User Guide

Version 8.0.1
Legal Notices
This guide is copyrighted ©2009 by Avid Technology, Inc, with
all rights reserved. Under copyright laws, this guide may not be
duplicated in whole or in part without the written consent of
Avid Technology, Inc.

003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O,
882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite,
Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS,
Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory,
Bruno, C|24, Command|8, Control|24, D-Command, D-Control,
D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase,
DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign
Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive,
DigiRack, DigiTest, DigiTranslator, DINR, D-Show, DV Toolkit,
EditPack, Eleven, Eleven Rack, HD Core, HD Process, Hybrid,
Impact, Interplay, LoFi, M-Audio, MachineControl, Maxim,
Mbox, MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF,
OMF Interchange, PRE, ProControl, Pro Tools M-Powered,
Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Recti-Fi,
Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius,
Smack!, SoundReplacer, Sound Designer II, Strike, Structure,
SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL
Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL
MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser,
Trillium Lane Labs, Vari-Fi Velvet, X-Form, and XMON are
trademarks or registered trademarks of Digidesign and/or Avid
Technology, Inc. Xpand! is Registered in the U.S. Patent and
Trademark Office. All other trademarks are the property of their
respective owners.

This product is subject to the terms and conditions of a

software license agreement provided with the software. The
product may only be used in accordance with the license
agreement.

Product features, specifications, system requirements, and

availability are subject to change without notice.

Guide Part Number 9324-61285-00 REV A July, 2009

Documentation Feedback
At Digidesign, we're always looking for ways to improve our
documentation. If you have comments, corrections, or
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techpubs@[Link].
Communications and Safety Regulation Information
Communication Statement
Compliance Statement
This model Digidesign Eleven Rack complies with the following NOTE: This equipment has been tested and found to comply
standards regulating interference and EMC: with the limits for a Class B digital device, pursuant to Part
• FCC Part 15 Class B 15 of the FCC Rules. These limits are designed to provide
• EN 55103-1 E1 Class B reasonable protection against harmful interference in a
• EN 55103-2 E1 Class B residential installation. This equipment generates, uses,
• AS/NZS 3548 Class B and can radiate radio frequency energy and, if not installed
• CISPR 22 Class B 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
Radio and Television Interference particular installation. If this equipment does cause harmful
This equipment has been tested and found to comply with the interference to radio or television reception, which can be
limits for a Class B digital device, pursuant to Part 15 of the determined by turning the equipment off and on, the user is
FCC Rules. encouraged to try and correct the interference by one or
more of the following measures:
• Reorient or locate the receiving antenna.
• Increase the separation between the equipment and
DECLARATION OF CONFORMITY
receiver.
We Digidesign, • Connect the equipment into an outlet on a circuit
2001 Junipero Serra Boulevard, Suite 200 different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician
Daly City, CA 94014 USA for help.
tel: 650-731-6300
declare under our sole responsibility that the product
Eleven Rack Eleven Rack
complies with Part 15 of FCC Rules.
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.
Any modifications to the unit, unless expressly approved by
Digidesign, could void the user's authority to operate the
equipment.
CE Compliance Statement: 9) Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with one
wider than the other. A grounding type plug has two blades and
a third grounding prong. The wide blade or the third prong are
provided for your safety. If the provided plug does not fit into
your outlet, consult an electrician for replacement of the
obsolete outlet.
Digidesign is authorized to apply the CE (Conformité
Europénne) mark on this compliant equipment thereby 10) Protect the power cord from being walked on or pinched
declaring conformity to EMC Directive 89/336/EEC and Low particularly at plugs, convenience receptacles, and the point
Voltage Directive 73/23/EEC. where they exit from the apparatus.

Safety Statement 11) Only use attachments/accessories specified by the

This equipment has been tested to comply with USA and manufacturer.
Canadian safety certification in accordance with the
specifications of UL Standards: UL60065 7th /IEC 60065 7th 12) Unplug this apparatus during lightning storms or when
and Canadian CAN/CSA C22.2 60065:03. Digidesign Inc., has unused for long periods of time.
been authorized to apply the appropriate UL & CUL mark on its
compliant equipment. 13) Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any way,
Warning such as power-supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus, the apparatus
has been exposed to rain or moisture, does not operate
normally, or has been dropped.

14) The apparatus shall not be exposed to drippings or

splashing and no objects filled with liquids (such as vases)
shall be placed on the apparatus.
Important Safety Instructions Warning! To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or mositure.
1) Read these instructions.
15) The apparatus should be connected to a properly-grounded
2) Keep these instructions. (earthed) receptable.

3) Heed all warnings.

16) The mains switch is located on the front of the Eleven
Rack. It should remain accessible after installation.
4) Follow all instructions.

5) Do not use this apparatus near water.

6) Clean only with dry cloth.

7) Do not block any ventilation openings. Install in accordance

with the manufacturer’s instructions.

8) Do not install near any heat sources such as radiators, heat

registers, stoves, or other apparatus (including amplifiers) that
produce heat.
Contents
Part I Playing Guitar through Eleven Rack

Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Quick Start Instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Getting Around This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Chapter 2. Hardware Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Eleven Rack Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Eleven Rack Back Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Chapter 3. Exploring Rigs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Rig Select Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Rig Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Selecting Rigs Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
What’s In A Rig? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Rig View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Rig Device and Utility Settings in Rig View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Control Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Saving Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
The Amps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
General Amp Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
The Speaker Cabinets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
The Microphones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
The Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
General Effects Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Don’t Forget to Save! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Chapter 4. Eleven Rack Live Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Basic Live Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Using an Amp Onstage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Effects and Foot Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
External Foot Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Display Mode and Visibility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Contents v
 Part II Setting Up and Using Pro Tools With Eleven Rack

Chapter 5. Installing Pro Tools on Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Installation Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Installing Pro Tools LE and Connecting Eleven Rack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Launching Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Additional Software on the Pro Tools Installer Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Uninstalling Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Chapter 6. Installing Pro Tools On Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Installation Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Installing Pro Tools LE and Connecting Your Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Launching Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Additional Software on the Pro Tools Installer Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Uninstalling Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Chapter 7. Pro Tools Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Configuring Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Optimizing a Mac System for Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Optimizing a Windows System for Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Chapter 8. Eleven Rack Studio Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Listen to Your Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Analog Audio Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Digital Audio Input and Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Using Eleven Rack with a Pro Tools|HD or M-Powered System . . . . . . . . . . . . . . . . . . . . . . . 71

Chapter 9. Eleven Rack with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Pro Tools LE Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
The Eleven Rack Control Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Accessing the Eleven Rack Control Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Rig View Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Master Control Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Recording Guitars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Embedding Rig Settings in Audio Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Re-Amping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Controlling Eleven Rack Parameters with MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

vi Eleven Rack User Guide

Part III Reference

Chapter 10. User Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Exploring the User Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
User Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Chapter 11. Controlling Eleven Rack with MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Eleven Rack MIDI CC Controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Chapter 12. Hard Drive Configuration and Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Avoid Recording to the System Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Supported Drive Formats and Drive Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Formatting an Audio Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Partitioning Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Defragmenting an Audio Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Using Mac Drives on Windows Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Hard Disk Storage Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Chapter 13. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Backing Up Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Common Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Performance Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Before You Call Digidesign Technical Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Chapter 14. Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

About the Pro Tools Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
About [Link] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Contents vii
viii Eleven Rack User Guide
Part I: Playing Guitar through Eleven Rack

1
2
Chapter 1: Introduction

To get started playing guitar with Eleven Rack:

Quick Start Instructions 1 Connect outputs from Eleven Rack to your
monitors or headphones:
You’ve Got Eleven Rack, You’ve • If you’re connecting to self-powered studio
Got Your Guitar. What’s Next? monitors, a stereo power amp and speakers,
Eleven Rack is a high-quality audio and MIDI in- or mixer inputs, use the Main outputs.
terface, with classic guitar amp and effects pro-
cessing built right in. This means that Eleven
Rack is useful both when recording, and when
playing guitar live or in practice.

At home or in the studio, you can plug guitars,

microphones, and other instruments into Eleven Rack Main outputs (back panel)
Eleven Rack, and record directly into Pro Tools.
You can use the amp and effects modelling ca- – or –
pabilities of Eleven Rack to process signals as • If you’re using a pair of headphones, con-
you record them, or to process previously re- nect them to the Phones output.
corded audio.

When away from the computer, you can use

Eleven Rack as a standalone guitar processor,
sending classic guitar tones straight to a venue’s
PA system, to a guitar amp, or both. You can also Phones output (front panel)
simply plug in a pair of headphones and prac-
tice by yourself. 2 Connect your guitar to the Guitar Input on
the front panel of Eleven Rack.
You’re probably excited to start playing with
your new Eleven Rack right away, so let’s get
started!

Guitar input (front panel)

Chapter 1: Introduction 3
 3 Connect the power cable and set the Power
switch to On. The Eleven Rack logo will appear. System Requirements and
As Eleven Rack warms up, check your guitar to Compatibility
make sure that its volume is turned up.
To use Eleven Rack with Pro Tools, you need.
4 When the name of the first Rig is displayed,
• One of the following:
try playing your guitar. How’s it sound? You may
• A qualified Mac or Windows computer
want to adjust the output volume of Eleven Rack
(when using Eleven Rack with
by turning the Volume knob on the front panel.
Pro Tools LE)
– or –
• A qualified Pro Tools|HDTM system run-
ning Pro Tools HD 8.0.1 software or higher
(when using Eleven Rack as an external sig-
Volume knob (front panel) nal processing device)

5 You can browse through Eleven Rack’s various • DVD drive for Installation disc
preset sounds, called Rigs, by turning the Scroll • Internet access for registration purposes
wheel.
Avid can only assure compatibility and provide
support for hardware and software it has tested
and approved.

For complete system requirements and a list of

qualified computers, operating systems, hard
Scroll wheel (front panel) drives, and third-party devices, refer to the latest
6 Try adjusting the lit Control Knobs to change information on the Digidesign website:
the featured amp or effects settings. You can see [Link]/compatibility
what kind of control each knob is assigned to on
the display.

7 Try pressing the Effects Bypass buttons, like

Dist, Mod, Delay, and Rev, to toggle the various
effects on and off.

4 Eleven Rack User Guide

Getting Around This Guide Conventions Used in This
There are two main ways to use Eleven Rack. In
Guide
Part 1, we’ll cover using Eleven Rack as a live gui- Digidesign guides use the following conven-
tar processor, and in Part 2, we’ll get into how to tions to indicate menu choices and key com-
use Eleven Rack as an audio and MIDI interface, mands:
and effects processor with Pro Tools. :

Convention Action

Part 1: Eleven Rack for Guitar File > Save Choose Save from the File
menu
You’re looking at it. In Part 1, we take you
through the hardware features of Eleven Rack in Control+N Hold down the Control key
Chapter 2, “Hardware Overview,” show you and press the N key
how to edit and create your own Rigs in Control-click Hold down the Control key
Chapter 3, “Exploring Rigs,” and teach you how and click the mouse but-
to use Eleven Rack as a live guitar processor in ton
Chapter 4, “Eleven Rack Live Setup.”
Right-click Click with the right mouse
button
Part 2: Working With Pro Tools LE
The names of Commands, Options, and Settings
In Part 2, you can learn how to set up and use that appear on-screen are in a different font.
Eleven Rack as part of a Pro Tools system. We
cover installation details in Chapter 5, “Install- The following symbols are used to highlight im-
ing Pro Tools on Mac,” and Chapter 6, “Install- portant information:
ing Pro Tools On Windows,” setting up your stu-
User Tips are helpful hints for getting the
dio in Chapter 8, “Eleven Rack Studio Setup,”
most from your Pro Tools system.
and getting the most out of Eleven Rack with
Pro Tools in Chapter 9, “Eleven Rack with Pro
Tools.” Important Notices include information that
could affect your data or the performance of
your system.
Part 3: Reference
In Part 3, we get into the technical details be-
Shortcuts show you useful keyboard or
hind the scenes. Learn all about Eleven Rack’s
mouse shortcuts.
User Options in Chapter 10, “User Options,”
and how to control Eleven Rack with MIDI in
Chapter 11, “Controlling Eleven Rack with Cross References point to related sections in
MIDI.” Hard drive setup for Pro Tools, general this guide and other Digidesign guides.
troubleshooting and how to get help with
Eleven Rack are covered in Appendixes C, D,
and E.

Chapter 1: Introduction 5
6 Eleven Rack User Guide
Chapter 2: Hardware Overview

Eleven Rack Front Panel

Power Volume Edit/Back SW1 and SW2 Scroll Effects Control

switch knob and Save buttons wheel Mic input and controls
buttons
buttons

Tap Tempo
Control knobs and Tuner button Output
Phones Guitar
To Amp
output input
1 (L)

Figure 1. Eleven Rack front panel

The Eleven Rack front panel provides the follow- Edit/Back and Save Buttons
ing:
Use the Edit/Back button to enter Rig View,
which gives you access to the inner workings of
Power Switch the current Rig (preset). When in Rig View or
Use the heavy-duty Power switch to turn Eleven any other special mode, press Edit/back to step
Rack on and off. Eleven Rack will take a few sec- backwards to the previous view. When you’re
onds to warm up. When the Rig name appears satisfied with the changes you’ve made, press
on the display, you’re ready to rock. the Save button to save your settings.

For more information on Rig View, see

Volume Knob Chapter 3, “Exploring Rigs.”

Turning the Volume knob will simultaneously

adjust the output level of the Main outputs and
the Headphone outputs.

Chapter 2: Hardware Overview 7

 User Options Mode To access the built-in guitar tuner, hold the Tap
Tempo/Tuner button down for one second. The
Hold the Edit/Back button to enter User Options display shows the Tuner view.
mode, where many settings that change the be-
havior and configuration of Eleven Rack can be
found.

For information on User Options mode, see

Chapter 10, “User Options.” Tuner view

The guitar signal can be muted by pressing SW1.

SW1 and SW2 Buttons The reference pitch can be adjusted by turning
Use the SW1 and SW2 buttons to toggle various the lit Control knob.
switched behaviors and navigate through edit- When you’re finished tuning, press any button
ing views in Eleven Rack. The part of the display to return to the previous screen.
next to the SW1 and SW2 buttons shows the
current function of the buttons.
Mic Input and Controls
When one of the SW buttons are actively usable
in the current screen, they will be lit. Use the Mic input to record and/or process mic-
level signals. Controls for preamp gain, phan-
tom power, and pad are provided.
Scroll Wheel
Use the Scroll wheel to browse through Rigs, About Phantom Power
and navigate through sections in Rig View,
Dynamic microphones (such as a Shure SM57)
along with other miscellaneous scrolling tasks
do not require phantom power, but are not
throughout Eleven Rack.
harmed by it. Most condenser microphones (like
an AKG C3000) do require phantom power to
Effects Control Buttons operate.

Use the Effects Control buttons to toggle effects Although phantom power is safe for most
on and off by type. Press and hold any of the ef- microphones, it is possible to damage some
fects buttons to access the controls for that ef- ribbon mics with it. Always turn off phan-
fect. Pressing the FX1 and FX2 buttons simulta- tom power and wait at least ten seconds be-
neously toggles the Wah effect on and off. fore connecting or disconnecting a ribbon
microphone.
Tap Tempo/Tuner Button If you are not sure about the phantom power re-
Tap the Tap Tempo/Tuner button at quarter- quirements for your microphone, consult your
note intervals to set the current Rig’s FX tempo. microphone’s documentation or contact the
Time-based effects like Delay and Tremolo can manufacturer.
be set to synchronize with the new tempo. If
you want to save the new tempo setting with
the current Rig, press the Save button.

8 Eleven Rack User Guide

Control Knobs Output To Amp 1 (L)
Use the Control knobs to access amp and effects The Output To Amp 1 (L) is one of two outputs
controls, as well as other settings throughout specifically designed for connecting to the input
Eleven Rack. The controls are pre-assigned, de- of a guitar amplifier. Since most amplifier input
pending on the current mode. The knobs light jacks are located on the amp’s front panel, we
up in different colors, depending on their state: put one of these jacks on the front panel of
Eleven Rack for easy patching.
Amber The current knob is assigned to an amp,
cab, or FX loop parameter. The other Output to Amp jack is located on the
back of Eleven Rack. It can be used indepen-
Green The current knob is assigned to an effects dently of Output 1, or along with it for stereo
parameter. amplifier configurations. The Output to Amp
Red The current knob is positioned differently jacks can output a live guitar signal in real time
than the assigned control’s saved position in the as you play, or a pre-recorded signal from
current Rig. You can match the knob position to Pro Tools, for re-amping purposes.
the saved parameter by turning the knob until it You can select from specific points in the signal
lights Amber or Green again. chain to feed each Output To Amp jack. This lets
When a Control knob isn’t active in the current you choose the amount of processing you want
screen, it is not lit. on the output signal.

Phones Output Guitar Input with True-Z

The Phones output is a 1/4-inch TRS jack that The Guitar input is a 1/4” TS, instrument-level
drives a pair of headphones with the same signal input. Designed for electric guitars, the jack also
that is being sent out of the Main outputs of works well with bass and acoustic guitars with
Eleven Rack. This can be either the output of the pickups, or even vintage electric pianos.
current Rig when using Eleven Rack, or the out-
Most recent keyboards have line-level out-
put of Pro Tools or other applications when us-
puts and should be connected to the Line in-
ing Eleven Rack as an audio interface.
puts on the back panel of Eleven Rack.
The headphone output level is adjusted in tan-
Eleven Rack features a special variable-imped-
dem with the Main volume when you turn the
ance circuit called True-Z, which automatically
Volume knob on the front panel of Eleven Rack
changes the input impedance of the Eleven Rack
or adjust the Main volume from within
guitar input depending on which amp or effects
Pro Tools. If you want the headphone volume to
model is first in the signal chain of the current
differ from that going to your speakers, you can
Rig.
adjust the Headphone Offset setting in User Op-
tions mode. True-Z alters the frequency response of your gui-
tar signal by loading your pickups in the same
For more information on Headphone Offset,
manner as plugging into a real amp or effect.
see“Headphone Volume” on page 94.
This feature can also be manually controlled
and saved as part of a Rig setting.

Chapter 2: Hardware Overview 9

 Eleven Rack Back Panel
Figure 2 identifies each port on the back panel of the Eleven Rack.

FX Loop
Output To AES/EBU
I/O Main output AC power input
Amp 2 (R) digital I/O

Line input MIDI I/O Exp. Pedal/ S/PDIF USB

Footswitch digital I/O port
input

Figure 2. Eleven Rack back panel

The Eleven Rack back panel provides the Output To Amp 2 (R)
following:
The Output To Amp 2 (R) is one of two outputs
specifically designed for connecting to the input
FX Loop I/O of a guitar amplifier or effect. It can be used in-
The FX Loop I/O is a pair of 1/4-inch TRS inputs dependently of Output 1 (located on the front
and outputs, which can be used to insert a mono panel), or along with it for stereo amplifier con-
or stereo external effects processor into the gui- figurations.
tar signal. A switch is provided to adjust the sig-
nal level to be suitable for either a line-level ef- Digital Inputs and Outputs
fects processor (Rack FX) or a guitar-level effects
processors (Stompbox FX). AES/EBU
The AES/EBU In and Out ports are balanced
Main Outputs three-conductor XLR connectors that can run at
The Main output section includes a stereo, XLR, up to 24-bit, 96 kHz resolution.
line-level analog output pair. Connect these to
The AES/EBU format is used in many profes-
studio monitors, a power amp, mixer, or PA sys-
sional digital converters, recorders, and signal
tem.
processors.
The Gnd Lift switch is useful for suppressing
hum in some situations, but should usually be
left switched off unless it is really needed.

10 Eleven Rack User Guide

S/PDIF MIDI I/O
The S/PDIF In and Out ports are unbalanced The MIDI In and MIDI Out ports are standard
two-conductor phono (RCA) connectors that 5-pin MIDI ports, each providing 16 channels of
can run at up to 24-bit, 96 kHz resolution. MIDI input or output. These ports can interface
with a variety of MIDI devices
The Sony/Philips Digital Interface Format
(S/PDIF) is used in many professional and con- When Eleven Rack is used as a standalone pro-
sumer CD recorders and DAT recorders. To cessor, the MIDI jacks are used to communicate
avoid RF interference, use 75-ohm coaxial cable with MIDI foot controllers, sending and receiv-
for S/PDIF transfers and keep the cable length to ing program changes and continuous controller
a maximum of 10 meters. data.

Eleven Rack can use either AES/EBU or

S/PDIF, but not both at once. For informa- Exp Pedal/Ext Footswitch Input
tion on switching between digital formats, The Exp Pedal/Ext Footswitch input supports an
see “Digital Format” on page 58. expression pedal or a momentary footswitch
(single or dual). You can control sweepable pa-
AC Power Input rameters (like Wah, Volume and Multi FX) with
an expression pedal, or switchable settings (like
The AC power input accepts a standard IEC
Rig switching, amp channel switching, and ef-
power cable (one is included with Eleven Rack).
fects on/off) with a footswitch.
The power supply in Eleven Rack is universal, so
wherever you go, all you need is a standard IEC
power cable with the correct plug for your re-
gion.

Line Inputs
The Line inputs accept one stereo or two mono
line-level analog signals. The Level switch lets
you choose between +4 or –10 dBV, for compat-
ibility with professional and consumer gear.

Chapter 2: Hardware Overview 11

12 Eleven Rack User Guide
Chapter 3: Exploring Rigs

Overview Rig Select Mode

Eleven Rack is a powerful guitar signal processor When you turn on Eleven Rack, it’s already in
that delivers the tone of a wide variety of ampli- Rig Select mode. In this mode, you can turn the
fiers, speaker cabinets, microphones, and effects Scroll wheel to select a Rig. Pressing the SW 1
units. The combination of all of this gear and button will cycle the display through these three
their control settings make up a Rig. display modes:
• Default mode
Eleven Rack comes loaded with over 100 Rigs
that showcase the range of tones our collection • Simple mode
of amps and effects can achieve. The built-in • Details mode
Rigs are a good place to start, but the power of
Eleven Rack really comes into play when you Default Mode
create your own.

