Chapter 9: Importing and Exporting Session Data. Avid Pro Tools HD 6.9, Pro Tools LE 6.9
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Chapter 9: Importing and Exporting
Session Data
Pro Tools allows you to import a variety of data into a session, including audio and MIDI files, video files, track playlists, I/O configurations, and signal routing configurations.
You can import audio and MIDI files into a session, or transfer entire audio or MIDI tracks, along with all of their attributes, from another session. Additionally, on TDM systems, you also have the option of importing any combination of track attributes from another session, such as a track’s audio or MIDI playlists, signal routing,
plug-ins, or automation. See “Importing Audio” on page 117 and “Importing Tracks and Track
Importing Audio
Audio files and regions can be imported to new tracks, or they can be imported into the Audio
Regions List, where they can be dragged to existing tracks.
Files of types that are not supported in the session must be converted when importing. Files with sample rates that are different from the sample rate of the current session must be converted in order for the files to play back at the correct pitch and speed.
Audio files of the following types can be imported into Pro Tools sessions:
• AIFF
• WAV or BWF (.WAV)
• SD II
• SD I
• MP3 (with purchase of MP3 Option)
The MP3 Option is available for purchase from the online DigiStore at the Digidesign
Web site (www.digidesign.com).
• Sound Resource (AIFL—Macintosh only)
• WMA (Windows Media—Windows only)
• QuickTime (Macintosh only)
• RealAudio
• MXF audio (Pro Tools 6.9)
Supported files and regions can be auditioned before they are imported.
If region definitions are present in an audio file, you can convert and import the audio for a region without importing the entire parent audio file.
Chapter 9: Importing and Exporting Session Data 117
Copying, Adding, and Converting Audio
Depending on the properties of the audio files you are importing, you can add, copy, or convert the files. The following options appear in the Import Audio dialog when they are applicable to the selected audio file.
Add
Audio files that are of the same file type and bit depth as a session can be added directly to the session. When you add an audio file, the session references the original audio file in its original location. Use this option when you don’t want to use extra hard drive space for audio files that are already of the same bit depth and sample rate as your session.
Pro Tools does allow audio files that are not the session’s native file type to be added to the session. For example, Windows sessions allow AIFF or WAV files to be added to any session, and
Macintosh sessions allow SDII, AIFF, or WAV files to be added to any session. However, sessions with mixed file types will have reduced performance.
Audio files that are of a different bit depth than the session must be converted before they can be imported.
Pro Tools allows you to add files to a session that are at a different sample rate than your session. In the comments field of the
Import Audio dialog, a warning is posted that these files will play back at the wrong speed and pitch if they are not converted.
Copy
If a file can be added to your session, you will also be given the option to copy it. This option creates a copy of the audio file and places it in a folder you choose. When you copy an audio file, the session references the copied file in its new location.
Use Copy to move audio from an unsupported or removable drive to an audio drive, or to archive audio files for a session to a specific location.
Convert
Audio files that are not of the same bit depth or sample rate as a session, or audio files that are of an incompatible file type (such as SD II files in
Windows) must be converted to be used with the session. When an audio file is converted, a new file with the correct bit depth, file type, and sample rate is created and placed in a folder you choose.
The quality of sample rate conversion used by
Pro Tools is determined by the preference for
Conversion Quality. For details, see “Conversion Quality” on page 119.
Importing Stereo Files
When using the Import Audio to Tracks command, interleaved stereo files are automatically imported to stereo tracks.
Split stereo (dual mono) audio files can be automatically imported to stereo tracks. Split stereo audio files must have the channel identifiers
“.L” and “.R” in their names (for example, filename .L and filename .R), and the files must be the same length. In Windows, or in Mac/PC Compatibility mode, these files will have a 3-letter file extension appended after the “.L” or “.R” channel identifier.
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Conversion Quality
The Conversion Quality preference determines the quality of sample rate conversion used when converting and importing audio into a session.
There are five possible settings, ranging from
Low to Tweak Head . The higher the quality, and the larger the conversion, the longer it will take.
To set the sample rate conversion quality:
1 Choose Setups > Preferences and click the
Editing tab.
2 From the Conversion Quality pop-up menu, select a quality setting.
Conversion Quality preference
For most applications, the Good or Better setting will yield very good results.
3 Click Done.
Importing Audio Files and
Regions
Pro Tools provides several ways to import audio files and regions into an open session. This section provides steps using Pro Tools menu commands, or the Pro Tools icon or alias.
For additional ways to import audio files, see
“Importing Audio Files with Drag & Drop from a
To import audio files or regions into a session
(from the Pro Tools File menu):
1 Choose File > Import Audio to Track to import audio files and automatically place them in new tracks.
– or –
Choose Import Audio from the Audio Regions
List pop-up menu to import audio into the Audio Regions List without automatically creating new tracks.
To import entire tracks from other sessions, see
“Importing Tracks and Track Attributes” on page 122.
Chapter 9: Importing and Exporting Session Data 119
2 At the top of the Import Audio dialog, select an audio file to display its properties and associated regions.
4 To place a file or region in the import list (on the right in Windows, or in the lower right of the dialog on a Macintosh), select the file (Shiftclick to select multiple files) and click Add or
Convert. You can also click Add All or Convert
All to import all regions and files in the current directory.
In the import list, audio files are distinguished from regions by their icons.
Audio File icon
Figure 6. Import Audio dialog
You can choose to display only a certain file type (such as AIFF) by selecting the type from the Show pop-up menu. To display all supported file types, select All Documents from the
Show pop-up menu.
On the Macintosh, Sound Resource files must have the “.SFIL” extension to be imported by Pro Tools.
3 To audition a selected file or region before you import it, click the Play and Stop buttons.
Adjust playback volume with the vertical slider.
To navigate to a particular location in the file, use the horizontal slider under the Play and Stop buttons.
The audition output defaults to channels 1–2.
On TDM systems, the audition output channels can be changed in I/O Setup or Hardware Setup.
Audio Region icon
File and Region icons in the Import Audio dialog
5 To remove a file or region from the import list on the right, select it and click Remove. To remove all regions or files, click Remove All.
6 Once the audio files and regions have been added to the import list, click Done.
7 If you are copying or converting files, you are prompted to choose a location for the new audio files. Choose a folder on a valid audio drive, such as the Audio Files folder for your current session.
If you chose File > Import Audio to Track, the files and regions are imported to new audio tracks, and also appear as regions in the Audio
Regions List.
If you chose Import Audio from the Audio Regions List, the files and regions appear as regions in the Audio Regions List.
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To import audio files into a session, using the
Pro Tools application icon or alias:
1 Open or create a new session.
2 From the desktop, locate the audio files you want to import. Make sure the files match the session’s file type, bit depth, and sample rate.
Audio files must be in WAV, SDII, or AIFF/AIFC format in order to be dropped into Pro Tools.
Audio files will be converted if they are not of the correct bit depth or number of channels.
They will be converted to mono files of the default audio file format, with the session’s bit depth and sample rate.
3 Drag the audio files onto the Pro Tools application icon or alias.
Importing Audio Files with
Drag & Drop from a DigiBase
Browser
You can import audio by dragging it directly from a DigiBase browser into the Edit window of the current session.
To import audio into the Audio Regions List:
1 Select audio files in a DigiBase browser.
2 Drag the files onto the Audio Regions List of the current session.
To import audio into an existing track:
1 Select audio files in a DigiBase browser.
2 Drag the files onto an existing track in the Edit window of the current session.
To import audio into new tracks:
1 Select audio files in a DigiBase browser.
2 Shift-drag the files and drag them anywhere in the Edit window of the current session.
– or –
Drag the files onto any empty space in the Edit window of the current session.
For more information on using DigiBase browsers, refer to the DigiBase Guide.
Importing Audio from an
Audio CD
(Macintosh Only)
Pro Tools lets you import tracks from an audio
CD using the DigiBase drag and drop feature or the Import Audio From Other Movie command.
