Getting Started with Mbox Guide

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  • 1. Getting Started with Mbox Version 6.7 for LE Systems on Windows or Macintosh Digidesign 2001 Junipero Serra Boulevard Daly City, CA 94014-3886 USA tel: 650·731·6300 fax: 650·731·6399 Technical Support (USA) tel: 650·731·6100 fax: 650·731·6384 Product Information (USA) tel: 650·731·6102 tel: 800·333·2137 International Offices Visit the Digidesign Web site for contact information Web Site www.digidesign.com
  • 2. Copyright If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the This guide is copyrighted ©2004 by Digidesign, a division of equipment off and on, the user is encouraged to try and correct Avid Technology, Inc. (hereafter “Digidesign”), with all rights the interference by one or more of the following measures: reserved. Under copyright laws, this guide may not be • Reorient or locate the receiving antenna. duplicated in whole or in part without the written consent of • Increase the separation between the equipment and Digidesign. receiver. DIGIDESIGN, AVID and PRO TOOLS are trademarks or • Connect the equipment into an outlet on a circuit different registered trademarks of Digidesign and/or Avid Technology, from that to which the receiver is connected. Inc. All other trademarks are the property of their respective • Consult the dealer or an experienced radio/TV technician owners. for help. Product features, specifications, system requirements, and Any modifications to the unit, unless expressly approved by availability are subject to change without notice. Digidesign, could void the user's authority to operate the PN 932014039-00 REV A 09/04 equipment. DECLARATION OF CONFORMITY Canadian Compliance Statement: We Digidesign, 2001 Junipero Serra Boulevard, Suite 200 This Class B digital apparatus complies with Canadian ICES- 003. Daly City, CA 94014 USA Cet appareil numérique de la classe B est conforme à la norme tel: 650-731-6300 NMB-003 du Canada. declare under our sole responsibility that the product Mbox Australian Compliance complies with Part 15 of FCC Rules. Current Consumption 500mA Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 European Compliance of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation.
  • 3. contents Chapter 1. Welcome to Mbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Mbox Package . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Mbox Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Pro Tools LE Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Digidesign Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 About the Pro Tools Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 About www.digidesign.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Chapter 2. Windows Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Windows System Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Installing Pro Tools LE and Mbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Optional Software on the Pro Tools Installer CD-ROM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Launching Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Configuring Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Hard Drive Configuration and Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Removing Pro Tools on Windows XP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Chapter 3. Macintosh Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Apple System Settings for Mac OS X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Installing Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Optional Software on the Pro Tools Installer CD-ROM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Connecting Mbox to the Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Launching Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Configuring Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Hard Drive Configuration and Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Removing Pro Tools on Mac OS X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Contents iii
  • 4. Chapter 4. Mbox Hardware and Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Mbox Front Panel Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Mbox Back Panel Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Making Signal Connections to Mbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Connecting a Recorder for Mixdowns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Chapter 5. Working with Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Session Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Regions Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Navigating in a Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Importing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Basic Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Mix Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Final Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Appendix A. Windows System Optimizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Advanced Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Appendix B. Digidesign ASIO Driver (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Compatible Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Installing the ASIO Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Removing the ASIO Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Configuring ASIO Driver Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 iv Getting Started with Mbox
  • 5. Appendix C. Digidesign WaveDriver (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Installing the WaveDriver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Removing the WaveDriver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Configuring WaveDriver for QuickTime Player (Required for Using iTunes). . . . . . . . . . . . . . . . 68 Configuring WaveDriver for Windows Media Player and Other Third-Party WaveDriver Programs 69 Adding Third Party Applications to the WaveDriver Opt-In List . . . . . . . . . . . . . . . . . . . . . . . . 69 Appendix D. Digidesign CoreAudio Driver (Macintosh Only) . . . . . . . . . . . . . . . . . . . . . 71 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 What are the Limitations of the Digidesign CoreAudio Driver? . . . . . . . . . . . . . . . . . . . . . . . . 72 Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Installing the Digidesign CoreAudio Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Removing the CoreAudio Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Configuring the Digidesign CoreAudio Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Appendix E. Configuring Midi Studio Setup (Windows Only) . . . . . . . . . . . . . . . . . . . . . 79 MIDI Studio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Patch Name Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Appendix F. Configuring AMS (Mac OS X Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Audio MIDI Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Patch Name Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Contents v
  • 6. vi Getting Started with Mbox
  • 7. chapter 1 Welcome to Mbox Welcome to Mbox, Digidesign’s portable Pro Tools micro-studio, designed in collabora- Mbox Features tion with Focusrite. The Mbox desktop audio interface provides the Mbox provides your USB-equipped computer following: with two channels of analog and digital audio • Two analog audio inputs with Focusrite mi- input and output, employing professional-qual- crophone preamps and switchable 48V phan- ity mic preamps and 24-bit analog-to-digital tom power and digital-to-analog converters. • Analog input jacks that accept both XLR and 1/4-inch (TRS) connectors, and are switchable between Mic, Line, and Instrument levels Mbox Package • Two channels of S/PDIF digital input and out- The Mbox package includes the following: put • Mbox desktop audio interface • Two analog monitor outputs • Installer CD-ROMs containing Pro Tools LE • 24-bit A/D and D/A converters, supporting software, DigiRack RTAS (Real-Time Audio- sample rates of 44.1 kHz and 48 kHz Suite) and AudioSuite plug-ins, optional soft- • Zero-latency analog record monitoring with ware, and electronic PDF guides adjustable balance between input and play- • This Getting Started with Mbox Guide, which in- back cludes instructions for installing and config- • Mono switch for summing the input signal uring Mbox, and an introduction to with the monitor mix Pro Tools LE software • Analog 1/4-inch TRS insert on each input • The Mbox Basics Guide, designed to give new • 1/4-inch (TRS) or 1/8-inch stereo headphone users specific methods for accomplishing output with adjustable level control common tasks (such as getting sound in and out of your Mbox, connecting a mic or instru- • USB-powered operation ment, and recording a session) Mbox will not function properly if connected • USB connector cable to a USB hub. If you need to use a hub for • Digidesign registration card other USB peripherals, use a separate dedi- cated USB port for Mbox to function properly. Chapter 1: Welcome to Mbox 1
  • 8. Pro Tools LE Capabilities System Requirements Pro Tools LE software provides the following ca- Mbox can be used with a Digidesign-qualified pabilities with Mbox: Windows or Macintosh computer running • Playback up to 32 mono digital audio Pro Tools LE software. tracks, and playback up to 30 tracks while For complete system requirements, visit the recording up to 2 tracks, depending on compatibility page of the Digidesign Web site your computer’s capabilities. (www.Digidesign.com/compato). • Sessions can include up to 128 audio tracks (with 32 voiceable tracks maximum), 256 Compatibility Information MIDI tracks, 128 Auxiliary Input tracks, and 64 Master Fader tracks. Digidesign can only assure compatibility and • 16-bit or 24-bit audio resolution, at sample provide support for hardware and software it rates up to 48 kHz. has tested and approved. • Nonlinear, random-access editing and mix For a list of Digidesign-qualified computers, op- automation. erating systems, hard drives, and third-party de- • Audio processing with up to 5 RTAS plug- vices, refer to the latest compatibility informa- ins per track, depending on your com- tion on the Digidesign Web site puter’s capabilities. (www.digidesign.com/compato). • Up to 5 inserts and 5 sends per track • Up to 16 internal mix busses. MIDI Requirements Pro Tools LE uses your computer’s CPU to USB MIDI interfaces work effectively with mix and process audio tracks (host process- Pro Tools systems on Windows or Macintosh. ing). Computers with faster clock speeds Serial MIDI interfaces are supported on Win- yield higher track counts and more plug-in dows systems only. processing. Only USB MIDI interfaces are compatible with Pro Tools systems for Mac OS X. Mo- dem-to-serial port adapters and serial MIDI devices are not supported. For a list of supported adapters, refer to the Digi- design Web site (www.digidesign.com). 2 Getting Started with Mbox
  • 9. Hard Drive Considerations Avoid Recording to System Drives Although Pro Tools LE will let you record to Hard Drive Configuration and your system drive, this is generally not recom- Maintenance mended. Recording and playback on system It is recommended that you start with a newly drives results in lower track counts and fewer initialized audio drive. You should also periodi- plug-ins. cally defragment your audio drive to ensure continued system performance. Hard Disk Storage Space For a list of qualified hard drives, see our Mono audio tracks recorded with 16-bit resolu- Web site (www.digidesign.com/compato). tion at 44.1 kHz (CD quality) require approxi- mately 5 MB of hard disk space per minute. If you are using an ATA/IDE or FireWire hard drive, initialize your drive with Windows Disk The same tracks recorded with 24-bit resolution Management (Windows) or the Disk Utility ap- require about 7.5 MB per minute. Table 2 lists plication included with Apple System software the required disk space for certain track num- (Macintosh). bers and track lengths, to help you estimate your hard disk usage. Table 2 lists the required disk space for certain track numbers and track lengths, to help you es- timate your hard disk usage. Table 2. Required hard drive space for audio tracks Number of tracks and length 16-bit at 16-bit at 24-bit at 24-bit at 44.1 kHz 48 kHz 44.1 kHz 48 kHz 1 mono track, 1 minute 5 MB 5.5 MB 7.5 MB 8.2 MB 1 stereo track (or two mono 50 MB 55 MB 75 MB 83 MB tracks), 5 minutes 1 stereo track (or two mono 600 MB 662 MB 900 MB 991 MB tracks), 60 minutes 24 mono tracks, 5 minutes 600 MB 662 MB 900 MB 991 MB 24 mono tracks, 60 minutes 7 GB 7.8 GB 10.5 GB 11.6 GB 32 mono tracks, 5 minutes 800 MB 883 MB 1.2 GB 1.3 GB 32 mono tracks, 60 minutes 9.4 GB 10.4 GB 14 GB 15.4 GB Chapter 1: Welcome to Mbox 3
  • 10. For additional information, see the following Digidesign Registration online guides: Complete and return the registration card in- • Pro Tools Reference Guide explains Pro Tools LE cluded with your Pro Tools Mbox system. Regis- software in detail. tered users will receive periodic software update • Pro Tools Menus Guide covers all the Pro Tools and upgrade notices. Refer to the registration on-screen menus. card for information on technical support. • DigiRack Plug-Ins Guide explains how to use the RTAS and AudioSuite plug-ins included with Pro Tools LE. About the Pro Tools Guides • Digidesign Plug-Ins Guide explains how to use The Getting Started with Mbox Guide explains optional Digidesign plug-ins. how to install and use Mbox to record, edit, and • DigiBase Guide provides details on using mix audio and MIDI tracks in Pro Tools LE. Pro Tools DigiBase databasing and browsers for data and media management. If you are new to working with digital worksta- tions, it is recommended that you read the fol- • Pro Tools Keyboard Shortcuts lists keyboard lowing: shortcuts for Pro Tools LE. • Mbox Basics Guide provides simple steps for PDF versions of the Pro Tools guides are in- how to get sound in and out of your Mbox, stalled automatically with Pro Tools LE, and are connect a microphone or instrument, record accessible from the Pro Tools Help menu (Win- to a Pro Tools session, import audio from a dows), or the Pro Tools menu (Macintosh). To CD, create an audio CD from a Pro Tools ses- view or print the PDF guides, you can install Ac- sion, and other topics. robat Reader (included on the Pro Tools LE In- staller CD-ROM). Printed copies of the Pro Tools LE Guide set (including the Pro Tools Reference Guide) can be purchased separately from the DigiStore (www.digidesign.com). 4 Getting Started with Mbox
  • 11. Conventions Used in This Guide About www.digidesign.com Digidesign guides use the following conven- tions to indicate menu choices and key com- The Digidesign Web site (www.digidesign.com) mands: is your best source for information to help you : get the most out of your Pro Tools system. The Convention Action following are just a few of the services and fea- tures available. File > Save Session Choose Save Session from the File menu Support Contact Digidesign Technical Support or Customer Service; download software up- Control+N Hold down the Control key and press the N key dates and the latest online manuals; browse the Compatibility documents for system require- Control-click Hold down the Control key ments; search the online Answerbase; join the and click the mouse button worldwide Pro Tools community on the Digi- Right-click (Windows) Click with the right mouse design User Conference. button Training and Education Become a certified The following symbols are used to highlight im- Pro Tools Operator or Expert; study on your portant information: own using courses available online, or find out how you can learn in a classroom setting at a User Tips are helpful hints for getting the certified Pro Tools Training Center. most from your Pro Tools system. Products and Developers Learn about Digidesign products; download demo software; learn about Important Notices include information that our Development Partners and their plug-ins, could affect your data or the performance of applications, and hardware. your system. News and Events Get the latest news from Digi- design; sign up for a Pro Tools demo. Shortcuts show you useful keyboard or mouse shortcuts. To learn more about these and other resources available from Digidesign, visit the Digidesign Cross References point to related sections in Web site (www.digidesign.com). other Digidesign guides. Chapter 1: Welcome to Mbox 5
  • 12. 6 Getting Started with Mbox
  • 13. chapter 2 Windows Configuration This chapter contains information for Windows systems only. If you are installing Pro Tools on a Windows System Settings Macintosh computer, see Chapter 3, “Macin- Configure your Window system settings, as fol- tosh Configuration.” lows: Before installing this version of Pro Tools, Required Settings These instructions must be please refer to the Read Me information in- followed before installing Pro Tools. cluded on the Pro Tools Installer CD-ROM. Recommended Configuration These instructions should be followed to optimize your system’s Installation Overview capabilities, or to let older computers run Pro Tools. Installing the Mbox on a Windows computer in- cludes the following steps: If problems occur after configuring all re- quired and recommended settings, see 1 Configuring “Windows System Settings” on Appendix A, “Windows System Optimiza- page 7. tions” for information on troubleshooting 2 “Installing Pro Tools LE and Mbox” on page 9. and configuring advanced settings. 3 Restarting your computer. Required Settings 4 “Configuring Pro Tools LE” on page 12. To ensure optimum performance with 5 Making audio connections to the Mbox. (See Pro Tools LE, configure the following Control Chapter 4, “Mbox Hardware and Connections” Panel settings for your version of Windows XP. for details.) Disable Hyper-Threading For Pentium IV computers with Hyper-Thread- ing, disable Hyper-Threading in the BIOS. Refer to your computer’s documentation for steps on how to enter your computer’s BIOS and disable Hyper-Threading. Chapter 2: Windows Configuration 7
  • 14. Enable DMA for any IDE hard drives: This sets System Standby, System Hibernate, and “Turn off hard disks” to Never. 1 Choose Start > Control Panel. 2 Launch System. Disable ClearType Font Smoothing 3 Click the Hardware tab. When using Pro Tools, the Effects “Clear Type” 4 Under Device Manager, choose Device Man- setting must be disabled. ager. To disable ClearType font smoothing: 5 In the Device Manager window, double-click IDE ATA/ATAPI controllers, then double-click 1 Choose Start > Control Panel. the Primary IDE Channel for your IDE hard 2 Launch Display. drive. 3 Click the Appearance tab. 6 Click the Advanced Settings tab. 4 Click Effects. 7 For each device, set the Transfer Mode to “DMA if available,” and click OK. 5 Deselect “Use the following methods to smooth edges of screen fonts.” In most cases, this will already be set correctly as 6 Click OK to save your settings and close the Windows XP will detect and activate DMA Effects dialog. mode by default. 7 Click OK. 8 Repeat steps 5–7 for any additional IDE Chan- nels. Completing Required Windows System 9 Close the Computer Management window. Settings Disable System Standby and Power When finished updating required Windows sys- Management tem settings, restart your computer. When using Pro Tools, the Windows System Standby power scheme must be set to Always On. This helps prevent long record or playback passes from stopping due to system resources powering down. To configure Windows Power Management: 1 Choose Start > Control Panel. 2 Launch Power Options. 3 Click the Power Schemes tab. 4 From the Power Schemes pop-up menu, select Always On. 5 Click OK. 8 Getting Started with Mbox
