Pro Tools Reference Guide

Version 11.3

Legal Notices
2014 Avid Technology, Inc., (Avid), all rights reserved.
This guide may not be duplicated in whole or in part without
the written consent of Avid.
003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline,
AirSpeed, ALEX, Alienbrain, AME, AniMatte, Archive,
Archive II, Assistant Station, AudioPages, AudioStation,
AutoLoop, AutoSync, Avid, Avid Active, Avid Advanced
Response, Avid DNA, Avid DNxcel, Avid DNxHD, Avid DS
Assist Station, Avid Ignite, Avid Liquid, Avid Media Engine,
Avid Media Processor, Avid MEDIArray, Avid Mojo,
Avid Remote Response, Avid Unity, Avid Unity ISIS,
Avid VideoRAID, AvidRAID, AvidShare, AVIDstripe, AVX,
Beat Detective, Beauty Without The Bandwidth,
Beyond Reality, BF Essentials, Bomb Factory, Bruno, C|24,
CaptureManager, ChromaCurve, ChromaWheel,
Cineractive Engine, Cineractive Player, Cineractive Viewer,
Color Conductor, Command|8, Control|24, Cosmonaut Voice,
CountDown, d2, d3, AAE, D-Command, D-Control, Deko,
DekoCast, D-Fi, D-fx, Digi 002, Digi 003, DigiBase,
Digidesign, Digidesign Audio Engine, Digidesign
Development Partners, Digidesign Intelligent Noise
Reduction, Digidesign TDM Bus, DigiLink, DigiMeter,
DigiPanner, DigiProNet, DigiRack, DigiSerial, DigiSnake,
DigiSystem, Digital Choreography, Digital Nonlinear
Accelerator, DigiTest, DigiTranslator, DigiWear, DINR,
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Intelli-Sat Broadcasting Recording Manager, InterFX,
Interplay, inTONE, Intraframe, iS Expander, iS9, iS18, iS23,
iS36, ISIS, IsoSync, LaunchPad, LeaderPlus, LFX, Lightning,
Link & Sync, ListSync, LKT-200, Lo-Fi, MachineControl,
Magic Mask, Make Anything Hollywood,
make manage move|media, Marquee, MassivePack,
MassivePack Pro, Maxim, Mbox, Media Composer,
MediaFlow, MediaLog, MediaMix, Media Reader,
Media Recorder, MEDIArray, MediaServer, MediaShare,
MetaFuze, MetaSync, MIDI I/O, Mix Rack, Moviestar,
MultiShell, NaturalMatch, NewsCutter, NewsView,
NewsVision, Nitris, NL3D, NLP, NSDOS, NSWIN, OMF,
OMF Interchange, OMM, OnDVD, Open Media Framework,
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Pro Tools LE, Pro Tools M-Powered, Pro Transfer,
QuickPunch, QuietDrive, Realtime Motion Synthesis,
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Reel Tape Saturation, Reprise, Res Rocket Surfer, Reso,
RetroLoop, Reverb One, ReVibe, Revolution, rS9, rS18,
RTAS, Salesview, Sci-Fi, Scorch, ScriptSync,
SecureProductionEnvironment, Shape-to-Shape,
ShuttleCase, Sibelius, SimulPlay, SimulRecord,
Slightly Rude Compressor, Smack!, Soft SampleCell,
Soft-Clip Limiter, SoundReplacer, SPACE, SPACEShift,
SpectraGraph, SpectraMatte, SteadyGlide, Streamfactory,
Streamgenie, StreamRAID, SubCap, Sundance,

Sundance Digital, SurroundScope, Symphony, SYNC HD,

SYNC I/O, Synchronic, SynchroScope, Syntax,
TDM FlexCable, TechFlix, Tel-Ray, Thunder, TimeLiner,
Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab,
TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter,
TL Metro, TL Space, TL Utilities, tools for storytellers, Transit,
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in the United States and/or other countries.
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Thunderbolt and the Thunderbolt logo are trademarks of Intel
Corporation in the U.S. and/or other countries.
This product may be protected by one or more U.S. and nonU.S. patents. Details are available at www.avid.com/patents.
Product features, specifications, system requirements, and
availability are subject to change without notice.
Guide Part Number 9329-65490-00 REV A 11/14

Contents
Part I

Introduction to Pro Tools

Chapter 1. Welcome to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

System Requirements and Compatibility Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Conventions Used in Pro Tools Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Chapter 2. Pro Tools Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Hard Disk Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Nonlinear Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Audio Engines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Avid Video Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Surround Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Pro Tools Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Tick-Based and Sample-Based Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
System Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Workspace Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
AAF, MXF, and OMF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Pro Tools and Media Composer Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Embedded Media and Linked Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Chapter 3. Keyboard and Mouse Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Mouse Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Global Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Keyboard Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Toolbar Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Numeric Keypad Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Contents

iii

Chapter 4. Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Accessing Guides in Pro Tools | Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Accessing the Help System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Help Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Using the Contents and Index Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Using the Search Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Search Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Copying from a Help Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Printing Help Topics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Part II

System Configuration

Chapter 5. Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Pro Tools | Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Pro Tools | HD Software with Pro Tools | HDX Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Pro Tools | HD Software with Pro Tools | HD Native Hardware . . . . . . . . . . . . . . . . . . . . . . 38
Supported Pro Tools HD Audio Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Playback, Recording, and Voice Limits with Pro Tools | HD Software . . . . . . . . . . . . . . . . . . 40
Pro Tools HD Audio Interface Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Additional Pro Tools Hardware Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Additional Pro Tools HD Hardware Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Pro Tools | Software Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Checking for Software Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Chapter 6. System Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Checking a Pro Tools | HDX or Pro Tools | HD Native System with DigiTest. . . . . . . . . . . . . 48
Configuring Pro Tools | Software System Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Configuring MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Configuring Hardware Settings in Pro Tools | Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Configuring Pro Tools | HDX and Pro Tools | HD Native Hardware Settings . . . . . . . . . . . . . 56
System Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Chapter 7. I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Pro Tools | Software Signal Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
I/O Setup Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
I/O Setup Signal Path Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

iv

Pro Tools Reference Guide

I/O Setup Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

I/O Setup Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Customizing I/O Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Configuring Hardware in I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Signal Path Routing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Signal Path Routing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Creating New Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Creating New Sub-Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Editing Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Assigning Paths to Hardware I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Valid Paths and Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Configuring Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
I/O Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Session Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Chapter 8. Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Display Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Operation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Editing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Mixing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Metering Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Processing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
MIDI Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Synchronization Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Global and Local Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Chapter 9. Peripherals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Ethernet Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Mic Preamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Satellites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
VENUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Chapter 10. Configuring MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

MIDI Studio Setup (Mac) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
MIDI Studio Setup (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Contents

Part III

Sessions & Tracks

Chapter 11. Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Quick Start Session Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Creating a New Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Bit Depths and Sample Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Mixed Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Interleaved Multichannel and Multi-Mono Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Session Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Opening a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Opening Recent Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Opening a Session with Plug-Ins Deactivated . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Saving a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Saving a Copy of a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Session Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Closing a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Exiting or Quitting Pro Tools | Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Chapter 12. Pro Tools Main Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Mix Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
MIDI Editor Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Score Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Workspace Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Task Manager Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
In-Application Web Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Managing Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
How Window Configurations Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Window Configuration Commands and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Tool Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Chapter 13. Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Track Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Track Channel Strips in the Mix Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Track Controls and Indicators in the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Edit Window Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
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Track Level Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Adjusting Track Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Creating Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Track Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Setting Track Views in the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Track Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Track List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Track Name Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Assigning Audio Inputs and Outputs to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Track Priority and Voice Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Assigning MIDI Inputs and Outputs to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Soloing and Muting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Making Tracks Inactive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Color Coding for Tracks, Clips, Markers, and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Chapter 14. Grouping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Grouping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Group Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Working with Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Setting Group Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Enabling Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Grouped Control Offsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Chapter 15. The Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Clip List Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Sorting and Searching in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Selecting Clips in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Previewing Clips in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Stereo and Multichannel Clips in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Naming and Displaying Clips in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Managing Clips in the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Clip Name Right-Click Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Chapter 16. Workspace Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Performance and Transfer Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Workspace Browser Layout and Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Working with Items in Workspace Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Contents

vii

Indexing Workspace Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Workspace Browser Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Workspace Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Workspace Browser Panes and Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Column Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Selecting Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Moving, Copying, Duplicating, and Removing Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Searching Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Elastic Audio Files in the Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Previewing Audio in Workspace Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Preview Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Preview Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Linking and Relinking Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Transfer Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Missing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Relink Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Task Manager Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Chapter 17. Importing and Exporting Session Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Importing and Exporting Data to and from a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Audio Conversion on Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Importing Files with Drag and Drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Importing Audio Files and Clips Using the Import Audio Command . . . . . . . . . . . . . . . . . . 315
Importing Audio from Audio CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Importing ACID and REX Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Importing Multichannel Audio Files from a Field Recorder . . . . . . . . . . . . . . . . . . . . . . . . . 319
Import Options and Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Exporting Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Importing MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Exporting MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Exporting Sibelius Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Importing Session Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Import Session Data Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Importing AAF and OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Import Options when Importing AAF or OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . 341
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Media Composer | Software Export Options for Audio and Video Mixdowns . . . . . . . . . . . . 346
Audio File Format Compatibility Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Exporting Pro Tools Tracks as AAF or OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Exporting Pro Tools Tracks as MXF Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
Export Options when Exporting to AAF or OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . 353
Export Selected Tracks as New Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Exporting Session Information as Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Export Session Information as Text Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Importing and Exporting Clip Group Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Chapter 18. File and Session Management and Compatibility . . . . . . . . . . . . . . . . . . . . . . . 365

Audio File Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
WAV File Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Sharing Sessions Created on Different Computer Platforms . . . . . . . . . . . . . . . . . . . . . . . . 369
Sharing Sessions Created on Different Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . 372
Sharing Sessions Created on Different Pro Tools Software Versions . . . . . . . . . . . . . . . . . 373
Language Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Part IV

Playback and Recording

Chapter 19. Playing Back Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Setting the Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Scrolling Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390
Playing Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Transport Fade-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Playing Timeline and Edit Selections with the Playhead . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Playback Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
MIDI Beat Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
MIDI Beat Clock Offsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Chapter 20. Record Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Record Setup Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Configuring Pro Tools Hardware I/O for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404
Connecting a Sound Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Recording with a Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406
Setting the Session Meter and Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Contents

ix

Record Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Configuring Default Names for Audio Files and Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
Assigning Hardware I/O on a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Record Enabling Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416
Working with Hard Drives for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Selecting a Record Input Monitoring Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Setting Monitor Levels for Record and Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Reducing Monitoring Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Chapter 21. Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Recording Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Prime for Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Setting Punch and Loop Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Setting Pre- and Post-Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Audio Punch Recording Over a Specified Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Recording Additional Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
Loop Recording Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Alternate Takes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Recording from a Digital Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Half-Speed Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Chapter 22. MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Recording from MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
Enabling Input Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448
MIDI Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
MIDI Input Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Input Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Wait for Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
MIDI Merge/Replace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451
Configuring MIDI or Instrument Tracks for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
Recording MIDI and Instrument Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
MIDI Punch Recording Over a Specified Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
Loop Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
MIDI Step Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Recording System Exclusive Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Recording Audio from a MIDI Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Pro Tools Reference Guide

Chapter 23. Punch Recording Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Introduction to Punch Recording Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465
Guidelines for Punch Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
QuickPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
TrackPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Using TrackPunch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
DestructivePunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475
Using DestructivePunch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Example TrackPunch and DestructivePunch Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . 480

Part V

Editing

Chapter 24. Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
Audio Clips and Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
MIDI Clips and MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491
Naming Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494
Displaying Clip Names, Clip Times, and Other Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Multiple Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496
Basic Editing Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Editing Across Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

Chapter 25. Edit Modes and Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Edit Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Shuffle Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Slip Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504
Spot Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504
Grid Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505
Edit Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Zooming Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
Zoom Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508
Zoomer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
Zoom Preset Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Zoom Toggle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Zooming with a Scroll Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Using the Trim Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Trim Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
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xi

Time Compression/ Expansion Trim Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Scrub Trim Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Loop Trim Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Using the Selector Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Using the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
Using the Smart Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525
Using the Scrubber Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Numeric Keypad Set to Shuttle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Using the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
Edit/Tool Mode Keyboard Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

Chapter 26. Making Selections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Linking or Unlinking Timeline and Edit Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Linking or Unlinking Track and Edit Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Selecting Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
Timeline Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
Auto-Scrolling Tracks in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
Universe View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
Navigating a Pro Tools Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Chapter 27. Editing Clips and Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555

Creating New Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
Healing Separated Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
Trimming Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
Nudging Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562
Quantizing Clips to Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564
Editing Stereo and Multichannel Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Clip Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566
Consolidating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Compacting an Audio File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Processing Audio with AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576
TCE (Time Compression and Expansion) Edit To Timeline Selection . . . . . . . . . . . . . . . . . 576
Rating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577

Chapter 28. Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579

About Crossfades and Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
Fades Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
Creating Fades at the Beginnings and Ends of Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586
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Creating a Crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588

Using AutoFades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
Creating Fades and Crossfades in Batches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
Moving and Nudging Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591
Separating Clips that Include Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Trimming Clips that Include Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Fade Boundaries and Shapes Displayed in Automation View . . . . . . . . . . . . . . . . . . . . . . . 595

Chapter 29. Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597

Working with Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Track Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Playlists View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Matching Alternate Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
Matching Criteria Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Selecting Alternate Takes on Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Automatically Create New Playlists when Loop Recording . . . . . . . . . . . . . . . . . . . . . . . . . 611
Expanding Alternate Takes to New Playlists or Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Expanding Alternate Channels to New Playlists or Tracks . . . . . . . . . . . . . . . . . . . . . . . . . 612

Chapter 30. Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

Beat Detective and Source Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Uses for Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Beat Detective Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
The Beat Detective Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
Beat Detective Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
Defining a Beat Detective Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
Beat Detective Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
Calculating Tempo with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
Generating Beat Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
Editing Beat Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
Generating Bar|Beat Markers with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
DigiGroove Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
Separating Clips with Beat Detective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
Conforming Clips with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
Edit Smoothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
Detection (Normal) and Collection Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635

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Part VI

MIDI

Chapter 31. MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641

MIDI Editing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641
Setting the Grid Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643
Using the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644
Inserting MIDI Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646
Inserting a Series of Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647
Manually Editing MIDI Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648
Using the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650
Time Compression/Expansion Trim Tool Functionality on MIDI Clips . . . . . . . . . . . . . . . . . 658
Continuous Controller Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660
Patch Select (Program and Bank Changes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663
System Exclusive Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667
Note and Controller Chasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668
Offsetting MIDI Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669
Stuck Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
Remove Duplicate Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
MIDI Real-Time Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
Real-Time Properties Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673
Real-Time Properties on Tracks and Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 676
Writing Real-Time Properties to Tracks or Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Real-Time Properties In the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Display of Real-Time Properties Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 678

Chapter 32. MIDI Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 679

Opening a MIDI Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680
MIDI Editor Window Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
MIDI Editor Zoom Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686
Track List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686
Group List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688
Timebase and Conductor Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689
Superimposed Notes View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689
Notes Pane Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692
Notation View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694
Velocity, Controller, and Automation Lanes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696

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Chapter 33. Score Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697

Opening the Score Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698
Edit Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698
Default Note Duration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701
Default Note On Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701
Play MIDI Notes When Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701
Link Timeline and Edit Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701
Mirrored MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Double Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Cursor Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702
Grid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Score Editor Window Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Score Editor Window Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704
Customizable Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Track List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705
Page Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706
Score Editor Zoom Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707
Notation Display Track Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708
Score Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709
Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711
Score Editor Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714
Key Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715
Meter Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715
Chord Symbols and Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716
Exporting Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718
Printing Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718

Chapter 34. MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Opening the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719
Inserting Events in the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722
Editing Events in the MIDI Event List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724
MIDI Event List Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 726

Contents

xv

Part VII

Arranging

Chapter 35. Time, Tempo, Meter, Key, and Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729

Timebase Rulers and Conductor Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729
Main Time Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732
The Sub Counter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733
Tick-Based Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733
Tick- and Sample-Based Timebases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734
Song Start Marker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736
Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737
Graphic Tempo Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743
Editing Tempo Events in the Tempo Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743
Changing the Linearity Display Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749
Tempo Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 750
Identify Beat Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756
Meter Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 759
Time Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762
Change Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 762
Insert Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764
Cut Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 766
Move Song Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767
Renumbering Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 768
Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771

Chapter 36. Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773

Creating Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773
Creating Memory Locations During Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 775
Properties of Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 776
Recalling Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778
Editing Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778
Deleting Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780
Copying Marker Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780
Memory Locations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781
Memory Locations Commands and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781

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Chapter 37. Arranging Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785

Placing Clips in Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785
Working with Multiple Items from the Clip List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 786
Placing Clips at the Edit Insertion Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787
Aligning Clip Start Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 788
Sliding Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789
Shuffling Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789
Moving Clips with the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791
Snapping to the Preceding or Next Clip on a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791
Slipping Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793
Spotting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793
Sliding Clips in Grid Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795
Replacing Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 796
Sync Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 799
Shift Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800
Locking Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 801
Muting/Unmuting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 803
Stripping Silence from Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 803
Inserting Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806
Duplicating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807
Repeating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808

Chapter 38. Clip Loops and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809

Clip Looping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809
Creating Looped Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809
Unlooping Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 810
Editing Looped Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811
Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812
Creating Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813
Ungrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814
Regrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814
Multitrack Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 815
Clip Groups on Tick-Based Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 816
Editing Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817
Fades and Crossfades on Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819
Clip Groups and Clip Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819
Importing and Exporting Clip Group Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819
Contents

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Part VIII

Processing

Chapter 39. AudioSuite Processing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823

AudioSuite Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823
AudioSuite Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823
AudioSuite Window Header . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 824
AudioSuite Window Footer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828
Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830
Conditions for AudioSuite Rendering with Handles, Fades, Clip Gain, and Metadata . . . . . 834

Chapter 40. Elastic Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835

Example Elastic Audio Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836
Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841
Enabling Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841
Disabling Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842
Elastic Audio Track Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843
Elastic Audio Track Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843
Elastic Audio Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844
Real-Time and Rendered Elastic Audio Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 845
Elastic Audio Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846
Editing in Warp View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 851
Warping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 853
Editing in Analysis View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 857
Elastic Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 859
Elastic Properties Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 860
Elastic Audio Clip-Based Pitch Shifting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 862
AudioSuite Processing and Elastic Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 864
Moving Elastic Audio Between Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 865
Approximate Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 866
Elastic Audio Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 866

Chapter 41. Event Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 867

Event Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 867
Quantize Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 868
Grid Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 870
Grid Quantize Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 872
Groove Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 874
Quantizing Elastic Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879
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Quantizing Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880

Quantizing Mixed Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881
Restore Performance Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881
Flatten Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 882
Change Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 883
Change Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 885
Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 887
Select/Split Notes Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 889
Input Quantize Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 891
Step Input Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 892

Chapter 42. HEAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 895

Enabling HEAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 895
About HEAT Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 896
HEAT Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 897
Master Bypass and Track Bypass Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 898
A Note About Other Track Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 899
DSP and Voice Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 899
Using HEAT with a Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 900

Part IX

Mixing

Chapter 43. Basic Mixing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905

Mixing Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905
Metering and Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905
Signal Flow by Track Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 906
Audio Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 906
Auxiliary Input Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 907
Master Fader Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 908
Instrument Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 909
VCA Master Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 910
Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 913
Configuring Inserts View in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . 914
HEAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 914
Stereo Pan Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 914
Views in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 915
Audio Input and Output Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 919
Contents

xix

Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 921
Configuring Sends View in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . 925
Sends View Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 925
Editing Sends in the Mix and Edit Windows (Individual Send Views) . . . . . . . . . . . . . . . . . 927
Bus Interrogation Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 930
Output Windows for Tracks and Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 931
Output Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 935
Signal Routing for Monitoring and Submixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 936
Delay Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 943
Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 950
Using an Ethernet Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 951
Using a MIDI Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 951

Chapter 44. Plug-In and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 955

Types of Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 955
Viewing Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 957
Making Inserts Inactive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 958
Inserting Plug-Ins on Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 959
Plug-In Menu Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 961
Moving and Duplicating Plug-In and Hardware Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . 963
Plug-In Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 963
Opening Plug-In Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 967
Using Plug-In Window Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 967
Editing Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 968
Plug-In Automation and Safe Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 969
Side-Chain Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 969
Plug-In Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 970
Plug-In Settings Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 973
Plug-In Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 975
Bypassing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 980
Linking and Unlinking Controls on Multi-Mono Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . 981
Using Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 982

Chapter 45. Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 985

Automation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 985
Automation Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 986
Automation Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 988
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Automation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 992

Viewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 994
Writing Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 997
Automating Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1000
Automating Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1001
AutoMatching Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1003
Priming Controls for Writing Automation in Latch Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 1005
Enabling and Suspending Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1008
Deleting Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1010
Thinning Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1011
Drawing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1012
Editing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1013
Cutting, Copying, and Pasting Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1017
Glide Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1021
Trimming Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1022
Writing Automation to the Start, End, or All of a Track or Selection . . . . . . . . . . . . . . . . . . 1024
Writing Automation to the Next Breakpoint or to the Punch Point . . . . . . . . . . . . . . . . . . . 1026
Guidelines for Write To Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1029
Overwriting or Extending Mute Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1030
Creating Snapshot Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1032
Previewing Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1035
Capturing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1037
VCA Master Track Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1040
Coalescing VCA Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1041

Chapter 46. Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1045

Selecting Audio for Loops, Submixes, and Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1045
Using Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1046
Bus Recording to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1047
Bounce to Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1048
Bounce From Sends or Track Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1049
Bounce Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1050
Recording a Submix (with Bounce to Disk) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1060
Final Mixdown (with Bounce to Disk) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1060
Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1061

Contents

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Part X

Surround

Chapter 47. Pro Tools Setup for Surround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1065

Surround Mixing in Pro Tools | Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1065
Pro Tools Audio Connections for 5.1 Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1065
7.1 and 7.0 Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1066
Configuring Pro Tools | Software for Multichannel Sessions . . . . . . . . . . . . . . . . . . . . . . 1066
Default I/O Selectors in I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1071
5.1 Track Layouts, Routing, and Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1072

Chapter 48. Multichannel Tracks and Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1073

Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1073
Multichannel Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1076
Paths in Surround Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1079
Example Paths and Signal Routing for a Surround Mix . . . . . . . . . . . . . . . . . . . . . . . . . . 1081

Chapter 49. Surround Panning and Mixing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1087

Introduction to Pro Tools Surround Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1087
Output Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1088
Standard Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1089
Surround Panner Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1090
Panning Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1092
Divergence and Center Percentage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1095
LFE Faders in Multichannel Panners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1098
Pan Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1098

Part XI

Sync and Video

Chapter 50. Working with Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1101

Pro Tools Synchronization Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1101
Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1103
Format Displays and Controls in the Session Setup Window . . . . . . . . . . . . . . . . . . . . . . 1104
SYNC Setup and Timecode Offsets in the Session Setup Window. . . . . . . . . . . . . . . . . . 1106
Timecode Settings in the Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1108
Preparing to Work with SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1108
Configuring Pro Tools for SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1109
Pull Up and Pull Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1111
Effect of Using Pull Up or Pull Down. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1115
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Putting Pro Tools Online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1115

Generating Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1116
Using MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1117
Enabling MIDI Machine Control in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1118
MMC Transport Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1120
Setting Minimum Sync Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1121
Remote Track Arming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1121
Spotting Clips to SMPTE Frame Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1122
The Spot Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1122
Capturing Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1123
Auto-Spotting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1124
Using the Trim Tools in Spot Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1125
Time Stamping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1125
Identifying a Synchronization Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1126
Troubleshooting SMPTE Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1127
Speed Correction for Film, NTSC Video, and PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . 1129

Chapter 51. Working with Field Recorders in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . 1131

Field Recorder and Production Workflow Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . 1131
Supported Field Recorder Audio Files and Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1133
Displaying Field Recorder Metadata in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1134
Workspace Support for Field Recorder Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1134
Field Recorder Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1135
Ensuring Metadata of Source Files Have Been Preserved . . . . . . . . . . . . . . . . . . . . . . . . 1136
Receiving Source Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1136
Importing Source Files into Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1137
Designating Field Recorder Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1139
Displaying Multichannel Files from a Field Recorder in the Clip List . . . . . . . . . . . . . . . . . 1140
Selecting a Matching Field Recorder Channel to Replace a Clip . . . . . . . . . . . . . . . . . . . . 1140
Expanding Matching Field Recorder Channels to New Tracks . . . . . . . . . . . . . . . . . . . . . 1145
Determining the Method of Expanding Matching Field Recorder Channels to New Tracks . 1146
Film Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1149
Video and Fully Non-Linear Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1151

Chapter 52. Working with Video in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1155

Avid Video Engine (AVE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1155
QuickTime Movie Support in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1156
Contents

xxiii

Before Starting Your Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1156

Pro Tools Video Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1157
Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1157
Main Video Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1158
Video Track Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1159
Video Track Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1160
Locking Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1166
Video Engine Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1166
Importing Video into Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1167
Configuring Video Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1169
Importing Audio from a QuickTime Video Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1170
Video Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1171
General Video Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1172
Renaming Video Disk Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1175
Video Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1175
Using the Video Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1175
Browsing Video in the Video Universe Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1178
Playback of High-Definition Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1179
Optimized Video Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1180
Tips for Optimizing Video Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1180
Compensating for Video Monitoring Delays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1181
Playing Video to an External Monitor Using a Video Peripheral . . . . . . . . . . . . . . . . . . . . 1181
Bouncing the Video Track to a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1182

Part XII

Satellite Systems

Chapter 53. Satellite Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1187

Satellite Link Requirements and Compatibility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1187
Configuring Satellite Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1188
Linking Satellite Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1191
Using Satellite Link with MachineControl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1194
Control Surface Support for Satellite Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1194

Chapter 54. Pro Tools Video Satellite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1197

Video Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1197
Connecting a Pro Tools Video Satellite System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1198
Linking the Pro Tools Video Satellite System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1198
xxiv

Pro Tools Reference Guide

Chapter 55. Avid Video Satellite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1203

Video Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1204
Supported Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1205
Avid Video Satellite Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1205
Using a Video Satellite in an Avid Interplay Environment . . . . . . . . . . . . . . . . . . . . . . . . . 1205
Connecting Pro Tools and a Video Satellite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1205
Matching Media Composer and Pro Tools Settings in a Video Satellite System . . . . . . . . . 1207
Linking or Unlinking Pro Tools and a Video Satellite. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1213
Capturing Audio and Video with a Video Satellite System . . . . . . . . . . . . . . . . . . . . . . . . 1215
Re-Digitizing an Existing Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1216
Digitizing from an EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1216
Laying Back Audio and Video to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1216

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1219

Contents

xxv

xxvi

Pro Tools Reference Guide

Part I: Introduction to
Pro Tools

Chapter 1: Welcome to Pro Tools

Welcome to Pro Tools, brought to you by Avid
Technology. Pro Tools | Software integrates
powerful multitrack digital audio and MIDI sequencing features, giving you everything you need
to record, arrange, compose, edit, mix, and master
professional quality audio and MIDI for music,
video, film, and multimedia.

About www.avid.com
The Avid website (www.avid.com) is your best
online source for information to help you get the
most out of your Pro Tools system. The following
are just a few of the services and features available.
Product Registration Register your purchase

online.

System Requirements and

Compatibility Information
Avid can only assure compatibility and provide
support for hardware and software it has tested and
approved.
For complete system requirements and a list of
qualified computers, operating systems, hard
drives, and third-party devices, visit:
www.avid.com/compatibility

Support and Downloads Contact Avid Customer

Success (technical support); download software

updates and the latest online manuals; browse the
Compatibility documents for system requirements;
search the online Knowledge Base or join the
worldwide Pro Tools community on the User
Conference.
Training and Education Study on your own using
courses available online or find out how you can
learn in a classroom setting at a certified Pro Tools
training center.
Products and Developers Learn about Avid

products; download demo software or learn about

our Development Partners and their plug-ins,
applications, and hardware.
News and Events Get the latest news from Avid or

sign up for a Pro Tools demo.

Chapter 1: Welcome to Pro Tools

Conventions Used in
Pro Tools Documentation
Pro Tools documentation uses the following
conventions to indicate menu choices, keyboard
commands, and mouse commands:
:

Convention

Action

File > Save

Choose Save from the

File menu

Control+N

Hold down the Control

key and press the N key

Control-click

Hold down the Control

key and click the mouse
button

Right-click

Click with the right

mouse button

The names of Commands, Options, and Settings

that appear on-screen are in a different font.
The following symbols are used to highlight
important information:
User Tips are helpful hints for getting the
most from your Pro Tools system.
Important Notices include information that
could affect your Pro Tools session data or
the performance of your Pro Tools system.
Shortcuts show you useful keyboard or mouse
shortcuts.
Cross References point to related sections in
this guide and other Avid documentation.

Pro Tools Reference Guide

Chapter 2: Pro Tools Concepts

Before you begin to use Pro Tools, you may find it
helpful to review Pro Tools concepts. These concepts are the foundation of Pro Tools operation
and functionality.

Hard Disk Audio Recording

Hard disk recording is a nonlinear (or random access) mediumyou can go immediately to any
spot in a recording without having to rewind or fast
forward.
This differs from tape-based recording, which is a
linear mediumwhere you need to rewind or fast
forward to hear a particular spot in a recording. To
rearrange or repeat material in a linear system, you
need to re-record it, or cut and splice it.

Nonlinear Editing
Pro Tools is a nonlinear editing system that lets
you rearrange and mix recorded material nondestructively. Nonlinear editing simply means that
you can cut, copy, paste, move, delete, trim, and
otherwise rearrange any audio, MIDI, or video in
the Pro Tools Edit window.
Nonlinear editing provides significant advantages
over dubbing (re-recording), and cutting and splicing magnetic tape. It gives you the greatest possible flexibility for editing and arranging, and it is all
nondestructive and undoable. Additionally, with
nonlinear editing in Pro Tools, you will never introduce any degradation of audio fidelity as you
would with tape.

Nonlinear systems have several advantages. You

can easily rearrange or repeat parts of a recording
by making the hard disk read parts of the recording
in a different order or multiple times. In addition,
this re-arrangement is nondestructive, meaning
that the original recorded material is not altered.

Chapter 2: Pro Tools Concepts

Audio Engines

Avid Video Engine

Pro Tools can stream audio between the application and your audio hardware using the Avid Audio Engine (Avid audio hardware only), Core Audio (Mac only with third-party audio hardware), or
ASIO (Windows only with third-party audio hardware).

Pro Tools uses the Avid Video Engine (AVE) for

real-time digital video playback. AVE is installed
automatically with Pro Tools. AVE provides compatibility and interoperability across the full product line of Avid audio and video editing solutions,
and provides support for a wide range of Avid HD
and SD MXF video formats on Pro Tools video
tracks without transcoding (including Avid
DNxHD). AVE also lets you monitor Avid HD
and SD MXF, and QuickTime media using Avid
Media Composer | Nitris DX,
Media Composer | Mojo DX, and other Avid
qualified third-party video interfaces.

Avid Audio Engine

The Avid audio engine (AAE) is a real-time operating system for digital audio recording, playback,
and processing with Pro Tools and Avid audio
hardware. When you install Pro Tools, AAE is automatically installed on your system. AAE provides the foundation for much of the hard disk recording, digital signal processing, and mix
automation required by Pro Tools and other products from Avid and its Development Partners.
Core Audio

Apples Core Audio provides audio connectivity

between software applications and audio hardware
on Mac OS X. Pro Tools software can use audio
interfaces with supported Core Audio drivers for
playback and recording with up to 32 channels of
I/O.
ASIO

Steinbergs Audio Stream Input/Output (ASIO)

provides audio connectivity between software applications and audio hardware on Windows.
Pro Tools software can use audio interfaces with
supported ASIO drivers for playback and recording with up to 32 channels of I/O.

Pro Tools Reference Guide

MIDI

Synchronization

MIDI (Musical Instrument Digital Interface) is a

communication protocol for musical instruments.
This industry standard enables connections between a variety of devices from different manufacturers. Examples of MIDI-compatible equipment
include synthesizers, drum machines, MIDI patch
bays, effects processors, MIDI interfaces, MIDI
control surfaces, and MIDI sequencers.

When you are working with multiple time-based

systems, such as Pro Tools and an external deck,
you want the systems to be synchronized. Synchronization is where one system outputs clock
source (such as timecode or MIDI Beat Clock) and
another device synchronizes to or follows that
clock source so that they work together. Pro Tools
can be synchronized to other devices (or other devices can be synchronized to Pro Tools) using
SMPTE/EBU timecode or MIDI Timecode.

MIDI devices are equipped with 5-pin DIN connectors, labeled as either IN, OUT, or THRU. The
MIDI OUT port transmits messages. The MIDI IN
port receives messages. The MIDI THRU outputs
whatever is received from the IN port. MIDI devices are connected with MIDI cables that are
available at most music stores.
USB and FireWire-compatible MIDI devices send
and receive MIDI messages to and from the computer over USB or FireWire.
The MIDI protocol provides 16 channels of MIDI
per port. A single MIDI cable can transmit a separate set of messages for each of the 16 channels.
These 16 channels can correspond to separate
MIDI devices or to multiple channels within a single device (if the device is multitimbral). Each
channel can control a different instrument sound.
Pro Tools provides powerful MIDI sequencing capabilities. You can record, enter, edit, and play
back MIDI data on Pro Tools Instrument and
MIDI tracks. These actions can be done in the Edit
window, the MIDI Editor window, the Score Editor window, and the MIDI Event List.
MIDI data in Pro Tools can be anything from
MIDI note data (note number, on/off, velocity) to
System Exclusive (Sysex) messages. MIDI data
can be recorded or played back from both external
MIDI devices with a MIDI interface and other
MIDI software (such as instrument plug-ins and
ReWire client applications).

Surround Sound
(Pro Tools | HD Software Only)

Surround sound simply means having one or more

speakers with discrete audio signals (channels)
placed behind the listener in addition to the typical
stereo pair.
There are multiple types of surround formats in use
(from three-channel LCR to 7.1, which has eight
channels).
The most common surround format is 5.1, which
refers to having 5 speakers and a sub-woofer (the
.1). 5.1 is used in movie theaters and home entertainment systems. Additionally, most DVDs are
mixed to 5.1. The standard speaker placement for
5.1 for surround monitoring is stereo left and right
speakers, and an additional center speaker in front,
two more stereo left and right speakers in the rear,
and the sub-woofer on the side.
Pro Tools | HD Software supports mixing in surround formats. In Pro Tools, each surround format
is considered to be a greater-than-stereo multichannel format.

Chapter 2: Pro Tools Concepts

Pro Tools Sessions

When you start a project in Pro Tools, you create a
session.

Session Files
A session file is the document that Pro Tools creates when you choose File > New Session and configure a new session. Pro Tools can open only one
session file at a time. The session file is named
with a .ptx (Pro Tools file) extension. Session files
contain maps of all elements associated with a
project, including audio files, MIDI data, and all
your edit and mix information. It is important to realize that a Pro Tools session file does not contain
any media files (audio or video). Instead, it references audio, video, MIDI, and other files. You can
make changes to a session and save those changes
in a new session file. This lets you create multiple
versions of a session or back up your editing and
mixing work.

Session file icon

Tracks
Pro Tools tracks are where audio, MIDI, video,
and automation data are recorded and edited.
Pro Tools tracks also provide audio channels for
routing internal busses, and physical inputs and
outputs for audio and MIDI.
Pro Tools provides multiple types of tracks:
Audio, Auxiliary Input, Master Fader,
VCA Master, MIDI, Instrument, and Video.

Pro Tools Reference Guide

Audio track in the Edit window (stereo track shown)

MIDI track in the Edit window

Video track in Frames view

Audio, MIDI, Instrument, and video track data can

be edited into clips or repeated in different locations to create loops, re-arrange sections or entire
songs, or to assemble tracks using material from
multiple takes.
Auxiliary Input tracks can route internal audio busses or physical inputs to internal busses or physical
outputs. Auxiliary Inputs are typically used for audio effects busses, audio throughput (monitoring),
and submixing.
Master Fader tracks provide controls for physical
audio output channels, including the volume level
of your mix, panning, and plug-in inserts.
VCA Master tracks (Pro Tools HD only) provide
control of tracks in a Mix Group that has been assigned to the VCA Master.

Video tracks support QuickTime movies (all

Pro Tools systems) and VC-1 video files (Windows only). Additionally, Pro Tools supports Avid
video using a the Avid Video Engine (AVE) either
natively or with a supported Avid video peripheral.
An individual video track can play back only one
type of video at a time.
Audio, Auxiliary Input, Master Fader, and Instrument tracks can be mono, stereo, or multichannel
(Pro Tools HD only). When creating a new track,
select from the list of channel formats supported
by your system.

Voices
In Pro Tools, voices are unique, discrete audio
streams that can be routed to and from Pro Tools
audio tracks, and physical audio outputs and inputs
on your Pro Tools audio interfaces. The audio
paths to and from Pro Tools software routed to
Pro Tools hardware use voices. If you exceed the
number of available voices in your system, you
have effectively exceeded the available number of
audio paths. Voices are allocated dynamically.
Typically, each audio channel for each track in
your Pro Tools session uses a single voice. So, for
a mono audio track, a single voice is used; for a stereo audio track, two voices are used. When using
Punch Recording, two voices are needed for every
single audio channel (one for playback and one for
recording on punch in and out). In some situations,
with Pro Tools | HDX systems, more than one
voice may be necessary for a single channel (such
as when using host processing on a DSP bus).

On all other Pro Tools systems, the full number of

available voices for your system may be limited by
the host processing power of your computer (see
Pro Tools Capabilities with Different Hardware
Configurations on page 37).
For more information about voicing in
Pro Tools, see Track Priority and Voice
Assignment on page 227.

Media Files
Pro Tools sessions create, import, export, and reference media files. Media files are audio, MIDI,
and video files. Audio and video media files are
stored separately from the Pro Tools session file.
MIDI data is stored in the session file.
Audio Files

When you record audio into a Pro Tools session,

audio files are created.

Audio file icon

Audio files for each session are stored in a folder

named Audio Files. Audio files are listed in the
Pro Tools Clip List and can appear in an audio
track. A section of an audio file can be defined as a
clip. See Clips on page 10.

On HDX systems, the number of available voices

is dependent on the amount of dedicated DSP processing in your system (see Playback, Recording,
and Voice Limits with Pro Tools | HD Software
on page 40).

Chapter 2: Pro Tools Concepts

MIDI Files

When you record or enter MIDI into a Pro Tools

session, all MIDI data is stored in the Pro Tools
session file. You can import and export MIDI files
to and from Pro Tools sessions, but MIDI
recorded or otherwise created in a Pro Tools
session does not automatically create new MIDI
files.

Audio clip

MIDI clip

MIDI file icon

Video Files

When you record or import video into a Pro Tools

session, all video data is stored as the corresponding video file type (such as QuickTime). Video
files can be created in (or copied to) the Video
Files folder in the session folder. However, in most
cases, Pro Tools references video files that have
been captured by another application, such as Avid
Media Composer Software.

Video clip (Frames view)

Clips
A clip is a segment of audio, MIDI, or video data.
A clip could be a drum loop, a guitar riff, a verse of
a song, a recording take, a sound effect, some dialog, or an entire sound file. Clips are especially
useful for arranging audio and MIDI. A clip can
also have associated automation data. In
Pro Tools, clips are created from audio files or
MIDI data, and can be arranged in audio and MIDI
track playlists. Clips can also be grouped (a clip
of clips) and looped (repeated).

10

Pro Tools Reference Guide

Clip group (Mixed audio and MIDI multitrack clip

group)

Playlists
A playlist is a sequence of clips arranged on an audio, MIDI, or video track. Tracks have edit playlists and automation playlists.

Each audio, Auxiliary Input, Instrument, Master

Fader, and VCA track also has a single set of automation playlists. Automation playlists can include
volume, pan, mute, and each automation-enabled
control for the insert and send assignments on that
track.
MIDI controller data on Instrument and MIDI
tracks is always included as part of the track playlist.

Channels
Playlist selector pop-up menu

On audio tracks, an edit playlist tells the hard disk

which audio clips to play in what order. For example, you can have separate audio clips for a song
introduction, the first verse, the first chorus, and so
on. You can also use the same audio clip to access
the same piece of audio multiple times at different
locations and not use additional disk space. Different versions of the same original audio can be used
in different places and have different effects applied. On MIDI and Instrument tracks, edit playlists can store multiple MIDI sequences (or performances) on a track.
A playlist can be made up of a single clip or many
separate clips. It can be made up of similar elements (such as clips from several different takes of
a solo), or dissimilar elements (such as several
sound effects).
You can create any number of alternate edit playlists for a track. This lets you assemble different
versions of performances or edits on a single track
and choose between them from the Playlists menu
on the track.

The term channel is used to describe several related components of a Pro Tools system.
The first example of channel refers to a physical
input or output of your Pro Tools system. For example, Pro Tools | HD I/O provides up to 16
channels of audio input and output to a HDX or
Pro Tools | HD Native system, while the
Pro Tools | Mbox Pro audio interface provides
up to eight inputs and eight outputs.
The second use of the term channel refers to a
channel strip in the Pro Tools Mix window. Each
track in a Pro Tools session has a corresponding
channel strip in the Mix window.
Audio and MIDI channel strips have similar controls, but those controls have slightly different effects. For example, audio, Auxiliary Input, and Instrument track channel strip faders control the
output gain to the mix bus for that channel, while
MIDI channel strip faders send MIDI volume data
(MIDI controller 7) to the selected MIDI instrument.
The term MIDI channel also describes a
separate aspect of MIDI operation. See
MIDI on page 7.

Chapter 2: Pro Tools Concepts

11

Signal Routing
Pro Tools provides software-based mixing and
signal routing controls for audio and MIDI. These
controls are located in the Mix window. Some of
these controls can also be accessed from the Edit
window.
A common audio signal routing task is to submix
multiple tracks to a single channel strip (such as an
Auxiliary Input) for shared processing and level
control. The following example shows two audio
tracks submixed to a stereo Auxiliary Input.

Inserts

Sends
Input from
stereo
bus path

Outputs to
stereo bus
path

Channel strip in the Mix window (audio track)

Audio tracks Auxiliary Input

track
Submixing to an Auxiliary Input

12

Pro Tools Reference Guide

Signal Routing Options

Signal routing options include the following:

Track Input and Output (I/O) Controls The most

basic type of signal routing is track input and output. A track needs to have an assigned input path to
record audio, and an assigned mapped output path
in order to be audible through a hardware output.
Signals can also be routed to or from other tracks in
Pro Tools (or hardware inputs and outputs) using
internal busses.
Auxiliary Input and Master Fader Tracks Auxiliary Inputs can be used as returns, submixers, and
bus masters. Master Fader tracks are used as bus
and output master level controls. Both Auxiliary
Input and Master Fader tracks can have plug-in and
hardware inserts.
MIDI Tracks MIDI tracks are generally used for

routing MIDI from internal or external sources to

external MIDI devices. MIDI data can also be
routed to plug-ins on Auxiliary Inputs or Instrument tracks.
Instrument Tracks Instrument tracks are the primary way to route MIDI to an instrument plug-in
and then route the plug-ins sound to outputs,
sends and busses, or other inserts. Instrument
tracks can also be used to send MIDI to and monitor audio from external MIDI devices.

Instrument Plug-Ins Instrument plug-ins are different from processing plug-ins in that they generate audio rather than process the audio signal from
a tracks audio input or from hard disk.
Instrument plug-ins are typically played by MIDI.
Paths Paths are any routing option in Pro Tools,
including internal or external inputs, outputs, busses, and inserts. Pro Tools lets you name these
paths, and these path names appear in the Audio
Input and Output Path selectors and other menus.
For more information, see Chapter 7, I/O Setup.
Mixing Formats Sessions can include combina-

tions of mono, stereo, and greater-than-stereo multichannel format tracks, busses, inputs, outputs,
and inserts. Greater-than-stereo multichannel formats are supported with Pro Tools HD only.
Grouping and VCA Tracks Tracks can be grouped
together for mixing so that their relative mix settings are maintained when changing a mix setting
for any track in the group. For example, changing
the volume of one track affects the volume of all
the other tracks in the group. VCA Master tracks
(Pro Tools HD only) control the relative mix settings for all tracks within the selected group.

Tick-Based and
Sample-Based Time

Sends Sends route audio from tracks to hardware

outputs, or to internal busses that are in turn routed
to other tracks within Pro Tools. MIDI, Master
Fader, and VCA Master tracks do not have sends.

Pro Tools lets you set any track timebase to

either sample-based or tick-based. You can also set
the Timeline to be viewed as tick-based or samplebased.

Plug-In and Hardware Inserts Plug-In processing

Audio in Pro Tools is sample-based by default.

This means that if an audio clip is located at a particular sample location, it will not move from that
location if the tempo changes in the session
though its Bar|Beat location will change.

occurs completely within the Pro Tools system.

Hardware inserts use audio interface inputs and
outputs for traditional insert routing to and from
external effects and other devices. MIDI and VCA
Master tracks do not have inserts.

Chapter 2: Pro Tools Concepts

13

MIDI data in Pro Tools is tick-based by default.

This means that if a MIDI clip is located at a particular Bar|Beat location, it will not move from that
Bar|Beat location if the tempo changes in the sessionthough its sample location will change.
You can select whether a track is sample-based or
tick-based when it is created, or change timebases
later.

Sample-Based Audio and MIDI

With a sample-based audio track, all clips in the
track have an absolute location on the Timeline.
Clips stay fixed to the sample time, regardless of
where tempo or meter changes occur in a session.
If you make a MIDI track sample-based, all MIDI
events in the track have an absolute location on the
Timeline. MIDI events stay fixed to sample time,
regardless of any tempo or meter changes in a
session.

Tick-Based Audio and MIDI

Tick-based audio is fixed to a Bars|Beat location,
and moves relative to the sample Timeline when
tempo and meter changes occur. However, MIDI
events and tick-based audio respond differently to
tempo changes with respect to duration. MIDI note
events change length when tempo or meter is adjusted, while audio clips do not (unless Elastic Audio is enabled). When Elastic Audio is not enabled
on an audio track, meter and tempo changes affect
only the start point (or sync point) for each audio
clip in a tick-based track. If Elastic Audio is enabled on an audio track, tempo changes apply Elastic Audio processing, which changes the duration
of the audio clip.

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Pro Tools Reference Guide

Elastic Audio
Elastic Audio provides real-time and non-real-time
(rendered) Time Compression and Expansion
(TCE) of audio. Tick-based Elastic Audio tracks
actually change the location of samples according
to changes in tempo. The audio stretches or compresses to match changes in tempo. Elastic Audio
also provides high-quality non-real-time clipbased pitch shifting.
Pro Tools Elastic Audio uses exceptionally highquality transient detection algorithms, beat and
tempo analysis, and real-time or rendered TCE
processing algorithms. Elastic Audio lets you
quickly and easily tempo conform and beat match
audio to the sessions Tempo ruler. It also provides
an unprecedented degree of control over transient
detection and TCE processing on an event-byevent basis.
With Elastic Audio, Pro Tools analyzes entire audio files for transient events. For example, an
event can be a drum hit, a sung note, or chord
played by a guitar. These detected events can then
serve as control points for warping the audio.
Pro Tools can warp (TCE) audio events automatically, such as when automatically conforming audio to the session tempo or quantizing audio
events, or you can warp audio manually using the
standard editing tools with the audio track set to
Warp view.
Elastic Audio is useful in several common workflows: working with loops, correcting performances, remixing, beat and pitch matching, and
sound design and special effects.

System Resources
Track count, plug-in processing, signal path and
routing options, and voice availability are ultimately limited by the combined resources available from the host computer and from your
Pro Tools hardware.

Active and Inactive Items

Pro Tools lets you make certain items (such as
tracks and inserts) inactive, in order to free up DSP
resources and mixer connections.
Items in Pro Tools that can be made inactive
include the following:

Pro Tools provides several ways to manage and

conserve resources to maximize the performance
of your system. As you begin working with
Pro Tools sessions and tracks, you can take advantage of the following features to extend the effectiveness of your available DSP and other resources:

Audio, Auxiliary Input, Master Fader,

VCA Master, and Instrument tracks

Pro Tools lets you adjust the performance of

your system by changing system settings that affect its capacity for processing, playback, and recording. See Configuring Pro Tools | Software
System Settings on page 48.

Hardware inserts

In order to free up needed DSP resources,

Pro Tools allows for certain items (such as tracks
and inserts) to be manually made inactive. Inactive
elements are viewable, editable, and retained
within the session. See Active and Inactive
Items on page 15.

Track Inputs and Outputs

Sends
Side-chain inputs
Plug-Ins
Paths (session-wide)
MIDI tracks cannot be made inactive.
Side-chain inputs support direct active and
inactive switching, but do not follow switching all or all selected side-chain inputs.

All Pro Tools systems provide flexible voice

options for audio tracks, to help maximize use of
available voices in your system. For more information on voice management and options, see Track
Priority and Voice Assignment on page 227.

Chapter 2: Pro Tools Concepts

15

In addition to manually setting Active and

Inactive modes, Pro Tools automatically makes
items inactive if there are insufficient or
unavailable resources.
When active, items are fully engaged and operational.
When inactive, items are silent and off, although
most associated controls can still be adjusted. Different inactive items affect available system resources in specific ways, as follows:

Display of Inactive Items

When items are inactive, their names appear in

italics, and their background becomes dark gray.
When a track is inactive, the entire channel strip is
grayed out.
Active plug-in

Inactive plug-in

Plug-Ins When a plug-in is inactive on a track, its

DSP is made available for other plug-ins and processing. Plug-In assignments can be made inactive
manually or automatically.
Paths and Path Assignments When a path or path

assignment is inactive, its mixer resources are

made available for other signal routing purposes in
the session. Paths and assignments can be made inactive manually or automatically.

Inactive
track

Tracks When a track is made inactive, its voices

become available for another track. Inactive mono
tracks free up one voice; inactive stereo and multichannel tracks free up one voice per channel. Additionally, when an audio, Auxiliary Input, Instrument, or Master Fader track is made inactive, its
plug-ins, inserts, sends, and I/O assignments become inactive, and the associated DSP used is
freed up for use elsewhere in the session.

Active and inactive plug-ins, sends, and tracks

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Pro Tools Reference Guide

Workspace Browsers

AAF, MXF, and OMF

The Workspace is a database management tool for

Pro Tools. Workspace browsers expand upon basic Pro Tools search and import capabilities by
providing powerful tools to manage your data both
inside and outside of your sessions, on any hard
drive connected to the system.

Pro Tools lets you exchange audio, video, and sequences with other AAF-, MXF-, and OMF-compatible applications (such as Avid editors).

A database is a way of organizing data such that it

can easily be searched, sorted, managed, and utilized. Your checkbook is an example of a database
file. For every check you write, you enter a new record. That record contains information about the
check, such as when you wrote it, to whom you
wrote it, and for what amount. This information is
written in specific columns, or fields. Everything
you need to know (the checks metadata) is there,
even though the check itself is not.
Workspace browsers let you search, sort, and
mange these databases by volume or catalog. You
can use Workspace browsers not only to organize
your Pro Tools sessions and media files (audio,
MIDI, and video), but also to audition and import
by drag and drop.

Media Data (Media Files)

Media data represents raw audio or video material
and is stored in individual media files. Every time
you record a piece of video or audio material into
an application, you are creating a media file. Audio
media files hold samples (such as 44,100 or 48,000
samples per second of recording) while video media files use frames (24, 25, or 30 frames per second of recording).
The size of each media file depends on how much
audio or video material it contains. For example, a
file containing ten minutes of high resolution video
might be approximately 2 GB in size, whereas a
ten-minute audio recording at the might result in a
100 MB file. Media files tend to be large, since
high quality audio and video signals are data intensive. Video data generally requires considerably
more storage than audio data.

For more information, see Chapter 16,

Workspace Browsers.

Chapter 2: Pro Tools Concepts

17

Metadata
Metadata is used to describe the following:
Information embedded in a media file. This may
include scene, take, sample rate, bit depth, external clip names, the name of the videotape from
which the media file was captured, and even
timecode values.
Information embedded in Pro Tools sessions or
other sequences, including what files are used,
where they appear in a timeline, and automation.
For AAF or OMF sequences, metadata also includes information embedded in unrendered AudioSuite effects (such as real-time EQ) on
Avid workstations. Pro Tools skips unrendered
effects on import. Rendered effects are media
files that can be imported into Pro Tools.
For AAF or OMF sequences, information about
automation (clip-based gain or keyframe gain).

