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contents
Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
New Features in Pro Tools 9.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Contents iii
Chapter 5. I/O Setup Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
System Settings vs. Session Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Importing I/O Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Overlapping Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Input and Output Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Session Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Contents v
vi What’s New in Pro Tools 9.0
chapter 1
Introduction
Chapter 1: Introduction 1
Mixing and Recording What’s New for Pro Tools LE Users
• Increased number of audio and MIDI tracks
With Pro Tools 9.0, Pro Tools is now a single,
• Increased number of internal mix busses unified application. Pro Tools LE will no longer
• New Track and Send Output selector com- be developed. Pro Tools 9.0 effectively replaces
mands for faster, simplified signal routing and all lower versions of Pro Tools LE software. The
mixer configuration following features and enhancements are new
to Pro Tools for former Pro Tools LE users.
• Multiple Stereo Pan Depth options
• 7.1 and 7.0 standard HD surround formats These features have been available in lower
(Pro Tools HD and Pro Tools with Complete versions of Pro Tools for Pro Tools HD us-
Production Toolkit 2 only) ers. Subsets of these features have been
available in lower versions of Pro Tools in
• Support for EUCON™ for controlling
various combinations for Pro Tools LE users
Pro Tools with EUCON-aware control surfaces
with Music Production Toolkit 2, DV Tool-
kit 2, or Complete Production Toolkit.
Import and Export Options for All Pro Tools
Systems I/O Setup Improvements
• Advanced Import Session Data (formerly • Session and System settings
Pro Tools HD only, or Pro Tools LE with
DV Toolkit 2 or Complete Production Toolkit • Output and internal mix busses
only) • Ability to Import I/O Settings by page
• Import AAF and OMF sequences (formerly • Overlapping Paths
with the DigiTranslator 2.0 option only) • Improved session interchange
• New AAF import features and enhancements:
• Ability to import stereo AAF audio tracks Advanced DigiBase Features
• Ability to import RTAS plug-in data from • Advanced search features
AAF sequences • DigiBase Catalogs
• New Locators To Import setting for import-
ing locators from Media Composer–gener- Editing Features
ated AAF sequences • Auto-Scrolling tracks in the Mix and Edit win-
• Export AAF and OMF sequences (formerly dows
with the DigiTranslator 2.0 option only) • Advanced Beat Detective features
• Avid Interplay Support with Mac • Separate multiple tracks
• Ability to check data into and out of Avid In- • Collection mode
terplay directly with the Interplay Access
browser
• Export MP3 (formerly with the MP3 Export
option only)
• Export Session as Text (formerly Pro Tools HD
only)
• Feet+Frames www.avid.com
PRE Support
• Mic Pre Peripherals
• Mic Pre I/O Setup
• Mic PRE view
• Mic Preamp window
Chapter 1: Introduction 3
4 What’s New in Pro Tools 9.0
chapter 2
Pro Tools
Authorizing Pro Tools
These systems include Pro Tools software with
003® or Digi 002™ family audio interfaces, Pro Tools 9.0 software is authorized using the
Eleven® Rack, Mbox®, and Mbox 2 family audio iLok USB Smart Key (iLok) from PACE Anti-Pi-
interfaces, or M-Audio hardware. racy.
A Pro Tools HD 9.0 authorization lets you run Pro Tools software can use audio interfaces with
Pro Tools HD 9.0 on a supported Mac or Win- compatible Core Audio drivers for playback and
dows computer with Pro Tools|HD or recording with up to 32 channels of I/O.
Pro Tools|HD Native hardware. A Pro Tools HD
9.0 authorization also authorizes Pro Tools with Additionally, Pro Tools hardware continues to
Complete Production Toolkit 2 functionality on provide Core Audio drivers for use with
supported Mac or Windows systems without third-party Core Audio software applications.
Pro Tools|HD or Pro Tools|HD Native hardware.
