Digidesign 003 desk manual

These outputs mirror Analog Outputs 1—2, which correspond to outputs 1—2 in Pro Tools. The functions of each connector and their associated switches are explained in this section.

The and Rack have identical connectors. Digidesign does not recommend the use of unbalanced cables. Unbalanced connections may introduce noise into your audio system. Whenever possible, use balanced cables to make connections to and Rack. All the analog and digital inputs and outputs on and Rack support up to bit resolution audio.

Operating Levels and Headroom All and Rack audio inputs and outputs are set for 14 dB of headroom below 0 dB, or full code. Gain is controlled by the corresponding Input Gain Control knob located on the top panel of , and on the front panel of Rack. The XLR connectors on Inputs 1—4 are wired specifically to match the impedance of microphones. Gain is controlled by the corresponding Input Gain knob located on the top panel of , and on the front panel of Rack.

Enable these switches for microphones that require phantom power to operate. While Inputs 5—8 do accept unbalanced connections, this may result in a noisier signal than a balanced-to-balanced connection. To monitor your mix, these outputs can be connected to a mixing board, directly to a monitoring system such as a stereo power amp, powered speakers, or another stereo destination.

The Main Monitor Outputs play the audio that is routed to analog outputs 1 and 2 from within Pro Tools, respectively. These analog outputs feature bit digital-to-analog converters. Monitor gain level is controlled by the Monitor Level control located on the top panel of , and on the front panel of Rack.

While the Main Analog Outputs do accept unbalanced connections, this may result in a noisier signal than a balanced-to-balanced connection.

If you plan on connecting Analog Outputs 1—8 to —10 dBV gear, you may want to place a transformer-based line level attenuator between the or Rack output and the input of the destination device to compensate for level differences. These outputs can be used to monitor your mix through an alternate, or secondary studio monitoring system, instead of the system connected to the Main Monitor Outputs.

The signal from these inputs can be routed directly to the Main Monitor Outputs for monitoring or to Inputs 7—8 for direct input into Pro Tools from the top panel of , or the front panel of Rack. Digidesign recommends high-quality audio grade optical cable for all optical connections. When the or Rack is on, its Optical Out port emits a red light. About Lightpipe-Compatible Devices Kensington Lock Port Lightpipe is an industry standard, eight-channel optical digital audio connection developed by Alesis.

Use the Kensington Lock port to secure your interface with a Kensington Lock not supplied. For more information, visit the Kensington website www. These connectors accept standard 5-pin MIDI cables. These provide connections to the computer and other FireWire devices.

FireWire offers a high rate of data transfer and reliability that makes it ideal for audio applications such as Pro Tools with family devices.

FireWire devices can be daisy-chained together without the need for terminators. If you daisy-chain FireWire devices from your computer, it is best to connect FireWire hard drives directly to your computer and not to the family device.

This will prevent hard drive errors and data loss in case the family device is powered off. Connecting to a FireWire port of an external drive that is connected to a computer does not support maximum track count. Even when it is powered off, and Rack supply power from the computer through their FireWire ports, letting you recharge batteries in other FireWire devices.

The Power switch for the Rack is located on its front panel. Gain control applies to mic, line, or DI input signals, as well as the front panel DI input. These combination inputs accept both balanced or unbalanced line-level signals from sources like outboard effect units , and low-level instrument signals from sources like guitars and basses. When unlit, the selected channel receives input from the mic XLR input. Headphone output is not affected by the status of the Monitor Mute switch, but does follow the status of the Mono switch.

The XLR connectors on Inputs 1—8 are wired specifically to match the impedance of microphones. These outputs are enabled when the Alt CR switch is enabled lit.

Lightpipe is an industry standard, eight-channel optical digital audio connection developed by Alesis. FireWire offers a high rate of data transfer and reliability that makes it ideal for audio applications such as Pro Tools with family interfaces.

To adjust headphone levels: Adjust the Headphone 1 or 2 Level knobs. To listen to your Pro Tools session, these outputs can be connected to any amplification system: powered speakers, a home stereo system, or an audio mixer. An alternate monitoring system can be connected to the Alt Monitor Outputs. You can also connect a sound system to any of the Analog Outputs 1—8, although you will not have Monitor section controls available. This is commonly known as mirroring the outputs.

Output mirroring is useful for recording to multiple media, creating separate monitoring mixes, or for output to digital effects processors. The newly selected destination is indicated by an additional check mark in the output pop-up menu, and a plus sign in the Output selector.