You can audition, manage, edit and create Rigs

right from the front panel of Eleven Rack. When
using Eleven Rack with Pro Tools LE, the built-
in Eleven Rack Control window offers another
convenient way to do this work.
This mode shows the Rig number and name,
For details on working with Rigs from and provides a set of amp or effects controls that
within Pro Tools, see “The Eleven Rack you can change without entering Rig View.
Control Window” on page 76.

Chapter 3: Exploring Rigs 13

 Simple Mode The 208 Rigs in Eleven Rack are arranged into
two sets of 26 banks, each containing four Rigs.
Each bank is marked with a letter, from A to Z.
For example, the third preset in bank D is re-
ferred to as D3. Banks with lowercase letters are
factory presets, and those with uppercase letters
are the user banks.

This mode shows the Rig number and name in

the largest type possible. Perfect for seeing from User Rigs and Factory Rigs
across a dark stage.
By default, all 104 user Rigs are copies of the 104
factory Rigs. This gives you a place to start when
Details Mode you set out to make your own Rigs. As you scroll
through, notice that when you get past the end
of the uppercase (user) Rigs, you’ll then begin to
see the lowercase (preset) Rigs.

The user Rigs are yours to edit, change, copy,

and mangle as you see fit. The preset Rigs will al-
ways stay the same. If you make changes to a
This mode lists the amp, cabinet, and effects preset Rig and want to save it, you can save it as
models that are used in the current Rig, plus a new User Rig.
their on/off status.

Selecting Rigs Live

Rig Organization
When using Eleven Rack in live performance sit-
uations, we recommend using a footswitch ac-
cessory or a dedicated MIDI foot controller to
Rig name switch from Rig to Rig.
Rig number

Rig Bank For information on using a footswitch ac-

cessory, see “External Pedals” on page 93,
Eleven Rack has storage for 208 Rigs. Half of and see “Eleven Rack MIDI CC Controllers”
these are factory presets, and the other half are on page 95 for information on using a MIDI
user-editable Rigs. You can also save and store foot controller.
an unlimited number of your favorite Rigs as
plug-in settings files on your computer.

14 Eleven Rack User Guide

What’s In A Rig?

Figure 3. Eleven Rack Rig devices

Each Rig in Eleven Rack contains the following

devices for processing your guitar signal, and Rig View
each of them has settings you can control:
Rig View is a special editing mode you access by
• Amplifier pressing the Edit/Back button on the front panel
• Speaker cabinet and microphone of Eleven Rack. When you’re done editing, press
the Edit/Back button again to get back to the
• Seven simultaneous effects (such as Wah, Dis-
main Rig Select mode.
tortion, Modulation, and Reverb)
• Volume pedal If you make changes you want to save, be
sure to use the Save button before switching
• FX Loop
to a different Rig. For details, see “Saving
In addition, there are a group of “Utility” set- Your Work” on page 19.
tings in each Rig:
In Rig View, you can access every aspect of the
• Input, which lets you manipulate the True-Z current Rig, from the amp, cabinet, and micro-
input impedance circuitry phone type, all the way to choosing effects, and
• Output, which lets you change the Rig vol- changing their order in the signal chain.
ume, To Amp output volume, and switch the
Rig output between mono and stereo
• Tempo, which lets you set the Rig tempo
• Pedal, which lets you configure an external
footswitch or expression pedal accessory
Rig View
• Display, which lets you set the device whose
controls are displayed in Rig Select view (like Once you’ve entered Rig View, you’ll see a selec-
Amp, Mod, or FX1) tion of icons, each representing a different de-
vice or utility setting within the current Rig.
Turn the Scroll wheel to select the element you
want to access.

As you scroll through the list, certain functions

will be assigned to the lit Control Knobs, like
choosing the type of amp or effect you want to
use.

Chapter 3: Exploring Rigs 15

 Page Indicator
When playing Eleven Rack through a guitar
In Eleven Rack’s editing screens, a Page indica- amp, it is recommended that you bypass the
tor appears on the display if there is more than Cab and Mic simulations. Unless the guitar
one page of controls. The Page indicator shows amplifier has a very flat frequency response,
the number of pages, as well as the name of the its own speakers will affect the tone and
page you’re viewing. Turn the Scroll wheel to make Cab and Mic simulation unneccessary.
switch between pages.
Effects

Page indicator, showing page two of four VOL

Press CONTROLS to access a Control page where

you can adjust the position and minimum vol-
Rig Device and Utility ume of the Volume pedal, using the lit Control
Settings in Rig View knobs.

This section describes the functions of the de-

WAH
vice and utility settings pages found in Rig View.
Turn the lit Control knob to select the type of
If the device or setting you select in Rig View has
Wah pedal you want to use. Press CONTROLS to
additional controls, pressing SW1 (labeled
access a Control page, where you can adjust the
CONTROLS) takes you to a special Control page
position of the Wah pedal.
for that device. When you’re finished, press
Edit/Back to go back to Rig View. DIST
For more details on working in Control Turn the lit Control knob to select the type of
pages, see “Control Pages” on page 19. Distortion effect you want to use. Press CON-
TROLS to access additional settings for the cho-
Amplifier, Cabinet, and sen Distortion effect.
Microphone
MOD
AMP
Turn the lit Control knob to select the type of
Turn the lit Control knob to select the type of Modulation effect you want to use. Press CON-
simulated amp you want to use. Press CONTROLS TROLS to access additional settings for the cho-
to access additional amp settings. sen Modulation effect.

CAB FX1 and FX2

Turn the lit Control knobs to select the type of The FX1 and FX2 pages let you choose two addi-
cabinet and microphone you want to use. Press tional effects not found in the other categories
SW1 to bypass the cab and mic simulations. (such as compressor or graphic EQ) as well as a
Press SW2 to toggle the microphone position on variety of modulation effects, using the lit Con-
or off-axis. trol knob. Press CONTROLS to access additional
settings for the chosen effect.

16 Eleven Rack User Guide

REV OUTPUT

Turn the lit Control knob to select the type of Turn the lit Control knob to set the output level
Reverb effect you want to use. Press CONTROLS of the Rig (known as the Rig volume). Press
to access additional settings for the chosen Re- CONTROLS to access a Control page, where you
verb effect. can set the volume of the signals feeding the To
Amp outputs. Press MONO to toggle between ste-
DLY reo or mono output.

Turn the lit Control knob to select the type of The Rig volume setting is a tonally transparent
Delay effect you want to use. Press CONTROLS to volume control, intended for making fine ad-
access additional settings for the chosen Delay justments to the relative volume levels of differ-
effect. ent Rigs.

FX LOOP The To Amp output volume settings let you op-

timize signal level for the amp(s) or external pro-
Press CONTROLS to access a Control page where cessors you are sending signal to.
you can adjust the gain and blend settings of the
FX Loop, using the lit Control knobs. DISPLAY
Effects and the FX Loop can be moved to Turn the lit Control knob to specify what con-
different locations in the signal chain of the trols are displayed in the Default view of Rig Se-
Rig. For that reason, when an effect or the lect mode.
FX Loop is selected in Rig View, SW2 is la-
beled MOVE. For more details, see “Signal TEMPO
Routing” on page 18.
Turn the lit Control knob to set the Rig tempo.
Any amp or effects settings that have a control
Utility Settings set to sync to a specific subdivision of Rig tempo
will lock to this tempo.
INPUT

Turn the lit Control knob to manipulate the Press MIDI to toggle sync of Rig tempo to incom-
True-Z impedance circuitry in Eleven Rack. ing MIDI clock (from the MIDI input of Eleven
When set to Auto, the input impedance is deter- Rack) on or off.
mined by the first active effect or amp in the sig- Press FINE to toggle fine tempo editing mode on
nal chain. You can also choose a specific load or off. In this mode, turn the Scroll wheel to ad-
value to best match your pickups. just the Rig tempo in tenths of a BPM, rather
than the coarse adjustments that are made with
the Control knob. Press FINE again to return to
the normal mode.

Chapter 3: Exploring Rigs 17

 PEDAL
Signal Routing
Turn the lit Control knob to choose the param-
eter controlled by an external expression pedal, The position of many of the devices in the signal
if attached. The following choices are available: chain can be changed. The order that effects
units are plugged into each other can make a
Wah Lets you control the sweep of the Wah ef- large difference in the sound you get.
fect.
Most effects can be moved anywhere before or
Volume Pedal Lets you control the sweep of the after the amp and cabinet models. The FX Loop
Volume Pedal effect. can be moved to one of four places; the begin-
ning of the chain, before the amp and cab, after
Rig Volume Lets you control the overall Rig
the amp and cab, or before the final output.
volume.

Multi FX Lets you control up to four different To move an effect:

amp and/or effects parameters at once. Press 1 Turn the Scroll wheel to select the effect you
FX-Sel for options. There are four pages of op- want to move.
tions, each one addressing one parameter that is
to be controlled. 1 Press SW2 to enter Move mode.

2 Turn the Scroll wheel to move the effect to a

On each page, set the device you want to control
different position in the signal chain.
and the parameter you want to sweep. The Toe
and Heel settings govern the range of the con- 3 Press SW2 again to keep the change, or SW1 to
trol that is able to be swept. cancel the move.

If you set the Heel number higher than the Controls Takes you to a page with additional
Toe number, the control can be swept in re- controls for the selected element. Press
verse. Edit/Back to return to Rig View when you’re fin-
ished.
None No parameter will be affected when the
pedal is moved. Move Lets you move an effect or the FX loop to
a different point in the signal chain.
For information on how to toggle
Eleven Rack between expression pedal and
footswitch control, see “External Pedals” on
page 93.

18 Eleven Rack User Guide

 If there is more than one page of controls avail-
Control Pages able for the current device or utility setting, a
Page indicator is displayed. Turn the scroll
When there are additional controls available for
wheel to switch between pages. You can also use
the device or utility setting you’ve selected,
the Scroll wheel to scroll quickly through all of
pressing SW1 (labeled CONTROLS) takes you to a
the Control pages in the current Rig.
special editing screen for that device, called a
Control page. When you’re finished editing, press Edit/Back to
go back to Rig View.

Saving Your Work

When you’re done editing the current Rig, you
Control page for Green JRC OD effect
may want to save its settings, or save the new
The Control knobs that are assigned to controls settings to a different user Rig without affecting
in the current device will light amber, if you’re the current Rig.
editing Amp, Cab, or FX Loop settings, or green,
if you’re editing an effect. The display shows Keep in mind, if you switch to another Rig be-
what parameter each knob is assigned to, and fore saving your work, the edits you’ve made
each knob’s current setting. will be lost.

When you turn a knob away from its saved set-

ting, it will light red, to show you that the set-
ting has changed. If you want to return a control
to its saved setting, turn the knob until it goes
back to amber or green.
Save page
SW1 and SW2 are assigned to various functions,
like BYPASS, which toggles the current element To save the new settings to the current Rig:
on and off, and other switched behaviors, like 1 Press the Save button. The display will show
BRIGHT (bright switch) and TREMOLO (tremolo the Save View.
on/off).
2 Press Save again to save the updated settings
Individual effects may be toggled on and off to the current Rig.
at any time by pressing the corresponding
Effects Control button on the front panel of
Eleven Rack. The Wah effect can be toggled
on and off by pressing FX1 and FX2 simul-
taneously.

Chapter 3: Exploring Rigs 19

 To create a new Rig with the new settings: ‘59 Tweed Lux
1 Press the Save button. The display will show
the Save View.

2 Turn the scroll wheel to select a preset Rig that

you don’t mind overwriting.

3 Choose a name for your new Rig, using the lit

Control knobs and SW switches:
Based on a classic late-50s tube combo amp with
• The first lit knob moves the cursor from left a single 12-inch speaker and a pair of 6V6 tubes
to right. delivering 15 watts, the ‘59 Tweed Lux model is
• The second knob lets you choose an upper- the picture of vintage simplicity. With just a
case letter from A-Z. simple treble-cutting tone control, the Tweed
• The third knob lets you choose an lower- Lux delivers crunchy clean sounds when used
case letter from a-z. with single-coil pickups, and fat leads when
• The fourth knob lets you choose a number driven with humbucking pickups.
or symbol.
The inputs on this model are “jumped” so you
• SW1 lets you insert a space. can feed both the Instrument and Mic inputs in
• SW2 lets you delete an unwanted character. parallel.

4 Press Save again to save the new Rig.

’59 Tweed Bass

The Amps
This section takes you through all of the emu-
lated amplifiers available in Eleven Rack, and
touches on any special features and controls
each amp offers.
Based on a late-50s low-wattage tube bass
combo amp, the ‘59 Tweed Bass model has a
tight bass response and a warm, twang-friendly
high-end. Along with controls for Bass, Middle
(midrange), and Treble, a negative feedback
Presence control also allows for more tweaking
of the high-end frequencies.

Just like the Tweed Lux, the Tweed Bass is also

“jumped” so you can feed both the Bright and
Normal inputs in parallel.

20 Eleven Rack User Guide

’64 Black Panel Lux Vibrato and ’66 AC Hi Boost
Normal

Originally released in 1958, the British amp we

The amp we based the ‘64 Black Panel Lux Vi- based our ‘66 AC Hi Boost model upon went
brato and Normal models on is regarded by through a few design changes that would even-
some as the ultimate small club amp. A 60s tube tually define the sound of British pop/rock in
combo with a single 12-inch ceramic-magnet the ‘60s.
speaker and a pair of 6V6s putting out just over
First available as a modification mounted in the
20 watts, this amp has long been a standard in
back of the amp, the “Top Boost” circuit added
the studio as well as onstage.
an extra tube and controls for Treble and Bass. It
At low volumes its crisp, clean high-end has became so popular that it eventually became a
been favored by country rockers, but push the part of the standard componentry of the amp.
amp past 7 with a humbucking pickup, and
The glassy high-end and chime of the AC Hi
you’ve got an amazingly dynamic lead tone. For
Boost lends a classic propulsion to rhythm gui-
Eleven, we’ve modeled both channels of this
tar parts, and at higher gain settings, singing
classic blackface-era amp.
lead tones are a snap to achieve.
The Lux Vibrato model has two gain stages and
For our model, we’ve “jumped” the Normal and
the tremolo effect is toggled using SW2. Lux
Brilliant channels. The Cut (presence) control is
Normal has a single gain stage and tremolo is al-
active on both channels. However, just like the
ways on, unless the Intensity control is rolled all
original, the Treble and Bass controls are only
the way off.
part of the Brilliant channel, and have no effect
on the Normal channel.

Go to the second Control page and press SW2 to

toggle the tremolo on and off.

Chapter 3: Exploring Rigs 21

 ’67 Black Panel Duo ’69 Plexiglas

Without a doubt, the blackface-era amp we Based on one of the most highly sought-after
based our ‘67 Black Panel Duo model upon is high-volume amplifiers of the late 1960s, our
considered one of the greatest combo amps ever ‘69 Plexiglas model delivers no-nonsense British
made. With two 12-inch ceramic-magnet speak- crunch. The original amp's dual 4x12 cabinets
ers and a quartet of 6L6 tubes pushing 80 watts, and 100-watt head offered unprecedented vol-
no concert stage has been complete without one ume and power for the time, helping to usher in
since it was introduced in the late 60s. the era of the Guitar God.

One of the main reasons for the amp’s popular- For our model, we’ve based it on the legendary
ity is that it can maintain classic vintage clean 100-watt 1968/69 version. We’ve also “jumped”
sounds even at high volume levels. Another spe- both channels, for further gain.
cial Black Duo feature is the inclusion of a Bright
switch.
’82 Lead 800
For our model, just like the original, as you turn
the Volume knob up, the Bright switch has less
of an effect. Dial the Volume knob around 3 or 4
with the Bright switch on, and you’ll get that ul-
tra-clean snap that it’s famous for.

On the first Control page, SW2 is set to toggle

the Bright switch on and off. On the second Based on the early-80s descendent of the amp
page, SW2 toggles vibrato on and off. we based our Plexiglas model upon, the ‘82 Lead
800 adds a higher-gain cascaded preamp design
and a master volume control. Unlike the high-
volume heads of the 60s, which needed to be on
10 to achieve an overdrive sound, this amp
could conjure up real distortion at any volume
level, and that made it very popular in the bur-
geoning 80s heavy metal scene.

22 Eleven Rack User Guide

’85 M-2 Lead which leads to a rounder, thicker sound. The
Bright switch circuit has progressively less effect
as the gain is raised, and no effect when the pre-
amp is set to 10.

Toggle the Bright switch on and off with the

SW2 button.

Based on a classic mid-80s high-end tube combo

’92 Treadplate Modern and
amp, the ‘85 M-2 Lead model delivers hot-
Vintage
rodded overdrive and searing solo tones. With a
full complement of tone controls and indepen-
dent input volume, overdrive and master vol-
ume controls, the gain structure can be tweaked
to your heart's content.

The M-2 Lead emulation is based on the lead

channel with the fat, bright, and gain boost op- Released in 1989, the amp that inspired our ‘92
tions on. Treadplate Modern and Vintage models seemed
cooler than a high-performance racecar. With
‘89 SL100 Drive, Crunch, and more tone-tweaking options and distortion
Clean than any amp before it, the amp became the in-
dustry standard for players looking to achieve a
massive sound.

With the ability to run on either 6L6 or EL34

tubes, this amp offered a choice between either
tube or silicon diode rectifier circuits. On top of
that, an AC power selection switch offered a
Our ‘89 SL100 model is based on a late-80s high- Bold or a Spongy option, which would drop the
gain 100-watt tube head, which was popular for voltage like a Variac for a more “brown” sound.
its singing sustain and clear articulation. The
For our Treadplate, we modeled two different
Bright switch on the Clean and Crunch models
channels and selected the appropriate rectifier
boosts the high-end for lead lines and cutting
and AC power switch setting. For Treadplate M
tones.
(for Modern), we set it on the Red channel using
For the Drive model, we simulated a bright 6L6s, a silicon rectifier, and the Bold power set-
switch modification that was popular for this ting for a tight, aggressive tone. For Treadplate V
amp. Set to Normal, the amp is stock. With (for Vintage), we modeled the orange channel
Bright engaged, the treble boost that would nor- with 6L6s, a tube rectifier, and the spongy power
mally happen at lower gain settings is removed, setting for a more fluid lead tone.

Chapter 3: Exploring Rigs 23

 DC Modern Overdrive and DC When you view the Amp controls, a Page indi-
Vintage Crunch cator is displayed to show you which page of
controls you’re viewing. Turn the Scroll wheel
Rather than base these two models on any two to switch pages.
specific amps, we blended the characteristics
and features of many of our favorite amps to cre-
ate a couple of absolute monsters.

The Modern model augments a modified high-

gain British amp flavor with a Bright switch and
classic American-style Tremolo. The Vintage
Amp Control page
model combines tonal attributes of 50s and 60s-
era American tube amps, with added gain poten- Tremolo Controls
tial and a Bright switch.
Some amps, like the ‘64 Black Panel Lux Vibrato,
On the first Control page, SW2 is set to toggle ‘66 AC Hi Boost, and DC Modern Overdrive, fea-
the Bright switch on and off. On the second ture authentic Tremolo circuits. Here’s what
page, SW2 toggles vibrato on and off. those controls do:

Digidesign Eleven Rack is not affiliated with, Speed Lets you set the speed of the Tremolo ef-
sponsored, or endorsed by the makers of the fect’s amplitude modulation.
amplifiers that are emulated in this
Sync When set to a rhythmic value, the SYNC
product.
control sets the Tremolo’s speed to cycle at the
selected rhythmic interval, in sync with the Rig
tempo. When set to “OFF”, the speed is not syn-
General Amp Controls chronized and can be manually set with the
The Amp controls can be accessed in the Default SPEED control.
view of Rig Select mode, or by selecting the AMP
Depth Sets the amount of amplitude modula-
device in Rig View and pressing CONTROLS.
tion.
There are two pages of controls for every amp.
These controls are configured and named to When using Eleven Rack with Pro Tools,
closely match the amps we modeled for you can choose to sync tremolo and other ef-
Eleven Rack. fects to either the Rig tempo or the tempo of
the Pro Tools session. For more details, see
“Rig Tempo” on page 79.

24 Eleven Rack User Guide

Noise Gate Controls
The Speaker Cabinets
Each of the amps in Eleven Rack has a Noise
Gate, which can be used to suppress noise com- This section describes all of the emulated
ing from the instrument before the signal speaker cabinets available in Eleven Rack.
reaches the amp model. Noise can be especially
problematic when boosted heavily at high-gain
settings. Its controls are:

Noise Gate Lets you set the threshold of the

Noise Gate. Adjust this control until you find a
good balance between effective gating and cut- The Cab page in Rig View
ting off the signal prematurely on sustained
1x12 Black Lux
notes.
This cab model is based on the original speaker
Rel Sets the release time for the envelope that
and cabinet that match the Lux Vibrato and Lux
runs the Noise Gate. A longer release time can
Normal amp models. With a single 12-inch ce-
sound more natural, while a shorter release can
ramic speaker in an open back cabinet, it offers a
help to rein in a really noisy signal.
bright, warm, dynamic sound.
The Noise Gate remains usable even when
the amp model has been bypassed. 1x12 Tweed Lux
This cab model is based on the original speaker
Amp Output
and cabinet that match the Tweed Lux amp
The amp models in Eleven Rack are so faithful to model. With a single 12-inch alnico speaker in
the classics they’re based on that the output an open-back cabinet, it offers mellow, sweet
level can increase significantly as the preamp, warm tones with a hint of vintage grit.
volume or master controls are cranked. Also,
from one amp the next, output levels will vary 2x12 AC Blue
depending on their design.
This cab model is based on the original speakers
The OUTPUT control lets you compensate for and cabinet that match the AC Hi Boost amp
those differences with no coloration added to model. With two British ceramic 12-inch speak-
the tone you’re getting. ers in an open-back cabinet, it offers chimey,
mid-focused tones.
The amp output volume can also be ac-
cessed in Rig View, by selecting AMP and
2x12 Black Duo
manipulating the Amp Out Vol Control
knob. This cab model is based on the original speakers
and cabinet that match the Black Duo amp
Bypass model. With two ceramic 12-inch speakers in an
open-back cabinet, it offers bright, full-range
The Bypass control toggles the amp simulation
tones.
on and off, leaving any effects in the Rig un-
changed.