Table 4. Pro Tools system audio playback, recording and voice limits
88.2/96 48 512
176.4/192 24 512
88.2/96 96 512
176.4/192 48 512
176.4/192 48 512
Pro Tools 9.0 lets you create a new Auxiliary In- 5 Click OK.
put, Audio, or Instrument track from a track or
send Output selector. When you create a new Pro Tools creates a new track with the output of
track in this way, the source track (or send) out- the originating track or send automatically
put is automatically assigned to an available in- routed to the input of the new track using the
ternal mix bus, as is the input for the newly cre- first available internal mix bus.
ated track.
4 Click OK.
choose None.
Check Data Into and Out of This dialog does not appear if you are im-
Avid Interplay with Interplay porting a sequence into an existing session.
Access If the Pro Tools Import Session Data dialog
appears, select the appropriate options and
In previous versions, Pro Tools had a limited-
click OK.
functionality tool for accessing files on Interplay
servers. Pro Tools 9.0 directly supports the Inter-
play Access browser, which offers expanded This dialog does not appear if you are im-
functionality for previewing, searching, and porting a sequence into an existing session.
sorting media. If the Pro Tools Import Session Data dialog
appears, select the appropriate options and
To check out a sequence from Interplay and import click OK.
it into Pro Tools using Interplay Access:
13 Pro Tools imports the sequence, copies any
1 Start Pro Tools.
media (if the settings require copying), and dis-
2 If you want to import the sequence into an ex- plays the imported sequence within the
isting session, open that session. Pro Tools session.
3 Choose File > Import > Sequence from Avid Inter- If the sequence was linked to media files on un-
play. The Interplay Access window appears. mounted volumes, the system provides a warn-
ing and asks you to mount those volumes before
4 In the Interplay Access window, expand the
you proceed with copying or linking to media.
Interplay database by clicking the plus sign (+)
next to it. For more information on using Avid Inter-
5 Expand the root folder of the database—usu- play with Pro Tools, see the Pro Tools Avid
ally titled AvidWG or a variation thereof—by Interplay Guide.
clicking the plus sign (+) next to its name.
6 Click OK.
See the I/O Setup Primer or the Pro Tools See “Session Interchange” on page 30.
Reference Guide for more detailed informa-
In Pro Tools 8.0.4 and lower, I/O settings are ses-
tion on configuring the I/O Setup.
sion settings. They are stored and recalled from
the session. When opening a session created or
edited on another system, any studio settings
configured for your system are overwritten by
the settings stored with the session file.
IO Setup Improvements 23
3 Click Create to create the new paths. To map all output busses of the same format to
one output path:
1 Do one of the following:
• Shift click to select contiguous Output bus-
ses.
Unmapped “MAIN” output bus – or –
4 Enable Mapping To Output for the bus path. • Command-click (Mac) or Control-click
(Windows) to select noncontiguous Output
5 Select the desired output path from the Map- busses.
ping To Output selector.
2 Option-Shift click (Mac) or Alt-Shift-click
(Windows) the Mapping To Output selector for
one of the selected Output busses and select the
desired output path (mono or stereo).
Mapping the “MAIN” output bus to output path “A 1–2” Only the selected mapped output busses of the
same format (such as stereo) are assigned to the
Any signals from tracks or sends sent to the bus
same output path. For example, you can assign
are now sent to the hardware outputs assigned
only the selected stereo output busses to output
to the corresponding Output paths.
path A 1–2.
To revert to the default bus configuration for your When you import I/O Settings, you can choose
system: to delete any unused path definitions before im-
porting the new paths, or leave unused path def-
1 Open the I/O Setup.
initions intact and add the new paths to the cur-
2 Click the Bus tab in the upper left. rent I/O Setup configuration.
3 From the pop-up menu to the right of the De-
For more information on importing and ex-
fault button, select one of the following:
porting I/O settings, see the I/O Setup
• All Busses Primer or the Pro Tools Reference Guide.
• Output Busses
• Internal Busses To import I/O Settings:
1 Click the tab for the page of the I/O Setup for
4 Click Default.
which you want to import settings.
Resetting busses to the default setting will 2 Click Import Settings.
rename all busses to their default name
(Bus 1–2, Bus 3–4, and so on). Option-click (Mac) or Alt-click (Windows)
the Import Settings button to import set-
5 Click OK to save changes and close the I/O
tings to all pages of I/O Setup.