AAF, OMF, and MXF Basics

AAF and OMF files are mechanisms for storing
and retrieving media files and metadata so that
projects can be freely exchanged between different
applications and platforms. MXF is a media file
format that can be used with AAF (but not OMF)
files.
Media data and metadata enable an application that
receives AAF and OMF sequence files (such as
Pro Tools) to automatically and quickly reassemble the composition. A simple metaphor for this
approach is that media data files are the pieces of a
puzzle and metadata is the set of instructions for
assembling the puzzle.
In the simplest case, only an AAF or OMF sequence is exchanged. If this sequence points to existing media files, the size of the sequence file is
relatively small and the export/import process is
relatively fast.

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Pro Tools Reference Guide

AAF and OMF sequences can also have media

data embedded in them. This creates a single,
larger file that is slower to export and import, but
which may be easier to manage than thousands of
files stored on different volumes.
AAF

AAF is a sequence file format. AAF sequences are

the best way to exchange projects and maintain
valuable metadata. An AAF sequence can refer to
OMF or MXF media files, or have OMF and MXF
media files embedded within them. There is no
such thing as an AAF audio or video media file.
Pro Tools will import, play back, and export an
AAF sequence that either links to media files or
has audio embedded within it.
When you import an AAF sequence with embedded audio into Pro Tools, the audio will be
extracted into mono tracks using the current sessions audio file format.
MXF

MXF is a media file format. There are MXF video

files and MXF audio files, but there are no MXF
sequences. An AAF sequence may refer to or
include MXF media files, but OMF sequences cannot refer to or include MXF files.

MXF file icon

Pro Tools can import and play back MXF audio

and video files created in Media Composer or
other Avid applications.

OMF

OMF is both a media file and sequence format.

OMF media files can be audio or video, and
Pro Tools can import and play back OMF audio,
but not OMF video. Pro Tools can also export
OMF audio, but not OMF video.
Pro Tools can import and play back OMF audio
files created in Media Composer or other applications.
An OMF sequence cannot reference or have MXF
media embedded within it.
Pro Tools can import an OMF sequence with embedded audio, but not embedded video.

Pro Tools and

Media Composer
Terminology
Pro Tools and Avid Media Composer use different terms to describe the same items. For example,
a Pro Tools session is equivalent to an Avid sequence. The following table lists common
Pro Tools elements and their Avid equivalents.
Pro Tools

Avid (AAF or OMF)

session

sequence

whole file clip

master clip

clip

subclip

plug-ins

real-time audio effects

volume automation gain

Avid keyframe volume

Whole audio files in the Clip List normally

appear in bold type. However, master clip audio files imported from AAF or OMF into
Pro Tools will not appear in bold type (indicating clips) in the Pro Tools Clip List even
though they are audio files.

Chapter 2: Pro Tools Concepts

19

Embedded Media and Linked Media

There are two types of AAF and OMF files: ones with embedded media, and ones with linked media.

Embedded Media
Exporting to AAF or OMF with embedded media results in one large AAF or OMF file containing both the
metadata and all associated media files.
Original Source Media Files
Avid Workstation Edited Sequence

Refers to:

Export AAF/OMF with Embedded Media

creates...
Embedded AAF/OMF File (metadata and media)
Sequence (metadata)

Consolidated Media Files

(with Handle)

AAF/OMF Interchange Workflow with Embedded Media

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Pro Tools Reference Guide

Linked Media
Exporting AAF or OMF with linked media results in a single metadata file (.AAF or .OMF) and all
associated media stored as separate files.
The main benefit to this approach is that fewer copies of media files may need to be made, so the
export and import process can be much faster. Using this approach, it is less likely that you will
encounter any file size limitations since the data is broken up into many smaller files.
The main disadvantage to this approach is that there are potentially many files (for example, one AAF or
OMF file and hundreds of media files) that must be transported between systems.
Avid Workstation Edited Sequence

e
nk
Li
d

Original Source Media Files

:
to

Avid Workstation exports

sequence edits and
file information as AAF
or OMF sequence
AAF/OMF File (metadata only)
Linked to:

Li
n

Translated Pro Tools Session File

ke
d

to
:

Pro Tools Imports

Session File

AAF and OMF Interchange Workflow with Linked Media

Chapter 2: Pro Tools Concepts

21

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Pro Tools Reference Guide

Chapter 3: Keyboard and Mouse Shortcuts

For increased operational speed and ease of use,
there are many Pro Tools keyboard and
Right-click shortcuts.
A full list of Pro Tools shortcuts is available in
online Help and in a PDF guide.
To access the full list of Pro Tools shortcuts in
online Help:
1

Choose Help > Pro Tools Help.

Click Pro Tools Shortcuts on the Contents page

(in the left pane of Help).

To access the full list of Pro Tools shortcuts in the

Pro Tools Shortcuts Guide:

Choose Help > Shortcuts.

Global Key Commands

Some keyboard shortcuts apply to many
functions in Pro Tools.
For a complete list of keyboard shortcuts, see
the Shortcuts Guide.
Track Functions

Pro Tools provides keyboard shortcuts for the following track functions:
Changing Automation mode
Enabling playlists
Adding plug-ins
Record enabling, soloing, and muting tracks
Record safing and solo safing tracks

Mouse Shortcuts
Right-Click Shortcuts

Pro Tools provides Right-Click shortcuts for

choosing various Pro Tools commands and menus
with any Right-Click capable mouse.
For a complete list of Right-Click shortcuts,
see the Shortcuts Guide.

Assigning inputs, outputs, and sends

Toggling volume/peak/delay display
Clearing meters
Changing track heights
Command

Windows

Mac

Apply action to all

channel strips/tracks

Alt+
action

Option+
action

Apply action to
selected channel
strips/tracks

Alt+
Shift+
action

Option+
Shift+
action

Scroll-wheel Functions

Pro Tools lets you increment or decrement

values in numerical fields by selecting the value
and moving the mouse scroll wheel up or down.

Chapter 3: Keyboard and Mouse Shortcuts

23

List and Parameter Selection

There are three types of Keyboard Focus:

Pro Tools provides keyboard shortcuts for the following items:

Commands Keyboard Focus When selected in

the Tracks pane in the Edit window or in the Notes
pane of any MIDI Editor window, this provides a
wide range of single key shortcuts from the computer keyboard for editing and playing. The frontmost Edit or MIDI Editor window always receives
Commands Keyboard Focus when it is enabled.

Selection of tracks in Track List

Enabling of groups in Group List
Automation Enable window parameters
Setting Memory Location parameters
Command

Windows

Mac

Toggle item and set

all others to same
new state

Alt-click item

Option-click
item

Toggle item and set

all others to opposite
state

Control-click
item

Commandclick item

Controls and Editing Tools

Pro Tools provides keyboard shortcuts for

moving plug-in controls, faders and sliders, the
Scrubber, and automation data.
Command

Windows

Mac

Fine adjustment
of sliders,
knobs, and
breakpoints

Hold Control
while clicking
the item

Hold Command
while clicking
the item

With Commands Keyboard Focus disabled, you

can still access any of its key shortcuts by pressing
the Start key (Windows) or Control (Mac) along
with the key. See the Shortcuts Guide for a complete list of Commands Keyboard Focus shortcuts.
Clip List Keyboard Focus When selected, audio
clips, MIDI clips, and clip groups can be located
and selected in the Clip List by typing the first few
letters of the clips name.
Group List Keyboard Focus When selected, Mix

and Edit Groups can be enabled or disabled by typing the Group ID letter (in either the Mix or Edit
window).
Commands Keyboard Focus
(Edit window)

Clip List
Keyboard Focus

Keyboard Focus
The Keyboard Focus in Pro Tools determines how
the alpha keys function. Depending on which Keyboard Focus is enabled, you can use the keys on
your computer (alpha) keyboard to select clips in
the Clip List, enable or disable groups, or perform
an edit or play command.
You can only enable one of the three Keyboard Focus modes at a time. Enabling a Keyboard Focus
will disable the one previously enabled.

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Pro Tools Reference Guide

Group List
Keyboard Focus

Keyboard Focus buttons

To set the Keyboard Focus, do one of the

following:

Click the az button for the focus you want to

enable.
While pressing Command+Option (Mac) or
Control+Alt (Windows), press one of the following keys: 1 (Commands), 2 (Clip List), or 3
(Group List).
Although multiple plug-in windows can have a
keyboard focus enabled, only the front-most
window receives any keyboard input.

Toolbar Focus
In the Edit window, the MIDI Editor pane can be
displayed in addition to the Tracks pane (View >
Other Displays > MIDI Editor). When the MIDI Editor pane is displayed, there are two separate Toolbars and Timelines in the Edit window: one for the
Tracks pane and one for the MIDI Editor pane.
Only one Toolbar and Timeline can be focused for
Menu and Toolbar commands (including the corresponding keyboard shortcuts) at a time. The focused Toolbar displays a yellow outline.
If Keyboard Focus for the Edit window is enabled,
it follows the selected Toolbar focus.
To enable Toolbar focus for the Tracks pane, do
one of the following:

To enable Toolbar focus for the MIDI Editor pane,

do one of the following:

Click the Toolbar right above the MIDI Editor

pane.
Press Command+Option+5 (Mac) or
Control+Alt+5 (Windows).

Numeric Keypad Modes

The Operation preference for Numeric Keypad
mode determines how the numeric keypad functions for Transport.
There are two Shuttle Lock modes (Classic and
Transport), and one Shuttle mode.
No matter which Numeric Keypad mode is selected, you can always use the numeric keypad to
select and enter values in the Event Edit Area, Edit
Selection indicators, Main and Sub Counters, and
Transport fields.
To set the Numeric Keypad Mode:
1

Choose Setup > Preferences and click the

Operation tab.

In the Transport section, select a Numeric Keypad mode (Classic, Transport, or Shuttle).

Click OK.

Click the Toolbar at the top of the Edit

window.
Press Command+Option+4 (Mac) or
Control+Alt+4 (Windows).

Chapter 3: Keyboard and Mouse Shortcuts

25

Shuttle Lock Modes

Transport Mode

There are two Shuttle Lock modes (Classic and

Transport). Both modes let you use the numeric
keypad to shuttle forward or backwards at specific
speeds.

This mode lets you set a number of record and play

functions, and also operate the Transport from the
numeric keypad.

5 is normal speed.

Function

Key

69 provide increasingly greater fastforward speeds.

Click on/off

Countoff on/off

MIDI Merge/Replace mode

Loop Playback mode on/off

Loop Record mode on/off

QuickPunch mode on/off

Rewind

Fast Forward

Record enable

Play/Stop

14 provide progressively greater rewind speeds

(4 is the slowest, 1 is the fastest).
Press 0 to stop Shuttle Lock, then press the number to resume Shuttle Lock speed.
Press Escape or Spacebar to exit Shuttle Lock
mode.
Custom Shuttle Lock Speed
(Pro Tools HD Only)

The highest fast-forward Shuttle Lock speed

(key 9) can be customized.
For more information, see Custom Shuttle
Lock Speed on page 529.
Classic Mode

This mode emulates the way Pro Tools worked in

versions lower than 5.0. With the Numeric Keypad
mode set to Classic, you can:
Play up to two tracks of audio in Shuttle Lock
mode. Press the Control key (Mac) or the Start
key (Windows), followed by 19 for different
play speeds.
Press Plus or Minus to reverse direction.
Press 0 to stop Shuttle Lock, then press the number to resume Shuttle Lock speed.
Press Escape or Spacebar to exit Shuttle Lock
mode.
Recall Memory Locations by typing the Memory Location, followed by a Period (.).

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Pro Tools Reference Guide

With the Numeric Keypad mode set to Transport,

you can also:
Play up to two tracks of audio in Shuttle Lock
mode. Press the Control key (Mac) or the Start
key (Windows), followed by 19 for different
play speeds.
Press Plus or Minus to reverse direction.
Press 0 to stop Shuttle Lock, then press the number to resume Shuttle Lock speed.
Press Escape or Spacebar to exit Shuttle Lock
mode.
Recall Memory Locations by typing Period (.),
the Memory Location number, and
Period (.) again.

Shuttle Mode
(Pro Tools HD Only)

Pro Tools offers another form of shuttling, different from that of the two Shuttle Lock modes. With
the Numeric Keypad mode set to Shuttle, playback
of the current Edit selection is triggered by pressing and holding the keys on the numeric keypad
playback stops once the keys are released. Various
playback speeds are available in both forward and
reverse. In this mode, pre- and post-roll are ignored.
Playback Speeds

Key

1x Forward

1x Rewind

4x Forward

4x Rewind

1/4x Forward

1/4x Rewind

1/2x Forward

5+6

1/2x Rewind

5+4

2x Forward

8+9

2x Rewind

8+7

1/16x Forward

2+3

1/16x Rewind

2+1

Loop Selection (1x)

With the Numeric Keypad mode set to Shuttle, you

can also recall Memory Locations by typing Period
(.), the Memory Location number, and Period (.)
again.
Shuttle Lock modes are not available when
the Numeric Keypad mode is set to Shuttle.

Chapter 3: Keyboard and Mouse Shortcuts

27

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Pro Tools Reference Guide

Chapter 4: Using Help

The Pro Tools Help menu provides quick access to
installed PDF documentation and online Help. The
Help system is HTML-based and launches in the
Pro Tools in-application browser. It also runs on
most common web browsers.
The Pro Tools Help menu also provides direct access to the online Pro Tools Knowledge Base,
Avid Audio Forums, and the Avid Support Center
using the in-application browser (an internet connection is required).
The Pro Tools in-application Web browser
is not available outside Pro Tools. To use
Pro Tools Help while Pro Tools is not
running, use the default Web browser for
your operating system.

Accessing Guides in
Pro Tools | Software
PDF (Portable Document Format) versions of the
main Pro Tools guides are accessible from the
Pro Tools Help menu. Adobe Reader is recommended for PDF documentation.
To access guides in Pro Tools:

Choose Help, then a guide name.

Guides Accessible in Pro Tools

The following guides are available from the

Pro Tools Help menu:
Audio Plug-Ins Guide Describes the plug-ins included free with Pro Tools, as well as additional
plug-ins available for purchase separately.
Pro Tools Reference Guide Explains Pro Tools
systems and software in detail.
Pro Tools Shortcuts Lists keyboard and
Right-click shortcuts for Pro Tools, including
those shown in Pro Tools menus.

Accessing the Help System

There are several ways to access the Help system.
Open Help at its Welcome page from the Help
menu in Pro Tools
Open Help at its Welcome page from within a
Help browser in Pro Tools
Open Help at its Welcome page outside of
Pro Tools
Open a different version or language of
Pro Tools Help

Chapter 4: Using Help

29

To open Help within Pro Tools, do one of the

following:

Choose Help > Pro Tools Help.

From the Pro Tools Online browser window,
choose Help.

To open Help outside of Pro Tools (or to select a

different version or language of Help):
1

Open your favorite online browser (such as

Safari or Explorer).

Visit the Pro Tools Help launch page

(http://apps.avid.com/ProToolsHelp/).

Follow the on-screen instructions to open a

version of Help.

To close the Help system:

Click the Help viewers Close button.

Help Display
The Help system includes the following display elements:
Topics Help topics open in the right pane of the
Help viewer.

Using the Contents and Index

Tabs
The left pane of the Help browser is the display
area for most of the Help systems main navigation
tools, including the Contents and Index tabs.

Contents Tab
The Contents tab displays a complete hierarchical
list of all topics in the Help system. This lets you
quickly see the overall organization of the Help
system.
You can expand and collapse the contents to view
the logical organization of the Help system, and
you can move to any topic by clicking its entry in
the Contents.
When you move to a new topic, the contents expands to the level of that topic and highlights the
topic. This feature, like the hierarchy links at the
top of each topic, lets you see exactly where the
current topic is positioned within the logical organization of the Help system.
To display a topic from the contents:

Navigation Tools Contents, Index, and Search tabs

open in the left pane of the Help viewer.

Hierarchy Links Use these links to verify the

location of the currently displayed topic within its

chapter and to jump to relevant higher-level topics,
including the Main Topic.
Show in Contents Button Use this button to
locate the current topic in the Contents.
Previous Topic and Next Topic Buttons Use
these buttons to browse through the topics in the
order in which they appear in the Contents.
Print Click this button to print one or more
topics.
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Pro Tools Reference Guide

Click the Contents tab, and then click a topics

entry in the contents.

To expand or close a section in the contents:

Click the Contents tab, and then click a book

icon to the left of a link.

Index Tab
The Index provides an alphabetized list of entries
similar to the index of a printed book.
If Java is enabled in your browser, the Index displays as a dynamic index where the listing scrolls
as you type a word in the text box. If you do not
have Java enabled in your browser, or if your
browser does not support Java implementations, a
JavaScript version of the index displays, which lets
you scroll manually through the entries.

To perform a basic search:

1

Click the Search tab.

In the Search pop-up menu (located below the

Search text box), click whether you want to
search in All Available Books or a specific
book (such as Pro Tools Shortcuts).

In the Search text box, type the word or words

that you want to find.

Click Go.

A list of topics and ranking numbers appears.

To find topics by using the Index tab:
1

Click the Index tab.

Click the first character of the topic in the

Numerics, Letters, Symbols list.

To view the topic associated with an index entry:

Click the index entry.

Using the Search Tab

The Search tab lets you search the entire text of the
Help system for one or more words and then lists
the topics that include those words. The list of results is ranked, placing the topics that the Search
feature considers most likely to be relevant at the
top of the list.
When you search for text, the text string automatically highlights by default. You can turn these
highlights off. You can also stop displaying highlights after a search by using the Back and Forward
buttons to go to a different topic. When you come
back to your searched topic, the highlights no longer display.
For more guidelines on using the Search feature effectively, see Search Guidelines on page 32.

Additional Search Information

The Search feature provides the best combination

of usefulness and speed:
The Search feature uses a database of valid
words. This database includes all words that are
significant for identifying topics and excludes
all other words. When you type words in the
search text box, the system ignores any invalid
words that you have typed and searches for valid
words.
The Search feature cannot search for words in a
certain order. For example, if you type TIFF
graphics import as a search entry, Search displays all topics that contains these three words
regardless of their location in the topic. The results include topics where the three words appear together as a phrase, and also topics where
the three words are scattered throughout the
topic.
The Search feature cannot distinguish between
words that are similar but not identical. For example, if you type capture as a search entry,
Search displays topics that include that word,
but it does not find topics that include related
words such as captures or capturing. If a
search for a word fails to produce useful results,
you might be more successful if you search
again using one of the related words.

Chapter 4: Using Help

31

Search Guidelines

Printing Help Topics

Use the following rules for formulating search

queries:

You can print Help topics if you need to refer to

them during a complicated procedure or to use for
reference later.

Searches are not case-sensitive, so you can type

your search in uppercase or lowercase characters.
You can search for any combination of letters
(a-z) and numbers (0-9).
Punctuation marks (such as the period, colon,
semicolon, comma, and hyphen) are ignored
during a search, unless they are part of the topic
(such as .WAV).
You can search for a literal phrase by using quotation marks. You cannot search for quotation
marks.

Copying from a Help Topic

You can copy information from a Help topic for
use in another document (such a text file).
To copy information from a Help topic to another
document:

32

Open or click the topic to make it active.

Select the text that you want to copy.

Choose Edit > Copy.

Place the mouse pointer in another application,

such as a word processing application.

Choose Edit > Paste to paste the copied text into

a document. (You can also paste the text into the
Search text box.)

Pro Tools Reference Guide

See your browser documentation for more

information on print options.
To print a Help topic:
1

Click the topic pane within the browser

window that you want to print.

Do one of the following:

Click the Print button in the Topic pane.

Right-click in the Topic pane and select Print.
Select File > Print.
3

Select the print options.

Click Print.
Topics that you print from Help have limited
page layout and formatting features. If you
want to print a higher quality version of Help
information, Avid recommends that you print
all or part of the PDF version of the appropriate guide.

Part II: System Configuration

Chapter 5: Pro Tools Systems

There are three types of Pro Tools systems:

Pro Tools | Software

Pro Tools Software with Avid or

Third-Party Hardware

Pro Tools software provides the following

capabilities, depending on your hardware
configuration:

These systems include Pro Tools software with

Avid 003 family audio interfaces,
Pro Tools | Eleven Rack, Pro Tools | Mbox
(third generations), or Mbox 2 family
audio interfaces. These systems also include
Pro Tools software using third-party audio interfaces with supported Core Audio (Mac, including
the built-in audio on Mac computers) or ASIO
(Windows) drivers.
Pro Tools HD Software with HDX or
HD Native Hardware

Hardware accelerated Pro Tools HD systems include Pro Tools HD software with HDX or
HD Native (PCIe or Thunderbolt) hardware. Hardware accelerated systems provide expanded I/O
capabilities and low latency monitoring. HDX systems also provide dedicated DSP for plug-in processing and for large mixer configurations.
Pro Tools HD Software with Avid or
Third-Party Hardware

These systems include Pro Tools HD software

with any compatible non-HDX or non-HD Native
Avid audio interfaces (such as Mbox Pro), or Core
Audio (Mac) or ASIO (Windows) hardware.
For a list of qualified audio interfaces and
computers for all Pro Tools systems, visit
www.avid.com/compatibility.

Up to 32 channels of I/O depending on your system and audio hardware

Up to a total of 96 voiced mono or stereo audio
tracks (up to 128 voiceable audio tracks) per session:
Playback of up to 96 tracks, or a combination
of playing back and recording up to 96 tracks,
mono or stereo, at 44.1 kHz and 48 kHz
Playback of up to 48 tracks, or a combination
of playing back and recording up to 48 tracks,
mono tracks or stereo, at 88.2 kHz and
96 kHz
Playback of up to 24 tracks, or a combination
of playing back and recording up to 24 tracks,
mono or stereo, at 176.4 kHz and 192 kHz
Up to 128 Auxiliary Input tracks
Up to 64 Master Fader tracks
Up to 512 MIDI tracks
Up to 128 Instrument tracks
A single QuickTime video track
16-bit, 24-bit, or 32-bit floating point audio
resolution, at sample rates up to 192 kHz
Automatic Delay Compensation (up to 16,383
samples at 48 kHz)
Non-destructive, random-access editing and mix
automation
Chapter 5: Pro Tools Systems

35

 Audio processing with up to 10 real-time

plug-ins per track, depending on your
computers capabilities
Up to 10 hardware inserts per track
Up to 10 sends per track
Up to 256 internal mix busses for routing and
mixing
For more information about the I/O
capabilities of your audio interface with
Pro Tools, see the documentation that came
with your audio interface.

Supported Hardware
Configurations with Pro Tools
Software
Pro Tools software supports the following hardware configurations:
003 Family

Pro Tools software with 003 family hardware provides up to 18 channels of audio input and output at
sample rates up to 48 kHz, and up to 10 channels of
audio input and output at sample rates up to
96 kHz. A 003 system includes:
Pro Tools software
One of the following:
003 audio and MIDI interface (with
control surface)
003 Rack+ audio and MIDI interface
003 Rack audio and MIDI interface

Eleven Rack

Pro Tools software with Eleven Rack hardware

provides up to 8 channels of audio input and up to
6 channels of audio output at sample rates up to
88.2 or 96 kHz. An Eleven Rack system includes:
Pro Tools software
Eleven Rack audio and MIDI interface, and guitar effects processor
Mbox Family

An Mbox system includes:

Pro Tools software
One of the following:
Mbox Pro (3rd generation): up to 8 channels
of audio input and output at sample rates of
44.1 or 48 kHz; and up to 6 channels of audio
input and output at sample rates up to 176.4
or 192 kHz
Mbox (3rd generation): up to 4 channels of
audio input and output at sample rates of 44.1
or 48 kHz; and up to 2 channels of audio input and output at sample rates of 88.2 or
96 kHz
Mbox Mini (3rd generation) or Mbox 2 Mini:
up to 2 channels of audio input and output at
sample rates of 44.1 or 48 kHz
Mbox 2 Pro: up to 6 channels of audio input
and up to 8 channels of audio output at sample rates of 44.1 or 48 kHz; and up to 4 channels of audio input and up to 6 channels of
audio output at sample rates of 88.2 or
96 kHz
Mbox 2: up to 2 channels of audio input and
output at sample rates of 44.1 or 48 kHz
Mbox 2 Micro: stereo output only at sample
rates of 44.1 or 48 kHz

36

Pro Tools Reference Guide

Core Audio

Pro Tools software with Core Audio-compatible

hardware provides up to 32 channels of audio input
and output at sample rates up to 192 kHz depending on your audio interface. A Pro Tools Core Audio system includes:
Pro Tools software
A third-party audio interface with supported
Core Audio drivers (including Built-in Mac audio hardware)
ASIO

Pro Tools software with ASIO-compatible hardware provides up to 32 channels of audio input and
output at sample rates up to 192 kHz depending on
your audio interface. A Pro Tools ASIO system includes:
Pro Tools software
A third-party audio interface with supported
ASIO drivers
Processing Capacity

The total processing capacity of a Pro Tools system depends on the processing power of your computer. Contact your dealer or visit www.avid.com
for the latest system requirements and compatibility information.
Pro Tools Capabilities with Different
Hardware Configurations

Pro Tools supports up to 32 channels of audio input and output, but the available input and output
capabilities with Pro Tools varies depending on
your audio interface. For information about the input and output capabilities of your audio interface,
refer to the documentation that came with your
hardware.

If you open a Pro Tools session created on a

Pro Tools HD system that contains more than the
number of tracks supported on your Pro Tools system, audio tracks beyond the systems voiceable
track limit will be automatically set to inactive.
For details on transferring session material
between Pro Tools HD and Pro Tools systems, see Sharing Sessions Created on
Different Pro Tools Systems on page 372.

Pro Tools | HD Software with

Pro Tools | HDX Hardware
Each system requires at least one Avid HD audio
interface (sold separately). HDX systems can be
expanded by adding HDX cards to increase track
count and the amount of plug-in and mixer
processing, and by adding additional audio
interfaces.

Pro Tools HD Software

Capabilities with HDX Hardware
Pro Tools HD software with HDX hardware
provides the following capabilities:
Up to 256 channels of I/O depending on your
system
Up to a total of 768 voiced audio tracks
Up to 512 Auxiliary Input tracks
Up to 64 Master Fader tracks
Up to 128 VCA Master tracks
Up to 512 MIDI tracks
Up to 256 Instrument tracks
Up to 64 video tracks per session
16-bit, 24-bit, or 32-bit floating point audio
resolution, at sample rates up to 192 kHz
Up to 7.1 surround mixing capability
Automatic Delay Compensation (up to 16,348
samples at 48 kHz)
Chapter 5: Pro Tools Systems

37

 Fixed RAM Disk Cache allocation options

No-latency monitoring
Non-destructive, random-access editing and mix
automation
Audio processing with up to 10 inserts per track
(any combination of real-time plug-in and hardware inserts), depending on your computers capabilities
Up to 10 sends per track
Up to 512 internal mix busses for routing and
mixing
Audio Recording and Playback Capabilities

Each system requires at least one Pro Tools HD

audio interface (sold separately). HD Native systems can be expanded by adding additional HD audio interfaces.
Pro Tools HD systems with HD Native hardware
consist of the following:
One of the following:
HD Native PCIe card
HD Native Thunderbolt interface

The number of simultaneous tracks of audio

recording or playback depends on your system
configuration. A Pro Tools HD system with a single HDX card provides recording and playback of
24-bit or 16-bit audio files with the following
voiced track counts:

Pro Tools HD

Up to 256 tracks at 44.1 kHz or 48 kHz

DigiLink Mini cable for connecting HD Native

hardware to an audio interface

Up to 128 tracks at 88.2 kHz or 96 kHz

Up to 64 tracks at 176.4 kHz or 192 kHz
Each additional HDX card increases the possible
track count by the same amount. For example, at
44.1 kHz, two HDX cards provide up to 512 audio
tracks, and three HDX cards provide up to 768
audio tracks.

38

Pro Tools | HD Software with

Pro Tools | HD Native
Hardware

Pro Tools Reference Guide

An authorized iLok for running Pro Tools HD

software
One or more Avid HD audio interfaces (sold
separately)

A MIDI interface (optional)

For detailed information about installing
HD Native PCIe hardware, see the HD Native
Installation Guide.
For information about installing HD Native
Thunderbolt hardware, see the HD Native
Thunderbolt Guide.

Pro Tools HD Software

Capabilities with HD Native
Hardware

Supported Pro Tools HD

Audio Interfaces

Pro Tools HD software with HD Native hardware

provides the following capabilities:

The following Pro Tools HD audio interfaces are

compatible with HDX and HD Native hardware:

Up to 64 channels of I/O depending on your system, and the number and type of installed audio
interfaces

Pro Tools | HD I/O

Up to a total of 256 voiced audio tracks (up to

768 voiceable audio tracks):
Up to 256 voices at 44.1 kHz or 48 kHz
Up to 128 voices at 88.2 kHz or 96 kHz
Up to 64 voices at 176.4 kHz or 192 kHz
Up to 512 Auxiliary Input tracks
Up to 64 Master Fader tracks
Up to 128 VCA Master tracks
Up to 512 MIDI tracks
Up to 256 Instrument tracks
Up to 64 video tracks per session
16-bit, 24-bit, or 32-bit floating point audio resolution, at sample rates up to 192 kHz
Non-destructive, random-access editing and mix
automation
Up to 7.1 surround mixing capability
Automatic Delay Compensation (up to 16,348
samples at 48 kHz)
Fixed RAM Disk Cache allocation options
FPGA-based low latency monitoring (LLM)
Audio processing with up to 10 inserts per track
(in any combination of real-time, host-based
plug-in and hardware inserts), depending on
your computers capabilities, and the number
and type of installed audio interfaces
Up to 10 sends per track
Up to 256 internal mix busses for routing and
mixing

Pro Tools | HD OMNI

Pro Tools | HD MADI
HDX and HD Native systems require at least
one HD I/O, HD OMNI, or HD MADI.

Maximum I/O Configuration with

HDX
HDX supports up to a maximum combination of
12 total of the following audio interfaces:
HD OMNI (only 1 HD OMNI interface is supported in a single system)
HD I/O (up to 12 HD I/O interfaces can be used
simultaneouslyrequires 3 HDX cards)
HD MADI (up to 3 HD MADI interfaces can be
used simultaneouslyrequires 3 HDX cards)

Maximum I/O Configuration with

HD Native
HD Native supports up to a maximum combination of up to 4 total of the following audio interfaces:
HD OMNI (only 1 HD OMNI interface is supported in a single HD Native system)
HD I/O (up to 4 HD I/O interfaces can be used
simultaneously)
HD MADI (full connectivity with 1 HD MADI
interface is possible when both DigiLink ports
of the HD MADI are connected to both DigiLink ports on the HD Native PCIe card or
Thunderbolt interface)

Chapter 5: Pro Tools Systems

39

Playback, Recording, and Voice Limits with

Pro Tools | HD Software
The table below lists the audio playback, recording, and voiceable track limits with Pro Tools HD software
with HDX, HD Native, Core Audio, and ASIO hardware. Playback and recording voices 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
one voice. Stereo and multichannel tracks take up one voice per channel.)
With HDX hardware accelerated systems, voice limits are dependent on the session sample rate and the
number of DSP chips dedicated to the systems Playback Engine. Pro Tools HD can open sessions with up
to 768 audio tracks, but any audio tracks beyond that systems voiceable track limit will be automatically
set to Voice Off.
s

Pro Tools HD audio playback, recording and voice limits by hardware configuration

Core System Type

Maximum I/O

Sample
Rate (kHz)

Playback and
Recording
Voices
(Mono Tracks of
Simultaneous
Playback and
Recording)

HDX, 1 card

64 channels

44.1/48

256

768

88.2/96

128

768

176.4/192

64

768

44.1/48

512

768

88.2/96

256

768

176.4/192

128

768

44.1/48

1024

768

88.2/96

512

768

176.4/192

128

768

44.1/48

256

768

88.2/96

128

768

176.4/192

64

768

HDX, 2 cards

HDX, 3 cards

HD Native

40

Pro Tools Reference Guide

128 channels

192 channels

64 channels

Total
Voiceable
Tracks

Pro Tools HD audio playback, recording and voice limits by hardware configuration

Core System Type

Maximum I/O

Sample
Rate (kHz)

Playback and
Recording
Voices
(Mono Tracks of
Simultaneous
Playback and
Recording)

Core Audio and ASIO

(Pro Tools HD)

32 channels

44.1/48

256

768

88.2/96

128

768

176.4/192

64

768

Total
Voiceable
Tracks

Pro Tools HD Audio Interface Features

The following table lists the input and output capabilities of the various Pro Tools HD audio interfaces for
HDX and HD Native systems. Each HDX card in your system supports a maximum of 64 channels of I/O.
HD Native hardware supports a maximum of 64 channels of I/O. To record and play audio with
Pro Tools HD with any of these hardware configurations, you must have at least one Pro Tools HD audio
interface connected to the first port of the first card (or Thunderbolt interface) in the system.
Avid HD audio interface channel capabilities
Interface Type

Number of I/O
Channels

Sample
Rates (kHz)

A/D
Conversion

D/A
Conversion

Digital I/O

HD I/O

16 in/16 out

44.1, 48,
88.2, 96,
176.4, 192

24-bit

24-bit

24-bit

HD OMNI

8 in/8 out

44.1, 48,
88.2, 96,
176.4, 192

24-bit

24-bit

24-bit

HD MADI

64 in/64 out

44.1, 48,
88.2, 96,
176.4, 192

None

None

24-bit

Chapter 5: Pro Tools Systems

41

HD OMNI Audio Interface

HD OMNI is a professional digital audio interface
designed for use with Pro Tools HD systems.
HD OMNI provides a compact preamp, monitoring, and I/O solution for music production and recording, and post production studios.
HD OMNI Features

HD OMNI provides up to 8 discrete channels of

Pro Tools input and output, with 4-segment LED
meters for input or output (selectable).
Analog I/O

24-bit analog-to-digital (A/D) and digital-to-analog (D/A) converters, with support for sample
rates up to 192 kHz
2 high-quality Mic/DI preamps (Channels 12)
2 combined XLR and 1/4-inch TRS front panel
inputs for microphone and instrument level input
2 XLR back panel microphone inputs
2 1/4-inch TRS Send and 2 1/4-inch TRS Return
back panel jacks for hardware inserts on channels 1 and 2
4 analog TRS line level back panel inputs
(Channels 14)
HD OMNI provides multiple analog input connections, but only provides up to four channels
of simultaneous analog input for Pro Tools.

Soft Clip and Curv limiting circuits to protect

against clipping on analog input
8 channels of analog back panel output using a
DB-25 breakout cable (sold separately) with
variable output gain
2 channels of analog back panel output using
TRS (Mirrors channels 12 or 78 on DB-25
connector)
Front panel stereo 1/4-inch headphone jack
42

Pro Tools Reference Guide

Digital I/O

8 channels of AES/EBU output (up to 192 kHz

Single Wire) using a DB-25 breakout cable (sold
separately)
2 channels of AES/EBU XLR input (up to
192 kHz Single Wire)
2 channels of S/PDIF RCA input and output (up
to 192 kHz)
8 channels of ADAT TOSLINK input and output
Support for ADAT S/MUX Optical for sample
rates of 88.2 kHz, 96 kHz, 176.4 kHz, and
192 kHz
Support for two channels of S/PDIF Optical
with sample rates of up to 96 kHz
Real-time sample rate conversion (SRC) on Digital Inputs 12 of either AES/EBU, S/PDIF, or
Optical (S/PDIF)
SRC is not supported with ADAT S/MUX.
Monitoring

An additional stereo CUE output path in

Pro Tools for headphone monitoring from the
front panel headphone jack
Front panel Control Room (MAIN/ALT) and
Headphone monitoring volume control
Flexible monitoring with fold-down from all stereo and surround formats (up to 7.1 surround)
Input mixer for low latency direct monitoring of
a variety of incoming signals (configured in the
Pro Tools Hardware Setup)
Synchronization

Loop Sync input and output for connecting

additional HD peripherals
External Clock input and output for synchronizing HD OMNI with external Word Clock devices
For more information, see the HD OMNI Guide.

HD I/O Audio Interface

HD I/O is a multichannel digital audio interface
designed for use with Pro Tools HD systems.
HD I/O features extremely high quality 24-bit analog-to-digital (A/D) and digital-to-analog (D/A)
converters, and supports sample rates of up to
192 kHz.
HD I/O comes in three standard configurations:
8 x 8 x 8 (8 analog in, 8 analog out, and 8 digital
in and out)
16 x 16 analog in and out
16 x 16 digital in and out
You can also add or remove HD I/O Analog Expansion cards (ADC and DAC) and HD I/O Digital Expansion cards for custom configurations.
HD I/O Features

HD I/O provides up to 16 discrete channels of

Pro Tools input and output, with 4-segment LED
meters for input and output.
Analog I/O

Up to sixteen channels of 24-bit D/A and A/D

converters for superior analog input and output
at sample rates of 44.1 kHz, 48 kHz, 88.2 kHz,
96 kHz, 176.4 kHz, and 192 kHz with Analog In
and Analog Out HD I/O cards
Soft Clip and Curv limiting circuits to protect
against clipping on analog input

Digital I/O

Up to sixteen channels of 24-bit digital I/O, using AES/EBU, TDIF DB-25, or Optical at sample rates of 44.1, 48, 88.2, 96, 176.4, and
192 kHz with a Digital HD I/O card
Real-time sample rate conversion on digital inputs with a Digital I/O card (up to sixteen channels of AES/EBU, Optical, or TDIF)
Support for S/MUX Optical for sample rates of
88.2 kHz and higher
Support for 2 channels of S/PDIF Optical
(enclosed) with sample rates of up to 96 kHz
2 channels of AES/EBU I/O (enclosed) with
support for sample rates up to 192 kHz
2 channels of 24-bit-capable S/PDIF I/O
(enclosed) with support for sample rates up to
192 kHz
Synchronization

Loop Sync input and output for connecting additional Avid HD audio interfaces and peripherals
External Clock input and output for synchronizing HD I/O with external Word Clock devices
Expandability

Optional addition of I/O cards to expand analog

or digital I/O
Simultaneous use of multiple Avid HD audio interfaces to further expand system input and output
For more information, see the HD I/O Guide.

Chapter 5: Pro Tools Systems

43

HD MADI Digital Audio Interface

HD MADI is a 64-channel, digital audio interface
designed for use with Avid HD systems.
HD MADI supports the Multichannel Audio Digital Interface (MADI) format and sample rates of up
to 192 kHz. HD MADI provides simplified connectivity between your Avid HD system and
MADI-compatible audio equipment.
HD MADI Features

2 MADI Optical and Coaxial inputs and 2

MADI Optical and Coaxial outputs for up to 64
discrete channels of digital input and output (32
channels per DigiLink Mini port)
Supports sample rates of 44.1, 48, 88.2, 96,
176.4, and 192 kHz
24- or 16-bit resolution
Sample Rate Conversion (SRC) on input or output
Front panel clock and SRC indicators
Front panel signal present LEDs for input and
output
BNC Word Clock I/O for synchronizing
HD MADI with external 1x Word Clock
BNC Loop Sync I/O for synchronizing
HD MADI with additional Avid HD audio
interfaces and peripherals (such as HD I/O,
HD OMNI, or SYNC HD)
Dedicated BNC Word Clock input and XLR
AES/EBU input (clock input only) for external
MADI synchronization (when using SRC on
output)
Clock support for the following formats: Internal, Loop Sync, Word Clock, AES/EBU, and
MADI
Varispeed modes (supports both 64- and 56channel standards)
For more information, see the HD MADI Guide.
44

Pro Tools Reference Guide

Additional Pro Tools

Hardware Options
Pro Tools software systems also supports the following Pro Tools hardware options.
Pro Tools | PRE (Eight-channel microphone
preamp)
Eleven Rack (guitar processor)
Control surfaces:
Avid Artist Series controllers
C|24
Command|8
Third-party MIDI controllers (such as
M-Audio Axiom Pro or Mackie HUI)

Additional Pro Tools HD

Hardware Options
Pro Tools HD also supports the following Avid
HD hardware options.
SYNC HD synchronization peripheral (HDX
and HD Native systems only):
PRE (Eight-channel microphone preamp)
Eleven Rack (guitar processor)
Control surfaces:
Avid Artist Series controllers
Avid Pro Series controllers
C|24
Command|8
D-Command
D-Control
Surround Panner Option
Third-party MIDI controllers (such as
M-Audio Axiom Pro or Mackie HUI)

Pro Tools | Software Options

Pro Tools HDX with HEAT

HEAT (Harmonically Enhanced Algorithm Technology) is a paid software option that adds analog
color to HDX systems. For more information, see
Chapter 42, HEAT.
HDX and HD Native Systems with
MachineControl

The MachineControl software option for

Pro Tools HD is supported with HDX and
HD Native systems. MachineControl is a paid
software option for Pro Tools HD that enables serial communication with Sony 9-pin compatible
synchronizers, and video or audio machines. For
more information, see the MachineControl Guide.
Pro Tools with VENUE Link

For Pro Tools systems that are connected to

VENUE systems using Ethernet, VENUE Link
provides Pro Tools and VENUE system integration and interoperability.

Checking for Software

Updates
Pro Tools can check for Pro Tools application and
plug-in updates, either automatically or manually.
An Internet connection is required to check for updates. Approximately every two weeks, Pro Tools
checks online for any available application and
plug-in updates.
If updates are available for Pro Tools or any plugins, Pro Tools reports what updates (if any) are
available and how important the updates are for
your system. You can visit the Avid website to locate, download, and install the appropriate updates
for your Pro Tools system.
To manually check for updates:
1

Launch Pro Tools.

Choose Help > Check For Updates.

Do one of the following:

If no updates are available, click OK.

If updates are available, do one of the
following:
Click Details to launch your web browser and
see what updates are available for download.
Click Not Now if you do not want to review or
download updates until later.
To disable automatic checking for updates:

In the Software Update dialog, select the

Do Not Check For Updates Automatically

option.
To enable automatic checking for updates:
1

Choose Help > Check For Updates.

In the Software Update dialog, deselect the

Do Not Check For Updates Automatically

option.

Chapter 5: Pro Tools Systems

45

46

Pro Tools Reference Guide

Chapter 6: System Setup

You can review and update the setup of your system to ensure it is configured for your needs.

Starting Up or Shutting Down

Your System
To ensure that the components of your Pro Tools
system communicate properly with each other, you
need to start them in a particular order.
Start up your Pro Tools system in this order:
1

Make sure all your equipment (including your

computer) is off.

Lower the volume of all output devices in your

system.

For systems with an expansion chassis, turn on

the chassis.

For HDX and HD Native systems, with the volume of all output devices lowered, turn on your
audio interfaces (such as HD OMNI). Wait at
least fifteen seconds for your system hardware
to initialize.
For Pro Tools systems that use hardware requiring external power (such as 003), with the volume of all output devices lowered, turn on the
hardware.
8

Turn on your computer.

Launch Pro Tools or any third-party audio or

MIDI applications.

Shut down your Pro Tools system in this order:

1

Turn on any external hard drives. Wait approximately ten seconds for them to spin up to speed.
Turn on any control surfaces (such as
D-Command or Avid Artist Control).
Turn on any MIDI interfaces, MIDI devices, or
synchronization peripherals.

Do one of the following, depending on your

Pro Tools system:

Quit Pro Tools and any other running applications.

To quit Pro Tools, choose File > Exit
(Windows) or Pro Tools > Quit (Mac).

Turn off or lower the volume of all output

devices in your system.

Turn off your computer.

Chapter 6: System Setup

47

Do one of the following depending on your

Pro Tools system:

For HDX and HD Native systems, turn off your

Pro Tools audio interfaces.
For Pro Tools systems that use hardware requiring external power (such as 003), turn off the
hardware.
5

For systems with an expansion chassis, turn off

the chassis.

Turn off any MIDI interfaces, MIDI devices, or

synchronization peripherals.

Turn off any worksurfaces (such as

D-Command) or control surfaces (such as
Command|8).

Turn off any external hard drives.

Configuring
Pro Tools | Software System
Settings
Pro Tools lets you adjust the performance of your
system by changing system settings that affect its
capacity for processing, playback, and recording.
These system settings are available in the Playback
Engine (Setup > Playback Engine).
In most cases, the default settings for your
system provide optimum performance, but you
may want to adjust them to accommodate large or
processing-intensive Pro Tools sessions.

Checking a Pro Tools | HDX

or Pro Tools | HD Native
System with DigiTest
Before you use Pro Tools, you may want to run the
DigiTest diagnostic application to ensure that all
HDX cards in the system are recognized, installed
in the proper order, and have valid connections.
You can also use DigiTest to validate your
HD Native PCIe card or Thunderbolt interface.
See the Avid DigiTest Guide for more information.

Playback Engine for a HDX system

Playback Engine for Pro Tools with Mbox (3rd

generation)

48

Pro Tools Reference Guide

Playback Engine
In the Playback Engine dialog, Pro Tools lets you
select the audio engine for use with your audio interfaces. The available options are determined by
which audio interfaces are connected and have
compatible drivers installed.
Changing the Playback Engine setting can be useful if you have multiple audio interfaces connected
to your computer with different routing configurations in your studio, or if you want to prepare a session for use with a specific interface on a different
system (for example, you might want to prepare a
session created on your HDX system for use with
the built-in audio on your Mac laptop).
To select which audio engine Pro Tools uses:
1

Choose Setup > Playback Engine.

From the Playback Engine selector, select your

audio interface:

On HDX systems, changing engines requires that

you quit and relaunch Pro Tools for the new setting
to take effect.
When changing engines on any Pro Tools
system, you may need to reset the default
I/O settings to match the selected audio
interface.
Pro Tools Aggregate I/O
(Mac Only)

On Mac systems using Core Audio, you can use

Pro Tools with the built-in audio inputs and outputs on your Mac by selecting any of the available
built-in inputs and outputs, or by selecting the
Pro Tools Aggregate I/O option for using a combination of built-in inputs and outputs simultaneously (for recording and monitoring).

For HDX and HD Native systems, use the default setting of HDX or HD Native.
For supported Avid audio interfaces (such as the
Mbox Pro), selecting the name of the corresponding interface uses the Avid Audio Engine
for Pro Tools.
For third-party audio interfaces with compatible
Core Audio (Mac) or ASIO (Windows), select
the name of the corresponding Core Audio
(Mac) or ASIO (Windows) compatible audio interface.
On Mac systems, if you are using built-in audio,
select any of the available built-in options for
playback or select Pro Tools Aggregate I/O for
simultaneous input and output with the built-in
I/O hardware options.
3

Click OK.

Selecting Pro Tools Aggregate I/O in the Playback

Engine (Mac only)

You can configure the Input and Output options

for Pro Tools Aggregate I/O in the Mac Audio
Setup, which can be accessed from the Pro Tools
Hardware Setup.
If you need simultaneous input (recording)
and output (playback and monitoring) with
Pro Tools using the built-in audio options on
Mac, use the Pro Tools Aggregate I/O option.
If you only need to play back audio for editing
and mixing, select the appropriate built-in
audio output option.

When changing engines with a Pro Tools session

open, Pro Tools closes and reopens the session to
initialize the new engine.
Chapter 6: System Setup

49

Hardware Buffer Size

Host Engine

The Hardware Buffer Size (H/W Buffer Size) in the

Playback Engine controls the size of the buffer
used to handle host processing tasks such as processing with host-based, or Native plug-ins.

The Host Engine settings provide options for error

suppression during playback and recording, and
the option to use dynamic plug-in processing.

Lower Hardware Buffer Size settings are useful

for improving latency issues in certain recording
situations or for improving certain system performance problems:
On all Pro Tools systems, lower settings reduce MIDI-to-audio latency (such as when
playing a virtual instrument live and monitoring the instruments output). Lower settings
can also improve screen response or the accuracy of plug-in and mute automation data.
On host-based Pro Tools systems, lower settings reduce all input-to-output monitoring
latency on any record-armed tracks or Auxiliary Input tracks with live inputs.
On HDX systems, lower settings reduce monitoring latency that occurs on tracks that have
one or more Native plug-ins. Lower settings
can also improve the accuracy of MIDI track
timing on systems without a MIDI interface
that supports time stamping. Lower settings
also improve MIDI track timing on tracks using MIDI virtual instruments that do not support time stamping.
Higher Hardware Buffer Size settings are useful
for sessions that are using more Native plug-ins
for playback. These settings allow for more audio processing. They can also be useful to reduce errors on machines that require a higher
buffer size.
To change the Hardware Buffer Size:

50

Choose Setup > Playback Engine.

From the H/W Buffer Size pop-up menu, select

the audio buffer size, in samples.

Click OK.

Pro Tools Reference Guide

Ignore Errors During

Playback/Recording

The Ignore Errors During Playback/Record option

determines how Pro Tools responds to error reporting from the Avid Audio Engine (AAE) during
playback and recording. This can be useful when
working with instrument plug-ins where you care
less about clicks and pops in the audio signal while
you work on composing and arranging. Once you
are ready to work on the final mix you should disable this option. Observe the following guidelines
as to whether or not to enable or disable error suppression:
Enable error suppression only if you are experiencing frequent errors that are interrupting your
creative workflow. When error suppression is
enabled, you can experience a degradation of audio quality. However, this may be acceptable in
order to avoid interrupting playback and recording when working with instrument plug-ins.
Disable error suppression when you need to ensure the highest possible audio quality, such as
for a final mix.
To enable error suppression:
1

Choose Setup > Playback Engine.

Select Ignore Errors During Playback/Record.

Click OK.

If the Ignore Errors During Playback/Record option

is enabled and too many CPU intensive Native
plug-ins are active in the session (such as Eleven
Free or various virtual instrument plug-ins), you
may experience badly distorted audio. If you encounter this problem, remove or make inactive any
unnecessary Native plug-ins. You can also isolate
and bus record any tracks that use virtual instruments, and then make those source tracks inactive
to free up processing resources.
Minimize Additional I/O Latency
(Host-based Pro Tools Systems Only)

When the Minimize Additional I/O Latency option is

enabled, any additional latency due to ignoring errors during playback and recording is minimized to
128 samples. Ignoring errors requires at least 128
samples of additional buffering on some systems.
If this option is disabled, the buffer is half the H/W
Buffer Size, or at least 128 samples (whichever is
greater). If you are using a slower computer, you
may want to disable this option to avoid adverse
performance.
This option is only available if the Ignore Errors
During Playback/Record option is enabled and the
Pro Tools system you are using requires additional
buffering for error suppression, as follows:
Windows:
Mbox Pro and Mbox 2 Pro
Mac:
003 family devices

Dynamic Plug-In Processing

When enabled, the Dynamic Plug-In Processing

option maximizes plug-in counts by dynamically
reallocating host-based processing resources as
needed. This means that plug-ins only use CPU
cycles when they are actually processing audio.
To enable dynamic plug-in processing:
1

Choose Setup > Playback Engine.

Select Dynamic Plug-In Processing.

Click OK.

Number of Voices
(HDX Systems Only)

On HDX systems, the Number of Voices setting in

the Playback Engine lets you control the number of
available voices.
Changing the number of voices affects the total
number of voiceable tracks.
Depending on the session sample rate and the
number of HDX cards in your system, there are
different choices for voice count. For voice limits
on different HDX systems, see Playback, Recording, and Voice Limits with
Pro Tools | HD Software on page 40.
To change the Number of Voices:
1

Choose Setup > Playback Engine.

Select a value from the Number of Voices popup menu.

Click OK.

Eleven Rack
Mbox family devices
Pro Tools Aggregate I/O

Chapter 6: System Setup

51

Sample Rate
(HDX Only)

The Sample Rate setting in the Playback Engine

shows the default sample rate used when you create a new session. If a session is open, the current
session sample rate is displayed, but cannot be
changed. If no session is open, you can set the default sample rate for new sessions.

Video Engine
Enable the Video Engine option to import, edit, and
playback a wide range of Avid HD and SD MXF
video formats on Pro Tools video tracks without
transcoding (including Avid DNxHD) as well as
QuickTime video. With the Video Engine enabled
you can simultaneously view desktop video and
video monitored using a video peripheral
(Media Composer | Nitris DX,
Media Composer | Mojo DX, and other Avid
qualified third-party video interfaces).
To enable the Avid Video Engine for Pro Tools:
1

Choose Setup > Playback Engine.

