DigiDesign 003 Family Getting Started Manual

reserved. This guide may not be duplicated in whole or in part without the express written consent of Digidesign. Avid, Digidesign, 003, and Pro Tools are either trademarks or registered trademarks of Avid Technology, Inc. in the US and other countries. All other trademarks contained herein are the property of their respective owners. Product features, specifications, system requirements, and availability are subject to change without notice. PN 9320-55964-00 REV A 1/07

Compliance Statement The model 003 and 003 Rack comply 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. DECLARATION OF CONFORMITY We, Digidesign,2001 Jumipero Serra Boulevard Daly City, CA 94014-3886, USA 650-731-6300 declare under our sole responsibility that the product 003 and 003 Rack complies with Part 15 of FCC Rules. Operation is subject to the following two conditions: (1) this 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 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. Any modifications to the unit, unless expressly approved by Digidesign, could void the user's authority to operate the equipment. Canadian Compliance Statement: This Class B digital apparatus complies with Canadian ICES- 003 Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada Australian Compliance CE Compliance Statement: Digidesign is authorized to apply the CE (Conformité Europénne) mark on this compliant equipment thereby declaring conformity to EMC Directive 89/336/EEC and Low Voltage Directive 73/23/EEC.

Canadian safety certification in accordance with the specifications of UL Standards: UL60065 7th /IEC 60065 7th and Canadian CAN/CSA C22.2 60065:03. Digidesign Inc., has been authorized to apply the appropriate UL & CUL mark on its compliant equipment. Warning Important Safety Instructions 1) Read these instructions. 2) Keep these instructions. 3) Heed all warnings. 4) Follow all instructions. 5) Do not use this apparatus near water. 6) Clean only with dry cloth. 7) Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions. 8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the 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. 10) Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11) Only use attachments/accessories specified by the manufacturer. 12) Unplug this apparatus during lightning storms or when unused for long periods of time. 13) Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

Windows Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Mac Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Chapter 2. Welcome to 003 and 003 Rack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 003 and 003 Rack Packages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 003 and 003 Rack Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Pro Tools LE Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Digidesign Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 About the Pro Tools Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 About www.digidesign.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Chapter 3. Windows Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Windows System Optimization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Connecting 003 or 003 Rack to the Computer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Connecting FireWire Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Installing Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Additional Software on the Pro Tools Installer Disc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Removing Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Chapter 4. Mac Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Mac System Optimization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Installing Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Additional Software on the Pro Tools Installer Disc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Connecting 003 or 003 Rack to the Computer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Connecting FireWire Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Removing Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

vi Chapter 5. Launching and Configuring Pro Tools LE. . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Launching Pro Tools LE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Configuring Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Chapter 6. 003 Top Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 003 Operating Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 003 Top Panel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Display Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Fader Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Console/Channel View Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Transport and Navigation Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Automation Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Modifiers Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Mic/DI Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Monitor Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Chapter 7. 003 Rack Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Mic/DI Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Monitor Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Status Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Chapter 8. 003 and 003 Rack Back Panels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Chapter 9. Making Studio Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Getting Sound In and Out of Your 003 or 003 Rack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Connecting a Microphone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Connecting Instruments to 003 or 003 Rack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Connecting Equipment with Digital Ins and Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Word Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Using External Effects Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Monitoring and Recording from Alternate Sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Recording from a Digital Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Connecting a Recorder for Mixdowns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Recording a Pro Tools Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Importing Audio from a CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Creating an Audio CD from a Pro Tools Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Recording MIDI in a Pro Tools Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Chapter 11. Pro Tools Mode with 003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Saving a Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Working in Console View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Working in Channel View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Display Options in Console and Channel View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Navigating and Editing Values in Entry Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Working with Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Assigning Pro Tools Paths (Input, Output, Sends, Inserts) . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Working with Output Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Navigating in the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 General Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Working With Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Controlling Track Display on the Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Working with Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 003 Top Panel Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Appendix A. Configuring MIDI Studio Setup (Windows Only) . . . . . . . . . . . . . . . . . . . 105 MIDI Studio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 MIDI Patch Name Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Appendix B. Configuring AMS (Mac OS X Only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Audio MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Patch Name Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

viii Appendix C. Utility Mode (003 Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Accessing Utility Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Viewing Firmware Version Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 LCD Display Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 LED Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Switch Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Encoder Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Fader Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Vegas Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 MIDI Test. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Audio Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Appendix D. Hard Drive Configuration and Maintenance. . . . . . . . . . . . . . . . . . . . . . . 119 Avoid Recording to the System Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Supported Drive Formats and Drive Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Formatting an Audio Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Partitioning Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Defragmenting an Audio Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Using Mac Drives on Windows Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Hard Disk Storage Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Appendix E. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Backing Up Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Common Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Performance Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Before You Call Digidesign Technical Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

1 chapter 1 Installation QuickStart Windows Installation Overview (Windows Systems Only) Installing 003™ or 003 Rack on a Windows computer includes the following steps: 1 “Windows System Optimization” on page 9. 2 “Connecting 003 or 003 Rack to the Com- puter” on page 12. 3 “Installing Pro Tools LE” on page 14. 4 Launching Pro Tools LE. (See Chapter 5, “Launching and Configuring Pro Tools LE.”) 5 Making audio and MIDI connections to 003 or 003 Rack. (See Chapter 9, “Making Studio Con- nections.”) Mac Installation Overview (Mac OS X Systems Only) Installing 003 or 003 Rack on a Mac includes the following steps: 1 “Mac System Optimization” on page 17. 2 “Installing Pro Tools LE” on page 19. 3 “Connecting 003 or 003 Rack to the Com- puter” on page 21. 4 Launching Pro Tools LE. (See Chapter 5, “Launching and Configuring Pro Tools LE.”) 5 Making audio and MIDI connections to 003 or 003 Rack. (See Chapter 9, “Making Studio Con- nections.”) When connecting 003 or 003 Rack to your computer the first time, your computer should be off. If your computer is on, power it down. Your authorization code is located on the in- side cover of this guide. When connecting 003 or 003 Rack to your computer the first time, your computer should be off. If your computer is on, power it down. Your authorization code is located on the in- side cover of this guide.

3 chapter 2 Welcome to 003 and 003 Rack Welcome to 003™ and 003 Rack, Digidesign’s cross-platform Pro Tools® workstations for mu- sic, sound design, and multimedia production. 003 and 003 Rack Packages The 003 and 003 Rack packages include the fol- lowing: • 003 or 003 Rack unit • Pro Tools Installer disc containing Pro Tools LE™ software and included Digi- Rack RTAS® (Real-Time AudioSuite™) and Au- dioSuite plug-ins, optional plug-ins which can be purchased, and electronic PDF guides • This Getting Started Guide, covering installa- tion, configuration, and common tasks for your Pro Tools system • FireWire cable, 6-pin to 6-pin, for connecting 003 or 003 Rack to a computer • AC power cable • Digidesign Registration Information Card 003 and 003 Rack Features Audio and MIDI Features The 003 and 003 Rack units provide the follow- ing input and output capacity: • Up to 18 channels of I/O • 8 analog audio inputs (4 with mic preamps), with A/D converters supporting up to 24-bit, 96 kHz audio: • 48V phantom power on mic preamps, swit- chable in channel pairs. • HPF (High-Pass Filter) switches for filtering out rumbles or AC hum below 75 Hz on In- puts 1–4. • Inputs 5–8 switchable between +4 dBu (for pro-level gear) and –10 dBV (for con- sumer-level gear). • Eight analog audio outputs, with D/A convert- ers supporting up to 24-bit, 96 kHz audio. • Main and Alternate Monitor Output pairs (+4 dBU) with a single level control. These outputs mirror Outputs 1–2 and provide di- rect connection to a monitoring system (such as a stereo power amp, powered speakers, or another stereo destination).

4 • Aux Input pair (+4 dBu) for direct monitoring of tape or CD input sources. • Two 1/4-inch stereo headphone outputs (Headphone 1 and 2) with level controls. Headphone 2 can monitor Main Outputs 1–2 like Headphone 1, or be switched to monitor Outputs 3–4 for a discrete cue mix. • Optical connectors for 8 channels of Optical (ADAT) I/O (supporting up to 48 kHz) or 2 channels of Optical S/PDIF I/O. • RCA connectors for 2 channels of S/PDIF dig- ital I/O supporting up to 24-bit, 96 kHz audio. • Word Clock In and Out ports, to receive or send 1x Word clock. • 1 MIDI In port and 2 MIDI Out ports, provid- ing up to 16 channels of MIDI input and up to 32 channels of MIDI output. • Footswitch jack for punching in and out while recording. • Monitor section with Mute switch and switches for routing input and output signals. Control Surface Features (003 Only) 003 provides an integrated control surface that includes the following: • Eight motorized touch-sensitive faders for controlling track volume and other parame- ters. Includes ability to disable faders during playback of automated mixes. • Dedicated Solo, Mute and Channel Se- lect/Record Arm switches. • Eight multifunction rotary encoders for oper- ating pan, send, and plug-in controls. • Fast and convenient access to sends, inserts, plug-in pages, pan settings, and other track functions. • Automation Mode switches for selecting and displaying Automation modes. • Large, bright LCD for data display. • Transport controls, plus Transport mode switches for loop playback, loop record, and QuickPunch. • Dual-concentric Jog/Shuttle wheel. • Save, Undo, and Enter switches. Memory Lo- cation switch for recalling Memory Locations or opening the Memory Location window. • Windows switches for Pro Tools display of plug-in, Mix, and Edit windows. • Navigation and Zoom controls. • MIDI mode switches for MIDI mapping. • Utility mode switch for testing 003.

5 Pro Tools LE Capabilities Pro Tools LE™ on Windows or Mac provides the following capabilities with 003 and 003 Rack: • Playback of up to 32 mono (or 16 stereo) digital audio tracks, or a combination of playback and recording up to 32 mono (or 16 stereo) digital audio tracks, depending on your computer’s capabilities • Up to 128 audio tracks (with 32 voiceable tracks maximum), 128 Auxiliary Input tracks, 64 Master Fader tracks, 256 MIDI tracks, and 32 Instrument tracks per session • 16-bit or 24-bit audio resolution, at sample rates up to 96 kHz • Non-destructive, random-access editing and mix automation • Audio processing with up to 5 RTAS plug-in inserts per track, depending on your com- puter’s capabilities • Up to 5 hardware inserts per track • Up to 10 sends per track • Up to 32 internal mix busses System Requirements 003 and 003 Rack can be used with a Digide- sign-qualified Windows or Mac computer run- ning Pro Tools LE software. For complete system requirements, visit the Digidesign website (www.digidesign.com). Compatibility Information Digidesign can only assure compatibility and provide support for hardware and software it has tested and approved. For a list of Digidesign-qualified computers, op- erating systems, MIDI interfaces, hard drives, and third-party devices, visit the Digidesign website (www.digidesign.com). MIDI Requirements 003 and 003 Rack include one MIDI In port and two MIDI Out ports, providing 16 channels of MIDI input and 32 channels of MIDI output. If you require additional MIDI ports, add a MIDI interface (such as a Digidesign MIDI I/O) to your system. Pro Tools LE uses your computer’s CPU to mix and process audio tracks (host process- ing). Computers with faster clock speeds yield higher track counts and more plug-in processing.

6 Hard Drive Requirements For optimal audio recording and playback, all Pro Tools systems require one or more Digide- sign-qualified drives. This is a separate physical drive from your internal system drive, and needs to meet the specifications listed on our website. For a list of qualified hard drives, visit the Digidesign website (www.digidesign.com). If you are using an ATA/IDE or FireWire hard drive, initialize your drive with Windows Disk Management (Windows) or the Disk Utility ap- plication included with Apple System software (Mac). Avoid Recording to the System Drive Recording to your system drive is not recom- mended. Recording and playback on a system drive may result in lower track counts and fewer plug-ins. Digidesign Registration Review the enclosed Digidesign Registration In- formation Card and follow the instructions on it to quickly register your purchase online. Regis- tering your purchase is the only way you can be eligible to receive complimentary technical sup- port and future upgrade offers. It is one of the most important steps you can take as a new user. About the Pro Tools Guides This Getting Started guide explains how to in- stall Pro Tools LE software, make basic connec- tions to your 003 or 003 Rack interface (to get sound in and out of your interface), and do com- mon tasks (such as recording in Pro Tools). In addition to any printed guides or documenta- tion included with your system, PDF versions of Pro Tools guides and read mes are installed auto- matically with Pro Tools. The main guides (such as the Pro Tools Reference Guide and the Pro Tools Menus Guide) are accessi- ble from the Pro Tools Help menu. • Pro Tools Reference Guide explains Pro Tools software in detail. • Pro Tools Menus Guide covers all the Pro Tools on-screen menus. • DigiRack Plug-Ins Guide explains how to use the RTAS and AudioSuite plug-ins included with Pro Tools. • Digidesign Plug-Ins Guide explains how to use optional Digidesign plug-ins. • Pro Tools Shortcuts lists keyboard and Right-click shortcuts for Pro Tools. These guides and other guides are installed on your startup drive during installation. To view or print PDF guides, you can use Adobe Reader or Apple Preview (Mac only). For more information, see Appendix D, “Hard Drive Configuration and Mainte- nance.” Digidesign does not recommend recording to the system drive. Record to a system drive only when necessary. Printed copies of the Pro Tools Reference Guide and other guides in the Pro Tools guide set can be purchased separately from the DigiStore (www.digidesign.com).

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

9 chapter 3 Windows Configuration This chapter contains information for Windows systems only. If you are installing Pro Tools on a Mac computer, see Chapter 4, “Mac Configura- tion.” Installation Overview Installing 003 or 003 Rack on a Windows com- puter includes the following steps: 1 “Windows System Optimization” on page 9. 2 “Connecting 003 or 003 Rack to the Com- puter” on page 12. 3 “Installing Pro Tools LE” on page 14. 4 Launching Pro Tools LE. (See Chapter 5, “Launching and Configuring Pro Tools LE.”) 5 Making audio and MIDI connections to 003 or 003 Rack. (See Chapter 9, “Making Studio Con- nections.”) Windows System Optimization Before configuring your computer, make sure you are logged in as an Administrator for the ac- count where you want to install Pro Tools. For details on Administrator privileges, see your Windows documentation. Required Optimizations To ensure optimum performance with Pro Tools LE, configure the following settings before you install Pro Tools hardware and soft- ware. Enabling DMA Enabling your computer's DMA (Direct Memory Access) frees up CPU bandwidth so your com- puter can do other Pro Tools tasks. In most cases the DMA option will already be set correctly, as Windows XP detects and activates DMA mode by default. To enable DMA for any IDE hard drives: 1 Choose Start > Control Panel. 2 In Classic View, launch System. 3 Click the Hardware tab. Before installing this version of Pro Tools, see the Read Me information included on the Pro Tools Installer disc. When connecting 003 or 003 Rack to your computer the first time, your computer should be off. If your computer is on, power it down. When you are finished changing Windows system settings, restart your computer.

10 4 Under Device Manager, choose Device Man- ager. 5 In the Device Manager window, double-click IDE ATA/ATAPI controllers, then double-click the Primary IDE Channel for your IDE hard drive. 6 Click the Advanced Settings tab. 7 For each device, set the Transfer Mode to “DMA if available,” and click OK. 8 Repeat steps 5–7 for any additional IDE Chan- nels. 9 Close the Computer Management window. Disabling System Standby and Power Management When using Pro Tools, the Windows System Standby power scheme must be set to Always On. This helps prevent long record or playback passes from stopping due to system resources powering down. To configure Windows Power Management: 1 Choose Start > Control Panel. 2 Double-click Power Options. 3 Click the Power Schemes tab. 4 From the Power Schemes pop-up menu, select Always On. 5 Click OK. This sets System Standby, System Hibernate, and “Turn off hard disks” to Never. Disabling ClearType Font Smoothing When using Pro Tools, the Effects “Clear Type” setting must be disabled. To disable ClearType font smoothing: 1 Choose Start > Control Panel. 2 Double-click Display. 3 Click the Appearance tab. 4 Click Effects. 5 Deselect “Use the following method to smooth edges of screen fonts.” 6 Click OK to save your settings and close the Ef- fects dialog. 7 Click OK. 8 Restart the computer. Recommended Optimizations Pro Tools can also be affected by other software and hardware drivers installed on your com- puter. For best possible performance, it is recom- mended (but not required) that you do the fol- lowing: • Avoid running any unneeded programs at the same time as Pro Tools. • Turn off any software utilities that run in the background, such as Windows Messen- ger, calendars, and disk maintenance pro- grams. • Turn off any non-essential USB devices while running Pro Tools. • If your video display card supports it, en- able Bus Mastering in the manufacturer’s Control Panel. See the manufacturer’s in- structions for details. On AMD processors, be sure to check and disable Cool N’Quiet in the System BIOS (in the Cool & Quiet Configuration section). See the manufacturer’s documentation for in- structions on disabling this power option, if necessary.

11 Optional Optimizations The following system optimizations may help Pro Tools perform better on some systems. It is recommended that you only try these optimiza- tions if necessary, as they may disable or ad- versely affect the functionality of other pro- grams on your system. Disabling Network Cards If applicable, disable any networking cards (other than a FireWire card, if you are using one to connect 003 or 003 Rack or any FireWire drives to your system). To disable a network card: 1 Right-click My Computer and choose Manage. 2 Under System Tools, select Device Manager. 3 In the Device Manager window, double-click Network adapters, then double-click the Net- work Adapter card you want to disable. 4 Under the General tab, choose “Do not use this device (disable)” from the Device Usage pop-up menu, and click OK. 5 Close the Computer Management window. Adjusting Processor Scheduling To adjust Processor Scheduling performance: 1 Choose Start > Control Panel. 2 In Classic View, double-click System. 3 Click the Advanced tab. 4 Under the Performance section, click the Set- tings button. 5 In the Performance Options window, click the Advanced tab. 6 Under the Processor Scheduling section, select the Background Services option. 7 Under the Memory Usage section, select the System cache option. 8 Click OK to close the Performance Options window. 9 Click OK to close the System Properties win- dow. 10 Restart the computer for the changes to take effect. Disabling Hyper-Threading When working with RTAS plug-ins, Pro Tools takes advantage of the added processing power of computers that have multiple processors, or that feature multi-core processing or Hyper- Threading. However, if you set the number of processors available for RTAS processing to 1 (in the Pro Tools Playback Engine dialog), some com- puters with Hyper-Threading capability may ex- perience decreased performance. If this occurs, you can increase the number of RTAS processors in the Playback Engine dialog, or you can disable Hyper-Threading on the com- puter. See your computer’s documentation for steps on how to enter the computer’s BIOS and disable Hyper-Threading.

