Chapter 14: Advanced Recording

There are two advanced recording methods that differ from basic recording, QuickPunch and

TrackPunch.

QuickPunch A nondestructive recording mode that lets record enabled tracks be punched in and punched out during playback by clicking the Transport’s Record button.

TrackPunch (TDM Only) A nondestructive recording mode that lets individual tracks be punched in, punched out, and taken out of record enable without interrupting online recording and playback.

QuickPunch Audio Recording

Pro Tools features an intelligent on-the-fly punch capability called QuickPunch. Quick-

Punch lets you instantaneously punch in and out on record-enabled audio tracks during playback by merely clicking the Record button in the Transport window.

For Digi 002 and Digi 002 Rack systems, and Digidesign control surfaces, you can use a footswitch to punch in and out when recording with QuickPunch.

When using QuickPunch, Pro Tools begins recording a new file when playback begins, automatically generating regions in that file at each punch-in and punch-out point. These regions appear in the track’s playlist; and the complete audio file appears in the Regions List along with the QuickPunch created regions. Up to 200 of these “running punches” can be performed in a single pass. Unlike normal punch recording (see

“Punch Recording Audio” on page 169), Quick-

Punch provides instantaneous monitor switching on punch-out. All QuickPunch recording is nondestructive.

You don’t need to use QuickPunch to punch on-the-fly with MIDI tracks. This capability is available in normal Nondestructive

Record mode, and in Destructive Record mode.

QuickPunch/TrackPunch Crossfade

Length

Pro Tools can automatically write a crossfade for each punch point when using QuickPunch. The length for these crossfades is set with the Quick-

Punch Crossfade/TrackPunch Length option in the Editing Preferences page.

Chapter 14: Advanced Recording 197

To set the QuickPunch Crossfade Length:

1 Choose Setups > Preferences and click the

Editing tab.

2 Enter a new value (in msec) for the Quick-

Punch /TrackPunch CrossFade Length.

A good general-purpose crossfade length for punches is 10 milliseconds. If you set the preference to zero, Pro Tools will not create any crossfades at the punch-in/out points.

3 Click Done.

If a value other than zero is specified for the

QuickPunch/TrackPunch Crossfade Length,

Pro Tools writes a pre-crossfade at the punch-in point (which occurs up to but not into the punched region boundary), and a post-crossfade at the punch-out point (which occurs after the punched region).

Even if the QuickPunch/TrackPunch Crossfade

Length is set to zero, Pro Tools always executes a

4 millisecond “monitor only” crossfade (which is not written to disk) to avoid distracting pops or clicks that might occur as you enter and exit record mode.

QuickPunch crossfades can later be edited in the same manner as standard crossfades. For details,

see “Using Crossfades” on page 307.

QuickPunch Guidelines for

TDM Systems

When using QuickPunch on TDM systems, two voices are required for each record-enabled, mono track. This means that you can record up to half the total number of voices available on your system. For example, a Pro Tools|HD system configured for 128 voices can simultaneously record on up to 64 mono tracks with

QuickPunch (or 32 stereo tracks).

If the required number of voices for the recordenabled tracks is not available when switching to QuickPunch mode, you will be prompted to free up the necessary voices.

To free up voices on tracks that are not recordenabled, and do not need to be heard while recording, do one of the following:

■

Set voice assignments for tracks to Off.

– or –

■

Make tracks inactive.

As necessary, voices in use by other tracks, which are not record-enabled, may be “stolen” while recording with QuickPunch. Priority for tracks while recording with QuickPunch are as follows:

• Tracks with assigned voices that are not record-enabled

• Tracks with assigned voices that are record-enabled

• Auto-voiced tracks that are not record-enabled

• Auto-voiced tracks that are record-enabled

If the session has plenty of available voices, you may have no trouble using QuickPunch with auto-voiced tracks. However, if you are running out of voices, and want to ensure that a track will be heard when recording with QuickPunch, assign it a voice.

QuickPunch and Auto Voice

(TDM Systems Only)

When using QuickPunch with a Pro Tools TDM system configured for the maximum 128- or 64voices, make sure to set the voice assignment for each audio track to Auto. This ensures that

Pro Tools will automatically handle the distribution of voices between each set of voices. For

198 Pro Tools Reference Guide

example, for a 128-voice configured

Pro Tools|HD system, auto-voice distributes voices evenly across four sets of voices (1–32,

33–64, 65–96, and 96–128).

If you do not use auto-voicing, the voices must be evenly distributed between all DSP engines.

