This topic is one of the more advanced topics when using Reason with Pro Tools, but once you get used to it, I think you will find it to be very easy to do. For this topic, you need to understand a few of the more complex features of the Rewire plugin and the Reason interface, specifically the Hardware Interface device in the Reason rack.

Reason can pass individual audio outputs across the Rewire interface. To do this takes a little bit of planning and also knowing what you are doing. To re-route the outputs of a device to an individual output, you need to flip the Reason rack around so that you are looking at it from the back-side. This is done in Reason by pressing the TAB key.

Click here for a photo representation of the back of the Reason rack.

As you can see if you click on my photo representation above, I have the NN-XT and DrREX devices installed into the Reason rack, and I’m looking at the back-side of the rack after having pressed the TAB key. The 1/L and 2/R outputs of the NN-XT are routed to the hardware interface’s 1 and 2 inputs using “virtual cables”. To route any of the other outputs on the devices to individual channels, you just click-and-drag from the output the the channel.

Click here for a video example of routing the cables.

(There are actually a few ways of making those routings, but that is probably the easiest to describe. for the other methods, check the official documentation)

All of the individual inputs on the Reason Hardware Interface are accessible from the Reason Rewire plugin. For each audio output that you want to control in Pro Tools, you would insert one Reason plugin, and then set it to the appropriate channel(s) from Reason. For instance, using the example above, if I wanted the stereo output of NN-XT to be on one track, and the stereo output from DrREX to be on another track, I would;

• create two stereo tracks (AUX or Instrument is usually recommended for “virtual” tracks) in Pro Tools
• insert the ReasonRewire plugin on one track and select channels 1 and 2 from the channel dropdown on the plugin (represented in the plugin as “Mix L – Mix R”) Click here for a photo reference selecting channels 1-2 .
• insert the ReasonRewire plugin on the other track and select channels 3 and 4 from the channel dropdown on the plugin (represented in the plugin as “Channel 3 – Channel 4″) Click here a photo reference selecting channels 3-4
  

Now you can control the volume from those devices individually in the Pro Tools mixer. For mono tracks, it’s basically the same, except you are selecting single channels on the plugin.

That’s fairly straightforward, right? Well those are the basics. But it can become much more complex (and powerful) depending on how you are using it, how many outputs and devices you have, etc. It’s all really up to you now that you know how to do it.

Before you decide to use REX or ACID files in your Pro Tools session, you need to have an understanding of what they are.

I will describe here the basic method of using them within a Pro Tools session. It is up to you to figure out how to make them work in your sessions for what you want them to do.

Edit July 15 2009: In Pro Tools 8 and above, you will need to first check your preferences to make sure they are setup properly. From the menus within the program, go to Setup -> Preferences, select the Processing tab, and make sure that “Import REX Files as Region Groups” and “Automatically Create Fades” are selected, and make sure to make the appropriate selection for “Drag and Drop from Desktop Conforms to Session Tempo” is selected (either “REX and ACID File Only” or “All Files”). Also, much of what can be done here with REX/ACID files can now be done with the elastic audio features.

1. Create a stereo audio track
2. Drag your REX/ACID loop from it’s current location into the stereo track you just created (DO NOT use the Pro Tools import audio function, as this will convert the file to a basic audio region). If it is a properly created and sliced REX/ACID file, the Region Group icon will appear on the region in the track in Pro Tools (Click here for a photo). If it is not a properly created REX/ACID file, no icon will appear and it is treated just as any other audio region (Click here for a photo). In those cases, you will not be able to use those files in this manner without editing and slicing them on the beats yourself.
3. Once the region is in place, you should play the session to ensure that it is being time adjusted to the session tempo and crossfaded correctly. The region should match the Pro Tools session tempo, and crossfade all of the slices. (If you are not using Pro Tools 7.3 or above, there is no automatic crossfade functionality, and I would strongly recommend upgrading)
4. Select the Loop Trim Tool (Click here for a photo)
5. With the Loop Trim Tool selected, hover over the end of the region, until the cursor changes to the loop trim cursor (Click here for a photo)
6. Click the end of the region with the Loop Trim Tool, and drag the cursor to the right in the timeline for as far as you want the loop to repeat.

That’s it! Those are the basics of using REX/ACID files in Pro Tools.

You will need to program the Ozonic to function like a J.L. Cooper CS-10. Programming the Ozonic is easiest with the Enigma software that is downloadable from the M-Audio Website.Then you will need to download the Legacy MIDI Controllers and follow the instructions there for installing the CS-10 profile.

