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Pro Tools Reference Guidexviii

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Reference guide p.1
Legal notices p.2
Documentation feedback p.2
Chapter 1 welcome to pro tool p.3
Part ii system configuration p.3
Part i introduction p.3
Contents p.3
Chapter 4 pro tools system p.3
Chapter 3 keyboard and right click mouse shortcut p.3
Chapter 2 pro tools concept p.3
Chapter 6 i o setu p.4
Chapter 5 system setu p.4
Chapter 8 peripheral p.4
Chapter 7 preference p.4
Part iii sessions tracks p.5
Chapter 9 session p.5
Chapter 11 track p.5
Chapter 10 pro tools main window p.5
Chapter 14 digibas p.6
Chapter 13 the region lis p.6
Chapter 12 grouping track p.6
Chapter 16 file and session management and compatibilit p.7
Chapter 15 importing and exporting session dat p.7
Part iv playback and recording p.8
Chapter 19 audio recordin p.8
Chapter 18 record setu p.8
Chapter 17 playing back track materia p.8
Chapter 20 midi recordin p.9
Part v editing p.9
Chapter 22 editing basic p.9
Chapter 21 punch recording mode p.9
Chapter 26 fades and crossfade p.10
Chapter 25 editing regions and selection p.10
Chapter 24 making selection p.10
Chapter 23 edit modes and tool p.10
Part vi midi p.11
Chapter 29 midi editin p.11
Chapter 28 beat detectiv p.11
Chapter 27 playlist p.11
Part vii arranging p.12
Chapter 33 time tempo meter key and chord p.12
Chapter 32 midi event lis p.12
Chapter 31 score edito p.12
Chapter 30 midi editor p.12
Part viii processing p.13
Chapter 38 elastic audi p.13
Chapter 37 audiosuite processin p.13
Chapter 36 region loops and group p.13
Chapter 35 arranging region p.13
Chapter 34 memory location p.13
Part ix mixing p.14
Chapter 41 plug in and hardware insert p.14
Chapter 40 basic mixin p.14
Chapter 39 event operation p.14
Chapter 43 mixdow p.15
Chapter 42 automatio p.15
Part x surround p.16
Chapter 46 surround panning and mixin p.16
Chapter 45 multichannel tracks and signal routin p.16
Chapter 44 pro tools setup for surroun p.16
Part xi sync and video p.17
Chapter 48 working with video in pro tool p.17
Chapter 47 working with synchronizatio p.17
Part i introduction p.19
Introduction p.19
The pro tools guides p.21
Setup guide p.21
Printed copies of the pro tools reference guide and some guides in the pro tools guide set can be purchased separately from the digistore www digidesign com p.21
Guides accessible in pro tools p.21
Getting started with pro tools guide p.21
Chapter 1 welcome to pro tools p.21
Expanded systems guide p.22
Cross references point to related sections in this guide and other digidesign guides p.22
Conventions used in these guides p.22
Additional plug in guides p.22
Additional digidesign printed guides p.22
User tips are helpful hints for getting the most from your pro tools system p.22
Shortcuts show you useful keyboard or mouse shortcuts p.22
References to pro tools le in this guide are usually interchangeable with pro tools m powered except as noted in the pro tools m powered setup guide p.22
Pro tools m powered p.22
Pro tools hd systems only p.22
Important notices include information that could affect your pro tools session data or the performance of your pro tools system p.22
System requirements and compatibility information p.23
About www digidesign com p.23
Pro tools nonlinear editing p.25
Hard disk audio recording p.25
Chapter 2 pro tools concepts p.25
The digidesign audio engine p.26
Playback engine dialog p.26
For more information see configuring pro tools system settings on page 42 see also system resources on page 19 p.26
For information on configuring the dae playback buffer size see dae playback buffer size on page 48 p.26
Midi terms p.27
Not all devices will have all three midi ports in out and thru p.27
Common midi misconceptions p.28
Synchronization p.29
Surround p.29
Midi in pro tools p.29
For more information on different smpte ebu formats and other concepts related to time code refer to the pro tools sync surround concepts guide p.29
When a session is transferred to a different pro tools system its session file icon changes to the icon type of the destination system p.30
Tracks p.30
Session file p.30
Pro tools sessions p.30
For information on fundamental surround concepts see the pro tools sync surround concepts guide p.30
Media files p.31
Audio files p.31
Video files p.32
Regions p.32
Midi files p.32
The term midi p.33
Playlist p.33
Channel p.33
Also describes a separate aspect of midi operation see midi on page 9 p.33
Signal routing p.34
Signal routing options p.35
Tick based audio and midi p.36
Tick based and sample based time p.36
Sample based audio and midi p.36
Elastic audio p.36
System resources p.37
Side chain inputs support direct active and inactive switching but do not follow switching all or all selected side chain inputs p.37
Midi tracks cannot be made inactive p.37
Active and inactive items p.37
Display of inactive items p.38
Automatic and manual inactive mode p.39
Manual inactive switching p.39
For more information about digibase see digibase on page 223 p.39
Digibase p.39
Automatically inactive items p.39
Track functions p.41
Shortcuts p.41
Right click mouse shortcuts p.41
Global key commands p.41
For a complete list of right click shortcuts see the shortcuts guide p.41
For a complete list of keyboard shortcuts see the shortcuts guide p.41
Chapter 3 keyboard and right click mouse shortcuts p.41
List and parameter selection p.42
Keyboard focus p.42
For a complete list of commands keyboard focus shortcuts see the shortcuts guide p.42
Controls and editing tools p.42
Classic mode p.43
Shuttle lock modes p.43
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.43
Numeric keypad modes p.43
Custom shuttle lock speed p.43
Transport mode p.44
Shuttle mode p.44
Shuttle lock modes are not available when the numeric keypad mode is set to shuttle p.44
Pro tools hd only p.44
System configuration p.45
Part ii system configuration p.45
References to pro tools le in this guide are usually interchangeable with pro tools m powered except as noted in the pro tools m powered setup guide p.47
Pro tools system performance depends on factors such as computer processor speed amount of system memory and hard drive performance contact your digidesign dealer or visit the digidesign website www digidesign com for the latest system requirements and compatibility information p.47
Pro tools hd systems p.47
Optional systems p.47
Chapter 4 pro tools systems p.47
Expanded pro tools hd systems p.48
Supported audio interfaces p.48
Pro tools hd systems require the use of at least one 192 i o 192 digital i o 96 i o or 96i i o p.48
Pro tools hd systems only p.48
Pro tools hd systems p.48
Pro tools hd 3 accel p.48
Pro tools hd 3 p.48
Pro tools hd 2 accel p.48
Pro tools hd 2 p.48
Pro tools hd 1 p.48
Legacy i os such as 888 24 i o require the use of at least one 192 i o 192 digital i o 96 i o or 96i i o p.48
Hd accel and hd process cards can be used in the same system for more information refer to the pro tools hd setup guide p.48
The following table lists the audio playback recording and voiceable track limits of each type of pro tools hd system playback and recording voices refer to the number of unique simultaneous playback and record tracks on your system total voiceable tracks refers to the maximum number of audio tracks that can share the available voices on your system mono tracks take up one voice ste reo and multichannel tracks take up one voice per channel voice limits are dependent on the ses sion sample rate and the number of dsp chips dedicated to the system s playback engine pro tools hd systems can open sessions with up to 256 audio tracks but any audio tracks beyond that system s voiceable track limit will be automatically set to voice off p.49
Pro tools hd systems provide up to 160 auxiliary input tracks and a total of 128 internal mix busses these systems also provide up to 10 inserts and 10 sends per track depending on the dsp capacity of your system pro tools hd systems also support up to 128 instrument tracks 256 midi tracks 128 vca master tracks and multiple video tracks p.49
Pro tools hd system playback recording and voice limits p.49
Legacy i os such as 888 24 i o require the use of at least one 192 i o 192 digital i o 96 i o or 96i i o p.50
Audio interfaces for pro tools hd systems p.50
You can expand your pro tools hd system by adding pro tools hd cards to your computer either di rectly in the computer or using an expansion chassis expanding your pro tools system will provide an increased track count add to the amount of possible plug in and mixer processing and let you connect additional audio interfaces for more information see the expanded systems guide p.50
Table 6 lists the input and output capabilities of the various audio interfaces for pro tools hd sys tems p.50
The total processing capacity of a pro tools le system depends on the pro cessing power of your computer contact your digidesign dealer or visit digidesign s website www digidesign com for the latest system requirements and compatibility information p.51
Processing capacity p.51
Pro tools le systems p.51
Mbox 2 pro p.51
Mbox 2 mini p.51
Mbox 2 micro p.51
Mbox 2 p.51
Digi 002 rack p.51
Digi 002 p.51
Table 7 lists the playback recording and input and output capabilities of each pro tools le system mono tracks of simultaneous playback refers to the number of unique simultaneous playback and record tracks on your system total voiceable tracks refers to the maximum number of audio tracks that can share the available voices on your system mono tracks take up a single audio track while stereo tracks take up two tracks if you open a pro tools session created on a pro tools hd system containing more than the number of tracks supported on the le based system audio tracks beyond the le system s voiceable track limit will be automatically set to inactive p.52
Pro tools le systems provide up to 128 auxiliary input tracks a total of 32 internal mix busses and up to 5 inserts and 10 sends per track depending on your computer s processing capacity in addi tion pro tools le systems support up to 32 instrument tracks and 256 midi tracks pro tools le also supports a single quicktime video track p.52
Pro tools le system capabilities p.52
For details on transferring session material between pro tools hd and pro tools le systems see sharing sessions created on different pro tools systems on page 316 p.52
Complete production toolkit capabilities p.53
Toolkit software options p.53
Pro tools m powered p.53
Pro tools le only p.53
Pro tools features p.53
Additional software p.54
Pro tools le only p.55
Pro tools features p.55
Dv toolkit 2 capabilitites p.55
Additional software p.55
Pro tools le and pro tools m powered only p.56
Pro tools features p.56
Music production toolkit 2 p.56
Checking for software updates p.56
Additional software p.56
Quit mac p.59
Chapter 5 system setup p.59
Starting up or shutting down your system p.59
Hardware buffer size p.60
Configuring pro tools system settings p.60
Checking an hd system with digitest p.60
Rtas processors p.61
System usage window and rtas processing p.62
Rtas engine rtas error suppression p.62
Increasing the cpu usage limit may slow down screen responses on slower computers p.62
Cpu usage limit p.62
Rtas error suppression options p.63
Pro tools hd only p.64
Number of voices p.64
For more information see delay compen sation on page 860 p.65
Delay compensation settings p.65
Delay compensation engine p.65
Default sample rate playback engine dialog p.65
You can change the sample rate when creating a new pro tools session by selecting a different sample rate in the new session dialog p.65
You can also change the default sample rate in the hardware dialog as long as no session is open p.65
To make a copy of a session with a new sample rate use save copy in p.65
The sample rate setting can affect the number of available voices p.65
Pro tools hd only p.65
Using a larger dae playback buffer size leaves less system memory for other tasks the default setting of 1500 msec level 2 is recommended unless you are encountering 9073 disk too slow or fragmented errors p.66
Dae playback buffer size p.66
Cache size p.66
Using a larger cache size leaves less system memory for other tasks the default setting of normal is recommended unless you are encountering 9500 cache too small errors p.67
System memory allocation p.67
Structure plug in only p.67
Pro tools hd only p.67
Plug in streaming buffer size p.67
For information on configuring midi see the setup guide that came with your system p.68
Configuring pro tools hardware settings p.68
Configuring midi setup p.68
Using a larger plug in streaming buffer size leaves less system memory for other tasks the default setting of 250 ms level 2 is recommended unless you are experiencing problems with the reliability of streaming playback from disk p.68
Structure plug in only p.68
Optimizing the plug in streaming buffer size p.68
Your digital input device must be connected and powered on for pro tools to synchro nize to it if your input device is not powered on leave the clock source set to internal p.69
You can change the sample rate when creating a new pro tools session by selecting a different sample rate in the new session dialog p.69
To configure a pro tools le or m powered system refer to the setup guide that came with your system p.69
On pro tools hd the sample rate setting can affect the number of available voices p.69
Configuring digital format and hardware routing p.69
Configuring default sample rate setting in hardware setup dialog p.69
Configuring clock source p.69
Changes made to clock source in the session setup window will be reflected in the hard ware setup window and vice versa p.69
Identify audio interface connections at any time by selecting the interface name in the peripherals list then clicking identify all leds on the corresponding interface front panel illuminate p.70
Example configuring pro tools hd hardware settings p.70
Configuring audio interfaces p.70
For more information on hardware setup controls for each pro tools hd audio inter face refer to the pro tools hd setup guide or the guide for that audio interface p.71
For more information about pro tools hd enclosure and card ports refer to the guide for your audio interface p.71
Refer to your peripheral s guide for configu ration details and restrictions for example the optical 1 8 channels on the 192 i o enclosure will not be available at session sample rates of 88 khz or higher while the ports on the 192 i o digital i o card will still be available p.71
Use the up and down arrow keys to scroll though peripherals in the peripherals list p.72
Offline peripherals p.72
Initializing mix series legacy i os p.72
For information on hardware setup controls for each legacy i o refer to the guide for that interface p.72
Before turning on your legacy i o make sure to lower the volume of your output de vices very loud digital noise may be emit ted before the legacy i o is initialized p.72
Routing a pro tools output pair to multiple destinations p.73
Only currently unassigned output port pairs are available p.73
Configuring i o setup p.73
System usage p.74
Processing bandwidth p.74
Pro tools hd only p.75
Dsp caching p.75
Chapter 6 i o setup p.77
It is especially useful to define and name sub paths for complex mixing setups such as a 5 surround mix p.78
Closing the i o setup dialog p.78
Resizing the i o setup dialog p.78
Pro tools signal paths p.78
Opening the i o setup dialog p.78
Navigating in the i o setup dialog p.78
Main paths and sub paths p.78
You can save and import i o settings files in the i o setup dialog see importing and exporting i o settings files on page 72 p.79
Paths in the i o setup dialog p.79
Paths in session tracks p.79
Path configurations and i o settings p.79
Default i o settings p.79
To ensure optimal compatibility when exchanging sessions between different pro tools systems be sure to use the default i o settings whenever possible p.80
Path type tabs p.80
I o setup dialog tabs and controls p.80
I o setup dialog signal path controls p.80
Default settings files p.80
Default path names p.80
I o setup dialog buttons menus and selectors p.81
Utput path assignments cannot overlap see valid paths and requirements on page 71 for details p.82
Routing hardware i o to pro tools i o p.82
Routing a pro tools output pair to multiple destinations p.82
Creating new paths p.83
Restoring default paths and path names p.84
Multichannel paths and mixing are ex plained in chapter 44 pro tools setup for surround p.84
Editing paths p.84
With pro tools hd systems to optimize dsp resources it is best to create mono sub paths for outputs and busses rather than mono main paths p.85
Setting busses to the default setting will re name all busses to their default name p.85
Resetting mix busses p.85
Renaming paths p.85
Renaming interfaces p.85
Pro tools hd and pro tools le with complete production toolkit only p.85
I o paths can also be renamed directly from the edit or mix window by right clicking the input or output selector and choosing rename p.85
Reordering paths p.86
Selecting paths p.86
Making paths active or inactive p.87
Display of active and inactive paths in i o setup p.87
Deleting paths p.87
To remap channels in a path see remap ping channels on page 70 p.88
Remapping channels p.88
Pro tools hd and pro tools le with complete production toolkit only p.88
Channel mapping and surround mixer p.88
Channel mapping p.88
Working with i o settings files p.89
Valid paths and requirements p.89
Sub paths follow main paths p.89
I o settings files p.89
Channel shuffling p.89
Changing a path s format erases any cur rent channel mapping p.89
Default i o settings at first launch p.90
You can also import i o path and assign ment names as well as other session data from a different session by using the import session data command see import ses sion data dialog on page 291 p.90
To start sessions with a blank or empty i o setup dialog you can create and export an i o settings file in which all definitions have been deleted p.90
Importing i o settings p.90
Importing and exporting i o settings files p.90
Exporting i o settings p.90
Using the stereo mix settings file has the same effect as clicking default for every in dividual tab in i o settings see creating new paths on page 65 for details p.91
Unavailable i o p.91
Surround mix settings file p.91
Stereo mix settings file p.91
Remapping p.91
Pro tools hd and pro tools le with complete production toolkit only p.91
Last used i o settings p.91
Factory i o settings p.91
Custom i o settings p.91
Audio interfaces and session transfer p.91
Opening older sessions saved in direct outputs mode p.92
You can identify audio interface connec tions at any time by selecting the interface name in the peripherals list of the hardware setup dialog then clicking identify all leds on the corresponding interface front panel illuminate p.92
To redefine the paths see editing paths on page 66 p.92
Show last saved setup and show current setup p.92
See making paths active or inactive on page 69 for more information p.92
Using the default audition path p.93
New track default output path p.93
I o setup options p.93
D control d command and procontrol only p.93
Controller meter path p.93
Configuring audition paths p.93
Audition paths p.93
See solo modes on page 189 for more in formation on using afl or pfl solo modes p.94
Pro tools hd and pro tools le with complete production toolkit only p.94
If you do not see the afl pfl path selector confirm that you have installed the sur round mixer in the plug ins used folder for information on switching mixer plug ins see the pro tools hd setup guide p.94
Afl pfl path p.94
Afl pfl mutes output path selector p.94
Tracks do not need to be soloed to have the master afl pfl path level adjusted p.94
To set the afl pfl path level to 0 db con trol start click windows or command control click mac any solo button p.94
Systems without a d control or d command control surface p.94
Setting afl or pfl path levels p.94
Selecting none as the afl pfl path disables afl and pfl solo modes when none is se lected afl and pfl cannot be used p.94
See solo modes on page 189 for more information on selecting and using afl or pfl solo modes p.94
Pro tools hd only p.95
Pro tools hd and pro tools le with complete production toolkit only p.95
Mic preamps p.95
H w insert delay compensation p.95
For more information about multichannel mixing see chapter 44 pro tools setup for surround p.95
Digidesign pre with pro tools hd only p.95
Default path order p.95
Insert delay offsets only have an effect when the i o is used for hardware inserts p.96
Determining your hardware s insert delay p.96
Chapter 7 preferences p.97
Preferences and new sessions p.98
Local current session preferences list p.98
Local current session preferences p.98
Global system wide preferences p.98
Global and local preferences p.98
Tool tips display options p.99
Organize plug in menus by options p.99
Edit window default length p.99
Display preferences p.99
Basics section p.99
Peak hold options p.100
Meters section p.100
Language options windows only p.100
Default track color coding options p.100
Color coding p.100
Clip indication options p.100
Show meters in sends view p.100
Transport section p.101
Press start n windows or control n mac to toggle the timeline insertion play start marker follows playback preference on and off p.101
Operation preferences p.101
Default region color coding options p.101
To customize the highest fast forward shut tle lock speed see custom shuttle lock speed on page 470 p.102
Numeric keypad mode p.102
For more information see custom shuttle lock speed on page 470 p.102
When this option is enabled it overrides us ing the enter key to add memory location markers instead press period and then enter on the numeric keypad to add a mem ory location marker p.103
Video section p.103
Use separate play and stop keys p.103
Quicktime playback priority options p.103
High quality quicktime image p.103
Auto backup section p.103
Avid video ntsc has setup ntsc j p.104
Avid video errors stop playback p.104
Record section p.104
Pro tools hd with avid video engine only p.104
Open ended record allocation p.105
Online options p.105
Regions section p.106
Pro tools hd only p.106
Misc miscellaneous section p.106
Editing preferences p.106
Destructivepunch file length pro tools hd only p.106
Zoom toggle section p.107
Tracks section p.107
To apply a fade in fade out or crossfade to an edit selection using the default fade settings and without opening the fades di alog press control start f windows or command control f mac p.107
Memory locations section p.107
Fades section p.107
Default fade settings p.107
Default eq p.108
Setup section p.108
Mixing preferences p.108
Levels of undo p.108
Default dynamics p.109
Controllers p.109
Automation section p.109
Processing preferences p.111
Pro tools hd only p.111
Coalesce trim automation options p.111
Audiosuite section p.111
After write pass switch to options p.111
Sample rate conversion quality p.112
Import section p.112
Drag and drop from desktop conforms to session tempo p.112
Elastic audio section p.113
Basics section p.113
Tc e time compression expansion section p.113
Midi preferences p.113
If the enable elastic audio on new tracks option is selected you may want to also se lect the new tracks default to tick time base option in the editing preferences page p.113
Pro tools hd only p.114
Pencil tool resolution when drawing controller data p.114
Note display options p.114
Global midi playback offset p.114
Double clicking a midi region opens p.114
Delay for external devices section p.114
Default thru instrument p.114
Synchronization preferences p.115
Midi score editor display p.115
Machine control section p.115
Additional empty bars in the score editor p.115
Remote mode section p.116
Pro tools hd only p.116
Synchronization section p.116
Satellite link section p.117
Pro tools hd only p.117
Synchronization p.119
Mtc reader port p.119
Mtc reader and generator p.119
Mtc generator port p.119
Chapter 8 peripherals p.119
Pitch memory enabled p.120
Ltc output level p.120
Idle mtc enabled p.120
Enable sync peripheral p.120
Digidesign synchronization device p.120
Current firmware version p.120
Bi phase tach wiring p.120
Bi phase tach pulses frame 2 254 p.120
Vitc read lines p.120
Vitc insertion enabled p.120
Vitc generate lines p.120
Pro tools hd only p.120
The extreme horizontal positions are out side the standard safe title area which means they may not be visible on some video monitors p.121
Reset bi phase p.121
Midi out port p.121
Midi machine control master p.121
Machine control p.121
For information about the machinecontrol software option for pro tools see the ma chinecontrol guide p.121
Enable dub window p.121
Enable p.121
10 from bottom vertical position is out side the standard safe title area which means it may not be visible on some video monitors p.121
Midi machine control slave p.122
Machine type p.122
Enable p.122
Pro tools hd with machine control only p.122
Preroll p.122
Pin machine control deck control p.122
Mmc id p.122
Receive from p.123
Pro tools hd with machine control only p.123
Pin remote deck emulation p.123
Number and color p.123
Midi controllers p.123
Machine type p.123
Enable p.123
Chase ltc p.123
Ethernet port p.124
Ethernet controllers p.124
Ethernet controller p.124
Enable p.124
Send to p.124
Pro tools hd only p.124
Number of channels p.124
Number and color p.124
Mic preamps p.124
For information about the digidesign pre see the pre guide p.124
System name p.125
Send to p.125
Satellites p.125
Retain current settings p.125
Receive from p.125
For more information see the guide for your specific satellite option p.125
Defaults p.125
Satellite p.126
Advanced network settings p.126
Administrator p.126
Sessions tracks p.127
Part iii sessions tracks p.127
Quick start session dialog p.129
Press control up arrow or down arrow windows or command up arrow or down arrow mac to select different ses sion quick start options also you can use the up and down arrows to select different items in the recent sessions and session templates lists p.129
Creating a new session from a template p.129
Chapter 9 sessions p.129
Sound designer ii sd ii files are not sup ported on windows systems or at sample rates above 48 khz also sessions that use the sd ii file format do not support elastic audio p.130
For optimum compatibility between win dows and mac set the file type to bwf wav p.130
Creating a new blank session p.130
Showing or hiding the quick start dialog on launch p.131
Opening any session p.131
Opening a recent session p.131
Sound designer ii sd ii files are not sup ported on windows systems or at sample rates above 48 khz also sessions that use the sd ii file format do not support elastic audio p.132
For optimum compatibility between win dows and mac set the file type to bwf wav p.132
Creating a new session p.132
Audio files folder p.133
Session files and folders p.133
Session file p.133
Selecting bit depth and sample rate p.133
Rendered files folder p.133
Region groups folder p.133
For details on allocating audio tracks to different hard drive locations including shared media volumes see recording with multiple hard drives on page 361 p.133
Fade files folder p.133
You can also open a session from a digi base browser by double clicking it p.134
Wavecache file p.134
Session file backups folder p.134
Renamed audio files folder p.134
Opening a session that contains unavailable files p.134
Opening a session p.134
For more information see renamed audio files and the renamed audio files folder on page 311 p.134
For more information on opening sessions created on different platforms pro tools systems or versions of pro tools software see chapter 16 file and session manage ment and compatibility p.134
Opening a session from a transfer volume p.135
With pro tools le only p.135
With pro tools hd only p.135
With all pro tools systems p.135
Opening a session with audio file names that contain illegal characters p.135
Opening a session that contains unavailable resources p.135
Press control shift o windows or command shift o mac to open the most recent session p.136
Opening session with plug ins deactivated p.136
Opening recent sessions p.136
Opening a session that was saved with 6 db fader gain p.136
Saving the session file with a new name p.137
Saving the session file p.137
Saving a session p.137
Revert to saved command p.137
If you have enabled the operation prefer ence for auto backup you can also open up a backup copy of your session this feature lets you specify the total number of incre mental backups that are kept and how often the session is saved see auto backup sec tion on page 85 p.137
For more information about using dither see dither on page 866 p.138
For information on sharing sessions between different platforms pro tools systems or pro tools software versions see chapter 16 file and session management and compat ibility p.138
To include all audio with the session copy all audio files must be selected in the items to copy section p.138
Saving a copy of the session p.138
When saving sessions to versions lower than pro tools 5 multichannel tracks including stereo and multi mono plug ins are lost in this case separate the tracks and plug ins to individual mono tracks before saving as a pro tools 5 session or lower p.139
Using mixed file types p.139
To include audio with the session copy all audio files must be selected p.139
Session parameters p.139
Session format p.139
Sd ii sessions are not supported with pro tools on windows or with sample rates higher than 48 khz also sd ii sessions do not support elastic audio for optimal compatibility convert sd ii sessions to bwf wav p.139
Sample rate p.139
For information on bouncing to disk and dither see dithering on page 960 p.139
Bit depth p.139
Audio file type p.139
Enforce mac pc compatibility p.140
Don t copy fade files p.140
All non native audio files p.140
All audio files p.140
Limit character set p.140
Items to copy p.140
For more information see saving copies of mac sessions to be compatible with win dows on page 314 p.140
Fader gain p.140
With a piano pre set a mono audio track for tracking vo cals a stereo auxiliary input track for an effects bus and a stereo master fader track you can then use this template every time you sit down to work on a new song p.141
Session templates p.141
Session plug in settings folder p.141
Root plug in settings folder p.141
Movie video files p.141
For example if you are a songwriter you might simply want a session consisting of a stereo instrument track with an instrument plug in such as xpand p.141
Don t copy elastic audio rendered files p.141
Creating and saving custom templates p.141
When the include media option is enabled all media in the session is included in the template if you want to include media in your session template be sure that your ses sion only contains the media you want p.142
Save session template dialog p.142
Install template in system p.142
Category p.142
Select location for template p.143
Include media p.143
For information on creating new sessions from templates using the quick start dialog see creating a new session from a tem plate on page 111 p.143
Exiting or quitting pro tools p.143
Creating new sessions from templates p.143
Closing a session p.143
To toggle between the mix and edit win dows press control equals windows or press command equals mac p.145
Chapter 10 pro tools main windows p.145
Mix window p.146
For information on selecting individual view options see views in the mix and edit win dows on page 836 p.146
Edit window p.146
Figure 4 pro tools mix window p.147
Chapter 10 pro tools main windows 129 p.147
Pro tools reference guide 130 p.148
Figure 5 pro tools edit window p.148
Counters and edit selection indicators p.149
Edit window toolbar p.149
Edit tools p.149
Edit toolbar controls and displays p.149
Edit modes p.149
Showing and hiding additional controls in the edit window p.150
Grid and nudge p.150
Vertical and horizontal zoom in and out buttons p.151
Rearranging controls and displays p.151
Edit window zoom buttons p.151
Transport window p.152
In the edit window midi vertical zoom only affects tracks not in regions view p.152
Edit window default length p.152
Audio and midi zoom in and out buttons p.152
Go to end locates to the end of the session p.153
Fast forward fast forwards from the timeline in sertion point you can also click repeatedly to fast forward incrementally by an amount based on the main time scale p.153
Basic transport controls and counters p.153
You can right click the return to zero but ton to access the write to start and write to all automation commands p.153
You can right click the go to end button to access automation commands write to end and write to all p.153
You can press control enter windows or option return mac on the alphanumeric keyboard to locate to the end of the session p.153
You can also stop the transport by pressing the spacebar or with the numeric keypad mode set to transport pressing 0 p.153
With the numeric keypad mode set to transport you can rewind by pressing 1 p.153
With numeric keypad mode set to trans port you can fast forward by pressing 2 p.153
Stop stops playback or recording p.153
Rewind rewinds from the current play location you can also click repeatedly to rewind incre mentally by an amount based on the main time scale as follows p.153
Return to zero locates to the beginning of the session p.153
Press enter windows or return mac to return to zero p.153
Online puts pro tools online so that playback and recording is triggered by an external time code source p.153
You can also begin recording immediately by pressing f12 pressing control spacebar windows or command spacebar mac or with the numeric keypad mode set to transport pressing 3 p.154
You can also begin playback by pressing the spacebar or with the numeric keypad mode set to transport pressing 0 p.154
To initiate recording at half speed you can press control shift spacebar windows or command shift spacebar mac p.154
To initiate playback at half speed you can also press shift spacebar windows or mac or shift click mac the play button p.154
For more information on loop playback and dynamic transport mode see loop play back mode on page 338 p.154
When the timeline and edit selections are linked you can make an edit selection in a track s playlist to set the play and record range see linking or unlinking timeline and edit selections on page 473 p.155
Midi controls p.155
You can press f11 to turn on wait for note unless the midi preference for disable f11 for wait for note is enabled p.156
With the numeric keypad mode set to transport press 9 to enable midi merge p.156
With the numeric keypad mode set to transport press 8 to enable the count off p.156
With the numeric keypad mode set to transport press 7 to enable the metronome click p.156
On mac the desktop keyboard shortcut uses the same key command that pro tools uses for wait for note f11 to use f11 for wait for note in pro tools be sure to disable the desktop keyboard shortcut in the apple system preferences p.156
Midi editor windows p.156
To send all digibase browsers to the back press alt shift j windows or option shift j mac p.157
To open the workspace browser press alt windows or option mac p.157
To bring all digibase browsers to the front press alt j windows or option j mac p.157
Score editor window p.157
Midi editor in the edit window p.157
For more information see chapter 31 score editor p.157
For more information see chapter 30 midi editors p.157
Digibase browsers p.157
Workspace browser p.159
Volume browsers p.159
Project browser p.159
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.159
For more information about the workspace browser see workspace browser on page 260 p.159
