Chapter 26: Basic Mixing. Avid Pro Tools HD 6.9, Pro Tools LE 6.9

Chapter 26: Basic Mixing

In addition to the final mixdown, mixing tasks can occur any time during a recording session.

This chapter covers Pro Tools mixing, including audio signal flow, output and bus paths, sends, and signal routing.

During mixing, real-time plug-ins and hardware inserts provide effects and signal processing (see

Chapter 27, “Plug-In and Hardware Inserts”).

Format Compatibility Monitoring Stereo mixes must often be mono-compatible. When you are mixing in multichannel surround, mixes may also need to be compatible with stereo or mono

playback systems (see Chapter 30, “Surround

Concepts (Pro Tools TDM Only)”).

Mixing Concepts

Mixing involves making decisions about elements such as volume levels, panning, and effects. These mixing decisions are initially based on what you hear in your studio. While you can control many variables in your studio (such as speakers and room acoustics), you cannot control the listening environment in which your final mix will be heard. The following tips include a few ways to make sure your mix will sound as good as possible to as many listeners as possible:

Alternate Speakers and Reference

Monitoring Listen to your mixes on a variety of different speakers, to gauge how well the mix will translate. By listening to a mix through different playback systems, you are attempting to anticipate what the intended audience will hear.

Reference Mixes Tapes and discs of rough mixes let you audition mixes outside the studio in different listening environments .

Metering and Calibration

Meters provide a visual display of signal levels.

They tell whether signal is getting to a channel, and how loud or soft a signal is relative to

(above or below) “0.”

By calibrating all your equipment to standard reference levels, a consistent level can be achieved (and metered) among different recording devices in a studio, throughout a facility, or throughout an entire production chain of a feature-length film. For example, a level of, say,

–18 dBFS coming out of a DAT deck should play and meter at –18 dBFS in Pro Tools.

For more information about calibrating your studio, refer to your Getting Started

Guide. For audio interfaces that have trims

(such as the 192 I/O), see the interface’s guide for calibration instructions.

Chapter 26: Basic Mixing 445

Audio Signal Flow

Pro Tools provides three different types of audio tracks:

• Audio tracks

• Auxiliary Inputs

• Master Faders

Mono and stereo audio tracks are available on all Pro Tools systems.

Multichannel audio tracks and surround mixing formats require Pro Tools TDM systems.

Tracks can be identified in the Mix window by their Track Type icon:

Track Type icons

Source or Input

Inserts

(plug-ins or hardware inserts)

Mute

Volume

Source: any mono, stereo, or multichannel audio file, playing back from disk

Input: while record-monitoring or in TrackInput monitoring mode

Sends, pre-fader

Sends, post-fader

Audio, MIDI, Auxiliary Input, and Master Fader tracks

Audio Tracks

Audio tracks play audio from disk, record audio to disk, or monitor input signals when record enabled, or in TrackInput monitoring mode. Inserts on audio tracks are pre-fader. Sends can be pre- or post-fader.

Panner

Output

Audio signal flow, audio tracks

Main Output

+ Additional Outputs

To create an audio track

1 Choose File > New Track.

2 In the New Track dialog, specify the number of tracks.

3 From the Track Type pop-up menu, select Audio Track.

4 From the Track Format pop-up menu, select the number of channels (for example, Stereo).

5 Click Create.

446 Pro Tools Reference Guide

Auxiliary Inputs

Auxiliary Inputs provide the same signal routing options as audio tracks, except that their input must come from an internal bus or hardware input. Inserts on Auxiliary Inputs are pre-fader.

Input

Inserts

(plug-ins or hardware inserts)

Mute

Volume

Panner

Source: bus or hardware input path

Sends, pre-fader

Sends, post-fader

Output

Audio signal flow, audio tracks

Main Output


Auxiliary Inputs are used as inputs for audio from MIDI devices and other sources, as well as to submix internal bus and output paths. They can be fully automated. When using Auxiliary

Inputs as inputs for external sources, adjust the source output levels to achieve proper recording levels.

Common Uses for Auxiliary Inputs

By bussing tracks to the Auxiliary Input, you can:

• Apply real-time plug-ins or an external processor to a submix, using the Auxiliary Input as an effects return

• Input MIDI and other audio sources into the mix, to monitor or route to audio tracks for recording to disk

• Consolidate control of any submix under a

single fader (see “Submixing for Signal Routing and Effects Processing” on page 466)

To create an Auxiliary Input:



3 From the Track Type pop-up menu, select Aux

Input.

4 From the Track Format pop-up menu, select the number of channels (for example, Mono).

5 Click Create.

To route an Auxiliary Input:

1 Click the Input Selector of the Auxiliary Input and choose an input or bus path.

2 Click the Output Selector of the Auxiliary Input and choose an output or bus path.

3 Adjust the Auxiliary Input fader to set the return volume (it defaults to 0 dB).

Submix examples begin in “Submixing for

Signal Routing and Effects Processing” on page 466.


Master Faders

Master Faders control the master output levels of output and bus paths. When assigned to an active output or bus path, they provide postfader effects processing and master level control for a main mix, headphone and cue mixes, stems, effects sends, and other signal routing applications. Master Faders support all track formats supported on your Pro Tools system.

Volume

Inserts, post-fader

(plug-ins or hardware)

Input (source) determined by output assignment (of other tracks)

Output

Main Output


Audio signal flow, Master Faders

Unlike inserts on audio tracks and Auxiliary Inputs, Master Fader inserts are post-fader. This lets you insert a dither plug-in, or similar plugin, on your master mix. For more information

about dithering, see “Dither” on page 473.

Master Faders provide up to five post-fader inserts and no sends. Also, Master Fader tracks do not have Pan controls, or Mute and Solo buttons.

If you absolutely must have a pre-fader insert on your Master Fader signal, set up an

Auxiliary Input before the Master Fader.

Common Uses for Master Faders

Master Faders can be used to:

• Control and process output mixes

• Monitor and meter an output (such as a bus or hardware output) to guard against clipping

• Control submix levels

• Control effects sends levels

• Control submaster (bussed tracks) levels

• Apply dither or other inserts to an entire mix

Use Master Faders to control submix levels, send level masters, and other outputs. Master Faders do not consume any of your system’s audio processing power.

To create a Master Fader:



3 From the Track Type pop-up menu, select

Master Fader.

