Chapter 27: Plug-In and Hardware Inserts. Avid Technology Pro Tools HD 6.4, Pro Tools LE 6.4, PRO TOOLS MIX 51

Chapter 27: Plug-In and Hardware

Inserts

Pro Tools provides up to five unity-gain inserts on each audio track, Auxiliary Input, or Master

Fader. Audio track and Auxiliary Input inserts are pre-fader, and Master Faders inserts are postfader only.

An insert can be either a software DSP plug-in or a hardware insert. A Pro Tools insert routes the signal from the track to a plug-in or external hardware effect of your choice and automatically returns it to the same track. Inserts do not alter the original audio source files, but process audio in real time, during playback. You can permanently apply real-time effects to tracks by recording or bouncing the effect to disk (see

Chapter 29, “Mixdown” for more information).

Plug-In Inserts Plug-in inserts are software inserts that process audio material on a track in real time. For example, the EQ, Dynamics, and

Mod Delay plug-ins supplied with your

Pro Tools system are real-time plug-in inserts.

For more information about the plug-ins supplied with your Pro Tools system, see the

DigiRack Plug-Ins Guide.

Additional real-time plug-ins are available from

Digidesign and from many third-party developers.

For information about optional Digidesign plug-ins, see the electronic Digidesign Plug-

Ins Guide. For information about thirdparty plug-ins, visit the Digidesign Web site

(www.digidesign.com).

Hardware I/O Inserts Hardware I/O inserts can route audio through an external device connected to parallel inputs and outputs of an audio interface. You can process the audio material on a track with a hardware insert in real time.

Hardware I/O insert

Insert paths require audio interface inputs and outputs, and are determined by the I/O Setup configuration of your system.

Chapter 27: Plug-In and Hardware Inserts 433

General Information

When more than one insert is used on a track, they are processed in series. Each effect is added to that of any previous plug-ins or inserts, (flowing from top to bottom in the Mix window Inserts View, and left to right in the Edit window

Inserts View).

Inserts on audio tracks and Auxiliary Inputs are pre-fader. You can cause clipping if you boost their gain to extremes, especially on tracks recorded at high amplitude. Watch on-screen metering for indication of clipping. (Inserts on

Master Faders are post-fader.)

How to Use Inserts for Effects

Processing

Inserts can be used in two ways:

On Single Tracks An insert can be applied to an individual audio track, Auxiliary Input, or Master Fader.

With in-line inserts, you control the amount of effect by adjusting the balance (or, wet/dry) controls of the plug-in or external device.

As Shared Resources An insert can be used as a shared resource in a send-and-return arrangement, by bussing signals from several tracks to an Auxiliary Input, and then applying the insert to the Auxiliary Input track. You can then control the send level for each track, and the overall level of the effect can be controlled from the

Auxiliary Input track. Using sends and other signal routing features helps maximize your system’s processing power.

For examples of send and return busses and

other submixing setups, see “Submixing for

Signal Routing and Effects Processing” on page 423.

Insert Formats

Mono Inserts Used on mono tracks. Inserts that occur on a track after a stereo insert are automatically used in stereo as well.

Stereo Inserts Used on stereo tracks. A stereo hardware I/O insert sends the signal to an input/output path.

Mono In/Stereo Out Plug-In Inserts Used to return a stereo effect from a mono source. Certain plug-ins (such as D-Verb) let you generate stereo output from a mono channel. A track made into stereo in this way has pan controls for each channel of the stereo signal. Any inserts that occur on a track after a stereo insert are automatically used in stereo as well.

Multi-Mono Plug-In Inserts Used on stereo or greater-than-stereo multichannel tracks when a multichannel version of the plug-in is not available. Controls for all channels are linked by default so that you can adjust them in tandem.

You can unlink controls for independent adjust-

ment using the Master Link button. See “Linking and Unlinking Controls on Multi-Mono

Plug-Ins” on page 443.

Multichannel Plug-In Inserts Used on stereo and greater-than-stereo multichannel tracks. On greater-than-stereo multichannel tracks, the controls for all channels are generally ganged together.

Relinking may cause automation to be lost.