For detailed information about the project browser see project browser on page 263 p.159
For detailed information about catalogs see digibase pro catalogs on page 265 p.159
Digibase pro catalogs p.159
Window configurations p.160
The location and size of the window con figuration list is not stored with window configurations p.160
Task window p.160
Relink window p.160
Managing windows p.160
For detailed information about the task window see task window on page 270 p.160
For detailed information about the relink window see relink window on page 256 p.160
Create a session template with your favorite window configurations you can then use the template when you start a new session or you can use import session data to import window configurations into your current session p.160
Window configuration properties p.161
Window configuration list p.161
Press control alt j windows or com mand option j mac to show or hide the window configuration list p.161
Window configuration commands and options p.162
View filter icons p.162
Window configuration list pop up menu p.163
Active window configuration p.163
Recalling window configurations p.164
If a window configuration already exists at that numbered slot the new window configuration overwrites it p.164
Creating new window configurations p.164
Updating window configurations p.165
Undoing window configurations p.165
Editing window configurations p.165
Deleting window configurations p.166
Clearing window configurations p.166
Arranging windows p.166
Importing window configurations p.166
Pro tools main menus p.167
Press control w windows or command w mac to close the frontmost window p.167
Press control alt start w windows or command option control w mac to hide or show all floating windows p.167
Hiding all floating windows p.167
For detailed information on pro tools main menus and region list menus see the pro tools menus guide p.167
Closing windows p.167
Track region and group list menus p.168
Track name and region name right click menus p.168
Group name and track group id indicator pop up menus p.168
For more information see track name right click menu on page 178 p.168
For more information see the track list on page 175 p.168
For more information see the group list on page 199 p.168
For more information see group name and track group id indicator pop up menus on page 200 p.168
For more information see chapter 13 the region list p.168
To turn off tool tips leave both options deselected t p.169
Tool tips p.169
Vca master tracks pro tools hd only p.171
Track types p.171
Master fader tracks p.171
Chapter 11 tracks p.171
Auxiliary input tracks p.171
Audio tracks p.171
Audio auxiliary input master fader and vca master tracks p.171
Stereo tracks p.172
Pro tools hd and pro tools le with complete production toolkit only p.172
Multichannel tracks p.172
Mono tracks p.172
Midi tracks p.172
Instrument tracks p.172
For more information see vca master tracks on page 832 p.172
For more information see chapter 48 working with video in pro tools p.172
Video tracks p.172
Track formats p.172
Track channel strips p.173
Mix window p.173
Each auxiliary input track has its own set of channel strip controls including volume pan automation mode solo and mute auxiliary in put tracks also have a comments view to type and display comments p.173
Each audio track has its own set of channel strip controls including volume pan record enable input monitoring pro tools hd only automa tion mode solo mute and voice assignment audio tracks also have a comments view to type and display comments p.173
Auxiliary input track channel strips p.173
Audio track channel strips p.173
Vca master track channel strips p.174
Pro tools hd only p.174
Master fader track channel strips p.174
For more information see vca master tracks on page 832 p.174
Each vca master track has its own set of chan nel strip controls including volume record en able input monitoring automation mode solo and mute vca master tracks also have a com ments view to type and display comments p.174
Each master fader track has its own set of chan nel strip controls including volume and auto mation mode master fader tracks also have a comments view to type and display comments p.174
Each instrument track has its own set of channel strip controls including audio like an auxiliary input track volume pan automation mode solo and mute and midi like a midi track record enable instrument tracks have an addi tional instruments view that provides controls for midi input output mute volume and pan like on a midi track instrument tracks also have a comments view to type and display com ments p.175
Chapter 11 tracks 157 p.175
Stereo instrument track channel strip instruments view shown p.175
Midi track channel strips p.175
Midi channel strip p.175
Instrument track channel strips p.175
Each midi track has its own set of channel strip controls including midi volume pan record enable automation mode solo mute patch as signment and channel assignment midi tracks also have a comments view to type and display comments p.175
Track controls and indicators p.176
Master fader track controls p.176
Edit window p.176
Each master fader track has its own set of track controls including track name track view track height timebase and automation mode p.176
Each auxiliary input track has its own set of track controls including track name solo mute track view track height timebase and automation mode p.176
Each audio track has its own set of track con trols including track name playlist record en able input monitoring pro tools hd only solo mute track view track height timebase elastic audio voice assignment and automa tion mode p.176
Auxiliary input track controls p.176
Audio track controls p.176
Each vca master track has its own set of track controls including track name playlist record enable input monitoring solo mute track view track height timebase and automation mode p.177
Each midi track has its own set of track controls including track name playlist record enable solo mute track view track height patch timebase and automation mode p.177
Chapter 11 tracks 159 p.177
Vca master track controls p.177
Pro tools hd only p.177
Midi track controls p.177
Edit window track controls for a vca master track medium track height p.177
Edit window track controls for a midi track medium track height p.177
Video track controls p.178
Pro tools hd only p.178
Mic preamps view p.178
Instrument track controls p.178
Edit window views p.178
Comments view p.178
For more information see configuring sends view in the mix and edit windows on page 844 p.179
For more information see assigning midi input and output for instrument tracks on page 188 p.179
For more information on inserts see chapter 41 plug in and hardware in serts p.179
For details on input and output selectors see assigning audio inputs and outputs to tracks on page 179 p.179
Channel strips in the mix window always display input and output selectors as well as volume and pan values so there is no i o view display option for the mix window p.179
Volume peak channel delay indicator p.179
Sends view sends a e and sends f j p.179
Instruments view p.179
Inserts view inserts a e and inserts f j p.179
I o view p.179
Volume fader p.180
Track color p.180
Send pan controls can be linked to the main pan controls of a track by enabling the follow main pan button in send window p.180
Real time properties p.180
Pan slider p.180
Pan indicator p.180
Midi volume fader p.180
Greater than stereo multichannel tracks do not provide a pan indicator in i o view you can view and adjust multichannel panning in the track s output window or in the mix window p.180
Peak hold p.181
Clip indicators appear in plug in send and track windows p.181
Clip indication p.181
Track level meter p.181
Pre and post fader metering p.181
You can toggle track width by pressing con trol alt m windows or command op tion m mac p.182
You can also add tracks to your session by importing them from preexisting sessions see importing session data on page 289 p.182
Wide meters view p.182
Mix window p.182
Creating tracks p.182
Adjusting track width p.182
To remove the last track from the new tracks dialog control minus win dows or command minus mac p.183
To auto scroll the track type pop up menu in the new tracks dialog press control windows or command mac and use the up down arrow keys p.183
To auto scroll the track timebase pop up menu press control alt windows or command option mac and use the up down arrow keys p.183
To auto scroll the track format pop up menu press control windows or command mac and use the left right arrow keys p.183
Press control shift n windows or command shift n mac to open the new tracks dialog p.183
If you are creating various multiple new tracks you can move to the next or previous row s number of new tracks field by press ing tab or shift tab p.183
Add a new track by pressing control n windows or command n mac or by pressing control plus windows or command plus mac on the numeric keypad p.183
Adding comments to tracks p.184
Track numbering p.184
To move to the previous or next track in the track name comments dialog you can press control windows or command mac and use the up down or left right arrows p.184
To enter a carriage return in the comments area press shift enter windows or shift return mac on the alphanumeric keyboard p.184
Naming tracks p.184
Default track names p.184
Selecting tracks when making edit selections p.185
Selecting tracks p.185
Scrolling a track into view p.185
Press control alt f windows or com mand option f mac to open the scroll to track dialog p.185
To select multiple tracks control click windows or command click mac additional track name p.186
To select a range of tracks shift click additional track name p.186
The delete track command cannot be undone p.186
For information see selecting tracks on page 167 p.186
Duplicating tracks p.186
Deleting tracks p.186
Duplicating vca slave tracks p.187
Track views p.187
Pro tools hd only p.187
Waveform view p.188
Playlists tracks view p.188
Blocks tracks view p.188
Audio tracks only p.188
Audio only p.188
Analysis and warp tracks view p.188
You can also edit automation and controller data in lanes below the track s main play list view see automation and controller lanes on page 911 p.189
Regions view p.189
Notes view p.189
Midi only p.189
For details on inserting and editing control ler data for midi tracks see continuous controller events on page 592 p.189
For details on editing automation data for audio tracks see chapter 42 automa tion p.189
Automation and controller views p.189
Changing to previous or next track view p.190
Track views at the beginning of the list such as blocks for audio or midi tracks cannot be changed to the previous track view tracks views at the end of the list such as a midi controllers option cannot be changed to the next track view p.190
Changing track views p.190
Track height p.191
Toggling common track views p.191
To toggle track views for all tracks with command focus enabled press alt minus windows or option minus mac on the alphanumeric keyboard p.191
To toggle track views for all tracks press alt start minus windows or option control minus mac on the alphanumeric keyboard p.191
Master views for tracks p.191
To continuously resize all tracks alt click windows or option click mac and drag p.192
To continuously resize all selected tracks alt shift click windows or option shift click mac and drag p.192
Press start up down arrow key win dows or control up down arrow key mac to increase decrease track height of any track that contains a selection or in which the edit cursor is currently placed p.192
Press and hold control windows or command mac while adjusting track height for continuous non incremental adjustments p.192
Continuously variable track height p.192
Track controls and track height p.193
The track list can also be used to create new tracks when importing media from digibase see importing files with drag and drop on page 280 p.193
The track list p.193
Show hide track list and group list p.193
With pro tools hd even if a track is hidden from view its position relative to other tracks still affects its voiceable track playback priority see voice borrowing on page 186 for details p.194
Track list menu p.194
Showing and hiding tracks p.194
You can also show all tracks by alt clicking windows or option clicking mac the show hide icon of any track that is hidden p.195
You can also select a range of tracks by moving the cursor to the left of the track names so the marquee appears and drag ging around the track names you want to se lect p.195
You can also hide all tracks by alt clicking windows or option clicking mac the show hide icon of any track that is shown p.195
To reorder tracks on screen drag the track names to new positions within the track list or in the mix or edit window p.195
Track name right click menu p.196
Pro tools hd only p.196
Mix window edit window midi editor windows or track list p.196
About track numbering and hidden tracks p.196
About mix edit groups and hidden tracks p.196
About clipping and the track list p.196
Automatic input and output assignments p.197
Assigning audio inputs and outputs to tracks p.197
Assigning audio inputs p.198
Instrument tracks route their input auto matically to the audio output from any in strument plug in inserted on the track p.198
Control alt click windows or command option click mac the input path selector of the left most track and select the first in put path mono or stereo depending on whether your tracks are mono or stereo all visible tracks of the same channel width mono or stereo will be auto assigned to unique input path assignments in ascend ing order for example track 1 to a1 track 2 to a2 track 3 to a3 and so on p.198
Audio auxiliary input master fader and instrument tracks p.198
Audio auxiliary input and instrument tracks p.198
Assigning audio outputs p.198
Renaming track inputs and outputs from the edit or mix window p.199
Making track inputs and outputs inactive from the edit or mix window p.199
Control alt click windows or command option click mac the output path selector of the left most track and select the first output path mono or stereo all visible tracks are automatically assigned to unique output path assignments in ascending or der for example track 1 to a1 2 track 2 to a3 4 track 3 to a5 6 and so on p.199
Assigning an audio track auxiliary input master fader or instrument track to no output will cause its automation data for pan and plug in controls to be lost p.199
You can also make a path globally inactive or active in the i o setup dialog see making paths active or inactive on page 69 p.200
Track priority and voice assignment p.200
Toggling multiple paths p.200
Of the output path assignments for that send a j are toggled active or inactive p.200
If a send a j has multiple output path assignments and one of those is toggled ac tive or inactive then p.200
Freeing up voices on a track p.201
Changing a track s playback priority p.201
Track priority p.201
Voice usage and total latency for rtas plug ins on page 87 p.202
Setting voice assignment p.202
Quickpunch track punch and destructivepunch require addi tional voices for more information see chapter 21 punch recording modes p.202
Pro tools le supports dynamically allocated voicing only it does not support explicit voice assignments p.202
Voice assignment with toolkit options p.203
Tracks do not play back when they are in active or their voice assignment is set to off p.203
Track priority and dynamic voicing p.203
Pro tools le with dv toolkit 2 or music production toolkit 2 p.203
Pro tools le with complete production toolkit p.203
Pro tools hd only p.203
Automatic assignment of ascending voices p.203
To select a range of tracks shift click additional track name p.204
Pro tools hd only p.204
For information on naming and configuring the midi ports in your system your setup guide for windows see appendix c configuring midi studio setup for mac see appendix d configuring ams p.204
Assigning midi inputs and outputs to tracks p.204
Voice borrowing p.204
To select multiple tracks control click windows or command click mac additional track name p.204
Midi tracks in pro tools cannot contain multiple channels of midi data p.205
I o to access any track s output selector p.205
I o to access any track s input selector p.205
For information on assigning midi output to instrument tracks see assigning midi input and output for instrument tracks on page 188 p.205
For information on assigning midi input to instrument tracks see assigning midi in put and output for instrument tracks on page 188 p.205
Assigning midi track output p.205
Assigning midi track input p.205
Instrument track midi output p.206
Instrument track midi input p.206
In addition to assigning midi input and output for recording and playing back midi data instrument tracks can also be used to monitor the audio from your hardware midi instruments and instrument plug ins see signal routing for monitoring and sub mixing on page 853 p.206
For information on recording and importing midi data see chapter 20 midi recording p.206
Assigning midi input and output for instrument tracks p.206
Solo button p.207
Pro tools hd only p.207
Soloing and muting tracks p.207
Solo modes p.207
Using afl pfl on pro tools systems without d control or d command p.208
Using afl pfl on pro tools systems with a d control or d command p.208
The solo mode for all soloed tracks can be changed on the fly from any solo mode to either sip or afl previously soloed tracks will switch their solo behavior to the new mode p.208
Switching the solo mode for all soloed tracks on the fly to pfl clears all previ ously soloed tracks before entering pfl mode this prevents potentially large boosts in level p.208
Solo latch options p.208
If mutes frees assigned voice is enabled muted tracks will not be audible in pfl mode p.208
For more information on using xmon and afl pfl see your control surface guide p.208
Dsp usage when using afl or pfl mode p.208
Afl and pfl solo modes require the surround mixer plug in p.208
Solo safe mode p.209
Pro tools hd only p.209
Mute button p.209
As long as at least one solo button is held down all the solos will remain latched p.209
Afl or pfl soloed tracks pro tools hd only cannot be solo safed p.209
To override x or mode and solo more than one track at a time press and hold the solo button on the first track subsequently pressed solo buttons will latch p.209
Temporarily latching solos in momentary solo mode p.209
To select multiple tracks control click windows or command click mac addi tional track name p.210
To select a range of tracks shift click the track names bounding the range of tracks you want selecte p.210
Pro tools hd only p.210
Muting a track with mute frees assigned voice enabled does not free up the voice for quickpunch trackpunch or destructive punch recording p.210
Mute frees assigned voice p.210
Midi tracks cannot be made inactive p.210
Midi mute p.210
Making tracks inactive p.210
Larger dae playback buffer sizes can also increase the time between clicking the mute button and the onset of muting see dae playback buffer size on page 48 p.210
Midi note color shows velocity p.211
Display page preferences for color coding p.211
Color coding for tracks regions markers and groups p.211
Color bars p.211
Always display marker colors p.211
Enabling any default region color coding option other than region list color will override region list color and reassign the parent track color to copies of the region placed in tracks copies of the region in the region list will retain their unique color p.212
Default track color coding p.212
Default region color coding p.212
Using the hold button p.213
If selecting a marker does not display the marker option in the apply to selected pop up menu then the always display marker colors option in the display prefer ences page is deselected see always dis play marker colors on page 193 for more information p.213
Color palette p.213
Applying track color coding to channel strips p.214
Mix groups in pro tools hd p.215
Mix groups edit groups and mix edit groups p.215
Grouping tracks p.215
Edit groups p.215
Chapter 12 grouping tracks p.215
Linking mix and edit groupings p.216
In pro tools hd when the main pan attribute is enabled for groups grouped behavior applies to the link front inverse rear inverse and front rear inverse controls in stereo and multichannel panner windows p.216
Grouping limitations p.216
For information on assigning groups to vca masters see assigning groups to vca masters on page 834 p.216
Selectable group attributes p.216
Pro tools hd only p.216
Mix groups in pro tools le p.216
Mix groups and vca masters p.216
The group list p.217
Show hide track list group list view button p.217
Group symbols p.217
Group id p.217
Group controls p.217
Group name and track group id indicator pop up menus p.218
Group list menu p.218
Group dialog in pro tools le p.219
Group dialog in pro tools hd p.219
Group dialog p.219
Creating groups in pro tools hd p.219
Creating groups p.219
Working with groups p.219
In either list shift click to select a range of track names control click windows or command click mac to select discontigu ous track names p.220
In either list shift click to select a range of track names control click windows or command click mac to select discontigu ous track names p.221
Creating groups in pro tools le p.221
Modifying groups p.222
The all group cannot be deleted p.223
Setting group attributes p.223
Pro tools hd only p.223
Duplicating groups p.223
Deleting groups p.223
Deleting a group cannot be undone p.223
For information on selecting attributes see selecting group attributes on page 207 p.224
To save the current attribute settings directly to a preset location control click windows or command click mac the preset button p.225
Selecting group attributes p.225
Saving group attribute presets p.225
Enabling groups p.226
Keyboard selection of groups p.226
You can also temporarily suspend group behavior for a track by start clicking windows or control clicking mac a group function p.227
Temporarily isolating control of an item from group operation p.227
Setting group pan controls to ignore offsets p.227
Grouped control offsets p.227
Use the region list as a bin for storing your favorite audio loops and midi clips save the session as a template and the regions are available for future sessions see session templates on page 123 p.229
Region list menu p.229
Chapter 13 the region list p.229
Hiding auto created regions can be useful when importing region groups or rex files as region groups because these file types can contain so many separate regions that it becomes difficult to read the region list p.230
Displaying regions in the region list p.230
Displaying file info for audio regions p.230
When editing the region list can become cluttered with auto created regions you can hide auto created regions by choosing show in the region list menu and deselecting auto created p.231
Sorting regions p.231
Sorting and searching in the region list p.231
Sort by options p.231
Finding regions p.232
Text entered into the find dialog is saved in a find history letting you quickly repeat previous searches with a minimum of retyp ing p.232
To select multiple noncontiguous regions in the region list press and hold control windows or command mac when mak ing subsequent selections p.234
Selecting regions in the region list p.234
Keyboard selection of regions p.234
The preview volume control in the import audio dialog also affects the preview volume when auditioning regions in the region list p.235
Select options p.235
Previewing regions in the region list p.235
Stereo and multichannel regions in the region list p.236
Auditioning discrete signals in multichannel items p.236
Audition to all outputs p.236
Audition in place p.236
Rules for stereo and multichannel regions p.237
Renaming regions p.237
Naming and displaying regions in the region list p.237
If the region list selection follows edit se lection option in the editing preferences page is enabled you can highlight a region in the region list by selecting it in a track p.237
Auto naming options p.238
Managing regions in the region list p.238
Hiding auto created regions p.238
Use this power delete mode with caution deletion of these files cannot be undone p.239
The clear command cannot be undone p.239
Removing unwanted regions p.239
Region name right click commands p.240
For information on dragging and dropping files from digibase browsers to your pro tools session see importing files with drag and drop on page 280 p.241
Digibase elements p.241
Chapter 14 digibase p.241
Digibase browsers p.242
Workspace browser p.243
Volume browsers p.243
Project browser p.243
For detailed information about the work space browser see workspace browser on page 260 p.243
For detailed information about the project browser see project browser on page 263 p.243
Digibase pro catalogs p.244
Task window p.244
Relink window p.244
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.244
Performance and transfer volumes p.244
For more information on volume designa tions see audio and video volume desig nators on page 261 p.244
For detailed information about the task window see task window on page 270 p.244
For detailed information about the relink window see relink window on page 256 p.244
For detailed information about catalogs see digibase pro catalogs on page 265 p.244
Shared network volume databases p.245
Read write volume databases hard drives p.245
Read only volume databases p.245
If you delete the digidesign database folder all existing database information for that volume is lost to recreate a deleted digidesign database folder re index the volume see indexing digibase data bases on page 232 p.245
Digidesign databases p.245
Cd dvd roms and write protected volumes p.245
Digibase pro only p.246
Browser windows and tools p.246
Sharing database files p.246
Sharing catalogs p.246
Opening browsers p.247
Working with items in browsers p.248
Viewing the contents of a volume folder or catalog p.248
To send all browsers to the background press alt shift j windows or option shift j mac p.248
To move up one browser level press con trol up arrow key windows or com mand up arrow key mac p.248
To bring all browsers to the foreground press alt j windows or option j mac p.248
Opening sessions p.248
Opening aaf and omf sequences p.248
Moving browsers to the foreground or background p.248
Digitranslator 2 only p.248
Closing browsers p.248
Because the task window is a utility and not a browser it remains open p.248
For more information on importing aaf and omf sequences see the digitranslator guide p.249
Creating and opening folders p.249
With the browser in the foreground and the folder selected press control down arrow key windows or command down arrow key mac to open a folder in the current browser p.249
With the browser in the foreground and the folder selected press control alt down arrow key windows or command op tion down arrow key mac to open a folder in its own new browser p.249
Text entry in browsers p.249
Scrolling and moving selections p.249
Manual indexing p.250
Indexing while browsing p.250
Indexing digibase databases p.250
For details on column editing see column data on page 237 p.250
The browser menu p.251
Last indexed date display p.251
For more information see waveforms on page 246 p.251
For more information see elastic audio analysis on page 247 p.251
Changes that are made with windows ex plorer or the mac finder such as copying or moving files are not tracked by pro tools and are only indexed if the necessary folder is browsed or if a manual index is per formed p.251
Automatic updating for pro tools actions p.251
While pro tools is running always use the unmount command in the workspace browser menu to unmount the volume or quit pro tools and then unmount the vol ume p.252
When a browser is front most control p windows or command p mac starts and stops preview also the esc key stops preview p.252
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.253
Moving columns between panes p.253
For more information see conforming preview to the session tempo on page 251 p.253
For more information on comments see comments fields on page 239 p.253
Browser panes and display p.253
Arranging and resizing columns p.253
Additional digibase pro commands p.253
View presets p.254
Sorting columns p.254
Showing and hiding columns p.254
About view preset 1 p.254
For more information see audio and video volume designators on page 261 p.255
Column data p.255
Video files originally recorded in pro tools with avoption xl do not display a tape name p.256
File comments p.257
Comments fields p.257
You can also type the first letter or the first few letters of the item you want to select in the browser for example if you have a folder full of drum loops and the one you are looking for is named ska loop just type the letters s and k on your computer keyboard and the first item that starts with sk will be highlighted in the list p.258
Selecting items p.258
Moving copying duplicating and deleting items p.258
Database comments p.258
Catalogs and project browsers only p.258
Adding and editing comments p.258
You can drag items directly into the time line or region list of the current session see importing files with drag and drop on page 280 p.259
To skip the warning dialog hold down the option key while pressing delete or while choosing delete selected p.259
To duplicate selected items in the browser press control d windows or command d mac p.259
Moving items p.259
Duplicating items p.259
Digibase pro only p.259
Deleting items and folders p.259
Deleting catalog items p.259
Copying items p.259
Additional search features for digibase pro only p.260
Searching items p.260
Search features for all systems p.260
Deleting folders in catalogs p.260
You can also start a search by pressing con trol f windows or command f mac p.261
Starting a search p.261
Field formats and searching p.261
Entering data for searches p.261
Wildcard characters and p.262
Search modifiers p.262
Or searches p.262
And searches p.262
Toggling search mode affects all digibase browsers p.263
Search modes p.263
Quotations marks for text strings p.263
Each pass is completed before the next pass begins p.263
About the searching process p.263
Waveforms p.264
Wavecache p.264
Summed waveforms for multichannel files p.264
Saving search results as a catalog p.264
Digibase pro only p.264
Calculating waveforms for display p.264
On mac if you do not see the elastic audio analysis icon or the duration does not change to tick based during the preview pro cess check the permissions for the folder in the mac finder you must have write access of the directory for this feature to work p.265
For more information on elastic audio see chapter 38 elastic audio p.265
Even though mp3 and sd2 file formats are not directly supported by elastic audio you can import them into a wav or aiff based session and then use the converted files on elastic audio enabled tracks file formats that do not match the session are converted automatically on import p.265
Elastic audio analysis p.265
Some pro tools operations can cause tem porary interruptions in digibase audition ing p.266
Previewing audio in digibase p.266
Multi mono files p.266
Midi files can be previewed from the ses sion region list but not from digibase browsers see previewing regions in the re gion list on page 217 p.266
Interleaved files p.266
File timebase and elastic audio analysis icons p.266
Split stereo files preview together p.266
Volume p.267
Preview controls and indicators p.267
Preview button p.267
If the auto preview option is enabled pre viewing starts as soon as the file is selected in a browser p.267
Preview modes p.268
Normal preview p.268
Meters p.268
For more information see conforming preview to the session tempo on page 251 p.268
For information on elastic audio plug ins see elastic audio plug ins on page 774 p.268
Elastic audio plug in selector p.268
Audio files conform to session tempo button p.268
Loop preview p.269
Control click windows or command click mac the preview button to toggle auto preview mode on and off p.269
Conforming preview to the session tempo p.269
Auto preview p.269
Start click windows or control click mac the preview button to toggle loop preview mode on and off p.269
The dae playback buffer setting in the playback engine dialog affects the amount of time it takes before preview starts pre view takes longer to start with higher set tings which are necessary for sessions with a lot of tracks and edits use lower settings for more responsive preview start times for more information see dae playback buffer size on page 48 p.270
Reserve voices for preview in context p.270
Pro tools hd only p.270
Preview in context p.270
Deselect the spacebar toggles file preview option in the browser menu to be able to start and stop session playback with the spacebar without starting and stopping au ditioning in the browser use control p windows or command p mac to start and stop preview in the front most browser during session playback p.270
Transfer files p.271
Opening a session with transfer files p.271
Linking and relinking files p.271
Forcing a relink p.271
Digibase pro catalogs have unique linking characteristics see relinking and aliases in catalogs on page 260 p.271
Choosing when to relink p.271
Transfer files in an open session p.272
Opening a session with missing files p.272
Missing files p.272
Copy and relink p.272
Skip all p.273
Manually find and relink p.273
Links once committed cannot be undone once the session is saved the only way to revert to previous links is to close the session without saving changes p.273
Even if all of the missing files are later found and relinked the failed task remains in the task window like all failed tasks it must be manually selected and deleted see about failed tasks on page 272 p.273
Automatically find and relink p.273
Relink window p.274
Regenerate missing rendered files without searching p.274
Regenerate missing fades without searching p.274
Missing files in an open session p.274
Selecting areas to search p.275
Opening the relink window p.275
Single and multi file relinking p.276
Relinking multiple missing files p.276
Relinking individual missing files p.276
Quicktime video clips can only be relinked to a session by file name and file format quicktime p.276
Omf video clips can only be relinked to a session if they have matching unique ids p.276
To control matching and linking criteria when relinking an individual missing file use the find links button find links is ex plained in relinking multiple missing files on page 258 p.276
Force relinking files p.277
Workspace browser p.278
The automatically find and relink option is the only relinking process that does not ask you to verify links before they are com mitted if you use this option and are unsat isfied with the results close the session without saving to prevent the new links from being committed p.278
Relinking and aliases in catalogs p.278
Press alt windows or option mac to open the workspace browser p.278
Opening the workspace browser p.278
Committing links p.278
If you have a pro tools system with multi ple drives and you intend to record multiple tracks simultaneously you may want to designate the system drive as a playback only or transfer only drive for optimal per formance p.279
Audio and video volume designators p.279
Searching in the workspace browser p.280
Mounting and unmounting volumes p.280
For complete instructions on creating and working with catalogs see digibase pro catalogs on page 265 p.280
Digibase pro only p.280
Catalogs in the workspace browser p.280
