Chapter 6: Sessions. Avid Pro Tools HD 6.9, Pro Tools LE 6.9

Chapter 6: Sessions

This chapter covers the basics of starting a project in Pro Tools, including how to set up and save a Pro Tools session.

Starting Up or Shutting Down

Your System

To ensure that the components of your

Pro Tools system communicate properly with each other, you need to start them in a particular order.

Start up your Pro Tools system in this order:

1 For TDM systems with an expansion chassis, turn on the chassis.

2 Turn on any external hard drives. Wait approximately ten seconds for them to spin up to speed.

3 Turn on any MIDI interfaces, MIDI devices, or synchronization peripherals.

4 Lower the volume of all output devices in your system.

5 For TDM systems, turn on your Pro Tools audio interfaces. Wait at least fifteen seconds for your system hardware to initialize.

6 Turn on your computer.

7 Launch Pro Tools or any third-party audio or

MIDI applications.

Shut down your Pro Tools system in this order:

1 Quit Pro Tools and any other running applications.

2 Turn off or lower the volume of all output devices in your system.

3 Turn off your computer.

4 For TDM systems, turn off audio interfaces.

5 For TDM systems with an expansion chassis, turn off the chassis.

6 Turn off any MIDI interfaces, MIDI devices, or synchronization peripherals.

7 Turn off any external hard drives.

Configuring Pro Tools System

Settings (in the Playback

System Engine)

Pro Tools allows you to adjust the performance of your system by changing system settings that affect its capacity for processing, playback, and recording.

These system settings are changed in the Playback Engine Dialog (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.

Chapter 6: Sessions 37

Hardware Buffer Size

The Hardware Buffer Size (H/W Buffer Size) controls the size of the hardware cache used to handle host-based tasks such as Real-Time Audio-

Suite (RTAS) plug-in processing.

◆ Lower Hardware Buffer Size settings reduce monitoring latency, and are useful when you are recording live input.

◆ Higher Hardware Buffer Size settings allow for more audio processing and effects, and are useful when you are mixing and using more RTAS plug-ins.

In addition to causing slower screen response and monitoring latency, higher

Hardware Buffer Size settings can affect the accuracy of plug-in automation, mute data, and timing for MIDI tracks.

To change the Hardware Buffer Size:

1 Choose 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.

◆ 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.

The maximum CPU Usage Limit is 85 percent for single-processor computers (except for Digi

002, which has a limit of 99 percent), and 99 percent for multi-processor computers. (The 99 percent setting dedicates one entire processor to

Pro Tools.)

Increasing the CPU Usage Limit may slow down screen responses on slower computers.

To change the CPU Usage Limit:


2 From the CPU Usage Limit pop-up menu, select the percentage of CPU processing you want to allocate to Pro Tools.

3 Click OK.

Number of Voices

(TDM Systems Only)

On TDM systems, the Number of Voices setting lets you control the number of available voices and how those voices are allocated to DSPs in your system. For example, the default number of voices on a Pro Tools|HD 1 system is 48 voices, using one DSP (at sample rates of

44.1 kHz or 48 kHz).

Changing the number of voices affects

DSP usage, the total number of voiceable tracks, and overall system performance.

Depending on the current sample rate and the number of TDM cards in your system, you will have different choices for voice count. For voice limits on different Pro Tools|HD-series systems,

see “TDM System Playback, Recording and

Voice Limits” on page 7.

38 Pro Tools Reference Guide

To change the number of voices and DSP to allocate for voicing:


Playback Engine dialog

2 Select the number of voices and DSPs to allocate for voicing by selecting a value from the

Number of Voices pop-up menu.

• Select higher voice numbers when your

Digidesign cards are the only PCI cards in your computer, or when you are using an expansion chassis to run higher track counts.

• Select medium voice numbers when your

Digidesign cards are in an expansion chassis, or when you are using other PCI cards along with Digidesign cards.

• Select minimum voice numbers if you are using high-bandwidth PCI cards (such as video capture cards) along with your

Digidesign cards. In addition, to free up

DSP for plug-ins and processing, select the minimum number of voices and DSPs needed to play back the current session.

3 Click OK.

Default Sample Rate

The Sample Rate setting appears as the default sample rate when you create a new session.

(This setting is available only when there is no session open.)

The Sample Rate setting can affect the number of available voices on TDM systems.

To change the default Sample Rate:


2 Select the sample rate from the Sample Rate pop-up menu.

3 Click OK.

You can change the sample rate when creating a new Pro Tools session by selecting a different sample rate in the New Session dialog. (

See “Creating a New Session” on page 45.)


Delay Compensation Engine

(Pro Tools TDM Systems Only)

The Delay Compensation Engine lets you enable Delay Compensation for managing DSP delays in the Pro Tools mixer. For more informa-

tion, see “Delay Compensation” on page 469.

There are three settings in the Playback Engine dialog for dedicating DSP resources for Delay

Compensation:

None Allocates no DSP resources for Delay Compensation.

Short Allocates minimal DSP resources for Delay

Compensation for each channel. This is the most efficient setting for Pro Tools|HD Accel systems.

Long Allocates maximum DSP resources for Delay Compensation for each mixer channel. Long

Delay Compensation uses the same DSP resources used by high DSP overhead plug-ins.

To configure the Delay Compensation Engine:


2 From the Delay Compensation Engine pop-up menu, select a Delay compensation setting.

3 Click OK.

The Delay Compensation setting is saved as a session and system preference.

DAE Playback Buffer Size

The DAE Playback Buffer Size determines the amount of memory DAE uses to manage disk buffers, which affects system performance.

◆ 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.

◆ 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.

To change the DAE Playback Buffer Size:


Playback Engine dialog

2 From the DAE Playback Buffer pop-up menu, select a buffer size. Memory requirements for each setting are shown at the bottom of the

Playback Engine dialog.

3 Click OK.

4 If Pro Tools needs more system memory for the DAE Playback Buffer, it will prompt you to restart your computer.


System Memory Allocation

(Pro Tools TDM Systems Only)

When you start your computer, Pro Tools automatically reserves a portion of system memory for the DAE Playback Buffer. This reserved memory is unavailable to other applications, even if

Pro Tools is not running.

You can set Pro Tools to reserve only the minimum amount of required memory, so that system memory is available to other applications.

To minimize system memory allocation:


2 Select the “Minimize System Memory Allocation” option.

3 Click OK.

4 Do one of the following:

• On Windows systems, restart your computer.

– or –

• On Macintosh systems, enter your password when prompted, then restart your computer.

The following section outlines the configuration of a Pro Tools|HD-series system with one or more Pro Tools|HD interfaces (with one or more

Legacy interfaces attached).

To configure a Pro Tools LE system, refer to the

Getting Started Guide

that came with that system.

Configuring Pro Tools|HD

Hardware

On TDM systems, you configure Hardware settings for each audio interface connected to your system. For example, Pro Tools|HD-series systems can have 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O audio interfaces connected to

HD Core and HD Accel or HD Process cards in the system. The 192 I/O, 192 Digital I/O, and

96 I/O can have additional interfaces attached

(including older Digidesign audio interfaces, or

Legacy I/Os , such as the 888|24 I/O, 882|20 I/O or 1622 I/O). For more information, see

Chapter 2, “Pro Tools System Configurations.”

