Getting Started: 003 ™ & 003 Rack

Getting Started
003™ & 003 Rack
Version 7.4
Legal Notices
This guide is copyrighted ©2007 by Digidesign, a division of
Avid Technology, Inc. (hereafter “Digidesign”), with all rights
reserved. Under copyright laws, this guide may not be
duplicated in whole or in part without the written consent of
Digidesign.
003, 003 Rack, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O,
888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O,
AudioSuite, Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity
ISIS, Avid Unity MediaNetwork, Avid Xpress, AVoption,
AVoption|V10, Beat Detective, Bruno, Command|8, Control|24,
D-Command, D-Control, D-Fi, D-fx, D-Show, DAE, Digi 002,
Digi 002 Rack, DigiBase, DigiDelivery, Digidesign, Digidesign
Audio Engine, Digidesign Intelligent Noise Reduction,
Digidesign TDM Bus, DigiDrive, DigiRack, DigiTest,
DigiTranslator, DINR, DV Toolkit, EditPack, Impact, Interplay,
M-Audio, MachineControl, Maxim, Mbox, MediaComposer,
MIDI I/O, MIX, MultiShell, OMF, OMF Interchange, PRE,
ProControl, Pro Tools M-Powered, Pro Tools, Pro Tools|HD,
Pro Tools LE, QuickPunch, Reel Tape, Reso, Reverb One,
ReVibe, RTAS, Smack!, SoundReplacer, Sound Designer II,
Strike, Structure, SYNC HD, SYNC I/O, Synchronic, TL Space,
Velvet, and X-Form are trademarks or registered trademarks of
Digidesign and/or Avid Technology, Inc. All other trademarks
are the property of their respective owners.
Product features, specifications, system requirements, and

availability are subject to change without notice.
PN 9327-56792-00 REV A 7/07
Comments or suggestions regarding our documentation?

email: techpubs@digidesign.com
Communications & Safety Regulation Information
Communication Statement
Compliance Statement
The model 003 and 003 Rack comply with the following NOTE: This equipment has been tested and found to comply
standards regulating interference and EMC: with the limits for a Class B digital device, pursuant to Part
• FCC Part 15 Class B 15 of the FCC Rules. These limits are designed to provide
• EN55022 Class B reasonable protection against harmful interference in a
• EN55024 Class B residential installation. This equipment generates, uses,
• AS/NZS 3548 Class B and can radiate radio frequency energy and, if not installed
• CISPR 22 Class B and used in accordance with the instructions, may cause
Radio and Television Interference harmful interference to radio communications. However,
This equipment has been tested and found to comply with the there is no guarantee that interference will not occur in a
limits for a Class B digital device, pursuant to Part 15 of the particular installation. If this equipment does cause harmful
FCC Rules. 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
DECLARATION OF CONFORMITY
more of the following measures:
We, Digidesign, 2001 Junipero Serra Boulevard • Reorient or locate the receiving antenna.
Daly City, CA 94014-3886, USA • Increase the separation between the equipment and
receiver.
650-731-6300 • Connect the equipment into an outlet on a circuit
declare under our sole responsibility that the product different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician
003 and 003 Rack
for help.
complies with Part 15 of FCC Rules.
Operation is subject to the following two conditions: (1) this Any modifications to the unit, unless expressly approved by
device may not cause harmful interference, and (2) this Digidesign, could void the user's authority to operate the
device must accept any interference received, including equipment.
interference that may cause undesired operation.
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: 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.
Digidesign is authorized to apply the CE (Conformité
Europénne) mark on this compliant equipment thereby 10) Protect the power cord from being walked on or pinched
declaring conformity to EMC Directive 89/336/EEC and Low particularly at plugs, convenience receptacles, and the point
Voltage Directive 73/23/EEC. where they exit from the apparatus.
Safety Statement 11) Only use attachments/accessories specified by the

This equipment has been tested to comply with USA and manufacturer.
Canadian safety certification in accordance with the
specifications of UL Standards: UL60065 7th /IEC 60065 7th 12) Unplug this apparatus during lightning storms or when
and Canadian CAN/CSA C22.2 60065:03. Digidesign Inc., has unused for long periods of time.
been authorized to apply the appropriate UL & CUL mark on its
compliant equipment. 13) Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any way,
Warning 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.
14) The apparatus shall not be exposed to drippings or

splashing and no objects filled with liqukds (such as vases)
shall be placed on the apparatus.
Important Safety Instructions Warning! To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or mositure.
1) Read these instructions.
15) The apparatus should be connected to a properly-grounded
2) Keep these instructions. (earthed) receptable.
3) Heed all warnings. 16) The mains switch is located on the front of the 003 Rack
and on the back of the 003. It should remain accessiblwe after
4) Follow all instructions. installation.
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.
contents
Chapter 1. Installation QuickStart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

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. Installing Pro Tools LE on Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Connecting 003 or 003 Rack to the Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Connecting FireWire Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Installing Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Launching Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Additional Software on the Pro Tools Installer Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Uninstalling Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Chapter 4. Installing Pro Tools on Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Installing Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Additional Software on the Pro Tools Installer Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Connecting 003 or 003 Rack to the Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Connecting FireWire Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Launching Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Uninstalling Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Contents vii
Chapter 5. Configuring Your Pro Tools System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Configuring Pro Tools LE Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Optimizing a Windows System for Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Optimizing a Mac System for Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Chapter 6. 003 Top Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

003 Operating Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
003 Top Panel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Display Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Fader Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Console/Channel View Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Transport and Navigation Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Automation Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Modifiers Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Mic/DI Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Monitor Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Chapter 7. 003 Rack Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Mic/DI Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Monitor Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Status Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Chapter 8. 003 and 003 Rack Back Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Chapter 9. Making Studio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Getting Sound In and Out of Your 003 or 003 Rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Connecting a Microphone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Connecting Instruments to 003 or 003 Rack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Connecting Equipment with Digital Ins and Outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Word Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Using External Effects Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Monitoring and Recording from Alternate Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Recording from a Digital Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Connecting a Recorder for Mixdowns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Using a Footswitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
viii 003 & 003 Rack Getting Started Guide

Chapter 10. Common Tasks with Pro Tools LE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Recording a Pro Tools Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Importing Audio from a CD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Creating an Audio CD from a Pro Tools Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Recording MIDI in a Pro Tools Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Chapter 11. Pro Tools Mode with 003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Saving a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Working in Console View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Working in Channel View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Display Options in Console and Channel View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Navigating and Editing Values in Entry Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Working with Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Assigning Pro Tools Paths (Input, Output, Sends, Inserts) . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Working with Output Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Navigating in the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
General Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Working With Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Controlling Track Display on the Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Working with Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
003 Top Panel Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Chapter 12. Using MIDI Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Overview of MIDI Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Selecting MIDI Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Recalling MIDI Map Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Mapping Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Editing MIDI Map Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Naming MIDI Map Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Saving MIDI Map Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Factory Default . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Factory Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Contents ix
Appendix A. Configuring MIDI Studio Setup (Windows Only) . . . . . . . . . . . . . . . . . . . 139
MIDI Studio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
MIDI Patch Name Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Appendix B. Configuring AMS (Mac OS X Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Audio MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Patch Name Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Appendix C. Utility Mode (003 Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Accessing Utility Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Viewing Firmware Version Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
LCD Display Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
LED Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Switch Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Encoder Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Fader Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Vegas Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
MIDI Test. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Audio Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Appendix D. Hard Drive Configuration and Maintenance. . . . . . . . . . . . . . . . . . . . . . . 153

Avoid Recording to the System Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Supported Drive Formats and Drive Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Formatting an Audio Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Partitioning Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Defragmenting an Audio Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Using Mac Drives on Windows Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Hard Disk Storage Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
x 003 & 003 Rack Getting Started Guide

Appendix E. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Backing Up Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Common Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Performance Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Before You Call Digidesign Technical Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Contents xi
xii 003 & 003 Rack Getting Started Guide
chapter 1
Installation QuickStart
Windows Installation Mac Installation Overview

Overview (Mac OS X Systems Only)
(Windows Systems Only)
Installing 003 or 003 Rack on a Mac includes the
Installing 003™ or 003 Rack on a Windows following steps:
computer includes the following steps: 1 “Installing Pro Tools LE” on page 17.
1 “Connecting 003 or 003 Rack to the Com-
puter” on page 9. puter” on page 20.
When connecting 003 or 003 Rack to your When connecting 003 or 003 Rack to your
computer the first time, your computer computer the first time, your computer
should be off. If your computer is on, power should be off. If your computer is on, power
it down. it down.
2 “Installing Pro Tools LE” on page 11.
3 Launching Pro Tools LE. (See Chapter 5,
3 Launching Pro Tools LE. (See Chapter 5, “Configuring Your Pro Tools System.”)
“Configuring Your Pro Tools System.”)
Your authorization code is located on the in-
Your authorization code is located on the inside cover of this guide.
side cover of this guide.
4 Making audio and MIDI connections to 003 or
4 Making audio and MIDI connections to 003 or 003 Rack. (See Chapter 9, “Making Studio Con-
003 Rack. (See Chapter 9, “Making Studio Con- nections.”)
nections.”)
Chapter 1: Installation QuickStart 1

2 003 & 003 Rack Getting Started Guide
chapter 2
Welcome to 003 and 003 Rack
Welcome to 003™ and 003 Rack, Digidesign’s

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

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

Compatibility Information
Pro Tools LE Capabilities
Digidesign can only assure compatibility and
Pro Tools LE™ on Windows or Mac provides the provide support for hardware and software it
following capabilities with 003 and 003 Rack: has tested and approved.
• Playback of up to 32 mono (or 16 stereo)
digital audio tracks, or a combination of For a list of Digidesign-qualified computers, op-
playback and recording up to 32 mono (or erating systems, MIDI interfaces, hard drives,
16 stereo) digital audio tracks, depending and third-party devices, visit the Digidesign
on your computer’s capabilities website (www.digidesign.com).
• Up to 128 audio tracks (with 32 voiceable

tracks maximum), 128 Auxiliary Input MIDI Requirements
tracks, 64 Master Fader tracks, 256 MIDI
003 and 003 Rack include one MIDI In port and
tracks, and 32 Instrument tracks per ses-
two MIDI Out ports, providing 16 channels of
sion
MIDI input and 32 channels of MIDI output.
• 16-bit or 24-bit audio resolution, at sample
rates up to 96 kHz If you require additional MIDI ports, add a MIDI
• Non-destructive, random-access editing interface (such as a Digidesign MIDI I/O) to your
and mix automation system.
• Audio processing with up to 5 RTAS plug-in
003 supports any device that supports MIDI
inserts per track, depending on your com-
continuous controller (CC) data. Drivers are
puter’s capabilities
provided to use 003 as a MIDI control surface on
• Up to 5 hardware inserts per track any supported Windows or Mac computer with
• Up to 10 sends per track virtually any compatible software.
• Up to 32 internal mix busses
In MIDI mode, 003 sends the same MIDI control
Pro Tools LE uses your computer’s CPU to data over FireWire and the MIDI Out 1 port. It
mix and process audio tracks (host process- responds to MIDI data received over FireWire
ing). Computers with faster clock speeds and from the MIDI In port. Be sure that your
yield higher track counts and more plug-in MIDI cables are correctly connected to any ex-
processing. ternal MIDI device you want to control, or to a
MIDI router or MIDI interface (that is also con-
nected to your computer).
System Requirements
Hard Drive Requirements
003 and 003 Rack can be used with a Digi-
design-qualified Windows or Mac computer For optimal audio recording and playback, all
running Pro Tools LE software. Pro Tools systems require one or more Digi-
design-qualified drives. This is a separate physi-
A DVD drive is required to use the Pro Tools In- cal drive from your internal system drive, and
staller disc. needs to meet the specifications listed on our
For complete system requirements, visit the website.
Digidesign website (www.digidesign.com).

For a list of qualified hard drives, visit the Digi-
design website (www.digidesign.com). About the Pro Tools Guides
If you are using an ATA/IDE or FireWire hard This Getting Started guide explains how to in-
drive, initialize your drive with Windows Disk stall Pro Tools LE software, make basic connec-
Management (Windows) or the Disk Utility ap- tions to your 003 or 003 Rack interface (to get
plication included with Apple System software sound in and out of your interface), and do
(Mac). common tasks (such as recording in Pro Tools).
For more information, see Appendix D, “Hard In addition to any printed guides or documenta-
Drive Configuration and Maintenance.” tion included with your system, PDF versions of
Pro Tools guides and read mes are installed au-
Avoid Recording to the System Drive tomatically with Pro Tools.
Recording to your system drive is not recom- The main guides (such as the Pro Tools Reference
mended. Recording and playback on a system Guide and the Pro Tools Menus Guide) are accessi-
drive may result in lower track counts and fewer ble from the Pro Tools Help menu.
plug-ins. • Pro Tools Reference Guide explains Pro Tools
software in detail.
Digidesign does not recommend recording
to the system drive. Record to a system drive • Pro Tools Menus Guide covers all the Pro Tools
only when necessary. on-screen menus.
• DigiRack Plug-ins Guide explains how to use
the RTAS and AudioSuite plug-ins included
Digidesign Registration with Pro Tools.
• Digidesign Plug-ins Guide explains how to use
Review the enclosed Digidesign Registration In-
optional Digidesign plug-ins.
formation Card and follow the instructions on it
to quickly register your purchase online. This is • Pro Tools Shortcuts lists keyboard and
one of the most important steps you can take as Right-click shortcuts for Pro Tools.
a new user. Registering your purchase is the only
These guides and other guides are installed on
way you can be eligible to receive:
your startup drive during installation. To view
• Complimentary technical support
or print PDF guides, you can use Adobe Reader
• An update to the latest version of Pro Tools or Apple Preview (Mac only).
at no charge if you bought a system with
older software in the box Printed copies of the Pro Tools Reference
• Future upgrade offers Guide and other guides in the Pro Tools
guide set can be purchased separately from
the DigiStore (www.digidesign.com).

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

chapter 3
Installing Pro Tools LE on Windows
This chapter contains information for Windows

systems only. If you are installing Pro Tools on a Connecting 003 or 003 Rack
Mac computer, see Chapter 4, “Installing to the Computer
Pro Tools on Mac.”
Before installing Pro Tools LE software, you
Before installing this version of Pro Tools, need to connect 003 or 003 Rack to the com-
see the Read Me information included on puter.
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
Installation Overview it down.
Installing 003 or 003 Rack on a Windows com-
To connect 003 or 003 Rack to your computer:
puter includes the following steps:
1 Plug 003 or 003 Rack into a standard AC re-
ceptacle, using the AC power cable included
puter” on page 9.
with the unit. AC power is required to operate
When connecting 003 or 003 Rack to your 003 and 003 Rack.
computer the first time, your computer 2 Locate the FireWire cable that came with your
should be off. If your computer is on, power unit.
it down.
Be sure to note the orientation of the
2 “Installing Pro Tools LE” on page 11. FireWire cable connector when you insert it
3 “Launching Pro Tools LE” on page 13. in your 003 or 003 Rack. It is possible to
damage the FireWire port if you force the
4 Configuring your system for improved perfor- connector in upside down.
mance. (See Chapter 5, “Configuring Your
Pro Tools System.”)
If you are using a Windows laptop that has
5 Making audio and MIDI connections to 003 or a 4-pin FireWire port (commonly labeled
003 Rack. (See Chapter 9, “Making Studio Con- “1394”), see “4-Pin FireWire Cable” on
nections.”) page 10 for FireWire cable information.
Chapter 3: Installing Pro Tools LE on Windows 9

3 Plug one end of the FireWire cable into one of 4-Pin FireWire Cable
the ports marked “1394” on the back panel of
the 003 or 003 Rack. Either port will work. 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.
FireWire ports
Purchase this cable (part number #9940-30779-
003 and 003 Rack FireWire ports (back panel) 00) through your authorized Digidesign dealer
or online through the DigiStore (www.digide-
4 Do one of the following, depending on your
sign.com).
system configuration:
• Plug the other end of the FireWire cable This cable can also be purchased at com-
into an available FireWire port on your puter supply stores. Maximum supported
computer. cable length for FireWire (IEEE-1394) is
– or – 14 feet (4.3 meters).
• If your computer has only one FireWire
port, plug the other end of the FireWire ca-
ble into an available FireWire port on a Connecting FireWire Drives
FireWire hard drive connected to your
Connect FireWire hard drives directly to a
computer.
FireWire port on your computer.
Connecting 003 to a FireWire port of an ex-
Do not connect a FireWire hard drive to the
ternal drive that is connected to a computer
second FireWire port on the back panel of
does not support maximum track count.
003 or 003 Rack.
For information on supported PCI/PCM-
CIA/ExpressCard FireWire options, visit the The FireWire ports on 003 and 003 Rack do not
Digidesign website (www.digidesign.com). pass data when they are powered off. If you
daisy-chain FireWire devices from your com-
5 Wait for the Found New Hardware Wizard di-
puter, it is best to connect FireWire hard drives
alog to appear and leave it open: Do not click
directly to your computer and not to 003 or 003
Next. If the Wizard begins to install drivers au-
Rack. This will prevent hard drive errors and
tomatically, press Cancel.
data loss in case 003 or 003 Rack is powered off.
Throughout the installation, you should ig-
nore all Found New Hardware Wizard dia-
logs. Do not click Next.

To connect a FireWire hard drive, do one of the
following: Installing Pro Tools LE
If your computer has more than one FireWire After your Pro Tools hardware is installed and
port, connect the FireWire hard drive to one connected, you are ready to install Pro Tools
FireWire port on the computer, and connect 003 software.
or 003 Rack to another FireWire port on the
computer. To install Pro Tools LE:
– or – 1 Turn on unit. Press the Power switch on the
If your computer has only one FireWire port, back panel of the 003 or the front panel of the
connect the FireWire hard drive directly to your 003 Rack. After a short power-up sequence, the
computer and then connect 003 or 003 Rack to Monitor Mute switch illuminates to indicate the
an available FireWire port on the drive. unit is on.
Connecting 003 to a FireWire port of an ex- Do not disconnect the FireWire connection
ternal drive that is connected to a computer to 003 or 003 Rack while the unit is pow-
does not support maximum track count. ered on. Connecting and disconnecting the
For information on supported PCI/PCM- FireWire cable after the unit is powered up
CIA/ExpressCard FireWire options, visit the can cause errors and may damage the unit.
Be sure to power down all components of
the system before disconnecting them.
Connecting Other FireWire
Devices to 003 or 003 Rack 2 Start Windows, logging in with Administrator
privileges. For details on Administrator privi-
The second FireWire port on 003 or 003 Rack is leges, see your Windows documentation.
available for daisy-chaining FireWire devices
such as digital cameras or digital video record- 3 Wait for the Found New Hardware Wizard di-
ers. Even when it is powered off, 003 and alog to appear and leave it open: Do not click
003 Rack supply power from the computer Next.
through its FireWire ports, letting you recharge 4 Insert the Pro Tools Installer disc for Windows
batteries in connected FireWire devices. 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- 13 Click Install.
tion.
On Windows XP, several messages are dis-
11 You can also select from a list of optional played during installation that can be ig-
items to install along with Pro Tools. nored, including multiple “Found New
Hardware” dialogs and “A Problem Oc-
Mac HFS+ Disk Support Option This option lets
curred During Hardware Installation.”
your Pro Tools system read, write, record, and
play back using Mac-formatted HFS+ disks. HFS+ Additionally, if you get a warning dialog
disks are commonly referred to as Mac OS Ex- about the driver not passing Windows Logo
tended disks. testing, click Continue Anyway.
DigiTranslator DigiTranslator™ is a software op-
tion for Pro Tools that lets you convert and ex- On Windows Vista, if you get a Windows
change OMF and AAF sequences and MXF files Security dialog asking you to install device
directly in the Pro Tools application. This op- software, click “Install”
tion is purchased separately.
14 Wait for the installer to finish installing all
Command|8 Controller and Driver The Com- software components, drivers, and PACE System
mand|8 Driver is required if you are using the files before proceeding to the next step.
Digidesign Command|8 control surface. This
15 When installation is complete, click Finish.
lets you have physical 16 faders.
MP3 Export Option The MP3 Export Option lets Installing QuickTime
you export MP3 files from Pro Tools. This op-
tion is purchased separately. A Digidesign-qualified version of QuickTime is
required for Pro Tools if you plan to include
The Pro Tools Installer disc includes addi- movie files, or import MP3 or MP4 (AAC) files in
tional software for your system. For more your sessions. QuickTime for Windows is avail-
information, see “Additional Software on able as a free download from the Apple website
the Pro Tools Installer Disc” on page 14. (www.apple.com).
12 Click Next. 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).

To install QuickTime:
1 Visit www.apple.com and go to the Quick-
Launching Pro Tools LE
Time page. When launching Pro Tools the first time, you
are prompted to enter an authorization code to
2 Download the QuickTime installer applica-
validate your software.
tion to your computer.
3 Double-click the QuickTime installer applica- To authorize Pro Tools software:

tion and follow the on-screen installation in-
1 Make sure 003 or 003 Rack is connected to
structions.
your computer and powered on.
4 Restart your computer.
2 Do one of the following:
• Double-click the Pro Tools LE shortcut on
Disabling Screen Saver
the desktop.
(Windows Vista Only)
– or –
To avoid errors during recording and playback • Locate and double-click the Pro Tools LE
of Pro Tools sessions, you must set your Win- application on your hard drive.
dows Vista screen saver to “None.”
If you get a warning dialog about updating
To set your Windows Vista screen saver to “None”: the firmware for your hardware, follow the
on-screen instructions to perform the
1 Right-click on the desktop.
firmware update. See “Updating 003 or
2 Choose Personalize. 003 Rack Firmware” on page 14.
3 Click Screen Save. 3 Enter the authorization code in the dialog

(making sure to type it exactly as printed, and
4 Set the Screen saver to None.
observing any spaces and capitalization), then
5 Click Apply. click Validate.
Your authorization code is located on the inside

cover of this guide.

Updating 003 or 003 Rack Firmware Windows Audio Drivers
When you launch Pro Tools software, it auto- The Digidesign ASIO Driver and WaveDriver
matically checks the version of the unit’s firm- Windows System Audio Driver let you use your
ware, and prompts you to update it if a newer 003 or 003 Rack hardware interface with third-
version is available. party applications that support the ASIO Driver
or WaveDriver MME (Multimedia Extension).
If you update your unit’s firmware, let the up-
date complete before disconnecting or turning The Digidesign ASIO Driver and WaveDriver for
off your system. 003 and 003 Rack are automatically installed
when you install Pro Tools.
When a firmware update completes, Pro Tools
quits, and you must relaunch Pro Tools. Digidesign ASIO Driver
If during the update process you get a message The Digidesign ASIO (Audio Sound Input Out-
that Pro Tools cannot communicate with 003 or put) Driver is a single-client multichannel
003 Rack, wait up to 30 seconds for the message sound driver that allows third-party audio pro-
to close. If the message does not go away, power grams that support the ASIO standard to record
off 003 or 003 Rack and then power it on again. and play back through Digidesign hardware.
For detailed information on configuring the

Digidesign ASIO Driver, see the Windows
Additional Software on the Audio Drivers Guide.
Pro Tools Installer Disc
Digidesign WaveDriver
The Pro Tools Installer disc provides additional
software for your system, including audio driv- (Windows XP Only)
ers (for playing other audio applications
The Digidesign WaveDriver Windows System
through your Digidesign hardware) and a
Audio Driver is a single-client, stereo sound
Pro Tools demo session.
driver that allows third-party audio programs
Additional plug-in installers on the disc are paid that support the WaveDriver MME (Multimedia
options. You can download trial activations of Extension) standard to play back through Digi-
these plug-ins from the Digidesign website design hardware.
(www.digidesign.com) if you have an iLok USB
For detailed information on configuring the
Smart Key and iLok.com account.
Digidesign WaveDriver, see the Windows
Audio Drivers Guide.

Standalone Windows Audio Drivers 6 When installation is complete, click Finish.
Digidesign Windows Audio Drivers can be in- The demo session can be opened by double-
stalled on Windows systems that do not have clicking the Filtered Dream.ptf file (located
Pro Tools software installed. Use the standalone in the Filtered Dream Demo Session folder).
version of the Digidesign Windows Audio Driv-
ers installer (Digidesign Audio Drivers Pro Tools Session Templates
Setup.exe), which is available on the Pro Tools
Installer disc. The Pro Tools LE Installer disc includes factory
session templates that are pre-configured to
For information on installing and configur- common track and mixer setups. Using these
ing the standalone version of the Digidesign templates will save you the trouble of having to
Windows Audio Drivers, see the Windows create your studio setup from scratch every time
Audio Drivers Guide. you start a new session.
See the Pro Tools Reference Guide for informa-

Pro Tools Demo Session
tion on using or customizing session templates.
The Pro Tools LE Installer disc includes a demo
session that you can use to verify that your sys- To install factory session templates:
tem is working.
1 Insert the Pro Tools Installer disc into your
The demo session for Pro Tools LE is named Fil- DVD drive.
tered Dreams. 2 From your DVD drive, locate and open the Ad-
ditional Files/LE Session Templates Installer
Before installing the demo session to your
folder.
audio drive, make sure the drive is config-
ured as described in “Formatting an Audio 3 Double-click LE Session Templates Setup.exe.
Drive” on page 154.
4 Follow the onscreen instructions.
To install the demo session: 5 When prompted, select your audio drive as
1 Insert the Pro Tools LE Installer disc into your the install location and click Next to begin the
DVD drive. install.
2 From your DVD drive, locate and open the Ad- 6 When installation is complete, click Finish.
ditional Files/LE Demo Session Installer folder.
3 Double-click LE Demo Session Setup.exe.
5 When prompted, select your audio drive as

the install location and click Next to begin the
install.

Uninstalling Pro Tools
If you need to uninstall Pro Tools software from
your computer, you can use Windows com-
mands for uninstalling programs.
To uninstall Pro Tools from your computer

(Windows Vista):
1 Choose Start > Control Panel.
2 Under Programs, click “Uninstall a program.”
3 Select Pro Tools.
4 Click Uninstall.
5 Follow the on-screen instructions to remove

Pro Tools.
To uninstall Pro Tools from your computer

(Windows XP):
2 Double-click Add or Remove Programs.
3 From the Currently Installed Programs list, se-

lect Digidesign Pro Tools.
4 Click the Remove button.
5 Follow the on-screen instructions to remove

Pro Tools.

chapter 4
Installing Pro Tools on Mac
This chapter contains information for Mac sys-

tems only. If you are installing Pro Tools on a Installing Pro Tools LE
Windows computer, see Chapter 3, “Installing
After the Apple System software settings are con-
Pro Tools LE on Windows.”
figured, you are ready to install Pro Tools LE.
Before installing this version of Pro Tools,
see the Read Me information included on To install Pro Tools LE:
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.
Installation Overview
For details on Administrator privileges in
Installing 003 or 003 Rack on a Mac includes the Mac OS X, see your Apple OS X documen-
following steps: tation.
1 “Installing Pro Tools LE” on page 17. 2 Insert the Pro Tools LE Installer disc in your
2 “Connecting 003 or 003 Rack to the Com- DVD drive.

puter” on page 20. 3 On the Installer disc, locate and double-click
“Install Pro Tools LE.”
When connecting 003 or 003 Rack to your
computer the first time, your computer 4 Follow the on-screen instructions to proceed
should be off. If your computer is on, power with installation.
it down.
5 Select the install location. For maximum reli-
3 “Launching Pro Tools LE” on page 21. ability, install Pro Tools on your startup drive.
4 Configuring your system for improved perfor- 6 Click Continue.

mance. (See Chapter 5, “Configuring Your 7 Select the Pro Tools application for installa-
Pro Tools System.”) tion.
5 Making audio and MIDI connections to 003 or
003 Rack. (See Chapter 9, “Making Studio Con-
nections.”)
Chapter 4: Installing Pro Tools on Mac 17

8 You can also select from a list of optional
items to install along with Pro Tools: Additional Software on the
Pro Tools Installer Disc
DigiTranslator DigiTranslator™ is a software op-
tion for Pro Tools that lets you convert and ex- The Pro Tools Installer disc provides additional
change OMF and AAF sequences and MXF files software for your system, including audio driv-
directly in the Pro Tools application. This op- ers for playing other audio applications through
tion is purchased separately. your Digidesign hardware and a Pro Tools demo
session.
MIDI I/O Driver The MIDI I/O Driver is required
if you are using the Digidesign MIDI I/O inter- Additional plug-in installers on the disc are paid
face. options. You can download trial activations of
these plug-ins from the Digidesign website
MP3 Export Option The MP3 Export Option lets (www.digidesign.com) if you have an iLok USB
you export MP3 files from Pro Tools. This op- Smart Key and iLok.com account.
tion is purchased separately.
The Pro Tools Installer disc includes addi- Digidesign CoreAudio Driver
tional software for your system. For more
The Digidesign CoreAudio Driver is a multi-cli-
information, see “Additional Software on
ent, multichannel sound driver that allows
the Pro Tools Installer Disc” on page 18.
CoreAudio-compatible applications to record
9 Click Install. and play back through Digidesign hardware.
10 If prompted, enter your Administrator pass- The Digidesign CoreAudio Driver is

word and click OK to authenticate the installa- multi-client with third-party applications
tion. only. It cannot be used with other applica-
tions when Pro Tools is launched with 003
11 Follow the remaining on-screen instructions.
or 003 Rack.
12 When installation is complete, click Restart.
The CoreAudio Driver is installed by default
when you install Pro Tools.
For information on configuring the Digi-

design CoreAudio Driver, see the Digidesign
CoreAudio Guide.

