DIGITAL AUDIO WORKSTATIONS (D.A.W.S)

DIGITAL AUDIO WORKSTATIONS (D.A.W.s)

Avid Pro Tools is one of many digital audio workstations available today and will be the D.A.W. that we focus on during the course of this class. Though we will be focusing on Pro Tools, many of the concepts learned in this class will apply to other D.A.W.s as well.

There are two types of recording mediums:

! Linear recording mediums generally make use of analog or digital tape. You must use transport functions (play, stop, rewind, fast forward) to navigate around the audio. Edits are performed by cutting/splicing or overdubbing. Linear systems are destructive in nature, meaning that alterations to the signal on tape cannot be undone once performed.

! Nonlinear recording mediums generally make use of disk storage mediums. Nonlinear recordings allow immediate navigation and altering of any point in the audio without the need to make use of transport functions. Nonlinear systems are nondestructive in nature. Pro Tools and other D.A.W.s are nonlinear systems.

DIGITAL AUDIO BASICS

All captured sound is initially analog, meaning that a transducer has converted physical sound waves into a continuous electrical signal. Converting analog signals to binary code – the computer language of 0s and 1s - creates digital audio files. The resulting digital file can then be played back and manipulated in the D.A.W..

Analog signals are converted to digital information using a device known as an analog to digital converter (A.D.C.). An analog to digital converter repeatedly samples the incoming audio at a set sample rate and bit resolution (think of a camera taking thousands of still pictures per second to create the illusion of movement) and stores the resulting information as a digital audio file.

An Apogee AD16x analog to digital converter and a DA16x digital to analog converter SAMPLE RATE

Sample Rate in digital audio refers to the number of samples of audio taken during a unit of time, expressed in Hz (hertz). The standard sample rate for an audio CD is 44.1kHz (44.1 kilohertz, or 44,100 hertz). Sample rate is instrumental in determining the frequency content of an audio signal.

The Nyquist sampling theorem states that the sample rate must be twice as high as the highest frequency to be reproduced. For example, to reproduce frequencies up to 22,500 Hz, the sample rate must be at least 44,100 Hz. As the ideal human range of hearing is (on average) approximately 20Hz - 20,000 Hz, sample rates of 40Hz or above are required to accurately reproduce sounds as we hear them.

Higher sample rates more closely approximate the original signal and retain more frequency information, but also require more processing power and disk space to work with and store. For example, recording audio at a sample rate of 88.2 kHz will use twice as much processing power and disk space as a recording made with a sample rate of 44.1 kHz. BIT DEPTH

Bit Depth refers to the number of bits (binary digits) of information stored in each audio sample. Bit depth is instrumental in determining the signal’s dynamic range and signal-to-noise ratio. Higher bit depths retain more digital information about the sampled audio. For each 1-bit increase in bit depth, the signals dynamic range will increase by 6dB – so a 16-bit recording has 96dB of dynamic range, and a 24-bit recording has 144dB of dynamic range. The range of human hearing is roughly 140dB. This extra dynamic range allows the user to record at lower levels without audible noise, leaving more headroom and less change of digital clipping.

You can see here that a higher bit depth more accurately reproduces the original signal.

Once the analog audio has passed through the A.D.C. and has been converted to digital files, these files are stored on a hard disk and can be played, manipulated, etc. in a nonlinear fashion.

32-BIT FLOATING POINT FILES

Pro Tools (and other DAWS) now allow the use of 32 bit floating-point files. It’s worth pointing out that these files are sonically identical to their 24-bit counterparts, but the additional encoded data gives them a much higher theoretical dynamic range and lower noise floor. The advantage is that using the 32-bit floating-point format will allow improved signal processing of the audio in question with less chance for clipping, noise, and other digital artifacts.

SO NOW WHAT?

In order to be able to hear the resulting digital audio, the information must be converted back to analog in order to be reproduced by the speaker. A digital-to-analog converter (D.A.C.) is used to convert digital information to electric voltage so that it can be reproduced on real world playback systems.

TO SUMMARIZE:

Analog signal input (Microphone, Instrument, etc.) ⇓ Converted to digital information using analog to digital converter ⇓ Digital information is played back / recorded / manipulated / mixed in D.A.W.

Digital information output from D.A.W. ⇓ Digital information converted back to analog signal via digital to analog converter ⇓ Analog signal is reproduced by speakers / headphones / etc.

INTERFACES

The generic term “interface” refers to a device used to connect audio devices (microphones, preamps, speakers, mixing consoles, etc.) to a computer, tablet, or other digital recording device.

Interfaces are available in a huge variety of configurations. Most offer a combination of analog-to- digital and digital to analog converters, and many offer additional features such as mic preamps, headphone connections, on-board DSP processing, and monitor management. Interfaces are generally connected to the host computer via USB, Firewire, Thunderbolt, or PCI connections.

Since interfaces scale from very simple to very extensive, the user has the freedom to choose an interface that offers the features that suit his or her needs.

The Universal Audio Apollo interface COMMON PRO TOOLS DIGITAL AUDIO FILE TYPES (FROM THE PRO TOOLS REFERENCE GUIDE)

.WAV (Broadcast wave format) This was the native format for older Windows- based Pro Tools systems, but is now supported on Windows and Mac. To use a BWF (.WAV) file in Pro Tools, you can drag and drop from the DigiBase browser, Windows Explorer or Mac Finder, or a folder, or you can use the Import Audio command. Files in this format do not have to be converted to be used in Pro Tools.

.AIFF (Audio Interchange File Format) Similar to .WAV - To use an AIFF file in Pro Tools, you can drag and drop from the DigiBase browser, Windows Explorer or Mac Finder, or you can use the Import Audio command. Files in this format do not have to be converted to be used in Pro Tools.

16-bit, 44.1 kHz .WAV is the standard CD audio file format. It is recommended to use at least 24- bit, 44.1 kHz .WAV or. AIFF for audio recording and mixing. MP3 and other compressed formats are not recommended. DSP-BASED AVID PRO TOOLS SYSTEMS

Pro Tools HD and HD-X systems are DSP-based systems, meaning they use dedicated DSP chips for processing power, which frees up the host computer for other tasks and provides improved stability and low latency, especially when working with large sessions. Pro Tools HD systems consist of Pro Tools HD software, at least one PCI/PCI Express DSP card and at least one compatible interface. The cards provide DSP power for plug-ins and mixing/routing, and connections for I/O. Pro Tools HD systems can also utilize native processing power from the host computer for certain tasks. Modern DSP-based systems run AAX (v.10 and up) as well as RTAS and Audiosuite (v.10 and earlier) plug-ins.

NATIVE AVID PRO TOOLS SYSTEMS

Avid also offers several native Pro Tools systems. The term “native” means that the host computer provides processing power for the system. As computers become more and more powerful, native systems have become increasingly viable for use in professional audio.

Pro Tools HD|Native systems consist of Pro Tools HD software, a Pro Tools HD|Native card or hardware device, and at least one compatible interface. These systems provide similar functionality to DSP-based systems except there is no onboard DSP processing – all processing is done natively (using the host computer’s processing power). They run AAX (v.10 and up) as well as RTAS and Audiosuite (v.10 and earlier) plug-ins.

Pro Tools (V.9 and up) – Starting in software version 9, many of PRO TOOLS HD’s features have been integrated into PRO TOOLS LE, and the software is now simply called Pro Tools. Modern Pro Tools systems are compatible with almost any modern audio interface, including those by third-party companies, and they can also be run without an interface attached. NATIVE AVID PRO TOOLS SYSTEMS (continued)

Pro Tools systems run AAX plug-ins (v.10 and up), as well as RTAS, and Audiosuite plug-ins (v. 10 and earlier).

Pro Tools Express – A feature-limited version of Pro Tools that is bundled with some Avid interfaces.

Pro Tools | First – A free, feature-limited version of Pro Tools that will be available for download online in early 2015.

An Avid Pro Tools HDX system – from top to bottom – Pro Tools HD software, HD I/O interface, and HDX PCIE card. SETTING UP AND TROUBLESHOOTING YOUR MAC FOR PRO TOOLS

Since multiple classes and students use the computers in the D.A.W. lab, and the computers are “wiped” after every semester, some settings commonly get changed in the Mac operating system that cause complications with the functionality in Pro Tools. Here’s how to fix common issues with both the Mac and Pro Tools itself.

TURNING OFF “SPOTLIGHT”

By default, Mac OSX uses the shortcuts COMMAND+SPACEBAR and SHIFT+COMMAND+SPACEBAR for the Mac’s search functions. We need those shortcuts for Pro Tools. Here’s how to disable the Mac shortcuts to prevent a conflict:

1. Open up “System Preferences” by clicking the Apple logo in the upper left corner of the screen. 2. Click on “Keyboard.” 3. Under the “Shortcuts” tab, click “Spotlight” from the list in the left column. 4. Uncheck “Show Spotlight search field” and “Show Spotlight window.”

FIXING THE “INVERTED SCROLL WHEEL” ON THE MOUSE

Be default, Mac OSX now inverts the scroll wheel on the mouse. This makes sense for touch surfaces, but it’s disorienting if you’re used using a traditional mouse. Here’s how to fix it:

1. Open up “System Preferences” by clicking the Apple logo in the upper left corner of the screen. 2. Click on “Mouse.” 3. Uncheck “Scroll direction: Natural” SETTING UP THE PRO TOOLS PLAYBACK ENGINE

Selecting Setup > Playback Engine from the top menu bar allows the user to change the settings for the Pro Tools playback engine. The Playback Engine adjusts the way the system handles processing, playback, and recording.

! Playback Engine (top menu) – This allows you to select which interface Pro Tools will use to route its audio. Select “MBox 2” to send audio to the MBox for playback or “Built In Output” to send audio to the computer’s audio output, for example.

! H/W (Hardware) Buffer Size – This setting controls the size of the buffer used to handle processing tasks by the computer. Higher buffer sizes yield more potential processing power, but at the expense of increased latency (delay) and are better for mixing purposes. Lower buffer sizes offer less potential processing power but reduce latency, which makes them better for actual recording.

! Host Engine “Ignore Errors During Playback and Record” – this can be checked if the host computer is having problems keeping up with the session’s processing demands. Checking this setting can introduce additional latency, generally in the amount of 128 samples or half of the buffer size, whichever is greater. Select “Minimize Additional I/O Latency” to minimize the amount of latency when recording to 128 samples.

! Host Engine “Dynamic Plug-In Processing” – This setting helps Pro Tools manage CPU resources more efficiently by automatically disabling plug-ins that aren’t in use.

! Video Engine – Check this to enable video playback and editing. CREATING A NEW SESSION IN PRO TOOLS

1. Click on the Pro Tools icon in the Dock or “Applications” folder. 2. The “Quick Start” dialog should appear. Select “Create Blank Session.” If the “Quick Start” dialog doesn’t appear (depending on how the preferences are set) select File > Create New Session or use the shortcut:

• “COMMAND”+”N” – Create new Pro Tools session

3. Select the desired audio file type, bit depth, and sample rate. Click “OK” when you have confirmed your choices. 4. In the “Save” dialog, name your session, choose where you want to save it (i.e. your personal class folder or the desktop), and click “Save.” Pro Tools will create a folder in this location, which contains the Pro Tools session file as well as folders that will contain all of the files pertaining to the session. Keep all of the sub-folders in the session folder to stay organized.

PRO TOOLS SESSION FILES AND SUB-FOLDERS

Session File (.ptf or .ptx) – the session file is the document created by Pro Tools when a new session is created. The session file is essentially a “recipe” of all elements pertaining to the project, including track, edit and mix settings and parameters, audio files, MIDI information, and so on. The session file contains no audio, it only serves to tell Pro Tools where to find and place media in the session.

Audio files are stored in the session’s “Audio Files” folder, which is automatically created alongside the session itself.

In this picture, "Demo Session 1" is the session folder, and "Demo Session 1.ptx" is the session file.

It is important to create separate session files for each song and/or project. This keeps audio files organized and keeps them separate from audio files from other sessions. If two session files share a single “Audio Files” folder, for example, deleting the “Guitar 1” audio file in one session may accidentally erase the “Guitar 1” file in the second session. Keeping each session in a separate folder eliminates these types of problems. PRO TOOLS SESSION FILES AND SUB-FOLDERS (continued)

In this picture, "Demo Session 1" is the session folder, and "Demo Session 1.ptx" is the session file.

SUB-FOLDERS

Sub-folders contain files and data relevant to the session file.

! Audio Files folder – This folder contains all audio files used in the session. These are the files that are recorded, converted, or imported into the session over the course of the project. ! Bounced Files – This folder provides a convenient location for storing files that you have bounced to disk. ! Clip Groups – Pro Tools gives the user the option of grouping multiple clips together into unified clip groups, the data for which is stored in this folder. ! Rendered Files folder – This folder contains rendered Elastic Audio files (Elastic Audio is covered in D.A.W. 2 class so you should sign up for it). ! Session File Backups folder – this folder contains automatic backups of the session file. The frequency and amount of auto-backups can be set in the Setup > Preferences menu. ! Video Files Folder – Stores any video files in use by the session. ! Wavecache file – This file stores the waveform display data for the Pro Tools session, which saves time when opening the session.

SAVING YOUR SESSION

To save your session at any point, click File > Save to overwrite your previous save or use File > Save As to save as a separate, updated Pro Tools Session. Use the shortcut:

• “COMMAND” + “S” – Save session

You can also set Pro Tools to automatically back up your session by navigating to Setup > Preferences > Operation. Automatic backups are saved in the “Session File Backups” folder. A couple more shortcuts for closing out your session and/or Pro Tools:

• “SHIFT” + “COMMAND” + “W” – Close session • “COMMAND” + “Q” – Quit Pro Tools

BACKING UP AND EXPORTING YOUR SESSION

Back up your files! Many new engineers neglect to back up their files…until they lose a few weeks of work for the first time. Remember, hard drives are cheaper than months of lost studio time.

It is recommended that you back up your session to an external hard drive. This will help prevent the loss of work due to accidental deletion, hard drive failure, computer or hard drive damage or theft, etc. The session can be backed up by dragging and dropping the entire session folder to the external hard drive’s icon in the Finder in OSX.

You can also use the “Save Copy In…” dialog in Pro Tools. This is the best way to back up a session since you can achieve compatibility with different versions of Pro Tools and ensure that the appropriate files get copied.

1. From the File menu, select “Save Copy In…” – This brings up the “Save Session Copy” dialog box. 2. Verify that all parameters are correct and make sure “All Audio Files” is checked. 3. Click “OK” – This brings up the “Save” dialog box. 4. Select your external hard drive to save the session copy to and click “Save.”

This procedure will save a copy of your session in its current state to your external hard drive for safekeeping or to open on another system. Use “Save Copy In…” if you need to be able to open up the session in an older version of Pro Tools. PRO TOOLS MAIN WINDOWS

Most of the Pro Tools windows can be found by clicking Window in the top menu bar.

There are two main windows used in a Pro Tools session – the Edit Window and the Mix Window.

“COMMAND” + “=” – Toggle between Mix and Edit Windows

Mix Window – this window displays the tracks as channel strips, similar to a mixing console. You can show or hide the different elements of the Mix Window by clicking the button to the left of the bottom scroll bar.

PRO TOOLS MAIN WINDOWS (continued)

Edit Window – this window provides a timeline display of audio waveforms and MIDI data, as well as automation and playlist functions. Most of the same controls and displays from the Mix Window can be accessed in the Edit Window as well. You can show or hide the different elements of the Edit Window by clicking the button in the upper left corner above the first track in the window. You can make the Edit Window Scroll with the playback cursor (or not) by clicking Options > Edit Window Scrolling.

You can always control which information is displayed in the Edit and Mix window by clicking View > Mix Window Views or View > Edit Window Views and checking/unchecking what you want to show or hide.

Auxiliary Input Track Controls Track Controls and Indicators Each Auxiliary Input track has its own set of (Edit Window) track controls, including Track Name, Solo, Mute, Track View, Track Height, Timebase, and Audio Track Controls Automation mode.

Each audio track has its own set of track con- Solo button trols, including Track Name, Playlist, Record En- Track Height selector able, Input Monitoring (Pro Tools HD only), Track Name Solo, Mute, Track View, Track Height, Timebase,

PROElastic TOOLS Audio, MAIN Voice WINDOWS Assignment, (continued) and Automa- Mute button

Edittion window mode. channel strip controls: Track View selector Track Height selector Automation Mode Track Name selector Record Enable button TrackInput Monitor button (Pro Tools HD only) Solo button Mute button Timebase selector Show/Hide Automation lanes Edit window track controls for a stereo Auxiliary Input Playlist selector track (medium track height)

Track View selector Master Fader Track Controls

Each Master Fader track has its own set of track controls, including Track Name, Track View, Track Height, Timebase, and Automation mode.

Automation Mode selector Track Height Track View selector selector Elastic Audio plug-in selector Track Name Voice selector Timebase selector

Show/Hide Automation lanes

Edit window track controls for a mono audio track (medium track height)

Timebase selector Show/Hide Automation lanes Automation mode

Edit window track controls for a stereo Master Fader track (medium track height)

204 Pro Tools Reference Guide TRACKS, PLAYLISTS, AND CLIPS IN THE EDIT WINDOW

Clip - A clip is a segment of audio, MIDI, or video data. Clips are the “building blocks” for working with and arranging audio in Pro Tools. A clip might be a small segment of an audio file or an entire sound file.

When a longer clip is trimmed down into a shorter clip, the audio or MIDI data that was trimmed away is saved in the background and can be recalled by using the Trimmer tool to extend the boundaries of the clip back to their original position. A clip can only be extended as far as the start/end points of the original file.

Audio Clips

A MIDI Clip THE TRACK VIEW SELECTOR

The Track View Selector allows the user to view the tracks many edit and automation playlists.

The Track View Selector allows the user to switch the playlist display of any track to show the track’s various playlists, including but not limited to the following (on audio tracks):

! Waveform – This view displays a waveform view of the edit playlist on an audio track. ! Volume – This view displays the track’s volume setting and any automation. ! Pan – This view displays the track’s pan setting (its L/R placement in the stereo field) and any pan automation. Stereo tracks will have a “pan left” and “pan right” playlist. ! Mute – This view displays the track’s mute setting and any mute automation. ! Playlists – This view displays all of the track’s edit playlists at once.

ADDITIONAL COMMONLY USED WINDOWS

Most of these windows can be displayed by clicking Window in the menu bar at the top of the screen and then selecting the appropriate window from the list.

Transport Window – Displays transport controls (RETURN TO ZERO/FF/REW/GO TO END/STOP/PLAY/RECORD, etc.) as well as counters, MIDI controls, pre/post roll, tempo functions and other expanded features.

• “COMMAND” + “1” on numeric keypad – Show/Hide Transport Window

The transport window

MIDI Editor Window – This window allows writing and editing of MIDI data. The large, zoomed- in display and easy access to commonly used parameters such as velocity make it convenient for users who are working with MIDI. This window can be easily accessed by double-clicking a MIDI clip or using the shortcut:

• “CONTROL” + “=”– Show/Hide MIDI Editor Window

ADDITIONAL COMMONLY USED WINDOWS (continued)

Score Editor Window – This window allows the user to write and edit MIDI data in the form of musical notation. It can be access by clicking the musical notes button in the upper left corner of the MIDI Editor or by using the shortcut:

• “CONTROL” + ”OPTION” + “=”– Show/Hide Score Editor Window

To create new tracks: 4 Select the timebase (samples or ticks) from the Track Timebase pop-up menu. 1 Do one of the following to open the New Tracks dialog: To auto-scroll the Track Timebase pop-up •Choose Track > New. menu, press Command+Option (Mac) or – or – Control+Alt (Windows) and use the •Right-click any Track Name in the Mix or Up/Down Arrow keys. Edit windows, or Track List, and choose 5 Enter the number of new tracks. New. If you are creating various multiple new Press Control+Shift+N (Windows) or tracks, you can move to the next or previous CREATING TRACKSCommand+Shift+N IN PRO TOOLS (Mac) to open the New row’s Number of New Tracks field by press- Tracks dialog 1. Click Track > New… - This will bring up the “New Tracks” dialog. ing Tab or Shift+Tab.

Add/Remove Row 6 Do any of the following: Number of new tracks Track Type •To add more tracks, click the Add Row but- Track Format Track Timebase ton.

Add a new track by pressing Command+N (Mac) or Control+N (Windows), or by pressing Command+Plus (+) (Mac) or New Tracks dialog Control+Plus (+) (Windows) on the • “COMMAND” + “SHIFT” + “N” – Create new tracks 2 Select the type of track you want to add from numeric keypad.

2. Choose thethe number Track of tracksType youpop-up need, menu. track format, track type, and timebase. You can click the “+” symbol to add more tracks of a different format or type. When you’re finished,– or – click “Create.” To auto-scroll the Track Type pop-up menu •To remove a track, click the Remove Row 3. Immediately namein your the tracks New by Tracks double -dialog,clicking onpress the Commandtrack name. button. (Mac) or Control (Windows) and use the • DOUBLE-CLICK ON TRACK NAME – Name track Up/Down Arrow keys. To remove the last track from the New

Tracks dialog Command+Minus (–) (Mac) TRACK FORMATS 3 Select the track format (mono, stereo, or one or Control+Minus (–) (Windows). Use mono tracks offor the sources multichannel that have only surround a single channel formats) of input, from such the as a single vocal microphone. Track Format pop-up menu. Surround formats 7 To reorder tracks, drag a Move Row icon up or are available on Pro Tools|HD systems or down. Use stereo tracksPro for sources Tools with that have the twoComplete channels Productionof inputs, such Toolkit as a stereo output on a keyboard or a stereo pair of microphones. 2 option.

To auto-scroll the Track Format pop-up menu, press Command (Mac) or Control (Windows) and use the Left/Right Arrow Move Row icon keys. Move Row icon in the New Tracks dialog

8 Click Create.

Chapter 13: Tracks 213 TRACK TYPES

! Audio Track – These tracks contain audio files and allow you to record, play back, edit, and import/export audio on disk. ! Aux Input – Auxiliary Input tracks are used as signal paths for various types of audio routing tasks, and they do not contain any audio or MIDI data. They can be used as effects sends, destinations for sub-mixes, and more. ! Master Fader – Master faders control the overall level of channels routing to the session’s main output, and allow overall processing of these channels (i.e. you can apply processing to the entire mix). ! MIDI Track – MIDI tracks are used to record, store, and play back MIDI data. ! Instrument Track – Instrument tracks combine elements of audio tracks and MIDI tracks into a convenient channel strip.

RECORDING AUDIO IN PRO TOOLS

Now that you have created your tracks, you can start recording and importing audio.

1. Connect your mic, line-level signal, or instrument to your interface.

2. On the Audio Input Path selector button, select the corresponding input on your interface from the list.

3. On the Audio Output Path selector button, ensure that the appropriate output path is selected. Pro Tools defaults to outputs 1-2. This is the path connected to your monitoring and to the headphone jacks on the Mac and the MBox by default.

4. Record-Arm the track by clicking the Record Enable button – this is the red-tinted button with the circle in the middle in the track’s controls. It will blink red and the corresponding fader will turn red.

RECORDING AUDIO IN PRO TOOLS (continued)

5. Using the cursor, click or highlight where in the session you’d like to record, or to start from the beginning of the session use the shortcut:

• “RETURN” – Move cursor to the beginning of the session

6. Click the “Record Button” in the Transport and then click “Play” or use the shortcut:

• “COMMAND” + “SPACEBAR” – Record

7. When recording is finished, click “Stop” in the Transport or use the shortcut:

• “SPACEBAR” – Start/stop playback

8. When all recording on the corresponding tracks is finished, disarm the track by clicking the Record Enable button again. The fader and button will return to their normal color.

ALTERNATE RECORDING MODES

QuickPunch Mode - A nondestructive Record mode that lets record-enabled tracks be punched in and punched out during playback by entering one of the “Record” shortcuts.