Chapter 3: Exploring Rigs 25

 4x10 Tweed Bass Dyn 409
This cab model is based on the original speakers Based on a midsize-diaphragm German dy-
and cabinet that match the Tweed Bass amp namic mic, the Dyn 409 offers a detailed mid-
model. With four alnico 10-inch speakers in an range and a focused, tight pickup pattern.
open-back cabinet, it offers warm, bright, tones
with tight bass. Dyn 421
Based on a large-diaphragm German dynamic
4x12 Classic 30
mic, the Dyn 421 model offers deep bass, solid
This cab model is based on a classic 1960s 4x12 mids, and smooth treble.
British closed-back cabinet. The classic 30 watt
speakers we modeled for this unit give it a wide Cond 67
frequency response and major power.
Based on a classic German tube condenser mic,
the Cond 67 model offers a warm, crisp sound.
4x12 Green 25Watt
This cab model is based on a classic 1960s 4x12 Cond 87
British closed-back cabinet. The vintage 25 watt
speakers we modeled for this unit give it a Based on a solid-state German condenser mic,
smooth, thick tone, perfect for soulful leads. the Cond 87 model lacks the fuzzy tube warmth
of Cond 67, but retains a high level of treble de-
tail and nuanced midrange.

The Microphones Ribbon 121

This section describes all of the emulated micro-
Based on a modern ribbon microphone, the Rib-
phones available in Eleven Rack.
bon 121 model offers rounded, sweet highs and
mids, and solid, deep lows.
Dyn 7
Digidesign Eleven Rack is not affiliated with,
Based on a large-diaphragm American dynamic
sponsored, or endorsed by the makers of the
microphone, the Dyn 7 model has a smooth,
speaker cabinets or microphones that are em-
powerful tone quality.
ulated in this product.

Dyn 57
Based on a midsize-diaphragm American dy-
namic mic, the Dyn 57 model has a classic ag-
gressive tone with a bright edge and pro-
nounced mids.

26 Eleven Rack User Guide

 Wah Effects
The Effects
This section takes you through the effects avail- Black Wah
able in Eleven Rack.

Volume Pedal Black Wah is a standard wah pedal effect, offer-

ing a sweepable resonant filter that lets you add
animation and special timbral effects to the gui-
tar signal.

Like the Volume Pedal, wah effects like Black

Wah are particularly useful when controlled
with an expression pedal or MIDI foot control-
ler.
The Volume Pedal is a sweepable volume con-
trol. You can use it to fade notes or chords in Shine Wah
and out, or to vary the volume of your signal in
real time, for timbral or rhythmic effects.

The Volume Pedal is most useful when con-

trolled with an expression pedal or MIDI foot
controller.

For more information about using an ex-

pression pedal or MIDI foot controller, see
“External Foot Controllers” on page 38. Shine Wah works and sounds similar to Black
Wah, but with a vintage-style filter circuit and
sweep response.

Chapter 3: Exploring Rigs 27

 Distortion Effects Green JRC Overdrive

Tri-Knob Fuzz

Green JRC Overdrive was inspired by a low-gain

70s overdrive pedal, loved by blues and blues-
The pedal that inspired Tri-Knob Fuzz was a rock players the world over for its sweet, singing
transistor-based unit, originally popular with sting. It can be used to simply drive an amp’s in-
lead guitarists searching for ever-higher gain in put section into gentle clipping, or supply some
the 70s. It shone again in the 90s grunge rock dirty glow of its own.
scene, probably pushed further into woolly
grind than its makers would have ever antici- Modulation Effects
pated.

Volume Sets the overall output volume of the ef- Flanger

fect.

Sustain Sets the gain of the fuzz circuit.

Tone Changes the tonal balance of the effect,

from deep and full of sub-bass to high and shrill.

BlackOp Distortion

Originating from the act of pressing on the

flanges of tape reels, and becoming even more
popular with the advent of analog pedals, the
Flanger effect can be coaxed into bell-like reso-
nant sweeps, or add a silky, shimmering sheen.
This effect works well when positioned before or
after the amplifier in the signal chain.
Inspired by an 80s-era op-amp-based distortion Pre-Dl Sets the amount of pre-delay, which
pedal, BlackOp Distortion offers massive crunch changes the phase relationship between the dry
and power. Its hard-clipping drive can squeeze signal and the delayed signal, with timbral re-
aggressive rhythm and lead tones out of soft- sults.
sounding vintage amps, and create surprisingly
hard-edged tones when paired with more mod-
ern amps.

28 Eleven Rack User Guide

Depth Sets the amount of delay. The higher the Chorus/Vibrato Toggles the effect between Cho-
setting, the more “jet-engine” artifacts will be rus and Vibrato.
introduced.
When set to CHORUS, the Rate and Depth
Fdback Sets the amount of signal fed back into controls are inactive. Likewise, when set to
the modulated delay. Higher settings introduce VIBRATO, the Chorus control will not
more ringing, whistling artifacts. function.

C1 Chorus/Vibrato U Phaser

The psychedelic-era phaser that inspired our

Based on a heavyweight late-70s analog cho-
U Phaser effect was traditionally paired with an
rus/vibrato pedal, CI Chorus/Vibrato offers
expression pedal that could be used to vary the
warm, liquid modulation effects. In Chorus
rate of pitch modulation over time. Like the C1,
mode, the signal is routed through a modulated
you can choose to run it as a Chorus, with the
short delay, which is mixed with the dry signal,
modulated and dry signals mixed together, or in
creating a washy, doubled sound.
Vibrato mode, which leaves the pitch-modu-
In Vibrato mode, the dry signal is absent and lated signal alone, with rippling, disorienting ef-
there is more control over the depth of pitch fects.
modulation, allowing for everything from an
Chorus/Vibrato Toggles the dry signal on (Cho-
understated “wobble” to wacky, synth-like pitch
rus) and off (Vibrato).
modulation.

Chorus Sets the intensity and speed of the Cho-

rus effect, only when the Chorus/Vibrato switch
is set to Chorus.

Depth Sets the depth of the Vibrato effect, only

when the Chorus/Vibrato switch is set to Vi-
brato.

Rate Controls the Vibrato rate, only when the

Chorus/Vibrato switch is set to on.

Chapter 3: Exploring Rigs 29

 Orange Phaser Reverb Effects

Blackpanel Spring Reverb

Based on a more basic analog phaser,

Orange Phaser offers a more subtle, warm phas-
ing effect. Blackpanel Spring Reverb was inspired by a clas-
sic outboard tube-driven spring reverb. It can
Speed Controls the Phaser effect’s rate of modu-
add a surfy twang and dark, warm ambience to
lation.
your signal.
Sync Synchronizes the modulation rate to the
Mix Controls the blend between dry and rever-
Rig tempo by a specific rhythmic subdivision.
bed signal.

Roto Speaker Decay Controls the length of the reverb’s decay.

Tone Applies a high-cut EQ, making the reverb

tone darker.

Eleven SR

Inspired by the rotating speaker cabinets that

made classic tonewheel organs roar, Roto
Speaker offers added motion and vintage grit. A smooth, clean digital reverb, Eleven SR is
based on the popular Reverb One Pro Tools
Speed Sets the speed of the rotating speaker ef- plug-in from Digidesign.
fect, in three increments, Slow, Fast, and Brake
(stopped). Pre-Dly Sets the amount of pre-delay, which
changes the time relationship between the dry
Balance Sets the blend between the upper and signal and the reverbed signal. As this setting is
lower rotors of the rotating speaker. turned higher, the apparent size of the synthe-
sized reverb “room” grows larger.
Type Chooses between various types of rotary
speakers. Type Selects from a variety of different reverb
types.

30 Eleven Rack User Guide

Delay Effects BBD Delay

Tape Echo

When “bucket brigade” analog delays arrived in

the mid-70s, their relatively small size and solid-
Inspired by the ultimate vintage solid state tape state reliability made them a godsend to tape
echo unit, Tape Echo supplies supple, crunchy loop-addled guitarists. It went on to become a
echoes, and can, with a flick of the wrist, can be classic of its own, with a smooth, round delay
pushed into swells of wild self-oscillation, each sound and a Chorus-Vibrato mode that let it
repeat more murky, dusty, and gritty than the double as a modulation effect.
next. A classic.
Input Sets the input level to the delay effect.
Rec Lev Controls the signal level running to the Cranked up, it can push the signal into useful
tape circuitry. Higher settings create a more dis- distortion.
torted tone color.
Mod Switches the modulation effect between Vi-
Head Simulates the alignment (or misalign- brato (only the delayed signal is passed) and
ment) of the tape head with the tape, which af- Chorus (both the dry and delayed signal are
fects the tone of the delay. passed.)

Wow Controls the amount of wow and flutter in Depth Controls the level of modulation of the
the tape mechanism. Lower settings minimize delayed signal.
fluctuations of pitch and tone color, and higher
settings accentuate it. Noise Toggles modeled analog hiss in or out of
the signal.
Hiss For some serious authenticity in your tape
echo tone, this switch Toggles modeled analog When Hiss or Noise is turned on in one of
tape hiss in or out of the signal. With high feed- the delay effects and the feedback level is
back settings, the tape hiss can push the echo sufficiently high, the delay will self-oscil-
into self-oscillating mayhem. late and make noise, even when bypassed.
If this occurs, turn down the feedback con-
trol.

Chapter 3: Exploring Rigs 31

 EQ & Compressor Effects
General Effects Controls
Graphic EQ
Sync
The time-based effects in Eleven Rack (such as
Chorus, Delay and Flanger) can be set to syn-
chronize with Rig or Session tempo. When the
Sync control on these effects is set to a rhythmic
subdivision of the incoming tempo, the effect
will lock to it. When Sync is set to Off, the Rate
Useful for simple frequency sculpting, a good or Delay control on the effect will take over, and
Graphic EQ can find a place in almost any ped- the rate of modulation or delay can be set by
alboard. Graphic EQ can wring a variety of tones hand.
out of other pedals, such as when placed before
Distortion effects. The EQ can also be used as a
Delay+ & Fine
signal booster when positioned in front of amps.
These two controls are included in both delay ef-
Gray Comp fects. Delay+ quadruples the available delay
time, for when longer echoes are needed. Fine
switches the delay’s Rate control into a fine-ad-
just mode, where the delay time can be set by
the millisecond with the Scroll wheel. Press Fine
again to return to normal mode.

Don’t Forget to Save!

Inspired by a well-loved solid-state 70s compres- Remember, when you’ve got things tweaked just
sor pedal, Gray Comp can add singing sustain to right, make sure to save your settings. If you
leads or lend power and girth to chunky rhythm switch to a different Rig before saving, you’ll
guitar parts. lose your changes. To simply save the current
state of the Rig you’re working on to the same
Sustain Sets the threshold, and thus, the
Rig memory location, press the Save button,
amount of compression, in the Compressor ef-
then press it again.
fect.

Level Sets the overall output volume of the ef- See “Saving Your Work” on page 19 for
fect. more details.

Digidesign Eleven Rack is not affiliated

with, sponsored, or endorsed by the makers
of the effects that are emulated by this prod-
uct.

32 Eleven Rack User Guide

Chapter 4: Eleven Rack Live Setup

In live performance or practice, Eleven Rack can be used as a standalone guitar preamp and processor,
connected to an amplifier and/or direct to a PA system. This chapter will describe how to make the
necessary connections.

PA Mixer

MIDI Foot Controller

Footswitch or
Effects Expression Pedal
Figure 4. Eleven Rack Live Setup

Chapter 4: Eleven Rack Live Setup 33

 Basic Live Setup

PA Mixer
Figure 5. Eleven Rack connected directly to the PA mixer

Plugging in Your Guitar Connecting Eleven Rack to a PA

System
Connect your guitar to the Guitar input on the The simplest way to play live with Eleven Rack is
front of Eleven Rack with a 1/4” TS cable. to connect it directly to the PA mixer using the
Main XLR outputs. When doing so, it is recom-
mended to tell the person running the PA sys-
tem that you are providing a line-level signal,
rather than a mic-level signal, so that they can
correctly set the input on the console.

If a buzz or hum occurs, try toggling the Gnd

Lift switch.

34 Eleven Rack User Guide

Using an Amp Onstage

PA Mixer

Figure 6. Eleven Rack connected to the PA mixer and an onstage amplifier

In some cases, having an amplifier onstage can Sending the Correct Signal
be handy for monitoring or tone reasons. Eleven
Rack makes it easy to feed your signal to both a Eleven Rack lets you choose the point in the sig-
PA mixer and an amp. nal path that feeds each Output To Amp jack. If
you’re using an amplifier with a distinct tone of
its own, you may want to send it a signal with
Connecting Eleven Rack to a little processing (for example, only the effects)
Guitar Amplifier so the sound of the amp can ring through
clearly.
The Output To Amp outputs on Eleven Rack can
be connected to one or more guitar amplifiers If you prefer to use the amp simulations in
using standard 1/4” TS cables. Eleven Rack to set your tone, you will want to
• If using a single, mono amplifier, use the Out- send the signal just after the amp simulation,
put To Amp 1 (L) output. but before the cabinet simulation, to your am-
plifier.
• If using two amplifiers, or an amp with stereo
inputs, connect each Output To Amp output
to a separate amp or channel input.

Chapter 4: Eleven Rack Live Setup 35

 To set the type of signal to send to the amp:
1 Press and hold the Edit/Back button to show
the User Options mode.

2 Scroll to Outputs To Amp with the Scroll wheel.

3 Press SW1 to enter the Outputs To Amp

screen.

4 Choose the output you plan to use to feed the

amp, with the Scroll wheel.

5 Set the Signal control to one of the following,

using the first lit Control knob:
• Rig Input (no processing)
• Amp Input (pre-amp effects only)
• Amp Output (effects and amp simulation)

6 Press Edit/Back twice to leave User Options

mode.

The signal level running to each Output To

Amp output can be set on a per-rig basis in
the Output section in Rig View or in the
Eleven Rack Control window. For more de-
tails, see “OUTPUT” on page 17, or “Out-
put to Amp Selectors” on page 80.

Because Eleven Rack simulates various pre-

amps and tone circuits, you may want to by-
pass your amp’s preamp and tone circuitry
by plugging into the amplifier’s effects re-
turn jack(s), if available, rather than the
standard input(s). If your amp does not
have an effects loop, try setting the amp
controls for maximum transparency (EQ
flat, gain stages set to clean.)

36 Eleven Rack User Guide

Effects and Foot Controllers

Figure 7. Effects and foot controller connections

Connecting Effects 3 If using a line-level rack effect, toggle the Rack

FX/Stompbox FX switch to the Rack FX posi-
Use the FX loop jacks to connect stomp boxes, tion. If using a guitar-level stompbox effect, tog-
rack effects or other external processors to the gle the switch to the Stompbox FX position.
live guitar signal. These can be either rack or
stompbox effects, or a combination thereof, in If using a combination of guitar-level
mono or stereo. The FX Loop accepts 1/4” plugs. (stompbox) and line-level (rack) effects, it
may be preferable to put the guitar-level
To connect external effects to Eleven Rack: unit(s) first in the chain. If your line-level
unit(s) have guitar-level outputs available,
1 Connect the FX Loop Send output on Eleven
the order is not important. See your effects
Rack to the input of your first (or only) effects
unit(s) documentation for more details.
unit. If the unit is mono, use the Left/Mono out-
put. If the unit is stereo, use both outputs.
The User Options and Rig View modes in
2 Connect the output of the final (or only) ef-
Eleven Rack contain a variety of settings
fects unit to the FX Loop Return input on Eleven
that control the behavior of the FX loop. For
Rack. If the unit is mono, use the Left/Mono in-
more information, see “The Amps” on
put. If the unit is stereo, use both inputs.
page 20 and “FX Loop” on page 93.
If using a combination of mono and stereo
effects, it is usually best to put the mono ef-
fects units first in the chain, with the final External Foot Controllers
mono unit connected to the mono input on
the first stereo unit. Eleven Rack has a 1/4” TRS input that can accept
input from an expression pedal or a single or
dual momentary footswitch.

Chapter 4: Eleven Rack Live Setup 37

 Expression Pedal MIDI Foot Controller
An expression pedal can be used to control con- You can connect a MIDI foot controller to the
tinuously variable parameters within Eleven MIDI input on Eleven Rack, providing control
Rack, such as volume or wah position. over a larger range of simultaneous parameters.

In addition to commonly-used expression ped- For details on Eleven Rack controls you can
als, a standard volume pedal with a “Y” adapter control with a MIDI foot controller, see
cable (two 1/4-inch TS plugs to one 1/4-inch TRS “Eleven Rack MIDI CC Controllers” on
plug) can be used, though keep in mind that the page 95.
taper of the potentiometer in a volume pedal is
exponential, rather than linear as in an expres-
sion pedal. Display Mode and Visibility
When playing live, you may find it easier to
Momentary Footswitch keep track of what Rig is selected by switching
(Single or Dual) the display to Simple mode.

Most single or dual momentary footswitches For information on switching display

can be used to toggle various switched functions modes, “Rig Select Mode” on page 13.
within Eleven Rack, such as effects on/off and
cycling through rigs.

Choose a momentary footswitch with a

1/4-inch TS (single switch) or 1/4-inch TRS (dual
switch) connection.

For more information on the use of pedals

and footswitches with Eleven Rack, “Exter-
nal Pedals” on page 93.

38 Eleven Rack User Guide

Part II: Setting Up and Using Pro Tools With Eleven Rack

39
40
Chapter 5: Installing Pro Tools on Mac

This chapter contains information for Mac sys-

tems only. If you are installing Pro Tools on a Installing Pro Tools LE and
Windows computer, see Chapter 6, “Installing Connecting Eleven Rack
Pro Tools On Windows.”
Before connecting your Eleven Rack to the com-
If you’re installing or upgrading Pro Tools HD to puter, you need to install Pro Tools LE software.
work with Eleven Rack, please refer to the Setup
Guide for your system. Do not start this procedure with your Eleven
Rack connected to your computer.
Before installing this version of Pro Tools,
refer to the Read Me information included To install Pro Tools LE on Mac OS X:
on the Pro Tools Installer disc. 1 Make sure you are logged in as an Administra-
tor for the account where you want to install
Pro Tools.
Installation Overview
For details on Administrator privileges in
Installation of the Eleven Rack on a Mac in- Mac OS X, see your Apple OS X documen-
cludes the following steps: tation.

1 “Installing Pro Tools LE and Connecting 2 Insert the Pro Tools LE Installer disc in your
Eleven Rack” on page 41. DVD drive.
2 “Launching Pro Tools LE” on page 43. 3 On the Installer disc, locate and double-click

3 Configuring your system for improved perfor- Install Pro Tools [Link].
mance (see Chapter 7, “Pro Tools Configura-
tion”).

4 Making audio connections to the Eleven Rack

(see Chapter 8, “Eleven Rack Studio Setup”).
Install Pro Tools [Link] icon
The Pro Tools Installer disc includes addi-
tional software for your system. For more in-
formation, see “Additional Software on the
Pro Tools Installer Disc” on page 43.

Chapter 5: Installing Pro Tools on Mac 41

 4 Follow the on-screen instructions to proceed Installation Options
with installation.
Pro Tools LE Options
5 Click Continue each time you are prompted.
To install a subset of Pro Tools software and
6 At the Installation Type page, do one of the
plug-ins (and associated content), click the re-
following:
veal triangle for the Pro Tools LE option in the
• To install all Pro Tools application files and installer, and deselect any of the following op-
free plug-in suites (and associated content), tions that you do not want installed.
leave the default Installation options se-
lected and click Continue. Application Files (Required for Pro Tools) Installs
– or – the Pro Tools application and supporting library
files needed to run Pro Tools. This option also
• Select (or deselect) a custom configuration
installs the Digidesign CoreAudio Driver. This
of Installation options (see “Installation
option must be selected to install Pro Tools.
Options” on page 42) and click Continue.

7 Click Install.
DigiRack Plug-Ins Installs free plug-ins including
DigiRack plug-ins, free Bomb Factory plug-ins,
8 If prompted, enter your Administrator pass- TL Utilities, and Digidesign D-Fi and Maxim
word and click OK to authenticate the installa- plug-ins.
tion.
Pro Tools Creative Collection Installs a set of free
9 Follow the remaining on-screen instructions.
RTAS effects plug-ins and virtual instrument
10 When installation is complete, click Restart. plug-ins (including over 4 GB of associated sam-
ple content). For more information, see the Cre-
11 After the computer has started, connect the
ative Collection Plug-ins Guide.
small end of the included USB cable to the USB
port on Eleven Rack and connect the other end Additional Options
to any available USB port on your computer.
The Pro Tools installer provides the following
Eleven Rack may not function properly if additional options to install along with
connected to a USB hub. If you need to use a Pro Tools software and plug-ins.
hub for other USB peripherals, connect the
hub to a separate USB port; Eleven Rack Digidesign CoreAudio Driver This option installs
must be connected to a dedicated port on the Digidesign CoreAudio Driver, which lets you
the computer in order to function properly. use qualified audio interfaces with third-party
applications that support the CoreAudio Driver
standard.

Avid Video Engine This option lets you integrate

Avid® video peripherals (such as the Avid Mojo®
with your Pro Tools system).

MIDI I/O Driver The MIDI I/O™ Driver is re-

quired if you are using the Digidesign MIDI I/O
interface.

