This chapter provides an overview of the basic functions and user interface of Pro Tools. It discusses starting up Pro Tools and configuring I/O and playback engines. It describes the main windows including Transport, Mix, and Edit. It covers the various tools and functions in the Edit window for selecting, moving, and editing audio and MIDI regions. It also explains how to navigate sessions, mute and solo tracks, and organize the display of tracks in the Edit and Mix windows. The chapter serves as an introduction to the core operations and layout of the Pro Tools interface.
Remix Culture: Digital Music and Video Remix Opportunities for Creative Produ...Erin Brockette Reilly
Reilly, E. (2010) “Remix Culture: Digital Music and Video Remix Opportunities for Creative Production” Editor: Jessica Parker, Teaching Tech-Savvy Kids: Bringing Digital Media into the Classroom, Grades 5-12. Corwin Press.
This is my try for week 6 assignment of courser course called 'Introduction to Music Production'.
The assignment is about comparing graphical interfaces of 4 different synthesizers.
Remix Culture: Digital Music and Video Remix Opportunities for Creative Produ...Erin Brockette Reilly
Reilly, E. (2010) “Remix Culture: Digital Music and Video Remix Opportunities for Creative Production” Editor: Jessica Parker, Teaching Tech-Savvy Kids: Bringing Digital Media into the Classroom, Grades 5-12. Corwin Press.
This is my try for week 6 assignment of courser course called 'Introduction to Music Production'.
The assignment is about comparing graphical interfaces of 4 different synthesizers.
Attending a job Interview for B1 and B2 Englsih learnersErika906060
It is a sample of an interview for a business english class for pre-intermediate and intermediate english students with emphasis on the speking ability.
Digital Transformation and IT Strategy Toolkit and TemplatesAurelien Domont, MBA
This Digital Transformation and IT Strategy Toolkit was created by ex-McKinsey, Deloitte and BCG Management Consultants, after more than 5,000 hours of work. It is considered the world's best & most comprehensive Digital Transformation and IT Strategy Toolkit. It includes all the Frameworks, Best Practices & Templates required to successfully undertake the Digital Transformation of your organization and define a robust IT Strategy.
Editable Toolkit to help you reuse our content: 700 Powerpoint slides | 35 Excel sheets | 84 minutes of Video training
This PowerPoint presentation is only a small preview of our Toolkits. For more details, visit www.domontconsulting.com
Cracking the Workplace Discipline Code Main.pptxWorkforce Group
Cultivating and maintaining discipline within teams is a critical differentiator for successful organisations.
Forward-thinking leaders and business managers understand the impact that discipline has on organisational success. A disciplined workforce operates with clarity, focus, and a shared understanding of expectations, ultimately driving better results, optimising productivity, and facilitating seamless collaboration.
Although discipline is not a one-size-fits-all approach, it can help create a work environment that encourages personal growth and accountability rather than solely relying on punitive measures.
In this deck, you will learn the significance of workplace discipline for organisational success. You’ll also learn
• Four (4) workplace discipline methods you should consider
• The best and most practical approach to implementing workplace discipline.
• Three (3) key tips to maintain a disciplined workplace.
RMD24 | Retail media: hoe zet je dit in als je geen AH of Unilever bent? Heid...BBPMedia1
Grote partijen zijn al een tijdje onderweg met retail media. Ondertussen worden in dit domein ook de kansen zichtbaar voor andere spelers in de markt. Maar met die kansen ontstaan ook vragen: Zelf retail media worden of erop adverteren? In welke fase van de funnel past het en hoe integreer je het in een mediaplan? Wat is nu precies het verschil met marketplaces en Programmatic ads? In dit half uur beslechten we de dilemma's en krijg je antwoorden op wanneer het voor jou tijd is om de volgende stap te zetten.
"𝑩𝑬𝑮𝑼𝑵 𝑾𝑰𝑻𝑯 𝑻𝑱 𝑰𝑺 𝑯𝑨𝑳𝑭 𝑫𝑶𝑵𝑬"
𝐓𝐉 𝐂𝐨𝐦𝐬 (𝐓𝐉 𝐂𝐨𝐦𝐦𝐮𝐧𝐢𝐜𝐚𝐭𝐢𝐨𝐧𝐬) is a professional event agency that includes experts in the event-organizing market in Vietnam, Korea, and ASEAN countries. We provide unlimited types of events from Music concerts, Fan meetings, and Culture festivals to Corporate events, Internal company events, Golf tournaments, MICE events, and Exhibitions.
𝐓𝐉 𝐂𝐨𝐦𝐬 provides unlimited package services including such as Event organizing, Event planning, Event production, Manpower, PR marketing, Design 2D/3D, VIP protocols, Interpreter agency, etc.
