Chapter 13: MIDI Recording. Avid Pro Tools HD 6.9, Pro Tools LE 6.9
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Chapter 13: MIDI Recording
Although recording MIDI in Pro Tools is similar to recording audio, there are some important differences:
◆ Unlike audio, MIDI recording is almost always
destructive. See “The Record Modes and MIDI” on page 158 for details.
◆ Unlike audio tracks, MIDI tracks can be record enabled on-the-fly during playback or recording.
◆ Similar to audio tracks, MIDI tracks have an
Input Selector that determines which ports on your MIDI interface (devices) and which MIDI channels are routed and recorded to the track. If the Input Selector is set to All, all channels for all devices are routed to the track.
◆ It is not necessary to use QuickPunch or
TrackPunch to punch in on-the-fly with MIDI tracks. This capability is available in normal
Nondestructive Record mode, and in Destructive Record mode.
Recording from MIDI Devices
The MIDI Inputs for record-enabled MIDI tracks determine which MIDI data is recorded in
Pro Tools. MIDI Inputs can be set to a specific device (port) and channel, or they can be set to
“All,” where all channels for all devices are merged to the track.
MIDI tracks in Pro Tools do not contain multiple channels and always play back on the track’s assigned (MIDI output) devices and channels.
Multiple MIDI channels can be simultaneously recorded to multiple tracks.
The following Pro Tools options determine whether you can record from a MIDI controller device:
◆ Devices that are assigned as a MIDI Controller in the Peripherals dialog are ignored when MIDI tracks are recorded. This is to avoid recording data from MIDI control surfaces (such as the
Digidesign Command|8).
◆ To record and play MIDI, the device must be enabled in the Input Devices dialog (Macintosh
Only). For more information, see “Enabling Input Devices” on page 182.
In addition, the following options affect how
MIDI data is recorded in Pro Tools.
◆ The MIDI Input Filter can filter out MIDI messages that you may not want to record, such as
Polyphonic Aftertouch or System Exclusive
data. For more information, see “MIDI Input Filter” on page 183.
◆ Input Quantize, when enabled, automatically quantizes (time corrects) all MIDI notes that are
recorded. For more information, see “Input
Chapter 13: MIDI Recording 181
Enabling Input Devices
To record from a MIDI controller in Pro Tools, the device must be enabled in the Input Devices dialog. You can also use this dialog to make sure unwanted notes from certain devices, such as drum machines or arpeggiators, are not recorded.
MIDI Control Surfaces In order to use any MIDI control surfaces (such as the Digidesign Command|8), they must be enabled in the Input Devices dialog.
MMC In order for Pro Tools to sync to MMC, the
MMC source must be enabled in the Input Devices dialog.
To enable input devices:
1 Choose MIDI > Input Devices.
2 In the MIDI Input Enable dialog, select the
MIDI devices you will record from. Also, make sure any devices that will be used as a control surface are also selected.
4 When you are finished, click OK.
Pro Tools Inputs
(Macintosh Only)
Pro Tools has four virtual MIDI inputs, called
Pro Tools Inputs, that can receive MIDI from other supported software applications. For example, you can use Pro Tools Inputs to synchronize to MIDI Time Code generated from another supported software application, or record MIDI data from another MIDI sequencer to Pro Tools
MIDI tracks.
MIDI Patchbay is a useful application for routing MIDI between applications that support virtual MIDI inputs (such as
Pro Tools), and applications that do not.
See http://pete.yandell.com/software for more information.
MIDI Thru
To monitor MIDI tracks while recording, enable
MIDI Thru. When enabled, Pro Tools routes
MIDI from your controllers to the device and channels assigned to the MIDI track currently record enabled.
The MIDI preference for Global MIDI Playback Offset and individual MIDI track offsets do not affect MIDI routed with MIDI
Thru.
When MIDI Thru is enabled, System Exclusive events are echoed to the MIDI device assigned to the record-enabled track—but only if the Sysex events are smaller than 256 bytes.
MIDI Input Enable dialog
3 Deselect any devices you want to ignore while recording MIDI.
182 Pro Tools Reference Guide
To enable MIDI Thru:
■
Select MIDI > MIDI Thru.
When using MIDI Thru, you should disable
Local Control, if present, on your MIDI devices. Otherwise, your MIDI device may receive double MIDI notes, which can lead to stuck notes. If you are unsure how to disable
Local Control for your instrument, refer to the manufacturer’s documentation.
