As I'm a Mac-PT user I will give the Mac version of the shortcuts. I will try to always include the following PC translation in future posts:
Mac :: PC
Command (Cm) :: Control; Option (Op) :: Alt; Control (Ct) :: Windows; Shift (Sh) :: Shift
How I will list shortcuts: I will not be using any extraneous characters when listing shortcuts, like dashes or +, so if you see it you use it. For example if the shortcut was to hold Command and Option and press the “M” key it will be listed as Cm Op M. Regarding numbers, if you need to use the numbers on the number pad rather than the QWERTY numbers, I will put the number in brackets, such as [3].
Version 1 of some handy shortcuts to use while tracking:
Cm K, toggle the pre- & post-roll on/off
Op K, toggle the monitoring mode between Auto Input and Input Only (see Sh I below)
Sh R, record enable/disable a track (a PT8 shortcut, edit cursor must be on the track)
Sh M, toggle the mute state of a track (a PT8 shortcut, edit cursor must be on the track)
Sh S, toggle the solo state of a track (a PT8 shortcut, edit cursor must be on the track)
Sh I, toggle the input state of a track (a PT8 shortcut, edit cursor must be on the track)
Cm Sh L or [4], toggle loop playback on/off
Op L or [5], toggle loop record on/off
Cm click, with the Selector tool Command click on a region to access the “matching start times list”. This is extremely useful if you have recorded several takes while in loop record mode, and will show you a list of the takes that were recording during the loop recording passes. For more information on this feature, look up “Matching Alternate Regions” in the Pro Tools Reference Guide (p 540 in the v8 manual).
Saturday, February 28, 2009
Dynamics processors: an introduction
Dynamics processors are used to adjust the dynamic range of the sound source. The dynamic range of your sound source is basically the difference between the quietest and loudest sound. For example the dynamic range of your voice would be the difference between a soft whisper and your loudest scream.
Types of dynamics devices: the 4 main types of dynamics devices are compressors, limiters, expanders, and gates. Compressors and limiters are both typically used to decrease dynamic range, or bring the quietest and loudest signals closer together. Expanders and gates are typically used to increase dynamic range, or move the quietest and loudest signals farther apart. However, both of these statements require more description and detail, so keep reading.
Compressors and limiters, as stated previously, are both typically used to decrease the dynamic range of a signal. These two devices are very similar and have many of the same controls. Put simply, a limiter is just an “extreme” use of a compressor. However, these two devices have very different uses. A mix engineer will typically use many compressors, but will use limiters sparingly and typically only in a few specific situations. Limiters, on the other hand, are an important tool for the mastering engineer (as are compressors), and are a key ingredient for the mastering engineer to achieve the incredibly loud signals that record companies are asking for these days (but that is a discussion better addressed in another post).
Expanders and gates, as stated earlier, are both typically used to increase the dynamic range of a signal. These two devices are also very similar and have many of the same controls. Again, put simply, a gate is an “extreme” use of a downward expander. Downward expander? Where did that come from, you ask. Expanders can expand in two different ways. They can expand the dynamic range by either making the quieter sounds of the signal even quieter, or by making the louder parts of the signal even louder.
In my next post I will start discussing compressors. I have graphics and audio examples that I need to get prepared so they can be easily referenced in the post, so it may take a few days to get all of that together. Stay tuned…
Types of dynamics devices: the 4 main types of dynamics devices are compressors, limiters, expanders, and gates. Compressors and limiters are both typically used to decrease dynamic range, or bring the quietest and loudest signals closer together. Expanders and gates are typically used to increase dynamic range, or move the quietest and loudest signals farther apart. However, both of these statements require more description and detail, so keep reading.
Compressors and limiters, as stated previously, are both typically used to decrease the dynamic range of a signal. These two devices are very similar and have many of the same controls. Put simply, a limiter is just an “extreme” use of a compressor. However, these two devices have very different uses. A mix engineer will typically use many compressors, but will use limiters sparingly and typically only in a few specific situations. Limiters, on the other hand, are an important tool for the mastering engineer (as are compressors), and are a key ingredient for the mastering engineer to achieve the incredibly loud signals that record companies are asking for these days (but that is a discussion better addressed in another post).
Expanders and gates, as stated earlier, are both typically used to increase the dynamic range of a signal. These two devices are also very similar and have many of the same controls. Again, put simply, a gate is an “extreme” use of a downward expander. Downward expander? Where did that come from, you ask. Expanders can expand in two different ways. They can expand the dynamic range by either making the quieter sounds of the signal even quieter, or by making the louder parts of the signal even louder.