Loop Record Mode – This record mode allows you to define a section of the session, and Pro Tools will loop the selected section while recording. This makes it easier to record several takes of a section without having to stop. To have PT auto-create new playlists when loop recording, select “Automatically Create New Playlists When Loop Recording” from the “Operations” tab under Setup > Preferences.

Destructive Record Mode – Just don’t do it. There’s no reason to do it. Oh, you want to save hard drive space? Hard drives are pretty cheap these days.

TRANSPORT CONTROLS – SHORTCUTS

• “0” on numeric keypad – Start/stop playback • “1” on numeric keypad – Rewind • “2” on numeric keypad – Fast Forward • “3” on numeric keypad – Record • “4” on numeric keypad – Enable/disable Loop Playback • “5” on numeric keypad – Enable/disable Loop Record Mode • “6” on numeric keypad – Enable/disable QuickPunch Mode BOUNCE TO DISK

Once you are finished working on your session, you can bounce it to disk as a mono or stereo audio file. There are a couple of methods for doing this, each with its own advantages and disadvantages. The first method you will learn in this class is bouncing to disk.

1. Make a selection on the timeline of the entire song or section you want to bounce.

2. If you are bouncing 24-bit audio to 16-bit (for a CD), create a Master Fader if you haven’t already and put a dither plug-in on it, set to 16-bit.

3. Click File > Bounce To > Disk or use the shortcut:

• “OPTION” + “COMMAND” + “B” – Bounce to disk

BOUNCE / RECORD TO DISK (continued)

4. Select your options:

- Bounce Source – Audio routed to the Bounce Source is what gets written to the resulting audio file. The main output should be selected by default, or you can choose an alternate path. - File Type – Choose the type of file that will be created. You can also have Pro Tools automatically create an MP3 version of the file as well. - Format – Select “Interleaved” for a stereo file, “Mono” for a mono file, or “Multiple Mono” for two mono files (one for the left channel and one for the right channel). - Bit Depth / Sample Rate – Select the appropriate bit depth/sample rate for your intended media. - Enforce Media Composer Compatibility – check this box to have Pro Tools export a file for working with various video formats. - Import After Bounce – check this box to import the bounced file back into Pro Tools after bouncing. - Add To iTunes Library – check this box to automatically import the bounced file into your iTunes library. - Share with Soundcloud – check this box to automatically upload the bounced file to your Soundcloud.com account - File Name / Directory – Name the bounced file and choose where you would like the file to be located after bouncing. - Offline – Traditionally, Bounce to Disk has been a real-time process. However, with faster computers and less people using outboard equipment, Avid has finally added an Offline Bounce feature in Pro Tools 11. Checking this box will enable Pro Tools to bounce the file faster than real time, up to 150x faster than real time, depending on the size/complexity of the session and the power of the host computer. Offline bouncing does not work if you are using hardware inserts, external audio sources, or DSP-based plug-ins (such as UAD).

5. Select “Bounce” to bounce the file to disk. If you chose to create an MP3 you will be presented with a form to fill in metadata for the MP3 file.

USING PRE-ROLL and POST-ROLL

Pre-roll and post-roll can be set from the Transport Window…

...or by clicking and dragging the little yellow flags in the Edit Window.

Pre-Roll and Post-Roll allow you to have Pro Tools play back a section of audio before and/or after the time you’ve selected to record or playback. So if you highlight a selection of audio to overdub and set up 10 seconds of pre-roll and 10 seconds of post-roll, when you hit “Record” Pro Tools will start playing back 10 seconds before your selection, punch into record over your selection, and then punch out at the end of your selection and continue playing back for 10 seconds.

You can set up Pre –Roll and Post –Roll in the Transport Window, or simply hold Option and click with the cursor before and after your selection to set Pre and Post-Roll times. When Pre-Roll and/or Post-Roll are enabled, they will be represented by the locations of small yellow flags in the Timebase Rulers (the rulers at the top of the Edit Window, below the Edit Window Toolbar).

• “COMMAND” + “1” on numeric keypad – Show/Hide Transport Window

• “OPTION” + “Click on track before/after cursor” – Set pre/post-roll

• “COMMAND” + “K” – Turn pre/post-roll on and off

PLAYLISTS

Playlist - A playlist is an arrangement of audio, MIDI, or automation data on a track. Tracks have edit playlists and automation playlists.

An edit playlist is an arrangement of audio or MIDI data on an audio, MIDI, or instrument track. The track’s edit playlists can consist of a single clip or many separate clips. On an audio track “Waveform” displays the main edit playlist. On MIDI and Instrument tracks select “Clips” or “Notes” to view the main edit playlist.

An automation playlist is an arrangement of automation data, such as volume automation or pan automation.

An audio track's Edit Playlist - an arrangement of clips containing the audio data on the track.

The same track's volume Automation Playlist – the black line represents the volume setting of the track.

The various edit and automation playlists for each track can be viewed by clicking on the Track View Selector button.

MAIN AND ALTERNATE EDIT PLAYLISTS

A single track can also have multiple edit playlists (for example, different takes of the same part). In this case the user can select a main playlist, which will be displayed in the Edit Window and audible in the mix. The remaining alternate playlists are stored in the background and can be recalled at any time or displayed by selecting clicking the drop-down arrow next to the track name or by selecting “Playlists” from the Track View Selector.

In this picture the "Vox 1" edit playlist is the main playlist, while the rest of the takes are alternate playlists. IMPORTING AUDIO INTO A PRO TOOLS SESSION

You can import audio into a session from a CD, external hard drive, or elsewhere on a computer:

1. Click on File > Import > Audio to bring up the “Import Audio” dialog.

2. Select the audio file or files you want to import and click “Convert.”

3. When you have selected your files/options and are ready to proceed, click “Done.”

4. Pro Tools will ask you where you want to store the newly imported audio. Make sure you have selected the “Audio Files” folder for your session and click “Open.”

5. Pro Tools will ask you if you want to automatically create a new track for the imported audio or if you want to put it in the clip list. You can also choose to place the audio at the beginning of the session or at a specific point in the timeline. Make your selection and click “OK.”

Audio can also be dragged and dropped into the Pro Tools session. Pro Tools will automatically convert the audio and store it in the session’s “Audio Files” folder. You can change the auto-import settings under the “Processing” tab in Setup > Preferences.

THE PRO TOOLS EDIT WINDOW TOOLBAR

Located at the top of the Edit Window is the Edit Window Toolbar and Menu. This provides access to editing modes, tools, options, indicators, and displays for Pro Tools.

Clicking and dragging (while holding the “Command” key) can rearrange available toolbars and displays. They can also be individually shown/hidden.

Right-click anywhere in the grey area of the Edit Window Toolbar to show/hide the various elements of the Edit Window Toolbar. You can also click the downward-facing arrow in the upper right corner.

The Edit Window Toolbar Click the drop-down arrow to show or hide different elements^

EDIT WINDOW TOOLBAR CONTROLS AND DISPLAYS

! Edit Modes – Edit Modes affect the behavior of how audio and MIDI clips are moved and placed in the session. They can also affect how some functions and Edit Tools work.

! Edit Tools and Zoom Buttons – These tools are used for editing audio, midi, and automation data in Pro Tools, as well as for zoom functions.

Edit Modes Zoom Buttons Edit Tools (Top row)

Timeline Data Online Status Indicator Is green when all files in use in track playlists are available for playback. If files are offline, being processed, or otherwise unavailable for playback, this indicator is red.

Session Data Online Status Indicator Is green when all audio and fade files referenced by the session are available for playback. If files are offline, being processed, or otherwise unavailable for playback, this indicator is red.

Delay Compensation Status Indicator Is displayed when Delay Compensation is enabled (Op- Edit Window Toolbar menu tions > Delay Compensation). When Delay Com- pensation is disabled, this indicator is not 2 From the menu, select or deselect any of the displayed. following depending on which window you are configuring: Grid and Nudge Zoom Controls When selected, the Zoom con- The Grid and Nudge selectors let you set the trols are displayed in the Edit window toolbar. EDITGrid WINDOW and NudgeTOOLBAR valuesCONTROLS fo ANDr editing DISPLAYS in (continued) Pro Tools.

! ForGrid andinformation Nudge Display – this on display the allows Grid you to select Value the Grid selector,and Nudge values seein the session. “Configuring the Grid” on page 532. For infor- The grid value determines how the grid in the edit window is divided, and the nudge value mationdetermines the on amount the by which Nudge audio can Valuebe “nudged” selector, while editing. see “Defin-

ingTo nudge the a clip,Nudge press the Value” “-“ or “+” onkey on page the numeric 591. keypad. The clip will move forward or backward by the amount selected in the Nudge Display. You can also hold “Control” when nudging to move the audio within a clip without moving the clip’s boundaries. Transport When selected, the Transport controls Grid Value selector are displayed in the Edit window toolbar. Nudge Value selector Edit Window Toolbar Counters and Edit Selection Indicators

At the top of the Edit window is the Edit Win- TheGrid and Counters Nudge Display and Edit selection indicators pro- ! Grid and Nudge value selectors dow Toolbar and menu. This Toolbar provides Countersvide information – The counters andwhere edit selection selections indicators are provide in theinformation about where selections are in the timeline. You can change the timebase displayed in the session (for access to the editing modes, tools, options, indi- example,Timeline. from Bars|Beats to Minutes:Seconds) by clicking the drop-down arrow next to the cators, and displays for Pro Tools. You can cus- Showingcounter display. and Hiding Additional tomize the Toolbar in the Edit, MIDI Editor, or MIDI Selection Score Editor windows by re-arranging, showing, Controls in theEdit SelectionEdit Window and hiding the available controls and displays. Main and Sub Counters MIDI Controls When selected, the MIDI controls To show or hide controls in the Edit window are displayed in the window toolbar. Edit Toolbar Controls and Displays toolbar: The following controls and displays in the Edit 1 Do one of the following: Window Toolbar are always shown. •ClickCursor Location the Edit Window Toolbar menu (in Edit Modes Cursor Value theTimeline upper-right Data Online Status corner of the window). The Edit mode affects the movement and place- Session Data Online Status Automatic Delay Compensation ment of audio and MIDI regions (and MIDI – or – notes), how commands like Copy and Paste Edit•Right-click window indicators in the Toolbar. function, and also how the various Edit tools Main Counter Displays the current Edit insertion (Trim, Selector, Grabber, and Pencil tools) work. location in the Main Timebase ruler. For more information, see “Edit Modes” on page 529. Sub Counter Displays the current Edit insertion location in the Sub Timebase ruler. Chapter 12: Pro Tools Main Windows 179

Cursor Location Displays the current cursor location in the Main Timebase ruler.

Cursor Value Displays the value of the current Edit mode buttons cursor value in peak amplitude (audio), pitch Edit Tools (MIDI), or according to the current automation or controller data type. Edit tools are used for editing audio, MIDI, and automation data in Pro Tools. For more infor- Edit Selection Indicators Display the Start, End, mation, see “Edit Tools” on page 533. and Length of the current Edit selection.

MIDI Selection Indicators and Controls Display the current MIDI Edit selection (MIDI note number, and Note On and Note Off velocities) and provide controls for MIDI editing.

Edit tools

178 Pro Tools Reference Guide Edit Window Toolbar Counters and Edit Selection Indicators

At the top of the Edit window is the Edit Win- The Counters and Edit selection indicators pro- dow Toolbar and menu. This Toolbar provides vide information where selections are in the access to the editing modes, tools, options, indi- Timeline. EDIT WINDOW TOOLBAR CONTROLS AND DISPLAYS (continued) cators, and displays for Pro Tools. You can cus- tomize the Toolbar in the Edit, MIDI Editor, or MIDI Selection Score Editor windows by re-arranging, showing, Edit Selection and hiding the available controls and displays. Main and Sub Counters

Edit Toolbar Controls and Displays

The following controls and displays in the Edit Window Toolbar are always shown. Cursor Location Edit Modes Cursor Value Timeline Data Online Status The Edit mode affects the movement and place- Session Data Online Status Automatic Delay Compensation ment of audio and MIDI regions (and MIDI

Edit window indicators notes), how commands like Copy and Paste ! Main Counter - Displays the current Edit insertion location in the Main Timebase ruler. function, and also how the various Edit tools Main CounterClick the drop Displays-down arrow the to current display the Edit Sub insertion-Counter. (Trim, Selector, Grabber, and Pencil tools) work. ! Sub Counter - Displays the current Edit insertion location in the Sub Timebase ruler. locationClick in the the drop Main-down arrowTimebase in the Main ruler. Counter to display. For more information, see “Edit Modes” on ! Cursor Location - Displays the current cursor location in the Main Timebase ruler. page 529. Sub! CounterCursor ValueDisplays - Displays the the current value of Editthe current insertion cursor value in peak amplitude (audio), locationpitch in (MIDI), the orSub according Timebase to the currentruler. automation or controller data type. ! Edit Selection Indicators - Display the Start, End, and Length of the current Edit Cursorselection. Location Displays the current cursor loca- ! MIDI Selection Indicators and Controls - Display the current MIDI Edit selection tion in(MIDI the note Main number, Timebase and Note ruler. On and Note Off velocities) and provide controls for MIDI editing. Cursor! Timeline Value Displays Data Online the Status value Indicator of the current - Is green when all files in use in track Edit mode buttons cursorplaylists value are in avail peakable am for plitudeplayback. I(audio),f files are offline, pitch being processed, or otherwise unavailable for playback, this indicator is red. Edit Tools (MIDI),! Session or according Data Online to Statusthe current Indicator automation - Is green when all audio and fade files or controllerreferenced data by the type. session are available for playback. If files are offline, being processed, Edit tools are used for editing audio, MIDI, and or otherwise unavailable for playback, this indicator is red. automation data in Pro Tools. For more infor- Edit! SelectionDelay Compensation Indicators StatusDisplay Indicator the Start, - Is dis End,played when Delay Compensation is enabled (Options > Delay Compensation). When Delay Compensation is disabled, this mation, see “Edit Tools” on page 533. and Lengthindicator ofis not the displayed. current Edit selection.

! MIDITransport Selection Controls Indicators – The transport and Controlscontrols from Display the Transport Window can also be thedisplayed current in the MIDI Edit Window Edit selection Toolbar. (MIDI note number, and Note On and Note Off velocities) and provide controls for MIDI editing.

Edit tools

178 Pro Tools Reference Guide EDIT WINDOW TOOLBAR CONTROLS AND DISPLAYS (continued)

• Expanded Transport - The expanded transport displays the transport controls as well as Pre- Roll, Post-Roll, Fade-In, and selection Start/End/Length indicators. Click to adjust the settings and to enable or disable Pre/Post-roll and Fade-In.

• MIDI Controls – Displaying MIDI Controls allows you to:

! Disable/enable and adjust the Count-Off ! Change the Meter of the session (double click the meter value to do so) ! Enable/disable Wait for Note ! Turn the Click on/off (double-click the metronome for Click/Countoff Options) ! Enable/disable MIDI Merge ! Switch between Conductor and Manual Tempo mode. When in Manual Tempo mode, you can click on the tempo and meter values to change them.

Chapter 36: Time, Tempo, Meter, Key, and Chords

TIMEBASE and CONDUCTOR RULERS

The Timebase and Conductor Rulers are located just below the Edit Window toolbar.

Timebase Rulers (Bars/Beats, Minutes:Seconds, Time Code, Feet and Frames, and Samples) display measurements of time relative to the audio and MIDI data in the session, and determine how the Pro Tools grid is displayed. In Pro Tools, editing and arranging is typically Conductor Rulers (Markers, Tempo, Meter, Key, and Chords) indicate changes in the musical done on tracks against a fixed Timeline. Timebaseparameters of the session (tempo,Rulers meter, key signature)and as well as allow the user to mark specific Conductorlocations in the session. Rulers Regions and events can be anchored to points in You can show or hide the various Rulers under “View” > “Rulers” or by using the button next to the rulers in the Edit Window. absolute time, or relative time, as measured on the session’s Timeline. The Timeline includes two different types of rulers for measuring time: Timebase rulers and Conductor rulers.

Pro Tools also provides a Markers ruler for Memory Location (see Chapter 37, “Memory Locations”).

The Timebase rulers can measure time in two different ways: sample-based time (absolute All rulers displayed time) and tick-based time (relative time). For example, the Minutes:Seconds ruler measures ab- Timebase Rulers solute time and the Bars|Beats ruler measures relative time. Any or all of the following Timebase rulers can be displayed at the top of the Edit window and The relative time of the Bars|Beats ruler is deter- in MIDI Editor windows: mined in part by tempo and meter. Tempo, Me- ter, and Key Signature rulers reside in Conductor Bars|Beats Displays the Time Scale in bars and tracks. Tempo and meter events affect the tim- beats. Use this Time Scale if you are working ing of tick-based tracks, and also provide the with musical material that must align with bars tempo and meter map for the Bar:Beat grid and and beats. The Bars|Beats Time Scale is relative Click. You can edit tempo events in the Tempo and is affected by the session’s tempo and meter ruler or Tempo Editor. map.

Key changes can affect MIDI notes when applying transposition. You can edit key and key changes in the Key Signature ruler.

Chapter 36: Time, Tempo, Meter, Key, and Chords 749 CLIP LIST, TRACK LIST, AND GROUP LIST

The Clip List, Track List, and Group List all provide at-a-glance information about files, tracks, and groups in your session. They can be shown or hidden by clicking the and buttons in the lower left and right corners of the screen.

CLIP LIST

The Clip List displays all audio files, MIDI files, and clip groups in a single list on the right side of the screen. Clips appear here once recorded, imported, or created by editing or processing. Clips deleted or overwritten by the session are stored in the Clip List as well.

TRACK LIST

The Track List displays all of the tracks in the session on the upper left section of the screen. Tracks can be rearranged, shown or hidden, scrolled to, or sorted. Click on the circle next to the track name to show/hide, drag to change track order, or right-click for more functions.

GROUP LIST

A “Group” in Pro Tools is a selection of tracks that is created by the user – when grouped, these tracks all function in the same way, which is useful for editing and mixing the selection of individual tracks as a whole.

The Group List displays tracks that have been grouped together in the lower left section of the screen. Groups can be selected or de-selected by clicking on the group name. They can also be created/deleted, and modified from the drop-down arrow on this menu.

GROUPS

Using Groups in Pro Tools enables the user to link multiple tracks together to perform editing and mixing tasks on all of the grouped tracks simultaneously.

To turn a group on or off, simply click the group’s name in the Group List.

To make a new Group, select the tracks to be included in the group (hold Command and click on the track names) and choose Track > Group… or use the shortcut:

• “COMMAND” + “G” = Create group from selected tracks • “CONTROL” + “COMMAND” + “G” = Modify groups

This will bring up the “Create Group” Dialog. This dialog allows the user to set the attributes of the group, including:

! Whether to create a Mix Group, Edit Group, or Mix/Edit Group ! The name of the Group ! The ability to link mutes, solos, and send mutes/levels.

Mix Groups affect mixing functions (e.g. volume, solo/mute, etc.).

Edit Groups affect editing functions (e.g. fades, deleting/modifying audio files, etc.).

Mix/Edit Groups affect both mixing and editing functions.

PRO TOOLS – GLOBAL KEYBOARD SHORTCUTS

Global Keyboard Shortcuts are shortcuts that affect the general navigation and control of your Pro Tools session. It’s essential to know these Global Shortcuts to become an effective Pro Tools operator.

Some of these shortcuts deal with “selecting” tracks to perform various tasks. To select a track, simply click on the track name. When a track is selected, its name will appear blue with a white background.

• “COMMAND” + click on track names – Select/deselect multiple tracks • Click on first track, “SHIFT”+Click on last track – Select multiple consecutive tracks • Hold “COMMAND” then click/drag with the mouse – Fine tune control • “OPTION” then perform a task – perform task on all tracks • “OPTION” + “SHIFT” – then perform a task – perform task on all selected tracks

In this example, the ACOUST1, BASS, and GROUP 2 tracks are selected. ASSIGNING METER AND TEMPO IN A SESSION (Conductor Mode)

Pro Tools sessions are created with a default tempo of 120 bpm and a default meter of 4/4. It is a good idea to assign appropriate tempo and meter values to aid in many facets of the production, including tempo editing, effects processing, etc. If the tempo and meter of the session do not match the music being recorded, the recorded material will not align with the bars and beats in the Edit Window – this makes many editing and mixing processes more complex and time consuming.

The session’s tempo and meter settings also determine how bars and beats are subdivided in the Edit Window.

The Tempo Ruler and Meter Ruler are located underneath the Edit Window Toolbar.

Tempo events occur in the Tempo Ruler underneath the Edit Window Toolbar. When setting the initial tempo of the session, first press the “Return” key to ensure the cursor is placed at the start of the session.

To assign a new Tempo value, either:

1. Double-click the Song Start Marker – this is the red diamond in the Tempo Ruler and signifies the start of the song. Or, 2. Click the “+” button in the Tempo Ruler

To assign different tempo values throughout the song, place the cursor where you want the tempo to change and click the “+” sign in the Tempo Ruler to enter the new tempo.

Meter events occur in the Meter Ruler underneath the Edit Window Toolbar. When setting the initial meter of the session, first press the “Return” key to ensure the cursor is placed at the start of the session.

To assign a new Meter value:

1. Click the “+” button in the Meter Ruler. 2. Type the new meter into the “Meter Change” dialog that comes up and press “OK.”

To assign different meter values throughout the song, place the cursor where you want the meter to change and click the “+” sign in the Meter Ruler to enter the new meter.

TRACK TIMEBASE

The track’s timebase determines the relationship between audio or MIDI data and the session’s timeline.

A track’s timebase can be set to samples or ticks, and can be changed at any time by clicking the timebase button in the Edit Window. This is the small button in the lower left corner of the track’s control set that appears as a metronome (for ticks) or as a clock (for samples).

When set to samples, all data is fixed to an absolute location on the session’s timeline, and is not affected by changes in tempo or changes to the timeline.

When set to ticks, data on a track will move relative to the timeline, meaning it will change and shift if you make changes to the timeline (such as tempo changes). CLICK TRACKS

A click track (also called a metronome) helps with keeping time in the song by playing back a “click” (or another sound) on every beat in the session. The most straightforward method for using a click in Pro Tools is the “Click” instrument plug-in.

1. Make sure you can view the MIDI Controls (if not, right-click in the grey area of the Edit Window Toolbar to view them) and make sure the Metronome button (shown above) is selected.

2. From the menu bar, click on Track > Create Click Track - Pro Tools will automatically create an aux input track with the Click plug-in inserted. You can also create the click track manually by creating an Aux Input track and inserting a “Click” plug-in on it.

3. Double click the Metronome button to verify and/or change the click/countoff settings.

The MIDI Controls can be displayed by right-clicking any of the grey area in the Edit Window Toolbar and selecting “MIDI Controls.”

The click track will play in time with the session’s meter and tempo.

CONDUCTOR MODE vs. MANUAL TEMPO MODE

Pro Tools gives the user the option of setting a manual tempo for the session (which ignores the values set in the Tempo Ruler) or enabling Conductor mode, in which the tempo will follow the value set in the Tempo Ruler.

To switch between the two:

1. In the Transport Window or Edit Window Toolbar, make sure “MIDI Controls” are displayed.

The MIDI Controls can be displayed by clicking "View > Transport > MIDI Controls" from the menu bar

2. Click the button. When highlighted (blue), Conductor Mode is enabled and Pro Tools will follow the tempo value in the Tempo Ruler. When the button is grayed out, Pro Tools will operate in Manual Tempo mode and ignore the tempo value in the Tempo Ruler.

To select a tempo in Manual Tempo mode:

1. Click directly on the numerical Tempo value in the MIDI Controls in the Transport Window.

2. Type in the new tempo or press the “T” key to tap the new tempo in.

FIGURING OUT THE TEMPO OF A SONG

The MIDI Controls can be displayed by clicking "View > Transport > MIDI Controls" from the menu bar

You may sometimes find yourself in situations in which you need to figure out the tempo of a song in Pro Tools. This will allow you to sync up the song with the grid in Pro Tools, and will make editing and mixing functions much easier. The following method works well for finding the tempo of a song that has been recorded with a metronome, but has not previously been sync’d up with the grid in Pro Tools. You can also use it to find the tempo of a song from scratch before recording.