For example, to use QuickPunch on 32 tracks without auto-voicing, tracks 1–16 must be assigned to voices 1–16 and tracks 17–32 must be assigned to voices 33–48.

QuickPunch Guidelines for

LE Systems

For LE systems, 16 audio tracks can be simultaneously recorded with QuickPunch in addition to the maximum number of mono tracks supported by your specific Pro Tools LE system (see

“Pro Tools LE System Capabilities” on page 10).

To simultaneously record more tracks than this with QuickPunch, you’ll need to reduce the number of tracks in the session.

With Pro Tools LE, QuickPunch uses CPU processing power, and may reduce the number of tracks and plug-ins you can use.

Recording with QuickPunch

To punch on-the-fly with QuickPunch:

1 For Pro Tools TDM systems, make sure that

Use Delay Compensation is deselected in the

Operations menu.

Digidesign recommends recording without

Delay Compensation. For more informa-

tion, see “Delay Compensation” on page 469.

2 Select Operations > QuickPunch. When

QuickPunch is enabled, a “P” appears in the

Record button.

QuickPunch enabled

3 To change the automatic crossfade used by

QuickPunch, configure QuickPunch Crossfade

Length option in the Editing Preferences page

(see “QuickPunch/TrackPunch Crossfade

Length” on page 197).

4 Record enable the tracks you want to punch in on. Make sure there are enough available voices on your system.

5 Prepare to record by cueing Pro Tools to an appropriate location. If you want to use pre-roll, enable a pre-roll value in the Transport window.

6 Start playback by clicking Play in the Transport window.

7 When you reach the punch-in point, click

Record in the Transport window.

– or –

For Digi 002 and Digi 002 Rack systems with a connected footswitch, press the footswitch at the punch-in point.

The Record button stops flashing and stays lit during recording.

8 To punch out, click Record again (or press the footswitch).

As Pro Tools continues playing, you can perform additional punches (up to 100). When recording multiple punches during a single pass, a single audio file is recorded from which

Pro Tools creates the appropriate regions.

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QuickPunch with an Edit Selection

If you make an Edit selection and use Quick-

Punch, the following rules apply:

◆ If the Transport is not online, recording begins and stops whenever you click the Record button—regardless of the selection’s start or end point.

◆ If the Transport is online, punch-in/out behavior is controlled by the Online Options setting in the Operation Preferences page. If you select Record Online at Insertion/Selection,

QuickPunch punches in and out only within the selection (or in the case of an insertion point, only after the insertion point). If you select Record Online at Time Code Lock, Quick-

Punch disregards the selection and punches in and out whenever you want (after Pro Tools has locked to time code).

Region and Take Numbering with

QuickPunch

After recording with QuickPunch, the new audio regions appear in the Audio Regions List.

This includes the whole-file audio region encompassing all punches from the record pass, along with the regions derived for each punch.

Names for the punched regions are numbered consecutively starting with “01.” For example, if

QuickPunch is used to punch in twice on a track called “Lead Gtr,” a region for the parent audio file appears and is named “Lead Gtr_01,” and two regions for the punches are named “Lead

Gtr_01-01” and “Lead Gtr_01-02.”

If you stop playback and record additional punches with QuickPunch, subsequent regions are named by incrementing the first two digits in the name. For example, on the second pass, the punched regions are named “Lead Gtr_02-

01,” “Lead Gtr_02-02,” and so forth.

TrackPunch Audio Recording

(Pro Tools TDM Systems Only)

TrackPunch makes Pro Tools more useful as a digital dubber for film re-recording (dubbing) and mixing. Keyboard shortcuts and preference settings for recording and input monitoring provide flexibility that makes TrackPunch equally useful for loading dailies and recording

Foley, as well as over-dubbing and tracking in music sessions.

TrackPunch Usage Guidelines

TrackPunch and Dynamically Allocated Voicing

When using TrackPunch with a Pro Tools TDM system configured for maximum voices, make sure to set the voice assignment for each audio track to dyn for Dynamically Allocated Voicing

(this mode was previously known as Auto Voice mode). This ensures that Pro Tools can automatically manage voices most efficiently.

Audio Files and TrackPunch

After a TrackPunch recording pass, the punched track’s playlist in the Edit window displays the regions created by punching. You can use the

Trimmer tool after punch recording to open up the head or tail of TrackPunch (and Quick-

Punch) recorded regions, or to reveal the parent audio file that was recorded in the background.

This lets you compensate for any late or missed punches (from as early as the start of playback, or the point at which the track was TrackPunch or QuickPunch enabled).

