M-Audio Pro Tools Recording Studio [222/1112] Modifying groups

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

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

Processing capacity p.51

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

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

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

Complete production toolkit capabilities p.53

Pro tools features p.55

Additional software p.55

Music production toolkit 2 p.56

Chapter 5 system setup p.59

Hardware buffer size p.60

System usage window and rtas processing p.62

Pro tools hd only p.64

Pro tools hd only p.65

Delay compensation settings 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

Structure plug in only p.67

Pro tools hd only p.67

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

Changes made to clock source in the session setup window will be reflected in the hard ware setup window and vice versa p.69

Configuring audio interfaces p.70

Offline peripherals p.72

Only currently unassigned output port pairs are available p.73

Processing bandwidth p.74

Pro tools hd only p.75

Chapter 6 i o setup p.77

Resizing the i o setup dialog 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

Closing the i o setup dialog p.78

Default i o settings p.79

I o setup dialog signal path controls p.80

Path type tabs p.80

Routing a pro tools output pair to multiple destinations p.82

Restoring default paths and path names p.84

Resetting mix busses p.85

Display of active and inactive paths in i o setup p.87

Remapping channels p.88

I o settings files p.89

Default i o settings at first launch p.90

Last used i o settings p.91

Factory i o settings p.91

Custom i o settings p.91

Show last saved setup and show current setup p.92

New track default output path p.93

Controller meter path p.93

Audition paths p.93

Afl pfl mutes output path selector p.94

Default path order p.95

Insert delay offsets only have an effect when the i o is used for hardware inserts p.96

Chapter 7 preferences p.97

Local current session preferences list p.98

Basics section p.99

Language options windows only p.100

Default track color coding options p.100

Clip indication options p.100

Show meters in sends view p.100

Peak hold options p.100

Transport section p.101

To customize the highest fast forward shut tle lock speed see custom shuttle lock speed on page 470 p.102

For more information see custom shuttle lock speed on page 470 p.102

Use separate play and stop keys p.103

Quicktime playback priority options p.103

High quality quicktime image p.103

Pro tools hd with avid video engine only p.104

Avid video ntsc has setup ntsc j p.104

Avid video errors stop playback p.104

Regions section p.106

Misc miscellaneous section p.106

Default fade settings p.107

Setup section p.108

Levels of undo p.108

Default dynamics p.109

Audiosuite section p.111

Sample rate conversion quality p.112

Drag and drop from desktop conforms to session tempo p.112

Tc e time compression expansion section p.113

Elastic audio section p.113

Basics section p.113

Pro tools hd only p.114

Pencil tool resolution when drawing controller data p.114

Global midi playback offset p.114

Double clicking a midi region opens p.114

Default thru instrument p.114

Midi score editor display p.115

Machine control section p.115

Pro tools hd only p.116

Pro tools hd only p.117

Chapter 8 peripherals p.119

Idle mtc enabled p.120

Enable sync peripheral 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

Pitch memory enabled p.120

Ltc output level p.120

Midi machine control master p.121

Enable p.122

Pro tools hd with machine control only p.122

Preroll p.122

Mmc id p.122

Machine type p.122

Pin remote deck emulation p.123

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

Ethernet port p.124

Satellite p.126

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

For optimum compatibility between win dows and mac set the file type to bwf wav p.132

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

Selecting bit depth and sample rate p.133

Opening a session that contains unavailable files p.134

With pro tools le only p.135

With pro tools hd only p.135

With all pro tools systems p.135

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

To include all audio with the session copy all audio files must be selected in the items to copy section p.138

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

Using mixed file types p.139

Sample rate p.139

Bit depth p.139

Audio file type p.139

All non native audio files p.140

All audio files p.140

Limit character set p.140

Fader gain p.140

Enforce mac pc compatibility p.140

Don t copy fade files p.140

Creating and saving custom templates p.141

Install template in system p.142

Creating new sessions from templates 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

For information on selecting individual view options see views in the mix and edit win dows on page 836 p.146

Edit toolbar controls and displays p.149

Grid and nudge p.150

Rearranging controls and displays p.151

Edit window default length p.152

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

Press enter windows or return mac to return to zero p.153

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

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 in the edit window p.157

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

Task window p.160

Relink window p.160

Window configurations p.160

Press control alt j windows or com mand option j mac to show or hide the window configuration list p.161

View filter icons p.162

If a window configuration already exists at that numbered slot the new window configuration overwrites it p.164