Setup.
3 Select an I/O settings file in the Import Set-
tings dialog and click Import.
IO Setup Improvements 25
4 A dialog appears asking whether you want to output path that maps to output channels 1–6
delete existing paths. Do one of the following: (L, C, R, Ls, Rs, LFE) and also have a stereo out-
• Click Yes to remove any unused paths and put path that maps to output channels 1 and 3
add the imported paths to the current I/O (L, R).
Setup configuration. Any I/O assignments
and automation data associated with the
unused paths are also deleted.
– or –
• Click No to add the imported paths to the
current I/O Setup configuration.
IO Setup Improvements 27
1
Figure 1. Input signal path from an HD OMNI to the Pro Tools mixer as mapped in I/O Setup
Figure 2. Output signal path from an audio track to a physical output as mapped in I/O Setup
IO Setup Improvements 29
Recommended Output Path Naming
Session Interchange Schemes
When exchanging a session between Pro Tools Generally, you will want to use standard nam-
systems, you may need to reconfigure the ses- ing schemes for output paths in your Pro Tools
sion’s I/O settings. This will depend on system sessions. This facilitates session exchange be-
ID, path names and/or path format, as well as on tween different Pro Tools systems.
the Pro Tools versions of each system on which
the session is transferred. Here are some examples of standard industry
naming schemes:
• Main A, Main B
Path Names and Automatic Output
Bus Remapping • Studio A, Studio B
• Stereo A, Stereo B
A system ID is created and saved in a session for
• Meter
every computer the session is opened on (using
the computer’s MAC address). If Pro Tools finds • Monitor
a matching system ID when opening a session, • Aux A, Aux B
output paths are restored and no reconfiguring • Cue A, Cue B, Cue C, Cue D, Cue E, Cue F,
is necessary. Cue G, Cue H, Cue I, Cue J
• Dial Main, Dial A, Dial B, Dial C, Dial B,
When a Pro Tools session is opened on a system
Dial E
for the first time, Pro Tools attempts to automat-
ically remap output busses. • Efx Main, Efx A, Efx B, Efx C, Efx D, Efx E
• Music Main, Music A, Music B, Music C,
If Pro Tools does not find a matching system ID, Music D, Music E
Pro Tools attempts to remap output busses ac-
cording to the following criteria (in order):
Pro Tools Versions and Session
Path Name and Format Path names must be ex- Interchange
actly the same, and of the same format. Use the
When exchanging a session between systems
suggested path naming schemes (see “Recom-
with different versions of Pro Tools software
mended Output Path Naming Schemes” on
(such as your Pro Tools 9.0 system and a col-
page 30).
league’s Pro Tools 8.x system), use the following
Path Format Only If matching path names are to maintain paths and signal routing.
not found, Pro Tools remaps paths to existing
paths of the same format (channel width).
rent I/O Setup When Opened option be enabled contains overlapping paths where a smaller
(see “Sessions Overwrite Current I/O Setup path appears above a larger path in the I/O
When Opened” on page 22). In this case, any Setup, the larger path will be made inactive
custom settings saved with the session that do when the session is opened in Pro Tools 8.0.4
not match your system may need to be reconfig- and lower.
ured manually in the I/O Setup to match your
current studio setup.
Show Last Saved Setup and Show
If you created a backup of your I/O settings Current Setup
by exporting your I/O settings, you can im- When a session is opened that contains path
port settings after opening the session. “Im- definitions for unavailable I/O interfaces, the
porting I/O Settings” on page 25. I/O Setup lists those paths in italics.
Opening Older Sessions in Pro Tools 8.1 Clicking the Show Last Saved Setup button dis-
and Higher plays the audio interfaces used in the original
session. This temporary display lets you check
When opening sessions created in Pro Tools
the last saved I/O configuration for reference
8.0.4 and lower in Pro Tools 8.1 or higher, out-
while configuring the I/O settings for your sys-
put paths from the legacy session are re-created
tem.
as output buses. If the Sessions Overwrite Current
I/O Setup When Opened option is enabled, the Once a session has been opened with unavail-
output buses are mapped to session output able I/O retained, you can then reassign tracks
paths. to available I/O paths.
