Pro Tools Reference Guide

Version 2024.3
Legal Notices

© 2024 Avid Technology, Inc., (“Avid”), all rights reserved. This guide may not be duplicated in whole or in part without the written
consent of Avid.

For a current and complete list of Avid trademarks visit: www.avid.com/legal/trademarks-and-other-notices.

This product may be protected by one or more U.S. and non-U.S. patents. Details are available at www.avid.com/patents.
Product features, specifications, system requirements, and availability are subject to change without notice.

Pro Tools includes élastique Pro V3 by zplane.development as time stretching engine for Elastic Audio processing.

Bonjour, the Bonjour logo, and the Bonjour symbol are trademarks of Apple Computer, Inc.
Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries.

Confidential unpublished works. Copyright 2023 Dolby Laboratories. All rights reserved.
Dolby, Dolby Atmos, and the double-D symbol are registered trademarks of Dolby Laboratories
Licensing Corporation.

Guide Part Number 9329-66540-00 REV A 03/24

Contents

Part I Introduction to Pro Tools

Chapter 1. Welcome to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Avid Master Account . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
System Requirements and Compatibility Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Conventions Used in Pro Tools Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Avid Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Pro Tools Analytics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Pro Tools Guided Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Chapter 2. Pro Tools Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Hard Disk Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Nonlinear Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Audio Engines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Avid Video Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Surround Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Pro Tools Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Pro Tools Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Pro Tools Sketches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Tick-Based and Sample-Based Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
System Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Workspace Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
AAF, MXF, and OMF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Pro Tools and Media Composer Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Embedded Media and Linked Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Contents iii
 Chapter 3. Keyboard and Mouse Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Mouse Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Global Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Keyboard Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Toolbar Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Numeric Keypad Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Pro Tools Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Chapter 4. Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Accessing Guides in Pro Tools Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Accessing the Help System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Help Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Using the Contents and Index Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Using the Search Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Search Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Copying from a Help Topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Printing Help Topics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Part II System Configuration

Chapter 5. Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Pro Tools Intro Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Pro Tools Artist Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Pro Tools Studio Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Pro Tools Ultimate Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
MBOX Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Pro Tools | Carbon Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Pro Tools | HDX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Pro Tools | HD Native . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Supported Pro Tools HD Audio Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Playback, Recording, and Voice Limits with Pro Tools Ultimate Software . . . . . . . . . . . . . . . 48
Pro Tools HD Audio Interface Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Pro Tools Hardware Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Pro Tools Software Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

iv Pro Tools Reference Guide

Chapter 6. I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Pro Tools Software Signal Paths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
I/O Setup Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
I/O Setup Signal Path Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
I/O Setup Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
I/O Setup Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Customizing I/O Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Configuring Hardware in I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Signal Path Routing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Signal Path Routing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Creating New Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Creating New Sub-Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Editing Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Assigning Paths to Hardware I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Valid Paths and Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Configuring Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Downmix and Upmix Output Busses to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
I/O Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Session or Project Interchange and I/O Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
I/O Settings and the Playback Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Organize Track I/O Menus By Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
I/O Setup in Session Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Pro Tools Session Templates and I/O Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Aux I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Path Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Chapter 7. System Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Running DigiTest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Configuring the Playback Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Configuring MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Configuring Hardware Settings in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Configuring Pro Tools | HDX and Pro Tools | HD Native Hardware Settings . . . . . . . . . . . . 115
System Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Contents v
 Chapter 8. Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Display Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Operation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Editing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Mixing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Metering Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Processing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
MIDI Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Collaboration Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Synchronization Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Global and Local Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Chapter 9. Peripherals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Ethernet Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Mic Preamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Satellites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
VENUE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Chapter 10. Configuring MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

MIDI Studio Setup (Mac) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
MIDI Studio Setup (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Part III Sessions, Projects & Tracks

Chapter 11. Sessions, Projects, and Sketches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Sessions, Projects, and Sketches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Signing In and Out of Your Avid Master Account . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Dashboard Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Bit Depths and Sample Rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Mixed Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Interleaved Multichannel and Multi-Mono Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Session Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Pro Tools Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Creating a New Session or Project from a Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

vi Pro Tools Reference Guide

 Creating a New Blank Session or Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Opening a Recent Session, Project, or Sketch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Opening a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Opening a Sketch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Opening a Session or Project with Plug-Ins Deactivated . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Saving Sessions and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Saving a Sketch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Save Copy In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Save As New Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Revision History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Saving a Session as a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Saving a Project as a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Session Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Project and Session Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Project Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Closing a Session or Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Renaming Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Remove Local Cache . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Deleting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Restore Project from Cloud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Open Revision History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Backup to Cloud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Project Collaboration Invitations in the Dashboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Quitting or Exiting Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Chapter 12. Pro Tools Main Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Mix Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Sketch Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
MIDI Editor Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Docked Displays in the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Score Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Workspace Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Task Manager Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Artist Chat Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
In-Application Web Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Contents vii
 Managing Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
How Window Configurations Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Window Configuration Commands and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Tool Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
UI Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Chapter 13. Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Track Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Track Channel Strips in the Mix Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Track Controls and Indicators in the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Edit Window Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Track Level Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Adjusting Track Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Creating Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Track Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Setting Track Views in the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Track Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Tracks List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Track Name Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Assigning Audio Inputs and Outputs to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Track Priority and Voice Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Assigning MIDI Inputs and Outputs to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
MIDI Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Soloing and Muting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Making Tracks Inactive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Color Coding for Tracks, Clips, Markers, and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Chapter 14. Folder Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Basic Folder Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Routing Folder Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Opening and Closing Folder Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Converting an Auxiliary Input Track to a Routing Folder Track . . . . . . . . . . . . . . . . . . . . . . 305
Adding Tracks to and Removing Tracks from Folder Tracks . . . . . . . . . . . . . . . . . . . . . . . 306
Editing Folder Tracks in Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

viii Pro Tools Reference Guide

Chapter 15. Track Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Creating and Saving Track Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Creating New Tracks from Track Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Recalling Inserts from Track Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Recalling Track Presets to Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320
Track Presets in Workspace Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Chapter 16. Grouping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Grouping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Group Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Working with Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Setting Group Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Enabling Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Grouped Control Offsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Chapter 17. The Clips List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Clips List Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Sorting and Searching in the Clips List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
Selecting Clips in the Clips List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Previewing Clips in the Clips List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
Stereo and Multichannel Clips in the Clips List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Naming and Displaying Clips in the Clips List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Managing Clips in the Clips List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
Clip Name Right-Click Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Batch Renaming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Chapter 18. Workspace Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Performance and Transfer Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Workspace Browser Layout and Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Working with Items in Workspace Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Indexing Workspace Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Workspace Browser Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Workspace Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Workspace Browser Panes and Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Column Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Selecting Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
Moving, Copying, Duplicating, and Removing Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Contents ix
 Set Column Metadata Values for Multiple Selected Files in Workspace Browsers . . . . . . . . 373
Searching Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Soundbase and Tags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Searching Based on Tags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
Adding and Editing Tags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Elastic Audio Files in the Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Previewing Audio in Workspace Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Preview Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Preview Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
Linking and Relinking Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Transfer Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Missing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Relink Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Task Manager Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Chapter 19. Artist Chat and Avid Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Your Avid Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
Find Talent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
Pro Tools Projects in the Artist Chat Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
Project Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411
Artist Chat Project List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Artist Chat Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
Pinning or Unpinning Items in the Pro Tools Projects and Messages Lists . . . . . . . . . . . . . 420

Chapter 20. Track Collaboration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Sharing Projects and Collaborating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
What is Shared? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
What is Not Shared? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Project Ownership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Start Collaboration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Contacts and Collaborators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Track Collaboration Tools in the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Track Collaboration Tools in the Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Global Track Collaboration Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424
Track Collaboration Track View in the Edit and Mix Windows . . . . . . . . . . . . . . . . . . . . . . 426

x Pro Tools Reference Guide

 Track Collaboration Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427
Track Ownership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Conflicts Between Track Changes and the Cloud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Track Cloud Synchronization Indicator in the Tracks List . . . . . . . . . . . . . . . . . . . . . . . . . . 434
Conductor Ruler Collaboration Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Chapter 21. Pro Tools Sketches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Creating a New Sketch in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Opening and Viewing a Sketch in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Saving a Sketch in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440
Pro Tools Sketch Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
Sketch Window Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
Scenes and Arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449
Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453
Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455
Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457
Global FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
Sketch Window Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Chapter 22. Importing and Exporting Session Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Importing and Exporting Data to and from a Session or Project . . . . . . . . . . . . . . . . . . . . . 461
Audio Conversion on Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Importing Files with Drag and Drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Importing Audio Files and Clips Using the Import Audio Command . . . . . . . . . . . . . . . . . . . 468
Importing Audio from CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Importing ACID and REX Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Importing SD II Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Importing Multichannel Audio Files from a Field Recorder . . . . . . . . . . . . . . . . . . . . . . . . . 472
Import Options and Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Exporting Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474
Importing MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
Exporting MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Exporting Sibelius Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Copy and Paste MIDI between Pro Tools and Sibelius . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Importing Session Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481
Import Session Data Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Contents xi
 Importing AAF and OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492
Import Options when Importing AAF or OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Import Sequence from Media Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
Media Composer Software Export Options for Audio and Video Mixdowns . . . . . . . . . . . . . 503
Audio File Format Compatibility Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503
Exporting Pro Tools Tracks as AAF or OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . 504
Importing MXF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Exporting Pro Tools Tracks as MXF Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Export Options when Exporting to AAF or OMF Sequences. . . . . . . . . . . . . . . . . . . . . . . . 511
Export Selected Tracks to Sequence in Production Management . . . . . . . . . . . . . . . . . . . 515
Export Selected Tracks as New Session or Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Export Selected Time Range as New Session or Project . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Exporting Session Information as Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Export Session Information as Text Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Importing and Exporting Clip Group Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Chapter 23. File and Session Management and Compatibility . . . . . . . . . . . . . . . . . . . . . . . 523

Audio File Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524
WAV File Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Sharing Projects Offline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Sharing Sessions Created on Different Computer Platforms . . . . . . . . . . . . . . . . . . . . . . . 527
Sharing Sessions Created on Different Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . 529
Sharing Sessions Between Pro Tools Ultimate, Studio, and Artist . . . . . . . . . . . . . . . . . . . 530
Sharing Sessions Created on Different Pro Tools Software Versions . . . . . . . . . . . . . . . . . 530
Opening Sessions with Markers Exported from Media Composer . . . . . . . . . . . . . . . . . . . 539
Language Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Part IV Playback and Recording

Chapter 24. Playing Back Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543
Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
Setting the Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
Scrolling Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
Playing Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551
Transport Fade-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Playing Timeline and Edit Selections with the Playhead . . . . . . . . . . . . . . . . . . . . . . . . . . 553
Playback Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554

xii Pro Tools Reference Guide

 MIDI Beat Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
MIDI Beat Clock Offsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561
Ableton Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562

Chapter 25. Record Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567

Record Setup Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567
Configuring Pro Tools Hardware I/O for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568
Connecting a Sound Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
Recording with a Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
Setting the Session Meter and Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Record Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575
Configuring Default Names for Audio Files and Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
Assigning Hardware I/O on a Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
Record Enabling Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
Working with Hard Drives for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
Selecting a Record Input Monitoring Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
Setting Monitor Levels for Record and Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
Reducing Monitoring Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587

Chapter 26. Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591

Recording Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
Prime for Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Setting Punch and Loop Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
Setting Pre- and Post-Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
Audio Punch Recording Over a Specified Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
Recording Additional Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
Loop Recording Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
Alternate Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
Recording from a Digital Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
Half-Speed Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610

Chapter 27. MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611

Recording from MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
Enabling Input Devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
MIDI Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613
MIDI Input Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614
Input Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614
Wait for Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614

Contents xiii
 MIDI Merge/Replace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615
Configuring MIDI or Instrument Tracks for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Recording MIDI and Instrument Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
MIDI Input Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
MIDI Punch Recording Over a Specified Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
Loop Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
MIDI Step Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
MIDI Keyboard Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
Recording System Exclusive Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
Recording Audio from a MIDI Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
Retrospective Record for MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629

Chapter 28. Punch Recording Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633

Introduction to Punch Recording Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
Guidelines for Punch Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
QuickPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638
TrackPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639
Using TrackPunch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641
DestructivePunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642
Using DestructivePunch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646
Example TrackPunch and DestructivePunch Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . 647

Part V Editing
Chapter 29. Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653
Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654
Audio Clips and Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655
MIDI Clips and MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 659
Naming Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662
Displaying Clip Names, Clip Times, and Other Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663
Multiple Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664
Basic Editing Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666
Editing Across Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670

Chapter 30. Edit Modes and Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671

Edit Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671
Shuffle Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671

xiv Pro Tools Reference Guide

 Slip Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
Spot Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
Grid Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672
Edit Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674
Zooming Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Zoom Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675
Zoomer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677
Zoom Preset Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680
Zoom Toggle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
Zooming with a Scroll Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684
Using the Trim Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684
Trim Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684
Time Compression/ Expansion Trim Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686
Scrub Trim Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687
Loop Trim Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688
Tandem Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690
Using the Selector Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 691
Using the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692
Using the Smart Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692
Using the Scrubber Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695
Numeric Keypad Set to Shuttle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697
Using the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698
Edit/Tool Mode Keyboard Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699

Chapter 31. Making Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701

Linking or Unlinking Timeline and Edit Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701
Linking or Unlinking Track and Edit Selections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Selecting Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 703
Timeline Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714
Auto-Scrolling Tracks in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 717
Universe View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718
Navigating a Pro Tools Session with Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . 720

Chapter 32. Editing Clips and Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725

Creating New Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725
Healing Separated Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 728
Trimming Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729

Contents xv
 Nudging Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731
Layered Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 734
Quantizing Clips to Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735
Editing Stereo and Multichannel Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736
Consolidating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737
Compacting an Audio File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 737
Processing Audio with AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738
TCE (Time Compression and Expansion) Edit To Timeline Selection . . . . . . . . . . . . . . . . . 738
Rating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 739

Chapter 33. Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741

About Crossfades and Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741
Fade Dialogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 743
Fade and Crossfade Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748
Fade Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748
Creating Fades at the Beginnings and Ends of Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749
Creating a Crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751
Using AutoFades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753
Creating Fades and Crossfades in Batches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 753
Manually Adjusting Fade Shapes in Fade Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754
Adjusting the Start and End Points of a Crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755
Adjusting Fade Shapes with the Smart Tool in the Edit Window . . . . . . . . . . . . . . . . . . . . . 755
Changing Fade Shapes in the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756
Fades Options in the Edit Selection Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756
Moving and Nudging Fades and Crossfades. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757
Separating Clips that Include Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 759
Trimming Clips that Include Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760
Fade Boundaries and Shapes Displayed in Automation View . . . . . . . . . . . . . . . . . . . . . . 760

Chapter 34. Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761

Working with Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761
Track Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764
Playlists View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767
Matching Alternate Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 774
Matching Criteria Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 775
Selecting Alternate Takes on Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 776
Automatically Create New Playlists when Loop Recording . . . . . . . . . . . . . . . . . . . . . . . . . 777

xvi Pro Tools Reference Guide

 Expanding Alternate Takes to New Playlists or Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778
Expanding Alternate Channels to New Playlists or Tracks . . . . . . . . . . . . . . . . . . . . . . . . . 779
Target Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781
Track Compositing Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787

Chapter 35. Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789

Beat Detective and Source Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789
Uses for Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789
Beat Detective Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 790
The Beat Detective Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791
Beat Detective Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791
Defining a Beat Detective Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 792
Beat Detective Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793
Calculating Tempo with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794
Generating Beat Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794
Editing Beat Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 798
Generating Bar|Beat Markers with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800
DigiGroove Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 801
Separating Clips with Beat Detective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 803
Conforming Clips with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804
Edit Smoothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807
Detection (Normal) and Collection Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808

Part VI MIDI
Chapter 36. MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 815
MIDI Editing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 815
Setting the Grid Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817
Using the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818
Inserting MIDI Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 820
Inserting a Series of Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 821
Manually Editing MIDI Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822
Using the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 825
Time Compression/Expansion Trim Tool Functionality on MIDI Clips . . . . . . . . . . . . . . . . . 831
Continuous Controller Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833
Keyboard Shortcuts for Navigating MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837
Patch Select (Program and Bank Changes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841

Contents xvii
 System Exclusive Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 845
Note and Controller Chasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846
Offsetting MIDI Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847
Stuck Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 849
Remove Duplicate Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 849
Quantize MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 849
MIDI Real-Time Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 850
Real-Time Properties Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 852
Real-Time Properties on Tracks and Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854
Writing Real-Time Properties to Tracks or Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855
Real-Time Properties In the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 856
Display of Real-Time Properties Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 856

Chapter 37. MIDI Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 857

Opening a MIDI Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 858
MIDI Editor Window Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 859
MIDI Editor Zoom Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 865
Tracks List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 865
Groups List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 867
Timebase and Conductor Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 867
Superimposed Notes View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 868
Notes Pane Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 871
Notation View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 872
Velocity, Controller, and Automation Lanes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 874

Chapter 38. Score Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 875

Opening the Score Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 876
Edit Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 876
Default Note Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879
Default Note On Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879
Play MIDI Notes When Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879
Link Timeline and Edit Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879
Mirrored MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879
Double Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880
Cursor Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880
Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 880
Score Editor Window Target . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881

xviii Pro Tools Reference Guide

 Score Editor Window Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881
Tracks List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 883
Page Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884
Score Editor Zoom Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884
Notation Display Track Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 885
Score Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 887
Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 889
Score Editor Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 891
Key Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 892
Meter Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 893
Chord Symbols and Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 894
Exporting Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 895
Printing Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 896

Chapter 39. MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 897

Opening the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 897
Inserting Events in the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 900
Editing Events in the MIDI Event List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 902
MIDI Event List Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 904

Part VII Arranging

Chapter 40. Time, Tempo, Meter, Key, and Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 907
Timebase Rulers and Conductor Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 907
Main Time Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 910
The Sub Counter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911
Tick-Based Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911
Tick- and Sample-Based Timebases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 912
Song Start Marker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 914
Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 915
Graphic Tempo Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 920
Editing Tempo Events in the Tempo Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 921
Changing the Linearity Display Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 926
Tempo Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 927
Identify Beat Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 933
Meter Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 936
Time Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 938

Contents xix
 Change Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 939
Insert Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 940
Cut Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 942
Move Song Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 943
Renumbering Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 944
Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 944
Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 947
Extract Chords From Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 948
Marker Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 950

Chapter 41. Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 951

Creating Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 951
Marker Ruler and Track Marker Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 953
Creating Memory Locations During Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 953
Properties of Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 954
Recalling Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 957
Editing Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 957
Deleting Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 959
Copying Marker Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 959
Memory Locations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 960
Memory Locations Commands and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 962
Track Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 964

Chapter 42. Arranging Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 969

Placing Clips from the Clips List on to Track Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . 969
Working with Multiple Items from the Clips List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 970
Placing Clips at the Edit Insertion Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 971
Aligning Clips with the Edit Insertion Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 972
Arranging with Transparent Clip Overlays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 973
Moving Clips with the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 973
Layered Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 974
Snapping to the Preceding or Next Clip on a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 975
Arranging Clips in Shuffle Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 976
Arranging Clips in Slip Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 977
Spotting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 977
Arranging Clips in Grid Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 979
Replacing Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 981

xx Pro Tools Reference Guide

 Sync Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 983
Shift Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 985
Space Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 985
Locking Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 986
Muting/Unmuting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 988
Stripping Silence from Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 988
Inserting Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 991
Duplicating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 991
Repeating Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 993

Chapter 43. Clip Loops and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 995

Clip Looping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 995
Creating Looped Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 996
Unlooping Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 997
Editing Looped Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 997
Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 999
Creating Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1000
Ungrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1001
Regrouping Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1001
Multitrack Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1001
Clip Groups on Tick-Based Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1003
Editing Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1004
Fades and Crossfades on Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1005
Clip Groups and Clip Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1006
Importing and Exporting Clip Group Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1006

Part VIII Processing

Chapter 44. AudioSuite Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1009
AudioSuite Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1009
AudioSuite Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1009
AudioSuite Window Header . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1010
AudioSuite Window Footer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1014
Using AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1016
Conditions for AudioSuite Rendering with Handles, Fades, Clip Gain, and Metadata . . . . . 1019

Contents xxi
 Chapter 45. Clip Gain and Clip Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1021
Clip Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1021
Clip Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1029
Clip Effects Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1035
Clip Effects Presets and Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1043

Chapter 46. Elastic Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1045

Example Elastic Audio Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1046
Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1050
Disabling Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1051
Elastic Audio Track Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1052
Elastic Audio Track Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1052
Elastic Audio Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1053
Real-Time and Rendered Elastic Audio Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1054
Elastic Audio Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1055
Editing in Warp View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1059
Warping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1061
Editing in Analysis View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1066
Elastic Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1068
Elastic Properties Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1069
Elastic Audio Clip-Based Pitch Shifting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1071
AudioSuite Processing and Elastic Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1073
Moving Elastic Audio Between Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1074
Approximate Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1075
Elastic Audio Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1075

Chapter 47. Melodyne Editing and Audio to MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1077

Integrated Melodyne Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1077
Extract MIDI from an Audio Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1080
Drag and Drop Audio to MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1081
Copy Audio and Paste as MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1082
Audio to MIDI Plug-in Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1083

Chapter 48. Committing, Freezing, and Bouncing Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . 1085

Commit Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1085
Track Freeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1090
Bounce Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1093

xxii Pro Tools Reference Guide

Chapter 49. Event Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1095
Event Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1095
Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1097
Grid Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1099
Grid Quantize Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1101
Groove Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1103
Quantizing Elastic Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1108
Quantizing Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1108
Quantizing Mixed Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1109
Restore Performance Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1109
Flatten Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1110
Change Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1113
Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1115
Select/Split Notes Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1116
Input Quantize Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1119
Step Input Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1120

Chapter 50. HEAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1125

Enabling HEAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1125
About HEAT Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1125
HEAT Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1127
Master Bypass and Track Bypass Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1128
A Note About Other Track Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1129
DSP and Voice Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1129
Using HEAT with a Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1130

Part IX Mixing
Chapter 51. Basic Mixing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1135
Mixing Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1135
Metering and Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1135
Signal Flow by Track Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1136
Audio Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1136
Auxiliary Input Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1137
Master Fader Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1138
Instrument Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1140
VCA Master Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1141

Contents xxiii
 Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1144
Configuring Inserts View in the Mix and Edit Windows. . . . . . . . . . . . . . . . . . . . . . . . . . . 1144
HEAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1145
Stereo Pan Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1145
Views in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1146
Audio Input and Output Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1150
Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1153
Configuring Sends View in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . 1158
Sends View Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1158
Editing Sends in the Mix and Edit Windows (Individual Send Views) . . . . . . . . . . . . . . . . 1160
Bus Interrogation Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1163
Output Windows for Tracks and Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1164
Output Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1168
Signal Routing for Monitoring and Submixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1169
Delay Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1176
Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1184
Using an Ethernet Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1184
Using a MIDI Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1185

Chapter 52. Plug-In and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1189

Types of Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1189
Viewing Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1192
Making Inserts Inactive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1193
Inserting Plug-Ins on Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1194
Plug-In Menu Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1195
MIDI Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1197
Plug-in Insert Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1197
Default EQ and Dynamics Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1198
Plug-In Favorites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1198
Moving and Duplicating Plug-In and Hardware Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . 1199
Plug-In Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1200
Opening Plug-In Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1202
Using Plug-In Window Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1203
Editing Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1203
Plug-In Automation and Safe Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1204
Side-Chain Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1205
Plug-in Bus Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1206

xxiv Pro Tools Reference Guide

 Plug-In Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1206
Plug-In Settings Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1209
Plug-In Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1212
Bypassing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1217
Linking and Unlinking Controls on Multi-Mono Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . 1218
Using Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1219

Chapter 53. DSP Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1223

DSP Mode for Ultra-Low Latency Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1223
DSP Mode States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1223
Enabling DSP Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1224
Enabling DSP Mode Safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1225
DSP Mode Indicators for Plug-ins, Inserts, Sends, and Outputs . . . . . . . . . . . . . . . . . . . . 1226
Workflow Example: Recording in DSP Mode for Ultra-Low Latency Monitoring . . . . . . . . . 1228
Tips for Using DSP Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1232

Chapter 54. Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1233

Automation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1233
Automation Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1234
Automation Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1236
Automation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1241
Viewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1243
Indication of Automation in Track View and Automation Lane Selectors . . . . . . . . . . . . . . 1246
Writing Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1246
Automating Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1248
Automating Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1249
AutoMatching Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1252
Priming Controls for Writing Automation in Latch Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 1253
Enabling and Suspending Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1255
Deleting Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1257
Thinning Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1258
Drawing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1259
Editing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1260
Cutting, Copying, and Pasting Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1265
Glide Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1269
Trimming Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1270
Writing Automation to the Start, End, or All of a Track or Selection . . . . . . . . . . . . . . . . . . 1272

Contents xxv
 Writing Automation to the Next Breakpoint or to the Punch Point . . . . . . . . . . . . . . . . . . . 1274
Guidelines for “Write To” Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1277
Overwriting or Extending Mute Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1278
Creating Snapshot Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1281
Previewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1283
Capturing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1285
VCA Master Track Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1288
Coalescing VCA Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1289

Chapter 55. Mixdown. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1293

Selecting Audio for Loops, Submixes, and Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1293
Using Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1293
Bus Recording to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1295
Bounce Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1296
Bounce From Sends or Track Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1297
Bounce Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1297
Recording a Submix (with Bounce Mix) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1306
Final Mixdown (with Bounce Mix) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1306
Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1307

Part X Surround
Chapter 56. Pro Tools Setup for Surround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1311
Surround Mixing in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1311
Pro Tools Audio Connections for 5.1 Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1312
7.1 and 7.0 Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1312
7.1.2 and 7.0.2 Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1313
5.0.2 to 9.1.6 Immersive Surround Formats in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . 1314
Ambisonics Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1314
Configuring Pro Tools for Multichannel Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1314
Default I/O Selectors in I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1319
5.1 Track Layouts, Routing, and Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1320

Chapter 57. Multichannel Tracks and Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1321

Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1321
Multichannel Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1324
Paths in Surround Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1327

xxvi Pro Tools Reference Guide

 Example Paths and Signal Routing for a Surround Mix . . . . . . . . . . . . . . . . . . . . . . . . . . 1329
Flexible Track Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1333

Chapter 58. Surround Panning and Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1335

Introduction to Pro Tools Surround Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1335
Output Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1336
Standard Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1337
Surround Panner Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1338
Panning Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1340
Divergence and Center Percentage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1343
LFE Faders in Multichannel Panners. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1345
Pan Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1346
Immersive Surround Panner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1346

Chapter 59. Mixing to Dolby Atmos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1347

Dolby Atmos Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1347
Enabling the Internal Renderer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1350
Enabling the External Renderer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1351
Configuring Pro Tools Using Core Audio with the Dolby Atmos Renderer . . . . . . . . . . . . . 1352
Configuring Session Setup for Dolby Atmos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1353
Configuring the I/O Setup for Dolby Atmos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1353
Bed/Object Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1358
Mixing Bed Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1361
Object Names and Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1361
Track Object Output Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1362
Object View in the Edit and Mix Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1363
Object Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1363
3D Panner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1365
Object/Bus Toggle Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1369
Auto-Height Overrides Height Automation Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1369
Coalesce Pan Guide Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1370
Duplicating Object Track Pan Automation and Dolby Atmos Panner Plug-in Automation . . 1370
Object Controls Mix Attribute for Grouped Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1371
Dolby Atmos Renderer Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1372
Trim and Downmix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1378
Using a Master Fader to Control Internal Renderer Monitoring . . . . . . . . . . . . . . . . . . . . . 1381
Binaural Render Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1382

Contents xxvii
 Dolby Atmos PEC/DIR Recorder Workflow Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1382
Importing Bed/Object-Related Track Data from Another Session . . . . . . . . . . . . . . . . . . . 1384
Import ADM BWF Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1384
Opening Legacy Dolby Atmos Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1386
Export ADM files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1387
Bounce Mix, Metadata, and ADM/Re-render Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1389
Offline Bounce of Dolby Atmos Re-renders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1390

Chapter 60. Ambisonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1395

Pro Tools Support for Ambisonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1395
What is Ambisonics? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1395
Configuring the I/O Setup for Ambisonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1396
Channel Ordering for Ambisonics Audio Signal Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . 1397
Ambisonics Mixes in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1398
Folding Down Ambisonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1400

Part XI Sync and Video

Chapter 61. Working with Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1403
Pro Tools Synchronization Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1403
Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1404
Format Displays and Controls in the Session Setup Window . . . . . . . . . . . . . . . . . . . . . . 1406
Sync X Setup in the Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1408
SYNC Setup in the Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1409
VSO (Variable Speed Override) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1410
External Timecode Offsets in the Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . 1410
Timecode Settings in the Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1411
Preparing to Work with Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1412
Configuring Pro Tools for Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1412
Pull Up and Pull Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1414
Effect of Using Pull Up or Pull Down. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1418
Putting Pro Tools Online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1418
Generating Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1419
Using MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1420
Enabling MIDI Machine Control in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1421
MMC Transport Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1423
Setting Minimum Sync Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1423

xxviii Pro Tools Reference Guide

 Remote Track Arming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1424
Spotting Clips to Timecode Frame Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1424
The Spot Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1425
Capturing Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1425
Auto-Spotting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1426
Using the Trim Tools in Spot Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1427
Time Stamping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1427
Identifying a Synchronization Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1428
Troubleshooting Timecode Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1429
Speed Correction for Film, NTSC Video, and PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . 1431

Chapter 62. Pro Tools | MachineControl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1433

MachineControl Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1433
Cables and Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1434
Connecting Machines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1435
Starting Up Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1436
MachineControl Communication Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1437
Setting Up Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1439
Serial Deck Control Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1441
Configuring Serial Deck Control (Overview) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1441
Configuring a MachineControl Device for Deck Control . . . . . . . . . . . . . . . . . . . . . . . . . . 1442
Preferences for Serial Deck Control Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1443
Session Setup Window and MachineControl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1445
Additional Pro Tools MachineControl Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1446
Selecting Pro Tools or the Machine as the Transport Master . . . . . . . . . . . . . . . . . . . . . . 1447
Playback in Serial Deck Control Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1448
Remote Track Arming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1449
Configuring Track Arming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1449
Creating a Track Arming Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1450
Arming Tracks Remotely for Layback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1453
Remote 9-Pin Deck Emulation Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1454
Configuring Remote 9-Pin Deck Emulation Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1454
Preferences for Remote 9-Pin Deck Emulation Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1456
Playback in Remote 9-Pin Deck Emulation Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1457
Recording in Remote 9-Pin Deck Emulation Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1457
Track Arming in Remote 9-Pin Deck Emulation Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 1458
Using a Paddle Device in Local Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1458

Contents xxix
 Connecting a Supported Third-Party Paddle Device to Your Pro Tools System. . . . . . . . . 1459
Allow Track Arm Commands in Local Mode Preference . . . . . . . . . . . . . . . . . . . . . . . . . 1459
Configuring Ports for a Deck and a Supported Third-Party Paddle Device . . . . . . . . . . . . 1459
Deck Control Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1460
Machine IDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1461
9-Pin Cable Pinouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1463

Chapter 63. Working with Field Recorders in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . 1467

Field Recorder and Production Workflow Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . 1467
Supported Field Recorder Audio Files and Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1469
Displaying Field Recorder Metadata in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1470
Workspace Support for Field Recorder Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1470
Field Recorder Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1471
Ensuring Metadata of Source Files Have Been Preserved . . . . . . . . . . . . . . . . . . . . . . . . 1471
Receiving Source Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1472
Importing Source Files into Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1473
Designating Field Recorder Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1475
Displaying Multichannel Files from a Field Recorder in the Clips List . . . . . . . . . . . . . . . . 1475
Selecting a Matching Field Recorder Channel to Replace a Clip . . . . . . . . . . . . . . . . . . . 1476
Expanding Matching Field Recorder Channels to New Tracks . . . . . . . . . . . . . . . . . . . . . 1480
Determining the Method of Expanding Matching Field Recorder Channels to New Tracks . 1481
Film Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1484
Video and Fully Non-Linear Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1486

Chapter 64. Working with Video in Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1489

Avid Video Engine (AVE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1489
Video Format Support in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1489
Check Latest Compatibility Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1490
Before Starting Your Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1490
Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1491
Main Video Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1492
Video Track Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1493
Video Track Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1495
Locking Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1502
Video Engine Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1502
Importing Video into Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1503
Configuring Video Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1505

xxx Pro Tools Reference Guide

 Importing Audio from Video Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1507
Video Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1507
Showing or Hiding Video Clips in the Clips List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1508
General Video Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1508
Renaming Video Disk Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1510
Video Clip Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1511
Using the Video Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1511
Browsing Video in the Video Universe Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1513
Pro Tools Video Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1515
Tips for Optimizing Video Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1515
Compensating for Video Monitoring Delays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1516
Playing Video to an External Monitor Using a Video Peripheral . . . . . . . . . . . . . . . . . . . . 1516
Timecode Overlay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1517
Bouncing the Video Track to a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1517
Bounce Mix to MOV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1520

Part XII Satellite Systems

Chapter 65. Satellite Link. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1527
Satellite Link Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1528
Configuring Satellite Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1528
Linking Satellite Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1531
Using Satellite Link with MachineControl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1535
Control Surface Support for Satellite Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1535

Chapter 66. Pro Tools Video Satellite. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1537

Video Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1537
Connecting a Pro Tools Video Satellite System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1537
Linking the Pro Tools Video Satellite System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1538

Chapter 67. Media Composer Video Satellite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1541

Video Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1542
Supported Video Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1542
Media Composer Video Satellite Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1542
Using a Video Satellite in a MediaCentral | Production Management Environment . . . . . . . 1543
Connecting Pro Tools and a Video Satellite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1543
Matching Media Composer and Pro Tools Settings in a Video Satellite System . . . . . . . . . 1544

Contents xxxi
 Linking or Unlinking Pro Tools and a Video Satellite . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1550
Capturing Audio and Video with a Video Satellite System . . . . . . . . . . . . . . . . . . . . . . . . 1552
Re-Digitizing an Existing Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1553
Digitizing from an EDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1553
Laying Back Audio and Video to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1553

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1557

xxxii 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 power- System Requirements and
ful multitrack digital audio and MIDI sequencing Compatibility Information
features, giving you everything you need to record, Avid can only assure compatibility and provide
arrange, compose, edit, mix, and master profes- support for hardware and software it has tested and
sional quality audio and MIDI for music, video, approved.
film, and multimedia.
For complete system requirements and a list of
qualified computers, operating systems, hard
Avid Master Account drives, and third-party devices, visit:
www.avid.com/compatibility
Your Avid Account contains all your purchased
product entitlements, installers, and profile details
and can be accessed through Avid Link or at
my.avid.com.
Conventions Used in
Pro Tools Documentation
To create an account: Pro Tools documentation uses the following
1 Do one of the following: conventions to indicate menu choices, keyboard
• Download and install Avid Link, then launch commands, and mouse commands:
:

the Avid Link app and click Create new ac-

Convention Action
count.
• Visit my.avid.com. File > Save Choose Save from the
File menu
2 Fill in the required fields located under “Create
Control+N Hold down the Control
a new Avid Account.”
key and press the N key
3 Next time you can just sign in to your Avid
Control-click Hold down the Control
Account through Avid Link or online. 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.

Chapter 1: Welcome to Pro Tools 3

 The following symbols are used to highlight Support and Downloads
important information:
Contact Avid Customer Success (technical sup-
User Tips are helpful hints for getting the port), download software updates and the latest on-
most from your Pro Tools system. line manuals, browse the Compatibility documents
for system requirements, search the online Knowl-
edge Base or join the worldwide Avid user com-
Important Notices include information that munity on the User Conference.
could affect your Pro Tools session data or
www.avid.com/learn-and-support
the performance of your Pro Tools system.

Training and Education

Shortcuts show you useful keyboard or mouse
shortcuts. Study on your own using courses available online,
find out how you can learn in a classroom setting at
an Avid-certified training center, or view video tu-
Cross References point to related sections in
torials and webinars.
this guide and other Avid documentation.
www.avid.com/learning

Resources Videos and Tutorials

The Avid website (www.avid.com) is your best Visit the Avid YouTube channel to find playlists
online source for information to help you get the and videos that show how to use and learn
most out of your Avid system. Pro Tools.
Avid YouTube Channel (all playlists and videos)
Account Activation and Product Pro Tools Tech Tips (playlist)
Registration Pro Tools Quick Tips (playlist for the Pro Tools
Activate your product to access downloads in your Quick Reference Guide, available from the
Avid account (or quickly create an account if you Dashboard)
do not have one). Register your purchase online,
download software, updates, documentation, and Products and Developers
other resources.
Learn about Avid products, download demo soft-
www.avid.com/account
ware, or learn about our Development Partners and
their plug-ins, applications, and hardware.
www.avid.com/products

4 Pro Tools Reference Guide

 Messages With the ability to message your con-
Avid Link nections in the Artist Chat window, it’s easy to stay
™
Use Avid Link to manage your Avid account, in touch with others. Share ideas and discuss proj-
product licenses and subscriptions, as well as ac- ects in real time with a group of collaborators. Seek
cess a number of other services. advice and give it by forming mentorships within
your network. Or simply reach out and say hello to
Visit www.avid.com/avid-link.
your friends.
For more information about the Avid Link
Find Talent Avid Link integrates with the entire
application, see the Avid Link User Guide.
Avid Community, making it easy to search for and
find other artists, musicians, composers, video ed-
The desktop version is installed with Pro Tools, a
itors, producers, mixers, filmmakers, and media
mobile version is available for iOS, it is available
professionals to collaborate with and follow. Se-
online using any browser, and it is also accessible
lect Find Talent to scope out the profiles of avail-
from Pro Tools by choosing Help > Avid Link.
able talent, review their work, invite them to con-
The following are available using the Avid Link nect, and send messages about how you can work
app: together.

Profile Showcase your work and talent for others Marketplace Expand your creative capabilities
to see and hear what you can do. Avid Link gives further by shopping the Marketplace, conveniently
you a powerful platform to tell your story and pro- accessible right within Avid Link. Whether you
mote your work. Get discovered and increase your need plugins, video effects, stock footage (coming
creative opportunities by tagging your profile with soon), a control surface, or other software or hard-
your skills, specialties, and expertise, making it ware to use with Pro Tools, Media Composer®,
easier for others to find and connect with you. Sibelius®, or a third-party audio or video tool.

Home Get informed and inspired with access to the Lounges Looking to meet others to get or give ad-
latest industry news, customer stories, blogs, and vice, help, or feedback? Hang out in the Lounges,
product info. You can filter your news feed by Au- which offer a variety of discussion topics for col-
dio, Video, Notation, Live Sound, and Broadcast, laboration seekers, areas of interest, tips and tricks,
and see the latest features for your products, dis- and more. Start or join a conversation, exchange
cover great tips and tricks, be among the first to ideas, and contribute to discussions about prod-
hear about new product announcements, and gain ucts, workflows, and the industry, all in real time,
workflow insight from creative pros. on your computer or mobile device.
Products Lets you view all of your registered Avid Pro Tools Projects Lets you view your online
products, including the System ID, Activation ID, Pro Tools Projects in the Artist Chat window.
when Support Expires, and Support Status if rele- When you are signed in, double-click any project
vant. You can also add Notes for each product. in the list to open it.
Sonic Drop Provides free downloads of audio For more information about accessing
samples and loops, as well as instrument presets, to Pro Tools Projects, Messages, Find Talent,
all current Pro Tools subscribers and perpetual li- and Profile with Avid Link and Artist Chat,
cense holders on an active support plan. see Chapter 19, “Artist Chat and Avid Link.”

Chapter 1: Welcome to Pro Tools 5

 Pro Tools Analytics
In order to better understand the needs of our cus-
tomers, Pro Tools can automatically send anony-
mous data to Avid on how you use the features in
Pro Tools. This data is used solely to improve de-
velopment planning and feature design for future
versions of Pro Tools and contains no personal in-
formation whatsoever. You can agree (or disagree)
to sending this information to Avid either when
you install Pro Tools or at any time thereafter in the
Pro Tools Operation preferences (Setup > Prefer-
ences).

Pro Tools Guided Tour

The first time you launch Pro Tools you are pre-
sented with a Dashboard for creating and opening
sessions, projects, and sketches. You are also pre-
sented with the opportunity to take a guided tour of
Pro Tools with the included demo session. This
provides a quick and easy overview of how to use
Pro Tools that highlights elements of the user in-
terface with information about the “what” and
“why” of each. Once you have taken the guided
tour, it will not present itself again. However, you
can revisit the guided tour at anytime from the
Help menu in Pro Tools (Help > Launch Guided
Tour).

6 Pro Tools Reference Guide

Chapter 2: Pro Tools Concepts

Before you begin to use Pro Tools, you may find it Nonlinear editing provides significant advantages
helpful to review Pro Tools concepts. These con- over dubbing (re-recording), and cutting and splic-
cepts are the foundation of Pro Tools operation ing magnetic tape. It gives you the greatest possi-
and functionality. ble flexibility for editing and arranging, and it is all
nondestructive and “undoable.” Additionally, with
nonlinear editing in Pro Tools, you will never in-
Hard Disk Audio Recording troduce any degradation of audio fidelity as you
would with tape.
Hard disk recording is a nonlinear (or random ac-
cess) medium—you can go immediately to any
spot in a recording without having to rewind or fast
Audio Engines
forward.
You can stream audio between Pro Tools software
This differs from tape-based recording, which is a and your audio hardware using the Avid Audio En-
linear medium—where you need to rewind or fast gine (Avid audio hardware only), Core Audio
forward to hear a particular spot in a recording. To (Mac), ASIO (Windows only with third-party au-
rearrange or repeat material in a linear system, you dio hardware), or WASAPI (built-in audio or
need to re-record it, or cut and splice it. third-party Windows Audio Devices for playback
Nonlinear systems have several advantages. You only).
can easily rearrange or repeat parts of a recording
Avid Audio Engine
by making the hard disk read parts of the recording
in a different order or multiple times. In addition, The Avid audio engine (AAE) is a real-time oper-
this re-arrangement is nondestructive, meaning ating system for digital audio recording, playback,
that the original recorded material is not altered. and processing with Pro Tools and Avid audio
hardware. When you install Pro Tools, AAE is au-
tomatically installed on your system. AAE pro-
Nonlinear Editing vides the foundation for much of the hard disk re-
cording, digital signal processing, and mix
Pro Tools is a Digital Audio Workstation (DAW)
automation required by Pro Tools and other prod-
and nonlinear editing system that lets you arrange
ucts from Avid and its Development Partners.
and mix recorded material nondestructively. Non-
linear editing simply means that you can cut, copy,
paste, move, delete, trim, and otherwise arrange
any audio, MIDI, or video in the Pro Tools Edit
window.

Chapter 2: Pro Tools Concepts 7

 Core Audio
(Mac Only)
MIDI
MIDI (Musical Instrument Digital Interface) is a
Apple’s Core Audio provides audio connectivity
communication protocol for musical instruments.
between software applications and audio hardware
This industry standard enables connections be-
on macOS. Pro Tools software can use audio inter-
tween a variety of devices from different manufac-
faces with supported Core Audio drivers for play-
turers. Examples of MIDI-compatible equipment
back and recording with up to 32 channels of I/O.
include synthesizers, drum machines, MIDI patch
bays, effects processors, MIDI interfaces, MIDI
ASIO
control surfaces, and MIDI sequencers as well as
(Windows Only)
Virtual Instruments and MIDI effects plug-ins.
Steinberg’s Audio Stream Input/Output (ASIO)
MIDI devices are equipped with 5-pin DIN con-
provides audio connectivity between software ap-
nectors, labeled as either IN, OUT, or THRU. The
plications and audio hardware on Windows.
MIDI OUT port transmits messages. The MIDI IN
Pro Tools software can use audio interfaces with
port receives messages. The MIDI THRU outputs
supported ASIO drivers for playback and record-
whatever is received from the IN port. MIDI de-
ing with up to 32 channels of I/O.
vices are connected with MIDI cables that are
available at most music stores.
WASAPI
(Windows Only) USB and FireWire-compatible MIDI devices send
and receive MIDI messages to and from the com-
The Windows Audio Session API (WASAPI) lets
puter over USB or FireWire.
client applications manage the flow of audio data
between the application and the built-in audio or The MIDI protocol provides 16 channels of MIDI
an external audio interface. WASAPI provides per port. A single MIDI cable can transmit a sepa-
benefits similar to those of ASIO. It also allows rate set of messages for each of the 16 channels.
any single audio application the exclusive access These 16 channels can correspond to separate
to a specific audio device. (To access the WASAPI MIDI devices or to multiple channels within a sin-
Device Settings in Windows Media Center, choose gle device (if the device is multitimbral). Each
Tools > Options > Audio > Audio Device > Device channel can control a different instrument sound.
settings.)
Pro Tools provides powerful MIDI sequencing ca-
pabilities. You can record, enter, edit, and play
back MIDI data on Pro Tools Instrument and
Avid Video Engine MIDI tracks. These actions can be done in the Edit
Pro Tools uses the Avid Video Engine (AVE) for window, the MIDI Editor window, the Score Edi-
real-time digital video playback. AVE supports a tor window, and the MIDI Event List.
wide range of video formats up to 60fps with a 4k
picture display, which provides interoperability
with many video editing applications such as Avid
Media Composer. Video may be played on the
desktop, as well as out an external monitor with a
qualified video peripheral.