Since the transfer is made in the digital domain, there is no signal loss.
The sample rate for audio CDs is 44.1 kHz.
Therefore, if your session’s sample rate is set to
48 kHz or higher, Pro Tools will convert the sample rate for the imported audio. Before importing CD audio, set the Conversion Quality
preference accordingly. See “Conversion Quality” on page 119 for details.
Before importing CD audio, make sure your hard drive has enough space for both the imported movie file and the converted audio files.
Chapter 9: Importing and Exporting Session Data 121
To import a CD audio track:
1 Insert the audio CD into your CD-ROM drive.
2 Select the audio track in a DigiBase browser.
3 Drag the file onto the Audio Regions List of the current session.
Pro Tools converts the CD audio track to the session’s audio file format, bit depth, and sample rate, and saves it on your hard drive.
The imported audio file appears in the Audio Regions List. From there you can drag the region to a track in your session.
DigiBase offers additional ways to import audio from CDs with drag and drop. See
“Importing Audio Files with Drag & Drop from a DigiBase Browser” on page 121.
To import tracks or their attributes:
1 Open or create a new session.
2 Choose File > Import Session Data, select the session to import data from, and click Open.
– or –
Drag the session file whose tracks or attributes you want to import from a DigiBase browser into the track playlist area in the current session’s Edit window.
For details on using DigiBase to import tracks, refer to the DigiBase Guide.
3 If the Fader Gain of the sessions are different, you will be prompted to keep or change Fader
Gain before the Session Data dialog opens.
4 In the Source Tracks section, select tracks to import by clicking the pop-up menu to the right of each track name and selecting Import As New
Track.
To select multiple tracks, Alt-click (Windows) or Opt-click (Macintosh) on any track pop-up men and select Import As New
Track.
Importing Tracks and Track
Attributes
You can import entire tracks from other
Pro Tools sessions into the current Pro Tools session using the Import Session Data command.
On TDM systems, you can choose which attributes of those tracks you want to import.
For example, on TDM systems, you can choose to import only the track’s audio into your current Pro Tools mixer. This is analogous to
“changing the tape reel” in a traditional studio setup with a tape machine and mixing console.
Or, you can choose to import all of a track’s mixer settings without its audio, effectively importing a channel strip and using it on a track in your current session. By importing mixer settings for all of the tracks in a session or session template, you can reuse an entire Pro Tools mixer on all the sessions in a project.
If the current Pro Tools system does not support surround mixing, surround tracks are not displayed in the Source Tracks list.
5 On TDM systems, for each track you select, you can choose to import it as a new track, or choose a destination track from the corresponding pop-up menu. Click Find Matching Tracks to automatically match source and destination tracks with the same names.
6 On TDM systems, select from among the
Track Playlist options to choose how you want to import the source tracks.
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7 If applicable, choose options for how media files should be imported from the Audio Media
Options and the Video Media Options pop-up menus.
8 Choose the Time Code Mapping option for imported data.
9 If the sample rates of the sessions are different, select the sample rate for the source session from the Source Sample Rate pop-up menu.
10 To import the meter and tempo maps from the source session, select the Import
Tempo/Meter Map option.
11 On TDM systems, to import any mic pre settings from the source session, select the Import
Mic Pre Settings option.
12 Click OK when you are finished.
13 If you chose to copy or consolidate media, choose a location to place the media files.
Imported tracks are made inactive if their source media is unavailable, or if the current session does not contain an equivalent output path.
Importing Grouped Playlists from Other
Sessions
You can import tracks that use Grouped Playlists from another Pro Tools session, and the playlist grouping function will remain intact for those imported tracks. There is, however, a restriction for importing from pre-Pro Tools 6.1 sessions:
After importing a partial set of grouped playlists
(such as tracks 1–7 of a 10-track group), you cannot subsequently import tracks 8–10 and have them “rejoin” the playlist group for tracks 1–7.
Import Session Data Dialog
The Import Session Data dialog lets you view the properties of the source session, select which tracks to import, and on TDM systems, choose which attributes of those tracks you want to import into the current session.
Import Session Data dialog (Pro Tools TDM)
Import Session Data dialog (Pro Tools LE)
Chapter 9: Importing and Exporting Session Data 123
Source Properties
The Import Session data dialog displays properties for the source session. These properties include source session name, session type, start time of the session, audio bit depth, and sample rate. For Pro Tools 5.1 or higher sessions, the program that created the session and the session’s audio file type are listed.
Audio Media Options
Refer to Source Media (Where Possible) This option lets you avoid duplicating audio files by referring to the original files when possible. If the source files do not reside on supported playback media (such as a CD-ROM), or if they require bit depth or sample rate conversion, the source files are copied instead. This option allows the current session to refer to files that do not match the current session’s audio file format.
Copy from Source Media This option copies all audio files related to the imported tracks from the source media to a new specified location, and converts the files to the current session’s audio file format, bit depth, and sample rate if necessary. This is useful if you are importing tracks from a source such as CD-ROM or shared storage, and you want to place the audio files on a different hard drive.
Consolidate from Source Media This option consolidates audio while copying it. This is useful if you want to copy only the regions of the audio files used in the source tracks, without copying unused audio. This option copies and converts consolidated audio to the current session’s audio file format, bit depth, and sample rate if necessary.
When you choose this option, you can also choose the size of the handle (in milliseconds) applied to consolidated audio. Handle is the amount of the original audio file that is preserved before and after each region in case you need to make any edits to the new regions.
Force to Target Session Format This option copies and converts any files that do not match the current session’s file format, bit depth, and sample rate. Files that do match the current session’s file type, bit depth and sample rate are referred to directly and not copied.
Video Media Options
You can either choose to leave video media files in their original locations or copy them to a new location. This is useful if you are importing tracks from a source such as CD-ROM or shared storage, and you want to place video files on a different drive.
Time Code Mapping Options
You can specify where the imported tracks are placed in the current session. Times are indicated in time code for all TDM systems and
Pro Tools LE systems with DV Toolkit, and minutes:seconds for other Pro Tools LE systems.
Maintain Absolute Time Code Values This option places tracks at the locations where they were located in the source session. For example, if the current session starts at 00:01:00:00, and the session from which you are importing starts at
10:00:00:00, the earliest imported tracks can appear in your session is 9 hours and 59 minutes after the start of the session.
Maintain Relative Time Code Values This option places tracks at the same offset from session start as they had in the source session. For example, if the source session starts at 01:00:00:00 and con-
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tains a track that starts at 01:01:00:00, and the current session start is 02:00:00:00, the track will be placed at 02:01:00:00 in the current session.
Map Start Time Code to (This option places tracks relative to their original session start time.
(On TDM systems or Pro Tools LE systems with
DV Toolkit, times are expressed in hh:mm:ss:ff, and on Pro Tools LE systems, times are expressed in hh:mm:ss.) For example, if the current session starts at 00:01:00:00, and the session from which you are importing starts at
10:00:00:00, you can reset the start time code to
00:01:00:00, to avoid placing files 9 hours and
59 minutes from the start of your session.
Track Offset Options
You can specify a track offset in addition to any offset incurred with the Time Code Mapping options. Any imported audio is offset in the current session’s timeline by the specified amount.
You can enter values in Minutes:Seconds,
Bars|Beats, Samples, Time Code, or Feet/Frames.
Sample Rate Conversion (SRC) Options
You can set options that control how sample rate conversion is applied to imported audio files. If the source session and the current session have the same sample rate, this portion of the dialog is unavailable.
Source Sample Rate For audio files created in any session, no matter what the session sample rate is, you can have the sample rate conversion process treat the files in several ways to compensate for pull-up, pull-down, and NTSC or PAL frame rates. This setting allows you to choose the sample rate from which you want the sample rate conversion process to start.
Destination Sample Rate The destination sample rate is always set to the sample rate of your current session.
Conversion Quality This option lets you set the quality of the sample-rate conversion process.
See “Conversion Quality” on page 119.
