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Chapter 40: AudioSuite Processing 849
Next (+) and Previous (–) Setting Buttons Lets
you select the next or previous plug-in setting
from the Plug-In Librarian menu.
Plug-Ins Settings Select Button Accesses the
Plug-In Settings dialog, which lists the presets
for the current plug-in. From this list, you can
select a new preset, or audition a series of pre-
sets.
Compare Toggles between the original saved
plug-in preset and any changes you have made
to it so you can compare them.
Other AudioSuite Controls
In addition to the standard AudioSuite controls
that are common to all AudioSuite plug-ins,
there are a number of special-purpose controls
found only on certain plug-ins:
Chan/Track Process Mode Selector
If you have made a selection that includes re-
gions from multiple tracks, the Normalize
AudioSuite plug-in (as well as some third-party
AudioSuite plug-ins) lets you choose whether
you want to perform processing on a channel-
by-channel/track-by-track, or an all-channel/all-
tracks basis using the Chan/Track Process Mode
selector.
Peak On Each Chan/Track Analyzes and pro-
cesses each selected track individually. If you ap-
ply the Normalize plug-in to multiple tracks or a
multichannel track in Peak On Each Chan/Track
mode, each channel or track will be normalized
independently, without regard to the other se-
lected tracks.
Peak On All Chans/Tracks Uses all currently se-
lected channels and tracks for analysis. If you
apply the Normalize plug-in to a multichannel
track or multiple tracks in Peak On All
Chans/Tracks mode, the tracks will be analyzed
as a single entity and regions will be normalized
relative to the averaged peak level within all se-
lected channels and tracks.
Find Level Button
For some gain processing plug-ins, the Find Level
button can be found next to the Process button
in the AudioSuite Plug-In Window footer. It can
analyze a selection without actually processing
it. For example, using the DigiRack Gain plug-
in, you can use the Find Level button to deter-
mine the maximum peak level on a track at a
specific gain value before you process the audio.
Key Input Selector
Selects a track/bus to be used to trigger process-
ing. In order to use this feature, the key input
source audio must occur at the same time as the
target audio. Side-chain input is monophonic.
See “Side-Chain Input” on page 984.
Channel Mode Button
The Channel Mode button lets you process con-
tiguous channels within a selected region as
though they were mono or stereo tracks (and in
some cases greater-than-stereo tracks), regard-
less of the type of tracks they occupy.
Mono Mode Processes each contiguous channel
within a selected region as a separate mono
track. For example, a region comprised of six
mono tracks would be processed as six mono
tracks.
You will lose the current plug-in settings if
they are not saved before you use the Next
and Previous Setting buttons. Always save
your plug-ins settings as presets using the
Plug-In Settings menu.
Side-chain inputs for plug-ins have no effect
on AudioSuite processes when the Selection
Reference is set to Region List.
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Stereo Mode Processes each contiguous pair of
channels within a selected region as a stereo
track. When applied to an odd number of chan-
nels, the plug-in processes the last odd, unpaired
channel as mono, using the left channel settings
of the stereo plug-in. If you want the last track to
be processed in stereo, you must select an addi-
tional track to pair it with—an empty one if nec-
essary.
For example, a region comprised of two mono
tracks would be processed as a stereo track, with
the first mono track processed as the left chan-
nel and the second mono track processed as the
right channel.
Multi Mode Processes each set of three or more
contiguous channels within a selected region as
a multichannel greater-than-stereo track, with
the number of selected channels determining
the type of track. For example, five contigu-
ously-selected channels would be processed as a
5.0 track, while seven contiguously-selected
channels will be processed as a 7.1 track.
AudioSuite Window Footer
The AudioSuite Window footer provides con-
trols for previewing and applying AudioSuite
processing.
Preview Button
The Preview button in the AudioSuite window
lets you audition the effect of a plug-in before
you process the audio. By adjusting the plug-in
controls while you listen to this audio preview,
you can fine-tune the effect. Not all AudioSuite
plug-ins support previewing.
The Preview function routes audio to the spe-
cific outputs selected for the Audition Path setting
in the Outputs page of the I/O Setup dialog.
Make sure you have configured this option cor-
rectly for your system or you may not be able to
hear previewed audio.
Before you previewing AudioSuite processing,
be aware that:
ɿ
The performance of the Preview function de-
pends on the speed of your CPU. Faster comput-
ers preview AudioSuite effects better than slower
computers.
ɿ
Regardless of how many tracks and regions are
currently selected, the Preview button will audi-
tion only the first selected stereo track or the
first selected pair of mono tracks.
ɿ
In Mono mode, only the first channel of any
selected multichannel region will be previewed.
ɿ
If you are processing using Region-by-Region
mode, the Preview function will preview only
the first region within a multi-region selection.