8 Pro Tools Reference Guide

MIDI data in Pro Tools can be anything from Pro Tools Ultimate and Studio software supports
MIDI note data (note number, on/off, velocity) to mixing in surround formats. In Pro Tools, each
System Exclusive (Sysex) messages. MIDI data surround format is considered to be a greater-than-
can be recorded or played back from both external stereo multichannel format.
MIDI devices with a MIDI interface and other
MIDI software (such as instrument plug-ins and
ReWire client applications). Pro Tools Sessions
When you start a session in Pro Tools, you create a
session.
Synchronization
When you are working with multiple time-based Sessions are always local to your system. You
systems, such as Pro Tools and an external deck, can also create shared online projects for
you want the systems to be synchronized. Syn- track-based collaboration with others. For
chronization is where one system outputs clock more information, see “Pro Tools Projects”
source (such as timecode or MIDI Beat Clock) and on page 15.
another device synchronizes to or follows that
clock source so that they work together and stay in Session Files
time. Pro Tools can be synchronized to other de- A session file is the document that Pro Tools cre-
vices (or other devices can be synchronized to ates when you choose File > New Session and con-
Pro Tools) using Timecode. figure 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
Surround Sound contain maps of all elements associated with a
(Pro Tools Ultimate and Studio Software Only) project, including audio files, MIDI data, and all
your edit and mix information. It is important to re-
Surround sound simply means having one or more alize that a Pro Tools session file does not contain
speakers with discrete audio signals (channels) any media files (audio or video). Instead, it refer-
placed behind the listener in addition to the typical ences audio, video, MIDI, and other files. You can
stereo pair. make changes to a session and save those changes
There are multiple types of surround formats in use in a new session file. This lets you create multiple
(from three-channel LCR to 7.1, which has eight versions of a session or back up your editing and
channels). mixing work.

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 enter-
tainment systems. Additionally, most DVDs are
mixed to 5.1. The standard speaker placement for
Session file icon
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.

Chapter 2: Pro Tools Concepts 9

 Tracks Master Fader tracks provide controls for physical
audio output channels, including the volume level
Pro Tools tracks are where audio, MIDI, video,
of your mix, panning, and plug-in inserts.
and automation data are recorded and edited.
Pro Tools tracks also provide audio channels for VCA Master tracks provide control of tracks in a
routing internal busses, and physical inputs and Mix Group that has been assigned to the VCA
outputs for audio and MIDI. Master.

Pro Tools provides multiple types of tracks: Folder tracks let you organize both track layout
Audio, Auxiliary Input, Master Fader, VCA and signal routing in your projects and sessions.
Master, MIDI, Instrument, Folder, and Video.
Video tracks support several different video file
types, including .mov and .mxf video files. There
are many variations of video file types, so refer to
the Pro Tools Knowledgebase for the most up to
date specifics regarding your version of Pro Tools,
Audio track in the Edit window (stereo track shown) on your current operating system.

Routing Folder, Audio, Auxiliary Input, Master

Fader, and Instrument tracks can be mono, stereo,
or multichannel (Pro Tools Ultimate and Studio
only). When creating a new track, select from the
list of channel formats supported by your system.
MIDI track in the Edit window

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
Video track in Frames view paths to and from Pro Tools software routed to
Pro Tools hardware use voices. If you exceed the
Audio, MIDI, Instrument, and video track data can number of available voices in your system, you
be edited into clips or repeated in different loca- have effectively exceeded the available number of
tions to create loops, re-arrange sections or entire audio paths. Voices are allocated dynamically.
songs, or to assemble tracks using material from
multiple takes. Typically, each audio channel for each track in
your Pro Tools session uses a single voice. So, for
Auxiliary Input tracks can route internal audio bus- a mono audio track, a single voice is used; for a ste-
ses or physical inputs to internal busses or physical reo audio track, two voices are used; for a 5.1
outputs. Auxiliary Inputs are typically used for au- track, six voices are used. When using Punch Re-
dio effects busses, audio throughput (monitoring), cording, two voices are needed for every single au-
and submixing. dio channel (one for playback and one for record-

10 Pro Tools Reference Guide

ing on punch in and out). In some situations, with Audio files for each session are stored in a folder
Pro Tools | HDX systems, more than one voice named “Audio Files.” Audio files are listed in the
may be necessary for a single channel (such as Pro Tools Clips List and can appear in an audio
when using host processing on a DSP bus). track. A section of an audio file can be defined as a
clip (see “Clips” on page 11).
On HDX systems, the number of available voices
is dependent on the amount of dedicated DSP pro- MIDI Files
cessing in your system.
When you record or enter MIDI into a Pro Tools
See “Playback, Recording, and Voice Limits session, all MIDI data is stored in the Pro Tools
with Pro Tools Ultimate Software” on page 42). session file. You can import and export MIDI files
to and from Pro Tools sessions, but MIDI recorded
On all other Pro Tools systems, the full number of or otherwise created in a Pro Tools session does
available voices for your system may be limited by not automatically create new MIDI files.
the host processing power of your computer (see
“Pro Tools Artist Capabilities with Different
Hardware Configurations” on page 39).

For more information about voicing in

Pro Tools, see “Track Priority and Voice
Assignment” on page 283. MIDI file icon

Media Files Video Files

Pro Tools sessions create, import, export, and ref- Pro Tools references video files that have been
erence media files. Media files are audio, MIDI, captured by another application, such as Avid
and video files. Audio and video media files are Media Composer® Software. When video is im-
stored separately from the Pro Tools session file. ported into Pro Tools, it references the file in its
MIDI data is stored in the session file. current location. In some cases, such as when im-
porting an AAF or Saving Copy In, video may be
Audio Files copied and referenced from the Video Files folder
within the session folder. Pro Tools cannot na-
When you record audio into a Pro Tools session, tively record new video. Depending on your OS,
audio files are created. Pro Tools is able to export video and re-import it to
the timeline. For more information, visit the
Pro Tools Knowledgebase.

Clips
A clip is a segment of audio, MIDI, or video data.
Audio file icon
A clip could be a drum loop, a guitar riff, a verse of
a song, a recording take, a sound effect, some dia-
log, or an entire sound file. Clips are especially
useful for arranging audio and MIDI. A clip can
also have associated automation data. In

Chapter 2: Pro Tools Concepts 11

 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).

Audio clip Playlist selector pop-up menu

On audio tracks, an edit playlist tells the hard disk

which audio clips to play in what order. For exam-
ple, 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
MIDI clip the same piece of audio multiple times at different
locations and not use additional disk space. Differ-
ent versions of the same original audio can be used
in different places and have different effects ap-
plied. On MIDI and Instrument tracks, edit play-
lists can store multiple MIDI sequences (or perfor-
mances) on a track.
Video clip (Frames view)
A playlist can be made up of a single clip or many
separate clips. It can be made up of similar ele-
ments (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 play-

lists 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.

Each audio, Auxiliary Input, Instrument, Master

Clip group (Mixed audio and MIDI multitrack clip
group)
Fader, and VCA track also has a single set of auto-
mation playlists. Automation playlists can include
Playlists volume, pan, mute, and each automation-enabled
control for the insert and send assignments on that
A playlist is a sequence of clips arranged on an au- track.
dio, MIDI, or video track. Tracks have edit play-
lists and automation playlists. MIDI controller data on Instrument and MIDI
tracks is always included as part of the track play-
list.

12 Pro Tools Reference Guide

Channels
The term channel is used to describe several re-
lated components of a Pro Tools system.

The first example of channel refers to a physical

input or output of your Pro Tools system. For ex-
ample, Pro Tools | HD I/O provides up to 16 chan-
nels 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 con-

trols, but those controls have slightly different ef-
fects. For example, audio, Auxiliary Input, and In-
strument 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 instru-
ment.

The term “MIDI channel” also describes a

separate aspect of MIDI operation. See
“MIDI” on page 8.

Channel strip in the Mix window (audio track)

Chapter 2: Pro Tools Concepts 13

 Signal Routing Signal Routing Options

Pro Tools provides software-based mixing and Signal routing options include the following:
signal routing controls for audio and MIDI. These
Track Input and Output (I/O) Controls The most
controls are located in the Mix window. Some of
these controls can also be accessed from the Edit basic type of signal routing is track input and out-
window. put. A track needs to have an assigned input path to
record audio, and an assigned mapped output path
A common audio signal routing task is to submix in order to be audible through a hardware output.
multiple tracks to a single channel strip (such as an Signals can also be routed to or from other tracks in
Auxiliary Input) for shared processing and level Pro Tools (or hardware inputs and outputs) using
control. The following example shows two audio internal busses.
tracks submixed to a stereo Auxiliary Input.
Auxiliary Input, Routing Folder, and Master Fader
Tracks Auxiliary Inputs and Routing Folder tracks
can be used as returns, submixers, and bus masters.
Inserts Master Fader tracks are used as bus and output
master level controls. Auxiliary Input, Routing
Folder tracks, and Master Fader tracks can have
plug-in and hardware inserts.
Sends
MIDI Tracks MIDI tracks are generally used for
Input from routing MIDI from internal or external sources to
Outputs to stereo external MIDI devices. MIDI data can also be
stereo bus bus path
path routed to plug-ins on Auxiliary Inputs or Instru-
ment tracks.

Instrument Tracks Instrument tracks are the pri-

mary way to route MIDI to an instrument plug-in
and then route the plug-in’s sound to outputs,
sends and busses, or other inserts. Instrument
tracks can also be used to send MIDI to and moni-
tor audio from external MIDI devices.

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.

Plug-In and Hardware Inserts Plug-In processing

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
Audio tracks Auxiliary Input
track Master tracks do not have inserts.
Submixing to an Auxiliary Input

14 Pro Tools Reference Guide

Instrument Plug-Ins Instrument plug-ins are dif- Online projects let you collaborate on a track-by-
ferent from processing plug-ins in that they gener- track basis with anyone in the Avid Artist Commu-
ate audio rather than process the audio signal from nity anywhere in the world; or, if you prefer, you
a track’s audio input or from hard disk. Instrument can choose your collaborators privately and invite
plug-ins are typically played by MIDI. them to join a project by email.

Paths Paths are any routing option in Pro Tools, You can only collaborate with projects, never with
including internal or external inputs, outputs, bus- sessions. Otherwise, projects work just like ses-
ses, and inserts. Pro Tools lets you name these sions. Projects have all of the same recording, ed-
paths, and these path names appear in the Audio iting, mixing, and processing capabilities as do
Input and Output Path selectors and other menus. sessions (you can save a copy of a session as a
For more information, see Chapter 6, “I/O Setup.” project or a project as a session using the Save
Copy In command). Throughout this Reference
Mixing Formats Sessions can include combina-
Guide, “sessions” refers to session and projects un-
tions of mono, stereo, and greater-than-stereo mul-
less otherwise noted.
tichannel format tracks, busses, inputs, outputs,
and inserts. Greater-than-stereo multichannel for- Project data and media are bundled and cached on
mats are supported with Pro Tools Studio and local storage, but you cannot open a project by
Ultimate only. navigating through the file system. You can only
access projects through the Pro Tools Dashboard.
Grouping and VCA Tracks Tracks can be grouped
Projects are differentiated from sessions by their
together for mixing so that their relative mix set-
file icon.
tings 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
control the relative mix settings for all tracks Project icon (online, left; offline, right)
within the selected group.
You must be online and logged in to your Avid
Master Account the first time you create a project,
but after that you can work offline. Pro Tools and
Pro Tools Projects Avid Link will synchronize your local project with
Projects are similar to sessions, but projects are your account the next time you online. This pro-
cloud enabled. Projects are written to a local proj- cess runs in the background and can be monitored
ect cache that includes all project data and associ- in Pro Tools by checking the Task Manager (Win-
ated media as well as mirrored in your Avid Cloud dow > Task Manager).
Account. Offline projects store all media and proj-
If a project is downloaded on another system when
ect data in the local cache only. Online projects are
you log in to your Avid Master Account, all asso-
stored in your Avid Cloud Account and mirrored
ciated media is downloaded inside of the project
locally (though you can clear the local project
bundle. This does not affect the location of the me-
cache and have the project and its media stored
dia on the originating system. Each system main-
only in the cloud).
tains its own unique placement of media without
duplication.

Chapter 2: Pro Tools Concepts 15

 Sample-Based Audio and MIDI
Pro Tools Sketches
With a sample-based audio track, all clips in the
Pro Tools Sketch™ is a free application for iOS on track have an absolute location on the Timeline.
iPad that lets you add, create, edit, arrange, and Clips stay fixed to the sample time, regardless of
play back MIDI and audio clips. Pro Tools pro- where tempo or meter changes occur in a session.
vides a Sketch window (available in all tiers),
which provides the same functionality as the If you make a MIDI track sample-based, all MIDI
Sketch app right in Pro Tools. Sketches can be cre- events in the track have an absolute location on the
ated in and shared to either the app or Pro Tools. Timeline. MIDI events stay fixed to sample time,
regardless of any tempo or meter changes in a
Pro Tools Sketch is essentially a clip launching ap- session.
plication (both audio and MIDI). The ability to mix
Audio and MIDI clips, audio effects, and virtual
instruments in a non-linear environment, makes Tick-Based Audio and MIDI
Pro Tools Sketch a flexible centerpiece to your cre- Tick-based audio is fixed to a Bars|Beat location,
ative process. Pro Tools Sketch lets you experi- and moves relative to the sample Timeline when
ment with different sounds and musical ideas in tempo and meter changes occur. However, MIDI
context with each other without having to focus events and tick-based audio respond differently to
immediately on the arrangement or linear sequenc- tempo changes with respect to duration. MIDI note
ing. events change length when tempo or meter is ad-
justed, while audio clips do not (unless Elastic Au-
dio is enabled). When Elastic Audio is not enabled
Tick-Based and on an audio track, meter and tempo changes affect
Sample-Based Time only the start point (or sync point) for each audio
clip in a tick-based track. If Elastic Audio is en-
Pro Tools lets you set any track timebase to
abled on an audio track, tempo changes apply Elas-
either sample-based or tick-based. You can also set
tic Audio processing, which changes the duration
the Timeline to be viewed as tick-based or sample-
of the audio clip.
based.

Audio in Pro Tools is sample-based by default. Elastic Audio

This means that if an audio clip is located at a par-
Elastic Audio provides real-time and non-real-time
ticular sample location, it will not move from that
(rendered) Time Compression and Expansion
location if the tempo changes in the session—
(TCE) of audio. Tick-based Elastic Audio tracks
though its Bar|Beat location will change.
actually change the location of samples according
MIDI data in Pro Tools is tick-based by default. to changes in tempo. The audio stretches or com-
This means that if a MIDI clip is located at a par- presses to match changes in tempo. Elastic Audio
ticular Bar|Beat location, it will not move from that also provides high-quality non-real-time clip-
Bar|Beat location if the tempo changes in the ses- based pitch shifting.
sion—though its sample location will change.
Pro Tools Elastic Audio uses exceptionally high-
You can select whether a track is sample-based or quality transient detection algorithms, beat and
tick-based when it is created, or change timebases tempo analysis, and real-time or rendered TCE
later. processing algorithms. Elastic Audio lets you
16 Pro Tools Reference Guide
quickly and easily tempo conform and beat match  In order to free up needed DSP resources,
audio to the session’s Tempo ruler. It also provides Pro Tools allows for certain items (such as tracks
an unprecedented degree of control over transient and inserts) to be manually made inactive. Inactive
detection and TCE processing on an event-by- elements are viewable, editable, and retained
event basis. within the session. See “Active and Inactive
Items” on page 17.
With Elastic Audio, Pro Tools analyzes entire au-
dio files for transient “events.” For example, an  All Pro Tools systems provide flexible voice
event can be a drum hit, a sung note, or chord options for audio tracks, to help maximize use of
played by a guitar. These detected events can then available voices in your system. For more informa-
serve as control points for “warping” the audio. tion on voice management and options, see “Track
Pro Tools can warp (TCE) audio events automati- Priority and Voice Assignment” on page 283.
cally, such as when automatically conforming au-
dio to the session tempo or quantizing audio Active and Inactive Items
events, or you can warp audio manually using the
standard editing tools with the audio track set to Pro Tools lets you make certain items (such as
Warp view. tracks and inserts) inactive, in order to free up DSP
resources and mixer connections.
Elastic Audio is useful in several common work-
flows: working with loops, correcting perfor- Items in Pro Tools that can be made inactive
mances, remixing, beat and pitch matching, and include the following:
sound design and special effects. • Folder, Audio, Auxiliary Input, Master Fader,
VCA Master, Instrument, and MIDI tracks
• Track Inputs and Outputs
System Resources • Sends
Track count, plug-in processing, signal path and • Side-chain inputs
routing options, and voice availability are ulti-
• Plug-Ins
mately limited by the combined resources avail-
able from the host computer and from your • Hardware inserts
Pro Tools hardware. • Paths (session-wide)
Pro Tools provides several ways to manage and Side-chain inputs support direct active and
conserve resources to maximize the performance inactive switching, but do not follow switch-
of your system. As you begin working with ing all or all selected side-chain inputs.
Pro Tools sessions and tracks, you can take advan-
tage of the following features to extend the effec-
tiveness of your available DSP and other re-
sources:
 Pro Tools lets you adjust the performance of
your system by changing system settings that af-
fect its capacity for processing, playback, and re-
cording. See “Configuring the Playback Engine”
on page 104.

Chapter 2: Pro Tools Concepts 17

 In addition to manually setting Active and Inactive Display of Inactive Items
modes, Pro Tools automatically makes items inac-
When items are inactive, their names appear in
tive if there are insufficient or unavailable re-
italics, and their background becomes dark gray.
sources.
When a track is inactive, the entire channel strip is
When active, items are fully engaged and opera- grayed out.
tional.
Active plug-in Inactive plug-in
When inactive, items are silent and off, although
most associated controls can still be adjusted. Dif-
ferent inactive items affect available system re-
sources in specific ways, as follows:

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

DSP is made available for other plug-ins and pro-
cessing. 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 in-
active 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 multi-
channel tracks free up one voice per channel. Ad-
ditionally, when a Routing Folder, audio, Auxil-
iary 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 ses-
sion.

Active and inactive plug-ins, sends, and tracks

18 Pro Tools Reference Guide

Workspace Browsers AAF, MXF, and OMF
The Workspace is a database management tool for Pro Tools lets you exchange audio, video, and se-
Pro Tools. Workspace browsers expand upon ba- quences with other AAF, MXF, and OMF™ com-
sic Pro Tools search and import capabilities by patible applications (such as Media Composer).
providing powerful tools to manage your data both
inside and outside of your sessions, on any hard Media Data (Media Files)
drive connected to the system.
Media data represents raw audio or video material
A database is a way of organizing data such that it and is stored in individual media files. Every time
can easily be searched, sorted, managed, and uti- you record a piece of video or audio material into
lized. Your checkbook is an example of a database an application, you are creating a media file. Audio
file. For every check you write, you enter a new re- media files hold samples (such as 44,100 or 48,000
cord. That record contains information about the samples per second of recording) while video me-
check, such as when you wrote it, to whom you dia files use frames (24, 25, or 30 frames per sec-
wrote it, and for what amount. This information is ond of recording).
written in specific columns, or fields. Everything
you need to know (the check’s metadata) is there, The size of each media file depends on how much
even though the check itself is not. audio or video material it contains. For example, a
file containing ten minutes of high resolution video
Workspace browsers let you search, sort, and might be approximately 2 GB in size, whereas a
mange these databases by volume or catalog. You ten-minute audio recording at the might result in a
can use Workspace browsers not only to organize 100 MB file. Media files tend to be large, since
your Pro Tools sessions and media files (audio, high quality audio and video signals are data inten-
MIDI, and video), but also to audition and import sive. Video data generally requires considerably
by drag and drop. more storage than audio data.
For more information, see Chapter 18,
“Workspace Browsers.”

Chapter 2: Pro Tools Concepts 19

 Metadata In the simplest case, only an AAF or OMF se-
quence is exchanged. If this sequence points to ex-
Metadata is used to describe the following:
isting media files, the size of the sequence file is
• Information embedded in a media file. This may relatively small and the export/import process is
include scene, take, sample rate, bit depth, exter- relatively fast.
nal clip names, the name of the videotape from
which the media file was captured, and even AAF and OMF sequences can also have media
timecode values. data embedded in them. This creates a single,
larger file that is slower to export and import, but
• Information embedded in Pro Tools sessions or
which may be easier to manage than thousands of
other sequences, including what files are used,
files stored on different volumes.
where they appear in a timeline, and automation.
• For AAF or OMF sequences, metadata also in- AAF
cludes information embedded in unrendered Au-
AAF is a sequence file format. AAF sequences are
dioSuite™ effects (such as real-time EQ) for
the best way to exchange projects and maintain
Media Composer. Pro Tools skips unrendered
valuable metadata. An AAF sequence can refer to
effects on import. Rendered effects are media
OMF or MXF media files, or have OMF and MXF
files that can be imported into Pro Tools.
media files embedded within them. There is no
• For AAF or OMF sequences, information about such thing as an AAF audio or video media file.
automation (clip-based gain or keyframe gain).
Pro Tools will import, play back, and export an
AAF sequence that either links to media files or
AAF, OMF, and MXF Basics
has audio embedded within it.
AAF and OMF files are mechanisms for storing
and retrieving media files and metadata so that When you import an AAF sequence with embed-
projects can be freely exchanged between different ded audio into Pro Tools, the audio will be
applications and platforms. MXF is a media file extracted into mono tracks using the current ses-
format that can be used with AAF (but not OMF) sion’s audio file format.
files.

Media data and metadata enable an application that

receives AAF and OMF sequence files (such as
Pro Tools) to automatically and quickly reassem-
ble 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.

20 Pro Tools Reference Guide

MXF
Pro Tools and
MXF is a media file format. There are MXF video Media Composer
files and MXF audio files, but there are no MXF Terminology
sequences. An AAF sequence may refer to or
include MXF media files, but OMF sequences can- Pro Tools and Media Composer use different
not refer to or include MXF files. terms to describe the same items. For example, a
Pro Tools session is equivalent to a Media Com-
poser sequence. The following table lists common
Pro Tools elements and their Media Composer
equivalents.

Media Composer
Pro Tools
MXF file icon (AAF or OMF)

Pro Tools can import and play back MXF audio session sequence
and video files created in Media Composer. whole file clip master clip

OMF clip subclip

OMF is both a media file and sequence format. plug-ins real-time audio effects
OMF media files can be audio or video, and volume automation gain Media Composer key-
Pro Tools can import and play back OMF audio, frame volume
but not OMF video. Pro Tools can also export
OMF audio, but not OMF video.
Whole audio files in the Clips List normally
Pro Tools can import and play back OMF audio appear in bold type. However, master clip au-
files created in Media Composer or other applica- dio files imported from AAF or OMF into
tions. Pro Tools will not appear in bold type (indi-
cating clips) in the Pro Tools Clips List even
An OMF sequence cannot reference or have MXF
though they are audio files.
media embedded within it.

Pro Tools can import an OMF sequence with em-

bedded audio, but not embedded video.

Chapter 2: Pro Tools Concepts 21

 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

Media Composer 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

22 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.

Media Composer Edited Sequence

Li
nk

Original Source Media Files

e
d
to
:

Media Composer exports

sequence edits and
file information as AAF
or OMF sequence

AAF/OMF File (metadata only)

Linked to:

Pro Tools Imports

Session File
:
to
d

Translated Pro Tools Session File

ke
n
Li

AAF and OMF Interchange Workflow with Linked Media

Chapter 2: Pro Tools Concepts 23

24 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 Global Key Commands
Right-click shortcuts. Some keyboard shortcuts apply to many functions
in Pro Tools.
For a complete list of the default Pro Tools
keyboard and Right-click shortcuts, as well Track Functions
as information about assigning custom key-
board shortcuts, see Pro Tools Shortcuts.pdf Pro Tools provides keyboard shortcuts for the fol-
(Help > Pro Tools Shortcuts). lowing track functions:
• Changing Automation mode
To access the full list of Pro Tools shortcuts in
online Help: • Enabling playlists
1 Choose Help > Pro Tools Help. • Adding plug-ins
2 Click Pro Tools Shortcuts on the Contents page • Record enabling, soloing, and muting tracks
(in the left pane of Help). • Record safing and solo safing tracks

To access the full list of Pro Tools shortcuts in the • Assigning inputs, outputs, and sends
Pro Tools Shortcuts Guide: • Toggling volume/peak/delay display
 Choose Help > Pro Tools Shortcuts. • Clearing meters
• Changing track heights

Mouse Shortcuts
Command Mac Windows
Right-Click Shortcuts
Apply action to all Option+ Alt+
Pro Tools provides Right-Click shortcuts for channel strips/tracks action action
choosing various Pro Tools commands and menus
with any Right-Click capable mouse. Apply action to Option+ Alt+Shift+
selected channel Shift+ action
strips/tracks action
Scroll-wheel Functions

Pro Tools lets you increment or decrement values Vertically con-

strained, fine adjust-
in numerical fields by selecting the value and mov-
ment for automation
ing the mouse scroll wheel up or down. and control break-
points

Chapter 3: Keyboard and Mouse Shortcuts 25

 List and Parameter Selection
Keyboard Focus
Pro Tools provides keyboard shortcuts for the fol-
lowing items: The Keyboard Focus in Pro Tools determines how
the alpha keys function. Depending on which Key-
• Selection of tracks in Tracks List
board Focus is enabled, you can use the keys on
• Enabling of groups in Groups List your computer (alpha) keyboard to select clips in
• Automation Enable window parameters the Clips List, enable or disable groups, or perform
an edit or play command.
• Setting Memory Location parameters
You can only enable one of the three Keyboard Fo-
Command Windows Mac cus modes at a time. Enabling a Keyboard Focus
Toggle item and set Alt-click item Option-click will disable the one previously enabled.
all others to same item
new state There are three types of Keyboard Focus:

Toggle item and set Control-click Command- Commands Keyboard Focus When selected in
all others to opposite item click item the Tracks pane in the Edit window or in the Notes
state pane of any MIDI Editor window, this provides a
wide range of single key shortcuts from the com-
Controls and Editing Tools puter keyboard for editing and playing. The front-
Pro Tools provides keyboard shortcuts for moving most Edit or MIDI Editor window always receives
plug-in controls, faders and sliders, the Scrubber, Commands Keyboard Focus when it is en-
and automation data. abled.With Commands Keyboard Focus disabled,
you can still access any of its key shortcuts by
Command Mac Windows pressing Control (Mac) or Start (Windows) along
with the key. See the Shortcuts Guide for a com-
Fine adjustment Hold Command Hold Control
plete list of Commands Keyboard Focus shortcuts.
of sliders, while clicking while clicking
knobs, and the item the item
breakpoints

For extra-fine Hold Command Hold Control

adjustment of +Shift while +Shift while
breakpoints in adjusting auto- adjusting
Grid mode mation break- automation
points breakpoints

26 Pro Tools Reference Guide

Commands Keyboard Focus provides single-key shortcuts for a range of edit and play commands. Avid as
well as other vendors supply custom keyboards for Mac and Windows labeled with Pro Tools commands
when in Commands Keyboard Focus.

Pro Tools Custom Keyboard labeled with keyboard commands (Mac keyboard shown)

Clips List Keyboard Focus When selected, audio To set the Keyboard Focus, do one of the
clips, MIDI clips, and clip groups can be located following:
and selected in the Clips List by typing the first few  Click the a–z button for the focus you want to
letters of the clip’s name. enable.
Groups List Keyboard Focus When selected, Mix  While pressing Command+Option (Mac) or
and Edit Groups can be enabled or disabled by typ- Control+Alt (Windows), press one of the fol-
ing the Group ID letter (in either the Mix or Edit lowing keys: 1 (Commands), 2 (Clips List), or 3
window). (Groups List).

Commands Keyboard Focus Clips List Although multiple plug-in windows can have a
(Edit window) Keyboard Focus
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 >
Groups List
Keyboard Focus Other Displays > MIDI Editor). When the MIDI Ed-
itor pane is displayed, there are two separate Tool-
bars and Timelines in the Edit window: one for the
Tracks pane and one for the MIDI Editor pane.
Keyboard Focus buttons Only one Toolbar and Timeline can be focused for
Menu and Toolbar commands (including the cor-
responding keyboard shortcuts) at a time. The fo-
cused Toolbar displays a yellow outline.

Chapter 3: Keyboard and Mouse Shortcuts 27

 If Keyboard Focus for the Edit window is enabled, Shuttle Lock Modes
it follows the selected Toolbar focus.
There are two Shuttle Lock modes (Classic and
To enable Toolbar focus for the Tracks pane, do Transport). Both modes let you use the numeric
one of the following: keypad to shuttle forward or backwards at specific
speeds.
 Click the Toolbar at the top of the Edit window.
• 5 is normal speed.
 Press Command+Option+4 (Mac) or
Control+Alt+4 (Windows). • 6–9 provide increasingly greater fast-forward
speeds.
To enable Toolbar focus for the MIDI Editor pane, • 1–4 provide progressively greater rewind speeds
do one of the following: (4 is the slowest, 1 is the fastest).
 Click the Toolbar right above the MIDI Editor • Press 0 to stop Shuttle Lock, then press the num-
pane. ber to resume Shuttle Lock speed.
 Press Command+Option+5 (Mac) or • Press Escape or Spacebar to exit Shuttle Lock
Control+Alt+5 (Windows). mode.

Custom Shuttle Lock Speed

Numeric Keypad Modes The highest fast-forward Shuttle Lock speed
The Operation preference for Numeric Keypad (key 9) can be customized.
mode determines how the numeric keypad func-
For more information, see “Custom Shuttle
tions for Transport.
Lock Speed” on page 697.
There are two Shuttle Lock modes (Classic and
Classic Mode
Transport), and one Shuttle mode. No matter
which Numeric Keypad mode is selected, you can This mode emulates the way Pro Tools worked in
always use the numeric keypad to select and enter versions lower than 5.0. With the Numeric Keypad
values in the Event Edit Area, Edit Selection indi- mode set to Classic, you can:
cators, Main and Sub Counters, and Transport
• Play up to two tracks of audio in Shuttle Lock
fields.
mode. Press the Control key (Mac) or the Start
To set the Numeric Keypad Mode:
key (Windows), followed by 1–9 for different
play speeds.
1 Choose Setup > Preferences and click the
Operation tab. • Press Plus or Minus to reverse direction.
• Press 0 to stop Shuttle Lock, then press the num-
2 In the Transport section, select a Numeric Key-
ber to resume Shuttle Lock speed.
pad mode (Classic, Transport, or Shuttle).
• Press Escape or Spacebar to exit Shuttle Lock
3 Click OK. mode.
• Recall Memory Locations by typing the Mem-
ory Location, followed by a Period (.).

28 Pro Tools Reference Guide

Transport Mode Shuttle Mode
(Pro Tools Ultimate Software Only)
This mode lets you set a number of record and play
functions, and also operate the Transport from the Pro Tools offers another form of shuttling, differ-
numeric keypad. ent from that of the two Shuttle Lock modes. With
the Numeric Keypad mode set to Shuttle, playback
Function Key of the current Edit selection is triggered by press-
Click on/off 7 ing and holding the keys on the numeric keypad—
playback stops once the keys are released. Various
Countoff on/off 8 playback speeds are available in both forward and
MIDI Merge/Replace mode 9 reverse. In this mode, pre- and post-roll are ig-
nored.
Loop Playback mode on/off 4
Playback Speeds Key
Loop Record mode on/off 5
1x Forward 6
QuickPunch mode on/off 6
1x Rewind 4
Rewind 1
4x Forward 9
Fast Forward 2
4x Rewind 7
Record enable 3
1/4x Forward 3
Play/Stop 0
1/4x Rewind 1
With the Numeric Keypad mode set to Transport,
you can also: 1/2x Forward 5+6

• Play up to two tracks of audio in Shuttle Lock 1/2x Rewind 5+4

mode. Press the Control key (Mac) or the Start 2x Forward 8+9
key (Windows), followed by 1–9 for different
play speeds. 2x Rewind 8+7

• Press Plus or Minus to reverse direction. 1/16x Forward 2+3

• Press 0 to stop Shuttle Lock, then press the num- 1/16x Rewind 2+1
ber to resume Shuttle Lock speed.
Loop Selection (1x) 0
• Press Escape or Spacebar to exit Shuttle Lock
mode. With the Numeric Keypad mode set to Shuttle, you
• Recall Memory Locations by typing Period (.), can also recall Memory Locations by typing Period
the Memory Location number, and Period (.) (.), the Memory Location number, and Period (.)
again. again.

Shuttle Lock modes are not available when

the Numeric Keypad mode is set to Shuttle.

Chapter 3: Keyboard and Mouse Shortcuts 29

 2 In the pop-up search field, type the name of the
Pro Tools Search command or object you want. As you type all
Pro Tools lets you quickly search for commands or matching results are listed below the search
objects (such as tracks or clips) by name and do field.
any of the following:
• Search commands by name and execute
them.
• Search tracks by name and select them.
• Search clips by name and select them.
• Search Memory Locations by name and re-
call them.
• Search Track Groups by name and enable or
disable them.
• Search AudioSuite plug-ins by name and
open them.
Typing in the Search field, results listed below

To use Pro Tools search: 3 Do one of the following:

1 Open the Pro Tools Search field by doing one of • If the command or object you want is already
the following: selected in the results list, press Return to ex-
• Choose Window > Pro Tools Search. ecute the command or select the object.
• Press Control+Shift+S (Mac) or • Use the Up and Down Arrow keys to move up
Start+Shift+S (Windows). and down through the list to select the item
you want and then press Return.
• Click the item you want in the list to execute
the command or select the object.

Pro Tools Search field

30 Pro Tools Reference Guide

Using Help

The Pro Tools Help menu provides quick access to Guides Accessible in Pro Tools
installed PDF documentation and online Help. The
The following guides are available from the
Help system is HTML-based and launches in the
Pro Tools Help menu:
Pro Tools in-application browser. It also runs on
most common web browsers. Audio Plug-Ins Guide Describes the plug-ins in-
cluded free with Pro Tools, as well as additional
The Pro Tools Help menu also provides direct ac-
plug-ins available for purchase separately.
cess to the online Pro Tools Knowledge Base,
Avid Audio Forums, and the Avid Support Center Pro Tools Reference Guide Explains Pro Tools
using the in-application browser (an internet con- systems and software in detail.
nection is required).
Pro Tools Shortcuts Lists keyboard and
The Pro Tools in-application Web browser Right-click shortcuts for Pro Tools, including
is not available outside Pro Tools. To use those shown in Pro Tools menus.
Pro Tools Help while Pro Tools is not
running, use the default Web browser for
your operating system. Accessing the Help System
There are several ways to access the Help system.
Accessing Guides in • Open Help at its Welcome page from the Help
Pro Tools Software menu in Pro Tools
PDF (Portable Document Format) versions of the • Open Help at its Welcome page from within a
main Pro Tools guides are accessible from the Help browser in Pro Tools
Pro Tools Help menu. Adobe Reader is recom- • Open Help at its Welcome page outside of
mended for PDF documentation. Pro Tools

To access guides in Pro Tools: • Open a different version or language of

Pro Tools Help
 Choose Help, then a guide name.

Using Help 31
 To open Help within Pro Tools, do one of the
following: Using the Contents and Index
 Choose Help > Pro Tools Help.
Tabs
The left pane of the Help browser is the display
 From the Pro Tools Online browser window,
area for most of the Help system’s main navigation
choose Help.
tools, including the Contents and Index tabs.
To open Help outside of Pro Tools (or to select a
different version or language of Help): Contents Tab
1 Open your favorite online browser (such as
The Contents tab displays a complete hierarchical
Safari or Explorer).
list of all topics in the Help system. This lets you
2 Visit the Pro Tools Help launch page quickly see the overall organization of the Help
https://apps.avid.com/ProToolsHelp/ system.

3 Follow the on-screen instructions to open a You can expand and collapse the contents to view
version of Help. the logical organization of the Help system, and
you can move to any topic by clicking its entry in
To close the Help system: the Contents.
 Click the Help viewer’s Close button.
When you move to a new topic, the contents ex-
pands to the level of that topic and highlights the
topic. This feature, like the hierarchy links at the
Help Display top of each topic, lets you see exactly where the
The Help system includes the following display el- current topic is positioned within the logical orga-
ements: nization of the Help system.

Topics Help topics open in the right pane of the To display a topic from the contents:
Help viewer.  Click the Contents tab, and then click a topic’s
Navigation Tools Contents, Index, and Search tabs entry in the contents.
open in the left pane of the Help viewer.
To expand or close a section in the contents:
Hierarchy Links Use these links to verify the
 Click the Contents tab, and then click a book
location of the currently displayed topic within its
icon to the left of a link.
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.

32 Pro Tools Reference Guide

Index Tab To perform a basic search:

The Index provides an alphabetized list of entries 1 Click the Search tab.
similar to the index of a printed book. 2 In the Search pop-up menu (located below the
Search text box), click whether you want to
If Java is enabled in your browser, the Index dis-
search in “All Available Books” or a specific
plays as a dynamic index where the listing scrolls
book (such as Pro Tools Shortcuts).
as you type a word in the text box. If you do not
have Java enabled in your browser, or if your 3 In the Search text box, type the word or words
browser does not support Java implementations, a that you want to find.
JavaScript version of the index displays, which lets
4 Click Go.
you scroll manually through the entries.
A list of topics and ranking numbers appears.
To find topics by using the Index tab:
Additional Search Information
1 Click the Index tab.
The Search feature provides the best combination
2 Click the first character of the topic in the
of usefulness and speed:
Numerics, Letters, Symbols list.
• The Search feature uses a database of valid
To view the topic associated with an index entry: words. This database includes all words that are
 Click the index entry. 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
Using the Search Tab words.
The Search tab lets you search the entire text of the • The Search feature cannot search for words in a
Help system for one or more words and then lists certain order. For example, if you type “TIFF
the topics that include those words. The list of re- graphics import” as a search entry, Search dis-
sults is ranked, placing the topics that the Search plays all topics that contains these three words
feature considers most likely to be relevant at the regardless of their location in the topic. The re-
top of the list. sults include topics where the three words ap-
pear together as a phrase, and also topics where
When you search for text, the text string automati-
the three words are scattered throughout the
cally highlights by default. You can turn these
topic.
highlights off. You can also stop displaying high-
lights after a search by using the Back and Forward • The Search feature cannot distinguish between
buttons to go to a different topic. When you come words that are similar but not identical. For ex-
back to your searched topic, the highlights no lon- ample, if you type “capture” as a search entry,
ger display. Search displays topics that include that word,
but it does not find topics that include related
For more guidelines on using the Search feature ef- words such as “captures” or “capturing.” If a
fectively, see “Search Guidelines” on page 34. search for a word fails to produce useful results,
you might be more successful if you search
again using one of the related words.

Using Help 33
 Search Guidelines Printing Help Topics
Use the following rules for formulating search You can print Help topics if you need to refer to
queries: them during a complicated procedure or to use for
• Searches are not case-sensitive, so you can type reference later.
your search in uppercase or lowercase charac- See your browser documentation for more infor-
ters. mation on print options.
• You can search for any combination of letters
(a–z) and numbers (0–9). To print a Help topic:

• Punctuation marks (such as the period, colon, 1 Click the topic pane within the browser window
semicolon, comma, and hyphen) are ignored that you want to print.
during a search, unless they are part of the topic 2 Do one of the following:
(such as .WAV).
• Click the Print button in the Topic pane.
• You can search for a literal phrase by using quo-
• Right-click in the Topic pane and select Print.
tation marks. You cannot search for quotation
marks. • Select File > Print.
3 Select the print options.
Click Print.
Copying from a Help Topic 4

You can copy information from a Help topic for Topics that you print from Help have limited
use in another document (such a text file). page layout and formatting features. If you
want to print a higher quality version of Help
To copy information from a Help topic to another information, Avid recommends that you print
document: all or part of the PDF version of the appro-
1 Open or click the topic to make it active. priate guide.

2 Select the text that you want to copy.

3 Choose Edit > Copy.
4 Place the mouse pointer in another application,
such as a word processing application.
5 Choose Edit > Paste to paste the copied text into
a document. (You can also paste the text into the
Search text box.)

34 Pro Tools Reference Guide

Part II: System Configuration
Chapter 5: Pro Tools Systems

There are several types of Pro Tools systems: Pro Tools Ultimate Software

Pro Tools Intro Software These systems include Pro Tools Ultimate soft-
ware with any compatible non-HDX or non-
Pro Tools Intro software can be used with built-in HD Native Avid audio interfaces (such as Mbox),
computer audio, and using Avid or third-party au- or Core Audio (Mac), ASIO (Windows), or
dio interfaces with supported Core Audio (Mac) or WASAPI (Windows) hardware.
ASIO (Windows) drivers.
MBOX Studio
All Pro Tools subscriptions and trials automat-
ically default to Pro Tools Intro upon expira- MBOX Studio consists of MBOX Studio hard-
tion, ensuring that you have some limited capa- ware, MBOX Control software, Pro Tools Studio
bilities even if your license or trial expires. software, and Sibelius® Artist software.

For more information on MBOX Studio, see

For a list of qualified audio interfaces and the MBOX Studio Guide.
computers for all Pro Tools systems, visit
www.avid.com/compatibility. Pro Tools | Carbon

Pro Tools Artist Software

These systems include Pro Tools | Carbon™ hard-
ware with Pro Tools Ultimate or Pro Tools Studio
Pro Tools Artist software can be used with built-in software using Core Audio AVB (Mac). Carbon
computer audio, and using Avid or third-party au- provides on-board DSP for minimal latency while
dio interfaces with supported Core Audio (Mac) or recording and input monitoring. You can further
ASIO (Windows) drivers. expand your Carbon system with up to two addi-
tional Pro Tools | Carbon Pre devices.
Pro Tools Studio Software
For more information, see the Carbon Systems
These systems include Pro Tools Studio software Guide.
using either Avid or third-party audio interfaces
with supported Core Audio (Mac, including built- Pro Tools | HDX or HD Native Hardware
in audio on Mac computers), ASIO (Windows), or
WASAPI (Windows Audio Session API). Hardware accelerated Pro Tools | HD™ systems
include Pro Tools | HDX™ or HD Native (PCIe or
Thunderbolt) hardware with HD or MTRX audio
interfaces running Pro Tools Ultimate software.
Hardware accelerated systems provide expanded
I/O capabilities and low-latency monitoring.

Chapter 5: Pro Tools Systems 37

 HDX systems provide dedicated DSP for plug-in • Audio processing with up to 10 real-time
processing and large mixer configurations (HDX plug-ins per track, depending on the capabilities
Classic). HDX systems also let you use the HDX of your computer
Hybrid Engine to leverage host processing for • Up to 10 sends per track
maximum voice counts and DSP for minimal la-
tency while recording and input monitoring. For more information about the I/O capabili-
ties of your audio interface with Pro Tools,
Pro Tools Sketch app see the documentation that came with your
Pro Tools Sketch is a free application for iOS on audio interface.
iPad that lets you add, create, edit, arrange, and
play back MIDI and audio clips. Pro Tools also Supported Hardware
provides a Sketch window (available in all tiers) Configurations with Pro Tools
that provides the same functionality as the Sketch
Intro Software
app right in Pro Tools. Sketches can be created in Pro Tools Intro software works seamlessly with
and shared to either the app or Pro Tools. Avid- and third-party Core Audio (Mac), and
ASIO and WASAPI (Windows) audio interfaces.
For more information, see the Using Pro Tools For the latest information on supported hardware
Sketch.pdf. configurations with Pro Tools Intro software, visit
www.avid.com/compatibility.