  • 15. Recommended Configuration 4 Connect the other end of the USB cable to any available USB port on your computer. Wait for Pro Tools LE can also be affected by other soft- the Found New Hardware Wizard dialog to ap- ware and hardware drivers installed on your pear and leave it open: Do not click Next. computer. For best possible performance, it is recommended (but not required) that you: Mbox may not function properly if con- • Avoid running other Windows programs at nected to a USB hub. If you need to use a the same time as Pro Tools. hub for other USB peripherals, connect the • Turn off any software utilities that run in hub to a separate USB port; Mbox must the background, such as Windows Messen- have a dedicated port in order to function ger, calendars, and disk maintenance pro- properly. grams. 5 Insert the Pro Tools Installer CD-ROM for • Turn off any non-essential USB devices Windows in your CD-ROM drive. Locate and while using Pro Tools. open the Pro Tools Installer folder, and double- • If your video display card supports it, en- click the Setup icon. able Bus Mastering in the manufacturer’s 6 Click Next to begin installation. Control Panel. • Disable any networking cards (other than 7 Select the components you want to install and any 1394 “FireWire” card that you might click Next. use to connect an external drive to your system). If you get a warning dialog about the driver not passing Windows Logo testing, click For information on disabling networking Continue Anyway. cards, see “Disabling Network Cards” on 8 Wait for the installer to finish installing all page 61. software components, drivers, and PACE System files before proceeding to the next step. Installing Pro Tools LE and 9 Click Quit when prompted to install Quick- Mbox Time. If required, you can install QuickTime later (see “Installing QuickTime” on page 10). To install Pro Tools LE on Windows: 10 Restart your computer. 1 Make sure you have configured all the re- quired Windows system settings, and restarted If the USB LED on the front panel of the your computer. See“Windows System Settings” Mbox does not illuminate after installation, on page 7 for more information. try unplugging the USB cable from the Mbox USB port, and plugging it back in. If 2 Start up Windows, logging in with Adminis- the USB LED still does not illuminate, shut trator privileges. If you do not have Administra- down the computer, disconnect Mbox and tor privileges or do not know how to set them start the computer. Once the computer has up, see your Windows User’s Guide. fully restarted, reconnect Mbox. 3 Connect the small end of the included USB ca- ble to the USB port on Mbox. Chapter 2: Windows Configuration 9
  • 16. MIDI Studio Setup 5 Follow the on-screen instructions: (Optional) • Disconnect Mbox from the USB port of the computer. If you plan to use any MIDI devices with • Reconnect Mbox to the USB port of the Pro Tools, configure your MIDI setup with MIDI computer. The new firmware will be up- Studio Setup. See Appendix E, “Configuring loaded to the Mbox. Midi Studio Setup (Windows Only)” for details. • Disconnect and reconnect Mbox. Installing QuickTime 6 Click OK. (Optional) If all the lights stay on after you update the firmware, run the firmware update again. If QuickTime 6.5 or later is required for Pro Tools the lights will not go out, contact Digi- if you plan to include movie files in your ses- design Technical Support. (Refer to the reg- sions. QuickTime is available as a free download istration card for information on technical from the Apple Web site (www.apple.com). support.) Updating Mbox Firmware Firmware version 2.0 or later is required to use Optional Software on the Mbox on Windows XP. Pro Tools Installer CD-ROM Before Mbox firmware can be updated, Your Pro Tools Installer CD-ROM includes sev- Pro Tools LE software must be installed eral software options. and Mbox must be connected to your com- puter. Digidesign ASIO Driver To check and update the firmware on Mbox: The Digidesign ASIO (Audio Sound Input Out- put) Driver is a single-client multichannel 1 Make sure Pro Tools is installed and the Mbox sound driver that allows third-party audio pro- is connected to the computer. grams that support the ASIO standard to record 2 Double-click on MboxFirmwareUpdater.exe. and play back through Digidesign hardware. In Local Disk (C:Program FilesDigidesign Pro ToolsPro Tools Utilities.) 3 To check the firmware version currently on Mbox, click the Start button in the Mbox Firm- ware Update window. The window displays the version number of the firmware that the Mbox is currently using. 4 Click Start to begin the firmware upgrade pro- cess. 10 Getting Started with Mbox
  • 17. Digidesign ASIO Driver is automatically in- Pro Tools Demo Session stalled when you install Pro Tools. The Pro Tools LE Installer CD includes a demo For detailed information on configuring the session that you can use to verify that your sys- Digidesign ASIO Driver, see Appendix B, tem is working. “Digidesign ASIO Driver (Windows Only).” Before installing the demo session to your audio drive, make sure the drive is config- To use Digidesign ASIO Driver without ured as described in “Formatting an Audio Pro Tools, use the stand-alone version of Drive” on page 16. the Digidesign ASIO Driver. The stand- alone version of Digidesign ASIO Driver is To install the demo session: available on the Digidesign Web site 1 Insert the Pro Tools LE Installer CD in your (www.digidesign.com) CD-ROM drive. Locate and double-click Setup.exe, in D (CD-ROM drive):Additional Digidesign WaveDriver FilesPro Tools LE Demo Session Installer. The Digidesign WaveDriver is a single-client, 2 Set the install location to your audio drive and multichannel sound driver that allows third- click Install. party audio programs that support the 3 When installation is complete, click OK. WaveDriver MME (Multimedia Extensions) standard to play back through Digidesign hard- ware. MacOpener Digidesign WaveDriver is automatically in- MacOpener 6.0.5 and higher lets you mount stalled when you install Pro Tools. HFS/HFS+ drives on a Windows-based Pro Tools system, as a Transfer drive. For detailed information on configuring the Digidesign WaveDriver, see Appendix C, Transfer drives can be used for storage, but “Digidesign WaveDriver (Windows not for playback or recording. Only).” The MacDrive utility can be used instead of To use Digidesign WaveDriver without MacOpener. For more information about Pro Tools, use the stand-alone version of MacDrive, visit the Mediafour Web site the Digidesign WaveDriver. The stand- (www.mediafour.com). alone version of Digidesign WaveDriver is available on the Digidesign Web site (www.digidesign.com) Chapter 2: Windows Configuration 11
  • 18. To share Pro Tools sessions between Macintosh 7 Choose Start > Programs > MacOpener > and Windows systems, select the “Enforce Mac Lic.exe. When installation is complete, Mac/PC Compatibility” option when creating close the installer. the session, or when saving a session copy to a Windows audio drive formatted using NTFS or All formatting and maintenance of FAT32. HFS/HFS+ drives should be carried out when the drive is connected to a Macintosh. Avoid using MacOpener on HFS-formatted drives. It is recommended that you use Mac- For more information about MacOpener Opener on NTFS or FAT32 drives instead. and its performance limitations, see the To move material from HFS-formatted Pro Tools Reference Guide. drives to NTFS or FAT32 drives, use the Save Session Copy In command in Pro Tools. Launching Pro Tools LE While SDII files can be exported or con- When launching Pro Tools LE the first time, you verted on import, they cannot be used are prompted to enter an authorization code to within Pro Tools sessions on Windows. validate your software. To install and configure the MacOpener demo To validate Pro Tools LE software: included with Pro Tools: 1 Double-click the Pro Tools LE shortcut on 1 Insert the Pro Tools Installer CD into your CD- your desktop (or the application in the Pro Tools ROM drive. folder inside the Digidesign folder). 2 Locate and double-click the MacOpener in- 2 Enter the authorization code in the dialog staller file in the MacOpener Demo folder lo- (making sure to type it exactly as printed, and cated at D (CD-ROM drive):Additional observing any spaces and capitalization), then FilesMacOpener Demo Installer. Follow the on- click Validate. screen instructions to install the MacOpener. Af- ter installation is complete, restart your com- Your authorization code is located on the inside puter. cover of this guide. 3 Choose Start > Programs > MacOpener > MacOpener Driver Preferences. Configuring Pro Tools LE 4 Verify that the MacOpener Driver is enabled. Under Driver Settings, select “Enable Mac- Opener Driver.” Pro Tools System Settings 5 Under Extension Mapping, select “Do not add Pro Tools LE lets you adjust the performance of the PC extension to the Mac file name.” your system by changing system settings that af- fect its capacity for processing, playback, and re- 6 Click OK to quit the MacOpener Driver Pref- cording erences. 12 Getting Started with Mbox
  • 19. In most cases, the default settings for your sys- CPU Usage Limit tem provide optimum performance, but you may want to adjust them to accommodate large The CPU Usage Limit controls the percentage of or processing-intensive Pro Tools sessions. CPU resources allocated to Pro Tools host pro- cessing tasks such as Real-Time AudioSuite (RTAS) plug-ins, as follows: Hardware Buffer Size ◆ Lower CPU usage settings reduce how much The Hardware Buffer Size (H/W Buffer Size) con- Pro Tools processing affects other CPU-intensive trols the size of the hardware cache used to han- tasks (such as screen redraws), and limit the dle host processing tasks such as Real-Time Au- amount of processor resources available for dioSuite (RTAS) plug-ins. Pro Tools tasks. They are useful when you are ex- ◆ Lower Hardware Buffer Size settings reduce periencing slow system response, or when run- monitoring latency, and are useful when you are ning other applications at the same time as recording live input. Pro Tools. ◆ Higher Hardware Buffer Size settings allow for ◆ Higher CPU Usage Limit settings allocate more audio processing and effects, and are use- more processing power to Pro Tools, and are ful when you are mixing and using more RTAS useful for playing back large sessions or using plug-ins. more real-time plug-ins. In addition to causing slower screen re- Increasing the CPU Usage Limit may slow sponse and monitoring latency, higher down screen response on slower computers. Hardware Buffer Size settings can affect the The maximum CPU Usage Limit is 85 percent accuracy of plug-in automation, mute data, for single-processor computers, and 99 percent and timing for MIDI tracks. for multi-processor computers. (The 99 percent To change the Hardware Buffer Size: setting dedicates one entire processor to Pro Tools.) 1 Choose Setups > Playback Engine. To change the CPU Usage Limit: 1 Choose Setups > Playback Engine. 2 From the CPU Usage Limit pop-up menu, se- lect the percentage of CPU processing you want to allocate to Pro Tools. 3 Click OK. Playback Engine dialog for Mbox 2 From the H/W Buffer Size pop-up menu, select the audio buffer size, in samples. 3 Click OK. Chapter 2: Windows Configuration 13
  • 20. DAE Playback Buffer Size Pro Tools Hardware Settings The DAE Playback Buffer Size determines the Using the Hardware Setup dialog, you can select amount of memory DAE uses to manage disk the default sample rate and clock source for your buffers, which affects system performance, as system, and configure the clock source for your follows: system. ◆ Lower DAE Playback Buffer Size settings can improve playback and recording initiation Default Sample Rate speed. However, a lower setting can make it dif- The Sample Rate setting appears as the default ficult for slower hard drives to play or record sample rate when you create a new session. tracks reliably. (This setting is available in the Hardware Setup ◆ Higher DAE Playback Buffer Size settings can dialog only when no session is open.) allow for a higher density of edits in a session. However, a higher setting can cause a time lag to You can change the sample rate when creat- occur before playback or recording begins. It can ing a new Pro Tools session by selecting a also cause a time lag to occur when you are ed- different sample rate in the New Session di- iting during playback. alog. (Refer to the Pro Tools Reference Guide for details.) To change the DAE Playback Buffer Size: To change the default Sample Rate: 1 Choose Setups > Playback Engine. 1 Make sure that no Pro Tools session is open. 2 From the DAE Playback Buffer pop-up menu, 2 Choose Setups > Hardware Setup. select a buffer size. 3 Click OK. Hardware Setup dialog for Mbox 3 Select the sample rate from the Sample Rate pop-up menu. 4 Click OK. 14 Getting Started with Mbox
  • 21. Channel 1–2 Input Source 3 Click OK. The Pro Tools Hardware Setup dialog allows you Your digital input device must be connected to configure the two inputs on Mbox to receive and powered on for Pro Tools to synchro- analog or digital signals. nize to it. If your input device is not powered on, leave the Clock Source set to Internal. To select the Channel 1–2 input format for Mbox: 1 Choose Setups > Hardware Setup. Configuring I/O Setup 2 Choose the Channel 1–2 Input format by do- Using the I/O Setup dialog, you can label ing one of the following: Pro Tools LE input, output, insert, and bus sig- • Choose Analog if you are sending a micro- nal paths. The I/O Setup dialog provides a graph- phone, line, or instrument signal through ical representation of the inputs, outputs, and the 1/4-inch TRS or XLR connectors on signal routing of the Mbox. Mbox. Pro Tools LE has default I/O Setup settings that – or – will get you started. Use the I/O Setup dialog • Choose S/PDIF if you are sending signal only if you want to rename the default I/O from a digital device to the S/PDIF input on paths. Mbox. To rename I/O paths in I/O Setup: Clock Source 1 Choose Setups > I/O Setup. Using the Hardware Setup dialog, you can select the clock source for the system. Internal If you are recording an analog signal di- rectly into Mbox, you will usually use the Pro Tools Internal clock source. The clock source automatically changes to Internal when you change the Ch. 1–2 Input to Analog. SPDIF If you are transferring material into Pro Tools from an external digital device, you will usually synchronize Pro Tools to that digital device. The clock source automatically changes to SPDIF when you change the Ch. 1–2 Input to SPDIF. I/O Setup dialog for Mbox, Input page To select the clock source: 2 Click the Input, Output, Insert, or Bus tab to 1 Choose Setups > Hardware Setup. display the corresponding connections. 2 Choose the clock source from the Clock Source pop-up menu. Chapter 2: Windows Configuration 15
  • 22. 3 To change the name of a path or subpath, 4 For optimal disk performance, select 32K from double-click directly on the Path Name, type a the Allocation unit size pull-down. This in- new name for the path, and press Return. creases how efficiently audio data is written to and read from the drive. 4 Click OK. 5 Make sure the Quick Format option is dese- T Refer to the Pro Tools Reference Guide (or lected, then click Start, and follow the on-screen choose Help > Pro Tools Reference Guide) instructions. for more information on renaming I/O paths. Pro Tools only supports Basic drive Types. 6 When formatting is complete, close the For- After configuring Pro Tools LE and your mat window. system, you should save an image of your system using Norton Ghost. Norton Ghost Audio Drives and Disk Cleanup lets you save and recall known good config- urations of your system and settings, which The process of recording, editing, and deleting can help you recover if you encounter any tracks and sessions can quickly decrease overall problems in the future. drive performance. It is suggested that you regu- larly use Disk Cleanup (or an equivalent utility) For more information on Ghost, visit the Sy- to asses the condition of drives and, if necessary, mantec Web site (www.symantec.com) delete temporary files and other unused data. To use Disk Cleanup: Hard Drive Configuration and 1 Choose Start > Control Panel. Maintenance 2 In Classic View, launch Administrative Tools. Formatting an Audio Drive 3 Double-click Computer Management. On Windows, it is recommended that you start 4 Double-click Storage. with newly formatted drives dedicated for au- 5 Double-click Disk Management. dio, such as a secondary hard drive purchased just for audio. For optimum performance, audio 6 Select the desired volume in the list, then drives should be formatted with the FAT32 or choose File > Options. NTFS file system. Disk Cleanup determines how performance is To format and configure an audio drive: being affected by drive condition, and lets you review and delete temporary and other unneces- 1 Right-click My Computer and choose Man- sary files from the selected volume. For more in- age. formation on using Disk Cleanup, see your Win- 2 Under Storage, choose Disk Management. dows XP documentation. 3 In the Disk Management window, right-click the hard drive you will use for audio and choose Format. 16 Getting Started with Mbox
  • 23. Defragmenting an Audio Drive Removing Pro Tools on Periodically defragment audio drives to maintain Windows XP system performance. If you need to remove Pro Tools LE from your To defragment an audio drive: computer use the Add or Remove Programs command. 1 Right-click My Computer and choose Man- age. To remove Pro Tools from your computer: 2 Under Storage, choose Disk Defragmenter. 1 Choose Start > Control Panel. 3 In the Disk Defragmenter window, choose the 2 Launch Add or Remove Programs. drive you want to defragment 3 From the Currently installed programs list, se- 4 Click the Defragment button and follow the lect Digidesign Pro Tools LE. on-screen instructions. 4 Click the Change/Remove button. 5 When defragmenting is complete, close the Computer Management Window. 5 Follow the onscreen instructions to remove Pro Tools. Avoid Recording to System Drives Although Pro Tools will let you record to your system drive, this is generally not recom- mended. Recording and playback on system hard drives results in lower track counts and fewer plug-ins. You should record to system drives only when necessary (for example, if your computer has just one hard drive). Chapter 2: Windows Configuration 17