42 Eleven Rack User Guide

Launching Pro Tools LE Additional Software on the
When launching Pro Tools LE the first time, you
Pro Tools Installer Disc
are prompted to enter an authorization code to The Pro Tools LE Installer disc provides addi-
validate your software. The code begins with the tional software for your system, including audio
letters “DIGI”. drivers (for playing other audio applications
through your Digidesign hardware) and a
To authorize Pro Tools LE software: Pro Tools demo session.
1 Make sure Eleven Rack is connected to your
Check your Pro Tools Installer disc for addi-
computer.
tional software and installers.
2 Click the Pro Tools LE icon in the Dock (or
double-click the application icon in the Third-Party Applications and
Pro Tools folder inside the Digidesign folder). Plug-ins
3 Enter the authorization code in the dialog Your Pro Tools package also includes several free
(making sure to type it exactly as printed, and applications and plug-ins from selected Digide-
observing any spaces and capitalization), then sign Third Party developers. Once you've com-
click Validate. (Your authorization code is lo- pleted your Pro Tools installation, you can in-
cated on a sticker on the Pro Tools LE DVD wal- stall these separately. Go to the Additional
let.) Files/3rd Party Content folder on the
4 Use the Quick Start dialog to do one of Pro Tools LE Installer disc.
the following:
• Create a new session from template. Eleven Rack CoreAudio Driver
• Create a new blank session.
The Eleven Rack CoreAudio Driver is a multi-cli-
• Open any other session on your system. ent, multichannel sound driver that allows
CoreAudio compatible applications to record
and play back through Digidesign hardware.

The Eleven Rack CoreAudio Driver is installed

by default when you install Pro Tools.

For information on configuring the

Eleven Rack CoreAudio Driver, see the Core-
Audio Drivers Guide.

Quick Start dialog

For more information on the Quick

Start dialog and session templates, see the
Pro Tools Reference Guide (Help >
Pro Tools Reference Guide).

Chapter 5: Installing Pro Tools on Mac 43

 Standalone Eleven Rack CoreAudio Driver
The demo session can be opened by double-
The Eleven Rack CoreAudio Driver can be in- clicking the Filtered [Link] file (located
stalled as a standalone driver on Mac systems in the Filtered Dream Demo Session folder).
that do not have Pro Tools software installed.
The standalone version of this driver is available
on the Pro Tools Installer disc (in the Additional
Uninstalling Pro Tools
Files Folder).
.

If you need to uninstall Pro Tools software from

For information on installing and configur- your computer, use the Uninstaller application.
ing the standalone version of the Eleven
Rack CoreAudio Driver, see the CoreAudio To remove Pro Tools from your computer:
Drivers Guide.
1 Make sure you are logged in as an Administra-
tor for the account where Pro Tools is installed.
Pro Tools Demo Session
The Pro Tools LE Installer disc includes a demo For details on Administrator privileges in
session that you can use to verify that your sys- Mac OS X, see your Apple OS X documen-
tem is working. tation.

The demo session for Pro Tools LE is named “Fil- 2 Go to Applications/Digidesign/Pro Tools/

tered Dream.” Pro Tools Utilities and double-click

Uninstall Pro Tools.
Before installing the demo session to your
3 Click Continue to proceed with the uninstall.
audio drive, make sure the drive is config-
ured as described in “Formatting an Audio 4 Choose the type of uninstall you want to per-
Drive” on page 100. form:

To install the demo session: Safe Uninstall Leaves certain plug-ins and sys-
tem files needed for compatibility with some
1 Insert the Pro Tools LE Installer disc into your
Avid products. Use Safe Uninstall if you are us-
DVD drive.
ing an Avid application or preparing to update
2 On the Pro Tools LE Installer disc, locate and to a CS (customer support) release.
open the Additional Files/Pro Tools Demo Ses-
Clean Uninstall Removes all Pro Tools files, in-
sions Installer folder.
cluding system files, Digidesign plug-ins, and
3 Double-click Install demo [Link]. MIDI patch names. Use Clean Uninstall when-
ever you are preparing to upgrade, or to trouble-
4 Follow the on-screen instructions.
shoot from a clean system.
5 When prompted, select your audio drive as
5 Click Uninstall.
the install location and click Next to begin the
installation. When installation is complete, 6 Enter your Administrator password and click
click Close. OK.

7 Click Finish to close the Installer window.

44 Eleven Rack User Guide

Chapter 6: Installing Pro Tools On
Windows

This chapter contains information for Windows 4 Making audio and MIDI connections to the
systems only. If you are installing Pro Tools on a Eleven Rack (see Chapter 8, “Eleven Rack Studio
Mac computer, see Chapter 5, “Installing Setup” for details).
Pro Tools on Mac.”
The Pro Tools Installer disc includes addi-
If you’re installing or upgrading Pro Tools HD to tional software for your system. For more in-
work with Eleven Rack, please refer to the Setup formation, see “Additional Software on the
Guide for your system. Pro Tools Installer Disc” on page 48.

Before installing this version of Pro Tools,

refer to the Read Me information included
on the Pro Tools LE Installer disc.

Installation Overview
Installing the Eleven Rack on a Windows com-
puter includes the following steps:

1 “Installing Pro Tools LE and Connecting Your

Interface” on page 46.

2 “Launching Pro Tools LE” on page 48.

3 Configuring your system for improved perfor-

mance (see Chapter 7, “Pro Tools Configura-
tion”).

Chapter 6: Installing Pro Tools On Windows 45

 3 Follow the on-screen instructions to proceed
Installing Pro Tools LE and with installation and click Next when prompted.
Connecting Your Interface 4 To install the complete compliment of
Before connecting your Pro Tools LE interface to Pro Tools software and plug-ins, leave Pro Tools
the computer, you need to install Pro Tools LE selected.
software.
5 At the Select Features page, do one of the fol-
lowing:
Do not start this procedure with your Eleven
Rack connected to your computer. • To install all Pro Tools application files and
free plug-in suites (and associated content),
To install Pro Tools LE: leave the default Installation options se-
1 Start Windows, logging in with Administrator
lected and click Continue.
privileges. For details on Administrator privi- – or –
leges, refer to your Windows documentation. • Select (or deselect) a custom configuration
2 Insert the Pro Tools LE Installer disc in your
of Installation options (see “Installation
DVD drive and do one of the following: Options” on page 47) and click Continue.

• If Windows AutoRun is enabled, the in- 6 Click Next.

staller splash screen will appear. Follow the
7 Click Install.
on-screen instructions.
8 When prompted, connect the small end of the
– or –
included USB cable to the USB port on Eleven
• If Windows AutoRun is disabled and the
[Link] the other end of the USB cable to
splash screen does not appear, locate and
any available USB port on your computer.
double-click [Link] on the installer disc.
Eleven Rack may not function properly if
connected to a USB hub. If you need to use a
hub for other USB peripherals, connect the
hub to a separate USB port; Eleven Rack
[Link] icon must be connected to a dedicated port on the
computer in order to function properly

In Vista, if the User Account Control dialog 9 Click OK.

appears, click Allow.
In Windows Vista, a series of Windows Se-
curity dialogs may appear. Click “Install” on
each one until they go away.

46 Eleven Rack User Guide

 Additional Options
In Windows XP, a series of Software Instal-
lation dialogs about the driver not passing The Pro Tools installer provides the following
Windows Logo testing may appear. Click additional options to install along with
Continue Anyway on each one until they go Pro Tools software and plug-ins.
away.
Mac HFS+ Disk Support Option This option lets
If any other dialogs appear (such as the your Pro Tools system read, write, record, and
“Found New Hardware” dialog), leave them play back using Mac-formatted HFS+ disks. HFS+
open and do not click on them. These dia- disks are commonly referred to as Mac OS Ex-
logs will close on their own. tended disks.

10 Wait for the installer to finish installing all Avid Video Engine The Avid Video Engine is re-
software components, drivers, and PACE System quired to use Pro Tools with Avid video periph-
files before proceeding to the next step. erals such as the Avid Mojo.

11 When installation is complete, click Finish Command|8 Controller and Driver The Com-
and restart your computer. mand|8® driver is required if you are using the
Digidesign Command|8 control surface.
Installation Options
Installing QuickTime
Pro Tools LE Options
QuickTime is required for Pro Tools if you plan
To install a subset of Pro Tools software and to include movie files, or import MP3 or MP4
plug-ins (and associated content), click the plus (AAC) files in your sessions. QuickTime for Win-
(+) next to Pro Tools LE option in the Select Fea- dows is available as a free download from the
tures page of the installer, and deselect any of Apple website ([Link]).
the following options that you do not want in-
stalled. For information on which version of Quick-
Time is compatible with your version of
Application Files (Required for Pro Tools) Installs Pro Tools, visit the compatibility pages of
the Pro Tools application and supporting library the Digidesign website:
files needed to run Pro Tools. This option must [Link]/compatibility
be selected to install Pro Tools.
To install QuickTime:
DigiRack Plug-Ins Installs free plug-ins including
1 Visit [Link] and go to the Quick-
DigiRack plug-ins, free Bomb Factory plug-ins,
TL Utilities, and Digidesign D-Fi and Maxim Time page.
plug-ins. 2 Download the QuickTime installer applica-
tion to your computer.
Pro Tools Creative Collection Installs a set of free
RTAS effects plug-ins and virtual instrument 3 Double-click the QuickTime installer applica-
plug-ins (including over 4 GB of associated sam- tion and follow the on-screen installation in-
ple content). For more information, see the Cre- structions.
ative Collection Plug-ins Guide.
4 Restart your computer.

Chapter 6: Installing Pro Tools On Windows 47

 Launching Pro Tools LE Additional Software on the
When launching Pro Tools LE the first time, you
Pro Tools Installer Disc
are prompted to enter an authorization code. The Pro Tools LE Installer disc provides addi-
tional software for your system, including audio
To authorize Pro Tools LE software: drivers (for playing other audio applications
1 Make sure Eleven Rack is connected to your through your Digidesign hardware) and a
computer. Pro Tools demo session.

2 Double-click the Pro Tools LE shortcut on Refer to your Pro Tools Installer disc for ad-
your desktop (or the application icon in the ditional software and installers.
Pro Tools folder inside the Digidesign folder).

3 Enter the authorization code in the dialog Third-Party Applications and

(making sure to type it exactly as printed, and Plug-ins
observing any spaces and capitalization), then Your Pro Tools package also includes several free
click Validate. (Your authorization code is lo- applications and plug-ins from selected Digide-
cated on a sticker on the Pro Tools LE DVD wal- sign Third Party developers. Once you've com-
let.) pleted your Pro Tools installation, you can in-
4 Use the Quick Start dialog to do one of stall these separately. Go to the Additional
the following: Files\3rd Party Content folder on the
Pro Tools LE Installer disc.
• Create a new session from template.
• Create a new blank session.
• Open any other session on your system. Windows Audio Drivers
The Digidesign ASIO Driver and WaveDriver
Windows System Audio Driver let you use your
Digidesign Eleven Rack hardware interface with
third-party applications that support the ASIO
Driver or WaveDriver MME (Multimedia Exten-
sion).

The Digidesign ASIO Driver and WaveDriver for

Eleven Rack are automatically installed when
you install Pro Tools.

Quick Start dialog

For more information on the Quick

Start dialog and session templates, see the
Pro Tools Reference Guide (Help >
Pro Tools Reference Guide).

48 Eleven Rack User Guide

Digidesign ASIO Driver Pro Tools Demo Session
The Digidesign ASIO (Audio Sound Input Out- The Pro Tools LE Installer disc includes a demo
put) Driver is a single-client multichannel session that you can use to verify that your sys-
sound driver that allows third-party audio pro- tem is working.
grams that support the ASIO standard to record
and play back through Digidesign hardware. The demo session for Pro Tool LE is named “Fil-
tered Dream.”
For detailed information on configuring the
Digidesign ASIO Driver, see the Windows Before installing the demo session to your
Audio Drivers Guide. audio drive, make sure the drive is config-
ured as described in “Formatting an Audio
Digidesign WaveDriver Drive” on page 100.
(Windows XP Only)
To install the demo session:
The Digidesign WaveDriver Windows System 1 Insert the Pro Tools LE Installer disc into your
Audio Driver is a single-client, stereo sound DVD drive.
driver that allows third-party audio programs
that support the WaveDriver MME (Multimedia 2 On the Pro Tools LE Installer disc, locate and

Extension) standard to play back through open the Additional Files\Pro Tools Demo Ses-
Digidesign hardware. sions Installer folder.

3 Double-click LE Demo Session [Link].

For detailed information on configuring the
Digidesign WaveDriver, see the Windows 4 Follow the onscreen instructions.
Audio Drivers Guide.
5 When prompted, select your audio drive as
the install location and click Next to begin the
Standalone Windows Audio Drivers
install.
Digidesign Windows Audio Drivers can be in-
6 When installation is complete, click Finish.
stalled on Windows systems that do not have
Pro Tools software installed. Use the standalone The demo session can be opened by double-
version of the Digidesign Windows Audio Driv- clicking the Filtered [Link] file (located
ers installer (Digidesign Audio Drivers in the Filtered Dream Demo Session folder).
[Link]), which is available on the
Pro Tools LE Installer disc.

For information on installing and configur-

ing the standalone version of the Digidesign
Windows Audio Drivers, see the Windows
Audio Drivers Guide.

Chapter 6: Installing Pro Tools On Windows 49

 Uninstalling Pro Tools
Use the Uninstall Pro Tools application to unin-
stall Pro Tools software from your computer.

To uninstall Pro Tools from your computer:

1 Start Windows, logging in with Administrator
privileges. For details on Administrator privi-
leges, refer to your Windows documentation.

2 Go to C:\Program Files\Digidesign\
Pro Tools\Pro Tools Utilities and double-click
Uninstall Pro [Link].

3 Click Next.

4 Click Uninstall to proceed with the uninstalla-

tion.

50 Eleven Rack User Guide

Chapter 7: Pro Tools Configuration

After you have connected your system and in- Shut down your Pro Tools system in this order:
stalled Pro Tools software, you are ready to start
1 Quit Pro Tools and any other running applica-
up and configure your Pro Tools system.
tions.

To quit Pro Tools, choose Pro Tools > Quit

(Mac) or File > Exit (Windows).
Starting Up or Shutting Down
Your System 2 Turn off or lower the volume of all output de-
vices in your system.
To ensure that the components of your
Pro Tools system communicate properly with 3 Turn off your computer.
each other, you need to start them in a particu-
4 Turn off any MIDI interfaces, MIDI devices, or
lar order.
synchronization peripherals.

Start up your Pro Tools system in this order: 5 Turn off any control surfaces.

1 Lower the volume of all output devices in your 6 Turn off any external hard drives.
system.
7 Turn off your Eleven Rack.
2 Turn on your Eleven Rack.

3 Turn on any external hard drives. Wait ap-

proximately ten seconds for them to spin up to
speed.

4 Turn on any control surfaces (such as Com-

mand|8).

5 Turn on any MIDI interfaces, MIDI devices, or

synchronization peripherals.

6 Turn on your computer.

7 Launch Pro Tools or any third-party audio or

MIDI applications.

Chapter 7: Pro Tools Configuration 51

 Hardware Buffer Size
Configuring Pro Tools LE
The Hardware Buffer Size (H/W Buffer Size) con-
trols the size of the buffer used to handle host
Pro Tools System Settings processing tasks such as RTAS plug-ins.
In the Playback Engine dialog, Pro Tools LE lets • Lower Hardware Buffer Size settings are useful
you adjust the performance of your system by for improving latency issues in certain record-
changing system settings that affect its capacity ing situations or for improving certain system
for processing, playback, and recording. performance problems. On Pro Tools LE sys-
tems, lower settings reduce all input-to-out-
In most cases, the default settings for your sys-
put monitoring latency on any record-armed
tem provide optimum performance, but you
tracks or Auxiliary Input tracks with live in-
may want to adjust them to accommodate large
puts.
or processing-intensive Pro Tools sessions.
• Higher Hardware Buffer Size settings are use-
ful for sessions that are using more RTAS plug-
ins for playback. These settings allow for more
audio processing. They can also be useful to
reduce errors on machines that require a
higher buffer size.

In addition to causing slower screen re-

sponse and monitoring latency, higher
Hardware Buffer Size settings can increase
the latency caused by RTAS plug-ins, and
affect the accuracy of plug-in automation,
mute data, and MIDI track timing.

To change the Hardware Buffer Size:

1 Choose Setup > Playback Engine.
Playback Engine dialog (Structure plug-in installed)
2 From the H/W Buffer Size pop-up menu, select
the audio buffer size, in samples.

3 Click OK.

Low Latency Monitoring mode can be used

to circumvent latency caused by higher buf-
fer settings when recording. This can be tog-
gled on and off by clicking Options > Low
Latency Monitoring in Pro Tools.

52 Eleven Rack User Guide

RTAS Processors To set the number of RTAS Processors:

The RTAS Processors setting determines the 1 Choose Setup > Playback Engine.

number of processors in your computer allo- 2 From the RTAS Processing pop-up menu, select
cated for RTAS (Real-Time AudioSuite) plug-in the number of available processors you want to
processing. allocate. The number of processors available var-
ies depending on how many processors are
With computers that have multiple processors,
available on your computer:
or that feature multi-core processing or hyper-
threading, this setting lets you enable multipro- • Select 1 Processor to limit RTAS processing
cessor support for RTAS plug-ins. Used in combi- to one CPU in the system.
nation with the CPU Usage Limit setting, the • Choose 2 Processors to enable load balanc-
RTAS Processors setting lets you control the way ing across two available processors.
RTAS processing and other Pro Tools tasks are • On systems running four or more proces-
handled by the system. sors, choose the number of processors for
RTAS processing.
For example:
3 Click OK.
• For sessions with large numbers of RTAS plug-
ins, you can allocate 2 or more processors to
System Usage Window and RTAS Processing
RTAS processing and set a high CPU Usage
Limit. The System Usage window (Window > System Us-
• For sessions with few RTAS plug-ins, you can age) displays the combined amount of RTAS
allocate fewer processors to RTAS processing processing occurring on all enabled processors
and set a low CPU Usage Limit to leave more with a single indicator, regardless of how many
CPU resources available for automation accu- processors are available in the system. If the Sys-
racy, screen response, and video. tem Usage Window shows that you are at the
limit of available resources, increase the number
• Depending on the importance of video and
of RTAS processors and adjust the CPU Usage
overall screen response, and on the density of
Limit setting.
automation being employed, try different
combinations of RTAS Processors and CPU Us-
age Limit settings to achieve the best results.
For example, to improve screen response in a
medium-sized session using a moderate num-
ber of RTAS plug-ins, try reducing the number
of RTAS plug-ins, but keep the CPU Usage Limit
set to the maximum (up to 99% on a single
processor system).

Chapter 7: Pro Tools Configuration 53

 CPU Usage Limit RTAS Engine (RTAS Error Suppression)
The CPU Usage Limit setting controls the per- The RTAS Engine option determines RTAS error
centage of CPU resources allocated to Pro Tools reporting during playback and recording. This is
host processing tasks. Used in combination with especially useful when working with instrument
the RTAS Processors setting, the CPU Usage Limit plug-ins.
setting lets you control the way Pro Tools tasks
are carried out by the system. You should only enable RTAS error suppression
if you are experiencing frequent RTAS errors
• Lower CPU Usage Limit settings limit the effect that are interrupting your creative workflow.
of Pro Tools processing on other CPU-inten- When RTAS error suppression is enabled, you
sive tasks, such as screen redraws, and are use- can experience a degradation of audio quality.
ful when you are experiencing slow system However, this may be acceptable in order to
response, or when running other applications avoid interrupting playback and recording
at the same time as Pro Tools. when working with instrument plug-ins. Be sure
• Higher CPU Usage Limit settings allocate more to disable RTAS error suppression when you
processing power to Pro Tools, and are useful need to ensure the highest possible audio qual-
for playing back large sessions or using more ity, such as for a final mix.
RTAS plug-ins.
To enable RTAS error suppression:
The maximum available CPU Usage Limit de-
pends on the number of processors in your com- 1 Choose Setup > Playback Engine.
puter and on the number of processors you spec- 2 Select Ignore Errors During Playback/Record.
ify for RTAS processing. This value can range
from 85% for single-processor computers, and 3 On Mac, you can also select Minimize Additional
99% for multiprocessor computers (which dedi- I/O Latency.
cate one entire processor to Pro Tools). 4 Click OK.

On multiprocessor computers, the maximum

CPU Usage Limit is reduced when you use all your
processors (as selected in the RTAS Processing
pop-up menu). For example, on dual-processors,
the limit is 90%. On four-processor computers,
the limit is 95%.

Increasing the CPU Usage Limit may slow

down screen responses on slower computers.

To change the CPU Usage Limit:

1 Choose Setup > Playback Engine.

2 From the CPU Usage Limit pop-up menu, select

the percentage of CPU processing you want to
allocate to Pro Tools.

3 Click OK.

54 Eleven Rack User Guide

RTAS Error Suppression Options The optimum DAE Playback Buffer Size for most
disk operations is 1500 msec; Level 2 (Default).
Ignore Errors During Playback/Record When en-
abled, Pro Tools continues to play and record • DAE Playback Buffer Size settings lower than
even if the RTAS processing requirements ex- 1500 msec; Level 2 (Default) may improve
ceed the selected CPU Usage Limit. This can result playback and recording initiation speed, as
in pops and clicks in the audio, but does not well as preview in context in DigiBase brows-
stop the transport. ers. However, a lower setting may make it dif-
ficult to play or record tracks reliably with
Minimize Additional I/O Latency (Mac sessions containing a large number of tracks
Only) When enabled, any additional latency due or a high density of edits, or with systems that
to suppressing RTAS errors during playback and have slower or heavily-fragmented hard
record is minimized to 128 samples. Suppressing drives.
RTAS errors requires at least 128 samples of ad-
• DAE Playback Buffer Size settings higher than
ditional buffering on some systems. If this op-
1500 msec; Level 2 (Default) allow higher track
tion is disabled, the buffer is half the H/W Buffer
count, higher density of edits in a session, or
Size, or at least 128 samples (whichever is
the use of slower hard drives. However, a
greater). If you are on an older, slower computer,
higher setting may increase the time lag when
you may want to disable this option to avoid ad-
starting playback or recording, starting pre-
verse performance.
view in context from DigiBase browsers, or
This option is only available on Mac if the Ignore cause a longer audible time lag while editing
Errors During Playback/Record option is enabled. during playback.