Pro Tools Intro Software Processing Capacity

Pro Tools Intro software is a free, feature-reduced The total processing capacity of a Pro Tools Intro
version of Pro Tools designed to introduce you to system depends on the processing power of your
the Pro Tools product line that provides the follow- computer. Visit www.avid.com for the latest sys-
ing capabilities, depending on your hardware con- tem requirements and compatibility information.
figuration:
• Up to 4 channels of I/O depending on your sys- Pro Tools Intro Capabilities with
tem and audio hardware Different Hardware Configurations

• Up to a total of 8 mono or stereo audio tracks per Pro Tools Artist supports up to 4 channels of audio
session at all sample rates input and output, but the available input and output
• Up to 4 Auxiliary Input and Routing Folder capabilities with Pro Tools Intro varies depending
tracks on your audio interface. For information about the
input and output capabilities of your audio inter-
• 1 Master Fader track
face, refer to the documentation that came with
• Up to 8 MIDI tracks your hardware.
• Up to 8 Instrument tracks
• 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

38 Pro Tools Reference Guide

If you open a Pro Tools session created on a differ- • Timecode support
ent Pro Tools system that contains more than the
number of tracks supported on your Pro Tools sys- For more information about the I/O capabili-
tem, audio tracks beyond the system’s track limit ties of your audio interface with Pro Tools,
will be lost. see the documentation that came with your
audio interface.
For details on sharing sessions between
Pro Tools systems, see “Sharing Sessions Supported Hardware
Created on Different Pro Tools Systems” on Configurations with Pro Tools
page 529. Artist Software
Pro Tools Artist software works seamlessly with
Avid- and third-party Core Audio (Mac), and
Pro Tools Artist Software ASIO and WASAPI (Windows) audio interfaces.
Pro Tools Artist software provides the following For the latest information on supported hardware
capabilities, depending on your hardware configurations with Pro Tools Artist software, visit
configuration: www.avid.com/compatibility.
• Up to 16 channels of I/O depending on your sys-
Processing Capacity
tem and audio hardware
• Up to a total of 32 mono or stereo audio tracks The total processing capacity of a Pro Tools Artist
per session at all sample rates system depends on the processing power of your
computer. Visit www.avid.com for the latest sys-
• Up to 32 Auxiliary Input and Routing Folder
tem requirements and compatibility information.
tracks
• Up to 2,000 Basic Folder tracks Pro Tools Artist Capabilities with
Different Hardware Configurations
• 1 Master Fader track
• Up to 64 MIDI tracks Pro Tools Artist supports up to 16 channels of au-
dio input and output, but the available input and
• Up to 32 Instrument tracks
output capabilities with Pro Tools Artist varies de-
• 16-bit, 24-bit, or 32-bit floating point audio pending on your audio interface. For information
resolution, at sample rates up to 192 kHz about the input and output capabilities of your au-
• Automatic Delay Compensation (up to 16,383 dio interface, refer to the documentation that came
samples at 48 kHz) with your hardware.
• Non-destructive, random-access editing and mix If you open a Pro Tools session created on a differ-
automation ent Pro Tools system that contains more than the
• Audio processing with up to 10 real-time number of tracks supported on your Pro Tools sys-
plug-ins per track, depending on the capabilities tem, audio tracks beyond the system’s track limit
of your computer will be lost.
• Up to 10 hardware inserts per track For details on sharing sessions between
• Up to 10 sends per track Pro Tools systems, see “Sharing Sessions
Created on Different Pro Tools Systems” on
• AAC audio support
page 529.

Chapter 5: Pro Tools Systems 39

 • Clip Effects
Pro Tools Studio Software
• AAC audio support
Pro Tools Studio software provides the following
• Import video
capabilities, depending on your hardware
configuration: • Bounce Mix multi-stem support

• Up to 64 channels of I/O depending on your sys- • Support for up to 2 Satellite systems

tem and audio hardware • Timecode + Feet/Frames support
• Up to a total of 512 mono or stereo audio tracks • AFL/PFL
per session at all sample rates
• Mic Pre support
• Up to 128 Auxiliary Input and Routing Folder
• Batch Rename
tracks
• Advanced Metering
• Up to 2,000 Basic Folder tracks
• Up to 64 Master Fader track For more information about the I/O capabili-
ties of your audio interface with Pro Tools,
• Up to 1,024 MIDI tracks
see the documentation that came with your
• Up to 512 Instrument tracks audio interface.
• Up to 128 VCA Master tracks
• A single video track
Supported Hardware
Configurations with Pro Tools
• 16-bit, 24-bit, or 32-bit floating point audio Studio Software
resolution, at sample rates up to 192 kHz
Pro Tools Studio software works seamlessly with
• Automatic Delay Compensation (up to 16,383 non-HD Avid audio hardware (such as Mbox or
samples at 48 kHz) Pro Tools | Carbon) as well as third-party
• Fixed RAM Disk Cache allocation options Core Audio (Mac), and ASIO and WASAPI
(Windows) audio interfaces. For the latest infor-
• Non-destructive, random-access editing and mix
mation on supported hardware configurations with
automation
Pro Tools Studio software, visit
• Advanced automation features www.avid.com/compatibility.
• Smart HDX DSP for minimal latency recording
and input monitoring (Pro Tools | Carbon only) Processing Capacity

• Multichannel support for surround sound in- The total processing capacity of a Pro Tools Studio
cluding Dolby Atmos® and Ambisonics system depends on the processing power of your
• Audio processing with up to 10 real-time computer. Visit www.avid.com for the latest sys-
plug-ins per track, depending on the capabilities tem requirements and compatibility information.
of your computer
• Up to 10 hardware inserts per track
• Up to 10 sends per track
• AAF and OMF Import/Export
• HEAT

40 Pro Tools Reference Guide

Pro Tools Studio Capabilities with • Automatic Delay Compensation (up to 16,383
Different Hardware Configurations samples at 48 kHz)
Pro Tools Studio supports up to 64 channels of au- • Fixed RAM Disk Cache allocation options
dio input and output, but the available input and • Non-destructive, random-access editing and mix
output capabilities with Pro Tools Studio varies automation
depending on your audio interface. For informa-
• Advanced automation features
tion about the input and output capabilities of your
audio interface, refer to the documentation that • FPGA-based low latency monitoring (LLM)
came with your hardware. with Pro Tools | HDX and HD Native hardware
• Smart HDX DSP for minimal latency recording
If you open a Pro Tools session created on a differ-
and input monitoring (Pro Tools | Carbon only)
ent Pro Tools system that contains more than the
number of tracks supported on your Pro Tools sys- • Multichannel support for surround sound in-
tem, audio tracks beyond the system’s voiceable cluding Dolby Atmos and Ambisonics
track limit will be automatically set to inactive. • Audio processing with up to 10 inserts per track
(in any combination of real-time, host-based
plug-in and hardware inserts), depending on the
Pro Tools Ultimate Software capabilities of you computer, the number and
type of installed audio interfaces, and whether or
Pro Tools Ultimate software provides the follow-
not you are using HDX or Pro Tools | Carbon
ing capabilities with Core Audio, ASIO, or
hardware for additional dedicated DSP process-
WASAPI hardware:
ing
• Up to 256 channels of I/O depending on your
• Up to 10 sends per track
system configuration
• AAF and OMF Import/Export
• Up to a total of 2,048 voiceable audio tracks of
any channel width (unvoiced tracks are made in- • HEAT
active) • Clip FX
• Up to a total of 2,048 voices at all sample rates • AAC audio support
• Up to 1,024 Auxiliary Input and Routing Folder • Import video
tracks
• Bounce Mix multi-stem support
• Up to 2,000 Basic Folder tracks
• Support for up to 2 Satellite systems
• Up to 512 Master Fader tracks
• Timecode + Feet/Frames support
• Up to 128 VCA Master tracks
• AFL/PFL
• Up to 1,024 MIDI tracks
• Mic Pre support
• Up to 512 Instrument tracks
• Batch Rename
• Up to 64 video tracks per session
• Advanced Metering
• 16-bit, 24-bit, or 32-bit floating point audio
resolution, at sample rates up to 192 kHz

Chapter 5: Pro Tools Systems 41

 For more information about the I/O capabili- MBOX Studio
ties of your audio interface with Pro Tools,
MBOX Studio is a versatile multi-channel audio
see the documentation that came with your
interface for Pro Tools and Sibelius software, or
audio interface.
other Core Audio or ASIO–compatible software.

Supported Hardware MBOX Studio provides:

Configurations with Pro Tools
• Up to 21 inputs and 22 outputs at 44.1/48 kHz.
Ultimate Software
Maximum I/O varies with sample rate, as fol-
Pro Tools Ultimate software works seamlessly lows: 10 x 10 simultaneous IO at 176.4/192k
with non-HD Avid audio hardware (such as Mbox
• 4x XLR/¼-inch TRS Combo Micro-
or Pro Tools | Carbon) as well as third-party Core
phone/Line/Instruments Inputs (2 on the back
Audio (Mac), and ASIO and WASAPI (Windows)
panel, 2 on the front panel), each with:
audio interfaces. For the latest information on sup-
ported hardware configurations with Pro Tools Ul- • High quality microphone preamps
timate software, visit www.avid.com/compatibil- • Variable Z impedance circuit to provide more
ity. tonal options and compatibility for Mic and In-
strument inputs
Processing Capacity
• Large dual-function (rotate/push) encoder
The total processing capacity of a Pro Tools Ulti- • Link button to link stereo inputs
mate system depends on the processing power of
• 48V phantom power
your computer. Visit www.avid.com for the latest
system requirements and compatibility informa- • HPF (High Pass Filter)
tion. • –10 dB Pad
For details on sharing sessions between differ- • Polarity invert
ent Pro Tools systems, see “Sharing Sessions • Soft-Limit
Created on Different Pro Tools Systems” on
• 9-segment input meters
page 529.
• Hardware inserts assignable via FX Loops 1–2
Pro Tools Ultimate Capabilities with
• 2x ¼-inch TRS Line inputs
Different Hardware Configurations
• 4x ¼-inch TRS Line outputs
Pro Tools Ultimate supports up to 64 channels of
• L/R Main Monitor outputs
audio input and output with non-HD hardware, but
the available input and output capabilities with • 1/2 Alt outputs
Pro Tools Ultimate varies depending on your au- • 2x ¼-inch TRS effect loops (hardware inserts)
dio interface. For information about the input and with Level and Impedance matching
output capabilities of your audio interface, refer to
• 2x ¼-inch TRS outputs
the documentation that came with your hardware.
• 2x ¼-inch TRS inputs
• Switchable impedance between “Line” and “Hi-
Z/Stomp Box”

42 Pro Tools Reference Guide

• Control Room section
Pro Tools | Carbon Systems
• Large dual-function (rotate/push) encoder to
control output levels (rotate) and Speaker Out-
For more information, see the Carbon Systems
put select Main/Alt (push)
Guide.
• Mute, Dim, and Mono buttons
• Bluetooth input/output source select button Pro Tools | Carbon
• Monitor Link Button to link output levels on Pro Tools | Carbon is a versatile multi-channel au-
Main/Alt/Bluetooth dio interface for Pro Tools Ultimate and Pro Tools
• 4x User Action buttons, color coded with cus- Studio software, or other AVB Core Audio–com-
tom color selection (push and push /hold dual patible software.
functionality) Pro Tools | Carbon provides:
• Stereo Bluetooth input • Up to 192 kHz 32-bit AD/DA conversion
• Stereo Bluetooth output • Low latency tracking workflows with on-board
• 1x Coax S/PDIF I/O smart HDX DSP
• 1x Optical I/O (supports ADAT, SMUX and • 8 analog preamp inputs with
S/PDIF) • Variable Z (impedance) on INST inputs 1–2
• 8x Pro Tools (or other DAW) software inputs (front panel)
• 2x ¼-inch headphone outputs with individual • Variable Z (impedance) on MIC inputs 5–8
mixes and rotary controls (back panel)
• 1x ¼-inch Hi-Z Out to Amp output for re-ampli- • 8 line inputs (DB25 or TRS 1/4-inch) with
fication • True preamp bypass option
• MBOX button (launches MBOX Control) • 18 channels digital-to-analog conversion
• Input channel-based EQ, and Avid Reverb and • 8 line outputs (DB25)
Delay FX • Dedicated stereo (L–R) monitor outputs
• Built-in instrument Tuner (TRS 1/4-inch)
• 1x1 MIDI I/O • 4 stereo headphone outputs
• 2x Footswitch and/or Expression Pedal inputs • ADAT I/O
• Low Latency Direct Monitoring (LLM) via • 16 channels at 44.1/48 kHz
MBOX Control • 8 channels at 88.2/96 kHz
• USB 2.0 Type C Connector • 4 channels at 176.4/192 kHz
• Supports iOS (compatible with camera kit (not • 8 channel I/O metering
included)) • Stereo monitor output metering
• External 12V Power Supply • Front panel control over monitor sets, head-
• Kensington Security Slot phone outputs, input channel settings, input and
output metering, and talkback mic
• Integrated talkback mic
Chapter 5: Pro Tools Systems 43
 • Footswitch to toggle talkback on and off Pro Tools | Carbon Pre provides:
• Gigabit AVB-capable Ethernet • Sample rates up to 192 kHz
• Support for optical S/PDIF • 32-bit AD/DA conversion
• Mic Preamp control from Pro Tools tracks • 8 analog preamp inputs with
• Variable Z (impedance) on INST inputs 1–2
Pro Tools | Carbon Pre and (front panel)
Expanded Systems • Variable Z (impedance) on MIC inputs 5–8
Pro Tools | Carbon Pre is a versatile multi-channel (back panel)
audio interface for use with Pro Tools Studio and • 8 line inputs (DB25 or TRS 1/4-inch) with true
Pro Tools Ultimate software or other Core Audio– preamp bypass capability
compatible software. It provides exceptional
• 8 line outputs (DB25)
AD/DA audio conversion with 8 mic/line inputs
(combo XLR/TRS or DB25), 2 instrument inputs • Multichannel ADAT I/O:
(TS), 8 line outputs (DB25), ADAT I/O, Word • 16 channels ADAT at 44.1/48 kHz
Clock, and AVB. You can use up to two Carbon
• 8 channels ADAT at 88.2/96 kHz
Pre units in a Pro Tools | Carbon Expanded system
for additional I/O. • 4 channels ADAT at 176.4/192 kHz

In a Pro Tools | Carbon Expanded system, each ADAT I/O is not available in Pro Tools with
Pro Tools | Carbon Pre provides an additional 8 Pro Tools | Carbon Pre when it is part of a
channels of audio I/O, and when used with Pro Pro Tools | Carbon Expanded system. How-
Tools can each take advantage of the DSP in your ever, ADAT I/O remains available on the Pro
Pro Tools | Carbon. Pro Tools | Carbon Pre can Tools | Carbon primary device in a Pro Tools
also function as a standalone 8-channel analog mi- | Carbon Expanded system.
crophone preamp or as a standalone ADAT
• Stereo Optical S/PDIF input (auto-detected) at
AD/DA converter. Additionally, you can use Pro
44.1/48 kHz and 88.2/96 kHz
Tools | Carbon Pre as an AVB interface with thrid-
party AVB Core Audio–compatible audio soft- • Word Clock I/O
ware. • 8 channel I/O metering
Pro Tools | Carbon Pre can be used in the following • Front panel control over input channel settings,
system configurations: and input and output metering
• To provide additional I/O in a Pro Tools | Carbon • Gigabit AVB-capable Ethernet (100’ maximum
Expanded system (up to two Carbon Pre units) cable length)
• As a standalone AD/DA converter (ADAT
mode)
• As a standalone 8-channel microphone preamp
(ADAT mode and AD->DA mode)
• As an AVB audio interface with Pro Tools or any
other Core Audio–compatible DAW

44 Pro Tools Reference Guide

 • Fixed RAM Disk Cache allocation options
Pro Tools | HDX
• No-latency monitoring
HDX systems can be expanded by adding HDX
• Non-destructive, random-access editing and mix
cards to increase track count and the amount of
automation
plug-in and mixer processing, and expanding I/O
by adding additional audio interfaces. Each system • Audio processing with up to 10 inserts per track
requires at least one Avid HD audio interface (sold (any combination of real-time plug-in and hard-
separately). ware inserts), depending on your computer’s ca-
pabilities

Pro Tools Ultimate Capabilities • Up to 10 sends per track

with HDX Hardware • TrackPunch and DestructivePunch
Pro Tools Ultimate with HDX hardware provides • AAF and OMF Import/Export
the following capabilities: • HEAT
• Up to 192 channels of I/O depending on your • Clip FX
system configuration (up to 64 channels of I/O
per HDX card) • AAC audio support

• Up to a total of 2,048 voiceable audio tracks of • Field Recorder support

any channel width (unvoiced tracks are made in- • Import video and advanced video editing fea-
active): tures
• Up to 256 voices per HDX card (HDX Clas- • Bounce Mix multi-stem support
sic)
• Support for up to 12 Satellite systems
• Up to 2,048 voices with the HDX Hybrid En-
• Timecode + Feet|Frames support
gine (HDX Hybrid Engine only)
• H.265 support
• Up to 1,024 Auxiliary Input tracks or Routing
Folder Tracks Audio Recording and Playback
• Up to 2,000 Basic Folder tracks Capabilities
• Up to 512 Master Fader tracks The number of simultaneous tracks for audio re-
• Up to 128 VCA Master tracks cording or playback depends on your system con-
figuration and system resources.
• Up to 1,024 MIDI tracks
• Up to 512 Instrument tracks Number of Voiced Audio Tracks
• Up to 64 video tracks per session Each channel in an audio track requires a single
• 16-bit, 24-bit, or 32-bit floating point audio voice for playback. For example, while a mono
resolution, at sample rates up to 192 kHz track uses one voice and a stereo track uses two
• Multichannel support for surround sound in- voices, a 5.1 track uses six voices.
cluding Dolby Atmos and Ambisonics
• Automatic Delay Compensation (up to 16,348
samples at 48 kHz)

Chapter 5: Pro Tools Systems 45

 Number of Voices with HDX Classic • One or more Avid HD audio interfaces (sold
separately)
With the Playback Engine set to HDX, the number
of available voices depends on the number of HDX • DigiLink™ Mini cable for connecting
cards in your system. HD Native hardware to an audio interface
• A MIDI interface (optional)
HDX 1 256 voices at 48 kHz, 128 voices at 96 kHz,
and 64 voices at 192 kHz. For detailed information about installing
HDX 2 512 voices at 48 kHz, 256 voices at 96 kHz, HD Native PCIe hardware, see the HD Native
and 128 voices at 192 kHz. Installation Guide.
For information about installing HD Native
HDX 3 768 voices at 48 kHz, 384 voices at 96 kHz, Thunderbolt hardware, see the HD Native
and 192 voices at 192 kHz. Thunderbolt Guide.

Number of Voices with HDX Hybrid Engine

Pro Tools Ultimate Capabilities
With the Playback Engine set to HDX with the Hy- with HD Native Hardware
brid Engine enabled, Pro Tools Ultimate supports Pro Tools Ultimate with HD Native hardware pro-
up to 2,048 voices at all sample rates using host vides the following capabilities:
processing while HDX DSP are used for low la-
• Up to 64 channels of I/O depending on your sys-
tency Channel I/O in DSP mode (the number of
tem configuration
available Channel I/O depends on the number of
HDX cards in your system). • Up to a total of 2,048 voiceable audio tracks of
any channel width (unvoiced tracks are made in-
active)
Pro Tools | HD Native • Up to a total of 2,048 voices at all sample rates
HD Native systems can be expanded by adding ad- • Up to 1,024 Auxiliary Input tracks or Routing
ditional HD audio interfaces. Each system requires Folder tracks
at least one Pro Tools HD audio interface (sold • Up to 2,000 Basic Folder tracks
separately).
• Up to 512 Master Fader tracks
Pro Tools HD systems with HD Native hardware • Up to 128 VCA Master tracks
consist of the following:
• Up to 1,024 MIDI tracks
• One of the following:
• Up to 512 Instrument tracks
• HD Native PCIe card
• Up to 64 video tracks per session
• HD Native Thunderbolt interface
• 16-bit, 24-bit, or 32-bit floating point audio res-
• Pro Tools Ultimate olution, at sample rates up to 192 kHz
• An authorized iLok for running • Non-destructive, random-access editing and mix
Pro Tools Ultimate software automation

46 Pro Tools Reference Guide

• Multichannel support for surround sound in- Maximum I/O Configuration with
cluding Dolby Atmos and Ambisonics HDX
• Automatic Delay Compensation (up to 16,348 HDX supports up to a maximum combination of
samples at 48 kHz) 12 total of the following audio interfaces:
• Fixed RAM Disk Cache allocation options • HD OMNI (only 1 HD OMNI interface is sup-
• FPGA-based low latency monitoring (LLM) ported in a single system)
• Audio processing with up to 10 inserts per track • HD I/O (up to 12 HD I/O interfaces can be used
(in any combination of real-time, host-based simultaneously—requires 3 HDX cards)
plug-in and hardware inserts), depending on • HD MADI (up to 3 HD MADI interfaces can be
your computer’s capabilities, and the number used simultaneously—requires 3 HDX cards)
and type of installed audio interfaces
• MTRX (up to 12 MTRX interfaces can be used
• Up to 10 sends per track simultaneously—requires 3 HDX cards)
• MTRX Studio (only 1 MTRX Studio interface is
supported in a single system)
Supported Pro Tools HD
Audio Interfaces
Maximum I/O Configuration with
The following Pro Tools | HD audio interfaces are HD Native
compatible with HDX and HD Native hardware:
HD Native supports up to a maximum combina-
• Pro Tools | HD I/O tion of up to 4 total of the following audio inter-
• Pro Tools | HD OMNI faces:
• Pro Tools | HD MADI • HD OMNI (only 1 HD OMNI interface is sup-
ported in a single HD Native system)
• Pro Tools | MTRX
• HD I/O (up to 4 HD I/O interfaces can be used
• Pro Tools | MTRX Studio
simultaneously)
HDX and HD Native systems require at least • HD MADI (full connectivity with 1 HD MADI
one HD I/O, HD OMNI, HD MADI, MTRX, interface is possible when both DigiLink ports
or MTRX Studio. of the HD MADI are connected to both Dig-
iLink ports on the HD Native PCIe card or
Thunderbolt interface)
• MTRX (up to 4 MTRX interfaces can be used si-
multaneously)
• MTRX Studio (only 1 MTRX Studio interface is
supported in a single system)

Chapter 5: Pro Tools Systems 47

 Playback, Recording, and Voice Limits with
Pro Tools Ultimate Software
The table below lists the audio playback, recording, and voiceable track limits with Pro Tools Ultimate
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 re-
fers 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 systems, voice limits are dependent on the session sample rate and the number of DSP chips
dedicated to the system’s Playback Engine. With the HDX Hybrid Engine, HD Native, Core Audio, and
ASIO systems, voice limits are dependent on host processing.
s

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

Sample Rate
Core System Type Maximum I/O Maximum Voices
(kHz)

HDX, 1 card 64 channels 44.1/48 256

88.2/96 128

176.4/192 64

HDX, 2 cards 128 channels 44.1/48 512

88.2/96 256

176.4/192 128

HDX, 3 cards 192 channels 44.1/48 768

88.2/96 384

176.4/192 192

HDX Hybrid Engine 64 channels per HDX 44.1/48 2,048

card
88.2/96 2,048

176.4/192 2,048

48 Pro Tools Reference Guide

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

Sample Rate
Core System Type Maximum I/O Maximum Voices
(kHz)

HD Native 64 channels 44.1/48 2,048

88.2/96 2,048

176.4/192 2,048

Pro Tools Ultimate with 256 channels 44.1/48 2,048

Core Audio or ASIO
88.2/96 2,048

176.4/192 2,048

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 Ultimate 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

Number of I/O Sample A/D D/A

Interface Type Digital I/O
Channels Rates (kHz) Conversion Conversion

HD I/O 16 in/16 out 44.1, 48, 24-bit 24-bit 24-bit

88.2, 96,
176.4, 192

HD OMNI 8 in/8 out 44.1, 48, 24-bit 24-bit 24-bit

88.2, 96,
176.4, 192

HD MADI 64 in/64 out 44.1, 48, None None 24-bit

88.2, 96,
176.4, 192

Chapter 5: Pro Tools Systems 49

 Avid HD audio interface channel capabilities

Number of I/O Sample A/D D/A

Interface Type Digital I/O
Channels Rates (kHz) Conversion Conversion

MTRX up to 64 44.1, 48, 24-bit 24-bit 24-bit

88.2, 96,
176.4, 192

MTRX Studio up to 64 44.1, 48, 24-bit 24-bit 24-bit

88.2, 96,
176.4, 192

HD OMNI Audio Interface • 4 analog TRS line level back panel inputs
(Channels 1–4)
HD OMNI is a professional digital audio interface
designed for use with Pro Tools HD systems. HD OMNI provides multiple analog input con-
HD OMNI provides a compact preamp, monitor- nections, but only four channels of analog input
ing, and I/O solution for music production and re- for Pro Tools.
cording, and post production studios.
• Soft Clip and Curv limiting circuits to protect
HD OMNI Features against clipping on analog input

HD OMNI provides up to 8 discrete channels of • 8 channels of analog back panel output using a
Pro Tools input and output, with 4-segment LED DB-25 breakout cable (sold separately) with
meters for input or output (selectable). variable output gain
• 2 channels of analog back panel output using
Analog I/O TRS (Mirrors channels 1–2 or 7–8 on DB-25
• 24-bit analog-to-digital (A/D) and digital-to-an- connector)
alog (D/A) converters, with support for sample • Front panel stereo 1/4-inch headphone jack
rates up to 192 kHz
• 2 high-quality Mic/DI preamps (Channels 1–2) Digital I/O

• 2 combined XLR and 1/4-inch TRS front panel • 8 channels of AES/EBU output (up to 192 kHz
inputs for microphone and instrument level in- Single Wire) using a DB-25 breakout cable (sold
put separately)

• 2 XLR back panel microphone inputs • 2 channels of AES/EBU XLR input (up to
192 kHz Single Wire)
• 2 1/4-inch TRS Send and 2 1/4-inch TRS Return
back panel jacks for hardware inserts on chan- • 2 channels of S/PDIF RCA input and output (up
nels 1 and 2 to 192 kHz)
• 8 channels of ADAT™ TOSLINK input and out-
put
• Support for ADAT S/MUX Optical for sample 192 kHz
rates of 88.2 kHz, 96 kHz, 176.4 kHz, and

50 Pro Tools Reference Guide

• Support for two channels of S/PDIF Optical HD I/O Audio Interface
with sample rates of up to 96 kHz
HD I/O is a multichannel digital audio interface
• Real-time sample rate conversion (SRC) on Dig- designed for use with Pro Tools HD systems.
ital Inputs 1–2 of either AES/EBU, S/PDIF, or HD I/O features extremely high quality 24-bit an-
Optical (S/PDIF) alog-to-digital (A/D) and digital-to-analog (D/A)
converters, and supports sample rates of up to
SRC is not supported with ADAT S/MUX.
192 kHz.
Monitoring
HD I/O comes in three standard configurations:
• An additional stereo “CUE” output path in
• 8 x 8 x 8 (8 analog in, 8 analog out, and 8 digital
Pro Tools for headphone monitoring from the
in and out)
front panel headphone jack
• 16 x 16 analog in and out
• Front panel Control Room (MAIN/ALT) and
Headphone monitoring volume control • 16 x 16 digital in and out
• Flexible monitoring with fold-down from all ste- You can also add or remove HD I/O Analog Ex-
reo and surround formats (up to 7.1 surround) pansion cards (ADC and DAC) and HD I/O Digi-
• Input mixer for low latency direct monitoring of tal Expansion cards for custom configurations.
a variety of incoming signals (configured in the
Pro Tools Hardware Setup) HD I/O Features

HD I/O provides up to 16 discrete channels of

Synchronization
Pro Tools input and output, with 4-segment LED
• Loop Sync input and output for connecting meters for input and output.
additional HD peripherals
• External Clock input and output for synchroniz- Analog I/O
ing HD OMNI with external Word Clock de- • Up to sixteen channels of 24-bit D/A and A/D
vices converters for superior analog input and output
at sample rates of 44.1 kHz, 48 kHz, 88.2 kHz,
For more information, see the HD OMNI Guide. 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

Chapter 5: Pro Tools Systems 51

 Digital I/O HD MADI Digital Audio Interface
• Up to sixteen channels of 24-bit digital I/O, us- HD MADI is a 64-channel, digital audio interface
ing AES/EBU, TDIF DB-25, or Optical at sam- designed for use with Avid HD systems.
ple rates of 44.1, 48, 88.2, 96, 176.4, and HD MADI supports the Multichannel Audio Digi-
192 kHz with a Digital HD I/O card tal Interface (MADI) format and sample rates of up
• Real-time sample rate conversion on digital in- to 192 kHz. HD MADI provides simplified con-
puts with a Digital I/O card (up to sixteen chan- nectivity between your Avid HD system and
nels of AES/EBU, Optical, or TDIF) MADI-compatible audio equipment.
• Support for S/MUX Optical for sample rates of
HD MADI Features
88.2 kHz and higher
• 2 MADI Optical and Coaxial inputs and 2
• Support for 2 channels of S/PDIF Optical
MADI Optical and Coaxial outputs for up to 64
(enclosed) with sample rates of up to 96 kHz
discrete channels of digital input and output (32
• 2 channels of AES/EBU I/O (enclosed) with channels per DigiLink Mini port)
support for sample rates up to 192 kHz
• Supports sample rates of 44.1, 48, 88.2, 96,
• 2 channels of 24-bit-capable S/PDIF I/O 176.4, and 192 kHz
(enclosed) with support for sample rates up to
• 24- or 16-bit resolution
192 kHz
• Sample Rate Conversion (SRC) on input or out-
Synchronization put
• Loop Sync input and output for connecting addi- • Front panel clock and SRC indicators
tional Avid HD audio interfaces and peripherals
• Front panel signal present LEDs for input and
• External Clock input and output for synchroniz- output
ing HD I/O with external Word Clock devices
• BNC Word Clock I/O for synchronizing
Expandability
HD MADI with external 1x Word Clock

• Optional addition of I/O cards to expand analog • BNC Loop Sync I/O for synchronizing
or digital I/O HD MADI with additional Avid HD audio
interfaces and peripherals (such as HD I/O,
• Simultaneous use of multiple Avid HD audio in- HD OMNI, or Sync X)
terfaces to further expand system input and out-
put • Dedicated BNC Word Clock input and XLR
AES/EBU input (clock input only) for external
For more information, see the HD I/O Guide. MADI synchronization (when using SRC on
output)
• Clock support for the following formats: Inter-
nal, Loop Sync, Word Clock, AES/EBU, and
MADI
• Varispeed modes (supports both 64- and 56-
channel standards)

For more information, see the HD MADI Guide.

52 Pro Tools Reference Guide

Pro Tools | MTRX Synchronization

Pro Tools | MTRX is a multichannel digital audio • Sample rates of 44.1–384 kHz as well as
interface designed for use with Pro Tools | HDX DSD64/DSD 128 with high precision internal
and Pro Tools | HD Native systems. clock and PLL
• Sample rate can be adapted to the setting of an
Depending on installed analog expansion I/O external device
cards, MTRX features extremely high quality
24-bit analog-to-digital (A/D) and digital-to-ana- • Synchronization by Word Clock, AES11, Video,
log (D/A) converters, and supports sample rates of and all digital audio inputs
up to 192 kHz.
Remote Control
MTRX comes in three standard configurations: • Operation using DADman software—some set-
• 8 x 8 x 8 (8 analog in, 8 analog out, and 8 digital tings can be controlled on the front panel
in and out) • All settings are controlled over Ethernet
• 16 x 16 analog in and out
Pro Tools | MTRX I/O Expansion Options
• 16 x 16 digital in and out
• 2 to 48 analog channels depending on the in-
You can also add or remove analog and digital I/O stalled analog I/O cards (Mic/Line AD cards
expansion cards for custom configurations. with relay-based mic pre gain circuits):
• MTRX 8 Line Pristine AD Card
MTRX Features
• MTRX 2 Mic/Line Pristine AD Card
Pro Tools MTRX provides up to 64 discrete chan- • MTRX 8 Mic/Line Pristine AD Card
nels of audio for Pro Tools with two DigiLink Mini • MTRX Pristine 8 DA Card
ports (Primary and Primary/Expansion).
• Digital I/O Expansion Cards:
Digital I/O • MTRX 8 AES3 I/O Card
• Built-in 8 AES3 interfaces with 16 channels of • MTRX Dual SDI/HD/3G Card
I/O • MTRX Dante 128 Card
• Built-in MADI coax interface with 64 channels • MTRX 64-Channel IP Audio Dante Module
of I/O
• MTRX Dual MADI I/O Card
• Compliant with the Dante Controller and Dante
• MTRX DigiLink I/O Card
Virtual Sound Card
• MTRX SPQ Processing Card
• Ethernet IP audio interface for 64 I/O channels
using Dante® with configurable redundant net- For more information, see the MTRX In-
work stallation and the MTRX Operation guides.
• Digital router and format converter between all
analog and digital inputs and outputs

Chapter 5: Pro Tools Systems 53

 Pro Tools | MTRX II Pro Tools | MTRX II lets you install optional I/O
expansion cards in any of the eight back panel slots
Pro Tools | MTRX II is an extremely capable
that include:
multi-channel audio converter, router, and monitor
mixer designed for use with Pro Tools | HDX and • Up to 64 analog channels depending on the con-
Pro Tools | HD Native systems. figuration of installed Analog I/O Expansion
Cards:
Depending on installed analog expansion I/O • Pro Tools | MTRX II 8 Line Pristine AD Card
cards, MTRX features extremely high quality ana- provides eight channels of line-level analog
log-to-digital (A/D) and digital-to-analog (D/A) inputs.
converters, and supports sample rates of up to
• Pro Tools | MTRX II 2 Mic/Line Pristine AD
192 kHz.
Card provides two channels of analog inputs
Add or remove analog and digital I/O expansion and mic preamps with relay-based gain cir-
cards to configure MTRX II to suit your needs. cuit—an ideal low-cost option for talk-back
and tracking—includes microphone pream-
MTRX Features plifiers with relay-based gain circuits.
• 64-channel audio interface for Pro Tools with • Pro Tools | MTRX II 8 Mic/Line Pristine AD
two DigiLink Mini ports (Primary and Pri- Card provides eight channels of analog inputs
mary/Expansion). and mic preamps with relay-based gain cir-
• Built-in MADI coaxial connections for up to 64 cuits.
channels of digital I/O at all sample rates. • Pro Tools | MTRX II Pristine 8 DA Card pro-
vides eight channels of line-level analog out-
• Ethernet IP audio interface for 256 I/O channels
puts with an output level control.
using Dante with configurable redundant net-
work (with an additional 128 Channels using the • Digital I/O Expansion Cards:
Dante Expansion card). • Pro Tools | MTRX II 8 AES3 I/O Card pro-
• Digital router and format converter between all vides eight line AES3 inputs and outputs (16
analog and digital inputs and outputs. channels) with built-in sample rate conver-
sion.
• Sample rates of 44.1–384 kHz as well as
DSD64/DSD 128 with high precision internal • Pro Tools | MTRX II Dual SDI/HD/3G Card
clock and PLL. provides 2 x 16 channels of SDI/HD/3G con-
nections with built-in sample rate conversion.
• Sample rate can be adapted to the setting of an
external device. • Pro Tools | MTRX II Dual MADI I/O Card
provides up to 128 channels of MADI inputs
• Synchronization by Word Clock, AES11, Video, and outputs through two optical SFP ports,
and all digital audio inputs. and also provides SRC on input.
• All settings are controlled over Ethernet (or • Pro Tools | MTRX II MADI mini-module for
Thundebolt 3) using DADman software (macOS the Base Unit provides additional one or two
or Windows). 64-channel I/O coaxial or optical MADI
• Ultra low-noise internal fan with speed adapta- module to the chassis.
tion to the temperature.

54 Pro Tools Reference Guide

 • Pro Tools | MTRX II Dante 128 Card pro- Pro Tools | MTRX Studio
vides up to 128 channels of high-density,
Pro Tools | MTRX Studio is a multi-channel audio
low-latency digital audio using Dante (128
interface for Pro Tools | HDX and Pro Tools | HD
channels at 44.1 kHz or 32 channels at 192
Native systems.
kHz), and also provides Sample Rate Conver-
sion (SRC).
MTRX Studio Features
MTRX II is compliant with the Dante Con- MTRX Studio provides up to 64 discrete channels
troller and Dante Virtual Sound Card, and of audio for Pro Tools with two DigiLink Mini
also supports Dante Domain Manager. ports (Primary and Primary/Expansion).
• DigiLink Expansion Card:
Analog I/O
• Pro Tools | MTRX II DigiLink Card provides
• 2 Instrument/Microphone inputs (with mic pres)
2 DigiLink ports to connect to HDX cards,
HD Native, or additional audio interfaces • 16 analog line inputs (DB-25)
(such as HD MADI I/O) for up to 64 channels • 16 analog line outputs (DB-25)
of DigiLink I/O per card at all sample rates.
• 2 monitor outputs (balanced 1/4-inch)
• Optional Thunderbolt 3 option card
• 2 stereo headphone outputs
Remote Control
Digital I/O
• Operation using DADman software—some set-
• 64x64 Dante I/O
tings can be controlled on the front panel
• 16x16 ADAT I/O
• All settings are controlled over Ethernet
Synchronization
For more information, see the MTRX II Guide.
• Sample rates of 44.1–192 kHz
• Synchronization by Internal, Word Clock, Loop
Sync, ADAT, or Dante IP

Control, Routing, and Processing

• Operation using DADman software—some set-
tings can be controlled on the front panel
• All settings controlled over Ethernet
• 512x512 cross-point matrix
• 256x32 summing (Pro | Mon) with monitor pro-
files
• 256 filters for 16 channels of speaker EQ

For more information, see the MTRX Studio

Installation and the MTRX Studio Operation
guides.

Chapter 5: Pro Tools Systems 55

 Pro Tools Hardware Options
Pro Tools Ultimate also supports the following
Avid HD hardware options.
• Pro Tools | Sync X or SYNC HD™ synchroniza-
tion peripherals (HDX and HD Native systems
only):

Pro Tools Ultimate and Pro Tools Studio also sup-

ports the following Avid HD hardware options.
• Pro Tools | PRE™ (Eight-channel microphone
preamp)
• Control surfaces (such as Avid S1™, Dock, Avid
Control app, and Artist™ Series controllers)

Pro Tools Software Options

Pro Tools | MachineControl

(Pro Tools Ultimate Software Only)

Pro Tools | MachineControl™ enables serial com-

munication with Sony® 9-pin compatible synchro-
nizers, and video or audio machines (see
Chapter 62, “Pro Tools | MachineControl”).

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 integra-
tion and interoperability (see “VENUE” on
page 166).

56 Pro Tools Reference Guide

Chapter 6: I/O Setup

The I/O Setup provides tools to label, format, and assign Pro Tools input, output, insert, and bus audio sig-
nal paths both for individual sessions as well as for your specific Pro Tools system. I/O Setup also provides
controls for Mic Preamps (such as for Avid | PRE) signal paths and Delay Compensation settings for hard-
ware inserts.

The I/O Setup displays a graphical representation (cross-point matrix) of the signal routing for physical in-
put 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 con-
trols 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
Path Color selectors
selector
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 6: I/O Setup 57

 Opening the I/O Setup
Pro Tools Software Signal
The I/O Setup can be opened from the application Paths
window (with a session closed), or from within a
session (when a session is open). A signal path is a logical grouping of multiple in-
puts, outputs, or busses that has a single name and
To open the I/O Setup: (channel) format. The I/O Setup lets you create,
define and name paths according to the configura-
1 Make sure your audio interfaces are enabled
tion of your studio and the needs of each project.
and configured properly in the Hardware Setup.
24 busses are created by default, but you can create
See “Configuring Hardware Settings in
as many as you need.
Pro Tools” on page 112.
2 Choose Setup > I/O. Main Paths and Sub-Paths
Paths in Pro Tools tracks and I/O Setup include
Closing the I/O Setup
main paths and sub-paths.
To close the I/O Setup and save changes:
Main Paths
 Click OK.
Main paths are logical groupings of inputs, inserts,
Pro Tools checks several settings for routing valid- busses, or outputs. For example, a master stereo
ity (to prevent feedback loops). If there are any output path will include both its left and right chan-
overlapping or invalid settings, you will be re- nels.
quired to correct them (see “Valid Paths and Re-
quirements” on page 87). Sub-Paths

To close the I/O Setup without saving changes: A sub-path represents a signal path within a main
path. For example, a default stereo output bus path
 Click Cancel.
consists of two mono sub-paths, left and right.
Mono tracks and sends can be routed to either
Navigating in the I/O Setup mono sub-path of the stereo output bus path.
To scroll up or down in the I/O Setup:

 Press Page Up/Down (Mac) or Page Up/Down

(Windows).

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)

58 Pro Tools Reference Guide

Sub-paths for Output Paths Default Sub-Paths

Pro Tools lets you create sub-paths for physical Main

Sub-Paths Sub-Path Name
Path
output paths in the Output page. Using output bus
sub-paths rather than physical output sub-paths is 5.0 – 1 Stereo (LR) 5– Stereo: <main path
sufficient for most workflows. Use physical output 6.0 – 7 Mono name >.LR
sub-paths only when you need alternate mix for- 7.0 (one for each Mono: <main path
channel) name >.L, .C, .R,
mats for the same physical output (including ex- .Ls, .Rs, and so on
plicit downmix paths).
5.1 – 1 Stereo (LR) 6– Stereo: <main path
Default Bus Sub-paths 6.1 – 8 Mono name >.LR
7.1 (one for each Mono: <main path
Pro Tools lets you create the default sub-paths for channel) name >.L, .C, .R,
busses in the New Sub-Path dialog when accessed .Ls, .Rs, and so on,
and LFE
from the Bus page. Enable the Create Default Sub-
Paths option to have Pro Tools automatically cre- 7.0.2 1 each: 7.0, 5.0, multichannel sub-
ate the default set of sub-paths for the path format (Dolby Quad, LCR, Ste- paths: <main path
(channel width) of the selected main bus path, as Atmos reo, Overhead name >.<channel
only) (LR); format>
follows:
and 9 Mono Mono: <main path
Default Sub-Paths (one for each name >.L, .C, .R,
channel) .Lss, .Rss, .Lsr, .Rsr,
Main .Lts, .Rts
Sub-Paths Sub-Path Name
Path
7.1.2 1 each: 7.1, 7.0, Stereo: <main path
Mono N/A N/A (Dolby 5.1, 5.0, Quad, name >.LR
Atmos LCR, Stereo, Mono: <main path
Stereo 2 mono <main path
name > followed by only) Overhead (LR); name >.L, .C, .R,
and10 Mono .Lss, .Rss, .Lsr, .Rsr,
channel designation
(one for each .LFE, .Lts, .Rts
.L and .R
channel)
LCR 1 Stereo (LR) Stereo: <main path
3 Mono (one for name >.LR When the Create Default Sub-Paths option is en-
each channel) Mono: <main path
abled, all other custom options in the New Sub-
name >.L, .C, .R
Paths dialog are grayed-out and unavailable.
LCRS 1 Stereo (LR) Stereo: <main path
4 Mono (one for name > .LR It is especially useful to define and name
each channel) Mono: <main path sub-paths for complex mixing setups, such
name>.L, .C, .R, .S as a 5.1 surround mix.
Quad 1 Stereo (LR) Stereo: <main path
4 Mono (one for name > .LR
each channel) Mono: <main path
name>.L, .R, .Ls, .Rs

Chapter 6: I/O Setup 59

 Paths in Sessions Default I/O Settings

In sessions, signals are routed to and from tracks, Pro Tools comes with default I/O Setup settings to
sends, and inserts using track Input, Output, Insert, get you started (see “Factory I/O Seittings” on
and Send selectors. page 92). You should only need to open the I/O
Setup if you want to customize I/O paths or if you
When you click a track Input, Output, Insert, or change your system hardware (for example, add-
Send selector, the paths created and defined in the ing an expansion card to HD I/O, or adding or re-
I/O Setup appear in the list of available paths (see moving an audio interface).
“Assigning Audio Inputs and Outputs to Tracks”
on page 278). You can always return to the default settings for an
I/O Settings page by clicking the Default button.
Path Configurations and These paths are available in session tracks and are
I/O Settings reflected in the I/O Setup.

Each Pro Tools system can have a different path You can customize your I/O Setup configuration at
configuration, determined by: any time, according to the needs of each project
(see “Customizing I/O Settings” on page 73).
• On Pro Tools systems, the type of audio inter-
face or other physical I/O (including built-in
hardware)
I/O Setup Pages
• On HDX and HD Native systems, the number
and types of audio interfaces The I/O Setup provides tabs to open pages for con-
figuring specific I/O Settings.
Path configurations in Pro Tools are saved as
I/O settings.
Opening an I/O Setup Page
I/O Settings are saved with both the session and
with the system. You can choose to overwrite the To open an I/O Setup page:
I/O settings saved with the system with those  Click the corresponding tab at the top of the I/O
saved with the session (see “Restore from Session” Setup.
on page 95).
Hold the Command key (Mac) or the Control
Unavailable items (including hardware, paths, or key (Windows) and use the Left or Right Arrow
required resources) remain in the session as inac- keys to cycle through the different pages of the
tive items (see “Making Paths Active or Inactive” I/O Setup.
on page 86). When you create a new session, you
can specify which I/O Settings to use. For exam-
ple, you can use the factory installed default set- I you choose to customize your I/O Setup, con-
tings, the “Last Used” setting, or one of any avail- figure the system-specific options first: Input,
able custom I/O settings files. Output, Insert, Mic Preamps, and H/W Insert
Delay. Once you have configured your sys-
See “Factory I/O Seittings” on page 92 tem, you should not need to change it unless
and “I/O Settings Files” on page 93 for you add or remove hardware (such as audio
more information. interfaces) from your system. See “Customiz-
ing I/O Settings” on page 73.

