Chapter 17: Working with Regions and Selections. Avid Pro Tools HD 6.9, Pro Tools LE 6.9
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Chapter 17: Working with Regions and
Selections
Because regions are the basic building block of audio and MIDI tracks, understanding how they are created, edited, and arranged is essential to taking full advantage of the editing capabilities of Pro Tools.
This chapter covers basic editing functions as they apply to regions and selections. The material, for the most part, applies to both MIDI and audio data.
For editing procedures more specific to MIDI,
see Chapter 23, “MIDI Editing.” For more ad-
vanced editing procedures, see Chapter 18, “Advanced Editing (TDM Systems Only).” You
should, however, become familiar with the information in this chapter before moving on to the others.
When creating a new region from an existing region, the original region remains in the Regions
List.
Capture Region Command
The Capture Region command defines a selection as a new region and adds it to the Regions
List. From there, the new region can be dragged to any existing tracks.
To capture a new region:
1 With the Selector, drag within an existing region to select the material for the new region.
Creating New Regions
Pro Tools provides you with several commands for creating regions, each of them having a slightly different effect on the selection. When you create a new region, it appears in the Regions List and in the track’s playlist. For details on how these new regions are automatically
named, see “Auto-Naming Options” on page 324.
Selecting a region portion
2 Choose Edit > Capture Region.
3 Enter a name for the new region and click OK.
The new region appears in the Regions List. The selected region portion remains intact and unchanged.
Chapter 17: Working with Regions and Selections 271
Separate Region Command
The Separate Region command defines a selection within an existing region, or a partially selected region, as a new region and separates it from adjacent material. If there is no selection and the Edit cursor is placed within the region, the region is split at the insertion point.
Auto-Name Separated Regions
With the Auto-Name Separated Regions option in the Editing Preferences page selected,
Pro Tools automatically names separated regions for you. The name is a numbered variation of the original region’s name.
To separate one or more regions:
1 With the Selector, drag to select the material for the new region or regions. The selection can reside within a single region, across adjacent regions within the same track, or across multiple tracks.
– or –
Click with the Selector at the point within a region, where you want to split the region in two.
2 Choose Edit > Separate Region.
– or –
Press Command+E (Windows) or Control+E
(Macintosh).
3 If the Editing preference for Auto-Name Separated Regions is disabled, enter a name for the new region when prompted, then click OK.
The new regions appear in the tracks in which they were created, separate from the data surrounding it. They also appear in the Regions
List. From there they can be dragged to other tracks.
By separating a region, additional regions are auto-created from data on either side of the separation, which have new numbers assigned to their names. The original region remains intact and unchanged on the Regions List.
If the Editing preference for “Separate Region Operates On All Related Takes” is selected and you are editing a region that is one of a number of related takes with the same User Time Stamp (for example, as created with loop recording), the Separate Region command affects each take. For details
see, “Editing Preferences for Takes” on page 173.
Separating Multiple Tracks
Figure 14 illustrates a separation across three
mono audio tracks and one stereo track. For some tracks, the selection resides within a region, while others reside at the start or end of a region.
Figure 14. Separating across multiple tracks
Once separated, this material can be easily moved or copied to another location.
272 Pro Tools Reference Guide
Separation Grabber
You can use the Separation Grabber to automatically separate an edit selection and move it to another location or another track.
To separate a selection with the Separation
Grabber:
1 With the Selector, drag to select the material for the new region or regions. The selection can reside within a single region, across adjacent regions within the same track, or across multiple tracks.
2 From the Grabber pop-up menu, choose the
Separation Grabber.
To separate a selection without affecting the original regions:
1 With the Selector, drag to select the material for the new region or regions. The selection can reside within a single region, across adjacent regions within the same track, or across multiple tracks.
2 From the Grabber pop-up, choose the Separation Grabber.
3 While pressing Alt (Windows) or Option
(Macintosh), drag the selection to the new location, or to another track.
Separation Grabber
3 Drag the selection to the new location, or to another track.
Dragging to another track with Separation Grabber
New regions containing the previous selection are created and placed at the new location. The original selection and regions remain intact.
before after
Dragging later in track with Separation Grabber
A new region (or regions) containing the previous selection is created, separate from the original selection. New regions are also created from the material outside the original selection.
Chapter 17: Working with Regions and Selections 273
Region Overlap and Underlap
(Pro Tools 6.7 and Higher Only)
When a tick-based audio track has multiple regions, a tempo increase can cause neighboring regions to overlap. Audio regions can be set to display a small “dog-ear” corner to indicate overlapping region boundaries.
Overlap region
If multiple overlapping regions are selected,
Pro Tools will apply the command to each region as that region relates to the neighboring region on the right.
Trim Choices
Pro Tools provides several options for editing region boundaries.
Underlap region
Region overlap and underlap
To toggle the display of overlap and underlap region boundaries:
■
Choose Display > Show Region Order.
– or –
■
Choose Display > Hide Region Order.
Changing Region Overlap/Underlap
After tempo changes and other edits, regions may overlap in undesired ways. To correct this, a region can be brought to the front, or sent behind neighboring regions as needed.
To change the region overlap or underlap:
1 In the Edit window, choose the region or regions you want to re-order.
2 Choose Edit > Bring Region to Front to make the region overlap the neighboring regions.
– or –
Choose Edit > Send Region to Back to make the region underlap the neighboring regions.
Trim To Selection Command
The Trim To Selection command removes data before and after a region or MIDI note selection, leaving only the selection. This command lets you quickly remove all data in a region (and in some instances the entire track) except for the current selection.
To trim unwanted data from a region or note:
1 With the Selector, select a portion of a region or note (or a range of notes).
2 Choose Edit > Trim > To Selection to remove material outside of the selection.
Trim To Insertion Command
You can trim a region or MIDI note by automatically removing the material between the Edit insertion point and the start or end point.
To trim from a start point to insertion:
1 With the Selector, click inside the region or note where you want the new start point to be.
2 Choose Edit > Trim > Start To Insertion. The region’s start point is automatically trimmed to the insertion point.
274 Pro Tools Reference Guide
To trim from an end point to insertion:
1 With the Selector, click inside the region or note where you want the new end point to be.
2 Choose Edit > Trim > End To Insertion. The region’s end point is automatically trimmed to the insertion point.
2 Choose Edit > Trim > Start to Fill Gaps.
The start point of the region behind the gap is automatically trimmed (expanded) to the previous region, or as far as possible if there is not enough underlying material to cover the gap.
Region end trimmed to insertion
Trim to Fill Gaps Commands
The Trim to Fill Gaps commands let you automatically reveal underlying material in the gaps between regions. You can choose to fill gaps by revealing underlying audio from either the start point of the following audio regions, or from the end point of the preceding audio regions.
To trim from a start point to fill gaps:
1 With the Selector, select across at least one gap between regions.
Region start trimmed to fill gap
To trim from an end point to fill gaps:
1 With the Selector, select across at least one gap between regions.
2 Choose Edit > Trim > End To Fill Gaps.
The end point of the region in front of the gap is automatically trimmed (expanded) to the next region, or as far as possible if there is not enough underlying material to cover the gap.
Region end trimmed to fill gap
Chapter 17: Working with Regions and Selections 275
Trimming with Nudge
You can trim the start and end points of a region by nudging them.
