Avid Technology DigiDesign PRE User manual

Pro Tools | PRE™Guide
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Guide Part Number 9320-65272-00 REV B 08/14

Contents iii
Chapter 1. Introduction .........................................................1
Pro Tools | PRE Features...................................................1
What’s Included ..........................................................1
System Requirements and Compatibility Information ...............................2
Registration .............................................................2
Conventions Used in This Guide..............................................2
About www.avid.com ......................................................3
Chapter 2. Hardware Overview and Stand-Alone Operation ...........................5
Pro Tools | PRE Front Panel.................................................5
Pro Tools | PRE Back Panel ................................................10
Using Pro Tools | PRE in Stand-Alone Mode ....................................12
Calibrating Pro Tools | PRE and Other Devices ..................................13
Adjusting Channel Controls ................................................13
Adjusting Input Gain......................................................14
Muting Channels ........................................................14
Chapter 3. Remote Operation ...................................................15
Connecting Pro Tools | PRE to a Pro Tools System ...............................16
Configuring MIDI Studio in AMS for Pro Tools | PRE ..............................18
Configuring MIDI Studio Setup for Pro Tools | PRE ...............................19
Configuring Pro Tools Software for Pro Tools | PRE ..............................19
Mic Preamps in Pro Tools Edit and Mix Windows.................................23
Viewing Mic Preamp Controls in Pro Tools .....................................24
Mic Preamp Controls .....................................................24
Mic Preamp Window .....................................................25
Adjusting Mic Preamp Controls..............................................27
Adjusting Controls on Multiple Pro Tools | PREs .................................27
Mic Preamp Remote Control with Control Surfaces ...............................27
Contents

Pro Tools | PRE Guideiv
Chapter 4. Specifications ...................................................... 29
Chapter 5. Pinout Diagram for the PRE DB-25 Connector ........................... 31
DB-25 Connector ....................................................... 31
Chapter 6. MIDI Controller Numbers ............................................. 33
PRE MIDI Data ......................................................... 33
Chapter 7. はじめに ............................................................ 1
Pro Tools | PRE の特長 ............................................... 1
内容 .................................................................. 1
システムの必要条件と互換性情報 ............................................ 2
登録 .................................................................. 2
本ガイドで使用する表記法 ................................................. 2
www.avid.com について .............................................. 3
Chapter 8. ハードウェアの概要とスタンドアロン操作 ................................. 5
Pro Tools | PRE のフロントパネル ....................................... 5
Pro Tools | PRE のバックパネル ....................................... 11
Pro Tools | PRE をスタンドアロン・モードで使用する....................... 13
Pro Tools | PRE や他の機器をキャリブレートする .......................... 15
チャンネル・コントロールを調整する ........................................ 15
インプット・ゲインを調整する ............................................. 16
チャンネルをミュートする ................................................ 17
Chapter 9. リモート操作 ....................................................... 19
Pro Tools | PRE をProTools システムに接続する ....................... 20
Pro Tools | PRE 用に AMS のMIDI スタジオを設定する ................... 22
Pro Tools | PRE 用に［MIDI スタジオ設定］を設定する .................... 23
Pro Tools | PRE 用に ProTools ソフトウェアを設定する .................. 23
Pro Tools の編集ウィンドウとミックス・ウィンドウの［マイク プリアンプ］....... 28
ProTools にマイク・プリアンプのコントロールを表示する..................... 29
マイク・プリアンプ・コントロール ......................................... 29
マイク・プリアンプ・ウィンドウ ........................................... 30
マイク・プリアンプ・コントロールを調整する ................................. 32
複数の PRE のコントロールを調整する ...................................... 32
コントロール・サーフェスでマイク・プリアンプをリモート・コントロールする ........ 32

Contents v
Chapter 10. 仕様 ..............................................................33
Chapter 11. Pro Tools | PRE のDB-25 コネクターのピンアウト図 ................35
DB-25 コネクター .....................................................35
Chapter 12. MIDI コントローラー番号............................................37
PRE のMIDI データ ...................................................37
Appendix A. Compliance Information ............................................41
Environmental Compliance.................................................41
EMC (Electromagnetic Compliance) ..........................................42
Safety Compliance.......................................................43

