Basic Course

Pro Tools 7.4 (Digidesign)

Prof. André Sonoda
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Pro Tools 7.4

Pro Tools (Digidesign)

Currently, there are two lines of audio interfaces from Digidesign.

one allows the use of one of the versions of Pro Tools (software). A third
This version of the software is dedicated to M-Audio interfaces. Let's take a look.

• Pro Tools TDM –HD Systems (96 I/O – 192 I/O)

• Pro Tools LE – Digi 003/ Digi 003 Rack/ M-Box

• Pro Tools M-Powered – M-Audio Interfaces

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Pro Tools 7.4

2. Principles and Concepts of Operation and Functionality

2.1. Non-Linear Audio Recording Environment

The digital recording environment is not linear. Therefore, it is possible to go straight ahead.

to a point of the recording, without needing to fast forward or rewind the tape, like in the
analog recording, for example.
In this type of nonlinear environment, there is a possibility of repeating or re-
organize recorded parts without the need to re-record them.
No Pro Tools original recorded parts are destroyed, remaining in the
HD as it was captured.
The editing doesn't need to follow a timeline like in recordings.
analogous. Thus, we can use recorded parts by cutting them, copying them, pasting them,
by deleting them, processing them in assemblies without destroying them.

[Link], TrackeRegion

In digital recording, a channel is classified as both a physical pathway of

input or output signal on hardware, as a channel strip
mixing)
In a virtual environment (recording project in Pro Tools), each channel of the page
The editing should be considered as an audio or MIDI track, having this one,
Channel Strip corresponding to the mixing page.
Let's see, in the figure below, the demonstration of the Channel Strip (page of

mixing), Audio Track and MIDI Track (editing page).

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Pro Tools 7.4

Figure 01. Audio Track, MIDI Track (Left) and Channel Strip. Source: Pro Tools Reference Guide.

Audio, MIDI, or video files in Pro Tools projects are known as

as regions (of audio, MIDI, or video).

Figure 02. Audio Region (Left) and MIDI Region. Source: Pro Tools Reference Guide.

Each audio file, present in a Pro Tools project, is stored

in an audio region bank and can be dragged to a track in the window of
Edition. Access to the Audio Regions bank is at the bottom right of the page.
edition in icon with double arrow pointing to the left. See figure below:
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Figure 03. Access icon to the bank Audio Regions (Left) and location of the bank on the editing page.
Source: Pro Tools.

2.3. Digidesign Audio Engine - DAE

Digidesign Audio Engine – DAE, is the basis of the operating system for
digital recording in Pro Tools. When we install Pro Tools on the computer, the DAE
is automatically installed.
This virtual device acts as the computer's processor,
managing the recording, mixing, digital audio storage on the HD,
amount of data transfer memory (buffer), etc.
The size of this memory (buffer size) can be changed in the dialog box.
doPlayback Engine.

[Link] Engine Dialog

In the Playback Engine window, it is possible to configure the system's performance

recording, adjusting the processing, playback, and recording settings. The
access is:

Setup > Playback Engine

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Pro Tools 7.4

Figure 04. Access to the Playback Engine window. Source: Pro Tools.

Pro Tools LE processes data access (host) with the CPU when
recording, playing back, mixing, and applying effects. Both Pro Tools LE and Pro
HD tools process plug-ins do RTAS (Real-Time-Audio-Suite) with processing
internal hardware.
The "size" of the buffer can be determined.1of hardware and the percentage of
CPU resources in the Playback Engine window.

1
Temporary memory area for data transfer between systems or devices of different types
speeds.
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Pro Tools 7.4

Figure 05. PlayBack Engine Window. Source: Pro Tools.

H/W Hardware Buffer Size

Control the size of the buffer used for processing tasks.

real-time plug-ins RTAS (real time plug-ins).
Smaller values of Hardware Buffer Size improve latency in some
recording situations, in addition to improving the system's performance.
Larger Buffer Size values are more suitable for sessions with high
number of plug-ins.

RTAS Processors

Determine the number of processors allocated for processing

Real-time plug-ins or RTAS (Real Time Audio Suite) plug-ins.
If the computer has more than one processor or more than one core
of processing (dual core, for example), it is possible to determine more than one
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Pro Tools 7.4

processor for tasks with a large number of plug-ins. This feature is used
in communion with CPU Usage Limit.

CPU Usage Limit

Used in conjunction with RTAS Processors, it sets a higher usage limit or

lower processing of the processor(s) for work with large or
small quantities of plug-ins.
For work with small quantities of plugins, it is recommended
reduce the CPU usage limit.
For work with large amounts of plug-ins, it is recommended to increase
the CPU usage limit.

RTAS Engine

Enables the elimination of RTAS errors during playback and recording. It is usual.
when recording instrument plug-ins.
Only enable this function if there are constant errors occurring during.
playback processes or recording. This subsidy may cause a decrease in
audio quality.
For project completion, make sure to disable this function for
guarantee better audio quality in the final mix.