This method assumes that the audio will line up properly with the grid once the appropriate tempo has been entered. In some cases, you may need to select all of the clips in the session and slide them forward or backwards to make the first beat sync up with the grid.

1. Create a click track in the session and temporarily mute it.

2. Turn on Manual Tempo mode (the conductor button in the MIDI Controls (shown above) in the Transport Window should be grayed out).

3. Press “Play” to play the song.

4. Click on the numeric “Tempo” value in the MIDI Controls in the Transport Window to highlight it.

5. Tap the “T” key in time with the song for awhile. Pro Tools will average out the timing of your taps and automatically enter a new tempo value.

6. Once you have an average value, press the “Return Key” to enter it.

7. Stop the song and play it back. If the click and grid sync up with the music, you’re done. You may need to slightly raise or lower the tempo if the click drifts. To numerically enter a tempo, click on the numeric “Tempo” value in the MIDI Controls and type it in, or click on it and drag up and down.

Zoom Buttons Use the Zoom buttons to zoom in Zoom Buttons and out vertically and horizontally on MIDI and Audio and MIDI Zoom In and Out To zoom out vertically for all audio tracks, do one audio track material. You can also store and re- ZOOMPro Tools includes BUTTONS different Zoom buttons for Buttons of the following: call five Zoom presets. zooming in and out on track data. Click the Audio Zoom Out button. The Audio and MIDI Zoom buttons let you Zoomer Tool Use the Zoomer tool to select a TheThe EditZoom window, Buttons MIDI Edhelpitor windows,with editing and the and navigating the session, andzoom canin and be out used vertically to resize on audio the and MIDI Click the Audio Vertical Zoom buttons. zoom view in a track. Score Editor window also provide Zoom buttons data respectively. height and length of the waveforms and MIDI data in the session. Press Control+Alt+[ or Control+Alt+] Zoom Toggle Use the Zoom Toggle to switch be- above and below the right vertical scroll bar (see (Windows) or Command+Option+[ or “Edit Window Zoom Buttons” on page 180, tween the current zoom view and a defined ! Horizontal Zoom In/Out – These buttons allow you to horizontally zoom in and out. Click Command+Option+] (Mac). zoom view. “MIDI Editor Zoom Controls” on page 708, Audioand and MIDI Zoom In and Out To zoom out vertically for all audio tracks, do one “Scorethe Editor corresponding Zoom Controls” button on page to 729.) zoomButtons in or out. You can also click and dragof forthe following:continuous control. To zoom all audio vertically to show the default Trimmer Tools Use the Trimmer tools to trim re- waveform height: Click the Audio Zoom Out button. gions and region groups. The Audio and MIDI Zoom buttons let you !Horizontal Zoom In and Out Press Control+Alt+Start+[ (Windows) or Audio and MIDI Zoom In/Outzoom –in Theseand out buttonsvertically onallow audio you and to MIDI change theClick vertical the Audio zoom Vertical size Zoom buttons. Selector Tool Use the Selector to make selections Buttons Command+Option+Control+[ (Mac). independently for audio and MIDI.data respectively. Click the arrow or drag forAudio continuous Vertical Zoom control. button on tracks. Press Control+Alt+[ or Control+Alt+] The Horizontal Zoom In and Out buttons let (Windows) or Command+Option+[ Toor zoom in vertically for all MIDI and Instrument you zoom in and out horizontally on track data. Grabber Tools Use the Grabber tools to select, Command+Option+] (Mac). tracks, do one of the following: separate, or move regions on tracks. Click the MIDI Zoom In button. Smart Tool Use the Smart tool to Trim, Select, or To zoom all audio vertically to show the– default or – waveform height: Grab regions in tracks. Press Control+Shift+] (Windows) or Press Control+Alt+Start+[ (Windows) or Scrubber Tool Use the Scrubber tool to scrub Command+Shift+] (Mac). Command+Option+Control+[ (Mac). through track material. Horizontal Zoom Out and In buttons Audio Vertical Zoom button MIDI Vertical Zoom button To zoom out vertically for all MIDI and Instrument To zoom in horizontally for all tracks, do one of the Pencil Tool Use the Pencil tool to draw automa- To zoom in vertically for all MIDI and tracks,Instrument do one of the following: following: MIDI Vertical Zoom only affects tracks in tion and MIDI data. tracks, do one of the following: not in Regions view. Click the MIDI Zoom Out button. Click the Horizontal Zoom In button. Click the MIDI Zoom In button. For information on using the Edit tools in ZOOM SHORTCUTS To zoom in vertically for all audio tracks, do one of – or – Drag on the Horizontal Zoom In button to Notes view on MIDI and Instrument tracks, the following: – or – zoom in continuously. Press Control+Shift+[ (Windows) or see Chapter 32, “MIDI Editing.” • “COMMAND” + “[ ]” = Horizontal zoom in/out Click the Audio Press Zoom Control+Shift+] In button. (Windows) orCommand+Shift+[ (Mac). Press Control+] (Windows) or Command+] Command+Shift+] (Mac). Drag on the Audio Zoom In button to zoom (Mac).• “COMMAND” + “OPTION”MIDI Vertical Zoom+ “[ button ]” = Audio vertical zoom in/out To zoom MIDI vertically to show all notes (lowest For information on using the Edit tools in continuously. Warp view and Analysis view on Elastic • “COMMAND” + “SHIFT” + “[ ]” = MIDI vertical zoomTo zoom in/out out vertically for all MIDI andto Instrument highest) in MIDI and Instrument tracks: To zoom out horizontally for all tracks, do one of Press Control+Alt+]tracks, (Windows)do one of the or following: Audio-enabled tracks, see “Editing in Warp MIDI Vertical Zoom only affects tracks in Press Control+Start+Shift+[ (Windows) or the• following: Command+Option+] (Mac). View” on page 873 and “Editing in Analy- “OPTION” + “F” = Zoomnot toin Regions selection view. Click the MIDI Zoom Out button.Command+Control+Shift+[ (Mac) sis View” on page 879. Click• the Horizontal Zoom Out button. “OPTION” + “A” = ZoomTo zoom into vertically show for allentire audio tracks, session do one of – or – Drag on the Horizontal Zoom Out buttonthe to following: zoom out continuously. Press Control+Shift+[ (Windows) or Zooming Options Click the Audio Zoom In button. Command+Shift+[ (Mac). ZOOM Press Control+[ PRESET (Windows) BUTTONS or Command+[ Zooming options in Pro Tools include Zoom Drag on the Audio Zoom In button to zoom (Mac). To zoom MIDI vertically to show all notes (lowest continuously. buttons, the Zoomer tool, the Zoom Preset but- The five Zoom Preset buttons allow the user to save five different “favorite”to zoom highest) settings. in MIDI and Instrument tracks: tons, and the Zoom Toggle command. Press Control+Alt+] (Windows) or Press Control+Start+Shift+[ (Windows) or Command+Option+] (Mac). Command+Control+Shift+[ (Mac) 534 Pro Tools Reference Guide To program the Zoom Preset buttons: Chapter 26: Edit Modes and Tools 535 1. Configure the edit window zoom settings the way you want them. 2. Click and hold any of the Zoom Preset buttons and choose “Save Zoom Preset.” • To recall a Zoom Preset, either: 1. Click the button for the Zoom Preset you want, or 2. Use the shortcut:

Chapter 26: Edit Modes and Tools 535 • “CONTROL” + “Number of zoom preset” = Recall Zoom Preset EDIT TOOLS

Pro Tools provides a selection of Edit Tools to use when working on a session (click on the tool to select it). These tools include:

The Regions/Markers option in the Grid Value ! The Zoomer menu allows events to be placed freely (as in Slip ! TheEdit Trimmer Tools mode), but they will snap to region locations ! ThePro Selector Tools provides the following Edit tools: the (start, end, and sync points), markers, and Edit ! The Grabber Zoomer, Trimmer, Selector, Grabber, Scrubber, selections when placed near them. ! The Scrubber ! Theand Pencil Pencil Tool tools, and the multifunctional Smart ! MIDI notes inserted with the Pencil tool ig- TheTool. Smart Tool nore the Regions/Markers option, and in- Zoomer Scrubber stead snap to the time value selected in the Zoom buttons Smart Tool Pencil Grid Value selector.

Grid Mode Lock

To ensure that you do not inadvertently change the Grid mode setting when using Edit mode Zoom Toggle Grabber Selector keyboard shortcuts, you can enable Edit/Tool Trimmer Mode Keyboard Lock. Zoom buttons and Edit tools

! The Zoomer Tool – This tool allows manual mouse control of the zoom functions in Pro To select an Edit tool: To lock (or unlock) the selected Grid mode: Tools. Click a specific point to zoom one level at a time, or click and drag around an area to 1 Click the Grid mode selector and choose Abso-focus the zoomClick on the that iconarea. forHold the “Option” tool you and want click to in zoom the out again. lute or Relative. Toolbar. o Normal Zoom – functions as described above.

2 Select (or deselect) Options > Edit/Tool Mode o SingleThe ZoomZoomer, – performs Trimmer, a single Grabber, zoom function and Pencil and reverts tools to the previous tool.

Keyboard Lock. have multiple modes, which you can select from ! The Trimmer Tool – This tool allows the user to “trim” the boundaries of a clip to make it longer ora shorter pop-up (up menu to the lengthwhen of you the clickoriginal the audio tool. file). Trimming is nondestructive to the audio. Hold “Option” to reverse the direction of the Trimmer tool. You can use F5 (Zoomer), F6 (Trimmer), F7 o Time Expansion/Compression(Selector), and F8 (Grabber), Mode F9– this (Scrubber), mode will stretch or compress the boundariesand of theF10 clip (Pencil), rather tothan select trim them.and toggle

o Loop Trimthrough Mode the – this modes mode for allows each you tool. to easily create looped clips using the Trimmer. Trim the clip normally by putting the cursor in the lower half of the waveform, and then loop it by placing the cursor in the top half of the clip and dragging the boundary for the desired lengthPress of the the Escape loop. Pro key Tools to toggle will create through a longer the looped clip of based on the original clip. Edit tools.

Chapter 26: Edit Modes and Tools 533 The Regions/Markers option in the Grid Value menu allows events to be placed freely (as in Slip Edit Tools mode), but they will snap to region locations Pro Tools provides the following Edit tools: the (start, end, and sync points), markers, and Edit Zoomer, Trimmer, Selector, Grabber, Scrubber, selections when placed near them. and Pencil tools, and the multifunctional Smart MIDI notes inserted with the PencilEDIT tool TOOLS ig- (continued)Tool. nore the Regions/Markers option, and in- Zoomer Scrubber stead snap to the time value selected in the Zoom buttons Smart Tool Pencil Grid Value selector.

Grid Mode Lock

To lock (or unlock) the selected Grid mode:! The Selector ToolTo – selectThe Selector an ToolEdit is tool:used to place the cursor or make selections in tracks or in the Timebase Ruler. Simply click to place the cursor, or click and drag to make a 1 Click the Grid mode selector and chooseselection. Abso- Click the icon for the tool you want in the lute or Relative. Toolbar. o Double-click on a clip to select the entire clip. 2 Select (or deselect) Options > Edit/Tool oMode Triple click on Thea track Zoomer, to select the Trimmer, entire track. Grabber, and Pencil tools o Hold “Shift” and click to add other tracks to your selection. Keyboard Lock. o Hold “Control”have to turn multiple the Selector modes, into the Scrubber which Tool. you can select from a pop-up menu when you click the tool. ! The Grabber Tool– The Grabber Tool is used to select, move, separate, and/or arrange entire clips in the session. Double-click on any clip with the Grabber to rename the clip. Hold “Option” then click and dragYou a clip can to duplicateuse F5 (Zoomer), it. F6 (Trimmer), F7 (Selector), and F8 (Grabber), F9 (Scrubber), o Time Grabber – Selects an entire clip with a single click. o Separation Grabberand – If aF10 selection (Pencil) is made, to the select Separation and toggleGrabber separates the selection and performsthrough a Cut/Paste the action modes by dragging for each the selectiontool. to a new location. o Object Grabber – Allows selection of multiple, non-contiguous clips. Hold “Shift” to select multiple clips. Press the Escape key to toggle through the ! The Pencil Tool – The pencil tool allows the user to manually draw in different types of data, including: Edit tools.

o Audio waveform data o MIDI data o Tempo data o Automation

Chapter 26: Edit Modes and Tools 533 EDIT TOOLS (continued)

! The Scrubber Tool – The Scrubber Tool is designed to emulate the “scrubbing” of analog tape, a technique in which the engineer would rock the tape over the playhead of the tape machine. This would play the audio on the tape at a slow speed and enable the engineer to find points in the audio to make edits. Simply click and drag the Scrubber over the track to play back the audio on the track. The speed at which the audio is scrubbed determines the playback speed. Hold “Option” to Scrub more quickly.

! The Smart Tool – The Smart Tool is a combination-style editing tool that functions as a Selector, Grabber, or Trimmer tool, and also allows the user to perform crossfades, fade ins, and fade outs. To select one of the Grabber tools, do one of the The Smart Tool in Waveform View following: The function of the Smart Tool is dependent upon the cursor’s position in (Audio)relation to the or clip, Regions note, or playlist View being edited. (MIDI)

Click the Grabber tool in the Edit window and select the Grabber tool from the pop-up menu. Fade-In Selector tool Fade-Out

Trimmer Trimmer tool tool (end) (start)

Grabber tool Crossfade

Smart Tool in Waveform view

The following capabilities are available with the SMART TOOL FUNCTIONS – WAVEFORM VIEW Smart Tool when working with audio tracks in Selecting a Grabber tool WaveformTOOL TYPE orCURSOR Blocks LOCATION view, or MIDI or Instru- Selector Middle of clip, upper half – or – mentGrabber tracksMiddle in Regions of clip, lower view: half Trimmer Edge of clip, middle FadeFor In the SelectorFront of clip, tool, upper positioncorner the cursor over Right-click on any track and select the Grab- theFade middleOut ofEnd the of clip, region, upper corner in the upper half of the ber tool from Tools > Grabber Tools. Crossfade Place over boundary between two clips, lower half region.

For the Grabber tool, position the cursor over Using the Smart Tool the middle of a region, in the lower half of the region.

With the Smart Tool, you can instantly access For the Trimmer tool, position the cursor near the Selector, Grabber, and Trimmer tools, and the region’s start or end point. you can also perform fades and crossfades. The For a fade-in or fade-out, position the cursor position of the cursor in relation to a region or near an audio region’s start or end point, near note, or within an automation playlist, deter- the top of the region. Once the Fade cursor ap- mines how the Smart Tool functions. pears, drag into the region to set the fade length. The fade is created automatically with the De- fault Fade Settings (in the Editing Preferences page).

Smart Tool enabled in the Edit window

To select the Smart Tool, click its icon in the upper left of the Edit window, or press F6+F7 (or F7+F8) simultaneously.

552 Pro Tools Reference Guide EDIT TOOLS – SHORTCUTS

• “COMMAND” + “1” – Zoomer • “COMMAND” + “2” – Trimmer • “COMMAND” + “3” – Selector • “COMMAND” + “4” – Grabber The Regions/Markers option in the Grid Value • “COMMAND” + “5” – Scrubber menu allows events to be placed freely (as in Slip Edit• “COMMAND” Tools + “6” – Pencil • “COMMAND” + “7” – Smart Tool mode), but they will snap to region locations • Press shortcut repeatedly to toggle among each tool’s different Pro Tools provides the following Edit tools: the (start, end, and sync points), markers, and Edit modes Zoomer, Trimmer, Selector, Grabber, Scrubber, selections when placed near them. and Pencil tools, and the multifunctional Smart

MIDI notes inserted with the Pencil tool ig- Tool. nore the Regions/Markers option, and in- Zoomer Scrubber stead snap to the time value selected in the Zoom buttons Smart Tool Pencil Grid Value selector.

Grid Mode Lock

To lock (or unlock) the selected Grid mode: To select an Edit tool:

1 Click the Grid mode selector and choose Abso- Click the icon for the tool you want in the lute or Relative. Toolbar.

2 Select (or deselect) Options > Edit/Tool Mode The Zoomer, Trimmer, Grabber, and Pencil tools Keyboard Lock. have multiple modes, which you can select from a pop-up menu when you click the tool.

You can use F5 (Zoomer), F6 (Trimmer), F7 (Selector), and F8 (Grabber), F9 (Scrubber), and F10 (Pencil) to select and toggle through the modes for each tool.

Press the Escape key to toggle through the Edit tools.

Chapter 26: Edit Modes and Tools 533 Edit Window Toolbar Counters and Edit Selection Indicators

At the top of the Edit window is the Edit Win- The Counters and Edit selection indicators pro- dow Toolbar and menu. This Toolbar provides vide information where selections are in the access to the editing modes, tools, options, indi- Timeline. cators, and displays for Pro Tools. You can cus- tomize the Toolbar in the Edit, MIDI Editor, or MIDI Selection Score Editor windows by re-arranging, showing, Edit Selection and hiding the available controls and displays. Main and Sub Counters

Edit Toolbar Controls and Displays

The following controls and displays in the Edit EDIT WindowMODES Toolbar are always shown. Cursor Location

Edit Modes Cursor Value Edit Modes affect the behavior of how audio and MIDI clips are movedTimeline and placed Data inOnline the session. Status They canThe also Edit affect mode how affects commands the movement like Copy/Paste and place- function, as well as howSession the various Data Online Edit ToolsStatus Automatic Delay Compensation work. Editment modes of audio include: and MIDI regions (and MIDI notes), how commands like Copy and Paste Edit window indicators ! function,Slip Mode and also how the various Edit tools ! Shuffle Mode Main Counter Displays the current Edit insertion (Trim, Selector, Grabber, and Pencil tools) work. ! Spot Mode location in the Main Timebase ruler. For more information, see “Edit Modes” on ! Grid Mode (Absolute and Relative modes) page 529. Sub Counter Displays the current Edit insertion

location in the Sub Timebase ruler.

Cursor Location Displays the current cursor location in the Main Timebase ruler.

Cursor Value Displays the value of the current Edit mode buttons cursor value in peak amplitude (audio), pitch ! SlipEdit Mode Tools – Slip mode allows unrestricted movement and (MIDI),placement or accordingof the cursor to inthe the current Edit automation Window. In Slip mode, clips and selections can be moved freelyor controller within a track data or type. to other tracks. In thisEdit mode, tools it are is possible used for to editing place a audio, clip so MIDI,that there and is space between it and other clips in a track.automation When the track data isin played Pro Tools. back, Forthis morespace infor- is silent. It is Editalso possibleSelection to Indicators move a clip Display so that the Start, End, it overlapsmation, or seecompletely “Edit Tools” covers on another page 533. clip. Use Slip modeand when Length you want of the the currentTrim, Selector, Edit selection. Grabber, and Pencil tools to work without any restrictions to placement in time. MIDI Selection Indicators and Controls Display

the current MIDI Edit selection (MIDI note ! Shuffle Mode - In Shuffle mode, you can edit clips freely among tracks, but their movement is constrained by other clips. That is, if you place several clipsnumber, in a track, and they Note automatically On and Note snap Off velocities) to each other. You can then “shuffle” their order, but you cannotand provideseparate controls them from for each MIDI editing. otherEdit and tools you cannot make them overlap like you can in Slip mode. However, if there is silence between existing clips, and the clips are shuffled, the silence is maintained, and not removed.

In Shuffle mode, adding another clip to the beginning of a track moves all subsequent clips to the right (later in time) by the length of the added clip.

178WhenPro using Tools anyReference of the TrimmerGuide tools in Shuffle mode, changing a clip’s start or end point automatically moves any subsequent clips as necessary.

Shuffle Lock – When in Slip, Shuffle, or Grid Mode, Command-click “Shuffle” in the Edit Window to engage Shuffle Lock – this disables all “Shuffle Mode” shortcuts and helps prevent accidentally engaging Shuffle Mode and moving clips. EDIT MODES (continued)

! Spot Mode - Use Spot mode to place clips at precise locations. In Spot mode you can specify a time, capture an incoming Time Code address, or use a clip’s time stamps as reference points for spotting (placing) a clip. When Spot mode is enabled, Pro Tools asks you to specify a destination location when a clip is dragged into a session or clicked on with the Grabber.

Spot Mode can also be used to place a region in its original location in the session, which is very helpful if the region has been subsequently moved or is being dragged into the timeline from the clip list. Just click the arrow button next to “Original Time Stamp” in the Spot Mode dialog and Pro Tools will automatically fill in the appropriate value. Click “OK” and the region will be placed in its original location.

! Grid Mode – In grid mode, the cursor and selections are constrained to the grid, and clips “snap” to the grid when moved. Grid Mode is comprised of Absolute and Relative Grid Mode, which can be toggled between by clicking “Grid” or repeating the Grid Mode shortcut.

o Absolute Grid Mode – When moved, the clip’s start always snaps to the grid. Trimming is constrained to the grid.

o Relative Grid Mode – Clips are moved by the grid value, relative to their original position. For example, if the Grid Value is set to a ¼ note, clips will be moved in ¼ note increments. Clips are trimmed according to the grid value, but relative to their starting point.

Remember to adjust the Grid value to an appropriate setting if necessary when working in Grid Mode. To set the grid value, click on the drop-down arrow next to the Grid Value button on the Edit Window toolbar.

To show/hide Grid lines in the session, click one of the Timebase rulers (Bars|Beats or Min:Secs). Continued clicking will toggle the Grid lines on and off.

Snap to Grid – By Shift-clicking “Grid” while in another mode you can constrain the edit cursor to the grid, while keeping the edit mode’s normal behaviors. This allows to you, for example, combine the behaviors of Grid and Shuffle mode together to perform specialized edits.

EDIT MODES - SHORTCUTS

• “OPTION” + “1” – Shuffle Mode • “OPTION” + “2” – Slip Mode • “OPTION” + “3” – Spot Mode • “OPTION” + “4” – Grid Mode

NAVIGATING THE SESSION AND MAKING SELECTIONS

Before audio/MIDI can be edited, it must first be navigated to and selected. Selections are highlighted with dark shading in the Edit Window and indicated by blue start/end arrows in the Timebase ruler (these arrows are red if any tracks are record-armed). Selections work across groups (if applicable) but they ignore hidden tracks.

Chapter 27: Making Selections

Selections such as the one above are highlighted with dark shading and notated with the blue start/end arrows in the Timebase Rulers.

Pro Tools provides many tools for selecting material in the Edit window.

Linking or Unlinking Timeline and Edit Selections

Pro Tools lets you link or unlink the Timeline Link Timeline and Edit Selection button enabled in the Edit! windowLink Timeline and Edit Selection – When selected, any selection made in the Edit and Edit selections. Window also defines the play/record range. When “Play” or “Record” are pressed, Pro Tools When the Timeline and Edit selections are Press Shift+Forward Slash (/) to toggle Link linked, selecting in a track’s playlist (making an Timelinewill play and backEdit Selection the onsection and off. that is selected. You might want to de-select this if you want to edit Edit selection) also defines the play and record material within the selection without affect the selection that Pro Tools is playing back. range (the Timeline selection). If you are working on a film or video scene, you may want to unlink the Timeline and Edit selec-Selections and Edit Groups Unlinking Timeline and Edit selections lets you tions to find or audition material that is at a dif- When making selections on tracks that are part make a selection within a track for editing pur- ferent location than the current Timeline selec-of an Edit Group, all tracks within the group be- poses that is distinct from the selection in the tion. Edit selections can be played (choose Editcome > selected. Timeline (which determines the playback and Selection > Play Edit) without disrupting the cur- recording range). rent Timeline selection. Once you find the ma-Selections and Hidden Tracks terial, you can then go back to the Timeline se-When editing tracks that are part of an active Link Track and Edit Selection enabled To link or unlink the Timeline and Edit selections, lection! Link and place Track it within and the contextEdit ofSelection theEdit Group, any – tracks When within theselected, group that are any selection made in the Edit window (or do one of the following: scene. hidden are not affected by the edits. To edit all members of a group, make sure they are visible Select or deselect Options > Link Timeline and wherever the cursor is placed) will also select the corresponding track. This makes adjustments TheSelecting following Track figure illustratesMaterial another reasonby highlighting their names in the Track List. Edit Selection. whyBefore youto audio mightmultiple and MIDI want material to tracks unlink can thebe easier. edited, Timeline it and Selections in Multiple Tracks – or – Editmust selections. first be selected. In this The example,Track View the deter- Timeline se- mines how the material is viewed and selected. lection sets a range to be looped on playback,To make a selection in multiple tracks: In the Edit window, a MIDI Editor window, or while a MIDI region (residing within the loop) is the Score Editor window, click the Link Timeline When you make a selection, it appears as a high- With the Selector tool, drag vertically to in- lighted area of the tracks, and is also indicated and Edit Selection button so it becomes high- selected for editing purposes. clude adjacent tracks in a selection (drag hori- by blue start and end arrows (Timeline Selection zontally to define the time range). lighted (selected) or un-highlighted (not se- DuringMarkers) inplayback, the Main theTimebase Edit ruler.selection If any can track be lected). Enabling or disabling the Link Timeline (audio or MIDI) in the session is record-enabled, nudged, quantized, or transposed while the loopSelecting Regions and Edit Selection button in any editor window playseven if back it is hidden, completely these markersindependent appear red.and unin- affects all editor windows. terrupted. To select a portion of a region:

With the Selector tool, drag within a region Chapter 27: Making Selections 561 (left or right) to select the material on a single track. (You can also use the Selector tool across multiple, adjacent tracks to make multitrack selections.)