Sports events - Golf competitions/billiards competitions/company sports events: dynamic and challenging
⭐ 𝐅𝐞𝐚𝐭𝐮𝐫𝐞𝐝 𝐩𝐫𝐨𝐣𝐞𝐜𝐭𝐬:
➢ 2024 BAEKHYUN [Lonsdaleite] IN HO CHI MINH
➢ SUPER JUNIOR-L.S.S. THE SHOW : Th3ee Guys in HO CHI MINH
➢FreenBecky 1st Fan Meeting in Vietnam
➢CHILDREN ART EXHIBITION 2024: BEYOND BARRIERS
➢ WOW K-Music Festival 2023
➢ Winner [CROSS] Tour in HCM
➢ Super Show 9 in HCM with Super Junior
➢ HCMC - Gyeongsangbuk-do Culture and Tourism Festival
➢ Korean Vietnam Partnership - Fair with LG
➢ Korean President visits Samsung Electronics R&D Center
➢ Vietnam Food Expo with Lotte Wellfood
"𝐄𝐯𝐞𝐫𝐲 𝐞𝐯𝐞𝐧𝐭 𝐢𝐬 𝐚 𝐬𝐭𝐨𝐫𝐲, 𝐚 𝐬𝐩𝐞𝐜𝐢𝐚𝐥 𝐣𝐨𝐮𝐫𝐧𝐞𝐲. 𝐖𝐞 𝐚𝐥𝐰𝐚𝐲𝐬 𝐛𝐞𝐥𝐢𝐞𝐯𝐞 𝐭𝐡𝐚𝐭 𝐬𝐡𝐨𝐫𝐭𝐥𝐲 𝐲𝐨𝐮 𝐰𝐢𝐥𝐥 𝐛𝐞 𝐚 𝐩𝐚𝐫𝐭 𝐨𝐟 𝐨𝐮𝐫 𝐬𝐭𝐨𝐫𝐢𝐞𝐬."
Discover the innovative and creative projects that highlight my journey throu...dylandmeas
Discover the innovative and creative projects that highlight my journey through Full Sail University. Below, you’ll find a collection of my work showcasing my skills and expertise in digital marketing, event planning, and media production.
Business Valuation Principles for EntrepreneursBen Wann
This insightful presentation is designed to equip entrepreneurs with the essential knowledge and tools needed to accurately value their businesses. Understanding business valuation is crucial for making informed decisions, whether you're seeking investment, planning to sell, or simply want to gauge your company's worth.
[Note: This is a partial preview. To download this presentation, visit:
https://www.oeconsulting.com.sg/training-presentations]
Sustainability has become an increasingly critical topic as the world recognizes the need to protect our planet and its resources for future generations. Sustainability means meeting our current needs without compromising the ability of future generations to meet theirs. It involves long-term planning and consideration of the consequences of our actions. The goal is to create strategies that ensure the long-term viability of People, Planet, and Profit.
Leading companies such as Nike, Toyota, and Siemens are prioritizing sustainable innovation in their business models, setting an example for others to follow. In this Sustainability training presentation, you will learn key concepts, principles, and practices of sustainability applicable across industries. This training aims to create awareness and educate employees, senior executives, consultants, and other key stakeholders, including investors, policymakers, and supply chain partners, on the importance and implementation of sustainability.
LEARNING OBJECTIVES
1. Develop a comprehensive understanding of the fundamental principles and concepts that form the foundation of sustainability within corporate environments.
2. Explore the sustainability implementation model, focusing on effective measures and reporting strategies to track and communicate sustainability efforts.
3. Identify and define best practices and critical success factors essential for achieving sustainability goals within organizations.
CONTENTS
1. Introduction and Key Concepts of Sustainability
2. Principles and Practices of Sustainability
3. Measures and Reporting in Sustainability
4. Sustainability Implementation & Best Practices
To download the complete presentation, visit: https://www.oeconsulting.com.sg/training-presentations
Enterprise Excellence is Inclusive Excellence.pdfKaiNexus
Enterprise excellence and inclusive excellence are closely linked, and real-world challenges have shown that both are essential to the success of any organization. To achieve enterprise excellence, organizations must focus on improving their operations and processes while creating an inclusive environment that engages everyone. In this interactive session, the facilitator will highlight commonly established business practices and how they limit our ability to engage everyone every day. More importantly, though, participants will likely gain increased awareness of what we can do differently to maximize enterprise excellence through deliberate inclusion.
What is Enterprise Excellence?
Enterprise Excellence is a holistic approach that's aimed at achieving world-class performance across all aspects of the organization.
What might I learn?
A way to engage all in creating Inclusive Excellence. Lessons from the US military and their parallels to the story of Harry Potter. How belt systems and CI teams can destroy inclusive practices. How leadership language invites people to the party. There are three things leaders can do to engage everyone every day: maximizing psychological safety to create environments where folks learn, contribute, and challenge the status quo.