Importing window configurations p.166

Deleting window configurations p.166

Clearing window configurations p.166

Hiding all floating windows p.167

Closing windows p.167

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

Chapter 11 tracks p.171

Midi tracks p.172

Instrument tracks p.172

Video tracks p.172

Auxiliary input track channel strips p.173

Audio track channel strips p.173

Pro tools hd only p.174

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

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

Master fader track controls p.176

Auxiliary input track controls p.176

Audio track controls p.176

Pro tools hd only p.177

Video track controls p.178

Instrument track controls p.178

Volume peak channel delay indicator p.179

Volume fader p.180

Pan slider p.180

Pan indicator p.180

Midi volume fader p.180

Clip indication p.181

Pre and post fader metering p.181

Peak hold p.181

Wide meters view p.182

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

Selecting tracks when making edit selections p.185

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

To select multiple tracks control click windows or command click mac additional track name p.186

Duplicating vca slave tracks p.187

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

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

Changing to previous or next track view p.190

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

Show hide track list and group list p.193

Track controls and track height p.193

Showing and hiding tracks p.194

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

Audio auxiliary input master fader and instrument tracks p.198

Audio auxiliary input and instrument tracks p.198

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

Toggling multiple paths p.200

Freeing up voices on a track p.201

Changing a track s playback priority p.201

Voice usage and total latency for rtas plug ins on page 87 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

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

Voice borrowing 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

Instrument track midi output p.206

Instrument track midi input p.206

Solo button 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

Dsp usage when using afl or pfl mode p.208

Solo safe mode p.209

Mute frees assigned voice p.210

Midi mute p.210

Display page preferences for color coding 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

Using the hold button p.213

Chapter 12 grouping tracks p.215

Grouping limitations p.216

Mix groups in pro tools le p.216

Linking mix and edit groupings p.216

The group list p.217

Group list menu p.218

Group dialog p.219

Creating 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.221

Duplicating groups p.223

Deleting groups p.223

To save the current attribute settings directly to a preset location control click windows or command click mac the preset button p.225

Keyboard selection of groups p.226

Temporarily isolating control of an item from group operation p.227

Setting group pan controls to ignore offsets p.227

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

Sorting regions p.231

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

Keyboard selection of regions p.234

Select options p.235

Auditioning discrete signals in multichannel items p.236

Renaming regions p.237

Auto naming options 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

Chapter 14 digibase p.241

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

Task window p.244

Relink window p.244

Shared network volume databases p.245

Read write volume databases hard drives p.245

Read only volume databases p.245

Cd dvd roms and write protected volumes p.245

Sharing database files p.246

Viewing the contents of a volume folder or catalog p.248

Opening sessions p.248

Opening aaf and omf sequences p.248

Moving browsers to the foreground or background p.248

Closing browsers p.248

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

For more information on importing aaf and omf sequences see the digitranslator guide p.249

Manual indexing p.250

Indexing while browsing p.250

Last indexed date display p.251

Automatic updating for pro tools actions p.251

Moving columns between panes p.253

Arranging and resizing columns p.253

Additional digibase pro commands p.253

Showing and hiding columns p.254

For more information see audio and video volume designators on page 261 p.255

File comments p.257

Adding and editing comments p.258

Digibase pro only p.259

Search features for all systems p.260

Deleting folders in catalogs p.260

Additional search features for digibase pro only p.260

Field formats and searching p.261

Quotations marks for text strings p.263

Saving search results as a catalog 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

File timebase and elastic audio analysis icons p.266

Elastic audio plug in selector p.268

Audio files conform to session tempo button p.268

Auto preview p.269

Loop preview p.269

Reserve voices for preview in context p.270

Transfer files p.271

Choosing when to relink p.271

Copy and relink p.272

Transfer files in an open session p.272

Opening a session with missing files p.272

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

Missing files in an open session p.274

Relinking individual missing files p.276

Relinking multiple missing files p.276

Relinking and aliases in catalogs 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

Digibase pro only p.280

Opening the project browser 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

About the project browser p.283

Opening a catalog browser p.284

Creating catalogs of folders p.285

Consolidating files with catalogs p.286

Importing online items from a catalog p.287

Importing offline items from a catalog p.287

Opening the task window p.288

Paused tasks pane p.289

Active tasks pane p.289

Pause tasks during playback p.290

About failed tasks p.290

About cancelling tasks p.290

Chapter 15 importing and exporting session data p.293

Exporting p.294

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

The import audio import session data and bounce to disk dialogs provide local controls for sample rate conversion quality p.295

