Figuring out file types

You can import the following audio files types into a Pro Tools session without converting them:

• WAV or BWF (Broadcast .WAV File): This file type is the standard for older, PC-based Pro Tools systems. Currently, it’s the most commonly used file type; for that matter, I normally work with it. BWFs are compatible with both Macs and PCs.
• AIFF (Audio Interchange File Format): This file format used to be native to Macs. You don’t have to convert AIFF files to any other format before importing them into a Pro Tools session, even if it’s on a PC.

The following files types can be imported into Pro Tools but first must be converted into either WAV or AIFF:

• AAC (Advanced Audio Coding): These files are the kind that iTunes sells. This file type, created by a group of companies, is said to offer a better sound than MP3s of the same size, and is playable on a wide range of devices.
• ACID: ACID files are Sony’s file format for its ACID program. These are loop files that contain tempo and pitch information as well as the audio itself.
• MPEG-1 Layer 3: This type — yep, it’s the famous MP3 — is a great format for putting music on the Internet (say, a demo track for your band), as you’ll find out when you check out Book 8, Chapter 2.
• MXF (Material eXchange Format) audio: An MXF file is a container for audio data most commonly used in video recorders and contains timecode data.
• QuickTime: Pro Tools offers no built-in support for it (even though it shows up here). The QuickTime format is useful if you want to send the file via e-mail. You play QuickTime files using the Apple QuickTime player — a nice bit of software supported by many multimedia applications — but you have to purchase and install that program separately.
• ReCycle (REX 1 and 2): ReCycle (REX 1 and 2) is Propellerhead’s proprietary file format, much Like Sony’s ACID. These files, like Sony’s, contain additional information about the audio.
• SDI and SDII (Sound Designer I and II): This was the native format for Pro Tools sessions on Macs many versions ago. However, this format isn’t supported anymore.
• Sound Resource (AIFL): The only time to use this Mac-only format (in my opinion) is if you want to play the music in an application that doesn’t support SDII or AIFF formats. If you end up with a file in this format, you can convert it easily via the Import Audio to Track command.
• Windows Media (WMA): This is a Windows-only format. As with other unsupported file formats, you can convert these files into something useable by accessing the Import Audio dialog box: Choose File ⇒ Import Audio to Track.

Importing audio

In the preceding section, I outline the different types of files Pro Tools can handle. In this section, I show how you can import those audio files into Pro Tools. The two most common ways of doing this are:

• From the keyboard: Press Shift+⌘  +I (Mac) or Shift+Ctrl+I (PC). This gets you to the same Import Audio dialog box.
• From the File menu: Choose File ⇒ Import Audio to Track to access the Import Audio dialog box, where you can place the audio directly into a track in your session.

Whichever of these methods you choose, you end up with the Import Audio dialog box, where you choose the file you want to import. See Figure 4-1.

The easiest way on a Mac to find the files you want to import is from the browser section, located under the From drop-down menu (located below the Enable drop down menu in the upper section of the window). You can use the scroll bar at the bottom to find the hard drive you want by moving it all the way to the left. From there, you can progress to the right by choosing the folders you want as you go until you get to the actual file you want to import.

You can limit the types of files that show up in the file browser by choosing to display only certain file types (WAV, for example) by selecting this file type in the Show drop-down menu.

To keep the Import process rolling along, follow these steps after the Import Audio dialog box opens:

1. From the file browser section of the Import Audio dialog box, click the file you want to import.

   The properties of the selected file appear in the lower half of the dialog box.

   Depending on the properties of the file you select — and the settings in your session — you have three options:

   • Add: If the audio files are the same file type and bit depth as your session, you can add the files directly into your session. When you do so, you’re telling Pro Tools to use the original file — not a copy — from its current place on your hard drive.

     If you do this, make sure that you don’t alter this original file if it’s also part of another session. Otherwise, it will be changed in that session, too.

     If you have to add files of different file types into your session, you can — SDII, AIFF, or WAV on a Mac; or, AIFF or WAV on a PC — but doing so slows down system performance.

   • Copy: If your file is of the same type and bit depth as your session, you can make a copy of the file to put into your session. Doing this allows you to place the copy directly in the folder with the other files in your session. If you destructively alter the copy, you won’t be altering how the original file plays in any other session.