IO Setup Improvements 31
32 What’s New in Pro Tools 9.0
chapter 6
For most files, the Clip name is the same as the Database Comments in a Catalog are stored in
file name. For OMF Files, the Clip Name is the the Catalog database. Database Comments,
name that appears in the Avid bin. which can be up to 256 characters in length, are
searchable, cross-platform, and editable.
Clip names can only be edited in a Catalog. Ed-
iting the Clip name does not affect the actual Copy OS 9 Finder Comment to Database Com-
file; however, if you add the same file to a new ments (Mac Only) Copies an item’s OS 9 Finder
Catalog, it retains its original Clip Name. When comments to its Database comments.
you drag a file from a Catalog into a session, the
OS 9 Finder comments (from the OS 9 Get
edited Clip Name is what appears in the Time-
Info window) are not supported in OS X Get
line and Region List.
Info windows. Use the Copy OS 9 Finder
If the Clip Name is longer than 32 characters, Comment to Database Comments com-
Pro Tools truncates the name automatically mand to utilize any OS 9 Finder comments
when imported into the session. stored with your media.
1 Open any browser (including an existing Cat- Open the Catalog and drop new items from
3 Choose Create Catalog from Selection from the space, to expand your view of all existing Cata-
Browser menu. logs, then drop items onto any Catalog.
A new, fully indexed Catalog database of the se- To add a folder to a Catalog:
lected items is created.
1 Open the Catalog.
Creating Catalogs of Folders 2 Choose Create Folder from the Browser menu.
To create a Catalog of an entire folder and all its To delete items from a Catalog:
contents:
1 Select the items.
1 Open the Workspace browser, if not already
2 Press the Delete key, or choose Delete Selected
open.
from the Browser menu. A warning dialog ap-
2 Drag and drop a single folder onto the Catalog pears.
icon in the Workspace browser.
3 In the warning dialog, do one of the follow-
Pro Tools first indexes the folder, then a fully in- ing:
dexed Catalog is created, with the same name as • Click Cancel to cancel the delete operation.
the dropped folder. • Click Delete Files to delete aliases and asso-
ciated files from disk.
• Click Delete Aliases to delete only the
aliases and not the associated files.
Importing Offline Items from a Catalog Once the items are completely imported, they
With Catalogs, it is possible to search and im- appear as online items in the Timeline, Region
port files that are offline. For example, if you List, and in the Project browser.
have a music cue that you know you want to If the offline items match the session sample
use, but it resides on a CD-ROM or other un- rate, bit depth, and file format, no conversion is
mounted volume, you can spot the file from a necessary. As long as the volume is playable, the
Catalog to the session Timeline, and it is auto- items become playable in the session as soon as
matically imported into the session when the the volume is mounted.
volume is mounted.
If the volume is unsuitable for playback, you are
The first step is to add files to a Catalog (files informed that some items must be copied to
must be online to be added to a Catalog). Once suitable volumes first.
added to a Catalog, if the items are taken offline
they are listed in italicized text. For more information on Transfer files,
missing files, and relinking, see the
Pro Tools Reference Guide.
3 Click OK.
2 In the Beat Detective window, select one of Press Start+P (Windows) or Control+P
the following modes: (Mac) to move the selection up, or
• Bar|Beat Marker Generation Start+Semi-colon (Windows) or Con-
trol+Semi-colon (Mac) to move the selection
• Groove Template Extraction
down.
• Region Separation (audio only)
For information on generating beat triggers, 8 Configure the Detection options so the selec-
see the Pro Tools Reference Guide. tion’s peak transients are accurately detected.
5 Click the Collection Mode button. For information on generating beat triggers,
see the Pro Tools Reference Guide.
6 In the Detection (Collection Mode) section,
click Add to add all the current beat triggers to 9 Click the Collection Mode button again.
the collection.