Timeline Selection Markers indicating Edit selection

If the Timeline and Edit selections are unlinked, the Edit selection range is indicated by Edit Markers in the Main Timebase ruler. See “Link- ing or Unlinking Timeline and Edit Selections” Selecting a portion of a region on page 561 for details.

Chapter 27: Making Selections 563 NAVIGATING THE SESSION AND MAKING SELECTIONS (continued)

To select a portion of a clip: - With the Selector tool, drag within a clip (left or right) to select the material on a single track. (You can also use the Selector tool across multiple, adjacent tracks to make multitrack selections.) Hold the Shift key to modify your selection. - Click on the start of the material you’d like to select, and Shift-click the end point of the material.

To select an entire clip, do one of the following: - Click the clip with the Time Grabber Tool - Double-click the clip with the Selector Tool

To select two clips and the time range between them: - Select the first clip - Hold “Shift” and select the second clip

To select an entire track: - Triple click the track with the Selector Tool - Place the cursor in the track and click Edit > Select All. - Place the cursor in the track and use the shortcut:

• “COMMAND” + “A” (with cursor in desired tracks) – Select entire track(s)

To select all tracks from the Timebase Rulers: - Make sure “Link Timeline and Edit Selection” is enabled, then click and drag or click and Shift-click on any Timebase Ruler to make a selection. - Double-click on any Timebase ruler to select all of the tracks and data in the session at once.

To make a selection during playback: - Start playback - Press the Down Arrow to define the start of the selection. - Press the Up Arrow to define the end of the selection. - Press the Left or Right Arrow to scroll to the beginning or end of your selection.

SELECTIONS – SHORTCUTS

• “CONTROL” + “P” – Move cursor or selection up to the next track • “CONTROL” + “;” – Move cursor or selection down to the next track • “CONTROL” + “SHIFT” + “P” – Extend cursor or selection up to the next track • “CONTROL” + “SHIFT” + “;” – Extend cursor or selection down to the next track • “COMMAND” + “OPTION” + “Z” – Restore previous selection • “LEFT ARROW” – Go to start of selection or cursor • “RIGHT ARROW” – Go to end of selection or cursor

CREATING AND WORKING WITH CLIPS IN PRO TOOLS

Once audio has been recorded or imported into Pro Tools, the resulting audio file is known as a clip. Clips are essentially the “building blocks” for working with and arranging audio and MIDI data in Pro Tools. There are many ways to create new clips in Pro Tools. When a new clip is created, it appears not only in the track’s playlist but also in the clip list. When a new clip is created from an existing clip, the original clip remains in the clip list.

When working with small clips that have been created from larger original clips, you can use the Trimmer Tool to expand the new clip’s start/end points to encompass the full extent of the original material.

Edit > Separate Clip – this command defines a selection as a new clip, and separates it from the surrounding material. There are a few different commands available for separating clips. First you must make a selection with the Selector Tool. Then, from the Edit Menu:

Separate Clip > At Selection – This creates a new clip with the start/end points from your selection. If you have placed the cursor in the playlist but have not selected any material, it will split the clip at the cursor.

Separate Clip > On Grid – This creates new clips with start/end points placed on the grid markers.

Separate Clip > At Transients – This creates new clips by separating audio at transients that Pro Tools detects in the material you’ve selected.

Edit > Heal Separation – You can “heal” separations in clips if the clips are still adjacent to each other and their start/end points haven’t been changed. Simply select the separation you want to heal and choose Edit > Heal Separation. Trimming Clips to the Selection – This command removes all material before and after the selection. Make a selection and choose Edit > Trim Clip > To Selection.

Edit > Trim Clip > Start to Insertion / Trim End to Insertion – These commands trim all material before OR after the point where the cursor is placed. Place the cursor in a clip and choose Edit > Trim Clip > Start to Insertion / End to Insertion.

• “COMMAND” + “E” – Separate clip at selection/cursor • “COMMAND” + “H” – Heal separation • “COMMAND” + “T” – Trim to selection • “SHIFT” + “OPTION” + “7” – Trim start to insertion • “SHIFT” + “OPTION” + “8” – Trim end to insertion Right-Click Commands and For MIDI and Instrument tracks in Notes view, Selection Preservation pressing Tab always tabs to the next note, regardless of whether or not Tab to Transients is You can use Right-click commands with key enabled. In Regions view, Tab to Transients tabs combinations to perform operations on objects to notes and Normal Tab tabs to region bound- while maintaining selections in the Edit and aries. Mix windows. For example, you can maintain selections in the following areas while carrying For MIDI notes, when tabbing to chords, each out certain commands: note in the chord is recognized as a single event. •Region selections in the Timeline This lets you tab to each note in the chord. NAVIGATING CLIPS WITH “TAB” •Region name selections in the Region List When Tab to Transients is enabled, the Tabbing Using•Track the “selectionsTAB” key in conjunction with other modifiersfunction allows also easy locates navigation the cursor and selectionto region ofstart the clips in a playlist. and end points, but not to sync points. To apply a command to an object while keeping the current selection: To toggle Tab to Transients on and off, • Press “TAB” to advance the cursor to the next clip boundary. press Control+Alt+Tab (Windows) or Com- Control-Right-click (Windows) or Command- • Hold “OPTION” and press “TAB” to movemand+Option+Tab the cursor (Mac). to the Right-click (Mac) the object and choose a com- previous clip boundary. mand from the pop-up menu. • Hold “SHIFT” in conjunction with theTo set above the start commands and end points toof a selectselection with Tab to Transients: the underlying material as you go Tabbing to Transients 1 In the upper left of the Edit window, click the Tab to Transients button so it becomes selected. With“TAB the-TO Tab- toTRANSIENT Transients button” MODE enabled, you can automatically navigate to transients in au- 2 If you will be setting the play range with this dioUsing waveforms the “Tab in-to Waveform-Transient” view, function placing will movethe the cursorselection, to the enable next Options detected > Link transient Timeline when and Edit cursor“TAB ”just is pressed. before the The detected modifier transient keys function peak. the sameSelection way in. Tab-to-Transient mode as they do Thisin normal lets you use. define selections and play ranges, 3 Click in the audio track just before the begin- as well as start and end points for new regions, ning of the material you want to select. withoutTo enable having “Tab -toto -zoomTransient” in on pressthe waveform. the button located underneath the Trimmer Tool button. 4 Press Tab repeatedly until the cursor locates to the transient where you want to start the selection.

If necessary, you can move to the previous transient by pressing Control+Tab (Windows) or Option+Tab (Mac).

Tab to Transients button enabled 5 Press Shift+Tab until the cursor locates to the In Warp• “COMMAND” view, Tab to Trans +ients “OPTION” tabs to all Event + “TAB” end –of Togglethe material Tab you-to want-Transient to select. and Warpmode markers on/off in a region. Normal Tab tabs To move the selection end point to the previous to region boundaries and all Warp markers. In transient, press Control+Shift+Tab (Windows) Analysis view, pressing Tab always tabs to Event or Option+Shift+Tab (Mac). markers, regardless of whether or not Tab to Transients is enabled.

572 Pro Tools Reference Guide Chapter 29: Fades and Crossfades

Pro Tools calculates fades and crossfades in The type of selection you make determines the RAM in real-time. You can quickly and easily character of the crossfade. apply a fade-in or fade-out on a audio clip, as well as apply crossfades between adjacent audio Since crossfades are created by fading clips. Crossfading is the process of fading be- between overlapping audio material, a tween two clips of audio to prevent pops, clicks, crossfade cannot be performed on clips or sudden changes in sound. Crossfades have that do not contain audio material many applications, from smoothing transitions WORKINGbeyond WITHtheir clip FADES boundaries. between clips to creating special audio effects. Fades serve many purposes in Pro Tools, including audio fades in, fade-outs, smoothing over clip The crossfade duration, position, and shape are If a clip references insufficient data to exe- boundaries, and creating “morphing” effects during mixdown. Fades do not actually change the all user-definable. cute a selected fade or crossfade, you are audio file; they are simply data that is calculated in RAM in real-time by Pro Tools and essentially prompted to either skip those fades or to ad- overlaid onto the audio in the session. just the bounds of the selection to be able to

About Crossfades and Curves execute those fades. Crossfades are fades created between two audio clips to help prevent clicks, pops, and abrupt To create a crossfade between two clips, use the changes in sound between the two clips. Standard Crossfade (Centered) Selector tool to select across the end point of the first clip and the start point of the second. The splice length of the selection determines the length of fade-out curve point fade-in curve the crossfade. Though fades may appear to be discrete clips, they cannot actually be separated from the clips in which they were created. You clip 1 clip 2 can, however, create fade-ins and fade-outs for individual clips (see “Creating Fades at the Be- ginnings and Ends of Clips” on page 623). crossfade selection Centered crossfade Use the Fades dialog to select, view, and manipulate the curves used to perform fades and To Thismake type a crossfade, of selection make creates a selection a crossfade across on any both clip boundary and use the shortcut: crossfades. Different volume curves can be as- sides of the splice point, which affects the vol- signed to the fade-out and fade-in portions of ume• “COMMAND” of clip 1 and clip + 2. It“F” is the – Createmost common fade / crossfade crossfades. The Fades dialog can also be used to type of crossfade. audition a fade or crossfade before applying it. This will bring up the “Fades” dialog. The row/column along the top and left edges of the dialog This crossfade type requires that clip 1 contain allow you to adjust the display, and the speaker icon allows you to preview the fade. audio material beyond its end point, and clip 2

contain audio material before its start point.

Chapter 29: Fades and Crossfades 615

WORKING WITH FADES (continued)

You will also be able to select:

Fade In Shape – Adjusts the curve of the file being faded in.

Link – Use “Equal Power” to prevent a volume drop when crossfading between two non phase- coherent sounds. Use “Equal Gain” when fading two phase-coherent audio files together. Use “None” to design your own curves.

Fade Out Shape – Adjusts the curve of the file being faded out.

Multiple crossfades can be created at once by making a selection over multiple clip boundaries and using the “create fade” shortcut. This will bring up a version of the “Fades” dialog with additional options for determining fade placement and length, as well as the option to redraw existing fades with the new settings.

To create a Fade In or Fade Out, make a selection from any clip boundary inward to any point in the clip, then use the shortcut:

• “COMMAND” + “F” – Create fade / crossfade

This will bring up an alternate “Fades” dialog with applicable controls to adjust the fade in or fade out.

WORKING WITH FADES (continued)

Finally, fades can be created by using the Smart Tool and clicking/dragging on clip boundaries or at the beginning/end of clips. You can select default fade types for the Smart Tool in the “Editing” tab in the Preferences menu (Setup > Preferences).

Fades can be adjusted by double-clicking on them with the Grabber tool, and their boundaries can be adjusted with the Trimmer Tool.

CLIP GAIN

Clip gain is a feature introduced in Pro Tools 10 that allows real time adjustment of the amplitude of each clip. In the lower-left corner of the clip you will find a fader symbol ( ).

Simply click and drag on the clip’s fader symbol to increase or decrease the amplitude of the clip. You can show or hide Clip Gain info by selecting View > Clip from the menu bar.

USING PLUG-INS (INSERTS)

Using plug-ins (also called “inserts”) in Pro Tools allows the user to apply a wide variety of different types of processing to sounds. Pro Tools comes with a variety of included plug-ins, and many third-party companies also produce plug-ins for use in Pro Tools.

To insert a plug-in on a track:

1. Make sure Inserts A-E and/or F-J are shown in the Mix/Edit Window. You can show/hide inserts and other displays by clicking the button underneath the Rulers. Display of Plug-In Window Status 2. Click the Insert button (the circle on the left) on the track and select the plug-in you wish to Making Inserts Inactive use from the plug-in list. On stereo tracks, “multiIn-channel” the Mix plug and-ins Edit apply wind the sameow, the plug-in button processing to the left and right sides, while multiand-mono selector plug-ins displayallow you theto process currently the inserted plug- Plug-In and hardware inserts can be made inac- left and right sides individually. in, its bypass state (see “Bypassing Plug-Ins” on tive to free up their resources for other uses. When a plug-in insert is inactive it retains its as- 3. To remove the plug-in, click the Insert button againpage and 996), select focus “No Insert.” status , and window status. signment, position, and related automation playlists. However, it will not pass audio and does not consume any DSP or TDM resources.

When opening sessions, inserts will automatically be made inactive in any of the following situations: Lit plug-in name indicates open plug-in window Click the Insert button (left) to insert or remove plug-ins on a track. Click the insert name (right) to bring up •The system has insufficient DSP resources. the plug-in’s display window. Indicating the Controller Focus •A plug-in is not installed.

! To view a plug-in’s display window, simplyFor click most on it. controlShift-click surfaces,to view multiple only one plug-in can •A plug-in type is not available (RTAS or TDM). plug-ins’ display windows. be focused at a time. ICON worksurfaces can •Opening the session results in plug-in type have up to four plug-ins focused at once (using ! To copy a plug-in to another track, hold “Option” and click and drag it. substitutions. This can happen if the type is the EQ and Dynamics controls, and Custom available but substituting would result in an ! To bypass an inserted plug-in, hold “Command”Faders and on click your it. The worksurface). plug-in will remain active but will not apply processing to the track. unsupported condition, such as opening a ses- The current controller focus, if any, is indicated sion containing a TDM plug-in for which an ! To make a plug-in inactive, hold “Control” and “Command” and click it. This plug-in with a color outline around its name: RTAS version is unavailable. will completely deactivate (freeing up the processing resources it was using) but will still remember it’s settings. To make an insert inactive, do one of the following:

Control-Start-click (Windows) or Command- Control-click (Mac) the Insert button.

Right-click the Insert button and select Make Inactive. Controller focus

Make the track inactive. See “Making Tracks Inactive” on page 241.

To toggle inserts in the same position on all tracks active or inactive:

Control-Start-Alt click (Windows) or Com- mand-Control-Option click (Mac) an Insert button in the position you want to toggle.

Chapter 44: Plug-In and Hardware Inserts 973 EQUALIZERS (EQs)

The equalizer is a commonly used device that allows the engineer to control and adjust the amplitude of specific frequencies in the audible bandwidth. Note that frequencies adjacent to the center or cutoff frequency will also be affected by equalization to a lesser extent, which is determined by the equalization curve’s bandwidth.

COMMON EQ PARAMETERS

Gain – The amount a signal is amplified or attenuated. Most EQs allow a user to boost or cut the gain at a specific frequency.

Filter Type – refers to the “shape” of the equalization being applied.

Frequency – the central or cutoff frequency of the EQ filter

Quality Factor / Q – This parameter determines the bandwidth (span of frequencies) that are affected by an EQ filter. Higher Q values affect a narrower band of frequencies, while lower Q values affect a broader range of frequencies. EQUALIZERS (continued)

COMMON REASONS FOR EQUALIZATION

! To correct for specific problems in a recording or room (possibly to restore a sound to its natural tone) – ex. Compensating for proximity effect or excessive low end from a room corner. ! To overcome deficiencies in the frequency response of a mic or in the sound of an instrument. – ex. Adding high end to a ribbon mic for a brighter sound. ! To allow sounds from several mics or tracks to blend together better in a mix – ex. Blending lead vocals and harmonies ! To increase the separation between mics or recorded audio tracks by seeking to reduce those frequencies that excessively “leak” between channels – ex. Cutting lows out of hi hats, guitars, etc. ! To alter a sound purely for musical or creative reasons – ex. “telephone vocal effect”

COMMON EQ FILTERS

Peak Filter – A peak-shaped EQ curve that is boosted or cut at a specified center frequency. The gain at the center frequency is boost or cut by a user-specified amount, and adjacent frequencies are boost/cut to a lesser extent according to the quality factor (Q).

EQUALIZERS (continued)

COMMON EQ FILTERS (continued)

Shelving Filter – A filter that starts at a specified frequency and gradually adds a boost or cut to the signal’s frequency curve, which tapers off to a preset level and continues at that level to the end of the audio spectrum. Used to boost or cut all frequencies above (high shelf) or below (low shelf) the specified frequency. “Q” controls the steepness of the filter, with higher “Q” settings yielding steeper filter slopes and lower “Q” settings yielding a gentler slope.

High-Pass Filter – This filter allows frequencies ABOVE the specified cutoff frequency to pass, while frequencies below the cutoff are attenuated according the filter’s “Q” or slope setting (usually 6/12/18/24 dB per octave).

EQUALIZERS (continued)

COMMON EQ FILTERS (continued)

Low-Pass Filter – This filter allows frequencies BELOW the specified cutoff frequency to pass, while frequencies above the cutoff are attenuated according the filter’s “Q” or slope setting (usually 6/12/18/24 dB per octave).

Notch Filter – This EQ consists of a deep cut with a high “Q” setting at the specified frequency. It is typically used to remove unwanted frequency-limited noise (such as 60Hz hum).

EQUALIZERS (continued)

USING AN EQ TO FIND FREQUENCIES OF INTEREST

As you are starting to get your feet wet using EQ, you may have some difficulties finding which frequencies to alter to achieve the kind of sound you’re looking for. This is a fairly common technique employed by engineers to find specific frequencies in a sound.

To zero in on a problem frequency or frequency of interest, take the following steps:

1. Using a peak filter, apply an extreme boost with a narrow “Q” setting to the audio. 2. Sweep the frequency range and listen for frequencies with extra resonance or ringing, or frequencies that emphasize parts of the signal you want to emphasize or reduce. When you find a frequency of interest, stop. 3. Return the gain and “Q” of the EQ filter to their default setting (OPTION+CLICK the EQ controls). 4. Listening to the signal in context with the other tracks, apply the EQ boost or cut to the signal to tailor the sound of the signal to your tastes. 5. Repeat as needed.

Using a peak filter with high “Q” setting to pinpoint frequencies of interest. INSTRUMENTAL FREQUENCY RANGES OF INTEREST

This is ONLY a guide, use your ears!

Kick Drum Bottom at 50-100Hz, “cardboard” at 400-600 Hz, attack at 2-6 kHz Snare Drum Fatness at 150-250 Hz, “ping” at 750-1250 Hz, attack at 4-6 kHz, snares / “air” at 5-10 kHz and up Cymbals “Clank” at ~200 Hz, “shimmer” at 7.5-12 kHz Rack Toms Fullness at 150-250 Hz, attack at 4-8 kHz

Floor Toms Fullness at 80-120 Hz, attack at 4-8 kHz

Bass Guitar Bottom at 60-100 Hz, low-mid beef at 100-400 Hz, attack/pluck at 700-1000 Hz, string sound at 2-3 kHz Electric Guitar Fullness at 150-250 Hz, bite at 2-4 kHz

Acoustic Guitar Bottom at 80-120 Hz, body at 200-250 Hz, presence/clarity at 2.5-5 kHz Electric Organ Bottom at 80-120 Hz, body at 200-250 Hz, presence/clarity at 2-3 kHz Acoustic Piano Bottom at 80-120 Hz, presence at 2.5-5 kHz, attack at 10 kHz – “honky tonk” sound at 2.5 kHz (with a narrow “Q” setting) Horns Fullness at 120-250 Hz, shrillness at 7.5-10 kHz

Strings Fullness at 200-250 Hz, scratchiness at 5-10 kHz Hand Drums Resonance at 200-250 Hz, attack at 4-6 kHz Vocals Fullness at 120 Hz, boominess at 200-300 Hz, presence at 5-6 kHz, sibilance at 5-10 kHz DYNAMIC RANGE PROCESSING

Dynamic Range – The difference in energy between the loudest/strongest and softest/weakest parts of a given audio signal.

This clip exhibits a fair amount of dynamic range. Note the difference in amplitude between the peaks and the quieter parts of the clip.

This clip.....not so much. There is not much difference between the peaks in the audio and the slightly quieter parts in between.

COMPRESSION and LIMITING

Welcome to your nightmare. Compression is perhaps the most misunderstood and misused form of signal processing in existence. Because transparent compression is hard to hear, it can also be tough to get the hang of.

Compressor – A dynamic range processor used to automatically change the gain of an audio signal according to values set by the user. A compressor attenuates an audio signal when its amplitude reaches the “threshold,” which helps the engineer perform various tasks when working with the audio in tracking, mixing, and mastering. Compression works like an automatic volume knob.

SOME REASONS TO USE COMPRESSION

! To increase apparent loudness ! To reduce overall dynamic range to suit a recording medium ! To dynamically fit the audio signal into the mix (through a combination of controlling the volume and transients in the signal) ! To process or color the original sound for artistic purposes

DYNAMIC RANGE PROCESSING (continued)

COMPRESSION and LIMITING (continued)

The Bomb Factory bf-76 Compressor/Limiter

The Waves Renaissance Compressor / Limiter / Expander DYNAMIC RANGE PROCESSING (continued)

COMPRESSOR/LIMITER TERMINOLOGY

! Threshold – Determines the level at which the compressor will begin to reduce the incoming signal. Some compressors have a pre-set threshold control but most have a user-adjustable threshold.

! Input gain – Used to determine how much signal will be sent to the compressor’s input stage. Most compressors have a fixed amount of input gain.

! Ratio – This control determines the amount of output level change that results from a given input level change. For example, with a 4:1 ratio, an input level increase of 4 dB over the threshold will result in an output increase of only 1 dB. The first number in the ratio represents the amount of signal needed to raise the compressor’s output by 1 dB – Higher ratio settings mean that more compression is applied to the signal after it surpasses the threshold.

! Attack – Determines the speed at which the compressor will attenuate signals that exceed the threshold. Slower attack settings allow more of the transient to pass through unaffected, and faster attack settings catch more transient information and can have a “smoothing” effect on the resulting sound. Slower attack settings can help a track sound more punchy and up-front in a mix because they allow the transients in the signal to “poke” through.

Faster attack settings can make a track sound smoother and help blend it into the mix or push it “back” in a mix.

! Release – Determines the speed at which the compressor restores the signal to its original level, after it has fallen below the threshold. Set by ear.

! Knee – This parameter determines the rate at which the signal reaches full compression once the compressor engages. Lower settings indicated a “harder” knee and more aggressive response.

o Hard knee – aggressive compression occurs when the input signal meets the threshold. o Soft knee – gentle compression occurs as the signal approaches the threshold, and reaches full compression after exceeding threshold.

! Output Gain – Determines the level of signal sent to the device’s output.

DYNAMIC RANGE PROCESSING (continued)

LIMITERS

Limiters function similarly to a compressor but with a higher ratio setting (usually 10:1 or higher). They are usually used in situations where the engineer wants to prevent the signal from surpassing a specific level (as opposed to simply smoothing out/reducing the dynamic range) or to control short peaks in an audio signal, oftentimes to prevent clipping and/or to help the engineer achieve “loudness” in the signal.

