Glossary. Avid Technology Pro Tools HD 6.4, Pro Tools LE 6.4, PRO TOOLS MIX 51
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Glossar y
9-pin (Sony 9-pin; DB-9) Industry standard for serial machine control of professional video and audio transports, made by Sony and other manufacturers. Refers to the DB-9-style physical external control connector found on 9-pin-compatible devices.
Absolute Grid mode An editing mode that constrains movement and alignment of regions to precise increments on a user-defined grid. See also Relative Grid mode.
A/D (analog-to-digital) Analog-to-digital converters operate at various bit-rate resolutions and sampling rates, converting analog audio signals to digital audio signals.
ADAT lightpipe Standard industry term for optical connection of digital audio. Created by Alesis, the lightpipe can simultaneously stream eight channels of digital audio.
address (time code address) Specific
SMPTE/EBU time code reference or reading, in hours:minutes:seconds:frames.
AES/EBU (Audio Engineering Society/European
Broadcasters’ Union) Industry professional standard for transferring digital audio between professional-quality audio devices. Most AES/EBU connections utilize an XLR-style 3-pin connector to carry two channels of digital audio.
AIFF (Audio Interchange File Format) An Apple
Computer audio file format.
AMS (Audio MIDI Setup) Apple Computer’s audio and MIDI operating system, which is part of
Mac OS X. For Macintosh users, AMS replaces
Opcode Systems’ OMS (Open Music System).
ATR (Audio Tape Recorder) A tape recorder of any format, including a Digital Audio Tape
(DAT) deck.
audio interface Among most Pro Tools systems, the audio interface is a separate box that is attached with a special cable to the audio card, or to a USB or FireWire port. An audio interface typically has analog and digital audio inputs and outputs, and may be equipped with level meters, level controls, and other features.
audio region A region of an audio file that is defined nondestructively with pointers. See also
region.
Audiomedia III Digidesign’s entry-level PCI card for Pro Tools, includes S/PDIF and stereo analog inputs and outputs.
AudioSuite plug-in Digidesign’s proprietary filebased, non-real-time plug-in format. AudioSuite processing creates a new audio file with the effect permanently applied.
audition Listening to, or “monitoring,” one or more tracks or audio files. In Pro Tools, you can audition files before you load them into the program. There are also various ways to audition takes from the Audio Regions List, the Takes List pop-up menu, and from DigiBase browsers.
Glossary 615
auto-created region Automatically created regions are a by product of editing and punch recording over existing regions.
Automation modes Function for recording and playing changes in levels, pan controls, and virtually every adjustable parameter (including plug-in parameters) in Pro Tools. There are several different automation modes in which to write automation data in Pro Tools.
aux See Auxiliary Inputs.
Auxiliary Inputs In Pro Tools, these input channels are used for send and bus returns (input only). Sends are used for output routing.
auxiliary send See send.
AVoption PCI cards and software that integrates
Avid video technology with Pro Tools.
AVoption|XL PCI card, video interface, and software that integrate Avid video technology with
Pro Tools.
.AVI Movie file format for the Video for Windows component of Microsoft’s Media Player, supported by Pro Tools.
bit depth One of two main specifications that define digital audio quality (the other is sample rate). Bit-depth defines how precisely a sound’s dynamic range is represented. Also called bitresolution or bit-rate.
black burst See house video reference.
BNC Coaxial cable connectors used for video and synchronizer signals.
Bounce To Disk Mixing a segment of audio (or an entire session) internally to disk, without leaving the digital domain. Bit rate, dithering options, and other parameters are provided by
Pro Tools for bouncing to disk.
breakpoint Step or level on a track’s automation playlist.
Broadcast WAV File (BWF) A variation of Microsoft’s .WAV audio file format that contains additional data on the title, origination, date, and creation time of the audio content not included in the standard .WAV file format. An important feature of BWFs is their support of time
stamping. Time stamping allows files to be moved from one session to another and easily aligned to their original point in time. browser The location where information contained in the databases is displayed and manipulated. With DigiBase, files can be moved on the volumes and spotted into Pro Tools sessions by drag and drop.
bus (noun) An internal routing path. bus (verb) To route one or more signals to one or more destinations (either internal or external).
clipping, clipping indicator the LED at the top of each channel meter indicates a level may have run out of headroom, and is approaching clipping. clock reference Common “speed” reference, which various devices can use to establish synchronization during playback and recording.
Conductor Ruler A ruler that can show session data. There are three types of conductor rulers, called Tempo, Meter, and Marker rulers.
continuous controller data MIDI instructions that affect MIDI note parameters, including volume, panning, velocity, pitch bend, and modulation. Also, the main type of instructions sent by MIDI control surfaces.
616 Pro Tools Reference Guide
Control|24 Digidesign-dedicated controller for
Pro Tools systems. Includes 16 premium microphone preamps, a control room monitoring section, and a line submixer. Ideal front-end for
Pro Tools recording, mixing, and editing.
crossfade Function for fading out from one region as you fade in to another region. Crossfade duration is user-selectable from within the Edit window. As with fades, portions of audio for which the crossfade function has been applied are stored in the session’s Fade Files folder.
d24 Digidesign’s original 24-bit TDM core card, needs a DSP Farm card to create a Pro Tools|24
TDM system.
D/A (digital-to-analog) Digital-to-analog converters operate at various bit-rate resolutions and sampling rates, converting digital audio signals to analog audio signals.
DAE (Digidesign Audio Engine) Digidesign’s realtime operating system that provides the core functionality of hard disk recording, digital signal processing, mix automation, and MIDI required by Pro Tools and other Digidesign products. database Databasing is a convenient way of storing, organizing, searching, and displaying information. A database file is a collection of records that hold data. In this guide, the term
“database” refers to a DigiBase database file.
Pro Tools creates and stores database files on local volumes as needed.
DB-9 See 9-pin.
Digi 001 Digidesign all-in-one audio interface for Pro Tools LE systems, comprised of a PCI card and I/O box. Includes two mic preamps,
S/PDIF I/O, ADAT lightpipe I/O, and eight channels each of analog input and output.
Digi 002 Digidesign’s FireWire-based
Pro Tools LE studio with integrated control surface. Includes eight touch-sensitive, motorized faders and 8 motion-sensitive rotary encoders, eight analog inputs and outputs, four mic preamps, eight channels of ADAT optical I/O, two channels of S/PDIF I/O, and 24-bit/96 kHz
A/D and D/A converters.