To trim a region’s start or end point by the Nudge value:
1 Configure the Nudge value. For details, see
“Defining the Nudge Value” on page 289.
2 With the Grabber, select the region you want to trim.
3 While pressing Alt (Windows) or Option
(Macintosh), press Plus or Minus on the numeric keypad to trim the region’s start point by the Nudge value.
– or –
While pressing Control (Windows) or Command (Macintosh), press Plus or Minus on the numeric keypad to trim the region’s end point by the Nudge value.
To heal a separation between two regions:
1 With the Selector, make a selection that includes part of the first region, the entire separation between the regions, and part of the second region.
2 Choose Edit > Heal Separation.
If the regions won’t heal, there are other ways to return the separated regions to a single region.
◆ Delete one of the two separated regions (make sure you’re in Slip mode so the gap doesn’t close) and use the Trimmer to expand the remaining region to its original length. For infor-
mation on using the Trimmer, see “The Trimmer
– or –
◆ Delete both of the separated regions and drag the original region from the Regions List to the original location. For information on placing re-
gions, see “Placing Regions in Tracks” on page 276.
Healing a Separation
The Heal Separation command returns separated regions to their original state—provided the regions are still next to each other and their relative start/end points haven’t changed since the separation.
If you have trimmed or otherwise changed the start or end points of the two regions, or moved them further away from each other, you won’t be able to repair them with the Heal Separation command. It is not possible to heal two regions created from different audio files.
Placing Regions in Tracks
Once you have created a region, it appears in the
Audio or MIDI Regions List. From there you can drag it to a track to add to an existing arrangement of regions, or you can create a new track and start adding regions from scratch. The exact placement of regions in a track depends on whether the Edit mode is set to Shuffle, Slip,
Spot, or Grid (see “Edit Modes” on page 232 for
details).
For information on locating regions in the Regions List by typing the first few letters of their
name, see “Keyboard Selection of Regions” on page 231.
276 Pro Tools Reference Guide
To place a region in a track:
1 In the Audio or MIDI Regions List, select the region or regions you want to place.
2 Drag the selected regions from the Regions
List to a location in a track.
If dragging multiple regions, the regions are placed on adjacent tracks. If dragging a stereo region, it must be placed in a stereo track or in two mono tracks.
Regions are placed according to the current Edit mode:
• In Shuffle mode, existing track regions are slid as necessary to make room for the new region.
• In Spot mode, you are prompted by the Spot dialog to enter a location for the dragged re-
gion (see “Spotting Regions” on page 285).
• In Grid mode, the dragged region snaps to the nearest Grid boundary.
You can temporarily disable Grid mode while dragging a region by holding down the
Control key (Windows) or Command key
(Macintosh).
• In Slip mode, the regions are placed freely anywhere in the destination track.
Use the Replace Region function to replace all occurrences of a region (in all tracks) with a different region from the Regions
List. See “Replacing Audio Regions” on page 303.
Defining Region Sync Points
The placement of regions in Grid and Spot mode can be based on the definition of a region sync point. Sync points are used when a point within a region must be aligned to the Grid or to a particular SMPTE or bar/beat location. This capability is important in placing music and sound effects for film and video work.
For example, suppose you had an audio region for a door slam that included the creak of the door closing, the actual slam, and the reverb of the slam. You may want to align the “slam” to other locations within the session.
To define a region sync point:
1 Set the Edit mode to Slip by clicking its button in the upper left of the Edit window.
2 Click with the Selector at the point in the region, usually the peak of the waveform, where you want to define the sync point.
– or –
Press the Down Arrow key while playing back.
3 Choose Edit > Identify Sync Point. A small down arrow appears at the bottom of the region, with a vertical, light grey line indicating the location of the sync point.
Sync points
Sync Points
Chapter 17: Working with Regions and Selections 277
To change the location of a sync point:
■
Click with the Selector at a point in a region and choose Edit > Identify Sync Point. The new location is identified as the sync point for the region.
You can also move the location of a sync point by dragging (Pro Tools 6.7 and
higher). See “Dragging Sync Points” on page 279.
Removing Sync Points
To remove a sync point:
■
Select the entire region and choose Edit > Remove Sync Point.
– or –
■
Choose the Grabber or the Scrubber tool, then
Alt-Click (Windows) or Option-Click (Macintosh) the sync point to delete it (Pro Tools 6.7 and higher).
Displaying Sync Points
(Pro Tools 6.7 and Higher Only)
Sync points in audio regions may displayed or hidden.
To disable the display of sync points in audio regions:
■
Deselect Display > Display Sync Point In Regions.
To enable the display of sync points in audio regions:
■
Choose Display > Display Sync Point In Regions.
Placing Regions at the Edit
Insertion Point
You can place and align a region’s start, end, or sync point to the Edit insertion point. This technique is useful in post production applications since it allows you to set a reference point and quickly place sound effects while ensuring that their start point remains consistent.
You can drag a region from the same track, from another track, or from the Audio or MIDI Regions List.
For TDM systems, when Continuous Scroll with Playhead is selected, regions snap to the playhead, instead of the Edit insertion point.
To place the start of a region at the Edit insertion point:
1 Click with the Selector in the track at the time location where you want to place the start of the region.
2 While pressing the Start key (Windows) or
Control (Macintosh), drag the region from the
Regions List, or from another track, to the destination track.
– or –
If the region is already in the track, Start-click
(Windows) or Control-click (Macintosh) the region with the Grabber.
278 Pro Tools Reference Guide
To place the end of a region at the Edit inser tion point:
1 Click with the Selector in the track at the time location where you want to place the end of the region.
2 While pressing Control+Start (Windows) or
Command+Control (Macintosh), drag the region from the Regions List, or from another track, to the destination track.
– or –
If the region is already in the track, Control-
Start-click (Windows) or Command-Controlclick (Macintosh) the region with the Grabber.
To place the sync point of a region at the Edit insertion point:
1 Click with the Selector in the track at the time location where you want to place the sync point of the region.
2 While pressing Shift+Start (Windows) or
Shift+Control (Macintosh), drag the region from the Regions List, or from another track, to the destination track.
– or –
If the region is already in the track, Shift-Startclick (Windows) or Shift-Control-click
(Macintosh) the region with the Grabber.
Dragging Sync Points
(Pro Tools 6.7 and Higher Only)
You can drag a sync point to another position in the audio region.
To set the sync point by dragging:
1 If you want the sync point to snap to the current grid value, set the Edit mode to Grid.
2 Select the Grabber tool.
3 Drag the sync point to a new location.
Scrubbing Sync Points
(Pro Tools 6.7 and Higher Only)
While viewing an audio waveform can be a good way to set a sync point, a waveform display may not always reveal the desired spot in the audio material. By scrubbing while moving the sync point over an audio waveform, you can listen for the exact sync point.
Sync Point Scrub cursor
Scrubbing a Sync Point
To scrub while dragging the sync point:
1 If you want the sync point to snap to the current grid value when you finish scrubbing, set the Edit mode to Grid.
2 Select the Scrubber tool.
3 Drag the sync point to a new location. The sync point will scrub the audio as you move it.
Chapter 17: Working with Regions and Selections 279
Aligning to Region Start Points
The start, end, and sync point of one region can be aligned to the start of a different region on another track.