Who might benefit? Anyone and everyone leading folks from the shop floor to top floor.
Dr. William Harvey is a seasoned Operations Leader with extensive experience in chemical processing, manufacturing, and operations management. At Michelman, he currently oversees multiple sites, leading teams in strategic planning and coaching/practicing continuous improvement. William is set to start his eighth year of teaching at the University of Cincinnati where he teaches marketing, finance, and management. William holds various certifications in change management, quality, leadership, operational excellence, team building, and DiSC, among others.
Affordable Stationery Printing Services in Jaipur | Navpack n PrintNavpack & Print
Looking for professional printing services in Jaipur? Navpack n Print offers high-quality and affordable stationery printing for all your business needs. Stand out with custom stationery designs and fast turnaround times. Contact us today for a quote!
RMD24 | Debunking the non-endemic revenue myth Marvin Vacquier Droop | First ...BBPMedia1
Marvin neemt je in deze presentatie mee in de voordelen van non-endemic advertising op retail media netwerken. Hij brengt ook de uitdagingen in beeld die de markt op dit moment heeft op het gebied van retail media voor niet-leveranciers.
Retail media wordt gezien als het nieuwe advertising-medium en ook mediabureaus richten massaal retail media-afdelingen op. Merken die niet in de betreffende winkel liggen staan ook nog niet in de rij om op de retail media netwerken te adverteren. Marvin belicht de uitdagingen die er zijn om echt aansluiting te vinden op die markt van non-endemic advertising.
Personal Brand Statement:
As an Army veteran dedicated to lifelong learning, I bring a disciplined, strategic mindset to my pursuits. I am constantly expanding my knowledge to innovate and lead effectively. My journey is driven by a commitment to excellence, and to make a meaningful impact in the world.
4. Pro Tools 8
Music Production,
Recording, Editing,
and Mixing
Mike Collins
AMSTERDAM OSTON EIDELBERG ONDON EW YORK XFORD PARIS
SAN DIEGO AN FRANCISCO INGAPORE YDNEY OKYO
Focal Press is an imprint of Elsevier
5. Focal Press is an imprint of Elsevier
permissions@
m
m
Library of Congress Cataloging-in-Publication Data
British Library Cataloguing-in-Publication Data
m
Typeset by
6. Contents
About the Author xviii
Acknowledgments xix
Chapter 1 Pro Tools – The world’s leading digital
audio workstation 3
3
4
Chapter 2 Using Pro Tools 7
The Playback Engine
0
4
0
3
v
15. Contents
Preferences for Dynamic Transport
Choosing the takes
Chapter 7 Mixing 285
Check your monitoring
xiv
16. Contents
Choose your monitoring levels
Metering in Pro Tools
Phase Scope metering
Fat meters 300
303
Phase measurements
Phase Meter
Leq(A) Meter
Level Meters
Monitor controllers
xv
17. Contents
Musically
Technically
Delay effects
StroboSoft tuner
330
Speaker Soak using the TD-1 330
Reamping using the TD-1
333
Sorting the Tempos 334
Marking the sections 334
Grouping tracks 334
334
334
xvi
18. Contents
344
344
344
A Plea for Sanity
Appendix Summing to talk about! 349
Index 353
xvii
19. About the Author
Future Music, Macworld, MacUser, Personal Computer
World, Sound On Sound, AudioMedia, Studio Sound, Electronic Musician, EQ
M, magazine for MCPS-PRS
Pro Tools 5.1
for Music Production
A Professional Guide to Audio Plug-ins and Virtual Instruments
Choosing & Using Audio & Music Software,
Pro Tools for Music Production
Second Edition Pro Tools LE & M-Powered,
Contact details
, or
by phone at
m
c
xviii
26. 2
Using Pro Tools
2.1 Introduction
Getting started
Help
7
27. Pro Tools 8: Music Production, Recording, Editing, and Mixing
2.2 Starting the Engines
The Playback Engine
No t e
8
28. U s i n g P r o To o l s
Figure 2.1 Playback
The number of voices that you choose here controls the number of tracks that
Figure 2.2 Playback
9
29. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Automatic Delay Compensation
Phase problems have been an issue for Pro Tools users in the past – especially
10
30. U s i n g P r o To o l s
Figure 2.3 Enabling
Automatic Delay
Compensation in the
Manual Delay Compensation
No t e
Hardware Setup
11
31. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 2.4
I/O Setup
12
32. U s i n g P r o To o l s
No t e
Tip
Figure 2.5
change the routing from
13
33. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
so that you can listen for a noisy microphone coming through a chan
Auditioning audio from other applications
Figure 2.6 Choosing the
14
34. U s i n g P r o To o l s
Figure 2.7
Figure 2.8
Preferences to use the
No t e
15
35. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 2.9 Changing the
Figure 2.10
Tip
16
36. U s i n g P r o To o l s
2.3 The user interface
The QuickStart dialog
Tip
Tip
17
37. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Opening sessions with plug-ins deactivated
Tip
Setting the Color Palette
Managing your Window Configurations
18
38. U s i n g P r o To o l s
Figure 2.11 The
Figure 2.12
19
39. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
Figure 2.13
Configuration option in
the Configurations
Figure 2.14
20
40. U s i n g P r o To o l s
Figure 2.15 Creating
Tip
21
41. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 2.16