Select the Video Engine option.

Click OK.

Cache Size
(Pro Tools HD Only)

The Cache Size setting in the Playback Engine determines the amount of memory AAE allocates to
pre-buffer audio for playback and recording. In
most cases, the default setting of Normal is the optimum Cache Size for most sessions.
Pro Tools HD can also load audio files used in
Pro Tools sessions into RAM for cached playback.
Pro Tools prioritizes files closest to the current
play head location. This way, when you start play-

52

Pro Tools Reference Guide

back, those files are already cached for playback.

This is especially useful when working with shared
media storage (such as with Avid Unity ISIS
shared storage systems).
To determine the maximum amount of RAM available for the Disk Cache, Pro Tools polls the computer for the amount of RAM installed and subtracts 4 GB of RAM.
For example, if your computer has 12 GB of RAM
installed, the total amount of RAM available for
the Disk Cache will be 8 GB.
You can use the Disk Cache and Memory
meters in the System Usage window to determine whether to assign more or less RAM to
the Disk Cache for the current session. See
System Usage on page 60.
To set the amount of RAM for use by the Disk
Cache:
1

Choose Setup > Playback Engine.

From the Disk Cache selector, select the amount

of RAM you want to allocate for Disk Cache.

Click OK.

Configuring MIDI Setup

If you plan to use any external MIDI devices with
Pro Tools (such as controllers, keyboards, synthesizers, drum machines, samplers, sequencers, or
sound modules), you may want to configure your
MIDI setup using Audio MIDI Setup (Mac) or
MIDI Studio Setup (Windows).
For more information, see Chapter 10,
Configuring MIDI.

Configuring Hardware
Settings in
Pro Tools | Software
Pro Tools lets you configure the signal routing,
digital I/O format, default sample rate, clock
source, and other hardware-based settings depending on your system configuration. These system
settings are available in the Hardware Setup
(Setup > Hardware).

Selecting an Audio Interface to

Configure
The Peripherals list in the Hardware Setup lets you
select any audio interface connected to your
Pro Tools system associated with the selected Current Engine setting in the Playback Engine dialog.
To change the Playback Engine setting to use a
specific audio interface or AAE (such as HDX,
003, a third-party Core Audio or ASIO interface,
or Pro Tools Aggregate I/O), see Playback Engine on page 49).
For Avid HD audio interfaces (such as HD OMNI
or HD I/O) you can configure the signal routing,
digital I/O format, default sample rate, clock
source, and other hardware-based settings for each
HD peripheral connected to your system.

Hardware Setup for HD OMNI, Main page

For some Avid audio interfaces (such as 003), you

can configure the signal routing, digital I/O format,
default sample rate, clock source, and other hardware-based settings, depending on your system
configuration.
For third-generation Mbox family audio interfaces, and third-party Core Audio (Mac) and ASIO
(Windows) compatible audio interfaces, use the
Launch Control Panel button to launch the control
panel for configuring your specific audio interface.

Hardware Setup for Mbox (third generation)

Chapter 6: System Setup

53

Launch Control Panel or Setup

App

Configuring Pro Tools

Aggregate I/O

(Pro Tools with Mbox Family or Third-Party

Audio Interfaces Only)

(Mac Only)

Using the control panel or setup application for

your audio interface, you can change settings in the
following areas, depending on your audio interface:
Mixer Settings
Output Settings
Hardware Settings (including sample rate,
hardware buffer size, and sync source).
You can set the sample rate when creating a
new Pro Tools session by selecting a different
sample rate in the New Session dialog.

On Mac systems using Core Audio, you can select

Pro Tools Aggregate I/O as the Current Engine to
use the built-in audio inputs and outputs on your
Mac computer. You can configure the Pro Tools
Aggregate I/O setting in the Mac Audio Setup,
which can be accessed from the Pro Tools Hardware Setup.
To configure Pro Tools Aggregate I/O settings:
1

Choose Setup > Hardware.

In the Peripherals list, select Pro Tools Aggregate I/O, or whichever Built-in input or output
option is selected as the Current Engine in the
Playback Engine.

To change control panel settings:

1

In the Hardware Setup dialog, click the Launch

Control Panel button or Launch Setup App button (depending on your audio interface).

To change settings in the control panel or setup

application, see the documentation that came
with your audio interface.

When finished, close the control panel or setup

application.
Hardware Setup for Pro Tools Aggregate I/O
(Mac only)
3

Click the Launch Setup App button.

In the Audio Devices window of the Mac Audio

Setup, configure the Pro Tools Aggregate I/O
settings.
The Pro Tools Aggregate I/O device is
intended for use only with the built-in
audio on your Mac computer. For best
performance, use the default settings.

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Pro Tools Reference Guide

Configuring Default Sample Rate

Setting in Hardware Setup
The Sample Rate setting in the Hardware Setup dialog determines the default sample rate when you
create a new session. This setting is available only
when there is no session open. Otherwise, the current session sample rate is displayed, but cannot be
changed.
With HDX and HD Native hardware, you can
change the default Sample Rate in the Hardware
Setup, or in the Playback Engine.
With HDX and HD Native hardware, the
Sample Rate setting can affect the number
of available voices.

On other Pro Tools systems, you can only change

the default sample rate in the Hardware Setup or
using the control panel for third-party audio interfaces.
You can set the sample rate when creating a
new Pro Tools session by selecting a different
sample rate in the New Session dialog.
To change the default Sample Rate in the
Hardware Setup:
1

Choose Setup > Hardware Setup.

Select the sample rate from the Sample Rate

pop-up menu.

Click OK.

Configuring Clock Source

The Pro Tools Hardware Setup lets you select the
Clock Source for the system.
Changes made to Clock Source in the Session
Setup window are reflected in the Hardware
Setup window.
Internal If you are recording an analog signal

directly into Pro Tools, you will usually use the

Pro Tools Internal clock source.
External If you are transferring material into
Pro Tools from an external digital device, or if you
utilize a common house clock signal, you will synchronize Pro Tools to that digital device or common signal.

Depending on your audio interface, external

options can include AES/EBU [Encl], S/PDIF,
Optical [Encl], AES/EBU 18, TDIF, ADAT, and
Word Clock. For details, see the guide for your audio interface.
To select the Clock Source:
1

Choose Setup > Hardware.

Choose the clock source from the Clock Source

pop-up menu.

Click OK.
Your digital input device must be
connected and powered on for Pro Tools to
synchronize to it. If your input device is not
powered on, leave the Clock Source set to
Internal.

Chapter 6: System Setup

55

Configuring Digital Format and

Hardware Routing
The Hardware Setup includes additional settings
for configuring the digital format and hardware
routing for your systems audio interfaces.
For an outline of the configuration of an HDX or
HD Native system with one or more Pro Tools HD
interfaces, see Configuring Pro Tools | HDX and
Pro Tools | HD Native Hardware Settings on
page 56.
To configure specific hardware settings for
other Pro Tools or third-party audio interfaces, see the documentation that came with
your audio interface.

Selecting Footswitch Control

(003 Only)

The footswitch connector on your 003 family interface lets you use a footswitch pedal to control
either playback start/stop or recording
punch in/out. Both QuickPunch audio punch-in
and punch-out and MIDI punch-in and punch-out
recording are supported.
Record Punch In/Out Select this option to use a

footswitch connected to your 003 family interface

to punch in and punch out during recording.

Configuring Pro Tools | HDX

and Pro Tools | HD Native
Hardware Settings
On HDX and HD Native systems, you configure
Hardware settings for each audio interface connected to your system (see Chapter 5, Pro Tools
Systems.)
HDX and HD Native systems can have HD I/O,
HD OMNI, or HD MADI audio interfaces connected to HDX cards or HD Native hardware. The
HD I/O and HD OMNI can also have additional
interfaces attached using the Expansion port on
each interface.

Identifying Audio Interfaces

If you have multiple audio interfaces of the same
type connected to your system, before you make
audio connections to them, you should confirm the
identity of each interface. This ensures that you
choose the appropriate interface in the Peripherals
list when you define its inputs and outputs in the
Hardware Setup.
To identify audio interfaces in your system:
1

Choose Setup > Hardware.

From the Peripherals list, select an audio interface connected to your system.

Playback Start/Stop Select this option to use a

footswitch connected to your 003 family interface
to start and stop playback.

Use the Up and Down Arrow keys to scroll

though the Peripherals list in the Hardware
Setup.
3

56

Pro Tools Reference Guide

Make sure the Main page is shown.

Select the Identify option, located in the lower

left corner of the Hardware Setup. This illuminates all the LEDs on the front panel of the selected audio interface.

Make a note of which interface in your studio

setup corresponds to the identified interface.

Repeat the above steps for each additional audio

interface in your setup.

Configuring Avid HD Audio

Interfaces

Additional pages are available to configure other

controls for each audio interface (such as setting
operating levels).
To configure Avid HD audio interfaces:
1

Choose Setup > Hardware.

From the Peripherals list, select the audio

interface connected to the first card in your
system. This will be the interface at the top of
the list.

Click the Main tab.

HD OMNI supports up to eight channels of simultaneous I/O and multiple I/O formats (such as analog, AES/EBU, ADAT Optical, and S/PDIF).
HD I/O audio interfaces support sixteen channels
of simultaneous I/O and multiple I/O formats (such
as analog, AES/EBU, ADAT Optical, S/PDIF, and
TDIF). HD MADI supports up to 64 channels of
MADI I/O.
The Main page of the Hardware Setup is where
you define which physical inputs and outputs on
your audio interface are routed to available inputs
and outputs in Pro Tools. You can think of this
window as a patchbay that allows you to route any
of the inputs or outputs on your audio interfaces to
channel assignments in the Pro Tools mixer.

Hardware Setup for HD I/O, Main page

Press Command+Left or Right Arrow keys

(Mac) or Control+Left or Right Arrow keys
(Windows) to move though the different
pages of the Hardware Setup.
4

From the Clock Source pop-up menu, select the

appropriate clock source for the interface.

In many cases, you will use Internal. The other

choices are for resolving Pro Tools to external
clock sources. Depending on your audio interface,
Clock Source options can include: AES/EBU
[Encl], S/PDIF, Optical [Encl], AES/EBU 18, TDIF,
ADAT, and Word Clock (optional Word Clock rates

are available when operating at higher sample

rates).
5

If you want to send clock output to other devices attached to the audio interface, select the
appropriate output from the Ext. Clock Output
pop-up menu.

Select which digital I/O port on your audio interface enclosure is active by selecting the corresponding option under Digital Format.
Depending on the type of interfaces in your
system, choices include AES/EBU, S/PDIF, and
Optical (S/PDIF). Selecting Optical (S/PDIF) resets the Optical I/O port (which is, by default,
eight channels of ADAT Optical I/O) to two
channels of S/PDIF Optical I/O.

Chapter 6: System Setup

57

For S/PDIF compatibility with Tascam DA-30

DAT recorders, select the Tascam option under
S/PDIF Format.
From the Input and Output channel pop-up
menus, select the physical ports (such as Analog
12 or Optical 12), that will be routed to the
corresponding Pro Tools input and output channels (such as Ch 12, Ch 34), listed on the left
side of the Main page.

Inputs and outputs of similar format are differentiated in the input and output channel pop-up menus.
For example, the AES/EBU inputs and outputs in
the HD I/O enclosure are listed as AES/EBU [Encl],
while the AES/EBU inputs and outputs on the factory-installed Digital I/O card are listed (in pairs)
as AES/EBU 12, AES/EBU 34, AES/EBU 56,
and AES/EBU 78. For HD I/Os equipped with a
second Digital I/O Card, the additional AES/EBU
I/O ports on the optional card are listed as

Configuring HD OMNI Controls

For detailed information about configuring
HD OMNI, see the HD OMNI Guide.
To configure HD OMNI in Pro Tools:
1

Choose Setup > Hardware.

From the Peripherals list, select the HD OMNI

audio interface.

Click the Monitor tab and configure the options.

When working with HD OMNI, you should always configure the Monitor page first.

AES/EBU 910, AES/EBU 1112, AES/EBU

1314, and AES/EBU 1516.
9

Configure any specific controls for your audio

interface:

Configuring HD OMNI Controls on page 58.

HD OMNI Hardware Setup, Monitor page

4

Click the Main tab and configure the options.

Configuring HD I/O Controls on page 59.

Configuring HD MADI Controls on page 60.
10

For additional audio interfaces, select them in

the Peripherals list, and repeat the above steps.
See your audio interface guide for additional
configuration details and restrictions.
HD OMNI Hardware Setup, Main page

58

Pro Tools Reference Guide

Click the Analog In tab and configure the

options.

Configuring HD I/O Controls

For detailed information about configuring
HD I/O, see the HD I/O Guide.
To configure controls for HD I/O:
1

Choose Setup > Hardware.

From the Peripherals list, select the HD I/O

audio interface.

Click the Main tab and configure the options.

HD OMNI Hardware Setup, Analog In page

6

Click the Analog Out tab and configure the

options.

HD I/O Hardware Setup, Main page

4

HD OMNI Hardware Setup, Analog Out page

7

If you have at least one HD I/O AD card, click

the Analog In tab and configure the options. If
you have two HD I/O AD cards, this tab is labeled Analog In 18.

Click the Mixer tab and configure the options.

HD I/O Hardware Setup, Analog In page

HD OMNI Hardware Setup, Mixer page
8

If you have two HD I/O AD cards, click the

Analog In 916 tab and configure the options.

If you have at least one HD I/O Digital card,

click the Digital tab and configure the options.

When you are finished, click OK.

Chapter 6: System Setup

59

If you have two HD I/O Digital cards, click the

second Digital tab and configure the options.

System Usage

When you are finished, click OK.

Meters in the System Usage window indicate how

much of your systems processing power is being
used when processing audio, and when writing and
playing back automation.

Configuring HD MADI Controls

For detailed information about configuring
HD MADI, see the HD MADI Guide.
To configure controls for HD MADI:
1

Choose Setup > Hardware.

From the Peripherals list, select either

HD MADI Port 1 or HD MADI Port 2 and configure the options.

HD MADI Hardware Setup

The settings for HD MADI Port 1 and

HD MADI Port 2 are linked. Any changes are
global regardless of which is selected in the
Peripherals list.
3

60

When you are finished, click OK.

Pro Tools Reference Guide

As these meters approach their limits, host processing and recording or playback of automation
data can be affected. If CPU or PCI Activity are
high, a system error may occur. If Disk Activity is
high, Pro Tools may miss playback of some automation data during particularly dense periods of
activity, such as while using the Bounce to Disk
command.

System Usage window

CPU Meters
The CPU Total meter displays session performance
for Elastic Audio processing, Clip Gain processing, and Native plug-in and mixer processing.
The individual CPU meters provide a general indication of how much Pro Tools is using each of the
processors in your computer.

Activity Meters

Memory Meter

The Activity section of the System Usage window

display meters for disk usage and memory usage.

The Memory meter displays how much of the installed physical RAM in the system is being used
by Pro Tools. This includes RAM used by the audio engine, the video engine (if enabled), plug-ins,
and the disk cache. Other than Pro Tools, it does
not show any other RAM usage by the system. If
the Memory meter approached 100%, install more
physical RAM or lower the Disk Cache setting in
the Playback Engine dialog.

Disk Meter

As in previous versions of Pro Tools, the Disk meter displays the amount of hard disk processing activity.
Disk Cache Meter
(Pro Tools HD Only)

Pro Tools HD provides a meter in the System Usage window for monitoring the Disk Cache. This
meter is only present if a fixed Cache Size is selected in the Playback Engine dialog.

DSP Usage Meters

(HDX Systems Only)

HDX systems provide additional meters below the

Activity meter:
Voices

The Voices meter displays the total number of

voices that can be allocated and the number of
voices currently allocated. This includes all voices
whether they are allocated explicitly or dynamically, as well as any voices used for routing hostbased processing.
Time Slots
System Usage window showing Disk Cache meter

The Disk Cache meter indicates the amount of allocated memory being used to cache audio in the
timeline (up to the amount of RAM selected for the
Disk Cache setting in the Playback Engine). An
additional peak-meter style indicator is included to
show how much of the allocated RAM is needed
for caching the session.

The Time Slots meter displays the total number of

DSP Time Slots available and the number of DSP
Time Slots currently used.
DSP

The DSP meters display how much of each DSP

chip on each HDX card is currently being used for
mixer configurations and DSP-based plug-ins.

Chapter 6: System Setup

61

Voices
Time Slots

DSP Usage

System Usage window (HDX 2 shown)

Managing System Resources

To monitor the usage of resources during a
Pro Tools session:

Choose Window > System Usage.

To reduce processing load, do one of the

following:

62

Reduce the density of automation in places

where it shows the most activity. For details, see
Thinning Automation on page 1011.
Make unnecessary track inputs and outputs inactive. For details, see Making Track Inputs
and Outputs Inactive from the Edit or Mix Window on page 226.
Make unnecessary tracks inactive. For details,
see Making Tracks Inactive on page 235.
Make unnecessary DSP plug-ins inactive. For
details, see Making Inserts Inactive on
page 958.

Pro Tools Reference Guide

Chapter 7: I/O Setup

The I/O Setup provides tools to label, format, and assign Pro Tools input, output, insert, and bus audio signal paths both for individual sessions as well as for your specific Pro Tools system. I/O Setup also provides
controls for PRE (Mic Preamp) signal paths, and Delay Compensation settings for hardware inserts.
The I/O Setup displays a graphical representation (cross-point matrix) of the signal routing for physical input and output paths for each connected audio interface. Like a virtual patchbay, I/O Setup controls let you
route physical inputs and outputs on audio interfaces to Pro Tools input and output channels. For HDX and
HD Native systems, some of these controls mirror the routing controls found in the Hardware Setup
changes made to physical routing in one is always reflected in the other. The I/O Setup also includes controls for creating internal mix busses and for creating and mapping output busses.

Path Type tabs

Path Format selector

Interface Name label

Path Name column

Input and Output
selectors
Active/Inactive
Status
Channel Grid

Path tools

Options

Import/Export Settings

I/O Setup on an HDX system with HD OMNI and HD I/O

Chapter 7: I/O Setup

63

Opening the I/O Setup

The I/O Setup can be opened from the application
window (with a session closed), or from within a
session (when a session is open).
To open the I/O Setup:
1

Make sure your audio interfaces are enabled

and configured properly in the Hardware Setup.
See Configuring Hardware Settings in
Pro Tools | Software on page 53.
Choose Setup > I/O.

Closing the I/O Setup

To close the I/O Setup and save changes:

Click OK.

Pro Tools checks several settings for routing validity (to prevent feedback loops). If there are any
overlapping or invalid settings, you will be required to correct them (see Valid Paths and Requirements on page 89).

Pro Tools | Software Signal

Paths
A signal path is a logical grouping of multiple inputs, outputs, or busses that has a single name and
(channel) format. The I/O Setup lets you create,
define and name paths according to the configuration of your studio and the needs of each project.
Main Paths and Sub-Paths

Paths in Pro Tools tracks and I/O Setup include

main paths and sub-paths.
Main Paths Main paths are logical groupings of in-

puts, inserts, busses, or outputs. For example, a

master stereo output path will include both its left
and right channels.
Sub-Paths A sub-path represents a signal path
within a main path. For example, a default stereo
output bus path consists of two mono sub-paths,
left and right. Mono tracks and sends can be routed
to either mono sub-path of the stereo output bus
path.

To close the I/O Setup without saving changes:

Click Cancel.

Navigating in the I/O Setup

To scroll left or right in the I/O Setup:

Press Option+Page Up/Down (Mac) or

Alt+Page Up/Down (Windows).
Main and sub-paths in I/O Setup (Input page)

It is especially useful to define and name

sub-paths for complex mixing setups, such
as a 5.1 Surround mix.

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Pro Tools Reference Guide

Paths in Sessions
In sessions, signals are routed to and from tracks,
sends, and inserts using track Input, Output, Insert,
and Send selectors.
When you click a track Input, Output, Insert or
Send selector, the paths created and defined in the
IO Setup appear in the list of available paths (see
Assigning Audio Inputs and Outputs to Tracks
on page 222).

Path Configurations and

I/O Settings
Each Pro Tools system can have a different path
configuration, determined by:
On Pro Tools systems, the type of audio
interface or other physical I/O (including builtin hardware)
On HDX and HD Native systems, the number
and types of audio interfaces
Path configurations in Pro Tools are saved as
I/O settings.
I/O Settings are saved with both the session and
with the system. You can choose whether or not
the IO settings saved with the session overwrite the
IO settings saved with the system (see Sessions
Overwrite Current I/O Setup When Opened on
page 75).

When you create a new session, you can specify

which I/O Settings to use. For example, you can
use the factory installed default settings, the Last
Used setting, or one of any available custom I/O
settings files.
See Factory I/O Settings on page 93 and
I/O Settings Files on page 94 for more
information.
Default I/O Settings

Pro Tools comes with default I/O Setup settings to

get you started (see Factory I/O Settings on
page 93). You should only need to open the I/O
Setup if you want to customize I/O paths or if you
change your system hardware (for example, adding an expansion card to HD I/O, or adding or removing an audio interface).
You can always return to the default settings for an
I/O Settings page by clicking the Default button.
These paths are available in session tracks and are
reflected in the I/O Setup.
You can customize your I/O Setup configuration at
any time, according to the needs of each project
(see Customizing I/O Settings on page 76).

Unavailable items (including hardware, paths, or

required resources) remain in the session as inactive items (see Making Paths Active or Inactive
on page 87).

Chapter 7: I/O Setup

65

I/O Setup Pages

The I/O Setup provides tabs to open pages for configuring specific I/O Settings.

Opening an I/O Setup Page

To open an I/O Setup page:

Click the corresponding tab at the top of the I/O

Setup.
Hold the Command key (Mac) or the
Control key (Windows) and use the Left or
Right Arrow keys to cycle through the
different pages of the I/O Setup.

Input Page
The Input page of the I/O Setup lets you create and
assign Pro Tools Input channels to receive audio
from the physical inputs of your audio hardware.
Configure input signal path names, formats, and
source channel (analog or digital) on the Input
page. Multichannel input paths (stereo or greater)
can have any number of sub-paths. Input channels
can have overlapping input paths. Input names,
channel widths, and physical input mappings are
saved with the system and the session, and can be
recalled from either.

It is recommended that if you choose to customize your I/O Setup, configure the systemspecific options first: Input, Output, Insert,
Mic Preamps, and H/W Insert Delay. Then
configure the Bus page. Once you have configured your system, you should not need to
change it unless you add or remove hardware
(such as audio interfaces) from your system.
See Customizing I/O Settings on page 76.

I/O Setup, Input page

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Pro Tools Reference Guide

Output Page

Bus Page

The Output page of the I/O Setup lets you create

and assign Pro Tools Output channels to send audio to the physical outputs of your audio hardware.

The Bus page of the I/O Setup lets you create and
edit internal mix busses and output busses. The
Bus page also lets you map output busses to output
paths (as configured in the Output page of the I/O
Setup).

Configure output signal path names and formats on

the Output page. Output channels can have overlapping output paths. Output names, channel
widths, and physical output assignments are saved
with the system and the session, and can be recalled from either.

Configure bus path names and formats, and map

any main bus path to any available output of the
same width or greater. Multichannel bus paths
(stereo or greater) can have any number of subpaths. Output bus and internal mix bus names and
channel widths are saved with and recalled from
the session.

I/O Setup, Output page

I/O Setup, Bus page

For more information, see Configuring

Busses on page 89.

Chapter 7: I/O Setup

67

Insert Page

Mic Preamps Page

The Insert page of the I/O Setup lets you create and
edit hardware insert signal paths for the Pro Tools
mixer. Hardware inserts can route audio through
an external device connected to parallel inputs and
outputs of a Pro Tools audio interface. This lets
you process audio on a track with a hardware insert
in real time.

On the Mic Preamps page of the I/O Setup,

signal paths for one or more PRE multi-purpose
microphone preamplifiers can be mapped to
audio interfaces. For more information, see the
PRE Guide.

Insert paths require audio interface inputs and outputs, and are determined by the configuration of
the Insert page in the I/O Setup for your system.

Mic Preamps page

I/O Setup, Insert page

For more information, see Using Hardware Inserts on page 982.

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Pro Tools Reference Guide

H/W Insert Delay

(Compensation) Page
To compensate for the delay (latency) of any external hardware devices (such as an effects unit) used
in your session, you can set the amount of Hardware Insert Delay Compensation (in milliseconds)
for each external device. These times will be used
by the Delay Compensation Engine to time-align
input paths when the hardware insert is in use and
Delay Compensation is enabled.

I/O Setup Signal Path

Controls
Depending on the I/O Setup page, the I/O Setup
provides the following controls in its graphical
section for configuring signal routing paths.
Path Name
column

Expand/Collapse
triangle

Path Format selector

Input selector

Channel Grid

Active/Inactive
Status box

I/O Setup, Signal Path controls (Input page shown)

Insert offset delay field

For more information, see Setting a

Hardware Insert Delay Offset on
page 949.

Input and Output Selectors Let you select the

physical ports on your audio interface to route to
Pro Tools inputs and outputs. Ports are selectable
in channel pairs. Available ports for each displayed interface are based on Hardware Setup settings; for example, if the AES/EBU inputs and outputs of an interface are enabled in Hardware Setup,
they are available for routing in I/O Setup. The
functionality provided with the Input and Output
selector is the same as that provided on the Main
page of the Hardware Setup.
Path Name Column Shows paths that are available
for selection, including the name of each defined
path. Path names can be renamed.
Expand/Collapse Triangle Shows or hides the subpaths associated with a main path (Input and Bus
paths only).
Active/Inactive Status Box Shows and changes

the active/inactive status of each path.

Chapter 7: I/O Setup

69

Path Format Selector Shows and selects the

type/format (such as Mono, Stereo, Quad, or 5.1)
of each defined path (greater-than-stereo multichannel formats are supported with Pro Tools HD
only).

Import Settings Button Lets you import an I/O

settings file to reconfigure I/O Setup. Import Settings only imports the settings for the currently
viewed page of the I/O Setup (such as the Input
page).

Channel Grid Assigns paths to specific interfaces

Option-click (Mac) or Alt-click (Windows) the

Import Settings button to import settings to all
pages of the I/O Setup.

and channels.

I/O Setup Buttons

Depending on the I/O Setup page, the I/O Setup
can provide the following buttons for configuring
signal routing.

Export Settings Button Lets you save I/O settings

as a file that can be imported into other sessions or
used on other Pro Tools systems. Export Settings
exports the settings for all pages of the I/O Setup.
Show Last Saved Setup Appears in the I/O Setup

in certain session transfer situations. For details on

this feature, see Show Last Saved Setup and
Show Current Setup on page 97.
Cancel Button Closes the I/O Setup without

saving changes.
I/O Setup, Signal Path buttons (Input page shown)

OK Button Closes the I/O Setup and saves any

New Path Button Lets you create a new path on

changes.

signal path pages for Input, Output, Insert, Bus, or

Mic Preamp.
New Sub-Path Button Lets you create a new sub-

path on signal path pages for Input, Insert, or Bus.

Delete Path Button Lets you delete any selected

path or sub-path on signal path pages for Input,

Output, Insert, or Bus.
Default Button Resets a path type to its default

path configuration, depending on the physical

hardware I/O you are using and how your hardware is configured.
Option-click (Mac) or Alt-click (Windows)
the Default button to restore defaults to paths
in all pages of the I/O Setup.

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Pro Tools Reference Guide

I/O Setup Options

Pro Tools systems have several additional
I/O Setup options depending on which page of the
I/O Setup you are viewing. These include default
signal routing for metering and auditioning, and
default track layout for multichannel mix formats.

I/O Setup, Signal Path options (Output page shown)

Compensate for Delays After

Record Pass
(HDX and HD Native Systems Only)

Pro Tools provide two options for compensating

for input and output latency (due to any inherent
latency in the analog to digital and digital to analog
converters of the audio interface) after recording.
Compensation for Input Delays After
Record Pass

When enabled, this option provides automatic

compensation for any analog or digital input delay
with Avid HD interfaces. Enable this option for all
recording situations. When recording from a digital source, both the Compensation for Input Delays
After Record Pass and the Compensation for Output Delays After Record Pass options must be enabled.
The Compensation for Input Delays After Record
Pass option is only available in the Input page of
the I/O Setup.

Compensation for Output Delays After

Record Pass

When enabled, this option provides automatic

compensation for any analog or digital output delay with Avid HD audio interfaces. Enable this option when you are synchronized to an external
clock source. When recording from a digital
source, both the Compensation for Input Delays
After Record Pass and the Compensation for
Output Delays After Record Pass options must be
enabled.
The Compensation for Output Delays After Record
Pass option is only available in the Output page of
the I/O Setup.

Output Meter Path

The Output Meter Path selector determines the
which output or bus paths are monitored by the
Output Meters in the transport (see Output Meters on page 935).
The Output Meter Path selector is available in the
Output page of the I/O Setup.
To set the Output Meter Paths:
1

Choose Setup > I/O Setup.

Select the Output tab.

From the Output Meter Path selector, select the

desired output path for metering.

Controller Meter Path

The Controller Meter Path selector determines the
path displayed across the Output meters of D-Control or D-Command worksurfaces. For more details, see your control surface documentation.
The Controller Meter Path selector is available in
the Bus page of the I/O Setup.

Chapter 7: I/O Setup

71

Audition Paths

Default Output Bus

You can specify the output path through which

files and clips are previewed (auditioned) from the
Clip List or Workspace browsers, as well as when
previewing AudioSuite processing.

You can specify the default output bus path

assignment for new tracks, in each available
format.

The Audition Paths selector is available in the Output and Bus pages of the I/O Setup.
For information on previewing audio, see
Previewing Clips in the Clip List on
page 261 or Previewing Audio in Workspace Browsers on page 290.
Using the Default Audition Path

When you preview a file or clip in the Clip List or

in a Workspace browser, or when previewing AudioSuite processing, Pro Tools routes the audio
output through the specified Audition Path.
Pro Tools assigns a default Audition Path to the
first available main Output path of the corresponding format. You can also select a different Audition Path in the I/O Setup.
Configuring Audition Paths

You can specify the monitoring outputs for auditioning audio in the Clip List and Workspace
browsers, or for previewing AudioSuite processing, using the Audition Paths pop-up menu.
Audition Paths Main Menu The main menu consists of all path format choices available on the current system (Mono and Stereo on all systems, and
LCR and greater on Pro Tools HD only).
Audition Paths Submenus Each path format

choice has a submenu listing Output paths of that

given format. (The mono submenu lists Output
paths of any format.)
To configure an Audition Path:

72

Select a path from the Audition Paths pop-up

menu or submenus.

Pro Tools Reference Guide

The Default Output Bus selector is available in the

Output and Bus pages of the I/O Setup.
The Default Output Bus can be set for
internal mix bus paths, as well as for
output bus paths.
To specify a default output for new tracks in the
I/O Setup:

Click the Default Output Bus pop-up menu and

select a format and output bus path.

AFL/PFL Path

In the Mix or Edit window, Control-click (Windows) or Command-click (Mac) a Solo button
on any track.

Adjust the AFL/PFL Path fader.

Click on the new fader position (or press Esc) to

close the fader display.

(Pro Tools HD with HDX or HD Native Hardware

Only)

Tracks soloed in AFL (After Fader Listen) or PFL

(Pre Fader Listen) Solo mode are routed to the current AFL/PFL Path, as set with the AFL/PFL Path
selector.

To set the AFL/PFL Path level to 0 dB,

Control-Start-click (Windows) or CommandControl-click (Mac) any Solo button.

The AFL/PFL Path selector is available in the Output and Bus pages of the I/O Setup.
See Solo Modes on page 232 for more information on using AFL or PFL Solo modes.
To select the AFL/PFL Path output:

Select a path from the AFL/PFL Path pop-up

menu.
Selecting None as the AFL/PFL Path disables
AFL and PFL Solo modes. When None is
selected, AFL and PFL cannot be used.

Setting AFL or PFL Path Levels

AFL/PFL Mutes (Output Path)

(Systems without a D-Control or D-Command
Control Surface)

If you are not using a D-Control or D-Command

console, your regular Pro Tools output path can be
muted when you send a signal to the AFL/PFL
Path. The muted path is set with the AFL/PFL
Mutes (Output Path) selector.
The AFL/PFL Mutes selector is available in the
Output and Bus pages of the I/O Setup.

You can set a separate master AFL/PFL Path level

for all AFL solos and all PFL solos.
Tracks do not need to be soloed to have the
master AFL/PFL Path level adjusted.
To set the AFL/PFL Path level for AFL or PFL
solos:
1

Choose Options > Solo Mode, and select a Solo

mode:

To set the level for AFL solos, select AFL.

See Solo Modes on page 232 for more

information on selecting and using AFL or
PFL Solo modes.
To set which output path is muted when tracks are
soloed in AFL or PFL Solo mode:
1

Choose Setup > I/O.

Click the Output tab to display the Output page.

Select a path from the AFL/PFL Mutes (Output

Path) pop-up menu.

Click OK to save your changes to the I/O Setup

and close the I/O Setup.

To set the level for PFL solos, select PFL.

Chapter 7: I/O Setup

73

Low Latency Monitoring

Default Monitor Format

(HD Native Systems Only)

(Pro Tools HD Only)

With HD Native systems, the Output page of the

I/O Setup lets you enable (or disable) Low Latency
Monitoring. It also lets you specify any available
Output path for Low Latency Monitoring. The
Output path for Low Latency Monitoring can be of
any channel width (from Mono to 7.1). Low Latency Monitoring uses Outputs 12 by default.

The Default Monitor Format pop-up menu lets you

select the default monitor format (Stereo, 5.1, or
7.1) for new Output paths and for when you click
the Default button.

To configure Low Latency Monitoring in the I/O

Setup:

The Default Monitor Format selector is only available in the Output page of I/O Setup.

This setting does not affect existing path definitions or meteringit only specifies channel mapping in new 5.1-format paths.

Open the I/O Setup dialog (Setup > I/O).

Click the Output tab.

To choose a Default Monitor Format:

Enable the Low Latency Monitoring option.

From the Low Latency Monitoring pop-up menu,

select the Output path you want to use for Low
Latency Monitoring.

Click OK to save your changes and close the I/O

Setup.

Select the channel mapping from the Default

Monitor Format pop-up menu.
For more information about multichannel
mixing, see Chapter 47, Pro Tools Setup for
Surround.

5.1 Path Order

(Pro Tools HD Only)

The 5.1 Path Order pop-up menu lets you specify

the default track layout for all new 5.1 format paths
you create.
The 5.1 Path Order selector is available in the Input, Output, and Insert pages of the I/O Setup.
To choose a new default 5.1-format path order
(track layout):

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Pro Tools Reference Guide

Choose Setup > I/O.

Click the Output tab.

Use the 5.1 Default Path Order setting to select

the track layout you want (C|24/Film,
SMPTE/ITU, DTS Monitoring, or D-Command/D-Control).

Embed Eleven Settings From

(Systems with Eleven Rack Only)

With an Eleven Rack connected to your Pro Tools

system, Pro Tools lets you embed the current
Eleven Rack Rig settings into audio clips as you
record them, so that you can retrieve that same setting for further use later. This can also be helpful
when collaborating or bringing sessions or clips to
a different system using Eleven Rack, because
your settings travel with the files.
The Embed Eleven Setting From selector determines the audio input used for routing audio from
an Eleven Rack into a separate audio interface.
The Embed Eleven Setting From selector is available in the Input page of the I/O Setup.
To embed Rig setting in recorded audio:
1

Choose Setup > I/O Setup.

Select the Input tab.

Set the Embed Setting From menu to the input

you plan to record through, such as Eleven Rig
L/R.
This same method applies when using Eleven
Rack as an insert with any Pro Tools system

Create an audio track, and set its input to the

corresponding input on your audio interface.

Record enable the track.

Record your part.

The settings of the currently loaded Rig will be

embedded in each audio clip that is recorded
from the input you select in the Embed Setting
From menu.

Sessions Overwrite Current

I/O Setup When Opened
This option determines whether or not, when opening a session, Input, Output, and Insert I/O settings
as currently configured on your system will be
overwritten by any of these I/O Settings stored
with a session.
Enable the Sessions Overwrite Current I/O
Setup When Opened option for legacy
Pro Tools behavior (versions lower than 8.1).
This option is enabled by default.
When the Sessions Overwrite Current I/O Setup
When Opened option is disabled, Pro Tools recalls

these settings from the system. Choose this option

when exchanging sessions among different systems running Pro Tools 8.1 or higher (see Session
Interchange on page 95).
When the Sessions Overwrite Current I/O Setup
When Opened option is enabled (default),

Pro Tools recalls these settings from the session

rather than the system. Choose this option when
exchanging sessions with systems running
Pro Tools 8.0.x and lower (see Session Interchange on page 95).
Enabling or disabling this option in any page
of the I/O Setups affects all of the other pages
as well.

Audio clips with embedded Rig data are marked

with a small Eleven Rack logo icon in both the Edit
Window and the Clip list in Pro Tools.

Chapter 7: I/O Setup

75

Customizing I/O Settings

The following shows how to customize your I/O
settings for your particular studio setup. Making
sure that Sessions Overwrite Current I/O Setup
When Opened option is not enabled ensures that
your custom settings remain intact when opening
sessions.

Create input paths and sub-paths with appropriate widths and physical input assignments that
match your studio configuration (see Signal
Path Routing for Audio Output on page 80).
Rename input paths and sub-paths to match your
studio configuration.
5

If you are using an HD OMNI, be sure to configure the Monitor page of the Hardware
Setup for HD OMNI before configuring the
I/O Setup. For more information, see the
HD OMNI Guide.

Click the Output tab and do the following:

Create output paths with appropriate widths and

physical output assignments that match your studio configuration.
Rename output paths to match your studio configuration.

To customize I/O Settings:

6

If you plan on using hardware inserts, click the

Insert tab and do the following:

Open the I/O Setup (Setup > I/O).

Import I/O settings from an existing I/O settings

.pio file (see Importing I/O Settings on
page 94).

Create insert paths with appropriate widths and

physical input and output assignments that
match your studio configuration.

You can prepare a session for use on a different system this way. Any paths for hardware
that is not present on the current system will
appear as inactive.

Name insert paths to match your studio configuration. Name insert paths using standard industry terminology if possible, such as
Compressor, Reverb, EQ, and so on.

For HDX and HD Native systems, double-click

the label above an interface and enter a name.
With systems using HDX or HD Native hardware, the I/O Setup bases default Input and
Output path names on the custom name given
to the interface.

76

Click the Input tab and do the following:

Pro Tools Reference Guide

Click the H/W Insert Delay tab and enter the correct insert delay in milliseconds for each input/output pair that you are using for hardware
inserts. (See H/W Insert Delay (Compensation)
Page on page 69.)

If you are using one or more PRE peripherals,

click the Mic Preamps tab and configure it accordingly (see the PRE Guide).

Click the Bus tab.

Create internal mix bus paths and sub-paths.

Ensure that output busses are mapped to the correct output paths (see Output Busses on
page 90).
Output busses are automatically created and
mapped to outputs when new output paths are
created.

10

In any of the I/O Setup pages, make sure that the

HD MADI and Pro Tools systems such as

Mbox Pro and 003 are hard-wired and
cannot be changed. For third-party and builtin hardware, in the Hardware Setup click the
Launch Setup App button to for available
configuration options.
To configure I/O routing in I/O Setup:
1

Choose Setup > I/O.

Click the Input or Output tab to display the

corresponding path type.

Click the Input or Output selector for the first

interface channel pair, located below the first
audio interface icon.

From the pop-up menu, select a physical port

pair (such as Analog 12), to route to a
Pro Tools channel pair (such as A 12) in the
Path Name column on the left.

Sessions Overwrite Current I/O Setup When

Opened option is not enabled. This way, when

opening sessions created on another system,

your custom I/O settings remain intact.
11

Export your I/O settings to create a backup of

your current settings (see Exporting I/O Settings on page 95).

12

Click OK. You should not have to open the I/O

Setup again unless you add or remove hardware
to or from your system, or if you open a session
created on a different system (see Session Interchange on page 95).

Configuring Hardware in
I/O Setup

I/O Channel selector pop-up menu

5

Repeat the above step for additional channel

pairs.

Click OK to save changes and close the I/O

Setup.

(Pro Tools HDX and HD Native Systems Only)

With HDX and HD Native systems, you can define

which physical ports on your audio interface are
routed to available input and output channels in the
I/O Setup. Any changes made here are also reflected in the Hardware Setup, and vice-versa (see
Configuring Hardware Settings in
Pro Tools | Software on page 53).

The Monitor path for HD OMNI is fixed

and cannot be changed in the I/O Setup.
The Monitor path for HD OMNI can be
configured in the Monitor page of the
Hardware Setup.

Chapter 7: I/O Setup

77

Routing a Pro Tools Output Pair

to Multiple Destinations
Pro Tools channel pairs can be routed to
multiple outputs on an audio interface through the
I/O Setup. For example, if you assign both Analog
12 and Analog 34 interface outputs to Pro Tools
Output pair 12, when you send a signal to
Pro Tools Outputs 12, that signal will be routed
simultaneously to both pairs of output ports on
your audio interface.
This lets you send the same signal (such as a
stereo pair, a stem mix, or a multichannel mix) to
multiple destinations (such as multiple mastering
devices).
The only limit to output choices is the number of
outputs available in your system.
0utput path assignments can overlap in certain
situations. See Valid Paths and Requirements on page 89 for details.

Pro Tools outputs pairs can also be routed to multiple audio interface outputs in the Hardware
Setup.

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Pro Tools Reference Guide

To route a Pro Tools output channel pair to

multiple audio interface output ports:
1

Choose Setup > I/O.

Click the Output tab.

Click the Output selector for an interface channel pair, just below an audio interface icon.

From the pop-up menu, select a physical port

pair (such as Analog 12) to route to the corresponding Pro Tools channel pair (such as A
12) in the Path Name column on the left.

Start-click (Windows) or Control-click (Mac)

the same Output selector and select an additional output pair from the same pop-up menu.

The output name updates with a plus sign (+) before it to indicate that multiple output ports are selected. In the pop-up menu, each physical port pair
assigned to that Pro Tools output pair is indicated
by a check mark.
6

Repeat the above steps to select additional

output destinations.

Click OK to save changes and close the

I/O Setup.

Signal Path Routing for Audio Input

The following example shows the signal path from the physical analog input of an HD OMNI audio
interface, through the Pro Tools audio input path, to the Input of an audio track in the Pro Tools mixer:

Input signal path from an HD OMNI to the Pro Tools mixer as mapped in I/O Setup

(1) Physical Input For Avid HD interfaces, such as

the HD OMNI, the physical inputs that are available to Pro Tools are set on the Main page of the
Hardware Setup (this selector is mirrored in the Input page of the I/O Setup).
For Pro Tools systems such as the Mbox Pro
and the 003, physical inputs are fixed. For
third-party and built-in hardware, in the
Hardware Setup click the Launch Setup App
button for available configuration options.

(2) Input Path Main input paths and sub-paths are

routed (patched) to physical inputs using crosspoint matrix mapping in the I/O Setup. In this example, audio input is routed from HD OMNI physical inputs Analog 12 to Pro Tools Input channels
A 12.
(3) Track Input Input paths and sub-paths are

routed to track inputs in the Pro Tools mixer by selecting the path (or sub-path) from the Track Input
selector. In this example, input sub-path A1 is
routed to the input of track Audio 1.
Chapter 7: I/O Setup

79

Signal Path Routing for Audio Output

The following example shows the signal path from the output of an audio track through an output bus
mapped to an output path that is routed to a physical output on an HD I/O audio interface:

1
2

Output signal path from an audio track to a physical output as mapped in I/O Setup

(1) Track Output Audio is played back from disk

and routed from the Track Output to Output Bus
B 12.
(2) Output Bus Path The Output Bus is defined on
the Bus page of the I/O Setup. On the Bus page of
the I/O Setup, the Output Bus B 12 is mapped
to Output B 12, which is defined on the Output
page of the I/O Setup.

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Pro Tools Reference Guide

(3) Output Path On the Output page of the I/O

Setup, the Grid is used to route the output path (to
which the output bus is mapped) to physical outputs.
(4) Physical Output For Avid HD audio interfaces,
such as the HD OMNI, the physical outputs that
are available to Pro Tools are set on the Main page
of the Hardware Setup (this selector is mirrored in
the Output page of the I/O Setup).

For Pro Tools systems such as the Mbox Pro

and the 003, physical outputs are fixed. For
third-party and built-in hardware, click the
Launch Setup App button in the Hardware
Setup for available configuration options.

Creating New Paths

To remove the last path from the New Path

dialog Command+Minus () (Mac) or
Control+Minus () (Windows).
6

Enable (or disable) the New Paths options Add

the Default Channel Assignments and AutoCreate Sub-paths.

Click Create.

The I/O Setup lets you create new paths with custom names, formats, and assignments to physical
I/O. Custom path names appear in a sessions track
Input, Output, Insert, and Bus selectors.

When you create a new Output path, an output bus is automatically created on the Bus
page of the IO Setup, and is automatically
mapped to the output path you created. See
Output Busses on page 90.

To create a new path:

1

Choose Setup > I/O.

Click the Input, Output, Insert, or Bus tab to display the corresponding path type.

Click New Path.

In the New Path dialog, specify the number of

new paths you want to create, the channel width
for each path, and the path name.

New Paths dialog

5

Assign the path to a specific audio interface (Input, Output, and Insert pages only) in the Grid
column. See Assigning Paths to Hardware
I/O on page 88.

Repeat the previous steps to configure all path

types (Input, Output, Insert, or Bus).

10

Click OK to save changes and close the I/O

Setup. If there are any identically named paths,
you will be instructed to correct them before the
I/O Setup will close. For more information, see
Valid Paths and Requirements on page 89.
Multichannel paths and mixing are
explained in Chapter 47, Pro Tools Setup
for Surround.

Do one of the following:

To add more paths, click the Add Row

button (+).
To remove a path, click the Remove Row
button ().
Add a new path by pressing Command+N
(Mac) or Control+N (Windows), or by pressing Command+Plus (+) (Mac) or
Control+Plus (+) (Windows) on the numeric
keypad.
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81

New Paths Dialog

The New Paths dialog lets you create new paths on
the Input, Output, Bus, and Insert pages of the I/O
Setup.
Add/Remove Row

Number of new paths

Path Format

Path Name

Add Default Channel

Assignments Option
Enable Add Default Channel Assignments option if
you want Pro Tools to automatically assign input,
output, and insert paths to physical inputs and outputs in the Grid (from the first available channel to
the maximum number of channels available). If the
number of new paths of a certain width exceeds the
number of available channels, Pro Tools wraps
around and starts over at channel 1.

Auto-Create Sub-Paths Option

New Paths dialog

New Path Row Settings

Number of New Paths Enter the number of new

paths you want to create (or a certain type, like

Bus).

matically create the default set of sub-paths for the

path format (channel width), as follows:
Default Sub-Paths
Main
Path

Sub-Paths

Sub-Path Name

Mono

N/A

N/A

ing more than one path, the number of each new

path will be appended to the path name (for example, Bus 1, Bus 2, Bus 3, and so on).

Stereo

2 mono

<main path
name > followed by
channel designation
.L and .R

Add/Remove Rows Click the Add Row button to

LCR

1 Stereo (LR),
3 Mono (one for
each channel)

Stereo: <main path

name >.LR
Mono: <main path
name >.L, .C, .R

Path Format Select the channel width from the

Path Format selector.

Path Name Enter the path name. If you are creat-

add more paths, or click Click the Remove Row

button to remove paths.
Move Row Icon Drag a Move Row icon up or

down to reorder paths.

Move Row icon in the New Paths dialog

82

For input, bus, and insert paths, enable the Auto

Create Sub-Paths option to have Pro Tools auto-

Pro Tools Reference Guide

Default Sub-Paths
Main
Path
LCRS

Quad

5.0
6.0
7.0

5.1
6.1
7.1

Creating New Sub-Paths

Sub-Paths

Sub-Path Name

1 Stereo (LR),
4 Mono (one for
each channel)

Stereo: <main path

name > .LR

1 Stereo (LR),
4 Mono (one for
each channel)

Stereo: <main path

name > .LR

1 Stereo (LR),
57 Mono
(one for each
channel)

1 Stereo (LR),
68 Mono
(one for each
channel)

You can create sub-paths for main paths in the

Input, Bus, and Insert pages of the I/O Setup.
You cannot create sub-paths for outputs in
the Outputs page of IO Setups. You can,
however create overlapping output paths.

Mono: <main path

name>.L, .C, .R, .S

Mono: <main path

name>.L, .R, .Ls, .Rs

To create a new sub-path:

1

Stereo: <main path

name >.LR
Mono: <main path
name >.L, .C, .R,

Select the page of the I/O Setup where you want

to create sub-paths (such as the Input page).

Select the Main path for which you want to create sub-paths.

.Ls, .Rs, and so on

Click New Sub-Path.

Stereo: <main path

name >.LR
Mono: <main path
name >.L, .C, .R,

Name the new sub-path.

Select the Format for the new sub-path (such as

Mono).

Click in the Grid to assign the new sub-path

channels to available main path channels.

.Ls, .Rs, and so on,

and LFE

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83

Editing Paths
The I/O Setup lets you edit or customize signal
path definitions.
Paths can be:
Restored to default configurations
Renamed, for easier identification after changing or renaming audio interfaces
Selected and reordered to change menu order in
track selectors
Selected and deleted
Remapped to or from different sources or destinations
Deactivated (or reactivated) to manage unavailable or unnecessary I/O resources
In addition, you can import and export your
I/O Setup configurations as I/O Settings files, as
well as set default path parameters. See I/O Settings Files on page 94.
The following table lists the available attributes for
each path type:

Restoring Default Paths and

Path Names
You can restore I/O Setup paths to their default
state at any time. You may want to restore defaults
if, for example, you replace or add an audio interface to your system.
To restore default paths and path names:
1

Choose Setup > I/O.

Click the Input, Output, Insert, or Bus tab to display the corresponding path type.

Click Default. Pro Tools does the following:

If a session is open, deletes any paths that are not

in use.
Creates new default paths up to the capacity of
your systems available physical I/O and resources.
Resets path names to the default path names (see
Default Path Names on page 85). These default path names appear in track Input and Output Path selectors.
Option-click (Mac) or Alt-click (Windows)
the Default button to set all pages of I/O
Setup to the default settings.

Path options that can be edited by type

Path Type

Path Options (Attributes)

Input

Names, formats, and source

channel (physical input)

Output

Names, formats, and destination

channel (physical output)

Insert

Names, formats, and destination

(physical inputs and outputs)

Bus

Names, formats, output mapping

Interfaces can also be renamed.

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Click OK to save changes and close the I/O

Setup.

Default stereo output paths

Renaming Paths

To rename an audio interface in the I/O Setup:

Path names can be customized in the I/O Setup.

Double-click the label above an interface.

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.
To rename a path in the I/O Setup:
1

Double-click the path name.

Type a new path name.

Click OK to save changes and close the I/O

Setup.

Renaming Interfaces

Interface Name
2

Type a new interface name.

Click OK to save changes and close the I/O

Setup.

Default Path Names

Default names for input, output, and insert paths

are based on the hardware you are using for physical I/O.

New mono Input sub-path for Main path A 1-2

Audio interfaces can be renamed in the IO Setup.

When you rename Avid HD audio interfaces, default path names are based on the custom name
given to the interface.

For HDX and HD Native systems, default path

names are based on the names of interfaces you are
using. If you have renamed your interface, default
path names are based on the custom name.

Chapter 7: I/O Setup

85

Selecting Paths
Individual and multiple paths can be selected in the
I/O Setup Path Name column. Selected paths and
sub-paths can be reordered higher or lower in the
Path Name column to change their menu order in
track Input, Output, Insert, and Bus selectors.
Paths can also be deleted. Sub-paths follow their
main paths when they are moved in the I/O Setup.
To select a main path or sub-path:

Click the path name.

