Getting Started 002&002rack 6.7 PDF

Getting Started with
Digi 002 & Digi 002 Rack

Version 6.7 for LE Systems on Windows or Macintosh
Digidesign
2001 Junipero Serra Boulevard
Daly City, CA 94014-3886 USA
tel: 650·731·6300
fax: 650·731·6399
Technical Support (USA)

tel: 650·731·6100
fax: 650·731·6384
Product Information (USA)

tel: 650·731·6102
tel: 800·333·2137
International Offices
Visit the Digidesign Web site
for contact information
Web Site
www.digidesign.com
Copyright
This guide is copyrighted ©2004 by Digidesign, a division of
Avid Technology, Inc. (hereafter “Digidesign”), with all rights
reserved. Under copyright laws, this guide may not be
duplicated in whole or in part without the written consent of
Digidesign.
DIGIDESIGN, AVID and PRO TOOLS are trademarks or
registered trademarks of Digidesign and/or Avid Technology,
Inc. All other trademarks are the property of their respective
owners.
Product features, specifications, system requirements, and
availability are subject to change without notice.
PN 910614040-00 REV A 9/04
Communications & Safety Regulation Information
Compliance Statement
The model Digi 002 complies with the following standards
regulating interference and EMC:
• FCC Part 15 Class B
• EN55022
• EN55024
• AS/NZS 3548 Class B
• CISPR 22 Class B
Radio and Television Interference
This equipment has been tested and found to comply with the
limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. Any modifications to the unit, unless expressly approved by
Digidesign, could void the user's authority to operate the
DECLARATION OF CONFORMITY equipment.
We Digidesign,
3401-A Hillview Avenue
Canadian Compliance Statement:
Palo Alto, California 94304-1348, USA
This Class B digital apparatus complies with Canadian ICES-
650-842-7900 003
declare under our sole responsibility that the product Cet appareil numérique de la classe B est conforme à la norme
Digi 002 NMB-003 du Canada
complies with Part 15 of FCC Rules.
Operation is subject to the following two conditions: (1) this
Australian Compliance
device may not cause harmful interference, and (2) this device
must accept any interference received, including interference
that may cause undesired operation.
NOTE: This equipment has been tested and found to comply

with the limits for a Class B digital device, pursuant to Part 15
of the FCC Rules. These limits are designed to provide
reasonable protection against harmful interference in a
residential installation. This equipment generates, uses, and
can radiate radio frequency energy and, if not installed and European Compliance
used in accordance with the instructions, may cause harmful
interference to radio communications. However, there is no
guarantee that interference will not occur in a particular
installation. If this equipment does cause harmful interference
to radio or television reception, which can be determined by
turning the equipment off and on, the user is encouraged to try
and correct the interference by one or more of the following
measures:
• Reorient or locate the receiving antenna.
• Increase the separation between the equipment and
receiver.
• Connect the equipment into an outlet on a circuit different
from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician
for help.
Safety Statement
This equipment has been tested to comply with USA and
Canadian safety certification in accordance with the
specification of UL Standards : UL1419 and Canadian CAN
C22.2NO.1-98, IEC60950. Digidesign Inc., has been
authorized to apply the appropriate UL & CUL mark on its
compliant equipment.
Warning!
Important Safety Instructions

When using electric or electronic equipment, basic precautions
should always be followed, including the following:
• Read all instructions before using this equipment.
• To avoid the risk of shock, keep this equipment away from
rain water, and other moisture. Do not use this equipment
if it is wet.
• The equipment should only be connected to the correct
rating power supply as indicated on the product.
• Do not attempt to service the equipment. There are no
user-serviceable parts inside. Please refer all servicing to
authorized Digidesign personnel.
• Any attempt to service the equipment will expose you to a
risk of electric shock, and will void the manufacturer’s
warranty.
• The product should be connected only to the correct power
supply as indicated on the product.
• Do not block any ventilation openings. Install in accordance
with the manufacture’s instructions.
• Do not install near any heat sources such as radiators,
heat registers,stoves, or other apparatus (including
amplifiers) that produce heat.
• Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than other, A grounding type plug has two blades
and a third grounding prong. The wide blade or the third
prong are provided for your safety. If the provided plug does
not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
• Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
• Only use attachments/accessories specified by the
manufacturer.
• Clean only with dry cloth.
contents
Chapter 1. Welcome to Digi 002 and Digi 002 Rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Digi 002 and Digi 002 Rack Packages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Digi 002 and Digi 002 Rack Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Pro Tools LE Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Digidesign Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
About the Pro Tools Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
About www.digidesign.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Chapter 2. Windows Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Testing Digi 002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Windows System Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Connecting Digi 002 or Digi 002 Rack to the Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Connecting FireWire Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Installing Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Optional Software on the Pro Tools Installer CD-ROM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Launching Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Configuring Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Hard Drive Configuration and Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Removing Pro Tools on Windows XP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Contents v
Chapter 3. Macintosh Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Installation Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Testing Digi 002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Apple System Settings for Mac OS X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Installing Pro Tools LE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Optional Software on the Pro Tools Installer CD-ROM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Connecting Digi 002 or Digi 002 Rack to the Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Connecting FireWire Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Launching Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Configuring Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Hard Drive Configuration and Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Removing Pro Tools on Mac OS X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Chapter 4. Digi 002 Top Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Digi 002 Operating Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
The Digi 002 Top Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Fader Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Console/Channel View Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Transport and Navigation Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Mic/Line/Instrument Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Monitor Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Keyboard Modifier Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Status Indicators and Display Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Chapter 5. The Digi 002 Rack Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Mic/Line/Instrument Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Monitor Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Status Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Chapter 6. Digi 002 and Digi 002 Rack Back Panels . . . . . . . . . . . . . . . . . . . . . . . . . . 51
vi Getting Started with Digi 002 & Digi 002 Rack

Chapter 7. Connecting Your Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Connecting Digi 002 or Digi 002 Rack to a Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Monitoring Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Connecting Audio Sources to Digi 002 or Digi 002 Rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Using External Effects Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Monitoring and Recording from Alternate Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Mirroring the Main Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Connecting a Recorder for Mixdowns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Chapter 8. Working with Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Session Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Regions Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Navigating in a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Importing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Basic Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Mix Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Final Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Chapter 9. Using Digi 002 as a Stand-Alone Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Entering Stand-Alone Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Digital Audio Connections in Stand-Alone Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Views in Stand-Alone Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Working with Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Working with Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Storing Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Appendix A. Windows System Optimizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Advanced Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Contents vii
Appendix B. Digidesign ASIO Driver (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Compatible Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Installing the ASIO Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Removing the ASIO Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Configuring ASIO Driver Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Appendix C. Digidesign WaveDriver (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Installing the WaveDriver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Removing the WaveDriver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Configuring WaveDriver for QuickTime Player (Required for Using iTunes) . . . . . . . . . . . . . . 118
Configuring WaveDriver for Windows Media Player and Other Third-Party WaveDriver Programs 119
Adding Third Party Applications to the WaveDriver Opt-In List . . . . . . . . . . . . . . . . . . . . . . . 119
Appendix D. Digidesign CoreAudio Driver (Macintosh Only) . . . . . . . . . . . . . . . . . . . 121

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
What are the Limitations of the Digidesign CoreAudio Driver? . . . . . . . . . . . . . . . . . . . . . . 122
Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Installing the Digidesign CoreAudio Driver. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Removing the CoreAudio Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Configuring the Digidesign CoreAudio Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Appendix E. Configuring Midi Studio Setup (Windows Only) . . . . . . . . . . . . . . . . . . . 129

MIDI Studio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Patch Name Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Appendix F. Configuring AMS (Mac OS X Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Audio MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Patch Name Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Appendix G. Digi 002 Stand-Alone Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
viii Getting Started with Digi 002 & Digi 002 Rack
chapter 1
Welcome to Digi 002 and Digi 002 Rack
Welcome to Digi 002 and Digi 002 Rack, Digi-

design’s cross-platform Pro Tools workstations Digi 002 and Digi 002 Rack
for music, sound design, and multimedia pro- Features
duction.
Audio and MIDI Features
(Digi 002 and Digi 002 Rack)
Digi 002 and Digi 002 Rack
The Digi 002 and Digi 002 Rack units provide
Packages the following input and output capacity:
The Digi 002 and Digi 002 Rack packages in- • 8 analog audio inputs (4 with mic preamps),
clude the following: with A/D converters supporting up to 24-bit,
• Digi 002 or Digi 002 Rack unit (depending on 96 kHz audio
which product you have purchased) • 48V phantom power on mic preamps, switch-
• Installer CD-ROMs containing Pro Tools LE able in channel pairs
software, DigiRack RTAS (Real-Time Audio- • –10 dBV input pair for direct monitoring of
Suite) and AudioSuite plug-ins, and electronic tape or CD input sources
PDF guides
• Eight analog audio outputs, with D/A con-
• Getting Started with Digi 002 & Digi 002 Rack verters supporting up to 24-bit, 96 kHz audio
Guide, covering installation, configuration, • Monitor Output pair (+4 dBu) mirrors
and basic tutorials for Digi 002 and Main Outputs 1–2 with dedicated volume
Digi 002 Rack control for direct connection to powered
• FireWire cable for connecting the Digi 002 or speakers
Digi 002 Rack to a computer • Alternate Main Output pair (–10 dBV) mir-
• AC power cable rors Main Outputs 1–2 for direct output to
–10 dBV devices.
• Digidesign Registration card
• Stereo headphone output with level control
• Optical connectors for 8 channels of
ADAT I/O (up to 48 kHz) or 2 channels of Op-
tical S/PDIF I/O (up to 96 kHz)
Chapter 1: Welcome to Digi 002 and Digi 002 Rack 1

• RCA connectors for 2 channels of S/PDIF dig- Stand-Alone Mixing Features
ital I/O supporting up to 24-bit, 96 kHz audio
(Digi 002 Only)
• 1 MIDI In port and 2 MIDI Out ports, provid-
ing up to 16 channels of MIDI input and up to Digi 002 can be used as a stand-alone 8-channel
32 channels of MIDI output digital mixer with the following features:
• Footswitch jack for punching in and out • 8 analog inputs (4 with mic preamps), with
while recording dedicated volume, pan, solo and mute con-
trols
Control Surface Features • Dedicated three-band EQ available on input

channels 1–8
(Digi 002 Only)
• Dedicated Compressor/Limiter available on
Digi 002 provides an integrated control surface input channels 1–4
for software control that includes the following:
• Built-in high-quality Reverb and Delay
• Eight touch-sensitive moving faders and ded-
• Four sends on each input channel:
icated solo, mute and channel select/record
arm controls • Sends 1–2 dedicated to internal Delay and
Reverb effects
• Eight multi-function rotary encoders for oper-
• Sends 3–4 for integrating external effects
ating pan, send, and plug-in controls
• Stereo outputs with dedicated Master Fader
• Transport and navigation controls
controls, including:
• Ten scribble strips for channel information
• Main Output pair (+4 dBu fixed signal)
display
• Monitor Output pair (+4 dBu) mirrors
Main Outputs 1–2 with dedicated volume
control for direct connection to powered
speakers
• Alternate Main Output pair (–10 dBV) mir-
rors Main Outputs 1–2 for direct output to
–10 dBV devices
• Stereo headphone output with level control
• Ten scribble strips for pan/volume and effects
control, send levels, and track names
• Channel metering available using rotary en-
coder LED rings (in Meter mode)
2 Getting Started with Digi 002 & Digi 002 Rack

Pro Tools LE Capabilities System Requirements
Pro Tools LE software provides the following ca- Digi 002 and Digi 002 Rack can be used with a
pabilities with Digi 002 and Digi 002 Rack: Digidesign-qualified Windows or Macintosh
• Record and play back up to 32 mono digital computer running Pro Tools LE software.
audio tracks, depending on your computer’s For complete system requirements, visit the
capabilities. compatibility page of the Digidesign Web site
• Sessions can include up to 128 audio tracks (www.Digidesign.com/compato).
(with 32 voiceable tracks maximum),
256 MIDI tracks, 128 Auxiliary Input tracks, Compatibility Information
and 64 Master Fader tracks.
Digidesign can only assure compatibility and
• 16-bit or 24-bit audio resolution, at sample provide support for hardware and software it
rates up to 96 kHz has tested and approved.
• Nonlinear, random-access editing and mix au-
For a list of Digidesign-qualified computers, op-
tomation
erating systems, hard drives, and third-party de-
• Audio processing with up to five RTAS vices, refer to the latest compatibility informa-
plug-ins per track, depending on your com- tion on the Digidesign Web site
puter’s capabilities (www.digidesign.com/compato).
• Up to five inserts and five sends per track
• Up to 16 internal mix busses MIDI Requirements
Pro Tools LE uses your computer’s CPU to USB MIDI interfaces work effectively with
mix and process audio tracks (host process- Pro Tools systems on Windows or Macintosh.
ing). Computers with faster clock speeds Serial MIDI interfaces are supported on Win-
yield higher track counts and more plug-in dows systems only.
processing.
Only USB MIDI interfaces are compatible
with Pro Tools systems for Mac OS X. Mo-
dem-to-serial port adapters and serial MIDI
devices are not supported.
For a list of supported adapters, refer to the Digi-

design Web site (www.digidesign.com).

Hard Drive Considerations Avoid Recording to System Drives
Although Pro Tools LE will let you record to
Hard Drive Configuration and
your system drive, this is generally not recom-
Maintenance
mended. Recording and playback on system
It is recommended that you start with a newly hard drives results in lower track counts and
initialized audio drive. You should also periodi- fewer plug-ins.
cally defragment your audio drive to ensure
continued system performance. Hard Disk Storage Space
For a list of qualified hard drives, see our Mono audio tracks recorded with 16-bit resolu-
Web site (www.digidesign.com/compato). tion at 44.1 kHz (CD-quality) require approxi-
mately 5 MB of hard disk space per minute.
If you are using an ATA/IDE or FireWire hard
drive, initialize your drive with Windows Disk The same tracks recorded with 24-bit resolution
Management (Windows) or the Disk Utility ap- require about 7.5 MB per minute. Recording at
plication included with Apple System software higher sample rates (88.2 kHz or 96 kHz) re-
(Macintosh). quires about twice the hard disk space.
Table 2 lists the required disk space for certain

track numbers and track lengths, to help you es-
timate your hard disk usage.
Table 2. Required hard drive space for audio tracks
Number of
16-bit at 16-bit at 24-bit at 24-bit at 16-bit at 16-bit at 24-bit at 24-bit at
tracks and
44.1 kHz 48 kHz 44.1 kHz 48 kHz 88.2 kHz 96 kHz 88.2 kHz 96 kHz
length
1 mono track 5 MB 5.5 MB 7.5 MB 8.2 MB 10 MB 11 MB 15 MB 16.4 MB

1 minute
1 stereo track 50 MB 55 MB 75 MB 83 MB 100 MB 110 MB 150 MB 164 MB

5 minutes
1 stereo track 600 MB 662 MB 900 MB 991 MB 1.2 GB 1.3 GB 1.8 GB 2 GB

60 minutes
32 mono tracks 800 MB 883 MB 1.2 GB 1.4 GB 1.6 GB 1.8 GB 2.4 GB 2.8 GB
5 minutes
32 mono tracks 9.4 GB 10.4 GB 14 GB 15.5 GB 18.8 GB 20.8 GB 28 GB 31 GB

60 minutes

For additional information, see the following
Digidesign Registration online guides:
Complete and return the registration card in- • Pro Tools Reference Guide explains Pro Tools LE
cluded with Digi 002 or Digi 002 Rack. Regis- software in detail.
tered users will receive periodic software update • Pro Tools Menus Guide covers all the Pro Tools
and upgrade notices. Refer to the registration on-screen menus.
card for information on technical support.
• DigiRack Plug-Ins Guide explains how to use
the RTAS and AudioSuite plug-ins included
with Pro Tools LE.
About the Pro Tools Guides • Digidesign Plug-Ins Guide explains how to use
This Getting Started with Digi 002 & Digi 002 Rack optional Digidesign plug-ins.
Guide explains how to install and use Digi 002 • DigiBase Guide provides details on using
or Digi 002 Rack to record, edit, and mix audio Pro Tools DigiBase databasing and browsers
and MIDI tracks in Pro Tools LE. for data and media management.
If you are new to working with digital worksta- • Keyboard Shortcuts lists keyboard shortcuts for
tions, it is recommended that you read the fol- Pro Tools LE.
lowing:
PDF versions of the Pro Tools guides are in-
• Digi 002 and Digi 0023 Rack Basics Guide pro- stalled automatically with Pro Tools, and are ac-
vides simple steps for how to get sound in and cessible from the Pro Tools Help menu (Win-
out of your Digi 002 or Digi 002 Rack, con- dows) or Pro Tools menu (Mac OS X). To view
nect a microphone or instrument, record to a or print the PDF guides, you can install Acrobat
Pro Tools session, import audio from a CD, Reader (included on the Pro Tools Installer
create an audio CD from a Pro Tools session, CD-ROM).
and other topics.
Printed copies of the Pro Tools LE guide set
(including the Pro Tools Reference Guide)
can be purchased separately from the
DigiStore (www.digidesign.com).

Conventions Used in This Guide
About www.digidesign.com
Digidesign guides use the following conven-
tions to indicate menu choices and key com- The Digidesign Web site (www.digidesign.com)
mands: is your best source for information to help you
: get the most out of your Pro Tools system. The
Convention Action following are just a few of the services and fea-
tures available.
File > Save Session Choose Save Session from
the File menu Support Contact Digidesign Technical Support
or Customer Service; download software up-
Control+N Hold down the Control key
and press the N key dates and the latest online manuals; browse the
Compatibility documents for system require-
Control-click Hold down the Control key ments; search the online Answerbase; join the
and click the mouse button
worldwide Pro Tools community on the Digi-
Right-click (Windows) Click with the right mouse design User Conference.
button
Training and Education Become a certified
The following symbols are used to highlight im- Pro Tools Operator or Expert; study on your
portant information: own using courses available online, or find out
how you can learn in a classroom setting at a
User Tips are helpful hints for getting the certified Pro Tools Training Center.
most from your system.
Products and Developers Learn about Digidesign
products; download demo software; learn about
Important Notices include information that
our Development Partners and their plug-ins,
could affect your data or the performance of
applications, and hardware.
your system.
News and Events Get the latest news from Digi-
design; sign up for a Pro Tools demo.
Shortcuts show you useful keyboard or
mouse shortcuts. To learn more about these and other resources
available from Digidesign, visit the Digidesign
Cross References point to related sections in Web site (www.digidesign.com).
other Digidesign guides.

chapter 2
Windows Configuration
This chapter contains information for Windows

systems only. If you are installing Pro Tools on a Testing Digi 002
Macintosh computer, see Chapter 3, “Macin- (Digi 002 Only)
tosh Configuration.”
Before you install Pro Tools LE software or con-
Before installing this version of Pro Tools, nect Digi 002 to your computer for the first
please refer to the Read Me information in- time, you should power up the unit to be sure it
cluded on the Pro Tools Installer CD-ROM. is working correctly.
When connecting Digi 002 to your com-

Installation Overview puter the first time, your computer should
be off. If your computer is on, power it
Installing the Digi 002 or Digi 002 Rack on a down.
Windows computer includes the following
steps: To set up and test the Digi 002:
1 “Testing Digi 002” on page 7. 1 Plug the Digi 002 into a standard AC recepta-
cle, using the AC power cable included with the
2 Configuring “Windows System Settings” on unit.
page 8.
Digi 002 is auto power-selecting (100V to 240V)
3 “Connecting Digi 002 or Digi 002 Rack to the
and will work automatically when plugged into
Computer” on page 10.
an AC power receptacle in any country.
When connecting Digi 002 to your com- 2 Power on the Digi 002 unit by turning on the
puter the first time, your computer should power switch on the back panel. After a short
be off. If your computer is on, power it power-up sequence, the Channel Scribble Strips
down. on the unit show “Digi 002 Standby,” and the
Standalone switch flashes to indicate Standby
4 “Installing Pro Tools LE” on page 11.
mode.
5 “Configuring Pro Tools LE” on page 15.
3 Press the Standalone switch in the upper right
6 Making audio and MIDI connections to the of the top panel of Digi 002. The Channel Scrib-
Digi 002 or Digi 002 Rack. (See Chapter 7, ble Strips on the unit will show “Enter Standal-
“Connecting Your Studio.”) one Mode?”
Chapter 2: Windows Configuration 7

4 Press the Channel Select switch under “Yes” to Disable Hyper-Threading
enter Stand-alone mode. The Channel Scribble
Strips on the unit will show the default names of For Pentium IV computers with Hyper-Thread-
the channel inputs, “In1” through “In8.” ing, disable Hyper-Threading in the BIOS.
5 To return Digi 002 to Standby mode, press the Refer to your computer’s documentation for
Standalone switch a second time. The Channel steps on how to enter your computer’s BIOS and
Scribble Strips on the unit will show “Exit disable Hyper-Threading.
Standalone Mode?”
Enable DMA
6 Press the Channel Select switch under “Yes” to
return to Standby mode. Enabling your computer's DMA (Direct Memory
Access) frees up CPU bandwidth so your com-
puter can do other Pro Tools tasks.
Windows System Settings In most cases the DMA option will already be set
Configure your Window system settings, as fol- correctly, as Windows XP detects and activates
lows: DMA mode by default.
Required Settings These instructions must be Enable DMA for any IDE hard drives:
followed before installing Pro Tools.
1 Choose Start > Control Panel.
Recommended Configuration These instructions 2 Launch System.

should be followed to optimize your system’s
capabilities, or to let older computers run 3 Click the Hardware tab.
Pro Tools LE. 4 Under Device Manager, choose Device Man-

ager.
If problems occur after configuring all re-
quired and required settings, see 5 In the Device Manager window, double-click
Appendix A, “Windows System Optimiza- IDE ATA/ATAPI controllers, then double-click
tions (Windows Only” for information on the Primary IDE Channel for your IDE hard
troubleshooting and configuring advanced drive.
settings.
6 Click the Advanced Settings tab.
Required Settings 7 For each device, set the Transfer Mode to

“DMA if available,” and click OK.
To ensure optimum performance with
Pro Tools LE, configure the following Control In most cases, this will already be set correctly as
Panel settings for your version of Windows XP. Windows XP will detect and activate DMA
mode by default.
8 Repeat steps 5–7 for any additional IDE Chan-

nels.
9 Close the Computer Management window.

Disable System Standby and Power Completing Required Windows System
Management Settings
When using Pro Tools, the Windows System When finished updating required Windows sys-
Standby power scheme must be set to Always tem settings, restart your computer.
On. This helps prevent long record or playback
passes from stopping due to system resources
Recommended Configuration
powering down.
Pro Tools LE can also be affected by other soft-
To configure Windows Power Management: ware and hardware drivers installed on your
computer. For best possible performance, it is
recommended (but not required) that you:
2 Launch Power Options. • Avoid running other Windows programs at
3 Click the Power Schemes tab. the same time as Pro Tools LE.
• Turn off any software utilities that run in
4 From the Power Schemes pop-up menu, select
the background, such as Windows Messen-
Always On.
ger, calendars, and disk maintenance pro-
5 Click OK. grams.
• Turn off any non-essential USB devices
This sets System Standby, System Hibernate,
while using Digi 002 or Digi 002 Rack.
and “Turn off hard disks” to Never.
• If your video display card supports it, en-
able Bus Mastering in the manufacturer’s
Disable ClearType Font Smoothing
Control Panel.
When using Pro Tools, the Effects “Clear Type” • Disable any networking cards (other than
setting must be disabled. any 1394 “FireWire” card that you might
use to connect an external drive to your
To disable ClearType font smoothing: system).
For information on disabling networking
2 Launch Display. cards, see “Disabling Network Cards” on
page 111.
3 Click the Appearance tab.
4 Click Effects.
5 Deselect “Use the following methods to

smooth edges of screen fonts.”
6 Click OK to save your settings and close the

Effects dialog.
7 Click OK.

4 Plug one end of the FireWire cable into one of
Connecting Digi 002 or the ports marked “1394” on the back panel of
Digi 002 Rack to the the Digi 002 or Digi 002 Rack. Either port will
Computer work.
Before installing Pro Tools LE software and the

Digi 002 or Digi 002 Rack software, you need to
connect Digi 002 or Digi 002 Rack to the com-
puter. FireWire ports
When connecting Digi 002 or Digi 002 & Digi 002 Rack FireWire ports (back panel)
Digi 002 Rack to your computer the first 5 Do one of the following, depending on your
time, your computer should be off. If your system configuration:
computer is on, power it down.
• Plug the other end of the FireWire cable
To connect the Digi 002 or Digi 002 Rack to your into an available FireWire port on your
computer: computer.
1 Plug the Digi 002 or Digi 002 Rack into a stan-

• Plug the other end of the cable into an
dard AC receptacle, using the AC power cable available FireWire port on a FireWire hard
included with the unit. drive connected to your computer. (See
“Connecting FireWire Drives” on page 10.)
Digi 002 and Digi 002 Rack are auto power-se-
lecting (100V to 240V) and will work automati-
cally when plugged into an AC power receptacle
in any country.
Connecting FireWire Drives
Connect FireWire hard drives directly to a
2 Power on the unit by toggling the power
FireWire port on your computer. Do not con-
switch on the back panel (Digi 002), or pressing
nect a FireWire hard drive to the second
the power switch on the front panel (Digi 002
FireWire port on the back panel of Digi 002 or
Rack). After a short power-up sequence the Sam-
Digi 002 Rack because the FireWire ports do not
ple Rate LED and Monitor Mute switch illumi-
pass audio data when the unit is powered off.
nate to indicate the unit is on.
3 Locate the FireWire cable that came with your To connect a FireWire hard drive:
unit.
■ If your computer has more than one FireWire
port, connect the FireWire hard drive to one

FireWire port on the computer, and connect
Digi 002 or Digi 002 Rack to another FireWire
port on the computer.
– or –

■ If your computer has only one FireWire port,
connect the FireWire hard drive directly to your Installing Pro Tools LE
computer and then connect Digi 002 or
Digi 002 Rack to an available FireWire port on To install Pro Tools LE on Windows:
the drive. 1 Make sure you have configured all the re-
quired Windows system settings, and rebooted
While it is possible to connect a FireWire
your computer. See“Windows System Settings”
hard drive to an available port on Digi 002
on page 8 for more information.
or Digi 002 Rack, if the unit is powered off,
any mounted FireWire drives will lose their 2 Start up Windows, logging in with Adminis-
data connection with the computer. This trator privileges. If you do not have Administra-
may result in hard drive errors or data loss. tor privileges or do not know how to set them
up, see your Windows User’s Guide.
4-Pin FireWire Cable
3 Wait for the Found New Hardware Wizard di-
Digi 002 and Digi 002 Rack include a 6-pin to 6- alog to appear and leave it open (do not press
pin FireWire cable. Some Windows laptops in- Next).
clude a 4-pin FireWire port. To use Digi 002 or
4 Insert the Pro Tools Installer CD-ROM for
Digi 002 Rack with these computers, a 4-pin to
Windows in your CD-ROM drive. Locate and
6-pin cable is required. Purchase this cable
open the Pro Tools Installer folder, and double-
(model #CS625) through your authorized Digi-
click the Setup icon.
design dealer or online through the DigiStore
(www.digidesign.com). 5 Click Next to begin installation.
This cable can also be purchased at com- 6 Select the components you want to install and
puter supply stores. Maximum supported click Next.

cable length for FireWire (IEEE-1394) is
If you get a warning dialog about the driver
14 feet (4.3 meters).
not passing Windows Logo testing, click
Continue Anyway.
Connecting Other FireWire Devices to
Digi 002 or Digi 002 Rack 7 Wait for the installer to finish installing all
The second FireWire port on the Digi 002 or software components, drivers, and PACE System
Digi 002 Rack unit is available for daisy-chain- files before proceeding to the next step.
ing FireWire devices such as digital cameras or 8 Click Quit when prompted to install Quick-
digital video recorders. Even when it is powered Time. If required, you can install QuickTime
off, Digi 002 or Digi 002 Rack supplies power later (see “Installing QuickTime” on page 12).
from the computer through its FireWire ports,
letting you recharge batteries in other FireWire 9 Restart your computer.
devices.

MIDI Studio Setup Digidesign ASIO Driver is automatically in-
stalled when you install Pro Tools.
(Optional)
For detailed information on configuring the
If you plan to use any MIDI devices with Digidesign ASIO Driver, see Appendix B,
Pro Tools, configure your MIDI setup with MIDI “Digidesign ASIO Driver (Windows Only).”
Studio Setup. See Appendix E, “Configuring
Midi Studio Setup (Windows Only)” for details. To use Digidesign ASIO Driver without
Pro Tools, use the stand-alone version of
Installing QuickTime the Digidesign ASIO Driver. The stand-
(Optional) alone version of Digidesign ASIO Driver is
available on the Digidesign Web site
QuickTime 6.5 or later is required for Pro Tools (www.digidesign.com)
LE if you plan to include movie files in your ses-
sions. QuickTime is available as a free download
Digidesign WaveDriver
from the Apple Web site (www.apple.com).
The Digidesign WaveDriver is a single-client,
multichannel sound driver that allows third-
party audio programs that support the
Optional Software on the WaveDriver MME (Multimedia Extensions)
Pro Tools Installer CD-ROM standard to play back through Digidesign hard-
Your Pro Tools Installer CD-ROM includes sev- ware.
eral software options. Digidesign WaveDriver is automatically in-
Digidesign ASIO Driver
For detailed information on configuring the
The Digidesign ASIO (Audio Sound Input Out- Digidesign WaveDriver, see Appendix C,
put) Driver is a single-client multichannel “Digidesign WaveDriver (Windows
sound driver that allows third-party audio pro- Only).”
grams that support the ASIO standard to record
and play back through Digidesign hardware.
To use Digidesign WaveDriver without
the Digidesign WaveDriver. The stand-
alone version of Digidesign WaveDriver is
(www.digidesign.com)

Pro Tools Demo Session To share Pro Tools sessions between Macintosh
and Windows systems, select the “Enforce
The Pro Tools LE Installer CD includes a demo Mac/PC Compatibility” option when creating
session that you can use to verify that your sys- the session, or when saving a session copy to a
tem is working. Windows audio drive formatted using NTFS or
FAT32.
Before installing the demo session to your
audio drive, make sure the drive is config- Avoid using MacOpener on HFS-formatted
ured as described in “Formatting an Audio drives. It is recommended that you use Mac-
Drive” on page 18. Opener on NTFS or FAT32 drives instead.
To move material from HFS-formatted
To install the demo session:
drives to NTFS or FAT32 drives, use the
1 Insert the Pro Tools LE Installer CD in your Save Session Copy In command in
CD-ROM drive. Locate and double-click Pro Tools.
Setup.exe, in D (CD-ROM drive):\Additional
Files\Pro Tools LE Demo Session Installer.
While SDII files can be exported or con-
2 Set the install location to your audio drive and verted on import, they cannot be used
click Install. within Pro Tools sessions on Windows.
3 When installation is complete, click OK.
To install and configure the MacOpener demo
included with Pro Tools:
MacOpener 1 Insert the Pro Tools Installer CD into your CD-
ROM drive.
MacOpener 6.0.5 and higher lets you mount
HFS/HFS+ drives on a Windows-based Pro Tools 2 Locate and double-click the MacOpener in-
system, as a Transfer drive. staller file in the MacOpener Demo folder lo-
cated at D (CD-ROM drive):\Additional
Transfer drives can be used for storage, but Files\MacOpener Demo Installer. Follow the on-
not for playback or recording. screen instructions to install the MacOpener. Af-
ter installation is complete, restart your com-
The MacDrive utility can be used instead of puter.
MacOpener. For more information about
3 Choose Start > Programs > MacOpener >
MacDrive, visit the Mediafour Web site
MacOpener Driver Preferences.
(www.mediafour.com).
4 Verify that the MacOpener Driver is enabled.
Under Driver Settings, select
“Enable MacOpener Driver.”
5 Under Extension Mapping, select “Do not add

the PC extension to the Mac file name.”
6 Click OK to quit the MacOpener Driver Pref-

erences.

