Avid Technology PRO TOOLS MIX 51 Betriebsanweisung

Digidesign Inc. 3401-A Hillview AvenuePalo Alto, CA 94304 USAtel: 650·842·7900fax: 650·842·7999 Technical Support (USA) 650·842·6699650·856·4275 Prod

Pro Tools Reference GuidexChapter 20. Advanced Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Pro Tools Reference Guide88To record to the new audio track:1 Put Pro Tools in normal Nondestructive Record mode. In the Operations menu, de-select D

Chapter 9: Basic Audio Recording 89Stereo and Multiple-Track RecordingPro Tools can record multiple audio tracks simultaneously, up to the track recor

Pro Tools Reference Guide90Recording Additional TakesAfter recording to an audio track, you can record additional takes into the same track. However,

Chapter 9: Basic Audio Recording 915 Click Record in the Transport window. When you are ready to begin recording, click Play.6 When you have finished

Pro Tools Reference Guide92Punch Recording AudioTo replace a portion of a recorded track, you can punch in by specifying the record range before recor

Chapter 9: Basic Audio Recording 93clicked in the Transport window. If post-roll is enabled, playback continues for the specified post-roll amount.If

Pro Tools Reference Guide94point is reached, Pro Tools loops back to the start time and continues playing and recording.✽ To cancel all recorded takes

Chapter 9: Basic Audio Recording 95A pop-up menu appears containing a list of regions that share the same User Time Stamp.2 Choose a region from the

Pro Tools Reference Guide96Setting Punch/Loop PointsThe start and end points of a record range for punch and loop recording can be set by the followin

Chapter 9: Basic Audio Recording 973 Drag the second Playback Marker (up ar-row) to the end point of the range.✽ If the current record range is alrea

Contents xiPart VI SynchronizationChapter 23. Synchronization Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Pro Tools Reference Guide98Setting Pre- and Post-Roll in the Transport WindowPre- and post-roll can be enabled and set from the fields in the Transpor

Chapter 9: Basic Audio Recording 99To set the pre- and post-roll amounts by dragging in the Ruler:1 If desired, set the Edit mode to Grid so the drag

Pro Tools Reference Guide100

Chapter 10: MIDI Recording 101chapter 10MIDI RecordingAlthough recording MIDI in Pro Tools is similar to recording audio, there are some important dif

Pro Tools Reference Guide102In addition, the following options affect how MIDI data is recorded in Pro Tools.◆ The Input Filter allows you to filter ou

Chapter 10: MIDI Recording 103MIDI ThruTo monitor MIDI tracks while recording, enable MIDI Thru. When enabled, Pro Tools routes MIDI from your control

Pro Tools Reference Guide104Input QuantizeWhen Input Quantize is enabled, all re-corded MIDI notes are quantized automat-ically. To preserve the origi

Chapter 10: MIDI Recording 105MIDI Merge/ReplaceThe MIDI Merge button, located in the Transport window, determines how MIDI is recorded when overdubbi

Pro Tools Reference Guide106✽ To assign multiple destinations to a single MIDI track, Shift-click the MIDI Device/Chan-nel Selector and select additio

Chapter 10: MIDI Recording 107Undo and MIDI RecordingAfter recording a MIDI track and the Trans-port is stopped, you can undo the previous record take

Pro Tools Reference GuidexiiChapter 25. Working with QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367About Quick

Pro Tools Reference Guide108If pre-roll is enabled, the track material leading up to the punch-in point plays. You can start playing during the pre-ro

Chapter 10: MIDI Recording 109However, when selecting an entire region, or a section within a region, before punch-ing, no new regions are created. In

Pro Tools Reference Guide1106 Make sure to select Operations > Link Edit and Timeline Selection.7 With the Selector, drag in the track’s playlist

Chapter 10: MIDI Recording 111For other methods of setting the record range, see “Setting Punch/Loop Points” on page 96.6 To hear track material up t

Pro Tools Reference Guide112Recording System Exclusive DataPro Tools supports recording and playing System Exclusive data (sysex) with MIDI tracks. Th

Chapter 11: Advanced Recording 113chapter 11Advanced RecordingUsing QuickPunchPro Tools features an intelligent on-the-fly punch capability called Quic

Pro Tools Reference Guide114A good general-purpose crossfade length for punches is 4 milliseconds. If you set the preference to zero, Pro Tools will n

Chapter 11: Advanced Recording 115QuickPunch Guidelines for Pro Tools LEDigi 001 and Audiomedia IIIFor non-TDM systems, the maximum number of tracks t

Pro Tools Reference Guide116QuickPunch with an Edit SelectionIf you make an Edit selection and use QuickPunch, the following rules apply:If you are no

Chapter 11: Advanced Recording 117To record from a DAT recorder with Pro Tools:1 Connect the digital output of the DAT re-corder to the appropriate d

Part IIntroduction

Pro Tools Reference Guide118Half-Speed Recording and PlaybackPro Tools lets you play and record at half-speed. This capability is similar to that of a

Chapter 12: Importing/Exporting Audio and MIDI 119chapter 12Importing/Exporting Audio and MIDIImporting AudioIn Pro Tools you can import previously re

Pro Tools Reference Guide120▲ Pro Tools does not store waveform overview data with AIFF files, so it must be recalculated every time the session is ope

Chapter 12: Importing/Exporting Audio and MIDI 121To import audio into the Audio Regions List:1 Choose Import Audio from the Audio Re-gions List pop-

Pro Tools Reference Guide1222 In the Convert and Import Audio dialog, locate the audio files you want to import.3 Select the file types and bit depths

Chapter 12: Importing/Exporting Audio and MIDI 123(in center), and whether it will need to be converted (in Status Bar at bottom). Right-click in this

Pro Tools Reference Guide124In the import list, audio files are distin-guished from regions by their icons.Also indicated in the import list is whethe

Chapter 12: Importing/Exporting Audio and MIDI 125Recalculating Waveform OverviewsWhen the Display Preference for “Recom-pute Invalid Waveforms” is no

Pro Tools Reference Guide1264 When the Save dialog appears, click the Options button. 5 In the Options dialog, select the sample rate, bit resolutio

Chapter 12: Importing/Exporting Audio and MIDI 127Exporting AudioThe following sections discuss exporting regions as audio files, exporting left and ri

Pro Tools Reference Guide128Exporting Region DefinitionsPro Tools stores region definitions for audio files within each session. If you want to use an

Chapter 12: Importing/Exporting Audio and MIDI 129To import a Standard MIDI File to new tracks:1 Choose File > Import MIDI/Track.2 Select the MID

Pro Tools Reference Guide130To export all MIDI tracks in the current session:1 Make sure to unmute any MIDI tracks in the session that you want to ex

Part IVEditing

Chapter 13: Editing Basics 133chapter 13Editing BasicsPro Tools EditingThe Edit window in Pro Tools provides a powerful collection of tools for editin

Pro Tools Reference Guide134Track MaterialEach time you record or import audio and MIDI, Pro Tools creates regions for the new track data, which not o

Chapter 13: Editing Basics 135MIDI tracks can be set to Blocks, Regions, Notes, Volume, Pan, Mute, Velocity, Pitch Bend, After Touch, Program, Sys Ex,

Pro Tools Reference Guide136Track HeightTracks can be viewed in the Edit window at any of six heights: Mini, Small, Medium, Large, Jumbo, and Extreme.