Always use the unmount command in the workspace browser menu to unmount vol umes or quit pro tools and then unmount the volume do not use any other method to unmount a volume while pro tools is run ning p.280
Project browser p.281
Press alt o windows or option o mac to open the workspace browser p.281
Opening the project browser p.281
For more information on searching see searching items on page 242 p.281
When the select parent in project browser option is enabled the project browser auto matically highlights the parent file of any file or region selected in the region list p.282
Locating parent files of regions p.282
Updating the project browser p.283
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.283
No drag and drop to the project browser p.283
Digibase pro catalogs p.283
Deleting items in the project browser p.283
Copy and relink restrictions p.283
About the project browser p.283
Opening a catalog browser p.284
Clip names in catalogs p.284
Comments and catalogs p.285
Os 9 finder comments from the os 9 get info window are not supported in os x get info windows use the copy os 9 finder comment to database comments com mand to utilize any os 9 finder comments stored with your media p.285
Creating catalogs of folders p.285
Creating catalogs p.285
Updating catalogs p.286
Renaming a catalog p.286
Relinking catalog items p.286
Modifying catalogs p.286
Consolidating files with catalogs p.286
Importing online items from a catalog p.287
Importing offline items from a catalog p.287
Importing catalog items p.287
For more information see importing files with drag and drop on page 280 p.287
For more information on transfer files missing files and relinking see relink window on page 256 p.287
Deleting catalogs p.287
Press alt windows or option mac to open the workspace browser p.288
Opening the task window p.288
You cannot drag and drop items to or from the task window p.288
Task window messages p.288
Task window p.288
Task window views p.289
Task window tools columns and displays p.289
Pausing and cancelling tasks p.289
Paused tasks pane p.289
Active tasks pane p.289
Tips for using the task window p.290
Task prioritization p.290
Pause tasks during playback p.290
Closing sessions with pending tasks p.290
About failed tasks p.290
About cancelling tasks p.290
Stored tasks p.291
Grouped tasks p.291
Importing and exporting to and from a session p.293
Importing p.293
For information on importing and exporting video files see chapter 48 working with video in pro tools p.293
Chapter 15 importing and exporting session data p.293
You can enable the automatically copy files on import option in the processing preferences page to be sure to always copy files to the session s audio files folder when importing audio by drag and drop p.294
Pro tools 7 x and higher does not support audio file names that contain certain ascii characters see opening a session that contains audio file names with illegal characters on page 311 p.294
Files that must be converted on import p.294
Files that can be added to a session without conversion p.294
Exporting p.294
Audio conversion on import p.294
The import audio import session data and bounce to disk dialogs provide local controls for sample rate conversion quality p.295
Supported audio file formats p.295
Sample rate conversion quality p.295
Pro tools cannot import protected aac or mp4 files with the m4p file extension these files are protected under the rules of digital rights management p.295
Bit depth conversion and dithering p.295
Import options and preferences p.296
Importing interleaved files p.296
Sample rate conversion quality p.297
Elastic audio options p.297
Drag and drop from desktop conforms to session tempo p.297
Tracks preference p.298
Importing using drag and drop does not nec essarily bring the edit window to the fore ground for example dragging and drop ping a file from a browser into a track leaves the source browser in the foreground not the edit window always verify the active foreground window or browser before con tinuing p.298
Importing files with drag and drop p.298
Importing does not always convert or copy audio files see audio conversion on im port on page 276 p.298
If the enable elastic audio on new tracks option is selected you may want to also select the new tracks default to tick time base option in the editing preferences page p.298
Fades editing preference p.298
Snapping to head and tail p.300
Elastic audio on import p.300
To import entire tracks from other sessions see importing session data on page 289 p.301
Importing tempo from tick based audio p.301
Importing elastic audio from digibase to the region list p.301
Importing audio files and regions using the import audio command p.301
The preview volume control in the import audio dialog also affects the preview volume when auditioning regions in the region list p.302
Pro tools lets you add files to a session that are at a different sample rate than your session in the comments field of the import audio dialog a warning is posted that these files will play back at the wrong speed and pitch if they are not converted p.302
On mac sound resource files must have the sfil extension to be imported by pro tools p.302
Task manager works in the background importing and converting the audio until the import is completed for more information on the task manager see task window on page 270 p.303
Importing audio from audio cds p.303
Importing acid and rex files p.303
For information on region groups see re gion groups on page 743 p.303
For information on elastic audio see chapter 38 elastic audio p.303
Automatic fades for imported rex files p.304
Importing polyphonic audio files p.305
Importing multichannel audio files from a field recorder p.305
Importing monophonic audio files p.305
For more information on importing files from a field recorder refer to the field recorder workflow guide p.305
Exporting audio p.305
Exporting a region as a new audio file p.305
Depending on your edits or tempo changes after importing rex files the fades can be deleted and you will have to recreate them manually p.305
Warped regions elastic audio will be ex ported unwarped at their original duration p.305
For more information about using dither see dither on page 866 p.306
Importing session data p.307
If you plan to transfer pro tools session data to another session you should export region definitions for sessions containing multiple takes created with loop record p.307
Exporting stereo or multichannel interleaved files p.307
Exporting region definitions p.307
To select multiple tracks alt click win dows or opt click mac on any track pop up menu and select import as new track p.308
If the destination pro tools system does not support surround mixing surround tracks are not displayed in the source track list p.308
Importing grouped playlists from other sessions p.309
Imported tracks are made inactive if their source media is unavailable or if the cur rent session does not contain an equivalent output path p.309
Import session data dialog p.309
Text encoding p.310
Source properties p.310
Consolidate from source media is not available when importing elastic audio tracks p.310
Audio media options p.310
Sample rate conversion src options p.311
Video media options p.311
Track offset options p.311
Time code mapping options p.311
Track data to import p.312
Source tracks p.312
Replacing track path names p.312
Replacing track attributes p.312
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.312
Operation destination track pop up menus p.312
Matching tracks p.312
Selecting track data to import p.313
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.314
Main playlist options p.314
Import options p.314
Importing sessions and tracks by drag and drop p.315
Copying during import p.315
To manually copy files on import p.315
Using undo after importing p.316
Pro tools with digitranslator 2 does not support aaf files with embedded media p.316
Pro tools hd only p.316
Pro tools cannot play mxf audio or video files embedded within an aaf sequence p.316
Importing aaf and omf sequences p.316
For more information on opening and importing aaf and omf sequences using the digitranslator 2 option see the digitranslator guide p.316
For more information on exporting selected tracks from pro tools sessions as aaf and omf sequences using the digitranslator 2 option see the digitranslator guide p.316
Exporting sessions as text p.316
Exporting pro tools tracks as aaf or omfi sequences p.316
Digitranslator 2 required p.316
Midi track edls are not exported p.317
Include track edls playlists p.317
Include file list region list p.317
File format p.317
Export session info as text options p.317
Track edls p.318
Session information p.318
Send via digidelivery p.318
File list and region list p.318
Exported session text p.318
Importing midi files p.319
For more information visit the digidelivery website www digidesign com digidelivery p.319
Importing midi files using pro tools menu commands p.320
Importing midi files with drag drop p.321
If the standard midi file contains markers they are only imported if the current session does not contain any markers p.321
For more information on using digibase browsers see digibase on page 223 p.321
Exporting midi files p.321
Pro tools automatically adds the mid extension when exporting midi files p.322
Items not exported with midi files p.322
Alt shift right click windows or option shift right click mac to export all selected tracks as a single midi file p.323
Alt right click windows or option right click mac to export all tracks to a single midi file p.323
Sibelius 5 x or higher is required to open sib files exported from pro tools p.323
Importing and exporting region group files p.323
Exporting sibelius files p.323
Exporting individual midi and instrument tracks p.323
Importing region groups with pro tools menu commands p.324
Importing region groups with drag drop p.325
For more information on using digibase browsers refer to the digibase guide p.325
Exporting region groups p.325
Exporting region groups to another hard drive p.326
Unique file ids p.327
To ensure optimal compatibility when ex changing sessions between different pro tools systems be sure to use the default i o settings whenever possible for more in formation see chapter 6 i o setup p.327
Locating audio files p.327
Chapter 16 file and session management and compatibility p.327
Audio file management p.327
Although pro tools lets you record to your system drive this is generally not recom mended you should record to system drives only when necessary for example if your computer system has just one hard drive or it your other hard drives are completely full p.327
For complete information on relinking transfer files see linking and relinking files on page 253 p.328
Transfer files p.328
Missing files p.328
For more information on storage volume classifications see performance and transfer volumes on page 226 p.328
Saving a copy of a session that contains long audio file names p.329
Renamed audio files and the renamed audio files folder p.329
Opening a session that contains audio file names with illegal characters p.329
It is possible to have a pro tools 7 x or higher session that contains audio file names with illegal characters if you save copy in the session to pro tools 6 x or lower with mac pc compatibility on the tracks are renamed with legal characters if mac pc compatibility is off the characters are not changed p.329
For more information on relinking missing files see linking and relinking files on page 253 p.329
Working with mac based hfs drives on windows computers p.330
Windows only p.330
Wav file compatibility p.330
Sharing sessions created on different computer platforms p.330
Digidesign hfs drive support option p.330
Convert imported wav files to aes31 broadcastwave p.330
Moving mac based sessions on hfs drives to windows systems p.331
From window based ntfs drives only p.331
To windows based ntfs drives only p.331
To save session with no illegal characters see saving copies of mac sessions to be compatible with windows on page 314 p.331
To save or create mac sessions to be com patible on windows systems see saving copies of mac sessions to be compatible with windows on page 314 p.331
Pro tools ses sions cannot relink to audio files and fades that have mac characters that are illegal in windows these characters are automati cally converted to underscore _ charac ters these files are saved to the renamed audio files folder you need to manually relink each file by file id see missing files on page 310 p.331
Moving sessions on windows systems to mac based hfs drives p.331
Saving copies of mac sessions to be compatible with windows p.332
Save copy in to pro tools 6 x and lower only p.332
Recording and playback from hfs drives on windows p.332
In older versions of pro tools mac for matted hfs drives could only be used as transfer volumes when connected to windows systems using macdrive p.332
For information on using the digidesign hfs disk support option see the mac hfs disk support option guide p.332
Cross platform session limits p.332
Audio file types p.332
Saving cross platform sessions p.333
Pro tools can convert a file created on a mac and saved without the enforce mac pc compatibility option selected to a windows compatible file for more infor mation see sharing sessions created on different computer platforms on page 312 p.333
Incompatible ascii characters p.333
File name extensions p.333
The following table also includes pro tools le systems with the complete production toolkit dv toolkit 2 and music production toolkit 2 options p.334
Sharing sessions created on different pro tools systems p.334
Pro tools makes it easy to share sessions between pro tools hd systems and pro tools le systems there are some important differences between the three types of systems that can affect how session material is transferred p.334
For details on transferring sessions between windows and mac systems see sharing sessions cre ated on different computer platforms on page 312 p.334
When opening a pro tools hd 7 x or higher session in pro tools le 8 the following occurs p.335
Tracks p.335
Pro tools hd 7 sessions that contain video tracks or vca master tracks can only be opened with pro tools le 7 cs3 and higher p.335
Opening pro tools hd sessions in pro tools le p.335
Groups p.335
When opening a pro tools hd 8 session with pro tools hd 7 x the following occurs p.336
When opening a pro tools hd 7 x or higher session with pro tools hd 7 x or 7 the following occurs p.336
Sharing sessions created on different pro tools software versions p.336
Sharing pro tools hd 8 sessions with lower versions of pro tools hd p.336
Opening pro tools hd 8 sessions with pro tools hd 7 x p.336
Opening pro tools hd 7 or higher sessions with pro tools hd 7 x or 7 p.336
Opening pro tools hd 7 or higher sessions with pro tools hd 7 or 7 p.336
When opening a pro tools hd 7 or higher session with a version of pro tools hd 7 or 7 the following occurs p.337
Tracks p.337
Pro tools hd 7 or higher sessions that contain video tracks or vca masters can only be opened with pro tools hd 7 cs3 and higher p.337
Pro tools 8 supports file sizes up to 3 gb however pro tools 5 through 6 on mac only support file sizes up to 2 gb if your session references audio files larger than 2 gb be sure to edit and consolidate regions as necessary to reference only files smaller than 2 gb p.337
Groups p.337
Format the following occurs p.337
Format p.337
When saving a pro tools hd 7 session to pro tools 5 format the following occurs p.338
Saving pro tools hd 8 sessions to pro tools 5 format p.338
Language compatibility p.338
Groups p.338
Tracks p.339
Sharing pro tools le 8 sessions with lower versions of pro tools le p.339
Opening pro tools le 8 sessions with pro tools le 7 x p.339
Opening pro tools le 7 x or higher sessions with pro tools le 7 or 7 p.339
Groups p.339
When opening a pro tools le 8 session with pro tools hd 7 x the following occurs p.339
When opening a pro tools le 7 x or higher session with a version of pro tools le 7 or 7 all items that occur when opening a pro tools le 7 session with pro tools le 7 x or 7 occur plus the following p.339
When opening a pro tools le 7 or higher session with pro tools le 7 x the following occurs p.339
When opening a pro tools 8 session with pro tools 7 x you are warned that you are opening a session created with a newer version of pro tools and that not all session components will be available p.339
When opening a pro tools 7 session with pro tools 7 x you are warned that you are opening a session created with a newer version of pro tools and that not all session components will be available when open ing a pro tools 7 session with pro tools 7 or 7 you will not be warned that not all session components will be available p.339
Tracks p.340
Sharing pro tools le 7 x or higher sessions with pro tools le 6 or lower p.340
Pro tools 8 supports file sizes up to 3 gb however pro tools 5 through 6 on mac only support file sizes up to 2 gb if your session references audio files larger than 2 gb be sure to edit and consolidate regions as necessary to reference only files smaller than 2 gb p.340
Format the following occurs p.340
Format p.340
When saving a pro tools le 7 session to pro tools 5 format the following occurs p.341
Unicode support for languages p.341
Saving pro tools le 8 sessions to pro tools le 5 format p.341
Pro tools automatic naming language p.341
Language compatibility p.341
If you want your computer to start with the previous language after working on a dif ferent language version follow the above steps and change the international prefer ence back to the previous language p.342
Windows only p.342
Pro tools application language p.342
Multilingual application support for pro tools systems p.342
Localized os on mac only p.342
Playback and recording p.343
Part iv playback and recording p.343
Starting and stopping playback p.345
Playing tracks p.345
For more information about the numeric keypad modes see numeric keypad modes on page 25 p.345
Example playing back audio p.345
Chapter 17 playing back track material p.345
Playback location p.346
For information about synchronizing exter nal midi devices with pro tools for play back and recording using midi beat clock see midi beat clock on page 342 and for information about using midi time code see generating time code on page 1022 p.346
Example playing back midi p.346
Counters and indicators that display the playback location p.347
Alt click windows or option click mac the expand collapse button in the trans port window to show or hide counters and midi controls p.347
The big counter p.347
Start click windows or control click mac the expand collapse button in the transport window to show or hide counters p.347
Playback cursor p.347
Main and sub counters and edit selection indicators p.347
Cursors that indicate the playback or edit location p.347
Setting the playback location p.348
Setting playback location using the selector tool p.348
Locating the playback cursor when it is off screen p.348
Edit cursor p.348
Setting playback location with the main counter or edit selection start indicator p.349
Setting playback location with fast forward rewind p.349
Setting playback location with basic transport controls p.349
Setting the back forward amount p.350
Setting playback location with back and forward commands p.350
Pro tools hd only p.350
Back forward commands also work when controlling a 9 pin device see the machine control guide for details p.350
Using back or forward commands p.350
Repeating back forward commands p.351
Extending selections with back or back and play commands p.351
Although you cannot extend a selection with the forward or forward and play com mands you can use the following proce dures with forward or forward and play to move the start point of a current selection p.351
Additional ways of moving the playback location p.351
You can enable or disable the timeline in sertion play start marker follows playback option in the operation preferences p.352
Scrolling options p.352
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.352
Press start n windows or control n mac to toggle the timeline insertion play start marker follows playback preference on and off p.352
Page scrolling during playback p.352
Making a selection in the timeline or a playlist or manually scrolling the timeline while in page scroll or continuous scroll mode suspends page scrolling to resume page scrolling and jump to the current play back location click the playback cursor locator in the main timebase ruler see locating the playback cursor when it is off screen on page 330 p.352
Continuous scrolling during playback p.352
Playing selections p.353
Half screen edit window p.353
Center playhead scrolling and dynamic transport mode cannot be used at the same time selecting center playhead scrolling disables dynamic transport mode if it is enabled likewise enabling dynamic transport mode when center playhead scrolling is selected automatically changes the scrolling option to no scrolling p.353
Center playhead scrolling p.353
Pro tools hd only p.353
Auditioning start and end points for selections p.354
Auditioning pre roll and post roll p.354
Pro tools hd only p.355
Playing timeline and edit selections with the playhead p.355
Playback modes p.355
Normal playback mode p.355
Moving the playhead p.355
You can also play at half speed by pressing shift spacebar p.356
When synchronizing to time code use prime for playback mode to play back large numbers of tracks this decreases the time it takes to lock to time code p.356
Prime for playback mode p.356
Loop playback mode p.356
Half speed playback mode p.356
A selection must be at least 500 ms in length for it to loop on playback p.356
Dynamic transport mode p.357
Center playhead scrolling pro tools hd only and dynamic transport mode cannot be used at the same time selecting center playhead scrolling disables dynamic transport mode if it is enabled likewise enabling dynamic transport mode when center playhead scrolling is selected auto matically changes the scrolling option to no scrolling p.357
Loop playback and audio recording p.357
Enabling dynamic transport mode auto matically disables link timeline and edit selection and automatically enables loop playback mode p.357
When the link timeline and edit selection option is disabled press alt click win dows or option click mac and drag the timeline selection to snap the edit selection to the timeline selection and move both in tandem p.358
Play start marker follows timeline selection p.358
Double click anywhere in the play start marker strip in the main timebase ruler to move the play start marker to that location and start playback p.358
Changes to the timeline selection during playback temporarily interrupt playback to minimize this interruption reduce the dae playback buffer size in the playback engine dialog p.358
When this option is enabled it overrides us ing the enter key to add memory location markers press period and then enter on the numeric keypad to add a memory loca tion marker p.359
Using separate play and stop keys p.359
Using dynamic transport mode with loop playback p.359
Timeline insertion play start marker follows playback p.359
Press start n windows or control n mac to toggle the timeline insertion play start marker follows playback preference on and off p.359
Transmitting beat clock p.360
Recording in dynamic transport mode p.360
Midi beat clock p.360
Keyboard shortcuts for relocating the play start marker p.360
For information about synchronizing exter nal midi devices with pro tools for play back and recording using midi time code see generating time code on page 1022 p.360
Sending midi beat clock over iac p.361
Midi beat clock offsets p.361
Measuring beat clock latency p.361
Mac only p.361
Since midi is not sample accurate you may want to make several measurements at dif ferent grid locations and average them to come up with the best value for the midi beat clock offset p.362
Once you have measured the latency for your midi beat clock enabled devices be sure to keep a record of these values in case you need to re enter the midi beat clock sample offset in other sessions p.362
Track setup for recording p.363
Session setup for recording p.363
Record setup overview p.363
Monitoring setup for recording p.363
Hardware setup for recording p.363
For information on digitizing recording video in pro tools see chapter 48 work ing with video in pro tools or the avid video peripherals guide p.363
Chapter 18 record setup p.363
Input connections and audio levels p.364
Digital clipping p.364
Configuring pro tools hardware i o for recording p.364
The digidesign pre can be used as a standalone preamp with all pro tools systems or it can be remote controlled from within a pro tools session when used with a pro tools hd system p.364
Set input levels p.364
You can also avoid recording delays by put ting pro tools in record pause mode before beginning to record see prime for record mode on page 372 p.365
Pro tools hd only p.365
Connecting a sound source p.365
Calibration mode p.365
Allocating hard drive space for recording p.365
Recording with a click p.366
Optional p.366
Monitoring drive space p.366
Material that is recorded without listening to a click can still be aligned to bar and beat boundaries in pro tools with beat detective see chapter 28 beat detective or by us ing the identify beat command to determine the tempo see identify beat command on page 689 p.366
You can record midi with or without a click and manually add bar beat markers or gen erate a tempo and meter map from it by us ing beat detective see chapter 28 beat detective p.367
For more information on the digirack click plug in see the digirack plug ins guide p.367
Creating a click track p.367
Click options p.367
Enabling click p.368
If one is connected you can also play new note values on a midi controller keyboard p.368
The countoff is ignored when pro tools is online and synchronized to smpte time code p.369
Tempo events which can occur anywhere within a pro tools session appear in the tempo ruler for more information on in serting and editing tempo events see tempo on page 671 p.369
Setting the session tempo p.369
Setting the session meter and tempo p.369
Setting the session meter p.369
Optional p.369
Using manual tempo mode p.370
You can also cycle through the pro tools record modes with the transport stopped by start clicking windows or control clicking mac the record button p.371
When recording you can preserve disk space by removing unwanted record takes see removing unwanted regions on page 221 and compacting audio files see compacting an audio file on page 507 p.371
Record modes p.371
Normal nondestructive record mode p.372
Loop record mode p.372
In loop record mode the waveform over view is not redrawn until you stop recording p.372
In destructive record mode the waveform overview is not redrawn until you stop recording p.372
Destructive record mode p.372
To set a record range by selecting within a track s playlist the timeline and edit selec tions must be linked see linking or un linking timeline and edit selections on page 473 p.372
To set a record range by selecting within a track s playlist enable the link timeline and edit selection option see linking or unlinking timeline and edit selections on page 473 p.372
Trackpunch p.373
Record modes and midi p.373
Quickpunch p.373
Pro tools hd only p.373
For more information on trackpunch see trackpunch audio recording on page 412 p.373
For more information on quickpunch see quickpunch audio recording on page 411 p.373
For more information on destructivepunch see destructivepunch audio recording on page 416 p.373
Destructivepunch p.373
Quickpunch trackpunch and destructive punch modes use a different method for numbering regions for details see track punch audio recording on page 412 p.374
Optional p.374
Names for stereo audio tracks p.374
Configuring default names for audio files and regions p.374
Assigning hardware i o on a track p.375
Assign a hardware input recording source by doing one of the following p.375
When recording to multichannel surround tracks audio file and region names for each channel are appended with the following suf fixes p.375
To assign i o on a track p.375
Pro tools hd or pro tools le with complete production toolkit only p.375
Names for multichannel tracks p.375
In the mix window select the correspond ing hardware input for your source from the track s input path selector p.375
In the edit window with i o view enabled select the corresponding hardware input for your source from the track s input path selector p.375
Before recording to a track you must specify the input and output signal path for the material you are recording you will do this by assigning a hardware input recording source and output for monitoring recording on the track p.375
Record enabling tracks p.376
Midi and instrument tracks can be record enabled during playback or record to record enable audio tracks the transport must be stopped or quickpunch track punch or destructivepunch must be en abled for more information on quick punch trackpunch and destructivepunch see record modes on page 353 p.376
To keep the previous track record enabled while enabling new tracks press control shift up down windows or command shift up down mac p.377
Press shift r to record enable any track containing the edit cursor on an edit selection p.377
If latch record mode is not enabled shift click each track s record enable button to toggle record enable on or off for each track see latch record enable buttons prefer ence on page 360 p.377
Record safe mode p.378
Record enabling a track that is part of a mix group does not record enable the other tracks in the group to record enable all tracks in a group click directly to the left of the group s name in the group list to select all tracks in the group and then alt shift click windows or option shift click mac the record enable button of one of the tracks to record enable the selected tracks p.378
Latch record enable buttons preference p.378
Allocating audio drives in your system p.379
Recording with multiple hard drives p.379
Optional p.379
Navigating in the disk allocation window p.379
See saving copies of mac sessions to be compatible with windows on page 314 and sharing sessions created on different computer platforms on page 312 p.380
Saving disk allocation settings p.380
Round robin allocation is not supported with partitioned hard drives p.380
On windows with the digidesign hfs disk support option installed you can record to and play back from mac formatted hfs drives for more information see the mac hfs disk support option guide p.380
If you want to exclude individual valid mounted volumes from round robin allo cation passes open the workspace browser and make the volume safe by designating it as p playback only or t transfer for more information see audio and video volume designators on page 261 p.380
Disk allocation and cross platform sessions p.380
With pro tools hd tracks are in auto in put mode by default and a monitoring con trol trackinput button is provided for each track see selecting record monitor modes with trackinput monitoring on page 364 p.381
When in auto input mode the switch back to monitoring track material on punch out is not instantaneous p.381
Selecting a record input monitoring mode p.381
Recording to the system volume p.381
Reallocating tracks does not affect the previ ously recorded audio reallocating tracks only affects where new audio recording is saved p.381
Reallocating tracks p.381
Auto input monitoring p.381
Workspace volume designation p.381
To toggle between auto input and input only monitoring press alt k windows or option k mac p.382
Selecting record monitor modes with trackinput monitoring p.382
Selecting a record monitor mode in pro tools le p.382
Pro tools hd only p.382
Input only monitoring p.382
To toggle record enabled tracks between auto input and input only monitoring press alt k windows or option k mac p.383
Setting monitor levels for record and playback p.383
Reducing monitoring latency p.383
Press shift i to enable the trackinput mon itor button for any track containing the edit cursor on an edit selection p.383
Link record and play faders p.383
Disable input when disarming track p.383
Recording with delay compensation p.384
Pro tools hd only p.384
Mbox 2 mbox 2 mini and mbox only p.384
Computers with slower cpus may not be able to use a h w buffer size setting lower than 512 samples buffer size without en countering performance errors p.384
Zero latency monitoring p.384
Low latency monitoring and bounce to disk p.385
Low latency monitoring p.385
In pro tools le with the complete produc tion toolkit option low latency monitor ing is not available in surround sessions p.385
External input cannot be recorded during a bounce to disk to include external input in your bounce it must be recorded to new audio tracks before using bounce to disk see bounce to disk on page 962 p.385
003 003 rack 003 rack digi 002 digi 002 rack and mbox 2 pro only p.385
Recording an audio track p.387
Chapter 19 audio recording p.387
Before recording p.387
Basic recording steps p.387
If a record enabled track is in auto input monitor mode you will hear through the input while the transport is stopped the track automatically switches to playback when you press play then back to input mode when you either stop or punch into record for more information see auto in put monitoring on page 363 p.388
Undo or cancel audio recording p.389
Recording multiple audio tracks p.389
If you undo a record pass during recording pro tools removes any previously undone record pass from the session and lets you delete the previous record pass from your hard drive p.389
If you have a pro tools system with multi ple drives and you intend to record multiple tracks simultaneously you may want to designate the system drive as a transfer only drive for optimal performance p.389
Canceling a record take p.389
When synchronizing to time code use prime for record mode to record or play back large numbers of tracks this decreases the time it takes to lock to time code p.390
To initiate recording at half speed press control shift spacebar windows or command shift spacebar mac for details see half speed recording on page 388 p.390
Setting punch and loop points p.390
Recording shortcuts p.390
Prime for record mode p.390
On mac systems to use f12 for recording the mac dashboard feature must be disabled or remapped see your setup guide for details p.390
On mac systems to use command spacebar for recording the mac spotlight feature must be disabled or remapped see your setup guide for details p.390
You can also enter a start and end point during playback press the down arrow to set the start point and press the up arrow to set the end points note that when in grid mode start and end point when entered in this manner do not snap to the grid p.391
Timeline selection markers p.391
If the selector tool is not active you do not need to manually select it other edit tools such as the time grabber tool automati cally turn into the selector tool when used in timebase rulers p.391
Use the period or left right arrow keys to move through the different time fields for start and end use the up down arrow keys to increase or decrease the numerical values p.392
Start end and length fields p.392
If the current record range is already the right length and the range needs only to be moved to a new location alt drag win dows or option drag mac either timeline selection marker to move both to a new lo cation while keeping the same length p.392
Memory locations p.393
For more information on memory locations see memory locations and markers on page 705 p.393
Setting pre and post roll p.394
