
click Return to Zero in the Transport window.
– 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 203.
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:
4 Click Record Enable in the Transport window.
When you are ready to begin recording, click
Play.
1 Click the track’s Playlist selector and choose
5 When you have finished recording, click Stop
2 Enter a name for the new playlist and click
in the Transport window.
OK.
New.
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.
Playlist selector
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When a new playlist is created, its name replaces
the track name. With this playlist active, names
for new audio files and regions are based on its
name.
3 Make sure the track is still record-enabled.
4 In the Transport window, click Return to Zero.
5 Click Record in the Transport window. When
you are ready to begin recording, click Play.
6 When you have finished recording, click Stop
in the Transport window.
An audio file for the new take is written to disk
and appears as an audio region in the track’s
playlist. The new audio region appears in the Region List.
7 To audition the new take, click Play in the
Transport window.
8 To go back to a previous playlist to compare it
to the new take, click the track’s Playlist selector
and select the previous playlist.
Selecting a playlist 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.
For more information on playlists and playlist editing, see “Playlists” on page 270.
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.
To manually punch in and out on recordenabled audio tracks during playback, refer
to Chapter 14, “Advanced Recording.”
Though there are several ways to set record and
play ranges (see “Setting Punch/Loop Points” on
page 208), 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 a portion of a track.
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 the previously recorded
material. If you do want to permanently
record over the specified record range (and
keep only the last, or most recent take), select Options > Destructive Record.
2 Make sure the track to which you want to
record is record-enabled.
3 Make sure to select Options > Link Timeline
and Edit Selection.
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4 With the Selector tool, drag in the track’s play-
list until the selection encompasses the punch
range. For other methods of setting the record
range, see “Setting Punch/Loop Points” on
page 208.
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. For details, see “Setting
Pre- and Post-Roll” on page 211.
6 Click Record in the Transport window. When
you are ready to begin recording, click Play.
When the punch-in (start) point is reached,
Pro Tools begins recording. Recording continues until the punch-out (end) point is reached,
unless Stop is clicked in the Transport window.
If post-roll is enabled, playback continues for
the specified post-roll amount.
If recording nondestructively, a new audio file is
written to your hard drive and a new audio region appears in the record track and Region List.
If recording in Destructive Record mode, the
new audio overwrites the previous material in
the existing audio file and region.
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 208),
perhaps the easiest is to select within the track’s
playlist the material to be looped.
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).
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 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 289).
When loop recording audio, Pro Tools creates a
single audio file that comprises 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.
Monitoring During Punch-Ins
Pro Tools provides two monitoring modes for
recording: Auto Input monitoring and Input
Only monitoring.
See “Auto Input Monitoring” on page 182.
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.
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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 152). 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 Enable button.
Loop Recording enabled
2 Record enable the audio track by clicking its
Record Enable button.
If you stop recording before you reach the midpoint of the loop, Pro Tools discards that take. 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 is left in the record
track. For details on auditioning the various
takes, see “Auditioning Different Record Takes
in the Timeline” on page 205.
3 Make sure to select Options > Link Timeline
and Edit Selection.
Loop Playback and Audio Recording
4 With the Selector tool, drag in the track’s play-
Pro Tools ignores “loop playback” when recording. The only way to loop while recording is to
enable Loop Record mode.
list until the selection encompasses the loop
range.
For other methods of setting the record range,
see “Setting Punch/Loop Points” on page 208.
5 To hear track material up to the start point of
the loop, enable and set the pre-roll time. For
details, see “Setting Pre- and Post-Roll” on
page 211.
6 Click Record in the Transport window. When
you are ready to begin recording, click Play.
The Record Enable 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 playing and recording.
7 To cancel all recorded takes while loop recording, press Control+Period (.) (Windows) or
Command+Period (.) (Mac).
8 When you have finished recording, click Stop
in the Transport window.
Auditioning Different Record
Takes in the Timeline
After recording multiple takes with loop or
punch recording, you can replace the take currently residing in the track with previous takes
to audition them in the Timeline, within the
context of the session. (Takes must have the
same start time to be available.) Takes can also
be auditioned on their own, from the Region
List, or from the Matches 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.
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205
2 Control-drag (Windows) or Command-drag
(Mac) another take from the Region List into the
playlist.
• If the take currently residing in the track is
selected, Control-click (Windows) or Command-click (Mac) it with the Selector tool.
The region replaces the previous take and snaps
precisely to the correct location.
3 Repeat the above steps to audition other takes.
Selecting a Different Take from
the Matches Pop-Up Menu
Matches pop-up menu
A pop-up menu appears containing a list of regions that share the same User Time Stamp.
Each region resulting from a punch or loop
record pass has an identical start time (the User
Time Stamp). This allows you to easily select and
audition takes from the Matches pop-up
menu—even while the session plays or loops.
2 Choose a region from the Matches pop-up
To select a take from the Matches pop-up menu:
3 Repeat the above steps to audition other takes.
1 Do one of the following:
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,
simply recall the Memory Location. For more information, see “Memory Locations” on
page 210.
• Right-click the region with the Selector or
Grabber tools, and select the desired take
from the Matches submenu in the pop-up
menu.
menu. The region replaces the previous take and
snaps precisely to the correct location.
To change the User Time Stamp of other regions
so that they appear in the Matches pop-up
menu for a certain location, use the Time Stamp
command in the Region List pop-up menu. For
more information, see “Time Stamping” on
page 694.
Matches and Multiple Tracks
Right-click to select alternate takes
• Control-click (Windows) or Commandclick (Mac), with the Selector tool at the
precise beginning of the loop or punch
range.
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If you have recorded multiple tracks, and each
contains takes with identical User Time Stamps,
you can use the Matches pop-up menu to replace all takes simultaneously.
To replace the takes for multiple tracks:
1 Choose Setup > Preferences and click the
Editing tab.
2 Enable the following options:
• Take Region Name(s) That Match Track
Names
– and –
• 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.
5 Right-click, or Control-click (Windows) or
Command-click (Mac), any of the select takes
with the Selector tool.
A pop-up menu appears containing a list of regions that share the same User Time Stamp for
that track. (When Right-clicking, this list is
available in the Matches submenu.)
6 Choose a region from the Matches pop-up
menu. The region replaces the previous take and
snaps precisely to the correct location. The same
take numbers for the other selected tracks are
also automatically selected.
Editing Preferences for Takes
In addition to having the same User Time
Stamp, regions that appear in the Matches popup menu are also restricted according to options
in the Preferences dialog.
To set Editing preferences for takes:
1 Choose Setup > Preferences and click the
Editing tab.
2 Enable or disable the following options in the
“Matching Start Time” Take List section:
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 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.”
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 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 “Take
Region Names That Match Track Name(s)” and
“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.
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.
Chapter 12: Basic Audio Recording
207
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.
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 Drag with the Selector tool in any Timebase
ruler until the selection encompasses the record
range.
• Select a range in a Timebase ruler.
• Drag the Playback Markers in the ruler.
• Enter start and end times in the Transport
window.
• Recall a Memory Location.
Timeline selection
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 Make sure to select Options > Link Timeline
and Edit 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
the Timebase ruler.
3 Do one of the following:
• With the Selector tool, drag in a track’s
playlist until the selection encompasses the
record range.
Playback Markers
When tracks are record-enabled, Playback Markers for start and end times appear as red
up/down arrows in the Main Timebase ruler. If
no tracks are record-enabled, the Playback
Markers are blue.
Playlist selection
– or –
Playback Markers in the Main Timebase ruler
• If a region’s start and end points define the
record range, click the region with the
Time Grabber tool.
The Playback Markers can be moved, either separately or at the same time, to set record and
play ranges.
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 point. Note that when in Grid
mode, entering start and end point in this
manner will not snap to the grid.
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To set the record range by dragging the Playback
Markers:
To set the record range by entering start and end
times in the Transport window:
1 If you want the dragged Playback Markers to
1 To see the start, end, and length times, do one
of the following:
snap to the current Grid value, set the Edit mode
to Grid
• Select View > Transport > Expanded.
2 Drag the first Playback Marker (down arrow)
– or –
to the start point of the range.
• Shift-click the Expand/Collapse “+” button
in the Transport window.
2 Do one of the following:
Dragging a Playback Marker (start time) in the Main
Timebase ruler
3 Drag the second Playback Marker (up arrow)
to the end point of the range.
If the current record range is already the
right length and the range needs only to be
moved, Alt-drag (Windows) or Option-drag
(Mac) either Playback 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.
• 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.
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.
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 Playback Markers in the Main Timebase ruler are updated accordingly.
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209
Memory Locations
You can store Edit selections as Memory Locations, which can include current pre- and postroll values.
For more information on Memory Locations,
see “Memory Locations and Markers” on
page 428.
6 Enter a name for the new Memory Location
and click OK to save it.
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.
To save an Edit selection with a Memory Location:
1 Make sure to select Options > Link Timeline
and Edit Selection.
2 Set the record range by making a playlist or
ruler 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. (For details, see
“Setting Pre- and Post-Roll” on page 211.)
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.
New Memory Location dialog
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Memory Locations 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 37).
The start and end times and pre- and post-roll
settings stored with the Memory Location are recalled.
Setting Pre- and Post-Roll
Setting Pre- and Post-Roll in a Playlist
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.
You can use the Selector tool to enable and disable pre- and post-roll by clicking in a track’s
playlist.
To set and enable the pre- and post-roll by clicking
in a playlist:
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.
Setting Pre- and Post-Roll in the
Transport Window
Pre- and post-roll can be enabled and set from
the fields in the Transport window.
To set and enable the pre- and post-roll times in
the Transport window:
1 Select View > Transport > Expanded.
1 Make sure that Options > Link Timeline and
Edit Selection is enabled.
2 With the Selector tool, drag in the track’s play-
list until the selection encompasses the record
range.
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:
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.
1 With the Selector tool, Alt-click (Windows) or
Option-click (Mac) within a track selection near
the start to disable the pre-roll.
2 With the Selector tool, Alt-click (Windows) or
Option-click (Mac) within a track selection near
the end to disable the post-roll.
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 becomes 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.
In the timeline, you can reset the pre- and
post-roll to zero. First, drag the Pre-Roll Flag
to the Playback Marker at the start point of
the range, then drag the Post-Roll Flag to
the Playback Marker at the end point of the
range
3 Drag the Pre-Roll Flag to the Playback Marker
at the start point of the range.
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211
4 Drag the Post-Roll Flag to the Playback Marker
at the end point of the range.
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 enable both pre/post-roll from the Options
menu:
■
Select Options > Pre/Post-Roll.
Dragging Pre- and Post-Roll Flags in the
Timebase ruler
The Pre- and Post-Roll Flags can be moved in the
ruler, either separately or at the same time, to set
their location.
To set the pre- and post-roll amounts by dragging
in the ruler:
1 If you want the dragged flags to snap to the
current Grid value, set the Edit mode to Grid.
2 Drag the Pre-Roll Flag to a location in the
ruler.
Recording from a Digital
Source
If you plan to use a DAT player, digital-output
CD recorder, or other digital input and output
device with your Pro Tools system, make sure it
supports the correct digital format. For example,
your 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.
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, S/PDIF or Optical (S/PDIF) at a time.
Dragging a Pre-Roll Flag in a Timebase ruler
3 Drag the Post-Roll Flag to a 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.
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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].
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.
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.
Also, if your audio hardware supports different
digital formats (such as AES/EBU and S/PDIF),
select the digital format you will use.
4 For Pro Tools|HD systems, choose Setup >
Hardware and select the appropriate Clock
Source connected to the appropriate I/O audio
interface; or use the Session Setup window to select the appropriate Clock Source.
5 Click OK to close the Hardware Setup dialog.
Mbox 2 and Mbox include only the S/PDIF digital option.
6 Choose Track > New and specify 1 Stereo Au-
All digital outputs are active at all times, so you
can actually send digital audio to different digital devices simultaneously at mix time.
7 Assign the Input Path selector for the track to
the appropriate input. Since this is a digital-domain transfer, you do not need to worry about
input levels.
Recording from Digital Sources
8 Assign a stereo hardware output by doing one
dio Track, then click Create.
of the following:
To record from a digital source with Pro Tools (in
this example, from a DAT recorder):
1 Connect the digital output of the DAT re-
corder to the appropriate digital input of your
audio hardware.
2 If you want to start a new session with a dif-
ferent sample rate, choose File > New Session,
and select the sample rate. Click Save.
• In the Mix window, click the track’s Output
Path selector and assign a stereo hardware
output.
– or –
• In the Edit window, with I/O View enabled,
use the track’s Output Path selector to assign a hardware output.
3 Make sure to specify the format (digital) of the
inputs of the audio interface you will be using.
Choose Setup > Hardware, choose the audio interface, and select the format for the appropriate
channel pair.
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213
9 In the Options menu, deselect Destructive
Record, Loop Record, QuickPunch, TrackPunch,
and DestructivePunch.
10 In the Transport window, click Return to
Zero so the start and end times are cleared. This
ensures that you’ll start recording from the beginning of the track.
11 In the Mix or Edit window, record enable the
new audio track by clicking its Record Enable
button.
12 Click Record in the Transport window. When
you are ready to begin recording, click Play.
13 Start playback on the DAT deck.
14 When the material from the DAT has finished, click Stop in the Transport window.
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 sync
typically results in pitch problems (fast or slow
playback) clicks and pops, or DAE errors, since a
DAT recorder 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 (up an octave)
for special effects.
To record at half-speed:
1 Press Shift+Control+Spacebar (Windows) or
Shift+Command+Spacebar (Mac). Recording begins and all existing track material plays at halfspeed.
2 When you have finished recording, click Stop.
When played at normal speed, the material recorded at half-speed plays twice as fast (up an
octave).
Use half-speed recording to record difficult
to play MIDI tracks or to record complex automation moves.
To play at half-speed
1 Press Shift+Spacebar. Playback begins and
track material plays at half-speed. Audio tracks
recorded at normal speed will sound half as fast
and an octave lower. Audio tracks recorded at
half-speed will sound like they are playing back
at normal speed.
You can also play at half-speed by Shiftclicking the Play button.
2 Click Stop in the Transport window to stop
playback.
Use half-speed playback to learn or transcribe difficult passages in recorded tracks.
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Chapter 13: 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 192 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 an audio Input selector. This selector is different than the Instrument track’s selector for
MIDI Input.
◆
It is not necessary to use QuickPunch, TrackPunch, or DestructivePunch to punch in on-thefly with MIDI or Instrument tracks. This capability is available in normal Nondestructive Record
mode, and in Destructive Record mode.
◆
Recording from MIDI Devices
The MIDI Inputs for record-enabled MIDI and
Instrument tracks determine which 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
device:
◆ Devices that are assigned as a MIDI Controller
in the Peripherals dialog 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 (Mac Only).
For more information, see “Enabling Input Devices” on page 216.
Chapter 13: MIDI Recording
215
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 218.
◆
To enable input devices:
1 Choose Setup > MIDI > Input Devices.
2 In the MIDI Input Enable dialog, select the
MIDI devices you will record from. Also, make
sure any devices that will be used as a control
surface are also selected.
◆ Input Quantize, when enabled, automatically
quantizes (time corrects) all MIDI notes that are
recorded. For more information, see “Input
Quantize” on page 218.
Enabling Input Devices
To record from a MIDI controller 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 sync to MMC, the
MMC source must be enabled in the Input Devices dialog.
MIDI Input Enable dialog
3 Deselect any input devices you want to ignore
while recording MIDI.
Devices do not need to be selected to send
MIDI data through them. For example, a
device used exclusively as a sound module
does not need to be selected in the MIDI Input Enable dialog.
4 When you are finished, 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 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.
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 you the trouble of
creating a MIDI track and record enabling it to
hear a particular MIDI device and channel.
Unlike MIDI tracks, which only listen to the device and channel assigned to its MIDI Input selector, all incoming MIDI data is routed to the
Default Thru Instrument.
If the Default Thru Instrument is assigned to a
record-enabled MIDI track, Pro Tools only
routes 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 define a
consistent preview sound source.
• Select “Follows First Selected MIDI Track”
to have MIDI preview assignment follow
MIDI track selection. When multiple MIDI
tracks are selected, previewing will use the
top track/left track in the Edit and Mix windows.
• To disable the Default Thru Instrument, select None.
The Default Thru Follows First Selected
MIDI Track Selection also lets you play an
instrument without having to create and
record-enable a MIDI or Instrument track.
Chapter 13: MIDI Recording
217
MIDI Input Filter
Input Quantize
Use the MIDI Input Filter to prevent certain
MIDI messages from being recorded. The MIDI
Input Filter can be set to record “All” messages,
“Only” the specified messages, or “All Except”
the specified messages.
When Input Quantize is enabled, all recorded
MIDI notes are quantized automatically. To preserve the original “feel” of your recorded MIDI
tracks, make sure to disable this option.
To enable Input Quantize:
For example, to filter out Polyphonic Aftertouch:
1 Choose Setup > MIDI > Input Filter.
2 In the MIDI Input Filter dialog, select the All
1 Choose Event > MIDI > Input Quantize.
2 In the Input Quantize page, select Enable In-
put Quantize.
Except option.
MIDI Input Filter dialog
3 Select the option for Polyphonic Aftertouch.
MIDI Operations window, Input Quantize
Leave all other messages deselected.
Configure the other options in the Input Quantize page. For details on the various Quantize
options, see “Input Quantize” on page 503.
When finished, close the MIDI Operations window.
4 Click OK.
When using the All Except option, the selected
MIDI messages will not be recorded. Conversely,
when using the Only option, only the MIDI
messages that are selected will be recorded.
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For drum machine style loop recording, use Input
Quantize while loop recording MIDI in Merge
mode (see “Loop Recording with Merge Mode”
on page 225).
Wait for Note
MIDI Merge/Replace
The Wait for Note button, located in the Transport window, determines how Pro Tools begins
recording. When enabled, Pro Tools will not begin recording 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 (start time).
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.
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.
The MIDI Merge button can be turned on and
off while playing or recording. In Loop Record
mode, MIDI Merge has no effect, so its button is
dimmed.
To enable Wait for Note:
1 To view the MIDI controls in the Transport
window, select View > Transport > MIDI Controls.
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 613.
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.
MIDI Merge button
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 enabled
Chapter 13: MIDI Recording
219
Configuring MIDI or
Instrument Tracks for
Recording
MIDI Input selector
To configure one or more MIDI or Instrument
tracks for recording:
1 If you do not have a MIDI or Instrument track
to record to, choose Track > New and specify 1
MIDI Track or 1 Instrument Track, then click
Create.
Instrument track MIDI Input selector, Mix window
– or –
• For MIDI tracks in the Edit window, choose
View > Edit Window > I/O, then click the
track’s MIDI Input selector and assign the
device and channel to be recorded.
MIDI Input selector
New Tracks dialog
2 For Instrument tracks, be sure that Instruments View is selected (View > Mix Window >
Instruments, or View > Edit Window > Instruments).
3 Do one of the following:
• In the Mix window, click the track’s MIDI
Input selector and assign the device and
channel to be recorded. For Instrument
tracks the MIDI Input selector is available
in Instruments View.
MIDI Input selector
MIDI track MIDI Input selector, Edit window
• For Instrument tracks in the Edit window,
choose View > Edit Window > Instrument,
then click the track’s MIDI input selector
and assign the device and channel to be recorded.
MIDI Input selector
Instrument track MIDI Input selector, Edit window
MIDI track Input selector, Edit window
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4 Do one of the following:
• In the Mix window, click the track’s MIDI
Output selector and assign a device and
channel from the pop-up menu. For Instrument tracks the MIDI Output selector is
available in Instruments View. Channels already assigned to other tracks appear bold
in this menu.
MIDI Output selector
MIDI track MIDI Output selector, Edit window
MIDI Output selector
MIDI track MIDI Output selector, Mix window
MIDI Output selector
Instrument track MIDI Output selector, Edit window
5 To assign multiple destinations to a single
MIDI Output selector
Instrument track MIDI Output selector, Mix window
– or –
• In the Edit window, with I/O View enabled,
click the track’s MIDI Output selector and
assign a device and channel from the popup menu. For Instrument tracks the MIDI
Output selector is available in Instruments
View. Channels already assigned to other
tracks appear bold in this menu.
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, a “*” sign will appear next to
the first destination name in the track’s MIDI
Output selector.
6 If you want to assign a default program
change to the track, click the Patch Select button, make the necessary selections for program
and bank select, then click Done.
Default program changes are sent whenever the
track is played. For more information, see
“Patch Select (Program and Bank Changes)” on
page 474.
7 If recording to multiple MIDI or Instrument
tracks, repeat the above steps for each track,
then continue to the next step.
8 If you want to use a click, enable and config-
ure the click, and set a default tempo and meter
for the session. For details, see “Recording with a
Click” on page 193.
Chapter 13: MIDI Recording
221
9 Enable Wait for Note or Countoff in the Trans-
port window if you want to use these features.
10 To replace existing track material, disable
MIDI Merge in the Transport window.
11 If you want to automatically quantize material as it is recorded, enable Input Quantize (see
“Input Quantize” on page 218).
To take full advantage of the MIDI editing
capabilities in Pro Tools, make sure to
record with the click enabled. This ensures
that recorded data aligns with the session’s
bar and beat boundaries. You can also
record to MIDI tracks without a click and
derive the tempo and meter from the performance.
12 In the Transport window, click Return to
Zero so the start and end times are cleared. This
ensures that you’ll start recording from the beginning of the track.
1 With Pro Tools HD, make sure that Delay
13 In either the Mix or Edit window, click the
Compensation is disabled in the Options menu.
MIDI or Instrument track’s Record Enable button to record enable the track.
14 Make sure Options > MIDI Thru is selected,
then play some notes on your MIDI controller.
The MIDI instrument assigned to the track
should sound, and the track’s meters should register MIDI activity.
You are now ready to record MIDI data to the
record-enabled MIDI and Instrument tracks. See
“Recording to MIDI and Instrument Tracks” on
page 222.
Recording to MIDI and
Instrument Tracks
In Pro Tools, you can record to one or more
MIDI and Instrument tracks. Recording simultaneously to multiple tracks allows you to:
• Record from multiple MIDI devices at the
same time, capturing material from several
performers
To record to one or more MIDI or Instrument
tracks:
Digidesign recommends recording without
Delay Compensation in most cases. For
more information, see “Delay Compensation” on page 553.
2 Configure a MIDI or Instrument track for re-
cording. Refer to “Configuring MIDI or Instrument Tracks for Recording” on page 220.
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 Put Pro Tools in normal Nondestructive
Record mode. In the Options menu, deselect Destructive Record, Loop Record, and QuickPunch.
5 Click Record in the Transport window to enter
Record Ready mode. The Record Enable Status
indicator lights red.
• Record multiple channels from the same device, capturing data from a split keyboard
• Transfer MIDI tracks from an external MIDI
sequencer
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Record Enable button
6 Do one of the following:
• When you are ready to begin recording,
click Play. If using Countoff, Pro Tools
counts off the specified number of measures and then begins recording.
– or –
• If using Wait for Note, the Play, Record, and
Wait for Note buttons flash. Recording begins when a MIDI event is received.
7 When you have finished recording, click Stop
in the Transport window.
For each record-enabled track, a new MIDI region is created and appears in the playlist. The
new MIDI regions also appear in the Region List.
Undo and MIDI Recording
You can undo previous MIDI record takes.
To undo a MIDI recording:
■ Once the Transport has been stopped, choose
Edit > Undo MIDI Recording.
The track’s playlist is restored to its previous
state. However:
◆ If you punched in and out several times before stopping the Transport, only the last punch
is undone.
◆ When using Loop Record mode, all takes from
each record pass are discarded.
There are several keyboard shortcuts you
can use to begin recording. See “Record
Shortcuts” on page 200 for details.
Canceling a Record Take
To record the audio from a MIDI instrument, bus the audio output of the Instrument track or Auxiliary Input track that is
monitoring the MIDI instrument to an audio track. Record enable the audio track and
begin recording.
To cancel a record take while recording:
To play back recorded MIDI and Instrument
tracks:
1 In the Transport window, click Return to Zero.
It is also possible to discard the current record
take before the Transport is stopped.
■ Press Control+Period (.) (Windows) or Command+Period (.) (Mac) before the Transport is
stopped.
If using Loop Record mode, all takes from each
record pass are discarded.
Punch Recording MIDI
2 Click Play in the Transport window to begin
playback.
The recorded MIDI data plays back through
each track’s assigned device (port) and channel.
To replace a portion of a MIDI or Instrument
track, you can punch in by specifying the record
range before recording.
To punch in on a MIDI or Instrument track:
1 Configure a MIDI or Instrument track for re-
cording. Refer to “Configuring MIDI or Instrument Tracks for Recording” on page 220.
Chapter 13: MIDI Recording
223
2 Put Pro Tools in normal Nondestructive
Record mode. In the Options menu, deselect Destructive Record, Loop Record, and QuickPunch.
3 In the Transport window, disable Wait for
Note and Countoff.
4 Select Options > Link Timeline and Edit Selec-
tion.
5 With the Selector tool, drag in the track’s play-
list until the selection encompasses the punch
range.
For other methods of setting the record range,
see “Setting Punch/Loop Points” on page 208.
10 When you have finished recording, click
Stop in the Transport window.
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.
6 To hear existing track material up to the start
To punch record on-the-fly with MIDI:
point, or after the end point, enable and set preand post-roll times. For details, see “Setting Preand Post-Roll” on page 211.
1 Configure a MIDI or Instrument track for re-
7 Record enable the track containing the previous take by clicking its Record Enable button.
2 Put Pro Tools in normal Nondestructive
8 Click Record in the Transport window to enter
Record Ready mode. The Record Enable button
flashes.
9 When you are ready to begin recording, click
Play.
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.” Material 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, unless Stop is clicked in
the Transport window. If post-roll is enabled,
playback continues for the specified post-roll
amount.
cording. Refer to “Configuring MIDI or Instrument Tracks for Recording” on page 220.
Record mode. In the Options menu, deselect Destructive Record, Loop Record, and QuickPunch.
3 In the Transport window, disable Wait for
Note and Countoff.
4 Record enable the track containing the previ-
ous take by clicking its Record Enable button.
5 Start playback by clicking Play in the Trans-
port window.
6 When you reach the punch-in point, do one
of the following:
• Click Record in the Transport window.
– or –
• For Digi 002 and Digi 002 Rack systems (or
Digidesign controllers) with a connected
footswitch, press the footswitch at the
punch-in point.
The Record Enable button stops flashing and
stays lit during recording.
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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 7 shows two existing regions before
recording. Since the start and end times occur
within both of the existing regions, a new region is created to fill the space between them.
use Duplicate to make a copy of the region (“Duplicate Command” on page 358) or the track’s
playlist (see “Working with Playlists” on
page 271).
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.
– or –
• Use Loop Record mode to record multiple
takes on each record pass. This is similar to
loop recording audio.
before punch record
Loop Recording with Merge Mode
after punch record
newly recorded
material
new region
Figure 7. Region added after punch record
However, 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. If a region is altered because of a record take, the original material is
lost (unless you choose Edit > Undo MIDI Recording), or combined with new material (if
MIDI Merge was enabled during recording). If
an existing region contains important material,
For drum machine style 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—
thereby allowing you to, for example, record hihats on the first pass and kick and snare on the
next.
Make sure that MIDI Merge is enabled in the
Transport window, otherwise (in Replace mode)
each subsequent take will destructively replace
the previous.
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.
Chapter 13: MIDI Recording
225
To loop record with MIDI Merge:
1 Configure a MIDI or Instrument track for re-
cording. Refer to “Configuring MIDI or Instrument Tracks for Recording” on page 220.
2 Put Pro Tools in normal Nondestructive
Record mode. In the Options menu, deselect Destructive Record, Loop Record, QuickPunch,
TrackPunch, and DestructivePunch.
3 Select Options > Loop Playback. When Loop
Playback is enabled, a loop symbol appears in
the Play button.
Loop Playback enabled
4 Record enable the MIDI or Instrument track
by clicking its Record Enable button. Make sure
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.
8 With the Selector tool, drag in the track’s play-
list until the selection encompasses the loop
range.
For other methods of setting the record range,
see “Setting Punch/Loop Points” on page 208.
9 To hear track material up to the start point of
the loop, enable and set the pre-roll time. For
details, see “Setting Pre- and Post-Roll” on
page 211.
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10 Click Record in the Transport window. When
you are ready to begin recording, click Play.
The Record Enable 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.
11 Play some notes on 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.
12 If you want 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.
13 When you have finished recording, click
Stop in the Transport window.
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
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. Refer to “Configuring MIDI or Instrument Tracks for Recording” on page 220.
2 Select Options > Loop Record. When Loop
Record mode is enabled, a loop symbol appears
in the Record Enable button.
9 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.
10 When you have finished recording, click
Stop in the Transport window. The most recently recorded take is left in the record track.
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.
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.
4 Disable Wait for Note and Countoff in the
Transport window.
5 Select Options > Link Timeline and Edit Selec-
tion.
6 With the Selector tool, drag in the track’s play-
list until the selection encompasses the loop
range.
For other methods of setting the record range,
see “Setting Punch/Loop Points” on page 208.
7 To hear track material up to the start point of
the loop, enable and set the pre-roll time. For
details, see “Setting Pre- and Post-Roll” on
page 211.
8 Click Record in the Transport window. When
you are ready to begin recording, click Play.
The Record Enable 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.
To audition the various record takes:
1 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.
• Control-click (Windows) or Commandclick (Mac) with the Selector tool at the precise beginning of the loop record range.
• If the take currently residing in the track is
selected, Control-click (Windows) or Command-click (Mac) it with the Selector tool.
A pop-up menu appears containing a list of regions that share the same User Time Stamp.
Auditioning loop record takes
Chapter 13: MIDI Recording
227
2 Choose a region from the Matches pop-up
menu. The 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 205.
MIDI Step Input
Step Input lets you use a MIDI controller to enter notes individually, one step at a time. This
gives you precise control over note placement,
duration, and velocity. With MIDI Step Input
you can also create musical passages that might
be difficult to play accurately, or at a fast tempo.
3 Select the Enable option.
When Step Input is enabled, each previously record-enabled MIDI track is taken
out of record enable, and if a Default Thru
Instrument is defined in the MIDI Preferences page, it is disabled.
4 Choose the MIDI track you wish to record on
from the Destination pop-up menu.
5 Choose the note value you wish to enter from
the Step Increment section.
6 Play a note or chord on your MIDI instru-
ment. This enters the note and moves to the
next step of the insertion point.
To increase a note’s length while using Step Input:
To enter MIDI notes with Step Input (using an
external MIDI Instrument):
1 Make certain your external MIDI keyboard is
properly connected and working with Pro Tools.
2 Choose Event > MIDI > Step Input.
1 Play and hold a note on your MIDI instru-
ment.
When a note is being held on the MIDI keyboard, Next Step changes to read “Increment.”
2 Choose the note value that you would like to
add and press the Increment button.
Release the note on your MIDI keyboard to
move to the next step insertion point.
Step Input page
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Step Input Controls
The Step Input page has the following controls:
Enable When selected, MIDI events are added to
the destination track when you play your external MIDI keyboard. Additionally, each previously record-enabled MIDI track is taken out of
record enable.
If a Default Thru Instrument is defined in the
MIDI Preferences page, it is disabled when Step
Input is enabled, and is re-enabled when Step
Input is no longer disabled.
Destination Lets you select the destination track
for the Step Input from a pop-up list of all the
MIDI tracks in your session.
Note Length Lets you select the note length as a
percentage of the spacing value. For example, an
eighth note equals 480 ticks, so an eighth note
with an 80% duration would be 384 ticks long.
100%
80%
120%
Note Length percentages
Options
Use Input Velocity When selected, MIDI notes
are recorded using the velocity that you play on
your MIDI keyboard.
Step Increment
The options in the Step Increment section let
you set the spacing and duration of MIDI events
entered using the Step Input operation. You can
select any size from whole notes to sixty-fourth
notes (including dotted values).
Tuplet Lets you input irregular note groupings
(such as triplets or quintuplets). The tuplet
length is calculated from the note spacing selection and the Tuplet values. For example, an
eighth note equals 480 ticks, so tuplet eighth
notes with 3 in time of 2 would yield a note
spacing of 320 ticks (480 ticks / 3 * 2).
Set Velocity To When selected, MIDI notes are
recorded with the velocity that you specify in
the Velocity field. This value can be set with the
Velocity slider.
Enable Numeric Keypad Shortcuts When selected, Step Input options can be selected from
the numeric keypad. See “Numeric Keypad
Shortcuts” on page 231.
Chapter 13: MIDI Recording
229
Undo Step, Next Step (or Increment), and Redo
Step
Setting Undo Step, Next Step and Redo Step
MIDI Triggers
Use the Undo Step and Next Step buttons to do
the following:
The Undo Step, Next Step and Redo Step buttons can be set to be triggered by an external
MIDI synth, drum pad, or other controller.