60 Pro Tools Reference Guide

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. Mul-
tichannel input paths (greater-than-stereo) 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 sys-
tem and the session, and can be recalled from either.

Figure 1. I/O Setup, Input page

Chapter 6: I/O Setup 61

 Output 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.

Configure output signal path names and formats on the Output page. Output channels can have overlapping
output paths. Multichannel Output paths (greater-than-stereo) can have any number of sub-paths. Output
names, channel widths, and physical output assignments are saved with the system and the session, and can
be recalled from either.

Figure 2. I/O Setup, Output page

62 Pro Tools Reference Guide

Bus Page
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 bus path names and formats, and map any main bus path to any available output of the same
width or greater. Multichannel bus paths (greater-than-stereo) can have any number of sub-paths. Output
bus and internal mix bus names and channel widths are saved with and recalled from the session.

Figure 3. I/O Setup, Bus page

For more information, see “Configuring Busses” on page 88.

Chapter 6: I/O Setup 63

 Dolby Atmos Page
(Pro Tools Ultimate and Studio Only)

The Dolby Atmos page of the I/O Setup lets you enable Dolby Atmos mixing and configure either the
Pro Tools Internal Render or setup for mixing to an External Renderer.

Figure 4. I/O Setup, Dolby Atmos page

For more information, see Chapter 59, “Mixing to Dolby Atmos.”.

64 Pro Tools Reference Guide

Insert 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 out-
puts of a Pro Tools audio interface. This lets you process audio on a track with a hardware insert in real
time.

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.

Figure 5. I/O Setup, Insert page

For more information, see “Using Hardware Inserts” on page 1219.

Chapter 6: I/O Setup 65

 Mic Preamps Page
On the Mic Preamps page of the I/O Setup, signal paths for one or more Mic Preamp (such as Avid | PRE
or Pro Tools | MTRX) multi-purpose microphone preamplifiers can be mapped to audio interfaces. For
more information, see the PRE Guide or the Pro Tools MTRX Guide.

Figure 6. I/O Setup, Mic Preamps page

66 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.

Figure 7. I/O Setup, HW Insert Delay page

For more information, see “Setting a Hardware Insert Delay Offset” on page 1183.

Chapter 6: I/O Setup 67

 Path Name Column Shows paths that are available
I/O Setup Signal Path for selection, including the name of each defined
Controls path. Path names can be renamed.
Depending on the I/O Setup page, the I/O Setup Expand/Collapse Triangle Shows or hides the sub-
provides the following controls in its graphical paths associated with a main path (Input and Bus
section for configuring signal routing paths. paths only).
Path Color Active/Inactive Status Box Shows and changes
selector
Path Format selector the active/inactive status of each path.
Path Name
column Input selector
Path Format Selector Shows and selects the
type/format (such as Mono, Stereo, Quad, or 5.1)
of each defined path (greater-than-stereo multi-
channel formats are supported with
Pro Tools Ultimate and Studio only).

Channel Grid Assigns paths to specific interfaces

and channels.
Expand/Collapse
triangle Channel Grid

Active/Inactive I/O Setup Buttons

Status box
Depending on the I/O Setup page, the I/O Setup
I/O Setup, Signal Path controls (Input page shown)
can provide the following buttons for configuring
Path Color Selector Lets you color code Input, signal routing.
Output, Bus, Dolby Atmos (Pro Tools Ultimate
and Studio only), and Insert paths. Color coded
paths display their assigned color on Input, Output,
Send, and Insert Name plates in the Edit, Mix,
Send, and Output windows. For more information,
see “Path Colors” on page 100).

Input and Output Selectors (HDX and HD Native

Systems Only) Lets 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 I/O Setup, Signal Path buttons (Output page shown)
based on Hardware Setup settings; for example, if
Aux I/O Button (macOS Big Sur or Later
the AES/EBU inputs and outputs of an interface Only) Lets you use Aux I/O to extend your
are enabled in Hardware Setup, they are available Pro Tools I/O capabilities through Core Audio
for routing in I/O Setup. The functionality pro- routing (see “Aux I/O” on page 98).
vided with the Input and Output selector is the
same as that provided on the Main page of the New Path Button Lets you create a new path on
Hardware Setup. signal path pages for Input, Output, Insert, Bus, or
Mic Preamp.
68 Pro Tools Reference Guide
New Sub-Path Button Lets you create a new sub-
path on signal path pages for Input, Output, Insert, I/O Setup Options
or Bus. Pro Tools systems have several additional
Delete Path Button Lets you delete any selected I/O Setup options depending on which page of the
path or sub-path on signal path pages for Input, I/O Setup you are viewing. These include default
Output, Insert, or Bus. signal routing for metering and auditioning, and
default track layout for multichannel mix formats.
Default Button Resets a path type to its default
path configuration, depending on the physical
Compensate for Delays After
hardware I/O you are using and how your hard- Record Pass
ware is configured. (HDX and HD Native Systems Only)
Option-click (Mac) or Alt-click (Windows) Pro Tools provides two options for compensating
the Default button to restore defaults to paths for input and output latency (due to any inherent
in all pages of the I/O Setup. latency in the analog to digital and digital to analog
converters of the audio interface) after recording.
Import Settings Button Lets you import an I/O
settings file to reconfigure I/O Setup. Import Set-
Compensation for Input Delays After
tings only imports the settings for the currently Record Pass
viewed page of the I/O Setup (such as the Input
page). When enabled, this option provides automatic
compensation for any analog or digital input delay
Apply to All Tabs Applies imported I/O settings to with Avid HD interfaces. Enable this option for all
all pages of the I/O Setup. recording situations. When recording from a digi-
tal source, both the Compensation for Input Delays
Option-click (Mac) or Alt-click (Windows) the
After Record Pass and the Compensation for Out-
Import Settings button to import settings to all
put Delays After Record Pass options must be en-
pages of the I/O Setup.
abled.
Export Settings Button Lets you save I/O settings
The Compensation for Input Delays After Record
as a file that can be imported into other sessions or
Pass option is only available in the Input page of
used on other Pro Tools systems. Export Settings
the I/O Setup.
exports the settings for all pages of the I/O Setup.

Show Last Saved Setup Appears in the I/O Setup Compensation for Output Delays After
in certain session transfer situations. For details on Record Pass
this feature, see “Show Last Saved or Current When enabled, this option provides automatic
Setup” on page 96. compensation for any analog or digital output de-
Cancel Button Closes the I/O Setup without lay with Avid HD audio interfaces. Enable this op-
saving changes. tion when you are synchronized to an external
clock source. When recording from a digital
OK Button Closes the I/O Setup and saves any source, both the Compensation for Input Delays
changes. After Record Pass and the Compensation for
Output Delays After Record Pass options must be
enabled.
Chapter 6: I/O Setup 69
 The Compensation for Output Delays After Record Using the Default Audition Path
Pass option is only available in the Output page of
When you preview a file or clip in the Clips List or
the I/O Setup.
in a Workspace browser, or when previewing Au-
dioSuite processing, Pro Tools routes the audio
Monitor Path output through the specified Audition Path.
Pro Tools provides a Monitor Path setting in the Pro Tools assigns a default Audition Path to the
Output page of the I/O Setup. Using the selected first available main Output path of the correspond-
Monitor path for the main mix output of your ing format. You can also select a different Audi-
Pro Tools sessions ensures that a session created tion Path in the I/O Setup.
on another Pro Tools system will always have at
least one audible output. Configuring Audition Paths

You can specify the monitoring outputs for audi-

Pro Tools automatically downmixes or upmixes
tioning audio in the Clips List and Workspace
the session Monitor path to the system Monitor
browsers, or for previewing AudioSuite process-
path so that you always hear session playback re-
ing, using the Audition Paths pop-up menu.
gardless of name and width of the Output path on
either system. Audition Paths Main Menu The main menu con-
sists of all path format choices available on the cur-
The Monitor path is graphically indicated by a
rent system (Mono and Stereo on all systems, and
speaker icon in track and send Output selectors,
LCR and greater with Pro Tools Ultimate and Stu-
Output paths, and in the Output and Bus pages of
dio only).
the I/O Setup.
Audition Paths Submenus Each path format
Audition Path choice has a submenu listing Output paths of that
given format. (The mono submenu lists Output
You can specify the output path through which paths of any format.)
files and clips are previewed (auditioned) from the
Clips List or Workspace browsers, as well as when To configure an Audition Path:
previewing AudioSuite processing. Pro Tools lets
 Select a path from the Audition Paths pop-up
you assign the Audition path to any available Out-
menu or submenus.
put path regardless of its channel width. For mis-
matched channel widths, the Audition path is auto-
matically downmixed or upmixed to the selected Output Meter Path
Output path.
The Output Meter Path selector determines the
The Audition Path selector is available in the Out- which output or bus paths are monitored by the
put page of the I/O Setup. Output Meters in the transport (see “Output Me-
ters” on page 1168). It also determines the path
For information on previewing audio, see displayed across the Output meters of D-Control or
“Previewing Clips in the Clips List” on D-Command worksurfaces as well as in the
page 343 or “Previewing Audio in Work- Pro Tools transport. For more details, see your
space Browsers” on page 388. control surface documentation.

70 Pro Tools Reference Guide

The Output Meter Path selector is available in the Note that if you assign the AFL/PFL Path to a phys-
Output and Bus pages of the I/O Setup. ical output used for monitoring, that signal is
muted when soloed and the solo path is used for
To set the Output Meter Paths: monitoring instead. However, if the AFL/PFL Path
1 Choose Setup > I/O Setup. is assigned to a different output, the main output
continues to pass signal even when the AFL/PFL
2 Select the Output tab. path is soloed. This lets you use XMON™ “Broad-
3 From the Output Meter Path selector, select the cast Mode” without XMON (ICON) hardware.
desired output path for metering.
The AFL/PFL Path selector is available in the Out-
put page of the I/O Setup.
Default Output Bus
See “Solo Modes” on page 290 for more in-
You can specify the default output bus path
formation on using AFL or PFL Solo modes.
assignment for new tracks, in each available
format. To select the AFL/PFL Path output:

The Default Output Bus selector is available in the  Select a path from the AFL/PFL Path pop-up
Bus page of the I/O Setup. menu.

The Default Output Bus can be set for Selecting None as the AFL/PFL Path disables
internal mix bus paths, as well as for AFL and PFL Solo modes. When None is
output bus paths. selected, AFL and PFL cannot be used.

To specify a default output for new tracks in the Setting AFL or PFL Path Levels
I/O Setup:
You can set a separate master AFL/PFL Path level
 Click the Default Output Bus pop-up menu and for all AFL solos and all PFL solos.
select a format and output bus path.
Tracks do not need to be soloed to have the
master AFL/PFL Path level adjusted.
AFL/PFL Path
Tracks soloed in AFL (After Fader Listen) or PFL To set the AFL/PFL Path level for AFL or PFL
solos:
(Pre Fader Listen) Solo mode are routed to the cur-
rent AFL/PFL Path, as set with the AFL/PFL Path 1 Choose Options > Solo Mode, and select a Solo
selector. mode:
• To set the level for AFL solos, select AFL.
Pro Tools provides a combined AFL/PFL Path set-
ting that can use any available Output path, regard- • To set the level for PFL solos, select PFL.
less of channel width. For mismatched channel 2 In the Mix or Edit window, Control-click Com-
widths, the AFL/PFL path is automatically down- mand-click (Mac) or (Windows) a Solo button
mixed or upmixed to the selected Output path. on any track.
3 Adjust the AFL/PFL Path fader.

Chapter 6: I/O Setup 71

 4 Click on the new fader position (or press Esc) to Default Format
close the fader display. (Pro Tools Ultimate and Studio Software Only)

To set the AFL/PFL Path level to 0 dB, The Default Format selector lets you select the de-
Command-Control-click (Mac) or fault format (Mono, Stereo, and all multichannel
Control-Start-click (Windows) any Solo formats) for new paths and for when you click the
button. Default button.

The Default Format selector is available in the

Low Latency Monitoring
Input, Output, and Insert pages of I/O Setup. The
(HD Native Systems Only)
Default Format settings on each page are set inde-
With HD Native systems, the Output page of the pendently of one another. The Input and Insert
I/O Setup lets you enable (or disable) Low Latency pages only provide Mono and Stereo options. The
Monitoring. It also lets you specify any available Output page provides all available formats.
Output path for Low Latency Monitoring. The
Depending on which page of the I/O Setup is cur-
Output path for Low Latency Monitoring can be of
rently shown, the Default Format setting deter-
any channel width (from Mono to 7.1). Low La-
mines the width of the first output (or input or in-
tency Monitoring uses Outputs 1–2 by default.
sert) when clicking the Default button. If mono or
To configure Low Latency Monitoring in the I/O stereo is selected, all outputs (or inputs or inserts)
Setup: are created accordingly.
1 Open the I/O Setup dialog (Setup > I/O).
To choose a Default Format:
2 Click the Output tab.  Select the desired channel format from the De-
3 Enable the Low Latency Monitoring option. fault Format pop-up menu.

4 From the Low Latency Monitoring pop-up menu, Pro Tools Ultimate and Studio let you filter
select the Output path you want to use for Low which multichannel formats appear in the De-
Latency Monitoring. fault Format selector. For more information,
see “Channel Width Filtering” on page 1323.
5 Click OK to save your changes and close the I/O
Setup.
For more information about multichannel mix-
ing with Pro Tools Ultimate and Pro Tools
Studio, see Chapter 56, “Pro Tools Setup for
Surround.”

72 Pro Tools Reference Guide

Path Order The Embed Eleven Setting From selector deter-
(Pro Tools Ultimate and Studio Software Only) mines the audio input used for routing audio from
an Eleven Rack into a separate audio interface.
The Path Order selector lets you specify the de-
fault channel order for all new paths created. The The Embed Eleven Setting From selector is avail-
selected Path Order setting determines the channel able in the Input page of the I/O Setup.
order for the following:
To embed Rig setting in recorded audio:
• Channels added to newly created path (first
paths) when hitting the Default button. 1 Choose Setup > I/O Setup.
• Channels added to empty paths when penciling 2 Select the Input tab.
in channel assignments.
3 Set the Embed Setting From menu to the input
• Channels added when creating a new path and you plan to record through, such as Eleven Rig
selecting the Add default channel assignments L/R.
option.
This same method applies when using Eleven
The Path Order selector is available in the Input, Rack as an insert with any Pro Tools system
Output, and Insert pages of I/O Setup. Setting the
Path Order on any page of I/O Setup affects the 4 Create an audio track, and set its input to the
other pages. corresponding input on your audio interface.

To choose a new default path order (track layout):

5 Record enable the track.

1 Choose Setup > I/O. 6 Record your part.

2 Click the Output tab. 7 The settings of the currently loaded Rig will be
embedded in each audio clip that is recorded
3 Use the Default Path Order setting to select the from the input you select in the Embed Setting
channel order you want for the corresponding From menu.
channel width.
Audio clips with embedded Rig data are marked
Embed Eleven Settings From with a small Eleven Rack logo icon in both the Edit
Window and the Clips List in Pro Tools.
(Systems with Eleven Rack Only)

With an Eleven® Rack connected to your

Pro Tools system, Pro Tools lets you embed the Customizing I/O Settings
current Eleven Rack Rig settings into audio clips
as you record them, so that you can retrieve that The following shows how to customize your I/O
same setting for further use later. This can also be settings for your particular studio setup.
helpful when collaborating or bringing sessions or
If you are using an HD OMNI, be sure to con-
clips to a different system using Eleven Rack, be-
figure the Monitor page of the Hardware
cause your settings travel with the files.
Setup for HD OMNI before configuring the
I/O Setup. For more information, see the
HD OMNI Guide.

Chapter 6: I/O Setup 73

 To customize I/O Settings: 6 If you plan on using hardware inserts, click the
1 Open the I/O Setup (Setup > I/O). Insert tab and do the following:
• Create insert paths with appropriate widths
2 Import I/O settings from an existing I/O settings
and physical input and output assignments
.pio file or a Pro Tools session file (.ptx) (see
that match your studio configuration.
“Importing I/O Settings” on page 94).
• Name insert paths to match your studio con-
You can prepare a session for use on a differ- figuration. Name insert paths using standard
ent system this way. Any paths for hardware industry terminology if possible, such as
that is not present on the current system will “Compressor,” “Reverb,” “EQ,” and so on.
appear as inactive. • Click the H/W Insert Delay tab and enter the
correct insert delay in milliseconds for each
3 For HDX and HD Native systems, double-click
input/output pair that you are using for hard-
the label above an interface and enter a name.
ware inserts. (See “H/W Insert Delay (Com-
With systems using HDX or HD Native hard- pensation) Page” on page 67.)
ware, the I/O Setup bases default Input and 7 If you are using one or more PRE peripherals,
Output path names on the custom name given click the Mic Preamps tab and configure it ac-
to the interface. cordingly (see the PRE Guide).
4 Click the Input tab and do the following: 8 Click the Bus tab.
• Create input paths and sub-paths with appro- 9 Create internal mix bus paths and sub-paths.
priate widths and physical input assignments Ensure that output busses are mapped to the cor-
that match your studio configuration (see rect output paths (see “Output Busses” on
“Signal Path Routing for Audio Output” on page 88).
page 78).
• Rename input paths and sub-paths to match Output busses are automatically created and
your studio configuration. mapped to outputs when new output paths are
created.
5 Click the Output tab and do the following:
• Create output paths with appropriate widths 10 Export your I/O settings to create a backup of
and physical output assignments that match your current settings (see “Exporting I/O Set-
your studio configuration. tings” on page 95).
• Rename output paths to match your studio 11 Click OK. You should not have to open the I/O
configuration. 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 or
Project Interchange and I/O Mapping” on
page 95).

74 Pro Tools Reference Guide

 5 Repeat the above step for additional channel
Configuring Hardware in pairs.
I/O Setup
6 Click OK to save changes and close the I/O
(Pro Tools HDX and HD Native Systems Only)
Setup.
With HDX and HD Native systems, you can define
which physical ports on your audio interface are The Monitor path for HD OMNI is fixed
routed to available input and output channels in the and cannot be changed in the I/O Setup.
I/O Setup. Any changes made here are also re- The Monitor path for HD OMNI can be
flected in the Hardware Setup, and vice-versa (see configured in the Monitor page of the
“Configuring Hardware Settings in Pro Tools” on Hardware Setup.
page 112).
Routing a Pro Tools Output Pair
HD MADI and Pro Tools systems such as to Multiple Destinations
Mbox Pro and 003 are “hard-wired” and
Pro Tools channel pairs can be routed to
cannot be changed. For third-party and built-
multiple outputs on an audio interface through the
in hardware, in the Hardware Setup click the
I/O Setup. For example, if you assign both Analog
Launch Setup App button to for available
1–2 and Analog 3–4 interface outputs to Pro Tools
configuration options.
Output pair 1–2, when you send a signal to
To configure I/O routing in I/O Setup: Pro Tools Outputs 1–2, that signal will be routed
simultaneously to both pairs of output ports on
1 Choose Setup > I/O.
your audio interface.
2 Click the Input or Output tab to display the
corresponding path type. This lets you send the same signal (such as a stereo
pair, a stem mix, or a multichannel mix) to multi-
3 Click the Input or Output selector for the first ple destinations (such as multiple mastering de-
interface channel pair, located below the first vices).
audio interface icon.
The only limit to output choices is the number of
4 From the pop-up menu, select a physical port outputs available in your system.
pair (such as Analog 1–2), to route to a
Pro Tools channel pair (such as A 1–2) in the 0utput path assignments can overlap in certain
Path Name column on the left. situations. See “Valid Paths and Require-
ments” on page 87 for details.

Pro Tools outputs pairs can also be routed to mul-

tiple audio interface outputs in the Hardware
Setup.

I/O Channel selector pop-up menu

Chapter 6: I/O Setup 75

 To route a Pro Tools output channel pair to
multiple audio interface output ports:

1 Choose Setup > I/O.

2 Click the Output tab.
3 Click the Output selector for an interface chan-
nel pair, just below an audio interface icon.
4 From the pop-up menu, select a physical port
pair (such as Analog 1–2) to route to the corre-
sponding Pro Tools channel pair (such as A 1–
2) in the Path Name column on the left.
5 Control-click (Mac) or Start-click (Windows)
the same Output selector and select an addi-
tional output pair from the same pop-up menu.

The output name updates with a plus sign (“+”) be-

fore it to indicate that multiple output ports are se-
lected. 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.
7 Click OK to save changes and close the
I/O Setup.

76 Pro Tools Reference Guide

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 (2) Input Path Main input paths and sub-paths are
the HD OMNI, the physical inputs that are avail- routed (patched) to physical inputs using cross-
able to Pro Tools are set on the Main page of the point matrix mapping in the I/O Setup. In this ex-
Hardware Setup (this selector is mirrored in the In- ample, audio input is routed from HD OMNI phys-
put page of the I/O Setup). ical inputs Analog 1–2 to Pro Tools Input channels
A 1–2.
For Pro Tools systems such as the Mbox Pro
and the 003, physical inputs are fixed. For (3) Track Input Input paths and sub-paths are
third-party and built-in hardware, in the routed to track inputs in the Pro Tools mixer by se-
Hardware Setup click the Launch Setup App lecting the path (or sub-path) from the Track Input
button for available configuration options. selector. In this example, input sub-path A1 is
routed to the input of track “Audio 1.”
Chapter 6: I/O Setup 77
 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:

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 1–2.”

(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 1–2” is mapped to Output “B 1–2,” which is defined on the Output page of
the I/O Setup.

(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.

78 Pro Tools Reference Guide

(4) Physical Output For Avid HD audio interfaces, 5 Do one of the following:
such as the HD OMNI, the physical outputs that • To add more paths, click the Add Row
are available to Pro Tools are set on the Main page button (“+”).
of the Hardware Setup (this selector is mirrored in
• To remove a path, click the Remove Row
the Output page of the I/O Setup).
button (“–”).
For Pro Tools systems such as the Mbox Pro
Add a new path by pressing Command+N
and the 003, physical outputs are fixed. For
(Mac) or Control+N (Windows), or by pressing
third-party and built-in hardware, click the
Command+Plus (+) (Mac) or Control+Plus
Launch Setup App button in the Hardware
(+) (Windows) on the numeric keypad.
Setup for available configuration options.

To remove the last path from the New Path

Creating New Paths dialog Command+Minus (–) (Mac) or
Control+Minus (–) (Windows).
The I/O Setup lets you create new paths with cus-
tom names, formats, and assignments to physical 6 Enable (or disable) the New Paths options Add
I/O. Custom path names appear in a session’s track the Default Channel Assignments and Auto-
Input, Output, Insert, and Bus selectors. Create Sub-paths.

To create a new path: 7 Click Create.

1 Choose Setup > I/O. When you create a new Output path, an out-
2 Click the Input, Output, Insert, or Bus tab to dis- put bus is automatically created on the Bus
play the corresponding path type. page of the IO Setup, and is automatically
mapped to the output path you created. See
3 Click New Path. “Output Busses” on page 88.
4 In the New Path dialog, specify the number of
new paths you want to create, the channel width 8 Assign the path to a specific audio interface (In-
for each path, and the path name. put, Output, and Insert pages only) in the Grid
column. See “Assigning Paths to Hardware
I/O” on page 86.
9 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,
New Paths dialog you will be instructed to correct them before the
I/O Setup will close. For more information, see
Pro Tools Ultimate and Studio let you filter “Valid Paths and Requirements” on page 87.
which multichannel formats appear in the
New Paths Format selector. For more infor- Multichannel paths and mixing are explained in
mation, see “Channel Width Filtering” on Chapter 56, “Pro Tools Setup for Surround.”
page 1323.

Chapter 6: I/O Setup 79

 New Paths Dialog Add Default Channel
Assignments Option
The New Paths dialog lets you create new paths on
the Input, Output, Bus, and Insert pages of the I/O Enable Add Default Channel Assignments option if
Setup. you want Pro Tools to automatically assign input,
output, and insert paths to physical inputs and out-
Number of new paths Add/Remove Row puts in the Channel Grid (from the first available
Path Format Path Name 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 the first
physical input or output of your audio interface.

New Paths dialog Auto-Create Related Bus Paths

Option
New Path Row Settings
For output paths, enable the Auto-Create Related
Number of New Paths Enter the number of new Path option to have Pro Tools automatically create
paths you want to create (or a certain type, like the default output bus mappings for new ouput
“Bus”). paths.
Path Format Select the channel width from the
Path Format selector. Auto-Create Sub-Paths Option
Path Name Enter the path name. If you are creat- For input and insert paths, enable the Auto Create
ing more than one path, the number of each new Sub-Paths option to have Pro Tools automatically
path will be appended to the path name (for exam- create the default set of sub-paths for the path for-
ple, Bus 1, Bus 2, Bus 3, and so on). mat (channel width), as follows:
Default Sub-Paths
Add/Remove Rows Click the Add Row button to
add more paths, or click Click the Remove Row Main
Sub-Paths Sub-Path Name
Path
button to remove paths.
Mono N/A N/A
Move Row Icon Drag a Move Row icon up or
down to reorder paths. Stereo 2 mono <main path
name > followed by
channel designation
.L and .R

LCR 1 Stereo (LR), Stereo: <main path

3 Mono (one for name >.LR
Move Row icon in the New Paths dialog each channel) Mono: <main path
name >.L, .C, .R
LCRS 1 Stereo (LR), Stereo: <main path
4 Mono (one for name > .LR
each channel) Mono: <main path
name>.L, .C, .R, .S

80 Pro Tools Reference Guide

Default Sub-Paths
Creating New Sub-Paths
Main
Sub-Paths Sub-Path Name
Path You can create sub-paths for main paths in the
Quad 1 Stereo (LR), Stereo: <main path Input, Output, Bus, and Insert pages of the I/O
4 Mono (one for name > .LR Setup.
each channel) Mono: <main path
name>.L, .R, .Ls, .Rs To create a new sub-path:

5.0 – 1 Stereo (LR), Stereo: <main path 1 Select the page of the I/O Setup where you want
6.0 – 5–7 Mono name >.LR to create sub-paths (such as the Input page).
7.0 (one for each Mono: <main path
channel) name >.L, .C, .R, 2 Select the Main path for which you want to cre-
.Ls, .Rs, and so on ate sub-paths.
5.1 – 1 Stereo (LR), Stereo: <main path 3 Click New Sub-Path.
6.1 – 6–8 Mono name >.LR
7.1 (one for each Mono: <main path 4 Configure the New Sub-Paths dialog as desired
channel) name >.L, .C, .R, and click Create.
.Ls, .Rs, and so on,
and LFE 5 Click in the Grid to assign the new sub-path
channels to available main path channels.
7.0.2 1 each: 7.0, 5.0, multichannel sub-
(Dolby Quad, LCR, Ste- paths: <main path
Atmos reo, Overhead name >.<channel New Sub-Path Dialog
only) (LR); format>
and 9 Mono Mono: <main path The New Sub-Path dialog lets you create new sub-
(one for each name >.L, .C, .R, paths for main paths on the Input, Output, Bus, and
channel) .Lss, .Rss, .Lsr, .Rsr, Insert pages of the I/O Setup.
.Lts, .Rts

7.1.2 1 each: 7.1, 7.0, Stereo: <main path Number of new sub-paths Add/Remove Row
(Dolby 5.1, 5.0, Quad, name >.LR Sub-Path Format Sub-Path Name
Atmos LCR, Stereo, Mono: <main path
only) Overhead (LR); name >.L, .C, .R,
and10 Mono .Lss, .Rss, .Lsr, .Rsr,
(one for each .LFE, .Lts, .Rts
channel)

New Sub-Paths dialog for Input main path

Chapter 6: I/O Setup 81

 New Sub-Path Row Settings Create Default Sub-Paths Option
(Bus Sub-Paths Only)
Number of New Sub-Paths Enter the number of
new sub-paths you want to create for the selected Pro Tools lets you create the default sub-paths for
main path. busses in the New Sub-Path dialog when accessed
from the Bus page. Enable the Create Default Sub-
Sub-Path Format Select the channel width from
Paths option to have Pro Tools automatically cre-
the Path Format selector.
ate the default set of sub-paths for the path format
Sub-Path Name Enter the sub-path name. If you (channel width) of the selected main bus path, as
are creating more than one sub-path, the number of shown in the following table.
each new sub-path will be appended to the sub- Default Sub-Paths
path name (for example, Bus 1, Bus 2, Bus 3, and
Main
so on). Sub-Paths Sub-Path Name
Path
Add/Remove Rows Click the Add Row button to Mono N/A N/A
add more paths, or click Click the Remove Row
button to remove paths. Stereo 2 mono <main path
name > followed by
Move Row Icon Drag a Move Row icon up or channel designation
down to reorder paths. .L and .R

LCR 1 Stereo (LR), Stereo: <main path

3 Mono (one for name >.LR
each channel) Mono: <main path
name >.L, .C, .R
LCRS 1 Stereo (LR), Stereo: <main path
Move Row icon in the New Sub-Paths dialog 4 Mono (one for name > .LR
each channel) Mono: <main path
Add Default Channel name>.L, .C, .R, .S
Assignments Option Quad 1 Stereo (LR), Stereo: <main path
(Input, Output, and Insert Sub-Paths Only) 4 Mono (one for name > .LR
each channel) Mono: <main path
Enable Add Default Channel Assignments option if name>.L, .R, .Ls, .Rs
you want Pro Tools to automatically assign input,
output, and insert sub-paths to physical inputs and 5.0 – 1 Stereo (LR), Stereo: <main path
6.0 – 5–7 Mono name >.LR
outputs in the Grid (from the first available channel 7.0 (one for each Mono: <main path
to the maximum number of channels available). If channel) name >.L, .C, .R,
the number of new sub-paths of a certain width ex- .Ls, .Rs, and so on
ceeds the number of available channels, Pro Tools
5.1 – 1 Stereo (LR), Stereo: <main path
wraps around and starts over the first physical in- 6.1 – 6–8 Mono name >.LR
put or output of your audio interface. 7.1 (one for each Mono: <main path
channel) name >.L, .C, .R,
.Ls, .Rs, and so on,
and LFE

82 Pro Tools Reference Guide

Default Sub-Paths In addition, you can import and export your
Main I/O Setup configurations as I/O Settings files, as
Sub-Paths Sub-Path Name well as set default path parameters. See “I/O Set-
Path
tings Files” on page 93.
7.0.2 1 each: 7.0, 5.0, multichannel sub-
(Dolby Quad, LCR, Ste- paths: <main path The following table lists the available attributes for
Atmos reo, Overhead name >.<channel
each path type:
only) (LR); format>
and 9 Mono Mono: <main path Path options that can be edited by type
(one for each name >.L, .C, .R,
channel) .Lss, .Rss, .Lsr, .Rsr, Path Type Path Options (Attributes)
.Lts, .Rts
Input Names, formats, and source
7.1.2 1 each: 7.1, 7.0, Stereo: <main path channel (physical input)
(Dolby 5.1, 5.0, Quad, name >.LR
Output Names, formats, and destination
Atmos LCR, Stereo, Mono: <main path
channel (physical output)
only) Overhead (LR); name >.L, .C, .R,
and10 Mono .Lss, .Rss, .Lsr, .Rsr, Insert Names, formats, and destination
(one for each .LFE, .Lts, .Rts (physical inputs and outputs)
channel)
Bus Names, formats, output mapping
When the Create Default Sub-Paths option is en-
abled, all other custom options in the New Sub- Interfaces can also be renamed.
Paths dialog are grayed-out and unavailable.
Restoring Default Paths and
Path Names
Editing Paths You can restore I/O Setup paths to their default
The I/O Setup lets you edit or customize signal state at any time. You may want to restore defaults
path definitions. if, for example, you replace or add an audio inter-
face to your system.
Paths can be:
To restore default paths and path names:
• Restored to default configurations
1 Choose Setup > I/O.
• Renamed, for easier identification after chang-
ing or renaming audio interfaces 2 Click the Input, Output, Insert, or Bus tab to dis-
• Selected and reordered to change menu order in play the corresponding path type.
track selectors 3 Click Default. Pro Tools does the following:
• Selected and deleted • If a session is open, deletes any paths that are
• Remapped to or from different sources or desti- not in use.
nations • Creates new default paths up to the capacity
• Deactivated (or reactivated) to manage unavail- of your system’s available physical I/O and
able or unnecessary I/O resources resources.

Chapter 6: I/O Setup 83

 • Resets path names to the default path names Renaming Interfaces
(see “Default Path Names” on page 84).
These default path names appear in track In-
put 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.

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

Setup. 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, de-
fault path names are based on the custom name
given to the interface.

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

Default stereo output paths 1 Double-click the label above an interface.

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

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: Interface Name

1 Double-click the path name.
2 Type a new interface name.
2 Type a new path name.
3 Click OK to save changes and close the I/O
3 Click OK to save changes and close the I/O Setup.
Setup.
Default Path Names

Default names for input, output, and insert paths

are based on the hardware you are using for physi-
cal I/O.

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.

84 Pro Tools Reference Guide

Selecting Paths To deselect all paths and sub-paths:

Individual and multiple paths can be selected in the  Option-click (Mac) or Alt-click (Windows) any
I/O Setup Path Name column. Selected paths and path name that is highlighted.
sub-paths can be reordered higher or lower in the
Path Name column to change their menu order in Reordering Paths
track Input, Output, Insert, and Bus selectors.
Selected paths and sub-paths can be reordered
Paths can also be deleted. Sub-paths follow their
higher or lower in the Path Name column to
main paths when they are moved in the I/O Setup.
change their menu order in track Input, Output,
To select a main path or sub-path: Insert, and Bus selectors.

 Click the path name. To reorder paths in the I/O Setup and Track
selectors:

1 Drag one or more selected path names up or

down.
2 Click OK to save changes and close the I/O
Setup.

Deleting Paths
Selecting paths in the I/O Setup Path definitions can be deleted from the current
session to reflect changes to your hardware setup,
To select a range of paths:
or to clean up track selector menus by removing
1 Click the path name. unwanted or unnecessary path definitions. After
2 Shift-click an additional path name. deleting a path, any tracks or send assignments to
that path are reset to No Output.
All paths between the first selected path name and
the additional path name will also be To delete a main path or sub-path:
selected. 1 In the I/O Setup, select the path you want to
delete.
To select or deselect noncontiguous paths, do one
of the following: 2 Click Delete Path.
 Command-click (Mac) or Control-click 3 Click OK to save changes and close the I/O
(Windows) path names that are unhighlighted to Setup.
select them.
To delete all paths:
 Command-click (Mac) or Control-click
(Windows) path names that are highlighted to 1 Option-click (Mac) or Alt-click (Windows) any
deselect them. path name.
2 Click Delete Path.
To select all paths and sub-paths:
3 Click OK to save changes and close the I/O
 Option-click (Mac) or Alt-click (Windows) any
Setup.
path name that is unhighlighted.

Chapter 6: I/O Setup 85

 Making Paths Active or Inactive
With overlapping output paths of different
Pro Tools paths can be Active (on) or Inactive (off, channel widths, if the widest path is made in-
or unavailable). Paths can be globally activated or active, all other overlapped output paths will
deactivated in the I/O Setup. Making a signal path not pass audio from Pro Tools.
inactive will turn off the signal path on any and all
tracks currently assigned to it.
Assigning Paths to Hardware
Pro Tools also sets unavailable paths to inactive.
I/O
Paths can be unavailable when hardware or other
system resources are unavailable, such as when Paths are assigned to specific inputs, outputs, and
opening a session saved on a different inserts in the Grid. Paths can be assigned to physi-
system. cal I/O in the Grid, and can be reassigned at any
time.
Tracks can also be made active or inactive. For in-
formation, see “Making Track Inputs and Outputs To assign channels:
Inactive from the Edit or Mix Window” on
1 Select (or create) a main path or sub-path.
page 282.
2 Select the channel Format (such as Stereo).
To globally activate or deactivate a path:
3 In the row for the selected path, click in the Grid
1 Choose Setup > I/O. column under an audio interface and channel.
2 Select a path type using the tabs at the top of the
window.
3 Set the Active/Inactive control for the path.

Assigning channels

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

right. For example, when assigning a new stereo
Active (top) and inactive (bottom) path settings path, clicking in the path row under output channel
1 fills both channel 1 and 2 (left to 1, right to 2).
Any tracks that were assigned to the now inactive
path will show that path's name in italics on the To reassign channels in a path, see
track's I/O selectors. “Reassiging Paths” on page 87.
4 Click OK to save changes and close the I/O 4 Click OK to save changes and close the I/O
Setup. Path status is displayed as follows: Setup.
Italics Indicates the path is inactive. If there are any invalid settings, you will be re-
Non-Italics Indicates the path is active. quired to correct them before the I/O Setup will
close. For more information, see “Valid Paths and
Requirements” on page 87.

86 Pro Tools Reference Guide

Assigning Paths with the Surround Mixer Sub-Paths Follow Main Paths
(Pro Tools Ultimate and Studio Software Only)
When a main path is reassigned, its sub-paths (if
When assigning multichannel paths, the left chan- any) are reassigned automatically to maintain con-
nel (L) is assigned first to the clicked Grid box, and sistent routing. For example, reassigning a stereo
remaining channels fill immediately to the right path to different hardware outputs results in any of
according to the default path order. its sub-paths moving with it.

Because some multichannel mixing formats use

unique track layouts, Pro Tools lets you set the de-
fault format in the I/O Setup (see “I/O Setup Op-
Valid Paths and
tions” on page 69).
Requirements
While configuring the I/O Setup, certain rules ap-
ply for path definition and channel assignment. All
paths must be valid before the I/O Setup configu-
ration can be applied.

Default Format and Path Order settings Though it is possible to set up invalid assignments
in the Channel Grid, Pro Tools will not accept an
Reassiging Paths I/O Setup configuration unless all paths meet the
path definition and channel assignment require-
You can move the individual assignments to dif-
ments, as follows:
ferent channels, to reorder the path’s definition
(for example, changing a multichannel path to Minimum Path Definitions All paths must have a
L-R-C-LFE-Ls-Rs). name, be of a specific format, and have a valid I/O
assignment.
To reassign channels in a path:
Valid Paths Channel assignment follows certain
 Drag the channel to the new location in the
rules regarding overlapping paths.
Grid. Other channel assignments move (shuffle)
to accommodate dragged channels. • There can be no partial overlaps between any
two output paths.
Channel Shuffling • A newly-created output path must either be
Moving a signal from right to left results in a shuf- completely independent of other assignments
fle of other signals after the new destination chan- (not assigned to any other available I/O inter-
nel. Moving a signal from left to right shuffles any face/channels), or it must be a path completely
and all signals after the new destination channel contained within a larger path (for example, an
and leaves the previous channel empty. LCR sub-path within a larger 5.1 path).

Changing a path’s format erases any cur-

rent channel assignment.

Chapter 6: I/O Setup 87

 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 system’s
physical audio outputs in the I/O Setups Grid (see
“Assigning Paths to Hardware I/O” on page 86).

Valid (complete) output path 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 creat-
ing a new session or restoring defaults (see “Re-
storing Default Paths and Path Names” on
page 83).

Physical outputs for output paths are configured on

Invalid (partial) output path
the Outputs page of the I/O Setups (see “Assigning
Paths to Hardware I/O” on page 86).
Configuring Busses
Internal Mix Busses
Busses appear on the Bus page of the IO Setup.
Pro Tools provides two types of busses: Pro Tools provides internal mix busses that can be
• Output busses used to route audio signal from track outputs and
sends to other track inputs and plug-in side-chains.
• Internal mix busses Common uses for internal mix busses include ef-
Output bus, internal mix bus, and Object bus set- fects sends and returns (such as bussing sends from
tings are saved with and recalled from the session. audio tracks to an Auxiliary Input track for plug-in
The advantage of this is that when you take a ses- effects processing) and bus recording.
sion from one system to another, track and send as-
signments are maintained within the session. Creating and Mapping Busses to
Outputs
Where possible, Pro Tools can automatically re-
map the session’s output busses to the output paths Any available bus can be mapped to any of the
of the system on which the session is being opened. available output paths of the same channel width
or greater. For example, a mono bus can be
See “Session or Project Interchange and I/O mapped to a mono output path, a stereo bus can be
Mapping” on page 95 for more information mapped to a stereo output path, and a 5.1 surround
exchanging sessions between systems, and on bus can be mapped to a 5.1 surround output path.
opening sessions in lower version of
Pro Tools. Output busses do not exist in You can unmap busses from outputs at any time.
Pro Tools 8.0.x and lower.

88 Pro Tools Reference Guide

To create a bus and map it to an output path: Any signals from tracks or sends sent to the bus are
1 On the Bus page of the I/O Setup, click New now sent to the hardware outputs assigned to the
Path. corresponding Output paths.

2 In the New Paths dialog, specify the number of To map all output busses of the same format to an
new paths you want to create, the channel width output path:
for each path, and the path name.  Option-click (Mac) or Alt-click (Windows) the
Mapping To Output selector and select an out-
put 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 bus-
New Paths dialog ses to output path A 1–2.
3 Click Create to create the new paths. To map all output busses of the same format to
one output path:
1 Do one of the following:
• Shift-click to select contiguous Output
busses.
• Command-click (Mac) or Control-click
Unmapped “MAIN” output bus (Windows) to select noncontiguous Output
busses.
4 Enable Mapping To Output for the path.
2 Option-Shift-click (Mac) or Alt-Shift-click
5 Select an output path from the Mapping To Out-
(Windows) the Mapping To Output selector for
put selector.
one of the selected Output busses and select an
output path (mono or stereo).

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 1–2.
Mapping the “MAIN” output bus to output path “A 1–2”
To map all busses of the same format to unique
ascending output paths (cascading):
Command-click (Mac) or Control-click
(Windows) to select multiple outputs in the  Command-Option-click (Mac) or Control-Alt-
Mapping to Output menu in the Bus page of click (Windows) the Mapping to Output selec-
the I/O Setup (I/O Setup > Bus > Mapping tor of the top-most output path and select the
to Output). first output path.

Chapter 6: I/O Setup 89

 All busses of the same channel format are automat-
ically assigned to unique output path assignments
in ascending order. For example, for stereo output
paths, output bus A 1–2 is assigned to output path
A 1–2, A 3–4 to A 3–4, A 5–6 to A 5–6, and so on.

Mapping Mono Busses to Surround

Paths
Assigning a channel to a mono bus
(Pro Tools Ultimate and Studio Software Only)
To assign the same channel to all mono busses
You can map a mono bus to any channel of a sur- mapped to a multichannel output path:
round output path. For example, route a dialogue  Option-click (Mac) or Alt-click (Windows) the
track to the center channel of 5.1 output path. (This mono bus indicator and select the channel from
capability is available for all output channel widths the pop-up menu.
except Stereo and Quad outputs.)
To assign the same channel to all selected mono
To map a mono bus to a channel of a surround busses mapped to a multichannel output path, do
output path: one of the following:
1 On the Bus page of the I/O Setup, click New  Shift-click to select contiguous mono
Path. busses in the Name column.
2 In the New Paths dialog, specify Mono channel  Command-click (Mac) or Control-click (Win-
width for the bus path, type a path name, and dows) to select noncontiguous mono busses in
click Create. the Name column.
3 Enable Mapping To Output for the path.  Option-Shift-click (Mac) or Alt-Shift-click
4 Select a multichannel output path from the Map- (Windows) a mono bus indicator and select the
ping To Output selector. The mono bus indicator channel from the pop-up menu.
changes to “C” (Center) by default, and a pop-
To assign ascending (cascading) channels to all
up menu becomes available. mono busses mapped to a multichannel output:

 Command-Option-click (Mac) or Control-Alt-

click (Windows) the mono bus indicator of the
top-most mono bus and select the first channel
from the pop-up menu.