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Voice Requirements for

TrackPunch Recording

TrackPunch requires two voices for each record enabled, mono track. This means that you can record up to half the total number of voices available on your system.

When switching to TrackPunch mode, you will be prompted to free up additional voices if not enough are available.

To free up voices on tracks that are not record enabled, and do not need to be heard while recording, do one of the following:

■

Set voice assignments for tracks to Off.

– or –

■

Make tracks inactive.

As necessary, voices in use by other tracks may be “stolen” while recording with TrackPunch

(thus silencing some tracks).

TrackPunch voice playback priority follows the same guidelines as QuickPunch, as follows

(from highest to lowest playback priority):

• Tracks with assigned voices that are not record enabled

• Tracks with assigned voices that are record enabled

• Auto-voiced (dynamically allocated voicing) tracks that are not record enabled

• Auto-voiced tracks (dynamically allocated voicing) that are record enabled

If the session has plenty of available voices, you may have no trouble using TrackPunch with auto-voiced tracks. However, if you are running out of voices, and want to ensure that a track will be heard when recording with TrackPunch, assign it a voice.

Recording with TrackPunch

Overview

Before using TrackPunch, configure Pro Tools and TrackPunch as follows:

To configure Pro Tools and TrackPunch:

1 Configure TrackPunch preference settings as

suggested in “TrackPunch Preferences” on page 202.

2 If necessary, configure Pro Tools synchronization settings for online recording and track arm-

ing (see “Configuring Synchronization and

Track Arming” on page 203).

3 If necessary, program and configure the master synchronizer for remote control of Track-

Punch and TrackInput switching (refer to the documentation from the manufacturer).

To use TrackPunch:

1 Make sure Pro Tools is not recording or playing back (the Transport is stopped).

2 Make sure that Use Delay Compensation is deselected in the Operations menu.

Digidesign recommends recording without

Delay Compensation. For more information about using Delay Compensation, see

“Delay Compensation” on page 469.

3

Enable TrackPunch mode (see “Enabling

TrackPunch Mode” on page 204).

4 TrackPunch enable all audio tracks that you want to punch during the record pass (see

“TrackPunch Enabling Tracks” on page 205).

Chapter 14: Advanced Recording 201

5 Configure monitoring for record enabled tracks by selecting the appropriate mode from the Operations menu, as appropriate. Choices include:

• Change Record Enabled Tracks to Auto Input

• Change Record. Enabled Tracks to Input

Only

Choosing either monitoring mode only affects tracks that are record enabled.

You can also use the track Input buttons to switch the monitor source for record enabled tracks, as explained below.

6 Begin playback.

7 If you want to compare levels of the input source with audio on disk, click the track Input button. When lit (green), the track is monitoring input. When unlit (grey), the track is monitoring from disk. (For more information see

“Selecting Record Monitor Modes with TrackInput” on page 149.)

8 To punch tracks one at a time, arm the Transport Record and then use the individual track

Record buttons to punch each track in and out on-the-fly.

9 To punch multiple tracks simultaneously, do either of the following:

• Record enable as many as 16 TrackPunch enabled audio tracks, then use the Transport Record button to punch them in and out simultaneously.

– or –

• Arm the Transport Record first, then use

Alt+Shift (Win) or Option+Shift (Macintosh) to simultaneously punch on all currently selected TrackPunch enabled tracks.

Use groups for single-click selection of multiple tracks (click to the left of the group name in the Groups list).

10 While continuing local or remote playback, do any of the following:

• Punch in on other TrackPunch enabled tracks individually.

• After punching out, take tracks out of record enable then record enable different

TrackPunch enabled tracks.

• Repeat as needed to punch other stems, tracks, or takes.

TrackPunch Preferences

The following preference settings let you customize TrackPunch performance.

QuickPunch/TrackPunch Crossfade

Length

Pro Tools can automatically write a crossfade for each punch point when using TrackPunch. The length for these crossfades is set with the Quick-

Punch Crossfade/TrackPunch Length option in the Editing Preferences page.

To set the TrackPunch Crossfade Length:

1 Choose Setups > Preferences and click the

Editing tab.

2 Enter a new value (in msec) for the Quick-

Punch /TrackPunch CrossFade Length.

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Transport and Track Record Settings

The TrackPunch preferences appear on the Operation Preferences page.

These preferences specify how track and Transport record status respond when the Transport is stopped (during playback and recording), and let you optimize Pro Tools for film, video, and music production workflows as noted in the following sections.

