Getting Started with MIX - Digidesign Support Archives

Getting Started with MIX - Digidesign Support Archives
MIX.book Page i Friday, June 13, 2003 2:29 PM
Getting Started
with Pro Tools MIX
Version 6.1 for TDM Systems on Windows XP or Mac OS X
Version 5.3.1 for TDM Systems on Windows
Version 5.1.3 for TDM Systems on Macintosh
Digidesign
2001 Junipero Serra Boulevard
Daly City, CA 94014-3886 USA
tel: 650·731·6300
fax: 650·731·6399
Technical Support (USA)
tel: 650·731·6100
fax: 650·731·6384
Product Information (USA)
tel: 650·731·6102
tel: 800·333·2137
International Offices
Visit the Digidesign Web site
for contact information
Web Site
www.digidesign.com
MIX.book Page ii Friday, June 13, 2003 2:29 PM
Copyright
This guide is copyrighted ©2003 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.
DIGIDESIGN, AVID and PRO TOOLS are trademarks or
registered trademarks of Digidesign and/or Avid Technology,
Inc. All other trademarks are the property of their respective
owners.
All features and specifications subject to change without
notice.
PN 910611592-00 REV A 06/03
MIX.book Page iii Friday, June 13, 2003 2:29 PM
contents
Chapter 1. Welcome to Pro Tools|24 MIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Pro Tools TDM Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Digidesign Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
About the Pro Tools Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
About www.digidesign.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Chapter 2. Windows Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Installing Windows XP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Configuring Your Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Windows System Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Pro Tools Hardware Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Installing Pro Tools Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Installing Pro Tools Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Installing QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Using MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Installing ProControl or Control|24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Installing Demo Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Checking Your TDM System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Launching Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Configuring Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Contents
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Chapter 3. Macintosh Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Pro Tools Hardware Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Installing Pro Tools Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Apple System Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Installing Pro Tools Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Installing Demo Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Checking Your TDM System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Launching Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Configuring Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Chapter 4. Connecting Your Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Setting Up Your Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Example Studio Setup with a Mixing Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Example Studio Setup without a Mixing Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Connecting Equipment with Digital Audio Ins and Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Connecting Effects Units . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Connecting MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Connecting SMPTE Synchronization Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Chapter 5. Working with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Session Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Navigating a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Regions Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Importing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Basic Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Mix Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Final Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
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Appendix A. Connecting SCSI Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
SCSI Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Connecting SCSI Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Quick Formatting SCSI Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
General Hard Drive Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Using Macintosh Drives on Windows Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Appendix B. DigiTest Error Codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Appendix C. Windows System Optimizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Advanced Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Appendix D. Digidesign ASIO Driver (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Compatible Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Installing the ASIO Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Changing ASIO Driver Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Appendix E. Configuring AMS (Mac OS X Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Appendix F. Configuring OMS (Mac OS 9 Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Appendix G. Digidesign Control Panel (Mac OS 9 Only). . . . . . . . . . . . . . . . . . . . . . . . 103
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Contents
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vi
Getting Started with MIX
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chapter 1
Welcome to Pro Tools|24 MIX
Welcome to Pro Tools|24 MIX. Pro Tools MIXseries and Pro Tools|24 audio cards and interfaces bring powerful digital audio recording, editing, TDM signal processing, mixing, and I/O
capabilities to Pro Tools.
Pro Tools|24 MIXplus
This guide covers installation and configuration
of Pro Tools|24 MIX and Pro Tools|24 hardware
and Pro Tools software on Macintosh and Windows platforms. System and installation tests
are provided, as well as an introduction to
Pro Tools software.
• Pro Tools TDM software
A MIXplus system includes:
• MIX Core card
• MIX Farm card
• Digidesign audio interface
(sold separately)
Pro Tools|24 MIX3
A MIX3 system includes:
• MIX Core card
Pro Tools TDM Systems
• Two MIX Farm cards
Pro Tools 6.0 for Macintosh, Pro Tools 5.3.1 for
Windows, and Pro Tools 5.1.3 for Macintosh
support the following systems:
• Pro Tools TDM software
Pro Tools|24 MIX-series Systems
All Pro Tools|24 MIX-series systems provide:
Pro Tools|24 MIX
• Up to 64 tracks of recording and playback of
24-bit and 16-bit audio files
A core system includes:
• MIX Core card
• Digidesign audio interface
(sold separately)
• TDM digital mixing and DSP plug-in environment
• Pro Tools TDM software
• Non-linear, random-access editing and mix
automation
• Digidesign audio interface
(sold separately)
• MIDI recording, playback and editing
Chapter 1: Welcome to Pro Tools|24 MIX
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Pro Tools|24 Systems
1622 I/O Audio Interface
• DSP Farm card
◆ Analog: 1/4-inch TRS (balanced or unbalanced) connectors. Inputs are variable from
+4 dBu to –10 dBV; outputs are selectable between +4 dBu or –10 dBV
• Pro Tools TDM software
◆
A Pro Tools|24 core system includes:
• d24 Audio card
• Digidesign audio interface
(sold separately)
A core Pro Tools|24 system provides:
• Up to 32 tracks of recording and playback of
24-bit and 16-bit audio files
• TDM digital mixing and DSP plug-in environment
• Non-linear, random-access editing and mix
automation
• MIDI recording, playback and editing
Digital: RCA (S/PDIF) connectors
Digidesign 24-Bit ADAT Bridge I/O and
the Original ADAT Bridge I/O
◆ Analog: 1/4-inch TRS (balanced) connectors,
+4 dBu or –10 dBV
◆ Digital: XLR (AES/EBU) or RCA (S/PDIF) connectors
◆ Optical: Two pairs of EIAJ fiber optic connectors
MIX-series systems do not support
HD-series audio interfaces (such as the
96 I/O and the 192 I/O).
Audio Interfaces
To record and play audio you must have at least
one of the following Digidesign audio interfaces:
888|24 I/O Audio Interface
◆ Analog: XLR (balanced or unbalanced) connectors, +4 dBu or –10 dBV
◆ Digital: XLR (AES/EBU) or RCA (S/PDIF) connectors
882|20 I/O Audio Interface
◆ Analog: 1/4-inch TRS (balanced or unbalanced) connectors, +4 dBu or –10 dBV
◆
2
Digital: RCA (S/PDIF) connectors
Getting Started with MIX
Pro Tools|24 MIX and Pro Tools|24 systems also support some older Digidesign audio interfaces, such as the 888 I/O and
882 I/O.
MIX.book Page 3 Friday, June 13, 2003 2:29 PM
System Requirements
Qualified SCSI drives yield up to 32 tracks per
drive with 24-bit audio, up to the maximum
number of tracks for your system configuration.
Compatibility Information
Digidesign can only assure compatibility and
provide support for hardware and software it
has tested and approved. For a list of Digidesignqualified computers, operating systems, hard
drives, and third-party devices, refer to the latest
compatibility information on the Digidesign
Web site (www.digidesign.com/compato).
FireWire Hard Drives
Hard Drive Requirements
IDE/ATA Hard Drives
For optimal audio recording and playback, all
Pro Tools TDM systems require one or more
Digidesign-qualified drives.
A qualified internal IDE/ATA drive yields up to
32 tracks of 24-bit audio, at 44.1 kHz or 48 kHz
when used as a dedicated audio drive.
Drive Formats
Windows Windows XP systems should use drives
formatted with FAT32 or NTFS file system (NTFS
preferred).
Macintosh Macintosh systems should use drives
formatted with HFS or HFS+ file system only.
The UNIX File System (UFS) is not supported with Pro Tools on Mac OS X.
Hard drive performance depends on factors including system configuration, number of tracks,
session sample rate, density of edits, and the use
of crossfades and other processes such as Beat
Detective in a session.
SCSI Hard Drives
For maximum recording and playback performance, Digidesign recommends qualified SCSI
hard drives and a qualified SCSI host bus
adapter (HBA) card or (on Windows systems) a
qualified built-in SCSI HBA connector on the
motherboard.
FireWire drives are qualified with certain system
configurations, up to a maximum of four drives.
Qualified FireWire drives yield up to 24 tracks
per drive with 24-bit audio, up to the maximum
number of tracks for your system configuration.
For maximum performance, Digidesign recommends the use of SCSI hard drives. IDE
hard drives provide limited track count performance and are not supported when an
Expansion Chassis is used. For more information regarding Expansion Chassis operating procedures, see the Pro Tools Expanded Systems Guide.
Visit the Digidesign Web site
(www.digidesign.com) for a list of qualified
hard drives and SCSI HBA cards.
Avoid Recording to System Drives
Although Pro Tools will let you record to your
system drive, this is generally not recommended. Recording and playback on system
hard drives results in lower track counts and
fewer plug-ins.
Digidesign does not recommend recording
to system drives. Record to system drives
only when necessary.
Chapter 1: Welcome to Pro Tools|24 MIX
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Hard Drive Storage Space
Mono audio tracks recorded with 16-bit resolution at 44.1 kHz (CD quality) require approximately 5 MB of hard disk space per minute.
The same tracks recorded with 24-bit resolution
require about 7.5 MB per minute. Table 2 lists
the required drive space for certain track numbers and track lengths, to help you estimate
your hard disk usage.
Table 2. Required hard drive space for audio tracks
Number of tracks and length
16-bit at
44.1 kHz
16-bit at
48 kHz
24-bit at
44.1 kHz
24-bit at
48 kHz
1 mono track, 1 minute
5 MB
5.5 MB
7.5 MB
8.2 MB
1 stereo track (or two mono
tracks), 5 minutes
50 MB
55 MB
75 MB
83 MB
1 stereo track (or two mono
tracks), 60 minutes
600 MB
662 MB
900 MB
991 MB
24 mono tracks, 5 minutes
600 MB
662 MB
900 MB
991 MB
7 GB
7.8 GB
10.5 GB
11.6 GB
32 mono tracks, 5 minutes
800 MB
883 MB
1.2 GB
1.3 GB
32 mono tracks, 60 minutes
9.4 GB
10.4 GB
14 GB
15.4 GB
24 mono tracks, 60 minutes
4
Getting Started with MIX
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MIDI Requirements
Conventions Used in This Guide
Both USB and serial MIDI interfaces work effectively with Pro Tools.
Digidesign guides use the following conventions to indicate menu choices and key commands:
PCI-based serial expanders do not work with serial MIDI interfaces on Macintosh systems. Serial MIDI interfaces require a qualified modemto-serial port adapter. Refer to the Digidesign
Web site (www.digidesign.com) for a list of supported adapters.
:
Convention
Action
File > Save Session
Choose Save Session 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 (Windows)
Click with the right mouse
button
Digidesign Registration
Complete and return the registration card included with your Pro Tools TDM system. Registered users are entitled to one year of free technical support, which is activated with the first
call to Digidesign Tech Support.
The following symbols are used to highlight important information:
User Tips are helpful hints for getting the
most from your system.
About the Pro Tools Guides
In addition to the printed guides that came with
your system, PDF versions of the Pro Tools
guides are installed automatically with
Pro Tools, and are accessible from the Pro Tools
menu (Mac OS X) or the Pro Tools Help menu
(Mac OS 9 and Windows). To view or print the
PDF guides, you can install Acrobat Reader (included on the Pro Tools Installer CD-ROM).
Important Notices include information that
could affect your data or the performance of
your system.
Shortcuts show you useful keyboard or
mouse shortcuts.
Cross References point to related sections in
other Digidesign guides.
Chapter 1: Welcome to Pro Tools|24 MIX
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About www.digidesign.com
The Digidesign Web site (www.digidesign.com)
is your best 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.
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; join the
worldwide Pro Tools community on the Digidesign User Conference.
Training and Education Become a certified
Pro Tools Operator or Expert; study on your
own using courses available online, or find out
how you can learn in a classroom setting at a
certified Pro Tools Training Center.
Products and Developers Learn about Digidesign
products; download demo software; learn about
our Development Partners and their plug-ins,
applications, and hardware.
News and Events Get the latest news from
Digidesign; sign up for a Pro Tools demo.
To learn more about these and other resources
available from Digidesign, visit our Web site
(www.digidesign.com).
6
Getting Started with MIX
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chapter 2
Windows Configuration
Installation of a Pro Tools|24 MIX or
Pro Tools|24 system on a Windows computer
includes the following steps:
1 Installing Windows XP (See “Installing Win-
dows XP” on page 7.)
2 Configuring your computer (See “Configuring
Your Computer” on page 7.)
3 Configuring Windows system software set-
tings (See “Windows System Settings” on
page 10.)
4 Installing Pro Tools hardware (See “Installing
Pro Tools Hardware” on page 14.)
5 Installing Pro Tools TDM software (See “In-
stalling Pro Tools Software” on page 17.)
6 Checking your Pro Tools system (See “Check-
ing Your TDM System” on page 19.)
7 Configuring your Pro Tools system (See “Configuring Pro Tools” on page 21.)
Installing Windows XP
If you do not already have Windows XP installed on your computer, you will need to install Windows XP Professional edition or
Windows XP Home edition. Pro Tools requires
an activated version of Windows XP.
If you are changing operating systems, Digidesign strongly recommends a clean installation
of Windows on a newly formatted drive or partition rather than upgrading the operating system.
If you are changing or upgrading your operating system, be sure to deauthorize any key
disk authorized plug-ins before changing or
upgrading to avoid losing any authorizations.
Configuring Your Computer
To ensure optimum performance with
Pro Tools, configure your computer before installing Pro Tools software.
Before you make any changes to your computer’s system settings, make a backup copy
of your registry (where many of these essential settings are stored). By doing so, you
will be able to restore your system’s original
settings in case of trouble. See your Windows XP documentation for details.
If your computer does not provide the BIOS
configuration options included in this section, or if you do not feel comfortable
changing system parameters, consult with a
Windows system administrator, computer
dealer, or manufacturer for assistance.
Chapter 2: Windows Configuration
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Configuring the BIOS
9 Disable PCI#2 Access #1 Retry, if present.
BIOS (Basic Input/Output System) parameters
vary depending on the make and model of the
computer. Refer to the documentation that
came with your computer for more details.
10 Save the new BIOS settings.
Different BIOS manufacturers often use different names to describe the same system function.
Some manufacturers do not provide a particular
configuration option at all. Consequently, the
names and options that appear in your computer’s BIOS may differ from those described in
this guide.
These BIOS settings are not applicable to
the Compaq Evo W8000 and the IBM Intellistation M Pro 6850.
Configuring the SCSI BIOS
If you are using SCSI drives or devices, you must
modify the settings of your built-in SCSI hardware or SCSI host bus adapter card. This allows
SCSI hard drives to work properly with
Pro Tools. This procedure varies on different
computers. Refer to the documentation that
came with your computer.
To modify your computer’s SCSI BIOS:
1 Start or restart your computer
To modify your computer’s BIOS:
2 While the computer is starting up, when the
1 Start or restart your computer.
text message regarding the SCSI BIOS appears,
press the key combination listed on the screen
to enter the SCSI BIOS setup utility.
2 While the computer is starting up, enter BIOS
Setup by pressing the appropriate key (usually
indicated in the startup message) on your computer keyboard. The F1, F2, or the Delete keys
are commonly used.
3 In the appropriate page of the BIOS Setup, dis-
able PCI Parity. If the PCI Parity option isn’t
available on your computer, skip this step.
4 If you will be using SCSI drives or devices, and
your computer is equipped with built-in SCSI
hardware, enable SCSI support. SCSI support parameters are typically found on the Devices &
I/O Options page of the BIOS setup utility. If you
do not have built-in SCSI hardware and are using a SCSI host adapter (HBA) card instead, you
do not need to enable SCSI support.
5 Disable Power Management, if present.
6 Enable PCI Dynamic Bursting, if present.
7 Enable PCI Master 0 WS Write, if present.
8 Disable PCI Delay Transaction, if present.
8
11 Exit BIOS setup and restart your computer.
Getting Started with MIX
3 Refer to your SCSI host bus adapter card doc-
umentation to set the following parameters:
• For each SCSI ID and SCSI channel connected to your audio drives, set the Maximum Sync Transfer Rate parameter to
20 MB/sec.
• If you are using an ATTO host bus adapter
card, change the PCI Burst Size to 32 Bytes.
• If you are using an Adaptec host bus
adapter card, enable the Host Adapter BIOS
option.
4 Save the new SCSI BIOS settings.
5 Exit SCSI BIOS setup and restart your com-
puter.
MIX.book Page 9 Friday, June 13, 2003 2:29 PM
Updating the SCSI BIOS
Installing SCSI Drivers
If you are using an ATTO SCSI HBA card, you
may need to update its SCSI BIOS. When starting your computer, you will see what version of
the ATTO SCSI BIOS is installed on the SCSI
card. If it is not version 1.6.6 or higher, you will
need to flash the SCSI BIOS with 1.6.6 or higher
ATTO SCSI BIOS (flash.bat).
For Pro Tools to run at maximum efficiency
with SCSI Host Bus Adapters and SCSI drives, install a Digidesign approved SCSI driver (ATTO or
Adaptec, depending on the card you are using).
Check Digidesign’s Compatibility Documents for a list of Digidesign approved computers and supported SCSI driver versions.
Compatibility Documents are available at
the Digidesign Web site (www.digidesign.com).
To update the BIOS on the ATTO SCSI card:
1 Insert a High Density PC formatted floppy
disk in your floppy drive.
2 Copy the DOS folder from the ATTO folder on
the Pro Tools Installer CD-ROM to the floppy
disk.
Installing the Adaptec SCSI Driver
If you need to install the Adaptec driver, refer to
the driver manufacturer’s documentation.
3 Shut down your computer.
4 Disconnect any hard drives connected to the
SCSI card.
5 Start your computer with the floppy disk in
The full name of the Adaptec driver for the IBM
M Pro is:
■ Adaptec
AHA290/291/294x/394x/4944/AIC78xx
the floppy drive.
6 When prompted, press Control+Z.
Installing the ATTO SCSI Drivers
7 Press Enter.
The full name of the ATTO driver is:
8 Select Adapter Menu.
■
ATTO ExpressPCI
9 Select Update Flash ROM.
To install the ATTO Windows device driver:
10 Press Enter twice.
The SCSI BIOS will be updated. This may take a
few minutes.
Do not interrupt this process or your system
may be damaged.
1 Start your computer. Note the version of the
ATTO SCSI BIOS when booting. If it is version
1.6.6, proceed to the next step. If it is not version 1.6.6, you will need to flash the ATTO SCSI
BIOS (see “Updating the SCSI BIOS” on page 9).
11 Select Configure Adapter Channels.
2 Insert the Pro Tools Installer CD-ROM in your
CD-ROM drive.
12 Set Host Adapter BIOS to Disabled.
3 Open the System Control Panel.
13 Press the Esc key twice.
4 Click the Hardware tab.
14 Select Save Parameters and Exit, and press
Enter.
5 Click Device Manager.
6 Select SCSI and RAID controllers.
Chapter 2: Windows Configuration
9
MIX.book Page 10 Friday, June 13, 2003 2:29 PM
7 Double-click the Symbios Logic PCI SCSI
Adapter.
8 Click the Driver tab.
9 Click Update Driver and click Next.
10 Select “Search for a suitable driver for my de-
vice” and click Next.
11 Select “Specify a location” and click Next.
12 Click Browse and navigate to the ATTO
folder on the Pro Tools Installer CD-ROM.
13 Select EXPRESS.INF and click Open.
14 Click OK.
15 Select Install one of the other drivers and
click Next.
Windows System Settings
Configure your Window system settings, as follows:
Required Settings These instructions must be
followed before installing Pro Tools.
Recommended Settings These instructions
should be followed to optimize your system’s
capabilities, or to let older computers run
Pro Tools.
If problems occur after configuring all required and suggested settings, see
Appendix C, “Windows System Optimizations” for information on troubleshooting
and configuring advanced settings.
16 Select ExpressPCI Adapter and click Next.
17 Click Finish.
18 Click Close.
19 If you have a dual-channel SCSI card, repeat
steps 7–18 for the second channel.
20 Click OK.
Required Settings
To ensure optimum performance with
Pro Tools, configure the following Control
Panel settings for your version of Windows XP.
When finished updating required Windows
system settings, power down your computer.
Disable Hyper-Threading
For Pentium IV computers with Hyper-Threading, disable Hyper-Threading in the BIOS.
Enable DMA
Enabling your computer's DMA (Direct Memory
Access) frees up CPU bandwidth so your computer can do other Pro Tools tasks.
In most cases the DMA option will already be set
correctly, as Windows XP detects and activates
DMA mode by default.
10
Getting Started with MIX
MIX.book Page 11 Friday, June 13, 2003 2:29 PM
Enable DMA for any IDE hard drives:
1 Right-click My Computer and choose Man-
age.
2 In Classic view, choose Start > Control Panel >
System > Hardware.
– or –
Disable System Standby and Power
Management
When using Pro Tools, the Windows System
Standby power scheme must be set to Always
On. This helps prevent long record or playback
passes from stopping due to system resources
powering down.
In Category view, choose Start > Control panel >
Performance and Maintenance > System > Hardware.
To configure Windows Power Management:
3 Under System Tools, choose Device Manager.
2 In Classic View, double-click the Power Op-
4 In the Device Manager window, double-click
tions Control Panel, then click the Power
Schemes tab.
IDE ATA/ATAPI controllers, then double-click
the Primary IDE Channel for your IDE hard
drive.
5 Click the Advanced Settings tab.
6 For each device, set the Transfer Mode to
“DMA if available,” and click OK.