Selecting a multichannel output path

5 To assign another channel, click the mono bus

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

90 Pro Tools Reference Guide

To assign ascending (cascading) channels to all Resetting Busses
selected mono busses mapped to a multichannel
output, do one of the following: You can reset the number of available internal mix
busses in your session to match your system’s full
 Shift-click to select contiguous mono
capabilities by reverting to the default bus config-
busses in the Name column.
uration.
 Command-click (Mac) or Control-click (Win-
dows) to select noncontiguous mono busses in Pro Tools creates 24 internal busses by
the Name column. default.

 Command-Option-Shift-click (Mac) or Con- To revert to the default bus configuration for your
trol-Alt-Shift-click (Windows) the mono bus in- system:
dicator of the top-most mono bus and select the 1 Open the I/O Setup.
first channel from the pop-up menu.
2 Click the Bus tab in the upper left.

Using Keyboard Modifiers When 3 From the pop-up menu to the right of the Default
Enabling or Assigning Output button, select one of the following:
Busses • All Busses
Pro Tools lets you use keyboard modifiers when • Output Busses
enabling or assigning Output busses. These key- • Internal Busses
board modifiers behave in the same way as when
assigning track inputs, and track and send outputs. 4 Click Default.
Being able to assign a single output bus to multiple
Resetting busses to the default setting will re-
physical outputs is useful in cases where you want
name all busses to their default name (Bus 1–
to route a single source signal to two or more out-
2, Bus 3–4, and so on).
puts. Rather than assigning multiple outputs on a
track-by-track basis, you can do it once in the 5 Click OK to save changes and close the I/O
I/O Setup. Setup.
In the I/O Setup, the following keyboard modifiers
Active Busses
apply:
• Option-click (Mac) or Alt-click (Windows) to The Bus page of the I/O Setup displays the number
apply to all busses. of active internal mix busses. If the number of ac-
tive busses exceeds the number of available bus-
• Command-Option-Shift-click (Mac) or Control- ses, the display turns red. Delete or deactivate any
Alt-Shift-click (Windows) to apply only to se- active busses in excess of the available number of
lected Output busses. busses to be able close the I/O Setup and save your
• Control-click (Mac) or Start-click (Windows) settings.
for each additional Output path you want to as-
sign an Output bus to.
• Command-Option-click (Mac) or Control-Alt-
click (Windows) to assign a bus to the selected
Output path and all subsequent busses to the
next available Output path sequentially.
Chapter 6: I/O Setup 91
 Sorting Bus Paths Stereo Mix Settings
The Bus page provide controls to sort busses by This Stereo Mix setting creates the maximum
name (ascending or descending), format (ascend- number of stereo paths, as determined by the avail-
ing or descending), or by mapped to output status able system’s I/O Setup and hardware configura-
(ascending only). tion.

Click to sort by Name Click to sort by map- Using the “Stereo Mix” settings file has
ping to output status
the same effect as clicking Default for ev-
Click to sort by Format ery individual tab in I/O Settings. See
“Restoring Default Paths and Path
Names” on page 83.

Surround Mix Settings

(Pro Tools Ultimate and Studio Software Only)

Sorting bus paths in the I/O Setup The Surround Mix setting provides additional, sur-
round-specific Output and Bus settings files.
To sort bus paths by Name:

1 In the Bus page, click the Name column header. See Chapter 56, “Pro Tools Setup for
Surround.”
2 Click the Name column header again to toggle
between ascending and descending sort order.

To sort bus paths by Format:

Downmix and Upmix Output
Busses to Outputs
1 In the Bus page, click the Format column
(Pro Tools Ultimate and Studio Software Only)
header.
2 Click the Format column header again to toggle Pro Tools lets you “downmix” session output
between ascending and descending sort order. buses to physical output paths with channel for-
mats of a lesser width. For example, you can listen
To sort bus paths by Mapping To Output status: to a 5.1 mix on a stereo system without modifying
the actual session routing.
 In the Bus page, click the Mapping To Output
column header. Narrower formats automatically map to wider ones
with one-to-one matching connections (for exam-
Factory I/O Seittings ple, L to L, R to R, and so on). In cases where cer-
tain channels do not match (such as mono to stereo
Pro Tools provides factory I/O settings for stereo Left and Right, or LCRS to 5.1), Pro Tools lets you
and surround mixing, and are automatically in- upmix by distributing the mismatched channels of
stalled with Pro Tools. These settings provide new an output bus channel to more than one physical
sessions with generic path and sub-paths for either output channel. For example, Pro Tools let you up-
mixing format. mix a mono output bus to both channels of a stereo
output path, or the Surround path from an LCRS
Factory I/O settings are available in the I/O Set-
source to the Left Surround and Right Surround
tings pop-up menu in the Dashboard.
paths of a 5.1 output.

92 Pro Tools Reference Guide

When down mixing (“fold down”) or up mixing Downmix and Upmix Indicators
(“fan out”), Pro Tools uses the routing coefficients for Output Paths
defined in the Mixing Preferences (see “Routing
When a track or send is set to an Output path of a
Coefficients” on page 141).
different channel width, the source audio is down-
It is not recommended that you mix while mixed or to upmixed accordingly. The Output se-
monitoring the session through a downmixed lector in the Mix, Edit, and Output windows dis-
or unmixed Output path. Use downmixed or plays a > (downmix) or a < (upmix) symbol
upmixed monitoring for editing and other respectively. This lets you easily identify any track
non-mixing tasks. that is downmixing or upmixing to an Output path
of a different channel width.
To assign downmix or upmix Output bus paths:
1 Open the I/O Setup (Setup > I/O).
2 Select the Bus page (I/O Setup > Bus).
3 Click the Mapping to Output column on the row
5.1 track with Downmix indicator
for the Output bus that you want to remap to a
lower or higher channel format (from the avail-
able Output paths).
I/O Settings Files
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
Selecting a stereo Output path for a 5.1 Output Bus shared between systems. I/O settings files are also
available in the I/O Settings pop-up menu in the
Dashboard.

For I/O settings files to be available in the Dash-

board, I/O settings files must be saved to the IO
Selecting a 5.1 Output path for an LCRS Output Bus Settings folder in the Root Settings Folder. You
4 Click OK to save your changes and close I/O can change the location of the Root Settings Folder
Setup. in the Operation Preferences (see “User Media and
Settings Location” on page 129).

Chapter 6: I/O Setup 93

 Last Used I/O Settings To import I/O settings for your Pro Tools system
from a Pro Tools session file:
If any changes are made to the I/O Setup, these
1 Open the I/O Setup (Setup > I/O).
changes are automatically saved to the IO Settings
folder as the Last Used settings file when the I/O 2 Select the tab for the page where you want to
Setup is closed (by clicking OK). import settings.

Last Used settings are available in the I/O Settings 3 Click Import Settings.
pop-up menu in the Dashboard, or when importing
Enable the Apply to all tabs option or press
I/O Settings in the I/O Setup.
Option (Mac) or Alt (Windows) while click-
ing Import Settings to overwrite I/O Settings
Custom I/O Settings in all pages with the settings imported from a
Custom I/O Settings files can be created by chang- session file.
ing I/O Setup settings (see “Customizing I/O Set-
4 In the Open dialog, navigate to and select the
tings” on page 73), and then exporting the settings.
session or I/O settings file you want.
These I/O settings can then be restored by import-
ing them into a system. 5 Click Open.

This lets you save settings for different projects, 6 Click OK to save your changes and close I/O
import settings to reconfigure the I/O Setup, and Setup.
manage path definitions and signal routing setups.
You can also import I/O paths and path
names, as well as other session data, from
Importing I/O Settings a different session by using the Import Ses-
Pro Tools lets you import I/O Settings from session sion Data command (File > Import > Ses-
files (.ptx) I/O settings files (.pio) before or after sion Data). For information, see “Import-
you open a session. I/O Settings are only imported ing Session Data” on page 481.
for the current page of the I/O Setup. For example,
To import I/O Settings:
if you are viewing the Output page and import I/O
Settings, only the settings for the Output page are 1 Click the tab for the page of the I/O Setup for
imported. This helps to avoid overwriting your which you want to import settings.
custom I/O Settings on other pages. 2 Click Import Settings.
When you import I/O Settings, you can choose to Enable the Apply to all tabs option or press
delete any unused path definitions before import- Option (Mac) or Alt (Windows) while click-
ing the new paths, or leave unused path definitions ing Import Settings to overwrite I/O Settings
intact and add the new paths to the current I/O in all pages with the settings imported from a
Setup configuration. session file or I/O settings file.

3 Select an I/O settings file (.pio) or a Pro Tools

session file (.ptx) in the Import Settings dialog
and click Import.

94 Pro Tools Reference Guide

4 A dialog appears asking whether you want to To restore I/O settings from the session:
delete existing paths. Do one of the following: 1 Open the I/O Setup (Setup > I/O).
• Click Yes to remove any unused paths and
2 Select the tab for the page that you want to re-
add the imported paths to the current I/O
store from the session.
Setup configuration.
• Click No to add the imported paths to the cur- 3 Click Restore from Session.
rent I/O Setup configuration.
Enable the Apply to all tabs option or press
If the import results in overlapping paths, the new Option (Mac) or Alt (Windows) while click-
paths will appear in the I/O Setup as Inactive. See ing Restore from Session to restore settings
“Making Paths Active or Inactive” on page 86. for all I/O Setup pages from the session.

After importing I/O Settings, you can then reassign 4 Click OK to save your changes and close I/O
path routing definitions in the I/O Setup by remap- Setup.
ping, renaming, and deleting paths. See “Pro Tools
Software Signal Paths” on page 58.
Session or Project
Exporting I/O Settings Interchange and I/O Mapping
When you export I/O settings, all pages of the I/O I/O Setup mappings are saved both with the last
Setup are exported. used .pio file (Pro Tools I/O settings file) and the
session or project. When opening a session or proj-
To export and save an I/O Setup configuration as a ect on a system that has a different I/O Setup,
custom I/O Settings file: Pro Tools follows these rules to ensure the best
1 Configure the I/O Setup settings. possible re-mapping of the session’s or project’s
I/O Setup to the new system:
2 Click Export Settings.
• Output busses are mapped to system Output
3 Name and save the settings file. The settings file paths by unique ID if possible.
is appended with “.pio” to distinguish it as an
• Pro Tools always maps the Monitor Path of the
I/O settings file.
session or project to the Monitor path of the cur-
To start sessions with a blank or empty rent system. (If Monitor subpaths exist in the
I/O Setup, you can create and export an I/O session, Pro Tools uses the best matching format
Settings file in which all definitions have been for the system Monitor subpaths.)
deleted. • Otherwise, Output busses that are mapped to
system Output paths by name and format if there
Restore from Session is an exact match.
Pro Tools provides a Restore from Session button If there is no match between Output busses and
that only affects the currently viewed page in I/O system Output paths, you can manually remap
Setup. For example, if you are viewing the Output Output busses. Pro Tools uses the manually re-
page, only the Output settings are overwritten by mapped unique ID the next time the session is
the settings saved with the session. opened on that system.

Chapter 6: I/O Setup 95

 After configuring the I/O Setup on any given sys- Show Last Saved or Current
tem for a session or project, the settings are re- Setup
tained with the session file or the project.
When opening a session that was saved with a dif-
You can recall the I/O settings saved with the ferent I/O Setup configuration for either hardware
session or project and overwrite the system inputs or outputs, Pro Tools lets you switch be-
settings (see “Restore from Session” on tween the I/O Setup last saved with the session and
page 95). the current system I/O Setup. This lets you take
note of the hardware Input and Output configura-
Indication of Remapping in the tion of the I/O Setup saved with the session.
Bus Page Both the Input and Output pages of the I/O Setup
Where the system Output path name or format has window provide the Show Last Saved Setup but-
changed, session Output busses that are success- ton. When the last saved I/O setup is shown, the
fully remapped are displayed in green. button is highlighted.

Once you save the session, the Show Last Saved

Setup button is grayed out.

Remapped Output Busses displayed in green

Additionally, a Previous Output Mappings column

appears to the right of the Output Mappings col- Show Last Saved Setup button in the Input page
umn. This lets you take note of the output map-
pings that the session used the last time it was When showing the I/O Setup last saved with the
saved. session, any unavailable hardware Inputs or Out-
puts are displayed in italics.

Previous Output Mappings column

Once you save the session, the Output mapping

changes from green to black and is saved both with Unavailable hardware Input shown in italics
the system and with the session. Additionally, when showing the I/O Setup last
saved with the session, the Monitor Path, Audition
Path, Output Meter Path, and AFL/PFL Path set-
tings that were saved with the session are shown
grayed out.

96 Pro Tools Reference Guide

To show the last saved I/O settings: Pro Tools remembers the individual I/O settings
1 Open the I/O Setup (Setup > I/O). for your system for each Playback Engine avail-
able to your system. This includes all Inputs, Out-
2 Click either the Input or Output tab. put, Insert, and Hardware Delay settings, and also
3 Click the Show Last Saved Setup button (the settings such as the selected Monitor and Audition
button highlights). paths. The session’s output bus mappings are
stored in the I/O Settings of the selected Playback
You can restore the I/O settings saved with Engine, ensuring that you can hear the main mix
the session and overwrite the system settings from the session from any Playback Engine.
(see “Restore from Session” on page 95).

When viewing the I/O Setup last saved with Organize Track I/O Menus By
the session, the OK option is not available for Preference
saving and closing I/O Setup. Pro Tools lets you organize track I/O Menus by
Type, Width, or both Type and Width.
To show the current I/O settings:
1 If not already open, open the I/O Setup (Setup >
I/O).

2 Click either the Input or Output tab.

3 Click the highlighted Show Last Saved Setup
button (the button becomes unhighlighted).

I/O Settings and the Playback

Engine
Track IO menus organized by both Type and Width
When you change the Playback Engine (for exam-
ple, from HDX to Built-in) Pro Tools automati- To specify the organization of Track I/O Menus:
cally creates and recalls I/O Settings (.pio) files 1 Choose Setup > Preferences.
based on the Playback Engine. The first time that
you use a new Playback Engine, Pro Tools uses the 2 Select the Display tab.
stereo defaults for the selected Playback Engine 3 Select one of the following options from the Or-
and corresponding hardware. Thus, even on the ganize Track IO Menus By selector:
same computer, Pro Tools treats different Play-
back Engines as if they are different systems. This Type Displays only the I/O Type (Interface or Bus)
facilitates changing the Playback Engine without as I/O categories in Track I/O menus.
having to manually remap Output Busses in the
Width Displays only the I/O Channel Width (such
I/O Setup. These I/O Settings files are named after
as stereo or 5.1) as I/O categories in Track I/O
the corresponding Playback Engine and are saved
menus.
both on the system and with the session.

Chapter 6: I/O Setup 97

 Type and Width Displays both Type and Width as
I/O categories in Track I/O menus. Pro Tools Session Templates
and I/O Settings
4 Click OK.
Pro Tools session templates include the I/O Set-
tings of the system on which the template was cre-
ated. The I/O Settings selector is available when
I/O Setup in Session Notes
creating a new session from a template. This set-
When opening a Pro Tools session or project, the ting determines the configuration of the physical
Session Notes dialog provides a complete list of inputs and outputs of your system. The new ses-
any mismatched Output bus mappings. In addition sion uses the busses from the selected template, but
to being able to see this information and save it to these busses are automatically mapped to the phys-
a text file, you can also open the I/O Setup from the ical outputs of the system (the selected Playback
Session Notes dialog to resolve any unmapped Engine).
Output busses.

Aux I/O
(macOS Big Sur or Later Only)

Pro Tools on macOS lets you use Aux I/O to ex-

tend your Pro Tools I/O capabilities through Core
Audio routing on macOS (Big Sur or later only).
Choose any device that you prefer to use as your
main Playback Engine, such as HDX (Hybrid En-
gine only) or Pro Tools | Carbon, and then add in-
dividual Aux I/O input and/or output devices in the
I/O Setup (such as Zoom or your favorite sound li-
brary application). Each enabled device appears in
I/O Setup as an additional interface that can be as-
signed to input or output of a track.
Session Notes with unmapped Output busses
Aux I/O Available Channels by tier
To open the I/O Setup from the Session Notes
dialog: Tier Ultimate Studio Artist

1 If the Session Notes dialog reports unmapped Inputs unlimited unlimited 4

bus paths, click the I/O Setup button.
Outputs unlimited 32* 4
2 In I/O Setup, reassign any unmapped bus paths
as necessary. *Dolby Audio Bridge allows 130 with an active con-
nection to the Dolby Atmos Renderer.
3 Click OK to save your changes and close I/O
Setup. Aux I/O is not supported with Pro Tools Intro
and is not available with Classic HDX (for
technical reasons).

98 Pro Tools Reference Guide

Use Aux I/O with Pro Tools Audio Bridge to 3 In the Aux I/O dialog, select the In or Out option
stream audio between Pro Tools and another DAW for the Core Audio devices that you want to use
(such as Ableton Live) or virtual instrument and as additional Input and Output Aux I/O with Pro
effects hosts like Apple MainStage, or use Aux I/O Tools.
to stream audio out to Zoom or Microsoft Teams
for production review.

For more information about Pro Tools Audio

Bridge in AMS, see “Pro Tools Audio Bridge”
on page 169.

When streaming audio between Pro Tools

and other audio applications and hardware,
it is strongly recommended that they all use
the same sample rate in order to avoid perfor-
mance issues. Aux I/O dialog

While Aux I/O can use any Core Audio device Use Pro Tools Audio Bridge as the audio con-
on the system, it is recommended that you use nection between Pro Tools and any other ap-
Pro Tools Audio Bridge devices for optimal plication to avoid clicks pops, errors, or other
performance. Aux I/O devices should not be artifacts.
used interchangeably with your main playback
engine as it incurs greater, non-deterministic 4 If desired, you can rename Aux I/O input and
latency (which means latency can change be- output devices in the Display Name column.
tween playback and recording passes). Aux 5 After you have selected In and Out for any Core
I/O is meant to be used as a utility to route sig- Audio devices you want to use as Aux I/O with
nal through Pro Tools, but should not be relied Pro Tools, click OK.
upon for critical audio tasks.
6 Click OK to close the I/O Setup window.
Setting Up Aux I/O Any Core Audio devices selected as In or Out Aux
The Input and Output pages of the Pro Tools I/O I/O devices can be selected as the input or output
Setup window let you add any Core Audio device for audio, Auxiliary Input, Routing Folder, Instru-
for use with Pro Tools as Aux I/O in addition to the ment, and Master Fader tracks, or as Outputs for
I/O of the selected Playback Engine. Sends.

In the Playback Engine (Setup > Playback

To add Core Audio devices as additional Auxiliary
Inputs or Outputs to the Pro Tools mixer: Engine), enable the Aux I/O option under Ig-
nore Errors During Playback/Record to en-
1 Choose Setup > I/O.
sure uninterrupted playback with Aux I/O.
2 On either the Input or Output page of the I/O However, this may result in pops and clicks
Setup, click the Aux I/O button. during playback.

Chapter 6: I/O Setup 99

 Path Colors
I/O Setup lets you color code Input, Output, Bus, Dolby Atmos (Pro Tools Ultimate and Studio only), and
Insert paths. Color coded paths display their assigned color on Input, Output, Send, and Insert Name plates
in the Edit, Mix, Send, and Output windows.

To color code an I/O path:

1 Choose Setup > I/O.
2 Select the I/O Setup page you want (Input, Output, Bus, Dolby Atmos, or Insert).
3 Click the Color selector to the left of the path to which you want to assign a color.

Figure 8. Selecting an I/O path color

4 Click the desired color on the Color palette to assign the color you want to the path.

Figure 9. Bus paths with selected colors

You can assign a single color to multiple selected paths with a single click in the Color palette.

5 Configure the rest of the I/O Setup as desired.

6 Click OK.

Assigned path colors are saved as part of the path and included with the I/O Settings in sessions and .pio
files. Paths are stored and recalled from different places depending on the path type.

100 Pro Tools Reference Guide

Figure 10. Mix window with color coded output, input, and bus paths

Figure 11. Edit window I/O and Insert view with color coded I/O paths

Assigned path colors are inherited by related paths (as long as the related paths are set to the default color,
which they are by default). For example, assigning a color to an Output path is automatically inherited by
its corresponding assigned output bus path (unless the bus path is uniquely assigned a different color).

If you color code Dolby Atmos groups and assign a group to a path in the Dolby Atmos tab, it also colors
the path. If that path is mapped to an output when using an external renderer, that output inherits the
Group color as well.

Chapter 6: I/O Setup 101

 Color with Multiple Output/Send
Assignments
Pro Tools lets you assign track outputs and sends
to more than one path. If these paths are colored
differently, all colors are shown.

Mix window I/O view with multi-color coded I/O paths

I/O Plate Color Saturation

The Color Palette window provides an I/O Plate
Mix window I/O view with multi-color coded I/O paths
Saturation control that lets you adjust the color sat-
uration for I/O paths on Input, Output, Send, and 5 Close the Color Palette window.
Insert Name plates in the Edit, Mix, Send, and Out-
put windows.

To adjust the color saturation of color-coded I/O

paths for I/O name plates:
1 Choose Window > Color Palette.
2 Reveal UI Customization.
3 Reveal Tracks.
4 Adjust the I/O Plate Saturation control as de-
sired.

102 Pro Tools Reference Guide

Chapter 7: System Setup

Shut down your Pro Tools system in this order:

Starting Up or Shutting Down
Quit Pro Tools.
Your System 1

To ensure that the components of your Pro Tools To quit Pro Tools, choose Pro Tools > Quit
system communicate properly with each other, you (Mac) or File > Exit (Windows).
need to start them in a particular order.
2 Turn off or lower the volume of all output
Start up your Pro Tools system in this order:
devices in your system.

1 Make sure all your equipment (including your 3 Turn off your computer.
computer) is off. 4 Do one of the following depending on your
2 Lower the volume of all output devices in your Pro Tools system:
system. • For HDX and HD Native systems, turn off
your Pro Tools audio interfaces.
3 For systems with an expansion chassis, turn on
the chassis. • For Pro Tools systems with hardware requir-
ing external power (like Pro Tools | Carbon),
4 Turn on any control surfaces (such as S1 or S6). turn off the hardware.
5 Turn on any MIDI interfaces, MIDI devices, or 5 For systems with an expansion chassis, turn off
synchronization peripherals. the chassis.
6 Do one of the following, depending on your 6 Turn off any MIDI interfaces, MIDI devices, or
Pro Tools system: synchronization peripherals.
• For HDX and HD Native systems, with the
7 Turn off any control surfaces (such as S1 or S6).
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. Running DigiTest
• For Pro Tools systems with hardware requir- Before you use Pro Tools, you may want to run the
ing external power (like Pro Tools | Carbon), DigiTest™ diagnostic application to ensure that all
with the volume of all output devices low- HDX cards in the system are recognized, installed
ered, turn on the hardware. in the proper order, and have valid connections.
You can also use DigiTest to validate your
7 Turn on your computer.
HD Native PCIe card or Thunderbolt interface.
8 Launch Pro Tools. For more information, see the Avid DigiTest Guide.

Chapter 7: System Setup 103

 Configuring the Playback
Engine
When you first launch Pro Tools, you are now
prompted to select the Playback Engine for your
system. Similarly, if the previously selected Play-
back Engine is unavailable, you are prompted to
select a new Playback Engine the next time you
launch Pro Tools.

To select the Playback Engine for your system the

first time you launch Pro Tools:

1 Install and then launch Pro Tools.

2 When prompted to select the audio device
(Playback Engine) for you system, click Next.
3 In the resulting Playback Engine dialog, select
the desired Playback Engine for your system.
4 Click OK.

Pro Tools launches using the selected Playback

Engine for audio input and output. Playback Engine for an HDX system, Hybrid Engine
enabled (Mac)

To configure the Pro Tools Playback Engine:

Playback Engine
1 Choose Setup > Playback Engine.
Pro Tools lets you adjust the performance of your
system by changing system settings that affect its 2 From the Playback Engine selector, select your
capacity for processing, playback, and recording. audio interface:
These system settings are available in the Playback • For HDX systems, use HDX for the Playback
Engine (Setup > Playback Engine). Engine. Enable the Hybrid Engine option for
mixed HDX DSP and host CPU processing
In most cases, the default settings for your system
for the mixer. Disable the Hybrid Engine op-
provide optimum performance, but you may want
tion to use only HDX DSP for the mixer
to adjust them to accommodate large or process-
(HDX Classic).
ing-intensive Pro Tools sessions.
• For HD Native systems, use the default set-
ting of HD Native.
• For supported Avid audio interfaces (such as
Mbox), select the name of the corresponding
interface to use the Avid Audio Engine for
Pro Tools.

104 Pro Tools Reference Guide

 • For Pro Tools | Carbon (Mac only), select When changing engines with a Pro Tools session
Pro Tools | Carbon (configured with Core open, Pro Tools closes and reopens the session to
Audio AVB in AMS). For more information, initialize the new engine.
see the Pro Tools | Carbon Guide.
On HDX systems, changing engines, or toggling
• For third-party audio interfaces with compat-
the Hybrid Engine on or off, requires that you quit
ible Core Audio (Mac) or ASIO (Windows),
and relaunch Pro Tools for the new setting to take
select the name of the corresponding Core
effect.
Audio (Mac) or ASIO (Windows) compatible
audio interface. When changing engines on any Pro Tools
• On Mac systems, if you are using built-in au- system, you may need to reset the default
dio, select any of the available built-in op- I/O settings to match the selected audio
tions for playback or select Pro Tools interface.
Aggregate I/O for simultaneous input and
HDX Classic versus HDX Hybrid Engine
output with the built-in I/O hardware options.
(You can create and configure Aggregate I/O (HDX Systems Only)
Core Audio devices in AMS.) HDX systems running with the Hybrid Engine dis-
• On Windows systems, select ASIO4ALL v2 abled use dedicated DSP on the HDX cards in-
or Windows Audio Device to use the built-in stalled in your system for playback and recording,
audio. plug-in processing, and mixer configurations. This
is referred to as HDX Classic to differentiate it
3 Configure the remaining Playback Engine set-
from the HDX Hybrid Engine. With HDX Classic
tings as desired.
the number of available voices for playback and re-
4 Click OK. cording is limited by the number of HDX cards in-
stalled in your system.
Device Section
HDX systems running on the HDX Hybrid Engine
Playback Engine on the other hand, use CPU host processing for
plug-in processing, mixer configurations, and
In the Playback Engine dialog, Pro Tools lets you
playback with high voice counts, and reserve HDX
select the audio engine for use with your audio in-
DSP for track-by-track plug-in processing and
terface. The available options are determined by
mixer configuration in DSP Mode for ultra-low la-
which audio interfaces are connected and have
tency record and input monitoring.
compatible drivers installed.

Changing the Playback Engine setting can be use-

ful if you have multiple audio interfaces connected
to your computer with different routing configura-
tions in your studio, or if you want to prepare a ses-
sion 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).

Chapter 7: System Setup 105

 Playback Engine using HDX Classic
Playback Engine using Pro Tools Aggregate I/O (Mac)
Pro Tools Aggregate I/O
(Mac Only) Configure the Input and Output options for
Pro Tools Aggregate I/O in the Mac Audio MIDI
On Mac systems using Core Audio, you can use
Setup (AMS), which can be accessed from the
Pro Tools with the built-in audio inputs and out-
Pro Tools Hardware Setup.
puts on your Mac by selecting any of the available
built-in inputs and outputs, or by selecting the If you need simultaneous input (recording)
Pro Tools Aggregate I/O option for using a combi- and output (playback and monitoring) with
nation of built-in inputs and outputs simultane- Pro Tools using the built-in audio options on
ously (for recording and monitoring). 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.

106 Pro Tools Reference Guide

ASIO4ALL v2 Windows Audio Device (WASAPI)
(Windows Only) (Windows Only)

On Windows systems, select the ASIO4ALL v2 op- On Windows systems, select the Windows Audio
tion to use the built-in WDM sound card (for re- Device option to use the built-in audio, or any other
cording and monitoring). The ASIO4ALL v2 supported 3rd-party Windows Audio Device.
driver is installed automatically with Pro Tools.
You can configure the ASIO4ALL settings in its In order to reduce demand on the CPU and to
Setup App (choose Settings > Hardware and click provide optimal performance when using a
Launch Setup App). WASAPI device with Pro Tools, audio stream-
ing with that device is restricted to Pro Tools
and is unavailable for the system or any other
audio application.

Playback Engine using ASIO4all (Windows)

Playback Engine using Windows Audio Device

Playback Engine with ASIO device on Windows

Chapter 7: System Setup 107

 Settings Section With the HDX Hybrid Engine enabled, you can en-
able or disable DSP Mode on a track-by-track basis
The Settings section of the Playback Engine dialog
for ultra-low latency input and record monitoring.
provides different settings and options depending
DSP Mode is only supported with the HDX Hybrid
on the device selected as the Playback Engine.
Engine or Pro Tools | Carbon.
HDX Hybrid Engine For information about DSP Mode, see
(HDX Systems Only) Chapter 53, “DSP Mode.”

The HDX Hybrid Engine uses both HDX DSP and

host CPU processing to maximize Pro Tools per- Using the HDX Hybrid Engine can also re-
formance. With the Hybrid Engine enabled, the duce system delays incurred by mixed DSP
mixer runs on the host CPU, and HDX DSP is re- and Native plug-in processing, which directly
served for DSP plug-in processing and track-based improves the fader and knob responsiveness
DSP Mode. The Hybrid Engine provides up to when using a control surface.
2,048 voices (at all sample rates)—compared to a
maximum of 256 voices per HDX card with the Number of Voices
Hybrid Engine disabled (HDX Classic). (HDX Classic Only)

On HDX systems with the Hybrid Engine disabled

(HDX Classic), the Number of Voices setting in the
Playback Engine lets you set the number of avail-
able voices. 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 with different HDX systems, see

“Playback, Recording, and Voice Limits with
Pro Tools Ultimate Software” on page 48.

Hybrid I/O Channels

(HDX Hybrid Engine Only)

On HDX systems with the Hybrid Engine enabled,

the Hybrid I/O Channels setting lets you specify the
number of Input and Output channels available for
ultra-low latency monitoring with tracks in DSP
Mode. Each HDX card installed in your system
supports 256 Hybrid I/O channels at 48 kHz, 128 at
96 kHz, and 64 at 192 kHz. As a general rule, se-
Playback Engine using the HDX Hybrid Engine lect the lowest number of Hybrid I/O channels you
need.

108 Pro Tools Reference Guide

Hardware Buffer Size Sample Rate
(HDX Systems Only)
The Hardware Buffer Size (H/W Buffer Size) con-
trols the size of the buffer used to handle host- The Sample Rate setting in the Playback Engine
based processing tasks such as processing with Na- shows the default sample rate used when you cre-
tive plug-ins. ate a new session. If a session is open, the current
• Lower Hardware Buffer Size settings are useful session sample rate is displayed, but cannot be
for improving latency issues in certain recording changed. If no session is open, you can set the de-
situations or for improving certain system per- fault sample rate for new sessions.
formance problems.
Voices
• On all Pro Tools systems, lower settings re-
duce MIDI-to-audio latency (such as when (Pro Tools Ultimate on non-HDX Systems or
HDX Hybrid Engine Only)
playing a virtual instrument live and monitor-
ing the instrument’s output). Lower settings Displays the maximum number of voices available
can also improve screen response or the accu- (2,048).
racy of plug-in and mute automation data.
• On host-based Pro Tools systems, lower set- Video Engine
tings reduce all input-to-output monitoring
Enable the Video Engine option to import, edit, and
latency on any record-armed tracks or Auxil-
playback a wide range of Avid HD and SD MXF
iary Input tracks with live inputs.
video formats on Pro Tools video tracks without
• On HDX systems, lower settings reduce mon- transcoding. With the Video Engine enabled you
itoring latency that occurs on tracks that have can simultaneously view desktop video and video
one or more Native plug-ins. Lower settings monitored using a video peripheral.
can also improve the accuracy of MIDI track
timing on systems without a MIDI interface
that supports time stamping. Lower settings
Optimizations Section
also improve MIDI track timing on tracks us- The settings in the Optimization section provide
ing MIDI virtual instruments that do not sup- various options for optimizing Pro Tools perfor-
port time stamping. mance.
• Higher Hardware Buffer Size settings are useful
Ignore Errors During
when playing back and mixing sessions that use
Playback/Recording
Native plug-ins. They can also be useful to re-
duce errors on machines that require a higher The Ignore Errors During Playback/Record option
buffer size. determines how Pro Tools responds to error re-
porting 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.

Chapter 7: System Setup 109

 Once you are ready to work on the final mix you Minimize Additional I/O Latency
should disable this option. Observe the following (Host-based Pro Tools Systems Only)
guidelines as to whether or not to enable or disable
error suppression: When the Minimize Additional I/O Latency option is
enabled, any additional latency due to ignoring er-
• Enable error suppression only if you are experi-
rors during playback and recording is minimized to
encing frequent errors that are interrupting your
128 samples. Ignoring errors requires at least 128
creative workflow. When error suppression is
samples of additional buffering on some systems.
enabled, you can experience a degradation of au-
If this option is disabled, the buffer is half the H/W
dio quality. However, this may be acceptable in
Buffer Size, or at least 128 samples (whichever is
order to avoid interrupting playback and record-
greater). If you are using a slower computer, you
ing when working with instrument plug-ins.
may want to disable this option to avoid adverse
• Disable error suppression when you need to en- performance.
sure the highest possible audio quality, such as
for a final mix. Dynamic Plug-In Processing

If the Ignore Errors During Playback/Record option When enabled, the Dynamic Plug-In Processing
is enabled and too many CPU intensive Native option maximizes plug-in counts by dynamically
plug-ins are active in the session (such as Eleven reallocating host-based processing resources as
Free or various virtual instrument plug-ins), you needed. This means that plug-ins only use CPU
may experience badly distorted audio. If you en- cycles when they are actually processing audio.
counter this problem, remove or make inactive any
unnecessary Native plug-ins. You can also isolate Optimize Performance at Low Buffer
and bus record any tracks that use virtual instru- Sizes
ments, and then make those source tracks inactive (Mac Only)
to free up processing resources.
In the Playback Engine dialog, the Optimize Per-
Ignore Errors During Playback/Recording For formance at Low Buffer Sizes option ensures that
CPU performance is optimized as thread-wakeup
On macOS only, there are two options for ignoring time jitter is minimized on macOS. When enabled
errors during playback and recording: (it is enabled by default), this option impacts only
the two lowest available HW Buffer Size settings.
Main Playback Engine Enable to avoid interrup-
However, when this option is enabled, certain
tions to playback and recording for the main play-
plug-ins may cause the system to hang for several
back engine.
seconds. If you encounter this issue, disable the
Aux I/O Enable to avoid interruptions to playback option or increase the HW Buffer Size setting.
and recording for any Aux I/O configured for Input
and/or output with Pro Tools on macOS. Limit Number of Real-Time Threads
(Pro Tools on Intel-based Macs Only)

Pro Tools uses real-time threads for low-latency

audio processing. To achieve low latency, these
threads take priority to be processed quickly. How-
ever, if there are other, non-Pro Tools real-time

110 Pro Tools Reference Guide

threads running, they may contend with Pro Tools When the Intel Turbo Boost option is disabled, Mac
threads for CPU resources. This can cause play- fan noise should be greatly reduced. However, you
back errors (such as –9093 and –6101 errors) and may notice a slight reduction in overall system per-
AVB audio drop outs. formance.

To reduce the possibility of resource contention Activate Pro Tools Power Scheme
you can limit the number of real-time threads that
(Windows Only)
are spun up and run by enabling the Limit Number
of Real-Time Threads option in the Playback En- Enable the Activate Pro Tools Power Scheme op-
gine dialog. tion to optimize Pro Tools performance. When en-
• When enabled, CPU resource contention is min- abled, a dialog is displayed that describes how this
imized by limiting the number of low latency setting optimizes Pro Tools performance, but de-
processing threads that Pro Tools will spin up to activates Windows power-saving settings which
[(number of physical cores) –1]. can result in increased power consumption, CPU
heat generation, fan activity and potential noise.
• When disabled (legacy Pro Tools behavior),
Pro Tools will spin up and run more real-time
threads [(number of logical cores) –1], or [(num- Disk Playback Section
ber of logical cores) –2] for machines with 12 or
Cache Size
more logical cores.
The Cache Size setting in the Playback Engine de-
If you are recording or input monitoring many termines the amount of memory allocated to pre-
tracks with plug-ins, having this option en- buffer audio for playback and recording. In most
abled may result in –9093 and –6101 errors cases, the default setting of Normal is the optimum
due to a reduction in the number of parallel Cache Size for most sessions.
high-priority real-time threads that Pro Tools
will spin up. If this occurs, disable this option. Pro Tools can also load audio files used in
Pro Tools sessions into RAM for cached playback.
Intel® Turbo Boost Pro Tools prioritizes files closest to the current
(Intel-based Macs with Turbo Boost Support playhead location. This way, when you start play-
Only) back, those files are already cached for playback.
This is especially useful when working with shared
Many Intel®-based Macs provide a feature called
media storage (such as with Avid Unity ISIS®
“Turbo Boost.” This accelerates processor and
shared storage systems).
graphics performance for peak loads, automati-
cally allowing processor cores to run faster than To determine the maximum amount of RAM avail-
the rated operating frequency. The downside is able for the Disk Cache, Pro Tools polls the com-
that this also increases CPU temperature, which puter for the amount of RAM installed and sub-
can cause Mac fans to have to run faster and thus tracts 4 GB of RAM. For example, if your
generate more noise. computer has 16 GB of RAM installed, the total
amount of RAM available for the Disk Cache will
Turbo Boost is enabled by default on macOS and
be 12 GB.
its setting applies to the entire Mac system (not just
Pro Tools).

Chapter 7: System Setup 111

 You can use the Disk Cache and Memory
meters in the System Usage window to deter-
mine whether to assign more or less RAM to
the Disk Cache for the current session. See
“System Usage” on page 119.

To set the amount of RAM for use by the Disk

Cache:

1 Choose Setup > Playback Engine.

2 From the Disk Cache selector, select the amount Hardware Setup for HD OMNI, Main page
of RAM you want to allocate for Disk Cache.
3 Click OK.

Configuring MIDI Setup

If you plan to use any external MIDI devices with
Pro Tools (such as controllers, keyboards, synthe-
sizers, drum machines, samplers, sequencers, or
sound modules), you may want to configure your Hardware Setup for Mbox (third generation)
MIDI setup using Audio MIDI Setup (Mac) or
MIDI Studio Setup (Windows). Selecting an Audio Interface to
Configure
For more information, see Chapter 10,
“Configuring MIDI.” The Peripherals list in the Hardware Setup lets you
select any audio interface connected to your
Pro Tools system associated with the selected Cur-
Configuring Hardware rent Engine setting in the Playback Engine dialog.
Settings in Pro Tools
To change the Playback Engine setting to use a
Pro Tools lets you configure the signal routing, specific audio interface or AAE (such as HDX, HD
digital I/O format, default sample rate, clock Native, or a third-party Core Audio or ASIO inter-
source, and other hardware-based settings depend- face), see “Playback Engine” on page 105).
ing on your system configuration. These system
settings are available in the Hardware Setup For Avid HD audio interfaces (such as HD OMNI
(Setup > Hardware). 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.

112 Pro Tools Reference Guide

For third-generation Mbox family audio inter- Configuring Pro Tools
faces, and third-party Core Audio (Mac) and ASIO Aggregate I/O
(Windows) compatible audio interfaces, use the (Mac Only)
Launch Control Panel button to launch the control
panel for configuring your specific audio interface. 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
Launch Control Panel or Setup Mac computer. You can configure the Pro Tools
App Aggregate I/O setting in the Mac Audio Setup,
(Pro Tools with Avid Hardware or Third-Party which can be accessed from the Pro Tools Hard-
Audio Interfaces with Control Panel Software)
ware Setup.
Using the control panel or setup application for
your audio interface, you can change settings in the To configure Pro Tools Aggregate I/O settings:
following areas, depending on your audio inter- 1 Choose Setup > Hardware.
face:
2 In the Peripherals list, select Pro Tools Aggre-
• Mixer Settings gate I/O, or whichever Built-in input or output
• Output Settings option is selected as the Current Engine in the
Playback Engine.
• 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.

To change control panel settings:

1 In the Hardware Setup dialog, click the Launch
Control Panel button or Launch Setup App but-
ton (depending on your audio interface).
Hardware Setup for Pro Tools Aggregate I/O
2 To change settings in the control panel or setup (Mac only)
application, see the documentation that came
3 Click the Launch Setup App button.
with your audio interface.
4 In the Audio Devices window of the Mac Audio
3 When finished, close the control panel or setup
Setup, configure the Pro Tools Aggregate I/O
application.
settings.

The Pro Tools Aggregate I/O device is in-

tended for use only with the built-in audio on
your Mac computer. For best performance,
use the default settings.

Chapter 7: System Setup 113

 Configuring Default Sample Rate Configuring Clock Source
Setting in Hardware Setup
The Pro Tools Hardware Setup lets you select the
The Sample Rate setting in the Hardware Setup di- Clock Master for the system.
alog determines the default sample rate when you
create a new session. This setting is available only Changes made to Clock Master in the Session
when there is no session open. Otherwise, the cur- Setup window are reflected in the Hardware
rent session sample rate is displayed, but cannot be Setup window.
changed.
Internal If you are recording an analog signal
With HDX and HD Native hardware, you can directly into Pro Tools, you will usually use the
change the default Sample Rate in the Hardware Pro Tools Internal clock source.
Setup, or in the Playback Engine.
External If you are transferring material into
With HDX and HD Native hardware, the Pro Tools from an external digital device, or if you
Sample Rate setting can affect the number utilize a common house clock signal, you will syn-
of available voices. chronize Pro Tools to that digital device or com-
mon signal.
On other Pro Tools systems, you can only change
the default sample rate in the Hardware Setup or Depending on your audio interface, external
using the control panel for third-party audio inter- options can include AES/EBU [Encl], S/PDIF,
faces. Optical [Encl], AES/EBU 1–8, TDIF, ADAT, and
Word Clock. For details, see the guide for your au-
You can set the sample rate when creating a dio interface.
new Pro Tools session by selecting a different
sample rate in the New Session dialog. To select the Clock Master:
1 Choose Setup > Hardware.
To change the default Sample Rate in the
Hardware Setup: 2 Choose the clock source from the Clock Master
1 Choose Setup > Hardware Setup. pop-up menu.

2 Select the sample rate from the Sample Rate 3 Click OK.
pop-up menu.
Your digital input device must be
3 Click OK. connected and powered on for Pro Tools to
synchronize to it. If your input device is not
powered on, leave the Clock Master set to
Internal.

114 Pro Tools Reference Guide

Configuring Digital Format and Identifying Audio Interfaces
Hardware Routing
If you have multiple audio interfaces of the same
The Hardware Setup includes additional settings type connected to your system, before you make
for configuring the digital format and hardware audio connections to them, you should confirm the
routing for your system’s audio interfaces. identity of each interface. This ensures that you
choose the appropriate interface in the Peripherals
To configure specific hardware settings for list when you define its inputs and outputs in the
other Pro Tools or third-party audio inter- Hardware Setup.
faces, see the documentation that came with
your audio interface. To identify audio interfaces in your system:
1 Choose Setup > Hardware.
Configuring Pro Tools | HDX 2 From the Peripherals list, select an audio inter-
and Pro Tools | HD Native face connected to your system.
Hardware Settings
Use the Up and Down Arrow keys to scroll
On HDX and HD Native systems, you configure though the Peripherals list in the Hardware
Hardware settings for each audio interface con- Setup.
nected to your system (see Chapter 5, “Pro Tools
Systems.”) 3 Make sure the Main page is shown.

HDX and HD Native systems can have HD I/O, 4 Select the Identify option, located in the lower
HD OMNI, HD MADI, Pro Tools | MTRX, or left corner of the Hardware Setup. This illumi-
Pro Tools | MTRX Studio audio interfaces con- nates all the LEDs on the front panel of the se-
nected to HDX cards or HD Native hardware. lected audio interface.
HD I/O, HD OMNI, MTRX, and MTRX Studio 5 Make a note of which interface in your studio
can also have additional interfaces attached using setup corresponds to the identified interface.
the Expansion port on each interface.
6 Repeat the above steps for each additional audio
interface in your setup.