By attenuating the loudest parts of the signal, limiters create headroom (the amount you can boost a signal without distortion) and allow the engineer to raise the signal’s overall level higher without digital clipping.

A waveform shown before limiting (top) and after limiting to achieve commercial volume (bottom). DYNAMIC RANGE PROCESSING (continued)

NOISE GATES AND EXPANDERS

Noise Gate – A device that allows signal above the threshold to pass through (at unity gain), while fully attenuating any signal below the threshold. Works like an automatic “mute” button.

Expander – A device that increases dynamic range in one of two ways: 1. Attenuating (but not muting) signals that fall below the threshold -Attack/release times function like a noise gate. Works like a noise gate that doesn’t completely mute the audio. 2. Increasing the level of signals above the threshold – Attack/release times function like a compressor. Works like a “backwards” compressor

SOME REASONS TO USE A NOISE GATE OR EXPANDER

- To reduce leakage between instruments, such as removing cymbal bleed from a tom track. - To eliminate noise on a track during silent passages, such as amp hum when a guitar is not being played. - (Expander only) To increase or put emphasis on transients in the signal

DYNAMIC RANGE PROCESSING (continued)

NOISE GATE TERMINOLOGY (using the stock Dyn3 Expander/Gate plug-in)

! Range – Determines the depth of the gates attenuation when closed. “0” is a full mute, and higher settings allow a portion of the signal below the threshold to pass through the gate – this makes the gate function as an expander. ! Attack – The speed at which the gate opens when the signal surpasses the threshold. ! Hold – Determines the amount of time the gate will stay open after it opens. Helps prevent the gate from “glitching” or “chattering.” ! Ratio – Determines the amount of expansion. 100:1 will essentially cut off signals below the threshold, while lower values will have a less drastic cutoff. ! Release – The speed at which the gate attenuates the signal after it falls below the threshold. ! Threshold – The level at which the gate will allow signal to pass through.

DYNAMIC RANGE PROCESSING (continued)

ADDITIONAL COMMON DYNAMIC RANGE PROCESSORS

De-Esser – This device attenuates excessive high frequencies in a signal, such as sibilant vocal sounds or bright cymbal wash. The user specifies the problem frequency range and sets the threshold, and the unit acts like a compressor upon the specified frequency range.

DE-ESSER TERMINOLOGY (applies to the stock Dyn3 De-Esser)

! Freq (frequency) – determines which frequencies trigger the de-esser. The de-esser will react to frequencies above the specified frequency. ! Range – works like a threshold control – lower values = more attenuation ! HF (high frequencies) Only – when selected, the de-esser will only attenuate frequencies above the “Freq” setting. When de-selected, the de-esser will attenuate all frequencies equally (similarly to a compressor). ! Listen – Solos the frequencies above the “Freq” setting for reference. TIME–BASED EFFECTS

Time-based effects use delay and sound regeneration to create depth, ambience, and other effects.

Delay – This effect is created by sampling the incoming signal and replaying it at an interval specified by the user. Changing the length of time between the original signal and the repeated signal (and processing the repeated signal) can yield a number of different effects. At its simplest, a delay line creates a simple repeat (echo) of the incoming signal.

The Waves H-Delay delay/echo plug-in

Reverb – Reverberation effects are generally used to simulate acoustic space to add depth and realism to audio. Reverb is defined by the text as a series of “closely spaced and random echoes that are reflected from one boundary to another within a determined space.” The interval and tone of the echoes can give the listener a sense of the “size, density, and nature of a space.”

The Waves R-Verb reverb plug-in TIME–BASED EFFECTS (continued)

Reverb (continued)

The characteristics of reverb effects can be broken down into the following 3 components:

1. Direct Signal – The original sound waves that travel directly from the source to the listener.

2. Early Reflections – The first set of direct reflections that bounce off of the primary boundaries of the space and back to the listener. These reflections play a large part in giving the listener a sense of the qualities of the space.

3. Reverberation – the innumerable random reflections that continue to bounce around the boundaries of the space after the initial sound and early reflections. These echoes are so closely spaced that they are perceived as a single, decaying “tail” of sound.

Reverb Type Characteristic Hall Simulates the acoustics of a concert hall – generally a lush sound with a long decay time Chamber Simulates the acoustics of an echo chamber – generally brighter in nature due to the reflective surfaces of most real echo chambers Room Simulates the acoustics of room of various sizes Live / Stage / Simulates live performance stages (generally long early reflection Theatre times) Spring Simulates the metallic character of spring reverb devices Plate Simulates metallic plate reverb devices – usually exhibits a bright tonality Reverse Created by reversing to envelope of the reverb’s decay trail which gives the reverb a “swell” effect Gated A “gate” effect cuts off the reverb tail – think “80’s” drums

MODULATION EFFECTS

Most modulation effects work by duplicating the input signal, applying pitch, delay, and/or phase alterations to the duplicate signal, and then mixing the two signals back together. Some modulation affects may also involve overall alterations to the signal’s amplitude or pitch without any duplication.

Some of the more common modulation effects include:

• Phaser – short delays (< 15 ms) are routed through all-pass filters (which change the signal’s phase) and then mixed with the original signal – this creates a comb-filtered, bubbly effect. Phasers may incorporate multiple all-pass filters (called stages), that induce additional phase shift to the resulting sound. The delay in time is modulated, which changes its phase/time relationship with the original sound and creates the sweeping phase effect. • Flanger – Similar to phasing, short delays (identical to the original signal) are mixed back in with the original signal - flanging generally involves more dramatic changes in the delay time and often incorporates a feedback loop into the circuit for additional resonance. Flangers generally sound more “metallic” and “watery” than phasers. • Chorus – Similar to flanging, chorus effects are created by mixing two signals that are slightly delayed and pitch-altered from each other – this creates a “doubling” effect that can add depth and texture to the sound. • Vibrato – Vibrato effects add a constant wave-like variation to the pitch of the signal, simulating (badly) things like the vibrato of a vocalist or a bent guitar string. • Tremolo – Tremolo effects consist of a rhythmic fluctuation to the level of the signal, similarly to turning a volume knob up and down repeatedly.

The Waves Metaflanger Modulation plug-in WORKING WITH INSTRUMENT TRACKS & VIRTUAL INSTRUMENT PLUG- INS

The Mini Grand virtual instrument is a stock Pro Tools plug-in offering several piano sounds.

The Boom virtual instrument plug in offers sounds and patterns inspired by classis drum machines.

Instrument tracks offer the user a simplified workflow when working with virtual instruments and MIDI data. They combine features of audio, aux, and MIDI tracks to allow the user to easily integrate virtual instrument plug-ins into the session (in the past, users had to set up a series of MIDI and aux-input tracks to use virtual instruments in Pro Tools).

Instrument tracks contain MIDI data but no audio data. The workflow process for an Instrument Track involves performing or programming MIDI data onto the track, which is then fed through a virtual instrument plug-in and outputted as sound. The MIDI data determines the pitch, velocity, rhythm, and other performance characteristics of the music, and the virtual instrument assigns sounds to the MIDI data.

MIDI Data " Virtual Instrument Plug-In " Musical Sound WORKING WITH INSTRUMENT TRACKS AND VIRTUAL INSTRUMENT PLUG-INS (continued)

To create music using a virtual instrument plug-in:

1. Create a new stereo Instrument Track. 2. Click View > Mix Window Views and View > Edit Window Views and make sure Instruments and Inserts are enabled. 3. Insert a virtual instrument plug-in on the instrument track. Virtual instruments are located in the “Instruments” plug-in menu. Make sure the virtual instrument’s output is displayed in the “Instrument” section of the track’s channel strip. 4. Create MIDI data on the track. This can be done a few ways: a. Record-arm the track, press Record, and record the MIDI data onto the track using a MIDI controller (such as the keyboard controllers in our D.A.W. lab) as you would record on an audio track. b. Change the track to “Notes” view on the Track View selector in the Edit Window, and use the pencil tool to manually draw in the music as MIDI data. Remember to set up the session tempo, meter, and grid value properly to maintain proper rhythmic notation. You can also use the MIDI Editor and/or Score Editor windows. 5. Once MIDI data has been created on the track, it can be altered as desired. Changing the settings within the virtual instrument plug-in (or switching among the various available virtual instruments) allows the user to play back the MIDI data with whatever instrument sounds are available.

Programming and editing MIDI data after selecting "Notes" view from the Track View Selector. BOUNCING VIRTUAL INSTRUMENTS TO AUDIO TRACKS

There are several situations in which you might find it necessary to “bounce” your virtual instruments to audio tracks. Fortunately, Pro Tools 11 makes it nice and simple.

The process to do so is as follows:

1. Solo the Instrument Track you want to bounce. 2. Right-click on the track’s output button - for this example we’ll say the instrument track’s output is set to “Out 1-2” - and select “Bounce Out 1-2.” 3. Fill out the options in the bounce window. Make sure to select .WAV as the file type. For format, choose “Mono” if you’re bouncing a mono track or “Interleaved” if you’re bouncing a stereo track. Keep the bit depth and sample rate the same as the session, and make sure “Import After Bounce” is checked. 4. Click “Bounce.” After bouncing, Pro Tools will allow you to place the new audio file in the session. Once, done, you can disable the instrument track by right-clicking the track name and selecting “Make Inactive.”

Bouncing an instrument track to audio.

The audio track imported after bouncing. AUXILIARY INPUT TRACKS AND THEIR USES

Auxiliary Input tracks can be used for many audio routing tasks, including:

- Combining signals from multiple tracks together into a unified signal path, which is known as a bus or submix - Serving as effects returns for processing audio - Click tracks

Auxiliary Input tracks are used only as signal paths to pass audio, and do not contain any audio or MIDI data. Their input signal must come from an internal bus or from a hardware (I/O) input. Auxiliary Input tracks default to the “volume” view in the Edit Window.

CREATING BUSSES WITH AUXILIARY INPUT TRACKS

In audio terminology, a bus is a point in the signal path at which multiple signals are brought together. For example, most mixing consoles have what is called a “mix bus,” which is where the signals from each of the individual tracks are joined together (similar to the function of the master fader in Pro Tools. You can also create busses (also called submixes) of groups of instruments, such as drums and vocals.

Busses are useful for applying processing or overall level adjustment to a group of tracks. It is common practice to “bus” groups of tracks (drums, guitars, vocals, etc.) when working with mixes.

In this example, we have created separate busses for the drums (Drum Bus) and Piano (Piano Bus). Note the routing in the I/O section. AUXILIARY INPUT TRACKS AND THEIR USES (continued)

CREATING BUSSES WITH AUXILIARY INPUT TRACKS (continued)

To create a “bus” from a selection of tracks:

1. Click the output selector of the tracks you’d like to send to the bus and assign the track’s output to an available path from the “bus” menu (for example, “Bus 1-2”).

Choose a mono or stereo bus depending on the material you’re working with. Usually a stereo bus works best.

To quickly assign the output of multiple tracks simultaneously, select the tracks by Command-clicking the name of each track and hold “Option” and “Shift” while you assign the new output on any one of the tracks.

When you click the tracks’ output selector button:

Choose a “Bus” path to send the audio to a destination within the session.

Choose an “Interface” path to send the audio outside of ProTools via a hardware output.

2. Create a new stereo Auxiliary Input track and name it “______Bus.”

3. Assign the input of the new Auxiliary Input track to whichever path you choose in step 1.

4. (Optional) Command-Click the “Solo” button on the Auxiliary Input to allow signal to pass through when the tracks feeding the submix are solo’d. This is called Solo-Safe. The “Solo” button will become grayed-out and inactive.

5. The output of the selected tracks will now be routed through the Auxiliary Input track. You can now use the Auxiliary Input track to process and mix the tracks as an entire group. This auxiliary input track is now the “bus” for this selection of tracks.

In this image, the first four piano tracks (audio tracks) are being routed via bus 5-6 to the fifth track (an aux input track), which is the "bus" for the piano tracks. SENDS

A send is a separate signal path that is used to send a duplicate copy of the audio on a track to another location in the session. You can add sends to an audio, aux, or instrument track to send a copy of that track’s signal to another track in the session or to a hardware output.

ProTools allows use of up to 10 Sends on any Audio, Aux Input, or Instrument Track in a session. Sends can be used for many tasks in ProTools, including:

• Sending signals to an effects return for processing • Creating cue/headphone mixes for performers

To be audible in a mix, signals routed using sends must be returned to the mix via an auxiliary input or audio track.

Viewing the individual "Send a" for each track. Command-click the "a" button to view any other sends or all of the sends at once…

Viewing all sends at once using "Assignments" view. Command-click the left part of the send button to change views.

SENDS (continued)

The Send Selector is the small arrow in the upper-left of the lighter grey send slot. If there is a send already on the slot, the arrow will be replaced with a lettered button.

To create a Send in ProTools:

1. Make sure Sends A-E and/or Sends F-J is enabled in View > Mix Window Views and Mix > Edit Window Views.

Command-click the Send Selector button to view one send at a time (with fader/pan controls) or to view a display of all of the sends at once.

2. Click the Send selector in the track and choose a path from the pop-up menu.

Use a bus to send the audio to a destination within the session. Use an output to send the audio outside of ProTools via a hardware output.

3. Set the output level of the send by adjusting the send’s level fader. Choose pre-fader (the highlighted “P” button) to adjust the send’s level and pan controls independently of the track’s output fader and pan controls. Choose post-fader (the “P” button not highlighted) to have the send’s level and pan controls follow the track’s output fader and pan settings.

USING SENDS WITH EFFECTS RETURNS

An effects return is an auxiliary input track with an effect (usually reverb or delay) inserted on it. It is used for the purpose of incorporating effects into the session.

The "Drum Reverb" track is serving as the effects return in this example. It's a stereo aux input track with a reverb plug-in inserted on it. Signal is sent to the return from the individual drum tracks via bus 7-8.

The sends are routed to a specific bus path (i.e. “bus 1-2”) and then the input of the effects return is set to the same bus path, so that the signal is split off from the original track (via the send) and is routed through the effects on the effects return track and then blended back into the mix. USING SENDS WITH EFFECTS RETURNS (continued)

This way, you can use effects such as reverb and delay on the effects return, and blend the effected signal from the effects return with the unprocessed “dry” signal from the original tracks. The effects return is used to monitor the effected signal and blend it back into the mix. This is advantageous for a few reasons, including:

- The wet/dry balance between the effected and unaffected tracks can be easily controlled, as can the mix being sent to the effect (this is not always possible using effects as inserts). - Since a single plug-in or hardware effect can be shared by numerous tracks, fewer resources are required.

To set up an effects return and route signals through it:

1. On the source track(s), create a new mono or stereo send and assign it to an available bus path (available bus paths are white; bus paths in use are yellow). 2. Create a stereo Auxiliary Input track and name it. This is now your effects return. 3. Assign the input of the Auxiliary Input track to whichever bus path you choose in step 1. Make sure the output of the Auxiliary Input track is set appropriately. 4. Command-Click the “Solo” button on the Auxiliary Input to allow signal to pass through when the tracks feeding the submix are solo’d. This is called Solo-Safe. 5. Assign a plug-in on the newly created effects return. Set any “wet/dry” or “mix” controls on the plug-in to 100% “wet”. 6. Use the sends’ output fader to control the amount of signal sent to the effect, and use the output fader on the effects return track to control the output level of the effect. Mix to taste.

Signal being sent from the first seven audio tracks to the eighth track (an aux input track), which is serving as the effects return. Note the routing – the tracks’ outputs do not have to be changed to create a send/effects return loop. MEMORY LOCATIONS

Marker Memory Locations are listed in the "Markers" ruler.

Memory locations provide a way to instantly recall many aspects of the session, including:

! Markers to important locations in the session ! Edit selections across one or more tracks ! Record and play ranges, along with pre- and post-roll times ! Track settings that include Show/Hide status, Track Heights, and zoom values ! Edit and Mix Groups enables ! Window Configurations

• “Enter” on numeric keypad – Create Memory Location

• “COMMAND” + “5” on numeric keypad – Display Memory Locations Window

The "New Memory Location" dialog box MEMORY LOCATIONS (continued)

MEMORY LOCATION TYPES

! Marker Memory Location - Refers to a specific point in the timeline. ! Selection Memory Location - Refers to an Edit Selection. ! General Properties Memory Location - Refers to a combination of session settings (such as zoom settings, pre- and post-roll times, Show/Hide status for tracks, Track Heights, and Edit and Mix Group enables).

CREATING MEMORY LOCATIONS

When creating Memory Locations, Pro Tools will automatically assign a number (1–999) to each one. This number is used in recalling the Memory Location from the numeric keypad.

To create a memory location:

1. Configure any session settings you will save with the Marker Memory Location, such as zoom settings, pre- and post-roll times, Show/Hide status for tracks, Track Heights, and Edit and Mix Group enables.

2. Ensure that the Markers Ruler is displayed (View > Rulers > Markers) and make sure “Link Timeline and Edit Selection” is enabled (The button under the Grabber Tool or in the “Options” menu).

3. To create a Marker Memory Location, place the cursor wherever you want the Memory Location to be placed. To create a Selection Memory Location, make a selection that reflects the Memory Location you want to recall.

Tip: When naming a memory location, type the assigned number (1-999) before the name, so that you can identify the Memory Location’s number without having to refer to the Memory Locations Window. So if your 3rd Memory Location is the first chorus of the song, name the Memory Location “3 – First Chorus.”

4. Press “Enter” on the numeric keypad.

• “Enter” on numeric keypad – Create Memory Location

5. In the New Memory Location dialog that comes up, name the memory location and configure the settings as you see fit. Click “OK.” The new Memory Location is created and displayed in the Memory Locations Window.

MEMORY LOCATIONS (continued)

RECALLING AND EDITING MEMORY LOCATIONS

To recall a memory location:

1. Click on it in the Memory Locations Window, or use the shortcut:

• “.” (period) on numeric keypad, then “Memory Location #” on numeric keypad, then “.” (period) on numeric keypad – Recall Memory Location

So to recall Memory Location #3, press “Period, 3, Period” on the numeric keypad.

You can also hold the Shift key when recalling multiple memory locations to select the material between them.

To edit a memory location:

1. Double click the memory location name in the Memory Locations Window, or

2. Double click the yellow marker for the memory location in the “Markers” ruler. USING THE MEMORY LOCATIONS WINDOW

Memory Locations can be viewed and sorted in the Memory Locations window, where they can be recalled by clicking the Memory Location or using the shortcut:

• “COMMAND” + “5” on numeric keypad – Display Memory Locations Window

Click the drop-down arrow in the upper-right corner to access a selection of commands.

You can also hold the Shift key when recalling multiple memory locations to select the material between them. EDIT PLAYLISTS from audio files or MIDI data, and can be ar- Playlist ranged in audio and MIDI track playlists. Re- An edit playlist in Pro Tools is the arrangement of audio clips or MIDI data on a track. By gions can also be grouped (a region of regions) Aduplicating playlist is aor sequence creating newof re editgions playlists, arranged we on are an able to work with multiple takes or versions of and looped (repeated). audio,audio on MIDI, the sameor video track, track. without Tracks doing have away edit with the previous versions of the audio/data on the playliststrack. and automation playlists.

Audio region

PlaylistThe playlist selector selector pop-up pop menu-up menu can be accessed by clicking the drop-down arrow next to the track name.

On audio tracks, an edit playlist tells the hard MIDI region disk which audio regions to play in what order. For example, you can have separate audio regions for a song introduction, the first verse, the first chorus, and so on. You can also use the same audio region to access the same piece of audio multiple times at different locations and not use additional disk space. Different versions Video region (Frames view) of the same original audio can be used in different places and have different effects applied. On MIDI and Instrument tracks, edit playlists can store multiple MIDI sequences (or performances) on a track. Selecting "Playlists” from the Track View Selector will display all of a track’s alternate edit playlists underneath the main playlist. A playlist can be made up of a single region or manyWe can separate access theregions. Playlist It canSelector be made from upthe of edit sim- window by clicking on the downward-facing arrow ilarnext elements, to the track such name. as regions This brings from up several the ability differ- to select any alternate playlists available to us, as entwell takes as a co ofuple a solo, of other or dissimilar options: elements, such as several sound effects. New Playlist – This creates a new, blank playlist. It moves the original playlist to the You canbackground create any as numban alternateer of alternate playlist. Thisedit is useful for creating new takes from scratch. playlists for a track. This lets you assemble different versionsDuplicate of performances Playlist – This or editsduplicates on a singlethe current playlist and moves the original version to Region group (Mixed audio and MIDI multitrack region track theand background choose between as an alternatethem from playlist. the Play- This is useful if you want to retain the data on the group) lists menutrack, onbut theexperiment track. with different processing, edits, punch-ins, etc.

Chapter 2: Pro Tools Concepts 17 EDIT PLAYLISTS (continued)

When using Loop Record mode, it is possible to have Pro Tools create new playlists for each successive pass. To do this, enable “Automatically Create New Playlists When Loop Recording” in the “Operations” tab of the Setup > Preferences menu. AUTOMATION

These tracks' automation playlists have been displayed using the Track View Selector.

One of Pro Tools’ best features is its huge array of automation possibilities. Almost any parameter that can be adjusted in a session can be automated, meaning the user can program in changes (such as volume swells, mutes turning on and off, etc.) and Pro Tools will save them and perform them during playback and mixdown.

Automation can be written using the mouse or a control surface or programmed by hand using Pro Tools’ Edit Tools. Once written/programmed, automation can be further edited using many of the same processes used for editing audio and MIDI.

Once any automation has been written for a track’s controls, those controls will then follow the automation playlist and can’t be manually controlled anymore. For this reason, leave automation for the last step in the mixing process.

Automation modes control how a track’s automation data is written and played back. Each track provides an Automation Mode selector for selecting the track’s Automation Mode. You can change a track’s automation mode by clicking the Automation Mode Selector button (which defaults to “Read” mode).

The Automation Mode Selector button

AUTOMATION (continued)

AUTOMATION MODES

• OFF – Self-explanatory. This mode turns all automation on the track off, but leaves it intact. Pro Tools will simply ignore any automation that has been written to the track. • READ – Read mode plays any automation that was previously written to the track. • WRITE - Write mode writes automation from the time playback starts to the time it stops, erasing any previously written automation for the duration of the automation pass. • TOUCH - Touch mode writes automation only while a fader or switch is touched or clicked with the mouse. When the fader is released, the writing of automation stops and the fader returns to any previously automated position. • LATCH - Latch mode works in the same way as Touch mode, writing automation only if you touch or move a control. However, unlike Touch, writing of automation continues until you stop playback or “punch out” of the automation pass by changing the Automation mode to Read or Touch. Latch mode is particularly useful for automating Pan controls and plug-ins on non-touch sensitive rotary controls, since it does not time out and revert to its previous position when you release a control.

The basic steps for enabling and recording automation in real-time are:

1. Put the appropriate tracks into an automation-writing mode (Write, Touch, or Latch mode). It’s not necessary to record-arm the tracks.

2. Press “Play” to begin recording automation, and adjust the controls in real-time as needed. Pro Tools remembers all moves performed on enabled controls. Repeat the above steps as needed to make adjustments until you are happy.

3. When you are finished writing automation, change the automation mode back to “Read.” Failure to do so could result in losing automation that has been written.

To program automation data from scratch or edit existing data with the mouse:

• Graphically edit the automation data in the Edit window using Edit Tools. o Click with the pencil tool to make automation breakpoints. Breakpoints can be moved around with the Grabber, overwritten with the pencil tool, or deleted by Option-clicking or by selecting them and pressing the “Delete” key. o To automate an entire section at once, make a selection and drag that section of the automation playlist up or down using the Trimmer. o Automation can be copy-pasted.

Automation and Controller lanes can be shown or hidden. You can also add and remove lanes. These lanes always remain under the track, but you can resize and reorder lanes independently of one another.

To show or hide Automation lanes under the main track view:

Click the Show/Hide Lanes button.

To add a lane: Displaying Trim automation playlists Click the Add Lane button.