In most cases, this will already be set correctly as
Windows XP will detect and activate DMA
mode by default.
7 Repeat steps 4–6 for any additional IDE Chan-
1 Choose Start > Control Panel.
– or –
In Category view, click Performance and Maintenance, then click Power Options, then click
the Power Scheme tab.
3 From the Power Schemes pop-up menu, select
Always On.
4 Click OK.
This sets System Standby, System Hibernate,
and “Turn off hard disks” to Never.
nels.
8 Close the Computer Management window.
Disable ClearType Font Smoothing
Disable Virus Protection Software
When using Pro Tools, the Effects “Clear Type”
setting must be disabled.
Avoid running virus protection software while
using Pro Tools since it adversely affects system
performance (as do all background processes). If
you are using virus protection software, you
must turn it off or remove it and restart your
computer.
To disable ClearType font smoothing:
1 Choose Start > Control Panel.
2 In Classic view, double-click Display.
– or –
In Category view, click Appearance and Themes,
then click Display.
3 Click the Appearance tab.
4 Click Effects.
Chapter 2: Windows Configuration
11
MIX.book Page 12 Friday, June 13, 2003 2:29 PM
5 Deselect “Use the following methods to
smooth edges of screen fonts.”
6 Click OK to save your settings and close the
Effects dialog.
7 Click OK.
Completing Windows System Settings
When finished updating required Windows
system settings, power down your computer.
Pro Tools Hardware Overview
The number of Pro Tools TDM cards in your system depends on the type of core system you
have. Card components for each core system
configuration are listed below.
If you are using an Expansion Chassis to
add additional cards to your system, refer to
the Expanded Systems Guide included with
your Pro Tools system.
Pro Tools|24 MIX-series Hardware
Recommended Configuration
Pro Tools can also be affected by other software
and hardware drivers installed on your computer. For best possible performance, it is recommended (but not required) that you:
• Avoid running other Windows programs at
the same time as Pro Tools.
• Turn off any software utilities that run in
the background, such as Windows Messenger, calendars, and disk maintenance programs.
• Turn off any nonessential USB devices
while using Pro Tools
• If your video display card supports it, enable Bus Mastering in the manufacturer’s
Control Panel.
• Disable any networking cards (other than
any 1394 “FireWire” card that you might
use to connect an external drive to your
system).
For information on disabling networking
cards, see “Disabling Network Cards” on
page 89.
12
Getting Started with MIX
Pro Tools|24 MIX hardware is available in the
following configurations:
Pro Tools|24 MIX Includes a single MIX Core
card and a 5-node TDM ribbon cable for connecting other optional TDM-equipped cards
Pro Tools|24 MIXplus Includes a MIX Core card,
a MIX Farm card, and a 5-node TDM ribbon cable for connecting the MIX Core to the MIX
Farm and other optional TDM-equipped cards
Pro Tools|24 MIX3 Includes a MIX Core card,
two MIX Farm cards, and a 5-node TDM ribbon
cable for connecting the MIX Core to the MIX
Farm and other optional TDM-equipped cards
MIX.book Page 13 Friday, June 13, 2003 2:29 PM
MIX Core Card
The MIX Core card provides up to 64 tracks of
direct-to-disk recording and playback to your
MIX-series system, as well as DSP power for mixing and plug-in processing. The MIX Core card
supports up to 24-bit and up to 48 kHz sessions.
audio interface port
DigiSerial
port
MIX Core card
The MIX Core card includes a port for connecting up to 16 channels of audio input and output
to your MIX-series system. You can connect a
single 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit
ADAT Bridge I/O, or original ADAT Bridge I/O
audio interface directly to the card. If you purchase the optional Y-cable (16-channel peripheral cable adapter), you can attach two 8-channel audio interfaces to the card.
The DigiSerial port is for connecting a Digidesign Universal Slave Driver (USD), or a 9-pin device for use with the Pro Tools MachineControl
option.
The MIX Farm card includes a port for connecting up to 16 channels of audio input and output
to your MIX-series system. You can connect a
single 888|24 I/O, 882|20 I/O, or 1622 I/O, 24Bit ADAT Bridge I/O, or original ADAT
Bridge I/O audio interface directly to the card. If
you purchase the optional Y-cable (16-channel
peripheral cable adapter), you can connect two
8-channel audio interfaces to the card.
The DigiSerial port on a MIX Farm card does not
offer any functionality.
Pro Tools|24 Hardware
Pro Tools|24 hardware is available in the following core configuration:
Pro Tools|24 Includes a d24 audio card, a DSP
Farm card, and a 5-node TDM ribbon cable for
connecting them.
d24 Audio Card
The d24 audio card provides up to 32 tracks of
direct-to-disk recording and playback capabilities to your Pro Tools|24 system. The d24 card
supports up to 24-bit and up to 48 kHz sessions.
audio interface port
MIX Farm Card
The MIX Farm card provides additional DSP
power for mixing and plug-in processing to your
MIX-series system. The MIX Farm card supports
up to 24-bit and up to 48 kHz sessions.
audio interface
port
MIX Farm card
DigiSerial
port
d24 card
The d24 card includes a port for connecting up
to 16 channels of audio input and output to
your Pro Tools|24 system. You can connect a
single 888|24 I/O, 882|20 I/O, or 1622 I/O Audio Interface directly to the card. If you purchase the optional Y-cable (16-channel peripheral cable adapter), you can connect two 8channel audio interfaces to the card.
Chapter 2: Windows Configuration
13
MIX.book Page 14 Friday, June 13, 2003 2:29 PM
The DigiSerial port on the d24 card is for connecting an optional Digidesign Universal Slave
Driver (USD), or a 9-pin device for use with the
Pro Tools MachineControl option.
A 5-node cable comes with your system. If you
plan to use your system with an expansion chassis, you can order a TDM Ribbon Cable with
more nodes from your Digidesign dealer.
DSP Farm Card
The DSP Farm card provides the DSP power for
mixing and plug-in processing to your
Pro Tools|24 system. The DSP Farm card supports up to 24-bit and up to 48 kHz sessions.
audio interface
port
DSP Farm card
The DSP Farm card includes a port for connecting up to 8 channels of audio input and output
to your Pro Tools system. You can connect a single 888|24 I/O or 882|20 I/O directly to the card.
Installing Pro Tools Hardware
Disabling Driver Signing Warnings
Before you install your Pro Tools cards, temporarily disable the Driver Signing warning option.
This expedites and automates much of the installation process. If you do not temporarily disable this option, warning messages (that you are
installing an unsigned driver) will appear for
each DSP chip detected during the software installation.
To disable the warning option:
1 Open the System Control Panel.
2 Click the Hardware tab in the System Control
Panel.
The 1622 I/O Audio Interface is not supported by the DSP Farm. It must be connected to a MIX Core, MIX Farm, or d24
card. Only one 1622 I/O can be connected
to any of these cards. The optional 16channel peripheral cable adapter is not supported by the 1622 I/O.
TDM Ribbon Cable
The TDM Ribbon Cable is used to connect multiple cards in your Pro Tools system so they can
share data along the TDM bus.
TDM Ribbon Cable
14
Getting Started with MIX
3 Click the Driver Signing button.
4 Select “Ignore—Install the software anyway
and don’t ask for my approval.”
5 Click OK twice.
6 Turn your computer off.
7 Proceed to install your Pro Tools cards.
MIX.book Page 15 Friday, June 13, 2003 2:29 PM
Installing Pro Tools PCI Cards
This section shows how to install Pro Tools
cards in a Windows computer. To install cards
into an expansion chassis, see the Expanded Systems Guide.
Connecting TDM Cards with the
TDM Ribbon Cable
All TDM cards in your Pro Tools system must be
connected with the TDM ribbon cable.
To connect TDM cards with the TDM ribbon cable:
To install Pro Tools cards:
1 Turn off your computer and any peripherals.
Leave your computer’s power cable plugged in
so the computer is grounded.
1 Connect the first node of the cable to the first
TDM card. Make sure the TDM cable is facing
the right direction—align the white triangle on
the cable plug with the triangle on the card.
2 Disconnect all cables attached to the com-
puter (such as hard drives, monitors, USB and
FireWire connections) except for the power cable.
3 Open the computer case.
Before handling any card, discharge static
electricity from your clothes or body by
touching a grounded metal surface, such as
the power supply case inside your computer.
4 Remove the metal access port cover behind
the PCI slot you want to use by removing the
screw and sliding the cover out from the access
port.
5 If you are installing a SCSI host bus adapter
(HBA) card, install it in the PCI slot nearest to
the video card.
6 Install the MIX Core or d24 card in the next
available PCI slot.
7 Install the remaining TDM cards in slots adja-
Attaching the TDM ribbon cable to MIX Core and
MIX Farm cards
2 Push down gently but firmly until the node is
fully connected to the card. When the plug is
properly seated, the two tabs on the side of the
cable’s TDM connector click shut. To detach the
ribbon cable, squeeze the tabs on the TDM connector inward.
3 Attach the remaining nodes on the TDM cable
to subsequent cards.
It is OK to have ribbon connectors that go
unused. They should reside after the last
TDM card.
cent to the MIX Core or d24 card. Group similar
cards together (for example, put all MIX Farm
cards next to each other).
8 Secure each card in place with the slot access
port screws you removed earlier.
Chapter 2: Windows Configuration
15
MIX.book Page 16 Friday, June 13, 2003 2:29 PM
4 Close the computer case.
The IBM Intellistation M Pro 6850 may not
start after updating the BIOS or changing
the order of Pro Tools cards. Should this
problem occur, remove all plug and play
cards and then start Windows; then turn
off the computer and re-install the cards.
You should then be able to start Windows
with the cards installed.
Connecting Audio Interfaces
Pro Tools MIX-series systems provide a choice of
the 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit
ADAT Bridge I/O, or the original ADAT
Bridge I/O audio interfaces. These devices supply the audio inputs and outputs for your system.
MIX-series systems do not support
HD-series audio interfaces such as the
96 I/O and the 192 I/O.
If you are connecting both 888|24 and 882|20 or
1622 I/O Audio Interfaces to your system, for
best system performance, connect the 888|24 to
your MIX Core or d24 card, followed by any additional 888|24 interfaces to the next highestpriority cards. Then connect the 882|20 or
1622 I/O interfaces to subsequent cards.
If you purchase the optional Y-cable (16-channel peripheral cable adapter), you can connect
two 8-channel audio interfaces to a single MIX
Core, MIX Farm, or d24 card.
To audio interfaces
To Pro Tools card
Optional 16-channel peripheral cable adapter
3 If you are using multiple audio interfaces, con-
Pro Tools|24 MIX and Pro Tools|24 systems also support the Digidesign 888 I/O
and 882 I/O audio interfaces.
For instructions on connecting a 24-Bit
ADAT Bridge I/O or the original ADAT
Bridge I/O, see the Installation Guide that
came with that interface.
nect the Slave Clock Out of the primary interface to the Slave Clock In of the second interface
with the provided BNC cable. Connect the Slave
Clock Out of the second interface to the Slave
Clock In of the next audio interface. Connect
subsequent interfaces in a similar manner.
COMPUTER
7
5
3
ANALOG OUTPUT
6
4
8
1
7
2
8
5
3
ANALOG INPUT
6
4
1
5/6
1/2
AES/EBU OUTPUT
7/8
3/4
2
5/6
1/2
AES/EBU INPUT
7/8
3/4
S/PDIF S/PDIF
IN
OUT
To connect Pro Tools audio interfaces:
7
1 Connect the primary audio interface to the
primary Mix Core or d24 card with the provided
interface cable. The primary audio interface
functions as the clock master.
2 Connect additional audio interfaces to subse-
5
3
ANALOG OUTPUT
6
4
8
1
7
2
8
5
3
ANALOG INPUT
6
4
1
5/6
1/2
AES/EBU OUTPUT
7/8
3/4
2
5/6
1/2
AES/EBU INPUT
7/8
3/4
S/PDIF S/PDIF
IN
OUT
ANALOG INPUTS
1
2
3
4
5
IN
ANALOG OUTPUTS
6
7
8
1
2
3
4
5
6
7
IN
IN
COMPUTER
8
OUT
OUT
S/PDIF
SLAVE CLOCK
ANALOG INPUTS
1
2
3
4
5
IN
ANALOG OUTPUTS
6
7
8
1
2
3
4
5
6
7
IN
COMPUTER
8
OUT
OUT
quent Digidesign audio cards.
SLAVE CLOCK
S/PDIF
Connecting multiple audio interfaces together
16
Getting Started with MIX
SLAVE CLOCK SLAVE CLOCK
IN
OUT
COMPUTER
SLAVE CLOCK SLAVE CLOCK
IN
OUT
MIX.book Page 17 Friday, June 13, 2003 2:29 PM
Installing Pro Tools Software
7 Select components to install along with
Pro Tools. Click the name of each component
for a description of its contents.
To install Pro Tools software:
1 Start Windows, logging in with Administrator
privileges. For details on Administrator privileges, refer to your Windows documentation.
2 Wait for the Found New Hardware Wizard dialog to appear and leave it open.
A demo version of MacOpener is included
on the Pro Tools Installer CD-ROM, and requires a separate installation process. Using
MacOpener is required only if you need to
mount HFS or HFS+ formatted hard drives
for session transfer.
3 Insert the Pro Tools Installer CD-ROM for
8 Click Next.
Windows in your CD-ROM drive. Locate and
open the Pro Tools Installer folder, and doubleclick the Setup icon.
9 Select your work environment. This loads an
4 Click Next to proceed with the installation.
5 Select the hard drive on which to install
Pro Tools from the Install pop-up menu. For
maximum reliability, install Pro Tools on your
startup drive. Click Next.
initial set of Pro Tools Preferences that include
some of the more popular settings for post production, audio, or audio with MIDI.
Preference settings can be customized at any
time in Pro Tools. See the Pro Tools Reference Guide for more information about Preferences.
6 Select “Pro Tools|24 MIX or Pro Tools|24” for
the Digidesign Audio Hardware installation,
and click Next.
10 Click Next.
11 Select whether to install the Surround Mixer
plug-in. This plug-in is required for mixing,
mastering, and monitoring in surround:
• For Surround systems, select “Yes – Monitoring Pro Tools Film Format” if your monitoring is configured for Film Format.
• Select “Yes – Monitoring in ProControl
(DTS Format)” if you are using a ProControl dedicated controller.
• Select “No – Stereo mixing only” if your
monitoring is configured for Stereo.
12 After making a selection, click Next.
Selecting Pro Tools|24 MIX or Pro Tools|24 installation
Wait for the installer to finish installing all software components, drivers, and PACE System
files before proceeding to the next step.
Chapter 2: Windows Configuration
17
MIX.book Page 18 Friday, June 13, 2003 2:29 PM
13 If QuickTime is not already installed, you
will be prompted to install the Recommended
QuickTime installer option (see “Installing
QuickTime” on page 18). Follow the on-screen
instructions to complete the QuickTime installation process.
14 When installation is complete, click Finish to
restart your computer.
Installing QuickTime
QuickTime 5.0.2 or later is recommended for
Pro Tools. Install the latest version of QuickTime for Windows (available on the Pro Tools
Installer CD-ROM or from www.apple.com). Be
sure to install the “Recommended” install of
QuickTime or Pro Tools will not handle QuickTime video correctly.
The Digidesign ASIO Driver
(Optional)
The Digidesign ASIO Driver is a multichannel,
multimedia sound driver that allows third-party
audio programs that support the ASIO standard
to record and play back through Digidesign
hardware. The Digidesign ASIO driver is not required to use Pro Tools.
For detailed information on using the
Digidesign ASIO Driver, see Appendix D,
“Digidesign ASIO Driver (Windows Only).”
Removing Pro Tools
If you need to remove Pro Tools from your computer, you can use the Add or Remove Programs
command.
To remove Pro Tools from your computer:
1 Choose Start > Control Panel.
2 Double-click the Add or Remove Programs
icon.
3 From the Currently installed programs list, se-
lect Digidesign Pro Tools.
4 Click the Change/Remove button.
5 Select Remove, and then click Next.
6 Click OK to remove Pro Tools.
Using MIDI
Pro Tools for Windows uses your Multimedia
Setup to configure MIDI devices and their properties. Refer to your device’s installation and usage documentation to properly configure the
device.
Installing ProControl or
Control|24
To install Digidesign Ethernet support for
ProControl or Control|24:
1 On the desktop, right-click the My Network
Places icon, and then choose Properties.
2 Right-click the relevant Local Area Connec-
tion icon, and then choose Properties.
3 Click Install, select Protocol, and click Add.
4 Click Have Disk.
5 Select the DigiNet.inf file in either the Pro-
Control or Control|24 directory (on your
Pro Tools Installer CD-ROM in Additional
Files\Controllers\Controllers), and click OK.
The Installer installs the DigiNet.inf files in the
ProControl or Control|24 directory in Digidesign\DAE\Controllers.
7 Click Finish.
6 Click Close.
18
Getting Started with MIX
MIX.book Page 19 Friday, June 13, 2003 2:29 PM
Installing Demo Sessions
(Optional)
The Pro Tools Installer CD-ROM includes a
demo session that you can use to verify that
your system is working.
4 Turn on any MIDI interfaces and devices, or
synchronization peripherals.
5 Lower the volume of all output devices, then
turn on your Pro Tools audio interfaces. Wait at
least fifteen seconds for the audio interfaces to
initialize and the status LEDs to stop flashing.
6 Turn on your computer.
To install a demo session:
1 Insert the Pro Tools Installer CD in your CD-
ROM drive. Locate and double-click the demo
session installer icon.
2 Select the demo session.
3 Set the install location to your audio drive,
and click Install.
4 When installation is complete, click Quit.
Checking Your TDM System
Before you launch Pro Tools, start up your system and run the DigiTest diagnostic application
to ensure that all TDM cards in the system are
recognized, installed in the proper order, and
have valid TDM ribbon cable connections.
Starting Up Your System
Whenever you start your system, turn on all of
your system components in a specific order.
Running DigiTest
DigiTest is installed with Pro Tools and resides
in the Digidesign Utilities folder located on your
hard drive, under Digidesign/Pro Tools/Pro
Tools Utilities.
Before you run DigiTest, lower the volume
of all output devices. Very loud digital noise
may be emitted during the test.
To run DigiTest:
1 Choose Start > Programs > Digidesign >
Pro Tools > DigiTest.
2 Test the cards in your system by doing one of
the following:
• To test only one Digidesign card in your
system, click the button that corresponds
to this card.
• To test all Digidesign cards at once, click
Test All Cards.
3 When prompted, power cycle all Pro Tools peripherals. Click Continue.
To start your Pro Tools system:
1 Make sure all your equipment (including your
computer) is off.
2 For TDM systems with an expansion chassis,
turn on the expansion chassis.
3 Turn on any external hard drives. Wait ap-
proximately ten seconds for them to spin up to
speed.
4 Check the “Test I/O Box.”
LEDs on your digital interfaces may light up
during this test. This is normal.
5 Exit DigiTest by clicking the close box in the
top righthand corner of the application window.
6 Restart your computer.
Chapter 2: Windows Configuration
19
MIX.book Page 20 Friday, June 13, 2003 2:29 PM
Errors and Undetected Cards
Launching Pro Tools
Complete the steps below if:
There is a problem with a component in your
system and an error message has been displayed
to the right of the corresponding card’s button
in DigiTest.
■
– or –
A supported card is installed but not automatically detected during DigiTest.
■
If a supported card is installed and is not
automatically detected:
1 Close DigiTest.
When launching Pro Tools the first time, you
are prompted to enter an authorization code to
validate your software.
To validate Pro Tools software:
1 Double-click the Pro Tools application in the
Pro Tools folder inside the Digidesign folder.
2 Enter the authorization code in the dialog
when prompted, making sure to observe any
spaces, then click Validate.
The authorization code is located on the inside
cover of this guide.
2 Turn off your entire Pro Tools system.
3 Reinstall the cards (see “Installing Pro Tools
PCI Cards” on page 15).
5 Check the TDM ribbon cable connections.
The first time you launch Pro Tools, you will be
prompted to select the type of Audio Interfaces
connected to your system.
6 Turn on your system.
To select the Audio Interface:
7 Run DigiTest again.
1 When prompted after launching Pro Tools,
4 Check the card seating.
For descriptions of all error codes, refer to
Appendix B, “DigiTest Error Codes.” For test details, click the Info button to the right of the reported error, then click Failures in the pop-up
menu and choose Detailed.
If a card continues to fail DigiTest, contact
Digidesign Technical Support.
20
Choosing the Audio Interface Type
Getting Started with MIX
click Hardware Setup.
2 Select the first interface port on the first card
in your system (MIX Card #1, Port A) from the
Peripherals list.
3 Choose the type of interface from the Inter-
face pop-up menu.
MIX.book Page 21 Friday, June 13, 2003 2:29 PM
4 Repeat the above steps for each additional in-
terface port with an interface connected to it.
Depending on the current sample rate and the
number of MIX Core and Farm cards in your system, you will have different choices available for
this setting. For voice limits on different MIX
systems, refer to the Pro Tools Reference Guide.
To change the Voice Count:
1 Choose Setups > Playback Engine.
Choosing an Audio Interface
5 Click OK.
Configuring Pro Tools
Pro Tools System Settings
Playback Engine dialog for Pro Tools MIX system
Pro Tools allows you to adjust the performance
of your system by changing system settings that
affect its capacity for processing, playback, and
recording.