1. Beat triggers
detected in Kick track
added to collection
Figure 6. Overhead mic track displaying a collection of beat triggers containing unique triggers generated from the
kick, snare, and hi-hat tracks
Delay Compensation
Within a session, you can choose to enable or Delay Compensation Time Mode
disable Delay Compensation (Options > Delay Delay values can be specified in either samples
Compensation). or milliseconds, as selected with the Delay Com-
pensation Time Mode setting in the Operation
Preferences page.
tion.
System Delay
Delay Compensation View
System Delay in Session Setup window
Indicators and Field
Pro Tools HD accounts for converter delays Delay (dly) Indicator
when using Automatic Delay Compensa-
tion. However, when using non-HD hard- The Delay (dly) indicator reports the total plug-
ware, System Delay only displays internal in (TDM and RTAS) and hardware insert delay
delay and does not take into account any la- on the track.
tency incurred by the analog-to-digital
(ADC) or digital-to-analog (DAC) convert-
ers in your audio interface.
2 Enter the total system delay into the User Off- Determining Your Hardware’s
set field. Insert Delay
Check the documentation for your external
hardware to see if it identifies the hardware la-
H/W Insert Delay tency, or use the following procedure in
(Compensation) Pro Tools to determine the latency for hardware
inserts.
Pro Tools 9.0 supports manual H/W Insert Delay
Compensation. This feature was previously only
To determine your hardware’s insert delay:
available with Pro Tools HD. To compensate for
the delay (latency) of any external hardware de- 1 Ensure that Automatic Delay Compensation is
vices (such as an effects unit) used in your ses- enabled (Options > Delay Compensation).
sion, you can set the amount of Hardware Insert
2 Change your session’s Main Time Scale to
Delay Compensation (in milliseconds) for each
Min:Sec.
external device. These times will be used by the
Delay Compensation Engine to time-align input 3 Create two tracks.
paths when the hardware insert is in use and De-
4 Place a short tone (or other sound with a de-
lay Compensation is enabled.
finitive beginning) on track 1.
Pro Tools 9.0 provides various time code and Time Code Displays the Time Scale in SMPTE
synchronization features for working with au- frames. The Time Code Rate and Session Start
dio, film, video, or digital video that were previ- time are set from the Session Setup window. The
ously only available with Pro Tools HD, Time Code Time Scale is absolute based on the
Pro Tools LE with DV Toolkit 2, or Pro Tools LE frame rate.
with Complete Production Toolkit.
Pro Tools supports the following frame rates:
For more information on working in • 23.976 FPS
Pro Tools with time code and synchroniza- • 24 FPS
tion, see the Pro Tools Reference Guide.
• 25 FPS
• 29.97 FPS
• 29.97 FPS Drop
Timebase Rulers
• 30 FPS
Pro Tools provides three additional Timebase • 30 FPS Drop
rulers to Pro Tools that were previously only
available with Pro Tools HD, Pro Tools LE with Secondary Time Code Ruler A secondary time
DV Toolkit 2, or Pro Tools LE with Complete code ruler, labeled Time Code 2, lets you refer-
Production Toolkit: Time Code, Time Code 2, ence video frame rates in the Timeline that are
and Feet+Frames. You can also spot audio to different from the session Time Code rate. How-
Time Code or Feet+Frames. ever, you cannot Spot to the Time Code 2 ruler
and it cannot be set as the Main Time Scale. The
For information on other Timebase rulers, secondary time code ruler can be set to show
see the Pro Tools Reference Guide. any Pro Tools supported frame rate. The Time
Code 2 ruler can also display the additional fol-
To add one of these rulers to the Timebase ruler:
lowing frame rates:
Do one of the following: • 50 FPS
• Select View > Rulers > Time Code. • 59.94 FPS
• Select View > Rulers > Time Code 2. • 59.94 FPS Drop
• Select View > Rulers > Feet+Frame. • 60 FPS
• 60 FPS Drop
Use the Current Time Code Position command to window and select Time Code.
redefine the current time code position and ses-
sion start time. By creating an insertion point Pro Tools displays time code values in the cur-
(or selection), and then entering the new time rently selected SMPTE frame rate.
