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Destructive Record Mode
In Destructive Record mode, recording over ex-
isting regions replaces the original audio perma-
nently, which allows you to keep disk use to a
minimum. However, if you have sufficient drive
space, it is usually best to use Pro Tools in Non-
destructive Record mode, to avoid losing any
previously recorded material.
When defining the record range and setting pre-
and post-roll, Destructive Record mode works
the same as Normal (Nondestructive) mode.
Unlike the other record modes, it is not possible
to cancel or undo record takes when using De-
structive Record mode (see “Canceling a Record
Take” on page 451).
Loop Record Mode
Loop Record mode lets you record take after take
(nondestructively) while the same section of au-
dio repeats. This is a convenient technique for
quickly recording multiple takes of a part with-
out losing spontaneity.
The time range that is looped and recorded—
which must be at least one second in length—is
defined by selecting a range in a ruler or in a
track’s playlist, or by specifying start and end
points in the Transport window. The pre-roll
setting, if enabled, is used during the first record
pass, but on each successive loop the pre- and
post-roll times are ignored.
When using Loop Record mode, each successive
take appears as a region in the Region List and
each is numbered sequentially. The various
takes, which are identical in length and start
time, are easily auditioned and placed in the
track at the correct location with the Matches
pop-up menu (see “Selecting Alternate Takes”
on page 463).
QuickPunch
QuickPunch gives you the ability to manually
and instantaneously punch in (initiate record-
ing) and punch out (stop recording) on record-
enabled audio tracks during playback by click-
ing the Record button in the Transport. Record-
ing with QuickPunch is nondestructive.
When using QuickPunch, Pro Tools begins re-
cording a new file when playback begins, auto-
matically generating regions in that file at each
punch in/out point. These regions appear in the
track’s playlist; and the complete audio file ap-
pears in the Region List along with the Quick-
Punch created regions. Up to 200 of these “run-
ning punches” can be performed in a single
pass.
Though you can punch record in the other re-
cord modes by manually specifying the record
range, only QuickPunch provides instantaneous
monitor switching on punch-out.
In Destructive Record mode, the waveform
overview is not redrawn until you stop
recording.
To set a record range by selecting within a
track’s playlist, enable the Link Timeline
and Edit Selection option. See “Linking or
Unlinking Timeline and Edit Selections” on
page 559.
In Loop Record mode, the waveform over-
view is not redrawn until you stop
recording.
For more information on QuickPunch, see
“QuickPunch Audio Recording” on
page 492.
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64
Chapter 21: Record Setup 433
TrackPunch
(Pro Tools HD Only)
TrackPunch lets individual tracks be punched
in, punched out, and taken out of record enable
without interrupting online recording and play-
back.
TrackPunch is a nondestructive recording mode.
When a track is TrackPunch-enabled, Pro Tools
begins recording a new file when playback be-
gins. During playback, you may record arm or
disarm, or punch in or out a combination of any
or all TrackPunch enabled tracks.
TrackPunch automatically creates regions in
that file at each punch-in and punch-out point.
These regions appear in the track’s playlist, and
the complete audio file appears in the Region
List along with the TrackPunch created regions.
Up to 200 of these “running punches” can be
performed in a single pass.
DestructivePunch
(Pro Tools HD Only)
Destructive Punch is a destructive recording
mode that lets you instantaneously punch in
(start recording) and punch out (stop recording)
on individual audio tracks during playback,
while preserving a contiguous audio file on each
punched track.
Record Modes and MIDI
In addition to the various record modes, there is
also a MIDI Merge button in the Transport win-
dow that determines how MIDI is recorded.
When enabled (Merge mode), recording over ex-
isting MIDI regions results in the new data being
merged with the old. When the MIDI Merge
button is disabled (Replace mode), the new ma-
terial replaces the old.
MIDI recording works the same whether using
Nondestructive or Destructive Record mode. In
addition, neither QuickPunch nor TrackPunch
need to be enabled to punch on-the-fly with
MIDI—this capability is available in Nonde-
structive and Destructive Record modes.
Unlike audio loop recording, the state of the
MIDI Merge toggle determines whether existing
material is replaced or merged.
Unless MIDI Merge is enabled, MIDI recording is
destructive (though you can undo a MIDI record
pass), either overwriting or adding to region ma-
terial. One exception to this rule is when Loop
Record mode is enabled; in this mode, existing
track regions are replaced with new regions
when new material is recorded. The old regions
remain intact and available from the Region
List, and from the Matches pop-up menu. In
Loop Record mode, MIDI Merge has no effect, so
its button is dimmed.