  • 24. 18 Getting Started with Mbox
  • 25. chapter 3 Macintosh Configuration This chapter contains information for Macin- tosh systems only. If you are installing Pro Tools Apple System Settings for on a Windows computer, see Chapter 2, “Win- Mac OS X dows Configuration.” To ensure optimum performance with Before installing this version of Pro Tools, Pro Tools LE, configure the following settings please refer to the Read Me information in- before you install Pro Tools software. cluded on the Pro Tools Installer CD-ROM. Do not use the Mac OS X automatic Soft- ware Update feature, as it may install com- ponents that have not yet been qualified for Installation Overview Pro Tools. For details on qualified versions Installation of the Mbox on a Macintosh in- of Mac OS, refer to the latest compatibility cludes the following steps: information on the Digidesign Web site (www.digidesign.com). 1 Configuring “Apple System Settings for Mac OS X” on page 19. To configure Mac OS X for Pro Tools LE: 2 “Installing Pro Tools LE” on page 20 1 Make sure you are logged into an administra- tor account where you want to install 3 Restarting your computer. Pro Tools LE. For details on Administrator privi- 4 “Connecting Mbox to the Computer” on leges in Mac OS X, refer to your Mac OS X doc- page 21. umentation. 5 “Configuring Pro Tools LE” on page 22. 2 Choose System Preferences from the Apple Menu and click Energy Saver. 6 Making audio connections to the Mbox. (See Chapter 4, “Mbox Hardware and Connections” 3 Click the Sleep tab and turn off the Energy for details.) Saver feature by setting the sleep feature to Never. 4 Return to the System Preferences and click Software Update. 5 Deselect “Automatically check for updates when you have a network connection.” Chapter 3: Macintosh Configuration 19
  • 26. 6 Close the Software Update dialog box. Audio MIDI Setup (AMS) 7 Proceed to “Installing Pro Tools LE” on (Optional) page 20. If you plan to use any MIDI devices with Pro Tools, configure your MIDI setup with the Apple Audio MIDI Setup (AMS) utility. See Installing Pro Tools LE Appendix F, “Configuring AMS (Mac OS X Only)” for details. After the Apple System software settings are con- figured, you’re ready to install Pro Tools LE. If you plan to use any MIDI devices with Pro Tools, configure your MIDI setup with To install Pro Tools LE on Mac OS X: the Apple Audio MIDI Setup (AMS) utility. 1 Make sure you are logged in as an Administra- See Appendix F, “Configuring AMS tor for the account where you want to install (Mac OS X Only)” for details. Pro Tools. For details on Administrator privi- leges in Mac OS X, refer to your Apple Mac OS X documentation. Optional Software on the 2 Insert the Pro Tools LE Installer CD-ROM in Pro Tools Installer CD-ROM your CD-ROM drive. Double-click “Install Your Pro Tools Installer CD-ROM includes sev- Pro Tools LE.” eral software options. 3 Enter your Administrator password and click OK to authenticate the installation. Digidesign CoreAudio Driver 4 Follow the on-screen instructions to continue The Digidesign CoreAudio Driver is a multi-cli- and accept installation. ent, multichannel sound driver that allows 5 In the Installer window, make sure the Install CoreAudio compatible applications to record Location is on your Start-up hard drive. and play back through Digidesign hardware. 6 In the Installer window, choose Custom In- The Core Auto Driver is installed by default stall from the pop-up menu, and click Install. when you install Pro Tools. 7 Follow the remaining on-screen instructions For information on configuring the Digi- to install Pro Tools. design CoreAudio Driver, see Appendix D, 8 When installation is complete, click Restart. “Digidesign CoreAudio Driver (Macintosh Only).” 20 Getting Started with Mbox
  • 27. Stand-Alone CoreAudio Driver Installer 2 With your computer on, connect the other end of the USB cable to any available USB port This version of Digidesign CoreAudio Driver can on your computer. be installed on Digidesign-qualified Pro Tools systems running on Macintosh (for example, if Mbox may not function properly if con- the CoreAudio Driver was uninstalled), or it can nected to a USB hub. If you need to use a be installed as a stand-alone driver on Macin- hub for other USB peripherals, connect the tosh systems that do not have Pro Tools in- hub to a separate USB port; Mbox must be stalled. connected to a dedicated port on the com- puter in order to function properly. For detailed information on installing and configuring CoreAudio Driver on systems with or without Pro Tools, see the electronic pdf of the CoreAudio Usage Guide. Launching Pro Tools LE When launching Pro Tools LE the first time, you Pro Tools Demo Session are prompted to enter an authorization code to validate your software. The Pro Tools LE Installer CD-ROM includes a demo session that you can use to verify that With new Mbox systems, the authorization your system is working. code is located on the inside cover of the Getting Started with Mbox Guide. With software up- To install the demo session: grades, the authorization code is located on the inside cover of the Upgrading Guide. 1 Insert the Pro Tools LE Installer CD in your CD-ROM drive. Locate and double-click the demo session installer icon. To authorize Pro Tools LE software: 1 Double-click the Pro Tools LE application (lo- 2 Select your audio drive as the install location cated in the Pro Tools folder, inside the Digi- and click Install. design folder). 3 When installation is complete, click Quit. 2 Enter the authorization code in the dialog when prompted (making sure to type it exactly as printed, and observing any spaces and capi- Connecting Mbox to the talization) then click Validate. Computer If the USB LED on the front panel of Mbox does Before launching Pro Tools LE software, connect not illuminate after you connect it and launch Mbox to your computer. Pro Tools, try unplugging the USB cable from the Mbox USB port, then plugging it back in. To connect Mbox to your computer: If the USB LED still does not illuminate, shut 1 Connect the small end of the included USB ca- down the computer, disconnect Mbox and start ble to the USB port on Mbox. the computer. Once the computer has fully re- started, re-connect Mbox, then launch Pro Tools. Chapter 3: Macintosh Configuration 21
  • 28. 3 Click OK. Configuring Pro Tools LE Pro Tools System Settings Pro Tools LE allows you to adjust the perfor- mance of your system by changing system set- tings that affect its capacity for processing, play- back, and recording. In most cases, the default settings for your sys- tem provide optimum performance, but you Playback Engine dialog for Mbox (Pro Tools 6.x) may want to adjust them to accommodate large or processing-intensive Pro Tools sessions. CPU Usage Limit The CPU Usage Limit controls the percentage of Hardware Buffer Size CPU resources allocated to Pro Tools host pro- cessing tasks. The Hardware Buffer Size (H/W Buffer Size) con- trols the size of the hardware cache used to han- ◆ Lower CPU Usage Limit settings limit the ef- dle host processing tasks such as Real-Time Au- fect of Pro Tools processing on other CPU-inten- dioSuite (RTAS) plug-ins. sive tasks, such as screen redraws, and are useful when you are experiencing slow system re- ◆ Lower Hardware Buffer Size settings improve sponse, or when running other applications at MIDI timing and automation accuracy, but limit the same time as Pro Tools. the number of RTAS plug-ins and mixer config- urations you can run on your system ◆ Higher CPU Usage Limit settings allocate more processing power to Pro Tools, and are ◆ Higher Hardware Buffer Size settings allow for useful for playing back large sessions or using more audio processing and effects, and are use- more real-time plug-ins. ful when you are using larger mixer configura- tions or more RTAS plug-ins on your system. Increasing the CPU Usage Limit may slow down screen response on slower computers. In addition to causing slower screen re- sponse and monitoring latency, higher ◆ The maximum CPU Usage Limit is 85 percent Hardware Buffer Size settings can affect the for single-processor computers, and 99 percent accuracy of plug-in automation, mute data, for multi-processor computers. (The 99 percent and timing for MIDI tracks. setting dedicates one entire processor to Pro Tools.) To change the Hardware Buffer Size: 1 Choose Setups > Playback Engine. To change the CPU Usage Limit: 2 From the H/W Buffer Size pop-up menu, select 1 Choose Setups > Playback Engine. the audio buffer size, in samples. 2 From the CPU Usage Limit pop-up menu, se- lect the percentage of CPU processing you want to allocate to Pro Tools. 22 Getting Started with Mbox
  • 29. 3 Click OK. To change the default Sample Rate: 1 Make sure that no Pro Tools session is open. DAE Playback Buffer Size 2 Choose Setups > Hardware Setup. The DAE Playback Buffer Size determines the 3 Select the sample rate from the Sample Rate amount of memory DAE uses to manage disk popup menu. buffers, which affects system performance. ◆ Lower DAE Playback Buffer Size settings can 4 Click OK. improve playback and recording initiation speed. However, a lower setting can make it dif- ficult for slower hard drives to play or record tracks reliably. ◆ Higher DAE Playback Buffer Size settings can allow for a higher density of edits in a session. However, a higher setting can cause a time lag to occur before playback or recording begins. It can also cause a time lag to occur when you are ed- Hardware Setup dialog for Mbox iting during playback. Channel 1–2 Input Format To change the DAE Playback Buffer Size: The Pro Tools Hardware Setup dialog allows you 1 Choose Setups > Playback Engine. to configure the two inputs on Mbox to receive either analog or digital signals. 2 From the DAE Playback Buffer pop-up menu, select a buffer size. To select the Channel 1–2 input format for Mbox: 3 Click OK. 1 Choose Setups > Hardware Setup. 2 Choose the Channel 1–2 Input format by do- Pro Tools Hardware Settings ing one of the following: Using the Hardware Setup dialog, you can select • Choose Analog if you are sending a micro- the default sample rate, input format, and clock phone, line, or instrument signal through source for your system. the 1/4-inch TRS or XLR connectors on Mbox. Default Sample Rate • Choose S/PDIF (RCA) if you are sending signal from a digital device to the S/PDIF The Sample Rate setting appears as the default input on Mbox. sample rate when you create a new session. (This setting is available in the Hardware Setup dialog only when no session is open.) You can change the sample rate when creat- ing a new Pro Tools session by selecting a different sample rate in the New Session di- alog. (See “Starting a Session” on page 37.) Chapter 3: Macintosh Configuration 23
  • 30. Clock Source To rename I/O paths in I/O Setup: Using the Hardware Setup dialog, you can select 1 Choose Setups > I/O Setups. the clock source for the system. Internal If you are recording an analog signal di- rectly into Mbox, you will usually use the Pro Tools Internal clock source. The Clock Source automatically changes to Internal when you change the Ch. 1–2 Input to Analog. S/PDIF If you are recording a digital signal into Pro Tools from an external digital device, you will usually synchronize Pro Tools to that digital device. The Clock Source automatically changes to S/PDIF when you change the Ch. 1–2 Input to S/PDIF. I/O Setup dialog for Mbox, Input page To select the Clock Source: 2 Click the Input, Output, Insert, or Bus tab to 1 Choose Setups > Hardware Setup. display the corresponding connections. 2 Select a clock source. 3 To change the name of a path or subpath, 3 Click OK. double-click directly on the Path Name, type a new name for the path, and press Return. Your digital input device must be connected 4 Click OK. and turned on. If your input device is not turned on, leave the Clock Source set to In- Refer to the Pro Tools Reference Guide (or ternal. choose Help > Pro Tools Reference Guide) for more information on renaming I/O Configuring I/O Setup paths. Using the I/O Setup dialog, you can label Pro Tools LE input, output, insert, and bus sig- nal paths. The I/O Setup dialog provides a graph- ical representation of the inputs, outputs, and signal routing of the Mbox. Pro Tools LE has default I/O Setup settings that will get you started. Use the I/O Setup dialog only if you want to rename the default I/O paths. 24 Getting Started with Mbox
  • 31. Hard Drive Configuration and Removing Pro Tools on Maintenance Mac OS X It is recommended that you start with a newly If you need to remove Pro Tools from your com- initialized audio drive. You should also periodi- puter, you can use the Installer CD-ROM or the cally defragment your audio drive to ensure downloaded Installer file. continued system performance. To remove Pro Tools from your computer: If you are using an ATA/IDE or FireWire hard drive, initialize your drive with the utility 1 Make sure you are logged in as an Administra- named Disk Utility included with your Apple tor for the account where Pro Tools is installed. System software. For details on Administrator privileges in Mac OS X, refer to your Apple OS X documenta- tion. Avoid Recording to System Drives 2 Insert the Pro Tools 6.7 Installer CD-ROM in Although Pro Tools will let you record to your your CD-ROM drive. Double-click “Install system drive, this is generally not recom- Pro Tools LE” or “Install Pro Tools TDM,” as ap- mended. Recording and playback on system propriate. drives results in lower track counts and fewer plug-ins. You should record to system drives 3 Enter your Administrator password and click only when necessary—for example, if your com- OK to authenticate the installation. puter system has just one hard drive. 4 In the Installer window, choose Uninstall from the pop-up menu, and click Uninstall. 5 Follow the on-screen instructions to remove Pro Tools. 6 When finished, click Quit to close the Installer window. Chapter 3: Macintosh Configuration 25
  • 32. 26 Getting Started with Mbox
  • 33. chapter 4 Mbox Hardware and Connections This chapter explains how to connect your Mbox for monitoring, playback and recording. If you are new to working with digital audio workstations, first read through the Mbox Basics Guide for basic setup information (such as connecting audio inputs, headphones, mics and instruments). The following illustrations show two possible setups depending on the equipment in your studio. monitor outputs mixer S/PDIF DAT or powered speakers digital I/O CD recorder microphone USB cable Mbox FireWire instrument drive headphones computer display Figure 1. Mbox micro studio configuration running Pro Tools LE on a desktop computer Chapter 4: Mbox Hardware and Connections 27
  • 34. USB cable Mbox instrument FireWire drive p to Laptop lap headphones Figure 2. Mbox micro studio configuration running Pro Tools LE on a laptop computer 28 Getting Started with Mbox
  • 35. About Phantom Power Mbox Front Panel Features Dynamic microphones (such as a Shure SM57) do not require phantom power to operate, but are not harmed by it. Most condenser micro- 48V LED phones (like an AKG C3000) do require phan- Source tom power to operate. Selector CH 1 Peak Although phantom power can be used LED Gain safely with most microphones, it is possible to damage some ribbon microphones with Source Selector it. Always turn off phantom power and CH 2 wait at least ten seconds before connecting Peak LED or disconnecting a ribbon microphone. Gain If you are not sure about the phantom power re- S/PDIF USB LED LED quirements for your microphone, consult your microphone’s documentation or contact the Mix (Ratio) manufacturer. Mono Source Selector Headphone Gain These switches select among three types of in- Headphone puts: Output • Mic (microphone) for XLR inputs • Line for line level signals on TRS or TS in- puts Figure 3. Mbox front panel • Inst (instrument) for other 1/4-inch TRS or The Mbox front panel has the following fea- TS connections tures: For more information, see “Analog Audio” on page 34. 48V LED This LED, when lit, indicates that 48V phantom Gain Controls power is active on the Mic/Line inputs. These inputs provide phantom power for micro- These knobs adjust the input gain levels of the phones that require it to operate. Phantom Mic/Line inputs. power is activated by the switch labeled 48V on the top of the back panel of Mbox. Chapter 4: Mbox Hardware and Connections 29
  • 36. Peak LEDs To listen to just the Source input signal, turn the Mix knob fully left to Input. To listen to These LEDs are triggered just below analog clip- Pro Tools output only, turn the knob fully right ping levels. In other words, if the Peak LEDs to Playback. flicker occasionally, the signal is approaching clipping levels, but they do not necessarily indi- The output from the Mix control is routed di- cate distortion or clipping. rectly to the TRS line outputs, and is mirrored in the Headphone ports and S/PDIF output ports. USB LED This ability to blend and control the relative lev- els of Pro Tools playback and latency-free live The USB LED indicates that the Mbox has re- analog inputs can be particularly effective when ceived power from its USB connection. Once the overdubbing. USB light is on, audio can pass in or out of the system. Mono Switch S/PDIF LED The Mono switch sums the stereo signal to a mono signal (delivering that identical signal to This LED indicates that channels 1 and 2 are set both speakers). This has no effect on Pro Tools to receive digital input rather than analog input. playback monitoring or on the main outputs. See “S/PDIF Digital I/O” on page 32. Switching your stereo signal to mono is useful when you are recording a mono input while lis- Mix (Ratio) Control tening to stereo playback, or for checking the phase relationship of stereo inputs. Mbox gives you the ability to monitor your an- alog input signals while recording, without the Monitoring while Overdubbing delay incurred by A/D/A converters and host- based processing. By panning signals to the center, or using the Mono switch, as opposed to panning them hard This zero-latency analog monitoring is con- left and right in the Headphone outputs, you trolled with the Mix knob, which you can use to can create a more focused monitor mix to help blend and adjust the monitor ratio between minimize distractions while overdubbing. Mbox analog inputs and Pro Tools playback. The Mix knob has no effect when you are using In situations where you are monitoring stereo S/PDIF digital inputs, since it controls the signal microphones, stereo synthesizers, or any source before it reaches the A/D converters. pairs with a comfortable balance, you will prob- ably not want to use the Mono switch. 30 Getting Started with Mbox