Chapter 7: System Setup 115

 Configuring Avid HD Audio To configure Avid HD audio interfaces:
Interfaces 1 Choose Setup > Hardware.
HD OMNI supports up to eight channels of simul- 2 From the Peripherals list, select the audio inter-
taneous I/O and multiple I/O formats (such as ana- face connected to the first card in your system.
log, AES/EBU, ADAT Optical, and S/PDIF). This will be the interface at the top of the list.
HD I/O audio interfaces support sixteen channels 3 Click the Main tab.
of simultaneous I/O and multiple I/O formats (such
as analog, AES/EBU, ADAT Optical, S/PDIF, and Press Command+Left or Right Arrow keys
TDIF). HD MADI supports up to 64 channels of (Mac) or Control+Left or Right Arrow keys
MADI I/O. (Windows) to move though the different
pages of the Hardware Setup.
The Main page of the Hardware Setup is where
you define which physical inputs and outputs on 4 From the Clock Master pop-up menu, select the
your audio interface are routed to available inputs appropriate clock source for the interface.
and outputs in Pro Tools. You can think of this
In many cases, you will use Internal. The other
window as a patchbay that allows you to route any
choices are for resolving Pro Tools to external
of the inputs or outputs on your audio interfaces to
clock sources. Depending on your audio interface,
channel assignments in the Pro Tools mixer.
Clock Source options can include: AES/EBU
[Encl], S/PDIF, Optical [Encl], AES/EBU 1–8, 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 de-
vices attached to the audio interface, select the
appropriate output from the Ext. Clock Output
pop-up menu.

Hardware Setup for HD I/O, Main page 6 Select which digital I/O port on your audio in-
terface enclosure is active by selecting the cor-
Additional pages are available to configure other responding option under Digital Format.
controls for each audio interface (such as setting Depending on the type of interfaces in your
operating levels). system, choices include AES/EBU, S/PDIF, and
Optical (S/PDIF). Selecting Optical (S/PDIF) re-
sets 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.

116 Pro Tools Reference Guide

7 For S/PDIF compatibility with Tascam DA-30 Configuring HD OMNI Controls
DAT recorders, select the Tascam option under
S/PDIF Format. To configure HD OMNI in Pro Tools:

1 Choose Setup > Hardware.

8 From the Input and Output channel pop-up
menus, select the physical ports (such as Analog 2 From the Peripherals list, select the HD OMNI
1–2 or Optical 1–2), that will be routed to the audio interface.
corresponding Pro Tools input and output chan-
3 Click the Monitor tab and configure the options.
nels (such as Ch 1–2, Ch 3–4), listed on the left
When working with HD OMNI, you should al-
side of the Main page.
ways configure the Monitor page first.
Inputs and outputs of similar format are differenti-
ated 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 fac-
tory-installed Digital I/O card are listed (in pairs)
as AES/EBU 1–2, AES/EBU 3–4, AES/EBU 5–6,
and AES/EBU 7–8. 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
AES/EBU 9–10, AES/EBU 11–12, AES/EBU 13– HD OMNI Hardware Setup, Monitor page
14, and AES/EBU 15–16. 4 Click the Main tab and configure the options.
9 Configure any specific controls for your audio
interface:
• “Configuring HD OMNI Controls” on
page 117.
• “Configuring HD I/O Controls” on page 118.
• “Configuring HD MADI Controls” on
page 119.
10 For additional audio interfaces, select them in
the Peripherals list, and repeat the above steps. HD OMNI Hardware Setup, Main page

See your audio interface guide for additional

configuration details and restrictions.

Chapter 7: System Setup 117

 5 Click the Analog In tab and configure the Configuring HD I/O Controls
options.
To configure controls for HD I/O:

1 Choose Setup > Hardware.

2 From the Peripherals list, select the HD I/O
audio interface.
3 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 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 la-
beled Analog In 1–8.

HD OMNI Hardware Setup, Analog Out page

7 Click the Mixer tab and configure the options.

HD I/O Hardware Setup, Analog In page

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

Analog In 9–16 tab and configure the options.

HD OMNI Hardware Setup, Mixer page 6 If you have at least one HD I/O Digital card,
click the Digital tab and configure the options.
8 When you are finished, click OK.
7 If you have two HD I/O Digital cards, click the
For detailed information about configuring second Digital tab and configure the options.
HD OMNI, see the HD OMNI Guide.

118 Pro Tools Reference Guide

8 When you are finished, click OK. Configuring MTRX and MTRX
Studio Controls
For detailed information about configuring
HD I/O, see the HD I/O Guide.

Configuring HD MADI Controls

To configure controls for HD MADI:
1 Choose Setup > Hardware.
2 From the Peripherals list, select either
HD MADI Port 1 or HD MADI Port 2 and con-
figure the options. Pro Tools | MTRX Hardware Setup

MTRX and MTRX Studio are configured using

DADman Control software. For information,
see the MTRX Operation Guide or the MTRX
Studio Operation Guide.

System Usage
Meters in the System Usage window indicate how
HD MADI Hardware Setup much of your system’s resources are being used
when processing audio, and when writing and
The settings for HD MADI Port 1 and playing back automation.
HD MADI Port 2 are linked. Any changes are
As these meters approach their limits, host pro-
global regardless of which is selected in the
cessing and recording or playback of automation
Peripherals list.
data can be affected. If CPU or PCI Activity are
3 When you are finished, click OK. high, a system error may occur. If Disk Activity is
high, Pro Tools may miss playback of some auto-
For detailed information about configuring mation data during particularly dense periods of
HD MADI, see the HD MADI Guide. activity, such as while using the Bounce Mix com-
mand.

System Usage window, Pro Tools software

Chapter 7: System Setup 119

 CPU Meters Disk Cache Meter

The CPU Total meter displays session performance The System Usage window lets you monitor use of
for Elastic Audio processing, Clip Gain process- the Disk Cache. This meter is only present if a
ing, and Native plug-in and mixer processing. A fixed Cache Size is selected in the Playback En-
3-second peak indicator provides visual indication gine dialog.
of peak CPU usage.

System Usage window, Disk Cache meter

System Usage window, CPU peak meter indicator
The Disk Cache meter indicates the amount of al-
The individual CPU meters provide a general indi-
located memory being used to cache audio in the
cation of how much Pro Tools is using each of the
timeline (up to the amount of RAM selected for the
processors in your computer.
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.

System Usage window, individual CPU meters Memory Meter

The Memory meter displays how much of the in-

Activity Meters
stalled physical RAM in the system is being used
The Activity section of the System Usage window by Pro Tools. This includes RAM used by the au-
display meters for disk usage and memory usage. dio engine, the video engine (if enabled), plug-ins,
and the disk cache. Other than Pro Tools, it does
Disk Meter not show any other RAM usage by the system. If
the Memory meter approached 100%, install more
As in previous versions of Pro Tools, the Disk me-
physical RAM or lower the Disk Cache setting in
ter displays the amount of hard disk processing ac-
the Playback Engine dialog.
tivity.

System Usage window, Disk meter

System Usage window, Memory meter

120 Pro Tools Reference Guide

Resources Hybrid I/O Channels
(HDX Hybrid Engine Only)
The Resources section of the System Usage win-
dow display meters for Voices and Time Slots Displays how many of the available Hybrid Input
(HDX only). and Output channels are being used for record and
input monitoring in DSP Mode.

Voices
Time Slots

System Usage window (HDX shown) Hybrid I/O

Channels
Voices
(Pro Tools Ultimate Only)

The Voices meter displays the total number of

voices available and the number of voices cur-
rently used. This includes all voices, including any
voices used for routing between DSP and host-
based processing.

Time Slots
System Usage window (HDX Hybrid Engine shown)
(HDX Systems Only)

The Time Slots meter displays the total number of

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

Chapter 7: System Setup 121

 HDX Card DSP Usage Meters Managing System Resources
(HDX Systems Only)
To monitor the usage of resources during a
The DSP meters display how much of each DSP Pro Tools session:
chip on each HDX card is currently being used for  Choose Window > System Usage.
mixer configurations and DSP-based plug-ins.
To reduce processing load, do one of the
following:

 Reduce the density of automation in places

where it shows the most activity (see “Thinning
Automation” on page 1258.)
 Make unnecessary track inputs and outputs in-
active (see “Making Track Inputs and Outputs
Inactive from the Edit or Mix Window” on
page 282).
 Make unnecessary tracks inactive (see “Making
DSP Usage
Tracks Inactive” on page 292).
 Make unnecessary DSP plug-ins inactive (see
“Making Inserts Inactive” on page 1193).

System Usage window (HDX 2 shown)

122 Pro Tools Reference Guide

Chapter 8: Preferences

The settings in the Pro Tools Preferences define

how Pro Tools features work. The Preferences di- Display Preferences
alog has several tabbed pages in which you can
specify your preferred settings.

To change Pro Tools preferences:

1 Choose Setup > Preferences.
2 Click the tab for the page that has preferences
you want to change.
3 Change preferences.
4 Click OK to save your changes and close the
Preferences dialog.

Chapter 8: Preferences 123

 Basics the Signal Generator), or third-party plug-ins that
have not had a category designated by their devel-
Track Position Numbers Stay with Hidden
opers, appear in the Other category. Plug-Ins can
Tracks When selected, tracks keep their track
appear in more than one category.
numbers even when hidden. When not selected,
numbers are only assigned to tracks that are Manufacturer Organizes plug-ins by their manu-
shown. In this case, shown tracks are then num- facturer (such as Bomb Factory, Focusrite, or TL
bered sequentially, and hidden tracks are not num- Labs), with individual plug-ins listed in the manu-
bered. facturer submenus. Plug-Ins that do not have a
Manufacturer defined will appear in the “Other”
Tool Tips Display Options
manufacturer folder.
Function Configures Tool Tips to show the basic
Category and Manufacturer Organizes plug-ins in
function of the item.
two levels of menus. The top menus display plug-
Details Configures Tool Tips to show the complete ins by process category (such as EQ, Dynamics,
form of an abbreviated name or item (such as a and Delay), with individual plug-ins listed in the
track name). Details view can also show the hidden category submenus. The bottom menus display
or abbreviated value of parameters, as well as input plug-ins by manufacturer (such as Bomb Factory,
and output assignments. Focusrite, or TL Labs), with individual plug-ins
listed in the manufacturer submenus.
Edit Window Default Length
“Organize Track I/O Menus By” Options
This preference sets a default length for the Edit
window in hours, minutes, seconds, and frames These options determine how track I/O menus are
(Pro Tools Ultimate and Studio only). This is use- organized in the Track Input selector, and Send
ful if you want to assemble a session of a particular and Track Output selectors.
length or leave extra room to expand the Edit win-
Type Displays only the I/O Type (Interface or Bus)
dow’s work area in your session. The maximum
as I/O categories in Track I/O menus.
length is 24 hours. For best scrollbar sensitivity,
set the length to slightly longer (a minute or more) Width Displays only the I/O Channel Width (such
than the total session or song length. as stereo or 5.1) as I/O categories in Track I/O
menus.
“Organize Plug-In Menus By” Options
Type and Width Displays both Type and Width as
These options determine how plug-in menus are I/O categories in Track I/O menus.
organized in the Insert selector or Plug-In selector.
Language Options
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
Category Organizes plug-ins by process category
options.
(such as EQ, Dynamics, and Delay), with individ-
ual plug-ins listed in the category submenus. Plug- Language Sets the language to use in the
Ins that do not fit into a standard category (such as Pro Tools application, independently of what lan-
guage is used by your OS.

124 Pro Tools Reference Guide

Default Automatic Naming to English Causes au- General Color
tomatically named session elements in a session to
be named in English even when working with the MIDI Note Color Shows Velocity
Pro Tools application set to another language. When this options is enabled, MIDI notes display
varying shades of the assigned track color in MIDI
Auto-Switch Input Language
notes view in the Edit window and in MIDI Editor
When the Auto-Switch Input Language option is windows. Notes with high velocities are darker
enabled, the input language is switched automati- and notes with lower velocities are lighter.
cally from English to the current OS input lan-
guage when entering text. It automatically Default Track Color Coding Options
switches back to English for using Keyboard com- These color coding options determine the default
mands in Pro Tools. When disabled, English is color coding assignment for tracks in the Edit and
used when entering text regardless of the current Mix windows. The options are:
OS input language.
None Turns off color assignment for tracks.
UI Theme
Tracks and MIDI Channels Assigns a color to each
Pro Tools lets you change the theme for the User track in the Mix or Edit window according to its
Interface (UI) between Classic (legacy) and Dark voice or MIDI channel assignment.
(new). Depending on the lighting environment
where you use Pro Tools, you may find that one UI Tracks and MIDI Devices Assigns a color to each
Theme is more desirable than the other. track in the Mix or Edit window according to its
voice assignment or MIDI device assignment.
You can customize UI Themes in the Color Pal-
ette window (see “UI Themes” on page 236). 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
Warnings and Dialogs
are not shown.
Reset “Don’t Show This Again” Settings If you
have made any changes by selecting the Don’t Track Type Assigns a color to each track according
Show This Again setting for any dialog in to its type (audio, Auxiliary Input, Master Fader,
Pro Tools, you can click this Reset button to VCA Master, MIDI, Instrument, or Video).
revert to the default settings.
Default Clip Color Coding Options
Show Dashboard Window When Pro Tools
Starts When selected, Pro Tools shows the Dash- These color coding options determine the default
board window on launch. Deselect this option if color coding assignment for tracks, Marker Loca-
you do not want to see the Pro Tools Dashboard tions, and clips residing in the track playlist and
window on launch. Clips 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.

Chapter 8: Preferences 125

 Tracks and MIDI Channels Assigns a color to each
clip in the Edit window according to its voice or Operation Preferences
MIDI channel assignment.

Tracks and MIDI Devices Assigns a color to each

clip in the Edit window according to its voice as-
signment or MIDI device assignment.

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 dis-
play 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.

Clips List Color Assigns a color to each clip based

on its color in the Clips List.

Marker Colors Transport

Randomize Marker Color Upon Creation Timeline Insertion/Play Start Marker Follows
Playback When selected, the Timeline Insertion
When enabled, newly created markers are assigned
and the Play Start Marker both move to the point in
a random color (note that black, white, and gray
the Timeline where playback stops. When dese-
are excluded). When disabled, new marker default
lected, the Timeline Insertion and Play Start
to amber.
Marker do not follow playback, but return to the
location where playback began.
Show Marker Lane Colors For

Timeline Marker Ruler Marker color extends Press Control+N (Mac) or Start+N (Windows)
within the lane until the next marker is reached. to toggle the Timeline Insertion/Play Start
Marker Follows Playback preference on and
Tracks Marker color extends within the lane until off.
the next marker is reached.

126 Pro Tools Reference Guide

Edit Insertion Follows Scrub/Shuttle When se- • If a new timeline selection is made during
lected, the edit cursor automatically locates to the playback that is later than the current location
point where scrubbing stops. of the Playhead, the Playhead continues unin-
terrupted without jumping to the new selec-
Audio During Fast Forward/Rewind When se-
tion.
lected, audio is audible during fast forward or
rewind. • If the Playhead enters the new selection, it re-
sumes loop playback between the loop points
Latch Forward/Rewind When selected, fast for- of the selection.
ward and rewind latch and continue until you press • If a new timeline selection is made before the
Stop, Play, Return To Zero, or Go To End on the location of the Playhead during playback, the
Transport. When disabled, the Fast Forward and Playhead continues uninterrupted without
Rewind only last as long as you hold the mouse af- jumping back to the start of the new selection.
ter clicking either button on the Transport (or hold You will need to manually relocate the Play-
the corresponding switch on a Control Surface). head to the new timeline selection to loop
Play Start Marker Follows Timeline playback within the selection boundaries.
Selection When enabled, the Play Start Marker • If a new timeline selection is made during
snaps to the Timeline Selection In Point when you playback that does not contain the Playhead,
move the Timeline Selection, draw a new Timeline stopping and restarting the transport moves
Selection, or adjust the Timeline Selection Start. the Playhead to the beginning of the selection
When disabled, the Play Start Marker doesn’t and loops within the selection boundaries.
move with the Timeline selection.
Reserve Voices for Preview in Context (HDX and
Dynamic Transport Follows Timeline Selection HD Native Only) When enabled, Pro Tools re-
During Playback Lets you switch between moving serves the appropriate number of voices for pre-
the Playhead or not when changing the timeline se- view in context (previewing audio files from
lection during playback in Dynamic Transport Workspace browsers during session playback).
mode. The number of available voices is reduced by the
• When this option is enabled, the Playhead jumps channel width of the selected audition paths on the
to the new timeline selection instantly without Output page of the I/O Setup window. For exam-
waiting for playback of the current loop to com- ple, if the number of playback voices is set to 48 in
plete, changing the timeline selection during the Playback Engine, and you have a stereo audi-
Loop Playback in Dynamic Transport mode, and tion path selected in the I/O Setup, only 46 voices
begins to loop within the boundaries of the new will be available for tracks. If you have a 5.1 audi-
selection. tion path, only 42 voices will be available. When
this option is disabled, you will not be able to pre-
• When this option is disabled, the Playhead be-
view in context if there are not enough available
haves as follows when changing the timeline se-
voices.
lection in Dynamic Transport mode with Loop
Playback:

Chapter 8: Preferences 127

 Custom Shuttle Lock Speed Sets the highest fast- Start key (Windows), followed by 0–9 for different
forward Shuttle Lock speed (key 9) for Shuttle play speeds. Press Plus (+) or Minus (–) to reverse
Lock modes (Classic or Transport). direction. Recall Memory Locations by typing Pe-
The range for this setting is 50–800%. riod (.), the Memory Location number, and Period
(.) again.
For more information, see “Custom Shuttle
Lock Speed” on page 697. To customize the highest fast-forward
Shuttle Lock speed, see “Custom Shuttle
Custom FF/REW Speed Sets the speed for fast for- Lock Speed” on page 697.
ward and rewind in relation to normal playback.
The range for this setting is 100–3,200%. Shuttle (Pro Tools Ultimate Only) Selects a type
of shuttling different from that of Shuttle Lock
Back/Forward Amount (Pro Tools Ultimate Only)
mode. With the Numeric Keypad mode set to Shut-
Sets the default length of Back, Back and Play, tle, playback is triggered by pressing and holding
Forward and Forward and Play. The timebase of the keys on the numeric keypad—playback stops
the Back/Forward Amount settings follows the once the keys are released. Various playback
Main Time Scale by default, or you can deselect speeds are available in both forward and reverse.
the Follow Main Time Scale option and select an- You can also recall Memory Locations by typing
other timebase format: Bars|Beats, Min:Sec, Time- Period (.), the Memory Location number, and Pe-
code, Feet+Frames, or Samples. riod (.) again.

Numeric Keypad Mode Use Separate Play and Stop Keys

Numeric Keypad mode determines how the nu- When enabled, this option lets you start playback
meric keypad functions. You can always use the with the Enter key and stop playback with the 0
numeric keypad to select and enter values in the key on the numeric keypad. This is useful for
Event Edit Area, Edit Selection indicators, Main quickly starting and stopping playback when audi-
and Sub Counters, and Transport fields. tioning loop transitions. The Use Separate Play
and Stop Keys option is only available in Trans-
Classic Selects a Shuttle Lock mode that emulates port Numeric Keypad mode.
the way Pro Tools worked in versions lower than
5.0. With the Numeric Keypad mode set to Classic, When this option is enabled, it overrides
you can play up to two tracks of audio in Shuttle using the Enter key to add Memory Location
Lock mode. Press Control (Mac) or the Start key markers. Instead, press Period (.) and then
(Windows), followed by 0–9 for different play Enter on the numeric keypad to add a
speeds. Press Plus (+) or Minus (–) to reverse di- Memory Location marker.
rection. Recall Memory Locations by typing the
Memory Location number, followed by Period (.). Auto Backup
Transport Selects a Shuttle Lock mode that lets Enable Session File Auto Backup When se-
you set a number of record and play functions, and lected, Pro Tools automatically saves backups of
also operate the Transport from the numeric key- your Pro Tools session file while you work. Back-
pad. With the Numeric Keypad mode set to Trans- ups are saved to in the Session File Backups folder
port, you can play up to two tracks of audio in in your session folder.
Shuttle Lock mode. Press Control (Mac) or the

128 Pro Tools Reference Guide

Keep n Most Recent Session Backups Specifies Record
the total number of incremental backups that are
kept for sessions (backups for projects are handled Record Enable Buttons Options
separately by Revision History). Latch Audio Tracks When selected, the Record
Backup Every Specifies how often the session is
Enable button on each audio track latches on (or
saved. off) when you click it.
Cancel Previous on Audio Tracks When se-
User Media and Settings lected, clicking the Record Enable button on any
Location audio track disengages record enable on all other
audio tracks.
Documentation and Settings
Cancel Previous on All Tracks When selected,
Click the Change button to set the Root directory clicking the Record Enable button on any track of
for all user files including Documentation, any type disengages record enable on all other
Grooves, IO Settings, Plug-In Maps, Plug-In Set- tracks regardless of track type.
tings, Session Templates, and Video Test Patterns.
Shift-click the track record enable button of
Project Media Cache any track of any type to engage or disengage
record enable on that track in latch mode re-
Click the Change button to set the Root directory
gardless of the selected Record Enable But-
for caching all project media.
tons option.
Sound Libraries
Enable Automation in Record When this option is
When Pro Tools is installed, any included audio enabled, automation can be written during record-
loops are stored in the Sound Libraries folder by de- ing as well as during playback. When this option is
fault: disabled, automation can only be written during
playback.
Mac Macintosh HD/Users/<username>/
Documents/Pro Tools/Sound Libraries Note that when the Enable Automation in Record
option is selected, the Link Record and Play Faders
Windows C:\Users\<username>\Documents\
Pro Tools\Sound Libraries option is automatically disabled and is unavailable.

Click the Change button to direct Pro Tools to ref- Link Record and Play Faders When selected,
erence another location for the Sound Libraries Pro Tools does not remember separate fader levels
folder and Loops content. for tracks when they are record-enabled, allowing
you to maintain the same monitoring level for
Show Sound Libraries in Workspace Locations tracks during recording and playback.

Enable the Show Sound Libraries in Workspace/

Locations option to show Sound Libraries in the
Locations pane of Workspace browsers.

Chapter 8: Preferences 129

 Audio Track RecordLock (Pro Tools Ultimate to Auto Input monitoring) or a typical music track-
Only) This option configures Pro Tools tracks to ing workflow (in which leaving a track in Input
either emulate a digital dubber, or to maintain leg- Only monitoring mode after recording can result in
acy behavior for track record status. accidental double-monitoring).
• When selected, the record-enabled audio tracks • When selected, taking an audio track out of re-
remain record-enabled when playback or re- cord enable (any mode) takes it out of Input
cording stops. Only mode, regardless of the global monitor
• When not selected, record-enabled audio tracks mode, and switches it to monitor audio from
are taken out of record enable when Pro Tools is disk only.
stopped. This prevents tracks from remaining • When not selected, audio tracks remain in Input
armed from pass to pass, emulating track record Only monitoring mode until explicitly switched
behavior of a digital dubber. to Auto Input monitoring.
Transport RecordLock (Pro Tools Ultimate Mute Record-Armed Tracks While Stopped This
Only) This option lets the Transport Record (the setting determines monitor status of record-armed
Record button in the Transport controls) be config- tracks.
ured to either emulate a digital dubber, or to main-
tain legacy behavior for the Transport master Re- • When selected, Pro Tools mutes all record-en-
cord. abled tracks when the transport is stopped. Input
can still be monitored while stopped using the
• When selected, the Transport Record remains TrackInput Monitor button.
armed when playback or recording stops. This
saves having to re-arm the Transport between • When not selected, Pro Tools does not mute au-
takes, emulating digital dubber behavior. dio input on record-enabled tracks when the
transport is stopped.
• When not selected, the Transport Record dis-
arms when Pro Tools is manually stopped or Enable DSP Mode when Tracks with Hardware In-
stops due to a loss of timecode. This replicates puts are Record-Armed/Input-Enabled (HDX Hy-
standard Pro Tools recording behavior. brid Engine and Pro Tools | Carbon Only) When
enabled, audio tracks are automatically set to DSP
The Transport RecordLock option is automatically Mode when they are record-armed or input-en-
disabled and grayed out when Destructive Record abled. This ensures low-latency monitoring using
mode is enabled. DSP Mode for all live signal paths. This option is
enabled by default.
Disable “Input” When Disarming Track
(In “Stop”) For flexibility, TrackInput monitoring Disable DSP Mode when Disabling Record/Input
can be customized to remain selected regardless of (HDX Hybrid Engine and Pro Tools | Carbon
track record status, or to automatically switch to Only) When enabled, Pro Tools automatically dis-
Auto Input monitoring after a recording pass. This ables DSP Mode when disengaging Record Arm
lets you optimize monitoring for a typical dubbing and TrackInput Monitor on a track. This option is
workflow (in which you might want tracks to re- disabled by default.
main in Input Only mode until explicitly switched

130 Pro Tools Reference Guide

PEC/Direct Style Input Monitoring Misc (Miscellaneous)
(Pro Tools Ultimate Only) This option changes the
way the TrackInput monitoring mode is indicated Mouse Wheel Scrolling Snaps to Track
on-screen (and on supported control surfaces) to
The Operations page of the Preferences window
emulate “PEC” (playback) and “Direct” (in-
includes a new Mouse Wheel Scrolling Snaps to
put/bus) indication on some large format consoles.
Track option. When this option is enabled, the top
• When not selected, the TrackInput button shows of tracks in the Edit window snap to fit as you
the letter “I.” The button remains gray to indi- scroll with the mouse wheel and tracks in the Mix
cate Auto Input mode and lights green to indi- window snap to the left. When this option is dis-
cate Input Only mode. abled, scrolling with the mouse wheel is smooth
• When selected, the TrackInput button remains and continuous.
gray and shows the letter “D” to indicated Input
Press Control (Mac) or Start (Windows)
Only mode (“Direct”); it lights green and shows
while scrolling the mouse wheel to accelerate
the letter “P” to indicate Auto Input mode (“Pec”
scrolling tracks vertically in the Edit window
or playback).
or horizontally in the Mix window.
Automatically Create New Playlists When Loop
Recording When selected, copies loop recorded
Press Command (Mac) or Control (Windows)
alternate takes to new playlists in the track. This is
while scrolling the mouse wheel to slow down
especially useful to prepare for track compositing
scrolling tracks vertically in the Edit window
in Playlists view after loop recording multiple al-
or horizontally in the Mix window.
ternate takes.
Clip Auto Fade In/Out Length
Online Options (Pro Tools Ultimate Only)
Record Online at Timecode (or ADAT)
This setting determines the default length for fade-
Lock When selected, online recording begins as
ins and fade-outs that are automatically applied to
soon as Pro Tools receives and locks to incoming
clip boundaries on playback. Using automatic
timecode.
fade-ins and fade-outs saves you the trouble of ed-
Record Online at Insertion/Selection When se- iting to zero-crossings or creating numerous ren-
lected, online recording begins at the edit cursor dered fades in order to eliminate clicks or pops in
location. Recording continues until Pro Tools playback. Autofades are not written to disk. Value
stops receiving timecode. If you make a selection, range is from 0–10 ms for the Auto Clip Fade
Pro Tools records online for the length of the se- In/Out Length setting. A value of zero means that
lection. no auto-fading will occur. The Auto Fade value is
saved with the session, and is automatically ap-
DestructivePunch File Length plied to all free-standing clip boundaries until you
(Pro Tools Ultimate Only) change it.
This preference sets the duration of consolidated
audio files when preparing tracks for Destructive-
Punch mode. The default value for this setting is 25
minutes.

Chapter 8: Preferences 131

 Local Waveform Cache Versions Play Start Latency
(Pro Tools Ultimate Software Only)
If you are working on a slower computer, set the
The Local Waveform Cache Versions preference Play Start Latency setting to a higher value. The
determines whether or not one or more copies of the range is from 1-Shortest to 5-Longest.
Waveform cache are stored locally for sessions on
network storage systems. Slewing
Keeping a short history of the Waveform cache
Slewing helps audio and video to stay in sync
stored locally can greatly speed up opening sessions
when there is no common clock reference between
on network storage. Rendering tasks and redrawing
waveforms are also quicker when the Waveform audio and video hardware. However, it can be
cache is stored locally. problematic in certain circumstances, such as with
loop playback. This option lets you keep longer
A setting of 0 means that no local Waveform cache is playback passes in sync, while maintaining perfor-
stored and the Waveform cache is only saved on the mance during loop playback.
network storage system. A setting of 1 always only
saves the most recent version of the Waveform cache Enabled Slewing is always enabled.
locally and deletes the previously locally saved
Waveform cache. You can store up to 99 versions of Disabled While Looping Slewing is disabled only
the Waveform cache locally. When the designated during looping playback. Select this option if you
number of versions to be stored locally is exceeded are encounter video engine errors, such as failure
creation of a new Waveform cache, the oldest locally messages during loop playback.
stored Waveform cache is deleted.
Disabled Always Slewing is always disabled. Dis-
The local Waveform cache (if any) is saved to the able slewing in cases where it is interacting poorly
Documents/Pro Tools/Local Waveform Cache
with video hardware. Select this option if you are
folder on your system drive.
encounter video engine errors, such as failure mes-
sages during normal playback.
Video
Note that when this slewing is disabled, and
Enable GPU no common clock is provided, video may drift
Pro Tools video processing is done on the GPU over time. If you are locked to common clock,
(Graphics Processing Unit) in order to free up the or you do not have a video peripheral, this
CPU for Pro Tools audio and MIDI. If you are us- preference is not applicable.
ing a slower GPU and encounter poor video play-
back, you may want to disable this option and have For more information about slewing, see
the video processing done on the CPU. “Clocking Video and Audio Hardware with
Pro Tools” on page 1497.
Prevent Tearing

When enabled, Pro Tools buffers video to prevent Diagnostics

visual artifacts with horizontal movement in situa-
Save Logs
tions where video sync does not match the screen
refresh rate. This options is not available when the Click Save Logs to save all log files as a .zip file
Enable GPU option is disabled. that you can share with Avid Customer Support for
troubleshooting purposes.

132 Pro Tools Reference Guide

Reset Logging
Editing Preferences
Click Reset Logging to reset Pro Tools logs if re-
quested by Avid Customer Support.

Advanced Video Logging

Enable the Advanced Video Logging option to cap-

ture advanced logging options for the Avid Audio
Engine (AVE).

Usage and Diagnostic Data Collection

Enable the Usage and Diagnostic Data Collection

option to opt in to reporting Pro Tools usage data to
Avid. Disable this option to opt out. Logs are al-
ways be saved to the following folders regardless
of the analytics preference:

macOS /Users/<username>/Library/Logs/Avid/
Crashlog/ProTools

Windows C:/Users/<username>/AppData/Local/
Avid/Logs/Crashlog/ProTools

Chapter 8: Preferences 133

 Clips Clip Gain Nudge Value This setting specifies the
amount (from 0.1 dB to 6.0 dB) by which clip gain
Clips List Selection Follows Edit Selection When
settings are adjusted when nudging clip gain.
selected, selecting a clip in a track also selects it in
the Clips List. Clip Matching Options Lets you assign number
keys 1–5 to control either Zoom Presets or Clip Ef-
Edit Selection Follows Clips List Selection When
fects Presets. Press Control+1–5 (Mac) or
selected, selecting a clip in the Clips List causes
Start+1–5 (Windows) to recall the corresponding
Pro Tools to highlight that clip’s occurrence in a
preset in your session or project for the selected
track.
option. If Commands Keyboard Focus is also en-
Auto-Name Separated Clips When selected, abled in the Edit window, just press the number for
Pro Tools automatically names newly separated the preset you want (1–5).
clips by appending a number to the clip’s name.
Press Command+Control+1–5 (Mac) or
“Separate Clip” Operates On All Related Control+Start+1–5 (Windows) to apply the
Takes When selected, editing a clip with the number keys to the opposite of what is set for
Separate Clip command also affects all other re- the 1–5 Number Keys Control preference (for
lated takes (recording passes) with the same User example, if Zoom Presets is selected, these
Time Stamp. This option helps you compare dif- key combinations would apply to Clip Effects
ferent sections from a group of related takes. Presets instead). If Commands Keyboard Fo-
cus is enabled for the Edit window, press
Send Fully Overlapped Clips to Playlist while
Command+1–5 (Mac) or Control+1–5 (Win-
Editing Whenever a whole clip is fully overlapped
dows).
by another clip when editing it is moved from the
main playlist to a new playlist (or the first available,
empty playlist). This is true for editing on all play- Tracks
lists, not just the main playlist.
New Tracks Default To Tick Timebase When
Send Fully Overlapped Clips to Playlist while selected, all new tracks default to ticks. When
Recording Whenever a whole clip is fully over- deselected, audio, Auxiliary Input, Master Fader,
lapped by another clip when recording it is moved and VCA tracks default to samples.
from the main playlist to a new playlist (or the first
available, empty playlist). Suppress Name Dialog When Creating New
Playlists Enable this option to automatically name
Double-Click Selects Automation new playlists without opening the Name New
Breakpoints Enable this option to select between Playlist dialog. This applies when creating both
automation breakpoints by double-clicking with new of duplicate playlists.
the selector tool. Disable to ignore breakpoints for
selection, making it quicker to select the duration Show Target Playlist(s) After Sending Clip
of a clip. Selection Enable this option to show Target play-
list(s) in the Main playlist after moving or copying
an Edit selection to that playlist.

134 Pro Tools Reference Guide

Memory Locations Smart Tool Fade Adjustment

Auto-Name Memory Locations When Determines whether adjusting fade and crossfade
Playing When selected, Pro Tools gives new shapes in the Edit window using the Smart Tool is al-
Memory Locations default names based on their ways on or if it requires that you also use the Com-
time location in the session. The time units cur- mand key (Mac) or the Control key (Windows) to ad-
rently chosen in the View menu determine the just fades and crossfades with the Smart Tool (see
units for the names. “Adjusting Fade Shapes with the Smart Tool in the
Edit Window” on page 755).
Recall Memory Location at Original Track When
selected, Memory Locations that recall a selection Always On Adjust fade and crossfade shapes in the
also recall the track in which the selection was Edit window using the Smart Tool.
made.
Requires Command Key (Mac) or Requires Con-
Marker Target Follows First Selected trol Key (Windows) adjust fade and crossfade
Track When selected, the Marker Target always shapes in the Edit window using the Smart Tool only
follows the first track in the selection. If no track is when the Command key (Mac) or Control key (Win-
selected, the Marker Target moves to the ruler. dows) is pressed.

Default Fade Settings

Fades
Fade In Selects the default envelope shape for
Crossfade Preview Pre-Roll This setting specifies
fade-ins when using the Smart Tool.
the amount of pre-roll to be added when you are
auditioning crossfades in the Fades dialog. Fade Out Selects the default envelope shape for
fade-outs when using the Smart Tool.
Crossfade Preview Post-Roll This setting speci-
fies the amount of post-roll to be added when you Crossfade Selects the default envelope shape for
are auditioning crossfades in the Fades dialog. crossfades when using the Smart Tool.

QuickPunch/TrackPunch Crossfade Length To apply a Fade In, Fade Out, or Crossfade

to an Edit selection using the Default Fade
Specifies a default length for crossfades created by
settings, and without opening the Fades dia-
QuickPunch™ or TrackPunch (Pro Tools Ultimate
log, press Command+Control+F (Mac) or
only) recordings. Crossfades occur before the
Control+Start+F (Windows).
punch in and after the punch out.
REX Selects the default envelope shape for fades
Preserve Fades when Editing This option pre-
serves fade-ins and fade outs, and converts sepa- and crossfades between clips (“slices”) in im-
rated crossfades into corresponding fade-ins and ported REX files.
fade-outs.

Auto Accept Adjust Bounds This option automat-

ically adjusts fade boundaries without presenting
the Invalid Fades dialog.

Chapter 8: Preferences 135

 Zoom Toggle
Mixing Preferences
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.

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 op-
Setup
tion is deselected, the same (current) grid setting is
used whether zoom toggling in or out. Sends Default to Lets you enter a value from –
–144) to +12 dB for the initial fader level of
Zoom Toggle Follows Edit Selection When se- newly-created sends. The default setting is – (no
lected, zoom toggle automatically follows the cur- audible signal level).
rent Edit selection. When disabled, changing the
Edit selection has no affect on the currently tog- Send Pans Default to Follow Main Pan When se-
gled-in track. lected, 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
Levels of Undo
created sends have Follow Main Pan turned off.
This preference sets the maximum number of ac-
tions 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.

136 Pro Tools Reference Guide

Use Absolute Pan Linking (Pro Tools Ultimate Insert Slot The specified Insert slot (none, or a–j)
and Studio Only) This option affects behavior of is used (if it is available) when inserting the default
grouped pan controls. EQ plug-in from a S6 or S4 control surface. If the
• When selected, grouped pan controls do not specified slot is not available, the next available
maintain relative offsets when any of the plug-in slot is used. When None is selected, S6 or
grouped pan controls is adjusted. All grouped S4 control surfaces insert the selected default plug-
pan controls snap to the absolute value of the ad- in in the first available insert slot.
justed control.
Default Dynamics
• When not selected, grouped pan controls main-
tain relative offsets when any of the linked con- This preference lets you choose any installed Dy-
trols is adjusted. namics plug-in as the default, which makes it
available for quick assignment, both on-screen and
Allow Sends to Persist During LLM (Core Audio, on ICON controllers (Pro Tools Ultimate and Stu-
ASIO, and HD Native Systems Only) All plug-ins
dio only). On-screen, the plug-in appears at the top
and sends are bypassed by default when Low La- of the Insert selector pop-up menu. On ICON con-
tency Monitoring (LLM) is enabled (Options > trollers, the plug-in appears first in the list of menu
Low Latency Monitoring). Enable the Allow Sends
choices on the rotary encoders.
to Persist During LLM option to maintain sends au-
dio signal output with Low Latency Monitoring. Insert Slot The specified Insert slot (none, or a–j)
When this setting is enabled, plug-ins and sends re- is used (if it is available) when inserting the default
main active. Audio signal that is routed to the main Dynamics plug-in from a EUCON™ control sur-
outputs bypass the plug-ins in the signal flow, but face. If the specified slot is not available, the next
any sends still receive the plug-in affected audio available plug-in slot is used. When None is se-
along with any additional incurred latency. This lected, EUCON control surfaces insert the selected
option is most useful when using sends for delay default plug-in in the first available insert slot.
and reverb effects while monitoring track input
Auto Insert Default Plug-Ins from EUCON
signals in Low Latency mode for recording.
Surfaces When selected, the default EQ and
Default EQ default Dynamics plug-ins are automatically avail-
able when creating new tracks from EUCON
This preference lets you choose any installed EQ surfaces.
plug-in as the default, which makes it available for
quick assignment, both on-screen and on ICON
controllers (Pro Tools Ultimate and Studio only).
On-screen, the plug-in appears at the top of the In-
sert selector pop-up menu. On ICON controllers,
the plug-in appears first in the list of menu choices
on the rotary encoders.

Chapter 8: Preferences 137

 Controllers Always Show EUCON Assignable Knob
Highlight
Edit Window Follows
If you are using an Avid S4/S6, Dock, or Artist
Banking If you are using a supported control sur- Transport and the EUCON Assignable Knob fea-
face with Pro Tools, this option scrolls the Edit ture, you can use this setting to optimize indication
window to display the selected bank of tracks of the EUCON Assignable Knob (this setting is en-
when you switch banks on the control surface, en- abled by default):
suring that the current bank is viewable on-screen. • When enabled, the Assignable Knob high-
Select If you are using a supported control surface light is shown in Pro Tools whenever any pa-
with Pro Tools, this option scrolls the track into rameter is hovered over, clicked, assigned, or
view as the top-most track in the Edit window. adjusted.
• When not enabled, the Assignable Knob
Mix Window Follows highlight is only shown around the currently
Banking If you are using a supported control sur- assigned parameter (if any).
face with Pro Tools, this option scrolls the Mix The blue highlight appears in Pro Tools when-
window to display the selected bank of tracks ever EUCON is enabled (Setup > Peripherals,
when you switch banks on the control surface, en- Ethernet Controllers) even when using an Art-
suring that the current bank is viewable on-screen. ist Mix or Artist Transport, which do not sup-
Select If you are using a supported control surface port the Assignable Knob.
with Pro Tools, this option scrolls the track into
Touch Timeout
view as the left-most track in the Mix window.
If you are writing automation in Touch mode and
“Scroll to Track” Banks Controllers you stop moving a non-touch sensitive fader or en-
When using a control surface (such as D-Control) coder, Pro Tools continues to write automation for
you can select this option to bank control surface the Touch Timeout value.
faders to a numbered track when using the Scroll to After the Touch Timeout period, writing of auto-
Track command. mation stops and the automation data returns to its
previous automation value at the rate specified in
Always Fill Channel Strips When Banking
the AutoMatch Time setting.
If you are using an ICON controller
(Pro Tools Ultimate and Studio only), or other EUCON Surfaces EQ Dyn cycling Starting at
Insert (S6 and S4 Consoles Only)
supported control surface, you can select this op-
tion to maximize the number of channels displayed Lets you specify the starting slot for EQ/Dyn cy-
when banking. This setting optimizes the Bank cling with S6 or S4 consoles to optimize EQ and
commands to prevent the display of a small num- Dyn cycling (via repeated pressing of the EQ or
ber of channels at the extremes of the surface. Dyn switches) to start from either a specific slot, or
from the most recently cycled slot. Choose <none>
to have Pro Tools begin cycling from most re-
cently cycled slot.

138 Pro Tools Reference Guide

Automation Allow Latch Prime in Stop (Pro Tools Ultimate
and Studio Only) When selected and any tracks
Smooth and Thin Data After Pass When se- are in Latch mode, any automation-enabled con-
lected, Pro Tools automatically smooths and then trols on those tracks can be set to new values while
applies the specified amount of thinning to the au- the transport is stopped by touching or moving
tomation data created in an automation pass. controls, to prepare for the next automation pass.
Degree of Thinning Specifies the amount of thin- Coalesce when Removing Members from VCA
ning performed on automation data when you us- Group This option determines the behavior when
ing the Thin Automation command, or if you have removing member tracks from a VCA-controlled
selected the Smooth and Thin Data After Pass op- group.
tion.
• When selected, any automation on the VCA
Plug-In Controls Default to Auto-Enabled When Master is automatically coalesced (without con-
selected, all applicable controls of newly added firmation) to its member tracks when the tracks
plug-ins are enabled for automation. When not se- are removed from the group.
lected, the controls of newly added plug-ins must • When not selected, a confirmation dialog lets
be manually enabled for automation. you choose whether or not to coalesce the VCA
Master automation to the member tracks.
Suppress Automation “Write To” Warnings
(Pro Tools Ultimate and Studio Only) When se- Standard VCA Logic for Group Attributes This
lected, Pro Tools suppresses the warnings that ap- option determines which Mix group attributes may
pear after invoking any of the Write Automation To be selected in the Group dialog when the group is
Start, Selection, End, or Punch commands and assigned to a VCA Master.
then stopping the transport.
• When selected, the Main Volume, Mute, Solo,
Latching Behavior for Switch Controls in Record Enable, and Input Monitoring controls
“Touch” This option determines the behavior of on member tracks follow the VCA Master only
switch-type controls (such as mute or plug-in by- and are not available to be independently linked.
pass) when writing automation in Touch mode. (This emulates the behavior of analog console
• When selected, controls in Touch mode will VCA masters.)
latch in their current state. If an existing break- • When deselected, the Main Volume, Mute, Solo,
point is encountered, writing of automation Record Enable, and Input Monitoring controls
stops. If the transport is stopped while writing, follow the VCA Master, but also remain avail-
the control will AutoMatch to the underlying able for independent linking with groups.
value.
Include Sends in Trim Mode (Pro Tools Ultimate
• When not selected, controls in Touch mode will and Studio Only) This option determines the Trim
not latch. 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.