Use the period or left right arrow keys to move through the different time fields for pre and post roll use the up down arrow keys to increase or decrease the numerical values p.394
Setting pre and post roll in the transport window p.394
Setting pre and post roll in a playlist p.394
To set pre and post roll values to the same amount alt drag windows or option drag mac either the pre or the post roll flag in the ruler the deselected flag will immediately reset to the same value and will adjust accordingly as you drag the selected flag p.395
To manually punch in and out on record enabled audio tracks during playback refer to chapter 21 punch recording modes p.395
In the timeline you can reset the pre and post roll to zero first drag the pre roll flag to the timeline selection start marker then drag the post roll flag to the timeline se lection end marker p.395
Enabling pre post roll from the options menu p.395
Dragging pre and post roll flags in the timebase ruler p.395
Audio punch recording over a specified range p.395
Link timeline and edit selection p.396
If you are recording in any mode other than destructive record mode punches do not permanently replace previously recorded material if you p.396
Destructive record p.396
Recording additional takes p.397
Monitoring during punch ins p.397
For more information see auto input monitoring on page 363 p.397
For information on audio file and region names for new takes see configuring de fault names for audio files and regions on page 356 p.397
To record a specific track range with precise start and end points see audio punch re cording over a specified range on page 377 p.397
To record a specific track range with precise start and end points see audio punch re cording over a specified range on page 377 p.398
Recording to a new playlist p.398
Appending new material to the end of a track p.398
To use alternate takes created with loop record in other sessions such as when using import session data export region definitions see exporting region defini tions on page 289 if region definitions are not exported alternate takes created with loop record will be inaccessible when imported into another session p.399
Loop recording audio p.399
For more information on playlists and play list editing see playlists on page 529 p.399
Loop playback and audio recording p.400
For detailed information on working with matching alternate regions see matching alternate regions on page 540 p.400
Automatically create new playlists when loop recording p.400
Alternate takes p.400
Selecting alternate takes on a track p.401
Selecting alternate takes from the region list p.401
Selecting alternate takes p.401
Matches and multiple tracks p.402
Alternates match options p.402
Matching criteria window p.402
Matching criteria affects midi as well as audio regions p.402
In addition to match options p.403
Expanding alternate takes to new playlists or tracks p.403
Expanding alternate takes to new playlists p.403
Recording from a digital source p.404
Pro tools hd digital options p.404
For additional information on configuring your particular pro tools system for record ing from a digital source see your setup guide p.404
Expanding alternate takes to new tracks p.404
Some digidesign i o units only have two channels that can be set for analog or digi tal for example mbox 2 has s pdif l r stereo digital inputs and in 1 2 analog inputs mbox 2 can record through analog and digital inputs simultaneously p.405
Recording from digital sources p.405
Pro tools le digital options p.405
Pro tools hd only p.406
Half speed recording p.406
For information on half speed playback see half speed playback mode on page 338 p.406
After a digital transfer p.406
Recording from midi devices p.407
Chapter 20 midi recording p.407
Enabling input devices p.408
Devices do not need to be selected to receive midi data from pro tools for example a device used exclusively as a sound module does not need to be selected in the midi in put enable dialog p.408
When using midi thru you should disable local control if present on your midi devices otherwise your midi device may receive double midi notes which can lead to stuck notes if you are unsure how to dis able local control for your instrument refer to the manufacturer s documentation p.409
When midi thru is enabled system exclu sive sysex events are echoed to the midi device assigned to the record enabled track but only if the sysex events are smaller than 256 bytes p.409
The midi preference for global midi play back offset and individual midi track off sets do not affect midi routed with midi thru p.409
The default thru instrument p.409
The default thru follows first selected midi track selection option also lets you play an instrument without having to create and record enable a midi or instrument track p.409
Midi thru p.409
Midi input filter p.409
Wait for note and countoff are mutually exclusive and cannot both be enabled at the same time if for instance countoff is enabled and you click the wait for note button countoff is disabled furthermore wait for note starts recording immediately ignoring any specified pre roll p.410
Wait for note p.410
Input quantize p.410
For more information on input quantize see input quantize on page 820 p.410
Configuring midi or instrument tracks for recording p.411
You can also paste and merge midi notes using paste special commands see special paste function for automation data on page 935 p.411
With the operation preference for use f11 for wait for note enabled you can press f11 to turn on wait for note on mac sys tems the mac desktop keyboard shortcut must be disabled or remapped p.411
To enable midi merge with a keyboard shortcut set the numeric keypad mode to transport and press the 9 key on the nu meric keypad p.411
Midi merge replace p.411
To record enable additional midi and in strument tracks shift click their record en able buttons p.412
Default program changes are sent whenever the track is played for more information see patch select program and bank changes on page 596 p.412
To take full advantage of the midi editing capabilities in pro tools make sure to record tick based midi tracks with a click this ensures that recorded data aligns with the session s bar and beat boundaries you can also record to sample based midi tracks without a click and derive the tempo and meter from the performance p.413
To record enable additional midi and in strument tracks shift click their record en able buttons p.413
To record audio from a midi instrument or instrument plug in bus the audio output of the instrument or auxiliary input track that is monitoring the instrument to an audio track record enable the audio track and start recording see recording audio from a midi instrument on page 403 p.413
To monitor audio from an external midi instrument select the corresponding audio input path for your midi instrument on the instrument track or use an auxiliary input track see signal routing for monitoring and submixing on page 853 p.413
Recording midi and instrument tracks p.413
Digidesign recommends recording without delay compensation in most cases for more information see delay compensa tion on page 860 p.413
Press f12 to start recording immediately you can also press control spacebar win dows or command spacebar mac to start recording for more information see recording shortcuts on page 372 p.414
Playing back recorded midi p.414
Midi regions are created on barlines p.414
It is possible to have the note on of a midi note be in one midi region and its note off be in a subsequent midi region it is also possible to have the region end before the note off resulting in notes that extend beyond the region boundary however note ons can never precede the beginning of a region p.414
Undoing midi recording p.414
To monitor audio from an external midi instrument select the corresponding audio input path for your midi instrument on the instrument track or use an auxiliary input track see signal routing for monitoring and submixing on page 853 p.414
Recording over exisiting midi regions p.414
Punch recording during playback with midi p.415
Midi punch recording over a specified range p.415
For other methods of setting the record range see setting punch and loop points on page 372 p.415
Canceling a record take p.415
Midi regions and punch recording p.416
Foot switches are supported by 003 family interfaces digi 002 digi 002 rack and mbox 2 pro as well as any pro tools system with a supported control surface such as c 24 or command 8 p.416
You can record enable a different midi or instrument track on the fly while loop re cording while pressing control windows or command mac use the up down ar rows to record enable the previous or next midi or instrument track p.417
Loop recording midi p.417
Loop recording in midi merge mode p.417
For other methods of setting the record range see setting punch and loop points on page 372 p.417
For drum machine style step entry use step input see step input on page 821 p.417
Loop recording multiple takes p.418
For more information on auditioning and managing takes see selecting alternate takes on page 383 p.419
For other methods of setting the record range see setting punch and loop points on page 372 p.419
Recording system exclusive data p.420
Midi step input p.420
For more information on step input see step input on page 821 p.420
For information on moving and copying of sysex data see system exclusive events on page 600 p.420
You can also record both the midi and au dio from your performance at the same time p.421
When using instrument plug ins you may want to record the audio from a midi in strument to a new track before mixing in or der to free up dsp resources p.421
Recording audio from an instrument plug in p.421
Recording audio from a midi instrument p.421
Recording audio from an external midi instrument p.422
You do not need to use quickpunch or any other audio punch recording mode to punch on the fly with midi tracks midi tracks can be punched while in normal non destructive record mode and in destruc tive record mode p.423
To automatically punch in and out on record enabled audio tracks over a specific range refer to audio punch recording over a specified range on page 377 p.423
Pro tools punch recording modes p.423
Introduction p.423
Chapter 21 punch recording modes p.423
Pro tools hd p.424
Voice requirements for punch recording p.424
System session and track guidelines for punch recording p.424
Quickpunch trackpunch and destructivepunch p.424
Quickpunch only p.424
Pro tools le p.424
Dynamically allocated voicing p.425
Delay compensation and destructivepunch mode p.425
Quickpunch and trackpunch modes p.426
Preferences for punch recording p.426
For more information see delay compen sation on page 860 p.426
Destructivepunch mode p.426
Crossfade transport and record settings p.426
Audio files regions and takes p.426
Quickpunch trackpunch crossfade length p.427
Destructivepunch and crossfades p.427
Crossfades while punch recording p.427
Transport and record settings p.427
Transport recordlock p.428
Synchronization and track arming options for punch recording p.428
Punching out of record by pressing record on the transport takes the transport out of record enable p.428
Machine track arming to display the machine track arming window p.428
For information on remote track arming with machinecontrol see the p.428
For examples of how these settings can be applied see example trackpunch and de structivepunch workflows on page 421 p.428
For basic time code and synchronization information for pro tools see chapter 47 working with synchronization p.428
Digidesign sync hd or sync i o only p.428
Destructive recording and transport recordlock p.428
Audio track recordlock p.428
Recording with quickpunch p.429
Quickpunch audio recording p.429
Many pro tools systems also let you use a footswitch to punch in and out see the guide that came with your pro tools le audio interface control surface or icon worksurface pro tools hd only p.429
If you cannot record enable tracks due to voice limitations see voice requirements for punch recording on page 406 p.429
Configure pro tools p.430
Trackpunch setup p.430
Trackpunch audio recording p.430
Quickpunch with an edit selection p.430
Pro tools hd only p.430
Transport display of trackpunch status p.431
Trackpunch enabling tracks p.431
Enable trackpunch mode p.431
Create track groups for each stem or set of tracks on which you plan to punch then use the group list to quickly select all tracks in the group p.431
Using trackpunch p.432
Track record status display p.432
Punching in on individual tracks p.432
Monitoring and levels p.432
Start recording on all tracks p.433
Punching in on multiple tracks simultaneously p.433
Destructivepunch audio recording p.434
Configure pro tools for destructivepunch p.434
Pro tools hd only p.434
Enable destructivepunch mode p.434
Destructivepunch setup p.434
Transport display of destructivepunch status p.435
Prepare tracks for destructivepunch recording p.435
Using the prepare dpe tracks command p.436
Enabling tracks for destructivepunch recording p.436
Destructivepunch file length p.436
Destructivepunch enabling tracks without record enabling them p.436
Track record status display p.437
Monitoring and levels p.437
Destructivepunch enabling and record enabling tracks simultaneously p.437
Create a vca group for each stem or set of tracks on which you plan to punch and use the vca record enable button to arm all tracks in the group for destructivepunch for more information see vca master tracks on page 832 p.437
Starting recording immediately on multiple tracks p.438
Punching in on single tracks p.438
Punching in on multiple tracks p.438
Using destructivepunch p.438
Throughout these examples references to trackpunch can also be applied to destruc tivepunch just remember that trackpunch is nondestructive while destructivepunch is a destructive punch mode in remote mode transport recordlock has no effect the synchronizer determines the behavior p.439
In remote mode audio track recordlock has no effect the synchronizer determines the behavior p.439
Film dubbing and mixing p.439
Example trackpunch and destructivepunch workflows p.439
Use the group list to quickly select all tracks in the group and alt shift click windows or option shift click mac to record enable all the tracks in the group p.440
Loading dailies using recordlock p.440
Because pro tools has a 13 hour timeline limit you must use multiple sessions to load dailies if the span is more than 13 hours p.440
Tracking and overdubbing music p.441
Foley recording p.441
Part v editing p.443
Editing p.443
Pro tools editing p.445
Nondestructive editing p.445
Editing during playback p.445
Chapter 22 editing basics p.445
Use loop and dynamic transport modes for auditioning and editing loops during play back see playback modes on page 337 p.445
Track material p.446
Region types p.446
In addition to audio and midi regions tracks provide automation playlists of any automation data such as volume and pan automation can be recorded and edited in the mix edit and midi editor windows for more information see chapter 42 au tomation p.446
For information on video regions see chapter 48 working with video in pro tools p.446
For more information see warped re gions on page 784 p.447
For more information see naming and displaying regions in the region list on page 219 p.447
For more information on region groups see region groups on page 743 p.447
Audio regions and waveforms p.447
When zoomed in to the sample level pro tools always displays peak view p.448
Waveform views p.448
Rectified waveforms p.448
Power view is not available in destructive punch mode or when zoomed to the sample level p.448
Peak view is always shown during record ing power waveform view is calculated and shown only after you stop recording p.448
Calculating waveform overviews p.448
Outlined waveforms p.449
When zoomed in to the sample level pro tools always displays waveforms in normal peak view p.449
Guidelines for editing waveforms p.450
Avoiding clicks and pops p.450
You can double click a midi region to open it in the midi editor window see chapter 30 midi editors p.451
To toggle the track view between notes and regions click in the track you want to toggle and press start minus windows or control minus mac on the alphanumeric keyboard p.451
Regions view for midi and instrument tracks p.451
Nondestructive audio editing p.451
Midi regions and midi data p.451
For more information on setting track view see track views on page 169 p.451
For more information on automation see chapter 42 automation p.451
Audio regions and automation data p.451
To separate midi notes rather than leave them hanging when separating cutting or copying regions make the edit selection you want switch to notes view and use the sep arate at selection command then switch back to regions view and make the edit separating cutting or copying p.452
Midi regions created on barlines p.452
Midi regions and continuous controller events p.452
For more information on editing midi con troller data see chapter 29 midi editing p.452
Clicking the mini keyboard clears the cur rent edit selection for more information see selecting midi notes on page 582 p.453
Notes view for midi and instrument tracks p.453
Midi mute automation p.453
To apply edits to all instances of a midi re gion enable mirrored midi editing mode see mirrored midi editing on page 577 p.454
One way to safely return to a track s previ ous state is with playlists before you edit notes trim regions or rearrange the order of regions make a duplicate of the track s ex isting playlist and then edit the duplicate see playlists on page 529 p.454
Nondestructive midi editing p.454
Naming regions p.454
If you have a mouse with a scroll wheel you can use it to scroll a midi or instrument track s notes display place the mouse over a midi or instrument track in the edit win dow and control alt start scroll win dows or command option control scroll mac the scroll wheel to scroll the notes display for that track p.454
For details on renaming regions see re naming regions on page 219 p.454
See the field recorder workflow guide for detailed information on workflows for field recorders p.455
Displaying region names region times and other data p.455
Displaying other region information p.455
Undo history window p.456
Multiple undo p.456
If no actions are available to undo the menu displays can t undo p.456
If no actions are available to redo the menu displays can t redo p.456
Clearing the undo queue p.457
Use the undo history window to view a queue of undo operations and return to a previous state p.457
Levels of undo and memory p.457
You can cut copy and paste noncontiguous regions by selecting them with the object grabber tool p.458
Use control start v windows or com mand control v mac to special paste automation data into another automation type for example you can copy pan auto mation into a volume automation playlist p.458
Track view and edit content p.458
Cut copy paste and clear p.458
Basic editing commands p.458
For more information on the shuffle re gions option see shuffle on page 445 p.459
For information on making edit selections see selecting track material on page 475 p.459
Deleting underlying region data p.459
Cut and copy commands p.459
With the grabber tool start click win dows or control click mac a region to conform it to the current selection p.460
Paste command p.460
Merge for more information see paste special on page 934 p.460
Clear command p.460
Editing across multiple tracks p.461
You cannot paste midi controller data to automation data nor automation to midi p.461
Special cut copy paste and clear commands p.461
Repeat to fill selection p.461
For more information see cutting copying and pasting automation on page 932 p.461
For more information on selecting data on multiple tracks see selecting across multi ple tracks on page 481 p.461
Shuffle lock p.463
Shuffle p.463
Edit modes p.463
Chapter 23 edit modes and tools p.463
Press f4 to enable grid mode p.464
Press f3 to enable spot mode p.464
Press f2 to enable slip mode p.464
Displaying grid lines p.464
Press f1 f4 to enable snap to grid and shuffle mode press f2 f4 to enable snap to grid and slip mode and press f3 f4 to enable snap to grid and spot mode p.465
Configuring the grid p.465
Absolute and relative grid p.465
To temporarily suspend grid mode and switch to slip mode while dragging a region hold down the control key windows or command key mac after clicking the mouse p.465
Snap to grid p.465
Press shift f4 to enable snap to grid while in another edit mode p.465
You can use f5 zoomer f6 trimmer f7 selector and f8 grabber f9 scrubber and f10 pencil to select the edit tool and toggle through each tools respective subset of tools p.466
The current grid value is also used for the quantize to grid command see quantiz ing regions to grid on page 505 and sep arated region at grid command see sepa rate commands on page 496 p.466
Press the escape key to toggle through the edit tools p.466
Midi notes inserted with the pencil tool ig nore the regions markers option and in stead snap to the time value selected in the grid value selector p.466
Edit tools p.466
Zoom buttons p.467
Using the zoomer tools p.467
The edit window midi editor windows and the score editor window also provide zoom buttons above and below the right vertical scroll bar for more information see edit window zoom buttons on page 133 midi editor zoom controls on page 618 and score editor zoom con trols on page 640 p.467
Horizontal zoom in and out buttons p.467
For information on using the edit tools in warp view and analysis view on elastic audio enabled tracks see editing in warp view on page 778 and editing in analy sis view on page 785 p.467
For information on using the edit tools in notes view on midi and instrument tracks see chapter 29 midi editing p.467
Audio and midi zoom in and out buttons p.468
Additional zoom key commands p.468
Midi vertical zoom only affects tracks in not in regions view p.468
Zoomer tool p.469
Press the f5 key to select the zoomer tool and toggle between normal and single zoom modes p.469
Normal zoomer tool p.469
Zooming in a ruler p.470
Single zoom mode p.470
Vertical zooming in or out of all audio tracks continuously p.471
To reset the default audio waveform heights without affecting the horizontal zoom level or midi note heights press control alt start windows or command option control mac p.471
This will also affect your midi note heights p.471
Continuous zoom with the zoomer tool p.471
Zoom toggle preferences p.472
Zoom toggle parameters p.472
Zoom toggle p.472
Zoom preset buttons p.472
For midi editing set the zoom toggle pref erences as follows vertical zoom to last used horizontal zoom to last used track view to waveform notes and track height to fit to window p.472
For audio editing set the zoom toggle pref erences as follows vertical zoom to selec tion horizontal zoom to selection track height to fit to window and track view to no change p.473
Vertical zoom p.473
Track view p.473
Track height p.473
Separate grid settings when zoomed in p.473
Horizontal zoom p.473
Zoom toggle follows edit selection p.474
Using zoom toggle p.474
Press alt shift e windows or op tion shift e mac to cancel zoom toggle without reverting to the previous view p.474
In commands keyboard focus mode see keyboard focus on page 24 press the e key to enable or disable zoom toggle p.474
Zooming with a scroll wheel p.475
Auto toggle when changing selection p.475
Auto toggle does not work for edit selec tions across multiple tracks that are zoom toggled to fit to window p.475
Using the trimmer tools p.476
Trimmer tool p.476
The trimmer tool can also be used to lengthen and shorten midi notes see trimming note start and end times on page 585 and also to scale automation and controller data up or down drawing automation on page 926 p.476
Audiosuite tce trim tool p.477
When working with audio you cannot trim past the boundaries of adjacent regions p.477
Time compression expansion trimmer tool p.477
Time compression expansion plug in preferences p.477
The tce trimmer tool unloops and consol idates looped regions p.477
Tce edit to timeline selection com mand see tce time compression and expansion edit to timeline selection on page 508 p.477
For information on elastic audio plug ins see elastic audio plug ins on page 774 p.477
Elastic audio tce trimmer tool p.477
Using the tce trimmer tool in spot mode p.478
Using the tce trimmer tool in slip mode p.478
Using the tce trimmer tool in grid mode p.478
Trimming regions while in relative grid mode will trim the regions in grid incre ments while maintaining their relative off set if any from the grid p.478
For more information about audiosuite plug ins see chapter 37 audiosuite pro cessing p.478
Scrub trimmer tool p.479
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.479
For more information on looping regions see region looping on page 739 p.480
Creating loops with the loop trimmer tool p.480
Trimming looped regions p.480
Loop trimmer tool p.480
Trimming a looped region does not trim any underlying fades p.481
Hold down the start key on windows or the control key on mac while trimming to trim in loop iteration increments p.481
Using the selector tool p.482
Placing the edit cursor p.482
Making an edit selection with the selector tool p.482
Making a timeline selection with the selector tool p.482
Using the smart tool p.483
Using the grabber tools p.483
To temporarily switch the smart tool to the scrubber place the cursor over the region so that the selector tool is enabled then press start windows or control mac p.484
The smart tool in waveform view audio or regions view midi p.484
The smart tool in warp view p.484
To temporarily switch the smart tool to the eraser press alt start windows or op tion control mac p.485
The smart tool in notes view p.485
The smart tool in automation and controller views p.485
To temporarily switch the smart tool to the scrubber place the cursor in the upper half of the region so that the selector tool is en abled then press start windows or con trol mac p.485
To temporarily switch the smart tool to the pencil tool press start windows or con trol mac p.485
Using the scrubber tool p.486
The smart tool with stereo and multichannel tracks p.486
Scrubbing is only supported for audio tracks midi and instrument tracks cannot be scrubbed p.486
You can temporarily switch the selector tool to the scrubber tool by start clicking win dows or control clicking mac for finer resolution control start click windows or command control click mac p.487
The maximum number of channels scrubbed in pro tools is eight which lets you scrub a 7 track two stereo tracks four channels but not two 5 surround tracks 12 channels p.487
Shuttle lock mode p.487
Scrub shuttle mode p.487
Pro tools hd only p.488
Numeric keypad set to shuttle p.488
Custom shuttle lock speed p.488
Refer to the digirack plug ins guide for in formation about the audiosuite duplicate plug in p.489
For information on drawing tempo changes see editing tempo events in the tempo editor on page 676 p.489
For information on drawing midi data see the pencil tool on page 578 p.489
For information on drawing automation see drawing automation on page 926 p.489
You can recall zoom levels with the zoom preset buttons see using the zoomer tools on page 449 or with memory loca tions see memory locations and markers on page 705 the default setting for zoom preset 5 is at the sample level for pencil ed iting p.489
Waveform repair with the pencil tool p.489
Using the pencil tool p.489
The pencil tool is a destructive editing tool that permanently modifies the audio file on disk and should be used with caution p.489
Press shift forward slash to toggle link timeline and edit selection on and off p.491
Linking or unlinking timeline and edit selections p.491
Chapter 24 making selections p.491
Timeline and edit selection markers p.492
Linking or unlinking track and edit selections p.492
Selections in multiple tracks p.493
Selections and hidden tracks p.493
Selections and edit groups p.493
Selecting track material p.493
Selecting regions p.493
Press control a windows or com mand a mac for select all p.494
Another way to select all regions in all tracks without having to select the all edit group is to press enter windows or return mac then press control a win dows or command a mac the link timeline and edit selection option must be enabled p.494
Selecting all from timebase rulers p.494
Region list selection follows edit selection p.494
The object grabber is not available when the edit mode is set to shuffle or spot p.495
Object selections p.495
Making selections while playing p.495
Object to time selection p.496
Changing a selection length p.496
Nudging selection start end points p.497
Nudging a selection range p.497
Extending selections p.497
Using the edit selection indicators start end and length p.498
These shortcuts can also be used to enter start and end values in the transport window p.499
Selecting across multiple tracks p.499
Numeric entry shortcuts for selection indicators p.499
Calculator entry mode p.499
Moving and extending selections between tracks p.500
With commands keyboard focus disabled press start shift p windows or con trol shift p mac to extend the selection to the previous track or start shift semicolon windows or control shift semicolon mac to extend the selection to the next track p.500
With commands keyboard focus disabled press start p windows or control p mac to move the selection to the previous track or start semicolon windows or control semicolon mac to move the se lection to the next track p.500
Other useful selection techniques p.501
To toggle tab to transients on and off press control alt tab windows or com mand option tab mac p.502
Tabbing to transients p.502
Right click commands and selection preservation p.502
To select all tracks including conductor tracks press alt windows or option mac while clicking and dragging in a timebase ruler with the selector tool p.503
Timeline selections p.503
Tab to transients across multiple tracks p.503
Peak transients are usually visible in the waveform however some low frequency transients may not appear as visible peaks in the waveform p.503
Timeline selections to from edit selections p.504
Sliding a timeline selection p.504
Shortcuts for entering start and end values in the transport window are listed in nu meric entry shortcuts for selection indica tors on page 481 p.504
Press alt shift 6 windows or op tion shift 6 mac to change the edit selec tion to match the timeline selection p.504
Press alt shift 5 windows or op tion shift 5 mac to change the timeline selection to match the edit selection p.504
Navigating the timeline with the edit window counters and indicators p.504
Scrolling with a scroll wheel p.505
Scrolling in a timebase ruler p.505
When tracks are reordered track position numbers are reassigned to keep them in nu merical sequence p.506
Pro tools hd only p.506
Press control alt f windows or com mand option f mac to scroll to track p.506
Navigating to tracks using track position numbers p.506
Auto scrolling tracks in the mix and edit windows p.506
Universe view p.507
Framed area in the universe view p.508
Scrolling the universe view p.509
Resizing the universe view p.509
Navigating with the universe view p.509
Set the track height option for zoom toggle to fit to window in the editing preferences p.510
Press f7 for the selector tool or f8 for the grabber tool p.510
Navigating your pro tools session p.510
Creating edit selections with tab to transients p.510
Zooming to the entire session and to the edit selection p.510
To extend the edit selection up across tracks press start shift p windows or control shift p mac p.511
To extend the edit selection down across tracks press start shift semicolon windows or control shift semicolon mac p.511
Making an edit selection during playback p.511
Changing the edit selection p.511
You can also press control alt z win dows or command option z mac to re store the previous selection p.512
Restoring the last selection p.512
Moving the insertion to the beginning or end of the selection p.512
Changing track views p.512
Changing track heights p.512
For editing procedures specific to video see video regions on page 1047 p.513
For editing procedures more specific to midi see chapter 29 midi editing p.513
For details on how these new regions are au tomatically named see auto naming op tions on page 220 p.513
Creating new regions p.513
Chapter 25 editing regions and selections p.513
Capture region command p.513
For information on automatically created regions see region types on page 428 p.513
Separate commands p.514
Press control r windows or com mand r mac for capture region p.514
Press control e windows or command e mac for separate at selection p.514
Separate region operates on all related takes p.515
Auto name separated regions option p.515
Auto created to hide all auto created regions in the region list p.515
Separation grabber tool p.516
Separating multiple tracks p.516
Region overlap and underlap p.517
Changing region overlap underlap p.517
Trimming regions p.518
Trim to selection command p.518
Press control h windows or command h mac to heal separation p.518
Healing separated regions p.518
For information on using the trimmer tools see using the trimmer tools on page 458 p.518
Trim to insertion commands p.519
Trim to fill selection commands p.519
Press alt shift 8 windows or option shift 8 mac to trim start to insertion p.519
Press alt shift 7 windows or option shift 7 mac to trim start to insertion p.519
Trimming with nudge p.520
Nudging regions p.520
Nudging with nudge p.521
Defining the nudge value p.521
When commands keyboard focus is not enabled press start forward slash windows or control forward slash mac to nudge the selected material forward by the next nudge value and press start m windows or control m mac to nudge the selected material back by the next nudge value p.522
Nudging regions on multiple tracks and in multichannel tracks p.522
Nudging by next nudge value p.522
Nudging a region s contents p.522
Split selected tracks p.523
Quantizing regions to grid p.523
Press control 0 windows or command 0 mac to quantize to grid p.523
Editing stereo and multichannel tracks p.523
To quantize individual midi notes or elas tic audio events use the quantize event operations you can also use the quantize event operation to quantize audio regions for more information see quantize on page 798 p.523
Dragging regions to and from stereo and multichannel tracks p.524
Consolidating an audio track does not consolidate underlying automation data to create a single file with automation data applied to the audio use bounce to disk see bounce to disk on page 962 p.524
Consolidate command p.524
The compact command is destructive and cannot be undone it permanently alters the original audio files there is no way to recover data deleted by this command p.525
Processing audio with audiosuite plug ins p.525
Press alt shift 3 windows or option shift 3 mac to consolidate p.525
For more information about audiosuite plug ins see chapter 37 audiosuite pro cessing p.525
Compacting an audio file p.525
Tce time compression and expansion edit to timeline selection p.526
Tce edit to timeline selection on multiple tracks and channels p.526
Pro tools hd and pro tools le with dv toolkit 2 or complete production toolkit only p.526
Fitting an audio region to an edit selection p.526
Fit to selection on multiple tracks and channels p.526
You can rate selected regions during play back by pressing control alt start win dows or command option control mac and then typing the rating number 1 5 on the numeric keypad p.527
Rating regions p.527
Using fades p.529
