Routing audio playback to Pro Tools 003 rack

I've been using my Pro Tools hardware (digi 003 rack) to be able to play back my audio through my studio monitors. Recently the 003 rack doesn't come up as an option in my audio preferences. The only thing that comes up is Pro Tools Aggregate I/O, but this doesn't allow me to use my speakers. Does anyone know what the problem is?

I am a complete idiot. I am routing to a sampson C control and I didn't have the mix button depressed to mix my line out from the MAC and the outs from the presonus. I must have bumped it.
All is good.
Cheers.

Similar Messages

Export audio stems to Pro Tools 10

Hi,
Whats the quickest and easiest way to export audio stems for a sound guy who works with Pro Tools 10?
Sami

Hi Sami,
Typically when I send cuts to a sound designer working in ProTools I send them an OMF of the sequence. This sends them the cut data as well as all required audio files.
If you only want to send "Track Stems", baking all audio clips into tracks, then you can mute/disable all tracks and export mono/stereo audio files individually or you can create a new sequence with multichannel audio master (tracks tab when creating a sequence) and copy/paste your sequence into it, then route all your tracks to individual outputs. For example, if you had 8 tracks, you would create a sequence with 8 channel output, then route each track to a seperate output (if the tracks are stereo you will need to pan L/R for odd/even channels).
Cheers,

How do you export separate audio tracks for Pro Tools?

I need to give separate audio tracks to my sound mixer but am confused on how to do so in FCP X.
So far I've:
Set the dialogue roles and stems for each character
Then I went into Master File>Settings
Selected:
"Format: Audio Only"
"Audio File Format: Wav File"
"Roles as: Audio only as separate files"
"Dialogue"
Sara
"Stereo"
And when I export and listen back to the wav file, there is either no audio or I hear select dialogue.
The only thing I can think of that I am doing wrong, is that each characters dialogue is not on the same track like the picture below. The tracks highlighted is of one character's dialogue that I am trying to export onto one linear track to export into Pro Tools.
Can tracks be assigned in FCP X? Or is there a crucial step that I am forgetting tthat explains why the audio for each character is not being exported.
Thanks!

If you're dumping audio for ProTools, you should be able to export XML for use in PT. Haven't done it myself, but the option's been there for a while now. You should be able to find instructions easily.
If you want to stick with making Roles work, I suggest making sure the roles are assigned properly to each clip. Kind of a super pain in the neck, to go one by one, but ... that's the way. There are key commands for the three default roles, but if you've created custom ones then it's more time consuming. Is that 'Sara' one a custom Role that you've created?
My only thought is you have compound audio clips there. Maybe go in and set the roles on the individual files inside the compound clips. Dunno...
The visual organization shouldn't matter (one track above another). That's the X way.
((In your picture, you say you have some files selected. When I select, I get a yellow border; yours are light green and dark green. What is that?))

How to "Export All Tracks as Audio Files" in Pro Tools?

I have a Pro Tools session that I want to mix in Logic. So I need to bounce all tracks as audio files like Logic's "Export All Tracks as Audio Files" command. Does anyone know if this is possible in PT, or do I need to bounce one track at a time (in realtime!)?

Sorry, but the previous answers are not quite correct. Consolidate tracks will only merge all your edits and fades and make a new audio file out of it. It wont consolidate any automation or insert effects. The same is true for exporting audio from the regions pane. Therefore you still have to perform a "bounce to disk" in order to consolidate properly. So no it doesn't have the "Export All Tracks as Audio Files" option......
Christian,
When "exporting" from one DAW to another, it's generally understood that automation and plug-ins will not be included.
Exporting from Pro Tools does indeed bounce the files to disk. We aren't talking about a stereo mix here. We're talking about exporting all the individual tracks. Are have I misunderstood you?
.... which leads me on to this question. How long has logic had the "Export All..." function as I have been performing "track lays" (i.e. getting my logic stuff ready for a pro-tools mix) for films that can often take days to perform and am embarrassed to stumble across this option on this forum as I fear I may have cost myself several weeks of my life working the long way round!!!
"Export All tracks as Audio Files" was introduced in version 7.0.
Don't feel too ashamed though. I have a good friend, who has been using Logic daily as long as I have (8 years or so now), who only 3 months ago, saw me utilizing that feature, and his jaw dropped. He too, had been wasting "weeks" of his life, doing it the way you have been doing it. : )
You're gonna absolutely LOVE using that feature from this day forward...!