TrackPunch preferences

TrackPunch preferences

Transport RecordLock

This setting lets the Transport Record be configured to either emulate a digital dubber, or to maintain legacy behavior for the Transport master Record.

◆ When not enabled, the Transport Record disarms when Pro Tools is manually stopped or stops due to a loss of time code. This replicates legacy Pro Tools recording behavior.

◆ When enabled, the Transport Record remains armed when playback or recording stops. This saves having to re-arm the Transport between takes, emulating digital dubber behavior.

Punching out of record by pressing Record on the Transport will take the transport out of record enable.

Destructive Recording and Transport RecordLock

As a precaution against accidentally recording over previous material, the Transport Record-

Lock preference is automatically disabled and greyed out when Destructive record mode is enabled.

Audio Track RecordLock

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

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

◆ When the Audio RecordLock preference is not enabled, record-enabled audio tracks are taken out of record enable when Pro Tools is stopped.

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

Destructive Recording and Transport

RecordLock

As a precaution against accidentally recording over previous material, the Transport Record-

Lock preference is automatically disabled and greyed out when Destructive record mode is enabled.

Configuring Synchronization and

Track Arming

For online recording and punching, configure the following Peripheral and Session Setup settings. For best lockup times when synchronizing, it is recommended that no more than 16 tracks be TrackPunch-enabled at a time.

Chapter 14: Advanced Recording 203

To record online using TrackPunch and TrackInput switching:

1 Choose Setup > Peripherals, and make sure the

SYNC I/O is the selected synchronization peripheral, and is communicating with Pro Tools.

2 Choose Windows > Session Setup, and do the following:

• Select a Clock and Positional reference.

• If you want Pro Tools to be the time code master, enable Using SYNC/USD. This option is located in the Generator controls in the Time Code Settings section of the Session Setup window.

3 If you are controlling Pro Tools via 9-pin protocol, do the following:

• Click the Machine Control tab to display the Machine Control page of the Peripherals dialog.

• Configure Remote 9-pin Deck Emulation mode settings (see the MachineControl

Guide for details).

• Click OK to close the Peripherals dialog.

4 Configure your master synchronizer as required to control Pro Tools track Record and Input switching through P2 commands. See the documentation for your controller for more information.

Consult the manufacturer of your controller for the most recent machine profiles and updates available for Pro Tools support.

Enabling TrackPunch Mode

Before you can enable individual audio tracks for TrackPunch recording, TrackPunch mode must be enabled in the Pro Tools transport.

To enable TrackPunch mode:

1 Make sure Pro Tools is not recording or playing back (the Transport is stopped).

2 Do one of the following:

• Select Operations > TrackPunch.

• Start-click (Windows) or Control-click

(Macintosh) the Transport Record button to cycle through available Record modes until TrackPunch mode is selected (a “T” indicates TrackPunch mode).

• Press Control+Shift+T (Windows) or Command+Shift+T (Macintosh).

Transport Record with TrackPunch mode enabled

T ransport Display of TrackPunch

Status

TrackPunch Enabled

Record LED

Input Status

LED

TrackPunch and TrackInput status LEDs in the Transport window

Transport Record Button

The Transport Record button indicates Track-

Punch and Record status as follows:

When TrackPunch mode is enabled:

◆ A “T” appears in the Transport Record button.

◆ If at least one track is TrackPunch-enabled, the Transport Record button lights solid blue.

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When TrackPunch mode is enabled and the transport is armed for recording:

◆ If no tracks are TrackPunch-enabled, the

Transport Record button flashes gray and red.

◆ If at least one track is TrackPunch-enabled, the Transport Record button flashes blue and red.

◆ If at least one TrackPunch-enabled track is also record enabled, the Transport Record button flashes blue and red, and the record LED lights.

◆ Whenever at least one audio track is recording, the Transport Record button lights solid red.

TrackPunch Enabling Tracks

You can TrackPunch enable tracks without record enabling them, which lets you punch in individual tracks after you start playback.

To TrackPunch enable or disable an audio track:

■

Start-click (Windows) or Control-click (Macintosh) the track’s Record Enable button to toggle the button to solid blue.

To TrackPunch enable or disable all audio tracks:

■

Alt-Start-click (Windows) or Option-Controlclick (Macintosh) a track’s Record Enable button to toggle the all Record Enable buttons to solid blue.

To TrackPunch enable or disable all selected audio tracks:

■

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

Option-Shift-click (Macintosh) a track’s Record

Enable button to toggle the Record Enable buttons for the selected audio tracks solid blue.