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.
Voice Count
The Number of Voices setting lets you control
the number of voices available on your system.
The default number on a Pro Tools|24 MIX system is 32 voices (at sample rates of 44.1 kHz or
48 kHz).
2 Select the number of voices and DSPs to allo-
cate for voicing by choosing a value from the
Number of Voices pop-up menu.
• Select higher voice numbers when your
Digidesign cards are the only PCI cards in
your computer, or when using an expansion chassis to run higher track counts
(such as 64 tracks at 48 kHz).
• Select lower voice numbers if you are using
high-bandwidth PCI cards (such as video
capture cards) along with your Digidesign
cards.
3 Click OK.
Changing the number of voices affects
DSP usage, the total number of voiceable
tracks, and overall system performance.
Chapter 2: Windows Configuration
21
MIX.book Page 22 Friday, June 13, 2003 2:29 PM
Hardware Buffer Size
The Hardware Buffer Size (H/W Buffer Size) controls the size of the hardware cache used to handle host processing tasks such as Real-Time AudioSuite (RTAS) plug-ins.
◆ 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 Setups > Playback Engine.
2 From the H/W Buffer Size pop-up menu, select
the audio buffer size, in samples.
3 Click OK.
CPU Usage Limit
The CPU Usage Limit controls the percentage of
CPU resources allocated to Pro Tools host processing tasks.
Increasing the CPU Usage Limit may slow
down screen responses on slower computers.
To change the CPU Usage Limit:
1 Choose Setups > Playback Engine.
2 From the CPU Usage Limit pop-up menu, se-
lect the percentage of CPU processing you want
to allocate to Pro Tools.
3 Click OK.
DAE Playback Buffer Size
The DAE Playback Buffer Size determines the
amount of memory DAE uses to manage disk
buffers, which affects system performance.
◆ Higher DAE Playback Buffer Size settings can
allow for a higher density of edits in a session.
However, a higher setting can cause a time lag to
occur before playback or recording begins. It can
also cause a time lag to occur when you are editing during playback.
◆ Lower DAE Playback Buffer Size settings can
improve playback and recording initiation
speed. However, a lower setting can make it difficult for slower hard drives to play or record
tracks reliably.
To change the DAE Playback Buffer Size:
1 Choose Setups > Playback Engine.
◆ Lower CPU Usage Limit settings limit the effect of Pro Tools processing on other CPU-intensive tasks, such as screen redraws, and are useful
when you are experiencing slow system response, or when running other applications at
the same time as Pro Tools.
◆ Higher CPU Usage Limit settings allocate
more processing power to Pro Tools, and are
useful for playing back large sessions or using
more real-time plug-ins.
22
Getting Started with MIX
Playback Engine dialog for Pro Tools MIX system
MIX.book Page 23 Friday, June 13, 2003 2:29 PM
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 box.
Clock Source
3 Click OK.
Internal If you are recording an analog signal directly into Pro Tools, you will usually use the
Pro Tools Internal clock source. The Clock
Source automatically changes to Internal when
you change the Ch. 1–2 Input to Analog.
If Pro Tools needs more system memory for the
DAE Playback Buffer, it will prompt you to restart your computer.
The Pro Tools Hardware Setup dialog allows you
to select the Clock Source for the system.
Pro Tools lets you set the default sample rate
and clock source for your system, as well as a
range of controls specific to each type of audio
interface.
Digital If you are transferring material into
Pro Tools from an external digital device, you
will usually synchronize Pro Tools to that digital
device. The Clock Source automatically changes
to the corresponding digital format when you
change the Ch. 1–2 Input to a digital format.
Default Sample Rate
To select the Clock Source:
Pro Tools Hardware Settings
The Sample Rate setting appears as the default
sample rate when you create a new session.
(This setting is available in the Hardware Setup
dialog only when no session is open.)
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 “Starting a Session” on page 55.)
To change the default Sample Rate:
1 Choose Setups > Hardware Setup.
2 Choose the clock source from the Clock
Source pop-up menu.
3 Click OK.
Your digital input device must be connected
and powered on for Pro Tools to synchronize to it. If your input device is not powered
on, leave the Clock Source set to Internal.
Configuring Audio Interfaces
1 Make sure that no Pro Tools session is open.
3 Choose the sample rate from the Sample Rate
pop-up menu.
To configure audio interfaces for use with
Pro Tools, you select each interface and configure its controls separately. The controls vary
with the types of interfaces in your system.
4 Click OK.
Identifying Audio Interfaces
2 Choose Setups > Hardware Setup.
If you have multiple audio interfaces of the
same type connected to your system, before you
make audio connections to them, you should
confirm the identity of each interface.
Chapter 2: Windows Configuration
23
MIX.book Page 24 Friday, June 13, 2003 2:29 PM
To identify audio interfaces in your system:
888|24 I/O Controls
1 Choose Setups > Hardware Setup.
• Channel I/O pairs can be set to Analog or Digital
2 From the Peripherals list, select an audio inter-
face connected to your system.
Use the Up and Down Arrow keys to scroll
though the Peripherals list in the Hardware
Setup dialog.
• Output Meter Level Sensitivity can be set
• Interface Meter Peak Hold can be turned on or
off
• DAC Muting can be turned on or off
3 Select the Identify option, located in the lower
left corner of the Hardware Setup dialog. This illuminates all the LEDs on the front panel of the
selected audio interface.
4 Make a note of which interface in your studio
setup corresponds to the identified interface.
5 Repeat the above steps for each additional au-
dio interface in your setup.
Hardware Setup dialog for 888|24 I/O
To configure audio interfaces:
882|20 I/O Controls
1 Choose Setups > Hardware Setup.
• Input and Output Reference Level can be set
to +4 dBu or –10 dBV
2 From the Peripherals list, select the Digidesign
audio interface connected to the first card in
your MIX system. This will be the interface at
the top of the list.
3 From the Clock Source pop-up menu, select
the appropriate clock source for the system.
• Channel 1–2 I/O pair can be set to Analog or
Digital
• S/PDIF Format can be set to Tascam DA-30 or
Other
4 Set the controls for your type of audio interface, as shown below.
For more information on Hardware Setup
controls for each type of Audio Interface, refer to its User Guide.
Hardware Setup dialog for 882|20 I/O
24
Getting Started with MIX
MIX.book Page 25 Friday, June 13, 2003 2:29 PM
1622 I/O Controls
Configuring I/O Setup
• Input levels can be varied continuously between Reference Levels of +4 dBu to –10 dBV
The I/O Setup dialog provides a graphical representation of the signal routing for each connected audio interface. The I/O Setup dialog also
lets you label and map Pro Tools input, output,
insert, and bus signal paths.
• Output levels can be set to Reference Level
+4 dBu or –10 dBV
• Channel 1–2 I/O pair can be set to Analog or
Digital
• S/PDIF Format can be set to Tascam DA-30 or
Other
Hardware Setup dialog for 1622 I/O
ADAT Bridge I/O Controls
For information on configuring the Hardware
Settings for the 24-Bit ADAT Bridge I/O or the
original ADAT Bridge I/O, refer to the guide that
came with that interface.
I/O Setup dialog with a single 888|24 I/O
Each Audio Interface attached to your system is
displayed, with controls to route physical ports
to Pro Tools inputs and outputs. If you have a
TDM-equipped SampleCell card in your system,
you can also configure its signal routing in the
I/O Setup dialog.
Pro Tools has default I/O Setup settings that will
get you started. You only need to go to I/O Setup
if you want to remap or rename the default I/O
paths.
To configure I/O routing in I/O Setup:
1 Choose Setups > I/O Setup.
2 Click the Input or Output tab to display the
corresponding connections.
3 To change the name of a path or subpath,
double-click directly on the Path Name, type a
new name for the path, and press Enter.
Chapter 2: Windows Configuration
25
MIX.book Page 26 Friday, June 13, 2003 2:29 PM
4 Click OK.
Refer to the Pro Tools Reference Guide for
more information on setting up I/O paths.
26
Getting Started with MIX
MIX.book Page 27 Friday, June 13, 2003 2:29 PM
chapter 3
Macintosh Configuration
Installation of a Pro Tools|24 MIX or
Pro Tools|24 system on a Macintosh includes
the following steps:
1 Installing Pro Tools hardware (See “Installing
Pro Tools Hardware” on page 29.)
2 Configuring Apple System Software settings
(See “Apple System Settings” on page 33.)
3 Installing Pro Tools TDM software (See “In-
stalling Pro Tools Software” on page 34.)
4 Checking your Pro Tools system (See “Check-
Pro Tools|24 MIX-series Hardware
Pro Tools|24 MIX hardware is available in the
following configurations:
Pro Tools|24 MIX Includes a single MIX Core
card and a 5-node TDM ribbon cable for connecting other optional TDM-equipped cards
Pro Tools|24 MIXplus Includes a MIX Core card,
a MIX Farm card, and a 5-node TDM ribbon cable for connecting the MIX Core to the MIX
Farm and other optional TDM-equipped cards
ing Your TDM System” on page 36.)
figuring Pro Tools” on page 39.)
Pro Tools|24 MIX3 Includes a MIX Core card,
two MIX Farm cards, and a 5-node TDM ribbon
cable for connecting the MIX Core to the MIX
Farm and other optional TDM-equipped cards
Pro Tools Hardware Overview
MIX Core Card
The number of Pro Tools TDM cards in your system depends on the type of core system you
have. Card components for each core system
configuration are listed below.
The MIX Core card provides up to 64 tracks of
direct-to-disk recording and playback to your
MIX-series system, as well as DSP power for mixing and plug-in processing. The MIX Core card
supports up to 24-bit and up to 48 kHz sessions.
5 Configuring your Pro Tools system (See “Con-
If you are using an Expansion Chassis to
add additional cards to your system, refer to
the Expanded Systems Guide included with
your Pro Tools system.
audio interface port
DigiSerial
port
MIX Core card
Chapter 3: Macintosh Configuration
27
MIX.book Page 28 Friday, June 13, 2003 2:29 PM
The MIX Core card includes a port for connecting up to 16 channels of audio input and output
to your MIX-series system. You can connect a
single 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit
ADAT Bridge I/O, or original ADAT Bridge I/O
audio interface directly to the card. If you purchase the optional Y-cable (16-channel peripheral cable adapter), you can attach two 8-channel audio interfaces to the card.
The DigiSerial port is for connecting a Digidesign Universal Slave Driver (USD), or a 9-pin device for use with the Pro Tools MachineControl
option.
MIX Farm Card
The MIX Farm card provides additional DSP
power for mixing and plug-in processing to your
MIX-series system. The MIX Farm card supports
up to 24-bit and up to 48 kHz sessions.
audio interface
port
MIX Farm card
The MIX Farm card includes a port for connecting up to 16 channels of audio input and output
to your MIX-series system. You can connect a
single 888|24 I/O, 882|20 I/O, or 1622 I/O, 24Bit ADAT Bridge I/O, or original ADAT
Bridge I/O audio interface directly to the card. If
you purchase the optional Y-cable (16-channel
peripheral cable adapter), you can connect two
8-channel audio interfaces to the card.
The DigiSerial port on a MIX Farm card does not
offer any functionality.
28
Getting Started with MIX
Pro Tools|24 Hardware
Pro Tools|24 hardware is available in the following core configuration:
Pro Tools|24 Includes a d24 audio card, a DSP
Farm card, and a 5-node TDM ribbon cable for
connecting them.
d24 Audio Card
The d24 audio card provides up to 32 tracks of
direct-to-disk recording and playback capabilities to your Pro Tools|24 system. The d24 card
supports up to 24-bit and up to 48 kHz sessions.
audio interface port
DigiSerial
port
d24 card
The d24 card includes a port for connecting up
to 16 channels of audio input and output to
your Pro Tools|24 system. You can connect a
single 888|24 I/O, 882|20 I/O, or 1622 I/O Audio Interface directly to the card. If you purchase the optional Y-cable (16-channel peripheral cable adapter), you can connect two 8channel audio interfaces to the card.
The DigiSerial port on the d24 card is for connecting an optional Digidesign Universal Slave
Driver (USD), or a 9-pin device for use with the
Pro Tools MachineControl option.
MIX.book Page 29 Friday, June 13, 2003 2:29 PM
DSP Farm Card
The DSP Farm card provides the DSP power for
mixing and plug-in processing to your
Pro Tools|24 system. The DSP Farm card supports up to 24-bit and up to 48 kHz sessions.
audio interface
port
DSP Farm card
The DSP Farm card includes a port for connecting up to 8 channels of audio input and output
to your Pro Tools system. You can connect a single 888|24 I/O or 882|20 I/O directly to the card.
The 1622 I/O Audio Interface is not supported by the DSP Farm. It must be connected to a MIX Core, MIX Farm, or d24
card. Only one 1622 I/O can be connected
to any of these cards. The optional 16channel peripheral cable adapter is not supported by the 1622 I/O.
TDM Ribbon Cable
The TDM Ribbon Cable is used to connect multiple cards in your Pro Tools system so they can
share data along the TDM bus.
Installing Pro Tools Hardware
To install Pro Tools TDM hardware, you first install TDM cards, then for systems with more
than one card, connect the cards with a TDM
Ribbon Cable.
Installing Pro Tools PCI Cards
This section shows how to install Pro Tools
cards in a Macintosh computer. To install cards
into an expansion chassis, see the Expanded Systems Guide.
To install Pro Tools cards:
1 Turn off your computer and any peripherals.
Leave your computer’s power cable plugged in
so the computer is grounded.
2 Disconnect all cables attached to the com-
puter (such as hard drives, displays, USB and
FireWire connections) except for the power cable.
3 Open the computer case.
4 Remove the metal access port cover behind
the PCI slot you want to use by removing the
screw and sliding the cover out from the access
port.
Before handling any card, discharge static
electricity from your clothes or body by
touching a grounded metal surface, such as
the power supply case inside your computer.
TDM Ribbon Cable
A 5-node cable comes with your system. If you
plan to use your system with an expansion chassis, you can order a TDM Ribbon Cable with
more nodes from your Digidesign dealer.
Chapter 3: Macintosh Configuration
29
MIX.book Page 30 Friday, June 13, 2003 2:29 PM
5 Install the MIX Core or d24 card into the lowest-numbered PCI slot in the computer, based
on your computer model as follows:
Power Macintosh “Mirrored Door” G4 The Power
Macintosh “Mirrored Door” G4 has reflective
drive bay doors and four holes across the front.
Its PCI slot numbers increase from left to right as
you face the open computer case from the front.
Note that the PCI slot numbering in the newer
“Mirrored Door” G4 computer runs in the opposite direction of previous G4 models.
Power Macintosh “QuickSilver” and earlier
G4 The Power Macintosh “QuickSilver” and
earlier G4 models have a single speaker grille or
hole on the front. Their PCI slot numbers increase from right to left as you face the open computer case from the front.
PCI slot 4
PCI slot 3
PCI slot 2
AGP slot 1 (video card)
Be very careful when opening or closing the
case of a “Mirrored Door” G4 computer.
Any PCI cards installed in the higher-numbered slots may be damaged if they touch
the top of the computer case.
Power Macintosh “QuickSilver” Dual Processor G4
AGP slot 1 (video card)
PCI slot 2
PCI slot 3
PCI slot 4
PCI slot 5
PCI slot 4
PCI slot 3
PCI slot 2
PCI slot 1 (video card)
Power Macintosh “Mirrored Door” Dual Processor G4
Power Macintosh Single Processor G4
30
Getting Started with MIX
MIX.book Page 31 Friday, June 13, 2003 2:29 PM
6 If you have no additional cards to install, do
the following:
• Secure the card in place with the screw you
removed earlier, and close the computer.
• Skip the following steps and continue with
“Connecting Audio Interfaces” on page 32.
7 Install any remaining Digidesign cards in sub-
sequent slots, in ascending numerical order.
8 Group similar cards together (for example, put
all MIX Farm cards next to each other).
Connecting TDM Cards with the
TDM Ribbon Cable
All TDM cards in your Pro Tools system must be
connected with the TDM ribbon cable.
To connect TDM cards with the TDM ribbon cable:
1 Connect the first node of the cable to the first
TDM card. Make sure the TDM cable is facing
the right direction—align the white triangle on
the cable plug with the triangle on the card.
9 If you are installing a SCSI HBA card, install it
in the highest-numbered remaining slot.
Check to be sure that your cards are installed in
the following order, starting with the lowest numeric slot:
• Video card for your computer display
• MIX Core card
• MIX Farm cards
• SampleCell II cards
• Digidesign-approved video capture card
• SCSI host bus adapter (HBA) card
The above guidelines may include optional
cards not present in your system.
10 Secure each card in place with the slot access
port screws you removed earlier.
Attaching the TDM ribbon cable to MIX Core and
MIX Farm cards
2 Push down gently but firmly until the node is
fully connected to the card. When the plug is
properly seated, the two tabs on the side of the
cable’s TDM connector click shut. To detach the
ribbon cable, squeeze the tabs on the TDM connector inward.
3 Attach the remaining nodes on the TDM rib-
bon cable to subsequent cards.
It is OK to have ribbon connector nodes that
go unused. They should reside after the last
TDM card.
4 Close the computer case.
Chapter 3: Macintosh Configuration
31
MIX.book Page 32 Friday, June 13, 2003 2:29 PM
Connecting Audio Interfaces
Pro Tools MIX-series systems provide a choice of
the 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit
ADAT Bridge I/O, or the original ADAT
Bridge I/O audio interfaces. These devices supply the audio inputs and outputs for your system.
If you purchase the optional Y-cable (16-channel peripheral cable adapter), you can connect
two 8-channel audio interfaces to a single MIX
Core, MIX Farm, or d24 card.
To audio interfaces
To Pro Tools card
MIX-series systems do not support
HD-series audio interfaces such as the
96 I/O and the 192 I/O.
Pro Tools|24 MIX and Pro Tools|24 systems also support the Digidesign 888 I/O
and 882 I/O audio interfaces.
For instructions on connecting a 24-Bit
ADAT Bridge I/O or the original ADAT
Bridge I/O, see the Installation Guide that
came with that interface.
Optional 16-channel peripheral cable adapter
3 If you are using multiple audio interfaces, con-
nect the Slave Clock Out of the primary interface to the Slave Clock In of the second interface
with the provided BNC cable. Connect the Slave
Clock Out of the second interface to the Slave
Clock In of the next audio interface. Connect
subsequent interfaces in a similar manner.
To connect Pro Tools audio interfaces:
COMPUTER
1 Connect the primary audio interface to the
7
5
3
ANALOG OUTPUT
6
4
8
primary MIX Core or d24 card with the provided interface cable. The primary audio interface functions as the clock master.
1
7
2
8
5
3
ANALOG INPUT
6
4
1
5/6
1/2
AES/EBU OUTPUT
7/8
3/4
2
5/6
1/2
AES/EBU INPUT
7/8
3/4
S/PDIF S/PDIF
IN
OUT
7
5
3
ANALOG OUTPUT
6
4
8
1
7
2
8
5
3
ANALOG INPUT
6
4
1
5/6
1/2
AES/EBU OUTPUT
7/8
3/4
2
5/6
1/2
AES/EBU INPUT
7/8
3/4
S/PDIF S/PDIF
IN
OUT
2 Connect additional audio interfaces to subse-
quent Digidesign audio cards.
ANALOG INPUTS
1
2
3
4
5
IN
ANALOG OUTPUTS
6
7
8
1
2
3
4
5
6
7
IN
IN
COMPUTER
8
OUT
OUT
S/PDIF
SLAVE CLOCK
If you are connecting both 888|24 and 882|20 or
1622 I/O audio interfaces to your system, for
best system performance, connect the 888|24 to
your MIX Core or d24 card, followed by any additional 888|24 interfaces to the next highestpriority cards. Then connect 882|20 or 1622 I/O
interfaces to subsequent cards.
32
Getting Started with MIX
SLAVE CLOCK SLAVE CLOCK
IN
OUT
COMPUTER
ANALOG INPUTS
1
2
3
4
5
IN
ANALOG OUTPUTS
6
7
8
1
2
3
4
5
6
7
IN
COMPUTER
8
OUT
OUT
SLAVE CLOCK
S/PDIF
Connecting multiple audio interfaces together
SLAVE CLOCK SLAVE CLOCK
IN
OUT
MIX.book Page 33 Friday, June 13, 2003 2:29 PM
Apple System Settings
To ensure optimum performance with
Pro Tools, configure the following settings for
your version of Mac OS before you install
Pro Tools software.
System Settings for Mac OS X
System Settings for Mac OS 9
The following settings ensure optimum performance and compatibility for systems running
Mac OS 9.
To configure Mac OS 9 for Pro Tools:
1 Turn on your computer.
2 In the Memory Control Panel, do the follow-
The following settings ensure optimum performance and compatibility for systems running
Mac OS X.
Do not use the Mac OS X automatic Software Update feature, as it may upgrade
your system to a version of Mac OS that has
not yet been qualified for Pro Tools. For details on qualified versions of Mac OS, refer
to the latest compatibility information on
the Digidesign Web site (www.digidesign.com).
To configure Mac OS X for Pro Tools:
1 Turn on your computer.
2 Make sure you are logged in as an Administrator for the account where you want to install
Pro Tools. For details on Administrator privileges in Mac OS X, refer to your Apple OS X documentation.
ing:
• Set Virtual Memory to Off.
• Set the RAM Disk to Off.