In my next post I will start discussing compressors. I have graphics and audio examples that I need to get prepared so they can be easily referenced in the post, so it may take a few days to get all of that together. Stay tuned…
Tuesday, February 24, 2009
Using External Effects with Pro Tools, using analog connections
I will describe the setup to use an external effects device with Pro Tools as an A) Insert and in a B) Side-Chain setup.
Generally speaking, effects that are normally applied to tracks using an insert are EQ and Dynamics processors, like compression and gating. The side-chain approach is generally used for time-based effects, such as Reverb, Delay, Chorus, Flange, etc. These again are generalizations, and under certain circumstances an engineer might apply EQ or Dynamics via a Side Chain, for example when setting up the New York Compression trick; or apply Chorus or another time-based effect via the insert fashion. However, when a time-based effect is applied via insert, typically the effects device’s mix control is utilized to balance the un-effected signal with the effected signal. On to the details:
A. & B. For both signal flow types, insert & side-chain, you will connect the effects device to the audio interface in the same way. Lets say we are connecting a Lexicon PCM 91 to an 002 interface.
1. Connect the PCM's analog outputs to audio inputs on your interface. These will need to be treated as a “line” inputs, so find the appropriate input connection on your interface. On most interfaces Outputs 1-2 are your main outs, so you will not want to connect it to inputs 1-2. For instance we will connect the PCM outputs L/R to inputs 5 & 6.
2. Connect the PCM's analog inputs to the audio output on your interface. You will need to use the same output numbers that you used to connect the Audio Outputs of the effects device. So we will connect the PCM's analog inputs to the interface outputs 5 & 6.
A. Making the connections in Pro Tools to use the PCM as an insert:
1. On the track that you want to use the PCM as an insert, go to the insert assignment section (typically using the Mix Window), and click on the insert location where you want to place the device. Remember that the inserts (plug-ins and hardware inserts like this) are processed in order from top to bottom. From the list, instead of choosing a plug-in, choose “i/o” from the list and select the input/output pair that you connected the effect to. In our example we will choose “i/o > A 5-6”. Depending upon how you have your paths labeled in the I/O Setup page the text after the “>” symbols may vary.
Now when you playback, the audio on this track will be processed through your effects device. Again for time-based effects, you will typically want to adjust the “mix” control to allow some dry signal to pass through the effects device.
B. Making the connections in Pro Tools to use the PCM as a side-chain effect:
1. Create a stereo Aux. Input track, and set the track input path to the pair of inputs on your interface where you connected the effects device. Using my PCM example, we will choose Interface Inputs 5-6. Set the output to your Main Output path. Option-click (Alt for PC) on the fader on the Aux. Input track to set it to 0dB. Command-click (Control for PC) on the Solo button on the Aux. Input track, to solo isolate this track. This is done so that when you solo a snare track, for example, you will still hear the effect of the PCM as well as the soloed instrument.
2. On each track in your session that you want to send to the PCM, create a send to “interface > A 5-6” in the “sends assignment” section of each track, again depending upon your I/O path labeling your labels may differ. I try to use the same send slot, so always use slot A, for example. This will help for step 4.
3. You will then adjust the send level and pan on each of the sends to create an “alternate” mix of these instruments that is sent to the PCM where it will be processed and returned to the Aux. Input track.
4. If go to the “View Menu > Sends A-E > Send A” this will set the Send A-E area in the mix window to only show send A and Pro Tools will use the remaining area to show you the fader, mute, pan, etc. This will make creating your mix to the effect much faster. There is a keyboard shortcut for setting this assignment, if you care to look it up.
Good Luck and have fun.
Generally speaking, effects that are normally applied to tracks using an insert are EQ and Dynamics processors, like compression and gating. The side-chain approach is generally used for time-based effects, such as Reverb, Delay, Chorus, Flange, etc. These again are generalizations, and under certain circumstances an engineer might apply EQ or Dynamics via a Side Chain, for example when setting up the New York Compression trick; or apply Chorus or another time-based effect via the insert fashion. However, when a time-based effect is applied via insert, typically the effects device’s mix control is utilized to balance the un-effected signal with the effected signal. On to the details:
A. & B. For both signal flow types, insert & side-chain, you will connect the effects device to the audio interface in the same way. Lets say we are connecting a Lexicon PCM 91 to an 002 interface.
1. Connect the PCM's analog outputs to audio inputs on your interface. These will need to be treated as a “line” inputs, so find the appropriate input connection on your interface. On most interfaces Outputs 1-2 are your main outs, so you will not want to connect it to inputs 1-2. For instance we will connect the PCM outputs L/R to inputs 5 & 6.