Configuring Hardware Setup

The Main page of the Hardware Setup dialog is where you define which physical inputs and outputs on your audio interface are routed to available inputs and outputs in Pro Tools.

Configuring Pro Tools

Hardware Settings

Pro Tools allows you to configure the signal routing, digital I/O format, default sample rate, clock source, and other hardware-based settings depending on your system configuration.

Hardware Setup dialog for 192 I/O (Main page)


Additional pages are available to configure other controls for each audio interface (such as setting operating levels). For details, refer to the Getting

Started Guide for your system, or to the guide for your audio interface.

Hardware Setup dialog for 192 I/O (Analog In page)

You can identify audio interface connections at any time by selecting the interface name in the Peripherals list, then clicking

Identify. All the LEDs on the interface front panel will illuminate.

To configure audio interfaces on a Pro Tools|HDseries system:

1 Choose Setups > Hardware Setup.

2 From the Peripherals list, select the Digidesign audio interface connected to the first card in your system. This will be the interface at the top of the list.

3 Click the Main tab.

4 From the Clock Source pop-up menu, select the appropriate clock source for the system. In most cases, you will use Internal. The other choices are for resolving Pro Tools to external clock sources. Depending on your audio interface, Clock Source options can include:

AES/EBU [Encl], S/PDIF, Optical [Encl], AES/EBU

1–8, TDIF, ADAT, and Word Clock (optional

Word Clock rates are available when operating at higher sample rates).

5 From the Ext. Clock Output pop-up menu, select the appropriate clock output to send to devices attached to your audio interface.

6 Select which digital I/O port on your audio interface enclosure is active under Digital Format.

Choices include: AES/EBU, S/PDIF, and Optical

(S/PDIF). Selecting Optical (S/PDIF) resets the

Optical I/O port (which is, by default, eight channels of ADAT I/O) to two channels of

S/PDIF Optical I/O.

7 For S/PDIF compatibility with Tascam DA-30

DAT recorders select the Tascam option under

S/PDIF Format.

8 For the 96 I/O, click the Meters pop-up menu and select whether to meter the input or output signal.

9 From the Input and Output pop-up menus, select the physical ports (such as Analog 1–2 or

Optical 1–2), that will be routed to the corresponding Pro Tools input and output channels

(such as Ch 1–2 or Ch 3–4), listed on the left side of the Main page.

Inputs and outputs of similar format are differentiated in the input and output channel popup menus. For example, the AES/EBU inputs and outputs in the 192 I/O enclosure are listed as AES/EBU [Encl], while the AES/EBU inputs and outputs on the factory-installed Digital I/O card are listed (in pairs) as AES/EBU 1–2,

AES/EBU 3–4, AES/EBU 5–6, and AES/EBU 7–8.

For 192 I/Os equipped with the optional

Digital I/O Card, the additional AES/EBU I/O ports on the optional card are listed as AES/EBU

9–10, AES/EBU 11–12, AES/EBU 13–14, and

AES/EBU 15–16.


10 Click other tabs (such as Analog In and Analog Out) for additional configuration options specific to the audio interface. These include:

• On the 96 I/O, configuring the operating levels of analog inputs and outputs (+4 dBu or –10 dBV).

• On the 96i I/O, configuring the operating levels of analog inputs and outputs (+4 dBu or –10 dBV).

• On the 192 I/O analog input, setting the input connector and Soft Limit

• On the 192 I/O, configuring the two sets of trims for analog inputs and outputs.

• On the 192 I/O and 192 Digital I/O, configuring real-time Sample Rate Conversion for digital inputs.

• On the 192 I/O and 192 I/O Digital, configuring inputs and outputs on any optional

A/D card, D/A card, or Digital I/O cards installed in the unit.

For more information on Hardware Setup controls for each Pro Tools|HD audio interface, refer to the Getting Started with HD

Guide or the guide for that audio interface.

11 Repeat the above steps for each additional

Pro Tools|HD audio interface.

Use the Up and Down Arrow keys to scroll though peripherals in the Peripherals list.

12 Repeat the above steps for any Legacy I/Os connected to the Pro Tools|HD audio interfaces in your system. Before you can configure a Legacy I/O, it must first be initialized in Hardware

Setup (See “Initializing MIX-Series Legacy Peripherals (on a Pro Tools|HD-Series System)” on page 43.)

13 Click OK.

Initializing MIX-Series Legacy

Peripherals (on a Pro Tools|HD-Series

System)

Before you can configure a Legacy I/O, it must first be initialized in Hardware Setup.

To initialize a Legacy I/O on a Pro Tools|HD-series system:

1

Start up your Pro Tools system. See “Starting

Up or Shutting Down Your System” on page 37.

2 Make sure to lower the volume of your output devices. Very loud digital noise may be emitted before the Legacy I/O is initialized.

3 Turn on your Legacy I/O.

4 From the Peripherals list, choose the primary audio interface (the interface to which your Legacy I/O is connected).

5 In the Main page of the Hardware Setup dialog, select the Legacy I/O option under Port Settings.

6 In the Peripherals list, “No Interface” is listed twice, directly below the primary audio interface. Click the first “No Interface.” An Interface pop-up menu appears in the Hardware Setup dialog, listing supported I/O choices.

7 From the Interface pop-up menu, select the type of Legacy I/O you connected.

8 Set the External Clock Output on the

Pro Tools|HD-series interface to 256x, which is the required clock speed for Legacy I/Os.

The Main page updates with controls that can be configured.

9 Repeat the above steps for each additional

Legacy I/O.

For more information on Hardware Setup controls for each Legacy audio interface, refer to the guide that came with the interface.


Configuring I/O Setup

The I/O Setup dialog provides a graphical representation of the signal routing for each connected audio interface, with controls to route physical ports on the audio interface to

Pro Tools inputs and outputs. These controls mirror the routing controls found in the Hardware Setup dialog—changes made to physical routing in one dialog are always reflected in the other. The I/O Setup dialog lets you label and map Pro Tools input, output, insert, and bus signal paths . For more information on paths, path

labeling, and path mapping, see Chapter 7, “I/O

Setup.”

The I/O Setup dialog also provides important audition, meter, and surround settings. For

more information, see Chapter 7, “I/O Setup.”

Routing a Pro Tools Output Pair to

Multiple Destinations

Pro Tools channel pairs can be routed to multiple outputs on an audio interface through the

Hardware Setup dialog. For example, if you assign both Analog 1–2 and Analog 3–4 interface outputs to Pro Tools Output pair 1–2, when you send a signal to Pro Tools Outputs 1–2, that signal will be routed simultaneously to both pairs of output ports on your audio interface.

This lets you send the same signal (such as a stereo pair, a stem mix, or a multichannel mix) to multiple destinations (such as multiple mastering devices).