Minimize I/O Latency

When enabled, reduces the latency of error suppression.

DAE Playback Buffer Size

Determine the amount of DAE memory allocated for disk Buffers.

standard level is 1500 mls (Level 2).
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Values lower than 1500 mls can improve the playback start speed.
recording, although it can also harm playback or recording processes
sessions with large amounts of tracks, high editing densities, HDs
fragmented or slow.

Values greater than 1500 ms may cause longer playback start times.
recording or delay in the perception of edits in modoplayback. However, it is
better for use with slow or fragmented HDDs, sessions with large amounts
of trails or dense editing processes.

Cache Size

Determine the amount of DAE memory allocated for audio pre-buffering.

playbacksouloopscomElastic Audio.
Normal is an excellent establishment for most sessions.

2.5. MIDI

MIDI is a communication protocol between musical instruments and

computers (Musical Instrument Digital Interface).
The audio industry enables a variety of devices that use
MIDI communication (Synthesizers, Interfaces, sound modules, drum machines, etc).
MIDI communication between devices occurs through MIDI cables (5 pins) and three
ports, although some devices do not feature all of these. They are:

MIDI IN - Signal input

MIDI OUT – Signal output
MIDI THRU – Direct output from the IN channel

Some MIDI terms are:

MIDIInstrument - Device (hardware or software) as a plug-in or keyboard.

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MIDIInterface–Hardware allows communication between computers and
devices.

MIDIDevice – MIDI physical instrument (keyboard, drum machine, module, etc.).

MIDI Controller - Device that transmits performance information.

MIDI Control Surface - Device for sending control messages.

MULTITIMBRAL - Capability of a MIDI device to reproduce with

different stamps on different channels simultaneously.

MIDI Port - Physical MIDI Port.

MIDI Channel – Performance information channel.

Program Change Event - MIDI command that informs sound or patch (file)
Use. The MIDI protocol has 128 patches.

Bank Select Message - Some devices have multiple banks. Each bank has 128
patch. OBank Select Message is a MIDI command that indicates which bank should be
selected.

Local Control - Controller specification (found in keyboards). Enables

that it executes its own sound source. Disabling it, the keyboard bank can
to be used by an external controller.

Continuous Controller Events - MIDI instructions for notes that are sounding, such as
modulation, pitch bend, volume, pan, etc.

System Exclusive Data - MIDI information used to send and receive parameters
dispatch information.
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Virtual MIDI Nodes - When using MIDI plug-ins in Pro Tools, they are generated
connection points (nodes) that function as MIDI ports enabling application
of effects from other software, for example.

MIDI in Pro Tools

Pro Tools can record, edit, play back, or export MIDI information.
You can connect any MIDI instrument to the interface via the MIDI port to send
you will receive information.

Figure 06. MIDI Ports (MIDI THRU/ MIDI OUT/ MIDI IN).

2.6. Synchronization

For work with more than one digital device connected to a system, it is
it is common to use a synchronization signal that determines a single parameter of
time for the work of the different units.
Pro Tools can send or receive sync signal for this work.
type via Time Code SMPTE2/ EBU (only in Pro Tools HD) or MIDI Time Code
(MTC).

2.7. Surround

Surround mixing is only supported in Pro Tools HD.

2
International standard for communication between digital devices.
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3. Installation of Pro Tools

When we turn on Pro Tools on the computer for the first time, we must follow the
following steps:

• Connect interface on the powered-off computer

• Turn on computer

• Install Pro Tools (Software)

• Launch Pro Tools

• Insert authorization code

• Set up your system for better performance

• Make audio or MIDI connections

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4. Characteristics of the Digi 003 and Digi 003 Rack

On Windows or Mac, the Digi 003 or 003 Rack has the following
possibilities:

• Playback with recording combination and playback with a maximum of 16 tracks

stereo 32 mono audio tracks

• Maximum of 128 audio tracks with 32 simultaneous playback tracks, 256

MIDI tracks.

• 16 or 24 Bit resolutions at a maximum sampling rate of 96KHz

• Non-destructive mixing editing and automation

• 5 RTAS (Real Time Audio Suite) plugins per channel

• Maximum of 5 hardware inserts per track

• Maximum of 10 sends per trail

• Maximum of 32 internal mixing groups

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5. Connecting the Digi 003 or 003 Rack to the Computer

• Connect the power cable to the Digi 003 and to a specific power supply.

• Connect the firewire cable to one of the firewire (1394) ports of the Digi 003.

Figure 07. Firewire Ports of the Rear Panel of the Digi 003 and 003 Rack.

• Connect the other end of the cable to a firewire port on the computer.
If your computer only has one firewire port, connect the other end of the
cable in an external drive (HD) connected to your computer.