Standalone CoreAudio Driver 6 When installation is complete, click Close.
The Digidesign CoreAudio Driver can be in- The demo session can be opened by double-
stalled as a standalone driver on Mac systems clicking the Filtered Dream.ptf file (located
that do not have Pro Tools software installed. in the Filtered Dream Demo Session folder).
The standalone version of this driver is available
on the Pro Tools Installer disc (in the Additional Pro Tools Session Templates
Files Folder).
The Pro Tools LE Installer disc includes factory
If Pro Tools was uninstalled, CoreAudio session templates that are pre-configured to
Driver was automatically uninstalled at common track and mixer setups. Using these
that time. templates will save you the trouble of having to
create your studio setup from scratch every time
you start a new session.
For information on installing and configur-
ing the standalone version of the Digidesign See the Pro Tools Reference Guide for informa-
CoreAudio Driver, see the CoreAudio Driv- tion on using or customizing session templates.
ers Guide.
To install factory session templates:
Pro Tools Demo Session
1 Insert the Pro Tools Installer disc into your
The Pro Tools LE Installer disc includes a demo DVD drive.
session that you can use to verify that your sys-
2 From your DVD drive, locate and open the Ad-
tem is working.
ditional Files/LE Session Templates Installer
The demo session for Pro Tools LE is named Fil- folder.
tered Dreams. 3 Double-click LE Session Templates Setup.exe.
Before installing the demo session to your 4 Follow the onscreen instructions.
audio drive, make sure the drive is config-
ured as described in “Formatting an Audio
Drive” on page 154.
install.
To install the demo session: 6 When installation is complete, click Close.
1 Insert the Pro Tools LE Installer disc into your
DVD drive.
2 From your DVD drive, locate and open the Ad-

ditional Files/LE Demo Session Installer folder.
3 Double-click LE Demo Session Setup.exe.

install.

5 Do one of the following, depending on your
Connecting 003 or 003 Rack system configuration:
to the Computer • Plug the other end of the FireWire cable
into an available FireWire port on your
After installing Pro Tools LE software, connect
computer.
003 or 003 Rack to the computer before launch-
ing Pro Tools LE. – or –
• If your computer has only one FireWire
To connect 003 or 003 Rack to your computer: port, plug the other end of the FireWire ca-
1 If your computer is on, power it down.
ble into an available FireWire port on a
FireWire hard drive connected to your
2 Plug 003 or 003 Rack into a standard AC re- computer.
ceptacle, using the AC power cable included
with the unit. AC power is required to operate Connecting 003 to a FireWire port of an ex-
003 and 003 Rack. ternal drive that is connected to a computer
3 Locate the FireWire cable that came with your
unit.
CIA/ExpressCard FireWire options, visit the
Be sure to note the orientation of the Digidesign website (www.digidesign.com).
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.
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.
FireWire ports
003 and 003 Rack FireWire ports (back panel)

Connecting Other FireWire
Connecting FireWire Drives Devices to 003 or 003 Rack
Connect FireWire hard drives directly to a The second FireWire port on 003 or 003 Rack is
FireWire port on your computer. available for daisy-chaining FireWire devices
such as digital cameras or digital video record-
Do not connect a FireWire hard drive to the
ers. Even when it is powered off, 003 and
second FireWire port on the back panel of
003 Rack supply power from the computer
003 or 003 Rack.
through its FireWire ports, letting you recharge
The FireWire ports on 003 and 003 Rack do not batteries in connected FireWire devices.
pass data when they are powered off. If you
Launching Pro Tools LE
directly to your computer and not to 003 or 003
Rack. This will prevent hard drive errors and When launching Pro Tools LE the first time, you
data loss in case 003 or 003 Rack is powered off. are prompted to enter an authorization code to
validate your software.
To yield higher performance from audio
drives, enable journaling. See “Enabling To authorize Pro Tools LE software:
Journaling for Audio Drives” on page 36.
1 Make sure 003 or 003 Rack is connected to
To connect a FireWire hard drive, do one of the your computer and powered on.
following:
If your computer has more than one FireWire • Click the Pro Tools LE icon in the Dock.
port, connect the FireWire hard drive to one
– or –
FireWire port on the computer, and connect 003
or 003 Rack to another FireWire port on the • Locate and double-click the Pro Tools LE
computer. application on your hard drive.
– or – If you get a warning dialog about updating

If your computer has only one FireWire port,
the firmware for your hardware, follow the
connect the FireWire hard drive directly to your on-screen instructions to perform the
computer and then connect 003 or 003 Rack to firmware update. See “Updating 003 or
an available FireWire port on the drive. 003 Rack Firmware” on page 22.
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.
CIA/ExpressCard FireWire options, visit the Your authorization code is located on the inside
Digidesign website (www.digidesign.com). cover of this guide.

Updating 003 or 003 Rack Firmware
Uninstalling Pro Tools
When you launch Pro Tools software, it auto-
matically checks the version of the unit’s firm- If you need to uninstall Pro Tools software from
ware, and prompts you to update it if a newer your computer, use the Uninstaller application.
version is available.
To uninstall Pro Tools from your computer:
If you update your unit’s firmware, let the up-
1 Make sure you are logged in as an Administra-
date complete before disconnecting or turning
tor for the account where Pro Tools is installed.
off your system.
For details on Administrator privileges in
When a firmware update completes, Pro Tools
Mac OS X, see your Apple OS X documen-
quits, and you must relaunch Pro Tools.
tation.
If during the update process you get a message
2 Go to Applications/Digidesign/Pro Tools/
that Pro Tools cannot communicate with 003 or
003 Rack, wait up to 30 seconds for the message Pro Tools Utilities and double-click the
to close. If the message does not go away, power “Uninstall Pro Tools” file.
off 003 or 003 Rack and then power it on again. 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.

chapter 5
Configuring Your Pro Tools System
After you have connected your system and in- Shut down your Pro Tools system in this order:
stalled Pro Tools software, you are ready to start
1 Quit Pro Tools and any other running applica-
up and configure your Pro Tools system.
tions.
To quit Pro Tools, choose File > Exit

(Windows) or Pro Tools > Quit (Mac).
Starting Up or Shutting Down
Your System 2 Turn off or lower the volume of all output de-
vices in your system.
To ensure that the components of your
Pro Tools system communicate properly with 3 Turn off your computer.
each other, you need to start them in a particu-
4 Turn off the 003 or 003 Rack.
lar order.
5 Turn off any MIDI interfaces, MIDI devices, or
Start up your Pro Tools system in this order: synchronization peripherals.
1 Lower the volume of all output devices in 6 Turn off any control surfaces.
your system.
7 Turn off any external hard drives.
2 Turn on any external hard drives. Wait ap-
proximately ten seconds for them to spin up to
speed.
3 Turn on any control surfaces (such as Com-

mand|8).
4 Turn on any MIDI interfaces, MIDI devices, or

synchronization peripherals.
5 Turn on the 003 or 003 Rack.
6 Turn on your computer.
7 Launch Pro Tools or any third-party audio or

MIDI applications.
Chapter 5: Configuring Your Pro Tools System 23

Configuring Pro Tools LE
Software
Pro Tools System Settings

In the Playback Engine dialog, Pro Tools LE lets
you adjust the performance of your system by
changing system settings that affect its capacity
for processing, playback, and recording
In most cases, the default settings for your sys-

tem provide optimum performance, but you
may want to adjust them to accommodate large
or processing-intensive Pro Tools sessions.
Playback Engine dialog (with Structure installed)
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
Playback Engine dialog (without Structure plug-in
plug-ins.
installed)
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.

To change the Hardware Buffer Size: • Depending on the importance of video and
overall screen response, and on the density of
1 Choose Setup > Playback Engine.
automation being employed, try different
2 From the H/W Buffer Size pop-up menu, select combinations of RTAS Processing and CPU
the audio buffer size, in samples. Usage Limit settings to achieve the best re-
sults. For example, to improve screen re-
3 Click OK.
sponse in a medium-sized session using a
moderate number of RTAS plug-ins, try reduc-
RTAS Processors
ing the number of RTAS plug-ins, but keep the
The RTAS Processors setting determines the CPU Usage Limit set to its maximum on a sin-
number of processors in your computer allo- gle processor system.
cated for RTAS (Real-Time AudioSuite) plug-in
processing. To set the number of RTAS Processors:
With multiprocessor computers, this setting lets
you manage multi-processor support for RTAS 2 From the RTAS Processors pop-up menu, select
processing. With multiple processor computers the number of available processors you want to
that support Hyper-Threading (and have it en- allocate for RTAS plug-in processing. The num-
abled), you must disable Hyper-Threading for ber of processors available varies depending on
this setting to become available. See your com- how many processors are available on your
puter’s documentation for steps on how to enter computer:
the computer’s BIOS and disable Hyper-Thread- • Choose 1 Processor to limit RTAS process-
ing. ing to one CPU in the system.
Used in combination with the CPU Usage Limit • Choose 2 Processors to enable load balanc-
setting, the RTAS Processors setting lets you con- ing across two available processors.
trol the way RTAS processing and other • On systems running four or more proces-
Pro Tools tasks are carried out by the system. For sors, choose the desired number of RTAS
example: processors as needed.
• For sessions with large numbers of RTAS plug- 3 Click OK.
ins, you can allocate 2 or more processors to
RTAS processing and set a high CPU Usage
Limit.
• For sessions with few RTAS plug-ins, you can
allocate fewer processors to RTAS and set a low
CPU Usage Limit to leave more CPU resources
available for automation accuracy, screen re-
sponse, and video.

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

The Minimize Additional I/O Latency option is • DAE Playback Buffer Size settings higher than
only available if the Ignore Errors During Play- 1500 msec (Level 2) allow higher track count,
back/Record option is enabled. higher density of edits in a session, or the use of
slower hard drives. However, a higher setting
To enable RTAS error suppression: may increase the time lag when starting play-
back or recording, or cause a longer audible time
lag while editing during playback.
2 Select Ignore Errors During Playback/Record.
Using a larger DAE Playback Buffer Size
3 On Mac OS X, you can also select Minimize Ad-
leaves less system memory for other tasks.
ditional I/O Latency. The default setting of 1500 msec (Level 2) is
4 Click OK. recommended unless you are encountering
-9073 (“Disk too slow or fragmented”)
DAE Playback Buffer Size errors.
The DAE Playback Buffer Size determines the To change the DAE Playback Buffer Size:
amount of memory DAE allocates for disk buff- 1 Choose Setup > Playback Engine.
ers. The buffer size is shown in milliseconds,
which indicates the amount of audio buffered 2 From the DAE Playback Buffer pop-up menu,
when the system reads from disk. select a buffer size. Memory requirements for
each setting are shown at the bottom of the
The optimum DAE Playback Buffer Size for most Playback Engine dialog.
disk operations is 1500 msec (Level 2).
3 Click OK.
• DAE Playback Buffer Size settings lower than
1500 msec (Level 2) may improve playback and If Pro Tools needs more system memory for the
recording initiation speed. However, a lower set- DAE Playback Buffer, it will prompt you to re-
ting may make it difficult to play or record start your computer.
tracks reliably with sessions containing a large
number of tracks or a high density of edits, or Cache Size
with systems that have slower or heavily frag-
The Cache Size determines the amount of mem-
mented hard drives.
ory DAE allocates to pre-buffer audio for play-
back and looping when using Elastic Audio.
The optimum Cache Size for most sessions is

Normal.
• A Cache Size setting of Minimum reduces the
amount of system memory used for disk opera-
tions and frees up memory for other system
tasks. However, performance when using Elastic
Audio features may decrease.

• A Cache Size of Large improves performance Plug-in Streaming Buffer Size
when using Elastic Audio features, but it also de-
(Structure Plug-in Only)
creases the amount of memory available for
other system tasks, such as RTAS processing. This setting appears in the Playback Engine dia-
log only if the Structure sampler instrument
Using a larger Cache Size leaves less system plug-in is installed on your system. The Plug-in
memory for other tasks. The default setting Streaming Buffer Size determines the amount of
of Normal is recommended unless you are memory DAE allocates for streaming playback
encountering -9500 (“Cache too small”) from disk with the Structure plug-in. This set-
errors. ting only affects playback if disk streaming is ac-
tivated in Structure’s plug-in controls (see the
To change the Cache Size:
Structure Plug-in Guide for more information).
The optimum Plug-in Streaming Buffer Size for
2 From the Cache Size pop-up menu, select a
most sessions is 250 ms (Level 2).
disk cache size.
• Plug-in Streaming Buffer Size settings lower
3 Click OK. than 250 msec (Level 2) reduce the amount of
system memory used for sample playback and
System Memory Allocation frees up memory for other system tasks. How-
ever, audio quality of sample playback may de-
When you start your computer, Pro Tools auto-
crease.
matically reserves a portion of system memory
for the DAE Playback Buffer. This reserved mem- • Plug-in Streaming Buffer Size settings higher
ory is unavailable to other applications, even if than 250 msec (Level 2) improve the audio qual-
Pro Tools is not running. ity of sample playback, but they also decrease
the amount of memory available for other sys-
You can set Pro Tools to reserve only the mini- tem tasks, such as RTAS processing.
mum amount of required memory, so that more
system memory is available to other applica- Using a larger Plug-in Streaming Buffer Size
tions. leaves less system memory for other tasks.
The default setting of 250 ms (Level 2) is
To minimize system memory allocation: recommended unless you are experiencing
problems with the audio quality of sample
playback.
2 Select the “Minimize System Memory Allocation”
option. To change the Plug-in Streaming Buffer Size:
3 Click OK.
2 From the Plug-in Streaming Buffer Size pop-up
4 Restart your computer.
menu, select a buffer size.
3 Click OK.

Optimizing the Plug-in Streaming Buffer To change the default Sample Rate:
Size 1 Choose Setup > Hardware.
(Structure Plug-in Only)
This option appears in the Playback Engine dia-

log only if the Structure sampler instrument
plug-in is installed on your system. This option
is useful when you are playing samples from the
same drive that contains audio for the current
session. When this option is selected, Pro Tools
automatically optimizes the size of the Plug-in
Hardware Setup dialog
Streaming Buffer to facilitate disk access from
both Pro Tools and Structure. The Plug-in 2 Select the sample rate from the Sample Rate
Streaming Buffer Size pop-up menu is unavail- pop-up menu.
able when this option is selected.
3 Click OK.
To set Pro Tools to optimize the Plug-in Streaming

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

To select the Clock Source: Optical Format
1 Choose Setup > Hardware. The Optical port can be set for eight channels of
2 Choose the clock source from the Clock ADAT Optical I/O (supporting up to 48 kHz) or
Source pop-up menu. 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

Hardware Setup dialog following:
• Select ADAT if your optical device is using
Your digital input device must be connected the ADAT format.
and turned on for Pro Tools to synchronize
– or –
to it. If your input device is not turned on,
leave the Clock Source set to Internal. • Select S/PDIF if your optical source device is
using the S/PDIF format.
Only one S/PDIF input pair can be used at a Only one S/PDIF input pair can be used at a
time. When you select S/PDIF (RCA) as the time. When you select S/PDIF as the
Clock Source, the Optical Format setting Optical Format, the Clock Source setting
will switch to ADAT (for sample rates will switch to internal if it was previously
44.1 kHz and 48 kHz), or to None (for set to S/PDIF (RCA).
sample rates 88.2 kHz and 96 kHz).
Conversely, when you select S/PDIF (RCA)
Conversely, when you select S/PDIF as the as the Clock Source, the Optical Format set-
Optical Format, the Clock Source setting ting will switch to ADAT (for sample rates
will switch to Internal if it was previously 44.1 kHz and 48 kHz), or to None (for
set to S/PDIF (RCA). sample rates 88.2 kHz and 96 kHz).
3 Click OK. 3 Click OK.

Configuring I/O Setup 3 To change the name of a path or subpath,
double-click directly on the Path Name, type a
Using the I/O Setup dialog, you can label new name for the path, and press Enter (Win-
Pro Tools LE input, output, insert, and bus sig- dows) or Return (Mac).
nal paths. The I/O Setup dialog provides a graph-
ical representation of the inputs, outputs, and 4 Click OK.
signal routing of the 003 and 003 Rack.
See the Pro Tools Reference Guide (or choose
Pro Tools LE has default I/O Setup settings that Help > Pro Tools Reference Guide) for more
will get you started. Use the I/O Setup dialog information on renaming I/O paths.
only if you want to rename the default I/O
paths. Configuring MIDI Setup
To rename I/O paths in I/O Setup: If you plan to use any MIDI devices with Pro Tools,
do one of the following:
1 Choose Setup > I/O.
On Windows, configure your MIDI setup with
MIDI Studio Setup. See Appendix A, “Configur-

ing MIDI Studio Setup (Windows Only)” for de-
tails.
– or –
On Mac, configure your MIDI setup with Au-
dio MIDI Setup. See Appendix B, “Configuring

AMS (Mac OS X Only)” for details.
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
I/O Setup dialog, Input tab (Mac). By doing this, you can quickly restore
2 Click the Input, Output, Insert, or Bus tab to
your system configuration and settings if you
display the corresponding paths. encounter any problems.

To enable DMA for any IDE hard drives
Optimizing a Windows System (Windows XP):
for Pro Tools 1 Choose Start > Control Panel.
(Windows XP Only) 2 Double-click System.
You can configure your Windows system set- 3 Click the Hardware tab.
tings to ensure optimum performance with
4 Under Device Manager, choose Device Man-
Pro Tools.
ager.
To optimize a Mac system for Pro Tools, see
5 In the Device Manager window, double-click
“Optimizing a Mac System for Pro Tools”
IDE ATA/ATAPI controllers, then double-click the
on page 35.
Primary IDE Channel for your IDE hard drive.
Before configuring your computer, make sure 6 Click the Advanced Settings tab.
you are logged in as an Administrator for the ac-
7 For each device, set the Transfer Mode to “DMA
count where you want to install Pro Tools. For
details on Administrator privileges, see your if available,” and click OK.
Windows documentation. 8 Repeat the above steps for any additional IDE
Channels.
Required Optimizations 9 Close the Device Manager window and then
the System Properties window.
To ensure optimum performance with
Pro Tools LE, configure the following settings
before using Pro Tools hardware and software. Disabling System Standby and Power
Management
When you are finished changing Windows
When using Pro Tools, the Windows System
system settings, restart your computer.
Standby power scheme must be set to Always On.
Enabling DMA This helps prevent long record or playback
passes from stopping due to system resources
Enabling your computer's DMA (Direct Memory powering down.
Access) frees up CPU bandwidth so your com-
puter can do other Pro Tools tasks. To configure Windows Power Management
(Windows XP):
In most cases the DMA option will already be set
correctly, as Windows detects and activates 1 Choose Start > Control Panel.
DMA mode by default. 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, Recommended Optimizations
and “Turn off hard disks” to Never.
Pro Tools can also be affected by other software
On AMD processors, be sure to check and and hardware drivers installed on your com-
disable Cool N’Quiet in the System BIOS (in puter. For best possible performance, it is recom-
the Cool & Quiet Configuration section). mended (but not required) that you do the fol-
See the manufacturer’s documentation for lowing:
instructions on disabling this power option, • Avoid running any unneeded programs at
if necessary. the same time as Pro Tools.
• Turn off any software utilities that run in
Disabling ClearType Font Smoothing the background, such as Windows Messen-
When using Pro Tools, the Effects “Clear Type” ger, calendars, and disk maintenance pro-
setting must be disabled. grams.
• Turn off any non-essential USB devices
To disable ClearType font smoothing while running Pro Tools.
(Windows XP): • If your video display card supports it, en-
1 Choose Start > Control Panel. able Bus Mastering in the manufacturer’s
Control Panel. See the manufacturer’s in-
2 Double-click Display.
structions for details.
3 Click the Appearance tab.
4 Click Effects. Optional Optimizations

5 Deselect “Use the following method to smooth The following system optimizations may help
edges of screen fonts.” Pro Tools perform better on some systems. It is
recommended that you only try these optimiza-
6 Click OK to save your settings and close the
tions if necessary, as they may disable or ad-
Effects dialog.
versely affect the functionality of other pro-
7 Click OK. grams on your system.
8 Restart the computer.

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: Disabling System Startup Items
1 Right-click My Computer and choose Manage. The fewer items in use by your computer, the
2 Under System Tools, select Device Manager. more resources are available for Pro Tools. Some
startup applications may be consuming unnec-
3 In the Device Manager window, double-click essary CPU resources, and can be turned off.
Network adapters, then double-click the Network
Adapter card you want to disable. If you disable any of the following startup items,
do so carefully:
4 Under the General tab, choose “Do not use this
• Portable media serial number (required for
device (disable)” from the Device Usage pop-up
some applications that utilize a copy pro-
menu, and click OK.
tection key)
5 Close the Computer Management window. • The Plug and Play service
• Event log
Adjusting Processor Scheduling
• Cryptographic services
To adjust Processor Scheduling performance:

To Disable System Startup Items (Windows XP):
1 From the Start menu, choose Run.
2 In Classic View, double-click System.
2 Type “msconfig” and click OK. The System
3 Click the Advanced tab. Configuration Utility opens.
4 Under the Performance section, click the Set- 3 Under the General tab, choose Selective
tings button. Startup.
5 In the Performance Options window, click the 4 Deselect Load Startup Items and click OK.
Advanced tab.
5 Click Restart to restart the computer.
6 Under the Processor Scheduling section, select
6 After restarting, the computer displays a Sys-
the Background Services option.
tem Configuration message. Check to see if
7 Under the Memory Usage section, select the Pro Tools performance has increased before you
System cache option. deselect the “Don't show this message again”
option. If performance has not changed, run
8 Click OK to close the Performance Options
“msconfig” and return your computer Startup
window.
Selection back to Normal Startup - load all device
9 Click OK to close the System Properties win- drives and services. Alternatively, try disabling
dow. Startup items and non-essential processes indi-
vidually.
10 Restart the computer for the changes to take
effect.

Turning Off Energy Saver
Optimizing a Mac System for
Pro Tools To turn off the Energy Saver feature:
(Mac Only) 1 Choose System Preferences from the Apple

menu and click Energy Saver.
To optimize a Windows XP system for
2 Click the Sleep tab and do the following:
Pro Tools, see “Optimizing a Windows Sys-
• Set the computer sleep setting to Never.
tem for Pro Tools” on page 32.
• Set the display sleep setting to Never.
To ensure optimum performance with • Deselect “Put the hard disk(s) to sleep when
Pro Tools LE, configure your computer before possible” option.
using Pro Tools software.
Before configuring your computer, make sure Setting Processor Performance

you are logged in as an Administrator for the ac- (Mac G5 Computers and G4 Powerbooks Only)
count where you want to install Pro Tools. For
details on Administrator privileges in Mac OS X, To set the Processor Performance:
see your Apple OS X documentation.
1 Choose System Preferences from the Apple
Do not use the Mac OS X automatic menu and click Energy Saver.
Software Update feature, as it may upgrade 2 Click the Options tab and set Processor Perfor-
your system to a version of Mac OS that has mance to Highest.
not yet been qualified for Pro Tools. For
details on qualified versions of Mac OS, see Disabling Spotlight Indexing
the latest compatibility information on the
Digidesign website (www.digidesign.com). The Mac OS X Spotlight feature indexes files and
folders in the background, affecting system per-
Turning Off Software Update formance. It is recommended that you disable
Spotlight indexing before using Pro Tools.
To turn off the Software Update feature:
Disabling Spotlight indexing will cause the
Find function in Mac OS X to no longer
menu and click Software Update.
work. You will no longer be able to search
2 Click the Software Update tab. for files on drives set to private.
3 Deselect Check for Updates. To disable Spotlight indexing:

menu and click Spotlight.
2 In the Spotlight window, click the Privacy tab.
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:

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:

menu and click Dashboard and Exposé.
2 Set the Dashboard keyboard shortcut to “–” to

disable the shortcut.
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.

chapter 6
003 Top Panel
Pro Tools Mode

003 Operating Modes
003 is in this mode when the 003 unit is con-
003 can be in any of five states when it is on: nected to a computer and Pro Tools LE software
• Standby mode is running.
• Pro Tools mode
If Pro Tools is running and no Pro Tools session
• MIDI mode
is open, the unit normally displays “Open or
• Third-Party Software mode create a new session.” When a session is being
• Utility mode launched, the display changes to “Loading a ses-
sion.”
Standby Mode
If no session is open and a Workspace
003 is in this mode when you first power on the browser is open and being used for audition-
unit, waiting for you to launch Pro Tools (or an- ing an audio file, the unit displays “Work-
other supported application). ing.”
In Standby mode, the unit displays “003 Off- When a Pro Tools session is open, the unit mir-
line” in the top row of the 003 display and the rors the on-screen controls. 003 faders, trans-
Monitor Mute switch is enabled (lit). port switches, rotary knobs, and switches con-
trol the corresponding elements in Pro Tools.
In Standby mode, the Monitor section I/O ports
You can also use 003 MIDI ports as you would
are available, without having to power on the
those on a standard MIDI interface.
computer.
In Pro Tools mode, the Monitor section and
While in Standby mode, you can also switch to
MIDI I/O ports are available with a session open
MIDI mode to control external MIDI devices
or closed.
(without having to power on the computer).
However, you cannot use 003 as a standalone
MIDI router; you must route MIDI through soft-
ware.
Chapter 6: 003 Top Panel 37

To put 003 in Pro Tools mode: To use a third-party software application with 003:
1 Make sure the 003 unit is properly connected 1 Make sure 003 is properly connected to the
to the computer and powered on. computer and in Standby mode.
2 If Mute is disabled (unlit), enable Mute by 2 Configure your system and software for ASIO,
pressing the Monitor Mute switch so that it is lit. WaveDriver, or CoreAudio Driver.
3 Launch Pro Tools LE and open or create a See the Windows Audio Drivers Guide (for
Pro Tools session. ASIO and WaveDriver on Windows) or the
CoreAudio Drivers Guide (Mac).
MIDI Mode
3 If Mute is disabled (unlit), press the Monitor
003 is in this mode when either the MIDI Map A Mute switch.
or B switch is enabled (lit). In this mode, 003
functions as a MIDI control surface for external 4 Launch your third-party audio application.
devices and applications other than Pro Tools. 5 Disable the Monitor Mute switch (unlit).
MIDI mode can be enabled in Pro Tools mode,
Third-Party Software mode, or Standby Mode. 6 Use monitor section controls and switches to
For more information, see Chapter 12, “Using adjust audio input routing, monitor levels, and
MIDI Mode.” headphone levels.
Playing Audio Audio from your third-party soft-

Third-Party Software Mode ware application can be routed to 003’s outputs,
via the FireWire connection.
003 is in this mode when the 003 unit is con-
nected to a computer and you launch a Recording Audio (ASIO Driver and CoreAudio
third-party audio application (such as iTunes or Driver Only) Audio from 003 inputs can be
Ableton Live), and then use 003 as your play- routed to software inputs in your third-party
back or recording device. You can also use 003 software applications, via the FireWire connec-
MIDI ports as you would those on a standard tion.
MIDI interface.
Refer to the documentation for your third-party
In this mode, the unit displays “Working...” in software for information on configuring inputs
the top row of the LCD. and outputs.
On Windows, ASIO- and WaveDriver-compati-

ble applications are supported. WaveDriver sup- Utility Mode
ports playback only. On Mac, CoreAudio Driver 003 is in this mode when the Utility switch is
applications are supported. enabled (flashing). In Utility mode, you can run
pre-programmed diagnostic tests of the 003 unit
For more information on third-party audio
(such as fader movement and LEDs). The Utility
drivers, see the Windows Audio Drivers Guide
switch is unavailable in Pro Tools mode.
(for ASIO or WaveDriver on Windows) or the
CoreAudio Drivers Guide (Mac). See Appendix C, “Utility Mode (003 Only)”
for more information.

