Viewing Mic Preamp Controls in Pro Tools
Both the Mix and Edit windows can be configured to show or hide PRE controls.
To show or hide Mic Preamp controls in the Mix and Edit windows:
Choose View > Mix Window or View > Edit Window, or click the View Selector in the Edit
window or Mix window, and do one of the following:
• Select Mic Preamps View to show all Mic Preamp controls, or deselect to hide.
• Select All to display the Pro Tools in-put/output controls, Mic Preamps, inserts, sends,
and comments.
• Select None to hide Pro Tools input/output controls, Mic Preamps, inserts, sends, and
comments.
Mic Preamp Window Button
Clicking the Mic Preamp Window button (labeled mic, inst, or DI) opens a floating Mic
Preamp window, an alternative to Mix and Edit window views.
Phase Button-This button applies phase reversal to individual channels.
High-Pass Filter Button-This button applies a high-pass filter to individual channels.
Pad Button-This button applies an input pad to individual channels to reduce input
sensitivity by 26 dB.
Insert Button-This button turns the MicLim limiter on/off on the 1788A. This feature is
not available on the 188.
Gain Indicator and Mini Fader-The Gain indicator features a mini fader to adjust gain
to the input signal on the PRE. The gain range for each input (Mic, Line, and Instrument)
is 26 dB to +65 dB, adjustable in increments of approximately 3 dB.
Phantom Power-This button turns 48V phantom power on/off to Mic inputs.
Declaring Multiple PREs
You can configure additional PREs (up to a total of nine) by repeating the steps above.
Make sure that none of the PREs are assigned to the same MIDI channel. Press and
hold Alt (Windows) or Option (Mac) while making changes to simultaneously apply
changes to the selected Mic Preamp and all Mic Preamps below it. When changing Mic
Preamp sources and destinations with the Alt/Option key, updates are applied
sequentially (for example, changing the Receive From destination in the second row to
PRE #2-2, will update the destination in the third row to PRE #3-2, and so on).
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