Chapter 29: Mixdown. Avid Pro Tools HD 6.9, Pro Tools LE 6.9
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Chapter 29: Mixdown
Pro Tools lets you record and bounce tracks to disk. The Bounce to Disk command lets you write a final mix to disk, create a new loop, print effects, or consolidate any submix. You can also submix, route, and record busses and inputs to new audio tracks.
Bounce to Disk This command writes the current session (if no selection), Edit, or Timeline selection as new audio files to disk. Any available output or bus path can be selected as the bounce source. Use Bounce to Disk to write or master any output or bus path directly to disk.
Sample rate, bit depth, and other conversion processes can be applied during or after the bounce. The Bounce to Disk command lets you bounce all available voices to disk without holding any in reserve. Though you can hear the bounce being created in real time, you cannot adjust mixer or other controls during a Bounce to Disk.
Recording to Tracks This is the process of submixing and recording to new audio tracks, as you would any input signals. This method requires available tracks, voices, and bus paths to accommodate the submix and the new tracks.
While recording to tracks, you can adjust mixer or other controls.
Selecting Audio for Loops, Submixes, and Effects
Both Bounce to Disk and recording to tracks operate on the current Timeline or Edit selection, if any. This makes it easy to turn multitrack selections into mono, stereo, or multichannel loops.
Submixes, stems, and other specialized types of mixes can also be printed to disk using either method, or recorded out to a DAT, MDM, or other recording, transfer, or archiving medium.
Printing effects to disk is the technique of permanently adding real-time effects, such as EQ or reverb, to an audio track by bussing and recording it to new tracks with the effects added. The original audio is preserved, so you can return to the source track at any time. This can be useful when you have a limited number of tracks or effects devices.
AudioSuite plug-ins provide another option for printing a plug-in effect to disk. See the
DigiRack Plug-Ins Guide for details.
Use Bounce to Disk if you need to convert the bounce files, or if you do not want or need to interact with mixer controls during the bounce.
Record to new tracks if you want to adjust controls while the files are being written.
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Dither and Bounce to Disk
Dithering can significantly improve audio quality. Generally, dithering is necessary when reducing the bit depth for digital audio.
If you use Bounce to Disk, it is important to understand that the Bounce to Disk process does not apply dither.
To dither a bounce file, you should insert one of the included Digidesign Dither plug-ins (such as
POW-r Dither), or another dithering plug-in, on a Master Fader assigned to the bounce source path. Master Faders are often preferable to Auxiliary Inputs because Master Fader inserts are post-fader (better for dithering).
If you do not use a dithering plug-in on your bounce source path, and you choose to convert to a lower resolution during or after a Bounce to
Disk, the resultant file will be converted by truncation.
When to Use a Dithering Plug-In
You should use a dithering plug-in in any situation where you are reducing bit depth, for example, when mastering to a 16-bit file with the
Bounce To Disk command, or when mastering to an external device that records at 16-bit.
This is even necessary when using 16-bit sessions. Even though 16-bit sessions use 16-bit files, they are still being processed at a higher bit rate:
• 24-bit audio input and output signal paths with internal 48-bit mixing and processing for
Pro Tools TDM systems
• 24-bit audio input and output signal paths with internal 32-bit floating point processing for Pro Tools LE systems
For this reason, whether you are using a 16-bit session or a 24-bit session, it is recommended that you use a Dither plug-in when mastering to
16-bits.
When mastering to 24-bits, it is not necessary to use a Dither plug-in.
Using Dither on an Output Mix
Pro Tools includes real-time dithering plug-ins that improve 16-, 18-, or 20-bit performance and reduce quantization noise when mixing or fading low-level signals.
The dithering plug-ins have no user-selectable controls other than Bit Resolution and Noise
Shaping controls.
For more information about dither, see
“Dither” on page 473.
To use a dithering plug-in on a submix:
1 Choose File > New Track and select Master
Fader (stereo) from the pop-up menu.
2 Set the output of the Master Fader to the output or bus path you want to bounce.
3 Assign the outputs of all audio tracks in the session to the same path you selected in step 2.
The Master Fader now controls the output levels of all tracks routed to it.