See “Linking and Unlinking Controls on

Multi-Mono Plug-Ins” on page 443

434 Pro Tools Reference Guide

TDM and RTAS Plug-Ins

There are three plug-in formats supported by

Pro Tools (TDM, RTAS, and AudioSuite), two of which can be used as real-time inserts, as follows:

TDM Plug-Ins Used on TDM-based Pro Tools systems, and rely on the processing power of

Digidesign DSP cards.

RTAS Plug-Ins Similar to their TDM counterparts, but unlike TDM plug-ins, they rely on and are limited by the host processing power of your computer.

For information on AudioSuite plug-ins, see the DigiRack Guide, the Digidesign Plug-

Ins Guide, or the guides for your third-party plug-ins.

Use the following guidelines for plug-ins supported on your system:

Pro Tools TDM Systems

• TDM plug-ins can be used on audio tracks,

Auxiliary Inputs, and Master Faders.

• RTAS plug-ins can be used on Auto-Voiced audio tracks only.

• When using RTAS and TDM plug-ins on the same track, RTAS plug-ins must precede TDM plug-ins in the insert signal path.

Pro Tools LE Systems

• RTAS plug-ins can be used on audio tracks,

Auxiliary Inputs, and Master Faders.

For tips on maximizing RTAS performance, see the DigiRack Plug-Ins Guide.

Viewing Inserts

Both the Mix and Edit windows can be configured to show or hide inserts. Plug-in windows provide complete access to plug-in controls.

To show (or hide) inserts:

■

In the Mix or Edit window, choose Display >

Mix Window Shows > Inserts View, or Edit Window Shows > Inserts View.

Inserts

Sends

Showing Inserts in the Mix Window

– or –

■

In the Edit window, select Inserts View from the View Selector (located next to the Rulers

View).

View Selector

Showing Inserts using the View Selector


Display of Plug-In Window Status

In the Mix and Edit window, the plug-in button and selector display the currently inserted plug-

in, its bypass state (see “Bypassing Plug-Ins” on page 443), target status, and window status.

lit plug-in name

Indication of open plug-in window

Indicating the Controller Target

If you are using a control surface with Pro Tools, only one plug-in can be targeted at a time. The current controller target, if any, is indicated with a color outline around its name: target outline

The controller target

For more information on controller targets, refer to the

MIDI Control Surfaces Guide,

or the documentation for your Digidesign control surface.

Making Inserts Inactive

Plug-in and hardware inserts can be made inactive to free up their resources for other uses.

When a plug-in insert is inactive it retains its assignment, position, and related automation playlists. However, it will not pass audio and does not consume any DSP or TDM resources.

When opening sessions, inserts will automatically be made inactive in any of the following situations:

• The system has insufficient DSP resources.

• A plug-in is not installed.

• A plug-in type is not available (RTAS or TDM).

• Opening the session results in plug-in type substitutions. This can happen if the type is available but substituting would result in an unsupported condition, such as an RTAS plugin after TDM plug-ins in a track.

To make an insert inactive:

■

Control-Start-click (Windows) or Command-

Control-click (Macintosh) the Insert button.

– or –

■

Make the track inactive. See “Making Tracks

Inactive” on page 102.

To toggle inserts in the same position on all tracks active or inactive:

■

Control-Start-Alt click (Windows) or Command-Control-Option click (Macintosh) an Insert button in the position you want to toggle.

To toggle inserts in the same position on all selected tracks active or inactive:

■

Control-Start-Alt-Shift-click (Windows) or

Command-Control-Option-Shift-click (Macintosh) an Insert button in the position you want to toggle.


Inactive Plug-In Inserts

Inactive plug-in inserts retain all associated automation playlists. In addition, any edits made in the session affect the plug-in automation playlists. You cannot record automation or adjust the controls for an inactive plug-in. inactive

(italicized) active

(plain text)

Inserting Plug-Ins on Tracks

To use a real-time plug-in, insert it on a track.

To insert a 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. (See “TDM and RTAS Plug-Ins” on page 435 for related in-

formation.)

Display of inactive plug-ins (Pro Tools 6.x)

Insert Selector

Display of inactive Plug-In window

Inactive Hardware Inserts

Inactive hardware inserts retain their assignments, but do not pass audio and do not consume any DSP resources.