Since crossfades are created by fading be tween overlapping audio material a cross fade cannot be performed on regions that do not contain audio material beyond their re gion boundaries p.529
Pro tools hd includes an autofade feature that provides real time fades without pro cessing them to disk see using autofades on page 523 p.529
Chapter 26 fades and crossfades p.529
About crossfades and curves p.529
Standard crossfade centered p.530
Pre crossfade p.530
Post crossfade p.530
If a region references insufficient data to ex ecute a selected fade or crossfade you are prompted to either skip those fades or to ad just the bounds of the selection to be able to execute those fades p.530
Fades dialog p.531
Fade out shape settings p.532
Slope settings p.534
Link settings p.534
Fade in or fade out only p.534
Crossfades only p.534
Fade in shape settings p.535
Use dither p.535
Typical curve combinations p.536
To apply the default fade or crossfade shape make an edit selection and press control start f windows or command control f mac p.537
Fade and crossfade preferences p.537
Creating fades at the beginnings and ends of regions p.537
Creating fade ins and fade outs p.537
To apply the fade out using the default fade out setting in the editing preferences page and without opening the fades dialog press control start f windows or command control f mac p.538
To apply a fade in using the default fade in setting in the editing preferences page and without opening the fades dialog press control start f windows or command control f mac p.538
Fade lengths can be resized with any of the trimmer tools including nudge trim commands see using the trimmer tools on page 458 and trimming with nudge on page 502 p.538
To apply a crossfade using the default crossfade setting in the editing preferences and without opening the fades dialog press control start f windows or command control f mac p.539
Creating a crossfade p.539
Pre and post crossfade selections p.540
Crossfades on tick based audio tracks p.540
Crossfade lengths can be resized with any of the trimmer tools including nudge trim commands see using the trimmer tools on page 458 and trimming with nudge on page 502 p.540
Creating fades and crossfades in batches p.541
Autofades are not applied to audiosuite processing p.541
Using autofades p.541
Pro tools hd only p.541
Moving or nudging fades or crossfades within regions p.542
Moving and nudging fades and crossfades p.542
Fade lengths can be resized with any of the trimmer tools including nudge trim com mands see using the trimmer tools on page 458 and trimming with nudge on page 502 p.542
Nudging regions adjacent to fade ins or fade outs p.543
Moving regions containing fades or crossfades p.543
Moving and nudging regions with fades or crossfades p.543
Nudging regions adjacent to crossfades p.544
Moving regions adjacent to crossfades p.544
Separating regions that include fades or crossfades p.545
If the preserve fades when editing option is not enabled in the editing preferences any fades within the selection are deleted when editing p.545
Trimming to a selection across fades or crossfades p.546
Trimming regions that include fades or crossfades p.546
Trimming a region to a fade boundary p.546
Fade boundaries and shapes in displayed automation view p.546
Working with playlists p.547
For more information on automation playl ists see chapter 42 automation p.547
Chapter 27 playlists p.547
Audio material can be dragged and dropped onto a track from the region list digibase browsers from windows explorer or the mac finder p.547
Duplicating a playlist p.548
Creating a playlist p.548
Assigning a playlist to another track p.548
You can also delete playlists in playlists view right click the playlist name on a lane or in the track list and choose delete p.549
When deleting a track from a session you have the option of deleting or keeping its playlists so they can be used on other tracks p.549
Renaming a playlist p.549
Playlists and edit groups p.549
For more information on grouping tracks see grouping tracks on page 197 p.549
Deleting a playlist p.549
Track compositing example p.550
Track compositing p.550
Elastic audio and alternate playlists p.550
Expand alternates to new playlists p.551
Press control alt start v windows or command option control v mac to copy the selection to the main playlist p.552
You can also control alt click windows or command control click mac the playlist selector to switch to playlists view p.553
Region groups are not supported in playlists track view p.553
Playlists view p.553
Before starting work with track composit ing duplicate the track s main playlist to keep it intact as a backup alternate playlist p.553
Use start p and start windows or control p and control mac to move the edit cursor up and down through playlist lanes p.554
Press shift s to solo any one playlist lane containing the edit cursor if more than one playlist lane contains the edit cursor the topmost lane is soloed p.554
Copying alternate playlists to the main playlist p.554
Auditioning alternate playlists p.554
Press control alt start v windows or command option control v mac to copy the selection to the main playlist p.555
Resizing playlist lanes p.556
Reordering playlist lanes p.556
Press start up down arrow key win dows or control up down arrow key mac to resize heights for tracks playlists and lanes containing the edit cursor or edit selection p.556
Editing in playlist lanes p.556
Dragging regions to playlists lanes p.556
Renaming alternate playlists p.557
Alternate playlists in the track list p.557
Matching alternate regions p.558
Filtering lanes p.558
Matching criteria settings are saved with your pro tools session p.559
Matching criteria affects midi as well as audio regions p.559
Matching criteria p.559
Alternates match options p.559
Selecting alternate takes on tracks p.560
In addition to match options p.560
Matches and multiple tracks p.561
For more information on loop recording see loop recording audio on page 381 p.561
Expanding alternate takes to new playlists or tracks p.561
Automatically create new playlists when loop recording p.561
Expanding alternate takes to new tracks p.562
Expanding alternate takes to new playlists p.562
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.563
Expanding channels to new playlists p.563
Expanding alternate channels to new playlists or tracks p.563
Conditions for alternate channel availability p.563
It is not possible to rename files encoded with xml metadata the file extension will always be a1 and a2 even for stereo files also it is not possible to rename files with a l r suffix as a result pro tools does not always recognize these channels as a stereo pair p.564
Expanding channels to new tracks p.564
Expanding channels by time code only p.564
Relinking the original unedited guide track p.565
If the original unedited file is not available you can relink to any of the source audio files as long as they have the same start and end times as the guide track p.565
Uses for beat detective p.567
Chapter 28 beat detective p.567
Beat detective and source material p.567
When working with tick based audio use beat detective s region separation command to quickly separate audio regions into individual hits or slices you can also create a region group of the separated regions to facilitate editing and arranging p.568
Ram requirements for beat detective p.568
Beat detective requirements p.568
Beat detective le cannot be used across multiple tracks without the music production toolkit 2 option or the complete production toolkit option when beat detective le without the music production toolkit 2 or complete production toolkit option is applied to multiple tracks only the top track is edited p.568
The beat detective window p.569
Beat detective modes p.569
Use loop playback to check the accuracy of your selection p.570
To ensure the best possible results with beat detective make sure the selected passage starts exactly on the attack of the first beat p.570
To avoid losing an existing selection save and recall an edit selection by saving it as a memory location see memory locations and markers on page 705 p.570
Link timeline and edit selection p.570
Defining a beat detective selection p.570
Beat detective le cannot be used across multiple tracks without the music production toolkit 2 or complete produc tion toolkit option when beat detective le without the music production toolkit 2 or complete production toolkit option is applied to multiple tracks only the top track is edited p.570
The selection definition is not retained when a session is closed and re opened p.571
Pro tools m powered requires the music production toolkit 2 option to use the en hanced resolution option p.571
Beat detective analysis p.571
Beat detection across multiple tracks p.571
As long as the audio material is correctly aligned with the session s tempo map use capture selection each time you make a new selection or make any changes to the tempo map such as changing tempo or meter p.571
Generating beat triggers p.572
Calculating tempo with beat detective p.572
Beat detective le cannot be used across multiple tracks without the music production toolkit 2 or the complete pro duction toolkit option when beat detec tive le without the music production tool kit 2 option is applied to multiple tracks only the top track is edited p.572
You can also switch tick based material such as a midi performance to be sample based and then manually insert bar beat markers p.574
Realign session p.574
Midi chord recognition p.574
Tips for getting useful beat triggers p.575
Beat detective le cannot be used across multiple tracks without the music production toolkit 2 or complete produc tion toolkit option when beat detective le without the music production toolkit 2 or complete production toolkit option is applied to multiple tracks only the top track is edited p.575
Moving beat triggers p.576
Inserting beat triggers p.576
If you click too close to an existing trigger the existing trigger will be moved to the new location p.576
Editing beat triggers p.576
Deleting beat triggers p.576
Redefining a beat trigger s metric location p.577
Promoting beat triggers p.577
Navigating consecutive beat triggers p.577
When quantizing regions or midi notes to bar beat markers on sub beats that represent a swing feel make sure to use a straight quantize value with the swing option for quantize disabled p.578
If you are simply aligning a sloppy part to the other tracks you probably do not need to generate bar beat markers p.578
Generating bar beat markers with beat detective p.578
Working with sub beats p.578
When extracting groove templates the captured selection must not include bar beat markers otherwise the accuracy of the groove template will be compromised p.579
Digigroove templates p.579
Beat detective only captures duration data from midi tracks not from audio tracks p.579
Use folders and subdirectories to organize digigroove templates however be sure they are always located in c program files digidesign pro tools grooves windows or applications digidesign pro tools grooves mac groove template files located elsewhere will not be available in either groove quantize or beat detective p.580
Swing content for generating groove templates p.580
Groove extrapolation p.580
Trigger pad p.581
Separating regions with beat detective p.581
For more information on region sync points see sync points on page 728 p.581
Audio only p.581
Separating multiple tracks p.582
Pro tools hd and pro tools le with music production toolkit 2 or complete production toolkit only p.582
Beat detective le cannot be used across multiple tracks without the music production toolkit 2 option when beat detective le without the music production toolkit 2 option is applied to multiple tracks only the top track is edited p.582
Conforming regions with beat detective p.583
Audio only p.583
To tighten up the original feel while retaining it set the strength option to 85 88 p.583
To tighten up the original feel while retaining it set the exclude within option to 10 15 p.583
Standard conform p.583
When using groove conform the captured selection must not include bar beat mark ers otherwise the accuracy of the groove template will be compromised p.584
If beat detective has successfully captured enough of the sub beats from a selection be fore separating you can successfully con form with the swing option to change the groove from a straight feel to one that is swung you can also import a groove tem plate containing a swing feel see groove conform on page 566 p.584
Groove conform p.584
When conforming an audio passage to a heavily swung groove template enabling pre process using standard conform will often yield better results p.585
Edit smoothing p.585
Audio only p.585
If performance is not an issue use the re gion group command for easier editing and manipulation of regions this can be useful for arranging beats that were sliced with beat detective especially if you plan on changing tempos with tick based audio tracks for more information on region groups see region groups on page 743 p.586
For more information on region sync points see sync points on page 728 p.586
Edit smoothing creates sync points p.586
Consolidating regions after edit smoothing p.586
Detection normal and collection mode p.587
Before consolidating a large selection across multiple tracks make sure there is enough ram available see ram requirements for beat detective on page 550 p.587
Beat detective le does not support collec tion mode without the complete production toolkit or music production toolkit 2 op tion p.587
Pro tools hd and pro tools le with complete production toolkit or music production toolkit 2 only p.587
Drum tracks and collection mode p.587
With commands keyboard focus enabled press p to move the selection up or semi colon to move the selection down hold down the shift key to retain and add to the current selection p.588
Using collection mode p.588
Press start p windows or control p mac to move the selection up or start semi colon windows or con trol semi colon mac to move the selection down p.588
To separate regions across multiple tracks make sure to extend the selection to any ad ditional tracks before separating p.589
Part vi midi p.591
Play midi notes when editing p.593
Midi editing options p.593
For information on region specific editing for both midi and audio see chapter 25 editing regions and selections p.593
Chapter 29 midi editing p.593
Follow grid p.594
Default note on velocity p.594
Default note duration p.594
Mirrored midi editing p.595
If mirrored midi editing mode is disabled and you edit notes of looped regions in notes view the edit flattens the loop simi larly editing region groups separates the re gion groups p.595
Setting the grid value p.595
The pencil tool p.596
Parabolic and s curve pencil shapes are used for drawing tempo events only in the tempo editor see drawing tempo events on page 677 p.596
Free hand p.596
For more information on grid mode see grid on page 446 p.596
Triangle p.597
Square p.597
Random p.597
With the smart tool active see using the smart tool on page 465 start click windows or control click mac to change the cursor to the pencil tool and insert midi notes option control click mac or alt start click mac to delete notes p.598
With grid mode enabled the start point of the midi note snaps to the nearest grid boundary by default with the free hand pencil tool press control windows or command mac after clicking and holding to temporarily suspend snap to grid p.598
When inserting midi notes or other midi data with the pencil tool midi region boundaries are created on the nearest bar lines p.598
Inserting midi notes p.598
With the grid mode enabled the end point of the midi note snaps to the nearest grid boundary by default control drag win dows or command drag mac with the pencil tool to temporarily suspend snap to grid p.599
Inserting a series of notes p.599
Selecting and auditioning midi notes with the mini keyboard p.600
Manually editing midi notes p.600
You can also select notes in the select split notes window see select split notes on page 818 p.600
With the selector tool alt click windows or option click mac to get the note selector tool in the edit window and midi editor windows the selector tool always make note selections in the score editor the note selector tool selects all midi notes within the duration of the selection as objects and does not select any other midi events such as controller data or program changes p.600
Selecting midi notes p.600
You can also shift click on the mini keyboard to extend or contract the range of notes p.601
Selecting only midi notes using the note selector tool p.601
Control click windows or command click mac to select or deselect notes and to make noncontiguous selections p.601
Alt click windows or option click mac to play notes without making a selection p.601
Using the grabber tools p.602
Transposing notes p.602
To transpose a copy of the note leaving the original unchanged press alt windows or option mac while dragging p.602
To copy the selected notes leaving the orig inals intact press alt windows or option mac while dragging p.602
Moving notes p.602
Midi notes can also be transposed using the transpose event operation see trans pose on page 816 or midi real time properties see midi real time properties on page 604 p.602
Trimming note start and end times p.603
The trimmer tool can also be used on midi regions for more informations see time compression expansion trimmer tool functionality on midi regions on page 591 p.603
The placement of midi notes can also be adjusted with shift see shift command on page 730 or nudge see nudging re gions on page 502 p.603
When in grid mode use the control key windows or the command key mac to temporarily disable grid mode p.603
Separating midi notes p.604
Separate and consolidate tools for midi notes p.604
Press control e windows or command e mac to separate midi notes at the selection p.604
Press control m windows or command m mac to mute and unmute selected midi notes p.605
Press alt shift 3 windows or option shift 3 mac to consolidate adja cent selected midi notes of the same pitch p.605
Muting midi notes p.605
Consolidating midi notes p.605
When in velocity view the trimmer tool can be used to trim note durations in addition to changing velocities p.606
Manually editing note velocities p.606
Typing in note attributes p.607
If two notes have the same start time with velocity stalks on top of each other con trol drag windows or command drag mac the actual note up or down to adjust its velocity p.607
Auditioning velocity changes p.607
When deleting midi notes within a time range selection all underlying controller and automation data is also deleted p.608
Multiple notes and event edit area p.608
Deleting midi notes p.608
You can also change attributes of midi notes in the midi event list see chapter 32 midi event list p.608
Using the time compression expansion trimmer tool in grid mode p.609
Time compression expansion trimmer tool functionality on midi regions p.609
Program change events and sysex events can also be deleted by alt clicking windows or option clicking mac them with the pencil tool p.609
Using the time compression expansion trimmer tool in spot mode p.610
Using the time compression expansion trimmer tool in slip mode p.610
Using the time compression expansion trimmer tool in shuffle mode p.610
Continuous controller events p.610
Polyphonic aftertouch cannot be viewed in the edit window to view polyphonic after touch in pro tools use the midi event list see chapter 32 midi event list p.611
Inserting and editing controller events p.611
To cur rent automation type for example you might want to use the same control data for volume and a cut off filter or for pan and pitch bend for more information see spe cial paste function for automation data on page 935 p.612
The controller is automatically added to the automated midi controllers list when you record controller information from an exter nal device p.612
Resolution for inserted controller events p.612
Edits to volume data affect all tracks within an enabled edit group this is not the case however for other controller playlists such as pan to insert and edit other controller types across all tracks in an edit group press the start key windows or control mac while performing the edits p.612
When you record continuous controller in formation from an external midi device the controller is automatically added to the midi controllers list p.613
About program and bank changes p.614
Some older midi devices such as the kurz weil k1000 use a program change instead of a bank select message to switch banks for these devices you may find it necessary to send two program change messages to ac cess a particular program where the first sets the bank and the second sets the pro gram p.614
Program changes are sent to external midi devices instrument plug ins in pro tools do not respond to program change informa tion p.614
Patch select program and bank changes p.614
If you do not know what bank select com mand your instrument uses you can record midi to pro tools while making a bank change from the instrument then review the bank select information your instrument has recorded into pro tools in the midi event list p.614
Default program change p.614
See your setup guide for information on configuring midi on windows and mac systems p.615
Patch names p.615
Midi patch name files midnam can be edited in any text editor or you can use third party patch librarian and editor soft ware to create your own custom patch names p.615
Pro tools does not let you import a patch name file that does not match the model and manufacturer information selected in the midi studio setup window windows or in the audio midi setup mac p.616
On some instruments changing programs during playback can interrupt playback to avoid this place program change events in the track where there are no notes sounding p.616
Inserting and editing program changes p.616
The placement of program changes can also be adjusted with shift see shift com mand on page 730 or nudge see nudg ing regions on page 502 p.617
Individual program change events can also be deleted by alt clicking windows or op tion clicking mac them with the pencil tool p.617
If the region contains other events you want to delete you can delete the region and the program change event will also be deleted p.617
Auditioning programs p.617
Individual sysex event blocks can also be deleted by alt clicking windows or op tion clicking mac them with the pencil tool p.618
To begin recording the sysex transfer from your midi device at the timeline insertion point enable wait for note p.618
The placement of sysex event blocks can also be adjusted with shift see shift com mand on page 730 or nudge see nudg ing regions on page 502 p.618
System exclusive events p.618
Note chasing p.619
Note and controller chasing p.619
Default controller values and chasing p.619
Controller and program chasing p.619
With pro tools hd when delay compen sation is active midi and instrument tracks are automatically delay compen sated to provide low latency monitoring for more information see delay compensa tion for midi on page 865 p.620
The global midi playback offset can also be set from the midi track offsets window you can also apply midi real time proper ties delay to offset midi see midi real time properties on page 604 p.620
Offsetting midi tracks p.620
Individual midi and instrument track offsets p.620
Global midi playback offset p.620
Stuck notes p.621
Remove duplicate notes p.621
Press control shift period windows or command shift period mac for the all midi notes off command p.621
For midi real time properties to apply to incoming midi data with midi thru enabled the corresponding midi and instrument tracks must be record enabled p.622
Real time properties view p.622
Midi real time properties p.622
When using real time properties enable link track and edit selection mode to make a track selection from an edit selection see linking or unlinking track and edit selec tions on page 474 p.623
Real time properties window p.623
Expanded real time properties window p.623
Enabling real time properties p.623
Real time properties settings p.624
Quantize cannot be applied as a real time property to midi input and thru p.624
Quantize p.624
Ticks notes pop up menu p.625
Minimum and maximum durations p.625
Duration mode pop up menu p.625
Duration cannot be applied as a real time property to midi input and thru p.625
Duration amount p.625
Duration p.625
Duration cannot be applied as a real time property to midi input and thru p.626
Velocity can be applied as a real time property to midi input and thru on record enabled midi and instrument tracks p.626
Velocity p.626
Transpose can be applied as a real time property to midi input and thru on record enabled midi and instrument tracks p.626
Transpose p.626
Real time properties on tracks and regions p.626
Writing real time properties to tracks or regions p.627
Track based real time properties p.627
Region based real time properties p.627
Real time properties in the midi event list p.628
Real time properties effects displayed in the midi event list p.628
Real time properties effects displayed in the edit window p.628
For more information on the midi event list see chapter 32 midi event list p.628
Display of real time properties effects p.628
Pro tools provides midi editor windows for detailed midi editing p.629
Chapter 30 midi editors p.629
Automation and controller lanes p.630
To cycle through all open midi editor win dows press start windows or control mac repeatedly until the window you want is in the front p.630
Superimposed midi and instrument tracks p.630
Press start windows or control mac to open a midi editor window p.630
Opening a midi editor window p.630
If the midi editor option is selected as the double clicking a midi region opens setting in the pro tools midi preferences you can double click a midi region to open it in a midi editor p.630
Solo and mute buttons p.631
Notation view p.631
Mixed mute and solo states p.631
Midi editor window toolbar p.631
Play midi notes when editing link time line and edit selection and mirrored midi editing are all global settings that are avail able in the edit window midi editor windows and in the score editor window p.632
Play midi notes when editing p.632
Midi editing controls p.632
Link timeline and edit selection p.632
Edit tools p.632
Default note on velocity p.632
Default note duration p.632
Track edit selector p.632
Target p.633
Mirrored midi editing p.633
If mirrored midi editing mode is disabled and you edit notes of looped regions in notes view the edit flattens the loop similarly editing region groups separates the region groups p.633
Grid and nudge selectors p.633
Edit selection display p.633
Edit modes p.633
Cursor location display p.633
Midi editor window menu p.634
Midi editor window display options p.634
Expanded grid nudge display p.634
Expanded edit tools p.634
Toolbar display options p.635
Selection display p.635
Scrolling p.635
Customizable toolbar p.635
Track list p.635
Vertical and horizontal zoom in and out buttons p.636
Track list p.636
Rearranging controls and displays p.636
Midi zoom in and out buttons p.636
Midi editor zoom controls p.636
Track list menu p.637
Track list columns p.637
Showing and hiding tracks p.637
Track list right click menu options p.638
Track list right click menu p.638
Sorting tracks in the track list p.638
Group list p.638
For information on grouping tracks see chapter 12 grouping tracks p.638
Timebase and conductor rulers p.639
Superimposed notes view p.639
You can also view and edit midi notes in notation view in the notes pane see nota tion view on page 626 p.639
Color coding midi notes p.640
Color coding by velocity p.640
Color coding by track p.640
When neither color coding by track nor color coding by velocity are enabled notes are drawn in the midi editor in as the same color they are in the edit window using the color coding options as set in the track color coding settings in the display preferences p.641
No color coding p.641
To pencil enable multiple contiguous tracks shift click in the pencil column of the range of tracks you want to pencil en able multiple discontiguous tracks control click windows or command click mac in the pencil column of any additional tracks alt click windows or option click mac to pencil enable all tracks manually inserted notes are written to all pencil en abled tracks p.642
Only tracks that are currently shown in the midi editor window are available in the track edit selector pop up menu p.642
Manually inserting midi notes p.642
For more information on manually insert ing midi notes see inserting midi notes on page 580 p.642
For more information on editing midi notes see chapter 29 midi editing p.642
Editing midi notes p.642
Notes pane right click menu p.643
Mute notes p.643
Insert p.643
Consolidate p.643
Separate p.643
Notes pane right click menu options p.643
Open in score editor p.644
Open in new midi editor p.644
Open in midi event list p.644
Note that in notation view the trimmer tool functions as the grabber tool when over a note and as the note selector tool when not over a note p.644
Notation view p.644
Midi real time properties p.644
In notation view the edit mode is automatically set to grid and cannot be changed p.644
For information on editing notation see editing notes on page 644 p.644
Event operations p.644
Display notation p.644
Double bar p.645
Velocity controller and automation lanes p.646
Notation view right click menu p.646
Chapter 31 score editor p.649
The score editor window lets you view edit arrange and print midi from your session as music notation midi notes are transcribed in real time whether you record import draw with the pencil tool or step enter midi p.649
Zoomer p.650
Press the f5 key to select the zoomer tool and toggle between normal and single zoom modes p.650
Press alt start windows or option control mac to show the score editor window p.650
Opening the score editor window p.650
Normal zoom mode p.650
If the score editor option is selected as the double clicking a midi region opens setting in the midi preferences page you can double click a midi region to open it in the score editor p.650
Edit tools p.650
Also see score editor zoom controls on page 640 p.650
Single zoom mode p.651
Press the f8 key to select the grabber tool p.651
Press the f7 key to select the note selector tool p.651
Press the f6 key to select the trimmer tool p.651
Pencil p.651
Note selector p.651
Grabber p.651
Trimmer p.651
The note selector tool makes a range selection that only includes midi notes and velocities it does not include any other midi data such as program changes or continuous controller data p.651
Triangle p.652
Square p.652
Random p.652
Press the f10 key to select the current pencil tool press the f10 key repeatedly to cycle through the different pencil tools p.652
Free hand p.652
Play midi notes when editing p.653
Mirrored midi editing p.653
Link timeline and edit selection p.653
Default note on velocity p.653
Default note duration p.653
If mirrored midi editing mode is disabled and you edit notes of looped regions in notes view the edit flattens the loop simi larly editing region groups separates the re gion groups p.654
Double bar p.654
Cursor location p.654
Expanded edit tools p.655
Track list p.655
Selection display p.655
Scrolling p.655
Score editor window target p.655
Score editor window menu p.655
Inserting notes on the grid p.655
Track list p.656
Toolbar display options p.656
Rearranging controls and displays p.656
For pro tools hd systems the continuous and center playhead scrolling options are not available in the score editor window if the score editor window is set to the follow edit window scrolling option and the edit window is set to either the continuous or center playhead scrolling options the score editor window scrolls by page p.656
Customizable toolbar p.656
Showing and hiding tracks p.657
Score editor zoom controls p.658
Page controls p.658
Zoom to page sizes p.659
Notation display track settings p.659
Straighten swing p.660
Notation display track settings options p.660
Follow globals p.660
Display transposition p.660
Display quantization p.660
Attributes p.660
Allow note overlap p.660
Split point p.661
Score setup window options p.661
Score setup p.661
Information p.661
Globals p.661
Display p.661
Layout p.662
Editing notes p.662
Disable the chord diagrams option when printing charts and lead sheets where you just want to see chord symbols p.662
Spacing p.662
On pages where the music is vertically justi fied the distance between staves and systems will be larger than the numbers specified p.662
Transposing notes p.663
Selecting notes p.663
Moving notes p.663
You can also nudge notes in the score editor by the currently selected grid value p.664
Step input p.664
Inserting notes p.664
Score editor right click menu p.665
Insert p.665
Print score p.666
Open in midi event list p.666
Open in midi editor p.666
Notation display track settings p.666
Key changes p.666
Event operations p.666
You can also add and delete key signatures in the key signatures ruler in the edit win dow or in any midi editor window p.666
Send to sibelius p.666
Score setup p.666
You can also add and delete meters in the meter ruler in the edit window and in midi editor windows p.667
You can also add and delete chord symbols in the chord symbol ruler in the edit window and in midi editor windows however chord diagrams guitar tab are only displayed in the score editor window p.667
Meter changes p.667
For some meters it may be desirable to use a dotted value for the click for instance if using a meter of 6 8 a dotted quarter note click yielding two clicks per measure is generally more suitable than a straight eighth note click six clicks per measure p.667
Chord symbols and diagrams p.667
Sibelius 5 x or higher is required to open sib files exported from pro tools p.669
Printing scores p.669
Press control p windows or command p mac to print the score p.669
Exporting scores p.669
Opening the midi event list p.671
Number of events p.671
Mute data for midi and instrument tracks is not displayed in the midi event list p.671
Chapter 32 midi event list p.671
Unlike playlists in the edit window you can insert and display polyphonic aftertouch in the midi event list p.671
Track selector p.671
Press alt equal windows or option equal mac to open the midi event list p.671
When inserting an event type that has been filtered from the midi event list that event type will no longer be filtered p.672
View filter for midi event list p.672
Target p.672
Midi event list menu p.672
Columns in the midi event list p.672
With the midi event list as the front most window press control g windows or command g mac to open the go to dialog p.673
With the midi event list as the front most window press control f windows or command f mac to open the midi event list view filter dialog p.673
Navigating in the midi event list p.673
With the start field selected you can auto matically enter the location of another event already in the track by clicking that event p.674
With the midi event list as the front most window press control n windows or command n mac to insert a note p.674
Inserting events in the midi event list p.674
With the midi event list as the front most window press control p windows or command p mac to insert a program change event p.675
With the midi event list as the front most window press control l windows or command l mac to insert a controller event p.675
With the start field selected you can auto matically enter the location of another event already in the track by clicking that event p.675
With the start field selected you can auto matically enter the location of another event already in the track by clicking that event p.676