To select multiple output ports for a Pro Tools output channel pair:

1 Choose Setups > Hardware Setup.

2 From the Peripherals list, select an interface.

3 Click the Main tab.

4 Select an output port pair from an Output pop-up menu.

5 Start-click (Windows) or Control-click (Macintosh) the same pop-up menu a second time to choose an additional output port pair.

The output name updates with a plus sign (“+”) before it to indicate that multiple output ports are selected. In the pop-up menu, each physical port pair assigned to that Pro Tools output pair is indicated by a check mark.

Hardware Setup dialog for 192 I/O (Main page)

6 Repeat the above steps to select additional output destinations. The only limit to output choices is the number of outputs available in your system.

Pro Tools output pairs can also be routed to multiple audio interface outputs in the

I/O Setup dialog. For more information, see

“Routing Hardware I/O to Pro Tools I/O” on page 71.


Creating a New Session

The first step in beginning a Pro Tools project is creating a new session. When you do this,

Pro Tools automatically creates a new folder named for your session. Within this folder is the session file and two subfolders (an Audio Files folder, and a Fade Files folder).

The Audio Files folder contains all audio recorded or converted during the session. The

Fade Files folder contains any crossfaded audio data generated by the session.

When you record a new audio track, the track is saved as a new audio file to the Audio Files folder. You can also import other audio files into the session, and work with them as well.

To create a new session:

1 Choose File > New Session.

Typical session folder

For details on allocating audio tracks to different hard drive locations, including shared media

volumes, see “Disk Allocation” on page 153.

New Session dialog

2 Choose the drive where you want to save the session. The session should be saved on a dedicated audio drive.

3 To use Japanese or non-ASCII characters in track and region names, or track comments, deselect the option for “Enforce Mac/PC Compatibility” when creating a new session.

If you save a session copy with the “Enforce

Mac/PC Compatibility” option selected, all

Japanese and non-ASCII characters will be lost.

4 Select the audio file format for the session.

For optimum compatibility between Windows and Macintosh sessions, set the file type to BWF

(.WAV).

Sound Designer II (SD II) files are not supported on Windows systems (or at sample rates above

48 kHz), and Pro Tools prevents you from choosing SD II as the file type if Enforce Mac/PC

Compatibility is selected (or the session is on a

PC).


5 Select the bit depth (16 bit or 24 bit) and the sample rate.

6 Select the Fader Gain (+12 dB or +6 dB).

7 Select the I/O Settings to use for the session.

Several pre-configured I/O Settings are included with your system, or you can select a custom I/O

Setting that you have created. See Chapter 7,

“I/O Setup” for more information.

8 Name the Session.

9 Click Save.

Selecting Bit Depth and Sample Rate

When selecting a bit depth or sample rate for your session, consider the disk space your selection will require. 24-bit audio files occupy about

50 percent more disk space than 16-bit audio files. 192 kHz audio files occupy about four times the space as 44.1 kHz audio files.

Bit depth and sample rate also have an effect on the amount of mixing power available in a session. Fewer mixer channels are available with

24-bit sessions and with sessions at higher sample rates. (For more information with TDM sys-

tems, see Appendix B, “TDM Mixing and

DSP Usage (TDM Systems Only).”)

It is not possible to combine different bit depths within a single Pro Tools session; files of different bit depths must be converted and imported into the session.

Selecting a Fader Gain

Sessions can be created with a maximum fader gain of either +6 dB or +12 dB. The fader gain setting is saved with the session, and is set as the default.

Sessions created and saved with a +12 dB fader gain level can be opened in previous versions of

Pro Tools, but breakpoints for volume automation above +6 dB will be lowered to +6 dB.

The +12 dB Fader Gain setting only affects the position of the fader (both in Pro Tools and on control surfaces) above the 0 dB mark. Fader positions below 0 dB are unaffected.

Opening a Session

When you open a session, Pro Tools looks in the session folder for audio and fade files linked to the session.

To open an existing session:

1 Choose File > Open Session.

2 Locate the session you want to open and click

Open.

Open Session dialog

Opening a Session that Contains

Unavailable Files

The DigiBase feature will prompt you if files are located but reside on Transfer volumes (such as

CD-ROMs), or if any required files cannot be

found. See “Locating Audio Files” on page 137

for more details.


Opening a Session that Contains

Unavailable Resources

Pro Tools prompts you when opening a session that contains unavailable voices, I/O paths, DSP resources, or plug-ins. This is common when transferring sessions to systems with different

Digidesign hardware.

With Pro Tools LE Systems Only:

◆ Any tracks beyond the maximum number of available voices on the current system are set to voice off .

Selecting Fader Gain when

Opening a Previously Recorded

Session

When opening a session created in a previous version of Pro Tools, you are given the choice of staying at +6 dB or updating to +12 dB.

When opening a session created in the current version of Pro Tools, the session is opened with your previously saved fader gain settings.

Opening a +12 dB Session in a Previous

Version of Pro Tools

Sessions created and saved with a +12 dB fader gain level can be opened in previous versions of

Pro Tools. Breakpoints for volume automation above +6 dB will be lowered to +6 dB.

Opening a session with unavailable resources

The dialog contains a summary of the missing session components. To save a text file containing a more detailed report, along with the resulting action, click Yes.

The following will occur when opening a session with unavailable items:

With all Pro Tools Systems:

◆ Inserts assigned to unavailable plug-ins are made inactive.

◆ Inputs, outputs, and sends that are assigned to unavailable paths are made inactive.

With Pro Tools TDM Systems Only:

◆ Any tracks beyond the maximum number of available voices on the current system are made inactive.

Saving a Session

You should save regularly while working on your session to ensure that your work is preserved on your hard drive.

Saving the Session File

The Save Session command saves the changes you have made to your session and writes them over the previously saved version of the session file. The Save Session command cannot be undone.

To save a session:

■

Choose File > Save Session.


Revert to Saved Command

If you have made changes to a session since you last saved it, you can discard the changes and revert to its previously saved state.

To revert to the last saved version of a session:

■

Choose File > Revert to Saved.

Saving a Copy of the Session

To save a copy of the current session along with its audio files and fade files, you can use the Save

Session Copy In command. In addition, you can specify a session file format, audio file format, bit depth, and sample rate for the session copy.

Saving the Session File with a

New Name

To save a copy of the current session with a new name or to a different hard drive location, you can use the Save Session As command. Because the Save Session As command closes the current session and lets you keep working on the renamed copy, it is useful if you are experimenting and want to save successive versions of the session.

By working this way, you can quickly retrace your steps if you want to go back to an earlier version of your session. The Save Session As command saves a new version of the session file only—not duplicate versions of the audio or fade files.

To save a session with a new name:

1 Choose File > Save Session As.

2 Enter a new name for your session.

3 Click Save.

The renamed session file is saved in the session folder along with the original session. Any new audio files that you record in your renamed session will be placed into the same Audio Files folder that was created for your original session.

Save Session Copy In dialog

Unlike the Save Session As command, Save Session Copy In does not close the original session, so subsequent edits are made to the original session. Session copies can be used to archive important sessions, or as a means to prepare sessions for transfer to another Pro Tools system.