Chapter 13: Editing Basics 137Displaying Region Names and TimesRegion names can sometimes get in the way of editing audio waveforms and MIDI data. In

Chapter 1: Welcome to Pro Tools 3chapter 1Welcome to Pro ToolsWelcome to Pro Tools®. Pro Tools inte-grates powerful multitrack digital audio and MIDI

Pro Tools Reference Guide138tive and negative waveform excursions are summed together and viewed as a single positive-value signal.Rectified mode disp

Chapter 13: Editing Basics 139aries that do not touch or overlap other re-gions. See “Using the AutoFade Feature” on page 254 for details.◆ Apply a cr

Pro Tools Reference Guide140audition pitches. Arrows at the top and bottom of the mini-keyboard (not available in the smaller track heights) are used

Chapter 13: Editing Basics 141◆ Similar rules also apply when MIDI re-gions are trimmed with the Trimmer tool. If the MIDI region’s start point is mov

Pro Tools Reference Guide142number of edit playlists, which are shared among all tracks, each track has its own set of dedicated automation playlists.

Chapter 13: Editing Basics 143The Audio and MIDI Regions ListsAll regions that are recorded, imported, or created by editing appear in the Audio and M

Pro Tools Reference Guide144Sorting and Searching the Regions ListsMost sessions will contain many regions, which may make it difficult to locate a pa

Chapter 13: Editing Basics 145Finding RegionsUse the Find command to display all re-gions in a list whose names contain a par-ticular word or phrase.T

Pro Tools Reference Guide146SlipIn Slip mode, regions can be moved freely within a track or to other tracks. In this mode it is possible to place a re

Chapter 13: Editing Basics 147You can also enable and disable grid lines by Control-clicking (Macintosh) or Alt-clicking the Indicator Dot for any Tim

Pro Tools Reference Guide4The following symbols are used to high-light important information:✽ User Tips are helpful hints for getting the most from y

Pro Tools Reference Guide148To return to the previous zoom level: Option-click (Macintosh) or Alt-click (Windows) any of the Horizontal or Verti-cal

Chapter 13: Editing Basics 149Zoom Preset ButtonsPro Tools allows you to save up to 5 hori-zontal zoom presets, which can be recalled by typing a numb

Pro Tools Reference Guide150To display all Rulers: Select Display > Ruler View Shows > All.To remove a Ruler from the display: Option-click th

Chapter 13: Editing Basics 151Feet.Frames Displays the Time Scale in feet and frames for referencing audio-for-film projects. The Feet.Frames time dis

Pro Tools Reference Guide152Tick-Based TimingPro Tools is a sample-based program with an internal resolution of 960,000 pulses per quarter note (ppq).

Chapter 13: Editing Basics 153When selecting audio regions to be copied, duplicated, or repeated, make sure to select the material with the Selector (

Pro Tools Reference Guide154

Chapter 14: Playing/Selecting Track Material 155chapter 14Playing/Selecting Track MaterialPlaying TracksAfter recording or importing to tracks, you’ll

Pro Tools Reference Guide156✽ With the Edit and Timeline selections linked, you can click on a region or MIDI note with the Grabber to automatically u

Chapter 14: Playing/Selecting Track Material 157dicator can be set to any of the other Time Scale formats for another timing reference. Both the Main

Chapter 2: Pro Tools System Configurations 5chapter 2Pro Tools System ConfigurationsTDM-equipped systemsPro Tools TDM-equipped systems are avail-able in

Pro Tools Reference Guide158Continuous Scroll During Playback(TDM Systems Only)This scrolling option causes the Edit win-dow’s contents to scroll cont

Chapter 14: Playing/Selecting Track Material 159When the Operation Preference for “Edit Insertion Follows Scrub/Shuttle” is en-abled, the edit cursor

Pro Tools Reference Guide160Shuttle Lock ModeShuttle Lock mode lets you trigger play-back for up to two tracks at varying speeds, forward and reverse,

Chapter 14: Playing/Selecting Track Material 161Separate Edit and Timeline SelectionsPro Tools lets you unlink the Edit and Timeline selections. In do

Pro Tools Reference Guide162When the Edit and Timeline selections are unlinked, Edit selections are displayed in the Ruler with Edit Markers, which ap

Chapter 14: Playing/Selecting Track Material 163To select an entire track: Click in the track with the Selector and then choose Edit > Select All.

Pro Tools Reference Guide164▲ The Object Grabber is not available when the Edit mode is set to Shuffle or Spot.To select discontiguous regions:1 Make

Chapter 14: Playing/Selecting Track Material 165To change an Object selection to a Time selection:1 Select any number of regions with the Object Grab

Pro Tools Reference Guide1663 While pressing Option+Shift (Mac-intosh) or Alt+Shift (Windows), press Plus or Minus on the numeric keypad to move the

Chapter 14: Playing/Selecting Track Material 1673 Type in the start point for the selection and press the slash key to enter the value and automatica

Pro Tools Reference Guide6TDM System Playback, Recording and Voice LimitsThe following table lists the audio playback, recording, and voice limits of

Pro Tools Reference Guide168To select data on All tracks at the same time: With the Selector, Option-Shift-drag (Macintosh) or Alt-Shift-drag (Window

Chapter 14: Playing/Selecting Track Material 169Other Useful Selection TechniquesIn time you will discover your favorite se-lection techniques. Here a

Pro Tools Reference Guide170Playing SelectionsOnce an Edit selection is made, you can au-dition the track range by clicking Play in the Transport wind

Chapter 14: Playing/Selecting Track Material 171Looping PlaybackWhen Loop Playback is enabled, the se-lected track range repeats on playback. If there

Pro Tools Reference Guide172To make a Timeline selection with the Selector:1 If desired, set the Edit mode to Grid to constrain the selection to the

Chapter 14: Playing/Selecting Track Material 173Timeline Selections to/from Edit SelectionsWhen the Edit and Timeline selections are unlinked, you can

Pro Tools Reference Guide174

Chapter 15: Working with Regions and Selections 175chapter 15Working with Regions and SelectionsBecause regions are the basic building block of audio

Pro Tools Reference Guide176Auto-Name Separated RegionsWith the Auto-Name Separated Regions option in the Editing Preferences selected, Pro Tools auto

Chapter 15: Working with Regions and Selections 177To turn a selection into a region without affecting the original region:1 With the Selector, drag

Chapter 2: Pro Tools System Configurations 7Pro Tools LE SystemsPro Tools LE-based systems are available in the following configurations.Digi 001A Digi

Pro Tools Reference Guide178Placing Regions in TracksOnce you have created a region, it appears in the Audio or MIDI Regions List. From there you can

Chapter 15: Working with Regions and Selections 179To place the end of a region at the Edit insertion point:1 Click with the Selector in the track at

Pro Tools Reference Guide180To align the sync point of a region to the start of another region (on a different track):1 With the Grabber, select the

Chapter 15: Working with Regions and Selections 1813 If trimming the end, drag left to shorten the region, right to lengthen.– or –If trimming the st

Pro Tools Reference Guide182To trim from a start point to insertion:1 With the Selector, click inside the region or note where you want the new start

Chapter 15: Working with Regions and Selections 183To identify a region sync point:1 Set the Edit mode to Slip by clicking its button in the upper le

Pro Tools Reference Guide184Moving Regions in Slip ModeIn Slip mode, regions can be moved with the Grabber freely within a track, or onto other tracks

Chapter 15: Working with Regions and Selections 1855 Click in the field for Start, Sync Point, or End and type in a new location.– or –Click one of th

