M-Audio Pro Tools Recording Studio [907/1112] You will lose the current plug in settings if they are not saved before you use the next and previous setting buttons always save your plug in settings to the selected root settings folder

Содержание

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