Save Session Copy In saves only the audio being used in the session. Any audio that was recorded or imported and then later removed from the session will not be included in the new session copy.


Using the Save Session Copy In command is the only way to change the sample rate of a session.

When you Save Session Copy In with a lower bit rate, Dither (and Noise Shaping) may be applied. See the following table:

Dither and Noise Shaping with Save Session Copy In

Bit Rate Dither

Noise

Shaping

24-bit to 24-bit

16-bit to 24-bit

No

No

No

No

24-bit to 16-bit

16-bit to 16-bit

Yes

No

Yes

No

Session Format

You can save the session copy in the following formats, depending on your platform:

Windows:

• Pro Tools Session (*.pts); supports Pro Tools

5.1 and higher

• Pro Tools 5.0 Session (*.pt5)

• Pro Tools 4 24-Bit Session (*.p24)

• Pro Tools 4 16-Bit Session (*.pt4)

Macintosh:

• Latest; supports Pro Tools 5.1 and higher

• Pro Tools 5.0 Session

• Pro Tools 4 24-Bit Session

• Pro Tools 4 16-Bit Session

• Pro Tools 3.2 Session

When saving sessions to versions lower than

5.1, multichannel tracks (including stereo) and multi-mono plug-ins are lost. In this case, make sure to first separate the tracks and plug-ins to individual mono tracks.

Session Parameters

Audio File Type

You can save the session to reference BWF

(.WAV) or AIFF audio files. On the Macintosh, you can also save the session to reference SD II audio files (at sample rates up to 48 kHz).

SD II sessions are not supported with

Pro Tools for Windows, or with sample rates higher than 48 kHz. You cannot set the session audio file type to SD II on the

Macintosh if Enforce Mac/PC Compatibility is selected, or if the sample rate of the destination session is greater than 48 kHz.

Using Mixed File Types

A session can use mixed audio file types. If your original session has mixed file types, they are not converted to a different file type unless you specify that they be converted. However, when using mixed file types, audio performance will be reduced (due to additional file handling required for some file formats).

Bit Depth

You can save the new session at 16-bit or 24-bit depth. If your session is in a different bit depth, audio files are converted to the new session bit depth, and copied to the location you specify.

Sample Rate

You can save the new session at sample rates of

44.1 kHz or 48 kHz (on Mbox) and at sample rates up to 96 kHz (on Digi 002, Digi 002 Rack and Pro Tools|HD-series systems with a 96 I/O or 96i I/O) or up to 192 kHz (on Pro Tools|HDseries systems with a 192 I/O or 192 Digital I/O).

If your session is at a different sample rate, audio files are converted to the new session sample rate, and copied to the location you specify.


The higher the quality of sample rate conversion you choose, the longer Pro Tools will take to process the audio file.

Fader Gain

You can save the new session with a +6 dB or a

+12 dB maximum fader gain. When saving a

+12 dB session as a +6 dB session, Pro Tools alerts you that any automation breakpoints over

+6 dB will be lowered to +6 dB.

Enforce Mac/PC Compatibility

This setting forces Windows or Macintosh versions of Pro Tools to create sessions and audio files that are usable on both platforms. For more

information, see “Creating Macintosh and PC

Compatible Sessions” on page 139.

Items to Copy

All Audio Files

When this option is selected, all audio files are copied to the new location.

This setting is automatically selected if you are changing the bit depth or sample rate of the session.

All (Non-Native) Audio Files

The name of this option varies depending on the audio file type you select. If you are changing the audio file type of the session, this option ensures that all files in the copied session are converted to the selected file type. Use this option to avoid the reduced performance of a session with mixed file types.

This option is automatically selected if you are changing bit depth or sample rate, or copying a session on the Macintosh from SD II format to

AIFF or BWF (.WAV) format with Enforce

Mac/PC Compatibility selected.


Don’t Copy Fade Files

When this option is selected, Fade Files are not copied to the new session Fade Files folder.

When the session is launched, the Find Files dialog will prompt you to locate Fade Files. You can either locate the existing fades using the find file dialog, or Skip All to let Pro Tools recreate the fades from the session document.

Session Plug-In Settings Folder

When this option is selected, the session’s Plug-

In Settings folder is copied to the new location.

The references to these plug-in settings in the session are redirected to point to the copied settings files.

Root Plug-In Settings Folder

When this option is selected, the contents of the root-level Plug-In Settings Folder are copied into a folder named Place in Root Settings Folder , indicating that these files will need to be moved to the root level plug-in settings folder on the destination system before you can use them. The references to these settings files in the session are not redirected to point to the copied files.

Movie/Video Files

When this option is selected, session movie files

(such as Avid or QuickTime video files) are copied to the new location, and session references are updated to point to the copied movie files.

To save a session copy in a new location:

1 Choose File > Save Session Copy In.

2 In the Save Session Copy dialog, choose a destination and enter a name for the new session file.

3 Set the Audio File Type to BWF (.WAV) or AIFF, or SD II. If the audio files need to be compatible with either Windows or Macintosh, select or

BWF (.WAV) or AIFF.

4 Set the Sample Rate and Bit Depth for the session.

5 Select “Enforce Mac/PC Compatibility” if you want to create session and audio files that can be used in either Windows or Macintosh versions

of Pro Tools. See “Creating Macintosh and PC

Compatible Sessions” on page 139 for more in-

formation.

6 Select the Items to Copy to the new session.

7 Click Save.

4 Close the session.

5 Locate the session file that you just saved.

6 Right-click the file and choose Properties.

7 Under Attributes, deselect Archive and select

Read Only.

Creating Custom Session

Templates

You can create custom session documents that are pre-configured to the track setups, mixer setups, window arrangements, and zoom level memory locations that you use most frequently.

Doing this will save you the trouble of having to create your studio setup from scratch every time you start a new session.

Creating Windows Templates

In Windows, you can create a session template by making a session file a Read Only document.

To create a custom session template in Windows:

1 Create a session and arrange its elements as you want them to appear in the template. You can also define elements such as signal routings, insert and send configurations, track views,

Ruler settings, and Preference settings.


3 Name the session and click Save.

Making a session a Read Only file (Windows)

8 Click OK.

To use this template, double-click it or open it with the Open Session command. When you first save the session, Pro Tools will ask you to give the session a new name. Your original session template will remain unchanged.

To modify the session template, you will need to reopen its Properties, deselect the Read Only option and select the Archive option, make your modifications, then change it back to a Read

Only file.


Creating Macintosh Templates

On the Macintosh, you can create a session template by saving a session file as a Stationery Pad document. Once a session is saved as a Stationery Pad, it acts as a template that you can open and then resave as a normal session.

To create a custom session template on the

Macintosh:

1 Create a session and arrange its elements as you want them to appear in the template. In addition to track setup, you can also define elements such as signal routings, insert and send configurations, Mix and Edit window views,

Ruler settings, and Preference settings.