For TDM systems, if Continuous Scroll with
Playhead is enabled, region start, end, and sync points align to the playhead.
To align the start points of regions on different tracks:
1 With the Grabber, select the region you want to align to by clicking it.
2 For TDM systems, if Continuous Scroll with
Playhead is enabled, move the playhead to the start of the selected region. For details, see
“Moving the Playhead” on page 270.
3 With the Grabber, Start-click (Windows) or
Control-click (Macintosh) the region you want to move.
– or –
Start-drag (Windows) or Control-drag (Macintosh) a region from the Regions List to another track.
The start point of the second region is aligned to the start of the first region.
To align the end point of a region to the start of another region (on a different track):
1 With the Grabber, select the region you want to align to by clicking it.
2 For TDM systems, if Continuous Scroll with
Playhead is enabled, move the playhead to the start of the selected region. For details, see
“Moving the Playhead” on page 270.
3 With the Grabber, Control-Start-click (Windows) or Command-Control-click (Macintosh) the region you want to move.
– or –
Control-Start-drag (Windows) or Command-
Control-drag (Macintosh) a region from the Regions List to another track.
The end point of the second region is aligned to the start of the first region.
To align the sync point of a region to the star t of another region (on a different track):
1 With the Grabber, select the region you want to align to by clicking it.
2 For TDM systems, if Continuous Scroll with
Playhead is enabled, move the playhead to the start of the selected region. For details, see
“Moving the Playhead” on page 270.
3 With the Grabber, Shift-Start-click (Windows) or Shift-Control-click (Macintosh) the region you want to move.
– or –
Shift-Start-drag (Windows) or Shift-Controldrag (Macintosh) a region from the Regions List to another track.
The sync point of the second region is aligned to the start of the first region.
280 Pro Tools Reference Guide
The Trimmer Tool
The Trimmer tool provides region, note, and data trimming functions.
Pro Tools TDM systems provide three Trimmers, including the Standard, Time, and Scrub Trimmer. Pro Tools LE provides the Standard and
Time Trimmers.
The Trimmer is constrained by boundary regions, regardless of the current Edit mode, as follows:
• Trimming towards the left is constrained by the adjacent region’s left-most boundary (region start).
• Trimming towards the right is constrained by the region’s right-most boundary (region end).
Use of the Trimmer is affected by the current
Edit mode: Shuffle, Slip, Spot, or Grid. See “Edit
Modes” on page 232 for more information.
The Standard Trimmer can also be used to lengthen and shorten MIDI notes (see
“Trimming Note Start and End Times” on page 398), and also to scale automation
and controller data up or down “Drawing
Automation” on page 514.
For TDM systems, the Trimmer has three modes: Standard Trimmer (discussed in
this section), Scrub Trimmer (see “The
Scrub Trimmer” on page 283), and Time
Trimmer (see “The Time Trimmer” on page 282).
To trim a region with Standard Trimmer:
1 Select the Trimmer tool. For TDM systems, make sure the Standard Trimmer is selected in the Trimmer pop-up menu.
Standard Trimmer
With the Trimmer tool, you can quickly shorten or expand a region (up to the entire length of the source audio file). The first time you trim a region, Pro Tools automatically adds it to the
Regions List as a new region (with a name derived from the original) in order to differentiate it from the original.
The Standard Trimmer is a nondestructive tool and doesn’t actually modify the original audio or MIDI data (when working on regions). To return to the length of the original region, drag it from the Regions List, or resize the edited region with the Trimmer to its original length.
Standard Trimmer
2 Move the cursor near the start or end of the region, so the Trim cursor appears.
Trim cursor
To reverse the direction of the Trim cursor, press
Alt (Windows) or Option (Macintosh).
Chapter 17: Working with Regions and Selections 281
3 If trimming the end, drag left to shorten the region, right to lengthen.
– or –
If trimming the start, drag right to shorten the region, left to lengthen.
When working with audio, you cannot trim past adjacent regions.
When trimming regions in a stereo or multichannel track, all channels are trimmed.
When using Shuffle mode, adjacent regions are slid as necessary to make room for the edited region. If using Grid mode, the dragged start/end times snap to the nearest Grid boundary. If using Spot mode, the Spot dialog opens, where you can enter the new location for the region’s start or end point.
The Time Trimmer
The Time Trimmer is a convenient tool for matching an audio region to the length of another region, a tempo grid, a video scene, or to practically any other reference point you want.
Time Trimmer over a region
The Time Trimmer works by using the Time
Compression/Expansion (TC/E) AudioSuite plug-in (or a third party plug-in) to create a new audio file. You use the Time Trimmer by dragging the region’s start or end point to expand or compress the region.
Time Compression/Expansion Plug-In
Preferences
You can select settings for the Time Compression/Expansion AudioSuite plug-in by choosing from the Default Settings pop-up list in the Processing Preferences page, under “TC/E.” The settings available are presets included with
Pro Tools; in addition, if you save your own presets for the Time Compression/Expansion plugin, they will also appear here.
Refer to the DigiRack Plug-Ins Guide for more information about AudioSuite plugins.
Using the Time Trimmer in Grid Mode
The Time Trimmer can be used in Grid mode to match a region to the tempo of a session or a section of a session. For example, you might import a one-bar drum loop with a tempo of 90
BPM into a session with a tempo of 120 BPM. In
Grid mode, you can use the Time Trimmer to simply and quickly “time compress” the drum loop to the length of one measure, with minimal loss of audio fidelity.
Trimming regions while in Relative Grid mode will trim the regions in grid increments while maintaining their relative offset (if any) from the grid.
To use the Time Trimmer in Grid mode:
1 Set the Edit mode to Grid.
2 Select “TCE Trimmer” from the Trimmer popup menu.
Trimmer set to TCE
282 Pro Tools Reference Guide
3 With the Time Trimmer, drag the region’s start or end point to compress or expand the region to the Grid (for example, by quarter notes). The region is automatically processed using the
Time Compression/Expansion AudioSuite plugin. The new region appears in the playlist and in the Regions List.
Using the Time Trimmer in Slip Mode
To use the Time Trimmer in Slip mode:
1 Set the Edit mode to Slip.
2 Select “TCE Trimmer” from the Trimmer popup menu.
3 With the Time Trimmer, drag the region’s start or end point to compress or expand the region freely. A new region is automatically processed using the Time Compression/Expansion Audio-
Suite plug-in. The new region appears in the playlist and in the Regions List.
Using the Time Trimmer in Spot Mode
In Spot mode, clicking with the Time trimmer in a region opens the Spot Dialog. You can specify the location you want the region to start or end at, or the duration of the region, and the region is automatically compressed or expanded as specified.
To use the Time Trimmer in Spot mode:
1 Set the Edit mode to Spot.
2 Select “TCE Trimmer” from the Trimmer popup menu.
3 Click the region near its start or end point.
The Spot Dialog opens. Using any Time Scale, enter a new start or end time (or duration) for the region, then click OK. A new region is automatically processed using the Time Compression/Expansion AudioSuite plug-in. The new region appears in the playlist and in the Regions
List.
The Scrub Trimmer
(TDM Systems Only)
The Scrub Trimmer is a convenient tool for auditioning material (on up to two tracks) to find a trim point. You can drag in a track to hear the audio information, then trim at a specific location by releasing the mouse button.
