About the author |
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xv | |
Acknowledgements |
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xvii | |
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Pro Tools -- the World's Leading Digital Audio Workstation |
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1 | (5) |
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1 | (2) |
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Who this book will appeal to |
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3 | (1) |
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4 | (2) |
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The Evolution of Pro Tools -- a Historical Perspective |
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6 | (13) |
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6 | (1) |
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How Pro Tools came about -- the move to digital |
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6 | (2) |
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8 | (1) |
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The beginnings of Pro Tools |
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9 | (1) |
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10 | (1) |
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11 | (1) |
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12 | (1) |
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The Yamaha 02R compact digital mixer |
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12 | (1) |
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13 | (1) |
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13 | (1) |
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Twenty-four-bit digital audio |
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13 | (1) |
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14 | (1) |
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14 | (1) |
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15 | (1) |
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16 | (1) |
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16 | (1) |
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16 | (1) |
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17 | (1) |
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17 | (2) |
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19 | (14) |
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19 | (1) |
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19 | (1) |
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Native audio systems versus Pro Tools TDM systems |
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19 | (1) |
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20 | (1) |
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20 | (1) |
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Pro Tools|HD core systems |
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21 | (1) |
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21 | (4) |
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21 | (2) |
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23 | (1) |
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24 | (1) |
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24 | (1) |
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25 | (1) |
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25 | (1) |
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26 | (1) |
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26 | (1) |
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26 | (1) |
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27 | (1) |
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28 | (1) |
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Pro Tools custom keyboard |
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28 | (1) |
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DigiTranslator 2.0 option |
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28 | (1) |
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28 | (1) |
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29 | (1) |
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29 | (1) |
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Do you need to use a mixer with Pro Tools? |
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29 | (1) |
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30 | (2) |
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32 | (1) |
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33 | (33) |
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33 | (1) |
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What computer should you choose? |
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33 | (3) |
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33 | (1) |
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34 | (1) |
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35 | (1) |
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35 | (1) |
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36 | (1) |
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Recommended additional software |
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36 | (1) |
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37 | (1) |
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Leaving your computer `on' permanently versus switching `off' when you are not using it |
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38 | (1) |
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Hard drives for Pro Tools |
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39 | (3) |
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Disk requirements and bandwidth |
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40 | (1) |
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Analogue to digital conversion |
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40 | (1) |
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Audio data transfer rates |
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41 | (1) |
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41 | (1) |
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Multichannel audio data transfer rates |
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41 | (1) |
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42 | (4) |
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42 | (1) |
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43 | (1) |
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Disk maintenance and repair |
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43 | (1) |
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44 | (1) |
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44 | (1) |
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45 | (1) |
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45 | (1) |
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46 | (1) |
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46 | (5) |
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47 | (1) |
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47 | (1) |
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48 | (1) |
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48 | (1) |
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48 | (1) |
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49 | (1) |
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49 | (1) |
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49 | (1) |
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49 | (1) |
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50 | (1) |
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50 | (1) |
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50 | (1) |
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51 | (9) |
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51 | (1) |
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Upgrading from OS9 to OSX |
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51 | (1) |
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Disk formatting/partitioning |
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52 | (1) |
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Installing Mac OSX operating system |
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53 | (1) |
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53 | (2) |
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55 | (1) |
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56 | (1) |
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56 | (1) |
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56 | (1) |
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57 | (1) |
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58 | (2) |
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60 | (1) |
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60 | (5) |
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60 | (1) |
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Mac software problems -- freezes, foibles and crashes |
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60 | (1) |
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61 | (1) |
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62 | (1) |
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62 | (1) |
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Repairing disk permissions and disk volumes |
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63 | (1) |
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64 | (1) |
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64 | (1) |
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64 | (1) |
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65 | (1) |
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65 | (1) |
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Recording and Editing MIDI |
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66 | (37) |
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66 | (1) |
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66 | (17) |
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Configuring the Apple MIDI setup for Mac OSX |
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66 | (2) |
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Setting up to record MIDI into Pro Tools |
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68 | (4) |
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Recording onto a MIDI track |
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72 | (1) |
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73 | (1) |
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Playing back a recorded MIDI track |
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74 | (2) |
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Assigning multiple destinations to a MIDI track |
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76 | (1) |
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Recording Sysex into Pro Tools |
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76 | (1) |
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How to record audio from an external synthesizer into Pro Tools |
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77 | (1) |
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How to record virtual instruments into Pro Tools |
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77 | (1) |
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How to use Groove Control with Stylus |
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78 | (3) |