The Default Thru Instrument
In addition to any MIDI tracks that are record enabled, you can also route MIDI to the Default
Thru Instrument. This saves you the trouble of creating a MIDI track and record enabling it to hear a particular MIDI device and channel.
Unlike MIDI tracks, which only listen to the device and channel assigned to its Input Selector, all incoming MIDI data is routed to the Default
Thru Instrument.
If the Default Thru Instrument is assigned to a record-enabled MIDI track, Pro Tools only routes to the record-enabled track.
To set the Default Thru Instrument:
1 Choose Setups > Preferences and click the
MIDI tab.
2 From the pop-up menu for Default Thru Instrument, select the MIDI device and channel to which MIDI data will be routed. To disable the
Default Thru Instrument, select None.
MIDI Input Filter
Use the MIDI Input Filter to prevent certain
MIDI messages from being recorded. The MIDI
Input Filter can be set to record “All” messages,
“Only” the specified messages, or “All Except” the specified messages.
For example, to filter out Polyphonic Aftertouch:
1 Choose MIDI > Input Filter.
2 In the MIDI Input Filter dialog, select the All
Except option.
MIDI Input Filter
3 Select the option for Polyphonic Aftertouch.
Leave all other messages deselected.
4 Click OK.
When using the All Except option, the selected
MIDI messages will not be recorded. Conversely, when using the Only option, only the MIDI messages that are selected will be recorded.
Chapter 13: MIDI Recording 183
Input Quantize
When Input Quantize is enabled, all recorded
MIDI notes are quantized automatically. To preserve the original “feel” of your recorded MIDI tracks, make sure to disable this option.
To enable Input Quantize:
1 Choose MIDI > Input Quantize.
2 In the Input Quantize window, select the Enable Input Quantize option.
Wait for Note
The Wait for Note button, located in the Transport window, determines how Pro Tools begins recording. When enabled, Pro Tools will not begin recording until a MIDI event is received.
This ensures that you begin recording when you’re ready to play, and that the first note, or other MIDI data, is recorded precisely at the beginning of the record range (start time).
Wait for Note can be used when recording normally, when punching in, or when loop recording. If pre-roll is enabled, it occurs after the
MIDI event is received and before recording begins.
To enable Wait for Note:
1 To view the MIDI controls in the Transport window, select Display > Transport Window
Shows > MIDI Controls.
Input Quantize window
Configure the other options in the Input Quantize window. For details on the various Quantize
options, see “Input Quantize” on page 431.
When finished, close the Input Quantize window.
For drum machine style loop recording, use Input
Quantize while loop recording MIDI in Merge
mode (see “Loop Recording with Merge Mode” on page 190).
Transport window with MIDI Controls
2 In the Transport window, click the Wait for
Note button so it becomes highlighted.
Wait for Note enabled
Wait for Note button
With the Operation preference for “Use F11 for Wait for Note” enabled, you can press
F11 to turn on Wait for Note.
184 Pro Tools Reference Guide
MIDI Merge/Replace
The MIDI Merge button, located in the Transport window, determines how MIDI is recorded when overdubbing or punching in. When MIDI
Merge is on ( Merge mode), recorded MIDI is merged with existing track material. When
MIDI Merge is off ( Replace mode), existing data within the punched region is replaced by the newly recorded material.
The MIDI Merge button can be turned on and off while playing or recording. In Loop Record mode, MIDI Merge has no effect, so its button is dimmed.
To enable MIDI Merge with a keyboard shortcut, set the Numeric Keypad Mode to
Transport, and press the 9 key on the numeric keypad.
To enable MIDI Merge:
1 To view the MIDI controls in the Transport window, select Display > Transport Window
Shows > MIDI Controls.
2 In the Transport window, click the MIDI
Merge button so it becomes highlighted.
Configuring MIDI Tracks for
Recording
To configure one or more MIDI tracks for recording:
1 If you do not have a MIDI track to record to, choose File > New Track and specify 1 MIDI
Track, then click Create.
New Track dialog
2 Rename the MIDI track. Track names are used to auto-name recorded regions. For more infor-
mation, see “Default Track Names” on page 152.
3 In the Mix window, click the track’s MIDI Input Selector and assign the device and channel to be recorded.
MIDI Merge button
MIDI Merge enabled
MIDI Input Selector, Mix window
– or –
Chapter 13: MIDI Recording 185
In the Edit window, with I/O View enabled, click the track’s MIDI Input Selector and assign the device and channel to be recorded.