Hardware inserts do not provide a bypass control. You can use the inactive feature whenever you need to mute or bypass a hardware insert.

Inserting a TDM plug-in

To remove an insert from a track:

■

Click the Insert Selector and choose No Insert.

Removing a plug-in


Plug-In Menu Organization

(Pro Tools 6.4)

In Pro Tools 6.4, plug-ins are automatically organized by category (effect type). Plug-ins that do not fit into a standard category (such as the

DigiRack Signal Generator), or third-party plugins that have not been defined by their developers, appear in the Other category. Plug-ins can appear in more than one category.

Plug in categories include:

• EQ

• Dynamics

• Pitch Shift

• Reverb

• Delay

• Modulation

• Harmonic

• Noise Reduction

• Dither

• Sound Field

• Hardware

• Instrument

• Other

• Wrapped Plug-Ins

Plug-in Favorites

For faster navigation to commonly used plugins, a plug-in can be designated a favorite. Favorite plug-ins are shown at the top of the plug-in menu.

Favorite plug-ins

Plug-in categories

Menu display of favorite plug-Ins

To designate a plug-in favorite:

■

Control-click (Windows) or Command-click

(Macintosh) on a plug-in Insert button, and select the plug-in that you want to designate as a favorite.

To remove a plug-in favorite:

■


(Macintosh) on a plug-in Insert button, and select the favorite plug-in that you want to remove.

Plug-Ins by Category

To organize plug-ins by category:

1 Choose Setups > Preferences.

2 Click on the Display tab.

3 Select Organize Plug-In Menus By Category.


Inserting Plug-Ins During Playback

Plug-ins can be inserted or removed during playback, with the following restrictions:

• Plug-ins cannot be inserted or removed during recording.

• A plug-in cannot be dragged to a different insert location during playback or recording.

Stop playback to do this.

• Plug-ins that change a track’s format (a monoto-stereo plug-in, for example) cannot be inserted or removed during playback. Stop playback to do this.

• Plug-ins that contain automation cannot be removed during playback. Stop playback to do this.

• Playback must be stopped when enabling plug-in controls for automation.

• Side-chain inputs cannot be created during playback. Stop playback to do this.

Moving and Duplicating Plug-

In and Hardware Inserts

You can move or duplicate an insert by dragging it to a different position on the same track or a different track. Inserts that are moved or duplicated retain their original settings and automation.

Plug-ins cannot be moved or duplicated during playback or recording.

To move an insert:

■

Drag the insert to a new insert location.

Moving a plug-in

Dragging an insert on top of an existing insert will replace it and any automation.

To duplicate an insert:

■

Alt-drag (Windows) or Option-drag (Macintosh) the insert to a new insert location. Duplicated plug-in inserts retain their original settings and automation.


The Plug-In Window

The Plug-In window appears whenever you click a plug-in’s Insert button on a track. This floating window lets you edit the adjust the controls of any real-time plug-in insert in use on a track.

Insert

Selector

Settings menu

Insert button

Track Selector

Plug-In Selector

Compare

Automation Safe

Effect bypass

Convert plug-In

Librarian menu

Insert Position

Selector

Auto button

Target button

Plug-In window (mono 1-Band EQ shown)

Master Link button

Link Enable buttons

Channel Selector

Phase Invert

Plug-In window (multi-mono 1-Band EQ shown)

Plug-in clipping LED

Phase Invert buttons

LFE Enable

Plug-In window (multichannel Compressor shown)

Settings Menu Lets you copy, paste, save, and import plug-in settings.

Track Selector Accesses any non-MIDI track in your session.

Librarian Menu Recalls settings files saved in the plug-in’s root settings folder or in the current session’s Settings folder.

Insert Position Selector Accesses any insert on the current track.

Key Input Selector Lets you select audio on a particular input or bus and route it to trigger the plug-in. This menu only appears on plug-ins that feature side-chain processing. Key inputs are monophonic.

Plug-In Selector Lets you select any real-time plug-in installed in the DAE Plug-Ins folder.

Compare Toggles between the original saved plug-in setting and any changes you have made to it so you can compare them.