     The only drawback to choosing Copy when importing an audio file is that you’re adding more stuff that takes up space on your hard drive (not a big deal these days, given the low cost of huge hard drives).

     Convert: If the file you choose to import is of a different file type, bit depth, or sample rate than your session, you need to convert it first before importing it into your session if you want it to play correctly.

     When you choose to convert a file, your set preferences automatically determine the quality of the conversion process. You set the conversion preferences from the Processing tab of the Preferences window, as shown in Figure 4-2. Access this by choosing Setup ⇒ Preferences. The drop-down menu that controls conversion quality is located on the right and under the Import section of the Processing tab the Preferences dialog box. Options range from TweakHead (highest quality/slowest conversion) to Low (lowest quality/fastest conversion).

   If you want to use a conversion quality other than the one your preferences are set to, you can use the conversion quality section in the Import Audio window (located in the lower-right corner). This setting will only apply to the files you import during this import operation.

2. Audition the selected file before importing it by clicking the Play and Stop buttons in the lower section of the Import Audio dialog box.

   The vertical slider adjusts the volume of your audition; the horizontal slider adjusts your location in the auditioned file.

3. Click the Add, Copy, or Convert button to place the file in the Clips to Import list.

   You can select more than one file by Shift-clicking to highlight the files you want to include in the list. You can also click the Add All or Convert All button to include all the files in the current directory on the Clips to Import list.

4. Click Done.

   The Audio Import Options dialog box opens.

5. Select the destination of the audio track(s). Your options are
   • New Track: The New Track option creates a new track in your session for each of the audio files you select. If you choose this option, you must select (from the drop-down menu) where you want the audio file to go in the new track. Your options are:
     • Session Start: This places your imported audio at the beginning of your session.
     • Song Start: This places your imported audio at the Song Start Marker in your session. You can open the move Song Start window by choosing Event ⇒ Time ⇒ Move Song Start.
     • Selection: Your audio will be placed in the specific location where your cursor is within your session.
     • Spot: Choosing this option opens the Spot dialog box, where you want type where you want the audio to start.
   • Clips List: The Clips List option simply puts your files in the Clips list on the right side of the Edit window where you can drag them into a track when you’re ready to include them in your song.

6. Click OK.

   Your audio file(s) are imported into your session. This may take a minute if your audio file(s) need to be converted.

Figuring out file types

Pro Tools allows you to import the following two types of Standard MIDI files:

• Type 0: Type 0 Standard MIDI files contain all MIDI data on one track. When you import this type of file into a session, Pro Tools sorts data appropriate for each stereo channel and places the data in separate Clips and tracks.
• Type 1: Type 1 MIDI files contain multiple tracks of MIDI data. When you import this type of file into Pro Tools, each track’s data goes to a separate MIDI track or clip in Pro Tools.

Importing MIDI

You can import standard MIDI files into a Pro tools session one of two ways:

• From the File menu: Choose File ⇒ Import ⇒ MIDI to access the Choose a MIDI File navigation box (as shown in Figure 4-3).
• From the keyboard: Press Option+⌘  +I (Mac) or Ctrl+Alt+I (PC).

Whichever of these methods you choose, you end up at the Choose a MIDI File navigation box, where you choose the file you want to import.

The easiest way to find the files you want to import is from the browser section, located under the From drop-down menu located just beneath the Enable drop-down menu. To navigate this browser section, move the scroll bar at the bottom of the section all the way to the left to find the hard drive that contains your MIDI files. Click it to select it, and then click the folders you want from the boxes on the right until you get to the file you want to import.

Select the file using the browser and click Open. The MIDI Import Options dialog box opens (refer to Figure 4-3), where you can choose to place the MIDI file in a new track in your session or in the Clips list, where you can place it in a track later.

If you want to import your MIDI file into the Clips list, select the Clips List option in the Destination section and then click OK.

