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When you're recording from an input on the RME, you'll hear your source twice - once in realtime through the RME and as a delayed signal through Pro Tools. Go to Pro Tools Preferences > Operation and uncheck the "Link Record and Play Faders". If it helps, you can always rename the inputs in the Pro Tools I/O setup page to make it clear and even disable the 003 analogue inputs if you're not going to be using them.ĩ. For example you can plug a mic into mic preamp 2 of the RME and you'll be recording it in Pro Tools via ADAT In 2. Now, whatever you plug into any input of the RME will be recorded via the corresponding ADAT input of the 003. Your mix will be sent out of ADAT 1-2 and the Fireface routing matrix will send it to the speakers.Ĩ.
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Change the I/O setup of Pro Tools so that your main output path is now ADAT 1-2. Monitor speakers can now be connected to the RME's analogue outputs 1 and 2ħ. Now you've got a headphone mix of incoming signals.Ħ. Check the appropriate boxes so that analogue inputs 1-8 are also sent to both Phones L and Phones R. Route the returning signal the same way, so ADAT input 1 goes to analogue out 1, ADAT input 2 goes to analogue out 2 etc Doing this will allow the fireface to function as an AD and DA converter.ĥ. Open the control panel for the Fireface, switch to the matrix view and check the appropriate boxes so that input 1 is routed to ADAT out 1, input 2 to ADAT output 2 and so on.Ĥ. Connect the ADAT In of the 003 to ADAT Out of the Fireface via lightpipe and vice versa.ģ.
DIGIDESIGN 002 PRO TOOLS 10 INSTALL
Install the drivers for the Fireface and daisy chain it via firewire to the spare port on the 003.Ģ.
DIGIDESIGN 002 PRO TOOLS 10 SOFTWARE
RME's secret weapon for this is their TotalMix software which not only allows you to create a custom headphone mix from all the available inputs via an onboard mixer, it also features a routing matrix which can send the signal from any input to any output(s). (Although, if we're getting technical, TotalMix allows you to create custom mixes for each pair of stereo outputs, so multiple independent monitor mixes can be created.)ġ. Because they are audio interfaces, they have headphone monitoring sockets, and because they are rather good audio interfaces, they offer true zero-latency monitoring. They differ in the number of channels and firewire connectivity, but share a key feature - although they are audio interfaces they can function as standalone AD-DA converters. RME offer two models of Fireface - the 400 and the 800. However, Pro Tools LE can't use anything other than a Digidesign interface, and only the small MBox products have this feature. Other manufacturers produce audio interfaces which feature on-board routing that sends the mic signal directly to the headphones independently of it being sent to the recording software. You can reduce the buffer size to minimum, but that delay will still be noticeable. The length of the delay depends upon the buffer size set in Pro Tools, the speed of the computer and whether or not there are any plug-ins being used. All of this causes a noticeable delay, and it makes it really hard to deliver a performance. When you sing, you will hear your voice in your headphones, but only after it has gone down the firewire cable, been processed by Pro Tools, and sent back to the 003's headphone sockets. You have the mic in front of you and the backing track in your headphones. Imagine you are a singer who is recording though a Digidesign 003. However neither of these solutions address the latency issue although we've found one add-on that does - using an RME Fireface audio interface as an external AD/DA converter and monitor mixer. Users are addressing the audio quality issues by either adding external converters from the likes of RME and Apogee to the digital I/O of their Digidesign interfaces or having companies such as Black Lion Audio modify their internal workings. The 002 and 003 ranges have been singled out for having no zero latency monitoring, audio converters below par when compared with other manufacturers and low-gain, noisy preamps. Secondly, we're not so enamoured of the LE hardware. Reading through the various Pro Tools forums, there are two commonly recurring themes.įirstly, Pro Tools users love Pro Tools software for its reliability, flexibility, ease of use, precision editing and being the only audio platform that maintains sample accurate sync across all tracks in a session.