Pro Tools Reference Guide186Defining the Grid ValueIn addition to affecting the placement of regions, the Grid value also constrains Edit and Timeline

Chapter 15: Working with Regions and Selections 187Defining the Nudge ValueThe Nudge value determines how far re-gions and selections are moved when nu

Copyright This User’s Guide is copyrighted ©1999 by Digidesign, a division of Avid Technology, Inc. (hereafter “Digidesign”), with all rights reserve

Pro Tools Reference Guide8

Pro Tools Reference Guide1883 Press slash (/) to nudge the selected ma-terial forward by the next Nudge Value. Press M to nudge the selection back.✽

Chapter 15: Working with Regions and Selections 1894 If desired, select the Use Subframes op-tion for greater accuracy.5 Click OK. The material is s

Pro Tools Reference Guide190Muting/Unmuting RegionsChoosing the Mute/Unmute Region com-mand mutes playback of a selected region. Choosing the command

Chapter 15: Working with Regions and Selections 191If tracks are grouped, copying and pasting on any of the tracks affects each of the other tracks in

Pro Tools Reference Guide1923 Drag with the Selector in the track to se-lect the material you want to cut or copy.– or –Use the Grabber to select one

Chapter 15: Working with Regions and Selections 193Copying and Pasting AutomationFollowing are two special functions for copying and pasting automatio

Pro Tools Reference Guide194Duplicate CommandThe Duplicate command copies a selection and places it immediately after the end of the selection. Though

Chapter 15: Working with Regions and Selections 195To repeat a selection or region:1 If working with material that is bar- and beat-based, such as lo

Pro Tools Reference Guide196Consolidate Selection CommandDuring the course of normal edit opera-tions, a track may eventually contain many regions. Ho

Chapter 15: Working with Regions and Selections 197✽ If the Editing Preference for “Regions List Selection Follows Track Selection” is enabled, you ca

Chapter 3: Pro Tools Concepts 9chapter 3Pro Tools ConceptsThis chapter is an overview of some essen-tial concepts related to digital audio, MIDI, and

Pro Tools Reference Guide198Hiding Auto-Created RegionsYou can hide regions that were automati-cally created during the course of editing.To hide auto

Chapter 15: Working with Regions and Selections 199When clearing audio files for multiple re-gions, Pro Tools presents a warning dialog for each audio

Pro Tools Reference Guide2005 Enter the amount of padding in millisec-onds that you want to leave around each region in the file.6 Click Compact to c

Chapter 16: MIDI Editing 201chapter 16MIDI EditingYou can edit individual MIDI notes and controller events with the Pencil, Trimmer, and Grabber. You

Pro Tools Reference Guide202ences option for “Play MIDI notes with Grabber and Pencil Tools” is enabled, each inserted note will sound.The Pencil can

Chapter 16: MIDI Editing 203Selecting MIDI NotesTo select a group of MIDI notes: With the Grabber, Shift-click each note.– or – With the Grabber, mo

Pro Tools Reference Guide204✽ To transpose a copy of the note, leaving the original unchanged, press Option (Macintosh) or Control (Windows) while dra

Chapter 16: MIDI Editing 205Manually Editing Note VelocitiesWhen a MIDI track’s Display Format is set to Velocity, each note’s attack velocity is repr

Pro Tools Reference Guide206Typing in Note AttributesWhen an individual note is selected with the Grabber, its attributes are displayed in the Event E

Chapter 16: MIDI Editing 207To delete a single MIDI note with the Pencil: With the Pencil tool selected, press Op-tion (Macintosh) or Alt (Windows) s

Pro Tools Reference Guide10Elements of a SessionWhen you start a project in Pro Tools, you create a session. Some basic elements of ses-sions are expl

Pro Tools Reference Guide208Inserting/Editing Controller EventsContinuous controller events can be edited with any of the following methods:◆ Individu

Chapter 16: MIDI Editing 209OMS Patch Names (Macintosh Only)If your MIDI devices are subscribed to OMS patch names, these names will appear in the Pro

Pro Tools Reference Guide210To insert a program change with the Pencil:1 Set the MIDI track’s Display Format to Program.2 If desired, set the Edit m

Chapter 16: MIDI Editing 2113 Click on a program number—the starting point from which you will scroll through the patches.4 If desired, enter a valu

Pro Tools Reference Guide212MIDI Operations WindowThe MIDI Operations window opens when choosing any of the following commands from the MIDI menu:• Qu

Chapter 16: MIDI Editing 213Select NotesThe Select Notes command allows you to further narrow a selection of MIDI notes based on pitch. The command ca

Pro Tools Reference Guide214Split NotesThe Split Notes command has the same se-lection criteria as the Select Notes com-mand, but also lets you automa

Chapter 16: MIDI Editing 215To open the Quantize window, choose MIDI > Quantize. Each of the Quantize op-tions is discussed in the following sectio

Pro Tools Reference Guide216Offset Grid By Offsets the Quantize Grid forward or back in time by a specified num-ber of ticks. Use this option to achie

Chapter 16: MIDI Editing 217Randomize When selected, notes are moved randomly forward or back in time (after the Quantize occurs). For instance, with

Chapter 3: Pro Tools Concepts 11TrackA track is where audio or MIDI regions are strung together in a playlist. A playlist can be made up of a single r

Pro Tools Reference Guide218Quantizing with SwingIf you’re working with hi-hats or bass lines, you may want to apply more of a swing feel to the track

Chapter 16: MIDI Editing 219Change VelocityThe Change Velocity command automati-cally adjusts attack and release velocities for selected MIDI notes. U

Pro Tools Reference Guide220Limit To When selected, restricts the Change Velocity command to a minimum and maximum range.Randomize When selected, the

Chapter 16: MIDI Editing 221Change DurationThe Change Duration command adjusts durations for selected MIDI notes. Use it to make melodies and phrases

Pro Tools Reference Guide222along with a Randomize value of 50%, yields durations anywhere between 360 and 600 (+/– 25% of the duration value).Change

Chapter 16: MIDI Editing 223MIDI tracks that want to transpose, making sure to exclude any drum tracks from the group so they aren’t transposed.To tra

Pro Tools Reference Guide224For instance, suppose a MIDI track lasting 32 measures starts out with a volume of 127 and in the last bar fades the volum

Chapter 16: MIDI Editing 225To configure the MIDI offset in Pro Tools:1 Choose Setups > Preferences and click MIDI.2 For the “Negative MIDI Playba

Pro Tools Reference Guide226

Chapter 17: Conductor Tracks and Memory Locations 227chapter 17Conductor Tracks and Memory LocationsTempo EventsTempo events can be inserted at the be

Pro Tools Reference Guide12Audio and MIDI channel strips have simi-lar controls, but those controls have slightly different effects. For example, Au-d

Pro Tools Reference Guide2282 In the Tempo Change window, enter the Location and BPM value for the tempo change. Select the Snap To Bar option to pla

Chapter 17: Conductor Tracks and Memory Locations 229If the beginning of the selection includes a tempo event, press Command (Macintosh) or Control (W

Pro Tools Reference Guide230Default TempoNew sessions open with a default tempo of 120 BPM. This tempo can be changed by inserting a tempo event at 1|

Chapter 17: Conductor Tracks and Memory Locations 2314 In the Bar|Beat Markers dialog, specify the start and end points for the inserted Bar|Beat Mar

Pro Tools Reference Guide232Dragging Bar|Beat MarkersBar|Beat Markers can be dragged to new lo-cations so they can align with audio re-gions that have

Chapter 17: Conductor Tracks and Memory Locations 233Meter EventsMeter events can be inserted at the begin-ning of a session to replace the default me

Pro Tools Reference Guide2344 Click Apply to insert the new meter event. The new meter event is inserted and appears in the Meter Ruler.Each meter ev

Chapter 17: Conductor Tracks and Memory Locations 235Partial MeasuresAligning Beat 1 to a SMPTE LocationWhen scoring to film or video, you will of-ten

Pro Tools Reference Guide236Time PropertiesUnder Time Properties, a Memory Location can be set to Marker, Selection, or None. This determines the type

Chapter 17: Conductor Tracks and Memory Locations 237General PropertiesAny of the three types of Memory Loca-tions (Marker, Selection, and General Pro

Chapter 3: Pro Tools Concepts 13A single MIDI cable can transmit a separate set of messages for each of 16 channels. These 16 channels correspond to s

Pro Tools Reference Guide2385 In the New Memory Location dialog, se-lect the Marker option and specify the Ref-erence as either Bar|Beat or Absolute.