• Set the Disk Cache to a Custom Setting of
512K.
3 In the Energy Saver Control Panel, set the “in-
active” time to Never.
4 In the Appearance Control Panel, do the fol-
lowing:
• Click the Fonts tab and set the Large System Font to Chicago. In addition, deselect
“Smooth all fonts on screen.”
• Click the Sound tab and select None from
the Sound Track pop-up menu.
5 In the Extensions Manager Control Panel,
choose the “Mac OS 9.2.2 Base” set from the Selected Set pop-up menu.
3 Choose System Preferences from the Apple
Menu and click Energy Saver.
4 Click the Sleep tab and turn off the Energy
Saver feature by setting the sleep feature to
Never.
5 Return to the System Preferences and click
Software Update.
6 Deselect “Automatically check for updates
when you have a network connection.”
7 Close the Software Update dialog box.
Extensions Manager Control Panel
6 Click Duplicate Set, name the new set
“Pro Tools,” and click OK.
Chapter 3: Macintosh Configuration
33
MIX.book Page 34 Friday, June 13, 2003 2:29 PM
7 Click Restart to restart your computer.
After you install Pro Tools, a number of
Digidesign extensions will be added to the
new “Pro Tools” Extension Set. Be sure this
“Pro Tools” Extension Set is activated
whenever you use Pro Tools.
Installing Pro Tools Software
After the Apple System software settings are configured, you’re ready to install Pro Tools.
Installing Pro Tools on Mac OS X
To install Pro Tools on Mac OS X:
1 Make sure you are logged in as an Administrator for the account where you want to install
Pro Tools. For details on Administrator privileges in Mac OS X, refer to your Apple OS X documentation.
2 Insert the Pro Tools 6.0 Installer CD-ROM in
your CD-ROM drive. Double-click “Install
Pro Tools.”
3 Enter your Mac OS X Administrator password
and click OK to authenticate the installation.
6 Select your work environment. This loads an
initial set of Pro Tools Preferences that include
some of the more popular settings for post production, audio, or audio with MIDI.
Preference settings can be customized at any
time in Pro Tools. See the Pro Tools Reference Guide for more information about Preferences.
7 Select whether to install the Surround Mixer
plug-in. This plug-in is required for mixing,
mastering, and monitoring in surround:
• Select “Yes – Monitoring in Standard
Pro Tools (Film Format)” if your monitoring is configured for Film Format surround.
• Select “Yes – Monitoring in ProControl
(DTS Format)” if you are using a ProControl dedicated controller.
• Select “No – Stereo mixing only” if your
monitoring is configured for Stereo.
8 Click Continue.
9 When installation is complete, click Restart.
– or –
Click Continue to install any additional software or documentation, and restart your computer when you are finished.
4 Select the Pro Tools 6.0 Installer. You can also
select from a list of optional items to install
along with Pro Tools. Click the information button next to each item for a description of its
contents.
5 Click Install.
34
Getting Started with MIX
If you plan to use any MIDI devices with
Pro Tools, configure your MIDI setup with the
Apple Audio MIDI Setup (AMS) utility. See
Appendix E, “Configuring AMS
(Mac OS X Only).”
MIX.book Page 35 Friday, June 13, 2003 2:29 PM
Installing Pro Tools on Mac OS 9
To install Pro Tools on Mac OS 9:
1 Insert the Pro Tools 5.1.3 Installer CD-ROM in
your CD-ROM drive. Double-click
“Install Pro Tools.”
2 Select a drive from the Install Location pop-up
menu. For maximum reliability, install
Pro Tools on your startup drive.
3 Select the appropriate installer for your
Digidesign hardware: Pro Tools|24 MIX or
Pro Tools|24. You can also select from a list of
optional items to install along with Pro Tools.
Click the information button next to each item
for a description of its contents.
4 Click Install.
5 Select your work environment. This loads an
initial set of Pro Tools Preferences that include
some of the more popular settings for post production, audio, or audio with MIDI.
Preference settings can be customized at any
time in Pro Tools. See the Pro Tools Reference Guide for more information about Preferences.
6 After selecting a work environment, click
8 If you installed the Surround Mixer in the previous step, the Installer prompts you to select a
Surround Monitor Format. Select Standard
Pro Tools (Film Format) if your monitoring is
configured for Film Format, or select ProControl
(DTS Format) if you are using a Digidesign ProControl, then click Install.
9 When installation is complete, click Restart.
10 After restarting, install OMS.
Installing OMS
(Mac OS 9 Only)
To use Pro Tools on Mac OS 9, you must first install and configure the Open Music System
(OMS). OMS, which is included on the Pro Tools
Installer CD-ROM.
Even if you don't intend to use MIDI in your
Pro Tools sessions, you still need to install
OMS. Pro Tools will not launch without it.
To install OMS:
1 Insert the OS 9 Pro Tools Installer CD-ROM in
your CD-ROM drive.
2 Open the OMS Installer folder and double-
click the OMS Installer.
Continue.
3 At the Install window, select the Easy Install
7 For Pro Tools|24 MIX systems, you are
option, and set the Install Location to your Startup hard drive. Click Install.
prompted to install the Surround Mixer plug-in.
This plug-in is required for mixing, mastering,
and monitoring in surround. Select Yes to install
the Surround Mixer plug-in, or No to install the
standard Stereo Mixer plug-in, then click Continue.
4 Follow the on-screen installation instructions.
5 When the installation is complete, restart
your Macintosh.
For more information on configuring OMS,
see Appendix F, “Configuring OMS
(Mac OS 9 Only)”.
Chapter 3: Macintosh Configuration
35
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Installing Demo Sessions
Starting Up Your System
(Optional)
Whenever you start your system, turn on all of
your system components in a specific order.
The Pro Tools Installer CD-ROM includes a
demo session that you can use to verify that
your system is working.
To start your Pro Tools system:
1 Make sure all your equipment (including your
computer) is off.
To install a demo session:
2 For TDM systems with an expansion chassis,
1 Insert the Pro Tools Installer CD in your CD-
turn on the expansion chassis.
ROM drive. Locate and double-click the demo
session installer icon.
3 Turn on external hard drives, if any. Wait ap-
2 Select the demo session.
proximately ten seconds for them to spin up to
speed.
3 Set the install location to your audio drive,
and click Install.
4 Turn on any MIDI interfaces and devices, or
4 When installation is complete, click Quit.
5 Lower the volume of all output devices, then
turn on your Pro Tools audio interfaces. Wait at
least fifteen seconds for the audio interfaces to
initialize, and the status LEDs to stop flashing.
Checking Your TDM System
Before you launch Pro Tools, start up your system and run the DigiTest diagnostic application
for your version of Mac OS to ensure that all
TDM cards in the system are recognized, installed in the proper order, and have valid TDM
ribbon cable connections.
You should also run DigiTest after making
any changes to your hardware setup (such
as adding or removing cards, adding or removing audio interfaces, adding or removing synchronization cables) to verify that
your system is correctly configured and
functioning properly. After running DigiTest, restart your computer.
synchronization peripherals.
6 Turn on your computer.
Running DigiTest (Mac OS X)
DigiTest for Mac OS X is installed with Pro Tools
6.0 and resides in the folder Applications/
Digidesign/Pro Tools 6/Pro Tools Utilities on
your hard drive.
Before you run DigiTest, lower the volume
of all output devices. Very loud digital noise
may be emitted during the test.
To run DigiTest:
1 Quit Pro Tools if it is running.
2 Locate and double-click the DigiTest applica-
tion on your hard drive.
DigiTest opens and lists the supported cards it
finds in your system, showing their corresponding slot locations.
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If you have a large number of cards or audio interfaces, it may take a while for the DigiTest window to appear, as DigiTest scans for all cards and
interfaces connected to the system.
5 When the test is finished, you can view the
test results by doing one of the following:
• Click the Get Results button next to a card
name.
– or –
• Click the Results tab and choose a card slot
from the pop-up menu.
6 In the Results page of the DigiTest window,
click Show Failures Only to display any tests
that failed for the selected card, or click Show All
Results to display all test results for the selected
card.
For descriptions of error codes, refer to
Appendix B, “DigiTest Error Codes.”
DigiTest window (Mac OS X)
Identifying Digidesign Cards with
DigiTest
3 If a supported card is installed and is not au-
• Turn off the entire Pro Tools system.
You can use DigiTest to identify which cards are
in which slots in your system. This is especially
useful if you have multiple Digidesign cards of
the same type installed in your system.
• Reinstall the cards (see “Installing Pro Tools
PCI Cards” on page 29).
To identify Digidesign cards with DigiTest
• Check the card seating.
1 Quit Pro Tools if it is running.
• Check the TDM ribbon cable connections.
2 Locate and double-click the DigiTest applica-
tomatically detected, do the following:
• Quit DigiTest.
• Turn on the system.
• Launch DigiTest again.
4 In the DigiTest window, click Run.
If cards are not installed in the proper order,
DigiTest will display error codes in the status
box of each card identified as being misconfigured.
tion on your hard drive.
DigiTest opens and lists the supported cards it
finds in your system, showing their corresponding slot locations.
3 Open your computer case or expansion chas-
sis so you can see the top edge of the cards installed in your system.
4 In the DigiTest window, select the ID check
The more cards and audio interfaces in your system, the longer the test will take.
box next to a card name. The green LED near the
top edge of the corresponding card flashes.
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Running DigiTest (Mac OS 9)
2 If a supported card is installed and is not au-
tomatically detected, do the following:
DigiTest for Mac OS 9 is installed with Pro Tools
and resides in the Digidesign Utilities folder located on your hard drive.
Before you run DigiTest, lower the volume
of your monitoring system and all output
devices, and be sure to remove your headphones. Very loud digital noise may be
emitted during the test.
To run DigiTest:
1 Locate and double-click the DigiTest applica-
tion.
DigiTest opens and lists the supported cards it
finds in your system, showing their corresponding slot locations.
If you have several TDM cards or audio interfaces, it may take a while for the main DigiTest
window to appear, as DigiTest scans for all cards
and interfaces connected to the system.
• Close DigiTest.
• Turn off the entire Pro Tools system.
• Reinstall the cards (see “Installing Pro
Tools PCI Cards” on page 29).
• Check the card seating.
• Check the TDM ribbon cable connections.
• Turn on the system.
• Run DigiTest again.
3 From the SlotArrangement menu, select your
computer. The number of computer card slots
updates in the main window to reflect your
computer model.
When you select a computer type, a second window opens and displays the lowest slot in your
computer.
4 If you are using an expansion chassis, select it
from the SlotArrangement menu.The number of
expansion chassis card slots updates in the main
window to reflect your chassis type.
5 In the DigiTest window, click Run.
If cards are not installed in the proper order,
DigiTest will stop, inform you that the system is
misconfigured, and display error codes in the
status box of each card identified as being misconfigured.
The more cards and audio interfaces in your system, the longer the test will take.
For descriptions of error codes, refer to
Appendix B, “DigiTest Error Codes.” For test details, click the Info button to the right of the reported error, then click Failures in the pop-up
window and choose Detailed.
DigiTest window
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MIX.book Page 39 Friday, June 13, 2003 2:29 PM
6 After checking card arrangement, DigiTest
checks card functionality. The Status box for
each tested card will indicate Passed or Failed.
DigiTest only reports valid test results for
slots that contain Digidesign cards.
Choosing the Audio Interface Type
The first time you launch Pro Tools, you will be
prompted to select the type of Audio Interfaces
connected to your system.
To select the Audio Interface:
7 If all the Digidesign cards pass, quit DigiTest
and restart your computer.
If any cards fail, you can review test details by
clicking the Info button for the corresponding
card and slot. Then quit DigiTest, turn off your
system, and reinstall your cards, verifying
proper card seating and TDM ribbon cable connections.
If a card continues to fail DigiTest, contact
Digidesign Technical Support.
1 When prompted after launching Pro Tools,
click Hardware Setup.
2 Select the first interface port on the first card
in your system (MIX Card #1, Port A) from the
Peripherals list.
3 Choose the type of interface from the Inter-
face pop-up menu.
4 Repeat the above steps for each additional in-
terface port with an interface connected to it.
Launching Pro Tools
When launching Pro Tools the first time, you
are prompted to enter an authorization code to
validate your software.
To validate Pro Tools software:
1 Double-click the Pro Tools application in the
Pro Tools folder inside the Digidesign folder.
2 With Mac OS 9, if OMS was not previously
configured, you will be prompted to configure a
New Studio Setup. For specific steps, see
Appendix F, “Configuring OMS (Mac OS 9
Only).”
3 Enter the authorization code in the dialog
when prompted, making sure to observe any
spaces, then click Validate.
The authorization code is located on the inside
cover of this guide.
Choosing an Audio Interface
5 Click OK.
Configuring Pro Tools
Allocating Additional Memory to
Pro Tools and DAE
(Mac OS 9 Only)
Under Mac OS 9, allocating additional RAM to
both the Pro Tools and DAE applications is
highly recommended.
For Mac OS X memory information, see
“System Memory Allocation” on page 43.
Chapter 3: Macintosh Configuration
39
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To allocate additional memory to Pro Tools:
To allocate additional memory to DAE:
1 If Pro Tools is currently running, Quit
Pro Tools.
1 Start Pro Tools so that DAE can calculate its
2 In the Finder, choose About This Computer
from the Apple menu.
2 Go to the Finder and choose About This Computer from the Apple menu.
3 If you have 3 megabytes or more of memory
available (as indicated in the Largest Unused
Block portion of this window), go to step 4. If
you have less than 3 megabytes of free memory
(3,000k), stop here: do not allocate additional
memory to Pro Tools unless you install additional RAM in your computer.
3 If you have 3 megabytes or more of memory
4 Locate the Pro Tools application on your hard
drive, select it, and choose Get Info from the
Finder’s File menu.
4 Quit Pro Tools.
5 Choose Memory from the Show pop-up
menu.
6 Enter the desired amount of memory above the
minimum requirement in the Preferred Size field.
For example, if the Preferred Size field currently
says “30410k” and you wish to allocate an additional 60 megabytes of memory (1 megabyte
equals 1024 kilobytes), enter “90410” into the
Preferred Size field.
7 Close the Get Info dialog.
The next time you start Pro Tools, the Pro Tools
application will use this new memory allocation.
40
Getting Started with MIX
basic memory allocation.
available (as indicated in the Largest Unused
Block portion of this window), go to step 4. If
you have less than 3 megabytes of free memory
(3,000k), stop here: Do not allocate additional
memory to DAE unless you install additional
RAM in your computer.
5 Open the DAE folder inside your System
Folder, select DAE, and choose Get Info from the
Finder’s File menu.
6 Choose Memory from the Show menu.
7 Enter the desired amount of memory above the
minimum requirement in the Preferred Size field.
For example, if the Preferred Size field currently
says “30410k” and you wish to allocate an additional 30 megabytes of memory (1 megabyte
equals 1024 kilobytes), enter “60410” into the
Preferred Size field.
8 Close the Get Info dialog.
The next time you start Pro Tools, DAE will use
this new memory allocation.
MIX.book Page 41 Friday, June 13, 2003 2:29 PM
Pro Tools System Settings
Pro Tools allows you to adjust the performance
of your system by changing system settings that
affect its capacity for processing, playback, and
recording.
To change the Voice Count:
1 Choose Setups > Playback Engine.
In most cases, the default settings for your system provide optimum performance, but you
may want to adjust them to accommodate large
or processing-intensive Pro Tools sessions.
Voice Count
Playback Engine dialog (Pro Tools 6.0)
The Number of Voices setting lets you control
the number of voices available on your system.
The default number on a Pro Tools|24 MIX system is 32 voices (at a sample rate of 48 kHz).
Changing the number of voices affects
DSP usage, the total number of voiceable
tracks, and overall system performance.
Depending on the current sample rate and the
number of MIX Core and Farm cards in your system, you will have different choices available for
this setting. For voice limits on different MIX
systems, refer to the Pro Tools Reference Guide.
Playback Engine dialog (Pro Tools 5.1.3)
2 Select the number of voices and DSPs to allo-
cate for voicing by clicking a value under Playback Engine (Pro Tools 5.1.3) or choosing a
value from the Number of Voices pop-up menu
(Pro Tools 6.0).
• Select higher voice numbers when your
Digidesign cards are the only PCI cards in
your computer, or when using an expansion chassis to run higher track counts
(such as 64 tracks at 48 kHz).
• Select lower voice numbers if you are using
high-bandwidth PCI cards (such as video
capture cards) along with your Digidesign
cards.
3 Click OK.
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Hardware Buffer Size
To change the CPU Usage Limit:
The Hardware Buffer Size (H/W Buffer Size) controls the size of the hardware cache used to handle host processing tasks such as Real-Time AudioSuite (RTAS) plug-ins. The default Hardware
Buffer Size setting is 512 samples.
1 Choose Setups > Playback Engine.
Lower Hardware Buffer Size settings reduce
monitoring latency, and are useful when you are
recording live input.
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.
◆
◆ 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.
◆ Lower CPU Usage Limit settings limit the effect of Pro Tools processing on other CPU-intensive tasks, such as screen redraws, and are useful
when you are experiencing slow system response, or when running other applications at
the same time as Pro Tools.
◆ Higher CPU Usage Limit settings allocate
more processing power to Pro Tools, and are
useful for playing back large sessions or using
more real-time plug-ins.
Increasing the CPU Usage Limit may slow
down screen response on slower computers.
To change the Hardware Buffer Size:
1 Choose Setups > Playback Engine.
2 From the H/W Buffer Size pop-up menu, select
the audio buffer size, in samples.
3 Click OK.
CPU Usage Limit
The CPU Usage Limit controls the percentage of
CPU resources allocated to Pro Tools host processing tasks.
With Pro Tools 5.x, the maximum CPU Usage
Limit is 85 percent.
◆
◆ With Pro Tools 6.x, the maximum CPU Usage
Limit is 85 percent for single-processor computers, and 99 percent for multi-processor computers. (The 99 percent setting dedicates one entire
processor to Pro Tools.)
42
Getting Started with MIX
DAE Playback Buffer Size
The DAE Playback Buffer Size determines the
amount of memory DAE uses to manage disk
buffers, which affects system performance.
◆ Higher DAE Playback Buffer Size settings can
allow for a higher density of edits in a session.
However, a higher setting can cause a time lag to
occur before playback or recording begins. It can
also cause a time lag to occur when you are editing during playback.
◆ Lower DAE Playback Buffer Size settings can
improve playback and recording initiation
speed. However, a lower setting can make it difficult for slower hard drives to play or record
tracks reliably.
MIX.book Page 43 Friday, June 13, 2003 2:29 PM
To change the DAE Playback Buffer Size in
Pro Tools 6.x:
1 Choose Setups > Playback Engine.
5 Quit Pro Tools if it is running, or quit the DAE
application. The new buffer setting will take effect when you launch Pro Tools again.
System Memory Allocation
(Pro Tools 6.x 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.
Playback Engine dialog for a MIX system (Pro Tools 6)
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 box.
3 Click OK.
You can set Pro Tools to reserve only the minimum amount of required memory, so that more
system memory is available to other applications.
To minimize system memory allocation:
1 Choose Setups > Playback Engine.
To change the DAE Playback Buffer Size in
Pro Tools 5.x:
1 Launch DAE. If Pro Tools is already running,
switch to the DAE application.
2 Choose File > Set Playback Buffer Size.
2 Select the “Minimize System Memory Alloca-
tion” option.
3 Click OK.
4 Restart your computer.
DAE Playback Buffer Size dialog (Pro Tools 5.1.3)
3 Select a buffer size.
4 Click OK.
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43
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Pro Tools Hardware Settings
Default Sample Rate
Pro Tools lets you set the default sample rate
and clock source for your system, as well as a
range of controls specific to each type of audio
interface.
The Sample Rate setting appears as the default
sample rate when you create a new session.
(This setting is available in the Hardware Setup
dialog only when no session is open.)
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 “Starting a Session” on page 55.)
To change the default Sample Rate:
1 Make sure that no Pro Tools session is open.
Hardware Setup for 888|24 I/O (Pro Tools 6.0)
2 Choose Setups > Hardware (Pro Tools 5.1.3) or
Setups > Hardware Setup (Pro Tools 6.0).
3 Choose the sample rate from the Sample Rate
pop-up menu.
4 Click OK.
Clock Source
The Pro Tools Hardware Setup dialog allows you
to select the Clock Source for the system. (Clock
Source is called Sync Mode in Pro Tools 5.1.3).
Internal If you are recording an analog signal directly into Pro Tools, you will usually use the
Pro Tools Internal clock source. The Clock
Source automatically changes to Internal when
you change the Ch. 1–2 Input to Analog.
Hardware Setup for 882|20 I/O (Pro Tools 5.1.3)
Digital If you are transferring material into
Pro Tools from an external digital device, you
will usually synchronize Pro Tools to that digital
device. The Clock Source automatically changes
to the corresponding digital format when you
change the Ch. 1–2 Input to a digital format.
To select the Clock Source:
1 Choose Setups > Hardware (Pro Tools 5.1.3) or
Setups > Hardware Setup (Pro Tools 6.x).
44
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MIX.book Page 45 Friday, June 13, 2003 2:29 PM
2 Choose the clock source from the Sync Mode
pop-up menu (Pro Tools 5.1.3) or the Clock
Source pop-up menu (Pro Tools 6.0).
3 Click OK.
Your digital input device must be connected
and powered on for Pro Tools to synchronize to it. If your input device is not powered
on, leave the Clock Source set to Internal.