2. Connect the PCM's analog inputs to the audio output on your interface. You will need to use the same output numbers that you used to connect the Audio Outputs of the effects device. So we will connect the PCM's analog inputs to the interface outputs 5 & 6.
A. Making the connections in Pro Tools to use the PCM as an insert:
1. On the track that you want to use the PCM as an insert, go to the insert assignment section (typically using the Mix Window), and click on the insert location where you want to place the device. Remember that the inserts (plug-ins and hardware inserts like this) are processed in order from top to bottom. From the list, instead of choosing a plug-in, choose “i/o” from the list and select the input/output pair that you connected the effect to. In our example we will choose “i/o > A 5-6”. Depending upon how you have your paths labeled in the I/O Setup page the text after the “>” symbols may vary.
Now when you playback, the audio on this track will be processed through your effects device. Again for time-based effects, you will typically want to adjust the “mix” control to allow some dry signal to pass through the effects device.
B. Making the connections in Pro Tools to use the PCM as a side-chain effect:
1. Create a stereo Aux. Input track, and set the track input path to the pair of inputs on your interface where you connected the effects device. Using my PCM example, we will choose Interface Inputs 5-6. Set the output to your Main Output path. Option-click (Alt for PC) on the fader on the Aux. Input track to set it to 0dB. Command-click (Control for PC) on the Solo button on the Aux. Input track, to solo isolate this track. This is done so that when you solo a snare track, for example, you will still hear the effect of the PCM as well as the soloed instrument.
2. On each track in your session that you want to send to the PCM, create a send to “interface > A 5-6” in the “sends assignment” section of each track, again depending upon your I/O path labeling your labels may differ. I try to use the same send slot, so always use slot A, for example. This will help for step 4.
3. You will then adjust the send level and pan on each of the sends to create an “alternate” mix of these instruments that is sent to the PCM where it will be processed and returned to the Aux. Input track.
4. If go to the “View Menu > Sends A-E > Send A” this will set the Send A-E area in the mix window to only show send A and Pro Tools will use the remaining area to show you the fader, mute, pan, etc. This will make creating your mix to the effect much faster. There is a keyboard shortcut for setting this assignment, if you care to look it up.
Good Luck and have fun.
Monday, February 16, 2009
Compression-Coming Soon
I will start a series of posts regarding compression very soon. I will start with the basics and through successive posts move to advanced compression concepts and techniques.
Friday, February 6, 2009
Fun With Feedback loops
I originally posted this on ProToolsUsers.org
*******************Warning**********************
This post is for those that know how to setup effects using Aux In tracks and using sends to send audio to the effects. In addition, at least a basic understanding of using the automation playlists and editing the automation is a must. If you don’t have a grasp of how to add effects in Pro Tools using Aux In tracks and sends, or using automation, then please don’t attempt the following until you do.
*************************************************
Here is a delay trick that is great fun (see the caution below before trying this, especially if your new to audio production):
AGAIN BE VERY CAREFUL OF FEEDBACK LOOPS. You might want to start to set this up using headphones that are just sitting on your shoulders NOT ON YOUR EARS.
*******************Warning**********************
This post is for those that know how to setup effects using Aux In tracks and using sends to send audio to the effects. In addition, at least a basic understanding of using the automation playlists and editing the automation is a must. If you don’t have a grasp of how to add effects in Pro Tools using Aux In tracks and sends, or using automation, then please don’t attempt the following until you do.
*************************************************
Here is a delay trick that is great fun (see the caution below before trying this, especially if your new to audio production):
- Setup a delay on and Aux in (hereafter Aux1) track and set the delay time (maybe to an 1/8 note or 1/4 note) and then set the feedback to 0%, turn off all LPF etc. so that it is a simple delay
- Pick an audio track that you want to add a delay effect to, create the send to the Aux 1 delay. You'll probably want to automate your send so that only ONE word at key places in the song are sent to the delay
- Put a 1-band eq before the delay plug-in on Aux1, and set it to a high shelf, set to 5k and reduce by 2dB (you can certainly experiment with this part). Be careful when boosting a frequency as the added gain can cause problems in the feedback loop that your about to create.
- Create another Aux track (hereafter Aux2), add a delay plug-in, and set the delay to the same delay amount to the same as Aux1, and set the feedback to 0%, turn off all LPFs etc. so that it is a simple delay as well.
- Put a 1-band eq before the delay plug-in on Aux2, and set it to a high shelf, set to 5k and reduced gain by 2dB on this as well.