22
42. U s i n g P r o To o l s
Tip
Figure 2.17
The Universe View
Figure 2.18 The
23
43. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Note
2.4 The main windows
Figure 2.19
24
44. U s i n g P r o To o l s
Organizing the Transport window
25
45. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 2.20 Transport
Tip
Transport Preferences
No t e
26
46. U s i n g P r o To o l s
Figure 2.21 Transport
No t e
available to use for other purposes, because the number of available
27
47. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
No t e
Scrub/Shuttle and the Numeric Keypad modes
28
48. U s i n g P r o To o l s
Figure 2.22 Scrubbing
Figure 2.23 Scrubbing
Figure 2.24 Scrubbing
29
49. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
Figure 2.25
30
51. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
Organizing the Mix window
32
52. U s i n g P r o To o l s
Figure 2.26
pointing to the Group
33
53. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 2.27
34
54. U s i n g P r o To o l s
Figure 2.28 Making
multiple assignments for
Note
Figure 2.29 Multiple
35
55. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Organizing the Edit window
The Toolbar
Figure 2.30 Toolbar
36
56. U s i n g P r o To o l s
2.5 The Edit modes
Figure 2.31
Tip
37
57. Pro Tools 8: Music Production, Recording, Editing, and Mixing
The Toolbar Zoom buttons and Presets
Figure 2.32 Zoom
The Edit window zoom buttons
Vertical zoom in and out button
Figure 2.33
Horizontal zoom in and out button
38
58. U s i n g P r o To o l s
Audio zoom in and out button
Figure 2.34
MIDI Zoom in and out button
The Tool buttons
Zoomer Tool
Trimmer Tool
Selector Tool
To the right of the Trimmer Tool is the Selector Tool that lets you use the cur
39
59. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
Whenever you are not specifically using one of the other tools, the Selector
Grabber Tool
Figure 2.35
to select noncontiguous
Smart Tool
40
60. U s i n g P r o To o l s
Scrub Tool
Figure 2.36 The Smart
Pencil Tool
The Mode buttons
Zoom Toggle
Figure 2.37 Zoom
41
61. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
Tab to Transients
The Tab to Transients button lets you automatically locate the cursor to the
Figure 2.38 Tab to
Figure 2.39
unlinked, you can
tions linked
Figure 2.40
42
62. U s i n g P r o To o l s
Figure 2.41
Figure 2.42
Tip
Location indicators
43
63. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 2.43
Edit Window MIDI editing controls
Figure 2.44
a MIDI not n ditin
Figure 2.45 u tom not du ation
D au t not on o it
44
64. U s i n g P r o To o l s
Figure 2.46 Custom
Cursor values display
Figure 2.47 Cursor
Edit Window indicators
45
65. Pro Tools 8: Music Production, Recording, Editing, and Mixing
im in data on in tatu
ion data on in tatu
Figure 2.48
Automati d a om n ation
Grid and Nudge
Figure 2.49
46
66. U s i n g P r o To o l s
Tip
points, select these using the Time Grabber or Selector tool then press the
No t e
2.6 The rulers
Figure 2.50 A selection
47
67. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 2.51
The Meter ruler lets you insert time signature markings at appropriate locations
Figure 2.52
The Markers ruler lets you insert markers at appropriate locations along the
Figure 2.53
48
68. U s i n g P r o To o l s
Tip
2.7 Edit window pop-up selectors
Figure 2.54
49
69. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 2.55
2.8 Track heights
Figure 2.56 Track
Figure 2.57 Click on the
vertical rule to the left of
reveal the Track height
50
70. U s i n g P r o To o l s
Figure 2.58
Continuously Variable track heights
When you point your mouse at the bottom line of any Track Controls column
Figure 2.59 Mouse
51
71. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
2.9 Zooming around
52
75. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
Figure 2.61
Toggle Preferences for
Tip
Figure 2.62
Toggle Preferences for
56
76. U s i n g P r o To o l s
No t e
2.10 Scrolling windows
Figure 2.63 Continuous
57
77. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Scrolling behavior
2.11 Playback Cursor Locator
No t e
right
cursor moves to any position after
left
before
58
78. U s i n g P r o To o l s
Figure 2.64 The
can be seen at the
top right in the Main
No t e
2.12 Keyboard Focus
Tip
59
79. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Commands Keyboard Focus
Figure 2.65
right of the tracks pane in
Tip
Region List Keyboard Focus
Figure 2.66 Enabling
60
80. U s i n g P r o To o l s
Group List Keyboard Focus
Figure 2.67 Enabling
2.13 Channels and tracks
2.14 Voices and Voiceable tracks
61
81. Pro Tools 8: Music Production, Recording, Editing, and Mixing
62
82. U s i n g P r o To o l s
Figure 2.68
Tip
Figure 2.69 Clicking
on the track type icon to
63
83. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
2.15 Muting tracks
No t e
2.16 Soloing tracks
64
84. U s i n g P r o To o l s
Tip
Figure 2.70
button on the Double
the piano tracks have
Figure 2.71 Choosing
65
85. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
Figure 2.72
Tip
Figure 2.73 Setting the
66
86. U s i n g P r o To o l s
No t e
Figure 2.74 When tracks
2.17 Finding tracks in the Edit
and Mix windows
67
87. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 2.75