In the Edit window, with I/O View enabled, click the track’s MIDI Output Selector and assign a device and channel from the pop-up menu. Channels already assigned to other tracks appear bold in this menu.
MIDI Input Selector, Edit window
4 In the Mix window, click the track’s MIDI Output Selector and assign a device and channel from the pop-up menu. Channels already assigned to other tracks appear bold in this menu.
MIDI Output Selector, Mix window
– or –
MIDI Output Selector, Edit window
5 To assign multiple destinations to a single
MIDI track, Start-click (Windows) or Controlclick (Macintosh) the MIDI Output Selector and select additional channels from any device.
When multiple destinations are selected for a single MIDI track, a “*” sign will appear next to the first destination name in the track’s MIDI
Output Selector on Windows and Macintosh.
6 If you want to assign a default program change to the track, click the Patch Select button, make the necessary selections for program and bank select, then click Done.
Default program changes are sent whenever the track is played. For more information, see
“Patch Select (Program and Bank Changes)” on page 405.
7 If recording to multiple MIDI tracks, repeat the above steps for each track, then continue to the next step.
186 Pro Tools Reference Guide
8 If you want to use a click, enable and configure the click, and set a default tempo and meter
for the session. For details, see “Recording with a
9 Enable Wait for Note or Countoff in the Transport window if you want to use these features.
10 To replace existing track material, disable
MIDI Merge in the Transport window.
11 If you want to automatically quantize material as it is recorded, enable Input Quantize (see
“Input Quantize” on page 184).
12 In the Transport window, click Return to
Zero so the start and end times are cleared. This ensures that you’ll start recording from the beginning of the track.
13 In either the Mix or Edit window, click the
MIDI track’s Record Enable button to record enable the track.
14 Make sure MIDI > MIDI Thru is selected, then play some notes on your MIDI controller. The
MIDI instrument assigned to the track should sound, and the track’s meters should register
MIDI activity.
You are now ready to record MIDI data to the
record-enabled MIDI tracks. See “Recording to
Recording to MIDI Tracks
In Pro Tools, you can record to one or more
MIDI tracks. Recording simultaneously to multiple MIDI tracks allows you to:
• Record from multiple MIDI devices at the same time, capturing material from several performers
• Record multiple channels from the same device, capturing data from a split keyboard
• Transfer MIDI tracks from an external MIDI sequencer
To take full advantage of the MIDI editing capabilities in Pro Tools, make sure to record with the click enabled. This ensures that recorded data aligns with the session’s bar and beat boundaries.
To record to one or more MIDI tracks:
1 For Pro Tools TDM systems, make sure that
Use Delay Compensation is deselected in the
Operations menu.
2 Configure a MIDI track for recording. Refer to
“Configuring MIDI Tracks for Recording” on page 185.
3 Record enable the MIDI track you want to record by clicking its Record Enable button.
Shift-click to toggle on record enable for multiple MIDI tracks.
4 Put Pro Tools in normal Nondestructive
Record mode. In the Operations menu, deselect
Destructive Record, Loop Record, and Quick-
Punch.
Chapter 13: MIDI Recording 187
5 Click Record in the Transport window to enter
Record Ready mode. The Record button flashes.
Record button
6 When you are ready to begin recording, click
Play. If using Countoff, Pro Tools counts off the specified number of measures and then begins recording.
– or –
If using Wait for Note, the Play, Record, and
Wait for Note buttons flash. Recording begins when a MIDI event is received.
7 When you have finished recording, click Stop in the Transport window.
For each record-enabled track, a new MIDI region is created and appears in the playlist. The new MIDI regions also appear in the MIDI Regions List.
There are several keyboard shortcuts you
can use to begin recording. See “Record
Shortcuts” on page 167 for details.
To play back recorded MIDI tracks:
1 Click the Record Enable button on each MIDI track so that they are no longer record enabled.
2 In the Transport window, click Return to Zero.
3 Click Play in the Transport window to begin playback.
The recorded MIDI data plays back through each track’s assigned device (port) and channel.
Undo and MIDI Recording
You can undo previous MIDI record takes.
To undo a MIDI recording:
■
Once the Transport has been stopped, choose
Edit > Undo MIDI Recording.