Pro Tools | PRE Guidevi

Chapter 1: Introduction 1
Chapter 1: Introduction
Pro Tools | PRE™ is designed especially for use
with Pro Tools®systems, but it can also be used as
a stand-alone microphone preamplifier. When
used with Pro Tools, most PRE features can be
controlled from within the Pro Tools application.
With or without remote control, PRE can be con-
figured manually using its front panel switches and
displays.
PRE can also be remotely-controlled by other
MIDI devices through standard MIDI controller
data. See Chapter 6, “MIDI Controller Numbers.”
Pro Tools | PRE Features
• Eight high-performance, discrete matched tran-
sistor hybrid microphone preamplification cir-
cuits
• Remote control with qualified Pro Tools sys-
tems and control surfaces (such as D-Control™,
D-Command®, C|24™, and Command|8®)
• Industry-standard DB-25 output connectors for
easy connection to Pro Tools audio interfaces or
any other recording or mixing medium
• Each channel features:
• Support for microphone (XLR), line level
inputs (1/4-inch), or direct instrument (1/4-
inch)
• Selectable impedance settings for Mic input
• Input gain variable from 0 dB to +69 dB, in
approximately 3 dB steps, with an optional
–18 dB pad
• +48V power for condenser microphones
• Balanced Insert points (Send and Return), for
easy integration of outboard gear (such as
compressors or EQs)
• Phase invert
• 85 Hz High-Pass Filter
• Up to nine PREs supported through software for
up to 72 channels of remote-controlled pream-
plification
• All features available in Stand-alone mode
What’s Included
• PRE unit
• AC power cable
• PRE Guide
• Health and Safety Guide
• Registration Information Card

Pro Tools | PRE Guide2
System Requirements and
Compatibility Information
When used as a stand-alone microphone preampli-
fier, PRE is ready to use.
For remote control within Pro Tools, PRE
requires a qualified Pro Tools system.
Avid can only assure compatibility and provide
support for hardware and software it has tested and
approved.
For complete system requirements and a list of
qualified computers, operating systems, hard
drives, and third-party devices, visit:
www.avid.com/compatibility
Registration
Review the enclosed Registration Information
Card and follow the instructions on it to quickly
register your purchase online. By registering, you
become eligible to receive the following:
• Technical support information
• Software update and upgrade notices
• Hardware warranty information
Conventions Used in This
Guide
All of our guides use the following conventions to
indicate menu choices and key commands:
:
The names of Commands,Options, and Settings
that appear on-screen are in a different font.
The following symbols are used to highlight
important information:
Convention Action
File > Save Choose Save from the
File menu
Control+N Hold down the Control key
and press the N key
Control-click Hold down the Control key
and click the mouse button
Right-click Click with the right
mouse button
User Tips are helpful hints for getting the
most from your system.
Important Notices include information that
could affect your data or the performance of
your system.
Shortcuts show you useful keyboard or mouse
shortcuts.
Cross References point to related sections in
this guide and other Pro Tools guides.

Chapter 1: Introduction 3
About www.avid.com
The Avid website (www.avid.com) is your best
online source for information to help you get the
most out of your Pro Tools system. The following
are just a few of the services and features available.
Product Registration Register your purchase
online.
Support and Downloads Contact Avid Customer
Success (technical support); download software
updates and the latest online manuals; browse the
Compatibility documents for system requirements;
search the online Knowledge Base or join the
worldwide Pro Tools community on the User Con-
ference.
Training and Education Study on your own using
courses available online or find out how you can
learn in a classroom setting at a certified Pro Tools
training center.
Products and Developers Learn about Avid
products; download demo software or learn about
our Development Partners and their plug-ins, ap-
plications, and hardware.
News and Events Get the latest news from Avid or
sign up for a Pro Tools demo.