Chapter 8: Preferences 139

 Include Control Changes in Undo Queue This After Every Pass Sets Trim automation to co-
option determines whether certain mixer control alesce when the transport is stopped at the end of
changes, such as moving a fader or pan control, are each Trim automation pass. No Composite Playlist
entered into the Undo queue. is indicated.
• When selected, mixer control changes appear in On Exiting Trim Mode Sets Trim Automation to
the Undo queue, and are undone if any prior op- coalesce on a track when the track is taken out of
eration is undone. Trim mode. A Composite Playlist can be viewed
• When deselected, mixer control changes will not before committing Trim moves.
appear in the undo queue, allowing you to undo
Manually Trim Automation can be coalesced only
other types of operations without losing the cur-
with the Coalesce Trim Automation command. A
rent mixer settings.
Composite Playlist can be viewed before commit-
Any set to default operations that affect mixer con- ting Trim moves.
trols will be entered into the Undo queue.
Steep Breakpoint Smoothing Time
Link Object and Audio Recording When this op-
tion is enabled, Pro Tools links recording and mon- This setting lets you specify a minimum delay time
itoring of audio and metadata for tracks with object in milliseconds to help avoid pops or clicks due to
output assignments. abrupt changes in volume or pan automation. If
there are any automation breakpoints with large
After Write Pass, Switch To Options value differences that are extremely close together,
this preference applies a slight delay between those
These options select the Automation mode that breakpoints to smooth the audio ramp between
Pro Tools tracks automatically switches to after an them. The default value of 0 applies no delay be-
automation pass in Write (or Write Trim) mode. tween breakpoints. Enter a minimum delay in mil-
Select one of the following options: liseconds. For any volume or pan automation
Touch Switches to Touch mode after an automa- breakpoints that are closer together than the speci-
tion pass in Write (or Write Trim) mode. fied value, the second breakpoint will be delayed
by the specified value. Breakpoints that are already
Latch Switches to Latch mode after an automation separated by at least the specified amount are not
pass in Write (or Write Trim) mode. affected.

No Change Stays in Write mode after an automa- AutoMatch Time

tion pass in Write (or Write Trim) mode.
If you are writing automation in Touch mode,
After an automation pass in Write Trim mode, when you release a fader or control, writing of au-
tracks automatically switch to the Trim version of tomation stops and the automation data returns to
the specified setting. its previous value. The rate of return to the previ-
ous value is set by the AutoMatch Time.
Coalesce Trim Automation Options
(Pro Tools Ultimate and Studio Only)

These options determine when Trim automation is

committed to the main automation playlist on a
track.

140 Pro Tools Reference Guide

AutoGlide Time (Pro Tools Ultimate and Studio New Session Defaults and Current
Only) Session Settings

This setting specifies how quickly Pro Tools tran- The New Session Defaults settings for Routing
sitions (glides) from one automation value to an- Coefficients are only saved with new sessions and
other, when AutoGlide mode is used. new session templates. Sessions created from ex-
isting templates retain the settings used to create
Delay Compensation the template. Changing the New Session Defaults
settings does not affect the currently open session
Delay Compensation Time Mode
The Current Session Settings show the Routing
When Delay Compensation is enabled (Options > Coefficients settings saved with the session.
Delay Compensation), this option lets you choose Changing the Current Session Settings affects the
whether information in the Delay Manager is dis- currently open session and are saved with it.
played in milliseconds or samples.
Fold Down
Compensate Side Chains
Classic Uses the legacy coefficients used in earlier
When Delay Compensation is enabled (Options > versions of Pro Tools and cannot be edited. All ses-
Delay Compensation), this option applies Delay sions created in versions of Pro Tools prior to
Compensation to plug-in side chain signals. 2021.10 default to using the Classic coefficients.

Modern Uses an updated set of coefficients. You

Routing Coefficients can also edit certain important coefficients to suit
(Pro Tools Ultimate and Studio Only)
your needs.
The Routing Coefficients settings are used for all
5.x to 7.x
fold down and fan out routing in the session. These
settings affect what happens in the following cir- Select one of the following options to determine
cumstances: what happens to the left and right surround chan-
• Internal routing within the session of an output nels of 5.x or Quad signal when routing to a 7.x
or send to a bus with a different channel width. path (including 7.1.2):
• Mapping a bus to an output with a different Ls/Rs Direct to Lss/Rss Ls/Rs are sent to Lss/Rss
channel width. at unity. No signal is sent to Lsr/Rsr.
• Signal sent to the Audition path.
Ls/Rs Direct to Lsr/Rsr Ls/Rs are sent to Lsr/Rsr
• Signal sent to the AFL/PFL path. at unity. No signal is sent to Lss/Rss.

Ls/Rs Split to Lss/Rss and Lsr/Rsr Ls/Rs are sent

to both Lss/Rss and Lsr/Rsr at –3 dB.

Chapter 8: Preferences 141

 7.x to 5.x
Metering Preferences
Select one of the following options to determine
what happens to the left and right side surround
channels of a 7.x (including 7.1.2) signal, when
routing to a 5.x or Quad path:

Lss/Rss Downmixed to Ls/Rs Lss/Rss and

Lsr/Rsr are both sent to Ls/Rs at –3 dB.

Lss/Rss Split to L/R and Ls/Rs Lss/Rss is sent to

both L/R and Ls/Rs at –3 dB. Lsr/Rsr is sent to
Ls/Rs at unity.

Surround to Stereo

Enter the desired gain reduction value for down

mixing surround channels to stereo. This also con-
trols the downmix level for height channels for-
mats such as 7.1.2.

Include LFE When Folding Down

Metering preferences (Pro Tools Ultimate shown)
Enable this option to include the LFE channel
when folding down. Enter the desired gain reduc- Track and Master Meter Types
tion value for the LFE signal.
The Track Meters section of the Mixing prefer-
ences 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 in-
dependently 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 Mas-
ter 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 me-
ters).

142 Pro Tools Reference Guide

Track Meters and Master Meters Digital VU Provides the default for Pro Tools me-
tering and uses VU ballistics with a modern digital
Pro Tools lets you choose from several industry
scale.
standard meter types for visually monitoring audio
levels. You can link the Track (audio, Auxiliary In- PPM Digital Popular in Europe and Asia with
put, and Instrument tracks) and Master (Master broadcasters, and also with US Film consoles
Fader) meter settings, or you can set them inde- (such as the Avid System5 consoles), PPM Digital
pendently of one another. The following Meter has a similar integration time to Sample Peak me-
Type options are available: tering, but different scales and decay times.

Sample Peak The scale and the decay time is cal- The PPM Digital option, like all other Meter Type
culated in dB/second, which results in slower de- options besides Sample Peak, does not report ev-
cay in metering compared to previous versions of ery transient (such as a series of very fast tran-
Pro Tools. The Sample Peak option is the only sients). However, even though it under-reports the
Meter Type that has a 0 sample integration time, actual digital dynamic range, it more closely
and as such shows all dynamic activity of the dig- matches human hearing of loudness over time.
ital signal at every moment in time.
PPM BBC Adopted by commercial broadcasters in
Pro Tools Classic Provides legacy Pro Tools scale the UK, BBC scaling uses 4 dB spacing between
and metering ballistics. scale marks. Other organizations around the world,
including the EBU, CBC, and ABC used the same
Linear Use Linear for post-production and music
dynamics but with slightly different scales.
mixing scenarios. Using a fast decay time, Linear
provides direct one-to-one linear metering of sam- PPM Nordic A Scandinavian variant of the DIN
ple peaks in the audio signal with a metering range PPM has the same integration and return times but
down to –40 dB. This offers higher metering reso- a different scale, with “TEST” corresponding to
lution closer to 0 dB (which can be particularly Alignment Level (0 dBu) and +9 corresponding to
useful for mixing and mastering). Permitted Maximum Level (+9 dBu). Compared to
the DIN scale, the Nordic scale is more logarithmic
Linear (Extended) Provides the same ballistics as
and covers a somewhat smaller dynamic range.
Linear, but the meter scaling extends to –60 dB.
PPM EBU Is a variant of the British PPM designed
RMS Provides metering ballistics that display the
for the control of program levels in international
average loudness (Root Mean Square of the signal)
program exchange (Type IIb PPM in IEC 60268-
over a range of time. Peak metering, on the other
10). It is identical to the British PPM (BBC) except
hand, displays the peak signal level at any given
for the meter scale. The meter scale is calibrated in
point in time.
dB relative to the Alignment Level, which is
VU Popular for music and dialog mixing, the VU marked “TEST.” There are ticks at 2 dB intervals
scale used in Pro Tools is extended on the low end and at +9 dB, which corresponds to the Permitted
from –23 dB to –40 dB to accommodate a wide Maximum Level.
range of material without the need for stage re-cal-
ibration.

Chapter 8: Preferences 143

 PPM DIN Used in German broadcasting, the nomi- Advanced Meter Type Settings
nal analog signal corresponding to Permitted Max- (Pro Tools Ultimate and Studio Only)
imum Level was standardized by ARD at 1.55
volts (+6 dBu), and this is the usual sensitivity of a The Advanced Meter Type settings let you adjust
DIN-type PPM for an indication of 0 dB. The the scale and ballistics of the selected Meter Type.
Alignment Level (−3 dBu) is shown on the meter These settings update automatically to match the
by a scale mark at −9. specifications of the selected Meter Type. In some
system configurations you may want to make man-
K-12 The K-scales are RMS based scales with an ual adjustments to these settings in order to ensure
integrated sample peak meter as a secondary value. that Pro Tools metering matches the meter re-
K-Scales are popular with music mixers that are sponse your broadcast console (some broadcast
looking for a meaningful indication of overall consoles use variations from the standard Meter
loudness. K-12 should be reserved strictly for au- Types that are provided in Pro Tools). However, in
dio to be dedicated to broadcast, though broadcast most cases these settings should be left at the de-
recording engineers may choose K-14 if they feel it fault values.
fits their program material.
Decay
K-14 Use K-14 for mastering when working in a
calibrated mastering suite. The Decay settings determine the decibel range
(dBs) that the meters fall at the specified rate in
K-20 Using K-20 during mix encourages a clean- seconds after peak level is registered. For some
sounding mix that is advantageous to the mastering Meter Types, these settings are not adjustable
engineer. At that point, the producer and mastering (such as VU).
engineer should discuss whether the program
should be converted to K-14, or remain at K-20. If 0 dBFS
mixing to analog tape, work at K-20, and realize
that the peak levels off tape will not exceed about The 0 dBFS setting determines the unity reference
+14. level for the meter scale in decibels compared to
digital 0 dB. Exceeding this level should result in
K-scale meters are RMS based scales with an clipping at the digital to analog converters or to the
integrated sample peak meter as a secondary specified clipping level for broadcast. For some
value. For more information about K-scale Meter Types, this setting is not adjustable (such as
metering, see the paper “An Integrated Ap- K-meters).
proach to Metering, Monitoring, and Leveling
Practices” by Bob Katz, Digital Domain, Inc. Integration Time

VENUE Peak Provides the same ballistics as Sam- The Integration Time setting determines the
ple Peak, but with VENUE meter scaling to amount of time it takes, in milliseconds, to average
+20 dB. the peak level as registered on the meter display.
You can think of this as the attack time for regis-
VENUE RMS Provides the same ballistics as RMS, tering peak levels on the meters. For some Meter
but with VENUE meter scaling to +20 dB. Types, this setting is not adjustable (such as Peak).

144 Pro Tools Reference Guide

Color Break High Clip Indication Options

The Color Break High setting determines the high These options determine how long the clip indica-
point in dB where the color changes for metering. tors on plug-in, send, and track meters stay lit after
Typically, this will be the ceiling level for the cur- a clip is detected.
rent Meter Type. When this level is exceeded clip-
3 Seconds When selected, meters display the last
ping will occur. Levels registering on the meters
between the Color Break High setting and the Color clip indication for three seconds.
Break Low setting should be considered the “sweet Infinite When selected, meters display the last clip
spot” for the loudness of the program material. indications until you click them to clear them.

Color Break Low None When selected, meters do not hold the clip
indication.
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 Display
current Meter Type. Use this setting to provide a The Display section of the Metering preferences
visual indication in the meters for the lowest level provides options for configuring the display of the
of the dynamic range of the program material for new Gain Reduction meters on tracks and in sends.
the intended delivery format (such as film, DVD,
CD, MP3, or broadcast). Show Send Assignment Level Meter

Reset Enable the Show Send Assignment Level Meter

option to show Level meters in Sends Assignments
Click the Reset button to reset the Advanced Me- on audio, Auxiliary Input, and Instrument tracks in
ter Type preferences to the default settings for the the Mix window. When this option is disabled,
selected Meter Type. level meters are not displayed in Send Assign-
ments on tracks.
Peak/Clip
Show Track Gain Reduction Meter
Peak Hold Options
Enable the Show Track Gain Reductions Meter op-
These options determine how long the peak indica- tion to show Gain Reduction meters in tracks on
tors on track meters stay lit after a peak is detected. audio, Auxiliary Input, Instrument, and Master
Fader tracks in the Mix window. Note that even
3 Seconds When selected, track meters display
when this option is enabled, Gain Reduction me-
the last peak level for three seconds.
ters are only displayed for those tracks with sup-
Infinite When selected, track meters display the ported dynamics plug-in inserted. When this op-
last peak level until you click them to clear them. tion is disabled, Gain Reduction meters are not
displayed on tracks.
None When selected, track meters do not hold the
peak level.

Chapter 8: Preferences 145

 Show Insert Assignments Gain Reduction Priority Expander/Gate When selected, if an Ex-
Meter pander/Gate plug-in is inserted on a track, only
gain reduction applied by Expander/Gate plug-ins
Enable the Show Insert Assignment Gain Reduc-
is displayed in the gain reduction meter. However,
tions Meter option to show Gain Reduction meters
if no Expander/Gate plug-in is on a track, any gain
in Insert Assignments on audio, Auxiliary Input,
reduction applied by other dynamics processing
Instrument, and Master Fader tracks in the Mix
plug-ins on the track is displayed on that track.
window. Note that even when this option is en-
abled, Gain Reduction meters are only displayed All – Summed When selected, the sum of all gain
for those tracks with supported dynamics plug-in reduction applied on a track by dynamics plug-ins
inserted. When this option is disabled, Gain Re- inserted on that track is displayed in the gain re-
duction meters are not displayed in Insert Assign- duction meter.
ments on tracks.

Gain Reduction Meter Type

Processing Preferences
The Gain Reduction Meter Type settings determine
which dynamics processing plug-ins display Gain
Reduction meters on audio, Auxiliary Input, In-
strument, and Master Fader tracks in the Mix win-
dow. Note that even Gain Reduction Meters are
only displayed for those tracks with supported dy-
namics 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 reduc-

tion 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 dynam-
ics processing plug-ins on the track is displayed on
that track.

146 Pro Tools Reference Guide

AudioSuite and converted to WAV on import. When this op-
tion is not selected, copied files retain their original
Default Handle Length format (unless that file format is incompatible with
The Default Handle Length options let you set the Pro Tools, in which case it must be converted).
default length for AudioSuite and clip gain han- Do Not Convert Sample Rate on Import When se-
dles. lected, files with different sample rates than the
Whole File When enabled, AudioSuite and clip session sample rate are not automatically con-
gain rendering renders the whole file referenced by verted when imported into the session. This means
the selection or clip. that files with mis-matched sample rates playback
at a different speed (and pitch transpositions than
Length This setting lets you specify the default when they were originally recorded (or converted).
Handle Length (from 0.00 to 60.00 seconds) for
AudioSuite and clip gain rendering. AudioSuite Import REX Files as Clip Groups When selected,
and clip gain rendering renders the selection plus REX flies are imported as clip groups, all the un-
any additional available audio up to the specified derlying slices are imported as individual clips
Handle Length. contained within the clip group. When this option
is not selected, importing REX files into a session
converts them to the session’s audio file format,
Import the individual slices are consolidated, and the slice
Convert Imported “WAV” Files To AES31/Broad- information is used for Elastic Audio analysis.
castWave When selected, this option applies to all These files remain tick-based after import and con-
newly imported WAV files, making them compli- version.
ant with the AES31/EBU Broadcast standard.
Automatically Create Fades When selected,
Automatically Copy Files on Import When se- crossfades are applied automatically to the sliced
lected, all audio files that are imported by dragging clips within clip groups created by importing REX
and dropping are copied to the current session’s files. If the Import REX Files as Clip Groups option
Audio Files folder, regardless of whether the files is not selected, the Automatically Create Fades op-
need to be converted to the current session’s file tion is not available.
type, bit depth or sample rate. Additionally, when
selected, the Copy from Source Media option is au- To change the default fade settings for REX files,
tomatically enabled in the Import Session Data di- click the REX button in the Default Fade Settings
alog. The Automatically Copy Files on Import pref- section on the Editing Preferences page.
erence does not affect the Import Audio command.
Drag and Drop From Desktop Conforms to
Convert Copied Files to Session Format When Session Tempo
selected, files that have different file formats from The Drag and Drop From Desktop Conforms to
the current session file format are copied and con- Session Tempo options determine whether or not
verted to the current session audio file format on REX, ACID, and audio files are imported as tick-
import. For example, if the session file format is based Elastic Audio and conformed to the session
WAV and you import an AIF, the files is copied tempo.

Chapter 8: Preferences 147

 No Files When enabled, REX and ACID files, and TC/E (Time Compression/
all other audio files are not conformed to the ses- Expansion)
sion tempo when imported by drag and drop from
TC/E Plug-In Lets you select the plug-in used for
Windows Explorer or the Mac Finder. They are
Time Compression and Expansion when you edit
imported as sample-based files and converted to
audio with the Time Compression/Expansion Trim
the sessions audio file format.
tool. This Trim tool works by using Time Com-
REX and ACID Files Only When enabled, only pression/Expansion to match an audio clip to the
REX and ACID files are conformed to the session length of another clip, a tempo grid, a video scene,
tempo when imported by drag and drop from Win- or other reference point. The Time Shift plug-in is
dows Explorer or the Mac Finder. REX files are selected by default.
imported either as tick-based Elastic Audio or, if
Default Settings Specifies the default settings
the Import REX Files as Clip Groups option is en-
used by the chosen Time Compression/Expansion
abled, as tick-based clip groups.
plug-in.
All Files When enabled, all audio files (including
REX and ACID files) imported by drag and drop Elastic Audio
from Windows Explorer or the Mac Finder are im-
ported as tick-based Elastic Audio and conform to These preferences determine Elastic Audio usage
the session tempo. and settings on new tracks, as well as for preview-
ing and importing tick-based audio.
Sample Rate Conversion Quality
Default Plug-In Lets you select any Real-Time
The Sample Rate Conversion Quality pop-up menu Elastic Audio plug-in as the default for previewing
lets you select the default sample rate conversion and importing Elastic Audio. The selected default
quality for importing audio files by drag and drop Elastic Audio plug-in is also used when new tracks
from any Workspace browser, or Windows Ex- are created with the Enable Elastic Audio on New
plorer or Mac Finder. The higher the quality of Tracks option enabled.
sample rate conversion you select, the longer
Default Input Gain Lets you attenuate the signal
Pro Tools will take to process the audio file.
input to Elastic Audio plug-ins by 0 to –6 dB for
preview and import. If you experience clipping
Commit due to Elastic Audio processing during preview or
after import, you may want to set the Default Input
Rendered File Bit Depth
Gain to slightly attenuate the audio signal input for
The Rendered File Bit Depth options determine the Elastic Audio processing. This preference also ap-
bit depth of new audio files created using the Track plies to any audio imported to an Elastic Audio-en-
Commit command. abled track.

Always Use 32-bit When selected, new audio files The Elastic Properties window inherits the
created using Track Commit command are 32-bit Default Input Gain setting. To apply further clip-
files regardless of the session bit depth. based input gain attenuation for Elastic Audio pro-
cessing, select the clip and adjust the Input Gain
Follow Session Settings When selected, new au-
setting in the Elastic Properties window (see “Elas-
dio files created using Track Commit command are tic Properties Window” on page 1069).
the same bit depth as the session.

148 Pro Tools Reference Guide

Enable Elastic Audio on New Tracks When se- Miscellaneous
lected, new tracks are created with Elastic Audio
enabled. The selected default Elastic Audio plug- Parallel Task Optimization
in is used. The Parallel Task Optimization preference lets you
If the Enable Elastic Audio on New Tracks select the optimal possible number of parallel pro-
option is selected, you may want to also se- cessing tasks that can happen at the same time on
lect the New Tracks Default to Tick Time- your computer. Relevant factors include how
base option in the Editing Preferences page. many core processors your computer has, how fast
the processors are, how fast or how fragmented
your hard drives are, how fast your network stor-
DSP Management
age connection is, and so on. The optimal possible
These preferences determine DSP management number of parallel processing tasks is usually pro-
behavior for converting DSP plug-ins to Native portional to the number of core processors in your
and also for the HEAT software option. computer.

Open Unresourced DSP Plug-Ins as Affected parallel processing tasks include:

Native (HDX Systems Only) When this option is • Waveform calculation
enabled, any DSP plug-ins that exceed the avail-
• File indexing
able DSP processing are converted to Native for-
• Rendering Clip Gain, Clip Effects, and Elastic
mat plug-ins wherever possible. When this option
Audio
is disabled, any DSP plug-ins that exceed the avail-
able DSP processing are made inactive. Compare different settings to see what works best
with your system.
Enable HEAT in New Sessions When enabled,
new sessions are created with HEAT enabled for Off Only a single task is processed at a time
all audio tracks. When disabled, HEAT is disabled
in new sessions by default. This option is only Low Up to 4 tasks can be processed simultaneously
available if the HEAT software option is installed. Med Up to 6 tasks can be processed simultaneously
For more information, see Chapter 50, “HEAT.”
High Up to 8 tasks can be processed simultaneously
Celemony ARA While Loading Waveforms, Display in Low
Resolution
Audio to MIDI Plug-in
Enable this option to improve speed and perfor-
The Audio to MIDI Plug-in preference lets you se-
mance when opening large sessions and when pre-
lect an installed plug-in for audio to MIDI conver-
forming actions such as continuous scrolling at ex-
sion. Melodyne™ Essentials from Celemony is in-
treme zoom levels. This can be especially helpful
stalled with Pro Tools by default.
when working with network storage or using older
non-solid-state drives. Waveforms will be ren-
dered in low resolution until Pro Tools is able to
complete reading the file from the Waveform
cache, after which waveforms are displayed in full
resolution.

Chapter 8: Preferences 149

 Noise Burst Peak Protection Basics
The Noise Burst Peak Protection option is de- Remove Range Selection After Opening the
signed to protect your ears from unexpected spikes MIDI/Score Editor When selected, the MIDI Editor
in the audio signal, which may occur with certain and Score Editor open with no Edit selection.
plug-ins or other components in the signal chain. When this option is disabled, the MIDI Editor and
When enabled, signals above 20 dBFS are silenced Score Editor open with the current Edit selection
automatically. Disabling this option allows for full intact.
32-Bit floating point headroom, but removes pro-
Use MIDI to Tap Tempo When enabled, you can
tection against high signal-level noise bursts.
tap a MIDI keyboard to enter a new tempo value
For HDX systems, if you have an open session, into a tempo field.
Pro Tools prompts you to close and reopen the ses-
Display Events as Modified by Real-Time Proper-
sion. Note that for Pro Tools | Carbon systems this ties When enabled, Pro Tools displays the effects
option is always enabled and disabling it does not of Real-Time Properties in the Edit, MIDI Editor,
affect the output signal, though it does still affect and Score Editor windows, and the MIDI Event
the signal for internal busses. List.

Use F11 Key for Wait for Note When enabled,

MIDI Preferences pressing the F11 Function key puts MIDI record-
ing in Wait for Note mode.

Automatically Create Click Track in New

Sessions When enabled, Pro Tools automatically
creates a new click track in new sessions.

Default Thru Instrument

This option lets you set the default MIDI Thru in-
strument. You can select a predefined device from
your available MIDI instruments, or select First
Selected MIDI Track to use the assigned MIDI out-
put of the first selected MIDI or Instrument track.
When multiple MIDI or Instrument tracks are se-
lected, 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.

150 Pro Tools Reference Guide

Pencil Tool Resolution When Drawing Latch Until Next Event Continues writing the last
Controller Data value until the next event even if you are still re-
cording.
This option lets you set the default resolution for
MIDI controller data created with the Pencil tool. Touch Immediately stops writing any new values
Setting this to a lower resolution helps avoid creat- (only use this mode to add pedal-based control
ing controller data that is unnecessarily dense. The data, not to modify existing data).
value range is from 1 to 100 milliseconds.

Global MIDI Playback Offset Note Display Options

These options set the reference for middle C as C3,
This option lets you set an offset in samples to
C4, or MIDI note number 60.
compensate for MIDI latency. Entering a value
here has the same effect as setting an offset with
the MIDI Track Offsets command. Offset values Delay Compensation for
can be positive (later) or negative (earlier). External Devices Options
These options only apply when a Delay Compen-
Double-Clicking a MIDI Clip Opens
sation Engine is selected in the Playback Engine
This option lets you specify what happens when and Delay Compensation is enabled in Pro Tools.
you double-click MIDI clips with the Grabber tool. These options are distinct from the hardware off-
sets available for hardware inserts in the I/O Setup.
Docked MIDI Editor Opens the MIDI clip in a
Docked MIDI Editor window. MIDI Timecode When selected, Pro Tools applies
Delay Compensation to Pro Tools-generated
MIDI Editor Opens the MIDI clip in a MIDI Editor MIDI Timecode (MTC). Enable this option when
window. synchronizing video to Pro Tools using MTC.
Score Editor Opens the MIDI clip in the Score Ed- MIDI Beat Clock When selected, Pro Tools applies
itor window. Delay Compensation to Pro Tools-generated
MIDI Event List Opens the MIDI clip in the MIDI MIDI Beat Clock.
Event List. MIDI Notes and Controllers When selected,
Name Dialog Opens the Name dialog for the MIDI Pro Tools applies Delay Compensation to MIDI
clip. notes and MIDI controller data. This is useful
when monitoring playback or when recording in-
MIDI Merge Release Mode put from external MIDI devices.

MIDI Merge Release mode determines how

Pro Tools writes MIDI CC data when recording
MIDI/Score Editor Display
MIDI in MIDI Merge mode. Additional Empty Bars in the Score Editor
Latch Continues writing the last value. Any exist- This setting lets you specify the default number of
ing events are overwritten until you stop recording. empty bars that appear in the Score Editor window
after the end of the last MIDI clip in the session.

Chapter 8: Preferences 151

 Automatically Download New Shared
Collaboration Preferences Tracks When enabled, any new remote shared
tracks are automatically downloaded.

Cloud Storage Services

Prevent Others from Overwriting Open Session
File Extension

When working with cloud based file synchroniza-

tion services such as Dropbox, Google Drive, or
Microsoft OneDrive, enable this option to prevent
collaborators from overwriting your session.
Pro Tools creates a temporary file next to the ses-
sion file on both local and cloud storage as long as
the session is open. If another user attempts to open
the session, they are notified that you already have
the session open and that they should Save As a
new session to continue. When you close the ses-
sion, the temp file is deleted so that others can take
command of the session.

Pro Tools Track Collaboration File Extension

New Tracks Are Shared When enabled, new The file extension for the temp file can be set to ei-
tracks are automatically shared when they are cre- ther .tmp or .ptmp. It is recommended that you use
ated. .tmp when working exclusively with NAS (Net-
work Attached Storage) to ensure compatibility
First Invite Shares All Tracks When enabled, all
with any legacy Pro Tools systems (Pro Tools 10
tracks are automatically shared when you invite
to 2020.3) also operating on the same NAS. How-
anyone to join your project.
ever, you must use .ptmp when working with Mic-
Joining Project Downloads All Shared rosoft OneDrive as OneDrive ignores .tmp files.
Tracks When enabled, all shared tracks in the proj- You can use either extension in most other cases. If
ect are automatically downloaded when you join a you encounter a service that does not recognize the
project. file extension, try using the other extension. The
File Extension setting only dictates which exten-
Enable “Track Notes” Dialog When enabled, the
sion Pro Tools creates when a session is opened.
Track Notes dialog is presented whenever opening
Pro Tools always respects either extension, and
a project that reports information such as mis-
other users will be notified, even if their Prevent
matched I/O Settings or missing plug-ins and so
Others from Overwriting Open Session option is
forth. When this option is disabled, the Track
disabled. Unless all users are working exclusively
Notes dialog is suppressed when opening a project
with NAS, all users must be using Pro Tools
even there are reportable discrepancies.
2020.5 or higher.

152 Pro Tools Reference Guide

Note that a temp file (.tmp) is automatically gener-
ated if a session is opened on NAS, even if the Pre- Synchronization Preferences
vent Others from Overwriting Open Session option
is disabled.

Keep Unused Folders on Session Close

It is helpful to minimize unnecessary file syncing

operations when working with cloud-based file
synchronization services. By default, when you
close a session Pro Tools removes unused folders
within the session folder that it automatically cre-
ated when the session was opened. This includes,
but is not limited to, Clip Groups and Video Files
folders. Enable the Keep Unused Folders on Ses-
sion Close option to leave these folders in place
when closing your session, preventing additional
synchronization operations.

Additionally, you can use the Local Waveform

Cache Versions setting in the Operation Prefer-
ences to reduce unnecessary synchronization oper-
ations. When a value greater than zero is used, the Machine Control
session waveform cache is created and updated
Machine Chases Memory Location When se-
outside of the session folder. The waveform cache
lected, navigating to a specific location in a session
is then copied into the session folder when you
with a Memory Location causes a connected trans-
close the session. This lets you have a single syn-
port to chase to that location.
chronization operation instead of many while
working on the session. Note that the Prevent Oth- Machine Follows Edit Insertion/Scrub When se-
ers from Overwriting Open Session option must lected, navigating to a specific location in a session
also be enabled in order for this to work with non- by moving the selection point or by scrubbing a
NAS related storage. 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 De-
vices (cue) to set Pro Tools to send cue
commands.

Chapter 8: Preferences 153

 Machine Cues Intelligently (HDX and HD Native Delay Before Locking to Longitudinal Timecode
Systems Only) When selected, if you navigate to a (HDX and HD Native Systems Only) Sets the
cue point that is more than 10 seconds from the amount of time (in frames) for Pro Tools to lock to
current location, Pro Tools will command a con- incoming LTC. Use this option when locking
nected transport to fast wind to the new location at Pro Tools to a stable timecode source (such as a
full speed to within 10 seconds of the cue point. non-linear tape machine or LTC generator) and not
Cueing will then slow to normal speed until the a linear tape machine.
point is reached. This can significantly speed up
Delay Before Locking to Serial Timecode (HDX
tape cueing with certain video transports.
and HD Native Systems Only) Sets the amount of
Stop at Shuttle Speed Zero (HDX and HD Native time (in frames) for Pro Tools to wait before at-
Systems Only) Causes Pro Tools to send a Stop tempting to lock to machines that issue servo lock
command whenever you stop shuttling. This is messages. This setting allows time for the servo
useful if you have a machine that requires an ex- mechanisms to achieve stable lock.
plicit stop command to park correctly.

Non-Linear Transport Error Suppression (HDX Remote Mode

and HD Native Systems Only) When Transport = (HDX and HD Native Systems Only)
Pro Tools, keeps Pro Tools from sending a Stop
Ignore Track Arming Sets Pro Tools to ignore in-
command when taken offline. This prevents
coming track arming (record enable) commands.
Pro Tools from stopping any other 9-pin devices
This is useful if you are using a master controller to
connected to the system.
arm tracks on other machines, but you do not want
to arm tracks in Pro Tools.
Synchronization
Set Servo Lock Bit at Play Enable this option
Minimum Sync Delay Sets the initial amount of when using a synchronizer to control Pro Tools in
prime time (in frames) your system’s devices need Remote mode to minimize lock-up times during
to achieve synchronization “lock.” This amount recording.
varies for each device. Pro Tools lock up delay is
set by entering a value for Minimum Sync Delay in Allow 9-Pin Track Arm Commands in Local
the Synchronization page of the Preferences. The Mode Sets Pro Tools to respond to incoming track
lowest value available is 15 frames. Find the short- arming (record enable) commands even when the
est possible lock-up time that your equipment can system is not in Remote mode. This is useful if you
operate at consistently, and set this as the Minimum are using a paddle device to control Pro Tools
Sync Delay. On systems using MachineControl, track arming or punching.
enabling the Use Serial Timecode option will Allow 9-Pin Transport Commands in Local
make machines lock up much faster. (Serial time- Mode Sets Pro Tools to respond to incoming trans-
code requires both a qualified synchronization pe- port commands even when the system is not in Re-
ripheral and external devices to be locked to house mote mode. This is useful when using Satellite
video reference.) 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 associ-
ated with a 9-pin device.

154 Pro Tools Reference Guide

Punch In Frame Offset Sets an offset (in frames) AAE Errors Stop All Linked Systems Causes an
to compensate for punch in timing advances or AAE error on any linked Pro Tools system to stop
delays. the transport on all linked systems. When this op-
tion is not selected, linked systems will not stop if
Punch Out Frame Offset Sets an offset (in frames)
an AAE error occurs on one system.
to compensate for punch out timing advances or
delays. Transmit Play Selections Causes a linked
Pro Tools system to send the Edit window selec-
Delay After Play Command Sets the amount of
tion to all other linked Pro Tools systems. On other
time (in frames) for Pro Tools to wait after receiv- linked systems that are set to receive play selec-
ing a Play command before starting the audio en- tions, the selection is mirrored in the Edit window.
gine. This can prevent false starts when locking to
synchronizers that are not fully supported by Receive Play Selections Causes a linked
Pro Tools. Pro Tools system to receive Edit window selec-
tions from all other linked Pro Tools systems that
Satellites are set to transmit play selections.
(HDX and HD Native Systems Only)

Satellite Link lets you link up to 12 Pro Tools HD Global and Local Preferences
systems, or 11 Pro Tools HD systems and an Avid
Video Satellite (Media Composer) or a Pro Tools Pro Tools preferences are either global (system-
Video Satellite system, over an Ethernet network wide) or local (for the current session or project
so that you can cue, play, and stop the transport, only).
make play selections, and solo tracks across any of
Global (System-Wide) Preferences Global prefer-
the systems from any linked workstation.
ences are applied to all sessions. These preferences
Transmit Solos Causes a linked Pro Tools system become the default preferences for any existing
to send the solo status of its tracks to all other sessions that you subsequently open or any new
linked Pro Tools systems. On other linked systems sessions that are created.
that are set to receive solos, tracks follow solo be-
Local (Current Session) Preferences Local pref-
havior as if the solo were on the local system.
erences are applied to the current session (if one is
Receive Solos Causes a linked Pro Tools system open). Local preferences are not applied to older
to receive solos from all other linked Pro Tools sessions that are subsequently opened.
systems that are set to transmit solo status of their
Preferences and New Sessions
tracks. Tracks on the receiving system follows solo
behavior as if the solos were on the local system. New sessions use global preference settings, plus
the most recent local preference settings. The most
Solo Independent of Linked State Causes a
recent local settings refer to the last open session
Pro Tools system to send the solo status of its
(unless subsequent changes were made in the Pref-
tracks to other satellite systems even when it is un-
erences from the application window).
linked. This allows control of solo status across
systems even when transport control is not en-
abled.

Chapter 8: Preferences 155

 Local (Session or Project Only) • MIDI Preferences
Preferences • Display Events as Modified by Real-Time
All Preferences are global (system-wide), except Properties
for the following, which are local: • Automatically Create Click Track in New
• Display Preferences Sessions

• Edit Window Default Length • Default Thru Instrument

• Always Display Marker Colors • Pencil Tool Resolution When Drawing Con-
troller Data
• Default Track Color Coding options
• Delay for External Devices Options
• Default Clip Color Coding options
• Collaboration Preferences
• Operation Preferences
• None
• Latch Forward/Rewind
• Synchronization Preferences
• Custom Shuttle Lock Speed
• None
• Custom FF/REW Speed
• Back/Forward Amount (Pro Tools Ultimate
only)
• PEC/Direct Style Input Monitoring
(Pro Tools Ultimate only)
• DestructivePunch File Length
(Pro Tools Ultimate only)
• Clip Auto Fade In/Out Length
(Pro Tools Ultimate only)
• Delay Comp Time Mode
• Compensate side chains
(HDX systems only)
• Editing Preferences
• None
• Mixing Preferences
• Coalesce When Removing Members from
VCA Group (Pro Tools Ultimate and Studio
only)
• Metering Preferences
• None
• Processing Preferences
• Convert Imported “WAV” Files To
AES31/BroadcastWave

156 Pro Tools Reference Guide

Chapter 9: Peripherals

The settings in the Peripherals dialog define how

Pro Tools works with various audio, synchroniza-
tion and controller devices, as well as with
VENUE systems.

To configure settings for Pro Tools peripherals:

1 Choose Setup > Peripherals.
2 Click the tab for the type of peripheral you want
to configure.
3 Change the settings.
4 Click OK to save your changes and close the
Peripherals dialog.
Synchronization Peripherals with Sync X

Synchronization
The Synchronization page lets you configure
Pro Tools for use with MIDI Timecode and a syn-
chronization peripheral.

Pro Tools Ultimate supports both SYNC HD and

Pro Tools | Sync X synchronization peripherals
with Pro Tools | HDX and HD Native systems.

For information about synchronization

peripherals, see the Pro Tools | Sync X
Guide or the SYNC HD Guide.

Synchronization Peripherals with SYNC HD

Chapter 9: Peripherals 157

 MTC Reader and Generator Pitch Memory Enabled
(SYNC HD Only)
The MIDI Timecode (MTC) settings let you select
the MIDI In and Out ports for MTC. When this option is selected, the synchronization
peripheral will remain at a pitch (sample rate) that
MTC Reader Port The MTC Reader Port setting
corresponds to the last known incoming timecode
lets you select the MIDI In port to receive MIDI speed. When deselected, the Synchronization pe-
Timecode from an external device. ripheral reverts to the selected sample rate. If Pitch
MTC Generator Port The MTC Generator Port set- Memory is disabled and the selected external clock
ting lets you select the MIDI Out port for sending reference is not available, then the synchronization
MIDI Timecode generated by Pro Tools. peripheral reverts to the nominal, selected internal
sample rate setting.

Synchronization Device Sync X always maintains Pitch Memory, so

(HDX and HD Native Systems Only) this option is not exposed in the Synchroniza-
tion Device settings.
The Synchronization Device settings let you en-
able and configure a synchronization peripheral Idle MTC Enabled
(Pro Tools | Sync X or SYNC HD) for use with
Pro Tools Ultimate running on Pro Tools | HDX or When this option is disabled, MTC output is muted
HD Native systems. when playback is idle. When enabled, MTC is con-
tinuously output.
Sync X Enabled/Enable SYNC HD
LTC Output Level
When this option is selected, any connected syn-
chronization peripheral is enabled for use with This setting adjusts the analog audio level of the
Pro Tools. LTC output, from –24 dBu to +9 dBu.

Current Firmware Version VITC Read Lines

(SYNC HD Only)
This displays the firmware version for the con-
nected synchronization peripheral, such as a This setting determines which line pair of incom-
SYNC HD or Sync X. ing video signal is used for the VITC source. When
set to Auto, the synchronization peripheral
VITC Insertion Enabled searches for the first valid line pair automatically.
(SYNC HD Only) Alternatively, this value can be set to specific
VITC line pairs.
When this option is selected, VITC is inserted into
the outgoing video signal—assuming that a video VITC Generate Lines
signal is present at a synchronization peripheral (SYNC HD Only)
video input, and that the synchronization periph-
eral is in a valid mode for inserting VITC. This setting determines the line pair of the outgo-
ing video signal onto which the synchronization
peripheral inserts VITC. Normally, this should be
left at the default (and preferred) setting of 14/16.

158 Pro Tools Reference Guide

Bi-Phase/Tach Wiring Horizontal Position Sets the relative horizontal
position of the window dub within the video pic-
This setting lets you select from the following op-
ture. The choices include Extreme Left, Left, Cen-
tions for Bi-Phase or Tach wiring:
ter, Right and Extreme Right.
• Bi-Phase: FWD = A leads B
The “Extreme” horizontal positions are out-
• Bi-Phase: FWD = B leads A
side the standard “safe title” area, which
• Tach:FWD = B is Low means they may not be visible on some video
• Tach: FWD = B is High monitors.

Bi-Phase/Tach Pulses/Frame (2–254) Size Sets the relative size of the window dub
(Small or Large).
There are several different standards for the num-
ber of pulses-per-frame output by Bi-Phase or Color Sets the color of the timecode numbers and
Tach devices. You can set the synchronization pe- background of the window dub. The choices in-
ripheral to operate from 2 to 254 pulses per frame clude White on Black Bkgnd, Black on White Bk-
from Pro Tools. The setting should match the PPF gnd, White on Video Bkgnd, or Black on Video
rate of the Bi-Phase/Tach encoder on the external Bkgnd. (Video Bkgnd means that the background
device. of the window dub is transparent, so that the time-
code numbers are displayed directly on top of the
Reset Bi-Phase video signal, without a contrasting background
box.) The default setting is White on Black Bkgnd.
This button lets you set the Bi-Phase/Tach start
frame from Pro Tools. Click the button to update Enable Relay-Based GPOs
the Timecode Display on the synchronization pe- (Pro Tools | Sync X Only)
ripheral to match the session timecode value.
When this option is selected, GPO Output triggers
Enable Dub Window 0–3 are enabled for the GPIO DB-25 port on the
(SYNC HD Only) back panel of Sync X. When disabled, there is no
audible click noise from the device during play-
When this option is selected, you can insert a time- back, record, or fader start. For more information,
code window into a video signal with the follow- see the Pro Tools | Sync X Guide.
ing Window dub appearance settings:
Displays
Vertical Position Sets the vertical position of the
(Pro Tools | Sync X Only)
window dub, relative to the bottom of the video
picture. The choices range from 10% From Bottom This setting lets you specify the behavior of the
to 50% From Bottom, in 10% increments. Sync X front panel displays when the unit is pow-
ered on and idle for a certain amount of time.
“10% from Bottom” vertical position is out-
side the standard “safe title” area, which Use Screensaver After 15 minutes of inactivity
means it may not be visible on some video the displays are dimmed. After 30 minutes the
monitors. screen saver appears. After 60 minutes the displays
are turned off. Pressing any front panel switch re-
turns displays to normal on state.

Chapter 9: Peripherals 159

 Always On (Not Recommended) Displays are al- MIDI Machine Control Master
ways on while Pro Tools is running and Sync X is
enabled. Not recommended for long periods of Pro Tools provides the following for configuring
MIDI Machine Control Master settings.
time as this reduces display lifespan.

Off Displays are turned off, but can be turned on Enable

temporarily by pressing any front panel switch.
When the Enable option is selected, Pro Tools is
Recommended when displays are only viewed oc-
the Master. Pro Tools sends MMC commands to
casionally.
control a connected MMC-compatible device and
receives MTC information back from that device.

Machine Control MIDI Out Port

The Machine Control page lets you configure Select the MIDI Out Port to which the MMC device
Pro Tools Ultimate and Studio for use with MIDI you want to control is connected.
Machine Control or 9-Pin Machine Control
(Pro Tools Ultimate only). MMC ID

For information about using MachineControl The MMC ID setting lets you specify the MMC ID
with Pro Tools Ultimate and Studio, see number for which MMC information will be sent.
Chapter 62, “Pro Tools | MachineControl.” MMC commands contain an ID number to identify
which machine should respond to the MMC com-
mand. There are 128 MMC ID numbers, from 0–
127. 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 the MMC device being controlled.
Pre-roll is needed to provide the device with suffi-
cient time to lock to the timecode transmitted by
Pro Tools. This value will vary depending on the
device. If the pre-roll time is insufficient, the de-
vice may not be ready to lock until after the current
timecode position has passed.

160 Pro Tools Reference Guide

MIDI Machine Control Remote Machine Type

Pro Tools provides the following for configuring After you select a port, Pro Tools automatically
MIDI Machine Control Remote settings. polls the port to see what kind of machine is con-
nected. If the machine is recognized, Pro Tools
Enable loads the corresponding Machine Type. This in-
cludes the corresponding track layout and auto-
When the Enable option is selected, Pro Tools is
matically enters the name of that machine into the
controlled by MMC commands it receives from
Machine Track Arming window. However, if the
the master device and sends MTC information
machine is not recognized, the “Generic 1” per-
back to that device.
sonality is automatically loaded.
MMC ID
Preroll
The MMC ID setting lets you specify the MMC ID
The Preroll setting lets you specify a variable
number for which MMC information will be re-
amount of machine preroll to account for the time
ceived.
it may take the machine to achieve servo lock.
Shorter preroll values are usually better for non-
9-Pin Machine Control (Deck linear machines. Longer preroll values are usually
Control) better for older tape transports. The Machine pre-
(HDX and HD Native Systems Only) roll value is added to any preroll specified in the
The 9-Pin Machine Control (Deck Control) settings Transport window.
let you configure a Machine Control device for Se-
rial Deck Control mode with Pro Tools Ultimate. 9-Pin Remote (Deck Emulation)
Serial Deck Control mode is available whenever (HDX and HD Native Systems Only)
Machine Control is connected using the Serial
Deck Control cable. When connected for Serial The 9-Pin Remote (Deck Emulation) settings let
Deck Control mode, Machine Control enables all you configure Pro Tools Ultimate for 9-Pin Re-
Pro Tools track arming, synchronization, and mote (Deck Emulation) mode. This mode makes
Transport features, as available on your system. Pro Tools operate as a virtual deck, supporting
Serial Deck Control mode also supports 9-pin se- most standard Sony P2 9-pin commands. By de-
rial timecode. fault, Pro Tools emulates a Sony BVW-75 model
video deck. You can also configure Pro Tools to
Enable emulate other machines.