• Move the step insertion point, by either removing the previous note or by advancing
the insertion point by the Step Increment
value.
• Lengthen and shorten notes that are being
held on the MIDI controller, by adding or
removing Step Increment values. The Step
Increment value can be changed mid-note
to create a note with a hybrid note length.
To set Undo Step, Next Step and Redo Step MIDI
triggers:
1 Choose Event > MIDI > Step Input.
2 Locate the button you want to assign a MIDI
event to, and click in the field below the button.
Use the Redo Step button to sequentially redo
any previously undone steps.
Undo Step When the previous note has been released from the MIDI keyboard, and the insertion point has moved forward to the next note,
Undo Step will remove the entire last note.
When a note is being held on the MIDI keyboard, Undo Step changes to read “Decrement,”
and removes the last Step Increment length that
was added to the held note.
Selecting the Next Step field
3 Play the MIDI event you wish to use as a trig-
ger.
If you use a continuous controller such as
Pitch Bend as a trigger, you should make
certain to use an extreme controller value to
avoid erroneous data input.
Next Step (or Increment) When no note is being
held on the MIDI keyboard, Next Step moves
the insertion point by the Step Increment value,
essentially inserting a musical rest.
When a note is being held on the MIDI keyboard, Next Step changes to read “Increment”
and adds the Step Increment value to the held
note, increasing its length by the Step Increment value.
While the note is being held, the Step Increment
value can be changed, allowing you to create
notes of any musical length.
Redo Step Reinserts the last note that was removed by the Undo Step operation.
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Next Step field triggered by pitch bend
4 Press Enter to confirm the MIDI trigger assign-
ment.
Numeric Keypad Shortcuts
When Enable Numeric Keypad Shortcuts is selected, you can choose many of the controls in
the Step Input page, as well as several selection
controls.
:
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.
Step Input Shortcuts
Key
Whole note
1
1/2 note
2
1/4 note
4
1/8 note
5
1/16 note
6
1/32 note
7
1/64 note
8
sending the Sysex is connected to your MIDI interface’s MIDI IN.
Dotted note
. (decimal key)
2 Configure a MIDI track for recording. Refer to
Toggle Tuplet on/off
3
“Configuring MIDI or Instrument Tracks for Recording” on page 220.
Next step
Enter
3 Put Pro Tools in normal Nondestructive
Undo step
0
Nudge forward
+
Record mode. In the Options menu, deselect Destructive Record, Loop Record, QuickPunch,
TrackPunch, and DestructivePunch.
Nudge back
–
Select Main Counter
=
4 In the MIDI Input Filter dialog, enable recording of System Exclusive data.
Edit Selection indicators
/
5 If you have not done so already, record enable
To record a Sysex dump at the beginning of a MIDI
track:
1 Make sure that the MIDI OUT for the device
the MIDI track by clicking its Record Enable button.
6 Enable Wait for Note in the Transport win-
dow.
7 In the Transport window, click Return to Zero
so the start and end times are cleared. This ensures that you’ll start recording from the beginning of the track.
8 When you are ready to begin recording, click
Record in the Transport window.
Chapter 13: MIDI Recording
231
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 instructions in the guide
for your MIDI device. When receiving the MIDI
data, Pro Tools automatically begins recording.
10 When the transfer is complete (as defined in
in the guide for your MIDI device), click Stop in
the Transport window.
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 263). For details on moving and copying of Sysex data, see
“System Exclusive Events” on page 478.
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Pro Tools Reference Guide
To resend the Sysex from Pro Tools:
1 For the device receiving the System Exclusive
data, make sure its MIDI IN is connected to your
MIDI interface’s MIDI OUT. Also, make sure the
device is set to receive Sysex. Some devices require that memory protect be off.
2 For the previously recorded track, click its
Record Enable button so that it is no longer
record-enabled.
3 Click the track’s MIDI Output selector and assign the device from the pop-up menu.
4 In the Transport window, click Return to Zero.
5 Click Play in the Transport window to begin
playback. Pro Tools begins playing and transmits the previously recorded Sysex to the assigned MIDI device.
Chapter 14: Advanced Recording
There are three advanced recording methods
that differ from basic recording, QuickPunch,
TrackPunch, and DestructivePunch.
QuickPunch A nondestructive recording mode
that lets record-enabled tracks be punched in
and punched out during playback by clicking
the Transport’s Record Enable button.
TrackPunch (Pro Tools HD Only) A nondestructive recording 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 recording mode that lets individual tracks
be punched in, punched out, and taken out of
record enable without interrupting online recording and playback while maintaining a single continuos audio file.
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 Enable button in the Transport window.
For Digi 002 and Digi 002 Rack systems,
and Digidesign control surfaces, 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 203), 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 14: Advanced Recording
233
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.
3 Click OK.
If the required number of voices for the recordenabled tracks is not available when switching
to QuickPunch mode, you will be prompted to
free up the necessary voices.
To free up voices on tracks that are not recordenabled, and do not need to be heard while
recording, do one of the following:
• Set voice assignments for tracks to Off.
• Make tracks inactive.
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 later be edited in the
same manner as standard crossfades. For details,
see “Using Crossfades” on page 375.
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• Group all RTAS plug-ins before TDM plugins.
As necessary, voices in use by other tracks,
which are not record-enabled, may be “stolen”
while recording with QuickPunch. 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
may 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 will be heard when
recording with QuickPunch, assign it a voice.
QuickPunch and Dynamically Allocated
Voicing
(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 will
automatically handle the distribution of voices
between each set of voices. For example, for a
192-voice 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).
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.
QuickPunch Guidelines for
Pro Tools LE
For Pro Tools LE systems, up to 16 mono, or 8
stereo audio tracks can be simultaneously recorded with QuickPunch in addition to the
maximum number of mono tracks supported by
your Pro Tools LE system (see “Pro Tools LE System Capabilities” on page 10).
For Pro Tools LE with DV Toolkit 2 and Pro
Tools LE or M-Powered with 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.
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 553.
2 Select Options > QuickPunch. When Quick-
Punch is enabled, a “P” appears in the Record
Enable button.
QuickPunch enabled
QuickPunch enabled
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 234).
4 Record enable the tracks you want to punch in
on. Make sure there are enough available voices
on your system.
Chapter 14: Advanced Recording
235
5 Prepare to record by cueing Pro Tools to an appropriate location. If you want to use pre-roll,
enable a pre-roll 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 window.
– or –
• For Pro Tools|HD 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 Enable 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.
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.
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
Enable button—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
TrackPunch Audio Recording
(Pro Tools HD Only)
TrackPunch makes Pro Tools more 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
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
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.
If the session has plenty of available voices, you
may 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.
Voice Requirements for
TrackPunch Recording
Overview of 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.
Before using TrackPunch, configure Pro Tools
and TrackPunch as follows:
When switching to TrackPunch mode, you will
be prompted to free up additional voices if not
enough are available.
• Tracks with Dynamically Allocated Voicing
that are record-enabled
To configure Pro Tools and TrackPunch:
1 Configure TrackPunch preference settings as
suggested in “TrackPunch Preferences” on
page 239.
2 If necessary, configure Pro Tools synchroniza-
To free up voices on tracks that are not recordenabled, and do not need to be heard while
recording, do one of the following:
tion settings for online recording and track arming (see “Configuring Synchronization and
Track Arming” on page 240).
• Set voice assignments for tracks to Off.
• Make tracks inactive.
• Group all RTAS plug-ins before TDM plugins.
Chapter 14: Advanced Recording
237
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 553.
3 Enable TrackPunch mode (see “Enabling
TrackPunch Mode” on page 240).
4 TrackPunch enable all audio tracks that you
want to punch during the record pass (see
“TrackPunch Enabling Tracks” on page 241).
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
Choosing 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, as explained below.
6 Begin playback.
7 If you want to compare levels of the input
source with audio on disk, click the TrackInput
button. When lit (green), the track is monitoring input. When unlit (grey), the track is monitoring from disk. (For more information see
“Selecting Record Monitor Modes with TrackInput Monitoring” on page 183.)
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Pro Tools Reference Guide
8 To punch tracks one at a time, arm the Trans-
port Record and then use the individual Track
Record Enable buttons to punch each track in
and out on-the-fly.
9 To punch multiple tracks simultaneously, do
one of the following:
• Record enable as many as 16 TrackPunch
enabled audio tracks, then use the Transport Record Enable button to punch them
in and out simultaneously.
– or –
• Arm the Transport Record first, then use
Alt+Shift (Win) or Option+Shift (Mac) to simultaneously punch 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
Transport RecordLock
The following preference settings let you customize TrackPunch performance.
This setting lets the Transport Record be configured to either emulate a digital dubber, or to
maintain legacy behavior for the Transport master Record.
QuickPunch/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.
To set the TrackPunch 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.
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.
◆ 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 will take the transport out
of record enable.
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 be configured
to either emulate a digital dubber, or to 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.
◆ 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.
TrackPunch preferences
Chapter 14: Advanced Recording
239
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.
Enabling TrackPunch Mode
Before you can enable individual audio tracks
for TrackPunch recording, TrackPunch mode
must be enabled in the Pro Tools transport.
To enable TrackPunch mode:
1 Make sure Pro Tools is not recording or play-
ing back (the Transport is stopped).
Configuring Synchronization and
Track Arming
2 Do one of the following:
• Select Options > TrackPunch.
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.
To record online using TrackPunch switching:
• Right-click (Windows) or Control-click
(Mac) the Transport Record Enable button
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).
1 Choose Setup > Peripherals, and make sure the
SYNC I/O is the selected synchronization peripheral, and is communicating with Pro Tools.
2 Choose Setup > Session, and do the following:
Transport Record with TrackPunch mode enabled
• 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.
3 If you are controlling Pro Tools using 9-pin
Transport Display of TrackPunch
Status
TrackPunch enabled
Record Enable
Status indicator
Input Status
indicator
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).
• Click OK to close the Peripherals dialog.
Consult the manufacturer of your controller
for the most recent machine profiles and updates available for Pro Tools support.
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TrackPunch and TrackInput Status indicators in the
Transport window
Transport Record Enable Button
The Transport Record Enable button indicates
TrackPunch and Record status as follows:
When TrackPunch mode is enabled:
A “T” appears in the Transport Record Enable
button.
◆
If at least one track is TrackPunch-enabled,
the Transport Record Enable button lights solid
blue.
◆
When TrackPunch mode is enabled and the
transport is armed for recording:
If no tracks are TrackPunch-enabled, the
Transport Record Enable button flashes gray and
red.
◆
If at least one track is TrackPunch-enabled,
the Transport Record Enable button flashes blue
and red.
◆
To TrackPunch enable or disable all audio tracks:
■ Alt-Start-click (Windows) or Option-Controlclick (Mac) a track’s Record Enable button to
toggle the all Record Enable buttons to solid
blue.
To TrackPunch enable or disable all selected audio
tracks:
■ Start-Alt-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 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 Transport Record Enable button flashes blue and red, and the record
LED lights.
◆
Whenever at least one audio track is recording, the Transport Record Enable button lights
solid red.
◆
TrackPunch Enabling Tracks
You can TrackPunch enable tracks without
record enabling them, which lets you punch in
individual tracks after you start playback.
To TrackPunch enable or disable an audio 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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Track Record Status Display
Punching In on Individual Tracks
Each track’s Record Enable button indicates its
TrackPunch and record enable status as follows:
To punch in on individual tracks:
• When a track is both TrackPunch-enabled and
record-enabled, its Record enable button
flashes blue and red.
Record Enable button
1 Put Pro Tools in TrackPunch mode.
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 TrackPunch-enabled only. The track’s Record Enable
button should light solid blue.
3 Click Record in the Transport window to enter
the TrackPunch Record Ready mode. The Record
Enable button flashes blue and red.
4 Click Play in the Transport window to begin
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)
playback.
5 During playback, punch in and out on indi-
vidual TrackPunch-enabled tracks by clicking
their 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
TrackPunch preference settings.
Punching In on Multiple Tracks
Simultaneously
To punch in on multiple tracks simultaneously:
1 Put Pro Tools in TrackPunch mode.
Track Record status in the Edit window
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.
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 should flash blue and red.
3 Click Play in the Transport window to begin
playback.
4 During playback, click Record in the Transport
window to punch in and out on all TrackPunchenabled tracks simultaneously.
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5 Stop playback. When you are finished with
the record pass, track Record Enable status and
transport Record Arm status follow the current
TrackPunch preference settings.
Start Recording on All Tracks
1 Put Pro Tools in TrackPunch mode.
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 should flash blue and red.
3 Click Record in the Transport window to enter
the TrackPunch Record Ready mode. The Record
Enable button flashes blue and red.
4 Click Play in the Transport window to begin
playback.
5 During playback, punch out and back in on
individual TrackPunch-enabled tracks by clicking their 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
TrackPunch preference settings.
Example TrackPunch Workflows
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 243)
• Loading dailies (see “Loading Dailies Using
RecordLock” on page 244)
• Recording Foley (see “Foley Recording with
TrackPunch” on page 245)
• Tracking and overdubbing in music production and any other recording situation (see
“Tracking and Overdubbing Music with
TrackPunch” on page 245)
Each of these workflows takes advantage of
TrackPunch features and options.
In the following example workflows, it is assumed you already familiar with routing, selecting, and grouping Pro Tools tracks. If you are
not, see the appropriate topic in Pro Tools Reference Guide.
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) and 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.
A typical pre-dub session using TrackPunch
includes the following steps:
1 Configure synchronization between Pro Tools
and other devices as appropriate.
2 Choose Setup > Preferences and click the
Operation tab.
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243
3 Select (enable) Transport RecordLock. This
will keep 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 will
cause 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).
12 Punch in and out on the second group of
tracks.
13 Repeat as needed.
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.
To configure RecordLock for loading:
Use the Group List to quickly select all
tracks in the group, and Alt-Shift-click
(Windows) or Opt-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 paddles to arm Pro Tools, and to punch in and out
on the first group.
10 When the first pre-dub is over and all tracks
are punched out, clear all TrackPunch enabled
tracks.
11 Select the next group of tracks and TrackPunch-enable them.
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1 Choose Setup > Preferences and click the
Operation tab.
2 Select (enable) Transport RecordLock.
3 Select (enable) Audio Track RecordLock.
4 Configure synchronization and other settings
as required.
5 Put Pro Tools online, and start the external
source player.
6 Whenever time code drops out or stops,
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).
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
Operation tab.
2 Enable Mute Record-Armed Tracks While
Stopped.
3 Configure synchronization and other settings
for Pro Tools and your other devices, then enable TrackPunch mode and proceed with punch
recording. (See “Overview of TrackPunch Recording” on page 237 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
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:
• Record enable tracks on-the-fly.
• Punch tracks in and out using on-screen
Record Enable buttons, remotely from a synchronizer, from a control surface, or using a
foot switch.
• 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.
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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.
When using DestructivePunch to punch into an
existing recording, make sure the Delay Compensation settings are the same as when the
original file was recorded.
DestructivePunch and MachineControl
◆ If Delay Compensation was active when recording the original file, it should be kept active
while punching into the original file in DestructivePunch mode.
When using Digidesign MachineControl software in Remote 9-Pin Deck Emulation Mode,
DestructivePunch can be controlled via P2 protocol.
◆ If Delay Compensation was inactive when recording the original file, it should be deactivated
while punching into the original file in DestructivePunch mode.
DestructivePunch and Voice Allocation
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.
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 239.
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To ensure that the Delay Compensation path on
record tracks remains consistent while using DestructivePunch, you will 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:
■ Start-Control-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:
■ Start-Control-Shift-click (Windows) or Command-Control-Shift-click (Mac) the Track Compensation indicator on the track.
To ensure that Low-Latency monitoring is disabled
for all record tracks:
■ Start-Control-Alt-Shift-click (Windows) or
Command-Control-Option-Shift-click (Mac)
the Track Compensation indicator on the track.
Enabling DestructivePunch Mode
Before you can enable individual audio tracks
for DestructivePunch recording, you must put
Pro Tools in DestructivePunch mode.
To enable DestructivePunch mode:
1 Make sure Pro Tools is not recording or play-
ing back (the Transport is stopped).
2 Do one of the following:
• Select Options > DestructivePunch.
• Right-click the Transport Record Enable
button and choose DestructivePunch from
the pop-up menu.
• Start-click (Windows) or Control-click
(Mac) the Transport Record Enable button
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
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 the Record Enable
button.
To DestructivePunch enable an audio track:
Start-click (Windows) or Control-click (Mac)
the track’s Record Enable button to toggle the
button to solid blue.
■
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:
■ Start-Alt-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.
DestructivePunch Enabling and Record
Enabling 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 to toggle the track’s Record Enable button to flashing
blue and red.
To simultaneously DestructivePunch enable and
record enable all audio tracks:
■ Alt-click (Windows) or Option-click (Mac) a
track’s Record Enable button to toggle all Record
Enable buttons to flashing 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 to
toggle the Record Enable buttons for the selected audio tracks to flashing blue and red.
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Display of DestructivePunch
Status
◆ Whenever at least one audio track is recording, the Transport Record Enable button lights
solid red.
Transport Record Enable Button
Track Record Status Display
The Transport Record Enable button indicates
DestructivePunch mode and Record status as
follows:
When DestructivePunch mode is enabled:
◆ The letters “dp” appears in the Transport
Record Enable button.
Transport Record Enable button with DestructivePunch
mode enabled
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
◆ If at least one track is DestructivePunch-enabled, the Transport Record Enable button lights
solid blue.
DestructivePunch Enabled
Record LED
Input Status
LED
• When a track is DestructivePunch-enabled
but not record-enabled, its Record Enable button lights solid blue.
DestructivePunch status in the Transport window
• When a track is record-enabled only, its
Record Enable button flashes red.
When DestructivePunch mode is enabled and the
transport is armed for recording:
• While a track is recording (in any mode), its
Record Enable button lights solid red.
◆ If no tracks are DestructivePunch-enabled, the
Transport Record Enable button flashes gray and
red.
◆ If at least one track is DestructivePunch-enabled, the Transport Record Enable button
flashes blue and red.
◆ If at least one DestructivePunch-enabled track
is also record enabled, the Transport Record Enable button flashes blue and red, and the record
LED lights.
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DestructivePunch status indication in an audio track in
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Pro Tools Reference Guide
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 249).
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.
• Change the DestructivePunch File Length
setting so that the current file is equal to or
greater than the required length.
• Use the Prepare DPE Tracks command to
consolidate audio on all DestructivePunchenabled tracks. (See “Using the Prepare DPE
Tracks Command” on page 249.)
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 set DestructivePunch File Length:
1 Choose Setup > Preferences and click Opera-
tion.
2 Enter a value for DestructivePunch File
Length.
3 Click OK.
Using the Prepare DPE Tracks Command
To prepare a track for DestructivePunch recording:
1 Make sure DestructivePunch mode is enabled.
2 Make sure the tracks you want to prepare are
DestructivePunch-enabled. See “DestructivePunch Enabling Tracks without Record Enabling
Them” on page 247.
3 Choose Options > Prepare DPE Tracks.
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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.
2 Click the Record Enable button on each track
you want to punch in, so that the track is both
DestructivePunch- and Record-enabled. Each
track’s Record Enable button flashes blue and
red.
DestructivePunch Recording
3 Click Play in the Transport window to begin
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.
Punching In On Single Tracks
To punch in on single tracks:
1 Put Pro Tools in DestructivePunch mode.
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.
3 Click Record in the Transport window to enter
Record Ready mode. The Record Enable button
flashes blue and red.
4 Click Play in the Transport window to begin
playback.
5 During playback, punch in and out on individual DestructivePunch-enabled tracks by
clicking their 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.
Punching In on Multiple Tracks
To punch in on multiple tracks simultaneously:
1 Put Pro Tools in DestructivePunch mode.
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playback.
4 During playback, click Record in the Transport
window to punch in and out on all DestructivePunch-enabled 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.
Starting Recording Immediately on
Multiple Tracks
To immediately start recording on multiple tracks:
1 Put Pro Tools in DestructivePunch mode.
2 Click the Record Enable button on each track
you want to punch in, so that the track is both
DestructivePunch- and Record-enabled. Each
track’s Record Enable button flashes blue and
red.
3 Click Record in the Transport window to enter
Record Ready mode. The Record Enable button
flashes blue and red.
4 Click Play in the Transport window to begin
playback.
5 During playback, punch out and back in on
individual DestructivePunch-enabled tracks by
clicking their 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.
Part IV: Editing
251
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Chapter 15: Editing Basics
Pro Tools Editing
The Edit window in Pro Tools provides a powerful collection of tools for editing and assembling
audio 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 Automation in the Edit window, see Chapter 27,
“Automation.”
Editing During Playback
Pro Tools lets you perform many editing tasks
while the session plays. This powerful capability
allows you to interactively modify and edit a
session, hearing the changes as you make them.
You’ll 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
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. If a particular process or tool
works destructively (that is, if it can permanently change audio files on your hard disk),
this guide alerts you.
• Add fades or crossfades to audio regions
• 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
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 264).
There are a few things that cannot be changed
while Pro Tools plays, as noted throughout this
guide. These include routing to sends and assigning outputs.
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253
Track Material
Each time you record or import audio 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 also provide automation playlists.
Automation can be recorded and edited in
the Mix or Edit windows. For more information, see Chapter 27, “Automation.”
Region Types
There are different types of audio and MIDI regions, based on how they are created:
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
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 275). 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.
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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; and 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
so they do not appear in the Region List (see
“Naming and Displaying Regions” on
page 396). Auto-created regions can be turned
into user-defined regions by renaming them.
Offline Regions Regions are offline when their
parent audio 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 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 362.
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 These tracks can be set to Blocks,
Waveform, Volume, Volume Trim, Pan, Mute, or
any plug-in controls that have been automated.
Except when editing automation data, audio
tracks are by default set to Waveform, 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 Waveform for audio track
Auxiliary Input Tracks These tracks can be set to
Volume, Volume Trim, Pan, Mute, or any plug-in
control that has been automated.
Master Fader Tracks These tracks can be set to
Volume, Volume Trim, or any plug-in control that
has been automated.
VCA Master Tracks (Pro Tools HD Only) These
tracks can be set to Volume, Volume Trim, or
Mute.
MIDI Tracks These tracks can be set to Blocks, Regions, Notes, Volume, Pan, Mute, Velocity, Pitch
Bend, After Touch, Program, Sysex, and any continuous controller type. Except when editing
controller data, program changes, or Sysex
events, 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.
Track View set to Regions for MIDI track
Instrument Tracks These 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 have been automated for audio.
Except when editing controller data, program
changes, or Sysex events, 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.
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.
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,
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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
Master Fader Track View selector
Click for Track View pop-up menu
Track View set to Pan for audio track
For details on editing automation data for audio
tracks, see Chapter 27, “Automation.” For details on inserting and editing controller data for
MIDI tracks, see “Continuous Controller
Events” on page 472.
VCA Master Track View selector (Pro Tools HD only)
Click for Track View pop-up menu
To set the Track View:
■ Click the Track View selector for the track and
choose 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.
MIDI Track View selector
Click for Track View pop-up menu
Click for Track View pop-up menu
Audio Track View selector
Click for Track View pop-up menu
Auxiliary Track View selector
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Instrument Track View selector
Changing Track Views
To toggle Track Views on selected tracks:
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.
1 Click in the track you want to toggle. To tog-
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.
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.
To change to the previous or next Track View:
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.
– or –
• 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.
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.
gle multiple tracks, Shift-click or drag the Selector tool to select additional tracks.
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
Start+Alt+Minus (Windows) or Control+Option+Minus (Mac) on the QWERTY
keyboard.
– or –
• With Commands Keyboard Focus enabled,
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.
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.
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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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 six heights: Mini, Small, Medium, Large, Jumbo,
and Extreme. 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.
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.
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.
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.
■
Click for Track Height pop-up menu
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.
Track Height pop-up menu
– or –
■ Click in the area just to the right of the track
controls and choose the height from the pop-up
menu.
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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To turn on Expanded Track Display:
From the Track Height selector, click Expanded Track Display.
■
When the Track Height is set to Large, Jumbo, or
Extreme, all track controls are displayed at their
full size.
Track Height pop-up menu
Track Height set to Large
Track Controls and Track Height
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, 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.
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:
■
Select or deselect View > Region > Name.
To display region times:
Track Height set to Small
■ 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.
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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 344). 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 330).
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.
In Figure 8, 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 keyboard sounds, produce very different waveforms, ones that have less pronounced peaks
and valleys. That’s because these sounds generally have softer attacks and longer decays.
Draw Waveforms Rectified Preference
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.
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.
Audio displayed in Rectified mode
Audio displayed in Normal mode
Figure 8. Audio waveform of a drum track
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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.
Guidelines for Editing Waveforms
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.
While editing, try to create regions that allow
you to 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’s 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.
◆ 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 319.)
• Beat Detective (see Chapter 21, “Beat Detective”)
• Editing to a Grid (see “Grid” on page 282)
Avoiding Clicks and Pops
If an edited region begins or ends at a point of
high amplitude, you may hear an unpleasant
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 284) to display waveforms in greater detail.
Some important rules to keep in mind when defining regions:
Whenever possible, begin a region precisely
before a volume peak, and end it immediately
before another volume peak.
◆
Selection that begins and ends at zero crossings
Whenever possible, make sure a region starts
and ends on exactly the same part of a beat.
◆
◆ 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 384 for
details.
◆ Apply a crossfade between regions where a
click or pop occurs. See “Creating a Crossfade”
on page 381 for details.
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Nondestructive Audio Editing
When editing an audio track’s playlist in
Pro Tools, you’re 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.
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.
See “Playlists” on page 270 for details.
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.
Use Regions Views when you need to experiment with the arrangement of regions, or define
new ones.
For more information on setting Track
View, see “Track View” on page 255.
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.
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
Track note above the
current display
MIDI Regions and MIDI Data
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.
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Keyboard reference
MIDI note
Down arrow
Figure 9. MIDI track displaying notes
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 Control-click (Windows) or Commandclick (Mac) 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.
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 9 on
page 262).
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 window 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.
■
Using the Edit window tools, notes can be inserted, transposed, trimmed, and moved. For
more information, see “Manually Editing MIDI
Notes” on page 465.
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 Alt-Start-Control-scroll (Windows) or Command-Control-Option-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 (tessitura) of MIDI notes on a track.
For more information on setting Track
View, see “Track View” on page 255.
Scrolling Notes display by dragging
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.
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There are a few things to consider when selecting, copying and cutting, and trimming MIDI
regions:
◆ When cutting or clearing a region or region
group selection that includes a note’s start
point, the entire note is removed. This is even
the case when only a portion of the note (that
includes its start point) is selected.
◆ When copying or cutting 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.
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 adjacent region.
Nondestructive MIDI Editing
While editing audio regions is usually nondestructive, this is not always 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.
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.
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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 instead work with it (see
“Playlists” on page 270).
To apply edits to all instances of a MIDI region, enable Mirrored MIDI Editing mode
(see “Mirrored MIDI Editing” on page 461).
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
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.
Any or all of the following Conductor rulers can
be displayed:
• Tempo (and Tempo Editor)
• Meter
• Markers
The Meter and Tempo rulers indicate changes in
meter and tempo within the Session. The Markers ruler displays markers to important track locations.
For more information on Tempo rulers, see
“Tempo” on page 400.
For more information on Meter rulers, see
“Meter Events” on page 420.
All rulers displayed
For more information on markers, see
Chapter 20, “Conductor Tracks and Memory Locations.”
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 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.
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To display only the Main Time Scale in the
Timebase ruler:
■ Select View > Rulers > None. (See “Main Time
Scale” on page 266.)
To add a specific ruler to the display, such as the
Markers ruler, for instance:
■
Select View > Rulers > Marker.
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
To change the display order for the rulers:
Click a ruler’s name and drag up or down to
the new location.
■
Ruler View Selector
The Timebase and Conductor rulers can also be
configured with the Ruler View selector.
Click the Ruler View selector
Ruler View selector in the Edit Window.
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 can be set to the following
formats:
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 193). 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 416), or with
Beat Detective (see Chapter 21, “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.
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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.
3 Press Enter on Windows, or Enter or Return on
Mac, to automatically locate to a new location.
Setting the Sub Counter Time Scale
Below each Main Counter is a Sub Counter,
which provides an additional timing reference.
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.
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.
Sub Counter selector (in the Edit window)
Switching the Main Time Scale
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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 270).
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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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.
Note Value
Normal
Dotted
Triplet
1/2 note
1920
2880
1280
1/4 note
960
1440
640
Tick-Based Audio and MIDI
1/8 note
480
720
320
1/16 note
240
360
160
1/32 note
120
180
80
1/64 note
60
90
40
Tick-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.
Pro Tools Reference Guide
You can select whether a track is sample-based
or tick-based when it is created, or change timebases later.
Switching Timebases
■ 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.
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 is only visible in Small or larger track
heights.
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.
■
Track Height pop-up menu
Alternate Playlist Timebases
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.
.
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
(ticks)
Timebase selector
(samples)
Track Timebase selector on a track with a Medium
height
Timebase selector and pop-up menu
Timebase selector
(ticks)
Timebase selector
(samples)
Track Timebase selector on a track with a Small height
– or –
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.
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Audio Region Location
In tick-based audio tracks, the location of an audio region is determined by the region’s start
point, unless the region contains a sync point.
If the region contains a sync point, the sync
point determines where the audio region is
fixed to the grid.
Marker Location
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 429.
Sample Rounding and Edit Operations
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.
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).
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Playlists
The ability to create playlists is one of the most
powerful features of Pro Tools, and one reason
why it is infinitely more versatile than traditional multitrack recorders.
Each track maintains a “main” playlist and any
number of “alternate” edit playlists.
Edit playlists let you take a snapshot of a track’s
current arrangement of regions, thereby freeing
you to experiment with alternate arrangements,
returning as necessary to previously saved playlists.
A playlist, which can consist of a single region or
many regions, can only be assigned to a track if
it is not in use by another track. 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 27, “Automation.”
Working with Playlists
When you create a new track, it contains a single, empty playlist until you record, import, or
drag and drop material to it.
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 playlists for recording or importing audio and MIDI. This can be useful for
creating alternate takes of audio or MIDI, or for
constructing alternate arrangements.
To create a new (empty) playlist:
1 Click the track’s Playlist selector and choose
New.
2 Enter a name for the new playlist and click
OK. An empty playlist with the specified name
appears in the track.
Playlist selector
Duplicating a Playlist
Assigning a Playlist to Another Track
When you edit a track, you can work with a
copy of the track's playlist and keep the original
playlist arrangement intact.
By default, a playlist is typically available only
for the track on which it was created. However,
using the Other Playlists feature, you can assign
an unassigned playlist to any track. 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.
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
OK.
The duplicated playlist appears in the track and
the track’s name is changed to the name of the
new playlist.
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.
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To assign a track playlist:
■ Click the track’s Playlist selector and do one of
the following:
• Select one of the track’s playlists.
– or –
• Select a playlist from a different track by
clicking the Other Playlists submenu, and
selecting the desired playlist.
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 delete one or more playlists from a track:
1 Click the track’s Playlist selector and choose
Delete Unused.
2 Select the unassigned playlists you want to de-
lete. Shift-click to select multiple playlists.
3 Click OK to delete the selected playlists. This
operation cannot be undone.
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.
Renaming a Playlist
You can rename a playlist by renaming the track
to which it is assigned.
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.
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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
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 will be synchronized with the
original tracks.
“Empty” playlists will be automatically created
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 126.
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).
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.
6 Increment all the playlists by clicking the
To undo the last operation, do one of the following:
Playlist selector in one of the tracks in the group
and choosing New.
■
Choose Edit > Undo.
– or –
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.)
■ 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.
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.
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).
If no actions are available to redo, the menu
displays Can’t Redo.
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Undo History Window
To toggle display of creation times in the 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.
■ Click the Options pop-up menu and choose
Show Creation Times.
To undo all the operations in the Undo Queue:
■ Click the Options pop-up menu and choose
Undo All.
Options selector
To redo all the operations in the Redo Queue:
Undoable
operations
Redoable
operations
■ Click the Options pop-up menu and choose
Redo All.
To clear the Undo Queue
■ Click the Options pop-up menu and choose
Clear 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:
■ Click the operation (bold) you wish to undo
in the list.
All operations in the queue that were performed
after the operation you select will also be 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:
Click the operation (italics) you wish to redo
in the list.
■
The operation you choose, as well as all the operations in the queue before it, will be redone.
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Other operations that will 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 will remove 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.
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.
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.
To access the Region List pop-up menu:
■ In the Edit window, click the Region List popup menu.
Drag to resize width
of Region List
Click for pop-up menu
Keyboard Focus
2 Click in the Levels of Undo field and enter a
value of between 1–32.
Levels of Undo preference
3 Click OK to close the Preferences dialog.
The Region List
The Edit Window displays all audio regions,
MIDI regions, and region groups in a single,
comprehensive Region List.
Click Show/Hide Region List button to hide Region List
Figure 10. 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.