Easiest way of bringing audio files from pro tools to logic w/o using omf

I have a session recorded in pro tools that I am trying to get in logic so I can mix, since logic has way more plug-ins than pro tools but when I import the audio files they all start at 1. I need the files to show up where they were recorded at in pro tools. I tried putting these files in the audio bin first and bringing to the arraange but they still started at 1. Can I get logic to this? if not does anyone know a work around?

You need to consolidate the files in Pro Tools first, so they are all starting from the same point.
From within Pro Tools... select al the regions in Pro Tools, (make sure all tracks are selected) ,place the curser at the end of the song, hold down the shift key, and hit return. This will select the whole session, form bar 1, beat 1.
At this point, if there are tracks with many edits, I will first duplicate them (option/shift/3). These duplicated tracks are then pre-selected for you, and you can go ahead and consolidate them to a folder of your choosing by hitting command/shift/K.
Then open a new Logic song, and add these files to the audio bin. Place them on the arrange page, all starting from bar 1, beat 1, and they'll all play in perfect sync.
I do this frequently, btw, and it works 100% of the time, with absolutely no problems.

How do I export detached audio files as separate files, for Pro Tools processing?

My project is a live band performance. I have every song as a separate Event with associated audio. I have detachd all the audio from all the video Events. I now want to Export the audio files to Pro Tools for editing, then Import the edited audio back into FCP X and snap the edited audio to the associated video Events.
My problem is this: FCP X keeps exporting the audio as a single large WAV file, rather than as separate WAV files. In fact, the video events are separate, and so the audio associated with the video Events are separate.
I first renamed the Role of every audio file as "Music", then did a Share --> Export Media of all "Music" audio Roles. After exporting, I found it was one large WAV file, rather than separate files of different sizes.
As a 2nd try, I created Sub-Roles for each audio clip, and named each one with a distinct Sub-Role name. I then Exported all these Sub-Roles (yes, tedious). The result was that every exported WAV file was the same size, the same as the file size in my first try. The only audio that could be heard in each file was the audio in that particular song, but FCP X still created the very large file with silence in all the rest of the file. Since the file lengths don't match the original audio fil lengths, there will be a problem when I Import the edited files back into FCP X and want to Snap them into place.
Question:
How can I export the individual detached audio clips as separate files, the length of each file equaling the length of the original audio file in FCP X?
Do I need to separate the detached audio into separate Layers visually in the Project Timeline, so they are not touching? Or does this matter?
Help!!

Michael Holmes1 wrote:
I have to record all the color changes I make in one Project, so I can repeat them in the other 17 projects, etc.
No.
You need to explore Compound Clips. This workflow may or may not be of help.
Select an Event with clips in it and press Option+G to make a (blank) compound clip.
Select the Event Browser, create a new Event and call it 'Effects'.
Drag the Compound Clip into this Event.
Right-click the clip and select 'Open in Timeline'.
Select the timeline and press Option+W. This will add a Gap Clip to the timeline.
Select the gap clip and press Ctrl+D then type in the duration you want the clip to be.
Now open a project and select and copy one of the clips with effects etc.
Open the Compound Clip in the Timeline again, select the gap clip and press Option+Cmd+V to paste the effects into your Compound Clip.
This clip is now saved in your Browser and will remain there for you to copy and then paste the effects into any clip in any project.
It's a bit clunky, but it works - and once you learn about Compound Clips, you can work wonders with them. As an example, if you want to add more effects without overwriting the effects in the Compound Clip, simply make the Compound Clip into a Compound Clip (again) and add the effects. They will be added to the original effects.
Andy.

OMF CS4 issue - Seperate audio tracks output as identical files on Pro Tools import

OMF issue - seperate audio tracks outputs as identical files
I am having some serious trouble when trying to export an OMF from a p2 DVCPROHD 720p50 project in CS4, and importing it in Pro Tools. The project is complex with over 12 hours of HD-footage and many sequences and titles.
When exporting an OMF from a thirty minute sequence to work with the audio in Pro Tools, all four tracks turn out identically in Pro Tools on import. However, the tracks are different in the Premiere Pro CS4 timeline.
We have tried both encapsulated and separate audio, we have tried importing the timeline/sequence into a new premiere project and exporting an OMF from the new project with no success. However, when we started a new project and simply imported one of our p2-files, and exported an omf, it worked fine, with 4 different audio tracks in Pro Tools.
We also tried exporting 4 different OMF-files (one for each track), while having deleted all the other tracks. This remarkably also resulted in four identical tracks in Pro Tools!
The OMF does not exceed the 2GB limitation.
Can anyone help us? Have a project due on Monday, and need to start working on the audio ASAP.
FMP10SH