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.
Display section Display Mode switch

and Status LEDs
Mic/DI
Input controls
Console/Channel
View section
Monitor section
Miscellaneous
controls
Automation
section
Transport and
Navigation controls
Modifiers section
Fader section
Figure 1. Major sections of the 003 top panel

Display Section
The top portion of the 003 includes an LCD display, Display mode switch, and status indicators.
MIDI Data indicators
Host “1394” status indicator
LCD display Display Mode switch
Sync indicators
003 LCD, Display Mode switch, and status indicators
LCD Display The default display is the name of the displayed

element. Names of items with more than six
For all 003 operating modes, the LCD display characters are abbreviated to six characters. Full
provides status information. names of items with more than 6 characters can
be temporarily displayed in the LCD. See “Dis-
For information on the status information
playing Full Names of Tracks, Insert Parameters,
displayed for each 003 operating mode, see
and Other Elements” on page 96.
“003 Operating Modes” on page 37.
When you move a fader or rotary encoder, the
In Pro Tools mode, when a session is open, 003’s
LCD will temporarily display the value for that
LCD is a large, two-row display. The LCD display
control in the lower row of the LCD, then return
dedicates two rows, each with up to six charac-
to the default display. Values can also be tempo-
ters, to each channel strip.
rarily displayed without moving a control or set
In most views, the top row of the LCD shows the to display always. See “Displaying Settings In-
the current view or mode status on the left side stead of Track or Control Names” on page 96.
and the session’s Main Counter on the right
side. Additional LCD Naming Conventions in
Pro Tools Mode
The bottom row of the LCD shows track, send,
When a send or insert is muted, its names is cap-
and insert names, and pan position, send levels,
italized in the LCD display.
and plug-in control information, depending on
the current view, as selected by the Chan- When a track, send, or insert is inactive, “@” ap-
nel/Console switches. pears before its name in the LCD display.

Display Mode Switch Sync Indicators
This switch is used to change default LCD dis- The Sync LEDs indicate the current clock source.
plays: When the current clock source is not estab-
• Full names of items with more than 6 charac- lished, the respective LED flashes.
ters can be temporarily displayed in the LCD. If none of the Sync LEDs are lit, 003’s clock
See “Displaying Full Names of Tracks, Insert source is set to internal.
Parameters, and Other Elements” on page 96.
• The lower row of the LCD shows track or con- There are three Sync LEDs:
trol names by default. The display can be W Clk (Word Clock) LED Lights when clocking
changed to temporarily show settings by to Word Clock.
pressing and holding the Display Mode
switch, or be reset to always show settings. See S/PDIF LED Lights when clocking to the S/PDIF
“Displaying Settings Instead of Track or Con- on the RCA or Optical port.
trol Names” on page 96.
ADAT LED Lights when clocking to ADAT on the
The Display Mode switch flashes during a tem- Optical port.
porary display or when the LCD default has
been reset to always show settings.
MIDI Data Indicators
The MIDI Data LEDs indicate the presence of
Host (“1394”) Status Indicator
MIDI data on the MIDI In, MIDI Out 1, or MIDI
The Host status LED, marked “1394” below its Out 2 ports. Individual LEDs are provided for
LED, indicates that communication has been es- each port. Active sensing is not indicated.
tablished between the unit and Pro Tools LE
software (or another software application)
through FireWire.

Each fader has a motorized touch-sensitive
Fader Section fader, solo and mute switches, a multi-state
Channel Select switch, a rotary encoder and its
The Fader section consists of eight channel
LED ring, and meter LEDs. The LCD display ded-
strips, each with identical controls.
icates two rows, each with up to six characters,
to each channel strip.
Channel Strip Controls

Channel Meter LEDs
Channel Faders
Each channel has its own 100 mm, servo-driven,
Rotary Encoder and
touch-sensitive, motorized fader for controlling
Encoder/Meter LED ring
levels of audio, Auxiliary Input, Master Fader,
MIDI, and Instrument tracks.
Channel Select switch Flip Mode
In Flip mode (Flip switch lit), rotary encoder

Solo switch controls are taken over by the faders, which
makes the rotary encoders available to control
another parameter. For example, in normal
Mute switch
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.
For more information, see “Using Flip

Mode” on page 104.
Channel Fader
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

When the Fader Mute switch is enabled (flash- Channel Select Switches
ing), faders park and do not respond to touching
or movement. Previously recorded automation Each channel has a Channel Select switch that
continues to affect playback, while the faders performs several functions, depending on the
are disengaged from reading. view or mode, as follows.
Console View Depending on the Console View

For more information, see “Muting Fader
(Pan, Send, or Insert), 003 can be used to do the
Movement” on page 106.
following:
Channel Solo/Mute Switches • Select tracks or inserts on a particular chan-
nel for editing.
Each channel has Solo and Mute switches, lo-
• Assign inputs, outputs, sends, or inserts
cated above its fader. These switches let you solo
(plug-ins or hardware).
or mute the channel. The switches also show the
• Open track or send Output windows.
Pro Tools solo and mute status for each track.
When a track is soloed (Solo switch lit), the • Make track or send Outputs active or inac-
Mute switches on other tracks in the session tive.
flash. When a track is muted, its Mute switch is • Select pre- or post-fader operation for
lit continuously. sends.
• Bypass plug-ins.
The Solo switch function follows the Pro Tools
• Reset faders and other parameters to their
Operation preference for latched operation. (See
default settings.
the Pro Tools Reference Guide for details.)
For information on using Console View for
specific Pro Tools workflows, see
Chapter 11, “Pro Tools Mode with 003.”
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 information on using Channel View for


Record Arming Mode When the Rec Arm switch Rotary Encoders
is enabled (flashing), the Channel Select switch
for a track enables or disables its Record Enable Each Channel has a rotary encoder. These knobs
button, plus acts as a record-enabled indicator. control a variety of parameters, depending on
When a track is record-enabled, its Channel Se- the view:
lect switch flashes when the Transport is Console View The rotary encoders control pan,
stopped. When Pro Tools is recording, the send level, or insert settings, depending on
switch is lit continuously. which Console View is enabled (Pan, Send, or
Tracks that are armed for recording will remain Insert).
armed after Rec Arming mode is disabled. Channel View The rotary encoders control
plug-in, pan/send, or insert settings, depending
See “Rec Arm (Record Arm) Switch” on
on which Channel View is enabled (EQ, Dy-
page 45 for details on record-enabling
namics, Insert, or Pan/Send).
tracks.
Automation Mode The Automation Mode Rotary Encoder LEDs

switches (Write, Touch, Latch, Read, and Off) let
Each rotary encoder has a ring of 11 LEDs for in-
you use the Channel Select switches to set the
dicating data values controlled by the encoder.
track’s Automation mode.
The style of display depends on the type of data.
See “Automation Section” on page 54 for For example, discrete or stepped information
more information. such as pan position or frequency value is
shown by a single LED, while an expanding se-
Memory Location Mode In this mode (Memory ries of LEDs shows values such as send levels,
Location switch lit), Channel Select switches re- gain, or filter bandwidth. When you rotate the
call the Memory Location that corresponds to encoder, its LEDs update.
their channel number. Additionally, the Mem-
ory Location window can be opened. In Pan View, the Meter switch sets what the
LEDs display (left pan, right pan, or no function
See “Working With Memory Locations” on in Automation mode).
page 104 for more information.
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
Automation mode is lit.

Meter Switch and LEDs Global Fader Controls
The Meter switch (located to the right of the en-
Default and Input switches
coder row) configures the display mode for Rec Arm switch
Channel Meter LEDs and the rotary encoder
LEDs.
Meter switch and LEDs
Flip switch
Mstr Faders switch
Global Fader control switches
The following controls affect the assignment

and operation of all the faders:
Meter switch and LEDs
The Meter switch also sets whether Left or Right Rec Arm (Record Arm) Switch
pan is controlled by a channel’s rotary encoder.
When the Rec Arm switch is enabled (flashing),
When you toggle through the three Meter 003 is in Record Arming mode. In this mode,
switch modes, the corresponding Meter switch channels can be armed (record-enabled) or dis-
LED lights when its mode is enabled, as follows: armed for recording by pressing their Channel
Select switch.
Left When enabled (LED lit), the Channel Meter
LEDs function as level meters, displaying mono For information on how to record arm
signals or the left channel of a stereo signal. Ro- tracks with 003, see “Recording” on
tary encoder LEDs indicate the left pan position page 102.
(available on stereo channels or sends). Addi-
tionally, the rotary encoder can be used to ad- In this mode, the top row of the LCD shows
just the left pan position on stereo channels or “Record Arm” and the lower row of the LCD
sends. shows track names. Additionally, volume fader
updates will not be reflected in the LCD, pan-
Right When enabled (LED lit), the Channel ning cannot be adjusted with rotary encoders,
Meter LEDs function as level meters, displaying and the Display mode cannot be changed.
the right channel of a stereo signal. Rotary en-
coder LEDs indicate the right pan position In Record Arming mode, the Channel Select
(available on stereo channels or sends). Addi- switches act as record-enable switches and indi-
tionally, the rotary encoder can be used to ad- cators. When a channel is record-enabled and
just the right pan position on stereo channels or the transport is stopped (or playing back with-
sends. out recording), its Channel Select switch flashes.
When Pro Tools is recording, it is lit continu-
Auto (Automation) When enabled (LED lit), the ously.
Channel Meter LEDs display the Automation
mode for their channel. When the Auto switch Tracks that are armed for recording will remain
is enabled, the rotary encoders do not function. armed after Rec Arming mode is disabled.

Mstr Faders (Master Faders) Switch Default Switch
When enabled (flashing), the Master Faders The Default switch is used in conjunction with a
switch arranges all Master Fader tracks in the Channel Select switch to reset a fader (or
current session on the right-hand side of the fader-mapped plug-in parameter) to its default
control surface. Pressing this switch a second setting. For example, you can reset a channel
time returns the control surface to the previous volume fader to its default level of 0.0 dB.
view.
See “Setting Track Controls to Defaults” on
In Pan View, the Master Fader levels are dis- page 103 for more information.
played in the LCD.
Input Switch
Fader Flip Switch The Input switch toggles Auto Input and Input
When enabled (flashing), the Flip switch in- Only Monitor mode for record-enabled tracks.
vokes Flip mode. Flip mode transfers control as-
See the Pro Tools Reference Guide for more
signments from the rotary encoders to the corre-
information about Pro Tools input moni-
sponding channel faders, allowing you to use
toring modes.
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.
See “Using Flip Mode” on page 104 for

more information.

Console/Channel View Section
The Console and Channel View sections give you control over many on-screen elements in Pro Tools.
Master Bypass switch

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

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

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.
MIDI Map switches Miscellaneous switches
Mem Loc (Memory Location) switch
Windows Show/Hide switches Transport mode switches
Fader Display switches
Jog/Shuttle wheel Arrow keys
Transport controls
003 transport and navigation controls
Transport Controls FFW (Fast Forward) Fast-forwards through the

session from the current cursor position.
These controls correspond to transport func-
tions in Pro Tools. STOP Stops playback or recording.
RTZ (Return to Zero) Sets the playback cursor to Play Begins playback from the current cursor po-
the beginning of the session. sition.
REW (Rewind) Rewinds through the session Record Arms Pro Tools for recording. Clicking
from the current cursor position. Play then initiates recording on record-enabled
tracks only.
Jog/Shuttle Wheel The dual-concentric Jog/Shuttle wheel provides

additional navigation controls.

Shuttle Mode Jog/Shuttle Wheel Takeover
The outer ring of the Jog/Shuttle wheel is a Shut- When using the Jog/Shuttle wheel, keyboard
tle control. When you move the Shuttle ring, and mouse commands are not supported, and
003 enters Shuttle mode. In this mode, you can most 003 controls are unavailable. 003 faders
play forwards or backwards at a variable rate, de- can be used at the same time as the Jog/Shuttle
pending on the Shuttle position. Full clockwise wheel. However, 003 transport controls disable
and counter-clockwise positions provide the the Jog/Shuttle wheel.
fastest shuttle rates. The Shuttle ring returns to
the center position (no shuttling) when you re- Normal operating mode is returned a few sec-
lease the wheel. onds after last touching the Jog/Shuttle wheel.
For more information, see “Navigating with

Navigation and Display Keys and
the Shuttle/Jog Wheel” on page 102.
Switches
Jog Mode These multi-purpose keys and switches control
The inner part of the Jog/Shuttle wheel is a Jog the display of Pro Tools tracks on the 003 con-
control. When you move the Jog wheel, 003 en- trol surface, on-screen zoom functions, and
ters Jog mode. In this mode, you can move the other Pro Tools navigation functions.
session transport (and cursor) forwards or back-
wards. Arrow Keys
For more information, see “Navigating with The Arrow keys are used to navigate tracks,
the Shuttle/Jog Wheel” on page 102. zoom in and out, navigate in text entry fields,
and drop Selection In and Out markers
The Jog control can be used to bank tracks to dif- on-the-fly.
ferent faders.
Bank, Nudge, and Zoom switches
For more information, see “Banking Chan-
nels on 003” on page 105.
The Jog control can also be used to continuously

zoom in or out horizontally or vertically on all
tracks.
For more information, see “Working With

Memory Locations” on page 104.
Arrow keys (Left, Right, Up, and Down)
Navigation and Display keys and switches
Basic Arrow key functionality is defined by the

Display switches.

Fader Bank, Nudge, and Zoom Display Record/Playback Transport Mode
Switches Switches
The Display switches define basic Arrow key Loop Play Switch Toggles Loop Playback on and
functionality, as follows: off
Bank Switch When enabled (lit), the Arrow keys Loop Rec Switch Toggles Loop Record mode on
let you bank 003 fader strips to the previous or and off
next eight tracks. You can also control and ad-
just selections and scroll in the Pro Tools Edit QuickPunch Switch Toggles QuickPunch Record
window. mode on and off
Nudge Switch When enabled (lit), the Arrow

keys let you nudge the display of tracks on 003
Mem Loc (Memory Location)
one track at a time. You can also control and ad-
Switch
just selections and scroll in the Pro Tools Edit The Mem Loc (Memory Location) switch pro-
window. vides access to all Memory Locations in a
Pro Tools session and can be used to set Memory
Zoom Switch When enabled (lit), the Arrow keys
Locations.
zoom the Pro Tools Edit window display.
For more information, see “Working With
Additional Arrow Key Functionality Memory Locations” on page 104.
You can use the Arrow keys to perform addi-

tional functions in Pro Tools, regardless of the
active Display switch.
For more information, see “Navigating in

the Edit Window” on page 102.
Windows Show/Hide Switches

Plug-in Switch Opens or closes the window for
Mem Loc (Memory Location) switch
the currently selected plug-in
Memory Location switch
Mix Switch Opens, brings forward, or closes the
Pro Tools Mix window
Edit Switch Opens, brings forward, or closes the

Pro Tools Edit window

Miscellaneous Switches Focus In Pro Tools mode, this switch toggles the
LCD display between the current plug-in view
Save Switch Pressing the Save switch twice is and the previous 003 view (such as Console or
equivalent to choosing File > Save in Pro Tools. Channel View).
Undo Switch Pressing the Undo switch is equiv-
alent to choosing Edit > Undo in Pro Tools. (See To toggle between a plug-in view and the original
view:
the Pro Tools Reference Guide for details on multi-
ple undo capabilities.) Press the Focus switch.
Enter (OK) Switch Pressing the Enter switch is

equivalent to pressing Return or Enter on the MIDI Map Switches
computer keyboard. This lets you OK on-screen 003 provides switches for using the control sur-
dialogs or create new Memory Locations in face as a MIDI controller.
Pro Tools directly from the control surface.
For more information, see Chapter 12, “Us-
Utility Switch When enabled (lit), 003 enters
ing MIDI Mode.”
Utility mode. In this mode, you can run pre-pro-
grammed diagnostic tests of the 003 unit (such MIDI Map A and B Switches When one of these
as fader movement and LEDs) and reset MIDI switches is enabled (lit), 003 is in MIDI mode. In
mappings to their factory presets. The Utility this mode, 003 functions as a MIDI control sur-
switch is unavailable in Pro Tools mode. face for external devices and applications other
than Pro Tools. 003 supports two different
See Appendix C, “Utility Mode (003 Only)” banks of MIDI Map presets, corresponding to
for more information. MIDI Map switch A and B.
Fader Mute In Pro Tools mode, this switch tem- MIDI Edit In MIDI mode, this switch lets you
porarily suspends 003 fader movement. When edit and name custom MIDI maps.
enabled (flashing), this lets you work with
Pro Tools and monitor audio playback without MIDI Recall In MIDI mode, this switch lets you
fader noise. recall and select MIDI map presets.
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

Suspend Switch
Automation Section
When enabled (flashing), automation is sus-
This section provides switches for controlling pended for all channels.
how automation data is written and played
back. For more information, see “Working with
Automation” on page 106.
Write switch Read switch

Modifiers Section
Touch switch Off switch
The Modifiers section includes four switches for
modifying commands in combination with 003
Latch switch Suspend switch
switches, keyboard shortcuts, and Right-click
Automation section commands in Pro Tools:
Automation Mode Switches Shift (Add) Switch This switch lets you extend a
track selection or add to a group of selected
The Write, Touch, Latch, Read, and Off switches items.
are used to set the Pro Tools Automation mode
for any track. Option/Alt (All) Switch This switch lets you ap-
ply an action or command to all tracks in a
When the Meter switch is set to Auto, the Meter Pro Tools session.
LEDs for each channel display its Automation
status. Ctrl/Win Switch This switch lets you tempo-
rarily disengage a control from grouped behav-
For more information, see “Working with ior.
Automation” on page 106.
Command/Ctrl Switch This switch lets you
Automation Switch LEDs fine-adjust controls and automation break-
points.
The Write, Touch, Latch, and Read switch LEDs
individually light when at least one channel has Option/Alt (All) switch
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. Shift (Add) switch
Multiple LEDs light when there are channels

Ctrl/Win switch
with different Automation modes.
Command/Ctrl switch
003 keyboard modifier keys

003 Shortcuts
Mic/DI Input Controls
Modifier switches provide shortcuts for 003
functions that can be accomplished without us- There are four high-quality preamplifiers with
ing your computer’s keyboard or mouse. adjustable gain and phantom power (switchable
in pairs, for Inputs 1–2 and Inputs 3–4). The
For a list of 003 shortcuts, see “003 Top phantom power switches are on the back panel.
Panel Shortcuts” on page 107.
Inputs 1–4 show up as “Analog 1–4” in the de-
Pro Tools Shortcuts fault Pro Tools I/O Setup.
For increased operational speed, there are many

Input 1–4 Gain controls
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 Mic/DI and HPF switches for Inputs 1–4
modifier keys on the computer keyboard. For
Mic/DI Input controls for Inputs 1–4
example, 003’s Shift (Add) switch is equivalent
to your keyboard’s Shift key. Inputs 1–4 have the following controls:
:
003-to-QWERTY 003-to-QWERTY Input 1–4 Gain Controls Each knob adjusts gain
003 Switch
(Mac) (Windows) for the input, with a range of +15 dB to +60 dB
of gain.
Shift (Add) Shift Shift
Mic/DI Switches (Inputs 1–4) Each switch tog-
Option/Alt Option Alt
(All) gles the corresponding input between micro-
phone (unlit) or DI input (lit).
Ctrl/Win Control Win
The DI and Mic switch LEDs indicate the current
Command/ Command Control
Ctrl
source input. The LEDs blink rapidly when the
input is clipping.
You can use the Modifier switches in any com-
Engage the Mic switch only if you have an
bination with keys on your computer or a
XLR cable plugged into the mic connector.
mouse action while working with Pro Tools.
Leaving the switch engaged with nothing
For a complete list of Pro Tools keyboard connected may introduce low-level noise.
and Right-click shortcuts, refer to the Short-
HPF (High Pass Filter) Switches (Input
cuts Guide for your computer platform.
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.

Alt CR (Control Room) Switch This switch mutes
Monitor Section the Main Monitor output and routes the signal
to the Alt Monitor output.
The Monitor section provides the following
control room monitoring features: Mono Switch This switch temporarily combines
Output 1–2 in the Main and Alt Monitor Out-
3/4-HP2 switch Alt CR switch puts and the Headphone Outputs. This is help-
Aux In 7/8 switch Aux In switch Mono switch ful for checking the phase relationships of stereo
material.
Monitor and Headphone Level Controls

Monitor Level Control These knobs control the
Input Level control Monitor Mute switch volume of the Main and Alt Monitor Outputs.
Headphone 1 and 2 Level control These outputs mirror Analog Outputs1–2, which
Monitor and headphone controls correspond to outputs 1–2 in Pro Tools.
Alternate Input Routing Controls Headphone 1 and 2 Level Controls These knobs
control the volume of the independent Head-
Aux In to 7/8 Switch This switch routes the Aux phone Outputs. The Headphone Outputs nor-
In input pair to Inputs 7 and 8 of Pro Tools, and mally mirror outputs 1–2 in Pro Tools, and are
does not send it to the Main Monitor Outputs independent of the Monitor Outputs.
unless this routing is set up in Pro Tools, or the
Aux In (to Monitor) switch is engaged. This lets Headphone 2 mirrors output pair 3–4 when the
you route an alternate input signal (such as a CD 3/4-HP2 switch is enabled (lit). Both head-
player) directly into Pro Tools without the need phones include Aux In signal when Aux In (to
to repatch any cables. monitor) is enabled.
When Aux In to 7/8 is enabled (lit), Analog In- Headphone output is not affected by the status
puts 7–8 are disabled. of the Monitor Mute switch, but does follow sta-
tus of the Mono switch.
3/4-HP2 Switch This switch sets the Headphone
2 Output to mirror Output pair 3–4. Monitor Mute Switch This switch mutes the
Main and Alt Monitor Outputs only, and has no
Aux In (to Monitor) Switch This switch routes effect on the Headphone Outputs. Monitor
the Aux In input pair directly to the Main Mon- Mute is automatically engaged when you power
itor and Headphone Outputs. up the unit.
If you press the Aux In (to Monitor) switch in

conjunction with the Aux In to 7/8 switch, you Headphone Jacks
will hear the pre-fader input of the Aux In in the Headphone Output 1 and 2 jacks accept stan-
Main Monitor outputs, and can record that in- dard 1/4-inch stereo headphone connectors.
put into Pro Tools from Inputs 7/8. Addition- The jacks are located on the front of the 003.
ally, if you send the output of any track with in-
puts 7/8 back to the Main Monitor outputs, this
can result in a doubled signal.

chapter 7
003 Rack Front Panel
The 003 Rack front panel includes controls for Power Switch
Inputs 1–4, options for routing outputs and
monitoring alternate input sources, and indica- The Power switch is located on the front panel.
tors for connections status, sync source, and
MIDI data. Headphone Jacks
Headphone Output 1 and 2 jacks accept stan-
dard 1/4-inch stereo headphone connectors.
Input 1–4 Gain controls Status indicators
Power switch
Mic/DI and HPF switches for Inputs 1–4 Monitor section Headphone jacks
Figure 2. 003 Rack front panel
Chapter 7: 003 Rack Front Panel 57

Mic/DI Input Controls Monitor Section
There are four high-quality preamplifiers with The Monitor section provides the following
adjustable gain and phantom power (switchable control room monitoring features:
in pairs, for Inputs 1–2 and Inputs 3–4). The
phantom power switches are on the back panel. Monitor and Headphone Level Controls
Inputs 1–4 show up as “Analog 1–4” in the de- Headphone 1 and 2 Level Controls These knobs
fault Pro Tools I/O Setup. control the volume of the independent Head-
phone Outputs. The Headphone Outputs nor-
Inputs 1–4 have the following controls:
mally mirror outputs 1–2 in Pro Tools, and are
Input 1–4 Gain Controls Each knob adjusts gain independent of the Monitor Outputs.
for the input, with a range of +15 dB to +60 dB
Headphone 2 mirrors output pair 3–4 when the
of gain.
3/4-HP2 switch is enabled (lit). Both head-
Mic/DI Switches (Inputs 1–4) Each switch tog- phones include Aux In signal when Aux In (to
gles the corresponding input between micro- monitor) is enabled.
phone (unlit) or DI input (lit).
Headphone output is not affected by the status
The DI/Mic switch LEDs indicate the current of the Monitor Mute switch, but does follow sta-
source input. The LEDs blink rapidly when the tus of the Mono switch.
input is clipping.
Monitor Level Control These knobs control the
Engage the Mic switch only if you have an volume of the Main and Alt Monitor Outputs.
XLR cable plugged into the mic connector. These outputs mirror Analog Outputs 1–2,
Leaving the switch engaged with nothing which correspond to outputs 1–2 in Pro Tools.
connected may introduce low-level noise.
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).