To select or deselect noncontiguous paths, do one

of the following:

Command-click (Mac) or Control-click

(Windows) path names that are unhighlighted to
select them.
Command-click (Mac) or Control-click
(Windows) path names that are highlighted to
deselect them.

To select all paths and sub-paths:

Option-click (Mac) or Alt-click (Windows) any

path name that is unhighlighted.

To deselect all paths and sub-paths:

Option-click (Mac) or Alt-click (Windows) any

path name that is highlighted.

Reordering Paths
Selecting paths in the I/O Setup
To select a range of paths:
1

Click the path name.

Shift-click an additional path name.

All paths between the first selected path name and

the additional path name will also be
selected.

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Selected paths and sub-paths can be reordered

higher or lower in the Path Name column to
change their menu order in track Input, Output,
Insert, and Bus selectors.
To reorder paths in the I/O Setup and Track
selectors:
1

Drag one or more selected path names up or

down.

Click OK to save changes and close the I/O

Setup.

Deleting Paths
Path definitions can be deleted from the current
session to reflect changes to your hardware setup,
or to clean up track selector menus by removing
unwanted or unnecessary path definitions. After
deleting a path, any tracks or send assignments to
that path are reset to No Output.

To globally activate or deactivate a path:

1

Choose Setup > I/O.

Select a path type using the tabs at the top of the

window.

Set the Active/Inactive control for the path.

To delete a main path or sub-path:

1

In the I/O Setup, select the path you want to

delete.

Click Delete Path.

Active (top) and inactive (bottom) path settings

Click OK to save changes and close the I/O

Setup.

Any tracks that were assigned to the now inactive

path will show that path's name in italics on the
track's I/O selectors.

To delete all paths:

1

Option-click (Mac) or Alt-click (Windows) any

path name.

Click Delete Path.

Click OK to save changes and close the I/O

Setup.

Making Paths Active or Inactive

Pro Tools paths can be Active (on) or Inactive (off,
or unavailable). Paths can be globally activated or
deactivated in the I/O Setup. Making a signal path
inactive will turn off the signal path on any and all
tracks currently assigned to it.

Click OK to save changes and close the I/O

Setup. Path status is displayed as follows:

Italics Indicates the path is inactive.

Non-Italics Indicates the path is active.

With overlapping output paths of different

channel widths, if the widest path is made inactive, all other overlapped output paths will
not pass audio from Pro Tools.

Pro Tools also sets unavailable paths to inactive.

Paths can be unavailable when hardware or other
system resources are unavailable, such as when
opening a session saved on a different
system.
Tracks can also be made active or inactive. For information, see Making Track Inputs and Outputs
Inactive from the Edit or Mix Window on
page 226.

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87

Assigning Paths to Hardware

I/O
Paths are assigned to specific inputs, outputs, and
inserts in the Grid. Paths can be assigned to physical I/O in the Grid, and can be reassigned at any
time.

Because some multichannel mixing formats use

unique track layouts, Pro Tools lets you set the default format in the I/O Setup (see I/O Setup Options on page 71).

To assign channels:
1

Select (or create) a main path or sub-path.

Select the channel Format (such as Stereo).

In the row for the selected path, click in the Grid

column under an audio interface and channel.

5.1 Path Order setting

Reassiging Paths
You can move the individual assignments to different channels, to reorder the paths definition
(for example, changing a multichannel path to LR-C-LFE-Ls-Rs).
To reassign channels in a path:

Assigning channels

Other channels for the path type, if any, fill to the

right. For example, when assigning a new stereo
path, clicking in the path row under output channel
1 fills both channel 1 and 2 (left to 1, right to 2).
To reassign channels in a path, see
Reassiging Paths on page 88.
4

Click OK to save changes and close the I/O

Setup.

If there are any invalid settings, you will be required to correct them before the I/O Setup will
close. For more information, see Valid Paths and
Requirements on page 89.
Assigning Paths with the Surround Mixer
(Pro Tools HD Only)

When assigning multichannel paths, the left channel (L) is assigned first to the clicked Grid box, and
remaining channels fill immediately to the right
according to the default path order.
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Drag the channel to the new location in the

Grid. Other channel assignments move (shuffle)
to accommodate dragged channels.

Channel Shuffling

Moving a signal from right to left results in a shuffle of other signals after the new destination channel. Moving a signal from left to right shuffles any
and all signals after the new destination channel
and leaves the previous channel empty.
Changing a paths format erases any current channel assignment.
Sub-Paths Follow Main Paths

When a main path is reassigned, its sub-paths (if

any) are reassigned automatically to maintain consistent routing. For example, reassigning a stereo
path to different hardware outputs results in any of
its sub-paths moving with it.

Valid Paths and

Requirements
While configuring the I/O Setup, certain rules apply for path definition and channel assignment. All
paths must be valid before the I/O Setup configuration can be applied.
Though it is possible to set up invalid assignments
in the Channel Grid, Pro Tools will not accept an
I/O Setup configuration unless all paths meet the
path definition and channel assignment requirements, as follows:
Minimum Path Definitions All paths must have a
name, be of a specific format, and have a valid I/O
assignment.
Valid Paths Channel assignment follows certain

rules regarding overlapping paths.

There can be no partial overlaps between any
two output paths.
A newly-created output path must either be
completely independent of other assignments
(not assigned to any other available I/O interface/channels), or it must be a path completely
contained within a larger path (for example, an
LCR sub-path within a larger 5.1 path).

Invalid (partial) output path

Configuring Busses
Busses appear on the Bus page of the IO Setup.
Pro Tools provides two types of busses:
Output busses
Internal mix busses
Output bus and internal mix bus settings are saved
with and recalled from the session. The advantage
of this is that when you take a session from one
system to another, track and send assignments are
maintained within the session. Where possible,
Pro Tools can automatically remap the sessions
output busses to the output paths of the system the
session is being opened on.
See Session Interchange on page 95 for
more information exchanging sessions between systems, and on opening sessions in
lower version of Pro Tools. Output busses do
not exist in Pro Tools 8.0.x and lower.

Valid (complete) output path

Chapter 7: I/O Setup

89

Output Busses
Output busses are mapped (routed) to output paths,
as configured on the Output page of the I/O Setup.
Output paths are then assigned to the systems
physical audio outputs in the I/O Setups Grid (see
Assigning Paths to Hardware I/O on page 88).
When you create a new output path on the Output
page of the I/O Setup, a new output bus of the same
width is automatically created and mapped to that
output path. Output busses are also created and
mapped according to default settings when creating a new session or restoring defaults (see Restoring Default Paths and Path Names on
page 84).

To create a bus and map it to an output path:

1

On the Bus page of the I/O Setup, click New

Path.

In the New Paths dialog, specify the number of

new paths you want to create, the channel width
for each path, and the path name.

New Paths dialog

3

Click Create to create the new paths.

Physical outputs for output paths are configured on

the Outputs page of the I/O Setups (see Assigning
Paths to Hardware I/O on page 88).

Internal Mix Busses

Pro Tools provides up to 256 internal mix busses
that can be used to route audio signal from track
outputs and sends to other track inputs and plug-in
side-chains. Common uses for internal mix busses
include effects sends and returns (such as bussing
sends from audio tracks to an Auxiliary Input track
for plug-in effects processing) and bus recording.

Unmapped MAIN output bus

4
5

Enable Mapping To Output for the path.

Select an output path from the Mapping To Output selector.

Internal mix busses can also be mapped to any outputs (see Internal Mix Busses on page 90).

Creating and Mapping Busses to

Outputs
Any available bus can be mapped to any of the
available output paths of the same channel width
or greater. For example, a mono bus can be
mapped to a mono output path, a stereo bus can be
mapped to a stereo output path, and a 5.1 surround
bus can be mapped to a 5.1 surround output path.
You can unmap busses from outputs at any time.
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Mapping the MAIN output bus to output path A 12

Any signals from tracks or sends sent to the bus are

now sent to the hardware outputs assigned to the
corresponding Output paths.

To map all output busses of the same format to an

output path:

Option-click (Mac) or Alt-click (Windows) the

Mapping To Output selector and select an output path (mono or stereo).

All mapped output busses of the same format (such

as stereo) are all assigned to the same output path.
For example, you can assign all stereo output busses to output path A 12.
To map all output busses of the same format to
one output path:
1

(Pro Tools HD Only)

You can map a mono bus to any channel of a surround output path, for example, route a dialogue
track to the center channel of 5.1 output path. (This
capability is available for all output channel widths
except Stereo and Quad outputs.)
To map a mono bus to a channel of a surround
output path:
1

On the Bus page of the I/O Setup, click New

Path.

In the New Paths dialog, specify Mono channel

width for the bus path, type a path name, and
click Create.

Enable Mapping To Output for the path.

Select a multichannel output path from the Mapping To Output selector. The mono bus indicator

Do one of the following:

Shift-click to select contiguous Output

busses.
Command-click (Mac) or Control-click (Windows) to select noncontiguous Output busses.
2

Mapping Mono Busses to Surround

Paths

Option-Shift-click (Mac) or Alt-Shift-click

(Windows) the Mapping To Output selector for
one of the selected Output busses and select an
output path (mono or stereo).

changes to C (Center) by default, and a popup menu becomes available.

Only the selected mapped output busses of the

same format (such as stereo) are assigned to the
same output path. For example, you can assign
only the selected stereo output busses to output
path A 12.
Selecting a multichannel output path
To map all busses of the same format to unique
ascending output paths (cascading):

Command-Option-click (Mac) or Control-Altclick (Windows) the Mapping to Output selector of the top-most output path and select the
first output path.

All busses of the same channel format are automatically assigned to unique output path assignments
in ascending order. For example, for stereo output
paths, output bus A 12 is assigned to output path
A 12, A 34 to A 34, A 56 to A 56, and so on.

To assign another channel, click the mono bus

indicator and select the channel from the pop-up
menu.

Assigning a channel to a mono bus

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91

To assign the same channel to all mono busses

mapped to a multichannel output path:

Option-click (Mac) or Alt-click (Windows) the

mono bus indicator and select the channel from
the pop-up menu.

Resetting Busses
You can reset the number of available internal mix
busses in your session to match your systems full
capabilities by reverting to the default bus configuration.

To assign the same channel to all selected mono

busses mapped to a multichannel output path:
1

Do one of the following:

Shift-click to select contiguous mono

busses in the Name column.
Command-click (Mac) or Control-click (Windows) to select noncontiguous mono busses in
the Name column.
2

Option-Shift-click (Mac) or Alt-Shift-click

(Windows) a mono bus indicator and select the
channel from the pop-up menu.

To assign ascending (cascading) channels to all

mono busses mapped to a multichannel output:

Command-Option-click (Mac) or Control-Altclick (Windows) the mono bus indicator of the

top-most mono bus and select the first channel
from the pop-up menu.

To assign ascending (cascading) channels to all

selected mono busses mapped to a multichannel
output:
1

Do one of the following:

Shift-click to select contiguous mono

busses in the Name column.
Command-click (Mac) or Control-click (Windows) to select noncontiguous mono busses in
the Name column.
2

92

Pro Tools creates 128 (out of 256 possible)

internal busses by default.

Command-Option-Shift-click (Mac) or Control-Alt-Shift-click (Windows) the mono bus indicator of the top-most mono bus and select the
first channel from the pop-up menu.

Pro Tools Reference Guide

To revert to the default bus configuration for your

system:
1

Open the I/O Setup.

Click the Bus tab in the upper left.

From the pop-up menu to the right of the Default

button, select one of the following:

All Busses
Output Busses
Internal Busses
4

Click Default.
Resetting busses to the default setting will rename all busses to their default name (Bus
12, Bus 34, and so on).

Click OK to save changes and close the I/O

Setup.

Active Busses

The Bus page of the I/O Setup displays the number

of active internal mix busses. If the number of active busses exceeds the number of available busses
(256), the display turns red. Delete or deactivate
any active busses in excess of the available number
of busses to be able close the I/O Setup and save
your settings.

Sorting Bus Paths

Factory I/O Settings

The Bus page provide controls to sort busses by

name (ascending or descending), format (ascending or descending), or by mapped to output status
(ascending only).

Pro Tools provides factory I/O settings for stereo

and surround mixing, and are automatically installed with Pro Tools. These settings provide new
sessions with generic path and sub-paths for either
mixing format.

Click to sort by Name

Click to sort by mapping to output status

Click to sort by Format

Factory I/O settings are available in the I/O Settings pop-up menu of the Quick Start or New Session dialog.

Stereo Mix Settings

Sorting bus paths in the I/O Setup

To sort bus paths by Name:
1

In the Bus page, click the Name column header.

Click the Name column header again to toggle

between ascending and descending sort order.

To sort bus paths by Format:

1

In the Bus page, click the Format column

header.

Click the Format column header again to toggle

between ascending and descending sort order.

To sort bus paths by Mapping To Output status:

In the Bus page, click the Mapping To Output

column header.

This Stereo Mix setting creates the maximum

number of stereo paths, as determined by the available systems I/O Setup and hardware configuration.
Using the Stereo Mix settings file has
the same effect as clicking Default for every individual tab in I/O Settings. See
Restoring Default Paths and Path
Names on page 84.

Surround Mix Settings

(Pro Tools HD Only)

The Surround Mix setting provides additional, surround-specific Output and Bus settings files.
See Chapter 47, Pro Tools Setup for
Surround.

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I/O Settings Files

Importing I/O Settings

I/O settings files (.pio files) provide default path

configurations for new sessions. I/O settings can
be imported and exported for use with sessions
shared between systems. I/O settings files are also
available in the I/O Settings pop-up menu in the
Quick Start and New Session dialogs.

I/O Settings can be imported before or after you

open a session. I/O Settings are only imported for
the current page of the I/O Setup. For example, if
you are viewing the Output page and import I/O
Settings, only the settings for the Output page are
imported. This helps to avoid overwriting your
custom I/O Settings on other pages.

For I/O settings files to be available in the Quick

Start or New Session dialogs, I/O settings files
must be saved to the IO Settings folder in the Root
Settings Folder. You can change the location of the
Root Settings Folder in the Operation Preferences
(see User Library Section on page 104).

When you import I/O Settings, you can choose to

delete any unused path definitions before importing the new paths, or leave unused path definitions
intact and add the new paths to the current I/O
Setup configuration.
You can also import I/O paths and path
names, as well as other session data, from
a different session by using the Import Session Data command (File > Import > Session Data). For information, see Importing Session Data on page 328.

Last Used I/O Settings

If any changes are made to the I/O Setup, these
changes are automatically saved to the IO Settings
folder as the Last Used settings file when the I/O
Setup is closed (by clicking OK).
Last Used settings are available in the I/O Settings
pop-up menu in the Quick Start or New Session dialog, or when importing I/O Settings in the I/O
Setup.

To import I/O Settings:

1

Click the tab for the page of the I/O Setup for
which you want to import settings.

Click Import Settings.

Option-click (Mac) or Alt-click (Windows)
the Import Settings button to import
settings to all pages of I/O Setup.

Custom I/O Settings

Custom I/O Settings files can be created by changing I/O Setup settings (see Customizing I/O Settings on page 76), and then exporting the settings.
These I/O settings can then be restored by importing them into a system.
This lets you save settings for different projects,
import settings to reconfigure the I/O Setup, and
manage path definitions and signal routing setups.

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Select an I/O settings file in the Import Settings

dialog and click Import.

A dialog appears asking whether you want to

delete existing paths. Do one of the following:

Click Yes to remove any unused paths and add

the imported paths to the current I/O Setup configuration.
Click No to add the imported paths to the current
I/O Setup configuration.
If the import results in overlapping paths, the new
paths will appear in the I/O Setup as Inactive. See
Making Paths Active or Inactive on page 87.
After importing I/O Settings, you can then reassign
path routing definitions in the I/O Setup by remapping, renaming, and deleting paths. See
Pro Tools | Software Signal Paths on page 64.

Exporting I/O Settings

When you export I/O settings, all pages of the I/O
Setup are exported.
To export and save an I/O Setup configuration as a
custom I/O Settings file:
1

Configure the I/O Setup settings.

Click Export Settings.

Name and save the settings file. The settings file

is appended with .pio to distinguish it as an
I/O settings file.
To start sessions with a blank or empty
I/O Setup, you can create and export an I/O
Settings file in which all definitions have been
deleted.

Session Interchange
When exchanging a session between Pro Tools
systems, you may need to reconfigure the sessions
I/O settings. This will depend on system ID, path
names and path format, as well as on the Pro Tools
versions of each system on which the session is
transferred.

Path Names and Automatic

Output Bus Remapping
A system ID is created and saved in a session for
every computer the session is opened on (using the
computers MAC address). If Pro Tools finds a
matching system ID when opening a session, output paths are restored and no reconfiguration is
necessary.
When a Pro Tools session is opened on a system
for the first time, Pro Tools attempts to automatically remap output busses.
If Pro Tools does not find a matching system ID,
Pro Tools attempts to remap output busses according to the following criteria (in order):
Path Name and Format Path names must be exactly the same, and of the same format.
Path Format Only If matching path names are not

found, Pro Tools remaps paths to existing paths of

the same format (channel width).
Any output bus path that cannot be automatically
remapped is opened as Inactive. You must manually remap those paths to an active output path.

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95

Pro Tools Versions and Session

Interchange
When exchanging a session between systems with
different versions of Pro Tools software (such as
your Pro Tools 11.0 system and a colleagues
Pro Tools 7.x system), you can use the following
to maintain paths and signal routing.

Opening Older Sessions in Pro Tools 8.1 and

Higher

When opening sessions created in Pro Tools 8.0.x

and lower in Pro Tools 8.1 or higher, output paths
from the legacy session are re-created as output
busses. If the Sessions Overwrite Current I/O
Setup When Opened option is enabled, the output
busses are mapped to session output paths.

Pro Tools 8.1 and Higher

When exchanging sessions among systems running Pro Tools 8.1 or higher, it is generally recommended that the Sessions Overwrite Current I/O
Setup When Opened option be disabled. This
maintains any system IO settings when opening a
session from another system (see Sessions Overwrite Current I/O Setup When Opened on
page 75).
Pro Tools 8.0.x and Lower

When exchanging sessions with systems running

lower versions of Pro Tools, it is generally recommended that the Sessions Overwrite Current I/O
Setup When Opened option be enabled (see Sessions Overwrite Current I/O Setup When Opened
on page 75). In this case, any custom settings
saved with the session that do not match your system may need to be reconfigured manually in the
I/O Setup to match your current studio setup.
If you created a backup of your I/O settings,
you can import settings after opening the session (see Importing I/O Settings on
page 94).

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If your hardware configuration has changed,

you may need to manually reconfigure output
assignments in the Grid on the Output page of
the IO Setup. See Assigning Paths to Hardware I/O on page 88.
Path Order and Overlapping Output Paths

When exchanging sessions between Pro Tools 8.1

or higher and Pro Tools 8.0.x and lower, output
paths and sub-paths are changed as follows, depending on the order in which they appear in the
I/O Setups.
If a session created in Pro Tools 8.1 or higher
contains overlapping paths with a larger path created above smaller paths in the I/O Setup, the
smaller paths are converted to sub-paths of the
larger path when the session is opened in Pro Tools
8.0.x and lower.
If a session created in Pro Tools 8.1 or higher
contains overlapping paths where a smaller path
appears above a larger path in the I/O Setup, the
larger path will be made inactive when the session
is opened in Pro Tools 8.0.x and lower.

Show Last Saved Setup and

Show Current Setup
When a session is opened that contains path
definitions for unavailable I/O interfaces, the
I/O Setup lists those paths in italics.
Clicking the Show Last Saved Setup button
displays the audio interfaces used in the original
session. This temporary display lets you check the
last saved I/O configuration for reference while
configuring the I/O settings for your system.
Once a session has been opened with unavailable
I/O retained, you can then reassign tracks to available I/O paths.

Chapter 7: I/O Setup

97

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Chapter 8: Preferences
The settings in the Pro Tools Preferences define
how Pro Tools features work. The Preferences dialog has several tabbed pages in which you can
specify your preferred settings.

Display Preferences

To change Pro Tools preferences:

1

Choose Setup > Preferences.

Click the tab for the page that has preferences

you want to change.

Change preferences.

Click OK to save your changes and close the

Preferences dialog.

Basics Section
Track Position Numbers Stay with Hidden
Tracks When selected, tracks keep their track

numbers even when hidden. When not selected,

numbers are only assigned to tracks that are
shown. In this case, shown tracks are then numbered sequentially, and hidden tracks are not numbered.

Chapter 8: Preferences

99

Tool Tips Display Options

Function Configures Tool Tips to show the basic

function of the item.

Details Configures Tool Tips to show the complete

form of an abbreviated name or item (such as a

track name). Details view can also show the hidden
or abbreviated value of parameters, as well as input
and output assignments.
Edit Window Default Length

Manufacturer Organizes plug-ins by their manu-

facturer (such as Bomb Factory, Focusrite, or TL

Labs), with individual plug-ins listed in the manufacturer submenus. Plug-Ins that do not have a
Manufacturer defined will appear in the Other
manufacturer folder.
Category and Manufacturer Organizes plug-ins in

two levels of menus. The top menus display plugins by process category (such as EQ, Dynamics,
and Delay), with individual plug-ins listed in the
category submenus. The bottom menus display
plug-ins by manufacturer (such as Bomb Factory,
Focusrite, or TL Labs), with individual plug-ins
listed in the manufacturer submenus.

This preference sets a default length for the Edit

window in hours, minutes, seconds, and frames
(Pro Tools HD only). This is useful if you want to
assemble a session of a particular length or leave
extra room to expand the Edit windows work area
in your session. The maximum length is 24 hours.
For best scrollbar sensitivity, set the length to
slightly longer (a minute or more) than the total
session or song length.

Language Options (Windows Only)

Organize Plug-In Menus By Options

Language Sets the language to use in the

Pro Tools application, independently of what language version of Windows is used.

These options customize how plug-in menus are

organized in the Insert selector or Plug-In selector.
Flat List Organizes plug-ins in a single list, in

alphabetical order.

You must have Administrator privileges for the

Pro Tools application Properties to change these
options.

Default Automatic Naming to English Causes au-

tomatically named session elements in a session to

be named in English even when working with the
Pro Tools application set to another language.

Category Organizes plug-ins by process category

(such as EQ, Dynamics, and Delay), with individual plug-ins listed in the category submenus. PlugIns that do not fit into a standard category (such as
the Signal Generator), or third-party plug-ins that
have not had a category designated by their developers, appear in the Other category. Plug-Ins can
appear in more than one category.

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Auto-Switch Input Language

When the Auto-Switch Input Language option is

enabled, the input language is switched automatically from English to the current OS input language when entering text. It automatically
switches back to English for using Keyboard commands in Pro Tools. When disabled, English is
used when entering text regardless of the current
OS input language.

Warnings and Dialogs Section

Reset Dont Show This Again Settings If you
have made any changes by selecting the Dont
Show This Again setting for any dialog in

Pro Tools, you can click this Reset button to

revert to the default settings.
Show Quick Start Dialog When Pro Tools
Starts When selected, Pro Tools shows the Ses-

sion Quick Start dialog on launch. Deselect this

option if you do not want to see the Pro Tools
Quick Start dialog on launch.

Color Coding Section

Always Display Marker Colors Lets you choose to

view Marker colors in the Markers ruler, regardless of the settings you choose for Default Clip
Color Coding.
MIDI Note Color Shows Velocity When enabled,
MIDI notes display varying shades of the assigned
track color in MIDI notes view in the Edit window
and in MIDI Editor windows. Notes with high velocities are darker and notes with lower velocities
are lighter.

Groups Assigns a color to each track according to

its Group ID. If groups are suspended using the

Suspend Groups command, the tracks color bars

are not shown.

Track Type Assigns a color to each track according
to its type (audio, Auxiliary Input, Master Fader,
VCA Master, MIDI, Instrument, or Video).
Default Clip Color Coding Options

These color coding options determine the default

color coding assignment for tracks, Marker Locations, and clips residing in the track playlist and
Clip List. The options are:
None Turns off color assignment for clips. Clips
are drawn with black waveform or MIDI notes on
a light gray background.
Tracks and MIDI Channels Assigns a color to each
clip in the Edit window according to its voice or
MIDI channel assignment.
Tracks and MIDI Devices Assigns a color to each

clip in the Edit window according to its voice assignment or MIDI device assignment.
Groups Assigns a color to each clip according to

Default Track Color Coding Options

These color coding options determine the default

color coding assignment for tracks in the Edit and
Mix windows. The options are:
None Turns off color assignment for tracks.
Tracks and MIDI Channels Assigns a color to each

track in the Mix or Edit window according to its

voice or MIDI channel assignment.
Tracks and MIDI Devices Assigns a color to each

track in the Mix or Edit window according to its

voice assignment or MIDI device assignment.

the Group ID of its track. If groups are suspended

using the Suspend Groups command, all clips display black waveforms or MIDI notes on a light
gray background.
Track Color Assigns a clip color based on the color
assigned to the track.
Marker Locations Assigns a unique color to each

marker area in the Marker ruler, including the area

preceding the first marker.
Clip List Color Assigns a color to each clip based

on its color in the Clip List.

Chapter 8: Preferences

101

Operation Preferences

Latch Forward/Rewind When selected, fast for-

ward and rewind latch and continue until you press

Stop, Play, Return To Zero, or Go To End on the
Transport. When disabled, the Fast Forward and
Rewind only last as long as you hold the mouse after clicking either button on the Transport (or hold
the corresponding switch on a Control Surface).
Play Start Marker Follows Timeline
Selection When enabled, the Play Start Marker

snaps to the Timeline Selection In Point when you

move the Timeline Selection, draw a new Timeline
Selection, or adjust the Timeline Selection Start.
When disabled, the Play Start Marker doesnt
move with the Timeline selection.
Reserve Voices for Preview in Context (HDX and
HD Native Only) When enabled, Pro Tools re-

Transport Section
Timeline Insertion/Play Start Marker Follows
Playback When selected, the Timeline Insertion

and the Play Start Marker both move to the point in

the Timeline where playback stops. When deselected, the Timeline Insertion and Play Start
Marker do not follow playback, but return to the
location where playback began.
Press Start+N (Windows) or Control+N
(Mac) to toggle the Timeline Insertion/Play
Start Marker Follows Playback preference
on and off.
Edit Insertion Follows Scrub/Shuttle When se-

lected, the edit cursor automatically locates to the

point where scrubbing stops.
Audio During Fast Forward/Rewind When selected, audio is audible during fast forward or
rewind.

serves the appropriate number of voices for preview in context (previewing audio files from
Workspace browsers during session playback).
The number of available voices is reduced by the
channel width of the selected audition paths on the
Output page of the I/O Setup window. For example, if the number of playback voices is set to 48 in
the Playback Engine, and you have a stereo audition path selected in the I/O Setup, only 46 voices
will be available for tracks. If you have a 5.1 audition path, only 42 voices will be available. When
this option is disabled, you will not be able to preview in context if there are not enough available
voices.
Custom Shuttle Lock Speed Sets the highest fastforward Shuttle Lock speed (key 9) for Shuttle
Lock modes (Classic or Transport).
The range for this setting is 50800%.

For more information, see Custom Shuttle

Lock Speed on page 529.
Custom FF/REW Speed Sets the speed for fast for-

ward and rewind in relation to normal playback.

The range for this setting is 1003,200%.

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Back/Forward Amount (Pro Tools HD Only) Sets

the default length of Back, Back and Play, Forward
and Forward and Play. The timebase of the
Back/Forward Amount settings follows the Main
Time Scale by default, or you can deselect the Follow Main Time Scale option and select another
timebase format: Bars|Beats, Min:Sec, Timecode,
Feet+Frames, or Samples.
Numeric Keypad Mode

Numeric Keypad mode determines how the numeric keypad functions. You can always use the
numeric keypad to select and enter values in the
Event Edit Area, Edit Selection indicators, Main
and Sub Counters, and Transport fields.
Classic Selects a Shuttle Lock mode that emulates
the way Pro Tools worked in versions lower than
5.0. With the Numeric Keypad mode set to Classic,
you can play up to two tracks of audio in Shuttle
Lock mode. Press the Start key (Windows) or Control (Mac), followed by 09 for different play
speeds. Press Plus (+) or Minus () to reverse direction. Recall Memory Locations by typing the
Memory Location number, followed by Period (.).
Transport Selects a Shuttle Lock mode that lets

you set a number of record and play functions, and

also operate the Transport from the numeric keypad. With the Numeric Keypad mode set to Transport, you can play up to two tracks of audio in
Shuttle Lock mode. Press the Start key (Windows)
or Control (Mac), followed by 09 for different
play speeds. Press Plus (+) or Minus () to reverse
direction. Recall Memory Locations by typing Period (.), the Memory Location number, and Period
(.) again.
To customize the highest fast-forward
Shuttle Lock speed, see Custom Shuttle
Lock Speed on page 529.

Shuttle (Pro Tools HD Only) Selects a type of

shuttling different from that of Shuttle Lock mode.

With the Numeric Keypad mode set to Shuttle,
playback is triggered by pressing and holding the
keys on the numeric keypadplayback stops once
the keys are released. Various playback speeds are
available in both forward and reverse. You can
also recall Memory Locations by typing Period (.),
the Memory Location number, and Period (.)
again.
Use Separate Play and Stop Keys

When enabled, this option lets you start playback

with the Enter key and stop playback with the 0
key on the numeric keypad. This is useful for
quickly starting and stopping playback when auditioning loop transitions. The Use Separate Play
and Stop Keys option is only available in Transport Numeric Keypad mode.
When this option is enabled, it overrides
using the Enter key to add Memory Location
markers. Instead, press Period (.) and then
Enter on the numeric keypad to add a
Memory Location marker.

Auto Backup Section

Enable Session File Auto Backup When selected, Pro Tools automatically saves backups of
your Pro Tools session file while you work. Backups are saved to in the Session File Backups folder
in your session folder.
Keep Specifies the total number of incremental
backups that are kept.
Backup Every Specifies how often the session is

saved.

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103

User Library Section

Root

Click the Change button to set the Root directory

for all user files including Documentation,
Grooves, IO Settings, Plug-In Maps, Plug-In Settings, Session Templates, and Video Test Patterns.

Video Section
Enable GPU

Pro Tools video processing is done on the GPU

(Graphics Processing Unit) in order to free up the
CPU for Pro Tools audio and MIDI. If you are using a slower GPU and encounter poor video playback, you may want to disable this option and have
the video processing done on the CPU.
Prevent Tearing

When enabled, Pro Tools buffers video to prevent

visual artifacts with horizontal movement in situations where video sync does not match the screen
refresh rate. This options is not available when the
Enable GPU option is disabled.
Enable Hardware During Scrub

When selected, the Enable Hardware During Scrub

option lets you monitor video using video hardware (such as Avid Mojo DX or Nitris DX video
peripherals) while scrubbing. When this option is
disabled, you can only monitor video in the
Pro Tools Video window while scrubbing. If you
experience performance issues when scrubbing
video while monitoring video using video hardware, disable this option.
Play Start Latency

If you are working on a slower computer, set the

Play Start Latency setting to a higher value. The
range is from 1-Shortest to 5-Longest.

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Record Section
Latch Record Enable Buttons When selected,
multiple audio tracks can be record-enabled. When
not selected, multiple audio tracks cannot be record-enabled. Record-enabling an audio track
takes all other audio tracks out of record-enabled
mode.
Enable Automation in Record When this option is
enabled, automation can be written during recording as well as during playback. When this option is
disabled, automation can only be written during
playback.

Note that when the Enable Automation in Record

option is selected, the Link Record and Play Faders
option is automatically disabled and is unavailable.
Link Record and Play Faders When selected,

Pro Tools does not remember separate fader levels

for tracks when they are record-enabled, allowing
you to maintain the same monitoring level for
tracks during recording and playback.
Audio Track RecordLock (Pro Tools HD Only)

This option configures Pro Tools tracks to either

emulate a digital dubber, or to maintain legacy behavior for track record status.
When selected, the record-enabled audio tracks
remain record-enabled when playback or recording stops.
When not selected, record-enabled audio tracks
are taken out of record enable when Pro Tools is
stopped. This prevents tracks from remaining
armed from pass to pass, emulating track record
behavior of a digital dubber.

Transport RecordLock (Pro Tools HD Only) This

option lets the Transport Record (the Record button in the Transport controls) be configured to either emulate a digital dubber, or to maintain legacy
behavior for the Transport master Record.

When selected, the Transport Record remains

armed when playback or recording stops. This
saves having to re-arm the Transport between
takes, emulating digital dubber behavior.
When not selected, the Transport Record disarms when Pro Tools is manually stopped or
stops due to a loss of timecode. This replicates
standard Pro Tools recording behavior.
The Transport RecordLock option is automatically
disabled and grayed out when Destructive Record
mode is enabled.
Disable Input When Disarming Track
(In Stop) (Pro Tools HD Only) For flexibility,

TrackInput monitoring can be customized to remain selected regardless of track record status, or
to automatically switch to Auto Input monitoring
after a recording pass. This lets you optimize monitoring for a typical dubbing workflow (in which
you might want tracks to remain in Input Only
mode until explicitly switched to Auto Input monitoring) or a typical music tracking workflow (in
which leaving a track in Input Only monitoring
mode after recording can result in accidental double-monitoring).
When selected, taking an audio track out of record enable (any mode) takes it out of Input
Only mode, regardless of the global monitor
mode, and switches it to monitor audio from
disk only.

Mute Record-Armed Tracks While Stopped

(Pro Tools HD Only) This setting determines mon-

itor status of record-armed tracks.

When selected, Pro Tools mutes all record-enabled tracks when the transport is stopped. Input
can still be monitored while stopped using the
TrackInput Monitor button.
When not selected, Pro Tools does not mute audio input on record-enabled tracks when the
transport is stopped.
PEC/Direct Style Input Monitoring (Pro Tools HD
Only) This option changes the way the TrackInput

monitoring mode is indicated on-screen (and on

supported control surfaces) to emulate PEC
(playback) and Direct (input/bus) indication on
some large format consoles.
When not selected, the TrackInput button shows
the letter I. The button remains gray to indicate Auto Input mode and lights green to indicate Input Only mode.
When selected, the TrackInput button remains
gray and shows the letter D to indicated Input
Only mode (Direct); it lights green and shows
the letter P to indicate Auto Input mode (Pec
or playback).
Automatically Create New Playlists When Loop
Recording When selected, copies loop recorded

alternate takes to new playlists in the track. This is

especially useful to prepare for track compositing
in Playlists view after loop recording multiple alternate takes.

When not selected, audio tracks remain in Input

Only monitoring mode until explicitly switched
to Auto Input monitoring.

Chapter 8: Preferences

105

Online Options
Record Online at Timecode (or ADAT)
Lock When selected, online recording begins as

soon as Pro Tools receives and locks to incoming

timecode.
Record Online at Insertion/Selection When selected, online recording begins at the edit cursor
location. Recording continues until Pro Tools
stops receiving timecode. If you make a selection,
Pro Tools records online for the length of the selection.
DestructivePunch File Length (Pro Tools HD
Only)

This preference sets the duration of consolidated

audio files when preparing tracks for DestructivePunch mode. The default value for this setting is 25
minutes.

Misc (Miscellaneous) Section

Clip Auto Fade In/Out Length (Pro Tools HD
Only) Sets a default length for fade-ins and fade-

outs automatically applied to clip boundaries. Using automatic fade-ins and fade-outs saves you the
trouble of editing to zero-crossings or creating numerous rendered fades in order to eliminate clicks
or pops in playback. Autofades are not written to
disk. Value range is from 010 ms for the Auto Clip
Fade In/Out Length setting. A value of zero means
that no auto-fading will occur. The Auto Fade
value is saved with the session, and is automatically applied to all free-standing clip boundaries
until you change it.

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Calibration Reference Level (HDX and HD Native

Systems Only) Sets a default calibration reference

level in dB when Pro Tools is in Calibration mode.

For audio interfaces that have trims (such as the
HD I/O), see the interfaces guide for calibration
instructions.
If your system includes one or more EUCON
controllers, be sure to disable Auto-bank to
selected track in EuControl software before
enabling Pro Tools Calibration Mode to ensure that faders remain silent. To make sure
Auto-bank to select track is not enabled,
open the EuControl Settings window, click to
go to the General tab, and verify the setting is
not enabled. If necessary, click to disable
Auto-bank to selected track. After exiting
Calibration Mode, be sure to re-enable the
Auto-bank to selected track setting (if necessary).
Delay Compensation Time Mode When Delay
Compensation is enabled (Options > Delay Compensation), this option lets you choose whether in-

formation in the Delay Manager is displayed in

milliseconds or samples.
Compensate Side Chains (HDX Systems Only)

When Delay Compensation is enabled (Options >

Delay Compensation), this option applies Delay
Compensation to plug-in sidechain signals.

Editing Preferences

Tracks Section
New Tracks Default To Tick Timebase When
selected, all new tracks default to ticks. When
deselected, audio, Auxiliary Input, Master Fader,
and VCA (Pro Tools HD only) tracks default to
samples.

Memory Locations Section

Auto-Name Memory Locations When
Playing When selected, Pro Tools gives new

Memory Locations default names based on their

time location in the session. The time units currently chosen in the View menu determine the
units for the names.
Recall Memory Location at Original Track When

Clips Section

selected, Memory Locations that recall a selection

also recall the track in which the selection was
made.

Clip List Selection Follows Edit

Selection When selected, selecting a clip in a track

Fades Section

also selects it in the Clip List.

Edit Selection Follows Clip List
Selection When selected, selecting a clip in the

Clip List causes Pro Tools to highlight that clips

occurrence in a track.

Crossfade Preview Pre-Roll This setting specifies

the amount of pre-roll to be added when you are
auditioning crossfades in the Fades dialog.

Auto-Name Separated Clips When selected,

Crossfade Preview Post-Roll This setting specifies the amount of post-roll to be added when you
are auditioning crossfades in the Fades dialog.

Pro Tools automatically names newly separated

clips by appending a number to the clips name.

QuickPunch/TrackPunch Crossfade Length

Separate Clip Operates On All Related

Takes When selected, editing a clip with the
Separate Clip command also affects all other re-

Specifies a default length for crossfades created by

QuickPunch or TrackPunch (Pro Tools HD only)
recordings. Crossfades occur before the punch in
and after the punch out.

lated takes (recording passes) with the same User

Time Stamp. This option helps you compare different sections from a group of related takes.
Clip Gain Nudge Value This setting specifies the
amount (from 0.1 dB to 6.0 dB) by which clip gain
settings are adjusted when nudging clip gain.

Preserve Fades when Editing This option pre-

serves fade-ins and fade outs, and converts separated crossfades into corresponding fade-ins and
fade-outs.

Chapter 8: Preferences

107

Default Fade Settings

Fade In Selects the default envelope shape for
fade-ins when using the Smart Tool.
Fade Out Selects the default envelope shape for

fade-outs when using the Smart Tool.

Crossfade Selects the default envelope shape for
crossfades when using the Smart Tool.

To apply a Fade In, Fade Out, or Crossfade

to an Edit selection using the Default Fade
settings, and without opening the Fades dialog, press Control+Start+F (Windows) or
Command+Control+F (Mac).
REX Selects the default envelope shape for fades
and crossfades between clips (slices) in imported REX files.

Zoom Toggle Section

Vertical Zoom Selects either Selection or Last
Used for the Zoom Toggle Vertical Zoom setting.
Horizontal Zoom Selects either Selection or Last
Used for the Zoom Toggle Horizontal Zoom set-

ting.
Remove Range Selection After Zooming
In When selected, the current Edit selection col-

lapses into an insertion point after zoom toggling

in. Zoom toggling back out reverts to the previous
selection.

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Track Height Selects Last Used, Medium, Large,

Extreme, or Fit To Window for the Zoom Toggle
Track Height setting.
Track View Selects Waveform/Notes, Warp/Notes,
Last Used, or No Change for the Zoom Toggle
Track View setting.
Separate Grid Settings When Zoomed In When
selected, the Grid setting stored with Zoom toggle
is recalled when zoom toggling in. When this option is deselected, the same (current) grid setting is
used whether zoom toggling in or out.
Zoom Toggle Follows Edit Selection When se-

lected, zoom toggle automatically follows the current Edit selection. When disabled, changing the
Edit selection has no affect on the currently toggled-in track.

Levels of Undo
This preference sets the maximum number of actions that can be undone with the multiple undo
feature. Setting this to a lower number can speed
up the performance of slower computers.
Pro Tools supports up to 64 levels of Undo.

Mixing Preferences

Use Absolute Pan Linking (Pro Tools HD Only)

This option affects behavior of grouped pan controls.

When selected, grouped pan controls do not
maintain relative offsets when any of the
grouped pan controls is adjusted. All grouped
pan controls snap to the absolute value of the adjusted control.
When not selected, grouped pan controls maintain relative offsets when any of the linked controls is adjusted.
Default EQ

Setup Section
Sends Default to INF When selected, the initial
fader level of newly-created sends is set to (no
audible signal level). When not selected, the initial
fader level of newly-created sends is set to 0 dB.
Send Pans Default to Follow Main Pan When selected, newly created sends have Follow Main Pan

turned on, so the Send Pan controls follow the pan

controls of the track. When not selected, newly
created sends have Follow Main Pan turned off.
Link Mix and Edit Group Enables When selected,

this option links enabling and disabling of Mix and

Edit Groups. For example, enabling Group A in
the Mix Window automatically enables Group A
in the Edit window.

This preference lets you choose any installed EQ

plug-in as the default, which makes it available for
quick assignment, both on-screen and on ICON
controllers (Pro Tools HD only). On-screen, the
plug-in appears at the top of the Insert selector
pop-up menu. On ICON controllers, the plug-in
appears first in the list of menu choices on the rotary encoders.
Default Dynamics

This preference lets you choose any installed Dynamics plug-in as the default, which makes it
available for quick assignment, both on-screen and
on ICON controllers (Pro Tools HD only). Onscreen, the plug-in appears at the top of the Insert
selector pop-up menu. On ICON controllers, the
plug-in appears first in the list of menu choices on
the rotary encoders.
Auto Insert Default Plug-Ins from EUCON
Surfaces When selected, the default EQ and

default Dynamics plug-ins are automatically available when creating new tracks from EUCON
surfaces.

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109

Controllers Section

Automation Section

Edit Window Follows Bank Selection If you are

using a supported control surface with Pro Tools,
this option scrolls the Edit window to display the
selected bank of tracks when you switch banks on
the control surface, ensuring that the current bank
is viewable on-screen.

Smooth and Thin Data After Pass When selected, Pro Tools automatically smooths and then
applies the specified amount of thinning to the automation data created in an automation pass.

Mix Window Follows Bank Selection If you are

using a supported control surface with Pro Tools,
this option scrolls the Mix window to display the
selected bank of tracks when you switch banks on
the control surface, ensuring that the current bank
is viewable on-screen.
Scroll to Track Banks Controllers When using
a control surface (such as D-Control) you can select this option to bank control surface faders to a
numbered track when using the Scroll to Track
command.
Always Fill Channel Strips When Banking If you

are using an ICON controller (Pro Tools HD only),

or other supported control surface, you can select
this option to maximize the number of channels
displayed when banking. This setting optimizes
the Bank commands to prevent the display of a
small number of channels at the extremes of the
surface.
Touch Timeout If you are writing automation in

Touch mode and you stop moving a non-touch

sensitive fader or encoder, Pro Tools continues to
write automation for the Touch Timeout value.
After the Touch Timeout period, writing of automation stops and the automation data returns to its
previous automation value at the rate specified in
the AutoMatch Time setting.

Degree of Thinning Specifies the amount of thinning performed on automation data when you using the Thin Automation command, or if you have
selected the Smooth and Thin Data After Pass option.
Plug-In Controls Default to Auto-Enabled When
selected, all applicable controls of newly added
plug-ins are enabled for automation. When not selected, the controls of newly added plug-ins must
be manually enabled for automation.
Suppress Automation Write To Warnings
(Pro Tools HD Only) When selected, Pro Tools

suppresses the warnings that appear after invoking

any of the Write Automation To Start, Selection,
End, or Punch commands and then stopping the
transport.
Latching Behavior for Switch Controls in
Touch This option determines the behavior of

switch-type controls (such as mute or plug-in bypass) when writing automation in Touch mode.
When selected, controls in Touch mode will
latch in their current state. If an existing breakpoint is encountered, writing of automation
stops. If the transport is stopped while writing,
the control will AutoMatch to the underlying
value.
When not selected, controls in Touch mode will
not latch.
Allow Latch Prime in Stop (Pro Tools HD Only)

When selected and any tracks are in Latch mode,

any automation-enabled controls on those tracks
can be set to new values while the transport is
stopped by touching or moving controls, to prepare
for the next automation pass.
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Coalesce when Removing Slaves from VCA

Group (Pro Tools HD Only) This option deter-

mines the behavior when removing slave tracks

from a VCA-controlled group.
When selected, any automation on the VCA
Master is automatically coalesced (without confirmation) to its slave tracks when the tracks are
removed from the group.

Include Control Changes in Undo Queue This

option determines whether certain mixer control
changes, such as moving a fader or pan control, are
entered into the Undo queue.

When selected, mixer control changes appear in

the Undo queue, and are undone if any prior operation is undone.

When not selected, a confirmation dialog lets

you choose whether or not to coalesce the VCA
Master automation to the slave tracks.

When deselected, mixer control changes will not

appear in the undo queue, allowing you to undo
other types of operations without losing the current mixer settings.

Standard VCA Logic for Group Attributes

(Pro Tools HD Only) This option determines

Any set to default operations that affect mixer controls will be entered into the Undo queue.

which Mix group attributes may be selected in the

Group dialog when the group is assigned to a VCA
Master.
When selected, the Main Volume, Mute, Solo,
Record Enable, and Input Monitoring controls
on slave tracks follow the VCA Master only and
are not available to be independently linked.
(This emulates the behavior of analog console
VCA masters.)
When deselected, the Main Volume, Mute, Solo,
Record Enable, and Input Monitoring controls
follow the VCA Master, but also remain available for independent linking with groups.
Include Sends in Trim Mode (Pro Tools HD Only)

This option determines the Trim status of Send

faders when a track is put in Trim mode.
When selected, Send faders go into Trim mode
along with the Main Volume fader.
When deselected, the Main Volume fader goes
into Trim mode, but the Send fader stays in the
corresponding standard Automation mode.

AutoMatch Time If you are writing automation in

Touch mode, when you release a fader or control,

writing of automation stops and the automation
data returns to its previous value. The rate of return
to the previous value is the AutoMatch Time.
AutoGlide Time (Pro Tools HD Only) Specifies
how quickly Pro Tools transitions (glides) from
one automation value to another, when AutoGlide
mode is used.
After Write Pass, Switch To Options

These options select the Automation mode that

Pro Tools tracks automatically switches to after an
automation pass in Write (or Write Trim) mode.
Select one of the following options:
Touch Switches to Touch mode after an automation pass in Write (or Write Trim) mode.
Latch Switches to Latch mode after an automation

pass in Write (or Write Trim) mode.

No Change Stays in Write mode after an automa-

tion pass in Write (or Write Trim) mode.

After an automation pass in Write Trim mode,
tracks automatically switch to the Trim version of
the specified setting.

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111

Coalesce Trim Automation Options

(Pro Tools HD Only)

These options determine when Trim automation is

committed to the main automation playlist on a
track.
After Every Pass Sets Trim automation to co-

alesce when the transport is stopped at the end of

each Trim automation pass. No Composite Playlist
is indicated.
On Exiting Trim Mode Sets Trim Automation to

coalesce on a track when the track is taken out of

Trim mode. A Composite Playlist can be viewed
before committing Trim moves.
Manually Trim Automation can be coalesced only
with the Coalesce Trim Automation command. A

Composite Playlist can be viewed before committing Trim moves.

Track and Master Meter Types

The Track Meters section of the Mixing preferences let you set the Meter Type and associated
metering ballistics and displays settings for audio,
Auxiliary Input, and Instrument tracks. The Master
Meters sections let you configure these settings independently for Master Fader tracks.
Track and Master Meter Types Linked

Enable the Track and Master Meter Types Linked

option to ensure that Track (audio, Auxiliary Input,
and Instrument tracks) and Master (Master Fader)
meters always use the same Meter Type setting.
Disable this option if you want the Track and Master meters to use different Meter Type settings (for
example, you may want to use VU metering for
your Track meters, but Peak for your Master meters).
Track Meters and Master Meters

Metering Preferences

Metering preferences (Pro Tools HD shown)

Pro Tools lets you choose from several industry

standard meter types for visually monitoring audio
levels. You can link the Track (audio, Auxiliary Input, and Instrument tracks) and Master (Master
Fader) meter settings, or you can set them independently of one another. The following Meter
Type options are available:
Sample Peak Provides the default Pro Tools metering. Sample Peak metering is also the only Meter Type used for non-HD version of Pro Tools.
The scale and the decay time is calculated in
dB/second, which results in slower decay in metering compared to lower versions of Pro Tools. The
Sample Peak option is the only Meter Type that
has a 0 sample integration time, and as such shows
all dynamic activity of the digital signal at every
moment in time.
Pro Tools Classic Provides legacy Pro Tools scale
and metering ballistics.

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Linear (Pro Tools HD Only) Use Linear for post-

PPM BBC (Pro Tools HD Only) Adopted by com-

production and music mixing scenarios. Using a

fast decay time, Linear provides direct one-to-one
linear metering of sample peaks in the audio signal
with a metering range down to 40 dB. This offers
higher metering resolution closer to 0 dB (which
can be particularly useful for mixing and mastering).

mercial broadcasters in the UK, BBC scaling uses

4 dB spacing between scale marks. Other organizations around the world, including the EBU,
CBC, and ABC used the same dynamics but with
slightly different scales.

Linear (Extended) (Pro Tools HD Only) Provides

the same ballistics as Linear, but the meter scaling

extends to 60 dB.
RMS (Pro Tools HD Only) Provides metering ballistics that display the average loudness (Root
Mean Square of the signal) over a range of time.
Peak metering, on the other hand, displays the
peak signal level at any given point in time.
VU (Pro Tools HD Only) Popular for music and di-

alog mixing, the VU scale used in Pro Tools is extended on the low end from 23 dB to 40 dB to
accommodate a wide range of material without the
need for stage re-calibration.
Digital VU (Pro Tools HD Only) Provides VU bal-

listics with a modern digital scale.

PPM Digital (Pro Tools HD Only) Popular in Eu-

rope and Asia with broadcasters, and also with US

Film consoles (such as the Avid System5 consoles), PPM Digital has a similar integration time to
Sample Peak metering, but different scales and decay times.
The PPM Digital option, like all other Meter Type
options besides Sample Peak, does not report every transient (such as a series of very fast transients). However, even though it under-reports the
actual digital dynamic range, it more closely
matches human hearing of loudness over time.

PPM Nordic (Pro Tools HD Only) A Scandinavian

variant of the DIN PPM has the same integration

and return times but a different scale, with TEST
corresponding to Alignment Level (0 dBu) and +9
corresponding to Permitted Maximum Level (+9
dBu). Compared to the DIN scale, the Nordic scale
is more logarithmic and covers a somewhat
smaller dynamic range.
PPM EBU (Pro Tools HD Only) Is a variant of the
British PPM designed for the control of program
levels in international program exchange (Type IIb
PPM in IEC 60268-10). It is identical to the British
PPM (BBC) except for the meter scale. The meter
scale is calibrated in dB relative to the Alignment
Level, which is marked TEST. There are ticks at
2 dB intervals and at +9 dB, which corresponds to
the Permitted Maximum Level.
PPM DIN (Pro Tools HD Only) Used in German

broadcasting, the nominal analog signal corresponding to Permitted Maximum Level was standardized by ARD at 1.55 volts (+6 dBu), and this is
the usual sensitivity of a DIN-type PPM for an indication of 0 dB. The Alignment Level (3 dBu) is
shown on the meter by a scale mark at 9.
K-12 (Pro Tools HD Only) The K-scales are RMS

based scales with an integrated sample peak meter

as a secondary value. K-Scales are popular with
music mixers that are looking for a meaningful indication of overall loudness. K-12 should be reserved strictly for audio to be dedicated to broadcast, though broadcast recording engineers may
choose K-14 if they feel it fits their program material.

