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Digital Subscriptions > MusicTech > Aug-18 > WORKING WITH THE I/O WINDOW IN PRO TOOLS

WORKING WITH THE I/O WINDOW IN PRO TOOLS

A little bit of outboard processing can go a long way. Mike Hillier explains how to integrate outboard with Pro Tools using the I/O window

PRO TOOLS TUTORIAL

TECHNIQUE WORKING WITH THE I /O WINDOW IN PRO TOOLS

The Pro Tools I/O window had a revamp in Pro Tools 12, but a lot of the new features went unnoticed as many users simply ignore the functionality built into this window. However, whether you’re mixing entirely in the box, incorporating a selection of choice outboard in a hybrid set-up or just using Pro Tools as a tape machine for entirely analogue mixes, setting up and learning your way around the I/O window is an essential step on the way to becoming a power user.

The initial set-up stages for the I/O window simply involve making sure Pro Tools can see all the inputs and outputs available on your audio interface, and naming any channels appropriately. We’re using a Lynx Aurora 16-channel interface, which is pretty simple to set up in this way, as all channels are line-level, with no built-in mics, or additional digital S/PDIF or ADAT options. So simply naming all inputs ‘Input ’ and outputs as ‘Output ’ makes sense. But if, for example, you are using the Focusrite Red 4Pre, you would likely want to label your eight analogue inputs differently from your stereo S/PDIF, 16-channels of ADAT, or 32-channels over DANTE – depending on how those things are hooked up in your studio. Alternatively, if you never use them, you might want to remove them from your I/O patch entirely, in order to save you time when selecting inputs and outputs in Pro Tools when working.

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About MusicTech

In response to the ever-growing world of sound design, we highlight many of the best tools of the trade to equip you to experiment yourself, step-by-step guides to various processes, plus interviews with those whose careers have been built in the world of professional sound design. Elsewhere, we speak to former Stereophonics drummer Javier Weyler, whose company Breaking Waves facilitate the sonic needs of filmmakers in innovative, creative ways. We also talk to mix engineer Giles Barrett about his boat-based studio and head inside Nottingham's newly-opened Mount Street Studios. Along with our usual range of in-depth reviews we see our tutorial section expand once more as we welcome a brand new Reason series. We hope you enjoy the issue!