Chapter 17: Conductor Tracks and Memory Locations 239To create a Marker during playback:1 From the pop-up menu in the Memory Locations window, select

Pro Tools Reference Guide240Editing Memory LocationsMemory Locations can be renamed, edited, deleted, and copied and pasted.To rename a Memory Locatio

Chapter 17: Conductor Tracks and Memory Locations 241If the Edit mode is set to Grid, the dragged event snaps to the current Grid value. If us-ing Spo

Pro Tools Reference Guide242To select all tempo events: Double-click with the Selector in the Tempo Ruler.Memory Locations WindowMemory Locations are

Chapter 17: Conductor Tracks and Memory Locations 243In addition, the view filter provides a handy reference for which properties are stored in each M

Pro Tools Reference Guide244

Chapter 18: Advanced Editing 245chapter 18Advanced EditingPro Tools includes a rich advanced editing feature set, which is covered in this chap-ter.Us

Pro Tools Reference Guide246Standard Crossfade (“Centered”)This type of selection creates a crossfade on both sides of the splice point, which affects

Chapter 18: Advanced Editing 247The controls in the Fades dialog include:Audition Click this button to audition your cross-fade. Pro Tools plays the a

Pro Tools Reference Guide14Common Misconceptions about MIDIMIDI is not audio. The messages that travel down a MIDI cable are only numbers that transla

Pro Tools Reference Guide248Zoom Out Click this button to scale the view of the waveform’s amplitude downwards. Com-mand-click (Macintosh) or Control-

Chapter 18: Advanced Editing 249◆ Preset Curve 7 silences region 1 at the be-ginning of the crossfade.Link ParametersThe Link parameter links the sele

Pro Tools Reference Guide250Fade In Shape ParametersThe In Shape parameter allows you to choose the shape of the fade-in to region 2.Standard Selects

Chapter 18: Advanced Editing 251Typical Curve CombinationsFollowing are the available combinations of fade-out and fade-in curves.Linear Crossfade Thi

Pro Tools Reference Guide252they occur inside a single region). Cross-fade selections can begin and end any-where in their respective regions.2 Choos

Chapter 18: Advanced Editing 253Creating Fades at the Beginnings and Ends of RegionsIn addition to crossfades between regions, Pro Tools lets you crea

Pro Tools Reference Guide2543 Click the Audition button to hear the fade (or press the Spacebar to start/stop playback).4 You can adjust the curve b

Chapter 18: Advanced Editing 255multiple regions as a continuous file. To render these real-time auto fades to disk, choose File > Bounce to Disk.T

Pro Tools Reference Guide2567 Click OK. Pro Tools creates the fades for the selected regions.✽ You can edit the length of a fade after you create it

Chapter 18: Advanced Editing 257Pre-Roll Specifies a time value to add to the start of regions created with the Strip Si-lence command. For example, a

Chapter 4: Pro Tools Windows 15chapter 4Pro Tools WindowsPro Tools provides two complementary ways of viewing a project: the Mix window and the Edit w

Pro Tools Reference Guide258Inserting SilenceThe Insert Silence command is a simple and convenient way to insert silence in ses-sions. This command al

Chapter 18: Advanced Editing 259The Time Trimmer works by using the Time Compression/Expansion AudioSuite Plug-In to create a new audio file. You use

Pro Tools Reference Guide260To use the Time Trimmer in Spot Mode:1 Set the Edit mode to Spot.2 Select “TCE Trimmer” from the Trimmer pop-up menu.3

Chapter 18: Advanced Editing 261selection is pasted in exactly as many times as it takes to fill the selection. If you fill an area that is not an exa

Pro Tools Reference Guide262Match: Start Position Replaces all regions that have the same original start time as the selected region. This includes re

Chapter 18: Advanced Editing 2635 Select whether to fit the replacement re-gions to the current selection, the entire re-gion, or the entire replaceme

Pro Tools Reference Guide2644 Carefully draw with the Pencil by drag-ging over the desired area of the waveform.Don’t over-edit or the results may be

Part VMixing

Chapter 19: Basic Mixing 267chapter 19Basic MixingThe following chapters cover the various steps in mixing a session, such as creating inserts and sen

Pro Tools Reference Guide16write-enable a grouped track, any group members that are hidden will be soloed, muted, or automation write-enabled as well.

Pro Tools Reference Guide268Track Selector Provides access to any Au-dio, Auxiliary Input, or Master Fader track.Insert/Send Selector Provides access

Chapter 19: Basic Mixing 269material on a track with a hardware Insert in real time. For details, see “Hardware I/O Inserts and Sends” on page 277.Mon

Pro Tools Reference Guide270To remove an Insert from a track: Click the Insert button on the track and choose No Insert from the pop-up menu.☞ For de

Chapter 19: Basic Mixing 271SendsPro Tools allows you place up to five Sends on each audio or Auxiliary Input track. You can set Sends to be either pr

Pro Tools Reference Guide272Using the Sends EditorIn addition to the Sends View in the Mix and Edit Windows, you can access the con-trols for Sends di

Chapter 19: Basic Mixing 273To display Send level meters when viewing individual Sends:1 Choose Setups > Preferences and click Display.2 Select S

Pro Tools Reference Guide274Auxiliary Inputs do not provide an input gain stage, so if you are using them as in-puts for external sources, you must ma

Chapter 19: Basic Mixing 275Generating Stereo Output from a Mono Send/ReturnYou can use an Auxiliary Return arrange-ment to generate a stereo output f

Pro Tools Reference Guide276• Controlling submaster (bussed tracks) levels while bouncing to disk in real time• Applying Dither to an entire mixUnlike

Chapter 20: Advanced Mixing 277chapter 20Advanced MixingHardware I/O Inserts and SendsYou can connect external devices, such as reverb or effects proc

Chapter 4: Pro Tools Windows 17Figure 1. Pro Tools Mix WindowInserts ViewSends ViewShow/HideTracks ListMix GroupsListChannelVolumeChannel PanSend Pan

Pro Tools Reference Guide278To label hardware I/O Inserts or Sends:1 Choose Setups > I/O Labels. 2 Under Display, click Inserts (for hardware ins

Chapter 20: Advanced Mixing 2797 Click Inputs and then click Factory Reset to update the input label configuration. Enter new names for the Input I/O

Pro Tools Reference Guide280Audiomedia III SystemsPro Tools can receive external clock from the S/PDIF input on the Audiomedia III card.To select an e