Create track groups for each stem or set of tracks on which you plan to punch. Use the

Groups List to quickly select all tracks in the group. This makes it easier and faster to take multiple tracks in and out of Track-

Punch enable simultaneously.

Track Record Status Display

Each track’s Record Enable button indicates its

TrackPunch and record enable status as follows:

• When a track is both TrackPunch-enabled and record-enabled, its Record enable button flashes blue and red.

Record Enable button

TrackPunch status indication in an audio track in the

Mix window

• When a track is TrackPunch-enabled but not record-enabled, its Record Enable button lights solid blue.

• When a track is record-enabled only, its

Record Enable button flashes red.

Chapter 14: Advanced Recording 205

• While a track is recording (in any mode), its

Record Enable button lights solid red.

Red (not flashing) indicates recording

(all modes)

Track Record status in the Edit window

TrackPunch Recording

After you have put Pro Tools in TrackPunch mode, and enabled tracks for TrackPunch recording, you can record with TrackPunch in several ways.

Punching In on Individual Tracks

To punch in on individual tracks:

1 Put Pro Tools in TrackPunch mode.

2 Start-click (Windows) or Control-click (Macintosh) the Record Enable button for each track you want to punch in, so that the track is Track-

Punch-enabled only. The track’s Record Enable button should light solid blue.

3 Click Record in the Transport window to enter the TrackPunch Record Ready mode. The Record button flashes blue and red.

4 Click Play in the Transport window to begin playback.

5 During playback, punch in and out on individual TrackPunch-enabled tracks by clicking their Record Enable buttons.

6 Stop playback. When you are finished with the record pass, track Record Enable status and transport Record Arm status follow the current

TrackPunch preference settings.

Punching In on Multiple Tracks

Simultaneously

To punch in on multiple tracks simultaneously:

1 Put Pro Tools in TrackPunch mode.

2 Click the Record Enable button on each track you want to punch in, so that the track is both

TrackPunch- and Record-enabled. The track’s

Record Enable button should flash blue and red.

3 Click Play in the Transport window to begin playback.

4 During playback, click Record in the Transport window to punch in and out on all TrackPunchenabled tracks simultaneously.

5 Stop playback. When you are finished with the record pass, track Record Enable status and transport Record Arm status follow the current

TrackPunch preference settings.

Start Recording on All Tracks

1 Put Pro Tools in TrackPunch mode.

2 Click the Record Enable button on each track you want to punch in, so that the track is both

TrackPunch- and Record-enabled. The track’s

Record Enable button should flash blue and red.

3 Click Record in the Transport window to enter the TrackPunch Record Ready mode. The Record button flashes blue and red.

4 Click Play in the Transport window to begin playback.

5 During playback, punch out and back in on individual TrackPunch-enabled tracks by clicking their Record Enable buttons.

6 Stop playback. When you are finished with the record pass, track Record Enable status and transport Record Arm status follow the current

TrackPunch preference settings.

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Example TrackPunch Workflows

With TrackPunch, Pro Tools emulates and enhances the following four types of production work (or “workflows”) commonly performed in film, video, and music production:

• Dubbing and mixing film (see “Film Dubbing and Mixing with TrackPunch” on page 207)

• Loading dailies (see “Loading Dailies with RecordLock” on page 208)

• Recording Foley (see “Foley Recording with

TrackPunch” on page 209)

• Tracking and overdubbing in music production and any other recording situation (see

“Tracking and Overdubbing Music with

TrackPunch” on page 209)

Each of these workflows takes advantage of

TrackPunch features and options.

In the following example workflows, it is assumed you already familiar with routing, selecting, and grouping Pro Tools tracks. If you are not, see the appropriate topic in Pro Tools Reference Guide .

Film Dubbing and Mixing with

TrackPunch

By providing all the essential online punch recording and monitor switching capabilities of a digital dubber, TrackPunch optimizes Pro Tools for re-recording and mixing for film.

Film dubbing and mixing features of Track-

Punch let you do the following:

• Arm and punch Pro Tools audio tracks remotely from a master synchronizer such as

SoundMaster through P2 commands at any time, without having to stop playback and while maintaining time code lock. (Requires

Digidesign MachineControl.)

• Toggle Pro Tools audio tracks between input and disk monitoring. Track input switching can be controlled remotely by supported synchronizers to fully emulate PEC/direct switching (requires Digidesign MachineControl).

• Use TrackPunch when Pro Tools is the time code master (generating) and when slaving.