Region List menu
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.
Region List menu
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Displaying Regions in the Region List
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.
Scene and Take Displays the scene and take 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 10 on page 275).
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 57).
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.
Disk Name Displays the name of the hard drive
on which referenced file resides.
Full Path Displays the full directory path of the
region’s parent file.
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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.
For details on displaying audio file information using DigiBase, see the DigiBase Guide.
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.
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:
To sort regions in the Region List:
• Click the Region List pop-up menu and
choose Find.
1 Click the Region List pop-up menu (at the top
of the Region List) and choose Sort By.
– or –
2 Select a basis for sorting from the submenu:
• Press Control+Shift+F (Windows) or Command+Shift+F (Mac).
• Region Type (audio regions, region groups,
MIDI regions)
• Name
• Length
• Original Time Stamp
• User Time Stamp
• Time Base
• 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
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):
Find Regions dialog
2 In the Find Regions dialog, do any of the fol-
lowing:
• Select By Name and type the name, or any
portion of the name, for regions you want
to find. The search string appears at the top
of the Region List.
• 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.
• Ascending
• Descending
Found Regions in the Region List
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3 Click OK.
Regions of any type whose name match the
word or phrase you searched are displayed in
the Region List. The search string is displayed at
the top of the Region List in brackets.
3 Click and hold the double arrow to the right
of the text field in the Find dialog and choose
Insert Entry from the pop-up menu.
Text entered into the Find dialog is saved in a
Find History, letting you quickly repeat previous
searches with a minimum of retyping.
Region List while searching
To repeat a previous search:
4 Type another entry and choose Insert Entry
1 Click the Region List pop-up menu, and
again to add additional search strings to the history.
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.
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.
To clear the Find History:
An example of a Find history
■ Choose Remove All Entries from the Find History pop-up menu.
The Find History is saved with the session.
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.
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.
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To select a range of regions in the Region List, do
one of the following:
To select or deselect non-contiguous regions, 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.
■ 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
– or –
Click the name of a region in the Region List,
and Shift-click an additional region name.
■
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.
To enable and use the Region List Keyboard Focus:
All regions that occur between the first region
selected and the additional region will also be
selected.
1 Click the Keyboard Focus button in the upper
right of the Region List.
Click to enable
or disable
Keyboard Focus
To select or deselect a range of regions with the
Marquee:
1 Move the cursor to the left of the region name
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 non-contiguous regions
in the Region List, press and hold Control
(Windows) or Command (Mac) when making subsequent selections.
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.
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.
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Auditioning Regions in the Region List
In the Region List, you can audition regions by
double-clicking on 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.
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)
To expand or collapse all stereo and multichannel
regions:
■ Press Alt (Windows) or Option (Mac) while
clicking the expand/collapse triangle.
Individual items of an expanded-view stereo or
multichannel region can be selected independently of the other associated regions in the Region List.
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Rules for Stereo and Multichannel
Regions
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.
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.
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 individual
MIDI notes), how commands like Copy and
Paste function, and also how the various Edit
tools (Trim, Selector, Grabber, and Pencil tools)
work.
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 the adjacent 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.
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.
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When Spot mode is enabled, Pro Tools asks you
to specify a destination location when a region
is dragged from the Region List, or from a supported DigiBase browser.
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.
For more information on Relative Grid
mode, see “Sliding Regions in Grid Mode”
on page 342.
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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 348) and Separated Region At Grid command (see “Separate Region Commands” on page 328).
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
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.
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
Zoomer Tool Use the Zoomer tool to select a
zoom view in a track.
Zoom Toggle Use the Zoom Toggle to switch between the current zoom view and a defined
zoom view.
Trim Tools Use the Trim tools to trim regions and
region groups.
Selector Tool Use the Selector to make selections
on tracks.
Grabber Tools Use the Grabber tools to select,
separate, or move regions on tracks.
Turning on Grid lines from a Timebase ruler
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.
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Pencil Tool Use the Pencil tool to draw automation and MIDI data.
Press the Escape key to toggle through the
Edit tools.
Using the Zoomer Tools
Zooming options in Pro Tools include Zoom
buttons, the Zoomer tool, the Zoom Preset buttons, and the Zoom Toggle command.
Zoom Buttons
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.
Pro Tools include different Zoom buttons for
zooming on track data.
Horizontal Zoom In and Out Buttons
Audio and MIDI Zoom buttons
The Horizontal Zoom In and Out buttons let
you zoom in and out horizontally on track data.
To zoom in vertically for all audio tracks, do one of
the following:
■
Horizontal
Zoom Out
button
Horizontal Zoom
In button
(selected)
Horizontal Zoom In button
To zoom in horizontally for all tracks, do one of the
following:
■
Click the Horizontal Zoom In button.
■ Press Control+] (Windows) or Command+]
(Mac).
Click and drag on the Horizontal Zoom In
button to zoom in continuously.
■
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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.
■ Press Control+Alt+[ (Windows) or press Command+Option+[ (Mac).
■ Click and drag on the Audio Zoom Out button to zoom continuously.
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 –
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.
Press Control+Shift+[ (Windows) or Command+Shift+[ (Mac).
◆ In Normal Zoom mode, the Zoomer tool remains selected after zooming.
To zoom in or out vertically for a single MIDI or
Instrument track:
◆ In Single Zoom mode, the previously selected
Edit tool is automatically reselected after zooming.
■
1 Make sure the Track View is not set to Regions
View.
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:
■
2 Click once with the Zoomer tool at the point
within the track. All tracks are zoomed in by one
level and the Edit window is centered around
the zoomed point.
Press Alt+F (Windows) or Option+F (Mac).
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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.
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.
286
2 Do one of the following:
Pro Tools Reference Guide
• Drag to zoom in around a particular ruler
range.
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.
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.
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 Toggle
The Zoom Toggle lets you define and toggle between zoom states directly from the Edit window, with enough flexibility and control to provide separate track views for audio (audio,
Auxiliary Input, and Master Fader tracks) and
MIDI (MIDI and Instrument tracks).
To store a zoom state using Zoom Toggle:
1 Make an Edit selection.
2 Click the Zoom Toggle button. It will light to
indicate that Zoom Toggle is enabled.
Zoom Toggle Parameters
Zoom Toggle button
The Zoom Toggle stores and recalls the following parameters:
• Track Height
• Edit Window View
• MIDI and Audio Zoom In or Out
• Grid setting
The Zoom Toggle lets you have separate track
heights for track views for audio (audio, Auxiliary Input, and Master Fader tracks) and MIDI
(MIDI and Instrument tracks).
Zoom Toggle button in the Edit window
3 Adjust Track Height, Vertical Zoom, Track
View, and the Grid as desired.
4 Click the lit (enabled) Zoom Toggle button
again to revert to the last zoom state.
5 Make another Edit selection and click the
Zoom Toggle button to recall the stored zoom
state and continue editing.
In Commands Keyboard Focus mode, press
the E key to enable or disable Zoom Toggle.
Using Zoom Toggle
To modify the stored Zoom Toggle state:
The Zoom Toggle button in the Edit window lets
you define a zoom state and toggle between it
and the current zoom state. When Zoom Toggle
is enabled, the Edit window displays the stored
zoom state. 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.
1 Make sure the Zoom Toggle button is lit (en-
abled).
2 Adjust Track Height, Vertical Zoom, Track
View, and the Grid as desired. As you adjust settings they are stored as the new Zoom Toggle
state.
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.
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To use Zoom Toggle without changing playlist
views:
1 Make a selection on one or more tracks.
2 Do one of the following:
• Press Alt+Start+E (Windows) or Option+Control+E (Mac).
– or –
• With Commands Keyboard Focus enabled,
press Alt+E (Windows) or Option+E (Mac).
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)
Trimming tools are constrained by boundary regions, regardless of the current Edit mode, as follows:
• Trimming towards the left is constrained
by the adjacent region’s left-most boundary (region start).
• Trimming towards the right is constrained
by the region’s right-most boundary (region end).
Using the Zoom Toggle
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 zoom in and out horizontally in the Edit window:
1 Place the mouse over the tracks in the Edit
window.
2 Alt-scroll (Windows) or Option-scroll (Mac)
the scroll wheel up or down to zoom in or out
horizontally.
To zoom in and out vertically in the Edit window:
1 Place the mouse over the tracks in the Edit
window.
2 Alt-Shift-scroll (Windows) or Option-Shift-
• The Trim tool provides special functions
when used on looped regions and region
groups. For more information, see “Region
Groups” on page 362 and “Region Looping” on page 370.
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
doesn’t 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.
scroll (Mac) the scroll wheel up or down to
zoom tracks in or out vertically.
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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 280 for more information.
The Trim tool can also be used to lengthen
and shorten MIDI notes (see “Trimming
Note Start and End Times” on page 467),
and also to scale automation and controller
data up or down “Drawing Automation” on
page 605.
To trim a region with Trim tool:
1 Select the Trim tool. With Pro Tools HD, click
the Trim tool pop-up menu and select “Standard.”
When using Shuffle mode, adjacent 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
2 Move the cursor near the start or end of the re-
gion, so the Trim tool appears.
Trim tool
To reverse the direction of the Trim tool, press
Alt (Windows) or Option (Mac).
3 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 adjacent regions.
When trimming regions in a stereo or multichannel track, all channels are trimmed.
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Time Compression/Expansion Trim tool over a region
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 323.
Time Compression/Expansion Plug-in
Preferences
To use the Time Compression/Expansion Trim tool
in Grid mode:
You can select settings for the Time Compression/Expansion AudioSuite plug-in by choosing
from the Default Settings pop-up list in the Processing Preferences page, under “TC/E.” The settings available are presets included with
Pro Tools; in addition, if you save your own presets for the Time Compression/Expansion plugin, they will also appear here.
1 Set the Edit mode to Grid.
TC/E Preferences
Refer to the DigiRack Plug-ins Guide for
more information about AudioSuite plugins.
Using the Time Compression/Expansion Trim
Tool in Grid Mode
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.
Trimming regions while in Relative Grid
mode will trim the regions in grid increments while maintaining their relative offset (if any) from the grid.
2 Click the Trim tool pop-up menu and select
“TCE.”
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.
Using the Time Compression/Expansion Tool in
Slip Mode
To use the Time Compression/Expansion tool in
Slip mode:
1 Set the Edit mode to Slip.
2 Click the Trim tool pop-up menu and select
“TEC.”
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.
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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.
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.
The Scrub Trim Tool
(Pro Tools HD Only)
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.
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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.
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 Scrub Trim tool. The tool changes to
a speaker with a bracket.
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.
Using the Selector Tool
Use the Selector tool to place the edit cursor in a
track or Timebase ruler, or to make Edit selections on tracks. For more information on selecting, see “Selecting Track Material” on page 310.
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.
Placing the Edit Cursor
2 Triple-click the desired track.
To place the edit cursor 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.
Using the Grabber Tools
Use the Grabber tools to select, move, separate,
and arrange regions on tracks. There are three
modes for the Grabber tool: Time Grabber, Separation Grabber, and Object Grabber.
Time Grabber Selects an entire region on a track
with a single click. For more information on selecting, see “Selecting Track Material” on
page 310.
Placing the edit cursor with the Selector tool
Making an Edit Selection with the
Selector Tool
To make a selection with the Selector tool:
1 Select the Selector tool in the Edit window.
2 Click and drag in a track, across multiple
Time Grabber tool
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 329.
tracks, or on Timebase ruler.
Separation Grabber tool
Object Grabber Lets you select multiple, non-adjacent regions. For more information, see “Object Selections” on page 312.
Making a selection with the Selector tool
Object Grabber tool
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To select one of the Grabber tools:
1 Click and hold the Grabber tool in the Edit
window.
The Smart Tool in Waveform View (or
MIDI Track Regions View)
Fade-In
2 From the Grabber tool pop-up menu, select
Selector tool
Fade-Out
the desired Grabber tool.
Trim
tool
(start)
Trim tool
(end)
Grabber tool
Crossfade
Smart Tool in Waveform View
Selecting a 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.
Smart Tool in Edit window
To select the Smart Tool, click its icon in the upper left of the Edit window, or press F6+F7 (or
F7+F8) simultaneously.
The following capabilities are available with the
Smart Tool when working with audio tracks in
Waveform or Blocks View, or MIDI 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.
◆ 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
the Start key (Windows) or Control (Mac),
or Right-click the mouse.
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The Smart Tool in Notes View
Selector tool
Trim region start
Grabber tool
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:
Trim region 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.
◆ 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.
◆ For Grabber tools, Control (Windows) or
Command (Mac) for the Grabber tool, then
click in on the automation line to create breakpoints
◆
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).
For the Trim tools, position the cursor near
the note’s start or end point.
◆
To temporarily switch the Smart Tool to the
Eraser, place the cursor over the region so
that the Selector tool is enabled, then press
Start+Alt (Windows) or Control+Option
(Mac).
To edit existing breakpoints, move the cursor
near a breakpoint for the Grabber tool.
For fine control with the Grabber tool, press
Control (Windows) or Command (Mac)— or
continue to hold the key if you are creating a
new breakpoint.
To vertically constrain Grabber tool movement,
press Shift.
To vertically constrain Grabber tool movement
with fine control, press Control+Shift (Windows) or Command+Shift (Mac).
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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.
The 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, 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 the sake of
performing splices).
Scrubbing an audio track with the Scrubber
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 over an edit point in Pro Tools, you
can listen and zero in on the exact edit point for
which you're looking.
The resolution for the Scrubber is dependent
upon the zoom factor for the scrubbed track.
When the Operation preference for “Edit Insertion Follows Scrub/Shuttle” is enabled, the edit
cursor automatically locates to the point where
scrubbing stops.
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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The distance and speed with which you drag
(with either the mouse, or an external MIDI
controller wheel) 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.
You can temporarily switch the Selector tool
to the Scrubber tool by Right-clicking (Windows) or Control-clicking (Mac). For finer
resolution, Control-Right-click (Windows)
or Command-Control-click (Mac).
To scrub multiple audio tracks, do one of the
following:
With the Scrubber selected, drag between two
adjacent tracks.
■
Scrubbing between two audio tracks
– or –
Scrub within a selection that contains multiple tracks. Only the first two tracks are heard.
■
The maximum number of channels
scrubbed in Pro Tools is eight, which lets
you scrub two stereo tracks (four channels),
but not two 5.1 surround tracks (12 channels).
Shuttle Lock Mode
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 63).
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
Scrub/Shuttle Mode
(Mac) and a number on the numeric keypad:
0–9 (9 is fastest, 5 is normal speed, and 0 stops
shuttling).
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.
Once Shuttle Lock mode is initiated, Fast Forward and Rewind become highlighted in the
Transport window.
To scrub in Shuttle mode (at several times normal
speed):
1 Select the Scrubber tool.
4 Press additional keys to change the playback
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
2 While pressing Alt (Windows) or Option
Control+0 (Mac).
(Mac), drag within the track—left for reverse,
right for forward. The Fast Forward and Rewind
buttons in the Transport window engage.
To exit Shuttle Lock mode, do one of the following:
■
The distance and speed dragged determine the
speed for the scrubbed audio.
Press Stop in the Transport window.
– or –
■
Press the Spacebar.
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Custom Shuttle Lock Speed
Numeric Keypad Set to Shuttle
Use the Custom Shuttle Lock Speed preference
to customize the highest fast-for-ward Shuttle
Lock speed (key 9) to better match your editing
and auditioning needs.
(Pro Tools HD Only)
To configure Custom Shuttle Lock Speed:
1 In Pro Tools, select Setup > Preferences and
click the Operation tab.
2 Be sure that the Numeric Keypad mode is set
to Transport or Classic (see “Operation Preferences” on page 63).
3 Enter a desired percentage for the Custom
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.
4 Click OK.
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.
To shuttle with the Numeric Keypad mode set to
Shuttle:
1 Choose Setup > Preferences and click the Op-
eration tab.
2 Set the Numeric Keypad mode to Shuttle and
click OK.
3 With the Selector tool, click in the track where
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.
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
key combinations) on the numeric keypad to
trigger playback.
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 automation, MIDI
data, tempo changes, and audio waveforms (at
the sample level).
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
For information on drawing automation,
see “Drawing Automation” on page 605.
For information on drawing MIDI data, see
“The Pencil Tool” on page 462.
For information on drawing tempo changes,
see “Editing Tempo Events in the Tempo
Editor” on page 404.
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:
■
Choose Window > Universe.
highlighted material
For information on drawing on the audio
waveform, see “Waveform Repair with the
Pencil Tool” on page 361.
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 tracks containing note material 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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Highlighted Material in the Universe
Window
The highlighted, shaded area in the Universe
window represents the material displayed in the
Edit window. If you change what’s displayed in
the Edit window—by zooming, scrolling horizontally or vertically, hiding or unhiding tracks,
or changing track heights—the highlighted area
in the Universe window updates.
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.
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.
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.
Video Universe Window
The Universe window also provides a 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 666.
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Chapter 16: 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 308).
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 307 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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301
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 Fol-
lows Playback,” then click OK.
Pressing Start+N (Windows) or Control+N
(Mac) toggles Timeline Insertion 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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Pro Tools Reference Guide
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 304).
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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303
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 303.)
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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305
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 will appear 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 will appear 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 308.
Center Playhead (Pro Tools HD Only) See “Center Playhead Scrolling” on page 308
Making a selection in the Timeline or a
playlist, or manually scrolling the Timeline
while in Page Scroll or Continuous Scroll
mode will suspend 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 306).
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307
Continuous Scrolling During Playback
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
This scrolling option causes the Edit window’s
contents to 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 324.
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)
This scrolling option causes the Edit window’s
contents to 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 305),
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.
■
– 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).
■
Figure 11. 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.
Playback/Edit Markers
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 11 illustrates another reason you’d 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 selected for editing
purposes. During playback, the Edit selection
can be nudged, quantized, or transposed while
the loop plays back completely independent
and uninterrupted.
Timeline selections are displayed in the Main
Timebase ruler with Playback 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.
Playback 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 12. Edit Markers
If the Timeline and Edit selections are linked,
Edit selections are represented by the blue Playback Markers.
See the following sections for details on working
with Timeline and Edit selections:
• “Selecting Track Material” on page 310
• “Timeline Selections” on page 322
• “Setting Punch/Loop Points” on page 208
• “Setting Pre- and Post-Roll” on page 211
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309
Linking or Unlinking Track and
Edit Selections
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.
To link or unlink Track and Edit selection, do one of
the following:
■ Select or deselect Options > Link Track and
Edit Selection.
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 (Playback 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.
Playback Markers indicating Edit selection
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 308 for details.
– 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).
■
Selections and Edit Groups
When making selections on tracks that are part
of an Edit Group, all tracks within the group become selected.
Selections and Hidden Tracks
Link Track and Edit Selection enabled
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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.
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.
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.
Selecting All from Timebase Rulers
To select all material in all displayed audio and
MIDI tracks:
1 Make sure the Timeline and Edit selections are
linked.
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.
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311
To select all material in all tracks, along with
Conductor events:
1 Make sure the Timeline and Edit selections are
linked.
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, along with 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 Make sure to select Options > Link Timeline
and Edit Selection.
2 With the Selector tool, click somewhere near
the beginning of the track in which you want to
make the selection.
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 will suspend 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 306).
Object Selections
You can use the Object Grabber tool to select
non-contiguous regions on one or more tracks.
Non-contiguous selections must encompass entire regions. If you want a non-contiguous 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 328).
The Object Grabber is not available when
the Edit mode is set to Shuffle or Spot.
To select non-contiguous regions:
3 Click Play in the Transport window to begin
playback.
1 Make sure the Edit mode is set to either Slip or
Grid.
4 When playback reaches the point where you
want the selection to begin, press the Down Arrow key.
2 Click the Grabber tools pop-up menu and se-
lect “Object.”
5 Press the Up Arrow key at the point where you
want the selection to end. The selected range becomes highlighted.
Object Grabber tool
6 To stop playback, click Stop in the Transport
window.
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.
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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.
Non-contiguous selection
Each clicked region becomes 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. The 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 non-contiguous Object selection.
Regions selected as objects
To select regions that were partially selected,
press the Control key 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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313
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 Playback
Marker for the selection’s start or end point.
■
1 Configure the Nudge value. For details, see
“Defining the Nudge Value” on page 345.
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 Playback Marker
■ If the Timeline and Edit selections are unlinked, drag the Edit Markers (see Figure 12 on
page 309) 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
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.
“Defining the Nudge Value” on page 345.
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 Control+Shift (Windows) or pressing Command+Shift (Mac), press Plus (+)
or Minus (–) on the numeric keypad to
move the selection’s end point by the
Nudge value.
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Extending Selections
You can extend selections to region start and
end points, to include an adjacent region, or to
Markers and Memory Locations.
To extend a selection to a region start or end
point:
1 With the Selector tool, select a portion of a 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 Shift+Control+Tab (Windows) or
Shift+Option+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
Shift+Start+Tab (Windows) or Shift+Control+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 Shift+Start+Control+Tab (Windows)
or Shift+Control+Option+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 16: Playing and Selecting Track Material
315
4 Type in the end point for the selection and
press Enter to accept the value.
4 Press Enter again to apply the change.
To add time values:
Numeric Entry Shortcuts for Selection
Indicators
1 In the Edit Selection indicator, highlight the
You can use the following shortcuts for entering
values in the Edit Selection indicators:
2 Press Plus (+) on the numeric keypad.
• Press the Forward Slash (/) key to cycle
through the three Edit Selection indicators.
• 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.
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:
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.
3 Type the amount you want to subtract from
the current time value, then press Enter.
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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+; (Windows) or Control+;
(Mac) to move the selection to the next
track.
■
To extend a selection to an adjacent track:
1 Enable the Commands Keyboard Focus.
Moving and Extending Selections
Between Tracks
With Commands Keyboard Focus enabled, Edit
selections can be moved or extended to adjacent
tracks.
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.
To move a selection to an adjacent track:
– or –
1 Enable the Commands Keyboard Focus by
• Press Shift+semicolon to extend the selection to the next track.
clicking its button in the upper left of the Edit
window.
Commands Keyboard Focus button enabled
2 With the Selector or Time Grabber tool, make
a selection.
In either instance, the original Edit selection remains selected.
With Commands Keyboard Focus disabled,
press Shift+Start+P (Windows) or
Shift+Control+P (Mac) to move the extend
the selection to the previous track, or
Shift+Start+; (Windows) or Shift+Control+;
(Mac) to extend the selection to the next
track.
Chapter 16: Playing and Selecting Track Material
317
To remove the bottom track from a selection:
■ Press Start+Alt+semicolon (Windows) or Control+Option+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 319.)
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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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 Start+Control+Tab (Windows) or
Control+Option+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 Playback 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 the Timeline and Edit selections are unlinked,
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, you can automatically navigate to transients in audio
waveforms, placing the cursor just before the detected transient peak. This allows you to easily
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 at the start of 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 Shift+Control+Tab (Windows)
or Shift+Option+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 16: Playing and Selecting Track Material
319
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 Make sure to select Options > Link Timeline
and Edit Selection.
2 With the Selector or Time Grabber tool, make
a track selection.
3 If you want to use pre-or post-roll, enable and
set the pre- and post-roll amounts. For details,
see “Setting Pre- and Post-Roll” on page 211.
4 Click Play in the Transport window, or press
the Spacebar.
All tracks play for the range of the selection, including pre- and post-roll if enabled.
To play an Edit selection with Link Timeline and
Edit Selection disabled, do one of the following:
Auditioning Pre- 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).
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.
■ On Pro Tools HD, choose Edit > Selection >
Play Edit.
– or –
■ On Pro Tools LE or Pro Tools M-Powered,
choose Edit > Play Edit Selection.
To play a Timeline selection with Link Timeline and
Edit Selection disabled (Pro Tools HD only):
■
320
Choose Edit > Selection > Play Timeline.
Pro Tools Reference Guide
plays start
(for post amount)
plays pre-roll + start
plays end
(for pre amount)
plays end + post-roll
Playback ranges for auditioning start/end points
To audition a selection start point:
To loop playback of a selection:
Press Control+Left Arrow (Windows) or Command+Left Arrow (Mac).
1 Make sure to select Options > Link Timeline
When auditioning the beginning of a selection,
the selection plays from the start point for a duration equal to the post-roll amount.
2 With the Selector tool, select the track range
■
and Edit Selection.
you want to loop.
3 Enable Loop Playback by doing one of the fol-
lowing:
To audition a selection start point with pre-roll:
• Select Options > Loop Playback.
Press Control+Alt+Left Arrow (Windows) or
Command+Option+Left Arrow (Mac).
• Right-click the Play button in the Transport
window and select Loop from the pop-up
menu.
To audition a selection end point:
• Start-click (Windows) or Control-click
(Mac) the Play button in the Transport window.
■
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:
Press Control+Alt+Right Arrow (Windows) or
Command+Option+Right Arrow (Mac).
■
• Press Control+Shift+L (Windows) or Command+Shift+L (Mac).
• With the Numeric Keypad mode set to
Transport, press 4 on the numeric keypad.
When enabled, a loop symbol appears in the
Play button in the Transport window.
Looping Playback
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.
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.
Loop Playback enabled
4 Click Play in the Transport window.
Playback begins from the pre-roll point (if enabled) and continues to the selection’s end
point, where it loops back to the start point.
5 Click Stop in the Transport window to stop
playback.
Loop Playback and Audio Recording
When Loop Playback is enabled, Pro Tools will
not loop when attempting to record audio
tracks with QuickPunch, Destructive Record, or
Nondestructive Record mode.
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321
To loop record audio tracks in Pro Tools, you
must enable Loop Record mode. (See “Loop Recording Audio” on page 204.)
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.
Whether the Timeline and Edit selections are
linked or not, the range indicated by the Playback Markers always determines the range for
playback and recording.
With Pro Tools HD, when the Scrolling option is
set to Center Playhead, it determines where
playback begins. For details, see “Playing Timeline and Edit Selections with the Playhead” on
page 324.
The Timeline selection is indicated in the Main
Timebase ruler by the blue Playback Markers
(red if a track is record-enabled). 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 dragging in a Timebase ruler
with the Selector tool.
To set the Timeline selection by dragging the
Playback 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 Playback
Marker (down arrow) to set the start point.
3 Drag the other Playback Marker (up arrow) to
set the end point.
Dragging a Playback Marker
To make a Timeline selection with the Selector
tool:
1 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
2 Drag with the Selector tool in any Timebase
ruler.
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).
2 Do one of the following:
• In the Transport window, click in the start
field.
– or –
Making a Timeline selection with the Selector tool
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Pro Tools Reference Guide
• 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 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 316.
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 Only and Pro Tools LE with
DV Toolkit 2)
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 71.
1 While pressing Alt (Windows) or Option
To fit an Edit selection to the Timeline:
(Mac), move the cursor over either of the Playback Markers (the Time Grabber appears).
1 Deselect Options > Link Timeline and Edit Se-
2 Drag left or right to move the Timeline selec-
2 With the Selector tool, select the audio mate-
tion back or forward in time, while preserving
its length.
rial to be compressed or expanded.
Timeline Selections to/from Edit
Selections
(Pro Tools HD Only)
When the Timeline and Edit selections are unlinked, you can copy selections between them.
lections.
3 In any Timebase ruler, select the time range
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
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.
■
The TCE Edit to Timeline command can be used
on multichannel selections, and selections
across multiple tracks.
However, 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 16: Playing and Selecting Track Material
323
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 319.)
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.
– or –
• Press Control+Tab (Windows) or Option+Tab (Mac) to move the Playhead back
to the previous region boundary.
Chapter 16: Playing and Selecting Track Material
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Chapter 17: 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 22, “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.
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 397.
Selecting a region portion
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 17: Working with Regions and Selections
327
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 adjacent material.
There are three different Separate Region commands:
At Selection 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:
1 Do one of the following:
• With the Selector tool, drag to select the
material for the new region or regions. The
selection can reside within a single region,
across adjacent regions within the same
track, or across multiple tracks.
– or –
• With the Selector tool, click at the point
within a region, 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).
• Right-click near the cursor position or selection and choose Separate from the popup menu.
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3 If the Editing preference for Auto-Name Sepa-
rated Regions is disabled, enter a name for the
new region when prompted, then click OK.
New regions appear in the tracks in which they
are created, separate from the data surrounding
them. They also appear in the Region List.
To separate regions according to the current grid
resolution:
1 Make the desired Edit selection.
2 Choose Edit > Separate Region > On Grid.
To separate regions at transients:
1 Make the desired 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 Editing preference for “Separate Region Operates On All Related Takes” 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 details
see, “Editing Preferences for Takes” on
page 207.
The Region List can quickly fill up with
auto-created regions. From the Region List
pop-up menu, deselect Show > Auto-Created
to hide all auto-created regions in the Region List.
Separating Multiple Tracks
Figure 13 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.
Separation Grabber Tool
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, drag to select the ma-
terial for the new region or regions. 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 Drag the selection to the new location, or to
another track.
before
after
Figure 13. Separating across multiple tracks
Once separated, this material can be moved or
copied to another location.
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.
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329
To separate a selection without affecting the
original regions:
1 With the Selector tool, drag to select the ma-
terial for the new region or regions. The selection can reside within a single region, across
adjacent regions within the same track, or across
multiple tracks.
Region Overlap and Underlap
When a tick-based audio track has multiple regions, an increase in tempo can cause neighboring regions to overlap. Audio regions can be set
to display a small “dog-ear” corner to indicate
overlapping region boundaries.
Overlap region
2 From the Grabber tools pop-up menu, choose
the Separation Grabber tool.
3 While pressing Alt (Windows) or Option
(Mac), drag the selection to the new location, or
to another track.
Underlap region
Region overlap and underlap
To toggle the display of overlap and underlap
region boundaries:
■
Choose View > Region > Overlap.
Changing Region Overlap/Underlap
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.
After tempo changes 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 –
• 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.
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Trimming Commands
To trim from an end point to insertion:
Pro Tools provides several options for editing region and region group boundaries.
1 With the Selector tool, click inside the region
or note where you want the new end point to
be.
Trim Region to Selection
Command
2 Choose Edit > Trim Region > End To Insertion.
The region’s end point is automatically trimmed
to the insertion point.
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.
To trim unwanted data from a region or note:
1 With the Selector tool, select a portion of a region or note (or a range of notes).
2 Choose Edit > Trim Region > To Selection to
remove material outside of the selection.
Region end trimmed to insertion
Trim to Fill Selection Commands
Trim Region to Insertion
Commands
The Trim to Fill Selection commands let you automatically reveal underlying material in the
gaps between regions, as follow:
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 fill gaps:
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.
1 With the Selector tool, select across at least
one gap between regions.
2 Choose Edit > Trim Region > Start to Fill Selection
2 Choose Edit > Trim Region > Start To Inser-
tion. The region’s start point is automatically
trimmed to the insertion point.
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331
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.
Region start trimmed to fill gap
Trimming with Nudge
To trim from an end point to fill gaps:
1 With the Selector tool, select across at least
You can trim the start and end points of a region
by nudging them.
one gap between regions.
2 Choose Edit > Trim Region > End To Fill Selec-
tion.
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.
To trim a region’s start or end point by the Nudge
value:
1 Configure the Nudge value. For details, see
“Defining the Nudge Value” on page 345.
2 With the Time Grabber tool, select the region
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 280 for details).
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 won’t
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 279.
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 doesn’t
close) and use the Trim tool to expand the remaining region to its original length. For information on using the Trim tool, see “Using the
Trim Tools” on page 289.
■
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 334). 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. For information on placing regions, see “Placing Regions in Tracks” on
page 333.
■
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333
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 340).
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 very 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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335
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 325.
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 Shift+Start (Windows) or
Shift+Control (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. For details, see
“Moving the Playhead” on page 325.
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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 280 for details.
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 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. For details, see
“Moving the Playhead” on page 325.
3 Do one of the following:
• Shift-Start-drag (Windows) or Shift-Control-drag (Mac) a region from the Region
List to another track.
– or –
• If the region is already in the track, ShiftStart-click (Windows) or Shift-Controlclick (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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337
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 will be 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 348), 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 blank 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 281.
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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.”
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.
Moving a selection with the Separation Grabber
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339
2 Do one of the following:
To slip regions:
• Choose Edit > Snap To > Next.
1 Set the Edit mode to Slip by clicking its button
– or –
in the upper left of the Edit window.
• Right-click the region or Edit selection and
choose Snap to Next in the pop-up menu.
2 Drag a region from the Region List to an
The selected region snaps to the following region on the track so that the two regions are
“butt-spliced.”
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.
Spotting Regions
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.
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.
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Spot mode is useful for sessions in which you
want to spot regions to precise locations based
on any of the Time Scales. This can be particularly 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 693.
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.
Each of the fields in the Spot dialog are displayed in the chosen Time Scale.
• If you are using an external SMPTE time
code source, click the down arrow next to
the Current Time Code display—or press
Equal (=) on the numeric keypad—to capture an incoming time code address.