Pro Tools | PRE Guide4

Chapter 2: Hardware Overview and Stand-Alone Operation 5
Chapter 2: Hardware Overview and Stand-
Alone Operation
This chapter describes the Pro Tools | PRE front and back panels, and includes instructions for using its
switches, indicators, and connectors for Stand-alone mode operation. To use PRE in Remote mode (remote
control of PRE by Pro Tools or a dedicated control surface), see Chapter 3, “Remote Operation.”
Pro Tools | PRE Front Panel
Pro Tools | PRE has the following front panel switches, indicators, and connectors:
Power Switch and LED Ring
This switch turns PRE on and off. When lit
(green), the LED ring around the power switch in-
dicates that the unit is switched on.
By default, PRE powers up in Stand-alone mode.
In this mode, controls can be adjusted from the
front panel or remotely. The Remote “Lock-Out”
LED is unlit (signifying Remote Lock-Out mode is
inactive).
At power up, PRE units default to the last settings
they had at power down, with the exception of Re-
mote Lock-Out mode.
Activity LED
When lit (green), this LED indicates MIDI data is
being received by PRE.
Pro Tools | PRE front panel
Activity and Remote LEDs
Channel Select and
Mute switches and
LEDs
Shift, Oscillator, and
MIDI Chan switches
Line/Inst 1 and 2
Gain/Param
Power switch
and LED ring
Peak Meter
Clear Clips
Peak Hold, Source,
and Input Impedance
Signal Present/Clip, 48V, Insert, Pad,
Phase, and High-Pass Filter indicators
48V, Insert, Pad, Phase,
and High-Pass Filter

Pro Tools | PRE Guide6
Remote “Lock-Out” LED
When lit (green), this LED indicates PRE is in Re-
mote Lock-Out mode. In this mode, PRE is con-
nected to a remote controller (such as Pro Tools or
a dedicated device), and the front panel controls
are locked out.
PRE is placed in Remote Lock-Out mode (after
configuring PRE for remote control) by selecting
Remote Lock-Out Mode in the Mic Preamps tab of
the Pro Tools Peripherals dialog.
PRE can be taken out of Remote Lock-Out mode
by deselecting the Remote Lock-Out Mode box in
the Pro Tools Peripherals dialog, or by powering
PRE off, and then back on.
For more information on locking and unlocking
PRE front panel controls, see Chapter 3, “Remote
Operation.”
Shift Switch and LED
This switch (along with the channel Select
switches) is used in Stand-alone mode when
grouping channels in order to control multiple
channels simultaneously. When lit (green), this
LED indicates the Shift switch is active.
OSC (Oscillator) Switch and LED
This switch enables the internal oscillator, which
can be used for calibrating the inputs of audio in-
terfaces (such as the HD I/O). When lit, the OSC
LED indicates the oscillator is on.
The oscillator generates a fixed tone of approxi-
mately 1k Hz at +4 dBu (= 1.228 Vrms).
The PRE oscillator signal can be routed through
the OSC output on the back of the unit or through
individual channels on the DB-25 connector.
To route the signal to the OSC output:
Press the OSC switch on the front of the unit.
To route the signal through an individual channel
output on the DB-25 connector:
1Disconnect any cable inserted into the channel’s
Send jack.
2Enable the Insert for that channel via the front
panel (see “Insert Switch and LEDs” on page 9)
or through software.
3Press the OSC switch on the front of the unit.
The oscillator signal can only be activated via the
front panel. However, routing the oscillator signal
through the DB-25 connector can be controlled re-
motely or by the front panel.
MIDI Chan (Channel) Switch and LED
This switch activates MIDI Channel selection
mode. When lit, the MIDI Chan LED indicates
PRE is in MIDI Channel mode, and the PRE’s
MIDI channel can be changed with the
Gain/Param control.
Calibration can change with temperature. The
output is nominally +4 dBu, but may vary up to
± 0.3 dB depending upon the current operating
temperature. Allow the unit to warm up and
stabilize the oscillator output before using it
for calibration purposes.
Oscillator routing through a channel output
is done after the channel’s metering point,
and therefore does not display in the PRE
meters.