Digi 002 Rack Rack version of Digidesign’s
Digi 002. This FireWire-based Pro Tools LE system includes eight analog inputs and outputs, 4 mic preamps, eight channels of ADAT optical
I/O, two channels of S/PDIF I/O, and 24-bit/96 kHz A/D and D/A converters.
Digidesign Audio Engine See DAE.
dither “Noise” added to an audio signal when down-sampling bit rates. Designed to create a smoother transition at lower amplitudes.
drop frame Refers to a variance of SMPTE/EBU time code for NTSC color video (29.97 fps) that omits two frames (frames “0” and “1”) every minute except for every tenth minute.
DSP (Digital Signal Processing) In audio terms,
DSP refers to manipulation of digital audio—everything from reverberation to changes in level.
DSP Farm PCI card containing DSP chips, the basic building blocks of a Pro Tools|24 TDM system.
Edit cursor Flashing line that appears when you click in a track in the Edit window.
edit decision list (EDL) List of edits, or events, typically with each event’s respective source in and out times, source reel number, and record in and out times.
Glossary 617
Edit insertion point Location within a track where you click (without dragging); also location at which a region’s start, end, or synchronization point will be placed.
Edit selection In the Edit window, this is what is highlighted in the playlist (such as a region).
Event List See MIDI Event List.
expansion chassis Expands the capabilities of
Pro Tools TDM systems running on Macintosh computers by adding more external PCI slots.
ExpressPro-Tools ATTO’s hard disk utility for the preparation of hard drives for Pro Tools. For
OS X, a new version of this utility, ExpressStripe, must be used.
fade A selection in which the volume rises or falls, typically from or to –
∞
. See also crossfade.
FireWire A high-speed peripheral standard capable of transferring data. FireWire is commonly used for digital audio and video devices, as well as external hard drives and other high-speed peripherals.
frames per second (fps) Number of frames that elapse per second, as defined by the four
SMPTE/EBU Time Code fps standards. These include:
• 24 fps (for film applications)
• 25 fps (the PAL/SECAM video standard)
• 29.97 fps (the NTSC color video standard)
(see also drop frame)
• 30 fps (the NTSC black and white video standard) general preference A preference that affects all sessions for the same user. This differs from a global preference, which is the same for all users. See also user preference.
Grid mode Used to align regions in tracks to the grid or between Grid boundaries. See also Abso-
lute Grid mode and Relative Grid mode.
Groove Template A template derived from an audio selection using Beat Detective. Groove templates contain information on the timing nuances and dynamics of the selected audio performance. Groove templates can then be used to conform or impose these performance characteristics on other audio material using
Beat Detective, or on other MIDI material using the Groove Quantize command.
groups Linked tracks in which an action in one of the tracks is mirrored in all tracks in the group. Groups can be created separately or linked between the Edit and Mix windows.
HD Accel PCI card with additional DSP for
Pro Tools|HD systems.
HD Core PCI core card, which connects to audio interface and contains the DSP, for a
Pro Tools|HD TDM system.
HD Process PCI card with additional DSP for
Pro Tools|HD systems.
headroom Amount of remaining gain available for a given signal before the onset of unacceptable clipping. house video reference (black burst) A type of clock reference signal commonly used to synchronize audio or video devices during playback or recording.
inactive Items that have been turned off in
Pro Tools to free up or conserve DSP. for example, when a track, send, or plug-in is inactive, its name appears in italics and the item is silent.
618 Pro Tools Reference Guide
indexing Used by databases to obtain and maintain the data displayed in browsers. Indexing creates and updates a database with the latest metadata information. item In digiBase, each row of data is referred to as an item in the Items List. Items include Volumes, Catalogs, Session files, and Media files, as well as other types of files.
latency Time delays inherent in internal processing or generation of audio signals within a computer.
Legacy I/Os Older Digidesign audio interfaces
(such as 888|24 I/O and 882|20 I/O) that can be connected to Pro Tools|HD audio interfaces
(such as 192 I/O and 96 I/O) for additional input and output channels. Legacy interfaces can only be used with 44.1 kHz and 48 kHz sessions.
lightpipe See ADAT Lightpipe.
Loop Sync A dedicated clock signal for synchronizing multiple HD-series interfaces together.
Loop Sync uses a Word Clock signal based on sampling rates of either 44.1 kHz or 48 kHz. As sample rates increase in the system, Loop Sync continues to operate at a base rate of 44.1 kHz or
48 kHz, depending upon the higher rate. Loop
Sync should be used only to chain multiple HDseries peripherals together.
machine control Pro Tools functions to control or be controlled by an external transport, typically a VTR or ATR.
Marker Memory Location referenced on a timeline, typically used to store locations to important points in a session. See also Memory Loca-
tion.
master (device) “Lead” machine or Pro Tools
System in a synchronized machine arrangement. Slaves follow masters. There can only be one master at any given time.
Master Fader track Governs the overall output of one or more tracks.
media file A file that contains actual audio, video, or graphics data. It also contains a variety of metadata (such as file name and format).
Memory Location Pro Tools supports up to 200
Memory Locations, which can include markers,
Edit selections, record and play ranges, track settings, and other data. They can be viewed and sorted in the Memory Locations window, from which they can also be accessed.
metadata Media files, session files, and other types of files contain their own sets of metadata, which include general types of data such as file name, creation date, and file size. Metadata varies with file type, format, and kind.
MIDI (Musical Instrument Digital Interface) A communication protocol designed to allow equipped instruments such as synthesizers to intercommunicate for control and playback purposes. Information transmitted over MIDI includes note-ons, note-offs, key velocity, pitch bend, and other performance data. Connections are made using cables equipped with 5-pin DIN connectors.
MIDI Event List Pro Tools window that shows the contents of a MIDI track in a column, for easy editing of individual MIDI events.
MIDI I/O Digidesign’s USB-based MIDI interface. Features 10 MIDI inputs and outputs for a total of 160 MIDI channels and supports timestamping for superior timing accuracy and precision.
MIDI Machine Control (MMC) See machine con-
trol.
MIDI Time Code See MTC.
Glossary 619
MIX Core PCI core card, which connects to audio interfaces and contains the DSP for a
Pro Tools|24 Mix TDM system.
MIX Farm PCI card with additional DSP for
Pro Tools|24 MIX systems.
MP3 (MPEG Layer 3) An adjustable-quality audio compression format developed by the
Fraunhofer Institute.
MTC (MIDI Time Code) Non-SMPTE form of time code that is used by some devices (including Pro Tools) to send and receive timing information.
nondestructive editing Leaves audio files intact.