Note: the connection of the Digi 003 in an external drive connected to the computer does not

enables better system performance

• Wait for the 'Found New Hardware' window to appear and

let it open. DO NOT CLICK "NEXT". If the automatic installation starts to
install drivers cancel.

Note: Through the installation, it is possible to ignore all new hardware windows.
found. DO NOT CLICK "NEXT".

Note: Some laptops with Windows system only have a 4-pin firewire port.
The Digi 003 and 003 Rack have 6-pin firewire connectors. To connect a
notebook with 4-pin firewire with the Digi, an adapter cable from 4 to is required
6 pins.
6. External Drive Connection (HD)
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Connect External Drivers (HD) directly to your computer. No
connect external hard drives to the second firewire port of the Digi 003. This prevents loss of

data in case of interface disconnection.

Note: Before starting a recording session, test the data transfer to the
In some cases, data transfer is not suitable for projects with
large amounts of trails, mainly, in projects with resolutions of
48KHz/ 24bits or higher.
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Pro Tools 7.4

7. Pro Tools Preferences

In the preferences session of Pro Tools, you can set all the
characteristics of the standard mode of operation (Default) of the software. The access is:

Pro Tools > Preferences

Figure 08. Preferences. Source: Pro Tools.

In the preferences window, we select the palettes and the settings that
we need in the standard mode for Pro Tools projects. The window is displayed in
the figure that follows.
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Figure 09. Preferences Window. Source: Pro Tools.

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8. Creation of New Project (New Session)

In most multitrack software, creating a new project is simple. In Pro

Tools, just follow the steps:

File > New Project

Figure 10. Access to the New Session window.

After the New Session request, the window in the figure below will ask for
informações sobre o tipo de projeto que você deseja criar. Por exemplo: nome; pasta
(folder) para salvar o projeto; resolução e taxa de amostragem; quantidade de trilhas
of audio, etc.

Note: For beginner users, it is essential to remember or write down the HD or folder of
system where the project will be saved.

The figure below shows the 'New Session' window of Pro Tools.
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Pro Tools 7.4

Figure 11. New Session (Source: Pro Tools).

The creation of an audio files folder is a basic step in the initial process.
of software operations. Projects can be saved in the same folder of files
of audio or in another folder designated for this purpose.
Currently, some of the main multitrack software available in
market, automatically create folders for: fade out, fade in, cross fade, presets,
plugin settings, etc.
In Pro Tools, the creation of audio folders, fades, etc. is already automatic when
we created a new project.
In the figure below, you can see a recording project folder of Pro.
Tools with subfolders created (automatically).
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Pro Tools 7.4

Figure 12. Pro Tools recording project folder. (Source: Pro Tools and Pro Tools Reference Guide).
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9. Opening a Pro Tools Project (Open Session)

To open an already existing project, we can proceed in two basic ways.

Double click on the project icon

b) File > Open Session

Proceeding with the second option, a window will appear allowing

to determine the project we want to open. Below we have access to the session of
open project and the windowOpen Session. Note: Pro Tools only opens one project at a time.

Figure 13. Open Session. Source Pro Tools.

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10. Closing a Pro Tools Project (Close Session)

To close a Pro Tools project, we can:

a) close the editing and mixing windows with the mouse

b) File > Close Session

Figure 14. Close Session. Source Pro Tools.

Following the second option, a window will appear with options to save the
changes before closing.

11. Creation of New Audio/MIDI Track

Despite the ease of shortcuts with keyboard access

computer, which are basically used by people more accustomed to the
In software, creating a new audio or MIDI track is a simple operation.
steps are:
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File > Track > New

A window will appear, requesting the settings for the new track(s)
audio, MIDI, Master Fader, Aux Input, etc.
After the creation of the track, it needs to be named with the indication of the instrument.

or voice to be recorded and establish your Input/Output (I/O) settings, that is,
entries and exits.
It's good to remember that, in most cases, a trail presents a
numbering and a name that will be presented, both on the mixing page and on the
of software editing.
Let's see, in the following figure, the 'Track' palette with the New Tracks window.

Figure 15. Access to the New Track window (above) and New Track Window (Source: Pro Tools).

12. Creating Templates on Windows or Mac

I template a default project model that we use the most.

frequently, avoiding the creation of similar projects every time that
we need to start a session with those characteristics.
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Pro Tools 7.4

To create a Pro Tools template on Windows or Mac:
a) Create a project (Session) in Pro Tools and set its characteristics as
number of Tracks, I/O Setup, Pan, inserts, etc.

b) Save the project and close it.

c) On Windows platforms, open Windows Explorer, right-click the mouse button

In the created project icon, select Read Only in Attributes.

d) On Mac platforms, select the project icon and type:

Option>I

Or

File > Get Info

Select Stationery Pad.

e) To use the template, open this project.