Using a larger DAE Playback Buffer Size

DAE Playback Buffer Size
leaves less system memory for other tasks.
The DAE Playback Buffer Size setting determines The default setting of 1500 msec (Level 2) is
the amount of memory DAE allocates for disk recommended unless you are encountering
buffers. In addition to levels, the DAE Playback –9073 (“Disk too slow or fragmented”)
Buffer Size shows values in milliseconds, which errors.
indicate the amount of audio buffered when the
To change the DAE Playback Buffer Size:
system reads from disk.
1 Choose Setup > Playback Engine.

2 From the DAE Playback Buffer pop-up menu, se-

lect a buffer size. Memory requirements for each
setting are shown at the bottom of the Playback
Engine dialog.

3 Click OK.

If Pro Tools needs more system memory for the

DAE Playback Buffer, it will prompt you to re-
start your computer.

Chapter 7: Pro Tools Configuration 55

 Cache Size Plug-in Streaming Buffer Size
The Cache Size setting determines the amount (Structure Plug-in Only)
of memory DAE allocates to pre-buffer audio for
This setting appears in the Playback Engine dia-
playback and looping when using Elastic Audio.
log only if Structure, Structure LE, or
Minimum Reduces the amount of system mem- Structure Free is installed on your system. The
ory used for disk operations and frees up mem- Plug-in Streaming Buffer Size determines the
ory for other system tasks. However, perfor- amount of memory DAE allocates for streaming
mance when using Elastic Audio features may playback from disk with the Structure plug-in.
decrease. This setting only affects playback if disk stream-
ing is activated in Structure’s plug-in controls
Normal Is the optimum Cache Size for most ses- (see the Structure Plug-in Guide for more informa-
sions. tion).

Large Improves performance when using Elastic The optimum Plug-in Streaming Buffer Size for
Audio features, but it also decreases the amount most sessions is 250 ms (Level 2).
of memory available for other system tasks, such
• Plug-in Streaming Buffer Size settings lower
as RTAS processing.
than 250 msec (Level 2) reduce the amount of
Using a larger Cache Size leaves less system system memory used for sample playback and
memory for other tasks. The default setting frees up memory for other system tasks. How-
of Normal is recommended unless you are ever, audio quality of sample playback may
encountering -9500 (“Cache too small”) decrease.
errors. • Plug-in Streaming Buffer Size settings higher
than 250 msec (Level 2) improve the audio
To change the Cache Size: quality of sample playback, but they also de-
1 Choose Setup > Playback Engine. crease the amount of memory available for
other system tasks, such as RTAS processing.
2 From the Cache Size pop-up menu, select a
disk cache size. Using a larger Plug-in Streaming Buffer Size
leaves less system memory for other tasks.
3 Click OK.
The default setting of 250 ms (Level 2) is
recommended unless you are experiencing
problems with the audio quality of sample
playback.

To change the Plug-in Streaming Buffer Size:

1 Choose Setup > Playback Engine.

2 From the Plug-in Streaming Buffer Size pop-up

menu, select a buffer size.

3 Click OK.

56 Eleven Rack User Guide

Optimizing the Plug-in Streaming Buffer Pro Tools Hardware Settings
Size
In the Hardware Setup dialog, Pro Tools lets you
(Structure Plug-in Only) set the default sample rate and clock source for
your system, as well as a range of controls spe-
This option appears in the Playback Engine dia-
cific to each type of audio interface.
log only if one of the Structure sampler instru-
ment plug-in is installed on your system. This
option is useful when you are playing samples Default Sample Rate
from the same drive that contains audio for the
The Sample Rate setting appears as the default
current session. When this option is selected,
sample rate when you create a new session. (This
Pro Tools automatically optimizes the size of the
setting is available in the Hardware Setup dialog
Plug-in Streaming Buffer to facilitate disk access
only when no session is open.) The following
for both Pro Tools and Structure. The Plug-in
sample rates are available:
Streaming Buffer Size pop-up menu is unavail-
able when this option is selected. • 44.1 kHz
• 48 kHz
To set Pro Tools to optimize the Plug-in Streaming • 88.2 kHz
Buffer Size:
• 96 kHz
1 Choose Setup > Playback Engine.

2 Select the Optimize for Streaming Content op-

You can change the sample rate when creat-
tion. ing a new Pro Tools session by selecting a
different sample rate in the New Session
3 Click OK. dialog. (Refer to the Pro Tools Reference
Guide for details.)

To change the default Sample Rate:

1 Choose Setup > Hardware.

Hardware Setup dialog for Eleven Rack

2 Select the sample rate from the Sample Rate

pop-up menu.

3 Click OK.

Chapter 7: Pro Tools Configuration 57

 Clock Source Digital Format
The Pro Tools Hardware Setup dialog lets you se- The Pro Tools Hardware Setup dialog lets you se-
lect the Clock Source for the system. lect the format of Eleven Rack’s digital I/Os.

Internal Use this setting if you are recording an- AES/EBU Use this setting if you are interfacing
alog signals directly into Eleven Rack, and/or are Eleven Rack with a digital device that uses the
recording digital inputs into the AES/EBU or AES/EBU format.
S/PDIF ports on Eleven Rack, where the digital
device is synchronized to the appropriate digital S/PDIF Use this setting if you are interfacing
output. Eleven Rack with a digital device that uses the
S/PDIF format.
AES/EBU Use this setting if you are recording
through the Eleven Rack AES/EBU inputs from To select the Digital Format:
an external digital device. This setting will syn-
1 Choose Setup > Hardware.
chronize Pro Tools to that digital device.
2 Select which digital I/O port on Eleven Rack
S/PDIF Use this setting if you are recording will be active under Digital Format.
through the Eleven Rack S/PDIF inputs from an
external digital device. This setting will synchro- 3 Click OK.
nize Pro Tools to that digital device.
Configuring I/O Setup
To select the Clock Source:
Using the I/O Setup dialog, you can label
1 Choose Setup > Hardware.
Pro Tools LE input, output, insert, and bus signal
2 Choose the clock source from the Clock Source paths. The I/O Setup dialog provides a graphical
pop-up menu. representation of the inputs, outputs, and signal
routing of the Eleven Rack.
3 Click OK.
Pro Tools LE has default I/O Setup settings that
Your digital input device must be connected will get you started. Use the I/O Setup dialog
and powered on for Pro Tools to synchro- only if you want to rename the default I/O
nize to it. If your input device is not powered paths.
on, leave the Clock Source set to Internal.

58 Eleven Rack User Guide

To rename I/O paths in I/O Setup: Backing Up your System
1 Choose Setup > I/O. Configuration
After configuring your system and Pro Tools,
you should save an image of your system drive
using a backup utility such as Norton Ghost. By
doing this, you can quickly restore your system
configuration and settings if you encounter any
problems.

Optimizing a Mac System for

Pro Tools
I/O Setup dialog for Eleven Rack
To ensure optimum performance with
2 Click the Input, Output, Insert, or Bus tab to dis-
Pro Tools, configure your computer before using
play the corresponding connections.
Pro Tools hardware and software.
3 To change the name of a path or subpath, dou-
ble-click directly on the Path Name, type a new For Windows System Optimization, see
name for the path, and press Enter. “Optimizing a Windows System for
Pro Tools” on page 62.
4 Click OK.
Before configuring your computer, make sure
See the Pro Tools Reference Guide (Help > you are logged in as an Administrator for the ac-
Pro Tools Reference Guide) for more infor- count where you want to install Pro Tools. For
mation on renaming I/O paths. details on Administrator privileges in Mac OS X,
refer to your Apple OS X documentation.
Configuring MIDI Setup
Do not use the Mac OS X automatic Soft-
If you plan to use any MIDI devices with Pro Tools, ware Update feature, as it may upgrade
do one of the following: your system to a version of Mac OS that has
not yet been qualified for Pro Tools.
„ On Mac, configure your MIDI setup with Au-

dio MIDI Setup. For details on qualified versions of Mac OS,

– or – refer to the latest compatibility information
on the Digidesign website
„ On Windows, configure your MIDI setup with
([Link]/compatibility).
MIDI Studio Setup.

Chapter 7: Pro Tools Configuration 59

 Turning Off Software Update Disable or Reassign Mac Keyboard
Shortcuts Used by Pro Tools
To turn off the Software Update feature:
To have the full complement of Pro Tools key-
1 Choose System Preferences from the Apple board shortcuts, you need to disable or reassign
menu and click Software Update. any conflicting Mac OS X Keyboard Shortcuts in
2 Click the Software Update tab. the Apple System Preferences, including the fol-
lowing:
3 Deselect Check for Updates.
• “Show Help menu”

Turning Off Energy Saver • Under “Keyboard Navigation”

• “Move focus to the window drawer”
To turn off the Energy Saver feature: • Under “Dock, Exposé, and Dashboard”
1 Choose System Preferences from the Apple • “Automatically hide and show the Dock”
menu and click Energy Saver. • “All windows”
2 Click the Sleep tab and do the following: • “Application windows”
• Set the computer sleep setting to Never. • “Desktop”
• Set the display sleep setting to Never. • “Dashboard”
• Deselect Put the hard disk(s) to sleep when • “Spaces”
possible option. • Under “Spotlight”
• “Show Spotlight search field”
Setting Processor Performance • “Show Spotlight window”
(Mac G5 Computers and G4 Powerbooks Only)
For a complete list of Pro Tools keyboard
To set the Processor Performance: shortcuts, see the Keyboard Shortcuts Guide
(Help > Keyboard Shortcuts).
1 Choose System Preferences from the Apple
menu and click Energy Saver. To disable or reassign Mac OS X keyboard
shortcuts:
2 Click the Options tab and set Processor Perfor-
mance to Highest. 1 Choose System Preferences from the Apple
menu and click Keyboard & Mouse.

2 Click the Keyboard Shortcuts tab.

3 Do one of the following:

• Deselect the Mac OS X options that conflict
with Pro Tools keyboard shortcuts.
– or –
• Assign different, non-conflicting keyboard
shortcuts to the corresponding Mac OS X
options.

60 Eleven Rack User Guide

Reassign Spaces Keyboard Shortcuts Disabling Spotlight Indexing
If you want to use Spaces, you should reassign The Mac OS X Spotlight feature automatically
the Spaces keyboard shortcuts to avoid conflicts indexes files and folders on local hard drives in
with important Pro Tools keyboard shortcuts. the background. In most cases, this is not a con-
You can reassign Spaces keyboard shortcuts to cern for normal Pro Tools operation. However,
use a combination of modifier keys (Com- if Spotlight starts indexing drives while record-
mand+Option+Control+Shift) in addition to ing in a Pro Tools session with high track counts
the default Spaces keyboard shortcut assign- for an extended period of time, it can adversely
ments to avoid these conflicts. affect Pro Tools system performance. You may
want to disable Spotlight indexing for all local
To reassign Spaces keyboard shortcuts to use drives before using Pro Tools for big recording
modifier key combinations that do not conflict projects.
with Pro Tools keyboard shortcuts:
1 Choose System Preferences from the Apple
Disabling Spotlight indexing also disables
menu and click Exposé & Spaces. the Find function in Mac OS X.

2 Click the Spaces tab. To disable Spotlight indexing:

3 Ensure that Enable Spaces is selected. 1 Choose System Preferences from the Apple
menu and click Spotlight.
4 Press and hold Command+Option+Con-
trol+Shift and select “Control+Option+Shift+Com- 2 In the Spotlight window, click the Privacy tab.
mand+F8” from the “To activate Spaces” pop-up 3 To prevent indexing of a drive, drag its icon
menu. from the desktop into the list.
5 Press and hold Command+Option+Con-
trol+Shift and select “Control+Option+Shift+Com- Enabling Journaling for Audio Drives
mand+Arrow Keys” from the “To switch between
To yield higher performance from audio drives,
spaces” pop-up menu.
enable journaling.
6 Press and hold Command+Option+Con-
trol+Shift and select “Control+Option+Shift+Com- To enable journaling:
mand+Number Keys” from the “To switch directly
1 Launch the Disk Utility application, located in
to a space” pop-up menu.
Macintosh HD/Applications/Utilities.

2 Select the volume in the left column of the

Disk Utility window.

3 Click Enable Journaling in the toolbar.

Chapter 7: Pro Tools Configuration 61

 To enable DMA for any IDE hard drives:
Optimizing a Windows System 1 Right-click Computer (Windows Vista) or My
for Pro Tools Computer (Windows XP).
To ensure optimum performance with 2 In the left-hand pane of the Computer Man-
Pro Tools LE, configure your computer before agement window under System Tools, click on
using Pro Tools hardware and software. Device Manager.

For Mac System Optimization, see “Opti- 3 In the right-hand pane, click the plus (+) sign
mizing a Mac System for Pro Tools” on to expand IDE ATA/API Controllers.
page 59.
4 Right-click on the Primary IDE Controller and se-
Before configuring your computer, make sure lect Properties.
you are logged in as an Administrator for the ac- 5 Click the Advanced Settings tab.
count where you want to install Pro Tools. For
details on Administrator privileges, see your 6 For each device, do one of the following de-
Windows documentation. pending on your operating system:
• Check the box Enable DMA (Windows Vista)

Required Optimizations – or –
• Set the Transfer Mode to DMA if available
To ensure optimum performance with
(Windows XP)
Pro Tools, configure the following settings be-
fore using Pro Tools hardware and software. 7 Click OK.

8 Repeat the above steps for any additional IDE

When you are finished changing Windows
system settings, restart your computer. Channels.

9 Close the Computer Management window.

Enabling DMA
Enabling your computer's DMA (Direct Memory Disabling System Standby and Power
Access) frees up CPU bandwidth so your com- Management
puter can do other Pro Tools tasks.
When using Pro Tools, the Windows System
In most cases the DMA option will already be set Standby power scheme must be set to Always On.
correctly, as Windows detects and activates This helps prevent long record or playback
DMA mode by default. passes from stopping due to system resources
powering down.

62 Eleven Rack User Guide

To configure Windows Power Management Disabling User Account Control
(Windows Vista):
(Windows Vista Only)
1 Choose Start > Control Panel.
For optimal performance with Pro Tools on
2 Double-click Power Options.
Windows Vista, disable User Account Control
3 In the Power Options window, select High Per- (UAC).
formance.
To disable User Account Control (UAC):
4 Click Change plan settings.
1 Choose Start > Control Panel.
5 In the Edit Plan Settings window, click Change
advanced power settings. 2 Double-click User Accounts.

6 In the Power Options dialog, reveal Hard disk > 3 Click Turn User Account Control on or off.
Turn off hard disk after. 4 Deselect the Use User Account Control (UAC) to

7 Click the Setting option. help protect your computer option.

8 Select the value in the Setting (Minutes) field 5 Click OK.

and press Backspace on your computer key-
board. Recommended Optimizations
9 Press Enter. The hard disk setting changes to Pro Tools can also be affected by other software
Never and the Power Options dialog closes. and hardware drivers installed on your com-
10 In the Edit Plan Settings window, click Save puter. For best possible performance, it is recom-
changes and close the window. mended (but not required) that you do the fol-
lowing:
To configure Windows Power Management • Avoid running any unneeded programs at
(Windows XP): the same time as Pro Tools.
1 Choose Start > Control Panel. • Turn off any software utilities that run in
the background, such as Windows Messen-
2 Double-click Power Options.
ger, calendars, and disk maintenance pro-
3 Click the Power Schemes tab. grams.
• Turn off any non-essential USB devices
4 From the Power Schemes pop-up menu, select
while running Pro Tools.
Always.
• If your video display card supports it, en-
5 Verify that the following settings are set to able Bus Mastering in the manufacturer’s
Never: Control Panel. See the manufacturer’s in-
• Turn off hard disks structions for details.
• System standby
• System hibernates

6 Click OK.

Chapter 7: Pro Tools Configuration 63

 Optional Optimizations Adjusting Processor Scheduling
The following system optimizations may help To adjust Processor Scheduling performance:
Pro Tools perform better on some systems. It is
recommended that you only try these optimiza- 1 Right-click Computer (Windows Vista) or My

tions if necessary, as they may disable or ad- Computer (Windows XP) and choose Properties.
versely affect the functionality of other pro- 2 in the System Properties window, click the Ad-
grams on your system. vanced tab.

3 Under the Performance section, click the Set-

Disabling Network Cards
tings button.
If applicable, disable any networking cards
4 In the Performance Options window, click the
(other than a FireWire card that you might use
Advanced tab.
to connect an external drive to your system).
5 Under the Processor Scheduling section, select
To disable a network card: the Background Services option.

1 Right-click Computer (Windows Vista) or My 6 Under the Memory Usage section, select the
Computer (Windows XP) and choose Manage. System cache option.

2 Under System Tools, select Device Manager. 7 Click OK to close the Performance Options
window.
3 In the Device Manager window, double-click
Network adapters, then double-click the Network 8 Click OK to close the System Properties win-
Adapter card you want to disable. dow.

4 Under the General tab, choose “Do not use this 9 Restart the computer for the changes to take
device (disable)” from the Device Usage pop-up effect.
menu, and click OK.

5 Close the Computer Management window.

64 Eleven Rack User Guide

Disabling System Startup Items
The fewer items in use by your computer, the
more resources are available for Pro Tools. Some
startup applications may be consuming unnec-
essary CPU resources, and can be turned off.

If you disable any of the following startup items,

do so carefully:
• Portable media serial number (required for
some applications that utilize a copy pro-
tection key)
• The Plug and Play service
• Event log
• Cryptographic services

To Disable System Startup Items:

1 From the Start menu, type “msconfig” in Start
Search (Windows Vista) or in Run (Windows XP)
and click OK to open the System Configuration
Utility.

2 Under the General tab, choose Selective

Startup.

3 Deselect Load Startup Items and click OK.

4 Click Restart to restart the computer.

5 After restarting, the computer displays a Sys-

tem Configuration message. Check to see if
Pro Tools performance has increased before you
deselect the Don't show this message again op-
tion. If performance has not changed, run
“msconfig” and return your computer Startup
Selection back to Normal Startup - load all device
drives and services. Alternatively, try disabling
Startup items and non-essential processes indi-
vidually.

Chapter 7: Pro Tools Configuration 65

66 Eleven Rack User Guide
Chapter 8: Eleven Rack Studio Setup

This chapter will take you through connecting and configuring Eleven Rack to work at its best with
the other gear in your recording setup, like speakers, headphones, instruments and microphones.

Figure 8. Eleven Rack Studio Setup

This first section addresses the connections you’ll want to make when recording with Pro Tools LE.
If you’re using Eleven Rack as a processor with a Pro Tools HD system, see “Using Eleven Rack with
a Pro Tools|HD or M-Powered System” on page 71.

Chapter 8: Eleven Rack Studio Setup 67

 Main output volume (higher or lower) by
Listen to Your Sound changing the setting in User Options Mode. For
more details, see “Headphone Volume” on
To hear audio from Pro Tools, you will need to
page 94.
connect a set of speakers or a pair of headphones
to Eleven Rack. Sound from Pro Tools cannot be
played through your computer’s speakers or
your computer’s sound output. Analog Audio Inputs
Eleven Rack features three types of analog in-
Connecting the Main Outputs puts. There is a dedicated guitar (instrument-
level) input, a stereo line input, and a mic-level
The Main outputs on the back of Eleven Rack are
input. Choose the input type that fits the signal
male XLR connectors. To listen to audio coming
you want to send to Pro Tools.
from Eleven Rack, these outputs should be con-
nected to a set of monitor speakers (self-powered
or with an external amplifier) or a mixer or Connecting Your Guitar
monitor controller system.
Use the Guitar input for instruments such as
Main outputs Left and Right output the audio electric guitar or electric bass that usually have a
that is routed to the Main Out L/R output path lower level of output than line level instru-
within Pro Tools. ments.

The signal coming out of the Main outputs To connect a guitar or other instrument-level
is at line level (+4 dbu). Take care to use device to Eleven Rack:
line-level (not mic-level) inputs when con-
„ Connect your instrument to the Guitar input
necting Eleven Rack to a mixer.
on the front panel of Eleven Rack using a stan-
dard 1/4-inch TS guitar cable.
Connecting a Pair of Headphones
On the front panel of the Eleven Rack is a Connecting Line-Level Devices
1/4-inch jack to connect a pair of headphones.
Use the Line inputs for line level devices, such as
The Phones jack outputs the audio that is
s
keyboards, mixers, and mic preamps.
routed to the Main Out L/R output path within
Pro Tools. To connect a keyboard, mixer or other line-level
device to Eleven Rack:

Setting Monitor Volume 1 Plug your device into the Line inputs on the
back panel of Eleven Rack using one or two stan-
The Volume knob on the front of Eleven Rack
dard 1/4-inch (TRS or TS) cables. If the device is
adjusts the output volume of the Main outputs
mono, plug it into one of the Line inputs. If the
and the Headphone Outs simultaneously. You
device is stereo, plug it into both the left and
can offset the Headphone volume from the
right Line inputs with two cables.