Importing interleaved files p.296

Sample rate conversion quality p.297

Drag and drop from desktop conforms to session tempo p.297

Tracks preference p.298

Fades editing preference p.298

Importing elastic audio from digibase to the region list p.301

Importing tempo from tick based audio p.301

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

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

Exporting a region as a new audio file p.305

Exporting region definitions p.307

Importing grouped playlists from other sessions p.309

Text encoding p.310

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

Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.314

To manually copy files on import p.315

Using undo after importing p.316

Include file list region list p.317

File format p.317

Include track edls playlists p.317

Exported session text p.318

For more information visit the digidelivery website www digidesign com digidelivery p.319

Importing midi files with drag drop p.321

Pro tools automatically adds the mid extension when exporting midi files p.322

Exporting individual midi and instrument tracks p.323

For more information on using digibase browsers refer to the digibase guide p.325

Chapter 16 file and session management and compatibility p.327

For more information on storage volume classifications see performance and transfer volumes on page 226 p.328

For complete information on relinking transfer files see linking and relinking files on page 253 p.328

Saving a copy of a session that contains long audio file names p.329

Opening a session that contains audio file names with illegal characters p.329

Working with mac based hfs drives on windows computers p.330

To windows based ntfs drives only p.331

From window based ntfs drives only p.331

Recording and playback from hfs drives on windows p.332

Cross platform session limits p.332

Incompatible ascii characters p.333

File name extensions p.333

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

Groups p.335

Sharing pro tools hd 8 sessions with lower versions of pro tools hd 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

Groups p.337

Format the following occurs p.337

When saving a pro tools hd 7 session to pro tools 5 format the following occurs p.338

Language compatibility p.338

Groups p.338

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

Format p.340

Unicode support for languages p.341

Pro tools automatic naming language p.341

Windows only p.342

Localized os on mac only p.342

Chapter 17 playing back track material p.345

Example playing back midi p.346

The big counter p.347

Playback cursor p.347

Main and sub counters and edit selection indicators p.347

Setting playback location using the selector tool p.348

Pro tools hd only p.350

Using back or forward commands p.350

Setting the back forward amount p.350

Repeating back forward commands p.351

Extending selections with back or back and play commands p.351

Page scrolling during playback p.352

Continuous scrolling during playback p.352

Center playhead scrolling p.353

Half screen edit window p.353

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

A selection must be at least 500 ms in length for it to loop on playback p.356

Loop playback and audio recording 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

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

Timeline insertion play start marker follows playback p.359

Keyboard shortcuts for relocating the play start marker p.360

Transmitting beat clock p.360

Recording in dynamic transport mode p.360

Measuring beat clock latency p.361

Chapter 18 record setup p.363

Input connections and audio levels p.364

Calibration mode p.365

Monitoring drive space p.366

For more information on the digirack click plug in see the digirack plug ins guide p.367

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

If one is connected you can also play new note values on a midi controller keyboard p.368

Setting the session tempo p.369

Setting the session meter p.369

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

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

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

Quickpunch p.373

Destructivepunch p.373

Names for stereo audio tracks p.374

Names for multichannel tracks p.375

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

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

Allocating audio drives in your system 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

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

Recording to the system volume p.381

Input only monitoring p.382

Link record and play faders p.383

Disable input when disarming track p.383

Mbox 2 mbox 2 mini and mbox only p.384

Pro tools hd only p.384

Low latency monitoring and bounce to disk p.385

Chapter 19 audio recording p.387

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

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

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

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

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

For more information on memory locations see memory locations and markers on page 705 p.393

Setting pre and post roll in the transport window p.394

Setting pre and post roll in a playlist p.394

Enabling pre post roll from the options menu p.395

Dragging pre and post roll flags in the timebase ruler p.395

Monitoring during punch ins 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

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

For more information on playlists and play list editing see playlists on page 529 p.399

Automatically create new playlists when loop recording p.400

Selecting alternate takes on a track p.401

Selecting alternate takes from the region list p.401

Matches and multiple tracks p.402

Expanding alternate takes to new playlists p.403

Pro tools hd digital options p.404

Expanding alternate takes to new tracks p.404

Pro tools le digital options p.405

After a digital transfer p.406

Chapter 20 midi recording p.407

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

The default thru instrument p.409

For more information on input quantize see input quantize on page 820 p.410

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

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

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

Digidesign recommends recording without delay compensation in most cases for more information see delay compensa tion on page 860 p.413