  • 37. Checking Phase Relationships Mbox Back Panel Features The Mono switch can also be used for a quick check of the phase relationship between Channel 1 and Channel 2 inputs. back panel 48V When the two input signals are out of phase, Headphones output pressing the Mono switch will result in a sudden USB port “hollow” sound that is the result of phase can- cellation. This quick test with the Mono switch S/PDIF can help to avoid phase problems later when digital I/O mixing these tracks. Frequent checking of phase relationships with the Mono switch can also as- Line sist you in finding the optimal microphone outputs placement. Inserts Headphone Gain The headphone gain control adjusts the output level of the front and back Headphone ports, Source 2 which output the signal that is routed to Out- (analog input 2) puts 1–2 in Pro Tools LE, and mirrors the Line Outputs. Source 1 (analog Front Panel Headphone Output input 1) Use the front panel Headphone port to connect Figure 4. Mbox back panel stereo headphones with a 1/8-inch stereo mini connector. The Mbox back panel has the following features: The front panel 1/8-inch Headphone port is dis- abled when a 1/4-inch stereo connector is in- Back Panel Headphone Output serted into the back panel Headphone port. Use this Headphone Output to connect stereo headphones with a 1/4-inch stereo connector. When a 1/4-inch stereo connector is inserted into the back panel Headphone port, the front panel 1/8-inch Headphone port is disabled. Chapter 4: Mbox Hardware and Connections 31
  • 38. 48V Switch Line Outputs This button activates phantom power on the These outputs support balanced TRS, or unbal- Mic inputs for microphones that require it to anced TS, 1/4-inch connections. To monitor operate. your mix, these outputs can be connected to a mixing board, directly to a monitoring system Be sure to check the 48V LED on the front such as a stereo power amp, or another stereo panel of Mbox before plugging in any mi- destination. crophones. The 48V switch on the back is located directly above the USB connector The Line Outputs 1 and 2 play the audio that is and may be inadvertently activated when routed to analog outputs 1 and 2 from within connecting the USB Cable. Pro Tools, respectively. These analog outputs feature 24-bit digital-to-analog converters. USB Port This standard USB v1.1 connector is used to Source 1 and 2 connect your computer to the Mbox. One stan- These balanced/unbalanced analog audio in- dard USB cable is included with your system. puts support a broad range of input levels, in- cluding microphone, instrument, or line-level The Mbox is compatible with USB 2.0 ports. inputs. The ports accept XLR, TRS, or TS audio However, the USB 2.0 bus will switch to the input connectors. The input signal is adjusted slower USB v.1.1 speed to accommodate Mbox. by the Gain control for each channel, in con- junction with the Source switch. S/PDIF Digital I/O The XLR connectors only support micro- The S/PDIF in and out ports are unbalanced two- phone level inputs. If Line or Inst are cho- conductor phono (RCA) connectors that utilize sen, the XLR portion of the port is ignored. a full 24-bit, two-channel digital data stream. Likewise, if you choose Mic, the 1/4-inch part of the connector is ignored. The Sony/Philips Digital Interface Format (S/PDIF) is used in many professional and con- sumer CD recorders and DAT recorders. To Inserts 1 and 2 avoid RF interference, use 75-ohm coaxial cable Mbox provides an insert point on each input for S/PDIF transfers and keep the cable length to channel. These TRS ports send and return the a maximum of 10 meters. input channel’s signal directly after the pream- plifier, and before the A/D converter. This al- lows the insertion of analog processors such as 32 Getting Started with Mbox
  • 39. compressors or equalizers, which are typically Mbox Line Outputs feature 24-bit digital-to-an- used as inserts on traditional analog recording alog converters capable of maximum output of consoles. See “Using the Analog Inserts” on +4 dBu/+2 dBV (balanced/unbalanced signal). page 34. The connectors are TRS ports; unbalanced TS connectors are also supported. Do not plug instruments, speakers, or head- phones into the 1/4-inch jacks labelled “In- You cannot monitor Pro Tools audio serts.” These are not inputs. They are spe- through speakers connected to your com- cial connectors for using an external effects puter. To monitor audio, connect head- processor such as a compressor or EQ. phones, powered speakers, or an external amplifier to your Mbox. To connect headphones: Making Signal Connections to • Connect headphones with an 1/8-inch stereo Mbox mini connector (or an adapter) to the front Mbox can be used in a variety of audio setups. Headphone jack. This section describes how to make basic con- – or – nections for: • Connect headphones with a 1/4-inch stereo • Monitoring connector (or adapter) to the back Head- • Analog and digital input for recording phone jack. • Hardware Inserts • Mixdown The front panel Headphone control adjusts the volume level of both the front and back Headphone jacks. Monitoring Audio There are two Headphone ports, giving you a The Mbox Headphone output can produce choice between the back panel 1/4-inch TRS very loud output levels. Prolonged exposure port or the 1/8-inch mini port on the front can cause hearing damage. Adjust head- panel. phone volume carefully. Mbox Line Outputs play the audio that is routed in Pro Tools to Analog Outputs 1–2, and can Only one Headphone output can be used at provide left and right outputs to a two-track a time. When headphones are connected to deck for mixdown, or to another stereo destina- both Headphone outputs, the front panel tion. Headphone output is muted. Chapter 4: Mbox Hardware and Connections 33
  • 40. To connect to a home stereo: To connect an analog audio source: ■ Using 1/4-inch cables, connect the Line Out- 1 Plug an XLR or TRS cable directly into puts on the back panel of Mbox to the appropri- Mic/Line Input 1 or 2 on Mbox. These inputs ac- ate inputs on your stereo. cept XLR connectors or TRS connectors. Home stereo systems often use RCA connec- 2 Step through choices by repeatedly pressing tors. You can use an adaptor or a special ca- each channel’s Source button until the LED cor- ble to convert from the TRS or TS connectors responding to your choice lights. used by Mbox to the RCA connectors on your home stereo. To activate phantom power: ■ If your microphone requires phantom power, To connect monitor speakers with a power amp or first make sure the microphone is connected, self-powered monitor speakers: then press the Phantom Power switch (labeled ■ Using 1/4-inch cables, connect the Line Out- 48V). puts on the back of Mbox to the appropriate in- puts on your mixer, power amp, or powered Enabling phantom power enables 48V speakers. through both mic inputs. Using the Analog Inserts Connecting Audio Sources to Mbox for Recording The analog input channels on Mbox each fea- ture a dedicated Tip Ring Sleeve (TRS) insert Digital and analog audio sources can be con- point. These hardware inserts break the analog nected directly to Mbox. input path before it is converted to a digital sig- nal and sent to Pro Tools. This is where you can Analog Audio insert a compressor, equalizer, or other serial ef- fect into the analog signal path. Analog audio signals are output by micro- phones, synthesizers, mixers, and instruments Because the inserts on Mbox are hardware with magnetic pickups. inserts that divert the signal path before it reaches Pro Tools, they are not available as Of these sources, microphones and magnetic hardware inserts within Pro Tools. For more pickup instruments output the quietest signals, information, see the Pro Tools Reference and generally require the most amplification. Guide. Keyboards, preamps, and mixers output “line- level” audio, which varies with each device be- To insert a device you will need a TRS Insert ca- tween the –10 dBV and +4 dBu standards. ble that has a TRS connector on one end, break- To accommodate these varying sources, Mbox ing out to two unbalanced (T/S) Y-connectors. provides switchable line input types (and associ- The connector attached to the tip is the send, ated impedances) with adjustable gain for each and the connector attached to the ring is the re- input channel. turn. 34 Getting Started with Mbox
  • 41. To insert a device in the signal path: To configure Mbox to record from a digital 1 You will need a cable that breaks a TRS con- source, choose Setups > Hardware Setup in nector on one end out to two unbalanced con- Pro Tools, then select S/PDIF in the Clock nectors. The type of unbalanced connector is Source and Ch 1–2 Input pop-up menus. determined by the inputs of the device. 2 Locate the unbalanced connectors and deter- S/PDIF Mirroring mine which corresponds to tip, and which to Pro Tools LE uses S/PDIF mirroring to automati- ring. cally “mirror” the audio that is sent to Line Out- 3 Connect the unbalanced connector that cor- puts 1 and 2 on the S/PDIF RCA outputs. This is responds to tip to the input port of the device. useful, for example, if you are monitoring a mix using your Line Outputs, and also recording the 4 Connect the unbalanced connector that cor- same source to an external S/PDIF device. responds to ring to the output port of the de- vice. 5 Insert the TRS connector into an insert port Connecting a Recorder for on Mbox. Mixdowns After you record and mix your sessions in Digital Audio Pro Tools, you may want to mix them down to a Mbox provides digital inputs and outputs for DAT, CD recorder, Mini-Disc, or other stereo 2- S/PDIF format digital audio. track recording device. About S/PDIF Connecting an Analog Deck S/PDIF (Sony/Philips Digital Interchange For- Connect the Line Outputs on the back of the mat) I/O is available on many DAT decks, com- Mbox to your recorder’s analog inputs. Line pact disc players, and other digital devices. Each Outputs 1 and 2 should be routed to the left and S/PDIF connection provides two channels of right inputs, respectively, on your recorder. digital audio with 24-bit capability. These outputs are TRS ports. You may need adapter cables if your mixdown deck has RCA To connect a S/PDIF device to Mbox: inputs. 1 Use two 75-ohm coaxial cables with male RCA connectors on both ends (purchased sepa- Connecting a Digital Deck rately). If you have a CD recorder, DAT deck or other de- 2 Connect the device’s S/PDIF output to Mbox’s vice that accepts S/PDIF connections, connect it S/PDIF input port, and the device’s S/PDIF input to the S/PDIF In and S/PDIF Out RCA ports on to Mbox’s S/PDIF output port. the back of Mbox. When recording from Pro Tools to a digital device, make sure Pro Tools is in Internal clock mode. Chapter 4: Mbox Hardware and Connections 35
  • 42. 4 Connect the MIDI IN of your MIDI device or MIDI Connections controller to the MIDI OUT of your MIDI inter- face. By adding a compatible MIDI interface to your system, you can take advantage of all the MIDI MIDI is not audio. To hear the output of features of Pro Tools LE, including recording your MIDI devices within Pro Tools, you and editing MIDI tracks. must route the audio output of your MIDI device into your Mbox inputs, and monitor See the Mbox Basics Guide for information or record the audio into your session. See on basic MIDI concepts. “Making Signal Connections to Mbox” on USB MIDI interfaces work effectively with page 33. Pro Tools systems on Windows or Macintosh. Serial MIDI interfaces are supported on Win- dows systems only. Only USB MIDI interfaces are compatible with Pro Tools systems for Mac OS X. Mo- dem-to-serial port adapters and serial MIDI devices are not supported. See Appendix E, “Configuring Midi Studio Setup (Windows Only)” or Appendix F, “Configuring AMS (Mac OS X Only)” for detailed information on how to identify ex- ternal MIDI devices connected to your MIDI interface and configure your MIDI studio for use with Pro Tools. To connect MIDI devices to your system: 1 Connect the MIDI interface to your computer according to the MIDI interface’s documenta- tion. 2 Install any MIDI driver software required by the MIDI interface. (Once you have installed your MIDI interface hardware and software, confirm that it is working properly using the procedure given in the interface’s documenta- tion.) 3 Connect the MIDI OUT of your MIDI device or controller to the MIDI IN of your MIDI inter- face. 36 Getting Started with Mbox
  • 43. chapter 5 Working with Pro Tools LE This tutorial of Pro Tools LE software introduces Starting a Session its main windows and features, and also in- cludes a step-by-step overview of audio record- To create a new session: ing (see “Basic Recording” on page 49). 1 Launch Pro Tools LE. All features described in this chapter are ex- 2 Choose File > New Session. plained fully in the Pro Tools Reference Guide. 3 In the New Session dialog, set the sample rate, You can view an electronic PDF version of the bit depth, and other options for the new session. Reference Guide by choosing it from the Pro Tools menu. Session Basics Pro Tools LE projects are created and saved as sessions. Sessions store all tracks, audio, MIDI, and other session information. Audio and fade files are stored in folders within the session folder. New Session dialog 4 Select where you want to save your session. If you are using external hard drives with your Pro Tools system, make sure you select the ap- propriate drive in the New Session dialog. 5 Type a name for your session. Session file, Audio Files and Fade Files folders 6 Click Save. The new session opens its Mix, Edit, and Transport windows (see Figure 5 on page 38). Chapter 5: Working with Pro Tools LE 37
  • 44. Main Windows Workspace The Workspace browser is a Digi- Base feature available in Pro Tools 6 and higher. The Mix, Edit, and Transport windows are the For more information see the DigiBase Guide. main Pro Tools work areas. You can show any of these windows by choosing them from the Win- Rulers dows menu. Pro Tools LE provides several different rulers to Press Control+Equals (=) in Windows or select as the timebase for your session. Command+Equals (=) on Macintosh to switch between the Edit and Mix windows. Timebase Rulers, displayed along the top of the Edit window, include Bars:Beats, Minutes:Sec- Mix Window Displays the Pro Tools mixer, with onds, and Samples. The current timebase deter- its familiar fader strip controls for volume, pan, mines the format of the Main counter, and pro- solo, mute, and signal routing. vides the basis for the Edit window Grid. Edit Window Displays tracks in the session along To select a Timebase Ruler: the Timeline, for editing of audio, MIDI, and au- tomation data. ■ Click the name of the ruler at the top left side of the Edit window (Bars:Beats, Minutes:Sec- Transport Provides standard transport controls onds, or Samples). for Play, Stop, Rewind, Fast-Forward, Pause, and Record. The Transport window can also show Counter and MIDI Control displays. Edit window Mix window Main Counter Rulers Tracks Tracks Main Counter Transport window Figure 5. Main session windows 38 Getting Started with Mbox
  • 45. Setting a Tempo Using the Click Plug-In You can set the tempo for your session by using The Click plug-in creates an audio click during the Song Start Marker, located in the Tempo session playback. This works like a metronome Ruler. that you can use as a tempo reference when per- forming and recording. To set the session tempo with the Song Start Marker: The Click plug-in is synchronized to the tempo and meter of the Pro Tools session, and follows 1 In the Tempo Ruler, double-click the Song any changes in tempo and meter. Start Marker. The Click plug-in is one of many plug-ins that can be inserted on a Pro Tools track. See “Plug-Ins” on page 57. Song Start marker Song Start marker 2 In the Tempo Change dialog, enter the BPM (beats per minute) value you will use for the ses- sion (so the inserted tempo event replaces the default tempo). Click plug-in Click Parameters MIDI In LED Illuminates each time the Click plug-in receives a click message from the Pro Tools application, indicating the tempo. Accented Controls the output level of the ac- cent beat (beat 1 of each bar) of the audio click. Change Tempo dialog Unaccented Controls the output level of the un- accented beats of the audio click. 3 To base the BPM value on a different note value (such as an eighth-note rather than the default quarter-note), select a note value in the Resolution section. 4 Click OK. Chapter 5: Working with Pro Tools LE 39
  • 46. To use the Click plug-in: Using an External MIDI Click 1 Choose MIDI > Click to enable the Click op- Pro Tools also provides a MIDI Click option that tion. lets you use an external MIDI device to play a – or – click. This feature can be turned on and off in the Transport window, and is configured from Select the Click button in the Transport win- the MIDI Click Options dialog. dow. To configure and enable an external MIDI click: Click button 1 Choose MIDI > Click Options. Click and Tempo Controls in the Transport window 2 Create a mono Auxiliary Input (Aux Input) track. 3 Insert a Click plug-in on the Auxiliary Input track. 4 In the Click plug-in window, choose a click sound from the Librarian pop-up menu (this menu displays “factory default” when you first insert the plug-in). Click/Countoff Options dialog 5 Choose MIDI > Click Options and set the 2 Configure the click parameters as needed for Click and Countoff options as desired. (Click your MIDI sound source. OK to apply these options.) See Appendix E, “Configuring Midi Studio The Note, Velocity, Duration, and Output Setup (Windows Only)” or Appendix F, options in this dialog are for use with MIDI “Configuring AMS (Mac OS X Only).” for instrument-based clicks and do not affect detailed information on how to identify ex- the Click plug-in. ternal MIDI devices connected to your MIDI interface and configure your MIDI studio Refer to the Pro Tools Reference Guide for for use with Pro Tools. more information on configuring Click op- 3 Select the desired MIDI sound source from the tions. Output pop-up menu and click OK. 6 Begin playback. A click is generated according to the tempo and meter of the current session and the settings in the Click Options dialog. 40 Getting Started with Mbox