The track’s playlist is restored to its previous state. However:
◆ If you punched in and out several times before stopping the Transport, only the last punch is undone.
◆ When using Loop Record mode, all takes from each record pass are discarded.
Canceling a Record Take
It is also possible to discard the current record take before the Transport is stopped.
To cancel a record take while recording:
■
Press Control+period (Windows) or Command+period (Macintosh) before the Transport is stopped.
If using Loop Record mode, all takes from each record pass are discarded.
Punch Recording MIDI
To replace a portion of a MIDI track, you can punch in by specifying the record range before recording.
To punch in on a MIDI track:
1 Configure a MIDI track for recording. Refer to
“Configuring MIDI Tracks for Recording” on page 185.
188 Pro Tools Reference Guide
2 Put Pro Tools in normal Nondestructive
Record mode. In the Operations menu, deselect
Destructive Record, Loop Record, and Quick-
Punch.
3 In the Transport window, disable Wait for
Note and Countoff.
4 Select Operations > Link Edit and Timeline Selection.
5 With the Selector, drag in the track’s playlist until the selection encompasses the punch range.
For other methods of setting the record range,
see “Setting Punch/Loop Points” on page 174.
6 To hear existing track material up to the start point, or after the end point, enable and set pre-
and post-roll times. For details, see “Setting Pre- and Post-Roll” on page 176.
7 Record enable the track containing the previous take by clicking its Record Enable button.
8 Click Record in the Transport window to enter
Record Ready mode. The Record button flashes.
9 When you are ready to begin recording, click
Play.
If pre-roll is enabled, the track material leading up to the punch-in point plays. You can start playing during the pre-roll to get the “feel.” Material is not recorded until the start point is reached.
When the start point is reached, Pro Tools begins recording. Recording continues until the end point is reached, unless Stop is clicked in the Transport window. If post-roll is enabled, playback continues for the specified post-roll amount.
10 When you have finished recording, click
Stop in the Transport window.
The newly recorded MIDI data appears in the track.
Punch Recording During Playback with
MIDI
You don’t have to set a record range to punch in on a MIDI track. In fact, you can punch in and out on-the-fly at any time during playback. Unlike audio tracks, it is not necessary to enable
QuickPunch to perform real-time punch recording.
To punch record on-the-fly with MIDI:
1 Configure a MIDI track for recording. Refer to
“Configuring MIDI Tracks for Recording” on page 185.
2 Put Pro Tools in normal Nondestructive
Record mode. In the Operations menu, deselect
Destructive Record, Loop Record, and Quick-
Punch.
3 In the Transport window, disable Wait for
Note and Countoff.
4 Record enable the track containing the previous take by clicking its Record Enable button.
5 Start playback by clicking Play in the Transport window.
6 When you reach the punch-in point, click
Record in the Transport window.
– or –
For Digi 002 and Digi 002 Rack systems (or Digidesign ProControl and Control|24 dedicated controllers) with a connected footswitch, press the footswitch at the punch-in point.
The Record button stops flashing and stays lit during recording.
Chapter 13: MIDI Recording 189
7 To punch out, click Record again (or press the footswitch).
Pro Tools exits Record mode and continues playing. You can perform additional punches during the same pass.
use Duplicate to make a copy of the region (“Duplicate Command” on page 296) or the track’s
playlist (see “Working with Playlists” on page 224).
Regions and Punch Recording
Depending on the record range, new regions may be created after punch recording. For exam-
ple, Figure 7 shows two existing regions before
recording. Since the start and end times occur within both of the existing regions, a new region is created to fill the space between them.
before punch record
Loop Recording MIDI
Loop recording with MIDI is supported by two methods:
• In normal Nondestructive Record mode, enable Loop Playback and MIDI Merge for drum machine style loop recording.
– or –
• Use Loop Record mode to record multiple takes on each record pass. This is similar to loop recording audio.
after punch record newly recorded material new region
Figure 7. Region added after punch record
However, when selecting an entire region, or a section within a region, before punching, no new regions are created. In this instance, only the material residing within the existing region changes, with no new material recorded outside the region.
Unlike audio recording, MIDI recording in this scenario is destructive. If a region is altered because of a record take, the original material is lost (unless you choose Edit > Undo MIDI Recording), or combined with new material (if
MIDI Merge was enabled during recording). If an existing region contains important material,
190 Pro Tools Reference Guide
Loop Recording with Merge Mode
For drum machine style loop recording, use normal Nondestructive Record mode with Loop
Playback and MIDI Merge enabled. With this method, MIDI is recorded and merged to the same region with each new record pass— thereby allowing you to, for example, record hihats on the first pass and kick and snare on the next.