Midi regions are created on barlines p.414

Recording over exisiting midi regions p.414

Punch recording during playback with midi p.415

Canceling a record take p.415

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

Loop recording in midi merge mode p.417

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

Recording audio from an instrument plug in p.421

Chapter 21 punch recording modes p.423

Voice requirements for punch recording p.424

Dynamically allocated voicing p.425

Quickpunch and trackpunch modes p.426

Destructivepunch mode p.426

Crossfade transport and record settings p.426

Quickpunch trackpunch crossfade length p.427

Destructivepunch and crossfades p.427

Transport recordlock 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

Trackpunch setup p.430

Transport display of trackpunch status p.431

Punching in on individual tracks p.432

Monitoring and levels p.432

Destructivepunch setup p.434

Transport display of destructivepunch status p.435

Using the prepare dpe tracks command p.436

Destructivepunch file length p.436

Destructivepunch enabling tracks without record enabling them p.436

Track record status display p.437

Destructivepunch enabling and record enabling tracks simultaneously p.437

Punching in on multiple tracks p.438

Starting recording immediately on multiple tracks p.438

Punching in on single tracks p.438

Film dubbing and mixing 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

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

Chapter 22 editing basics p.445

Region types 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

Rectified waveforms p.448

Calculating waveform overviews p.448

When zoomed in to the sample level pro tools always displays waveforms in normal peak view p.449

Regions view for midi and instrument tracks p.451

Nondestructive audio editing p.451

Audio regions and automation data p.451

For more information on editing midi con troller data see chapter 29 midi editing p.452

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 mute automation p.453

Nondestructive midi editing p.454

Displaying other region information p.455

Undo history window p.456

Clearing the undo queue p.457

Cut copy paste and clear p.458

Deleting underlying region data p.459

Merge for more information see paste special on page 934 p.460

With the grabber tool start click win dows or control click mac a region to conform it to the current selection p.460

Special cut copy paste and clear commands p.461

Repeat to fill selection p.461

Chapter 23 edit modes and tools p.463

Displaying grid lines p.464

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

Press shift f4 to enable snap to grid while in another edit mode p.465

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

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

Zoom buttons p.467

Audio and midi zoom in and out buttons p.468

Normal zoomer tool p.469

Vertical zooming in or out of all audio tracks continuously p.471

Zoom toggle parameters p.472

Zoom toggle preferences 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

Zoom toggle follows edit selection p.474

Auto toggle when changing selection p.475

Trimmer tool p.476

Elastic audio tce trimmer tool p.477

Audiosuite tce trim tool p.477

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

Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.479

Trimming looped regions p.480

Creating loops with the loop trimmer tool p.480

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

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

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

To temporarily switch the smart tool to the eraser press alt start windows or op tion control mac p.485

The smart tool with stereo and multichannel tracks 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

Pro tools hd only p.488

Custom shuttle lock speed p.488

Waveform repair with the pencil tool p.489

Chapter 24 making selections p.491

Timeline and edit selection markers p.492

Selections in multiple tracks p.493

Selections and hidden tracks p.493

Selections and edit groups 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

The object grabber is not available when the edit mode is set to shuffle or spot p.495

Object to time selection p.496

Numeric entry shortcuts for selection indicators p.499

Calculator entry mode p.499

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

Right click commands and selection preservation p.502

Tab to transients across multiple tracks p.503

Timeline selections to from edit selections p.504

Sliding a timeline selection p.504

Navigating to tracks using track position numbers p.506

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

You can also press control alt z win dows or command option z mac to re store the previous selection p.512

Chapter 25 editing regions and selections p.513

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

Auto created to hide all auto created regions in the region list p.515

Separating multiple tracks p.516

Changing region overlap underlap p.517

Trim to selection command p.518

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

Defining the nudge value p.521

Nudging regions on multiple tracks and in multichannel tracks p.522

Nudging by next nudge value p.522

Split selected tracks p.523

Dragging regions to and from stereo and multichannel tracks 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

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

Fitting an audio region to an edit selection 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

Chapter 26 fades and crossfades p.529

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

Fade in or fade out only p.534

Crossfades only p.534

Creating fade ins and fade outs p.537

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

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

Pro tools hd only p.541

Moving or nudging fades or crossfades within regions p.542

Nudging regions adjacent to fade ins or fade outs p.543

Moving regions containing fades or crossfades p.543

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 a region to a fade boundary p.546

Trimming to a selection across fades or crossfades p.546

Chapter 27 playlists p.547

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

For more information on grouping tracks see grouping tracks on page 197 p.549

Elastic audio and alternate playlists p.550

Track compositing example p.550

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

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

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

Filtering lanes p.558

Alternates match options p.559

In addition to match options p.560

Matches and multiple tracks p.561

Expanding channels to new playlists 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