This action creates a new region. Note that the cursor changes into a “right trim” or “left trim” shape as it is placed over the right or left side of a region. To reverse the direction of the Scrub
Trimmer, press Alt (Windows) or Option (Macintosh) before you click the region.
Scrub Trimmer over a region
Scrub playback speed and direction vary with controller movement. Scrubbed audio is routed through the track signal path, so you hear any effects in the signal path.
Chapter 17: Working with Regions and Selections 283
To scrub trim a track:
1 Click the Scrub Trimmer tool. The cursor changes to a speaker with a bracket.
2 Drag within a track to the left or right. Audio from a scrubbed track is routed through the track signal path, including any TDM effects.
When you locate the trim point, release the mouse button to trim the region.
To scrub trim two tracks, click with the Scrub
Trimmer between two adjacent tracks and drag.
To scrub with finer resolution (without having to zoom in), press Control (Windows) or Command (Macintosh) while scrubbing.
Sliding Regions
A region or group of selected regions (on the same track or on multiple tracks) can be slid with the Grabber tool to new locations or to other tracks. This feature is useful in music and post production applications where the timing of audio events such as sound effects and dialog need to be spotted to music, film, or video.
Sliding regions is affected by whether the current Edit mode is set to Shuffle, Slip, Spot, or
Grid. See “Edit Modes” on page 232 for details.
You can slide a copy of a region to another location or track by pressing Alt (Windows) or Option (Macintosh) while dragging.
To retain a region’s location when dragging to another track, press the Start key (Windows) or Control (Macintosh) while dragging.
Shuffling Regions
In Shuffle mode, you can move regions freely within a track or onto another track, but their movement is constrained by other regions. That is, if you place several regions in a track, their start and end points automatically snap to each other. You can then “shuffle” their order, but you cannot separate them from each other and you cannot make them overlap as in Slip mode.
In Shuffle mode, adding another region to the beginning of a track moves all subsequent regions to the right by the length of the region added.
To shuffle regions:
1 Set the Edit mode to Shuffle by clicking its button in the upper left of the Edit window.
2 Drag a mono region from the Regions List to an empty track. The region snaps to the beginning of the track.
3 Drag a second region from the Regions List to the same track, somewhere in the middle. The start point for the second region snaps to the end of the first region.
4 With the Grabber, drag the second region to the beginning of the track.
Pro Tools “shuffles” the position of the two regions. The second region now occurs first, yet the two still cling together.
5 Experiment more with Shuffle mode by dragging additional regions to the track and rearranging them.
Locked regions (see “Locking Regions” on page 292), and all regions occurring after the
locked region, are not displaced when other neighboring regions are moved in Shuffle mode.
If there is not enough room to place or duplicate a region in front of a locked region, the insertion area is disabled.
284 Pro Tools Reference Guide
If you place a region while in Slip mode and switch to Shuffle mode, Pro Tools preserves the relative timing and position of the slipped region, and any blank space between it and other regions.
Shuffling Multiple Tracks and
Multichannel Regions
Selections across multiple tracks or on multichannel tracks can be shuffled. Unlike shuffling regions on a single, mono track, any partially selected regions will be cut and moved along with the dragged region. This lets you retain only the material that corresponds to the dragged region, similar to a tape splice and multitrack.
To slip regions:
1 Set the Edit mode to Slip by clicking its button in the upper left of the Edit window.
2 Drag a region from the Regions List to an empty track.
3 Drag a second region from the Regions List to the same track, somewhere in the middle. The second region is placed wherever you release it.
It doesn’t snap to the first region as in Shuffle mode.
4 Drag the regions to different locations within the track to get a feel for moving them in Slip mode. Try placing the second region so that it slightly overlaps the first region. Play back the results.
Shuffling this region cuts this channel
Shuffling multichannel regions
Slipping Regions
In Slip mode, regions can be moved with the
Grabber freely within a track, or onto other tracks. In this mode, it is possible to place a region so that there is space between it and other regions in a track. When the track is played back, this space is silent. It is also possible to move a region so that it overlaps or completely covers another region.
Spotting Regions
Spot mode is useful for sessions in which you want to spot regions to precise locations based on any of the Time Scales. This can be particularly useful when performing post production tasks. In Spot mode you can spot a region by specifying a SMPTE frame (all TDM systems and
LE systems with DV Toolkit only) or bar and beat location, by capturing an incoming time code address, or by using the region’s time stamps.
For even quicker spotting, if you are using
VITC, use the Auto-Spot Regions command to spot a region to the current SMPTE frame location with the Grabber. For more infor-
mation, see “Auto-Spotting Regions” on page 629.
Chapter 17: Working with Regions and Selections 285
To spot a region:
1 Set the Edit mode to Spot by clicking its button in the upper left of the Edit window.
2 Drag a region from the Regions List, or drag audio files or sessions from a DigiBase browser, to an existing track.
– or –
Click a region already in a track with the Grabber.
3 In the Spot dialog, select a time format from the Time Scale pop-up menu.
Each of the fields in the Spot dialog are displayed in the chosen Time Scale.
Spot dialog
4 For TDM systems or LE systems with DV Toolkit, if the Time Scale is set to Time Code, select the Use Subframes option to display subframes in the fields for improved accuracy.
5 Click in the field for Start, Sync Point, or End and type in a new location. Changing one of these locate points automatically updates the other locate points.
– or –
Click one of the up arrows next to Original Time
Stamp or User Time Stamp to enter the associated values into the currently selected field.
– or –
If you are using an external SMPTE time code source, click the down arrow next to the Current
Time Code display—or press Equal (=) on the numeric keypad—to capture an incoming time code address.
6 Click OK. The region is moved to the new location specified for its start, end, or sync point.
If a region does not have a sync point defined, the Sync Point field in the Spot dialog functions the same as the Start field.
To learn more about using SMPTE with
Pro Tools, refer to Chapter 35, “Working with
Region Time Stamps
When a region is created, it is time stamped relative to the SMPTE start time specified for the session. This Original Time Stamp is permanently stored with the region and cannot be changed. If a region is ever moved, it can easily be placed at its original position from the Spot dialog.
When the Original Time Stamp for a region is initially set, this same location is also used to define the region’s User Time Stamp.
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Unlike the Original Time Stamp, the User Time
Stamp can be redefined with the Time Stamp Selected command in the Regions List pop-up
menu. For more information, see “Time Stamping” on page 630.
Time Stamps in DigiBase
Columns are provided in DigiBase browsers for both the Original and User Time Stamps.
Time Stamps and the Takes List
Regions with identical User Time Stamps appear together in the Takes List pop-up menu when auditioning takes. For more information, see
“Auditioning from the Takes List Pop-Up Menu” on page 172.
Sliding Regions in Grid Mode
Grid mode provides several useful capabilities for sliding and moving regions in track playlists.
This mode is especially useful for lining up regions at precise intervals, as when working with a session that is bar- and beat-based. Grid boundaries, depending on the Main Time Scale, can be based on frames, bar and beat values, minutes or seconds, or a number of samples.
Grid mode also provides two operational modes, Absolute and Relative. These modes con-
trol how the Grid is applied. (See “Absolute and
Relative Grid Mode” on page 288 for more in-
formation.)