As you edit audio within Pro Tools, you are only editing the regions, or “pointers,” to audio files that are stored on the hard drive, unless you explicitly choose destructive modes (during recording, or when using AudioSuite processing). non-drop frame Time code that is not in dropframe format. In North America, the standard format outside of color video production or post production is typically 29.97 fps non-drop frame.
NTSC Video standards developed by the National Television Standards Committee. NTSC color video runs at 29.97 frames per second;
NTSC black and white video runs at 30 fps. Used primarily in North and South America and Japan.
Nyquist frequency The highest audio frequency that can be accurately sampled, equivalent to one-half of the sampling frequency. The
Nyquist sampling theorem showed that the sampling rate must be at least twice the highest frequency present in the sample in order to accurately reconstruct the original signal.
offline (media) Not connected to or directly accessible by a computer.
620 Pro Tools Reference Guide offline (synchronization) Not under the control of (or controlling) another device for synchronized playback or recording.
OMS (Open Music System) A “MIDI operating system” for Mac OS 9, developed by Opcode. It handles the exchange of MIDI data between applications, including timing signals such as
MTC. OMS is replaced by AMS (Apple’s Audio
MIDI Setup utility) in Mac OS X.
online (media) Connected to and directly accessible by a computer. online (synchronization) Controlled by (or controlling) another device for synchronized playback or recording.
peak indicator Indicator light designed to warn of the possibility of clipping, which illuminates as a device’s input reaches a preset degree of headroom. performance volume A storage volume that has been designated to record and/or play back media files in a Pro Tools session.
PFL (pre fade listen) Sometimes called a “cue,” this is a channel’s level before it is attenuated or boosted by the fader setting. Master faders are
PFL in Pro Tools. See also pre-fader.
playlist A group of regions arranged on an audio or MIDI track.
positional reference Common reference that provides location information that various devices can use to establish synchronization during playback and recording. Most commonly, the information is delivered in the form of
SMPTE/EBU Time Code. post-fader Output from a track (typically a send) that is governed by the channel’s fader setting.
post-roll Adjustable time for playback to continue beyond the current playback or recording of a selection.
PRE Digidesign’s remote controllable 8-channel microphone preamp. Features eight discrete, matched transistor hybrid mic-preamp circuits and offers a pristine signal path designed specifically for the Pro Tools environment, but can also be utilized as a stand-alone microphone preamp.
preamp In recording studio terminology, a circuit designed to boost relatively low signal levels, such as a microphone output, up to standard line levels of –10 dBV or +4 dBu. Digi 002 and Digi 002 Rack are equipped with four microphone preamps. Digi 001 and Mbox are equipped with two microphone preamps. See also PRE.
pre-fader Output from a track (typically a send) that is independent of the channel’s fader setting.
pre-roll Adjustable time that precedes the playback or recording of a selection.
ProControl Digidesign-dedicated controller that communicates with Pro Tools by means of ethernet. Features include touch-sensitive, motorized faders, and a dedicated effects editing section.
Pull Up/Pull Down Refers to the deliberate “miscalibration” of the audio or video sample rate clock (the audio pitch) in order to compensate for a speed change elsewhere in the production chain. The usual situation in which these rates are encountered is when film footage (at 24 fps) is transferred to color NTSC-standard video tape
(at 29.97 fps). Video Pull Up/Pull Down is supported in Pro Tools 5.3.1 and higher.
quantize To adjust MIDI note locations or durations to the nearest unit or template structure so that a particular rhythmic “feel” is achieved.
QuickTime Apple’s system extension for control of time-based events, such as digitized video movies and digitized sound.
RealAudio Audio compression scheme designed for streaming over the internet.
record Element of a database. A database is a collection of records. Each record represents a particular file (such as a media file or session file).
The record contains all of the metadata describing that file, but none of the media. Therefore a record is much smaller than the actual file, and much easier to parse for information.
region Within Pro Tools, a “pointer” to a particular track selection or file. Regions can be dragged from the Regions List, or a DigiBase browser, to a track.
Relative Grid mode An editing mode that constrains movement and alignment of regions to precise increments on a user-defined grid while allowing the region to maintain an offset relative to that grid point. See also Absolute Grid
mode.
resolving The process of synchronizing multiple devices to a common clock reference.
RTAS (Real-Time Audio Suite) plug-ins Digidesign’s host-based, real-time effects plug-in format.
sample rate One of two main specifications that describe digital audio quality (the other is bit rate resolution). Sample rate refers to how frequently incoming audio is sampled per second during conversion from an analog to a digital signal.
Glossary 621
SCSI HBA (Small Computer System Interface and
Host Bus Adapter) Digidesign’s conformed terminology for SCSI cards. SCSI is a type of data bus allowing for the high speed transfer of data between a computer and peripheral devices. An
HBA is the card that connects the SCSI bus between the computer and peripheral devices such as hard drives.
send An adjustable additional track output, which can be routed to an internal bus for effects processing, monitoring, and submixing.
session file A work file, much like a word processing document or a graphics program file. A
Pro Tools session file contains data describing how media files are to be played and displayed.
It also contains metadata about the files on which it depends (audio and MIDI files, and related data such as fades, playlists, and selections). Each separate project worked on should be stored as its own session.
session template A Pro Tools session file whose parameters are preset to a user’s specific preferred state. Any Pro Tools session may be saved as a template using the Save As command for convenience of setup. slave Device that “follows” the master during synchronization.
Slave Clock (or Super Clock) Digidesign’s proprietary hi-speed Word Clock that runs at 256x
(256 times) the sample rate. It is required by
Pro Tools|24 MIX and Pro Tools|24 systems to synchronize audio interfaces to a single, highlyaccurate clock from SYNC I/O, USD, or HD audio interface. See also Legacy I/Os.
Sound Designer II (SDII) Digidesign’s high-quality digital audio file format.
S/PDIF Semi-professional version of the
AES/EBU standard. Stands for “Sony/Philips
Digital Interface Format.” S/PDIF connections use coaxial (RCA) or TOSlink optical in/out connectors. Most S/PDIF connections carry two channels of digital audio at a time.
Spot Audio post production process of aligning audio events to visual events. In Pro Tools, Spot mode lets spot regions to particular time code events.
Standard MIDI File Universal format that can be read by virtually any software that reads MIDI.
Type 0 is a single line sequence, type 1 is multitrack.
submix Routing multiple audio sources to an
Auxiliary Input for monitor mixes, bus-master control over levels, and shared effects processing.
subgroup See groups.
Super Clock (256x) See Slave Clock.