7 Choose Start > Programs > MacOpener > To authorize Pro Tools LE software:
Mac Lic.exe. When installation is complete,
1 Double-click the Pro Tools LE shortcut on
close the installer.
your desktop (or the application in the Pro Tools
folder inside the Digidesign folder).
All formatting and maintenance of
HFS/HFS+ drives should be carried out
If you get a warning dialog about updating
when the drive is connected to a Macintosh.
the Digi 002 or Digi 002 Rack firmware,
follow the on-screen instructions to perform
For more information about MacOpener the firmware update. See “Updating
and its performance limitations, see the Digi 002 or Digi 002 Rack Firmware” on
Pro Tools Reference Guide. page 14.
2 Enter the authorization code in the dialog

(making sure to type it exactly as printed, and
Launching Pro Tools LE observing any spaces and capitalization), then
When launching Pro Tools LE the first time, you click Validate.
are prompted to enter an authorization code to
validate your software. Updating Digi 002 or Digi 002 Rack
Firmware
With new Digi 002 and Digi 002 Rack
systems, the authorization code is located When you launch Pro Tools software, it auto-
on the inside cover of the Getting Started matically checks the version of the unit’s firm-
with Digi 002 & Digi 002 Rack Guide. ware, and prompts you to update it if a newer
With software upgrades, the authorization version is available.
code is located on the inside cover of the
If you update your unit’s firmware, let the up-
Upgrading Guide.
date complete before disconnecting or turning
off your system.
When the download and reprogramming pro-

cess is complete, you may get a message that
Pro Tools cannot communicate with Digi 002 or
Digi 002 Rack. In this case, wait up to 30 sec-
onds. If the message does not go away, discon-
nect then reconnect Digi 002 or Digi 002 Rack
and click OK.

To change the Hardware Buffer Size:
Configuring Pro Tools LE 1 Choose Setups > Playback Engine.
Pro Tools System Settings

Pro Tools LE lets you adjust the performance of
your system by changing system settings that af-
fect its capacity for processing, playback, and re-
cording
In most cases, the default settings for your sys-

tem provide optimum performance, but you
may want to adjust them to accommodate large
or processing-intensive Pro Tools sessions. Playback Engine dialog (Digi 002 shown)
2 From the H/W Buffer Size pop-up menu, select

Hardware Buffer Size the audio buffer size, in samples.
The Hardware Buffer Size (H/W Buffer Size) con- 3 Click OK.
trols the size of the hardware cache used to han-
dle host processing tasks such as Real-Time Au- CPU Usage Limit
dioSuite (RTAS) plug-ins.
The CPU Usage Limit controls the percentage of
◆ Lower Hardware Buffer Size settings reduce
CPU resources allocated to Pro Tools host pro-
monitoring latency, and are useful when you are
cessing tasks such as Real-Time AudioSuite
recording live input.
(RTAS) plug-ins.
◆ Higher Hardware Buffer Size settings allow for
◆ Lower CPU usage settings reduce how much
more audio processing and effects, and are use-
Pro Tools processing affects other CPU-intensive
ful when you are mixing and using more RTAS
tasks (such as screen redraws), and limit the
plug-ins.
amount of processor resources available for
Pro Tools tasks. They are useful when you are ex-
In addition to causing slower screen re-
periencing slow system response, or when run-
sponse and monitoring latency, higher
ning other applications at the same time as
Hardware Buffer Size settings can affect the
Pro Tools.
accuracy of plug-in automation, mute data,
and timing for MIDI tracks. ◆ Higher CPU Usage Limit settings allocate
more processing power to Pro Tools, and are
useful for playing back large sessions or using
more real-time plug-ins.
Increasing the CPU Usage Limit may slow

down screen response on slower computers.

The maximum CPU Usage Limit is 85 percent Pro Tools Hardware Settings
for single-processor computers, and 99 percent
for multi-processor computers. (The 99 percent Using the Hardware Setup dialog, you can select
setting dedicates one entire processor to the default sample rate and clock source for your
Pro Tools.) system, and configure the digital inputs for your
system.
To change the CPU Usage Limit:
Default Sample Rate
1 Choose Setups > Playback Engine.
The Sample Rate setting appears as the default
2 From the CPU Usage Limit pop-up menu, se-
sample rate when you create a new session.
lect the percentage of CPU processing you want
(This setting is available in the Hardware Setup
to allocate to Pro Tools.
dialog only when no session is open.)
3 Click OK.
You can change the sample rate when creat-
ing a new Pro Tools session by selecting a
DAE Playback Buffer Size
different sample rate in the New Session di-
The DAE Playback Buffer Size determines the alog. (Refer to the Pro Tools Reference Guide
amount of memory DAE uses to manage disk for details.)
buffers, which affects system performance.
To change the default Sample Rate:
◆ Lower DAE Playback Buffer Size settings can
improve playback and recording initiation 1 Make sure that no Pro Tools session is open.
speed. However, a lower setting can make it dif- 2 Choose Setups > Hardware Setup.
ficult for slower hard drives to play or record
tracks reliably.
◆ Higher DAE Playback Buffer Size settings can
allow for a higher density of edits in a session.
However, a higher setting can cause a time lag to
occur before playback or recording begins. It can
also cause a time lag to occur when you are ed-
iting during playback.
To change the DAE Playback Buffer Size: Hardware Setup dialog (Digi 002 shown)
1 Choose Setups > Playback Engine. 3 Select the sample rate from the Sample Rate
pop-up menu.
2 From the DAE Playback Buffer pop-up menu,
select a buffer size. 4 Click OK.
3 Click OK.

Clock Source 3 Make sure the correct digital input option is
selected for your setup. When you select RCA
Using the Hardware Setup dialog, you can select S/PDIF, the Optical ports are available for stan-
the clock source for the system. If you are re- dard ADAT Optical (or “Lightpipe”) input.
cording directly into Pro Tools, you will usually When you select Optical S/PDIF, the RCA digital
use the Internal setting. If you are transferring input connector is inactive.
material from an external digital device, select
the corresponding clock source. (See “Recording You can use only one pair of S/PDIF inputs
a Digital Source” on page 17.) (either RCA or Optical) at a time.
To select the clock source: 4 From the Clock Source pop-up menu, select
Internal if you are synchronizing the external
1 Choose Setups > Hardware Setup.
device to Digi 002 or Digi 002 Rack. If you are
2 Choose the clock source from the Clock synchronizing the Pro Tools clock to the exter-
Source pop-up menu. nal device, select ADAT, RCA (S/PDIF) or Optical
(S/PDIF), depending on where you connected
3 Click OK.
your digital device.
Your digital input device must be connected
Your digital input device must be connected
and turned on for Pro Tools to synchronize
and powered on. If your input device is not
to it. If your input device is not turned on,
powered on, leave the Clock Source set to
leave the Clock Source set to Internal.
Internal.
Recording a Digital Source
Configuring I/O Setup
If you are recording from an optical or S/PDIF
device, you will need to select a Clock Source. In Using the I/O Setup dialog, you can label
most cases, you will synchronize the Pro Tools Pro Tools LE input, output, insert, and bus sig-
clock to the external device. nal paths. The I/O Setup dialog provides a graph-
ical representation of the inputs, outputs, and
To configure Pro Tools LE for a digital source: signal routing of the Digi 002 and
Digi 002 Rack.
1 Connect an ADAT or Optical S/PDIF format
device to the Optical In connector, or an RCA Pro Tools LE has default I/O Setup settings that
S/PDIF format device to the RCA S/PDIF In con- will get you started. Use the I/O Setup dialog
nector on the back of the Digi 002. only if you want to rename the default I/O
paths.

To rename I/O paths in I/O Setup:
1 Choose Setups > I/O Setup.
Hard Drive Configuration and
Maintenance
Formatting an Audio Drive
On Windows, it is recommended that you start

with newly formatted drives dedicated for au-
dio. For optimum performance, audio drives
should be formatted with the FAT32 or NTFS file
system.
To format and configure an audio drive:

1 Right-click My Computer and choose Man-
age.
2 Under Storage, choose Disk Management.
I/O Setup dialog, Input tab (Digi 002 shown) 3 In the Disk Management window, right-click
2 Click the Input, Output, Insert, or Bus tab to

the hard drive you will use for audio and choose
display the corresponding paths. Format.
4 For optimal disk performance, select 32K from

3 To change the name of a path or subpath,
double-click directly on the Path Name, type a the Allocation unit size pull-down. This in-
new name for the path, and press Return. creases how efficiently audio data is written to
and read from the drive.
4 Click OK.
5 Make sure the Quick Format option is dese-
Refer to the Pro Tools Reference Guide (or lected, then click Start, and follow the on-screen
choose Help > Pro Tools Reference Guide) instructions.
for more information on renaming I/O
paths. Pro Tools only supports Basic drive Types.
6 When formatting is complete, close the For-

After configuring Pro Tools LE and your mat window.
system, you should save an image of your
system using Norton Ghost. Norton Ghost Audio Drives and Disk Cleanup
lets you save and recall known good config-
The process of recording, editing, and deleting
urations of your system and settings, which
tracks and sessions can quickly decrease overall
can help you recover if you encounter any
drive performance. It is suggested that you regu-
problems in the future.
larly use Disk Cleanup (or an equivalent utility)
For more information on Ghost, visit the Sy- to asses the condition of drives and, if necessary,
mantec Web site (www.symantec.com) delete temporary files and other unused data.

To use Disk Cleanup: Avoid Recording to System Drives
1 Choose Start > Control Panel. Although Pro Tools will let you record to your
2 Launch Administrative Tools. system drive, this is generally not recom-
3 Double-click Computer Management. hard drives results in lower track counts and
4 Double-click Storage. fewer plug-ins. You should record to system
drives only when necessary (for example, if your
5 Double-click Disk Management. computer system has just one hard drive).
6 Select the desired volume in the list, then
choose File > Options.
Disk Cleanup determines how performance is

Removing Pro Tools on
being affected by drive condition, and lets you Windows XP
review and delete temporary and other unneces-
If you need to remove Pro Tools LE from your
sary files from the selected volume. For more in-
computer use the Add or Remove Programs
formation on using Disk Cleanup, see your Win-
command.
dows XP documentation.
To remove Pro Tools from your computer:

Defragmenting an Audio Drive
Periodically defragment audio drives to maintain
system performance. 2 Launch Add or Remove Programs.
3 From the Currently installed programs list, se-

To defragment an audio drive: lect Digidesign Pro Tools LE.
1 Right-click My Computer and choose Man-
4 Click the Change/Remove button.
age.
5 Follow the onscreen instructions to remove
2 Under Storage, choose Disk Defragmenter.
Pro Tools.
3 In the Disk Defragmenter window, choose the
drive you want to defragment
4 Click the Defragment button and follow the

on-screen instructions.
5 When defragmenting is complete, close the

Computer Management Window.

chapter 3
Macintosh Configuration
This chapter contains information for Macin-

tosh systems only. If you are installing Pro Tools Testing Digi 002
on a Windows computer, see Chapter 2, “Win- (Digi 002 Only)
dows Configuration.”
Before you install Pro Tools LE software or con-
Before installing this version of Pro Tools, nect Digi 002 to your computer for the first
please refer to the Read Me information in- time, you should power up the unit to be sure it
cluded on the Pro Tools Installer CD-ROM. is working correctly.

Installation Overview puter the first time, your computer should
be off. If your computer is on, power it
Installation of the Digi 002 or Digi 002 Rack on down.
a Macintosh includes the following steps:
To set up and test the Digi 002:
1 “Testing Digi 002” on page 21.
1 Plug the Digi 002 into a standard AC recepta-
2 Configuring “Apple System Settings for cle, using the AC power cable included with the
Mac OS X” on page 22 unit.
3 “Installing Pro Tools LE” on page 22.
Digi 002 is auto power-selecting (100V to 240V)
4 “Connecting Digi 002 or Digi 002 Rack to the and will work automatically when plugged into
Computer” on page 24. an AC power receptacle in any country.
2 Power on the Digi 002 unit by turning on the

puter the first time, your computer should power switch on the back panel. After a short
be off. If your computer is on, power it power-up sequence, the Channel Scribble Strips
down. on the unit show “Digi 002 Standby,” and the
Standalone switch flashes to indicate Standby
5 “Configuring Pro Tools LE” on page 26. mode.
6 Making audio and MIDI connections to the 3 Press the Standalone switch in the upper right
Digi 002. (See Chapter 7, “Connecting Your Stu- of the top panel of Digi 002. The Channel Scrib-
dio.”) ble Strips on the unit show “Enter Standalone
Mode?”
Chapter 3: Macintosh Configuration 21

4 Press the Channel Select switch under “Yes” to 5 Deselect “Automatically check for updates
enter Stand-alone mode. The Channel Scribble when you have a network connection.”
Strips on the unit will show the default names of
6 Close the Software Update dialog box.
the channel inputs, “In1” through “In8.”
7 Proceed to “Installing Pro Tools LE” on
5 To return Digi 002 to Standby mode, press the
page 22.
Standalone switch a second time. The Channel
Scribble Strips on the unit will show “Exit
Standalone Mode?”
6 Press the Channel Select switch under “Yes” to

Installing Pro Tools LE
return to Standby mode. After the Apple System software settings are con-
figured, you are ready to install Pro Tools LE.
To install Pro Tools LE on Mac OS X:

Apple System Settings for
Mac OS X 1 Make sure you are logged in as an Administra-
tor for the account where you want to install
To ensure optimum performance with Pro Tools. For details on Administrator privi-
Pro Tools LE, configure the following settings leges in Mac OS X, refer to your Apple Mac OS X
before you install Pro Tools software. documentation.
Do not use the Mac OS X automatic Soft- 2 Insert the Pro Tools LE Installer CD-ROM in
ware Update feature, as it may install com- your CD-ROM drive. Double-click “Install
ponents that have not yet been qualified for Pro Tools LE.”
Pro Tools. For details on qualified versions
3 Enter your Administrator password and click
of Mac OS, refer to the latest compatibility
OK to authenticate the installation.
information on the Digidesign Web site
(www.digidesign.com). 4 Follow the on-screen instructions to continue
and accept installation.
To configure Mac OS X for Pro Tools LE:
5 In the Installer window, make sure the Install
1 Make sure you are logged into an administra-
Location is on your Start-up hard drive.
tor account where you want to install
Pro Tools LE. For details on Administrator privi- 6 In the Installer window, choose Custom In-
leges in Mac OS X, refer to your Mac OS X doc- stall from the pop-up menu, and click Install.
umentation.
7 Follow the remaining on-screen instructions
2 Choose System Preferences from the Apple to install Pro Tools.
Menu and click Energy Saver.
8 When installation is complete, click Restart.
3 Click the Sleep tab and turn off the Energy
Saver feature by setting the sleep feature to
Never.
4 Return to the System Preferences and click

Software Update.

Audio MIDI Setup (AMS) Stand-Alone CoreAudio Driver Installer
(Optional) This version of Digidesign CoreAudio Driver can
be installed on Digidesign-qualified Pro Tools
If you plan to use any MIDI devices with
systems running on Macintosh (for example, if
Pro Tools, configure your MIDI setup with the
the CoreAudio Driver was uninstalled), or it can
Apple Audio MIDI Setup (AMS) utility. See
be installed as a stand-alone driver on Macin-
Appendix F, “Configuring AMS (Mac OS X
tosh systems that do not have Pro Tools in-
Only)” for details.
stalled.
For detailed information on installing and

Optional Software on the configuring CoreAudio Driver on systems
Pro Tools Installer CD-ROM with or without Pro Tools, see the electronic
pdf of the CoreAudio Usage Guide.
Your Pro Tools Installer CD-ROM includes sev-
eral software options. Pro Tools Demo Session
The Pro Tools LE Installer CD-ROM includes a
Digidesign CoreAudio Driver demo session that you can use to verify that
The Digidesign CoreAudio Driver is a multi-cli- your system is working.
ent, multichannel sound driver that allows
CoreAudio compatible applications to record To install the demo session:
and play back through Digidesign hardware. 1 Insert the Pro Tools LE Installer CD in your
CD-ROM drive. Locate and double-click the
The Core Auto Driver is installed by default
demo session installer icon.
when you install Pro Tools.
2 Select your audio drive as the install location
For detailed information on configuring the and click Install.
Digidesign CoreAudio Driver, see
Appendix D, “Digidesign CoreAudio Driver 3 When installation is complete, click Quit.
(Macintosh Only).”

4 Plug one end of the FireWire cable into one of
Connecting Digi 002 or the ports marked “1394” on the back panel of
Digi 002 Rack to the the Digi 002 or Digi 002 Rack. Either port will
Computer work.
After installing Pro Tools LE software and re-

starting your computer, connect the Digi 002 or
Digi 002 Rack to the computer before launching
Pro Tools LE. FireWire ports
When connecting Digi 002 or Digi 002 & Digi 002 Rack FireWire ports (back panel)
Digi 002 Rack to your computer the first 5 Do one of the following, depending on your
time, your computer should be off. If your system configuration:
computer is on, power it down.
To connect the Digi 002 or Digi 002 Rack to your into an available FireWire port on your
computer: computer.
1 Plug the Digi 002 or Digi 002 Rack into a stan-

dard AC receptacle, using the AC power cable into an available FireWire port on a
included with the unit. FireWire hard drive connected to your
computer. (See “Connecting FireWire
Digi 002 and Digi 002 Rack are auto power-se- Drives” on page 24.)
in any country.
Connecting FireWire Drives
2 Power on the unit by toggling the power
Connect FireWire hard drives directly to a
switch on the back panel (Digi 002), or pressing
FireWire port on your computer. Do not con-
the power switch on the front panel (Digi 002
nect a FireWire hard drive to the second
Rack). After a short power-up sequence the Sam-
FireWire port on the back panel of Digi 002 or
ple Rate LED and Monitor Mute switch illumi-
Digi 002 Rack because the FireWire ports do not
nate to indicate the unit is on.
pass audio data when the unit is powered off.
3 Locate the FireWire cable that came with your
unit. To connect a FireWire hard drive:
■ If your computer has more than one FireWire
port, connect the FireWire hard drive to one

FireWire port on the computer, and connect
Digi 002 or Digi 002 Rack to another FireWire
port on the computer.
– or –

■ If your computer has only one FireWire port,
connect the FireWire hard drive directly to your Launching Pro Tools LE
computer and then connect Digi 002 or
When launching Pro Tools LE the first time, you
Digi 002 Rack to an available FireWire port on
are prompted to enter an authorization code to
the drive.
validate your software.
While it is possible to connect a FireWire
With new Digi 002 and Digi 002 Rack
hard drive to an available port on Digi 002
systems, the authorization code is located
or Digi 002 Rack if either unit is powered
on the inside cover of the Getting Started
off, any mounted FireWire drives will lose
with Digi 002 & Digi 002 Rack Guide.
their data connection with the computer.
With software upgrades, the authoriza-
This may result in hard drive errors or data
tion code is located on the inside cover of
loss.
the Upgrading Guide.
4-pin FireWire Cable To authorize Pro Tools LE software:

Digi 002 and Digi 002 Rack include a 6-pin to 1 Double-click the Pro Tools LE application (lo-
6-pin FireWire cable. Some Windows laptops in- cated in the Pro Tools folder, inside the Digide-
clude a 4-pin FireWire port. To use Digi 002 or sign folder).
Digi 002 Rack with these computers, a 4-pin to
6-pin cable is required. Purchase this cable If you get a warning dialog about updating
(model #CS625) through your authorized Digi- the Digi 002 or Digi 002 Rack firmware,
design dealer or online through the DigiStore follow the on-screen instructions to perform
(www.digidesign.com). the firmware update. See “Updating
Digi 002 or Digi 002 Rack Firmware” on
This cable can also be purchased at com- page 25.
puter supply stores. Maximum supported
cable length for FireWire (IEEE-1394) is 2 Enter the authorization code in the dialog
14 feet (4.3 meters). when prompted (making sure to type it exactly
as printed, and observing any spaces and capi-
Connecting Other FireWire Devices to talization) then click Validate.
Digi 002 or Digi 002 Rack
Updating Digi 002 or Digi 002 Rack
The second FireWire port on the Digi 002 unit is
Firmware
available for daisy-chaining FireWire devices
such as digital cameras or digital video record- When you launch Pro Tools software, it auto-
ers. Even when it is powered off, Digi 002 sup- matically checks the version of the unit’s firm-
plies power from the computer through its ware, and prompts you to update it if a newer
FireWire ports, letting you recharge batteries in version is available.
other FireWire devices.
If you update your unit’s firmware, let the up-
date complete before disconnecting or turning
off your system.

When the download and reprogramming pro- To change the Hardware Buffer Size:
cess is complete, you may get a message that
Pro Tools cannot communicate with Digi 002 or
Digi 002 Rack. In this case, wait up to 30 sec- 2 From the H/W Buffer Size pop-up menu, select
onds. If the message does not go away, discon- the audio buffer size, in samples.
nect then reconnect Digi 002 or Digi 002 Rack
and click OK.
Configuring Pro Tools LE
Pro Tools System Settings

Pro Tools LE lets you adjust the performance of
your system by changing system settings that af-
fect its capacity for processing, playback, and re- Playback Engine dialog (Digi 002 shown)
cording.
3 Click OK.
In most cases, the default settings for your sys-
tem provide optimum performance, but you CPU Usage Limit
may want to adjust them to accommodate large
or processing-intensive Pro Tools sessions. The CPU Usage Limit controls the percentage of
CPU resources allocated to Pro Tools host pro-
cessing tasks.
Hardware Buffer Size
◆ Lower CPU Usage Limit settings limit the ef-
The Hardware Buffer Size (H/W Buffer Size) con- fect of Pro Tools processing on other CPU-inten-
trols the size of the hardware cache used to han- sive tasks, such as screen redraws, and are useful
dle host processing tasks such as Real-Time Au- when you are experiencing slow system re-
dioSuite (RTAS) plug-ins. sponse, or when running other applications at
◆ Lower Hardware Buffer Size settings reduce the same time as Pro Tools.
monitoring latency, and are useful when you are ◆ Higher CPU Usage Limit settings allocate
recording live input. more processing power to Pro Tools, and are
◆ Higher Hardware Buffer Size settings allow for useful for playing back large sessions or using
more audio processing and effects, and are use- more real-time plug-ins.
ful when you are mixing and using more RTAS
plug-ins. Increasing the CPU Usage Limit may slow
down screen responses on slower computers.
In addition to causing slower screen re-
sponse and monitoring latency, higher The maximum CPU Usage Limit is 85 percent
Hardware Buffer Size settings can affect the for single-processor computers, and 99 percent
accuracy of plug-in automation, mute data, for multi-processor computers. (The 99 percent
and timing for MIDI tracks. setting dedicates one entire processor to
Pro Tools.)

To change the CPU Usage Limit: Pro Tools Hardware Settings
Using the Hardware Setup dialog, you can select
2 From the CPU Usage Limit pop-up menu, se- the default sample rate and clock source for your
lect the percentage of CPU processing you want system, and configure the digital inputs on the
to allocate to Pro Tools. Digi 002 or Digi 002 Rack.
3 Click OK.
Default Sample Rate
DAE Playback Buffer Size The Sample Rate setting appears as the default
sample rate when you create a new session.
The DAE Playback Buffer Size determines the (This setting is available in the Hardware Setup
amount of memory DAE uses to manage disk dialog only when no session is open.)
buffers, which affects system performance.
◆ Lower DAE Playback Buffer Size settings can You can change the sample rate when creat-
improve playback and recording initiation ing a new Pro Tools session by selecting a
speed. However, a lower setting can make it dif- different sample rate in the New Session di-
ficult for slower hard drives to play or record alog. (See See “Starting a Session” on
tracks reliably. page 69.)
◆ Higher DAE Playback Buffer Size settings can To change the default Sample Rate:
allow for a higher density of edits in a session.
1 Make sure that no Pro Tools session is open.
However, a higher setting can cause a time lag to
occur before playback or recording begins. It can 2 Choose Setups > Hardware Setup.
also cause a time lag to occur when you are ed-
iting during playback.
To change the DAE Playback Buffer Size:

2 From the DAE Playback Buffer pop-up menu,

select a buffer size.
3 Click OK.
Hardware Setup dialog (Digi 002 shown)
3 Select the sample rate from the Sample Rate

pop-up menu.
4 Click OK.

Clock Source To configure Pro Tools LE for a digital source:
Using the Hardware Setup dialog, you can select 1 Connect an ADAT or Optical S/PDIF format
the clock source for the system. If you are re- device to the Optical In connector, or an RCA
cording directly into Pro Tools, you will usually S/PDIF format device to the RCA S/PDIF In con-
use the Internal setting. If you are transferring nector on the back of the Digi 002 or Digi 002
material from an external digital device, select Rack.
the corresponding clock source. (See “Recording 2 Choose Setups > Hardware Setup.
a Digital Source” on page 28.)
3 Make sure the correct digital input option is
To select the Clock Source: selected for your setup. When you select RCA
S/PDIF, the Optical ports are available for stan-
1 Choose Setups > Hardware Setup. dard ADAT Optical (or “Lightpipe”) input.
When you select Optical S/PDIF, the RCA digital
input connector is inactive.
You can use only one pair of S/PDIF inputs

(either RCA or Optical) at a time.
4 From the Clock Source pop-up menu, select

Internal if you are synchronizing the external
device to Digi 002 or Digi 002 Rack. If you are
synchronizing the Pro Tools clock to the exter-
Selecting a clock source for Digi 002 or Digi 002 Rack nal device, select ADAT, RCA (S/PDIF) or Optical
2 Choose the clock source from the Clock (S/PDIF), depending on where you connected
Source pop-up menu. your digital device.
3 Click OK. Your digital input device must be connected

and powered on. If your input device is not
Your digital input device must be connected powered on, leave the Clock Source set to
and turned on for Pro Tools to synchronize Internal.
to it. If your input device is not turned on,
leave the Clock Source set to Internal. Ignore Buffer Underrun Errors (–6086)
Recording a Digital Source Buffer Underrun Error messages can occur dur-
ing a session if more buffer time is required for
If you are recording from an Optical or S/PDIF
processing audio and applying real-time effects
device, you will need to select a Clock Source. In
than what is currently available. These messages
most cases, you will synchronize the Pro Tools
interrupt both playback and recording, prompt-
clock to the external device.
ing you to increase the H/W Buffer Size. In most
cases, this is not a problem. But with lengthy re-
cording passes, for example, you may prefer to
ignore these messages, and not interrupt the re-
cording session.

The Pro Tools Ignore Buffer Underrun Errors To rename I/O paths in I/O Setup:
(–6086) feature in the H/W Setup dialog pro-
1 Choose Setups > I/O Setup.
vides options for ignoring these messages dur-
ing playback and recording. When enabled, Pro
Tools sends an audible pop to the Digi 002 or
Digi 002 Rack hardware outputs, instead of dis-
playing a buffer underrun error message. These
pops are not written to disk.
To ignore Buffer Underrun Errors (–6086):

2 From the Ignore Buffer Underrun Errors

(–6086) section, do the following:
• To ignore –6086 error messages during
playback, select During Playback.
• To ignore –6086 error messages during re-
cording, select During Record.
I/O Setup dialog, Input tab (Digi 002 shown)
3 Click OK.
2 Click the Input, Output, Insert, or Bus tab to
display the corresponding paths.
Configuring I/O Setup 3 To change the name of a path or subpath,
Using the I/O Setup dialog, you can label double-click directly on the Path Name, type a
Pro Tools LE input, output, insert, and bus sig- new name for the path, and press Return.
nal paths. The I/O Setup dialog provides a graph- 4 Click OK.
ical representation of the inputs, outputs, and
signal routing of the Digi 002 or Digi 002 Rack. Refer to the Pro Tools Reference Guide (or
choose Help > Pro Tools Reference Guide)
Pro Tools LE has default I/O Setup settings that
for more information on renaming I/O
will get you started. Use the I/O Setup dialog
paths.
only if you want to rename the default I/O
paths.