To configure audio interfaces:
1 Choose Setups > Hardware (Pro Tools 5.1.3) or
Setups > Hardware Setup (Pro Tools 6.x).
2 Choose the Audio Interface you want to con-
figure from the Interfaces pop-up menu
(Pro Tools 5.1.3) or select it in the Peripherals
list (Pro Tools 6.x).
3 In Pro Tools 5.1.3, click Other Options to re-
veal the interface controls.
Configuring Audio Interfaces
4 Set the controls for your type of audio inter-
To configure audio interfaces for use with
Pro Tools, you select each interface and configure its controls separately. The controls vary
with the types of interfaces in your system.
face, as shown below.
For more information on Hardware Setup
controls for each type of Audio Interface, refer to its User Guide.
Identifying Audio Interfaces
(Pro Tools 6.x Only)
If you have multiple audio interfaces of the
same type connected to your system, before you
make audio connections to them, you should
confirm the identity of each interface.
To identify audio interfaces in your system:
888|24 I/O Controls
• Channel I/O pairs can be set to Analog or Digital
• Output Meter Level Sensitivity can be set
• Interface Meter Peak Hold can be turned on or
off
• DAC Muting can be turned on or off
1 Choose Setups > Hardware Setup.
2 From the Peripherals list, select an audio inter-
face connected to your system.
Use the Up and Down Arrow keys to scroll
though the Peripherals list in the Hardware
Setup dialog.
3 Select the Identify option, located in the lower
left corner of the Hardware Setup dialog. This illuminates all the LEDs on the front panel of the
selected audio interface.
Hardware Setup dialog for 888|24 I/O
4 Make a note of which interface in your studio
setup corresponds to the identified interface.
5 Repeat the above steps for each additional au-
dio interface in your setup.
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45
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882|20 I/O Controls
ADAT Bridge I/O Controls
• Input and Output Reference Level can be set
to +4 dBu or –10 dBV
• Channel 1–2 I/O pair can be set to Analog or
Digital
For information on configuring the Hardware
Settings for the 24-Bit ADAT Bridge I/O or the
original ADAT Bridge I/O, refer to the guide that
came with that interface.
• S/PDIF Format can be set to Tascam DA-30 or
Other
Configuring I/O Setup
The I/O Setup dialog provides a graphical representation of the signal routing for each connected audio interface. The I/O Setup dialog also
lets you label and map Pro Tools input, output,
insert, and bus signal paths.
Hardware Setup dialog for 882|20 I/O
1622 I/O Controls
• Input levels can be varied continuously between Reference Levels of +4 dBu to –10 dBV
• Output levels can be set to Reference Level
+4 dBu or –10 dBV
• Channel 1–2 I/O pair can be set to Analog or
Digital
• S/PDIF Format can be set to Tascam DA-30 or
Other
I/O Setup dialog for 888|24 I/O, Input page
Each Audio Interface attached to your system is
displayed, with controls to route physical ports
to Pro Tools inputs and outputs. If you have a
TDM-equipped SampleCell card in your system,
you can also configure its signal routing in the
I/O Setup dialog.
Hardware Setup dialog for 1622 I/O
46
Getting Started with MIX
Pro Tools has default I/O Setup settings that will
get you started. You only need to go to I/O Setup
if you want to remap or rename the default I/O
paths.
MIX.book Page 47 Friday, June 13, 2003 2:29 PM
To configure I/O routing in I/O Setup:
1 Choose Setups > I/O Setup.
2 Click the Input or Output tab to display the
corresponding connections.
3 To change the name of a path or subpath,
double-click directly on the Path Name, type a
new name for the path, and press Return.
4 Click OK.
Refer to the Pro Tools Reference Guide for
more information on setting up I/O paths.
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48
Getting Started with MIX
MIX.book Page 49 Friday, June 13, 2003 2:29 PM
chapter 4
Connecting Your Studio
This chapter provides general information on
connecting Pro Tools to your system, including
digital equipment, effects units, MIDI gear, and
SMPTE synchronization devices.
Refer to the 888|24 I/O Guide, the 882|20 I/O
Guide, the 1622 I/O Guide, or the ADAT
Bridge I/O Guide for specific details regarding:
• Front and back panel connectors and indicators
• Technical specifications
Setting Up Your Studio
The following diagrams provide general suggestions for connecting studio gear to your system.
Figure 1 illustrates a typical studio setup, with
an 888|24 I/O connected to a mixing console,
effects and other equipment.
The 888|24 I/O analog audio connectors
are balanced XLRs with pin 2 wired hot
(or “+”), pin 3 cold (or “–”), and pin 1
ground.
If you are connecting a balanced system, pin
1 and shield should be connected at the input only (not at the output). This will prevent ground loops between the shield and
pin 1 conductor.
If you are connecting an unbalanced signal
to the 888|24 I/O inputs or outputs, connect
only pin 2 to the “+” signal, and pins 1 and
3 to ground at all inputs only.
Figure 2 illustrates a setup without a mixer,
where effects and monitoring gear are connected directly to an 882|20 I/O.
Chapter 4: Connecting Your Studio
49
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Example Studio Setup with a
Mixing Console
uter 1
Comp
uter 2
Comp
1
7
1
7
3
UT
5 OG OUTP
ANAL
4
6
3
5 OG INPUT
ANAL
4
6
1/2
UT
5/6 BU OUTP
AES/E
3/4
1/2
5/6 BU INPUT
AES/E
3/4
7/8
7/8
Mode
de
8 CH
CH Mo
2x4
S/PDIF
S/PDIF OUT
IN
Tape Returns
or Inputs
Digital Effects Device
CLOCK
SLAVE T
OU
2
8
2
Digital Inputs/Outputs
to DAT recorder
8
Analog Outputs
CLOCK
SLAVE
IN
Analog Inputs
Effects Devices
Channel
Outputs
Instruments
Connected to Console
Figure 1. Typical studio configuration using an 888|24 I/O with mixer connections
50
Getting Started with MIX
Power Amp
and Speakers
MIX.book Page 51 Friday, June 13, 2003 2:29 PM
Example Studio Setup
without a Mixing Console
Power Amp
and Speakers
Mic Preamp,
Direct Box, Synth
Analog Outputs 1–2
Digital Inputs/Outputs
to DAT recorder
Analog Inputs 1–2
PUTE
COM
IN
R
IN
OUT
ANAL
AN
1
2
3
IN
ALOG
4
1
PUTS
5
6
7
2
3
OG OU
4
TP
5
UTS
6
7
8
S/PDIF
OUT
K
SLAVE
CLOC
8
Analog
Inputs/Outputs
3–8
Effects Devices
Figure 2. Typical studio configuration using an 882|20 I/O without a mixer
Chapter 4: Connecting Your Studio
51
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Connecting Equipment with
Digital Audio Ins and Outs
Because the 888|24 I/O, 882|20 I/O, 1622 I/O,
and 24-Bit ADAT Bridge I/O feature digital inputs and outputs, Pro Tools allows you to digitally record to or from a digital device such as a
DAT recorder. The 888|24 I/O and 24-Bit ADAT
Bridge I/O provide both AES/EBU and S/PDIF
digital audio input and output. The 882|20 I/O
and 1622 I/O provide S/PDIF digital audio input
and output.
If you plan to use a DAT player, CD recorder, or
other digital input and output device with your
Pro Tools system, be sure the external device
supports either the AES/EBU or S/PDIF format.
Your interface’s AES/EBU inputs and outputs
should only be connected to another AES/EBU
device. Likewise, its S/PDIF inputs and outputs
should only be connected to another S/PDIF device.
To connect your Pro Tools system to a DAT
recorder:
1 Connect the digital output (AES/EBU or
S/PDIF) of the audio interface to the digital input (AES/EBU or S/PDIF) of the DAT deck. Audio
channels 1 and 2 will be sent out of these outputs.
2 Connect the digital output (AES/EBU or
S/PDIF) of the DAT to the digital input (AES/EBU
or S/PDIF) of the audio interface. The DAT recorder will be routed to Pro Tools inputs 1 and 2.
For information on using an ADAT with
Pro Tools, see the ADAT Bridge I/O Guide.
52
Getting Started with MIX
Connecting Effects Units
The 888|24 I/O, 882|20 I/O, 1622 I/O, and 24Bit ADAT Bridge I/O audio interfaces allow you
to connect effects units to your system by using
any analog or digital inputs and outputs as Auxiliary Inputs and Outputs for effects sends and
returns. Once an effects unit is attached this
way, you can send a variable amount of a track’s
output to the effects unit using a send fader in
Pro Tools.
Five separate send controls on each Pro Tools
track allow you to route audio to any of the
available outputs connected to your system or
through any of the 32-internal busses in the
Pro Tools TDM Mixer. Outputs can be returned
to mono or stereo Auxiliary Inputs for automated mixing or processing.
When you are using an effect in this send-type
of configuration, make sure the unit’s internal
mix or balance between direct (unprocessed)
and wet (effected) signal is set so that only the
processed signal is returned to Pro Tools. On
most effect units, a balance setting of 100%
(completely wet) is the appropriate setting.
If you’ve been using an effects unit in an instrument setup, such as a guitar effects rack, you’ll
probably find the balance to be below 50%. If
the unit has separate dry and effect level knobs,
turn dry level control off. If you don’t do this,
the dry, unprocessed signal will be present in an
effect’s output along with the desired processed
sound, and you’ll have trouble accurately controlling the effect balance in your final mix.
MIX.book Page 53 Friday, June 13, 2003 2:29 PM
Connecting Effects Units Digitally
To use your audio interface’s inputs and outputs
as effects sends & returns to a digital effects device, set your interface to Internal mode (unless
it is already synchronized to an external clock
source such as a DAT deck). You should then set
your digital effects devices to accept an external
digital clock so that they will synchronize themselves to Pro Tools. In the Pro Tools Hardware
Setup dialog, set the input of the channel pair to
which you have connected the digital effects device to Digital, and set the Sync Mode to Internal.
Connecting MIDI Devices
By adding a compatible MIDI interface to your
system, you can take advantage of all the MIDI
features of Pro Tools, including recording and
editing MIDI tracks, and synchronizing to MIDI
Time Code or MIDI beat clock.
• For Macintosh systems running Mac OS X,
see Appendix E, “Configuring AMS
(Mac OS X Only)” for information on configuring Audio MIDI Setup and your MIDI devices.
• For Macintosh systems running Mac OS 9, see
Appendix F, “Configuring OMS (Mac OS 9
Only)” for information on configuring Open
Music System and your MIDI devices.
For information on configuring a MIDI control surface for use with Pro Tools, see the
electronic PDF version of the Pro Tools
MIDI Control Surfaces Guide (included
with Pro Tools).
To connect MIDI devices to your system:
1 Connect the MIDI interface to your computer
according to the MIDI interface’s documentation.
2 Install any MIDI driver software required by
the MIDI interface. (Once you have installed
your MIDI interface hardware and software,
confirm that it is working properly using the
procedure given in the interface’s documentation.)
3 Connect the MIDI OUT of your MIDI device
or controller to the MIDI IN of your MIDI interface.
4 Connect the MIDI IN of your MIDI device or
controller to the MIDI OUT of your MIDI interface.
5 Connect the MIDI IN of your MIDI device or
controller to the MIDI OUT of your MIDI interface.
Connecting SMPTE
Synchronization Devices
If you intend to synchronize Pro Tools to external devices with SMPTE using MIDI Time Code,
your system must be connected properly. This
section provides setup suggestions for synchronizing Pro Tools to audio or video tape. For details on SMPTE and synchronization, see the
Pro Tools Reference Guide.
Pro Tools and Synchronization
Pro Tools supports a type of SMPTE synchronization known as SMPTE Trigger through the use
of SMPTE-to-MIDI Time Code converters. This
type of synchronization allows Pro Tools to
chase and start (or stop) playback and recording
while slaved to other systems. With SMPTE Trigger alone, once playback or recording starts,
there is no further synchronization, and
Pro Tools will play back at a rate determined by
the internal clock of the audio interface or selected external clock source.
Chapter 4: Connecting Your Studio
53
MIX.book Page 54 Friday, June 13, 2003 2:29 PM
For fairly short pieces of audio program material, SMPTE Trigger is acceptable, especially if
the sync master has a fairly stable transport or is
resolved to house sync or a black burst generator. In this case, the master transport and
Pro Tools will probably not drift very far apart in
such a short period of time.
Trigger Sync for Audio Post Applications
(recommended for short duration audio regions)
Video Tape Recorder
SMPTE
OR
VITC Video out
LTC and VITC to MIDI Time
Code Convertor
Composite
Video out
MIDI Time
Code out
The USD allows synchronization of Pro Tools to
Linear Time Code (LTC), VITC, and BiPhase/Tach while resolving to a video house reference or other word clock signals. It supports
all major industry-standard clocks and formats
and can also act as a standalone MIDI Time
Code (MTC) or VITC reader/generator.
In addition, the Universal Slave Driver offers extremely fast lockup, near-sample accurate synchronization, and an exceptionally low-jitter
clock. These features provide professional performance and maximum audio fidelity under a
wide range of synchronization conditions.
LTC or VITC-locked Sync for music/audio applications
with Digidesign’s Universal Slave Driver
(for resolving to LTC or VITC)
MIDI Interface
to computer
Video Tape Recorder
OR
SMPTE
IN
L
T
C
BI-PHASE / TACH / GPI
OUT
PC SERIAL
RGB Monitor
Computer
Computer
Monitor
VIDEO REF
MAC SERIAL
I
N
VIDEO
MTC OUT
Composite
Video out
VITC Video out
L
T
C
O
U
T
A
E
S
I
N
A
E
S
O
U
T
85-264VAC, 47-63HZ, 115 W
IN
IN
Digidesign Universal Slave Driver
9-PIN IN / ACC
OUT
OUT
WORD CLOCK
9-PIN OUT
SUPER CLOCK (256X)
serial output
direct to
MIX or d24 card's
DigiSerial port
Synchronization setup using SMPTE Trigger alone
On the other hand, if the audio piece is several
minutes long, or if the sync master has an unstable transport (as in the case of a low quality recording deck striped with SMPTE, for example),
SMPTE Trigger alone is probably not an acceptable solution, since the two systems may drift
apart noticeably over the duration of the source
material.
A better alternative is to use Digidesign’s
SYNC I/O or Universal Slave Driver (USD).
Digidesign Universal Slave Driver
The Universal Slave Driver (USD) is a multi-purpose synchronization peripheral that provides
virtually all of the functions and connections
needed to achieve synchronization to a variety
of devices.
54
Getting Started with MIX
RGB Monitor
Computer
Computer
Monitor
Synchronization setup using a USD
For information on using the Digidesign
Universal Slave Driver, refer to the Universal Slave Driver Guide.
Digidesign SYNC I/O
The SYNC I/O can be used with
Pro Tools|24 MIX and Pro Tools|24 systems, as
an alternative to the USD. When used with
Pro Tools|24 MIX and Pro Tools|24 systems, the
SYNC I/O emulates the USD.
For information on using the Digidesign
SYNC I/O, refer to the SYNC I/O Guide.
MIX.book Page 55 Friday, June 13, 2003 2:29 PM
chapter 5
Working with Pro Tools
This overview of Pro Tools software introduces
its main windows and features, and also includes a step-by-step overview of audio recording (see “Basic Recording” on page 67).
Starting a Session
All features described in this chapter are explained fully in the Pro Tools Reference Guide.
You can view an electronic PDF version of the
Reference Guide by choosing it from the
Pro Tools Help menu (Pro Tools 5) or the
Pro Tools Application menu (Pro Tools 6). Refer
to that guide and its index for more information
on Pro Tools features.
2 Choose File > New Session.
To create a new session:
1 Launch Pro Tools.
3 In the New Session dialog, set the sample rate,
bit depth, and other options for the new session.
Session Basics
Pro Tools projects are created and saved as sessions. Sessions store all tracks, audio, MIDI, and
other session information. Audio and fade files
are stored in folders within the session folder.
New Session dialog
4 Select where you want to save your session. If
you are using external hard drives with your
Pro Tools system, make sure you select the appropriate drive in the New Session dialog.
Session folder, containing the session file and its Audio
Files and Fade Files folders
5 Type a name for your session.
6 Choose Save. The new session opens its Mix,
Edit, and Transport windows (see Figure 3 on
page 56).
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Main Windows
The Mix, Edit, and Transport windows are the
main Pro Tools work areas. You can show any of
these windows by choosing them from the Windows menu.
Press Command+Equals (=) on Macintosh,
or Control+Equals (=) in Windows to
switch between the Edit and Mix windows.
Mix Window Displays the Pro Tools mixer, with
its familiar fader strip controls for volume, pan,
solo, mute, and signal routing.
Edit Window Displays tracks in the session along
the Timeline, for editing of audio, MIDI, and automation data.
Transport Provides standard transport controls
for Play, Stop, Rewind, Fast-Forward, Pause, and
Record. The Transport window can also show
Counter and MIDI Control displays.
Session Setup Provides status display for important Pro Tools session settings, including sample and frame rate, clock source, and file format.
Also includes the Current Time Code counter,
and controls for clock reference, positional reference, and other time code features for the
Digidesign SYNC I/O or Universal Slave Driver.
Edit window
Mix window
Rulers
Tracks
Tracks
Transport window
Figure 3. Main session windows
56
Getting Started with MIX
Session Setup window
MIX.book Page 57 Friday, June 13, 2003 2:29 PM
Rulers
Pro Tools provides several different rulers to select as the timebase for your session. Timebase
Rulers, displayed along the top of the Edit window, include Bars:Beats, Minutes:Seconds, Samples, Time Code, and Feet.Frames. The current
timebase determines the format of the Main
counter, and provides the basis for the Edit window Grid.
For post production, select either Time Code or
Feet.Frames as your session Timebase in the Rulers view.
To select a Timebase Ruler:
Click the name of the ruler at the top left side
of the Edit window (Bars:Beats, Minutes:Seconds, Samples, Time Code, or Feet.Frames).
■
Setting a Tempo
You can set the tempo for your session using
Tempo Events, or using the MIDI tempo controls in the expanded Transport window.
3 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).
4 To base the BPM value on different note value
(such as an eighth-note rather than the default
quarter-note), select a note value.
5 Click Apply to insert the new tempo event.
Using the Click
Pro Tools provides a MIDI Click option that lets
you use the Digidesign Click Plug-In (Pro Tools
6 only), or an external MIDI device to play a
click. This feature can be turned on and off in
the Transport window, and is configured from
the MIDI Click Options dialog.
If you do not intend to use the Digidesign Click
plug-in, skip to “Configuring MIDI Click Options” on page 58.
Configuring the Click Plug-In
(Pro Tools 6.x Only)
To use the Digidesign Click plug-in:
To insert a tempo event:
1 Choose Windows > Show Tempo/Meter.
1 Create a new mono Auxiliary Input track.
2 Insert the Digidesign Click plug-in on the new
2 At the top of the Tempo/Meter Change win-
Auxiliary Input track.
dow, choose Tempo Change from the pop-up
menu.
3 Configure Click parameters (see the DigiRack
Plug-Ins Guide for details).
4 Configure MIDI Click Options, and Pro Tools
metronome settings, as described below.
Tempo/Meter Change window
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Configuring MIDI Click Options
To configure and enable the Pro Tools click:
1 Choose MIDI > Click Options.
2 Configure the click parameters as needed for
your MIDI sound source. If using the Click plugin, you can leave the Output set to None. For
other devices, set the Output to the desired
MIDI sound source.
3 During recording or playback, you can turn
the Click on or off with the Metronome button
in the MIDI Controls display of the Transport
window.
Metronome
Save Session As Creates a duplicate session file
with the name you choose, and leaves the duplicate open for you to continue working. It does
not create a new Audio Files or Fade Files folder.
This can be useful if you want to experiment
with different arrangements in the session without affecting the original session.
Save Session Copy In Saves copies of the session
file and the files that you are using in the current session. This can be useful for creating a final copy of the session that does not include audio files or fades you are no longer using.
System Resources and Settings
You can change specific Pro Tools system settings in the Playback Engine dialog to optimize
system performance.
Playback Engine Dialog
Tempo Controls
Click and Tempo Controls in the Transport window
The Playback Engine dialog lets you adjust system buffer sizes and allocate CPU processing
power to Pro Tools.
Saving Sessions
As you build a session by adding tracks and
changing session controls, you will want to save
your work. Pro Tools provides three ways to save
sessions.
To save a session:
■ Choose File > Save Session, Save Session As, or
Save a Session Copy In.
Playback Engine dialog for Pro Tools MIX-series system
To configure system resources:
Save Session Saves the currently open session
file, leaving it open for you to continue working.
58
Getting Started with MIX
■ Choose Setups > Playback Engine. For more
information, see “Pro Tools System Settings” on
page 41 (Macintosh) or “Pro Tools System Settings” on page 21 (Windows).
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System Usage Window
The System Usage window displays information
on CPU load, DSP usage, and overall disk performance, allowing you to gauge your system’s
processing capacity. Monitor CPU usage if you
are using RTAS plug-ins, and DSP usage if you
are using TDM plug-ins.
To change your I/O Setup:
■ Choose Setups > I/O Setup. For more information on renaming paths and remapping
Pro Tools channels, refer to the Pro Tools Reference Guide.
Transport Controls
The Transport window provides access to all
Pro Tools transport commands. Different transport controls can be displayed or hidden in this
window.