Alternate Input Routing Controls
Status Indicators
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-
Host (“1394”) Status Indicator
tor Outputs. This lets you route an alternate in- The Host status LED, marked “1394” below its
put signal (such as a CD player) directly into LED, indicates that communication has been es-
Pro Tools without the need to repatch any ca- tablished between the unit and Pro Tools LE
bles. software (or another software application)
through FireWire.
When Aux In to 7/8 is enabled (lit), Analog In-
puts 7–8 are disabled.
Sync Indicators
3/4-HP2 Switch This switch sets Headphone 2
Output to mirror Output pair 3–4. The Sync LEDs indicate the current clock source.
When the current clock source is not estab-
Aux In (to Monitor) Switch This switch routes lished, the respective LED flashes.
the Aux In input pair directly to the Main Mon-
itor and Headphone Outputs. If none of the Sync LEDs are lit, 003 Rack’s clock
source is set to Internal.
Alt CR (Control Room) Switch This switch mutes
the Main Monitor output and routes the signal There are three Sync LEDs:
to the Alt CR output.
W Clk (Word Clock) LED Lights when clocking
Mono Switch This switch temporarily combines to Word Clock.
Output 1–2 in the Main and Alt Monitor Out-
S/PDIF LED Lights when clocking to the S/PDIF
puts and the Headphone Outputs. This is help-
on the RCA or Optical port.
ful for checking the phase relationships of stereo
material. ADAT LED Lights when clocking to ADAT on the
Optical port.
Monitor Mute Switch This switch mutes the
Main and Alt Monitor Outputs only, and has no
effect on the Headphone Outputs. Monitor MIDI Data Indicators
Mute is automatically engaged when you power
The MIDI Data LEDs indicate the presence of
up the unit.
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.
Chapter 7: 003 Rack Front Panel 59

chapter 8
003 and 003 Rack Back Panels
The 003 and 003 Rack back panels include au- Sample Rate and Resolution
dio, MIDI and computer connectors for the unit Support
(see See Figure 3 on page 62). The functions of
each connector and their associated switches are The Analog-to-Digital and Digital-to-Analog
explained in this section. converters on all 003 and 003 Rack analog in-
puts and outputs, as well as the S/PDIF Digital
The 003 and 003 Rack have identical connec- I/O ports, support sample rates of 44.1, 48, 88.2,
tors. The 003’s Power switch is on its back panel, and 96 kHz. The Optical port can be set for eight
whereas the 003 Rack’s Power switch is on its channels of ADAT Optical I/O (supporting up to
front panel. 48 kHz) or two channels of S/PDIF Optical I/O.
Digidesign does not recommend the use of All the analog and digital inputs and outputs on
unbalanced cables. Unbalanced connec- 003 and 003 Rack support up to 24-bit resolu-
tions may introduce noise into your audio tion audio.
system. Whenever possible, use balanced
cables to make connections to 003 and
003 Rack.
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).
Chapter 8: 003 and 003 Rack Back Panels 61

Mic and DI Inputs 1–4 Main and Alt MIDI In
(and Phantom Power switches) Analog Outputs 1–8 Monitor Outputs
Aux In MIDI Outs
Link indicator Word Clock

Analog Inputs 5–8 (and Level switches) Footswitch AC power connector
Optical I/O
Kensington Lock port S/PDIF I/O Power switch
FireWire ports
Figure 3. 003 back panel
Analog Inputs DI Inputs 1–4
The DI (“Direct Inject” or “Direct Interface”) In-

Mic Inputs 1–4
puts are balanced connectors for guitars and
These are balanced, three-conductor XLR con- other instrument level sources that support
nectors for microphone-level analog inputs. 1/4-inch TS connections. Operating levels for
these inputs are fixed at +4 dBu.
Gain is controlled by the corresponding Input
Gain control (located on the top panel of 003, Gain is controlled by the corresponding Input
and on the front panel of 003 Rack). The source Gain knob (located on the top panel of 003, and
(Mic, Line, or DI) is chosen using the Mic/DI on the front panel of 003 Rack). The source
switch. (Mic, Line, or DI) is chosen using the Mic/DI
switch.
The XLR connectors on Inputs 1–4 are
wired specifically to match the impedance Phantom Power Switches
of microphones. Do not use these XLR con-
nectors for line inputs; use the 1/4-inch con- These switches apply 48V phantom power to
nectors instead. 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.
For more information, see “Phantom

Power” on page 70.

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

These outputs are enabled when the Alt CR 003 and 003 Rack support consumer mode S/PDIF
switch is enabled (lit). output format (IEC60958-3) at sample rates of
44.1 kHz and 48 kHz, and professional mode
Aux In S/PDIF output format (IEC60958-4) at sample
rates of 88.2 kHz and 96 kHz. For information
These are balanced, 1/4-inch TRS connectors for
on which S/PDIF formats are supported by your
connecting alternate audio sources such as CD
S/PDIF-compatible gear, see the manufacturer’s
players or tape decks. The signal from these in-
documentation.
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 Optical I/O
of 003, or the front panel of 003 Rack. These are a pair of TOSLINK-style connectors for
ADAT Optical (8 channels of I/O) or S/PDIF Op-
Operating levels for these inputs are fixed at
tical (2 channels of I/O) devices. You can choose
+4 dBu.
between these Optical I/O formats in the
When the Aux In switch is enabled (lit), Aux In Pro Tools Hardware Setup dialog.
signal is routed to the Main Monitor Outputs.
The Optical port can be set for eight channels of
Audio in Pro Tools that is routed to Analog 1–2
ADAT Optical I/O (supporting up to 48 kHz) or
will not be mirrored at the Monitor Outputs.
two channels of S/PDIF Optical I/O.
When the Aux In to 7/8 switch is enabled (lit),
The Optical I/O ports support 24-bit, 20-bit and
Aux In signal is routed to Inputs 7–8 and does
16-bit resolutions in both modes.
not pass directly to the Monitor Outputs.
When the Alt CR switch is enabled (lit), audio Only one S/PDIF input pair can be used at a
routed to Aux In will pass out the Alt Monitor time. For example, if you use the Optical In
Outputs. for S/PDIF data, you cannot use the RCA
inputs.
Digital I/O At 96 kHz, it is recommended that you use

the S/PDIF (RCA) port
S/PDIF Digital I/O
The Optical I/O ports use a standard optical
The S/PDIF in and out ports are unbalanced “lightpipe” cable.
two-conductor phono (RCA) connectors that
utilize a full 24-bit, two-channel digital data Digidesign recommends high-quality audio
stream. grade optical cable for all optical connec-
tions.
The Sony/Philips Digital Interface Format
(S/PDIF) is used in many professional and con- When the 003 or 003 Rack is on, its Optical Out
sumer CD recorders and DAT recorders. For port emits a red light.
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.

About Lightpipe-Compatible Devices Kensington Lock Port
Lightpipe is an industry standard, eight-channel Use the Kensington Lock port to secure your in-
optical digital audio connection developed by terface with a Kensington Lock (not supplied).
Alesis. Lightpipe is found on many devices, in-
cluding ADAT decks, modular digital For more information, visit the Kensington
multitracks (MDMs), sound cards, standalone website (www.kensington.com).
A/D or D/A converters, and digital consoles.
Footswitch Jack
Word Clock This connector lets you use a footswitch pedal
The Word Clock In and Out ports let you con- to control either playback start/stop or record-
nect BNC cables to synchronize 003 and 003 ing punch in/out. Both QuickPunch audio
Rack to incoming 1x Word clock, and synchro- punch-in and punch-out and MIDI punch-in
nize other devices to Pro Tools-generated Word and punch-out recording are supported. The
clock. footswitch connector is designed specifically for
instantaneous (momentary) on/off pedals with
a 1/4-inch TRS connector. Continuous on/con-
MIDI Connectors tinuous off pedals can also be used, but may re-
The MIDI In and MIDI Out 1 and Out 2 ports are sult in unexpected behavior.
standard 5-pin MIDI ports. The MIDI In port
supports 16 channels of MIDI input. Each MIDI IEEE-1394 (FireWire) Ports
Out port supports 16 channels of MIDI output,
for a system total of 32 channels of MIDI out- These ports, marked “1394” in reference to their
put. IEEE specification, are commonly known as
FireWire ports. These provide connections to the
A MIDI driver for these MIDI ports is installed computer and other FireWire devices.
when you install Pro Tools LE, and is recognized
automatically by MIDI Studio Setup (Windows) FireWire offers a high rate of data transfer and
and Audio MIDI Setup (Mac). These connectors reliability that makes it ideal for audio applica-
accept standard 5-pin MIDI cables. 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 10 for FireWire cable information.

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

chapter 9
Making Studio Connections
To connect headphones:
Getting Sound In and Out of Connect headphones with a 1/4-inch stereo
Your 003 or 003 Rack connector (or adapter) to the Headphone 1 or 2
To hear audio recorded into a Pro Tools session, jack.
you will need to connect headphones or an ex-
ternal sound system (such as powered monitors To adjust headphone levels:
or a home stereo) to 003 or 003 Rack. Sound Adjust the Headphone 1 or 2 Level knobs.
from 003 and 003 Rack cannot be played
through your computer’s speakers or your com- To set Headphone 2 Output to mirror Output pair
puter’s sound output. 3–4:
Press the 3/4-HP2 switch.
Connecting Headphones
There are two stereo 1/4-inch headphone jacks Connecting a Sound System
on 003 and 003 Rack.
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.
1/4-inch Headphone jacks
Headphone 1 and 2
An alternate monitoring system can be
Level control connected to the Alt Monitor Outputs.
Headphone jacks (Front panel of 003 Rack)
Chapter 9: Making Studio Connections 67

When connecting to a stereo system, connect Mirroring the Outputs on S/PDIF Out
the left channel to Main Monitor Output L, and
right channel to Main Monitor Output R. 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.
Main Monitor Outputs
Monitor Outputs Output mirroring is useful for recording to mul-
tiple media, creating separate monitoring
mixes, or for output to digital effects processors.
Home stereo systems often use RCA
connectors for analog audio connec- For information on S/PDIF connections, see
tions. You can use an adaptor or a spe- “Connecting Equipment with Digital Ins
cial cable to convert from the TRS or and Outs” on page 73
TS connectors used by 003 and 003
Rack to the RCA connectors on your To mirror 003 or 003 Rack Outputs 1–2 on the
home stereo. S/PDIF outputs:
1 Open the Pro Tools session whose channel
Main Monitor Outputs L and R play the audio
outputs you want to mirror.
that is routed to analog outputs 1 and 2 within
Pro Tools. 2 In the Mix window, click the Output selector
of any audio or Auxiliary Input track to select
The Monitor Level knob (located on the top
the main output destination, for example, Ana-
panel of 003, and on the front panel of 003
log 1–2.
Rack) adjusts the volume level of the Monitor
Outputs. 3 Start-click (Windows) or Control-click (Mac)
the same Output selector and select an addi-
You can also connect a sound system to any of tional output pair from the same pop-up menu.
the Analog Outputs 1–8, although you will not
have Monitor section controls available.
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.

The newly selected destination is indicated by 003 and 003 Rack have eight analog inputs. One
an additional check mark in the output pop-up set of inputs is labeled Mic Inputs 1–4 and DI In-
menu, and a plus sign in the Output selector. 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 69, and “Connecting Instruments to 003
or 003 Rack” on page 71.
Connecting a Microphone
Choosing multiple output destinations for a track
There are several ways to use 003 or 003 Rack
with a microphone, depending on the type of
Connecting Audio Inputs
microphone and cables you use.
003 and 003 Rack inputs support microphones,
guitars, keyboards, and other types of instru-
ments.
Mic Cables and Connectors
Some microphone cables use an XLR connector
Mic Inputs 1–4 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-
DI Inputs 1–4 phone to the 003 or 003 Rack to yield better re-
sults.
Four Mic and DI Inputs
XLR connector
1/4-inch connector
Analog Inputs 5-8
XLR and 1/4-inch connectors
Four Analog Inputs

Phantom Power Using a Mic that Has an XLR
Connector
Some microphones require power to operate.
This power, called phantom power, is supplied ei-
To use a microphone that has an XLR connector:
ther by a battery in the microphone, or through
an audio interface (such as 003 and 003 Rack) 1 On the back of the 003 or 003 Rack, plug your
that can supply power through the microphone microphone cable into one of the Mic inputs.
cable. The inputs are numbered left to right, so Mic In-
put 1 is the leftmost input.
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.
Although phantom power can be used

safely with most microphones, ribbon mi-
Mic Input 1
crophones can be damaged by it. Always
turn off phantom power and wait at least XLR cable plugged into Mic Input 1
30 seconds before connecting a ribbon mi- 2 Press the Mic/DI switch (located on the top
crophone. panel of the 003, and on the front panel of the
003 Rack) for the corresponding input so that it
003 and 003 Rack can only supply power
is in the Mic (unlit) position.
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.
Mic/DI and HPF switches for Inputs 1–4
Mic/DI switches (located on the top panel of 003, and

front panel of 003 Rack)
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 cor-
responding input pair.

Each Phantom Power switch sends 48V to its 2 Press the Mic/DI switch (located on the top
corresponding input pair. panel of the 003, and on the front panel of the
is in the DI (lit) position.
Phantom Power Phantom Power

(Mic Inputs 1 and 2) (Mic Inputs 3and 4)
Phantom Power switches
4 When Pro Tools is launched and the input is

routed to a Pro Tools track (see “Recording a
Pro Tools Session” on page 81), you can adjust Mic/DI and HPF switches for Inputs 1–4
the input level with the Input Gain knob (lo-
cated on the top panel of the 003, and the front Mic/DI switches
panel of the 003 Rack).
If you are using a microphone with a 1/4-
inch connector, do not choose the “Mic” in-
Using a Mic that Has a 1/4-Inch put source because the 003 or 003 Rack will
Connector not register any signal.
To use a microphone that has a 1/4-inch 3 When Pro Tools is launched and the input is
connector: routed to a Pro Tools track (see “Recording a
1 On the back of the 003 or 003 Rack, plug the Pro Tools Session” on page 81), you can adjust
1/4-inch connector from your microphone into the input level with the Input Gain knob.
one of the DI inputs. From the back, the inputs
are numbered left to right, so DI Input 1 is the
leftmost input.
Connecting Instruments to
003 or 003 Rack
Line/Inst Input 1
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,
1/4-inch cable plugged into DI Input 1 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.

On 003 and 003 Rack, DI Inputs 1–4 support To use a keyboard or mixer with 003 or 003 Rack:
low-level instruments and line-level instru-
1 On the back of the 003 or 003 Rack, plug your
ments. Analog Inputs 5–8 support line-level in-
keyboard, mixer, or other audio source into any
struments only.
of the DI inputs or Analog Inputs by doing one
of the following:
To use a guitar with 003 or 003 Rack:
• Use Analog Inputs 5–8 if you need to select
1 On the back of the 003 or 003 Rack, plug your –10 dBV or +4 dBu operating level for your
guitar cable into one of the DI inputs. From the keyboard.
back, the inputs are numbered left to right, so DI
– or –
Input 1 is the leftmost input.
• Use DI Inputs 1–4 if Analog Inputs 5–8 are
unavailable, or if you do not need to set the
Line/Inst Input 1 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
Guitar cable plugged into DI Input 1 odd/even pair of inputs. For example, connect
2 Press the Mic/DI switch (located on the top the left channel to DI Input 1, and right channel
panel of the 003, and on the front panel of the to DI Input 2.
From the back, the inputs are numbered left to
is in the DI (lit) position.
right, so DI Input 1 is the leftmost input.

Keyboard plugged into Analog Inputs 5–6
3 When Pro Tools is launched and the input is
routed to a Pro Tools track (see “Recording a
Pro Tools Session” on page 81), 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).

2 If you are using any DI inputs, press the
Mic/DI switch (located on the top panel of the Connecting Equipment with
003, and on the front panel of the 003 Rack) for Digital Ins and Outs
the corresponding input so that it is in the DI
003 and 003 Rack each provide up to ten digital
(lit) position.
inputs and outputs, including:
Input 1–4 Gain controls • 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)

RCA S/PDIF In and Out ports

For line-level devices, the Input Gain knob
should be turned down all the way. Optical In and Out ports
Digital connectors
3 If you are using any of the Inputs 5–8, set ei-
Up to 18 channels of I/O can be achieved by us-
ther a –10 dBV or +4 dBu operating level for the
ing the S/PDIF RCA I/O, Optical (ADAT) I/O,
corresponding input using the Operating Level
and analog I/O at the same time.
switch (located on the back panel). For informa-
tion on the appropriate operating level for your Only one S/PDIF input pair can be used at a
input device, see the manufacturer’s specifica- time. For example, if you use the optical in-
tions. 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 Software” on page 24.
For more information on each I/O type, see

Operating Level switches “Digital I/O” on page 64
for Analog Inputs 5-8
Four Analog Inputs

For information on connecting digital ef-
4 Set your instrument’s volume to its optimal fects devices, see “Using External Effects
level. For example, the optimal level for most Devices” on page 75.
keyboards is between 80% and 100% of maxi-
mum volume. For information on recording from a Digital
I/O, see “Recording from a Digital Device”
5 Adjust the Input Gain knob.
on page 77.

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

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

To set up a send to an external digital effects
device (digital sends/returns only): Monitoring and Recording
1 Connect the digital inputs and outputs of the from Alternate Sources
external signal processor to the appropriate dig- 003 and 003 Rack provide a pair of additional
ital connectors (the S/PDIF RCA connectors or inputs for monitoring and recording from an
the Optical ports) on 003 or 003 Rack. external sound source such as a CD player or
2 In Pro Tools, choose Setup > Hardware. tape deck. This alternate input is equipped with
1/4-inch TRS connectors and is designed for in-
3 Under Optical Format, do one of the follow-
put signals with a nominal operating level of
ing: +4 dBu.
• 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 Aux In
S/PDIF is not enabled. Aux In for alternate sound sources
• If the external effects device is a S/PDIF de-
vice and connected to the Optical ports, se- To monitor an external device through the
lect S/PDIF. Alternate Source Inputs, 003 or 003 Rack
• If the external effects device is an ADAT must be powered on.
Optical compatible device, select ADAT.
To monitor an alternate sound source through 003
4 Choose Internal from the Clock Source pop- or 003 Rack Monitor Outputs:
up menu.
1 Connect the outputs of the external device to
5 Click the Sample Rate pop-up menu and select the left and right Aux In connectors on the back
a sample rate. The sample rate of the Pro Tools panel of 003 or 003 Rack.
session and external digital device must match.
2 Route the signal to the Monitor Output by
If necessary, change the sample rate of the digi-
pressing the Aux In switch (located on the top
tal device.
panel of 003, and on the front panel of 003
6 Click OK. Rack) so that it is enabled (lit).
You can use the I/O Setup dialog (Setup > 3 If you want to monitor the signal through the
I/O) to label the inputs and outputs you are Alternate Monitor Outputs, press the Alt CR
using in Pro Tools LE and identify them as switch. Any tracks within Pro Tools that are sent
inserts or sends when working in a session. to the Monitor Outputs will not be heard.
See the Pro Tools Reference Guide for de- 4 Adjust Monitor Output or Headphone Output
tails. levels to audition the input.

To record an alternate sound source directly into 3 Under Optical Format, do one of the follow-
Pro Tools: ing:
1 Connect the outputs of the external device to • If the external digital device is a S/PDIF de-
the left and right Aux In connectors on the back vice and connected to the S/PDIF RCA
panel of 003 or 003 Rack. jacks, select ADAT (if the selected sample
rate is 44.1 or 48 kHz) or None (if the se-
2 Route the signal directly to Inputs 7–8 in
lected sample rate is 88.2 or 96 kHz). The
Pro Tools by pressing the Aux In to 7–8 switch
RCA jack is only active when Optical
(located on the top panel of 003, and on the
S/PDIF is not enabled.
front panel of 003 Rack) so that it is enabled
• If the external digital device is a S/PDIF de-
(lit).
vice and connected to the Optical ports, se-
When the Aux In to 7–8 switch is enabled, In- lect S/PDIF.
puts 7 and 8 on the back panel are inactive. Also, • If the external digital device is an ADAT
because the signal can be monitored from Optical compatible device, select ADAT.
Pro Tools, it no longer passes directly to the
Monitor Outputs. You can use only one pair of S/PDIF inputs
(either RCA or Optical) at a time.
4 From the Clock Source pop-up menu, do one

Recording from a Digital of the following:
Device • If you are synchronizing the Pro Tools
clock to the external device, select ADAT,
If you are recording from an optical or S/PDIF
RCA (S/PDIF), or Optical (S/PDIF), depending
device, you will need to select a Clock Source. In
on where you connected your digital de-
most cases, you will synchronize the Pro Tools
vice.
clock to the external device.
Your digital input device must be connected
If you are using an optical device for recording,
and powered on. If your input device is not
you also need to set the Optical Format.
powered on, leave the Clock Source set to In-
ternal.
To configure Pro Tools LE for a digital source:
1 Connect an ADAT or Optical S/PDIF format – or –
device to the Optical In connector, or an RCA • Select Internal if you are synchronizing the
S/PDIF format device to the S/PDIF In connector external device to 003 or 003 Rack.
on the back of the 003.
You can use the I/O Setup dialog (Setup >
2 Choose Setup > Hardware. 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.

5 Click the Sample Rate pop-up menu and select Connecting a Lightpipe-Compatible
a sample rate. The sample rate of the Pro Tools Device (ADAT)
session and external digital device must match.
If necessary, change the sample rate of the digi- To connect a Lightpipe-compatible device (ADAT)
tal device. to 003 or 003 Rack:
6 Click OK. 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

Connecting a Recorder for Optical Out port on the 003 or 003 Rack.
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 Optical In and Out
device.
Optical In and Out ports
Connecting an Analog Deck

Connect your recorder’s inputs to the Alt MIDI Connections
Monitor Outputs (or any other output pair) on
The MIDI ports on 003 and 003 Rack let you
the back of the 003 or the 003 Rack. These out-
take advantage of all the MIDI features of
puts are 1/4-inch jacks. You may need adapter
Pro Tools LE, including recording and editing
cables if your mixdown deck has RCA inputs.
MIDI tracks.
If you need additional MIDI ports you can add a

compatible MIDI interface (such as a Digidesign
MIDI I/O).
Alt Monitor Outputs To connect your MIDI device to 003 or 003 Rack:
Alt Monitor Outputs and other outputs
1 Connect a standard 5-pin MIDI cable from the
Connecting a Digital Deck MIDI Out port of your device to the MIDI In
port on the back panel of the 003 or 003 Rack.
If you have a DAT or other digital device that
can receive S/PDIF digital audio data, connect it 2 Connect another MIDI cable from the
to the S/PDIF In and S/PDIF Out RCA jacks on MIDI In port of your device to one of the
the back of the 003 or the 003 Rack. MIDI Out ports on the back panel of the 003 or
003 Rack.
The MIDI Out port can be selected in

Pro Tools or a supported third-party appli-
cation.
RCA S/PDIF In and Out ports
S/PDIF In and Out ports

Monitoring MIDI Instruments with 003
or 003 Rack Using a Footswitch
If you have a MIDI instrument that has analog The footswitch connector on 003 and 003 Rack
outputs, you can connect it to the 003 or 003 let you use a footswitch pedal to control either
Rack to monitor its output. playback start/stop or recording punch in/out.
Both QuickPunch audio punch-in and punch-
To connect your MIDI instrument for monitoring in out and MIDI punch-in and punch-out record-
Pro Tools: ing are supported.
Connect the MIDI instrument’s audio output The footswitch connector is designed specifi-
to a DI or Analog Input on the back panel of the cally for instantaneous (momentary) on/off
003 or 003 Rack. pedals with a 1/4-inch TRS connector. Continu-
ous on/continuous off pedals can also be used,
but may result in unexpected behavior.
To use a footswitch control:

1 Connect a footswitch to the footswitch con-
nector on the back panel of the 003 or 003 Rack.
2 Launch Pro Tools.
3 Choose Setup > Hardware.
4 Select Record Punch In/Out or Playback

MIDI instrument audio outputs plugged into Analog Start/Stop.
Inputs 5–6
5 Click Ok.

chapter 10
Common Tasks with Pro Tools LE
This chapter provides instructions for common 4 In the New Session dialog, set the session pa-
Pro Tools tasks. rameters as needed, or leave them at their de-
fault settings. (For details on New Session
For the most complete information on using settings, see the Pro Tools Reference Guide.)
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.
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 New Session dialog
003 Rack and your instrument or microphone. 5 Choose the audio drive where you want to
save your session.
For connection information, see Chapter 9,
“Making Studio Connections.” 6 Type a name for your session.
2 Launch Pro Tools. 7 Click Save.
3 Choose File > New Session.
Chapter 10: Common Tasks with Pro Tools LE 81

To prepare an audio track for recording: 8 Use the Gain controls to maximize the signal
going into Pro Tools while avoiding clipping.
1 Choose Track > New.
2 Specify 1 Mono Audio Track in Samples if your Clipping occurs when you feed a signal to an
source is mono, or 1 Stereo Audio Track in Sam- audio device that is louder than the circuitry
ples if your source is stereo. 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
Creating a new Stereo audio track flicker.
3 Click Create. To record an audio track:
A mono instrument uses one input on the 1 Click the track’s Record Enable button.
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 Record enabling a track in the Mix window
sides of the stereo track will show no signal.
2 Choose Track > Input Only Monitoring. This al-
4 Make sure the Mix window is open by choos-

lows you to monitor the input of tracks that are
ing Window > Mix. record enabled.
3 Choose Window > Transport to display the

5 In the Mix window, click the Audio Input Path
selector on the new track. Transport window. Click Return to Zero to go to
the beginning of the session.
6 From the pop-up menu, select the interface in-
put you want to record. For example, select Return to Zero Fast Forward
Analog 1 if your audio source is plugged into an Rewind Play Go to End
Input 1 connector on the 003 or 003 Rack.
Online Stop Record
Routing an input to a mono track Transport window
7 Play the instrument or sound source at the 4 Click Record in the Transport window to arm
volume you will record. Pro Tools for recording. The Record button
flashes red to indicate that Pro Tools is ready to
record.

5 When you are ready to start recording, click 3 In the Workspace browser, click the Audio CD
Play or press the Spacebar. icon to show the files on the CD.
6 Record your performance. 4 Click the speaker icon in the Waveform col-
umn to audition the audio file. Press the Space-
7 Click Stop in the Transport window or press
bar to stop playback.
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 Auditioning an audio file in the Workspace browser
the Spacebar 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.
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.
Dragging an audio file from the Workspace browser to

the Edit window Track List
To play back the new track:

1 In the Transport window, click Return to Zero
Opening the Workspace browser 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.

2 Choose File > Bounce to > Disk.
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
Choosing Bounce to Disk from the File menu
“master” audio file. After the new audio file has
been bounced to disk, you can burn it to a CD. 3 In the Bounce Options dialog, choose
Analog 1–2 as the Bounce Source.
If you are bouncing to 16-bit (CD resolution),
you should use a dither plug-in on the main out- 4 Choose WAV (BWF) for the File Type.
put. (For details, see the Pro Tools Reference 5 Choose Stereo Interleaved for the Format.
Guide.)
6 Choose 16 for the Resolution and 44100 for
To bounce audio to disk: the Sample Rate.
1 After you have finished recording and mixing 7 If you are changing the sample rate of the
a session in Pro Tools, select the length of the bounced file, choose a Conversion Quality set-
session in the timeline ruler (or on a track), plus ting. (For details, see the Pro Tools Reference
an additional amount of time to avoid cutting Guide.)
off any reverb tails that might continue past the
end of the last region.
Audio session highlighted and ready to bounce

8 Choose “Convert after Bounce,” and click 10 Click Save.
Bounce.
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).
Bouncing to Disk dialog
Burning a CD
Bounce options for creating CD burnable tracks
After the bounce is completed, you will have an
9 In the Bounce dialog, give the bounce tracks a audio file that is ready for burning onto a CD.
name and choose where they should be saved. Quit Pro Tools and launch any common CD
burning application to burn your bounced mix
to CD.
Make certain that you configure your CD

burning application to create an audio CD
rather than a data CD.
Entering a name for the bounced file

To create an Instrument track and configure it for
Recording MIDI in a Pro Tools recording:
Session 1 Choose Setup > MIDI > Input Devices and make
sure your input device is selected in the MIDI In-
What is MIDI? put Enable window, and click OK.
MIDI (Musical Instrument Digital Interface) 2 Choose Track > New and specify 1 Mono In-
data is not audio, and has no sound. MIDI is a strument Track, then click Create.
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

Creating a new Mono Instrument track
must have a MIDI controller or sound module
(real or virtual) connected to the computer 3 Select View > Mix Window > Instruments to dis-
through a MIDI interface. Audio from your play the MIDI controls for the Instrument track.
MIDI instrument can be monitored through the
audio interface or sent to an external mixer.
MIDI sound module
MIDI Audio
To amplifier
Mixer
MIDI keyboard (controller) Showing the Instrument View in the Mix window
Signal paths for MIDI instruments
4 At the top of the Instrument track in the Mix
Recording MIDI on an Instrument Track window, click the track’s MIDI Input selector
and assign the device and channel to be re-
Pro Tools Instrument tracks provide both MIDI corded, or leave it set to All.
and audio capabilities, so you can record MIDI
and monitor audio from software and hardware
MIDI Input selector
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 Input selector in an Instrument track

5 Do one of the following, depending on the 6 If you are using an external MIDI device and
type of instrument you are using: have connected its audio output to your audio
• If you are using an instrument plug-in, interface for monitoring in Pro Tools, click the
click an Insert selector and insert the plug- Input selector of the Instrument track and
in on the Instrument track. The track’s choose the corresponding audio input. (This
MIDI output is automatically assigned to step is not necessary if you are using an instru-
the instrument plug-in. ment plug-in.)
Inserting an instrument plug-in on an Instrument track
• If you are using an external MIDI device,

click the track’s MIDI Output selector (at
the top of the Instrument track) and assign Choosing an audio input for an Instrument track
the device and channel to receive the MIDI
7 In the Mix Window, click the track’s Record
output (the choices will vary depending on
Enable button to enable the Instrument track
the device).
for MIDI recording.
Track Record Enable button
Enabling an Instrument track for MIDI recording

MIDI Output selector in an Instrument track
8 Make sure Options > MIDI Thru is selected.
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).”