12 Disabling System Startup Items The fewer items in use by your computer, the more resources are available for Pro Tools. Some startup applications may be consuming unnec- essary CPU resources, and can be turned off. If you disable any of the following startup items, do so carefully: • Portable media serial number (required for some applications that utilize a copy pro- tection key) • The Plug and Play service • Event log • Cryptographic services To Disable System Startup Items: 1 From the Start menu, choose Run. 2 Type “msconfig” and click OK. The System Configuration Utility opens. 3 Under the General tab, choose Selective Star- tup. 4 Deselect Load Startup Items and click OK. 5 Click Restart to restart the computer. 6 After restarting, the computer displays a Sys- tem Configuration message. Check to see if Pro Tools performance has increased before you deselect the “Don't show this message again” option. If performance has not changed, run “msconfig” and return your computer Selective Startup back to Normal Startup. Alternatively, try disabling Startup items and non-essential processes individually. Connecting 003 or 003 Rack to the Computer Before installing Pro Tools LE software, you need to connect 003 or 003 Rack to the com- puter. To connect 003 or 003 Rack to your computer: 1 Plug 003 or 003 Rack into a standard AC recep- tacle, using the AC power cable included with the unit. AC power is required to operate 003 and 003 Rack. 2 Locate the FireWire cable that came with your unit. 3 Plug one end of the FireWire cable into one of the ports marked “1394” on the back panel of the 003 or 003 Rack. Either port will work. When connecting 003 or 003 Rack to your computer the first time, your computer should be off. If your computer is on, power it down. Be sure to note the orientation of the FireWire cable connector when you insert it in your 003 or 003 Rack. It is possible to damage the FireWire port if you force the connector in upside down. If you are using a Windows laptop that has a 4-pin FireWire port (commonly labeled “1394”), see “4-Pin FireWire Cable” on page 13 for FireWire cable information. 003 and 003 Rack FireWire ports (back panel) FireWire ports

13 4 Do one of the following, depending on your system configuration: • Plug the other end of the FireWire cable into an available FireWire port on your computer. – or – • If your computer has only one FireWire port, plug the other end of the FireWire ca- ble into an available FireWire port on a FireWire hard drive connected to your computer. 4-Pin FireWire Cable 003 and 003 Rack include a 6-pin to 6-pin FireWire cable. Some Windows laptops include only a 4-pin FireWire port (commonly labeled “‘1394”). To use 003 or 003 Rack with these computers, a 4-pin to 6-pin cable is required. Purchase this cable (part number #9940-30779- 00) through your authorized Digidesign dealer or online through the DigiStore (www.digide- sign.com). Connecting FireWire Drives Connect FireWire hard drives directly to a FireWire port on your computer. The FireWire ports on 003 and 003 Rack do not pass audio data when they are powered off. If you daisy-chain FireWire devices from your computer, it is best to connect FireWire hard drives directly to your computer and not to 003 or 003 Rack. This will prevent hard drive errors and data loss in case 003 or 003 Rack is powered off. To connect a FireWire hard drive, do one of the following:  If your computer has more than one FireWire port, connect the FireWire hard drive to one FireWire port on the computer, and connect 003 or 003 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 computer and then connect 003 or 003 Rack to an available FireWire port on the drive. Connecting 003 to a FireWire port of an ex- ternal drive that is connected to a computer does not support maximum track count. For information on supported PCI/PCM- CIA/ExpressCard FireWire options, visit the Digidesign website (www.digidesign.com). This cable can also be purchased at com- puter supply stores. Maximum supported cable length for FireWire (IEEE-1394) is 14 feet (4.3 meters). Do not connect a FireWire hard drive to the second FireWire port on the back panel of 003 or 003 Rack. Connecting 003 to a FireWire port of an ex- ternal drive that is connected to a computer does not support maximum track count. For information on supported PCI/PCM- CIA/ExpressCard FireWire options, visit the Digidesign website (www.digidesign.com).

14 Connecting Other FireWire Devices to 003 or 003 Rack The second FireWire port on 003 or 003 Rack is available for daisy-chaining FireWire devices such as digital cameras or digital video record- ers. Even when it is powered off, 003 and 003 Rack supply power from the computer through its FireWire ports, letting you recharge batteries in connected FireWire devices. Installing Pro Tools LE To install Pro Tools LE: 1 Turn on unit. Press the Power switch on the back panel of the 003 or the front panel of the 003 Rack. After a short power-up sequence, the Monitor Mute switch illuminates to indicate the unit is on. 2 Start Windows, logging in with Administrator privileges. For details on Administrator privi- leges, see your Windows documentation. 3 Wait for the Found New Hardware Wizard di- alog to appear and leave it open: Do not click Next. 4 Insert the Pro Tools Installer disc for Windows in your DVD drive. 5 On the Installer disc, locate and open the Pro Tools Installer folder. 6 Double-click the Setup icon. 7 Follow the on-screen instructions to proceed with installation. 8 Select the install location. For maximum reli- ability, install Pro Tools on your startup drive. 9 Click Next. 10 Select the Pro Tools application for installa- tion. 11 You can also select from a list of optional items to install along with Pro Tools. Mac HFS+ Disk Support Option This option lets your Pro Tools system read, write, record, and play back using Mac-formatted HFS+ disks. HFS+ disks are commonly referred to as Mac OS Ex- tended disks. DigiTranslator DigiTranslator™ is a software op- tion for Pro Tools that lets you convert and ex- change OMF and AAF sequences and MXF files directly in the Pro Tools application. This op- tion is purchased separately. Command|8 Controller and Driver The Com- mand|8 Driver is required if you are using the Digidesign Command|8 control surface. MP3 Export Option The MP3 Export Option lets you export MP3 files from Pro Tools. This op- tion is purchased separately. 12 Click Next. 13 Click Install. Do not disconnect the FireWire connection to 003 or 003 Rack while the unit is pow- ered on. Connecting and disconnecting the FireWire cable after the unit is powered up can cause errors and may damage the unit. Be sure to power down all components of the system before disconnecting them. Windows will display several messages dur- ing installation that can be ignored, including multiple “Found New Hardware” dialogs and “A Problem Occurred During Hardware Installation.” If you get a warning dialog about the driver not passing Windows Logo testing, click Continue Anyway.

15 14 Wait for the installer to finish installing all software components, drivers, and PACE System files before proceeding to the next step. 15 When installation is complete, click Finish. Installing QuickTime A Digidesign-qualified version of QuickTime is required for Pro Tools if you plan to include movie files, or import MP3 or MP4 (AAC) files in your sessions. QuickTime for Windows XP is available as a free download from the Apple website (www.apple.com). To install QuickTime: 1 Visit www.apple.com and go to the Quick- Time page. 2 Download the QuickTime installer applica- tion to your computer. 3 Double-click the QuickTime installer applica- tion and follow the on-screen installation in- structions. 4 Restart your computer. Additional Software on the Pro Tools Installer Disc The Pro Tools Installer disc provides additional software for your system, including audio driv- ers (for playing other audio applications through your Digidesign hardware) and a Pro Tools demo session. Additional plug-in installers on the disc are paid options. You can download trial activations of these plug-ins from the Digidesign website (www.digidesign.com) if you have an iLok USB Smart Key and iLok.com account. Windows Audio Drivers The Digidesign ASIO Driver and WaveDriver Windows System Audio Driver let you use your 003 or 003 Rack hardware interface with third- party applications that support the ASIO Driver or WaveDriver MME (Multimedia Extension). The Digidesign ASIO Driver and WaveDriver for 003 and 003 Rack are automatically installed when you install Pro Tools. Digidesign ASIO Driver The Digidesign ASIO (Audio Sound Input Out- put) Driver is a single-client multichannel sound driver that allows third-party audio pro- grams that support the ASIO standard to record and play back through Digidesign hardware. For information on which version of QuickTime is compatible with your ver- sion of Pro Tools, visit the compatibility pages of the Digidesign website (www.digidesign.com). The Pro Tools Installer disc includes addi- tional software for your system. For more in- formation, see “Additional Software on the Pro Tools Installer Disc” on page 15. For detailed information on configuring the Digidesign ASIO Driver, see the Windows Audio Drivers Guide.

16 Digidesign WaveDriver The Digidesign WaveDriver Windows System Audio Driver is a single-client, stereo sound driver that allows third-party audio programs that support the WaveDriver MME (Multimedia Extension) standard to play back through Digidesign hardware. Standalone Digidesign ASIO Driver Digidesign Windows Audio Drivers can be in- stalled on Windows systems that do not have Pro Tools software installed. Use the standalone version of the Digidesign Windows Audio Driv- ers installer (Digidesign Audio Drivers Setup.exe), which is available on the Pro Tools Installer disc. Pro Tools Demo Session The Pro Tools LE Installer disc includes a demo session that you can use to verify that your sys- tem is working. To install the demo session: 1 Insert the Pro Tools LE Installer disc into your DVD drive. 2 From your DVD drive, locate and open the Ad- ditional Files/Pro Tools LE Demo Session In- staller folder. 3 Double-click Setup.exe. 4 Select your audio drive as the install location and click Install. 5 When installation is complete, click OK. Removing Pro Tools LE If you need to remove Pro Tools LE software from your computer, you can use the Add or Re- move Programs command. To remove Pro Tools from your computer: 1 Choose Start > Control Panel. 2 Double-click Add or Remove Programs. 3 From the Currently Installed Programs list, se- lect Digidesign Pro Tools LE. 4 Click the Change/Remove button. 5 Follow the on-screen instructions to remove Pro Tools LE. For detailed information on configuring the Digidesign WaveDriver, see the Windows Audio Drivers Guide. For information on installing and configur- ing the standalone version of the Digidesign Windows Audio Drivers, see the Windows Audio Drivers Guide. Before installing the demo session to your audio drive, make sure the drive is config- ured as described in “Formatting an Audio Drive” on page 120.

17 chapter 4 Mac Configuration This chapter contains information for Mac sys- tems only. If you are installing Pro Tools on a Windows computer, see Chapter 3, “Windows Configuration.” Installation Overview Installing 003 or 003 Rack on a Mac includes the following steps: 1 “Mac System Optimization” on page 17. 2 “Installing Pro Tools LE” on page 19. 3 “Connecting 003 or 003 Rack to the Com- puter” on page 21. 4 Launching Pro Tools LE. (See Chapter 5, “Launching and Configuring Pro Tools LE.”) 5 Making audio and MIDI connections to 003 or 003 Rack. (See Chapter 9, “Making Studio Con- nections.”) Mac System Optimization To ensure optimum performance with Pro Tools LE, configure your computer before installing Pro Tools software. Before configuring your computer, make sure you are logged in as an Administrator for the ac- count where you want to install Pro Tools. For details on Administrator privileges in Mac OS X, see your Apple OS X documentation. Before installing this version of Pro Tools, see the Read Me information included on the Pro Tools Installer disc. When connecting 003 or 003 Rack to your computer the first time, your computer should be off. If your computer is on, power it down. Do not use the Mac OS X automatic Software Update feature, as it may upgrade your system to a version of Mac OS that has not yet been qualified for Pro Tools. For details on qualified versions of Mac OS, see the latest compatibility information on the Digidesign website (www.digidesign.com).

18 Turning Off Software Update To turn off the Software Update feature: 1 Choose System Preferences from the Apple menu and click Software Update. 2 Click Update Software and deselect Check for Updates. Turning Off Energy Saver To turn off the Energy Saver feature: 1 Choose System Preferences from the Apple menu and click Energy Saver. 2 Click Sleep and do the following: • Set the computer sleep setting to Never. • Set the display sleep setting to Never. • Deselect “Put the hard disk(s) to sleep when possible” option. Setting Processor Performance (Mac G5 Computers and G4 Powerbooks Only) To set the Processor Performance: 1 Choose System Preferences from the Apple menu and click Energy Saver. 2 Click Options and set Processor Performance to Highest. Disabling Spotlight Indexing The Mac OS X Spotlight feature indexes files and folders in the background, affecting system per- formance. It is recommended that you disable Spotlight indexing before using Pro Tools. To disable Spotlight indexing: 1 Choose System Preferences from the Apple menu and click Spotlight. 2 In the Spotlight window, click Privacy. 3 To prevent indexing of a drive, drag its icon from the desktop into the list. Disabling the Spotlight Shortcuts The Mac OS X Spotlight feature uses the same key commands Pro Tools uses to start recording (Command+Spacebar), and to record online (Command+Option+Spacebar). If you want to retain use of these key commands in Pro Tools, these shortcuts must be disabled. To disable the Spotlight keyboard shortcut: 1 Choose System Preferences from the Apple menu and click Spotlight. 2 Deselect “Spotlight menu keyboard shortcut” and “Spotlight window keyboard shortcut.” Disabling the Dashboard Shortcut The Mac OS X Dashboard feature uses the same key command Pro Tools uses to start recording (F12). If you want to retain use of this key com- mand in Pro Tools, this shortcut must be dis- abled. To disable the Dashboard keyboard shortcut: 1 Choose System Preferences from the Apple menu and click Dashboard and Exposé. 2 Set the Dashboard keyboard shortcut to “–” to disable the shortcut. Disabling Spotlight indexing will cause the Find function in Mac OS X to no longer work. You will no longer be able to search for files on drives set to private.

19 Enabling Journaling for Audio Drives To yield higher performance from audio drives, enable journaling. To enable journaling: 1 Launch the Disk Utility application, located in Applications/Utilities. 2 Select the volume in the left column of the Disk Utility window. 3 Click Enable Journaling in the toolbar. Installing Pro Tools LE After the Apple System software settings are con- figured, you are ready to install Pro Tools LE. To install Pro Tools LE: 1 Make sure you are logged in as an Administra- tor for the account where you want to install Pro Tools. 2 Insert the Pro Tools LE Installer disc in your DVD drive. 3 On the Installer disc, locate and double-click “Install Pro Tools LE.” 4 Follow the on-screen instructions to proceed with installation. 5 Select the install location. For maximum reli- ability, install Pro Tools on your startup drive. 6 Click Continue. 7 Select the Pro Tools application for installa- tion. 8 You can also select from a list of optional items to install along with Pro Tools: DigiTranslator DigiTranslator™ is a software op- tion for Pro Tools that lets you convert and ex- change OMF and AAF sequences and MXF files directly in the Pro Tools application. This op- tion is purchased separately. MIDI I/O Driver The MIDI I/O Driver is required if you are using the Digidesign MIDI I/O. MP3 Export Option The MP3 Export Option lets you export MP3 files from Pro Tools. This op- tion is purchased separately. 9 Click Install. 10 If prompted, enter your Administrator pass- word and click OK to authenticate the installa- tion. 11 Follow the remaining on-screen instructions. 12 When installation is complete, click Restart. Additional Software on the Pro Tools Installer Disc The Pro Tools Installer disc provides additional software for your system, including audio driv- ers for playing other audio applications through your Digidesign hardware and a Pro Tools demo session. Additional plug-in installers on the disc are paid options. You can download trial activations of these plug-ins from the Digidesign website (www.digidesign.com) if you have an iLok USB Smart Key and iLok.com account. For details on Administrator privileges in Mac OS X, see your Apple OS X documen- tation. The Pro Tools Installer disc includes addi- tional software for your system. For more in- formation, see “Additional Software on the Pro Tools Installer Disc” on page 19.

20 Digidesign CoreAudio Driver The Digidesign CoreAudio Driver is a multi-cli- ent, multichannel sound driver that allows CoreAudio-compatible applications to record and play back through Digidesign hardware. The CoreAudio Driver is installed by default when you install Pro Tools. Standalone CoreAudio Driver The Digidesign CoreAudio Driver can be in- stalled as a standalone driver on Mac systems that do not have Pro Tools software installed. The standalone version can be installed using the Pro Tools installer or downloaded from the Digidesign website (www.digidesign.com). To install the Standalone CoreAudio Driver from the Pro Tools Installer disc: 1 Make sure you are logged in as an Administra- tor for the account where you want to install Pro Tools. For details on Administrator privi- leges in Mac OS X, see your Apple Mac OS X documentation. 2 Insert the Pro Tools LE Installer disc in your DVD drive. 3 On the Installer disc, locate and double-click “Install Pro Tools LE.” 4 Follow the on-screen instructions to proceed with installation. 5 Select the install location. For maximum reli- ability, install Pro Tools on your startup drive. 6 Click Continue. 7 Select the CoreAudio Driver and deselect the Pro Tools application and other options. 8 Click Install. 9 If prompted, enter your Administrator pass- word and click OK to authenticate installation. 10 Follow the remaining on-screen instructions. 11 When installation is complete, click Restart. Pro Tools Demo Session The Pro Tools Installer disc includes a separate demo session installer. You can use this session to verify that your system is working. To install the demo session: 1 Insert the Pro Tools LE Installer disc in your DVD drive. Locate and double-click the demo session installer icon. 2 Select your audio drive as the install location and click Install. 3 When installation is complete, click Quit. The Digidesign CoreAudio Driver is multi-client with third party applications only. It cannot be used with other applica- tions when Pro Tools is launched with 003 or 003 Rack. For information on configuring the Digide- sign CoreAudio Driver, see the Digidesign CoreAudio Guide. If Pro Tools was uninstalled, CoreAudio Driver was automatically uninstalled at that time. For information on configuring the standa- lone version of the Digidesign CoreAudio Driver, see the CoreAudio Drivers Guide.

21 Connecting 003 or 003 Rack to the Computer After installing Pro Tools LE software, connect 003 or 003 Rack to the computer before launch- ing Pro Tools LE. To connect 003 or 003 Rack to your computer: 1 If your computer is on, power it down. 2 Plug 003 or 003 Rack into a standard AC recep- tacle, using the AC power cable included with the unit. AC power is required to operate 003 and 003 Rack. 3 Locate the FireWire cable that came with your unit. 4 Plug one end of the FireWire cable into one of the ports marked “1394” on the back panel of the 003 or 003 Rack. Either port will work. 5 Do one of the following, depending on your system configuration: • Plug the other end of the FireWire cable into an available FireWire port on your computer. – or – • If your computer has only one FireWire port, plug the other end of the FireWire ca- ble into an available FireWire port on a FireWire hard drive connected to your computer. Connecting FireWire Drives Connect FireWire hard drives directly to a FireWire port on your computer. The FireWire ports on 003 and 003 Rack do not pass audio data when they are powered off. If you daisy-chain FireWire devices from your computer, it is best to connect FireWire hard drives directly to your computer and not to 003 or 003 Rack. This will prevent hard drive errors and data loss in case 003 or 003 Rack is powered off. Be sure to note the orientation of the FireWire cable connector when you insert it in your 003 or 003 Rack. It is possible to damage the FireWire port if you force the connector in upside down. 003 and 003 Rack FireWire ports (back panel) FireWire ports Connecting 003 to a FireWire port of an ex- ternal drive that is connected to a computer does not support maximum track count. For information on supported PCI/PCM- CIA/ExpressCard FireWire options, visit the Digidesign website (www.digidesign.com). Do not connect a FireWire hard drive to the second FireWire port on the back panel of 003 or 003 Rack. To yield higher performance from audio drives, enable journaling. See “Enabling Journaling for Audio Drives” on page 19.