  • 47. 4 During recording or playback, you can turn System Resources and Settings the Click on or off with the Click button in the MIDI Controls display of the Transport window. You can change specific Pro Tools system set- tings to optimize system performance. Click button Playback Engine Dialog The Playback Engine dialog lets you adjust sys- tem buffer sizes and allocate CPU processing Tempo Controls power to Pro Tools. Click and Tempo Controls in the Transport window To configure system resources: ■ Choose Setups > Playback Engine. Saving Sessions For Windows systems, see Chapter 2, As you build a session by adding tracks and “Windows Configuration.” For Macintosh changing session controls, you will want to save systems, see Chapter 3, “Macintosh Con- your work. Pro Tools provides three ways to save figuration.” sessions. System Usage Window To save a session: The System Usage window displays approxi- ■ Choose File > Save Session, Save Session As, or mate information on CPU load, DSP usage, and Save a Session Copy In. (on Macintosh systems only) overall disk perfor- Save Session Saves the currently open session mance, so you can gauge your system’s process- file, leaving it open for you to continue work- ing capacity. ing. Save Session As Creates a duplicate session file with the name you choose, and leaves the dupli- cate open for you to continue working. It does not create a new Audio Files or Fade Files folder. Meters in the System Usage window This can be useful if you want to experiment To view system resources and usage: with different arrangements in the session with- out affecting the original session. ■ Choose Windows > Show System Usage. Save Session Copy In Saves copies of the session file and the files that you are using in the cur- rent session. This can be useful for creating a fi- nal copy of the session that does not include au- dio files or fades you are no longer using. Chapter 5: Working with Pro Tools LE 41
  • 48. The Transport window can also display a Master Transport Controls Counter, as well as the following MIDI controls: Wait for Note, Click, Countoff, MIDI Merge, The Transport window provides access to all Conductor, Meter, and Tempo. Pro Tools LE transport commands. Different transport controls can be displayed or hidden in Click this window. Wait for Note Countoff To show the Transport window: MIDI Merge ■ Choose Window > Show Transport Window. Return To Zero Fast Forward Tempo Controls Rewind Play Go to End Online Stop Record Meters Conductor Transport window (MIDI Controls) To start and stop playback: 1 Click Play in the Transport window to begin playback. 2 Click Stop in the Transport window to stop Transport window (Expanded view shown) playback. To configure the Transport window: Press the Spacebar on your computer key- ■ Choose Display > Transport Window Shows board to start and stop playback. and select view options. The Transport window provides Play, Stop, and Pro Tools LE starts playing from the loca- other standard transport controls. tion of the cursor, or from the beginning of the current selection. The current setting of The Expanded view of the Transport window the Link Edit and Timeline Selection com- provides pre- and post-roll, start, end, and mand in the Operations menu also affects length indicators for Timeline selection, as well playback. See the Pro Tools Reference Guide as the Transport Master selector. for more information. 42 Getting Started with Mbox
  • 49. Track type is indicated by the Track Type icons Tracks just below the faders. Pro Tools LE lets you create audio and MIDI tracks for audio and MIDI recording, submixing, routing, automating, and editing. Pro Tools provides four types of tracks: audio tracks, Auxiliary Inputs, Master Faders, and MIDI tracks. Audio tracks, Auxiliary Inputs, and Master Faders can be mono or stereo. Audio Tracks Record and play back audio to and from hard disk, monitor audio input when record-enabled, and edit audio regions Auxiliary Inputs Audio mixer channels, used for input, routing, and submixing Master Faders Provide master channel controls and options for any output or bus path MIDI Tracks Record, play back, and edit MIDI Audio Aux MIDI Master data track Input track Fader Tracks in the Mix window To create a new track: In the Edit window, tracks are displayed hori- 1 Choose File > New Track. zontally along the Timeline. The area in which audio appears for each track is the Playlist. Timeline Rulers View New Track dialog 2 Specify the number of tracks, track type, and mono or stereo (for all types except MIDI). Audio Track 3 Click Create. Timeline Rulers and a stereo audio track in the Edit window In the Mix window, audio tracks, Auxiliary In- puts, Master Faders, and MIDI tracks appear as vertical channel strips. Chapter 5: Working with Pro Tools LE 43
  • 50. Audio tracks, Auxiliary Inputs, Master Faders, Inserts Inserts on Master Faders are post-fader and MIDI tracks can be automated. only. (Audio track and Aux input track inserts are all pre-fader.) Sends Master Faders do not provide sends. To Inserts send an output to another destination, use an Auxiliary Input. MIDI Tracks Sends MIDI tracks provide volume, solo, and mute, in addition to MIDI input, output, channel, and Input program (patch) controls. MIDI volume, mute, Output Automation mode and pan can also be automated using Pro Tools Pan sliders automation features (see “Mix Automation” on page 58 for more information). Record Enable Solo Mute Regions Lists Open Output window Volume Clipping indicator A region is a piece of audio or MIDI data that can fader (lights red) also have associated automation data. For exam- ple, a region could be a loop, a guitar riff, a verse Level meter of a song, a sound effect, a piece of dialog, or an entire sound file. In Pro Tools, regions are cre- ated from audio or MIDI files, and can be ar- Voice Selector Group enable ranged in audio and MIDI track playlists. Track Type icon Volume Track name All regions that are recorded, imported, or cre- Color Bar ated by editing appear in the Audio and MIDI Track comment area Regions Lists. Regions can be dragged from ei- ther list to tracks and arranged in any order. Au- dio regions can also be auditioned from the Re- Figure 6. Stereo audio track in the Mix window gions Lists by Option-clicking the audio region name. The Regions List pop-up menus provide Audio Tracks features for managing regions and files (such as Audio tracks, Auxiliary Inputs, and Master Fad- sorting, selecting, importing, or exporting files). ers share many identical controls. Master Faders provide all the same features as audio tracks and Auxiliary Inputs, with the following exceptions: Input Selector A Master Fader’s output assign- ment determines its input, or source (always outputs 1–2). 44 Getting Started with Mbox
  • 51. 3 Click in a track or Timebase Ruler. The cursor Drag border to resize Click Audio Regions appears at the selected location and the width of Regions Lists for pop-up menus counters display the current time location. Click in a track or on a Timebase Ruler Drag border to resize height of Regions Lists Click MIDI Regions Clicking with the Selector in the Edit window for pop-up menus Click to hide Regions Lists To navigate using the counters: Audio and MIDI Regions Lists 1 Click in the Main counter and enter a location using your computer keyboard. For more information on Regions Lists, refer 2 Press Enter (Windows) or Return (Macintosh). to the Pro Tools Reference Guide or the DigiBase Guide. Navigating in a Session Navigating with the Counter Pro Tools LE provides many ways to navigate in Press the * (asterisk) key on the numeric a session, including using the mouse or entering keypad as an alternative to clicking in the a memory location into one of the counters. counter. (The cursor will always appear in the Transport window’s Main Counter if it To navigate to a location in the Edit window: is displayed.) 1 In the Operations menu, make sure Link Edit and Timeline Selection option is enabled. 2 Enable the Selector tool at the top of the Edit window by clicking it. Selector tool Edit tools in Edit window Chapter 5: Working with Pro Tools LE 45
  • 52. Memory Locations To go to a stored memory location: 1 Choose Windows > Show Memory Locations. Memory Locations provide another way to nav- igate within sessions. Memory Locations appear 2 In the Memory Locations window, click the as markers under the Timebase Rulers. name of the memory location. To define a memory location: Viewing and Zooming 1 Navigate to the location at which you want to store a marker or memory location. When viewing tracks in the Edit window, you can adjust the height of tracks as well as zoom in – or – vertically and horizontally using the Track Begin playback. Height selector and Zoom tools. 2 Press Enter on the numeric keypad while stopped or during playback (or click the Markers Zoom buttons icon). Zoom presets Zoomer In the New Memory Location window, you can define a marker, store a selection, or store any combination of the other available settings. These settings include track height, group en- ables, pre- and post-roll values, and track Show/Hide status. 3 Choose settings for the memory location and click OK. Track Height Selector Zoom and Track Height tools in the Edit window New Memory Location window 46 Getting Started with Mbox
  • 53. To change track height: To store a new Zoom preset definition: ■ Click the Track Height Selector, and select a ■ Command-click a Zoom preset number to track height from the pop-up menu. store the current horizontal and vertical Zoom to that preset. You can apply many commands, including track height selection, to more than just a Using Memory Locations for Zoom Control single track. Hold down the Alt key (Win- dows) or Option key (Macintosh) while per- Pro Tools Memory Locations let you store many forming an operation to apply it to all attributes with each marker or memory loca- tracks. Hold down both the Shift and Alt tion, including Track Height and Zoom Settings. keys (Windows) or Shift and Option keys By creating Memory Locations that are neither (Macintosh) while performing an operation Markers nor Selections, but have Track Height, to apply it to all selected tracks. Zoom Settings, or other options enabled, you can use Memory Locations to zoom in and out To zoom in or out on any area of a track in the Edit using just the numeric keypad. window: For more information on creating memory 1 Click to select the Zoomer. locations, see “Memory Locations” on 2 Click or drag with the Zoomer to zoom in hor- page 46. izontally for a track or Ruler. – or – Importing Audio Press Option and click or drag with the Zoomer to zoom out horizontally for a track or Ruler. Pro Tools LE lets you import existing audio files from disk. This is very useful if you have audio To zoom in or out incrementally: files already recorded to disk or if you are work- ing with CD-based sample libraries that you ■ In Pro Tools, click the appropriate Zoom but- want to use in a new session. ton: • Left Arrow (Horizontal Zoom Out) To import audio files or regions from disk: • Right Arrow (Horizontal Zoom In) ■ Choose File > Import Audio to Track to import • Waveform and MIDI buttons, to increase or files and regions to new audio tracks (they will decrease vertical zoom of the appropriate also appear as regions in the Audio Regions List). track type (audio or MIDI) – or – Pro Tools also provides five Zoom preset but- ■ Choose Import Audio from the Audio Regions tons. You can use these to immediately return to List pop-up menu to import files and regions to established zoom levels; you can define the the Audio Regions List only. magnification level for each preset, on a session- by-session basis. For more information on importing audio into sessions, refer to the Pro Tools Refer- To use a stored Zoom preset: ence Guide. ■ Click the appropriate Zoom preset 1–5. Chapter 5: Working with Pro Tools LE 47
  • 54. To import a CD audio track: 7 You can audition the audio file by clicking on the speaker icon in the waveform window. 1 Put the source CD into your computer’s CD drive. 2 Use a third party software program of your choice to extract audio from the CD. 3 In the session, create a new track by choosing File > New Track. Auditioning an audio file in the Workspace Browser Creating a new stereo audio track 8 Drag the audio file from the Workspace 4 In the New Track dialog, specify 1 Stereo Au- Browser to the audio track you created in your dio Track, and click Create. session. 5 Open the Workspace Browser by choosing Windows > Show Workspace. The Workspace Browser is a window where you can find, audi- tion, and manage your audio files. Dragging the audio file from the Workspace Browser to an audio track Opening the Workspace Browser If you are running Pro Tools on Mac OS X, 6 In the Workspace Browser, navigate to the lo- you can import audio using the Movie > Im- cation where you saved the audio you extracted port Audio From Other Movie command. from your CD in step 2. For more information, see the Pro Tools Ref- erence Guide. DigiBase provides additional options for importing audio. See the DigiBase Guide for more information. Browsing in the Workspace Browser 48 Getting Started with Mbox
  • 55. 5 Use the Gain controls on Mbox to maximize Basic Recording the signal going into Pro Tools while avoiding clipping. This section describes how to record audio and MIDI into Pro Tools LE. Clipping occurs when you feed a signal to an audio device that is louder than the cir- Preparing for Recording cuitry can accept. To avoid clipping, adjust the Gain control to a level where the Peak To prepare an audio track for recording: LEDs on the front of the Mbox flicker occa- sionally. 1 Verify the connections to your instruments. 6 On the front of the Mbox, turn the Mix knob For more information about connecting in- fully left to Input. To hear an equal mix of play- struments to Mbox, refer to Chapter 4, back and input signals, turn the Mix knob to the “Mbox Hardware and Connections” as well center. See Mbox Basics Guide for more informa- as the Mbox Basics Guide. tion on using the Mix knob during recording. 2 Create a new track to record on by choosing File > New Track. Specify 1 Mono Audio Track Recording an Audio Track and click Create. 3 In the Mix window, click the Input Selector on To record an audio track: the new track. 1 Assign the input for a track and set its input levels appropriately. 2 Click the Record Enable button for a track. Input selector (See Figure 6 on page 44). 3 Choose Windows > Show Transport to display the Transport window. Choosing an input in the Mix window Return To Zero Fast Forward 4 From the pop-up menu, select the interface in- Rewind Play Go to End put you want to record. For example, select Online Stop Record Mic/Line 1 if your audio source is plugged into the Source 1 jack on the back of the Mbox. Transport window (Expanded view shown) Routing an input to a mono track Chapter 5: Working with Pro Tools LE 49
  • 56. 4 Click Return To Zero to start recording from 2 Choose File > New Track and specify 1 MIDI the beginning of the session. You can also record Track, then click Create. according to a selection or from the cursor loca- 3 In the Mix window, click the track’s MIDI Out- tion in the Edit window. put Selector and choose the destination (assign- 5 Click Record in the Transport window to en- ment) for that MIDI track by choosing a MIDI able recording. interface port, a channel, or a device from the pop-up menu. Choices vary depending on the 6 Click Play or press the Spacebar to record on operating system, Pro Tools version, and the all record-enabled tracks. hardware and instruments you have connected. 7 Record your performance. 8 Click Stop in the Transport window or press the Spacebar when you are finished recording. To play back a recorded track: 1 Click the track’s Record Enable button a sec- ond time to take it out of Record mode. 2 Click Play in the Transport window or press the Spacebar to start playback. 3 Click Stop in the Transport window or press the Spacebar to stop playback. MIDI Output Selector 4 You can assign a default program change to Recording MIDI the track by clicking on the Program button in the Mix window and making the necessary se- To configure a MIDI track for recording: lections for program and bank select, and then clicking Done. Default program changes are 1 For Macintosh systems, choose MIDI > Input sent when playing a track. Devices and make sure your input device is se- lected in the MIDI Input Enable window. Click 5 In the Mix Window, record-enable the MIDI OK to apply your changes. track. 6 Make sure MIDI > MIDI Thru is selected, then play some notes on your MIDI controller. The MIDI instrument assigned to the track should sound, and the track’s meters should register MIDI activity. 50 Getting Started with Mbox
  • 57. To record onto a MIDI track: Monitoring MIDI Instruments Without a Mixer 1 Verify that the MIDI track you want to record To monitor your MIDI instrument’s analog out- to is record-enabled and receiving MIDI. put, you can use an Auxiliary Input. Auxiliary 2 In the Transport window, click Return To Zero Inputs function as inputs for both internally to start recording from the beginning of the ses- bussed signals and external audio sources. sion. You can also record according to a selec- tion or from the cursor location in the Edit To configure an Auxiliary Input for MIDI monitoring: window. 1 Connect the MIDI instrument’s audio output 3 Click Record in the Transport window. to the appropriate inputs on your Mbox. 4 Click Play in the Transport window or press 2 Choose File > New Track and specify 1 mono the Spacebar to begin recording. or stereo Auxiliary Input, then click Create. – or – 3 Click the Input selector of the Auxiliary Input If using Wait for Note, the Play, Record, and channel and choose the input to which your Wait for Note buttons flash. Recording begins MIDI instrument is connected. when the first MIDI event is received. 4 Adjust the level of the Auxiliary Input with its – or – volume fader. If using Countoff, click Play. The Record and Play buttons flash during the Countoff, then re- cording begins. Editing 5 Play your MIDI instrument. Pro Tools LE provides several tools for editing audio and MIDI. In the Edit window, audio and 6 When you have finished recording, click Stop MIDI tracks can be edited into regions or re- in the Transport window, or press the Spacebar. peated in different locations, to create loops, re- The newly recorded MIDI data appears as a MIDI arrange sections or entire songs, or to assemble region on the track in the Edit window, as well tracks using material from multiple takes. as in the MIDI Regions List. Edit Modes Edit Tools To play back a recorded MIDI track: 1 Click the Record Enable button to take the MIDI track out of Record mode. Edit modes and tools (Slip mode, Smart Tool enabled) 2 In the Transport window, click Return To Zero to play back from the beginning of the track. You can also play back according to a selection or from the cursor location in the Edit window. 3 Click Play in the Transport window to begin playback. The recorded MIDI data plays back through the track’s assigned instrument and channel. Chapter 5: Working with Pro Tools LE 51