9 Play some notes on your MIDI controller and 4 Click Play in the Transport window or press
look for the track’s MIDI Velocity meter to the Spacebar to begin recording.
move. Remember, MIDI is not audio, and the
5 Play your MIDI controller or input device.
MIDI Velocity meter is not registering sound
output, but MIDI activity. 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.
MIDI Velocity meter
MIDI meter in Instrument track showing MIDI activity
10 Adjust the audio output level of the Instru-

ment track with its Volume fader. MIDI data in the Instrument track
To play back recorded MIDI data:

Volume fader 1 Click the track’s Record Enable button to take
the Instrument track out of Record mode.
Adjusting the Volume fader on an Instrument track
2 In the Transport window, click Return to Zero
To record MIDI on the Instrument track: to play back from the beginning of the track.
1 Verify that the Instrument track you want to
3 Click Play in the Transport window to begin
record to is record-enabled and receiving MIDI.
playback. The recorded MIDI data plays back
2 In the Transport window, click Return to Zero through the track’s assigned instrument and
to start recording from the beginning of the ses- channel.
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.
Return to Zero Fast Forward

Rewind Play Go to End
Online Stop Record
Transport window

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

Working in Console View
Console View provides a global view of a given
control type across the 003 (such as send A for
Chapter 11: Pro Tools Mode with 003 89

003 is in Console View when any of the Console Pan View Workflows
View switches (Pan, Send, or Insert) is lit in the
Console View section. When the Pan switch is enabled (lit), 003 is in
Pan View. This is the default View when you
When you first open a Pro Tools session, first open a Pro Tools session. In this view, you
the top row of the 003 is in Console View can use the rotary encoders to adjust pan on the
with the Pan switch enabled (lit). This current bank of tracks, select and rename tracks,
default view is sometimes called the and assign inputs or outputs in Assign mode.
Home View.
For information on assigning inputs and
outputs in Assign mode, see “Assigning
Pan switch Pro Tools Paths (Input, Output, Sends,
Inserts)” on page 98.
To adjust a track’s panning controls:

1 Press the Pan switch to put 003 in Pan View.

• If the track is a stereo track, toggle the
Meter switch to Left or Right.
– or –
Pan switch in Console View section
• If the track is a mono track, toggle the
In Console View, the touch-sensitive faders
Meter switch to Left.
on 003 mirror the volume faders in Pro Tools.
Fader assignments are shown on-screen in 3 Adjust a channel’s panning by turning its ro-
Pro Tools by blue outlines around the track tary encoder.
names.
In Console View, the LED rings surrounding Selecting Tracks
the rotary encoders indicate either the pan posi-
tion, the send level, or the insert control level To select a track:
for each channel, depending on which Console 1 Press the Pan switch to put 003 in Pan View.
View switch is enabled (lit).
2 Press a Channel Select switch that is unlit to
There are three Console Views, based on their select the track.
corresponding switch name: Pan View, Send
View, and Insert View. To select a range of tracks:
2 Press a Channel Select switch that is unlit to

select the track.

3 Hold Shift (Add) and press the Channel Select Renaming Tracks
switch for an unselected (unlit) track.
To rename a track:
All tracks between the first track selected and
the additional track will also be selected. 1 Press the Pan switch to put 003 in Pan View.
2 Double-press the Channel Select switch for

To remove subsequent tracks in range of selected the track you want to rename.
tracks:
3 Enter the new name in the Track Name/Com-
ments dialog.
2 Hold Shift (Add) and press the Channel Select
4 Click Enter.
switch for a selected (lit) track in the middle (or
beginning) of a range.
Send View Workflows
All tracks following the selected track will be de-
selected. When the Send switch is enabled (lit), 003 is in
Send View. In this view, you can adjust send
To select all tracks: level with the rotary encoders, toggle pre- and
post-fader operation of sends, and assign sends
in Assign mode.
2 Hold Opt/Alt All and press the Channel Select
switch for any unselected (unlit) track. For information on assigning sends in As-
sign mode, see “Assigning Pro Tools Paths
(Input, Output, Sends, Inserts)” on page 98.
To deselect all tracks:
1 Press the Pan switch to put 003 in Pan View. To display a Send position (A–J):
2 Hold Opt/Alt All and press the Channel Select 1 Press the Send switch to put 003 in Send View.
switch for any selected (lit) track.
2 Press the Insert/Send Position switch that cor-
responds to the send position that you want to
To select or deselect noncontiguous tracks: adjust. The five Console View switches are
1 Press the Pan switch to put 003 in Pan View. 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
• In Pan View, hold Command/Ctrl and F to A).
press the Channel Select switch for an un-
selected (unlit) tracks to select them. To adjust send levels:
– or –
1 Press the Send switch to put 003 in Send View.
• In Pan View, hold Command/Ctrl and
press the Channel Select switch for any se- 2 Press the Insert/Send Position switch (A/F,
lected (lit) tracks to deselect them. 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.

To toggle a send between pre- and post-fader To display the controls for a plug-in:
operation:
1 Press the Insert switch (Console View section)
1 Press the Send switch to put 003 in Send View. to put 003 in Insert View.
2 Press the Channel Select switch under a send 2 Press the corresponding Insert/Send Position
name to toggle its pre- and post-fader setting. switch A–E.
3 Press the Channel Select switch under a

Insert View Workflows plug-in name.
When the Insert switch is enabled (lit), 003 is in 003 goes into Channel View and displays the
Insert View. In this view, the LCD shows the plug-in’s controls across all channel strips. Con-
names of currently-assigned inserts (hardware trols are assigned to the rotary encoders.
inserts or plug-ins) across all channel strips for a Switched controls (such as Master Bypass or
given insert position (Inserts A–E in Pro Tools). Phase Invert) are controlled by Channel Select
switches.
If a hardware insert or plug-in is selected in
Pro Tools, its name flashes in the LCD. 4 To display additional pages of plug-in controls
(if any), press the Left and Right Page switches.
In this view, you can display inserts, plug-in
controls, bypass plug-ins, and assign inserts in The Left or Right Page switch flashes when
Assign mode. an additional page is available.
For information on assigning inserts in As- To bypass a plug-in:

to put 003 in Insert View.
Working with Inserts 2 Hold Command/Ctrl and press the Channel
Select switch under the plug-in name.
To display the inserts on an Insert position (A– E):
The LCD screen displays the name of bypassed
plug-ins in all capital letters.
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 an EQ plug-in:
Working in Channel View 1 Press the EQ switch to put 003 in Channel
Channel View provides a way to temporarily fo- View.
cus on all the plug-ins, inserts or sends on a sin-
2 Press a lit Channel Select switch.
gle channel.
Controls for the first EQ plug-in on that track
003 is in Channel View when any of the first
are assigned to the rotary encoders and dis-
four Channel View Select switches (EQ, Dynam-
played in the LCD. Switched controls (such as
ics, Insert, or Pan/Send) is lit in the Channel
Master Bypass or Phase Invert) are controlled by
View section.
Channel Select switches.
In Channel View, controls are displayed hori-
3 To display additional pages of plug-in controls
zontally across the LCD and can be adjusted
with the channel rotary encoders and switches.
From this view, you can view and edit parame-
The Left or Right Page switch flashes when
ters for all the sends on a single track, or all the
an additional page is available.
parameters of a single plug-in.
In Channel View, the touch-sensitive faders To cycle through all the EQ plug-ins on a channel:
on 003 mirror the volume faders in Pro Tools. 1 Press the EQ switch to put 003 in Channel
In Channel View, the LED rings above the ro- View.
tary encoders indicate values for the selected 2 Hold the EQ switch and repeatedly press the
control, such as plug-in parameters, insert lev- track’s Channel Select switch.
els, or pan values and send levels, depending on
which Channel View switch is lit. If a plug-in window is open on-screen, it will up-
date to reflect the plug-in selected on 003.
EQ Plug-in Workflows in Channel

View Dynamics Plug-in Workflows in
Channel View
When the EQ switch is enabled (lit), 003 identi-
fies channels with equalizer plug-ins assigned to When the Dynamics switch is enabled (lit), 003
them by illuminating their Channel Select identifies channels with dynamics plug-ins
switches. If no EQ plug-ins are present for the (such as compressors or limiters) assigned to
current bank of channels, no Channel Select them by illuminating their Channel Select
switches will be lit. switches. If no dynamics plug-ins are present for
the current bank of channels, no Channel Select
In this view, you can display the controls for EQ switches will be lit.
plug-ins across all channel strips.
In this view, you can display the controls for dy-
To display all EQ plug-ins on a track: namics plug-ins across all channel strips.
Press the EQ switch to put 003 in Channel

To display all Dynamics plug-ins on a track:
View.
Press the Dynamics switch to put 003 in
Channel View.

To display the controls for a Dynamics plug-in: To display the inserts on a track:
1 Press the Dynamics switch to put 003 in 1 Press the Insert switch (Channel View section)
Channel View. to put 003 in Channel View.
2 Press a lit Channel Select switch. 2 Press a lit Channel Select switch.
Controls for the first Dynamics plug-in on that The names of all inserts on that track are dis-
track are assigned to the rotary encoders and displayed in the LCD. (While the names of hard-
played in the LCD. Switched controls (such as ware I/O inserts are displayed, they have no ed-
Master Bypass or Phase Invert) are controlled by itable parameters, so the Channel Select
Channel Select switches. switches and the rotary encoders have no effect
on them.)
To display the controls for a plug-in:
The Left or Right Page switch flashes when 1 Press the Insert switch (Channel View section)
an additional page is available. to put 003 in Channel View.
To cycle through all the Dynamics plug-ins on a 2 Press a lit Channel Select switch to display the
channel: inserts for the corresponding track.
1 Press the Dynamics switch to put 003 in 3 Press the Channel Select switch under a
Channel View. plug-in name.
2 Hold the Dynamics switch and repeatedly
003 displays the plug-in controls across all chan-
press the track’s Channel Select switch. nel strips. Controls are assigned to the rotary en-
If a plug-in window is open on-screen, it will up- coders. Switched controls (such as Master By-
date to reflect the plug-in selected on the 003. pass or Phase Invert) are controlled by Channel
Select switches.

Insert Workflows in Channel View
When the Insert switch is enabled (lit), 003
identifies channels with any kind of insert as- The Left or Right Page switch flashes when
signed to them (software plug-ins or hardware an additional page is available.
I/O inserts) by illuminating their Channel Select
To cycle through all the inserts on a channel:
switches. If no inserts are present for the current
bank of channels, no Channel Select switches Hold the Insert switch and repeatedly press
will be lit. the track’s Channel Select switch.
In this view, you can display inserts or plug-in

To bypass a single plug-in:
controls, bypass plug-ins, and assign inserts in
Assign mode. 1 Press the Insert switch (Channel View section)
to put 003 in Channel View.
For information on assigning inserts in As-
2 Press a lit Channel Select switch to display the
inserts for the corresponding track.

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

4 Adjust the track’s panning by turning the ro- Displaying Settings Instead of Track or
tary encoder in the first fader strip. Control Names
The lower row of the LCD shows track or control
To toggle a send between pre- and post-fader
operation: names by default. The display can be changed to
temporarily show settings, or be reset to always
1 Press the Pan/Send switch to put 003 in Chan-
show settings. The Display Mode switch flashes
nel View.
during a temporary display or when the LCD de-
2 Press a lit Channel Select switch to display the fault has been reset to always show settings.
sends for the corresponding track.
Depending on the current Console or Channel
3 Press the Channel Select switch under a send View, you can display insert, plug-in, or
name to toggle its pre- and post-fader setting. pan/send settings.
See “Working in Console View” on page 89

and “Working in Channel View” on
Display Options in Console page 93 for information on the different
and Channel View Console and Channel Views.
Displaying Full Names of Tracks, Insert In most temporary display views, faders and ro-
Parameters, and Other Elements tary encoders can be used to change settings as
you are temporarily viewing them.
Track names and other parameters displayed on
the lower row of the LCD are abbreviated to six To reset the LCD display to show settings for all
characters. Full names can be temporarily dis- views instead of track or control names:
played on the top row of the LCD.
Hold Command/Ctrl and press Display.
To display full names of tracks and insert

To return the LCD display to its default state
parameters, do one of the following:
(showing track or control names in all views):
In Pan View, hold Display and press the Chan-
Press the flashing Display Mode switch.
nel Select switch for the track whose name you
want to see displayed fully. The name displays
To temporarily display fader level in the LCD
on the left side of the top row of the LCD dis-
(Console Pan View):
play.
– or –
2 Hold the Display Mode switch. The lower row
In Insert View, when editing plug-in parame-
of the LCD shows fader levels for the current
ters, hold Display and press the Channel Select
bank of channels (such as Channels 1–8).
switch for the parameter whose name you want
to see displayed fully. The name displays on the Fader levels can be adjusted with faders
far right side of the top row of the LCD display. while the Display mode switch is pressed.

To temporarily display send level in the LCD 3 Hold the Display Mode switch. The lower row
(Console Send View): of the LCD shows the channel pan setting in the
1 Press the Send switch to put 003 in Send View. first fader strip and send levels for the cur-
rently-selected channel in fader strips 3–8.
2 Hold the Display Mode switch. The lower row
of the LCD shows send level for the current Pan settings and fader levels can be
bank of sends (such as Send A for Channels 1–8). adjusted with rotary encoder while the Dis-
play mode switch is pressed.
Send levels can be adjusted with rotary
encoders (or with faders in Flip mode)
while the Display mode switch is pressed.
Navigating and Editing Values
To temporarily display insert or plug-in parameters in Entry Fields
in the LCD (Console or Channel View):
You can navigate and edit numerical values in
1 Do one of the following: Pro Tools windows (such as Selection Start, End,
• Make sure the Insert switch is lit in the and Length, or Pre- and Post-Roll in the Edit or
Console View section. Transport windows) with the Arrow keys.
– or –
To navigate between fields in the Edit window,
• Make sure the EQ, Dynamics, Insert, or
Transport window, or a plug-in window:
switch is lit in the Channel View section
Press the Left or Right Arrow key.
2 Press Channel Select for the an insert or
plug-in that you want to display.
To change a value in a selected field:
3 Hold the Display Mode switch. The lower row Press the Up or Down Arrow key.
of the LCD shows the insert or plug-in settings.
Parameters with ranges can be adjusted

with rotary encoders (or with faders in Flip Working with Tracks
mode) while the Display mode switch is
pressed. Controls such as On/Off cannot be
Navigating the New Track Dialog
changed when the Display mode switch is
when Creating a New Track
pressed.
You can navigate the New Tracks dialog with
To temporarily display the channel pan setting and the Arrow keys.
send levels in the LCD (Channel View):
1 Press the Pan/Send switch to put 003 in Chan- To increase or decrease the number of tracks:
nel View.
Press the Up or Down Arrow key.
2 Press Channel Select for the channel with the
pan and sends you want to display. To scroll through the track types:
Hold Command/Ctrl and press the Up or
Down Arrow key.

To scroll through the track formats: Inputs and outputs are assigned in Pan View,
sends are assigned in Send View, and inserts are
Hold Command/Ctrl and press the Left or
assigned in Insert View.
Right Arrow keys.
Naming Tracks of Adding Track Inputs and Outputs

Comments
To assign an input or output:
To open the Track Name/Comments dialog (to 1 Press the Pan switch in the Console View sec-
change a track’s name or comments): tion.
In Pan View, double-click the track’s Channel 2 On the channel where you want to make the
Select switch. assignment, do one of the following:
• To assign the output of a track, press its
To close the Track Name/Comments dialog: Channel Select switch for 2 seconds.
In the Channel View section, press the ESC
– or –
switch.
• To assign the input of a track, hold Shift
and press the track’s Channel Select switch
Navigating Track Name Field in the Track Name
for 2 seconds.
Dialog
You can move the cursor when you are naming The LCD changes to display the selected path
tracks in the Track Name dialog. and the Channel Select switch flashes.
3 If you are assigning a different input or output

To move the cursor while naming a track, do any of path type than the current type displayed on
the following: the LCD (such as a bus instead of an interface),
Press the Left or Right Arrow key to move the do the following to select a new path type:
cursor backward or forward through the name • Hold Command/Ctrl and press the Chan-
field. nel Select switch to display the name of the
current path type in the main menu. The
Press the Up or Down Arrow key to move the
main menu includes a dash (“–”) for no as-
cursor to the beginning or end of the field.
signment, intrfc (interface), bus, and
Hold Command/Ctrl and press the Up (or plug-in (inputs only).
Left) or Down (or Right) Arrow key to move to • Use the rotary encoder to scroll through
the previous or next track name field. the list of path types.
• Press the flashing Channel Select switch to
select the path type.
Assigning Pro Tools Paths 4 Use the rotary encoder to navigate through
(Input, Output, Sends, the available input or output paths in the sub-
Inserts) menu.
Channel inputs, outputs, inserts, and sends can

be assigned directly from the 003 in Assign
mode.

5 Do one of the following: Sends
• When the desired path is displayed, press
the flashing Channel Select to confirm the To assign a send:
assignment. 1 Press the Send switch in the Console View sec-
tion.
If you have multiple assignments in
progress, hold Opt/Alt All and press any 2 On the channel where you want to make the
flashing Channel Select to save all assign- assignment, press its Channel Select switch for 2
ments at once. seconds.
• Hold Command/Ctrl and press the Chan- The LCD changes to display the bus or output
nel Select switch if you need to return to currently assigned to the selected send, and the
the previous menu level. Channel Select switch flashes.
• Press the flashing ESC switch to cancel the 3 If you are assigning a different send path type
assignment. than the current type displayed on the LCD
(such as a bus instead of an interface), do the fol-
To remove an input or output: lowing to select a new path type:
1 On the channel where you want to remove • Hold Command/Ctrl and press the Chan-
the assignment, do one of the following: nel Select switch to display the name of the
• To remove the input of a track, hold Shift current path type in the main menu. The
and press the track’s Channel Select switch main menu includes a dash (“–”) for no as-
for 2 seconds. signment, intrfc (interface), and bus.
– or – • Use the rotary encoder to navigate through

the list of path types.
• To remove the output of a track, press its
Channel Select switch for 2 seconds. • Press the flashing Channel Select switch to
select the path type.
2 For the assignment you want to remove, hold
Command/Ctrl and press the Channel Select 4 Use the rotary encoder to navigate through
switch the amount of times necessary to return the available send paths in the submenu.
to the main menu for assigning inputs or out- 5 Do one of the following:
puts. This menu includes a dash (“–”) for no as-
• Press the flashing Channel Select to con-
signment, intrfc (interface), bus, and plug-in
firm the assignment.
(inputs only).
3 Turn the rotary encoder counter-clockwise

until the dash (“–”) for no assignment is visible. progress, hold Opt/Alt All and press
any flashing Channel Select to save all
4 Do one of the following: assignments at once.
confirm the removal. • Hold Command/Ctrl and press the Chan-
nel Select switch if you need to return to
– or –
the previous menu level.
• Press the flashing ESC switch to cancel the
• Press the flashing ESC switch to cancel the
removal and restore the assignment.
assignment.

To remove a send: • Use the rotary encoder to navigate through
the list of path types.
1 On the channel where you want to remove
the assignment, press its Channel Select switch • Press the flashing Channel Select switch to
for 2 seconds. select the path type.
2 For the assignment you want to remove, hold 4 If you are assigning a plug-in insert, navigate
Command/Ctrl and press the Channel Select down through the submenu levels as necessary.
switch the amount of times necessary to return • Use the rotary encoder to navigate through
to the main menu for assigning sends. This the list of plug-in submenus.
menu includes a dash (“–”) for no assignment, • Press the flashing Channel Select switch to
intrfc (interface), and bus. select the submenu.
3 Turn the rotary encoder counter-clockwise • Repeat these steps if necessary, to navigate
until the dash (“–”) for no assignment is visible. through additional plug-in submenu lev-
els.
• Press the flashing Channel Select switch to You can hold Command/Ctrl and press the
confirm the removal. Channel Select switch if you need to return
to the previous menu level.
– or –
• Press the flashing ESC switch to cancel the The types of plug-in submenus is determined by
removal and restore the assignment. the Organize Plug-in Menus preference in
Pro Tools. See the Pro Tools Reference Guide for
more information.
Inserts
5 When the desired submenu path is displayed,
To assign an insert: use the rotary encoder to navigate through the
1 Press the Insert switch in the Console View available insert paths in the menu.
section. 6 Do one of the following:
2 On the channel where you want to make the • Press the flashing Channel Select to con-
assignment, press its Channel Select switch for 2 firm the assignment.
seconds.
The LCD changes to display the plug-in or out- progress, hold Opt/Alt All and press
put currently assigned to the selected insert, and any flashing Channel Select to save all
the Channel Select switch flashes. assignments at once.
3 If you are assigning a different insert path type • Hold Command/Ctrl and press the Chan-
than the current type displayed on the LCD, do nel Select switch if you need to return to
the following to select a new path type: the previous menu level.
• Hold Command/Ctrl and press the Chan- • Press the flashing ESC switch to cancel the
nel Select switch to display the name of the assignment.
current path type in the main menu. The
main menu includes a dash (“–”) for no as-
signment, plugin (plug-in), and I/O.

To remove an insert: To make a track’s output inactive:
1 On the channel where you want to remove In Pan View, hold Command/Ctrl+Ctrl/Win
the assignment, press its Channel Select switch and press the Channel Select switch for a track
for 2 seconds. to make it output inactive.
2 For the assignment you want to remove, hold

Command/Ctrl and press the Channel Select Send Output Windows
switch the amount of times necessary to return
to the main menu for assigning inserts. This To toggle a send’s pre- and post-fader operation:
menu includes a dash (“–”) for no assignment, 1 Press the Send switch to put 003 in Send View.
plugin (plug-in), and I/O.
2 Press a Channel Select switch for the send
3 Turn the rotary encoder counter-clockwise whose pre- and post-fader setting you want to
until the dash (“–”) for no assignment is visible. change. When you release the Channel Select
4 Do one of the following: switch, the LCD shows the new setting.
confirm the removal. To mute or unmute a send:
– or – 1 Press the Send switch to put 003 in Send View.
• Press the flashing ESC switch to cancel the 2 Hold Command/Ctrl and press the Channel
removal and restore the assignment. Select switch for a send on a track to mute or un-
mute it. When the send is muted, its name ap-
pears in all caps in the LCD.
Working with Output Windows

To open (or close) a send’s Output window:
Output windows for tracks and sends can be
opened or closed, and the track output can be
made active or inactive. 2 Hold Ctrl/Win and press the Channel Select
switch for a track to open (or close) its Output
window.
Track Output Windows
To open (or close) multiple send Output windows:
To open (or close) a track Output window:
2 Hold Shift (Add) and Ctrl/Win and press the
2 Hold the Ctrl/Win switch and press the Chan-
Channel Select switch for each track whose win-
nel Select switch for a track to open (or close) its
dow you want to open (or close).
Output window.
To open (or close) multiple track Output windows:

In Pan View, hold Shift (Add)+Ctrl/Win and
press the Channel Select switch for each track

whose window you want to open (or close).

To zoom out horizontally for all tracks:
Recording 1 Press the Zoom switch.
To enable or disable tracks for recording: 2 Press the Left Arrow key.
1 Press the Rec Arm switch so that it is enabled

(flashing). When the Record Arm function is en- To zoom in vertically for all tracks:
abled, “Record Arm” is displayed in the top row 1 Press the Zoom switch.
of the LCD display.
2 Press the Up Arrow key.
• To enable a track for recording, press the To zoom out vertically for all tracks:
Channel Select switch for the track you
1 Press the Zoom switch.
want to enable for recording. When a track
is armed for recording, its Channel Select 2 Press the Down Arrow key.
switch flashes. During recording, its Chan-
nel Select switch is lit continuously. To continuously zoom in or out horizontally for all
tracks:
– or –
Hold the Nudge switch and rotate the inner
• To disable a track for recording, press the
Channel Select switch for the track you Jog wheel clockwise or counter-clockwise.
want to disable for recording.
To continuously zoom in or out vertically for all
3 To deactivate the Record Arm function, press tracks:
the Record Arm switch a second time (or press
Hold Shift (Add)+Opt/Alt (All)+Nudge and ro-
the ESC switch).
tate the inner Jog wheel clockwise or
Tracks that are armed for recording will remain counter-clockwise.
armed after Rec Arming mode is disabled.
Navigating with the Shuttle/Jog
Wheel
Navigating in the Edit Window
Shuttle Mode
Zooming in the Edit Window To play forwards at a variable rate:
You can zoom in or out in the Edit window, in Rotate the outer Shuttle ring clockwise.
order to increase or decrease the waveform or
MIDI resolution. To play backwards at a variable rate:
Rotate the outer Shuttle ring counter-clock-
To zoom in horizontally for all tracks:
wise.
1 Press the Zoom switch.
2 Press the Right Arrow key.

Jog Mode 2 Click in the track near where you want to
make the selection.
To move the Transport (or cursor) forwards:
3 Start playback.
Rotate the inner Jog wheel clockwise.
4 Press the Down Arrow key at the point where
you want the selection to begin.
To move the Transport (or cursor) backwards:
5 Press the Up Arrow key at the point where you
Rotate the inner Jog wheel counter-clockwise.
want the selection to end.
Page Scrolling the Edit Window
To scroll the Edit window one page at a time: General Editing

1 Press the Bank, Nudge, or Zoom switch.
Setting Track Controls to Defaults
2 Hold Command/Ctrl and press the Left or
Right Arrow key. The Default switch is used to reset a fader (or
fader-mapped plug-in parameter) to its default
setting.
Moving the Cursor and Making
Selections To set a channel’s fader or plug-in parameter to its
default setting:
To move the cursor or Edit selection up or down
one track: Hold the Default switch and press the Chan-
nel Select switch on a track.

1 Press the Bank or Nudge switch.
2 Press the Up or Down Arrow key. To set all channel faders or plug-in parameters to
their default settings:
To extend an Edit selection up or down one track: Hold the Default and Opt/Alt (All) switches
1 Press the Bank or Nudge switch. and press the Channel Select switch on a track.
2 Hold Shift and press the Up or Down Arrow

key. Undoing Pro Tools Operations
You can undo Pro Tools operations from 003.
Setting Selection Start and End (See the Pro Tools Reference Guide for details on
Points multiple undo capabilities.)
You can make a selection in the Edit window: To undo an action:

during playback with the Arrow keys.
Press the Undo switch.
To make a selection while playing:
To redo an action:
1 Make sure to select Options > Link Timeline and
Hold Shift (Add) and Command/Crtl and
Edit Selection.
press the Undo switch.

2 To display additional pages of Memory Loca-
Working With Memory tions (if any), press the Left and Right Page
Locations switches.
Pro Tools Memory Locations (Markers) can be 3 Do one of the following:

created directly from 003 during playback or • Press the Channel Select switch that corre-
while the Transport is stopped. sponds to the Memory Location.
– or –
To create a Memory Location:
• To return to the previous view without se-
1 Cue Pro Tools to the desired location, or begin lecting a Memory Location, press Mem Loc
playback. again, or any of the Console or Channel
2 At the desired location, press Enter (located
View switches.
among the switches above and to the left of the
Navigation keys).
3 Use the mouse to configure the Memory Loca-

Controlling Track Display on
tion dialog onscreen. the Control Surface
4 Press Enter again to save, or press Undo to
cancel. Using Flip Mode
In Flip mode, control assignments are trans-
To open (or close) the Memory Location window: ferred from the rotary encoders to the corre-
Hold Shift (Add) and press the Mem Loc sponding channel faders.
switch.
To transfer controls from the rotary encoders to
To display Memory Locations: the touch-sensitive faders:
Press the Flip switch. This switch flashes when
1 Press the Mem Loc switch.
Flip mode is activated.
When the switch is enabled (flashing), the LCD
shows the first eight Memory Locations in the To exit Flip mode (and transfer controls from
bottom row of the LCD display. faders back to the rotary encoders):
2 To display additional pages of Memory Loca- While in Flip mode, press the Flip switch.
tions (if any), press the Left and Right Page
switches. Flip Mode Views
There are several types of Flip mode, depending

The Left or Right Page switch flashes when
on the view.
an additional page is available.
Send Flip Mode When you are in Console Send
To recall a Memory Location:
View, the Flip switch moves the send level con-
1 Press the Mem Loc switch to display Memory trols to the channel faders, and the send pan
Locations in the LCD display. controls to the rotary encoders. The LCD shows
the selected send (A–E, or F–J) for each channel.