3 Name the session and click Save.

4 Close the session.

5 Locate the session file that you just saved.

6 Click once on the file to select it.

7 Choose File > Get Info > General Information.

To use this template, double-click it or open it with the Open Session command if you are already running Pro Tools. You can create several custom templates for studio setups that you frequently use.

When you open a session saved as a Stationery

Pad, Pro Tools gives you the option of editing the template or starting a new session using the template settings. If you choose New Session,

Pro Tools will create a new folder containing a copy of your session template and Audio and

Fades folders.

Closing a Session

Because Pro Tools allows you to work on just one session at a time, you must close the current session if you want to work on another. The

Close Session command closes your current

Pro Tools session but leaves the Pro Tools application open. You can save your work using the

Save Session or Save Session As command before closing the current session.

To close a session:

■

Choose File > Close Session.

Saving a session as a Stationery Pad (Macintosh)

8 Select the Stationery Pad option to save the file as a template, then close the information window.


Quitting Pro Tools

Although Pro Tools will warn you before allowing you to quit without saving changes, you should generally save your work before quitting.

To exit Pro Tools in Windows:

■

Choose File > Exit.

To quit Pro Tools on the Macintosh:

■

Choose Pro Tools > Quit Pro Tools.

Sharing Sessions Between

Pro Tools TDM Systems and

Pro Tools LE Systems

Pro Tools makes it easy to share sessions between Pro Tools LE and TDM-equipped systems.

There are some important differences between the two types of systems that can affect how session material is transferred.

Differences between TDM and LE systems

Feature TDM systems LE systems up to 256 up to 32 tracks Number of audio tracks

Number of mix busses

128 busses

(Pro Tools 6.9)

16 busses

64 busses

(Pro Tools 6.7.x and lower) up to 5 inserts up to 5 inserts Inserts per track

Sends per track up to 5 sends up to 5 sends

For details on transferring sessions between

Windows and Macintosh systems, see

“Moving Sessions Between Platforms (Using HFS+ and NTFS Drives)” on page 141.

Opening a TDM Session in

Pro Tools LE

When opening a TDM session in Pro Tools LE, the following rules apply:

• In Pro Tools LE 6.x (Windows or Macintosh) or Pro Tools 5.3.1 and higher (Windows):

• Any tracks beyond the first 32, as well any inactive tracks, are set to voice off .

• Multichannel surround tracks are removed from the session.

• Any assignments to busses beyond 16 are made inactive.

• Unavailable input and output paths are made inactive.

• TDM plug-ins with RTAS equivalents are retained; those without equivalents are made inactive.

• In Pro Tools LE 5.3.x and lower (Macintosh) or Pro Tools LE 5.1.x and lower (Windows):

• Any tracks beyond the first 24, as well any inactive tracks, are removed from the session.

• Multichannel surround tracks are removed from the session.

• Any assignments to busses beyond 16 are made inactive.

• Unavailable input and output paths are made inactive.

• TDM plug-ins with RTAS equivalents are retained; those without equivalents are made inactive.


Preferences

The Preferences dialog has several tabbed pages in which you can specify your preferred settings for various session parameters. Each new session will use these preferences.

Display Preferences

Edit Window Follows Bank Selection If you are using a supported control surface with

Pro Tools, this option scrolls the Edit window to display the selected bank of tracks when you switch banks on the control surface, ensuring that the current bank is viewable on-screen.

Mix Window Follows Bank Selection If you are using a supported control surface with

Pro Tools, this option scrolls the Mix window to display the selected bank of tracks when you switch banks on the control surface, ensuring that the current bank is viewable on-screen.

“Scroll to Tracks” Banks Controllers When using a control surface (such as D-Control or

Pro Control) you can select this option to bank control surface faders to a numbered track when invoking the “Scroll to Track Number” command.


“Organize Plug-Ins Menus by Category” (Pro Tools

6.7.x and 6.8.x Only) When enabled, 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 plug-ins that have not been defined by their developers, appear in the Other category. Plug-ins can appear in more than one category.

Track Position Numbers Stay with Hidden

Tracks When enabled, tracks keep their track numbers even when hidden. When not enabled, numbers are only assigned to tracks that are shown. In this case, active tracks are then numbered sequentially, and hidden tracks are un-numbered.

Show Meters in Sends View When the Sends

View is displaying individual send controls, you can select this option to show send level meters.

Deselecting this option can help speed up screen redraws and processing.

Draw Grids in Edit Window Adds grid lines to the

Edit window. Grid line resolution is based on the zoom level of the Edit window.

Draw Waveforms Rectified Displays audio waveform data in rectified view. In this view, audio waveforms are displayed so that their positive and negative waveform excursions (the portions that fall above and below the center line) are summed together and viewed as a single positive-value signal. This view allows more waveform detail to be seen in either normal or reduced track height views. It can be particularly useful when editing volume automation data, since it depicts waveform levels as starting at the bottom of the track.

Recompute Invalid Overviews Prompts Pro Tools to look for missing or corrupted overview data

(the data used to create waveform displays) when it opens sessions. If Pro Tools finds that overview data is missing or corrupted, it will recreate one or more overviews for the session.

This may take some time if there are many tracks in the session. If you suspect that overview data for a session has become corrupted, or if you import audio files which have no overview data into a session, make sure this preference is enabled for the session, save and close the session, then reopen it. Pro Tools will recreate any overviews for the session when it opens.

Always Display Marker Colors (Pro Tools 6.7 and

Higher Only) Lets you choose to view Marker colors in the Marker ruler, regardless of the settings you choose for Default Region Color Coding.

Edit Window Default Length Lets you set a default length for the Edit window in hours, minutes, seconds, and frames. This is useful if you want to assemble a session of a particular length or leave extra room to expand the Edit window’s work area in your session. There is a 13 hour maximum limit for the length of a Pro Tools session.

Zoom Toggle Track Height Sets the default track height when the Zoom Toggle function is used to zoom in on a selection.

Delay Compensation Mode This option lets you choose whether information in the Delay Manager is displayed in milliseconds or samples.

This option is only available when Delay Compensation is enabled (Operations > Use Delay

Compensation).

“Organize Plug-In Menus By” Option

This preference customizes how plug-in lists

(plug-in menus) are organized in the Insert Selector or Plug-In Selector.

Flat List Organizes plug-ins in a single list, in alphabetical order.

Category Organizes plug-ins by process category

(such as EQ, Dynamics, and Delay), with individual plug-ins listed in the category submenus.

Plug-ins that do not fit into a standard category

(such as the DigiRack Signal Generator), or third-party plug-ins that have not had a category designated by their developers, appear in the Other category. Plug-ins can appear in more than one category.

Manufacturer Organizes plug-ins by their manufacturer (such as Digidesign, Eventide, Line 6, and McDSP), with individual plug-ins listed in the manufacturer submenus. Plug-Ins that do not have a Manufacturer defined will appear in the “Other” manufacturer folder.

Most Digidesign-distributed third party plug-ins will be grouped under Digidesign when view by

Manufacturer is enabled.