4 On the Master Fader, click an Insert button and choose one of the Digidesign dithering plug-ins (such as POW-r Dither).
5 In the dithering plug-in window, choose an output Bit Resolution and Noise Shaping setting.
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When you Bounce to Disk you can convert the file to the appropriate resolution. Before being converted by the Bounce to Disk command, the signal will have been dithered to the resolution and noise shaping settings in a dithering plugin.
For more information about the Digidesign dithering plug-ins, refer to the
DigiRack
Plug-Ins Guide
.
Recording to Tracks
You can create a submix in your Pro Tools session and record it to available tracks in the same session. This technique lets you add live input to the mix, as well as adjust volume, pan, mute, and other controls during the recording process.
You can also use this technique instead of
Bounce To Disk, to create mixed tracks directly in your Pro Tools session.
Voice Requirements
Recording a submix to new tracks requires an available voice for each track that you want to record. Make sure you have enough voices available to play back all tracks that you want to record and enough voices available to record the destination tracks.
In contrast, the Bounce to Disk command lets you bounce all available voices to disk without holding any in reserve, but you cannot manually change any controls during the bounce. See
“Bounce to Disk” on page 536 for more infor-
mation.
For information about voice management,
see “Track Priority and Voice Assignment” on page 100.
To record a submix:
1 Apply any plug-ins or external processors you want to add to your audio tracks or Auxiliary Inputs before you record.
2 Set the main channel output of the tracks you want to include in the submix to a bus path. If you are using stereo or multichannel tracks, set the panning of each track.
3 Choose File > New Track and create one or more mono, stereo, or multichannel audio tracks.
4 If you are recording in stereo, pan the new stereo track (or two mono tracks) hard left and right.
5 Set the input of each destination track to match the bus path from which you are recording.
6 Set the output of your new tracks to your main output path.
If you are working with 16-bit files, and you are recording submixes, you should apply dither on the Master Fader.
7 Select Operations > Link Edit and Timeline Selection.
8 Select audio to record. The start, end, and length of the recording can be based on cursor location or Edit and Timeline selections.
• Selection-based recording automatically punches in and out of recording at the selection start and end. Be sure to include time at the end of a selection for reverb tails, delays, and other effects.
• If you don’t make a selection, recording will begin from the location of the playback cursor. Recording will continue until you press Stop.
9 Record enable the new tracks and click Record in the Transport window.
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10 Click Play in the Transport window to begin recording the submix.
11 If recording a selection of audio, recording will stop automatically. If performing an openended recording, click Stop, or punch out of recording. Make sure Loop Playback is not enabled.
Bounce to Disk
The Bounce to Disk command lets you mix down with all available voices on your system.
Since it records to separate audio files, you don’t have to reserve any tracks for a bounce.
Pro Tools bounces are done in real time, so you hear audio playback of your mix during the bounce process (though you can’t adjust it).
You can use the Bounce to Disk command to create and automatically import loops, submixes, or any audio into your session. You can use it to create a final mono, stereo, or multichannel master, in any of several audio file formats. Bounce to Disk provides conversion options for sample rate, bit resolution, and format.
When you bounce a track to disk, the bounced mix includes the following:
Audible Tracks All audible tracks that are routed to the output which is selected as the source of the bounce are included in the bounce. Any muted tracks are not included in the bounce. If you solo one or more tracks, only the soloed tracks are included in the bounced mix.
Automation All read-enabled automation is played back and incorporated in the bounced mix.
Inserts and Sends All active inserts, including real-time plug-ins and hardware inserts, are applied to the bounced mix.
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Selection or Track Length If you make a selection in a track, the bounced mix will be the length of the selection. If there is no selection in any track, the bounce will be the length of the longest audible track in the session.
Time Stamp Information Bounced material is automatically time stamped so that you can drag it into a track and place it at the same location as the original material. For more information
about time stamping, see “Time Stamping” on page 630.
Bounced Files Are “Delay-Compensated”
Pro Tools compensates for any bus delays due to a bounce. This means that if a bounce file is imported back into a session, and placed directly in time against the source mix, it is time-aligned with the original source mix.
Record-Enabled Tracks and TrackInput Enabled
Tracks Cannot Be Bounced
Pro Tools does not allow you to bounce tracks that are either record-enabled or in Input Only monitoring mode.