Chapter 20: Advanced Mixing 281To apply an Insert to all tracks in a stereo submix:1 Choose File > New Track and choose Aux Input (stereo) from th

Pro Tools Reference Guide282Printing Effects to DiskBy using the Bounce to Disk command, or by bussing tracks with effects to audio track inputs, you

Chapter 20: Advanced Mixing 2834 If you are recording in stereo, set the pan-ning of the new tracks to full left and right.5 Set the input of each d

Pro Tools Reference Guide284◆ More mixing channels (On TDM sys-tems, 36 x 2 mixing channels can be cre-ated per DSP)◆ 18 dB of mix headroom◆ Output cl

Chapter 20: Advanced Mixing 285could lower the Master Fader to reduce your output level, but any clipping at the input stage would not be indicated.If

Pro Tools Reference Guide286

Chapter 21: Automation 287chapter 21AutomationPro Tools features dynamic automation of volume, pan, and mute controls for audio tracks, Sends, and MID

Contents iii contents Part I Introduction Chapter 1. Welcome to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Pro Tools Reference Guide18A MIDI Track/Channel StripEach MIDI track has its own set of controls for volume, pan, record enable, automa-tion mode, sol

Pro Tools Reference Guide288Edit Playlists and AutomationPro Tools handles audio regions and playl-ists differently from MIDI regions and play-lists.A

Chapter 21: Automation 289Auto ReadAuto Read mode plays the automation that was previously written for a track.Auto TouchAuto Touch mode writes automa

Pro Tools Reference Guide290indicator or Send Level indicator shows the delta values being written rather than the absolute value.Trim mode works with

Chapter 21: Automation 291touched. When they are touched, their ab-solute positions are written until playback is stopped. Trim/Auto WriteIn Trim/Auto

Pro Tools Reference Guide292lected, you can still mute/unmute individ-ual group members by Control-clicking (Macintosh) or Right-clicking (Windows) th

Chapter 21: Automation 293About ThinningThinning automatically reduces the overall number of breakpoints in the automation playlist in order to improv

Pro Tools Reference Guide294Writing AutomationYou can write automation for all automat-able controls by moving those controls during playback. To writ

Chapter 21: Automation 295You can permanently store the initial posi-tion of an automatable control by doing one of the following:◆ Place the track in

Pro Tools Reference Guide296To copy a track’s automation to a Send on that track:1 Select the tracks you want to edit by clicking on the track names

Chapter 21: Automation 297Enabling or Suspending AutomationFrom the Automation Enable window, you can enable or suspend writing for the fol-lowing aut

Chapter 4: Pro Tools Windows 19When the Latch Solo Buttons option is se-lected, you can solo more than one track at the same time simply by clicking t

Pro Tools Reference Guide298Automation Enable GuidelinesThe following rules determine whether au-tomation is written or played back for a track:◆ Alth

Chapter 21: Automation 299Thinning AutomationPro Tools writes a maximum density of au-tomation data during an automation pass, in the form of breakpoi

Pro Tools Reference Guide300Drawing AutomationYou can use the Pencil tool to create auto-mation events for audio and MIDI tracks by drawing them direc

Chapter 21: Automation 301The illustrations below show the same MIDI controller automation drawn with different Pencil Tools resolution settings.You m

Pro Tools Reference Guide302Using the TrimmerThe Trimmer allows you to adjust all se-lected breakpoints up or down by dragging anywhere within that se

Chapter 21: Automation 303To edit a breakpoint: Click an existing point on the line graph with the Grabber and drag it to a new posi-tion.To edit sev

Pro Tools Reference Guide304Cutting, Copying, and Pasting AutomationCutting automation data is different from deleting it, and yields different result

Chapter 21: Automation 305Editing and Track Display FormatsAudio and MIDI tracks each have a Track Display Format that acts as the main for-mat for pu

Pro Tools Reference Guide306Special Paste Function for Automation DataNormally, when you copy and paste auto-mation data, it is pasted in an automatio

Chapter 21: Automation 307To write current automation values to the beginning/end/all of a track or selection:1 In the Automation Enable window, make

Pro Tools Reference Guide20Input/Output ViewThe I/O (Inputs/Output) view shows Input and Output Selectors on Audio tracks, and the Channel Selector on

Pro Tools Reference Guide308lined in yellow. This outline flashes to indi-cate that the track is trim-enabled, and ap-pears solid whenever trimming is

Chapter 21: Automation 309Adding Snapshot Automation to Empty Automation PlaylistsWhen you use the Write Automation com-mand on an automation playlist

Pro Tools Reference Guide310Capturing Automation and Applying it ElsewhereThe Write Automation command can also be used to capture automation states a

Chapter 21: Automation 3112 Select the area of the track you want to edit. All automated controls update to re-flect the automation at the beginning o

Pro Tools Reference Guide312

Chapter 22: Mixdown and Mastering 313chapter 22Mixdown and MasteringPro Tools lets you re-record or bounce tracks to disk, for purposes of creating a

Pro Tools Reference Guide314Bounce ParametersWhen you use the Bounce to Disk com-mand, you can set several parameters that affect the bounced audio.Bo

Chapter 22: Mixdown and Mastering 315ResolutionThis parameter allows you to select be-tween three different bit resolutions for the bounced file:8-bit

Pro Tools Reference Guide316WAV (Windows Audio File Format)This is the native format for Windows-based Pro Tools systems. The WAV format is supported

Chapter 22: Mixdown and Mastering 317Copy Protection These settings determine how the clip is handled by the RealPlayer client. To allow RealPlayer

Chapter 4: Pro Tools Windows 21Default Program ButtonThe Default Program button opens the Pro-gram Change window, where you can spec-ify a default pro

Pro Tools Reference Guide318When you select this format, the Resolu-tion and Sample Rate pop-up menus in the Pro Tools Output Options dialog are un-av

Chapter 22: Mixdown and Mastering 319Genre Choose a genre for the file. This in-formation is displayed by many MP3 play-ers, and can appear in searcha

Pro Tools Reference Guide320ResolutionThis option in the Pro Tools Output Op-tions dialog sets a bit resolution for the converted audio file. See “Res

Chapter 22: Mixdown and Mastering 321Conversion QualityThe Conversion Quality option sets the quality of sample rate conversion used to create the con

Pro Tools Reference Guide322Creating a SubmixYou can create a submix with the Bounce to Disk command by muting tracks or bypass-ing inserts that are n

Chapter 22: Mixdown and Mastering 323Final MixdownIn final mixdown, you create a mix that in-cludes all your edits, automation, and ef-fects processing

Pro Tools Reference Guide32424-bit Input and Output with Pro Tools 24 MIX and Pro Tools 24 SystemsPro Tools 24 MIX and Pro Tools 24 are full 24-bit au

Chapter 22: Mixdown and Mastering 325Mastering and Error-Correcting MediaRandom access media (such as hard disks, optical cartridges, Bernoulli cartri

Pro Tools Reference Guide326

Part VISynchronization

Pro Tools Reference Guide22You can globally set level meters to indi-cate pre-or post-fader levels by choosing Operations > Pre-Fader Metering. Whe

Chapter 23: Synchronization Concepts 329chapter 23Synchronization ConceptsTime code and synchronization (sync) are complex topics. This section is des

Pro Tools Reference Guide330Syncing Pro ToolsPro Tools requires a clock reference—in ad-dition to time code—in order to maintain synchronization over

Chapter 23: Synchronization Concepts 331does offer powerful features for post-pro-duction professionals who work with video.There is also a non-SMPTE