Category and Manufacturer Organizes plug-ins in two levels of menus. The top menus display plug-ins by process category (such as EQ, Dynamics, and Delay), with individual plug-ins listed in the category submenus. The bottom menus display plug-ins by manufacturer (such as Digidesign, Eventide, Line 6, and McDSP), with individual plug-ins listed in the manufacturer submenus


Default Track Color Coding

(Pro Tools 6.7 and Higher Only)

None Turns off color assignment for tracks.

Tracks and MIDI Channels Assigns a color to each track in the Mix or Edit window according to its voice assignment or MIDI channel assignment.

Tracks and MIDI Devices Assigns a color to each track in the Mix or Edit window according to its voice assignment or MIDI device assignment.

Groups Assigns a color to each track according to its group ID. If groups are suspended using the

Suspend Groups command, the tracks color bars are not shown.

Track Type Assigns a color to each track according to its type (audio, MIDI, auxiliary or Master fader).

Default Region Color Coding (Pro Tools 6.7 and

Higher) or Edit Window Color Coding (Pro Tools

6.6.x and Lower)

These color coding options determine how colors are assigned to the display of regions.

None Turns off color assignment for regions. Regions are drawn with black waveform or MIDI notes on a light gray background.

Tracks and MIDI Channels Assigns a color to each region in the Edit window according to its voice or MIDI channel assignment.

Tracks and MIDI Devices Assigns a color to each region in the Edit window according to its voice assignment or MIDI device assignment.

Groups Assigns a color to each region according to the group ID of its track. If groups are suspended using the Suspend Groups command, all regions display black waveforms or MIDI notes on a light gray background.


Track Color (Pro Tools 6.7 and Higher Only) Assigns a region color based on the color assigned to the track.

Marker Locations (Pro Tools 6.7 and Higher Only)

Assigns a color to each track based on the nearest preceding marker.

Peak Hold Options

These options determine how long the peak indicators on track meters stay lit after a peak is detected.

3 Second Peak Hold When this option is selected, track meters display the last peak level for three seconds.

Infinite Peak Hold When this option is selected, track meters display the last peak level until you click them to clear them.

No Peak Hold When this option is selected, track meters do not hold the peak level.

Clip Indication Options

These options determine how long the clip indicators on plug-in, send, and track meters stay lit after a clip is detected.

3 Second Clip Hold When this option is selected, meters display the last clip indication for three seconds.

Infinite Clip Hold When this option is selected, meters display the last clip indications until you click them to clear them.

No Clip Hold When this option is selected, meters do not hold the clip indication.

Operation Preferences

Timeline Insertion Follows Playback This option causes the screen’s play cursor to update its location to the point where playback stops.

Edit Insertion Follows Scrub/Shuttle When selected, the edit cursor automatically locates to the point where scrubbing stops.

Sends Default to –INF When selected, the initial fader level of newly-created sends is set to –

∞

(no audible signal level). When not selected, the initial fader level of newly-created sends is set to

0 dB.

Audio During Fast Forward/Rewind When selected, audio is audible during fast forward or rewind.

Convert Imported “WAV” Files To AES31/BroadcastWave When selected, this option applies to all newly imported WAV files, making them compliant with the AES31/EBU Broadcast standard.

Audio Track RecordLock This setting lets

Pro Tools tracks be configured to either emulate a digital dubber, or to maintain legacy behavior for track record status.

• When the Audio RecordLock preference is enabled, the record-enabled audio tracks remain armed when playback or recording stops.

• When the Audio RecordLock preference is not enabled, record-enabled audio tracks are taken out of record enable when

Pro Tools is stopped. This prevents tracks from remaining armed from pass to pass, emulating track record behavior of a digital dubber.

Transport RecordLock This setting lets the Transport Record (the Record button in the Transport controls) be configured to either emulate a digital dubber, or to maintain legacy behavior for the Transport master Record.

• When not enabled, the Transport Record disarms when Pro Tools is manually stopped or stops due to a loss of time code.

This replicates legacy Pro Tools recording behavior.

• When enabled, the Transport Record remains armed when playback or recording stops. This saves having to re-arm the

Transport between takes, emulating digital dubber behavior.

The Transport RecordLock preference is automatically disabled and greyed out when

Destructive record mode is enabled.

Latch Record Enable Buttons When this option is deselected, it prevents multiple audio tracks from being record-enabled. Record-enabling an audio track takes any other audio track out of record-enabled mode.

Latch Solo Buttons (Pro Tools 6.8.x and Lower)

When this option is deselected, it prevents multiple tracks from being soloed. Soloing a track will un-solo any other track that is soloed.


Link Mix and Edit Group Enables When this option is selected, it links enabling and disabling of Mix and Edit groups. For example, enabling

Group A in the Mix Window automatically enables Group A in the Edit window.

Use F11 Key for Wait for Note When this option is selected, pressing the F11 Function key puts

MIDI recording in Wait for Note mode.

Automatically Copy Files on Import When this option is selected, Pro Tools copies all imported audio files to the current session’s Audio Files folder, regardless of whether they need to be converted to the current session’s file type, bit depth or sample rate.

Disable “Input” When Disarming Track

(In “Stop”) For flexibility, TrackInput can be customized to remain selected regardless of track record status, or to automatically switch to

Auto Input monitoring after a recording pass.

This lets you optimize monitoring for a typical dubbing workflow (in which you might want tracks to remain in Input Only mode until explicitly switched to Auto Input monitoring) or a typical music tracking workflow (in which leaving a track in Input Only monitoring mode after recording can result in accidental double-monitoring).

• When enabled, taking an audio track out of record enable (any mode) takes it out of Input Only mode, regardless of the global monitor mode, and switches it to monitor audio from disk only.

• When not enabled, audio tracks remain in

Input Only monitoring mode until explicitly switched to Auto Input monitoring.

Mute Record-Armed Tracks While Stopped

(Pro Tools 6.9) or “Stop” Mutes Audio Inputs

(When In Auto Input) (Pro Tools 6.8.x and Lower)

This setting determines monitor status of record-armed tracks.

• When enabled, Pro Tools mutes tracks that are record-enabled when the Transport is stopped. Input can still be monitored while stopped using the TrackInput button.

• When not enabled, Pro Tools monitors audio input on tracks that are record-enabled.

Numeric Keypad Mode

Numeric Keypad Mode determines how the numeric keypad functions. You can always use the numeric keypad to select and enter values in the

Event Edit Area, Location Indicators, and Transport fields.

Classic Selects a Shuttle Lock mode that emulates the way Pro Tools worked in versions lower than 5.0. With the Numeric Keypad Mode set to

Classic, you can play up to two tracks of audio in

Shuttle Lock mode. Press the Start key (Windows) or Control (Macintosh), followed by 0–9 for different play speeds. Press Plus (+) or Minus

(–) to reverse direction. Recall Memory Locations by typing the Memory Location number, followed by period (.). To customize the highest

fast-forward Shuttle Lock speed, see “Custom

Shuttle Lock Speed” on page 255.