For more information on TrackPunch, see
“TrackPunch Audio Recording” on
page 494.
For more information on DestructivePunch,
see “DestructivePunch Audio Recording” on
page 498.
MIDI Merge button, enabled
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54
Pro Tools Reference Guide
434
Configuring Default Names
for Audio Files and Regions
(Optional)
Track names define new file and region names
when recording to a track (see “Naming Tracks”
on page 212).
When recording to an audio track, the resulting
file and region names are based on the name of
the track. For example, after recording for the
first time on a track called “Electric Gtr,” an au-
dio file is created with the name “Electric
Gtr_01.” In addition, a region appears in the Re-
gion List with the name “Electric Gtr_01.” This
region is a whole-file region.
Subsequent record takes on the same track are
named identically, but the digits (indicating the
take number) are incremented (for example,
“Electric Gtr_02.”) A second set of digits (such as
used in “Electric Gtr_01-01”) indicates that the
region was auto-created from an edit.
When recording MIDI tracks, a similar naming
scheme is used, though with only one set of dig-
its. For example, after recording to a track called
“Synth 1,” a region is created called “Synth 1-
01.” Subsequent regions for that track, generat-
ing either from additional record takes or region
edits, are numbered sequentially (for example,
“Synth 1-02”).
To rename a track:
1
Do one of the following:
• In the Mix or Edit window, double-click the
Track Name button for the track you want
to rename.
– or –
• In the Track List in the Mix, Edit, MIDI Ed-
itor, or Score Editor window, Right-click the
track name for the track you want to re-
name.
2
In the Track Name/Comments dialog, type a
new track name.
3
Click OK.
Names for Stereo Audio Tracks
When recording to stereo audio tracks, audio
file and region names for the left and right chan-
nels are appended with a “.L” and “.R” suffix.
QuickPunch, TrackPunch, and Destructive
Punch modes use a different method for
numbering regions. For details, see “Track-
Punch Audio Recording” on page 494.
54
Chapter 21: Record Setup 435
Names for Multichannel Tracks
(Pro Tools HD or Pro Tools with Complete
Production Toolkit 2 Only)
When recording to multichannel surround
tracks, audio file and region names for each
channel are appended with the following suf-
fixes:
Assigning Hardware I/O on a
Track
Before recording to a track, you must specify the
input and output signal path for the material
you are recording. You will do this by assigning
a hardware input (recording source) and an out-
put bus (for monitoring recording) on the track.
To assign I/O on a track:
1
Assign a hardware input (recording source) by
doing one of the following:
• In the Mix window, select the correspond-
ing hardware input for your source from
the track’s Input Path selector.
– or –
• In the Edit window, with I/O view enabled,
select the corresponding hardware input
for your source from the track’s Input Path
selector.
Multichannel
Format
File and Region Suffixes
LCR
L, C, R
Quad
L, R, Ls, Rs
LCRS
L, C, R, S
5.0
L, C, R, Ls, Rs
5.1
L, C, R, Ls, Rs, LFE
6.0
L, C, R, Ls, Cs, Rs, LFE
6.1
L, C, R, Ls, Cs, Rs
7.0
L, C, R, Lss, Rss, Lsr, Rsr
7.1
L, C, R, Lss, Rss, Lsr, Rsr, LFE
7.0 SDDS
L, Lc, C, R, Rc, Ls, Rs
7.1 SDDS
L, Lc, C, R, Rc, Ls, Rs, LFE
Input Path selector, Mix window
Input Path selector, Edit window
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Pro Tools Reference Guide
436
2
Assign an output bus (for monitoring record-
ing) by doing one of the following:
• In the Mix window, select the correspond-
ing output bus for monitoring (such as
“Monitor” or “A 1–2”) from the track’s
Output Path selector.
– or –
• In the Edit window, with I/O view enabled,
select the corresponding output bus for
monitoring (such as “Monitor” or “A 1–2”)
from the track’s Output Path selector.
Record Enabling Tracks
To record audio or MIDI to a track you must first
enable the track’s Record Enable button. To re-
cord simultaneously to multiple tracks, record
enable multiple audio, Instrument, or MIDI
tracks.
When one or more tracks are record-enabled,
click the Record button in the Transport to arm
recording, and then click the Play button in the
Transport to start recording.
To record enable an audio, MIDI, or Instrument
track:
ɸ
From either the Mix or Edit window, click the
track’s Record Enable button to toggle record en-
able on or off for the track. The track’s Record
Enable button flashes red, the track’s fader is
solid red, and the Track Record Enabled indica-
tor in the Transport turns red (indicating at least
one track is record-enabled).