Pro Tools Reference Guide332VITC Speed UsageVITC’s ability to capture a time code value when moving a VTR transport at slow speeds or when the VTR is

Chapter 23: Synchronization Concepts 33330 FPS Drop Frame Format This format is used for sound recordings done for film-originated programs that are de

Pro Tools Reference Guide334Typically during the Telecine process, a master digital video tape is created, along with a work copy on 3/4” analog video

Chapter 23: Synchronization Concepts 335Film Speed Differs from NTSC Video SpeedThe new NTSC Telecine master tapes will always run at 29.97 FPS during

Pro Tools Reference Guide336Final Audio Destination: FilmIf your final destination is film, your source audio is at film speed, and your goal is to ed

Chapter 23: Synchronization Concepts 337Pull Down the Audio SourceSome professional DAT machines will let you Pull Down the sample rate to 44.056 kHz,

Chapter 4: Pro Tools Windows 23Send level, pan and mute controls can be adjusted from the Inserts and Sends Editor, or directly from the sends area of

Pro Tools Reference Guide338

Chapter 24: Time Code Synchronization 339chapter 24Time Code SynchronizationSynchronization (sync) allows connected systems or devices to start and st

Pro Tools Reference Guide340SMPTE Resolved with USD(TDM Systems Only)You can use the optional USD, or an equiv-alent third-party device, to resolve Pr

Chapter 24: Time Code Synchronization 341either 16-bit Optimized or 24-bit Opti-mized. “CPU Mixer” is displayed in this field on a Pro Tools LE system.

Pro Tools Reference Guide342Using Peripheral This option outputs time code from the Device type selected in the Synchronization page of the Peripheral

Chapter 24: Time Code Synchronization 343Variable Speed OverrideVariable Speed Override (VSO) requires a USD (or SSD). When a USD is connected to Pro

Pro Tools Reference Guide344Selecting a SMPTE FormatTo choose a SMPTE format:1 Choose Windows > Show Session Setup.2 In the pop-up Frame Rate men

Chapter 24: Time Code Synchronization 3455 If there are existing regions on the tracks and you are changing the original SMPTE start frame to an earl

Pro Tools Reference Guide3463 Choose Windows > Show Session Setup. Notice the additional field for the SSD or USD at the bottom of this window.4 C

Chapter 24: Time Code Synchronization 347Record Online at Time Code (or ADAT) Lock Online recording begins as soon as Pro Tools receives and locks to

Pro Tools Reference Guide24Figure 2. Pro Tools Edit WindowRulersAudio Waveform ViewAudio Regions ListMIDI Regions ListShow/HideTracks ListEdit Mode B

Pro Tools Reference Guide34815 Choose Windows > Show Session Setup and choose the appropriate frame and sam-ple rates. 16 In the Generate Time Co

Chapter 24: Time Code Synchronization 3499 Close the Session Setup window. Con-firm that your chosen parameters have been received by the USD. If not,

Pro Tools Reference Guide3506 In the OMS Studio Setup window, define an IAC Bus by double-clicking the IAC Driver icon, and typing IAC1, for example,

Chapter 24: Time Code Synchronization 351Syncing a Sequencer to Pro Tools in WindowsTo synchronize Pro Tools to a Windows sequencer:1 Make sure your

Pro Tools Reference Guide352MacintoshPro Tools on the Macintosh uses OMS to fa-cilitate MIDI Machine Control. In order to use MMC with Pro Tools you m

Chapter 24: Time Code Synchronization 3537 Set a preroll time for your MMC device. Preroll is needed to provide Pro Tools with sufficient time to lock

Pro Tools Reference Guide354Setting Minimum Sync DelayLock up delay is the amount of time your system’s devices need to achieve synchro-nization “lock

Chapter 24: Time Code Synchronization 3554 Configure the ADAT OMS device by dou-ble-clicking its icon. Leave Is Controller and Is Multitimbral uncheck

Pro Tools Reference Guide356MMC and OMS SynchronizationWhen using MIDI Machine Control, you must have the OMS-compatible sequencer configured to synchr

Chapter 24: Time Code Synchronization 35711 In the Sync Options dialog, set the Re-ceive Sync Mode pop-up to MTC/Machine Control, set the Receive Syn

Chapter 4: Pro Tools Windows 25Playlist SelectorTracks have edit playlists and automation playlists. You can create any number of edit playlists for a

Pro Tools Reference Guide358MIDI Beat ClockSome MIDI devices such as drum ma-chines, hardware sequencers, and arpeggia-tors can only sync to MIDI Beat

Chapter 24: Time Code Synchronization 359Information in these fields is displayed in SMPTE Time Code, Minutes:Seconds, Feet.Frames, Samples, or Bars &

Pro Tools Reference Guide360To spot a region to a specific SMPTE frame:1 Choose Display > Show Edit Window.2 Choose Display > Time Code.3 Clic

Chapter 24: Time Code Synchronization 361Start or End and Duration fields to specify exactly where you wish to trim the region’s beginning or end. Use

Pro Tools Reference Guide362To time stamp a region (or regions) with a new SMPTE frame number:1 In a track, select the region that you wish to time s

Chapter 24: Time Code Synchronization 363very beginning of the audio file nor at the very end. It is somewhere in the middle, making it tough to spot.

Pro Tools Reference Guide364Stripe SMPTE Before You RecordAll tapes in your setup (both audio and video) must be striped with SMPTE Time Code before a

Chapter 24: Time Code Synchronization 365Any SMPTE reader that uses the time code numbers to make real-time calculations (as Pro Tools does when it tr

Pro Tools Reference Guide366

Chapter 25: Working with QuickTime Movies 367chapter 25Working with QuickTime MoviesYou can use Pro Tools to import Quick-Time™ movies and audio, perf

Pro Tools Reference Guide26Edit Modes, Commands Key Focus, and Linked SelectionsShuffle Sets the Edit mode to Shuffle, which restricts the placement of

Pro Tools Reference Guide368◆ synchronize audio events to a Quick-Time movie, using the Pro Tools editing features to spot and nudge regions to video

Chapter 25: Working with QuickTime Movies 369QuickTime RequirementsPro Tools supports playback of QuickTime videos without additional hardware. How-ev

Pro Tools Reference Guide370Blue & White G3 Macintosh computers have an internal IDE system drive. Audio and video should be stored on SCSI drives

Chapter 25: Working with QuickTime Movies 371About the Movie TrackOnce a movie is imported into Pro Tools it appears in the Edit Window in its own Mov

Pro Tools Reference Guide372Using a 14-inch monitor for playbackIf you capture 320 x 240 (NTSC) movies and have a second monitor with 640 x 480 resolu

Chapter 25: Working with QuickTime Movies 373Since a movie can be moved inside the Movie track, it is fairly easy to match these two times. In fact, y

Pro Tools Reference Guide374Consult your video capture software docu-mentation for more information.More Tips for Spotting Audio ◆ Specify your Movie

Chapter 25: Working with QuickTime Movies 375Sample Rate Conversion Quality If you import QuickTime audio that was not originally recorded at your ses

Pro Tools Reference Guide3763 Select the desired audio tracks by clicking them. To select multiple tracks contigu-ously in this dialog, Shift-click t

Chapter 25: Working with QuickTime Movies 3777 Select the resolution for your movie audio. Red Book audio CDs are always 16-bit, while many multimedi

Chapter 4: Pro Tools Windows 27✽ While pressing Command (Macintosh) or Control (Windows), you can also use the bracket keys to zoom in and out horizon