To temporarily suspend Grid mode and switch to Slip mode while dragging a region, hold down the Control key (Windows) or
Command key (Macintosh).
Setting Up the Grid
When the Display preference for “Draw Grid in
Edit Window” is enabled, vertical Grid lines appear in the Edit window.
Grid lines in the Edit window can also be enabled and disabled by clicking the Timebase
Ruler name after it becomes highlighted.
Defining the Grid Value
In addition to affecting the placement of regions, the Grid value also constrains Edit and
Timeline selections, and determines how the
Quantize Regions command works.
To set the Grid value:
1 From the Display menu, select the Time Scale you will use for the Grid value.
– or –
To keep the Main Time Scale and use a different time format for the Grid, deselect Follow Main
Timebase in the Grid Value pop-up menu in the
Edit window.
Chapter 17: Working with Regions and Selections 287
2 From the Grid Value pop-up menu in the Edit window, select the time value that will define the Grid boundaries.
Grid Value pop-up menu showing Bars:Beats
– or –
To define a Grid based on the session’s Markers, selections, and region boundaries, select Regions/Markers from the Grid Value pop-up menu.
Absolute and Relative Grid Mode
Grid mode can be applied in Absolute or Relative mode.
◆ In Absolute Grid mode, moving any region snaps the region start to Grid boundaries . If a region’s start point falls between beats, and the
Grid is set to 1/4 notes, dragging the region will snap its start time to the nearest 1/4 note (the current absolute Grid value).
◆ In Relative Grid mode, regions can be moved by Grid (or Nudge) units . If a region’s start point falls between beats and the Grid is set to 1/4 notes, dragging the region will be constrained to
1/4 notes, preserving the region’s relative position to the nearest beat.
To select Absolute or Relative Grid mode:
■
Click the Grid mode selector and choose Absolute or Relative.
To temporarily suspend Grid mode and switch to Slip mode while dragging a region, hold down the Control key (Windows) or
Command key (Macintosh).
To place or move a region while in Grid mode:
1
Configure the Grid value. For details, see “Defining the Grid Value” on page 287.
2 Drag a region from the Regions List to an existing track.
– or –
With the Grabber, drag a region already in a track to a new location.
The region’s start point snaps to the closest Grid boundary. If the region has a sync point defined, the sync point snaps to the Grid boundary.
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Nudging
Pro Tools can nudge regions (or MIDI notes) by precise increments with the Plus (–) and Minus
(+) keys on the numeric keypad. The amount of the nudge is determined by the value specified in the Nudge pop-up menu. The Nudge function can be used in any of the Edit modes.
Nudging can be invaluable for adjusting the
“groove” of a musical phrase or a sound effect relative to other elements in the session. Since
Pro Tools can nudge material during playback, you can nudge continuously in real time to adjust the timing relationship between tracks.
Nudge can also be used to adjust the placement of automation breakpoints. For more informa-
tion, see “Editing Automation” on page 515.
Defining the Nudge Value
The Nudge value determines how far regions and selections are moved when nudging.
Start and end points for selections can also be
moved by the Nudge value (see “Nudging Selection Start/End Points” on page 261). In addi-
tion, regions can be trimmed by the Nudge
value (see “Trimming with Nudge” on page 276).
To set the Nudge value:
1 From the Display menu, select the Time Scale you will use for the Nudge value.
– or –
To keep the Main Time Scale and use a different time format for the Nudge value, deselect Follow Main Timebase in the Nudge pop-up menu in the Edit window.
2 From the Nudge pop-up menu in the Edit window, select the Nudge value.
Nudge pop-up menu showing Time Code
To specify a Nudge value not listed in the Nudge pop-up, click in the Nudge field and type in the value.
Nudging Regions
To nudge one or more region:
1 Configure the Nudge value. For details, see
“Defining the Nudge Value” on page 289.
2 With the Grabber or Selector, select the region or regions you want to nudge. The regions can reside on multiple tracks. Only regions that are entirely selected will be nudged.
3 On the numeric keypad, press Plus (+) to move the selection forward by the Nudge value.
– or –
Press Minus (–) to move the selection back by the Nudge value.
The Nudge command works the same regardless of the Edit mode. Adjacent regions are overlapped in Shuffle mode, the Spot dialog does not appear when in Spot mode, and shifted material does not snap to the Grid when in Grid mode.
Chapter 17: Working with Regions and Selections 289
Nudging Regions on Multiple Tracks and in Multichannel Tracks
When nudging a selection of multiple regions, within a single track or across multiple tracks, that also contains silence, any automation data residing within the silence is also nudged.
Nudging by Next Nudge Value
In addition to nudging by the current Nudge value, you can also nudge by the next, larger value in the Nudge pop-up menu.
For example, if the Nudge value is set to 1 frame and you want to nudge by a larger valuer, you can nudge by the next, larger Nudge value of 10 frames.
To nudge forward or back by the next, larger Nudge value:
1 Enable the Key Commands Focus by clicking the a-z button in the upper left of the Edit window.
2 With the Selector or Grabber, select the regions or notes you want to nudge.
3 Press slash (/) to nudge the selected material forward by the next Nudge value. Press M to nudge the selection back.
You can also nudge by the next Nudge value without enabling the Commands Focus.
While pressing the Start key (Windows) or
Control (Macintosh), press slash (/) or M.
Nudging a Region’s Contents
Often a region’s start point will reside at the correct location, perhaps at a SMPTE frame or bar, but the material within the region starts too late or early. You can, in effect, nudge a region’s audio waveform or MIDI notes without displacing the region’s start and end points.
before region contents are slid, moving waveform material into and out of the current region boundaries after
Nudging region content
This “sliding” of region contents is only possible if there is material residing outside the region’s start and end points—from the region having been trimmed, or perhaps captured from a larger region.
To nudge the contents of a region without changing the region start and end points:
1 Configure the Nudge value. For details, see
“Defining the Nudge Value” on page 289.
2 With the Grabber, select the region whose contents you want to nudge.
3 While pressing the Start key (Windows) or
Control (Macintosh), press Plus (+) or Minus (–) on the numeric keypad to move the material by the Nudge value.
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Shift Command
Use the Shift command to move track material forward or back in time by a specified amount.
The Shift command can operate on selections, regions, MIDI notes, MIDI controller data, and automation breakpoints.
To shift a selection or region:
1 Using either the Selector or Grabber, select the track material you want to shift. The selected material can reside on multiple tracks.
2 Choose Edit > Shift. In the Shift dialog, select whether the data will be moved Earlier or Later.
3 Click in one of the Timebase fields to specify the amount the material will be shifted. Entering a value in one Timebase field automatically updates the others.
Shift dialog
4 If you want to shift material with greater precision, select the Use Subframes option.
5 Click OK. The material is shifted back or forward by the specified amount.
If a portion of a region was selected, new regions are created from the selection and from any material outside of the selection.
The Shift command works the same regardless of the Edit mode. Adjacent regions are overlapped in Shuffle mode, the Spot dialog does not appear when in Spot mode, and shifted material does not snap to the Grid when in Grid mode.
Quantizing Regions
The Quantize Regions command adjusts the placement of selected audio and MIDI regions so that their start points (or sync points, if they contain one) precisely align to the nearest Grid boundary, which can be based on frames, bar and beat values, minutes or seconds, or a number of samples.