4 From the Track Format pop-up menu, select the number of channels (for example, Stereo).

5 Click Create.

6 In the Mix window, click the Master Fader’s

Output Selector and choose the output that you want to control. You can choose either audio interface outputs or internal busses. A Stereo Master Fader controls the level of a pair of outputs.


To use a Master Fader as a stereo master volume control:

1 Create a stereo Master Fader track (as described above).

2 Set the outputs of all audio tracks in the session to the main output path (for example, outputs 1–2 of your primary audio interface) and set the panning of each track.

3 Set the output of the Master Fader to the main output path.

Master Fader Meters

Meters on Master faders always show post-fader levels, regardless of the Pre-Fader Metering setting in the Operations menu.

Master Faders and Paths

Master Faders can be assigned to main and subpaths. When more than one Master Fader is assigned to the same output or bus path, only one can be active at the same time. If you try to assign a Master Fader to a main or sub-path that is already actively assigned on another Master

Fader, the new assignment will be assigned, but be inactive. Master Faders can be assigned to different sub-paths of the same main path, as long as the sub-paths do not overlap.

Active and Inactive Master Faders

When a Master Fader track is inactive, its associated plug-ins, I/O assignments, and their resources are made inactive.

When a Master Fader output assignment (path assignment) is made inactive, the Master Fader no longer controls the master gain of that path.

When you duplicate a Master Fader track, the duplicated track’s assignment will be inactive.

Inserts

Pro Tools lets you insert up to five inserts on each audio track, Auxiliary Input, or Master

Fader. Each insert can be either a software plugin insert or a hardware insert .

Inserts provide the following features:

• Plug-ins and hardware inserts route the signal from the track through the effect of your choice, and automatically return it to the same track.

• Hardware inserts send and return the signal to corresponding input and output channels of an audio interface, to which you can connect outboard effects.

• Inserts on audio tracks and Auxiliary Inputs are pre-fader.

• Inserts on Master Faders are post-fader.

• Inserts can be bypassed or made inactive.

• Most plug-in controls are fully automatable.

• On TDM systems, RTAS plug-ins can be inserted on audio tracks, but not on Auxiliary

Inputs or Master Faders.

See Chapter 27, “Plug-In and Hardware Inserts” for details about using plug-ins and

inserts.

Track Output Format and Plug-Ins

Pro Tools supports mono, multi-mono, stereo, and (on systems that support surround mixing) multichannel plug-ins.

Because inserts process in series, changing the plug-in format can alter the channel format. For example, inserting a mono-to-stereo plug-in on a mono Auxiliary Input changes the signal path from that plug-in through the rest of the track.


This restricts all hardware inserts or plug-ins after the stereo plug-in to be stereo-in/stereo-out plug-ins (or the supported multichannel format).

Plug-In Formats

All Pro Tools TDM and LE systems support mono and stereo plug-ins. The following three types of plug-in paths are supported on all

Pro Tools systems:

• mono-in/mono-out

• mono-in/stereo-out

• stereo-in/stereo-out

Pro Tools TDM systems running the Surround mixer also support 3–8 channel, multi-mono and multichannel plug-ins.

To show or hide available views in the Mix and Edit windows:

1 Choose Display > Mix Window Shows or Display > Edit Window Shows for one of the view types (such as Inserts View).

– or –

Click the View Selector in the Edit window.

View Selector

Views in the Mix and Edit

Windows

Both the Mix and Edit windows can be configured to show or hide various mixing controls.

Comments, inserts, sends, and mic preamp views can be shown or hidden in both the Mix and Edit windows.

The I/O View is always shown in the Mix window and can be shown or hidden in the Edit window.

The Delay Compensation View (Pro Tools TDM) is only available in the Mix window.

Selecting an Edit window view with the View Selector

2 Choose any or all of the following:

Comments View Shows any text entered as comments in the Track Name dialog. For more infor-

mation, see “Naming Tracks” on page 94.

Comments view

Comments View in the Mix and Edit windows

I/O View (Edit Window Only) Shows input and output, volume, and pan controls in each track.

Deselect to hide.


Inserts View Shows inserts (software plug-ins and hardware I/O inserts) in each track. Deselect to hide.

Sends View Shows send assignments in each track. Deselect to hide. For more information,

see “Configuring Sends View in the Mix and

Edit Windows” on page 457.

Delay Compensation View (Pro Tools TDM Systems Only) The Delay Compensation View displays the total amount of plug-in delay on each track, lets you apply a user offset of track delay, and displays the total amount of delay that

Pro Tools applies to each track. The Delay Compensation View can be shown in the Mix Window.

Edit window views

Inserts

Sends

I/O

Plug-in

Delay indicator

User Offset

Track Compensation indicator

Delay Compensation View

To view Delay Compensation information:

■

Choose Display > Mix Window Shows > Delay

Compensation View.

Delay values can be specified in either samples or milliseconds, as selected in the Display Preferences page. For more information on Delay

Compensation, see “Delay Compensation” on page 469.

Mix Window views

Mic Preamps View Shows controls in each track for the Digidesign PRE. Deselect to hide. For detailed information, see the PRE Guide .

Mic Preamps View

Track Input

Input Selectors determine the source input for audio tracks and Auxiliary Inputs. Track input can be a hardware input, or bus. While recording, the Input Monitor mode determines when live input will be monitored through a recordenabled audio track.

You can also define what physical ports are routed to Pro Tools input ports in the “Main” page of the Hardware Setup dialog. For more in-

formation, see “Configuring Pro Tools System

Settings (in the Playback System Engine)” on page 37.


To assign track input:

■

Select an input path or sub-path from the track Input Selector.

Selecting input path (Mix window)

To assign multiple tracks to the same input:

■

Alt-select (Windows) or Option-select (Macintosh) a track input to assign all tracks to the selected input.

– or –

■

Alt-Shift-select (Windows) or Option-Shift-select (Macintosh) a track input to assign all selected tracks to the selected input.

To assign multiple tracks to unique inputs

(ascending, incrementing):

■

Control-Alt-click (Windows) or Command-

Option-click (Macintosh) a track input to assign it to an input path and auto-assign each subsequent track to the next available input path

(moving top-to-bottom in the Edit window, leftto-right in the Mix window).