The "Source Channel Mapping - Default Track Format:" is set to "Use File". We recorded with a Panasonic HPX301 camera, which has three XLR-inputs, and we used all of them. So two of the tracks are identical recordings (from one of the XLR-inputs), while the two remaining are different, so in total there are three different tracks of oudio, all mono.
When we put a p2-file into a sequence it has four tracks of audio linked to it, with the corresponding sound. So everything seems to be in order in Premiere, but for some reason they end up being four identical tracks in Pro Tools. As mentioned we tried making a new project with the same settings as in the project we are currently working, and we imported a single p2 clip. We exported a sequence with this clip as an omf with all the same settings, and this time it worked. The four tracks were different in Pro Tools when the OMF was imported. So it seems that the complexity of our project, or some setting that we are not aware of but have been altered by a mistake has made this project impossible to export correctly as an omf.
But if there are any solutions to this we would be deeply grateful!
thnx

Optimal Hard Drive Configuration for Premiere Pro CS5 and Pro Tools

I am in the process of upgrading a workstation that is used primarily for multi-track audio recording in Pro Tools to use the following Adobe CS5 products for production of promotional videos in HDV (and AVCHD for the web) as well as printed marketing materials for bands and musicians: Premiere Pro, Encore, Photoshop, Illustrator and Soundbooth.
Since Premiere Pro is probably the most demanding application of the group, I have been studying the suggested hardware configurations on this forum with great interest, particularly HARM's suggestions (including his Generic Guideline for Disk Setup) to determine which hard drives to purchase and the optimal manner in which to configure them.
I am upgrading an HP Z800 with dual quad core 2.44 GhZ processors with hyperthreading (16 virtual cores), 12 GB of memory and an overclocked GeForce GTX 470. Without setting up a RAID configuration (which I cannot afford at the moment), I would like to use the 4 available HDD bays in the Z800 in the optimal manner for Premier Pro, using currently available drives. I am currently considering purchasing a 300GB VelociRaptor to use as my C drive because of the extended load times and demands placed on the drive by ProTools and the associated Waves plug-ins.
I would appreciate suggestions to improve my following plan: C (300GB WD VelociRaptor) for OS and Programs; D (1 TB WD Black Caviar) for Media and Projects; E (1 250 GB WD Black Caviar) for Pagefile (approx. 18 GB) and Media Cache; and E (2 TB WD Black Caviar) for Previews, Exports and Pro Tools audio files.
I have great respect for the knowledge of the members of this forum and eagerly await your suggestions.
/Bill

I very much appreciate the responses to my email because I know that all of your time is valuable and that you have chosen to use some of that valuable time to help an unknown individual. This forum is remarkable because of the wealth of knowledge available and the willingness of so many to assist others.
I now wish to narrow my questions to save you time and so that I can get specific advice. I may not have not been clear that I have already upgraded to the HP Z800 with dual quad core processors and overclocked GTX 470, primarily for the improved performance it will provide in ProTools. My question now is how to optimize its performance for Premiere Pro CS5. Based upon my research, I am considering the following two upgrades, but I am open to other suggestions if they would provide better results at a similar cost
1. I am considering purchasing a 600GB WD VelociRaptor ( WD6000HLXH) for my C drive on which I would place OS (Windows 7, 64 Bit) and programs in an effort to reduce loading times of large programs. I have two questions: (1) Are members of the forum seeing a significant improvment in program loading times with the VelociRaptor because I am still not convinced that the price performance of SSD's justifies their use; and (2) There are so many models of VelociRaptors now that I want to be certain that I am purchasing the best version for my needs. In addition to the usual 10000 RPM speed, this model has 32MB Cache and a 3.5" form factor as well as a SATA 6.0GB/s interface (which I doubt my motherboard can take advantage of but it might extend the useful life of the drive with future configurations).
2. I currently have available for installation in the Z800 the following drives: (1) WD 2TB Black Caviar; (1) WD 1TB Black Caviar; (2) Hitachi 1TB. I believe that the Z800 can accept up to 5 SATA hard drives which I will have if I purchase the Velociraptor. Although I am reasonably knowledeable when it comes to hardware, I have never set up a RAID configuration. Therefore, it would be helpful if someone could recommend one of the various RAID configurations and brieflyexplain why it would seem to be best for my needs. I can then focus my research on understanding that one configuration.
I was planning to follow Scott's suggestion for my current 3 drives: OS and programs on C (WD 600 GBVelociRaptor), media and projects on D (WD 1TB Black Caviar), export files and Pro Tools files (all live musician tracks, no samples) on E (WD 2TB Black Caviar). However, I have been reading about the benefits of a RAID configuration so I am interested in further suggestions now that I have clarified my questions.
Thank you all for your help.
Bill