Pro Tools Reference Guide378

379appendix aDSP-Induced Delays in MixingIn all digital systems, signal processing in-curs signal delays of varying amounts. These delays can vary fro

Pro Tools Reference Guide380Compensating for DelaysIf you wish to compensate for offsets in-curred by these delays, there are two differ-ent methods y

381Nudging Audio TracksOn audio tracks, you can use the Pro Tools Nudge feature, which supports single-sam-ple increments, to nudge the affected re-gi

Pro Tools Reference Guide382Typical Delay Scenarios Below are some typical delay scenarios that you may encounter in a Pro Tools session. The more com

Appendix B: TDM Mixing and DSP Usage 383appendix bTDM Mixing and DSP UsagePro Tools TDM Technology(TDM Systems Only)Digidesign’s TDM (or time division

Pro Tools Reference Guide384We refer to certain mixing or signal pro-cessing functions as “using one DSP” or “using two DSPs.” This refers to the fact

Appendix B: TDM Mixing and DSP Usage 385The Detailed and Gas Meter formats show the percentage of each DSP chip in use. With these indicators as your

Pro Tools Reference Guide386DSP Usage with TDM MixersUnderstanding MixersDSP allocation for mixing in a Pro Tools TDM system is based on the concept o

Appendix B: TDM Mixing and DSP Usage 387MIX card with two I/Os declared:16-bit Optimized mixer: 43x2 per chip24-bit Optimized mixer: 43x2 per chipSubm

Pro Tools Reference Guide iv Part II Pro Tools Sessions Chapter 5. Creating Sessions . . . . . . . . . . . . . . . . . . . . . . . . .

Pro Tools Reference Guide28For TDM systems, choose from the Trim-mer pop-up these other Trimmer tools: • Scrub Trimmer, scrubs audio material to find t

Pro Tools Reference Guide388DSP Usage with TDM Plug-InsSome basic guidelines for DSP usage on Pro Tools systems follow:◆ TDM-equipped systems running

Appendix C: Keyboard Shortcuts 389appendix cKeyboard ShortcutsGlobal Key CommandsThis section shows keyboard shortcuts that apply to many functions in

Pro Tools Reference Guide390Commands Key Focus(TDM Systems Only)The Commands Key Focus provides a wide range of single-key commands from the al-pha ke

Appendix C: Keyboard Shortcuts 391TransportThis mode allows you to set a number of record and play functions, and also operate the Transport from the

Pro Tools Reference Guide392

Appendix D: Troubleshooting 393appendix dTroubleshootingBacking up your workIt is highly recommended that you back up your work on a regular basis, an

Pro Tools Reference Guide394Pro Tools won’t launchProblem:When you double-click the Pro Tools appli-cation or a Pro Tools session file, Pro Tools doesn

Appendix D: Troubleshooting 395Audio Interface isn’t recognized(TDM Systems Only)Problem:When you launch Pro Tools it does not rec-ognize an Audio Int

Pro Tools Reference Guide396Using DigiTest As a Diagnostic ToolThe DigiTest utility performs diagnostic tests on the Pro Tools cards in your system. T

Appendix D: Troubleshooting 397Before You Call Digidesign Technical SupportRegister your SystemAs a registered owner of a new Digidesign product under

Chapter 4: Pro Tools Windows 29Press Option (Macintosh) or Alt (Windows) and the Pencil changes to an Eraser, which can be used to delete notes, progr

Pro Tools Reference Guide398Other HardwareIf you are using additional hardware, refer to the manufacturer’s documentation for operational details. The

Index 399Numerics11025 sample rate 32011127 sample rate 32016-bit Optimized Mixer 283clipping 284for 24-bit recording 28422050 sample rate 32022254 sa

Pro Tools Reference Guide400Audio Regions List menu 32, 361Auto Rename Selected command 197Clear Selected command 198Compact Selected command 199Conve

Index 401Smooth and Thin Data After Pass option 292, 299Solos Follow Mix Groups option 60, 292Touch Timeout option 292Auto-Name Memory Locations While

Pro Tools Reference Guide402Conductor Rulers 149including in selections 168configuringclick options 84MMC 352Pull Up/Down 345SMPTE 343conforming Quick

Index 403Delete Selected Groups command 64Delete Selected Tracks command 52deletingautomation 298, 304groups 65Memory Locations 241MIDI notes 206playl

Pro Tools Reference Guide404durations, for MIDI notesediting with Change Duration command 221making more legato 222making more staccato 222randomizing

Index 405nondestructive 133non-destructively for audio 139non-destructively for MIDI 141note attributes 206note durations 221note velocities 205, 219p

Pro Tools Reference Guide406File menuClose Session command 50Delete Selected Tracks command 52Exit command (Windows) 50Export MIDI command 130Group Se

Index 407I/O View 20Identify Beat command 230Identify Beat dialog 231Identify Silence command 256Identify Sync Point command 183, 363Import Audio comm

Pro Tools Reference Guide30◆ For a fade-in or fade-out, position the cursor near an audio region’s start or end point, near the top. Drag into the reg

Pro Tools Reference Guide408level metersclearing 22for audio tracks 21for MIDI tracks 22for Sends 23linear crossfades 251Link Edit and Timeline Select

Index 409Meter Rulerdisplaying 233extending an Edit selection to 234MIDI 12common misconceptions 14MIDI Beat Clock command 358MIDI channels 13assignin

Pro Tools Reference Guide410MIDI tracksand MIDI offset 224and tempo changes 229assigning to multiple channels 106channel strips 18configuring for reco

Index 411Nondestructive Record mode 81nondestructive recording 90recording to a new playlist 91with QuickPunch 113Normal Priority Playback option 369N

Pro Tools Reference Guide412partial measures 235Paste command 192pastingautomation 306between automation playlists 193multiple data types 193selection

Index 413Pro Tools III systems 524-bit input and output 324file management 67importing audio 119, 121voice management 57Pro Tools LE 7Pro Tools MIX sy

Pro Tools Reference Guide414recordinga MIDI track 105a single audio track 87a submix to disk 282additional takes 90at half-speed 118bouncing to disk 3

Index 415Remove Sync Point command 183removingcrossfades 252Inserts 270Sends 271sync points 363Rename Selected command 197Rename Selected Tracks comma

Pro Tools Reference Guide416selectionsand Edit Groups 162and hidden tracks 162and Playback Markers 162auditioning start/end points 170changing length

Index 417Slip mode 26, 146and moving regions 184Smart Tool 29and audio tracks 29and MIDI tracks 30creating crossfades with 30creating fades with 30edi

Chapter 4: Pro Tools Windows 31Event Edit AreaStart Displays the start point for a selected region or note, or for an Edit selection. To move the star

Pro Tools Reference Guide418syncing to a sequencerMacintosh 349Windows 351with MMC 356syncing to an ADAT 354Sys Ex view 211System Exclusive data 13, 2

Index 419track level meters 21Track Name/Comments dialog 44, 78Track Selection Follows Region List Selection option 169Track Transfer™ utility softwar

Pro Tools Reference Guide420VVariable Speed Override 343velocities, for MIDI notesdefault for inserted 201dragging velocity stalks 205drawing with Pen

Pro Tools Reference Guide32lect the Nudge value from the pop-up menu to the right of this field, or type in any value you want.In addition to nudging

Chapter 4: Pro Tools Windows 33MIDI Regions List and Pop-up MenuAll MIDI regions that are recorded, im-ported, or created by editing appear in the MID

Pro Tools Reference Guide34✽ To play or record at half-speed, Command-click (Macintosh) or Control-click (Windows) the Play button.Fast Forward Fast f

Chapter 4: Pro Tools Windows 35Transport Master Specifies the “master” for transport functions. Click this button and choose from the pop-up menu to s

Pro Tools Reference Guide36Keyboard FocusThe Keyboard Focus in Pro Tools deter-mines how the alpha keys function. De-pending on which Keyboard Focus i

Part IIPro Tools Sessions

Contents v Chapter 7. File Management and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Locating Audio Files . .