To hear all selected regions, temporarily select
Create Continuous File from the File Mode menu
before previewing.
Multi mode is available only for certain
plug-ins, such as Dynamics III.
AudioSuite window footer
Preview button
Bypass button
Process button
Preview Level meters
Preview volume
For more information on using the I/O
Setup dialog to configure your system’s
audio outputs, see “Audition Paths” on
page 91.
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Chapter 40: AudioSuite Processing 851
Preview Volume Control
The Preview Volume control in the AudioSuite
window lets you adjust the volume for preview-
ing AudioSuite processing.
To adjust the volume for previewing AudioSuite
processing:
1
Click the Preview Volume control.
2
In the resulting pop-up fader, drag up to in-
crease the preview volume or drag down to de-
crease the preview volume.
Preview Volume Level Meters
The Preview Volume Level meters display the
levels for previewed AudioSuite processing. This
can help you watch for clipping in the processed
signal.
Bypass Button
When Bypass is enabled in the AudioSuite win-
dow, the selected audio is auditioned without
AudioSuite processing. The Bypass button ap-
plies only to previewing. It does not affect actual
AudioSuite processing.
Process Button
Clicking the Process button in the AudioSuite
window begins AudioSuite processing of the se-
lected audio. Processing can occur during play-
back (though it may take slightly longer). Pro-
cessed files are auto-named with the region or
audio file’s name and include an acronym for
the chosen AudioSuite process.
New files are written to the hard disk specified
for that track in the Disk Allocation dialog, or to
the same drive as the original file if the region is
not currently on a track. See “Automatic File
Naming of AudioSuite-Processed Audio” on
page 852.
Multichannel Processing
Most DigiRack AudioSuite plug-ins can process
up to 48 channels of audio simultaneously.
Adjust the volume for previewing AudioSuite processing
When processing multiple regions of
different formats (mono and multichannel
surround, for example), all channels will be
processed according to the channel format
of the AudioSuite plug-in. Mono AudioSuite
plug-ins can process stereo regions and
stereo AudioSuite plug-ins can process
mono regions.
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Undoing AudioSuite Processing
If you have processed an audio selection nonde-
structively, the Undo and Redo commands let
you undo the selected AudioSuite process. You
can undo or redo an AudioSuite process during
audio playback.
Automatic File Naming of AudioSuite-
Processed Audio
When new audio files are created as a result of
AudioSuite processing, Pro Tools will auto-name
these files according to the type of plug-in used.
The name of the region determines the prefix,
while the type of AudioSuite plug-in determines
the suffix.
Automatic file naming follows these rules:
ɿ
New regions are named beginning with the re-
gion name, followed by an abbreviation of the
current AudioSuite process, followed by stan-
dard Pro Tools file and region numbering.
ɿ
If a plug-in’s File Mode is set to Overwrite Files,
the original region’s name will not be changed.
ɿ
If a plug-in’s File Mode is set to Create Individ-
ual Files, the resulting regions will have an ab-
breviated version of the plug-in name appended
to them.
Using AudioSuite Plug-Ins
AudioSuite plug-ins can be applied to whole re-
gions, partial regions, or selections that are
made up of whole and partial regions across one
or more tracks.
When audio selected in the Edit window in-
cludes partial regions, the regions will automat-
ically be split into two or more regions when
they are processed. Processing is applied only to
the selection, leaving other regions unchanged.
Only audio files on locally connected hard
drives can be processed with AudioSuite plug-
ins. You cannot process audio files on remote
hard drives over a network (unless it is an Avid
Unity network).
To process audio with an AudioSuite plug-in:
1
Do one of the following:
• Make an Edit selection of the audio you
want to process.
– or –
• Select audio regions in the Region List that
you want to process.
2
Choose an AudioSuite plug-in from the
AudioSuite menu.
3
Adjust the plug-in controls for the effect you
want. These settings determine how the file is
processed and what effect the processing has on
the original regions.
Undo is not available when a plug-in is
configured for destructive editing since the
process has already overwritten the source
audio file.
Processing a locked region will cause the re-
gion to become unlocked, and processing a
muted region will cause it to become un-
muted.
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Chapter 40: AudioSuite Processing 853
Follow these guidelines:
• To process the selected region only in the
track in which it appears, select Playlist for
the Selection Reference. Alternatively, if
you want to process the selected region in
the Region List only, select Region List.
• If you want to process and update every oc-
currence of the selected region throughout
your session, enable the Use In Playlist but-
ton (and also select Region List as the Selec-
tion Reference). Alternatively, if you do not
want to update every occurrence of the se-
lected region, deselect the Use In Playlist
button.
• To configure the plug-in for destructive
processing, select Overwrite Files for the File
Mode. This will overwrite and permanently
modify the original source audio files.