2.18 Navigating to tracks
by number
Figure 2.76 Scroll to
68
88. U s i n g P r o To o l s
No t e
2.19 Fit all shown tracks in
the Edit window
Figure 2.77 Fitting as
many tracks as possible in
Note
69
89. Pro Tools 8: Music Production, Recording, Editing, and Mixing
2.20 “Do to All” and “Do to
All Selected”
2.21 Summary
70
92. 3
Time Operations, Tempo
Operations, and Key
Signatures
3.1 Introduction
73
93. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
tures of the system so that this all becomes very familiar to you as soon
3.2 Timebase and Conductor
rulers
74
94. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Tip
Edit selections for track
Timeline selections
Figure 3.1 Tempo
Figure 3.2
75
95. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 3.3
but their most basic function, that of marking out the sections of your music,
Choosing the Marker Reference
Figure 3.4 Choosing the
will not
ple location will
will
will not
Figure 3.5
76
96. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Setting the Time Scales
No t e
3.3 Meter, Tempo, and Click
Creating a click track
77
97. Pro Tools 8: Music Production, Recording, Editing, and Mixing
When you choose
Figure 3.6 The Click
Tip
No t e
78
98. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Figure 3.7
Time Signatures and Clicks
79
99. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 3.8
open the Change Meter
Figure 3.9 Changing
Figure 3.10 Choosing
80
100. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Figure 3.11 Meter
Tempo
Setting tempo manually
Figure 3.12 Setting the
Tapping the tempo
–
81
101. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
Figure 3.13 Clicking on
the Song Start Marker in
Figure 3.14 Tempo
82
102. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Figure 3.15
Tempo Change to the
Tip
To save typing the location if you are close to this, you can tick the Snap
Figure 3.16 Tempo
83
103. Pro Tools 8: Music Production, Recording, Editing, and Mixing
84
104. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Figure 3.17 Applying a
constant tempo change
Figure 3.18
tempos over a range
85
105. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
Figure 3.19 The Graphic
Figure 3.20
the Trimmer Tool in the
86
106. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Figure 3.21 Tempo
the Tempo Density
No t e
Figure 3.22 Tempo
87
107. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 3.23
Changing the Track Timebase
Figure 3.24 Timebase
88
108. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Figure 3.25
Figure 3.26 Track
Figure 3.27 Track
No t e
Sample-based audio and MIDI
89
109. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
Tick-based audio and MIDI
will change relative
No t e
90
110. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Note
Time Scales and tick resolution
No t e
The Linearity Display Mode
91
111. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 3.28
notice that, as the tempo increases, the length of the bars along the timeline
Figure 3.29 Each beat at
Figure 3.30 Each beat at
along the timeline – 4
complete bars playing
92
112. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Figure 3.31
Figure 3.32
Tip
No t e
t
93
113. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tempo Events and Bar|Beat Markers
No t e
Figure 3.33 Clicking
convert Tempo events to
Figure 3.34
menu to change Tempo
No t e
94
114. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Building a tempo map by inserting Bar|Beat Markers
Figure 3.35
95
115. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 3.36
Tempo ruler to make
this beat in Pro Tools
Tip
No t e
Re-positioning Bar|Beat Markers
with
96
116. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Figure 3.37
3.4 Time Operations
Setting the Meter
sign in the
97
117. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 3.38 Meter
Figure 3.39 Time
Figure 3.40 Tempo,
98
118. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Insert or Cut Time
Figure 3.41
99
119. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 3.42 Cut Time
Move Song Start
Figure 3.43 Move Song
100
120. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
3.5 Key Signatures
The Key Signature ruler
Figure 3.44
101
121. Pro Tools 8: Music Production, Recording, Editing, and Mixing
The Key Change dialog
or minor, select from any of the flat keys or sharp keys, specify a range of
Figure 3.45
102
122. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
103
123. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Diatonic versus chromatic
Pitched tracks
Figure 3.46
the Playlist selector to
104
124. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Diatonic transposition
Figure 3.47 Event
Figure 3.48
105
125. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 3.49
Figure 3.50 Transposing
Figure 3.51
to choose Transpose
Figure 3.52
106
126. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
Elastic Audio region-based pitch transposition
Tip
Figure 3.53 Enabling
Figure 3.54 Elastic
107
127. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 3.55 Event
No t e
Removing region pitch shifting
Note
108
128. Ti m e O p e r a t i o n s , Te m p o O p e r a t i o n s , a n d K e y S i g n a t u r e s
3.6 Summary
109
130. 4
Working with MIDI