Effect Bypass Disables the currently displayed plug-in. This lets you compare the track with and without the effect.

Auto Lets you enable individual plug-in controls

for automation recording. See “Automating

Plug-Ins” on page 461.


Safe When enabled, prevents existing plug-in automation from being overwritten.

Convert Plug-In Lets you convert the insert from a TDM plug-in to an RTAS plug-in of the same type (or vice-versa). This feature can only be used on plug-ins that are available in both TDM and RTAS formats.

Target Plug-In When multiple Plug-In windows are open, clicking this button in a Plug-In window until it is lit, selects that plug-in as the target for any computer keyboard commands.

Clicking the button until it is unlit leaves the window open when other Plug-Ins windows are opened. The target in the Plug-In window functions the same as the target in Output and Send

windows. For more information, see “Targeted

Windows” on page 422.

Phase Invert Inverts the phase polarity of the input signal.

Plug-In Clip LED In addition to clipping displays that are a part of a plug-in’s individual interface, plug-ins that display internal clipping also report the clipping in the plug-in header.

Link Enable Buttons Lets you selectively link the controls of specific channels of a multi-mono plug-in. Each square represents a plug-in output. The Master Link button must be disabled to

use the Link Enable buttons. See “Linking and

Unlinking Controls on Multi-Mono Plug-Ins” on page 443.

LFE Enable Enables plug-in processing of the

LFE (low frequency effects) channel on a 5.1,

6.1, or 7.1 multichannel track. To disable LFE processing, deselect this button.

Master Link Button When enabled, links the controls on all channels of a multi-mono plugin so that they can be adjusted in tandem.

Opening Plug-In Windows

To open a Plug-In window:

■

Click the plug-in button in the Mix or Edit window channel strip.

By default, each plug-in you open will appear in the same location as a currently open plug-in, replacing it in the same window location.

Clip

LED

Plug-In Clipping indicator in the plug-In header

Channel Selector Accesses a specific channel within a multichannel track for plug-in control editing. This menu appears only on multi-mono plug-ins inserted on tracks with more than one channel. Alt-click (Windows) or Option-click

(Macintosh) this Selector to open a separate

Plug-In window for each channel of the multichannel track on which the plug-in is inserted.

Opening Multiple Plug-In Windows

Pro Tools normally displays a single Plug-In window from which you can adjust the controls of any session plug-in. You can also open additional Plug-In windows for specific plug-ins.

Once you begin working with multiple Plug-In windows, you will need to click the Target button on the plug-in whose controls you want to adjust using keyboard commands.

To open an additional Plug-In window:

■

In the Mix window, Shift-click the Insert button of a plug-in.


To open Plug-In windows for each channel of a multi-mono plug-in:

■

Alt-click (Windows) or Option-click (Macintosh) the Channel Selector in the Plug-In window of a plug-in insert.

To close all currently open Plug-In windows:

■

Alt-click (Windows) or Option-click (Macintosh) the close box of any currently open Plug-

In window.

To choose a different track:

■

Click the Track Selector and choose a track from the pop-up menu.

Plug-In Window Controls

All plug-ins provide standard Pro Tools controls for track and insert selection, bypass, and other controls, in addition to the EQ, dynamics, and other processor-specific controls.

To select a different plug-in on the same track:

■

Click the Insert Selector and select a plug-in from the pop-up menu.

Choosing a track from the Plug-In window

Target Window and Settings Shortcuts

When multiple Plug-In windows are open, a highlighted target indicates the target window.

Pro Tools keeps a single plug-in target window.

Opening a new plug-in opens it as the new target window, in the same location. In addition, the plug-in target window is also the focus of keyboard shortcuts for plug-in settings.

Choosing a plug-in from the Plug-In window


Bypassing Plug-Ins

Plug-ins can be bypassed from their Plug-In window, or from the Mix and Edit window Inserts

View.

When a plug-in insert is bypassed, the Insert Selector in the Mix window changes its color to blue for easy visual reference. If some, but not all channels of an unlinked multi-mono plug-in are bypassed, the Insert

Selector appears purple (Pro Tools 6.x) or half blue and half black (Pro Tools 5.x).