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

Ram requirements for beat detective p.568

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

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

Beat detection across multiple tracks p.571

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

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

Deleting beat triggers p.576

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

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

Trigger pad p.581

Audio only p.581

Pro tools hd and pro tools le with music production toolkit 2 or complete production toolkit only p.582

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

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

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

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

Chapter 29 midi editing p.593

Follow grid p.594

Mirrored midi editing p.595

Free hand p.596

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

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

Selecting midi notes p.600

You can also shift click on the mini keyboard to extend or contract the range of notes 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

Transposing notes p.602

Moving notes p.602

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

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

Separate and consolidate tools for midi notes 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

When in velocity view the trimmer tool can be used to trim note durations in addition to changing velocities p.606

Auditioning velocity changes p.607

Multiple notes and event edit area p.608

Using the time compression expansion trimmer tool in grid mode 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

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

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

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

Default program change p.614

See your setup guide for information on configuring midi on windows and mac systems 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

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

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

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

Individual sysex event blocks can also be deleted by alt clicking windows or op tion clicking mac them with the pencil tool p.618

Note chasing p.619

Default controller values and chasing p.619

Controller and program chasing p.619

Individual midi and instrument track offsets p.620

Global midi playback offset p.620

Press control shift period windows or command shift period mac for the all midi notes off command p.621

Real time properties view p.622

Expanded real time properties window p.623

Quantize p.624

Minimum and maximum durations p.625

Duration mode pop up menu p.625

Duration amount p.625

Ticks notes pop up menu p.625

Velocity p.626

Transpose p.626

Track based real time properties p.627

Region based real time properties p.627

Real time properties effects displayed in the midi event list p.628

Real time properties effects displayed in the edit window p.628

Chapter 30 midi editors p.629

Pro tools provides midi editor windows for detailed midi editing p.629

Automation and controller lanes p.630

Solo and mute buttons p.631

Notation view p.631

Link timeline and edit selection p.632

Default note on velocity p.632

Default note duration p.632

Track edit selector p.632

Play midi notes when editing p.632

Mirrored midi editing p.633

Midi editor window display options p.634

Scrolling p.635

Toolbar display options p.635

Rearranging controls and displays p.636

Track list right click menu p.638

Sorting tracks in the track list p.638

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 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

Manually inserting midi notes p.642

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

Midi real time properties p.644

Event operations p.644

Display notation p.644

Notation view right click menu p.646

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

Chapter 31 score editor p.649

Zoomer p.650

Opening the score editor window p.650

Single zoom mode p.651

Press the f10 key to select the current pencil tool press the f10 key repeatedly to cycle through the different pencil tools p.652

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

Track list p.655

Selection display p.655

Scrolling p.655

Inserting notes on the grid p.655

Expanded edit tools p.655

Toolbar display options p.656

Rearranging controls and displays p.656

Zoom to page sizes p.659

Display transposition p.660

Attributes p.660

Score setup window options p.661

Spacing p.662

Layout p.662

You can also nudge notes in the score editor by the currently selected grid value p.664

Step input p.664

Open in midi editor p.666

Notation display track settings p.666

Event operations p.666

Send to sibelius p.666

Score setup p.666

Print score p.666

Open in midi event list 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

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

Sibelius 5 x or higher is required to open sib files exported from pro tools p.669

Press control p windows or command p mac to print the score p.669

Chapter 32 midi event list p.671

Opening 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

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

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 another event p.676

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

Copying and pasting events in the midi event list p.678

Chapter 33 time tempo meter key and chords p.681

For more information on memory location markers see chapter 34 memory locations p.683

Setting the main time scale p.684

The sub counter p.685

Tick based elastic audio p.686

Tick based audio and midi p.686

Sample based audio and midi p.686

Alternate playlist timebases p.687

Sample rounding and edit operations p.688

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

With sample based regions on tick based tracks only p.691

Minimizing automation drift p.692

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

Editing tempo events in the tempo editor p.694

Selecting tempo resolution bpm rate p.695

Selecting tempo edit density p.696

Extending tempo selections p.697

Press alt windows or option mac while dragging to move a copy of the tempo events p.699

Tempo edit density and linearity display mode p.700

The tempo operations window is not avail able in manual tempo mode 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

Selecting follow metronome click will set the tempo bpm note value to mirror the click value set in the meter markers 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