  • 58. Audio and MIDI editing are typically used to: Edit Tools • Fix or replace mistakes Pro Tools LE has seven Edit tools: Zoomer, Trim- • Re-arrange songs and projects mer, Selector, Grabber, Scrubber, Pencil, and • Clean up track timing and rhythm by Smart Tool. Select an Edit tool by clicking it in aligning hits to Grid values like bars and the Edit window. The Zoomer, Trimmer, Grab- beats ber, and Pencil tools have multiple modes, • Create final tracks using selections from which you can select from a pop-up menu when multiple takes (also known as comp tracks). you click the tool. Trimmer Grabber Edit Modes Selector Scrubber Pro Tools LE has four Edit modes: Shuffle, Spot, Slip, and Grid. The Edit mode is selected by clicking the corresponding button in the upper left of the Edit window. Zoomer Smart Tool Pencil Edit tools in Edit window Edit mode buttons Press the Escape key to toggle through the Edit tools. Press F1 (Shuffle), F2 (Slip), F3 (Spot), and F4 (Grid) to set the Edit mode. For detailed descriptions of the Edit Tools, refer to the Pro Tools Reference Guide. The Edit mode affects the movement and place- ment of audio and MIDI regions (and individual Editing Regions MIDI notes), how commands like Copy and Paste function, and also how the various edit The Edit tools in Pro Tools LE are used to edit re- tools (Trimmer, Selector, Grabber, and Pencil) gions in the Edit window. work. For detailed descriptions of Edit modes, re- fer to the Pro Tools Reference Guide. Audio region 52 Getting Started with Mbox
  • 59. Trimming Regions 6 Click at the end of the region and drag left to shorten the region. After recording an audio track, you will have an audio region on that track. If there is some si- lence at the beginning of the region, or there is some extra audio at the end of the region, you can use the Trimmer tool in Slip mode to shorten the beginning or end of the region. The trimmed region You can also extend a region using the Trimmer tool if there is audio data beyond the current boundaries of the region. If extending the re- gion’s beginning, drag to the left; if extending Audio region on a track the region’s end, drag to the right. To trim an audio region: Arranging Regions 1 Select Slip mode. There are many ways to edit and arrange re- 2 Select the Trimmer tool. gions; the following example demonstrates how you might create and arrange a drum loop to 3 Move the cursor near the beginning of the au- compose a rhythm track. dio region (notice the cursor displays as a “[”). To create and arrange a rhythm sequence: 1 Open or create a session in Pro Tools LE. 2 Specify the session meter (MIDI > Change Trimming the beginning of a region Meter) and tempo (MIDI > Change Tempo). 4 Click at the beginning of the region and drag 3 Select Grid mode. right to shorten the region. 4 Prepare to record using a MIDI click (see “Us- 5 Move the cursor near the end of the audio re- ing the Click Plug-In” on page 39 or “Using an gion (notice the cursor displays as a “]”). External MIDI Click” on page 40). 5 Record a drum track (see “Recording an Audio Track” on page 49) keeping in mind that you want to use only the best bar (measure). Your re- cording should fit the grid at the specified tempo and meter. Trimming the end of a region – or – Import an existing audio file, such as a drum loop from a sample library, and place it on an audio track (see “Importing Audio” on page 47). Chapter 5: Working with Pro Tools LE 53
  • 60. 6 Click the Selector tool, and drag on the wave- could separate beats or “hits” into individual re- form with the Selector to make a one-bar selec- gions and rearrange them in Grid or Shuffle tion. Note that the selection snaps to the mode as a way of coming up with new and in- specified grid. teresting rhythms. Playlists and Nondestructive Editing Playlists let you create and retrieve multiple ver- sions of track edits. A playlist can be a complete Making a selection in Grid mode take, an overdub, or an arrangement of selec- tions from multiple takes. You can duplicate 7 Create a new audio track (File > New Track). playlists to save edits in their current state, then 8 From the Grabber pop-up menu, select the continue making additional edits to the new Separation Grabber tool. playlist knowing you can always go back to the previous version. 9 With the Separation Grabber tool, drag the se- lection to the beginning of the new audio track. A new region is created and appears at the be- To create multiple playlists for editing: ginning of the new track. 1 Start with a track on which you want to try different edits. 2 From the Playlist Selector pop-up menu, choose Duplicate. Dragging a selection with the Separation Grabber tool Playlist Selector 10 With the new region still selected, choose pop-up menu Edit > Repeat. Playlist Selector pop-up menu 3 Name the duplicated playlist and click OK. 4 Make your first series of edits. 5 Return to the original playlist by selecting it Repeat dialog from the Playlist Selector pop-up menu. 11 In the Repeat dialog, enter a number of re- 6 Repeat steps 2–5 for any further edits. peats, and click OK. In this way, you can try out different edits of a You now have a new rhythm track with a track, and switch back and forth between playl- “looped” (repeated) phrase. You can use these ists for comparison. editing tools to do much more advanced and in- volved editing of regions. For example, you 54 Getting Started with Mbox
  • 61. Send and Return Submixing for Effects Mixing Processing The Pro Tools mix environment provides many When you are submixing for reverb, delay, and familiar channel strip controls for setting vol- similar effects processing, you can use sends and ume, pan, solo, and mute. Mixer and I/O con- Auxiliary Inputs to achieve traditional send/re- trols can be shown in both the Mix and Edit turn bussing. You can use a real-time plug-in windows. (see “Plug-Ins” on page 57) as a shared resource for all tracks included in a submix. The wet/dry To view the Mix window: balance in the mix can be controlled using the ■ Select Windows > Show Mix. track faders (dry level) and Auxiliary Input fader (wet, or effect return level). Press Control+Equals (=) in Windows or Command+Equals (=) on Macintosh to Creating a Send switch between the Edit and Mix windows. Pro Tools LE provides up to five sends per audio Using Channel Strip Controls track. A send can be mono or stereo, routing to an output or one of 16 internal bus paths. Volume Increase or decrease the track level by dragging its Volume fader up or down. To assign a send on a track: Pan Pan a track left or right in the mix by drag- 1 Make sure Sends View is enabled in the Mix ging its Pan slider left or right. window (Display > Mix Window Shows > Sends View). Solo Solo a track (muting all other tracks) by clicking its Solo button. 2 Click the Sends button on an audio track and choose a path from the pop-up menu. Mute Mute a track by clicking its Mute button. Basic Signal Routing Signal routing is accomplished by assigning track inputs and outputs. Audio track inputs can be from any hardware input or bus path. Once recorded, an audio track’s input is its audio file on disk. Auxiliary Inputs can be any hardware input or internal bus path. For all types of audio tracks, outputs can be routed to any hardware Assigning a send to a stereo bus path output or internal bus path. Together, these signal routing features let you set up virtually any mixer architecture for your projects, including sends and returns for effects processing and submixing. Chapter 5: Working with Pro Tools LE 55
  • 62. 3 Set the output level of the send. You can set 2 Click the Input Selector of the Auxiliary Input the send level to zero by Option-clicking the and set it to the bus path you assigned to the send fader. sends on the source tracks. You can configure the default level for new 3 Click the Output Selector of the Auxiliary In- sends to be –∞ or at unity gain (0 dB) by put and choose an output path. enabling or disabling the Sends Default To “–INF” option under the Operation Master Faders Preferences. Master Faders are used as output and bus mas- Creating a Return ters, and can control any mono or stereo output or bus path in a session. You can then use the Auxiliary Inputs can be created to act as return controls on the Master Fader to control the vol- channels for busses, as well as for inputs from ume, solo and mute, or apply inserts to those hardware sources. paths. Send Send window to bus 5–6 Real-time plug-in When you are mastering your final mix, it is rec- ommended that you use a dither plug-in on the Master Fader controlling your main outputs (for more information on dither, see the Pro Tools Reference Guide). Dither plug-in applied to final mix main mix Output assigned to control Aux Input input from bus 5–6 Audio and Auxiliary Input tracks configured for a send and return To create a return: Master Fader controlling main outputs 1 Choose File > New Track and specify 1 mono or stereo Auxiliary Input, then click Create. 56 Getting Started with Mbox
  • 63. To create a Master Fader: Real-time plug-ins are assigned to tracks from the Inserts view in the Mix or Edit windows. 1 Choose File > New Track and specify 1 mono Once assigned to a track, plug-ins appear in the or stereo Master Fader track, then click Create. track’s Inserts view, and can be opened by click- 2 In the Mix window, click the Master Fader’s ing the Insert button. Output Selector and choose the output path that you want to control. You can choose either Insert button Plug-In window outputs or internal busses. To use a Master Fader as a master stereo volume control for all tracks in a session: 1 Choose File > New Track and specify 1 stereo Master Fader track, then click Create. 2 Set the outputs of all audio tracks in the ses- sion to outputs 1–2 and set the panning of each track. 3 Set the output of the Master Fader to your main output path (outputs 1–2). Compressor plug-in Plug-Ins To insert a real-time plug-in on a track: Plug-ins provide EQ, dynamics, delay, and 1 Make sure the Inserts View is shown in the many other types of effects processing, and Mix or Edit window. function either in real time or in non-real time. 2 Click the Insert Selector on the track and se- lect the plug-in that you want to use. RTAS plug-ins are nondestructive effects, which are inserted on tracks to process audio in real Pro Tools comes with a complete set of DigiRack time—just like an external hardware processor plug-ins, and many more are available from (during playback). Digidesign and our Development Partners. AudioSuite plug-ins are used to process and For more information about plug-ins, see modify audio files on disk, rather than non- the DigiRack Plug-Ins Guide, the Digide- destructively in real time. Depending on how sign Plug-Ins Guide, and the Plug-Ins chap- you configure a non-real-time AudioSuite plug- ter of the Pro Tools Reference Guide. in, it will either create an entirely new audio file, or alter the original source audio file. Chapter 5: Working with Pro Tools LE 57
  • 64. Once written, automation can be re-written or Mix Automation displayed and edited graphically in the Edit win- dow. Mix automation lets you record, or automate, changes to track and send levels, mutes, pan, and plug-in parameters. MIDI tracks provide volume, pan, and mute automation only. To write automation: Track view set to Volume 1 In the Automation Enable window Volume breakpoint automation (Windows > Show Automation Enable), enable an automation type (volume, pan, mute, send Volume automation in a track in the Edit window level, send pan, send mute, or any plug-in auto- mation). For more information on using automation, see the Pro Tools Reference Guide. 2 Select an automation mode for the tracks to be automated (Write, Touch, or Latch mode). 3 Start playback and begin writing automation Final Mixdown by adjusting faders and other controls during playback. Pro Tools LE remembers all moves The Bounce to Disk command lets you write a fi- performed on enabled parameters. nal mix to disk, create a new loop, print effects, or bounce any submix. Once you have bounced your final mix to disk, you can use another pro- gram to burn the resulting file to compact disc. When you bounce a track to disk, the bounced mix includes the following: Audible Tracks All audible tracks are included in Enabling automation (left) and choosing a track the bounce. Any muted tracks do not appear in Automation mode (right) the bounce. If you solo a track or region, only the soloed elements appear in the bounced mix. Automation All read-enabled automation is played back and incorporated in the bounced mix. Inserts and Sends All active inserts, including real-time plug-ins and hardware inserts, are ap- plied to the bounced mix. 58 Getting Started with Mbox
  • 65. Selection or Track Length If you make a selec- tion in a track, the bounced mix will be the length of the selection. If there is no selection in any track, the bounce will continue until it reaches the end of the session. To Bounce to Disk: 1 Choose File > Bounce to Disk. 2 Select any mono or stereo output or bus path as the source for the bounce. 3 Select the File Type (such as WAV), Format (such as mono or stereo), Resolution (such as 16- bit), and Sample Rate (such as 44.1 kHz). To create a mixdown that can be written to an audio CD, be sure to select WAV, stereo interleaved, 16-bit, 44.1 kHz. 4 Click Bounce. Using Dither on Mixdown You should use a dither plug-in when using the Bounce To Disk command, or when mastering to an external device. Bounce to Disk does not automatically apply dither. To dither a bounce file, insert an included Digidesign Dither plug- in, or another dither plug-in, on a Master Fader assigned to the bounce source path. Master Fad- ers are often preferable to Auxiliary Inputs be- cause Master Fader inserts are post-fader (which is better for dither applications). For more information on using dither, refer to the Pro Tools Reference Guide. Chapter 5: Working with Pro Tools LE 59
  • 66. 60 Getting Started with Mbox
  • 67. appendix a Windows System Optimizations When installing Pro Tools on Windows XP, there are many system variables that affect per- Advanced Settings formance. If you have followed all the Windows The following system optimizations may help configuration instructions in Chapter 2, “Win- Pro Tools perform better on some systems. It is dows Configuration” and are still experiencing recommended that you only try these optimiza- problems, try the following troubleshooting tions if necessary, as they may disable or ad- suggestions. versely affect the functionality of other pro- Norton Ghost is highly recommended, as it grams on your system. lets you save your system in a working state Disabling Network Cards and easily revert to that state should you ac- cidentally disable anything that your com- If applicable, disable any networking cards puter needs. (other than a 1394 “FireWire” card that you might use to connect an external drive to your For more information on Ghost, visit the Sy- system). mantec Web site (www.symantec.com) To disable a network card: Troubleshooting 1 Right-click My Computer and choose Man- age. Blue Screen at Startup 2 Under System Tools, select Device Manager. If, after installing Pro Tools and QuickTime, 3 In the Device Manager window, double-click your computer crashes with a blue screen, do Network adapters, then double-click the Net- the following: work Adapter card you want to disable. • Use Add/Remove Programs to uninstall 4 Under the General tab, choose “Do not use Pro Tools. this device (disable)” from the Device Usage • Use Add/Remove Programs to uninstall pop-up menu, and click OK. QuickTime. 5 Close the Computer Management window. • Repeat the installation instructions in “In- stalling Pro Tools LE and Mbox” on page 9. Appendix A: Windows System Optimizations 61
  • 68. Processor Scheduling If you disable any of the following startup items, do so carefully: To Adjust Processor Scheduling Performance: • Portable media serial number (required for 1 Choose Start > Control Panel. applications that utilize a copy protection key) 2 In Classic View, launch System. • Plug and play 3 Click the Advanced tab. • Event log 4 Under the Performance section, click the Set- • Cryptographic services tings button. • DHCP Client, TCP/IP Net BIOS, and other networking-related items (unless the com- 5 Click the Advanced tab. puter has no network or internet connec- 6 Under the Processor scheduling section, select tion, in which case these items can be the Background Services option. disabled) 7 Under the Memory Usage section, select the Norton Ghost is highly recommended, as it System cache option. lets you save your system in a working state 8 Click OK twice. You will need to restart your and easily revert to that state should you ac- computer for the changes to take effect. cidentally disable anything that your com- puter needs. Startup Items For more information on Ghost, visit the Sy- The fewer items in use by your computer, the mantec Web site (www.symantec.com) more resources are available for Pro Tools LE. Some startup applications may be consuming To Disable System Startup Items: unnecessary CPU resources, and should be 1 From the Start menu, choose Run. turned off. 2 Type “msconfig” and click OK. The System Configuration Utility opens. 3 Under the General tab, choose Selective Startup. 4 Deselect Load Startup Items and click OK. 5 Click Restart to restart the computer. 6 After restarting your computer, a System Con- figuration message dialog is displayed. Try Pro Tools to see if performance has increased be- fore you uncheck the don't show this message again box. If performance has not changed, run “msconfig” and return your computer Selective Startup back to Normal Startup. Alternatively, try disabling start up items and non-essential processes individually. 62 Getting Started with Mbox
  • 69. appendix b Digidesign ASIO Driver (Windows Only) Introduction The ASIO Driver is not multi-client. Only one application at a time can use the ASIO The Digidesign ASIO Driver is a single-client Driver. Be sure to disable the Windows sys- multichannel sound driver that allows third- tem sounds. It is also recommended that party audio programs that support the ASIO you use a separate sound card for games or standard to record and play back through the other general work. following Digidesign audio interfaces: • Pro Tools|HD audio interfaces Check the Digidesign Web site • Digi 002 (www.digidesign.com) for the latest third- • Digi 002 Rack party drivers for Pro Tools hardware, as • Mbox well as current known issues. Full-duplex playback of 24- and 16-bit audio are supported at sample rates up to 96 kHz, depend- ing on your Digidesign hardware and ASIO pro- Compatible Software gram used. This version of Digidesign ASIO Driver can be used on Digidesign-qualified Pro Tools systems The Digidesign ASIO Driver will provide up to running on Windows XP. 18 channels of input and output, depending on your Pro Tools hardware: To use Digidesign ASIO Driver without • Up to 8 channels of input and output with Pro Tools, use the stand-alone version of Pro Tools|HD systems the Digidesign ASIO Driver. The stand- • Up to 18 channels of input and output alone version of Digidesign ASIO Driver is with Digi 002 and Digi 002 Rack available on the Digidesign Web site • Up to 2 channels of input and output with (www.digidesign.com) Mbox For a list of ASIO Driver-compatible software, see the compatibility page of the Digidesign Web site (www.digidesign.com/compato). Digidesign can only assure compatibility and provide support for hardware and software it has tested and approved. Appendix B: Digidesign ASIO Driver (Windows Only) 63