Chapter 2: Hardware Overview and Stand-Alone Operation 7
Gain/Param Display
This three-character, seven-segment LED displays
the input gain for the currently selected PRE chan-
nel, or the PRE’s MIDI channel.
This display can also show the current firmware
version of PRE.
To display the firmware version of PRE in the
Gain/Param display:
1Press Shift once, then release it.
2Press OSC.
Gain/Param Control
The Gain/Param control can be used to add gain to
the input signal on one or more of the PRE’s eight
channels, or to set the PRE’s MIDI channel.
Changes made with the Gain/Param control appear
in the Gain/Param display.
The gain range for each input (Mic, Line, and In-
strument) is 0 dB to +69 dB, adjustable in incre-
ments of approximately 3 dB (see Table 8 on
page 36).
Peak Meter
These fourteen-segment LEDs indicate input sig-
nal level for any channel that currently has its Se-
lect switch enabled. If multiple channels have their
Select switch enabled, only the left-most channel
will be represented in the Peak Meter display.
The meter is referenced from the clip point of the
amplifier (for example, –22 dB is 22 dB
below the clip point of the amplifier).
Clear Clips Switch
This switch clears Clip indicators on the Peak me-
ter and Signal indicators.
Peak Hold Switch and LEDs
This switch sets the clip hold action of the SIG me-
ters atop each of the 8 channels. Clips are also in-
dicated by a red Clip LED on the Peak Meter. The
amount of time the clip stays lit is determined by
the Peak Hold value, as follows:
Off When lit, the Peak Hold function is off. Clip
LEDs will light during clipping, then clear shortly
after clipping stops. This is the default Peak Hold
value, on power up.
3 sec When lit, Clip LEDs are displayed for three
seconds, then automatically clear, as long as no ad-
ditional peaks occur.
(Infinity Symbol) When lit, Clip LEDs will stay
lit until the Clear Clips switch is pressed.
To change Peak Hold (time constant) performance:
Press Peak Hold once to change to the next set-
ting, or multiple times to toggle through the
three settings. Peak hold is a global command
which sets clip persistence for all channels.
Source Switch and LEDs
This switch sets the active input source for individ-
ual PRE channels to Mic, Line, or Inst (instru-
ment). The three Source LEDs indicate the active
input.

Pro Tools | PRE Guide8
Input Impedance (Represented as Z)
The Input Z switch sets the input impedance for a
PRE channel to 1.5 k,15k, or 1.5 M.
The three Input Z LEDs indicate the current set-
ting:
1.5K Typically used for microphone inputs, this is
the default setting when Source is set for Mic.
15K Typically used for line level inputs, this is the
default setting when Source is set for Line.
1.5M Typically used for instrument inputs, this is
the default setting when Source is set for Inst.
To change input impedance, do one of the
following:
If the input Source is Mic, press Input Z once to
change to the next setting, or multiple times to
toggle through the three settings.
If the input Source is Line, press Input Z to
change to 1.5K or 15K.
If the input Source is Inst (instrument), the Input
Z cannot be changed from its default 1.5M set-
ting.
Channel Status Section
Each PRE channel provides switched control for
48V (phantom power), phase reverse, input pad,
access to a unity gain insert send/return, and a
high-pass filter. In addition, all eight channels have
individual Mute switches and signal status LEDs.
Signal Present/Clip (SIG) LEDs
These LEDs indicate the status of a channel’s input
signal. Green indicates signal is present (–45 dB)
and red indicates clipping. When there is no signal
present or the signal is below –45 dB, the LED is
off.
When clipping occurs, the LED remains lit or
clears, depending on the Peak Hold setting. Clips
can also be manually cleared with the Clear Clip
switch.
48V Switch and LEDs
This switch applies 48V phantom power to the Mic
Inputs. When lit (red), these LEDs indicate which
channels have 48V enabled.
Mic Inputs can provide 48V phantom power for
microphones that require it to operate. If Source is
set to Line or Inst, phantom power automatically
disengages to avoid sending phantom power back
to the line level device through the XLR cable,
eliminating unnecessary power draw when not in
use for powering microphones.
Dynamic microphones (like a Shure SM57) do not
require phantom power to operate, but are not
harmed by it. Most condenser microphones (like
an AKG C414) do require phantom power to oper-
ate. If you are not sure about the phantom power
requirements for your microphone, refer to your
microphone’s documentation.
Although phantom power can be used safely
with most microphones, ribbon microphones
can be damaged by it. Always turn off phan-
tom power, and wait for the red 48V indica-
tor light to go completely off and any signal
to dissipate before connecting or disconnect-
ing a ribbon microphone.
Condenser microphones requiring phantom
power should not be “hot-plugged” into a
PRE Mic Input where phantom power is
active before plugging the microphone in.
This could potentially cause damage to PRE,
as well as to un-muted monitoring systems,
due to a loud “click” or “pop.”