To show the Transport window:
Meters in the System Usage window
To view system resources and usage:
■
■
Choose Window > Show Transport Window.
Return To Zero
Choose Windows > Show System Usage.
Fast Forward
Rewind
Online
Play
Stop
Go to End
Record
I/O Setup
The I/O Setup dialog lets you customize the
Pro Tools mixer to match your work style and
the needs of your projects. You can rename I/O
paths and map Pro Tools channels to hardware
inputs and outputs.
Transport window
To configure the Transport window:
■ Choose Display > Transport Window Shows
and select from the view options.
In standard view, the Transport window provides Play, Stop, and other standard transport
controls. The Expanded Transport window provides pre- and post-roll, start, end, and length
indicators for Timeline selection, as well as the
Transport Master selector.
I/O Setup dialog
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59
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The Transport window can also display the following MIDI controls: Wait for Note, Click,
Countoff, MIDI Merge, Conductor, Meter, and
Tempo.
Click
Wait for Note
Countoff
MIDI Merge
Navigating a Session
Pro Tools provides many ways to navigate in a
session, including using the mouse or entering a
location into one of the counters.
To navigate to a location in the Edit window:
1 Select Operations > Link Edit and Timeline Se-
lection.
Tempo Controls
2 Enable the Selector tool at the top of the Edit
window by clicking it.
Selector tool
Conductor
Meter
Transport window MIDI Controls
To start and stop playback:
1 Click Play in the Transport window to begin
playback.
Edit tools in Edit window
2 Click Stop in the Transport window to stop
appears at the selected location and the
counters display the current time location.
playback.
Press the Spacebar on your computer keyboard to start and stop playback.
Pro Tools starts playing from the location of
the cursor, or from the beginning of the current selection. The current setting of the
Link Edit/Timeline command in the Operations menu also affects playback. See the
Pro Tools Reference Guide for more information.
60
Getting Started with MIX
3 Click in a track or Timebase Ruler. The cursor
Click in a track or on a Timebase Ruler
Clicking with the Selector in the Edit window
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To navigate using the counters:
To go to a stored Memory Location:
1 Click in the Main counter and enter a location
1 Choose Windows > Show Memory Locations.
using your computer keyboard.
2 Press Return (Macintosh) or Enter (Windows).
2 In the Memory Locations window, click the
name of the memory location.
Viewing and Zooming
Navigating with the Counter
Press the * key on the numeric keypad as an
alternative to clicking in the counter.
When viewing tracks in the Edit window, you
can adjust the height of tracks as well as zoom in
vertically and horizontally using the Track
Height selector and Zoom tools.
Zoom buttons
Memory Locations
Zoom presets
Track Height Selector
Zoomer
Memory Locations provide another way to navigate within sessions. Memory Locations appear
as markers under the Timebase Rulers.
To define a memory location:
1 Press Enter on the numeric keypad while
stopped or during playback.
In the New Memory Location window, you can
define a marker, store a selection, or store any
combination of the other available settings.
These settings include track height, group enables, pre- and post-roll values, and track
Show/Hide status.
2 Choose settings for the memory location and
click OK.
Zoom and Track Height tools in the Edit window
To change track height:
■ Click the Track Height Selector, and select a
track height from the pop-up menu.
You can apply many commands, including
track height selection, to more than just a
single track. Hold down the Option key
(Macintosh) or Alt key (Windows) while
performing an operation to apply it to all
tracks. Hold down both the Shift and Option keys (Macintosh) or Shift and Alt keys
(Windows) while performing an operation
to apply it to all selected tracks.
New Memory Location window
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To Zoom in on any area of a track in the Edit
window:
1 Click to select the Zoomer.
2 Click or drag with the Zoomer to zoom in horizontally for a track or Ruler.
To zoom in or out incrementally:
■
Click the appropriate Zoom button:
• Left Arrow (Horizontal Zoom Out)
• Right Arrow (Horizontal Zoom In)
• Waveform and MIDI buttons, to increase or
decrease vertical zoom of the appropriate
track type (audio or MIDI)
Pro Tools also provides five Zoom preset buttons. You can use these to immediately return to
established zoom levels (you can define the
magnification level for each preset, on a sessionby-session basis).
To use a stored Zoom preset:
■
Click the appropriate Zoom preset 1–5.
Tracks
Pro Tools lets you create audio and MIDI tracks
for audio and MIDI recording, submixing, routing, automating, and editing.
Pro Tools provides four types of tracks: audio
tracks, Auxiliary Inputs, Master Faders, and
MIDI Tracks. Audio tracks, Auxiliary Inputs, and
Master Faders can be mono, stereo, or any of the
supported multichannel formats for surround
mixing.
Audio Tracks Record and play back audio to and
from hard disk, monitor audio input when
record-enabled, and edit audio regions
Auxiliary Inputs Audio mixer channels used for
input, routing, and submixing
Master Faders Provide master channel controls
and options for any Output or Bus path
MIDI Tracks Record, play back, and edit MIDI
data
To store a new Zoom preset definition:
To create a new track:
■ Command-click (Macintosh) or Control-click
(Windows) a Zoom preset number to store the
current horizontal and vertical Zoom to that
preset.
1 Choose File > New Track.
Using Memory Locations for Zoom Control
Pro Tools Memory Locations let you store many
attributes with each marker or memory location, including Track Height and Zoom Settings.
By creating Memory Locations that are neither
Markers nor Selections, but have Track Height,
Zoom Settings, or other options enabled, you
can use Memory Locations to zoom in and out
using just the numeric keypad.
62
Getting Started with MIX
New Track dialog
2 Specify the number of tracks, track type, and
mono or stereo (for all types except MIDI).
3 Click Create.
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In the Mix window, audio tracks, Auxiliary Inputs, Master Faders, and MIDI tracks appear as
vertical channel strips. Track type is indicated
by the Track Type icons just below the faders,
and by the color of the track names.
In the Edit window, tracks are displayed horizontally along the Timeline. The area in which
audio appears for each track is the Playlist.
Timeline
Rulers View
Audio Track
Timeline Rulers and a stereo audio track in the Edit
window
Audio tracks, Auxiliary Inputs, Master Faders,
and MIDI tracks can be automated. (See “Mix
Automation” on page 77 for more information.)
Audio
track
Aux
Input
MIDI Master
track Fader
Tracks in the Mix window
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63
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Inserts
Sends
Input
Output
Automation mode
Pan sliders
Solo
Record Enable
Mute button
Voice Selector
Open Output window
Volume fader
Clipping indicator
(lights red)
Level meter
Group enable
Volume
Track name
Track comment area
Figure 4. Stereo audio track in the Mix window
Audio Tracks
Audio tracks, Auxiliary Inputs, and Master Faders share many identical controls. Figure 4
shows the controls found in an audio or Auxiliary Input track.
Master Faders provide all the same features as
audio tracks and Auxiliary Inputs, with the following exceptions:
Input Selector A Master Fader’s output assignment determines its input, or source.
64
Getting Started with MIX
Sends Master Faders do not provide sends. To
send an output to another destination, use an
Auxiliary Input.
MIDI Tracks
MIDI tracks provide volume, solo, and mute, in
addition to MIDI input, output, channel, and
program (patch) controls. MIDI volume, mute,
and pan can also be automated using Pro Tools
automation features (see “Mix Automation” on
page 77 for more information).
MIX.book Page 65 Friday, June 13, 2003 2:29 PM
Regions Lists
Importing Audio
All regions that are recorded, imported, or created by editing appear in the Audio and MIDI
Regions Lists. Regions can be dragged from either list to tracks and arranged in any order. Audio regions can also be auditioned from the Regions Lists by Option-clicking (Macintosh) or
Alt-clicking (Windows) the audio region name.
The Regions List pop-up menus provide many
useful features for managing regions and files
(such as sorting, selecting, importing, or exporting files).
Pro Tools lets you import existing audio files
from disk, as well as import tracks from an audio
CD (Macintosh only). This is very useful if you
have audio files already recorded to disk or if
you are working with CD-based sample libraries
that you want to use in a new session.
Pro Tools 6 provides DigiBase and DigiBase Pro,
which provide drag and drop support for importing audio, tracks, and sessions, as well as importing from audio CD.
Importing Audio Files, AAF/OMF files,
and Sessions using DigiBase
Drag border to resize
width of Regions Lists
Click list names
for pop-up menus
(Pro Tools 6.x Only)
To import audio files into the current session:
1 Make sure the drive (volume) containing the
desired files is mounted and available. If importing from an audio CD, insert the disc into your
CD-ROM drive.
2 Navigate to the desired files to display them in
an available DigiBase browser.
Drag border to
resize height of
Regions Lists
Click to hide Regions Lists
Audio and MIDI Regions Lists
For more information on Regions Lists, refer
to the Pro Tools Reference Guide.
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65
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3 Drag and drop items from the DigiBase
browser to a track, to the timeline, or to the Audio Regions List.
• Drop audio files or session files into existing tracks to spot (place) the files where
you drop them. Dropping session files will
display the Import Session Data dialog
where you can specify session attributes to
import.
• Drop audio files or session files to a blank
(non-track) area of the Edit window to add
the audio as a new tracks.
– or –
• To import directly into the session’s Audio
Regions List (without spotting audio, importing tracks, or creating new tracks) drop
items into the Audio Regions List. (You
cannot drag and drop video or MIDI files.)
To import a CD audio track (Pro Tools 6.0):
1 Insert an audio CD into your CD-ROM drive.
2 Do any of the following:
• Choose File > Import Audio to Track to import files and regions to new audio tracks
(they will also appear as regions in the Audio Regions List).
• Choose Import Audio from the Audio Regions List pop-up menu to import files and
regions to the Audio Regions List only.
• Choose Movie > Import Audio From Other
Movie.
3 Locate and select the audio track to be im-
ported, then click Open.
4 In the Track Import Window, click OK.
5 Navigate to a destination for the imported au-
dio, and click Choose.
For more information, see the DigiBase and
DigiBase Pro Guide.
Importing Audio Files or Regions
To import audio files or regions from disk:
■ Choose File > Import Audio to Track to import
files and regions to new audio tracks (they will
also appear as regions in the Audio Regions List).
– or –
Choose Import Audio from the Audio Regions
List pop-up menu to import files and regions to
the Audio Regions List only.
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 Audio Regions List. From there you can drag the region to
a track in your session.
To import a CD audio track (Pro Tools 5.1.3):
1 Insert an audio CD into your CD-ROM drive.
2 Choose Movie > Import Audio From Other
Movie.
3 On the audio CD, locate and select the audio
For more information on importing audio
into sessions, refer to the Pro Tools Reference Guide.
66
Getting Started with MIX
track to be imported, then click Convert.
4 In the Save dialog, click Options.
MIX.book Page 67 Friday, June 13, 2003 2:29 PM
5 In the Options dialog, select the sample rate,
bit resolution, and channel format (mono or
stereo) for the imported audio.
Basic Recording
This section describes how to record audio and
MIDI into Pro Tools.
Routing Audio to a Track
To route audio to a track:
1 Verify the connections to your instruments.
Refer to the guide for your audio interface for
more information about setting up your studio.
2 Create a new track to record on by choosing
File > New Track. Select 1 Mono Audio Track and
click Create.
3 In the Mix window, click the Input Selector on
Audio CD Import Options dialog
the new track.
6 At the bottom of the Options dialog, set the
range of the CD track to be imported by adjusting the Start and End times, then click OK.
To audition a track before you import it, use the
Play and Stop buttons. Adjust playback volume
with the vertical slider. To navigate to a particular location in the track, drag the horizontal
slider.
7 When you are ready to import the audio, click
OK.
8 Specify a destination on an audio drive for the
imported audio track and click Save. Pro Tools
imports the CD audio track as a QuickTime
movie and writes it to your audio drive.
9 When the Track Import window appears, click
OK.
Analog inputs
Routing an input to a mono track
From the pop-up menu, select the input you
want to record. For example, select A 1 if your
audio source is plugged into the first analog input on your audio interface. The menu displays
the names of the inputs as defined in the I/O
Setup dialog.
Pro Tools converts the audio track to your session’s sample rate and bit resolution and imports the selected audio tracks into the Audio
Regions List. From there you can drag the regions to existing tracks.
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Setting Levels
Adjust the level of the input at the source (instrument, mic pre-amp, or mixer) to set
Pro Tools recording levels. The key to setting
proper input levels is to get a signal as loud as
possible without creating digital clipping. Signals that get close to the top of the meter in
Pro Tools use more of the full bit range (the 16
or 24 bits that make up each audio sample). The
more you are able to maximize use of this bit
range without clipping, the better your sound
quality.
Digital clipping occurs when you feed a signal to an audio device that is louder than
the circuitry can accept. Watch the meters
in Pro Tools while adjusting input levels to
prevent clipping.
To play back a recorded track:
1 Click the track’s Record Enable button a sec-
ond time to take it out of record mode.
2 Click Play in the Transport window or press
the Spacebar to start playback.
3 Click Stop in the Transport window or press
the Spacebar to stop playback.
Recording To and From Digital
Devices
The 888|24 I/O, the 882|20 I/O and the
1622 I/O each provide S/PDIF (RCA) connectors
for digital input and output. The 888|24 I/O also
provides AES/EBU (XLR) connectors. The ADAT
Bridge I/O adds optical input and output so that
you can digitally transfer as many as sixteen
tracks at a time to or from ADAT decks.
Recording an Audio Track
To record an audio track:
1 Click the Record Enable button on a track, assign its input, and set the input levels appropriately.
2 Choose Windows > Show Transport to display
the Transport window. Click Return To Zero to
start recording from the beginning of the session. You can also record according to a selection or from the cursor location in the Edit
window.
3 Click Record in the Transport window to enable recording.
4 Click Play or press the Spacebar to record on
all record-enabled tracks.
5 Record your performance.
6 Click Stop in the Transport window or press
the Spacebar when you are done recording.
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Getting Started with MIX
Setting Digital Format and Clock
Source
Before recording from a digital source, make
sure you have enabled the appropriate Clock
Source and Digital Format in the Hardware
Setup dialog. For example, if you want to record
from a DAT machine connected to your S/PDIF
RCA inputs on an 888|24 I/O, select S/PDIF from
the Clock Source options. If using multiple audio interfaces, be sure to configure the appropriate interface in the Hardware Setup dialog.
Using Output Pairs
Because of the way that outputs function in
Pro Tools, each track looks for a stereo output
pair. In order to record to eight ADAT tracks, you
have to send four pairs of Pro Tools tracks (each
pair panned hard left and right) to four pairs of
ADAT Optical Digital outputs.
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Recording MIDI
To configure a MIDI track for recording:
1 (Macintosh Only) Choose MIDI > Input De-
vices and make sure your input device is selected
in the MIDI Input Enable window.
2 Choose File > New Track and specify 1 MIDI
Track, then click Create.
3 In the Mix window, click the track’s MIDI De-
vice/Channel Selector and assign a device and
channel from the pop-up menu.
4 You can assign a default program change to
the track by clicking the Program button in the
Mix window and making the necessary selections for program and bank select, and then
clicking Done. Default program changes are
sent when playing a track.
If using Wait for Note, the Play, Record, and
Wait for Note buttons flash. Recording begins
when the first MIDI event is received.
– or –
If using Countoff, click Play. The Record and
Play buttons flash during the Countoff, then recording begins.
5 Play your MIDI instrument.
6 When you have finished recording, click Stop
in the Transport window, or press the Spacebar.
The newly recorded MIDI data appears as a MIDI
region on the track in the Edit window, as well
as in the MIDI Regions List.
5 In the Mix Window, record-enable the MIDI
track.
6 Make sure MIDI > 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.
To record onto a MIDI track:
1 Verify that the MIDI track you want to record
to is record-enabled and receiving MIDI.
2 In the Transport window, click Return To Zero
to start recording from the beginning of the session. You can also record according to a selection or from the cursor location in the Edit
window.
3 Click Record in the Transport window.
4 Click Play in the Transport window or press
the Spacebar to begin recording.
– or –
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To play back a recorded MIDI track:
1 Click the Record Enable button to take the
MIDI track out of Record mode.
2 In the Transport window, click Return To Zero
to play back from the beginning of the track.
You can also play back according to a selection
or from the cursor location in the Edit window.
3 Click Play in the Transport window to begin
playback. The recorded MIDI data plays back
through the track’s assigned instrument and
channel.
Editing
Pro Tools provides several tools for editing audio
and MIDI. In the Edit window, audio and MIDI
tracks 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.
Edit Modes
Edit Tools
Monitoring MIDI Instruments Without a Mixer
Edit modes and tools (Slip mode, Smart Tool enabled)
To monitor your MIDI instrument’s analog output, you can use an Auxiliary Input. Auxiliary
Inputs function as inputs for both internally
bussed signals and external audio sources.
Audio and MIDI editing are typically used to:
To configure an Auxiliary Input for MIDI
monitoring:
1 Connect the MIDI instrument’s audio output
to the appropriate inputs on your audio interface.
2 Choose File > New Track and specify 1 mono
or stereo Auxiliary Input, then click Create.
3 Click the Input selector of the Auxiliary Input
channel and choose the input to which your
MIDI instrument is connected.
• Fix or replace mistakes.
• Re-arrange songs and projects.
• Clean up track timing and rhythm by aligning
hits to Grid values like bars and beats, time
code, or other timebases.
• Create final tracks using selections from multiple takes (also known as comp tracks).
Edit Modes
Pro Tools has four Edit modes: Shuffle, Spot,
Slip, and Grid. The Edit mode is selected by
clicking the corresponding button in the upper
left of the Edit window.
4 Click the Output selector of the Auxiliary Input channel and choose an output.
5 Adjust the level of the Auxiliary Input with its
volume fader.
Edit mode buttons
You can also press F1 (Shuffle), F2 (Slip),
F3 (Spot), and F4 (Grid) to set the Edit
mode.
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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 (Trimmer, Selector, Grabber, and Pencil)
work.
For detailed descriptions of Edit modes, refer to the Pro Tools Reference Guide.
Edit Tools
Pro Tools has seven Edit tools: Zoomer, Trimmer, Selector, Grabber, Scrubber, Pencil, and
Smart Tool. Select an Edit tool by clicking it in
the Edit window. The Zoomer, Trimmer, Grabber, and Pencil tools have multiple modes,
which you can select from a pop-up menu when
you click the tool.
Trimmer
Zoomer
Smart Tool
The Edit tools in Pro Tools are used to edit regions in the Edit window. A region is a piece of
audio or MIDI data that can also have associated
automation data. For example, a region could be
a loop, a guitar riff, a verse of a song, a sound effect, a piece of dialog, or an entire sound file. In
Pro Tools, regions are created from audio or
MIDI files, and can be arranged in audio and
MIDI track playlists.
Audio region
Trimming Regions
After recording an audio track, you will have an
audio region on that track. If there is some silence at the beginning of the region, or there is
some extra audio at the end of the region, you
can use the Trimmer tool in Slip mode to
shorten the beginning or end of the region.
Grabber
Selector
Editing Regions
Scrubber
Pencil
Edit tools in Edit window
Press the Escape key to toggle through the
Edit tools.
Audio region on a track
To trim an audio region:
For detailed descriptions of the Edit Tools,
refer to the Pro Tools Reference Guide.
1 Select Slip mode.
2 Select the Trimmer tool.
3 Move the cursor near the beginning of the audio region (notice the cursor changes to a “[”).
Trimming the beginning of a region
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4 Click at the beginning of the region and drag
5 Record a drum track (see “Recording an Audio
right to shorten the region.
Track” on page 68) keeping in mind that you
want to use only the best bar (measure). Your recording should fit the grid at the specified
tempo and meter.
5 Move the cursor near the end of the audio region (notice the cursor changes to a “]”).
– or –
Trimming the end of a region
Import an existing audio file, such as a drum
loop from a sample library, and place it on an
audio track (see “Importing Audio” on page 65)
6 Click at the end of the region and drag left to
6 Drag on the waveform with the Selector to
shorten the region.
make a one-bar selection. Note that the selection snaps to the specified grid.
The trimmed region
Making a selection in Grid mode
You can also extend a region using the Trimmer
tool if there is audio data beyond the current
boundaries of the region. If extending the region’s beginning, drag to the left; if extending
the region’s end, drag to the right.
Arranging Regions
There are many ways to edit and arrange regions; the following example demonstrates how
you might create and arrange a drum loop to
compose a rhythm track.
7 Create a new audio track (File > New Track).
8 From the Grabber pop-up menu, select the
Separation Grabber tool.
9 With the Separation Grabber tool, click and
drag the selection to the beginning of the new
audio track. A new region will be created and appear at the beginning of the new track.
To create and arrange a rhythm sequence:
1 Open or create a session in Pro Tools.
2 Specify the session meter (MIDI > Change
Meter) and tempo (MIDI > Change Tempo).
72
Dragging a selection with the Separation Grabber tool
3 Select Grid mode.
10 With the new region still selected, choose
Edit > Repeat.
4 Prepare to record using a MIDI click (see “Using the Click” on page 57).
11 In the Repeat dialog, enter a number of repeats, and click OK.
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You now have a new rhythm track with a
“looped” (repeated) phrase. You can use these
editing tools to do much more advanced and involved editing of regions. For example, you
could separate beats or “hits” into individual regions and rearrange them in Grid mode as a way
of coming up with new and interesting
rhythms.