To bypass a plug-in:

■

Click the Plug-In window’s Bypass button.

– or –

■


(Macintosh) the plug-in’s Insert button in the

Mix or Edit window. bypassed (blue) some channels bypassed (purple) not bypassed

Indication of bypassed plug-in state (Pro Tools 6) some channels bypassed (half blue) bypassed

(blue) unbypassed

(black)

Indication of bypassed plug-in state (Pro Tools 5.x)

Linking and Unlinking Controls on

Multi-Mono Plug-Ins

(TDM Systems Only)

When a multi-mono plug-in is used on a multichannel track of more than two channels, the controls are normally linked. Adjusting the

Gain control on one channel, for example, will adjust it for all channels.

You can unlink multi-mono plug-in controls on specific channels of a track and edit them independently. You can also selectively link the controls of specific channels.

Master Link button

Link Enable buttons

Channel Selector

Channel Selector and Link controls (shown with Link disabled)

To unlink controls on a multi-mono plug-in:

■

Deselect the Master Link button.

To access controls for a specific channel:

■

Select the channel from the Channel Selector.

To link the controls of specific channels:

1 Deselect the Master Link button if it is not already deselected.

2 Click the Link Enable buttons for the channels whose controls you want to link. For example, to link all channels except the LFE, highlight the icons representing the five fullrange speakers in a multi-mono plug-in.

All channels linked except the LFE


Editing Plug-In Controls

You can adjust plug-in controls by dragging the control’s slider or knob, or by typing a value into the control’s text box. For instructions on editing specific plug-ins, see the plug-in’s documentation (such as the DigiRack Plug-Ins Guide and

Digidesign Plug-Ins Guide).

To adjust a plug-in control:

1 Begin audio playback so that you can hear the control changes in real time.

2 Adjust the controls of the plug-in for the effect you want.

3 Close the Plug-In window to save the most recent changes.

Keyboard Shortcuts

◆ For finer adjustments, Control-drag (Windows) or Command-drag (Macintosh) the control.

◆ To return a control to its default value, Altclick (Windows) or Option-click (Macintosh) the control.

Keyboard Shortcuts for Plug-In

Controls

You can use your computer keyboard to edit plug-in controls.

If multiple Plug-In windows are open, Tab and keyboard entry remain focused on the plug-in that is the Target window.

To adjust controls from a computer keyboard:

• Click or Tab to the control text field that you want to edit to activate the field. Type an appropriate value.

• In fields that support values in kilohertz, typing “k” after a number value will multiply the value by 1,000. For example, type “8k” to enter a value of 8,000.

• To increase a value, press the Up Arrow on your keyboard. To decrease a value, press the

Down Arrow on your keyboard.

• Press Enter on the numeric keyboard after typing a value to input the value (without leaving the selected control field).

• Press Enter on the alpha keyboard (Windows) or Return (Macintosh) to enter the value and leave keyboard editing mode.

• To move forward through the different control fields, press the Tab key. To move backward, press Shift+Tab.

• Press Alt-C (Windows) or Option-C (Macintosh) to clear plug-in clipping.

The plug-in target window is the focus of keyboard shortcuts for plug-in settings. To make a plug-in the target for any computer keyboard commands (including key shortcuts), click the plug-in’s Target button in its

Plug-In window.

Plug-In Automation and Safe

All real-time plug-ins can be fully automated, and support all Pro Tools automation modes

(Write, Touch, and Latch, plus Trim).

The Auto button opens the Plug-in Automation dialog, where you can enable individual plug-in

controls for automation recording. (See “Automating Plug-Ins” on page 461 for more informa-

tion.)

The Safe button engages Automation Safe mode.

When enabled, existing plug-in automation is

protected from being overwritten. (See “Record

Safing Plug-In Automation” on page 462.)


Using a Key Input for Side-Chain

Processing

Some plug-ins (such as the DigiRack Compressor, Limiter, Gate, and Expander/Gate) feature side-chain processing capabilities. Side-chain processing allows you to trigger a plug-in from a separate reference track or external audio source. The source used for triggering is referred to as the Key Input. Key inputs are monophonic.