code position for that location, the session start
time will be recalculated based on the new, rela- Sub Counter and Sub Time Scale
tive Time Code location. Display
You can display a Sub Time Scale in the Sub
To redefine a current Time Code code position:
Counter. For example, if the Main Time Scale is
1 With the Selector tool, click in a track (or set to Time Code, and you want to compare
make a selection) where you want to redefine SMPTE time to “wall clock,” when you are using
the position. 29.97 Non-Drop frame rate, click the Sub Coun-
ter selector and select Min:Secs as the Sub Time
If your insertion or selection is not on a Scale.
grid boundary, it will round to the closest
boundary.
PRE Support
Pro Tools 9.0 provides support for PRE that was Type
previously only available with Pro Tools HD.
The Type setting lets you select none or PRE. Se-
For information about PRE, see the PRE lect the PRE option to declare any connected
Guide. PRE.
Receive From
Mic Preamps The Receive From setting lets you specify the
MIDI In port to which the PRE is connected.
In the Peripherals dialog, the Mic Preamps page
lets you configure up to nine different Mic Pre-
Send To
amps (PRE) for Pro Tools.
The Send To setting lets you specify the MIDI
Out port to which the PRE is connected.
Defaults
To show or hide Mic Preamp controls in the Mix Mic Preamp Window Button
and Edit windows:
Choose View > Mix Window or View > Edit Win- Clicking the Mic Preamp Window button
dow, or click the View Selector in the Edit win- (labeled mic, inst, or DI) opens a floating Mic
dow or Mix window, and do one of the Preamp window, an alternative to Mix and Edit
following: window views. See “Mic Preamp Window” on
page 62.
• Select Mic Preamps View to show all Mic Pre-
amp controls, or deselect to hide.
Phase Button
• Select All to display the Pro Tools input/out-
put controls, Mic Preamps, inserts, sends, This button applies phase reversal to individual
and comments. channels.
• Select None to hide Pro Tools input/output
controls, Mic Preamps, inserts, sends, and High-Pass Filter Button
comments.
This button applies a high-pass filter to individ-
ual channels.
If you do not have your signal routed through To view a different Mic Preamp window:
an external effects unit, enabling the Insert will Click the Mic Preamp Windows button
effectively mute your signal. (labeled mic, line, or DI).
Gain Indicator and Mini Fader To open additional Mic Preamp windows:
The Gain indicator features a mini fader to ad- Shift-click the Source button in another Mic
just gain to the input signal on the PRE. The Preamp window.
gain range for each input (Mic, Line, and Instru-
ment) is 0 dB to +69 dB, adjustable in incre- To set a window to remain open:
ments of approximately 3 dB. Make sure the Target is deselected (gray, unlit).
Phantom Power
This button toggles 48V phantom power to Mic
inputs.
The Complete Production Toolkit 2 software op- • Up to a total of 192 voiced audio tracks (up to
tion for Pro Tools 9.0 provides additional fea- 512 voiceable audio tracks):
tures and plug-ins for music creation and post • Playback of up to or a combination of play-
production. ing back and recording up to 192 mono
tracks or 96 stereo tracks (192 available
For detailed information about the Com-
voices) at 44.1 kHz and 48 kHz
plete Production Toolkit 2 software option,
• Playback of up to or a combination of play-
see the Complete Production Toolkit 2
ing back and recording up to 96 mono
Guide.
tracks or 48 stereo tracks (96 available
voices) at 88.2 kHz and 96 kHz
For information on standard Pro Tools fea- • Playback of up to or a combination of play-
tures, refer to the Pro Tools Reference Guide ing back and recording up to 48 mono
(Help > Pro Tools Reference Guide). tracks or 24 stereo tracks (48 available
voices) at 176.4 kHz and 192 kHz
• Selection of alternate field recorder audio • Coalesce when Removing Slaves from VCA
channels in the Pro Tools Timeline Group
• Expanding alternate field recorder chan- • Standard VCA Logic for Group Attributes
nels to new tracks • Include Sends in Trim Mode
• Video editing