Source Tracks
This area of the dialog lists the tracks in the source session that can be imported, each with a corresponding pop-up menu.
Operation/Destination Track Pop-Up
Menus
For each source track, there is a corresponding pop-up menu that lists options for importing the track and, on TDM systems, possible destination tracks in the current session. The pop-up menus display the following items:
Do Not Import Neither the source track nor any of its attributes are imported.
Import as New Track The source track and all attributes selected in the Session Data to Import menu are imported into a new track in the current session.
(Destination Track Names) On TDM systems, the names of possible destination tracks in the current session are listed at the bottom of the pop-up menu. Imported playlists and all attributes selected in the Session Data to Import will be placed in the destination track you choose.
Only destination tracks that match the track type (audio, MIDI, Auxiliary Input, or Master
Fader) and the channel format (mono, stereo, or any of the supported multichannel formats) of the source track appear in the pop-up menu.
Chapter 9: Importing and Exporting Session Data 125
Find Matching Tracks
(TDM Systems Only)
If you are importing playlists from source tracks with the same name as destination tracks in the current session, click Find Matching Tracks to automatically match the track names. Tracks must have the same name, track type, and channel format to be automatically matched.
Session Data to Import
(TDM Systems Only)
The Session Data to Import menu is where you select which attributes of the selected tracks you want to import into the current session.
Session Data options in the Import Session Data dialog
The selected attributes are applied to all tracks that you choose to import into the current session.
Replacing Track Attributes
When you import an attribute of the source track into an existing track in the current session, it replaces the corresponding attribute in the destination track. If you choose not to import an attribute of the source track, the corresponding attribute in the destination track is retained.
Replacing Track Path Names
When you import a track’s input, output, send output or hardware insert assignments, any custom path names and I/O configurations from the source session are not imported. You can import path names and I/O configurations by im-
porting I/O Setup settings. See “I/O Settings
Files” on page 80 for more information.
Selecting Track Attributes to Import
You can select All, None, or any combination of the listed attributes to import. The following attributes are available to import:
All Imports all of the source track’s playlists, according to the Track Playlist Option setting, and all of the attributes in the Session Data to Import list.
None Imports only the source track’s main playlist, according to the Track Playlist Option setting, and no other attributes of the source track.
Alternate Playlists Imports all of the source track’s alternate playlists. The alternate playlists appear in the destination track’s playlist pop-up menu.
Regions and Media Imports all of the audio files or regions in the source track, and places them in the Audio Regions List.
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Volume Automation and Setting Imports the source track’s Volume Fader setting and any automation data on the track’s Volume Automation playlist. The Volume Fader setting and any
Volume automation data in the destination track are replaced.
Pan Automation and Setting Imports the source track’s Pan Slider settings and any automation data on the track’s Pan Automation playlist. The
Pan Slider setting and any Pan automation data in the destination track are replaced.
Mute Automation and Setting Imports the source track’s Mute setting and any automation data on the track’s Mute Automation playlist. The
Mute setting and any Mute automation data in the destination track are replaced.
Main Output Assignments Imports the source track’s channel output assignments, including any multiple output assignments. The channel output assignments in the destination track are replaced.
Send Output Assignments Imports the source track’s send output assignments. Any Send output assignments in the destination track are replaced.
Plug-In Assignments Imports the source track’s plug-in assignments. Any plug-ins in the destination track are removed, and their associated settings and automation are lost.
If the source track uses a plug-in that is not available on the destination system, it appears in the destination track and is made inactive.
Plug-In Settings and Automation When the source track’s plug-in assignments are imported, this option imports the track’s plug-in settings and any automation data associated with the plug-ins. If no plug-in assignments are imported, this option has no effect.
Hardware Insert Assignments Imports the source track’s hardware Insert assignments. Any Insert assignments in the destination track are replaced.
Voice Assignments Imports the source track’s voice assignment from the source session. Any voice assignments in the destination track is replaced.
Input Assignments Imports the source track’s channel input assignment. The Input assignment in the destination track is replaced.
Side-Chain Assignments When the source track’s plug-in assignments are imported, this option imports any side-chain assignments associated with the plug-ins. If no plug-in assignments are imported, this option has no effect.
I/O Labels (Path Names) Imports the source track’s path names.
Track Active State Imports the active/inactive state of the source track from the source session.
Track Comments Imports the track comments associated with the source track. Any comments in the destination track are replaced.
Record Safe/Solo Safe Settings Imports the record safe and solo safe settings of the source track from the source session. Any record safe or solo safe settings in the destination track are replaced.
Track View Settings Imports the track height and playlist view of the source track from the source session.
Chapter 9: Importing and Exporting Session Data 127
Track Playlist Options
(TDM Systems Only)
You can select from the following options to control how the main playlist from each source track is imported to the destination track in the current session.
Import Main Playlists — Replacing destination main playlists
Imports the main playlist from the source track.
When you import the playlist into an existing track, the main playlist in the destination track is deleted and replaced with the imported playlist.
â—† If you select the above option and import all of the source track’s attributes, this is equivalent to importing the entire track.
â—† If you select the above option and do not import any of the source track’s attributes, you replace the audio playlists while keeping your current mixer settings.
Import Main Playlists — Overlaying new with existing, trimming existing regions
Imports the main playlist from the source track.
When you import the playlist into an existing track, any existing playlist data that overlaps data imported from the source track is trimmed and replaced with the imported data. Any playlist data in the destination track that does not overlap remains in the destination track.
Do Not Import Main Playlists — Leaving destination playlists intact
Does not import the main playlist from the source track. No audio is imported; only the attributes selected in the Session Data to Import list are imported to the selected tracks.
â—† If you select the above option and import all of the source track’s input, output, send, insert and plug-in attributes, this is equivalent to importing a channel strip.
Import Tempo/Meter Map
Imports the meter and tempo maps, as they appear in the Tempo and Meter Conductor rulers, from the source session. Any Tempo or Meter events in the destination session are replaced.
Import Pre Settings
(TDM Systems Only)
Imports any Pro Tools mic preamplifier settings from the source session. Any mic preamplifier settings in the destination session are replaced.
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Exporting Audio
Pro Tools supports exporting regions as audio files, exporting left and right audio files as stereo interleaved files, and exporting region information.
You can also export audio from Pro Tools by bouncing or consolidating audio tracks. For
more information, see “Bounce to Disk” on page 536.
Exporting a Region as a New
Audio File
You can export regions as audio files with the
Export Selected As Files command. Use this command if you intend to use a region in other sessions (or other audio applications) without using its parent source file.
This command also provides a way to convert regions to a different audio format, sample rate, or bit depth.
To export regions as new audio files:
1 In the Audio Regions List, select the regions you want to export.
2 From the Audio Regions List pop-up menu, choose Export Selected As Files. The Export Selected dialog appears.
Export Selected dialog
3 In the Export Selected dialog, set the file type, format, bit resolution, and sample rate. In addition, specify the Conversion Quality, and choose the destination directory.
4 Select an option for how Pro Tools should resolve duplicate file names.
Prompting for Each Duplicate Prompts you for a file name for any file that has the same name as a file in your destination directory.
Auto Renaming Automatically changes the name of any duplicate file by adding a number at the end of the file name (such as file_01).
Replacing with New Files Replaces files with the same name with the new files.
Chapter 9: Importing and Exporting Session Data 129
5 Once the Export Options are configured, click
Export to export the new audio files.
When you use the Export Selected As Files command with a lower bit rate, Dither (and
Noise Shaping) may be applied as shown in
Table 10.
Table 10. Dither and Noise Shaping with Export
Selected dialog
Bit Rate Dither
Noise
Shaping
24-bit to 24-bit No No
16-bit to 24-bit
24-bit to 16-bit
16-bit to 16-bit
24-bit to 8-bit
16-bit to 8-bit
No
Yes
No
Yes
Yes
No
Yes
No
No
No
For more information about using Dither,
see “Dither” on page 473.