If you choose to import your MIDI file into a new track, you have some more decisions to make:

• Location: You can choose among three options from this drop-down menu:
  • Session Start: Beginning of the session.
  • Selection: Where your cursor is currently located.
  • Spot: If you choose Spot, the Spot dialog box opens when you click OK to allow you to choose the exact spot in your session you want to MIDI file to begin.
• Import Tempo Map from MIDI File: If you want the tempo of the imported MIDI file to override the tempo of your present session, select this check box.
• Import Key Signature from MIDI File: As you can probably guess, selecting this check box imports the MIDI file’s current key signature data to travel along with the MIDI performance data. Select this check box if you want this information in your session.
• Remove Existing instrument Tracks: Select this check box to choose to keep or discard any existing Instrument tracks or clips in your session. If you already have instrument tracks that you want to use in the session, be sure to choose to keep them; if not, go ahead and discard them.
• Remove Existing MIDI Tracks: Select this check box to choose to keep or discard any existing MIDI tracks or clips in your session. If you already have MIDI tracks that you want to use in the session, be sure to choose to keep them; if not, go ahead and discard them.
• Remove Existing MIDI Clips: Select this check box to choose to keep or discard any existing MIDI clips that you have in your session.

Your successfully imported MIDI file is placed in your session one of two ways:

• If you imported by using the New Track option: Your file is placed in a newly created MIDI track in your session. If this is the case, select the MIDI channel and instrument you want to specify for your MIDI track’s output so that you can hear the performances when you play your session, as described in Chapter 3 of this mini-book.
• If you imported by using the MIDI Clips option: Your MIDI data is placed in the MIDI clips list. Click and drag the files from the MIDI clips list into an existing track to put them in your session.

Understanding the Import Session Data dialog box

The Import Session Data dialog box is where you select the various properties of the tracks you want to import. If you’re bringing in a track from a previous session, this is where you choose what aspects of your original track you want kept (say, keep the plug-in settings and lose the panning settings) when it gets imported into your present session.

As you can see in Figure 4-4, the Import Session Data dialog box gives you lots of properties to mull over. (“Do I import this? Don’t I import that? What parts of this stuff do I or don’t I import?” Ack… .) These properties include