22 To connect a FireWire hard drive, do one of the following:  If your computer has more than one FireWire port, connect the FireWire hard drive to one FireWire port on the computer, and connect 003 or 003 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 computer and then connect 003 or 003 Rack to an available FireWire port on the drive. Connecting Other FireWire Devices to 003 or 003 Rack The second FireWire port on 003 or 003 Rack is available for daisy-chaining FireWire devices such as digital cameras or digital video record- ers. Even when it is powered off, 003 and 003 Rack supply power from the computer through its FireWire ports, letting you recharge batteries in connected FireWire devices. Removing Pro Tools If you need to remove Pro Tools software from your computer, use the Uninstaller application. To remove Pro Tools from your computer: 1 Make sure you are logged in as an Administra- tor for the account where Pro Tools is installed. 2 Go to Applications/Digidesign/Pro Tools/ Pro Tools Utilities and double-click the “Uninstall Pro Tools” file. 3 Click Continue to proceed with the uninstall. 4 Choose the type of uninstall you want to per- form: Safe Uninstall Leaves certain plug-ins and sys- tem files needed for compatibility with some Avid products. Use Safe Uninstall if you are us- ing an Avid application or preparing to update to a .cs release. Clean Uninstall Removes all Pro Tools files, in- cluding system files, Digidesign plug-ins, and MIDI patch names. Use Clean Uninstall when- ever you are preparing to upgrade, or to trouble- shoot from a clean system. 5 Click Uninstall. 6 Enter your Administrator password and click OK. 7 Click Finish to close the Installer window. Connecting 003 to a FireWire port of an ex- ternal drive that is connected to a computer does not support maximum track count. For information on supported PCI/PCM- CIA/ExpressCard FireWire options, visit the Digidesign website (www.digidesign.com). For details on Administrator privileges in Mac OS X, see your Apple OS X documen- tation.

23 chapter 5 Launching and Configuring Pro Tools LE After you have connected your system and in- stalled Pro Tools LE software, you are ready to launch and configure Pro Tools LE. Starting Up or Shutting Down Your System To ensure that the components of your Pro Tools system communicate properly with each other, you need to start them in a particu- lar order. Start up your Pro Tools system in this order: 1 Lower the volume of all output devices in your system. 2 Turn on any external hard drives. Wait ap- proximately ten seconds for them to spin up to speed. 3 Turn on any MIDI interfaces, MIDI devices, or synchronization peripherals. 4 Turn on the 003 or 003 Rack. 5 Turn on your computer. 6 Launch Pro Tools or any third-party audio or MIDI applications. Shut down your Pro Tools system in this order: 1 Quit Pro Tools and any other running applica- tions. 2 Turn off or lower the volume of all output de- vices in your system. 3 Turn off your computer. 4 Turn off the 003 or 003 RAck. 5 Turn off any MIDI interfaces, MIDI devices, or synchronization peripherals. 6 Turn off any external hard drives. For more information on launching Pro Tools, see “Launching Pro Tools LE” on page 24. To quit Pro Tools, choose File > Exit (Windows) or Pro Tools > Quit (Mac).

24 Launching Pro Tools LE When launching Pro Tools LE the first time, you are prompted to enter an authorization code to validate your software. To authorize Pro Tools LE software: 1 Make sure 003 or 003 Rack is connected to your computer and powered on. 2 Do one of the following: • Double-click the Pro Tools LE shortcut on the desktop (Windows) or click the Pro Tools LE icon in the Dock (Mac). – or – • Locate and double-click the Pro Tools LE application on your hard drive. 3 Enter the authorization code in the dialog (making sure to type it exactly as printed, and observing any spaces and capitalization), then click Validate. Your authorization code is located on the inside cover of this guide. Updating 003 or 003 Rack Firmware When you launch Pro Tools software, it auto- matically checks the version of the unit’s firm- ware, and prompts you to update it if a newer version is available. If you update your unit’s firmware, let the up- date complete before disconnecting or turning off your system. When a firmware update completes, Pro Tools quits, and you must relaunch Pro Tools. If during the update process you get a message that Pro Tools cannot communicate with 003 or 003 Rack, wait up to 30 seconds for the message to close. If the message does not go away, power off 003 or 003 Rack and then power it on again. 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- 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. If you get a warning dialog about updating the firmware for your hardware, follow the on-screen instructions to perform the firmware update. See “Updating 003 or 003 Rack Firmware” on page 24.

25 Hardware Buffer Size The Hardware Buffer Size (H/W Buffer Size) con- trols the size of the buffer used to handle host processing tasks such as Real-Time AudioSuite (RTAS) plug-ins. The H/W Buffer setting can also be used to manage monitoring latency.  Lower Hardware Buffer Size settings reduce monitoring latency, and are useful when you are recording live input.  Higher Hardware Buffer Size settings allow for more audio processing and effects, and are use- ful when you are mixing and using more RTAS plug-ins. To change the Hardware Buffer Size: 1 Choose Setup > Playback Engine. 2 From the H/W Buffer Size pop-up menu, select the audio buffer size, in samples. 3 Click OK. RTAS Processors The RTAS Processors setting determines the number of processors in your computer allo- cated for RTAS plug-in processing. With computers that have multiple processors, or that feature multi-core processing or hyper- threading, this setting lets you enable multi-pro- cessor support for RTAS processes. Used in com- bination with the CPU Usage Limit setting, the RTAS Processors setting lets you control the way RTAS processing and other Pro Tools tasks are carried out by the system.  A higher number of processors reserves more CPU processing capacity for RTAS plug-in pro- cessing. This is useful for sessions with large numbers of RTAS plug-ins.  A lower number of processors leaves more CPU processing capacity for automation, screen redraws, and video playback in Pro Tools, or for other applications running at the same time as Pro Tools. To set the number of RTAS Processors: 1 Choose Setup > Playback Engine. 2 From the RTAS Processors pop-up menu, se- lect the number of available processors you want to allocate for RTAS plug-in processing. 3 Click OK. In addition to causing slower screen response and monitoring latency, higher Hardware Buffer Size settings can increase the latency caused by RTAS plug-ins, and affect the accuracy of plug-in automation, mute data, and MIDI track timing. Playback Engine dialog

26 CPU Usage Limit The CPU Usage Limit controls the percentage of CPU resources allocated to Pro Tools host pro- cessing tasks. Used in combination with the RTAS Processors setting, the CPU Usage Limit setting lets you control the way Pro Tools tasks are carried out by the system.  Lower CPU Usage Limit settings limit the ef- fect of Pro Tools processing on other CPU-inten- sive tasks, such as screen redraws, and are useful when you are experiencing slow system re- sponse, or when running other applications at the same time as Pro Tools.  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. The maximum available CPU Usage Limit de- pends on the number of processors in your com- puter and on the number of processors you spec- ify for RTAS processing. This value can range from 85 percent for single-processor computers to 99 percent for multi-processor computers. To change the CPU Usage Limit: 1 Choose Setup > Playback Engine. 2 From the CPU Usage Limit pop-up menu, se- lect the percentage of CPU processing you want to allocate to Pro Tools. 3 Click OK. RTAS Engine (RTAS Error Suppression) The RTAS Engine options determine RTAS error reporting during playback and recording. This is especially useful when working with instrument plug-ins. You should only enable RTAS error suppression if you are experiencing frequent RTAS errors that are interrupting your creative workflow. When RTAS error suppression is enabled, you can experience a degradation of audio quality. However, this may be acceptable in order to avoid interrupting playback and recording when working with instrument plug-ins. Be sure to disable RTAS error suppression when you need to ensure the highest possible audio qual- ity, such as for a final mix. There are two RTAS Engine options: Ignore Errors During Playback/Record When en- abled, Pro Tools continues to play and record even if the RTAS processing requirements ex- ceed the selected CPU Usage Limit. This can re- sult in pops and clicks in the audio, as well as ad- ditional latency, but does not stop the transport. This will only suppress errors in the RTAS en- gine. Disk-based errors (if any) will continue to stop the transport. Minimize Additional I/O Latency (Mac OS X Only) When enabled, any additional latency due to suppressing RTAS errors during playback and record is minimized to 128 samples. Suppressing RTAS errors requires at least 128 samples of ad- ditional buffering on some systems. If this op- tion is disabled, the buffer is half the H/W Buffer Size, or at least 128 samples (which ever is greater). If you are on a slower computer, you may not want to enable this option since doing so can adversely affect performance. Increasing the CPU Usage Limit may slow down screen response on slower computers.

27 The Minimize Additional I/O Latency option is only available if the Ignore Errors During Play- back/Record option is enabled. To enable RTAS error suppression: 1 Choose Setup > Playback Engine. 2 Select Ignore Errors During Playback/Record. 3 On Mac OS X, you can also select Minimize Additional I/O Latency. 4 Click OK. DAE Playback Buffer Size The DAE Playback Buffer Size determines the amount of memory DAE allocates for disk buff- ers. The optimum DAE Playback Buffer Size for most disk operations is Level 2.  DAE Playback Buffer Size settings lower than Level 2 may improve playback and recording initiation speed, but may make it difficult to play or record tracks reliably with sessions con- taining a large number of tracks or a high den- sity of edits, or with systems that have slower or heavily fragmented hard drives.  DAE Playback Buffer Size settings higher than Level 2 will allow for a higher density of edits in a session or a higher track count when using slower hard drives. However, a higher setting can also cause a time lag to occur when starting playback or recording, or longer audible time lag while editing during playback. To change the DAE Playback Buffer Size: 1 Choose Setup > Playback Engine. 2 From the DAE Playback Buffer pop-up menu, select a buffer size. 3 Click OK. MIDI Studio Setup (Windows Only) If you plan to use any MIDI devices with Pro Tools, configure your MIDI setup with MIDI Studio Setup. See Appendix A, “Configuring MIDI Studio Setup (Windows Only)” for details. Audio MIDI Setup (AMS) (Mac Only) If you plan to use any MIDI devices with Pro Tools, configure your MIDI setup with the Apple Audio MIDI Setup (AMS) utility. See Appendix B, “Configuring AMS (Mac OS X Only).” Using a larger DAE Playback Buffer Size leaves less system memory for other tasks. The default setting of Level 2 is recom- mended unless you are encountering -9073 (“Disk too slow or fragmented”) errors.

28 Pro Tools Hardware Settings Pro Tools lets you set the default sample rate and clock source for your system, and configure the digital inputs on the 003 or 003 Rack. Default Sample Rate The Sample Rate setting appears as the default sample rate when you create a new session. (This setting is available in the Hardware Setup dialog only when no session is open.) To change the default Sample Rate: 1 Choose Setup > Hardware. 2 Select the sample rate from the Sample Rate pop-up menu. 3 Click OK. Clock Source The Pro Tools Hardware Setup dialog lets you se- lect the Clock Source for the system. Internal If you are recording an analog signal di- rectly into Pro Tools (or using an external ana- log or digital device for effects), you will usually use the Internal setting. External If you are transferring material into Pro Tools from an external digital device, or if you utilize a common house clock signal, you will synchronize Pro Tools to the digital device or common signal. The external clock source corresponds to the connector on the back of the 003 or 003 Rack that is receiving your clock sig- nal: S/PDIF (RCA), Optical, or Word Clock. If you are using an optical device, you also need to set the Optical Format (ADAT or S/PDIF). You can change the sample rate when creating a new Pro Tools session by selecting a different sample rate in the New Session dialog. See the Pro Tools Reference Guide for details. Hardware Setup dialog You can use only one pair of S/PDIF inputs (either RCA or Optical) at a time. At 96 kHz, it is recommended that you use the S/PDIF (RCA) port. Note that S/PDIF (RCA) output is still available when S/PDIF Optical is selected.

29 To select the Clock Source: 1 Choose Setup > Hardware. 2 Choose the clock source from the Clock Source pop-up menu. 3 Click OK. Optical Format The Optical port can be set for eight channels of ADAT Optical I/O (supporting up to 48 kHz) or two channels of S/PDIF Optical I/O. The Optical Format ADAT option is replaced by None for ses- sion rates 88.2 kHz and 96 kHz. If you are using an optical device for recording, you need to set the Optical Format. To select the digital format of the Optical I/O port: 1 Choose Setup > Hardware. 2 In the Optical Format section, do one of the following: • Select ADAT if your optical device is using the ADAT format. – or – • Select S/PDIF if your optical source device is using the S/PDIF format. 3 Click OK. Hardware Setup dialog Your digital input device must be connected and turned on for Pro Tools to synchronize to it. If your input device is not turned on, leave the Clock Source set to Internal. Only one S/PDIF input pair can be used at a time. When you select S/PDIF (RCA) as the Clock Source, the Optical Format setting will switch to ADAT (for sample rates 44.1 kHz and 48 kHz), or to None (for sam- ple rates 88.2 kHz and 96 kHz). Conversely, when you select S/PDIF as the Optical Format, the Clock Source setting will switch to Internal if it was previously set to S/PDIF (RCA). Only one S/PDIF input pair can be used at a time. When you select S/PDIF as the Optical Format, the Clock Source setting will switch to internal if it was previously set to S/PDIF (RCA). Conversely, when you select S/PDIF (RCA) as the Clock Source, the Optical Format set- ting will switch to ADAT (for sample rates 44.1 kHz and 48 kHz), or to None (for sam- ple rates 88.2 kHz and 96 kHz).

30 Configuring I/O Setup Using the I/O Setup dialog, you can label Pro Tools LE input, output, insert, and bus signal paths. The I/O Setup dialog provides a graphical representation of the inputs, outputs, and signal routing of the 003 and 003 Rack. Pro Tools LE has default I/O Setup settings that will get you started. Use the I/O Setup dialog only if you want to rename the default I/O paths. To rename I/O paths in I/O Setup: 1 Choose Setup > I/O. 2 Click the Input, Output, Insert, or Bus tab to display the corresponding paths. 3 To change the name of a path or subpath, double-click directly on the Path Name, type a new name for the path, and press Enter (Win- dows) or Return (Mac). 4 Click OK. Backing Up your System Configuration After configuring your system and Pro Tools, you should save an image of your system drive using a backup utility such as Norton Ghost (Windows) or Bombich Carbon Copy Cloner (Mac). By doing this, you can quickly restore your system configuration and settings if you encounter any problems. I/O Setup dialog, Input tab See the Pro Tools Reference Guide (or choose Help > Pro Tools Reference Guide) for more information on renaming I/O paths.

31 chapter 6 003 Top Panel 003 Operating Modes 003 can be in any of five states when it is on: • Standby mode • Pro Tools mode • MIDI mode • Third Party Software mode • Utility mode Standby Mode 003 is in this mode when you first power on the unit, waiting for you to launch Pro Tools (or an- other supported application). In Standby mode, the unit displays “003 Of- fline” in the top row of the 003 display and the Monitor Mute switch is enabled (lit). In Standby mode, the Monitor section and MIDI I/O ports are available, without having to power on the computer. Pro Tools Mode 003 is in this mode when the 003 unit is con- nected to a computer and Pro Tools LE software is running. If Pro Tools is running and no Pro Tools session is open, the unit normally displays “Open or create a new session.” When a session is being launched, the display changes to “Loading a ses- sion.” When a Pro Tools session is open, the unit mir- rors the on-screen controls. 003 faders, transport switches, rotary knobs, and switches control the corresponding elements in Pro Tools. You can also use 003 MIDI ports as you would those on a standard MIDI interface. In Pro Tools mode, the Monitor section and MIDI I/O ports are available with a session open or closed. To put 003 in Pro Tools mode: 1 Make sure the 003 unit is properly connected to the computer and powered on. 2 If Mute is disabled (unlit), enable Mute by pressing the Monitor Mute switch so that it is lit. 3 Launch Pro Tools LE and open or create a Pro Tools session. If no session is open and a Workspace browser is open and being used for audition- ing an audio file, the unit displays “Work- ing.”

32 MIDI Mode 003 is in this mode when either the MIDI Map A or B switch is enabled (lit). In this mode, 003 functions as a MIDI control surface for external devices and applications other than Pro Tools. For more information, see the 003 MIDI Mode Guide. Third Party Software Mode 003 is in this mode when the 003 unit is con- nected to a computer and you launch a third party audio application (such as iTunes or Able- ton Live), and then use 003 as your playback or recording device. You can also use 003 MIDI ports as you would those on a standard MIDI in- terface. In this mode, the unit displays “Working...” in the top row of the LCD. On Windows, ASIO- and WaveDriver-compati- ble applications are supported. WaveDriver sup- ports playback only. On Mac, CoreAudio Driver applications are supported. To use a third party software application with 003: 1 Make sure 003 is properly connected to the computer and in Standby mode. 2 Configure your system and software for ASIO, WaveDriver, or CoreAudio Driver. 3 If Mute is disabled (unlit), press the Monitor Mute switch. 4 Launch your third party audio application. 5 Disable the Monitor Mute switch (unlit). 6 Use monitor section controls and switches to adjust audio input routing, monitor levels, and headphone levels. Playing Audio Audio from your third party soft- ware application can be routed to 003’s outputs, via the FireWire connection. Recording Audio (ASIO Driver and CoreAudio Driver Only) Audio from 003 inputs can be routed to software inputs in your third party software applications, via the FireWire connec- tion. Refer to the documentation for your third party software for information on configuring inputs and outputs. Utility Mode 003 is in this mode when the Utility switch is enabled (flashing). In Utility mode, you can run pre-programmed diagnostic tests of the 003 unit (such as fader movement and LEDs). The Utility switch is unavailable in Pro Tools mode. For more information on third party audio drivers, see the Windows Audio Drivers Guide (for ASIO or WaveDriver on Windows) or the CoreAudio Drivers Guide (Mac). See the Windows Audio Drivers Guide (for ASIO and WaveDriver on Windows) or the CoreAudio Drivers Guide (Mac). See Appendix C, “Utility Mode (003 Only)” for more information.