In addition, the Mute switch controls Send the send pan controls to rotary encoders 3–7.
mute, whereas the Solo switch continues to con- (The first Channel’s LCD display and rotary en-
trol the track’s output muting and the Select coder continue to show track pan position for
switch continues to control Send Pre/Post sta- that track.)
tus.
In this mode, the Channel Select switches toggle
For mono tracks with stereo sends, only the left pre- and post-fader metering for the correspond-
pan indicator shows a pan position; the right ing send.
pan indicator is inactive.
For stereo tracks with stereo sends, you can con-
For stereo tracks with stereo sends, you can control either the left or right send pan from the ro-
trol either the left or right send pan from the rotary encoder. See “Send Flip Mode” on page 104.
tary encoder.
Banking Channels on 003

To assign a stereo send channel to a rotary
encoder:
To move the display of tracks on 003 forward or
While in Send Flip mode, press the Meter backward eight channels at a time:
switch immediately to the right of the rotary en-
1 Press the Bank switch.
coders and select Left or Right.
2 Press the Left or Right Arrow key.
Both the LCD and the Meter Mode LEDs indi-
cate whether the left or right pan position is dis- To move the display of tracks on 003 forward or
played. The rotary encoder LEDs show pan posi- backward one channel at a time:
tioning.
1 Press the Nudge switch.
Plug-in Flip Mode When you are in Channel 2 Press the Left or Right Arrow key.
View (or Console Insert View) and working with
a plug-in insert, the Flip switch moves any
To scroll the display of tracks on 003 forwards
plug-in control assignments from the rotary en-
coders to the faders, allowing you to use the
touch-sensitive faders to edit and automate Jog wheel clockwise to scroll tracks to subse-
plug-in control values. The types of plug-in con- quent faders.
trols depend on the particular plug-in you are
using. To scroll the display of tracks on 003 backwards:
See “Working in Channel View” on
Jog wheel counter-clockwise to scroll tracks to
page 93 for more details on working with
previous faders.
pan controls and sends in Channel View.
Pan/Send Flip Mode When you are in Channel

View and working with the pan and send assign-
ments on a channel, the Flip switch moves the
send level controls to channel faders 3–7, and

Banking Master Faders
Working with Automation
To bank all Master Fader tracks in the current The Automation mode can be set from 003 for a
session to the right-hand side of the control
single track, all selected tracks, or all tracks in
surface:
the session. You can also suspend automation
Press the Mstr Fader switch so that its LED is
globally.
flashing.
To set the Automation Mode for a single track:
To return the control surface to the previous view:
Hold an Automation Mode switch and press
Press the Mstr Fader switch so that its LED is the Channel Select switch on a track.
unlit.
To set the Automation Mode for all tracks
Muting Fader Movement Hold the Option/Alt All and press an Automa-
tion Mode switch.

Because 003 faders are motorized, they move to
follow automation when playing back and re-
To set the Automation Mode for all selected
cording (when the track is set to an automation
tracks
read or write mode, and not Off). During critical
listening passes, the sound of the fader motors Hold the Option/Alt (All)+Shift (Add) and
and their automated movements may be dis- press an Automation Mode switch.
tracting. You can temporarily shut off (or mute)
motorized fader movement using the Fader To suspend automation for all tracks:
Mute switch. Press the Suspend switch.
To mute fader movement: To return all tracks to their previous Automation

modes, press the Suspend switch again.
Press the Fader Mute switch so that its LED is
flashing.
To unmute fader movement:

Press the Fader Mute switch so that its LED is
unlit.

003 Top Panel Shortcuts
003 provides shortcuts for many common 003 tasks in Pro Tools mode.
Display Options
Display Options Shortcuts
Task Shortcut
Display full name of a track in top LCD row Hold Display and press Channel Select switch for a track
(Pan mode)
Display full name of insert parameter (Insert Hold Display and press Channel Select switch for an
View, Plug-in Edit mode) insert
Reset lower row of LCD display to show fader Command/Ctrl+Display

values (Pan View), send gain levels (Send
View), and pan and send levels (Pan/Send
Channel View)
Track Shortcuts
Track Shortcuts
Task Shortcut
Select or deselect contiguous tracks (Home Hold Shift (Add) and press Channel Select switch for
View or Pan View) each track
Select or deselect all tracks (Home View or Pan Hold Alt and press Channel Select switch for any track
View)
Select or deselect noncontiguous tracks (Pan Hold Command/Ctrl and press Channel Select switch for
View) each track
Open track’s Track Name/Comments dialog Double-click track’s Channel Select switch
(Home View or Pan View)
Scroll track types in New Track dialog (Bank, Command/Ctrl+Up or Down Arrow key
Nudge, or Zoom mode)
Scroll track formats in New Track dialog (Bank, Command/Ctrl+Left or Right Arrow key
Move to previous track in Track Name/Com- Command/Ctrl+Up or Left Arrow key

ments dialog (Bank, Nudge, or Zoom mode)

Track Shortcuts
Task Shortcut
Move to next track in Track Name/Comments Command/Ctrl+Down or Right Arrow key

dialog (Bank, Nudge, or Zoom mode)
Scroll Timebase formats in New Track dialog Command/Ctrl+Ctrl/Win+Opt/Alt All+Up or Down Arrow
(Bank, Nudge, or Zoom mode) key
Add or Remove entries in New Track dialog Command/Ctrl+Shift (Add)+Up or Down Arrow key
(Bank, Nudge, or Zoom mode)
Make track’s output inactive or active (Pan Hold Command/Ctrl+Ctrl/Win and press Channel Select
View) switch for a track
Mute or unmute send (Send View) Hold Command/Ctrl and press Channel Select switch for
a track send
Make send output inactive or active (Pan View) Hold Command/Ctrl+Ctrl/Win and press Channel Select
switch for a track send
Input Assign Mode Shortcuts

Input Assign Mode Shortcuts
Task Shortcut
Enable Input Assign mode Hold Shift and press Channel Select switch of a track for
two seconds
Display all input, output, send, or insert menus Hold Command/Ctrl and press Channel Select switch for
(Assign mode) a track
Remove an insert (Console or Channel Insert Hold Default and press Channel Select switch for an
View, and if applicable, EQ or Dynamics View) insert
Output Window Shortcuts

Task Shortcut
Open or close track Output window (Pan View) Hold Ctrl/Win and press Channel Select switch for a
track
Open or close multiple track Output windows Hold Ctrl/Win+Shift (Add) and press Channel Select
(Pan View) switch for each track

Task Shortcut
Open or close send Output window (Send View) Hold Ctrl/Win and press Channel Select switch for a
track send
Open or close multiple send Output windows Hold Ctrl/Win+Shift (Add) and press Channel Select
(Pan View) switch for each track send
Plug-in Shortcuts
Plug-in Shortcuts
Task Shortcut
Open or close a plug-in window (Console or Hold Ctrl/Win and press Channel Select switch for a
Channel Insert View) plug-in
Inactivate or activate a plug-in (Console or Hold Command/Ctrl and press Channel Select switch for
Channel Insert View) a plug-in
Bypass or unbypass plug-in (Console or Chan- Hold Command/Ctrl and press Channel Select switch for
nel Insert View, and if applicable, EQ or Dynam- a track plug-in
ics View)
Navigation Shortcuts
Navigation Shortcuts
Task Shortcut
Scroll Edit window one pane at a time (Bank, Command/Ctrl+ Left or Right Arrow key
Editing Shortcuts
Editing Shortcuts
Task Shortcut
Extend cursor or selection (Bank or Nudge Shift (Add)+Up or Down Arrow key
mode)
Reset fader to is default setting Hold Default and press Channel Select switch for a track

Editing Shortcuts
Task Shortcut
Reset all faders or plug-in parameters to their Hold Default+Opt/Alt All and press Channel Select
factory default settings (Plug-in Edit mode) switch for a track or plug-in
Redo an edit (Edit > Redo in Pro Tools) Command/Ctrl+Shift (Add)+Undo
Memory Location Shortcuts

Memory Location Shortcuts
Task Shortcut
Choose a Marker Memory Location Hold Mem Loc switch and press Channel Select for a
Memory Location
Open or close the Marker Memory Location dia- Shift+Mem Loc

log
Automation Shortcuts
Automation Shortcuts
Task Shortcut
Set Automation mode for a track Hold Automation switch (Write, Touch, Latch, Read, or
Off) and press Channel Select track
Set Automation mode for all tracks Hold Option/Alt All and press Automation switch (Write,
Touch, Latch, Read, or Off)
Set Automation mode for all selected tracks Hold Option/Alt All+Shift (Add) and press Automation
switch (Write, Touch, Latch, Read, or Off)

chapter 12
Using MIDI Mode
Overview of MIDI Mode ReWire-client applications (such as Rea-

son) on Windows will not recognize 003 as
In MIDI mode, 003 can control hardware MIDI a MIDI device (port) while Pro Tools is run-
devices and software other than Pro Tools. Each ning. Consequently, to use a ReWire cli-
of 003’s faders, rotary encoders, and 45 of its ent’s “learn” MIDI controller function, you
switches and the footswitch can be custom pro- must quit Pro Tools, launch the ReWire-cli-
grammed to send control data on any continu- ent application as a stand-alone applica-
ous controller (0–127) and MIDI channel (1–16). tion, and then “learn” 003 controllers. The
003 switches can also send MIDI Machine Con- next time you launch the ReWire-client ap-
trol (MMC) transport control messages (RW, FF, plication with Pro Tools, you can success-
ST, PL, and RC). fully use 003 MIDI mode to control the
Two banks (A and B), each with four presets “learned” parameters in the ReWire-client
(1–4), are provided so that you can recall up to application.
eight unique MIDI maps. Each preset can save
Third-Party Software Mode Use MIDI mode to
custom maps of two pages of supported con-
control your third-party audio application (us-
trols. 003 provides the following default preset
ing the Digidesign ASIO Driver on Windows or
maps:
the Digidesign CoreAudio Driver on Mac).
• Standard MIDI Map (MIDI Map A and B,
preset 1) When using MIDI mode with a third-party ap-
• 003 Map (MIDI Map A and B, preset 2) plication, route the third-party application’s
output to ASIO or CoreAudio and make any
• Strike Map (MIDI Map A and B, preset 3)
changes to the Pro Tools Playback Engine before
• Uninitialized Preset (MIDI Map A and B,
enabling MIDI mode.
preset 4)
Standby Mode Use MIDI mode to control an ex-
MIDI mode can be used in different ways, de-
ternal MIDI device.
pending on which other 003 operating mode is
active when MIDI mode is enabled, as follows:
Pro Tools Mode Use MIDI mode to control a

ReWire application (such as Propellerhead’s
Reason), stand-alone software instrument, or
external MIDI device.
Chapter 12: Using MIDI Mode 111

However, you will typically want to use the
Selecting MIDI Mode same control for related functions (such as using
the faders to control volume on MIDI channels
To select MIDI mode, do one of the following: 1–8 on page 1 and on MIDI channels 9–16 on
Press the unlit MIDI Map A switch for the page 2).
MIDI Map A presets (A1–4).
To switch between pages of a preset:
– or –
In MIDI mode, press the Bank switch. The
Press the unlit MIDI Map B switch for the
Bank switch LED is lit when on page 2 and not
MIDI Map B presets (B1–4).
lit when on page 1 of a preset.
MIDI Map switches Bank switch
When in MIDI mode, the switch LED lights for

the selected MIDI Map: A or B.
Recalling MIDI Map Presets
The last saved (or default) MIDI map is recalled.
To recall a MIDI Map preset (A1–4 or B1–4) from
flash memory:
To exit MIDI mode:
1 Press either the MIDI Map A switch or the
Press the lit MIDI Map switch (A or B).
MIDI Map B switch.
If you edited a MIDI Map preset without saving, 2 Press MIDI Recall. The MIDI Recall switch LED
you are prompted to save your changes (see flashes.
“Saving MIDI Map Presets” on page 117).
About Preset Pages

Each 003 MIDI Map preset includes two pages of
unique assignments for each mappable fader, MIDI Recall switch
rotary encoder, and switch. The LCD display for the first two channel strips
show the number and name of the current MIDI
For example, the channel 1 fader can be as-
Map preset.
signed to continuous controller 21 on MIDI
channel 1 on page 1 and to continuous control-
ler 37 on MIDI channel 10 on page 2 of the same
preset. This lets you use the same controller for
two completely different mappings within the
same preset.

The LCD display for channels 6–8 show three
MIDI mode commands: Recall, Save, and Can- Mapping Controls
cel. The commands are selected by pressing the
003 faders, rotary encoders, and switches can be
corresponding switches in the Channel View
assigned, or mapped, to MIDI continuous con-
section.
trollers (CC) and MIDI channels. As many as
MIDI Recall display eight presets (A1–4 and B1–4) can store unique,
ch 1 ch 2 ch 6 ch 7 ch 8 custom MIDI maps, each with two pages of
unique MIDI assignments for each control.
Preset# Name
num name Recall Save Cancel

Assignable Controls in MIDI Mode
3 Scroll through the available presets using the
Faders
rotary encoder 1.
Each fader can be mapped to No Assign or any
4 To select the displayed preset, select Recall by
MIDI continuous controller (CC) and MIDI
pressing the Page Right switch.
channel. Minimum and maximum MIDI values,
5 To recall the selected preset from Flash mem- as well as custom names, can be specified for
ory, select Flash by pressing the Dynamics each fader.
switch.
Rotary Encoders
• To confirm and load the preset, select OK Each rotary encoder can be mapped to No As-
by pressing the Master Bypass switch (Mas- sign or any MIDI continuous controller (CC)
ter Bypass). and MIDI channel. Minimum and maximum
MIDI values, as well as custom names, can be
– or –
specified for each rotary encoder.
• To cancel without loading the preset, select
Cancel by pressing the ESC switch. Switches
For information on editing preset MIDI Up to 45 switches and the footswitch on 003
maps, see “Editing MIDI Map Presets” on can be mapped to No Assign or any MIDI con-
page 114. tinuous controller (CC) and MIDI channel.
Switches can also be set to MMC transport con-
For information on naming and saving pre- trol messages (Rewind, Fast Forward, Stop, Play,
sets, see “Naming MIDI Map Presets” on and Record). Custom names can be specified for
page 116 and “Saving MIDI Map Presets” each switch.
on page 117. Switches can be set to Momentary or Latch
mode (see “Momentary or Latch Mode” on
To exit MIDI Recall mode:
page 116).
Press the flashing MIDI Recall switch. 003 ex-
its MIDI Recall mode and the switch LED stops

flashing.

The following switches are assignable controls: The following controls are not assignable in
• Channel Mute switches MIDI mode:
• Channel Solo switches • Mic/DI Input controls
• Channel View switches • Monitor section controls
• Miscellaneous controls
Channel View switches are also used to navi-
• Automation section switches
gate, select, and save MIDI mode presets.
• Modifier section switches
Though the Mic/DI Input controls and the

Monitor section controls are not assignable
Figure 1. Channel View switches
in MIDI mode, they continue to function for
• Console View switches audio independently of MIDI mode.
Editing MIDI Map Presets

This section provides instructions for editing
MIDI controller assignments (mapping) for 003
faders, rotary encoders, and switches.
Console View selectors
Custom mappings can be saved as presets.
• Record Arm switch Presets can be created, named, and saved
• Arrow keys before editing controller mappings.
To enter MIDI Edit mode:

1 Select the MIDI Map you want to edit (see “Re-
calling MIDI Map Presets” on page 112).
2 Press the MIDI Edit switch.

Arrow keys
• Transport controls
Transport controls are mapped to standard MIDI

Machine Control (MMC) messages (RW, FF, ST,
MIDI Edit switch
PL, and RC) by default, but can be re-assigned to
any CC number.
Transport controls
• Footswitch

The switch’s LED flashes, and the LCD display To set the MIDI channel:
shows parameters similar to the following tables
Turn the rotary encoder for channel 3 (Chan)
(which show default assignments for Fader 1 as
until the channel you want is displayed (1–16).
an example):
MIDI Edit display, channels 1–4 (Fader 1 example) To set the CC#:
ch 1 ch 2 ch 3 ch 4 Turn the rotary encoder for channel 4 (CC#)
Select ctrl Chan CC until the CC value you want is displayed

(0–127).
Fader1 1 7
Any control can be set to no assignment (“No
• The currently selected control (Fader1 by Asgn”) by turning the encoder below 0.
default or the last edited control) is shown
in the lower row of channel 1. For switches, turn the rotary encoder past 127 to
• Channel 3 shows the assigned MIDI Chan- select MMC transport control messages: Re-
nel in the lower row. wind, Fast Forward, Stop, Play, and Record (RW,
FF, ST, PL, and RC).
• Channel 4 shows the assigned CC value in
the lower row.
To set the High and Low MIDI values (controller
MIDI Edit display, channels 5–8 (Fader 1 example) range):
ch 5 ch 6 ch 7 ch 8 1 Turn the rotary encoder for channel 5 to set a
LoVal HiVal Mode Name Minimum MIDI Value (0–127).
0 127 Fader1 2 Turn the rotary encoder for channel 6 to set a

Maximum MIDI Value (0–127).
• The upper row shows the available param-
eter names for (MIDI) LoVal, HiVal, Mode, To name a control:
and Name.
1 Select the control you want to name.
• The lower row shows the current value
(1–127) for LoVal, HiVal, Mode (for 2 Turn the rotary encoder for channel 8 (Name).
switches only), and the current control This displays the Name parameters in the LCD.
name (for example, Fader1). 3 Turn the rotary encoder for channel 2 to scroll
and select lower-case, upper-case, or numerics
To select a control for MIDI Mapping, do one of the for the first character of the custom name.
following:
4 When the desired character is displayed, turn
To scroll through the list of available controls,
the rotary encoder for channel 1 to move to the
turn the rotary encoder for channel 1.
next character. The cursor flashes for the se-
– or – lected character.
Touch the fader or switch that you want to 5 Repeat steps 3–4 for the remaining characters
edit. of the control name.
Rotary encoders can only be selected by

turning the rotary encoder for channel 1.

6 When you are done, do one of the following:
• To confirm the new control name, select Naming MIDI Map Presets
OK by pressing the Master Bypass switch. MIDI Map presets can have custom names of up
– or – to 28 characters. This makes it easier to manage
• To cancel without renaming the control, multiple presets for different devices.
select Cancel by pressing the ESC switch.
To name a MIDI Map preset:
To exit MIDI Edit mode: 1 Press the MIDI Map preset switch.
Press the flashing MIDI Edit switch. The MIDI 2 Select the MIDI Map preset you want to name.
Edit switch LED stops flashing.
3 Select the Preset Name by pressing the Dy-
You must manually save changes to MIDI Map namics switch.
presets. If you do not, your changes will be lost
4 Turn the rotary encoder for channel 2 to scroll
when you recall a different MIDI Map preset or
and select lower-case, upper-case, or numerics
power off 003. For information on saving pre-
for the first character of the custom name.
sets, see “Saving MIDI Map Presets” on
page 117. 5 When the desired character is displayed, turn
the rotary encoder for channel 1 to move to the
Momentary or Latch Mode next character (its cursor flashes).
Switches can be set to Momentary or Latch 6 Repeat steps 4–5 for the remaining characters
mode. of the preset name.
7 When you are done, do one of the following:

Momentary Mode The specified High MIDI
Value (HiVal) is transmitted when the switch is • To confirm the new preset name, select OK
pressed, and the specified Low MIDI Value by pressing the Master Bypass switch.
(LoVal) is transmitted when the switch is re- – or –
leased. • To cancel without naming the preset, select
Latch Mode The output of the switch toggles be- Cancel by pressing the ESC switch.
tween the specified High and Low MIDI values 8 Save the MIDI Map preset.
when pressed.
To program a switch for Momentary or Latch

mode:
1 Enter MIDI Edit mode.
2 Select the switch you want to edit.
3 Turn the rotary encoder for channel 7 (Mode)

to select Latch or Momnt (momentary).

Saving MIDI Map Presets • To confirm and save the preset, select OK
Presets are snapshots of MIDI mapping assign- by pressing the Master Bypass switch.
ments that can be saved and recalled. You can – or –
store up to eight presets (A1–4 and B1–4) to save • To cancel without saving the preset, select
custom CC mapping and MIDI channel assign- Cancel by pressing the ESC switch.
ment for a variety of devices, with custom
names. Presets can be recalled at any time to
switch to a different MIDI mapping.
Factory Default
Every preset contains two pages: one active and
one inactive. When you save a preset, changes 003 lets you reset any preset to its factory default
made to either page are saved. setting (see “Factory Presets” on page 118).
003 presets can be saved to flash memory to save Recalling the default preset overwrites the
custom mapping of programmable controls, preset stored in flash memory. To be able to
custom names, and all other parameters associ- recall the preset currently stored in flash
ated with MIDI Map presets. memory, you must save it to a different pre-
set than the one you for which you want to
Edited presets must be manually saved to recall the default. For example, if you want
flash memory to be able to be recalled later. to recall the default preset for A1, save the
003 warns you to save any changed presets currently loaded preset to A4 first.
before you exit MIDI mode, but it does not
automatically save presets as you edit To reset a MIDI Map preset to its factory default
setting:
them.
1 Enter MIDI mode.
To save presets:
2 Press the MIDI Recall switch. The MIDI Recall
1 Press the MIDI Recall switch. The MIDI Recall
switch LED flashes.
switch LED flashes.
3 Select the MIDI Map preset you want to reset.
• Select Save by pressing the Master Bypass 4 Select Recall by pressing the Page Right
switch. If a preset has been edited, the LCD switch.

displays asterisks (**) before and after 5 Select Default by pressing the flashing Insert
“SAVE.” switch. The Insert switch lights solid.
– or –
• To cancel, select Cancel by pressing the ESC
switch.

• Select OK by pressing the Master Bypass
switch. The selected MIDI Map preset is
overwritten by its default preset.
– or –
• To cancel without overwriting flash mem-
ory and the selected preset with its factory
default preset, select Cancel by pressing the
ESC switch.
Factory Presets
003 comes with factory presets saved in flash
memory. Presets A1–4 and B1–4 provide factory
preset MIDI Maps for the following:
Standard MIDI Map Use this preset for standard

MIDI controller mappings (for example, with a
third-party application). See Table 13 on
page 119.
003 Map Use this preset to control a ReWire cli-

ent (such as Reason). See Table 14 on page 125.
Strike Map Use this preset to control Digi-

design’s Strike plug-in. See Table 15 on
page 131.
Uninitialized Preset Use this preset as a starting

point for your own custom mappings. All map-
pable 003 controls are unassigned.

Standard MIDI Map Preset
Table 13. Default Standard MIDI Map, presets A1 and B1
Controller MIDI Channel CC# Mode Name LoVal/HiVal
PAGE 1
EQ1 1 122 Latch Local 0–127
Dynmcs1 1 123 Latch AllOff 0–127
Insert1 1 124 Latch OmniOn 0–127
PanSnd1 1 125 Latch OmniOff 0–127
Page <1 1 126 Latch MonoOn 0–127
Page >1 1 127 Latch PolyOn 0–127
MstByp1 1 NoAsgn Latch MstByp N/A
Esc1 1 NoAsgn Latch Esc N/A
Slct 1 1 NoAsgn Latch Slct 1 N/A
Solo 1 1 15 Latch Solo 1 0–127

Mute 1 1 14 Latch Mute 1 0–127
Encdr1 1 10 N/A Encdr1 0–127
Fader1 1 7 N/A Fader1 0–127

REW1 — MMC RW Moment REW N/A
FF1 — MMC FF Moment FF N/A
STOP1 — MMC ST Moment STOP N/A
PLAY1 — MMC PL Moment PLAY N/A
RECORD1 — MMC RC Moment RECORD N/A
RTZ1 — NoAsgn Moment RTZ N/A
Nav Up1 1 102 Moment Nav Up 0–127
Nav Down1 1 103 Moment Nav Dn 0–127
Nav Left1 1 104 Moment Nav L 0–127
Nav Right1 1 105 Moment Nav R 0–127
Rec Arm1 1 106 Latch RecArm 0–127
PanMd1 1 107 Latch Pans 0–127
SndMd1 1 108 Latch Sends 0–127
InsMd1 1 109 Latch Insert 0–127
A/F1 1 110 Latch A/F 0–127
B/G1 1 111 Latch B/G 0–127
C/H1 1 112 Latch C/H 0–127
D/I1 1 113 Latch D/I 0–127
E/J1 1 114 Latch F/J 0–127

Footswitch1 8 11 Moment Footsw 0–127
PAGE 2
MstByp2 1 NoAsgn Latch MstByp N/A
Esc2 1 NoAsgn Latch Esc N/A
Slct10 1 NoAsgn Latch Slct 10 N/A
Solo10 2 15 Latch Solo 10 0–127

Mute10 2 14 Latch Mute 10 0–127

RTZ2 — NoAsgn Moment RTZ N/A
A/F2 1 110 Latch A/F 0–127
B/G2 1 111 Latch B/G 0–127
C/H2 1 112 Latch C/H 0–127
D/I2 1 113 Latch D/I 0–127

E/J2 1 114 Latch F/J 0–127
003 Map Preset

Table 14. Default 003 Map, presets A2 and B2
PAGE 1
MstByp1 1 118 Latch custom 0–127
Esc1 1 119 Latch custom 0–127
Slct 1 1 0 Latch Slct 1 0–127
Slct 8 1 NoAsgn N/A Slct 8 N/A


RTZ1 — 115 Moment RTZ N/A

A/F1 1 110 Latch A/F 0–127
B/G1 1 111 Latch B/G 0–127
C/H1 1 112 Latch C/H 0–127
D/I1 1 113 Latch D/I 0–127
E/J1 1 114 Latch F/J 0–127
PAGE 2
MstByp2 1 NoAsgn Latch MstByp 0–127
Esc2 1 NoAsgn Latch Esc 0–127
Slct 9 1 NoAsgn Latch Slct 9 0–127
Slct10 1 NoAsgn Latch Slct 10 0–127


RTZ2 1 NoAsgn Moment RTZ N/A

A/F2 1 110 Latch A/F 0–127
B/G2 1 111 Latch B/G 0–127
C/H2 1 112 Latch C/H 0–127
D/I2 1 113 Latch D/I 0–127
E/J2 1 114 Latch F/J 0–127
Strike Map Preset

Table 15. Default Strike Map, presets A3 and B3
PAGE 1
EQ1 2 80 Latch MstrEQ 0–127
Dynmcs1 2 81 Latch MstrDyn 0–127
Insert1 2 82 Latch Jam 0–127
PanSnd1 2 83 Latch Surrnd 0–127
Page <1 2 100 Moment Scrol< 0–127
Page >1 2 101 Moment Scrol> 0–127
MstByp1 2 79 Latch MstFdr 0–127
Esc1 2 64 Latch Latch 0–127
Slct 1 2 20 Latch Ins 1 0–127

Encdr1 2 110 N/A Pan 1 0–127
Encdr2 2 111 N/A Pan 2 0–127
Encdr3 2 112 N/A Pan 3 0–127