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113

K-14 (Pro Tools HD Only) Use K-14 for mastering

when working in a calibrated mastering suite.

K-20 (Pro Tools HD Only) Using K-20 during mix

encourages a clean-sounding mix that is advantageous to the mastering engineer. At that point, the
producer and mastering engineer should discuss
whether the program should be converted to K-14,
or remain at K-20. If mixing to analog tape, work
at K-20, and realize that the peak levels off tape
will not exceed about +14.
K-scale meters are RMS based scales with an
integrated sample peak meter as a secondary
value. For more information about K-scale
metering, see the paper An Integrated Approach to Metering, Monitoring, and Leveling
Practices by Bob Katz, Digital Domain, Inc.
VENUE Peak Provides the same ballistics as Sample Peak, but with VENUE meter scaling to

+20 dB.
VENUE RMS Provides the same ballistics as RMS,
but with VENUE meter scaling to +20 dB.

Advanced Meter Type Settings

The Advanced Meter Type settings let you adjust
the scale and ballistics of the selected Meter Type.
These settings update automatically to match the
specifications of the selected Meter Type. In some
system configurations you may want to make manual adjustments to these settings in order to ensure
that Pro Tools metering matches the meter response your broadcast console (some broadcast
consoles use variations from the standard Meter
Types that are provided in Pro Tools). However, in
most cases these settings should be left at the default values.

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Decay

The Decay settings determine the decibel range

(dBs) that the meters fall at the specified rate in
seconds after peak level is registered. For some
Meter Types, these settings are not adjustable
(such as VU).
0 dBFS

The 0 dBFS setting determines the unity reference

level for the meter scale in decibels compared to
digital 0 dB. Exceeding this level should result in
clipping at the digital to analog converters or to the
specified clipping level for broadcast. For some
Meter Types, this setting is not adjustable (such as
K-meters).
Integration Time

The Integration Time setting determines the

amount of time it takes, in milliseconds, to average
the peak level as registered on the meter display.
You can think of this as the attack time for registering peak levels on the meters. For some Meter
Types, this setting is not adjustable (such as Peak).
Color Break High

The Color Break High setting determines the high

point in dB where the color changes for metering.
Typically, this will be the ceiling level for the current Meter Type. When this level is exceeded clipping will occur. Levels registering on the meters
between the Color Break High setting and the Color
Break Low setting should be considered the sweet
spot for the loudness of the program material.

Color Break Low

The Color Break Low setting determines the low

point in dB where the color changes for metering.
Typically, this will be the minimum level for the
current Meter Type. Use this setting to provide a
visual indication in the meters for the lowest level
of the dynamic range of the program material for
the intended delivery format (such as film, DVD,
CD, MP3, or broadcast).
Reset

Click the Reset button to reset the Advanced Meter Type preferences to the default settings for the
selected Meter Type.

Peak/Clip Section
Peak Hold Options

These options determine how long the peak indicators on track meters stay lit after a peak is detected.
3 Seconds When selected, track meters display
the last peak level for three seconds.
Infinite When selected, track meters display the
last peak level until you click them to clear them.
None When selected, track meters do not hold the

peak level.
Clip Indication Options

These options determine how long the clip indicators on plug-in, send, and track meters stay lit after
a clip is detected.
3 Seconds When selected, meters display the last
clip indication for three seconds.
Infinite When selected, meters display the last clip
indications until you click them to clear them.

Display Section
The Display section of the Metering preferences
provides options for configuring the display of the
new Gain Reduction meters on tracks and in sends.
Show Send Assignment Level Meter

Enable the Show Send Assignment Level Meter

option to show Level meters in Sends Assignments
on audio, Auxiliary Input, and Instrument tracks in
the Mix window. When this option is disabled,
level meters are not displayed in Send Assignments on tracks.
Show Track Gain Reduction Meter
(Pro Tools HD Only)

Enable the Show Track Gain Reductions Meter option to show Gain Reduction meters in tracks on
audio, Auxiliary Input, Instrument, and Master
Fader tracks in the Mix window. Note that even
when this option is enabled, Gain Reduction meters are only displayed for those tracks with supported dynamics plug-in inserted. When this option is disabled, Gain Reduction meters are not
displayed on tracks.
Show Insert Assignments Gain Reduction
Meter
(Pro Tools HD Only)

Enable the Show Insert Assignment Gain Reductions Meter option to show Gain Reduction meters
in Insert Assignments on audio, Auxiliary Input,
Instrument, and Master Fader tracks in the Mix
window. Note that even when this option is enabled, Gain Reduction meters are only displayed
for those tracks with supported dynamics plug-in
inserted. When this option is disabled, Gain Reduction meters are not displayed in Insert Assignments on tracks.

None When selected, meters do not hold the clip

indication.

Chapter 8: Preferences

115

Gain Reduction Meter Type

(Pro Tools HD Only)

Processing Preferences

The Gain Reduction Meter Type settings determine

which dynamics processing plug-ins display Gain
Reduction meters on audio, Auxiliary Input, Instrument, and Master Fader tracks in the Mix window. Note that even Gain Reduction Meters are
only displayed for those tracks with supported dynamics plug-in of the corresponding type inserted.
Compressor/Limiter When selected, only gain re-

duction applied by Compressor/Limiter plug-ins

on tracks are displayed in the gain reduction meter.
Expander/Gate When selected, only gain reduction applied by Expander/Gate plug-ins on tracks
are displayed in the gain reduction meter.
Priority Compressor/Limiter When selected, if a
Compressor/Limiter is inserted on a track, only
gain reduction applied by Compressor/Limiter
plug-ins is displayed in the gain reduction meter.
However, if no Compressor/Limiter plug-in is on a
track, any gain reduction applied by other dynamics processing plug-ins on the track is displayed on
that track.
Priority Expander/Gate When selected, if an Ex-

pander/Gate plug-in is inserted on a track, only

gain reduction applied by Expander/Gate plug-ins
is displayed in the gain reduction meter. However,
if no Expander/Gate plug-in is on a track, any gain
reduction applied by other dynamics processing
plug-ins on the track is displayed on that track.
All Summed When selected, the sum of all gain
reduction applied on a track by dynamics plug-ins
inserted on that track is displayed in the gain reduction meter.

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AudioSuite Section
Default Handle Length

The Default Handle Length options let you set the

default length for AudioSuite and clip gain handles.
Whole File When enabled, AudioSuite and clip
gain rendering renders the whole file referenced by
the selection or clip.
Length This setting lets you specify the default

Handle Length (from 0.00 to 60.00 seconds) for

AudioSuite and clip gain rendering. AudioSuite
and clip gain rendering renders the selection plus
any additional available audio up to the specified
Handle Length.

Import Section
Convert Imported WAV Files To AES31/BroadcastWave When selected, this option applies to all

newly imported WAV files, making them compliant with the AES31/EBU Broadcast standard.
Automatically Copy Files on Import When selected, all audio files that are imported by dragging
and dropping are copied to the current sessions
Audio Files folder, regardless of whether the files
need to be converted to the current sessions file
type, bit depth or sample rate. Additionally, when
selected, the Copy from Source Media option is automatically enabled in the Import Session Data dialog. The Automatically Copy Files on Import preference does not affect the Import Audio command.
Convert Copied Files to Session Format When
selected, files that have different file formats from
the current session file format are copied and converted to the current session audio file format on
import. For example, if the session file format is
WAV and you import an AIF, the files is copied
and converted to WAV on import. When this option is not selected, copied files retain their original
format (unless that file format is incompatible with
Pro Tools, in which case it must be converted).
Do Not Convert Sample Rate on Import When selected, files with different sample rates than the
session sample rate are not automatically converted when imported into the session. This means
that files with mis-matched sample rates playback
at a different speed (and pitch transpositions than
when they were originally recorded (or converted).
Import REX Files as Clip Groups When selected,
REX flies are imported as clip groups, all the underlying slices are imported as individual clips
contained within the clip group. When this option
is not selected, importing REX files into a session
converts them to the sessions audio file format,

the individual slices are consolidated, and the slice

information is used for Elastic Audio analysis.
These files remain tick-based after import and conversion.
Automatically Create Fades When selected,
crossfades are applied automatically to the sliced
clips within clip groups created by importing REX
files. If the Import REX Files as Clip Groups option
is not selected, the Automatically Create Fades option is not available.

To change the default fade settings for REX files,

click the REX button in the Default Fade Settings
section on the Editing Preferences page.
Drag and Drop From Desktop Conforms to
Session Tempo

The Drag and Drop From Desktop Conforms to

Session Tempo options determine whether or not
REX, ACID, and audio files are imported as tickbased Elastic Audio and conformed to the session
tempo.
No Files When enabled, REX and ACID files, and

all other audio files are not conformed to the session tempo when imported by drag and drop from
Windows Explorer or the Mac Finder. They are
imported as sample-based files and converted to
the sessions audio file format.
REX and ACID Files Only When enabled, only
REX and ACID files are conformed to the session
tempo when imported by drag and drop from Windows Explorer or the Mac Finder. REX files are
imported either as tick-based Elastic Audio or, if
the Import REX Files as Clip Groups option is enabled, as tick-based clip groups.
All Files When enabled, all audio files (including

REX and ACID files) imported by drag and drop

from Windows Explorer or the Mac Finder are imported as tick-based Elastic Audio and conform to
the session tempo.

Chapter 8: Preferences

117

Sample Rate Conversion Quality

The Sample Rate Conversion Quality pop-up menu

lets you select the default sample rate conversion
quality for importing audio files by drag and drop
from any Workspace browser, or Windows Explorer or Mac Finder. The higher the quality of
sample rate conversion you select, the longer
Pro Tools will take to process the audio file.

TC/E (Time Compression/

Expansion) Section
TC/E Plug-In Lets you select the plug-in used for

Time Compression and Expansion when you edit

audio with the Time Compression/Expansion Trim
tool. This Trim tool works by using Time Compression/Expansion to match an audio clip to the
length of another clip, a tempo grid, a video scene,
or other reference point. The Time Shift plug-in is
selected by default.
Default Settings Specifies the default settings
used by the chosen Time Compression/Expansion
plug-in.

Elastic Audio Section

These preferences determine Elastic Audio usage
and settings on new tracks, as well as for previewing and importing tick-based audio.
Default Plug-In Lets you select any Real-Time

Elastic Audio plug-in as the default for previewing

and importing Elastic Audio. The selected default
Elastic Audio plug-in is also used when new tracks
are created with the Enable Elastic Audio on New
Tracks option enabled.
Default Input Gain Lets you attenuate the signal

input to Elastic Audio plug-ins by 0 to 6 dB for

preview and import. If you experience clipping
due to Elastic Audio processing during preview or
after import, you may want to set the Default Input

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Pro Tools Reference Guide

Gain to slightly attenuate the audio signal input for

Elastic Audio processing. This preference also applies to any audio imported to an Elastic Audio-enabled track.

The Elastic Properties window inherits the

Default Input Gain setting. To apply further clipbased input gain attenuation for Elastic Audio processing, select the clip and adjust the Input Gain
setting in the Elastic Properties window (see Elastic Properties Window on page 860).
Enable Elastic Audio on New Tracks When se-

lected, new tracks are created with Elastic Audio

enabled. The selected default Elastic Audio plugin is used.
If the Enable Elastic Audio on New Tracks
option is selected, you may want to also select the New Tracks Default to Tick Timebase option in the Editing Preferences page.

DSP Management Section

(HDX Systems Only)

These preferences determine DSP management

behavior for converting DSP plug-ins to Native
and also for the HEAT software option.
Open Unresourced DSP Plug-Ins as
Native When this option is enabled, any DSP plug-

ins that exceed the available DSP processing are

converted to Native format plug-ins wherever possible. When this option is disabled, any DSP plugins that exceed the available DSP processing are
made inactive.
Enable HEAT in New Sessions (HDX Systems
Only) When enabled, new sessions are created

with HEAT enabled for all audio tracks. When disabled, HEAT is disabled in new sessions by default. This option is only available if the HEAT
software option is installed. For more information,
see the HEAT Software Option Guide.

MIDI Preferences

Default Thru Instrument

This option lets you set the default MIDI Thru instrument. You can select a predefined device from
your available MIDI instruments, or select First
Selected MIDI Track to use the assigned MIDI output of the first selected MIDI or Instrument track.
When multiple MIDI or Instrument tracks are selected, the instrument in the selected track that is
closest to the top of the Edit window (or closest to
the left edge of the Mix window) is used. Select
None to only route MIDI Thru record enabled
MIDI and Instrument tracks.
Pencil Tool Resolution When Drawing
Controller Data

Basics Section
Remove Range Selection After Opening the
MIDI/Score Editor When selected, the MIDI Editor

and Score Editor open with no Edit selection.

When this option is disabled, the MIDI Editor and
Score Editor open with the current Edit selection
intact.
Use MIDI to Tap Tempo When enabled, you can
tap a MIDI keyboard to enter a new tempo value
into a tempo field.
Display Events as Modified by Real-Time Properties When enabled, Pro Tools displays the effects

of Real-Time Properties in the Edit, MIDI Editor,

and Score Editor windows, and the MIDI Event
List.
Use F11 Key for Wait for Note When enabled,

This option lets you set the default resolution for

MIDI controller data created with the Pencil tool.
Setting this to a lower resolution helps avoid creating controller data that is unnecessarily dense. The
value range is from 1 to 100 milliseconds.
Global MIDI Playback Offset

This option lets you set an offset in samples to

compensate for MIDI latency. Entering a value
here has the same effect as setting an offset with
the MIDI Track Offsets command. Offset values
can be positive (later) or negative (earlier).
Double-Clicking a MIDI Clip Opens

This option lets you specify what happens when

you double-click MIDI clips with the Grabber tool.
MIDI Editor Opens the MIDI clip in a MIDI Editor

window.
Score Editor Opens the MIDI clip in the Score Ed-

pressing the F11 Function key puts MIDI recording in Wait for Note mode.

itor window.

Automatically Create Click Track in New

Sessions When enabled, Pro Tools automatically

Event List.

creates a new click track in new sessions.

Name Dialog Opens the Name dialog for the MIDI

MIDI Event List Opens the MIDI clip in the MIDI

clip.
Chapter 8: Preferences

119

Note Display Options

These options set the reference for middle C as C3,
C4, or MIDI note number 60.

Synchronization Preferences

Delay Compensation for

External Devices Options
These options only apply when a Delay Compensation Engine is selected in the Playback Engine
and Delay Compensation is enabled in Pro Tools.
These options are distinct from the hardware offsets available for hardware inserts in the I/O Setup.
MIDI Timecode When selected, Pro Tools applies
Delay Compensation to Pro Tools-generated
MIDI Timecode (MTC). Enable this option when
synchronizing video to Pro Tools using MTC.
MIDI Beat Clock When selected, Pro Tools applies

Delay Compensation to Pro Tools-generated

MIDI Beat Clock.
MIDI Notes and Controllers When selected,

Pro Tools applies Delay Compensation to MIDI

notes and MIDI controller data. This is useful
when monitoring playback or when recording input from external MIDI devices.

MIDI/Score Editor Display

Additional Empty Bars in the Score Editor

This setting lets you specify the default number of

empty bars that appear in the Score Editor window
after the end of the last MIDI clip in the session.

Machine Control Section

Machine Chases Memory Location When se-

lected, navigating to a specific location in a session

with a Memory Location causes a connected transport to chase to that location.
Machine Follows Edit Insertion/Scrub When selected, navigating to a specific location in a session
by moving the selection point or by scrubbing a
track will cause a connected transport to chase to
that location.

When the connected device is a linear device (such

as a tape deck), select Linear Devices (jog) to set
Pro Tools to send jog commands.
When the connected device is a non-linear
device (such as a random-access video recorder or
another Pro Tools system), select Non-Linear Devices (cue) to set Pro Tools to send cue
commands.

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Machine Cues Intelligently (HDX and HD Native

Systems Only) When selected, if you navigate to a

Delay Before Locking to Longitudinal Timecode

(HDX and HD Native Systems Only) Sets the

cue point that is more than 10 seconds from the

current location, Pro Tools will command a connected transport to fast wind to the new location at
full speed to within 10 seconds of the cue point.
Cueing will then slow to normal speed until the
point is reached. This can significantly speed up
tape cueing with certain video transports.

amount of time (in frames) for Pro Tools to lock to

incoming LTC. Use this option when locking
Pro Tools to a stable timecode source (such as a
non-linear tape machine or LTC generator) and not
a linear tape machine.

Stop at Shuttle Speed Zero (HDX and HD Native

Systems Only) Causes Pro Tools to send a Stop

time (in frames) for Pro Tools to wait before attempting to lock to machines that issue servo lock
messages. This setting allows time for the servo
mechanisms to achieve stable lock.

command whenever you stop shuttling. This is

useful if you have a machine that requires an explicit stop command to park correctly.
Non-Linear Transport Error Suppression (HDX
and HD Native Systems Only) When Transport =

Pro Tools, keeps Pro Tools from sending a Stop

command when taken offline. This prevents
Pro Tools from stopping any other 9-pin devices
connected to the system.

Synchronization Section
Minimum Sync Delay Sets the initial amount of

prime time (in frames) your systems devices need

to achieve synchronization lock. This amount
varies for each device. Pro Tools lock up delay is
set by entering a value for Minimum Sync Delay in
the Synchronization page of the Preferences. The
lowest value available is 15 frames. Find the shortest possible lock-up time that your equipment can
operate at consistently, and set this as the Minimum
Sync Delay. On systems using MachineControl,
enabling the Use Serial Timecode option will
make machines lock up much faster. (Serial timecode requires both a qualified synchronization peripheral and external devices to be locked to house
video reference.)

Delay Before Locking to Serial Timecode (HDX

and HD Native Systems Only) Sets the amount of

Remote Mode Section

(HDX and HD Native Systems Only)
Ignore Track Arming Sets Pro Tools to ignore in-

coming track arming (record enable) commands.

This is useful if you are using a master controller to
arm tracks on other machines, but you do not want
to arm tracks in Pro Tools.
Set Servo Lock Bit at Play Enable this option
when using a synchronizer to control Pro Tools in
Remote mode to minimize lock-up times during
recording.
Allow 9-Pin Track Arm Commands in Local
Mode Sets Pro Tools to respond to incoming track

arming (record enable) commands even when the

system is not in Remote mode. This is useful if you
are using a paddle device to control Pro Tools
track arming or punching.
Allow 9-Pin Transport Commands in Local
Mode Sets Pro Tools to respond to incoming trans-

port commands even when the system is not in Remote mode. This is useful when using Satellite
Link in conjunction with a 9-pin controller. You
can receive the transport controls from the 9-pin
controller, but not experience the lag-time associated with a 9-pin device.

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121

Punch In Frame Offset Sets an offset (in frames)

to compensate for punch in timing advances or
delays.
Punch Out Frame Offset Sets an offset (in frames)

to compensate for punch out timing advances or

delays.
Delay After Play Command Sets the amount of
time (in frames) for Pro Tools to wait after receiving a Play command before starting the audio engine. This can prevent false starts when locking to
synchronizers that are not fully supported by
Pro Tools.

Satellites Section
(HDX and HD Native Systems Only)

Satellite Link lets you link up to 12 Pro Tools HD

systems, or 11 Pro Tools HD systems and an Avid
Video Satellite (Media Composer or Avid Symphony Nitris DX) or a Pro Tools Video Satellite
system, over an Ethernet network so that you can
cue, play, and stop the transport, make play selections, and solo tracks across any of the systems
from any linked workstation.
Transmit Solos Causes a linked Pro Tools system
to send the solo status of its tracks to all other
linked Pro Tools systems. On other linked systems
that are set to receive solos, tracks follow solo behavior as if the solo were on the local system.
Receive Solos Causes a linked Pro Tools system

to receive solos from all other linked Pro Tools

systems that are set to transmit solo status of their
tracks. Tracks on the receiving system follows solo
behavior as if the solos were on the local system.
Solo Independent of Linked State Causes a
Pro Tools system to send the solo status of its
tracks to other satellite systems even when it is unlinked. This allows control of solo status across
systems even when transport control is not enabled.
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AAE Errors Stop All Linked Systems Causes an

AAE error on any linked Pro Tools system to stop

the transport on all linked systems. When this option is not selected, linked systems will not stop if
an AAE error occurs on one system.
Transmit Play Selections Causes a linked
Pro Tools system to send the Edit window selection to all other linked Pro Tools systems. On other
linked systems that are set to receive play selections, the selection is mirrored in the Edit window.
Receive Play Selections Causes a linked
Pro Tools system to receive Edit window selections from all other linked Pro Tools systems that
are set to transmit play selections.

Global and Local Preferences

Operation Preferences
Latch Forward/Rewind

Pro Tools preferences are either global (systemwide) or local (for the current session only).

Custom Shuttle Lock Speed

Global (System-Wide) Preferences Global prefer-

Back/Forward Amount (Pro Tools HD only)

ences are applied to all sessions. These preferences

become the default preferences for any existing
sessions that you subsequently open or any new
sessions that are created.
Local (Current Session) Preferences Local pref-

erences are applied to the current session (if one is

open). Local preferences are not applied to older
sessions that are subsequently opened.
Preferences and New Sessions

Custom FF/REW Speed

PEC/Direct Style Input Monitoring
(Pro Tools HD only)
DestructivePunch File Length
(Pro Tools HD only)
Clip Auto Fade In/Out Length
(Pro Tools HD Only)
Delay Comp Time Mode
Compensate side chains
(HDX systems only)

New sessions use global preference settings, plus

the most recent local preference settings. The most
recent local settings refer to the last open session
(unless subsequent changes were made in the Preferences from the application window).

Editing Preferences

Local (Session Only)

Preferences

Metering Preferences

All Preferences are global (system-wide), except

for the following, which are local:

Processing Preferences

Display Preferences
Edit Window Default Length
Always Display Marker Colors
Default Track Color Coding options
Default Clip Color Coding options

None
Mixing Preferences
Coalesce When Removing Slaves from VCA
Group (Pro Tools HD only)
None
Convert Imported WAV Files To
AES31/BroadcastWave
MIDI Preferences
Display Events as Modified by Real-Time
Properties
Automatically Create Click Track in New
Sessions
Default Thru Instrument
Pencil Tool Resolution When Drawing Controller Data
Delay for External Devices Options
Synchronization Preferences
None

Chapter 8: Preferences

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Chapter 9: Peripherals
The settings in the Peripherals dialog define how
Pro Tools works with various audio, synchronization and controller devices, as well as with
VENUE systems.
To configure settings for Pro Tools peripherals:
1

Choose Setup > Peripherals.

Click the tab for the type of peripheral you want

to configure.

Change the settings.

Click OK to save your changes and close the

Peripherals dialog.

Synchronization
The Synchronization page lets you configure
Pro Tools for use with MIDI Timecode and a synchronization peripheral.
For information about synchronization
peripherals, see the SYNC HD Guide.

Chapter 9: Peripherals

125

MTC Reader and Generator

The MIDI Timecode (MTC) settings let you select
the MIDI In and Out ports for MTC.
MTC Reader Port The MTC Reader Port setting
lets you select the MIDI In port to which the MTC
slave device is connected (the source of MTC information from the slave device).
MTC Generator Port The MTC Generator Port setting lets you select the MIDI Out port to which the
master device is connected (this the destination of
MTC information from Pro Tools).

Synchronization Device
(Pro Tool HDX and HD Native Systems Only)

The Synchronization Device settings let you configure a synchronization peripheral (SYNC HD).
Enable SYNC Peripheral

When this option is selected, any connected synchronization peripheral is enabled for use with
Pro Tools.

ripheral reverts to the selected sample rate. If Pitch

Memory is disabled and the selected external clock
reference is not available, then the synchronization
peripheral reverts to the nominal, selected internal
sample rate setting.
Idle MTC Enabled

When this option is selected, MTC is continuously

output. When not enabled, MTC output is muted
when playback is idle.
LTC Output Level

This setting adjusts the analog audio level of the

LTC output, from 24 dBu to +9 dBu.
VITC Read Lines

This setting determines which line pair of incoming video signal is used for the VITC source. When
set to Auto, the synchronization peripheral
searches for the first valid line pair automatically.
Alternatively, this value can be set to specific
VITC line pairs.
VITC Generate Lines

Current Firmware Version

This displays the firmware version for the connected synchronization peripheral, such as a
SYNC HD.

This setting determines the line pair of the outgoing video signal onto which the synchronization
peripheral inserts VITC. Normally, this should be
left at the default (and preferred) setting of 14/16.

VITC Insertion Enabled

Bi-Phase/Tach Wiring

When this option is selected, VITC is inserted into

the outgoing video signalassuming that a video
signal is present at a synchronization peripheral
video input, and that the synchronization peripheral is in a valid mode for inserting VITC.

This setting lets you select from the following options for Bi-Phase or Tach wiring:
Bi-Phase: FWD = A leads B
Bi-Phase: FWD = B leads A
Tach:FWD = B is Low

Pitch Memory Enabled

When this option is selected, the synchronization

peripheral will remain at a pitch (sample rate) that
corresponds to the last known incoming timecode
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Tach: FWD = B is High

Bi-Phase/Tach Pulses/Frame (2254)

Color Sets the color of the timecode numbers and

There are several different standards for the number of pulses-per-frame output by Bi-Phase or
Tach devices. You can set the synchronization peripheral to operate from 2 to 254 pulses per frame
from Pro Tools. The setting should match the PPF
rate of the Bi-Phase/Tach encoder on the external
device.

background of the window dub. The choices include White on Black Bkgnd, Black on White Bkgnd, White on Video Bkgnd, or Black on Video
Bkgnd. (Video Bkgnd means that the background
of the window dub is transparent, so that the timecode numbers are displayed directly on top of the
video signal, without a contrasting background
box.) The default setting is White on Black Bkgnd.

Reset Bi-Phase

This button lets you set the Bi-Phase/Tach start

frame from Pro Tools. Click the button to update
the Timecode Display on the synchronization peripheral to match the session timecode value.
Enable Dub Window

When this option is selected, you can insert a timecode window into a video signal with the following Window dub appearance settings:

Machine Control
The Machine Control page lets you configure
Pro Tools for use with MIDI Machine Control or
9-Pin Machine Control.
For information about the MachineControl
Software Option for Pro Tools, see the
MachineControl Guide.

Vertical Position Sets the vertical position of the

window dub, relative to the bottom of the video

picture. The choices range from 10% From Bottom
to 50% From Bottom, in 10% increments.
10% from Bottom vertical position is outside the standard safe title area, which
means it may not be visible on some video
monitors.
Horizontal Position Sets the relative horizontal

position of the window dub within the video picture. The choices include Extreme Left, Left, Center, Right and Extreme Right.
The Extreme horizontal positions are outside the standard safe title area, which
means they may not be visible on some video
monitors.
Size Sets the relative size of the window dub

(Small or Large).

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127

MIDI Machine Control (Master)

MIDI Machine Control (Slave)

Pro Tools provides the following for configuring

MIDI Machine Control (Master) settings.

Pro Tools provides the following for configuring

MIDI Machine Control (Slave) settings.

Enable

Enable

When the Enable option is selected, Pro Tools is

the Master and it sends MMC commands to the
slave device and receives MTC information back
from the slave device.

When the Enable option is selected, Pro Tools is

the slave and it receives MMC commands from the
master device and sends MTC information back to
the slave device.

MIDI Out Port

MMC ID

The MIDI Out Port pop-up menu lets you select the
MIDI Out port to which the slave device is connected.

The MMC ID setting lets you specify the MMC ID

number for which MMC information will be received.

MMC ID

9-Pin Machine Control (Deck

Control)

The MMC ID setting lets you specify the MMC ID

number for which MMC information will be sent.
MMC commands contain an ID number to identify
which machine should respond to the MMC command. There are 128 MMC ID numbers, from
0127. The default of ID #127 is a special setting
that transmits to all 128 MMC IDs. With a setting
of 127, Pro Tools will transmit MMC commands
to all MMC IDs.
Preroll

The Preroll setting lets you specify a pre-roll time

in frames for your MMC slave device. Pre-roll is
needed to provide the device with sufficient time
to lock to the timecode transmitted by Pro Tools.
This value will vary depending on the external device. If the pre-roll time is insufficient, the device
may not be ready to lock until after the current
timecode position has passed.

(HDX and HD Native Systems with

MachineControl Only)

The 9-Pin Machine Control (Deck Control) settings

let you configure a Machine Control device for Serial Deck Control mode with Pro Tools. Serial
Deck Control mode is available whenever Machine Control is connected using the Serial Deck
Control cable. When connected for Serial Deck
Control mode, Machine Control enables all
Pro Tools track arming, synchronization, and
Transport features, as available on your system.
Serial Deck Control mode also supports 9-pin serial timecode.
Enable

When the Enable option is selected, Pro Tools is in

Serial Deck Control mode.
Port

The Port setting lets you select the 9-pin Machine

Control port. The available choices depend on
your platform and configuration

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Machine Type

Machine Type

After you select a port, Pro Tools automatically

polls the port to see what kind of machine is connected. If the machine is recognized, Pro Tools
loads the corresponding Machine Type. This includes the corresponding track layout and automatically enters the name of that machine into the
Machine Track Arming window. However, if the
machine is not recognized, the Generic 1 personality is automatically loaded.

The Machine Type setting lets you select the machine description for specific machine controllers
(such as the Soundmaster ATOM). By default,
Pro Tools emulates a Sony BVW-75.

Preroll

The Preroll setting lets you specify a variable

amount of machine preroll to account for the time
it may take the machine to achieve servo lock.
Shorter preroll values are usually better for nonlinear machines. Longer preroll values are usually
better for older tape transports. The Machine preroll value is added to any preroll specified in the
Transport window.

9-Pin Remote (Deck Emulation)

Chase LTC

When Chase LTC is enabled, Pro Tools still responds to track arming and record commands.
However, Pro Tools will chase incoming LTC instead of behaving as a master or slave device with
the machine controller. By slaving Pro Tools to the
LTC source instead of slaving the machine to
Pro Tools timecode, you can avoid the waiting
(and tape wear) that occurs while a machine transport locates and bumps tape to the cue point.

MIDI Controllers
The MIDI Controllers page lets you configure up
to four different MIDI controllers for Pro Tools.

(HDX and HD Native Systems with

MachineControl Only)

The 9-Pin Remote (Deck Emulation) settings let

you configure Pro Tools for 9-Pin Remote (Deck
Emulation) mode. This mode makes Pro Tools operate as a virtual tape deck, supporting most standard Sony P2 9-pin commands. By default,
Pro Tools emulates a Sony BVW-75 model video
deck. You can also configure Pro Tools to emulate
other machines.
Enable

When the Enable option is selected, Pro Tools is in

9-Pin Remote (Deck Emulation) mode.
Port

The Port setting lets you select the 9-pin MachineControl port. The available choices depend on
your platform and configuration
Chapter 9: Peripherals

129

Number and Color

The number of the row indicates the order of the

selected controllers. The color corresponds to the
controller focus around Pro Tools track and plugin controls.

Ethernet Controllers
The Ethernet Controllers page lets you configure
up to seven different Ethernet controllers for
Pro Tools.

Type

The Type setting lets you select the MIDI controller connected to your computer. Choose from any
of the following types of MIDI controllers:
Command|8
HUI
Surround Panner
M-Audio Keyboard
Receive From

The Receive From setting lets you select the MIDI

In port to which your MIDI controller is connected.
Send To

The Send To setting lets you select the MIDI Out

port to which your MIDI controller is connected.

Enable

When selected, Pro Tools is enabled for control by

one or more Ethernet controllers (such as D-Command or C|24).
Ethernet Port

Number of Channels

The Number of Channels (# Chs) setting displays

the number of control channels supported by the
selected MIDI controller type.

The Ethernet Port setting lets you specify the

Ethernet port on your computer to which your controller is connected.
Number and Color

The number of the row indicates the order of the

selected controllers. The color corresponds to the
colored controller focus border around Pro Tools
track and plug-in controls.
Ethernet Controller

From the Ethernet Controller pop-up menu, select

the Ethernet controller that you want to use.

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Name

Type

Click the Name button to enter a name for the selected Ethernet controller.

The Type setting lets you select none or PRE.

Select the PRE option to declare any connected
PRE.

Enable EUCON (Extended User Control)

When selected, Pro Tools is enabled for control by

one or more EUCON-compatible controllers. EUCON is an innovative high-speed Ethernet protocol developed by Avid to allow hardware control
surface to directly communicate with a software
application.
For more information about using Pro Tools
with EUCON, see the documentation
included with your controller.

Mic Preamps
The Mic Preamps page lets you configure up to
nine different Mic Preamps (PRE) for Pro Tools.
For information about the PRE, see the
PRE Guide.

Receive From

The Receive From setting lets you specify the

MIDI In port to which the PRE is connected.
Send To

The Send To setting lets you specify the MIDI Out

port to which the PRE is connected.
Defaults

Click the Reset button reset the corresponding

PRE to its default settings.
Retain Current Settings

Select the Retain Current Settings option to retain

PRE channel settings when an existing session
with different settings is loaded. New sessions will
automatically retain the current settings.
Remote Lock-Out Mode

When the Remote Lock-Out Mode option is selected, all connected PREs ignore their front panel
controls.

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131

Satellites
The Satellites page lets you configure synchronization between multiple Pro Tools systems (including an Avid Video Satellite system) using Satellite Link.
Satellite Link lets you link up to 12 HDX or
HD Native systems (or any combinations of 11
HDX or HD Native systems and an Avid Video
Satellite system or a Pro Tools Video Satellite system) over an Ethernet network so that you can cue,
play, and stop the transport, make play selections,
and solo tracks across any of the systems from any
linked workstation.
Media Composer Video Satellite lets you link an
HDX or HD Native system and a Media Composer
system for monitoring Avid video. Pro Tools
Video Satellite lets you link an HDX or HD Native
system and a Pro Tools host-based system for
monitoring Avid or QuickTime video.
For more information, see Chapter 53,
Satellite Link.

System Name

Type a name for the local system. This name

appears in the list of available satellites in other
connected systems with the Satellite Link option.
Mode

The Mode settings let you configure the satellite

behavior of the local system.
Administrator When enabled, the Administrator
option sets the local system to be the administrator
system for any satellite systems on the network.
Satellite systems can be declared from the administrator system.
Satellite When enabled, the Satellite option sets

the local system to be a satellite system on the network. When a system is in Satellite mode, it becomes available to be declared as a satellite from
any administrator system on the network.
Administrator

When the local system is in Administrator mode,

the Administrator settings let you declare satellites
from that system.
System 112 These pop-up menus let you declare

up to 11 satellite systems (in addition to the administrator system itself) from an administrator system. The number of the system indicates the order
of the declared satellites in the Transport window.

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VENUE
The VENUE page lets you configure Pro Tools for
use with a VENUE system over Ethernet using
VENUE Link.
Pro Tools VENUE Link lets you import VENUE
Settings into Pro Tools, create Pro Tools markers
from VENUE Snapshots, and locate to Pro Tools
markers from VENUE Snapshots.

Advanced Network Settings

The Advanced Network settings let you specify an

IP address and port for VENUE Link communication.
Interface For systems that have more than one
Ethernet network connection, the Interface setting

lets you select which connection to use for

VENUE Link communication.
TCP/UDP Port For systems that have more than
one Ethernet network connection, you can enter
the TCP/UDP port number to be used for VENUE
Link communication.

System Name

The System Name field lets you enter a name for

your Pro Tools system.
VENUE System

The VENUE System selector lets you select a remote VENUE system for recording to (or playback
from) your Pro Tools system. You can also manually enter the IP addresses of the VENUE system.

Chapter 9: Peripherals

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Chapter 10: Configuring MIDI

If you are using external MIDI devices with
Pro Tools (such as controllers or sound modules),
you can customize your MIDI studio setup to display the names of your MIDI devices in Pro Tools.

If the MIDI Studio window is not showing,

choose Window > MIDI Studio.

MIDI Studio Setup (Mac)

Pro Tools recognizes the ports on your MIDI interface as generic ports. With Mac OS X, you use Apples Audio MIDI Setup (AMS) utility to identify
external MIDI devices connected to your MIDI interface and configure your MIDI studio for use
with Pro Tools.
To ensure optimum performance, do not
change the AMS configuration while
Pro Tools is playing back. Stop the Pro Tools
transport before launching AMS.

Audio MIDI Setup (MIDI Devices tab)

AMS scans your system for connected MIDI interfaces. If your MIDI interface is properly connected, it appears in the window with each of its
ports numbered.
3

To create a custom MIDI device for any external MIDI devices connected to your MIDI interface, click Add Device. A new external device
icon with the default MIDI keyboard image
appears.

Drag the new device icon to a convenient location within the window.

To configure your MIDI studio in AMS:

1

Do one of the following:

Launch Audio MIDI Setup (located in

Applications/Utilities).
In Pro Tools, choose Setup > MIDI > MIDI
Studio.

Chapter 10: Configuring MIDI

135

Connect the MIDI device to the MIDI interface

by clicking the arrow for the appropriate output
port of the device and dragging a connection or
cable to the input arrow of the corresponding
port of the MIDI interface.

Select a manufacturer and model for the new

device from the corresponding pop-up menus.
(If the Manufacturer and Model pop-up menus
do not provide a name for your particular device, you can type a name.)

Naming a new MIDI device

Making MIDI input and output connections

6

Click the arrow for the appropriate input port of

the device and drag a cable to the output arrow
of the corresponding port of the MIDI interface.
To remove a connection, select the cable and
press Delete.

Repeat steps 36 for each MIDI device in your

MIDI setup.

To customize an external MIDI device in AMS:

1

Select the external device icon and click Show

Info (or double-click the new device icon).

For Manufacturer and Model names, AMS

refers to one or more files with the suffix
.middev in the directory Root/Library/
Audio/MIDI Devices. Pro Tools installs a file
that contains information for many commercially available MIDI devices, named
Digidesign Device List.middev. If the
Manufacturer or Model names for any of
your external MIDI devices is not available in
the AMS Manufacturer and Model pop-up
menus, you can add them by editing the
.middev file in any text editor (such as
TextEdit).
For more information, see MIDI Patch
Names on page 664.

External Device Icon

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Click the More Information arrow to expand the

dialog, then enable the appropriate MIDI channels (116) for the Transmits and Receives options. (These determine which channels the
device will use to send and receive MIDI.)

Click the device image. The window expands to

show images for various MIDI devices (such as
keyboards, modules, interfaces, and mixers).
Select an icon for your device.

Selecting a device icon

Enabling MIDI channels

To use your own custom icons, you can place

TIFF image files in /Library/Audio/MIDI Devices/Generic/Images, and they will appear as
choices in the AMS device window.
5

Select a device image and click Apply.

Close the AMS window to quit the AMS application.

The device names you enter appear as MIDI

input and output choices in Pro Tools.

Chapter 10: Configuring MIDI

137

MIDI Studio Setup (Windows)

MIDI Studio Setup (MSS) lets you configure the
MIDI controllers and sound modules that are connected to your system, and control the routing of
MIDI data between your MIDI equipment and
Pro Tools.
MSS automatically finds MIDI interfaces, and lets
you specify a custom name for each of the MIDI
ports within the MIDI Studio Setup document.
MSS also supports XML-based patch file names
for storing and importing patch names for your external MIDI devices.

Interface Controls
Create Adds a new instrument to the Instrument

Name list.

Entire MIDI Studio Setup configurations created

within MSS can be imported and exported.

Delete Deletes the instrument or instruments

selected in the Instrument Name list.

To configure your MIDI studio with MSS:

Import Imports an existing MIDI Studio Setup file.

In Pro Tools, choose Setup > MIDI > MIDI

Studio.

Configure the MIDI Studio Setup windows.

When you are finished configuring the MIDI

Studio Setup, close the MIDI Studio Setup
window.

MIDI Studio Setup Window

The MIDI Studio Setup window is organized into
three sections. Interface controls are at the top of
the window. All the currently defined instruments
are displayed in the Instrument Name list on the
left side of the window. A detailed view of MIDI
parameters is shown in the Properties section on
the right.

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MIDI Studio Setup window

Pro Tools Reference Guide

Export Exports the current MIDI Studio Setup file.

Show Duplicate Emulated Ports When this option

is selected and you are using a MIDI interface that

supports time-stamping, the MIDI Studio setup
window shows both the DirectMusic time-stamped
output ports, and non-stamped duplicate emulated
output ports.
Some MIDI Interfaces will not properly load
or unload their drivers unless you quit and
re-launch Pro Tools. Refer to the documentation that came with your MIDI interface for
more information.
Instrument List

The Instrument list contains all the currently defined instruments. Selecting an instrument in the
list displays that instruments properties in the
Properties section of the window.

Properties Section

Instrument Name

The Properties section lets you edit information for

new instruments, or instrument currently selected
in the Instrument list.

The Instrument Name field shows the user-definable instrument name for the currently selected instrument.

When a previously defined instrument is selected

in the Instrument list, the Properties section
changes to reflect the properties of the selected instrument.

Manufacturer

To define an instrument with MIDI Studio Setup:

1

Choose Setup > MIDI > MIDI Studio.

Click Create.

In the Instrument Name field, type the name of

your instrument, and press Enter.
If you do not enter an instrument name, the
Instrument Name field will automatically inherit information from the Manufacturer and
Model pop-up menu.

Set a manufacturer and model for the new device from the corresponding pop-up menus. If
the Manufacturer and Model pop-up menus do
not provide a name for your particular device,
choose None.

From the Input pop-up menu, choose the input

port on your MIDI interface that is connected to
the MIDI Out of your instrument.

From the Output pop-up menu, choose the output port on your MIDI interface that is connected to the MIDI In of your instrument.

Enable the appropriate MIDI channels (116)

for the Send Channels and Receive Channels
options (These determine which channels send
and receive MIDI.)

The Manufacturer pop-up menu provides a list of

MIDI equipment manufacturers. This list is derived from the XML-based MIDI device files.
For more information, see MIDI Patch
Names on page 664.
Model

The Model pop-up menu provides a list of MIDI

devices, filtered by the manufacturer name. This
list is derived from the XML-based MIDI device
files provided with your Pro Tools installation.
For more information, see MIDI Patch
Names on page 664.
Input Port

The Input Port pop-up menu displays a list of

available MIDI interface input ports. The MIDI interface port that is set and displayed here is the port
through which MIDI data is sent from the external
MIDI device specified in the Instrument Name
field into your MIDI interface.
If you set the input port to None, the defined
instrument will not appear as a choice in a
MIDI Input Selector.

Chapter 10: Configuring MIDI

139

Output Port

The Output Port pop-up menu displays a list of

available MIDI interface output ports. The port set
and displayed here is the port through which MIDI
data is sent from your MIDI interface to the MIDI
device specified in the Instrument Name field.
If you set the output port to None, the
defined instrument will not appear as a
choice in a MIDI Output Selector.
Send Channels

The Send Channels grid sets the send channels for

the MIDI device specified in the Instrument Name
field.
Receive Channels

The Receive Channels grid sets the receive channels for the MIDI device specified in the Instrument Name field.

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Part III: Sessions & Tracks

Chapter 11: Sessions

The first step in beginning a Pro Tools project is
creating a new session. Sessions are represented by
session files that can be saved, copied and made
into templates.

Quick Start Session Dialog

Pro Tools provides a Quick Start dialog on launch
that lets you quickly and easily create a new session or open an existing one. You can choose to
show or hide the Quick Start dialog on launch in
the Pro Tools Operation Preferences.

Creating a New Session from a

Template
To create a new session from a template:
1

Select Create Session from Template.

From the Session Template pop-up menu,

select the category for the session templates you
want.

When you first launch Pro Tools, you are

prompted by the Quick Start dialog to do one of the
following:
Create a new session from a template.
Create a new blank session.
Open any of the last ten most recent sessions.
Open any other session on your system.
Press Control+Up Arrow or Down Arrow
(Windows) or Command+Up Arrow or
Down Arrow (Mac) to select different Session
Quick Start options. Also, you can use the Up
and Down Arrows to select different items in
the Recent Sessions and Session Templates
lists.

Session Template pop-up menu, Quick Start dialog

You can create your own custom categories.

For more information, see Session Templates on page 158.

Chapter 11: Sessions

143

Select the session template you want to use

from the list (on the right).

Creating a New Blank Session

To create a new blank session:
1

Quick Start dialog, Session Parameters revealed

4

If you want to change any of the session parameters, click the Session Parameters reveal button
(to show the parameters) and do any of the following:

Select the Audio File Type for the session.

Select the Bit Depth (16 bit, 24 bit, or 32 bit float).
To create interleaved multichannel audio files in
the session, select Interleaved.
Select the Sample Rate.
5

Click OK.

In the Save dialog, name the session, choose

where you want to save the session, and click
Save.
For optimum compatibility between
Windows and Mac, set the file type to BWF
(.WAV).

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Select Create Blank Session.

Quick Start dialog, Create Blank Session

2

If you want to change any of the session parameters, click the Session Parameters reveal button
and do any of the following:

Select the Audio File Type for the session.

Select the Bit Depth (16 bit, 24 bit, or 32 bit float).
To create interleaved multichannel audio files in
the session, select Interleaved.
Select the Sample Rate.
Select the I/O Settings to use for the session.
Several pre-configured I/O Settings are included
with your system, or you can select a custom I/O
Setting. For more information, see Chapter 7,
I/O Setup.
3

Click OK.

In the Save dialog, name the session, choose

where you want to save the session, and click
Save.

Opening a Recent Session

The Open Recent Session option is not available the first time you launch Pro Tools (or if
you have cleared the Recent Sessions list by
choosing File > Open Recent > Clear).

Showing or Hiding the Quick

Start Dialog on Launch
To prevent the Quick Start dialog from appearing
when Pro Tools launches:

To open a recent session:

1

Deselect the Show Quick Start Dialog when

Pro Tools Starts option in either the Quick Start
dialog or the Pro Tools Operation Preferences
(Setup > Preferences).

Select Open Recent Session.

To have the Quick Start dialog appear when

Pro Tools launches:
1

Choose Setup > Preferences.

Click the Display tab.

In the Warnings & Dialogs section of the Display Preferences page, select the Show Quick
Start Dialog when Pro Tools Starts option.

Quick Start dialog, Open Recent Session

2

Select any of the last ten recent sessions from

the list (on the right).

Click OK.

Opening Any Session

To open any session:
1

Select Open Session.

Click OK.

In the Choose a Session dialog, navigate to the

location of the session file and select it.

Click Open.

Show Quick Start Dialog when Pro Tools Starts option

4

Click OK.

Creating a New Session

The New Session dialog lets you create a new
session from a template or create a new blank session (with no tracks or media).

Chapter 11: Sessions

145

Creating a New Session from a

Template
To create a new session from a template:
1

Creating a New Blank Session

To create a new blank session:
1

Choose File > New.

Choose File > New.

New Session dialog, Create Blank Session

2

In the New Session dialog, select Create Blank

Session.

New Session dialog, Create Session from Template

Select the Audio File Type for the session.

In the New Session dialog, select Create Ses-

sion from Template.

3

From the Session Template pop-up menu, select

the category for the session templates you want.

To create interleaved multichannel audio files in

the session, select Interleaved.

Select the session template you want to use.

Select the Sample Rate.

Select the Audio File Type for the session.

Select the I/O Settings to use for the session.

Several pre-configured I/O Settings are included with your system, or you can select a
custom I/O Setting. For more information, see
Chapter 7, I/O Setup.

float).

Click OK.

To create interleaved multichannel audio files in

the session, select Interleaved.

Select the Sample Rate.

In the Save dialog, name the session, navigate to

the location where you want to save the new
session and click Save.

Click OK.

10

In the Save dialog, name the session, navigate to

the location where you want to save the new
session and click Save.

For optimum compatibility, set the file type

to BWF (.WAV).
6

146

Select the Bit Depth (16 bit, 24 bit, or 32 bit

float).

Select the Bit Depth (16 bit, 24 bit, or 32 bit

Pro Tools Reference Guide

Bit Depths and Sample Rates

When selecting a bit depth or sample rate for your
session, consider fidelity, any compatibility issues
with others systems, and storage space.

To change the Bit Depth for the Pro Tools session:

1

Choose Setup > Session.

In the Session Setup window, select a bit depth

from the Bit Depth selector.

Bit depth and sample rate also have an effect on the

amount of mixing power available in a session.
Fewer mixer channels are available with 24-bit and
32-bit floating point sessions, and with sessions at
higher sample rates.

Bit Depths
16-Bit Using 16-bit for audio files is useful for

keeping audio file sizes down. You may want to

use 16-bit for sessions with few tracks, and little
mixing and plug-in processing. CDs (Compact
Discs) use 16-bit.
24-Bit Using 24-bit for audio files is commonly
used for most music production and post-production sessions with multiple audio tracks, mixing,
and plug-in processing. 24-bit files take up a third
as much space as 16-bit files.
32-Bit Floating Point Using a 32-bit floating point

bit depth for audio files in Pro Tools sessions can

help avoid clipping or unnecessary dithering with
AudioSuite rendering. It can also help avoid
rounding errors in signal processing (which can
occur during bit depth conversion for file playback
and real-time plug-in insert processing). However,
32-bit files take up a third more disk space and audio streaming bandwidth, which can be problematic with higher track counts when using slower
hard drives.
You can change the bit depth for all newly recorded or imported (and converted) files in the session by selecting a different Bit Depth option in the
Session Setup window.

Session Setup window, selecting 32 Bit Float

Sample Rates
44.1 kHz Is the sample rate used for CDs and is
used in most common music production environments.
48 kHz Is the standard sample rate for film and

video projects, and is commonly used in post-production environments. It is the sample rate used for
DVDs.
88.2 kHz and 96 kHz Each of these sample rates

are twice the standard sample rates for CD audio

and DVD audio respectively. Audio files recorded
at higher sample rates take up more drive space,
but provide higher resolution for time-based plugin processing (which can help avoid aliasing).
These options are only available if you are running
Pro Tools with audio hardware that supports these
sample rates.
176.4 kHz and 192 kHz Each of these sample rates
are four times the standard sample rates for CD audio and DVD audio respectively. Audio files recorded at higher sample rates take up more drive
space, but provide higher resolution for time-based
plug-in processing (which can help avoid aliasing).
These options are only available if you are running
Pro Tools with audio hardware that supports these
sample rates.
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147

Mixed Audio File Formats

Pro Tools supports mixed audio file formats (such
as WAV and AIF) in a single session. When importing audio files into a Pro Tools session, you
can choose to Add them rather than Convert them
regardless of the audio file format.
You can change the audio file format for all newly
recorded or imported (and converted) files in a session by selecting a different Audio Format option
in the Session Setup window.
To change the Audio Format for the Pro Tools
session:
1

Choose Setup > Session.

In the Session Setup window, select an audio

file format (AIF or WAV) from the Audio Format selector.

Interleaved Multichannel and

Multi-Mono Audio Files
For stereo and greater-than-stereo multichannel
audio, Pro Tools supports both interleaved
multichannel audio files and multi-mono audio
files.
An interleaved audio file contains all channel information, stored in an alternating single audio
stream. Interleaving distributes and interleaves the consecutive bits of data. This helps
protect against consecutive errors when the data is
read back.
Multi-mono, or split-mono multi-channel audio
files are separate mono audio files that are treated
together as a multichannel group of audio files.
This lets you each channel (file) independently.
For example, with stereo files, two separate files
are created, where one file contains the left channel, and the other file contains the right channel.
The files are identified by the suffixes of .L and
.R. The two files are linked, and are edited as a
pair in stereo tracks in Pro Tools. However, you
can decouple them and split them to individual
mono audio tracks in Pro Tools so that the can be
edited, processed, and mixed independently.
You can change the Interleaved setting for the currently open session in the Session Setup window.
When this option is enabled, all newly recorded or
imported (and converted) stereo or greater-thanstereo multichannel files in the session will be interleaved audio files.
To enable (or disable) interleaved audio files for
the Pro Tools session:

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Choose Setup > Session.