To Bounce to Disk:
1 Choose File > Bounce to Disk.
2 Configure bounce options as needed and per-
form the bounce (see “Bounce Options” on page 537).
Bouncing with Mute Frees Assigned
Voice (TDM Systems Only)
When bouncing sessions that include muted tracks, enabling “Mute Frees Assigned Voice” can, in some instances, increase the number of tracks that can be successfully bounced. See
“Mute Frees Assigned Voice” on page 108.
Bounce Options
When you use the Bounce to Disk command, you can configure several file options.
Bounce to Disk dialog, with conversion and options enabled
Default Settings
Available options and their default settings are listed in the following table.
Options and Default Settings
Bounce
Option
Default
Bounce
Source
File Type
Format current main output path
session default file type
Auto Stereo Interleaved
Resolution session default resolution
Sample Rate session default sample rate
Conversion
Quality
Good
Use Squeezer
(8-bit only) deselected
Convert During Bounce
Convert After
Bounce deselected selected
Import After
Bounce deselected
Bounce Source
Select any mono, stereo, or multichannel output or bus path as the source for the bounce. All currently active paths as defined in the
I/O Setup dialog are available as the Bounce
Source.
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To set the bounce source:
â–
Select an output or bus path from the Source
Selector.
Select a bounce source
File Type
Selects the (creator) type for the bounced files.
Selecting a file type
Sound Designer II
(Macintosh Only)
This was the native format for older Macintoshbased Pro Tools systems. Select this to use the bounced audio with any Digidesign application for Macintosh.
BWF (Broadcast .WAV Format)
This was the native format for older Windowsbased Pro Tools systems, but is now supported on Windows and Macintosh. To use a BWF
(.WAV) file in Pro Tools, you can drag and drop from the DigiBase Browser, or use the Import
Audio command. Files in this format do not have to be converted to be used in Pro Tools.
AIFF (Audio Interchange File Format)
To use an AIFF file in Pro Tools, you can drag and drop from the DigiBase Browser, or use the
Import Audio command. Files in this format do not have to be converted to be used in
Pro Tools. AIFF waveform overview data is calculated and saved to a cache file, which is accessed each time the session is opened.
QuickTime
This is Apple’s audio file format for QuickTimebased multimedia. Pro Tools does not directly support this type of file in its sessions. To use a
QuickTime audio file within Pro Tools, use the
Import Audio from Other Movie command. The
QuickTime format is popular for attaching to emails, to simplify long-distance project review and approval. Many popular multimedia applications also support QuickTime.
SND Resource
(Macintosh Only)
This file type is supported by some Macintosh software applications and also by Macintosh
System Software. Pro Tools does not directly support this type of file in its sessions. To use a
SND file within Pro Tools, use the Import Audio command. The SND format is useful if you plan to use your audio with other Macintosh applications that do not support Sound Designer II or
AIFF formats. To use a bounced file as a System alert sound, save it in this format and then drag it onto the Macintosh System File.
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Windows Media
(Windows Only)
Windows Media formatted files can contain audio, video, or script data stored in Windows Media Format. A Windows Media Format file may have an .asf, .wma, or .wmv file name extension.
MXF (Material Exchange Format)
(Pro Tools 6.9 with DigiTranslator Only)
MXF is a media file format that includes both video and audio files, and is designed for the interchange of audio-visual material with associated data and metadata. It was designed for improving file-based interoperability between servers, workstations, and other content creation devices.
AAF and OMF sequence format files can refer to
MXF media files, or have MXF media files embedded within them. Pro Tools does not support
AAF embedded sequences.
See the DigiTranslator Guide for more information.
MPEG-1 Layer 3 (MP3)
The MPEG-1 Layer 3 compression format (MP3) is used for streaming and downloading audio over the Internet, and for playback on portable devices. The MP3 Option is required to use this file type.
The MP3 Option is available for purchase from the online DigiStore only at the Digidesign Web site (www.digidesign.com).
MP3 Output Options
The MP3 encoder provided as an install option with Pro Tools is a fully functional 30-day demo version. To purchase the full version of the MP3 encoder, visit Digidesign’s Web site
(www.digidesign.com).