Hard Drive Configuration and Removing Pro Tools on
Maintenance Mac OS X
It is recommended that you start with a newly If you need to remove Pro Tools from your com-
initialized audio drive. You should also periodi- puter, you can use the Installer CD-ROM or the
cally defragment your audio drive to ensure downloaded Installer file.
continued system performance.
To remove Pro Tools from your computer:
If you are using an ATA/IDE or FireWire hard
drive, initialize your drive with the utility 1 Make sure you are logged in as an Administra-
named Disk Utility included with your Apple tor for the account where Pro Tools is installed.
System software. For details on Administrator privileges in
Mac OS X, refer to your Apple OS X documenta-
tion.
Avoid Recording to System Drives
2 Insert the Pro Tools 6.7 Installer CD-ROM in
Although Pro Tools will let you record to your
your CD-ROM drive. Double-click “Install
system drive, this is generally not recom-
Pro Tools LE” or “Install Pro Tools TDM,” as ap-
propriate.
drives results in lower track counts and fewer
plug-ins. You should record to system drives 3 Enter your Administrator password and click
only when necessary—for example, if your com- OK to authenticate the installation.
puter system has just one hard drive.
4 In the Installer window, choose Uninstall
from the pop-up menu, and click Uninstall.
5 Follow the on-screen instructions to remove

Pro Tools.
6 When finished, click Quit to close the Installer

window.

chapter 4
Digi 002 Top Panel
Pro Tools Mode

Digi 002 Operating Modes
Digi 002 is in this mode when the Digi 002 unit
Digi 002 can be in any of three states when it is is connected to a computer and Pro Tools LE
powered on: Standby mode, Pro Tools mode, or software is running.
Stand-alone mode.
If no Pro Tools session is open, the unit displays
Standby Mode “Open or create a new session.” When a
Pro Tools session is open, the unit mirrors the
Digi 002 is in this mode when you first power on-screen controls. In this mode, the
on the unit, waiting for you to either launch Stand-alone LED is off.
Pro Tools or put the unit in Stand-alone mode.
To put Digi 002 in Pro Tools mode:
In Standby mode, the unit displays “Digi 002”
and “Standby” in the Scribble Strips, and the 1 Make sure the Digi 002 unit is properly con-
Standalone LED flashes. nected to the computer and in Standby mode.
2 Launch Pro Tools LE and open or create a

Pro Tools session.
Stand-Alone Mode
When you put Digi 002 in Stand-alone mode,
the unit becomes an 8-channel digital mixer
that operates independently from Pro Tools.
See Chapter 9, “Using Digi 002 as a Stand-Alone

Mixer” for more information on stand-alone op-
eration of Digi 002.
Chapter 4: Digi 002 Top Panel 31

The Digi 002 Top Panel
The Digi 002 top panel is arranged in sections of controls with related functions. The Fader section in-
cludes standard channel strip controls, similar to any small-format mixer. The Console/Channel
View section provides powerful multi-state controls for viewing and controlling inserts, plug-ins and
sends in Pro Tools. The Transport and Navigation controls provide access to many of the on-screen
navigation features of Pro Tools.
This chapter covers each of the Digi 002 sections in relation to its function while in Pro Tools mode.
MONO
Mic/Line/Inst LINE/ INST

MIC
ALT SRC ALT SRC
TO IN 7-8 TO MON
Monitor section
Input controls MUTE
MONITOR HEADPHONE
LEVEL LEVEL
1 GAIN 2 GAIN 3 GAIN 4 GAIN
EQ DYNAMICS INSERT PAN/SEND PAGE MASTER BYPASS ESC

CONSOLE VIEW
PAN SEND INSERT CHANNEL VIEW
A DISPLAY
Console/Channel B
L R METER SAMPLE RATE Status Indicators
View section C
44.1 48 88.2 96
1394 and Display controls
REC ENTER UNDO STANDALONE MIDI
D
SEL SEL SEL SEL SEL SEL SEL SEL IN OUT1 OUT2
SHIFT/ADD OPTION/ALL SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO NUDGE
BANK ZOOM
(UTILITY) F1
Keyboard CTL/CLUTCH COMM/ MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE FLIP
(NAMING) F2
Modifier switches MODIFIERS MASTER

OUT
(SNAPSHOT) F3
FADERS
L R
(FADER MUTE) F4
Transport and
+6 +6 +6 +6 +6 +6 +6
WINDOWS
IN
PLAY/ REC MODE

(FOCUS) F5
Navigation controls
+3 +3 +3 +3 +3 +3 +3 PLUG-IN MIX EDIT LOOP PLAY LOOP REC QUICK PUNCH
0 0 0 0 0 0 0
-5 -5 -5 -5 -5 -5 -5 RTZ REW FFW STOP PLAY REC
-10 -10 -10 -10 -10 -10 -10
-15 -15 -15 -15 -15 -15 -15
-20 -20 -20 -20 -20 -20 -20
-30 -30 -30 -30 -30 -30 -30

-40 -40 -40 -40 -40 -40 -40
-60 -60 -60 -60 -60 -60 -60
-90 -90 -90 -90 -90 -90 -90
Fader Section
Figure 1. Major sections of the Digi 002 top panel

Views in Pro Tools Mode Digi 002 is in Console View when any of the
Console View selectors (Pan, Send, or Insert) are
When Digi 002 is used with Pro Tools, many of lit in the Console View area.
its controls perform more than one function,
depending on which view you are in. When in To put Digi 002 in Console View:
Pro Tools mode, the Digi 002 control surface
■ Press the Pan, Send, or Insert switch in the up-
operates in one of three main views: Home View,
Console View or Channel View. per left-hand corner of the Console View area.
Home View Channel View
Home View is the default view in Pro Tools that Channel View lets you display all of a selected
you see when you first open a session, and is ac- channel’s plug-in assignments, insert names, or
tually the same as Console View with the Pan send assignments at the same time. You can
controls displayed. think of Channel View as a way to temporarily
focus on all the inserts or sends on a single chan-
To put Digi 002 in Home View: nel.
◆ In Channel View, the touch-sensitive faders
■ Press the Pan switch in the upper left-hand
on Digi 002 mirror the volume faders in
corner of the Console View area.
Pro Tools.
Console View ◆ In Channel View, the LED rings above the ro-
tary encoders indicate values for the selected
Console View lets you toggle the Digi 002 to control, such as plug-in parameters, insert lev-
show pan position, send assignments or insert els, or pan values and send levels, depending on
assignments for all channels on the control sur- which Channel View switch is lit.
face. You can think of Console View as a global
view of a given control (pan, send, or insert) on Digi 002 is in Channel View when any of the
each channel. (See “Console View” on page 37.) Channel View selectors (EQ, Dynamics, Insert
or Pan/Send) are lit in the Channel View area.
◆ In Console view, the touch-sensitive faders on
Digi 002 mirror the volume faders in Pro Tools.
To put Digi 002 in Channel View:
Fader assignments are shown on-screen in
Pro Tools by blue outlines around the track ■ Press the EQ, Dynamics, Insert, or Pan/Send
names. switch in the Channel View area above the

Channel Scribble Strips.
◆ In Console view, the LED rings above the ro-
tary encoders indicate either the pan position,
the send level, or the insert level for each chan-
nel, depending on which Console View switch
is lit.
When you first open a Pro Tools session,

Digi 002 is in Console View with the Pan
switch lit. This default view is also known
as “Home View.”

Channel Strip Controls
Fader Section
The Digi 002 fader section consists of 8 identical Channel Faders
channel strips, each with a touch-sensitive
Each channel has its own touch-sensitive, mo-
fader, solo and mute switches, a multi-state se-
torized fader for controlling levels of audio and
lect switch, and a rotary encoder.
MIDI tracks, Auxiliary Inputs, and Master Fad-
ers. In Flip mode, other controls, such as send
levels or plug-in parameters, can be controlled
Channel Scribble Strip
by the faders.
Encoder/Meter LED ring Channel Solo/Mute Switches

Each channel has Solo and Mute switches, lo-
Rotary Encoder
cated above the fader. These switches show the
REC
Record Enable Pro Tools solo and mute status for each track.
switch
SEL When a track is soloed, the Mute switches on
Channel Record Ready
indicator other tracks in the session flash. When a track is
Channel Select switch muted, the Mute switch is lit continuously.
SOLO
Channel Solo and
Mute switches The Solo switch function follows the Pro Tools
Operation preference for latched operation. (See
MUTE FLIP
Fader Flip the Pro Tools Reference Guide for details.)
switch
MASTER
FADERS
Master Fader Channel Select Switch
switch
Each channel has a Channel Select switch that
performs several functions, depending on the
+6
view:
+3
Home View The Channel Select switches allow
0 you to select the corresponding track (indicated
Channel Fader on-screen by a highlighted track name) for
-5
grouping and other channel-related commands

-10
in Pro Tools.
-15
Console View The Channel Select switches are

-20
-30
used to select inserts on a particular channel for
-40 editing, or to select pre- or post-fader operation
-60
-90
for sends.
Channel View The Channel Select switches are

used to select and edit individual send or insert
settings as displayed across the Channel Scribble
Strips.
Digi 002 fader section and global fader controls

Channel Record Ready Indicator Channel Scribble Strip
Each channel has a Record Ready LED. When a Each channel has a 4-character scribble strip
track is record-enabled and the transport is that displays a variety of information, including
stopped, this LED flashes. When Pro Tools is re- track, send and insert names, pan position, send
cording, it is lit continuously. (See “Record En- levels, or plug-in control information. The de-
able Switch” on page 35 for details on fault display is the name of the displayed ele-
record-enabling tracks.) ment. When you move a fader or rotary en-
coder, the scribble strip will temporarily display
Rotary Encoders the value for that control, then return to the de-
fault display.
These knobs control a variety of parameters, de-
pending on the view:
Global Fader Controls
Home View The rotary encoders control pan po-
Immediately to the right of the channel faders,
sition for each track, with the LED rings indicat-
there are global controls that affect the assign-
ing the pan position with a single LED.
ment and operation of all the faders.
Console View The rotary encoders control send
levels for each track, with the LED rings indicat- Record Enable Switch
ing the send levels with an expanding series of
LEDs. Pressing the Record Enable switch followed by a
Channel Select switch arms the corresponding
Channel View The rotary encoders control track for recording.
plug-in, pan/send, or insert settings, depending
on the Channel View selection, with the LED To enable tracks for recording:
rings showing corresponding states.
1 Press the Record Enable switch. When the
Record Enable function is active, the Record En-
Encoder/Meter LED Ring able switch flashes.
Each rotary encoder has a circle of 15 LEDs 2 Press the Channel Select switch for the tracks
above it for indicating data values controlled by you want to enable for recording. When a track
the encoder. The style of display depends on the is armed for recording, its Record Ready indica-
type of data. For example, discrete or stepped in- tor flashes. During recording, its Record Ready
formation such as pan position or frequency indicator is lit continuously.
value is shown by a single LED, while an ex-
panding series of LEDs shows values such as 3 To deactivate the Record Enable function,
send levels, gain, or filter bandwidth. press the Channel Select switch for the track,
then press the Record Enable switch a second
The LED rings can also be set to show track lev- time.
els by pressing the Encoder/Meter Mode switch
to the right of the encoder area. When set to To disable tracks for recording:
Meter mode, the LED rings show increasing lev-
1 Press the Channel Select switch on any track
els in a clockwise manner, with the last red LED
whose Record Ready indicator is flashing to dis-
indicating clipping.
arm the track for recording.

2 Press the Record Enable switch a second time you to use the touch-sensitive faders to edit and
to deactivate the Record Enable function. automate plug-in control values. The details of
the controls depend on the particular plug-in
Fader Flip Switch you are using.
The Fader Flip switch invokes Flip mode, which See “Channel View” on page 38 for more details
transfers control assignments from the rotary on working with plug-ins in Channel View.
encoders to the corresponding channel faders,
Pan/Send Flip Mode When you are in Channel
allowing you to use the touch-sensitive faders to
View and working with the pan and send assign-
edit and automate control values. There are sev-
ments on a channel, the Flip switch moves the
eral types of Flip mode, depending on the view.
send level controls to channel faders 3–7, and
the send pan controls to rotary encoders 3–7.
To transfer controls from the rotary encoders to
the touch-sensitive faders: (The first Channel Scribble Strip and encoder
continue to show track pan position for that
■ Press the Flip switch. This switch flashes when
track.)
Flip mode is activated.
In this mode, the Channel Select switches toggle
■ To exit Flip mode, press the Flip switch a sec-
pre- and post-fader metering for the correspond-
ond time.
ing send.
Send Flip Mode When you are in Home View or
For stereo tracks with stereo sends, you can tog-
Console View, the Flip switch moves the send
gle the encoder display between left and right
level controls to the channel faders, and the
send pan by pressing the Encoder Mode switch
send pan controls to the rotary encoders. The
immediately to the right of the encoders.
Channel Scribble Strips display the selected
send (A–E) for each channel. See “Channel View” on page 38 for more details
on working with pan controls and sends in
For stereo tracks with stereo sends, you can tog-
Channel View.
gle the encoder display between left and right
send pan by pressing the Encoder Mode switch
immediately to the right of the encoders. Both
Master Fader Switch
the Display Scribble Strip and the LEDs above Pressing the Master Fader switch arranges all
the Encoder Mode switch indicate whether the Master Fader tracks in the current session on the
left or right pan position is displayed. right-hand side of the control surface. Pressing
this switch a second time returns the control
For mono tracks with stereo sends, only the left
surface to the previous view.
pan indicator shows a pan position; the right
pan indicator is inactive.
Plug-In Flip Mode When you are in Channel

View and working with a plug-in insert, the Flip
switch moves any plug-in control assignments
from the rotary encoders to the faders, allowing

Console/Channel View Section
The Console/Channel View section uses many of the channel fader controls to display and edit pan,
send, and insert controls, giving you control over many on-screen elements in Pro Tools.
Channel Scribble Strips Plug-In Bypass switch

Channel View selectors Plug-in Page switches
Escape/Cancel switch

CONSOLE VIEW
Console View
selectors
A
Insert/Send C
Position
selectors
D
SEL SEL SEL SEL SEL SEL SEL SEL
Digi 002 Console and Channel View controls
Console View Send View This view assigns send level controls
to the rotary encoders. The Channel Scribble
Console View lets you toggle the Digi 002 to Strips show the names of currently assigned
show pan position, send controls or insert sends across all channel strips for a given send
names for all channels on the control surface. position (Sends A–E in Pro Tools).
Console View Selectors In this view, pressing a Channel Select switch

toggles the selected send on that track between
These switches toggle the center section of pre- and post-fader operation. (See the Pro Tools
Digi 002 to display one of the three following Reference Guide for details.)
types of controls: pan, sends, or inserts.
Insert View This view displays the names of cur-
Pan View This is the default view that appears rently assigned inserts (hardware inserts or
when you first launch a Pro Tools session, where plug-ins) across all channel strips for a given in-
the faders control track volume and the rotary sert position (Inserts A–E in Pro Tools) in the
encoders control channel pan positions. The Channel Scribble Strips.
Channel Scribble Strips show the track names,
and temporarily show the channel pan posi- If a hardware insert or plug-in is selected in
tions when the encoder is moved, or volume in- Pro Tools, its name flashes in the Scribble Strip.
formation when the fader is moved. In this In this view, pressing a Channel Select switch di-
view, pressing a Channel Select switch selects rectly under a plug-in name puts Digi 002 into
the corresponding track in Pro Tools. Channel View and displays the plug-in controls
across all channel strips.

Insert/Send Position Selectors Dynamics When you press the Dynamics switch,
Digi 002 identifies channels with dynamics
These switches determine which of the five plug-ins (such as compressors or limiters) as-
available send or insert positions (marked A–E in signed to them by illuminating their Channel
Pro Tools) are displayed in Console View. Select switches. If no dynamics plug-ins are
present, no Channel Select switches will be lit.
Channel View
When you press an illuminated Channel Select
Channel View zooms in on a single track and switch, controls for the first Dynamics plug-in
displays all controls of a certain type (sends, in- on that track are assigned to the rotary encoders
serts, or plug-ins) horizontally, across all of the and displayed in the Channel Scribble Strips.
Channel Scribble Strips on Digi 002. From this
Switched controls, such as Phase Invert or
view, you can recall and edit parameters for all
In/Out for EQ bands, are controlled with the
the sends on a single track, or all the parameters
Channel Select switches below the correspond-
of a single plug-in.
ing Scribble Strips.
Channel View Selectors To cycle through all the Dynamics plug-ins on a

channel, hold the Dynamics switch and repeat-
These switches determine the type of informa-
edly press the track’s Channel Select switch. If a
tion displayed for a selected track. The first two
plug-in window is open on-screen, it will update
switches focus on particular types of plug-ins,
to reflect the plug-in selected on the Digi 002.
while the second two address all types of inserts
and sends. Inserts When you press the Inserts switch,
Digi 002 identifies channels with any insert as-
EQ When you press the EQ switch, Digi 002
signed to them (including software plug-ins or
identifies channels with equalizer plug-ins as-
hardware I/O inserts) by illuminating their
signed to them by illuminating their Channel
Channel Select switches. If no inserts are
Select switches. If no EQ plug-ins are present, no
present, no Channel Select switches will be lit.
Channel Select switches will be lit.
switch, the names of all inserts on that track are
switch, controls for the first EQ plug-in on that
displayed in the Channel Scribble Strips. To se-
track are assigned to the rotary encoders and dis-
lect a plug-in insert for editing, press the corre-
played in the Channel Scribble Strips. Switched
sponding Channel Select switch. (While the
controls, such as Master Bypass or Phase Invert
names of hardware I/O inserts are displayed,
functions, are controlled by the Channel Select
they have no editable parameters, so the Chan-
switches.
nel Select switches and the rotary encoders have
To cycle through all the EQ plug-ins on a chan- no effect on them.)
nel, hold the EQ switch and repeatedly press the
To cycle through all the inserts on a channel,
track’s Channel Select switch. If a plug-in win-
hold the Insert switch and repeatedly press the
dow is open on-screen, it will update to reflect
track’s Channel Select switch.
the plug-in selected on the Digi 002.

Pan/Send When you press the Pan/Send switch, Multi-Mono Plug-ins
Digi 002 identifies channels with sends assigned
When working with a multi-mono plug-in, you
to them by illuminating their Channel Select
can toggle the view between the left and right
switches. If no sends are present, no Channel Se-
sides of the plug-in by holding down the Dis-
lect switches will be lit.
play switch when you press the Channel Select
When you press an illuminated Channel Select switch to select a plug-in from Channel view.
switch, Channel Scribble Strip 1 and the first ro-
The resulting display shows “left” and “right” in
tary encoder show track pan position for that
the Scribble Strips, allowing you to choose be-
track. (If the track is a stereo track, you can tog-
tween the two sides of the multi-mono plug-in
gle between left and right pan by pressing the
by pressing the corresponding Channel Select
Encoder Mode switch immediately to the right
switch.
of the encoders.)
Plug-In Master Bypass Switch This switch by-
Channel Scribble Strips 3–7 show the names and
passes either a single plug-in or all plug-ins on a
their rotary encoders control the levels for all
channel, depending on the current view. If the
five sends on that track. (Channel Scribble Strip
controls for only one plug-in are displayed, only
2 is inactive.) In this mode, the Channel Select
that plug-in will be bypassed. If all the plug-ins
switches on channels 3–7 toggle pre- and
on a channel are displayed, all of those plug-ins
post-fader metering for the corresponding send.
will be bypassed.
Plug-In Page Switches Plug-In controls are orga-
If no plug-ins are displayed, the Master Bypass
nized in pages. In a process much like banking of
function is unavailable.
channel faders, when a plug-in has more con-
trols than can fit on the Channel Scribble Strips Hardware I/O inserts cannot be bypassed in
at one time, you can use these switches to page Pro Tools, so the Plug-In Master Bypass
through the plug-in controls. switch has no effect on them.
When a plug-in has multiple pages of controls,
Esc (Escape/Cancel) Switch When flashing,
one of the Plug-In Page switches will flash to in-
this switch allows you to cancel certain opera-
dicate a next or previous page. The total number
tions on the Digi 002, such as Channel View se-
of pages is shown in the Status Display when
lections. The Escape/Cancel switch also func-
you press the flashing Plug-In Page switch.
tions as a “cancel” button for many on-screen
dialogs in Pro Tools.

Transport and Navigation Controls
These Digi 002 controls mirror the operation of on-screen transport and navigation controls in
Pro Tools. In addition, Function keys allow you to invoke special control surface commands and
move quickly between different display modes.
Fader Bank, Nudge, and

Display Zoom switches NUDGE
BANK ZOOM
(UTILITY) F1
FLIP
(NAMING) F2
Fader Flip switch OUT
MASTER
FADERS
(SNAPSHOT) F3 Function/Utility switches
Master Fader switch L R
(FADER MUTE) F4
Navigation and Zoom keys IN (FOCUS) F5
WINDOWS PLAY/ REC MODE
PLUG-IN MIX EDIT LOOP PLAY LOOP REC QUICK PUNCH
Window Show/Hide Record/Playback Mode

switches RTZ REW FFW STOP PLAY REC
switches
Transport controls
Digi 002 transport and navigation controls
Transport Controls Record/Playback Mode Switches

These switches correspond to transport func- Loop Play Toggles Loop Playback on and off
tions in Pro Tools.
Loop Rec Toggles Loop Record mode on and off
RTZ (Return to Zero) Sets the playback cursor to
the beginning of the session QuickPunch Toggles QuickPunch Record mode
on and off
REW (Rewind) Rewinds through the session
from the current cursor position
Window Show/Hide Switches
FFW (Fast Forward) Fast-forwards through the
Plug-In Opens or closes the window for the cur-
session from the current cursor position
rently selected plug-in
STOP Stops playback or recording
Mix Opens, brings forward, or closes the
PLAY Begins playback from the current cursor Pro Tools Mix window
position
Edit Opens, brings forward, or closes the
REC (Record) Arms Pro Tools for recording Pro Tools Edit window

Navigation and Zoom Section Function/Utility Switches
These multi-purpose keys control the display of F1 (Utility) Enters Utility mode during Digi 002
Pro Tools tracks on the Digi 002 control surface, stand-alone operation only. This is where you
on-screen zoom functions, and other Pro Tools set control surface and input preferences, as well
navigation functions. as run pre-programmed diagnostic tests on the
Digi 002 unit.
Fader Bank, Nudge and Display Zoom
F2 (Naming) Allows you to name channels while
Switches
using Digi 002 in Stand-alone mode only. (See
Bank When the Bank switch is lit, the Left and “Naming Channels” on page 103.)
Right arrow keys move the Digi 002 tracks
F3 (Snapshot) Allows you to store and recall up
across the Pro Tools mixer eight faders at a time.
to 24 mixer configurations for quick recall or for
Nudge When the Nudge switch is lit, the Left use as mixer templates, in Stand-alone mode
and Right arrow keys move the Digi 002 tracks only. (See “Storing Snapshots” on page 110.)
across the Pro Tools mixer one track at a time.
F4 (Fader Mute) Temporarily disables Digi 002
Zoom When the Zoom switch is lit, the Left and fader movement while working with Pro Tools,
Right arrow keys zoom the Pro Tools Edit win- allowing you to monitor audio playback with-
dow display horizontally, and the In and Out out fader noise. To disable fader movement,
keys zoom the display vertically. press F4 while in Pro Tools mode. To restore
fader movement, press F4 a second time.
Navigation and Zoom Keys The Fader Mute feature has no effect on fader
Text Entry Fields When you are editing numeri- automation or audio levels during playback.
cal values such as Selection Start, End, and
F5 (Focus) Displays controls in the Digi 002
Length, or Pre- and Post-Roll in the Edit or
Channel Scribble Strips for the currently active
Transport windows, the Left and Right arrow
plug-in window, as in Channel View. To return
keys let you navigate among editable fields. The
to the last Console view, press F5 a second time.
In and Out keys increment or decrement the se-
lected value.
Selection In/Out Points In Bank and Nudge

modes, the Navigation keys mirror the function
of the Up and Down arrow keys on the com-
puter keyboard. You can press these keys to
mark In and Out points during playback, in or-
der to make selections in the Pro Tools Edit win-
dow. If you have already made a selection in the
Edit window, the Up and Down arrow keys
move the selection up and down your track list.

Mic/Line/Instrument Input Monitor Section
Controls The Monitor section of Digi 002 provides sev-
Digi 002 is equipped with four high-quality eral options for routing outputs and monitoring
preamplifiers with adjustable gain and phantom alternate input sources.
power (switchable in pairs, for Inputs 1–2 and
Inputs 3–4). The phantom power switches are Alternate Input Routing controls
on the back panel of Digi 002.
Mono Output switch Headphone
jack
Inputs 1–4 accept microphone, instrument (di-
MONO
rect in) or line-level signals. Inputs 5–8 accept ALT SRC ALT SRC
TO IN 7-8 TO MON
line-level signals only. MUTE
MONITOR HEADPHONE
When Digi 002 is used to control Pro Tools, LEVEL LEVEL
these inputs show up as “Mic/Line 1–4” in the Monitor Mute switch

default Pro Tools I/O Setup.
Monitor Headphone
Level control Level control
Mic/Line/Instrument Selector switch
High Pass Filter switch Digi 002 monitor and headphone controls
Alternate Input Routing Controls

LINE/ INST
MIC
In addition to its 8 standard analog inputs,
Digi 002 provides a separate –10 dBV input pair
1 GAIN 2 GAIN 3 GAIN 4 GAIN for a device such as a CD player or tape deck.
Alt Src to Mon This switch routes the –10 dBV

Input Gain control
input pair directly to the Monitor and Head-
Digi 002 input controls for Inputs 1–4 phone Outputs on Digi 002. This function also
Inputs 1–4 have the following controls: works when Digi 002 is in Stand-alone mode.
Mic/Line/Instrument Selector This switch tog- Alt Src to 7–8 This switch routes the –10 dBV
gles the input between microphone or line (in- input pair directly to Inputs 7 and 8 of
strument) operating levels. Pro Tools, and does not send it to the Monitor
Outputs. This allows you to route the input sig-
High Pass Filter Switch This switch enables a nal directly into Pro Tools without the need to
high pass filter (75 Hz, 12 dB/octave rolloff) on repatch any cables.
the input, for filtering out rumble or AC hum.
When Alt Src to 7–8 is enabled, analog inputs
Input Gain Control This knob adjusts gain for the 7–8 (1/4-inch TRS connectors on the back panel
input, with a range of +15 dB to +60 dB of gain. of Digi 002) are disabled.
Engage the Mic Selector only if you have an

XLR cable plugged in to the mic connector.
Leaving the switch engaged with nothing
connected may introduce low-level noise.

Monitor and Headphone Level Controls
Keyboard Modifier Switches
Monitor Level Control Digi 002 provides a pair of
Monitor Outputs that mirror its Main Outputs Many keyboard commands in Pro Tools use
(or outputs 1–2), which correspond to outputs modifier keys, which are pressed in combination
1–2 in Pro Tools. This knob controls the volume with other keys or with a mouse action.
of those Monitor Outputs.
Refer to the electronic PDF versions of the
Headphone Level Control The Headphone Out- Pro Tools Reference Guide and the Key-
put on Digi 002 also mirrors outputs 1–2 in board Shortcuts for more information.
Pro Tools, and is independent of the Monitor
The Modifier switches on the left-hand side of
Outputs. This knob controls the volume of the
Digi 002 mirror the functions of modifier keys
independent Headphone Output.
on the computer keyboard. You can use these
Monitor Mute Switch This switch mutes the switches on Digi 002 in any combination with
Digi 002 Monitor Outputs only, and has no ef- keys on your computer while working with
fect on the Main Outputs or the Headphone Pro Tools.
Output. Monitor Mute is automatically engaged
when you power up the Digi 002 unit. Option/All switch
Mono Output Switch This switch temporarily SHIFT/ADD OPTION/ALL SOLO
combines the output signals 1 and 2 in both the Shift/Add switch
Monitor Outputs and the Headphone Output. CTL/CLUTCH COMM/ MUTE
This is helpful for checking phase relationships Control/Clutch switch

MODIFIERS
of stereo material. The Mono Output switch has
no effect on the Main Outputs.
Headphone Jack This jack accepts a standard +6
Command switch
1/4-inch stereo headphone connector. +3
Digi 002 keyboard modifier keys
Shift/Add Switch Allows you to extend a track

selection or add to a group of selected items
Option/All Switch Applies an action or com-

mand to all tracks in a Pro Tools session
Control/Clutch Switch Temporarily disengages a

control from grouped behavior
Command Switch Allows fine adjustment of con-

trols and automation breakpoints

Status Indicators and Display Controls
The area above the Transport and Navigation Controls on Digi 002 contains status indicators, an
8-character LED Scribble Strip, and controls for displaying information about Pro Tools sessions.
Channel Scribble Strip Display Scribble Strips
Display Mode switch
Session Sample Rate indicators

DISPLAY
Encoder/Meter Mode
indicators
L R METER SAMPLE RATE
44.1 48 88.2 96
1394
Encoder/Meter LED ring Pro Tools Connection
Status indicator
ENTER UNDO STANDALONE MIDI
IN OUT1 OUT2
MIDI Data indicators
Encoder/Meter Mode switch
Enter/OK switch Standalone Mode switch

Edit Undo switch
Digi 002 status indicators and display controls
Display Scribble Strips and Status Mode

Display Mode Switch In Status mode, the Display Scribble Strips show
The Display Scribble Strips have two modes: Sta- information about the current view.
tus mode, which shows the current status of the
Console View When Digi 002 is in Console
Channel Scribble Strips, and Counter mode,
View, the Display Scribble Strips show which
which mirrors the main counter in Pro Tools. To
Console mode is active (Pan, Send, or Insert).
toggle between the two display modes, press the
Display Mode switch directly to the left of the When in Pan mode, the Display Scribble shows
Display Scribble Strips. which pan controls are visible in the rotary en-
coders, left pan or right pan. (Right pan controls
In addition, pressing the Command switch in
are available for stereo tracks only.)
tandem with the Display Mode switch allows
you to set channels to display numerical param- When in Send mode, the Display Scribble shows
eter values by default, rather than control the position of the displayed send (A–E).
names. For example, in Pan view, when you
press Command+Display, fader volume levels When in Insert mode, the Display Scribble
(in dB) are the default display. shows the position of the displayed insert (A–E).