Pick a preset, any blank preset on your Ozonic. Then program the following:

• Global channel 16
• Faders C1-9 = cc’s 64-71 (track volume controls)
• Buttons C32-39 = cc’s 0-7, (mute or whatever buttons)
• Button C40 = cc 8, (mode switch)
• Button C27 = cc 19 (rewind)
• Button C28 = cc 21 (stop)
• Button C29 = cc 23 (record)
• Button C30 = cc 22 (play)
• Button C31 = cc 20 (fast forward)
• Knobs B10,11,12 = cc’s 72,73,74 (sends 3,4,5)
• Knobs B14,15,16 = cc’s 75,76,77 (sends 1,2, pan)
• Pitch bend A22 = cc 9 (shift)
• Mod wheel A32 = cc 14 (option)
• Knob B13 = cc 15 (control)
• Knob B14 = cc 15 (command)
• Joystick B18 = cc 29 (right)
• Joystick B19 = cc 28 (left)
• Joystick B20 = cc 26 (up)
• Joystick B21 = cc 27 (down)

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If you’re lazy (like me) you can just download my OzonicProToolsController.xml (right click, save Link as), and then load it into Enigma (file -> load), and then load it onto Ozonic (file -> upload to device). My controller preset is #10, and I didn’t assign the Mod Wheel or the Pitch Wheel.

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When you open Pro Tools, go into Setups->Peripherals->Midi Controllers Select the CS-10, Send/Receive “Ozonic keyboard”, and 8 channels. Then on the Ozonic, select the preset that you created (if you downloaded my preset file, again my preset is #10).You should now be able to use the knobs and buttons you assigned above to control those aspects of Pro Tools. (You can also change or omit any of the knobs to your general liking and usability; for example, I don’t set up the pitch and mod wheel to be shift and option, i just use the computer keyboard for that).This procedure can also be used to program any MIDI control surface That doesn’t already have the ability built in to control Pro Tools, you just need to program it like above. (More information about this procedure can be found on Page 77 of the MIDI Control Surfaces Guide).

This tutorial has been made relatively obsolete with all of the new versions of the Axiom. If you own one of the original Axioms, please read on.

To use the original Axiom 25 as a control surface for Pro Tools, you will need to re-program it to function like a J.L. Cooper CS-10, and then load the legacy CS-10 controller profile.

Programming the Axiom is easiest with the Enigma software that is down-loadable from the M-Audio Website. If you want to go ahead and program it yourself, you can follow the instructions in my other tutorial. There’s really no need to do that though because I’ve already done the work for you. All you have to do is:

• make sure your Axiom 25 is plugged in, turned on and recognized properly by your computer
• download my Axiom25ProToolsController.xml (right click, save Link as)
• Open the M-Audio Enigma software and ensure that your Axiom is recognized by the software. (The red arrow in this picture shows a properly recognized Axiom).
• Click file -> load, find the downloaded file and load it. You should now see an item titled “Axiom25ProToolsController” in the Devices and Files pane on the top left hand side of the enigma program window. (this picture shows the xml file properly loaded into Enigma)
• click and drag the loaded file (“Axiom25ProToolsController”) onto the “Axiom 25″ list item (on the mac, this displays as “Axiom 25 Memory”)
  
• Highlight “Axiom 25″ and load it onto the Axiom 25 (file -> upload to device)

Here’s a Video Reference. My controller preset is preset #1 on the Axiom.

Now you need to obtain and install the CS-10 legacy controller profile.

• download the Legacy MIDI Controllers
• Unzip the file you downloaded
• Find the cs10.dll file in the unzipped folder and move or copy it to the following location
  
  On Mac OS X: Hard Drive:\Applications\Digidesign\Pro Tools\Controllers
  On Windows XP: C:\Program Files\Common Files\Digidesign\DAE\Controllers

Please note: These instructions are for Pro Tools versions above 7.0 only. If you are using an older version of Pro Tools, the file you download will be different, and the instructions may vary.

Next is the configuration for Pro Tools:

• open Pro Tools
• go into Setup->Peripherals…->Midi Controllers
• select the CS-10 in the “Type” dropdown on line #1
• Select Predefined->”USB Axiom 25 in1″ under the “Receive From” column
• Select Predefined->”USB Axiom 25 out [Emulated]” under the “Send To” column
• Select 8 in the dropdown for “# Ch’s”

Now you need to load the preset on the Axiom:

• Press the Advanced Button
• Press the Recall button
• select the preset number 1 by pressing the D#2 key (the numbers are in white above the keyboard)
• Press the enter key (C3 on the keyboard)

You should now be able to use the transport controls to control those aspects of Pro Tools.

All three of the digidesign multiple input interfaces for LE, the 001, 002, and 002r, come complete with 8 analog inputs, 8 digital inputs via ADAT lightpipe, and 2 digital inpuits via S/PDIF. To take advantage of these digital inputs, you will need to purchase digital converter units; one unit with 8 channel lightpipe output, and one unit with 2 channel S/PDIF output. Keep in mind, all three units must use a single clock source to be able to use all 18 inputs simultaneously.