When you select this format, the Resolution pop-up menu in the Pro Tools Output Options dialog is unavailable. The resolution is set by the encoder.
The sample rate chosen is given to the codec as a “base” sample rate for operations. The actual sample rate of the resulting file is determined in the MP3 Encoder Options dialog. For example, if a base sample rate of 48000 Hz is chosen, the
MP3 Encoder Options dialog will allow output streams in 48, 24, or 12 kHz, depending on encoding quality.
When you export or bounce to MP3 format, you can set the following options:
Encoder Settings
Encoding Quality Determines the audio quality of the bounced file. The higher the quality, the longer it will take to process the audio. The three options, in ascending order of quality, are Fastest Encoding, Medium Encoding, and Highest
Quality.
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The Highest Quality setting can take up to five times longer to process audio than the Fastest
Encoding setting, so you should use it only when the highest fidelity is essential and you have a considerable amount of time to devote to the encoding process. You should experiment with the other encoding quality settings, since they can provide acceptable quality with a significantly shorter encoding time.
Encoding Method Two encoding methods are available:
• Constant Bit Rate (CBR) encodes the file at a single bit rate that you choose from the CBR pop-up menu. Because the bit rate is fixed, the quality of the encoded audio will vary depending on the nature of the material being compressed. This option is best for streaming over the Internet, since it has predictable bandwidth requirements.
• Variable Bit Rate (VBR) encodes the file at a varying bit rate to maintain the level of encoding quality that you choose from the VBR pop-up menu. The bit rate varies automatically depending on the nature of the material being compressed. This option is best for personal jukebox applications.
ID3 Tag Info Settings
ID3 Tag Type The ID3 tag stores data about the encoded audio file that is used by MP3 players to display information about the file. Pro Tools supports three versions of this tag, in order to provide backward compatibility with older MP3 players:
• ID3 v1.0: Appears at the end of a streaming
MP3 file, so that tag information is only displayed after software streaming is finished.
• ID3 v1.1: Same as version 1.0, but adds track number information to the tag.
• ID3 v2.3: Appears at the front of a streaming
MP3 file, so that tag information is displayed when streaming begins.
While ID3 v2.3 is becoming the standard
MP3 format, not all MP3 players currently support ID3 v2.3. Contact the developer of your player software for compatibility information.
Title/Artist/Album/Comment Type the title, artist, and other information for the MP3 file. This information is displayed by many MP3 players.
Genre Choose a genre for the file. This information is displayed by many MP3 players, and can appear in searchable catalogs and databases.
Track Number If you select ID3 tag type v1.1 or v2.3, you can enter a CD track number for the file. This information is displayed by many MP3 players.
Year Enter a year for the file. This information is displayed by many MP3 players.
Advanced Settings
The options listed under Advanced Settings, under normal situations, do not need to be changed from their default values.
Pad To Match Bit Rate Exactly This option determines whether MP3 frames are padded to maintain bit rate very precisely. You should only select this option if you need a file with an exact bit rate, for specific applications (such as synchronous transmission over an ISDN line).
Padding of MP3 frames can cause problems with some versions of Internet streaming software. If your files are destined for desktop or Internet delivery, do not select this option.
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Allow Intensity Stereo Coding This option determines whether the encoder takes into account the frequency of a signal when encoding its phase characteristics, allowing for more compression at low bit rates. In most cases, you should leave this option selected. However, if you are working with highly phase-dependent material, such as Dolby Surround, you may want to deselect this option.
Write CRC Checksums This option adds errordetection data to the MP3 file. This data is not necessary for most computer and Internet applications, and also takes away from the space available for audio data. Select this option only if you are sure your delivery mode requires error correction.
Copyrighted This option sets a bit in the MP3 data stream to indicate that the audio is copyrighted. Not all MP3 players use this information. Selecting this option does not guarantee that the audio file will not be copied.
Original This option sets a bit in the MP3 data stream to indicate that the audio is the original media for the track, rather than a copy. This setting is not widely used.
Private This option sets a bit in the MP3 data stream that is interpreted differently by various applications. It is not normally used.
Mac File Settings
Mac File Type and Creator If you expect your file to be used on a Macintosh, you can enter the
Macintosh file type and creator. This will allow users to double-click the file to open their MP3 player.