68 Eleven Rack User Guide

2 Set your device’s output volume to its optimal To connect a microphone or other mic-level device
level. For example, the optimal level for most to Eleven Rack:
keyboards is between 80% and 100% of maxi- 1 If using a microphone that may be damaged
mum volume. by phantom power (some ribbons, some tube
3 If your device has unbalanced (TS) outputs, set condensers), flip the Phantom Power switch (la-
the line inputs on Eleven Rack to –10 dVB by beled 48V) to OFF.
toggling the Level switch between the Line in- 2 Plug your microphone cable into the Mic in-
put jacks to its outward position. If your device put on the front of Eleven Rack.
has balanced (TRS) outputs, set the Line inputs
to +4 dVB by toggling the Level switch to its in- 3 If your microphone requires phantom power,
ward position. make sure the microphone is connected, then
flip the Phantom Power switch to ON.

Connecting a Microphone to 4 Carefully turn the Gain control up to increase

Eleven Rack the input level of your microphone signal.

5 If the incoming signal seems too loud or

Eleven Rack provides an XLR mic input. It can
accept a microphone, DI box, or any other sounds distorted, even with the Gain knob all
mic-level device. the way down, flip the Pad switch to ON to en-
gage the –20 dB pad.

6 On the front of the Eleven Rack, carefully turn

the Gain control to the right to increase the in-
put level of your microphone signal.

Digital Audio Input and Output

Eleven Rack provides digital inputs and outputs
Mic input Phantom Pad Mic for AES/EBU and S/PDIF format digital audio de-
Power (48v) On/Off Gain vices. You can use these connections to record
On/Off Switch Control from digital sources, use external digital effects,
Switch
or send Pro Tools audio to an external digital re-
Eleven Rack mic-level input and controls corder.

Eleven Rack can have devices connected to

both the AES/EBU and S/PDIF ports simul-
taneously, but only one format of device can
be used at one time. You can switch be-
tween these two formats from within Pro
Tools LE, or from the front panel of Eleven
Rack, if using it as a standalone processor.

Chapter 8: Eleven Rack Studio Setup 69

 To connect a digital device to Eleven Rack, do one At this point, you can try to record some signal
of the following: from the digital device (if it is a sound source,
• Connect the AES/EBU output on the device to like a keyboard or CD player), inserting it onto a
the AES/EBU input on Eleven Rack, and the pre-recorded track (if it’s an effects processor),
device’s AES/EBU input to Eleven Rack’s and so on.
AES/EBU output, with two AES/EBU-format
XLR cables. If you get no signal or a compromised signal,
double-check that Pro Tools and your exter-
– or – nal device are set to the same sample rate and
• Connect the S/PDIF output on the device to digital I/O format, and that Pro Tools is set
the S/PDIF input on Eleven Rack, and the de- to receive sync from the external device.
vice’s S/PDIF input to Eleven Rack’s S/PDIF
output port, using two 75-ohm coaxial cables
with male RCA connectors on both ends. MIDI Connections
The two MIDI ports on Eleven Rack let you take
Configuring Digital Devices advantage of all the MIDI features of
When connecting to external gear digitally, Pro Tools LE, including recording and editing
Eleven Rack and Pro Tools must be set to the MIDI data for to automate controls on Eleven
same sample rate and digital format as your dig- Rack, and/or compose using virtual or hardware
ital device. Pro Tools must also be set to clock MIDI sound sources.
from the digital device, or no audio can pass be-
If you need additional MIDI ports you can add a
tween them.
compatible USB-based MIDI interface to your
system.
To configure Pro Tools to interface with a digital
device:
To connect a MIDI device to Eleven Rack:
1 Choose Setups > Hardware Setup.
1 Connect a standard 5-pin MIDI cable from the
2 Select AES External or S/PDIF External from the MIDI Out port of your device to the MIDI In
Clock Source pop-up menu, to match with the port on the back of Eleven Rack.
device.
2 If the device has a MIDI input and you plan to
3 Change the sample rate of your external de- send MIDI signals to it from Pro Tools, connect
vice to match the rate you are using or plan to another MIDI cable from the MIDI Out port on
use in your Pro Tools session. If your device op- the back of Eleven Rack to the MIDI In port of
erates in a limited range of sample rates, you’ll your device.
need to stay within that range when choosing
the sample rate for your Pro Tools session. MIDI Out
MIDI In
4 Click OK.

Eleven Rack MIDI connections

70 Eleven Rack User Guide

Using Eleven Rack with a Pro Tools|HD or M-Powered System

Analog I/O -or- Digital I/O

Pro Tools HD Audio Interface

Figure 9. Eleven Rack connected to a Pro Tools|HD system

You’ll also need to install the included Pro Tools

Apart from its roles as a Pro Tools LE interface HD or M-Powered software update, unless
and standalone guitar processor, Eleven Rack you’re already using version 8.0.1 or higher.
can also be used alongside a Pro Tools|HD or
Pro Tools M-Powered system, acting as a re- The included update requires Pro Tools 8.0
mote-controlled processing system and guitar software to update from. If your HD or
preamp. M-Powered system has not already been
updated to at least Pro Tools version 8.0,
You’ll need a digital or analog audio connection
you’ll need to purchase and install that
to and from the Pro Tools|HD or M-Powered sys-
upgrade before you can control Eleven Rack
tem to run audio through Eleven Rack. If you
and manage Rigs from within Pro Tools.
want to use the Eleven Rack Control window in
Visit [Link] for upgrade
Pro Tools to control Eleven Rack and manage
details.
Rigs, Eleven Rack must be connected to the
computer using USB.

Chapter 8: Eleven Rack Studio Setup 71

 Audio Connections To connect Eleven Rack to your Pro Tools
interface using AES/EBU or S/PDIF digital I/O:
To connect Eleven Rack to your Pro Tools 1 Connect the Eleven Rack to an open pair of
interface using analog I/O: digital inputs and outputs on your audio inter-
1 Connect the Main outputs on Eleven Rack to face, either AES/EBU or S/PDIF.
an open pair of analog line inputs on your audio
2 Hold the Edit/Back button on Eleven Rack to
interface.
enter User Options mode.
2 Hold the Edit/Back button on Eleven Rack to
3 Select Rig Input, and press the SW1 button.
enter Edit mode.
4 Choose the input you need for the current
3 Choose the input you need for the current
task:
task:
• If you want to re-amp pre-recorded signals
• If you want to re-amp pre-recorded signals
through Eleven Rack, choose Digital L+R.
through Eleven Rack, choose Line L+R.
• If you want to record an analog signal us-
– or – ing the input circuitry and Rig processing
• If you want to record an analog signal us- in Eleven Rack, choose the Guitar, Mic, or
ing Eleven Rack’s input circuitry and Rig Line option, to match the input you’re us-
processing, choose the Guitar, Mic, or Line ing.
option, to match the input you’re using.
5 Press Edit/Back to move back to the previous
4 Connect the Line inputs on Eleven Rack to an screen.
open pair of analog line outputs on your audio
6 Select Digital Clock/Input, and press SW1.
interface.
7 Set the Clock Source to External.
Press Edit/Back twice to return to the main Rig
8 Set the Digital Input to AES/EBU or S/PDIF, to
Select Screen.
match the type of connection you’re using.

9 Press Edit/Back to move back to the previous

screen.

10 Select Digital Output, and press SW1.

11 Choose Rig Outputs.

12 Press Edit/Back twice to return to the main

Rig Select Screen.

72 Eleven Rack User Guide

Configuring Your Pro Tools|HD or Setting Eleven Rack Sample Rate and
M-Powered System Clock Source

First, you’ll need to install the correct Pro Tools When Eleven Rack is connected to your com-
software and connect Eleven Rack to your com- puter via USB, the sample rate and clock source
puter using USB. can no longer be set from within the User Op-
tions mode on the front panel.
To configure your Pro Tools system to interface
with Eleven Rack: When connecting Eleven Rack to your Pro Tools
system digitally, clock source must be set to Ex-
1 Install the included Pro Tools HD software up- ternal, and the sample rate must match the rate
date from the supplied DVD, unless Pro Tools of your current Pro Tools session. You can use
version 8.0.1 or higher is already installed. the Digidesign Eleven Rack utility on your Mac
or PC to change these settings.
A pre-existing installation of Pro Tools ver-
sion 8.0 or higher is required to install this To access Eleven Rack’s sample rate and clock
update. source settings when connected via USB:

2 Use the supplied USB cable (or another USB 1 Open the Digidesign Eleven Rack utility:
2.0 cable) to connect Eleven Rack to an open • On Mac, open System Preferences from the
USB 2.0 port on your computer. Apple menu and choose Digidesign Eleven
Rack.
3 Launch Pro Tools. If the software has been in-
stalled correctly and Eleven Rack is connected – or –
via USB, the Eleven Rack Control window will • On Windows, click the Start button, choose
open, giving you access to the controls and Rig Control Panel and double-click Digidesign
management features. Eleven Rack.

For more information on controlling Eleven 2 The Digidesign Eleven Rack Properties win-
Rack from Pro Tools, see “The Eleven Rack dow will appear.
Control Window” on page 76. 3 Choose the desired clock source and sample
rate.

4 Close the System Preferences window (Mac) or

the Digidesign Eleven Rack Properties dialog
(Windows) when finished.

Chapter 8: Eleven Rack Studio Setup 73

74 Eleven Rack User Guide
Chapter 9: Eleven Rack with Pro Tools

This chapter shows you how to take advantage • Up to 128 audio tracks (with up to 48 active
of some of the unique features that Eleven Rack tracks), 128 Auxiliary Input tracks, 64 Master
brings to Pro Tools. If you’ve never recorded Fader tracks, 256 MIDI tracks, and 32 Instru-
with Pro Tools before, be sure to check out the ment tracks per session.
Intro to Pro Tools Guide that comes with • 16-bit or 24-bit audio resolution, at sample
Eleven Rack. rates up to 96 kHz.
• Non-destructive, random-access editing and
mix automation.
Pro Tools LE Capabilities • Audio processing with up to 10 inserts per
Pro Tools LE on Mac or Windows provides the- track (RTAS® plug-ins or hardware inserts).
following capabilities with Eleven Rack: • Up to 10 sends per track.
• Eight channels of simultaneous audio input: • Up to 32 internal mix busses.
• Stereo Rig output
• All analog inputs For complete information on recording in
Pro Tools, see the Pro Tools Reference Guide.
• Stereo digital input
• Six channels of simultaneous audio output:
• Main/Phones outputs
• Output To Amp outputs
• Stereo digital output
• Playback of up to 48 mono or stereo digital au-
dio tracks, or a combination of playing back
and recording up to 48 mono or stereo digital
audio tracks, depending on the capabilities of
your computer.

Chapter 9: Eleven Rack with Pro Tools 75

 The Eleven Rack Control Window

Master Control
section

Rig View
section

Effect preset
selector

Control section
(Showing the
selected effect’s
controls)

Figure 10. Eleven Rack Control window (in Pro Tools LE)

The Eleven Rack Control window is a special window in Pro Tools that lets you control Eleven Rack
entirely from your computer. It can be accessed when using Eleven Rack as an interface with
Pro Tools LE, as well as when connected to a Pro Tools HD system for control over USB.

You can open the Eleven Rack Control window by choosing Window > Eleven Rack.

76 Eleven Rack User Guide

Accessing the Eleven Rack Control Window
When Pro Tools LE, HD or M-Powered is launched and Eleven Rack is connected to your computer
using USB, The Eleven Rack Control window is displayed. You can always access it by clicking
Window > Eleven Rack.

The Eleven Rack Control window can be minimized to a basic floating window. When minimized, it
shows the Rig Library menu, basic monitoring controls and a button which activates the Tuner.

Eleven Rack Control window, minimized

Similar controls can be accessed from the Guitar panel in the top bar of controls in the Edit window.
Click the small amplifier-shaped icon in the Guitar panel to open the Eleven Rack Control window.

Opens Eleven Rack

Control window

Guitar panel in Edit window control toolbar

The Guitar panel can be hidden and/or moved within the toolbar. For more details, see the Pro Tools
Reference guide by selecting Help > Pro Tools Reference Guide.

Chapter 9: Eleven Rack with Pro Tools 77

 Rig View Section
Rig Settings Rig Utility settings

Effects name/ Selected To Amp Effect

bypass button Effect Output 1 selector
selector
Figure 11. Eleven Rack Control window (in Pro Tools LE)

In the Rig View section, you can access all of the Clicking on the Rig name brings up a menu
amp, cab, effects, and utility parameters of the where you can call up any Rig stored in the
current Rig, as well as load and save rigs to and memory of Eleven Rack or in your computer, or
from your computer. load a Rig setting from an audio file with embed-
ded Rig data.

Rig Settings
Load Rig from
Eleven Rack

Load one (or all)

Rigs from compute

Load embedded
Rig from audio
Region
Rig Rig name Save Button
number
The chosen Rig will be loaded into Eleven Rack,
The Rig Settings section lets you load, access, and can then be edited via the Eleven Rack Con-
and save Rigs to and from Eleven Rack and your trol window or the front panel of Eleven Rack.
computer.
For info on embedding Rig data in audio, see
“Embedding Rig Settings in Audio Regions”
on page 84.

78 Eleven Rack User Guide

Clicking on the Rig number brings up the Rig Li- When Pro Tools is set to manual tempo (ignor-
brarian, an all-in-one view of all Rigs currently ing the Conductor track), and Eleven Rack is set
stored in the memory of Eleven Rack. to lock to Session tempo, changes in Rig tempo
will shift the tempo of your Pro Tools session,
The name shown in the Rig Librarian is that of and vice versa.
the most recently loaded Rig. When changes are
been made to the Rig, the Save button turns red When Pro Tools is set to follow the Conductor
and the Rig number and name are shown in ital- track, and Eleven Rack is locked to Session
ics. tempo, any changes made in the Conductor
track over time will be followed by Eleven Rack.
To save the current state of your Rig Settings:
To lock Rig tempo to Pro Tools session tempo:
„ Click on the Save button. You can choose to
save the changes you’ve made to a Rig on Eleven „ Click the small Lock icon next to the tempo

Rack, to a file on your computer, or save all of display.

the Rigs currently on Eleven Rack to the com-
puter in one larger file. Exp. Pedal
The files you save to the computer can be sent to
collaborators or brought with you as you work
at other computers, so you always have access to
your settings.
The Exp. Pedal menu lets you set the behavior
Rig Utility Settings and assignment of an external expression pedal.

The Rig Utility settings section lets you control Multiple FX

the True-Z impedance-matching circuitry, vol-
ume, tempo, and expression pedal functions for When set to Multiple FX, the button to the left
the current Rig. of the assignment name will highlight. Clicking
this button will bring up a window where you
can edit up to four parameters that will be swept
Rig Tempo
by the pedal simultaneously.

The Rig Tempo menu sets the tempo of the cur-

rent Rig. Set a tempo, and the time-based effects
(tremolo, delay, etc) that are set to sync will fol-
low the new tempo. You can also choose to have
Rig tempo sync to the tempo of your Pro Tools
session.

Chapter 9: Eleven Rack with Pro Tools 79

 Each of the four Configs can be set to one pa- Amp/Cab, Effects and Pedal
rameter of one of the devices in the Rig. The Toe Settings
and Heel settings govern the top and bottom of
the sweep of the control.

If you set the Heel number higher than the

Toe number, the control can be swept in re-
verse. This section of the Rig View pane lets you reveal,
select, move, and bypass all of the amp, cabinet,
Output to Amp Selectors effects, and pedals in the current Rig. Click on a
piece of gear to highlight it, and it will show up
The Output to Amp selectors let you choose
in the Control section below.
what point in the signal path feeds Output To
Amp outputs one and two, and set the output
volume for each, to better match the input sen-
sitivity of the external amp or processor.

To set the volume of the signal sent to each To

Amp output:

Left-click the chosen To Amp output selector,

and adjust the volume using the fader.
For more information on the functions of
To choose what signal feeds each To Amp output:
the amp, cab, and effects controls, “The
„ Right-click one of the To Amp Output selec- Amps” on page 20, and “The Effects” on
tors, and do one of the following: page 27.
• If the selector you click is not yet assigned
(greyed out), a menu is displayed, letting Bypassing Amps, Cabs, and
you choose to send the signal at the chosen Effects
location to Output to Amp output one,
two, or both in stereo.
You can toggle the various gear in the current
– or – Rig on and off by clicking the name of the
• If the selector you click is already assigned desired element.
to an Output to Amp out (highlighted),
you get a menu letting you assign that To
Amp output to another point in the signal
chain.

80 Eleven Rack User Guide

Changing The Order Control Section
In the Rig View pane, you can change the order When a device is highlighted in the Rig View
of the pedals and effects in the current Rig just pane, the controls of the device are shown in the
like you can in the Rig View on Eleven Rack. Vi- Control section.
sualize the signal travelling from left to right
through the signal chain.

To change the order of gear in the signal path:

1 Click and drag a device.

2 Drop it into the desired position.

Some items in the Rig have restrictions

about where they can be placed. When
dragging a restricted item (like the FX
Loop), it will snap between the allowed
On the displayed device, you can turn the
spots.
knobs, toggle the switches, and rock the pedals,
and everything you do is transmitted to
For more information on signal routing, see Eleven Rack, so you can hear the changes you
“Don’t Forget to Save!” on page 32. make in real time.s

Selecting Effects Effects Preset Selector

Most of the effects have more than one available

model.

The Effects preset selector lets you save and re-

call preset settings for individual Eleven Rack ef-
fects, within Pro Tools.

For example, if you’ve dialed in the perfect lead

tone on the Tri-Knob Fuzz, you can save the set-
tings for that effect and recall them without
having to save or load a new Rig.

To select a different effect: These presets are handled by the same system
„ Click the Effect selector beneath the desired
(using the same file types and functions) that
Effect type, and choose a new model from the manages plug-in presets in Pro Tools.
menu.
For more information on working with pre-
This section will take you through the features sets, see the Pro Tools Reference Guide.
of the Control window.

Chapter 9: Eleven Rack with Pro Tools 81

 User Options Mode
Master Control Section
Pressing the User Options button in the Master
Control section brings up User Options mode,
which lets you access many of the under-the-
hood options you normally would access using
the User Options mode on Eleven Rack.
Figure 12. Master Control section

The Master Control section houses the controls For more information on User Options
and features that apply to all of Eleven Rack. Mode and the settings it provides access to,
see “Exploring the User Options” on
page 91.
Tuner
This tuner works like the one you can access us- Output Mute Buttons
ing the front panel of Eleven Rack, but is much These two buttons let you mute the Headphone
larger and easier to see when working in output and the Main outputs on Eleven Rack
Pro Tools. from within Pro Tools.

This comes in handy when recording with a mi-

crophone while wearing headphones (mute the
main outputs to cut out bleed from the speak-
ers), or when headphones might bleed into a re-
cording track (mute the headphones).
For more information on the Tuner con-
trols, see “Tap Tempo/Tuner Button” on
page 8. Main Volume Knob
This knob acts just like the Volume knob on the
Input Selector front panel of Eleven Rack, varying the overall
This menu lets you choose which input on output volume of the Main and Headphone out-
Eleven Rack will be fed through the Rig. This can puts.
be a physical input, or the Re-Amp outputs from
Pro Tools. For more information on these controls, see
“Eleven Rack Front Panel” on page 7, and
“User Options” on page 91.

82 Eleven Rack User Guide

 Recording Wet and Dry Signals
Recording Guitars
The Guitar Input on Eleven Rack shows up in
The simplest way to record guitar with Pro Tools as a standard mono input path (Guitar
Eleven Rack is to simply plug in your guitar, cre- In). This input passes the guitar signal, unpro-
ate a track in Pro Tools, and record the sound cessed, to Pro Tools, where it can be recorded as
coming from the Rig. normal.

To record guitar through the Rig to a track in The guitar signal also passes through the pro-
Pro Tools: cessing features of Eleven Rack, and the pro-
1 Click on the Track menu in Pro Tools and se-
cessed stereo output from the amp, cabinet, mic
lect New. and effects simulations shows up as a second,
stereo input path in Pro Tools for monitoring
2 In the New Tracks dialog, create one stereo au- and/or recording (Eleven Rig L and R). Thus, the
dio track. dry guitar signal and the output of the Rig can
3 Assign the input on the stereo track you’ve
be recorded onto separate tracks, for processing
created to Interface > Eleven Rig L/R. and editing flexibility.

4 Record-enable the track. This means that when recording guitars with
Eleven Rack, you can decide on a tone you enjoy
5 Select a Rig in the Eleven Rack Control win-
and record your parts, but retain a clean version
dow, and tweak its settings, if necessary. of those parts as well. Later, if you decide you
6 Press Record, then Play, in the Pro Tools trans- want a different sound, or simply want to stack
port. different tones on top of one another, you can
re-amp those original, unaffected guitar tracks
7 Record your guitar part.
through a different set of Rig characteristics on
Eleven Rack, or even another external guitar
Input selector setup.

For information on the re-amping process,

“Re-Amping” on page 86.

To record wet and dry versions of a guitar part

simultaneously for future re-amping:
Record-enable
button 1 Click on the Track menu in Pro Tools and
select New.

2 In the New Tracks dialog, do one of the

following:
• Create one mono audio track
– or –
• Create one stereo audio track.

3 Assign the input on the mono track you’ve

created to Interface > Guitar In.

Chapter 9: Eleven Rack with Pro Tools 83

 4 Assign the input on the stereo track you’ve To embed Rig settings in recorded audio:
created to Interface > Eleven Rig L/R.
1 Open the Eleven Rack Control window.
5 Record-enable the two tracks.
2 Click the User Options button. The Embed Set-
6 Select a Rig in the Eleven Rack Control win- ting From menu appears.
dow, and tweak its settings, if necessary.

7 Press Record, then Play, in the Pro Tools trans-

port.
3 Set the Embed Setting From menu to the input
8 Record your guitar part.
you plan to record through, such as
If you don’t plan to use the dry signal right Eleven Rig L/R.
away, you can make the mono track inactive
4 Create an audio track, and set its input to the
and hide it, using the functions of the Tracks
input you’ve chosen, using the Input selector.
pane in the Edit window.
5 Record enable the track.
The dry track will be hidden and will not play,
but Pro Tools will retain the data for later use. 6 Record your part.
You can access the track again at any time.
The settings of the currently loaded Rig will be
The Guitar In input signal will look quite embedded in each audio region that is recorded
low when compared to other recorded sig- from the input you select in the Embed Setting
nals in Pro Tools. If you need to do intricate From menu.
rhythmic editing, you may want to increase
This same method applies when using
the vertical zoom level in the Edit window.
Eleven Rack with Pro Tools|HD or M-Pow-
ered system.