Exporting Stereo Interleaved Files
You can use the Export Selected As Files command to export audio regions to stereo interleaved files for use in other applications.
(Pro Tools sessions do not support stereo interleaved files.) For this to work, the selected regions must have identical names with “.L” and
“.R” suffixes (for instance, vocals_01.L and vocals_01.R). These regions appear as a stereo region in the Audio Regions List.
To export regions as a stereo interleaved file:
1 Select the stereo audio region in the Audio Regions List or in the track playlist. If the regions appear on mono tracks in the session, select the two mono regions.
2 From the Audio Regions List pop-up menu, choose Export Selected As Files.
3 In the Export Selected dialog, select “Interleaved” in the Format pop-up menu.
4 Configure any other output settings, then click Export to export the new stereo interleaved file.
Exporting Region Definitions
Pro Tools stores region definitions for audio files within each session. If you want to use an audio file’s regions in another session, or with another application that supports them, you can export the region information.
The Export Region Definitions command does not export regions as audio files (unlike the Export Selected As Files command). Instead, it stores pointers to the regions within the parent source file.
To export region definitions for an audio file:
1 In the Audio Regions List, select any regions for which you want to export definitions. You do not have to select the parent file audio region.
2 Choose Export Region Definitions from the
Audio Regions List pop-up menu.
3 Click Export.
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Exporting Pro Tools Tracks as
OMFI or AAF Sequences
With the DigiTranslator Integrated Option
(DigiTranslator 2.0 or higher), Pro Tools lets you export individual tracks in OMFI format or AAF format.
Pro Tools with DigiTranslator does not support AAF files with embedded media.
Export Session as Text Options
For more information on installing, using, or removing DigiTranslator with Pro Tools, refer to the DigiTranslator Guide.
Exporting Sessions as Text
(TDM Systems Only)
You can use the Export Session As Text command to create a text file that contains extensive information about your session.
This text file can contain a list of audio files, audio regions, audio track EDL (edit decision list) information, extended timestamp information, and information about crossfades.
Track EDLs are exported as tab-delimited text— that is, with tabs between each column heading, and tabs between each event parameter. You can use this data in a program for reading EDLs, or you can format the EDL data into tables using a word processor or spreadsheet application.
Export Session Text dialog
Include File List/Region List
You can choose to export a list of the session’s audio files and regions. The File List provides a list of all the audio files and fades in the session, and their hard drive locations. The Regions List displays all audio regions in the session, and the source audio file for each region.
Chapter 9: Importing and Exporting Session Data 131
Include Track EDLs (Playlists)
You can export track EDLs (playlists). Track
EDLs can be used to spot-check region placement and edits, or in a conforming program for post applications. In extreme circumstances the
EDL can be used to recreate the entire session.
MIDI track EDLs are not exported.
When exporting track EDLs, the following options are available:
Show Subframes This option allows you to export subframe time information with track
EDLs, if used in your session.
Include User Timestamps You can include user timestamps with track EDLs. User timestamps indicate a user-defined session location for the region, or the original location of the region when recorded.
Fade Handling For track EDLs, you can choose whether to show crossfades, not to show them, or to combine crossfaded regions. When regions are combined, their durations and locations are listed up to the center of the crossfade (for the leading region) and from the center of the crossfade (for the following region).
Time Format You can select the appropriate time format that exported EDL information is based on. For example, for post work, you might select
SMPTE time, but for music creation locked to a grid, you might select Bars & Beats.
File Format
You can choose to export to any of several different text formats. These include standard text formats, and Microsoft Word and Excel formats.
Exported Session Text
Session Information
The session text file starts with basic information about the session. This information includes the session name, sample rate, bit depth, time code format, and number of audio tracks, audio regions, and audio files, as shown in the following example.
Session Information example
SESSION NAME: Ripleys II-092700
SAMPLE RATE:
BIT DEPTH:
TIME CODE FORMAT:
# OF AUDIO TRACKS:
# OF AUDIO REGIONS:
# OF AUDIO FILES:
48000.000000
24-bit
30 Frame
19
203
54
File List and Region List
Next, if you choose to include them, are the lists of audio files and regions.
Track EDLs
The final item, if exported, is the list of track
EDLs. A track EDL lists the track name, and all edits, including the event number, the region name, region start and end time, and region duration. The region timestamp is also exported, if you select this option. Subframes are shown in each time field if you select this option.
132 Pro Tools Reference Guide
To export a session as text:
1 Choose File > Export Session As Text.
2 Select whether to include the File List, Region
List, and track EDLs.
3 If you choose to include track EDLs, select whether to show subframes, and whether to include user timestamps. Also select an option for crossfade handling.
4 If you choose to include track EDLs, select the
Time Format for the exported session text from the pop-up menu.
5 Select the File Format for exported text using the pop-up menu.
6 When you have set your options, click OK.
7 Select a location and enter a filename for the exported text file. In Windows, Pro Tools adds the correct 3-letter filename extension, while on the Macintosh, the file extension “.txt” is added.
Send Session Via DigiDelivery
(Windows XP Only)
DigiDelivery is Digidesign’s system for efficient and reliable transfer of digital media files over the Internet. Send Session Via DigiDelivery lets you send a Pro Tools session and all of its related files using DigiDelivery from within Pro Tools.
Anyone can send and receive files from a Digi-
Delivery system, even if they do not own a Digi-
Delivery network appliance, as follows:
â—† To send a delivery, senders must have an Internet connection, an account on a DigiDelivery network appliance, and the DigiDelivery client application.
â—† To receive a delivery, recipients only need an
Internet connection and the DigiDelivery client application; an account on the network appliance is not needed.
For more information, see the DigiDelivery
Guide, or refer to the DigiDelivery Web site
(www.digidesign.com/digidelivery).
To Send a session from Pro Tools using
DigiDelivery:
1 Choose File > Send Session Via DigiDelivery.
Send Session Via DigiDelivery menu
2 If the DigiDelivery client is not installed on your system, Pro Tools will launch your Web browser, and connect to the DigiDelivery site where you can download the current Digi-
Delivery client.
– or –
If the DigiDelivery client is installed on your system, the Include in Delivery dialog will open.
3 In the Include in Delivery dialog, select which files to include.
Include in Delivery dialog
Chapter 9: Importing and Exporting Session Data 133
You have the option to include:
• Audio files
• Fade files
• Video files
• Plug-in settings files
• Timeline files only (files that are referenced in the current session timeline)
4 Click OK. The DigiDelivery client will launch, and the Login page will open.
5 Send the file, following the instructions that came with the DigiDelivery client software.
There are two types of Standard MIDI Files, both of which are supported by Pro Tools:
â—† Type 0 MIDI files store data for all MIDI channels in a single track. When importing these files, Pro Tools separates the data by channel and places each track’s data in separate regions and tracks.
â—† Type 1 MIDI files, sometimes referred to as multitrack MIDI files, contain multiple tracks of
MIDI data. When importing these files, each track’s data is placed on its own new MIDI track in the Pro Tools session.
To import a Standard MIDI File to new tracks:
1 Choose File > Import MIDI to Track.
2 Select the MIDI file you want to import.
Importing MIDI Files
You can import Standard MIDI Files into your
Pro Tools sessions. Use the Import MIDI to Track command to place the imported MIDI onto new tracks; or use the Import MIDI command in the
MIDI Regions List pop-up menu to place the data in the MIDI Regions List, where it can be dragged to existing tracks.
Pro Tools does not import proprietary sequence files. To use sequences from other MIDI applications in a Pro Tools session, you’ll need to first save them as Standard MIDI Files. Refer to the manufacturer’s documentation for details on saving Standard MIDI Files.
Import MIDI dialog
3 To import the MIDI file’s tempo and meter tracks, select the Import Tempo From MIDI File option.
This option overwrites existing meter and tempo events in the current session. If you don’t want this, select Use Existing Tempo From Session.