When the Enable option is selected, Pro Tools is in Enable

Serial Deck Control mode.
When the Enable option is selected, Pro Tools is in
Port 9-Pin Remote (Deck Emulation) mode.

The Port setting lets you select the 9-pin Machine Port
Control port. The available choices depend on
your platform and configuration The Port setting lets you select the 9-pin Machine-
Control port. The available choices depend on
your platform and configuration

Chapter 9: Peripherals 161

 Machine Type Number and Color

The Machine Type setting lets you select the ma- The number of the row indicates the order of the
chine description for specific machine controllers selected controllers. The color corresponds to the
(such as the Soundmaster ATOM). By default, controller focus around Pro Tools track and plug-
Pro Tools emulates a Sony BVW-75. in controls.

Chase LTC Type

When Chase LTC is enabled, Pro Tools still re- The Type setting lets you select the MIDI control-
sponds to track arming and record commands. ler connected to your computer. Choose from any
However, Pro Tools will chase incoming LTC of the following types of MIDI controllers:
with the machine controller. By having Pro Tools • Command | 8 (Windows only)
follow the LTC source instead of having the ma-
chine chase Pro Tools timecode, you can avoid the • HUI
waiting (and tape wear) that occurs while a ma- • Surround Panner
chine transport locates and bumps tape to the cue • NI Komplete Kontrol
point.
Be sure to install and configure Native Instru-
ments Komplete Kontrol software according to
MIDI Controllers the manufacturer’s instructions before select-
ing it for use as a MIDI controller in Pro Tools.
The MIDI Controllers page lets you configure up
to four different MIDI controllers for Pro Tools. Receive From

The Receive From setting lets you select the MIDI

In port to which your MIDI controller is con-
nected.

With Komplete Kontrol, Receive From will be au-

tomatically set to Komplete Kontrol DAW-1.

Send To

The Send To setting lets you select the MIDI Out

port to which your MIDI controller is connected.

With Komplete Kontrol, Send To will be automat-

ically set to Komplete Kontrol DAW-1.

Number of Channels
For information on using any third-party
MIDI controller, consult the manufacturer’s The Number of Channels (# Ch’s) setting displays
documentation. the number of control channels supported by the
selected MIDI controller type.

162 Pro Tools Reference Guide

 Legacy Control Surfaces
Ethernet Controllers
When selected, Pro Tools is enabled for control by
The Ethernet Controllers page lets you configure one or more legacy Avid Ethernet controllers (such
up to seven different Ethernet controllers for as C|24™ or D-Command).
Pro Tools.
Ethernet Port

The Ethernet Port setting lets you specify the

Ethernet port on your computer to which your con-
troller 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

Enable EUCON (Extended User Control)
the Ethernet controller that you want to use.
When selected, Pro Tools is enabled for control by
one or more EUCON-compatible controllers. Name
EUCON is an innovative high-speed Ethernet
Click the Name button to enter a name for the se-
protocol developed by Avid to allow hardware
lected Ethernet controller.
control surface to directly communicate with a
software application.

You can also toggle EUCON on and off using

the EUCON Status Control in the Edit Window
toolbar. This Edit Window Toolbar view also
indicates the current status of EUCON:
disabled, enabled, connected, or if there is a
connection error. For more information see
Using EuControl Surfaces.pdf.

For more information about using Pro Tools

with EUCON, see the documentation for your
controller.

Chapter 9: Peripherals 163

 Defaults
Mic Preamps
Click the Reset button reset the corresponding
The Mic Preamps page lets you configure up to PRE to its default settings.
nine different Mic Preamps (PRE or Carbon) for
Pro Tools. Retain Current Settings

Be sure to filter out Mic Pre MIDI messages so Select the Retain Current Settings option to retain
that they do not interfere with Virtual Instru- PRE channel settings when an existing session
ments (see “MIDI Input Filter” on page 592). with different settings is loaded. New sessions will
automatically retain the current settings.
For information about Avid | PRE, see the Remote Lock-Out Mode
Avid | PRE Guide.
For information about Pro Tools | Carbon, When the Remote Lock-Out Mode option is se-
see the Pro Tools Carbon Guide. lected, all connected PREs ignore their front panel
controls.

Satellites
The Satellites page lets you configure synchroni-
zation between multiple Pro Tools systems (in-
cluding an Avid Video Satellite system) using Sat-
ellite 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 sys-
tem) over an Ethernet network so that you can cue,
Type
play, and stop the transport, make play selections,
and solo tracks across any of the systems from any
The Type setting lets you select none or PRE. linked workstation.
Select the PRE option to declare any connected
PRE. Without HD hardware, you can link up to 2 sys-
tems: one administrator and one satellite system
Receive From (typically used for monitoring video).

The Receive From setting lets you specify the Media Composer Video Satellite lets you link an
MIDI In port to which the PRE is connected. HDX or HD Native system and a Media Composer
system for monitoring Avid video. Pro Tools
Send To Video Satellite lets you link an administrator (can
be an HDX or HD Native system, or a non-HD
The Send To setting lets you specify the MIDI Out
system) and a Pro Tools host-based system for
port to which the PRE is connected.
monitoring video.

164 Pro Tools Reference Guide

 Administrator
For more information, see Chapter 65,
“Satellite Link.” When the local system is in Administrator mode,
the Administrator settings let you declare satellites
from that system. HDX and HD Native systems let
you administer up to 12 satellite systems. Non-HD
systems let you administer only one satellite sys-
tem (typically for monitoring video).

System 1–12 These pop-up menus let you declare

up to 11 satellite systems (in addition to the admin-
istrator system itself) from an administrator sys-
tem. The number of the system indicates the order
of the declared satellites in the Transport window.

Advanced Network Settings

The Advanced Network Settings options let you

manually configure the satellite network. Typi-
System Name cally, these options should be left at the default set-
tings.
Type a name for the local system. This name
appears in the list of available satellites in other Interface Lets you select the Ethernet interface if
connected systems with the Satellite Link option. more than one interface is available on your sys-
tem.
Mode
TCP/UDP Port Lets you enter the TCP/UDP Port
The Mode settings let you configure the satellite
number. By default, Satellite Link uses TCP/UDP
behavior of the local system.
port 28282. If the default port is already in use, or
Administrator When enabled, the Administrator if you want to set up separate Satellite Link net-
option sets the local system to be the administrator works, you can select a different TCP/UDP port
system for any satellite systems on the network. for Satellite Link communication.
Satellite systems can be declared from the admin-
For Satellite Link to function properly,
istrator system.
you must select a TCP/UDP port number
Satellite When enabled, the Satellite option sets between 1024 and 65534.
the local system to be a satellite system on the net-
Reset Network Lets you reset the entire satellite
work. When a system is in Satellite mode, it be-
comes available to be declared as a satellite from network. Click the Reset Network button to auto-
any administrator system on the network. matically disconnect and reconnect all satellites on
the network.

Chapter 9: Peripherals 165

 Interface For systems that have more than one
VENUE Ethernet network connection, the Interface setting
The VENUE page lets you configure Pro Tools for lets you select which connection to use for
use with a VENUE system over Ethernet using VENUE Link communication.
VENUE Link. TCP/UDP Port For systems that have more than
Pro Tools VENUE Link lets you create Pro Tools one Ethernet network connection, you can enter
sessions based on VENUE settings for live record- the TCP/UDP port number to be used for VENUE
ing and Virtual Soundcheck, create Pro Tools Link communication.
markers from VENUE Snapshots, and locate to
Pro Tools markers from VENUE Snapshots.

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 re-

mote VENUE system for recording to (or playback
from) your Pro Tools system. You can also manu-
ally enter the IP addresses of the VENUE system.

Advanced Network Settings

The Advanced Network settings let you specify an

IP address and port for VENUE Link communica-
tion.

166 Pro Tools Reference Guide

Chapter 10: Configuring MIDI

If you are using external MIDI devices with 2 If the MIDI Studio window is not showing,
Pro Tools (such as controllers or sound modules), choose Window > Show MIDI Studio.
you can customize your MIDI studio setup to dis-
play the names of your MIDI devices in Pro Tools.

MIDI Studio Setup (Mac)

Pro Tools recognizes the ports on your MIDI inter-
face as generic ports. With macOS, you use Ap-
ple’s Audio MIDI Setup (AMS) utility to identify
external MIDI devices connected to your MIDI in-
terface and configure your MIDI studio for use Audio MIDI Setup, MIDI Devices window
with Pro Tools.
AMS scans your system for connected MIDI inter-
To ensure optimum performance, do not faces. If your MIDI interface is properly con-
change the AMS configuration while nected, it appears in the window with each of its
Pro Tools is playing back. Stop the Pro Tools ports numbered.
transport before launching AMS. 3 To create a custom MIDI device for any exter-
nal MIDI devices connected to your MIDI inter-
To configure your MIDI studio in AMS:
face, click the + button at the top of the window.
1 Do one of the following: A new external device icon with the default
• Launch Audio MIDI Setup (located in MIDI keyboard image appears.
Applications/Utilities).
4 Drag the new device icon to a convenient loca-
• In Pro Tools, choose Setup > MIDI > MIDI tion within the window.
Studio.

Chapter 10: Configuring MIDI 167

 5 Connect the MIDI device to the MIDI interface 2 Select a manufacturer and model for the new
by clicking the arrow for the appropriate output device from the corresponding pop-up menus.
port of the device and dragging a connection or (If the Manufacturer and Model pop-up menus
“cable” to the input arrow of the corresponding do not provide a name for your particular de-
port of the MIDI interface. vice, you can type a name.)

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.
Naming a new MIDI device
7 Repeat steps 3–6 for each MIDI device in your
MIDI setup.
For Manufacturer and Model names, AMS
refers to one or more files with the suffix
To customize an external MIDI device in AMS:
“.middev” in the directory Root/Library/
1 Double-click the new device icon. Audio/MIDI Devices. Pro Tools installs a file
that contains information for many commer-
cially 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
External Device Icon
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 842.

168 Pro Tools Reference Guide

3 If necessary, click Properties, then enable the Pro Tools Audio Bridge
appropriate MIDI channels (1–16) for the
Pro Tools Audio Bridge provides a set of Core Au-
Transmits and Receives options. (These deter-
dio drivers with different I/O counts for streaming
mine which channels the device will use to send
audio between Pro Tools software and other Core
and receive MIDI.)
Audio–compatible applications.
4 Click the device image. The window expands to
show images for various MIDI devices (such as Although Pro Tools Audio Bridge devices (just
keyboards, modules, interfaces, and mixers). like any Core Audio Device) can be selected as
Select an icon for your device. the main Playback Engine, Pro Tools Audio
Bridge was designed to be used for Aux I/O
streaming only and should not to be used as
the main Playback Engine.

Pro Tools Audio Bridge provides a set of Core Au-

dio drivers with different I/O counts for streaming
audio between Pro Tools software and other Core
Audio–compatible applications. It is recom-
mended that you use a device with a channel count
that is closest to your streaming requirements.
Note that each device can only be used for either
input or output, but not both.

Selecting a device icon

To use your own custom icons, you can place

TIFF image files in /Library/Audio/MIDI De-
vices/Generic/Images, and they will appear as
choices in the AMS device window.

5 Select a device image and click Apply. Pro Tools Audio Bridge 2-A

6 Close the AMS window to quit the AMS appli- Pro Tools Audio Bridge includes devices with the
cation. following channel counts:

The device names you enter appear as MIDI Pro Tools Audio Bridge 16 Provides 16 channels
input and output choices in Pro Tools. of input or 16 channels of output to or from Pro
Tools software.

Chapter 10: Configuring MIDI 169

 Pro Tools Audio Bridge 2-A and 2-B Two sepa- 4 Save the file and restart your computer.
rate drivers that each provide 2 channels of input or
2 channels of output to and from Pro Tools soft- When you next launch Core Audio after restarting,
ware. your changes appear in AMS.

Pro Tools Audio Bridge 6 Provides 6 channels of

input or 6 channels of output to or from Pro Tools MIDI Studio Setup (Windows)
software., which is useful for 5.1 routing.
MIDI Studio Setup (MSS) lets you configure the
Pro Tools Audio Bridge 32 Provides 32 channels MIDI controllers and sound modules that are con-
of input or 32 channels of output to or from nected to your system, and control the routing of
Pro Tools software. MIDI data between your MIDI equipment and
Pro Tools Audio Bridge 64 Provides 64 channels
Pro Tools.
of input or 64 channels of output to or from MSS automatically finds MIDI interfaces, and lets
Pro Tools software. you specify a custom name for each of the MIDI
ports within the MIDI Studio Setup document.
Customizing Pro Tools Audio Bridge
Drivers MSS also supports XML-based patch file names
(For Advanced Users Only) for storing and importing patch names for your ex-
ternal MIDI devices.
You can create, edit, and delete Pro Tools Audio
Bridge devices to match your specific needs using Entire MIDI Studio Setup configurations created
TextEdit. Note that the following should only be within MSS can be imported and exported.
attempted by advanced users.
To configure your MIDI studio with MSS:
To change the configuration of Pro Tools Audio
1 In Pro Tools, choose Setup > MIDI > MIDI
Bridge devices:
Studio.
1 Quit any applications that are using Pro Tools
Audio Bridge. 2 Configure the MIDI Studio Setup windows.

2 Open ProToolsAudioBridge.config with any 3 When you are finished configuring the MIDI
text editor (such as Apple’s TextEdit), which is Studio Setup, close the MIDI Studio Setup
located here: window.
Macintosh HD/Library/Audio/Plug-
Ins/HAL/ProToolsAudioBridge.driver/Contents/
Resources/

3 Add, remove, or modify an existing line to add,

remove, or change the Pro Tools Audio Bridge
devices listed in AMS. The first number is the
channel count, followed by the name of the de-
vice.

170 Pro Tools Reference Guide

MIDI Studio Setup Window Instrument List

The MIDI Studio Setup window is organized into The Instrument list contains all the currently de-
three sections. Interface controls are at the top of fined instruments. Selecting an instrument in the
the window. All the currently defined instruments list displays that instrument’s properties in the
are displayed in the Instrument Name list on the Properties section of the window.
left side of the window. A detailed view of MIDI
parameters is shown in the Properties section on Properties Section
the right.
The Properties section lets you edit information for
new instruments, or instrument currently selected
in the Instrument list.

When a previously defined instrument is selected

in the Instrument list, the Properties section
changes to reflect the properties of the selected in-
strument.

To define an instrument with MIDI Studio Setup:

MIDI Studio Setup window

1 Choose Setup > MIDI > MIDI Studio.

Interface Controls 2 Click Create.

Create Adds a new instrument to the Instrument

3 In the Instrument Name field, type the name of
Name list. your instrument, and press Enter.

Delete Deletes the instrument or instruments If you do not enter an instrument name, the
selected in the Instrument Name list. Instrument Name field will automatically in-
herit information from the Manufacturer and
Import Imports an existing MIDI Studio Setup file. Model pop-up menu.
Export Exports the current MIDI Studio Setup file. 4 Set a manufacturer and model for the new de-
Show Duplicate Emulated Ports When this option vice from the corresponding pop-up menus. If
is selected and you are using a MIDI interface that the Manufacturer and Model pop-up menus do
supports time-stamping, the MIDI Studio setup not provide a name for your particular device,
window shows both the DirectMusic time-stamped choose None.
output ports, and non-stamped duplicate emulated 5 From the Input pop-up menu, choose the input
output ports. port on your MIDI interface that is connected to
the MIDI Out of your instrument.
Some MIDI Interfaces will not properly load
or unload their drivers unless you quit and 6 From the Output pop-up menu, choose the out-
re-launch Pro Tools. Refer to the documenta- put port on your MIDI interface that is con-
tion that came with your MIDI interface for nected to the MIDI In of your instrument.
more information.

Chapter 10: Configuring MIDI 171

 7 Enable the appropriate MIDI channels (1–16) Output Port
for the Send Channels and Receive Channels
The Output Port pop-up menu displays a list of
options (These determine which channels send
available MIDI interface output ports. The port set
and receive MIDI.)
and displayed here is the port through which MIDI
Instrument Name data is sent from your MIDI interface to the MIDI
device specified in the Instrument Name field.
The Instrument Name field shows the user-defin-
able instrument name for the currently selected in- If you set the output port to None, the defined
strument. instrument will not appear as a choice in a
MIDI Output Selector.
Manufacturer
Send Channels
The Manufacturer pop-up menu provides a list of
MIDI equipment manufacturers. This list is de- The Send Channels grid sets the send channels for
rived from the XML-based MIDI device files. the MIDI device specified in the Instrument Name
field.
For more information, see “MIDI Patch
Names” on page 842. Receive Channels

Model The Receive Channels grid sets the receive chan-

nels for the MIDI device specified in the Instru-
The Model pop-up menu provides a list of MIDI ment Name field.
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 842.

Input Port

The Input Port pop-up menu displays a list of

available MIDI interface input ports. The MIDI in-
terface 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.

172 Pro Tools Reference Guide

Part III: Sessions, Projects &
Tracks
Chapter 11: Sessions, Projects, and
Sketches

Projects can also be online or offline (Pro Tools

Sessions, Projects, and 12.8 or higher). Online projects are stored in the
Sketches cloud and mirrored locally (though the local cache
The first step to working in Pro Tools is creating a can be cleared to free up local storage and down-
new session, project., or Sketch. loaded later). Offline projects are not backed up to
the cloud and are only stored in the local project
cache (you might want to do this to free up online
Pro Tools Sessions storage for other active projects). You can only
Sessions are represented by session files that can collaborate with online projects.
be saved, copied, and made into templates. Ses-
Projects store all associated media and project data
sions and all associated media and settings files are
in the cloud while caching it locally. Sessions store
stored locally on connected qualified storage sys-
all associated media and session data locally, ei-
tems (such as internal and external hard drives, or
ther on hard drives in your computer or networked
certain network storage systems (such as Avid
storage. For example, with a session, you can go to
ISIS).
the session folder and find all of the audio files as-
sociated with that session in the Audio Files folder
Pro Tools Projects (note that if you have configured Pro Tools to store
Projects are similar to sessions except that they audio in other locations, those files will not be in
store your media and project data online (as well as the session’s Audio Files folder). With projects
caching it locally) in your Avid Cloud account. you must export media from the project as a new
Projects also let you collaborate on a track-by- file. While media is cached locally it is all bundled
track basis with anyone in the Avid Artist Commu- with the project data, so you cannot simply go and
nity anywhere in the world; or, if you prefer, you find individual audio files in the local cache.
can choose your collaborators privately and invite
them to join a project by email as long as everyone
is using Pro Tools 12.5 or higher. Otherwise, proj-
ects operate just like sessions. Projects have all of
the same recording, editing, mixing, and process-
ing capabilities as sessions. As such, throughout
most of this Reference Guide, unless otherwise
noted, any feature or function for sessions works
for projects as well.

Chapter 11: Sessions, Projects, and Sketches 175

 Session and Project
Interchange Signing In and Out of Your
Avid Master Account
You can save a copy of a session as a project using
the Save Copy In command. This lets you take an To be able to create or open a project, you must first
be signed in to your Avid Master Account. You will
existing session and save it as a project for cloud
have already created your Avid Master Account
collaboration. Likewise, you can save a copy of a
when you registered Pro Tools. Once you are signed
project as a session. You might want to do this with in and have created or opened a project, you can
the project is complete so that you can archive it as choose to work online or offline.
a session and free up storage space in your Avid
Cloud Account. To sign in to your Avid Master Account from
Pro Tools:

Pro Tools Sketches 1 Do one of the following:

• If the Dashboard is not open, choose File >
Sketches are files that can been created and ex-
Sign In.
changed between the Pro Tools Sketch app for
iPad and the Sketch window in Pro Tools. In • In the Dashboard window, click Sign In.
Pro Tools, the Sketch window provides the same • In the Dashboard window, press Com-
functionality as the Sketch app, but with the addi- mand+S (Mac) or Control+S (Windows).
tional functionality of being able to drag and drop
audio and MIDI clips (and Scenes and Arrange-
ments) between the Sketch window and a
Pro Tools session.

You can share Sketches between the Pro Tools

Sketch app and the Sketch window in Pro Tools
(.ptsketch file format). In Pro Tools, a Sketch can
be open with or without a session.

Note that Sketches are not fully supported with

projects. They cannot be shared in a collaboration,
but they can be part of a project locally.

For more information about the Pro Tools

Sketch window, see Chapter 21, “Pro Tools
Sign In link in the Dashboard
Sketches.”

For detailed information about using the

Pro Tools Sketch app on iPad, see Using
Pro Tools Sketch Guide.pdf.

176 Pro Tools Reference Guide

2 Enter your email and password for your Avid
Master Account.

Avid Master Account sign in

3 Click Sign In.

To sign out of your Avid Master Account, do one of

the following:
 If the Dashboard is not open, choose File > Sign
Out (<username>).
 In the Dashboard window, click Sign Out.
 In the Dashboard window, press Command+S
(Mac) or Control+S (Windows). Dashboard window

When you first launch Pro Tools, you are prompt-

ed by the Dashboard window to do one of the fol-
Dashboard Window lowing:
Pro Tools presents the Dashboard window on • Create a new session or project from a template.
launch. The Dashboard lets you quickly and easily • Create a new blank session or project.
create a new session or project, or open an existing
one. You can choose to show or hide the Dash- • Open any of the last ten most recent sessions and
board on launch in the Pro Tools Display Prefer- projects.
ences (Settings > Preferences > Display). • Open any other session on your system.
• Open any projects you created or projects that
you are collaborating on.

Chapter 11: Sessions, Projects, and Sketches 177

 To open or close the dashboard window, do any of Show on Startup Disable to skip the Dashboard
the following: when Pro Tools starts. To resume showing the
 Choose File > New or press Command+N (Mac) Dashboard when Pro Tools starts, enable the Show
or Control+N (Windows). Dashboard window when Pro Tools starts option
(Settings > Preferences > Display).
 Choose File > Open Project or press Com-
mand+Option+N (Mac) or Control+Alt+N New Tab Settings
(Windows).
To show the New tab (if not already shown, do one
of the following:
Dashboard Commands, Options,
and Settings  In the Dashboard, click the New tab.
The Dashboard provides several options for creat-  In the Dashboard, press Command+1 (Mac) or
ing and opening sessions and projects. Control+1 (Windows).
In the Dashboard, press Command+Up/Down
Global Dashboard Commands and


Settings Arrows to toggle through the tabs.

 In Pro Tools, choose File > New, or press Com-
Sign In/Out The Sign In/Out link is present in all
mand+N (Mac) or Control+N (Windows).
tabs. Click Sign In to sign in to your Avid Master
Account. Once you are signed in, your Display Local Storage (Session) Select this option to create
Name will be shown and you will also see the per- a session using local storage only.
centage of your Avid Cloud storage that you are
using all of the projects you own. Any media you Collaboration and Cloud Backup
(Projects) Select this option to create an online proj-
post to a shared project that you do not own will
ect for collaboration and cloud back up. The number
count against the project owner’s Cloud storage al- of projects you currently have is displayed in relation
location. To sign out, click your Display Name and to the total number of projects you are entitled to base
choose Sign Out. on your Avid Cloud Storage Account.
Open from Disk (Sessions Only) Click to navi- Press Command+Left/Right Arrow (Mac) or
gate to and open any session stored on your local Control+Left/Right Arrow (Windows) to tog-
system. you can also press Command+O (Mac) or gle between these options.
Control+O (Windows).
Name Type a name for your session or project.
Cancel Click to close the Dashboard window with-
out creating or opening a session or project. Create from Template Enables the options to cre-
ate a session or project from a template.
Create/Open Click Create to close the Dashboard
and create a new session or project with the speci- Template Group Select the Template Group you
fied session or project settings (on the Create tab want to review. Press Option+Up/Down Arrows
only). Click Open to open the selected session or (Mac) or Alt+Up/Down Arrows (Windows) to
project (on the Recent and Project tabs only). You scroll through the available Template Groups.
can also press Return (Mac) or Enter (Windows) to
Create or open a session or project.

178 Pro Tools Reference Guide

File Type Sets the File Type (WAV or AIFF) for Recent Tab
the session or project. Press Command+F (Mac) or
Control+F (Windows) to toggle between the two In the Dashboard, click the Recent tab, or press
options. Command+2 (Mac) or Control+2 (Windows) to
show the Recent tab. The Recent tab lists your 10
Sample Rate Sets the sample rate for the session or most recent sessions and projects, but otherwise it
project. Press Command+R (Mac) or Control+R has no unique commands, options, or settings.
(Windows) to scroll Double-click any session or project in the list to
open it. Recent projects are not shown if you are
Bit Depth Sets the Bit Depth (16-bit, 24-bit, or
not logged in.
32-bit floating) for the session or project. Press
Command+B (Mac) or Control+B (Windows) to Cloud Projects Tab
toggle through the available options.
In the Dashboard, click the Cloud Projects tab, or
I/O Settings Sets which I/O Settings to use for the press Command+3 (Mac) or Control+3 (Win-
session or project. Press Command+I (Mac) or dows) to show the Projects tab. The Cloud Projects
Control+I (Windows) to toggle through the avail- tab lists all projects stored in the cloud that you
able I/O Settings options. have created or collaborated on. Double-click any
Interleaved Enable the Interleaved option to create project in the list to open it. No projects are shown
interleaved stereo (or greater) audio files in the ses- if you are not logged in.
sion or project. Press Command+G (Mac) or Con-
Getting Started Tab
trol+G (Windows) to enable or disable the Inter-
leaved option. In the Dashboard, click the Getting Started tab, or
press Command+4 (Mac) or Control+4 (Win-
Prompt for Location (Sessions Only) Enable to
dows). The Getting Started tab provides easy ac-
be prompted for where you want to save the ses-
cess to a videos, tutorials, and additional educa-
sion. When Prompt for Location is enabled, Loca-
tional content. The bottom provides three basic
tion is automatically disabled.
templates: Beats (for electronic music production),
Location (Sessions Only) Click the Location but- Singer Songwriter (for songwriting, and recording
ton to specify the default location for saving ses- guitar and vocals), and Podcasting.
sions. When Location is enabled, Prompt for Loca-
tion is automatically disabled. Additional Dashboard Keyboard
Shortcuts
Backup to Cloud (Projects Only) Select the
Backup to Cloud option to create an online project. To navigate through the focused Template, Ses-
Disable this option if you want to create an offline sion, or Project list, press the Up/Down Arrows
project (you can always put the project online later (Mac) or Alt+Up/Down Arrows (Windows).
with the Backup To Cloud command in the Projects
To select the item at the top or bottom of the dis-
tab). For more information, see “Backup to Cloud:
played list, press Home/End (Mac and Windows).
Online and Offline Projects” on page 184.
To scroll up or down through the focused Tem-
plate, Session, or Project list, press Page Up/Down
(Mac and Windows).

Chapter 11: Sessions, Projects, and Sketches 179

 Showing or Hiding the 32-Bit Floating Point Using a 32-bit floating point
Dashboard on Start bit depth for audio files in Pro Tools sessions and
projects can help avoid clipping or unnecessary
To show or hide the Dashboard on startup, do one dithering with AudioSuite rendering. It can also
of the following:
help avoid rounding errors in signal processing
 In the Dashboard, enable (or disable) the Show (which can occur during bit depth conversion for
on startup option. file playback and real-time plug-in insert process-
ing). However, 32-bit files take up a third more
 In the Warnings & Dialogs section of the Dis-
disk space and audio streaming bandwidth, which
play Preferences page (Setup > Preferences),
can be problematic with higher track counts when
select (to show) or deselect (to hide) the Show
using slower hard drives.
Dashboard window when Pro Tools starts op-
tion. Click OK. You can change the bit depth for all newly re-
corded or imported (and converted) files in the ses-
sion or project by selecting a different Bit Depth
Bit Depths and Sample Rates option in the Session Setup window.
When selecting a bit depth or sample rate for your To change the Bit Depth for the Pro Tools session
session or project, consider fidelity, any compati- or project:
bility issues with others systems, and storage
1 Choose Setup > Session.
space.
2 In the Session Setup window, select a bit depth
Bit depth and sample rate also have an effect on from the Bit Depth selector.
the amount of mixing power available in a session
or project. Fewer mixer channels are available
with 24-bit and 32-bit floating point sessions and
projects, and with sessions at higher sample rates.

Bit Depths
16-Bit Using 16-bit for audio files is useful for Session Setup window, selecting 32 Bit Float
keeping audio file sizes down. You may want to
use 16-bit for sessions and projects with few Sample Rates
tracks, and little mixing and plug-in processing. 44.1 kHz Is the sample rate used for CDs and is
CDs (Compact Discs) use 16-bit. used in most common music production environ-
ments.
24-Bit Using 24-bit for audio files is commonly
used for most music production and post-produc- 48 kHz Is the standard sample rate for film and
tion sessions and projects with multiple audio video projects, and is commonly used in post-pro-
tracks, mixing, and plug-in processing. 24-bit files duction environments. It is the sample rate used for
take up a third as much space as 16-bit files. DVDs.

180 Pro Tools Reference Guide

88.2 kHz and 96 kHz Each of these sample rates
are twice the standard sample rates for CD audio Interleaved Multichannel and
and DVD audio respectively. Audio files recorded Multi-Mono Audio Files
at higher sample rates take up more drive space, For stereo and greater-than-stereo multichannel
but provide higher resolution for time-based plug- audio, Pro Tools supports both interleaved
in processing (which can help avoid aliasing). multichannel audio files and multi-mono audio
These options are only available if you are running files.
Pro Tools with audio hardware that supports these
sample rates. An interleaved audio file contains all channel in-
formation, stored in an alternating single audio
176.4 kHz and 192 kHz Each of these sample rates
“stream.” Interleaving distributes and “inter-
are four times the standard sample rates for CD au- leaves” the consecutive bits of data. This helps
dio and DVD audio respectively. Audio files re- protect against consecutive errors when the data is
corded at higher sample rates take up more drive read back.
space, but provide higher resolution for time-based
plug-in processing (which can help avoid aliasing). Multi-mono, or “split-mono” multi-channel audio
These options are only available if you are running files are separate mono audio files that are treated
Pro Tools with audio hardware that supports these together as a multichannel group of audio files.
sample rates. This lets you each channel (file) independently.
For example, with stereo files, two separate files
are created, where one file contains the left chan-
Mixed Audio File Formats nel, and the other file contains the right channel.
The files are identified by the suffixes of “.L” and
Pro Tools supports mixed audio file formats (such “.R”. The two files are linked, and are edited as a
as WAV and AIF) in a single session or project. pair in stereo tracks in Pro Tools. However, you
When importing audio files into a Pro Tools ses- can decouple them and split them to individual
sion or project, you can choose to Add them rather mono audio tracks in Pro Tools so that the can be
than Convert them regardless of the audio file for- edited, processed, and mixed independently.
mat.
You can change the Interleaved setting for the cur-
You can change the audio file format for all newly rently open session or project in the Session Setup
recorded or imported (and converted) files in a ses- window. When this option is enabled, all newly re-
sion or project by selecting a different Audio For- corded or imported (and converted) stereo or
mat option in the Session Setup window. greater-than-stereo multichannel files in the ses-
sion will be interleaved audio files.
To change the Audio Format for the Pro Tools
session or project:
To enable (or disable) interleaved audio files for
1 Choose Setup > Session. the Pro Tools session or project:

2 In the Session Setup window, select an audio 1 Choose Setup > Session.
file format (AIF or WAV) from the Audio For- 2 In the Session Setup window, select (or dese-
mat selector. lect) the Interleaved option.

Chapter 11: Sessions, Projects, and Sketches 181

 Fade Files Folder
Session Files and Folders
The Fade Files folder may be present in legacy
When you create a new session, Pro Tools auto- Pro Tools sessions. Versions of Pro Tools lower
matically creates a new folder named for your ses- than 10.0 use rendered fades and cross-fades that
sion. Within this folder is the session file, a Wave- are written to the “Fade Files” folder in the session
Cache.wfm file, and several subfolders (including, folder.
but not limited to, an Audio Files folder and a Clip
Group folder).
Bounced Files Folder
The Bounced Files folder is the default directory
for files bounced from the session (Bounce Mix).

Rendered Files Folder

The Rendered Files folder contains any temporary
files created by Rendered Elastic Audio processing
in the session. It may also contain temporary fil-
tered analysis files (.aan) as a result of any changes
to Elastic Audio analysis.

Clip Groups Folder

Typical session folder contents (macOS shown) The Clip Groups folder is the default directory for
any clip groups that you export from your
Session File Pro Tools session.
The session file is the document that Pro Tools cre-
ates when you start a new project. Pro Tools can WaveCache File
open only one session file at a time. The session
The WaveCache.wfm file stores all of the wave-
file is appended with the extension .ptx.
form display data for the session. If you delete the
WaveCache.wfm file, Pro Tools creates a new one
Audio Files Folder the next time you open the session.
The Audio Files folder contains all audio recorded
By storing waveform data in the WaveCache file,
or converted during the session.
sessions open more quickly. The session Wave-
When you record a new audio track, the track is Cache file can be included whenever a session is
saved as a new audio file to the Audio Files folder. transferred to another Pro Tools system (7.x and
You can also import other audio files into the ses- later).
sion, and work with them as well.
Pro Tools also maintains a distinct WaveCache file
For details on allocating audio tracks to inside the Databases folder, which retains wave-
different hard drive locations, including form data for all files used on the system.
shared media volumes, see “Recording with
Multiple Hard Drives” on page 583.

182 Pro Tools Reference Guide

Deleting or trashing a WaveCache file does not
harm the session or your system. However, the ses- Pro Tools Projects
sion will take longer to open because it has to re- A Pro Tools project is like an online session. It lets
calculate waveform data for any associated audio you access your session from any system with on-
files and store that data in a new WaveCache file. line access. Projects also let you collaborate re-
motely with other people. Pro Tools synchronizes
Session File Backups Folder your local project and associated media with your
online account automatically.
The Session File Backups folder contains automat-
ically-generated backups of your Pro Tools ses- You must be online and signed in to your Avid
sions. These files are created when working on a Master Account the first time you create a project
session and the Operations preference for Enable (see “Signing In and Out of Your Avid Master Ac-
Session File Auto Backup is enabled. (See “Enable count” on page 176), but after that you can work
Session File Auto Backup” on page 128.) offline. Pro Tools synchronizes your local project
with your online account the next time you are on-
Video Files Folder line. This process runs in the background and can
be monitored in Pro Tools by checking the Task
The Video Files folder is the default directory for Manager (Window > Task Manager).
video files in the session.
Project data and media are bundled and cached on
local storage, but you cannot open a project by
Renamed Audio Files Folder
navigating through the file system. You can only
This folder includes file names that have been re- access projects through the Pro Tools Dashboard.
named when you open a session that contains au- Projects are differentiated from sessions by the
dio file names with incompatible characters, or, in Project icon in the Dashboard.
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 Project icon (online project)
Files” on page 525.
You can save a session as a project using the Save
Copy In command. This lets you take an existing
session and save it as a project for cloud collabora-
tion. Likewise, you can save a project as a session.
You might want to do this when the project is com-
plete so that you can archive it as a session and free
up storage space in your Avid Cloud Account.

Chapter 11: Sessions, Projects, and Sketches 183

 Backup to Cloud: Online and pear in the Projects List in the Dashboard. Note
Offline Projects that you cannot disable the Backup to Cloud option
for shared projects or if the local project cache has
The Backup to Cloud option determines whether or
been cleared.
not a project is online (stored in the cloud) or of-
fline (stored in the local project cache only). Dis-
abling Backup to Cloud for online projects can be Shared Projects and Ownership
useful for freeing up storage in your Avid Cloud Whoever creates a project, owns the project. All
Account for other projects. This option is only media posted to the project, whether by the owner
available for projects (not sessions). or a collaborator, counts against the owner’s cloud
storage allocation. Posted media never counts
Online Projects
against a collaborator’s cloud storage allocation.
When the Backup to Cloud option is enabled for a
You can hover the cursor over a project icon in the
project, the project is online and all associated me-
Dashboard and a tooltip identifying the project
dia are copied to your Avid Cloud Storage Ac-
name and the project owner appears.
count as well as being stored in the local desig-
nated project cache. You can collaborate with
other users on online projects as well as access
your project from any computer when you are
signed in to your Avid Master Account. Enabling
the Backup to Cloud option for an offline project
copies the project and all associated media to your
Avid Cloud Account.

Offline Projects Tooltip displaying project name and project owner

When the Backup to Cloud option is disabled for a

Setting the Location of the Local
project, the project is offline and all associated me-
Cache
dia is only stored in the local project cache.
All project data and media is stored both in your
Avid Cloud account and in a local cache. The local
project cache is stored on your system drive by de-
fault. However, for the best performance with
Project icon (offline project)
Pro Tools, it is generally recommended that you do
You cannot collaborate with other users on offline not use your system drive for recoding audio, so
projects nor can you access offline projects from you should set the local project cache to an exter-
any other computer. Disabling the Backup to Cloud nal drive if possible. You can change the location
option for an online project deletes the project and of where the project cache is stored in the
all associated media from your Avid Cloud Ac- Pro Tools Operation Preferences.
count, leaving only the local cached copy of the
project. Offline projects do not appear in the Proj-
ects List in the Artist Chat window, they only ap-

184 Pro Tools Reference Guide

To set the location for storing the local project
cache:

1 Choose Setup > Preferences.

2 Click the Operation tab.
3 Click the Change button for the Project Media
Cache.

4 In the Open dialog, navigate to the location

where you want to store the Project Media
Cache and click Open.

Creating a New Session or

Project from a Template
To create a new session or project from a template:
1 In the Dashboard, click the New tab if it is not
already shown, or press Command+1 (Mac) or
Control+1 (Windows).

You can create your own custom categories.

For more information, see “Session Tem-
plates” on page 202. Dashboard, Create From Template option enabled

2 For Type, select either Project (cloud) or Ses- 7 If you want to change any of the session or proj-
sion (local).
ect parameters, do any of the following:
• Select the Audio File Type (WAV or AIF).
3 Type a Name for the session or project.
• Select the Bit Depth (16 bit, 24 bit, or 32 bit
4 Enable the Create From Template option. float).
5 From the Template Group pop-up menu, select • Select the Sample Rate.
the category of templates you want (for exam- • To create interleaved multichannel audio files
ple, Guitar or Songwriter). in the session or project, enable Interleaved.
6 Select the template you want to use from the list • For sessions only, select either the Prompt for
(on the right). location option or the Location option. If you
select the Location option, you can specify the
default location for saving sessions by click-
ing the Location button.
• For projects only, select the Backup to Cloud
option to create an online project. Disable this
option if you want to create an offline project.

Chapter 11: Sessions, Projects, and Sketches 185

 8 Click Create. 2 For Format, select either Project (cloud) or Ses-
sion (local).
9 For sessions only, in the Save dialog, specify
where you want to save the session, and then You must be online and signed in to your
click Save. Avid Master Account to create a new project
(see “Signing In and Out of Your Avid Mas-
For optimum compatibility between Mac and
ter Account” on page 148).
Windows, set the file project to BWF (.WAV).
3 Type a Name for the session or project.

Creating a New Blank 4 Ensure that the Create From Template option is
Session or Project deselected.
5 If you want to change any of the session or proj-
To create a new blank session or project:
ect parameters, do any of the following:
1 In the Dashboard, click the New tab if it is not
• Select the audio File Type (WAV or AIF).
already shown, or press Command+1 (Mac) or
Control+1 (Windows). • Select the Bit Depth (16 bit, 24 bit, or 32 bit
float).
• Select the Sample Rate.
• Select the I/O Settings to use for the session
or project. Several pre-configured I/O Set-
tings are included with your system, or you
can select a custom I/O Setting. For more in-
formation, see Chapter 6, “I/O Setup.”
• To create interleaved multichannel audio files
in the session or project, enable Interleaved.
• For sessions only, select either the Prompt for
location option or the Location option. If you
select the Location option, you can specify the
default location for saving sessions by click-
ing the Location button.
• For projects only, select the Backup to Cloud
option to create an online project. Disable this
option if you want to create an offline project.
6 Click Create.
7 For sessions only, in the Save dialog, specify
where you want to save the session, and then
click Save.
Dashboard, creating a new project

186 Pro Tools Reference Guide

 To open a recent session, project, or Sketch from
Opening a Recent Session, the File menu:
Project, or Sketch  Choose File > Open Recent > and select the re-
To open a recent session, project, or Sketch from cent session, project, or Sketch that you want to
the Dashboard: open from the list.
1 In the Dashboard, select Recent, or press Com- Press Command+Shift+O (Mac) or Con-
mand+2 (Mac) or Control+2 (Windows). trol+Shift+O (Windows) to open the most
recent session, project, or Sketch.

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 sys-
tems, or versions of Pro Tools software, see
Chapter 23, “File and Session Management
and Compatibility.”

To open an existing session:

1 Do one of the following:
• If Pro Tools is running, choose File > Open
Dashboard, Recent Sessions/Projects list
Session.
• To open a session from the Dashboard, click
The Open Recent option is not available the
the Open from Disk button or press Com-
first time you launch Pro Tools (or if you
mand+O (Mac) or Control+O (Windows).
have cleared the Recent Sessions list by
choosing File > Open Recent > Clear). 2 In the Open dialog, locate the session you want
to open and click Open.
2 Select any of the last ten recent sessions, proj-
ects, or Sketches from the list (on the right). You can also open a session from a Work-
space browser by double-clicking it.
You must be online and signed in to your Avid
Master Account to open a project. If you are Opening a Session that Contains
not signed in, no projects appear in this list Fade Files
(see “Signing In and Out of Your Avid Master
Account” on page 148). When opening a session created in a version of
Pro Tools lower than 10.0, Pro Tools calculates
3 Click Open. 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 ses-

Chapter 11: Sessions, Projects, and Sketches 187

 sions are calculated and played back in real time. With all Pro Tools Systems:
Any new fades created in the session do not gener-  Inserts assigned to unavailable plug-ins are
ate any new rendered fade files in the pre-existing made inactive.
“Fade Files” folder.
 Inputs, outputs, and sends that are assigned to
unavailable paths are made inactive.
Opening a Session that Contains
Unavailable Files With HDX Systems Only:
Pro Tools notifies you if files are found but reside  Any tracks beyond the maximum number of
on Transfer volumes, or if any required files can- available voices on the current system are made in-
not be found. For more information, see active.
“Locating Audio Files” on page 524.
With Pro Tools Host-based Systems Only:
Opening a Session from a  Any tracks beyond the maximum number of
Transfer Volume available voices on the current system are set to
When opening a session from a Transfer volume voice off.
(such as a CD or DVD), Pro Tools prompts you to
save the session on a Performance volume, and Opening a Session with Audio
copy and convert any referenced media files. For File Names that Contain Illegal
more information, see “Locating Audio Files” on Characters
page 524.
Pro Tools does not support audio file names that
contain the following ASCII characters:
Opening a Session that Contains / (Forward Slash)
Unavailable Resources
\ (Backslash)
Pro Tools prompts you when opening a session : (Colon)
that contains unavailable voices, I/O paths, DSP
* (Asterisk)
resources, or plug-ins. This is common when trans-
ferring sessions between systems with different ? (Question mark)
Pro Tools hardware. “ (Quotation marks)
< (Less-than symbol)
The Unavailable Resources dialog provides an ini-
tial report of the missing session components. To > (Greater-than symbol)
save a text (.txt) file containing a more detailed | (vertical line or pipe)
Notes report, along with the resulting action, click
When opening a session that contains audio files
Yes. The Notes report is named with the ses