• Use Pro Tools file management features to consolidate and “clean up” sessions in a fraction of the time required by tape-based dubbers.

• Because Pro Tools can be networked, Track-

Punch (and all other) audio files and whole sessions can be available for secure transfer to other systems for review, editing, and archiving.

A typical pre-dub session using TrackPunch includes the following steps:

1 Configure synchronization between Pro Tools and other devices as appropriate.

2 Choose Setups > Preferences and click the

Operation tab.

3 Select (enable) Transport RecordLock. This will keep the Transport Record armed after the transport stops.

4 Deselect Audio Track RecordLock. This will cause the audio track record to disarm when the transport stops.

5 Choose Operations > TrackPunch to enable

TrackPunch mode.

Chapter 14: Advanced Recording 207

6 Create 32 new tracks, then do the following:

• Assign their inputs

• Group them into eight-track groups.

7 Click the record enable buttons in the first eight tracks to TrackPunch enable the first eight tracks (or, the group for the first pre-dub).

Use the Groups list to quickly select all tracks in the group, and Alt-Shift-click

(Windows) or Opt-Shift-click (Macintosh) to record-enable all the tracks in the group.

8 Assign the console PEC/direct paddles to the first eight-track group in the session.

9 Begin the pre-dub pass. Use the console paddles to arm Pro Tools, and to punch in and out on the first group.

10 When the first pre-dub is over and all tracks are punched out, clear all TrackPunch enabled tracks.

11 Select the next group of tracks and Track-

Punch-enable them.

12 Punch in and out on the second group of tracks.

13 Repeat as needed.

Loading Dailies with RecordLock

In addition to its uses on dub and mix stages,

Pro Tools with TrackPunch makes it easy to load dailies. Dailies and similar types of transfers are comprised of multiple takes or scenes, each recorded while locked to unique time-of-day time code. In between each take, time code does not continue but stops completely. Because of this, the time code on dailies and similar source material is said to be “discontiguous” or discontinuous (also known as broken time code).

When a session is taken offline while recording due to broken time code, Pro Tools remains armed and waits for time code to resume.

Pro Tools begins recording again when lock is re-established with the time code of the next take. Each take is recorded to its own audio file.

To configure RecordLock for loading:

1 Choose Setups > Preferences and click the

Operation tab.

2 Select (enable) Transport RecordLock.

3 Select (enable) Audio Track RecordLock.

4 Configure synchronization and other settings as required. Put Pro Tools online, and start the external source player.

5 Whenever time code drops out or stops,

Pro Tools remains online and waits to receive new time code. The Transport and record enabled tracks remain record enabled (or Track-

Punch enabled). When time code resumes,

Pro Tools begins recording to a new audio file

(properly time stamped based on the incoming code).

Because Pro Tools has a 13-hour timeline limit, you will have to use multiple sessions to load dailies if the span is more than

13 hours.

208 Pro Tools Reference Guide

Foley Recording with TrackPunch

Foley recording is one of the more specialized forms of recording in film production with unique monitoring requirements. Between punches and takes, inputs must be muted while

Foley artist move themselves and equipment as they progress through a scene.

TrackInput monitoring can be configured to support Foley style TrackPunch recording using the Mute Record-Armed Tracks While Stopped preference (Pro Tools 6.9) or “Stop” Mutes Audio Inputs (When In Auto Input) preference

(Pro Tools 6.8.x and lower).

To configure Pro Tools for Foley-style punch record monitoring:

1 Choose Setups > Preferences and click the

Operation tab.

2 Enable Mute Record-Armed Tracks While

Stopped.

3 Configure synchronization and other settings for Pro Tools and your other devices, then enable TrackPunch mode and proceed with punch

recording. (See “Recording with TrackPunch

Overview” on page 201 for the complete steps.)

While Mute Record-Armed Tracks While

Stopped is enabled, and while recording online, record-enabled tracks mute when the Transport is stopped. Input can still be monitored at any time by using the track Input switch.

Tracking and Overdubbing Music with TrackPunch

Modern multitrack recording requires the flexibility to “capture the moment” by allowing onthe-fly record enabling and punch recording, as provided by TrackPunch. Features of Track-

Punch for all tracking, overdubbing, and punching situations include the following:

• Record enable tracks on-the-fly.

• Punch tracks in and out using on-screen

Record buttons, remotely from a synchronizer, from a control surface, or using a foot switch.

• Compare and match levels using TrackInput monitor switching.

Chapter 14: Advanced Recording 209

210 Pro Tools Reference Guide