Note: It is recommended to create projects with the main characteristics that we use and
name them according to these characteristics. Ex: 8Tracks Recording, 4 Recording
Tracks, Mix, Master, etc.

Every time you open a template, Pro Tools will ask if you want to:

a) Start a new session with dotemplate characteristics

b) Edit template (Edit Stationery)
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Figure 16. Session Template. Source Pro Tools Reference Guide.

[Link] of I/O Ports (Input/Output)

The precision of the audio input and output port settings is something of
extreme importance for recordings.
At this point, an incorrect specification will prevent signal routing.
from an input channel to the desired path or, conversely, will prevent the
Audio monitoring of a specific track in a relative output channel.
In the vast majority of software, the specification icons of these
settings are located in each track, with one for inputs (Input or I) and
output for outputs (Output or O).
In Pro Tools, it is necessary to establish the input and output signal flow in each
channel of the interface in the I/O window. Only then will we be able to provide these subsidies for each

trail to define the signal source of this, as well as its direction

output. The access to the I/O window is:

SETUP> I/O

Figure 17. Access to the I/O window (Source: Pro Tools).

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Pro Tools 7.4

Let's now look at the I/O window and its settings.
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Figure 18. I/O Ports (Source: Pro Tools).

After the establishment of the input and output configuration of the interface, it is
it is necessary to establish the inputs and outputs of each project trail. Access is via
keys I/O on its own track, in which Input determines the channel of the interface for signals
Input and O (Output) determines the interface channel for output signals of the track.
on the agenda. Let's see:
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Figure 19. I/O setup on the project's tracks (Source: Pro Tools – Reference Guide).

14. Pro Tools Editing and Mixing Pages

The Pro Tools software consists of two pages. One for editing and another for
mixing.
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Pro Tools 7.4

Therefore, for work with software, it is wise to know the shortcut of
keyboard (shortcut) that toggles between these two pages.
Let's look at the demonstration in the figure below.

Figure 20. Edit page. Source: Pro Tools Reference Guide.

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Figure 21. Mixing page. Source: Pro Tools Reference Guide.

15. Access to the Editing and Mixing Pages

To switch between the editing and mixing pages, we can proceed with
two ways:
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Pro Tools 7.4

a) Keyboard shortcut
b) Windows > Mix (or Edit)

Figure 22. Toggle between mixing and editing windows. Source: Pro Tools.

16. Analysis of Editing and Mixing Pages

On the Mixing page, the tracks appear as channels in a mixer, with

controls of:

• Inserts
• Sends
• Authorization for entry and exit of the Trail
• Amplitude
• Panorama
• Record Enable
• Signal Input Monitoring on the Trail
• Automation Mode
• Chaves Alone and Mute
• Instrument Control
• Mic Preamp (Only Pro Tools HD)
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Pro Tools 7.4

On the Edit page, the tracks are shown in a 'timeline' or in
timeline function, in addition to showing damixer automation (page of
mixing) on editing, recording, or arrangements in tracks.
Let's now look at the icons of each page of Pro Tools.

17. Targeting Selectors and Track Controls

In each trail we have the following characteristics:

a) On the mixing page

Figure 23. Track Control in Mixing Window. Source: Pro Tools.

Analyzing the figure above, we have a cut of the track on the Mixing page.
From top to bottom, this presents:

Audio Input Routing Selector on the Track - Determines the channel of the
interface corresponding to the signal input on the Trail.

Output Audio Track Routing Selector - Determines the channel of

interface or auxiliary corresponding to the signal output of the Track.
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Automation Mode Selector - Determines the operating mode of this automation
trail.

Channel Panorama Selector - Establishes the angular direction of the panorama

(Pan) from the trail.

Trail Panorama Indication Panel - Indicates the establishment of panorama

of this trail.

KeyRecord Enable - Enables recording on the track.

Input Signal Monitoring Key on the Track - Allows for monitoring of

input signal on the trail.

SoloKey - Enables listening to the track in solo mode.

MuteKey - Prevents listening to the track.

On the Edit page

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Figure 24. ChavesRecord Enable, Input, Solo and Mute. Source: Pro Tools.

Analyzing the previous figure, we have a cutout of the track on the Editing page. From above
downward, and from right to left, this presents:

Nome – Local do nome associado à trilha.

KeyRecord Enable - Enables recording on the track.

Input Signal Monitoring Key on the Track - Enables the monitoring of the
input signal on the trail.

SoloKey - Enables listening to the track in solo mode.

MuteKey - Prevents listening to the track.

Track Editing Mode Indicator - Indicates the current editing mode of the track.
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Vertical Dimension Selector of the Trail – Increases or decreases the vertical dimension of the
trail visualization

Timebase Selector (Track Time Base) - Switches the track mode from
Sample-Based to Tick-Based and vice versa.