Connecting Audio Inputs family inputs support microphones, guitars, keyboards, and other types of instruments. Mic Inputs family interfaces have eight analog inputs.

Chapter Making Studio Connections 77 Connecting a Microphone There are several ways to use your family interface with a microphone, depending on the type of microphone and cables you use. Mic Cables and Connectors Some microphone cables use an XLR connector to attach a microphone to an input such as those on family interfaces. If you have a choice, use an XLR connector to connect the microphone to your family interface to yield better results.

Most condenser microphones such as an AKG C require phantom power to operate. Dynamic microphones such as a Shure SM57 do not require phantom power to operate, but are not harmed by it. Although phantom power can be used safely with most microphones, ribbon microphones can be damaged by it.

Always turn off phantom power and wait at least 30 seconds before connecting a ribbon microphone. This power, called phantom power, is supplied either by a battery in the microphone, or through an audio interface such as your family interface that can supply power through the microphone cable.

The inputs are numbered left to right, so Mic Input 1 is the leftmost input. Each Phantom Power switch sends 48V to its corresponding input pair. From the back, the inputs are numbered left to right, so DI Input 1 is the leftmost input.

This section contains examples for connecting both types to your family interface. Analog Inputs 5—8 support line-level instruments only. DI Inputs 1—4 are available even if a mic is connected to Mic Inputs 1—4 although both cannot be active at the same time. For line-level devices, the Input Gain Control knobs should be turned down all the way. To connect your family interface to Word clock: 1 Using an optical cable, connect the Optical output on the Optical device to the Optical In port on the family interface.

When your family interface is on, its Optical Out port emits a red light. Word clock is used to synchronize a wide range of devices such as non-linear video systems and other types of equipment typically found in professional audio facilities. You can send and return signals to analog devices using the analog inputs and outputs on family interfaces. When you use the digital inputs and outputs on your Pro Tools LE system as effects sends and returns to a digital effects device, Pro Tools LE should be the clock master in most cases.

Set your digital effects device to accept an external digital clock so that it synchronizes to Pro Tools LE. To connect an external analog device to your system: 3 Launch Pro Tools. If you plan to use the external device as an Insert in Pro Tools, connect it to inputs and outputs of the same number for example, Input 5 and Output 5 of family interface.

The sample rate of the Pro Tools session and external digital device must match. If necessary, change the sample rate of the digital device. Monitoring and Recording from Alternate Sources family interfaces provide a pair of additional inputs for monitoring and recording from an external sound source such as a CD player or tape deck.

Aux In Aux In for alternate sound sources To monitor an external device through the Alternate Source Inputs, the family interface must be powered on. To monitor an alternate sound source through the Monitor Outputs of your family interface: 1 Connect the outputs of the external device to the left and right Aux In connectors on the back panel of the family interface.

Any tracks within Pro Tools that are sent to the Monitor Outputs will not be heard. Chapter Making Studio Connections 87 To record an alternate sound source directly into Pro Tools: 1 Connect the outputs of the external device to the left and right Aux In connectors on the back panel of the family interface.

When the Aux In to 7—8 switch is enabled, Inputs 7 and 8 on the back panel are inactive. Also, because the signal can be monitored from Pro Tools, it no longer passes directly to the Monitor Outputs.

In most cases, you will synchronize the Pro Tools clock to the external device. If you are using an optical device for recording, you also need to set the Optical Format.

Your digital input device must be connected and powered on. If your input device is not powered on, leave the Clock Source set to Internal. Optical Out port on the family interface. You may need adapter cables if your mixdown deck has RCA inputs. To use a footswitch control: 1 Connect a footswitch to the footswitch con- nector on the back panel of the family interface.

To put in Pro Tools mode: 1 Make sure the unit is properly connected to the computer and powered on. Saving a Session You can invoke the Save Session command from To save the current session: 1 Press the Save switch. The switch flashes to in- dicate that another press will result in a Save.

Chapter Pro Tools Mode with 91 Working in Console View Console View provides a global view of a given control type across the such as send A for the current bank of channels. In this view, you can use the rotary encoders to adjust pan on the current bank of tracks, select and rename tracks, and assign inputs or outputs in Assign mode.

Fader assignments are shown on-screen in Pro Tools by blue outlines around the track names. In Console View, the LED rings surrounding the rotary encoders indicate either the pan position, the send level, or the insert control level for each channel, depending on which Console View switch is enabled lit. To select a range of tracks: 1 Press the Pan switch to put in Pan View.