Playlists and Non-Destructive Editing
Playlists let you create and retrieve multiple versions of track edits. A playlist can be a complete
take, an overdub, or an arrangement of selections from multiple takes. You can duplicate
playlists to save edits in their current state, then
continue making additional edits to the new
playlist knowing you can always go back to the
previous version.
To create multiple playlists for editing:
1 Start with a track on which you want to try
different edits.
2 From the Playlist Selector pop-up menu,
choose Duplicate.
In this way, you can try out different edits of a
track, and switch back and forth between playlists for comparison.
Mixing
The Pro Tools mix environment provides many
familiar channel strip controls for setting volume, pan, solo, and mute. Mixer and I/O controls can be shown in both the Mix and Edit
windows.
To view the Mix window:
■
Select Windows > Show Mix.
Press Command+Equals (=) on Macintosh,
or Control+Equals (=) in Windows to
switch between the Edit and Mix windows.
Using Channel Strip Controls
Volume Increase or decrease the track level by
dragging its Volume fader up or down.
Pan Pan a track left or right in the mix by dragging its Pan slider left or right.
3 Name the duplicated playlist and click OK.
Solo Solo a track (muting all other tracks) by
clicking its Solo button.
Mute Mute a track by clicking its Mute button.
Duplicating a playlist
4 Make your first series of edits.
5 Return to the original playlist by selecting it
from the Playlist Selector pop-up menu.
6 Repeat steps 2–5 for any further edits.
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Basic Signal Routing
Creating a Send
Signal routing is accomplished by assigning
track inputs and outputs. Audio track inputs can
be from any hardware input or bus path. Once
recorded, an audio track’s input is its audio file
on disk. Auxiliary Inputs can be any hardware
input or internal bus path. For all types of audio
tracks, outputs can be routed to any hardware
output or internal bus path.
Pro Tools provides up to five sends per audio
track. A send can be mono or stereo, routing to
an output or one of 64 internal bus paths.
Together, these signal routing features let you
set up virtually any mixer architecture for your
projects, including submixing, sends and returns for effects processing, and multichannel
mixing for surround.
2 Click the Sends button on an audio track and
choose a path from the pop-up menu.
To assign a send on a track:
1 Make sure Sends View is enabled in the Mix
window (Display > Mix Window Shows > Sends
View).
Send and Return Submixing for Effects
Processing
When you are submixing for reverb, delay, and
similar effects processing, you can use sends and
Auxiliary Inputs to achieve traditional send/return bussing. You can use a real-time plug-in
(see “Plug-Ins” on page 76) or a hardware I/O insert (see “Connecting Effects Units” on page 52)
as a shared resource for all tracks included in a
submix. The wet/dry balance in the mix can be
controlled using the track faders (dry level) and
Auxiliary Input fader (wet, or effect return
level).
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Getting Started with MIX
Assigning a send to a stereo bus path
3 Set the output level of the send. You can set
the send level to zero by Option-clicking (Macintosh) or Alt-clicking (Windows) the send
fader.
You can configure the default level for new
sends to be –∞ or at unity gain (0 dB) by enabling or disabling the Sends Default To
“–INF” option under the Operation Preferences.
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Creating a Return
Master Faders
Auxiliary Inputs can be created to act as return
channels for busses, as well as for inputs from
hardware sources.
Master Faders are used as output and bus masters, and can control any mono, stereo or multichannel output or bus path in a session. You can
then use the controls on the Master Fader to
control the volume, solo and mute, or apply inserts to those paths.
Send window
Send
to bus 9–10
Real-time plug-in
When you are mastering your final mix, it is recommended that you use a Dither plug-in on the
Master Fader controlling your main outputs (see
“Using Dither on Mixdown” on page 78).
Dither plug-in applied to final mix
Output assigned to control
main mix
Aux Input
input from bus 9–10
Audio and Auxiliary Input tracks configured for a send
and return
To create a return:
Master Fader controlling main outputs
1 Choose File > New Track and specify 1 mono
or stereo Auxiliary Input, then click Create.
2 Click the Input Selector of the Auxiliary Input
and set it to the bus path you assigned to the
sends on the source tracks.
3 Click the Output Selector of the Auxiliary In-
put and choose an output path.
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To create a Master Fader:
1 Choose File > New Track and specify 1 mono
or stereo Master Fader track, then click Create.
2 In the Mix window, click the Master Fader’s
Output Selector and choose the output path
that you want to control. You can choose either
outputs or internal busses.
To use a Master Fader as a master stereo volume
control for all tracks in a session:
1 Choose File > New Track and specify 1 stereo
Master Fader track, then click Create.
2 Set the outputs of all audio tracks in the session to outputs 1–2 and set the panning of each
track.
3 Set the output of the Master Fader to your
main output path (outputs 1–2).
Plug-Ins
Plug-ins provide EQ, dynamics, delays and
many other types of effects processing.
Plug-ins function either in real-time or in nonreal time. TDM and RTAS plug-ins are non-destructive effects, which are inserted on tracks to
process audio in real time—just like an external
hardware processor (during playback). AudioSuite plug-ins, on the other hand, are destructive effects that process audio files on disk in
non-real time.
Real-time plug-ins are assigned to tracks from
the Inserts view in the Mix or Edit windows.
Once assigned to a track, plug-ins appear in the
track’s Inserts view, and can be opened by clicking on the Insert button.
Insert button
Plug-In
Compressor plug-in
To insert a real-time plug-in on a track:
1 Make sure the Inserts View is shown in the
Mix or Edit window.
2 Click the Insert Selector on the track and se-
lect the plug-in that you want to use.
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Pro Tools comes with a complete set of DigiRack
plug-ins, and many more are available from
Digidesign and our Development Partners.
For more information about plug-ins, see
the DigiRack Plug-Ins Guide, the Digidesign Plug-Ins Guide, and the Plug-Ins chapter of the Pro Tools Reference Guide.
Once written, automation can be re-written or
displayed and edited graphically in the Edit window.
Track view set to Volume
Volume breakpoint automation
Mix Automation
Mix automation lets you record, or automate,
changes to track and send levels, mutes, pan,
and plug-in parameters. MIDI tracks provide
volume, pan, and mute automation only.
To write automation:
1 In the Automation Enable window
(Windows > Show Automation Enable), enable
an automation type (volume, pan, mute, send
level, send pan, send mute, or any plug-in automation).
2 Select an automation mode for the tracks to be
automated (Write, Touch, Latch, or Trim mode).
3 Start playback and begin writing automation
Volume automation in a track in the Edit window
For more information on using automation,
see the Pro Tools Reference Guide.
Mixing with a Control Surface
Rather than mixing with a mouse—adjusting
one fader at a time—you might find using a
MIDI control surface (such as Motor Mix from
CM Labs) or an Ethernet control surface (such as
ProControl or Control|24) for mixing to be
much more effective.
For more information on using a MIDI Control Surface, see the MIDI Control Surfaces
Guide. For more information on using ProControl or Control|24, see their user guides.
by adjusting faders and other controls during
playback. Pro Tools remembers all moves performed on enabled parameters.
Enabling automation (left) and choosing a track
Automation mode (right)
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Final Mixdown
The Bounce to Disk command lets you write a final mix to disk, create a new loop, print effects,
or bounce any submix. Once you have bounced
your final mix to disk, you can use another program to burn the resulting file to Compact Disc.
When you bounce a track to disk, the bounced
mix includes the following:
Audible Tracks All audible tracks are included in
the bounce. Any muted tracks do not appear in
the bounce. If you solo a track or region, only
the soloed elements appear in the bounced mix.
Automation All read-enabled automation is
played back and incorporated in the bounced
mix.
Inserts and Sends All active inserts, including
real-time plug-ins and hardware inserts, are applied to the bounced mix.
Selection or Track Length If you make a selection in a track, the bounced mix will be the
length of the selection. If there is no selection in
any track, the bounce will be the length of the
longest audible track in the session.
To Bounce to Disk:
1 Choose File > Bounce to Disk.
2 Select any mono, stereo, or multichannel output or bus path as the source for the bounce.
3 Select the File Type (such as WAV), Format
(such as mono or stereo), Resolution (such as 16bit), and Sample Rate (such as 44.1 kHz).
4 Click Bounce.
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Getting Started with MIX
Using Dither on Mixdown
You should use a dither plug-in when using the
Bounce To Disk command, or when mastering
to an external device. Bounce to Disk does not
automatically apply dither. To dither a bounce
file, insert an included Digidesign Dither plugin, or another dither plug-in, on a Master Fader
assigned to the bounce source path. Master Faders are often preferable to Auxiliary Inputs because Master Fader inserts are post-fader (which
is better for dither applications).
For more information on using dither, refer
to the Pro Tools Reference Guide.
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appendix a
Connecting SCSI Drives
SCSI hard drives are the recommended recording media for Pro Tools TDM systems.
SCSI Requirements
Although Pro Tools will let you record to your
system drive, this is generally not recommended. Performance for recording and playback on system drives is worse than on non-system drives, resulting in lower track counts and
fewer plug-ins.
For maximum recording and playback performance, Digidesign recommends qualified SCSI
hard drives and a qualified SCSI host bus
adapter (HBA) card or (on Windows systems) a
qualified built-in SCSI HBA connector on the
motherboard.
SCSI hard drives offer several advantages over
dedicated ATA/IDE or FireWire drives. First, SCSI
drives can be external and therefore provide
portable audio storage that is easily moved between systems. Second, SCSI drives offer better
performance when recording to large numbers
of tracks; recording a large number of audio
tracks with an ATA/IDE drive results in a short
delay before recording begins.
Qualified SCSI drives yield up to 32 tracks per
drive with 24-bit audio, up to the maximum
number of tracks for your system configuration.
SCSI drives must provide a data transfer rate of
at least 9 MB per second of sustained throughput.
Visit the Digidesign Web site (www.digidesign.com) for a list of qualified SCSI hard drives
and SCSI HBA cards:
Software RAID is not supported for audio
drives.
Appendix A: Connecting SCSI Drives
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SCSI Cables
Disk Space for Audio Tracks
Use shorter SCSI cables to improve reliability.
Table 1 provides guidelines for maximum cable
lengths according to SCSI type.
In the following table, the maximum cable
length includes all cables used in the chain, not
just point-to-point connections.
A single mono audio track recorded at 24-bit resolution at a CD-fidelity sampling rate of
44.1 kHz requires about 7.5 MB of hard drive
space per minute. The same track recorded at
16-bit resolution requires about 5 MB per
minute. Stereo tracks require about twice as
much hard drive space.
Table 1: Maximum cable length and number of drives
supported according to SCSI type
Using these guidelines:
SCSI type and
transfer rate
maximum
cable length
maximum #
of drives
Fast SCSI
10 MB/sec
3 meters
8
Wide SCSI
20 MB/sec
3 meters
16
Ultra SCSI
20 MB/sec
(8-bit narrow)
3 meters
5
Ultra SCSI
40 MB/sec
(16-bit wide)
3 meters
5
Ultra SCSI
20 MB/sec
(8-bit narrow)
1.5 meters
6–8
Ultra SCSI
40 MB/sec
(16-bit wide)
1.5 meters
6–8
Ultra2 SCSI
Low Voltage Differential (LVD)
80 MB/sec
1.2 meters
16
• 64 mono tracks of 44.1/48 kHz, 24-bit audio
takes up about 500 MB of hard drive space per
minute.
• 64 mono tracks of 44.1/48 kHz, 16-bit audio
takes up about 350 MB of hard drive space per
minute.
Distribute Audio Across Multiple Drives
For best recording and playback performance,
don’t record and play back all audio files in a
session from the same drive. Instead, use
Pro Tools Disk Allocation features to distribute
audio files between multiple drives. See the
Pro Tools Reference Guide for details.
Separate Video and Audio Files
If you are working with QuickTime, movie files
must reside on a different SCSI bus than audio
files. If audio files reside on disks connected to a
SCSI HBA card, video data should reside on
drives connected to a different SCSI bus.
Dual-Channel SCSI HBA Cards
If you use a dual-channel SCSI HBA card, equally
allocate audio files to drives connected to each
of the two busses on the card for optimal performance.
If using video files, make sure to put your video
files on one bus and audio files on the other bus.
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Connecting SCSI Drives
To connect an external SCSI drive:
1 Turn off power to both the computer and the
hard drive.
to SCSI accelerator card
2 Attach a SCSI cable from the SCSI port of the
hard drive to the SCSI port of the SCSI HBA card
or computer.
Connecting an external SCSI hard drive
3 Secure the cable’s connectors to the hard drive
SCSI Termination
and computer. Loose cables can cause data loss.
4 Connect additional drives by daisy-chaining
from one drive to another. Keep cable lengths to
a minimum (see Table 1).
5 Verify that the last SCSI device connected is
properly terminated. (See “SCSI Termination”
on page 81.)
6 Attach power cables to the hard drives.
Your computer’s SCSI chain must be properly
terminated or your system will not function correctly. Only the last device on the chain should
be terminated using the termination type recommended by the hard drive manufacturer.
The drive should use either an external terminator plug or have its internal terminators enabled. If you are using a terminator plug, Digidesign recommends that you purchase and use an
active terminator.
Do not enable internal termination and install an external terminator plug on the
same drive. This will cause SCSI errors. See
your hard drive’s documentation for information regarding which type of termination
it uses.
SCSI accelerator card
to SCSI hard drive
Connecting a SCSI cable to a SCSI HBA card
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Quick Formatting SCSI Drives
Macintosh Requirements
Initializing a Macintosh Drive
To initialize a new Macintosh drive:
1 Turn on your hard drives, computer, and any
On Macintosh systems, SCSI hard drives used
for audio recording on TDM systems must be
formatted (or initialized) for either the HFS+ or
HFS file system (HFS+ is recommended). Drive
partitions of up to 2 terabytes (2000 gigabytes)
can be used.
TDM systems require that you use the Apple
Disk Utility (Mac OS X) or ExpressPro-Tools
(Mac OS 9) for all drive formatting and partitioning. Only one disk utility should be used for
all drives in a system.
Windows Requirements
SCSI hard drives used for audio recording on
TDM systems must be formatted for the FAT32
or NTFS file system. Under Windows 2000 and
Windows XP, NTFS drive partition sizes are only
bound by the physical size of the drive, whereas
FAT32 drive partitions have a limit of 32 GB.
TDM Windows systems require that you use Microsoft Windows Disk Administration software
for drive formatting and partitioning. Use only
one disk utility for all drives in a system.
other peripherals.
2 Do one of the following:
• With Mac OS 9, use the ExpressPro-Tools
software utility included on your Pro Tools
Installer CD-ROM to initialize and partition any new hard drives.
– or –
• With Mac OS X, use Apple OS X Disk Utility to initialize and partition any new hard
drives.
For details on using disk formatting utilities, refer to their online documentation.
Initializing a Windows Drive
To format a new Windows drive:
1 Turn on your hard drives, computer, and any
other peripherals.
2 Use Microsoft’s Disk Management software,
located in the Administrative Tools control
panel under Computer Management > Storage.
Refer to your Windows manual or Windows
help for information on how to use the Disk
Management software.
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General Hard Drive
Maintenance
If using Macintosh drives on Windows systems, refer to“Using Macintosh Drives on
Windows Systems” on page 85.
Formatting Drives
There are two different types of formatting:
high-level formatting and low-level formatting.
Digidesign does not recommend low-level
formatting.
High-Level Formatting (Initialization)
High-level formatting, or initializing a drive replaces the drive’s directory, volume partition
map and drivers. Information about the drive is
created and drivers that communicate this information to the host CPU are installed. The
drive itself is not erased, nor is verification performed.
When is High-Level Formatting Necessary?
It is generally necessary to high-level format a
hard drive in one of the following cases:
If a new drive is being prepared for use on a
computer for the first time and the drive is not
already high-level formatted.
◆
If you suspect that the directories containing
the drive’s information have become corrupted.
◆
If a drive is being changed from one platform
to another. For example if you are switching
from a Macintosh to a Windows-based system,
or from a Windows to a Macintosh-based system, the drive must be high-level re-formatted
for the new operating system.
◆
Low-Level (Physical) Formatting
Low-level formatting means completely erasing
the hard drive and rewriting each sector address
on the drive. In low-level formatting, the sector
and track addresses, error-correction codes, and
other details are written on the platters of the
hard drive in the form of a magnetic pattern. A
low-level format permanently erases all data on
the drive.
When is Low-Level Formatting Necessary?
Virtually all hard drives come pre-formatted
from the manufacturer. Low-level formatting is
generally unnecessary except in rare circumstances. They are:
◆ If you want to change the Block Size of the
drive. This is not recommended by Digidesign.
Digidesign systems only recognize 512-byte
blocks.
◆ If you want to perform permanent deletion of
data.
◆ If you want to clean a drive that is being migrated from one operating system to another
(for instance, from UNIX to Macintosh).
Should you decide low-level formatting is necessary, keep in mind that it can take up to three
hours or more (depending on the size of the
drive). Avoid power interruptions and computer
bus resets during the format operation or permanent damage to the drive could occur. In addition, leave the drive powered on for at least 30
minutes prior to formatting so that the drive has
time to make any necessary thermal adjustments or recalibrations.
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Partitioning Drives
Avoiding File Fragmentation
Partitioning divides a physical drive into multiple, unique volumes, almost as if you were creating virtual hard drives. Partitioning is usually
performed when the drive is high-level formatted (Macintosh) or initialized (Windows).
For maximum recording and playback efficiency, data should be written to your hard
drive in a contiguous fashion—minimizing the
seek requirements to play back the data. Unfortunately, your computer can’t always store the
sound files in this way and must write to disk
wherever it can find space.
Mac OS allows drives larger than 4096 MB
to be seen as whole volumes. Drives must be
initialized with a disk utility that recognizes the 2 terabyte limit. Single Pro Tools
audio files cannot exceed 2048 MB in size.
Windows XP allows drives formatted with
the NTFS or FAT32 file systems to be seen
as whole volumes. Single Pro Tools audio
files cannot exceed 2048 MB in size.
Seek Times on Partitioned Drives
Seek times are actually faster on partitioned
drives (assuming that reads and writes are performed on a single partition), since the heads
only have to seek within the partition boundaries, rather than the whole capacity of the
drive.
Smaller partitions perform faster than larger partitions, but this comes at the expense of contiguous storage space. When you partition a drive,
you will need to find the compromise that best
suits your performance and storage requirements.
Avoid distributing audio files within a session over different partitions on the same
drive since this will adversely affect drive
performance.
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In multitrack recording, audio tracks are written
in discrete files, spaced evenly across the disk.
While fragmentation of individual files may be
zero, the tracks may be far enough apart that
playback will still be very seek-intensive. Also,
the remaining free space on the disk will be discontiguous, increasing the likelihood of file
fragmentation on subsequent record passes.
Increased fragmentation increases the chance of
disk errors, which can interfere with playback of
audio, and result in performance errors.
On Windows, to avoid fragmentation, format drives with higher cluster sizes (such as
32K).
On Macintosh, if Norton Utilities is used, it
must be Norton Utilities v4.0 or later to ensure compatibility with HFS+ drives.
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Optimizing (Defragmenting) Drives
To prevent fragmentation, you can optimize
your drive, which rearranges your files into a
contiguous format. Most optimizing software
lets you run a check on a drive to find out the
percentage of fragmentation. If your drive
shows moderate to heavy fragmentation, you
should consider optimizing it.
If you use your system for intensive editing, or if
you frequently delete audio or fade files from
your hard drive, you may need to optimize your
drives on a weekly basis, or even every few days,
since it doesn’t take long for even a large hard
drive to become fragmented.
Backing Up Data Before Optimizing
Since your files will be rewritten by the optimization process, always make a backup copy of
the data on your hard drive before you optimize
it. You should also use a hard drive utility to
find and repair any problems before optimizing
data or re-initializing a drive. If there is any
damage to your hard drive's directories prior to
optimizing, serious data loss may result.
Using Macintosh Drives on
Windows Systems
Pro Tools for Windows lets you record and play
back sessions directly from a Macintosh-formatted (HFS or HFS+) drive connected to a Windows
system. This functionality requires that all Macintosh session and audio files be stored on Macintosh-formatted drives.
To mount HFS or HFS+ drives on a Windows system, you must use the MacOpener™ software
utility by DataViz. An installer for the demo version of MacOpener is included as an installation
option for Pro Tools.
For details on sharing sessions between
Macintosh and Windows systems, see the
Pro Tools Reference Guide.
Installing the MacOpener Utility
To Install MacOpener:
1 Quit Pro Tools if it is open.
2 Locate the macopener executable (.exe) file on
the Pro Tools Installer CD-ROM and doubleclick it to launch the installer.
3 Follow the on-screen instructions to install
MacOpener.
4 When installation is complete, restart your
computer.
Appendix A: Connecting SCSI Drives
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Enabling the MacOpener Driver
When you are finished installing MacOpener,
the MacOpener driver must be enabled to
mount HFS and HFS+ drives.
To enable the settings on the MacOpener Driver:
1 Choose Start > Programs > MacOpener >
MacOpener Driver Preferences.
2 Under Driver Settings, select Enable MacOpener Driver.
3 Under Extension Mapping, select Do not add
the PC extension to the Mac file name.
Mounting HFS Drives
If the MacOpener utility is installed and enabled, no additional steps are required to mount
HFS drives. They appear as normal system drives
after you connect them and restart your computer.