Chapter 2: Hardware Overview and Stand-Alone Operation 9
Insert Switch and LEDs
This switch enables insert points on individual
channels. When lit (yellow), Insert LEDs indicate
which channels have their insert point enabled.
PRE’s back panel has eight pairs of send and return
jacks for inserting external processors (such as
compressors or EQs) in the audio path. Insert send
levels are post output trim.
Pad Switch and LEDs
This switch applies an input pad to individual
channels to reduce input sensitivity by –18 dB.
When lit (green), Pad LEDs indicate which chan-
nels have Pad enabled.
Phase Switch and LEDs
This switch applies phase reversal to individual
channels. When lit (green), Phase LEDs indicate
which channels have phase reverse enabled.
High-Pass Filter Switch and LEDs
This switch applies a high-pass filter to individual
channels. When lit (green), HPF LEDs indicate
which channels have the high-pass filter enabled.
Each PRE channel includes a high-pass filter with
a center frequency of 85 Hz and a roll-off of –18
dB/octave. Use the high-pass filter to remove mi-
crophone proximity effects, hum, rumble, wind,
and other low frequency sounds.
Channel Mute Switches and LEDs
Each PRE channel has a dedicated Mute switch to
mute input signal. The respective Mute LED lights
when muting is enabled.
Channel Select Switches and LEDs
These switches are used to focus one or more chan-
nels to adjust their controls. When lit (green), the
Channel Select LED indicates that the channel’s
controls can be adjusted.
To select multiple channels for adjusting, first
press the Shift key on the left-hand side of the unit,
then press the Select switches for corresponding
channels. To return to single channel selection,
disengage the Shift key, then press the Select
switch for the individual channel you want to
change.
The following channel controls can be adjusted:
• 48V Phantom Power; see “48V Switch and
LEDs” on page 8.
• Phase Reverse; see “Phase Switch and LEDs”
on page 9.
• Pad; see “Pad Switch and LEDs” on page 9.
• Insert; see “Insert Switch and LEDs” on page 9.
• High-Pass Filter; see “High-Pass Filter Switch
and LEDs” on page 9.
• Mic/Line/Instrument Source Switching; see
“Source Switch and LEDs” on page 7.
• Input Gain; see “Gain/Param and Input Gain” on
page 14.
When PRE is powered off, channel select states are
stored in memory and are subsequently restored at
power up.
Line/Inst 1 and 2
The front panel includes two 1/4-inch
balanced/unbalanced TRS jacks, with Tip wired
hot (or “+”), Ring cold (“–”), and Sleeve ground.
These jacks mirror Line/Inst Inputs 1 and 2 on the
back panel. Connecting to the front panel Line/Inst
input will break a connection made to the respec-
tive back panel Line/Inst input.

Pro Tools | PRE Guide10
Pro Tools | PRE Back Panel
Pro Tools | PRE has the following back panel connectors:
Mic Inputs 1–8
These are balanced XLR jacks, with Pin 1 wired
ground, Pin 2 wired hot (or “+”), and Pin 3 wired
cold (or “–”).
Use these jacks for microphone connections or for
line level devices that support balanced XLR con-
nectors.
Line/Inst (Line Level/Instrument)
Inputs 1–8
These are balanced 1/4-inch TRS jacks, with Tip
wired hot (or “+”), Ring cold (“–”), and Sleeve
ground.
Unbalanced connections are supported with the
use of standard 1/4-inch mono phone plugs. If us-
ing line inputs with balanced line level devices, be
sure to use balanced to balanced cables to maxi-
mize performance.
DB-25 Outputs 1–8
This is a balanced DB-25 connector for line out-
puts 1–8. For pinouts, see Chapter 5, “Pinout Dia-
gram for the PRE DB-25 Connector.”
This connector can also output a fixed oscillator
signal on each channel. For more information, see
“OSC (Oscillator) Switch and LED” on page 6.
Send and Return Inserts 1–8
These are balanced 1/4-inch TRS Send and
1/4-inch TRS Return jacks, with Tip wired hot (or
“+”), Ring cold (“–”), and Sleeve ground. Insert
send levels are post output trim.
Use these jacks for inserting external devices such
as compressors or equalizers in the audio path be-
fore recording to disk. Sends can also be used as
line outputs; in this case, all front panel controls
will affect the signal, except Mute.
Return channels 1–8 can be bypassed from the
front panel, or through remote control.
Pro Tools | PRE back panel
Send and Return Inserts 1–8
Mic Inputs 1–8 Line/Inst Inputs 1–8
DB-25 Outputs 1–8
Output Trims 1–8 MIDI In/Out/Thru
Oscillator Output
Power supply
connector