Make sure that MIDI Merge is enabled in the
Transport window, otherwise (in Replace mode) each subsequent take will destructively replace the previous.
You can record enable a different MIDI track on-the-fly while loop recording. While pressing Control (Windows) or Command
(Macintosh), use the Up/Down Arrows to record enable the previous or next MIDI track.
To loop record with MIDI Merge:
1 Configure a MIDI track for recording. Refer to
“Configuring MIDI Tracks for Recording” on page 185.
2 Put Pro Tools in normal Nondestructive
Record mode. In the Operations menu, deselect
Destructive Record, Loop Record, and Quick-
Punch.
3 Select Operations > Loop Playback. When
Loop Playback is enabled, a loop symbol appears in the Play button.
The Record button flashes during the pre-roll.
When the start point is reached, Pro Tools begins recording. When the end point is reached,
Pro Tools loops back to the start point and continues playing and recording.
11 Play some notes on your MIDI controller.
Newly recorded MIDI data appears as a region in the record track. On each successive take, recorded material shows up in the region, without replacing material from previous takes.
12 If you want to switch to a new record track, press Control (Windows) or Command (Macintosh), and press the Up/Down Arrow keys to record enable the previous or next MIDI track.
13 When you have finished recording, click
Stop in the Transport window.
The newly recorded MIDI data appears as a MIDI region in the track’s playlist, and in the MIDI
Regions List.
Loop Playback enabled
4 Record enable the MIDI track by clicking its
Record Enable button. Make sure no audio tracks are record enabled.
5 In the Transport window, click the MIDI
Merge button so it becomes highlighted.
6 Disable Wait for Note and Countoff in the
Transport window.
7 Select Operations > Link Edit and Timeline Selection.
8 With the Selector, drag in the track’s playlist until the selection encompasses the loop range.
For other methods of setting the record range,
see “Setting Punch/Loop Points” on page 174.
9 To hear track material up to the start point of the loop, enable and set the pre-roll time. For
details, see “Setting Pre- and Post-Roll” on page 176.
10 Click Record in the Transport window. When you are ready to begin recording, click Play.
Loop Recording Multiple Takes
When recording MIDI in Loop Record mode, new regions are created each time new material is received during a record pass. This differs somewhat from loop recording audio, where
Pro Tools creates a single audio file that comprises all takes, which appear as individual regions in the Audio Regions List.
You can use MIDI loop recording to record successive takes without stopping the record process, thereby capturing your creative spontaneity. Another advantage with this method of recording MIDI, which is nondestructive, is that existing and newly recorded regions remain intact (and available in the MIDI Regions List).
Chapter 13: MIDI Recording 191
To record MIDI in Loop Record mode:
1 Configure a MIDI track for recording. Refer to
“Configuring MIDI Tracks for Recording” on page 185.
2 Select Operations > Loop Record. When Loop
Record mode is enabled, a loop symbol appears in the Record button.
Loop Recording enabled
3 If you have not done so already, record enable the MIDI track by clicking its Record Enable button. Make sure no audio tracks are record enabled.
4 Disable Wait for Note and Countoff in the
Transport window.
5 Select Operations > Link Edit and Timeline Selection.
6 With the Selector, drag in the track’s playlist until the selection encompasses the loop range.
For other methods of setting the record range,
see “Setting Punch/Loop Points” on page 174.
7 To hear track material up to the start point of the loop, enable and set the pre-roll time. For
details, see “Setting Pre- and Post-Roll” on page 176.
8 Click Record in the Transport window. When you are ready to begin recording, click Play.
The Record button flashes during the pre-roll.
When the start point is reached, Pro Tools begins recording. When the end point is reached,
Pro Tools loops back to the start point and continues playing and recording.
9 Play your MIDI controller. A new MIDI region containing the newly recorded material is automatically created and appears in the track’s playlist, replacing the previous region.
Regions are replaced (nondestructively) during subsequent record passes when new MIDI material is received.
10 When you have finished recording, click
Stop in the Transport window. The most recently recorded take is left in the record track.