Pro Tools & Kontakt 3 using converted Giga samples

Any help or advice would be greatly appreciated.
1) Computer
iMac running OSX (10.4.11).
2.1 GHz PowerPC G5
2.5 GB DDR2 SDRAM
2) Host
Pro Tools LE 7 (version 7.3)
3) Sample Instrument
Kontakt 3 (version 3.0.2.004)
DFD info:
Channel Buffer Size: 120.0kB
Preload size: 72.00kB
4) Samples are located on an external drive connected via Firewire
Hello,
Used Gigastudio for ever. Recently switched to Kontakt 3 because it converts and plays all the giga files.
When I play instrument thorough pro tools as a plug in sampler instrument everything sounds and plays perfectly. I hear the whole sound of all the instruments. attack and sustain (if I hold down the keys). and when I record the instruments into Pro Tools I hear the whole sound (attack and sustain). And Pro Tools records the proper midi data in the track with the proper length of sustain.
The problem occurs upon playback. Pro Tools only plays the attack and the sustain is lost. I have noticed it on
Nemesys GigaPiano 1GB
Synclavier Keys & Guitars
Larry Seyer Acoustic Bass
Dan Dean Bass
SI Hammond B3
Well.. pretty much everything.

Boy, do I feel like a *******!! I renamed a folder on the aux drive, for "convenience," yeah right. Thanks to David Das on the NI Kontakt forum who asked me the $64,000 question.
later,
John

Pro tools le?

Whats up fellas. I'm considering buying a digi mx002. Used to use a pentium4 pc with a yamaha 01x and cubase, but my computer died, so I'm probably gonna get a G4 desktop and pro-tools. Problem is I can't seem to find the system specs I need to run pro-tools le anywhere on the digidesign site, or even off of a google search.....can someone help me out? Thanks for your input!

The reason why most "pros" use Pro-Tools is because all they need as engineers are mostly audio tracks, and Pro-Tools is very simple for that. But "pros" who work with audio and midi, use Logic. Specially in electronic music, Logic is a must, and the only way to know that is by having both applications.
P.S. Digidesign's hardware is very clean sounding, and Pro-Tools is a must have if you share work with comercial studios, that's why I use they're hardware and have Pro-Tools somewhere on my dock. But whan it comes to DAW versatility, and production power tools, Logic is a combat jet and Pro-Tools is just a comercial airliner.

Pro Tools files imported to FCP X causing QuickTime movie problem

Well 2 days later and hours on the phone with Apple tech support Senior Advisors, and problem still not solved. HELP.
Everything works fine in FCP X, but when I create the QuickTime movie, it is way out of sync (by many seconds).
We have isolated the problem to audio files that I am exporting to Pro Tools, processing, and then importing back into FCP X. I can create a QuickTime movie with the original video/audio and it is fine.
Information
The original video came from Canon HF M40 camcorder: AVCHD (using MPEG4-AVC / H.264 compression codec), MTS format. Audio is 48kHz, 24 bits.
I used ClipWrap to rewrap the video into ProRes 422 and decompress the audio and save as LPCM.
I simply provide this FYI. As I said earlier, the original video works fine and the resulting QuickTime movie works fine. So the original files imported into the FCP project are not the problem.
The creation of the problem audio occurs as follows:
- Detach the original audio from the original video, and export
- Import this audio into a 48.0 kHz/16-bit Pro Tools HD session and EQ/limit the audio
- Import the resulting audio into FCP X (exact same length file, audio waveforms aligned with the original audio).
This audio works fine in FCP. It is in sync with the video, everything looks great.
I ran Pro Tools at 16-bits because a senior advisor told me FCP runs at 16-bits but does not convert imported stand-alone audio (as opposed to combined video/audio) to 16-bits; thus the Pro Tools session had to be at 16-bits. I changed from 24-bits to 16-bits, and this didn't solve the problem. (FYI, when Pro Tools imports the original audio exported from FCP, it says the audio is 24-bits, not 16-bits).
What is the problem?
The basic question is why does this audio cause QuickTime a problem?
Something is going on in the conversion to the QT movie. In FCP X, I don't have a way to play with the conversion variables except to set "Video and Audio" and "Use current settings" (which is ProRes 422).
The only difference I see between the original audio and the Pro Tools audio is that the original audio is stereo and Pro Tools works with dual mono files (L & R). The mono files work fine in FCP and I can't imagine why QT would have a problem with these, but I haven't tried converting the files to stereo before importing into FCP.
I should also mention that I selected the stabilization and roll correction algorithms in FCP. I assume these don't create problems in QT. I mention this because I didn't use them when I tested making a QT movie with the original video/audio files.
FCP and Pro Tools are used together all the time to do exactly what I am doing......improve the sound of the original audio. They are the premier video and audio professional programs. Of course, the final product is often not a QuickTime movie, but many times it is a QT movie.
What the heck is going on???
HELP.