SYNC I/O Digidesign’s multi-format synchronization peripheral for Pro Tools TDM systems that supports all major industry-standard clock sources and time code formats. SYNC I/O features near sample-accurate lock to time code or bi-phase/tach signals and a 192 kHz capable, high-fidelity, low-jitter Word Clock.
synchronization Process of having two or more audio, video, or other devices play and record as one, at the same speed.
Sysex (System Exclusive) MIDI data specific to a particular piece of hardware or instrument.
TDM (Time Division Multiplexing) A technology that employs a networked bus of DSP chips that supply the processing power for Pro Tools TDM systems.
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TDM plug-in Digidesign’s proprietary real-time, nondestructive plug-in format for Pro Tools
TDM systems. time code address See address.
time code generation Process of creating “fresh” time code.
Time Scale Timebase rulers The Main Time
Scale is the Timebase Ruler that determines the time format used for Transport functions, and
Grid and Nudge values. The Sub Time Scale is the Timebase Ruler that provides additional timing reference.
Timebase Rulers Up to five discrete strips measuring different units (samples, feet.frames, minutes:seconds, bars:beats, or time code) displayed across the top of the Edit window.
Timeline insertion point Location on the timeline corresponding to the cursor point, and the point from where playback or recording begins.
Timeline selection A selection in any Timebase
Ruler that determines the playback or record range.
transfer volume A storage volume that has been designated as a Transfer Volume in DigiBase
Workspace will not be used to record or play media in a Pro Tools session. Volumes that are not supported by Pro Tools for audio playback,
(such as network share volumes or CD-ROMs) will be designated as transfer volumes by default.
Universe window Provides a visual overview of all tracks in a session, and can be used to quickly navigate to any location in a session.
USB (Universal Serial Bus) A high-speed peripheral standard capable of transferring data at up to 12 Mb/sec. USB is used for many audio and video peripheral devices.
user preference A user-definable state for a specific Pro Tools parameter or system setup.
Mac OS X has the ability to create separate preferences files for each user. For Pro Tools databasing functions, these include browser views, and parameter and search settings. See also general preference. user-defined region Explicitly defined regions that are created when recording or importing audio or MIDI; capturing, separating, or consolidating a selection; trimming a whole-file audio region; or renaming an existing region.
velocity MIDI data parameter that describes how fast or hard a key is struck and controls the volume of MIDI note playback.
video reference signal Clock information contained in all video signals, which can be used as a clock reference. voiceable track Previously known as virtual voicing; total voiceable tracks refers to the maximum number of audio tracks that can share the available voices on your system.
voices With a Pro Tools system, refers to the number of channels that can be played back simultaneously.
VTR (Video Tape Recorder) A video tape recorder of any format.
.WAV Pronounced “wave,” this is Microsoft’s
Audio File Format. Can be read by Pro Tools on both Windows and Macintosh platforms.
waveform Means of visually representing a sound. When sound regions are imported into the Pro Tools Edit window, they can be viewed in waveform view.
Glossary 623
whole-file audio regions Created when recording or importing audio, consolidating existing regions, and when processing with an AudioSuite plug-in.
Word Clock Many professional digital audio products—including open-reel multitrack tape recorders, digital mixing consoles, and digital recorders—have Word Clock (1x sample rate) connectors.
Word Clock allows Word Clock-compatible devices to send or receive external clock information that controls the sample rate, which in turn
(where applicable) controls the play and record speed.
zero crossing Point at which a wave’s amplitude crosses the center line of the waveform display.
Typically, a good spot to edit a sound file is at zero crossings, to avoid unwanted artifacts.
Zoom Function used to view waveform displays within the Edit window with greater detail or more data.
624 Pro Tools Reference Guide
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Table of contents
- 3 Contents
- 13 Introduction
- 15 Chapter 1: Welcome to Pro Tools
- 15 The Pro Tools Guides
- 16 Conventions Used in These Guides
- 16 Digidesign Registration
- 16 Compatibility Information
- 16 About www.digidesign.com
- 17 Chapter 2: Pro Tools System Configurations
- 17 Pro Tools TDM Systems
- 17 HD-Series Systems
- 18 MIX-Series Systems
- 18 Supported Audio Interfaces
- 19 TDM System Playback, Recording and Voice Limits
- 20 Audio Interfaces for TDM Systems
- 21 Pro Tools LE Systems
- 22 Pro Tools LE System Capabilities
- 23 Chapter 3: Pro Tools Concepts
- 23 Hard Disk Audio Recording
- 23 The Digidesign Audio Engine
- 24 Playback Engine Dialog
- 24 Pro Tools Sessions
- 24 Session File
- 24 Audio File
- 25 Tracks
- 25 Regions (or Loops)
- 25 Playlist
- 26 Channel
- 27 Signal Routing
- 28 System Resources
- 29 Active and Inactive Items
- 31 MIDI Concepts
- 31 MIDI Terms
- 32 Common Misconceptions about MIDI
- 33 Chapter 4: Pro Tools Windows
- 33 The Mix Window
- 33 The Edit Window
- 36 Track Controls
- 36 Edit Tools
- 36 Event Edit Area
- 36 Location Indicators, Grid/Nudge Values, Current Cursor Display