Channel View When Digi 002 is first put into Enter/OK Switch
Channel View, the Display Scribble Strips on the
right-hand side of the unit identify which Pressing the Enter/OK switch is equivalent to
Channel View Selector is active (EQ, Dynamics, pressing Return or Enter on the computer key-
Inserts, or Pan/Send). board. This allows you to OK on-screen dialogs
and create new Memory Locations in Pro Tools
When plug-in controls are displayed in the directly from the control surface.
Channel Scribble Strips, the Display Scribble
shows the name of the plug-in.
Edit Undo Switch
When pan and send controls are shown in the
Pressing the Edit/Undo switch is equivalent to
Channel Scribble Strips, the Display Scribble
choosing Edit > Undo in Pro Tools. (See the
shows the name of the parent track.
Pro Tools Reference Guide for details on multiple
While in Channel View, you can hold the Dis- undo capabilities.)
play Mode switch and press an active track’s
Channel Select switch to temporarily display an Standalone Mode Switch
expanded description of its function.
The Standalone Mode switch turns Digi 002
into a stand-alone 8-channel mixer. (See
Counter Mode
Chapter 9, “Using Digi 002 as a Stand-Alone
In Counter mode, the Display Scribble Strips Mixer.”)
show the current value in the Pro Tools Main
Location Indicator. This value can be in
Bars:Beats, Minutes:Seconds, or Samples, de-
Session Sample Rate Indicators
pending on which of these is chosen as the The Session Sample Rate LEDs indicate the sam-
Main Time Scale in Pro Tools. ple rate of the current Pro Tools session.
The Display Mode switch is lit when Digi 002 is

in Counter mode. Pro Tools Connection Status
Indicator
Pan/Meter Indicators and This status LED, marked “1394,” indicates that
Encoder/Meter Mode Switch communication has been established between
Digi 002 and Pro Tools LE software via FireWire.
The Pan/Meter indicators show what type of
data is displayed in the Encoder/Meter LED ring:
L indicates left pan, R indicates right pan (avail- MIDI Data Indicators
able on stereo channels or sends), and Meter in-
The MIDI Data LEDs indicate the presence of
dicates that the Encoder LEDs are functioning as
MIDI data on the Digi 002 MIDI In or MIDI Out
level meters.
ports.
For stereo tracks or sends, when L and Meter are
both lit, the LED rings display levels for the left
channel; when R and Meter are both lit, the LED
rings display levels for the right channel.

chapter 5
The Digi 002 Rack Front Panel
The Digi 002 Rack front panel includes controls

for Inputs 1–4, options for routing outputs and
monitoring alternate input sources, and indica-
tors for session sample rate, connections status,
and MIDI data.
Mic/Line/Inst
input controls Monitor section
Power switch
Status Indicators
Figure 2. Digi 002 Rack front panel
Chapter 5: The Digi 002 Rack Front Panel 47

Mic/Line/Instrument Input Monitor Controls
Controls The Monitor controls of Digi 002 Rack provide
Digi 002 Rack is equipped with four high-qual- several options for routing outputs and moni-
ity preamplifiers with adjustable gain and phan- toring alternate input sources.
tom power (switchable in pairs, for Inputs 1–2
and Inputs 3–4). The phantom power switches Alternate Input Routing controls
are on the back panel of Digi 002 Rack.
Mono Output switch Headphone
jack
Inputs 1–4 accept microphone, instrument (di-
MONO
rect in) or line-level signals. Inputs 5–8 accept ALT SRC ALT SRC
TO IN 7-8 TO MON
line-level signals only. MUTE
MONITOR HEADPHONE
These inputs appear as “Mic/Line 1–4” in the de- LEVEL LEVEL
fault Pro Tools I/O Setup. Monitor Mute switch
Mic/Line/Instrument Selector switch Monitor

Level control Headphone
Level control
High Pass Filter switch
Digi 002 Rack monitor and headphone controls
LINE/ INST
MIC
Alternate Input Routing Controls
In addition to its 8 standard analog inputs,
1 GAIN 2 GAIN 3 GAIN 4 GAIN Digi 002 Rack provides a separate –10 dBV input
pair for a device such as a CD player or tape
Input Gain control deck.
Digi 002 Rack input controls for Inputs 1–4 Alt Src to 7–8 This switch routes the –10 dBV
Inputs 1–4 have the following controls: input pair directly to Inputs 7 and 8 of
Pro Tools, and does not send it to the Monitor
Mic/Line/Instrument Selector This switch tog- Outputs. This allows you to route the input sig-
gles the input between microphone or line (in- nal directly into Pro Tools without the need to
strument) operating levels. repatch any cables.
High Pass Filter Switch This switch enables a When Alt Src to 7–8 is enabled, analog inputs
high pass filter (75 Hz, 12 dB/octave rolloff) on 7–8 (1/4-inch TRS connectors on the back panel
the input, for filtering out rumble or AC hum. of Digi 002 Rack) are disabled.
Input Gain Control This knob adjusts gain for the Alt Src to Mon This switch routes the –10 dBV
input, with a range of +15 dB to +60 dB of gain. input pair directly to the Monitor and Head-
phone Outputs on Digi 002 Rack.
Engage the Mic Selector only if you have an
XLR cable plugged in to the mic connector.
Leaving the switch engaged with nothing
connected may introduce low-level noise.

Monitor and Headphone Level Controls
Status Indicators
Monitor Level Control Digi 002 Rack provides a
pair of Monitor Outputs that mirror its Main
Outputs (or outputs 1–2), which correspond to
Session Sample Rate Indicators
outputs 1–2 in Pro Tools. This knob controls the The Session Sample Rate LEDs indicate the sam-
volume of those Monitor Outputs. ple rate of the current Pro Tools session.
Headphone Level Control The Headphone Out-

SAMPLE RATE
put on Digi 002 Rack also mirrors outputs 1–2 in
44.1 48 88.2 96
Pro Tools, and is independent of the Monitor
Outputs. This knob controls the volume of the Digi 002 Rack Sample Rate LEDs
independent Headphone Output.
Pro Tools Connection Status
Monitor Mute Switch This switch mutes the
Digi 002 Rack Monitor Outputs only, and has
Indicator
no effect on the Main Outputs or the Head- This status LED, marked “1394,” indicates that
phone Output. Monitor Mute is automatically communication has been established between
engaged when you power up the Digi 002 Rack Digi 002 Rack and Pro Tools LE software
unit. through FireWire.
Mono Output Switch This switch temporarily

1394
combines the output signals 1 and 2 in both the
Monitor Outputs and the Headphone Output.
Connection Status LED
This is helpful for checking phase relationships
of stereo material. The Mono Output switch has
no effect on the Main Outputs.
MIDI Data Indicators
The MIDI Data LEDs indicate the presence of
Headphone Jack This jack accepts a standard
MIDI data on the Digi 002 Rack MIDI In or
1/4-inch stereo headphone connector.
MIDI Out ports.
MIDI
IN OUT1 OUT2
MIDI Data LEDs
Chapter 5: The Digi 002 Rack Front Panel 49

chapter 6
Digi 002 and Digi 002 Rack Back Panels
The Digi 002 and Digi 002 Rack back panels Sample Rate and Resolution
house all the audio, MIDI and computer con- Support
nectors for the unit. The function of each con-
nector and their associated switches are ex- The Analog-to-Digital and Digital-to-Analog
plained in this section. converters on all Digi 002 and Digi 002 Rack an-
alog inputs and outputs, as well as the S/PDIF
See Figure 3 on page 52 and Figure 4 on page 52. Digital I/O ports, support sample rates of 44.1,
48, 88.2, and 96 kHz. The Optical I/O ports sup-
Operating Levels and Headroom port sample rates of 44.1 and 48 kHz in ADAT
Optical mode, and sample rates up to 96 kHz in
All Digi 002 and Digi 002 Rack audio inputs and Optical S/PDIF mode.
outputs are set for 14 dB of headroom below
0 dB, or full code. This means at the nominal All the analog and digital inputs and outputs on
reference input level (+4 dBu or –10 dBV) you Digi 002 and Digi 002 Rack support up to 24-bit
can have up to 14 dB of headroom before input resolution audio.
or output clipping occurs.
The maximum input and output of Digi 002 or

Digi 002 Rack using balanced TRS cables on any
of the +4 dBu, 1/4-inch connectors is +18 dBu
(6.15 Vrms).
Chapter 6: Digi 002 and Digi 002 Rack Back Panels 51

Main Analog Outputs
(Analog Outputs 1–2)
Analog Outputs
3–8 Monitor Outputs
Alt Main Outputs Line/Instrument Inputs 1–4
Alt Source Inputs
Power switch
Analog Inputs 5–8
OUTPUT 7 OUTPUT 5 OUTPUT 3 MAIN L/1 MON OUTPUT L INPUT 7 INPUT 5
L L
R R
ALT MAIN UNBAL ALT SRC +4 -10 +4 -10 +4 -10 +4 -10

OUTPUT 8 OUTPUT 6 OUTPUT 4 (-10 dBV OUTPUT) MAIN R/2 MON OUTPUT R INPUT INPUT 8 INPUT 6 LINE/ INST LINE/ INST LINE/ INST LINE/ INST
48V 48V
964530300294856
MIC MIC MIC MIC
SERIAL NUMBER
IN
OPTICAL
OUT IN
OUT
LINK S / PDIF
FOOT SWITCH 1394 1394 MIDI OUT 2 MIDI OUT 1 MIDI IN 4 3 2 1
Link Indicator FireWire MIDI

ports connectors Operating Level Mic Inputs 1–4
AC power connector switches
Optical I/O for Inputs 5–8
Footswitch jack Phantom Power
S/PDIF Digital I/O switches
Figure 3. Digi 002 back panel
Main Analog Outputs 1–2

Analog Outputs
3–8
Monitor Outputs
Alt Main Outputs Line/Instrument Inputs 1–4
Alt Source Inputs
Analog Inputs 5–8
Link Indicator
FireWire MIDI
connectors Operating Level Mic Inputs 1–4
ports switches
AC power connector for Inputs 5–8
Footswitch jack Optical I/O Phantom Power
switches
S/PDIF Digital I/O
Figure 4. Digi 002 Rack back panel

Analog Inputs to operate. If you are not sure about the phan-
tom power requirements for your microphone,
Mic Inputs 1–4 contact the manufacturer, or read your micro-
phone’s documentation.
These are balanced, three-conductor XLR con-
nectors for microphone-level analog inputs. Although phantom power can be used
Gain is controlled by the corresponding Input safely with most microphones, ribbon mi-
Gain control (on the top panel of Digi 002, and crophones can be damaged by it. Always
on the front panel of Digi 002 Rack). turn off phantom power and wait at least
30 seconds before connecting a ribbon mi-
Line/Instrument Inputs 1–4 crophone.
These are balanced, 1/4-inch TRS jacks for
Analog Inputs 5–8
line-level or instrument-level analog audio in-
put connections. Operating levels for these These are balanced, 1/4-inch TRS jacks for
line/instrument inputs are fixed at +4 dBu. Gain line-level analog audio input connections.
is controlled by the corresponding Input Gain
knob (on the top panel of Digi 002, and on the Operating levels for each of these line-level in-
front panel of Digi 002 Rack). puts is switchable between +4 dBu and –10 dBV,
using the Operating Level switches immediately
Unbalanced connections are also possible with to the right of the input jacks.
the use of standard 1/4-inch mono plugs.
While Inputs 5–8 do accept unbalanced connec-
Digidesign does not recommend the use of tions, this may result in a noisier signal than a
unbalanced cables. Unbalanced connec- balanced-to-balanced connection. If the devices
tions may introduce noise into your audio you are connecting to Digi 002 or Digi 002 Rack
system. Whenever possible, use balanced have balanced outputs, be sure to use balanced
cables to make connections to Digi 002 and cables for optimal signal-to-noise performance.
Digi 002 Rack.
Alt Source Inputs
Phantom Power
These are unbalanced, two-conductor RCA-con-
These switches apply 48V phantom power to In- nectors for connecting alternate audio sources
puts 1–2 and Inputs 3–4 channel pairs respec- such as CD players or tape decks. The signal
tively, for microphones that require phantom from these inputs can be routed directly to the
power to operate. Monitor Outputs (for monitoring) or to Inputs
7–8 (for direct input into Pro Tools) from the
Dynamic microphones (like a Shure SM57) do
top panel of Digi 002 (or the front panel of
not require phantom power to operate, but are
Digi 002 Rack). Operating levels for these inputs
not harmed by it. Most condenser microphones
are fixed at –10 dBV.
(like an AKG C3000) do require phantom power

Analog Outputs Analog Outputs 3–8
These are balanced, 1/4-inch TRS jacks for

Monitor Outputs
line-level analog audio output connections. Op-
These are balanced, 1/4-inch TRS jacks for erating levels for these outputs are fixed at
line-level analog audio output connections. +4 dBu. Unbalanced connections are also sup-
These outputs correspond to Outputs 1–2 in ported with the use of standard 1/4-inch mono
Pro Tools, allowing you to route mixes to a stu- plugs.
dio monitoring system. Operating levels for
these outputs are fixed at +4 dBu. If you plan on connecting Analog Outputs
3–8 to –10 dBV gear, you may want to
Monitor Output level is controlled by the Mon- place a transformer-based line level attenu-
itor Level knob on the top panel of Digi 002 (or ator between the Digi 002 or Digi 002 Rack
the front panel of Digi 002 Rack). output and the input of the destination de-
vice to compensate for level differences.
Main Analog Outputs 1–2
These are balanced, 1/4-inch TRS jacks for Digital I/O

line-level analog audio output connections.
Operating levels for these outputs are fixed at S/PDIF Digital I/O
+4 dBu.
The Sony Phillips Digital Interface Format
While the Main Analog Outputs do accept un- (S/PDIF) is used in many professional and con-
balanced connections, this may result in a nois- sumer CD players and DAT recorders. These
ier signal than a balanced-to-balanced connec- S/PDIF input and output jacks are unbalanced
tion. If the devices you are connecting to 2-conductor phono (RCA) jacks that utilize a full
Digi 002 or Digi 002 Rack have balanced inputs, 24-bit, 2-channel digital data stream. To avoid
be sure to use balanced cables for optimal sig- RF interference, use 75-ohm coaxial cable for
nal-to-noise performance. S/PDIF transfers and keep the cable length to a
maximum of 10 meters.
Alt Main Analog Outputs 1–2
Digi 002 and Digi 002 Rack support consumer
These are unbalanced, two-conductor RCA con- mode S/PDIF output format (IEC-958 Type 2) at
nectors for direct output to devices such as ste- sample rates of 44.1 kHz and 48 kHz, and profes-
reo receivers or tape decks. Operating levels for sional mode S/PDIF output format (IEC-958 Type
these inputs are fixed at –10 dBV. 1) at sample rates of 88.2 kHz and 96 kHz. For
information on which S/PDIF formats are sup-
ported by your S/PDIF-compatible gear, refer to
the manufacturer’s documentation.

Optical I/O A MIDI driver for these MIDI ports is installed
when you install Pro Tools LE, and is recognized
These are a pair of TOS-link style connectors for automatically by Windows Multimedia (Win-
ADAT Optical (8 channels of I/O) or S/PDIF Op- dows) and Audio MIDI Setup (Macintosh).
tical (2 channels of I/O) devices. You can choose These connectors accept standard 5-pin MIDI
between these Optical I/O formats in the cables.
Pro Tools Hardware Setup dialog. When trans-
ferring material in one of these formats to
Pro Tools, be sure to select the appropriate Opti- IEEE-1394 (FireWire) Ports
cal I/O format as the Clock Source in the Hard-
These ports, marked “1394” in reference to their
ware Setup dialog.
IEEE specification, are commonly known as
The Optical I/O ports support sample rates of FireWire ports. These provide connections to the
44.1 and 48 kHz in ADAT Optical mode, and computer and other FireWire devices.
sample rates up to 96 kHz in Optical S/PDIF
FireWire offers a high rate of data transfer and
mode. The Optical I/O ports support 24-bit,
reliability that makes it ideal for audio applica-
20-bit and 16-bit resolutions in both modes.
tions. FireWire devices can be daisy-chained to-
The Optical I/O ports use a standard optical gether without the need for terminators.
“lightpipe” cable.
Connecting Digi 002 or Digi 002 Rack and
FireWire Hard Drives
About Lightpipe-Compatible Devices
The FireWire ports on Digi 002 and
Lightpipe is an industry standard, eight-channel
Digi 002 Rack do not pass audio data when they
optical digital audio connection developed by
are powered off, so if you daisy-chain FireWire
Alesis. Lightpipe is found on many devices, in-
devices from your computer, it is best to con-
cluding Optical (ADAT) decks, modular digital
nect FireWire hard drives directly to your com-
multitracks (MDMs), sound cards, stand-alone
puter and not to Digi 002. This will prevent
A/D or D/A converters, and digital consoles.
hard drive errors and data loss in case the
Digi 002 unit is powered off.
MIDI Connectors
Connecting other FireWire Devices to Digi 002
Digi 002 and Digi 002 Rack can act as a MIDI in-
or Digi 002 Rack
terface. With one MIDI input and two MIDI out-
puts, Digi 002 and Digi 002 Rack provide 16 The second FireWire port on Digi 002 or
channels of MIDI input and 32 channels of Digi 002 Rack is available for daisy-chaining
MIDI output. FireWire devices such as digital cameras or digi-
tal video recorders. Even when they are powered
MIDI ports are only active when Pro Tools off, Digi 002 and Digi 002 Rack supply power
is launched. from the computer through their FireWire
ports, letting you recharge batteries in other
FireWire devices.

Footswitch Jack
This connector allows footswitch control of
QuickPunch audio punch-in and punch-out,
and MIDI punch-in and punch-out recording
features. Both continuous on/continuous off
and instantaneous on/off pedals with a 1/4-inch
TRS connector are supported. For more informa-
tion, see “QuickPunch Recording” on page 86.
Power Switch and

AC Power Connector
The AC power connectors on Digi 002 and
Digi 002 Rack accept a standard modular AC
power cable.
Digi 002 and Digi 002 Rack are auto power-se-

in any country.
Link Indicator
The Link indicator lights when Pro Tools is
launched and the connection to the Digi 002 or
Dig 002 Rack is recognized.

chapter 7
Connecting Your Studio
This chapter explains how to connect your Digi 002 or Digi 002 Rack to a monitoring system, digital
recorders, and other studio devices, and how to connect audio sources for recording.
Connecting Digi 002 or Digi 002 Rack to a Computer

Your studio setup will differ depending on the type of work you do and the equipment in your studio.
The illustrations that follow show two possible setups. Figure 5 shows Digi 002 as the hub of a small
recording and mastering studio with Pro Tools. Figure 6 shows Digi 002 Rack as part of a small com-
posing workstation.
Chapter 7: Connecting Your Studio 57

.
ADAT optical I/O

Microphones S/PDIF digital I/O
ADAT
DAT
FireWire cable Monitor outputs
FireWire drive
Powered
speakers
Digi 002
CD burner
Headphones
CPU
Outboard effects
Monitor
Figure 5. Digi 002 project studio configuration running Pro Tools on a desktop computer

S/PDIF digital I/o
microphone
DAT
Firewire cable
Digi 002 Rack

headphones
MIDI cable
keyboard
laptop
instrument
Figure 6. Digi 002 Rack micro studio configuration running Pro Tools on a laptop computer

Connecting Headphones
Monitoring Audio
To connect headphones:
You can use Digi 002 and Digi 002 Rack with a
variety of audio monitoring setups, including a 1 Connect headphones to the Headphone jack
power amplifier and speakers, self-powered on the Digi 002 or the Digi 002 Rack. The Head-
speakers, and headphones. phone input accepts a stereo 1/4-inch plug. If
your headphones have a smaller mini-plug, you
The Digi 002 and Digi 002 Rack Monitor Out- can purchase an adapter from your local dealer.
puts and Headphone Output mirror the output For best results, use high-quality, closed-ear
signal on Main Outputs 1–2. The Monitor Out- headphones.
put and Headphone Output levels are directly
affected by the following front panel controls: 2 Adjust headphone volume with the Head-
phone Level knob.
Monitor Mute When you power up Digi 002 or
Digi 002 Rack, the Monitor Outputs are auto- The Digi 002 and Digi 002 Rack Head-
matically muted. To unmute the Monitor Out- phone Outputs can produce very loud out-
puts, press the Mute switch (located at the top put levels. Prolonged exposure can cause
right-hand corner of Digi 002, and on the front hearing damage. Adjust headphone volume
panel of Digi 002 Rack). carefully.
Monitor Level and Headphone Level Levels for Connecting Monitor Speakers
the Monitor Output and Headphone Output are
adjusted separately with the level controls (lo- To connect monitor speakers with a power amp or
cated in the upper right-hand side of the self-powered monitor speakers:
Digi 002 top panel, and on the front panel of 1 Connect 1/4-inch cables to the left and right
the Digi 002 Rack). Monitor Outputs on the back of the Digi 002 or
the Digi 002 Rack.
MONO
2 Connect the other end of the cables to the left

MUTE
and right power amp inputs, or to the left and
MONITOR HEADPHONE
LEVEL LEVEL right self-powered speakers.
Headphone jack
Monitor Level controls (located on the top panel of L

Monitor
MAIN L/1 MON OUTPUT L
Digi 002, and on the front panel of Digi 002 Rack) R

Outputs
ALT MAIN UNBAL ALT SRC
(-10 dBV OUTPUT) MAIN R/2 MON OUTPUT R INPUT
964530300294856
SERIAL NUMBER
OPTICAL
OUT IN
MIDI OUT 2 MIDI OUT 1
Monitor Outputs (back panel)

Line-Level Signals
Connecting Audio Sources to
Digi 002 or Digi 002 Rack Keyboards, preamps, and mixers output line-
level audio, which varies with each device be-
You can connect both analog and digital audio tween the –10 dBV and +4 dBu standards.
signal sources to Digi 002 or Digi 002 Rack.
You can connect line-level devices to any of
Before making any audio connections to Digi 002 or Digi 002 Rack’s Inputs 1–8, as fol-
Digi 002 or Digi 002 Rack, turn down lows:
Monitor and Headphone levels or mute the
Inputs 1–4 Inputs 1–4 have both XLR and 1/4-
Monitor Output to prevent damage to your
inch TRS connectors. The XLR connectors are
monitoring system.
for connecting microphones only. The 1/4-inch
TRS connectors are for connecting line-level de-
Analog Audio Connections vices or instruments. Since these inputs have ad-
Digi 002 and Digi 002 Rack have eight analog justable gain, they are especially useful for de-
inputs, plus two additional inputs for alternate vices that output low-level signals.
analog sources, such as a tape deck or CD player.
1/4-inch connectors
Microphone-Level Signals
LINE/ INST LINE/ INST LINE/ INST LINE/ INST
48V 48V
Analog audio signals are output by micro- Phantom Power

MIC MIC MIC MIC
switches
phones, synths, mixers, and instruments with
magnetic pickups. Of these sources, micro-
4 3 2 1
phones and magnetic pickup instruments (such
XLR connectors
as electric guitars) output the quietest signals,
and generally require the most amplification. Mic/Line Inputs 1–4 (back panel)
Digi 002 and Digi 002 Rack include preamps for

The XLR connectors on Inputs 1–4 are
these sources on Inputs 1–4, with adjustable
wired specifically to match the impedance
gain and available 48-volt phantom power.
of microphones. Do not use these XLR con-
These inputs have both XLR and 1/4-inch con-
nectors for line inputs; use the 1/4-inch con-
nectors; the XLR inputs are specifically for con-
nectors instead.
necting microphones, and the 1/4-inch inputs
are for connecting instrument outputs. Inputs 5–8 These inputs accept 1/4-inch bal-
anced or unbalanced connections, and can be
switched between –10 dBV and +4 dBu opera-
tion.
INPUT 7 INPUT 5
+4 -10 +4 -10 +4 -10 +4 -10

INPUT 8 INPUT 6
Operating Level switches
Line Inputs 5–8 (back panel)

Making Analog Audio Connections Instruments Without Preamps Plug instruments
that output low-level signals (such as electric
To connect an analog audio source to Digi 002 or guitars) directly into any of the available 1/4-
Digi 002 Rack, do the following for your type of inch TRS Inputs 1–4 on the back panel of
input: Digi 002 or Digi 002 Rack. Since these inputs
Microphones Plug a microphone directly into have adjustable gain, they are especially useful
any of the available XLR Microphone Inputs 1–4 for devices that output low-level signals
on the back panel of the Digi 002 or ■ Press the Mic/Line/Instrument Selector switch
Digi 002 Rack. (located on the top panel of Digi 002, and on
■ Press the Mic/Line/Instrument Selector switch
the front panel of Digi 002 Rack) for the corre-
(located on the top panel of Digi 002, and on sponding input so that it is in the “Line/Inst”
the front panel of Digi 002 Rack) for the corre- position. Inputs 1–4 are designed for input sig-
sponding input so that it is in the “Mic” posi- nals with a nominal operating level of +4 dBu.
tion. (The Input gain knob should be turned down all
the way for +4 dBu devices at unity gain.)
Mic/Line/Instrument Selector switches
Line-Level Devices Plug line-level sources (such
as a synthesizer, or a microphone or guitar that
has been amplified by an outboard preamp) into
LINE/ INST
MIC any of the 1/4-inch analog inputs on the back of
Digi 002 or Digi 002 Rack.
1 GAIN 2 GAIN 3 GAIN 4 GAIN ■ For Inputs 1–4, press the Mic/Line/Instrument
Mic/Line/Instrument Selector switches (located on the Selector switch (located on the top panel of
front panel of Digi 002, and top panel of Digi 002 Rack) Digi 002, and on the front panel of Digi 002
Rack) for the corresponding input so that it is in
■ If your microphone requires phantom power,
the “Line/Inst” position. Inputs 1–4 are de-
press the Phantom Power switch (labeled 48V)
signed for input signals with a nominal operat-
on the back panel for the corresponding input
ing level of +4 dBu. (The Input gain knob should
pair.
be turned down all the way for +4 dBu devices at
Although phantom power can be used unity gain.)
safely with most microphones, ribbon mi-
■ For Inputs 5–8, choose either a –10 dBV or
crophones can be damaged by it. You
+4 dBu operating level for the corresponding in-
should always turn off phantom power and
put using the switch on the back panel. For in-
wait at least 30 seconds before connecting
formation on the appropriate operating level for
or disconnecting a ribbon microphone.
your input device, refer to the manufacturer’s
specifications.

Digital Audio Connections Both the RCA and Optical ports accept S/PDIF
signals at sample rates up to 96 kHz.
Digi 002 and Digi 002 Rack each provide up to
ten digital inputs and outputs, including: 964530300294856
SERIAL NUMBER
IN
RCA S/PDIF
• Optical input and output for eight channels Input and
OPTICAL
OUT IN
of ADAT input or two channels of Optical Output OUT

S / PDIF
S/PDIF input
• Two channels of S/PDIF digital input and out- Optical
Input and Output ports
put (RCA connectors)
Digital connectors (back panel)
ADAT Format
The ADAT format was developed by Alesis for Only one S/PDIF input pair can be used at a
use in their ADAT multitrack recorders. Each time. For example, if you use the optical in-
ADAT optical connection provides eight chan- put for S/PDIF data, you cannot use the
nels of digital audio with 24-bit capability. You RCA inputs.
can connect an ADAT or other ADAT optical for-
mat device directly to the Optical I/O on the
Digi 002 or Digi 002 Rack (see “Connecting an Using External Effects
ADAT” on page 66). The optical I/O connectors Devices
accept optical cables.
The Digi 002 and Digi 002 Rack can make dedi-
When set for ADAT format, these Optical ports cated connections to external analog or digital
support 44.1 kHz or 48 kHz sample rates only. devices. You can send and return signals to ana-
log devices using the analog inputs and outputs
S/PDIF on the Digi 002 and the Digi 002 Rack. You can
S/PDIF (Sony/Phillips Digital Interchange For- also send and return a digital signal to an exter-
mat) I/O is available on many DAT decks, com- nal device that supports digital I/O (such as a re-
pact disc players, and other digital devices. Each verb unit), and monitor the return by connect-
S/PDIF connection provides 2 channels of digi- ing its analog outputs to available inputs on
tal audio with 24-bit capability. You can connect Digi 002 and Digi 002 Rack.
a S/PDIF digital input to either the Optical con- When you use the digital inputs and outputs on
nector or to the S/PDIF RCA connector on the your Pro Tools LE system as effects sends and re-
back panel of the Digi 002 or the Digi 002 Rack turns to a digital effects device, Pro Tools LE
(see “Connecting a Digital Deck (DAT)” on should be the clock master in most cases. Set
page 66). The Optical connectors accept stan- your digital effects device to accept an external
dard optical “lightpipe” cables; the RCA connec- digital clock so that it synchronizes to
tors accept standard RCA cables. Pro Tools LE.

To connect an external analog device to your 5 Click OK.
system:
You can use the I/O Setup dialog (Setups >
1 Connect each input of the external signal pro-
I/O Setup) to label the inputs and outputs
cessor to an available analog output on the
you are using in Pro Tools LE and identify
them as inserts or sends when working in a
2 Connect each output of the external signal session. Refer to the Pro Tools Reference
processor to an available analog input on the Guide for details.
If you plan to use the external device as an

Insert in Pro Tools, connect it to inputs and
Monitoring and Recording
outputs of the same number (for example, from Alternate Sources
Input 5 and Output 5) of Digi 002 or Digi 002 and Digi 002 Rack provide a pair of ad-
Digi 002 Rack. ditional inputs for monitoring and recording
from an external sound source such as a CD
To set up a send to an external digital effects
player or tape deck. This alternate input is
device (digital sends/returns only):
equipped with standard RCA connectors and is
1 Connect the digital inputs and outputs of the designed for input signals with a nominal oper-
external signal processor to the appropriate dig- ating level of –10 dBV.
ital connectors (the S/PDIF RCA connectors or
the Optical ports) on Digi 002 or Digi 002 Rack.
L
2 In Pro Tools, choose Setups > Hardware Setup. Alt Source Inputs
INPUT 7 INPUT 5
ALT SRC +4 -10 +4 -10 +4 -10 +4 -10

INPUT INPUT 8 INPUT 6
3 Under Digital Input, select one of the follow-

ing options: Alternate Source Input connectors (back panel)
• If the external effects device is connected
to the S/PDIF RCA jacks, select To monitor an alternate sound source through the
Digi 002 or Digi 002 Rack Monitor Outputs:
“RCA = S/PDIF.”
• If the external effects device is a S/PDIF de- 1 Connect the outputs of the external device to
vice and connected to the Optical ports, se- the left and right Alternate Source Inputs on the
lect “Optical = S/PDIF.” back panel of Digi 002 or Digi 002 Rack.
• If the external effects device is an ADAT 2 Press the “Alt Src to Mon” switch (located on
Optical compatible device, select the top panel of Digi 002, and on the front
“Optical = ADAT.” panel of Digi 002 Rack) to route the signal to the
Monitor Output.
4 Choose Internal from the Clock Source pop-
up menu. 3 Adjust Monitor Output or Headphone Output
levels to audition the input.
To monitor an external device through the

Alternate Source Inputs, Digi 002 or
Digi 002 Rack must be powered on.

To record an alternate sound source directly into 3 Hold the Control key and click the same Out-
Pro Tools: put Selector again, then select a second output
1 Connect the outputs of the external device to for the same track (for example S/PDIF L-R).
the left and right Alternate Source Inputs on the
The newly selected destination is indicated by
back panel of Digi 002 or Digi 002 Rack.
an additional check mark in the output pop-up
2 Press the “Alt Src to 7–8” switch (located on menu, and a plus sign in the Output Selector.
the top panel of Digi 002, and on the front
panel of Digi 002 Rack) to route the signal di-
rectly to Inputs 7–8 in Pro Tools.
When the “Alt Src to 7–8” switch is engaged, In-

puts 7 and 8 on the back panel are inactive. Also,
because the signal can be monitored from
Pro Tools, it no longer passes directly to the
Monitor Outputs.
Mirroring the Main Outputs

When using Digi 002 or Digi 002 Rack with
Pro Tools, you can send any pair of outputs Choosing multiple output destinations for a track
(such as outputs 1–2) to the S/PDIF digital out-
puts at the same time by assigning the stereo
mix to multiple output destinations. This is
commonly known as mirroring the outputs.
Output mirroring is useful for recording to mul-

tiple media, creating separate monitoring
mixes, or for output to digital effects processors.
To mirror the Digi 002 or Digi 002 Rack Main

Outputs on the S/PDIF outputs:
1 Open the Pro Tools session whose channel
outputs you want to mirror.
2 In the Mix window, click the Output Selector

of any audio or Auxiliary Input track to select
the main output destination, for example, Ana-
log 1–2.