Embedding Rig Settings in Audio regions with embedded Rig data are
Audio Regions marked with a small guitar pick-shaped icon in
both the Edit Window and the Region Browser
Despite the fact that we designed Eleven Rack to in Pro Tools.
store Rig settings to your computer and to its in-
ternal memory, we felt there had to be a better Indicator icon
way to keep track of which Rig settings you use
as you track your guitar.

Pro Tools lets you embed the current Rig’s set-

tings into audio regions as you record them, so
that you can retrieve that same setting for fur-
ther use later. Audio region with guitar pick-shaped indicator icon

This can also be helpful when collaborating or

bringing sessions or regions to a different system
using Eleven Rack, because your settings travel
with the files.

84 Eleven Rack User Guide

Retrieving Embedded Rig Settings To load an embedded Rig setting from within the
Eleven Rack Control Window:
You can access Rig settings from any region with
1 Open the Eleven Rack Control window by
embedded settings that has been recorded or im-
clicking Window > Eleven Rack.
ported into your Pro Tools session. You can do
this by selecting regions directly in the Edit win- 2 Click the Rig Settings menu.
dow, or you can access any embedded region in
3 Any regions with embedded Rig data will
the session using the Eleven Rack Control Win-
show up as a list at the bottom of the menu.
dow.
4 The Rig is loaded into Eleven Rack and is
To load a Rig setting from a region in the Edit ready to use.
window:
1 Open the Edit window by clicking Window >
Edit.

2 Locate the region you want to load Rig Set-

tings from.

3 Right-click the region and choose Load Guitar

Rig Settings.

4 The Rig is loaded into Eleven Rack and is

ready to use.
Choosing a region from the RIg Settings menu

Once you have retrieved a Rig setting from a

region, you may want to save it to your com-
puter or the Eleven Rack memory.

Rig settings data can only be embedded in

.WAV or .AIFF files. MP3 encoding strips
audio files of their embedded Rig data, so be
sure to choose .WAV or .AIFF format when
exporting audio files with embedded Rig
data.

Loading settings from a region in the Edit window

Chapter 9: Eleven Rack with Pro Tools 85

 6 Start recording in Pro Tools.
Re-Amping
7 The audio from the chosen track will be pro-
Re-Amping is the process of sending pre-re- cessed through Eleven Rack, and re-recorded to
corded audio (in this case, from within the new stereo Audio track.
Pro Tools,) to an external guitar amplifier or ef-
fects unit, and then re-recording the processed To re-amp a signal using the Output To Amp
audio to a new track. outputs on Eleven Rack:

This is sometimes done when a guitar track is re- 1 Choose the track in Pro Tools to be re-amped.

corded dry and the amp and effects sound is to 2 In the Eleven Rack Control window, choose
be decided upon later (see “Recording Guitars” what point in the signal chain will be fed to one
on page 83). or both of the To Amp outputs using the To Amp
Output selectors.
In the case of Eleven Rack, re-amping can be
done one of two ways. See “Output to Amp Selectors” on page 80
• Tracks can be sent from Pro Tools into the on- for details.
board guitar processor in Eleven Rack, and re-
3 Create a new audio track, and assign its input
recorded to a new track.
to match the device you are using to re-amp, as
– or – follows:
• Tracks can be sent from Pro Tools, out • If re-amping through a guitar amp and mi-
through the Output To Amp outputs on crophone, or a device with an XLR DI out-
Eleven Rack, into one or more external guitar put, select Interface > Mic In.
amps or processors, and then re-recorded • If re-amping through a guitar-level stomp-
through the microphone, line, or guitar in- box or processor, select Interface > Guitar In.
puts on Eleven Rack, depending on the type
• If re-amping through a processor with a
of external devices being used.
line-level output, select Interface > Line In-
put L.
To re-amp a signal using the guitar processor in
Eleven Rack: 4 Set up and connect your chosen external amp

1 Choose the track in Pro Tools to be re-amped and microphone and/or processor to the Output
(mono tracks only). To Amp 1 (L) output and the appropriate input
on Eleven Rack.
2 Create a send from the track to Interface >
• If using the mic input, ensure that the gain
ReAmp L/R.
and other settings (such as phantom power
3 Create a new stereo audio track, and assign its and pad) are set correctly.
input to Interface > Eleven Rig L/R. • If using an amplifier and microphone in
the same room as your Pro Tools system, be
4 In Pro Tools Edit window, click with the Selec-
sure to turn off or mute your monitor
tor tool at the beginning of the first audio region
speakers, to avoid feedback.
on the track to be re-amped.
5 Record-enable the new mono track.
5 Select a Rig in the Eleven Rack Control win-
dow, and adjust the settings as desired.

86 Eleven Rack User Guide

6 In Pro Tools Edit window, click with the Selec- 7 With the Pencil tool, draw a curving line from
tor tool at the beginning of the first audio region the beginning of the track to a point around 10
on the track to be re-amped. seconds later.

7 Start recording in Pro Tools. 8 Press Play on the Pro Tools transport. You will
see the Rig Volume setting on the Eleven Rack
8 The audio from the selected track is sent out of
Control window move in time to match the
Eleven Rack, processed through your amp or
curve you’ve drawn.
processor, and then re-recorded to the new Au-
dio track. This technique can be used for any of the MIDI
CC controls Eleven Rack can respond to.

For a full list of MIDI CC data that Eleven

Controlling Eleven Rack Rack can accept, “Eleven Rack MIDI Con-
Parameters with MIDI Data tinuous Controllers” on page 95.
Using MIDI tracks in Pro Tools, you can record
real time changes to your Rig settings, edit For more information on using MIDI CC
them, and play them back to Eleven Rack. This data in Pro Tools, see the Pro Tools Refer-
can be quite powerful when re-amping signals ence Guide, which can be accessed from
through Eleven Rack. within Pro Tools by selecting Help > Pro
Tools Reference Guide.
In the following example, you’ll control the Rig
Volume parameter in Eleven Rack with MIDI
data from Pro Tools.

To control the Rig Volume on Eleven Rack with

MIDI CC data from Pro Tools:
1 Create a MIDI track in Pro Tools.

2 Assign its output to Predefined > Eleven Rack >

channel-1.

3 On Eleven Rack, press and hold the Edit but-

ton for 1 second to enter User Options mode.

4 Scroll with the Scroll wheel to MIDI, and press

the SW1 switch.

5 Use the lit Control knob to choose a MIDI re-

ceive channel. In this example, use channel 1.

6 In the Pro Tools Edit window, select MIDI Vol-

ume in the Track View menu for the MIDI track
you’ve created. You’ll see a line running across
the track. This is the MIDI CC envelope.

Chapter 9: Eleven Rack with Pro Tools 87

88 Eleven Rack User Guide
Part III: Reference

89
90
Chapter 10: User Options

This section describes the details of the User Op- To explore User Options mode when using Eleven
tions mode within Eleven Rack. User Options Rack with Pro Tools:
mode lets you access the behind-the-scenes con- 1 Show the Eleven Rack Control window, by
trols in Eleven Rack. clicking Window > Eleven Rack.

2 Press the User Options button on the Control

window.
Exploring the User Options
Let’s start looking into the changes you can
make using User Options. User Options
This section lists and defines the available op-
tions in the User Options menu.

These descriptions and parameter names

match those within the display on Eleven
User Options mode Rack. The Eleven Rack Control window’s
User Options mode contains most of these
To explore User Options mode from the front panel
controls, but some are named slightly differ-
of Eleven Rack:
ently.
1 Press and hold the Edit/Back button until the
User Options screen appears.

2 Turn the Scroll wheel to select the option you

want to change.

3 Press the SW1 button to access the controls for

that option.

4 Press Edit/Back once to return to the User Op-

tions menu, or twice to exit User Options mode
and return to the previous screen.

Chapter 10: User Options 91

 Rig Input Amp Output The signal after passing through the
amp emulation, but before the cab, mic, and
This setting lets you specify which input on any effects emulations placed after the amp in
Eleven Rack will be routed through the Rig. This the signal path.
can be set any of the analog or digital inputs on
Eleven Rack, or the signal sent to the Re-Amp When feeding signal to a external guitar
output in Pro Tools LE. amplifiers, it is generally preferred to apply
no cab and mic emulation to the signal.
For more information on Re-Amping, see Since the speaker being driven by the ampli-
“Re-Amping” on page 86 fier will naturally shape the tone of your
signal, using the cab and mic emulations in
Running the mic input through the Rig with Eleven Rack will produce compromised
your monitor speakers on can result in se- results.
vere feedback, due to the amount of gain
Rig Output The fully processed signal, run
available in the amp and effects emula-
through every part of the current Rig (including
tions. Be sure to mute or turn down the
cab and mic emulation).
main outputs before proceeding.
Rig Out No Cab The fully processed signal, with
Outputs To Amp the Cab model automatically bypassed.

In this page, you can what signal feeds the Out-

put To Amp outputs. Turn the Scroll wheel to Digital Clock/Input
switch between controlling Output 1 or Output
When Eleven Rack is being used standalone and
2. If you want to use the Outputs To Amp in ste-
is not plugged into a computer, it lets you
reo, you may want to match the controls for
choose the clock source (internal or external),
both channels.
sample rate (if using internal clock), and digital
format you want to work with.
Signal
Clock Source Lets you choose between the fol-
Using the Signal control, you can set what point
lowing clock sources:
in the signal path feeds each Output to Amp
output: • Int 44.1 kHz (Internal clock)
• Int 48 kHz (Internal clock)
Rig Input The clean, unprocessed guitar signal,
as is present at the input of the Rig. • Int 88.2 kHz (Internal clock)
• Int 96 kHz (Internal clock)
Amp Input The signal after any processing that
occurs before the Amp model in the signal • External
chain.
Digital Input Lets you choose the digital format
you want to use for input, either AES/EBU, or
S/PDIF.

92 Eleven Rack User Guide

When Eleven Rack is plugged into a computer FX Loop
with USB for use with Pro Tools LE or HD, these
options must be set in the host software The FX Loop screen is where you control the
(Pro Tools LE or other). The Digital Clock/Input mono/stereo behavior of the FX loop. Set the
screen will just show the current settings and control to Mono if using a mono effect, to Mono
whether or not there is a valid clock signal pres- to Stereo, if using an effect that takes a mono
ent at the currently chosen digital input. signal but has a stereo output, or Stereo, if using
a true stereo effects unit.
For more information on how to access
these controls from within Pro Tools LE, see
External Pedals
“Pro Tools Hardware Settings” on page 57.
This screen lets you set up an expression pedal
Digital Output or a dual footswitch, plugged into the Exp
Pedal/Ext Footswitch jack on the back of Eleven
Adjust the Output control to choose the type of Rack.
signal being passed to the digital outputs.
Turn the Scroll wheel to select the type of pedal
DAW The output from the Digital Out L/R out- you’ll be using. In expression pedal mode, you
put path in Pro Tools LE will be sent to the digi- can press SW1 to enter calibration mode. Follow
tal outs. the on-screen instructions to calibrate your ex-
pression pedal. In Dual Footswitches mode, you
Mirror Analog The same signal that is being sent
can use the Tone Control knobs to select a func-
to the Main Outputs will be sent to the digital
tion for each footswitch.
outs.
Each footswitch can be set to do one thing,
Rig Outputs The left and right Rig outputs are
whether it’s cycling through Rigs, turning a cer-
sent to the left and right digital outputs respec-
tain effect on and off or just bringing up the
tively.
tuner.
Split In/Out The left and right Rig outputs are
summed and sent to the left digital output, and
MIDI
the signal as present at the Rig input (the “dry”
signal) is sent to the right digital output. The MIDI page lets you set up how Eleven Rack
responds to MIDI data.

Channel Sets the MIDI receive and send channel,

from 1-16.

Thru Toggles MIDI thru on and off.

CC When engaged, front-panel control changes

will send corresponding MIDI CC messages to
Pro Tools, and be output through the MIDI out-
put jack.

Chapter 10: User Options 93

 Rig Balancing Action
This screen lets you adjust the relative signal This control lets you choose between the follow-
level of each of the saved Rigs. If you find that a ing knob behaviors:
certain Rig is much louder or quieter than the
Normal Moving a Control knob will cause the
others, you can tweak it here.
currently assigned setting to immediately follow
Turn the scroll wheel to select a Rig to adjust, the knob’s position.
and use the lit Tone Control knob to adjust the
Latch When a Control knob is positioned differ-
volume.
ently than the current value of the assigned con-
When you’re done editing these settings and trol, the control’s setting will not update until
you back out of the Rig Balancing screen, a “Sav- the knob is swept past the current setting.
ing” message appears on the display for a few
moments as the new settings are saved. Blink
The Tempo button on the front panel of
Amp/Cab Linking Eleven Rack can be set to blink in time with the
This parameter toggles the linking of amplifier current Rig tempo. The Blink control toggles
and cabinet models that were historically used this behavior on and off.
together. With Amp/Cab Linking on, when you
choose certain amps in Rig View, the cabinet Headphone Volume
that goes with it will also be chosen. You can
still change the cabinet you want to use later. This control sets the volume of the Headphone
outputs on Eleven Rack, as an offset from the
Main output volume.
Display Contrast
This control allows you to set the contrast of the Reset Memory
LCD display to match your viewing angle or
light conditions. In this screen, pressing SW1 will reset the mem-
ory of Eleven Rack back to factory specs. All user-
created Rigs and settings will be erased.
Knob Display/Action
You can exit this screen without resetting the
This screen lets you configure the way knob set- memory by pressing the Edit/Back button.
tings are displayed onscreen, and how they act.

Display Firmware Version

On this screen, you can check to see what firm-
This control lets you see the current positions of
ware version is running on your Eleven Rack.
the control knobs as either graphic knobs or as
numeric values. If you choose to display the
controls as knobs, keep in mind that you can see
the exact numeric value of a control temporarily
by turning the knob slightly.

94 Eleven Rack User Guide

Chapter 11: Controlling Eleven Rack
with MIDI

Many of the parameters in Eleven Rack can be controlled using MIDI. This opens up the possibility of
using both external MIDI devices (such as foot controllers) and the MIDI capabilities of Pro Tools to
vary Eleven Rack’s tonal aspects in real time.

This section lists the available MIDI controls for use with Eleven Rack.

Eleven Rack MIDI CC Controllers

Table 12. Eleven Rack MIDI Continuous Controllers

CC# Parameter Notes Minimum Value Maximum Value

3 Amp Setting 8 0 127
4 Wah Pedal 0 127
5 FX1 Setting 9 0 127
7 Volume Pedal 0 127
9 FX1 Setting 10 0 127
10 Amp Setting 6 0 127
11 Multi-FX 0 127
12 FX1 Setting 11 0 127
13 Amp Setting 1 0 127
14 Amp Setting 2 0 127
15 Amp Setting 3 0 127
16 Amp Setting 4 0 127
17 Rig Volume 0 127
18 Reverb Setting 1 0 127
19 FX Loop Send 0 127
20 FX1 Setting 1 0 127

Chapter 11: Controlling Eleven Rack with MIDI 95

 21 Amp Setting 5 0 127
22 Amp Setting 12 0 127
23 Amp Setting 11 0 127
24 Amp Setting 10 0 127
25 Distortion On/Off 0~63=Off ; 64~127=On 0 127
26 FX1 Setting 12 0 127
27 Distortion Setting 1 0 127
28 Delay On/Off 0~63=Off ; 64~127=On 0 127
29 FX1 Setting 13 0 127
30 FX1 Setting 14 0 127
31 Delay Setting 14 0 127
32
33 Delay Setting 2 0 127
34 Delay Setting 6 0 127
35 Delay Setting 3 0 127
36 Reverb On/Off 0~63=Off ; 64~127=On 0 127
37 FX2 Setting 8 0 127
38 Reverb Setting 2 0 127
39 Reverb Setting 4 0 127
40 Reverb Setting 3 0 127
41 Reverb Setting 6 0 127
42 FX1 Setting 2 0 127
43 Wah On/Off 0~63=Off ; 64~127=On 0 127
44 Amp Settings 13 0 127
45 Amp Settings 14 0 127
46 FX2 Setting 9 0 127
47 FX2 Setting 10 0 127
48 Delay Setting 7 0 127
49 Delay Setting 8 0 127
50 Modulation On/Off 0~63=Off ; 64~127=On 0 127
51 Modulation Setting 6 0 127
52 Modulation Setting 2 0 127
53 Modulation Setting 3 0 127
54 Modulation Setting 4 0 127

96 Eleven Rack User Guide

55 Delay Setting 9 0 127
56 Modulation Setting 7 0 127
57 Modulation Setting 5 0 127
58 FX2 Setting 11 0 127
59 Delay Setting 10 0 127
60 FX1 Setting 3 0 127
61 Modulation Setting 1 0 127
62 Delay Setting 1 0 127
63 FX1 On/Off 0~63=Off ; 64~127=On 0 127
64 Tap Tempo 64-127 = a Tap
69 Tuner On/Off 0~63=Off ; 64~127=On 0 127
70 FX2 Setting 14 0 127
71 Cab Sim On/Off 0~63=Off ; 64~127=On 0 127
72 Delay Setting 11 0 127
73 Delay Setting 12 0 127
74 Delay Setting 13 0 127
75 Volume Pedal On/Off 0~63=Off ; 64~127=On 0 127
76 Reverb Setting 5 0 127
77 FX1 Setting 4 0 127
78 Distortion Setting 2 0 127
79 Distortion Setting 3 0 127
80 Distortion Setting 4 0 127
81 Distortion Setting 5 0 127
82 Distortion Setting 6 0 127
83 Distortion Setting 7 0 127
84 Amp Setting 9 0 127
85 Delay Setting 4 0 127
86 FX2 On/Off 0~63=Off ; 64~127=On 0 127
87 Delay Setting 5 0 127
88 FX Loop Mix 0 127
96 FX2 Setting 4 0 127
97 FX2 Setting 5 0 127
98 FX2 Setting 6 0 127
99 FX2 Setting 7 0 127

Chapter 11: Controlling Eleven Rack with MIDI 97

 101 Knob 1 0 127
102 Knob 2 0 127
103 Knob 3 0 127
104 Knob 4 0 127
105 Knob 5 0 127
106 Knob 6 0 127
107 FX Loop On/Off 0~63=Off ; 64~127=On 0 127
108 FX Loop Return 0 127
109 FX2 Setting 12 0 127
110 FX2 Setting 13 0 127
111 Amp On/Off 0~63=Off ; 64~127=On 0 127
112 Amp Setting 7 0 127
113 FX2 Setting 1 0 127
114 FX2 Setting 2 0 127
115 FX2 Setting 3 0 127
116 FX1 Setting 5 0 127
117 FX1 Setting 6 0 127
118 FX1 Setting 7 0 127
119 FX1 Setting 9 0 127

All unused continuous controllers have been omitted from this list.

98 Eleven Rack User Guide

Chapter 12: Hard Drive Configuration
and Maintenance

It is recommended that you start with a newly

formatted external or secondary internal audio Supported Drive Formats and
drive. You should also periodically defragment Drive Types
your audio drive to ensure continued system
performance. Drive Formats

Always back up any important data on your Mac Mac systems should use drives formatted
drive before formatting it, as it will erase all with HFS+ or HFS file system only.
data on the drive.
HFS drives are supported as Transfer drives
only.

Avoid Recording to the Windows Windows XP systems should use drives

System Drive formatted as NTFS only.

Recording to your system drive is not recom- Windows systems can also support Mac
mended. Recording and playback on a system drives formatted with HFS+ system (also
drive may result in lower track counts or fewer commonly referred to as Mac OS Extended).
plug-ins. Refer to the Pro Tools Reference Guide for
more information (Help > Pro Tools Refer-
ence Guide).

Hard drive performance depends on factors in-

cluding system configuration, number of tracks,
session sample rate, density of edits, and the use
of crossfades and other processes such as Beat
Detective in a session.

For complete hard drive requirements, visit the

Digidesign website at:
[Link]/compatibility

Chapter 12: Hard Drive Configuration and Maintenance 99

 SCSI Hard Drives 2 Click the Erase tab.

Digidesign recommends qualified SCSI hard

drives and a qualified SCSI host bus adapter
(HBA) card or (on Windows systems) a qualified
built-in SCSI HBA connector on the mother-
board.

For complete information on track count and

the supported number and configuration of
SCSI drives, visit the Digidesign website at:
[Link]/compatibility

FireWire Hard Drives

Digidesign recommends qualified FireWire Disk Utility (Mac OS X)
drives and (on Windows systems) a qualified
3 Select the drive you want to initialize in the
FireWire host adapter.
column on the left side of the window.
For complete information on track count and
4 Choose the Mac OS Extended (Journaled) for-
the supported number and configuration of
mat.
FireWire drives, visit the Digidesign website at:
[Link]/compatibility Do not choose the “Case-Sensitive” format
option. Pro Tools will not operate properly
IDE/ATA/SATA Hard Drives with case-sensitive formatted drives.

A qualified internal IDE/ATA/SATA drive may be 5 Type a name for the new volume.
used as a dedicated audio drive.
6 If you plan to connect the drive to a Mac OS 9
For complete information on track count with computer, select Install Mac OS 9 Drivers.
internal drives, visit the Digidesign website at: 7 Click Erase.
[Link]/compatibility
The drive appears on the Desktop with the new
volume name.