A typical use for this feature is to control the dynamics of one audio signal using the dynamics of another signal (the Key Input). For example, a kick drum track could be used to trigger gating of a bass track to tighten it up, or a rhythm guitar track could be used to gate a keyboard pad.

Another side-chain usage, is to create a tunable signal generator: Use a Signal Generator plug-in on an Auxiliary Input, add a gate plug-in to the track, then feed its gate with a side-chain from the kick. The generator is tunable (based on what tone you record).

RTAS plug-ins do not provide side-chain processing when used on TDM-based systems; use the TDM versions of plug-ins on

TDM-based systems if you want to use sidechain processing.

Key Input Filters

Some plug-ins feature key high pass and low pass filters. These controls allow you to define a specific frequency range in the Key Input signal with which to trigger the plug-in effect. A common production technique is to use these controls to filter a drum track so that only specific high frequencies (a hi-hat, for example) or low frequencies (a tom or a kick, for example) trigger the effect.

To use a Key Input for side-chain processing:

1 From the Key Input menu, choose the input or bus carrying the audio you want to use to trigger the plug-in.

Choosing a Key Input

2 Click External Key to activate side-chain processing.

3 To hear the audio source you have selected to control side-chain input, click Key Listen.

4 To filter the Key Input so that only specific frequencies trigger the plug-in, use the Key HPF and Key LPF controls (if available) to select the frequency range.

5 Begin playback. The plug-in uses the input or bus that you chose as a Key Input to trigger its effect.

6 Adjust the plug-in’s Threshold control (if available) to fine-tune Key Input triggering. Also experiment with the Send level, by feeding the side-chain more or less gain.

7 Adjust other controls to achieve the desired effect.


Using Hardware Inserts

You can connect external devices, such as reverb or effects processors, to your Pro Tools system and use them as inserts, or in a send-and-return arrangement.

Pro Tools inserts utilize corresponding hardware input and output channels to send and return the audio. Inserts can be defined, and their channels mapped to audio interface channels, in the I/O Setup dialog.

If you plan to use a device as an insert, be sure to connect the device to matching inputs and outputs on your system. For example, to use outputs 7–8, the insert has to use inputs 7–8. Routing the physical inputs and outputs of the interface to Pro Tools inputs and outputs can be done in the Hardware Setup dialog (or I/O Setup

dialog). For more information, see “Configuring

Pro Tools System Settings (in the Playback System Engine)” on page 37, or “Routing Hardware

I/O to Pro Tools I/O” on page 71.

To define a hardware insert:

1 Choose Setups > I/O Setup, then click the Inserts tab.

2 Select an insert path, or click New Path to create a new Insert path.

3 Double-click the Path Name to enter a custom path name for the insert.

4 Make sure the insert path is set to the correct format (mono, stereo, or other).

5 Map inserts in the Channel Grid as needed.

Insert and Output paths have special rules re-

garding channel mapping (see “Overlapping

Channels and Valid Paths” on page 77).

Assigning Hardware Inserts

To assign a hardware insert to a track:

■

Select an insert from the track Insert Selector.

Selecting a hardware I/O insert

Bypassing Hardware Inserts

Hardware inserts do not provide a bypass control. To monitor playback without a hardware insert, either set it to Inactive, remove it by reassigning it to No Insert, or use a bypass switch on the hardware device itself.

See “Making Inserts Inactive” on page 436 for

more information.


Connecting and Integrating

External Devices

Pro Tools TDM and LE systems can create dedicated connections to external analog or digital devices. The number and type of connections depends on what kind of system you have.

To connect an external device to a Pro Tools system:

1 Connect an unused output (or pair of outputs for a stereo device) of your Pro Tools system to an input of the external signal processor.

2 Connect the output of the external signal processor to an unused input (or pair of inputs for a stereo device) of your Pro Tools system.

3 Define what physical ports are routed to

Pro Tools input and output ports, as appropriate, in either the Hardware Setup dialog or

I/O Setup dialog.

4 Define output, input, or insert paths as appropriate in the I/O Setup dialog.

If you plan to use a device as an insert, be sure to connect the device to matching inputs and outputs on your system. For example, to use outputs 7–8, the insert has to use inputs 7–8 also.