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How to record virtual instruments as Audio |
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81 | (2) |
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83 | (19) |
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83 | (2) |
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85 | (2) |
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87 | (1) |
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87 | (4) |
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91 | (1) |
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91 | (2) |
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93 | (3) |
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96 | (6) |
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102 | (1) |
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103 | (55) |
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103 | (3) |
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103 | (2) |
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105 | (1) |
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106 | (1) |
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Things you should know about before recording with Pro Tools |
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106 | (25) |
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107 | (2) |
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109 | (1) |
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109 | (1) |
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110 | (1) |
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111 | (1) |
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Setting the default tempo |
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112 | (1) |
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113 | (1) |
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113 | (1) |
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113 | (2) |
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115 | (1) |
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116 | (2) |
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Punch-in and -out using pre- and post-roll |
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118 | (1) |
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Voices, channels and tracks |
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118 | (1) |
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119 | (1) |
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Pro Tools|HD and HD Accel systems |
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119 | (3) |
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122 | (1) |
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123 | (1) |
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How QuickPunch affects the available voice count |
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124 | (1) |
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124 | (1) |
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Half-speed recording and playback |
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125 | (1) |
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126 | (1) |
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126 | (1) |
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127 | (1) |
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Importing tracks from CD into Pro Tools |
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128 | (3) |
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Working on a real recording session |
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131 | (26) |
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131 | (3) |
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134 | (1) |
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135 | (1) |
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136 | (2) |
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138 | (1) |
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138 | (3) |
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141 | (1) |
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142 | (2) |
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Using Identify Beat to create a tempo map |
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144 | (3) |
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Inserting Bar|Beat Markers |
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147 | (3) |
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Dragging Bar|Beat Markers |
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150 | (1) |
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150 | (1) |
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151 | (1) |
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Pitch shifting to suit a particular vocalist |
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151 | (1) |
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A basic synthesizer tracking session |
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152 | (2) |
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Overdubbing piano, guitar, bass and vocals |
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154 | (3) |
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157 | (1) |
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158 | (37) |
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158 | (1) |
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158 | (1) |
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159 | (1) |
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160 | (2) |
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162 | (1) |
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163 | (1) |
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164 | (1) |
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Keyboard commands and shortcuts |
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165 | (1) |
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166 | (2) |
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166 | (1) |
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166 | (1) |
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167 | (1) |
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167 | (1) |
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167 | (1) |
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167 | (1) |
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168 | (1) |
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168 | (1) |
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169 | (1) |
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Auto fade-in and fade-out |
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169 | (1) |
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170 | (1) |
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171 | (2) |
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173 | (1) |
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174 | (1) |
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Time Compression/Expansion edits |
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175 | (2) |
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177 | (1) |
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178 | (2) |
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Beat Detective basic operation |
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180 | (1) |
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Practical editing techniques |
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180 | (14) |
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Fixing a note or chord played late |
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180 | (3) |
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183 | (2) |
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185 | (1) |
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Editing before the downbeat |
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186 | (3) |
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189 | (1) |
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190 | (2) |
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Spot mode and time stamping |
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192 | (2) |
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194 | (1) |
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195 | (37) |
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195 | (1) |
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195 | (1) |
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196 | (1) |
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Output windows for tracks and sends |
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197 | (2) |
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199 | (8) |
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203 | (1) |
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204 | (1) |
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205 | (1) |
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206 | (1) |
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207 | (1) |
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207 | (1) |
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208 | (1) |
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208 | (1) |
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208 | (1) |
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209 | (1) |
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209 | (1) |
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209 | (2) |
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211 | (1) |
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When to use the Dither plug-in |
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211 | (1) |
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212 | (2) |
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The Dithered Mixer plug-ins |
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214 | (1) |
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214 | (1) |
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214 | (17) |
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214 | (1) |
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215 | (2) |
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Using Automation `snapshots' |
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217 | (2) |
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Editing and inserting breakpoints manually to create automation |
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219 | (1) |
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220 | (1) |
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221 | (1) |
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Setting up Auxiliary routings |
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222 | (4) |
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226 | (2) |
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228 | (1) |
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229 | (2) |
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231 | (1) |
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232 | (23) |
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232 | (1) |
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232 | (2) |
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234 | (2) |
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236 | (1) |
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236 | (1) |
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237 | (1) |