6 Click OK. The region is moved to the new lo-
cation specified for its start, end, or sync point.
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.
To learn more about using SMPTE with
Pro Tools, refer to Chapter 30, “Working with
Synchronization.”
Right-Click Commands for Spotting Regions
You can use Right-click commands with a key
combination to spot regions in a track.
In previous versions of Pro Tools, Rightclicking in a region with the Grabber tool
would spot the region to a selection.
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.
To spot a region to a selection:
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.
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
• 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.
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341
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. For
more information, see “Time Stamping” on
page 694.
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 343 for more information.)
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 Display preference for “Draw Grid in
Edit Window” is enabled, 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.
Time Stamps in DigiBase
Columns are provided in DigiBase browsers for
both the Original and User Time Stamps.
Time Stamps and Matches
Regions with identical User Time Stamps appear
together in the Matches pop-up menu when auditioning takes. For more information, see “Selecting a Different Take from the Matches PopUp Menu” on page 206.
Sliding Regions in Grid Mode
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.
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Defining the Grid Value
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.
To set the Grid value:
1 Do one of the following:
• From the View > Main Counter menu, select the Time Scale you will use 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 that will
define the Grid boundaries.
Absolute and Relative Grid Mode
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:
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.
■ 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. For details, see “Defining the Grid Value” on page 342.
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.
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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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 Set the Edit mode to Slip by clicking its button
in the upper left of the Edit window.
2 Do one of the following:
• With the Selector tool, click at the point in
the region where you want to define 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 dragging. See “Dragging Sync
Points” on page 345.
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:
■
Deselect View > Region > Sync Point.
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.
Sync points
Sync Points
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To enable the display of sync points in audio
regions:
■
Choose View > Region > Sync Point.
Dragging Sync Points
You can 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, set the Edit mode to Grid.
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.
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 606.
Defining the Nudge Value
The Nudge value determines how far regions
and selections are moved when nudging.
Scrubbing a Sync Point
Start and end points for selections can also be
moved by the Nudge value (see “Nudging Selection Start/End Points” on page 314). In addition, regions can be trimmed by the Nudge
value (see “Trimming with Nudge” on
page 332).
To scrub while dragging the sync point:
To set the Nudge value:
1 If you want the sync point to snap to the cur-
1 Do one of the following:
Sync Point Scrub cursor
rent Grid value when you finish scrubbing, set
the Edit mode to Grid.
2 Select the Scrubber tool.
3 Drag the sync point to a new location. The
sync point will scrub the audio as you move it.
• From the View > Main Counter menu, select the Time Scale you will use 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 in the Edit window.
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2 From the Nudge value pop-up menu in the
Edit window, select the Nudge value.
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
To specify a Nudge value not listed in the Nudge
Value pop-up menu, click the Nudge Value indicator and type in the value.
Nudging Regions
To nudge forward or back by the next, larger Nudge
value:
To nudge one or more region:
1 Enable the Commands Keyboard Focus by
1 Configure the Nudge value. For details, see
clicking the Keyboard Focus button in the upper
left of the Edit window.
“Defining the Nudge Value” on page 345.
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.
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.
346
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.
Pro Tools Reference Guide
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 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. For details, see
“Defining the Nudge Value” on page 345.
2 With the Time Grabber tool, select the region
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.
Shift dialog
4 If you want to shift material with greater pre-
cision, select the Use Subframes option.
5 Click OK. The material is shifted back or for-
ward 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 will
not be accidentally moved. 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 they
contain them) precisely align to the nearest Grid
boundary.
To lock a region:
1 With the Time Grabber, select the region or re-
gions to lock. The regions can even reside on
multiple tracks.
2 Choose Region > Lock/Unlock.
To quantize one or more regions:
1 Configure the Grid value. For details, see “Defining the Grid Value” on page 342.
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, all data contained within the
regions (such as notes) are moved equally,
thereby retaining their rhythmic relationships.
To quantize individual MIDI notes, use the
Quantize command in the Event > MIDI submenu (see “Input Quantize” on page 503).
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Locked audio region
A small lock appears in the region, indicating it
has been locked and cannot be moved. 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
Replacing Audio Regions
Choosing the Mute/Unmute Region command
mutes playback of a selected region. Choosing
the command a second time unmutes the region. Regions that are muted become dimmed
to indicate their status.
(Pro Tools HD and Pro Tools LE with
DV Toolkit 2 Only)
You can use the Replace Region function to replace multiple instances of an audio region in a
playlist with another region. Control-Shift-drag
(Windows) or Command-Shift-drag (Mac) from
the Region List onto another region on a track.
Muted audio region (middle)
To mute a region or regions:
1 With the Time Grabber, select the region or re-
gions you want to mute. The regions can even
reside on multiple tracks.
2 Choose Region > Mute/Unmute. The selected
regions become dimmed, indicating they are
muted.
To unmute a region, select it and choose Region
> Mute/Unmute.
Replace Region dialog
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.
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349
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.
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.
The Replace Region function only works on a selection that includes a single region on one
track. The function is not available when the
playlist selection includes the start points for
two or more regions. Also, if the selection is
across several tracks, only the selection in the
first (top) track is used.
To replace regions:
5 If you are replacing multiple regions, select
whether to apply the replacement to the current
track, all tracks, or within the selection.
6 Select whether to fit the replacement regions
to the current selection, the entire region, or the
entire replacement region regardless of the destination length.
7 When you have set all the options, click OK.
Replace Regions with Drag and Drop
Use the key modifiers Control+Shift on Windows, or Command+Shift on Mac, while dragging any region from the Region List to any unselected region on a track to open the Replace
Region dialog without having to make a selection first.
Selecting 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.
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 Do one of the following:
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, as explained in the
following instructions.
By default, selecting a region in a track selects the same region in the Region List. If
this preference is turned off on your system,
the following instructions are not necessary.
• If you want to replace only the original region, select Replace Original Region.
To access the Replace Regions dialog:
– or –
1 Select a region in a track. This is the region
• If you want to replace multiple regions, select Replace All Instances of the Original or
Replace All Regions That Match Original.
that will be replaced.
4 If you selected Replace All Regions That Match
Original, set the Match criteria (Start Position,
End Position, and Name).
2 Control-click (Windows) or Command-click
(Mac) the desired replacement region in the Region List to select it. (The Control key is required
if the preference setting Region List Selection
Follows Track Selection is at its default, enabled
setting).
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3 Choose Replace Regions from the Region List
pop-up menu.
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 format.
For example, you can replace a stereo region, selected in a stereo audio track, with another stereo region from the Region List. But you cannot
replace it with two mono audio regions.
In addition, replacing regions in multiple mono
tracks with multichannel regions is not supported.
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 –
• With the Selector tool, Control-click (Windows) or Command-click (Mac) the selection you want to replace.
The Matches pop-up menu appears, displaying
matching alternate channels under the Channels header. (This pop-up menu also displays
any available alternate takes under the Alternates header.)
3 From the Matches pop-up menu, select the
name of the alternate region that you want to
use to replace the original region.
Choosing an Alternate
Channel for a Specific Region
(Pro Tools HD Only)
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.
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.
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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
Edit Commands
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:
Pro Tools provides many standard edit commands—such as cut, copy, and paste—and also
many specialized edit commands that are optimized for audio and MIDI production—such as
Repeat Paste to Fill.
• 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.
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:
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 357).
You can cut, copy, and paste discontiguous
regions by selecting them with the Object
Grabber tool.
• 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
• Alternate channel Tape name matches current channel Sound Roll name
For detailed information on working with
multichannel recordings made with field recorders, see the Field Recorder Workflow
Guide.
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.
Audio waveform data
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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).
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.
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.
Cut and Copy Commands
Use the Cut command to place the selection on
the Clipboard while also removing it from the
track.
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 cut or copy a selection or region:
1 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
Automation data (breakpoint-type data)
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 current 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.
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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 Do one of the following:
• Drag with the Selector tool in the track to
select the material you want to cut or copy.
– or –
• Use the Time Grabber tool to select one or
more regions (or a group of MIDI notes).
4 Do one of the following:
• Choose Edit > Cut to remove the selection
and place it on the Clipboard.
– or –
• Choose Edit > Copy to place the selection
on the Clipboard, without removing it.
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.
2 Do one of the following:
• With the Selector tool, click in a track at
the point where you want to paste the material. Press Tab to move the insertion point
forward to region start and end times; to
move back, press Control+Tab (Windows)
or Option+Tab (Mac).
– or –
• Use the Selector or Time Grabber tool to
make a selection where the material will be
placed.
3 Choose Edit > Paste.
When working in Shuffle mode, adjacent regions are slid over, as necessary, to fill blank
spaces.
Deleting Underlying Region Data
When removing a region or selection, you can
choose to remove or keep the underlying region
data.
To delete a region or selection along with the
underlying region data:
■
Choose Edit > Cut.
To delete a region or selection without removing
the underlying region data:
■
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 with the paste.
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 details, see
“Merge” on page 356.
Choose Edit > Clear.
Paste Command
Use the Paste command to place the Clipboard’s
contents at the Edit insertion point, overwriting
any material already there.
With Pro Tools HD, the Fill Paste command can be used to fill a selection with the
contents of the Clipboard. For details, see
“Repeat To Fill Selection” on page 357.
Clear Command
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.
Use the Clear command to remove a selection
from a track without placing it on the Clipboard.
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To clear a selection or region:
Cut Special
1 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
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:
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 Do one of the following:
• Drag with the Selector tool in the track to
select the material you want to clear.
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.
Copy Special
– or –
• Use the Time Grabber tool to select one or
more regions (or a group of MIDI notes).
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,
adjacent regions are slid over, as necessary, to
fill the blank space.
Special Cut, Copy, Paste, and
Clear Commands
Use the four “special” Edit menu commands
(Cut Special, Copy Special, Paste Special, and
Clear Special) for editing automation playlists
(volume, pan, mute, and plug-in automation)
on audio, Auxiliary Input, Master Fader, VCA
Master, and Instrument tracks. These commands can also be used for MIDI controller data
on MIDI and Instrument tracks.
You cannot paste MIDI controller data to
automation data nor automation to MIDI.
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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.
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.
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 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.
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 loop), 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 atmosphere
or room noise region), the remaining selection
area is filled with an automatically trimmed version of the original selection.
To fill a selection with Repeat to Fill Selection:
1 Select the audio or MIDI region you want to
copy and choose Edit > Copy.
Clear Special
2 Select the area you want to fill using the Selec-
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.
tor tool and choose Edit > Paste Special > Repeat
to Fill Selection.
3 Do one of the following:
• If pasting audio regions to larger areas, the
Batch Fades dialog opens. Configure the dialog to insert crossfades between each
pasted region, then click OK.
– or –
Plug-in Automation Clears only plug-in automation that is shown.
For more information on working with automation data, see Chapter 27, “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 an audio or MIDI region,
• 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 instance, if any of the selected tracks are set
to their master view (see “Master Views for
Tracks” on page 257), edits affect not only audio
and MIDI for the selected tracks, but all automation and controller data as well.
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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.
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.
For details on selecting data on multiple
tracks, see “Selecting Across Multiple
Tracks” on page 316.
To make more than one copy of a selection, use
the Repeat command (see “Repeat Command”
on page 359).
When copying only automation or controller
data for selected tracks, press the Start key (Windows) or Control (Mac) to copy all types of automation on all selected tracks.
As with the Copy and Paste commands, certain
rules apply when duplicating material on multiple tracks. For details, see “Editing Across Multiple Tracks” on page 357.
To paste to multiple tracks, place the insertion
point in each of the destination tracks by Shiftclicking in them—or to select all tracks, AltShift-click (Windows) or Option-Shift-click
(Mac) in a track, or make a selection in one of
the Timebase rulers.
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.
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To duplicate 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.
2 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
3 Do one of the following:
• Drag with the Selector tool in the track to
select the material you want to duplicate.
– or –
• Click in the track and enter the start and
end points for the selection in the Event
Edit area.
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 are slid 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).
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
will have the correct number of samples and will
be placed accordingly.
To repeatedly paste copied data until it completely fills a selection, see “Repeat To Fill Selection” on page 357.
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.
2 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
3 Do one of the following:
• Drag with the Selector tool in the track to
select the material you want to repeat.
– or –
• Click in the track and enter the start and
end points for the selection in the Event
Edit area.
4 Choose Edit > Repeat. In the Repeat dialog,
enter the number of times you want the material to repeat, then click OK.
Duplicating VCA Slave Tracks
Duplicating a VCA slave track without duplicating its group assignments will coalesce any automation the duplicate track. The coalesced duplicate plays back exactly as if it were in the VCA
group.
Repeat Command
The Repeat command is similar to Duplicate,
but allows you to 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. For details, see “Editing Across Multiple
Tracks” on page 357.
Repeat dialog
The material is placed immediately after the selection’s end point, and duplicated by the number of times specified.
In Shuffle mode, the repeated data is placed directly after the end of the selection. Regions occurring after it are slid to accommodate the repeated material. In Slip mode, the repeated
material overlaps any adjacent data.
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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 channel in the track.
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; multichannel plug-in assignments are
not assigned in the new tracks.
Dragging Regions to and from Stereo
and Multichannel Tracks
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.
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 the track you want to split by clicking
its name in the Mix or Edit window. To split
multiple tracks, Shift-click additional tracks.
2 Choose Track > Split into Mono. Regions from
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.
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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.
◆ 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.
Processing Audio with
AudioSuite Plug-ins
The AudioSuite plug-ins included with your
Pro Tools system can be used to process and
modify an audio region or entire audio file. You
may do this in order to apply a specific AudioSuite process, such as Normalization or DC Offset Removal, that you know you will always
want applied to the audio.
Refer to the DigiRack Plug-ins Guide for
more information about AudioSuite plugins.
Waveform Repair with the
Pencil Tool
The Pencil tool allows you to 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.
To make a copy of an audio region:
1 Select the source region in the track’s playlist.
2 Choose AudioSuite > Duplicate.
3 In the AudioSuite dialog, make sure that Playlist is enabled as the processing preference, and
that Use In Playlist is enabled.
4 Click the Process button.
The AudioSuite Duplicate plug-in creates a new
audio file that is a duplicate of the original. The
duplicate replaces the original on the track, and
it is automatically named with the region name
and the suffix DUPL.
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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 284), or with Memory Locations (see “Memory Locations and Markers”
on page 428).
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. 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 can be
created on a single or on multiple adjacent audio, MIDI, and Instrument tracks. Region groups
let you “nest” multiple regions into “macro” regions for groove and tempo manipulation, editing, and arranging.
Region groups are essentially containers holding
one or more regions. Region groups can be
placed on tracks alongside standard regions, and
edited using many of the same Pro Tools editing
techniques. Certain edits to a region group will
apply to all regions contained by the region
group, such as Cut or Delete. Other edits only
apply to the boundaries of the region group and
do not affect the underlining regions, such as
Trim.
Region groups are particularly useful for:
• Grouping tick-based audio regions that have
been separated into many small regions, such
as with individual hits of a drum pattern.
Many such small regions can easily be created
with Beat Detective or the Separate Region At
Transients command, or imported as REX or
ACID files.
• Grouping parts and sections to facilitate composition and arranging. For example, grouping the regions of a brass section during the
chorus to copy it to the next chorus.
Region groups are completely independent
of Mix and Edit Groups.
Creating Region Groups
The region group will appear 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 they are
on. Multitrack region groups can include both
sample-based and tick-based tracks.
To create a region group:
1 Select one or more regions on one or more
tracks. (For more information on multitrack region groups, see “Multitrack Region Groups” on
page 364).
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 regions between the first and last selected region on the
track whether they are selected or not.
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 Time or 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 the individual
regions back to their former region group state.
This lets you ungroup a grouped region, edit its
underlying regions in any way desired, and regroup it to continue working on higher-level
composition and arranging.
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.
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 icon
Multitrack region group
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region group, but the separated icon indicates
that the region group displayed is somehow incomplete or separated across nonadjacent
tracks.
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
When changing tempos, region groups on tickbased tracks adjust their length by adjusting the
position of all enclosed regions accordingly.
This is useful for arranging rhythmic material
and for playing back REX and ACID files.
Region group separated by deleting a track
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.
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.
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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.
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
Editing Region Groups
When dragging a region group from a samplebased track to a tick-based track, the length of
the region group will not change. This is because region groups are converted from samples
to ticks after they are moved into tick-based
tracks. The length of the region group will only
change with subsequent tempo changes. If possible, change the local tempo on the tick-based
track to match the tempo of the sample-based
region group before moving a sample-based region group to a tick-based track.
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.
Converting Ticks to Samples
When dragging a region group from a tick-based
track to a sample-based track, the length of the
region group will not change unless it is moved
to another time location with a different tempo.
This is because region groups are converted
from ticks to samples after they are moved into
the sample-based tracks.
Multitrack Region Groups with Sample- and
Tick-based Tracks
Multitrack region groups can include both sample-based and tick-based tracks. Changing the
tempo will separate the region group between
sample-based tracks and tick-based tracks.
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.
Editing Audio Region Groups
Certain audio editing commands create new regions over region groups. To use these commands and maintain the region group, ungroup
the region group, perform the edit, and then regroup the region group.
The following edit commands create new regions over region groups:
• AudioSuite processing of a grouped region results in a new region over the region group.
• 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.
A multitrack region group separated across samplebased and tick-based tracks after changing tempo
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Tabbing to Transients and Region Boundaries
Recording
With Tab to Transients enabled, the Tab key
moves the Location Cursor to transients and region boundaries within a region group.
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.
With Tab to Transients disabled, the Tab key
move the Location Cursor to region group
boundaries only (and the sync point, if present).
For more information, see “Tabbing to
Transients” on page 319.
Trimming Region Groups
Trimming region groups works the same way as
trimming regular regions, regardless of whether
the you are trimming a single-track region
group or a multitrack region group. The exception is the TC/E Trim tool.
Fades and Crossfades on Region
Groups
Region groups can have fades and crossfades
just like regular regions. Fades only apply to audio regions. In addition to crossfading between
region groups, you can also crossfade between
region groups and regular audio regions.
Trimming a region group does not trim the underlying regions. All underlying regions retain
their length and location. This is true for all underlying audio and MIDI regions, and nested region groups. Consequently, if you trim the region group shorter, underlying regions may not
be heard on playback because they are outside
the region boundaries of the trimmed region
group.
The TC/E Trim tool applies only to audio regions, and creates a new region over any region
group.
Two multitrack region groups with crossfades on the
audio tracks, but not on the MIDI track
If you Ungroup after trimming a region group in
(shorter), audio regions falling outside of the
bounds of the current region group are trimmed
to fit and removed.
Ungrouping a region group removes any region group level fades or crossfades. Fades
and crossfades are restored by the Regroup
command.
With region groups on tick-based tracks,
when changing tempo you may need to Ungroup, redo or create new fades, and then
Regroup in order to maintain the desired
fades.
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Importing and Exporting Region
Group Files
2 From the Region List pop-up menu, choose
Export Region Groups. The Export Region
Groups dialog opens.
Pro Tools can export and import the new region
group file format (.rgrp). You can import and export region group files 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
Export Region Groups dialog
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, Sysex, and so
on)
• Track names
3 The Destination Directory defaults to the
auto-created Region Groups folder in the session
folder. You can change the Destination Directory by clicking the Choose button, navigating
to the desired location, and clicking Choose.
Click Reset to reset the Destination Directory to
the default location.
4 Enable one of the following options for resolving duplicate region group file names:
• Prompting for Each Duplicate (default)
• Auto Renaming
• Replacing with New Files
Region group files do not store the following:
• Automation
• Plug-ins
• Track routing
• Tempo and Meter map
• Region List information
To export a region group, excluding its audio files:
5 Click OK.
Exporting Region Groups with Audio Files
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.
1 Select one or more region groups in the Re-
gion List.
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.
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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.
Importing a Region Group
To import a region group:
■ Drag and drop the region group file from a
DigiBase browser or from Windows Explorer or
Mac Finder to the Timeline, a track, the Track
List, or the Region List.
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.
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Region Looping
Audio regions, MIDI regions, and region groups
can all be looped using the Region > Loop and
Unloop menu commands. Looping regions is an
easy and powerful way to repeat a single region
on a track or regions across tracks for composing
and arranging. Looping regions provides more
flexibility than the traditional Pro Tools Repeat
and Duplicate menu 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 will be truncated to fill to the end of the
selection or specified Loop Length.
Once looped, the looped region can be edited
much like a region group. For example, selecting
and moving a looped region selects and moves
the source region and all its loop iterations together.
Looped regions (all iterations) display a Loop
icon in the lower, right corner.
2 Choose Region > Loop. The Region Looping
dialog opens.
Looped region
Source region
Loop iterations
Loop icons
Looped region
Region Looping dialog
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 374).
Creating Looped Regions
To loop a region:
1 Select an audio or MIDI region, or region
group.
3 Do one of the following:
• Select the Number of Loops option and enter the number of times to loop the region.
• Select the Loop Length option and enter
the duration according to the main timebase. If the duration is not an exact multiple of the source loop’s duration, the last
loop iteration will be truncated.
• Select the Loop Until End of Session or
Next Region option. The looped region will
be repeated until the end of the session, or
until the next region on the track. The last
loop iteration will be truncated to fit.
You can also select regions across tracks for
looping.
Selecting and looping more than one region
on a track will loop only the first region in
the selection.
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371
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:
2 Choose Region > Unloop. The Unloop Re-
gions dialog opens.
• Click the Settings button.
• Configure the Loop Crossfades.
• Click OK.
Unloop Regions dialog
3 Do one of the following:
• Click Remove to unloop and remove all
loop iterations except the first full loop iteration.
– or –
• Click Flatten to unloop and create individual regions from each loop iteration.
Region Ungroup functions on loops the
same as using the Unloop command and
choosing Flatten.
Loop Crossfade dialog
5 In the Region Looping dialog, click OK.
To rename the looped region name only (or the
region name and disk file name):
■
Double-click the loop icon with the Grabber.
To unloop a looped region:
1 Select the looped region.
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To unloop and ungroup a selection down to its
individual regions:
1 Select a looped region that contains one or
more region groups.
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.
Editing Looped Regions
Tabbing to Transients and Region Boundaries
Looped regions can be edited as a group or as individual regions. For example, selecting a
looped region with the Grabber tool will select
the entire loop (the source region and all its loop
iterations), but clicking the Loop icon of one of
the loop iterations will select only that one iteration.
Tab to Transients tabs to transients and region
boundaries in a looped region. Normal Tab (Tab
to Transients disabled) tabs to the start and end
boundaries of the entire looped region.
Moving a looped region moves the source region and all its looped aliases together as a
group. Loop iterations cannot be moved independent of their source region. If you move or
paste another shorter region over of a looped region the loop is continued after the new region.
The parts of a separated looped region can be adjusted independently.
Trimming Looped Regions
Trimming looped regions can be done using the
Trim tool, the Loop Trim tool, or one of the
Trim Region commands. The Trim tool trims
the entire looped region. The Loop Trim tool
provides the most unique feature of loop editing
and trims the duration of the individual loop iteration while filling the total length of the
looped region.
To trim a looped region as a group:
To select a looped region as a group, do one of the
following:
With the Grabber tool or Smart Tool, singleclick the looped region.
■
1 Select the Standard or Scrub Trim tool.
2 Trim the start or end of the looped region as
desired.
– or –
With the Selector tool, double-click the
looped region.
■
Trimming a looped region with the Standard Trim tool
The source region and all its loop iteration will
be selected.
To select an individual source region or loop
iteration, do one of the following:
Hold down the Start key on Windows, or
the Control key on Mac, while trimming to
trim in loop iteration increments.
With the Grabber tool or Smart Tool, singleclick the Loop icon of the source region or loop
iteration.
Trimming a loop does not trim any underlying Fades.
■
– or –
With the Selector tool, single click the Looped
Region icon and drag to the left until the region
is selected.
■
The TC/E Trim tool unloops and consolidates the looped region.
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To trim a looped region using the Loop Trim tool:
1 Select the Standard or Scrub Trim tool.
2 Move the cursor over a Loop icon in the
looped region. The cursor changes to the Loop
Trim tool icon.
region. This is a powerful feature that lets you
make quick changes to your arrangement by using partial loops as upbeats, or by extending
looped sound effects or ambience earlier in a
film score.
Automation and Looped Regions
Loop Trim tool
Trimming a loop using the Loop Trim tool
3 Trim the start or end of the loop iteration as
desired.
Looped region trimmed using the Loop Trim tool
The number of repetitions of the trimmed loop
increases or decreases to fill the length of the entire looped region.
To trim a looped region to the selection:
1 Use the Selector tool to make an Edit selection
including some or all of the looped region.
2 Choose Edit > Trim Region and one of the
Trim Region commands (To Selection, To Fill Selection, Start to Fill Selection, End to Fill Selection).
If the source region is extended to the left using
the Trim tool for the total length of the loop, the
source region is moved earlier in the Timeline
and loop iterations fill in up to the point where
the last original loop iteration ended. If the trim
to the left is part of the source region’s length,
the source region is not moved and a partial
loop iteration is created to the left of the source
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Looping an audio region does not loop any automation associated with the source region.
This is useful in that automation can be applied
across an entire looped region. For example, you
may want to have a long fade across part or all of
looped region.
You can also repeat automation on individual
loops. 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 Special and one of the
Copy Special commands (All Automation, Pan
Automation, Plug-in Automation), depending
on what automation you want to copy.
Selected Pan automation for Special Copy
3 Select the looped region.
4 Choose Edit > Paste Special > Repeat to Fill Selection.
Pan automation Special Paste to Fill Selection
Chapter 18: Fades and Crossfades
Using Crossfades
You can quickly and easily crossfade between
two adjacent audio regions. Crossfading is the
process of fading two regions of audio to prevent pops, clicks, or sudden changes in sound.
Crossfades have many applications, from
smoothing transitions between regions to creating special audio effects. The crossfade duration,
position, and shape are all user-definable.
Crossfades are computed and written to disk.
Crossfades that are written to disk are stored in a
folder named “Fade Files” within the session
folder. When you play back your track,
Pro Tools reads and plays back the crossfade file
from disk.
Pro Tools does not allow you to replace fade-ins
and fade-outs with crossfades. To add a crossfade between regions, any existing fade-ins and
fade-outs between the regions must first be deleted.
Pro Tools HD includes an AutoFade feature
that provides real-time fades without processing them to disk. See “Using AutoFades” on page 384.
About Crossfades and Curves
To create a crossfade between two regions, use
the Selector tool to select across the end point of
the first region and the start point of the second.
The length of the selection determines the
length of the crossfade. Though fades may appear to be discrete regions, they cannot actually
be separated from the regions in which they
were created. You can, however, create fade-ins
and fade-outs for individual regions (see “Creating Fades at the Beginnings and Ends of Regions” on page 383).
You can use the Fades dialog to select, view, and
manipulate the curves used to perform the
crossfade. Different volume curves can be assigned to the fade-out and fade-in portions of
crossfades. The Fades dialog can also render a
preview of the fade.
The following examples illustrate common
crossfade types, and explain how the type of selection you make determines the character of
the crossfade.
Since crossfades are created by fading between overlapping audio material, a crossfade cannot be performed on regions that do
not contain audio material beyond their region boundaries.
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Standard Crossfade (Centered)
This crossfade type requires that region 2 contain audio material before its start point.
splice point
region 1
fade out
curve
fade in
curve
Post Crossfade
region 2
border of region 1 and 2
region 1
region 2
crossfade selection
Centered crossfade
This type of selection creates a crossfade on both
sides of the splice point, which affects the volume of region 1 and region 2. It is the most
common type of crossfade.
This crossfade type requires that region 1 contain audio material beyond its end point, and
region 2 contain audio material before its start
point.
Pre Crossfade
border of region 1 and 2
region 1
region 2
selection range extends just up to beginning of region 2
Pre crossfade
This type of selection creates a crossfade before
the splice point. This lets you maintain the volume of the very beginning of region 2 instead of
fading across it, which is useful if there is a
strong attack at the beginning of region 2 that
you want to preserve. When making selections
for crossfades that occur on the border of two regions, you can use the Tab key to move the cursor to the exact beginning or end of a region.
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selection range begins just after end of region 1
Post crossfade
This type of selection creates a crossfade after
the splice point. It is useful if you want to maintain the amplitude of region 1 until its very end.
When making selections for crossfades that occur on the border of two regions, you can use
the Tab key to move the cursor to the exact beginning or end of a region.
This crossfade type requires that region 1 contain audio material beyond its end point.
The Fades Dialog
When choosing the Edit > Fades command you
can use the Fades dialog to select, view, and preview the crossfade, and to edit the curves used
to perform the crossfade.
View Second Track
If you are fading between more than one track
this button allows you to view and preview the
audio of the second pair of adjacent tracks.
View Both Tracks
Click this button to display the waveforms of
the first two adjacent tracks in a multitrack fade.
Fade Curves Only
Click this button to display the specified fade
curves without showing the actual audio waveforms. This is the default view when you open
the Fades dialog.
Fades dialog
Fade Curves and Separate Waveforms
The controls in the Fades dialog include:
Audition
Click this button to display the specified fade
curves along with separate views of the fade-in
and fade-out waveforms.
Click this button to audition your crossfade.
Pro Tools supports crossfade auditioning directly from your audio interface outputs.
View First Track
If you are fading between more than one track,
this button allows you to view and preview the
audio of the first pair of adjacent tracks.
Fade Curves and Superimposed Waveforms
Click this button to display the specified fade
curves along with superimposed views of the
fade-in and fade-out waveforms.
Fade Curves and Summed Waveform
Click this button to display the specified fade
curves along with a single waveform representing the summation of the crossfaded audio.
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377
Zoom In
Click this button to scale the view of the waveform’s amplitude upwards. Control-click (Windows) or Command-click (Mac) for the default
view scale.
Preset Curves Seven commonly used preset
curves are provided for fast crossfade creation.
These can be edited by dragging the end points
of the curve in the curve editor portion of this
dialog. The seven presets are as follows:
◆ Preset Curve 1 keeps region 1 at full volume
throughout the crossfade, then immediately
drops the volume at the end of the crossfade.
Zoom Out
Click this button to scale the view of the waveform’s amplitude downwards. Control-click
(Windows) or Command-click (Mac) for the default view scale.
Preset Curve 1
◆ Preset Curve 2 fades out region 1 relatively
slowly, keeping the volume fairly high throughout the duration of the fade.
Fade Out Shape Setting
Preset Curve 2
◆ Preset Curve 3 fades out region 1 slightly
faster, keeping the volume slightly lower during
the fade.
Fade Out Shape
The Out Shape setting allows you to choose the
shape of the fade-out from region 1.
Standard Selects a single continuous fade curve.
This creates a general-purpose fade that can be
edited by dragging the curve itself.
S-Curve Selects an S-shaped curve, which inverts
its beginning and end characteristics. This
makes it possible to fade out faster at the curve’s
start and slower at its end, for example. S-shaped
curves can be useful with material that is difficult to crossfade effectively. S-curves can be edited by dragging the curve in the curve editor.
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Preset Curve 3
◆ Preset Curve 4 fades out region 1 with a linear
fade. This is the default curve.
Preset Curve 4
◆ Preset Curve 5 fades out region 1 quickly at
the beginning of the crossfade.
Preset Curve 5
Preset Curve 6 drops the volume of region 1
even more quickly at the beginning of the crossfade.
◆
Preset Curve 6
Preset Curve 7 silences region 1 at the beginning of the crossfade.
◆
that can occur when using an Equal Power crossfade. With this fade, you can Alt-click (Windows) or Option-click (Mac) the fade curve to reset it to its default shape.
None Disables linking between the fade-out and
fade-in curves, and lets you freely adjust them
separately, including start and end points. This
option also allows you to create custom crossfade shapes.
Preset Curve 7
Link Settings
Adjusting the end point of a fade curve
Fade Link
The Link setting links the selected fade-out and
fade-in curves. If you adjust one curve, the corresponding curve also adjusts. This ensures that
the resulting crossfade is an equal power or equal
gain crossfade, depending on which you select.
Equal Power Recommended for material that is
not phase coherent, as in the case of a crossfade
between two completely different types of material. Use this option to avoid the volume drop
that can occur with an Equal Gain crossfade.
With this fade, you can Alt-click (Windows) or
Option-click (Mac) the fade curve to reset it to
its default shape.
Equal Gain Recommended for material that is
phase-coherent or nearly phase-coherent, as in
the case of a crossfade between identical regions/instruments (for example, a repeated
drum loop). Use this option to avoid clipping
When Link is set to Equal Power or Equal Gain,
you can edit only the fade-in portion of the
curve, by pressing Alt (Windows) or Option
(Mac) while dragging. To edit only the fade-out
portion of the curve, press Control (Windows)
or Command (Mac) while dragging.
Use Dither
Dither option for Fade
The Use Dither option turns on a preset, noiseshaped dither function that improves audio performance when fading in or fading out of silence, and crossfading between low amplitude
regions. Dithering is usually not necessary when
fading between two regions of high amplitude.