Trail Voice Selector - Determines the trail voice among the modes: Dynamically
Allocated Voicing, turns off one of the available Voices.

Trail Automation Mode Selector - Determines the mode of operation of the

automation of this trail.

Elastic Audio Plug-in Selector – Elastic Audio Plug-in Controls.

18. Editing Tools

Let's take a look at the tools on the Pro Tools editing page.

Figure 25. Zoom Keys. Source: Pro Tools Reference Guide.

Analyzing this tools section of the edit page, we found on the right
to the left and from top to bottom:
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Pro Tools 7.4

Zoom Buttons - Horizontal and vertical zoom keys (audio and MIDI). The keys
numbered from 1 to 5, are zoom presets.

Zoomer - Enables different viewing patterns of the trails

Zoom Toggle - Toggles between the current zoom level and the user-defined preset.

Trimmer - Allows for the modification of the starting or ending point of a region.

Selector - Tool for selecting parts of the region

Smart - Enables the activation of the Trimmer, Selector, Grabber functions.

simultaneously. In this case, each point in the area will automatically trigger a
of these three tools.
Let's look at the points in the region corresponding to each of them:

Figure 26. Smart Tool. Source: Pro Tools Reference Guide.

Grabber - Tool for dragging regions

Scrubber - Allows listening to the part of the region in real time by dragging the icon
(Scrubber) over the desired part simultaneously with the mouse activation.
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Pencil - MIDI editing tool with the possibility of variation of the type of
tool.

19. Counters and Selection Indicators

On the editing page, we find timers and indicators of

selection of parts of the region.
These show the current location of the playback and editing selection, in addition to

they can show the development of playback in various time scales.

The main indicator shows the main and secondary time scales (Sub
Counter shows one of the options of time scales established as secondary.
by the user.
The selection indicators show the start and end of the selection and length.
of this, using the main indicator scale.
These counters and time indicators also appear in the window of
software transport.

Figure 27. Counters. Source: Pro Tools Reference Guide.

20. Pro Tools Editing Modes

Figure 28. Editing Mode Keys. Source: Pro Tools Reference Guide.
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In Pro Tools, you can edit in four different modes:

ModoShuffle

In this editing mode, the audio or MIDI regions show a relationship of

fixed time between them. Cut or glued regions will influence the total duration of
trail. For example, if we paste a 10s region at the beginning of the trail,
regions will be moved to the right 10s. In this mode, the regions cannot be
overlapping each other and changes in paths affect the entire project.
Due to the possibility of changes in the positioning of the trails,
this mode has a protection subsidy.
O acesso da proteção doShuffleécControl-click (Windows) or command-click
(Mac) on the Shufflena key screen.
An icon of Lock (blocked) will appear on the Shuffle key.

Figure 29. Shuffle Lock. Source: Pro Tools Reference Guide.

To unlock oShuffle use:

control-click(Windows)
Or

command-click(Mac) on the Lock Key Shuffle the screen.

ModoSlip

Regions can be moved freely within the track or between tracks. In this
In this way, regions can be partially or completely overlapping.
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Pro Tools 7.4

In this way, audio or MIDI regions do not have restrictions regarding
project timeline changes.

ModoSpot

In this way, regions can be located at specific points in the project.

which follow the determinations from different time scales.

ModoGrid

In this mode, audio regions are located at grid points (division bars of
A region dragged to a point on the trail will necessarily be,
located at a point of Grid. There are two variations of this mode. To switch
among the variations of this tool, select the arrow in the keyGrid establish the
mode of work of this.

a) Absolute Grid

A region included in the project can only be located in one of the

established time subdivisions. If this is dragged to a position between
Grids will be automatically located in the posterior grid position.

b)Relative Grid

In this case, the location of an area on the trail can be at a position

different from the position of Grid.

21. Transport Window

As we mentioned briefly, the transport window keys are

also well-known to the larger public, as their icons derived from the times
of analog audio.
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Currently, new modifications in the design of software have started to
include subsidies only found in analog recorders, such as the case of the mode of
monitoring (Input Only Mode). In this mode, recording is enabled.
enabling the listening of the channels connected to the recorder's input. It is worth remembering

that the recorder will only be recording after the command is activated to
recording. The access to the transport window is:

Window > Transport

Figure 30. Access to the transport window. Source: Pro Tools.

Figure 31. Transport Window. Source: Pro Tools Reference Guide.

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22. Markers and Timebase Ruler

The markers and time base rulers are important tools for
internal location in a digital audio project. These subsidies are usual in the
recording, editing, mixing, and mastering processes.
Let's look at the marker enablement key (Markers), the appearance of this in
track, just like the well-known Timebase Rulers.

Figure 32. Markers. Source: Pro Tools Reference Guide.