For additional information on connecting external devices, refer to your

Pro Tools Getting Started Guide

.

Connecting Effects Units Digitally

If you want to use the digital inputs and outputs on your Pro Tools system as effects sends and returns to a digital effects device, Pro Tools should be the clock master in most cases. Set your digital effects device to accept an external digital clock so that it synchronizes to Pro Tools.

To set up a digital send to an external device from a TDM system:

1 Do one of the following:

• On a 192 I/O, 192 Digital I/O, 96 I/O,

96i I/O, or 888|24 I/O in an HD-series system, choose Setups > Hardware Setup, choose the peripheral, and set the channel pair to Digital.

• On an 888|24 I/O that is used on a MIX-series system, choose Setups > Hardware, choose the peripheral, click Other Options, and set the channel pair to Digital.

• On an 882|20 I/O or 1622 I/O, choose Setups > Hardware Setup, choose the peripheral, and set Channel 1–2 input to Digital.

2 Choose Internal from the Clock Source popup menu (Pro Tools 5.3 and higher) or Sync

Mode pop-up menu (Pro Tools 5.2 and lower).

3 Click OK.


To set up a digital send to an external device from a Digi 002, Digi 002 Rack, or Digi 001 system:

1 Choose Setups > Playback Engine and choose the peripheral.

2 Do one of the following:

• If the external device is connected to the

S/PDIF RCA jacks, deselect S/PDIF Mirroring. (When S/PDIF Mirroring is on, digital output at the S/PDIF RCA jacks exactly mirrors the output of analog Channels 1–2.)

• If the external device is connected to the

Optical ports, choose a format (most likely

S/PDIF for an effects device) from the Optical Format pop-up menu.

3 Choose Internal from the Clock Source popup menu.

4 Click OK.

5 Optionally, configure the I/O Setup dialog with new path names for effects routing.

If you set the Optical Format to S/PDIF,

Pro Tools will watch the Optical port for any audio input, and ignore any audio input on the S/PDIF RCA jacks.

Using External Clock Sources

All Pro Tools systems can synchronize to an external clock source. Options for external clock vary according to the type of Pro Tools system you are using.

TDM Systems

Pro Tools|HD systems can receive external clock through any of the digital inputs on any HD-series I/O (including AES/EBU, S/PDIF, and Optical).

With Pro Tools|24 MIX-series systems, or if an expanded Pro Tools|HD system includes Legacy interfaces (such as the 888|24 I/O), connect to the digital input on Channels 1–2 of the Legacy audio interface in order to clock from them. Legacy I/Os only support 44.1 kHz and 48 kHz sample rates.

To determine correct card order and audio interface connections for TDM systems, refer to the Getting Started Guide that came with your system.

To select an external clock source for a TDM system:

1 Choose Setups > Hardware Setup.

2 Select the appropriate HD I/O in order to display its settings in the Main page.

3 If necessary, enable the appropriate Digital

Format (if you have not already done so, according to the instructions in your Getting Started

Guide or I/O Guide).

4 Set the Clock Source (Pro Tools 5.3 and higher) or Sync Mode (Pro Tools 5.2 and lower) to match the type of input.

5 Configure input routing of the digital source, using the Input and Output pop-up menus, if necessary.


6 Click OK to close Hardware Setup.

Digi 002, Digi 002 Rack, and Digi 001 Systems

Pro Tools can receive external clock from the

Optical input or S/PDIF input.

To select an external clock source for a Digi 002,

Digi 002 Rack, or Digi 001 system:


2 Set the Clock Source (Pro Tools 5.3 and higher) or Sync Mode (Pro Tools 5.2 and lower) to match the type of input.

If you choose Optical, make sure the Optical

Format matches the type of optical input you are sending to your Pro Tools system.

If you set the Optical Format to S/PDIF,

Pro Tools will watch the Optical port for external clock, and ignore any clock input on the S/PDIF RCA jacks.

Mbox Systems

Pro Tools can receive external clock from the

S/PDIF input on the Mbox.

To select an external clock source for an Mbox system:


2 Choose the SPDIF (Windows) or SPDIF/RCA

(Macintosh) 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.



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