Auto-assigning is determined by the path format, and the active/inactive state of the tracks, as follows:

• Only tracks of a matching format (such as two mono tracks) will be auto-assigned.

• Only active tracks and outputs will be autoassigned.

Track Output

Track Output Selectors route the post-fader signals to the assigned output or bus paths.

The Output Selector routes the main track output to the chosen main or sub-path. Tracks can be routed directly to hardware outputs, or to internal bus paths for submixing (main or subpaths).

The track format (mono, stereo, or multichannel) determines the available main and sub-path choices for track output.

When you create new tracks, their default output assignment is determined by the New Track

Default Output path defined in I/O Setup. You can change the New Track Default Output path in I/O Setup to any available path. For more in-

formation, see “New Track Default Output

Path” on page 83.

Sends, and Send windows, provide another

way to route track audio. See “Sends” on page 455 for more information.

To assign a track output:

■

Select an output path or sub-path from the track Output Selector.

Assigning track output (Mix window)


To assign all audio or Auxiliary Input tracks to the same output:

■

Alt-select (Windows) or Option-select (Macintosh) a track output to assign all tracks to the same path.

To assign all selected audio or Auxiliary Input tracks to the same output:

■

Alt+Shift (Windows) or Option+Shift (Macintosh) a track output, to assign all selected tracks to the same path.

To assign multiple tracks to unique outputs

(ascending, incrementing):

■

Control-Alt-click (Windows) or Command-

Option-click (Macintosh) a track output to assign it to an output path and auto-assign each subsequent track to the next available output path (moving top-to-bottom in the Edit window, left-to-right in the Mix window).

Output Paths

When audio tracks, Auxiliary Inputs, and Master Faders are created, their mono, stereo, or greater-than-stereo multichannel format is defined.

• Mono tracks can be assigned to any available mono, stereo, multichannel main and subpaths.

• Stereo tracks can be assigned to any available mono, stereo, or multichannel main and subpaths.

• Multichannel tracks can be assigned to any mono path, or path of the same number of channels (for example, an LCRS track can be assigned to a mono or LCRS path).

Output Windows

Output windows provide the essential track mixing controls (such as track panning and volume), as an alternative to Mix and Edit window views. Multichannel Output and Send windows also provide expanded Panner views, and other

surround-specific controls. (See Chapter 33,

“Surround Panning and Mixing (Pro Tools TDM

Only).”)

Output windows are useful in large sessions to leave important tracks in an anchored location, unaffected by Mix and Edit window (or control

surface) banking. See “Output Windows for

Tracks and Sends” on page 460.

These windows appear differently for mono, stereo, and multichannel tracks. For multichannel mixing, there is also an X/Y panner Output window available. For more information on using

multichannel Output windows, see Chapter 33,

“Surround Panning and Mixing (Pro Tools TDM

Only).”

Pan controls

Level Faders

Mono

Output windows (mono and stereo tracks)

Stereo


Multiple Output Assignments

Pro Tools audio tracks and Auxiliary Inputs can have multiple track output and send assignments. Multiple outputs are limited only by the paths and resources available on your system.

Assigning to multiple paths is an efficient way to route an identical mix to other discrete outputs, for simultaneous monitor feeds, headphone mixes, or other situations where a parallel mix is needed. Master Faders can only be assigned to a single path.

You can also define what physical ports are routed to Pro Tools output ports in the “Main” page of the Hardware Setup dialog. For more in-

formation, see “Configuring Pro Tools System

Settings (in the Playback System Engine)” on page 37.

To assign a track to multiple outputs:

1 Assign a main output path by selecting it from the track’s Output Selector.

2 Start-click (Windows) or Control-click (Macintosh) an additional output path in the track’s

Output Selector. The newly selected output destination is added as an additional output.

Alt-Start-click (Windows) or Option-Control-click (Macintosh) to add the assignment to all tracks, or Alt-Shift-Start-click

(Windows) or Option-Shift-Control-click

(Macintosh) to add to all selected tracks.

Display of Multiple Output Assignments

When a track is assigned to multiple output paths, the Output Selector denotes multiple assignment status and active/inactive status with the following indicators:

• A plus sign (+) indicates that the track has multiple output assignments.

Indication of multiple output assignments

• In the Output Selector menu, all currently assigned track outputs are checked to indicate they are active for the current track.

• An asterisk (*) indicates that one or more currently assigned outputs is Inactive.

Inactive Outputs

An output path can be made inactive, either globally in the I/O Setup window (affecting all tracks assigned to that path), or locally per assignment (only affecting that output on that audio track or Auxiliary Input).

When opening sessions, outputs will be made inactive automatically if the required hardware or other resources are not available.

Inactive outputs retain all associated automation playlists. Edits made in the session also affect the inactive track’s output automation playlists.

See “Making Tracks Inactive” on page 109.


Inactive Outputs and DSP Resources

Making a track output inactive silences the output, while retaining all automation and playlist data. Inactive outputs do not consume resources for TDM mixer connections, but any assigned plug-ins on the track continue to use their required DSP resources. RTAS plug-ins require

CPU resources, and TDM plug-ins use the DSP available on Pro Tools audio cards.

You can free up DSP of unused plug-ins by setting a track to inactive, or by setting just the plug-in to inactive.

See “Active and Inactive Items” on page 16,

and “Making Inserts Inactive” on page 479

for more information.

About the “No Output” Option

Track outputs can be set to No Output. Assigning a track output to No Output loses any panning automation associated with the track.

Tracks assigned to No Output will not be audible, but they do not free their associated DSP resources.

Sends

Pro Tools lets you insert up to five sends on each audio track or Auxiliary Input.

Sends provide the following features:

• Sends can be set as pre- or post-fader.

• Send level and mute can be configured to follow Groups.

• Send level, send mute, and send pan (for stereo and multichannel sends) are fully autom-

atable. See “Automating Sends” on page 509.

• Send controls can be displayed and edited from the Mix or Edit windows, or in their own output windows.

• Sends can be assigned to available output and bus paths (main or sub-paths), in mono or stereo, or any of the supported multichannel formats for surround mixing.

• Each send can have multiple assignments (for example, to available output and bus paths).

Sends must be returned to the mix through an

Auxiliary Input or audio track to be audible in

Pro Tools. They can be monitored and processed through an Auxiliary Input, recorded to audio tracks, and bounced to disk. (Bouncing and mix-

down are explained in Chapter 29, “Mixdown.”)