4.1 Introduction
4.2 Controlling a MIDI rack
from Pro Tools
111
131. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Computer MIDI setup
Tip
Figure 4.1
112
132. Working with MIDI
Pro Tools MIDI setup
to make any changes at any point in the future, you still have the original
No t e
Figure 4.2 Pro Tools
the outputs of each
113
133. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
Tip
MIDI Thru preferences
114
135. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.4
No t e
Saving templates
Import session
some tracks set up in other sessions, or in a Template session, you can use the
116
151. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.19
Figure 4.20
accessible from the
4.6 Recording audio from a
virtual instrument
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153. Pro Tools 8: Music Production, Recording, Editing, and Mixing
4.7 Editing MIDI
Bars, Beats, and Clock “Ticks”
display
Figure 4.22
alphanumerically in the
134
154. Working with MIDI
Shortcuts to adjust Grid and Nudge values
Tip
How to Remove Duplicate Notes
How to deal with stuck notes
135
155. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Mirrored MIDI Editing
Tip
Selecting and playing notes with the mini-keyboard
136
156. Working with MIDI
Tip
Do to All
to set all selected
Special Cut, Copy, Paste, and Clear Commands
137
157. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Graphic Editing in the Edit Window
Figure 4.23 The
the right of the Counters,
of the start point of the
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161. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.31 A lane
No t e
Note and controller chasing
Figure 4.32 Enabling
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162. Working with MIDI
No t e
Event List Editing
Figure 4.33 Data in the
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163. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.34
Figure 4.35
Tip
No t e
144
164. Working with MIDI
Quantize to Grid command
Figure 4.36 Part of the
No t e
4.8 MIDI and Instrument controls
and track heights
145
165. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
Figure 4.37
the available options
Figure 4.38
146
166. Working with MIDI
Figure 4.39 Track
Figure 4.40 Track
Figure 4.41 Small Track
buttons to the right of
the Mute button for the
4.9 MIDI Real-Time Properties
147
167. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.42
Figure 4.43
148
168. Working with MIDI
No t e
4.10 Exporting MIDI tracks
Figure 4.44
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169. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.45
4.11 The MIDI Editors
Figure 4.46 Part of the
150
170. Working with MIDI
Tracks and groups in the MIDI Editors
Figure 4.47
Figure 4.48
How the MIDI Editors work
151
171. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Using the MIDI Editor to insert notes
Figure 4.49
152
172. Working with MIDI
all tracks in the
Figure 4.50
Automation lanes in MIDI Editor Windows
Figure 4.51
153
173. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.52
Figure 4.53
Figure 4.54
154
174. Working with MIDI
Figure 4.55
Figure 4.56
The MIDI Editor Toolbar
Figure 4.57
engage one or other of
155
175. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.58 Mute status
revealing that not all the
Figure 4.59 Solo status
revealing that not all
Note
156
179. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.69
Figure 4.70 The
Figure 4.71 The
compact version of the
that lets you choose
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183. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Using the Score Editor
Figure 4.77 Entering a
164
184. Working with MIDI
Figure 4.78 Part of
Figure 4.79 Score
Figure 4.80 Piano
When you play back the music, a separate playback cursor appears in the
165
185. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.81 Playback
Cursor visible near the
No t e
Figure 4.82
Figure 4.83 The Score
166
191. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.97
Pencil tool to move a
Transposing instruments
play any member of a particular instrument family using the same fingerings,
172
192. Working with MIDI
How the Score Editor handles transposing instruments
Figure 4.98
173
193. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
Preparing the Score for a Musician to read
Individual attributes
174
194. Working with MIDI
Figure 4.99
Display Attributes set to
Global attributes
Figure 4.100
The attributes
Figure 4.101 Display
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195. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 4.102
Figure 4.103
Printing the Score
176
209. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
To enable Delay Compensation, you can either select Delay Compensation
Figure 5.9 Part of the
Compensation Engine
No t e
190
210. Recording
Figure 5.10 The total
System Delay in samples
Figure 5.11 Delay
Compensation Time
Figure 5.12 The
191
211. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 5.13
Figure 5.14 Delay
the Piano track has the
Compensation Engine
to compensate for this
Figure 5.15 Delay
Compensation has been
192
213. Pro Tools 8: Music Production, Recording, Editing, and Mixing
before
after
not
Auto Input and Input Only monitoring
coming in
monitoring inputs