Default Button
To restore all settings in this dialog to their default values, click Defaults.
Format
This is the format for the bounced result.
Choices are Mono (summed), Multiple mono, and Interleaved.
To set the bounce file format:
â–
Select a file format from the Format Selector.
Mono (Summed) Creates a single disk file that is a summed mono mix of the current sources being monitored.
When bouncing to mono (summed) files, the output may clip. Avoid clipping by monitoring the meters of your bounce source Auxiliary Input or Master Fader. When bouncing stereo tracks to mono (summed) files, clipping occurs if left and right signals exceed –3 dB below maximum, or full code (0 dBFS).
Multiple Mono Creates multiple mono files with the same number of channels as the source path.
• If the source output or bus path is stereo, two mono files will be created, and appended with
“.L” and “.R” suffixes on bounce.
• If a multichannel format is used (for example, six-channel, 5.1), individual mono files will be created for each member of the path. Files will be appended with path suffixes according to the path definition in the I/O Setup dialog.
• If the source output or bus path is mono, the pop-up menu will switch from multiple mono to mono, and will create one mono file (no summing of multiple sources).
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Stereo Interleaved Creates a single, interleaved file that contains all of the bounced streams from the chosen output path. In an interleaved stereo bounce, tracks assigned to odd-numbered outputs are sent to the left channel, and tracks assigned to even-numbered outputs are sent to the right channel.
Pro Tools also lets you create multichannel interleaved files of any supported file type. This can simplify file management of mixes and projects for backup and archiving.
Pro Tools does not support interleaved files natively. This means that they must be split into multi-mono files on import (requiring additional disk space).
Resolution
This option lets you select between three different bit resolutions for the bounce conversion.
Bounce to Disk does not apply dither when converting during or after a bounce to a lower resolution (including when bouncing to 16-bit).
When you need to create a lower resolution bounce file, use a Digidesign Dither plug-in, or similar, on a Master Fader assigned to the bounce source path. This dithers the bounce file, before the Bounce to Disk conversion truncates bits into the final file resolution. (See
“Dither and Bounce to Disk” on page 534.)
Resolution choices include the following:
8-bit This resolution is often used in multimedia applications. If the material you are working with is relatively simple, you can use the
Pro Tools “Squeezer” feature for optimal results.
See “Sample Rate Conversion Quality Option” on page 543 for details.
16-bit This is the Compact Disc standard bit resolution.
24-bit If you plan to use the bounced file with a
Pro Tools TDM system, you can take advantage of the greater resolution and headroom afforded by this higher bit rate.
To set the bounce file resolution:
â–
Select a bit depth from the Resolution Selector.
Sample Rate
This option lets you save to any of several sample rates. Choices are dependent on your
Pro Tools system and Digidesign audio interfaces.
Sample Rate Conversion Quality
If you choose a sample rate that differs from the original sample rate of the session, the conversion options become available. You can configure the conversion quality, and schedule conversion to occur during, or after, the bounce. See
“Sample Rate Conversion Quality Option” on page 543 for more information.
The following are the more common sample rates, and their application. Higher sampling rates will provide better audio fidelity for recording and playback, and also for processing with dynamics, dither (with noise shaping), and analog emulation plug-ins.
192000 This is a supported sample rate for some audio DVDs, and provides the highest quality audio fidelity with compatible audio interfaces
(such as the 192 I/O).
176400 You may want to work at a sample rate of 176.4 kHz if the final delivery will be at
44.1 kHz (such as compact disc). This will provide a slightly faster sample rate conversion to
44.1 kHz than from 192 kHz.
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96000 This is a supported sample rate for DVD audio and provides high-quality audio fidelity with compatible audio interfaces (such as the
192 I/O, 96 I/O, 96i I/O, and Digi 002).
88200 You may want to work at a sample rate of
88.2 kHz if the final delivery will be at 44.1 kHz
(such as compact disc). This will provide a slightly faster sample rate conversion to
44.1 kHz than from 96 kHz.
48000 This is a standard sample rate for Professional and DVD video, and is supported by DA-
88/98, DAT, and ADAT decks.