Chapter 5: Creating Sessions 39chapter 5Creating SessionsThis chapter covers some of the basics of starting a project in Pro Tools, including how to s

Pro Tools Reference Guide40✽ The Interface port pop-up does not appear for Pro Tools III systems.4 From the Sample Rate pop-up, select a sample rate.

Chapter 5: Creating Sessions 41Changing the Pro Tools Playback EnginePro Tools allows you to select different Playback Engines depending on your sys-t

Pro Tools Reference Guide42◆ Allocating a smaller buffer can some-times improve playback/recording initia-tion speed. This can be useful if you are ex

Chapter 5: Creating Sessions 43To create a new session:1 Choose File > New Session.2 Choose the drive where you want to save the session. On Pro

Pro Tools Reference Guide44Pro Tools 24 and Pro Tools 24 MIX systems on both Macintosh and Window plat-forms.4 Enter a name for the session and click

Chapter 5: Creating Sessions 45To display track controls: Choose Display > Mix Window Shows, or Edit Window Shows, and select the con-trols you wa

Pro Tools Reference Guide46Saving a SessionSave regularly while working on your ses-sion to ensure that your work is preserved on your hard disk.Speed

Chapter 5: Creating Sessions 47To copy the track layout, signal routing and Plug-In choices in your session, you can create a Session Template of your

Pro Tools Reference Guide vi Chapter 10. MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Pro Tools Reference Guide48To save a session in a different location or in a different format:1 Choose File > Save Session Copy In.2 Choose a des

Chapter 5: Creating Sessions 49To use this template, double-click it or open it with the Open Session command if you are already running Pro Tools. Yo

Pro Tools Reference Guide50Closing a SessionBecause Pro Tools allows you to work on just one session at a time, you must close the current session if

Chapter 6: Working with Tracks 51chapter 6Working with TracksThis chapter covers basic track manage-ment tasks such as creating and deleting tracks, a

Pro Tools Reference Guide525 Choose which controls appear on the track by choosing Display > Mix Window Shows or Display > Edit Window Shows an

Chapter 6: Working with Tracks 53To hide a track: Click the highlighted name of a track in the Show/Hide Tracks List.To show a track that is currentl

Pro Tools Reference Guide54Assigning Track OutputsYour Pro Tools system has a certain num-ber of hardware outputs, in the form of the physical outputs

Chapter 6: Working with Tracks 55Voice Selector When you click a track’s voice selector, a pop-up menu appears of-fering a choice of voice numbers, wh

Pro Tools Reference Guide56The track with the highest priority is as-signed to the chosen voice, with all other tracks assigned to successive voices.T

Chapter 6: Working with Tracks 57in higher priority tracks, you will find many useful ways to apply virtual tracks and dynamic voice allocation.Voice

Contents vii Part IV Editing Chapter 13. Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Pro Tools Reference Guide58Ghost RegionsIf you decide not to copy the file, Pro Tools will display what are called Ghost regions. Ghost regions occur

Chapter 6: Working with Tracks 59Setting MIDI ChannelsMIDI tracks can be assigned to one or more MIDI channels with the Device/Channel selector. When

Pro Tools Reference Guide60Soloing and Muting Tracks The Solo and Mute buttons can be engaged at any time during playback.The Solo and Mute buttons af

Chapter 6: Working with Tracks 61To solo a track:1 Click the Solo button on the track. The button is highlighted and all other tracks are muted.2 Cl

Pro Tools Reference Guide62Color Coding TracksThe Pro Tools Color Code options in the Preferences dialog allow you to quickly identify tracks which ar

Chapter 6: Working with Tracks 63Using the Groups ListThe Pro Tools grouping functions are lo-cated at the left side of your screen in the Groups List

Pro Tools Reference Guide64Delete Selected Groups This command al-lows you to permanently remove a group from the Groups List. You must first select a

Chapter 6: Working with Tracks 65Creating a GroupTo create a group:1 Hold down the Shift key and select the tracks you wish to include in the group.2

Pro Tools Reference Guide66Linking Mix and Edit GroupingsThe “Link Mix and Edit Group Enables” op-tion links group enabling between the Mix and Edit w

Chapter 7: File Management and Compatibility 67chapter 7File Management and CompatibilityThe various Pro Tools systems require that you keep certain f

Pro Tools Reference Guide viii Chapter 15. Working with Regions and Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Creating

Pro Tools Reference Guide68In cases where the unique identifier is not present (for example, with files imported from a Macintosh session), Pro Tools

Chapter 7: File Management and Compatibility 69This variant complies with the new stan-dards set down by the EBU (European Broadcasters Union), and th

Pro Tools Reference Guide70

Part IIIRecording

Chapter 8: Record Setup 73chapter 8Record SetupBefore you start recording, make sure your your Pro Tools system is connected and configured properly. F

Pro Tools Reference Guide74range of your Pro Tools system. If the input level is too high, however, it will be clipped.Calibration ModeYou can use the

Chapter 8: Record Setup 75Latch Record ModeWhen the option for Latch Record Enable Buttons is selected (in the Operations Pref-erences), you can recor

Pro Tools Reference Guide76Input Only MonitoringIn this mode, when a track is record-en-abled, Pro Tools monitors audio input only, regardless of any

Chapter 8: Record Setup 77▲ If have a SampleCell II Plus card, a buffer size of 128 should not be used when running the SampleCell Editor at the same

Contents ixChapter 17. Conductor Tracks and Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . 227Tempo Events. . . . . . . . . . . .

Pro Tools Reference Guide78Low Latency Monitoring and Bounce To DiskWith Low Latency Monitoring Enabled, only audio tracks are included with the Bounc

Chapter 8: Record Setup 79Recording to Multiple Hard DrivesTo increase system performance, Pro Tools lets you record each track to different hard driv

Pro Tools Reference Guide80Reallocating TracksWhen opening a session where some of the previously assigned hard drives are no longer available (or don

Chapter 8: Record Setup 81Record ModesFor recording audio, Pro Tools has four record modes:• Normal Nondestructive Record• Destructive Record• Loop Re

Pro Tools Reference Guide82Loop Record ModeLoop Record mode allows you to record take after take (non-destructively) while the same section of audio r

Chapter 8: Record Setup 83In almost all instances, recording MIDI is destructive (though you can undo a MIDI record pass), either overwriting or addin

Pro Tools Reference Guide84To configure the click options:1 Choose MIDI > Click Options.– or –Double-click the Click or Countoff button in the Tran

Chapter 8: Record Setup 852 Enter the Meter you will use for the ses-sion and set the Location to 1|1|000 (so the inserted meter event replaces the d

Pro Tools Reference Guide86▲ While you can adjust the Manual Tempo dur-ing playback, doing so will momentarily inter-rupt playback.To set the manual t

Chapter 9: Basic Audio Recording 87chapter 9Basic Audio RecordingRecording a Single Audio TrackWhen recording from a mono source, record to a single a