  • 70. For a list of Digidesign hardware systems, Digi- design-qualified computers, operating systems, Configuring ASIO Driver and devices, and Digidesign-qualified third- Settings party ASIO-compatible programs, refer to the Configuring ASIO Driver settings is done in your compatibility page of the Digidesign Web site third party ASIO program. See your program’s (www.digidesign.com/compato). documentation. For example, with Propeller- head Reason, click on the ASIO Control Panel. Installing the ASIO Driver Digidesign ASIO Driver is automatically in- stalled when you install Pro Tools. To use Digidesign ASIO Driver without Pro Tools, use the stand-alone version of the Digidesign ASIO Driver. The stand- alone version of Digidesign ASIO Driver is ASIO Control Panel available on the Digidesign Web site button (www.digidesign.com) Setup Example, using Propellerhead Reason Removing the ASIO Driver If you need to remove the ASIO Driver from ASIO Driver Control Panel your computer, complete the following steps. From the ASIO Driver Control Panel, you can configure the ASIO Driver for your Pro Tools To remove the ASIO Driver: system. 1 Click Start. 2 Click Control Panel. 3 Double-click Add or Remove Programs. 4 From the Currently installed programs list, se- lect Digidesign Pro Tools. 5 Click the Change/Remove button. Digidesign ASIO Control Panel 6 Choose the Modify button. 7 Click Next. 8 Uncheck the ASIO Driver box. 9 Click Next. 10 When removal is complete, close the Add or Remove Programs window. 64 Getting Started with Mbox
  • 71. The Digidesign ASIO Driver Control Panel can- In some ASIO-compatible audio programs, per- not be accessed under the following circum- forming various tasks will interrupt the ASIO stances: Driver and may result in clicks and pops in au- • When Pro Tools is running. dio playback or recording. Choosing medium or • When playing or recording in an audio large buffers (such as 256, 512, or 1024) can help program that does not support the ASIO alleviate this problem. Driver. Changing the Buffer Size for the ASIO Driver • When using a third-party audio program does not affect the H/W Buffer Size settings in that has an option to keep the ASIO Driver the Pro Tools Playback Engine dialog. “open” even when you are not playing or recording. (You must close the audio pro- Device gram before you can open the ASIO Driver Control Panel.) The Device Type will always be set to your in- stalled Pro Tools hardware. Buffer Size Control Advanced Button When you play a file from a client audio pro- gram, the client program divides the file into lit- The Advanced button opens the Hardware Setup tle chunks (buffers) and sends each of these to dialog for the Digidesign hardware that you are the ASIO Driver. The ASIO Driver copies the cli- using. ent program’s buffers to your Digidesign hard- ware’s own buffers in a double-buffering scheme. The Buffer Size control in this dialog lets you to set the size of each of the two buffers the ASIO Driver uses on Digidesign hardware. You may select from the following buffer sizes (depending on your Digidesign hardware): • 128 samples • 256 samples • 512 samples • 1024 samples • 2048 samples Small buffers have the advantage of low latency in the record monitor path. (Latency is the time delay between a signal entering the audio inputs and leaving the outputs during recording.) Larger buffers have the advantage of making the Digidesign ASIO Driver more immune to audio dropouts during playback and recording. Appendix B: Digidesign ASIO Driver (Windows Only) 65
  • 72. 66 Getting Started with Mbox
  • 73. appendix c Digidesign WaveDriver (Windows Only) Introduction Check the Digidesign Web site (www.digidesign.com) for the latest third- The Digidesign WaveDriver is a single-client, party drivers for Pro Tools hardware, as multichannel sound driver that allows third- well as current known issues. party audio programs that support the WaveDriver MME (Multimedia Extensions) standard to play back through the following Digidesign audio interfaces: Compatibility • Pro Tools|HD audio interfaces This version of Digidesign WaveDriver can be • Digi 002 used on Digidesign-qualified Pro Tools systems running on Windows XP. • Digi 002 Rack • Mbox To use Digidesign WaveDriver without Pro Tools, use the stand-alone version of Playback of 24- and 16-bit audio are supported the Digidesign WaveDriver. The stand- at sample rates of up to 48 kHz, as supported by alone version of Digidesign WaveDriver is the hardware and WaveDriver program used. available on the Digidesign Web site The Digidesign WaveDriver will provide 2 chan- (www.digidesign.com) nels of output. Compatible Software The WaveDriver is not multi-client. Only one application at a time can use the For a list of WaveDriver-compatible software, WaveDriver. Be sure to disable the Win- see the compatibility page of the Digidesign dows system sounds. It is also recom- Web site (www.digidesign.com/compato). mended that you use a separate sound card Digidesign can only assure compatibility and for games or other general work. For third- provide support for hardware and software it party soft-synthesizer and samplers, use the has tested and approved. Digidesign ASIO Driver (refer to the ASIO Driver Usage Guide). Appendix C: Digidesign WaveDriver (Windows Only) 67
  • 74. For a list of Digidesign hardware systems, Digi- design-qualified computers, operating systems, Configuring WaveDriver for and devices, and Digidesign-qualified third- QuickTime Player (Required party WaveDriver-compatible programs, see the for Using iTunes) compatibility page of the Digidesign Web site (www.digidesign.com/compato). In order to let Digidesign hardware play back through iTunes for Windows, you must config- ure WaveDriver in the waveOut option of the QuickTime Player SoundOut settings to wave- Installing the WaveDriver Out. Digidesign WaveDriver is automatically in- stalled when you install Pro Tools. To configure WaveDriver as the iTunes default device: To use Digidesign WaveDriver without 1 Close all WaveDriver third-party applications Pro Tools, use the stand-alone version of (including iTunes). the Digidesign WaveDriver. The stand- alone version of Digidesign WaveDriver is 2 Choose Start > Programs > QuickTime > available on the Digidesign Web site QuickTime Player. (www.digidesign.com) 3 In QuickTime Player, choose Edit > Prefer- ences > QuickTime Preferences. 4 From the pop-up menu, choose Sound Out. Removing the WaveDriver 5 From the Choose a device for playback pop-up If you need to remove the WaveDriver from menu, select the waveOut option (and the name your computer, complete the following steps. of your Digidesign device, if any). 1 Click Start. 6 Close QuickTime Player. 2 Click Control Panel. 7 Re-launch iTunes. 3 Double-click Add or Remove Programs. You may also need to add iTunes to the 4 From the Currently installed programs list, se- WaveDriver Opt-In list. See “Adding Third lect Digidesign Pro Tools. Party Applications to the WaveDriver Opt- 5 Click the Change/Remove button. In List” on page 69. 6 Choose the Modify button. 7 Click Next. 8 Uncheck the WaveDriver box. 9 Click Next. 10 When removal is complete, close the Add or Remove Programs window. 68 Getting Started with Mbox
  • 75. To configure WaveDriver for a third party Configuring WaveDriver for WaveDriver application: Windows Media Player and ■ In the third-party program, select the Digi- Other Third-Party WaveDriver design audio interface as the preference for your Programs playback hardware. Refer to your program’s doc- umentation. WaveDriver is configured in the Sounds and Au- dio Devices Control Panel (for programs that You may also need to add your third party use the Windows Sound Playback Default De- WaveDriver program to the WaveDriver vice, such as Windows Media Player), or as a Opt-In list. See “Adding Third Party Appli- preference for third-party WaveDriver pro- cations to the WaveDriver Opt-In List” on grams. page 69. To configure WaveDriver as the Windows Sound Playback Default Device (for example, for Windows Media Player): Adding Third Party Applications to the 1 Open the Sounds and Audio Devices Control Panel. WaveDriver Opt-In List The Digidesign WaveDriver uses an Opt-In list 2 Click the Audio tab. to control third party application access to the 3 Select the Digidesign audio interface in the Digidesign hardware. Some third party audio Sound Playback default device lists. applications may not work with the WaveDriver unless they are included in this Opt-In list. 4 Close the Control Panel. When you run Win- dows Media Player, it automatically output to For the latest instructions for adding and remov- your Digidesign hardware. ing applications to the WaveDriver Opt-In list, refer to the Digidesign Web site (http://answer- You may also need to add your third party base.digidesign.com/detail.cfm?DID=27424). WaveDriver program to the WaveDriver Opt-In list. See “Adding Third Party Appli- Modifying the Digidesign WaveDriver Opt- cations to the WaveDriver Opt-In List” on In list requires editing the Windows System page 69. Registry. Because editing the Windows Reg- istry is dangerous, and can result in prob- lems if not done correctly, make sure to carefully follow the instructions for adding and removing applications. Appendix C: Digidesign WaveDriver (Windows Only) 69
  • 76. 70 Getting Started with Mbox
  • 77. appendix d Digidesign CoreAudio Driver (Macintosh Only) The Digidesign CoreAudio Driver will provide Introduction up to 18 channels of input and output, depend- ing on your Pro Tools hardware: The Digidesign CoreAudio Driver is a multi-cli- ent, multichannel sound driver that allows • Up to 8 channels of input and output with CoreAudio compatible applications to record Pro Tools|HD systems and play back through the following Digidesign • Up to 18 channels of input and output audio interfaces. with Digi 002 and Digi 002 Rack • Pro Tools|HD audio interfaces • Up to 2 channels of input and output with • Digi 002 Mbox • Digi 002 Rack For Pro Tools TDM systems with more than • Mbox one card and multiple I/Os, only the pri- mary I/O connected to the first (core) card Full-duplex recording and playback of 24-bit au- can be used with CoreAudio. dio is supported at sample rates up to 96 kHz, depending on your Digidesign hardware and CoreAudio client application. Check the Digidesign Web site (www.digidesign.com) for the latest third- party drivers for Pro Tools hardware, as well as current known issues. Appendix D: Digidesign CoreAudio Driver (Macintosh Only) 71
  • 78. Compatible Software What are the Limitations of the Digidesign CoreAudio For a list of CoreAudio Driver-compatible soft- ware, refer to the Digidesign Web site Driver? (www.digidesign.com/compato). The Digidesign CoreAudio Driver has the fol- Digidesign can only assure compatibility and lowing limitations: provide support for hardware and software it ◆ Pro Tools is not a CoreAudio application and has tested and approved. therefore requires exclusive access to Digidesign hardware. You cannot use CoreAudio applica- For a list of Digidesign hardware systems, Digi- tions and Pro Tools at the same time. To use design-qualified computers, operating systems, Pro Tools, make sure you quit any CoreAudio and devices, and Digidesign-qualified third- applications before starting Pro Tools. To use a party CoreAudio-compatible applications, refer CoreAudio application, make sure you quit to the compatibility page of the Digidesign Web Pro Tools before starting any CoreAudio appli- site (www.digidesign.com/compato). cation. ◆ The Digidesign CoreAudio Driver cannot be used to preview sound files from the Finder. Installing the Digidesign When a sound file is located in the Mac OS X CoreAudio Driver navigation window, a QuickTime transport bar is displayed next to it. The QuickTime transport The Core Auto Driver is installed by default bar lets you audition the sound file. The sound when you install Pro Tools. will always play back though the Macintosh’s built-in audio controller (through the Macin- Stand-Alone CoreAudio Driver Installer tosh’s speaker or headphone jack). However, if This version of Digidesign CoreAudio Driver can you double-click a sound file, the QuickTime ap- be installed on Digidesign-qualified Pro Tools plication will launch, and can use the Digi- systems running on Macintosh (for example, if design CoreAudio Driver for playback. the CoreAudio Driver was uninstalled), or it can ◆ The Digidesign CoreAudio Driver cannot be be installed as a stand-alone driver on Macin- used for playback of System Sounds. tosh systems that do not have Pro Tools in- stalled. For detailed information on installing and Compatibility configuring CoreAudio Driver on systems This version of Digidesign CoreAudio Driver can with or without Pro Tools, see the electronic be used on Digidesign-qualified Pro Tools sys- pdf of the CoreAudio Usage Guide. tems running on Macintosh, or it can be used as a stand-alone driver on Digidesign-qualified Macintosh systems that do not have Pro Tools installed. 72 Getting Started with Mbox
  • 79. Digidesign CoreAudio Manager Removing the CoreAudio Driver Use Digidesign CoreAudio Manager to change the CoreAudio Buffer Size setting, access the To uninstall the Digidesign CoreAudio Driver: Hardware Setup dialog for your Digidesign hard- ware and control volume and mute for the Core- 1 Power on your system. Audio driver. Digidesign CoreAudio Manager 2 Do one of the following: also identifies your Digidesign hardware, the • On the Pro Tools Installer CD, locate and supported number of Input and Output Chan- double-click the Install CoreAudio file. nels and the number of attached clients (appli- cations). – or – • From the Digidesign Web site, download, Digidesign CoreAudio Manager cannot be ac- locate, and double-click the Install Core- cessed under the following circumstances: Audio file. • When Pro Tools is running 3 In the Install CoreAudio window, select Un- • When another application is using Direct install from the Custom Install pop-up menu. IO (such as the Ableton Live Digi Edition) 4 When the uninstall is complete, quit the The Digidesign CoreAudio Manager application CoreAudio Installer. launches automatically when the first client ap- plication accesses the CoreAudio driver. You can prevent an application from accessing the Core- Audio driver by holding down the Shift key just Configuring the Digidesign before the application would access the Core- CoreAudio Driver Audio driver, typically during launch of the ap- plication. Certain applications (such as Apple You can configure the Digidesign CoreAudio Mail and iChat), do not access the CoreAudio Driver using Digidesign CoreAudio Manager, or application until they first play a sound, so you from within most third-party CoreAudio-com- will need to hold down the Shift key just prior to patible client applications (such as BIAS Peak or sound playback in order to “opt-out” of using Logic Audio). Consult the manufacturer’s docu- Digidesign hardware for playback. mentation for more information. v Some applications (such as Apple’s iTunes or QuickTime Player), also require that you config- ure either the Apple Sound Preferences or Apple Audio MIDI Setup to use the Digidesign Core- Audio Driver. Figure 7. Digidesign CoreAudio Setup Appendix D: Digidesign CoreAudio Driver (Macintosh Only) 73
  • 80. Buffer Size 2 From the Buffer Size pop-up menu, select the desired CoreAudio buffer size (in samples). Gen- You may select from the following buffer sizes erally, smaller buffer sizes are preferable. How- (depending on your Digidesign hardware): ever, if you experience any problems with • 64 samples performance (such as clicks and pops during re- • 128 samples cording or playback), try increasing the Core- • 256 samples Audio Buffer Size setting. You can also change • 512 samples the buffer size from within the client applica- tion if it is the only client attached to the Core- • 1024 samples Audio driver. Once two or more clients are • 2048 samples active, you will not be able to change the sample Small buffers have the advantage of low latency rate or the buffer size. in the record monitor path, but also are more taxing on your computer’s CPU and could con- HW Setup Button tribute to dropouts in your audio during record The HW Setup button opens the Hardware or playback. (Latency is the time delay between Setup dialog for your Digidesign hardware. For a signal entering the audio inputs and leaving more information, refer to the Getting Started the outputs during recording.) Guide for your Pro Tools system or the Pro Tools Larger buffers have the advantage of making the Reference Guide. Digidesign CoreAudio Driver more immune to audio dropouts during playback and recording, To configure Digidesign CoreAudio HW Setup: but can cause a noticeable delay when monitor- 1 Launch Digidesign CoreAudio Manager (lo- ing your inputs in the recording process. In cated in /Applications/Digidesign). some CoreAudio-client applications, perform- 2 Click the HW Setup button to open the Hard- ing various tasks will interrupt the CoreAudio Driver and may result in clicks and pops in au- ware Setup dialog. The HW Setup button will dio playback or recording. Choosing medium or only be available when no clients are using the large buffers (such as 512 or 1024) can help alle- CoreAudio driver. viate this problem. Changing the Buffer Size for the Digidesign CoreAudio Driver does not affect the H/W Buffer Size settings in the Pro Tools Playback En- gine dialog. To configure Digidesign CoreAudio Hardware Buffer Size: 1 Launch Digidesign CoreAudio Manager (lo- Figure 8. Hardware Setup dialog cated in /Applications/Digidesign). 74 Getting Started with Mbox