44100 This is the standard sample rate for compact discs (CD), and is supported by DA-88/98,
DAT, and ADAT decks.
Custom For a custom sample rate, click in the sample rate window and manually enter in a value.
Pull-up and Pull-down Rates All available sample rates support pull-up and pull-down rates, or other specialized rates.
Processing Resources and Conversion Quality
Because the Best and Tweak Head settings take longer than the others, you may want to use them only in cases where the highest fidelity is essential and you are not facing strict time limitations.
Use Squeezer
The Use Squeezer option uses a proprietary DSP algorithm specifically designed for performing
8-bit conversion of simple source files such as voice-overs. It optimizes the dynamics of the audio by preprocessing it using compression, limiting, and gating before conversion to 8-bit resolution. This results in greater apparent loudness in the signal, and improved intelligibility. If you are converting a more complex 16bit audio file to 8-bit resolution, test this option before converting all of your material.
Sample Rate Conversion Quality
Option
The Conversion Quality option sets the quality of sample rate conversion used to create the converted file. The higher the quality of sample rate conversion, the longer it takes to convert the file after the bounce has taken place. There are five possible settings, ranging from Low to
Tweak Head. For most applications, the Better setting yields satisfactory results.
Bounce to Disk, Use Squeezer enabled
Convert During or After Bounce
The Bounce dialog can perform any conversion options, including sample rate and bit depth conversion, during a bounce or post-bounce.
Convert During Bounce This option may take less time than Convert After Bounce, but does so at the expense of plug-in automation playback accuracy.
Convert After Bounce The Convert After Bounce option, though it takes more time, offers the highest level of plug-in automation accuracy possible.
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Import Into Session After Bounce
The Import Into Session After Bounce option automatically imports the newly bounced files into the Audio Regions List so you can place them in tracks. If your newly bounced files are split stereo files, they are listed together in the
Audio Regions List.
The Import Into Session After Bounce option is only available if the target bit depth for the bounce is the same or less as the bit depth of the current session, and it is supported by the
Digidesign audio interface.
Help
The Help button opens a display-only dialog that describes the Bounce to Disk features.
Recording a Submix (with
Bounce To Disk)
You can create a submix with the Bounce to Disk command by muting tracks or bypassing inserts that are not part of the submix group, and selecting the part of the session you want to bounce. Or, you could solo only the audio you want to bounce.
You can also create a submix by recording to
new tracks. For details, see “Recording to
To bounce a submix to disk and bring it into the session:
1 Configure your submix using sends, Auxiliary
Inputs, and Master Faders. (See “Submixing for
Signal Routing and Effects Processing” on page 466.)
2 Do one of the following:
• To bounce the entire session, click Return to Zero in the Transport window to go to the beginning of the session.
– or –
• To bounce a portion of the session, enable
Operations > Link Edit and Timeline Selection, and make a selection in the Edit window.
3 Choose File > Bounce to Disk.
4 Configure bounce options and settings.
5 Verify the bit resolution for the bounced file matches the bit resolution of the session.
6 Verify the sample rate for the bounced file is supported by the session and the audio interface.
7 If required, verify the file type and format for the bounced file matches the file type and format of the session.
8 Select the Import After Bounce option.
9 Click Bounce.
10 Select a destination for the new audio file, enter a name, and click Save.
Pro Tools bounces are done in real time, so you hear audio playback of your mix during the bounce process. You cannot adjust controls during a Bounce to Disk.
To bring bounced files back into tracks:
1 Do one of the following:
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• If the newly bounced audio was automatically imported into the session, drag the new files from the Audio Regions List to existing tracks in your session.
If you bounced from a selection point, you can snap the file to the bounce point: While pressing the Start key (Windows) or Control
(Macintosh), drag the region from the Audio
Regions List to the destination track.
• If the bounced files are not available in the
Audio Regions List, import them into the session by choosing File > Import Audio to
Track, or drag and drop the bounced files from your DigiBase browser.
• If you are placing multiple files, keep channels time-aligned with each other by Shiftselecting them in the Regions List, and dragging them simultaneously into existing tracks of the right format.
