The Pro Tools Mix Window.
In Pro Tools, the mix window approximates the style and functions of an analog console. Just looking at it can give one a sense of its operation. There are mute and solo buttons, a fader, and even a segmented LED meter. There are many more functions available however that can make mixing digitally more efficient than its analog counterpart.
The mix window can be accessed by going to WINDOW>MIX or by hitting COMMAND + =
Inserts: When first opening the mix window there are five inserts labeled AE. There are five more inserts available by going to VIEW>INSERTS FJ.
The insert menus are where plugins are accessed. In a Pro Tools HD system there are two different types plugins available, RTAS and TDM.
RTAS: RTAS stands for; real time audio suite. These types of plugins use the computer’s CPU to handle prosessing tasks.
TDM: TDM stands for; time division multiplexing. These types of plugins use the onboard dsp of HD core and accel cards for processing tasks.
Sends: Just like on many mixing mixing consoles, the sends menu accesses the internal signal flow of Pro Tools. From here cue mixes can be created and aux faders can be fed with their own mix controls. Like the insert menus, there are an additional five sends that can be accessed by going to VIEW>SENDS FJ.
Input / Output Assignment. In a Pro Tools system it is completely possible to eliminate the need for an external patch bay. The inputs and outputs attached to an audio interface or AD/DA converters can be accessed directly from these buttons on the mix window. Virtual inputs and outputs can be accessed from here as well. They are labeled BUS assignments and can be used to feed AUX inputs and re route Pro Tools internally. Physical ins and outs are labeled INTERFACE and can be used for every normal physical signal routing scenario.
To change the way these ins and outs are labeled and where they are routed, one can go to SETTINGS>I/O.
Automation Mode Selection: This is where the different mix automation modes can be accessed. This topic will be covered later in the course.
Group Selection: When a set of tracks are grouped together, such as, a drum or vocal group, their mix, edit and view settings can be directly linked together. If a track needs to be added to a group, such as, a vocal overdub they can be added to existing groups via this drop down menu.
Groups can be easily created by selecting all of the tracks to be grouped and then holding COMMAND + G, or by going to TRACK>GROUP.
Pan Knob: The pan knob in the mix window works the same as it does in the analog world. Turning the knob to the left or right acts as a differential amplifier that applies less volume to either side of the stereo field. Stereo tracks have independent pan knobs that can be linked together to widen or collapse the stereo field.
Input only monitoring (Pro Tools HD only): The input only monitoring button lets one monitor the input signal passing through the interface or converter and not the audio after it comes back from pro tools. This is useful especially if the operator likes to compress or EQ to Pro Tools directly and needs to monitor the input signal, or if the operator needs to monitor the dry signal before being processed by plugins.
Solo / Mute: The solo and mute buttons are the same as their traditional analog counterparts. They can operate a bit differently in Pro Tools by using them in groups. When a set of tracks are grouped their mute and solo buttons are linked together. Additionally all of the tracks can be set to solo or mute simultaneously by holding the OPTION key and clicking any mute or solo button.
Record Enable: Arms the selected track to record. Like the solo and mute buttons they can be linked to groups and also be activated simultaneously by using the OPTION key.
Channel Fader: Works again, like an analog console. The only difference is, when you turn it up no noise is added to the signal unlike an analog system. It is interesting to note that when you go past 0db on an analog console an amplifier is usually activated; giving the user more gain. In a Pro Tools system however, the extra gain is not the result of amplification. It is actually a few extra reserved bits, which are saved in the event that more gain is needed.
They operate a bit differently by the fact that you can snap any fader instantaneously to 0db by holding the COMMAND key and clicking the fader. You can snap all faders to zero by holding COMMAND and OPTION and clicking on any fader.
LED Meter: In the Pro Tools world, most things operate to be as accurate and precise as possible. This is true of the LED meter as well, but it was actually designed to approximate an analog meter. It displays volume in VU (volume units) which are designed to display in the way the human ear perceives loudness. It also displays peaks with a red indicator at the top of the meter. The peaks can be set to disappear when a user clicks on them, or they can be set to hold for a few seconds by going to SETTINGS>PREFERENCES.
Channel Info Display: In its normal mode this little window displays the position of the channel fader. By holding COMMAND and clicking on it, peak info is displayed. Command clicking it again will display the latency created by plugins in samples.
Track Name: By double clicking this display, the track name window will appear and the name can be changed and comments can also be added. If the track name is too long Pro Tools will automatically abbreviate it. Bass Drum for example will become BssDrm.
Track Color: By double clicking the color tab, a color section window will appear. You can change the color of the tab that surrounds the track, or the entire channel can be colourised with varying degrees of saturation. Tracks can also be grouped by color.