Select follow metronome click will set the tempo bpm note value to mirror the click value set in the meter markers p.705

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

Inserting meter events p.710

Inserting bar beat markers one at a time 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

Partial measures p.712

Realign p.713

Change meter examples p.714

Realign p.716

Cut time example p.716

Move song start example p.717

Key signature ruler p.718

Changing key signatures p.719

Importing key signatures p.721

Chord symbols ruler 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

Chapter 34 memory locations p.723

Bar beat and absolute reference p.724

General properties p.725

Comments p.725

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

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

When recalling a memory location from the numeric keypad the memory locations window does not need to be open 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

Copying marker memory locations p.730

Alt click windows or option click mac a memory location in the memory loca tions window to clear it p.732

Chapter 35 arranging regions 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

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

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

Shuffling multiple tracks and multichannel regions p.738

Separation grabber 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

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

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

Setting up the grid p.742

Region time stamps p.742

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

Replace region dialog p.744

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

Edit locking regions p.748

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

Allowing editing of edit locked regions p.750

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

Press control d windows or com mand d mac to duplicate any selected regions p.754

Duplicating audio p.755

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

Unlooping and flattening looped regions with separate regions menu commands p.759

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

Editing elastic properties is disallowed for region groups p.761

Region group timebase format p.762

Regrouping regions p.763

Ungrouping regions p.763

The regroup command supports multitrack region groups p.764

Multitrack region groups create nested region groups of multiple regions by track before grouping them across tracks p.764

Changing region group timebase p.765

Editing midi region groups p.766

Editing audio region groups p.766

Recording 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

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

Chapter 37 audiosuite processing p.771

Audiosuite window header p.772

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

Chan track process mode selector p.774

Multi mode is available only for certain plug ins such as dynamics iii p.775

Side chain inputs for plug ins have no effect on audiosuite processes when the selection reference is set to region list p.775

Preview p.776

Bypass p.776

Undoing audiosuite processing p.777

Multichannel processing p.777

Automatic file naming of audiosuite processed audio p.777

Selecting tracks for audiosuite processing p.778

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

Film scoring p.782

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

To have all new tracks be tick based enable the new tracks default to tick timebase option in the editing preferences p.787

Committed regions p.788

Alternate playlists p.788

Warp view p.789

Analysis view p.789

Event confidence p.790

Tempo detection 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

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

Region clip indicator 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 markers in warp view p.796

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

Telescoping warp p.798

Displaying the warp indicator p.802

Removing region warping p.803

Edit groups and warp editing p.803

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

Edit groups and event editing p.805

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

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

Input gain p.808

Polyphonic rhythmic and x form only p.808

Pitch shift polyphonic rhythmic and x form only p.808

Varispeed and 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

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

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

Chapter 39 event operations p.815

Using the event operations window p.816

What to 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

Straight quantize p.820

Quantizing while preserving the original feel p.820

Quantizing with swing p.821

Quantizing with randomize p.821

Groove templates p.822

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

Slider settings p.824

Template mapping for equal meters and odd numbered bars p.825

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 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

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

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

Scaling velocities p.832

Transform sustain pedal to duration p.833

Set add subtract scale option p.833

Remove overlap p.833

Legato 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

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

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 notes in a chord p.838

Step input controls p.839

Undo step next step and redo step p.840

Triggering the undo step next step or redo step buttons p.841

Chapter 40 basic mixing p.845

Audio tracks p.846

Common uses for auxiliary inputs p.847

Common uses for master faders p.848

Master faders and paths p.849

Master fader meters p.849

Active and inactive master faders p.849

Common uses for instrument tracks p.850

Pro tools hd only p.850

Volume p.851

Vca slave track controls and group behavior p.851

Vca slave track control indications p.851

Common uses for vca master tracks p.851

Trackinput p.852

Record enable p.852

Level meter p.852

Allowing grouped behavior of vca slave track controls p.853

Track output format and plug ins p.853

Plug in formats p.854

Input audio path p.857

Output windows p.858

Multiple output assignments p.858

Display of multiple output assignments p.859

Inactive outputs and dsp resources 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