- 37 The Transport Window
- 37 Basic Transport Controls and Counters
- 39 MIDI Controls
- 41 Chapter 5: Keyboard Shortcuts
- 41 Global Key Commands
- 42 Keyboard Focus
- 43 Numeric Keypad Modes
- 43 Shuttle Lock Modes
- 45 Shuttle Mode
- 47 Sessions & Tracks
- 49 Chapter 6: Sessions
- 49 Starting Up or Shutting Down Your System
- 49 Configuring Pro Tools System Settings (in the Playback System Engine)
- 50 Hardware Buffer Size
- 50 CPU Usage Limit
- 50 Number of Voices
- 51 Default Sample Rate
- 52 Delay Compensation Engine
- 52 DAE Playback Buffer Size
- 53 System Memory Allocation
- 53 Configuring Pro Tools Hardware Settings
- 53 Configuring Pro Tools|HD Hardware
- 57 Creating a New Session
- 58 Selecting a Fader Gain
- 59 Opening a Session
- 59 Opening a Session that Contains Unavailable Files
- 59 Opening a Session that Contains Unavailable Resources
- 60 Selecting Fader Gain when Opening a Previously Recorded Session
- 60 Saving a Session
- 60 Saving the Session File
- 60 Saving the Session File with a New Name
- 61 Saving a Copy of the Session
- 63 Creating Custom Session Templates
- 63 Creating Windows Templates
- 64 Creating Macintosh Templates
- 65 Closing a Session
- 65 Quitting Pro Tools
- 65 Sharing Sessions Between Pro Tools TDM Systems and Pro Tools LE Systems
- 66 Opening a TDM Session in Pro Tools LE
- 66 Preferences
- 79 Chapter 7: I/O Setup
- 81 Main Paths and Sub-Paths
- 81 Default I/O Settings
- 81 Stems and Stem Mixes
- 82 The I/O Setup Dialog
- 83 I/O Setup Dialog Controls
- 83 Routing Hardware I/O to Pro Tools I/O
- 85 Creating and Editing Paths
- 85 Creating New Paths
- 87 Resetting Paths
- 87 Deleting Paths
- 88 Channel Mapping
- 89 Initializing I/O Setup
- 90 Active and Inactive Paths
- 91 Hardware Setup and Session Transfer
- 92 I/O Settings Files
- 92 Defaults, Settings Files, and Last Used Settings for New Sessions
- 94 I/O Setup Options
- 94 Meter Path Selector
- 94 Audition Path
- 96 Default Path Order
- 96 Default Output Path
- 96 H/W Insert Delay Compensation
- 97 Chapter 8: Tracks
- 97 Track Types
- 100 Track Controls
- 100 Input/Output Selectors
- 100 Volume/Peak/Channel Delay Indicator
- 100 Pan Indicator
- 100 Pan Slider
- 100 Volume Fader
- 101 Track Level Meter
- 103 Creating Tracks
- 105 Hiding Tracks
- 107 Assigning Inputs and Outputs to Tracks
- 107 Assigning Audio Track Inputs
- 108 Assigning Audio Track Outputs
- 108 Track Priority and Voice Assignment
- 109 Track Priority
- 109 Voice Assignment
- 111 Setting MIDI Input and Output
- 111 Assigning MIDI Track Input
- 112 Assigning MIDI Track Output
- 112 Soloing and Muting Tracks
- 114 Making Tracks Inactive
- 114 Adjusting Track Width
- 115 Color Coding Tracks
- 115 Grouping Tracks
- 116 Using the Groups List
- 117 Creating Groups
- 117 Editing Groups
- 119 Enabling Groups
- 121 Chapter 9: Importing and Exporting Session Data
- 121 Importing Audio
- 123 Conversion Quality
- 123 Importing Audio Files and Regions
- 125 Importing Audio Files with Drag & Drop from a DigiBase Browser
- 126 Importing Audio from an Audio CD
- 126 Importing Tracks and Track Attributes
- 128 Import Session Data Dialog
- 133 Exporting Audio
- 133 Exporting a Region as a New Audio File
- 134 Exporting Region Definitions
- 135 Exporting Pro Tools Tracks as OMFI or AAF Files
- 135 Exporting Sessions as Text
- 135 Export Session as Text Options
- 136 The Exported Session Text
- 137 Importing MIDI Files
- 138 Exporting MIDI Files
- 141 Chapter 10: File Management and Compatibility
- 141 Audio File Management
- 141 Locating Audio Files
- 143 WAV File Compatibility
- 143 Creating Macintosh and PC Compatible Sessions
- 144 Creating and Saving Cross- Platform Sessions
- 145 Moving Sessions Between Platforms with MacOpener (Using HFS/HFS+ Drives)
- 147 Recording
- 149 Chapter 11: Record Setup
- 149 Input Connections and Audio Levels
- 150 Record Enabling Tracks
- 152 Latch Record Preference
- 152 Record Safe Mode
- 152 Record Monitoring Modes
- 152 Auto Input Monitoring
- 153 Input Only Monitoring
- 153 Monitor Levels for Record and Playback
- 153 TrackInput Monitoring
- 154 Monitoring Latency
- 155 Zero Latency Monitoring
- 155 Low Latency Monitoring
- 156 Low Latency Monitoring During Recording
- 156 Default Track Names
- 157 Disk Allocation
- 159 Recording to the System Volume
- 159 Allocating Hard Drive Space for Recording
- 160 Record Modes
- 162 The Record Modes and MIDI
- 163 Recording with a Click
- 165 Setting the Default Meter and Tempo
- 165 Setting the Default Meter
- 165 Setting the Default Tempo
- 169 Chapter 12: Basic Audio Recording
- 169 Recording an Audio Track
- 173 Recording Multiple Audio Tracks
- 173 Record Shortcuts
- 173 Record Pause Mode
- 173 Recording Additional Takes
- 175 Punch Recording Audio
- 177 Loop Recording Audio
- 178 Auditioning Record Takes
- 178 Auditioning from the Regions List
- 178 Auditioning from the Takes List Pop-up Menu
- 179 Editing Preferences for Takes
- 180 Setting Punch/Loop Points
- 182 Setting Pre- and Post-Roll
- 184 Recording from a Digital Source
- 185 Recording from Digital Sources
- 186 Half-Speed Recording and Playback
- 187 Chapter 13: MIDI Recording
- 187 Recording from MIDI Devices
- 188 Enabling Input Devices
- 189 MIDI Thru
- 189 The Default Thru Instrument
- 190 MIDI Input Filter
- 190 Input Quantize
- 191 Wait for Note
- 191 MIDI Merge/Replace
- 192 Configuring MIDI Tracks for Recording
- 194 Recording to MIDI Tracks
- 195 Undo and MIDI Recording
- 195 Punch Recording MIDI
- 197 Regions and Punch Recording
- 197 Loop Recording MIDI
- 197 Loop Recording with Merge Mode