• Source Properties: This includes the basics — session name, type, and start time; bit depth; sample rate — of the selected source file.
• Audio Media Options: From this drop-down menu, select how you copy and consolidate the source’s audio files. Its options include
  • Link to Source Media (Where Possible): Use this option if you want to avoid duplicating files — it refers to your original files whenever possible. The files are copied only if they don’t reside on supported media (such as CD-ROM), or if they have a different sample rate or bit depth from the session you import into. This saves some space on your hard drives.
  • Copy from Source Media: Choosing this option copies all the audio files, automatically converting any files that have bit depths or sample rates that differ from those of the target session. This uses up space on your hard drive, but with today’s super-cheap drives, it’s not as big a deal as it used to be (when drives were expensive).
  • Consolidate from Source Media: This option copies and consolidates the audio in clips used in the source session, eliminating any unused audio from the parent files. When you choose this option, you also get to choose the handle length (the extra time before and after the clip start and end times). This keeps you from importing any unnecessary material if you’re sure that you won’t be using it in your session.
  • Force to Target Session Format: This option copies — and converts — any files that don’t have the same bit depth and sample rate as the target session; it points to (but doesn’t copy) any files that do match these traits. Use this option if you don’t want any extra stuff taking up room on your hard drives.
• Video Media Options: The drop-down menu here gives you two options when importing video data into a session: You can copy the stuff, or you can refer to the source material. Which option you choose depends on how much hard drive space you have and whether you think you need more than one copy of the original file. If you have tons of space and think you’ll be editing the data, by all means copy it. However, if you know you won’t be making any changes, there’s no need to add to the clutter of your hard drive.
• Time Code Mapping Options: Every video file contains time code data (information that lets you know where you are in the video). You can choose from three ways to place imported material in the session:
  • Maintain Absolute Time Code Values: This option puts your imported tracks at the same time location as the source session. This is a good choice if the session you import into uses the same start time as your source session and you want the imported session tracks to remain at the beginning of the session.
  • Maintain Relative Time Code Values: This option places the imported material at the same time from the start of the session as their source session. This means that if you have tracks in a session that start 30 seconds from the beginning of the session, they will remain 30 seconds from the start of the session into which they’re imported regardless of the actual start time of both sessions.
  • Map Start Time Code To: This option lets you choose a new start time for your imported files. When you select this option, you also select the start time for your imported file in the Time Value field. This option is useful when you have a different start time on the session data you want to import, and you want to place the imported data at a specific point in the new session. This start point is entered into the Handle Size field.
• Track Offset Options: The options in this section allow you to place the tracks relative to their original start times. For example, if you want to import session data into a track and have it start four measures (bars) after the session starts, you can select Bars:Beats from the drop-down menu and enter 4 in the text field.
• Sample Rate Conversion Options: If your source and target sessions have different sample rates (you select the sample rate of a session when you create it), you’re prompted to select whether sample rate conversion is applied and, if so, how it’s done. This area of the Import Session Data dialog box lets you do that, using the following options:
  • Apply SRC: Select this check box to apply sample rate conversion to your imported session data. When you select this check box, you can choose from the following options:
  • Source Sample Rate: This option lets you choose the sample rate from which your source files begin the sample rate process.
  • Destination Sample Rate: This setting is always the same as that of your current session.
  • Conversion Quality: This drop-down menu lets you choose the sound quality you get from the sample-rate conversion process. You have a choice among Low (fastest), Good, Better, Best, and TweakHead (slowest).
• Source Tracks: This section of the Import Session Data dialog box shows you all the source tracks in the session containing the tracks you want to import. Each track has a drop-down menu that allows you to either select it for import or not.
• Import: This section enables you to determine whether to import tempo/meter, key signature, and other configuration settings:
  • Tempo/Meter Map: Select this check box to import tempo and meter maps (specified tempo and meter events throughout the session) from the source session. Select this option if your source session contains tempo and meter information that you want to use in the target session.
  • Key Signature/Chord Map: You can import existing key signature data into your session by selecting this check box.
  • Markers/Memory Locations: Selecting this check box includes markers and memory locations with your imported session data.
  • Window Configurations: You can import window configurations (size and locations of open windows) into your session by selecting this check box. You can find out more about window configurations in Chapter 3 of this mini-book.
  • Mic PRE Settings: You can include settings for any Pro Tools mic PRE links that may be present. Using this setting requires a Pro Tools PRE device.
• Track Data to Import: This menu contains a list of all the track data in a session. The list includes these options:
  • Alternate Playlists: Checking this imports the alternate playlists from source track. These playlists appear in the playlist pop-up menu of the destination track.
  • Clips and Media: This option imports the audio files from the source track and also places them in the Clip List.
  • Clip Gain: This option imports the gain settings for any imported audio clips.
  • Clip Effects: This option imports the effects settings for any imported audio clips.
  • Main Volume Automation and Setting: This option imports volume-fader settings and any automation data on the source track’s volume-automation playlist, replacing the corresponding data on the destination track.
  • Main Pan Automation and Setting: Selecting this imports panning dial and pan automation settings in a track. This replaces any data in the destination track.
  • Main Mute Automation and Setting: This option imports any mute and mute-automation data settings and replaces any such data in the destination track.
  • Main Output Assignments: Choosing this option imports any channel-output assignments from the source track, including any multiple output assignments, replacing any data in the destination track.
  • Send Output Assignments: This imports send output assignments from the source track, replacing any in the destination track.

  • Plug-In Assignments: This setting imports all plug-in assignments from the source track. Any plug-ins in the destination track are replaced.

    Note: If there is a plug-in from your source track that is not available in the destination system, the plug-in appears in the destination track but is listed as inactive.