To remove lanes: AUTOMATION (continued) Click the Remove Lane button. To display a track’s automation playlist(s) either:

• Click the Track View Selector and change it from “Waveform” (or whatever it’s currentlyTo change set the Automation or Controller type for a to)Trim to the automation automation playlist playlist you want to view. lane:

Automation and Controller Lanes Click the Automation/Controller Type selector and select the Automation or Controller type In the Edit window, you can view automation you want. and controller data under a track (regardless of the selected Track View). Each track provides Automation and Controller lanes that let you edit track automation and controller data with-

out changing the Track View. You can edit automation and controller data in lanes exactly the AUTOMATION LANES same way that you do in different automation Click the rightand-facing controller arrow in the Track lower leftViews. of the track in the edit window to bring up the track’s Automation Lanes. Click the + or – buttons to add or subtract automation playlists from view.

Selecting the Automation type for a lane Show/Hide Lanes button Remove Lane Add Lane

Automation Type selector Revealing an Automation lane

Chapter 45: Automation 1011 USING YOUR CONTROL SURFACE FOR AUTOMATION

The MB138 D.A.W. workstations each have a Presonus Faderport control surface that can be used to write automation in Pro Tools as you would on an analog recording console. Many engineers prefer using a control surface to using a keyboard/mouse combo when writing automation, and the Faderport essentially controls parameters in Pro Tools while mimicking the feel and workflow of automation on an analog console.

The Faderport’s controls are divided into three sections – the channel strip, the window view section, and the transport section.

The channel strip contains controls for: - The channel fader - Pan - Mute - Solo - Record Enable - Channel Select - Automation

The window view section contains controls for: - View Mix Window - View Edit (Proj) Window - View Transport (Trns) Window - Undo / Redo

The transport section contains controls for: - Shift key (enables dark-outlined secondary functions) - Punch / Loop Mode - User (user-definable) - Transport functions

The Faderport’s controls work on the first highlighted track in the session. So if you want to control the volume of the kick track, make sure it’s highlighted and adjust the fader on the Faderport – notice that the fader in Pro Tools follows the position of the fader on the Faderport.

You can use the Faderport when writing volume, pan, or mute automation on a highlighted track to take advantage of the more tactile feel of a physical control surface. IMPORTING DATA INTO A SESSION

The "Import Session Data" dialog box

You can import audio and session data from one session to another using the “Import Session Data” command. This is useful for transferring settings and audio/MIDI between mixes.

Say for example you are mixing a record with 10 songs. The songs were all recorded at the same time in separate sessions, and the artist would like a consistent overall sound from song to song. If we were working in a traditional studio environment (console, outboard gear, etc.) we could mix the first song, and then leave everything set up as a starting point for the second song. This saves time and helps in keeping a cohesive, consistent sound for all of the songs on the record.

CREATING AND USING TEMPLATES

One of the most useful features in Pro Tools (at least from a workflow perspective) is the ability to create customized templates of sessions. A template is a pre-built session that contains all of the tracks, routing, plug-ins, groups, etc. that the user might need during the course of working on a project. This saves the user from having to build every session from scratch and can save a lot of time in the long run. It’s also very useful for songwriters and composers as it makes it quick and easy to get a new session up and running when inspiration strikes.

Pro Tools provides a number of preset templates but we’re going to focus on making our own.

To create a new session from a template:

1. Open Pro Tools and choose the New Session… command. 2. When the New Session dialog appears, select the Create Session from Template option. This will bring up a list of all of the templates stored on the system (see the picture above). 3. Choose a category from the drop-down list and then select a template. 4. Configure the session settings and click “OK” – the new session will be created with all of the session parameters saved with the selected template intact. CREATING AND USING TEMPLATES (continued)

To create a custom session template:

1. Open Pro Tools and choose the New Session… command. 2. When the “New Session” dialog appears, select the Create Blank Session option. 3. Configure the session settings and click “OK” to create the session. 4. Set up the session with any audio, aux, MIDI, instrument, and/or master fader tracks you anticipate using on a typical session. Set up routing, groups, zoom presets, plug-in chains, track names, etc. The idea is to create a session where everything is set up and ready to go at a moment’s notice. When you have everything completely set up, move on to the next step. 5. From the File menu, select Save As Template…The “Save Session Template” dialog box will appear:

6. Choose a category for your template or click “Add Category” to create a new one. Name your template. When you are ready, click “OK.” Your new template will now be accessible from the “New Session” dialog.

IMPORTING DATA INTO A SESSION (continued)

Using “Import Session Data,” we can enjoy similar functionality when mixing separate sessions in Pro Tools.

Here’s the process for importing both Session Data and Audio from other sessions.

1. Choose File > Import > Session Data or use the shortcut:

• “SHIFT” + “OPTION” + “I” = Import Session Data

2. Select the Pro Tools session you want to import data from.

3. The “Import Session Data” dialog appears. Make sure “Copy from source media” is selected under “Audio Media Options” if you want to import the audio files as well.

4. Apply any sample rate conversion under “Sample Rate Conversion Options” if necessary.

5. Under “Source,” click on the tracks from the source session that you want to import. Pro Tools will automatically create a new track in your current session (called the “destination session”) containing the audio and data from the original session.

You can also choose to apply only the session data (sans audio/MIDI data) from the source session to the destination session. To do this, click the drop-down buttons in the right “Destination” column to select which destination tracks to apply the source tracks’ settings to.

Match Tracks - Click “Match Tracks” and Pro Tools will automatically assign data to tracks with the same or similar names.

So for example, “Match Tracks” will import the data from the track named “Lead Vocal” in the original session to the track named “Lead Vocal” in your current session, and so on. IMPORTING DATA INTO A SESSION (continued)

6. Under “Import” you can also choose to import the Tempo/Meter map, Key Signature/Chord map, Markers/Memory Locations, and Window configurations from the original session.

7. Confirm your selections and click “OK.” Pro Tools will import the audio/MIDI/data into your current session. ADVANCED TRACK VIEW SHORTCUTS

Pro Tools contains a few handy shortcuts to quickly view the different types of edit and automation playlists in your session. These shortcuts also pull double-duty to allow quick automation of plug-in parameters as well.

Use the following shortcuts to quickly switch the Edit Window displays by clicking on these controls.

SHORTCUTS TO QUICKLY SWITCH TRACK VIEWS

To quickly switch among the available playlist views in the Edit Window (e.g. waveform volume, pan, mute, etc.) do the following:

! To change the playlist display on an individual track, hold the outside modifier keys (Control and Command) and click on:

o Track name for Waveform View o Track volume indicator for Volume View o Track pan display for Pan View o Track mute button for Mute View o Drop-down arrow next to track name for Playlists View

! To change the playlist display on ALL tracks, hold all three modifier keys (Control, Option, and Command) and click on:

o Track name for Waveform View o Track volume indicator for Volume View o Track pan display for Pan View o Track mute button for Mute View o Drop-down arrow next to track name for Playlists View

PLUG-IN AUTOMATION

As we have covered previously, nearly any parameter that can be edited in Pro Tools can be automated. This extends to nearly all of the available parameters in most plug-ins. You could click your way through some menus to automate your plug-ins, but that’s for chumps and CRAS students.

! To quickly enable a plug-in parameter for automation, hold all three modifier keys (Control, Option, and Command), then click on the display for the parameter and choose “Enable Automation For…”

Control-Option-Command click the control you want to automate (in this example, the "Wet/Dry" control)

PLUG-IN AUTOMATION (continued)

This will add the newly enabled parameter to the Track View Selector, where you can then select it for automating.

There is an even faster way though:

! To quickly display the automation playlist for any automation-enabled parameter, hold the outside modifier keys (Control and Command), then click on the parameter itself. Its automation playlist will pop up in the Edit Window.

Now, check out the Track View Selector after Control-Command-clicking the "Wet/Dry" control. ELASTIC AUDIO

ElasticElastic Audio is aAudio powerful feature Track in Pro Tools Controls that allows flexible, real-timeElastic time Audio Track Views compression/expansion and pitch manipulation in Pro Tools. Elastic Audio allows the user to quickly and easily adapt the pitch and tempo of audio clips to match the session. Audio tracks provide controls for enabling Elas- There are two special Track Views for Elastic Au- ticWhen Audio, Elastic Audio selecting is enabled the on Elastic a track, Pro Audio Tools analyzes plug-in, the audio file(s)dio-enabled on a track for tracks: Warp and Analysis. andtransient selecting events (e.g. whether drum hits, guitarReal-Time strums, etc.) or andRendered generates event markers on the transients it detects. These event markers can then be automatically or manually manipulated to Elasticconform orAudio otherwise processing. transform the audio they’re “attached” to.

Real-Time or Elastic Audio Rendered Plug-In selector Processing indicator Elastic Audio Plug-In button Track View pop-up menu

Elastic Audio Track controls To enable Elastic Audio on a track: Warp View Elastic Audio Plug-In Selector Selects the Elastic 1. Create a new track or choose an existing track. Audio2. Click plug-in the track’s for Elastic Elastic Audio plugAudio-in selector, processing and choose (see the appropriateWarp Elastic view Audio lets you manually “time warp” (Elas- “Elasticplug Audio-in (use “Polyphonic” Plug-Ins” as on a general page starting 868). point). You can tic Audio process) audio. In Warp view you can also3.At use this the point, Elastic any audio Audio files on Plug-Inthe track will selector go temporarily to dis- offline while Pro Tools analyzes the track and creates event markers. Any audio subsequently recordedcreate onto theand track edit will Warp markers. If you are using able Elasticbe analyzed Audio after being processing, recorded. and to select ei- Elastic Audio to correct the timing of a perfor- ther4. From Real-Time the Elastic orAudio Rend plugered-in selector, processing choose Real (see-Time or Renderedmance, processing. or to achieve special effects, work in a. Real Time processing is immediate, but requires more of the host computer’s “Real-Timeprocessing and Rendered resources to Elastic function. Audio Process- Warp view (see “Editing in Warp View” on ing” onb. page Rendered 867). processing is non-real time (files will be taken offlinepage to be 873). processed) but is less demanding of the system’s resources. Elastic Audio Plug-In Button Displays the name To disable Elastic Audio on a track: of the selected Elastic Audio plug-in. Click the Analysis View Elastic1. Click Audio the track’s Plug-In Elastic Audio button plug- into selector, open andthe choose Elastic “None – Disable Elastic Audio.” 2. If Elastic Audio processing has been used on the track, choose CancelAnalysis, Revert, or view Commit lets. you edit detected Event mark- Audio Plug-In window (see “Elastic Audio Plug- a. Cancel leaves Elastic Audio intact on the track. ers. In most cases you will not need to use Anal- Ins” onb. page Revert 868). removes all Elastic Audio processing from the track. c. Commit renders all Elastic Audio processing on the track andysis writes view. new audio However, files, with material that does not Real-Time andor Renderedthen disables ProcessingElastic Audio on the track. have clear transients, you may want to work in Indicator Lights when Elastic Audio processing is Analysis view to add or relocate Event markers, real-time and dims when Elastic Audio process- or to delete erroneous Event markers. For exam- ing is rendered (see “Real-Time and Rendered ple, when using Elastic Audio to correct the tim- Elastic Audio Processing” on page 867). ing of a performance, you may need to add, move, or remove Event markers in Analysis view to achieve the highest quality Elastic Audio processing (see “Editing in Analysis View” on page 879).

Chapter 41: Elastic Audio 865 ELASTIC AUDIO (continued)

ANALYSIS VIEW

Event Markers in Analysis View.

Once Pro Tools has analyzed an Elastic-Audio enabled track, it creates Event Markers on transient events it has detected. These markers can be displayed and edited by selecting the Analysis View from the track’s Track View Selector. It’s a good idea to check the Analysis View of the track to make sure Pro Tools has accurately placed any event markers it has created – well- placed Event Markers make editing easier and enable the user to perform automated Elastic Audio functions, such as audio quantization.

In Analysis View, Event Markers appear as black vertical lines, and in Warp View they appear as gray vertical lines that do not fully extend to the top and bottom of the track. Event Markers can only be edited in Analysis view.

You can alter the sensitivity with which Pro Tools assigns Event Markers by selecting the clip(s) and right clicking, then choosing “Elastic Properties” and altering the “Event Sensitivity” setting.

Option + 5 (on the numeric keypad) brings up the Elastic Properties for any selected clips.

• “OPTION” + “5 (on the numeric keypad)” = Open Elastic Properties Window (clip must be selected) ELASTIC AUDIO (continued)

To ADD an Event Marker you can use one of the following methods: 1. Using the Pencil Tool, click on the location where you want to add the Event Marker, 2. Using the Grabber Tool, double-click or Command-click on the location where you want to add the Event Marker. 3. Right-click on the location where you want to add the Event Marker and select “Add Event Marker.”

To MOVE an Event Marker: 1. With the Pencil or Grabber Tool, click and drag the Event Marker to the new location.

To DELETE an Event Marker: 1. Using the Pencil or Grabber Tool, Option-click on the Event Marker.

ELASTIC AUDIO (continued)

WARP VIEW

In Warp view, Warp Markers appear as black vertical lines with triangles at the base, and Event Markers appear as gray vertical lines

In Warp view, you can manually “time warp” audio to correct or adjust the timing of a performance, or create special effects.

To display Warp View, select “Warp” from the track’s Track View Selector. In Warp view, you can add, move, and delete Warp Markers.

Warp Markers – Warp Markers fix a specific point in the audio (typically a detected transient event) to a specific point in the Timeline, and are only visible in Warp View. Warp Markers appear as a thick black vertical line with a triangle at its base.

When a Warp Marker is moved, the audio will be compressed or expanded based on the relative location of adjacent Warp Markers. In the example below, Warp Marker “B” is moved, and the adjacent audio is compressed and expanded.

A ------B ------C

A ------B ------C ELASTIC AUDIO (continued)

To ADD a Warp Marker do one of the following:

1. Using the Pencil Tool, click anywhere in a clip or on an Event Marker. 2. Using the Grabber Tool, Command-Click anywhere in a clip or on an Event Marker. 3. Using the Grabber Tool, double click anywhere in the clip. 4. Right click anywhere in the clip and select “Add Warp Marker.”

To ADD a Warp Marker and create Warp Markers on adjacent Event Markers (this is the easiest way to move a single audio event): 1. Shift-Click on an Event Marker.

To MOVE a Warp Marker: 1. Using the Pencil Tool, click and drag the Warp Marker to the new location. 2. Using the Grabber Tool, hold “Control” and click and drag the Warp Marker to the new location.

To DELETE a Warp Marker: 1. Using the Pencil or Grabber Tool, Option-click on the Warp Marker.

Once a clip has been warped, a Warp Indicator icon will appear in the upper right corner of the clip.

To remove all warping from a clip, right click the clip and select “Remove Warp.”

ELASTIC AUDIO (continued)

PITCH-SHIFTING CLIPS WITH ELASTIC AUDIO

To pitch-shift a clip on an Elastic-Audio enabled track:

1. Select and right click the clip(s) and select “Elastic Properties.” 2. Adjust the Pitch Shift settings up or down by semitones and/or cents.

Pitch-shifting a clip with Elastic Audio

To remove all pitch-shifting from a clip, right click the clip and select “Remove Pitch Shift.”

ELASTIC AUDIO (continued)

QUANTIZING ELASTIC AUDIO EVENTS

Event Markers on Elastic Audio enabled tracks can be quantized automatically to lock them to the grid in Pro Tools.

To quantize audio based on its Event Markers, select a clip and use the shortcut:

• “OPTION” + “0 (on numeric keypad)” – Display “Quantize” Window

The Quantize Window (Option + 0 on numeric keypad)

The “quantize” function creates a Warp Marker on each Event Marker and then moves each Warp Marker to its closest corresponding beat or sub-beat. The beat resolution can be set in the Quantize Window.

ELASTIC AUDIO (continued)

Audio before being quantized with Elastic Audio. Note the discrepancy between the transients in the audio and the grid.

Audio after being quantized with Elastic Audio. The transients are now aligned with the grid. Target Button When multiple Elastic Audio Window Plug-In windows are open, clicking this button The Polyphonic plug-in provides a single con- selects that plug-in as the target for any com- trol for adjusting the analysis window size for puter keyboard commands. Deselecting the Tar- TCE processing. Experiment with adjusting the get button lets you open another targeted Elastic Window size for different types of material until Audio Plug-In window. you achieve the best results. The following table provides some recommended Window sizes for Polyphonic Plug-In different types of material.

The Polyphonic plug-in is a general, all-purpose If you frequently work with distinct types of algorithm that is effective with a wide range of material, you may want to find the best material. For complex loops and multi-instru- Window settings for each type of material ELASTIC AUDIO (continued) ment mixes, use the Polyphonic plug-in. The and save them as plug-in settings for quick Polyphonic plug-in supports region-based pitch ELASTIC AUDIO PLUG-INS and easy recall. shifting. There are five Elastic Audio plug-ins available in Pro Tools. Each plug-in is designed to work best with different types of material.The Polyphonic plug-in is the default plug- Recommended Type of Material in for previewing and importing from Di- Window Size Polyphonic – This plug-in is an all-purpose algorithm designed to work with a wide range of giBase browsers or the Region List. material. The Polyphonic plug in works best for complex sounds, chords, and other polyphonicGeneral purpose 30–40 ms Target Button When multiple Elasticmaterial. Audio Window Plug-In windows are open, clicking this button Percussive 20ms or lower The Polyphonic plug-in provides a single con- selects that plug-in as the target for any com- trol for adjusting the analysis window size for puter keyboard commands. Deselecting the Tar- Pads and other legato 60 ms or higher TCE processing. Experiment with adjusting the get button lets you open another targeted Elastic material Window size for different types of material until Audio Plug-In window. you achieve the best results. The following table provides some recommended Window sizes for Rhythmic Plug-In Polyphonic Plug-In different types of material. The Rhythmic plug-in is best suited to material

The Polyphonic plug-in is a general, all-purpose If you frequently work with distinct types of with clear attack transients, such as drums. The Elastic Audio plug-in: Polyphonic algorithm that is effective with a wide range of material, you may want to find the best Rhythmic plug-in supports region-based pitch material. For complex loops and multi-instru-Select the “Follow” optionFollow toWindow retain the settings original for envelope each type and offormant material character of the materialshifting. ment mixes, use the Polyphonic plug-in.being stretched. The Adjust the and“Window” save them setting as for plug-in the best settings results forwith quick the material being manipulated. A few starting points: Polyphonic plug-in supports region-based pitch Selectingand easy the Followrecall. option enables an envelope shifting. follower that simulates the original acoustics of

the audio being stretched. Click the Follow but- The Polyphonic plug-in is the default plug- Recommended tonType to of enable Material or disable envelope following. in for previewing and importing from Di- Window Size giBase browsers or the Region List. General purpose 30–40 ms

Percussive 20ms or lower

Pads and other legato 60 ms or higher Elastic Audio plug-in: Rhythmic material

Rhythmic Plug-In

The Rhythmic plug-in is best suited to material with clear attack transients, such as drums. The Elastic Audio plug-in: Polyphonic 870 ProRhythmic Tools Reference plug-in support Guide s region-based pitch Follow shifting.

Selecting the Follow option enables an envelope follower that simulates the original acoustics of the audio being stretched. Click the Follow button to enable or disable envelope following.

Elastic Audio plug-in: Rhythmic

870 Pro Tools Reference Guide Target Button When multiple Elastic Audio Window Plug-In windows are open, clicking this button The Polyphonic plug-in provides a single con- selects that plug-in as the target for any com- trol for adjusting the analysis window size for puter keyboard commands. Deselecting the Tar- TCE processing. Experiment with adjusting the get button lets you open another targeted Elastic Window size for different types of material until Audio Plug-In window. you achieve the best results. The following table provides some recommended Window sizes for Polyphonic Plug-In different types of material.

The Polyphonic plug-in is the default plug- Recommended Type of Material in for previewing and importing from Di- Window Size giBase browsers or the Region List. General purpose 30–40 ms

Percussive 20ms or lower

Pads and other legato 60 ms or higher material

Rhythmic Plug-In

The Rhythmic plug-in is best suited to material ELASTIC AUDIOwith (continued) clear attack transients, such as drums. The Elastic Audio plug-in: Polyphonic Rhythmic plug-in supports region-based pitch Rhythmic – This plug-in is optimized for use on material with clearly defined transients, such as Follow shifting. drums and certain types of percussion.

Selecting the Follow option enables an envelope follower that simulates the original acoustics of the audio being stretched. Click the Follow button to enable or disable envelope following.

Elastic Audio plug-in: Rhythmic Use the “Decay Rate”X-Form control to adjust Plug-In how much of the original sound is retained when stretchingFormant audio. Set to minimum, audio will completely fade out between transients, set to maximum, the material between transients(Rendered will “stretch.” Only) For audio material with clear formants, enable Formant to preserve the formant shape of audio Monophonic – This Theplug- inX-Form is best suited Elastic for simple,Audio monophonic plug-in is sources a modified (such as vocals, bass when applying TCE processing. guitar, or single-note versionmelodic lines). of the The standalone Monophonic plugX-Form-in is designed AudioSuite to retain the formants of the original material and is more processor-intensive than the Polyphonic or Rhythmic plug-ins, processing plug-in (based on the Radius® algo- 870 Pro Tools Reference Guide and audio will take longer to process when using the Monophonic plug-in. There are no additionalAudio with a fundamental pitch has an controls for the Monophonicrithm plugfrom-in. iZotope). The X-Form Elastic Audio overtone series, or set of higher harmonics. plug-in is for Rendered Elastic Audio processing The strength of these higher harmonics cre- Varispeed – The Varispeed plug-in links the pitch and time of the audio to simulate tape-speed only and cannot process in real-time or as an ates a formant shape, which is apparent if manipulation. Audio AudioSuitewill drop in pitch plug-in. when stretched It provides and rise the in pitch highest when compressed.qual- There are no additional controls for the Varispeed plug-in. viewed using a spectrum analyzer. The over- ity time compression algorithms for music pro- tone series, or harmonics, have the same X-Form – The X-Forduction,m plug-in is soundonly available design, using and “Rendered” audio loopprocessing. applica- It is the highest- spacing related to the pitch and have the quality Elastic-Audio plug-in and it is incredibly processor-intensive, but will yield the best overall tions. Use it to manipulate audio loops for same general shape regardless of what the results on a wide rangetempo of material. matching Set “Formant” or to change to “In” to vocal retain formanttrackss forin the original audio for best results with certain sources such as vocals. fundamental pitch is. It is this formant formant correct pitch shifting. shape that gives the audio its overall characteristic sound or timbre. When pitch shifting audio, the formant shape is shifted with the rest of the material, which can result in an unnatural sound. Keeping this shape constant is critical to formant correct pitch shifting and achieving a natural sounding result.

Elastic Audio plug-in: X-Form Quality

Select either Maximum or Low (Faster) from the Quality pop-up menu. Maximum is the slowest processing algorithm, but provides the highest quality results. Low (Faster) produces relatively good results and is much faster than the Maxi- mum setting.

872 Pro Tools Reference Guide COMPING VOCAL TAKES USING PLAYLISTS

The playlist functionality in Pro Tools allows a fast and efficient workflow when creating vocal “comps” to use in your music. A vocal “comp” is simply a master take that has been edited together from parts of multiple takes. The idea is to record multiple takes and then piece together the best performances into a single compiled take, which will hopefully stand as the best possible representation of the singer’s performance of the song.

First, a refresher on Playlists:

A Playlist in Pro Tools is the arrangement of audio, MIDI, and/or automation data on a track. By duplicating or creating new playlists, we are able to work with multiple takes or versions of audio on the same track, without doing away with the previous versions of the audio/data on the track.

We can access the Audio Playlist Selector from the edit window by clicking on the downward- facing arrow next to the track name. This brings up the ability to select any alternate playlists available to us, as well as a couple of other options:

New Playlist – This creates a new, blank playlist. It moves the original playlist to the background as an alternate playlist. This is useful for creating new takes from scratch.