33 003 Top Panel Overview Figure 1 identifies each of the main 003 control sections. The 003 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. Figure 1. Major sections of the 003 top panel Fader section Console/Channel Modifiers section Display Mode switch Automation section View section and Status LEDs Display section Transport and Navigation controls Monitor section Miscellaneous controls Mic/DI Input controls

34 Display Section The top portion of the 003 includes an LCD display, Display mode switch, and status indicators. LCD Display For all 003 operating modes, the LCD display provides status information. In Pro Tools mode, when a session is open, 003’s LCD is a large, two-row display. The LCD display dedicates two rows, each with up to six charac- ters, to each channel strip. In most views, the top row of the LCD shows the the current view or mode status on the left side and the session’s Main Counter on the right side. The bottom row of the LCD shows track, send, and insert names, and pan position, send levels, and plug-in control information, depending on the current view, as selected by the Chan- nel/Console switches. The default display is the name of the displayed element. Names of items with more than six characters are abbreviated to six characters. Full names of items with more than 6 characters can be temporarily displayed in the LCD. See “Dis- playing Full Names of Tracks, Insert Parameters, and Other Elements” on page 90. When you move a fader or rotary encoder, the LCD will temporarily display the value for that control in the lower row of the LCD, then return to the default display. Values can also be tempo- rarily displayed without moving a control or set to display always. See “Displaying Settings In- stead of Track or Control Names” on page 90. Additional LCD Naming Conventions in Pro Tools Mode When a send or insert is muted, its names is cap- italized in the LCD display. When a track, send, or insert is inactive, “@” ap- pears before its name in the LCD display. 003 LCD, Display Mode switch, and status indicators Sync indicators Host “1394” status indicator Display Mode switch MIDI Data indicators LCD display For information on the status information displayed for each 003 operating mode, see “003 Operating Modes” on page 31.

35 Display Mode Switch This switch is used to change default LCD dis- plays: • Full names of items with more than 6 charac- ters can be temporarily displayed in the LCD. See “Displaying Full Names of Tracks, Insert Parameters, and Other Elements” on page 90. • The lower row of the LCD shows track or con- trol names by default. The display can be changed to temporarily show settings by pressing and holding the Display Mode switch, or be reset to always show settings. See “Displaying Settings Instead of Track or Con- trol Names” on page 90. The Display Mode switch flashes during a tem- porary display or when the LCD default has been reset to always show settings. Host (“1394”) Status Indicator The Host status LED, marked “1394” below its LED, indicates that communication has been es- tablished between the unit and Pro Tools LE software (or another software application) through FireWire. Sync Indicators The Sync LEDs indicate the current clock source. When the current clock source is not estab- lished, the respective LED flashes. If none of the Sync LEDs are lit, 003’s clock source is set to internal. There are three Sync LEDs: W Clk (Word Clock) LED Lights when clocking to Word Clock. S/PDIF LED Lights when clocking to the S/PDIF on the RCA or Optical port. ADAT LED Lights when clocking to ADAT on the Optical port. MIDI Data Indicators The MIDI Data LEDs indicate the presence of MIDI data on the MIDI In, MIDI Out 1, or MIDI Out 2 ports. Individual LEDs are provided for each port. Active sensing is not indicated.

36 Fader Section The Fader section consists of eight channel strips, each with identical controls. Each fader has a motorized touch-sensitive fader, solo and mute switches, a multi-state Channel Select switch, a rotary encoder and its LED ring, and meter LEDs. The LCD display ded- icates two rows, each with up to six characters, to each channel strip. Channel Strip Controls Channel Faders Each channel has its own 100 mm, servo-driven, touch-sensitive, motorized fader for controlling levels of audio, Auxiliary Input, Master Fader, MIDI, and Instrument tracks. Flip Mode In Flip mode (Flip switch lit), rotary encoder controls are taken over by the faders, which makes the rotary encoders available to control another parameter. For example, in normal Send View (Send switch lit), rotary encoders control send level, while faders control output gain. In Flip mode, faders (instead of rotary en- coders) control the send level parameters and rotary encoders control pan. Muting Fader Movement Because 003 faders are motorized, they move to follow automation when playing back and re- cording (when the track is set to an automation read or write mode, and not Off). During critical listening passes, the sound of the fader motors and their automated movements may be dis- tracting. You can temporarily shut off (or mute) motorized fader movement using the Fader Mute switch. Channel strip in the Fader section Channel Meter LEDs Encoder/Meter LED ring Channel Fader Mute switch Rotary Encoder and Channel Select switch Solo switch For more information, see “Using Flip Mode” on page 98.

37 When the Fader Mute switch is enabled (flash- ing), faders park and do not respond to touching or movement. Previously recorded automation continues to affect playback, while the faders are disengaged from reading. Channel Solo/Mute Switches Each channel has Solo and Mute switches, lo- cated above its fader. These switches let you solo or mute the channel. The switches also show the Pro Tools solo and mute status for each track. When a track is soloed (Solo switch lit), the Mute switches on other tracks in the session flash. When a track is muted, its Mute switch is lit continuously. The Solo switch function follows the Pro Tools Operation preference for latched operation. (See the Pro Tools Reference Guide for details.) Channel Select Switches Each channel has a Channel Select switch that performs several functions, depending on the view or mode, as follows. Console View Depending on the Console View (Pan, Send, or Insert), 003 can be used to do the following: • Select tracks or inserts on a particular chan- nel for editing. • Assign inputs, outputs, sends, or inserts (plug-ins or hardware). • Open track or send Output windows. • Make track or send Outputs active or inac- tive. • Select pre- or post-fader operation for sends. • Bypass plug-ins. • Reset faders and other parameters to their default settings. Channel View Depending on the Channel View (EQ, Dynamics, Insert, or Pan/Send), 003 can be used to do the following: • Display inserts or plug-ins on a channel. • Select and edit individual send or insert set- tings as displayed across the LCD. • Toggle switched plug-in controls (such as bypass and Phase Invert). • Cycle through plug-in windows. For more information, see “Muting Fader Movement” on page 100. For information on using Console View for specific Pro Tools workflows, see Chapter 11, “Pro Tools Mode with 003.” For information on using Channel View for specific Pro Tools workflows, see Chapter 11, “Pro Tools Mode with 003.”

38 Record Arming Mode When the Rec Arm switch is enabled (flashing), the Channel Select switch for a track enables or disables its Record Enable button, plus acts as a record-enabled indicator. When a track is record-enabled, its Channel Se- lect switch flashes when the Transport is stopped. When Pro Tools is recording, the switch is lit continuously. Tracks that are armed for recording will remain armed after Rec Arming mode is disabled. Automation Mode The Automation Mode switches (Write, Touch, Latch, Read, and Off) let you use the Channel Select switches to set the track’s Automation mode. Memory Location Mode In this mode (Memory Location switch lit), Channel Select switches re- call the Memory Location that corresponds to their channel number. Additionally, the Mem- ory Location window can be opened. Rotary Encoders Each Channel has a rotary encoder. These knobs control a variety of parameters, depending on the view: Console View The rotary encoders control pan, send level, or insert settings, depending on which Console View is enabled (Pan, Send, or Insert). Channel View The rotary encoders control plug-in, pan/send, or insert settings, depending on which Channel View is enabled (EQ, Dynam- ics, Insert, or Pan/Send). Rotary Encoder LEDs Each rotary encoder has a ring of 11 LEDs for in- dicating data values controlled by the encoder. The style of display depends on the type of data. For example, discrete or stepped information such as pan position or frequency value is shown by a single LED, while an expanding se- ries of LEDs shows values such as send levels, gain, or filter bandwidth. When you rotate the encoder, its LEDs update. In Pan View, the Meter switch sets what the LEDs display (left pan, right pan, or no function in Automation mode). Channel Meter LEDs Each channel includes a five-segment LED meter, scaled at 0, –3, –6, –12, and –42 dBFS for track level. The meters are also labeled to indi- cate the track’s current Automation mode: Wrt (Write), Tch (Touch), Lch (Latch), or Rd (Read). When the Meter switch is set to Left or Right, these meters display track level. When the Meter switch is set to Auto (Automation), the meter in- dicator corresponding to the track’s current Au- tomation mode is lit. See “Rec Arm (Record Arm) Switch” on page 39 for details on record-enabling tracks. See “Automation Section” on page 48 for more information. See “Working With Memory Locations” on page 98 for more information.

39 Meter Switch and LEDs The Meter switch (located to the right of the en- coder row) configures the display mode for Channel Meter LEDs and the rotary encoder LEDs. The Meter switch also sets whether Left or Right pan is controlled by a channel’s rotary encoder. When you toggle through the three Meter switch modes, the corresponding Meter switch LED lights when its mode is enabled, as follows: Left When enabled (LED lit), the Channel Meter LEDs function as level meters, displaying mono signals or the left channel of a stereo signal. Ro- tary encoder LEDs indicate the left pan position (available on stereo channels or sends). Addi- tionally, the rotary encoder can be used to ad- just the left pan position on stereo channels or sends. Right When enabled (LED lit), the Channel Meter LEDs function as level meters, displaying the right channel of a stereo signal. Rotary en- coder LEDs indicate the right pan position (available on stereo channels or sends). Addi- tionally, the rotary encoder can be used to ad- just the right pan position on stereo channels or sends. Auto (Automation) When enabled (LED lit), the Channel Meter LEDs display the Automation mode for their channel. When the Auto switch is enabled, the rotary encoders do not function. Global Fader Controls The following controls affect the assignment and operation of all the faders: Rec Arm (Record Arm) Switch When the Rec Arm switch is enabled (flashing), 003 is in Record Arming mode. In this mode, channels can be armed (record-enabled) or dis- armed for recording by pressing their Channel Select switch. In this mode, the top row of the LCD shows “Record Arm” and the lower row of the LCD shows track names. Additionally, volume fader updates will not be reflected in the LCD, pan- ning cannot be adjusted with rotary encoders, and the Display mode cannot be changed. In Record Arming mode, the Channel Select switches act as record-enable switches and indi- cators. When a channel is record-enabled and the transport is stopped (or playing back with- out recording), its Channel Select switch flashes. When Pro Tools is recording, it is lit continu- ously. Tracks that are armed for recording will remain armed after Rec Arming mode is disabled. Meter switch and LEDs Meter switch and LEDs Global Fader control switches For information on how to record arm tracks with 003, see “Recording” on page 96. Default and Input switches Rec Arm switch Mstr Faders switch Flip switch

40 Mstr Faders (Master Faders) Switch When enabled (flashing), the Master Faders switch arranges all Master Fader tracks in the current session on the right-hand side of the control surface. Pressing this switch a second time returns the control surface to the previous view. In Pan View, the Master Fader levels are dis- played in the LCD. Fader Flip Switch When enabled (flashing), the Flip switch in- vokes Flip mode. Flip mode transfers control as- signments from the rotary encoders to the corre- sponding channel faders, allowing you to use the touch-sensitive faders to edit and automate send and plug-in values. Additonally, in certain views, the rotary encoders are available to con- trol another parameter. Flip mode is not available in Pan View. Default Switch The Default switch is used in conjunction with a Channel Select switch to reset a fader (or fader-mapped plug-in parameter) to its default setting. For example, you can reset a channel volume fader to its default level of 0.0 dB. Input Switch The Input switch toggles Auto Input and Input Only Monitor mode for record-enabled tracks. See “Using Flip Mode” on page 98 for more information. See “Setting Track Controls to Defaults” on page 97 for more information. See the Pro Tools Reference Guide for more information about Pro Tools input monitor- ing modes.

41 Console/Channel View Section The Console and Channel View sections give you control over many on-screen elements in Pro Tools. Both Console and Channel Views let you view and access pan, sends, or plug-ins for editing, and automation. Console View Switches Console View switches let you toggle 003 to show pan position, send assignments, or insert assignments for all channels on the control sur- face. 003 is in Console View when any of the Console View switches (Pan, Send, or Insert) is lit in the Console View section. Think of Console View as a global view of a given control type across the entire mixer con- sole (such as send A for Channels 1–8). Insert/Send Position Switches These switches determine which of the five available insert positions (marked A–E in Pro Tools) or ten available send positions (marked A–J in Pro Tools) are displayed in Con- sole View. There are three Console Views, based on their corresponding switch name: Pan Switch When enabled (lit), 003 is in Pan View. This is the default View when you first open a Pro Tools session. In this view, rotary encoders adjust channel pan positions, and faders adjust track volume. The bottom row of the LCD shows the track names, and temporarily shows the channel pan posi- 003 Console and Channel View switches Channel View switches Insert/Send Position Plug-in Page switches Master Bypass switch ESC (Escape/Cancel) switch switches switches Console View When you first open a Pro Tools session, the top row of the 003 is in Console View with the Pan switch enabled (lit). This default view is sometimes called the Home View. For information on using Console View for specific Pro Tools workflows, see Chapter 11, “Pro Tools Mode with 003.”

42 tions when the encoder is moved, or volume in- formation when the fader is moved. The top row of the LCD shows the pan mode (left or right) and Main Counter. Send Switch When enabled (lit), 003 is in Send View. In this view, rotary encoders adjust Send level and the faders adjust track volume. The bottom row of the LCD shows the names of cur- rently assigned sends across all channel strips for a given send position (Sends A–J in Pro Tools). The top row of the LCD shows the send position and Main Counter. Insert Switch When enabled (lit), 003 is in Insert View. In this view, the bottom row of the LCD shows the names of currently assigned inserts (hardware inserts or plug-ins) across all channel strips for a given insert position (Inserts A–E in Pro Tools). The top row of the LCD shows the insert position and Main Counter. Channel View Section Switches The first four Channel View switches determine the type of information displayed for a selected track. The first two switches focus on particular types of plug-ins (EQ and Dynamics), while the second two address all types of inserts and sends. The Channel View section also includes Page Left, Page Right, Master Bypass, and ESC switches. 003 is in Channel View when any of the first four Channel View Select switches (EQ, Dynam- ics, Insert, or Pan/Send) is lit in the Channel View section. Think of Channel View as a way to temporarily focus on all the plug-ins, inserts or sends on a single channel. EQ Switch When enabled (flashing), 003 is in Channel View. In this view, 003 identifies chan- nels with equalizer plug-ins assigned to them by illuminating their Channel View switches. The top row of the LCD shows “Select EQ” and the Main Counter. The bottom row shows track names. Dynamics Switch When enabled (flashing), 003 is in Channel View. In this view, 003 identifies channels with dynamics plug-ins (such as com- pressors or limiters) assigned to them by illumi- nating their Channel Select switches. The top row of the LCD shows “Select Dynamics” and the Main Counter. The bottom row shows track names. For information on using Console View for specific Pro Tools workflows, see Chapter 11, “Pro Tools Mode with 003.” Channel View switches EQ Dynamics Insert Pan/Send/PRE < Page > Master ESC Bypass

43 Insert Switch When enabled (flashing), 003 is in Channel View. In this view, 003 identifies chan- nels with any kind of insert assigned to them (including plug-ins or hardware I/O inserts) by illuminating their Channel Select switches. The top row of the LCD shows “Select Insert” and the Main Counter. The bottom row shows track names. Pan/Send Switch When enabled (flashing), 003 is in Channel View. In this view, 003 identifies channels with sends assigned to them by illumi- nating their Channel Select switches. The top row of the LCD shows “Select Pan Send A–E” and the Main Counter. The bottom row shows track names. Page Switches These switches provide access to additional pages of sends, plug-in parameters or Memory Locations. The Page switches flash to indicate a next or previous page is available. Plug-in Master Bypass Switch This switch lets you bypass either a single plug-in or all plug-ins on a channel, depending on the current view. ESC (Escape/Cancel) Switch When flashing, this switch acts as a cancel button for certain op- erations on 003 (such as Channel View selec- tions) and many on-screen dialogs in Pro Tools.

44 Transport and Navigation Controls The 003 provides a standard set of Transport controls that mirror Pro Tools on-screen controls (when in Pro Tools mode) and conform to standard MMC commands for controlling other devices (in MIDI mode). Navigation keys and shortcut switches support Pro Tools zooming, banking, and navigation features. Transport Controls These controls correspond to transport func- tions in Pro Tools. RTZ (Return to Zero) Sets the playback cursor to the beginning of the session. REW (Rewind) Rewinds through the session from the current cursor position. FFW (Fast Forward) Fast-forwards through the session from the current cursor position. STOP Stops playback or recording. Play Begins playback from the current cursor po- sition. Record Arms Pro Tools for recording. Clicking Play then initiates recording on record-enabled tracks only. 003 transport and navigation controls Transport controls Jog/Shuttle wheel Windows Show/Hide switches Arrow keys Fader Display switches Transport mode switches Mem Loc (Memory Location) switch MIDI Map switches Miscellaneous switches

45 Jog/Shuttle Wheel The dual-concentric Jog/Shuttle wheel provides additional navigation controls. Shuttle Mode The outer ring of the Jog/Shuttle wheel is a Shut- tle control. When you move the Shuttle ring, 003 enters Shuttle mode. In this mode, you can play forwards or backwards at a variable rate, de- pending on the Shuttle position. Full clockwise and counter-clockwise positions provide the fastest shuttle rates. The Shuttle ring returns to the center position (no shuttling) when you re- lease the wheel. Jog Mode The inner part of the Jog/Shuttle wheel is a Jog control. When you move the Jog wheel, 003 en- ters Jog mode. In this mode, you can move the session transport (and cursor) forwards or back- wards. The Jog control can be used to bank tracks to dif- ferent faders. The Jog control can also be used to continuously zoom in or out horizontally or vertically on all tracks. Jog/Shuttle Wheel Takeover When using the Jog/Shuttle wheel, keyboard and mouse commands are not supported, and most 003 controls are unavailable. 003 faders can be used at the same time as the Jog/Shuttle wheel. However, 003 transport controls disable the Jog/Shuttle wheel. Normal operating mode is returned a few sec- onds after last touching the Jog/Shuttle wheel. Navigation and Display Keys and Switches These multi-purpose keys and switches control the display of Pro Tools tracks on the 003 con- trol surface, on-screen zoom functions, and other Pro Tools navigation functions. Arrow Keys The Arrow keys are used to navigate tracks, zoom in and out, navigate in text entry fields, and drop Selection In and Out markers on-the-fly. Basic Arrow key functionality is defined by the Display switches. For more information, see “Navigating with the Shuttle/Jog Wheel” on page 96. For more information, see “Navigating with the Shuttle/Jog Wheel” on page 96. For more information, see “Banking Chan- nels on 003” on page 99. For more information, see “Working With Memory Locations” on page 98. Navigation and Display keys and switches Arrow keys (Left, Right, Up, and Down) Bank, Nudge, and Zoom switches

46 Fader Bank, Nudge, and Zoom Display Switches The Display switches define basic Arrow key functionality, as follows: Bank Switch When enabled (lit), the Arrow keys let you bank 003 fader strips to the previous or next eight tracks. You can also control and ad- just selections and scroll in the Pro Tools Edit window. Nudge Switch When enabled (lit), the Arrow keys let you nudge the display of tracks on 003 one track at a time. You can also control and ad- just selections and scroll in the Pro Tools Edit window. Zoom Switch When enabled (lit), the Arrow keys zoom the Pro Tools Edit window display. Additional Arrow Key Functionality You can use the Arrow keys to perform addi- tional functions in Pro Tools, regardless of the active Display switch. Windows Show/Hide Switches Plug-in Switch Opens or closes the window for the currently selected plug-in Mix Switch Opens, brings forward, or closes the Pro Tools Mix window Edit Switch Opens, brings forward, or closes the Pro Tools Edit window Record/Playback Transport Mode Switches Loop Play Switch Toggles Loop Playback on and off Loop Rec Switch Toggles Loop Record mode on and off QuickPunch Switch Toggles QuickPunch Record mode on and off Mem Loc (Memory Location) Switch The Mem Loc (Memory Location) switch pro- vides access to all Memory Locations in a Pro Tools session and can be used to set Memory Locations. For more information, see “Navigating in the Edit Window” on page 96. For more information, see “Working With Memory Locations” on page 98. Memory Location switch Mem Loc (Memory Location) switch

47 Miscellaneous Switches Save Switch Pressing the Save switch twice is equivalent to choosing File > Save in Pro Tools. Undo Switch Pressing the Undo switch is equiva- lent to choosing Edit > Undo in Pro Tools. (See the Pro Tools Reference Guide for details on mul- tiple undo capabilities.) Enter (OK) Switch Pressing the Enter switch is equivalent to pressing Return or Enter on the computer keyboard. This lets you OK on-screen dialogs or create new Memory Locations in Pro Tools directly from the control surface. Utility Switch When enabled (lit), 003 enters Utility mode. In this mode, you can run pre-pro- grammed diagnostic tests of the 003 unit (such as fader movement and LEDs) and reset MIDI mappings to their factory presets. The Utility switch is unavailable in Pro Tools mode. Fader Mute In Pro Tools mode, this switch tem- porarily suspends 003 fader movement. When enabled (flashing), this lets you work with Pro Tools and monitor audio playback without fader noise. The Fader Mute feature has no effect on fader automation or audio levels during playback. To toggle fader movement on and off:  While in Pro Tools mode, press the Fader Mute switch Focus In Pro Tools mode, this switch toggles the LCD display between the current plug-in view and the previous 003 view (such as Console or Channel View). To toggle between a plug-in view and the original view:  Press the Focus switch. MIDI Map Switches 003 provides switches for using the control sur- face as a MIDI controller. MIDI Map A and B Switches When one of these switches is enabled (lit), 003 is in MIDI mode. In this mode, 003 functions as a MIDI control sur- face for external devices and applications other than Pro Tools. 003 supports two different banks of MIDI Map presets, corresponding to MIDI Map switch A and B. MIDI Edit In MIDI mode, this switch lets you edit and name custom MIDI maps. MIDI Recall In MIDI mode, this switch lets you recall and select MIDI map presets. See Appendix C, “Utility Mode (003 Only)” for more information. For more information, see the 003 MIDI Mode Guide.