The recorded takes appear as regions in the
MIDI Regions List and are numbered sequentially. The takes, which are the same length and easily interchangeable, can be auditioned from the Takes List pop-up menu—even while the session plays or loops.
To audition the various record takes:
1 Control-click (Windows) or Command-click
(Macintosh) with the Selector at the precise beginning of the loop record range.
– or –
If the take currently residing in the track is selected, Control-click (Windows) or Commandclick (Macintosh) it with the Selector.
A pop-up menu appears containing a list of regions that share the same User Time Stamp.
Auditioning loop record takes
2 Choose a region from the Takes List pop-up menu. The region replaces the previous take and snaps precisely to the correct location.
192 Pro Tools Reference Guide
For more information on auditioning and man-
aging takes, see “Auditioning Record Takes” on page 172.
MIDI Step Input
(Pro Tools 6.7 and Higher Only)
Step Input lets you use a MIDI controller to enter notes individually, one step at a time. This gives you precise control over note placement, duration, and velocity. With MIDI Step Input you can also create musical passages that might be difficult to play accurately, or at a fast tempo.
To enter MIDI notes with Step Input (using an external MIDI Instrument):
1 Make certain your external MIDI keyboard is properly connected and working with Pro Tools.
2 Choose MIDI > Step Input.
3 Select the Enable option.
When Step Input is enabled, each previously record-enabled MIDI track is taken out of record enable, and if a Default Thru
Instrument is defined in the MIDI Preferences page, it is disabled.
4 Choose the MIDI track you wish to record on from the Destination pop-up menu.
5 Choose the note value you wish to enter from the Step Increment section.
6 Play a note or chord on your MIDI instrument. This enters the note and moves to the next step of the insertion point.
To increase a note’s length while using Step Input:
1 Play and hold a note on your MIDI instrument.
When a note is being held on the MIDI keyboard, Next Step changes to read “Increment.”
2 Choose the note value that you would like to add and press the Increment button.
Release the note on your MIDI keyboard to move to the next step insertion point.
Step Input Controls
The Step Input window has the following controls:
Enable When selected, MIDI events are added to the destination track when you play your external MIDI keyboard. Additionally, each previously record-enabled MIDI track is taken out of record enable.
Step Input window
Chapter 13: MIDI Recording 193
If a Default Thru Instrument is defined in the
MIDI Preferences page, it is disabled when Step
Input is enabled, and is re-enabled when Step
Input is no longer disabled.
Destination Lets you select the destination track for the Step Input from a pop-up list of all the
MIDI tracks in your session.
Step Increment
The options in the Step Increment section let you set the spacing and duration of MIDI events entered using the Step Input operation. You can select any size from whole notes to sixty-fourth notes (including dotted values).
Tuplet Lets you input irregular note groupings
(such as triplets or quintuplets). The tuplet length is calculated from the note spacing selection and the Tuplet values. For example, an eighth note equals 480 ticks, so tuplet eighth notes with 3 in time of 2 would yield a note spacing of 320 ticks (480 ticks / 3 * 2).
Note Length Lets you select the note length as a percentage of the spacing value. For example, an eighth note equals 480 ticks, so an eighth note with an 80% duration would be 384 ticks long.
100% 80%
Note Length percentages
120%
Options
Use Input Velocity When selected, MIDI notes are recorded using the velocity that you play on your MIDI keyboard.
Set Velocity To When selected, MIDI notes are recorded with the velocity that you specify in the Velocity field. This value can be set with the
Velocity slider.
Enable Numeric Keypad Shortcuts When selected, Step Input options can be selected from
the numeric keypad. See “Numeric Keypad
Undo Step, Next Step, and Redo Step
Use the Undo Step and Next Step buttons to do the following:
• Move the step insertion point, by either removing the previous note or by advancing the insertion point by the Step Increment value.
• Lengthen and shorten notes that are being held on the MIDI controller, by adding or removing Step Increment values. The Step
Increment value can be changed mid-note to create a note with a hybrid note length.
Use the Redo Step button to sequentially redo any previously undone steps.
Undo Step When the previous note has been released from the MIDI keyboard, and the insertion point has moved forward to the next note,
Undo Step will remove the entire last note.
When a note is being held on the MIDI keyboard, Undo Step changes to read “Decrement,” and removes the last Step Increment length that was added to the held note.
Next Step (or Increment) When no note is being held on the MIDI keyboard, Next Step moves the insertion point by the Step Increment value, essentially inserting a musical rest.