  • Plug-In Settings and Automation: Choosing this option imports the track’s plug-in settings and any automation data associated with the plug-ins (if you choose the import the source track’s plug-in assignments). If you choose not to import plug-in assignments, this option does nothing.
  • Elastic Audio Track State: Selecting this option imports the Elastic Audio track state from the source track, replacing any in the destination track.
  • HW Insert Assignments: This option, when selected, imports any hardware Insert assignments from the source track, replacing any such assignments in the destination track.
  • Voice Assignments: This option imports the source track’s voice assignment, replacing any voice assignments already in the destination track.
  • Input Assignments: This option replaces the channel-input assignment of the destination track with that of the source track.
  • Side-Chain Assignments: Selecting this option imports side-chain assignments associated with the plug-ins (as long as plug-in assignments are imported). If you choose not to include plug-in assignments, this option does nothing.
  • Track Active State: This includes the active/inactive state of the source track.
  • Track Comments: This setting imports any track comments associated with the source track, replacing any comment in the destination track.
  • Track Colors: This imports the track color of the source track and replaces the destination track color.
  • Record Safe/Solo Safe Settings: This setting imports the record-safe and solo-safe settings into your session, replacing any such settings in the destination track.
  • Track View Settings: Includes the playlist view and track height of the track.
  • Mix/Edit Groups: This imports groups from the session.
  • ICON Custom Fader Groups: This imports custom fader groups for Pro Tools | Ultimate systems with ICON hardware).
  • ICON Automation Snapshots: This imports automation snapshots from the Pro Tools | Ultimate systems with ICON hardware.
  • HEAT Switch Settings: This imports any HEAT switch settings from the session (only available for sessions with the optional HEAT software).
  • Object Assignment and Toggle Settings: This imports object output path assignment and Bus/Object settings from the session.
• Main Playlist Options: This menu lets you choose from the following options:
  • Import – Replace existing playlists: This option replaces any existing playlists while importing the playlists from your source session.
  • Import – Overlay new on existing playlists: This option also imports any playlist data, but instead of replacing items on an existing playlist, it adds to them.
  • Do Not Import: This is self-explanatory. Choosing this option doesn’t import any playlist options.

Importing tracks

After you have a chance to get comfortable with the Import Session Data dialog box, you can get some practical experience by using the following steps to import some actual tracks into a session:

1. Choose File ⇒ New Session to create a new session or choose File ⇒ Open Session to open an existing one.

2. Choose File ⇒ Import Session Data from the main menu.

   A dialog box appears, prompting you to choose a file from which to import session data.

3. Choose the Pro Tools file (.pts suffix) containing the track you want to import, and then click Open.

   The Import Session Data dialog box opens. (Refer to Figure 4-4.)

4. In the Import Session Data dialog box, go through the Source Tracks list and click the name of each track you want to import.

   To select multiple noncontiguous tracks, press and hold ⌘  (Mac) or Ctrl (PC) while you click the track names. To select multiple contiguous tracks, press and hold Shift while you click the names.

5. From the drop-down menus, choose your Audio Media, Video Media, Time Code Mapping, and Track Offset options.

   See the previous section, “Understanding the Import Session Data dialog box,” for more on how to use these options.

6. (Session-dependent) If the sample rate of your new session is different from the sample rate of the session you’re importing from, you need to first convert it to the target session’s rate before you can import it. Do this by selecting the sample rate of the source session from the Source Sample Rate drop-down menu and then choosing an option from the Conversion Quality drop-down menu.

   You find these drop-down menus in the Sample Rate Conversion Options section of the Import Session Data dialog box.

7. (Optional) If you want to import meter/tempo maps, key signature maps, markers or memory locations, or window configurations from the source session, select the appropriate check box(es) in the Import section of the dialog box.

   Importing these maps ensures that the target session has the same maps, locations, and/or window configurations as the source session.

8. Click OK.
9. (Optional) If you chose to copy audio or video media — or consolidate data from them — select a location to place the media files.

Exporting Clips

Because Clips are only portions of the audio in an audio file, Pro Tools lets you take this portion and make a separate file containing just this audio data. Exporting clips allows you to take a lovingly crafted musical element (a killer drum loop, for example) and use it in another session or application without having to re-create it from the parent audio file.

To export a clip as a new audio file, follow these steps:

1. Select the clip(s) by one of two ways:
   • From the Audio Clips list (located on the right side of the Edit window): Select the clip(s) you want to export by clicking the clip’s name. To select more than one clip, hold the Shift key while you click each clip’s name. (If the list isn’t visible, click the double arrows at the bottom left of the Edit window to call it up.)
   • From the Track playlist in the Edit window: Click anywhere on the clip to select it. To select more than one clip, hold the Shift key while you make your selections.

2. Choose Export Clips as Files from the Audio Clips drop-down menu (the menu you open by clicking and holding the Audio Clips name at the top of the Audio Clips list).

   The Export Selected dialog box opens, as shown in Figure 4-5.