In the Session Setup window, select (or deselect) the Interleaved option.

Session Files and Folders

When you create a new session, Pro Tools automatically creates a new folder named for your session. Within this folder is the session file, a WaveCache.wfm file, and several subfolders (including,
but not limited to, an Audio Files folder and a Clip
Group folder).

Audio Files Folder

The Audio Files folder contains all audio recorded
or converted during the session.
When you record a new audio track, the track is
saved as a new audio file to the Audio Files folder.
You can also import other audio files into the session, and work with them as well.
For details on allocating audio tracks to
different hard drive locations, including
shared media volumes, see Recording with
Multiple Hard Drives on page 419.

Fade Files Folder

The Fade Files folder may be present in legacy
Pro Tools sessions. Versions of Pro Tools lower
than 10.0 use rendered fades and cross-fades that
are written to the Fade Files folder in the session
folder.

Rendered Files Folder

Typical session folder contents (Mac OS X shown)

Session File
The session file is the document that Pro Tools creates when you start a new project. Pro Tools can
open only one session file at a time. The session
file is appended with the extension .ptx.

The Rendered Files folder contains any temporary

files created by Rendered Elastic Audio
processing in the session. It may also contain temporary filtered analysis files (.aan) as a result of
any changes to Elastic Audio analysis.

Clip Groups Folder

The Clip Groups folder is the default directory for
any clip groups that you export from your
Pro Tools session.

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149

WaveCache File
The WaveCache.wfm file stores all of the waveform display data for the session. If you delete the
WaveCache.wfm file, Pro Tools creates a new one
the next time you open the session.

Opening a Session
When you open a session, Pro Tools looks in the
session folder for audio and fade files linked to the
session.
For more information on opening sessions
created on different platforms, Pro Tools systems, or versions of Pro Tools software, see
Chapter 18, File and Session Management
and Compatibility.

By storing waveform data in the WaveCache file,

sessions open more quickly. The session WaveCache file can be included whenever a session is
transferred to another Pro Tools system (7.x and
higher).
Pro Tools also maintains a distinct WaveCache file
inside the Databases folder, which retains waveform data for all files used on the system.
Deleting or trashing a WaveCache file does not
harm the session or your system. However, the session will take longer to open because it has to recalculate waveform data for any associated
audio files and store that data in a new WaveCache
file.

Session File Backups Folder

The Session File Backups folder contains automatically-generated backups of your Pro Tools sessions. These files are created when working on a
session and the Operations preference for Enable
Session File Auto Backup is enabled. (See Enable
Session File Auto Backup on page 103.)

Renamed Audio Files Folder

This folder includes file names that have been renamed when you open a session that contains audio file names with incompatible characters, or, in
certain situations, save a copy of a session to a
Pro Tools version that does not support long file
names.
For more information, see Renamed Audio
Files on page 367.

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Pro Tools Reference Guide

To open an existing session:

1

Choose File > Open Session.

Locate the session you want to open and click

Open.
You can also open a session from a Workspace browser by double-clicking it.
When importing SD II files into Pro Tools,
they must be converted to a supported audio
file format (.WAV or .AIF).

Opening a Session that Contains

Fade Files
When opening a session created in a version of
Pro Tools lower than 10.0, Pro Tools calculates
and plays back all fades in real time. The Fade
Files folder in the session folder is neither deleted
nor used. Any rendered fades created in legacy sessions are calculated and played back in real time.
Any new fades created in the session do not generate any new rendered fade files in the pre-existing
Fade Files folder.

Opening a Session that Contains

Unavailable Files
Pro Tools notifies you if files are found but reside
on Transfer volumes, or if any required files cannot be found. For more information, see
Locating Audio Files on page 365.

With HDX Systems Only:

Any tracks beyond the maximum number of

available voices on the current system are made inactive.

With Pro Tools Host-based Systems Only:

Any tracks beyond the maximum number of

available voices on the current system are set to
voice off.

Opening a Session from a

Transfer Volume
When opening a session from a Transfer volume
(such as a CD or DVD), Pro Tools prompts you to
save the session on a Performance volume, and
copy and convert any referenced media files. For
more information, see Locating Audio Files on
page 365.

Opening a Session that Contains

Unavailable Resources
Pro Tools prompts you when opening a session
that contains unavailable voices, I/O paths, DSP
resources, or plug-ins. This is common when transferring sessions between systems with different
Pro Tools hardware.
The Unavailable Resources dialog provides an initial report of the missing session components. To
save a text (.txt) file containing a more detailed
Notes report, along with the resulting action, click
Yes. The Notes report is named with the session
name, followed by Notes.txt. You can choose to
save this file in your Session folder, or in another
location.
The following occurs when opening a session with
unavailable items:
With all Pro Tools Systems:

Inserts assigned to unavailable plug-ins are

made inactive.

Inputs, outputs, and sends that are assigned to

unavailable paths are made inactive.

Opening a Session with Audio

File Names that Contain Illegal
Characters
Pro Tools does not support audio file names that
contain the following ASCII characters:
/ (Forward Slash)
\ (Backslash)
: (Colon)
* (Asterisk)
? (Question mark)
(Quotation marks)
< (Less-than symbol)
> (Greater-than symbol)
| (vertical line or pipe)
Any high order ASCII character (created with
a key combination)
When opening sessions that contain audio files
with illegal characters, Pro Tools automatically
creates a renamed copy of each file (replacing
these characters with an underscore _). Renamed
files are copied to the Renamed Audio Files folder.
The original files are left intact in the Audio Files
folder.
Before the session opens, you are prompted to save
a detailed report of the renamed files and their
original file names to a Notes text file. Follow the
on-screen instructions. By default, the Notes text
file is saved to the Session folder.
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151

Opening a Session that was

Saved with +6 dB Fader Gain
All Pro Tools 7.x and higher sessions have a
+12 dB fader gain level. However, when saving a
Pro Tools 7.x or higher session to a lower version
of Pro Tools that supports +6 dB and +12 dB fader
gain, the new session can be saved with either a
+6 dB or a +12 dB maximum fader gain.
When saving a +12 dB session as a +6 dB session,
Pro Tools alerts you that any automation settings
over +6 dB will be lowered to +6 dB. See Saving
a Copy of a Session on page 154.
In Pro Tools 7.x or higher, when opening a session
that was saved with a +6 dB maximum gain level,
the session will update to a +12 dB range.

Opening a Session with

Plug-Ins Deactivated
Pro Tools lets you open sessions with all of the sessions plug-ins set to inactive. Since sessions with
a lot of plug-ins can take a long time to load, this
lets you quickly open any session for immediate
visual inspection and audio playback (without
plug-ins). If it is the session that you want to work
with, you can easily reopen the session with plugins activated.
To open a Pro Tools session with all plug-ins set to
inactive:
1

In Pro Tools, choose File > Open Session.

In the Open Session dialog, locate and select the

session you want.

Opening Recent Sessions

Shift-click Open.

The Open Recent submenu in the File menu lets

you open any of the 10 most recently opened
Pro Tools sessions.

To re-open the same session with all plug-ins set

to active, do one of the following:

To open a recent session:

Choose File > Open Recent and choose the session you want to open.

If a session is open when choosing a recent session,

you are prompted to save it before Pro Tools closes
the session and opens the chosen recent session.
To open the most recent session:

Control+Shift+O (Windows) or
Command+Shift+O (Mac).

To clear the recent sessions submenu:

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Choose File > Open Recent and choose Clear.

Pro Tools Reference Guide

Choose File > Revert To Saved.

Choose File > Open Recent and select the most
recent session in the submenu.
Press Control+Shift+O (Windows) or
Command+Shift+O (Mac) to open the
most recent session.
Instead of reverting to the saved version of
the session to open the session with all plugins active, you can simply make an individual
plug-in active by Control-Start-clicking
(Windows) or Command-Control-clicking
(Mac) it. To make an entire row of plug-ins
active, Control-Alt-Start-click (Windows) or
Command-Option-Control-click (Mac) any
plug-in in the row of inserts.

Saving a Session
You should save regularly while working on your
session to ensure that your work is preserved on
your hard drive.

Saving the Session File

The Save command saves the changes you have
made to your session and writes them over the previously saved version of the session file. The Save
command cannot be undone.
To save a session:

Choose File > Save.

Saving the Session File with a

New Name
To save a copy of the current session with a new
name or to a different hard drive location, use the
Save As command. The Save As command closes
the current session and lets you keep working on
the renamed copy. This is useful if you are experimenting and want to save successive versions of
the session.
By working this way, you can quickly retrace your
steps if you want to go back to an earlier version of
your session. The Save As command saves a new
version of the session file only, and does not duplicate versions of the audio or fade files.

Reverting to a Previously Saved

Session File

To save a session with a new name:

1

Choose File > Save As.

If you have made changes to a session since you

last saved it, you can discard those changes and revert to its previously saved state.

Type a new name for your session.

Click Save.

To revert to the last saved version of a session:

Choose File > Revert to Saved.

If you have enabled the Operation preference
for Auto Backup, you can also open up a
backup copy of your session. This feature lets
you specify the total number of incremental
backups that are kept and how often the session is saved. See Auto Backup Section on
page 103.

The renamed session file is saved in the session

folder along with the original session (unless you
specify a different destination). Any new audio
files that you record in your renamed session will
be placed into the same Audio Files folder that was
created for your original session.

Reverting to a previously saved session file

can also be used to open a session with all of
its plug-ins active, after opening it with all of
its plug-ins inactive. See Opening a Session
with Plug-Ins Deactivated on page 152.

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153

Saving a Copy of a Session

To save a copy of the current session with or without its audio files and fade files, use the Save Copy
In command. In addition, you can specify the session file format, audio file format, bit depth, and
sample rate for the session copy.
For information on sharing sessions between
different platforms, Pro Tools systems, or
Pro Tools software versions, see Chapter 18,
File and Session Management and Compatibility.

If applicable, select a Fader Gain level for the

copied session.

If applicable, select Enforce Mac/PC Compatibility to create session and audio files that can be
used on both Windows and Mac Pro Tools systems (see Saving Copies of Mac Sessions to be
Compatible with Windows on page 370).

Select the Items to Copy for the copied session.

To include all audio being used in the session,
select the All Audio Files option.

Click Save.

How the Save Copy In Command

Works
Unlike the Save As command, Save Copy In does
not close the original session, so subsequent edits
are made to the original session. Session copies
can be used to archive important sessions, for versioning, or as a means to prepare sessions for transfer to another Pro Tools system.

Save Session Copy dialog

To save a session copy in a new location:

154

Choose File > Save Copy In.

In the Save Session Copy dialog, choose a destination and type a name for the new session
file.

Choose a session file format (Save As Type) for

the copied session.

Set the Audio File Type for the copied session. If

the audio files need to be compatible with either
Windows or Mac, select BWF (.WAV) or AIFF.

Set the session Sample Rate and Bit Depth for

the copied session.

Pro Tools Reference Guide

Save Copy In can save only the audio being used in

the session. Any audio that was recorded or imported and then later removed from the session, but
not deleted from disk, is not included in the new
session copy.

To include all audio being used in the session,

select the All Audio Files option.

Using the Save Copy In command is the only way

to change the sample rate of a session. The sample
rate of each of the sessions copied audio files is
converted to the selected sample rate. When saving
a session copy to a different sample rate, Pro Tools
uses the selected Sample Rate Conversion Quality
option in the Import section of the Processing Preferences page (Setup > Preferences).

When you save a copy of the session to a lower bit

depth, Dither (and Noise Shaping) are applied. See
the following table:
Dither and Noise Shaping with Save Copy In

Save Copy In Options

When saving a copy of a session, the Save Copy In
command provides options.
Session Format

Dither

Noise
Shaping

32-bit float to 32-bit float

Yes

Yes

32-bit float to 24-bit

Yes

Yes

in the following formats, depending on your platform:

32-bit float to 16-bit

Yes

Yes

Mac:

32-bit float to 8-bit

Yes

No

Latest; supports Pro Tools 10.x and higher

sessions (.ptx)

24-bit to 32-bit float

No

No

Pro Tools 7.x -> 9.x Session (.ptf)

24-bit to 24-bit

No

No

24-bit to 16-bit

Yes

Yes

24-bit to 8-bit

Yes

No

16-bit to 32-bit float

No

No

16-bit to 24-bit

No

No

16-bit to 16-bit

No

No

16-bit to 8-bit

Yes

No

Bit Depth

When saving a copy of a session with the Save

Copy In command, you can save the session copy

Pro Tools 5.1 -> 6.9 Session

Windows:
Latest; supports Pro Tools 10.0 and higher
sessions (.ptx)
Pro Tools 7.x -> 9.x Session (.ptf)
Pro Tools 5.1 -> 6.9 Session

The dither setting used for any conversion is the

Dither plug-in with Noise Shaping enabled.
For more information about using Dither,
see Dither on page 950.

Chapter 11: Sessions

155

Session Parameters

Sample Rate

When saving a copy of a session with the Save

Copy In command, the following Session Parame-

You can save the session at various sample rates

depending on your system hardware. See Supported Hardware Configurations with Pro Tools
Software on page 36.

ters are available:

Audio File Type

You can save the session to reference BWF

(.WAV) or AIFF audio files.
Using Mixed File Types

A session can use mixed audio file types. If your

original session has mixed file types, they are not
converted to the selected file type unless you specify that they be converted by selecting the Convert
to Specified Format option in the Items To Copy
section (see Items to Copy on page 157).
Bit Depth

You can save the session at a Bit Depth of 16 Bit,

24 Bit, or 32 Bit Float.
Pro Tools 10.0 and higher sessions can use audio
files with different bit depths. If your original session has mixed bit depths, they are not converted to
the selected bit depth unless you specify that they
be converted by selecting the Convert to Specified
Format option in the Items To Copy section (see
Items to Copy on page 157).

156

If your session is at a different sample rate, audio

files are converted to the new session sample rate,
and copied to the specified location.
Fader Gain

When saving a Pro Tools 7.x or higher session to a

lower version that supports +12 dB fader gain, you
can save the new session with either a +6 dB or a
+12 dB maximum fader gain. When saving a
+12 dB session as a +6 dB session, any automation
over +6 dB will be lowered to +6 dB.
Enforce Mac/PC Compatibility

When saving a Pro Tools 7.x or higher session to a

lower version, enable the Enforce Mac/PC Compatibility option to force Windows or Mac versions
of Pro Tools to create sessions and audio files that
are compatible on both platforms.
For more information, see Saving Copies
of Mac Sessions to be Compatible with Windows on page 370.
Limit Character Set

When saving to a Session Format lower than 10.0,

if your session is in a different bit depth, audio files
are converted to the new session bit depth, and
copied to the specified location. Also, 32 Bit Float
is not available for session formats lower than
10.0.

When saving a copy of a session to the current session format, you can choose to limit the character
set to a single language by selecting the Limit Character Set option.

For information on bouncing to disk and

dither, see Using Dither on page 1046.

When saving a copy of a session to a lower session

format, the Limit Character Set option is automatically selected. Select a language from the Limit
Character Set pop-up menu.

Pro Tools Reference Guide

To choose the language encoding when saving a

copy of a session:
1

Choose File > Save Copy In.

Select the Limit Character Set option.

Choose the language you want to use from the

Limit Character Set pop-up menu.

Items to Copy

When saving a copy of a session with the Save

Copy In command, you can select which items are
copied, as follows:
Audio Files

Dont Copy Elastic Audio Rendered Files

When this option is selected, Elastic Audio Rendered files are not copied to the new sessions Rendered Files folder.
When opening the new session, Pro Tools opens
the session with all available media and any missing Rendered files are regenerated automatically.
Main Playlist Only

When this option is selected, only the main playlists are included with the session copy. Any alternate playlists are not included with the session
copy.

When this option is selected, all audio files are

copied to the new location. This setting is automatically selected if you select a Session Format lower
than 10.0.

When this option is not selected, all playlists are

included with the session copy.

Convert To Specified Format

When this option is selected, only the selected

tracks in the source session are saved with the session copy. This option is automatically enabled
when choosing File > Export > Selected Tracks As
New Session.

When the Convert To Specified Format option is

selected, all copied audio files are converted to the
specified audio file format settings in the Session
Parameters section. When this option is not selected, any copied audio files retain their original
audio file format settings (including sample rate
and bit depth), and are exactly copied, bit-by-bit.
Note that copying formats bit-by-bit is much
faster than converting files.

This option is automatically selected if you do any

of the following:
Save to a session format lower than 10.0.
Enable Enforce Mac/PC Compatibility.

Selected Tracks Only

When this option is not selected, all tracks in the

source session are saved with the session copy.
This option is automatically disabled when choosing File > Save Session Copy.
Session Plug-In Settings Folder

When this option is selected, the sessions Plug-In

Settings folder is copied to the new location. The
references to these plug-in settings in the session
are redirected to the copied settings files.

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157

Root Plug-In Settings Folder

When this option is selected, the contents of the

root-level Plug-In Settings Folder are copied into a
folder named Place in Root Settings Folder, indicating that these files will need to be moved to the
root level plug-in settings folder on the destination
system before you can use them. The references to
these settings files in the session are not redirected
to point to the copied files.

Creating and Saving Custom

Templates
To create a custom Pro Tools Session Template:
1

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! 2 with a piano preset), a mono audio track (for tracking vocals),
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.

Movie/Video Files

When this option is selected, session video files

(Avid or QuickTime) are copied to the new location, and session references are updated to point to
the copied video files.
Preserve Folder Hierarchy

Create a new Pro Tools session and configure it

for the session template you want.

Choose File > Save As Template.

When this option is selected, the relative arrangement of session audio files located across different
drives or folders is maintained. The main folder for
the session copy will include subfolders for each
drive or folder in the original session and the destination subfolders will use the same names as the
source drives and folders.
When this option is not selected, the Save Copy In
command copies all files of the same type, regardless of their location, into a single destination
folder.

Session Templates

Save Session Template dialog

3

Configure the Save Session Template dialog

(see Save Session Template Dialog on
page 159).

Select the Include Media option if there is any

audio, MIDI, or video media in the session that
you want included in the template.

In addition to the Session Templates provided in

the Pro Tools Session Quick Start dialog,
Pro Tools lets you create and share your own custom Session Templates. Pro Tools Session Template files use the suffix .ptxt to differentiate
them from regular Pro Tools session files (.ptx).

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 session only contains the media you want.
5

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Click OK.

If you selected the Install Template In System option, your session template will be available in the
Pro Tools Session Quick Start dialog.
If you selected the Select Location For Template
option, you are prompted by the Save As Template
dialog to save the file to another location on your
system.
When you are ready to use a template as the
basis for a new session, see Creating a New
Session from a Template on page 146.

Save Session Template Dialog

The Save Template dialog provides the following
options:
Install Template In System

Select this option to save the template file in the

system folder referenced by the Pro Tools Session
Quick Start dialog (the Session Templates in the
Pro Tools application folder).
Category

The Category pop-up menu is only available if the

Install Template In System option is enabled. The
Category pop-up menu lets you select the subdirectory in which to save the template file. It also
provides options for adding a category and revealing the Session Templates folder in Windows Explorer or the Mac Finder.
Add Category Select this option from the Category pop-up menu to create a new subdirectory in

the Session Templates folder.

Name

The Name setting is only available if the Install

Template In System option is enabled. This lets
you type a new name for the template file. From
the Name pop-up menu (to the right of the Name
field), you can select from a list of all of the templates available in the currently selected Category.
Selecting one places that name in the Name field,
letting you overwrite, or create a incremental version of, an existing template.
Select Location For Template

Select this option to save the template file to any

directory location on your system. Note that the
saved session template will not appear in the
Pro Tools Session Quick Start dialog unless it is in
a subdirectory (Category) in the Session Templates folder in the Pro Tools Root Settings folder.
You can change the location of the Root Settings
Folder in the Operation Preferences (see User Library Section on page 104).
Include Media

Select this option to include any audio, MIDI, or

video media in the session with the template.

Creating New Sessions from

Templates
You can create new session from templates by
opening a template. You can open any Pro Tools
Session Template file (.ptt) to start a new session
based on that template.
For information on creating new sessions
from templates using the Quick Start dialog,
see Creating a New Session from a Template on page 143.

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159

Closing a Session
Pro Tools only lets you work on just one session at
a time. The Close Session command closes your
current Pro Tools session but leaves the Pro Tools
application running. Pro Tools prompts you to
save a session when closing it, but it is recommended that you save your work using the Save or
Save As command before closing a session.
To close a session:

Choose File > Close Session.

Exiting or Quitting
Pro Tools | Software
When you exit (Windows) or quit (Mac) the
Pro Tools application, Pro Tools prompts you to
save any open session before exiting or closing the
application.
To exit Pro Tools in Windows:

Choose File > Exit.

To quit Pro Tools on the Mac:

160

Choose Pro Tools > Quit Pro Tools.

Pro Tools Reference Guide

Chapter 12: Pro Tools Main Windows

Pro Tools provides two complementary ways of
viewing tracks in a session:
Mix Window Shows tracks as channel strips, like a

Edit Window Shows tracks and track material

against the Timeline (see Edit Window on

page 164).

mixing board (see Mix Window on page 162).

To toggle between the Mix and Edit windows,

press Control+Equals (=) (Windows), or
press Command+Equals (=) (Mac).

Plug-In window
Edit window

Mix window
Workspace browser

Transport window

Pro Tools windows

Chapter 12: Pro Tools Main Windows

161

Pro Tools provides several other types of

windows:

Mix Window

Transport Window Lets you control the transport

In the Mix window, tracks appear as channel strips

just like a mixing console, with controls for:

and transport-related functions (see Transport

Window on page 169).

Inserts

Plug-In Windows Let you control plug-in parame-

Sends

ters, such as Frequency and Q for an EQ (see

Plug-In Windows on page 963).

Input and output assignments

MIDI Editor Windows Lets you edit MIDI data (see

Panning

Chapter 32, MIDI Editors).

Volume
Record enable

Score Editor Window lets you edit MIDI data as

music notation (see Chapter 33, Score Editor).

Track Input monitoring

Workspace Browsers Let you manage, audition,

and import media for Pro Tools sessions (see
Workspace Browsers on page 267).

Solo and Mute

In-App Web Browsers Let you access the Avid

Marketplace and Pro Tools Online (see In-Application Web Browser on page 175).

Automation mode
Instrument controls
HEAT controls (Pro Tools HD only)
Mic preamps
To display the Mix window:

Choose Window > Mix.

To display all Mix window view options:

Select View > Mix Window > All.

For information on selecting individual view
options, see Views in the Mix and Edit Windows on page 915.

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Channel strips
(page 191)

Instrument
View
(page 917)

Track List
(page 218)

Inserts View
(page 917)

Sends View
(page 917)

Track Path selectors

(page 222 and
page 229)

Group ID
indicator
(page 244)

Automation
Mode selector
(page 988)

Input Monitoring /
Record Enable
(page 421 and
page 416)

Pan knob
(page 199)

Solo/Mute
(page 232)
Volume
fader
(page 199)
Level meter
(page 200)

Voice selector
(page 228)
AutoMatch
indicator
(page 997)

Track Name
(page 208)

Mix Group List

(page 241)

Track
Comments
View
(page 917)

Delay
Compensation
View (page 918)
Show/Hide
Track List/Group List
View
(page 219)

Mono
Audio Track
(page 190)
Mix Window
View selector
(page 915)

MIDI
Track
(page 193)

Instrument
Track
(page 194)

Stereo
Audio Track
(page 190)

Auxiliary
Input
(page 192)

Master
Fader
(page 192)

Pro Tools Mix window

Chapter 12: Pro Tools Main Windows

163

Edit Window
The Edit window provides a Timeline display of
audio, video, MIDI notes, as well as other MIDI
data and mixer automation for recording, editing,
and arranging on tracks. As in the Mix window,
each track has controls for record enable, solo,
mute, and automation mode.

Zoom buttons (page 508)

Edit Mode
buttons
(page 503)

Universe view
(page 549)

Grid and
Nudge values
(page 166)

Edit tools
(page 507)

Counters and Edit

Selection indicators
(page 546)

Transport controls
(page 169)

Edit Window
Toolbar and menu
(page 165)

Clip
List
(page 255)

Timebase and
Conductor
rulers
(page 729)
Track List
(page 218)

Tracks
(page 189)
Edit Group
List
(page 735)

Playlists
Track View
(page 602)

MIDI Editor pane

(Notation view)
(page 173)

Elastic Audio
Warp Track View
(page 835)

Selected Clip
(page 535)

Pro Tools Edit window

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Automation
(page 985)

MIDI Controller
lanes (page 696)

Edit Window
Zoom buttons
(page 168)

To display the Edit window:

Choose Window > Edit.

To display all Edit window view options:

Edit Tools

Edit tools are used for editing audio, MIDI, and automation data in Pro Tools. For more information,
see Edit Tools on page 507.

Select View > Edit Window > All.

Edit window view options can be selected individually. See Views in the Mix and Edit Windows
on page 915.

Edit Window Toolbar

At the top of the Edit window is the Edit Window
Toolbar and menu. This Toolbar provides access
to the editing modes, tools, options, indicators, and
displays for Pro Tools. You can customize the
Toolbar in the Edit, MIDI Editor, or Score Editor
windows by re-arranging, showing, and hiding the
available controls and displays.

Edit tools

Counters and Edit Selection Indicators

The Counters and Edit selection indicators provide

information where selections are in the Timeline.
MIDI Selection
Edit Selection
Main and Sub Counters

Edit Toolbar Controls and Displays

The following controls and displays in the Edit

Window Toolbar are always shown.
Edit Modes

The Edit mode affects the movement and placement of audio and MIDI clips (and MIDI notes),
how commands like Copy and Paste function, and
also how the various Edit tools (Trim, Selector,
Grabber, and Pencil tools) work. For more information, see Edit Modes on page 503.

Cursor Location
Cursor Value
Timeline Data Online Status
Session Data Online Status

Track Mute
indicator
Track Solo
indicator

Automatic Delay Compensation

Edit window indicators

Main Counter Displays the current Edit insertion

location in the Main Timebase ruler.
Sub Counter Displays the current Edit insertion

location in the Sub Timebase ruler.

Cursor Location Displays the current cursor locaEdit mode buttons

tion in the Main Timebase ruler.

Cursor Value Displays the value of the current cursor value in peak amplitude (audio), pitch (MIDI),
or according to the current automation or controller data type.

Chapter 12: Pro Tools Main Windows

165

Edit Selection Indicators Display the Start, End,

and Length of the current Edit selection.

MIDI Selection Indicators and Controls Display

the current MIDI Edit selection (MIDI note number, and Note On and Note Off velocities) and provide controls for MIDI editing.
Timeline Data Online Status Indicator Is green
when all files in use in track playlists are available
for playback. If files are offline, being processed,
or otherwise unavailable for playback, this indicator is red.
Session Data Online Status Indicator Is green

when all audio and fade files referenced by the session are available for playback. If files are offline,
being processed, or otherwise unavailable for playback, this indicator is red.
Delay Compensation Status Indicator Is displayed when Delay Compensation is enabled (Options > Delay Compensation). When Delay Compensation is disabled, this indicator is not

displayed.

Grid and Nudge

The Grid and Nudge selectors let you set the Grid
and Nudge values for editing in Pro Tools. For information on the Grid Value selector, see Configuring the Grid on page 506. For information on
the Nudge Value selector, see Defining the
Nudge Value on page 562.
Grid Value selector
Nudge Value selector

Grid and Nudge value selectors

Showing and Hiding Additional

Controls in the Edit Window
To show or hide controls in the Edit window
toolbar:
1

Do one of the following:

Click the Edit Window Toolbar menu (in the

upper-right corner of the window).
Right-click in the Toolbar.

Track Solo Indicator Lights yellow when any

track in the session is soloed. When no tracks in the

session are soloed, the Track Solo indicator appears dim green. For systems using Satellite Link,
the Track Solo indicator lights dim yellow when a
track is soloed on any satellite system.
If the Track Solo indicator is lit, you can click it to
clear all soloed tracks in the session.
Track Mute Indicator Lights orange when any

track in the session is muted. When no tracks in the

session are muted, the Track Mute indicator appears dim green. (Note that because Mute is an automatable mixing function, the Track Mute indicator does not function to clear all mutes when
clicked.)

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Pro Tools Reference Guide

Edit Window Toolbar menu

From the menu, select or deselect any of the following depending on which window you are
configuring:

Zoom Controls When selected, the Zoom controls

are displayed in the Edit window toolbar.

Transport When selected, the Transport controls

are displayed in the Edit window toolbar.

Eleven Rack (Eleven Rack Only) This option is

available only when an Eleven Rack is connected

to your Pro Tools system. When selected, Eleven
Rack controls are displayed in the Edit window
toolbar. For more information, refer to the Eleven
Rack User Guide.

Minimal When selected, the Zoom, Transport,

MIDI, and Synchronization controls are not displayed in the Edit window toolbar.
All When selected, the Zoom, Transport, MIDI,
and Synchronization controls are all displayed in
the Edit window toolbar.

MIDI Controls When selected, the MIDI controls

are displayed in the window toolbar.

Expanded Transport When selected, the

Expanded Transport controls are displayed in the

Edit window toolbar if Transport is also
selected.

Synchronization When selected, the Synchroniza-

tion controls and indicators are displayed in the

Edit window toolbar.

Track List When selected, the Track List is shown

on the left of the Edit window.
Clip List When selected, the Clip List is shown on
the right of the Edit window.

Output Meters When selected, the Output meters

are displayed in the Edit window toolbar.

Universe When selected, the Universe view is

shown near the top of the Edit window.
MIDI Editor When selected, the MIDI Editor view

is shown at the bottom of the Edit window.

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167

Rearranging Controls and

Displays
To rearrange controls and displays in the Edit,
MIDI Editor, or Score Editor window toolbar:

Control-click (Windows) or Command-click

(Mac) the control or display you want to move
and drag it to a new location in the toolbar.

For example, if you want the Counters and Edit Selection indicators to the right of the Transport controls in the toolbar, Control-click (Windows) or
Command-click (Mac) and drag them to the right
of the Transport controls.

Edit Window Zoom Buttons

The Edit window also provides Zoom buttons in
the lower right and upper right corners of the tracks
pane.
Vertical and Horizontal Zoom In and Out
Buttons

In addition to the Zoom controls in the Toolbar,

Pro Tools provides horizontal and vertical zoom
buttons in the lower-right corner of the Edit window.

Vertical Zoom buttons (Edit window)

Moving the Counters and Edit Selection indicators

Horizontal Zoom buttons (Edit window)

Vertical Zoom Buttons Zoom the track heights

proportionally in the Edit window.
Horizontal Zoom Buttons Zoom the Timeline just
like the Horizontal Zoom controls in the Edit window toolbar.

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Audio and MIDI Zoom In and Out Buttons

Pro Tools also provides Audio and MIDI Zoom In

and Out buttons in the upper-right corner of the
Edit window. These controls function exactly the
same as the Audio and MIDI Zoom controls in the
Toolbar, and let you zoom in and out vertically on
audio waveforms and MIDI notes respectively.
In the Edit window, MIDI Vertical Zoom only
affects tracks not in Clips view.

Edit Window Default Length

Pro Tools lets you set a default length for the Edit
window in hours, minutes, seconds, and frames.
This is useful if you want to assemble a session of
a particular length or leave extra room to expand
the Edit windows work area in your session. The
maximum length is 12 hours and 25 minutes at
48 kHz, and proportionally less at higher sample
rates. For best scrollbar sensitivity, set the length
to slightly longer (a minute or more) than the total
session or song length.
To set the default length for the Edit window:

Audio Zoom button (Edit window)

Choose Setup > Preferences.

On the Display page, enter the value in hours,

minutes, seconds, and frames for the Edit Window Default Length setting.

Click OK.

Transport Window

MIDI Zoom button (Edit window)

The Transport window can be set to show basic

transport controls, counters, MIDI controls, and
expanded features. The counters in the Transport
window mirror the controls and counters at the top
of the Edit window.
To display the Transport window:

Choose Window > Transport.

Chapter 12: Pro Tools Main Windows

169

Basic Transport Controls and

Counters
Transport Window menu
Track Record Enable indicator
Go to End
Fast Forward
Stop
Play
Rewind
Return to Zero
Record
Online

PreRoll

Main Time Scale Format

Increment
Amount

Min:Sec

1 second

Timecode

1 frame

Bars|Beats

1 bar

Feet+Frames

1 foot

Sample

1 second

Fast Forward Fast forwards from the Timeline in-

PostRoll
Start, End, and Length
Selection indicators
TrackInput Monitor
indicator

Transport window showing basic transport controls

and counters (Main and Sub Counters and MIDI not
shown)

Online Puts Pro Tools online so that playback and

recording is triggered by an external timecode

source.
Return to Zero Locates to the beginning of the ses-

sion.
Press Enter (Windows) or Return (Mac) to
Return to Zero.
You can Right-click the Return to Zero button to access the Write to Start and Write to
All automation commands.

sertion point. You can also click repeatedly to fast

forward incrementally (by an amount based on the
Main Time Scale).
With Numeric Keypad mode set to Transport, you can fast forward by pressing 2.
Go to End Locates to the end of the session.

You can press Control+Enter (Windows) or

Option+Return (Mac) on the alphanumeric
keyboard to locate to the end of the session.
You can Right-click the Go to End button to
access automation commands Write to End
and Write to All.
Stop Stops playback or recording.

You can also stop the transport by pressing

the Spacebar, or with the Numeric Keypad
mode set to Transport, pressing 0.

Rewind Rewinds from the current play location.

Play Starts playback or (if the Record button was

You can also click repeatedly to rewind incrementally, by an amount based on the Main Time Scale,
as follows:

clicked first) recording from the Timeline insertion

point or the Play Start Marker location if Dynamic
Transport mode is enabled.

With the Numeric Keypad mode set to Transport, you can rewind by pressing 1.

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Rewind and Fast Forward Increments

Pro Tools Reference Guide

You can also begin playback by pressing the

Spacebar, or with the Numeric Keypad mode
set to Transport, pressing 0.

Right-clicking the Play button lets you select the

playback mode from a pop-up menu:
Half-Speed
Prime for Playback
Loop
Dynamic Transport
To initiate playback at half-speed, you can
also press Shift+Spacebar (Windows or
Mac) or Shift-click (Mac) the Play button.

With the Transport stopped, Start-click Play (Windows) or Control-click Play (Mac) to toggle Loop
Playback mode. When enabled, a loop symbol appears in the Play button and Pro Tools plays continuously from the beginning of the selection to the
end.
For more information on loop playback and
Dynamic Transport mode, see Loop Playback Mode on page 395.
Record Arms Pro Tools for recording (the button
flashes). Clicking Play then starts recording on record-enabled tracks only.

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.

Right-clicking the Record button lets you select

the record mode from a pop-up menu:
Normal
Loop
Destructive
QuickPunch
TrackPunch (Pro Tools HD only)
Destructive Punch (Pro Tools HD only)

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.
The Record button changes to indicate the currently selected mode: blank for Nondestructive,
D for Destructive, a loop symbol for Loop Record, P for QuickPunch, T for TrackPunch,
and DP for DestructivePunch.
To initiate recording at half-speed, you can
press Control+Shift+Spacebar (Windows)
or Command+Shift+Spacebar (Mac).
Track Record Enable Indicator When lit (red), in-

dicates that at least one audio track is currently record-enabled. When off (gray), no tracks are currently record-enabled.
TrackInput Monitor Indicator When lit (green), indicates that at least one audio track is currently set
to Input Only monitoring (regardless of record enable status). When off (gray), all tracks are in Auto
Input monitoring.
Transport Window Menu Lets you select what options to show in the Transport window: Counters,
MIDI Controls, Synchronization, Minimal, All, and
Expanded Transport.
Pre-Roll During playback or record, specifies the

amount of audio that plays before the Play (Timeline) Cursor or Play Start Marker location, or beginning of the Timeline selection. Pre-roll is particularly useful with punch recording since it gives
you time to catch the beat before reaching the
punch-in point. To set the pre-roll amount, type a
new value in this field, or drag the Pre-Roll flag in
the Main Timebase ruler.
Post-Roll During playback or record, specifies the

amount that plays after the end of a Timeline selection. Post-roll is useful in punch recording since
playback continues after the punch-out point so
Chapter 12: Pro Tools Main Windows

171

you can check for a smooth transition to previously

recorded material. To set the post-roll amount,
type a new value in this field, or drag the Post-Roll
flag in the Main Timebase ruler.

To view the MIDI controls in the Transport, do one

of the following:

Start Specifies the beginning of the play or record

range. You can set the start point by entering a location in this field, or by dragging the corresponding Timeline Selection or Play Start Marker in the
Main Timebase ruler. For more information, see
Timeline Selection Markers on page 431.

Select View > Transport > MIDI Controls.

Control-click (Windows) or Command-click
(Mac) the Expand/Collapse + button in the
Transport window to display the MIDI controls.

End Specifies the end of the play or record range.

You can set the end point by entering a location in

this field, or by dragging the corresponding Timeline Selection Marker in the Main Timebase ruler.
For more information, see Timeline Selection
Markers on page 431.
Length Specifies the length for the play or record

range. You can set the length by entering a location

in this field, or by selecting a range in any Timebase ruler.
When the Timeline and Edit selections are
linked, you can make an Edit selection in a
tracks playlist to set the play and record
range. See Linking or Unlinking Timeline
and Edit Selections on page 533.

MIDI Controls
Tempo Resolution (Beat Value) pop-up menu

Count Off

Meter
Tempo

Expand/Collapse button, Transport Window with MIDI

controls

Wait for Note When selected, recording does not

begin until a MIDI event is received. This ensures

that you begin recording when youre ready to
play, and that the first note, or other MIDI data, is
recorded precisely at the beginning of the record
range.
You can press F11 to turn on Wait for Note,
unless the MIDI preference for Disable F11
for Wait for Note is enabled.
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.
Metronome Click When selected, Pro Tools gen-

Wait for Note

Metronome Click

Tempo Ruler
Enable

MIDI Merge

Transport window, MIDI controls

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Pro Tools Reference Guide

erates a metronome pulse that can be set to trigger

built-in sounds or MIDI instruments during playback and recording.

The Pro Tools metronome is configured in the

Click/Countoff Options dialog. Double-click the
Metronome Click button to open the Click/Countoff Options dialog.
With the Numeric Keypad mode set to Transport, press 7 to enable the Metronome Click.
Count Off When selected, Pro Tools counts off a

Output Meters
Pro Tools provides Output meters in the Transport
that display the monitoring levels for signals
routed to the physical outputs on your audio interfaces from your session or to internal busses in the
session. The top LED is red and indicates clipping
at the converters on your audio interface (DAC) on
the corresponding channels or on internal busses.

specified number of measures (indicated in the

button) before playback or recording begins.
Double-click the Count Off button, to open the
Click/Count Off Options dialog.
With the Numeric Keypad mode set to Transport, press 8 to enable the Count Off.
Output meters in the Transport window

MIDI Merge When selected (Merge mode),

recorded MIDI data is merged with existing track

material. When deselected (Replace mode), recorded MIDI data replaces existing track material.
With the Numeric Keypad mode set to Transport, press 9 to enable MIDI Merge.
Tempo Ruler Enable (Conductor) When selected,

Pro Tools uses the tempo map defined in the

Tempo ruler. When deselected, Pro Tools switches
to Manual Tempo mode and ignores the Tempo
ruler.
In Manual Tempo mode, you can enter a BPM
value in the tempo field, or tap in the tempo with
the T key on your alphanumeric keyboard.

For more information, see Output Meters on page 935.

MIDI Editor Windows

MIDI Editor windows let you view and edit MIDI
notes and controller data. You can open multiple
MIDI Editor windows to work on different parts of
your MIDI arrangements separately. MIDI Editor
windows show Instrument and MIDI track data superimposed in Notes view, or on separate tracks in
Notation view, and lets you view and edit MIDI
controller data (such as velocity, pitch bend, and
mod wheel) in controller lanes under the Notes
pane.

Current Meter Displays the sessions current me-

ter based on the play location. Double-click the

Current Meter indicator to open the Change Meter
window.

For more information, see Chapter 32,

MIDI Editors.

Current Tempo Displays the sessions current

tempo based on the play location. In Manual
Tempo mode, you can enter a BPM value into this
field, or manually tap in a tempo with a computer
keyboard or an external MIDI keyboard.
Chapter 12: Pro Tools Main Windows

173

Displaying the MIDI Editor in the

Edit Window
You can choose to show (or hide) a MIDI Editor
pane at the bottom of the Edit window (below the
Tracks pane).
To show (or hide) the MIDI Editor view in the Edit
window, do one of the following:

Select (or deselect) View > Other Displays >

MIDI Editor.
Click the MIDI Editor Show/Hide icon in the
lower left corner of the Tracks pane in the Edit
window.
Double-click the divider below the Tracks pane
in the Edit window.
From the Edit Window menu, select (or deselect) MIDI Editor.

Score Editor Window

The Score Editor window lets you view and edit
Instrument and MIDI tracks as music notation. It
automatically transcribes MIDI performances in
real-time. You can print a score of your session or
just parts from individual tracks.
For more information, see Chapter 33,
Score Editor.

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Pro Tools Reference Guide

Workspace Browsers
Pro Tools can database your session and media
files and directories using Workspace browsers.
Browsers provide an intuitive user interface within
Pro Tools to quickly access both online and offline
media files and sessions.
Browsers in Pro Tools are analogous to windows
in your computers operating system (such as Windows Explorer or the Mac Finder), but are specially designed for working in Pro Tools. Multiple
browsers can be displayed simultaneously, and arranged independently with custom display settings
for each.
Browsers let you search and sort audio files, video
files, and sessions. These files are displayed in
browsers and can be dragged directly into the current Pro Tools session.
When offline items are needed, Pro Tools lets you
find the correct matching files, then relink to online media.
To open a Workspace browser, press
Option+; (Mac) or Alt+; (Windows).
To bring all browsers to the front, press
Option+J (Mac) or Alt+J (Windows).
To send all browsers to the back, press
Option+Shift+J (Mac) or Alt+Shift+J
(Windows).

The main elements of a Workspace browser (see

the figure below) include the following:
View Presets Let you store up to 5 different

browser views.
Preview Controls Provide tools for auditioning
audio files from the browser.
Search Tools Let you search your system for files

and folders by simple or advanced search criteria.

Browser Menu Provides commands for file man-

Task Manager Window

The Task Manager window is a utility for viewing
and managing all of the background tasks that you
initiate with Pro Tools. Use the Task window to
monitor, pause, or cancel background tasks such as
file copies, searches, indexing, and fade creation.
For detailed information about the Task window, see Task Manager Window on
page 305.

agement.
Column Headers Display the type of metadata dis-

played in the Items List. Column Headers can be:

Resized by dragging the column border, or rearranged by dragging the Column headers.
Dragged to either of two available panes, the
Fixed or Scrolling panes.
Locations Pane Provides a view of Volumes (and

folders and files), Catalogs, and the currently open

Session for your system.
Browser Pane Provides a view of items on your

system contained within the Volume (or folder),

Catalog, or open session that is selected in the Locations pane. Alternatively, the Browser pane displays search results.
For detailed information about Workspace
browsers, see Chapter 16, Workspace
Browsers..

In-Application Web Browser

Pro Tools provides easy access to the online Avid
Store, as well as web-based Pro Tools Help, the
Avid Support Center, and other online resources
using two in-application Web browsers.
Avid Marketplace Provides a secure web connection to Avids online commerce web pages for
Pro Tools.
Pro Tools Online Provides easy access to web-

based Pro Tools Help, the Knowledge Base, and

Avid Audio community forums.
To launch the Pro Tools in-application Web
browser for online commerce, choose one of the
following from the Marketplace menu:

Your Account
Plug-ins
Support Center
Upgrades
To launch the Pro Tools in-application Web
browser for online resources, choose one of the
following from the Help menu:

Pro Tools Help

Pro Tools Knowledge Base
Avid Audio Forums
Avid Support Center
Chapter 12: Pro Tools Main Windows

175

Pro Tools In-Application Web

Browser Navigation Controls
The Pro Tools in-application Web browser provides a few simple navigation controls in the Web
Browser Tool Bar.

To launch the currently viewed page in an external

browser:

Click the Launch in External Web Browser icon

in either the Avid Marketplace window or the
Pro Tools Online window.

Go Backward
Go Forward
Go Home
Refresh
Locations

Launch in External Web Browser icon

Avid Marketplace
Pro Tools Web browser

Go Backward Clicking the Go Backward button

navigates back to the previously viewed page.

The Marketplace menu in Pro Tools lets you access your Avid Account, the Avid online store (to
shop for plug-ins, upgrades, or Avid support).

Go Forward Clicking the Go Forward button navi-

To log in to your online Avid account:

gates forward to the next page.

Choose Marketplace > Your Account.

Go Home Clicking the Home button navigates to

the starting page for the currently selected Location.

To access the Avid online store for plug-ins:

Refresh Clicking the Refresh button reloads the

currently viewed page.
Locations Clicking a location button navigates to
the corresponding starting page on the Avid website. The Avid Marketplace and Pro Tools Online
browsers provide different Location options.

Launching an External Web Browser

You can launch the currently viewed page in the

default Web browser for your operating system.

You can also access the Avid online store

from the AudioSuite menu and from track Insert selectors for plug-ins by choosing the
Avid Marketplace option.
To access the Avid online store for support and
training, do one of the following:

Choose Marketplace > Support Center.

Choose Help > Avid Support and Training.

To access the Avid online store for software

upgrades:

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Pro Tools Reference Guide

Choose Marketplace > Plug-ins.

Choose Marketplace > Upgrades.

Pro Tools Online

In addition to the local resources that are installed
with Pro Tools, the Help menu provides access to
the Pro Tools Online browser.
To access the Pro Tool online resources from the
Help menu:

Click Help and choose one of the following:

Pro Tools Help

Pro Tools Knowledge Base
Avid Audio Forums
Pro Tools Help

The Pro Tools Help command provides access to

web-based Pro Tools Help within the Pro Tools
web browser. You will always have access to the
latest Pro Tools Help files as they become available. You will also have access to localized
Pro Tools Help files as translations become available.
If you are not connected to the Internet, Pro Tools
will open the local English Help files that are installed with Pro Tools.
You can also access Pro Tools Help online
using Safari or Explorer. This can be useful
if Pro Tools is not running, or if you want to
change the version or language of Help you
are using. For more information, visit
(http://apps.avid.com/ProToolsHelp).

Pro Tools Knowledge Base

The Pro Tools Knowledge Base command provides access to the online Avid Knowledge Base
using the Pro Tools in-application web browser.
The Avid Knowledge Base provides extensive information for you to solve problems you may encounter with Pro Tools (including compatibility
information and software updates).
Avid Audio Forums

The Avid Audio Forums command provides access

to the online Avid Audio Forums using the
Pro Tools in-application web browser. The Avid
Audio Forum provide a broad-based user community where you can interact with other Pro Tools
users.
Avid Support Center

The Avid Support Center command provides access to the online Avid Support Center using the
Pro Tools in-application web browser. The Avid
Support Center provides support instructions for
your Avid products.
Check for Updates
To check for the latest updates for Pro Tools
software, hardware drivers, and plug-ins:

Choose Help > Check for Updates.

Chapter 12: Pro Tools Main Windows

177

Managing Windows
Window Configurations
Pro Tools provides a powerful means of managing
the configuration of windows in your session, as
well as the internal configurations of the Edit, Mix,
MIDI Editor, Score Editor, and Transport windows. Use the Window Configuration List to create (or delete) and manage stored Window Configurations. Pro Tools lets you store up to 99 Window
Configurations. Window Configurations are saved
with the session.
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.

Creating New Window

Configurations
To create a new Window Configuration:
1

Open the windows you want to include in the

Window Configuration and position them
where you want on the screen.

Do one of the following:

Choose Window > Configurations > New Configuration.

If the Window Configuration List is open,
choose New Configuration from the Window
Configuration List pop-up menu.

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New Window Configuration dialog

3

In the New Window Configuration dialog, do

one of the following:

Select Window Layout and whether or not to include the Edit, Mix, Targeted MIDI Editor,
Score Editor, and Transport window display settings.
Select a Window Display Settings option from
the pop-up menu (Edit Window, Mix Window,
MIDI Editor (Targeted), Score Editor Window, or
Transport Window.
4

Name the Window Configuration.

You can type a different number for the new

Window Configuration. If the number you type
is already used by another Window Configuration, you are prompted to replace it or Cancel.
Otherwise, Pro Tools automatically fills in the
first available number (199) for the Window
Configuration.

Type any comments for the new Window

Configuration.

Click OK to store the new Window Configuration, or Cancel.

The new Window Configuration is added to the

Window Configuration List.
To create a new Window Configuration at a
specific numbered slot:

On the numeric keypad, type Period (.), a number (199), and then Plus (+) to add a new Window Configuration at that number slot.

Undoing Window Configurations

Pro Tools lets you revert to the previous Window
Layout and Window Settings with a single level of
undo. This is useful, for example, if you recall a
Window Configuration, but then decide you want
to revert to the previous screen state.
To undo a Window Configuration:

To redo a Window Configuration:

If a Window Configuration already exists

at that numbered slot, the new Window
Configuration overwrites it.

Recalling Window
Configurations
You can use the Window Configuration List to recall stored Window Configurations. You can also
use the Number Keypad on your computer keyboard to recall a specific Window Configuration.
To recall a Window Configuration, do one of the
following:

On the numeric keypad, press Period (.), 0, and

then Asterisk (*).

On the numeric keypad, press Period (.), 0, and

then Asterisk (*).

If Auto-Update Active Configuration is enabled, undoing the Window Configuration reverts to the
previously stored Window Configuration without
automatically saving changes (see Updating Window Configurations on page 180).

Editing Window Configurations

You can change which properties are stored with
Window Configurations, as well as the number,
name, or comments.

Select the Window Configuration from Window

To edit a Window Configuration:

> Configurations.

In the Window Configuration List, click the

Window Configuration to recall it.

In the Window Configuration List, select the

Window Configuration you want to edit.

From the Window Configuration List pop-up

menu, select Edit <Name>.

In the Edit Window Configuration dialog, edit

the configuration and click OK.

On the numeric keypad, press Period (.), the

number of the Window Configuration (199),
and then Asterisk (*).

The Pro Tools sessions screen layout updates with

the stored Window Configuration.

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179

Updating Window
Configurations
After you recall a stored Window Configuration,
you can make changes to the window layout and
window settings, and then update the stored Window Configuration with your changes. You can do
this manually, or you can have Pro Tools automatically update the active configuration.
To manually update a Window Configuration, do
one of the following:

Choose Window > Configurations > Update Active Configuration. The active Window Configuration updates to include any changes to its
included properties (Window Layout and Window Display Settings).
From the Window Configuration List pop-up
menu, choose Update <Name>. The selected
Window Configuration updates with any
changes to its included properties.

Clearing Window Configurations

Clearing a window configuration removes it and
its associated slot number while keeping the slot
numbers of other window configurations unchanged. The Clear command is useful if you want
to insert another configuration in the same slot.
To clear a Window Configuration:
1

In the Window Configuration List, select the

Window Configuration you want to clear.

From the Window Configuration List pop-up

menu, select Clear <Name>.

Deleting Window Configurations

Deleting a Window Configuration removes it and
its slot number, and renumbers any subsequent
Window Configurations.
To delete a Window Configuration:
1

In the Window Configuration List, select the

Window Configuration you want to delete.

Select Window > Configurations > Auto-Update

Active Configuration.

From the Window Configuration List pop-up

menu, select Delete <Name>.

From the Window Configuration List pop-up

menu, select Auto-Update Active Configuration.