- Create a send on Aux1 that will send that delay to the delay on Aux2, make sure to keep the level lower around -20 to maybe -10, but what is too much depends on the EQ setting (as this IS a feedback loop -> BE CAREFUL and be ready to lower the volume of your speakers at any moment, especially the noobs)
- Create a send on Aux2 that will send that delay back to the delay on Aux1, again make sure to keep the level lower (-20 to maybe -10) (as again this IS a feedback loop)
AGAIN BE VERY CAREFUL OF FEEDBACK LOOPS. You might want to start to set this up using headphones that are just sitting on your shoulders NOT ON YOUR EARS.
Auto Input and Input Only Monitoring demystified (I hope :) )
Auto Input Monitoring versus Input Only Monitoring: These two monitoring modes have to do with how an audio track passes audio to the tracks output path when the audio track is record enabled. These modes can be toggled using the shortcut of Opt-K (Alt-K on PC), or from the Track Menu. On HD this can be switch on a track-by-track basis, in LE it is a global setting.
Let’s start with the easy one first, Input Only monitoring. When Pro Tools is set to Input Only monitoring and a track is record enabled, Pro Tools sends the audio that it receives from the input path on to the output path at all times, regardless of whether Pro Tools is Stopped, Playing, or Recording.
Auto Input monitoring is a bit more complex. In Auto Input mode, when a track is record enabled Pro Tools sends the audio that it receives from the input path on to the output path during recording and when the transport is stopped. When Pro Tools is playing back the existing audio material on a track is sent to the output path (if there is any audio). If no audio has been recorded on the track then nothing is sent to the output (so no sound will be heard from that track, not even the incoming signal).
A practical example of when to use each of the monitoring modes follows:
** Input Only: You are about to record a background vocal part into Pro Tools. You set up the mic and the audio track. However, you are not sure what harmonies you want to sing and need to sing along with the existing vocal a few times to work out the harmony. In this mode, the track can be record enabled and you will hear your voice even when you are just playing back (not recording the vocal).
** Auto Input: You worked out the harmony part and recorded it for the chorus (from the example above). However, on the second line of the Chorus you were a bit flat. Set Pro Tools to Auto Input monitoring, create a selection of the line that needs to be replaced, set the pre-roll to 4-bars (for example), and hit record. During playback (the 4-bars of pre-roll) you will hear the playback of your harmony, when Pro Tools gets to the line you need to replace it will start recording and you will hear yourself singing (hopefully on pitch this time) during recording. When Pro Tools reaches the end of the selection it will exit record mode and resume playback of the existing audio (at least during the post-roll time, if the post-roll has been set) otherwise PT will just stop (if not set to Loop Record mode, but that’s a topic for another post ☺ ).
Let’s start with the easy one first, Input Only monitoring. When Pro Tools is set to Input Only monitoring and a track is record enabled, Pro Tools sends the audio that it receives from the input path on to the output path at all times, regardless of whether Pro Tools is Stopped, Playing, or Recording.
Auto Input monitoring is a bit more complex. In Auto Input mode, when a track is record enabled Pro Tools sends the audio that it receives from the input path on to the output path during recording and when the transport is stopped. When Pro Tools is playing back the existing audio material on a track is sent to the output path (if there is any audio). If no audio has been recorded on the track then nothing is sent to the output (so no sound will be heard from that track, not even the incoming signal).
A practical example of when to use each of the monitoring modes follows:
** Input Only: You are about to record a background vocal part into Pro Tools. You set up the mic and the audio track. However, you are not sure what harmonies you want to sing and need to sing along with the existing vocal a few times to work out the harmony. In this mode, the track can be record enabled and you will hear your voice even when you are just playing back (not recording the vocal).
** Auto Input: You worked out the harmony part and recorded it for the chorus (from the example above). However, on the second line of the Chorus you were a bit flat. Set Pro Tools to Auto Input monitoring, create a selection of the line that needs to be replaced, set the pre-roll to 4-bars (for example), and hit record. During playback (the 4-bars of pre-roll) you will hear the playback of your harmony, when Pro Tools gets to the line you need to replace it will start recording and you will hear yourself singing (hopefully on pitch this time) during recording. When Pro Tools reaches the end of the selection it will exit record mode and resume playback of the existing audio (at least during the post-roll time, if the post-roll has been set) otherwise PT will just stop (if not set to Loop Record mode, but that’s a topic for another post ☺ ).