• Alternatively, to configure the plug-in for
nondestructive processing, select Create In-
dividual Files for the File Mode. This will cre-
ate new audio files that have been
processed with the AudioSuite plug-in set-
tings and leave the original source audio
files untouched.
• If you have selected multiple regions for
processing and want to create a new file
that connects and consolidates all of these
regions together, select Create Continuous
File for the File Mode.
4
Click the Preview button to audition the Au-
dioSuite processing of the selected material.
5
Make any further adjustments to the plug-in
controls if necessary.
6
When you are satisfied with the results, click
the Process button.
The selected audio is processed according to the
specified settings. Pro Tools appends an acro-
nym to the region name indicating the Audio-
Suite process that has been applied. Any new au-
dio files appear in the Region List.
Selecting Tracks for AudioSuite
Processing
Because AudioSuite processes are performed on
the specific regions that you select, it is impor-
tant that you select only those regions, or parts
of regions, you actually want to process.
Selecting Tracks for Delay or
Reverb Processing
Because some AudioSuite effects such as delay
and reverb add additional material to the end of
the selected audio, it is important that you make
a selection that is longer than the original source
material so that the plug-in can write it to the
audio file. If you select only the original mate-
rial, without leaving additional space at the end,
any reverb decay or delay that occurs after the
end of the region will be cut off.
To compensate for this, place the region in a
track and select the audio plus an amount of
blank space at the end of the region equal to the
amount of delay or reverb decay that you have
added in the plug-in. The plug-in will then have
space at the end of the region in which to write
the final delay or decay. If you select more time
than needed, you can trim it after applying Au-
dioSuite processing.
When processing a single audio channel
with an AudioSuite plug-in, make sure that
the plug-in is set to Mono mode, if available.
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Using AudioSuite Plug-Ins in
Stereo
Some AudioSuite plug-ins can be used in either
mono or stereo. If you plan to use them in ste-
reo, consider the following:
ɿ
To process a mono track and obtain a stereo
result, select the track or region plus an empty
track or region. Then set the plug-in to Stereo
mode and select the Sum Inputs button (if pres-
ent) to center the dry signal. When you process
the audio, the result will be two tracks or regions
that represent the right and left channels of the
processed audio. You should then pan these
tracks hard right and hard left in your mix.
ɿ
If you set a plug-in to Stereo mode, then select
an odd number of Pro Tools tracks for process-
ing (as opposed to an even number), the plug-in
will process the selected tracks in pairs, in stereo.
However, the last odd, unpaired track will be
processed as mono, using the left channel set-
tings of the stereo plug-in. If you want the last
track to be processed in stereo, you must select
an additional track to pair it with—an empty
one if necessary.
For more information, see “Channel Mode
Button” on page 849.
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Chapter 41: Elastic Audio 855
Chapter 41: Elastic Audio
Elastic Audio provides track-based Real-Time
and Rendered Time Compression and Expan-
sion (TCE) and region-based pitch shifting
(transposition). Pro Tools Elastic Audio uses ex-
ceptionally high-quality transient detection al-
gorithms, beat and tempo analysis, and real-
time TCE and pitch shifting processing algo-
rithms. Elastic Audio lets you quickly and easily
transpose the pitch of audio regions and tempo
conform (beat match) audio to the session’s
Tempo map. It also provides an unprecedented
degree of control over transient detection and
TCE processing on an event-by-event basis.
With Elastic Audio, Pro Tools analyzes entire au-
dio files for transient events. For example, an
event can be a drum hit, a sung note, or chord
played by a guitar. These detected events can
then serve as control points for warping the au-
dio. Pro Tools can warp (TCE) audio events au-
tomatically, such as automatically conforming
audio to the session tempo or quantizing audio
events, or you can warp audio manually using
standard editing tools in Warp view.
Elastic Audio is useful in several common work-
flows: working with loops, correcting perfor-
mances, remixing, sound design and special ef-
fects, and film scoring.
Working with Loops
If you work with loops, Elastic Audio lets you
preview your loops in DigiBase browsers at their
native tempo (BPM) or at the session tempo
(BPM). You can even preview the loop while the
session is playing back. When you find the loop
you like, drag it from the browser and drop it
into the session. The loop automatically con-
forms to the session tempo map and Bar|Beat
grid. You can then further manipulate its timing
and also transpose the region to match the pitch
of other loops in your session.
Correcting Performances
Elastic Audio lets you quantize audio to tighten
up a performance or even manually re-align that
one note that was played just a little late. Or,
you might decide that the performance is excel-
lent, but just a little under tempo. Tick-based
Elastic Audio automatically warps audio to con-
form to tempo changes. When you change your
tracks to tick-based and increase the session
tempo, the audio automatically time com-
presses to match.