Chapter 2: Hardware Overview and Stand-Alone Operation 11
Output Trims 1–8
The output trims are used to individually calibrate
each channel’s output and send level.
The output trims are factory-calibrated so that the
clip point of the PRE output amplifier matches the
factory-set clip point of the HD I/O and 192 I/O
analog input. The PRE’s output level is –6 dBu be-
low its maximum output of +28 dBu (+22 dBu). If
you do not intend to use a HD I/O or 192 I/O, you
should turn the trims all the way up (clockwise) to
allow for maximum signal output (+28 dBu) and
maximum performance.
MIDI In/Out/Thru Connectors
The MIDI connectors on PRE accept standard
5-pin MIDI cables.
The MIDI In connector accepts MIDI input for re-
mote control of PRE (for example, from the MIDI
Out of a MIDI interface in a Pro Tools
system).
The MIDI Out connector sends MIDI data out of
the PRE to the MIDI input of a Pro Tools system,
or another PRE. To daisy-chain multiple PREs,
connect the MIDI Out of one PRE to the MIDI In
of the next PRE, and so on. You will also need to
set each unit to a unique MIDI channel number (re-
fer to “MIDI Connections” on page 16).
The MIDI Thru connector is not used for Pro Tools
remote control.
Oscillator (OSC) Output
This is a balanced 1/4-inch TRS jack that outputs a
fixed oscillator signal (+4 dBu reference signal at
approximately 1 kHz) for calibrating the inputs of
gear not connected through the DB-25 output. For
more information, see “OSC (Oscillator) Switch
and LED” on page 6.
AC Power
This connector accepts a standard AC power cable
(included). PRE is auto power-selecting (100V to
240V) and will automatically work with a standard
modular cable to connect to AC power receptacles
in any country.
Power Up Defaults
When you first power on PRE, it has the following
settings.
User Settings Stored in Memory
When PRE is powered down, it remembers its last
settings. When the unit is powered back on, the last
settings will be intact.
The Send jacks and the DB-25 connector
both use the output trims for adjustment. Cal-
ibrating a DB-25 output will affect the Send
output level as well.
Power Up Defaults
Function Status
Operation
Mode
Stand-alone (Remote “Lock-Out”
LED off)
Peak Hold Off
OSC Off
Shift Off

Pro Tools | PRE Guide12
Using Pro Tools | PRE in
Stand-Alone Mode
PRE can be used without Pro Tools as a stand-
alone microphone preamplifier. PRE stand-alone
operation requires power and audio connections.
Powering Up PRE
To use PRE as a stand-alone microphone
preamplifier:
1Connect AC power to PRE.
2Power on PRE.
At power up, PRE units default to the last settings
they had at power down.
Making Signal Connections to
PRE
Depending on how you plan to use PRE, the way
you connect it to your studio will vary.
While you can use PRE with a variety of audio
setups, all you really need is a line input device
(such as a mixer or an A/D converter) to monitor
PRE outputs.
Connecting Audio Sources
To connect a microphone:
1Press the Channel Select switch for the Mic In-
put you will be using.
2Change the input source to Mic, by pressing
Source one or more times.
3Make sure the gain is turned down, especially if
the monitors are up.
4Verify that phantom power (48V) is disabled.
Press the 48V switch so that the 48V LED is off.
5Plug a microphone directly into the Mic Input
on the back of PRE. These inputs accept XLR
connectors.
6If your microphone requires phantom power,
press 48V.
7Turn the Gain/Param control to raise the gain.
Use the Peak Meter to determine the proper
level.
If the output trim has been calibrated to the input
trim of your HD I/O, the pre-fader meter in
Pro Tools should accurately reflect the Peak Meter
of the PRE, allowing you to use the on-screen me-
ters to set your levels.
8Repeat these steps for additional microphone
connections.
To connect line level and instrument level sources:
1Press the Channel Select switch for the
Line/Inst Input you will be using.
2Change the input source to Line or Inst by
pressing Source one or more times.
3Plug a line level source (such as a synth, output
from your mixer, or a microphone or guitar that
has been amplified by an outboard preamp) or a
DI (direct instrument) source into a Line/Inst
Input on the front or back of PRE. These inputs
accept balanced/unbalanced TRS connectors.
To prevent damage to PRE or your monitor-
ing system, mute your monitoring system or
set levels to their minimums before making
audio connections.
Although phantom power (48V) can be used
safely with most microphones, some ribbon
microphones can be destroyed by it. You
should always turn off phantom power, and
wait for the red light to go completely off be-
fore connecting or disconnecting a
ribbon microphone.