48 Automation Section This section provides switches for controlling how automation data is written and played back. Automation Mode Switches The Write, Touch, Latch, Read, and Off switches are used to set the Pro Tools Automation mode for any track. When the Meter switch is set to Auto, the Meter LEDs for each channel display its Automation status. Automation Switch LEDs The Write, Touch, Latch, and Read switch LEDs individually light when at least one channel has the corresponding Automation mode. The Off switch LED flashes when no channels are set to Write, Touch, or Latch, and at least one chan- nel’s Automation mode is set to Off. Multiple LEDs light when there are channels with different Automation modes. Suspend Switch When enabled (flashing), automation is sus- pended for all channels. Modifiers Section The Modifiers section includes four switches for modifying commands in combination with 003 switches, keyboard shortcuts, and Right-click commands in Pro Tools: Shift (Add) Switch This switch lets you extend a track selection or add to a group of selected items. Option/Alt (All) Switch This switch lets you ap- ply an action or command to all tracks in a Pro Tools session. Ctrl/Win Switch This switch lets you tempo- rarily disengage a control from grouped behav- ior. Command/Ctrl Switch This switch lets you fine-adjust controls and automation break- points. Automation section For more information, see “Working with Automation” on page 100. Write switch Touch switch Latch switch Read switch Off switch Suspend switch For more information, see “Working with Automation” on page 100. 003 keyboard modifier keys Option/Alt (All) switch Shift (Add) switch Command/Ctrl switch Ctrl/Win switch

49 003 Shortcuts Modifier switches provide shortcuts for 003 functions that can be accomplished without us- ing your computer’s keyboard or mouse. Pro Tools Shortcuts For increased operational speed, there are many Pro Tools keyboard and Right-click shortcuts to give you fast access to a wide variety of tasks. These shortcuts in Pro Tools use modifier keys, (such as the Shift key) which are pressed in com- bination with other keys or with a mouse ac- tion. 003 Modifier switches mirror the functions of modifier keys on the computer keyboard. For ex- ample, 003’s Shift (Add) switch is equivalent to your keyboard’s Shift key. : You can use the Modifier switches in any com- bination with keys on your computer or a mouse action while working with Pro Tools. Mic/DI Input Controls There are four high-quality preamplifiers with adjustable gain and phantom power (switchable in pairs, for Inputs 1–2 and Inputs 3–4). The phantom power switches are on the back panel. Inputs 1–4 show up as “Analog 1–4” in the de- fault Pro Tools I/O Setup. Inputs 1–4 have the following controls: Input 1–4 Gain Controls Each knob adjusts gain for the input, with a range of +15 dB to +60 dB of gain. Mic/DI Switches (Inputs 1–4) Each switch tog- gles the corresponding input between micro- phone (unlit) or DI input (lit). The DI and Mic switch LEDs indicate the current source input. The LEDs blink rapidly when the input is clipping. HPF (High Pass Filter) Switches (Input 1–4) These switches enable a high pass filter (75 Hz, 12 dB/octave rolloff) on the correspond- ing input, for filtering out rumble or AC hum. The HPF LEDs are lit when the switch is enabled. For a list of 003 shortcuts, see “003 Top Panel Shortcuts” on page 101. 003 Switch 003-to-QWERTY (Mac) 003-to-QWERTY (Windows) Shift (Add) Shift Shift Option/Alt (All) Option Alt Ctrl/Win Control Win Command/ Ctrl Command Control For a complete list of Pro Tools keyboard and Right-click shortcuts, refer to the Short- cuts Guide for your computer platform. Mic/DI Input controls for Inputs 1–4 Engage the Mic switch only if you have an XLR cable plugged into the mic connector. Leaving the switch engaged with nothing connected may introduce low-level noise. Input 1–4 Gain controls Mic/DI and HPF switches for Inputs 1–4

50 Monitor Section The Monitor section provides the following control room monitoring features: Alternate Input Routing Controls Aux In to 7/8 Switch This switch routes the Aux In input pair directly to Inputs 7 and 8 of Pro Tools, and does not send it to the Main Monitor Outputs. This lets you route an alter- nate input signal (such as a CD player) directly into Pro Tools without the need to repatch any cables. When Aux In to 7/8 is enabled (lit), Analog In- puts 7–8 are disabled. 3/4-HP2 Switch This switch sets the Headphone 2 Output to mirror Output pair 3–4. Aux In (to Monitor) Switch This switch routes the Aux In input pair directly to the Main Mon- itor and Headphone Outputs. Alt CR (Control Room) Switch This switch mutes the Main Monitor output and routes the signal to the Alt Monitor output. Mono Switch This switch temporarily combines Output 1–2 in the Main and Alt Monitor Out- puts and the Headphone Outputs. This is help- ful for checking the phase relationships of stereo material. Monitor and Headphone Level Controls Monitor Level Control These knobs control the volume of the Main and Alt Monitor Outputs. These outputs mirror Analog Outputs1–2, which correspond to outputs 1–2 in Pro Tools. Headphone 1 and 2 Level Controls These knobs control the volume of the independent Head- phone Outputs. The Headphone Outputs nor- mally mirror outputs 1–2 in Pro Tools, and are independent of the Monitor Outputs. Headphone 2 mirrors output pair 3–4 when the 3/4-HP2 switch is enabled (lit). Both head- phones include Aux In signal when Aux In (to monitor) is enabled. Headphone output is not affected by the status of the Monitor Mute switch, but does follow sta- tus of the Mono switch. Monitor Mute Switch This switch mutes the Main and Alt Monitor Outputs only, and has no effect on the Headphone Outputs. Monitor Mute is automatically engaged when you power up the unit. Headphone Jacks Headphone Output 1 and 2 jacks accept stan- dard 1/4-inch stereo headphone connectors. The jacks are located on the front of the 003. Monitor and headphone controls 3/4-HP2 switch Aux In 7/8 switch Input Level control Headphone 1 and 2 Level control Aux In switch Mono switch Alt CR switch Monitor Mute switch

51 chapter 7 003 Rack Front Panel The 003 Rack front panel includes controls for Inputs 1–4, options for routing outputs and monitoring alternate input sources, and indica- tors for connections status, sync source, and MIDI data. Power Switch The Power switch is located on the front panel. Headphone Jacks Headphone Output 1 and 2 jacks accept stan- dard 1/4-inch stereo headphone connectors. Figure 2. 003 Rack front panel Mic/DI and HPF switches for Inputs 1–4 Power switch Input 1–4 Gain controls Headphone jacks Monitor section Status indicators

52 Mic/DI Input Controls There are four high-quality preamplifiers with adjustable gain and phantom power (switchable in pairs, for Inputs 1–2 and Inputs 3–4). The phantom power switches are on the back panel. Inputs 1–4 show up as “Analog 1–4” in the de- fault Pro Tools I/O Setup. Inputs 1–4 have the following controls: Input 1–4 Gain Controls Each knob adjusts gain for the input, with a range of +15 dB to +60 dB of gain. Mic/DI Switches (Inputs 1–4) Each switch tog- gles the corresponding input between micro- phone (unlit) or DI input (lit). The DI/Mic switch LEDs indicate the current source input. The LEDs blink rapidly when the input is clipping. HPF (High Pass Filter) Switches (Input 1–4) These switches enable a high pass filter (75 Hz, 12 dB/octave rolloff) on the corresponding in- put, for filtering out rumble or AC hum. The HPF LEDs are lit when the HPF switch is enabled (lit). Monitor Section The Monitor section provides the following control room monitoring features: Monitor and Headphone Level Controls Headphone 1 and 2 Level Controls These knobs control the volume of the independent Head- phone Outputs. The Headphone Outputs nor- mally mirror outputs 1–2 in Pro Tools, and are independent of the Monitor Outputs. Headphone 2 mirrors output pair 3–4 when the 3/4-HP2 switch is enabled (lit). Both head- phones include Aux In signal when Aux In (to monitor) is enabled. Headphone output is not affected by the status of the Monitor Mute switch, but does follow sta- tus of the Mono switch. Monitor Level Control These knobs control the volume of the Main and Alt Monitor Outputs. These outputs mirror Analog Outputs 1–2, which correspond to outputs 1–2 in Pro Tools. Alternate Input Routing Controls Aux In to 7/8 Switch This switch routes the Aux In input pair directly to Inputs 7–8 of Pro Tools, and does not send it to the Main and Alt Moni- tor Outputs. This lets you route an alternate in- put signal (such as a CD player) directly into Pro Tools without the need to repatch any ca- bles. When Aux In to 7/8 is enabled (lit), Analog In- puts 7–8 are disabled. 3/4-HP2 Switch This switch sets Headphone 2 Output to mirror Output pair 3–4. Engage the Mic switch only if you have an XLR cable plugged into the mic connector. Leaving the switch engaged with nothing connected may introduce low-level noise.

53 Aux In (to Monitor) Switch This switch routes the Aux In input pair directly to the Main Mon- itor and Headphone Outputs. Alt CR (Control Room) Switch This switch mutes the Main Monitor output and routes the signal to the Alt CR output. Mono Switch This switch temporarily combines Output 1–2 in the Main and Alt Monitor Out- puts and the Headphone Outputs. This is help- ful for checking the phase relationships of stereo material. Monitor Mute Switch This switch mutes the Main and Alt Monitor Outputs only, and has no effect on the Headphone Outputs. Monitor Mute is automatically engaged when you power up the unit. Status Indicators Host (“1394”) Status Indicator The Host status LED, marked “1394” below its LED, indicates that communication has been es- tablished between the unit and Pro Tools LE software (or another software application) through FireWire. Sync Indicators The Sync LEDs indicate the current clock source. When the current clock source is not estab- lished, the respective LED flashes. If none of the Sync LEDs are lit, 003 Rack’s clock source is set to Internal. There are three Sync LEDs: W Clk (Word Clock) LED Lights when clocking to Word Clock. S/PDIF LED Lights when clocking to the S/PDIF on the RCA or Optical port. ADAT LED Lights when clocking to ADAT on the Optical port. MIDI Data Indicators The MIDI Data LEDs indicate the presence of MIDI data on the MIDI In, MIDI Out 1, or MIDI Out 2 ports. Individual LEDs are provided for each port. Active sensing is not indicated.

55 chapter 8 003 and 003 Rack Back Panels The 003 and 003 Rack back panels include au- dio, MIDI and computer connectors for the unit (see See Figure 3 on page 56). The functions of each connector and their associated switches are explained in this section. The 003 and 003 Rack have identical connec- tors. The 003’s Power switch is on its back panel, whereas the 003 Rack’s Power switch is on its front panel. Operating Levels and Headroom All 003 and 003 Rack audio inputs and outputs are set for 14 dB of headroom below 0 dB, or full code. This means at the nominal reference input level (+4 dBu or –10 dBV) you can have up to 14 dB of headroom before input or output clip- ping occurs. The maximum input and output of 003 or 003 Rack using balanced TRS cables on any of the +4 dBu, 1/4-inch connectors is +18 dBu (6.15 Vrms). Sample Rate and Resolution Support The Analog-to-Digital and Digital-to-Analog converters on all 003 and 003 Rack analog in- puts and outputs, as well as the S/PDIF Digital I/O ports, support sample rates of 44.1, 48, 88.2, and 96 kHz. The Optical port can be set for eight channels of ADAT Optical I/O (supporting up to 48 kHz) or two channels of S/PDIF Optical I/O. All the analog and digital inputs and outputs on 003 and 003 Rack support up to 24-bit resolu- tion audio. Digidesign does not recommend the use of unbalanced cables. Unbalanced connec- tions may introduce noise into your audio system. Whenever possible, use balanced cables to make connections to 003 and 003 Rack.

56 Analog Inputs Mic Inputs 1–4 These are balanced, three-conductor XLR con- nectors for microphone-level analog inputs. Gain is controlled by the corresponding Input Gain control (located on the top panel of 003, and on the front panel of 003 Rack). The source (Mic, Line, or DI) is chosen using the Mic/DI switch. DI Inputs 1–4 The DI (“Direct Inject” or “Direct Interface”) In- puts are balanced connectors for guitars and other instrument level sources that support 1/4-inch TS connections. Operating levels for these inputs are fixed at +4 dBu. Gain is controlled by the corresponding Input Gain knob (located on the top panel of 003, and on the front panel of 003 Rack). The source (Mic, Line, or DI) is chosen using the Mic/DI switch. Phantom Power Switches These switches apply 48V phantom power to Mic Inputs 1–2 and Mic Inputs 3–4 channel pairs, respectively. Enable these switches for mi- crophones that require phantom power to oper- ate. Figure 3. 003 back panel Mic and DI Inputs 1–4 Analog Inputs 5–8 (and Level switches) Kensington Lock port Link indicator Analog Outputs 1–8 Main and Alt FireWire ports Monitor Outputs Aux In MIDI In MIDI Outs Footswitch Optical I/O S/PDIF I/O Word Clock AC power connector Power switch (and Phantom Power switches) The XLR connectors on Inputs 1–4 are wired specifically to match the impedance of microphones. Do not use these XLR con- nectors for line inputs; use the 1/4-inch con- nectors instead. For more information, see “Phantom Power” on page 64.

57 Analog Inputs 5–8 and Operating Level Switches Analog Inputs 5–8 are balanced, 1/4-inch TRS jacks for line-level analog audio input connec- tions. Operating levels for each of these line-level in- puts is switchable between +4 dBu and –10 dBV, using the Operating Level switches immediately to the right of the input jacks. While Inputs 5–8 do accept unbalanced connec- tions, this may result in a noisier signal than a balanced-to-balanced connection. Analog Outputs Main Analog Outputs 1–8 These are impedance balanced, 1/4-inch TRS jacks for line-level analog audio output connec- tions. Operating levels for these outputs are fixed at +4 dBu. While the Main Analog Outputs do accept un- balanced connections, this may result in a nois- ier signal than a balanced-to-balanced connec- tion. Monitor Section Main Monitor Outputs These outputs support balanced TRS, or unbal- anced TS, 1/4-inch connections. To monitor your mix, these outputs can be connected to a mixing board, directly to a monitoring system (such as a stereo power amp, powered speakers, or another stereo destination). The Main Monitor Outputs play the audio that is routed to analog outputs 1 and 2 from within Pro Tools, respectively. These analog outputs feature 24-bit digital-to-analog converters. Op- erating levels for these outputs are fixed at +4 dBu. Monitor gain level is controlled by the Monitor Level control (located on the top panel of 003, and on the front panel of 003 Rack). Monitor output can be muted and the signal routed to the Alt CR Output with the Alt CR switch. Alt Monitor Outputs These outputs support balanced TRS, or unbal- anced TS, 1/4-inch connections. These outputs can be used to monitor your mix through an al- ternate, or secondary studio monitoring system, instead of the system connected to the Main Monitor Outputs. The Alt Monitor Out Left and Right play the au- dio that is routed to analog outputs 1 and 2 from within Pro Tools, respectively. These analog outputs feature 24-bit digital-to-analog convert- ers. Operating levels for these outputs are fixed at +4 dBu. Monitor gain level is controlled by the Monitor Level control (located on the top panel of 003, and on the front panel of 003 Rack). Analog Inputs 7–8 are disabled when the Aux In to 7/8 switch is enabled (lit). If you plan on connecting Analog Outputs 1–8 to –10 dBV gear, you may want to place a transformer-based line level attenu- ator between the 003 or 003 Rack output and the input of the destination device to compensate for level differences.