With the midi event list as the front most window press control m windows or command m mac to insert a note p.676
When the option for insert at playback lo cation is enabled see midi event list op tions on page 660 you can use the key board shortcuts for inserting another event to insert events on the fly p.676
Inserting another event p.676
Editing events in the midi event list p.676
Selecting events in the midi event list p.677
Notes selected in the midi event list can be modified by any of the commands in the event operations window see chapter 39 event operations p.677
Deleting events in the midi event list p.677
To paste events without overwriting other events use the merge paste special command p.678
Midi event list options p.678
Copying and pasting events in the midi event list p.678
Part vii arranging p.679
Arranging p.679
Pro tools also provides a markers ruler for memory locations for more information see chapter 34 memory locations p.681
Chapter 33 time tempo meter key and chords p.681
Timebase rulers and conductor rulers p.681
Timebase rulers p.681
With the selector tool drag in any time base ruler to select material across all tracks in the edit window or midi editor window to include the conductor tracks in the selec tion press alt windows or option mac while dragging p.682
To ensure your tracks align with the bars and beats in your session record with a click see recording with a click on page 348 material that is recorded without listening to a click can still be aligned to bar and beat boundaries in pro tools with the identify beat command see identify beat com mand on page 689 or with beat detective see chapter 28 beat detective p.682
Ruler view selector p.683
For more information on memory location markers see chapter 34 memory locations p.683
Conductor rulers p.683
The main counter indicator in the transport window only displays when the transport is set to display counters p.684
Setting the main time scale to the timebase currently displayed in the sub counter switches the two time scales setting the sub time scale to the previous timebase of the main time scale p.684
Setting the main time scale p.684
Navigating with the main counters p.684
Main time scale p.684
When the main time scale is set to bars beats and you are using tempo changes set the linearity display mode to linear tick display see changing the lin earity display mode on page 682 this will keep the bars beats ruler fixed at the selected zoom level and sample based rul ers such as minutes seconds will scale to fit any tempo changes while bar lengths re main constant p.685
Tick based timing p.685
The sub counter p.685
In the bars beats time scale pro tools is tick based 960 ticks to a quarter note which means that some amount of sample rounding may occur when placing events at certain locations see sample rounding and edit operations on page 670 p.685
To have all new tracks default to tick based enable the new tracks default to tick timebase option in the editing preferences p.686
Tick based elastic audio p.686
Tick based audio and midi p.686
Tick and sample based timebases p.686
Sample based audio and midi p.686
Switching timebases p.687
Marker location p.687
Groups p.687
Audio region location p.687
Alternate playlist timebases p.687
To move the song start marker only with out moving any tick based data press start shift windows or control shift mac while dragging when dragging the song start marker only dragging is con strained to whole bar increments only p.688
The position of the song start marker can also be changed in the time operations window see move song start on page 699 p.688
Song start marker p.688
Sample rounding and edit operations p.688
In manual tempo mode the tempo track is ignored and the session plays at the tempo defined in the transport window see us ing manual tempo mode on page 352 p.689
Current tempo p.689
You can use beat detective to generate bar beat markers tempo map for more in formation see generating bar beat mark ers with beat detective on page 560 p.689
When working with tempo changes and tick based material set the linearity dis play mode to linear tick display p.689
To set the default session tempo see set ting the session meter and tempo on page 351 p.689
Tempo events p.689
Inserting tempo events p.689
Press alt windows or option mac while dragging to select across all conductor tracks p.690
Editing and moving tempo events p.690
You can apply the new tempo to the entire session by changing the default tempo of the song start marker see song start marker on page 670 p.691
With sample based regions on tick based tracks only p.691
Tempo and automation drift p.691
Tap tempo p.691
You can also separate regions at transients or based on the current grid resolution for more information see separate com mands on page 496 p.692
To break an audio region into smaller re gions use beat detective for more informa tion see chapter 28 beat detective p.692
Tempo changes and tick based elastic audio tracks p.692
Minimizing automation drift p.692
Conform to tempo p.693
You can also use telescoping warp in warp view to manually conform a long region to the session tempo see telescoping warp on page 780 p.693
If you change the track timebase from ticks to samples any tempo event generated warp markers convert to regular editable warp markers p.693
Conform to tempo can only be applied to regions and cannot be applied to region groups to conform region groups to the tempo you must first ungroup the region group then apply conform to tempo to the underlying regions and then regroup those regions p.693
Zooming and scrolling in the tempo editor p.694
Tempo editor p.694
Graphic tempo editor p.694
Editing tempo events in the tempo editor p.694
Alternate playlists p.694
The triangle square and random pencil tool shapes do not apply to tempo events p.695
Selecting tempo resolution bpm rate p.695
Drawing tempo events p.695
Because it can be unnecessarily complicated to set meter events separately for each tempo event digidesign recommends selecting follow metronome click in most cases p.695
Selecting tempo edit density p.696
Pressing start windows or control mac before drawing a pencil line conforms already created tempo events to the drawn line rather than creating new tempo events p.696
Curve adjustment mode p.696
All the new tempo events under the curve will change as you move the tempo curve adjustment handles to adjust the curve shape without the track data adjusting im mediately press start windows or control mac while adjusting the curve tempo events will change to fit the new curve when you release the mouse button p.696
Selecting tempo events p.697
Grabbing tempo events p.697
Extending tempo selections p.697
Using the trimmer tool p.698
Press alt windows or option mac while dragging to move a copy of the tempo events p.699
Moving cutting pasting and nudging in the tempo editor p.699
Tempo edit density and linearity display mode p.700
Drawing tempo events using the linear sample display causes bar beat based material to move this can make it difficult to work on tick based material digidesign recommends that you use linear tick display when drawing tempo changes p.700
Changing the linearity display mode p.700
The tempo operations window is not avail able in manual tempo mode p.701
Tempo operations window p.701
Press alt 2 windows or option 2 mac on the number keypad to open the tempo operations window and display the last active tempo operations page p.701
If the tempo operations window is already open you can select any of the pages from the pop up menu at the top of the window p.701
Selecting follow metronome click will set the tempo bpm note value to mirror the click value set in the meter markers p.702
Linear p.702
Constant p.702
Selecting follow metronome click will set the tempo bpm note value to mirror the click value set in the meter markers p.703
Parabolic p.703
Selecting follow metronome click will set the tempo bpm note value to mirror the click value set in the meter markers p.704
S curve p.704
Select follow metronome click will set the tempo bpm note value to mirror the click value set in the meter markers p.705
Stretch p.706
Use beat detective to generate bar beat markers within a selection that includes rhythmic changes on beats or sub beats for more information see chapter 28 beat detective p.707
Identify beat command p.707
Choosing bar beat markers or tempo events p.707
Bar beat markers p.707
When identifying beats select as large an area as possible for example if you have a four bar long audio file you want to identify select the entire four bars instead of just one bar in order to minimize round ing errors see sample rounding and edit operations on page 670 p.708
Identifying beats p.708
Editing bar beat markers p.709
Dragging bar beat markers p.709
Inserting bar beat markers one at a time p.710
Current meter p.710
Sample based material with varying tempos p.710
Meter events p.710
Inserting meter events p.710
For some meters it may be desirable to use a dotted value for the click for instance if using a meter of 6 8 a dotted quarter note click yielding two clicks per measure is generally more suitable than a straight eighth note click six clicks per measure p.711
Editing meter events p.711
To insert meter events while avoiding par tial bars use the change meter command in the time operations window see change meter on page 695 p.712
Time operations p.712
Press alt windows or option mac while dragging to select across all conductor tracks p.712
Partial measures p.712
If the time operations window is already open you can select any time operation from the pop up menu at the top of the win dow p.712
Realign p.713
Press alt 1 windows or option 1 mac on the number keypad to open the time operations window and display the last active time operations window p.713
Change meter p.713
Insert time p.714
Change meter examples p.714
Insert time example p.715
Realign p.715
Realign p.716
Cut time example p.716
Cut time p.716
Move song start example p.717
Move song start p.717
Renumbering bars p.718
Key signatures p.718
Key signature ruler p.718
For information on exporting midi to sibe lius see exporting sibelius files on page 305 p.718
Key change dialog p.719
Changing key signatures p.719
Pitched tracks p.720
Import midi p.721
Chord symbols ruler p.721
Chord symbols p.721
Importing key signatures p.721
Import session data p.721
To show or hide chord symbols and diagrams in the score editor select or deselect the cor responding option in the score setup dialog p.722
Chord change dialog p.722
Properties of memory locations p.723
Memory locations and markers p.723
Chapter 34 memory locations p.723
Time properties p.724
Only contiguous selections can be saved with memory locations noncontiguous se lections made with the object grabber tool will be recalled as if the selections were made with the time grabber tool p.724
Bar beat and absolute reference p.724
See creating memory locations on page 707 and editing memory locations on page 710 for more information p.725
General properties p.725
Creating memory locations p.725
Comments p.725
In the new memory location dialog you can alt click windows or option click mac any general property to enable or disable all properties you can also control click windows or command click mac any property to toggle its state and the state of all other general properties p.727
Creating memory locations on the fly p.727
When use separate play and stop keys op tion is enabled in the operation preferences page it overrides using the enter key to add memory location markers when this op tion is enabled press period and then en ter on the numeric keypad to add a memory location marker the new marker is created when you press enter p.727
When recalling a memory location from the numeric keypad the memory locations window does not need to be open p.728
Recalling memory locations p.728
Even if the markers ruler is not displayed markers can be recalled from the memory lo cations window or from the numeric keypad p.728
Editing memory locations p.728
Deleting memory locations p.729
With the numeric keypad mode set to classic press the memory location number followed by period with the numeric keypad mode set to transport or shuttle press period the memory location number and period again p.730
Press alt windows or option mac while dragging to select across all conductor tracks p.730
Memory locations window p.730
Copying marker memory locations p.730
Memory locations commands and options p.731
View filter icons p.732
Alt click windows or option click mac a memory location in the memory loca tions window to clear it p.732
Placing regions in tracks p.733
For information on locating regions in the region list by typing the first few letters of their name see keyboard selection of re gions on page 216 p.733
Chapter 35 arranging regions p.733
You can temporarily disable grid mode while dragging a region by holding down the control key windows or command key mac after clicking with the mouse p.733
Timeline drop order p.733
With pro tools hd when the scrolling op tion is set to center playhead regions snap to the playhead instead of the edit inser tion point p.735
Placing regions at the edit insertion point p.735
With pro tools hd when the scrolling op tion is set to center playhead region start end and sync points align to the playhead p.736
Aligning region start points p.736
You can slide a copy of a region to another location or track by pressing alt windows or option mac while dragging p.737
With certain workflows it is important to exclude shuffle mode in order to ensure that regions stay time aligned while editing shuffle lock prevents you from inadvert ently entering shuffle mode by disabling all key commands and control surface switches for shuffle mode for more information see shuffle lock on page 445 p.737
To retain a region s time location when dragging to another track press the start key windows or control mac while drag ging p.737
Sliding regions p.737
Shuffling regions p.737
Time grabber and object grabber p.738
Shuffling multiple tracks and multichannel regions p.738
Moving regions with the grabber tools p.738
Hold down alt windows or option mac when clicking and dragging the selection with a grabber tool to copy the selection rather than cut it p.738
Separation grabber p.739
Snapping to the preceding or next region on a track p.739
You can also use the snap to commands with an edit selection that includes multi ple regions on one or more tracks p.740
Spotting regions p.740
Slipping regions p.740
For even quicker spotting if you are using vitc use the auto spot regions command to spot a region to the current smpte frame location with the time grabber tool for more information see auto spotting re gions on page 1030 p.740
Right click commands for spotting regions p.741
In lower versions of pro tools right click ing in a region with the grabber tool would spot the region to a selection p.741
For more information on using smpte with pro tools see chapter 47 working with synchronization p.741
To temporarily suspend grid mode and switch to slip mode while dragging a region hold down the control key windows or command key mac p.742
Time stamps in digibase p.742
Time stamps and matches p.742
Sliding regions in grid mode p.742
Setting up the grid p.742
Region time stamps p.742
Defining the grid value p.743
Absolute and relative grid mode p.743
To temporarily suspend grid mode and switch to slip mode while dragging a region hold down the control key windows or command key mac p.743
Replacing audio regions p.744
Replace region dialog p.744
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.744
Control shift drag windows or com mand shift drag mac any region from the region list to any unselected region on a track to open the replace region dialog without first making a selection p.744
Replacing regions from the region list p.745
Sync points p.746
Replace region and multichannel tracks p.746
You can also move the location of a sync point by clicking and dragging it see drag ging sync points on page 729 p.747
Scrubbing sync points p.747
Removing sync points p.747
Dragging sync points p.747
Displaying sync points p.747
Shift command p.748
Locking regions p.748
Edit locking regions p.748
Time locking regions p.749
Press shift t to time lock or unlock the se lected region p.749
Press control l windows or com mand l mac to edit lock or unlock the se lected region p.749
The strip silence window p.750
Stripping silence from regions p.750
Muting unmuting regions p.750
Allowing editing of edit locked regions p.750
Auto naming for strip silence p.751
Using strip silence p.752
Strip silence works with stereo and multi channel tracks and keeps their audio re gions phase coherent p.752
Press control u windows or com mand u mac to open the strip silence window p.752
The insert silence command also affects markers in any selected conductor rulers such as the tempo or meter rulers p.753
Inserting silence p.753
Press control d windows or com mand d mac to duplicate any selected regions p.754
Duplicating regions p.754
Duplicating audio p.755
Repeating regions p.755
Press alt r windows or option r mac to open the repeat dialog for any selected regions p.755
Region looping p.757
Looping a region does not loop any automa tion associated with the source region use the copy special and paste special repeat to fill selection commands to copy auto mation for the source loop to all loop itera tions see automation and looped re gions on page 742 p.757
Chapter 36 region loops and groups p.757
You can also select regions across tracks for looping p.758
Press control alt l windows or command option l mac to open the region looping dialog p.758
For information on working with crossfades see chapter 26 fades and crossfades p.758
For information on using the loop trimmer tool see loop trimmer tool on page 462 p.758
Creating looped regions p.758
Unlooping and flattening looped regions with separate regions menu commands p.759
Region ungroup functions on loops the same as using the unloop command and choosing flatten manually warping any part of a looped re gion in warp view separates only that iter ation from the looped region p.759
Editing looped regions p.759
Tabbing to transients and region boundaries p.760
For information on trimming looped regions using the loop trimmer tool see loop trimmer tool on page 462 p.760
Automation and looped regions p.760
Trimming looped regions p.760
Region groups are not supported on audio tracks set to playlists view changing an audio track to playlist view automatically ungroups any region groups on the track p.761
Region groups are completely independent of and unique from mix and edit groups p.761
Region groups p.761
Editing elastic properties is disallowed for region groups p.761
The group and ungroup region menu commands apply to any edit selection regardless of the current track view p.762
Region groups can be created from empty selections this can be useful when working in shuffle mode to preserve the gaps between regions p.762
Region group timebase format p.762
Press control alt g windows or command option g mac to group selected regions p.762
Creating region groups p.762
Ungrouping regions p.763
Regrouping regions p.763
Press control alt u windows or command option u mac to ungroup selected region groups p.763
Press control alt r windows or command option r mac to regroup selected regions that were formally part of a region group p.763
Multitrack region groups p.763
Multitrack region groups create nested region groups of multiple regions by track before grouping them across tracks p.764
The regroup command supports multitrack region groups p.764
Separated multitrack region groups p.764
Region groups on tick based tracks p.765
If you want to delete a track and keep the region group intact first ungroup the region group then delete track and then regroup the region group the region group will be recreated intact but without the deleted track p.765
Changing region group timebase p.765
Multitrack region groups with sample and tick based tracks p.766
Editing region groups p.766
Editing midi region groups p.766
Editing audio region groups p.766
Converting ticks to samples p.766
Converting samples to ticks p.766
Tabbing to transients and region boundaries p.767
Region groups that contain regions with fades are not allowed on elastic audio enabled tracks p.767
Recording p.767
For more information see tabbing to transients on page 484 p.767
Fades and crossfades on region groups p.767
Ungrouping a region group removes any region group level fades or crossfades fades and crossfades are restored by the regroup command p.767
Trimming region groups p.767
When changing tempo with region groups on tick based tracks you may need to un group redo or create new fades and then regroup in order to maintain the fades p.768
Importing and exporting region group files p.768
For information on working with fades and crossfades in pro tools see chapter 26 fades and crossfades p.768
For information importing and exporting region groups see importing and exporting region group files on page 305 p.768
Processing p.769
Part viii processing p.769
The audiosuite menu p.771
For more information see plug in menu organization on page 877 p.771
For information on individual audiosuite plug ins included with pro tools see the digirack plug ins guide p.771
Chapter 37 audiosuite processing p.771
The audiosuite window p.772
Selection reference p.772
Audiosuite window header p.772
Audiosuite plug in selector p.772
Use in playlist button p.773
The create continuous file option is not available with some time domain plug ins to achieve a similar result use the dupli cate plug in to consolidate regions processed with these plug ins p.773
If the use in playlist option is enabled in addition to region list being selected in the selection reference pop up menu the pro cessing will be applied to the selected region in both the playlist and the region list p.773
If the selection reference pop up menu is set to region list the use in playlist button will automatically be disabled to ensure that you do not accidentally replace every occurrence of the region in a session p.773
File mode selector p.773
You will lose the current plug in settings if they are not saved before you use the next and previous setting buttons always save your plug ins settings as presets using the plug in settings menu p.774
Process mode selector p.774
Other audiosuite controls p.774
For more information about plug in presets see plug in presets on page 886 p.774
Chan track process mode selector p.774
Audiosuite plug in preset controls p.774
Side chain inputs for plug ins have no effect on audiosuite processes when the selection reference is set to region list p.775
Multi mode is available only for certain plug ins such as dynamics iii p.775
Key input selector p.775
Channel mode button p.775
Audiosuite window footer p.776
Preview volume level meters p.776
Preview volume p.776
Preview p.776
For more information on using the i o setup dialog to configure your system s audio outputs see audition paths on page 75 p.776
Bypass p.776
When processing multiple regions of different formats mono and multichannel surround for example all channels will be processed according to the channel format of the audiosuite plug in mono audiosuite plug ins can process stereo regions and stereo audiosuite plug ins can process mono regions p.777
Undoing audiosuite processing p.777
Undo is not available when a plug in is configured for destructive editing since the process has already overwritten the source audio file p.777
Process p.777
Multichannel processing p.777
Automatic file naming of audiosuite processed audio p.777
When processing a single audio channel with an audiosuite plug in make sure that the plug in is set to mono mode if available p.778
Using audiosuite plug ins p.778
Selecting tracks for delay or reverb processing p.778
Selecting tracks for audiosuite processing p.778
Processing a locked region will cause the re gion to become unlocked and processing a muted region will cause it to become un muted p.778
Using audiosuite plug ins in stereo p.779
For more information see channel mode button on page 757 p.779
Working with loops p.781
Remixing p.781
Correcting performances p.781
Chapter 38 elastic audio p.781
Sound design and special effects p.782
Remember when using tempo adjustments for sessions that include multiple cues tempo changes may affect the time code position of other cues later on the timeline p.782
Film scoring p.782
Example elastic audio workflow p.782
Elastic audio is not recommended for pull up and pull down workflows use the session setup window real time pull up or pull downs or the presets included with digirack time shift or x form audiosuite plug ins p.782
I o and click the output tab p.783
You can also conform regions on elastic audio enabled tracks to the session tempo using the conform to tempo command see conform to tempo on page 675 p.784
If all files is selected as the drag and drop from desktop conforms to session tempo option in the processing preferences page you can also drag and drop audio files from the desktop and they are imported as tick based elastic audio p.784
To have all new tracks be tick based enable the new tracks default to tick timebase option in the editing preferences p.787
Elastic audio tracks p.787
With pro tools hd elastic audio is disal lowed on voiced tracks use dynamic voice allocation for tracks on which you want to use elastic audio pro tools le only sup ports dynamic voice allocation and cannot specifically allocate individual voices p.787
When creating new tracks by dragging and dropping audio from a digibase browser if the audio files conform to session tempo option is enabled pro tools creates tick based elastic audio enabled tracks regard less of whether the elastic audio analyzed file is tick based or sample based if the au dio files conform to session tempo option is not enabled pro tools creates regular sample based tracks p.787
Elastic audio processing can be real time or rendered real time elastic audio pro cessing is immediate but it is more de manding of system resources rendered elastic audio processing is non real time but is less demanding of system resources if you are working on a system with limited re sources use rendered elastic audio process ing for more information see real time and rendered elastic audio processing on page 773 p.788
Creating new tracks with elastic audio enabled p.788
Committed regions p.788
Alternate playlists p.788
Warp view p.789
For detailed information on working in warp view see editing in warp view on page 778 p.789
For detailed information on working in analysis view see editing in analysis view on page 785 p.789
Elastic audio track views p.789
Elastic audio track controls p.789
Analysis view p.789
Tempo detection p.790
Note that peak amplitude is not the most important measure for event confidence the clarity of transients is measured in part by the spectral transition from one moment to the next this tends to favor higher fre quency content in terms of event confidence for example changing the event sensitivity in the elastic properties window for a se lected drum loop results in the clearer tran sients of the higher frequency hi hat hits having more event confidence than the less well defined transients of the lower fre quency kick drum hits even though kick drum hits have a higher peak amplitude p.790
Event confidence p.790
Elastic audio analysis p.790
When processing non rhythmic audio such as legato strings with the polyphonic plug in reducing the number of event markers often yields better sounding results you can either manually remove event markers in analysis view see editing in analysis view on page 785 or lower the event sen sitivity setting in the elastic properties win dow for the region you want to process see elastic properties window on page 787 p.791
Select real time processing for tick based elastic audio processing such as tempo changes rendered audio processing can be useful for sample based elastic audio processing or if you need to save system resources p.791
Real time and rendered elastic audio processing p.791
In rendered mode any change you make is rendered using the original source audio to avoid generational loss from multiple subse quent edits p.791
To toggle between real time and rendered elastic audio processing control start click windows or command control click mac the elastic audio plug in button p.792
Rendered processing only p.792
Region clip indicator p.792
Elastic audio plug ins p.792
About rendered files p.792
You will lose the current plug in settings if they are not saved before you use the next and previous setting buttons always save your plug in settings as presets using the plug in settings menu p.793
For rendered elastic audio processing clip ping is indicated by the appearance of the elastic audio processing clip indicator on the region see region clip indicator on page 774 p.793
Elastic audio plug in window controls p.793
Polyphonic p.794
If you frequently work with distinct types of material you may want to find the best window settings for each type of material and save them as plug in settings for quick and easy recall p.794
Follow p.794
Decay rate p.794
Window p.794
The polyphonic plug in is the default plug in for previewing and importing from digi base browsers or the region list p.794
Rhythmic p.794
X form p.795
Varispeed p.795
Try using varispeed with quantize on drum loops for some interesting effects p.795
The monophonic plug in analyzes pitch as well as peak transients in order to provide higher quality tce to pitched material consequently analysis for the monophonic algorithm takes longer than for the poly phonic rhythmic and varispeed algo rithms also when switching from another elastic audio plug in to monophonic pro tools reanalyzes any audio on the track to collect the extra analysis data p.795
Rendered only p.795
Monophonic p.795
Elastic audio pitch shifting is not supported with the monophonic algorithm p.795
Warp view is only available for elastic audio enabled tracks p.796
Quality p.796
Formant p.796
Elastic audio markers in warp view p.796
Editing in warp view p.796
Audio with a fundamental pitch has an overtone series or set of higher harmonics the strength of these higher harmonics cre ates a formant shape which is apparent if viewed using a spectrum analyzer the over tone series or harmonics have the same spacing related to the pitch and have the same general shape regardless of what the fundamental pitch is it is this formant shape that gives the audio its overall char acteristic sound or timbre when pitch shifting audio the formant shape is shifted with the rest of the material which can re sult in an unnatural sound keeping this shape constant is critical to formant correct pitch shifting and achieving a natural sounding result p.796
Warp markers p.797
The display of event markers is dependent on horizontal zoom if you are zoomed out too far event markers are not displayed to see event markers zoom in p.797
Event markers p.797
Warping audio p.798
Tempo event generated warp markers p.798
Telescoping warp p.798
For more information see tempo changes and tick based elastic audio tracks on page 674 p.798
Automation does not follow manual warp ing of audio regions including tce trim ming and quantization of elastic audio however automation does follow tempo changes on tick based tracks p.798
Workflow example p.799
Range warp p.800
Accordion warp p.800
Range warp with an edit selection p.801
Individual range warp p.801
The tce factor in the elastic properties window supports extreme ranges from 1 9999 however anything outside of 25 400 will be out of range and will be displayed in red p.802
Out of range processing p.802
Displaying the warp indicator p.802
Warped regions p.802
When manually editing analysis markers pro tools writes temporary elastic audio analysis files aan to the session s rendered files folder any unused tempo rary analysis files are purged when you close the session p.803
Removing region warping p.803
Remove warp can only be applied to re gions and cannot be applied to region groups to unwarp region groups you must first ungroup the region then apply remove warp to the underlying regions and then regroup those regions p.803
In analysis view you can only edit analysis markers using the edit tools you cannot use the edit tools for any region editing switch to warp or waveform views for region based editing capabilities with the edit tools p.803
Editing in analysis view p.803
Edit groups and warp editing p.803
Analysis view is only available for elastic audio enabled tracks p.803
Promoting event markers p.804
Promoted event markers look the same as detected event markers to see all event markers that have 100 confidence reduce the event sensitivity setting in the elastic properties window see event sensitivity on page 789 p.804
Moving event markers p.804
Adding event markers p.804
Elastic properties window p.805
Elastic properties p.805
Edit groups and event editing p.805
Deleting event markers p.805
Press alt 5 windows or option 5 mac on the numeric keypad to open the elastic properties window p.805
Source tempo tick based tracks only p.806
Source length tick based tracks only p.806
Region p.806
Changing the duration of a region on an elastic audio enabled track using the tce trimmer tool updates the source length in the elastic properties window p.806
When you change the event sensitivity property pro tools writes temporary fil tered elastic audio analysis files aan to the session s rendered files folder any un used temporary filtered analysis files are purged when you close the session p.807
Tce factor p.807
Meter tick based only p.807
For rex files pro tools converts the slices as events with 100 confidence conse quently setting the event sensitivity from 99 to 1 does not filter out any events based on slices however if you set the event sensitivity to 0 all markers are fil tered out regardless p.807
Event sensitivity p.807
Polyphonic rhythmic and x form only p.808
Pitch shift polyphonic rhythmic and x form only p.808
Input gain p.808
Elastic audio region based pitch shifting p.808
Elastic audio pitch transposition is not sup ported with the monophonic algorithm however if you switch to the monophonic plug in after pitch shifting with another plug in the pitch metadata for the region is maintained p.808
Elastic audio pitch transposition cannot be applied to looped regions or region groups p.808
Varispeed and pitch shifting p.809
The transpose all notes to and the trans pose in key settings can only be applied to midi notes when only audio regions are selected these options are unavailable p.809
Removing region pitch shifting p.809
Remove pitch shift can only be applied to regions and cannot be applied to region groups to remove pitch shifting from re gion groups you must first ungroup the re gion then apply remove pitch shift to the underlying regions and then regroup those regions p.810
Audiosuite processing and elastic audio regions p.810
Table 39 moving elastic audio between tracks p.811
Regions that are committed either by disabling elastic audio on a track or by moving a region to a track without elastic audio enabled are written to disk as new audio files see committed regions on page 770 p.811
Pro tools analyzes conforms and commits audio in different ways when moving audio regions be tween tracks with elastic audio enabled and tracks without elastic audio enabled table 39 on page 793 shows the different results for moving regions between real time elastic audio enabled tracks rendered elastic audio enabled tracks and audio tracks without elastic audio p.811