Assigning Sends to Tracks

To add a send to a track:

1 Make sure Sends View is enabled in the Mix or

Edit window (see “Views in the Mix and Edit

Windows” on page 450 for information).

2 Click the Sends button on the track and choose a path from the pop-up menu.

Assigning a send to a stereo bus path

The send can be a mono or stereo (or any of the supported multichannel formats for surround mixing) output or bus path.

3 Set the output level of the send in the Send window:

• Adjust the send level fader.

– or –

• Set the send level to unity gain (0 dB) by

Alt-clicking (Windows) or Option-clicking

(Macintosh) the send fader.

The first time you create a new send, its output level is automatically set to off, displayed onscreen as –INF (–

∞

).

To change the default setting for sends:

1 Choose Setups > Preferences and click the

Operation tab.

2 Select Sends Default to “–INF.”

– or –

Deselect Sends Default to “–INF” and new sends will default to unity gain (0 dB).

To remove a send from a track:

■

Click the Sends button on the track and choose No Send from the pop-up menu.

Send Formats

Mono and Stereo Sends (All Pro Tools

Systems) When you click the Sends button on a track, you can choose from a list of mono or stereo output or bus paths.

Multichannel Sends (Pro Tools TDM Systems

Only) When you click the Sends button on a track, you can choose from a list of multichannel output or bus paths.

Send window (mono)


Send Path Choices

The choices available in track Send Selectors include bus and output paths.

The names, format, and channel mapping of busses and output paths can be custom-

ized in the I/O Setup dialog. See “Creating and Editing Paths” on page 73.

Internal Mix Busses Pro Tools TDM systems provide 128 busses (Pro Tools TDM 6.9) or 64 busses (Pro Tools TDM 6.7.x and lower) and

Pro Tools LE systems provide 16 busses for routing signals internally. Internal bus paths are useful for submixing and processing with plug-ins.

Bus paths are defined in the I/O Setup dialog, and are available in all supported channel formats (mono, stereo, or multichannel, as supported on your system).

Hardware Outputs Hardware sends are often used for headphone cue mixes, or for sending signals to external effects processors. Sends do not automatically return audio as do hardware inserts.

Configuring Sends View in the Mix and Edit Windows

Sends are displayed in the Mix and Edit window according to the Sends View Shows settings.

Choices include Assignments View, plus the five

Send A–E Views, explained below.

To display the controls for an individual send across all tracks:

1 If sends are not currently visible on your tracks, choose Display > Mix Window Shows (or

Edit Window Shows) > Sends View.

2 Do one of the following:

• Choose Display > Sends View Shows and select the send (A–E).

• In Assignment View, Control-click (Windows) or Command-click (Macintosh) the

Send Selector.

• When displaying sends in a Send A–E View, select the send (A–E).


To show all send assignments:

■

Choose Display > Sends View Shows > Assignments.

– or –

■

When displaying sends in a Send A–E View,

Control-click (Windows) or Command-click

(Macintosh) the Send Selector and select Assignments.

Send Selector

Send A

–

E Views

The Send A–E views provide send level, pan, and mute controls.

Sends Views

Assignment View

This is the default Send Display mode, showing the five available sends on all tracks displayed in the Mix and Edit windows.

multichannel pre-fader stereo post-fader no assignment

Send A View, with different types of send assignments

Send controls can be adjusted directly from these Send views. Sends can also be opened for

control or metering in Send windows. See “Output Windows for Tracks and Sends” on page 460.

Send Selectors

Send A, Assignment View

Editing Sends in the Mix and Edit

Windows (Send A–E Views)

Send A–E Views display all the controls of an individual send in the sends area of the Mix and

Edit windows. These views provide full access to all controls for that send on all tracks. send level send indicator send assignment path assignment send pan send mute pre/post

Assignments View, no sends (left) and with an assigned send (right)

In Assignment View, send controls are adjusted

from Send windows. See “To view a different track Output or Send window:” on page 461.

send meter

Send A View, with stereo send shown

Send level and mute can follow Mix groups, to adjust multiple send controls from a single set of

controls. See “Sends and Groups” on page 465.


Sends View Meters

When you display the controls for an individual send, you also have the option of displaying send level meters.

Send level meters show peak values and indicate clipping that occurs while the meter is displayed

(if a send clips any time before its meter is displayed, this is not shown). If you are using a slower computer, hiding send level meters can improve screen redraw times.

To display send level meters when viewing individual sends:


Display tab.

2 Select Show Meters in Sends View and click

Done.

To clear a send meter’s Clip indicator:

■

Click the Clip indicator.

To clear all meters, do one of the following:

■

Option-click any Clip indicator.

■

Choose Operations > Clear All Clips.

■

Press Alt-C (Windows) or Option-C (Macintosh).

In Assignment View, edit sends by opening

their Output windows. See “To view a different track Output or Send window:” on page 461

.

Send Status Display

When displaying sends in a Send A–E View, the

Send status is visible directly in the Mix or Edit windows.

In Assignment View, Send status is displayed as follows:

• By default, the Send button is grey, to indicate that it is unmuted.

• The Send button text is red when the send has clipped.

• The Send button is blue when the send is muted.

• The Send button is lit whenever a send’s window is open.

Unmuted Clipped

(red text)

Muted

(blue)

Window is open

(lit Send)

Indication of Send mute, clipping, and window status

If you use a control surface (such as D-Control,

ProControl or Control|24) with Pro Tools, colored outlines around sends, inserts, and Outputs indicate the current controller focus.

Inactive Sends

Sends can be made inactive. Inactive sends free their DSP and mixer resources, while retaining their position in track Sends View. Inactive sends do not output audio. However, Inactive sends retain all related automation playlists. In addition, any edits made in the session affect the sends automation playlists.


When opening sessions, sends will automatically be made inactive if the required hardware or other resources are not available. inactive send

(italicized and greyed out) active send

(plain text) inactive track

(entire track is italicized and greyed out)

Output Windows for Tracks and Sends

Track outputs and sends can be opened for display and editing in dedicated windows.

• Track Output windows provide track fader, pan, automation, solo, and mute controls.

• Send windows provide send level, pan, automation, and mute controls.

• Standard Output and Send window controls provide additional routing, assignment, and display settings.