58 These outputs are enabled when the Alt CR switch is enabled (lit). Aux In These are balanced, 1/4-inch TRS connectors for connecting alternate audio sources such as CD players or tape decks. The signal from these in- puts can be routed directly to the Main Monitor Outputs (for monitoring) or to Inputs 7–8 (for direct input into Pro Tools) from the top panel of 003, or the front panel of 003 Rack. Operating levels for these inputs are fixed at +4 dBu. When the Aux In switch is enabled (lit), Aux In signal is routed to the Main Monitor Outputs. Audio in Pro Tools that is routed to Analog 1–2 will not be mirrored at the Monitor Outputs. When the Aux In to 7/8 switch is enabled (lit), Aux In signal is routed to Inputs 7–8 and does not pass directly to the Monitor Outputs. When the Alt CR switch is enabled (lit), audio routed to Aux In will pass out the Alt Monitor Outputs. Digital I/O S/PDIF Digital I/O The S/PDIF in and out ports are unbalanced two-conductor phono (RCA) connectors that utilize a full 24-bit, two-channel digital data stream. The Sony/Philips Digital Interface Format (S/PDIF) is used in many professional and con- sumer CD recorders and DAT recorders. For highest digital signal integrity, and lower jitter, use 75 Ohm coaxial cable for S/PDIF transfers and keep the cable length to a maximum of 10 meters. The S/PDIF output channels always mirror the main outs 1–2. 003 and 003 Rack support consumer mode S/PDIF output format (IEC60958-3) at sample rates of 44.1 kHz and 48 kHz, and professional mode S/PDIF output format (IEC60958-4) at sample rates of 88.2 kHz and 96 kHz. For information on which S/PDIF formats are supported by your S/PDIF-compatible gear, see the manufacturer’s documentation. Optical I/O These are a pair of TOSLINK-style connectors for ADAT Optical (8 channels of I/O) or S/PDIF Op- tical (2 channels of I/O) devices. You can choose between these Optical I/O formats in the Pro Tools Hardware Setup dialog. The Optical port can be set for eight channels of ADAT Optical I/O (supporting up to 48 kHz) or two channels of S/PDIF Optical I/O. The Optical I/O ports support 24-bit, 20-bit and 16-bit resolutions in both modes. The Optical I/O ports use a standard optical “lightpipe” cable. When the 003 or 003 Rack is on, its Optical Out port emits a red light. Only one S/PDIF input pair can be used at a time. For example, if you use the Optical In for S/PDIF data, you cannot use the RCA in- puts. At 96 kHz, it is recommended that you use the S/PDIF (RCA) port Digidesign recommends high-quality audio grade optical cable for all optical connec- tions.

59 About Lightpipe-Compatible Devices Lightpipe is an industry standard, eight-channel optical digital audio connection developed by Alesis. Lightpipe is found on many devices, in- cluding ADAT decks, modular digital multitracks (MDMs), sound cards, standalone A/D or D/A converters, and digital consoles. Word Clock The Word Clock In and Out ports let you con- nect BNC cables to synchronize 003 and 003 Rack to incoming 1x Word clock, and synchro- nize other devices to Pro Tools-generated Word clock. MIDI Connectors The MIDI In and MIDI Out 1 and Out 2 ports are standard 5-pin MIDI ports. The MIDI In port supports 16 channels of MIDI input. Each MIDI Out port supports 16 channels of MIDI output, for a system total of 32 channels of MIDI output. A MIDI driver for these MIDI ports is installed when you install Pro Tools LE, and is recognized automatically by MIDI Studio Setup (Windows) and Audio MIDI Setup (Mac). These connectors accept standard 5-pin MIDI cables. Kensington Lock Port Use the Kensington Lock port to secure your in- terface with a Kensington Lock (not supplied). For more information, visit the Kensington web- site (www.kensington.com). Footswitch Jack This connector allows footswitch control of QuickPunch audio punch-in and punch-out, and MIDI punch-in and punch-out recording features. The footswitch connector is designed specifically for instantaneous (momentary) on/off pedals with a 1/4-inch TRS connector. Continuous on/continuous off pedals can also be used, but may result in unexpected behavior. IEEE-1394 (FireWire) Ports These ports, marked “1394” in reference to their IEEE specification, are commonly known as FireWire ports. These provide connections to the computer and other FireWire devices. FireWire offers a high rate of data transfer and reliability that makes it ideal for audio applica- tions (such as Pro Tools with 003 or 003 Rack). FireWire devices can be daisy-chained together without the need for terminators. If you are using a Windows laptop that has a 4-pin FireWire port (commonly labeled “1394”), see “4-Pin FireWire Cable” on page 13 for FireWire cable information.

60 Connecting 003 or 003 Rack and FireWire Hard Drives The FireWire ports on 003 and 003 Rack do not pass audio data when they are powered off. If you daisy-chain FireWire devices from your computer, it is best to connect FireWire hard drives directly to your computer and not to 003 or 003 Rack. This will prevent hard drive errors and data loss in case the 003 or 003 Rack unit is powered off. Connecting Other FireWire Devices to 003 or 003 Rack The second FireWire port on 003 or 003 Rack is available for daisy-chaining FireWire devices such as digital cameras or digital video record- ers. Even when it is powered off, 003 and 003 Rack supply power from the computer through their FireWire ports, letting you re- charge batteries in other FireWire devices. Link Indicator The Link indicator lights when a valid FireWire connection is established (between the 003 or 003 Rack and a computer). Power Switch (003 Back Panel Only) The Power switch for 003 is located on its back panel. The Power switch for the 003 Rack is located on its front panel AC Power Connector The AC power connectors on 003 and 003 Rack accept a standard modular AC power cable. 003 and 003 Rack are auto power-selecting (100V to 240V) and will work automatically when plugged into an AC power receptacle in any country. Connecting 003 to a FireWire port of an ex- ternal drive that is connected to a computer does not support maximum track count. For information on supported PCI/PCM- CIA/ExpressCard FireWire options, visit the Digidesign website (www.digidesign.com). 003 and 003 require AC power and cannot be powered by the FireWire bus.

61 chapter 9 Making Studio Connections Getting Sound In and Out of Your 003 or 003 Rack To hear audio recorded into a Pro Tools session, you will need to connect headphones or an ex- ternal sound system (such as powered monitors or a home stereo) to 003 or 003 Rack. Sound from 003 and 003 Rack cannot be played through your computer’s speakers or your com- puter’s sound output. Connecting Headphones There are two stereo 1/4-inch headphone jacks on 003 and 003 Rack. To connect headphones:  Connect headphones with a 1/4-inch stereo connector (or adapter) to the Headphone 1 or 2 jack. To adjust headphone levels:  Adjust the Headphone 1 or 2 Level knobs. To set Headphone 2 Output to mirror Output pair 3–4:  Press the 3/4-HP2 switch. Connecting a Sound System The Main Monitor Outputs on the back of the 003 and 003 Rack support 1/4-inch plugs. These connections can be balanced, TRS (Tip, Ring, Sleeve) style connectors, or unbalanced connec- tors. To listen to your Pro Tools session, these outputs can be connected to any amplification system: powered speakers, a home stereo sys- tem, or an audio mixer. Headphone jacks (Front panel of 003 Rack) 1/4-inch Headphone jacks Headphone 1 and 2 Level control An alternate monitoring system can be connected to the Alt Monitor Outputs.

62 When connecting to a stereo system, connect the left channel to Main Monitor Output L, and right channel to Main Monitor Output R. Main Monitor Outputs L and R play the audio that is routed to analog outputs 1 and 2 within Pro Tools. The Monitor Level knob (located on the top panel of 003, and on the front panel of 003 Rack) adjusts the volume level of the Monitor Outputs. You can also connect a sound system to any of the Analog Outputs 1–8, although you will not have Monitor section controls available. Mirroring the Outputs on S/PDIF Out When using 003 or 003 Rack with Pro Tools, you can send any pair of outputs (such as out- puts 1–2) to the S/PDIF digital outputs at the same time by assigning the stereo mix to multi- ple 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 003 or 003 Rack Outputs 1–2 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. 3 Start-click (Windows) or Control-click (Mac) the same Output selector and select an addi- tional output pair from the same pop-up menu. Monitor Outputs Home stereo systems often use RCA connectors for analog audio connec- tions. You can use an adaptor or a spe- cial cable to convert from the TRS or TS connectors used by 003 and 003 Rack to the RCA connectors on your home stereo. If you plan on connecting Analog Outputs 1–8 to –10 dBV gear, you may want to place a transformer-based line level attenu- ator between the 003 or 003 Rack output and the input of the destination device to compensate for level differences. Main Monitor Outputs For information on S/PDIF connections, see “Connecting Equipment with Digital Ins and Outs” on page 67

63 The newly selected destination is indicated by an additional check mark in the output pop-up menu, and a plus sign in the Output selector. Connecting Audio Inputs 003 and 003 Rack inputs support microphones, guitars, keyboards, and other types of instru- ments. 003 and 003 Rack have eight analog inputs. One set of inputs is labeled Mic Inputs 1–4 and DI In- puts 1–4, and the other four are labeled Analog 5–8. For stereo inputs, use an odd/even pair of inputs (for example, Input 5 for the left input, and Input 6 for the right input. You cannot use both a Mic Input and DI Input with the same input number at the same time. For information about connecting specific au- dio sources, see “Connecting a Microphone” on page 63, and “Connecting Instruments to 003 or 003 Rack” on page 65. Connecting a Microphone There are several ways to use 003 or 003 Rack with a microphone, depending on the type of microphone and cables you use. Mic Cables and Connectors Some microphone cables use an XLR connector to attach a microphone to an input (such as those on 003 and 003 Rack); other microphones use a 1/4-inch connector. If you have a choice, use an XLR connector to connect the micro- phone to the 003 or 003 Rack to yield better re- sults. Choosing multiple output destinations for a track Four Mic and DI Inputs) Four Analog Inputs Mic Inputs 1–4 DI Inputs 1–4 Analog Inputs 5-8 XLR and 1/4-inch connectors XLR connector 1/4-inch connector

64 Phantom Power Some microphones require power to operate. This power, called phantom power, is supplied ei- ther by a battery in the microphone, or through an audio interface (such as 003 and 003 Rack) that can supply power through the microphone cable. Most condenser microphones (such as an AKG C3000) require phantom power to operate. Dy- namic microphones (such as a Shure SM57) do not require phantom power to operate, but are not harmed by it. 003 and 003 Rack can only supply power through a microphone cable with XLR connec- tors. If you are not sure about the phantom power re- quirements for your microphone, see your mi- crophone’s documentation or contact the man- ufacturer. Using a Mic that Has an XLR Connector To use a microphone that has an XLR connector: 1 On the back of the 003 or 003 Rack, plug your microphone cable into one of the Mic inputs. The inputs are numbered left to right, so Mic In- put 1 is the leftmost input. 2 Press the Mic/DI switch (located on the top panel of the 003, and on the front panel of the 003 Rack) for the corresponding input so that it is in the Mic (unlit) position. 3 If your microphone requires phantom power, make sure the microphone is connected, then press the Phantom Power switch (labeled 48V) on the back of the 003 or 003 Rack for the corre- sponding input pair. Although phantom power can be used safely with most microphones, ribbon mi- crophones can be damaged by it. Always turn off phantom power and wait at least 30 seconds before connecting a ribbon mi- crophone. XLR cable plugged into Mic Input 1 Mic/DI switches (located on the top panel of 003, and front panel of 003 Rack) Mic Input 1 Input 1–4 Gain controls Mic/DI and HPF switches for Inputs 1–4

65 Each Phantom Power switch sends 48V to its corresponding input pair. 4 When Pro Tools is launched and the input is routed to a Pro Tools track (see “Recording a Pro Tools Session” on page 75), you can adjust the input level with the Input Gain knob (lo- cated on the top panel of the 003, and the front panel of the 003 Rack). Using a Mic that Has a 1/4-Inch Connector To use a microphone that has a 1/4-inch connector: 1 On the back of the 003 or 003 Rack, plug the 1/4-inch connector from your microphone into one of the DI inputs. From the back, the inputs are numbered left to right, so DI Input 1 is the leftmost input. 2 Press the Mic/DI switch (located on the top panel of the 003, and on the front panel of the 003 Rack) for the corresponding input so that it is in the DI (lit) position. 3 When Pro Tools is launched and the input is routed to a Pro Tools track (see “Recording a Pro Tools Session” on page 75), you can adjust the input level with the Input Gain knob. Connecting Instruments to 003 or 003 Rack 003 and 003 Rack support two types of inputs, which correspond to the signal strengths of dif- ferent types of instruments. Instruments such as electric guitar or electric bass usually have a lower level of output than instruments and elec- tronic audio sources such as mixers, samplers, keyboards, turntables, and synthesizers. The higher level of output is commonly called “line-level” and the instruments that produce these higher levels are called line-level devices. Phantom Power switches 1/4-inch cable plugged into DI Input 1 Phantom Power (Mic Inputs 1 and 2) Phantom Power (Mic Inputs 3and 4) Line/Inst Input 1 Mic/DI switches If you are using a microphone with a 1/4- inch connector, do not choose the “Mic” in- put source because the 003 or 003 Rack will not register any signal. Input 1–4 Gain controls Mic/DI and HPF switches for Inputs 1–4

66 On 003 and 003 Rack, DI Inputs 1–4 support low-level instruments and line-level instru- ments. Analog Inputs 5–8 support line-level in- struments only. To use a guitar with 003 or 003 Rack: 1 On the back of the 003 or 003 Rack, plug your guitar cable into one of the DI inputs. From the back, the inputs are numbered left to right, so DI Input 1 is the leftmost input. 2 Press the Mic/DI switch (located on the top panel of the 003, and on the front panel of the 003 Rack) for the corresponding input so that it is in the DI (lit) position. 3 When Pro Tools is launched and the input is routed to a Pro Tools track (see “Recording a Pro Tools Session” on page 75), you can adjust the input level with the Input Gain knob (lo- cated on the top panel of the 003, and the front panel of the 003 Rack). To use a keyboard or mixer with 003 or 003 Rack: 1 On the back of the 003 or 003 Rack, plug your keyboard, mixer, or other audio source into any of the DI inputs or Analog Inputs by doing one of the following: • Use Analog Inputs 5–8 if you need to select –10 dBV or +4 dBu operating level for your keyboard. – or – • Use DI Inputs 1–4 if Analog Inputs 5–8 are unavailable, or if you do not need to set the operating level. DI Inputs 1–4 are available even if a mic is connected to Mic Inputs 1–4 (although both cannot be active at the same time). For stereo inputs, (such as a stereo keyboard or the stereo output from a mixer), use an odd/even pair of inputs. For example, connect the left channel to DI Input 1, and right channel to DI Input 2. From the back, the inputs are numbered left to right, so DI Input 1 is the leftmost input. Guitar cable plugged into DI Input 1 Mic/DI switches (located on the top panel of 003, and front panel of 003 Rack) Line/Inst Input 1 Input 1–4 Gain controls Mic/DI and HPF switches for Inputs 1–4 Keyboard plugged into Analog Inputs 5–6

67 2 If you are using any DI inputs, press the Mic/DI switch (located on the top panel of the 003, and on the front panel of the 003 Rack) for the corresponding input so that it is in the DI (lit) position. 3 If you are using any of the Inputs 5–8, set ei- ther a –10 dBV or +4 dBu operating level for the corresponding input using the Operating Level switch (located on the back panel). For informa- tion on the appropriate operating level for your input device, see the manufacturer’s specifica- tions. 4 Set your instrument’s volume to its optimal level. For example, the optimal level for most keyboards is between 80% and 100% of maxi- mum volume. 5 Adjust the Input Gain knob. Connecting Equipment with Digital Ins and Outs 003 and 003 Rack each provide up to ten digital inputs and outputs, including: • Eight channels of ADAT Optical input and output, or two channels of Optical S/PDIF in- put. Digidesign recommends high-quality au- dio grade optical cable for all optical connections. • Two channels of S/PDIF digital input and out- put (RCA connectors) Up to 18 channels of I/O can be achieved by us- ing the S/PDIF RCA I/O, Optical (ADAT) I/O, and analog I/O at the same time. Mic/DI switches (located on the top panel of 003, and front panel of 003 Rack) For line-level devices, the Input Gain knob should be turned down all the way. Four Analog Inputs Input 1–4 Gain controls Mic/DI and HPF switches for Inputs 1–4 Operating Level switches for Analog Inputs 5-8 Digital connectors 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. For more information on con- figuring Digital I/O, see “Configuring Pro Tools LE” on page 24. For more information on each I/O type, see “Digital I/O” on page 58 For information on connecting digital ef- fects devices, see “Using External Effects Devices” on page 69. For information on recording from a Digital I/O, see “Recording from a Digital Device” on page 71. RCA S/PDIF In and Out ports Optical In and Out ports

68 To connect 003 or 003 Rack to a S/PDIF digital device using RCA cables: 1 Using RCA (coaxial) cables, connect the 003 or 003 Rack S/PDIF In to the S/PDIF output of the external device. 2 Connect the 003 or 003 Rack S/PDIF Out to the S/PDIF input of the external device. To connect 003 or 003 Rack to a S/PDIF device using Optical (ADAT) cables: 1 Using an optical cable, connect the Optical output on the Optical device to the Optical In port on the 003 or 003 Rack. 2 Connect the Optical input on the Optical de- vice to the Optical Out port on the 003 or 003 Rack. (When 003 or 003 Rack is on, its Optical Out port emits a red light.) To connect 003 or 003 Rack to an ADAT device using Optical (ADAT) cables: 1 Using an optical cable, connect the Optical output on the ADAT device to the Optical In port on the 003 or 003 Rack. 2 Connect the Optical input on the ADAT de- vice to the Optical Out port on the 003 or 003 Rack. (When 003 or 003 Rack is on, its Optical Out port emits a red light.) Word Clock 003 and 003 Rack provide Word Clock In and Out connectors on the back panel that let you synchronize, or “clock” Pro Tools LE and the 003 or 003 Rack to industry standard Word clock. Word clock is used to synchronize a wide range of devices such as non-linear video sys- tems and other types of equipment typically found in professional audio facilities. With both Word clock input and output, your Pro Tools LE system can act as Word clock “slave” or “master.” To connect 003 or 003 Rack to Word clock:  Using high-quality, 75 Ohm BNC cables (not included), connect the 003 or 003 Rack Word Clock In and Out connectors to the appropriate ports on the other Word clock-capable devices in your studio. Using Word Clock with Pro Tools LE Pro Tools LE with 003 or 003 Rack can act as Word clock master, or as a slave to Word clock supplied by an external device. Pro Tools LE as Word Clock Master 003 or 003 Rack Word clock output is always ac- tive, letting Pro Tools supply Word clock to any connected devices that support standard Word clock. To use Pro Tools LE as Word clock master: 1 Make sure all connections are correct between 003 or 003 Rack and your external devices. 2 Configure all external devices to slave to the Word clock coming from 003 or 003 Rack. (Be sure to match the sample rate setting of the Pro Tools session, and verify the termination re- quirements and other internal settings for the device; see the manufacturer’s documentation if you need more information on the particular re- quirements for your other equipment.) Do not confuse Word clock and other forms of “clock reference” with time code and other forms of “positional reference.” For an overview of synchronization terminology and concepts, see the Sync & Surround Con- cepts Guide.