Moving elastic audio between tracks p.811
Region groups that contain regions with fades are not allowed on elastic audio en abled tracks p.812
Microfades p.812
Fades and microfades p.812
Fades and elastic audio processing p.812
Approximate waveforms p.812
If the enable elastic audio on new tracks option is selected you may want to also select the new tracks default to tick time base option in the editing preferences page p.813
Elastic audio preferences p.813
You can also apply quantize duration delay and transpose to midi nondestruc tively using midi real time properties see midi real time properties on page 604 p.815
To open the event operations window press alt 3 windows or option 3 mac p.815
Event operations window p.815
Chapter 39 event operations p.815
When using the event operations window and midi real time properties at the same time event operations are applied to the actual midi data midi real time properties continue to applied on top of the actual midi data p.816
Using the event operations window p.816
Quantize p.816
If the event operations window is already open you can select any of the pages from the pop up menu at the top of the window p.816
You can also quantize midi input see in put quantize on page 820 p.817
What to quantize p.817
The settings in the quantize window are saved with each session to store your fa vorite settings for use in future sessions save them as part of a session template see session templates on page 123 p.817
Press alt 0 on windows or option 0 on mac to open the quantize window p.817
Grid quantize p.817
To quantize just the backbeats set the quantize grid to half notes with an offset of 960 ticks p.818
Relative grid mode does not affect the quantize grid p.818
Quantize grid p.818
Options p.819
Straight quantize p.820
Quantizing while preserving the original feel p.820
Grid quantize examples p.820
After quantizing you can use restore per formance to revert to the original version see restore performance on page 810 p.820
Quantizing with swing p.821
Quantizing with randomize p.821
Experimenting with quantize p.821
Numerical sound s feel injector templates 960 ppq are supported in pro tools but dna groove templates 192 ppq are not p.822
Groove templates p.822
Groove quantize p.822
For information on beat detective and creating groove templates see chapter 28 beat detective p.822
Quantize grid p.823
Options p.823
Beat detective does not extract duration in formation from audio performances digigroove templates created using beat detective contain a fixed duration value that is 50 of the selected template resolution see defining a beat detective selection on page 552 p.823
Applying groove templates p.824
Slider settings p.824
Template mapping for equal meters and odd numbered bars p.825
Pro tools applies groove templates relative to the song start for example a two bar groove template repeats starting at every odd num bered bar in the session bar 1 3 5 7 p.825
Mapping groove templates p.825
If a two bar groove template is applied to a selec tion of one bar of the same meter only the first bar of the template is used if the selection does not encompass bar boundaries for example 1 2 000 to 2 1 000 the groove template only modifies the selected notes p.825
Template mapping for unequal meters p.826
Template mapping for equal meters and even bars p.826
Behavior for mixed meters p.826
You can reset the groove template grid by adding a new meter marker it can be the same meter the groove template will restart at the meter marker regardless of the measure number or whether or not the meter has actually changed p.827
Use restore performance to undo quantiza tion of audio and midi see restore perfor mance on page 810 p.827
Quantizing elastic audio p.827
The restore performance command can be undone p.828
Restore performance p.828
Quantizing region groups only adjust the location of the region group start or sync point to quantize the underlying sliced regions in a region group you must first ungroup then quantize and then regroup for more information on region groups see region groups on page 743 p.828
Quantizing mixed selections p.828
Quantizing audio regions p.828
Restore performance does not undo dura tion changes made by trimming the start of a note trimming the start of a note essen tially changes the note s timing and there fore is treated by pro tools the same as if it were manually moved p.829
Restore performance does not undo cut cop ied pasted or otherwise manually moved midi notes audio regions or elastic audio events p.829
Removing input quantize p.829
For information on input quantize see in put quantize on page 820 p.829
You can also change velocity nondestruc tively in real time using midi real time properties see midi real time proper ties on page 604 p.830
Velocity values usually affect the loudness of midi notes depending on how velocity is mapped with any midi instrument veloci ties may also affect other aspects of an in strument s sound such as filter cutoff en velopes and modulations p.830
The settings in the change velocity window are saved with each session to store your favorite settings as the default for use in fu ture sessions save them as part of a session template see session templates on page 123 p.830
The flatten performance command can be undone p.830
Flatten performance p.830
Change velocity p.830
While there are options for adjusting both the note on attack and note off release velocities for notes most midi devices ig nore release velocity information to see if your instrument supports release velocities refer to the manufacturer s documentation p.831
Velocity ranges p.831
Fading velocities p.831
Scaling velocities p.832
Preserving existing velocity relationships p.832
Change duration p.832
You can also change note duration nonde structively in real time using midi real time properties see midi real time properties on page 604 p.832
The settings in the change duration page are saved with each session to store your favorite settings as the default for use in fu ture sessions save them as part of a session template see session templates on page 123 p.832
Transform sustain pedal to duration p.833
Set add subtract scale option p.833
Remove overlap p.833
Press alt p on windows or option p on mac to open the change duration window p.833
Legato p.833
Change duration examples p.833
Change continuously option p.833
You can also transpose midi notes nonde structively in real time using midi real time properties see midi real time properties on page 604 p.834
Transpose p.834
For information on transposing elastic au dio regions see elastic audio region based pitch shifting on page 790 p.834
Elastic audio pitch transposition is not sup ported with the monophonic algorithm p.834
Elastic audio pitch transposition cannot be applied to looped regions or region groups p.834
Press alt t windows or option t mac to open the transpose window p.835
Elastic audio pitch transposition is not sup ported with the monophonic algorithm p.835
The transpose all notes to and the trans pose in key settings can only be applied to midi notes when only audio regions are selected these options are unavailable p.835
Select split notes p.836
Pitch criteria p.836
Other criteria p.836
Action p.836
You can also select all notes of a specific pitch on a track using the mini keyboard for more information see selecting midi notes on page 582 p.837
Selecting and splitting notes p.837
Selecting a pitch range of notes p.837
Use input quantize for p.838
Style loop recording see loop recording in midi merge mode on page 399 p.838
Selecting notes in a chord p.838
Input quantize p.838
In order for notes to be considered a chord their start times must be within thirty two ppq ticks of each other p.838
Use step input to enter midi notes in the score editor or in midi editor windows p.839
Step input controls p.839
Step input p.839
When step input is enabled each previ ously record enabled midi or instrument track is taken out of record enable and if the default thru instrument preference is defined it is disabled p.839
When a note is being held on the midi key board next step changes to read incre ment p.839
Undo step next step and redo step p.840
Step increment p.840
Options p.840
Triggering the undo step next step or redo step buttons p.841
Numeric keypad shortcuts p.841
If you use a continuous controller as a trig ger such as pitch bend you should make certain to use an extreme controller value to avoid erroneous data input p.841
Part ix mixing p.843
Mixing p.843
Pro tools hd with 192 i o only p.845
Mixing concepts p.845
Metering and calibration p.845
Chapter 40 basic mixing p.845
Calibrating audio interfaces p.845
Audio tracks p.846
Signal flow by track type p.846
For information on creating tracks see creating tracks on page 164 p.846
See the submix examples in signal routing for monitoring and submixing on page 853 p.847
Common uses for auxiliary inputs p.847
Auxiliary input tracks p.847
Master fader tracks p.848
If you absolutely must have a pre fader in sert on your master fader signal set up an auxiliary input before the master fader p.848
Common uses for master faders p.848
Master faders and paths p.849
Master fader meters p.849
Instrument tracks p.849
Active and inactive master faders p.849
Pro tools hd only p.850
For information on assigning midi input and output for instrument tracks see as signing midi input and output for instru ment tracks on page 188 p.850
For information inserting plug ins on tracks see inserting plug ins on tracks on page 876 p.850
Common uses for instrument tracks p.850
Vca master tracks p.850
Volume p.851
Vca slave track controls and group behavior p.851
Vca slave track control indications p.851
Vca master track controls p.851
Common uses for vca master tracks p.851
Trackinput p.852
Record enable trackinput and slave tracks p.852
Record enable p.852
Level meter p.852
Assigning groups to vca masters p.852
Track output format and plug ins p.853
Track membership in multiple vca groups p.853
See chapter 41 plug in and hardware in serts for details about using plug ins and inserts p.853
Inserts p.853
Allowing grouped behavior of vca slave track controls p.853
Window view selectors p.854
Views in the mix and edit windows p.854
Plug in formats p.854
Displaying views p.855
Input audio path p.857
Hiding views in the edit window p.857
Audio input and output paths p.857
Output windows p.858
Output audio path p.858
Multiple output assignments p.858
Alt start click windows or option con trol click mac to add the assignment to all tracks or alt shift start click windows or option shift control click mac to add to all selected tracks p.858
See active and inactive items on page 19 and making inserts inactive on page 875 for more information p.859
Inactive outputs and dsp resources p.859
Inactive outputs p.859
Display of multiple output assignments p.859
About the no output option p.859
See making tracks inactive on page 192 p.859
Assigning sends to tracks p.860
The names format and channel mapping of busses and output paths can be custom ized in the i o setup dialog see creating new paths on page 65 p.861
Send path choices p.861
Send formats p.861
Sends view options p.862
Configuring sends view in the mix and edit windows p.862
Configuring inserts view in the mix and edit windows p.862
Individual send views a j p.863
Assignments view p.863
Send status display p.864
Individual send views and meters p.864
In assignment view edit sends by opening their output windows see output win dows for tracks and sends on page 849 p.864
Editing sends in the mix and edit windows individual send views p.864
Moving or copying sends p.865
Inactive sends p.865
Send format and track compatibility p.866
Pro tools hd only p.866
Linking send pan and main pan controls p.866
For more information see copying track automation to sends on page 916 p.866
Copying track settings to sends p.866
Output windows for tracks and sends p.867
Panner linking p.868
Opening multiple output windows p.868
Standard selector controls in output windows p.869
Inverse linked panning p.869
Using output windows p.870
Track fader pan controls and solo mute and automation controls p.870
Targeted windows p.870
Plug in windows have additional features related to the target such as focus of set tings commands see the plug in win dow on page 880 p.870
Monitoring and mixing audio with instrument tracks p.871
Monitoring and mixing audio with auxiliary input tracks p.871
Signal routing for monitoring and submixing p.871
For information on configuring audio and midi signal routing for controlling and monitoring rewire client applications see the digirack plug ins guide p.872
Submixing with track outputs or sends p.874
Discrete submix output p.874
Creating a submix p.874
Send and return submixing for effects processing p.875
See chapter 41 plug in and hardware in serts for more information p.875
Send and return submixes with external devices p.876
With cue mixes when recording overdubs it is recommended that there be no inserts or at least only inserts with very low delays on the record track to avoid any unnecessary latency in the monitoring signal path p.877
Creating monitor submixes p.877
Creating a master send level control p.877
Soloing tracks in a submix p.878
Pro tools hd only p.878
Generating stereo output from a mono send return p.878
Enabling delay compensation p.878
Delay compensation p.878
System delay p.879
Delay compensation time mode p.879
Delay compensation limit p.879
Configuring delay compensation engine p.879
User offset field p.880
Delay dly indicator p.880
Delay compensation view only shows the insert delay for each track to view the com plete system delay including mixer delays see system delay in the session setup win dow see system delay on page 861 p.880
Delay compensation view indicators and field p.880
Delay compensation view p.880
Track compensation cmp indicator p.881
Delay that exceeds the compensation limit p.881
Overriding suspended delay compensation p.882
Low latency monitoring during recording p.882
In certain dubbing workflows you may want to cascade bus recordings to multiple tracks in these cases you should be sure to override the automatic suspension of delay com pensation on the recording tracks p.882
Delay compensation on auxiliary inputs p.882
Configuring cue mixes with delay compensation p.883
Midi and audio processing plug ins p.883
Low latency recording with virtual midi instruments p.883
Delay compensation for virtual midi in struments works only when all midi and audio connections take place inside pro tools while pro tools does not suspend delay compensation when you are using rewire to connect software synthesiz ers and samplers in other rewire client ap plications such as reason pro tools can not account for any latency within the rewire client itself p.883
Delay compensation for midi p.883
With delay compensation enabled it is recommended that you do not use any in serts on any auxiliary input or master fader tracks you may be using to control the cue mix volume also you should avoid us ing inserts on any record tracks some low latency inserts may be acceptable depend ing on the talent s preference p.884
For more information on dither plug ins see the digirack plug ins guide p.884
Dither in pro tools p.884
Dither p.884
Noise shaping p.885
For more information on using the dithered mixer plug ins see the pro tools hd setup guide p.885
For more information on using the dither in fades and crossfades see use dither on page 517 p.885
For more information on using noise shaping see the digirack plug ins guide p.885
For more information on audiosuite dither see the digirack plug ins guide p.885
For more information about the application of dither on import see bit depth conver sion and dithering on page 277 p.885
For more information about the application of dither on export see exporting audio on page 287 p.885
Digidesign c 24 pro tools hd and le only p.886
Using an ethernet control surface with pro tools p.886
Using a midi control surface with pro tools p.886
Other midi control surfaces p.886
Midi control surface personalities p.886
For more information see the documentation that came with your ethernet control surface p.886
For complete instructions on connecting and configuring command 8 see the command 8 guide p.886
Enabling an ethernet control surface in pro tools p.886
Digidesign d control and d command pro tools hd only p.886
Digidesign command 8 p.886
For complete instructions on configuring your midi studio see the setup guide that came with your system p.887
Enabling a midi control surface in pro tools p.887
Connecting a midi control surface p.887
Configuring your system for a midi control surface p.887
Enabling the midi control surface as an input device p.888
For information about optional digidesign and third party plug ins visit the digi design website www digidesign com p.889
Chapter 41 plug in and hardware inserts p.889
For more information about the plug ins in cluded with your pro tools system as well as those that can be purchased separately see the digirack digidesign pro tools cre ative collection bomb factory and tl labs plug ins guides p.889
Using inserts for effects processing p.890
Insert formats p.890
General information p.890
For examples of send and return busses and other submixing setups see signal routing for monitoring and submixing on page 853 p.890
With pro tools hd rtas plug ins placed on auxiliary input master fader and in strument tracks will use additional voices and may introduce extra latency based on the hw buffer size for more information see voice usage and total latency for rtas plug ins on page 874 p.891
Pro tools le p.891
Relinking may cause automation to be lost see linking and unlinking controls on multi mono plug ins on page 897 p.891
Pro tools hd p.891
Plug in formats p.891
For tips on maximizing rtas performance see configuring pro tools system set tings on page 42 p.891
For information on using audiosuite plug ins in pro tools see chapter 37 audio suite processing p.891
When you use pro tools 6 x or lower to open a session originally created with pro tools 7 or later any rtas plug ins in serted on auxiliary input or master fader tracks or after tdm plug ins on any kind of track will become inactive p.892
Voice usage and total latency for rtas plug ins p.892
Viewing inserts p.892
Pro tools hd only p.892
Avoid inserting tdm plug ins between rtas plug ins on any kind of track this causes unnecessary voice usage and may cause additional latency p.892
Making inserts inactive p.893
Indicating the controller focus p.893
Display of plug in window status p.893
Plug ins cannot be inserted or removed dur ing recording p.894
Inserting plug ins on tracks p.894
Inactive plug in inserts p.894
Inactive hardware inserts p.894
Hardware inserts do not provide a bypass control you can use the inactive feature whenever you need to mute or bypass a hardware insert p.894
You can insert a plug in on a track by drag ging one of its plug ins settings txf files from a digibase browser onto an available track insert position in the mix window see dragging and dropping plug in settings files on page 891 p.895
Pro tools hd only p.895
Plug in menu organization p.895
Organize plug in menus by setting p.895
Ordering rtas and tdm plug ins on audio tracks p.895
Ordering recommendations p.895
As a rule always group plug ins of the same type together especially if inserting rtas after tdm plug ins otherwise additional voices may be unnecessarily used p.895
If no plug ins by a certain manufacturer are installed on your system the subfolder named for that manufacturer will not ap pear in the menu p.896
If no plug ins within a certain category are installed on your system the subfolder named for that category will not appear in the menu p.896
Plug in favorites p.897
Default eq and dynamics plug ins p.897
Control surface support p.897
You can move or duplicate an insert by dragging it to a different position on the same track or a different track inserts that are moved or dupli cated retain their original settings and automa tion p.898
You can also duplicate sends see moving or copying sends on page 847 p.898
Track controls p.898
To move an insert p.898
To duplicate an insert p.898
The plug in window appears whenever you click a plug in s insert button on a track this floating window lets you edit the adjust the controls of any real time plug in insert in use on a track p.898
The plug in window p.898
Plug ins cannot be moved or duplicated during recording p.898
Moving and duplicating plug in and hardware inserts p.898
Dragging an insert on top of an existing in sert will replace it and any automation p.898
Drag the insert to a new insert location p.898
Alt drag windows or option drag mac the insert to a new insert location duplicated plug in inserts retain their original settings and auto mation p.898
You will lose the current settings if they are not saved before you use the next and pre vious setting buttons always save your plug in settings as a preset using the plug in settings menu p.899
Preset controls p.899
Plug in map controls p.900
Automation controls p.900
Additional plug in controls p.900
Plug in window controls p.901
Opening plug in windows p.901
Opening multiple plug in windows p.901
Multi mono controls p.901
The plug in target window is the focus of keyboard shortcuts for plug in settings to make a plug in the target for any computer keyboard commands including key short cuts click the plug in s target button in its plug in window p.902
Target window and settings shortcuts p.902
For information about the specific controls of each of the digirack plug ins installed with pro tools refer to the p.902
Editing plug in controls p.902
Editing parameters using a mouse p.902
Editing parameters using a computer keyboard p.902
Additional free plug ins and paid plug in options that can be installed with pro tools are documented in the pro tools creative collection plug ins guide the bomb factory plug ins guide the digidesign plug ins guide the tl labs plug ins guide p.902
To move forward through the different con trol fields press the tab key to move back ward press shift tab p.902
Side chain input p.903
Side chain filters p.903
Plug in automation and safe p.903
In fields that support values in kilohertz typing k after a number value will multi ply the value by 1 000 for example type 8k to enter a value of 8 000 p.903
You can use the plug in settings dialog to audition and select plug in settings see plug in settings dialog on page 889 p.904
Using a key input for external side chain processing p.904
Plug in settings menu p.904
Plug in presets p.904
To save plug in settings to any location other than the default plug in settings folder you must first create a folder named plug in settings in the new location and then save to that folder p.905
Settings preferences p.905
Choosing a destination for settings p.905
Press control shift c windows or com mand shift c mac to copy plug in set tings p.906
Managing presets p.906
Creating subfolders for settings p.906
Changing presets with the next and previous setting buttons p.906
Unlinked multi mono plug ins have specific rules for settings see linking and unlink ing controls on multi mono plug ins on page 897 p.906
Press control shift v windows or com mand shift v mac to paste plug in set tings p.906
Press control shift s windows or com mand shift s mac to save plug in set tings p.906
You will lose the current plug in settings if they are not saved before you use the next and previous setting buttons always save your plug in settings to the selected root settings folder p.907
To switch between plug in settings subfold ers press control windows or command mac and use the up down arrow keys p.907
Plug in settings dialog p.907
Editing settings on unlinked multi mono plug ins p.907
Auditioning plug in presets p.907
With digibase pro pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only you can cre ate catalogs of specific plug in settings that you work with frequently to streamline your workflow for more information on digi base pro catalogs see digibase pro cata logs on page 265 p.908
Searching for plug in settings files p.908
Digibase and plug in settings files p.908
Plug in mapping p.909
Plug in map presets p.909
Plug in learn mode p.909
Dragging and dropping plug in settings files p.909
Control surface mapping p.910
Plug in mapping is not supported with procontrol p.910
Plug in map files p.910
Plug in map controls p.910
If you import a plug in map that was cre ated on a different type of control surface it will appear as an inactive choice in the map presets menu p.910
Putting a plug in into learn mode p.911
Plug ins are automatically taken out of learn mode when moved to a different insert position made inactive or converted between tdm and rtas formats p.911
For details on plug in mapping for d con trol and d command see the d control guide and d command guide p.911
Creating plug in maps p.911
Creating and editing plug in maps p.911
Saving plug in maps p.912
Managing plug in maps p.912
If you want to map the same plug in in dif ferent channel formats such as mono ste reo and 5 surround you need to create a separate plug in map for each format p.912
On d control and d command systems when you delete all plug in maps you are also deleting all custom fader plug in mappings for more information see the d control guide or d command guide p.913
If you plan to work with the same plug in mapping on multiple sessions back up your settings by exporting all plug in maps on a regular basis and saving the pim file with your sessions p.913
How default plug in map settings are stored p.913
Deleting plug in maps p.913
When you export a plug in map the default map setting for that plug in is also exported when that map is imported the default set ting is also updated and all instances of the plug in change to the new default p.913
Setting a custom plug in map as the default map p.913
On d control and d command systems when you export all plug in maps you are also exporting custom fader plug in map ping to the same file for more information see the d control guide or d command guide p.914
Hiding default plug in map pages p.914
Exporting and importing plug in maps p.914
When a plug in insert is bypassed the in sert selector in the mix window changes its color to blue for easy visual reference if some but not all channels of an unlinked multi mono plug in are bypassed the insert selector appears purple p.915
Linking and unlinking controls on multi mono plug ins p.915
Bypassing plug ins p.915
Using hardware inserts p.916
Delay compensation can be applied to hardware inserts see h w insert delay compensation on page 77 p.916
Bypassing hardware inserts p.916
Assigning hardware inserts p.916
For additional information on connecting external devices refer to your p.917
Connecting effects units digitally p.917
Connecting and integrating external devices p.917
003 rack 003 rack digi 002 or digi 002 rack systems p.918
Your digital input device must be connected and powered on for pro tools to synchro nize to it if your input device is not powered on leave the clock source set to internal p.918
Using external clock sources for recording and monitoring p.918
To determine correct card order and audio interface connections refer to the pro tools hd setup guide p.918
Pro tools hd systems p.918
Mbox 2 pro mbox 2 and mbox systems p.918
Mbox 2 p.918
If you set the optical format to s pdif pro tools will watch the optical port for ex ternal clock and ignore any clock input on the s pdif rca jacks p.918
If you set the optical format to s pdif pro tools will watch the optical port for any audio input and ignore any audio in put on the s pdif rca jacks p.918
For details on using digidesign control sur faces to create mix automation refer to p.919
Chapter 42 automation p.919
Automation quickstart p.919
Automation accuracy with control surfaces p.919
Automation playlists with audio and midi regions p.920
Automation playlists p.920
Audio tracks p.920
Duplicating tracks for playlist editing p.921
Trim automation playlists p.921
Multiple edit playlists and audio track automation p.921
Midi mute data is independent of the midi data in a midi region this lets you mute playback of individual midi or instrument tracks in pro tools without altering the controller data p.921
Midi continuous controller data always follows region editing with the exception of mute see midi and instrument tracks on page 903 for more information p.921
Midi and instrument tracks p.921
For more information see editing auto mation on page 927 p.921
For more information on duplicating tracks command see duplicating tracks on page 168 p.921
Write mode p.922
Touch mode p.922
Read mode p.922
Off mode p.922
Automation modes p.922
After write pass switch to option p.922
Pro tools hd only p.923
Latch mode p.923
Autojoin with latch mode p.923
See your control surface guide for details on using join and autojoin with a control surface p.923
See also writing automation to the start end or all of a track or selection on page 938 p.923
Trim mode p.924
Touch latch mode p.924
To use join or autojoin to resume writing on controls that were writing when the transport stopped restart the transport be fore the autojoin indicator p.924
Pro tools hd only p.924
Autojoin indicator p.924
Trim off p.925
Trim automation modes p.925
Touch trim p.925
Read trim p.925
Touch latch trim p.926
The after write pass switch to prefer ence affects write trim mode after an au tomation pass in write trim mode tracks automatically switch to the trim mode ver sion of the setting specified by this prefer ence p.926
Latch trim p.926
For detailed information on pro tools au tomation preferences see mixing prefer ences on page 90 p.926
Automation preferences p.926
Write trim p.926
Thinning p.927
Smoothing p.927
Send levels and trim mode p.927
Pro tools hd only p.927
Automation follows edit option p.927
Automatch time p.927
Any uncoalesced automation on a send will still coalesce when the other automation on its track is coalesced even if include sends in trim mode is deselected p.927
You can easily toggle between different track views see changing track views on page 172 p.928
Viewing automation p.928
Track views p.928
Automation safe p.928
Automation and controller lanes p.929
Press start up down arrow key win dows or control up down arrow key mac to increase or decrease height of any lane that contains the edit cursor or an edit selection p.930
Displaying trim automation along with the main playlist p.930
Displaying the composite automation playlist p.930
Pro tools hd only p.930
Writing automation p.931
Automatch indicators p.931
Storing an initial control position p.932
If you write automation in touch mode with loop playback enabled writing of au tomation will automatically stop at the end of the looped selection at the beginning of each successive loop you can then touch or move the control again to write new data p.932
Automating switched controls p.932
When playback gets to the first muted sec tion the mute button becomes highlighted p.933
Setting switched controls for momentary behavior p.933
Automating switched controls in touch mode p.933
Automating sends p.933
When overwriting automation pro tools presents a confirmation dialog to suppress this dialog press alt windows or option mac while clicking ok p.934
Send level mute and pan can also be con figured to follow mix groups see automa tion preferences on page 908 for informa tion p.934
Pro tools hd only p.934
Copying track automation to sends p.934
Automating plug ins p.934
Enabling automation for individual plug in parameters p.935
Record safing plug in automation p.936
Pro tools hd only p.936
Enabling automation for all plug in parameters p.936
Color indication of automation mode for plug in parameters p.936
Automatically enabling plug ins for automation p.936
Automatching controls p.936
D control and d command only p.937
Automatching individual tracks p.937
Automatching individual controls p.937
Automatching individual automation types p.937
Automatching all controls p.937
You can use the write to punch command at the end of your automation pass to write the current value back to the start of the pass p.938
Taking tracks and controls out of latch prime p.938
Pro tools hd only p.938
Priming controls for writing automation in latch mode p.938
Enabling and suspending automation p.940
Suspending automation on all tracks p.940
Rolling through automation punch points in latch prime p.940
Suspending automation from the edit win dow obeys edit groups to suppress grouped behavior hold start windows or control mac while suspending a control p.941
Suspending automation for individual controls p.941
Viewing automation enable status p.942
Track automation mode selectors p.942
Automation window buttons p.942
Automation enable guidelines p.942
Thinning automation p.943
Pro tools hd only p.943
Deleting automation p.943
Clearing trim automation p.943
Using the thin automation command p.944
Using smooth and thin data after pass p.944
The parabolic and s curve pencil shapes are not available for editing automation p.944
Drawing automation p.944
Using pencil tool shapes p.945
Resolution of midi controller data p.945
For more information on midi continuous controller data see continuous controller events on page 592 p.945
Editing automation p.945
Using the trimmer tools p.946
Using the pencil tool p.946
Using the grabber tools p.946
Graphical editing of automation data p.946
Editing volume automation p.946
Editing automation types p.946
Editing stepped control automation p.947
Editing pan automation p.947
Editing mute automation p.947
Editing automation breakpoints p.947
When you use a trimmer tool to edit a se lection containing breakpoints new anchor breakpoints are created before and after the selected area to suppress creation of an chor breakpoints press alt windows or option mac while using a trimmer tool p.948
Constrain new breakpoints to next or previous automation value p.948
Writing a new breakpoint to the next or pre vious automation value is accomplished us ing any grabber tool but is not supported with the smart tool p.948
Plug in automation playlists on stereo and multichannel tracks p.949
Examples p.949
Editing automation on stereo and multichannel tracks p.949
Editing automation on grouped tracks p.949
Cutting copying and pasting automation p.950
Tips for cutting copying and pasting p.951
For additional flexibility you can use play lists or the duplicate track command to work nondestructively on a copy of the edit data p.951
Editing and track views p.951
You cannot paste midi controller data to automation data nor automation to midi p.952
Paste special p.952
Cut special p.952
Cut copy clear and paste special commands p.952
Copy special p.952
For midi automation glide to commands only apply to midi volume midi pan and midi mute midi parameters cannot use the write to commands p.953
Clear special p.953
You cannot interchange automation data between audio and midi tracks or between continuous controls such as faders or pans and switched or stepped controls such as mute or midi controllers p.953
Special paste function for automation data p.953
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.953
Glide to all enabled option p.953
Glide automation p.953
You can also press alt shift forward slash windows or option shift forward slash mac p.954
You can also press alt forward slash windows or option forward slash mac p.954
Trimming automation p.954
Pro tools hd only p.954
Glide automation considerations p.954
Writing trim automation p.955
Even when automation is set to coalesce on exiting trim mode you can use the coalesce trim automation command to commit trim moves at any time p.955
Coalescing trim automation p.955