To open a track Output window:

■

Click the Output icon in the channel strip.

Display of inactive sends

To make a send inactive:

■

Control-Start-click (Windows) or Command-

Control-click (Macintosh) on the Send assignment.

– or –

■

Make the Track inactive. See “Making Tracks

Inactive” on page 109.

To toggle sends in the same position (A–E) on all tracks active or inactive:

■

Control-Start-Alt click (Windows) or Command-Control-Option click (Macintosh) a send button in the position you want to toggle.

To toggle sends in the same position (A–E) on all selected tracks active or inactive:

■

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

Command-Control-Option-Shift-click (Macintosh) a send button in the position you want to toggle.

Opening a track Output window


To open a Send window:

■

Click the send in the Mix or Edit window. click here or here

To set a window to remain open when opening additional Output windows:

■

Make sure the Target is disabled.

Target enabled Target disabled

Opening a Send window

To view a different track Output or Send window:

■

Click an output icon, or send, in the Mix or

Edit window.

If a similar Output window was already open with a highlighted Target icon (red, lit), the newly selected send will open in its place.

Opening Multiple Output Windows

Multiple track and Send windows can be displayed simultaneously using either of the following methods.

To open additional Output windows:

■

Shift-click any output icon or send.

Multiple Send windows

Arrange multiple windows as needed. For addi-

tional information, see “Targeted Windows” on page 464.


Panner Linking

Stereo outputs provide two panning controls, one for each side of the left/right pair. Multichannel outputs provide a multichannel panner.

The Output window provides controls to unlink

(or link) channels for precise panning of stereo and multichannel tracks.

In the default Linked mode, all sides match changes to any other side’s pan control. This is

Absolute Link mode. To mirror panning

changes, see “Inverse Linked Panning” on page 462.

When unlinked, pan controls are completely independent of each other.

Inverse Linked Panning

When linked and set to Inverse mode, panning moves are inverted or reversed in the other channels.

Inverse panning reflects one side’s location and direction in the other side. For example, when enabled for Front Inverse, if you pan one side of a stereo track output from right to left, the other side will exactly mirror that movement and pan left to right.

Front Inverse linking is available on all systems.

Rear Inverse, and Front/Rear Inverse linking are available on Pro Tools TDM systems only, and only appear as options on multichannel plugins and panners/output windows.

Link

Front Inverse

Front/Rear Inverse

Linked (left), unlinked (middle), front inverse linked

(right) Output windows

To enable linking:

■

Enable the Link icon.

To unlink an output for independent panning:

■

Deselect the Link icon.

Rear Inverse

Link, and Inverse Selectors (multichannel track)

To enable inverse linking:

1 Enable the Link icon.

2 Select an Inverse mode.


Standard Selector Controls in Output Windows

All Output windows provide standard selectors for path, automation, and other controls in the top area of the window (the Output Editor area).

Path Meter View

Track Selector

Output Selector

Path Selector

Automation Safe

Close

Target

Inverse Pan

Link

Close

Track Selector

Output Selector

Path Selector

Automation Safe

Output window standard controls, Windows (left) and Macintosh (right)

Path Meter View

Target

Inverse Pan

Link

Path Meter View

Track Selector

Send Selector

Path Selector

Pre/Post Fader

Automation Safe

Close

Target

Inverse Pan

Link

Close

Track Selector

Send Selector

Path Selector

Pre/Post Fader

Automation Safe

Send window standard controls, Windows (left) and Macintosh (right)

Close Closes the window.

Track Selector Provides access to any audio track, Auxiliary Input, or Master Fader in the session.

Output Selector Provides access to other outputs

(track and send) in the track, if any, displaying the selected output in the current window.

Send Selector (Send Window Only) Provides access to other sends on the track.

Path Selector Allows you to assign the Output path for the current track or send.

Pre/Post Fader (Sends Window Only) Determines whether the send is pre- or post-fader.

Automation Safe Protects track and send level, pan, and other controls from automation overwrites by placing them in Automation Safe

mode. See Chapter 28, “Automation” for more

information.

Path Meter View

Target

Inverse Pan

Link

Inverse Pan Reflects one side’s panning location and direction in the other side (for example, left- and right-channel pan controls).

Link and Unlink Allows linking and unlinking of left and right (or other) outputs in stereo (or multichannel). Unlinked mode provides discrete adjustment of individual sides, or channels. When linked, all changes affect all chan-

nels. See “Panner Linking” on page 462.

Target Identifies the target of plug-in settings commands. Also sets the current window for

display of Output windows. See “Targeted Windows” on page 464.


Meter View opens the path Meter View. These meters display levels of the selected path (not the levels of the track or send).

Meters View track meter path meters

Path Meter

Selector and the current window anchors to its current contents and location on-screen. Opening additional windows does not affect anchored windows.

To set an open Send window as the Target window:

■

Click the Target, so that it is lit (red).

Plug-in windows have additional features related to the Target (such as Focus of Set-

tings commands). See “The Plug-In Window” on page 483.

Using Output Windows

Output windows provide standard Pro Tools track, send, Target, and other controls.

To move to a different track:

■

Click the Track Selector button and choose a track from the pop-up menu.

Meters View in a Send window

Track Fader, Pan Controls, and Solo,

Mute, and Automation Controls

Output windows provide the associated track’s volume fader, pan controls, solo and mute switches, and Automation Mode Selector. Use these to adjust or automate the controls of the

Output window.

Targeted Windows

When lit (red), the Target indicates its window is

“targeted,” and the next window opened of the same type replaces the current display (unless it is opened as an additional window with the

Shift modifier). When unlit, the target is gray,

Selecting a track from the Output window


To reassign output:

■

Click the Path Selector button and select a path from the pop-up menu.

Selecting a path in the Output window

To display the controls for a different send on the same track:

■

Click the Send Selector button and select the send.

Sends and Groups

Send level and mute can follow Mix groups in each of the five available sends (A–E). Use this option to adjust multiple send controls from a single set of controls.

To configure sends and Mix groups:


Automation tab.

2 Enable Send Level Follows Groups, or Send

Mute Follows Groups.

3 Click Done to set the new preferences.

For more information on groups, see

“Grouping Tracks” on page 112.