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Real-time TDM and RTAS plug-ins |
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238 | (1) |
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Multi-channel RTAS plug-ins |
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239 | (6) |
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239 | (1) |
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239 | (2) |
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241 | (1) |
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242 | (1) |
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242 | (1) |
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242 | (1) |
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Short Mod Delay II and Slap Delay II |
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243 | (1) |
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243 | (1) |
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Long and Extra Long Mod Delay II |
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243 | (1) |
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Tempo, meter, duration and groove |
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243 | (1) |
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Mono In, Stereo Out Mod Delays |
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244 | (1) |
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Multi-channel TDM plug-ins |
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245 | (3) |
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The Real-time Pitch Processor |
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245 | (1) |
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246 | (2) |
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Multi-mono TDM and RTAS plug-ins |
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248 | (4) |
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248 | (1) |
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249 | (1) |
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249 | (1) |
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249 | (2) |
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251 | (1) |
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Inserting Plug-ins during playback |
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252 | (1) |
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Optional Digidesign plug-ins |
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253 | (1) |
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Digidesign distributed third-party plug-ins |
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253 | (1) |
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253 | (1) |
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253 | (1) |
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254 | (1) |
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255 | (16) |
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255 | (1) |
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255 | (3) |
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Access Virus Indigo TDM Synthesizer plug-in |
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255 | (1) |
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256 | (1) |
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257 | (1) |
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258 | (3) |
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259 | (1) |
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259 | (1) |
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260 | (1) |
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261 | (2) |
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261 | (2) |
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263 | (1) |
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263 | (1) |
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264 | (1) |
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Native Instruments Studio Collection |
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264 | (2) |
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264 | (1) |
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265 | (1) |
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266 | (1) |
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Emagic software for use with TDM hardware |
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266 | (4) |
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267 | (1) |
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267 | (1) |
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268 | (2) |
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270 | (1) |
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270 | (1) |
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270 | (1) |
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271 | (11) |
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271 | (1) |
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ReWire in action with Reason |
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271 | (4) |
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Setting up the Reason synthesizers |
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275 | (2) |
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Routing MIDI from Pro Tools to Reason |
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277 | (1) |
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Playing ReWire application sequences in sync with Pro Tools |
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278 | (1) |
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Using Ableton Live with Pro Tools |
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279 | (1) |
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Recording from Ableton Live into Pro Tools |
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280 | (1) |
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281 | (1) |
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281 | (1) |
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281 | (1) |
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282 | (23) |
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282 | (1) |
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282 | (3) |
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285 | (3) |
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288 | (4) |
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Using Nuendo with Pro Tools hardware |
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290 | (2) |
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292 | (5) |
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Using Cubase SX with Pro Tools TDM cards |
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297 | (1) |
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297 | (2) |
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Using Deck with Digidesign cards |
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299 | (1) |
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299 | (1) |
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299 | (3) |
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302 | (1) |
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302 | (3) |
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305 | (2) |
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Appendix 1: Hardware Control |
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307 | (13) |
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307 | (1) |
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307 | (2) |
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309 | (1) |
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309 | (1) |
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310 | (1) |
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Digidesign/Focusrite Control|24 |
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310 | (4) |
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Control|24 control surface |
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311 | (2) |
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313 | (1) |
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313 | (1) |
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314 | (5) |
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316 | (2) |
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318 | (1) |
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318 | (1) |
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319 | (1) |
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319 | (1) |
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Appendix 2: File Management |
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320 | (7) |
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320 | (1) |
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321 | (1) |
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322 | (1) |
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322 | (1) |
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323 | (1) |
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323 | (1) |
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324 | (1) |
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Relinking missing files in an open session |
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324 | (3) |
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Appendix 3: Transferring Projects |
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327 | (16) |
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327 | (1) |
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Getting ready to make the transfers |
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327 | (2) |
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329 | (1) |
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330 | (1) |
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330 | (1) |
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Importing tracks and track attributes |
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330 | (3) |
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Time code mapping options |
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333 | (1) |
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333 | (1) |
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Selecting session data to import |
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334 | (1) |
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335 | (1) |
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Preparing for OMFI transfers |
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336 | (1) |
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Exporting OMFI files from Pro Tools |
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337 | (1) |
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Importing OMFI files into Pro Tools |
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338 | (2) |
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Moving sessions between platforms |
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340 | (1) |
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Moving between PT LE and PT TDM |
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340 | (2) |
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342 | (1) |
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Appendix 4: Pro Tools 6.4 |
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|
343 | (2) |
Glossary |
|
345 | (16) |
Bibliography |
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361 | (8) |
Index |
|
369 | |