To delete all Window Configurations:

To have Pro Tools automatically update the active

Window Configuration, do one of the following:

When Auto-Update Active Configuration is

selected, the active Window Configuration
updates with every change to the Window Layout
and Window Display Settings.
Window Configurations that do not include Window Layout and only store Window Display Settings cannot be made active and thus won't automatically update. If you want to update a Window
Configuration with changes to the Window Display Settings (such as the width of the Clip List in
the Edit window), use the Update command in the
Window Configuration List.

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From the Window Configuration List pop-up

menu, select Delete All.

Importing Window
Configurations
You can import Window Configurations from another session using Import Session Data.

Hiding All Floating Windows

The Hide All Floating Windows command hides or
shows all floating windows. This is useful for
quickly clearing the screen of all floating windows
so that you can work in the Edit or Mix windows.

To import Window Configurations:

1

Choose File > Import > Session Data.

To hide or show all floating windows:

Select the Window Configurations option.

If you only want to import Window Configurations, click the Session Data to Import pop-up
menu and select None.

Pro Tools provides commands to tile or cascade all

open windows. Floating windows (such as plug-in
windows) and the Transport window are not affected by these commands.
To arrange windows:

Press Control+Alt+Start+W (Windows) or

Command+Option+Control+W (Mac) to
hide or show all floating windows.

Click OK.

Arranging Windows

Choose Window > Arrange and select one of the

following:

Tile Arranges all open windows in a tiled pattern

on the screen.

Select or deselect Window > Hide All Floating

Windows.

Closing Windows
To close an open window:
1

Make sure the window you want to close is in

the foreground.

Do one of the following:

Click the Close button for the window.

Choose Window > Close Window.
Press Control+W (Windows) or
Command+W (Mac) to close the
frontmost window.

Tile Horizontal Arranges all open windows in a

horizontally tiled pattern on the screen. This option

is not available if there are too many windows
open.
Tile Vertical Arranges all open windows in a verti-

cally tiled pattern, side by side, on the screen. This

option is not available if there are too many windows open.
Cascade Arranges all open windows in cascading

pattern on the screen.

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181

How Window Configurations

Work
A Window Configuration can store the location
and size of all open windows, including:
Edit window

Task Manager window

Transport window
Big Counter window
Automation window

Mix window

Memory Locations window

Targeted MIDI Editor window

Machine Track Arming window

Score Editor window

Video Universe window

Workspace browsers

Video window

Session Setup window

Color Palette window

Time, Tempo, and Event Operations windows

Undo History window

MIDI Event List

Disk Space window

Real-time MIDI Properties window

System Usage window

Beat Detective window

Plug-In windows
Panner windows
Mic Pre windows

182

All floating windows listed in the Window

menu:

Pro Tools Reference Guide

The location and size of the Window Configuration List is not stored with Window
Configurations.

A Window Configuration can also store the Window Display settings for the Edit, Mix, Targeted
MIDI Editor, Score Editor, and Transport windows.

Window Configuration List

The Window Configuration List lets you recall and
manage stored Window Configurations, as well as
create new Window Configurations.

Edit Window Configuration dialog

Window Configuration List

To open the Window Configuration List:

Select Window > Configurations > Window

Configuration List.
Press Command+Option+J (Mac) or
Control+Alt+J (Windows) to show or hide
the Window Configuration List.

Window Configuration
Properties
Window Configurations can be stored and
recalled with the layout of windows in your
Pro Tools session, as well as with the settings for
the Edit, Mix, and Transport windows. You can
specify which of these properties are stored for
each Window Configuration either in the New
Window Configuration dialog or the Edit Window
Configuration dialog.

Number Is the number of the slot in which the

Window Configuration is stored (199). You can
type Period (.), the number of the Window Configuration, and then Asterisk (*) on the numeric keypad on your computer keyboard to recall the Window Configuration stored in that slot.
Name Is the name of the stored Window Configu-

ration.
Window Layout When enabled, stores the size and

location of all open windows.

Include Edit, Mix, Targeted MIDI Editor, Score Editor, and Transport Display Settings When en-

abled, stores all window display settings for the

Edit, Mix, Targeted MIDI Editor, Score Editor,
and Transport windows with the Window Configuration (such as whether or not the Clip List is
shown in the Edit window). This option is only
available when the Window Layout option is enabled.

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183

Window Display Settings Stores only the window

display settings for the selected window (Edit,

Mix, Targeted MIDI Editor, Score Editor, or
Transport):
Edit Window Display Settings

Window Configuration
Commands and Options
There are three main types of Window Configuration commands and options

Width of the Track List and Group List

View Filter icons

Height of the Track List

Window Configuration List pop-up menu items

Width of the Clip List

Active Window configuration options

What rulers are shown (the main ruler is

always shown)
What track columns are shown (such as
Inserts, Sends, or Comments)
Tempo editor display
Whether Transport controls are shown in the
Edit window
Edit Window Toolbar arrangement
Mix Window Display Settings
Width of the Track List and Group List
Height of the Track List
What track rows are shown (such as Inserts,
Sends, or Comments)
Narrow/wide mixer view

View Filter Icons

Using the View Filter icons, the Window Configuration List lets you show or hide Window Configurations based on whether or not they are stored
with Window Layout, Edit Window settings, Mix
Window settings, Score Editor window settings,
MIDI Editor Window settings, or Transport Window settings.
MIDI Editor Window (targeted) settings
Transport Window settings
Score Editor Window settings
Mix Window settings
Edit Window settings
Window Layout

Score Editor
MIDI Editor (Targeted)
MIDI Editor (Untargeted)
Transport Window Display Settings
Counters display
MIDI controls display
Expanded view
Comments Lets you type comments for the

Window Configuration.

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Window Configuration List view filter icons

To show or hide Window Configurations in the

Window Configuration List, do one of the
following:

Click the View Filter icon to show or hide Window Configurations that include that property
(Window Layout, Edit Window Settings, Mix
Window Settings, Score Editor Window Settings, MIDI Editor Window Settings, or Transport Window Settings).
Select or deselect the View Filter item in the
Window Configuration List pop-up menu.

Window Configuration List

Pop-Up Menu
You can select viewing and sorting options, along
with commands for creating and removing Window Configurations, from the pop-up menu in the
Window Configuration List.

Show Comments Lets you show or hide Comments in the Window Configuration List.
New Configuration Creates a new Window Configuration. This command is also available from
Window > Configurations.
Update <Name> Updates the selected Window
Configuration with any changes to the layout and
settings of windows depending on the Window
Configurations properties. This command is also
available from Window > Configurations.
Edit <Name> Opens the Edit Window Configura-

tion dialog where you can edit the properties of the

selected Window Configuration.
Clear <Name> Clears the selected Window Configuration without deleting the slot (number).
Delete All Deletes all Window Configurations.
Insert Slot Before <Name> Inserts a new slot be-

fore the selected Window Configuration and, if

necessary, increments the number of each following slot.
Delete <Name> Slot Deletes the selected Window
Configuration and its slot (number), and renumbers each subsequent slot.
Window Configuration List pop-up menu

View Filter Lets you show or hide Window Con-

figuration filter icons in the Window Configuration List as well as show or hide Window Configurations with Window Layout, Edit Window
Settings, Mix Window Settings, Score Editor Window Settings, MIDI Editor Window Settings, or
Transport Window Settings.

Auto-Update Active Configuration Automatically

updates the active Window Configuration as you
make changes to the layout and settings of windows. If Auto-Update Active Configuration is enabled, the number of the active configuration is
also displayed in the Window menu. This command is also available from Window > Configurations.

Chapter 12: Pro Tools Main Windows

185

Active Window Configuration

The active Window Configuration is indicated by a
diamond to the left of the Window Configuration
Number in the Window Configuration List and in
the Configurations submenu (Window > Configuration). If Auto-Update Active Configuration is enabled, the number of the active configuration is
also displayed in the Window menu. Only Window
Configurations that include Window Layout can
be made active.

Track Provides commands that are used to create,

manage, and edit tracks.

Clip Provides commands that are used to manage

and edit clips.

Event Provides commands for editing audio and
MIDI events.
AudioSuite Provides AudioSuite plug-ins.
Options Provides commands that let you select
several editing, recording, monitoring, playback,
and display options.
Setup Provides commands to open dialogs and
windows or configure various Pro Tools hardware
and software parameters.
Window Provides commands to toggle the display

of various Pro Tools windows.

Marketplace Provides access to your online Avid
Window Configuration List showing active
configuration

Menus
Pro Tools menus provide commands and options
for configuring and working with Pro Tools, sessions, and session material.

Pro Tools Main Menus

Pro Tools includes the following main menus:
File Provides commands that are used to create and
maintain Pro Tools sessions.
Edit Provides commands that are used to edit and

manipulate the current selection and affect data in

the Timeline or the clipboard.
View Provides options and commands to custom-

ize what is shown in various windows.

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Pro Tools Reference Guide

account, the online Plug-In finder, the online Avid

Support Center, and upgrade options for your current version of Pro Tools.
Help Provides access to searchable Pro Tools Help,
the online Pro Tools Knowledge Base, and the online Avid Audio Forums. The Help menu also provides easy access to PDF documentation (installed
with Pro Tools).

The Help menu also provides access to the Avid

Support Center and to the Check For Updates
command.

Track, Clip, and Group List

Menus

Track Name and Clip Name

Right-Click Menus

The Track, Clip, and Group Lists provide pop-up

menus for managing and working with the contents of each list, as follows:

Track and clip names provide Right-click menus

for managing and working with tracks or clips, as
follows:

Track List Menu Provides commands to show and

Track Name Right-Click Menu Right-clicking a

track name in the Edit window, Mix window, or
the Track List provides access to various track
commands (such as show/hide, make active/inactive, rename, duplicate, and delete tracks).

hide tracks in the Mix, Edit, MIDI Editor, and

Score Editor windows. The Track List pop-up
menu also lets you sort the contents of the Track
List.
For more information, see Track List on
page 218.
Group List Menu (Edit Groups and Mix
Groups) Provides commands to create, display,

suspend, and delete Mix and Edit Groups.

For more information, see The Group List
on page 243
Clip List Menu (Edit Window Only) Provides com-

mands to find, select, sort, clear, rename, time

stamp, compact, export, and recalculate waveform
overviews of items in the Clip List. The pop-up
menu also lets you set the drop order for clips
dragged from the Clip List and dropped in the
Timeline.
For more information, see Chapter 15,
The Clip List.

For more information, see Track Name

Right-Click Menu on page 221.
Clip Name Right-Click Menu (Edit Window Only)

Right-clicking a clip name in the Clip List provides commands to clear, rename, time stamp, or
replace clips (Pro Tools HD software only). The
pop-up menu also lets you export clip definitions
or selected clips as files, recalculate waveform
overviews, select the parent file of selected clips in
a Workspace Browser, or select a clip as an object
in the Edit window.
For more information, see Chapter 15,
The Clip List.

Group Name and Track Group ID

Indicator Pop-Up Menus
When you click and hold on a group name in the
Group List, or click on a Group ID indicator in a
track, a pop-up menu provides access to various
group commands (such as selecting tracks in a
group).
For more information, see Group Name and
Track Group ID Indicator Pop-Up Menus
on page 244.

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187

Tool Tips
Pro Tools provides Tool Tips in all main windows.
Holding the cursor for a few seconds over an abbreviated name, or unlabeled icon or tool, displays
either the function or details of the item (depending on the Tool Tips preferences settings).
To configure Tool Tips for Pro Tools:
1

Choose Setup > Preferences, and click the Display tab.

In the Basics section, enable the Tool Tips options you want displayed.

Function Shows the functional name of different

Pro Tools items (such as specific buttons, indicators, modes, selectors, and Edit tools).
Details Shows abbreviated or hidden Pro Tools

names or values for different Pro Tools items

(such as insert names, gain levels, settings, and
routing assignments).
To turn off Tool Tips, leave both options
deselected.
3

188

Click OK.

Pro Tools Reference Guide

Chapter 13: Tracks

Pro Tools provides different types of tracks for
working with audio, MIDI, and video in Pro Tools
sessions.

Track Types
In a Pro Tools session, you can have several different types of tracks. These can include audio, Auxiliary Input, Master Fader, VCA Master
(Pro Tools HD only), MIDI, Instrument, and video
tracks.
Video track features are described in
Chapter 52, Working with Video in
Pro Tools
Audio, Auxiliary Input, Master Fader, and VCA
Master Tracks

Pro Tools provides mono, stereo, and multichannel format audio, Auxiliary Input, Master Fader,
and VCA Master tracks.
Audio Tracks Audio tracks let you record to disk

and play back from disk recorded or imported audio files.

Auxiliary Input Tracks Auxiliary Input tracks can
be used as effects sends, destinations for submixes,
as a bounce destination, as inputs to monitor or
process audio (such as audio from external MIDI
instruments), and for many other audio routing
tasks.

Master Fader Tracks Master Fader tracks control

the overall level of audio paths that are routed to
physical output paths. For example, you could
have 24 tracks in a session with channels 18
routed to Analog Output 12, channels 916 to
Analog Output 34, and channels 1724 to Analog
Output 56. You could then create three master
faders, one to control each of these output pairs.

Master Fader tracks have additional uses (such as

controlling submix levels). For more information,
see Master Fader Tracks and Signal Flow on
page 908.
VCA Master Tracks (Pro Tools HD Only) VCA

Master tracks (or VCA Masters) emulate the operation of voltage-controlled amplifier channels on
analog consoles, where a VCA channel fader
would be used to control, group, or offset the signal levels of other channels on the console.
VCA Master tracks do not pass audio, so they do
not have inputs, outputs, inserts, or sends. A Mix
Group is assigned to a VCA Master track, which
appears in the VCA tracks Assignment selector.
The controls of the tracks in that Group, called the
slave tracks, are modified by the controls on the
VCA Master. For more information, see VCA
Master Tracks on page 910.

Chapter 13: Tracks

189

MIDI Tracks

MIDI tracks record, store, and playback MIDI

data. You cannot select a track format when you
create a MIDI track, because audio does not pass
through it.
Instrument Tracks

Instrument tracks are a special type of track that

provide both MIDI and audio capabilities in a single channel strip. Instrument tracks simplify using
software and hardware instruments to record and
monitor MIDI instruments.
Video Tracks

Video tracks let you add or import QuickTime

(Windows and Mac) or Windows Media Video
(Windows Vista only).
With an Avid video peripheral and Pro Tools, you
can add or import Avid video to the Pro Tools
Timeline (see Chapter 52, Working with Video in
Pro Tools.)
Video tracks only appear in the Edit window, and
video can be viewed in the Video window.

Track Formats
Mono Tracks

A mono audio, Auxiliary Input, Master Fader, or

Instrument track controls volume, and, in some
cases, panning, for a single channel of audio. A
mono audio track uses a single voice. A mono
track can also be routed to a multichannel output.
Stereo Tracks

A stereo audio, Auxiliary Input, Master Fader, or

Instrument track is a single channel strip for two
channels of audio as a stereo pair. Stereo audio
tracks use two voices.
Multichannel Tracks
(Pro Tools HD Only)

A multichannel track is a single channel strip that

plays multiple channels of audio (from 3 to 8 channels at a time). This allows Pro Tools to support
multichannel mixing formats including LCRS, 5.1,
6.1, and others. Audio, Auxiliary Input, Master
Fader, and Instrument tracks can all use any supported multichannel format.
For more information on surround mixing with
Pro Tools, see the following:
Chapter 47, Pro Tools Setup for Surround
Chapter 48, Multichannel Tracks and
Signal Routing
Chapter 49, Surround Panning and Mixing

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Track Channel Strips in the

Mix Window
Audio Track Channel Strips
Each audio track has its own set of channel strip
controls, including volume, pan, record enable, input monitoring (Pro Tools HD only), automation
mode, solo, mute, and voice assignment.

Track Color Coding

HEAT track controls
(Pro Tools HD with HEAT option

Inserts (AE shown)

Sends (AE shown)

Audio Input/Output Paths

Output Window button
Automation Mode selector
Group ID
Pan knob
Pan indicator
TrackInput Monitor button
Track Record Enable button
Solo/Mute buttons

Volume fader
Level meter

Voice selector
Peak/Delay and Headroom indicators
Track Type indicator
Track Name button
Delay Compensation view

Track Comments
Track Color Coding

Mono audio track channel strip

Chapter 13: Tracks

191

Auxiliary Input Track Channel

Strips

Master Fader Track Channel

Strips

Each Auxiliary Input track has its own set of channel strip controls, including volume, pan, automation mode, solo, and mute.

Each Master Fader track has its own set of channel

strip controls, including volume and automation
mode.

Inserts (AE shown)

Inserts (A-E shown)

Sends (AE shown)

Audio Input/Output Path selectors

Output Window button
Automation Mode selector
Group ID

Audio Output Path selectors

Output Window button
Automation Mode selector
Group ID

Pan knobs
Pan indicators
Solo/Mute buttons

Volume fader
Level meters

Volume fader
Level meters

Peak/Delay and Headroom indicators

Peak/Delay and Headroom indicators

Track Type indicator

Track Name button

Track Type indicator

Track Name button

Delay Compensation view

Delay Compensation view

Track Comments

Track Comments

Track Color Coding

Track Color Coding

Stereo Auxiliary Input track channel strip

Stereo Master Fader track channel strip

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VCA Master Track Channel

Strips
(Pro Tools HD Only)

Each VCA Master track has its own set of channel

strip controls, including volume, record enable, input monitoring, automation mode, solo, and mute.
For more information, see VCA Master
Tracks on page 910.

MIDI Track Channel Strips

Each MIDI track has its own set of channel strip
controls, including MIDI volume, pan, record enable, automation mode, solo, mute, patch assignment, and channel assignment.

MIDI Input selector

MIDI Output selector
Automation Mode selector
Group ID
MIDI Pan knob

Group ID
Automation Mode selector

MIDI Pan indicator

Record Enable
Solo/Mute buttons

TrackInput
Solo

Record
Enable

MIDI Volume fader

MIDI Velocity meter

Mute

Volume
fader

Patch Select
MIDI Volume indicator
Track Type indicator
Track Name button

Level meter

Track Comments

Volume indicator
Track Type indicator

Track Color Coding

MIDI channel strip

Track Comments
Track Color Coding

VCA Master track

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193

Instrument Track Channel

Strips
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 additional Instruments view that provides controls for MIDI input,
output, mute, volume, and pan (like on a MIDI
track).

MIDI Volume
MIDI Input selector
MIDI Mute button
MIDI Output selector
MIDI meter (Velocity)
MIDI Pan
Inserts (AE shown)

Sends (AE shown)

Audio Input/Output Path selectors

Output Window button
Automation Mode selector
Group ID
Pan knobs
Pan indicators
Record Enable
Solo/Mute buttons

Volume fader
Level meters

Patch Select
Peak/Delay and Headroom indicators
Track Type indicator
Track Name
Delay Compensation view
Track Comments
Track Color Coding

Stereo Instrument track channel strip, Instruments

view shown

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Pro Tools Reference Guide

Track Controls and

Indicators in the Edit Window
Audio Track Controls
Each audio track has its own set of track controls,
including Track Name, Playlist, Record Enable,
Input Monitoring (Pro Tools HD only), Solo,
Mute, Track View, Track Height, Timebase, Elastic Audio, Voice Assignment, and Automation
mode.

Auxiliary Input Track Controls

Each Auxiliary Input track has its own set of track
controls, including Track Name, Solo, Mute,
Track View, Track Height, Timebase, and Automation mode.
Solo button
Track Height selector
Track Name

Mute button
Track View selector

Track Height selector

Track Name
Record Enable button
TrackInput Monitor button
Solo button
Mute button

Automation Mode
selector

Timebase selector
Show/Hide Automation lanes
Playlist selector

Edit window track controls for a stereo Auxiliary Input

track (medium track height)
Track View selector

Master Fader Track Controls

Each Master Fader track has its own set of track
controls, including Track Name, Track View,
Track Height, Timebase, and Automation mode.

Automation Mode selector

Elastic Audio plug-in selector
Voice selector
Timebase selector
Show/Hide Automation lanes

Track Height
selector

Track View
selector
Track Name

Edit window track controls for a mono audio track

(medium track height)

Timebase selector
Show/Hide Automation lanes

Automation mode selector

Edit window track controls for a stereo Master Fader

track (medium track height)

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195

VCA Master Track Controls

MIDI Track Controls

(Pro Tools HD Only)

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.

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.
Track Height selector
Track Name
Record Enable button
TrackInput Monitor button
Solo button
Mute button

Track Height selector

Record Enable button
Track Name
Solo button
Mute button

Playlist selector

Track View selector

Automation Mode selector

Patch selector
Timebase selector
Automation Mode selector
Timebase selector
Show/Hide Automation lanes

Edit window track controls for a VCA Master track

(medium track height)

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Show/Hide Controller lanes

Edit window track controls for a MIDI track (medium

track height)

Instrument Track Controls

Each Instrument 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.
Track Height selector

Edit Window Views

In addition to track controls and playlists (of clips
of events on the Timeline), the Edit window provides the following views that correspond to channel strip controls in the Mix window:
Comments

Record Enable button

Mic Preamps

Track Name
Solo button

Instruments

Mute button

Inserts (AE and FJ)

Playlist
selector

Track View
selector

Sends (AE and FJ)

I/O
Real-Time Properties
Track Color
All
Minimal

Automation Mode selector

See also Views in the Mix and Edit

Windows on page 915.

Patch selector
Timebase selector
Show/Hide Automation and Controller lanes

Edit window track controls for a stereo Instrument

track (medium track height)

Video Track Controls

Each video track has its own set of track controls,
including Track Name, Playlist, Online, Track
View, and Track Height.
Track Height selector
Track Name

Playlist selector

Comments View
Comments view lets you type and view comments
for a specific track.
For more information on Comments view,
see Adding Comments to Tracks on
page 209.

Mic Preamps View

The Mic Preamps view shows controls for tracks
with physical audio inputs routed through PRE.

Online button

For more information, see the PRE Guide.

Track View selector

Frame Rate indicator

Edit window track controls for a video track (medium

track height)
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197

Instruments View
Instruments view provides MIDI controls for Instrument tracks: MIDI Input selector, MIDI Output
selector, MIDI Volume, MIDI Pan, and MIDI
Mute.

To show the I/O View in the Edit window:

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.

For more information, see Assigning MIDI

Input and Output for Instrument Tracks on
page 231.

For details on Input and Output selectors, see

Assigning Audio Inputs and Outputs to
Tracks on page 222.

Inserts View (AE and FJ)

Inserts view provides up to ten inserts (software
plug-ins and hardware I/O inserts for generating
and processing audio) on each audio, Auxiliary Input, Master Fader, and Instrument track.
For more information on inserts, see
Chapter 44, Plug-In and Hardware
Inserts.

Sends View (AE and FJ)

Sends view shows send assignments in each audio,
Auxiliary Input, and Instrument track.
For more information, see Configuring
Sends View in the Mix and Edit Windows on
page 925.

Select View > Edit Window > I/O.

Volume/Peak/Channel Delay Indicator

The Volume indicator on an audio track has three

display modes: Volume, Peak, and Channel Delay.
To toggle the Volume indicator display:

Control-click (Windows) or Command-click

(Mac) the indicator to toggle it between the following modes:

Volume Indicator (and Pop-Up Fader) Shows the

current volume, or input level of a track as set by
the track Volume fader. In I/O view (Edit window), click the Volume indicator to display the
Volume pop-up fader, which can be used to adjust
the volume.

I/O View
In the Edit window, I/O view provides Input and
Output selectors on audio, Auxiliary Input, Master
Fader (output only), MIDI, and Instrument tracks
(corresponding to the controls of the same name in
the Mix window).
Input Path selector
Output Window button

Peak Indicator Functions as a headroom indicator

Volume indicator

based on the last peak playback level. To reset the

peak counter, click anywhere in the meter. Values
range from (no signal) to 0 dB.

Pan indicator
Output Path selector

Edit window I/O view (audio track)

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Edit window I/O view, Volume pop-up fader (audio

track)

Pan Indicator

Volume Fader

The Pan indicator displays the current pan setting

of a track. Pan values range from <100 (full left) to
100> (full right). Pan controls are only available
for stereo tracks or for mono tracks routed to a stereo output.

The Volume fader controls the playback level of a

track when it is playing back, and the monitor level
of the track when it is recording. You can link the
record and monitor levels by enabling the Link Record and Play Faders option in the Operation preferences.

In I/O view (Edit window), click the Pan indicator

to display the Pan pop-up slider, which can be used
to adjust panning.

The maximum fader gain for a volume fader is

+12 dB.
MIDI Volume Fader

Edit window I/O view, Pan pop-up slider (audio track)

Greater-than-stereo multichannel tracks do

not provide a Pan indicator in I/O view. You
can view and adjust multichannel panning in
the tracks Output window or in the Mix window.
Pan Slider

The Pan slider controls the balance of a track between the assigned output pair. It only appears if
you are using stereo tracks or mono tracks routed
to a stereo output.

If your MIDI sound module supports volume, the

volume fader on a MIDI or Instrument track can
send a value of 0127 to the MIDI volume controller.

Real-Time Properties
In the Edit window, Real-Time Properties view
provides access to Real-Time Properties controls
(such as Quantize or Transpose) on MIDI and Instrument tracks. For more information, see MIDI
Real-Time Properties on page 671.

Track Color
In the Edit window, Track Color view displays the
Track Color strip at the left-most side of the Track
controls.

The Pan slider on a MIDI track is effective only if

you are controlling a sound module that supports
MIDI panning.
Send Pan controls can be linked to the Main
Pan controls of a track by enabling the
Follow Main Pan button in Send window.

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Fader Gain Scale

Track Level Meters

On audio tracks, level meters indicate the level of
the signal being recorded or played back from the
hard drive. When an audio track is record-enabled
or input monitoringenabled, these meters indicate
record or input monitoring levels respectively.
On Auxiliary Input, Master Fader, and Instrument
tracks, level meters indicate the level of the signal
being played through the channel output.
On MIDI tracks, and in Instruments view for Instrument tracks, the meter shows the MIDI velocity of the most recent MIDI event.

Meter Type
scale
Fader Gain
scale

Clip indicator

Gain Reduction
meter
(Pro Tools HD
only)
Track signal
meters

Stereo audio track with Signal and Gain Reduction

meters in the Mix window (Pro Tools HD)

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Pro Tools Reference Guide

The Fade Gain scale indicates the amount of gain

boost or attenuation of the signal by the Fader control.
Meter Type Scale Displays the meter scale for the
selected Meter Type (see Advanced Metering on
page 203).
Gain Reduction Meter (Pro Tools HD
Only) Pro Tools HD provides the option to display

a Gain Reduction Meter just to the right of the

track signal meters on audio, Auxiliary Input, Instrument, and Master Fader tracks with supported
dynamics plug-ins (such as the Avid
Pro Compressor or Pro Expander). For more information, see Configuring Gain Reduction Meters
on page 205.
Track Signal Meter For audio, Auxiliary Input, Instrument, VCA (Pro Tools HD only), and Master
Fader tracks, meters show a green hash mark to indicate where digital 0 dB sits on the selected Meter
scale. If digital 0 dB sits above the current Meter
scale, the hash mark moves to the top of the Meter
and is colored orange.
Clip Indicator Displays Red when clipping at the
audio interface input or output converters, or when
clipping while writing to a 16- or 24-bit audio file.
The clip indicator displays yellow when the audio
signal exceeds 0 dBFS in the internal mixer. For
more information, see Clip Indication on
page 201.

Pre- and Post-Fader Metering

You can globally set audio track level meters to indicate pre- or post-fader levels. When pre-fader
metering is selected, the level meters show levels
independent of fader position. With post-fader metering, the level meters respond to fader position.

Pro Tools meters provide Clip Indication with

three options:3 Second, Infinite, or None. If clipping occurs, the topmost LED will stay lit.
Clip indicators appear in plug-in, send, and
track windows.
To choose a Clip Indication setting:

To toggle track level metering between pre- fader

and post-fader metering:

Choose Setup > Preferences and click the

Metering tab.

Select a Clip Indication option.

Peak Hold

Click OK.

Pro Tools meters provide a Peak Hold feature with

three options: 3 Second, Infinite, or None.

To clear a clip indicator:

Select Options > Pre-Fader Metering.

To choose a Peak Hold setting:

1

Choose Setup > Preferences and click the

Metering tab.

Select a Peak Hold option.

Click OK.

Click anywhere on the meter.

To clear all clip indicators, do one of the following:

Option-click (Mac) or Alt-click (Windows) any

meter.

Choose Track > Clear All Clip Indicators.

Press Option+C (Mac) or Alt+C (Windows).

To clear a meter:

Click anywhere on the meter.

To clear all meters, do one of the following:

Option-click (Mac) or Alt-click (Windows) any

meter.

Choose Track > Clear All Clip Indicators.

Press Option+C (Mac) or Alt+C (Windows).

Clip Indication
Because Pro Tools uses 64-bit floating point calculations for the mixer, there will never be any internal clipping in the mixer. However, it is possible to
clip at the converters on your audio interface. It is
also possible to clip when writing audio to disk in
fixed point audio files (16-bit or 24-bit files only,
32-bit floating point files will not clip).

Audio, Auxiliary Input, Instrument, and Master Fader

tracks showing clipping

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201

Master Fader Track Clip Indicators

Wide Meters View

Master Fader track clip indicators display red

when the audio signal exceeds 0 dBFS, causing
clipping at the output converters on your audio interface. This behavior is mirrored in the Output
Meters in the Transport.

Wide Meters view expands the width of the level

meters for tracks in both the Mix and Edit windows, to make the track level meters easier to read.
Wide Meters view are also available Narrow Mix
view.

Audio Track Clip Indicators

To toggle Wide Meters View on or off:

Audio track clip indicators display red under the

following circumstances, otherwise they display
yellow:

Command-Option-Control-click (Mac) or Control-Alt-Start-click (Windows) any track level

meter in the Mix or Edit window.

When an audio track is record enabled or set to

input monitoring and the input assignment is set
to a physical input signal that exceeds 0 dBFS
causing clipping at the converters.
When an audio track is recording to a fixedpoint bit depth (16- or 24-bit) and the audio written to disk exceeds 0 dBFS causing clipping in
the file.
Auxiliary Input and Instrument Track,
and Sends Clip Indicators

Auxiliary Input and Instrument tracks, as well as

Sends clip indicators display yellow when the audio signal exceeds 0 dBFS (even though there is no
internal clipping). This provides a warning that
these audio streams can clip at the output converters or when writing fixed-point file formats to disk.

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Wide Meters view, Mix and Edit windows

Showing or Hiding Meters and

Faders
Pro Tools lets you show or hide Meters and Faders
in the Mix window. This can be useful for conserving screen space, especially if you are working
with a control surface.
To show (or hide) meters and faders in the Mix
window, do one of the following:

Select (or deselect) View > Mix Window Views >

Meters and Faders.
From the Mix Window View selector, select (or
deselect) Meters and Faders.

Advanced Metering
Pro Tools lets you change metering ballistics and
scales to match your needs for visually monitoring
audio levels. For most users, the default settings
for each of the Meter Type settings work best.
However, for some broadcasters, post production
facilities, and mixing and mastering facilities,
other metering options may be desired so that
Pro Tools metering matches the metering on various external consoles or other devices.
Fader and Meter Scales

In the Mix window, Pro Tools shows a gain boost

and attenuation scale, measured in dB, to the left of
the track Volume fader from +12 dB down to
INF dB. This scale shows how much changes to
the fader affect the audio level for the track. In
some cases, such as with Wide Meters view or
greater-than-stereo channel widths, the Fader scale
may not be displayed.
The values between the fader and the meters
change depending on the selected Meter Type. For
example, for the Peak Meter Type, the meter scale
is from 0 dB down to 60 dB, while for the VU Meter Type, the meter scale is from +3 dB down to
20 dB.

Mix Window View selector

Meter Type
scale

Peak

VU

Different Meter Type scales

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203

Gain Reduction Meter Placement to

Scale

To set the Meter Type for Track and Master meters

in the Pro Tools Preferences:

(Pro Tools HD Only)

Choose Setup > Preferences.

The placement of the Gain Reduction meter (when

shown) depends on the scale for the selected Meter
Type. The top of the Gain Reduction meter will always match the reference level for the selected
Meter Type. Likewise, the bottom the Gain Reduction meter scales to the range of the selected Meter
Type.

Click the Metering tab.

Enable or disable the Track and Master Meter

Types Linked setting as desired.

Do one of the following:

If the Track and Master Meter Types Linked setting is enabled, select the desired Meter Type
from either the Track Meters or Master Meters
pop-up menus.
If the Track and Master Meter Types Linked setting is disabled, select the desired Meter Type
for Track meters from the Track Meters pop-up
menu and select the desired Meter Type for
Master meters from the Master Meters pop-up
menu.

Peak

VU

Option-Right-click (Mac) or Alt-Right-Click

(Windows) any track meter and select the desired Meter Type to set all track types to the
same setting regardless of the Track and
Master Meter Types Linked option is setting.

K-20

Different Gain Meter locations to Meter Type scale

Setting the Meter Type

You can set the Meter Type either in the Pro Tools
Metering preferences or using the Right-click Meter menu. Depending on the Track and Master Meter Types Linked setting, you can set the Track (audio, Auxiliary Input, and Instrument tracks) or
Master (Master Fader tracks) Meter Type settings
independently.
For details on the available Meter Types, see
Track and Master Meter Types on
page 112.

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Pro Tools Reference Guide

Click OK.

To set the Track Meter Type in the Mix or Edit

windows:
1

Right-click on any Track meter.

From the Meter Type menu, select the desired

option.
If the Track and Master Meter Types Linked
option is enabled in the Pro Tools Metering
Preferences, Master meters are also set to the
selected Meter Type

To set the Master Meter Type in the Mix or Edit

windows:
1

Right-click on any Master meter.

From the Meter Type menu, select the desired

option.
If the Track and Master Meter Types Linked
option is enabled in the Pro Tools Metering
Preferences, all Track meters are also set to
the selected Meter Type

Configuring Gain Reduction Meters

(Pro Tools HD Only)

You can configure the Gain Reduction meters either in the Pro Tools Metering preferences or using
the Right-click Meter menu. The Gain Reduction
Meters setting applies equally to Track and Master
meters regardless of the Track and Master Meter
Types Linked setting.
To configure Gain Reduction Meter Type, do one of
the following:

Choose Setup > Preference > Metering and select the desired Gain Reduction Meter Type option.
Right-click on any Track meter and select the
desired option from the Gain Reduction submenu in the Gain Reduction Meter Type menu.

Selecting the Meter Type in the Mix window

(Pro Tools HD shown)

Enabling Gain Reduction Meters in the Mix window

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205

Adjusting Track Width

To create new tracks:

1

(Mix Window)

The Narrow Mix command lets you view all

tracks/channels in the Mix window at a reduced
width to conserve screen space in a large session.
(See Track Height on page 216, to adjust track
height in the Edit Window.)

Choose Track > New.

Right-click any Track Name in the Mix or Edit
windows, or Track List, and choose New.
Press Control+Shift+N (Windows) or
Command+Shift+N (Mac) to open the New
Tracks dialog

To reduce the width of tracks in the Mix window:

Select View > Narrow Mix.

To display tracks at normal width:

Do one of the following to open the New Tracks

dialog:

Number of new tracks

Track Type

Track Format

Deselect View > Narrow Mix.

Add/Remove Row

Track Timebase

You can toggle track width by pressing

Command+Option+M (Mac) or
Control+Alt+M (Windows).
New Tracks dialog

Creating Tracks

You can create mono and stereo tracks on all

Pro Tools systems. With Pro Tools HD option,
you can also create multichannel tracks (from LCR
to 7.1).
When new tracks are created, they are given a default name that can be changed at any time.

To auto-scroll the Track Type pop-up menu

in the New Tracks dialog, press Command
(Mac) or Control (Windows) and use the
Up/Down Arrow keys.
3

To insert new tracks next to a specific track in a

session, select that track by clicking the tracks
name in the Mix or Edit window before opening
the New Tracks dialog. The new tracks are added
immediately after the selected track.

To insert new tracks after the last tracks in a session, make sure that no track names are selected
on-screen before opening the New Tracks dialog.

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Pro Tools Reference Guide

Select the track format (mono, stereo, or one of

the multichannel surround formats) from the
Track Format pop-up menu. Surround formats
are only available with Pro Tools HD.
To auto-scroll the Track Format pop-up
menu, press Command (Mac) or Control
(Windows) and use the Left/Right Arrow
keys.

You can also add tracks to your session by

importing them from preexisting sessions.
See Importing Session Data on page 328.

Select the type of track you want to add from the

Track Type pop-up menu.

Select the timebase (samples or ticks) from the

Track Timebase pop-up menu.

To auto-scroll the Track Timebase pop-up

menu, press Command+Option (Mac) or
Control+Alt (Windows) and use the
Up/Down Arrow keys.
5

Enter the number of new tracks.

If you are creating various multiple new
tracks, you can move to the next or previous
rows Number of New Tracks field by
pressing Tab or Shift+Tab.

Do any of the following:

To add more tracks, click the Add Row button.

Adding New Tracks by DoubleClicking in the Edit or Mix

Windows
Pro Tools lets you add new tracks by double-clicking in blank space below tracks in the Edit window
or below or to the right of tracks in the Mix window.
To add a new track of the same type and channel
width as the last new track, do one of the
following:

To remove a track, click the Remove Row button.

To add a new track, press Command+N

(Mac) or Control+N (Windows), or press
Command+Plus (+) (Mac) or
Control+Plus (+) (Windows) on the
numeric keypad.
To remove the last track from the New Tracks
dialog, press Command+Minus () (Mac) or
Control+Minus () (Windows).
7

Click Create.

Double-click in the empty area below any current tracks in the Tracks list.

To add a new audio track of the same channel

width as the last new track, do one of the
following:

Double-click in the empty area of the Edit window below any current tracks.

If no tracks exist in the session, a stereo audio track

is created by default.

To reorder tracks, drag a Move Row icon up or

down.

Move Row icon in the New Tracks dialog

Double-click in the empty area of the Mix window below or to the right of any current tracks.

Command-double-click (Mac) or Control-double-click (Windows) on the empty area of the

Mix window below or to the right of any current
tracks.
Command-double-click (Mac) or Control-double-click (Windows) on the empty area of the
Edit window below any current tracks.
Command-double-click (Mac) or Control-double-click (Windows) in the empty area below
any current tracks in the Tracks list.

If no tracks exist in the session, a stereo audio track

is created by default.

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207

To add a new Auxiliary Input track of the same

channel width as the last new track, do one of the
following:

Control-double-click (Mac) or Start-doubleclick (Windows) on the empty area of the Mix

window below or to the right of any current
tracks.

Naming Tracks
Track names are used to auto-name recorded audio
files and clips.

Control-double-click (Mac) or Start-doubleclick (Windows) on the empty area of the Edit

window below any current tracks.
Control-double-click (Mac) or Start-doubleclick (Windows) in the empty area below any
current tracks in the Tracks list.

If no tracks exist in the session, a stereo Auxiliary

Input track is created by default.
Track Name/Comments dialog
To add a new Master Fader track of the same
channel width as the last new track, do one of the
following:

To rename a track:
1

In the Mix or Edit window, double-click the

Track Name button for the track you want to rename.

Shift-double-click on the empty area of the Edit

window below any current tracks.

In the Track List, or Mix or Edit window, Rightclick the track name for the track you want to rename.

Shift-double-click (Mac) in the empty area below any current tracks in the Tracks list.

If no tracks exist in the session, a stereo Master

Fader track is created by default.

In the Track Name/Comments dialog, type a

new track name.

Click Previous or Next to rename other displayed tracks.

Default Track Names

When creating new audio, Auxiliary Input, Master
Fader, VCA Master, MIDI, and Instrument tracks,
Pro Tools names them as Audio, Aux, Master, VCA, MIDI, or Inst accordingly and
numbers them consecutively. For example, when
you create the first two audio tracks in a new session, their default names are Audio 1 and
Audio 2. You can rename tracks and also log
comments for each track.
208

Do one of the following:

Shift-double-click on the empty area of the Mix

window below or to the right of any current
tracks.

Pro Tools Reference Guide

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.
4

Click OK.

Adding Comments to Tracks

To add comments to a track, do one of the
following:

From the track channel strip, click directly in

the Comments area, type any comments for the
track, and press Enter (Windows) or Return
(Mac).
In the Edit or Mix window, double-click the
Track Name button for a track. Then click directly in the Comments area, type any comments for the track, and press Enter (Windows)
or Return (Mac).
To enter a carriage return in the Comments
area, press Shift+Enter (Windows) or
Shift+Return (Mac) on the alphanumeric
keyboard.

Track Numbering
With Track Number view enabled, each track is assigned a number corresponding to its position in
the Mix and Edit Windows. When tracks are reordered, they are renumbered to maintain positional
sequence.
To enable Track Number view:

Choose View > Track Number.

To navigate directly to any track number:

1

Choose Track > Scroll to Track.

Press Command+Option+F (Mac) or
Control+Alt+F (Windows) to open the
Scroll to Track dialog.

In the Scroll To Track dialog, enter the Track

Position Number.

Scroll To Track dialog

3

Click OK.

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209

Selecting Tracks
Tracks need to be selected for operations such as
duplicating tracks or adding tracks to a group. One
or more tracks can be selected at a time.
To select a track:

To select or deselect noncontiguous tracks, do

one of the following:

Click the name of an unhighlighted track in its

track channel strip.

Command-click (Mac) or Control-click (Windows) Track Name buttons that are unhighlighted to select them.
Command-click (Mac) or Control-click (Windows) Track Name buttons that are highlighted
to deselect them.

To select all tracks:

Option-click (Mac) or Alt-click (Windows) any

Track Name button that is unhighlighted.

To deselect all tracks:

Option-click (Mac) or Alt-click (Windows) any

Track Name button that is highlighted.

Selecting Tracks when Making Edit Selections

unselected track
selected track
Selected and unselected tracks

To link Track and Edit selections:

To select a range of tracks:

Select Options > Link Track and Edit Selection.

Click the name of an unhighlighted track in its

track channel strip.

Scrolling a Track into View

Shift-click an additional button.

To scroll a track into view:

All tracks between the first track selected and the

additional track will also be selected.

210

Pro Tools lets you link Track selection with Edit

selections. When Track and Edit selections are
linked, you can make a selection within a track or
across multiple tracks for editing and each associated track is selected (track names automatically
highlight).

Pro Tools Reference Guide

In the Track List, or Mix or Edit window, Rightclick the track name and select Scroll into View.

Deleting Tracks

Duplicating Tracks

When you delete tracks, your audio or MIDI clip

data remains in the Clip List, but your arrangement
of the clips on the deleted track (the tracks playlist) will be lost.

The Duplicate Track command lets you duplicate

one or more tracks, including their audio or MIDI
data, playlists, automation, and other attributes.

If the track contains playlists that are not assigned

to any track, you are prompted to delete or retain
them.
The Delete Track command cannot be undone.
To delete a track:
1

Click the name of the track in its track channel

strip to select it.
To select multiple tracks, Command-click
(Mac) or Control-click (Windows) additional
Track Names.

To duplicate one or more tracks:

1

Select the tracks you want to duplicate.

For information, see Selecting Tracks on
page 210.

Do one of the following:

Choose Track > Duplicate.

Press Option+Shift+D (Mac) or Alt+Shift+D
(Windows).
Right-click the name of the track in the Track
List, or Mix or Edit window, and select
Duplicate.

To select a range of tracks, Shift-click

additional Track Names.
2

Do one of the following:

Choose Track > Delete.

In the Track List, or Mix or Edit window, Rightclick the track name and select
Delete.
3

Click OK to remove the selected tracks from the

session.

Duplicate Tracks dialog

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211

In the Duplicate Tracks dialog, configure the

following options:

Enter how many copies you want to create in the

Number of Duplicates filed.
To copy the currently active (visible) Edit playlist from the source track, select Active Playlist.
To copy all Edit playlists on the source track,
select Alternate Playlists
To copy all automation from the source track,
select Automation.
To copy all plug-in and insert assignments,
select Inserts.
To copy all sends and send assignments,
select Sends.
To maintain all Mix and Edit Group assignments, select Group Assignments.
4

If duplicating multiple tracks, do one of the following:

If you want all the newly created tracks to follow

the last selected source track (to the far-right of
the Mix window, and at the bottom of the Edit
window), select the Insert after Last Selected
Track option.
If you want each newly-created track to be inserted directly after its source track, deselect the
Insert after Last Selected Track option.
5

Click OK to duplicate tracks according to the

settings in the Duplicate Tracks dialog. Click
Cancel to close the dialog and not create duplicate tracks.

Duplicating VCA Slave Tracks

(Pro Tools HD Only)

Duplicating a VCA slave track without duplicating

its group assignments will coalesce any automation on the duplicate track. The coalesced duplicate plays back exactly as if it were in the VCA
group. For more information, see VCA Master
Tracks on page 910.

Track Views
The Track View determines which data is displayed and edited in the tracks playlist area. Track
View data can be set to Playlists, Blocks, Analysis,
Warp, Waveform, Volume, Volume Trim, Mute,
Pan, Send, or an automated control or continuous
controller, based on the track type and your
Pro Tools system.
Audio Tracks Can be set to Blocks, Playlists, Analysis, Warp, Waveform, Volume, Volume Trim,
Mute, Pan, Send controls, or any plug-in controls

that are enabled for automation. By default, audio

tracks are set to Waveform view where track material is graphically drawn with amplitude waveforms (a time-domain representation of sound).
This Track View provides the necessary detail for
important clip edits.
Auxiliary Input Tracks Can be set to Volume, Volume Trim, Mute, Pan, Send controls, or any plug-in

controls that are enabled for automation.

Master Fader Tracks Can be set to Volume, Volume Trim, or any plug-in controls that are enabled

for automation.
VCA Master Tracks (Pro Tools HD Only) Can be
set to Volume, Volume Trim, or Mute.
MIDI Tracks Can be set to Blocks, Clips, Notes, Velocity, Volume, Mute, Pan, Pitch Bend, Mono After
Touch, Program Change, Sysex, and any continu-

ous controller type. MIDI tracks are commonly set

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Pro Tools Reference Guide

to Notes or Clips, each of which displays notes in a

piano roll format. Use Clips view to edit and arrange MIDI clips. Use Notes view for inserting and
editing MIDI notes. Other MIDI track views are
useful for editing velocity, controller data, program changes, and Sysex events.

Analysis and Warp Track View

Instrument Tracks Can be set to Blocks, Clips,

Notes, Velocity, Volume, Mute, Pan, Pitch Bend,
Mono After Touch, Program Change, Sysex, and

Waveform View

any continuous controller type for MIDI; as well as

Volume, Volume Trim, Mute, Pan, Send controls,
or any plug-in controls that enabled for automation. Instrument tracks are commonly set to Notes
or Clips, each of which displays notes in a piano
roll format. Use Notes view for inserting, editing,
and copying and pasting MIDI notes. Use Clip
view to arrange, capture, or consolidate clips.
Other Instrument track views are useful for editing
automation, controller data, program changes, and
Sysex events.

With the Track View set to Waveform, you can edit

and arrange audio clips on audio tracks. Waveforms are time-domain representations of the audio data and can be shown as normal or rectified
waveforms, and calculated using Peak or Power
mode.

Video Tracks For information on video track

views, see Video Track View on page 1159.

Blocks Track View

With the Track View set to Blocks, audio and
MIDI clips are displayed as empty blocks bearing
the clips name. This Track View is most useful
once you have finished capturing and editing clips
at the waveform or MIDI event level and are moving and rearranging them. Screen redraws are fastest with this format.

(Audio Tracks Only)

With the Track View set to Analysis or Warp, you

can edit Elastic Audio analysis and warp markers
on Elastic Audio-enabled tracks.

(Audio Only)

Track View set to Waveform for audio track

On audio tracks, the Waveform is also visible in Playlists, Analysis, Warp, and Automation views.

Clips View
(MIDI Only)

With the Track View set to Clips, you can edit and
arrange MIDI clips on MIDI and Instrument
tracks.

Playlists Track View

(Audio Tracks Only)

With the Track View set to Playlists, alternate

playlists for audio tracks are revealed in Playlist
lanes under the Main Playlist on the track. This
view is useful for track compositing, letting you
select the best parts from a tracks alternate playlists and copy them to the main playlist.

Track View set to Clips for MIDI track

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213

Notes View
(MIDI Only)

With the Track View set to Notes, you can insert

and edit MIDI notes on MIDI and Instrument
tracks.

Automation and Controller

Views
When an audio or Instrument track is displayed as
Volume, Pan, or another automated control, or
when a MIDI or Instrument track is set to one of
the continuous controller types (such as Volume or
Pitch Bend), the data for that track appears in the
form of a line graph with a series of editable breakpoints. The breakpoints can be dragged to modify
the automation data, and new breakpoints can be
inserted with the Pencil tool or a Grabber tool.
MIDI and Instrument tracks also provide Velocity
view for editing MIDI velocities.

Track View set to Pan for audio track

Setting Track Views in the

Edit Window
To set the Track View:

Click the Track View selector for the track and

select the view from the pop-up menu.

The track displays the new view. If the track is part

of an active Edit Group, all tracks in the group are
set to the new view.

Audio Track View selector

Auxiliary Track View selector

For details on inserting and editing controller data for MIDI tracks, see Continuous
Controller Events on page 660.
You can also edit automation and controller
data in lanes below the tracks main playlist
view. For details on editing automation data
for audio tracks, see Chapter 45, Automation.

Master Fader Track View selector

VCA Master Track View selector (Pro Tools HD only)

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Changing Track Views

For audio, Auxiliary Input, MIDI, and Instrument
tracks, you can change to the next or previous
Track View, or toggle between pre-defined common views.
Changing to Previous or Next Track View

When changing to the next or previous Track

View, Track View list ordering is maintained as
shown in the Track View selector.
MIDI Track View selector

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.
To change to the previous or next Track View:

Instrument Track View selector

Click in the track you want to change. To

change views on multiple tracks, Shift-click or
drag the Selector tool to select additional tracks,
or select a group.

Do one of the following:

To change to the previous or next Track View on

all selected tracks, press Control+Command
(Mac) or Control+Start (Windows) and the Left
or Right Arrow key.
To change to the previous or next Track View on
all tracks, press Command+Option+Control
(Mac) or Control+Alt+Start (Windows) and the
Left or Right Arrow key.

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215

Toggling Common Track Views

The most common editing view for audio tracks

are Waveform and Volume view. The most common editing views for MIDI and Instrument tracks
are Notes and Clips view. Pro Tools provides an
easy way to toggle these views.
To toggle Track Views on tracks containing the edit
cursor (or an Edit selection):
1

Audio, MIDI, and Instrument tracks have Track

Views that act as master. When a track is displayed in its Master view, any edits performed apply to all data in the track. For instance, when an
audio track is set to Waveform, copying and pasting affects not just the waveform information, but
all of the automation data as well.

Click in the track you want to toggle. To toggle

multiple tracks, Shift-click or drag with the Selector tool to select additional tracks.

The Master view is based on the type of track, as

follows:

Do one of the following:

MIDI and Instrument tracks: Clips, Blocks, and

Notes (when using the Selector tool)

Press Start+Minus (Windows) or Control+

Minus (Mac) on the alphanumeric keyboard.
With Commands Keyboard Focus enabled (see
Keyboard Focus on page 24), press Minus on
the alphanumeric keyboard.
To toggle Track Views for all tracks, press
Option+Control+Minus (Mac) or
Alt+Start+Minus (Windows) on the
alphanumeric keyboard.
To toggle Track Views for all tracks with
Command Focus enabled, press
Option+Minus (Mac) or Alt+Minus
(Windows) on the alphanumeric keyboard.

Audio tracks are toggled between Waveform and

Volume view. MIDI and Instrument tracks are toggled between Notes and Clips view.