Copying Track Settings to Sends

(TDM Systems Only)

Sometimes you need send settings to match the settings in the track itself—for example, to provide a headphone mix based on the main mix.

To copy track settings to sends:

1 Select the tracks you want to edit by clicking on the track names to highlight them.

2 Choose Edit > Copy To Send.

Accessing another send in the Output window

To add a different send to the same track:

■

Click the Send Selector button and choose an output or bus path from the pop-up menu, then click the Send Path Selector and choose a destination from the pop-up menu.

To add an additional output assignment to the current send:

■

Press Start (Windows) or Control (Macintosh) while selecting an additional output path from the Send Selector.

Copy To Send dialog

3 Select the controls you want to copy.

4 Select the sends you want to copy the settings to, and click OK.


Submixing for Signal Routing and Effects Processing

The bussing and mixing features in Pro Tools support myriad possibilities for submixing and signal routing, including the ability to:

• Create inputs for MIDI devices and other audio sources, to monitor or record in Pro Tools.

• Control and automate any submix from a single fader and channel strip.

• Apply real-time plug-ins or an external processor to the submix, using the Auxiliary Input as an effects return.

Audio Input from MIDI Devices and

Other External Sources

You can use an Auxiliary Input to bring external audio sources such as MIDI devices, tape, microphone inputs, and instruments, into a Pro Tools mix.

To use Auxiliary Inputs to bring external audio sources into a mix:

1 Connect the audio outputs of your MIDI and other external devices to available inputs on your Pro Tools audio interfaces.

2 If necessary, configure the I/O Setup dialog for the input paths you plan to utilize. The

I/O Setup dialog configuration determines the choices available for track sends, inputs, busses, and hardware inserts. (For more information,

see Chapter 7, “I/O Setup.”)

3 Specify the track type (Aux Input), and mono, stereo, or any of the supported multichannel formats for surround mixing.

4 Click Create.

5 Set the input of the Auxiliary Input track to the appropriate input path.

6 Assign the track output to the appropriate

path, or paths. (See “Multiple Output Assignments” on page 454 for more information.)

7 Adjust the Auxiliary Input fader to control the track, and any assigned post-fader send levels.

Mixing Audio Input from MIDI Devices and External Sources

By mixing MIDI and other audio sources through Pro Tools, you can apply mix automation to the volume, pan, mute, send level, send pan, send mute, and plug-in controls of the

Auxiliary Input.

Auxiliary Inputs can be routed to audio tracks through internal send busses, or using their track output, to record them to disk.

Using plug-ins, inserts, and sends on Auxiliary

Inputs, you can process instruments and other inputs with real-time plug-ins, or external de-

vices. See “Send and Return Submixing for Effects Processing” on page 467.

Creating a Submix

Audio is routed to a submix by assigning any combination of sends and track outputs to available bus or output paths.

Auxiliary Inputs can serve as effects returns by inserting plug-ins or external effects processors.

Submixing with Track Outputs or Sends

You can use both track outputs and sends to route audio for submixing, depending on whether you want a discrete or send and return submix.


Discrete Submix Output

Pro Tools lets you discretely route source audio through a submix. This is preferred for dither or other mastering processing, where you do not want unprocessed audio heard in addition to the processed signals. Use track outputs (not sends) to assign tracks to a bus path for discrete submixing. In this arrangement, the balance of processed and unprocessed signal is controlled by plug-in wet/dry settings.

For another way to submix effects, see

“Send and Return Submixing for Effects

Processing” on page 467.

To create a discrete submix:

1 Set the output of the tracks you want to include in the submix to a stereo bus path.

2 Pan each track.

3 Choose File > New Tracks.

4 Specify the track type (Aux Input) and format

(stereo), then click Create.

5 Set the input of the Auxiliary Input to the same bus path to which you assigned all contributing tracks.

6 Set the output of the Auxiliary Input track to your main stereo mix outputs (typically, outputs

1–2).

7 Set the Auxiliary Input Track level.

8 To process the submix, assign a plug-in or hardware insert on the Auxiliary Input.

9 Set the controls of the plug-in. The plug-in Bypass and Wet/Dry controls (if available) determine the amount of effect heard.

The contributing track faders control the balance within the submix. The Auxiliary Input track controls the output levels of all tracks routed to it.

You can apply mix automation to the volume, pan, mute, and send level, send pan, and send mute controls of the Auxiliary Input.

You can also bounce a submix to disk to free up the voices for use by other tracks. See

Chapter 29, “Mixdown” for information.

Send and Return Submixing for Effects

Processing

When you are submixing for reverb, delay, and similar effects processing, use sends to achieve traditional send/return bussing. You can use a real-time plug-in or a hardware I/O insert as a shared resource for all tracks included in a submix. The wet/dry balance in the mix can be controlled using the track faders (dry level) and

Auxiliary Input fader (effect return, or wet, level).

See Chapter 27, “Plug-In and Hardware Inserts” for more information.

Send and Return with a Plug-In or Hardware

Insert

To create an effects return submix with a plug-in or hardware insert:

1 Assign each track’s main output to your main mix outputs.

2 On the source tracks, assign a send (mono or stereo) and select a mono or stereo bus path from the send’s Output Selector. Configure the sends for pre- or post-fader, as needed.



(stereo), then click Create.

5 From the Auxiliary Input track’s Input Selector, select the send bus path.

6 Assign a plug-in or hardware insert on the

Auxiliary Input.


7 Set the effect to “100% wet,” and set any other controls as needed.

8 From the Auxiliary Input track’s Output Selector, select an output path (main outputs).

Adjust the individual track faders to balance the dry (unprocessed) tracks. The amount of effect is controlled by the level of the Send fader or the

Auxiliary Input fader.

Effect (plug-in or hardware)

Insert

Send to effect bus

Controls level of send to effects bus

Input set to send bus path

Output set to main mix outs

2 Assign a send (mono or stereo) and set the send destinations on the source tracks to the output path connected to the external device.

Configure the sends for pre- or post-fader, as needed.



(stereo or mono), then click Create.

5 From the Auxiliary Input track’s Input Selector, select the input path connected to the external device.

6 From the Auxiliary Input track’s Output Selector, select an output path (main outputs).

Adjust the individual track faders to balance the dry (unprocessed) tracks. The amount of effect is controlled by the level of the Send fader or the

Auxiliary Input fader.