You can disable Dither while editing your crossfades in the Fades dialog to speed up previews
and fade recalculation, then re-enable Dither to
create the final crossfade.
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379
Fade In Shape Settings
◆ Preset Curve 2 fades in region 2 quickly in the
beginning, reaching full amplitude fairly early
in the crossfade.
Preset Curve 2
Fade In Shape
◆ Preset Curve 3 fades in region 2 moderately
fast.
The In Shape setting allows you to choose the
shape of the fade-in to region 2.
Standard Selects a single continuous fade curve.
This creates a general-purpose fade that can be
edited by dragging the curve itself.
S-Curve Selects an S-shaped curve, which inverts
its beginning and end characteristics. This
makes it possible to fade in faster at the start of
the curve, and slower at the end. S-shaped
curves are useful with material that is difficult to
crossfade effectively. S-curves can be edited by
dragging the curve in the curve editor.
Preset Curves Seven commonly used preset
curves are provided for fast crossfade creation.
These can be edited by dragging the end points
of the curve in the curve editor portion of this
dialog. The seven presets are as follows:
◆ Preset Curve 1 fades in region 2 at full volume
immediately at the beginning of the crossfade
and keeps it there throughout the crossfade.
Preset Curve 3
◆ Preset Curve 4 fades in region 2 with a linear
fade curve. This is the default curve.
Preset Curve 4
◆ Preset Curve 5 fades in region 2 slowly at the
beginning of the crossfade.
Preset Curve 5
◆ Preset Curve 6 fades in region 2 even more
slowly than the previous curve.
Preset Curve 6
◆ Preset Curve 7 silences region 2 until the end
of the crossfade.
Preset Curve 1
Preset Curve 7
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Typical Curve Combinations
To set the crossfade preferences:
Following are the available combinations of
fade-out and fade-in curves.
1 Choose Setup > Preferences and click the
Linear Crossfade This is a good general purpose
crossfade with a smooth, even transition between region 1 and region 2.
1-out
Editing tab.
2 Set the Pre-Roll and Post-Roll times for Fade
previews.
2-in
Fade and crossfade preferences
Linear Crossfade
Equal Power Crossfade This is a good general
purpose crossfade useful in cases where a linear
crossfade seems to create a noticeable drop in
volume across the splice point.
3 Click Fade In and set the default shape for
fade-ins, then click OK.
4 Click Fade Out and set the default shape for
fade-outs, then click OK.
5 Click Crossfade and set the default shape for
1-out
2-in
crossfades, then click OK.
6 Click OK.
Equal Power Crossfade
Overlap Fade This combination of curves keeps
both regions at full amplitude throughout the
crossfade: region 2 “jumps in” at the beginning
and region 1 “jumps out” at the end.
1-out
2-in
Overlap Crossfade
Fade and Crossfade Preferences
(Pro Tools HD Only)
You can set default fade and crossfade settings.
These settings load as your “base” settings when
you use the Create Fades command, and the
Fade to Start and Fade to End commands.
Creating a Crossfade
To create a crossfade between two regions:
1 With the Selector tool, click at the point
where you want the crossfade to begin in the
first region and drag to where you want it to end
in the second region. Crossfade selections can
begin and end anywhere in their respective regions.
2 Do one of the following:
• Choose Edit > Fades > Create.
– or –
• Press Control+F (Windows) or Command+F (Mac).
3 Use the view buttons to adjust the view of the
crossfade. It may take a few moments to calculate the waveform display for long selections.
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381
4 Select an Out Shape and an In Shape.
To trim a crossfade:
5 Choose a Linking option.
1 Select the crossfade with the Time Grabber
6 Click the Audition button, or play the session,
to hear the crossfade. For long crossfades, it may
take Pro Tools a few moments to calculate and
load the audio into playback RAM.
7 Do one of the following:
• Adjust the curves by choosing different
preset shapes with the Out Shape and In
Shape pop-up menus.
– or –
• Drag the Fade In/Out curves to a custom
shape. By choosing None as the Linking
option, you can drag the beginning or end
points of a fade curve to adjust its beginning or end point.
tool, or double-click it with the Selector tool.
2 With any of the Trim tools, trim either side of
the crossfade. The crossfade is recalculated to reflect the newly trimmed length.
Crossfades On Tick-Based Audio Tracks
Crossfades are re-rendered after changing tempo
in a tick-based audio track. The new crossfade is
the same length as the crossfade prior to the
tempo change.
If there is not enough audio material to complete the crossfade, or if the new crossfade area
falls outside of valid region boundaries, the
crossfade is removed.
8 Click the Audition button, or play the session,
to hear the crossfade again.
Pre and Post Crossfade Selections
9 When the crossfade is right, click OK. The fade
By making a selection that begins or ends precisely on the border of two regions, you can create “pre” or “post” crossfades. Use the Tab key to
place the insertion point at the exact beginning
or end of a region.
is calculated and written to disk, but the audio
files and regions remain unchanged. Crossfades
are stored in the Fades Folder within the session
folder.
Crossfade lengths can later be resized with
any of the Trim tools.
To remove a crossfade, do one of the following:
■ Select the area of the track containing the
crossfades you want to delete and choose Edit >
Fades > Delete.
■ Select the crossfade with the Time Grabber
tool and press Backspace (Windows) or Delete
(Mac).
■ Right-click the crossfade with any of the edit
tools and select Delete Fades from the pop-up
menu.
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To create a pre- or post-crossfade:
1 With the Selector tool, click in the track that
contains the regions you want to crossfade.
2 Do one of the following:
• Press Tab to move forward to the next region boundary.
– or –
• Press Control+Tab (Windows) or Option+Tab (Mac) to move back to the previous region boundary.
3 Extend the selection as follows:
• Shift-drag to adjust your selection, or press
Shift+Tab to extend the selection forward
to the next region boundary.
– or –
• Press Control+Shift+Tab (Windows) or Option+Shift+Tab (Mac) to extend the selection back to the previous region boundary.
4 Do one of the following:
Creating Fade-Ins and Fade-Outs
Depending on how you make the selection, you
can position a fade-in/out at the exact beginning or end of a region, or position it so it extends into a blank area of the track. The length
of the selection in the region determines the
length of the fade-in/out.
You can also fade to the beginning or end of a
region from an insertion point.
• Choose Edit > Fades > Create.
– or –
• Press Control+F (Windows) or Command+F (Mac).
5 Choose a fade type and click OK.
Creating Fades at the
Beginnings and Ends of
Regions
In addition to crossfades between regions,
Pro Tools lets you create fade-ins and fade-outs
at the beginnings and ends of regions.
With Pro Tools HD, you can also use an automatic fade-in/out option, which applies real
time fade-ins/outs to all regions during playback. These fades are not written to disk, but automatically applied during playback. See “Using
AutoFades” on page 384.
Although fades appear to be discrete regions,
fades cannot be separated from the regions in
which they were created.
When changing tempo in a tick-based audio
track, fade-ins and fade-outs remain with their
parent regions, and are unaffected by changes in
tempo.
To create a fade-in:
1 Select the beginning of the region that you
want to fade in. The selection must extend to
the exact beginning of the region or a blank area
prior to the region in the track.
Selecting the beginning of a region for a fade-in
2 Do one of the following:
• Choose Edit > Fades > Create.
– or –
• Press Control+F (Windows) or Command+F (Mac).
Region with a fade-in
3 Choose the fade-in curve and other settings.
4 Click the Audition button to hear the fade (or
press the Spacebar to start and stop playback).
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383
5 You can adjust the curve by dragging it or by
2 Do one of the following:
choosing a different shape with the In Shape
pop-up menu.
• Choose Edit > Fades > Fade To Start.
6 When you are finished, click OK. Pro Tools
• Press Alt+D (Windows) or Control+D
(Mac).
calculates the fade and writes it to disk. The chosen fade curve appears in the region.
To create a fade-out:
1 Select the end of the region that you want to
fade out. The selection must extend to the exact
end of the region or a blank area after the region
in the track.
– or –
The fade is applied based on the Fade In preferences.
To fade from the insertion point to a region end
point:
1 Place the cursor at a location in the region.
2 Do one of the following:
• Choose Edit > Fades > Fade To End.
– or –
Selecting the end of a region for a fade-out
2 Do one of the following:
• Choose Edit > Fades > Create.
• Press Alt+G (Windows) or Control+G
(Mac).
The fade is applied based on the Fade Out preferences.
– or –
• Press Control+F (Windows) or Command+F (Mac).
3 Choose the fade-out curve and other settings.
(Pro Tools HD Only)
4 Click the Audition button to hear the fade (or
With Pro Tools HD, you can choose to have
Pro Tools automatically apply real-time fade-ins
and fade-outs to all region boundaries in the session. These fade-ins and fade-outs are performed
during playback and do not appear in the Edit
window, and are not written to disk.
press the Spacebar to start and stop playback).
5 You can adjust the curve by dragging it or by
choosing a different shape with the Out Shape
pop-up menu.
6 When you are finished, click OK. Pro Tools
calculates the fade and writes it to disk. The chosen fade curve appears in the region.
Fade lengths can later be resized with any of
the Trim tools.
To fade from the insertion point to a region start
point:
1 Place the cursor at a location in the region.
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Pro Tools Reference Guide
This automatic fade-in/out option also has an
effect on Voice borrowing in a session. Whenever a lower-priority virtual track “pops thru” a
silence in a higher-priority track on the same
voice, a fade-in and fade-out is applied to the
transition.
This feature is especially useful in post production situations such as dialogue tracking. For example, you could assign both a dialogue track
and a “room tone” track with matching background to the same voice. You could then set
the AutoFade option to a moderate length (4 ms
or so) so that whenever a silence occurred in the
dialog, playback would switch smoothly to and
from the background track without clicks or
pops.
Using automatic fade-ins/outs saves you the
trouble of editing to zero-crossings or creating
numerous rendered fades in order to eliminate
clicks or pops in playback. However, since these
autofades are not written to disk, those clicks or
pops still exist in the underlying sound file.
Consequently, those anomalies still appear if
the Duplicate AudioSuite plug-in or the Export
Selected as Sound Files command (from the Region List) are used to duplicate multiple regions
as a continuous file. To render these real-time
auto fades to disk, choose File > Bounce to >
Disk.
Creating Fades and
Crossfades in Batches
In “Batch mode” you can create many fades at
once. You select across several regions and use
the Create Fades command to create crossfades
for each region transition. If your selection includes regions that already have crossfades, this
feature allows you to modify them.
To create crossfades between multiple regions at
once:
1 With the Selector tool, click in the first region
in which you want to create a crossfade.
2 Drag to extend the selection to the last region
you want to crossfade. Make sure that the selection includes the entire region.
Selected regions for Batch Fades
3 Do one of the following:
To set the length of automatic fade-ins/outs:
• Choose Edit > Fades > Create.
1 Choose Setup > Preferences and click the
– or –
Operation tab.
2 Enter a value between 0 and 10 ms for the
Auto Region Fade In/Out Length. A value of zero
(the default) means that no auto-fading will occur.
• Press Control+F (Windows) or Command+F (Mac).
4 Select whether you want to Create New Fades,
Create New Fade-Ins & Outs, Adjust Existing
Fades, or a combination of these options.
3 Click OK. The AutoFade value is saved with
the session, and is automatically applied to all
free-standing region boundaries until you
change it.
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385
If you select to create new fades and new fadeins and outs, new crossfades are created at each
region boundary that is bordered by another selected region, a fade-in is created at the start of
the first region, and a fade-out is created at the
end of the last region.
contributing region. Moving or nudging crossfades changes the overlap point of the contributing regions. Moving or nudging fades is also
constrained by underlying region boundaries.
To move or nudge a fade or cross-fade within its
contributing regions:
1 Select the fade or crossfade by doing one of
the following:
• Use the Time Grabber tool to select the
fade.
– or –
• Use the Selector tool to select a range that
includes the fade.
Selecting a fade with the Time Grabber
2 Move the fade by doing one of the following:
Batch Fades dialog
• Drag the fade with the Time Grabber tool
to a new location on the track.
5 Choose the placement of your Fades. You can
choose Pre-Splice, Centered, or Post-Splice.
– or –
6 Enter a crossfade length in milliseconds.
• Nudge the fade by pressing Plus (+) or Minus (–) on the numeric keypad to move the
fade forward or backward on the track.
7 Click OK. Pro Tools creates the fades for the
selected regions.
Fade lengths can later be resized with any of
the Trim tools.
Moving and Nudging Fades
Dragging the fade with the Time Grabber
Fades can be moved or nudged in tracks, independently of their contributing regions. Moving
or nudging fade-ins or fade-outs reveals or hides
audio as the fade is moved from the edge of a
Result of moved fade
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Moving and Nudging Regions with
Fades
Nudging Regions Adjacent to Fade-Ins
or Fade Outs
When you move or nudge a region selection
that contains a fade-in, fade-out, or crossfade,
the fade moves with the selection. (This is legacy behavior in Pro Tools.)
When you nudge a region selection adjacent to
a fade in or fade out, but do not select the fade,
the adjacent fade stretches or shrinks to maintain the fade start or end point. The amount of
change depends on the amount of audio material outside the fade start or end point.
To move a region selection with a fade:
To a nudge region without its fade:
1 Do one of the following:
1 Select a region by doing the following:
Moving Regions Containing Fades
• Click a region with the Time Grabber tool
(or double-click with the Selector tool) to
select the region along with the fade.
• Make sure Tab to Transients is off.
– or –
• Hold Shift and press Tab to the end of the
region.
• Select multiple regions that include the
fades you want to move.
• Using the Selector tool, press the Tab key to
locate the start of the region.
2 Move the region selection by doing one of the
following:
• Drag the region selection with the Grabber
tool to a new location on the track.
– or –
• Nudge the region selection by pressing Plus
(+) or Minus (–) on the numeric keypad to
move the region forward or backward on
the track.
Selecting a region without its fade
2 Nudge the region by pressing Plus (+) or Mi-
nus (–) on the numeric keypad.
Nudging a region without its fade
Dragging a region with its fade
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387
Moving Regions Adjacent to Crossfades
When you move either of the regions that contributes to a crossfade, the regions separate. The
status of the fade depends on the Preserve Fades
when Editing preference.
4 Use the Time Grabber or Separation Grabber
tool to select one of the contributing regions to
a crossfade.
To separate crossfaded regions and retain the
corresponding fades:
1 Choose Setup > Preferences and click Editing.
Selecting a region with a crossfade
2 Under Fades, select Preserve Fades when Edit-
5 Drag the selected region with the Grabber.
ing.
3 Click OK to close the Preferences dialog.
4 Use the Time Grabber or Separation Grabber
tool to select one of the contributing regions to
a crossfade.
Separating regions while removing fades
Nudging Regions Adjacent to
Crossfades
Selecting a region with a crossfade
5 Drag the selected region with the Grabber.
When you nudge either of the regions that contributes to a crossfade, the fade stretches to preserve the relative position of the crossfade start
and end points. The amount of stretch depends
on the amount of overlap between the contributing regions.
If you nudge a region beyond the boundary of
available audio for the crossfade, the fade is removed.
Separating regions while preserving fades
To nudge a region and stretch its crossfade:
To separate crossfaded regions and remove the
fade:
1 Use the Time Grabber tool to select one of the
contributing regions to the crossfade.
1 Choose Setup > Preferences and click Editing.
2 Under Fades, deselect Preserve Fades when Editing.
3 Click OK to close the Preferences dialog.
Selecting a region with a crossfade
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2 Nudge the region by pressing Plus (+) or Mi-
nus (–) on the numeric keypad.
Result of Separate Region command on fade-in
Stretching the crossfade by nudging
Where your selection overlaps a crossfade, the
crossfade is separated into a fade-out and fade-in
at the selection boundary.
Separating Regions That
Include Fades
You can create regions from track material that
overlaps with fades. The fades from the source
region are adjusted to the new region.
Selecting material that overlaps a crossfade
To separate a region that overlaps with a fade or
crossfade:
1 With the Selector tool, drag to select the ma-
terial for the new region.
2 Do one of the following:
• Choose Edit > Separate Region > At Selection
Result of Separate Region command on crossfade
– or –
Trimming Regions That
Include Fades
• Press Control+E (Windows) or Command+E (Mac).
Where your selection overlaps any fade-ins or
fade-outs, the fade is trimmed to fit the selection.
You can trim regions that are adjacent to fade
boundaries.
To trim a region on a fade boundary:
■ With the Trim tool, click the region boundary
and drag to trim the region. The fade remains
constant and follows the new region boundary.
Selecting material that overlaps a fade-in
Dragging a region boundary with the Trim tool
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389
Trimming to a Selection Across
Fades
You can trim regions to selections that include
fades or crossfades.
To trim a region to a selection that includes fades,
do one of the following:
Fade Boundaries and Shapes
in Displayed Automation View
Fade boundaries and fade shapes are shown and
can be edited in Automation views, allowing for
more precise viewing and editing of automation
data.
• Make a selection in the track and choose
Edit > Trim Region > To Selection. You can
Trim across multiple regions and fades. Affected fades are adjusted to the new region
boundaries.
Fade information in Automation view
For more information on Automation and
Automation views, see Chapter 27, “Automation.”
Trimming to a selection across multiple fades
• Click with the Selector in the region and
choose Edit > Trim Regions > Start to Insertion or End to Insertion. You can trim to region or fade boundary in the track.
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Chapter 19: Managing Regions
Managing the regions in a session lets you keep
system and storage requirements to a minimum,
and simplify archiving requirements. This chapter describe several tools available to manage
files and regions in Pro Tools sessions.
For more information on file management
see the DigiBase Guide.
Stripping Silence from
Regions
The Strip Silence command analyzes audio selections—across multiple regions or multiple
tracks—and removes (or extracts) any areas of silence, dividing the selection into smaller regions and removing the silent areas.
The Strip Silence window contains the following
controls that let you set the parameters by
which silence will be defined when using the
Strip Silence command. Adjusting these controls will cause rectangles to appear in the selection (see Figure 14 on page 392), indicating areas of silence that will be removed.
Strip Threshold Sets the amplitude threshold
(from –48 dB to 0 dB) for Strip Silence. Audio
falling below this threshold is considered silence
and removed. Audio above the threshold is retained and defined as new regions.
Minimum Strip Duration Sets the minimum duration (from 0 to 10,000 ms) that the material below the threshold must last to be considered silence. Use this control to avoid countless small
regions that may occur within a selection.
You can use Strip Silence to automatically divide
a track into regions, which is useful if you want
to quantize audio to musical values, or locate
sound effects to SMPTE locations. It is also useful if you want to get rid of silent areas to prepare for compacting audio (see “Compacting an
Audio File” on page 395).
Region Start Pad Specifies a time value to be
added to the beginning of each new region created with Strip Silence. This is useful for preserving musical material that falls below the threshold, such as the breath before a vocal phrase, or
the finger slide before a guitar chord.
The Strip Silence Window
Region End Pad Specifies a time value to be appended to the end of each new region created
with Strip Silence, thereby preserving the nuances in the decay of the material.
Strip Silence window
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391
Extract Extracts audio and leaves the silent portions of the track (in other words, an “inverse”
strip silence feature that is ideal for generating
room tone or ambience to use elsewhere).
Suffix Specifies text appended to the end of the
name, after the auto numbering.
For example, if you set these naming options to:
• Name = SFX
Separate Separates regions based on the boundaries detected by Strip Silence.
Auto-Naming for Strip Silence
The Rename button in the Strip Silence window
opens the Rename Selected Regions dialog,
which determines how regions are named with
the Strip Silence command. The dialog remembers your previous settings, which can be
cleared by clicking the Clear button.
• Auto Number Start = 23
• Leading Zeros = 1
• Suffix = .Reel1
The names generated for regions created by Strip
Silence would be:
• SFX023.Reel1
• SFX024.Reel1
• SFX025.Reel1
• SFX026.Reel1
• SFX027.Reel1
• SFX028.Reel1
Using Strip Silence
To strip silence from an audio selection:
1 Select one or more audio regions.
Rename Selected Regions dialog
Name Specifies the base name for regions created with Strip Silence.
Number Specifies the number at which sequential auto-numbering starts.
Zeros Specifies the number of zeroes that occur
before the appended auto numbers.
2 Choose Edit > Strip Silence.
3 To set the naming scheme for regions created
with Strip Silence, click Rename to open the Renaming dialog. For details, see “Auto-Naming
for Strip Silence” on page 392.
4 In the Strip Silence window, adjust the sliders
for Strip Threshold and Minimum Strip Duration until the Strip Silence rectangles appear in
the selection.
Figure 14. Strip Silence rectangles
For finer resolution on these sliders, press Control (Windows) or Command (Mac) while adjusting them.
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5 To retain material before and after the new re-
gions, adjust the sliders for Region Start Pad and
Region End Pad.
To extract audio from an audio selection using
Strip Silence:
1 Make and Edit or Time selection.
2 Choose Edit > Strip Silence.
Attack to be
padded
Decay to be
padded
3 To set the naming scheme for regions created
with Strip Silence, click Rename to open the Renaming dialog. For details, see “Auto-Naming
for Strip Silence” on page 392.
4 In the Strip Silence window, adjust the sliders
for Strip Threshold and Minimum Strip Duration until the Strip Silence rectangles appear in
the selection.
Strip Silence, padding region start and end points
6 Once the Strip Silence rectangles encompass
the audio that you want to keep, press the Strip
button.
The material defined as silence is removed from
the selection and new regions are created, which
also appear in the Region List.
The Strip Silence command is nondestructive
and does not remove audio data from parent audio files. In addition to the Undo command,
you can use the Heal Separation command to restore stripped material.
Strip Silence works with stereo and multichannel tracks, and keeps their audio regions phase-coherent.
5 Click the Extract button.
All audio above the designated threshold is deleted and the “silent” portions of the track are
left.
To separate regions using Strip Silence:
1 Make an Edit or Time selection.
2 Choose Edit > Strip Silence.
3 To set the naming scheme for regions created
with Strip Silence, click Rename to open the Renaming dialog. For details, see “Auto-Naming
for Strip Silence” on page 392.
4 In the Strip Silence window, adjust the sliders
for Strip Threshold and Minimum Strip Duration until the Strip Silence rectangles appear in
the selection.
5 Click the Separate button.
New regions are created based on the boundaries detected by Strip Silence.
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Inserting Silence
The Insert Silence command is a simple and
convenient way to insert silence on audio,
MIDI, and Instrument tracks. This command
lets you make a selection on a track (or tracks)
and insert precisely that amount of silence. In
Shuffle mode, all data on the track is shuffled
later in the track by an amount equal to the selection.
In Grid mode, the Insert Silence command
works just like the Clear command.
Shuffle Mode When inserting silence on multiple tracks in Shuffle mode, the following conditions apply:
◆ If any track is displayed as audio or MIDI data,
the selected duration of silence is inserted into
the audio or MIDI data and all underlying automation data on all selected tracks. All subsequent regions are shuffled by the amount of
silence inserted. On MIDI tracks, only notes that
are selected from the beginning are affected, so
if you have selected the tail of a note and you Insert Silence, the note will remain unchanged.
◆ If all selected tracks are displayed as automation data, the selected range is cleared of automation data only of the type visible on each
track. Regions are not shuffled. Instead, a blank
gap appears equal to the length of the selection.
◆ If all selected tracks are displayed as automation data, press the Start key (Windows) or Control (Mac) while choosing the Insert Silence
command to inserts silence on all automation
playlists for all selected tracks. Regions are not
shuffled.
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Slip Mode When inserting silence on multiple
tracks in Slip mode, the following conditions
apply:
◆ If any track is displayed as audio or MIDI data,
the selected range is cleared of audio or MIDI
data and all underlying automation data on all
selected tracks.
◆ If all selected tracks are displayed as automation data, silence is inserted only into the automation type visible on each track.
◆ If all selected tracks are displayed as automation data, press the Start key (Windows) or Control (Mac) while choosing the Insert Silence
command to insert silence on all automation
playlists for all selected tracks.
To insert silence into a track:
1 Make a selection in a track or tracks. The
length of the selection determines the duration
of the silence inserted.
2 Choose Edit > Insert Silence.
For Shuffle mode, Pro Tools inserts the selected
amount of silence. In the process, it splits the regions at the beginning of the insertion point,
and moves the new regions later in the track by
an amount equal to the length of the selection.
Consolidate Command
Compacting an Audio File
During the course of normal edit operations, a
track may eventually contain many regions.
However, once a track or track range (such as a
verse or chorus) reaches a satisfactory state, you
may want to consolidate its regions into a single
region—thus making the material much more
easy to work with.
The Compact Selected command deletes unused
portions of audio files to conserve disk space,
and to prepare for cleaner hard drive back-ups.
The Compact Selected command also deletes
audio if there are no regions referencing the
data.
When consolidating an audio track, a new audio
file is written that encompasses the selection
range, including any blank space.
Consolidating an audio track does not consolidate underlying automation data. To
create a single file with automation data
applied to the audio, use Bounce to Disk
(see “Bounce to Disk” on page 638).
To consolidate regions within a track:
1 Do one of the following:
• Using the Time Grabber or Selector tool, select the regions you want to consolidate.
– or –
• To select all regions in a track, triple-click in
its playlist with the Selector tool.
2 Choose Edit > Consolidate.
A new, single region is created that replaces the
previously selected regions, including any blank
space. If working with an audio track, a new audio file is written (with the Audio Suite Duplicate plug-in).
When consolidating audio regions with the
Consolidate command, if the selection contains
muted regions, the muted regions are treated as
silence. Whether or not a track is muted, or contains Mute automation, does not affect the Consolidate command.
Because it permanently deletes audio data, the
Compact Selected command should be used
only after you have completely finished your
editing and are sure that you have no further use
for the unused audio data.
The Compact Selected command can pad the regions of the compacted file by a user-selectable
amount. You may want to do this because
Pro Tools requires extra audio data before and
after audio regions to create crossfades. So, if
your regions have crossfades, or if you want to
pad the regions for the sake of any future trimming, you should enter an appropriate amount
of padding (in milliseconds) to allow for this.
The Compact Selected command is destructive and cannot be undone. It permanently
alters the original audio files. There is no
way to recover data deleted with this command.
To compact an audio file:
1 From the Region List pop-up menu, choose Se-
lect > Unused. All regions that have not been
placed in a track in the current session are highlighted in the Region List.
2 To remove all of these unused audio regions,
choose Clear Selected from the Region List popup menu. When the dialog appears, choose Remove.
3 In the Region List, select the region or regions
you want to compact.
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395
4 From the Region List pop-up menu, choose
Compact Selected.
5 Enter the amount of padding in milliseconds
that you want to leave around each region in
the file.
6 Click Compact to compact the file or Cancel
to cancel the command.
Once the Compact operation has been completed, the session is automatically saved.
Perhaps the easiest way to rename a region, if it
resides in a track, is to double-click it with one of
the Grabber tools. However, if the region does
not yet reside in a track, or if you want to rename several regions, use the Rename command in the Region List.
You can also rename a region in a track using
the Rename command in the Region List popup menu.
To rename one or more regions:
1 If you will be renaming an auto-created re-
Naming and Displaying
Regions
A typical session can become quite busy with
many tracks and dozens of regions. There are a
number of things you can do, however, to keep
track of and manage a session’s regions, which
include:
• Renaming existing regions
• Specifying how auto-created regions are
named
• Hiding auto-created regions
• Removing unused regions
Renaming Regions
gion, be sure to choose Show > Auto-Created in
the Region List.
2 Select one or more regions to be renamed in
the Region List.
If the Editing preference for “Region List Selection Follows Edit Selection” is enabled,
you can highlight a region in the Region List
by selecting it in a track.
3 Choose Rename from the Region List pop-up
menu.
4 When prompted, enter a new name for the re-
gion. If a whole-file audio region was selected,
specify whether to rename just the region, or
both the region and the disk file.
In the course of a session you can rename regions to give them more descriptive names, or
merely to shorten or simplify an existing name.
When renaming a region that was auto-created
from an edit, the region becomes a user-defined
region and is displayed in the Region List when
auto-created regions are hidden.
Rename Selected dialog
5 Click OK to rename the region. If renaming
multiple regions, you are prompted, successively, to rename each region.
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Auto-Naming Options
You can specify the auto-naming options for a
region when new regions are created from it in
the course of editing.
Auto-naming of regions does not affect the
names of parent audio files. Instead, it stores
pointers to the regions within the parent source
file.
To set auto-naming options for a region:
Hiding and Removing Unwanted
Regions
In the course of editing a session, the Region List
can fill up quickly with regions—ones you have
created purposely and those that are automatically created by cutting, pasting, and separating
other regions, or importing REX, ACID, or Region Group files. Pro Tools allows you to hide or
remove regions in your session so you do not
have to scroll through an unnecessarily long Region List.
1 Select a region in the Region List.
2 Choose Auto Rename from the Region List
pop-up menu.
Hiding Auto-Created Regions
3 In the Rename Regions dialog, enter the text
You can hide regions that were automatically
created during the course of editing.
to be used when naming regions created from
the selected region.
To hide auto-created regions:
■ In the Region List, deselect Show > Auto-Created. With this option deselected, only user-defined regions appear in the Region List.
User-defined regions include:
• Whole-file regions
• Regions created during recording
Rename Regions Selected dialog
• Imported regions
• Renamed regions
Name Determines the root name for the autocreated regions.
Number Sets the start number for the sequentially numbered new regions.
Zeros Determines the number of zeros that occur before the auto numbers.
Suffix Specifies text to be appended to the end of
the name, following the auto numbering.
4 When you are finished, click OK to accept the
new naming options.
• Regions created as a result of AudioSuite
processing
• New regions created with the Region >
Capture command or the Edit > Separate
Region commands
• Regions created by trimming whole-file audio regions
When auto-created regions are hidden,
Pro Tools warns you if the number of auto-created regions exceeds a certain threshold, and
gives you the option of deleting them. If you
choose to delete them, all auto-created regions
are deleted at the same time.
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397
To ensure that you keep a particular auto-created region, turn it into a user-created region by
renaming it. For details, see “Renaming Regions” on page 396.
Removing Unwanted Regions
In the Region List, you can select unwanted regions and then use the Clear command to remove them from the session, whole-file regions
can also be removed permanently from your
hard drive.
3 Do one of the following:
• Click Remove to remove the unused regions from the session.
– or –
• If clearing a whole-file audio region and
you want to permanently remove the audio file from your hard drive, click Delete.
The Clear command cannot be undone.
To find and remove unused regions in a session:
1 Do one of the following:
• For MIDI regions, from the Region List pop-up
menu, choose Select > Unused.
– or –
• For audio regions, from the Region List,
choose Select, then choose one of the following:
• Unused
• Unused Except Whole Files
• Offline
2 After all unused regions are selected, choose
Clear from the Region List pop-up menu.
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Clear Selected dialog (audio regions)
When deleting audio files for multiple regions,
Pro Tools presents a warning dialog for each audio file.
To bypass repeated warning dialogs:
■ Alt-click (Windows) or Option-click (Mac) the
Delete button in the Clear dialog. This permanently deletes each successive audio file from
your hard drive (for each of the unused regions)
without any further warnings.
Use this “power delete mode” with caution,
since deletion of these files cannot be undone.
Chapter 20: Conductor Tracks and
Memory Locations
In Pro Tools, tempo and meter changes reside in
Conductor tracks. Tempo and meter events affect the timing of tick-based tracks, and also provide the tempo and meter map for the Bar|Beat
grid. You can edit tempo events in the Tempo
ruler or Tempo Editor, and meter events in the
Meter ruler. Memory locations provide a powerful way to navigate your session while editing
and arranging.
Song Start Marker
The Song Start Marker defines the initial tempo
for Bar|Beat-based material. New sessions open
with a default tempo of 120 BPM.
To move the Song Start Marker by dragging:
■ In the Tempo ruler, drag the Song Start Marker
left or right.
Dragging the Song Start Marker
If the Edit mode is set to Grid, the Song Start
Marker moves in increments of the current Grid
value.
To move the Song Start Marker only, without moving the tick-based data, press
Start+Shift (Windows) or Control+Shift
(Mac) while dragging. When dragging the
Song Start Marker only, dragging is constrained to whole bar increments only.
To edit the initial tempo in the Song Start Marker:
Song Start Marker
The Song Start Marker can be moved, but not
deleted.
The position of the Song Start Marker can
be changed in the Time Operations window. For more information, see “Move Song
Start” on page 427.
1 In the Tempo ruler, double-click the Song Start
Marker.
2 In the Change Tempo dialog, enter a new BPM
value.
3 Click OK.
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399
When a new session is created, the Song Start
Marker has no associated meter event. A meter
event is added automatically at the Song Start if
you add another meter event anywhere else on
the Meter ruler.
Current Tempo
As tempo events are encountered during playback, the session’s current tempo is displayed in
the Transport window.
Tempo
Current Tempo indicator
The Tempo ruler lets you edit tempo events one
at a time. You can edit tempo visually in the
Tempo Editor, or make precise changes in
tempo in the Tempo Operations window.