Markers are used for a plethora of functions in

edits of digital audio projects. These grants, in analog recordings, were
called 'Locate' or 'Locate Point' and allowed for an immediate return of the
fit to the marked point, when the respective locate switch is activated.
In Pro Tools, they are considered Memory Locations, which we can
classify markers. To insert them, we can use keyboard shortcuts or
simply, click on the "markers" symbol (Figure above). The mark is
inserted at the point where the cursor is located, as indicated on the base ruler
time with the icon deMarkerouMemory Location (see figure below).
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Figure 33. Marker (Left) and eMarker on the Timeline. Source: Pro Tools Reference Guide.

A marker window will open asking for name and specifications for the
marker in question. If no text is entered, the marks will be
named as: Location1, Location2, Location3, etc.

Figure 34. [Link]: Pro Tools.

To insert markers in Pro Tools, we can use:

a) Keyboard Shortcuts
b) Click doMouseno ícone de marcadores

To move the cursor to a marker, we can proceed with:

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a) Click on the specific marker on the timeline.
b) Selecting the specific marker in the windowMemory Locations. The access is:

View > Memory Locations

Figure 35. Access to the Marker Management Window (Left) and Management Window
Marker. Source: Pro Tools.

23. Channel Enable for Recording (Record Enable)

On each trail, we usually find four keys called:

M (MuteKey)
S (Solo Key)
R (ChaveRecord Enable)
I (ChaveTrack Input Monitor)

The first two are already well-known to those who work in

analog environment (mixers). The third one is used to enable recording on the track.
In Pro Tools, there is still a fourth key (I) for enabling
monitoring of input signal on the track.
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A track enabled for recording will only do so after a command.
recording specific (RecordKey in the transport window, where also does
locate the Key Play, Pause, Stop, etc.
It is important to remember that, in some cases, a recording on a track,
turns off an already existing region on the same trail and in the same location (Hour/Minute/

Second/ Millisecond). It is always good to remember that the recording process will take place

from the cursor point to the right (in the direction of increasing time).

Let us understand, in the figure, the recording enablement keys, mute keys,
SoloeInput Monitor besides the transport window with the keys Record, Play, Pause,
Stop, Forward, Rewind.

Figure 36. Track Enabled for Recording. Source: Pro Tools Reference Guide.

24. Recording

In Pro Tools, the recording process can be triggered from the window of
transport or by keyboard shortcut.

Command + Space

or

3 (no numeric keypad)

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Pro Tools 7.4

Clearly, it is possible to configure the preferences to enable a shortcut.
of your preferred keyboard.
To start recording using the transport window, it is necessary to trigger the
chaveRecord Enableantes doPlay.
It is important to remember that the keys Record Enabled of the channels must be

previously triggered, otherwise a message will appear indicating that

no track is enabled for recording.
In trail mode enabled, it is already possible to listen to the input signals in
each channel of the interface.

To stop the recording, the space bar must be pressed.

25. Saving Session

To save the modifications in the project, we must follow the steps

File>Save Project

you

File>Save Project As

When saving the recorded material, one must be mindful of possible mistakes regarding
local and saving name.
It is common for us to get confused in rushed procedures. Furthermore,
some specifications such as file extension are also easily
confused.
Another important aspect is the 'save as' option. In this case,
the material will be saved in place of the previous one. Therefore, when we need
to replace the material we should use this option. On the other hand, if we wish to save
a version with some modification for possible comparisons or tests, is
It is convenient for us to save with the same name and add a word.
differentiator (Ex: test) at the end of the name.
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Pro Tools 7.4

In the figure below, we have representations of access to the save function, in addition to

save session window with the save as function.

Figure 37. Saving Session. Source: Pro Tools.

[Link] In/ Fade Out/ Crossfade

To create fades in Pro Tools, just follow one of the steps below:

a) With the selection tool (Selector), select the part you want to create the fade.
proceed with:
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Pro Tools 7.4

Edit>Fades > Create

you use the keyboard shortcuts:

Option+ f (Mac)

Control+f (Windows)

Figure 38. Fades. Source: Pro Tools.

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Pro Tools 7.4

Figure 39. Fade In Fade Out Windows. Source: Pro Tools.

In the fades window, the icons found are:

Audition

Enables listening to the fade.

Figure 40. Audition. Source: Pro Tools Reference Guide.

Fade Curves Only

Show only the fade curves.

Figure 41. Fades Curves Only. Source: Pro Tools Reference Guide.
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Pro Tools 7.4

Fade Curves and Separate Waveforms
Waveforms

Show the separate waveforms.

Figure 42. Fade Curves and Separate Waveforms. Source: Pro Tools Reference Guide.

Fades Curves and Overlapping Wave Forms (Fade Curves and

Superimposed Waveforms

Show the overlapping waveforms.

Figure 43. Fade Curves and Superimposed Waveforms. Source: Pro Tools Reference Guide.