134 Pro Tools Reference Guide
4 Click Open (Windows) or Import (Macintosh). If prompted, specify whether you want to
Keep or Discard existing MIDI tracks and regions in the current session.
The MIDI data is imported to new MIDI tracks, and also appears as regions in the MIDI Regions
List.
If the Standard MIDI File contains markers, they are only imported if the current session does not contain any markers.
5 In the Mix window, click the MIDI Output Selector for each new track and assign a MIDI instrument and channel.
To import a Standard MIDI File into the MIDI
Regions List:
1 Choose Import MIDI from the MIDI Regions
List pop-up menu.
2 Select the MIDI file you want to import.
3 To import the MIDI file’s tempo and meter tracks, select the option for Import Tempo From
MIDI File.
This option overwrites existing meter and tempo events in the current session. If you don’t want this, make sure to instead select Use Existing Tempo From Session.
4 Click Open (Windows) or Import (Macintosh). If prompted, specify whether you want to
Keep or Discard existing MIDI tracks and regions residing in the current session.
Pro Tools imports the MIDI data as regions and places them in the MIDI Regions List.
If the Standard MIDI File contains markers, they are only imported if the current session does not contain any markers.
5 Drag the new MIDI regions to existing MIDI tracks.
Exporting MIDI Files
To export a session’s MIDI tracks for use in another MIDI application, or for playback with an external (hardware) MIDI sequencer, you can save the tracks as a Standard MIDI File.
When exporting, the session tracks can be merged to a single, multichannel track (Type 0), or they can be saved as multiple tracks (Type 1).
To export all MIDI tracks in the current session:
1 Make sure to unmute any MIDI tracks in the session that you want to export.
2 Choose File > Export MIDI.
3 Specify a folder destination and name for the
MIDI file.
Export MIDI dialog
4 In the MIDI Version field, select whether the
Standard MIDI File will be Type 0 (merged, single track) or Type 1 (multi-track).
5 Click Save. Pro Tools exports all MIDI tracks in the current session to a Standard MIDI File and writes it to your hard drive. Exported MIDI information includes notes, controller events, program changes, and System Exclusive data, as well as events for tempo, meter, and markers.
Chapter 9: Importing and Exporting Session Data 135
The SMPTE start time for the session is also exported. This ensures that the exported tracks, when played from another MIDI application, will align with the correct SMPTE frames, and also sync correctly to tape and video devices, or
Pro Tools.
Refer to your third-party MIDI sequencer documentation to determine whether it supports importing SMPTE start times from MIDI files.
Not Exported with MIDI Files
Mute automation and muted regions do not affect exported MIDI. As long as a track is not muted by clicking its Mute button, all of its
MIDI data is exported.
When exporting MIDI files from Pro Tools, device assignments for tracks are not retained
(though channel assignments are). If you export
MIDI tracks from Pro Tools and later re-import them, you’ll need to reassign the tracks to devices in your studio.
All playlist information for MIDI tracks is lost when exporting. For example, tracks that previously contained dozens of MIDI regions will be flattened and only contain single regions after exporting and re-importing.
136 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 Compatibility Information
- 16 About www.digidesign.com
- 17 Chapter 2: Pro Tools System Configurations
- 17 Pro Tools TDM Systems
- 18 Pro Tools|HD-Series Systems
- 18 Supported Audio Interfaces
- 20 Audio Interfaces for TDM Systems
- 21 Pro Tools LE Systems
- 22 Pro Tools LE System Capabilities
- 22 Pro Tools M-Powered
- 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
- 28 Active and Inactive Items
- 30 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
- 40 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 Opening a Session
- 58 Opening a Session that Contains Unavailable Files
- 59 Opening a Session that Contains Unavailable Resources
- 59 Selecting Fader Gain when Opening a Previously Recorded Session
- 59 Saving a Session
- 59 Saving the Session File
- 60 Saving the Session File with a New Name
- 60 Saving a Copy of the Session
- 63 Creating Custom Session Templates
- 63 Creating Windows Templates
- 64 Creating Macintosh Templates
- 64 Closing a Session
- 64 Quitting Pro Tools
- 65 Sharing Sessions Between Pro Tools TDM Systems and Pro Tools LE Systems
- 65 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
- 86 Creating New Paths
- 87 Resetting Paths
- 88 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 Controller Meter Path
- 94 Audition Paths
- 95 New Track Default Output Path
- 96 AFL/PFL Path
- 97 Default Path Order
- 97 H/W Insert Delay Compensation
- 99 Chapter 8: Tracks
- 99 Track Types
- 102 Track Controls
- 102 Input/Output Selectors
- 102 Volume/Peak/Channel Delay Indicator
- 102 Pan Indicator
- 102 Pan Slider
- 102 Volume Fader
- 103 Track Level Meter
- 105 Creating Tracks
- 108 Hiding Tracks
- 111 Assigning Inputs and Outputs to Tracks
- 111 Assigning Audio Track Inputs
- 112 Assigning Audio Track Outputs
- 112 Track Priority and Voice Assignment
- 112 Track Priority
- 113 Setting Voice Assignment
- 115 Setting MIDI Input and Output
- 115 Assigning MIDI Track Input
- 116 Assigning MIDI Track Output
- 116 Soloing and Muting Tracks
- 117 Solo Button
- 120 Mute Button
- 121 Making Tracks Inactive
- 121 Adjusting Track Width
- 122 Color Coding for Tracks, Regions, Markers and Groups
- 122 Display Page Preferences for Color Coding
- 124 Color Palette
- 124 Grouping Tracks
- 125 Using the Groups List
- 126 Creating Groups
- 127 Editing Groups
- 128 Enabling Groups
- 129 Chapter 9: Importing and Exporting Session Data
- 129 Importing Audio
- 131 Conversion Quality
- 131 Importing Audio Files and Regions
- 133 Importing Audio Files with Drag & Drop from a DigiBase Browser
- 133 Importing Audio from an Audio CD
- 134 Importing Tracks and Track Attributes
- 135 Import Session Data Dialog
- 141 Exporting Audio
- 141 Exporting a Region as a New Audio File
- 142 Exporting Region Definitions
- 143 Exporting Pro Tools Tracks as OMFI or AAF Sequences
- 143 Exporting Sessions as Text
- 143 Export Session as Text Options
- 144 Exported Session Text
- 145 Send Session Via DigiDelivery
- 146 Importing MIDI Files
- 147 Exporting MIDI Files
- 149 Chapter 10: File Management and Compatibility
- 149 Audio File Management
- 149 Locating Audio Files
- 151 WAV File Compatibility
- 151 Creating Macintosh and PC Compatible Sessions
- 152 Creating and Saving Cross- Platform Sessions