Connecting an ADAT
Connecting a Recorder for
Mixdowns To connect an ADAT to Digi 002 or Digi 002 Rack:
After you record and mix your sessions using 1 Connect the Optical output on the ADAT to
Digi 002 or Digi 002 Rack, you may want to mix the Optical In port on the Digi 002 or
them down to a DAT, audio cassette, or other Digi 002 Rack.
stereo 2-track recording device. 2 Connect the Optical input on the ADAT to the
Optical Out port on the Digi 002 or Digi 002
Connecting an Analog Deck Rack. (When the Digi 002 or Digi 002 Rack is
◆ If your recorder operates at –10 dBV level, on, its Optical Out port emits a red light.)
connect its inputs to the Alt Main Outputs on
the back of the Digi 002 or the Digi 002 Rack.
OPTICAL
Digital Digital
Input Output
These outputs are RCA connectors.

SYNC METER BRIDGE AC POWER
If your recorder operates at +4 dBu level, con-

IN OUT
◆
nect its inputs to the Main Outputs 1–2 on the
back of the Digi 002 or the Digi 002 Rack. These
outputs are 1/4-inch jacks. You may need OUTPUT 7 OUTPUT 5 OUTPUT 3
L
L
INPUT 7 INPUT 5
R R
adapter cables if your mixdown deck has RCA OUTPUT 8 OUTPUT 6 OUTPUT 4
ALT MAIN UNBAL
(-10 dBV OUTPUT) MAIN R/2 MON OUTPUT R
964530300294856
SERIAL NUMBER
ALT SRC
INPUT INPUT 8
+4 -10 +4 -10
INPUT 6
+4 -10 +4 -10
LINE/ INST
MIC
48V
LINE/ INST
MIC
LINE/ INST
MIC
48V
LINE/ INST
MIC
IN
inputs (and the Alt Main Outputs are not avail- FOOT SWITCH 1394
LINK
1394
S / PDIF
OUT
OPTICAL
OUT IN
MIDI OUT 2 MIDI OUT 1 MIDI IN 4 3 2 1
able).
Connecting an ADAT to Digi 002
L
Alt Main MAIN L/1 MON OUTPUT L Main
Outputs R Outputs
(–10 dBV) ALT MAIN UNBAL
(-10 dBV OUTPUT) MAIN R/2 MON OUTPUT R
ALT SRC
INPUT
(+4 dBu)
964530300294856
SERIAL NUMBER
OPTICAL
OUT IN
Alt Main and Main Outputs (back panel)
Connecting a Digital Deck (DAT)

If you have a DAT or other digital device that
can receive S/PDIF digital audio data, connect it Connecting an ADAT to Digi 002 Rack
to the S/PDIF In and S/PDIF Out RCA jacks on
the back of the Digi 002 or the Digi 002 Rack.
964530300294856
SERIAL NUMBER
IN
RCA S/PDIF OPTICAL
Input and OUT IN
Output S / PDIF
OUT
S/PDIF Input and Output

To connect MIDI devices to Digi 002 or
MIDI Connections Digi 002 Rack:
Using the Digi 002 or Digi 002 Rack built-in 1 Using standard 5-pin MIDI cables, connect
MIDI ports, a MIDI keyboard controller and the MIDI Out port of the MIDI device or con-
MIDI instruments, you can take full advantage troller to the MIDI In port of your Digi 002 or
of the MIDI features of Pro Tools LE. These in- Digi 002 Rack.
clude recording and editing MIDI tracks, syn- 2 Connect the MIDI In port of your MIDI device
chronizing to MIDI Time Code or MIDI Beat or controller to either of the two MIDI Out ports
Clock (this requires an appropriate MIDI inter- of the Digi 002 or Digi 002 Rack.
face) and using a MIDI control surface.
See the Digi 002 and Digi 002 Rack Basics L

Guide for information on basic MIDI con- R
ALT SRC
cepts. MAIN R/2 MON OUTPUT R INPUT
964530300294856
MIDI Out ports
SERIAL NUMBER
MIDI ports are only active when Pro Tools MIDI In port
is launched.
MIDI OUT 2 MIDI OUT 1 MIDI IN
MIDI In and Out ports (back panel)

See Appendix E, “Configuring Midi Studio 3 Connect the audio outputs of your device to
Setup (Windows Only)”or Appendix F, available audio inputs of the Digi 002 or
“Configuring AMS (Mac OS X Only)” for Digi 002 Rack.
detailed information on how to identify ex-
ternal MIDI devices connected to your MIDI
interface and configure your MIDI studio
for use with Pro Tools.

chapter 8
Working with Pro Tools LE
This tutorial of Pro Tools LE software introduces Starting a Session

its main windows and features, and also in-
cludes a step-by-step overview of audio record- To create a new session:
ing (see “Basic Recording” on page 81).
1 Launch Pro Tools LE.
All features described in this chapter are ex- 2 Choose File > New Session.
plained fully in the Pro Tools Reference Guide.
3 In the New Session dialog, set the sample rate,
You can view an electronic PDF version of the bit depth, and other options for the new session.
Reference Guide by choosing it from the
Pro Tools menu.
Session Basics
Pro Tools LE projects are created and saved as
sessions. Sessions store all tracks, audio, MIDI,
and other session information. Audio and fade
files are stored in folders within the session
folder.
New Session dialog

Session file, Audio Files and Fade Files folders
4 Select where you want to save your session. If
Pro Tools LE remembers audio interface config- you are using external hard drives with your
uration and other system settings and applies Pro Tools system, make sure you select the ap-
them to all new sessions. propriate drive in the New Session dialog.
Chapter 8: Working with Pro Tools LE 69

5 Type a name for your session. Mix Window Displays the Pro Tools mixer, with
its familiar fader strip controls for volume, pan,
6 Click Save. The new session opens its Mix,
solo, mute, and signal routing.
Edit, and Transport windows (see Figure 7 on
page 70). Edit Window Displays tracks in the session along
the Timeline, for editing of audio, MIDI, and au-
Main Windows tomation data.
The Mix, Edit, and Transport windows are the Transport Provides standard transport controls
main Pro Tools work areas. You can show any of for Play, Stop, Rewind, Fast-Forward, Pause, and
these windows by choosing them from the Win- Record. The Transport window can also show
dows menu. Counter and MIDI Control displays.
Press Command+”=” on Macintosh, or Workspace The Workspace browser is a DigiBase

Ctrl+”=” on Windows to switch between feature available in Pro Tools 6 and higher. For
the Edit and Mix windows. more information see the DigiBase Guide.
Edit window Mix window

Main Counter
Rulers
Tracks
Tracks
Main Counter
Transport window
Figure 7. Main session windows

Rulers
Pro Tools LE provides several different rulers to
select as the timebase for your session.
Timebase Rulers, displayed along the top of the

Edit window, include Bars:Beats, Minutes:Sec-
onds, and Samples. The current timebase deter-
mines the format of the Main counter, and pro-
vides the basis for the Edit window Grid.
Change Tempo dialog

To select a Timebase Ruler:
3 To base the BPM value on a different note
■ Click the name of the ruler at the top left side
value (such as an eighth-note rather than the
of the Edit window (Bars:Beats, Minutes:Sec-
default quarter-note), select a note value in the
onds, or Samples).
Resolution section.
4 Click OK.
Setting a Tempo
You can set the tempo for your session by using
the Song Start Marker, located in the Tempo
Using the Click Plug-In
Ruler. The Click plug-in creates an audio click during
session playback. This works like a metronome
To set the session tempo with the Song Start that you can use as a tempo reference when per-
Marker: forming and recording.
1 In the Tempo Ruler, double-click the Song
The Click plug-in is synchronized to the tempo
Start Marker.
and meter of the Pro Tools session, and follows
any changes in tempo and meter.
The Click plug-in is one of many plug-ins

that can be inserted on a Pro Tools track.
Song Start See “Plug-Ins” on page 92.
marker
Song Start marker
2 In the Tempo Change dialog, enter the BPM

(beats per minute) value you will use for the ses-
sion (so the inserted tempo event replaces the
default tempo).
Click plug-in

Click Parameters 5 Choose MIDI > Click Options and set the
Click and Countoff options as desired. (Click
MIDI In LED Illuminates each time the Click OK to apply these options.)
plug-in receives a click message from the
Pro Tools application, indicating the tempo. The Note, Velocity, Duration, and Output
options in this dialog are for use with MIDI
Accented Controls the output level of the ac-
instrument-based clicks and do not affect
cent beat (beat 1 of each bar) of the audio click.
the Click plug-in.
Unaccented Controls the output level of the un-
accented beats of the audio click. Refer to the Pro Tools Reference Guide for
more information on configuring Click op-
To use the Click plug-in: tions.
1 Choose MIDI > Click to enable the Click op-
6 Begin playback. A click is generated according
tion.
to the tempo and meter of the current session
– or – and the settings in the Click Options dialog.
Select the Click button in the Transport win-

dow. Using an External MIDI Click
Pro Tools also provides a MIDI Click option that
Click button
lets you use an external MIDI device to play a
click. This feature can be turned on and off in
the Transport window, and is configured from
the MIDI Click Options dialog.
Click and Tempo Controls in the Transport window
To configure and enable an external MIDI click:
2 Create a mono Auxiliary Input (Aux Input)
track. 1 Choose MIDI > Click Options.
3 Insert a Click plug-in on the Auxiliary Input

track.
4 In the Click plug-in window, choose a click

sound from the Librarian pop-up menu (this
menu displays “factory default” when you first
insert the plug-in).
Click/Countoff Options dialog

2 Configure the click parameters as needed for To save a session:
your MIDI sound source.
■ Choose File > Save Session, Save Session As, or
Save a Session Copy In.

See Appendix E, “Configuring Midi Studio
Setup (Windows Only)”or Appendix F, Save Session Saves the currently open session
“Configuring AMS (Mac OS X Only)” for file, leaving it open for you to continue work-
detailed information on how to identify ex- ing.
ternal MIDI devices connected to your MIDI
interface and configure your MIDI studio Save Session As Creates a duplicate session file
for use with Pro Tools. with the name you choose, and leaves the dupli-
cate open for you to continue working. It does
3 Select the desired MIDI sound source from the not create a new Audio Files or Fade Files folder.
Output pop-up menu and click OK. This can be useful if you want to experiment
4 During recording or playback, you can turn with different arrangements in the session with-
the Click on or off with the Click button in the out affecting the original session.
MIDI Controls display of the Transport window.
Save Session Copy In Saves copies of the session
file and the files that you are using in the cur-
Click button rent session. This can be useful for creating a fi-
nal copy of the session that does not include au-
dio files or fades you are no longer using.
Tempo Controls System Resources and Settings

Click and Tempo Controls in the Transport window You can change specific Pro Tools system set-
tings to optimize system performance.
Saving Sessions
Playback Engine Dialog
As you build a session by adding tracks and
changing session controls, you will want to save The Playback Engine dialog lets you adjust sys-
your work. Pro Tools provides three ways to save tem buffer sizes and allocate CPU processing
sessions. power to Pro Tools.
To configure system resources:

■ Choose Setups > Playback Engine.
For Windows systems, see Chapter 2,

“Windows Configuration.” For Macintosh
systems, see Chapter 3, “Macintosh Con-
figuration.”

System Usage Window The Transport window provides Play, Stop, and
other standard transport controls.
The System Usage window displays approxi-
mate information on CPU load, DSP usage, and The Expanded view of the Transport window
(on Macintosh systems only) overall disk perfor- provides pre- and post-roll, start, end, and
mance, so you can gauge your system’s process- length indicators for Timeline selection, as well
ing capacity. as the Transport Master selector.
The Transport window can also display the fol-

lowing MIDI controls: Wait for Note, Click,
Countoff, MIDI Merge, Conductor, Meter, and
Tempo.
Meters in the System Usage window
Click
To view system resources and usage:
Wait for Note Countoff
■ Choose Windows > Show System Usage.
MIDI Merge
Transport Controls Tempo Controls
The Transport window provides access to all

Pro Tools LE transport commands. Different Meters
Conductor
transport controls can be displayed or hidden in
this window. Transport window (MIDI Controls)
To start and stop playback:

To show the Transport window:
1 Click Play in the Transport window to begin
■ Choose Window > Show Transport Window.
playback.
Return To Zero Fast Forward 2 Click Stop in the Transport window to stop
Rewind Play Go to End playback.
Online Stop Record
Press the Spacebar on your computer key-
board to start and stop playback.
Pro Tools LE starts playing from the loca-

tion of the cursor, or from the beginning of
the current selection. The current setting of
the Link Edit and Timeline Selection com-
Transport window (Expanded view shown) mand in the Operations menu also affects
playback. See the Pro Tools Reference Guide
To configure the Transport window: for more information.
■ Choose Display > Transport Window Shows
and select view options.

3 Click Create.
Tracks
In the Mix window, audio tracks, Auxiliary In-
You can create audio and MIDI tracks for audio puts, Master Faders, and MIDI tracks appear as
and MIDI recording, submixing, routing, auto- vertical channel strips.
mating, and editing.
Track type is indicated by the Track Type icons
Pro Tools provides four types of tracks: audio just below the faders.
tracks, Auxiliary Inputs, Master Faders, and
MIDI tracks. Audio tracks, Auxiliary Inputs, and
Master Faders can be mono or stereo.
Audio Tracks Record and play back audio to and

from hard disk, monitor audio input when
record-enabled, and edit audio regions
Auxiliary Inputs Audio mixer channels, used for

input, routing, and submixing
Master Faders Provide master channel controls

and options for any output or bus path
MIDI Tracks Record, play back, and edit MIDI

data
To create a new track:

1 Choose File > New Track.
Audio Aux MIDI Master

track Input track Fader
Tracks in the Mix window
New Track dialog In the Edit window, tracks are displayed hori-
zontally along the Timeline. The area in which
2 Specify the number of tracks, track type, and
audio appears for each track is the Playlist.
mono or stereo (for all types except MIDI).
Timeline
Rulers View
Audio Track
Timeline Rulers and a stereo audio track in the Edit

window

Audio tracks, Auxiliary Inputs, Master Faders, Inserts Inserts on Master Faders are post-fader
and MIDI tracks can be automated. only. (Audio track and Aux input track inserts
are all pre-fader.)
Sends Master Faders do not provide sends. To

Inserts send an output to another destination, use an
Auxiliary Input.
MIDI Tracks
Sends
MIDI tracks provide volume, solo, and mute, in
addition to MIDI input, output, channel, and
Input
program (patch) controls. MIDI volume, mute,
Output
Automation mode and pan can also be automated using Pro Tools
Pan sliders
automation features (see “Mix Automation” on
page 93 for more information).
Record
Enable
Solo Mute
Regions Lists
Open Output window
Volume Clipping indicator A region is a piece of audio or MIDI data that can
fader (lights red) also have associated automation data. For exam-
ple, a region could be a loop, a guitar riff, a verse
Level meter
of a song, a sound effect, a piece of dialog, or an
entire sound file. In Pro Tools, regions are cre-
ated from audio or MIDI files, and can be ar-
Voice Selector Group enable
ranged in audio and MIDI track playlists.
Track Type icon
Volume
Track name All regions that are recorded, imported, or cre-
Color Bar ated by editing appear in the Audio and MIDI
Track comment area Regions Lists. Regions can be dragged from ei-
ther list to tracks and arranged in any order. Au-
dio regions can also be auditioned from the Re-
Figure 8. Stereo audio track in the Mix window gions Lists by Option-clicking the audio region
name. The Regions List pop-up menus provide
Audio Tracks features for managing regions and files (such as
Audio tracks, Auxiliary Inputs, and Master Fad- sorting, selecting, importing, or exporting files).
ers share many identical controls. Master Faders
provide all the same features as audio tracks and
Auxiliary Inputs, with the following exceptions:
Input Selector A Master Fader’s output assign-

ment determines its input, or source.

3 Click in a track or Timebase Ruler. The cursor
Drag border to resize Click Audio Regions appears at the selected location and the
width of Regions Lists for pop-up menus counters display the current time location.
Click in a track or on a Timebase Ruler
Drag border to
resize height of
Regions Lists
Click MIDI Regions

Clicking with the Selector in the Edit window
for pop-up menus
Click to hide Regions Lists To navigate using the counters:

Audio and MIDI Regions Lists 1 Click in the Main counter and enter a location
using your computer keyboard.
For more information on Regions Lists, refer
2 Press Enter (Windows) or Return (Macintosh).
to the Pro Tools Reference Guide or the Di-
giBase Guide.
Navigating in a Session Navigating with the Counter
Pro Tools LE provides many ways to navigate in

Press the * key on the numeric keypad as an
a session, including using the mouse or entering
alternative to clicking in the counter. (The
a memory location into one of the counters.
cursor will always appear in the Transport
window’s Main Counter if it is displayed.)
To navigate to a location in the Edit window:
1 In the Operations menu, make sure Link Edit
and Timeline Selection is enabled.
2 Enable the Selector tool at the top of the Edit

window by clicking it.
Selector tool
Edit tools in Edit window

Memory Locations 2 In the Memory Locations window, click the
name of the memory location.
Memory Locations provide another way to nav-
igate within sessions. Memory Locations appear
as markers under the Timebase Rulers. Viewing and Zooming
When viewing tracks in the Edit window, you
To define a memory location: can adjust the height of tracks as well as zoom in
1 Navigate to the location at which you want to vertically and horizontally using the Track
store a marker or memory location. Height selector and Zoom tools.
– or –
Zoom buttons
Begin playback.
Zoom presets Zoomer
2 Press Enter on the numeric keypad while
stopped or during playback (or click the Markers
icon).
In the New Memory Location window, you can

define a marker, store a selection, or store any
combination of the other available settings.
These settings include track height, group en-
ables, pre- and post-roll values, and track
Show/Hide status.
3 Choose settings for the memory location and

click OK.
Track Height Selector

Zoom and Track Height tools in the Edit window
To change track height:

■ Click the Track Height Selector, and select a
track height from the pop-up menu.
You can apply many commands, including

track height selection, to more than just a
single track. Hold down the Alt key (Win-
dows) or Option key (Macintosh) while per-
forming an operation to apply it to all
tracks. Hold down both the Shift and Alt
New Memory Location window keys (Windows) or Shift and Option keys
(Macintosh) while performing an operation
To go to a stored memory location:
to apply it to all selected tracks.
1 Choose Windows > Show Memory Locations.

To Zoom in or out on any area of a track in the Edit Markers nor Selections, but have Track Height,
window: Zoom Settings, or other options enabled, you
1 Click to select the Zoomer. can use Memory Locations to zoom in and out
using just the numeric keypad.
2 Click or drag with the Zoomer to zoom in hor-
izontally for a track or Ruler. For more information on creating memory
– or – locations, see “Memory Locations” on
page 78.
Press Option and click or drag with the Zoomer
to zoom out horizontally for a track or Ruler.
Importing Audio
To zoom in or out incrementally:
Pro Tools LE lets you import existing audio files
■ Click the appropriate Zoom button:
from disk. This is very useful if you have audio
• Left Arrow (Horizontal Zoom Out) files already recorded to disk or if you are work-
• Right Arrow (Horizontal Zoom In) ing with CD-based sample libraries that you
• Waveform and MIDI buttons, to increase or want to use in a new session.
decrease vertical zoom of the appropriate
track type (audio or MIDI) To import audio files or regions from disk:
■ Choose File > Import Audio to Track to import
Pro Tools also provides five Zoom preset but-
tons. You can use these to immediately return to files and regions to new audio tracks (they will
established zoom levels; you can define the also appear as regions in the Audio Regions List).
magnification level for each preset, on a session- – or –
by-session basis.
■ Choose Import Audio from the Audio Regions
List pop-up menu to import files and regions to

To use a stored Zoom preset:
the Audio Regions List only.
■ Click the appropriate Zoom preset 1–5.
For more information on importing audio
To store a new Zoom preset definition: into sessions, refer to the Pro Tools Refer-
ence Guide.
■ Command-click a Zoom preset number to
store the current horizontal and vertical Zoom To import a CD audio track:
to that preset.
1 Put the source CD into your computer’s CD
drive.
Using Memory Locations for Zoom Control
2 Use a third party software program of your
Pro Tools Memory Locations let you store many
choice to extract audio from the CD.
attributes with each marker or memory loca-
tion, including Track Height and Zoom Settings.
By creating Memory Locations that are neither

3 In the session, create a new track by choosing 7 You can audition the audio file by clicking on
File > New Track. the speaker icon in the waveform window.
Creating a new stereo audio track
4 In the New Track dialog, specify 1 Stereo Au-

dio Track, and click Create.
5 Open the Workspace Browser by choosing

Windows > Show Workspace. The Workspace Auditioning an audio file in the Workspace Browser
Browser is a window where you can find, audi-
8 Drag the audio file from the Workspace
tion, and manage your audio files.
Browser to the audio track you created in your
session.
Opening the Workspace Browser
6 In the Workspace Browser, navigate to the lo-

cation where you saved the audio you extracted
from your CD in step 2.
Dragging the audio file from the Workspace Browser to
an audio track
If you are running Pro Tools on Mac OS X,

you can import audio using the Movie > Im-
port Audio From Other Movie command.
For more information, see the Pro Tools Ref-
erence Guide.
Browsing in the Workspace Browser

DigiBase provides additional options for
importing audio. See the DigiBase Guide for
more information.

Setting Digi 002 or Digi 002 Rack
Basic Recording Input Levels
This section describes how to record audio and Input levels for Mic/Line 1–4 are adjustable us-
MIDI into Pro Tools LE. ing the gain knobs (located on the top panel of
the Digi 002, and on the front panel of the
Preparing for Recording Digi 002 Rack). Input levels for all other inputs
on Digi 002 or Digi 002 Rack cannot be adjusted
To route audio to a track: in Pro Tools, and need to be set at the source.
1 Verify the connections to your instruments. The key to setting input levels is to get the peak
of the signal as loud as possible while retaining
Refer to Chapter 7, “Connecting Your Stu-
sufficient headroom to avoid digital clipping.
dio” for more information about connecting
Signals that get close to the top of the meter in
instruments to Digi 002 or Digi 002 Rack.
Pro Tools LE use more of the full bit range (the
2 Create a new track to record on by choosing 16 or 24 bits that make up each audio sample).
File > New Track. Specify 1 Mono Audio Track The more you maximize this bit range, the bet-
and click Create. ter your sound quality. In addition, by setting
optimum levels, you'll get the lowest possible
3 In the Mix window, click the Input Selector on noise and distortion.
the new track.
Set levels to avoid digital clipping. Clipping
occurs when you feed a signal to an audio
device that is louder than the circuitry can
Input selector
accept, resulting in distortion. Digital clip-
ping is indicated by the red clip light at the
top of the Pro Tools on-screen meters.
Choosing an input in the Mix window To adjust input gain on Mic/Line inputs 1–4:
4 From the pop-up menu, select the input you 1 Connect an audio source to the appropriate
want to record. For example, select Mic/Line 1 if input connector on the back panel of Digi 002
your audio source is plugged into the Mic 1 or or Digi 002 Rack. Microphones should be
Line/Inst 1 jack on the back of Digi 002 or plugged into to an XLR connector. Line inputs
Digi 002 Rack. (This input is listed as Mic/Line or instruments should be plugged into a 1/4-
1, or as the name defined in the I/O Setup dia- inch TRS connector.
log.)
2 Press the Mic/Line/Instrument Selector switch
(located on the top panel of the Digi 002, and
on the front panel of the Digi 002 Rack) to
match the type of device you connected.
3 If you connected a microphone that requires

phantom power, apply phantom power now by
Routing an input to a mono track pressing the 48V switch on the back panel of the

4 Choose File > New Track and specify 1 Mono Mic/Line High-Pass Filters
Auxiliary Input track, then click Create.
Mic/Line Inputs 1–4 include a high-pass filter
5 Set the track input to the correct Digi 002 or set at 75 Hz. This filter can be useful for filtering
Digi 002 Rack input channel (Mic/Line 1–4). out low-end rumble from a noisy recording en-
6 Play the instrument or sound source at the
vironment, microphone handling, or AC noise.
volume you will record.
High Pass Filter switches
7 Adjust the input gain for the channel using
the gain knob (located on the top panel of the
Digi 002, and on the front panel of the LINE/ INST
MIC
Digi 002 Rack). Increase or decrease gain until
you are able to achieve maximum peak levels in
the Auxiliary Input track meter without clip- 1 GAIN 2 GAIN 3 GAIN 4 GAIN
ping. Typically such peak levels are in the yellow High Pass Filter switches (front panel)
area of the meter.
Recording an Audio Track
Optimizing Gain Structure
To record an audio track:
In order to maximize the dynamic range and
signal-to-noise ratio of your recording, you’ll 1 Assign the input for a track and set its input
want to apply the correct gain at each stage of levels appropriately.

your audio chain. 2 Click the Record Enable button for a track.
◆ With microphones, place the mic close
See “Preparing for Recording” on page 81
enough to the source to maximize input levels,
and “Setting Digi 002 or Digi 002 Rack In-
but far enough away to avoid proximity effect,
put Levels” on page 81 for more details.
then set the input gain on Digi 002 or
Digi 002 Rack. 3 Choose Windows > Show Transport to display
◆ With line inputs and instrument direct in- the Transport window.
puts, raise the input level to achieve as strong a
signal as possible without excessive noise, then Return To Zero Fast Forward
set the input gain on Digi 002 or Digi 002 Rack. Rewind Play Go to End
Online Stop Record
Transport window (Expanded view shown)

4 Click Return To Zero to start recording from Recording To and From an ADAT
the beginning of the session. You can also record
according to a selection or from the cursor loca- You can use Digi 002 or Digi 002 Rack to inter-
tion in the Edit window. face with an ADAT, either to record tracks from
an ADAT into Pro Tools LE for editing, or to
5 Click Record in the Transport window to en- record tracks from Pro Tools LE to an ADAT.
able recording.
6 Click Play or press the Spacebar to record on To record ADAT tracks into Pro Tools LE:
all record-enabled tracks. 1 Open or create a session in Pro Tools LE.
7 Record your performance. 2 Record enable up to eight audio tracks (de-

pending on how many tracks are used on the
8 Click Stop in the Transport window or press
ADAT tape).
the Spacebar when you are finished recording.
3 Assign ADAT Optical Inputs 1–8 to your eight
To play back a recorded track: tracks.
1 Click the track’s Record Enable button a sec- 4 Verify that Pro Tools LE is synchronized to
ond time to take it out of Record mode. Optical, and that the Optical Format is set to
2 Click Play in the Transport window or press
ADAT.
the Spacebar to start playback. 5 Click Record in the Transport window.
3 Click Stop in the Transport window or press 6 Click Play in the Transport window to begin
the Spacebar to stop playback. recording, then press Play on the ADAT.
7 When playback from the ADAT tape is fin-

Recording To and From Digital ished, click Stop in the Transport window, or
Devices press the Spacebar.
Digi 002 and Digi 002 Rack provide both S/PDIF

To record Pro Tools LE tracks to an ADAT:
(RCA) digital input connectors and Optical con-
nectors for transfer of digital audio. 1 Open the session you want to record to ADAT.
2 Record enable up to eight audio tracks on the

Setting Digital Format and Clock Source
ADAT.
Before recording from a digital source, make
3 Route the output of up to eight audio tracks in
sure you have enabled the appropriate Digital
Pro Tools to the Optical outputs on Digi 002 or
Format in the Hardware Setup dialog. For more
Digi 002 Rack.
information, see “Recording a Digital Source”
on page 17 for Windows or “Recording a Digital 4 Verify that Pro Tools LE is referencing its Inter-
Source” on page 28 for Macintosh. nal Clock Source in the Hardware Setup dialog.

5 Start recording on the ADAT, then click Play in Low Latency Monitoring
the Transport window in Pro Tools LE. When
playback is complete, stop both systems. Pro Tools LE includes a feature called Low La-
tency Monitoring for Digi 002 or Digi 002 Rack
For detailed information on connecting an systems. This feature allows you to use a built-in
ADAT to your system, see “Connecting an mixer in the Digi 002 unit or Digi 002 Rack unit
ADAT” on page 66. to record and monitor up to 18 inputs (8 analog,
8 ADAT, and 2 RCA-S/PDIF) with extremely low
Monitoring Latency and Recording latency. This mode is useful for recording multi-
ple instruments at the same time.
Because Pro Tools LE uses the host processor in
your computer for audio processing, playback, To use Low Latency Monitoring, tracks must be
and recording, there is a small amount of audio record-enabled, assigned to an actual audio in-
delay, or latency, when monitoring audio put (not a bus), and assigned to outputs 1 or 2.
through the system. You can set the latency to
be shorter when you are recording and monitor- To enable Low Latency Monitoring:
ing through Digi 002 or Digi 002 Rack, and ■ Select Operations > Low Latency Monitoring.
longer when you are trying to achieve higher
track counts with more plug-ins. When Low Latency Monitoring is enabled, any
plug-ins and sends assigned to record-enabled
Set latency in the Playback Engine dialog. La- tracks (routed to Outputs 1–2) are automatically
tency is controlled by the H/W Buffer Size set- bypassed, and must remain bypassed. Also,
ting, and is displayed in samples. The recom- these tracks will not register on meters for Mas-
mended setting for listening back to audio is ter Faders.
512–1024 samples. For recording, when moni-
toring through Digi 002 or Digi 002 Rack, the
recommended setting is 128–256 samples. Recording MIDI
To configure a MIDI track for recording:

To set the Hardware Buffer Size for record or
playback: 1 For Macintosh systems, choose MIDI > Input
1 Choose Setups > Playback Engine. Devices and make sure your input device is se-
lected in the MIDI Input Enable window. Click
2 Choose the number of samples from the H/W OK to apply your changes.
Buffer Size pop-up, then click OK.
2 Choose File > New Track and specify 1 MIDI
Track, then click Create.

3 In the Mix window, click the track’s MIDI Out- To record onto a MIDI track:
put Selector and choose the destination (assign-
1 Verify that the MIDI track you want to record
ment) for that MIDI track by choosing a MIDI
to is record-enabled and receiving MIDI.
interface port, a channel, or a device from the
pop-up menu. Choices vary depending on the 2 In the Transport window, click Return To Zero
operating system, Pro Tools version, and the to start recording from the beginning of the ses-
hardware and instruments you have connected. sion. You can also record according to a selec-
tion or from the cursor location in the Edit
window.
3 Click Record in the Transport window.
4 Click Play in the Transport window or press

the Spacebar to begin recording.
– or –
If using Wait for Note, the Play, Record, and

Wait for Note buttons flash. Recording begins
when the first MIDI event is received.
– or –
MIDI Output Selector
If using Countoff, click Play. The Record and
4 You can assign a default program change to
Play buttons flash during the Countoff, then re-
the track by clicking on the Program button in
cording begins.
the Mix window and making the necessary se-
lections for program and bank select, and then 5 Play your MIDI instrument.
clicking Done. Default program changes are
6 When you have finished recording, click Stop
sent when playing a track.
in the Transport window, or press the Spacebar.
5 In the Mix Window, record-enable the MIDI The newly recorded MIDI data appears as a MIDI
track. region on the track in the Edit window, as well
as in the MIDI Regions List.
6 Make sure MIDI > MIDI Thru is selected, then
play some notes on your MIDI controller. The
To play back a recorded MIDI track:
MIDI instrument assigned to the track should
sound, and the track’s meters should register 1 Click the Record Enable button to take the
MIDI activity. MIDI track out of Record mode.
2 In the Transport window, click Return To Zero

to play back from the beginning of the track.
You can also play back according to a selection
or from the cursor location in the Edit window.
3 Click Play in the Transport window to begin

playback. The recorded MIDI data plays back
through the track’s assigned instrument and
channel.