toring to instantly to monitoring the track playback so that you
194
215. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
Setting monitor levels for record and playback
de-select
it is not
selected
Recording with or without effects
196
216. Recording
Recording with plug-in effects
Figure 5.17
No t e
5.3 Recording audio
phones into these, set the levels on the microphone preamplifiers, set up
197
217. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Record enabling
Tip
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219. Pro Tools 8: Music Production, Recording, Editing, and Mixing
DestructivePunch is a destructive
Record Safe mode
Half-speed recording and playback
200
225. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 5.24 Drag the
Preroll or Postroll flags
along the Timeline to set
Figure 5.25
5.5 Destructive Record
206
227. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
Tip
Using Loop Recording
208
228. Recording
Tip
Figure 5.26 Setup for
Selecting takes after Loop Recording
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229. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Command-drag (Macintosh) or Control-drag (Windows) another take from
the Region List into the Playlist. This will immediately replace the previous
take, snapping exactly to the correct location because it has the same User
Time Stamp.
To access the Takes List pop-up menu to select a different take, make sure that
the Selector tool is engaged, select the take currently residing in the track,
then Command-click (Mac) or Control-click (Windows) anywhere in the
region. The pop-up menu that appears contains a list of regions that share
the same User Time Stamp. So when you choose a region from the Takes List
pop-up menu, this replaces the previous take and snaps exactly to the correct
location in the same way.
Figure 5.27 The Takes
List pop-up menu.
Tip
If you intend to use the track compositing feature after your Loop Recording
session, you should enable the “Automatically Create New Playlists when
Loop Recording” preference which you will find in the Record section of the
Operation Preferences window. This copies alternate takes created during
Loop Recording to new Playlists in the track.
5.7 Punch Recording
Manual punch-in and punch-out
Pro Tools provides three different manual punch recording modes that all
have their uses when you are tracking and overdubbing music.
QuickPunch is a nondestructive punch-recording mode that lets record-
enabled tracks be punched in and out during playback by clicking the Record
210
230. Recording
No t e
pass
ing regions
Voice requirements for punch recording
211
231. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
Crossfades while punch recording
Figure 5.28
212
233. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Preparing for QuickPunch
from, using a preroll value if you like, then press the Spacebar or click the Play
Figure 5.29 Pro Tools in
TrackPunch
214
235. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 5.30 When
Enable button lights
Figure 5.31 When
216
236. Recording
No t e
Tip
reveal more, or all, of
To punch in on multiple tracks simultaneously, make sure that each track you
217
237. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
DestructivePunch
Preparing for DestructivePunch
Figure 5.32 Setting the
DestructivePunch File
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239. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 5.33
Figure 5.34
DestructivePunch is
220
240. Recording
No t e
When you are all set up to use DestructivePunch, you can either punch in
To punch in on multiple tracks simultaneously, make sure that each track you
No t e
221
241. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 5.35 Track
Compensation is
222
255. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 6.10
Inserting Silence
236
256. Editing
Time Compression and Expansion (TCE) Edit to Timeline
Selection
Figure 6.11
Figure 6.12 Selecting
Tip
237
257. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 6.13
Figure 6.14
selection has been
to fit into the Timeline
Consolidating regions
Tip
238
263. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Absolute and Relative Grid modes
Figure 6.21 Selecting
As you can see from the accompanying screenshot, the bass plays four
region to right or left along the Timeline, the region snaps to start positions
244
264. Editing
Figure 6.22 The bass
original region, thus preserving the original positioning of the notes relative to
Figure 6.23
Figure 6.24
Timeline in Absolute
6.4 Editing in the Edit window
245
265. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
Edit window track views
246
267. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
Tip
Breakpoints
Switching track views
248
268. Editing
Tip
Useful keyboard commands for editing
Figure 6.25 A region
249
269. Pro Tools 8: Music Production, Recording, Editing, and Mixing
To move the insertion point to the beginning of the selection, press the
Figure 6.26 Selection
Timeline selection Marker
Figure 6.27 The
Selection has been
Figure 6.28 The
250
270. Editing
Figure 6.29 The
Figure 6.30 The
Selection has been
To align the start point of a region to timeline position, select the Grabber
No t e
251
271. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
To align the sync point of a region to a timeline position, select the Grabber
No t e
6.5 Working with Regions
252
272. Editing
Capturing Regions
Figure 6.31 A selection
Figure 6.32
Figure 6.33 The
253
273. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Separating Regions
Figure 6.34
Note
Figure 6.35
254
274. Editing
No t e
all regions in the session
Using the Separation Grabber
Figure 6.36 Choosing
the Separation Grabber
255
275. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 6.37
Separation Grabber tool
to separate a selection
Tip
Healing separated regions
No t e
256
276. Editing
Overlapping Regions
Figure 6.38 Three
regions, each brought to
region, so each overlaps
Figure 6.39 Three
regions, each sent to
the back before the
257
277. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 6.40
of three regions has been
sent to the back so that
region after both overlap
Figure 6.41
of three regions has been
brought to the front so
that it overlaps both the
Sync points
258
279. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 6.44 Setting the
Tip
Figure 6.45
Tip
260
280. Editing
6.6 Region Editing commands
Shift Region
Figure 6.46 The Shift
No t e
261
281. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Duplicate Region
Figure 6.47
select a region using
the Selector tool, then
choose Duplicate from
No t e
Figure 6.48
region, click using the
262
282. Editing
Figure 6.49 The
before the region that
Figure 6.50 Select a
region so that it goes
Figure 6.51 Click on the
region using the three
before the previously
Repeat Region
263
283. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 6.52
Locking Regions
Figure 6.53 An
264
285. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Grouping Regions
Groups to gather useful sets of regions together so that you can move them
No t e
To create a region group, select one or more regions on one or more tracks
Figure 6.55
266
287. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 6.61 Preparing to
Figure 6.62 A multitrack
grouping regions across
Figure 6.63 Selecting a
268
289. Pro Tools 8: Music Production, Recording, Editing, and Mixing
No t e
6.7 Dynamic Transport mode
The Dynamic Transport has a separate Play Start Marker that you can move
No t e
270
290. Editing
Using Dynamic Transport mode
Figure 6.66 When
Dynamic Transport
to reveal the Play Start
How the Play Start Marker works
271
291. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 6.67 Play
Figure 6.68 Dragging
the Play Start Marker to
Tip
272
292. Editing
No t e
Keyboard shortcuts for Dynamic Transport mode
Temporarily linking the Timeline and Edit Selections
Recording in Dynamic Transport mode
ently of the Timeline selection, using the Play Start Marker as a manual preroll
273
293. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Setting Selection Start and End in Dynamic
Transport mode
not
Auditioning loops in Dynamic Transport mode
Preferences for Dynamic Transport
Figure 6.69 Selecting
Timeline selection in the
274
297. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 6.75 Copy
Selection To Main Playlist
When you hear a section on a Comp lane that you prefer, you can select this
Figure 6.76 Selection
Playlists Track View
278
298. Editing
Tip
Figure 6.77 The Track
Figure 6.78 The
Figure 6.79
another region to the
Copy Selection commands
to the main playlist to construct the best combination of selections from the
279
299. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 6.80
Figure 6.81
Why you may need to filter the Comp lanes
Compositing tracks using these features can result in you having large num
280
307. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
A note on external mixing/monitoring
sive monitors, but these controls are not normally going to be easy for you to
288
337. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Panning synthesized and sampled sounds
Pan laws
No t e
Using compressors to smooth out level changes
notice that any of your tracks are uneven in level throughout the piece, you
318
338. Mixing
changes, then setting the overall level for the track using a combination of the
Tip
No t e
Using the gain plug-in to smooth out level changes
De-essing
319
339. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Tip
Creating dynamics within the mix
Tip
320
359. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Figure 7.24 A Track
at the top left of each
Figure 7.25
Figure 7.26
Figure 7.27 An
Controller lanes for
on the
340
360. Mixing
button
Figure 7.28
7.5 The final mix
341
361. Pro Tools 8: Music Production, Recording, Editing, and Mixing
Then, you might take a break for half an hour or so before coming back to
Figure 7.29 Pro Tools
the volume automation
342
362. Mixing
Tip
To move all the automation breakpoints in a particular track or section of a
Figure 7.30 Manually
trimming a selection of
343
363. Pro Tools 8: Music Production, Recording, Editing, and Mixing
To Dither or not to Dither – that is the question!
Mix bus compression
The Good, the Bad, and the Ugly
Just A
Little Lovin’ Safe Trip Home
344
364. Mixing
Back to Black
24 Hours
A Plea for Sanity
7.6 Summary
345
365. Pro Tools 8: Music Production, Recording, Editing, and Mixing
346