Sends view options p.862

Individual send views and meters p.864

Send format and track compatibility p.866

Pro tools hd only p.866

Opening multiple output windows p.868

Inverse linked panning p.869

Track fader pan controls and solo mute and automation controls p.870

Targeted windows p.870

Monitoring and mixing audio with instrument tracks p.871

Monitoring and mixing audio with auxiliary input tracks p.871

Discrete submix output p.874

See chapter 41 plug in and hardware in serts for more information p.875

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

Generating stereo output from a mono send return p.878

Enabling delay compensation p.878

Soloing tracks in a submix p.878

System delay p.879

Delay compensation time mode p.879

Delay compensation limit p.879

Delay compensation view indicators and field p.880

Track compensation cmp indicator p.881

Overriding suspended delay compensation p.882

Low latency recording with virtual midi instruments p.883

Dither in pro tools p.884

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

Midi control surface personalities p.886

Enabling an ethernet control surface in pro tools p.886

For complete instructions on configuring your midi studio see the setup guide that came with your system p.887

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

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

General information p.890

Pro tools le p.891

Pro tools hd p.891

Pro tools hd only p.892

Display of plug in window status p.893

Inactive plug in inserts p.894

Inactive hardware inserts p.894

Ordering rtas and tdm plug ins on audio tracks p.895

Control surface support p.897

Track controls 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

Multi mono controls p.901

Editing parameters using a mouse p.902

Editing parameters using a computer keyboard p.902

Side chain filters p.903

Plug in settings menu p.904

Settings preferences p.905

Creating subfolders for settings p.906

Changing presets with the next and previous setting buttons p.906

Editing settings on unlinked multi mono plug ins p.907

Auditioning plug in presets p.907

Searching for plug in settings files p.908

Plug in map presets p.909

Plug in learn mode p.909

Dragging and dropping plug in settings files p.909

Plug in map files p.910

Control surface mapping p.910

Putting a plug in into learn mode p.911

Creating and editing plug in maps p.911

Saving plug in maps p.912

How default plug in map settings are stored 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

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

Bypassing hardware inserts p.916

Assigning hardware inserts p.916

Connecting effects units digitally p.917

Pro tools hd systems p.918

Mbox 2 pro mbox 2 and mbox systems p.918

Mbox 2 p.918

003 rack 003 rack digi 002 or digi 002 rack systems p.918

Chapter 42 automation p.919

Automation playlists with audio and midi regions p.920

Midi and instrument tracks p.921

Autojoin with latch mode p.923

Pro tools hd only p.924

Autojoin indicator p.924

Touch latch trim p.926

Pro tools hd only p.927

Track views p.928

Automation safe p.928

Pro tools hd only p.930

Automatch indicators p.931

Storing an initial control position p.932

Setting switched controls for momentary behavior p.933

Automating switched controls in touch mode p.933

Copying track automation to sends p.934

Record safing plug in automation 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