(1) It is immediately out of sync. It even appears to be speeded up to me initially, but this is subjective. But it is clearly out of sync throughout, not a gradual drift.
(2) When I create the audio files in the Pro Tools session, the files are automatically stored in the audio folder of the Pro Tools session. So I don't actually have to go through an export process. I just close the Pro Tools session, then open FCP X and import the audio from the Pro Tools folder.
I'm not sure what additional specifications you seek, other than:
- wav files
- sample rate = 48 kHz
- Bit rate = 16-bits (and earlier I used 24-bits)
- Files are dual mono, rather than stereo (name_01.L.wav, name_01.R.wav). As I mentioned above, I have not yet tried converting these to stereo before importing into FCP, to see if dual mono causes an issue with QT. It does not cause a problem in FCP. I will try this today if we don't solve the problem.
(3) I can upload a portion of the audio to a server and send you a link to the file so you can download it. Is there a way to private message on the forum so I can get an email address to send you the link?
(4) The original video came from Canon HF M40 camcorder: AVCHD (using MPEG4-AVC / H.264 compression codec), MTS format. Audio is 48 kHz, 24 bits.
I used ClipWrap to rewrap the video into ProRes 422 and decompress the audio and save as LPCM.
The FCP Project was set up at:
- Starting time code - 01.00.00.00
- Format - 1080p
- Resolution - 1920 x 1080
- Frame rate - 29.97p
- Audio channels - stereo
- Sample rate - 48 kHz
- Rendering format - Apple ProRes 422

Logic Pro 9.1.3 with Pro Tools HD 8.1.1

Hey guys,
I've been reading all day and hoping I could make this happen but I'm losing hope.
I have an Pro Tools HD 2 system with 8.1.1 and Logic Pro 9.1.3 installed on my computer.
I currently have Logic slaved to pro tools but I can only get sound to come out of the built in output of the speakers which I then record it to pro tools on seperate passes. I'm trying to get my logic instruments to go out seperate audio channels and into seperate audio tracks on Pro Tools.
For example, I want a sound from my exs sampler to be monitored through my pro tools channel 1-2 and a sound from ES1 or some synth to be monitored through channels 3-4.
It would just make things sooooo much easier if this could happen! I also have reason 5 rewired to logic which I wanted to go through logic into pro tools on seperate channels as well.
As of now, I'm using all 3 programs but I have to use just one stereo channel in pro tools to monitor both logic and reason!
Is it possible to assign logic to go out different output channels into different pro tools tracks??????
Thanks much - Oh yeah I'm also on Snow Leopard if that matters.
Josh

Avid dropped support for Logic TDM in Pro Tools HD 8.0.3. You need Pro Tools HD 8.0.1 if you want to use Logic with TDM hardware. Pro Tools HD 8.0.1 is qualified up to OS 10.5.8. Anything else is untested.
Logic followed suit by dropping the DAE menu in version 9.1 or later (gleamed from reading these forums), but annoyingly did not mention anything in their release notes. 9.0.2 is the last official mention of TDM support.
You can always use eight channels of Avid hardware with CoreAudio. By using aggregate IO you can do what you need to with eight channels. If you want to use DAE TDM, the only guarantee is PT HD 8.0.1, Logic 9.0.2, OS 10.5.8.

NEED HELP TRANSFERING FROM PRO TOOLS TO LOGIC!!!!!!!