Duplicate Playlist – This duplicates the current playlist and moves the original version to the background as an alternate playlist. This is useful if you want to retain the data on the track, but experiment with different processing, edits, punch-ins, etc.

Once we have recorded multiple takes of audio to separate playlists, we can select “Playlists” from the Track View selector to view all playlists at once. When in Playlist view, soloing any alternate playlists will allow us to hear them in the mix. If no alternate playlist is solo’d, the main/selected playlist will play.

• “COMMAND” + “OPTION” + “CONTROL” + Click on drop-down arrow next to track name = Display playlists • “SHIFT” + “S” with cursor in playlist = Solo playlist

Playlists view displays all of a track's edit playlists underneath the main playlist. COMPING VOCAL TAKES USING PLAYLISTS (continued)

THE COMPING PROCESS

Once we have our playlists ready and displayed, we can begin the compiling process. To create a vocal “comp” from multiple takes:

1. Create a new playlist and name it “Vocal 1 Comp” or something similar. The comp playlist should be the primary playlist on the track, and the alternate playlists should contain the recorded vocal takes. 2. Make a selection or place the cursor at the beginning of the first alternate playlist. Solo the playlist (not the track itself) and listen to the first section of the take. 3. Repeat the process from step 2 for each additional playlist/take. You can separate each section into its own clip and right-click on it to rate it from 1 to 5 if it helps in remembering the quality of each take. 4. Once you have chosen your preferred take for that section, select it and choose Edit > Copy Selection To…Main Playlist or use the shortcut:

“CONTROL” + “OPTION” + “V” – Copy selection to main playlist

5. Repeat steps 2-4 until you have created a complete “comp” take. 6. Create crossfades to smooth over your edits. 7. If you wish to apply any additional processing to the vocal comp (such as tuning, Elastic Audio, etc.) duplicate the comp playlist and name it “Vocal Comp Edit” or something similar.

The finished take in the main playlist, "comp'd" from the alternate playlists. EDITING DRUMS USING BEAT DETECTIVE

Beat Detective is an editing tool that allows the user to analyze, separate, edit, and otherwise manipulate audio and MIDI data in Pro Tools. Beat Detective works by analyzing a selection of audio or MIDI data, identifying transients within the data, and generating beat triggers based on the detected transients or MIDI notes.

Pro Tools then uses the beat triggers to separate the audio into discrete clips, which are then conformed or quantized to the session’s tempo map. The Beat Detective Window Beat Detective is most effective on clips with clearly defined transients. Beat Detective is managed from the Beat Detective window. The Beat Detective Window:

Beat Detective window

To open the Beat Detective window, do one of the To open the Beat Detective Window, choose Event >The Beat Beat Detective Detective or modesuse the include shortcut: the following: following: Operation Lets you choose to analyze either Choose Event > Beat Detective. • “COMMAND” + “8” on the numericMIDI keypad or audio – material. Open the Beat – orDetective – window Bar|Beat Marker Generation Generates Bar|Beat Press Control+8 (Windows) or Command+8 Markers corresponding to transients detected in The Beat Detective window is divided horizontally into three separate sections – Operation, (Mac) on the numeric keypad. the audio selection or according to accent pat- Selection, and Detection. terns with MIDI notes. Beat Detective is a floating window that can be Theleft Operationopen while working. Window This allows lets theyou useradjust to the select whetherGroove Templatethey are working Extraction with Extracts Audio theor MIDI rhyth- datacontrols and offersin real the time followin duringg playback,selection whileof Beat Detectivemic and Modes dynamic. information from audio or viewing the beat triggers that appear in your se- MIDI, and saves this information to the Groove lection in the Edit window. Clipboard, or as a DigiGroove template.

Clip Separation (Audio Only) Separates and cre- Beat Detective Modes ates new clips based on transients detected in the audio selection. The Beat Detective window is divided into three sections: Operation, Selection, and Detection. Clip Conform (Audio Only) Conforms all sepa- Depending on the Operation mode, the controls rated clips within the selection to the current in the Action section change. The Selection op- tempo map. Beat Detective can conform audio tions for Beat Detective are available in each of clips to groove templates (such as DigiGroove the Operation modes. templates) in addition to standard quantization. Edit Smoothing (Audio Only) Fills the gaps between conformed clips by automatically trimming them, and inserts crossfades.

Chapter 31: Beat Detective 655 EDITING DRUMS USING BEAT DETECTIVE (continued)

BEAT DETECTIVE MODES

- Bar|Beat Marker Generation - Generates Bar|Beat Markers corresponding to transients detected in the audio selection or according to accent patterns with MIDI notes. - Groove Template Extraction - Extracts the rhythmic and dynamic information from audio or MIDI. - Clip Separation (Audio Only) - Separates and creates new clips based on transients detected in the audio selection. - Clip Conform (Audio Only) - Conforms all separated clips within the selection to the current tempo map. Beat Detective can conform audio clips to groove templates in addition to standard quantization. - Edit Smoothing (Audio Only) - Fills the gaps between conformed clips by automatically trimming them, and inserts crossfades.

For the purposes of editing drum tracks with Beat Detective, we will be focusing on the Clip Separation, Clip Conform, and Edit Smoothing modes.

Before audio can be analyzed or otherwise manipulated using Beat Detective, the user must first define the audio or MIDI selection to be analyzed.

For Beat Detective to generate accurate Beat Triggers, be sure the selection meets the following criteria:

- The selection’s start and end points should fall cleanly on the beat and should ideally be an even number of bars and beats (ex. 4|0|000 as opposed to 3|3|492). - The length and meter of the selection must be correctly defined. - The selection should not contain any tempo or meter changes. - Shorter selections are more easily managed – work with short selections (2-8 bars at a time) for the least amount of headaches until you are comfortable with the Beat Detective workflow.

It is a good idea to make a group containing of all the tracks to be edited so that they can be edited simultaneously.

Once the user has defined a selection of audio or MIDI data, the drum editing process can begin. EDITING DRUMS USING BEAT DETECTIVE (continued)

1. The first step is to capture the selection and separate the transients into clips. Once the selection is defined, select the “Clip Separation” mode. Double-check the time signature in the “Clip Separation > Selection” section and click “Capture Selection.” Pro Tools will capture the selection and input the selection’s start and end points in the “Selection” section of the Beat Detective window. The selection should be an even number of bars and beats (ex. 4|0|000 as opposed to 3|3|492).

2. Next, we need to have Pro Tools analyze the selection and create beat triggers on the transients. For this we will use the controls in the “Clip Separation > Analysis” section. Beat Detective provides a selection of analysis algorithms to optimize the beat detection for different types of audio: Separating Multiple Tracks The separated regions can then be conformed as a group. You can use beat triggers from a single track, or subset of tracks,- toHigh separate Emphasis a group of tracks. - Works You well can with also use high Collection frequency, mode when inharmonic work- material, such as cymbals and hi- hats, whileing avoiding with multiple low tracks. frequency Collection material.mode lets In the following example, the defined selection - you analyze and detect triggers on tracks indi- is a drum loop consistingLow Emphasisof two bars of 5/4. - Works The wellvidually, with and low if you frequency choose, add only material, the unique such as bass guitar and kick, snare, hi-hat,kick and drum,overhead as microphones well as with triggersmost fromharmonic the current material, track to the such overall as col- piano or rhythm guitar. are recorded to separate tracks. - Enhanced Resolution lection.- Works For wellmore withinformation, the broadest see “Detection range of material, such as full (Normal) and Collection Mode” on page 657. Analyzing the loop’smixes kick drumand track,loops. with the detection Resolution set to Beats, Beat Detective places beat triggers at the transients on beats 1 and 4.You will also find controls for beatConforming trigger sensitivity, Regions resolution, with Beat and Trigger Pad (which adds a “pad” of audio in front of the separationsDetective Beat Detective creates). (Audio Only) Select your settings and click “AnalyzeAfter regions.” Pro have Tools been separated will create with Beat beat De- triggers on transient events. You can adjust the sensitivity,tective, resolution, the regions can and then trigger be conformed pad us- settings after analysis to ing one of two modes: Kick drumfine track-tune with beatthe triggers beat triggers. Triggers can also be added by clicking on the clips, deleted by Standard Conform Uses the session’s current Extending the selection to the snare, hi-hat, and Option-clicking, or moved by clickingtempo and map (Grid)dragging. overhead microphones tracks, and then performing the separation, results in separated re- Groove Conform Uses groove templates. gions inOnce each ofyou the aredrum satisfied tracks at the with same the lo- placement of your beat triggers, click “Separate.” Pro Tools cation,will based separate on the beat the triggers audio from into the kick clip s basedBeat Detective on the will location conform any of selected the beat region, triggers. drum track. whether or not it was separated with Beat Detec- tive. However, in order to successfully conform regions with Beat Detective, the region start points must correspond to the start of the material that will align with the session’s bars and beats. This should generally not be a problem if the regions were separated with Beat Detective (rather than manually separated or trimmed).

Kick drum, snare, hi-hat, and overhead microphones tracks with beat triggers

652 Pro Tools Reference Guide Separating Multiple Tracks The separated regions can then be conformed as a group. You can use beat triggers from a single track, or subset of tracks, to separate a group of tracks. You can also use Collection mode when working with multiple tracks. Collection mode lets In the following example, the defined selection you analyze and detect triggers on tracks indi- is a drum loop consisting of two bars of 5/4. The vidually, and if you choose, add only the unique kick, snare, hi-hat, and overhead microphones triggers from the current track to the overall col- are recorded to separate tracks. lection. For more information, see “Detection (Normal) and Collection Mode” on page 657. Analyzing the loop’s kick drum track, with the detection Resolution set to Beats, Beat Detective places beat triggers at the transients on beats 1 and 4. Conforming Regions with Beat Detective (Audio Only)

After regions have been separated with Beat De- tective, the regions can then be conformed using one of two modes: Kick drum track with beat triggers Standard Conform Uses the session’s current Extending the selection to the snare, hi-hat, and tempo map (Grid) overhead microphones tracks, and then performing the separation, results in separated re- Groove Conform Uses groove templates. gions in each of the drum tracks at the same lo- Beat Detective will conform any selected region, EDITINGcation, DRUMSbased on the USING beat triggers BEAT from the DETECTIVE kick (continued) drum track. whether or not it was separated with Beat Detec- tive. However, in order to successfully conform regions with Beat Detective, the region start points must correspond to the start of the material that will align with the session’s bars and beats. This should generally not be a problem if the regions were separated with Beat Detective (rather than manually separated or trimmed).

Kick drum, snare, hi-hat, and overhead microphones tracks with beat triggers 652 Pro Tools Reference Guide 3. Once the audio has been separated, the next step is to conform it. Conforming clips with Beat Detective will move them to the nearest applicable beat or sub-beat on the grid. Select the “Clip Conform” mode and ensure your selection is still intact and captured in the “Clip Conform > Selection” section. Note that the resolution in the “Clip Conform > Selection” section will determine how Pro Tools conforms the clips.

The strength and manner in which the clips will be conformed to the grid is determined by the settings in the “Clip Conform > Conform” section.

Before you conform audio, make sure the start/end values in the “Selection” column match the start/end values in the counters in the Edit Window Toolbar.

Strength determines how strongly clips are conformed to the grid. Lower values retain more of the original feel and higher values move clips closer to the grid. A value of 100% (or off) snaps clips exactly to the grid.

Exclude Within gives the user the option of having Pro Tools ignore clips that are already close to their corresponding beat or sub-beat on the grid. Higher settings will cause Pro Tools to ignore clips further from the corresponding beat on the Grid. Lower values will cause Pro Tools to move most clips, except those that are already close to the grid.

Swing allows the user to achieve a swing feel for the conformed clips, select the Swing option and whether the swing is based on eighth-notes or sixteenth-notes, then specify a percentage value with the slider or by typing in a value.

EDITING DRUMS USING BEAT DETECTIVE (continued)

Once you are satisfied with your settings, click “Conform.” Pro Tools will move the clips to their closest8 Click sub Conform-beat (asto automaticallydetermined by conform the note all resolution re- To selected conform in regions the “Clip using Conform Groove > Conform: Selection” section)gions in. the selection. 1 In the Beat Detective window, select Region Conform.

2 Select Groove.

Regions conformed with Beat Detective

9 Audition the new conformed regions by click- 4. Play the audio and double-check your work. If necessary, undo your editing and repeat the ing Play in the Transport. process using adjusted settings, or move misplaced clips by hand. Don’t proceed until all of the clip10 s Do are one in the of correctthe following: place – complex material, tracks with bleed, or loosely played material Beat Detective, Groove Conform options might•If require necessary, extra select tweaking Edit >or Undo manual, and correction. repeat steps 4–8 trying a different set of Conform 3 In the Edit window, if not already selected, se- 5. Oncesettings. audio has been properly conformed, there willlect most the likely separated be spaces regions between you want many to ofconform. the Make sure the selection’s start and end points clip–s. or It –is now necessary to smooth out the edits that have been made, and Beat Detective makes this relatively simple. fall cleanly on the beat. •If necessary, apply Edit Smoothing (see

“Edit Smoothing” on page 655). 4 In the Beat Detective window, define or recap- Select the “Edit Smoothing Mode” in Beat Detective. The Edit Smoothing > Smoothing ture the selection as described in “Defining a section gives the user the option of using Fill Gaps to fill the spaces between clips with audio (by Beat Detective Selection” on page 640. extendingGroove the Conform clip boundaries) or Fill and Crossfade to fill the spaces between clips and create crossfades over the clip boundaries (the length of which can be controlled by the user). The Instead of using a grid based on the session’s When using Groove Conform, the captured default crossfade type can be adjusted in the Preferences menu. tempo map, Groove Conform uses a grid based selection must not include Bar|Beat Mark-

on a groove template, or DigiGroove. Di- ers. Otherwise, the accuracy of the Groove Simply make a selection that includes all of the edits that have been made using Beat Detective, giGrooves can be used to apply the feel of a cap- Template will be compromised. and choose Fill Gaps or Fill and Crossfades to smooth out any edit points in the audio, and tured passage to the selected audio regions. For click “Smooth.” Pro Tools will perform the requested 5actions. From the Groove Template pop-up menu, se- information about creating DigiGroove tem- lect the Groove Clipboard or a saved groove templates, see “DigiGroove Templates” on Repeat steps 1-5 as necessary until your drum tracks areplate nice (for and information tight with the on grid. creating groove page 649. templates, see “DigiGroove Templates” on 6. Double check the edited drum tracks and manually smoothpage 649). out or adjust any edit points that might still be audible. 6 To see comments about the selected template,

click Show Info. At this point you’re all done! Revel in the glorious perfection of your drum tracks.

654 Pro Tools Reference Guide EDITING DRUMS USING BEAT DETECTIVE (continued)

A few extra tips:

- Doing smaller chunks of audio (4-8 bars) at a time can make using Beat Detective more manageable and can reduce the chances of Beat Detective committing inaccuracies.

- Sometimes it’s easier to skip complex sections and drum fills by deleting Beat Triggers (so that Beat Detective doesn’t separate or correct the complex parts) and just focus on the overall drum beat. You can go back and correct fills and complex sections by hand.

- It often helps to make your initial selection encompass only a few tracks (i.e. only kick and snare) to create Beat Triggers, and then add the rest of the tracks to your selection before separation. This way you don’t have to worry about inaccurate Beat Triggers as much.

Once you are satisfied with the results from Beat Drum Tracks and Collection Mode Detective, it is recommended that you flatten the tracks with the Consolidate command. For all USINGSuppose COLLECTION you have drum MODE tr acksIN BEAT for kick, DETECTIVE snare, (FROM THE PT regions selected, Consolidate creates a single, REFERENCEhi-hat, and GUIDE)overhead mics. If you analyze a selection across all of the tracks, you may get contiguous audio file to reduce the session’s edit In some instances, it may be difficult for Beat Detective to successfully analyze multiple tracks with density. See “Consolidating Regions” on themany same Detectionfalse triggers settings. whenWith Beat you Detective’s raise Collectionthe Sensitiv- mode, you can collect a set of beat triggersity slider from differenthigh enough tracks, each to with capture different Detectiothe hi-hatn settings, ma- and use the collection of page 592. triggers to separate new clips. Collection mode is the only way to analyze and create beat triggers onterial one track, (coming and apply mainly them to anotherfrom track.the tracks for the Before consolidating a large selection across Thisoverhead method of mics). selectively adding beat triggers from separate analysis passes on different tracks, until you get only the triggers you want, is potentially much more effective than manually deleting, multiple tracks, make sure there is enough inserting,However, or adjusting if you incorrect analyze or false only triggers. the track for the RAM available. See “RAM Requirements for overhead mics, the resulting beat triggers are Beat Detective” on page 636. Drum Tracks and Collection Mode slightly later than the material on the other Suppose you have drum tracks for kick, snare, hi-hat, and overhead mics. If you analyze a selection acrosstracks all of(since the tracks, it will you maytake get more many falsetime trigge forrs the when sound you raise the Sensitivity slider high etonough reach to capture the overheadthe hi-hat ma terialmics). (coming If you mainly then from extendthe tracks for the overhead mics). Detection (Normal) and However,the selection if you analyze to theonly theother track fordrum the overhead tracks mics,and the sepa- resulting beat triggers are slightly Collection Mode laterrate than them, the material the regions on the other from tracks the (since kick, it will takesnare, more and time for the sound to reach the overheadtom tracks mics). Ifwill you thenbe cutextend slightly the selection late. to the other drum tracks and separate them, the In some instances, it may be difficult for Beat clips from the kick, snare, and tom tracks will be cut slightly late. Detective to successfully analyze multiple tracks with the same Detection settings. With Beat De- tective’s Collection mode, you can collect a set of beat triggers from different tracks, each with different Detection settings, and use the collection of triggers to generate Bar|Beat Markers or DigiGroove templates, or separate new regions. Collection mode is the only way to analyze and create beat triggers on one track, and apply them to another track. Overhead mics generate late beat triggers

This method of selectively adding beat triggers UsingUsing Collection Collection mode, you mode, can analyze you each can drum analyze track separately, each one at a time, optimizing the from separate analysis passes on different tracks, Detectiondrum track settings separately, for each track untilone you at geta time, the triggers optimizing you want. The triggers for each track can until you get only the triggers you want, is po- bethe ad dedDetection successively settings to the collec fortion, each or you track can choose until to youcollect only the unique triggers from a track. The collection of triggers that results can then be used to separate new clips. tentially much more effective than manually de- get the triggers you want. The triggers for each leting, inserting, or adjusting incorrect or false track can be added successively to the collec- triggers. tion, or you can choose to collect only the unique triggers from a track. The collection of triggers that results can then be used to generate Bar|Beat Markers or a DigiGroove template, or separate new regions.

Chapter 31: Beat Detective 655 USING COLLECTION MODE IN BEAT DETECTIVE (continued)

To use Collection mode: 1. In the Edit window, make an audio selection on a single track. Make sure the selection’s start and end points fall cleanly on the beat. 2. In the Beat Detective window, select Clip Separation mode. 3. Define and capture the selection. 4. Configure the Detection options so the selection’s peak transients are accurately detected. 5. From the Detection pop-up menu, select Collection. 6. In the Detection (Collection Mode) section, click “Add All” to add all the current beat triggers to the collection. 7. From the Detection pop-up menu, select Normal and move the selection to the next track you want to analyze. Make sure to keep the selection range constant for each track. 8. Configure the Detection options so the new selection’s peak transients are accurately detected. 9. Select Collection again. 10. In the Detection (Collection Mode) section, click “Add Unique” to add only the unique triggers from the track to the collection. When you choose to add unique triggers, Pro Tools looks for triggers that are close to triggers already collected from other tracks. Where triggers already exist, the newly detected triggers are discarded. You can also choose to add all of the new triggers or to clear all of the triggers from the collection. 11. Each new set of triggers added to the collection appears in a different color. If successive triggers in the collection are located closely together (for example, because of microphone leakage), Beat Detective keeps only the earlier triggers.

1. Beat triggers detected in Kick track added to collection

2. Unique beat triggers detected in Snare track added to collection

3. Unique beat triggers detected in Hi-hat track added to collection

4.Collected beat triggers applied to Overhead microphones track

Figure 9. Overhead mic track displaying a collection of beat triggers containing unique triggers generated from the kick, snare, and hi-hat tracks

11 Repeat steps 7–10 for each additional track you are analyzing.

The beat triggers stored in the Collection mode are saved with sessions. Therefore, when a session is opened later, the previous collection material is still there (until it is cleared).

12 Once the beat triggers have been added to the collection, you can use them to generate Bar|Beat Markers or groove template, or separate regions. However, this must be done from the Collection Mode section (when the triggers are displayed in multiple colors).

To separate regions across multiple tracks, make sure to extend the selection to any additional tracks before separating.

Chapter 31: Beat Detective 657 USING COLLECTION MODE IN BEAT DETECTIVE (continued)

12. Repeat steps 7–10 for each additional track you’re analyzing. 13. The beat triggers stored in the Collection mode are saved with sessions. Therefore, when a session is opened later, the previous collection material is still there (until it is cleared). 14. Once the beat triggers have been added to the collection, you can use them to generate Bar|Beat Markers or groove template, or separate clips. However, this must be done from the Collection Mode section (when the triggers are displayed in multiple colors). 15. To separate clips across multiple tracks, make sure to extend the selection to any additional tracks before separating. List and Parameter Selection There are three types of Keyboard Focus:

Pro Tools provides keyboard shortcuts for the Commands Keyboard Focus When selected in following items: the Tracks pane in the Edit window or in the •Selection of tracks in Track List Notes pane of any MIDI Editor window, this provides a wide range of single key shortcuts •Enabling of groups in Group List from the computer keyboard for editing and •Automation Enable window parameters playing. The frontmost Edit or MIDI Editor win- •Setting Memory Location parameters dow always receives Commands Keyboard Focus when it is enabled. Command Windows Mac With Commands Keyboard Focus disabled, you Toggle item and set Alt-click item Option- all others to same click item can still access any of its key shortcuts by press- new state ing the Start key (Windows) or Control (Mac) along with the key. See the Shortcuts Guide for a Toggle item and set Control-click Command- complete list of Commands Keyboard Focus all others to opposite item click item KEYBOARDshortcuts. FOCUS MODES state ProClip Tools List includes Keyboard three Keyboard Focus Focus When Modes whichselected, determine audio how the alpha keys on the Controls and Editing Tools keyboard function. Depending on which mode is enabled, the alpha keys might perform keyboard shortcuts,clips, enable/disable MIDI clips, groups, and navigate clip thegroups clip list, etc.can be located

Pro Tools provides keyboard shortcuts for mov- Theseand modes selected include Commandsin the Clip Keyboard List byFocus, typing Clip List the Keyboard first Focus, and Group Listfew Keyboard letters Focus of .the Only clip’s one Keyboard name. Focus Mode can be enabled at a time, and they can ing plug-in controls, faders and sliders, the be selected using the shortcut: Scrubber, and automation data. Group• “COMMAND” List Keyboard + “OPTION” Focus + When 1 = Commands selected, Keyboard Mix Focus and• “COMMAND” Edit Groups + can“OPTION” be enabled + 2 = Clipor disabled List Keyboard by Focus Command Windows Mac • “COMMAND” + “OPTION” + 3 = Group List Keyboard Focus typing the Group ID letter (in either the Mix or Fine adjust- Hold Control Hold Com- KeyboardEdit window). Focus Modes can also be selected by pressing the Keyboard Focus (a/z) buttons in the ment of sliders, while click- mand while Edit Window. knobs, and ing the item clicking the item breakpoints Commands Keyboard Fo- Clip List cus (Edit window) Keyboard Focus

Keyboard Focus The Keyboard Focus in Pro Tools determines how the alpha keys function. Depending on which Keyboard Focus is enabled, you can use the keys on your computer (alpha) keyboard to select clips in the Clip List, enable or disable Group List groups, or perform an edit or play command. Keyboard Focus

You can only enable one of the three Keyboard Focus modes at a time. Enabling a Keyboard Fo- cus will disable the one previously enabled. Keyboard Focus buttons

30 Pro Tools Reference Guide KEYBOARD FOCUS MODES (continued)

Commands Keyboard Focus allows the user to perform a selection of shortcuts and edits by pressing single keys on the keyboard. Some of these shortcuts mimic existing multi-key shortcuts and some combine multiple shortcuts or mouse functions into a single keystroke.