To quantize one or more regions:
1
Configure the Grid value. For details, see “Defining the Grid Value” on page 287.
2 With the Grabber or Selector, select the region or regions you want to quantize. The regions can be on multiple tracks. Only regions that are entirely selected will be quantized.
3 Choose Edit > Quantize Regions. Region start times (or sync points) are aligned to the boundaries for the defined Grid.
For MIDI regions, all data contained within the regions (such as notes) are moved equally, thereby retaining their rhythmic relationships.
To quantize individual MIDI notes, use the
Quantize command in the MIDI menu (see “Input Quantize” on page 431).
Chapter 17: Working with Regions and Selections 291
Locking Regions
If you have a region or group of regions that you want to permanently associate with a particular location in a track (a beat, SMPTE frame, or sample location), you can lock it in place so it will not be accidentally moved.
To lock a region:
1 With the Grabber, select the region or regions to lock. The regions can even reside on multiple tracks.
2 Choose Edit > Lock/Unlock Region.
Muting/Unmuting Regions
Choosing the Mute/Unmute Region command mutes playback of a selected region. Choosing the command a second time unmutes the region. Regions that are muted become dimmed to indicate their status.
Muted audio region (middle)
To mute a region or regions:
1 With the Grabber, select the region or regions you want to mute. The regions can even reside on multiple tracks.
2 Choose Edit > Mute/Unmute Region. The selected regions become dimmed, indicating they are muted.
To unmute a region, select it and choose Edit >
Mute/Unmute Region.
Locked audio region
A small lock appears in the region, indicating it has been locked and cannot be moved. If you attempt to perform edits that would move a locked region, Pro Tools alerts you.
In Shuffle mode, locked regions, and all regions occurring after the locked region, are not displaced when other neighboring regions are moved. If there is not enough room to place or duplicate a region in front of a locked region, the insertion area is disabled.
Locking a region prevents it from being moved or deleted only—operations such as recording and automation editing still affect it.
Edit Commands
Cut, Copy, Clear, and Paste
Use the Cut, Copy, Clear, and Paste commands to rearrange and edit track material. Edits can operate on entire regions selected with the
Grabber, or on track ranges selected with the Selector. Edits can also work across multiple tracks
(see “Editing Across Multiple Tracks” on page 295).
You can cut, copy, and paste discontiguous regions by selecting them with the Object
Grabber.
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Track View and Edit Content
When cutting or copying track material, the
Track View determines the type of data placed on the Clipboard. When displaying waveforms for audio tracks, or notes or regions for MIDI tracks, selections include all underlying automation and controller data. Thus, cutting an audio region also cuts any volume, pan, mute, send, or plug-in automation that is also on the track.
This saves you from having to individually cut from each automation playlist on the track.
Audio waveform data
Automation data (breakpoint-type data)
However, when selecting groups of MIDI notes with the Grabber (by drawing a rectangle around them), only the note data is placed on the Clipboard. When selecting a time range of
MIDI notes with the Selector, all controller data in the track is selected (similar to selecting with the Selector for audio tracks in Waveform view).
When a track is displaying automation data or controller data, only that data is placed on the
Clipboard. Also, whenever you cut or copy automation data, bounding breakpoints are created at each end of the selected area, in order to preserve the slope of the automation both inside and outside the selection.
If tracks are grouped, copying and pasting on any of the tracks affects each of the other tracks in the group. Tracks that are hidden—even if they are part of a group being edited—are not affected by edits.
The current Edit mode affects how material is selected, copied, and pasted:
• In Slip mode, the Cut command leaves an empty space corresponding to the data removed from the track.
• In Shuffle mode, the Cut command leaves no empty space, since the regions to the right of the cut slide over, closing the gap.
• In Slip mode, pasted data can overlap an adjacent region.
• In Shuffle mode, pasted data causes all regions to slide over to make room for the pasted material.
New regions are often auto-created when performing edits. For instance, when clearing a selection from a region, new regions are auto-created from the material residing outside of the selection.
Copying and Pasting Automation
The following are two special functions for copying and pasting automation data.
◆ To copy all automation playlists for a track, press the Start key (Windows) or Control (Macintosh) when copying from any of the track’s automation playlists. This special function also works across multiple tracks.
◆ To paste from one type of automation playlist to another similar playlist (for instance, from a volume playlist to a send level playlist), press the Start key (Windows) or Control (Macintosh) when pasting.
For more information on working with automa-
tion data, see Chapter 28, “Automation.”
Chapter 17: Working with Regions and Selections 293
Clear Command
Use the Clear command to remove a selection from a track without placing it on the Clipboard.
To clear a selection or region:
1 If you want to constrain the selection to the current grid value, set the Edit mode to Grid.
2 Set the Display Format for the tracks you want to edit.
When displaying waveforms for audio tracks, or notes or regions for MIDI tracks, selections include underlying automation and controller data. If the track is displaying automation data, only the automation data is affected by the edits.
3 Drag with the Selector in the track to select the material you want to clear.
– or –
Use the Grabber to select one or more regions
(or a group of MIDI notes).
4 Choose Edit > Clear to remove the selection.
If a portion of a region was cleared, new regions are auto-created from the material residing outside of the selection. If working in Shuffle mode, adjacent regions are slid over, as necessary, to fill the blank space.
Cut and Copy Commands
Use the Cut command to place the selection on the Clipboard while also removing it from the track.
Use the Copy command to place a selection on the Clipboard so it can be pasted to another track, or to the same track at a different location.
To cut or copy a selection or region:
1 If you want to constrain the selection to the current grid value, set the Edit mode to Grid.
2 Set the Display Format for the tracks you want to edit.
When displaying waveforms for audio tracks, or notes or regions for MIDI tracks, selections include underlying automation and controller data. If the track is displaying automation data, only the automation data is affected by the edits.
3 Drag with the Selector in the track to select the material you want to cut or copy.
– or –
Use the Grabber to select one or more regions
(or a group of MIDI notes).
4 Choose Edit > Cut to remove the selection and place it on the Clipboard.
– or –
Choose Edit > Copy to place the selection on the
Clipboard, without removing it.
If a portion of a region was cut or copied, the material on the Clipboard appears as a new region in the Regions List. If a portion of a region was cut, new regions are auto-created from the material residing outside of the selection.
When working in Shuffle mode, adjacent regions are slid over, as necessary, to fill blank spaces.
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Deleting Underlying Region Data
When removing a region or selection, you can choose to remove or keep the underlying region data.
To delete a region or selection along with the underlying region data:
■
Choose Edit > Cut.
To delete a region or selection without removing the underlying region data:
■
Choose Edit > Clear.
Paste Command
Use the Paste command to place the Clipboard’s contents at the Edit insertion point, overwriting existing material already there.
To paste a selection or region:
1 If you want to constrain the insertion point or the selection to the current grid value, set the
Edit mode to Grid.
2 With the Selector, click in a track at the point where you want to paste the material. Press Tab to move the insertion point forward to region start and end times; to move back, press Control+Tab (Windows) or Option+Tab (Macintosh).
– or –
Use the Selector or Grabber to make a selection where the material will be placed.
3 Choose Copy > Paste.
If pasting at an insertion point in Shuffle mode, material to the right of the paste point is shifted to the right. In Slip mode, the material is overwritten with the paste.