Chapter 2: Hardware Overview and Stand-Alone Operation 13
4Repeat these steps for additional connections.
Using External Devices
PRE can make dedicated connections to external
analog devices (such as compressors and equaliz-
ers) before committing the signal to disk in
Pro Tools. You can send and return signals to these
devices, using PRE’s back panel Send and Return
jacks.
To connect an external analog device to your
system:
1Connect the Send jack of one PRE channel to an
input of the external signal processor.
2Connect the output of the external signal pro-
cessor to the Return jack of the same PRE
channel.
3Press the Channel Select switch for the
Send/Return channel you will be using.
4Press Insert.
Repeat these steps for additional connections.
Calibrating Pro Tools | PRE
and Other Devices
Before you use PRE, you may want to calibrate its
output level (as well as the input and output levels
of other devices) to the level of your mixing con-
sole.
The output trims are factory-calibrated so that the
clip point of the PRE output amplifier matches the
factory-set clip point of HD I/O and 192 I/O ana-
log input. The PRE’s output level is –6 dBu below
its maximum output of +28 dBu (+22 dBu). If you
do not intend to use an HD I/O or 192 I/O, you
should turn the trims all the way up (clockwise) to
allow for maximum signal output (+28 dBu) and
maximum performance.
Adjusting Channel Controls
Most PRE parameters can be changed with front
panel channel control switches; for a description of
each switch, see “Pro Tools | PRE Front Panel” on
page 5. Input Gain is changed with the Gain/Param
control (see “Adjusting Input Gain” on page 14).
PRE channel controls can be applied to one or
more channels at a time.
To select one channel:
Press the Select switch of the desired channel.
Selecting one channel deselects the previously
selected channel or channels.
To select multiple channels:
Hold Shift and press the Select switch of any
channels you want to adjust.
When more than one channel is selected, metering,
control states, and Gain/Param settings
reflect the activity of the leftmost channel of the
group.
Adjustments made to any selected channel are
made to all selected channels. See “Mixed State
Operating Mode While Editing Multiple Chan-
nels” on page 14.
If using line inputs with balanced line level
devices, be sure to use balanced to balanced
cables to maximize performance.
Both the Send and Return jacks are balanced
1/4-inch jacks, with Tip wired hot (or “+”),
Ring cold (“–”), and Sleeve ground. Insert
send levels are post output trim.
To quickly select all channels, drag your
finger across all the Select switches.

Pro Tools | PRE Guide14
To change a setting with a channel control switch:
1Select one or more channels.
2Press a channel control switch to change its cur-
rent setting. For example, if the 48V LED is off,
pressing 48V will enable 48V phantom power
on all the selected channels. (48V can only be
enabled when input source is set for Mic input.
It is disabled as a choice when input source is
set for line or DI input.)
To return the selection to a single channel:
Press Shift to disengage, then press the Select
switch of the individual channel you want to
edit.
Mixed State Operating Mode While Editing
Multiple Channels
A mixed state operating mode exists when you are
editing multiple channels simultaneously, and
some of the channels have different settings.
Channel Control Switches
When multiple channels are selected, switch mod-
ifications made to one selected channel are auto-
matically applied to all selected channels.
Gain/Param and Input Gain
If an offset exists between selected channels, the
offset will be maintained while moving the
Gain/Param control until you reach +69 dB gain
or 0 dB, at which point the selected channels will
mirror each other.
Adjusting Input Gain
To set input gain on a channel:
1If the Gain/Param display currently shows a
MIDI channel, press MIDI. The display should
now show an input gain level.
2Press the Select 1 switch (for example, for Mic
Input 1).
3If the Source Mic LED is not lit, press Source
one or more times until the Mic LED is lit (so
that the Mic Input is active).
4Rotate the Gain/Param control to change the in-
put gain level.
Muting Channels
To mute a channel:
Press the Mute switch on each channel you want
to mute. To mute additional channels, press
their corresponding Mute switches. Meters re-
main active, and Channel Status controls can
still be changed.
To unmute a channel:
Press Mute again.
Gain offsets are retained when multiple
channels are adjusted in Stand-alone mode,
but not in Pro Tools Remote mode.
To quickly mute all channels, drag your
finger across all the Mute switches.