Encdr4 2 113 N/A Pan 4 0–127
Encdr5 2 114 N/A Pan 5 0–127
Encdr6 2 115 N/A Pan 6 0–127
Encdr7 2 116 N/A Pan 7 0–127
Encdr8 2 117 N/A Pan 8 0–127
Fader1 2 74 N/A Vol 1 0–127
Fader2 2 71 N/A Vol 2 0–127
Fader3 2 91 N/A Vol 3 0–127
Fader4 2 93 N/A Vol 4 0–127
Fader5 2 73 N/A Vol 5 0–127
Fader6 2 72 N/A Vol 6 0–127
Fader7 2 5 N/A Vol 7 0–127
Fader8 2 84 N/A Vol 8 0–127
RTZ1 — NoAsgn Moment NoAsgn N/A
Nav Up1 2 NoAsgn Latch NoAsgn N/A
Nav Down1 2 NoAsgn Latch NoAsgn N/A
Nav Left1 2 NoAsgn Latch NoAsgn N/A
Nav Right1 2 NoAsgn Latch NoAsgn N/A

Rec Arm1 2 NoAsgn Latch NoAsgn N/A
PanMd1 2 NoAsgn Latch NoAsgn N/A
SndMd1 2 NoAsgn Latch NoAsgn N/A
InsMd1 2 NoAsgn Latch NoAsgn N/A
A/F1 2 NoAsgn Latch NoAsgn N/A
B/G1 2 NoAsgn Latch NoAsgn N/A
C/H1 2 NoAsgn Latch NoAsgn N/A
D/I1 2 NoAsgn Latch NoAsgn N/A
E/J1 2 NoAsgn Latch NoAsgn N/A
PAGE 2
EQ2 2 80 Latch MstrEQ 0–127
Dynmcs2 2 81 Latch MstDyn 0–127
Insert2 2 82 Latch Jam 0–127
PanSnd2 2 83 Latch Surrnd 0–127
Page <2 2 100 Moment Scrol< 0–127
Page >2 2 101 Moment Scrol> 0–127
MstByp2 2 79 Latch MstFdr 0–127
Esc2 2 64 Latch Latch 0–127
Slct10 2 29 Latch Ins 10 0–127

Slct13 2 35 Latch Ins OH 0–127
Slct14 2 41 Latch Ins Rm 0–127
Slct15 2 46 Latch Ins TB 0–127
Slct16 2 47 Latch Ins Ms 0–127
Solo10 2 57 Latch Solo10 0–127
Solo13 2 60 Latch SoloOH 0–127
Solo14 2 61 Latch SoloRm 0–127
Solo15 2 62 Latch SoloTB 0–127
Solo16 2 NoAsgn Latch NoAsn N/A
Mute10 2 104 Latch Mute10 0–127
Mute13 2 107 Latch MuteOH 0–127
Mute14 2 108 Latch MuteRm 0–127
Mute15 2 109 Latch MuteTB 0–127
Mute16 2 NoAssign Latch NoAsn N/A
Encdr9 2 118 N/A Pan 9 0–127
Encdr10 2 119 N/A Pan 10 0–127
Encdr11 2 98 N/A Pan 11 0–127

Encdr12 2 99 N/A Pan 12 0–127
Encdr13 2 9 N/A OH Wid 0–127
Encdr14 2 14 N/A Rm Wid 0–127
Encdr15 2 15 N/A TB Drv 0–127
Encdr16 2 75 N/A ClsMic 0–127
Fader9 2 24 N/A Vol 9 0–127
Fader10 2 25 N/A Vol 10 0–127
Fader11 2 26 N/A Vol 11 0–127
Fader12 2 27 N/A Vol 12 0–127
Fader13 2 76 N/A Overhd 0–127
Fader14 2 92 N/A Room 0–127
Fader15 2 95 N/A TkBack 0–127
Fader16 2 7 N/A Master 0–127
RTZ2 2 NoAsgn Moment NoAsn N/A
Nav Up2 2 NoAsgn Latch NoAsn N/A
Nav Down2 2 NoAsgn Latch NoAsn N/A
Nav Left2 2 NoAsgn Latch NoAsn N/A
Nav Right2 2 NoAsgn Latch NoAsn N/A

Rec Arm2 2 NoAsgn Latch NoAsn N/A
PanMd2 2 NoAsgn Latch NoAsn N/A
SndMd2 2 NoAsgn Latch NoAsn N/A
InsMd2 2 NoAsgn Latch NoAsn N/A
A/F2 2 NoAsgn Latch NoAsn N/A
B/G2 2 NoAsgn Latch NoAsn N/A
C/H2 2 NoAsgn Latch NoAsn N/A
D/I2 2 NoAsgn Latch NoAsn N/A
E/J2 2 NoAsgn Latch NoAsn N/A
Footswitch2 2 94 Moment Footsw N/A

appendix a
Configuring MIDI Studio Setup

(Windows Only)
MIDI Studio Setup Window

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

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

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

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

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

MIDI Studio Setup file.
Appendix A: Configuring MIDI Studio Setup (Windows Only) 139

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

finable instrument name for the currently se-
lected instrument.
MIDI Studio Setup Properties section Manufacturer
When a previously defined instrument is se- The Manufacturer pop-up menu provides a list
lected in the Instrument list, the Properties sec- of MIDI equipment manufacturers. This list is
tion changes to reflect the properties of the se- derived from the XML-based MIDI device files.
lected instrument.
For more information, see “MIDI Patch
Name Support” on page 141.

Model
MIDI Patch Name Support
The Model pop-up menu provides a list of MIDI
devices, filtered by the manufacturer name. This Pro Tools supports XML (Extensible Markup
list is derived from the XML-based MIDI device Language) for storing and importing patch
files provided with your Pro Tools installation. names for you external MIDI devices. Pro Tools
installs MIDI patch name files (.midnam) for the
For more information, see “MIDI Patch factory default patch names of many common
Name Support” on page 141. MIDI devices. These files reside in directories,
sorted by manufacturer, in Program Files\
Input Port Common Files\Digidesign\MIDI Patch Names\
The Input Port pop-up menu displays a list of Digidesign.
available MIDI interface input ports. The MIDI
interface port that is set and displayed here is To import MIDI patch names into Pro Tools:
the port through which MIDI data is sent from 1 Verify the MIDI Device name in the MIDI Stu-
the external MIDI device specified in the Instru- dio Setup window (see “MIDI Studio Setup” on
ment Name field into your MIDI interface. page 139).
If you set the input port to None, the defined 2 Verify the MIDI track’s output is correctly as-
instrument will not appear as a choice in a signed to the MIDI device.
MIDI Input selector.
3 Click the MIDI track’s Patch Select button.
Output Port
The Output Port pop-up menu displays a list of

available MIDI interface output ports. The port
set and displayed here is the port through which
MIDI data is sent from your MIDI interface to Patch Select button
the MIDI device specified in the Instrument
Name field.
Patch Select button, Edit window
If you set the input port to None, the defined

instrument will not appear as a choice in a
MIDI Input selector. Patch Select button
Send Channels
The Send Channels grid sets the send channels

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

nels for the MIDI device specified in the Instru-
ment Name field.
Appendix A: Configuring MIDI Studio Setup (Windows Only) 141

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

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

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

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

Pro Tools, they are available for that MIDI de-
vice in all sessions.

appendix b
Configuring AMS (Mac OS X Only)
2 Click the MIDI Devices tab. AMS scans your

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

• Launch Audio MIDI Setup (located in Ap-
plications/Utilities).
– or –
Audio MIDI Setup (MIDI Devices tab)
• In Pro Tools, choose Setup > MIDI > MIDI
Studio. 3 For any MIDI devices connected to the MIDI
interface, click Add Device. A new external de-
vice icon with the default MIDI keyboard image
will appear.
4 Drag the new device icon to a convenient lo-

cation within the window.
Appendix B: Configuring AMS (Mac OS X Only) 143

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

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

press Delete. To delete all connections, click
Clear Cables.
7 Repeat steps 3–6 for each MIDI device in your

MIDI setup. Naming a new MIDI device
For Manufacturer and Model names, AMS

refers to one or more files with the suffix
“.middev” in the directory Root/Library/
Audio/MIDI Devices. Pro Tools installs a
file that contains information for many
commercially available MIDI devices,
named “Digidesign Device List.middev.” If
the Manufacturer or Model names for any of
your external MIDI devices is not available
in the AMS Manufacturer and Model pop-
up menus, you can add them by editing the
.middev file in any text editor (such as
TextEdit).

3 Click the More Properties arrow to expand the 4 Click the device image. The window expands
dialog, then enable the appropriate MIDI chan- to show images for various MIDI devices (such
nels (1–16) for the Transmits and Receives op- as keyboards, modules, interfaces, and mixers).
tions. (These determine which channels the Select an icon for your device.
device will use to send and receive MIDI.)
Selecting a device icon

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

put and output choices in Pro Tools.
Appendix B: Configuring AMS (Mac OS X Only) 145

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

Language) for storing and importing patch
names for you external MIDI devices. Pro Tools
installs MIDI patch name files (.midnam) for the
factory default patch names of many common
MIDI devices. These files reside in directories,
sorted by manufacturer, in /Library/Audio/MIDI
Patch Names/Digidesign.
Change button
To import MIDI patch names into Pro Tools: Patch Select dialog
1 Verify the MIDI Device name in the Audio
5 In the Open dialog, navigate to /Library/Au-
MIDI Setup window (see “Audio MIDI Setup” on dio/MIDI Patch Names/Digidesign/<name of
page 143). manufacturer>, and select the MIDI Patch Name
2 Verify the MIDI track’s output is correctly as- file (.midnam) for the MIDI device.
signed to the MIDI device. 6 Click Open.
3 Click the MIDI track’s Patch Select button.
The Patch Select dialog is populated with patch
names and the Patch Name Bank pop-up menu
appears in the upper left hand corner of the win-
dow.
Once patch names have been imported into

Patch Select button
Pro Tools, they are available for that MIDI de-
vice in all sessions.
Patch Select button, Edit window
To clear patch names:
In the Patch Select dialog, click the Clear but-
Patch Select button

ton, and click Done.
MIDI patch name files (.midnam) can be ed-

ited in any text editor, or you can use third-
party patch librarian and editor software to
create your own custom patch names.
Patch Select button, Mix window

appendix c
Utility Mode (003 Only)
003 is in this mode when the Utility switch is Navigating Utility Mode
enabled (flashing). In Utility mode, you can run
pre-programmed diagnostic tests of the 003 When running a Utility mode test, you can re-
unit. The Utility switch is unavailable in turn to the previous Utility page or exit the test
Pro Tools mode. at anytime.
Utility functions include the following: To return to the previous Utility page:
• Software and firmware version display Press the flashing Display Mode switch.
• Tests for the LCD display, LEDs, switches,
rotary encoders, faders, MIDI, and audio. To exit a test:
• Return MIDI Maps to factory default set- Press the flashing ESC switch or Display Mode
tings. See Chapter 12, “Using MIDI Mode.” switch.
Utility mode is not available in Pro Tools

mode. Pro Tools must be closed to enable Exiting Utility Mode
Utility mode.
To exit Utility mode:
1 If a test is running, press ESC or Display Mode
Accessing Utility Mode to exit the test.
2 Press the flashing Utility mode switch.

To enter Utility mode:
1 If Pro Tools is running, choose File > Exit (Win-
dows) or Pro Tools > Quit (Mac).
2 Press the Utility switch.
The Utility switch flashes when it is enabled.
The LCD shows the top level Utility functions

across the lower row: Version and Test. The cor-
responding Channel View switches flash for
each available Utility option.
Appendix C: Utility Mode (003 Only) 147

4 To stop scrolling and quickly tell if any area of
Viewing Firmware Version the display is damaged, press and hold any
Data switch except for the Display Mode switch.
This Utility function lets you check the current 5 Do one of the following:
firmware version and other statistics useful • To return to the previous Utility page, press
when upgrading, or when contacting technical the flashing Display Mode switch.
support.
– or –
• To exit the test at anytime, press the flash-
To display firmware version data:
ing ESC switch or Display Mode switch.
1 Enter Utility mode. If the Utility switch is not
enabled (flashing), press it.
2 Select Version by pressing the flashing EQ LED Tests

switch.
Use this test to display all LEDs simultaneously
The LCD shows version information about vari- or cycle through the LEDs.
ous components of the unit.
To test LEDs:
3 To exit and return to the previous Utility
mode display, press the flashing Display Mode 1 Enter Utility mode. If the Utility switch is not
switch. enabled (flashing), press it.
2 Select the Test menu by pressing the flashing

Insert switch.
LCD Display Test
The LCD shows the first page of Utility tests.
Use this test to assess the performance of the
3 Select the LED menu by pressing the flashing
LCD.
Insert switch.
To test the LCD: 4 Do one of the following
1 Enter Utility mode. If the Utility switch is not • To display all LEDs, press the flashing Dy-
enabled (flashing), press it. namics switch.

– or –
Insert switch. • To cycle through all the LEDs, press the
flashing Insert switch.
5 To exit the test at anytime, press any switch.
3 Select the LCD test by pressing the flashing
Dynamics switch.
The 003 automatically scrolls all of its character

sets across the LCD display.

4 Rotate any encoder (or the Jog/Shuttle wheel)
Switch Test to test it. Encoder value is displayed in the LCD
while testing.
Use this test to evaluate the performance of
switches. 5 To exit the test at anytime, press the Display
Mode switch.
To test switches:
enabled (flashing), press it. Fader Tests
2 Select the Test menu by pressing the flashing Utility mode provides tests for fader and group
Insert switch. performance. You can use these routines to
troubleshoot the mechanical elements of the
faders.
3 Select the Switch test display by pressing the
flashing Pan/Send switch.
Automated Fader Tests
4 Press any top panel switch to test it. The LCD
These automated fader tests check fader perfor-
shows the name, region and number for each
mance. You can use these routines to trouble-
switch as you test it.
shoot the mechanical elements of the faders.
5 To exit the test at anytime, press the Display
Mode switch. To test fader resolution:
Encoder Test 2 Select the Test menu by pressing the flashing
Use this test to evaulate the performance of the Insert switch.
rotary encoders or the Jog/Shuttle wheel.
To test the encoders: 3 Select the Fader menu by pressing the flashing
1 Enter Utility mode. If the Utility switch is not Page Right switch.
enabled (flashing), press it. 4 Select one of the basic automated fader tests:
2 Select the Test menu by pressing the flashing Triang, Sine, or Step.
Insert switch.
Do not touch the faders during a Fader test.
The faders will automatically move in a triangu-
3 Enter the Encoder test by pressing the flashing lar, sine, or step pattern, as selected.
Page Left switch.
5 To exit the test at anytime, press any switch.

Fader Group Test 4 Enter the Touch test by select the flashing
Page Right switch.
To test fader group resolution:
5 One by one, touch and move each fader. The
1 Enter Utility mode. If the Utility switch is not LCD shows the resolution for each fader as they
enabled (flashing), press it. move through their range.
2 Select the Test menu by pressing the flashing 6 To exit the test at anytime, press the flashing
Insert switch. Display Mode switch.
3 Select the Fader menu by pressing the flashing

Vegas Mode
Page Right switch.
4 Enter the Group test by select the flashing Vegas Mode

Page Left switch.
Vegas mode randomly lights every switch,
5 One by one, touch and move each fader. The meter, and display on the unit, and runs the fad-
other seven faders follow, and the LCD shows ers in sine wave mode.
the resolution for each fader as they move
through their range so you can compare fader To enter Vegas mode:
performance as both a group master and slave.
6 To exit the test at anytime, press the flashing enabled (flashing), press it.
Display Mode switch.
Insert switch.
Touch Test
This test lets you test the touch sensitivity of
3 Start “Vegas” mode by pressing the flashing
each fader. The LCD display shows when a fader
Page Right switch.
is touched and what frequency the fader is cur-
rently recognizing. The fader frequency value is 4 To exit the test at anytime, press any switch.
updated in real time.
To test the touch sensitivity of the faders:


Insert switch.
3 Select the Fader menu by pressing the flashing

Page Right switch.

MIDI Test Audio Test
003 includes a MIDI loopback test to check 003 includes audio loopback tests (see “Routing
MIDI input and output connections. A standard Path for Audio Tests” on page 152) to check var-
5-pin MIDI cable is required. ious audio connections. For each test, a valid au-
dio source and external sound system must be
To test MIDI input and output connections: set up for the specific inputs or outputs being
tested. See “Making Studio Connections” on
1 On the back of the 003, connect a standard 5-
page 67 for information on connecting devices.
pin MIDI cable from the MIDI In port to the
MIDI Out 1. Cables corresponding to each connector type
2 Enter Utility mode. If the Utility switch is not are required. See “003 and 003 Rack Back Pan-
enabled (flashing), press it. els” on page 61 for cabling requirements for
each connector.
Insert switch. When testing a digital input, the digital source
must be connected to one of the 003 digital out-
The LCD shows the first page of Utility tests. puts and the source must be configured to clock
4 Press the ESC switch to toggle to the second to the 003 digital output.
page of Utility tests.
All tests run at 44.1 kHz.
5 Start the “MIDI” test by pressing the flashing
Dynamics switch.
6 Press the EQ switch to begin testing MIDI Out

1.
If data is received on the MIDI jack, the LCD

shows “Pass.” If DATA is not received, the LCD
shows “Fail.”
7 Connect a standard 5-pin MIDI cable from the

MIDI In port to the MIDI Out 2 and repeat the
test to check MIDI Out 2.
8 When finished, press the flashing Display

switch.

Routing Path for Audio Tests Testing Audio Connections
:
Audio Test Routing Path To test audio connections:

1 Make the necessary connection for the input
Intl Internal loopback of all analog and
digital I/O channels (Analog Input 1 and output you are testing. See “Routing Path
to Analog Output 1, Analog Input 2 for Audio Tests” on page 152.
to Analog Output 2, and so on).
Sgnl 003 generates a 440 Hz sine wave enabled (flashing), press it.
on all analog and digital outputs.
Level is adjustable from 0 dB to 3 Select the Test menu by pressing the flashing
–42 dB with the rotary encoder in Insert switch.
the second fader strip.
SpIn 1/2 S/PDIF (RCA) Inputs to Analog
Outputs 1–2. 4 Press the ESC switch to toggle to the second
page of Utility tests.
SpIn 3/4 S/PDIF (RCA) Inputs to Analog
Outputs 3–4. 5 Enter “Audio” test mode by pressing the flash-
SpIn 5/6 S/PDIF (RCA) Inputs to Analog ing Inserts (Channel View) switch.
Outputs 5–6.
6 Begin an Audio test by pressing the Channel
SpIn 7/8 S/PDIF (RCA) Inputs to Analog View switch that corresponds to the test you
Outputs 7–8. want to run.
SpIn All S/PDIF (RCA) Inputs to all Analog 7 For the S/PDIF In and Out tests, press the Dy-
Output pairs. namics or Insert switch repeated times to toggle
SpOt 1/2 Analog Inputs 1–2 to S/PDIF (RCA) through the different test, or to test all of the
Outputs. S/PDIF routing paths.
SpOt 3/4 Analog Inputs 3–4 to S/PDIF (RCA) 8 When finished, press the flashing Display
Outputs. switch.
SpOt 5/6 Analog Inputs 5–6 to S/PDIF (RCA)
Outputs.
SpOt 7/8 Analog Inputs 7–8 to S/PDIF (RCA)

Outputs.
SpOt All All Analog input pairs to S/PDIF

(RCA) Outputs.
SpAg Simultaneous routing of S/PDIF

(RCA) Inputs to Analog Outputs 1–2
and Analog Inputs 1–2 to S/PDIF
(RCA) Outputs.
Adat Simultaneous routing of ADAT

Optical Inputs to Analog Outputs
1–8 and Analog Inputs 1–8 to ADAT
Optical Outputs.

appendix d
Hard Drive Configuration and Maintenance
It is recommended that you start with a newly

formatted external or secondary internal audio Supported Drive Formats and
drive. You should also periodically defragment Drive Types
your audio drive to ensure continued system
performance. Drive Formats
Always back up any important data on Windows Windows systems should use drives
your drive before formatting it, as it will formatted as NTFS only.
erase all data on the drive.
Windows systems can also support Mac
drives formatted with HFS+ system (also
commonly referred to as Mac OS Extended).
Avoid Recording to the See the Pro Tools Reference Guide for more
System Drive information.
Recording to your system drive is not recom-
Mac Mac systems should use drives formatted
mended. Recording and playback on a system
with HFS+ or HFS file system only.
drive may result in lower track counts or fewer
plug-ins. HFS drives are supported as Transfer drives
only.
Hard drive performance depends on factors in-

cluding system configuration, number of tracks,
session sample rate, density of edits, and the use
of crossfades and other processes such as Beat
Detective in a session.
For complete hard drive requirements, see the

Appendix D: Hard Drive Configuration and Maintenance 153

SCSI Hard Drives
Formatting an Audio Drive
Digidesign recommends qualified SCSI hard
drives and a qualified SCSI host bus adapter Formatting Windows Audio Drives
(HBA) card or (on Windows systems) a qualified
(Windows Only)
built-in SCSI HBA connector on the mother-
board. For optimal performance, audio drives should
be formatted as NTFS.
For complete information on track count and
the supported number and configuration of
To format an audio drive:
SCSI drives, visit the Digidesign website
(www.digidesign.com). 1 On Windows Vista, choose Start.
2 Right-click Computer (Windows Vista) or My

FireWire Hard Drives Computer (Windows XP) and choose Manage.
Digidesign recommends qualified FireWire 3 Under Storage, choose Disk Management.
drives and (on Windows systems) a qualified
FireWire host adapter.
For complete information on track count and

the supported number and configuration of
FireWire drives, visit the Digidesign website
IDE/ATA/SATA Hard Drives

A qualified internal IDE/ATA/SATA drive may be
used as a dedicated audio drive.
Disk Management window (Windows XP)
For complete information on track count with
internal drives, see the Digidesign website

4 If the volume is “Healthy,” do the following: 5 If the volume is “Unallocated,” do the follow-
ing:
Healthy volumes are volumes that have pre-
• In the Disk Management window, right-
viously been partitioned and formatted.
click the hard drive you will use for audio
• In the Disk Management window, right- and choose New Partition.
click the hard drive you will use for audio • In the New Partition Wizard window, click
and choose Format. Next.
• In the Format window, name the volume. • When prompted, select the partition type.
• Choose a file system. For optimum perfor-
Digidesign recommends using Primary par-
mance, audio drives should be formatted as
titions, instead of Extended partitions.
NTFS.
• Select “Perform a quick format.” • Follow the on-screen instructions to select
• Make sure “Enable file and folder compres- a partition size and other partition settings.
sion” is not selected. • When prompted, choose a file system. For
• Set the Allocation unit size to Default. optimum performance, audio drives
• Click OK. should be formatted as NTFS.
• Select “Perform a quick format.”
Pro Tools only supports Basic drive types. • Make sure “Enable file and folder compres-
Do not convert the drive to a Dynamic type. sion” is not selected.
• Set the Allocation unit size to Default.
• Click OK.
Pro Tools only supports Basic drive types.

Do not convert the drive to a Dynamic type.

Formatting Mac Audio Drives
Partitioning Drives
(Mac Only)
Partitioning creates a logical volume or volumes
For optimum performance, audio drives should on a physical drive, almost as if you were creat-
be formatted as Mac OS Extended (Journaled). ing virtual hard drives. Partitions can then be
formatted with the appropriate file system
To format an audio drive: (NTFS for Windows, HFS+ for Mac).
1 Launch the Disk Utility application, located in
Applications/Utilities. Windows XP allows drives formatted with
the NTFS file system to be seen as whole
volumes. Single Pro Tools audio files can-
not exceed 2048 MB in size.
Mac OS allows drives larger than 4096 MB

to be seen as whole volumes. Drives must be
initialized with a disk utility that recog-
nizes the 2 terabyte limit. Single Pro Tools
audio files cannot exceed 2048 MB in size.
Seek Times on Partitioned Drives

Disk Utility (Mac OS X)
Seek times are actually faster on partitioned
2 Click the Erase tab. drives (assuming that reads and writes are per-
formed on a single partition), since the heads
3 Select the drive you want to initialize in the
only have to seek within the partition bound-
column on the left side of the window.
aries, rather than the whole capacity of the
4 Choose the Mac OS Extended (Journaled) for- drive.
mat.
Smaller partitions perform faster than larger par-
Do not choose the “Case-Sensitive” format titions, but this comes at the expense of contig-
option. Pro Tools will not operate properly uous storage space. When you partition a drive,
with case-sensitive formatted drives. you will need to find the compromise that best
suits your performance and storage require-
5 Type a name for the new volume. ments.
6 If you plan to connect the drive to a Mac OS 9
Avoid distributing audio files within a ses-
computer, select Install Mac OS 9 Drivers.
sion over different partitions on the same
7 Click Erase. drive since this will adversely affect drive
performance.
The drive appears on the Desktop with the new
volume name.

Optimizing (Defragmenting) Drives
Defragmenting an Audio Drive
To prevent fragmentation, you can optimize
your drive, which rearranges your files into a
Mac Systems contiguous format. Most optimizing software
When working with larger files (such as video), lets you run a check on a drive to find out the
you can limit fragmentation by backing up your percentage of fragmentation. If your drive
important files to another disk, erasing the files shows moderate to heavy fragmentation, you
from the original hard disk, then copying the should consider optimizing it.
files back, instead of doing a defragmentation.
If you use your system for intensive editing, or if
you frequently delete audio or fade files from
Window Systems your hard drive, you may need to optimize your
drives on a weekly basis, or even every few days,
Periodically defragment audio drives to maintain
since it doesn’t take long for even a large hard
system performance.
drive to become fragmented.
For maximum recording and playback effi-
ciency, data should be written to your hard Backing Up Data Before Optimizing
drive in a contiguous fashion—minimizing the
Since your files will be rewritten by the optimi-
seek requirements to play back the data. Unfor-
zation process, always make a backup copy of
tunately, your computer can’t always store the
the data on your hard drive before you optimize
sound files in this way and must write to disk
it. You should also use a hard drive utility to
wherever it can find space.
find and repair any problems before optimizing
In multitrack recording, audio tracks are written data or re-initializing your drives. If there is any
in discrete files, spaced evenly across the disk. damage to your hard drive's directories prior to
While fragmentation of individual files may be optimizing, serious data loss may result.
zero, the tracks may be far enough apart that
playback will still be very seek-intensive. Also, Defragmenting Windows Audio Drives
the remaining free space on the disk will be dis-
contiguous, increasing the likelihood of file To defragment an audio drive (Windows Vista):
fragmentation on subsequent record passes.
Increased fragmentation increases the chance of 2 Click System and Maintenance.

disk errors, which can interfere with playback of
audio, and result in performance errors. 3 Click Performance Information and Tools.
4 Click Advanced Tools.

On Windows, to avoid fragmentation, for-
mat drives with higher cluster sizes (such as 5 Click Open Disk Defragmentor.
32K).

6 In the Disk Defragmenter window, click the
Defragment Now button. Using Mac Drives on Windows
Systems
The Defragment Now command defrag-
ments all your hard drives. This can take a Pro Tools for Windows lets you record and play
lot of time, especially on systems with mul- back sessions directly from a Mac-formatted
tiple drives. (HFS+) drive connected to a Windows system.
This functionality requires that all Mac session
Advanced users can use the command line and audio files be stored on Mac-formatted
tool Defrag.exe to defragment individual drives.
drives. See your Windows Vista documen-
During Pro Tools installation, make sure to se-
tation for more information.
lect the Mac HFS+ Disk Support option. This op-
To defragment an audio drive (Windows XP): tion lets your Pro Tools system read, write,
record, and play back using Mac-formatted
1 Right-click My Computer and choose Man-
HFS+ disks.
age.
For information on using the Mac HFS+
2 Under Storage, choose Disk Defragmenter.
Disk Support option, see the HFS+ Disk
3 In the Disk Defragmenter window, choose the Support Option Guide.
drive you want to defragment
For information on sharing sessions be-
4 Click the Defragment button and follow the tween Mac and Windows systems, see the
on-screen instructions. Pro Tools Reference Guide.
When defragmenting is complete, close the
Computer Management window. Formatting and Maintaining HFS+
Drives
To format and partition any drives as HFS+, con-
nect the drives to a Mac computer and use the
Apple OS X Disk Utility.