If pasting into a selection in Shuffle mode, the selection is replaced by the Clipboard’s contents with the adjacent material slid left or right as necessary. In Slip mode, the selection is also replaced but with the surrounding material remaining unchanged.
When working with MIDI, you can merge the contents of the Clipboard with material in the destination track. For details, see
“Merge Paste Command” on page 297.
For TDM systems, the Fill Paste command can be used to fill a selection with the con-
tents of the Clipboard. For details, see “Repeat Paste To Fill Selection” on page 305.
Editing Across Multiple Tracks
When working with data from multiple tracks, there are some important points to remember.
For instance, if any of the selected tracks are set
to their master view (see “The Master View Format” on page 217), edits affect not only audio
and MIDI for the selected tracks, but all automation and controller data as well.
If all selected tracks are displayed as automation data, edits only affect the type of automation data displayed in each track. Furthermore, if track 1 displays Pan automation, track 2 displays
Volume automation, and track 3 displays Mute automation, the Cut command cuts only pan data from track 1, volume data from track 2, and mute data from track 3.
For details on selecting data on multiple
tracks, see “Selecting Across Multiple
Tracks” on page 263.
When copying only automation or controller data for selected tracks, press the Start key (Windows) or Control (Macintosh) to copy all types of automation on all selected tracks.
Chapter 17: Working with Regions and Selections 295
To paste to multiple tracks, place the insertion point in each of the destination tracks by Shiftclicking in them—or to select all tracks, Alt-
Shift-click (Windows) or Option-Shift-click
(Macintosh) in a track, or make a selection in one of the Timebase Rulers.
When you paste multiple types of data, whatever data has been copied is pasted into the correct type of playlist. Automation data is pasted into the corresponding automation playlist. Audio/MIDI data is pasted into the audio/MIDI playlist. You don’t need to set target tracks to the specific type of data being pasted for the paste to work correctly.
If all destination tracks in a multitrack paste are displayed as automation, the paste replaces any previous data on the target track without shuffling—regardless of whether you are in Slip or
Shuffle mode.
Duplicate Command
The Duplicate command copies a selection and places it immediately after the end of the selection. Though this is similar to using Copy and
Paste, Duplicate is more convenient and faster, particularly when working with data on multiple tracks.
To make more than one copy of a selection, use
the Repeat command (see “Repeat Command” on page 297).
As with the Copy and Paste commands, certain rules apply when duplicating material on multi-
ple tracks. For details, see “Editing Across Multiple Tracks” on page 295.
To duplicate a selection or region:
1 If working with material that is bar- and beatbased, such as loops, set the Main Time Scale to
Bars:Beats.
2 If you want to constrain the selection to the current grid value, set the Edit mode to Grid.
3 Drag with the Selector in the track to select the material you want to duplicate.
– or –
Click in the track and enter the start and end points for the selection in the Event Edit area.
4 Choose Edit > Duplicate. The material is placed immediately after the selection’s end point.
In Shuffle mode, the duplicated data is placed directly after the end of the selection. Regions occurring after it are slid to accommodate the duplicated material. In Slip mode, the duplicated material overlaps any adjacent data.
When using Duplicate or Repeat with MIDI notes that were selected with the Grabber, material is always duplicated one measure later, and is merged with existing track material (instead of replacing).
Duplicating Audio
When using Duplicate or Repeat for audio that must fall cleanly on the beat (for loops), it is important that you select the audio material with the Selector, or by typing in the start and end points in the Event Edit area. If you select an audio region with the Grabber (or by double-clicking it with the Selector), the material may drift by several ticks because of sample-rounding.
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If, on the other hand, you want to Duplicate or
Repeat audio that is not bar- and beat-based, set the Time Scale to any format except Bars:Beats.
This ensures that the duplicated audio material will have the correct number of samples and will be placed accordingly.
4 Choose Edit > Repeat. In the Repeat dialog, enter the number of times you want the material to repeat, then click OK.
Repeat Command
The Repeat command is similar to Duplicate, but allows you to specify the number of times the selected material is duplicated.
As with the Copy and Paste commands, certain rules apply when repeating material on multiple
tracks. For details, see “Editing Across Multiple
To repeatedly paste copied data until it completely fills a selection (TDM systems only), see
“Repeat Paste To Fill Selection” on page 305.
To repeat a selection or region:
1 If working with material that is bar- and beatbased, such as loops, set the Main Time Scale to
Bars:Beats.
2 If you want to constrain the selection to the current grid value, set the Edit mode to Grid.
3 Drag with the Selector in the track to select the material you want to repeat.
– or –
Click in the track and enter the start and end points for the selection in the Event Edit area.
Repeat dialog
The material is placed immediately after the selection’s end point, and duplicated by the number of times specified.
In Shuffle mode, the repeated data is placed directly after the end of the selection. Regions occurring after it are slid to accommodate the repeated material. In Slip mode, the repeated material overlaps any adjacent data.
Merge Paste Command
Use the Merge Paste command to merge MIDI notes from the Clipboard with material already residing in the paste destination. To replace track material, use the Paste command instead.
To merge MIDI data:
1 If you want to constrain the selection to the current grid value, set the Edit mode to Grid.
2 Drag with the Selector in the track to select the MIDI notes you want to merge.
– or –
Use the Grabber to select one or more MIDI regions (or a group of MIDI notes).
Chapter 17: Working with Regions and Selections 297
3 Choose Edit > Cut to remove the selection and place it on the Clipboard.
– or –
Choose Edit > Copy to place the selection on the
Clipboard without removing it.
4 With the Selector, click in a MIDI track at the point where you want to merge the material.
5 Choose Edit > Merge Paste. The Clipboard’s contents are pasted at the insertion point, without removing the existing material already residing there.
If any portion of the material is pasted outside of existing regions, a new region is created for the data.
To split a stereo or multichannel track:
1 Select the track you want to split by clicking its name in the Mix or Edit window. To split multiple tracks, Shift-click additional tracks.
2 Choose File > Split Selected Tracks Into Mono.
Regions from the channels on the selected tracks are placed on new, mono audio tracks.
Names for the new tracks are based on the source track name and channel suffix. For example, if a stereo track called “Funkit” is split, two new tracks called “Funkit.L” and “Funkit.R” are created.
Output and send assignments and volume and pan settings are retained in the new tracks.
Mono equivalents of stereo and multi-mono plug-in assignments are assigned in the new tracks; multichannel plug-in assignments are not assigned in the new tracks.
Dragging Regions to and from Stereo and Multichannel Tracks
Editing Stereo and
Multichannel Tracks
Regions on individual channels within stereo and multichannel tracks cannot be independently selected. All selections for these tracks are time-based, which means that selections made with the Selector and Grabber extend to each channel in the track.
When regions in multichannel tracks are edited with the Trimmer or dragged with the Grabber, material on all channels is affected equally as a group.
Split Selected Tracks
To edit a specific channel within a stereo or multichannel track without affecting the other channels, you can split the track into separate mono tracks. Once the edits have been made to the separated material, you can then drag or copy it back to the original multichannel track.
Dragging a stereo region to two mono audio tracks
When dragging regions to or from stereo or multichannel tracks, the following rules apply:
◆ Provided the number of tracks and channels are the same for the source and destination, you can drag regions between multichannel tracks and mono tracks.