69 3 Launch Pro Tools. 4 Choose Hardware > Setup. 5 Click the Clock Source pop-up menu and choose Internal. 6 Click OK. Pro Tools LE as Word Clock Slave In order to slave Pro Tools to an external Word clock source, you must configure Word clock as the Pro Tools Clock source, as follows: To configure Pro Tools LE with 003 or 003 Rack as a Word clock slave: 1 Make sure all Word clock and audio connec- tions are correct as described earlier in this sec- tion. 2 Make sure the external Word clock source is powered on, and configured to output 1x Word clock. (Be sure to verify any required termina- tion; see the manufacturer’s documentation if you need more information on the particular re- quirements for your device.) 3 Launch Pro Tools. 4 Choose Hardware > Setup. 5 Click the Clock Source pop-up menu and choose Word Clock. 6 Click the Sample Rate pop-up menu and match the sample rate of the external Word clock source. 7 Click OK. Using External Effects Devices The 003 and 003 Rack can make dedicated con- nections to external analog or digital devices. You can send and return signals to analog de- vices using the analog inputs and outputs on the 003 and the 003 Rack. You can also send and re- turn a digital signal to an external device that supports digital I/O (such as a reverb unit), and monitor the return by connecting its analog outputs to available inputs on 003 and 003 Rack. When you use the digital inputs and outputs on your Pro Tools LE system as effects sends and re- turns to a digital effects device, Pro Tools LE should be the clock master in most cases. Set your digital effects device to accept an external digital clock so that it synchronizes to Pro Tools LE. To connect an external analog device to your system: 1 Connect each input of the external signal pro- cessor to an available analog output on the 003 or 003 Rack. 2 Connect each output of the external signal processor to an available analog input on the 003 or 003 Rack. If you plan to use the external device as an Insert in Pro Tools, connect it to inputs and outputs of the same number (for example, Input 5 and Output 5) of 003 or 003 Rack.

70 To set up a send to an external digital effects device (digital sends/returns only): 1 Connect the digital inputs and outputs of the external signal processor to the appropriate dig- ital connectors (the S/PDIF RCA connectors or the Optical ports) on 003 or 003 Rack. 2 In Pro Tools, choose Setup > Hardware. 3 Under Optical Format, do one of the follow- ing: • If the external effects device is a S/PDIF de- vice and connected to the S/PDIF RCA jacks, select ADAT (if the selected sample rate is 44.1 or 48 kHz) or None (if the se- lected sample rate is 88.2 or 96 kHz). The RCA jack is only active when Optical S/PDIF is not enabled. • If the external effects device is a S/PDIF de- vice and connected to the Optical ports, se- lect S/PDIF. • If the external effects device is an ADAT Optical compatible device, select ADAT. 4 Choose Internal from the Clock Source pop- up menu. 5 Click the Sample Rate pop-up menu and select a sample rate. The sample rate of the Pro Tools session and external digital device must match. If necessary, change the sample rate of the digi- tal device. 6 Click OK. Monitoring and Recording from Alternate Sources 003 and 003 Rack provide a pair of additional inputs for monitoring and recording from an ex- ternal sound source such as a CD player or tape deck. This alternate input is equipped with 1/4- inch TRS connectors and is designed for input signals with a nominal operating level of +4 dBu. To monitor an alternate sound source through 003 or 003 Rack Monitor Outputs: 1 Connect the outputs of the external device to the left and right Aux In connectors on the back panel of 003 or 003 Rack. 2 Route the signal to the Monitor Output by pressing the Aux In switch (located on the top panel of 003, and on the front panel of 003 Rack) so that it is enabled (lit). 3 If you want to monitor the signal through the Alternate Monitor Outputs, press the Alt CR switch. Any tracks within Pro Tools that are sent to the Monitor Outputs will not be heard. 4 Adjust Monitor Output or Headphone Output levels to audition the input. You can use the I/O Setup dialog (Setup > I/O) to label the inputs and outputs you are using in Pro Tools LE and identify them as inserts or sends when working in a session. See the Pro Tools Reference Guide for de- tails. Aux In for alternate sound sources To monitor an external device through the Alternate Source Inputs, 003 or 003 Rack must be powered on. Aux In

71 To record an alternate sound source directly into Pro Tools: 1 Connect the outputs of the external device to the left and right Aux In connectors on the back panel of 003 or 003 Rack. 2 Route the signal directly to Inputs 7–8 in Pro Tools by pressing the Aux In to 7–8 switch (located on the top panel of 003, and on the front panel of 003 Rack) so that it is enabled (lit). When the Aux In to 7–8 switch is enabled, 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. Recording from a Digital Device If you are recording from an optical or S/PDIF device, you will need to select a Clock Source. In most cases, you will synchronize the Pro Tools clock to the external device. If you are using an optical device for recording, you also need to set the Optical Format. To configure Pro Tools LE for a digital source: 1 Connect an ADAT or Optical S/PDIF format device to the Optical In connector, or an RCA S/PDIF format device to the S/PDIF In connector on the back of the 003. 2 Choose Setup > Hardware. 3 Under Optical Format, do one of the follow- ing: • If the external digital device is a S/PDIF de- vice and connected to the S/PDIF RCA jacks, select ADAT (if the selected sample rate is 44.1 or 48 kHz) or None (if the se- lected sample rate is 88.2 or 96 kHz). The RCA jack is only active when Optical S/PDIF is not enabled. • If the external digital device is a S/PDIF de- vice and connected to the Optical ports, se- lect S/PDIF. • If the external digital device is an ADAT Optical compatible device, select ADAT. 4 From the Clock Source pop-up menu, do one of the following: • If you are synchronizing the Pro Tools clock to the external device, select ADAT, RCA (S/PDIF) or Optical (S/PDIF), depend- ing on where you connected your digital device. – or – • Select Internal if you are synchronizing the external device to 003 or 003 Rack. You can use only one pair of S/PDIF inputs (either RCA or Optical) at a time. Your digital input device must be connected and powered on. If your input device is not powered on, leave the Clock Source set to In- ternal. You can use the I/O Setup dialog (Setup > I/O) to label the inputs and outputs you are using in Pro Tools LE and identify them as inserts or sends when working in a session. See the Pro Tools Reference Guide for de- tails.

72 5 Click the Sample Rate pop-up menu and select a sample rate. The sample rate of the Pro Tools session and external digital device must match. If necessary, change the sample rate of the digi- tal device. 6 Click OK. Connecting a Recorder for Mixdowns After you record and mix your sessions using 003 or 003 Rack, you may want to mix them down to a DAT, or other stereo 2-track recording device. Connecting an Analog Deck  Connect your recorder’s inputs to the Alt Monitor Outputs (or any other output pair) on the back of the 003 or the 003 Rack. These out- puts are 1/4-inch jacks. You may need adapter cables if your mixdown deck has RCA inputs. Connecting a Digital Deck  If you have a DAT or other digital device that can receive S/PDIF digital audio data, connect it to the S/PDIF In and S/PDIF Out RCA jacks on the back of the 003 or the 003 Rack. Connecting a Lightpipe-Compatible Device (ADAT) To connect a Lightpipe-compatible device (ADAT) to 003 or 003 Rack: 1 Connect the Optical output on the ADAT to the Optical In port on the 003 or 003 Rack. 2 Connect the Optical input on the ADAT to the Optical Out port on the 003 or 003 Rack. MIDI Connections The MIDI ports on 003 and 003 Rack let you take advantage of all the MIDI features of Pro Tools LE, including recording and editing MIDI tracks. If you need additional MIDI ports you can add a compatible MIDI interface (such as a Digidesign MIDI I/O). To connect your MIDI device to 003 or 003 Rack: 1 Connect a standard 5-pin MIDI cable from the MIDI Out port of your device to the MIDI In port on the back panel of the 003 or 003 Rack. 2 Connect another MIDI cable from the MIDI In port of your device to one of the MIDI Out ports on the back panel of the 003 or 003 Rack. Alt Monitor Outputs and other outputs S/PDIF In and Out ports Alt Monitor Outputs RCA S/PDIF In and Out ports Optical In and Out ports The MIDI Out port can be selected in Pro Tools or a supported third party applica- tion. Optical In and Out

73 Monitoring MIDI Instruments with 003 or 003 Rack If you have a MIDI instrument that has analog outputs, you can connect it to the 003 or 003 Rack to monitor its output. To connect your MIDI instrument for monitoring in Pro Tools:  Connect the MIDI instrument’s audio output to a DI or Analog Input on the back panel of the 003 or 003 Rack. MIDI instrument audio outputs plugged into Analog Inputs 5–6

75 chapter 10 Common Tasks with Pro Tools LE This chapter provides instructions for common Pro Tools tasks. Recording a Pro Tools Session Before you record with Pro Tools LE, you first create a Pro Tools session, then prepare an audio track for recording. To create a Pro Tools session: 1 Verify the connections between your 003 or 003 Rack and your instrument or microphone. 2 Launch Pro Tools. 3 Choose File > New Session. 4 In the New Session dialog, set the session pa- rameters as needed, or leave them at their de- fault settings. (For details on New Session settings, see the Pro Tools Reference Guide.) 5 Choose the audio drive where you want to save your session. 6 Type a name for your session. 7 Click Save. For the most complete information on using Pro Tools, see the Pro Tools Reference Guide. You can view an electronic PDF version of the Reference Guide by choosing it from the Pro Tools Help menu. For connection information, see Chapter 9, “Making Studio Connections.” New Session dialog

76 To prepare an audio track for recording: 1 Choose Track > New. 2 Specify 1 Mono Audio Track in Samples if your source is mono, or 1 Stereo Audio Track in Sam- ples if your source is stereo. 3 Click Create. 4 Make sure the Mix window is open by choos- ing Window > Mix. 5 In the Mix window, click the Audio Input Path selector on the new track. 6 From the pop-up menu, select the interface in- put you want to record. For example, select Analog 1 if your audio source is plugged into an Input 1 connector on the 003 or 003 Rack. 7 Play the instrument or sound source at the volume you will record. 8 Use the Gain controls to maximize the signal going into Pro Tools while avoiding clipping. To record an audio track: 1 Click the track’s Record Enable button. 2 Choose Window > Transport to display the Transport window. Click Return to Zero to go to the beginning of the session. 3 Click Record in the Transport window to arm Pro Tools for recording. The Record button flashes red to indicate that Pro Tools is ready to record. 4 When you are ready to start recording, click Play or press the Spacebar. 5 Record your performance. Creating a new Stereo audio track A mono instrument uses one input on the 003 or 003 Rack, and a stereo instrument uses two. Creating a stereo track in Pro Tools will not make a mono instrument into a stereo instrument. If a mono instru- ment is recorded on a stereo track, one of the sides of the stereo track will show no signal. Routing an input to a mono track Clipping occurs when you feed a signal to an audio device that is louder than the circuitry can accept. On the 003 and 003 Rack, the Mic and DI switch LEDs blink rapidly when the input is clipping. To avoid clipping on one of these inputs, adjust the Input Gain knob to a level where its switch LED does not flicker. Record enabling a track in the Mix window Transport window Fast Forward Record Go to End Play Stop Rewind Return to Zero Online

77 6 Click Stop in the Transport window or press the Spacebar when you are finished recording. To play back a recorded track: 1 If the track’s Record Enable button is lit, click on it to take it out of Record mode. 2 Click Play in the Transport window or press the Spacebar to start playback. 3 Click Stop in the Transport window or press the Spacebar to stop playback. Importing Audio from a CD To import audio from a compact disc: 1 Put the source CD into your computer’s CD/DVD drive. 2 In Pro Tools, open the Workspace browser by choosing Window > Workspace. The Workspace browser is a window where you can find, audi- tion, and manage your audio files. 3 In the Workspace browser, click the Audio CD icon to show the files on the CD. 4 Click the speaker icon in the Waveform col- umn to audition the audio file. Press the Space- bar to stop playback. 5 Drag the audio file from the Workspace browser to the Track List in the Edit window to import the file to a new audio track. To play back the new track: 1 In the Transport window, click Return to Zero to go to the beginning of the track. 2 Click Play in the Transport window to begin playback. 3 Click Stop in the Transport window or press the Spacebar to stop playback. Opening the Workspace browser Auditioning an audio file in the Workspace browser Dragging an audio file from the Workspace browser to the Edit window Track List

78 Creating an Audio CD from a Pro Tools Session Pro Tools does not create audio CDs directly, but you can create stereo audio files from your Pro Tools sessions that can be used by most CD burning software. Bouncing Audio to Disk Use the Pro Tools Bounce to Disk feature to combine all your audible tracks into a single “master” audio file. After the new audio file has been bounced to disk, you can burn it to a CD. If you are bouncing to 16-bit (CD resolution), you should use a dither plug-in on the main out- put. (For details, see the Pro Tools Reference Guide.) To bounce audio to disk: 1 After you have finished recording and mixing a session in Pro Tools, select the length of the session in the timeline ruler (or on a track), plus an additional amount of time to avoid cutting off any reverb tails that might continue past the end of the last region. 2 Choose File > Bounce to > Disk. 3 In the Bounce Options dialog, choose Analog 1–2 as the Bounce Source. 4 Choose WAV (BWF) for the File Type. 5 Choose Stereo Interleaved for the Format. 6 Choose 16 for the Resolution and 44100 for the Sample Rate. 7 If you are changing the sample rate of the bounced file, choose a Conversion Quality set- ting. (For details, see the Pro Tools Reference Guide.) Audio session highlighted and ready to bounce Choosing Bounce to Disk from the File menu

79 8 Choose “Convert after Bounce,” and click Bounce. 9 In the Bounce dialog, give the bounce tracks a name and choose where they should be saved. 10 Click Save. Pro Tools begins bouncing to disk. Pro Tools bounces are done in real time, so you hear audio playback of your mix during the bounce process (though you cannot adjust it). . Burning a CD After the bounce is completed, you will have an audio file that is ready for burning onto a CD. Quit Pro Tools and launch any common CD burning application to burn your bounced mix to CD. Bounce options for creating CD burnable tracks Entering a name for the bounced file Bouncing to Disk dialog Make certain that you configure your CD burning application to create an audio CD rather than a data CD.

80 Recording MIDI in a Pro Tools Session What is MIDI? MIDI (Musical Instrument Digital Interface) data is not audio, and has no sound. MIDI is a way for musical devices to communicate. MIDI is data that can trigger a MIDI device (such as a keyboard or software synthesizer). In order to create or play a MIDI recording, you must have a MIDI controller or sound module (real or virtual) connected to the computer through a MIDI interface. Audio from your MIDI instrument can be monitored through the audio interface or sent to an external mixer. Recording MIDI on an Instrument Track Pro Tools Instrument tracks provide both MIDI and audio capabilities, so you can record MIDI and monitor audio from software and hardware instruments. To create an Instrument track and configure it for recording: 1 Choose Setup > MIDI > Input Devices and make sure your input device is selected in the MIDI Input Enable window, and click OK. 2 Choose Track > New and specify 1 Mono In- strument Track, then click Create. 3 Select View > Mix Window > Instruments to display the MIDI controls for the Instrument track. 4 At the top of the Instrument track in the Mix window, click the track’s MIDI Input selector and assign the device and channel to be re- corded, or leave it set to All. Signal paths for MIDI instruments To record or playback tracks using MIDI data, your Pro Tools system must be config- ured for MIDI. See Appendix A, “Configuring MIDI Studio Setup (Windows Only)” or Appendix B, “Configuring AMS (Mac OS X Only).” MIDI Audio Mixer MIDI keyboard (controller) To amplifier MIDI sound module Creating a new Mono Instrument track Showing the Instrument View in the Mix window MIDI Input selector in an Instrument track MIDI Input selector

81 5 Do one of the following, depending on the type of instrument you are using: • If you are using an instrument plug-in, click an Insert selector and insert the plug- in on the Instrument track. The track’s MIDI output is automatically assigned to the instrument plug-in. • If you are using an external MIDI device, click the track’s MIDI Output selector (at the top of the Instrument track) and assign the device and channel to receive the MIDI output (the choices will vary depending on the device). 6 If you are using an external MIDI device and have connected its audio output to your audio interface for monitoring in Pro Tools, click the Input selector of the Instrument track and choose the corresponding audio input. (This step is not necessary if you are using an instru- ment plug-in.) 7 In the Mix Window, click the track’s Record Enable button to enable the Instrument track for MIDI recording. 8 Make sure Options > MIDI Thru is selected. Inserting an instrument plug-in on an Instrument track MIDI Output selector in an Instrument track If your connected MIDI device does not ap- pear, check that you have configured your computer and its MIDI settings. For more information, see Appendix A, “Configuring MIDI Studio Setup (Windows Only)” or Appendix B, “Configuring AMS (Mac OS X Only).” Choosing an audio input for an Instrument track Enabling an Instrument track for MIDI recording Track Record Enable button

82 9 Play some notes on your MIDI controller and look for the track’s MIDI Velocity meter to move. Remember, MIDI is not audio, and the MIDI Velocity meter is not registering sound output, but MIDI activity. 10 Adjust the audio output level of the Instru- ment track with its Volume fader. To record MIDI on the Instrument track: 1 Verify that the Instrument track you want to record to is record-enabled and receiving MIDI. 2 In the Transport window, click Return to Zero to start recording from the beginning of the ses- sion. You can also record to a selection in a track 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. 5 Play your MIDI controller or input device. 6 When you have finished recording, click Stop in the Transport, or press the Spacebar. The newly recorded MIDI data appears as a MIDI re- gion on the track in the Edit window, as well as in the Region List. To play back recorded MIDI data: 1 Click the track’s Record Enable button to take the Instrument track out of Record mode. 2 In the Transport window, click Return to Zero to play back from the beginning of the track. 3 Click Play in the Transport window to begin playback. The recorded MIDI data plays back through the track’s assigned instrument and channel. MIDI meter in Instrument track showing MIDI activity Adjusting the Volume fader on an Instrument track Transport window MIDI Velocity meter Volume fader Fast Forward Record Go to End Play Stop Rewind Return to Zero Online MIDI data in the Instrument track

83 chapter 11 Pro Tools Mode with 003 In Pro Tools mode, the 003 can be used as a con- trol surface for your Pro Tools sessions. 003 is in this mode when the 003 unit is con- nected to a computer and Pro Tools LE software is running. If Pro Tools is running and no Pro Tools session is open, the unit normally displays “Open or create a new session.” When a session is being launched, the display changes to “Loading a ses- sion.” When a Pro Tools session is open, the unit mir- rors the on-screen controls. 003 faders, transport switches, rotary knobs, and switches control the corresponding elements in Pro Tools. You can also use 003 MIDI ports as you would those on a standard MIDI interface. In Pro Tools mode, the Monitor section and MIDI I/O ports are available with a session open or closed. To put 003 in Pro Tools mode: 1 Make sure the 003 unit is properly connected to the computer and powered on. 2 If Mute is disabled (unlit), enable Mute by pressing the Monitor Mute switch so that it is lit. 3 Launch Pro Tools LE and open or create a Pro Tools session. Saving a Session You can invoke the Save Session command from 003. To save the current session: 1 Press the Save switch. The switch flashes to in- dicate that another press will result in a Save. 2 Do one of the following: • To save the session, press the Save switch a second time. • To cancel the save, press the ESC switch. If no session is open and a Workspace browser is open and being used for auditioning an audio file, the unit displays “Working.”