To set the default session tempo, see “Setting the Default Meter and Tempo” on
page 194.
Current Tempo displayed in Transport window
Inserting Tempo Events
To insert a tempo event:
1 Click in the Tempo ruler where you want to
insert the tempo event.
You can use Beat Detective to generate
Bar|Beat markers (tempo map). For more information, see “Generating Bar|Beat Markers with Beat Detective” on page 447.
2 Click the Add Tempo Change button at the
left of the Tempo ruler.
Tempo Events
Tempo events can be assigned to the Song Start
Marker to replace the default tempo (of 120
BPM), and they can be inserted anywhere else
within the session.
Add Tempo Change button
3 In the Tempo Change window, enter the Lo-
cation and BPM value for the tempo change.
Tempo cannot be modified when you are in
Manual Tempo mode.
To display the Tempo ruler:
■
Select View > Rulers > Tempo.
When in Manual Tempo mode, the Tempo
track is ignored and the session plays at the
tempo defined in the Transport window.
For details, see “Using Manual Tempo
Mode” on page 196.
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Tempo Change dialog
Select the Snap To Bar option to place the inserted tempo event cleanly on the first beat of
the nearest measure.
4 To base the BPM value on something other
than the default quarter note, select a different
note value.
5 Click Ok. The new tempo event is inserted
and appears in the Tempo ruler.
To delete a tempo event:
■ While pressing Alt (Windows) or Option
(Mac), move the cursor over the tempo event
(where the cursor changes to a Grabber with a
“–”) and click to remove it.
To copy and paste several tempo events:
Inserted tempo event
Each tempo event has a small green triangle
next to it that indicates its location. These triangles can be dragged to move the tempo event,
and they can be double-clicked to edit the
tempo event.
Editing and Moving Tempo Events
Existing tempo events can be moved, edited, deleted, and copied and pasted.
1 With the Selector tool, click and drag in the
Tempo ruler to select the range of measures that
includes the tempo events.
Tempo events selected
Press Alt (Windows) or Option (Mac) while
dragging to select across all Conductor
tracks.
2 Choose Edit > Copy.
To move a tempo event by dragging:
In the Tempo ruler, drag the triangle for the
tempo event left or right.
■
3 Click in the Tempo ruler at the point where
you want to paste the tempo events.
4 Choose Edit > Paste. The contents of the Clipboard are pasted from the insertion point, replacing any existing tempo events.
Dragging a tempo event
If the Edit mode is set to Grid, the dragged event
snaps to the current Grid value.
To edit a tempo event:
1 In the Tempo ruler, double-click the tempo
event.
2 In the Tempo Change window, enter a new
To extend an Edit selection in a track to the Tempo
ruler:
1 With the Selector or Time Grabber tool, select
a time range.
2 Shift-click in the Tempo ruler.
To select all tempo events:
■ Double-click with the Selector tool in the
Tempo ruler.
Location or BPM value for the tempo event.
3 Click OK.
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401
To clear a range of selected tempo events:
3 Click in the Tempo field so it becomes high-
1 If you want to constrain the selection to the
lighted and tap the “T” key on your computer
keyboard repeatedly at the new tempo.
current Grid value, set the Edit mode to Grid.
You can apply the new tempo to the entire
session by changing the default tempo of the
Song Start Marker. See “Song Start Marker”
on page 399.
2 Drag with the Selector tool in the Tempo ruler
to select the tempo events you want to remove.
3 Choose Edit > Clear to delete the selected
tempo events.
To set the Manual Tempo by tapping on an
external MIDI keyboard:
Tap Tempo
You can manually set the tempo for a Pro Tools
session by tapping on your computer keyboard.
You can also use a connected MIDI keyboard to
tap tempo.
1 To view the MIDI controls in the Transport
window, select View > Transport > MIDI Controls.
2 Choose Setup > Preferences and click the MIDI
tab.
To set the Manual Tempo by tapping on a
computer keyboard:
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.
Tempo field
Manual Tempo mode enabled
Pro Tools Reference Guide
4 In the Transport window, click the Tempo
Ruler Enable (Conductor) button so it becomes
unhighlighted. Pro Tools switches to Manual
Tempo mode. In this mode, any tempo events in
the Tempo track are ignored.
5 Click in the Tempo field so it becomes high-
lighted 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’s Tempo field.
Tempo Ruler
Enable button
402
3 Select Use MIDI To Tap Tempo
Tempo Changes and Automation
Drift
When a track is sample-based, the track’s automation playlist is unaffected by changes in
tempo. This means that automation is always
aligned with the audio on the track with sample
accuracy.
When a track is tick-based, however, the automation breakpoints change to match the
changes in tempo.
Since the length of each audio region in a track
is unaffected by changes in tempo, existing automation data is out of sync with the audio after
a tempo change is made to a tick-based audio
track.
Minimizing Automation Drift
In general, automation drift is more pronounced with larger audio regions. By creating
many small audio regions, the effects of automation drift can be minimized, because the start
points of each subsequent region changes as the
tempo changes. When tempo is decreased, automation expands. When tempo is increased, automation contracts.
Using many smaller regions...
...keeps audio aligned with automation changes.
Tempo changes applied to small regions
When tempo changes on a tick-based audio track...
To break an audio region into smaller regions, use Beat Detective. For more information, see Chapter 21, “Beat Detective.”
...automation gets out of sync with audio.
Tempo changes applied to larger regions
You can also separate regions at transients
or based on the current grid resolution. For
more information, see “Separate Region
Commands” on page 328
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Graphic Tempo Editor
Editing Tempo Events in the Tempo
Editor
The Tempo Editor, a resizeable window beneath
the Tempo ruler in the Edit Window, lets you
view and edit tempo information graphically.
Tempo events in the Tempo Editor can be edited
with any of the following methods:
Tempo Editor
The Tempo Editor is an expansion of the Tempo
ruler, opening in the rulers section of the Edit
Window.
Tempo Editor expand/collapse triangle
◆ Individual tempo events can be dragged with
any of the Grabber tools to adjust their location
or value.
◆ A group of selected tempos can be scaled up or
down with the Trim tool.
◆ New tempo events can be drawn in with the
Pencil tool to replace existing ones.
◆ Tempo events can be copied and pasted,
nudged, and shifted.
Drawing Tempo Events
Tempo events can be drawn in the Tempo Editor using the Pencil tool.
Tempo Resolution
Tempo Edit Density
Tempo events
Tempo Editor
These tool
shapes are
not functional
in the Tempo
Editor.
To display the Tempo Editor, do one of the
following:
■ Select View > Rulers > Tempo, then View >
Rulers > Tempo > Tempo Editor.
■ Click the Tempo Editor expand/collapse triangle.
Pencil tool shape pop-up menu
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Freehand The Freehand shape draws freely according to the movement of the mouse. The
shape is reproduced as a series of steps according
to the Tempo Edit Density setting. (For more information, see “Selecting Tempo Edit Density”
on page 406.)
Line The Line shape draws in a straight line from
click to release. Tempo values change in steps
according to the Tempo Edit Density and Resolution. (For more information, see “Selecting
Tempo Edit Density” on page 406.)
Parabolic The Parabolic shape draws the best
possible curve to fit your freehand drawing. The
shape is reproduced as a series of steps according
to the Tempo Edit Density setting.
S-Curve The S-Curve shape draws a best possible
fit of an S-Curve to your freehand drawing. The
shape is reproduced as a series of steps according
to the Tempo Edit Density setting.
The Triangle, Square, and Random Pencil
tool shapes do not apply to tempo events.
To select the Tempo Resolution (BPM rate) for
Pencil tool edits, do one of the following:
■ Click the Tempo Resolution selector and select a note value from the pop-up menu. Tempo
events created by drawing with the Pencil tool
will have their BPM set to the note value you
choose.
■ Choose Follow Metronome Click. Tempo
events created by drawing with the Pencil tool
will have their BPM set to mirror the click values
set by meter events in the Meter ruler.
A tempo curve can have different BPM values if
there are meter click changes within the selected
range.
Because it can be unnecessarily complicated
to set meter events separately for each
Tempo event, Digidesign recommends
choosing Follow Metronome Click in most
cases.
Quarter note click
Dotted quarter note click
Selecting Tempo Resolution (BPM Rate)
The Tempo Editor lets you specify the note
value that the BPM rate is based on for all tempo
events created when you draw a tempo curve
with the Pencil tool. This note value is the
Tempo Resolution.
Tempo curve with different click values
Tempo Resolution selector and pop-up menu
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405
Selecting Tempo Edit Density
Curve Adjustment Mode
The Tempo Editor lets you specify the density of
tempo events created in the Tempo ruler when
you draw a tempo curve with the Pencil tool.
Immediately after you draw new tempos using
the Pencil tool, a tempo curve appears in blue,
outlining the newly created tempo graph. Blue
adjustment handles on the curve let you adjust
the shape and size of the new tempo graph.
Tempo Curve Adjustment Handles
Tempo Edit Density selector and pop-up menu
To select the Tempo Edit Density for Pencil tool
edits:
■ Click the Tempo Edit Density selector and select a time value from the pop-up menu. Tempo
events created by drawing with the Pencil tool
will be placed in the Tempo ruler at the density
that you choose.
Pressing Start (Windows) or Control (Mac)
before drawing a pencil line conforms already created tempo events to the drawn
line rather than creating new tempo events.
Tempo curve adjustment
All the new tempo events under the curve
will change as you move the Tempo Curve
Adjustment Handles. To adjust the curve
shape without the track data adjusting immediately, press Start (Windows) or Control
(Mac) while adjusting the curve. Tempo
events will change to fit the new curve when
you release the mouse button.
The blue adjustment handles are only active until a new tool is selected or a new command is
executed.
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Grabbing Tempo Events
The Grabber tools let you create new tempo settings by dragging tempo events in the Tempo
Editor. To remove a tempo event, Alt-click
(Windows) or Option-click (Mac) the tempo
event with any of the Grabber tools.
Using a Grabber tool to change a tempo event
Drag a tempo event to the left or right to adjust
the location of the tempo change.
To Select a tempo curve in the Tempo Editor:
■ Using the Selector tool or any Grabber tool,
triple-click on a horizontal tempo line in the
curve that you wish to select.
Selecting a tempo curve
Extending Tempo Selections
You can extend Tempo selections to the next or
the previous tempo event.
Selecting Tempo Events
You can easily select a single tempo event, or an
entire tempo curve within the Tempo Editor.
To extend a tempo selection:
1 Select a portion of a region, or click anywhere
in the region.
To Select a tempo event in the Tempo Editor:
Using the Selector tool or any Grabber tool, double-click on the horizontal tempo line.
2 Do one of the following:
• Press Shift+Tab to extend the selection to
the next tempo event.
– or –
• Press Shift+Control+Tab (Windows) or
Shift+Option+Tab (Mac) to extend the selection to the previous tempo event.
Selecting a single tempo event
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407
Using the Trim Tool
The Trim tool lets you scale all the tempo events
of the session, or within a time selection. The
Trim tool also lets you stretch a region of tempo
events to cover a longer or shorter area in the
timeline.
To scale all the session’s tempo events with the
Trim tool:
To change the rate of tempo change with the Trim
tool:
1 Open the Tempo Editor.
2 Using the Selector tool, select the area you
wish to edit.
3 Select the Trim tool.
4 Click either the start or end handle for the selected range, and drag up or down.
1 Open the Tempo Editor.
2 Select the Trim tool.
3 Click above the tempo events and drag up or
down. Dragging up increases the tempo values;
dragging down decreases them.
Changing the rate of tempo change with the Trim tool
To stretch or shrink the tempo change range with
the Trim tool:
1 Open the Tempo Editor.
2 Using the Selector tool, select the area you
Changing tempos with the Trim tool
wish to edit.
To scale selected tempo events with the Trim tool:
3 Select the Trim tool.
1 Open the Tempo Editor.
4 Click at the start or end of the selection, and
2 Using the Selector tool, select the area you
wish to edit.
drag horizontally. Tempo events will maintain
their relative spacing to each other but will be
spaced over a larger or smaller area.
3 Select the Trim tool.
4 Click within the selected area, and drag up or
down. Dragging up increases the tempo values
of the selection; dragging down decreases them.
Changing the tempo change range with the Trim tool
Changing selected tempos with the Trim tool
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Moving, Cutting, Pasting and Nudging in the
Tempo Editor
To move a selected group of tempo events in the
Tempo Editor:
1 Open the Tempo Editor.
2 Using the Selector tool, select the area you
wish to move.
3 Click on any selected tempo event with any
Grabber tool, and drag horizontally to move the
tempo events to a new location.
Press Alt (Windows) or Option (Mac) while
dragging to move a copy of the tempo
events.
• Press Minus (–) to move the selection back
by the Nudge value.
Changing the Linearity
Display Mode
You can choose to view the Edit Window in either a Linear Tick (Bars|Beats) scale or a Linear
Sample (absolute) Time Scale. MIDI and Instrument tracks, audio tracks, and Tempo curves
can appear and function very differently depending on the timebase display settings.
To copy and Paste tempo events in the Tempo
Editor:
1 Open the Tempo Editor.
2 Using the Selector tool, select the area you
wish to copy.
3 Choose Edit > Copy.
4 Click in the Tempo Editor at the point where
you want to paste the tempo events.
5 Choose Edit > Paste. Your copied selection is
pasted from the insertion point, replacing any
existing tempo events.
To nudge a selection in the Tempo Editor:
1 Open the Tempo Editor.
2 Using the Selector tool, select the area you
wish to nudge.
3 Do one of the following:
• On the numeric keypad, press Plus (+) to
move the selected tempo events forward by
the Nudge value.
– or –
Linearity Display Mode selector and pop-up menu
The Linearity Display Mode pop-up menu determines whether the Tempo Editor displays
tempo events in an Absolute timebase or
Bars|Beats.
When set to Linear Sample Display, the display
of tempo events is sample-based and their bar
and beat locations can shift after the tempo
curve is drawn.
When set to Linear Tick Display, the display of
tempo events is tick-based and tempo event
Bar|Beat locations remain constant after the
tempo curve is drawn—though their relation to
audio is scaled, resulting in a new sample locations.
Drawing tempo events using the Linear
Sample Display can cause Bar|Beat based
material to move in non-intuitive ways.
Digidesign recommends that you use Linear
Tick Display when you draw tempo
changes.
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409
To change the timebase display:
■ Click the Linearity Display Mode selector and
select a timebase from pop-up menu.
Tempo Edit Density and Linearity Display Mode
When both the Tempo Edit Density setting (in
the Tempo Editor) and the Linearity Display
Mode setting are set to either a Bars|Beats Time
Scale or to an absolute Time Scale, Tempo edits
will appear evenly spaced. When the Tempo
Edit Density setting and the Linearity Display
Mode setting are set so that one is set to an absolute Time Scale and the other is set to a
Bars|Beats Time Scale, the number of Tempo edits will appear to increase or decrease over time.
Tempo Operations Window
The Tempo Operations window lets you define
tempo events over a range of time (or measures).
The time range is specified in the time format
chosen for your Main Time Scale. In addition,
the Tempo Operations window lets you:
• Fit a specific number of Bars|Beats into a
precise time range.
• Create tempos that speed up or slow down,
both linearly and over various curves.
The Tempo Operations window has six pages,
one for each type of tempo operation.
Constant Lets you create a constant tempo over
a selected range of time.
Linear Lets you create tempos that change
evenly over a selected range of time.
Parabolic Lets you create tempos that accelerate
or decelerate following a tempo curve that
changes the tempo more rapidly or less rapidly
over the selection time.
S-Curve Lets you create tempos that accelerate
or decelerate following a tempo curve with a definable breakpoint that determines mid-curve
times and tempo values.
Scale Lets you scale tempos within the selection
by a percentage amount.
Stretch Lets you select a region of tempo events
and apply them to a larger or smaller selection
area.
To open a specific Tempo Operations window
page:
■ Choose Event > Tempo, followed by one of
the Tempo Operations page commands (such as
Constant).
• Scale and stretch existing tempos.
If the Tempo Operations window is already
open, you can select any of the pages from
the pop-up menu at the top of the window.
The Tempo Operations window is not available in Manual Tempo mode.
To open the last active Tempo Operations window
page:
■
Choose Event > Tempo > Operations Window.
Press Alt+2 (Windows) or Option+2
(Mac) on the number keypad to open the
Tempo Operations window and display
the last active Tempo Operations page.
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To define tempo events over a range of time:
1 Make a selection in the Timebase or in a track.
Calculate (Advanced Option) Lets you choose to
calculate either the tempo, or the selection end
time.
2 Choose Event > Tempo > Operations Window.
3 Choose a Tempo Operation page from the
pop-up menu at the top of the Tempo Operation
window.
4 Change the settings for the page you have
chosen, as necessary.
5 Do one of the following:
• Click Apply.
– or –
• Press Enter (Windows) or Return (Mac) to
automatically apply the values and close
the window.
Constant
The Constant page lets you create a constant
tempo over a selected range of time.
Selection Start and End Specifies the start and
end point for the tempo change in Bars|Beats.
When an Edit selection is made, the Start and
End fields will display the selection boundaries.
End Time (Advanced Option) Displays the selection end time. When the Main Time Scale is set
to Bars|Beats, the end time is displayed in the
Sub Time Scale. When the Main Time Scale is set
to any absolute timebase, the end time is calculated and displayed in Bars|Beats. Changing the
end time value causes the tempo to change.
Tempo Specifies the tempo, in beats per minute
(BPM), to apply to the selected range.
Resolution (Advanced Option) Lets you select the
BPM note value for your tempo setting.
Selecting “Follow Metronome Click” will set
the tempo BPM note value to mirror the
click value set in the meter markers.
Density (Advanced Option) Lets you specify the
density of the tempo change events written to
the Tempo ruler.
Preserve Tempo after Selection If selected, the
previous tempo setting that was in effect at the
selection end point is preserved after the selection. If unselected, the last tempo event created
by the tempo operation continues to the end of
the session, or until the next tempo event beyond the selected range.
Constant page (Advanced Option)
Advanced When the Advanced checkbox is selected, the selection range changes to the Main
Time Scale format, and additional and modified
options become available.
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411
Linear
The Linear page lets you create tempos that
change evenly over a selected range of time.
End Time (Advanced Option) Displays the absolute time for the selection end. When the Main
Time Scale is set to Bars|Beats, the end time is
displayed in the Sub Time Scale. When the Main
Time Scale is set to any absolute timebase, the
end time is calculated and displayed in
Bars|Beats. Changing the end time value causes
the tempo to change.
Tempo Start and End Displays the tempo, in
beats per minute (BPM), for the start and end
points of the selected range. Changing the
tempo causes the end time value to change.
Resolution (Advanced Option) Lets you select the
BPM note value for your tempo setting.
Linear page (Advanced Option)
Advanced When the Advanced checkbox is selected, the selection range changes to the Main
Time Scale format, and additional and modified
options become available.
Calculate (Advanced Option) Lets you choose to
calculate either the selection end time, the start
tempo, or the end tempo.
Selection Start and End Displays the start and
end points for the tempo change in the currently selected Main timebase. When an Edit selection is made, the Start and End fields will display the selection boundaries. Changing start or
end values changes the selection range.
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Selecting “Follow Metronome Click” will set
the tempo BPM note value to mirror the
click value set in the meter markers.
Density (Advanced Option) Lets you specify the
density of the tempo change events written to
the Tempo ruler.
Preserve Tempo after Selection If selected, the
previous tempo setting that was in effect at the
selection end point is preserved after the selection. If unselected, the last tempo event created
by the tempo operation continues to the end of
the session, or until the next tempo event beyond the selected range.
Parabolic
The Parabolic page lets you create tempos that
accelerate or decelerate by following a tempo
curve, which changes the tempo more rapidly or
less rapidly over the selection time.
End Time (Advanced Option) Displays the absolute time for the selection end. When the Main
Time Scale is set to Bars|Beats, the end time is
displayed in the Sub Time Scale. When the Main
Time Scale is set to any absolute timebase, the
end time is calculated and displayed in
Bars|Beats. Changing the end time value causes
the tempo to change.
Tempo Start and End Displays the tempo, in
beats per minute (BPM), for the start and end
points of the selected range. Changing the
tempo causes the end time value to change.
Curvature Specifies and displays a numerical
and graphic representation of the tempo curve.
Negative numbers indicate a more rapid tempo
change at the beginning of the time range, and
positive numbers indicate a more rapid tempo
change at the end of the time range. This value
can be set with the Curvature slider.
Resolution (Advanced Option) Lets you select the
BPM note value for your tempo setting.
Parabolic page (Advanced Option)
Advanced When the Advanced checkbox is selected, the selection range changes to the Main
Time Scale format, and additional and modified
options become available.
Calculate (Advanced Option) Lets you choose to
calculate the selection end time, the start
tempo, the end tempo, or the curvature of the
tempo change.
Selection Start and End Displays the start and
end points for the tempo change in the currently selected Main timebase. When an Edit selection is made, the Start and End fields will display the selection boundaries. Changing start or
end values changes the selection range.
Selecting “Follow Metronome Click” will set
the tempo BPM note value to mirror the
click value set in the meter markers.
Density (Advanced Option) Lets you specify the
density of the tempo change events written to
the Tempo ruler.
Preserve Tempo after Selection If selected, the
previous tempo setting that was in effect at the
selection end point is preserved after the selection. If unselected, the last tempo event created
by the tempo operation continues to the end of
the session, or until the next tempo event beyond the selected range.
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413
S-Curve
The S-Curve page lets you create tempos that accelerate or decelerate by following a tempo
curve with a definable breakpoint that determines mid-curve times and tempo values.
Start and End Time (Advanced Option) Displays
the absolute time for the selection end. When
the Main Time Scale is set to Bars|Beats, the end
time is displayed in the Sub Time Scale. When
the Main Time Scale is set to any absolute timebase, the end time is calculated and displayed in
Bars|Beats.
Tempo Start and End Displays the tempo, in
beats per minute (BPM), for the start and end
points of the selected range. Changing the
tempo causes the end time value to change.
Curvature Specifies and displays a numerical
and graphic representation of the tempo curve.
Negative numbers indicate a more rapid tempo
change at the start and end of the of the time
range, with a low rate of change around the
midpoint. Positive numbers indicate a low rate
of change near the start and end of the selected
range, with rapid tempo change around the
midpoint. This value can be set with the Curvature slider.
S-Curve page (Advanced Option)
Advanced When the Advanced checkbox is selected, the selection range changes to the Main
Time Scale format, and additional and modified
options become available.
Calculate (Advanced Option) Lets you choose to
calculate either the selection end time, the start
tempo, the end tempo or the curvature of the
tempo change.
Selection Start and End Displays the start and
end points for the tempo change in the currently selected Main timebase. When an Edit selection is made, the Start and End fields will display the selection boundaries. Changing start or
end values changes the selection range.
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Mid Point Specifies the Main Time Scale location
for the curve mid point. This value can be set
with the Mid Point slider.
Mid Tempo Specifies the tempo at the mid point.
This value can be set with the Mid Tempo slider.
Resolution (Advanced Option) Lets you select the
BPM note value for your tempo setting.
Select “Follow Metronome Click” will set
the tempo BPM note value to mirror the
click value set in the meter markers.
Density (Advanced Option) Lets you specify the
density of the tempo change events written to
the Tempo ruler.
Preserve Tempo after Selection If selected, the
previous tempo setting that was in effect at the
selection end point is preserved after the selection. If unselected, the last tempo event created
by the tempo operation continues to the end of
the session, or until the next tempo event beyond the selected range.
Scale
The Scale page lets you scale tempos within the
selection by a percentage amount.
Advanced When the Advanced checkbox is selected, the selection range changes to the Main
Time Scale format, and additional and modified
options become available.
Calculate (Advanced Option) In combination
with settings chosen in the Scale pop-up menu,
the Calculate pop-up menu lets you choose to
calculate the selection end time, the average
tempo, the start tempo, or the end tempo.
Scale (Advanced Option) In combination with
settings chosen in the Calculate pop-up menu,
the Scale pop-up menu lets you choose to scale
all tempos, the start tempo, or the end tempo.
Scaling all tempos scales each tempo in the selected range equally. Scaling the start tempo
scales the tempos unevenly, scaling the first
tempo event the most, scaling each consecutive
tempo event less until the end tempo which is
not scaled. Scaling the end tempo scales the
tempos unevenly, scaling the last tempo the
most, scaling each previous tempo event less
until the start tempo which is not scaled.
Scale page
Selection Start and End Displays the start and
end points for the tempo operation in the currently selected Main timebase. When an Edit selection is made, the Start and End fields will display the selection boundaries. Changing start or
end values changes the selection range.
Start and End Time Displays the absolute time
for the selection start and end points. When the
Main Time Scale is set to Bars|Beats, times are
displayed in the Sub Time Scale. When the Main
Time Scale is set to any absolute timebase, times
are calculated and displayed in Bars|Beats.
Average Tempo Displays the Average Tempo, in
beats per minute (BPM), across the selected
range. Changing the Average Tempo changes
the Scale percentage.
Scale page (Advanced Option)
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415
Scale Displays the percentage by which the
tempo is scaled, in beats per minute (BPM),
across the selected range. Changing Scale
changes Average Tempo.
Stretch To End Specifies a new end point for the
region to which you want to apply the selected
tempo events. Changing the end point causes
the Stretch percentage to change.
Preserve Tempo after Selection If selected, the
previous tempo setting that was in effect at the
selection end point is preserved after the selection. If unselected, the last tempo event created
by the tempo operation continues to the end of
the session, or until the next tempo event beyond the selected range.
Stretch To Start (Advanced Option) Specifies a
new start point for the region to which you
want to apply the selected tempo events.
Changing the end point causes the Stretch percentage to change.
Stretch
Preserve Tempo after Selection If selected, the
previous tempo setting that was in effect at the
selection end point is preserved after the selection. If unselected, the last tempo event created
by the tempo operation continues to the end of
the session, or until the next tempo event beyond the selected range.
The Stretch page lets you select a region of
tempo events and apply them to a larger or
smaller selection area.
Stretch Specifies the percentage of time for the
the selected tempo events to cover.
Identify Beat Command
The Identify Beat command lets you establish a
tempo/meter map for audio that was recorded
without a click, or for imported audio with unknown tempos.
Stretch page
Advanced When the Advanced checkbox is selected, the selection range changes to the Main
Time Scale format, and additional and modified
options become available.
Selection Start and End Specifies the range of
tempo events that you wish to modify. When an
Edit selection is made, the Start and End fields
will display the selection boundaries.
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The Identify Beat command analyzes a selection
range (usually with a distinct number of beats or
measures) and calculates its tempo based on the
specified meter. In doing this, Bar|Beat Markers
for the calculated tempo are inserted and appear
in the Tempo ruler at the beginning and end of
the selection; in addition, meter events are inserted into the Meter ruler.
Use Beat Detective to generate Bar|Beat
Markers within a selection that includes
rhythmic changes on beats or sub-beats. For
more information, see Chapter 21, “Beat
Detective.”
Bar|Beat Markers
Bar|Beat Markers look similar to tempo events,
but instead have small blue triangles to indicate
their location.
Identifying Beats
To add Bar|Beat Markers for a one-bar drum loop:
1 Place a one-bar drum loop at the beginning of
an audio track.
2 Select View > Rulers > Samples. This ensures
Bar|Beat Marker
that the selected audio material will be sampleaccurate.
3 Select the audio region with the Time Grabber
Choosing Bar|Beat Markers or Tempo
Events
tool and choose Event > Identify Beat.
4 In the Bar|Beat Markers dialog, specify the
Because tempo events are tick-based, and
Bar|Beat Markers are sample-based, they cannot
be mixed. If a session contains tempo events
and you attempt to insert Bar|Beat Markers, existing tempo events are converted to Bar|Beat
Markers (and vice versa).
start and end locations for the inserted Bar|Beat
Markers. Since this example deals with a one-bar
loop, enter 1|1|000 and 2|1|000.
Tempo events can also be manually converted
to Bar|Beat Markers and vice versa.
To choose to use either tempo events or Bar|Beat
Markers:
1 Press Control (Windows) or Command (Mac)
and click the Add Tempo Change button.
2 Choose either Tempo Events or Bar|Beat Markers from the pop-up menu.
Identify Beat dialog
5 If necessary, specify a time signature for the
start and end range.
Tempo ruler pop-up menu
When converting between Tempo events and
Bar|Beat Markers, some amount of sample
rounding may occur.
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417
6 Click OK to automatically calculate the new
tempo and insert the necessary Bar|Beat Markers
and meter events. Any existing tempo and
meter events residing within the selection are
deleted.
Dragging Bar|Beat Markers
Bar|Beat Markers can be dragged to new locations so they can align with audio regions that
have been moved, or so that they can align to a
slightly different point within an audio region.
This results in neighboring MIDI data being adjusted to align with the new tempo map.
Bar|Beat Markers inserted
Once the tempo has been determined for the audio, you can duplicate the original audio region
with the Repeat command.
When working with a selection, the Identify
Beat command only calculates a single tempo
for the selected range. If the tempo varies from
measure to measure, or beat to beat, you’ll need
to use the Identify Beat command for each
tempo variance (making sure to accurately define a precise selection range or beat location for
the tempo change).
To accurately define tempos for a range of audio
with the Identify Beat command, make certain
that the initial selection represents an accurate
length of beats or measures. You may want to
first loop the selection on playback (see “Looping Playback” on page 321) to see if it plays
cleanly without skipping. To avoid drift, and remain sample-accurate, select the audio material
with the Time Scale set to Samples rather than
Bars|Beats.
When identifying beats, select as large an
area as possible. For example, if you have a
four bar long audio file you want to identify,
select the entire four bars instead of just one
bar, in order to minimize rounding errors.
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Dragging a Bar|Beat Marker
Because Bar|Beat Markers are sample-based and
tempo events are tick-based, they behave differently when you drag them in the Tempo ruler.
When dragging a tempo event:
• The tempo event is placed at a new bar and
beat location. The sample and SMPTE locations for the event are updated as well.
• The BPM value for the dragged tempo event
remains constant, as do any other tempo
events in the session.
• Neighboring MIDI events and audio regions
on tick-based tracks, along with the ruler,
shrink or expand as necessary to adjust for the
new tempo location.
When dragging a Bar|Beat Marker:
To delete a Bar|Beat Marker:
• Its BPM value is recalculated along with the
Bar|Beat Marker to its immediate left. Bar|Beat
Markers to the right of the dragged marker remain unchanged.
While pressing Alt (Windows) or Option (Mac),
move the cursor over the Bar|Beat Marker
(where the cursor changes to the Grabber with a
“–”) and click to remove it.
• Its bar and beat location is dragged with the
Bar|Beat Marker. If the Bar|Beat Marker was
originally placed at 3|1|000, it remains there
(unless it is edited).
• Its sample and SMPTE locations change, as
calculated for by the new tempo for the
Bar|Beat Marker.
• Neighboring MIDI events, along with the
Bars:Beats ruler, shrink or expand as necessary
to adjust for the new tempo.
Editing Bar|Beat Markers
A Bar|Beat Marker can be edited to redefine its
bar and beat location, which also redefines the
start or end point of the range being analyzed
for tempo. This is different from dragging a
Bar|Beat Marker.
Inserting Bar|Beat Markers One at
a Time
Sample-Based Material with Varying Tempos
You can insert Bar|Beat Markers one at a time by
setting an Edit insertion point (instead of making a selection) before using the Identify Beat
command. The ability to identify each beat, one
at a time, is especially useful when working with
sample-based material with varying tempos.
For instance, if you have a measure that accelerates slightly, you could insert a Bar|Beat Marker
on each beat (see Figure 15) so the tempo is accurately reflected.
Figure 15. Bar|Beat Markers on each beat
Edit Bar|Beat dialog
To edit a Bar|Beat Marker:
After the Bar|Beat Markers are inserted, further
adjustments in the tempo map are possible by
dragging each of the Markers, as necessary, to
align with the associated beat within the audio.
1 In the Tempo ruler, double-click the Bar|Beat
Marker.
2 In the Edit Bar|Beat dialog, enter a new Loca-
tion for the Bar|Beat Marker.
3 Enter a new Time Signature if desired.
4 Click OK.
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419
Meter Events
You can change meter in the Meter ruler, or
make precise meter changes in the Time Operations window.
Meter events can be inserted at the beginning of
a session to replace the default meter (of 4/4),
and they can be inserted anywhere within the
session for additional meter changes.
Manually inserting a meter event
• Double click the meter display in the Transport window.
To display the Meter ruler:
■
• While pressing the Start key (Windows) or
Control (Mac), move the cursor into the
Meter ruler (where the cursor changes to
the Grabber with a “+”) and click at the location where you want to insert the event.
Select View > Rulers > Meter.
Current Meter
As meter events are encountered during playback, the session’s current meter is displayed in
the Transport window.