Transport Selects a Shuttle Lock mode that lets you set a number of record and play functions, and also operate the Transport from the numeric keypad. With the Numeric Keypad Mode set to Transport, you can play up to two tracks of audio in Shuttle Lock mode. Press the Start key

(Windows) or Control (Macintosh), followed by

0–9 for different play speeds. Press Plus (+) or

Minus (–) to reverse direction. Recall Memory


Locations by typing period (.), the Memory Location number, and period (.) again. To customize the highest fast-forward Shuttle Lock speed,

see “Custom Shuttle Lock Speed” on page 255.

Shuttle (TDM Only) Selects a type of shuttling different from that of Shuttle Lock mode. With the Numeric Keypad Mode set to Shuttle, playback is triggered by pressing and holding the keys on the numeric keypad—playback stops once the keys are released. Various playback speeds are available in both forward and reverse.

You can also recall Memory Locations by typing period (.), the Memory Location number, and period (.) again.

AutoSave

This preference determines how the AutoSave feature functions.

Enable Session File Auto Backup When this option is selected, Pro Tools automatically saves backups of your Pro Tools session file while you work. Use the Keep and Backup Every fields to specify the total number of incremental backups that are kept and how often the session is saved.

Online Options

Record Online at Time Code (or ADAT)

Lock When this option is selected, online recording begins as soon as Pro Tools receives and locks to time code or ADAT sync.

Record Online at Insertion/Selection When this option is selected, online recording begins at the

Edit cursor location. Recording continues until

Pro Tools stops receiving time code. If you make a selection, Pro Tools records online for the length of the selection.

Open Ended Record Allocation

This preference determines how much of your available hard drive space is allocated for recording.

Use All Available Space When selected, the drive’s entire available space is allocated. This can sometimes slow down the recording process for hard drives that use certain file systems, including HFS+ and NTFS.

Limit To Sets the maximum allowable recording duration. This can help reduce the time it takes to begin recording by allocating only a portion of your hard drive. The number of minutes specified is allocated for each record-enabled track.

You may want to experiment with this number to achieve the recording performance you want.

Calibration Reference Level Sets a default calibration reference level in dB when Pro Tools is in Calibration mode.

Custom Shuttle Lock Speed (Pro Tools TDM Systems Only) This option sets the highest fast-forward Shuttle Lock speed (key 9) for Shuttle Lock modes (Classic or Transport). The range for this setting is 50–800%. For more information, see

“Custom Shuttle Lock Speed” on page 255.

Auto Regions Fade In/Out Length Sets a default length for fade-ins and fade-outs automatically applied to region boundaries. Using automatic fade-ins and fade-outs saves you the trouble of editing to zero-crossings or creating numerous rendered fades in order to eliminate clicks or pops in playback. Autofades are not written to disk. Value range is from 0–10 ms for the Auto

Region Fade In/Out Length. A value of zero means that no auto-fading will occur. The Auto

Fade value is saved with the session, and is automatically applied to all free-standing region boundaries until you change it.


Back/Forward Amount Sets the default length of

Back, Back and Play, Forward and Forward and

Play. The timebase of the Back/Forward Amount settings follows the main time scale by default, or you can deselect Follow Main Time and select another timebase format: Bars:Beats, Min:Sec,

Time Code, Feet+Frames. or Samples

Solo Latch Options

(Pro Tools 6.9 Only)

This preference determines if solos are latched , unlatched, or added temporarily (Pro Tools

TDM 6.9).

Latch When this option is selected, pressing subsequent Solo buttons adds them to the soloed mix of tracks.

X–OR (Cancels Previous Solos) When this option is selected, pressing subsequent Solo buttons cancels previous solos.

Momentary (Pro Tools TDM Only) When this option is selected, multiple tracks can temporarily be added to the soloed mix of tracks.

Editing Preferences

Recall Original Track Selections When this option is selected, Memory Locations that recall a selection also recall the track in which the selection was made.

Auto-Name Memory Locations When

Playing When this option is selected, Pro Tools gives new memory locations default names based on their time location in the session. The time units currently chosen in the Display menu determine the units for the names.

Auto-Name Separated Regions When this option is selected, Pro Tools automatically names newly separated regions by appending a number to the region’s name.

Region List Selection Follows Track

Selection When this option is selected, selecting a region in a track also selects it in the Regions

List.

Track Selection Follows Regions List

Selection When this option is selected, selecting a region in the Regions List causes Pro Tools to highlight that region’s occurrence in a track.


Crossfade Preview Pre-Roll This option specifies the amount of pre-roll to be added when you are auditioning crossfades in the Fades dialog.

Crossfade Preview Post-Roll This option specifies the amount of post-roll to be added when you are auditioning crossfades in the Fades dialog.

Default Fade Settings

Fade In Selects the default envelope shape for fade-ins.

Crossfade Selects the default envelope shape for crossfades.

Fade Out Selects the default envelope shape for fade-outs.

Conversion Quality Selects the sample rate conversion quality. Sample rate conversion is used in a variety of Pro Tools processes including converting and importing audio files of different formats into a session, and bouncing and saving tracks to a different sample rate or bit depth. The higher the quality of sample rate conversion you choose, the longer Pro Tools will take to process the audio file.

“Matching Start Time” Takes List

When you Control-click (Windows) or Command-click (Macintosh) a region in a track,

Pro Tools displays a list of regions whose time stamp matches the current cursor location. The following preferences determine which regions, or takes , appear in this list:

Take Region Names That Match Track

Names When this option is selected, only regions that share the same root name with the track and playlist appear in the Takes List popup menu.

Take Region Lengths That Match When this option is selected, only regions that match the length of the current selection appear in the

Takes List pop-up menu.

“Separate Region” Operates On All Related

Takes When this option is selected, editing a region with the Separate Region command also affects all other related takes (recording passes) with the same User Time Stamp. This option helps you compare different sections from a group of related takes.

QuickPunch/TrackPunch Crossfade Length Specifies a default length for crossfades created by

QuickPunch or TrackPunch recordings. Crossfades occur before the punch in and after the punch out.

Levels Of Undo Sets the maximum number of actions that can be undone with the multiple undo feature. Setting this to a lower number can speed up the performance of slower computers.

Pro Tools supports up to 32 Levels of Undo.


Automation Preferences

Faders Move During Playback When this option is selected, on-screen faders move if automation has been written for them. When this option is deselected, on-screen faders do not move, but automation still functions. Deselecting this option can help speed up screen redraws and processing.

Faders on controls surfaces are not affected by this option.

Smooth and Thin Data After Pass When this option is selected, Pro Tools automatically smooths and then applies the specified amount of thinning to the automation data created in

an automation pass. (See “Thinning Automation” on page 513.)

After Write Pass, Switch To (Pro Tools TDM 6.9)

Selects the Automation mode that Pro Tools tracks automatically switch to after an automation pass in Write mode. You can choose to switch to Touch or Latch mode, or stay in Write mode by selecting No Change.

“The After Write Pass, Switch To” setting affects Write/Trim mode. After an automation pass in Write/Trim mode, Pro Tools tracks automatically switch to the Trim version of the “After Write Pass, Switch To” setting (Latch/Trim, Touch/Trim, or

Write/Trim).