84 Working in Console View Console View provides a global view of a given control type across the 003 (such as send A for the current bank of channels). 003 is in Console View when any of the Console View switches (Pan, Send, or Insert) is lit in the Console View section.  In Console View, the touch-sensitive faders on 003 mirror the volume faders in Pro Tools. Fader assignments are shown on-screen in Pro Tools by blue outlines around the track names.  In Console View, the LED rings surrounding the rotary encoders indicate either the pan posi- tion, the send level, or the insert control level for each channel, depending on which Console View switch is enabled (lit). There are three Console Views, based on their corresponding switch name: Pan View, Send View, and Insert View. Pan View Workflows When the Pan switch is enabled (lit), 003 is in Pan View. This is the default View when you first open a Pro Tools session. In this view, you can use the rotary encoders to adjust pan on the current bank of tracks, select and rename tracks, and assign inputs or outputs in Assign mode. To adjust a track’s panning controls: 1 Press the Pan switch to put 003 in Pan View. 2 Do one of the following: • If the track is a stereo track, toggle the Meter switch to Left or Right. – or – • If the track is a mono track, toggle the Meter switch to Left. 3 Adjust a channel’s panning by turning its ro- tary encoder. Selecting Tracks To select a track: 1 Press the Pan switch to put 003 in Pan View. 2 Press a Channel Select switch that is unlit to select the track. To select a range of tracks: 1 Press the Pan switch to put 003 in Pan View. 2 Press a Channel Select switch that is unlit to select the track. When you first open a Pro Tools session, the top row of the 003 is in Console View with the Pan switch enabled (lit). This default view is sometimes called the Home View. Pan switch in Console View section Pan switch For information on assigning inputs and outputs in Assign mode, see “Assigning Pro Tools Paths (Input, Output, Sends, Inserts)” on page 92.

85 3 Hold Shift (Add) and press the Channel Select switch for an unselected (unlit) track. All tracks between the first track selected and the additional track will also be selected. To remove subsequent tracks in range of selected tracks: 1 Press the Pan switch to put 003 in Pan View. 2 Hold Shift (Add) and press the Channel Select switch for a selected (lit) track in the middle (or beginning) of a range. All tracks following the selected track will be de- selected. To select all tracks: 1 Press the Pan switch to put 003 in Pan View. 2 Hold Opt/Alt All and press the Channel Select switch for any unselected (unlit) track. To deselect all tracks: 1 Press the Pan switch to put 003 in Pan View. 2 Hold Opt/Alt All and press the Channel Select switch for any selected (lit) track. To select or deselect noncontiguous tracks: 1 Press the Pan switch to put 003 in Pan View. 2 Do one of the following: • In Pan View, hold Command/Ctrl and press the Channel Select switch for an un- selected (unlit) tracks to select them. – or – • In Pan View, hold Command/Ctrl and press the Channel Select switch for any se- lected (lit) tracks to deselect them. Renaming Tracks To rename a track: 1 Press the Pan switch to put 003 in Pan View. 2 Double-press the Channel Select switch for the track you want to rename. 3 Enter the new name in the Track Name/Com- ments dialog. 4 Click Enter. Send View Workflows When the Send switch is enabled (lit), 003 is in Send View. In this view, you can adjust send level with the rotary encoders, toggle pre- and post-fader operation of sends, and assign sends in Assign mode. To display a Send position (A–J): 1 Press the Send switch to put 003 in Send View. 2 Press the Insert/Send Position switch that cor- responds to the send position that you want to adjust. The five Console View switches are dual-function (A/F, B/G, C/H, D/I, E/J). Press the switch to toggle from the current send to the corresponding one (such as Send A to F or Send F to A). To adjust send levels: 1 Press the Send switch to put 003 in Send View. 2 Press the Insert/Send Position switch (A/F, B/G, C/H, D/I, E/J) that corresponds to the send position that you want to adjust. 3 Adjust a channel’s send level by turning its ro- tary encoder. For information on assigning sends in As- sign mode, see “Assigning Pro Tools Paths (Input, Output, Sends, Inserts)” on page 92.

86 To toggle a send between pre- and post-fader operation: 1 Press the Send switch to put 003 in Send View. 2 Press the Channel Select switch under a send name to toggle its pre- and post-fader setting. Insert View Workflows When the Insert switch is enabled (lit), 003 is in Insert View. In this view, the LCD shows the names of currently-assigned inserts (hardware inserts or plug-ins) across all channel strips for a given insert position (Inserts A–E in Pro Tools). If a hardware insert or plug-in is selected in Pro Tools, its name flashes in the LCD. In this view, you can display inserts, plug-in controls, bypass plug-ins, and assign inserts in Assign mode. Working with Inserts To display the inserts on an Insert position (A– E): 1 Press the Insert switch (Console View section) to put 003 in Insert View. 2 Press the corresponding Insert/Send Position switch A–E. The names of all inserts on that track are dis- played in the LCD. (While the names of hard- ware I/O inserts are displayed, they have no ed- itable parameters, so the Channel Select switches and the rotary encoders have no effect on them.) To display the controls for a plug-in: 1 Press the Insert switch (Console View section) to put 003 in Insert View. 2 Press the corresponding Insert/Send Position switch A–E. 3 Press the Channel Select switch under a plug-in name. 003 goes into Channel View and displays the plug-in’s controls across all channel strips. Con- trols are assigned to the rotary encoders. Switched controls (such as Master Bypass or Phase Invert) are controlled by Channel Select switches. 4 To display additional pages of plug-in controls (if any), press the Left and Right Page switches. To bypass a plug-in: 1 Press the Insert switch (Console View section) to put 003 in Insert View. 2 Hold Command/Ctrl and press the Channel Select switch under the plug-in name. The LCD screen displays the name of bypassed plug-ins in all capital letters. For information on assigning inserts in As- sign mode, see “Assigning Pro Tools Paths (Input, Output, Sends, Inserts)” on page 92. The Left or Right Page switch flashes when an additional page is available.

87 Working in Channel View Channel View provides a way to temporarily fo- cus on all the plug-ins, inserts or sends on a sin- gle channel. 003 is in Channel View when any of the first four Channel View Select switches (EQ, Dynam- ics, Insert, or Pan/Send) is lit in the Channel View section.  In Channel View, controls are displayed hori- zontally across the LCD and can be adjusted with the channel rotary encoders and switches. From this view, you can view and edit parame- ters for all the sends on a single track, or all the parameters of a single plug-in.  In Channel View, the touch-sensitive faders on 003 mirror the volume faders in Pro Tools.  In Channel View, the LED rings above the ro- tary encoders indicate values for the selected control, such as plug-in parameters, insert lev- els, or pan values and send levels, depending on which Channel View switch is lit. EQ Plug-in Workflows in Channel View When the EQ switch is enabled (lit), 003 identi- fies channels with equalizer plug-ins assigned to them by illuminating their Channel Select switches. If no EQ plug-ins are present for the current bank of channels, no Channel Select switches will be lit. In this view, you can display the controls for EQ plug-ins across all channel strips. To display all EQ plug-ins on a track:  Press the EQ switch to put 003 in Channel View. To display the controls for an EQ plug-in: 1 Press the EQ switch to put 003 in Channel View. 2 Press a lit Channel Select switch. Controls for the first EQ plug-in on that track are assigned to the rotary encoders and dis- played in the LCD. Switched controls (such as Master Bypass or Phase Invert) are controlled by Channel Select switches. 3 To display additional pages of plug-in controls (if any), press the Left and Right Page switches. To cycle through all the EQ plug-ins on a channel: 1 Press the EQ switch to put 003 in Channel View. 2 Hold the EQ switch and repeatedly press the track’s Channel Select switch. If a plug-in window is open on-screen, it will up- date to reflect the plug-in selected on 003. Dynamics Plug-in Workflows in Channel View When the Dynamics switch is enabled (lit), 003 identifies channels with dynamics plug-ins (such as compressors or limiters) assigned to them by illuminating their Channel Select switches. If no dynamics plug-ins are present for the current bank of channels, no Channel Select switches will be lit. In this view, you can display the controls for dy- namics plug-ins across all channel strips. To display all Dynamics plug-ins on a track:  Press the Dynamics switch to put 003 in Channel View. The Left or Right Page switch flashes when an additional page is available.

88 To display the controls for a Dynamics plug-in: 1 Press the Dynamics switch to put 003 in Channel View. 2 Press a lit Channel Select switch. Controls for the first Dynamics plug-in on that track are assigned to the rotary encoders and dis- played in the LCD. Switched controls (such as Master Bypass or Phase Invert) are controlled by Channel Select switches. 3 To display additional pages of plug-in controls (if any), press the Left and Right Page switches. To cycle through all the Dynamics plug-ins on a channel: 1 Press the Dynamics switch to put 003 in Channel View. 2 Hold the Dynamics switch and repeatedly press the track’s Channel Select switch. If a plug-in window is open on-screen, it will up- date to reflect the plug-in selected on the 003. Insert Workflows in Channel View When the Insert switch is enabled (lit), 003 identifies channels with any kind of insert as- signed to them (software plug-ins or hardware I/O inserts) by illuminating their Channel Select switches. If no inserts are present for the current bank of channels, no Channel Select switches will be lit. In this view, you can display inserts or plug-in controls, bypass plug-ins, and assign inserts in Assign mode. To display the inserts on a track: 1 Press the Insert switch (Channel View section) to put 003 in Channel View. 2 Press a lit Channel Select switch. The names of all inserts on that track are dis- played in the LCD. (While the names of hard- ware I/O inserts are displayed, they have no ed- itable parameters, so the Channel Select switches and the rotary encoders have no effect on them.) To display the controls for a plug-in: 1 Press the Insert switch (Channel View section) to put 003 in Channel View. 2 Press a lit Channel Select switch to display the inserts for the corresponding track. 3 Press the Channel Select switch under a plug-in name. 003 displays the plug-in controls across all chan- nel strips. Controls are assigned to the rotary en- coders. Switched controls (such as Master Bypass or Phase Invert) are controlled by Channel Se- lect switches. 4 To display additional pages of plug-in controls (if any), press the Left and Right Page switches. To cycle through all the inserts on a channel:  Hold the Insert switch and repeatedly press the track’s Channel Select switch. To bypass a single plug-in: 1 Press the Insert switch (Channel View section) to put 003 in Channel View. 2 Press a lit Channel Select switch to display the inserts for the corresponding track. The Left or Right Page switch flashes when an additional page is available. For information on assigning inserts in As- sign mode, see “Assigning Pro Tools Paths (Input, Output, Sends, Inserts)” on page 92. The Left or Right Page switch flashes when an additional page is available.

89 3 Press the Channel Select switch under a plug-in name. 4 Press the Plug-In Master Bypass switch. To bypass all plug-ins on a channel: 1 Press the Insert switch (Channel View section) to put 003 in Channel View. 2 Press a lit Channel Select switch to display the inserts for the corresponding track. 3 Press the Plug-In Master Bypass switch. In mixed mode situations, where some plug-ins are bypassed and some are not, pressing the Master Bypass switch changes all plug-ins to by- passed. Press Master Bypass again to take all plug-ins out of bypass. Pan/Send Workflows in Channel View When the Pan/Send switch is enabled (lit), 003 identifies channels with sends assigned to them by illuminating their Channel Select switches. If no sends are present for the current bank of channels, no Channel Select switches will be lit. In this view, you can display sends, adjust send levels, and toggle pre- and post-fader operation. To display the sends on a track: 1 Press the Pan/Send switch to put 003 in Chan- nel View. 2 Press a lit Channel Select switch. 3 Do one of the following: • To display Sends A–E, press the Left Page switch. • To display Sends F–J, press the Right Page switch. The LCD display for the first channel strip shows track pan position for that track. (If the track is a stereo track, you can toggle between left and right pan by pressing the Meter switch immediately to the right of the rotary encoders.) The LCD display for channels 3–7 shows the send names. Their rotary encoders control the levels for the corresponding send. The Channel Select switches on channels 3–7 toggle pre- and post-fader metering for the cor- responding send. To adjust send levels for any of the sends on a single track: 1 Press the Pan/Send switch in the Channel View switch section. 2 Press the Channel Select switch for the track with sends you want to view. 3 Adjust a channel’s send level by turning its ro- tary encoder. To adjust pan levels on a track that has sends: 1 Press the Pan/Send switch in the Channel View switch section. 2 Press the Channel Select switch for the track with sends that has panning you want to adjust. 3 Do one of the following: • If the track is a stereo track, toggle the Meter switch to Left or Right. – or – • If the track is a mono track, toggle the Meter switch to Left. Hardware I/O inserts cannot be bypassed in Pro Tools, so the Plug-in Master Bypass switch has no effect on them.

90 4 Adjust the track’s panning by turning the ro- tary encoder in the first fader strip. To toggle a send between pre- and post-fader operation: 1 Press the Pan/Send switch to put 003 in Chan- nel View. 2 Press a lit Channel Select switch to display the sends for the corresponding track. 3 Press the Channel Select switch under a send name to toggle its pre- and post-fader setting. Display Options in Console and Channel View Displaying Full Names of Tracks, Insert Parameters, and Other Elements Track names and other parameters displayed on the lower row of the LCD are abbreviated to six characters. Full names can be temporarily dis- played on the top row of the LCD. To display full names of tracks and insert parameters, do one of the following:  In Pan View, hold Display and press the Channel Select switch for the track whose name you want to see displayed fully. The name dis- plays on the left side of the top row of the LCD display. – or –  In Insert View, when editing plug-in parame- ters, hold Display and press the Channel Select switch for the parameter whose name you want to see displayed fully. The name displays on the far right side of the top row of the LCD display. Displaying Settings Instead of Track or Control Names The lower row of the LCD shows track or control names by default. The display can be changed to temporarily show settings, or be reset to always show settings. The Display Mode switch flashes during a temporary display or when the LCD de- fault has been reset to always show settings. Depending on the current Console or Channel View, you can display insert, plug-in, or pan/send settings. In most temporary display views, faders and ro- tary encoders can be used to change settings as you are temporarily viewing them. To reset the LCD display to show settings for all views instead of track or control names:  Hold Command/Ctrl and press Display. To return the LCD display to its default state (showing track or control names in all views):  Press the flashing Display Mode switch. To temporarily display fader level in the LCD (Console Pan View): 1 Press the Pan switch to put 003 in Pan View. 2 Hold the Display Mode switch. The lower row of the LCD shows fader levels for the current bank of channels (such as Channels 1–8). See “Working in Console View” on page 84 and “Working in Channel View” on page 87 for information on the different Console and Channel Views. Fader levels can be adjusted with faders while the Display mode switch is pressed.

91 To temporarily display send level in the LCD (Console Send View): 1 Press the Send switch to put 003 in Send View. 2 Hold the Display Mode switch. The lower row of the LCD shows send level for the current bank of sends (such as Send A for Channels 1–8). To temporarily display insert or plug-in parameters in the LCD (Console or Channel View): 1 Do one of the following: • Make sure the Insert switch is lit in the Console View section. – or – • Make sure the EQ, Dynamics, Insert, or switch is lit in the Channel View section 2 Press Channel Select for the an insert or plug-in that you want to display. 3 Hold the Display Mode switch. The lower row of the LCD shows the insert or plug-in settings. To temporarily display the channel pan setting and send levels in the LCD (Channel View): 1 Press the Pan/Send switch to put 003 in Chan- nel View. 2 Press Channel Select for the channel with the pan and sends you want to display. 3 Hold the Display Mode switch. The lower row of the LCD shows the channel pan setting in the first fader strip and send levels for the cur- rently-selected channel in fader strips 3–8. Navigating and Editing Values in Entry Fields You can navigate and edit numerical values in Pro Tools windows (such as Selection Start, End, and Length, or Pre- and Post-Roll in the Edit or Transport windows) with the Arrow keys. To navigate between fields in the Edit window, Transport window, or a plug-in window:  Press the Left or Right Arrow key. To change a value in a selected field:  Press the Up or Down Arrow key. Working with Tracks Navigating the New Track Dialog when Creating a New Track You can navigate the New Tracks dialog with the Arrow keys. To increase or decrease the number of tracks:  Press the Up or Down Arrow key. To scroll through the track types:  Hold Command/Ctrl and press the Up or Down Arrow key. Send levels can be adjusted with rotary encoders (or with faders in Flip mode) while the Display mode switch is pressed. Parameters with ranges can be adjusted with rotary encoders (or with faders in Flip mode) while the Display mode switch is pressed. Controls such as On/Off cannot be changed when the Display mode switch is pressed. Pan settings and fader levels can be adjusted with rotary encoder while the Dis- play mode switch is pressed.

92 To scroll through the track formats:  Hold Command/Ctrl and press the Left or Right Arrow keys. Naming Tracks of Adding Track Comments To open the Track Name/Comments dialog (to change a track’s name or comments):  In Pan View, double-click the track’s Channel Select switch. To close the Track Name/Comments dialog:  In the Channel View section, press the ESC switch. Navigating Track Name Field in the Track Name Dialog You can move the cursor when you are naming tracks in the Track Name dialog. To move the cursor while naming a track, do any of the following:  Press the Left or Right Arrow key to move the cursor backward or forward through the name field.  Press the Up or Down Arrow key to move the cursor to the beginning or end of the field.  Hold Command/Ctrl and press the Up (or Left) or Down (or Right) Arrow key to move to the previous or next track name field. Assigning Pro Tools Paths (Input, Output, Sends, Inserts) Channel inputs, outputs, inserts, and sends can be assigned directly from the 003 in Assign mode. Inputs and outputs are assigned in Pan View, sends are assigned in Send View, and inserts are assigned in Insert View. Inputs and Outputs To assign an input or output: 1 Press the Pan switch in the Console View sec- tion. 2 On the channel where you want to make the assignment, do one of the following: • To assign the output of a track, press its Channel Select switch for 2 seconds. – or – • To assign the input of a track, hold Shift and press the track’s Channel Select switch for 2 seconds. The LCD changes to display the selected path and the Channel Select switch flashes. 3 If you are assigning a different input or output path type than the current type displayed on the LCD (such as a bus instead of an interface), do the following to select a new path type: • Hold Command/Ctrl and press the Chan- nel Select switch to display the name of the current path type in the main menu. The main menu includes a dash (“–”) for no as- signment, intrfc (interface), bus, and plug-in (inputs only). • Use the rotary encoder to scroll through the list of path types. • Press the flashing Channel Select switch to select the path type. 4 Use the rotary encoder to navigate through the available input or output paths in the sub- menu.