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Remixing
Elastic Audio lets you quickly beat match an en-
tire song to the session tempo and Bar|Beat grid.
You can also transpose regions to match pitch.
Sound Design and Special Effects
Use Elastic Audio to achieve special effects with
extreme or widely variable TCE or pitch manip-
ulation. Use the Varispeed algorithm to achieve
tape-like effects for speed and pitch change.
Film Scoring
If you are scoring a film scene, use Elastic Audio
to fit the music to the required duration. You
can even use tempo changes to achieve accele-
randos and ritardandos.
Example Elastic Audio
Workflow
In this workflow, you will be introduced to some
common Elastic Audio tasks for working with
loops:
• Create and configure a new session for this
workflow.
• Locate and preview a loop in DigiBase at
the session tempo.
• Import the loop at the session tempo on a
tick-based, Elastic Audio-enabled track.
• Change the session tempo to change the
tempo of the region on tick-based, Elastic
Audio-enabled tracks.
• Quantize the audio to apply a Groove Tem-
plate to the rhythm.
• Transposition the region to match the
pitch of the imported audio to other audio
and MIDI in the session.
Create and configure a new session
1
Create a new Pro Tools session.
2
Set the session’s Main Timebase ruler to
Bars|Beats.
3
Be sure to display the Tempo and Meter rulers.
4
Use the default tempo of quarter-note equals
120 BPM.
Remember, when using tempo adjustments
for sessions that include multiple cues,
tempo changes may affect the time code
position of other cues later on the Timeline.
Elastic Audio is not recommended for pull-
up and pull-down workflows. Use the
Session Setup window real time pull-up or
pull downs, or the presets included with
DigiRack Time Shift or X-Form AudioSuite
plug-ins.
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Chapter 41: Elastic Audio 857
Locate and preview a loop in DigiBase at the
session tempo:
1
Open the Workspace (Window > Workspace).
2
Navigate to the folder where you keep your
drum loops. Double-click the folder name to
open a volume browser of just the folder’s con-
tents.
3
Select the loop you want to preview.
4
Click the Preview button to preview the loop
at its native tempo.
5
Click the Audio Files Conform to Session
Tempo button so that it highlights.
6
Click the Preview button again and the file
previews at the session tempo.
7
Notice that if the loop was sample-based to be-
gin with, the column to the left of the file name
initially indicates that DigiBase is analyzing the
file. When the analysis is done a check mark ap-
pears in that column, the file’s Duration is now
measured in Bars and Beats instead of Minutes
and Seconds, the Sample-based icon is replaced
by the Tick-based icon, and the detected tempo
of the file is displayed in the Tempo column.
8
Repeat the preceding steps to preview other
loops at the session tempo.
Import the loop at the session tempo:
1
Make sure that the Audio Files Conform to
Session Tempo button is still highlighted. This
ensures that the file will be imported as a tick-
based, Elastic Audio region and can be con-
formed to the session tempo.
Audition Paths for previewing are selected
in the I/O Setup window (Choose Setup >
I/O and click the Output tab).
Preview and Audio Files Conform to Session Tempo
buttons in a DigiBase browser
Audio Files Conform
to Session Tempo button
Preview button
Elastic Audio controls and indicators in DigiBase
Sample-based
file icon
Elastic Audio
Analysis icon
Duration
Detected
tempo
Tick-based
file icon
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2
Drag and drop the loop from the browser to
the Track List in the session’s Edit window (see
Figure 1 below).
3
One of the following occurs:
• If there are no tracks in the session and the
file is tick-based, you are prompted to ei-
ther import the tempo from the file or use
the session tempo. To keep the session
tempo and have the loop conform to the
session tempo, click Don’t Import.
– or –
• If there are tracks in the session, the file is
imported and automatically conformed to
the session tempo.
4
A new tick-based audio track is created with
the Default Elastic Audio plug-in enabled.
5
Since you chose to not import the file’s origi-
nal tempo, you will notice that the loop con-
forms to the tempo map and Bar|Beat grid of the
session. A Warp indicator appears in both the re-
gion in the track and in the Region List (see
Figure 2 on page 859).
Also in the Region List, notice that there are two
regions. One is the sample-based whole file re-
gion (the imported source file) and the other is
the tick-based Elastic Audio–processed copy.
If All Files is selected as the Drag and Drop
From Desktop Conforms to Session Tempo
option in the Processing Preferences page,
you can also drag and drop audio files from
the Desktop and they are imported as tick-
based Elastic Audio.
You can also conform regions on Elastic
Audio-enabled tracks to the session tempo
using the Conform to Tempo command (see
“Conform to Tempo” on page 762).
Figure 1. Dragging and dropping a tick-based audio file from a DigiBase browser to the Track List
New tick-based,
Elastic Audio–enabled
track
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