Current Meter display in the Transport window
current meter
2 In the Meter Change window, do the follow-
wing:
Current meter displayed in Transport window
• Enter the Location and Meter for the meter
change.
Inserting Meter Events
To insert a meter event:
1 Do one of the following:
• Choose Event > Time > Change Meter.
• Click the Add Meter Change button at the
right of the Meter ruler.
Meter Change window
– and –
Add Meter Change button
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• If you want the inserted meter event to fall
cleanly on the first beat of the nearest measure, select the Snap To Bar option.
3 Select a note value for the number of clicks to
sound in each measure. For a dotted-note click
value, select the dot (.) option.
For some meters, it may be desirable to use
a dotted value for the click. For instance, if
using a meter of 6/8, a dotted quarter note
click (yielding two clicks per measure) is
generally more suitable than a straight
eighth note click (six clicks per measure).
4 Click Apply to insert the new meter event. The
new meter event is inserted and appears in the
Meter ruler.
Inserted meter event
Each meter event has a small yellow triangle
next to it that indicates its location. These triangles can be selected for copying and pasting, and
they can be double-clicked to edit the meter
event.
Editing Meter Events
Existing meter events can be edited, deleted,
and copied and pasted.
To copy and paste several meter events:
1 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
2 Drag in the Meter ruler to select the range that
includes the meter events.
Meter events selected
If the beginning of the selection includes a
meter event, press Control (Windows) or Command (Mac) so the Selector tool appears.
Press Alt (Windows) or Option (Mac) while
dragging to select across all Conductor
tracks.
3 Choose Edit > Copy.
4 Click in the Meter ruler at the point where you
want to paste the meter events.
5 Choose Edit > Paste. The contents of the Clipboard are pasted from the insertion point, replacing any existing meter events.
To extend an Edit selection in a track to the Meter
ruler:
To edit a meter event:
1 Using the Selector tool or any Time Grabber
1 In the Meter ruler, double-click the meter
tool, select a track range.
event.
2 Shift-click in the Meter ruler.
2 In the Meter Change dialog, enter a new Loca-
tion or Meter for the event.
Shift-click again in the Meter ruler to remove it
from the selection.
3 Click OK.
To select all meter events:
To delete a meter event:
While pressing Alt (Windows) or Option
(Mac), move the cursor over the meter event
(where the cursor changes to the Grabber with a
“–”) and click to remove it.
■
■ Double-click with the Selector tool in the
Meter ruler.
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421
To clear a range of selected meter events:
1 If you want to constrain the selection to the
current Grid value, set the Edit mode to Grid.
Time Operations
The Time Operations window lets you:
2 Drag in the Meter ruler to select the meter
• Change Meter
events you want to remove.
• Insert Time
• Cut Time
3 Choose Edit > Clear to delete the selected
• Move Song Start
meter events.
Partial Measures
As necessary, Pro Tools will create a partial measure to accommodate the inserted meter event.
When a meter event is preceded by a partial
measure, the meter event is displayed in italics
in the Meter ruler.
To open a specific Time Operations window:
■ Choose Event > Time, followed by one of the
Time Operations commands (such as Change
Meter).
If the Time Operations window is already
open, you can select any Time Operation
from the pop-up menu at the top of the window.
To open the last active Time Operations window:
Partial measure of 4/4
Partial measures can also occur when pasting
meter events to locations other than the first
beat of a measure.
To insert meter events while avoiding partial bars, use the Change Meter command in
the Time Operations window. See “Change
Meter” on page 423.
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Pro Tools Reference Guide
■
Choose Event > Time > Operations Window.
Press Alt+1 (Windows) or Option+1
(Mac) on the number keypad to open the
Time Operations window and display the
last active Time Operations window.
Change Meter
Change Meter lets you specify complex meter
changes for Bar|Beat-based material. You can enter meter changes at a particular bar, make a
meter change over a selected area of time, or add
meter changes sequentially one bar at a time.
Change The Change fields let you specify the
number of bars of the new meter that you wish
to have replace the selected range.
Pro Tools automatically calculates the nearest
whole bar number, or you can specify a number
of bars to be affected. Time is inserted or deleted,
in whole bar increments, at the end of the selection, as necessary on all affected tracks when
you override the calculated range.
Realign
The Realign controls let you choose which items
to realign after meter changes have been made.
You can choose to realign meter events, or
choose to realign meter and tempo events, tickbased markers and tracks, and all or none of the
sample-based tracks.
Change Meter window
Options for the Change Meter command include:
New Meter Lets you specify a new time signature. The first field lets you enter the number of
beats (up to 99) in a measure, and the second
field lets you enter the note length that counts
as one beat.
Click Lets you specify the note value that will
trigger the metronome click. For example, if an
eighth note is chosen, a click is played for every
eighth note, regardless of tempo.
Meter Ruler Only Applies meter changes to the
Meter ruler only. All other rulers and tracks are
unaffected.
Meter and Tempo Rulers, Tick-Based Markers and
Tracks, and Sample-based Markers and
Tracks Applies meter changes to all rulers, tickbased tracks, and your choice of sample-based
tracks. Time is inserted or deleted as needed at
the end of the selection to preserve the alignment of material following the selection.
Starting at Bar Sets the bar where the meter
change is added. Meter changes made in the
Change Meter page can only be made at the beginning of a bar.
Apply Change To Lets you apply the meter
change to the selected range, to the end of the
session, or until the next bar.
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423
Change Meter Examples
4 Choose “Until the Next Bar” from the Apply
Change To pop-up menu.
To change the meter over a range of bars:
1 Do one of the following:
• Drag with the Selector tool to select a range
of bars to change.
– or –
• To have the meter change apply until the
next meter event, click where you want the
meter change to begin with the Selector
tool. The meter change will be made at the
beginning of the nearest bar.
2 Choose Event > Time > Change Meter.
3 Specify a new meter and click setting.
Pro Tools will automatically set the selection options to fit the new meter to the selected range
as closely as possible, adding or subtracting
beats a necessary.
5 Click Apply to enter the new meter and to
move the insertion point to the end of the new
measure.
6 Specify a new meter and click setting for the
next measure.
7 Repeat steps 5–6 for every additional meter
change you wish to insert.
Insert Time
Insert Time lets you insert an amount of blank
time (silence) into Conductor rulers, MIDI
tracks, and audio tracks.
4 Select To Selected Range in the Apply Change
pop-up menu.
5 Choose which rulers and tracks you wish to
realign after meter changes have been made.
6 Click Apply.
To add a series of meter changes, one measure at
a time:
1 Do one of the following:
• With the Selector tool, click where you
want the meter change to begin. The meter
change will be made at the beginning the
nearest bar.
Insert Time window
Options for the Insert Time command include:
Start, End and Length Sets the start and end
points for the selection, and the selection
length.
– or –
• Enter the first measure number in the Starting At Bar field.
2 Choose Event > Time > Change Meter.
3 Specify a new meter and click setting.
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Pro Tools Reference Guide
Set Meter If your Main Time Scale is Bars|Beats,
Set Meter lets you specify a new meter for the inserted time. The selection is quantized to the
nearest bars, and the previous meter is inserted
after the selection.
If your Main Time Scale is sample-based, Set
Meter is not available.
Realign
The Realign controls let you choose which items
shift (occur later) when time is inserted, as follows:
• If your Main Time Scale is set to Bars|Beats,
you can choose to realign meter events only,
or choose to realign a combination of Meter
and Tempo rulers, all tick-based markers and
tracks, and your choice of sample-based
tracks.
• If your Main Time Scale is set to an absolute
timebase (such as Min:Secs), you can choose
to independently realign conductor events,
tick-based markers and tracks, and your
choice of sample-based tracks.
Meter Ruler Only If your Main Time Scale is
Bars|Beats, you have the option to insert time
into the Meter ruler only. Meter events after the
start point of the selection are shifted past the
end point by the length of time selection.
If the time selection includes any audio regions
on tick-based tracks, the audio regions are separated at the Start point, and the new region containing the previous selection is shifted to the
end point.
Sample-Based Markers and Tracks Lets you shift
absolute time-based markers, and insert time
into sample-based tracks. Marker events and
sample-based tracks after the start point of the
selection are shifted past the end point by the
length of time inserted.
If the selection includes any audio regions on
sample-based tracks, the selected portions of the
audio regions are separated at the Start point,
and the new region containing the previous selection is shifted to the end point.
Insert Time Example
To insert four empty measures of 4/4 time into a
session:
1 Set the Main Time Scale to Bars|Beats.
2 Choose Event > Time > Insert Time.
If your Main Time Scale is sample-based, Realign
Meter Ruler Only is not available.
3 Enter the measure where you want to insert
Meter and Tempo Rulers Lets you insert time
into the Meter and Tempo rulers. Meter and
Tempo events after the start point of the selection are shifted past the end point by the length
of time inserted.
4 Enter four measures in the Length field.
the measures in the Start field.
5 Select the Realign option to Meter and Tempo
Rulers, All Tick-Based Markers & Tracks, and All
Sample-Based Markers and Tracks.
6 Click Apply.
Tick-Based Markers and Tracks Lets you shift
Bar|Beat-based markers, and insert time into
tick-based tracks. Marker events and tick-based
tracks after the start point of the selection are
shifted past the end point by the length of time
inserted.
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425
Cut Time
Cut Time lets you cut a specified amount of time
(both Timebase and track data) from Conductor
rulers, MIDI tracks, and audio tracks.
Meter Ruler Only If your Main Time Scale is
Bars|Beats, you have the option to remove time
from the Meter ruler only. Meter events within
the selection are removed, and meter events
that occur after the end point of the selection
are shifted to the selection start point.
If your Main Time Scale is sample-based, Realign
Meter Ruler Only is not available.
Meter and Tempo Rulers Lets you cut time from
the Meter and Tempo rulers. Meter and tempo
events within the selection are removed, and
the meter and tempo events that occur after the
end point of the selection are shifted to the selection start point.
Cut Time window
Options for the Cut Time command include:
Start, End and Length Sets the start and end
points for the selection, and the selection
length.
Realign
The Realign controls let you choose which items
shift when time is cut, as follows:
• If your Main Time Scale is set to Bars|Beats,
you can choose to realign meter events only,
or choose to realign a combination of Meter
and Tempo rulers together, all tick-based
markers and tracks, and your choice of sample-based tracks.
• If your Main Time Scale is set to an absolute
timebase (such as Min:Secs), you can choose
to independently realign conductor events,
tick-based markers and tracks, and your
choice of sample-based tracks.
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Pro Tools Reference Guide
Tick-Based Markers and Tracks Lets you shift
Bar|Beat-based markers, and delete time from
tick-based tracks. Marker events and tick-based
tracks within the selection are removed, and the
marker events and tick-based tracks that occur
after the end point of the selection are shifted
forward.
If the time selection includes any tick-based audio regions, the selected area of the audio region
is deleted, and the region following the selection is shifted forward.
Sample-Based Markers and Tracks Lets you shift
absolute time-based markers, and cut time from
sample-based tracks. Marker events and samplebased tracks within the selection are removed,
and the marker events and sample-based tracks
that occur after the end point of the selection
are shifted forward.
If the time selection includes any sample-based
audio regions, the selected area of the audio region is deleted, and the region following the selection is shifted forward.
Cut Time Example
To cut thirty seconds of time from a session:
1 Set the Main Time Scale to Minutes:Seconds.
2 Choose Event > Time > Cut Time.
Move Start To Sets the location for the Song
Start Marker in the chosen timebase.
Renumber Song Start To When enabled, this lets
you set the Song Start Marker to any bar number.
3 With the Selector tool, click at the beginning
of the area that you want to cut.
Move
4 Enter thirty seconds (0:30.000) in the Length
The Move controls let you choose which items
shift when the Song Start is moved, as follows:
field.
5 Select the options to Realign both Meter and
Tempo rulers, all tick-based tracks, and all sample-based markers and tracks.
6 Click Apply.
Move Song Start
Move Song Start lets you redefine the location of
the Song Start Marker.
Song Start Only Moves the Song Start Marker
only.
Meter and Tempo Rulers, Tick-Based Markers and
Tracks, and Sample-based Markers and
Tracks Moves the Song Start Marker, Meter and
Tempo rulers, tick-based tracks, and your choice
of sample-based tracks.
Move Song Start Example
To move the Song Start Marker to 15 seconds on
the timeline:
1 Choose Event > Time > Move Song Start.
2 Select Minutes:Seconds from the Timebase
pop-up menu.
3 In the Move Song Start To field, enter
“0:15:000” to move the song start forward by 15
seconds.
4 If you wish to renumber the bars so that the
Move Song Start window
Song Start Marker sits at a different bar, select
the Renumber Song Start option, and enter the
bar number in the Renumber 1st Bar to field.
Options for the Move Song Start command include:
5 Select whether you want to move all sample-
Timebase Lets you precisely redefine the position of the Song Start Marker measured by any
supported timebase.
6 Click Apply.
based markers and tracks or none of them.
Chapter 20: Conductor Tracks and Memory Locations
427
Renumbering Bars
You can use the Renumber Bars command to renumber all bars in the session, effectively
changing the bar locations for all regions, meter
and tempo events while leaving their position
intact. In doing so, however, the SMPTE and
sample locations of the session data are not
changed.
Properties of Memory Locations
When creating a new Memory Location (see
“Creating Memory Locations” on page 430) you
are prompted to define its Time Properties and
General Properties.
To renumber bars:
1 Choose Event > Renumber Bars.
2 Specify the bar you want to renumber, along
with the new bar number, then click Renumber.
Renumber Bars dialog
Memory Locations and
Markers
Each session can save up to 999 Memory Locations that can be used to recall:
• Markers to important locations in the session
• Edit selections across one or more tracks
• Record and play ranges, along with preand post-roll times
• Track settings that include Show/Hide status, Track Heights, and zoom values
• Edit and Mix Groups enables
Memory Locations are viewed and sorted in the
Memory Locations window, where they can be
recalled by clicking the Memory Location.
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Pro Tools Reference Guide
Memory Location dialog
Time Properties
Under Time Properties, a Memory Location can
be set to Marker, Selection, or None. This determines the type of Memory Location that is created. Each of these three Memory Location
types can also save any combination of General
Properties.
Marker Recalls a Timeline location whose reference can be either Bar|Beat (tick-based) or Absolute (sample-based). When recalling a Marker
Memory Location, the playback cursor moves to
the Marker’s location and the start and end
times in the Transport window are also updated.
If the Timeline and Edit Selections are linked,
the edit cursor also moves to the Marker location.
Markers appear in the Markers ruler with a thin
yellow line extending down through all tracks
in the Edit window (to assist in arranging and
aligning track material). You can click a Marker
in the Markers ruler to recall its location along
with its stored General Properties.
When set to Absolute, the Memory Location is
sample-based and its bar and beat location shifts
if the tempo is changed—though its sample location remains constant, along with its relation
to audio material.
Bar|Beat Marker (left) and Absolute Marker (right)
In the Markers ruler, Markers that are Bar|Beat
appear as yellow chevrons, and Markers that are
Absolute appear as yellow diamonds.
Markers in the Markers ruler
Selection Recalls an Edit selection or edit cursor
location whose reference can be either Bar|Beat
(tick-based) or Absolute (sample-based). A Selection Memory Location lets you store Edit selections, for one or more tracks, that you return to
often within a session. If the Timeline and Edit
Selections are linked, a Selection Memory Location can recall record and play ranges.
Only contiguous selections can be saved
with Memory Locations. Discontiguous selections, made with the Object Grabber tool,
will be recalled as if the selections were
made with the Time Grabber tool.
None Recalls no Time Properties and is therefore
referred to as a General Properties Memory Location.
Bar|Beat and Absolute Reference
The Reference pop-up determines whether the
Marker or Selection Memory Location is
Bar|Beat or Absolute. When set to Bar|Beat, the
Memory Location is tick-based and its bar and
beat location remains constant if the tempo is
changed—though its relation to audio is scaled,
resulting in a new sample location.
General Properties
All three types of Memory Locations (Marker,
Selection, and None) can store and recall any
combination of the following General Properties:
Zoom Settings Recalls the horizontal, audio,
and MIDI zoom values for audio, MIDI, and Instrument tracks.
Pre- and Post-Roll Times Recalls pre- and postroll times (but not whether they are enabled).
This property can be stored with a Selection
Memory Location to recall record and play
ranges along with pre- and post-roll.
Track Show/Hide Recalls which tracks are hidden. Use this property to display groups of
tracks for editing and mixing.
Track Heights Recalls all Track Heights. Use this
option along with Zoom Settings to recall edit
environments that are suited for particular
tasks, such as editing down to the sample level
or trimming MIDI notes.
Group Enables Recalls which Edit and Mix
Groups are enabled. This option is helpful in recalling groups for particular edit and mixing operations, such as muting all drum tracks or fading a stereo pair.
Chapter 20: Conductor Tracks and Memory Locations
429
Comments
All three types of Memory Locations (Marker,
Selection, and None) can store and recall comments. You can enter a maximum of 255 characters to describe the Memory Location. You
can also edit comments previously entered.
See “Creating Memory Locations” on
page 430 and “Editing Memory Locations”
on page 432 for more information.
4 Do one of the following:
• Click with the Selector tool in any track or
ruler at the location where you want to
place the Marker. To place a Marker at the
beginning of a region, select the region
with the Time Grabber tool. Click the Add
Marker/Memory Location button (or press
Enter on the numeric keypad).
Creating Memory Locations
Memory Locations can be created in different
ways, based on the type of Memory Location.
When creating Memory Locations, the next
available number is assigned to it (1–999). This
number is used in recalling the Memory Location from the numeric keypad.
Marker/Memory Location button
– or –
• While pressing the Start key (Windows) or
Control (Mac), move the cursor into the
Markers ruler (where the cursor changes to
the Grabber with a “+”) and click at the location where you want to place the Marker.
To create a Marker Memory Location:
1 Configure any session settings you will save
with the Marker Memory Location, such as
zoom settings, pre- and post-roll times,
Show/Hide status for tracks, Track Heights, and
Edit and Mix Group enables.
2 Make sure to select Options > Link Timeline
and Edit Selection.
3 If the Markers ruler is not displayed, select
View > Rulers > Markers.
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Manually inserting a Marker
5 In the New Memory Location dialog, select
the Marker option and specify the Reference as
either Bar|Beat or Absolute.
6 Enter a name for the new Marker and select
any General Properties you want to save with
the Marker.
7 Click OK. The Marker is created and appears in
the Markers ruler, and in the Memory Locations
window.
To create a Selection Memory Location:
5 Click OK. The General Properties Memory Lo-
1 Configure any session settings you will save
cation is created and appears in the Memory Locations window.
with the Selection Memory Location, such as
zoom settings, pre- and post-roll times,
Show/Hide status for tracks, Track Heights, and
Edit and Mix Group enables.
2 Select a range of material in one or more
tracks.
3 Do one of the following:
In the New Memory Location dialog, you
can Alt-click (Windows) or Option-click
(Mac) any General Property to enable or disable all properties. You can also Controlclick (Windows) or Command-click (Mac)
any property to toggle its state and the state
of all other General Properties.
• Press Enter on the numeric keypad.
– or –
Creating Memory Locations On-the-Fly
• From the pop-up menu in the Memory Locations window (click the Name button),
choose Add Memory Location.
When the Editing preference for “Auto-Name
Memory Locations When Playing” is enabled,
Memory Locations can be created during playback, without raising the New Memory Location
dialog. This option can also be selected from the
pop-up menu in the Memory Locations window.
4 In the New Memory Location dialog, select
the Selection option and specify the Reference
as either Bar|Beat or Absolute.
5 Enter a name for the new Memory Location
and select any General Properties you want to
save with it.
6 Click OK. The Selection Memory Location is
created and appears in the Memory Locations
window.
To create a General Properties Memory Location:
1 Configure any session settings you will save
with the Selection Memory Location, such as
zoom settings, pre- and post-roll times,
Show/Hide status for tracks, Track Heights, and
Edit and Mix Group enables.
2 Press Enter on the numeric keypad.
3 In the Memory Location dialog, select the
None option.
4 Enter a name for the new Memory Location
and select any General Properties you want to
save with it.
This capability is useful if you want to mark certain locations while listening during a record
pass, or if you want to mark frame locations
while viewing a video scene.
To create a Marker during playback:
1 From the pop-up menu in the Memory Loca-
tions window, select Default To Marker. This ensures that new Memory Locations default to
being Markers.
2 From the pop-up menu in the Memory Loca-
tions window, select Auto-Name Memory Locations.
3 For inserted Markers to have a Bar|Beat refer-
ence, make sure to set the Main Time Scale to
Bars:Beats.
4 Click Play in the Transport window.
Chapter 20: Conductor Tracks and Memory Locations
431
5 When the location is reached, press Enter on
the numeric keypad. A Marker is automatically
created and appears in the Markers ruler.
Auto-created Markers are named with increasing
numbers, as in “Marker 1,” “Marker 2,” and
“Marker 3.”
When the option for Default To Marker is deselected, new Memory Locations default to whatever type was last created. Therefore, if a Selection Memory Location was created last, it will be
the type that is created on-the-fly. In this case,
the name for the created Memory Location is
based on the start of the Edit selection using the
time format for the Main Time Scale (such as
“2|2|305” or “0:02.658”).
Recalling Memory Locations
Memory Locations can be recalled from the
Memory Locations window and from the numeric keypad. In addition, Marker Memory Selections can be recalled by clicking them in the
Markers ruler.
To recall a Memory Location:
1 If the Memory Locations window is not al-
ready open, choose Window > Memory Locations to display it.
2 If recalling a Selection Memory Location that
will define a record or play range, make sure to
select Options > Link Timeline and Edit Selection.
• With the Numeric Keypad mode set to
Transport or Shuttle, press Period (.), the
Memory Location number, and Period (.)
again.
When recalling a Memory Location from
the numeric keypad, the Memory Locations
window does not need to be open.
To recall a Marker from the Markers ruler:
1 If the Markers ruler is not displayed, select
View > Rulers > Markers.
2 Click the Marker. The playback cursor locates
to the Marker and any General Properties stored
with the Marker are recalled.
Even if the Markers ruler is not displayed,
Markers can be recalled from the Memory Locations window, or from the numeric keypad.
Editing Memory Locations
Memory Locations can be renamed, edited, deleted, and copied and pasted.
To rename a Memory Location:
1 Do one of the following:
• In the Memory Locations window, doubleclick the Memory Location you want to rename.
– or –
• If renaming a Marker Memory Location,
double-click the Marker in the Markers
ruler.
3 Do one of the following:
• In the Memory Locations window, click the
Memory Location to recall it.
• With the Numeric Keypad mode set to
Classic, press the Memory Location number followed by Period (.).
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2 Enter the new name for the Memory Location,
and click OK.
To redefine the General Properties stored with a
Memory Location:
To change the Selection stored with a Memory
Location:
1 Make changes to the session’s zoom settings,
1 If the Memory Locations window is not al-
pre- and post-roll times, Show/Hide status of
tracks, Track Heights, or Group Enables.
ready open, choose Window > Memory Locations to display it.
2 Do one of the following:
2 Select a range of material in one or more
• In the Memory Locations window, Rightclick (Windows) or Control-click (Mac) the
Memory Location you want to redefine.
– or –
• If changing a Marker Memory Location,
Right-click (Windows) or Control-click
(Mac) the Marker in the Markers ruler.
tracks.
3 In the Memory Locations window, Right-click
(Windows) or Control-click (Mac) the Memory
Location that you want to redefine.
4 Enter a new name for the Memory Location, if
desired, and click OK.
3 In the Memory Location dialog, select the
To move a Marker by dragging:
General Properties you want to save with the
Memory Location.
1 In the Markers ruler, drag the Marker left or
right.
4 Enter a new name for the Memory Location, if
desired, and click OK.
To change a Memory Location from one type to
another:
1 Do one of the following:
• In the Memory Locations window, doubleclick the Memory Location you want to
change.
Dragging a Marker
If the Edit mode is set to Grid, the dragged event
snaps to the current Grid value. If using Spot
mode, the Spot dialog opens.
– or –
To align a Marker to a different location:
• If changing a Marker Memory Location,
double-click the Marker in the Markers
ruler.
1 Make sure to select Options > Link Timeline
2 In the Memory Location dialog, select either
Marker, Selection, or None as the Memory Location type.
3 Enter a new name for the Memory Location, if
desired, and click OK.
and Edit Selection.
2 Do one of the following:
• In any of the Timebase rulers, click with
the Selector tool at the new location.
– or –
• Click in the playlist for any track. To align
the Marker to the start of a region, select
the region with the Time Grabber tool.
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433
3 In the Memory Locations window or the
Markers ruler, Start-click (Windows) or Controlclick (Mac) the Marker Memory Location that
you want to redefine.
Copying Marker Memory Locations
4 Enter a new name for the Marker, if desired,
current Grid value, set the Edit mode to Grid.
and click OK.
To copy and paste a range of Markers:
1 If you want to constrain the selection to the
2 Drag in the Tempo ruler to select the range of
measures that includes the Markers.
Deleting Memory Locations
To delete a Memory Location, do one of the
following:
■ In the Memory Locations window, select the
Memory Location and choose Delete Memory
Location from the pop-up menu.
If the beginning of the selection includes a
Marker, press Control (Windows) or Command
(Mac) so the Selector tool appears.
Press Alt (Windows) or Option (Mac) while
dragging to select across all Conductor
tracks.
– or –
In the Memory Locations window, Alt-click
(Windows) or Option-click (Mac) the Memory
Location.
3 Choose Edit > Copy.
■
To delete all Memory Locations, do one of the
following:
■ In the Memory Locations Window, choose
Delete All from the pop-up menu.
– or –
Alt-Shift-click (Windows) or Option-Shiftclick (Mac) any Memory Location in the Memory Locations window.
■
434
4 Click in the Markers ruler at the point where
you want to paste the tempo events.
5 Choose Edit > Paste. The contents of the Clipboard are pasted from the insertion point, replacing any existing Markers.
To extend an Edit selection in a track to the
Markers ruler:
1 Using the Selector or Time Grabber tool, select
a track range.
2 Shift-click in the Markers ruler.
To delete a Marker from the Markers ruler:
Shift-click again in the Tempo ruler to remove it
from the selection.
■ While pressing Alt (Windows) or Option
(Mac), move the cursor over the Marker (where
the cursor changes to the Grabber with a “–”)
and click to remove it.
To select all Markers in the Markers ruler:
Pro Tools Reference Guide
■ Double-click with the Selector tool in the
Tempo ruler.
Memory Locations Window
Memory Locations are listed, with their name
and assigned number, in the Memory Locations
window. To recall a Memory Location from this
window, simply click it.
Memory Locations Commands and
Options
Show Markers Only When selected, only Marker
Memory Locations are displayed in the Memory
Locations window. However, even when Selection Memory Locations and General Property
Memory Locations are hidden, they can still be
recalled from the numeric keypad.
Show View Filter Icons When selected, the
Memory Locations window provides an iconbased “View Filter” that allows you to show or
hide Memory Locations based on the properties
they contain. To show or hide Memory Locations containing a specific property, click the
appropriate icon.
Memory Locations window with View Filter icons
You can select viewing and sorting options,
along with commands for creating and removing Memory Locations, from the pop-up menu
in the Memory Locations window (obtained by
clicking the Name button in the upper left).
Marker
Show/Hide
Zoom
Track Heights
Settings
Pre- and Post-Roll
Selection
Memory Location
Active
Groups
Memory Locations View Filter icons
If an icon is disabled, all Memory Locations associated with that property are hidden. However, if a Memory Location contains other properties for an icon that is enabled, it is still
displayed. When a view icon is enabled, it appears in color. When it is disabled, it appears
gray.
Memory Locations window pop-up menu
Memory Locations window with View Filter icons
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435
In addition, the View Filter provides a handy
reference for which properties are stored in each
Memory Location (indicated by a row of icons
for each Memory Location).
Show Main/Sub Counter When selected, a column appears in the Memory Locations window
that displays the locations for Markers, and the
start times for Selection Memory Locations.
General Property Memory Locations display
nothing in this column.
Main
Time Scale
Sub
Time Scale
Sort by Time When selected, Markers are sorted
by their order in the Timeline, followed by Selection and General Properties Memory Locations, which are listed in the order in which
they were created.
When Sort by Time is deselected, all Memory
Locations are listed in the order of their assigned
numbers.
Add Memory Location Choose this command to
create a new Memory Location.
Remove Memory Location Deletes the currently
selected Memory Location in the Memory Locations window.
Delete All Deletes all Memory Locations
(Marker, Selection, and General Property) in the
session.
Main/Sub Counters in the Memory Locations window
You can click at the top of these columns for a
pop-up menu that will let you change the Main
and Sub Time Scale.
Show Comments When selected, a column appears in the Memory Locations window that displays the comments for each of the Markers.
Comments in the Memory Locations window
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Default To Marker When selected, new Memory
Locations default to Markers, though in the New
Memory Location dialog you can still define the
new Memory Location as one of the other types.
Auto-Name Memory Location When selected,
Memory Locations are created automatically
without encountering the New Memory Location dialog. If the Default To Marker option is
selected, a Marker Memory Location is auto-created. Otherwise, the Memory Location type is
determined by whatever type (Marker, Selection, or None) was created last.
Chapter 21: Beat Detective
Beat Detective is a powerful tool for analyzing,
editing, and manipulating audio or MIDI tracks
that have an inherent rhythmic character.
Beat Detective analyzes an audio or MIDI selection, identifies its peak transients or accented
notes, and generates beat triggers based on the
detected peak transients or MIDI notes. From
these beat triggers, Beat Detective can:
• Extract tempo and beat information to create
Bar|Beat Markers that can be used to define
the session’s tempo map. See “Generating
Bar|Beat Markers with Beat Detective” on
page 447.
• Extract tempo and groove information as
groove templates, called DigiGrooves. These
templates can be applied to audio or MIDI using Beat Detective or Groove Quantize (see
“DigiGroove Templates” on page 448.
• Separate an audio selection into discrete regions, and then conform (or “quantize”) separated regions to the session’s tempo map, or
to groove templates. See “Separating Regions
with Beat Detective” on page 450 and “Conforming Regions with Beat Detective” on
page 452.
Beat Detective and Source Material
Beat Detective is most effective with audio or
MIDI that has clear attack transients or accent
patterns (including most instruments used in
popular music, such as drums, guitar, or bass).
Beat Detective will be less successful with audio
material with soft attacks, or legato phrasing
(such as strings and vocals).
Uses for Beat Detective
Beat Detective can be useful in many situations,
including:
Extracting Tempo from Audio Beat Detective can
generate Bar|Beat Markers, from which it can extract the tempo—even if the audio contains
varying tempos, or material with a swing feel.
Additionally, once Bar|Beat Markers have been
generated, other audio and MIDI regions can be
quantized to them.
Creating DigiGrooves Beat Detective can extract
groove templates, called DigiGrooves, from an
audio selection. DigiGrooves can be used to apply the groove, or feel of the captured passage to
other audio selections (using Groove Conform)
or MIDI data (using Groove Quantize).
Conforming Audio Regions Beat Detective can
conform (“quantize”) audio with a different
tempo, or with varying tempos, to the session’s
current tempo map, or to a groove template.
Chapter 21: Beat Detective
437
“Tighten Up” Performances Beat Detective can
be used to improve the timing of some audio
material by calculating and extracting its average tempo, and then conforming its rhythmic
components—regions separated with Beat Detective—to the session’s tempo map.
Loop Matching Since Beat Detective can extract
tempo and beat information from audio, and
conform audio to an existing tempo map or
groove template, this makes it very useful for
aligning loops with different tempos or grooves.
If a loop is at a different tempo than the current
session, Beat Detective lets you quickly separate
each beat in the loop and conform them to the
tempo map (as an alternative to time compressing or expanding the loop, which can alter the
pitch and tone of the audio).
Remixes Beat Detective can be used for remixes
or creating new rhythms. It can extract tempo
from the original drum tracks, or in some instances the original stereo mix. New audio or
MIDI tracks can then be conformed to the original material, or the original material can be
conformed to new drum tracks, achieving an
entirely new feel.
When working with tick-based audio, use
Beat Detective’s Region Separation command to quickly separate audio regions into
individual “hits” (or slices). You can also
create a region group of the separated regions to facilitate editing and arranging.
Smoothing Post Production Edits (Audio
Only) Beat Detective’s Edit Smoothing can be
used to automatically clean up foley tracks that
contain many regions requiring trimming and
crossfading, effectively removing the gaps of silence between the regions (thus retaining the
room tone throughout the track).
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Beat Detective Requirements
Beat Detective is available with Pro Tools HD,
LE, and M-Powered.
Pro Tools LE and M-Powered do not support using Beat Detective across multiple
tracks. When Beat Detective is applied to
multiple tracks, only the top track is edited.
RAM Requirements for Beat Detective
Beat Detective operations can require a large
amount of RAM, especially when working with
multiple tracks and lengthy selections.
To avoid low memory situations with Beat Detective, do the following:
• If you begin to experience slower Beat Detective response, add more RAM to your computer.