All tracks between the first track selected and the additional track will also be selected. To rename a track: 1 Press the Pan switch to put in Pan View. Send View Workflows All tracks following the selected track will be deselected. To select all tracks: 1 Press the Pan switch to put in Pan View. To deselect all tracks: When the Send switch is enabled lit , is in Send View. In this view, you can adjust send level with the rotary encoders, toggle pre- and post-fader operation of sends, and assign sends in Assign mode.

To select or deselect noncontiguous tracks: 1 Press the Pan switch to put in Pan View. Chapter Pro Tools Mode with 93 name to toggle its pre- and post-fader setting. The names of inserts on that insert position are displayed in the LCD. Insert View Workflows To display the controls for a plug-in: To toggle a send between pre- and post-fader operation: 1 Press the Send switch to put in Send View. In this view, the LCD shows the names of currently-assigned inserts hardware inserts or plug-ins across all channel strips for a given insert position Inserts A—J in Pro Tools.

In this view, you can display inserts, plug-in controls, bypass plug-ins, and assign inserts in Assign mode. Controls are assigned to the rotary encoders. The Left or Right Page switch flashes when an additional page is available. The LCD screen displays the name of bypassed plug-ins in all capital letters. In Channel View, controls are displayed horizontally across the LCD and can be adjusted with the channel rotary encoders and switches. From this view, you can view and edit parameters for all the sends on a single track, or all the parameters of a single plug-in.

In Channel View, the touch-sensitive faders on mirror the volume faders in Pro Tools. In Channel View, the LED rings above the rotary encoders indicate values for the selected control, such as plug-in parameters, insert levels, or pan values and send levels, depending on which Channel View switch is lit.

If no EQ plug-ins are present for the current bank of channels, no Channel Select switches will be lit. In this view, you can display the controls for EQ plug-ins across all channel strips. Controls for the first EQ plug-in on that track are assigned to the rotary encoders and displayed in the LCD. If a plug-in window is open on-screen, it will update to reflect the plug-in selected on Dynamics Plug-in Workflows in Channel View When the Dynamics switch is enabled lit , identifies channels with dynamics plug-ins such as compressors or limiters assigned to them by illuminating their Channel Select switches.

If no dynamics plug-ins are present for the current bank of channels, no Channel Select switches will be lit. In this view, you can display the controls for dynamics plug-ins across all channel strips. Controls for the first Dynamics plug-in on that track are assigned to the rotary encoders and displayed in the LCD. To cycle through all the Dynamics plug-ins on a channel: 1 Press the Dynamics switch to put in Channel View.

In this view, you can display inserts or plug-in controls, bypass plug-ins, and assign inserts in Assign mode. If a plug-in window is open on-screen, it will update to reflect the plug-in selected on the The names of the inserts are displayed in the LCD. If no inserts are present for the current bank of channels, no Channel Select switches will be lit. Press Master Bypass again to take all plug-ins out of bypass. If no sends are present for the current bank of channels, no Channel Select switches will be lit.

In this view, you can display sends, adjust send levels, and toggle pre- and post-fader operation. The LCD display for the first channel strip shows track pan position for that track. If the track is a stereo track, you can toggle between left and right pan by pressing the Meter switch immediately to the right of the rotary encoders.

The LCD display for channels 3—7 shows the send names. Their rotary encoders control the levels for the corresponding send. Chapter Pro Tools Mode with 97 The Channel Select switches on channels 3—7 toggle pre- and post-fader metering for the corresponding send. Full names can be temporarily displayed on the top row of the LCD.

To display full names of tracks and insert parameters, do one of the following: In Pan View, hold Display and press the Channel Select switch for the track whose name you want to see displayed fully. The name displays on the left side of the top row of the LCD display. The name displays on the far right side of the top row of the LCD display.

The display can be changed to temporarily show settings, or be reset to always show settings. In most temporary display views, faders and rotary encoders can be used to change settings as you are temporarily viewing them.

To return the LCD display to its default state showing track or control names in all views : Press the flashing Display Mode switch.

The lower row of the LCD shows fader levels for the current bank of channels such as Channels 1—8. Fader levels can be adjusted with faders while the Display mode switch is pressed. The lower row of the LCD shows the insert or plug-in settings. Parameters with ranges can be adjusted with rotary encoders or with faders in Flip mode while the Display mode switch is pressed.

The lower row of the LCD shows the channel pan setting in the first fader strip and send levels for the currently-selected channel in fader strips 3—8.