- 153 Moving Sessions Between Platforms (Using HFS+ and NTFS Drives)
- 154 Multilingual Application Support for Pro Tools TDM Systems
- 155 Recording
- 157 Chapter 11: Record Setup
- 157 Input Connections and Audio Levels
- 158 Record Enabling Tracks
- 160 Latch Record Preference
- 160 Record Safe Mode
- 160 Record Monitoring Modes
- 161 Selecting a Record Monitor Mode in Pro Tools LE
- 161 Selecting Record Monitor Modes with TrackInput
- 162 Monitor Levels for Record and Playback
- 163 Monitoring Latency
- 163 Zero Latency Monitoring
- 163 Low Latency Monitoring
- 164 Low Latency Monitoring During Recording
- 164 Default Track Names
- 165 Disk Allocation
- 167 Recording to the System Volume
- 167 Allocating Hard Drive Space for Recording
- 168 Record Modes
- 170 The Record Modes and MIDI
- 171 Recording with a Click
- 172 Setting the Default Meter and Tempo
- 172 Setting the Default Meter
- 173 Setting the Default Tempo
- 175 Chapter 12: Basic Audio Recording
- 175 Recording an Audio Track
- 179 Recording Multiple Audio Tracks
- 179 Record Shortcuts
- 179 Record Pause Mode
- 179 Recording Additional Takes
- 181 Punch Recording Audio
- 183 Loop Recording Audio
- 184 Auditioning Record Takes
- 184 Auditioning from the Regions List
- 184 Auditioning from the Takes List Pop-Up Menu
- 185 Editing Preferences for Takes
- 186 Setting Punch/Loop Points
- 188 Setting Pre- and Post-Roll
- 190 Recording from a Digital Source
- 191 Recording from Digital Sources
- 192 Half-Speed Recording and Playback
- 193 Chapter 13: MIDI Recording
- 193 Recording from MIDI Devices
- 194 Enabling Input Devices
- 194 MIDI Thru
- 195 The Default Thru Instrument
- 195 MIDI Input Filter
- 196 Input Quantize
- 196 Wait for Note
- 197 MIDI Merge/Replace
- 197 Configuring MIDI Tracks for Recording
- 199 Recording to MIDI Tracks
- 200 Undo and MIDI Recording
- 200 Punch Recording MIDI
- 202 Regions and Punch Recording
- 202 Loop Recording MIDI
- 202 Loop Recording with Merge Mode
- 203 Loop Recording Multiple Takes
- 205 MIDI Step Input
- 205 Step Input Controls
- 207 Numeric Keypad Shortcuts
- 208 Recording System Exclusive Data
- 209 Chapter 14: Advanced Recording
- 209 QuickPunch Audio Recording
- 210 QuickPunch Guidelines for TDM Systems
- 211 QuickPunch Guidelines for LE Systems
- 211 Recording with QuickPunch
- 212 TrackPunch Audio Recording
- 213 Voice Requirements for TrackPunch Recording
- 213 Recording with TrackPunch Overview
- 214 TrackPunch Preferences
- 215 Configuring Synchronization and Track Arming
- 216 Enabling TrackPunch Mode
- 216 Transport Display of TrackPunch Status
- 217 TrackPunch Enabling Tracks
- 218 TrackPunch Recording
- 219 Example TrackPunch Workflows
- 219 Film Dubbing and Mixing with TrackPunch
- 220 Loading Dailies with RecordLock
- 221 Foley Recording with TrackPunch
- 221 Tracking and Overdubbing Music with TrackPunch
- 223 Editing
- 225 Chapter 15: Editing Basics
- 225 Pro Tools Editing
- 225 Nondestructive Editing
- 225 Editing During Playback
- 226 Track Material
- 227 Track View
- 229 Track Height
- 231 Displaying Region Names and Times
- 231 Audio Regions and Waveforms
- 232 Guidelines for Editing Waveforms
- 233 Nondestructive Audio Editing
- 233 Audio Regions and Automation Data
- 233 MIDI Regions and MIDI Data
- 233 Notes View for MIDI Tracks
- 234 Regions View for MIDI Tracks
- 235 Nondestructive MIDI Editing
- 235 MIDI Regions and Continuous Controller Events
- 236 Playlists
- 236 Working with Playlists
- 238 Playlists and Groups
- 239 Multiple Undo
- 239 Undo History Window
- 240 Levels of Undo and Memory
- 240 The Audio and MIDI Regions Lists
- 241 Sorting and Searching a Regions List
- 242 Selecting in a Regions List
- 244 Stereo and Multichannel Tracks in the Audio Regions List
- 244 Edit Modes
- 244 Shuffle
- 245 Slip
- 245 Spot
- 245 Grid
- 247 Zooming
- 247 Horizontal and Vertical Zoom Buttons
- 248 Zoomer Tool
- 249 Zoom Preset Buttons
- 250 Zoom Toggle
- 250 Zooming with a Scroll Wheel
- 251 The Universe Window
- 252 Timebase Rulers
- 253 Main Time Scale
- 255 Tick-Based Timing
- 255 Ticks versus Samples
- 259 Chapter 16: Playing and Selecting Track Material
- 259 Playing Tracks
- 260 Page Scroll During Playback
- 260 Locating and Auditioning with Fast Forward/Rewind
- 260 Locating with Back and Forward Commands
- 262 Location Indicators
- 263 Scrolling in the Ruler
- 263 Scrolling with a Scroll Wheel
- 263 Locating the Playback Cursor
- 264 Auto-Scrolling Tracks in the Mix and Edit Windows
- 264 Navigation using Track Position Numbers
- 265 Scrolling Options
- 266 The Scrubber
- 268 Numeric Keypad Set to Shuttle
- 268 Linking or Unlinking Edit and Timeline Selections
- 270 Selecting Track Material
- 274 Using the Selection Indicators (Start, End, and Length)
- 275 Selecting Across Multiple Tracks
- 276 Other Useful Selection Techniques
- 277 Tabbing to Transients
- 278 Playing Selections
- 279 Looping Playback
- 280 Timeline Selections
- 281 Playing Edit and Timeline Selections with the Playhead
- 282 Moving the Playhead
- 283 Chapter 17: Working with Regions and Selections
- 283 Creating New Regions
- 283 Capture Region Command
- 284 Separate Region Command
- 285 Separation Grabber
- 286 Region Overlap and Underlap
- 286 Trim Choices
- 286 Trim To Selection Command
- 286 Trim To Insertion Command
- 287 Trim to Fill Gaps Commands
- 288 Trimming with Nudge
- 288 Healing a Separation
- 288 Placing Regions in Tracks
- 289 Defining Region Sync Points
- 290 Placing Regions at the Edit Insertion Point
- 292 Aligning to Region Start Points
- 293 The Trimmer Tool
- 293 Standard Trimmer
- 294 The Time Trimmer
- 295 The Scrub Trimmer
- 296 Sliding Regions
- 296 Shuffling Regions
- 297 Slipping Regions
- 297 Spotting Regions
- 299 Sliding Regions in Grid Mode
- 301 Nudging
- 301 Nudging Regions
- 302 Nudging a Region’s Contents
- 303 Shift Command
- 303 Quantizing Regions
- 304 Locking Regions
- 304 Muting/Unmuting Regions
- 304 Edit Commands
- 305 Track View and Edit Content
- 307 Editing Across Multiple Tracks
- 308 Duplicate Command
- 309 Repeat Command
- 309 Merge Paste Command
- 310 Editing Stereo and Multichannel Tracks
- 311 Processing Audio with AudioSuite Plug-Ins
- 311 Waveform Repair with the Pencil Tool
- 312 The Smart Tool
- 315 Chapter 18: Advanced Editing (TDM Systems Only)
- 315 Replacing Audio Regions
- 317 Repeat Paste To Fill Selection
- 317 Compress/Expand Edit To Play
- 318 Fitting an Audio Region to an Edit Selection
- 319 Chapter 19: Fades and Crossfades
- 319 Using Crossfades
- 319 About Crossfades and Curves
- 321 The Fades Dialog
- 326 Creating a Crossfade
- 327 Creating Fades at the Beginnings and Ends of Regions
- 327 Creating Fade-Ins and Fade-Outs
- 329 Using AutoFades
- 329 Creating Fades and Crossfades in Batches
- 331 Chapter 20: Managing Regions