Send to external device

Input set to device’s return

Output set to main mix outs

Controls level of dry signal

Controls level of effect return

Controls level of dry signal

Controls level of effect

Send/return setup for a plug-in or hardware insert

Send and Return with an External Device

To create an effects return submix with an external device:

1 Assign each track’s main output to your main mix outputs.

Send/return setup for an external device


Creating a Master Send Level Control

A Master Fader can control the overall level of bus and output paths.

To create a Master send level control:


2 Specify the track type (Master Fader), and mono, stereo, or any of the supported multichannel formats for surround mixing.

3 Click Create.

4 Do one of the following:

• Set the output of the Master Fader to the same path that you are using to send to an

Auxiliary Input track.

• Set the output of the Master Fader to match the path that you have chosen for your effects send.

You can then adjust send levels to balance the source tracks, and use the Master Fader as a master level control for the entire submix.

Soloing Tracks in a Submix

Before you solo any tracks in a submix, you can solo safe the Auxiliary Input track to eliminate the necessity of having to also solo the Auxiliary

Input (to hear any effects) when you solo a source track.

To solo safe an Auxiliary Input:

■

Control-click (Windows) or Command-click

(Macintosh) the Solo button on the Auxiliary

Input track.

To solo an individual track that is part of a group:

■

Start-click (Windows) or Control-click (Macintosh) the Solo button.

Generating Stereo Output from a Mono

Send/Return

You can use an Auxiliary Return arrangement to generate a stereo output from a mono send. Set the send destination to a mono Auxiliary Input track and place a mono to stereo plug-in on the

Auxiliary Input. The output of the Auxiliary Input becomes stereo.

To create a “stereo” effect from a mono source, you must use “reverb” or “delay” effects.

Delay Compensation

(Pro Tools TDM Systems Only)

Pro Tools provides Delay Compensation for managing DSP delays that occur on audio tracks, Auxiliary Inputs, or Master Faders because of plug-in use and mixer routing. With

Delay Compensation enabled, Pro Tools maintains time-alignment between tracks that have plug-ins with differing DSP delays, tracks with different mixing paths, tracks that are split off and recombined within the mixer, and tracks with hardware inserts.

To maintain time alignment, Pro Tools adds the exact amount of delay to each track necessary to make that particular track’s delay equal to the delay of the track that has the longest delay.

Delay Compensation should be enabled during mixing and playback for optimal delay-compensated sound. In some cases when recording, Delay Compensation should be turned off.

To enable Delay Compensation:

■

Choose Operations > Use Delay Compensation.


Delay Compensation Settings

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

Compensation:

None Allocates no DSP resources for Delay Compensation.

Short Allocates minimal DSP resources of Delay

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

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

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

To configure the Delay Compensation Engine:

1 Choose Setups > Playback Engine.

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

3 Click OK.

The Delay Compensation status will be saved as a session and system preference.

Delay Compensation View

The Delay Compensation View displays the total amount of plug-in delay on each track, lets you apply a user offset of track delay, and displays the total amount of delay that Pro Tools applies to each track. The Delay Compensation

View can be shown in the Mix Window.

Plug-in

Delay indicator

User Offset

Track Compensation indicator

To view Delay Compensation information:

■

Choose Display > Mix Window Shows > Delay

Compensation View.

Delay values can be specified in either samples or milliseconds, as selected in the Display Preferences page.

Plug-In Delay (dly) Indicator

The Plug-In Delay (dly) indicator shows the total plug-in and hardware insert delay on the track. This delay total is used by Pro Tools to calculate the delay applied to other tracks to keep them time-aligned. The track with the highest plug-in and insert delay displays delay information in orange.

Bypassing the track’s reported delay to Pro Tools can be useful if your total plug-in delay on a track exceeds the amount allowed in the Delay

Compensation Engine setting. After bypassing the track’s reported delay, you must manually nudge your track earlier by the reported amount to achieve the proper Delay Compensation for that track, while continuing to use Delay Compensation (see “User Offset (+/–) Field” on page 470.)

To bypass reporting plug-in delay to Pro Tools:

■

Start-Control-click (Windows) or Command-

Control-click (Macintosh) the Plug-in Delay indicator. The track delay will appear greyed out, and Pro Tools will not use that track’s plug-in delay to calculate Delay Compensation for the other tracks.

User Offset (+/–) Field

This field lets you adjust track delays manually.

In addition to the automatic delay, positive or negative delay times can be entered in the user offset (+/–) field.

Delay Compensation View


This is useful for changing the feel of a track or for time-aligning a track in case a plug-in is incorrectly reporting its delay.

To change track delay using the User Offset field:

1 In the Delay Compensation view, click in the

User Offset edit field.

2 To set your delay value (in samples or milliseconds depending on your current preferences), do one of the following:

• Enter a positive number (with or without the “+” modifier) or negative number (with the “–” modifier.)

• Control-drag (Windows) or Commanddrag (Macintosh) in the User Offset field to scroll to a new value.

• Press the Up and Down Arrow keys to increase or decrease the numerical values.

3 Press Enter.

To bypass the user delay:

■


Control-click (Macintosh) the User Offset field.

The user defined delay will appear greyed out, and it will no longer be applied to the track.

Track Compensation (cmp) Indicator

This indicator shows the amount of compensation Pro Tools applies to each track.

Delay that Exceeds the Compensation

Limit

When the total delay on a track exceeds the amount of compensation available, Pro Tools applies the maximum available compensation, and displays the delay information in red (in the

Delay Compensation View) for any tracks that cannot be fully compensated. The Delay Compensation indicator in the Edit window also turns red to indicate that the track delay exceeds the Delay Compensation limit. In this case, you need to bypass the track’s reported delay (see

“Plug-In Delay (dly) Indicator” on page 470), then manually nudge the track to maintain proper Delay Compensation (see “User Offset

(+/–) Field” on page 470).

Low Latency Monitoring During

Recording

For recording, Pro Tools automatically suspends

Delay Compensation to provide a low-latency monitor path through the main outputs of the record-enabled tracks. When an audio track is

TrackInput-enabled, armed for recording (in stop), or punched in, the track’s Delay Compensation is automatically suspended (and the

Track Compensation indicator displays 0).

Delay Compensation can be intentionally applied to audio tracks regardless of input mode.