Pan settings and fader levels can be adjusted with rotary encoder while the Display mode switch is pressed. Send levels can be adjusted with rotary encoders or with faders in Flip mode while the Display mode switch is pressed. Chapter Pro Tools Mode with 99 Creating Custom Plug-In Maps You can customize the arrangement of plug-in parameters on and save them in customized plug-in maps. Plug-in maps can be saved as presets and exported for use across different sessions and systems.

For complete information on creating and managing plug-in maps, see the Pro Tools Reference Guide. Only one plug-in can be in Learn mode at a time. To put a plug-in into Learn mode, do one of the following: Click the Learn button in the plug-in window. To take a plug-in out of Learn mode, do one of the following: If you move a plug-in to a different insert position, or make it inactive, it is automatically taken out of Learn mode. Creating and Editing Plug-In Maps To create a custom map of plug-in parameters: 1 Open the plug-in whose mapping you want to customize.

The parameter name appears in the plug-in window Parameter menu. To change parameter mapping in a plug-in map: Click the active Learn button in the plug-in window.

Close the plug-in window. Click the Learn button in a different plug-in window. To navigate between fields in the Edit window, Transport window, or a plug-in window: Press the Left or Right Arrow key. To change a value in a selected field: To remove parameter mapping from a plug-in map: Press the Up or Down Arrow key.

To increase or decrease the number of tracks: Press the Up or Down Arrow key. To move the cursor while naming a track, do any of the following: Press the Left or Right Arrow key to move the cursor backward or forward through the name field.

Press the Up or Down Arrow key to move the cursor to the beginning or end of the field. The LCD changes to display the bus or output currently assigned to the selected send, and the Channel Select switch flashes. Chapter Pro Tools Mode with To remove a send: 1 On the channel where you want to remove the assignment, press its Channel Select switch for 2 seconds.

See the Pro Tools Reference Guide for more information. The LCD changes to display the plug-in or output currently assigned to the selected insert, and the Channel Select switch flashes.

Working with Output Windows Output windows for tracks and sends can be opened or closed, and the track output can be made active or inactive. To remove an insert: 1 On the channel where you want to remove the assignment, press its Channel Select switch for 2 seconds. To mute or unmute a send: 1 Press the Send switch to put in Send View. When the send is muted, its name appears in all caps in the LCD. To zoom in horizontally for all tracks: 1 Press the Zoom switch.

To zoom out horizontally for all tracks: Recording To enable or disable tracks for recording: 1 Press the Rec Arm switch so that it is enabled flashing. When a track is armed for recording, its Channel Select switch flashes. During recording, its Channel Select switch is lit continuously. To zoom in vertically for all tracks: 1 Press the Zoom switch. To zoom out vertically for all tracks: 1 Press the Zoom switch.

To continuously zoom in or out horizontally for all tracks: Hold the Nudge switch and rotate the inner Jog wheel clockwise or counter-clockwise.

To play forwards at a variable rate: Rotate the outer Shuttle ring clockwise. To play backwards at a variable rate: Rotate the outer Shuttle ring counter-clockwise.

Jog Mode You can make a selection in the Edit window: during playback with the Arrow keys. To move the Transport or cursor forwards: Rotate the inner Jog wheel clockwise. To move the Transport or cursor backwards: Rotate the inner Jog wheel counter-clockwise. The Default switch is used to reset a fader or fader-mapped plug-in parameter to its default setting. You can undo Pro Tools operations from Press the Undo switch. Locations, press the Left and Right Page switches. Using Flip Mode To open or close the Memory Location window: In Flip mode, control assignments are transferred from the rotary encoders to the corresponding channel faders.

Hold Shift Add and press the Mem Loc switch. This switch flashes when Flip mode is activated. To exit Flip mode and transfer controls from faders back to the rotary encoders : While in Flip mode, press the Flip switch. Flip Mode Views There are several types of Flip mode, depending on the view. Send Flip Mode When you are in Console Send View, the Flip switch moves the send level controls to the channel faders, and the send pan controls to the rotary encoders.

For mono tracks with stereo sends, only the left pan indicator shows a pan position; the right pan indicator is inactive. The types of plug-in controls depend on the particular plug-in you are using.

In this mode, the Channel Select switches toggle pre- and post-fader metering for the corresponding send. For stereo tracks with stereo sends, you can control either the left or right send pan from the rotary encoder. Banking Channels on To assign a stereo send channel to a rotary encoder: To move the display of tracks on forward or backward eight channels at a time: While in Send Flip mode, press the Meter switch immediately to the right of the rotary encoders and select Left or Right.

