Chapter 2: Pro Tools Concepts
7
Chapter 2: Pro Tools Concepts
This chapter explains some of the principles and
concepts that form the foundation of Pro Tools
operation and functionality.
Hard Disk Audio Recording
Hard disk recording is a
nonlinear
(or random ac-
cess) medium—you can go immediately to any
spot in a recording without having to rewind or
fast forward.
This differs from tape-based recording, which is
a
linear
medium—where you need to rewind or
fast forward to hear a particular spot in a record-
ing. To rearrange or repeat material in a linear
system, you need to re-record it, or cut and
splice it.
Nonlinear systems have several advantages. You
can easily rearrange or repeat parts of a record-
ing by making the hard disk read parts of the re-
cording in a different order and/or multiple
times. In addition, this re-arrangement is
nonde-
structive
, meaning that the original recorded ma-
terial is not altered.
Pro Tools Nonlinear Editing
Pro Tools is a nonlinear recording editing sys-
tem that lets you rearrange and mix recorded
material nondestructively. Nonlinear editing
simply means that you can cut, copy, paste,
move, delete, trim, and otherwise rearrange any
audio, MIDI, or video in the Pro Tools Edit win-
dow.
Nonlinear editing provides significant advan-
tages over dubbing (re-recording), and cutting
and splicing magnetic tape. It gives you the
greatest possible flexibility for editing and ar-
ranging, and it is all nondestructive and “undo-
able.” Additionally, with nonlinear editing in
Pro Tools, you will never introduce any degrada-
tion of audio fidelity as you would with tape.
Summary of Contents for Digidesign Pro Tools 8.0
Page 1: ...Reference Guide Pro Tools 8 0 ...
Page 18: ...Pro Tools Reference Guide xviii ...
Page 19: ...1 Part I Introduction ...
Page 20: ...2 ...
Page 24: ...Pro Tools Reference Guide 6 ...
Page 40: ...Pro Tools Reference Guide 22 ...
Page 45: ...27 Part II System Configuration ...
Page 46: ...28 ...
Page 58: ...Pro Tools Reference Guide 40 ...
Page 76: ...Pro Tools Reference Guide 58 ...
Page 118: ...Pro Tools Reference Guide 100 ...
Page 127: ...109 Part III Sessions Tracks ...
Page 128: ...110 ...
Page 144: ...Pro Tools Reference Guide 126 ...
Page 170: ...Pro Tools Reference Guide 152 ...
Page 228: ...Pro Tools Reference Guide 210 ...
Page 292: ...Pro Tools Reference Guide 274 ...
Page 343: ...325 Part IV Playback and Recording ...
Page 344: ...326 ...
Page 386: ...Pro Tools Reference Guide 368 ...
Page 442: ...Pro Tools Reference Guide 424 ...
Page 443: ...425 Part V Editing ...
Page 444: ...426 ...
Page 490: ...Pro Tools Reference Guide 472 ...
Page 528: ...Pro Tools Reference Guide 510 ...
Page 566: ...Pro Tools Reference Guide 548 ...
Page 590: ...Pro Tools Reference Guide 572 ...
Page 591: ...573 Part VI MIDI ...
Page 592: ...574 ...
Page 648: ...Pro Tools Reference Guide 630 ...
Page 670: ...Pro Tools Reference Guide 652 ...
Page 679: ...661 Part VII Arranging ...
Page 680: ...662 ...
Page 756: ...Pro Tools Reference Guide 738 ...
Page 769: ...751 Part VIII Processing ...
Page 770: ...752 ...
Page 780: ...Pro Tools Reference Guide 762 ...
Page 786: ...Pro Tools Reference Guide 768 Figure 3 Quantized audio events Warp markers in Warp view ...
Page 814: ...Pro Tools Reference Guide 796 ...
Page 842: ...Pro Tools Reference Guide 824 ...
Page 843: ...825 Part IX Mixing ...
Page 844: ...826 ...
Page 976: ...Pro Tools Reference Guide 958 ...
Page 991: ...973 Part X Surround ...
Page 992: ...974 ...
Page 1000: ...Pro Tools Reference Guide 982 ...
Page 1025: ...1007 Part XI Sync and Video ...
Page 1026: ...1008 ...
Page 1080: ...Pro Tools Reference Guide 1062 ...
Page 1111: ......