Monitoring MIDI Instruments Without a Mixer 3 Power on the Digi 002 or Digi 002 Rack unit.
To monitor your MIDI instrument’s analog out-

put, you can use an Auxiliary Input. Auxiliary
Inputs function as inputs for both internally Footswitch jack
bussed signals and external audio sources.

Footswitch jack (back panel)
To configure an Auxiliary Input for MIDI

monitoring: Footswitch polarity is detected by Digi 002
or Digi 002 Rack firmware when you power
1 Connect the MIDI instrument’s audio output
up the unit. Make sure the footswitch is
to the appropriate inputs on your Digi 002 or
connected and not pressed when turning on
Digi 002 Rack.
the Digi 002 or Digi 002 Rack.
2 Choose File > New Track and specify 1 mono
or stereo Auxiliary Input, then click Create. To punch in with QuickPunch when recording
audio:
3 Click the Input selector of the Auxiliary Input
1 Select Operations > QuickPunch.
channel and choose the input to which your
MIDI instrument is connected. 2 Set input routing and click the Record button
on each audio track you want to punch in. You
4 Adjust the level of the Auxiliary Input with its
can punch in on up to 8 audio tracks while play-
volume fader.
ing back 32 tracks, or you can punch in on up to
16 tracks while playing back 24 tracks.
QuickPunch Recording
3 Click Play in the Transport window.
With QuickPunch recording you can punch in
4 Click Record in the Transport window or step
and out of audio recording on armed tracks. Re-
on the footswitch to begin recording (punch in)
cording can be triggered from the Transport
on all record-enabled tracks.
window, or using a standard footswitch. You can
use a standard footswitch (such as a keyboard 5 Click Record in the Transport window or step
sustain pedal) with QuickPunch to punch in on the footswitch again to stop recording
when recording audio. You can also punch in (punch out).
when recording MIDI, without enabling Quick-
Punch. Note that the session continues to play, and you
can continue to punch in and out as many times
For more information on QuickPunch and as you want.
punch recording, see the Pro Tools Reference
Guide. With QuickPunch enabled, press Ctrl+Spa-
cebar (Windows) or Command+Spacebar
To connect a footswitch to Digi 002 or (Macintosh) to punch in and punch out.
Digi 002 Rack:
1 Turn off the Digi 002 or Digi 002 Rack unit.
2 Plug the footswitch into the Footswitch con-

nector on the back panel of Digi 002 or
Digi 002 Rack.

To punch in when recording MIDI: Edit Modes
1 Set your MIDI input routing and click the Pro Tools LE has four Edit modes: Shuffle, Spot,
Record button on each MIDI track you want to Slip, and Grid. The Edit mode is selected by
punch in. QuickPunch is not required to punch clicking the corresponding button in the upper
in on MIDI tracks. left of the Edit window.
2 Click Play in the Transport window.

on the footswitch to begin recording (punch in)
on all record-enabled tracks. Edit mode buttons
on the footswitch again to stop recording Press F1 (Shuffle), F2 (Slip), F3 (Spot), and
(punch out). F4 (Grid) to set the Edit mode.
The Edit mode affects the movement and place-

ment of audio and MIDI regions (and individual
Editing MIDI notes), how commands like Copy and
Pro Tools LE provides several tools for editing Paste function, and also how the various edit
audio and MIDI. In the Edit window, audio and tools (Trimmer, Selector, Grabber, and Pencil)
MIDI tracks can be edited into regions or re- work.
peated in different locations, to create loops, re-
For detailed descriptions of Edit modes, re-
arrange sections or entire songs, or to assemble
fer to the Pro Tools Reference Guide.
tracks using material from multiple takes.
Edit Modes Edit Tools
Edit modes and tools (Slip mode, Smart Tool enabled)
Audio and MIDI editing are typically used to:

• Fix or replace mistakes
• Re-arrange songs and projects
• Clean up track timing and rhythm by aligning
hits to Grid values like bars and beats
• Create final tracks using selections from mul-
tiple takes (also known as comp tracks).

Edit Tools Trimming Regions
Pro Tools LE has seven Edit tools: Zoomer, Trim- After recording an audio track, you will have an
mer, Selector, Grabber, Scrubber, Pencil, and audio region on that track. If there is some si-
Smart Tool. Select an Edit tool by clicking it in lence at the beginning of the region, or there is
the Edit window. The Zoomer, Trimmer, Grab- some extra audio at the end of the region, you
ber, and Pencil tools have multiple modes, can use the Trimmer tool in Slip mode to
which you can select from a pop-up menu when shorten the beginning or end of the region.
you click the tool.
Trimmer Grabber
Selector Scrubber
Audio region on a track
To trim an audio region:

1 Select Slip mode.
Zoomer Smart Tool Pencil
2 Select the Trimmer tool.
Edit tools in Edit window
3 Move the cursor near the beginning of the au-
Press the Escape key to toggle through the dio region (notice the cursor displays as a “[”).
Edit tools.
For detailed descriptions of the Edit Tools,

refer to the Pro Tools Reference Guide.
Trimming the beginning of a region
Editing Regions
4 Click at the beginning of the region and drag
The Edit tools in Pro Tools LE are used to edit re- right to shorten the region.
gions in the Edit window.
5 Move the cursor near the end of the audio re-
gion (notice the cursor displays as a “]”).
Audio region
Trimming the end of a region

6 Click at the end of the region and drag left to 6 Click the Selector tool, and drag on the wave-
shorten the region. form with the Selector to make a one-bar selec-
tion. Note that the selection snaps to the
specified grid.
The trimmed region
You can also extend a region using the Trimmer

Making a selection in Grid mode
tool if there is audio data beyond the current
boundaries of the region. If extending the re- 7 Create a new audio track (File > New Track).
gion’s beginning, drag to the left; if extending
8 From the Grabber pop-up menu, select the
the region’s end, drag to the right.
Separation Grabber tool.
Arranging Regions 9 With the Separation Grabber tool, drag the se-
lection to the beginning of the new audio track.
There are many ways to edit and arrange re-
A new region is created and appears at the be-
gions; the following example demonstrates how
ginning of the new track.
you might create and arrange a drum loop to
compose a rhythm track.
To create and arrange a rhythm sequence:

1 Open or create a session in Pro Tools LE.
2 Specify the session meter (MIDI > Change

Meter) and tempo (MIDI > Change Tempo). Dragging a selection with the Separation Grabber tool
3 Select Grid mode. 10 With the new region still selected, choose
Edit > Repeat.
4 Prepare to record using a MIDI click (see “Us-
ing the Click Plug-In” on page 71 or “Using an
External MIDI Click” on page 72).
5 Record a drum track (see “Recording an Audio

Track” on page 82) keeping in mind that you
want to use only the best bar (measure). Your re-
cording should fit the grid at the specified Repeat dialog
tempo and meter.
11 In the Repeat dialog, enter a number of re-
– or – peats, and click OK.
Import an existing audio file, such as a drum You now have a new rhythm track with a
loop from a sample library, and place it on an “looped” (repeated) phrase. You can use these
audio track (see “Importing Audio” on page 79). editing tools to do much more advanced and in-
volved editing of regions. For example, you

could separate beats or “hits” into individual re-
gions and rearrange them in Grid or Shuffle Mixing
mode as a way of coming up with new and in-
The Pro Tools mix environment provides many
teresting rhythms.
familiar channel strip controls for setting vol-
ume, pan, solo, and mute. Mixer and I/O con-
Playlists and Nondestructive Editing trols can be shown in both the Mix and Edit
Playlists let you create and retrieve multiple ver- windows.
sions of track edits. A playlist can be a complete
take, an overdub, or an arrangement of selec- To view the Mix window:
tions from multiple takes. You can duplicate ■ Select Windows > Show Mix.
playlists to save edits in their current state, then
continue making additional edits to the new Press Control+Equals (=) in Windows or
playlist knowing you can always go back to the Command+Equals (=) on Macintosh to
previous version. switch between the Edit and Mix windows.
To create multiple playlists for editing: There are also dedicated Mix and Edit win-
1 Start with a track on which you want to try dow buttons on the Digi 002.
different edits.
Using Channel Strip Controls
2 From the Playlist Selector pop-up menu,
choose Duplicate. Volume Increase or decrease the track level by
dragging its Volume fader up or down.
Pan Pan a track left or right in the mix by drag-

ging its Pan slider left or right.
Playlist Selector
pop-up menu Solo Solo a track (muting all other tracks) by
clicking its Solo button.
Mute Mute a track by clicking its Mute button.

Playlist Selector pop-up menu
3 Name the duplicated playlist and click OK. Basic Signal Routing
4 Make your first series of edits. Signal routing is accomplished by assigning
5 Return to the original playlist by selecting it track inputs and outputs. Audio track inputs can
from the Playlist Selector pop-up menu. be from any hardware input or bus path. Once
recorded, an audio track’s input is its audio file
6 Repeat steps 2–5 for any further edits. on disk. Auxiliary Inputs can be any hardware
input or internal bus path. For all types of audio
In this way, you can try out different edits of a
tracks, outputs can be routed to any hardware
track, and switch back and forth between playl-
output or internal bus path.
ists for comparison.

You can use these signal routing features to set 3 Set the output level of the send. You can set
up virtually any mixer architecture for your the send level to zero by Option-clicking the
projects, including sends and returns for effects send fader.
processing and submixing.
You can configure the default level for new
sends to be –∞ or at unity gain (0 dB) by
Send and Return Submixing for Effects
enabling or disabling the Sends Default To
Processing
“–INF” option under the Operation
When you are submixing for reverb, delay, and Preferences.
similar effects processing, you can use sends and
Auxiliary Inputs to achieve traditional send/re- Creating a Return
turn bussing. You can use a real-time plug-in Auxiliary Inputs can be created to act as return
(see “Plug-Ins” on page 92) as a shared resource channels for busses, as well as for inputs from
for all tracks included in a submix. The wet/dry hardware sources.
balance in the mix can be controlled using the
track faders (dry level) and Auxiliary Input fader Send
Send window to bus 5–6 Real-time plug-in
(wet, or effect return level).
Creating a Send
Pro Tools LE provides up to five sends per audio

track. A send can be mono or stereo, routing to
an output or one of 16 internal bus paths.
To assign a send on a track:

1 Make sure Sends View is enabled in the Mix
window (Display > Mix Window Shows > Sends
View).
2 Click the Sends button on an audio track and

choose a path from the pop-up menu.
Aux Input
input from bus 5–6
Audio and Auxiliary Input tracks configured for a send

and return
Assigning a send to a stereo bus path To create a return:

or stereo Auxiliary Input, then click Create.

2 Click the Input Selector of the Auxiliary Input To create a Master Fader:
and set it to the bus path you assigned to the
sends on the source tracks.
or stereo Master Fader track, then click Create.
3 Click the Output Selector of the Auxiliary In-
2 In the Mix window, click the Master Fader’s
put and choose an output path.
Output Selector and choose the output path
that you want to control. You can choose either
Master Faders outputs or internal busses.
Master Faders are used as output and bus mas-

To use a Master Fader as a master stereo volume
ters, and can control any mono or stereo output control for all tracks in a session:
or bus path in a session. You can then use the
1 Choose File > New Track and specify 1 stereo
controls on the Master Fader to control the vol-
Master Fader track, then click Create.
ume, solo and mute, or apply inserts to those
paths. 2 Set the outputs of all audio tracks in the ses-
sion to outputs 1–2 and set the panning of each
When you are mastering your final mix, it is rec-
track.
ommended that you use a dither plug-in on the
Master Fader controlling your main outputs (for 3 Set the output of the Master Fader to your
more information on dither, see the Pro Tools main output path (outputs 1–2).
Reference Guide).
Plug-Ins
Dither plug-in applied to final mix Plug-ins provide EQ, dynamics, delays, and
many other types of effects processing. Plug-ins
function either in real time or in non-real time.
main mix RTAS plug-ins are nondestructive effects, which

Output assigned to control are inserted on tracks to process audio in real
time—just like an external hardware processor
(during playback).
AudioSuite plug-ins are used to process and

modify audio files on disk, rather than non-
destructively in real time. Depending on how
you configure a non-real-time AudioSuite plug-
in, it will either create an entirely new audio file,
or alter the original source audio file.
Master Fader controlling main outputs

Real-time plug-ins are assigned to tracks from
the Inserts view in the Mix or Edit windows. Mix Automation
Once assigned to a track, plug-ins appear in the
Mix automation lets you record, or automate,
track’s Inserts view, and can be opened by click-
changes to track and send levels, mutes, pan,
ing the Insert button.
and plug-in parameters. MIDI tracks provide
Insert button Plug-In window volume, pan, and mute automation only.
To write automation:
1 In the Automation Enable window
(Windows > Show Automation Enable), enable
an automation type (volume, pan, mute, send
level, send pan, send mute, or any plug-in auto-
mation).
2 Select an automation mode for the tracks to be

automated (Write, Touch, or Latch mode).
3 Start playback and begin writing automation

by adjusting faders and other controls during
playback. Pro Tools LE remembers all moves
Compressor plug-in performed on enabled parameters.
To insert a real-time plug-in on a track:

1 Make sure the Inserts View is shown in the
Mix or Edit window.
2 Click the Insert Selector on the track and se-

lect the plug-in that you want to use.
Enabling automation (left) and choosing a track
Pro Tools comes with a complete set of DigiRack Automation mode (right)
plug-ins, and many more are available from
Digidesign and our Development Partners.
For more information about plug-ins, see

the DigiRack Plug-Ins Guide.

Once written, automation can be re-written or Selection or Track Length If you make a selec-
displayed and edited graphically in the Edit win- tion in a track, the bounced mix will be the
dow. length of the selection. If there is no selection in
any track, the bounce will continue until it
reaches the end of the session.
To Bounce to Disk:
1 Choose File > Bounce to Disk.
Track view set to Volume
2 Select any mono or stereo output or bus path
Volume breakpoint automation
as the source for the bounce.
Volume automation in a track in the Edit window
3 Select the File Type (such as WAV), Format
(such as mono or stereo), Resolution (such as 16-
For more information on using automation,
bit), and Sample Rate (such as 44.1 kHz).
see the Pro Tools Reference Guide.
To create a mixdown that can be written to
an audio CD, be sure to select WAV, stereo
Final Mixdown interleaved, 16-bit, and 44.1 kHz.
The Bounce to Disk command lets you write a fi- 4 Click Bounce.
nal mix to disk, create a new loop, print effects,
or bounce any submix. Once you have bounced
Using Dither on Mixdown
your final mix to disk, you can use another pro-
gram to burn the resulting file to Compact Disc. You should use a dither plug-in when using the
Bounce To Disk command, or when mastering
When you bounce a track to disk, the bounced to an external device. Bounce to Disk does not
mix includes the following: automatically apply dither. To dither a bounce
file, insert an included Digidesign Dither plug-
Audible Tracks All audible tracks are included in
in, or another dither plug-in, on a Master Fader
the bounce. Any muted tracks do not appear in
assigned to the bounce source path. Master Fad-
the bounce. If you solo a track or region, only
ers are often preferable to Auxiliary Inputs be-
the soloed elements appear in the bounced mix.
cause Master Fader inserts are post-fader (which
Automation All read-enabled automation is is better for dither applications).
played back and incorporated in the bounced
mix. For more information on using dither, refer
to the Pro Tools Reference Guide.
Inserts and Sends All active inserts, including
real-time plug-ins and hardware inserts, are ap-
plied to the bounced mix.

chapter 9
Using Digi 002 as a Stand-Alone Mixer
In addition to its function as an integrated front end and control surface for Pro Tools, Digi 002 can
operate as a stand-alone digital mixer in a variety of settings. Figure 9 shows Digi 002 as the hub of a
small studio setup, with analog audio and digital audio. Figure 10 shows Digi 002 in a small live per-
formance setup.
See Chapter 7, “Connecting Your Studio” for details on analog audio, and “Digital Audio Connec-
tions in Stand-Alone Mode” on page 98 for details on making digital audio connections to Digi 002.
ADAT optical outputs
Instruments
S/PDIF digital output
ADAT
DAT
Microphones
Monitor outputs
Powered speakers
Digi 002
MIDI cables Headphones
MIDI keyboard
Audio cables
MIDI sound module
Effects module
Figure 9. Digi 002 stand-alone studio configuration
Chapter 9: Using Digi 002 as a Stand-Alone Mixer 95

The stand-alone mixing and processing capabilities of Digi 002 are provided by a powerful built-in
digital signal processor (DSP). The Digi 002 unit does not need to be connected to a computer to op-
erate in Stand-alone mode. See Appendix G, “Digi 002 Stand-Alone Block Diagram” for an overview
of signal flow in Stand-alone mode.
S/PDIF digital I/O
CD player
Alternate source inputs
Microphones DAT
Main outputs
PA system
Instrument Digi 002

Headphones
Figure 10. Digi 002 stand-alone live configuration
Digital Mixer Sample Rate

Overview
In Stand-alone mode, Digi 002 functions as a
When operating in Stand-alone mode, Digi 002 digital mixer with a nominal sample rate of
is a 8x4x2 digital mixer, consisting of: 44.1 kHz. Analog input signals are converted to
• Eight inputs corresponding to Analog Inputs digital signals for processing and mixing.
1–8 on the Digi 002 back panel, controlled by
In Stand-alone mode, Digi 002 supports digital
the eight channel strips on the top panel
inputs at sample rates up to 48 kHz.
• Dedicated, in-line three-band EQ on input
channels 1–8 In Stand-alone mode, Digi 002 will not op-
• Dedicated, in-line compressor on input erate correctly with an external clock source
channels 1–4 greater than 48 kHz.
• Four available sends on each channel, for add-
Mixer Inputs
ing internal Delay or Reverb effects, or for in-
tegrating external effects processors Inputs 1–4 These inputs accept microphone-,
• A stereo output corresponding to Main Out- line-, or instrument-level signals, and provide
puts 1–2 on the Digi 002 back panel variable gain with the Input Gain control on the
Digi 002 top panel.

Phantom power is available to Inputs 1–4, in Send D Routes the input signal to output 8 on
channel pairs, using the Phantom Power the back panel of Digi 002
switches on the back panel of Digi 002.
All the send assignments in Stand-alone
Inputs 5–8 These inputs accept line-level signals mode are fixed, and cannot be changed.
and are switchable between –10 dBV and +4 dBu
with the operating level switches on the Dynamics
Digi 002 back panel.
Input channels 1–4 have a dedicated, in-line
Alt Src Inputs These inputs are active in Stand- compressor, with controls for the following pa-
alone mode, allowing you to connect and mon- rameters:
itor alternate audio sources such as CD players • Input gain
or tape decks. The signal from the Alt Src Inputs • Threshold
can be routed directly to the Monitor and Head-
• Compression ratio
phone Outputs (by pressing the Alt Src to Mon
• Attack and release times
switch) or to Input channels 7–8 (by pressing
the Alt Src to 7–8 switch). • Hard or soft knee (slope)
• Phase inversion
When Alt Src to 7–8 is enabled, analog inputs
• Output gain
7–8 (1/4-inch TRS connectors on the back panel
of Digi 002) are disabled.
EQ
S/PDIF Digital Inputs In Stand-alone mode, you
Each of the eight Input channels has a dedi-
can activate these digital inputs so that they ap-
cated, in-line 3-band equalizer, consisting of the
pear on inputs 5–6, allowing you to bring a ste-
following:
reo digital signal into the Digi 002. (See “Digital
• Switchable high pass/low shelf EQ band
Audio Connections in Stand-Alone Mode” on
page 98.) • Parametric EQ band
• Switchable low pass/high shelf EQ band
Sends
These EQ bands can be used in conjunction
Each of the eight channels of Digi 002 can send with the built-in hardware high-pass filters
to any or all of the four available sends at the available on Inputs 1–4.
same time. Sends can be either pre- or post-
fader. Mixer Outputs
Send A Routes the input signal to the internal Main Outputs In Stand-alone mode, all eight In-
Delay processor put channels, the Delay return, and the Reverb
return are summed to outputs 1–2, which are
Send B Routes the input signal to the internal routed to the Main Outputs, Alt Main Outputs,
Reverb processor and the S/PDIF outputs on the back panel of
Digi 002. Outputs 1–2 are also mirrored on the
Send C Routes the input signal to output 7 on
Monitor Outputs and Headphone Output.
the back panel of Digi 002

ADAT Optical Outputs In Stand-alone mode all
eight Input channels are passed directly to the Digital Audio Connections in
eight ADAT Optical Outputs, pre-fader, pre-ef- Stand-Alone Mode
fects, except for the high-pass filter on channels
1–4. This allows you to route input signals di-
Digital Inputs
rectly to an ADAT device without repatching ca-
bles. In Stand-alone mode, you can set Inputs 5–6 to
accept S/PDIF digital input instead of analog in-
put.
Entering Stand-Alone Mode When Inputs 5–6 are set to S/PDIF, the 1/4-inch
analog connectors for Inputs 5–6 (on the back
You can put Digi 002 into Stand-alone mode
panel of Digi 002) are inactive.
when the unit is in Standby mode or in
Pro Tools mode. However, if Digi 002 is in
To set Inputs 5–6 to S/PDIF digital input:
Pro Tools mode when you put it in Stand-alone
mode, communication with Pro Tools is sus- 1 In Stand-alone mode, press the Utility (F1)
pended, and Pro Tools posts a warning dialog, switch.
allowing you to either return to Pro Tools mode,
2 Press the illuminated Channel Select switch
or save your session and quit Pro Tools.
under Pref.
To put Digi 002 in Stand-alone mode: 3 Press the illuminated Channel Select switch
under In56 (Inputs 5–6).
1 Press the Standalone switch on the right-hand
side of the Digi 002 top panel. Digi 002 displays 4 Press the illuminated Channel Select switch
“Enter Standalone mode? Yes/No.” repeatedly to toggle Inputs 5–6 to Analog or
S/PDIF.
2 Press the flashing Channel Select switch under
“Yes” to enter Stand-alone mode. Press the 5 Press the Escape (Esc) switch to exit Input 5–6
switch under “No” to remain in the previous preferences.
state.
6 Press the far right-hand Channel Select switch
If you enter Stand-alone mode while you are to save the preference settings.
in Pro Tools mode, Pro Tools software will 7 Press the Escape (Esc) switch twice to exit Util-
prompt you to either exit Standalone mode ity mode.
or quit Pro Tools. If a Pro Tools session is
open, you can save the session before quit-
ting Pro Tools.
To exit Stand-alone mode:

■ Press the Standalone switch a second time.
Digi 002 goes into Standby mode, or enters

Pro Tools mode automatically if Pro Tools soft-
ware is still running.

Digital Input Format Digital Clock Source
You can set Digi 002 to receive S/PDIF input at When you connect an external digital source,
the RCA Input connector or the Optical Input you can set Digi 002 to synchronize to external
port on the back panel of Digi 002. See “Digital Word Clock (the clock signal coming from the
Audio Connections” on page 63 for details on device) or internal Word Clock (generated by
S/PDIF input format. Digi 002). In most cases, such as with DAT
decks, you will use external clock.
In Stand-alone mode, the RCA and Optical ports
accept S/PDIF signals at sample rates up to
To change the clock source for the digital inputs
48 kHz. on Inputs 5–6:
964530300294856
1 In Stand-alone mode, press the Utility (F1)
SERIAL NUMBER
RCA S/PDIF IN
OPTICAL
switch.
Input OUT IN

OUT
S / PDIF
under Pref.
Optical 3 Press the illuminated Channel Select switch
Input port
under WClk (Word Clock).
Digital input connectors (back panel)
To change the digital input format for Inputs 5–6: repeatedly to toggle the clock source to Internal
1 In Stand-alone mode, press the Utility (F1)
or S/PDIF (external).
switch. 5 Press the Escape switch to exit SPDF prefer-

ences.
under Pref. 6 Press the far right-hand Channel Select switch

to save the preference settings.
under SPDF (S/PDIF). 7 Press the Escape (Esc) switch twice to exit Util-

ity mode.
repeatedly to toggle the digital format to RCA or When the Word Clock source is set to S/PDIF
Optical. (external), the Sample Rate indicator flashes to
5 Press the Escape (Esc) switch to exit SPDF pref- indicate that no clock signal is present, or that
erences. Digi 002 is not receiving valid clock signal. The
Sample Rate indicator lights solid to indicate
Digi 002 is receiving valid clock signal.
to save the preference settings.
7 Press the Escape (Esc) switch twice to exit Util-

ity mode.
Only one S/PDIF input pair can be used at a

time. For example, if you use the optical in-
put for S/PDIF data, you cannot use the
RCA inputs.

Digital Outputs 3 Press the illuminated Channel Select switch
under SPDF (S/PDIF).
The output configuration of Digi 002 in Stand-
alone mode depends on the digital output for- 4 Press the illuminated Channel Select switch
mat chosen in the S/PDIF preference setting. repeatedly to toggle the digital format to RCA or
(This is the same setting used to configure the Optical.
digital input format.) 5 Press the Escape (Esc) switch to exit SPDF pref-
erences.
S/PDIF Outputs
In Stand-alone mode, the S/PDIF outputs on the to save the preference settings.
back panel of Digi 002 mirror outputs 1–2 at all
7 Press the Escape (Esc) switch twice to exit Util-
times. If RCA is chosen in the S/PDIF prefer-
ity mode.
ences, only the RCA S/PDIF connector is active.
If Optical is chosen in the S/PDIF preferences,
both the RCA and Optical S/PDIF connectors are
active. Views in Stand-Alone Mode
If Optical is chosen in the S/PDIF preferences, In Stand-alone mode, Digi 002 can display the
only Main Outputs 1–2 are mirrored in the Op- mixer controls in several views.
tical Output port.
Home View
ADAT Optical Outputs
Home View is the default mixer view that you
In Stand-alone mode, if RCA is chosen in the see when you first enter Stand-alone mode. This
S/PDIF preferences, all 8 Input channels are view is actually the same as Console View with
passed directly to the ADAT Optical Output the Pan controls displayed on the Rotary Encod-
port, pre-fader and pre-effects. This allows you ers, and channel names on the Channel Scribble
to route input signals directly to an ADAT device Strips.
and record raw input data on all 8 channels.
To put Digi 002 in Stand-alone Home View:
964530300294856
SERIAL NUMBER
■ In Stand-alone mode, press the Pan switch in

IN
OPTICAL
OUT IN
RCA S/PDIF OUT the upper left-hand corner of the Console View
Output S / PDIF
area.
Optical
Output port
Digital output connectors (back panel)
To change the digital output format:

1 In Stand-alone mode, press F1 (Utility).

under Pref.
Console View When you are displaying individual sends in
Send view, the Channel Select switches toggles
Console View lets you toggle the Digi 002 to dis- the send between pre- and post-fader operation.
play either the pan position controls or the send
controls for each channel. When you first display sends, the send names
are shown in the Channel Scribble Strips. To see
Pan View This is the default mixer view that ap- the send level value in a Scribble Strip, move its
pears when you first enter Stand-alone mode. In Rotary Encoder. By default, send levels are
Pan View, the faders control Input channel vol- turned all the way down (– INF).
ume and the rotary encoders control pan posi-
tion.
Master Fader View
In this view, the Channel Scribble strips show
the channel names. Channel names can be Master Fader View displays 5 channels in the
changed in this view. (See “Naming Channels” Digi 002 channel strip area. The Master Faders
on page 103.) and Effects Returns appear, with the Master Fad-
ers on the right.
To display pan position for all channels:
To put Digi 002 into Master Fader View:
■ In Stand-alone mode, press the Pan switch in
■ In Stand-alone mode, press the Master Fader
the upper left-hand corner of the Console View
area. switch to the left of the Navigation and Trans-
port controls.
Send View This view displays the send level con-
trols for each track on the rotary encoders. In Master Faders The left and right Master Faders
Send View, the faders continue to control Input control the output level to Main Outputs 1–2 on
channel volume. the back panel of Digi 002.
In Send view, the Channel Scribble Strips show Reverb Returns These are the left and right re-
the names associated with each send position turns for Send B, the internal Reverb effect.The
(Send A=Dly, Send B=Rvrb, Send C=Snd C, amount of reverb effect in the mix output can
Send D=Snd D in Stand-alone mode) across all be controlled with these faders.
channel strips. Delay Return This is a mono return for Send A,
the internal Delay effect. The fader controls the
To display send level controls for all channels: amount of delay effect, and the rotary encoder
1 In Stand-alone mode, press the Send switch in controls its pan position in the mix output.
the upper left-hand corner of the Console View
area.
2 Press any of the Send Position switches (A–D)

to display the levels for the corresponding send
in the rotary encoders. (In Stand-alone mode,
the switch for Send E is inactive.)