D control and d command only p.937

Taking tracks and controls out of latch prime p.938

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

Track automation mode selectors p.942

Automation window buttons p.942

Clearing trim automation p.943

Using the thin automation command p.944

Using smooth and thin data after pass p.944

Using pencil tool shapes p.945

Resolution of midi controller data p.945

Using the trimmer tools p.946

Using the pencil tool p.946

Using the grabber tools p.946

Editing volume automation p.946

Editing stepped control automation p.947

Editing pan automation p.947

Editing mute automation p.947

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

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

Plug in automation playlists on stereo and multichannel tracks p.949

Examples p.949

Tips for cutting copying and pasting p.951

Paste special p.952

Cut special p.952

Copy special p.952

Special paste function for automation data p.953

Pro tools hd only p.954

Glide automation considerations p.954

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

Pro tools hd only p.956

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

Write to next breakpoint or punch point and trim mode p.960

Using write to commands during playback p.961

Supressing warnings when using write to commands p.962

Applying write to commands to selected tracks p.962

Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.965

Capturing automation and applying it elsewhere p.967

Previewing new automation values p.968

Punching captured automation values p.970

Capturing automation values p.970

Loading captured values into preview p.972

Capturing values while in preview mode p.972

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

Removing a slave track from a vca group p.974

Deleting the vca master p.974

Clearing the vca master p.974

Selecting audio for loops submixes and effects p.977

Chapter 43 mixdown p.977

When to use a dither plug in p.978

Sample rate conversion and bit depth reduction p.979

Bounce source p.981

Sound designer ii p.982

Quicktime p.982

Mxf material exchange format p.982

Bwf broadcast wav format p.982

Aiff audio interchange file format p.982

Windows media p.982

Id3 tag info settings p.983

Encoder settings p.983

Mac file settings p.984

Default button p.984

Sample rate conversion quality p.985

8 bit resolution only p.986

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

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

Chapter 44 pro tools setup for surround p.993

New sessions and i o settings p.994

Exporting i o settings p.996

Example lcrs setup p.997

Default path order for 5 tracks p.998

Track meters tracks p.999

Smpte itu p.999

Figure 14 track layout of different 5 formats p.999

Chapter 44 pro tools setup for surround 981 p.999

Channel map in i o setup 5 format p.999

Chapter 45 multichannel tracks and signal routing p.1001

Solo mute and gain in multichannel tracks and paths p.1002

Multiple output assignments and track format p.1003

Changing format p.1003

Multiple outputs and automation playlists p.1003

Multichannel track outputs p.1004

Multichannel sends p.1004

Linking and unlinking controls on multi mono plug ins p.1005

Mixing with paths and sub paths p.1006

Example multichannel paths p.1008

Submix stem examples p.1010

Extending stereo mixing conventions to surround mixing p.1010

Multiple output assignments p.1011

Lfe faders can follow mix and edit groups for information see selecting group at tributes on page 207 p.1012

For instructions on how to create a sub path see custom multichannel paths on page 978 p.1012

Chapter 46 surround panning and mixing p.1013

Mix and edit window panner grids p.1014

Track fader solo mute and auto 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

Position controls p.1017

Panning mode button p.1017

Divergence controls p.1017

Center control p.1017

Snap pan to speaker icons p.1018

Lfe fader p.1018

X y panning p.1019

Grid options and shortcuts p.1020

When writing automation in autoglide mode the pan location cursor cannot be dragged from its location p.1021

Divergence p.1022

Center percentage p.1023

Lfe faders and groups p.1024

Lfe enable p.1024

Chapter 47 working with synchronization p.1027

Ext clock output p.1028

Clock source options p.1030

Incoming time current time p.1030

Time code rate p.1031

Time code 2 rate p.1031

Sync setup p.1031

Feet frame rate p.1031

Ref present locked and speed cal indicators p.1032

Freewheel p.1033

Pull up down p.1033

Setting a smpte session start time start frame p.1034

Selecting a smpte format p.1034

Pro tools hd and pro tools le with complete production toolkit or dv toolkit 2 only p.1035

Displaying time in smpte frames p.1036

Redefining a time code position 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

Audio rates and pull up down options p.1038

Video frame rate pull up and down p.1039

Recording online p.1040

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

Enabling midi machine control in pro tools p.1042

Controlling external devices using mmc p.1042

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

Mmc transport settings p.1044

Taking a device offline p.1045

The spot dialog p.1046

Spot mode p.1046

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

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

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 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

Show original time code in regions p.1049

Creating a user time stamp p.1049

Stripe smpte before you record p.1050

Chapter 48 working with video in pro tools p.1053

Supported quicktime movies p.1054

Quicktime required p.1054

Quicktime movie playback performance options p.1054

Limitations for applying pull ups to quicktime movies in sessions containing avid video p.1055

Multiple video tracks in the timeline p.1056

Multiple video track playlists p.1057

Multiple codecs on an individual video track p.1057

Video track view p.1058

Video track type icons p.1058

Video online button p.1059

Video engine rate indicator p.1060

Importing video into pro tools using the import video command p.1061

Importing video into pro tools with drag and drop p.1062

Importing video into pro tools using import session data 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

Sample rate conversion quality p.1064

Video regions in the region list p.1065

Showing or hiding video regions in the region list p.1066

Editing caveats p.1067

Using the insert silence command to insert space in video tracks p.1068

Selecting within video frame boundaries p.1068

Changing video window options p.1069

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

Increasing or decreasing the size of video frames p.1071

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

Setting session time code rate for hd quicktime and hd windows media video import p.1073

Mac only p.1074

Quicktime hd or sd output p.1075

Compensating for video monitoring delays p.1075

Mac only p.1076

Video reference p.1076

Supported video formats p.1076

Supported quicktime codecs p.1076

Windows media vc 1 ap output 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

Because all formats and codecs have not been tested you should verify the windows media movie file bounced successfully p.1078

See bouncing the video track to a quick time movie on page 1059 p.1079

Symbols p.1081

Numerics p.1081

Index 1065 p.1083

Pro tools reference guide 1066 p.1084

Index 1067 p.1085

Index 1069 p.1087

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

Pro tools reference guide 1078 p.1096

Index 1079 p.1097

Pro tools reference guide 1082 p.1100

Index 1085 p.1103

Pro tools reference guide 1088 p.1106

Index 1091 p.1109

Pro tools reference guide 1092 p.1110

M-Audio Pro Tools Recording Studio [222/1112] Modifying groups

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