- 331 Stripping Silence from Regions
- 331 The Strip Silence Window
- 332 Using Strip Silence
- 333 Inserting Silence
- 334 Consolidate Selection Command
- 334 Compacting an Audio File
- 335 Naming and Displaying Regions
- 335 Renaming Regions
- 336 Auto-Naming Options
- 337 Hiding and Removing Unwanted Regions
- 339 Chapter 21: Conductor Tracks and Memory Locations
- 339 Tempo
- 339 Tempo Events
- 340 Inserting Tempo Events
- 341 Tap Tempo
- 342 Tempo Changes and Automation Drift
- 343 Graphic Tempo Editor
- 344 Editing Tempo Events in the Tempo Editor
- 349 Changing the Timebase Display
- 349 Tempo Operations Window
- 350 Constant Page
- 352 Linear Page
- 353 Parabolic Page
- 355 S-Curve Page
- 357 Scale Page
- 358 Stretch Page
- 359 Song Start Marker
- 360 Identify Beat Command
- 360 Bar|Beat Markers
- 362 Identifying Beats
- 363 Inserting Bar|Beat Markers One at a Time
- 363 Meter Events
- 363 Inserting Meter Events
- 365 Partial Measures
- 365 Time Operations Window
- 366 Change Meter Page
- 368 Insert Time Page
- 369 Cut Time Page
- 371 Move Song Start Page
- 372 Renumbering Bars
- 372 Memory Locations and Markers
- 372 Properties of Memory Locations
- 374 Creating Memory Locations
- 376 Recalling Memory Locations
- 376 Editing Memory Locations
- 379 Memory Locations Window
- 379 Memory Locations Commands and Options
- 381 Chapter 22: Beat Detective
- 382 Beat Detective Requirements
- 383 The Beat Detective Window
- 383 Beat Detective Modes
- 384 Defining a Beat Detective Selection
- 385 Calculating Tempo with Beat Detective
- 386 Generating Beat Triggers
- 389 Editing Beat Triggers
- 391 Generating Bar|Beat Markers with Beat Detective
- 391 Working with Sub-Beats
- 392 DigiGroove Templates
- 394 Separating Regions with Beat Detective (Audio Only)
- 396 Conforming Regions with Beat Detective (Audio Only)
- 398 Edit Smoothing (Audio Only)
- 400 Detection (Normal) and Collection Mode (Pro Tools TDM Only)
- 400 Using Collection Mode
- 403 MIDI Editing
- 405 Chapter 23: MIDI Editing
- 405 The Pencil Tool
- 406 Custom Note Duration
- 407 Setting the Grid Value
- 407 Inserting MIDI Notes
- 409 Manually Editing MIDI Notes
- 413 Typing in Note Attributes
- 413 Deleting MIDI Notes
- 414 TCE Trimmer Functionality on MIDI Regions
- 415 Continuous Controller Events
- 416 Inserting/Editing Controller Events
- 417 Patch Select (Program and Bank Changes)
- 418 Default Program Change
- 420 Inserting and Editing Program Changes
- 421 Auditioning Programs
- 421 System Exclusive Events
- 422 Note and Controller Chasing
- 423 Offsetting MIDI Tracks
- 424 Stuck Notes
- 425 Chapter 24: MIDI Operations
- 425 MIDI Operations Window
- 426 Quantize
- 429 Quantize Examples
- 430 Experimenting with Quantize
- 430 Groove Quantize
- 433 Applying Groove Templates
- 435 Restore Performance
- 436 Flatten Performance
- 437 Change Velocity
- 439 Change Duration
- 440 Transpose
- 441 Select Notes
- 442 Split Notes
- 443 Input Quantize
- 444 Step Input
- 444 Step Input Controls
- 446 Numeric Keypad Shortcuts
- 447 Chapter 25: MIDI Event List
- 447 The MIDI Event List
- 447 Opening the MIDI Event List
- 450 Inserting Events in the MIDI Event List
- 452 Editing in the MIDI Event List
- 453 Selecting in the MIDI Event List
- 453 Deleting in the MIDI Event List
- 453 Copy and Paste in the MIDI Event List
- 454 MIDI Event List Options
- 455 Mixing
- 457 Chapter 26: Basic Mixing
- 457 Mixing Concepts
- 457 Metering and Calibration
- 458 Audio Signal Flow
- 458 Audio Tracks
- 459 Auxiliary Inputs
- 460 Master Faders
- 461 Inserts
- 462 Views in the Mix and Edit Windows
- 463 Track Input
- 464 Track Output
- 466 Multiple Output Assignments
- 467 Sends
- 468 Assigning Sends to Tracks
- 469 Configuring Sends View in the Mix and Edit Windows
- 470 Editing Sends in the Mix and Edit Windows (Send A-E Views)
- 472 Output Windows for Tracks and Sends
- 474 Panner Linking
- 475 Standard Selector Controls in Output Windows
- 476 Using Output Windows
- 477 Sends and Groups
- 477 Copying Track Settings to Sends
- 478 Submixing for Signal Routing and Effects Processing
- 478 Audio Input from MIDI Devices and Other External Sources
- 478 Creating a Submix
- 481 Delay Compensation
- 482 Delay Compensation Settings
- 482 Delay Compensation View
- 484 Delay Compensation for MIDI Tracks
- 485 Dither
- 485 Dither in Pro Tools
- 486 Using a Control Surface with Pro Tools
- 487 Chapter 27: Plug-In and Hardware Inserts
- 490 Viewing Inserts
- 491 Making Inserts Inactive
- 492 Inserting Plug-Ins on Tracks
- 492 Inserting Plug-Ins During Playback
- 492 Plug-In Menu Organization
- 494 Plug-in Favorites
- 495 Moving and Duplicating Plug- In and Hardware Inserts
- 495 The Plug-In Window
- 497 Opening Plug-In Windows
- 497 Opening Multiple Plug-In Windows
- 498 Plug-In Window Controls
- 498 Using the Librarian
- 499 The Settings Menu
- 500 Choosing a Destination for Settings
- 500 Managing Settings
- 501 Plug-In Settings Dialog
- 502 Bypassing Plug-Ins
- 503 Linking and Unlinking Controls on Multi-Mono Plug-Ins
- 503 Editing Plug-In Controls
- 504 Keyboard Shortcuts for Plug-In Controls
- 504 Plug-In Automation and Safe
- 504 Using a Key Input for Side-Chain Processing
- 505 Using Hardware Inserts
- 506 Assigning Hardware Inserts
- 506 Bypassing Hardware Inserts
- 506 Connecting and Integrating External Devices
- 506 Connecting Effects Units Digitally
- 507 Using External Clock Sources
- 509 Chapter 28: Automation
- 509 Automation Quick Start
- 510 Automation Playlists
- 510 Automation Playlists with Audio and MIDI Regions
- 511 Automation Modes
- 511 Off Mode
- 511 Read Mode
- 512 Write Mode
- 512 Touch Mode
- 513 Latch Mode
- 514 Trim Mode
- 516 Automation Preferences
- 516 Smoothing
- 517 Thinning
- 517 AutoMatch Time
- 517 Setting the Automation Buffer Size
- 518 Automation Safe
- 519 Viewing Automation
- 519 Writing Automation
- 521 Automating Sends
- 522 Automating Plug-Ins
- 523 Enabling and Suspending Automation
- 524 Deleting Automation
- 525 Thinning Automation
- 526 Using the Thin Automation Command
- 526 Drawing Automation
- 527 Editing Automation
- 527 Graphical Editing of Automation Data
- 528 Editing Automation Types
- 529 Editing Automation Breakpoints
- 530 Editing Automation on Stereo and Multichannel Tracks
- 531 Editing Automation on Grouped Tracks
- 532 Cutting, Copying, and Pasting Automation
- 534 Glide Automation
- 535 Trimming Automation
- 536 Writing Automation to the Start, End or All of a Selection
- 537 Write to Start, End, and All On Stop
- 538 Writing Automation to the Next Breakpoint
- 539 Mute Automation Overwrite/Extend Command
- 542 Creating Snapshot Automation
- 544 Snapshot Automation and Trimming of Automation Data
- 545 Chapter 29: Mixdown
- 547 Recording to Tracks
- 548 Bounce to Disk
- 549 Bounce Options