- 199 Loop Recording Multiple Takes
- 200 Recording System Exclusive Data
- 203 Chapter 14: Advanced Recording
- 203 QuickPunch Audio Recording
- 204 QuickPunch Guidelines for TDM Systems
- 205 QuickPunch Guidelines for LE Systems
- 205 Recording with QuickPunch
- 206 TrackPunch Audio Recording
- 207 Voice Requirements for TrackPunch Recording
- 207 Recording with TrackPunch Overview
- 208 TrackPunch Preferences
- 209 Configuring Synchronization and Track Arming
- 210 Enabling TrackPunch Mode
- 211 Transport Display of TrackPunch Status
- 211 TrackPunch Enabling Tracks
- 212 TrackPunch Recording
- 213 Example TrackPunch Workflows
- 213 Film Dubbing and Mixing with TrackPunch
- 214 Loading Dailies with RecordLock
- 215 Foley Recording with TrackPunch
- 215 Tracking and Overdubbing Music with TrackPunch
- 217 Editing
- 219 Chapter 15: Editing Basics
- 219 Pro Tools Editing
- 219 Nondestructive Editing
- 219 Editing During Playback
- 220 Track Material
- 221 Track View
- 222 Track Height
- 224 Displaying Region Names and Times
- 224 Audio Regions and Waveforms
- 225 Guidelines for Editing Waveforms
- 226 Nondestructive Audio Editing
- 226 Audio Regions and Automation Data
- 226 MIDI Regions and MIDI Data
- 227 Notes View for MIDI Tracks
- 228 Regions View for MIDI Tracks
- 229 Nondestructive MIDI Editing
- 229 MIDI Regions and Continuous Controller Events
- 229 Playlists
- 230 Working with Playlists
- 231 Multiple Undo
- 232 Levels of Undo and Memory
- 232 The Audio and MIDI Regions Lists
- 233 Sorting and Searching the Regions Lists
- 234 Selecting in the Region Lists
- 235 Stereo and Multichannel Tracks in the Audio Regions List
- 236 Edit Modes
- 236 Shuffle
- 236 Slip
- 236 Spot
- 237 Grid
- 238 Zooming
- 238 Horizontal and Vertical Zoom Buttons
- 240 Zoomer Tool
- 241 Zoom Preset Buttons
- 242 Zoom Toggle
- 243 Zooming with a Scroll Wheel
- 243 The Universe Window
- 244 Timebase Rulers
- 245 Main Time Scale
- 247 Tick-Based Timing
- 247 Ticks versus Samples
- 249 Chapter 16: Playing and Selecting Track Material
- 249 Playing Tracks
- 252 Auto-Scrolling Tracks in the Edit and Mix Windows
- 252 Navigation using Track Position Numbers
- 253 Scrolling Options
- 254 The Scrubber
- 256 Numeric Keypad Set to Shuttle
- 257 Linking or Unlinking Edit and Timeline Selections
- 258 Selecting Track Material
- 263 Using the Selection Indicators (Start, End, and Length)
- 264 Selecting Across Multiple Tracks
- 265 Other Useful Selection Techniques
- 266 Tabbing to Transients
- 267 Playing Selections
- 268 Looping Playback
- 269 Timeline Selections
- 270 Playing Edit and Timeline Selections with the Playhead
- 271 Moving the Playhead
- 273 Chapter 17: Working with Regions and Selections
- 273 Creating New Regions
- 273 Capture Region Command
- 274 Separate Region Command
- 275 Separation Grabber
- 275 Trim To Selection Command
- 276 Healing a Separation
- 276 Placing Regions in Tracks
- 277 Defining Region Sync Points
- 277 Placing Regions at the Edit Insertion Point
- 278 Aligning to Region Start Points
- 279 The Trimmer Tool
- 279 Standard Trimmer
- 280 The Time Trimmer
- 282 The Scrub Trimmer
- 282 Trim To Insertion Command
- 283 Trimming with Nudge
- 283 Sliding Regions
- 283 Shuffling Regions
- 284 Slipping Regions
- 285 Spotting Regions
- 286 Sliding Regions in Grid Mode
- 288 Nudging
- 289 Nudging Regions
- 290 Nudging a Region’s Contents
- 290 Shift Command
- 291 Quantizing Regions
- 291 Locking Regions
- 292 Muting/Unmuting Regions
- 292 Edit Commands
- 292 Track View and Edit Content
- 295 Editing Across Multiple Tracks
- 295 Duplicate Command
- 296 Repeat Command
- 297 Merge Paste Command
- 297 Editing Stereo and Multichannel Tracks
- 298 Processing Audio with AudioSuite Plug-Ins
- 299 Waveform Repair with the Pencil Tool
- 300 The Smart Tool
- 303 Chapter 18: Advanced Editing (TDM Systems Only)
- 303 Replacing Audio Regions
- 305 Repeat Paste To Fill Selection
- 305 Compress/Expand Edit To Play
- 306 Fitting an Audio Region to an Edit Selection
- 307 Chapter 19: Fades and Crossfades
- 307 Using Crossfades
- 307 About Crossfades and Curves
- 309 The Fades Dialog
- 314 Creating a Crossfade
- 315 Creating Fades at the Beginnings and Ends of Regions
- 315 Creating Fade-Ins and Fade-Outs
- 317 Using AutoFades
- 317 Creating Fades and Crossfades in Batches
- 319 Chapter 20: Managing Regions
- 319 Stripping Silence from Regions
- 319 The Strip Silence Window
- 320 Using Strip Silence
- 321 Inserting Silence
- 322 Consolidate Selection Command
- 322 Compacting an Audio File
- 323 Naming and Displaying Regions
- 323 Renaming Regions
- 324 Auto-Naming Options
- 324 Hiding and Removing Unwanted Regions
- 327 Chapter 21: Conductor Tracks and Memory Locations
- 327 Tempo Events
- 327 Inserting Tempo Events
- 329 Tempo and MIDI and Audio
- 330 Default Tempo
- 330 Identify Beat Command
- 330 Identifying Beats
- 331 Inserting Bar|Beat Markers One at a Time
- 332 Dragging Bar|Beat Markers
- 332 Editing Bar|Beat Markers
- 333 Meter Events
- 333 Inserting Meter Events
- 335 Partial Measures
- 335 Renumbering Bars
- 336 Memory Locations and Markers
- 336 Properties of Memory Locations
- 338 Creating Memory Locations
- 340 Recalling Memory Locations
- 340 Editing Memory Locations
- 342 Memory Locations Window
- 343 Memory Locations Commands and Options
- 345 Chapter 22: Beat Detective
- 346 Beat Detective Requirements
- 347 The Beat Detective Window
- 347 Beat Detective Modes
- 348 Defining a Beat Detective Selection
- 349 Calculating Tempo with Beat Detective
- 350 Generating Beat Triggers
- 351 Editing Beat Triggers
- 353 Generating Bar|Beat Markers with Beat Detective