Writing automation to the start end or all of a track or selection p.956
Pro tools hd only p.956
If transport is playing and you are writing automation you cannot directly enter or exit trim mode you must automatch be fore exiting trim mode this prevents any abrupt jumps in automation values p.956
Write to start end or all and trim mode p.957
Requirements for standard write automation commands p.957
For midi automation the write to com mands only apply to midi volume midi pan and midi mute midi parameters cannot use the write to commands p.957
Writing automation to the start end or all of a track or selection on stop p.958
Writing automation to the next breakpoint or to the punch point p.958
Pro tools hd only p.958
Write automation to next breakpoint re mains enabled after a valid automation pass unlike standard write automation commands it cannot be configured to dis able after an automation pass p.959
Write automation to next breakpoint and write automation to punch point have the same requirements as write automation to start end and all commands see writing automation to the start end or all of a track or selection on page 938 p.959
For midi automation the write to com mands only apply to midi volume midi pan and midi mute other midi parame ters cannot use the write to commands p.959
Writing automation to the next breakpoint or to the punch point on stop p.960
Write to next breakpoint or punch point and trim mode p.960
Write automation to next breakpoint remains enabled after a valid automation pass unlike standard write automation commands it cannot be configured to disable after an automation pass p.960
Using write to commands during playback p.961
Pro tools hd only p.961
Guidelines for write to commands p.961
For midi automation the write to com mands only apply to midi volume midi pan and midi mute midi parameters cannot use the write to commands p.961
Supressing warnings when using write to commands p.962
Pro tools hd only p.962
Overwriting or extending mute automation p.962
Applying write to commands to selected tracks p.962
To overwrite mute states on multiple tracks set all tracks to the same automation mode p.963
With touch mode you have to hold the mute button for the duration of the write p.964
To overwrite mute states on multiple tracks press alt control windows or op tion command mac and the mute button on one of the tracks to be automated p.964
To extend mute states on multiple tracks set all the tracks to the same automation mode p.964
To extend mute states on multiple tracks press alt control windows or op tion command mac and the mute button on the track p.964
If you extend past the subsequent on or off event the entire event will be changed p.964
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.965
For midi automation the write to trim to and glide to commands only apply to midi volume midi pan and midi mute midi parameters cannot use the write to commands p.965
Creating snapshot automation p.965
Writing snapshot automation over existing automation data p.966
Adding snapshot automation to empty automation playlists p.966
Capturing automation and applying it elsewhere p.967
Snapshot automation and trimming of automation data p.967
Pro tools hd only p.968
Previewing new automation values p.968
Previewing automation p.968
It is not necessary for the allow latch prime in stop preference to be enabled for preview to put a control into latch prime p.968
Taking controls out of isolated state p.969
Suspending preview mode p.969
Punching preview values p.969
Preview mode and write to commands p.969
Isolating multiple controls p.969
Punching captured automation values p.970
Pro tools hd only p.970
Capturing automation values p.970
Capturing automation p.970
Capturing automation values for all controls p.971
Capture and trim mode p.971
Punching automation values for all controls p.971
Punch capture and write to commands p.972
Loading captured values into preview p.972
Capturing values while in preview mode p.972
Capture and preview mode p.972
Vca master track automation p.973
Pro tools hd only p.973
Excluding vca slave tracks from vca master automation p.973
Displaying the composite automation playlist on slave tracks p.973
Displaying automation on vca master tracks p.973
This action cannot be undone p.974
Removing a slave track from a vca group p.974
Deleting the vca master p.974
Coalescing vca automation p.974
Clearing the vca master p.974
Coalescing automation across an edit selection p.975
Duplicating a slave track p.975
Selecting audio for loops submixes and effects p.977
Chapter 43 mixdown p.977
Audiosuite plug ins provide another option for writing or printing a plug in effect to disk for more information see chapter 37 audiosuite processing p.977
When to use a dither plug in p.978
Using dither on an output mix p.978
Dithering p.978
Bounce to disk p.978
With pro tools hd rtas plug ins placed on auxiliary input master fader and in strument tracks will use additional voices and may introduce extra latency based on the h w buffer size for more information see voice usage and total latency for rtas plug ins on page 874 p.979
Voice requirements p.979
Sample rate conversion and bit depth reduction p.979
For information about voice management see track priority and voice assignment on page 182 p.979
For information about digidesign dither plug ins refer to the p.979
Bus recording to tracks p.979
Bounce to disk p.980
Bounce options p.981
Record enabled tracks and trackinput enabled tracks cannot be bounced p.981
Bouncing with mute frees assigned voice pro tools hd only p.981
Bounced files are delay compensated p.981
Bounce source p.981
Windows only p.982
Windows media p.982
Sound designer ii p.982
See the digitranslator guide for more in formation p.982
Quicktime p.982
Pro tools with digitranslator 2 only p.982
Mxf material exchange format p.982
Mac only p.982
File type p.982
Enforce avid compatibility p.982
Bwf broadcast wav format p.982
Aiff audio interchange file format p.982
The mp3 export option is available for pur chase from the online digistore at the digi design website www digidesign com p.983
Mpeg 1 layer 3 mp3 p.983
Id3 tag info settings p.983
Encoder settings p.983
While id3 v2 is the current standard mp3 format not all mp3 players support id3 v2 contact the developer of your player software for compatibility informa tion p.984
Mac file settings p.984
Format p.984
Default button p.984
Sample rate conversion quality p.985
Sample rate p.985
Resolution p.985
If your session is 16 bit you should still use a dither plug in on the output mix because all pro tools systems process audio inter nally at higher bit depths p.985
Sample rate conversion quality option p.986
Import into session after bounce p.986
Convert during or after bounce p.986
8 bit resolution only p.986
Use squeezer p.986
The import after bounce option is only available if the target file type and sample rate for the bounce is the same as the file type and sample rate of the current session and the target resolution bit rate is the same or lower than the resolution of the ses sion in addition tracks bounced to a stereo interleaved file cannot be automatically im ported after a bounce p.986
Recording a submix with bounce to disk p.987
If you bounced from a selection point you can snap the file to the bounce point start drag windows or control drag mac the region from the region list to the destina tion track p.987
Final mixdown p.988
By default the bounce will end at the last audio waveform or midi note to end the bounce sooner make an edit or timeline selection to define the end and start of the bounce p.988
Mastering to a digital recorder p.989
Mastering and error correcting media p.989
Mastering and audio compression p.989
Mastering p.989
Bit input and output p.989
Surround p.991
Part x surround p.991
For pro tools le with complete production toolkit depending on your pro tools le device you may not be able to monitor all available surround formats for more information see the complete production toolkit guide p.993
For information on fundamental surround concepts see the pro tools sync surround concepts guide p.993
Chapter 44 pro tools setup for surround p.993
While all 5 mixing formats provide the same speaker arrangement there are three primary standards in use for the track layout of the indi vidual channels that comprise the 5 format multichannel mix p.993
This chapter explains how to set up and config ure pro tools sessions for multichannel mixing p.993
Surround mixing is provided with pro tools hd and pro tools le with complete production toolkit only pro tools supports mixing in the following multichannel greater than stereo formats lcr quad lcrs 5 5 6 6 and 7 p.993
Pro tools audio connections for 5 mixing p.993
Multichannel surround mixing is supported with pro tools hd or pro tools le with complete production toolkit only in this chapter all references to pro tools refer to pro tools hd and pro tools le with complete production toolkit p.993
In the following table it is assumed that sur round channels are mapped to outputs 1 6 of a pro tools audio interface use channels 7 8 to monitor a stereo mix for a stereo version or for cue mixes and monitoring p.993
Remixing sessions in surround importing multichannel i o setups p.994
New sessions and i o settings p.994
New sessions p.994
In order to see multichannel options in pro tools the surround mixer plug in must be installed in the plug ins folder this plug in can be installed with pro tools see the setup guide for your pro tools system if it is not installed you can move it from the plug ins unused folder to the plug ins folder p.994
Importing session data p.994
If you use a digidesign control surface see its guide for more information p.994
Custom multichannel paths p.994
Configuring pro tools for multichannel sessions p.994
Surround mix settings files p.995
Custom multichannel paths p.996
Importing multichannel i o setups p.996
Exporting i o settings p.996
Default input and insert paths with 5 settings p.996
Default 5 output paths p.996
Default 5 bus paths p.996
When creating 5 format paths you can specify the default track layout see de fault path order for 5 tracks on page 980 p.997
Tracks formats mapping and metering p.997
See also example paths and signal rout ing for a surround mix on page 990 p.997
Remapping channels p.997
For additional i o setup information see creating new paths on page 65 p.997
Example lcrs setup p.997
The new track default output can be set to bus paths as well as output paths p.998
Default path order for 5 tracks p.998
Default i o selectors in i o setup p.998
Chapter 44 pro tools setup for surround 981 p.999
Channel map in i o setup 5 format p.999
Track meters tracks p.999
Track layouts routing and metering p.999
Smpte itu p.999
Figure 14 track layout of different 5 formats p.999
Multichannel surround mixing is supported with pro tools hd or pro tools le with complete production toolkit only in this chapter all references to pro tools refer to pro tools hd and pro tools le with com plete production toolkit p.1001
Multichannel audio tracks p.1001
Chapter 45 multichannel tracks and signal routing p.1001
Timeline drop order for this reason you may want to rename audio files before dragging them so that they are placed in the preferred order re name them so that sorting them by region name in the region list results in the pre ferred order for example with a 5 for mat track you can rename the audio tracks so that the arrangement of the tracks corre sponds to l c r ls rs and lfe p.1002
Solo mute and gain in multichannel tracks and paths p.1002
Placing audio in multichannel tracks p.1002
Once converted to mono multichannel tracks cannot be relinked into their original multichannel format however a multi channel track can be reassembled by drag ging the corresponding number of mono files with the appropriate file suffixes into a multichannel track although some auto mation data may be lost as an alternative record the submix of the mono tracks to disk on a multichannel track p.1002
See linking and unlinking controls on multi mono plug ins on page 987 for more information p.1003
Multiple outputs and automation playlists p.1003
Multiple output assignments and track format p.1003
Control start click windows or com mand control click mac any control in an output window to show its automation playlist in the edit window and view any pan automation p.1003
Changing format p.1003
Track and output formats p.1003
Multichannel track outputs p.1004
Multichannel signal routing p.1004
Multichannel sends p.1004
Multichannel instrument tracks p.1005
Multichannel auxiliary inputs and master faders p.1005
Mono multi mono and multichannel plug ins p.1005
Linking and unlinking controls on multi mono plug ins p.1005
See extending stereo mixing conventions to surround mixing on page 992 for re lated information p.1006
Paths in surround mixes p.1006
Mixing with paths and sub paths p.1006
For more information on using plug ins see p.1006
Extending stereo mixing conventions to surround mixing p.1008
Example paths and signal routing for a surround mix p.1008
Example output paths p.1008
Example multichannel paths p.1008
Example sub paths p.1009
Example bus paths p.1009
Submix stem examples p.1010
Signal routing examples p.1010
Extending stereo mixing conventions to surround mixing p.1010
Multiple output assignments p.1011
Lfe examples p.1011
Lfe faders can follow mix and edit groups for information see selecting group at tributes on page 207 p.1012
Lfe and filtering p.1012
For instructions on how to create a sub path see custom multichannel paths on page 978 p.1012
See chapter 44 pro tools setup for sur round for more information on multichan nel configurations and i o setup options for multichannel signal routing see chapter 45 multichannel tracks and signal routing p.1013
Multichannel surround mixing is supported with pro tools hd or pro tools le with complete production toolkit only in this chapter all references to pro tools refer to pro tools hd and pro tools le with com plete production toolkit p.1013
Introduction to pro tools surround panning p.1013
Chapter 46 surround panning and mixing p.1013
Output windows p.1014
Mix and edit window panner grids p.1014
Pan location cursor color while automating p.1014
Track fader solo mute and auto p.1015
Standard controls p.1015
For instructions on managing multiple out put windows see output windows for tracks and sends on page 849 p.1015
For details on these standard features see standard selector controls in output win dows on page 851 p.1015
When assigned to tracks or paths with four or more channels the output window provides an x y grid for surround panning the speakers associated with the panner s multichannel format are dis played in their relative positions outside the panner grid these speakers are also used as snap pan to speaker controls p.1016
This section identifies all the controls and features found in pro tools multichannel panners p.1016
Surround panner controls p.1016
Pro tools reference guide 998 p.1016
Figure 24 output window with a 5 format multichannel panner p.1016
The x y grid and pan location cursor p.1017
Position controls p.1017
Panning mode button p.1017
Divergence controls p.1017
Center control p.1017
For examples of how divergence settings af fect output panning see divergence and center percentage on page 1004 p.1018
Snap pan to speaker icons p.1018
Multichannel panner linking p.1018
Lfe fader p.1018
X y panning p.1019
Panning modes p.1019
It is not necessary to click exactly on the pan location cursor clicking anywhere in the grid will move the pan location cursor rel ative to where you click or take over with a hardware panner panning does not jump to the click position p.1019
Knob panning p.1020
Grid options and shortcuts p.1020
All pan controls can be automated includ ing pan position and divergence see chapter 42 automation for details p.1020
When writing automation in autoglide mode the pan location cursor cannot be dragged from its location p.1021
Autoglide mode p.1021
Divergence and center percentage p.1022
Divergence p.1022
Divergence editing mode p.1023
Center percentage example p.1023
Center percentage p.1023
Lfe faders in multichannel panners p.1023
When lfe enable is unavailable try using the multi mono version of the plug in p.1024
Surround scope plug in p.1024
Pan playlists p.1024
Pan automation can be drawn edited cut copied and pasted from the edit window for more information see chapter 42 au tomation p.1024
Lfe faders and groups p.1024
Lfe enable p.1024
Format track layouts p.1024
For more information on pro tools meter ing see 5 tracks formats mapping and metering on page 979 p.1024
For general information about lfe sub channels and related topics see the pro tools sync surround concepts guide p.1024
For details on surround scope refer to the digidesign plug ins guide p.1024
Sync and video p.1025
Part xi sync and video p.1025
Pro tools synchronization options p.1027
Pro tools hd only p.1027
Chapter 47 working with synchronization p.1027
Smpte trigger resolved with a sync peripheral p.1027
Smpte trigger only p.1027
Sync peripheral synchronization options p.1028
Smpte trigger while locking to an unresolved source p.1028
Session setup window p.1028
Machinecontrol p.1028
Ext clock output p.1028
Press control 2 windows or command 2 mac to open the session setup window p.1029
Incoming time current time p.1030
If a sync peripheral is enabled in the peripherals dialog and is correctly connected in the loop sync chain the sync peripheral can be the loop master and pro tools hd audio interfaces will clock as loop sync slaves p.1030
For more information on external clock sources refer to your sync peripheral documentation p.1030
Clock source options p.1030
Clock source p.1030
Changes made to clock source in the hardware setup dialog will be reflected in the session setup window and vice versa p.1030
Bit depth p.1030
Audio format p.1030
System delay p.1030
Session start p.1030
Session displays and settings p.1030
Sample rate p.1030
Time code rate p.1031
Time code 2 rate p.1031
Sync setup and time code offsets p.1031
Sync setup p.1031
Refer to your sync peripheral documentation for instructions on using vso to varispeed pro tools playback p.1031
Pro tools hd only p.1031
Feet frame rate p.1031
Ref present locked and speed cal indicators p.1032
External time code offsets p.1032
Remember pull up and pull down are ap plied differently in different workflows make sure you check each project s specific workflow before you begin your work p.1033
Pull up down p.1033
Freewheel p.1033
Time code settings p.1033
Sample offset sync offset p.1033
Start time when striping tape p.1034
Setting a smpte session start time start frame p.1034
Selecting a smpte format p.1034
Preparing to work with smpte p.1034
Machinecontrol is supported on pro tools hd systems only p.1034
For a full explanation of smpte frame rates see the p.1034
Configuring pro tools for smpte p.1034
Redefining a feet frames position p.1035
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.1035
If your insertion or selection is not on a grid boundary it will round to the closest boundary p.1035
Redefining a time code position p.1036
Pull up and pull down p.1036
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.1036
Displaying time in smpte frames p.1036
Sub counter and sub time scale display p.1036
Pull up and down settings do not affect time code generated by a sync peripheral p.1037
Pull factors are not available in 176 and 192 khz sessions p.1037
Press control 2 windows or com mand 2 mac to open the session setup window p.1037
Extended pull up and pull down p.1037
Configuring pull up and pull down p.1037
Auto match pull factors p.1037
See also auto match pull factors on page 1019 p.1038
Example of auto match pull factors p.1038
Audio sample rate pull up and down p.1038
Audio rates and pull up down options p.1038
Plug ins p.1039
No video recording with pull ups p.1039
Higher sample rates and pull factors p.1039
Effect of using pull up or pull down p.1039
Avid video peripheral required p.1039
Video frame rate pull up and down p.1039
Time code ruler p.1039
Putting pro tools online p.1039
Recording online p.1040
Generating time code p.1040
Limitations for sync peripherals locked to video input or video reference p.1041
If you change time code rates in the middle of a session many smpte to midi time code converters need to be turned off and turned on again to be able to recognize the new frame rate p.1041
Using midi machine control p.1042
Pro tools as mmc master p.1042
Enabling midi machine control in pro tools p.1042
Digidesign s machinecontrol option sup ports remote track arming for sony 9 pin and v lan enabled devices see remote track arming on page 1028 p.1042
Controlling external devices using mmc p.1042
Pro tools as mmc slave p.1043
In order for pro tools to receive mmc com mands the mmc source must be enabled in the midi input enable dialog for more in formation see enabling input devices on page 390 p.1043
Operating mmc devices with the pro tools transport p.1044
Mmc transport settings p.1044
To set up midi devices see enabling midi machine control in pro tools on page 1024 p.1045
To set up machine devices see the machinecontrol guide p.1045
The online pop up menu will only display devices that have been properly set up in pro tools p.1045
Taking a device offline p.1045
Setting minimum sync delay p.1045
Configuring minimum sync delay for external mmc devices locked to house sync p.1045
The spot dialog p.1046
Spotting regions to smpte frame locations p.1046
Spot mode p.1046
Remote track arming p.1046
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.1046
Machine track arming to display the machine track arming window p.1046
For information on remote track arming with machinecontrol see the p.1046
To increase or decrease smpte values in the spot dialog by a specific number of frames press plus or minus on the numeric keypad enter a number and press the enter key p.1047
Subframe measurements are not available in the current time field p.1047
Capturing time code p.1047
Use subframes option p.1047
To use remote mode with machinecontrol you will need an approved serial port for a complete list of currently approved ports see www digidesign com p.1047
Using the trimmer tools in spot mode p.1048
Clicking a region with any of the trimmer tools will allow you to trim the region to the current time code location p.1048
Auto spotting regions p.1048
Auto spotted regions are spotted by their start times unless you have identified a sync point see identifying a synchroniza tion point on page 1032 if the region con tains a sync point the region is spotted to it p.1048
Time stamping p.1049
Show original time code in regions p.1049
Creating a user time stamp p.1049
Troubleshooting smpte synchronization p.1050
Stripe smpte before you record p.1050
Identifying a synchronization point p.1050
For more information on sync points see sync points on page 728 p.1050
Resolve all components of your system p.1051
Know the true frame rate on your media p.1051
Fps non drop rate not recognized p.1051
Use a consistent clock source p.1052
Introduction p.1053
For detailed information on features that apply specifically to working with avid video in pro tools see the avid video peripherals guide p.1053
Chapter 48 working with video in pro tools p.1053
An avid video peripheral is required to work with avid video p.1053
Supported quicktime movies p.1054
Quicktime required p.1054
Quicktime movies support in pro tools p.1054
Quicktime movie playback performance options p.1054
High quality quicktime image p.1054
For information on which version of quick time is compatible with your version of pro tools visit the compatibility pages of the digidesign website at www digidesign com compatibility p.1054
Also see playing quicktime dv video to an external monitor over firewire on page 1055 p.1054
Windows media video vc 1 ap codec support in pro tools p.1055
Windows media video file caveats p.1055
Limitations for applying pull ups to quicktime movies in sessions containing avid video p.1055
Before starting your project p.1055
Windows vista only p.1055
Video tracks p.1056
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 or with an avid video peripheral only p.1056
Multiple video tracks in the timeline p.1056
An avid video peripheral is required to import play back and edit avid video p.1056
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 or with an avid video peripheral only p.1057
Multiple video track playlists p.1057
Multiple codecs on an individual video track p.1057
Main video track p.1057
For more information see chapter 27 playlists p.1057
Video track view p.1058
Video track type icons p.1058
Video track controls and indicators p.1058
Frames view performance p.1058
Frames view p.1058
Blocks view p.1058
Video online button p.1059
See the avid video peripherals guide for de tailed information on using the record en able button and the controls in the i o view p.1059
Locking video tracks p.1059
Differences in video tracks with avid video p.1059
You can edit lock or time lock individual video regions for more information about locking regions see locking regions on page 730 p.1060
Video engine rate indicator p.1060
Video engine rate p.1060
The time code rate is set in the session setup window for more information see session setup window on page 1010 p.1060
See video engine rate indicator on page 1042 for information on the video engine rate indicator in the i o view p.1060
See pull up and pull down on page 1018 for detailed information on using video pull up and pull down p.1060
The video frame rate of the first video file added to a session determines the session s video engine rate video files subsequently added to the session must have the same video frame rate as the video engine rate p.1061
See configuring video import options on page 1044 for detailed instructions p.1061
In general audio and video media should be stored on separate dedicated drives when importing audio and video at the same time by linking to media however pro tools may copy both to the same drive to avoid performance problems move the video to a video playback drive before importing the audio and video into your session p.1061
In a digibase browser you can designate your audio drives to play or record audio but only transfer video or vice versa you may use these settings to ensure that your audio and video are on the correct volumes for de tailed instructions see audio and video volume designators on page 261 p.1061
Importing video into pro tools using the import video command p.1061
Importing video into pro tools p.1061
When you import mpeg 2 video into pro tools only the video portion of the file is imported and the resulting video regions cannot be edited p.1061
See configuring video import options on page 1044 for detailed instructions p.1062
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 or with an avid video peripheral only p.1062
Importing video into pro tools with drag and drop p.1062
Importing video into pro tools using import session data p.1062
For information on importing session data see importing session data on page 289 for detailed information on importing aaf or omf sequences into pro tools see the digitranslator guide p.1062
Dragging video files from the region list to the timeline p.1062
Configuring video import options p.1062
See bypassing the video import options dialog on page 1046 for details on bypassing the video import options dialog when dragging and dropping video files p.1063
Location pop up menu p.1063
Destination section p.1063
Additional video import options p.1063
Quicktime and windows media video only p.1064
Pro tools cannot extract audio from windows media video files that require windows media file digital rights management drm passwords p.1064
Extracting audio from quicktime and windows media video p.1064
Bypassing the video import options dialog p.1064
See video engine rate on page 1042 for more information p.1064
Sample rate conversion quality p.1064
Video regions in the region list p.1065
Video regions p.1065
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 or with an avid video peripheral only p.1065
For information on working with regions in the region list see chapter 13 the region list p.1065
Working with regions and selections p.1066
Showing or hiding video regions in the region list p.1066
See the appropriate section in this guide for detailed information on performing editing operations p.1066
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 or with an avid video peripheral only p.1066
Playing and selecting video track material p.1066
General video editing p.1066
Basic video editing features p.1066
Managing regions p.1067
General editing operations not applicable to video regions p.1067
Editing caveats p.1067
Selecting and editing across multiple audio and video tracks p.1067
When you paste audio and video simulta neously this video frame re alignment may result in the audio not being positioned exactly where you placed it a warning dialog displays when this occurs p.1068
Video region groups p.1068
Using the insert silence command to insert space in video tracks p.1068
Selecting within video frame boundaries p.1068
See region groups on page 743 for detailed information on working with region groups p.1068
Renaming video disk files p.1068
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 or with an avid video peripheral only p.1068
Changes made in the operating system will not automatically update the information displayed in the digibase browser p.1068
Using the video window p.1069
For information on playing video through firewire see playing quicktime dv video to an external monitor over firewire on page 1055 p.1069
Changing video window options p.1069
Avid video displays in the video window only when scrubbed or shuttled p.1069
Scrubbing the video track p.1070
Resizing the video window p.1070
For information on playing video through pcie see playing video to an external monitor using a video card on page 1057 p.1070
To scrub with finer precision press the command key while scrubbing p.1070
Shuttling the video track p.1070
Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.1071
Increasing or decreasing the size of video frames p.1071
Browsing video in the video universe window p.1071
Selecting zoom resolutions in the video universe p.1072
Selecting ranges in the video universe p.1072
If the edit window does not display the se lected video regions it will automatically scroll to show the beginning of the selection p.1072
When playing hd video through an avid video peripheral quicktime only or other device locked to a standard definition video reference such as a black burst generator the display updates at the frame rate of the video reference p.1073
Setting session time code rate for hd quicktime and hd windows media video import p.1073
Selecting zoom resolutions and ranges simultaneously in the video universe p.1073
Press control 2 windows or command 2 mac to open the session setup window p.1073
Playing quicktime dv video to an external monitor over firewire p.1073
Playback of high definition quicktime and windows media video p.1073
Mac only p.1074
Exporting quicktime dv from avid p.1074
When using an avid video peripheral such as an avid mojo sdi avid mojo or avoption v10 you can output quicktime video formats to an external display using the firewire port on windows and mac see the avid video peripherals guide for more information p.1074
Tips for optimizing video playback p.1074
These export settings can be saved in avid xpress pro as a default simplifying future media exchange refer to your avid xpress documentation for more informa tion on export settings and defaults p.1074
Playing quicktime dv video through the firewire port p.1074
Quicktime hd or sd output p.1075
Playing video to an external monitor using a video card p.1075
For a list of devices explicitly tested for quicktime hd or sd output from pro tools visit the digidesign website at www digidesign com compatibility p.1075
Compensating for video monitoring delays p.1075
Supported quicktime codecs p.1076
Right click or control click the video win dow and select or deselect video out pcie p.1076
Pro tools hd should be locked to a suitable clock reference such as a digidesign sync peripheral if no external audio clock is referenced audio will not be frame edge aligned and may drift p.1076
Playing quicktime hd or sd video through pcie p.1076
Most common quicktime codecs are supported including hd codecs such as h 64 dvcpro 100 hdv and dv25 p.1076
Mac only p.1076
Import a quicktime based video file into a pro tools session see importing video into pro tools on page 1043 for detailed informa tion p.1076
With a digidesign qualified pcie video card pro tools can play and display quicktime sd or quicktime based hd video files with frame edge locked hd image output to a variety of professional hd monitors p.1076
If the video window is open while video plays out the pcie video card it displays text indicat ing that video is playing out pcie p.1076
When this option is enabled pro tools will play the video out the pcie video card to the con nected hd monitor p.1076
Video reference p.1076
Video output can be locked to external video reference including black burst and tri level sync p.1076
Video out pcie p.1076
To toggle output of quicktime video between the video window and pcie do one of the following p.1076
To play quicktime video through pcie p.1076
Though no pci video cards have been qualified for use with pro tools some may work visit www digidesign com for more information p.1076
Supported video formats p.1076
Windows vista only p.1077
Windows media vc 1 ap output p.1077
The video output format may displayed on the ex ternal monitor p.1077
Pro tools cannot bounce audio or video to an mpeg 2 video file p.1077
For a list of devices explicitly tested for windows media vc 1 ap output from pro tools visit the digidesign website www digidesign com compatibility p.1077
Bouncing the video track to a quicktime movie p.1077
Because all formats and codecs have not been tested you should verify the quicktime movie bounced successfully p.1077
See apple documentation for detailed information on configuring quicktime movie settings p.1078
Quicktime and avid video cannot be bounced to windows media video and vice versa p.1078
Pro tools is qualified to bounce to quick time dv25 bouncing to other formats is has not been qualified p.1078
Bouncing a video track with windows media video to a windows media movie p.1078
Because all formats and codecs have not been tested you should verify the windows media movie file bounced successfully p.1078
Using pro tools le to import video from other versions of pro tools p.1079
See bouncing the video track to a quick time movie on page 1059 p.1079
Symbols p.1081
Numerics p.1081
Index 1063 p.1081
Pro tools reference guide 1064 p.1082
Index 1065 p.1083
Pro tools reference guide 1066 p.1084
Index 1067 p.1085
Pro tools reference guide 1068 p.1086
Index 1069 p.1087
Pro tools reference guide 1070 p.1088
Index 1071 p.1089
Pro tools reference guide 1072 p.1090
Index 1073 p.1091
Pro tools reference guide 1074 p.1092
Index 1075 p.1093
Pro tools reference guide 1076 p.1094
Index 1077 p.1095
Pro tools reference guide 1078 p.1096
Index 1079 p.1097
Pro tools reference guide 1080 p.1098
Index 1081 p.1099
Pro tools reference guide 1082 p.1100
Index 1083 p.1101
Pro tools reference guide 1084 p.1102
Index 1085 p.1103
Pro tools reference guide 1086 p.1104
Index 1087 p.1105
Pro tools reference guide 1088 p.1106
Index 1089 p.1107
Pro tools reference guide 1090 p.1108
Index 1091 p.1109
Pro tools reference guide 1092 p.1110

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