- 549 Default Settings
- 549 Bounce Source
- 550 File Type
- 553 Format
- 554 Resolution
- 554 Sample Rate
- 555 Sample Rate Conversion Quality Option
- 555 Use Squeezer
- 555 Convert During or After Bounce
- 556 Import Into Session After Bounce
- 556 Help
- 556 Recording a Submix (with Bounce To Disk)
- 557 Final Mixdown
- 558 Mastering
- 558 Mastering to a Digital Recorder
- 561 Surround
- 563 Chapter 30: Surround Concepts (Pro Tools TDM Only)
- 563 How to Use These Chapters
- 563 Mixing Formats and Surround Formats
- 564 Pro Tools Mixing Formats
- 564 Speaker Layouts
- 566 Surround Monitoring
- 566 The Importance of Speaker Placement
- 567 Calibrated Surround Monitoring
- 567 Formats and Terminology
- 568 LCRS for Dolby Surround
- 568 5.1 for Dolby Digital and DTS
- 568 .1 Formats
- 568 .0 Formats
- 569 LFE
- 569 Divergence
- 570 Where to Get More Information on Surround Technology
- 570 Surround Mixing Concepts
- 570 Surround Format Compatibility
- 571 Surround Formats and Delivery Mediums
- 571 Surround Playback System Variables
- 573 Chapter 31: Pro Tools Setup for Surround (Pro Tools TDM Only)
- 573 Pro Tools Audio Connections for 5.1 Mixing
- 574 Configuring Pro Tools for Multichannel Sessions
- 574 New Sessions and I/O Settings
- 576 Importing Multichannel I/O Setups
- 576 Custom Multichannel Paths
- 578 Default I/O Selectors in I/O Setup
- 578 Default Path Order for 5.1 Tracks
- 579 5.1 Track Layouts, Routing, and Metering
- 581 Chapter 32: Multichannel Tracks and Signal Routing (Pro Tools TDM Only)
- 581 Multichannel Quick Start
- 582 Multichannel Audio Tracks
- 583 Placing Audio in Multichannel Tracks
- 585 Multichannel Signal Routing
- 585 Multichannel Track Outputs
- 585 Multichannel Sends
- 586 Multichannel Auxiliary Inputs and Master Faders
- 586 Mono, Multi-Mono and Multichannel Plug-Ins
- 588 Paths in Surround Mixes
- 590 Example Paths and Signal Routing for a Surround Mix
- 590 Example Multichannel Paths
- 591 Signal Routing Examples
- 593 LFE Examples
- 595 Chapter 33: Surround Panning and Mixing (Pro Tools TDM Only)
- 595 Introduction to Pro Tools Surround Panning
- 596 Mix and Edit Window Panner Grids
- 596 Output Window
- 597 Standard Controls
- 598 Surround Panner Controls
- 599 The X/Y Grid and Pan Location Cursor
- 600 Panning Modes
- 601 X/Y Panning
- 602 3-Knob Panning
- 603 AutoGlide Mode
- 604 Divergence and Center Percentage
- 604 Divergence
- 606 Pan Playlists and Automation
- 606 LFE Faders in Multichannel Panners
- 607 SurroundScope Metering Plug-In
- 609 Synchronization
- 611 Chapter 34: Synchronization Concepts
- 611 Synchronization Requirements
- 611 Aspects of Synchronization
- 612 Synchronizing Pro Tools
- 612 About Positional References
- 614 LTC (Longitudinal or Linear Time Code)
- 614 VITC (Vertical Interval Time Code)
- 614 Bi-Phase/Tach
- 615 SMPTE Frame Formats
- 616 Working with Film-Originated Material
- 616 Guide Tracks and Conforming
- 616 3:2 Pulldown
- 617 Film Speed Differs from NTSC Video Speed
- 618 Pull Up and Pull Down
- 618 When to Pull Up or Pull Down
- 621 Chapter 35: Working with Synchronization
- 621 Pro Tools Synchronization Options
- 621 SMPTE Trigger Resolved with SYNC I/O
- 622 Ext. Clock Output
- 623 Session Setup Window
- 624 Session Displays and Settings
- 625 SYNC Setup Settings
- 626 Session Start Offsets
- 626 Time Code Settings
- 627 Preparing to Work with SMPTE
- 627 Configuring Pro Tools for SMPTE
- 628 Selecting a SMPTE Format
- 628 Setting a SMPTE Session Start Time (Start Frame)
- 629 Redefining a Time Code Position
- 629 Redefining a Feet+Frame Position
- 630 Displaying Time in SMPTE Frames
- 630 Pull Up and Pull Down
- 632 Audio Sample Rate Pull Up and Down
- 633 Video Rate Pull Up and Down
- 634 Putting Pro Tools Online
- 634 Recording Online
- 634 Generating Time Code
- 635 Using MIDI Machine Control
- 635 Controlling External Devices Using MMC
- 636 Enabling MIDI Machine Control in Pro Tools
- 636 Operating the Pro Tools Transport with MMC
- 637 Taking a Device Offline
- 638 Synchronizing a Sequencer to Pro Tools
- 638 Setting Minimum Sync Delay
- 638 Remote Track Arming
- 639 MIDI Beat Clock
- 639 Spotting Regions to SMPTE Frame Locations
- 639 Spot Mode
- 639 The Spot Dialog
- 641 Auto-Spotting Regions
- 641 Using the Trimmer in Spot Mode
- 642 Time Stamping
- 642 Show Original Time Code in Regions
- 642 Creating a User Time Stamp
- 643 Identifying a Synchronization Point
- 645 Troubleshooting Synchronization
- 647 Chapter 36: Working with QuickTime Movies
- 647 About QuickTime
- 647 Using QuickTime Movies in Pro Tools
- 648 Video Capture/Playback Cards
- 648 If You Are New to Audio Post Production
- 649 QuickTime Requirements
- 649 Movie Playback Quality Options
- 650 Importing a QuickTime Movie
- 650 About the Movie Track
- 651 Firewire Playback of QuickTime DV Movies
- 651 Supported QuickTime Movies
- 652 Scrubbing the Movie Track
- 654 Setting the Movie Start Time (Movie Offset)
- 655 Spotting Audio to a QuickTime Movie
- 655 Using Grid Mode to Spot and Nudge Regions with Frame Accuracy
- 656 Importing QuickTime Audio (and Other Compressed Video Files)
- 656 Sample Rate Conversion Quality
- 656 Importing Audio from a QuickTime Movie
- 657 Bouncing to a New Movie
- 659 Appendix A: DSP-Induced Delays in Mixing (TDM Only)
- 659 Introduction to DSP-Induced Delay
- 660 When to Compensate
- 660 How to Compensate
- 660 Automatically Compensating for Delays
- 660 Delay Compensation
- 661 Manually Compensating for Delays
- 662 Using TimeAdjuster TDM Plug-In
- 663 Nudging Audio Tracks
- 663 Delay Factors
- 663 Bouncing Tracks
- 663 Using Plug-In Inserts
- 664 Using Sends
- 664 Using Hardware I/O
- 665 Appendix B: TDM Mixing and DSP Usage (TDM Systems Only)
- 665 Benefits of TDM II
- 665 TDM (or TDM I)
- 666 TDM II
- 667 DSP Allocation
- 667 DSP Allocation Basics
- 667 Mixing and DSP Usage
- 668 DSP Manager
- 668 Monitoring DSP Usage
- 669 Setting up Sessions to use DSP Efficiently
- 669 DSP Usage with TDM Mixers
- 669 Understanding Mixers
- 672 48-Bit Mixing Precision
- 672 Mixer Headroom
- 672 Mixer Automatiion
- 673 Stereo and Surround Dithered Mixers
- 673 A Note About Dithering to 16-Bit and Dither Plug-Ins
- 674 TDM Mixer Plug-Ins
- 674 Plug-In Features
- 674 Switching TDM Mixer Plug-Ins
- 674 Mixer Usage Guidelines
- 675 DSP Usage with TDM Plug-Ins
- 677 Appendix C: Troubleshooting
- 677 Backing Up Your Work
- 677 Back Up Your Session Data
- 677 Back Up Your System Setup
- 677 Common Issues
- 677 Pro Tools Won’t Launch
- 678 Audio Interface Is Not Recognized
- 678 Using DigiTest as a Diagnostic Tool
- 679 Performance Factors
- 679 Before You Call Digidesign Technical Support
- 679 Register Your System
- 679 Use Digidesign Resources
- 680 Gather Important Information
- 681 Glossary
- 691 Index