To apply Delay Compensation to automatically bypassed tracks:

■


Control-click (Macintosh) the Track Compensation indicator. Track delay will be applied to the track and the Track Compensation Indicator will display in blue.

Track Compensation on Auxiliary Inputs

Delay Compensation on Auxiliary Inputs can be bypassed to let you monitor outside sources

(such as the audio tracks of a slaved video deck) with minimal latency, while still reporting the track’s delay.


To bypass an Auxiliary Input’s Delay

Compensation:


Control-click (Macintosh) the Track Compensation indicator. The reported track delay will be zero, and will appear greyed out.

Delay Compensation for MIDI

Tracks

(Pro Tools TDM 6.7 and Higher Only)

When Delay Compensation is active, a MIDI event that is recorded to sound “in time” with delay-compensated material actually is recorded late by the length of total delay in effect.

To compensate, MIDI events are shifted back in time by the total session delay following each

MIDI recording pass.

Low-Latency Recording with Virtual

MIDI Instruments

(Pro Tools TDM 6.7 and Higher Only)

When a MIDI track that is routing MIDI data to a virtual instrument is record enabled, Pro Tools automatically suspends Delay Compensation through the main outputs of the audio track or

Auxiliary Input that the virtual instrument is inserted on. This allows for latency-free monitoring of the virtual instrument during recording.

Delay Compensation for virtual MIDI instruments works only when all MIDI and audio connections take place inside of

Pro Tools. For example, Pro Tools does not suspend Delay Compensation when you are using ReWire to connect software synthesizers and samplers.

MIDI and Audio Processing Plug-Ins

Some audio processing plug-ins (such as Bruno and Reso), process audio while allowing MIDI data to control processing parameters. When you record enable a MIDI track that is controlling an audio processing plug-in, the track the plug-in is inserted on will go into low-latency mode, effectively making the processed audio play early.

To keep audio time-aligned when using a MIDI controlled plug-in on an audio track:

■


Control-click (Macintosh) the Track Compensation indicator for the audio track to apply Delay

Compensation.

To keep audio time-aligned when using a MIDI controlled plug-in on an Auxiliary Input:

1 Start-Control-click (Windows) or Command-

Control-click (Macintosh) the Track Compensation indicator for the Auxiliary Input to bypass

Delay Compensation.

2 Enter the total system delay into the User Offset field.


Dither

Dither is a special form of randomized noise used to mask quantization noise in digital audio systems. Digital audio’s poorest distortion performance exists at the lowest end of the dynamic range, where quantization distortion can occur. Dither reduces quantizing errors by introducing very low-level random noise, thereby minimizing distortion artifacts as audio reaches low level. With dither there is a trade-off between signal-to-noise performance and less-apparent distortion. Proper use of dither lets you squeeze better subjective performance out of a

16-bit data format (such as Red Book compact discs).

Pro Tools TDM systems process all audio internally at 24-bit, and Pro Tools LE processes internally at 32-bit, floating. Without Dither to process the 24-bit data to 16-bit, the extra 8 bits are truncated (dropped entirely) when written to media or a device with a 16-bit maximum (such as CD recorders, and many DAT machines).

Dithering, on the other hand, preserves lowlevel (quiet) fidelity in a surprising way—by adding a small amount of noise to a signal.

Dither Mixer Plug-Ins (Pro Tools TDM Systems

Only) There are two Mixer plug-ins that feature dither with noise shaping: Stereo Dithered and

Surround Dithered. For more information, see

“Surround Dithered and Stereo Dithered Mixers” on page 662. Standard Stereo and Surround

Mixers do not have dither and require use of dither plug-ins.

Dither on Final Output for Mixdown You can insert a real-time dither plug-in on a Master Fader that controls your output mix, to dither your final mix for CD or other 16-bit media. Inserts on

Master Fader process post-fader. This form of dithering lets you use dither plug-ins from

Digidesign or third-party manufacturers. To use dither when recording to disk (Bounce to Disk),

see “Dither and Bounce to Disk” on page 534.

AudioSuite Dither For AudioSuite plug-in processing, dither is based on the Dither plug-in.

Dither in Pro Tools

There are several dither options provided in

Pro Tools. Each has a specific application within the various operations that could benefit from dithering.

In addition to the TDM, RTAS and AudioSuite dither plug-ins, Pro Tools has a built-in dither capability.

Operation preferences, for AudioSuite dither

For most AudioSuite plug-ins, dither can be automatically applied in the Processing Preferences page. The Use AudioSuite Dither checkbox enables a preset, N-shaped dither.


The following AudioSuite plug-ins can automatically apply dither when processing:

• EQ II

• Compressor II

• Limiter II

• Gate II

• Expander/Gate II

• Normalize

• Gain

• DC Offset Removal

• Time Compression/Expansion

• Pitch Shift

For information about AudioSuite Dither, see the

Digi-Rack Plug-Ins Guide

.

Fades and Crossfades In the Fades dialog (Edit >

Fades > Create Fades), the Use Dither checkbox enables a preset, noise-shaped dither.

Noise Shaping

Noise is an integral part of the dithering process.

Noise shaping can further improve audio performance and reduce perceived noise inherent in dithering. Noise shaping utilizes digital filtering to move noise from frequencies around 4 kHz to near the Nyquist frequency. Essentially, noise shaping lessens our perception of the noise inherent in dithering by shifting audible noise components into a less audible range.

Noise Shaping is available in the Dither plug-in.

For more information about dither during

mixdown, see Chapter 29, “Mixdown.”

Create Fades dialog

Using a Control Surface with

Pro Tools

Control surfaces add hands-on control to

Pro Tools functions. You can use a control surface to adjust on-screen faders and knobs, activate transport controls, or scrub and shuttle in

Pro Tools.

There are several optional Digidesign control surfaces for mixing in Pro Tools:

• Digidesign’s D-Control, an innovative tactile worksurface that employs a familiar, intuitive channel strip/center section console layout.

• Digidesign D-Command, ProControl, and

Control|24, dedicated controllers which provide access to Pro Tools recording, mixing, editing, signal routing, plug-in control, and automation features.

• Digidesign’s Command|8, a low cost USBbased control surface for Pro Tools, developed in a collaboration between Digidesign and

Focusrite. Command|8 is a compact, convenient, and flexible control surface for Digidesign-qualified Pro Tools systems.


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