2 When working with stereo tracks, set the pan controls hard left and hard right.
3 Mute or turn off the voices of original source tracks so that you don’t double monitor your audio material.
4 Click Play in the Transport window to hear the results of the bounce.
Final Mixdown
In final mixdown, you create a mix that includes all your edits, automation, and effects processing.
To bounce a final mix to disk:
1 Adjust track output levels, finalize any mix automation, and choose an Automation mode for each track in the session.
2 Adjust any real-time plug-in and effects settings and automation for each track in the session.
3 Make sure that all of the tracks you want to include in the bounce are audible (not muted or inactive).
4 Assign the output of each of the tracks you want to include in your bounce to the same output path.
5 Do one of the following:
• To bounce the entire session, click Return to Zero in the Transport window to go to the beginning of the session.
– or –
• To bounce a portion of the session, enable
Operations > Link Edit and Timeline Selection, and make a selection in the Edit window.
6
Add dither. See “Dither and Bounce to Disk” on page 534.
7 Choose File > Bounce to Disk.
8 Choose the source path you want to bounce.
9 Configure other Bounce to Disk settings as ap-
propriate. See “Bounce Options” on page 537.
10 Click Bounce.
11 Select a destination for the new audio file, enter a name, and click Save.
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Mastering
In the final mastering process, you might record directly to disk, DAT, DVD, CD, stereo mastering recorder, or a multitrack recorder (for surround mixes).
Once you have created a master of your session, you can transfer it to a portable medium for duplication. You can transfer the master file to CD or DAT to be used as a master for pressing compact discs.
Mastering to a Digital Recorder
Although it is usually best to master sessions directly to hard disk, Pro Tools also lets you master digitally, direct to any AES/EBU-equipped or
S/PDIF-equipped digital recorder such as a DAT deck.
24-Bit Input and Output
Pro Tools TDM systems support full 24-bit audio input and output signal paths, with 48-bit internal mixing and processing, providing an additional 16 bits of headroom at the top of a channel’s dynamic range, and 8 bits at the bottom.
You can exchange files with other 24-bit recording systems without any bit-depth conversion
(as long as they are in a compatible file format).
Pro Tools LE systems support 24-bit input and output, and uses 32-bit floating point mixing and processing internally.
Mastering and Audio Compression
Although audio compression is often an indispensable tool in analog recording, it can present problems in the digital domain. If you compress an input signal at a very high ratio, you create a signal that contains a much higher overall power level compared to its transients. By re-
546 Pro Tools Reference Guide cording a number of such signals at the highest possible level on multiple tracks, you create a scenario that is more likely to clip the mixed output signal.
High-power compressed signals, when mixed together, create an extremely high-level output.
This output may rise above the full-code level, resulting in clipping.
To avoid this problem, watch the overall level of your program material—use a meter on a Master
Fader, or use an external mastering deck’s meters to help avoid clipping. If you are mastering to hard disk, avoid mixing full-code audio signals together at unity or “0” level, as this invariably causes clipping.
Mastering and Error-Correcting Media
Random access media (such as hard disks, optical cartridges, Bernoulli cartridges or WORM drives) can produce a true digital copy of your data, because every bit value is maintained. Sequential media (such as DAT tapes) use error correction schemes to fix the occasional bad data that is received in a digital transfer. These corrections are deviations from the actual data, and with successive reproductions, represent a subtle form of generation loss.
You can avoid this loss by creating and maintaining masters on random-access digital media
(such as a hard drive) and transferring them to sequential digital media (such as DAT tapes) only as needed.
To configure Pro Tools for direct digital stereo mastering:
1 Connect your digital recorder to your system’s digital outputs. If your system has multiple digital outputs, use channel 1 and 2 of the audio interface.
2 In Pro Tools, set the appropriate digital format and output from the Hardware Setup dialog or
I/O Setup dialog. (See “Configuring Pro Tools
Hardware Settings” on page 41.)
3 On your digital recorder, choose the appropriate digital format for the connections.
4 In Pro Tools, set all audio tracks you want to your master outputs 1–2 path.
5 Click Return to Zero in the Transport window to go to the beginning of the session.
6 Press Record on your digital recorder.
7 Start playback of your session.
8 When your session has finished playing, stop the digital recorder.
Chapter 29: Mixdown 547
548 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