Output Path selector, Mix window
Output Path selector, Edit window
MIDI and Instrument tracks can be record-
enabled during playback or record. To re-
cord enable audio tracks, the Transport
must be stopped, or QuickPunch, Track-
Punch, or DestructivePunch must be en-
abled. For more information on Quick-
Punch, TrackPunch, and DestructivePunch,
see “Record Modes” on page 431.
49
Chapter 21: Record Setup 437
To record enable multiple audio tracks:
ɸ
From either the Mix or Edit window, click
each audio track’s Record Enable button to tog-
gle record enable on or off for each track.
To record enable multiple MIDI and Instrument
tracks:
ɸ
From either the Mix or Edit window, Shift-
click each MIDI or Instrument track’s Record En-
able button to toggle record enable on or off for
each track.
To record enable MIDI and Instrument tracks using
the Up/Down Arrows:
ɸ
While pressing Command (Mac) or Control
(Windows), press the Up/Down Arrows to re-
cord enable the previous or next MIDI or Instru-
ment track. The previous (or next) record track
is no longer record-enabled.
To record enable all audio tracks, or all MIDI and
Instrument tracks:
ɸ
Option-click (Mac) or Alt-click (Windows) the
Record Enable button to toggle record enable on
or off for all audio tracks, or all Instrument and
MIDI tracks.
For record-enable, Pro Tools treats MIDI and In-
strument tracks as the same type. Consequently,
Option-clicking (Mac) or Alt-clicking (Win-
dows) the Record Enable button on any MIDI or
Instrument track will record enable all MIDI and
Instrument tracks in the session.
Record-enabled audio track in Mix and Edit windows
Press Shift+R to record enable any track
containing the Edit cursor on an Edit
selection.
If Latch Record mode is not enabled, Shift-
click each track’s Record Enable button to
toggle record enable on or off for each track.
See “Latch Record Enable Buttons Prefer-
ence” on page 438.
Edit window
Mix window
To keep the previous track record-enabled
while enabling new tracks, press
Command+Shift+Up/Down (Mac) or
Control+Shift+Up/Down (Windows).
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Pro Tools Reference Guide
438
To record enable all selected audio tracks, or all
selected MIDI and Instrument tracks:
ɸ
Option-Shift-click (Mac) or Alt-Shift-click
(Windows) the Record Enable button on any se-
lected audio, or MIDI or Instrument track to tog-
gle record enable on or off for all selected audio,
or MIDI and Instrument tracks.
Latch Record Enable Buttons
Preference
When the Latch Record Enable Buttons option is
selected in the Operation Preferences, you can
record enable additional audio tracks by clicking
their Record Enable buttons. Previously record-
enabled tracks remain enabled. The Latch Record
Enable Buttons option affects audio tracks only.
When the Latch Record Enable Buttons option is
deselected, record enabling a subsequent audio
track disables the previously record-enabled au-
dio track.
To enable the Latch Record Enable Buttons
preference:
1
Choose Setup > Preferences and click the
Operation tab.
2
Select Latch Record Enable Buttons.
Record Safe Mode
Pro Tools provides a Record Safe mode on a per
track basis that prevents tracks from being re-
cord-enabled by accident. Use Record Safe mode
to protect important audio or MIDI data on a
track from being recorded over.
To put an audio, MIDI, or Instrument track in
Record Safe mode:
ɸ
Command-click (Mac) or Control-click (Win-
dows) the track’s Record Enable button. The Re-
cord Enable button is grayed out.
Command-click (Mac) or Control-click (Win-
dows) again to take the track out of Record Safe
mode.
To put all audio, MIDI, and Instrument tracks in
Record Safe mode:
ɸ
Command-Option-click (Mac) or Control-Alt-
click (Windows) the Record Enable button on
any track.
Command-Option-click (Mac) or Control-Alt-
click (Windows) again to take all tracks out of
Record Safe mode.
To put all currently selected tracks into Record
Safe mode:
ɸ
Command-Option-Shift-click (Mac) or Con-
trol-Alt-Shift-click (Windows) the Record Enable
button on any of the selected tracks to toggle
them in and out of Record Safe mode.
Record enabling a track that is part of a Mix
Group does not record enable the other
tracks in the Group. To record enable all
tracks in a group, click directly to the left of
the group’s name in the Group List to select
all tracks in the group, and then Option-
Shift-click (Mac) or Alt-Shift-click (Win-
dows) the Record Enable button of one of
the tracks to record enable the selected
tracks.
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