3. Choose the export settings you want for your new file.
   • File Type: Choose the file type of the session you want to use this file in. If you’re not sure where you’re going to use the file, choose BWF or AIFF. You can read about these file types earlier in this chapter.
   • Format: Your choices here are (Multiple) Mono or Interealved (stereo). Choose the format appropriate for your file. If your drum loop, for example, is in stereo and has panning information, you’ll want to select Interleaved.
   • Bit Depth: You can choose bit depths of 16 and 24 bits (plus 32-bit float if you’re using Pro Tools 10, HD, or HDX). I recommend selecting the same bit depth as your current session.
   • Sample Rate: You choices include 8, 11.025, 16, 22.050, 32, 44.1, 48, 88.2, 96, 176.4, and 192 kHz. Choose the sample rate of the session you want to put this file into. If you’re not sure, select the same rate as your current session.
   • Enforce Avid Compatibility: Choosing this option includes frame-accurate edits and limits your sample rate to either 44.1 or 48 kHz. This ensures that your files are compatible with Avid video editing equipment. Unless you’re dong music for film, skip this option.
4. Select a destination for the file in the Destination Directory field by clicking the Choose button and following the prompt.
5. Select from the Resolve Duplicate File Names By options:
   • Prompting for Each Duplicate: This stops the exporting process and lets you know when Pro Tools finds a duplicate filename. You can then choose to either replace the original or create a new name.
   • Auto Renaming: You authorize Pro Tools to automatically create a new name for these files. This is the best option to choose if you don’t want to have to answer a prompt for each duplicate filename and you want to make sure that your original files aren’t replaced.
   • Replacing with New Files: This option replaces any existing files containing the same name with your newly exported ones. This is the option to take if you’re sure that you don’t ever want the original files bearing the same name.
6. Click Export.Your new file is created and saved to the destination you chose in the Destination Directory field of the Export Selected dialog box.

Exporting stereo-interleaved files

A stereo-interleaved file is a single audio file with all the stereo data contained in them. These types of stereo files are different than the ones used in Pro Tools, which consist of two separate audio files for stereo. One contains the left channel data, and the other contains the right channel data. Although Pro Tools doesn’t support stereo-interleaved file types, you can export Clips from within your session as a single, stereo-interleaved file. This is an important feature because many other audio applications — such as mastering programs — use stereo-interleaved files instead of the separate ones that Pro Tools favors.

To export a clip as a stereo-interleaved file, do the following:

1. Select either a stereo clip or two mono Clips one of two ways:
   • From the Clips list (located on the right side of the Edit window): Click the name of the clip to highlight it. To select two mono Clips, hold the Shift key while you click each clip’s name.
   • From the track playlist in the Edit window: Click anywhere on the clip within the track to highlight it. For more than one mono clip, hold the Shift key while you click each clip.

2. Choose Export Selected as Files from the Clips list drop-down menu — the menu you open by clicking and holding the Audio Clips name at the top of the Audio Clips list.

   The Export Selected dialog box opens. (Refer to Figure 4-5.)

3. Choose Interleaved from the Format drop-down menu.

4. Choose the rest of your settings for this file.

   Check out the previous section, “Exporting Clips,” for tips on what settings to choose here.

5. Click Export.

   Your file is created and saved on your hard drive so you can use it in an application that supports stereo-interleaved files.

Exporting clip definitions

Clip definitions are the information that Pro Tools uses to define the location, start, and end times of a clip within the parent audio file. If you’ve come up with some Pro Tools Clips that you want to use in another session (or some other application that supports Pro Tools Clips data), you can export clip definitions from your session without having to copy the clip as an audio file. In effect, all you save using this command are the pointers that make up the clip definition: The definition points to the parent file and not to the audio itself.

If you actually want to use a clip definition in another session or application, make sure that the clip’s parent audio file still exists on the hard drive. A definition that points to nothing is no help.

To export clip definitions, follow these steps:

1. Select the Clips you want to export the clip definitions for:
   • From the Audio Clips list (located in the right side of the Edit window): Select the clip(s) you want to export by clicking the clip’s name. To select more than one clip, hold the Shift key while you click each clip’s name. (If the list isn’t visible, click the double arrows at the bottom left of the Edit window.)
   • From the Track playlist in the Edit window: Click anywhere on the clip to select it. To select more than one clip, hold the Shift key while you make your selections.
2. Choose Export Clip Definitions from the Audio Clips list drop-down menu — the menu you opened by clicking and holding the Audio Clips name at the top of the Audio Clips list.

3. Click Export.

   The pointing data for the selected Clips are exported.