Reverb and Delay Mute Channel Strip Controls
You can mute the Reverb and Delay effect re- In Console View, each of the 8 channel strips on
turns by pressing the Mute switch on the respec- Digi 002 controls its corresponding input.
tive channel while in Master Fader View. This al-
lows you to audition the source tracks with the
effects temporarily removed. Channel Name
Reverb and Delay Solo Safe Encoder/Meter LED ring
In Stand-alone mode, the Reverb and Delay re-

turns have a Solo Safe feature. If any input chan- Rotary Encoder
nel (1–8) has a send assigned to the Reverb or

Delay and the solo switch is pressed on an input SEL
channel, the Reverb and Delay effect returns are Channel Select switch
not muted, and the effect can still be heard. You
can disable the Solo Safe feature by changing the SOLO
Channel Solo and
Solo preference setting. Mute switches
MUTE
To change the Solo Safe preference:

1 In Stand-alone mode, press F1 (Utility).

under Pref.
+6
under Solo. +3
4 Press the illuminated Channel Select switch 0
repeatedly to toggle the Solo Safe feature On or Channel Volume Fader

-5
Off.
-10
5 Press the Escape switch to exit Solo Safe pref-
-15
erences.
-20
-30
to save the preference settings. -40
-60
7 Press the Escape switch twice to exit Utility -90
mode.
Digi 002 channel strip controls in Stand-alone mode
Channel Name Channel Volume Fader
The name of each channel appears in the Chan- The volume of each input is controlled by its
nel Scribble strips If you move a fader or rotary corresponding channel fader.
encoder, the scribble strip temporarily shows
the volume level or pan position. You can re- Pan
name each of the input channels. (See “Naming
Channels” on page 103.) The pan position of each input on the stereo
output bus is controlled by its corresponding ro-
tary encoder when Digi 002 is in Pan View.
Encoder/Meter LED Ring
Encoder Mode In normal mode (when the “L” Solo and Mute
and “R” Encoder/Meter indicators are lit), the
LED rings above the rotary encoders indicate The solo and mute status of each channel are
one of the following: controlled by the corresponding switches on
each channel strip. In Stand-alone mode, the
◆ In Pan View (or Home View), the LED rings in-
Solo switches behave in latched fashion, allow-
dicate channel pan position.
ing more than one channel to be soloed at the
◆ In Send View, the LED rings indicate the level same time.
for the selected send (A–D) for each channel.
◆ In Master Fader View, the Delay Return LED Channel Select Switch
ring shows pan position. (No other Rotary En-
Depending on the current view, the Channel Se-
coders are active in this view.)
lect switch performs a variety of functions. In
◆In Channel View, the LED rings display EQ, Pan/Send View, this switch toggles the corre-
Compressor, or Pan/Send information. sponding send between pre- and post-fader op-
eration. In Channel View, you press this switch
Meter Mode When you press the Encoder/Meter
to select a channel and display the controls for
mode switch to the right of the Channel View
any of the internal effects on Digi 002.
area so the Meter LED is lit, the LED rings act as
meters in the following ways:
◆ In Pan View and Send View, the LED rings act Naming Channels
as post-fader meters for each input channel. In Stand-alone mode, you can name the input
◆ In Master Fader View, the LED rings act as channels so that the name appears in each
post-fader meters for the effect return and Mas- channel’s scribble strip. (The names of the Mas-
ter Fader channels. ter Fader and Effect Return channels cannot be
changed.)
◆ When viewing EQ controls in the Channel
View area, the LED rings act as post-fader meters
To change the name of an input channel:
for each input channel.
1 If Digi 002 is not in Home View, press the Pan
◆ When viewing compressor controls in the
switch in the upper left-hand corner of the Con-
Channel View area, the LED rings act as input,
sole View area to return the unit to Home View.
output, and gain reduction meters for the dis-
played compressor.

2 Press F2 (Naming). The Channel Selector EQ
switches flash on channels 2–8 and a cursor ap-
pears beneath the first character in the Scribble Each Input channel offers a dedicated 3-band
Strip of channel 1. The Channel Select switch EQ, accessible from EQ switch in the Channel
below channel 1 lights solid to indicate that its View area.
name is being edited.
To display the EQ controls for a track:
3 Turn the Rotary Encoder for the first channel
1 In Stand-alone mode, press the EQ switch in
to select the first character. (Available characters
the Channel View area.
include uppercase and lowercase letters, numer-
als, and symbols.) 2 Select a channel whose EQ controls you want
to display by pressing its Channel Select switch.
4 Press the Left and Right Arrow keys in the
The Display Scribble Strips show “EQ” and the
Navigation Section of Digi 002 to move the cur-
number of the selected channel.
sor left and right in the Scribble Strip display.
5 When you are finished naming the first chan- Digi 002 displays the EQ controls across the
nel, you can press the Channel Select switch or Channel Scribble Strips.
move the Rotary Encoder for another channel to
See “EQ Controls” on page 106 for more infor-
edit its name.
mation on working with EQ effects.
6 When you are finished naming channels,
press the Escape switch or F2 again to return to Dynamics
Home View.
Input channels 1–4 offer a dedicated compres-
The new channel names are retained in Stand- sor, accessible from the Dynamics switch in the
alone mode as long as Digi 002 remains pow- Channel View area.
ered on.
To display the compressor controls for a track:
To save the channel names for recall at a
1 In Stand-alone mode, press the Dynamics
later time, you can store the names as part
of a Snapshot. See “Storing Snapshots” on switch in the Channel View area.
page 110. 2 Select from channels 1–4 the channel whose
Dynamics controls you want to display by press-
Channel View ing its Channel Select switch.
Channel View lets you display the controls for Digi 002 displays the compressor controls across
the internal EQ and Dynamics effects on each the Channel Scribble Strips. The Display Scrib-
channel, and also offers a way to view the all ble Strips show “Dyn” and the number of the se-
pan and send controls on a single channel. lected channel.
See “Dynamics Controls” on page 107 for more

information on working with Dynamics effects.
Channel View selectors Effect Bypass switch
Channel Scribble Strips

CONSOLE VIEW
Console View
selectors
A
B
Send Position
selectors
(A–D) C
SEL SEL SEL SEL SEL SEL SEL SEL
Digi 002 Console and Channel View controls in Stand-alone mode
Pan/Send Displaying Parameter Values

The Pan/Send view allows you to view the pan The default view for channels, inserts in sends
position and the controls for all of the sends on shows the name of the control in the Channel
a selected track across all the Channel Scribble Scribble Strips, and the control’s numerical
Strips. value is shown only when the control is touched
or moved.
To display the pan and send controls for a track:
By pressing the Command switch and the Dis-
1 In Stand-alone mode, press the Pan/Send play mode switch in tandem, you can change
switch in the Channel View area. the default view to the numerical value of a con-
2 Select a channel whose Pan and Send controls trol rather than its name.
you want to display by pressing its Channel Se-
To revert to the default display, press the Com-
lect switch. The Display Scribble Strips show
mand switch and the Display mode switch a sec-
“P/S” and the number of the selected channel.
ond time.
Channel Scribble Strip 1 and the first rotary en-
In addition, pressing the Command switch in
coder show track pan position for the selected
tandem with the Display mode switch allows
channel.
you to set channels to display numerical param-
Channel Scribble Strips 3–6 show the names and eter values by default, rather than control
their rotary encoders control the levels for all names. For example, in Pan view, when you
four sends on that track. (Channel Scribble press Command + Display, fader volume levels
Strips 2, 7 and 8 are inactive.) (in dB) are the default display.
When you are displaying sends in Pan/Send

view, the Channel Select switches toggles the
send between pre- and post-fader operation.

3 When you are finished setting the EQ con-
Working with Effects trols, return to Home View by pressing the Pan
switch in the Console View area.
In Channel view, the controls for the Digi 002
EQ and Dynamics effects are displayed across While EQ controls are displayed, you can bypass
the Channel Scribble Strips. EQ processing by pressing the Master Bypass
switch in the Channel View area. The Master By-
EQ Controls pass switch bypasses all 3 bands of EQ for the se-
lected channel.
To access EQ controls for a track:
To bypass EQ controls for a track:
1 Press the EQ switch in the Channel View area
above the Channel Scribble Strips. 1 Press the EQ switch in the Channel View area
above the Channel Scribble Strips.
2 Press the Channel Select switch on the chan-
nel whose EQ controls you want to display. 2 Press the Channel Select switch on the chan-
nel whose EQ controls you want to bypass.
The onboard EQ controls are distributed across
the Channel Scribble Strips as shown in 3 Press the Master Bypass switch while in Chan-
Table 10. The second row of the table shows the nel View. The switch flashes to indicate that the
function of the Rotary Encoders, and the bot- displayed EQ is currently bypassed.
tom row of the table shows the function of the
Channel Select switches in this view.
Table 10. EQ controls in Digi 002 Stand-alone mode
Display Inpt > F or ∼F > G or ~G ^F ^Q ^G < F or ¬ F <G or ¬ G
Rotary Input Low Shelf Low Shelf Peak Peak Q Peak Gain High Shelf High Shelf
Encoder Gain Frequency Gain Frequency Frequency Gain
or or
High Pass Low Pass
Frequency Frequency
Channel Toggle Bypass Bypass Toggle Bypass

Select between Low Band Mid-Band between High Band
filters filters
Dynamics Controls You can bypass Dynamics processing at any
time by pressing the Master Bypass switch in the
To access Dynamics controls for a track: Channel View area. The Master Bypass switch
bypasses compression for the selected channel.
1 Press the Dynamics switch in the Channel
View area above the Channel Scribble Strips.
To bypass Dynamics controls for a track:
1 Press the Dynamics switch in the Channel
nel whose Dynamics controls you want to dis-
View area above the Channel Scribble Strips.
play.
The onboard compressor controls are distrib- nel whose Dynamics controls you want to by-
uted across the Channel Scribble Strips as shown pass.
in Table 11. The second row of the table shows
the function of the Rotary Encoders, and the 3 Press the Master Bypass switch. The switch
bottom row of the table shows the function of flashes to indicate that the displayed compres-
the Channel Select switches in this view. sor is currently bypassed.
3 When you are finished setting the Dynamics

controls, return to Home View by pressing the
Pan switch in the Console View area.
Table 11. Compressor controls in Digi 002 Stand-alone mode
Display Inpt Thsh Rtio Atck Rels Knee Phas Outp
Rotary Input Threshold Compres- Attack Release Knee Type Phase Output
Encoder Gain sion Ratio Time Time Invert Gain
Channel Toggle Hard Toggle Nor-

Select and Soft mal and
Knee Invert

To display and edit the sends to the Reverb:
Working with Sends 1 Press the Send switch in the upper left-hand
In Stand-alone mode, each Input channel has corner of the Digi 002 unit, in the Console View
four fixed sends, with the first two dedicated to area.
the internal Delay and Reverb processing of
2 Press the Send B switch. The rotary encoders
Digi 002.
show the levels for the corresponding sends on
each track.
To display and edit the sends to the Delay:
3 Adjust the rotary encoders as desired to send
1 Press the Send switch in the upper left-hand
signal to the onboard Reverb.
corner of the Digi 002 unit, in the Console View
area. 4 Press the Master Fader switch, located to the
left of the Navigation and Transport section.
2 Press the Send A switch (located immediately
The stereo return tracks for Send B are named
below the Send switch you just pressed). The ro-
RvbL and RvbR.
tary encoders show the levels for the corre-
sponding sends on each track. 5 Adjust the fader volume for the return tracks.
3 Adjust the rotary encoders as desired to send 6 Press the Master Fader switch again to return
signal to the onboard Delay. to the previous view, or press the Pan switch to
return to Home View.
4 Press the Master Fader switch, located to the
left of the Navigation and Transport section.
The return track for Send A is named Dly.
5 Adjust the fader volume and pan position for

the return track.
6 Press the Master Fader switch again to return

to the previous view, or press the Pan switch to
return to Home View.
Delay Controls Reverb Controls
To access the controls for the onboard Delay: To access the controls for the onboard Reverb:
1 Press the Master Fader switch. 1 Press the Master Fader switch.
2 Press the Channel Select switch on the Delay 2 Press the Channel Select switch on either of
return channel. the Reverb return channels.
The onboard Delay controls are distributed The onboard Reverb controls are distributed
across the Channel Scribble Strips as shown in across the Channel Scribble Strips as shown in
Table 12. The first row of the table shows the Table 13. The table shows the function of the
function of the Rotary Encoders, and the bot- Rotary Encoders in this view.
tom row of the table shows the function of the
3 When you are finished setting the Reverb con-
Channel Select switches in this view.
trols, press the Escape key to return to the Mas-
3 When you are finished setting the Delay con- ter Fader view.
trols, press the Escape key to return to the Mas-
ter Fader view.
Table 12. Delay controls in Digi 002 Stand-alone mode
Display Time Fdbak LPF D —> R
Rotary Encoder Delay Time Feedback Low-pass Filter Delay Send to Reverb
Channel Select Pre/Post
Table 13. Reverb controls in Digi 002 Stand-alone mode
Display Room PDly LPF Smer Damp Diff Time
Rotary Room Pre-Delay Low-Pass Smear Damping Diffusion Reverb

Encoder Type Time Filter Decay
Time

8 Press the flashing Channel Select switch to
Storing Snapshots save the snapshot, or press the Escape switch
twice to cancel the operation and return to
Digi 002 allows you to store up to 24 stand-
Home View.
alone mix configurations and recall them at any
time. You can use snapshots to create mix tem-
To recall a snapshot:
plates or to capture a mix in progress.
1 Return to Home View by pressing the Pan
A 25th mix configuration, containing stand- switch in the upper left-hand corner of the Con-
alone system defaults, can be recalled, but can- sole View area.
not be modified or renamed.
2 Press F3 (Snapshot).
Snapshots store the following information for
3 Press the Channel Select switch under Load.
each input channel:
• Channel name 4 Turn the Rotary Encoder under the snapshot
• Channel fader position number to recall the desired snapshot. (Snap-
• Channel pan position shot #25 returns Digi 002 to its default settings.)
• EQ and compressor settings 5 Press the flashing Channel Select switch to

• Send levels load the snapshot, or press the Escape switch
twice to cancel the operation and return to
To store a snapshot of a mix configuration: Home View.
1 Arrange mixer controls, name channels, and

set effects controls as desired.
2 Return to Home View by pressing the Pan

switch in the upper left-hand corner of the Con-
sole View area.
3 Press F3 (Snapshot).
4 Press the Channel Select switch under Save.
5 Turn the Rotary Encoder under the snapshot

number to set the number (1–24).
6 Press the Left and Right Arrow keys in the

Navigation Section of Digi 002 to move the cur-
sor in the Scribble Strip display.
7 If you want to rename the snapshot, press the

Left and Right Arrow keys in the Navigation Sec-
tion, and turn the Rotary Encoder under the
snapshot number to change each character in
the snapshot name.
appendix a
Windows System Optimizations

(Windows Only
When installing Pro Tools on Windows XP,

there are many system variables that affect per- Advanced Settings
formance. If you have followed all the Windows
The following system optimizations may help
configuration instructions in Chapter 2, “Win-
Pro Tools perform better on some systems. It is
dows Configuration” and are still experiencing
recommended that you only try these optimiza-
problems, try the following troubleshooting
tions if necessary, as they may disable or ad-
suggestions.
versely affect the functionality of other pro-
Norton Ghost is highly recommended, as it grams on your system.
lets you save your system in a working state
Disabling Network Cards
and easily revert to that state should you ac-
cidentally disable anything that your com- If applicable, disable any networking cards
puter needs. (other than a 1394 “FireWire” card that you
might use to connect an external drive to your
For more information on Ghost, visit the Sy-
system).
mantec Web site (www.symantec.com)
To disable a network card:
Troubleshooting 1 Right-click My Computer and choose Man-

age.
Blue Screen at Startup 2 Under System Tools, select Device Manager.
If, after installing Pro Tools and QuickTime, 3 In the Device Manager window, double-click
your computer crashes with a blue screen, do Network adapters, then double-click the Net-
the following: work Adapter card you want to disable.
• Use Add/Remove Programs to uninstall
4 Under the General tab, choose “Do not use
Pro Tools.
this device (disable)” from the Device Usage
• Use Add/Remove Programs to uninstall pop-up menu, and click OK.
QuickTime.
5 Close the Computer Management window.
• Repeat the installation instructions in “In-
stalling Pro Tools LE” on page 11.
Appendix A: Windows System Optimizations (Windows Only 111

Processor Scheduling If you disable any of the following startup items,
do so carefully:
To Adjust Processor Scheduling Performance: • Portable media serial number (required for
1 Choose Start > Control Panel. applications that utilize a copy protection
key)
2 Launch System.
• Plug and play
3 Click the Advanced tab. • Event log
4 Under the Performance section, click the Set- • Cryptographic services
tings button. • DHCP Client, TCP/IP Net BIOS, and other
networking-related items (unless the com-
5 Select the Advanced tab.
puter has no network or internet connec-
6 Under the Processor scheduling section, select tion, in which case these items can be
the “Adjust for best performance of background disabled)
services” option.
Norton Ghost is highly recommended, as it
7 Under the Memory Usage section, select the lets you save your system in a working state
System cache option. and easily revert to that state should you ac-
8 Click OK twice. You will need to restart your cidentally disable anything that your com-
computer for the changes to take effect. puter needs.
For more information on Ghost, visit the Sy-

Startup Items
mantec Web site (www.symantec.com)
The fewer items in use by your computer, the
more resources are available for Pro Tools LE. To Disable System Startup Items:
Some startup applications may be consuming 1 From the Start menu, choose Run.
unnecessary CPU resources, and should be
2 Type “msconfig” and click OK. The System
turned off.
Configuration Utility opens.
3 Under the General tab, choose Selective

Startup.
4 Deselect Load Startup Items and click OK.
5 Click Restart to restart the computer.
6 After restarting your computer, a System Con-

figuration message dialog is displayed. Check to
see if Pro Tools performance has increased be-
fore you deselect the “don't show this message
again” option. If performance has not changed,
run “msconfig” and return your computer Selec-
tive Startup back to Normal Startup. Alterna-
tively, try disabling start up items and non-
essential processes individually.
appendix b
Digidesign ASIO Driver (Windows Only)
Introduction The ASIO Driver is not multi-client. Only

one application at a time can use the ASIO
The Digidesign ASIO Driver is a single-client Driver. Be sure to disable the Windows sys-
multichannel sound driver that allows third- tem sounds. It is also recommended that
party audio programs that support the ASIO you use a separate sound card for games or
standard to record and play back through the other general work.
following Digidesign audio interfaces:
• Pro Tools|HD audio interfaces
Check the Digidesign Web site
• Digi 002
(www.digidesign.com) for the latest third-
• Digi 002 Rack party drivers for Pro Tools hardware, as
• Mbox well as current known issues.
Full-duplex playback of 24- and 16-bit audio are

supported at sample rates up to 96 kHz, depend-
ing on your Digidesign hardware and ASIO pro- Compatible Software
gram used. This version of Digidesign ASIO Driver can be
used on Digidesign-qualified Pro Tools systems
The Digidesign ASIO Driver will provide up to
running on Windows XP.
18 channels of input and output, depending on
your Pro Tools hardware:
To use Digidesign ASIO Driver without
• Up to 8 channels of input and output with Pro Tools, use the stand-alone version of
Pro Tools|HD systems the Digidesign ASIO Driver. The stand-
• Up to 18 channels of input and output alone version of Digidesign ASIO Driver is
with Digi 002 and Digi 002 Rack available on the Digidesign Web site
• Up to 2 channels of input and output with (www.digidesign.com)
Mbox
For a list of ASIO Driver-compatible software,
see the compatibility page of the Digidesign
Web site (www.digidesign.com/compato).

provide support for hardware and software it
has tested and approved.
Appendix B: Digidesign ASIO Driver (Windows Only) 113

For a list of Digidesign hardware systems, Digi-
design-qualified computers, operating systems, Configuring ASIO Driver
and devices, and Digidesign-qualified third- Settings
party ASIO-compatible programs, refer to the
Configuring ASIO Driver settings is done in your
compatibility page of the Digidesign Web site
third party ASIO program. See your program’s
(www.digidesign.com/compato).
documentation. For example, with Propeller-
head Reason, click on the ASIO Control Panel.
Installing the ASIO Driver

Digidesign ASIO Driver is automatically in-
To use Digidesign ASIO Driver without

the Digidesign ASIO Driver. The stand-
alone version of Digidesign ASIO Driver is
ASIO Control Panel
available on the Digidesign Web site button
(www.digidesign.com)
Setup Example, using Propellerhead Reason

Removing the ASIO Driver
If you need to remove the ASIO Driver from ASIO Driver Control Panel
your computer, complete the following steps.
From the ASIO Driver Control Panel, you can
configure the ASIO Driver for your Pro Tools
To remove the ASIO Driver:
system.
1 Click Start.
2 Click Control Panel.
3 Double-click Add or Remove Programs.
4 From the Currently installed programs list, se-

lect Digidesign Pro Tools.

Digidesign ASIO Control Panel
6 Choose the Modify button.
7 Click Next.
8 Uncheck the ASIO Driver box.
9 Click Next.
10 When removal is complete, close the Add or

Remove Programs window.
The Digidesign ASIO Driver Control Panel can- In some ASIO-compatible audio programs, per-
not be accessed under the following circum- forming various tasks will interrupt the ASIO
stances: Driver and may result in clicks and pops in au-
• When Pro Tools is running. dio playback or recording. Choosing medium or
• When playing or recording in an audio large buffers (such as 256, 512, or 1024) can help
program that does not support the ASIO alleviate this problem.
Driver. Changing the Buffer Size for the ASIO Driver
• When using a third-party audio program does not affect the H/W Buffer Size settings in
that has an option to keep the ASIO Driver the Pro Tools Playback Engine dialog.
“open” even when you are not playing or
recording. (You must close the audio pro- Device
gram before you can open the ASIO Driver
Control Panel.) The Device Type will always be set to your in-
stalled Pro Tools hardware.
Buffer Size Control
Advanced Button
When you play a file from a client audio pro-
gram, the client program divides the file into lit- The Advanced button opens the Hardware Setup
tle chunks (buffers) and sends each of these to dialog for the Digidesign hardware that you are
the ASIO Driver. The ASIO Driver copies the cli- using.
ent program’s buffers to your Digidesign hard-
ware’s own buffers in a double-buffering
scheme. The Buffer Size control in this dialog
lets you to set the size of each of the two buffers
the ASIO Driver uses on Digidesign hardware.
You may select from the following buffer sizes
(depending on your Digidesign hardware):
• 128 samples
• 256 samples
• 512 samples
• 1024 samples
• 2048 samples
Small buffers have the advantage of low latency

in the record monitor path. (Latency is the time
delay between a signal entering the audio inputs
and leaving the outputs during recording.)
Larger buffers have the advantage of making the

Digidesign ASIO Driver more immune to audio
dropouts during playback and recording.
Appendix B: Digidesign ASIO Driver (Windows Only) 115

appendix c
Digidesign WaveDriver (Windows Only)
Introduction Check the Digidesign Web site

The Digidesign WaveDriver is a single-client, party drivers for Pro Tools hardware, as
multichannel sound driver that allows third- well as current known issues.
party audio programs that support the
WaveDriver MME (Multimedia Extensions)
standard to play back through the following
Digidesign audio interfaces:
Compatibility
• Pro Tools|HD audio interfaces This version of Digidesign WaveDriver can be
• Digi 002 used on Digidesign-qualified Pro Tools systems
running on Windows XP.
• Digi 002 Rack
• Mbox To use Digidesign WaveDriver without
Playback of 24- and 16-bit audio are supported
at sample rates of up to 48 kHz, as supported by
alone version of Digidesign WaveDriver is
the hardware and WaveDriver program used.
The Digidesign WaveDriver will provide 2 chan- (www.digidesign.com)
nels of output.
Compatible Software
The WaveDriver is not multi-client. Only
one application at a time can use the For a list of WaveDriver-compatible software,
WaveDriver. Be sure to disable the Win- see the compatibility page of the Digidesign
dows system sounds. It is also recom- Web site (www.digidesign.com/compato).
mended that you use a separate sound card
for games or other general work. For third-
party soft-synthesizer and samplers, use the
Digidesign ASIO Driver (refer to the ASIO
Driver Usage Guide).
Appendix C: Digidesign WaveDriver (Windows Only) 117

For a list of Digidesign hardware systems, Digi-
design-qualified computers, operating systems, Configuring WaveDriver for
and devices, and Digidesign-qualified third- QuickTime Player (Required
party WaveDriver-compatible programs, see the for Using iTunes)
compatibility page of the Digidesign Web site
(www.digidesign.com/compato). In order to let Digidesign hardware play back
through iTunes for Windows, you must config-
ure WaveDriver in the waveOut option of the
QuickTime Player SoundOut settings to wave-
Installing the WaveDriver Out.
Digidesign WaveDriver is automatically in-
stalled when you install Pro Tools. To configure WaveDriver as the iTunes default
device:
To use Digidesign WaveDriver without 1 Close all WaveDriver third-party applications
Pro Tools, use the stand-alone version of (including iTunes).
alone version of Digidesign WaveDriver is 2 Choose Start > Programs > QuickTime >
available on the Digidesign Web site QuickTime Player.

(www.digidesign.com) 3 In QuickTime Player, choose Edit > Prefer-
ences > QuickTime Preferences.
4 From the pop-up menu, choose Sound Out.

Removing the WaveDriver
5 From the Choose a device for playback pop-up
If you need to remove the WaveDriver from
menu, select the waveOut option (and the name
your computer, complete the following steps.
of your Digidesign device, if any).
1 Click Start.
6 Close QuickTime Player.
2 Click Control Panel.
7 Re-launch iTunes.
3 Double-click Add or Remove Programs.
You may also need to add iTunes to the
4 From the Currently installed programs list, se- WaveDriver Opt-In list. See “Adding Third
lect Digidesign Pro Tools. Party Applications to the WaveDriver Opt-
In List” on page 119.
6 Choose the Modify button.
7 Click Next.
8 Uncheck the WaveDriver box.
9 Click Next.
10 When removal is complete, close the Add or

Remove Programs window.
To configure WaveDriver for a third party
Configuring WaveDriver for WaveDriver application:
Windows Media Player and ■ In the third-party program, select the Digi-
Other Third-Party WaveDriver design audio interface as the preference for your
Programs playback hardware. Refer to your program’s doc-
umentation.
WaveDriver is configured in the Sounds and Au-
dio Devices Control Panel (for programs that You may also need to add your third party
use the Windows Sound Playback Default De- WaveDriver program to the WaveDriver
vice, such as Windows Media Player), or as a Opt-In list. See “Adding Third Party Appli-
preference for third-party WaveDriver pro- cations to the WaveDriver Opt-In List” on
grams. page 119.
To configure WaveDriver as the Windows Sound

Playback Default Device (for example, for
Windows Media Player):
Adding Third Party
Applications to the
1 Open the Sounds and Audio Devices Control
Panel.
WaveDriver Opt-In List
The Digidesign WaveDriver uses an Opt-In list
2 Click the Audio tab.
to control third party application access to the
3 Select the Digidesign audio interface in the Digidesign hardware. Some third party audio
Sound Playback default device lists. applications may not work with the WaveDriver
unless they are included in this Opt-In list.
4 Close the Control Panel. When you run Win-
dows Media Player, it automatically output to For the latest instructions for adding and remov-
your Digidesign hardware. ing applications to the WaveDriver Opt-In list,
refer to the Digidesign Web site (http://answer-
You may also need to add your third party
base.digidesign.com/detail.cfm?DID=27424).
WaveDriver program to the WaveDriver
Opt-In list. See “Adding Third Party Appli- Modifying the Digidesign WaveDriver Opt-
cations to the WaveDriver Opt-In List” on In list requires editing the Windows System
page 119. Registry. Because editing the Windows Reg-
istry is dangerous, and can result in prob-
lems if not done correctly, make sure to
carefully follow the instructions for adding
and removing applications.
Appendix C: Digidesign WaveDriver (Windows Only) 119

appendix d
Digidesign CoreAudio Driver

(Macintosh Only)
The Digidesign CoreAudio Driver will provide

Introduction up to 18 channels of input and output, depend-
ing on your Pro Tools hardware:
The Digidesign CoreAudio Driver is a multi-cli-
ent, multichannel sound driver that allows • Up to 8 channels of input and output with
CoreAudio compatible applications to record Pro Tools|HD systems
and play back through the following Digidesign • Up to 18 channels of input and output
audio interfaces. with Digi 002 and Digi 002 Rack
• Pro Tools|HD audio interfaces • Up to 2 channels of input and output with
• Digi 002 Mbox
• Digi 002 Rack For Pro Tools TDM systems with more than
• Mbox one card and multiple I/Os, only the pri-
mary I/O connected to the first (core) card
Full-duplex recording and playback of 24-bit au-
can be used with CoreAudio.
dio is supported at sample rates up to 96 kHz,
depending on your Digidesign hardware and
CoreAudio client application. Check the Digidesign Web site
party drivers for Pro Tools hardware, as
well as current known issues.
Appendix D: Digidesign CoreAudio Driver (Macintosh Only) 121

Compatible Software
What are the Limitations of
the Digidesign CoreAudio For a list of CoreAudio Driver-compatible soft-
ware, refer to the Digidesign Web site
Driver? (www.digidesign.com/compato).
The Digidesign CoreAudio Driver has the fol-
lowing limitations:
◆ Pro Tools is not a CoreAudio application and
therefore requires exclusive access to Digidesign
hardware. You cannot use CoreAudio applica- For a list of Digidesign hardware systems, Digi-
tions and Pro Tools at the same time. To use design-qualified computers, operating systems,
Pro Tools, make sure you quit any CoreAudio and devices, and Digidesign-qualified third-
applications before starting Pro Tools. To use a party CoreAudio-compatible applications, refer
CoreAudio application, make sure you quit to the compatibility page of the Digidesign Web
Pro Tools before starting any CoreAudio appli- site (www.digidesign.com/compato).
cation.
◆ The Digidesign CoreAudio Driver cannot be
used to preview sound files from the Finder. Installing the Digidesign
When a sound file is located in the Mac OS X CoreAudio Driver
navigation window, a QuickTime transport bar
is displayed next to it. The QuickTime transport The CoreAudio Driver is installed by default
bar lets you audition the sound file. The sound when you install Pro Tools.
will always play back though the Macintosh’s
built-in audio controller (through the Macin- Stand-Alone CoreAudio Driver Installer
tosh’s speaker or headphone jack). However, if
This version of Digidesign CoreAudio Driver can
you double-click a sound file, the QuickTime ap-
be installed on Digidesign-qualified Pro Tools
plication will launch, and can use the Digi-
systems running on Macintosh (for example, if
design CoreAudio Driver for playback.
the CoreAudio Driver was uninstalled), or it can
◆ The Digidesign CoreAudio Driver cannot be
be installed as a stand-alone driver on Macin-
used for playback of System Sounds. tosh systems that do not have Pro Tools in-
stalled.
For detailed information on installing and

Compatibility configuring CoreAudio Driver on systems
This version of Digidesign CoreAudio Driver can with or without Pro Tools, see the electronic
be used on Digidesign-qualified Pro Tools sys- pdf of the CoreAudio Usage Guide.
tems running on Macintosh, or it can be used as
a stand-alone driver on Digidesign-qualified
Macintosh systems that do not have Pro Tools
installed.
Digidesign CoreAudio Manager
Removing the CoreAudio
Driver Use Digidesign CoreAudio Manager to change
the CoreAudio Buffer Size setting, access the
To uninstall the Digidesign CoreAudio Driver: Hardware Setup dialog for your Digidesign hard-
ware and control volume and mute for the Core-
1 Power on your system.
Audio driver. Digidesign CoreAudio Manager
2 Do one of the following: also identifies your Digidesign hardware, the
• On the Pro Tools Installer CD, locate and supported number of Input and Output Chan-
double-click the Install CoreAudio file. nels and the number of attached clients (appli-
cations).
– or –
• From the Digidesign Web site, download, Digidesign CoreAudio Manager cannot be ac-
locate, and double-click the Install Core- cessed under the following circumstances:
Audio file. • When Pro Tools is running
3 In the Install CoreAudio window, select Un- • When another application is using Direct
install from the Custom Install pop-up menu. IO (such as the Ableton Live Digi Edition)
4 When the uninstall is complete, quit the The Digidesign CoreAudio Manager application
CoreAudio Installer. launches automatically when the first client ap-
plication accesses the CoreAudio driver. You can
prevent an application from accessing the Core-
Audio driver by holding down the Shift key just
Configuring the Digidesign before the application would access the Core-
CoreAudio Driver Audio driver, typically during launch of the ap-
plication. Certain applications (such as Apple
You can configure the Digidesign CoreAudio
Mail and iChat), do not access the CoreAudio
Driver using Digidesign CoreAudio Manager, or
application until they first play a sound, so you
from within most third-party CoreAudio-com-
will need to hold down the Shift key just prior to
patible client applications (such as BIAS Peak or
sound playback in order to “opt-out” of using
Logic Audio). Consult the manufacturer’s docu-
Digidesign hardware for playback.
mentation for more information. v
Some applications (such as Apple’s iTunes or