Some popular 8 channel units for the lightpipe inputs include: Digimax LT Octopre LE M-Audio Octane Alesis AI3 Behringer ADA8000 Apogee Rosetta 800 SM Pro Audio A08 Many others…

Some popular units for the S/PDIF inputs include: Presonus Eureka Lavry ad122_96mk Cranesong HEDD192 Apogee Rosetta 200 Behringer SRC2496 ART Digital MPA Many others…

Connecting it all

Depending on what devices you have chosen, and whether or not you are using them for input only, or input and output, your setup may differ slightly from what I am about to describe. I am descibing full connections on both units using non-specific hardware examples, so keep that in mind. Your setup may differ slightly.

S/PDIF

The connection is pretty basic; out to in and in to out. You will need 75ohm RCA cables to make the connections. These are co-axial cables that differ from the basic home-stereo type of RCA cables, and it is very important that you use the proper cables.

You would connect the S/PDIF output of the external device, to the S/PDIF input of the Digidesign hardware, and the S/PDIF output of the Digidesign hardware to the S/PDIF input of the extenal device.

ADAT

The connection, again, is pretty basic; out to in and in to out. You will need standard lightpipe cables to make the connections.

You would connect the ADAT output of the external device, to the ADAT input of the Digidesign hardware, and the ADAT output of the Digidesign hardware to the ADAT input of the extenal device.

Clock Settings

This is usually where most people go wrong with this setup. In the digital audio world, it is very important that you only use one digital clock. For this setup, we will have 3 digital clocks connected together, and if we try and record without setting up the system to use only one of those clocks, we will get glitches in the audio in the form of pops and clicks because the digital clocks are not in sync. The tricky part is “Which clock to use?”, but that’s really up to you to decide with the particular hardware that you have chosen. For instance, if you have chosen a higher quality interface for S/PDIF, such as the Apogee Rosetta, but you’re using the Behringer ADA8000 for ADAT, you will probably want to choose the Rosetta as your master clock.

This is where experimentation with your particular system would need to take place, to determine what works for you. However, lets talk about how it’s done so that you know what you’re looking for.

It’s important to note here that when creating a session to use in this manner, you absolutely make sure that you create it at the target sample rate. If you create a session at 44.1kHz and then clock to 48kHz there will be problems. If you create a session at 48kHz and then clock to 44.1kHz there will be problems.
It’s also important to note that due to limitations of the ADAT transfer format, you will not be able to us a sample rate higher than 48kHz using this method.

In Pro Tools, go to Setup->Hardware and under the “Clock Source” dropdown, you would select which device you have decided to be the master clock, either ADAT or S/PDIF. Make sure the Optical input selection is set to ADAT. Now you need to make sure the external devices are clocked correctly. On the device that you have chosen to be the master clock, make sure that it’s clock is set to “internal”, and on the other device, set the clock to “external”.

Back in Pro Tools, make sure the your I/O settings are set to send and receive from the digital inputs. Go to Setup->I/O…, select the input tab and click the “Default” button. Do the same for the output tab. You can rename all of these I/O to be more descriptive if you want, either here, or by right clicking on the I/O in the main mix/edit windows.

Those are the basic steps to setting up a full 18 I/O setup with the Digidesign hardware capable of doing so. This is where the hardware specific configurations will come into play, such as “Which clock to use for master”. Some units are also “output only”, so your situation may differ from this setup just slightly. This is where this tutorial ends, as those decisions and experimentations are up to you.

First…

You’re going to need some VST plugins to wrap. There are a plethora (did I just say “plethora”? I believe I did…) of free VST plugins available on the ‘net. Google “Free VST” and you’ll come up with a huge list. There are also some great details about a number of them at KVR Audio. There are also some commercially available, which usually have better quality than the free ones.

Next…

You will need to purchase and install the VST_RTAS wrapper from FXPansion. This help topic covers version 2.0 of the wrapper. For information on using the 1.x version, consult that version’s documentation.

Then…

Open the wrapper. In the upper left pane labeled “Searching for VST plugins in these locations” click on the icon with the plus symbol, and browse to the location that your VST plugins are installed. Repeat this process if you have VST plugins installed in several places. Once all your locations appear in that pane, click “Detect and Wrap VST Plug-ins”. While the scan is processing, you will get a report in the upper right pane with the status of each plugin being wrapped, and then “” when the scan is finished. Then you’re all set to start using the VST’s that wrapped successfully. There are some advanced features of the new version 2.0, such as the ability to rename the plugin or the vendor, or whether to wrap the plugin at all, but I’m only covering the basics here. Check with the documentation for full details.