• If your computer does not have the extra
RAM, work with shorter selections, or individual tracks.
• Set the Editing preference for Levels of Undo
to a smaller value (see “Levels of Undo and
Memory” on page 274). Memory-intensive
editing operations, such as Edit Smoothing
(audio only) with Beat Detective, can use up a
large amount of memory when in the Undo
queue.
The Beat Detective Window
The Beat Detective window appears as shown in Figure 16, below.
Figure 16. Beat Detective (Pro Tools HD shown)
To open the Beat Detective window, do one of the
following:
■
Choose Event > Beat Detective.
– or –
Press Control+8 (Windows) or Command+8
(Mac) on the numeric keypad.
■
Beat Detective is a floating window that can be
left open while working. This lets you adjust the
controls in real time during playback, while
viewing the beat triggers that appear in your selection in the Edit window.
Beat Detective Modes
The Beat Detective window is divided into three
sections: Operation, Selection, and Detection.
Depending on the Operation mode, the controls in the Action section change. The Selection
options for Beat Detective are available in each
of the Operation modes.
Bar|Beat Marker Generation Generates Bar|Beat
Markers corresponding to transients detected in
the audio selection.
Groove Template Extraction Extracts the rhythmic and dynamic information from audio, and
saves this information to the Groove Clipboard,
or as a DigiGroove template.
Region Separation (Audio Only) Separates and
creates new regions based on transients detected
in the audio selection.
Region Conform (Audio Only) Conforms all separated regions within the selection to the current
tempo map. Beat Detective can conform audio
regions to groove templates (such as DigiGroove
templates) in addition to standard quantization.
Edit Smoothing (Audio Only) Fills the gaps between conformed regions by automatically
trimming them, and if you choose, inserts crossfades.
The Beat Detective modes include the following:
Operation Lets you choose to analyze either
MIDI or audio material.
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439
Defining a Beat Detective
Selection
Whether you will be generating Bar|Beat Markers, extracting a DigiGroove template, or separating regions to be conformed, you must always define the audio or MIDI selection to be
analyzed. The Beat Detective window provides
tools to define and capture the selection range,
time signature, and swing (sub-division) content for the selected audio.
To ensure the best possible results with Beat
Detective, make sure the selected passage
starts exactly on the attack of the first beat.
For Beat Detective to generate beat triggers that
are metrically accurate, the length and meter of
the selection must be correctly defined. In addition, the selection should not contain any meter
or tempo changes.
Use Loop playback to check the accuracy of
your selection.
To define a selection for Beat Detective:
1 In the Edit window, select a range of audio or
MIDI material in a single track or in multiple
tracks.
Pro Tools LE does not support using Beat
Detective across multiple tracks. When
Beat Detective is applied to multiple tracks,
only the top track is edited.
To keep the Edit selection intact while playing or looping from any location, deselect
Options > Link Timeline and Edit Selection.
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Making an audio selection for Beat Detective
Make sure the selection’s start and end points
fall cleanly on the beat. To zero in on an audio
region’s start and end points, zoom to the sample level and use the Tab to Transients option
(see “Tabbing to Transients” on page 319).
To avoid losing an existing selection, save
and recall an Edit selection by saving it as a
Memory Location. See “Memory Locations
and Markers” on page 428.
2 Choose Event > Beat Detective.
3 You must define or capture the selection every
time you make a new selection or change the
tempo map. To define the selection range, do
one of the following:
• If the tempo and meter of the audio selection do not match the session’s default
tempo and meter, enter the Time Signature, and Start Bar|Beat and End Bar|Beat
locations. For a four-bar selection that
starts on beat 1, enter 1|1 and 5|1.
• If the tempo and meter of the audio selection do not match the session’s default
tempo and meter, and you are unsure of
the length of the material, enter the Time
Signature and the Start Bar|Beat location;
then start playback, and click the Tap button repeatedly to automatically calculate
the End Bar|Beat. When using Tap with
long selections, continue to tap until the
End Bar|Beat stabilizes. Once stabilized,
you may need to manually adjust the number to the nearest bar boundary.
• If the selection’s tempo and meter match
the session tempo and meter (see “Calculating Tempo with Beat Detective” on
page 441), and it aligns correctly with the
session’s bars and beats, click the Capture
Selection button. The correct Time Signature, and Start Bar|Beat and End Bar|Beat
values will be filled in automatically.
Calculating Tempo with Beat
Detective
If you know the meter, and start and end points
of the audio selection, use Beat Detective to calculate its tempo.
To calculate a selection’s tempo with Beat
Detective:
1 Make an audio selection in the Edit window
and define the selection in the Beat Detective
window as described in “Defining a Beat Detective Selection” on page 440.
2 Select Bar|Beat Marker Generation mode.
Beat Detective, Selection options
As long as the audio material is correctly
aligned with the session’s tempo map, use
Capture Selection each time you make a
new selection or make any changes to the
tempo map (such as changing tempo or
meter).
The Selection definition is not retained
when a session is closed and re-opened
4 To improve Beat Detective’s accuracy in ana-
lyzing swung notes, select the Contains option
that indicates the smallest sub-division of the
beat contained in the selection. The Contains
option includes quarter-notes, eighth-notes, sixteenth-notes (the default setting), thirty-second-notes, and a triplet modifier. The selected
Contains option determines the groove template grid locations for DigiGroove templates.
3 In the Detection section (Normal mode), click
Analyze.
4 Set the Sensitivity slider set to 0%
Beat Detective, Detection mode
5 Click Generate.
Bar|Beat Markers are automatically generated at
the beginning and end of the selection, indicating the material’s tempo and meter.
Beat Detective generated Bar|Beat Markers identifying
tempo and meter
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441
Generating Beat Triggers
Once you have accurately defined the selection
range, Beat Detective can generate beat triggers
based on detected MIDI notes or audio peak
transients. The range and type of transients
found can be adjusted with the Detection settings, allowing you to zero in on the bars, beats,
and sub-beats in the material, while avoiding
the non-rhythmic content.
8 Adjust the Sensitivity slider until beat triggers
appear on the beats and sub-beats in the selection.
Bar triggers are indicated with thick lines, beat
triggers with medium lines, and sub-beat triggers with thin lines.
To generate beat triggers from an audio selection:
1 In the Edit window, make an audio selection.
2 Select Audio from the operation pop-up
menu.
3 In the Beat Detective window, select one of
the following modes:
• Bar|Beat Marker Generation
• Groove Template Extraction
• Region Separation (audio only)
4 Define or capture the selection as described in
“Defining a Beat Detective Selection” on
page 440.
5 From the Analysis pop-up menu, choose one
of the following detection algorithms:
• High Emphasis, works well with high frequency, inharmonic material, such as cymbals and hi-hats, while avoiding low
frequency material.
• Low Emphasis, works well with low frequency material, such as bass guitar and
kick drum, as well as with most harmonic
material, such as piano or rhythm guitar.
6 Click the Analyze button.
7 Depending on the rhythmic content of the se-
lection, set the Resolution to Bars, Beats, or SubBeats.
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Beat
Sub-Beats
Bar
Beat triggers
9 You can zoom to the sample level and click
the Scroll Next button to scroll to the next trigger within the selection. To scroll to the previous trigger, Alt-click (Windows) or Option-click
(Mac) the Scroll Next button (see “Navigating
Consecutive Beat Triggers” on page 447). This is
useful to confirm that the beat triggers are appearing in the appropriate locations. If false triggers appear between the beats or sub-beats
(representing non-rhythmic material) delete
them (see “Deleting Beat Triggers” on page 445),
or reduce the Sensitivity value.
10 To display the metric locations for the triggers, select the Show Trigger Time option.
11 If you cannot get the beat triggers to appear
at the right locations, repeat steps 5–10 trying
the other Analysis algorithm (High or Low Emphasis).
To generate beat triggers from a MIDI selection:
MIDI Chord Recognition
1 In the Edit window, set the MIDI track you
Since MIDI notes in a chord may be played at
slightly different moments, Beat Detective interprets notes that are close together (closer than
half the time value that is set in the Selection
Contains field) as a chord.
wish to use to Notes View.
2 Make a selection across a range of MIDI data.
Make certain that the selection start and end
points are at musically relevant locations, such
as barlines.
Highest Note
3 Choose Event > Beat Detective.
4 Select MIDI from the operation pop-up menu.
5 In the Beat Detective window, select one of
First
Note
Last
Note
the following modes:
• Bar|Beat Marker Generation
Lowest Note
• Groove Template Extraction
MIDI chord analysis
6 Define the selection range. If the tempo and
meter of the audio selection do not match the
session’s default tempo and meter, enter the
Time Signature, and Start Bar|Beat and End
Bar|Beat locations. For a four-bar selection that
starts on beat 1, enter 1|1 and 5|1.
7 If your MIDI track contains chords, choose
one of the following MIDI chord recognition algorithms from the Analysis pop-up menu:
• Last Note
• First Note
• Loudest Note
• Average Location
• Highest Note
• Lowest Note
8 Click the Analyze button.
Beat Detective will use the criteria you set in the
Analysis pop-up menu to interpret the location
of the beat in relation to the chord.
Last Note Sets the beat trigger to the start of the
last note played in the chord.
First Note Sets the beat trigger to the start of the
first note played in the chord.
Loudest Note Sets the beat trigger to the start of
the note in the chord played with the highest
velocity.
Average Location Sets the beat trigger to a point
that represents the average between the start of
the first note played in the chord, and the last
note played in the chord.
Highest Note Sets the beat trigger to the start of
the highest note played in the chord.
Lowest Note Sets the beat trigger to the start of
the lowest note played in the chord.
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443
Realign Session
Beat Detective’s Realign Session function lets you
generate Bar|Beat markers without tick-based
material shifting. This is useful if you want to
extrapolate Bar|Beat markers from tick-based
material to align the tempo map and Bar|Beat
grid to the tick-based material.
You can also switch tick-based material,
such as a MIDI performance, to be samplebased and then manually insert Bar|Beat
markers.
Generating Bar|Beat markers in sessions with
tick-based material, such as MIDI tracks and
tick-based audio tracks, can cause the tick-based
material to shift in absolute time. This can be
useful if you want to align the tick-based material to Bar|Beat markers generated from samplebased material.
When you generate Bar|Beat Markers in a session that contains tick-based audio or MIDI,
Beat Detective gives you the option to preserve
the position of the session’s tick-based material,
or to allow the material to shift.
3 Define or capture the selection as described
in“Defining a Beat Detective Selection” on
page 440.
4 Set the Detection resolution to Bars or Beats.
5 Click the Generate button.
6 Do one of the following:
• In the Realign Session dialog, choose Preserve Tick Position if you wish to let the
tick-based material shift in absolute time.
This option maintains prior Beat Detective
functionality.
– or –
• Choose Preserve Sample Position if you
wish to have the tick-based material maintain its absolute position. This option can
be useful when adding a meter and tempo
map to a freely played performance.
7 Click OK.
Tips for Getting Useful Beat Triggers
Use the following tips to verify beat triggers:
◆ To focus on a particular area in the selection,
unlink the Timeline and Edit Selections and set
the playback range by clicking or dragging in
any Timebase ruler.
◆ Check the thickness of the beat triggers to see
if they align properly with the audio material.
Thick triggers fall on barlines, medium triggers
fall on beats, and thin triggers fall on sub-beats.
Realign Session dialog
To generate Bar|Beat Markers with Beat
Detective in a session with tick-based tracks:
1 In the Edit window, make an audio or MIDI se-
lection.
2 In the Beat Detective window, select Bar|Beat
Marker Generation mode.
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◆ Select the option for Show Trigger Time and
see if the (assumed) metric locations of the triggers align with the material. A false trigger
should be moved or deleted because it can cause
subsequent triggers to appear in the wrong locations (see “Editing Beat Triggers” on page 445).
Consider whether lengthy selections should
first be broken down into smaller selections,
which could be more easily managed. For example, working in 8- or 4-bar sections might yield
better results more quickly.
◆
2 Locate the false trigger you want to delete.
Transients for false triggers usually have smaller
peaks than the other trigger points, and typically fall between the sub-beats.
Beat triggers are preserved when switching between audio and MIDI modes. This allows using
MIDI triggers for editing audio, or collecting
triggers from combinations of MIDI and audio
tracks (Pro Tools HD only).
◆
For selections across multiple tracks, consider
whether it may be easier to work with them individually, or in Collection mode (Pro Tools HD
and Pro Tools LE with Music Production Toolkit
only). See “Detection (Normal) and Collection
Mode” on page 456.
◆
Beat Detective LE does cannot be used
across multiple tracks. When Beat Detective LE is applied to multiple tracks, only
the top track is edited.
Deleting a beat trigger
3 Alt-click (Windows) or Option-click (Mac) the
trigger to delete it.
Moving Beat Triggers
You can adjust the placement of triggers to allow for the attack of their transients, or to compensate for an individual transient that is
slightly ahead of or behind the beat.
To move a beat trigger:
Editing Beat Triggers
Even though Beat Detective offers a great deal of
flexibility in how transients are detected, there
may be times when beat triggers must be deleted, moved, or manually inserted. Additionally, triggers can be promoted so they are retained at lower sensitivity settings.
1 With the Beat Detective window open, select
any Grabber tool in the Edit window.
2 Locate the beat trigger you want to move and
drag it left or right.
Deleting Beat Triggers
False triggers, which do not represent an actual
beat or sub-beat in the source material, may appear when raising the Sensitivity slider to detect
quiet material. In these instances you can locate
and manually delete any false triggers.
To delete a beat trigger:
1 With the Beat Detective window open, select
Moving a beat trigger
any Grabber tool in the Edit window.
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445
Inserting Beat Triggers
If an important beat or sub-beat is not detected,
because it is too quiet, you can manually insert a
beat trigger.
To insert a beat trigger:
1 With the Beat Detective window open, select
any Grabber tool in the Edit window.
2 Click in the selection where you want to insert
the new trigger. After inserting a beat trigger,
you can drag it left or right to adjust its placement (see “Moving Beat Triggers” on page 445).
If you click too close to an existing trigger, the
existing trigger will be moved to the new location.
Promoting Beat Triggers
To ensure that important beat triggers do not
disappear when lowering the Sensitivity value,
you can promote them. This is useful if a selection has numerous false triggers (too many to
bother deleting) at a Sensitivity level where crucial, necessary beat triggers are also displayed. If
lowering the Sensitivity slider causes the needed
triggers to disappear, simply promote them first.
To promote a beat trigger:
1 Raise the Sensitivity slider until the desired
transient is detected and a beat trigger appears.
Once beat triggers are promoted, they will only
disappear if the Sensitivity value is set to 0%. To
demote all beat triggers in the selection—returning them to their original state—click the Analyze button.
Redefining a Beat Trigger’s Metric
Location
It is vital that beat triggers are accurately placed
at the correct metric location. If a detected transient is slightly off the beat, Beat Detective may
assign it, as well as other transients in the selection, to the wrong metric location.
For example, if you have a bass track where a
note was intended to be a downbeat, but was
played too early, Beat Detective may define its
location as occurring a little before the downbeat. If you then separate and conform the region containing this note, it will be moved to
the wrong location. Subsequent regions may be
moved to the wrong locations as well.
If a beat trigger is not assigned the correct metric
location, relocate it using Identify Trigger.
To change the metric location of a beat trigger:
1 Double-click the beat trigger you want to relo-
cate. The Identify Trigger dialog opens.
2 In the Identify Trigger dialog, enter the correct
location for the trigger, then click OK.
2 Control-click (Windows) or Command-click
(Mac) the beat trigger to promote it.
3 If necessary, repeat steps 1–2 to promote addi-
tional beat triggers.
4 Lower the Sensitivity slider to a value where
the false triggers disappear.
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Identify Trigger dialog
Navigating Consecutive Beat Triggers
Use the Scroll Next button to move from the
currently selected beat trigger to the next beat
trigger. To move to the previous beat trigger,
Alt-click (Windows) or Option-click (Mac) the
Scroll Next button. This is particularly useful for
editing consecutive beat triggers when zoomed
in at the sample level.
To generate Bar|Beat Markers with Beat
Detective:
1 In the Edit window, make an audio selection.
2 In the Beat Detective window, select Bar|Beat
Marker Generation mode.
3 Define or capture the selection as described in
“Defining a Beat Detective Selection” on
page 440.
4 Set the Detection resolution to Bars or Beats,
Generating Bar|Beat Markers
with Beat Detective
Once Beat Detective has accurately detected the
peak transients in the audio selection and accurately generated beat triggers, the triggers can be
converted to Bar|Beat Markers. Bar|Beat Markers
generated by Beat Detective create a tempo map
that can be used throughout the session.
Once a tempo map has been generated, other
audio regions and MIDI notes can be conformed
to the Bar|Beat Markers generated by Beat Detective.
If you want to match the audio material to the
session’s existing tempo map or a groove template, do not generate Bar|Beat Markers from the
material. Instead, use Beat Detective to separate
and conform the material (see “Separating Regions with Beat Detective” on page 450).
If you are simply aligning a sloppy part to
the other tracks, you probably do not need to
generate Bar|Beat markers.
and configure the Detection settings so the selection’s peak transients are accurately detected
(see “Generating Beat Triggers” on page 442).
5 Click the Generate button.
Bar|Beat Markers are generated, based on the
beat triggers, and appear in the Tempo ruler.
Bar|Beat Markers generated at Bar resolution
Bar|Beat Markers generated at Beat resolution
Working with Sub-Beats
Tempo is derived from Bar|Beat Markers.
Groove, or feel, is derived from Sub-Beats—the
deviation of subdivisions of the beat from the
strict tempo grid determines the groove or feel.
To extract the groove from a selection, set the
Detection Resolution to Sub-Beats. This ensures
that the inner rhythms within each bar (if they
indeed exist) are represented when generating
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Bar|Beat Markers. These Bar|Beat Markers can
then be used to quantize other audio regions or
MIDI tracks, thereby conforming to the Bar|Beat
Markers generated by Beat Detective.
When quantizing regions or MIDI notes to
Bar|Beat Markers on sub-beats that represent a swing feel, make sure to use a
straight quantize value (with the Swing option for Quantize disabled).
Beat Detective translates the amplitude of signals in audio tracks to MIDI velocity according
to a linear scale. For example:
• A 0 dBFS signal equals a MIDI velocity of
127.
• A signal at –6 dBFS equals a MIDI velocity
of 64.
• A signal at –12 dBFS equals a MIDI velocity
of 32.
• A –48 dBFS equals a MIDI velocity of 1.
DigiGroove Templates
Beat Detective allows the fine timing nuances of
a rhythmic performance to be extracted and
saved as a groove template, called a DigiGroove
template. DigiGrooves can be saved locally to
the Groove Clipboard, or saved to disk as DigiGrooves.
Groove templates can be used to transfer the feel
of a particular performance to:
• Selected audio regions using Groove Conform
(see “Groove Conform” on page 453).
• Selected MIDI data using Groove Quantize
(see “Groove Quantize” on page 489).
Groove templates are “quantization maps” derived from real musical performances. The
rhythmic character of each performance is analyzed and stored as a groove template. Beat Detective analyzes an audio selection for transient
peaks according to a defined threshold and
maps the rhythmic relationships to a 960 parts
per quarter note (ppq) template.
When creating DigiGroove templates, Beat Detective also analyzes the dynamics of a performance. MIDI velocity data is saved from MIDI
tracks, and accents and peak levels in audio data
are incorporated into the groove template as velocity data, which can be applied to change the
dynamics of MIDI tracks.
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Capturing this information is very important to
preserving the feel of a performance, and can
add life to MIDI tracks that lack dynamics.
Beat Detective only captures duration data
from MIDI tracks, not from audio tracks.
To extract a Groove Template:
1 In the Edit window, make an audio or MIDI se-
lection. The selection should consist of one or
more complete bars, starting and ending on
downbeats.
When extracting Groove Templates, the
captured selection must not include
Bar|Beat Markers. Otherwise, the accuracy
of the Groove Template will be compromised.
2 In the Beat Detective window, select Groove
Template Extraction mode.
3 Define or capture the selection as described in
“Defining a Beat Detective Selection” on
page 440.
4 Configure the Detection options so the selec-
tion’s peak transients are accurately detected
(see “Generating Beat Triggers” on page 442).
5 Click the Extract button.
6 In the Extract Groove Template dialog, enter
comments about the groove. You can enter a
maximum of 255 characters to describe the
groove. Comments can be viewed using the
Show Info button in the Beat Detective window.
Extract Groove Template dialog
7 Do one of the following:
• To save the extracted template for use in
the current session, without writing the
template file to disk, click Save To Groove
Clipboard. (This template will be lost when
you close the current session.)
• To save the extracted template to disk in order to use it in other sessions or share it
with other Pro Tools users, click Save To
Disk. Enter a name for the template and
click Save. (Do not change the location of
DigiGroove template files and folders or
they will not be available in your sessions.)
• Click Cancel to cancel without saving the
template.
Use folders and subdirectories to organize
DigiGroove templates. However, be sure
they are always located in C:\
Program Files\Digidesign\Pro Tools\
Grooves (Windows) or Applications/
Digidesign/Pro Tools/Grooves (Mac).
Groove template files located elsewhere will
not be available in either Groove Quantize
or Beat Detective.
Swing Content for Generating Groove
Templates
When defining swing content of the selection,
select the Contains eighth-note option if the audio selection has a heavily swung eighth-note
groove. If the audio selection has relatively
straight eighth-notes, use the Contains sixteenth-note option. This lets the resultant DigiGroove template be applied more easily elsewhere. Although a groove might be based upon
non-swung eighth-note material, you might
want to apply the template to material that contains sixteenth-notes. If a template only has
eighth-note resolution, but the material being
conformed contains sixteenth-notes, adjacent
sixteenth-notes will be mapped to the same
eighth-note location.
Groove Extrapolation
Beat Detective’s ability to extract tempo data
from a wide range of material is enhanced by its
powerful “groove extrapolation” logic. Groove
extrapolation automatically generates beat triggers for inclusion in groove templates even if a
peak transient is not detected. For example, a
drum loop might not have a hit on beat 3, consequently no peak transient is detected and no
beat trigger is generated. Beat Detective will extrapolate from other beat triggers in the selection and create a trigger for beat 3 in the groove
template.
In addition, extrapolated triggers preserve the
feel of triggers generated from detected peak
transients. For example, if a bar of kick drum detected three beat triggers, all of which were 20
ticks ahead of the beat, any extrapolated beat
triggers will also be mapped 20 ticks ahead of
the beat.
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Separating Regions with
Beat Detective
Trigger Pad
When separating regions, the Beat Detective
window displays an option called Trigger Pad.
(Audio Only)
Once beat triggers appear in your selection, they
can be used to define start and end points for
new regions that can be separated automatically. The new regions can then be conformed
to the session’s existing tempo map, or to a
groove template.
If you want to clean up the timing for the selection, without affecting the tempo, make sure to
first calculate the tempo by generating Bar|Beat
Markers (see “Calculating Tempo with Beat Detective” on page 441).
To separate regions with Beat Detective:
1 In the Edit window, make an audio selection.
Detection settings, Region Separation mode
Enter a value (0–50 ms) in this field to pad region start points—where the point of separation
is located in relation to the beat trigger (transient). This creates a space between the region
start point and the region sync point, thereby
ensuring that the attack portion of the material
remains intact.
2 In the Beat Detective window, select Region
Separation mode.
3 Define or capture the selection as described in
“Defining a Beat Detective Selection” on
page 440.
4 Configure the Detection options so the selection’s peak transients are accurately detected
(see “Generating Beat Triggers” on page 442).
5 Click the Separate button.
Regions are separated based on the detected beat
triggers.
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Region start
(point of separation)
20 ms
Sync point
(beat trigger)
Separated region with 20 ms Trigger Pad
When conforming separated regions, the region
sync point, not the region start point, determines where the region is placed.
For more information on region sync points,
see “Sync Points” on page 344.
Separating Multiple Tracks
(Pro Tools HD and Pro Tools LE with Music
Production Toolkit Only)
You can use beat triggers from a single track, or
subset of tracks, to separate a group of tracks.
Extending the selection to the snare, hi-hat, and
overhead microphones tracks, and then performing the separation, results in separated regions in each of the drum tracks at the same location, based on the beat triggers from the kick
drum track (see Figure 18).
Beat Detective LE cannot be used across
multiple tracks without the Music Production Toolkit option. When Beat Detective
LE (without the Music Production Toolkit
option) is applied to multiple tracks, only
the top track is edited.
In the following example, the defined selection
is a drum loop consisting of two bars of 5/4. The
kick, snare, hi-hat, and overhead microphones
are recorded to separate tracks.
Analyzing the loop’s kick drum track, with Detection Resolution set to Beats, Beat Detective
places beat triggers at the transients on beats 1
and 4 (see Figure 17).
Figure 18. Kick drum, snare, hi-hat, and overhead
microphones tracks
The separated regions can then be conformed as
a group.
Figure 17. Kick drum track
You can also utilize Collection mode (Pro Tools
HD and Pro Tools LE with Music Production
Toolkit only) when working with multiple
tracks. Collection mode lets you analyze and detect triggers on tracks individually, and if you
choose, add only the unique triggers from the
current track to the overall collection. For more
information, see “Detection (Normal) and Collection Mode” on page 456.
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Conforming Regions with
Beat Detective
(Audio Only)
After regions have been separated with Beat Detective, the regions can then be conformed using one of two modes:
Standard Conform Uses the session’s current
tempo map (Grid)
Groove Conform Uses groove templates.
Beat Detective will conform any selected region,
whether or not it was separated with Beat Detective. However, in order to successfully conform
regions with Beat Detective, the region start
points must correspond to the start of the material that will align with the session’s bars and
beats. This should generally not be a problem if
the regions were separated with Beat Detective
(rather than manually separated or trimmed).
Standard Conform
This is similar to using the Region > Quantize to
Grid command, but with one important difference: With a single operation, Beat Detective
can adjust the position of all regions, whether
they have a straight or swing feel.
To conform regions using Standard Conform:
1 In the Beat Detective window, select Region
Conform mode.
2 Make sure Standard is selected.
3 In the Edit window, if not already selected, select the separated regions you want to conform.
Make sure the selection’s start and end points
fall cleanly on the beat.
4 In the Beat Detective window, define or recapture the selection as described in “Defining a
Beat Detective Selection” on page 440.
5 To affect how strongly the regions are con-
formed to the Grid (tempo map), select the
Strength option and specify a percentage value
with either the slider or by typing in a value:
• Lower percentage values preserve the original feel of the regions.
• Higher percentage values align the regions
more tightly to the tempo map, with 100%
aligning precisely to the tempo map.
To “tighten up” the original feel, while retaining it, set the Strength option to
85–88%.
6 To affect which regions are conformed, select
the Exclude Within option and specify a percentage value with the slider or by typing in a
value:
• Lower percentage values ensure that regions further away from the Grid are conformed, while those closer to the Grid are
not.
Beat Detective, Standard Conform options
• Higher percentage values ensure that regions closer to the Grid, as well as those
further away, are conformed.
To “tighten up” the original feel, while retaining it, set the Exclude Within option to
10–15%.
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7 To achieve a swing feel for the conformed re-
gions, select the Swing option and whether the
swing is based on eighth-notes or sixteenthnotes, then specify a percentage value with the
slider or by typing in a value:
• Smaller percentage values yield less swing,
with 0% yielding none.
• Larger percentage values yield more swing,
with 100% yielding a triplet, swing feel.
• Percentage values between 100–150 move
the regions beyond a triplet, swing feel, toward the next sixteenth-note boundary
(provided the Swing note value is set to
eighth-notes).
If Beat Detective has successfully captured
enough of the sub-beats from a selection before separating, you can successfully conform with the Swing option to change the
groove from a “straight” feel to one that is
swung. You can also import a groove template containing a swing feel (see “Groove
Conform” on page 453).
8 Click the Conform button to automatically
conform all regions in the selection.
Regions conformed with Beat Detective
9 Audition the new conformed regions by clicking Play in the Transport window.
10 Do one of the following:
• If necessary, select Edit > Undo, and repeat
steps 4–8 trying a different set of Conform
settings.
– or –
• If necessary, apply Edit Smoothing (see
“Edit Smoothing” on page 454).
Groove Conform
Instead of using a grid based on the session’s
tempo map, Groove Conform uses a grid based
on a groove template, or DigiGroove. DigiGrooves can be used to apply the feel of a captured passage to the selected audio regions. For
information about creating DigiGroove templates, see “DigiGroove Templates” on
page 448.
To conform regions using Groove Conform:
1 In the Beat Detective window, select Region
Conform mode.
2 Select Groove.
Beat Detective, Groove Conform options
3 In the Edit window, if not already selected, select the separated regions you want to conform.
Make sure the selection’s start and end points
fall cleanly on the beat.
4 In the Beat Detective window, define or recapture the selection as described in “Defining a
Beat Detective Selection” on page 440.
When using Groove Conform, the captured
selection must not include Bar|Beat Markers. Otherwise, the accuracy of the Groove
Template will be compromised.
5 From the Groove Template pop-up menu, se-
lect the Groove Clipboard or a saved groove
template (for information on creating groove
templates, see “DigiGroove Templates” on
page 448).
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6 To see comments about the selected template,
click Show Info.
9 Click the Conform button to automatically
7 To affect how strongly the regions are conformed to the groove template, select the Timing option and specify a percentage value with
either the slider or by typing in a value:
10 Audition the new conformed regions by
clicking Play in the Transport window.
• Lower percentage values preserve the original feel of the regions.
• Higher percentage values align the regions
more tightly to the groove templates grid,
with 100% aligning precisely to the template grid.
• If the slider is set to 200%, regions move to
a location that is twice the difference between the original region location and the
position of the referenced template event.
For example, if a note was played at Bar 1|1|060
(a 16th note), and the corresponding template
event is at 1|1|073, a slider value of 100% results
in the note being shifted to 1|1|073; a slider
value of 200% shifts the note to 1|1|086.
8 If desired, enable the Pre-Process using Standard Conform option. With this option enabled, Beat Detective conforms regions to the
current Standard Conform settings before applying the groove template. With material in
which the performance was not accurate, PreProcess using Standard Conform can lead to better results by ensuring that the performance is
accurately mapped to the correct bars, beats,
and sub-beats before the groove template is applied. Experimentation is the best way to determine when it is appropriate to use this option.
When conforming an audio passage to a
heavily swung groove template, enabling
Pre-Process using Standard Conform will often yield better results.
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conform all regions in the selection.
11 Do one of the following:
• If necessary, select Edit > Undo, and repeat
steps 4–9 trying a different groove template
or Groove Conform settings.
– or –
• If necessary, apply Edit Smoothing (see
“Edit Smoothing” on page 454).
Edit Smoothing
(Audio Only)
After regions are conformed, there may be gaps
between the regions. These gaps can cause the
material to sound unnatural on playback.
Beat Detective, Smoothing options
Beat Detective can automatically fill the gaps between regions, and even add crossfades if you
choose. This Edit Smoothing option can be used
with regions that have been conformed, or with
a track that contains many regions that need to
be trimmed and crossfaded (such as in a sound
effects track). This automated process of
smoothing region edits can save many hours of
tedious editing.
To use Edit Smoothing on conformed regions:
Edit Smoothing Creates Sync Points
1 In the Beat Detective window, select Edit
After smoothing edits with Beat Detective, sync
points (corresponding to the material’s start
point) are automatically created for the conformed regions. This allows you to later conform the regions to a different tempo map or
groove template, or use different Conform settings. However, sync points are only created as
they are needed: If gaps between regions are created during Region Conform, Fill Gaps in Edit
Smoothing mode will trim regions to fill the gap
and a sync point will be created at each region’s
original start point. If there is no gap between
regions, no sync point will be created by Edit
Smoothing.
Smoothing mode.
2 Select a Smoothing options:
Fill Gaps Select this option to trim region end
points so that the gaps between regions are
filled.
Fill And Crossfade Select this option to trim region end points and automatically add a prefade (in ms) directly before each region start
point.
3 In the Edit window, if not already selected, select the range of conformed audio regions you
want to smooth. Make sure the selection’s start
and end points fall cleanly on the beat.
4 Click the Smooth button to smooth the edits
for the selected regions.
For more information on region sync points,
see “Sync Points” on page 344.
Consolidating Regions after Edit
Smoothing
The process of separating, conforming, and
smoothing with Beat Detective can leave tracks
with many regions and many crossfades. If you
are working with multiple tracks, the density of
these edits may lead to system performance
problems.
Regions before and after Edit Smoothing
5 Audition the results by clicking Play in the
Transport window.
6 If necessary, select Edit > Undo, and repeat
steps 2–5 trying a different Crossfade Length.
If performance is not an issue, use the Region Group command for easier editing and
manipulation of regions. This can be useful
for arranging beats that were sliced with
Beat Detective, especially if you plan on
changing tempos with tick-based audio
tracks. For more information on region
groups, see “Region Groups” on page 362.
Chapter 21: Beat D