Mac :: PC
Command (Cm) :: Control; Option (Op) :: Alt; Control (Ct) :: Windows; Shift (Sh) :: Shift
Cm Op Tab -- Turns Tab to Transients on/off
With Tab to Transients off:
Tab -- moves the edit cursor to the next region boundary
Op Tab -- moves the edit cursor to the previous region boundary
Ct Tab -- go to and select the next region
Op Ct Tab -- go to and select the previous region
Ct Sh Tab -- extend selection to include next region
Op Ct Sh Tab -- extend selection to include previous region
Sh Tab -- extend selection to next region boundary
Op Sh Tab -- extend selection to previous region boundary
Wednesday, April 6, 2011
Tuesday, April 5, 2011
Moving Selections: Part 1
Here are some useful shortcuts for moving selections without touching the mouse:
Mac :: PC
Command (Cm) :: Control; Option (Op) :: Alt; Control (Ct) :: Windows; Shift (Sh) :: Shift
Ct P -- moves the selection to the track above (add Shift to extend the selection)
Ct ; -- moves the selection to the track below (add Shift to extend the selection)
Cm Op Ct ' (apostrophe) -- Move the Edit selection forward by the selection amount
Cm Op Ct L -- Move the Edit selection backward by the selection amount
Cm Op Ct Sh ' (apostrophe) -- Double the length of the Edit selection
Cm Op Ct Sh L -- Halve the length of the Edit selection
If you have Commands Keyboard Focus on in the edit window the shortcuts above to move the selection above/below on a track, doesn't require the Control modifier.
Cm Op [1] (a number in brackets means the numbers on the number pad) to turn on Commands Keyboard Focus. This makes the keys on the keyboard perform single action commands. For instance, x will cut (no Command needed), z for undo, etc.
Mac :: PC
Command (Cm) :: Control; Option (Op) :: Alt; Control (Ct) :: Windows; Shift (Sh) :: Shift
Ct P -- moves the selection to the track above (add Shift to extend the selection)
Ct ; -- moves the selection to the track below (add Shift to extend the selection)
Cm Op Ct ' (apostrophe) -- Move the Edit selection forward by the selection amount
Cm Op Ct L -- Move the Edit selection backward by the selection amount
Cm Op Ct Sh ' (apostrophe) -- Double the length of the Edit selection
Cm Op Ct Sh L -- Halve the length of the Edit selection
If you have Commands Keyboard Focus on in the edit window the shortcuts above to move the selection above/below on a track, doesn't require the Control modifier.
Cm Op [1] (a number in brackets means the numbers on the number pad) to turn on Commands Keyboard Focus. This makes the keys on the keyboard perform single action commands. For instance, x will cut (no Command needed), z for undo, etc.
Wednesday, May 19, 2010
PT instructional videos
I am currently working on some Pro Tools instructional videos. I may post a few samples here in the near future.
Saturday, February 28, 2009
Shortcut(s) of the Day-Tracking v1
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).
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).
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.
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