Fade Curves and Summed Waveforms

Waveform

Show the summed waveforms.

Figure 44. Fade Curves and Summed Waveform. Source: Pro Tools Reference Guide.

Zoom View (Zoom In/ Zoom Out)

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Pro Tools 7.4

Zoom visualization with higher or lower image precision.

Figure [Link] In/ Zoom Out. Source: Pro Tools Reference Guide.

Figure 46. Fade Out shape Settings. Source: Pro Tools Reference Guide.

In these last functions of the window, from left to right, we have:

Fade-In and Fade-Out Shapes

Alternates between continuous waveform (Standard) or form defined by

usuário (S-Curve). Esta última apresenta variação de instensidade mais rápida no
end of slower fade at the end of this. In this case, the curve definition is made by the
user, dragging parts of the curve in the editor.
Let's look at the patterns or presets of the Standard mode:
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Figure 47. Fade In Presets. Source: Pro Tools.

Figure 48. Fade Out Presets. Source: Pro Tools.

Each of the presets offers a different way of varying intensity of the

start of the fade until the end of it.

Slope Settings

Definitions of intensities in crossfade transitions.

Equal Power

Used for crossfades between regions that do not have phase coherence, in addition to

distinct materials.
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Pro Tools 7.4

Equal Gain

Used for materials with phase coherence, in addition to acoustically materials

similar.

Use Dither

Used for fading in low amplitude or silent regions.

Crossfade

To create crossfades in Pro Tools, just select the final part of a

region and the initial part of the subsequent region and follow the steps below:

Edit > Fades > Create

you use keyboard shortcuts:

Option+ f (Mac)

Control+ f (Windows)

Figure 49. Standard Crossfade. Source: Pro Tools Reference Guide.

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Pro Tools 7.4

This is the standard crossfade, meaning it affects both regions (1 and 2). In this type, it is

It is necessary to have audio material before and after the junction point.
However, one can create crossfades only in one of the regions, let's see:

Pre Crossfade

Crossfade final end of the first region.

Figure 50. Source: Pro Tools Reference Guide.

Post Crossfade

Crossfade initial end of the second region.

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Pro Tools 7.4

Figure 51. Post Crossfade. Source: Pro Tools Reference Guide.

27. Naming Trails

To name the tracks in Pro Tools, just:

Double click on the trail name > type new name

Figure 52. Naming tracks. Source: Pro Tools.

28. Track Height and Width

It is possible to adjust horizontal and vertical dimensions of tracks in the windows of

mixing or editing.
In the mixing window, we find two viewing modes for the tracks.
To switch between them:
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Pro Tools 7.4

Command + Option + M

Or

View > Narrow Mix

Figure 53. Track Width Adjustment (Narrow Mix). Source: Pro Tools.

To return to normal size, follow the same steps.

The vertical dimension of the trail can be adjusted on the editing page via arrow.
black on the right side of the track editing mode (Waveform, for example).

Figure 54. Adjustment of the vertical dimension of Tracks. Source: Pro Tools.

It is possible to choose one of the seven available vertical dimensions.

29. Groups

To create groups in Pro Tools, we can proceed in two basic ways.

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Pro Tools 7.4

a) Adjacent Trails

We selected the desired trails with:

Shift + Click (on the name of the first and last track of the group)

Control + G (Windows) or Command + G (Mac)

A New Group window will appear asking for the group's name. This is still
It is possible to include or exclude tracks with Click in their respective names.

Figure 55. Group Creation. Source: Pro Tools.

b) Control + G (Windows) or Command + G (Mac)

The window will appear asking for the mentioned data.

previously.
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Pro Tools 7.4

30. List of Groups

To create, enable, modify, suspend, etc. a group, one can use the list.
of groups (bottom left corner of the screen).
The access is:

Double arrow on the bottom left side of the screen.

Figure 56. Access to the Groups List. Source: Pro Tools.

To enable or disable a group:

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Pro Tools 7.4

Click on the group name in the list of groups

To create a new group, display settings, suspend, modify or delete

groups:

Figure 57. Access to the Pop-Up Menu of the group list. Source: Pro Tools.

To modify, duplicate, delete, select tracks, show or hide tracks, show

only the group trails or show all trails:

Right-click on the group name in the group list

Or

Click the group ID on the mixing page

Figure 58. Access to the Pop-Up Menu: a list of groups via Group List or ID. Source: Pro Tools.
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Pro Tools 7.4

31. Consolidate

It is possible to consolidate several audio regions from the same track,

forming a single region.

Figure 59. Access to the Consolidate function. Source: Pro Tools.

Select the various audio regions that should make up the new region and request:

Edit > Consolidate

A new region will be formed replacing the previous ones.