COMMAND KEYBOARD FOCUS SHORTCUTS

KEYSTROKE FUNCTION 1-5 on numeric Zoom Preset 1-5 row Q Center Start of Edit Selection W Center End of Edit Selection E Zoom Toggle – Zooms in on edit selection to fill the screen. The Zoom Toggle will also remember the track height if adjusted. R Horizontal Zoom Out T Horizontal Zoom In P Move Edit Selection / Cursor Up ; (semicolon) Move Edit Selection / Cursor Down L Tab Backward ‘ (apostrophe) Tab Forward A Trim start to insertion S Trim end to insertion D Fade from start to insertion F Fade G Fade from end to insertion Z Undo X Cut C Copy V Paste B Separate Clip M Nudge back by next nudge value from the set value , (comma) Nudge back . (period) Nudge forward / (forward slash) Nudge forward by next nudge value from the set value - (minus) on main Toggle between Waveform and Volume keyboard playlists

Clip List Keyboard Focus allows easy location of data in the Clip List – just type the first few letters of the file name and Pro Tools will locate all files that reflect what you type.

Group List Keyboard Focus allows you to quickly enable and disable groups by typing their Group ID letter.

USING SIDE-CHAINS AND KEY INPUTS

Using side-chain processing opens up a wide range of possibilities for tackling various mixing tasks. Essentially, the technique known as side-chaining is the routing of a signal from a track (or tracks) that is used to trigger processing on a separate track (or tracks). Side-chains can be useful for a number of techniques and special FX, including:

- Altering the input frequency response of a processor - Altering the input timing response of a processor - Processing tracks based on other tracks in the session for special effects - “Ducking” one track to reduce masking in a mix

Normally, a plug-in’s operation is triggered by the signal on the track it has been inserted on. With external side-chain processing, a plug-in is triggered by an external signal (such as a separate reference track or audio source) known as the key input. For example, a kick drum track could be used to reduce the volume of the bass guitar whenever it plays, or a hi-hat track could be used to gate a keyboard pad.

In this example, a kick drum is triggering a compressor on the "Bass DI" track. 3 Do one of the following to confirm the value: With external side-chain processing, a plug-in's •Press Enter on the numeric keyboard to in- detector is triggered by an external signal (such put the value and remain in keyboard edit- as a separate reference track or audio source) ing mode. known as the key input.

– or – A typical use for external side-chain processing •Press Enter on the alpha keyboard (Win- is to control the dynamics of one audio signal dows) or Return (Mac) to enter the value using the dynamics of another signal (the key and leave keyboard editing mode. input). For example, a kick drum track could be used to trigger gating of a bass track to tighten it To clear all clip indicators in the session, including up, or a rhythm guitar track could be used to plug-in clipping: gate a keyboard pad.

Press Alt+C (Windows) or Option+C (Mac). Side-Chain Filters

Some plug-ins feature key high-pass and low- Plug-In Automation and Safe pass filters. These controls let you define a spe- Modes cific frequency range in the side-chain signal with which to trigger the plug-in effect. A com- All real-time plug-ins can be fully automated, mon production technique is to use these con- and support all Pro Tools Automation modes trols to filter a drum track so that only specific (Write, Touch, and Latch, plus Trim). high frequency sounds (such as a hi-hat) or low frequency ones (such a tom or a kick) trigger the The Auto button opens the Plug-In Automation effect. dialog, where you can enable individual plug-in controls for automation recording (see “Auto- mating Plug-Ins” on page 1017). Using a Key Input for External Side-Chain Processing The Safe button engages Automation Safe mode. USING SIDE-CHAINS AND KEY INPUTS (continued)

When enabled, existing plug-in automation is ToAnother use example a key of side input-chains in use: for some external plug-ins feature side-chain key input high-pass and low-pass filters. These controls let you define a specific frequency range in the side-chain signal with which protected from being overwritten (see “Record processing:to trigger the plug-in effect. A common production technique is to use these controls to filter a drum track so that only specific high frequency sounds (such as a hi-hat) or low frequency ones Safing Plug-In Automation” on page 1019). (such a tom or a kick) trigger the effect. This can help the plug-in differentiate which frequency 1range Click you want the in to act plug-in’s upon. Key Input selector and se-

lectTo enable the side input-chain processing or bus on carryinga dynamics plug the-in: audio you

want1. Click the to plug use-in’s Key to Input trigger selector and selectthe the plug-in. input or bus carrying the audio you want to use to trigger the plug-in. Side-Chain Input

The side-chain input is the split-off signal used by a plug-in's detector to trigger dynamics processing, and is generally drawn internally from the input signal. However, some plug-ins let you switch between internal and external side-chain processing. Selecting a Key Input for a compressor plug-in.

Selecting2. Click the External a Key Key button Input (if necessary) to activate external side-chain processing. Some plug-ins may have a different control for enabling the external side-chain.

3. Press the Spacebar to begin playback. The plug-in will use the input or bus that you chose as the key input to trigger its effect.

984 Pro Tools Reference Guide 4. During playback, do any of the following to fine-tune key input triggering: • To hear the audio source you have selected to control the key input, enable Side-Chain Listen or Key Listen (depending on the plug-in). When finished, disable Side- Chain Listen/Key Listen to resume normal plug-in monitoring. • To filter the key input so that only specific frequencies trigger the plug-in, use the filtering controls (if available) to select the frequency range.

5. Adjust the plug-in’s Threshold control (if available) and other controls as needed. USING SIDE-CHAINS AND KEY INPUTS (continued)

SIDE-CHAIN WORKFLOW EXAMPLE #1 – “DUCKING” A BASS GUITAR WITH THE KICK DRUM

Since bass guitars and kick drums occupy similar frequency ranges, it can sometimes be difficult to make them distinguishable in a bass-heavy mix. Oftentimes the bass guitar can drown out the kick drum and prevent it from “punching” through the mix. Using a technique called “ducking,” the engineer can take steps to prevent this problem if necessary:

1. Create a send on the kick drum track and route it to an available bus path.

2. Create a compressor/limiter plug-in on the bass guitar track.

3. Set the “Key Input” control of the compressor/limiter on the bass guitar to the bus path from step 1. Engage the external sidechain on the compressor if necessary.

4. The key input from the kick drum should now trigger the compressor. This will cause the compressor to attenuate the bass guitar every time the kick drum is played, allowing the kick drum to poke through the mix. Adjust the controls to taste.

SIDE-CHAIN WORKFLOW EXAMPLE #2 – ADDED SUB-BASS TO THE KICK DRUM

If you’re trying to mix a kick drum and you can’t get the low end depth you’re looking for, consider using a sidechain to add a sub-bass tone to the kick….

1. Create a send on the kick drum and route it to an available bus path.

2. Create an aux input track and insert the Signal Generator plug -n as well as a noise gate on it.

3. Set the Signal Generator to play a sine wave at a low frequency (anywhere around 40-80 Hz).

4. Set the “Key Input” control of the noise gate to the bus path from step 1. Set the gate to open in time with the kick drum.

5. Play back the track. The sine wave should now play back in sync with the kick drum. Mix to taste.

USING SIDE-CHAINS AND KEY INPUTS (continued)

SIDE-CHAIN WORKFLOW EXAMPLE #3 – USING AN EXPANDER TO TIGHTEN UP THE BASS/KICK RELATIONSHIP

The relationship between the bass guitar and kick drum can make or break a mix. If you want to tighten things up a bit, you can use sidechains to enhance the bass guitar every time the kick hits.

1. Create a send on the kick drum track and route it to an available bus path.

2. Put an expander plug-in on the bass guitar track.

3. Set the “Key Input” control of the expander on the bass guitar to the bus path from step 1. Engage the external sidechain on the expander if necessary.

4. Set the expander so that it opens up in time with the kick drum. Set the “Range” control anywhere from -2 to -6 dB, so that most of the bass gets through when the kick isn’t playing, and the extra dB are added when the kick plays. This increases the perception of the bass and kick “locking” together.

SIDE-CHAIN WORKFLOW EXAMPLE #4 – CREATING A “LOOKAHEAD” COMPRESSOR FOR VOCALS AND OTHER APPLICATIONS.

Having a steady, consistent vocal level is crucial to achieving a great mix, but the behavior of most compressors imparts a slight delay before the compressor can respond to the incoming signal, which can make certain singers or performances tricky to dial in without the use of automation. Some plug-ins offer “lookahead” functionality, which can be useful, but most plugs (and all hardware units) do not.

Fortunately, we can use side-chain processing to help achieve automation-like results in much less time by using the following steps. This method is useful on any instrument you might want to compress, and can also be used with gates/expanders to eliminate problems with time-delay when processing a track.

1. Duplicate the vocal track. If the vocal is spread out over multiple tracks, it’s helpful to consolidate or bounce a copy of them to a single audio track for the purposes of this technique.

2. Set the output of the duplicate vocal track to an available bus path.

3. Insert a compressor on the original vocal track and set its “Key Input” control to the bus path from step 2. Engage the compressor’s external sidechain if necessary. The compressor will now be triggered by the audio from the duplicate vocal track. USING SIDE-CHAINS AND KEY INPUTS (continued)

4. Nudge the audio on the duplicate vocal track forward (earlier) in time. The compressor on the main vocal track will now respond sooner, because it’s acting upon the time-shifted audio from the duplicate vocal track.

5. Shift the audio on the duplicate vocal track forward (earlier) until the compressor on the main vocal tracks the vocal’s dynamics as perfectly as possible and the time-delay has been eliminated.

SIDE-CHAIN WORKFLOW EXAMPLE #5 – ELIMINATING LOW FREQUENCIES FROM A COMPRESSOR’S INPUT SIGNAL

Since low frequencies often contain a lot more energy than mid or high-frequency material, there may be times when you want a compressor or other dynamic processor to ignore their effect on the overall input signal that the compressor is reacting to.

For example, a mix being compressed that contains a very loud kick drum might “pump” when the kick drum hits, because the extra energy in the kick drum’s lower frequencies is causing the compressor to clamp down on the track. By feeding the compressor a key input signal to its sidechain, we can eliminate this behavior.

These steps assume you have an entire mix being sent to a master fader with a compressor plug-in inserted.

1. Create an auxiliary input track called “Mix Sidechain.”

2. Using sends, route all of the tracks that are going to the main output to the “Mix Sidechain” track as well. Essentially you want to have a copy of your mix being routed to the “Mix Sidechain” track, with all of the tracks also still routed to the master fader as normal.

3. Insert a high-pass filter on the “Mix Sidechain” track. Use it to remove low frequencies from the signal being passed through.

4. Set the output of the “Mix Sidechain” track to an available bus path.

5. Set the “Key Input” control on the master fader compressor to the bus path from step 4 and engage the external sidechain (if necessary). The compressor will now react to the signal from the “Mix Sidechain” track, but it will actually be processing the normal mix. Tweak the controls on the “Mix Sidechain” track and the compressor until the compressor responds how you’d like.

MAKING TEMPO MAPS WITH BEAT DETECTIVE

As you know by now, there are huge advantages to having your tracks aligned to the grid in Pro Tools. However, there are many situations in which it may not be appropriate, preferred, or possible to track the performers with a metronome, and you may find yourself working on sessions in which the tracks do not align with the grid and the tempo is inconsistent.

Using the “Bar | Beat Marker Generation” mode in Beat Detective allows you to fit the grid in Pro Tools TO the audio, rather than the other way around. This way, you can take advantage of grid- based editing functions, easier MIDI-programming, tempo-sync’d plug-ins, and all of the other inherent advantages of having the audio and the grid aligned to each other.

The more detailed your grid is, the more accurate and usable the results. You will ideally need to have some basic knowledge of music counting and meter to achieve the best results.

In this example, we have selected four bars of music by playing the track and counting along. We then tell Beat Detective what bars are selected (according to our count) and click "Generate" to change the grid to what we've specified. MAKING TEMPO MAPS WITH BEAT DETECTIVE (continued)

Here’s the process:

1. To begin, you must find the point in the audio that you want to define as the start of the song. Place the cursor here – we will call this bar 1, beat 1.

2. Bring up the Beat Detective window and switch to “Bar | Beat Marker Generation” mode.

3. Play the track and count with the music. Make a selection of however many bars you want to define. Remember, the less bars you define at a time, the more accurate your grid will be. You should now have a selection starting at bar 1, beat 1, which encompasses 1-4 bars of music.

a. If the meter is 4/4, there are four beats for each bar, so you’d count ONE, 2, 3, 4, TWO, 2, 3, 4, THREE, 2,3,4, where each bold number in the example is the beginning of the corresponding bar.

4. In the “Selection” column in the center of the Beat Detective window, fill in the start and end Bar | Beat values of your selection. So if your selection starts at bar 1, beat 1, and ends at bar 5, beat 1, type in those values.

5. Make sure the meter is set correctly, and click the “Generate” button in the lower right of the Beat Detective window. Pro Tools will change the grid and fill in the new Bar|Beat values and tempo.

6. Repeat the process, making each new selection start where your previous selection ended, until you have created a tempo/meter map for the entire song. USING AUTO-TUNE TO EDIT VOCALS

The ubiquitous Antares Auto-Tune plug-in (and its competitors) has inarguably revolutionized the process of recording and editing vocals in the modern music industry. Engineers now have the ability to naturally (or unnaturally if you see fit) alter the pitch and timing of a vocalist or instrument to achieve improved intonation and “polish.” The effect can also be famously abused to achieve special vocal effects. The uses and implications of using Auto-Tune are innumerable, but in this lesson we will focus on using Auto-Tune’s Graphical Mode to naturally correct pitch problems in a vocal performance.

The Auto-Tune plug-in contains two different operating modes, Auto and Graphical. Each mode has its own window and the two modes can be used individually or in combination. You can change the size of the window in the Options menu in the upper-right corner.

Auto Mode automatically adjusts incoming pitches to the closest note in the scale.

Graphical Mode allows the user to draw in corrections manually. Notes are divided into horizontal segments and arranged from low to high, similarly to the MIDI display in Pro Tools. USING AUTO-TUNE TO EDIT VOCALS (CONTINUED)

TOP CONTROLS

Input Type – Select from Soprano, Alto/Tenor Voice, Low Male Voice, Instrument, and Bass Instrument to use the algorithm best suited for the input source. Experimenting with different Input Type settings can yield better or worse pitch detection depending on the source.

Tracking – This control allows you to adjust how sensitive Auto-Tune is to the pitch of an incoming signal, and determines what Auto-Tune considers melodic pitch vs. just noise. If you have a well-isolated recording without substantial background noise, settings of 50 and below should work well. However, if there is background noise present or if the signal is particularly complex (such as a raspy vocal) you may need to increase the Tracking setting to filter out the extraneous noise so that Auto-Tune can accurately track the signal.

Select Pitch Reference – If you are tuning a stereo source, use this control to tell Auto-Tune which channel (left or right) to track.

Key/Scale – If you know the key of the performance, you can use these controls to define the scale and fine-tune which notes Auto-Tune will include or remove when automatically adjusting pitch. If you don’t know the scale or aren’t using automatic functions, you can leave it set to C – Chromatic and it will work with all material.

Scale Detune – You can use this control to change the pitch standard that Auto-Tune abides by. The default setting is A=440Hz.

Transpose – This control allows you to adjust the final processed pitch from Auto-Tune up or down by up to an octave.

Throat Length – This control allows you to simulate different throat sizes, which can change the tone of the singer’s voice. The Formant button must be engaged for Throat Length to work.

Formant – When vocal performances are pitch-shifted, the vocal’s inherent resonant pitches are shifted along with them – this is what creates the “chipmunk” effect when too much pitch shifting is applied. Formant correction attempts to compensate for this effect for the most natural performance possible when making large adjustments to pitch. USING AUTO-TUNE TO EDIT VOCALS (CONTINUED)

TOP CONTROLS (CONTINUED)

Correction Mode – Switches between the Automatic correction and Graphical correction modes.

Options – Brings up the Options menu for setting user preferences, window size, keyboard shortcuts, etc.

CLOCK CONTROLS

The clock controls determine how Auto-Tune’s timebase syncs up with the host software and the audio itself. Sample Rate is automatically set according to the host session (you should still double-check it). For real-time operation it’s generally best to set the “Source” to Host so that Auto-Tune matches the Pro Tools timeline.

USING AUTO-TUNE TO EDIT VOCALS (CONTINUED)

TRACKING THE PITCH OF A VOCAL PERFORMANCE

With the explanation of the basic controls out of the way, we are ready to track the pitch of a vocal performance and begin the editing process. We will cover the remaining pertinent controls along the way.

There are numerous potential workflows for editing vocals with Auto-Tune, so in this lesson we will focus on two specific ones – a real-time workflow which is faster but more CPU-intensive, and an AudioSuite (non-real time) workflow which is slower but much more CPU-friendly.

WORKFLOW #1 (Real-time, graphical mode)

1. Insert the Auto-Tune plug-in on the track that you wish to edit and select Graphical Mode. Make sure the sample rate in Auto-Tune is set correctly and that “Source” is set to Host. 2. Set the Input Type, Tracking, Key/Scale, and Scale Detune to your desired settings. You may need to experiment a bit to find the best possible settings. 3. Click the Track Pitch or Track Pitch+Time button to arm Auto-Tune for tracking. 4. Place the cursor at the beginning of the track and play the track. Auto-Tune will track the performance in real-time and you will see the performance being fed into Auto-Tune’s graphical display in red. Let the entire track play through and pay attention to whether Auto-Tune is accurately tracking the signal – if not, try changing some of the input settings and trying again.

USING AUTO-TUNE TO EDIT VOCALS (CONTINUED)

TRACKING THE PITCH OF A VOCAL PERFORMANCE (CONTINUED)

WORKFLOW #2 (AudioSuite, graphical mode)

1. Select Auto-Tune from the AudioSuite menu in Pro Tools and switch to Graphical Mode. 2. Set the Input Type, Tracking, Key/Scale, and Scale Detune to your desired settings. 3. Select the clip(s) you would like to edit and duplicate that track’s edit playlist. Name the new playlist “______Edit” or something along those lines. 4. Click the Track Pitch or Track Pitch+Time button to arm Auto-Tune for tracking. 5. Click the speaker icon in the lower left corner to play the clip so that Auto-Tune can track it, OR if you want to save time, click Render and then hit undo (Command + Z). This will track the signal offline and is faster than real time.

Once your Auto-Tune has processed the performance and loaded it into the graphical display, we are ready to start editing. USING AUTO-TUNE TO EDIT VOCALS (CONTINUED)

EDITING FUNCTIONS

Clear All – Clears all tracking data from the graphical display

Undo – Undoes the last edit made in Auto-Tune

Redo – Undo for your undo.

Snap to Note – Locks edits made with the Auto-Tune editing tools (such as the line tool) to the note grid in the graphical display. Handy.

Select All – Selects all note data in the graphical display to allow the user to make global adjustments to all of the data at once.

Cut/Copy/Paste – Access to Auto-Tune’s internal cut/copy/paste functions.

GENERATING LINES OR NOTES AUTOMATICALLY FOR A PERFORMANCE

Graphical editing in Auto-Tune is accomplished by creating lines or “note” objects over the original performance. The performance then adheres to the lines or notes and the resulting pitch is adjusted accordingly. You can automatically generate lines or notes across the entire performance to get a head start on editing if it suits your workflow.

Make Curve – Click to generate an exact line data overlay of the original performance, which you can then edit use the editing tools.

Import Auto – Click to generate pitch-corrected line data on top of the original performance. The settings in the Auto Mode window are taken into account when the overlay is created. This will basically import the Auto Mode corrections into the graphical window.

Make Notes – Click to automatically create note objects based on the original performance. USING AUTO-TUNE TO EDIT VOCALS (CONTINUED)

EDITING TOOLS (Left to right)

Line Tool – Allows you to draw straight lines with anchor points for each note, which can then be used to focus the pitch of that note to whatever pitch the line is placed on. Click once to start making a line and double-click to place the line. For instance, if you want a sung note to adhere to a “C” pitch, draw a line on “C” line over that note in the graphical display.

Curve Tool – Allows you to create free-hand lines on the graphical display. Click and hold to draw.

Note Tool – Click and drag to create new notes on the graphical display. Notes work similarly to lines and will constrain the pitch of the section they are created on to that particular note.

Arrow Tool – Allows you to grab and move any line, free-hand curve, note, or anchor point in the graphical display. Useful for changing the pitch of an object without affecting timing. You can double- click on a line to create new anchor points, or double click anchor points to delete them.

Scissors Tool – Use the Scissors Tool to split any line, curve, or note into multiple objects.

Magnifying Glass Tool – Click and drag to focus the display on a particular segment of data. Works like the Zoomer Tool in Pro Tools.

I-Beam Tool – Click and drag to make a selection of data in the graphical window, which then allows you to simultaneously adjust all of the selected data. Double click to select all tracked data.

Hand Tool – Click and drag with the Hand Tool to move the view of the graphical window around.

Move Point Tool – This tool allows you to adjust the timing of the performance, similarly to warping a performance with Elastic Audio. Using the Move Point Tool is a two-part process: 1. Click and drag to make a selection of the data you want to rhythmically edit, and then 2. Click a point of the waveform within the selection to move it.

Move Region Tool – This tool allows you to move an entire section of data, preserving the timing within that section. This is a three-part process: 1. Click and drag to select the entire range of audio you are working on. 2. Click and drag one more time to select the segment within that range you wish to move. This selection will be darker grey than the initial selection. 3. Click anywhere within the darker grey segment to move it.

USING AUTO-TUNE TO EDIT VOCALS (CONTINUED)

EDITING THE PITCH OF A VOCAL PERFORMANCE

Now that the performance has been tracked into Auto-Tune and you know how the editing tools work, we can start editing the performance.

WORKFLOW #1 (Real-time, graphical mode, performance already tracked using the previous steps)

1. Starting at the beginning, zoom in to a comfortable level and select the Line Tool. 2. Examine the original performance and draw lines (or curves or notes) on the appropriate notes to fine-tune the original performance (see the picture above). Auto-Tune will “bend” the pitch of the performance to more closely match the line/curve/note objects you create. - The red lines in the graphical display represent the original performance. - The green lines reflect the corrected performance. 3. Use the Retune Speed, Adjust Vibrato, and Throat Length controls to fine-tune each new line or curve object you create. Slower Retune speeds will loosen the connection between the original performance and the line’s pitch, resulting in a more natural sound with less correction. Faster settings will force the effected performance’s pitch to be closer to the line or curve. The Retune setting plays in huge part in how natural the resulting corrections sound.

4. Once you’re finished, listen back and individually adjust any line, curve, or note object that sounds unnatural. When it sounds good, it’s done. USING AUTO-TUNE TO EDIT VOCALS (CONTINUED)

EDITING THE PITCH OF A VOCAL PERFORMANCE (CONTINUED)

WORKFLOW #2 (AudioSuite, graphical mode, performance already tracked using the previous steps)

1. Once the clip has been tracked, zoom in to a comfortable level and select the Line Tool. 2. Examine the original performance and draw lines (or curves or notes) on the appropriate notes to fine-tune the original performance (see the picture above). Auto-Tune will “bend” the pitch of the performance to more closely match the line/curve/note objects you create. - The red lines in the graphical display represent the original performance. - The green lines reflect the corrected performance. 3. Use the Retune Speed, Adjust Vibrato, and Throat Length controls to fine-tune each new line or curve object you create. Slower Retune speeds will loosen the connection between the original performance and the line’s pitch, resulting in a more natural sound with less correction. Faster settings will force the effected performance’s pitch to be closer to the line or curve. The Retune setting plays in huge part in how natural the resulting corrections sound.

4. Once you’re finished, click the speaker in the lower left corner to listen back to the corrected performance and individually adjust any line, curve, or note object that sounds unnatural. 5. When finished, click “Render.” Pro Tools will create a new clip of the corrected performance.