Hard Disk Storage Space
Mono audio tracks recorded with 16-bit resolution at 44.1 kHz (CD quality) require approximately
5 MB of hard disk space per minute. The same tracks recorded with 24-bit resolution require about
7.5 MB per minute.
Stereo audio tracks recorded with 16-bit resolution at 44.1 kHz (CD quality) require approximately
10 MB of hard disk space per minute. The same tracks recorded with 24-bit resolution require about
15 MB per minute.
Table 5 lists the required disk space for certain track numbers and track lengths, to help you estimate
your hard disk usage.
Table 5. Required hard drive space for audio tracks (44.1 kHz and 48 kHz sessions shown)
Number of tracks and length 16-bit at 16-bit at 24-bit at 24-bit at

44.1 kHz 48 kHz 44.1 kHz 48 kHz
1 mono track, 1 minute 5 MB 5.5 MB 7.5 MB 8.2 MB
1 stereo track (or two mono 50 MB 55 MB 75 MB 83 MB

tracks), 5 minutes

tracks), 60 minutes
24 mono tracks, 5 minutes 600 MB 662 MB 900 MB 991 MB
24 mono tracks, 60 minutes 7 GB 7.8 GB 10.5 GB 11.6 GB
32 mono tracks, 5 minutes 800 MB 883 MB 1.2 GB 1.3 GB
32 mono tracks, 60 minutes 9.4 GB 10.4 GB 14 GB 15.4 GB

Table 6. Required hard drive space for audio tracks (88.2 kHz and 96 kHz sessions shown)
Number of tracks and length 16-bit at 16-bit at 24-bit at 24-bit at

88.2 kHz 96 kHz 88.2 kHz 96 kHz
1 mono track, 1 minute 10 MB 11 MB 15 MB 16.4 MB

tracks), 5 minutes

tracks), 60 minutes
24 mono tracks, 5 minutes 1200 MB 1324 MB 1800 MB 1982 MB
24 mono tracks, 60 minutes 14 GB 15.6 GB 21 GB 23.2 GB
32 mono tracks, 5 minutes 1600 MB 1766 MB 2.4 GB 2.6 GB
32 mono tracks, 60 minutes 18.8 GB 20.8 GB 28 GB 30.8 GB

appendix e
Troubleshooting
Backing Up Your System

Backing Up Your Work Configuration
It is highly recommended that you back up your After configuring your system and Pro Tools,
work on a regular basis, and especially before you should save an image of your system drive
making changes to your system configuration. using a backup utility such as Norton Ghost
(Windows) or Bombich Carbon Copy Cloner
Backing Up Your Session Data (Mac). By doing this, you can quickly restore
your system configuration and settings if you
Back up your session and audio data frequently. encounter any problems.
There are a variety of media that are suited to
back up projects of various sizes, including addi-
tional hard drives, automated tape backup sys-
tems, high-capacity optical drives, or CD/DVD
burners.
The best way to back up an entire session is to

use the Save Copy In command. This command
lets you save the session file and all of its associ-
ated files to a new location.
You can also use the Auto Save Backup fea-

ture (in the Operation Preferences page) to
have Pro Tools automatically save backups
of the session file while you work.
Troubleshooting 161
Common Issues Performance Factors
There are several conditions that may adversely
Pro Tools Won’t Launch affect the performance of Pro Tools. These in-
clude:
Problem
Network Connections Close any network con-
When you double-click the Pro Tools applica- nections unless you are using them for network
tion or a Pro Tools session file, Pro Tools doesn’t interchange of audio data.
launch, or displays an error message.
Background Applications Any software utilities
Possible Solutions that run in the background or generate disk ac-
tivity, such as virus protection, disk optimiza-
Check to be sure your computer has the re-
tion, or file savers, should be turned off or re-
quired amount of RAM to launch Pro Tools. See
moved.
the Digidesign website (www.digidesign.com).
Try a complete restart. Turn off your audio in- Screen Savers Screen saver software should be
terfaces, computer peripherals and your com- completely disabled on your computer before
puter, and then turn them on again in the running Pro Tools.
proper sequence.
Power Saver Features Some automatic power
If you tried to launch Pro Tools by double- saver features, such as those that spin down the
clicking a Pro Tools session file, do the follow- system hard drive, can affect Pro Tools perfor-
ing: mance. These features should be turned off.
• Close any error message.
• Double-click the Pro Tools application.
• In Pro Tools, choose File > Open Session to
open the session.
Reinstall the Pro Tools application, using the
Pro Tools Installer disc.
Audio Interface Is Not Recognized
Problem
When you launch Pro Tools it does not recog-
nize an audio interface, or a connected audio in-
terface is not available.
Possible Solutions
Turn off your computer and check to be sure
your cables are properly and securely connected
to your computer and to your audio interface.

Gather Important Information
Before You Call Digidesign
Technical Support Digidesign wants to help you resolve problems
as quickly and efficiently as possible. If you have
the following information handy when you
Register Your System contact Technical Support, it will make the diag-
Register your purchase immediately after re- nosis of your problem easier. Take a few minutes
viewing the Digidesign Registration Informa- to collect the following basic information:
tion Card included with every Pro Tools system.
Registering your purchase is the only way you System Information
become eligible to receive complimentary tech-
Computer
nical support and future upgrade offers. Regis-
tering is one of the most important steps to • Make, model, processor speed
complete as a new user. • Amount of system RAM
• Operating system (version of Windows or
Mac)
Use Digidesign Resources
• Any Drivers, Disk Utilities, or other system-
In addition to the printed and PDF versions of related applications you may have installed
Pro Tools guides, your system includes the fol-
lowing sources of information: Digidesign Hardware
• Type of cards, interfaces, or peripherals
Read Me Files These contain late-breaking in-
formation and known issues pertaining to Hard Drives
Pro Tools software and hardware configura-
• Make, Model
tions. Read Me files are installed in Documenta-
• Drive size (GB)
tion folder when you install Pro Tools.
• Drive speed (RPM)
Answerbase This is a database of common prob- • Drive type (SCSI, FireWire, IDE/ATA)
lems and DAE errors, and their solutions based
• Utility used to format the drive
on the latest information from Digidesign Tech-
• Number and size of partitions on the drive
nical Support. This database is installed in the
Digidesign folder when you install Pro Tools. Digidesign Software
Answerbase is also available on the Digidesign
• Pro Tools software version
• Plug-in versions
Website (www.digidesign.com) This is your best • Other Digidesign software
online source for information to help you get • Additional plug-ins from Digidesign Devel-
the most out of your Pro Tools system. opment Partners
Troubleshooting 163
Other Hardware
See the manufacturer’s documentation for oper-

ational details.
The most common hardware additions include:

• 1394 (FireWire) cards (manufacturer,
model)
• Video Capture cards (manufacturer, model)
To verify that your hardware is qualified for use

with your Pro Tools system, visit the Digidesign
Other Software
If you are using other audio or video applica-

tions, see the manufacturer’s documentation for
operational details.
Make note of any other software that was run-

ning when a problem occurred.
Diagnostic Information
Note any DAE errors or other error codes you en-
counter. Additonally, note the ability to repro-
duce the problem under different conditions,
for example, with another session, or after
changing settings (such as the Hardware Buffer
Size).

index
Numerics A
003 AC power connector 66
1394 LED 41 ADAT
connecting (Mac) 20 connecting 74, 78
connecting (Windows) 9 LED (003 Rack) 59
Display section 40 LED (003) 41
Fader section 42 Optical I/O 64
features 3, 4 additional software
Headphone jacks 56 Mac 18
LCD display 40 Windows 14
Monitor section 56 Alt CR switch
package 3 003 56
Power switch 66 003 Rack 59
Pro Tools mode 89
Alt Monitor Outputs 63
top panel 39
Analog Inputs 5–8 63
top panel shortcuts 107
Transport section 50 analog tape deck, connecting 78
window show/hide switches 52 Arrow keys 51
003 Rack ASIO driver (Windows) 14
1394 LED 59 Assign mode 98
connecting (Mac) 20 assigning
connecting (Windows) 9 inputs and outputs 98
features 3 inserts 100
front panel 57 sends 99
Headphone jacks 57 audio
Monitor section 58 connecting inputs 69
package 3 playback 83
Power switch 57 playing 83
1394 recording 81
LED (003 Rack) 59 audio drivers
LED (003) 41 ASIO driver (Windows) 14
port 65 CoreAudio driver (Mac) 18, 19
3/4-HP2 switch WaveDriver (Windows) 14
003 56 Audio MIDI Setup (AMS) (Mac) 143
003 Rack 59 Audio tests 151
4-pin FireWire cable (Windows) 10 authorizing Pro Tools 13, 21
Auto (Automation) Channel Meter LED 45
Index 165
Automation modes Clean Uninstall (Mac) 22
setting 106 ClearType font smoothing (Windows), disabling 33
switch LEDs 54 Clock Source 29
switches 54 compatibility information 5
Aux In (to Monitor) switch connecting
003 56 ADAT 74, 78
003 Rack 59 analog tape deck 78
Aux In to 7/8 switch audio inputs 69
003 56 digital devices 73, 78
003 Rack 59 external effects devices 75
Aux Ins 64 guitars 72
headphones 67
B instruments 71
Bank switch 52 keyboards 72
microphones 69
banking
microphones (1/4-inch connector) 71
Master Faders 106
microphones (XLR connector) 70
banking channels MIDI devices 78
eight channels at a time 105 mixdown recorder 78
one channels at a time 105 mixers 72
scrolling 105 S/PDIF Optical devices 74
bouncing audio to disk 84 S/PDIF RCA devices 74
burning a CD 85 connecting a sound system 67
bypassing Console View 89, 93
all plug-ins 95 switches 47
single plug-in 92, 94 switches in MIDI mode 114
CoreAudio driver (Mac) 18, 19
C CPU Usage Limit 26
cables, microphone 69 creating
Cache Size 27 audio CD 84
cancel 49 Instrument track 86
CC# (Stand-alone mode) 115 session 81
Chan (Stand-alone mode) 115 cursor
channel controls moving one frame at a time 103
Channel Select switches 43 moving up or down one track 103
faders 42 cycling
Mute switch 43 Dynamics plug-ins 94
Rec Arm switch 45 EQ plug-ins 93
rotary encoders 44 inserts 94
Solo switch 43
Channel Meter LEDs 44, 45 D
Auto (Automation) 45 DAE Playback Buffer Size 27
Left 45 Dashboard shortcut (Mac), disabling 36
Right 45 DAT recorder, connecting 78
Channel Select switches 43 default settings 103
Channel View 93 Default switch 46
switches 48
DI Inputs 1–4 62
switches in MIDI mode 114

digital devices, connecting 73, 78 zooming 102
Direct Inject inputs 62 scrolling 103
Direct Interface inputs 62 encoders
Display Mode switch 41 MIDI mode 113
Display section 40 Energy Saver (Mac), turning off 35
Display switches 52 Enter switch 53
displaying entry fields, navigating 97
channel pan setting and send levels EQ
temporarily 97 in Channel View 93
Dynamics plug-in controls 94 EQ plug-ins
Dynamics plug-ins on a track 93 cycling through 93
EQ plug-in controls 93 displaying all on a track 93
EQ plug-ins on a track 93 displaying controls 93
fader level temporarily 96 EQ switch 48
full names of insert parameters 96 ESC switch 49
full names of tracks 96 external effects devices, using 75
insert settings temporarily 97
inserts on a track 94
Memory Locations 104 F
plug-in controls 92, 94 F1 Utility 147
plug-in settings temporarily 97 Fader Flip switch 46
send level temporarily 97 Fader Group test 150
sends on a track 95 Fader Mute switch 53
settings instead of control names 96 Fader section 42
settings instead of track names 96 faders 42
DMA option (Windows), enabling 32 Flip mode 104
drive MIDI mode 113
Mac formatting 156 testing and resetting 149
requirements 5 Fast Forward 50
Windows formatting 154 FFW 50
drive formatting FireWire
Mac 156 4-pin cable (Windows) 10
drive maintenance 153 connecting drives 66
Dynamics plug-ins connecting drives (Mac) 21
cycling through 94 connecting drives (Windows) 11
displaying all on a track 93 connecting other devices 66
displaying controls 94 connecting other devices (Mac) 21
Dynamics switch 48 connecting other devices (Windows) 11
connection status (003 Rack) 59
E connection status (003) 41
port 65
Edit selection
requirements 154
during playback 103
extending up or down a track 103 firmware 148
moving up or down one track 103 Flip mode 104
Edit switch 52 views 104
Edit window Focus switch 53
Edit window footswitch 65, 79
Index 167
G Input switch 46
guide conventions 7 inputs
guitar, connecting 72 Analog Inputs 5–8 63
assigning 98
Aux In 64
H controls (003 Rack) 58
hard drives controls (003) 55
drive formats 153 DI Inputs 1–4 62
FireWire 66 Mic Inputs 1–4 62
FireWire (Mac) 21 MIDI 65
FireWire (Windows) 11 Optical 64
FireWire requirements 154 S/PDIF 64
formatting (Mac) 156 Insert switch
formatting (Windows) 154 Channel View 48
IDE/ATA requirements 154 Console View 48
maintenance 153, 157
Insert View (Console View) 92
optimizing 157
Insert/Send Position switches 47
partitioning 156
requirements 5 inserts 48
SCSI requirements 154 assigning 100
space requirements 159 bypassing a plug-in 92
cycling through 94
Hardware Buffer Size 24
displaying an Insert position 92
Hardware Setup dialog 29
displaying inserts on a track 94
headphone displaying plug-in controls 92
jacks (003 Rack) 57 in Channel View 48
headphones working with 92
connecting 67 installing
jacks (003) 56 optional items (Mac) 18
Level controls (003 Rack) 58 optional items (Windows) 12
Level controls (003) 56 Pro Tools (Mac) 17
headroom 61 Pro Tools (Windows) 11
high pass filter switches QuickTime (Windows) 12
003 55 Instrument tracks
003 Rack 58 creating 86
Host status LED 41, 59 recording to 88
HPF switches instruments
003 55 connecting 71
003 Rack 58
J
I Jog mode 51
I/O Setup 31 Jog/Shuttle wheel 50
IDE/ATA requirements 154 Jog mode 51
IEEE-1394 Shuttle mode 51
port 65 journaling (Mac), enabling 36
importing audio from a CD 83
003 55
003 Rack 58

K microphones
Kensington Lock port 65 1/4-inch connectors 71
key commands 7 cables 69
connecting 69
keyboards
inputs 62
connecting 72
phantom power 70
knobs (see rotary encoders) XLR connectors 70
MIDI
L connections 78
Latch Automation defined 86
LED 54 editing maps in MIDI mode 116
switch 54 monitoring 79
launching Pro Tools 13, 21 playback 88
LCD requirements 5
display 40 setup (Mac) 143
test 148 setup (Windows) 139
LEDs Stand-alone CC assign 115
Automation modes 54 Stand-alone channel assign 115
test 148 test 151
Left Channel Meter LED 45 MIDI Data LEDs
003 41, 59
Lightpipe 65
MIDI Edit 116
Link indicator 66
MIDI Edit switch 53
Loop Play switch 52
MIDI In 65
Loop Rec switch 52
MIDI Input selector 86
MIDI Machine Control (see MMC)
M
MIDI Map preset
Main Analog Outputs 1–8 63 editing 114
Main Monitor Outputs 63 naming 116
Master Faders 46 recalling 112
Mem Loc switch 52 saving 117
Memory Locations MIDI Map switches 53
creating 104 MIDI mode 38
displaying 104 and MMC 114
recalling 104 assigning controllers 114
switch 52 editing presets 114
working with 104 entering 112
Meter switch 45 MIDI Edit mode 116
meters naming presets 116
channel LEDs 44 programmable controls and defaults 113
Mic Inputs 1–4 62 programming and editing 114
Mic/DI recalling presets 112
controls (003 Rack) 58 saving presets 117
controls (003) 55 selecting 112
switches (003 Rack) 58 MIDI Out 1 65
switches (003) 55 MIDI Out 2 65
MIDI Recall switch 53
MIDI Studio Setup (MSS) (Windows) 139
Index 169
mirroring outputs 68 O
Mix switch 52 Off
mixdown and connecting a recorder 78 Automation LED 54
mixers Automation switch 54
connecting 72 OK switch 53
MMC 114 Operating Level switches 63
modes operating levels 61
Flip mode 46 Optical format 30
MIDI mode 38 Optical I/O 64
Pro Tools mode 37 optimizing hard drives 157
Standby mode 37
Output windows 101
Third-Party Software mode 38
Utility mode 38, 147 outputs
Alt Monitor 63
modifier keys 55
assigning 98
Command 54
digital 64
Control 54
Main Analog Outputs 1–8 63
Option 54
Main Monitor 63
Shift 54
MIDI 65
Monitor Level control mirroring 68
003 56
Optical 64
003 Rack 58
S/PDIF 64
Monitor Mute switch
003 56
003 Rack 59 P
Monitor section Page switches 49
003 56 Pan switches 47
003 Rack 58 Pan View 90
monitoring Pan/Send Flip mode 105
MIDI instruments 79 Pan/Send switch 49
Mono switch panning
003 56 adjusting on a track that has sends 95
003 Rack 59 panning a track 90
Mstr Faders switch 46 partitioning hard drives 156
Mute switch 43 phantom power 70
muting fader movement 106 when to use 70
Phantom Power switches 62
N Play 50
navigating 102 Playback Engine
network cards (Windows), disabling 33 RTAS Processors setting 25
network connections 162 playing
New Tracks dialog 97 backwards at a variable rate 102
forwards at a variable rate 102
Nudge switch 52
imported audio 83
recorded audio track 83
recorded MIDI data 88
Plug-in Flip mode 105
Plug-in Master Bypass switch 49

Plug-in Streaming Buffer 29 Pro Tools mode 89
Plug-in Streaming Buffer Size 28 adding comments 98
Plug-in switch 52 Assign mode 98
plug-ins assigning inputs and outputs 98
bypassing all 95 assigning inserts 100
bypassing one 94 assigning sends 99
displaying controls 92, 94 automation 106
RTAS Processors setting 25 banking channels 105
toggling views 53 banking Master Fader tracks 106
Channel View 93
power 66
Console View 89, 93
management settings (Windows) 32
display options 96
Power switch
editing entry field values 97
003 66
enabling 89
003 Rack 57
Flip mode 104
Pro Tools Insert View workflows (Console View) 92
as Word clock master 74 Memory Locations 104
as Word clock slave 75 muting fader movement 106
authorizing 13, 21 naming tracks 98
bouncing audio to disk 84 navigating Edit window 102
common tasks 81 navigating entry fields 97
creating an audio CD 84 navigating New Tracks dialog 97
demo session (Windows) 15, 19 Output windows 101
guides 6 overview 37
hardware settings 29 Pan View workflows 90
importing audio for a CD 83 record enabling tracks 102
installing (Mac) 17 renaming tracks 91
installing (Windows) 11 saving a session 89
launching 13, 21 Send View workflows 91
LE capabilities 5 shortcuts 107
recording a session 81 Undo operations 103
recording MIDI 86
processor performance (Mac) 35
removing (Mac) 22
Processor Scheduling performance (Windows) 34
removing (Windows) 16
session templates (Windows) 15, 19 Program Change dialog 142, 146
setting defaults 103
Q
QuickPunch switch 52
QuickStart installation 1
QuickTime installation (Windows) 12
Index 171
R SCSI requirements 154
Read Automation selecting
LED 54 a range of tracks 90
switch 54 a track 90
Rec Arm switch 45 all tracks 91
recalling a Memory Location 104 noncontiguous tracks 91
Record 50 Send Flip mode 104
recording Send switch 48
a session 81 Send View 91
audio 81 sends
disabling tracks 102 adjusting send level 91, 95
enabling tracks 102 assigning 99
MIDI 86 displaying a Send position 91
preparing an audio track 82 displaying sends on a track 95
registration information 6 to external effects devices 76
removing Pro Tools toggling pre- and post-fader 92, 96
Mac 22 viewing level 97
Windows 16 working with 91
renaming a track 91 session, creating 81
Return to Zero 50 Shuttle mode 51
REW 50 Software Update (Mac), turning off 35
Rewind 50 Solo switch 43
Right Channel Meter LED 45 sound system
connecting 67
rotary encoders 44
Flip mode 104
Spotlight indexing (Mac), disabling 35
LEDs 44 Spotlight shortcuts (Mac), disabling 36
test Stand-alone mode
RTAS Engine 26 assigning CC 115
RTAS Processors setting 25 assigning control channel 115
RTZ 50 Standby mode 37
starting Pro Tools 13, 21
Startup items (Windows), disabling 34
S
Stop 50
S/PDIF
Suspend switch 54
connecting Optical devices 74
connecting RCA devices 74 suspending automation 106
input and output ports 64
LED (003 Rack) 59
LED (003) 41
Safe Uninstall (Mac) 22
sample rate 61
default 29
Save switch 53
saving a session (003) 89
screen saver, disabling (Windows Vista) 13
screen savers 162
scrolling the Edit window 103

switches Plug-in window 52
3/4-HP 2 (003 Rack) 59 QuickPunch 52
3/4-HP 2 (003) 56 Save 53
Alt CR (003 Rack) 59 Send 48
Alt CR (003) 56 Suspend 54
Automation modes 54 testing 149
Aux In (to Monitor) (003 Rack) 59 Undo 53
Aux In (to Monitor) (003) 56 Utility 53
Aux In to 7/8 (003 Rack) 59 Zoom switch 52
Aux In to 7/8 (003) 56 SYNC LEDs
Bank switch 52 003 41
Channel View 48 003 Rack 59
Console View 47 system
Default 46 optimization (Mac) 35
Display Mode 41 optional optimizations (Windows) 33
Dynamics 48 recommended optimizations (Windows) 33
Edit window 52 required optimizations (Windows) 32
Enter 53 shutting down 23
EQ 48 starting up 23
ESC 49 System Memory Allocation 28
Fader Flip 46
system optimization
Fader Mute 53
Windows 33
Focus 53
system requirements 5
HPF (003 Rack) 58
HPF (003) 55 system settings
Input 46 Cache Size 27
Insert (Channel View) 48 Clock Source 29
Insert (Console View) 48 configuring 24
Insert/Send Position 47 CPU Usage Limit 26
Loop Play 52 DAE Playback Buffer Size 27
Loop Rec 52 Hardware Buffer Size 24
Mem Loc 52 I/O Setup 31
Mic/DI (003 Rack) 58 Optical format 30
Mic/DI (003) 55 Plug-in Streaming Buffer 29
MIDI Edit 53 Plug-in Streaming Buffer Size 28
MIDI Map 53 RTAS Engine 26
MIDI mode 113 Sample Rate 29
MIDI Recall 53 System Memory Allocation 28
Mix window 52
Monitor Mute (003 Rack) 59 T
Monitor Mute (003) 56 testing
Mono (003 Rack) 59 audio connections 151
Mono (003) 56 faders 149
Nudge switch 52 LCD 148
Operating Level 63 LEDs 148
Page 49 MIDI connections 151
Pan 47 rotary encoders 149
Pan/Send 49 switches 149
Phantom Power 62 Third-Party Software mode 38
Plug-in Master Bypass 49
Index 173
toggling plug-in views 53 V
Touch Automation Vegas mode 150
LED 54
switch 54
W
Touch test 150
W Clk LED
tracks
003 41
adding comments 98
003 Rack 59
decreasing number of 97
WaveDriver (Windows) 14
increasing number of 97
naming 98 window show/hide switches 52
navigating New Tracks dialog 97 Word Clock
renaming 91 In and Out ports 65
selecting 90 LED (003 Rack) 59
selecting a range 90 LED (003) 41
selecting all 91 Pro Tools as master 74
selecting noncontiguous tracks 91 Pro Tools as slave 75
Transport working
and MMC 114 in Channel View 93
controls in MIDI mode 114 in Console View 89, 93
moving one frame at a time 103 in Insert View (Console View) 92
in Pan View 90
in Send View 91
U
Write Automation
Undo operations 103 LED 54
Undo switch 53 switch 54
uninstalling Pro Tools
Mac 22
Z
Windows 16
Zoom switch 52
Utility mode 38, 147
accessing 147 zooming 102
Audio tests 151
automated Fader tests 149
Encoder test
exiting 147
Fader Group test 150
Fader tests 149
firmware version 148
LCD test 148
LED test 148
MIDI test 151
navigating 147
Switch test 149
Touch test 150
Vegas mode 150
Utility switch 53

www.digidesign.com
DIGIDESIGN TECHNICAL SUPPORT (USA) PRODUCT INFORMATION (USA) INTERNATIONAL OFFICES

2001 Junipero Serra Boulevard Tel: 650.731.6100 Tel: 800.333.2137 Visit the Digidesign website
Daly City, CA 94014-3886 USA Fax: 650.731.6384 for contact information
Tel: 650.731.6300
Fax: 650.731.6399

Getting Started: 003 ™ & 003 Rack

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Getting Started

003™ & 003 Rack

Product features, specifications, system requirements, and

PN 9327-56792-00 REV A 7/07

Comments or suggestions regarding our documentation?

Safety Statement 11) Only use attachments/accessories specified by the

14) The apparatus shall not be exposed to drippings or

5) Do not use this apparatus near water.

6) Clean only with dry cloth.

7) Do not block any ventilation openings. Install in accordance

8) Do not install near any heat sources such as radiators, heat

Chapter 1. Installation QuickStart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter 2. Welcome to 003 and 003 Rack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Chapter 3. Installing Pro Tools LE on Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Chapter 4. Installing Pro Tools on Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Chapter 6. 003 Top Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Chapter 7. 003 Rack Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Chapter 8. 003 and 003 Rack Back Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Chapter 9. Making Studio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

viii 003 & 003 Rack Getting Started Guide

Chapter 11. Pro Tools Mode with 003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Chapter 12. Using MIDI Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Appendix B. Configuring AMS (Mac OS X Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Appendix C. Utility Mode (003 Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Appendix D. Hard Drive Configuration and Maintenance. . . . . . . . . . . . . . . . . . . . . . . 153

x 003 & 003 Rack Getting Started Guide

Windows Installation Mac Installation Overview

Chapter 1: Installation QuickStart 1

Welcome to 003 and 003 Rack

Welcome to 003™ and 003 Rack, Digidesign’s

Chapter 2: Welcome to 003 and 003 Rack 3

4 003 & 003 Rack Getting Started Guide

• Up to 128 audio tracks (with 32 voiceable

Chapter 2: Welcome to 003 and 003 Rack 5

6 003 & 003 Rack Getting Started Guide

Chapter 2: Welcome to 003 and 003 Rack 7

Installing Pro Tools LE on Windows

This chapter contains information for Windows

Chapter 3: Installing Pro Tools LE on Windows 9

10 003 & 003 Rack Getting Started Guide

5 On the Installer disc, locate and open the

6 Double-click the Setup icon.

7 Follow the on-screen instructions to proceed

8 Select the install location. For maximum reli-

Chapter 3: Installing Pro Tools LE on Windows 11

12 Click Next. For information on which version of

12 003 & 003 Rack Getting Started Guide

3 Double-click the QuickTime installer applica- To authorize Pro Tools software:

3 Click Screen Save. 3 Enter the authorization code in the dialog

Your authorization code is located on the inside

Chapter 3: Installing Pro Tools LE on Windows 13

For detailed information on configuring the

14 003 & 003 Rack Getting Started Guide

See the Pro Tools Reference Guide for informa-

3 Double-click LE Demo Session Setup.exe.

4 Follow the onscreen instructions.

5 When prompted, select your audio drive as

Chapter 3: Installing Pro Tools LE on Windows 15

To uninstall Pro Tools from your computer

On Mac, configure your MIDI setup with Au-