Basic setup to record Reason audio into Pro Tools
Starting from the setup in the previous post:
1. In Pro Tools, create a stereo audio track, and set the input path to a stereo bus (bus 1-2, for example), and Record enable the track. You should also always name a track before recording onto it. This is not “have-to” but rather a “should-do”. ☺
2. On the instrument track set the audio output path to the same bus (bus 1-2).
3. Solo Safe the Instrument track, by holding Command (Control on PC) and clicking on the Solo button on the Instrument track.
4. Solo the MIDI track that you want to record as audio into Pro Tools.
5. Record
6. You can repeat steps 4 & 5 for other MIDI track (for example MIDI tracks that are being sent to other devices in Reason)
1. In Pro Tools, create a stereo audio track, and set the input path to a stereo bus (bus 1-2, for example), and Record enable the track. You should also always name a track before recording onto it. This is not “have-to” but rather a “should-do”. ☺
2. On the instrument track set the audio output path to the same bus (bus 1-2).
3. Solo Safe the Instrument track, by holding Command (Control on PC) and clicking on the Solo button on the Instrument track.
4. Solo the MIDI track that you want to record as audio into Pro Tools.
5. Record
6. You can repeat steps 4 & 5 for other MIDI track (for example MIDI tracks that are being sent to other devices in Reason)
Wednesday, February 4, 2009
Reason basic ReWire setup
The following are the steps needed to setup Pro Tools to use Reason. This creates the ReWire connection between the two programs. This will allow you to record and edit MIDI in Pro Tools, send that MIDI info to Reason to trigger a Reason instrument (such as Redrum, Thor, etc.), and bring the audio back from Reason into your Pro Tools session.
* Start Pro Tools, create a new session, and ensure that Reason is NOT currently running
* In Pro Tools Create a stereo Aux Input track, instantiate the Reason plug-in in the insert section, set the audio path on the Reason plug-in to Mix L/R, and set the output path of this instrument track to your main output path.
Reason should now be booting. Reason will become a ReWire slave to Pro Tools, which will be the ReWire master in this setup. BTW, Pro Tools will only operate as a ReWire master, never a slave.
* In Reason, create one or more devices that you want to trigger, like Thor, and load a patch. You can always come back to Reason later and add devices and change patches. You should create a mixer in Reason first so that all additional devices you added will be automatically connected to the mixer.
Reason and Pro Tools are communicating in the background, and Reason has already published the new device you created (basically Reason told Pro Tools the device is loaded and ready to use, it also told PT how it can communicate with the device)
* In Pro Tools, create a MIDI track, set the midi input to "All" (which is generally fine unless you have a bunch of options you could use to input midi), and set the midi output to which ever Reason device you want to play. When you click on the output tab you should see all the available devices in Reason. You can repeat this process to add additional MIDI tracks that can be used to record and send MIDI to other devices loaded in Reason.
* In Pro Tools, record enable the MIDI track and play your MIDI controller. Check to make sure you are getting audio from the Aux In track.
* Now go record/edit/play some midi.
In my next post I'll discuss how you can record the Reason audio into Pro Tools, and after that I will discuss how to bring in multiple streams of audio into Pro Tools simultaneously. Have fun!
* Start Pro Tools, create a new session, and ensure that Reason is NOT currently running
* In Pro Tools Create a stereo Aux Input track, instantiate the Reason plug-in in the insert section, set the audio path on the Reason plug-in to Mix L/R, and set the output path of this instrument track to your main output path.
Reason should now be booting. Reason will become a ReWire slave to Pro Tools, which will be the ReWire master in this setup. BTW, Pro Tools will only operate as a ReWire master, never a slave.
* In Reason, create one or more devices that you want to trigger, like Thor, and load a patch. You can always come back to Reason later and add devices and change patches. You should create a mixer in Reason first so that all additional devices you added will be automatically connected to the mixer.
Reason and Pro Tools are communicating in the background, and Reason has already published the new device you created (basically Reason told Pro Tools the device is loaded and ready to use, it also told PT how it can communicate with the device)
* In Pro Tools, create a MIDI track, set the midi input to "All" (which is generally fine unless you have a bunch of options you could use to input midi), and set the midi output to which ever Reason device you want to play. When you click on the output tab you should see all the available devices in Reason. You can repeat this process to add additional MIDI tracks that can be used to record and send MIDI to other devices loaded in Reason.
* In Pro Tools, record enable the MIDI track and play your MIDI controller. Check to make sure you are getting audio from the Aux In track.
* Now go record/edit/play some midi.
In my next post I'll discuss how you can record the Reason audio into Pro Tools, and after that I will discuss how to bring in multiple streams of audio into Pro Tools simultaneously. Have fun!
PT User Mission
I intend to post answers to common questions and problems that new Pro Tools users ask and experience.
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