Hey this is my first post, so hello to everyone on the boards. My question is that I am going into the studio to record live drums this weekend in a studio using pro tools, however i'm doing everything else at home, so i was wondering if anyone knows how i can transfer the audio files from pro tools on one computer to logic on mine. Also, please let me know if it works the other way as well, because i'm going back in to record vocals in the studio. Any help would be greatly appreciated!!!! THANKS!!!!!

Best way to do this is to "consolidate" the files in PT so that they all start on bar 1, beat 1. Once you do this you can be assured that all files are aligned to start at the same point. Copy the files over to your Logic compute, drag them all into Logic's arrange window and then slide them all to 1 1 1 1. You're good to go.

Random Audio Crackling and Popping on playback in FCP and Pro Tools

Hello All,
In both Pro Tools LE through an original MBox (with latest firmware), via USB and Final Cut Pro using an Edirol USB audio interface, I get random cracks and pops in different places that aren't in the actual audio files. They are not in the waveforms, and they never happen in the same spot twice...just random. There's no telling when they will be heard, but they are very loud and sharp, and I'm afraid of damaging my powered monitors, not to mention my nerves as I'm in the middle of an intense sound design for a film.
I've tried looking up this topic, and I've seen some topics mentioning sync/clock....like it's a problem with sync being generated internally, as opposed to using an external word clock generator. I never had this problem before on my older dual 2.0 PowerMac (PPC), and I really can't spring for a word clock generator right now...anyone else experience this with their Intel Mac Pro? I've looked for new firmware updates et al, but everything on the computer is up to date. This is really driving me nuts right now.
PowerMac G5 Mac OS X (10.4.3) Dual 1.8
Mac Pro Mac OS X (10.4.8) Dual 3.0

Interesting point about the winter/static. The only thing is that I never had those problems before with the same setup on my older dual 1.8 PPC G5 PowerMac, through several winters.
My current setup is a dual 3.0Ghz Intel Mac Pro with 3Gb of RAM. the RAM is the right kind and it has checked out as a-okay via numerous tests. The video card is the stock NVidea 7300 GT. For Final Cut Pro and general audio playback, I use an Edirol UA-1EX usb interface http://www.roland.com/products/en/UA-1EX/index.html (w/ updated drivers and all) hooked up through one USB port. For Pro Tools LE 7.3.1, I use an original Mbox, also updated with the latest firmware and all (got rid of the distorted noise problem with firmware update v22), also hooked up to a USB port. I used this exact same setup on my previous Dual 1.8 PPC G5 PowerMac with no such issues for several years. Both interfaces are routed to a Mixer, and onto my monitors. I don't think it's the mixer that's doing it because it didn't ever crackle/pop with my older G5, and still doesn't, which I still use for other things, but routed through the same sound system. I can understand the use of an external clock generator and such, but for many years, I never had this problem with random crackle/pop on playback with other computers that did not use an external sync/clock device. I would think that a computer as new and 'advanced' as the Intel Mac Pro would offer even better results than previous models. Again, the noises aren't printed onto the actual sound files, they come up randomly, but most often after adding a fade/volume change/effect and playing back.
I have just installed a PCI-Express USB 2.0 card for use with both the Edirol and MBox, just in case it was an issue with the built-in MAC USB ports. I will see if that helps.
Mac Pro Mac OS X (10.4.8) Dual 3.0
Mac Pro Mac OS X (10.4.3) Dual 3.0
Mac Pro Mac OS X (10.4.8) Dual 3.0
PowerMac G5 Mac OS X (10.4.3) Dual 1.8

Logic Pro 8 and Digi 003 Rack

I am successfully using the Digi 003 Rack as my audio hardware. The latency is better using instruments and audio then when I am using Pro tools, I highly recommend! I am on a 2.8 Intel Imac, 4g ram, 10.4.11 OSX.
My problem is I cannot get the midi to work. I have USB controllers working like the Oxygen *, trigger finger,etc but I have not been able to get logic to see the digi 003 midi. Has anyone successfully gotten logic to see the midi from the digi 003? Please instruct how to set up this configuration.

http://www.digidesign.com/index.cfm?langid=100&navid=125&itemid=5025
*To use MIDI Mode on 003, you must first download and update the firmware on your 003:
003 Firmware Update for MIDI Mode
http://www.digidesign.com/index.cfm?langid=100&navid=54&itemid=24726

Routing audio playback to Pro Tools 003 rack

Similar Messages

Maybe you are looking for