194 Pro Tools Reference Guide
When a note is being held on the MIDI keyboard, Next Step changes to read “Increment” and adds the Step Increment value to the held note, increasing its length by the Step Increment value.
While the note is being held, the Step Increment value can be changed, allowing you to create notes of any musical length.
Redo Step Reinserts the last note that was removed by the Undo Step operation.
The Undo Step, Next Step and Redo Step buttons can be set to be triggered by an external
MIDI synth, drum pad, or other controller.
To set Undo Step, Next Step and Redo Step MIDI triggers:
1 Choose MIDI > Step Input.
2 Locate the button you want to assign a MIDI event to, and click in the field below the button.
Selecting the Next Step field
3 Play the MIDI event you wish to use as a trigger.
If you use a continuous controller such as
Pitch Bend as a trigger, you should make certain to use an extreme controller value to avoid erroneous data input.
4 Press Enter to confirm the MIDI trigger assignment.
Numeric Keypad Shortcuts
:
When Enable Numeric Keypad Shortcuts is selected, you can choose many of the controls in the Step Input window, as well as several selection controls.
Step Input Shortcuts Key
Whole Note 1
1/2 Note
1/4 Note
1/8 Note
1/16 Note
1/32 Note
1/64 Note
Dotted note
Toggle Tuplet On/Off
Next Step
Undo Step
Nudge Forward
Nudge back
Select Main Location Indicator =
Edit Selection Indicators /
+
–
Enter
0
5
6
2
4
7
8
. (decimal key)
3
Next Step field triggered by pitch bend
Chapter 13: MIDI Recording 195
Recording System Exclusive
Data
Pro Tools supports recording and playing System Exclusive data (Sysex) with MIDI tracks.
This allows you to use MIDI tracks in Pro Tools to store patch and configuration data for your
MIDI devices, or to record real-time Sysex changes for a particular parameter of a MIDI device that cannot be controlled by a standard
MIDI controller.
To record a Sysex dump at the beginning of a MIDI track:
1 Make sure that the MIDI OUT for the device sending the Sysex is connected to your MIDI interface’s MIDI IN.
2 Configure a MIDI track for recording. Refer to
“Configuring MIDI Tracks for Recording” on page 185.
3 Put Pro Tools in normal Nondestructive
Record mode. In the Operations menu, deselect
Destructive Record, Loop Record, and Quick-
Punch.
4 In the MIDI Input Filter, enable recording of
System Exclusive data.
5 If you have not done so already, record enable the MIDI track by clicking its Record Enable button.
6 Enable Wait for Note in the Transport window.
7 In the Transport window, click Return to Zero so the start and end times are cleared. This ensures that you’ll start recording from the beginning of the track.
8 When you are ready to begin recording, click
Record in the Transport window.
The Record, Play, and Wait for Note buttons flash, indicating that Pro Tools is waiting for
MIDI data.
9 Initiate the Sysex transfer from the MIDI device, according to the instructions in the guide for your MIDI device. When receiving the MIDI data, Pro Tools automatically begins recording.
10 When the transfer is complete (as defined in in the guide for your MIDI device), click Stop in the Transport window.
The newly recorded MIDI data appears as a MIDI region in the track’s playlist, and in the MIDI
Regions List. MIDI regions that contain System
Exclusive data appear blank when the track’s
Display Format is set to Regions.
To see the Sysex event blocks, which indicate the location of the data, set the MIDI Track View
to display Sysex (see “Regions View for MIDI
Tracks” on page 222). For details on moving and
copying of Sysex data, see “System Exclusive
To resend the Sysex from Pro Tools:
1 For the device receiving the System Exclusive data, make sure its MIDI IN is connected to your
MIDI interface’s MIDI OUT. Also, make sure the device is set to receive Sysex. Some devices require that memory protect be off.
2 For the previously recorded track, click its
Record Enable button so that it is no longer record enabled.
3 Click the track’s MIDI Output Selector and assign the device from the pop-up menu.
4 In the Transport window, click Return to Zero.
5 Click Play in the Transport window to begin playback. Pro Tools begins playing and transmits the previously recorded Sysex to the assigned MIDI device.
196 Pro Tools Reference Guide
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Key Features
- Record, edit, mix, and master audio projects with ease
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- Mix your tracks with precision using the built-in mixer
- Master your tracks to perfection using the included mastering tools
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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