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◆ The source and destination for dragged regions can be mixed. For example, you can drag regions from a 5.0 track (containing five channels) to a stereo track and three mono audio tracks.
◆ When dragging multichannel regions to mono tracks, the destination tracks must be adjacent.
◆ When dragging regions from mono tracks to a multichannel track, the source tracks need not be adjacent.
Multichannel regions can also be dragged from the Audio Regions List, to multichannel tracks of the same format, groups of mono audio tracks, or a combination of both.
Conversely, a collection of single, mono regions can be dragged from the Audio Regions List to multichannel tracks—provided the dragged number of regions matches the number of channels in the destination track.
Processing Audio with
AudioSuite Plug-Ins
The AudioSuite plug-ins included with your
Pro Tools system can be used to process and modify an audio region or entire audio file. You may do this in order to apply a specific Audio-
Suite process, such as Normalization or DC Offset Removal, that you know you will always want applied to the audio.
Refer to the DigiRack Plug-Ins Guide for more information about AudioSuite plugins.
Waveform Repair with the
Pencil Tool
The Pencil tool allows you to destructively “redraw” waveform data. This tool is most commonly used to repair a pop or click in an audio file. A pop or click appears as a sudden sharp spike in a waveform. This tool only becomes active when the Edit window is zoomed in to the sample level.
The Pencil tool is a destructive editing tool that permanently modifies the audio file on disk and should be used with caution.
Although you can Undo a Pencil tool edit, it is recommended that you create a backup copy of the target audio, before using the Pencil tool.
You can do this by using the AudioSuite Duplicate plug-in.
To make a copy of an audio region:
1 Select the source region in the track’s playlist.
2 Choose AudioSuite > Duplicate.
3 In the AudioSuite dialog, make sure that Playlist is enabled as the processing preference, and that Use In Playlist is enabled.
4 Click the Process button.
The AudioSuite Duplicate plug-in creates a new audio file that is a duplicate of the original. The duplicate replaces the original on the track, and it is automatically named with the region name and the suffix DUPL.
Chapter 17: Working with Regions and Selections 299
To destructively edit an audio waveform with the
Pencil tool:
1 Locate the area you want to edit.
2 Using the Zoomer tool or the Vertical Zoom buttons, zoom down to the sample level so the waveform appears as a continuous thin line. Adjust the Track Height, as necessary, to edit the waveform with greater precision
You can recall zoom levels with the Zoom
Preset buttons (see “Zooming” on page 235), or with Memory Locations (see
“Memory Locations and Markers” on page 360).
3 Select the Pencil tool.
Pencil tool
4 Carefully draw with the Pencil by dragging over the area of the waveform.
Don’t over-edit or the results may be undesirable. You can use the Undo command to undo your previous edit.
The Smart Tool
With the Smart Tool you can instantly access the Selector, Grabber, and Trimmer, and you can also perform fades and crossfades. The position of the cursor in relation to a region or note, or within an automation playlist, determines how the Smart Tool functions.
Smart Tool in Edit window
To select the Smart Tool, click its icon in the upper left of the Edit window, or press F6+F7 (or
F7+F8) simultaneously.
To temporarily switch the Smart Tool to the
Scrubber, place the cursor over the region so that the Selector is enabled, then press the
Start key (Windows) or Control (Macintosh), or right-click the mouse.
The Smart Tool in Waveform View (or
MIDI Track Regions View)
Selector
Fade-In Fade-Out
Repairing a “pop” with the Pencil tool
Try to limit editing to smoothing over a very small problem area, and keep the “fixes” in character with the shape of the surrounding waveform.
If you have trouble zooming in far enough to perform Pencil editing, check the Edit window (session) length. Shorten the overall
Edit window (session) length, if possible, until the Pencil tool becomes usable.
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Trim
Start
Grabber
Smart Tool in Waveform View
Crossfade
Trim
End
The following capabilities are available with the
Smart Tool when working with audio tracks in
Waveform or Blocks View, or MIDI tracks in Regions View:
◆ For the Selector, position the cursor over the middle of the region, in the upper half.
◆ For the Grabber, position the cursor over the middle of a region, in the lower half.
◆ For the Trimmer, position the cursor near the region’s start or end point.
◆ For a fade-in or fade-out, position the cursor near an audio region’s start or end point, near the top. Once the Fade cursor appears, drag into the region to set the fade length. The fade is created automatically with the Default Fade Settings (in the Editing Preferences page).
◆ For a crossfade, position the cursor between two adjacent audio regions, near the bottom.
Once the Crossfade cursor appears drag left or right to set the crossfade length. The crossfade is created automatically with the Default Fade Settings (in the Editing Preferences page).
The Smart Tool in Notes View
Selector
The following capabilities are available with the
Smart Tool when working with MIDI tracks in
Notes View:
◆ For the Selector, position the cursor so it doesn’t cover any notes.
To get the Selector while positioning the cursor over notes, press Control (Windows) or Command (Macintosh).
◆ For the Grabber, position the cursor over the note, near its middle.
To get the Marquee so you can select a group of notes, position the cursor so it doesn’t cover any notes and press Control (Windows) or Command (Macintosh).
◆ For the Trimmer, position the cursor near the note’s start or end point.
To temporarily switch the Smart Tool to the
Eraser, place the cursor over the region so that the Selector is enabled, then press
Start+Alt (Windows) or Control+Option
(Macintosh).
Trim Start
Grabber
Smart Tool in Notes View
Trim End
Chapter 17: Working with Regions and Selections 301
The Smart Tool in Automation and
Controller Views
The following capabilities are available with the
Smart Tool when working in both automation and controller views:
Selector
Position the cursor anywhere in the bottom
75% of the playlist for the Selector. Drag with the Selector to select breakpoints.
Trimmer
Position the cursor in the top 25% of the playlist for the Trimmer. Drag with the Trimmer to trim breakpoints. Press Control (Windows) or Command (Macintosh) after you begin trimming for fine control.
Grabber
To create breakpoints with the Grabber, press
Control (Windows) or Command (Macintosh) and the Grabber will appear.
To edit existing breakpoints, move the cursor near a breakpoint and the Grabber will appear.
For fine control with the Grabber, press Control
(Windows) or Command (Macintosh)— or continue to hold the key if you are creating a new breakpoint.
To vertically constrain Grabber movement, press Shift.
To vertically constrain Grabber movement with fine control, press Control+Shift (Windows) or
Command+Shift (Macintosh).
The Smart Tool with Stereo and
Multichannel Tracks
When using the Smart Tool on stereo and multichannel tracks, individual channels cannot be independently edited. All edits affects all channels as a whole.
The tool switching for the Smart Tool in stereo and multichannel tracks is determined by the position within the entire track, and not within individual channels.
302 Pro Tools Reference Guide
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Key Features
- Record, edit, mix, and master audio projects with ease
- Create professional-quality audio content
- Work with up to 32 tracks of audio
- Use a variety of powerful editing tools
- Mix your tracks with precision using the built-in mixer
- Master your tracks to perfection using the included mastering tools
Related manuals
Frequently Answers and Questions
What's the difference between Pro Tools LE and Pro Tools HD?
Can I use Pro Tools LE to record live performances?
Can I use Pro Tools LE to edit and mix audio for video projects?
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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