Formatting and Maintaining HFS
and HFS+ Drives
Although you can use MacOpener to format HFS
and HFS+ drives from a Windows machine, this
is not recommended for use with Pro Tools. We
recommend that you connect the drives to a
Macintosh computer (if possible) and use the
ExpressPro-Tools (for Mac OS 9) or ExpressStripe
(for Mac OS X) software from ATTO, included
on the Macintosh Pro Tools Installer CD-ROM.
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appendix b
DigiTest Error Codes
DigiTest Error Codes
Code
Description
Err3
Cards from different Pro Tools
systems are incorrectly mixed.
Err4
Cards marked with this error are
installed in the wrong order.
Err5
Too many cards of this type are
installed in the system. Refer to
the Digidesign Web site for compatibility information:
www.digidesign.com/compato/
Err6
A card is installed in a reserve
slot. For example, a Digidesign
card is installed in the slot
reserved for the Expansion Chassis Host Interface card.
Err1010
Too many MIX Core cards
installed. The maximum number
of MIX Core cards allowed is 7.
Err1011
Too many MIX Farm cards
installed. The maximum number
of MIX Farm cards allowed is 7.
Err1012
Too many total MIX cards
installed. The maximum number
of total MIX cards allowed is 7.
Err1020
Too many d24 Core cards
installed. The maximum number
of d24 Core cards allowed is 2.
Err1021
Too many MIX I/O cards installed.
The maximum number of MIX I/O
cards allowed is 2.
DigiTest Error Codes
Code
Description
Err1022
Too many total d24 cards
installed. The maximum number
of total d24 cards allowed is 2.
Err1220
SCSI Accelerator card is installed
in the wrong slot.
Err1221
Expansion Chassis Host Interface
card is installed in the wrong slot.
Err1301
A Core card is not installed. At
least one Cord card is needed.
Err1310
A DSP Farm card is not installed.
At least one DSP Farm card is
needed.
Appendix B: DigiTest Error Codes
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appendix c
Windows System Optimizations
When installing Pro Tools on Windows XP,
there are many system variables that affect performance. If you have followed all the Windows
configuration instructions in Chapter 2, “Windows Configuration” and are still experiencing
problems, try the following troubleshooting
suggestions.
Norton Ghost is highly recommended, as it
lets you save your system in a working state
and easily revert to that state should you accidentally disable anything that your computer needs.
Advanced Settings
The following system optimizations may help
Pro Tools perform better on some systems. It is
recommended that you only try these optimizations if necessary, as they may disable or adversely affect the functionality of other programs on your system.
Disabling Network Cards
If applicable, disable any networking cards
(other than a 1394 “FireWire” card that you
might use to connect an external drive to your
system).
Troubleshooting
To disable a network card:
Blue Screen at Startup
If, after installing Pro Tools and QuickTime,
your computer crashes with a blue screen, use
Add/Remove Programs to uninstall Pro Tools
and QuickTime. Then, repeat the installation instructions in “Installing Pro Tools Software” on
page 17.
1 Right-click My Computer and choose Man-
age.
2 Under System Tools, select Device Manager.
3 In the Device Manager window, double-click
Network adapters, then double-click the Network Adapter card you want to disable.
4 Under the General tab, choose “Do note use
this device (disable)” from the Device Usage
pop-up menu, and click OK.
5 Close the Computer Management window.
Appendix C: Windows System Optimizations
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Processor Scheduling
Be very careful when disabling startup items, including (but not limited to) the following:
To Adjust Processor Scheduling Performance:
1 Choose Start > Control Panel.
• Portable media serial number (required for applications that utilize a copy protection key)
2 In Classic View, click System.
• Plug and play
– or –
In Category View, click Performance and Maintenance, then click System.
3 Click the Advanced tab.
4 Under the Performance section, click the Settings button.
• Event log
• Cryptographic services
• DHCP Client, TCP/IP Net BIOS, and other networking-related items (unless the computer
has no network or internet connection, in
which case these items can be disabled)
Norton Ghost is highly recommended, as it
lets you save your system in a working state
and easily revert to that state should you accidentally disable anything that your computer needs.
5 Select the Advanced tab.
6 Under the Processor scheduling section, select
the “Adjust for best performance of background
services” option.
7 Under the Memory Usage section, select the
To Disable System Startup Items:
System cache option.
1 From the Start menu, choose Run.
8 Click OK twice. You will need to restart your
computer for the changes to take effect.
2 Type “msconfig” and click OK. The System
Startup Items
3 Under the General tab, choose Selective Star-
Configuration Utility opens.
tup.
The fewer items in use by your computer, the
more resources are available for Pro Tools. Some
startup applications may be consuming unnecessary CPU resources, and should be turned off.
4 Deselect Load Startup Items and click OK.
5 Click Restart to restart the computer.
6 After restarting your computer, a System Con-
figuration message dialog is displayed. Check to
see if Pro Tools performance has increased before you deselect the “don't show this message
again” option. If performance has not changed,
run “msconfig” and return your computer Selective Startup back to Normal Startup. Alternatively, try disabling start up items and nonessential processes individually.
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appendix d
Digidesign ASIO Driver (Windows Only)
Introduction
Compatible Software
The Digidesign ASIO Driver is a multichannel,
multimedia sound driver for Windows that allows third-party audio programs that support
the ASIO standard to record and play back
through Digidesign hardware.
For a list of ASIO Driver-compatible software,
see the compatibility documents available on
the Digidesign Web site:
Check the Digidesign Web site
(www.digidesign.com) for the latest thirdparty drivers for Pro Tools hardware, as
well as current known issues.
Full-duplex recording and playback of 24- and
16-bit audio are supported at sample rates supported by the hardware and ASIO program used.
www.digidesign.com/compato
Installing the ASIO Driver
The ASIO Driver is installed by default when you
install Pro Tools 6.
Removing the ASIO Driver
If you need to remove the ASIO Driver from
your computer, complete the following steps.
To remove the ASIO Driver:
1 Choose Start > Control Panel.
2 Double-click the Add or Remove Programs
icon.
3 From the Currently installed programs list, se-
lect Digidesign Pro Tools.
4 Click the Change/Remove button.
5 Modify your installation by unchecking the
Digidesign ASIO Driver option only.
Appendix D: Digidesign ASIO Driver (Windows Only)
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Changing ASIO Driver
Settings
Changing ASIO Driver settings is done in your
third party ASIO program. Refer to the documentation that came with your software program. For example, with Propellerhead Reason,
click on the ASIO Control Panel button (shown
below).
ASIO Driver Control Panel
Digidesign ASIO Control Panel
The Digidesign ASIO Driver Control Panel cannot be accessed under the following circumstances:
• When Pro Tools is running.
• When playing or recording in an audio
program that does not support the ASIO
Driver.
ASIO Control Panel
button
Setup Example, using Propellerhead Reason
• When using a third-party audio program
that has an option to keep the ASIO Driver
“open” even when you are not playing or
recording. (You must close the audio program before you can open the ASIO Driver
Control Panel.)
Buffer Size Control
When you play a file from a client audio program, the client program divides the file into
buffers and sends each of these to the ASIO
Driver. The ASIO Driver copies the client program’s buffers to your Digidesign hardware’s
own buffers in a double-buffering scheme. The
Buffer Size control in this dialog allows you to
set the size of each of the two buffers the ASIO
Driver uses on Digidesign hardware. You may
select from the following buffer sizes:
• 128 samples
• 256 samples
• 512 samples
• 1024 samples
• 2048 samples
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Small buffers have the advantage of low latency
in the record monitor path. Larger buffers have
the advantage of making the ASIO Driver more
immune to audio dropouts during playback and
recording.
In some third-party audio programs, performing
various tasks such as maximizing or minimizing
windows will interrupt the ASIO Driver and create glitches in the audio. Choosing medium or
large buffers (such as 256–1024) can help alleviate this problem.
Changing the Buffer Size for the ASIO Driver
does not affect the H/W Buffer Size settings in
the Pro Tools Playback Engine dialog.
Device
The Device Type will always be set to your installed Pro Tools hardware.
Advanced Button
The Advanced button opens the Hardware Setup
dialog for your Digidesign system.
Appendix D: Digidesign ASIO Driver (Windows Only)
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appendix e
Configuring AMS (Mac OS X Only)
Pro Tools 6.0 recognizes the ports on your MIDI
interface as generic ports. With Mac OS X, you
use Apple’s Audio MIDI Setup (AMS) utility to
identify external MIDI devices connected to
your MIDI interface and configure your MIDI
studio for use with Pro Tools.
3 For any MIDI devices connected to the MIDI
To configure your MIDI studio in AMS:
5 Connect the MIDI device to the MIDI inter-
1 Launch Audio MIDI Setup (located in Applica-
tions/Utilities).
– or –
interface, click Add Device. A new external device icon with the default MIDI keyboard image
will appear.
4 Drag the new device icon to a convenient lo-
cation within the window.
face by clicking the arrow for the appropriate
output port of the device and dragging a connection or “cable” to the input arrow of the corresponding port of the MIDI interface.
In Pro Tools, choose Setups > Edit MIDI Studio
Setup.
2 Click the MIDI Devices tab. AMS scans your
system for connected MIDI interfaces. If your
MIDI interface is properly connected, it appears
in the window with each of its ports numbered.
Making MIDI input and output connections
Audio MIDI Setup (MIDI Devices tab)
Appendix E: Configuring AMS (Mac OS X Only)
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6 Click the arrow for the appropriate input port
of the device and drag a cable to the output arrow of the corresponding port of the MIDI interface.
2 Select a manufacturer and model for the new
device from the corresponding pop-up menus.
(If the Manufacturer and Model pop-up menus
do not provide a name for your particular device, you can type a name.)
To remove a connection, select the cable
and press Delete. To delete all connections,
click Clear Cables.
7 Repeat steps 3–6 for each MIDI device in your
MIDI setup.
To configure an external MIDI device:
Naming a new MIDI device
1 Select the external device icon and click Show
Info (or double-click the new device icon).
External Device Icon
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Getting Started with MIX
AMS refers to one or more files with the suffix “.middev” in the directory Library/Audio/MIDI Devices for Manufacturer and
Model names. Pro Tools installs two such
files that contain information for many
commercially available MIDI devices, Legacy Devices.middev and Digidesign Devices.middev. If the Manufacturer or Model
names for any of your external MIDI devices
is not available in the AMS Manufacturer
and Model pop-up menus, you can add
them by editing any of the current .middev
files in any text editor (such as TextEdit).
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3 Click the More Properties arrow to expand the
4 Click the device image. The window expands
dialog, then enable the appropriate MIDI channels (1–16) for the Transmits and Receives options. (These determine which channels the
device will use to send and receive MIDI.)
to show images for various MIDI devices (such
as keyboards, modules, interfaces, and mixers).
Select an icon for your device.
Selecting a device icon
Enabling MIDI channels
To use your own custom icons, you can
place TIFF image files in /Library/
Audio/MIDI Devices/Generic/Images, and
they will appear as choices in the AMS device window.
5 Click OK.
The device names you enter appear as MIDI input and output choices in Pro Tools.
Appendix E: Configuring AMS (Mac OS X Only)
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appendix f
Configuring OMS (Mac OS 9 Only)
Pro Tools requires Open Music System (OMS),
which is included on the Pro Tools Installer CD.
OMS has the following capabilities:
Configuring a New Studio Setup
(First-Time OMS Users Only)
• Keeps track of which MIDI devices you are using, how they are connected, and which
patches they are using
Before configuring OMS, make sure your MIDI
interfaces and devices are connected according
to the manufacture’s instructions and turned
on.
• Enables MIDI hardware to communicate with
your music applications
To configure a New Studio Setup in OMS:
• Provides timing services and inter-application
communication
OMS stores a description of your MIDI studio in
Studio Setup documents, which are edited in the
OMS Setup application. Once OMS is configured,
your music applications know which MIDI devices you are using by referencing the current
Studio Setup document.
1 Launch the OMS Setup application. If OMS
has not yet been configured, you’ll be prompted
to configure a New Studio Setup. Click OK.
2 Select whether your MIDI interface is con-
nected to the Modem or Printer port. If using a
USB or PCI-based MIDI interface, leave both
ports unchecked. Click Search.
The following sections provide basic instructions for configuring OMS. For more detailed information, refer to the online OMS Guide installed with Pro Tools.
Ports for OMS Driver Search
Appendix F: Configuring OMS (Mac OS 9 Only)
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OMS searches for and displays any detected
MIDI interfaces, MIDI cards, and OMS drivers. If
your interface is not detected, click Troubleshoot. Once your interface is detected, you are
prompted to search for MIDI instruments connected to your interface.
3 Click OK to search for MIDI devices connected
to your MIDI interface. To be detected, the device must be turned on and have both of its
MIDI ports connected to your MIDI interface.
Defining MIDI Devices in OMS
To define a MIDI device in OMS Setup:
1 Double-click the device’s icon in the Studio
Setup window.
2 In the MIDI Device Info dialog, select the
Manufacture and Model for the device from the
pop-up menus. If the device is not listed, leave
the Model set to “other” and enter a name for
the device.
Defining a MIDI device
OMS Driver Setup
OMS searches for and displays any detected
MIDI devices. Some older instruments, as well as
some newer ones, may not be recognized by the
OMS auto-detection routines.
Undefined OMS device
Devices not recognized by OMS appear with a
red question mark and are named based on the
interface or port to which they are connected.
These devices can be defined as necessary within
the OMS Setup application (see “Defining MIDI
Devices in OMS” on page 100).
4 Click OK to save your Studio Setup document.
100
Getting Started with MIX
3 Select the receiving channel for the device. If
receiving multiple channels, select the option
for “Is Multitimbral.”
4 If you will record from the device in Pro Tools,
select the option for “Is Controller.” If the device will be a source or destination for MIDI
Time Code, Beat Clock, or MMC, select the appropriate option.
5 Click OK.
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Disabling SerialDMA in OMS
To edit the IAC driver’s name:
Pro Tools requires that you deselect the “Use
Apple SerialDMA Driver When Available” option in OMS Setup. If you do not disable this option, problems will occur with MIDI and synchronization functions in Pro Tools.
1 Double-click the OMS Setup application.
2 In the Studio Setup window, double-click the
IAC driver.
To disable SerialDMA in OMS:
1 Double-click the OMS Setup application.
2 Choose Edit > Preferences.
3 Deselect “Use Apple SerialDMA Driver When
Available,” and click OK.
4 Quit OMS Setup
MIDI Machine Control and the IAC Driver
If you are planning to use MIDI Machine Control (MMC) for Pro Tools synchronization with
other MMC-capable devices or applications, you
must rename the OMS IAC Driver and remove
the infinity symbol (“∞”) from its name. If you
do not do this, MMC will not function properly.
Studio Setup window with IAC Driver
3 Rename “∞ IAC bus #1” to “MMC” and click
OK.
Renaming the IAC Driver
4 Save your changes.
5 Quit OMS Setup.
Appendix F: Configuring OMS (Mac OS 9 Only)
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appendix g
Digidesign Control Panel (Mac OS 9 Only)
The Digidesign Control Panel should be installed if you are planning to use your Digidesign hardware with Apple Sound Manager-compatible applications on a Macintosh-based
system running Mac OS 9.
To use your Digidesign hardware with Apple Sound
Manager:
1 Choose Apple menu > Control Panels >
Sound.
2 Select the Output tab.
3 Select Digidesign.
Digidesign Control Panel
To configure the Digidesign Control Panel:
1 From the Apple menu, choose Control Panels
> Digidesign.
Apple Sound Control Panel
Digidesign Control Panel
2 Click the Setup Hardware button in the
Digidesign Control Panel. The Hardware Setup
dialog will open.
When using Digidesign hardware to monitor Sound Manager applications, under the
Alerts tab, turn the Alert Volume control all
the way down.
3 Configure the Hardware Setup dialog as de-
sired. The Other Options dialog will vary according to your primary audio interface.
Appendix G: Digidesign Control Panel (Mac OS 9 Only)
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index
Numerics
C
1622 I/O 2, 16, 25, 32, 46
16-channel peripheral cable adapter 16, 32
882|20 I/O 2, 16, 24, 32, 46
888|24 I/O 2, 16, 32
Channel Strip controls
Mute 73
Pan 73
Solo 73
Volume 73
click 57
clock master 16, 32
configuring OMS 95, 99
connecting
effects units 52
external SCSI drive 81
SMPTE synchronization devices 53
studio 49
A
ADAT Bridge I/O 2, 32
Apple Sound Manager 103
ASIO driver 18, 91
audio
importing 66
routing 67, 74
Audio Interface
cable 16, 32
primary 16, 32
requirements 2
Audio Regions List 65
audio tracks 62
authorization code
Macintosh 39
Windows 20
automation 77
creating 77
editing 77
Auxiliary Inputs 62, 64, 70, 74
B
D
d24 card 13, 28
DAE memory allocation 40
DAT recorder
connecting to Pro Tools 52
Digidesign Control Panel 103
DigiSerial port 13, 14, 28
DigiTest
error codes 87
Macintosh configuration 38
Windows configuration 19
DMA 10
DSP Farm 14, 29
BIOS configuration 8
Bounce to Disk command 78
Index
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E
I
Edit mode buttons 70
Edit modes 70
Grid 70
selecting 70
Shuffle 70
Slip 70
Spot 70
Edit tools 71
Grabber 71
Pencil 71
Scrubber 71
Selector 71
Smart Tool 71
Trimmer 71
Zoomer 71
Edit window 56
editing regions 71
error codes
DigiTest 87
expansion chassis
Macintosh configuration 27
Windows configuration 12
I/O Setup 59
Macintosh configuration 46
Windows configuration 25
IAC Driver
Macintosh configuration 101
importing audio 66
Infinity symbol
removing from IAC Bus name 101
input levels 68
installing
Pro Tools cards 15, 29
F
fade files 55
formatting hard drives
high-level 83
low-level 83
fragmentation 84
G
Grabber tool 71
Grid mode 70
H
hard drives
Macintosh requirements 3
maintenance 83
optimizing 85
space requirements 4
Windows requirements 3
hardware installation 10
Hibernate 11
high-level formatting 83, 85
106
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L
low-level formatting 83
M
Macintosh
system requirements
hard drives 3
MacOpener 85
Master Faders 62, 64, 75
creating 76
memory allocation
Pro Tools 40
memory locations 61, 62
defining 61
recalling 61
MIDI
connections 53
machine control 101
requirements 5
MIDI click 57
MIDI control surface 77
MIDI controls 57
MIDI Regions List 65
MIDI tracks 62, 64
MIX Core card 13, 27
MIX Farm card 13, 28
Mix window 56, 73
mixing 73
monitoring
MIDI 70
Mute button 73
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O
R
OMS 35, 99
configuration 95, 99
defining a MIDI device 100
IAC Driver 101
installing 35
Open Music System (OMS) 99
optimizing hard drives 85
recording
audio tracks 68
MIDI 69
regions 71
arranging 72
creating 71
editing 71
trimming 71
registration 5
returns 75
creating 75
rulers 57
P
Pan slider 73
partitioning hard drives 84
Pencil tool 71
playback
starting and stopping 60
Playback Engine dialog 58
playlists 73
plug-ins 76
power
Windows System Standby 11
Preferences 17, 34, 35
Pro Tools
automation 77
basics 55
editing 70
Macintosh configuration 39
main windows 56
memory allocation 40
plug-ins 76
recording audio 68
recording MIDI 69
saving sessions 58
signal routing 74
starting a session 55
system resources and settings 58
transport controls 59
Windows configuration 21
Pro Tools|24 2
core system 2
Pro Tools|24 MIX
core system 1
MIX-cubed 1
MIXplus 1
S
Scrubber tool 71
SCSI
cable length 80
requirements 79
termination 81
SCSI BIOS
Windows configuration 8
SCSI drives
connecting 81
formatting 82
selections
and Bounce to Disk 78
Selector tool 71
sends 64, 74
assigning 74
Session Setup window 56
sessions 55
creating 55
duplicating 58
navigating 60
saving 58
saving copies of 58
Shuffle mode 70
Slip mode 70
Smart Tool 71
Solo button 73
Spot mode 70
Index
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starting up your system
Macintosh configuration 36
Windows configuration 19
studio configuration
of 882|20 I/O without a mixer 51
of 888|24 I/O with a mixer 49
Surround Mixer plug-in
installing 35
SYNC I/O 54
system requirements
Macintosh
hard drives 3
Windows
hard drives 3
System settings
for Windows 10
system settings
Macintosh 33
Pro Tools 58
System Usage window 59
T
TDM Ribbon cable 14, 29
tempo 57
setting 57
tempo events 57
termination of SCSI drives 81
track height
changing 61
tracks
audio 62
Auxiliary Inputs 62, 64, 74
creating 62
Master Faders 62, 64, 75
MIDI 62, 64
playing back 68
playing back MIDI 70
recording 68
recording MIDI 69
types 62
Transport window 56, 59
Trimmer tool 71
trimming regions 71
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U
Universal Slave Driver 54
V
validating Pro Tools software
Macintosh configuration 39
Windows configuration 20
Volume fader 73
W
Windows
BIOS configuration 8
required System settings 10
SCSI BIOS configuration 8
system requirements
hard drives 3
System Standby 11
using MIDI 18
windows 56
Edit window 56
Mix window 56, 73
Session Setup window 56
Transport window 56, 59
Windows System Standby 11
Z
Zoom presets
recalling 62
storing 62
Zoomer tool 71
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