Formatting an Audio Drive

Formatting Windows Audio Drives
Formatting Mac Audio Drives For optimal performance, audio drives should
be formatted as NTFS.
For optimum performance, audio drives should
be formatted as Mac OS Extended (Journaled). Pro Tools only supports Basic drive types.
Do not convert the drive to a Dynamic type.
To format an audio drive:
1 Launch the Disk Utility application, located in
Macintosh HD/Applications/Utilities.

100 Eleven Rack User Guide

To format an audio drive: 4 If the volume is “Unallocated,” do the follow-
ing:
1 Right-click Computer (Windows Vista) or My
Computer (Windows XP) and choose Manage. • In the Disk Management window, Right-
click the hard drive you will use for audio
2 Under Storage, choose Disk Management. and choose New Partition.
• In the New Partition Wizard window, click
Next.
• When prompted, select the partition type.

Digidesign recommends using Primary par-

titions, instead of Extended partitions.

• Follow the on-screen instructions to select

a partition size and other partition settings.
• When prompted, choose a file system. For
optimum performance, audio drives
Disk Management window (Windows XP) should be formatted as NTFS.
3 If the volume is “Healthy,” do the following: • Select Perform a quick format.
• Make sure Enable file and folder compression
Healthy volumes are volumes that have pre- is not selected.
viously been partitioned and formatted.
• Set the Allocation unit size to Default.
• In the Disk Management window, right- • Click OK.
click the hard drive you will use for audio
and choose Format.
• In the Format window, name the volume. Partitioning Drives
• Choose a file system. For optimum perfor-
Partitioning creates a logical volume or volumes
mance, audio drives should be formatted as
on a physical drive, almost as if you were creat-
NTFS.
ing virtual hard drives. Partitions can then be
• Select Perform a quick format.
formatted with the appropriate file system
• Make sure Enable file and folder compression (NTFS for Windows, HFS+ for Mac).
is not selected.
• Set the Allocation unit size to Default. Mac OS allows drives larger than 4096 MB
• Click OK. to be seen as whole volumes. Drives must be
initialized with a disk utility that recog-
nizes the 2 terabyte limit. Single Pro Tools
audio files cannot exceed 3.4 GB in size.

Windows XP allows drives formatted with

the NTFS file system to be seen as whole
volumes. Single Pro Tools audio files can-
not exceed 3.4 GB in size.

Chapter 12: Hard Drive Configuration and Maintenance 101

 Seek Times on Partitioned Drives In multitrack recording, audio tracks are written
in discrete files, spaced evenly across the disk.
Seek times are actually faster on partitioned While fragmentation of individual files may be
drives (assuming that reads and writes are per- zero, the tracks may be far enough apart that
formed on a single partition), since the heads playback will still be very seek-intensive. Also,
only have to seek within the partition boundar- the remaining free space on the disk will be dis-
ies, rather than the whole capacity of the drive. contiguous, increasing the likelihood of file
Smaller partitions perform faster than larger par- fragmentation on subsequent record passes.
titions, but this comes at the expense of contig- Increased fragmentation increases the chance of
uous storage space. When you partition a drive, disk errors, which can interfere with playback of
you will need to find the compromise that best audio, and result in performance errors.
suits your performance and storage require-
ments. On Windows, to avoid fragmentation, for-
mat drives with higher cluster sizes (such as
Avoid distributing audio files within a ses- 32K).
sion over different partitions on the same
drive since this will adversely affect drive Optimizing (Defragmenting) Drives
performance.
To prevent fragmentation, you can optimize
your drive, which rearranges your files into a
contiguous format. Most optimizing software
Defragmenting an Audio Drive
lets you run a check on a drive to find out the
percentage of fragmentation. If your drive
Mac Systems shows moderate to heavy fragmentation, you
should consider optimizing it.
When working with larger files (such as video),
you can limit fragmentation by backing up your If you use your system for intensive editing, or if
important files to another disk, erasing the files you frequently delete audio or fade files from
from the original hard disk, then copying the your hard drive, you may need to optimize your
files back, instead of doing a defragmentation. drives on a weekly basis, or even every few days,
since it doesn’t take long for even a large hard
Window Systems drive to become fragmented.

Periodically defragment audio drives to maintain

Backing Up Data Before Optimizing
system performance.
Since your files will be rewritten by the optimi-
For maximum recording and playback effi- zation process, always make a backup copy of
ciency, data should be written to your hard the data on your hard drive before you optimize
drive in a contiguous fashion—minimizing the it. You should also use a hard drive utility to find
seek requirements to play back the data. Unfor- and repair any problems before optimizing data
tunately, your computer can’t always store the or re-initializing your drives. If there is any dam-
sound files in this way and must write to disk age to your hard drive's directories prior to opti-
wherever it can find space. mizing, serious data loss may result.

102 Eleven Rack User Guide

Defragmenting Windows Audio Drives
Using Mac Drives on Windows
To defragment an audio drive (Windows Vista): Systems
1 Choose Start > Control Panel. Pro Tools for Windows lets you record and play
2 Click System and Maintenance.
back sessions directly from a Mac-formatted
(HFS+) drive connected to a Windows system.
3 Click Performance Information and Tools. This functionality requires that all Mac session
4 Click Advanced Tools.
and audio files be stored on Mac-formatted
drives.
5 Click Open Disk Defragmenter.
During Pro Tools installation, make sure to se-
6 In the Disk Defragmenter window, click the
lect the Mac HFS+ Disk Support option. This op-
Defragment Now button. tion lets your Pro Tools system read, write, re-
cord, and play back using Mac-formatted HFS+
The Defragment Now command defrag-
disks.
ments all your hard drives. This can take a
lot of time, especially on systems with mul- For information on using the Mac HFS+
tiple drives. Disk Support option, see the HFS+ Disk Sup-
Advanced users can use the command line port Option Guide.
tool [Link] to defragment individual For information on sharing sessions be-
drives. See your Windows Vista documen- tween Mac and Windows systems, see the
tation for more information. Pro Tools Reference Guide (Help >
Pro Tools Reference Guide).
To defragment an audio drive (Windows XP):
1 Right-click My Computer and choose Manage.
Formatting and Maintaining HFS+
2 Under Storage, choose Disk Defragmenter. Drives
3 In the Disk Defragmenter window, choose the To format and partition any drives as HFS+, con-
drive you want to defragment nect the drives to a Mac computer and use the
Apple OS X Disk Utility.
4 Click the Defragment button and follow the
on-screen instructions.

When defragmenting is complete, close the

Computer Management window.

Chapter 12: Hard Drive Configuration and Maintenance 103

 Hard Disk Storage Space
Mono audio tracks recorded with 16-bit resolution at 44.1 kHz (CD quality) require approximately
5 MB of hard disk space per minute. The same tracks recorded with 24-bit resolution require about
7.5 MB per minute.

Stereo audio tracks recorded with 16-bit resolution at 44.1 kHz (CD quality) require approximately
10 MB of hard disk space per minute. The same tracks recorded with 24-bit resolution require about
15 MB per minute.

Table 13 lists the required disk space for certain track numbers and track lengths, to help you estimate
your hard disk usage.

Table 13. Required hard drive space for audio tracks (44.1 kHz and 48 kHz sessions shown)

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

48 mono tracks, 5 minutes 1.2 GB 1.3 GB 1.8 GB 1.9 GB

48 mono tracks, 60 minutes 14 GB 15.6 GB 21 GB 23.2 GB

Double the 44.1 kHz hard drive space re-

quirement when recording at 88.2 kHz, and
double the 48 kHz numbers when recording
at 96 kHz.

104 Eleven Rack User Guide

Chapter 13: Troubleshooting

Backing Up Your Work Common Issues

It is highly recommended that you back up your
work on a regular basis, and especially before Pro Tools Won’t Launch
making changes to your system configuration.
Problem
Backing Up Your Session Data When you double-click the Pro Tools applica-
tion or a Pro Tools session file, Pro Tools doesn’t
Back up your session and audio data frequently.
launch, or displays an error message.
There are a variety of media that are suited to
back up projects of various sizes, from auto-
mated tape backup systems to high-capacity op-
Possible Solutions
tical drives, or to CD burners. ‹ Check to be sure your computer has the re-
quired amount of RAM to launch Pro Tools.
The best way to back up an entire session is to
‹ Try a complete restart. Turn off your audio in-
use the Save Copy In command. This command
terfaces, computer peripherals and your com-
lets you save the session file and all of its associ-
puter, and then turn them on again in the
ated files to a new location.
proper sequence.
You can also use the Auto Save Backup fea- ‹ If you tried to launch Pro Tools by double-
ture (in the Operation Preferences page) to clicking a Pro Tools session file, do the follow-
have Pro Tools automatically save backups ing:
of the session file while you work. • Close any error message.
• Double-click the Pro Tools application.
Backing Up Your System • In Pro Tools, choose File > Open Session to
Configuration open the session.
After configuring your system and Pro Tools, ‹ Reinstall the Pro Tools application, using the
you should save an image of your system drive Pro Tools Installer disc.
using a backup utility such as Norton Ghost
(Windows) or Bombich Carbon Copy Cloner
(Mac). By doing this, you can quickly restore
your system configuration and settings if you
encounter any problems.

Chapter 13: Troubleshooting 105

 Audio Interface Is Not Recognized
Before You Call Digidesign
Problem Technical Support
When you launch Pro Tools it does not recog-
nize an audio interface, or a connected audio in-
Register Your System
terface is not available. Register your purchase immediately after re-
viewing the Digidesign Registration Informa-
Possible Solutions tion Card included with every Pro Tools system.
‹ Turn off your computer and Eleven Rack (re-
Registering your purchase is the only way you
member to save first!) and check to be sure your become eligible to receive complimentary tech-
cables are properly and securely connected to nical support and future upgrade offers. Regis-
your computer and to your audio interface. tering is one of the most important steps to
complete as a new user.
‹ Verify that your Hardware Setup dialog set-
tings are correct.
Gather Important Information
Digidesign wants to help you resolve problems
Performance Factors as quickly and efficiently as possible. If you have
the following information handy when you
There are several conditions that may adversely contact Technical Support, it will make the diag-
affect the performance of Pro Tools. These in- nosis of your problem easier. Take a few minutes
clude: to collect the following basic information:
Network Connections Close any network con-
nections unless you are using them for network System Information
interchange of audio data. Computer
Background Applications Any software utilities • Make, model, processor speed
that run in the background or generate disk ac- • Amount of system RAM
tivity, such as virus protection, disk optimiza- • Operating system (version of Windows or
tion, or file savers, should be turned off or re- Mac OS)
moved.
• Any Drivers, Disk Utilities, or other system-
Screen Savers Screen saver software should be related applications you may have installed
completely disabled on your computer before
running Pro Tools.

Power Saver Features Some automatic power

saver features, such as those that spin down the
system hard drive, can affect Pro Tools perfor-
mance. These features should be turned off.

106 Eleven Rack User Guide

Digidesign Hardware Other Software
• Type of cards, interfaces, or peripherals If you are using other audio or video applica-
tions, refer to the manufacturer’s documenta-
Hard Drives
tion for operational details.
• Make, Model
• Drive size (GB) Make note of any other software that was run-
• Drive speed (RPM) ning when a problem occurred.

• Drive type (SCSI, FireWire, IDE/ATA)

Diagnostic Information
• Utility used to format the drive
• Number and size of partitions on the drive Note any DAE errors or other error codes you en-
counter. Additionally, note the ability to repro-
Digidesign Software duce the problem under different conditions,
• Pro Tools software version for example, with another session, or after
• Plug-in versions changing settings (such as the Hardware Buffer
• Other Digidesign software Size).

• Additional plug-ins from Digidesign Devel-

opment Partners

Other Hardware

Refer to the manufacturer’s documentation for

operational details.

The most common hardware additions include:

• 1394 (FireWire) cards for Windows systems
(manufacturer, model)
• Video Capture cards (manufacturer, model)

To verify that your hardware is qualified for use

with your Pro Tools system, refer to the latest
compatibility information on the Digidesign
website ([Link]/compatibility).

If using a Mac, you can get data on your sys-

tem’s configuration with the System Profiler
utility included with your computer. If using
Windows, the free utility PC Wizard can be
helpful in gathering data on the specs of
your computer. See [Link] for
details.

Chapter 13: Troubleshooting 107

108 Eleven Rack User Guide
Chapter 14: Resources

Whether you are new to Pro Tools or just start- Printed Getting Started with
ing out with your new system, we encourage Pro Tools Guide
you to read and utilize the many guides that
Pro Tools provides. There are also useful online The printed Eleven Rack & Pro Tools Guide has tu-
resources available, giving you everything from torials on using Pro Tools (such as recording in a
Pro Tools tips to Pro Tools answers. Pro Tools session, importing audio from a CD,
and creating an audio CD from a Pro Tools ses-
sion).

About the Pro Tools Guides

Guides Accessible in Pro Tools
In addition to any printed guides included with
your system, PDF versions of the printed guides The main Pro Tools guides are accessible from
and many additional Pro Tools guides and Read the Pro Tools Help menu. (Choose Help, then se-
Mes are installed automatically during Pro Tools lect a guide.)
installation (see “Documentation Installed Au-
These include:
tomatically with Pro Tools” on page 110).
• Shortcuts Guide, which provides a complete list
Printed copies of the Pro Tools Reference of keyboard and Right-click shortcuts for
Guide and other guides in the Pro Tools guide Pro Tools.
set can be purchased separately from the Di- • DigiRack Plug-ins Guide, which describes the
giStore ([Link]). DigiRack plug-ins included with Pro Tools for
both real-time and file-based audio process-
Printed Setup Guide ing.
This printed Setup Guide for your system gives • Pro Tools Menus Guide, which covers all the
you detailed instructions for setting up and con- Pro Tools on-screen menus.
figuring software and hardware for optimum • Pro Tools Reference Guide, which explains
performance, as well as in-depth instructions on Pro Tools software in detail.
using the guitar processor in Eleven Rack.

Chapter 14: Resources 109

 Documentation Installed Training and Education Study on your own using
Automatically with Pro Tools courses available online or find out how you can
learn in a classroom setting at a certified
When you install Pro Tools, you get useful PDF Pro Tools training center.
versions of many Pro Tools guides and
Read Mes. This documentation can be found in Products and Developers Learn about Digidesign
the following locations: products; download demo software or learn
about our Development Partners and their plug-
Mac Applications/Digidesign/Documentation ins, applications, and hardware.

Windows C:\Program Files\Digidesign\ News and Events Get the latest news from
Documentation Digidesign or sign up for a Pro Tools demo.

To view or print PDF guides, you can use Pro Tools Accelerated Videos Watch the series of
Adobe Reader or Apple Preview (Mac only). free tutorial videos. Accelerated Videos are de-
signed to help you get up and running with
Read Me Files
Pro Tools and its plug-ins quickly.
These contain late-breaking information and
known issues pertaining to Pro Tools software Helpful Online Resources
and hardware configurations. Read Me files are
Once you get going, here are some helpful on-
installed in Documentation folder when you in-
line resources:
stall Pro Tools.
• Get useful information, help, and tips from
the worldwide community of Pro Tools users
at Digidesign User Conference (DUC). Go to:
About [Link] [Link]
The Digidesign website ([Link]) is • For questions about installation, visit
your best online source for information to help Digidesign’s online Answerbase. Go to:
you get the most out of your Pro Tools system. [Link]
The following are just a few of the services and • If you can’t find your answer on the DUC or
features available. Answerbase, contact Digidesign
Product Registration Register your purchase on- email support. Go to:
line. [Link]

Support and Downloads Contact Digidesign

Technical Support or Customer Service; down-
load software updates and the latest online
manuals; browse the Compatibility documents
for system requirements; search the online An-
swerbase; or join the worldwide Pro Tools com-
munity on the Digidesign User Conference.

110 Eleven Rack User Guide

index

A C
AES/EBU 10 Cache Size 56
amp models 20 Clean Uninstall (Mac) 44
AC Hi Boost 21 Clock Source 58
Black Duo 22 Internal setting 58
DC Modern & DC Vintage 24 S/PDIF (digital) setting 58
Lead 800 22 Control knobs 4, 9, 15
Lux Vibrato & Lux Normal 21 Control pages 16, 19
M-2 Lead 23
CoreAudio driver (Mac) 43
Plexiglas 22
CPU Usage Limit 53, 54
SL100 23
Treadplate 23
Tweed Bass 20 D
Tweed Lux 20 DAE Playback Buffer Size 55
Amp Output control 25 Display 15
Amplifier 16 DMA option (Windows), enabling 62
ASIO driver (Windows) 49 drive formatting
audio Mac 100
digital connections 69 Windows 101
audio drivers drive maintenance 99
ASIO driver (Windows) 49
CoreAudio driver (Mac) 43 E
WaveDriver (Windows) 49
Edit/Back button 7, 15
authorizing Pro Tools LE
Effects 16
Mac 43
Effects Bypass buttons 4
Windows 48
Effects Control buttons 8
effects models 27
B delay 31
banks 14 BBD Delay 31
Black Wah 27 Tape Echo 31
bypass 25 distortion 28
Black Op Dist 28
Green JRC OD 28
Tri Fuzz 27, 28
Graphic EQ 32
Gray Comp 32

Index 111
 modulation 28 I
C1 Chor/Vib 29 I/O Setup
Flanger 28 Windows 58
Orange Phaser 30
IDE/ATA requirements 100
Roto Speaker 30
Ignore Errors During Playback/Record option 55
U Phaser 29
reverb 30 input and output connectors 11
Blackpanel Spring Reverb 30 installing Pro Tools LE
Eleven SR 30 Mac 41
Volume Pedal 27 Windows 46
wah 27 installing QuickTime (Windows) 47
Black Wah 27
Shine Wah 27 J
Eleven Rack Control window 13 journaling (Mac), enabling 61
Energy Saver (Mac), turning off 60
Exp. Pedal/Footswitch input 11 K
key commands 5
F
FireWire requirements 100 L
footswitch accessory 14
latency
FX Loop 18 Hardware Buffer Size 52
FX Loop I/O 10 Line inputs 11

G M
Guitar input 9 Main outs 10
Mic input 8
H microphone models 26
hard drives Cond 67 26
drive formats 99 Cond 87 26
FireWire requirements 100 Dyn 409 26
formatting 100, 101 Dyn 421 26
formatting (Mac) 100 Dyn 57 26
IDE/ATA requirements 100 Dyn 7 26
maintenance 99, 102 Ribbon 121 26
optimizing 102 MIDI
partitioning 101 connections 70
SCSI requirements 100 controlling Eleven Rack with 87
space requirements 104 I/O ports 11
Hardware Buffer Size 52 MIDI foot controller 14
headphones 3 Minimize Additional I/O Latency option 55

N
network cards (Windows), disabling 64
network connections 106
Noise 25
Noise Gate 25

112 Eleven Rack Setup Guide

O Rig devices
optimizing hard drives 102 Amp 16
Output to Amp outputs 9, 10 Cab 16
Dist 16
Dly 17
P FX Loop 17
Page indicator 16 FX1 and FX2 16
partitioning hard drives 101 Mod 16
phantom power 69 moving 18
when to use 8 Rev 17
Phones output 9 Vol 16
Playback Engine Wah 16
RTAS Processors setting 53 Rig Select mode 13
Plug-in Streaming Buffer 57 Default display mode 13
Details display mode 14
Plug-in Streaming Buffer Size 56
Simple display mode 14
plug-ins
Rig View 15
multiprocessors 53
RTAS Processors setting 53 Rig volume 17
power Rigs 13, 14
management settings (Windows) 62 devices 15
embedding in audio regions 84
power switch 4, 7
moving devices 18
Pro 71 organization 14
Pro Tools User & Factory rigs 14
demo session (Windows) 44, 49 RTAS Processors setting 53
removing (Windows) 44, 50
Pro Tools HD
using with Eleven Rack 71 S
Pro Tools LE 13 S/PDIF 11
configuration (Windows) 52 Safe Uninstall (Mac) 44
installing (Mac) 41 Sample Rate 57
installing (Windows) 46 Save button 7, 19
Pro Tools P-Powered saving 19
using with Eleven Rack 71 screen savers 106
processor performance (Mac) 60 Scroll wheel 4, 8, 15
Processor Scheduling performance (Windows) 64 SCSI requirements 100
Shine Wah 27
Q signal routing 18
QuickTime Software Update (Mac), turning off 60
installing (Windows) 47 speaker cabinet models
1x12 Black Lux 25
R 1x12 Tweed Lux 25
re-amping 86 2x12 AC Blue 25
2x12 Black Duo 25
removing Pro Tools
4x10 Tweed Bass 26
Windows 44, 50
4x12 Classic 30 26
4x12 Green 25 Watt 26
Spotlight indexing (Mac), disabling 61

Index 113
 Startup items (Windows), disabling 65 V
Stereo Width control 70 volume knob 4, 7
studio monitors 3
SW1 and SW2 switches 8 W
system WaveDriver (Windows) 49
optional optimizations (Windows) 64
website 110
recommended optimizations (Windows) 63
required optimizations (Windows) 62
shutting down 51
starting up 51
system optimization
Mac 59
Windows 64
system settings
Cache Size 56
Clock Source 58
CPU Usage Limit 54
Hardware Buffer Size 52
I/O Setup 58
Plug-in Streaming Buffer 57
Plug-in Streaming Buffer Size 56
Sample Rate 57

T
Tap Tempo 8
technical support
product registration required 106
The 20
Tremolo 24
troubleshooting 105
True-Z 9
Tuner view 8

U
uninstalling Pro Tools
Windows 44, 50
User Account Control (UAC)
disabling 63
User Options mode 8
Utility settings
Display 17
Input 15, 17
Output 15, 17
Pedal 15, 18
Tempo 15, 17

114 Eleven Rack Setup Guide

 [Link]

DIGIDESIGN TECHNICAL SUPPORT (USA) PRODUCT INFORMATION

2001 Junipero Serra Boulevard Visit the Digidesign Online Support Center For company and product information,
Daly City, CA 94014-3886 USA at [Link]/support visit us on the web at [Link]