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32. Automation

Automation in Pro Tools can be done in several ways:

Off Mode

Mode that disables the following automation functions:

Volume
Pan
Mute
Send volume, pan, and mute
Plug-in controls
MIDI volume, pan, and mute

Read Mode

Executes any automation written for trails.

Write Mode

Write automation from the beginning of playback to the stop function, deleting
any prior automation information.

Touch Mode

Write automation while faders or keys are touched with the mouse.
drag any fader, the automation writing process to automatically.

Latch Mode
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Pro Tools 7.4

Operates similarly to Touch Mode, writing automation while
faders or keys were touched with the mouse. However, only for the writing process
at the beginning of the function it stopped changing automation mode.

To access the various types of automation:

Click>Automation Mode Selector

Figure 60. Access to the automation function.

33. Playlists

In Pro Tools, it is possible to create multiple playlists on each track. The access is:

Playlist key next to the track name.

Figure 61. Access to the Playlist function.

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Pro Tools 7.4

[Link] (Metronome)

It is possible to generate a click metronome in Pro Tools as follows:

Creating a Click Track with a plugin (metronome)

Figure 62. Create Click Track. Source: Pro Tools.

To establish the pulse, it is necessary to visualize the transport window with the
MIDI expansion.
Select:

Figure 63. Access to the Transport window. Source: Pro Tools.

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Pro Tools 7.4

Figure 64. Expansion of the Transport Window (MIDIControls). Source: Pro Tools.

In the transport window, disable the timer function on the conductor icon and
set the tempo or pulse in the Manual Time Mode window.

Figure 65. Ruler Time Manual Tempo Mode. Source: Pro Tools.

Double click the metronome icon, it opens the Countoff/Options window.

Figure 66. Countoff / Options. Source: Pro

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Pro Tools 7.4

In this window, we set click options during playback and recording.
only in recording or only in Countoff.

35. Pan

The definition of panorama is done on the mixing page, in fader.

horizontal on each track.

Figure 67. Panorama. Source: Pro Tools.

Inserts and Sends

Although it is more common to use the mixing page, it is also

it is possible to enable plug-ins via the Pro Tools edit page. Through this page,
It is also common to use auxiliary sends (auxiliary commands).
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Pro Tools 7.4

Figure 68. Insert Plug-ins. Source: Pro Tools.

37. Import Audio

This function is found in most multipist software. It is about the

audio conversion and import process for an existing project.
In this case, the software needs to adjust the type of audio file that will be
imported with a format and characteristics of resolution and sampling rate of
project in question.
A large part of musical projects today is based on montages.
audio samples. Thus, the use of the import tool for
audio, it is quite frequent. The access is:

File > Import Audio

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Pro Tools 7.4

Figure 69. Importing Audio for Recording Project. Source: Pro Tools.

In the following figure, we have the audio import window of Pro Tools.
as well as their respective options.

Figure 70. Import Audio. Source: Pro Tools Reference Guide.

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Pro Tools 7.4

When we finish the audio import process, another window requests an option
between New Track and Region, able to open the imported audio already in a new track
or just as a region stored in the regions bank.

Mixing

In order to carry out mixing in a digital environment, it is necessary to have

mixing page of the software.
Here, we can see the channels with all their individual characteristics and
possibilities for establishing functions such as Faders; Pan; Aux Sends; EQ;
Chaves M, S, R; Sub-Masters, Inserts, etc. (See mixing page).
Mixing in a digital environment differs fundamentally from analog due to
non-linear characteristic of time relationship. In this case, a point can be reached
desired only by defining the location with the software cursor, without the need for
rewind or fast forward the tape, for example.
In processes of this type, copying, pasting, editing, deleting, etc. parts of regions of
audio or complete audio regions, as well as fast forward or rewind to points
specific to the recording, do not represent time expenses as in recordings
analogous.
Another important factor is that the processes do not require execution in
real-time, the parameters are defined one by one before or during playback of
material. It is worth noting that automation subsidies (execution of functions in an automated way

automatizada), evitam a necessidade de vários técnicos para um processo de

mixing, since the functions, previously defined, will be carried out by the software.
The great suggestion, in this case, is to save the project again after some
modifications or after each important modification.

[Link]

It is the process of summarizing all the tracks into a single file (usually
stereo), saving it in a specific folder determined by the user.
This process, in some software, is called bounce or presents
function with the indication bounce file.
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Pro Tools 7.4

In this process, it is usually defined: resolution, sampling rate, type
of the file we want and the folder where we want to save the file that will be
exported.

Figure [Link].(Source: Pro Tools).

40. Mastering

In the specific case of mastering, it is possible to use multitrack software,

despite there being others more suitable for the process, such as specific software
Mastering.
Meanwhile, with a few minor exceptions, the possibilities for the majority of
Multitrack software is sufficient for the mastering process. In
In the figure below, we have the representation of an editing page in a process of
mastering.
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Figure 72. Mastering. Source: Pro Tools.