  • 81. 3 Configure the Hardware Setup dialog for your Use D-Control Stereo Routing (L/R to 1/5) En- Digidesign hardware. If you have more than one able this option to configure the CoreAudio audio interface connected to your Pro Tools driver to output through the D-Controls stan- TDM system, be sure to select and configure dard stereo routing outputs 1 and 5. only the primary audio interface connected to the core card. Mirror Analog Outs 1 & 2 to Digital Outs (002 Only) When using Digi 002 or Digi 002 Rack, en- For more information on the Hardware able this option to mirror the main outputs Setup dialog, refer to your Getting Started through the digital outputs that are selected in Guide or the Pro Tools Reference Guide. the HW Setup panel. 4 When you are finished, click OK to close the Connect Button Hardware Setup dialog. The Connect button is available when the Digi- Prefs Button design CoreAudio Manager is launched and can- not connect with the Digidesign hardware (such The Prefs button opens the Digidesign Core- as when Pro Tools is launched and the hardware Audio Manager Preferences dialog for the Man- is disconnected or disabled). Before trying to ager application. There are several options avail- connect, make sure to quit Pro Tools and make able for control and configuration of the sure that your hardware is connected and Manager application. When finished setting turned on. You can then click on the Connect these options, click OK to close the Digidesign button to acquire the hardware. CoreAudio Manager Preferences windows. If any application is launched prior to press- ing the Connect button and you want that application to use the CoreAudio driver for playback, you will need to quit and re- launch the application for it to connect properly to the Digidesign CoreAudio Man- ager. Quit Button Figure 9. Digidesign CoreAudio Manager Use the Quit button to quit the Digidesign Core- Enable this option to hide the Manager panel af- Audio Manger. Be sure to quit any client appli- ter the first client application accesses the Core- cations before using the Quit button in the Audio driver. To open the Manager panel, click Manager. If any applications are currently at- on the Digidesign CoreAudio Manager applica- tached to the Manager application when quit- tion icon in the Dock. ting, you may get an error message indicating that the Digidesign hardware is no longer avail- Auto-Quit Manager when Last Client Quits En- able. You may have to change the application’s able this option to make the Manager applica- preferences to use different hardware for play- tion quit when there are no longer any clients back or possibly quit and relaunch the applica- using the CoreAudio driver. tion for proper playback to be resumed. Appendix D: Digidesign CoreAudio Driver (Macintosh Only) 75
  • 82. Configuring the Apple Sound 4 Click the Input tab and select Digidesign HW Preferences or Apple Audio MIDI as the device for sound input. Setup To use your Digidesign hardware with common CoreAudio-compatible playback applications (such as Apple iTunes or QuickTime Player), you will need to configure either Sound Preferences or Audio MIDI Setup in addition to Digidesign CoreAudio Setup. However, for most Core- Audio-compatible client applications (such as BIAS Peak or Cubase SX) this is unnecessary be- cause you can configure the CoreAudio Buffer Size setting, and input and output channels from within the application. Apple Sound Preferences Sound Preferences, Input tab To configure the Apple Sound Preferences: 5 Quit System Preferences. 1 Launch System Preferences (Apple menu > System Preferences). Apple Audio MIDI Setup 2 Click Sound. To configure the Apple Audio MIDI Setup: 3 Click the Output tab and select Digidesign 1 Launch Audio MIDI Setup (located in HW as the device for sound output. Home/Applications/Utilities). 2 Select the Audio Devices tab. Sound Preferences, Output tab Apple Audio MIDI Setup application, Audio tab 76 Getting Started with Mbox
  • 83. 3 From the System Settings Default Input pop- up menu, select Digidesign HW. 4 From the System Settings Default Output pop- up menu, select Digidesign HW. Leave System Output and Selected Audio Device set to Built-in audio controller. The Digidesign CoreAudio Driver cannot be used for system sounds. Appendix D: Digidesign CoreAudio Driver (Macintosh Only) 77
  • 84. 78 Getting Started with Mbox
  • 85. appendix e Configuring Midi Studio Setup (Windows Only) MIDI Studio Setup Window MIDI Studio Setup The MIDI Studio Setup window is organized MIDI Studio Setup (MSS) lets you configure the into three sections. Interface controls are at the MIDI controllers and sound modules that are top of the window. All the currently defined in- connected to your system, and control the rout- struments are displayed in the Instrument ing of MIDI data between your MIDI equipment Name list on the left side of the window. A de- and Pro Tools. tailed view of MIDI parameters is shown in the Properties section on the right. MSS automatically finds MIDI interfaces, and lets you specify a custom name for each of the MIDI ports within the MIDI Studio Setup docu- ment. MSS also supports XML-based patch file names for storing and importing patch names for your external MIDI devices. Entire MIDI Studio Setup configurations created within MSS can be imported and exported. MIDI Studio Setup window Interface Controls Create This button adds a new instrument to the Instrument Name list. Delete This button deletes the instrument or in- struments selected in the Instrument Name list. Import This button lets you import an existing MIDI Studio Setup file. Export This button lets you export the current MIDI Studio Setup file. Appendix E: Configuring Midi Studio Setup (Windows Only) 79
  • 86. Show Duplicate Emulated Ports If you are using To define an instrument with MIDI Studio Setup: a MIDI interface that supports timestamping 1 Choose Setups > MIDI Studio Setup. (such as MIDI I/O), when the Show Duplicate Emulated Outputs option is selected, the MIDI 2 Click Create. Studio Setup window shows both the Direct- 3 In the Instrument Name field, type the name Music time-stamped output ports, and non- of your instrument, and press enter. stamped duplicate emulated output ports. If you do not enter an instrument name, the Some MIDI Interfaces will not properly load Instrument Name field will automatically or unload their drivers unless you quit and inherit information from the Manufacturer re-launch Pro Tools. Check the documenta- and Model pop-up menu. tion that came with your MIDI interface for more information. 4 Set a manufacturer and model for the new de- vice from the corresponding pop-up menus. If Instrument List the Manufacturer and Model pop-up menus do not provide a name for your particular device, The Instrument list contains all the currently choose None. defined instruments. Selecting an instrument in the list displays that instrument’s properties in 5 From the Input pop-up menu, choose the in- the Properties section of the window. put port on your MIDI interface that is con- nected to the MIDI Out of your instrument. Properties Section 6 From the Output pop-up menu, choose the The Properties section lets you edit information output port on your MIDI interface that is con- for new instruments, or instrument currently se- nected to the MIDI In of your instrument. lected in the Instrument list. 7 Enable the appropriate MIDI channels (1–16) for the Send Channels and Receive Channels options (These determine which channels send and receive MIDI.) Instrument Name The Instrument Name field shows the user-de- finable instrument name for the currently se- lected instrument. MIDI Studio Setup Properties section Manufacturer When a previously defined instrument is se- The Manufacturer pop-up menu provides a list lected in the Instrument list, the Properties sec- of MIDI equipment manufacturers. This list is tion changes to reflect the properties of the se- derived from the XML-based MIDI device files. lected instrument. For more information, see “Patch Name Support” on page 81. 80 Getting Started with Mbox
  • 87. Model Patch Name Support The Model pop-up menu provides a list of MIDI devices, filtered by the manufacturer name. This Pro Tools supports XML (Extensible Markup list is derived from the XML-based MIDI device Language) for storing and importing patch files provided with your Pro Tools installation. names for you external MIDI devices. Pro Tools installs MIDI patch name files (.midnam) for the For more information, see “Patch Name factory default patch names of many common Support” on page 81. MIDI devices. These files reside in directories, sorted by manufacturer, in Program Files Input Port Common FilesDigidesignMIDI Patch Names The Input Port pop-up menu displays a list of Digidesign. available MIDI interface input ports. The MIDI interface port that is set and displayed here is To import MIDI patch names into Pro Tools: the port through which MIDI data is sent from 1 Verify the MIDI Device name in the MIDI Stu- the external MIDI device specified in the Instru- dio Setup window (see “MIDI Studio Setup” on ment Name field into your MIDI interface. page 79). If you set the input port to None, the defined 2 Verify the MIDI track’s output is correctly as- instrument will not appear as a choice in a signed to the MIDI device. MIDI Input Selector. 3 Click the MIDI track’s Program button. Output Port The Output Port pop-up menu displays a list of available MIDI interface output ports. The port set and displayed here is the port through which MIDI data is sent from your MIDI interface to Program button the MIDI device specified in the Instrument Name field. If you set the output port to None, the de- Program button, Edit window fined instrument will not appear as a choice in a MIDI Output Selector. Program button Send Channels The Send Channels grid sets the send channels for the MIDI device specified in the Instrument Name field. Receive Channels Program button, Mix window The Receive Channels grid sets the receive chan- nels for the MIDI device specified in the Instru- ment Name field. Appendix E: Configuring Midi Studio Setup (Windows Only) 81
  • 88. 4 In the Patch Select dialog, click the Change To clear patch names: button. ■ In the Patch Select dialog, click the Clear but- ton, and click Done. MIDI patch name files (.midnam) can be edited in any text editor, or you can use third party patch librarian and editor soft- ware to create your own custom patch names. Change button Patch Select dialog 5 In the Open dialog, navigate to Program FilesCommon FilesDigidesignMIDI Patch NamesDigidesign<name of manufacturer>, and select the MIDI Patch Name file (.midnam) for the MIDI device. 6 Click Open. The Patch Select dialog is populated with patch names and the Patch Name Bank pop-up menu appears in the upper left hand corner of the win- dow. Patch Select dialog with patch names Once patch names have been imported into Pro Tools, they are available for that MIDI de- vice in all sessions. 82 Getting Started with Mbox
  • 89. appendix f Configuring AMS (Mac OS X Only) 2 Click the MIDI Devices tab. AMS scans your Audio MIDI Studio system for connected MIDI interfaces. If your MIDI interface is properly connected, it appears Pro Tools recognizes the ports on your MIDI in- in the window with each of its ports numbered. terface as generic ports. With Mac OS X, you use Apple’s Audio MIDI Setup (AMS) utility to iden- tify external MIDI devices connected to your MIDI interface and configure your MIDI studio for use with Pro Tools. To configure your MIDI studio in AMS: 1 Launch Audio MIDI Setup (located in Applica- tions/Utilities). – or – In Pro Tools, choose Setups > Edit MIDI Studio Setup. Audio MIDI Setup (MIDI Devices tab) 3 For any MIDI devices connected to the MIDI interface, click Add Device. A new external de- vice icon with the default MIDI keyboard image will appear. 4 Drag the new device icon to a convenient lo- cation within the window. Appendix F: Configuring AMS (Mac OS X Only) 83
  • 90. 5 Connect the MIDI device to the MIDI inter- To configure an external MIDI device: face by clicking the arrow for the appropriate 1 Select the external device icon and click Show output port of the device and dragging a con- Info (or double-click the new device icon). nection or “cable” to the input arrow of the cor- responding port of the MIDI interface. External Device Icon 2 Select a manufacturer and model for the new device from the corresponding pop-up menus. (If the Manufacturer and Model pop-up menus do not provide a name for your particular de- Making MIDI input and output connections vice, you can type a name.) 6 Click the arrow for the appropriate input port of the device and drag a cable to the output ar- row of the corresponding port of the MIDI inter- face. To remove a connection, select the cable and press Delete. To delete all connections, click Clear Cables. Naming a new MIDI device 7 Repeat steps 3–6 for each MIDI device in your AMS refers to one or more files with the suf- MIDI setup. fix “.middev” in the directory Root/Li- brary/Audio/MIDI Devices for Manufac- turer and Model names. Pro Tools installs two such files that contain information for many commercially available MIDI devices, “Legacy Devices.middev” and “Digidesign Devices.middev.” If the Manufacturer or Model names for any of your external MIDI devices is not available in the AMS Manu- facturer and Model pop-up menus, you can add them by editing any of the current .middev files in any text editor (such as TextEdit). 84 Getting Started with Mbox
  • 91. 3 Click the More Properties arrow to expand the 4 Click the device image. The window expands dialog, then enable the appropriate MIDI chan- to show images for various MIDI devices (such nels (1–16) for the Transmits and Receives op- as keyboards, modules, interfaces, and mixers). tions. (These determine which channels the Select an icon for your device. device will use to send and receive MIDI.) Selecting a device icon Enabling MIDI channels To use your own custom icons, you can place TIFF image files in /Library/ Audio/MIDI Devices/Generic/Images, and they will appear as choices in the AMS de- vice window. 5 Click OK. The device names you enter appear as MIDI in- put and output choices in Pro Tools. Appendix F: Configuring AMS (Mac OS X Only) 85
  • 92. 4 In the Patch Select dialog, click the Change Patch Name Support button. Pro Tools supports XML (Extensible Markup Language) for storing and importing patch names for you external MIDI devices. Pro Tools installs MIDI patch name files (.midnam) for the factory default patch names of many common MIDI devices. These files reside in directories, sorted by manufacturer, in /Library/Audio/MIDI Patch Names/Digidesign. Change button To import MIDI patch names into Pro Tools: Patch Select dialog 1 Verify the MIDI Device name in the Audio 5 In the Open dialog, navigate to /Library/Au- MIDI Setup window (see “Audio MIDI Studio” dio/MIDI Patch Names/Digidesign/<name of on page 83). manufacturer>, and select the MIDI Patch Name 2 Verify the MIDI track’s output is correctly as- file (.midnam) for the MIDI device. signed to the MIDI device. 6 Click Open. 3 Click the MIDI track’s Program button. The Patch Select dialog is populated with patch names and the Patch Name Bank pop-up menu appears in the upper left hand corner of the win- dow. Once patch names have been imported into Program button Pro Tools, they are available for that MIDI de- vice in all sessions. Program button, Edit window To clear patch names: ■ In the Patch Select dialog, click the Clear but- ton, and click Done. Program button MIDI patch name files (.midnam) can be edited in any text editor, or you can use third party patch librarian and editor soft- ware to create your own custom patch names. Program button, Mix window 86 Getting Started with Mbox
  • 93. index Numerics C 32K clusters 16 channel strip controls Mute 55 A Pan 55 Solo 55 AMS (Audio MIDI Setup) 83 Volume 55 configuring MIDI devices in 84 click 40 ASIO driver 10, 63 Click plug-in audio Accented parameter 39 analog 34 Unaccented parameter 39 editing 51 importing 47, 48 Clock Source 15, 24 monitoring 33 cluster size 16 preparing 49 CoreAudio driver 20, 71 routing 49, 55 CPU Usage Limit 22 audio connections home stereo 34 D self-powered monitors 34 DAE Playback Buffer Size 23 Audio Regions List 44 defragment audio tracks 43, 44 Windows 17 authorization code Disk Cleanup 16 Windows 12 authorizing Pro Tools 21 automation 58 creating 58 Auxiliary Inputs 43, 44, 51, 55 B Bounce to Disk command 58 Index 87
  • 94. E H Edit mode buttons 52 hard drive Edit modes 52 and Macintosh system drive 25 Grid 52 and Windows system drive 17 selecting 52 hard drives Shuffle 52 cluster size 16 Slip 52 formatting 25 Spot 52 maintenance 17 Edit tools 52 space requirements 3 Grabber 52 Windows maintenance 16 Pencil 52 Hardware Buffer Size 22 Scrubber 52 hardware installation 7 Selector 52 USB 9 Smart Tool 52 headphones Trimmer 52 gain control 31 Zoomer 52 output Edit window 38 back panel 31 editing 51 front panel 31 editing regions 52 HFS 12 Hibernate 8 F fade files 37 I FAT32 16 I/O Setup firmware 10 Macintosh configuration 15, 24 Windows configuration 15 G importing audio 47, 48 gain indicators headphones 31 peak level 30 input 29 phantom power 29 S/PDIF input 30 Grabber tool 52 USB connection 30 Grid mode 52 Input Format 23 input gain 29 inputs analog 32 digital 32 inserts 32 analog on Mbox 34 plug-ins 57 K key commands 5 88 Getting Started with Mbox
  • 95. L P latency Pan slider 55 see monitoring peak indicators 30 Pencil tool 52 M phantom power 32, 34 MacOpener 11 indicator 29 Master Faders 43, 44, 56 when to use 29 creating 57 playback Mbox starting and stopping 42 features 1 Playback Engine dialog 41 back panel 31 playlists 54 front panel 29 creating 54 memory locations 46, 47 plug-ins 57 defining 46 power recalling 46 Windows System Standby 8 MIDI Pro Tools connections 36 authorizing 21 editing 51 capabilities 2 monitoring 51 main windows 38 MIDI click 40 software configuration 22 MIDI controls 40, 42 validating 21 MIDI Regions List 44 Windows configuration 12 MIDI tracks 43, 44 Pro Tools LE mix automation 58 installing, Windows 9 mix control 30 Program Change dialog 82, 86 Mix window 38, 55 mixing 55 Q monitoring 33 QuickTime 10 audio 33 MIDI 51 R when overdubbing 30 ratio control 30 zero latency 30 recording mono switch 30 audio 49 multi-processor 22 MIDI 51 Mute button 55 regions 44 arranging 53 N creating 44 NTFS 16 editing 52 trimming 53 returns 56 O creating 56 outputs rulers 38 analog 32 digital 32 Index 89
  • 96. S T S/PDIF I/O 32 tempo 39 S/PDIF input indicator 30 setting 39 S/PDIF mirroring 35 tempo events 39 Sample Rate 14, 23 track height Scrubber tool 52 changing 47 Selector tool 52 tracks 43 sends 44, 55 audio 43, 44 assigning 55 Auxiliary Inputs 43, 44, 55 creating 43 sessions 37 Master Faders 43, 44, 56 creating 37 MIDI 43, 44 duplicating 41 playing back audio 50 navigating 45 playing back MIDI 51 saving 37, 41 recording audio 49 saving copies of 41 recording MIDI 51 Shuffle mode 52 types 43 Slip mode 52 Transport Smart Tool 52 MIDI controls 42 Solo button 55 Transport window 38, 42 sources Trimmer tool 52 analog 32, 34 connecting 34, 35 instrument 29 U line 29 USB 9 microphone 29 connection indicator 30 selecting 29 port 21 Spot mode 52 submixing 55 V system requirements validating Pro Tools 21 MIDI 36 validating Pro Tools software System settings Windows configuration 12 for Windows 7 Volume fader 55 system settings 41 Clock Source 15, 24 W CPU Usage Limit 22 WaveDriver 11 DAE Playback Buffer Size 23 Windows Hardware Buffer Size 22 required System settings 7 I/O Setup 15, 24 System Standby 8 Input Format 23 Sample Rate 14, 23 windows 38 Edit window 38 System Usage window 41 Mix window 38, 55 Transport window 38, 42 Windows System Standby 8 Windows XP maintenance 16 Workspace 38 90 Getting Started with Mbox
  • 97. Z Zoom presets 47 recalling 47 storing 47 Zoomer tool 52 Zooming 46 Index 91