Write Switches To Touch After Pass (Pro Tools

TDM 6.7 and Lower Only) (When this option is selected, after an automation pass in Write mode, Pro Tools automatically switches to

Touch mode. On TDM systems, you can choose to stay in Write mode by deselecting this option.

Write Switches to Touch After Pass does not affect Trim mode. In Trim mode, tracks do not automatically change from Write/Trim to Touch/Trim after an automation pass.

Mutes Follow Groups When this option is selected, muting a track that belongs to a Mix group mutes all members of the group. When this option is deselected, tracks are muted individually. You can also mute individual group members by Right-clicking (Windows) or Control-clicking (Macintosh) their Mute buttons.

Solos Follow Groups When this option is selected, soloing a track that belongs to a Mix group solos all members of the group. When this option is deselected, tracks are soloed individually. You can also solo individual group members by Right-clicking (Windows) or Control-clicking (Macintosh) their Solo buttons.


Send Mutes Follow Groups When this option is selected, muting a Send on a track that belongs to a Mix group mutes the corresponding Send

(A–E) on all members of the group. When this option is deselected, Sends are muted individually. You can also mute individual group members by Right-clicking (Windows) or Controlclicking (Macintosh) their Solo buttons.

Send Levels Follow Groups When this option is selected, adjusting the level of a Send on a track that belongs to a Mix group adjusts the level of the corresponding Send (A–E) on all members of the group. When this option is deselected, Send levels are adjusted individually. You can also adjust individual group members by Start-dragging (Windows) or Control-dragging (Macintosh) their Send level faders.

LFEs Follow Groups When this option is selected, adjusting an LFE (Low Frequency Effects) control of a track or send that belongs to a Mix group adjusts the LFE controls of all members of the group. When this option is deselected, LFE controls are adjusted individually. You can also adjust individual group members by Start-dragging (Windows) or Control-dragging (Macintosh) their LFE controls. With send-based LFEs, grouping affects only that Send (A–E) on other tracks.

Degree of Thinning Specifies the amount of thinning performed on automation data when you use the Thin Automation command, or if you have selected the Smooth and Thin Data After

Pass option. (See “Thinning” on page 505.)

Touch Timeout If you are writing automation in

Touch mode and you stop moving a non-touch sensitive control, Pro Tools continues to write automation for the Touch Timeout value.

After the Touch Timeout period, writing of automation stops and the automation data returns to its previous automation value at the rate specified in the AutoMatch Time setting.

AutoMatch Time If you are writing automation in Touch mode, when you release a fader or control, writing of automation stops and the automation data returns to its previous automation value. The rate of return to the previous value is the AutoMatch Time

. See “AutoMatch Time” on page 505.

AutoGlide Time Specifies how quickly Pro Tools transitions (glides) from one automation value to another, when Automation Glide is used.

Amount of memory to reserve for automation recording Allocates memory for automation. See

“Setting the Automation Buffer Size” on page 505 for details.


Processing Preferences TC/E

TC/E Plug-In Allows you to choose the plug-in used for Time Compression and Expansion when you edit audio with the Time Trimmer tool. The Time Trimmer works by using Time

Compression/Expansion to match an audio region to the length of another region, a tempo grid, a video scene, or other reference point.

Default Settings Specifies the default settings used by the chosen Time Compression/Expansion plug-in.

MIDI Preferences

AudioSuite Dither

Use AudioSuite Dither When selected, applies dither to specific AudioSuite processing tasks, such as Gain and Normalize.

Dither Plug-In Specifies the plug-in used for dither processing when the Use AudioSuite

Dither option is selected.

Edit Settings When a Digidesign dither plug-in is used, lets you apply either normal or noiseshaping dither.

Bit Depth

16-, 18-, 20-, and 24-Bit Lets you select a bit depth for the dithered audio.

AudioSuite Buffer Size

Audio Suite Buffer Size sets the size of the memory buffer used for audio processing and previewing with AudioSuite plug-ins. If AudioSuite preview stutters, set the buffer to Mini or Small.

Processing is generally faster when the buffer is set to Larger or Jumbo.

Default Note On Velocity Sets the default Note

On velocity for MIDI notes inserted in the Edit window and the MIDI Event List.

Pencil Tool Resolution Sets the default resolution for MIDI controller data created with the

Pencil. Setting this to a lower resolution helps avoid creating controller data that is unnecessarily dense. The value range is from 1 to 100 milliseconds.


Global MIDI Playback Offset Sets an offset in samples to compensate for MIDI latency. Entering a value here has the same effect as setting an offset with the MIDI Track Offset command

(Windows > MIDI Track Offset). Offset values can be positive (later) or negative (earlier).

Default Thru Instrument Sets the default MIDI

Thru instrument from your available MIDI instruments.

Play MIDI Notes When Editing When selected, causes MIDI notes to sound when you insert them with the Pencil or drag them with the

Grabber.

Use MIDI to Tap Tempo When selected, you can tap a MIDI keyboard to enter a new tempo value into a tempo field.

For more information about using MIDI to

tap tempo, see page 162.

MIDI Note Display Sets the reference for middle

C as C3, C4, or MIDI note number 60.

Delay for External Devices (Pro Tools 6.7 and

Higher Only) Lets you choose to apply mixer delay to MIDI Time Code and to MIDI Beat Clock.

Generally, delay should be applied when the external MIDI instrument is mixed externally, and should not be applied when the external MIDI instrument is mixed through the Pro Tools mixer.

Machine Control Preferences

These preferences determine how a connected transport responds to Pro Tools.

Machine Control

Machine Chases Memory Location When selected, navigating to a specific location in a session with a Memory Location causes a connected transport to chase to that location.

Machine Follows Edit Insertion/Scrub When selected, navigating to a specific location in a session by moving the selection point or by scrubbing a track will cause a connected transport to chase to that location.

Machine Cues Intelligently When selected, if you navigate to a cue point that is more than 10 seconds from the current location, Pro Tools will command a connected transport to fast wind to the new location at full speed to within 10 seconds of the cue point. Cueing will then slow to normal speed until the point is reached. This can significantly speed up tape cueing with certain video transports.


Stop at Shuttle Speed Zero Causes Pro Tools to send a Stop command whenever you stop shuttling. This is useful if you have a machine that requires an explicit stop command to park correctly.

Remote Mode (9-Pin Deck Emulation)

(TDM Systems Only)

Punch In Frame Offset Sets an offset (in frames) to compensate for punch in timing advances or delays.

Punch Out Frame Offset Sets an offset (in frames) to compensate for punch out timing advances or delays.

Delay After Play Command Sets an offset (in frames) to compensate for lockup time of external machines.

Ignore Track Arming Sets Pro Tools to ignore incoming track arming (record enable) commands. This is useful if you are using a master controller to arm tracks on other machines, but you don’t want to arm tracks in Pro Tools.

Set Servo Lock Bit at Play (Tamura Support) Enable this option when using a Tamura synchronizer to control Pro Tools in Remote mode to minimize lock-up times during recording.


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