- 354 Working with Sub-Beats
- 354 DigiGroove Templates
- 356 Separating Regions with Beat Detective
- 358 Conforming Regions with Beat Detective
- 360 Edit Smoothing
- 361 Detection (Normal) and Collection Mode
- 362 Using Collection Mode
- 365 MIDI Editing
- 367 Chapter 23: MIDI Editing
- 367 The Pencil Tool
- 368 Custom Note Duration
- 369 Setting the Grid Value
- 369 Inserting MIDI Notes
- 371 Manually Editing MIDI Notes
- 375 Typing in Note Attributes
- 375 Deleting MIDI Notes
- 376 Continuous Controller Events
- 377 Inserting/Editing Controller Events
- 378 Patch Select (Program and Bank Changes)
- 378 Default Program Change
- 380 Inserting and Editing Program Changes
- 381 Auditioning Programs
- 381 System Exclusive Events
- 382 Note and Controller Chasing
- 383 Offsetting MIDI Tracks
- 384 Stuck Notes
- 385 Chapter 24: MIDI Operations
- 385 MIDI Operations Window
- 386 Select Notes
- 387 Split Notes
- 388 Change Velocity
- 390 Change Duration
- 391 Transpose
- 392 Quantize
- 395 Quantize Examples
- 396 Experimenting with Quantize
- 397 Input Quantize
- 397 Groove Quantize
- 400 Applying Groove Templates
- 402 Restore Performance
- 403 Flatten Performance
- 405 Chapter 25: MIDI Event List
- 405 The MIDI Event List
- 405 Opening the MIDI Event List
- 408 Inserting Events in the MIDI Event List
- 410 Editing in the MIDI Event List
- 411 Selecting in the MIDI Event List
- 411 Deleting in the MIDI Event List
- 411 Copy and Paste in the MIDI Event List
- 412 MIDI Event List Options
- 413 Mixing
- 415 Chapter 26: Basic Mixing
- 415 Mixing Concepts
- 415 Metering and Calibration
- 416 Audio Signal Flow
- 416 Audio Tracks
- 417 Auxiliary Inputs
- 418 Master Faders
- 420 Inserts
- 420 Views in the Mix and Edit Windows
- 422 Track Input
- 423 Track Output
- 424 Multiple Output Assignments
- 426 Sends
- 426 Assigning Sends to Tracks
- 428 Configuring Sends View in the Mix and Edit Windows
- 429 Editing Sends in the Mix and Edit Windows (Send A-E Views)
- 430 Output Windows for Tracks and Sends
- 432 Panner Linking
- 433 Standard Selector Controls in Output Windows
- 434 Using Output Windows
- 435 Sends and Groups
- 435 Copying Track Settings to Sends
- 435 Submixing for Signal Routing and Effects Processing
- 436 Audio Input from MIDI Devices and Other External Sources
- 436 Creating a Submix
- 440 Delay Compensation
- 440 Delay Compensation Settings
- 440 Delay Compensation View
- 442 Dither
- 442 Dither in Pro Tools
- 444 Using a Control Surface with Pro Tools
- 445 Chapter 27: Plug-In and Hardware Inserts
- 447 Viewing Inserts
- 448 Making Inserts Inactive
- 449 Inserting Plug-Ins on Tracks
- 450 Plug-In Menu Organization
- 450 Plug-in Favorites
- 451 Inserting Plug-Ins During Playback
- 451 Moving and Duplicating Plug- In and Hardware Inserts
- 452 The Plug-In Window
- 453 Opening Plug-In Windows
- 453 Opening Multiple Plug-In Windows
- 454 Plug-In Window Controls
- 455 Bypassing Plug-Ins
- 455 Linking and Unlinking Controls on Multi-Mono Plug-Ins
- 456 Editing Plug-In Controls
- 456 Keyboard Shortcuts for Plug-In Controls
- 456 Plug-In Automation and Safe
- 457 Using a Key Input for Side-Chain Processing
- 458 Using Hardware Inserts
- 458 Assigning Hardware Inserts
- 458 Bypassing Hardware Inserts
- 459 Connecting and Integrating External Devices
- 459 Connecting Effects Units Digitally
- 460 Using External Clock Sources
- 463 Chapter 28: Automation
- 463 Automation Quick Start
- 464 Automation Playlists
- 464 Automation Playlists with Audio and MIDI Regions
- 465 Automation Modes
- 468 Automation Preferences
- 468 Smoothing
- 468 Thinning
- 468 AutoMatch
- 469 Setting the Automation Buffer Size
- 470 Automation Safe
- 470 Viewing Automation
- 471 Writing Automation
- 472 Automating Sends
- 473 Automating Plug-Ins
- 475 Enabling and Suspending Automation
- 476 Deleting Automation
- 477 Thinning Automation
- 477 Using the Thin Automation Command
- 477 Drawing Automation
- 479 Editing Automation
- 479 Graphical Editing of Automation Data
- 479 Editing Automation Types
- 480 Editing Automation Breakpoints
- 481 Editing Automation on Stereo and Multichannel Tracks
- 482 Editing Automation on Grouped Tracks
- 483 Cutting, Copying, and Pasting Automation
- 485 Writing Automation to the Start, End or All of a Selection
- 486 Write to Start, End, and All On Stop
- 487 Trimming Automation
- 487 Creating Snapshot Automation
- 489 Snapshot Automation and Trimming of Automation Data
- 491 Chapter 29: Mixdown
- 493 Recording to Tracks
- 494 Bounce to Disk
- 495 Bounce Options
- 495 Default Settings
- 495 Bounce Source
- 496 File Type
- 500 Format
- 501 Resolution
- 501 Sample Rate
- 502 Sample Rate Conversion Quality Option
- 502 Use Squeezer
- 502 Convert During or After Bounce
- 502 Import Into Session After Bounce
- 503 Help
- 503 Recording a Submix (with Bounce To Disk)
- 504 Final Mixdown
- 505 Mastering
- 505 Mastering to a Digital Recorder
- 507 Surround
- 509 Chapter 30: Surround Concepts
- 509 How to Use These Chapters
- 509 Mixing Formats and Surround Formats
- 510 Pro Tools Mixing Formats
- 510 Speaker Layouts
- 512 Surround Monitoring
- 512 The Importance of Speaker Placement
- 513 Calibrated Surround Monitoring
- 513 Formats and Terminology
- 514 LCRS for Dolby Surround
- 514 5.1 for Dolby Digital and DTS
- 514 .1 Formats
- 514 .0 Formats
- 515 LFE
- 515 Divergence
- 516 Where to Get More Information on Surround Technology
- 516 Surround Mixing Concepts
- 516 Surround Format Compatibility
- 517 Surround Formats and Delivery Mediums
- 517 Surround Playback System Variables
- 519 Chapter 31: Pro Tools Setup for Surround