QuickTime Player), also require that you config-
ure either the Apple Sound Preferences or Apple
Audio MIDI Setup to use the Digidesign Core-
Audio Driver.
Figure 11. Digidesign CoreAudio Setup

Buffer Size 2 From the Buffer Size pop-up menu, select the
desired CoreAudio buffer size (in samples). Gen-
You may select from the following buffer sizes erally, smaller buffer sizes are preferable. How-
(depending on your Digidesign hardware): ever, if you experience any problems with
• 64 samples performance (such as clicks and pops during re-
• 128 samples cording or playback), try increasing the Core-
• 256 samples Audio Buffer Size setting. You can also change
• 512 samples the buffer size from within the client applica-
tion if it is the only client attached to the Core-
• 1024 samples
Audio driver. Once two or more clients are
• 2048 samples active, you will not be able to change the sample
Small buffers have the advantage of low latency rate or the buffer size.
in the record monitor path, but also are more
taxing on your computer’s CPU and could con- HW Setup Button
tribute to dropouts in your audio during record
The HW Setup button opens the Hardware
or playback. (Latency is the time delay between
Setup dialog for your Digidesign hardware. For
a signal entering the audio inputs and leaving
more information, refer to the Getting Started
the outputs during recording.)
Guide for your Pro Tools system or the Pro Tools
Larger buffers have the advantage of making the Reference Guide.
Digidesign CoreAudio Driver more immune to
audio dropouts during playback and recording, To configure Digidesign CoreAudio HW Setup:
but can cause a noticeable delay when monitor- 1 Launch Digidesign CoreAudio Manager (lo-
ing your inputs in the recording process. In cated in /Applications/Digidesign).
some CoreAudio-client applications, perform-
2 Click the HW Setup button to open the Hard-
ing various tasks will interrupt the CoreAudio
Driver and may result in clicks and pops in au- ware Setup dialog. The HW Setup button will
dio playback or recording. Choosing medium or only be available when no clients are using the
large buffers (such as 512 or 1024) can help alle- CoreAudio driver.
viate this problem.
Changing the Buffer Size for the Digidesign

CoreAudio Driver does not affect the H/W
Buffer Size settings in the Pro Tools Playback En-
gine dialog.
To configure Digidesign CoreAudio Hardware

Buffer Size:
1 Launch Digidesign CoreAudio Manager (lo- Hardware Setup dialog (Digi 002 shown)
cated in /Applications/Digidesign).
3 Configure the Hardware Setup dialog for your Use D-Control Stereo Routing (L/R to 1/5) En-
Digidesign hardware. If you have more than one able this option to configure the CoreAudio
audio interface connected to your Pro Tools driver to output through the D-Controls stan-
TDM system, be sure to select and configure dard stereo routing outputs 1 and 5.
only the primary audio interface connected to
the core card. Mirror Analog Outs 1 & 2 to Digital Outs (002
Only) When using Digi 002 or Digi 002 Rack, en-
For more information on the Hardware able this option to mirror the main outputs
Setup dialog, refer to your Getting Started through the digital outputs that are selected in
Guide or the Pro Tools Reference Guide. the HW Setup panel.
4 When you are finished, click OK to close the Connect Button

Hardware Setup dialog.
The Connect button is available when the Digi-
Prefs Button design CoreAudio Manager is launched and can-
not connect with the Digidesign hardware (such
The Prefs button opens the Digidesign Core- as when Pro Tools is launched and the hardware
Audio Manager Preferences dialog for the Man- is disconnected or disabled). Before trying to
ager application. There are several options avail- connect, make sure to quit Pro Tools and make
able for control and configuration of the sure that your hardware is connected and
Manager application. When finished setting turned on. You can then click on the Connect
these options, click OK to close the Digidesign button to acquire the hardware.
CoreAudio Manager Preferences windows.
If any application is launched prior to press-
ing the Connect button and you want that
application to use the CoreAudio driver for
playback, you will need to quit and re-
launch the application for it to connect
properly to the Digidesign CoreAudio Man-
ager.
Quit Button
Figure 12. Digidesign CoreAudio Manager
Use the Quit button to quit the Digidesign Core-
Hide Manager if Auto-Launched by Client Enable Audio Manger. Be sure to quit any client appli-
this option to hide the Manager panel after the cations before using the Quit button in the
first client application accesses the CoreAudio Manager. If any applications are currently at-
driver. To open the Manager panel, click on the tached to the Manager application when quit-
Digidesign CoreAudio Manager application icon ting, you may get an error message indicating
in the Dock. that the Digidesign hardware is no longer avail-
able. You may have to change the application’s
Auto-Quit Manager when Last Client Quits En-
preferences to use different hardware for play-
able this option to make the Manager applica-
back or possibly quit and relaunch the applica-
tion quit when there are no longer any clients
tion for proper playback to be resumed.
using the CoreAudio driver.

Configuring the Apple Sound 4 Click the Input tab and select Digidesign HW
Preferences or Apple Audio MIDI as the device for sound input.
Setup
To use your Digidesign hardware with common
CoreAudio-compatible playback applications
(such as Apple iTunes or QuickTime Player), you
will need to configure either Sound Preferences
or Audio MIDI Setup in addition to Digidesign
CoreAudio Setup. However, for most Core-
Audio-compatible client applications (such as
BIAS Peak or Cubase SX) this is unnecessary be-
cause you can configure the CoreAudio Buffer
Size setting, and input and output channels
from within the application.
Apple Sound Preferences

Sound Preferences, Input tab
To configure the Apple Sound Preferences: 5 Quit System Preferences.
1 Launch System Preferences (Apple menu >
System Preferences). Apple Audio MIDI Setup
2 Click Sound.
To configure the Apple Audio MIDI Setup:
3 Click the Output tab and select Digidesign
1 Launch Audio MIDI Setup (located in
HW as the device for sound output.
Home/Applications/Utilities).
2 Select the Audio Devices tab.
Sound Preferences, Output tab

Apple Audio MIDI Setup application, Audio tab
3 From the System Settings Default Input pop-
up menu, select Digidesign HW.
4 From the System Settings Default Output pop-

up menu, select Digidesign HW.
Leave System Output and Selected Audio

Device set to Built-in audio controller. The
Digidesign CoreAudio Driver cannot be
used for system sounds.

appendix e
Configuring Midi Studio Setup

(Windows Only)
MIDI Studio Setup Window

MIDI Studio Setup
The MIDI Studio Setup window is organized
MIDI Studio Setup (MSS) lets you configure the into three sections. Interface controls are at the
MIDI controllers and sound modules that are top of the window. All the currently defined in-
connected to your system, and control the rout- struments are displayed in the Instrument
ing of MIDI data between your MIDI equipment Name list on the left side of the window. A de-
and Pro Tools. tailed view of MIDI parameters is shown in the
Properties section on the right.
MSS automatically finds MIDI interfaces, and
lets you specify a custom name for each of the
MIDI ports within the MIDI Studio Setup docu-
ment.
MSS also supports XML-based patch file names

for storing and importing patch names for your
external MIDI devices.
Entire MIDI Studio Setup configurations created

within MSS can be imported and exported.
MIDI Studio Setup window
Interface Controls
Create This button adds a new instrument to
the Instrument Name list.
Delete This button deletes the instrument or in-

struments selected in the Instrument Name list.
Import This button lets you import an existing

MIDI Studio Setup file.
Export This button lets you export the current

MIDI Studio Setup file.
Appendix E: Configuring Midi Studio Setup (Windows Only) 129

Show Duplicate Emulated Ports If you are using To define an instrument with MIDI Studio Setup:
a MIDI interface that supports timestamping
1 Choose Setups > MIDI Studio Setup.
(such as MIDI I/O), when the Show Duplicate
Emulated Outputs option is selected, the MIDI 2 Click Create.
Studio Setup window shows both the Direct-
3 In the Instrument Name field, type the name
Music time-stamped output ports, and non-
of your instrument, and press enter.
stamped duplicate emulated output ports.
If you do not enter an instrument name, the
Some MIDI Interfaces will not properly load
Instrument Name field will automatically
or unload their drivers unless you quit and
inherit information from the Manufacturer
re-launch Pro Tools. Check the documenta-
and Model pop-up menu.
tion that came with your MIDI interface for
more information. 4 Set a manufacturer and model for the new de-
vice from the corresponding pop-up menus. If
Instrument List the Manufacturer and Model pop-up menus do
not provide a name for your particular device,
The Instrument list contains all the currently
choose None.
defined instruments. Selecting an instrument in
the list displays that instrument’s properties in 5 From the Input pop-up menu, choose the in-
the Properties section of the window. put port on your MIDI interface that is con-
nected to the MIDI Out of your instrument.
Properties Section
6 From the Output pop-up menu, choose the
The Properties section lets you edit information output port on your MIDI interface that is con-
for new instruments, or instrument currently se- nected to the MIDI In of your instrument.
lected in the Instrument list.
7 Enable the appropriate MIDI channels (1–16)
for the Send Channels and Receive Channels
options (These determine which channels send
and receive MIDI.)
Instrument Name
The Instrument Name field shows the user-de-

finable instrument name for the currently se-
lected instrument.
MIDI Studio Setup Properties section Manufacturer
When a previously defined instrument is se- The Manufacturer pop-up menu provides a list
lected in the Instrument list, the Properties sec- of MIDI equipment manufacturers. This list is
tion changes to reflect the properties of the se- derived from the XML-based MIDI device files.
lected instrument.
For more information, see “Patch Name
Support” on page 131.
130 Getting Started with Digi 002 and Digi 002 Rack
Model
Patch Name Support
The Model pop-up menu provides a list of MIDI
devices, filtered by the manufacturer name. This Pro Tools supports XML (Extensible Markup
list is derived from the XML-based MIDI device Language) for storing and importing patch
files provided with your Pro Tools installation. names for you external MIDI devices. Pro Tools
installs MIDI patch name files (.midnam) for the
For more information, see “Patch Name factory default patch names of many common
Support” on page 131. MIDI devices. These files reside in directories,
sorted by manufacturer, in Program Files\
Input Port Common Files\Digidesign\MIDI Patch Names\
The Input Port pop-up menu displays a list of Digidesign.
available MIDI interface input ports. The MIDI
interface port that is set and displayed here is To import MIDI patch names into Pro Tools:
the port through which MIDI data is sent from 1 Verify the MIDI Device name in the MIDI Stu-
the external MIDI device specified in the Instru- dio Setup window (Setups > MIDI Studio Setup).
ment Name field into your MIDI interface.
2 Verify the MIDI track’s output is correctly as-
If you set the input port to None, the defined signed to the MIDI device.
instrument will not appear as a choice in a
3 Click the MIDI track’s Program button.
MIDI Input Selector.
Output Port
The Output Port pop-up menu displays a list of

available MIDI interface output ports. The port
set and displayed here is the port through which Program button
MIDI data is sent from your MIDI interface to
the MIDI device specified in the Instrument
Name field.
Program button, Edit window
If you set the output port to None, the de-
fined instrument will not appear as a choice
in a MIDI Output Selector. Program button
Send Channels
The Send Channels grid sets the send channels

for the MIDI device specified in the Instrument
Name field.
Program button, Mix window
Receive Channels
The Receive Channels grid sets the receive chan-

nels for the MIDI device specified in the Instru-
ment Name field.
Appendix E: Configuring Midi Studio Setup (Windows Only) 131

4 In the Patch Select dialog, click the Change To clear patch names:
button.
■ In the Patch Select dialog, click the Clear but-
ton, and click Done.
MIDI patch name files (.midnam) can be

edited in any text editor, or you can use
third party patch librarian and editor soft-
ware to create your own custom patch
names.
Change button
Patch Select dialog
5 In the Open dialog, navigate to Program

Files\Common Files\Digidesign\MIDI Patch
Names\Digidesign\<name of manufacturer>,
and select the MIDI Patch Name file (.midnam)
for the MIDI device.
6 Click Open.
The Patch Select dialog is populated with patch

names and the Patch Name Bank pop-up menu
appears in the upper left hand corner of the win-
dow.
Patch Select dialog with patch names
Once patch names have been imported into

Pro Tools, they are available for that MIDI de-
vice in all sessions.
132 Getting Started with Digi 002 and Digi 002 Rack
appendix f
Configuring AMS (Mac OS X Only)
2 Click the MIDI Devices tab. AMS scans your

Audio MIDI Setup system for connected MIDI interfaces. If your
MIDI interface is properly connected, it appears
Pro Tools recognizes the ports on your MIDI in-
in the window with each of its ports numbered.
terface as generic ports. With Mac OS X, you use
Apple’s Audio MIDI Setup (AMS) utility to iden-
tify external MIDI devices connected to your
MIDI interface and configure your MIDI studio
for use with Pro Tools.
To configure your MIDI studio in AMS:

1 Launch Audio MIDI Setup (located in Applica-
tions/Utilities).
– or –
In Pro Tools, choose Setups > Edit MIDI Studio

Setup.
Audio MIDI Setup (MIDI Devices tab)
3 For any MIDI devices connected to the MIDI

interface, click Add Device. A new external de-
vice icon with the default MIDI keyboard image
will appear.
4 Drag the new device icon to a convenient lo-

cation within the window.
Appendix F: Configuring AMS (Mac OS X Only) 133

5 Connect the MIDI device to the MIDI inter- To configure an external MIDI device:
face by clicking the arrow for the appropriate
1 Select the external device icon and click Show
output port of the device and dragging a con-
Info (or double-click the new device icon).
nection or “cable” to the input arrow of the cor-
responding port of the MIDI interface.
External Device Icon
2 Select a manufacturer and model for the new

device from the corresponding pop-up menus.
(If the Manufacturer and Model pop-up menus
do not provide a name for your particular de-
Making MIDI input and output connections
vice, you can type a name.)
6 Click the arrow for the appropriate input port
of the device and drag a cable to the output ar-
row of the corresponding port of the MIDI inter-
face.
To remove a connection, select the cable and

press Delete. To delete all connections, click
Clear Cables.
Naming a new MIDI device
7 Repeat steps 3–6 for each MIDI device in your
MIDI setup. AMS refers to one or more files with the suf-
fix “.middev” in the directory Root/Li-
brary/Audio/MIDI Devices for Manufac-
turer and Model names. Pro Tools installs
two such files that contain information for
many commercially available MIDI devices,
“Legacy Devices.middev” and “Digidesign
Devices.middev.” If the Manufacturer or
Model names for any of your external MIDI
devices are not available in the AMS Manu-
facturer and Model pop-up menus, you can
add them by editing any of the current
.middev files in any text editor (such as
TextEdit).
3 Click the More Properties arrow to expand the 4 Click the device image. The window expands
dialog, then enable the appropriate MIDI chan- to show images for various MIDI devices (such
nels (1–16) for the Transmits and Receives op- as keyboards, modules, interfaces, and mixers).
tions. (These determine which channels the Select an icon for your device.
device will use to send and receive MIDI.)
Selecting a device icon

Enabling MIDI channels
To use your own custom icons, you can
place TIFF image files in /Library/
Audio/MIDI Devices/Generic/Images, and
they will appear as choices in the AMS de-
vice window.
5 Click OK.
The device names you enter appear as MIDI in-

put and output choices in Pro Tools.
Appendix F: Configuring AMS (Mac OS X Only) 135

4 In the Patch Select dialog, click the Change
Patch Name Support button.
Pro Tools supports XML (Extensible Markup

Language) for storing and importing patch
names for you external MIDI devices. Pro Tools
installs MIDI patch name files (.midnam) for the
factory default patch names of many common
MIDI devices. These files reside in directories,
sorted by manufacturer, in /Library/Audio/MIDI
Patch Names/Digidesign.
Change button
To import MIDI patch names into Pro Tools: Patch Select dialog
1 Verify the MIDI Device name in the Audio
5 In the Open dialog, navigate to /Library/Au-
MIDI Setup window (see “Audio MIDI Studio” dio/MIDI Patch Names/Digidesign/<name of
on page 133). manufacturer>, and select the MIDI Patch Name
2 Verify the MIDI track’s output is correctly as- file (.midnam) for the MIDI device.
signed to the MIDI device. 6 Click Open.
3 Click the MIDI track’s Program button.
The Patch Select dialog is populated with patch
names and the Patch Name Bank pop-up menu
appears in the upper left hand corner of the win-
dow.
Once patch names have been imported into

Program button Pro Tools, they are available for that MIDI de-
vice in all sessions.
Program button, Edit window To clear patch names:

■ In the Patch Select dialog, click the Clear but-
ton, and click Done.

Program button
MIDI patch name files (.midnam) can be
edited in any text editor, or you can use
third party patch librarian and editor soft-
ware to create your own custom patch
names.
Program button, Mix window
appendix g
Digi 002 Stand-Alone Block Diagram
The diagram on the following pages shows the

basic signal flow of Digi 002 in Stand-alone
mode.
The diagram shows the Digi 002 mixer divided

into two sections, with the first page showing
Input Channels 1–4, the second page showing
Input channels 5–8 and the Master Faders, Effect
Returns, and Outputs. The two sections share
the four send busses (A–D), the main stereo bus
(L–R), and the ADAT Optical output bus (ADAT
1–8).
This signal flow diagram is not a detailed

circuit diagram or wiring schematic. It is in-
tended to provide an overview of the mixer
functions of Digi 002 in Stand-alone mode
only.
Appendix G: Digi 002 Stand-Alone Block Diagram 137

INPUTS
1 2 3 4
LINE / INSTR IN
LINE / INSTR IN
LINE / INSTR IN
LINE / INSTR IN
PHANTOM
PHANTOM
DIGIDESIGN
POWER
POWER
MIC IN
MIC IN
MIC IN
MIC IN
DIGI 002
STAND-ALONE MODE
BLOCK DIAGRAM
PREAMP PREAMP PREAMP PREAMP

GAIN GAIN GAIN GAIN
HPF HPF HPF HPF
TO
ADAT OPTICAL
OUTPUTS 1–8
COMP COMP COMP COMP
EQ EQ EQ EQ
PRE-FADER PRE-FADER PRE-FADER PRE-FADER

SEND SEND SEND SEND
CHANNEL CHANNEL CHANNEL CHANNEL

FADER FADER FADER FADER
(POST-FADER SOLO
MUTE MUTE MUTE MUTE MUTES OTHER NON-SOLOED
CHANNELS)
POST-FADER POST-FADER POST-FADER POST-FADER

SEND SEND SEND SEND
PAN PAN PAN PAN
L TO MAIN L & ALT MAIN L
R TO MAIN R & ALT MAIN R
SEND A TO DELAY
SEND B TO REVERB
SEND C TO OUTPUT 7
SEND D TO OUTPUT 8
INPUTS
5 6 7 8
ALT SRC IN R
S/PDIF IN L/R
ALT SRC IN L
LINE IN
LINE IN
LINE IN
LINE IN
+4 / –10
+4 / –10
+4 / –10
+4 / –10
ALT SRC TO ALT SRC TO
7–8 MON
TO
ADAT OPTICAL
OUTPUTS 1–8
EQ EQ EQ EQ
TO HEADPHONE L
PRE-FADER PRE-FADER PRE-FADER PRE-FADER
SEND SEND SEND SEND TO HEADPHONE R
CHANNEL CHANNEL CHANNEL CHANNEL

FADER FADER FADER FADER
TO MONITOR L
MUTE MUTE MUTE MUTE
TO MONITOR R
POST-FADER POST-FADER POST-FADER POST-FADER

SEND SEND SEND SEND
MUTE
PAN PAN PAN PAN
MASTER FADERS
L TO MAIN L & ALT MAIN L
R TO MAIN R & ALT MAIN R

PAN
MUTE MUTE
SEND
EFFECTS RETURN
FADERS
SEND A DELAY
SEND B REVERB
SEND C TO OUTPUT 7
SEND D TO OUTPUT 8
Appendix G: Digi 002 Stand-Alone Block Diagram 139

index
Numerics C
32K clusters 18 channel controls
4-pin FireWire cable 11, 25 channel select switch 34
faders 34
mute switch 34
A
record ready switch 35
ADAT rotary encoders 35
connecting 66 scribble strip 35
recording from Pro Tools LE 83 solo switch 34
recording to Pro Tools LE 83
channel select switch 34, 103
adjusting Mic/Line input gain 81
channel strip controls
analog audio 61 Mute 90
analog devices, connecting 62 Pan 90
analog tape deck, connecting 66 Solo 90
ASIO driver 12, 113 Volume 90
audio Channel View 33, 38
editing 87 channels
importing 79 naming 103
routing 81, 90 click 72
Audio Regions List 76 Click plug-in
audio tracks 75, 76 Accented parameter 72
authorization code Unaccented parameter 72
Macintosh 25 Clock Source 17, 28
Windows 14 clock source 99
automation 93 changing 99
creating 93 cluster size 18
editing 94 connecting
Auxiliary Inputs 75, 76, 86, 90 a footswitch 86
analog devices 62
B digital devices 66
Bounce to Disk command 94 headphones 60
microphones 62
MIDI devices 67
speakers 60
to a mixdown recorder 66
to an ADAT 66
Console View 33, 37
CoreAudio Driver 23, 121
Index 141
D F
DAT recorder, connecting 66 fade files 69
defragmenting Fader Flip 36
Windows 19 faders 34
Delay 109 FAT32 18
Digi 002 FireWire 55
connecting 10 connecting devices 55
top panel 32 connection status 49
what’s included 1 footswitch 56
Digi 002 Rack
connecting 10
G
front panel 47
gain
digital 63
adjusting for Mic/Line inputs 81
digital audio
Grabber tool 88
ADAT format 63
S/PDIF format 63 Grid mode 87
digital devices, connecting 66
Disk Cleanup 19 H
DMA 8 hard drives
Dynamics 38 and Macintosh system drive 30
in Channel View 38, 104 and Windows system drive 19
in Stand-alone mode 96, 97 cluster size 18
FireWire 55
formatting 30
E maintenance 19
Edit mode buttons 87 storage space for audio 4
Edit modes 87 Windows maintenance 19
Grid 87 hardware installation 8
selecting 87 headphones
Shuffle 87 connecting 60
Slip 87 headroom 51
Spot 87
HFS 13
Edit tools 88
Hibernate 9
Grabber 88
Pencil 88 high-pass filter 82
Scrubber 88 Home View 33
Selector 88
Smart Tool 88
Trimmer 88
Zoomer 88
Edit window 70
editing 87
editing regions 88
EQ 38
in Channel View 38, 104
in Stand-alone mode 96, 97
external effects devices 63, 64
I modes
I/O Setup 17, 29 Counter mode 45
importing audio 79 Display mode 44
Flip mode 36
input controls 42, 48
Pro Tools mode 31
input levels 81 Stand-alone mode 31
inputs 42, 48, 53, 96 Standby 31
alternate inputs 42, 48 Status Mode 44
analog 53 modifier keys 43
digital 54, 98 Command 43
optical 55 Control 43
S/PDIF 54, 97 Option 43
inserts 38 Shift 43
in Channel View 38 monitor controls
plug-ins 93 level 43, 49
mono switch 43, 49
L mute 43, 49
latency for recording and monitoring 84 monitoring
Lightpipe 55 MIDI 86
line-level sources, connecting 62 monitoring latency 84
Link indicator 56 Mute button 90
Low Latency Monitoring 84 mute switch 34
M N
MacOpener 13 navigation controls 40
Master Faders 36, 75, 76, 92 NTFS 18
creating 92
memory locations 78, 79 O
defining 78 operating levels 51
recalling 78 outputs
Mic/Line high-pass filter 82 ADAT Optical 100
microphone 53 analog 54
microphones, connecting 62 digital 54, 100
MIDI in Stand-alone mode 96, 97
editing 87 S/PDIF 100
monitoring 86
MIDI click 72
MIDI connections 67
MIDI controls 72, 74
MIDI devices, connecting 67
MIDI Regions List 76
MIDI tracks 75, 76
recording with footswitch 87
mix automation 93
Mix window 70, 90
mixdown and connecting a recorder 66
mixing 90
Index 143
P returns 91
Pan slider 90 creating 91
Pan/Send controls 39 Reverb 109
in Channel View 39 rotary encoders 35
Pencil tool 88 rulers 71
phantom power 53
playback S
starting and stopping 74 Sample Rate 16, 27
Playback Engine dialog 73 sample rate 51
playlists 90 in Stand-alone mode 96
creating 90 scribble strip 35
Plug-Ins 39 Scrubber tool 88
in Channel View 39 Selector tool 88
plug-ins 92 sends 76, 91, 97
power assigning 91
Windows System Standby 9 in Stand-alone mode 96, 108
power amp and speakers, connecting 60 sends to external effects devices 64
Pro Tools LE sessions 69
capabilities 3 creating 69
installing, Windows 11 duplicating 73
main windows 70 navigating 77
software configuration 26 saving 69, 73
Pro Tools mode 31 saving copies of 73
Pro Tools Reference Guide 5 Shuffle mode 87
Program Change dialog 132, 136 Slip mode 87
punch-in recording with footswitch 86 Smart Tool 88
snapshots 110
Q recalling 110
QuickPunch recording 86 storing 110
QuickTime 12 Solo button 90
solo safe 102
disabling 102
R solo switch 34
record ready switch 35
speakers, connecting 60
recording
Spot mode 87
audio 82
Stand-alone mode 31, 95
audio tracks with QuickPunch 86
entering 98
from ADAT tracks 83
MIDI 85 Standby mode 31
MIDI tracks with footswitch 87 submixing 91
monitoring latency 84 System settings
to ADAT tracks 83 for Windows 8
regions 76 system settings 73
arranging 89 Clock Source 17, 28
creating 76 I/O Setup 17, 29
editing 88 Sample Rate 16, 27
trimming 88 System Usage window 74
T W
tempo 71 WaveDriver 12
setting 71 Windows
tempo events 71 required System settings 8
track height System Standby 9
changing 78 windows 70
tracks Edit window 70
audio 75, 76 Mix window 70, 90
Auxiliary Inputs 75, 76, 90 Transport window 70, 74
creating 75 Windows System Standby 9
Master Faders 75, 76, 92 Windows XP
MIDI 75, 76 maintenance 19
playing back audio 83 Word Clock 99
playing back MIDI 85 Workspace 70
recording audio 82
recording MIDI 85
types 75 Z
Transport zoom controls 41
MIDI controls 74 Zoom presets 79
transport controls 40 recalling 79
Transport window 70, 74 storing 79
Trimmer tool 88 Zoomer tool 88
Zooming 78
V
views
Channel View 33, 38, 45, 104
Console View 33, 37, 44, 101
Home View 33, 100
Master Fader View 101
Volume fader 90
Index 145

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Getting Started with

Digi 002 & Digi 002 Rack

Technical Support (USA)

Product Information (USA)

NOTE: This equipment has been tested and found to comply

Important Safety Instructions

Chapter 1. Welcome to Digi 002 and Digi 002 Rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter 2. Windows Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Chapter 4. Digi 002 Top Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Chapter 5. The Digi 002 Rack Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Chapter 6. Digi 002 and Digi 002 Rack Back Panels . . . . . . . . . . . . . . . . . . . . . . . . . . 51

vi Getting Started with Digi 002 & Digi 002 Rack

Chapter 8. Working with Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Chapter 9. Using Digi 002 as a Stand-Alone Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Appendix A. Windows System Optimizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Appendix C. Digidesign WaveDriver (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Appendix D. Digidesign CoreAudio Driver (Macintosh Only) . . . . . . . . . . . . . . . . . . . 121

Appendix E. Configuring Midi Studio Setup (Windows Only) . . . . . . . . . . . . . . . . . . . 129

Appendix F. Configuring AMS (Mac OS X Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Appendix G. Digi 002 Stand-Alone Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Welcome to Digi 002 and Digi 002 Rack

Welcome to Digi 002 and Digi 002 Rack, Digi-

Chapter 1: Welcome to Digi 002 and Digi 002 Rack 1

Control Surface Features • Dedicated three-band EQ available on input

2 Getting Started with Digi 002 & Digi 002 Rack

For a list of supported adapters, refer to the Digi-

Chapter 1: Welcome to Digi 002 and Digi 002 Rack 3

Table 2 lists the required disk space for certain

Table 2. Required hard drive space for audio tracks

1 mono track 5 MB 5.5 MB 7.5 MB 8.2 MB 10 MB 11 MB 15 MB 16.4 MB

1 stereo track 50 MB 55 MB 75 MB 83 MB 100 MB 110 MB 150 MB 164 MB

1 stereo track 600 MB 662 MB 900 MB 991 MB 1.2 GB 1.3 GB 1.8 GB 2 GB

32 mono tracks 9.4 GB 10.4 GB 14 GB 15.5 GB 18.8 GB 20.8 GB 28 GB 31 GB

4 Getting Started with Digi 002 & Digi 002 Rack

Chapter 1: Welcome to Digi 002 and Digi 002 Rack 5

6 Getting Started with Digi 002 & Digi 002 Rack

This chapter contains information for Windows

When connecting Digi 002 to your com-

Chapter 2: Windows Configuration 7

Recommended Configuration These instructions 2 Launch System.

Pro Tools LE. 4 Under Device Manager, choose Device Man-

Required Settings 7 For each device, set the Transfer Mode to

8 Repeat steps 5–7 for any additional IDE Chan-

9 Close the Computer Management window.

8 Getting Started with Digi 002 & Digi 002 Rack

5 Deselect “Use the following methods to

6 Click OK to save your settings and close the

Chapter 2: Windows Configuration 9

Before installing Pro Tools LE software and the

1 Plug the Digi 002 or Digi 002 Rack into a stan-

port, connect the FireWire hard drive to one

10 Getting Started with Digi 002 & Digi 002 Rack

puter supply stores. Maximum supported click Next.

Chapter 2: Windows Configuration 11

12 Getting Started with Digi 002 & Digi 002 Rack

5 Under Extension Mapping, select “Do not add

6 Click OK to quit the MacOpener Driver Pref-

Chapter 2: Windows Configuration 13

2 Enter the authorization code in the dialog