The rotary encoder LEDs show pan positioning. Plug-in Flip Mode When you are in Channel View or Console Insert View and working with a plug-in insert, the Flip switch moves any plug-in control assignments from the rotary encoders to the faders, allowing you to use the 2 Press the Left or Right Arrow key.

To move the display of tracks on forward or backward one channel at a time: 1 Press the Nudge switch. To scroll the display of tracks on forwards Hold the Nudge switch and rotate the inner Jog wheel clockwise to scroll tracks to subsequent faders. Chapter Pro Tools Mode with To scroll the display of tracks on backwards: Hold the Nudge switch and rotate the inner Jog wheel counter-clockwise to scroll tracks to previous faders.

To return the control surface to the previous view: The Automation mode can be set from for a single track, all selected tracks, or all tracks in the session. You can also suspend automation globally. Because faders are motorized, they move to follow automation when playing back and recording when the track is set to an automation read or write mode, and not Off. To return all tracks to their previous Automation modes, press the Suspend switch again.

Each preset can save custom maps of two pages of supported controls. For example, the channel 1 fader can be assigned to continuous controller 21 on MIDI channel 1 on page 1 and to continuous controller 37 on MIDI channel 10 on page 2 of the same preset. This lets you use the same controller for two completely different mappings within the same preset. The last saved or default MIDI map is recalled. The Bank switch LED is lit when on page 2 and not lit when on page 1 of a preset. The commands are selected by pressing the corresponding switches in the Channel View section.

Minimum and maximum MIDI values, as well as custom names, can be specified for each fader. Minimum and maximum MIDI values, as well as custom names, can be specified for each rotary encoder. Custom names can be specified for each switch.

Presets can be created, named, and saved before editing controller mappings. To select a control for MIDI Mapping, do one of the following: To scroll through the list of available controls, turn the rotary encoder for channel 1.

Rotary encoders can only be selected by turning the rotary encoder for channel 1. To name a control: 1 Select the control you want to name. This displays the Name parameters in the LCD. While the software, the workstation unit and all of the other included items seem really first rate, you still won't want to drop this thing if you can help it.

If you're going to spend this much on a workstation, software, etc. Having said that, I'm terribly impressed with the quality of this Digidesign product. The Pro Tools LE package simply rocks. Overall, very expensive, but you've got to pay to play. Don't let the extreme flexibility and amount of control overwhelm you though, as this is a package that will keep you producing your own recordings for years. And at the time protools only worked with a digidesign interface.

And the drivers are pretty stable depending on your computer specs. I personally use protools the most with the rack. I have ran the R with a Mac Book Pro that has a 2. Compared to the Digi R , it has a few extra features, like an extra headphone output and a much different look to the knobs, buttons, and overall look. I have used this to record drums, bass guitar, electric guitar, acoustic guitar, keyboards, vocals, and a number of other instruments. I didn't have any compatibility issues with my computer and it has run smoothly for as long as I have used it.

The configuration of the audio interface is easy to follow and won't take too long to figure out exactly what everything does. The manual for this is pretty complete, and is definitely helpful to have around while you are learning how to use this. I don't have any latency when I record with this and I am able to record up to sixteen tracks on this, depending on if I have external preamps and an ADAT optical unit.

If I didn't need it to run Pro Tools, I would probably run it with a different audio interface, as this doesn't have as many preamps as I would like. Compared to the Digi R , it is pretty similar in overall make up and the difference in price for a used one of these and the R , is probably not worth it to buy the over the However, the price isn't too bad considering it comes with Pro Tools LE software.

If you are looking to put together a Pro Tools LE rig, this is a good option to start with. PC win7 x64 I've had the PT LE8, and bought at the time for the largest hardware protools LE The sound is good preamps that complete the connectivity troubleshoot if battery is included!

LE8 with only the beta driver 8. Then I added a midi interface cakewalk and I turned the problem. Other drivers, always either a bug in cubase am PT. Since Protools 10 and the latest drivers, everything works in protools, Since Protools 10 and the latest drivers, everything works in protools, but in cubase I install the asio4all MAC me it looks quite serious.

I'm happy when it runs well, but what a pain to install. Forums Quick Links. Members Quick Links. NI Community Forum. Let's keep the music going…on the new Native Instruments community! Find the NI team and everyone else in our new home and continue your conversation there. This forum is closed for good after over 15 years of fun. The fun continues over at our new space. See you on the flip side.

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