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Master Views for Tracks

Pro Tools Reference Guide

Audio tracks: Waveform and Blocks

Track Height
Tracks can be viewed in the Edit window at any of
eight heights: Micro, Mini, Small, Medium, Large,
Jumbo, Extreme and Fit To Window. Larger track
heights are particularly useful for precise editing,
especially for MIDI. Smaller track heights are useful for conserving screen space in a large session.
You can adjust track heights on an individual track
basis or set all tracks to the same height. Track
heights can be changed during playback.

To set the Track Height, do one of the following:

Click the small arrow to the left of the Track

name to get the Track Height pop-up menu.

Continuously Variable Track

Height
In the Edit window, you can continuously resize
the Track Height of any given track by dragging
the lower boundary of the Track Controls column.
To resize the Track Height of any track in the Edit
window:

Track Height pop-up menu

Right-click on the vertical zoom scale just to the

right of the track controls and choose the height
from the pop-up menu.

Drag the bottom line of any given tracks Track

Controls column up or down. The cursor
changes to indicate that you can resize the track.

The tracks Track Height changes incrementally.

The track is resized to the new height. If the track is

part of an Edit Group, all tracks in the group are set
to the new height.
Press Control+Up/Down Arrow key (Mac)
or Start+Up/Down Arrow key (Windows) to
increase/decrease track height of any track
that contains a selection or in which the edit
cursor is currently placed.
To resize all tracks proportionally:

Click Edit window Vertical Zoom In or Out button.

Adjusting the Track Height of an audio track

Hold Command (Mac) or Control

(Windows) while adjusting track height for
continuous, non-incremental adjustments.
To continuously resize all tracks, Optiondrag (Mac) or Alt-drag (Windows).
To continuously resize all selected tracks,
Option-Shift-drag (Mac) or Alt-Shift-drag
(Windows).

Vertical Zoom In and Out buttons, Edit window

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217

Track Controls and Track Height

The Track Height affects how the various track
controls appear in the Edit window. For instance,
when a tracks height is set to Small, most of the
buttons are reduced in size.

Track List
The Track List (at the left of both the Mix and Edit
windows) shows all tracks in the session. It allows
you to show or hide a track in the Mix, Edit, MIDI
Editor, and Score Editor windows. Even though a
track is hidden, the material on the track will still
play as part of the session. Inactive tracks appear in
italics in the Track List.

Track Height set to Small

When the Track Height is set to Mini or Micro, only

controls for Record, Solo, and Mute appear, and
the menus for Playlist, Track Timebase, Track
Height, and Track View are accessed from the same
selector.

The Track List can also be used to create new

tracks when importing media by drag and
drop from a Workspace browser. See Importing Files with Drag and Drop on
page 312.

Track Show/Hide

Track Height set to Mini

Track Color Code

Track Type icon

When the Track Height is set to Medium, Large,

Jumbo, or Extreme, all track controls are displayed
at their full size.

Track Height set to Large

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Track name
Track List menu

Track List

Show/Hide Track List and Group

List
To show (or hide) the Track List (and Group List),
do one of the following:

The Sort Tracks By command lets you set the track

order according to Name, Type, Edit Group, Mix
Group, or Voice. The sort order will be reflected in
the Track List in the Mix, Edit, MIDI Editor, and
Score Editor windows.

From the Edit window menu, select (or deselect) Track List.
Click the Show/Hide Track List/Group List View
button in the Mix or Edit window.

Sort Tracks By options

Show/Hide Track List /Group List, in Edit Window

Track List Menu

The pop-up menu at the top of the Track List provides commands that allow you to show or hide all
tracks, tracks currently selected on-screen, or specific types of tracks (audio, Auxiliary Input, Master Fader, MIDI, Instrument, VCA Master, or Inactive tracks).

Show Only option

When a track that is a member of an active group is

hidden from view, editing operations performed on
other members of the group in the Edit window
will not affect the hidden track. In the Mix window, however, all operations other than record-enable will affect a hidden track that is a member of
an active group.
The options in the Track List menu in the Score
Editor window are different from the Mix, Edit,
and MIDI Editor windows. For more information,
see Track List on page 704.

Showing and Hiding Tracks

The Mix and Edit windows are linked in terms of
which tracks are shown or hidden. However, the
Score Editor window and MIDI Editor windows
are all unique in terms of which tracks are shown
or hidden. For example, hiding a specific track in
the Edit window also hides it in the Mix window,
but not in the Score Editor or MIDI Editor windows. Also, hiding a specific track in a MIDI Editor window hides it only in that MIDI Editor window.

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219

To hide a track, do one of the following:

Click the Track Show/Hide icon in the Track

List.

To hide all tracks:

In the Track List (or on the track channel strip),

Right-click the track name and select Hide (or
Hide and Make Inactive if the track is active and
you also want to make it inactive).

Click the Track List menu and choose Hide All

Tracks.
You can also hide all tracks by Option-clicking
(Mac) or Alt-clicking (Windows) the
Show/Hide icon of any track that is shown.
To reorder tracks on-screen, drag the track
names to new positions within the Track List
or in the Mix or Edit window.

To show a range of tracks:

1

Select a range of hidden tracks in the Track List.

Click the Show/Hide icon of hidden track at the

top of the Track List.

Shift-click the Show/Hide icon of hidden track

at the bottom of the selection.

Shown track icon in the Track List

All tracks that occur between the first track selected and the last track will also be selected.
Hidden track icon in the Track List
To show a track that is currently hidden, do one of
the following:

Click the Track Show/Hide icon in the Track

List.
In the Track List (or on the track channel strip),
Right-click the track name and select Show (or
Show and Make Active if the track is inactive
and you also want to make it active).

To show all tracks:

Move the cursor to the left of a track name until

the Marquee with a small + symbol appears.

Click on the track in the list and drag up or down

over the Show/Hide icons (to show or hide the
track and the tracks immediately above or below it).

To show or hide non-contiguous tracks:

Click the Track List menu and choose Show All

Tracks.

You can also show all tracks by Option-clicking (Mac) or Alt-clicking (Windows) the
Show/Hide icon of any track that is hidden.

220

To show or hide a range of tracks in the Track List

with the Marquee:

Pro Tools Reference Guide

Click the Show/Hide icon for the tracks you

want to show or hide.

To restore previously shown tracks after using the

Show All Tracks, Show Only Selected Tracks, or
Show Only Tracks by <Track Type> commands:

From the Track List menu, choose the Restore

Previously Shown Tracks option.

Mix/Edit Groups and Hidden

Tracks
In the Mix window, if a hidden track is part of an
enabled group, all Mix window operations performed on other members of the group also affect
the hidden trackwith the exception of audio or
MIDI record-enabling. If you solo, mute, or automation write-enable a grouped track, any group
members that are hidden are soloed, muted, or automation write-enabled as well.
In the Edit window, however, editing operations
performed on members of an enabled group do not
affect hidden tracks that are also members of the
enabled group.

Track Name Right-Click

Menu
(Mix Window, Edit Window, MIDI Editor
Windows, or Track List)

When you Right-click a track name in the Mix

window, Edit window, MIDI Editor windows, or
the Track List, a pop-up menu provides access to
the following commands:
Hide/Show Hides (or shows) the track (or selected

tracks if any).
Hide and Make Inactive Hides the track and makes

it inactive (or selected tracks if any).

Make Active/Inactive Toggles the active status of

Track Numbering and Hidden

Tracks

the track (or all selected tracks in the Mix or Edit

window only).

In the Mix and Edit windows, Track Position

Numbers can either include hidden tracks in their
numbering sequence, or ignore them

Scroll Into View Scrolls the track to the top of the

When Track Position Numbers Stay with Hidden

Tracks is not selected in the Display Preferences
page, numbers are only assigned to tracks that
are shown. In this case, active tracks are then
numbered sequentially. Hidden tracks are unnumbered.
When Track Position Numbers Stay With Hidden
Tracks is selected in the Display Preferences
page, tracks keep their Track Position Numbers
even when hidden.

Edit window or to the left of the Mix window.

Export MIDI (MIDI and Instrument Tracks
Only) Exports the MIDI data from one or more

MIDI or Instrument tracks to a standard MIDI file.

For more information, see Exporting MIDI Files
on page 326.
Coalesce VCA Master Automation (VCA Master
Tracks with Pro Tools HD Only) Coalesces the

VCA automation to the slave tracks of the VCA.

Coalesce Trim Automation (Pro Tools HD Only)

Coalesces Trim automation on the track (or selected tracks if any).

Clear Trim Automation (Pro Tools HD Only)

Clears Trim automation on the track (or

selected tracks if any).
Locked (Video Track Only) Toggles the
locked/unlocked status of the video track (or
selected video tracks if any).
New Opens the New Track dialog.
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221

Rename Opens the Track Name dialog.

Duplicate Duplicates the track (or selected tracks

if any).
Split Into Mono (Multichannel Tracks Only) Splits

a multichannel track (or selected multichannel

tracks if any) into their mono component tracks.
Delete Deletes the track (or selected tracks if any).
Field Recorder Guide Track (Audio Tracks on
Pro Tools HD Only) Sets the selected track to be

Assigning Audio Inputs and

Outputs to Tracks
Inputs for audio, Auxiliary Input, and Instrument
tracks can be assigned to audio interface channels
or busses. Outputs for audio, Auxiliary Input, Master Fader, and Instrument tracks can also be assigned to audio interface channels or busses.
Track Input Track Input
set to Audio 2 set to Bus 2

Track set to
No Input

the guide track for field recorder workflows.

MIDI Real-Time Properties (MIDI and Instrument
Tracks Only) Opens the Real-Time Properties

window for the track.

Open in New MIDI Editor (MIDI and Instrument
Tracks Only) Opens the track in a new MIDI

Editor window.
Open in Score Editor (MIDI and Instrument Tracks
Only) Opens the track in the Score Editor window.
Open in MIDI Event List (MIDI and Instrument
Tracks Only) Opens the track in the MIDI Event

List.
Notation Display Track Settings (MIDI and Instrument Tracks Only) Opens the Notation Display

Track Settings window for the track. Music notation can only be viewed in the Score Editor or in
MIDI Editor windows set to Notation view.
Expand Channels to New Tracks Expands multichannel audio files imported from a field recorder
to new tracks, such that every channel resides on
its own mono audio track. Pro Tools also automatically conforms all expanded tracks to the edits in
the guide (expanded) track. You can expand multichannel files to new tracks ordered by channel
name, by channel number, by channel name and
number, or by Timecode only.

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Input/output assignments for three mono audio tracks

For stereo and multichannel surround tracks, inputs and outputs appear as stereo pairs and multichannel groups. The available inputs, outputs, and
busses are defined as paths in the I/O Setup dialog
(see Chapter 7, I/O Setup).

Automatic Input and Output

Assignments
When adding tracks to a new session, inputs are
automatically assigned in ascending order. For example, if you have an audio interface with eight inputs, creating four new mono audio tracks will automatically add four audio tracks with inputs
assigned to the first four paths defined in the I/O
Setup dialog. When creating stereo tracks, inputs
are automatically assigned to subsequent input
pairs.
The outputs automatically assigned to new tracks
are determined by the New Track Default Output
Bus specified in the I/O Setup dialog.

Assigning Audio Inputs

(Audio, Auxiliary Input, and Instrument Tracks)

To assign an audio input of an audio, Auxiliary
Input, or Instrument track:
1

In order to assign audio track inputs in the Edit

window, select View > Edit Window > I/O.

In the Mix or Edit window, click the tracks Input Path selector and choose from the available
audio interface channels and busses. Stereo and
multichannel surround tracks have inputs available as pairs and multichannel groups.

The Input Path selector lets you route any audio input or any of the Pro Tools internal busses to an audio, Auxiliary Input, or Instrument track. The
choices available in this pop-up menu are determined by the Input Path configuration in the I/O
Setup. Inputs in use by another track appear bold in
the Input Path selector pop-up menu.
Instrument tracks automatically assign the
audio output from the instrument plug-in inserted on the track to the track audio Input.
To automatically assign all track inputs (of the
same type and channel width) to unique ascending
Input paths (cascading):

Command-Option-click (Mac) or Control-Altclick (Windows) the Input Path selector of the

left-most Input Path selector and select the first
Input Path (mono or stereo, depending on
whether your tracks are mono or stereo).

All visible tracks of the same channel width (mono

or stereo) are auto-assigned to unique Input Path
assignments in ascending order. For example,
Track 1 to A1, Track 2 to A2, Track 3 to A3, and so
on.

Input Path selector

To remove an input assignment:

Select No Input from the Input Path selector.

Assigning Audio Outputs

(Audio, Auxiliary Input, Master Fader, and
Instrument Tracks)
To assign an audio output of an audio, Auxiliary
Input, Master Fader, or Instrument track:
1

In order to assign audio track outputs in the Edit

window, select View > Edit Window > I/O.

In the Mix or Edit window, click the tracks

Output Path selector and choose from the available audio interface channels and busses. Stereo
and multichannel surround tracks have outputs
available as pairs and multichannel paths.

Output Path selector

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223

The Output Path selector lets you route a track to

any configured audio output or internal bus. The
choices available in this pop-up menu are determined by the Output Bus Path configuration in the
I/O Setup. Outputs in use by another track appear
bold in the Output Path selectors pop-up menu.
Command-Option-click (Mac) or ControlAlt-click (Windows) 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
Bus Path assignments in ascending order.
For example, Track 1 to A12, Track 2 to
A34, Track 3 to A56, and so on.

Create and Assign New Track from

Track Output

Pro Tools lets you create a new Auxiliary Input,

Audio, or Instrument track from the Output selector and automatically assign the Output of the original track to the Input of the new track using an
available internal mix bus.
To create a new track from a track output:
1

On an existing track, click the Output selector

for the track and select New Track.

In the New Track dialog, select the Width, Type,

and Time Base for the new track.

To remove an output assignment:

Select No Output from the Output Path selector.

Playlists become dimmed for tracks with no
output assignment.
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.

New Track dialog

3

Type a Name for the new track.

Select (or deselect) whether you want the new

track to be created next to the current track.

Click OK.

Pro Tools creates a new track with the output of the

originating track automatically routed to the input
of the new track using an available internal mix
bus.

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When creating a new internal mix bus, the new bus

will be named after what you typed for the new
track. For example, if you entered the name Drum
Sub, Pro Tools creates a new Auxiliary Input
track named Drum Sub and also creates an internal mix bus named Drum Sub.

Assign Existing Track from a Track Output

Pro Tools lets you assign the Output of a track to

the Input of an existing track using an available internal mix bus. Note that the destination track must
be set to either an internal mix bus or to No Input in
order to be available for assignment.
To assign the output of a track to an available input
on an existing track:
1

On an existing track, click the Output selector

for a track and select Track.

From the Track submenu, select the destination

track you want.

New Auxiliary Input track with audio track output

automatically assigned to Bus 12

Assigning a track output to an existing Auxiliary Input

track

Pro Tools automatically routes the track or send to

the input of the selected track using an available internal mix bus.

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225

Renaming Track Inputs and

Outputs from the Edit or Mix
Window

You can make track inputs and outputs inactive (or

active) directly from the Edit or Mix windows. Inactive I/O Paths are grayed out.

I/O path names can be renamed in the Edit or Mix

windows, or in the I/O Setup.

You can also make a path globally inactive

(or active) in the I/O Setup dialog. See Making Paths Active or Inactive on page 87.

To rename an I/O path in the Edit or Mix window:

1

In the Edit or Mix window, Right-click the Input selector or Output selector for a track, and
choose Rename from the pop-up menu.

To make a tracks Input or Output Path inactive (or

active), do one of the following:

In the Rename I/O dialog, type a name for the

I/O Path, and click OK.

In the Edit or Mix window, Right-click the Input selector or Output selector for a track, and
choose Make Inactive (or Make Active) from the
pop-up menu.

Rename I/O dialog

Making Track Inputs and

Outputs Inactive from the Edit
or Mix Window
Track Input, Output, and Bus Path assignments can
be made inactive using the corresponding selector
on the track. Making a tracks Input or Output inactive silences that Input or Output, while retaining all automation and playlist data. For HDX systems, inactive Inputs and Outputs do not consume
resources for DSP mixer connections, but any active assigned plug-ins on the track continue to use
their required DSP resources. For Pro Tools hostbased systems, inactive Inputs and Outputs do not
consume host-processing resources. Host-based,
or Native plug-ins require CPU resources, and
DSP-based plug-ins use the DSP available on
HDX cards.

To make all tracks Inputs or Outputs assigned to

the same path inactive (or active), do one of the
following:

Pro Tools Reference Guide

In the Edit or Mix window, Option-Right-click

(Mac) or Alt-Right-click (Windows) the Input
selector or Output selector for a track, and
choose Make Inactive (or Make Active) from the
pop-up menu.
Command-Option-Control-click (Mac) or Control-Alt-Start-click (Windows) the Input or Output selector in the Mix or Edit window.

To make all selected tracks Inputs or Outputs

assigned to the same path inactive (or active), do
one of the following:

226

Command-Control-click (Mac) or ControlStart-click (Windows) the Input or Output selector in the Mix or Edit window.

In the Edit or Mix window, Option-Shift-Rightclick (Mac) or Alt-Shift-Right-click (Windows)

the Input selector or Output selector for a track,
and choose Make Inactive (or Make Active)
from the pop-up menu.
Command-Option-Control-Shift-click (Mac) or
Control-Alt-Start-Shift-click (Windows) the Input or Output selector in the Mix or Edit window.

Toggling Multiple Paths

If a track has only one main output assignment,

Command-Control-click (Mac) or Control-Startclick (Windows) the tracks Output Path selector
to toggle the main output to inactive. When there
are multiple assignments, the track selector will be
displayed for you to specify the Input, Output, Insert, or Bus Path.
If a Send (AJ) has multiple Output Path assignments and one of those is toggled active
or inactive, then all of the Output Path assignments for that Send (AJ) are toggled active or inactive.

Track Priority and Voice

Assignment
Track priority and voice assignment are dependent
on your Pro Tools hardware and software configuration.
HDX systems provide a certain number of voices
(simultaneous channels of audio playback and recording), depending on the number of cards in the
system. For details on Pro Tools system capabilities, see Playback, Recording, and Voice Limits
with Pro Tools | HD Software on page 40.
Pro Tools systems let you play or record up to 96
simultaneous stereo or mono tracks. For details on
system capabilities, see Pro Tools Capabilities
with Different Hardware Configurations on
page 37.

Track Priority
While your Pro Tools hardware allows a fixed
number of voices, Pro Tools software allows for
additional audio tracks beyond that fixed number
of voices. While all of these tracks can be recorded
to or imported, arranged, and cued for playback,
not all of them can be played back simultaneously.
When the number of tracks exceeds the number of
available voices, tracks with lower priority may
not be heard. For these situations, Pro Tools assigns priorities to tracks that compete for the available voices. Because there can be more tracks than
available voices, Pro Tools provides multiple ways
of adjusting the playback priority of audio tracks.
See Changing a Tracks Playback Priority on
page 227 and Freeing up Voices on a Track on
page 228.
Changing a Tracks Playback Priority

Tracks with higher positions (leftmost in the Mix

window or topmost in the Edit window) have priority over tracks in lower positions in a session.
To increase a tracks priority, do any of the
following:

In the Mix window, drag the Track Name button

to the left of other tracks in the session. Tracks
at the left of the Mix window have higher priority than those on the right.
In the Edit window, drag the Track Name button
above other tracks in the session. Tracks at the
top of the Edit window have higher priority than
those below.
In the Track List, drag the Track Name to a
higher position in the list. Tracks at the top of
this list have higher priority than those below.

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227

Freeing up Voices on a Track

You can also adjust the relative priority of tracks

by freeing up the voices of individual tracks, making them available to other tracks in the session.

To set the voice assignment for a track:

Click the Voice selector and set the track to Dyn,

Off.

To free up the voice of a track, do one of the

following:

Click the Voice selector of the track and set it to

Off. See Setting Voice Assignment on
page 228.
Deactivate the track by Control-Start-clicking
(Windows) or Command-Control-clicking
(Mac) its track type icon in the Mix window.
Make sure the track does not have an Output
Path or Send assignment.

Setting Voice Assignment

A tracks voice assignment can be turned off or set
to be dynamically allocated. Use Dynamically Allocated Voicing to automatically take care of voice
management in the background, assigning voices
not in use by other tracks.
With Pro Tools HD, QuickPunch, TrackPunch, and DestructivePunch require additional voices. For more information, see
Chapter 23, Punch Recording Modes.
With HDX systems, the initial insert of a Native (host-based) plug-in may uses additional
voices in certain situations. See Inserting
Native and DSP Plug-Ins on Tracks on
page 960.

Voice selector for stereo audio track

Track Priority and Dynamic Voicing

The lowest-numbered (highest priority) audio

tracks that are active and have their voice assignment set to DYN (Dynamically Allocated Voicing)
are the tracks that play back. (The total number of
tracks that play back depends on the maximum
number of voiced audio tracks allowed by your
system.)
Tracks that are higher-numbered (lower priority)
than these tracks do not play back and you cannot
record to them. Their Dynamically Allocated Voicing button are blue to indicate they are unavailable
for playback or recording.
Tracks do not play back when they are inactive or their voice assignment is set to Off.

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When working with more than the maximum number of voiced audio tracks allowed by your system,
you can only play back audio from higher-numbered (lower priority) tracks by changing the track
priority by doing any of the following:
Make a lower-numbered track inactive (click the
Track Name and select Track > Make Inactive).

Assigning MIDI Track Input

Pro Tools lets you assign specific MIDI ports and
channels to a MIDI track input. The default selection of All receives all incoming MIDI data from
all ports on all channels. Use the MIDI Input selector to specify a MIDI port and channel for input.
For information on assigning MIDI input to
Instrument tracks, see Assigning MIDI Input and Output for Instrument Tracks on
page 231.

Set the voice assignment in a lower-numbered

track to Off (click the Voice selector and select
Off).
Drag the Track Name button of the higher-numbered track to the left (Mix window) or upwards
(in the Edit window or Track List) until it is in
the range of the maximum number of voiced audio tracks allowed by your system. The previously last voiced audio track is moved out of
range and its voice assignment is changed to Off.
When the priority of the higher-numbered track is
changed, its voice assignment is automatically
changed from Off to DYN.

To assign a MIDI track input:

Click the tracks MIDI Input selector and assign

a port and channel for MIDI input. Channels already assigned to another track appear in bold.
In the Edit window, select View > Edit
Window > I/O to access any tracks Input
selector.

Assigning MIDI Inputs and

Outputs to Tracks
MIDI recording and playback is supported with
MIDI tracks and Instrument tracks.
MIDI ports in your system can be named and configured for use in Pro Tools (for Windows, see
Configuring MIDI Studio Setup and for Mac,
see Configuring AMS).

MIDI Input selector (MIDI Track shown)

Chapter 13: Tracks

229

Assigning MIDI Track Output

Pro Tools lets you assign specific MIDI ports and
channels to a MIDI track output. The default selection of none sends MIDI data to no port on any
channel. Use the MIDI Output selector to specify a
MIDI port and channel for output.
MIDI tracks in Pro Tools cannot contain
multiple channels of MIDI data.
For information on assigning MIDI output to
Instrument tracks, see Assigning MIDI Input and Output for Instrument Tracks on
page 231.
To assign a MIDI track (and all its clips) to a
specific MIDI device channel:

Click the tracks MIDI Output selector and assign a port and channel for MIDI output. Channels already assigned to another track appear in
bold.
In the Edit window, select View > Edit
Window > I/O to access any tracks Output
selector.

MIDI Output selector (MIDI track shown)

To assign multiple destinations to a single MIDI
track:

Control-click (Mac) or Right-click (Mac or

Windows) the MIDI Output selector and select
additional channels from any device.
For information on recording and
importing MIDI data, see Chapter 22,
MIDI Recording.

230

Pro Tools Reference Guide

Assigning MIDI Input and Output

for Instrument Tracks
Instrument tracks have a specific view for MIDI
controls, including MIDI Input and Output selectors.
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 Submixing on page 936.

Instrument Track MIDI Input

Pro Tools lets you assign specific MIDI ports and

channels to an Instrument tracks MIDI input. The
default selection of All receives all incoming MIDI
data from all ports on all channels. Use the MIDI
Input selector to specify a MIDI port and channel
for input.
Channels in use by another track input appear bold
in the MIDI Input pop-up menu.
To assign an Instrument track MIDI input:

To view Instrument track MIDI controls, do one of

the following:

Click the tracks MIDI Input selector and assign

a port and channel for MIDI input. Channels already assigned to another track appear in bold.

Select View > Mix Window > Instruments.

Instrument Track MIDI Output

Select View > Edit Window > Instruments.

Pro Tools lets you assign specific MIDI ports and

channels to an Instrument tracks MIDI output.
The default selection of none sends MIDI data to
no device, port, or node on any channel. Use the
MIDI Output selector to specify a MIDI port and
channel for output.

MIDI Input selector

MIDI Output selector

Instruments view, Mix window

Channels in use by another track input appear as

bold in the MIDI Input pop-up menu.
To assign an Instrument track MIDI output:

Click the tracks MIDI Output selector and assign a port and channel for MIDI output. Channels already assigned to another track appear in
bold.

Chapter 13: Tracks

231

Soloing and Muting Tracks

The Solo and Mute buttons can be engaged at any
time during playback. The Solo and Mute buttons
affect MIDI as well as audio tracks. It is possible to
have more than one track soloed or muted at the
same time in a session.
Instrument tracks have separate sets of
Solo and Mute buttons for MIDI and audio
monitoring.

The Solo button normally mutes other tracks so

that the selected track can be auditioned independently.
With Pro Tools HD, this behavior is selected as a
Solo mode, called Solo In Place. Additional Solo
modes are provided to change how the Solo button
works. See Solo Modes on page 232.

Solo Modes

Track grouping also affects mute and solo behavior. Muting or soloing a track that is a member of
an active Mix Group will mute or solo all other
tracks that are a member of that active Mix Group
as well.

(Pro Tools HD Only)

Soloing Tracks

Route a selected track to a separate output.

To solo tracks:

Solo button behavior is defined by the Solo mode,

as follows:

Click the Solo button on a track. The button is

highlighted and all other tracks are muted.
Click the Solo button on another track. The buttons for both tracks are highlighted and all other
tracks are muted.

To un-solo tracks:

Click the Solo button on soloed tracks.

For information on creating and modifying
groups for track soloing and muting, see
Grouping Tracks on page 241.

232

Solo Button

Pro Tools Reference Guide

With Pro Tools HD, the Solo button can be used

to:
Mute other tracks so that the selected track can
be auditioned alone.

SIP (Solo In Place) The Solo button mutes other

tracks. When this mode is enabled, tracks can be

solo safed (see Solo Safe Mode on page 234).
AFL (After Fader Listen) (Pro Tools HD with HDX
or HD Native Hardware only) The Solo button

routes the tracks post-fader/post-pan signal to the

AFL/PFL Path output. The AFL/PFL Path is configured in the Output page of the I/O Setup dialog
(see AFL/PFL Path on page 73).
With AFL, the level you hear is dependent on the
fader level for that track. Additionally, there is a
separate master level setting for AFL that affects
the output of any or all tracks you solo in AFL
mode (see AFL/PFL Path on page 73). This
level setting is independent of the PFL level
setting.

PFL (Pre Fader Listen) (Pro Tools HD with HDX or

HD Native Hardware only) The Solo button routes

the tracks pre-fader/pre-pan signal to the

AFL/PFL Path output. The AFL/PFL Path is configured in the Output page of the I/O Setup dialog
(see AFL/PFL Path on page 73).
With PFL, the fader level and pan are ignored, and
the level you hear is dependent on the signals recorded level. Additionally, there is a separate master level setting for PFL that affects the output of
any or all tracks you solo in PFL mode (see
AFL/PFL Path on page 73). This level setting is
independent of the AFL level setting.
AFL and PFL Solo modes require the
Surround Mixer plug-in.
Custom Pan Depth settings are unavailable
when either AFL or PFL Solo mode is
enabled.
If Mute Frees Assigned Voice is enabled,
muted tracks will not be audible in PFL
mode.
To select a Solo mode:
1

Choose Options > Solo Mode.

Select SIP, AFL, or PFL.

The Solo mode for all soloed tracks can be
changed from any Solo mode to either SIP or
AFL. Previously soloed tracks will switch
their solo behavior to the new mode.
Switching the Solo mode for all soloed tracks
to PFL clears all previously soloed tracks
before entering PFL mode. This prevents
potentially large boosts in level.

DSP Usage when Using AFL or PFL Mode

AFL and PFL are accomplished by Pro Tools creating a behind the scenes mixer to route the signal to the chosen AFL/PFL Path. Depending on the
size of your main mixer, Pro Tools will devote a
substantial portion of its available DSP when using
AFL/PFL mode.
Un-declaring the AFL/PFL Path will free up all
DSP resources previously used for AFL/PFL
mode.
Using AFL/PFL on Pro Tools Systems with a
D-Control or D-Command

AFL/PFL is optimized for Pro Tools systems using

a D-Control or D-Command control surface,
where the XMON automatically switches its monitor source between the main output and the
AFL/PFL output from Pro Tools.
For more information on using XMON and
AFL/PFL, see your control surface guide.
Using AFL/PFL on Pro Tools Systems without
D-Control or D-Command

If you are not using a D-Control or D-Command

control surface, your regular Pro Tools output path
is not necessarily muted when you send a signal to
the AFL/PFL Path. If you need the main signal to
automatically mute when an AFL/PFL signal is invoked, you need to do the following:
1

Configure the output path for AFL or PFL soloed tracks.

Select the main output path that will mute when

you solo a track in AFL or PFL mode (see
AFL/PFL Mutes (Output Path) on page 73).

Set up your hardware to monitor both the main

and AFL/PFL paths simultaneously.

Chapter 13: Tracks

233

When AFL or PFL is selected as a Solo mode and

a track is soloed, the main output path will mute
and the AFL/PFL signal will appear at the
AFL/PFL Path for monitoring.

Temporarily Latching Solos in Momentary

Solo Mode
(Pro Tools HD Only)

Solo Latch Options

Choose Options > Solo Mode > Momentary.

Solos can be latched (where pressing subsequent

buttons adds them to the soloed mix of tracks), unlatched, or temporarily latched (Pro Tools HD
only).

Press the Solo button on the first track that will

be soloed.

While holding the first Solo button, press additional Solo buttons. Solo buttons remain soloed
as long as one Solo button is held.

To temporarily latch solos:

To select a Solo Latch mode:

As long as at least one Solo button is held, all

the solos will remain latched.

Choose Options > Solo Mode and select from

the following options:

Latch When selected, pressing subsequent Solo

buttons adds them to the soloed mix of tracks.

XOR (Cancels Previous Solos) When selected,

pressing subsequent Solo buttons cancels previous

solos.
To override XOR mode and solo more than
one track at a time, hold the Solo button on
the first track. Subsequently pressed Solo buttons will latch.

Solo Safe Mode

Pro Tools lets you solo safe a track. This prevents
the track from being muted even if you solo other
tracks. This feature is useful for tracks such as
Auxiliary Inputs that are being used as a submix of
audio tracks, or effects returns, allowing the audio
or effects track to remain in a mix even when other
tracks are soloed. It is also useful to solo safe MIDI
tracks so that their playback is not affected when
you solo audio tracks.

Momentary (Pro Tools HD Only) When selected,

Solo buttons are not sticky. A track is soloed only
when its Solo switch is held down.

With a qualified control surface, additional tracks

can be soloed by pressing their SOLO switches (as
long as at least one Solo button is held down).
When no SOLO switch is held down, all soloed
tracks will unsolo.

AFL or PFL soloed tracks (Pro Tools HD

only) cannot be solo safed.
To solo safe a track:

Control-click (Windows) or Command-click

(Mac) the Solo button on the track. This prevents the track from being muted even if you
solo other tracks. The Solo button changes to a
transparent color in Solo Safe mode.

To return a solo safe track to normal:

234

Pro Tools Reference Guide

Control-click (Windows) or Command-click

(Mac) the Solo button on the track again.

Mute Button
The Mute button silences a chosen track. More
than one track can be muted at one time.
To mute a track:

Click the Mute button on the track.

To unmute a track:

Click the Mute button again.

Making Tracks Inactive

Audio, Auxiliary Input, Master Fader, VCA Master (Pro Tools HD only), and Instrument tracks can
be made inactive. Inactive tracks use no DSP or
voices. Plug-Ins, sends, voices, and automation on
inactive tracks are all disabled. Tracks may also be
automatically made inactive if a session is opened
on a system with less DSP power than the system
that it was created on.

MIDI Mute

The Mute button on a MIDI track mutes MIDI

data, not audio. Muting MIDI results in no MIDI
data being passed to the MIDI output. On Instrument tracks, the tracks Mute button mutes the audio signal and the MIDI Mute button is only available in Instruments view.

MIDI tracks cannot be made inactive.

To toggle a track active/inactive:

Command-Control-click (Mac) or ControlStart-click (Windows) the Track Type indicator

in the Mix window.

Playlists for inactive tracks are dimmed and track

controls are grayed out.
To make one or more tracks inactive or active, do
one of the following:

MIDI Mute button, Instruments view, Mix window

Select the track and select Track > Make Inactive/Active.

Right-click the Track Name in the Track List, or
Mix or Edit windows and choose Make Inactive/Active.
To select multiple tracks, Command-click
(Mac) or Control-click (Windows) additional
Track Names.
To select a range of tracks, Shift-click the
Track Names bounding the range of tracks
you want selected.

Chapter 13: Tracks

235

Color Coding for Tracks,

Clips, Markers, and Groups
Separate colors can be assigned to audio and MIDI
clips, tracks, markers, and groups. Clips shown in
Waveform and Block Views in the Edit window
are drawn in color. Tracks shown in the Track List,
Group List, and Mix and Edit windows have associated color bars.

Color Coding options determine how colors are assigned to the display of tracks and clips.
To change Color Coding options:
1

Choose Setup > Preferences.

Click the Display tab.

Select or deselect the Always Display Marker

Colors option.

Select the MIDI Note Color Shows Velocity option.

Select or deselect the Apply Color Coding to

Track Channel Strip option.

Select a Default Track Color Coding option.

color bars that appear to the left of each track.

Select a Default Clip Color Coding option.

Track List Track colors are displayed in vertical

Click OK.

color bars that appear to the left of each track

name.

Always Display Marker Colors

Color Bars

Color coding at the track level is displayed using

color bars, as follows:
Mix Window Track colors are displayed in hori-

zontal color bars that appear above each channel

strip, and below the track name.
Edit Window Track colors are displayed in vertical

Group List Track colors are displayed in vertical

color bars that appear to the left of each Group

Name.
Default colors are automatically assigned to tracks,
but you can override those colors by choosing
from a color palette of 96 possible colors. For more
information, see Color Palette on page 238.

236

Display Page Preferences for

Color Coding

Pro Tools Reference Guide

This option lets you view Marker colors in the

Markers ruler, regardless of the option you choose
for the Default Clip Color Coding option.
MIDI Note Color Shows Velocity

When this option is enabled, MIDI notes display

varying shades of the assigned track color in MIDI
notes view in the Edit window and in MIDI Editor
windows. Notes with high velocities are darker
and notes with lower velocities are lighter.

Default Track Color Coding

The Default Track Color Coding options determine

how colors are assigned to the display of tracks.
None Turns off default color assignment for
tracks.
Tracks and MIDI Channels Assigns a color to each

track in the Mix or Edit window according to its

voice assignment or MIDI channel assignment.
Tracks and MIDI Devices Assigns a color to each

track in the Mix or Edit window according to its

voice assignment or MIDI device assignment.
Groups Assigns a color to each track according to

its Mix or Edit Group ID. If groups are suspended

using the Suspend Groups command, the tracks
color bars are not shown.
Track Type Assigns a color to each track according
to its type (audio, Auxiliary Input, Master Fader,
VCA Master, MIDI, Instrument, or video).

Default Clip Color Coding

The Default Clip Color Coding options determine

how colors are assigned to the display of tracks,
clips in the track playlist and Clip List, and Marker
Locations.

Groups Assigns a color to each clip according to

the Group ID of its track. If groups are suspended

(using the Suspend Groups command) all clips
display black waveforms or MIDI notes on a light
gray background.
Track Color Assigns a clip color based on the color
assigned to the track. (See Color Palette on
page 238.)
Marker Locations Assigns a unique color to each

marker area in the Marker ruler, including the area

preceding the first marker.
Clip List Color Assigns a color to each clip based
on its color in the Clip List. When this Default Clip
Color Coding option is enabled, the assigned clip

color is maintained even if the clip is placed in a

track set to a different color coding.
Enabling any Default Clip Color Coding option other than Clip List Color will override
Clip List Color and reassign the parent track
color to copies of the clip placed in tracks.
Copies of the clip in the Clip List will retain
their unique color.

None Turns off default color assignment for clips.

Clips are drawn as black waveforms or black MIDI
notes on a light gray background.
Tracks and MIDI Channels Assigns a color to each

clip in the Edit window according to its voice or

MIDI channel assignment.
Tracks and MIDI Devices Assigns a color to each

clip in the Edit window according to its voice assignment or MIDI device assignment.

Chapter 13: Tracks

237

Color Palette

Default Removes any custom coloring and restores

The Color Palette lets you make color selections

for tracks, clips, groups and markers.

the color to the default color orientation. See Display Page Preferences for Color Coding on
page 236 for more information.

Apply to Selected
Apply to Channel Strip
None
Saturation
Default
Brightness

None Turns off color assignment. Affected clips

are drawn with black waveform or MIDI notes on
light gray background. Affected tracks and groups
no longer show their color bars.

Using the Hold Button

Last assigned color

Hold

Color Palette window

The Color Palette supports independent clip color

coding in the Clip List and in tracks.
To apply a color from the Color Palette:
1

Choose Window > Color Palette.

Do one of the following:

In the Apply to Selected pop-up menu, select the

destination for color coding: Tracks, Marker,
Group, Clips in Tracks, or Clips in Clip List.
Select a track, marker, group, track clip, or Clip
List clip in the appropriate Pro Tools window.
The Apply to Selected menu will display the
type of item you have selected.
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 Preferences page is deselected. See Always Display Marker Colors on page 236 for more
information.
3

238

Select a color from the palette, or select one of

the following:

Pro Tools Reference Guide

The Color Palette provides a Hold button to simplify the process of assigning the same colors to
multiple items (such as track and clips).
By default, the Hold button is off. When off, the
Color Palette automatically highlights the assigned
color (if any) of items as you select them.
When the Hold button is enabled, the assigned
color selected in the Color Palette persists and does
not change when a different track or clip is selected.
To use the Hold button to assign the same color to
multiple items:
1

Click the Hold button to enable it. The Hold button becomes white, and the currently selected
color is now highlighted with a wider white outline.

Select additional tracks or clips to which you

want to assign the same color. Because the Hold
button is enabled, the Color Palette does not follow item selection; it remains (or holds) at the
last currently assigned color.

Click the assigned color again to assign it to the

new selection of tracks or clips. Use the Apply to
Selected pop-up menu to determine which selected elements are affected.

To turn off Hold and return the Color Palette to

its default mode, click the Hold button until it
turns off.

Applying Track Color Coding to

Channel Strips
The Color Palette lets you apply the Track color
coding to channel strips in the Mix and Edit windows.
To apply track color coding to channel strips:
1

Enable the Apply to Channel Strip button.

If necessary, adjust the Saturation slider to get

the color saturation you want.

If necessary, adjust the Brightness slider.

Color Coding applied to channel strips, Mix window

Chapter 13: Tracks

239

240

Pro Tools Reference Guide

Chapter 14: Grouping Tracks

Pro Tools provides a relative grouping function for
linking tracks and their controls.

Mix Groups, Edit Groups, and

Mix/Edit Groups

Grouping Tracks

Mix Groups only affect mixing functions and Edit

Groups only affect editing. Mix/Edit Groups link
the grouping functions of the Mix Group and the
Edit Group.

Groups are useful for editing several tracks in exactly the same way, or for mixing several tracks
(such as a pair of stereo tracks or a submix) while
keeping them at the same relative volume level.
Pro Tools provides the following grouping
features:

Edit Groups

Edit Groups affect the following items in the Edit

and MIDI Editor windows:
Track View

Up to 104 different groups are available, arranged in 4 banks of 26 Group IDs.

Track Height

Groups can be nested (subgroups within

groups).

Audio and MIDI editing functions

Grouped faders or controllers preserve their levels relative to each other.

Track Timebase
Automation editing functions

Groups are assignable to an available VCA Master track (Pro Tools HD only).

Chapter 14: Grouping Tracks

241

Mix Groups in Pro Tools HD

Grouping Limitations

Mix Groups in Pro Tools HD can be set to affect

the following items:

Grouping does not affect these parameters:

Main Mute

Output assignment

Solo
Send Level
Send Mute
Main Volume
Main Pan
Main LFE Level
Record Enable
Input Monitoring
Automation Mode
Send Pan
Send LFE Level
Plug-In Controls
Plug-In Bypass
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.
Mix Groups in Pro Tools

Mix Groups in Pro Tools always affect the following:

Main volume
Automation mode
Mix Groups in Pro Tools can also be set to affect
the following:
Main Mute
Solo
Send Level
Send Mute

242

Pro Tools Reference Guide

Voice assignment
Inserting plug-ins
Elastic Audio plug-ins

Selectable Group Attributes

You can select which parameters, or attributes, are
linked in groups by the following methods:
By making the group an Edit Group, a Mix
Group, or both (Mix/Edit Group).
With Mix and Mix/Edit Groups, by selecting
from a list of attributes for the group.
With Mix Groups in Pro Tools HD only, by
choosing whether the selected attributes apply
globally to all groups or to individual groups.
Linking Mix and Edit Groupings

The Link Mix and Edit Group Enables option links

group enabling between the Mix and Edit
windows. Pro Tools lets you create groups that are
both Mix and Edit Groups, but in some cases you
may want them to be enabled at the same time. For
example, when you are using the Mix window for
mixing, you may prefer to work with large, nested
groups. However, in the Edit window or a MIDI
Editor window, you may want to perform editing
tasks within a smaller group. Disabling the Link
Mix and Edit Group Enables option lets you work
with different groups in the two windows.
To unlink Mix and Edit Groups:
1

Choose Setup > Preferences and click Mixing.

Deselect the Link Mix and Edit Group Enables

option.

Click OK.

Mix Groups and VCA Masters

Group List menu

(Pro Tools HD Only)

An existing Mix Group can be assigned to a VCA

Master, or a new Mix Group can be assigned to a
VCA Master while it is being created. Only one
group can be assigned to a VCA Master at a time.
A VCA Master cannot control a group that includes itself.

Click to
select
group
members
on-screen

For information on assigning groups to VCA

Masters, see Assigning Groups to VCA
Masters on page 912.

Group Controls
Menus and commands for creating and modifying
groups are accessible in the following:

Click to
select a
group by
typing its
letter
Click to
activate a
group

Colors

Group IDs

Show/Hide
Group List

Group List

Show/Hide Track List/Group List View

Button

Group List

To show the Group List (and Track List):

Group name in the Group List

Group ID indicator on a track

Track > Group menu

The Group List

The Pro Tools track grouping functions are located
at the left side of the Mix, Edit, and MIDI Editor
windows in the Group List. This scrolling window
contains the names of all the groups in your session, as well as a pop-up menu for accessing
grouping commands. From this menu, you can select and enable groups.

Click the Show/Hide Track List/Group List

View button in the Mix, Edit, or MIDI Editor
window.

Group ID

To the left of each name in the Group List is a letter

denoting its Group ID (a through z).

By default, every session has a group named All,

which includes every track in the session. The All
group cannot be edited or deleted.

Chapter 14: Grouping Tracks

243

Group Symbols

To the left of each Group ID (a through z) is a

symbol indicating whether that group is selected in
the current window (either the Mix or Edit window). There are three types of Group symbols, as
shown in the following figure:

Delete Active Groups Deletes only currently ac-

tive groups.

Hollow Circle
Filled In Circle

Circle with a Dot

Group Symbols

The Group symbols indicate the following:

Group Name and Track Group ID

Indicator Pop-Up Menus
When you Right-click on a group name in the
Group List or click a Group ID indicator in a track,
a pop-up menu provides the following commands:

Filled-in Circle Indicates that all members of the

group are currently selected, and no members from
outside the group are selected.

Tracks Displays track membership in group.

Hollow Circle Indicates that only some members

Modify Opens Group dialog to modify existing

groups only.

of the group are currently selected.

Circle with a Dot Indicates that all members of the

group are currently selected, plus additional members outside the group.
Group List Menu

The pop-up menu at the top of the Group List provides the following commands:
New Group Executes the Track > Group com-

mand.
Display Provides commands to show Edit groups

only, Mix groups only, or all groups (Edit, Mix,

and Mix/Edit).
Suspend All Groups Suspends group behavior for

all Mix and Edit groups.

Modify Groups Opens Group dialog to modify existing groups only.
244

Group List menu

Pro Tools Reference Guide

Attributes Displays attributes of group.

Duplicate Opens Group dialog for duplicated

group.
Delete Deletes a single group.
Select Tracks in Group Selects tracks in the

group.
Show/Hide Tracks in Group Shows or hides tracks

in the current group.

Show Only Tracks in Group Shows only the
tracks in the group and hides all other tracks.

Show All Tracks Shows all tracks in the session.

Group Dialog in Pro Tools HD

In Pro Tools HD, the Group dialog has three

pages:
Tracks Lets you add and remove tracks from the

current group.
Attributes Lets you select which parameters are
linked for the current Mix or Mix/Edit Group.

Group Name pop-up menu

Globals Lets you select parameters to use as a template that can be applied to individual groups by
selecting the Follow Globals option.

Group ID indicator pop-up menu

Group Dialog
Whether you are creating or modifying groups
with the Group List, a track's Group ID indicator,
or the Track > Group menu command, you use the
Groups dialog.
The Group dialog lets you create new groups and
assign attributes to groups.
Group dialog (Pro Tools HD)

Chapter 14: Grouping Tracks

245

Group Dialog in Pro Tools

In Pro Tools, the Group dialog has a single page.

Choose Track > Group.

Do one of the following:

Choose New Group from the Group List menu.

3

Type a name for the group.

Select the type of group to create: Edit, Mix, or

Mix/Edit.

Choose a Group ID from the ID pop-up menu.

Four banks of 26 are available: az, 2az, 3az,
4az. (If you do not choose a Group ID,
Pro Tools automatically assigns the next available ID to a new group.)

Click Tracks in the Group dialog, and do any of

the following:

To add the tracks that are currently selected in

the session to the group, click the Add button at
the bottom of the Group dialog.

Group dialog (Pro Tools)

Working with Groups

Creating Groups
You can select the tracks you want to add to a
group before creating it, or add and remove tracks
from a group after it has been created.
Creating Groups in Pro Tools HD
To create a group in Pro Tools HD:
1

246

Select the tracks you want to include in the

group. (If you do not select tracks at this time,
you can add tracks later.)

Pro Tools Reference Guide

To add tracks to the group, select the track

names in the Available track list, and click Add
or press A on the computer keyboard.
To remove tracks from the group, select the track
names in the Currently In Group list, and click
Remove or press R on the computer keyboard.
Double-click track names in either list to move
them to the opposite column.
To replace all tracks in the group with the tracks
that are currently selected in the session, click
the Replace button at the bottom of the Group
dialog.
In either list, Shift-click to select a range of
track names. Control-click (Windows) or
Command-click (Mac) to select discontiguous track names.

If the group is a Mix Group or a Mix/Edit

Group, do the following:

Do any of the following:

Set the Attributes for the Group (see Setting

Group Attributes on page 249).

To add the tracks that are currently selected in

the session to the group, click the Add button at
the bottom of the Group dialog.

If you want to assign the group to an available

VCA, select the VCA Master track from the
VCA pop-up menu.

To add tracks to the group, select the track

names in the Available track list, and click Add
or press A on the computer keyboard.

Click OK.

Creating Groups in Pro Tools

To create a group in Pro Tools:
1

Select the tracks you want to include in the

group. (If you do not select tracks at this time,
you can add tracks later.)

Do one of the following:

To remove tracks from the group, select the track

names in the Currently In Group list, and click
Remove or press R on the computer keyboard.
Double-click track names in either list to move
them to the opposite column.
To replace all tracks in the group with the tracks
that are currently selected in the session, click
the Replace button at the bottom of the Group
dialog.

Choose Track > Group.

In either list, Shift-click to select a range of

track names. Control-click (Windows) or
Command-click (Mac) to select discontiguous track names.

Choose New Group from the Group List menu.

3

Type a name for the group.

Select the type of group to create: Edit, Mix, or

Mix/Edit.

Choose a Group ID from the ID pop-up menu.

Four banks of 26 are available: az, 2az, 3az,
4az. (If you do not choose a Group ID,
Pro Tools automatically assigns the next available ID to a new group.)

Select the items to be Linked Within Groups

(Mutes, Solos, Send Mute, Send Levels).

Click OK.

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247

Modifying Groups
To modify a group:
1

To modify the settings for the All group in

Pro Tools HD:
1

Right-click the All group name in the Group

List and choose Modify from the pop-up menu.

In the Group dialog, select Edit, Mix, or Mix/Edit

to change the settings for the All group. If you
select Edit only or Mix only, the All group will
apply only to that Group type.

Do one of the following:

Choose Modify Groups from the Group List

menu.
In the Mix window, click the Group ID indicator
on a track and choose Modify from the pop-up
menu.
Right-click the Group name in the Group List
and choose Modify from the pop-up menu.
2

In the Groups dialog, choose the group you

want to modify from the ID pop-up menu.

Change any of the following for the current

group:

Group name
Group type (Edit, Mix, or Mix/Edit)
VCA status (Pro Tools HD only)
Follows Global status (Pro Tools HD only)
Track membership
Attributes (Pro Tools HD only)
Linked Within Group items (Pro Tools HD only)
4

Click OK.

Modify ALL Group dialog (Pro Tools HD shown)

3

For Mix or Mix/Edit Groups, you can change

any of the following:

Follows Globals status

Attributes
4

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Pro Tools Reference Guide

Click OK.

To modify the settings for the All group in

Pro Tools:
1

Right-click the All group name in the Group

List and choose Modify from the pop-up menu.

In the Group dialog, select Edit, Mix, or Mix/Edit

to change the settings for the All group. If you
select Edit only or Mix only, the All group will
apply only to that Group type.

To delete all currently active groups

Choose Delete Active Groups from the Group

List menu.
The All group cannot be deleted.

Duplicating Groups
You can duplicate a group and modify its settings
in order to quickly set up a mix.
To duplicate a group:
1

Do one of the following:

Click the Group ID indicator on a track and

choose Duplicate from the pop-up menu.
Modify ALL Group dialog (Pro Tools shown)
3

For Mix or Mix/Edit groups, you can change

any of the following Linked Within Groups
options:

Right-click the Group name in the Group List

and choose Duplicate from the pop-up menu.
2

Change any of the following for the current

group:

Mutes

Group name

Solos

Group type (Edit, Mix, or Mix/Edit)

Send Mutes

VCA status (Pro Tools HD only)

Send Levels

Follows Global status (Pro Tools HD only)

Click OK.

Track membership
Attributes (Pro Tools HD only)

Deleting Groups

Linked Within Group items (Pro Tools HD only)

One or all groups can be deleted at a time.

Click OK.

Deleting a group cannot be undone.

To delete a single group, do one of the following:

In the Mix window, click the Group ID indicator on a track and choose Delete from the popup menu.
Right-click the Group name in the Group List
and choose Delete from the pop-up menu.

Setting Group Attributes

(Pro Tools HD Only)

When creating a Mix Group or a Mix/Edit Group,

you can select the Mix window parameters that
will be linked for that group. These linked parameters are the attributes of the group.

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249

You can select attributes in the Globals page and

then set individual groups to follow the Global settings, or you can select attributes for groups individually.

Selecting Attributes in the

Globals Page
To select attributes in the Globals page:
1

While creating or modifying a group, click Globals in the Group dialog.

To select attributes for an individual group:

1

While creating or modifying a Mix