- 519 Pro Tools Audio Connections for 5.1 Mixing
- 520 Configuring Pro Tools for Multichannel Sessions
- 520 New Sessions and I/O Settings
- 522 Importing Multichannel I/O Setups
- 522 Custom Multichannel Paths
- 524 Default I/O Selectors in I/O Setup
- 524 Default Path Order for 5.1 Tracks
- 524 5.1 Track Layouts, Routing, and Metering
- 525 Chapter 32: Multichannel Tracks and Signal Routing
- 525 Multichannel Quick Start
- 526 Multichannel Audio Tracks
- 526 Placing Audio in Multichannel Tracks
- 528 Multichannel Signal Routing
- 528 Multichannel Track Outputs
- 529 Multichannel Sends
- 529 Multichannel Auxiliary Inputs and Master Faders
- 529 Mono, Multi-Mono and Multichannel Plug-Ins
- 531 Paths in Surround Mixes
- 533 Example Paths and Signal Routing for a Surround Mix
- 533 Example Multichannel Paths
- 534 Signal Routing Examples
- 536 LFE Examples
- 537 Chapter 33: Surround Panning and Mixing
- 537 Introduction to Pro Tools Surround Panning
- 537 Mix and Edit Window Panner Grids
- 538 Output Window
- 539 Standard Controls
- 540 Surround Panner Controls
- 541 The X/Y Grid and Pan Cursor
- 542 Panning Modes
- 542 X/Y Panning
- 544 3-Knob Panning
- 545 LFE Faders in Multichannel Panners
- 545 Divergence and Center Percentage
- 546 Divergence
- 547 Center % (Percentage)
- 547 Pan Playlists and Automation
- 548 SurroundScope Metering Plug-In
- 549 Synchronization
- 551 Chapter 34: Synchronization Concepts
- 551 Synchronization Requirements
- 551 Aspects of Synchronization
- 552 Synchronizing Pro Tools
- 552 About Positional References
- 554 LTC (Longitudinal or Linear Time Code)
- 554 VITC (Vertical Interval Time Code)
- 554 Bi-Phase/Tach
- 555 SMPTE Frame Formats
- 556 Working with Film-Originated Material
- 556 Guide Tracks and Conforming
- 556 3:2 Pulldown
- 557 Film Speed Differs from NTSC Video Speed
- 558 Pull Up and Pull Down
- 558 When to Pull Up or Pull Down
- 561 Chapter 35: Working with Synchronization
- 561 Pro Tools Synchronization Options
- 561 SMPTE Trigger Resolved with SYNC I/O
- 562 Ext. Clock Output
- 563 Session Setup Window
- 564 Session Displays and Settings
- 565 SYNC Setup Settings
- 566 Session Start Offsets
- 567 Time Code Settings
- 568 Preparing to Work with SMPTE
- 568 Configuring Pro Tools for SMPTE
- 568 Selecting a SMPTE Format
- 569 Setting a SMPTE Session Start Time (Start Frame)
- 570 Redefining a Feet+Frame Position
- 570 Displaying Time in SMPTE Frames
- 570 Pull Up and Pull Down
- 572 Audio Sample Rate Pull Up and Down
- 573 Video Rate Pull Up and Down
- 574 Putting Pro Tools Online
- 575 Recording Online
- 575 Generating Time Code
- 576 Using MIDI Machine Control
- 576 Controlling External Devices Using MMC
- 576 Enabling MIDI Machine Control in Pro Tools
- 578 Synchronizing a Sequencer to Pro Tools on Macintosh
- 578 Setting Minimum Sync Delay
- 578 Remote Track Arming
- 579 MIDI Beat Clock
- 579 Spotting Regions to SMPTE Frame Locations
- 579 Spot Mode
- 579 The Spot Dialog
- 581 Auto-Spotting Regions
- 582 Using the Trimmer in Spot Mode
- 582 Time Stamping
- 582 Show Original Time Code in Regions
- 583 Creating a User Time Stamp
- 584 Identifying a Synchronization Point
- 585 Troubleshooting Synchronization
- 587 Chapter 36: Working with QuickTime Movies
- 587 About QuickTime
- 587 Using QuickTime Movies in Pro Tools
- 588 Video Capture/Playback Cards
- 588 If You Are New to Audio Post Production
- 589 QuickTime Requirements
- 589 Movie Playback Quality Options
- 590 Importing a QuickTime Movie
- 590 About the Movie Track
- 591 Firewire Playback of QuickTime DV Movies
- 591 Supported QuickTime Movies
- 592 Scrubbing the Movie Track
- 593 About the Movie Window
- 594 Setting the Movie Start Time (Movie Offset)
- 595 Spotting Audio to a QuickTime Movie
- 595 Using Grid Mode to Spot and Nudge Regions with Frame Accuracy
- 596 Importing QuickTime Audio (and Other Compressed Video Files)
- 596 Sample Rate Conversion Quality
- 597 Importing Audio from a QuickTime Movie
- 598 Bouncing to a New Movie
- 601 Appendix A: DSP-Induced Delays in Mixing (TDM Only)
- 601 Introduction to DSP-Induced Delay
- 602 When to Compensate
- 602 Overview of Delay Compensation Options
- 602 Delay Compensation
- 603 TimeAdjuster and Delay Compensation
- 603 Manually Compensating for Delays
- 603 Using the TimeAdjuster Plug-In
- 604 Nudging Audio Tracks
- 604 Delay Factors
- 605 Using Plug-In Inserts
- 605 Using Sends and Hardware Inserts
- 605 Using Hardware I/O
- 606 Bouncing Tracks
- 607 Appendix B: TDM Mixing and DSP Usage
- 607 Benefits of TDM II
- 608 TDM (or TDM I)
- 608 TDM II
- 609 DSP Allocation
- 609 DSP Allocation Basics
- 610 Mixing and DSP Usage
- 610 DSP Manager
- 610 Monitoring DSP Usage
- 611 Setting up Sessions to use DSP Efficiently
- 612 DSP Usage with TDM Mixers
- 612 Understanding Mixers
- 615 48-Bit Mixing Precision
- 615 Mixer Headroom
- 617 Mixer Automatiion
- 617 Stereo and Surround Dithered Mixers
- 618 A Note About Dithering to 16-Bit and Dither Plug-Ins
- 618 TDM Mixer Plug-Ins
- 619 Plug-In Features
- 619 Switching TDM Mixer Plug-Ins
- 620 Mixer Usage Guidelines
- 620 DSP Usage with TDM PlugIns
- 621 DSP Usage and I/O Allocation
- 623 Appendix C: Troubleshooting
- 623 Backing Up Your Work
- 623 Back Up Your Session Data
- 623 Back Up Your System Setup
- 623 Common Issues
- 623 Pro Tools Won’t Launch
- 624 Audio Interface Isn’t Recognized
- 624 Using DigiTest as a Diagnostic Tool
- 625 Performance Factors
- 625 Before You Call Digidesign Technical Support
- 625 Register Your System
- 625 Use Digidesign Resources
- 626 Gather Important Information
- 627 Glossary
- 637 Index