Showing posts with label ProTools. Show all posts
Showing posts with label ProTools. Show all posts

Friday, January 28, 2011

Pro Tools: Pencil Tool Fun! (Automation)




(I forgot to mention that you can access the pencil tool from the smart tool by holding cntrl. If you need to switch pencil functions, just hit F10 until you select what you need and then hit cntrl+7 (qwerty keyboard) or F6+F7 to return to the smart tool.)

For regular tips on songwriting, recording, and music production, including a daily ProTools tip, follow Create Music Productions on Twitter @CreateMusicPro

Monday, January 17, 2011

Automatic Auditioning in ProTools

Give you mouse hand a break and let ProTools automatically audition virtual instrument patches and effects presets for you:


http://www.youtube.com/watch?v=8fph16PLtMQ

For daily tips and links about creating music (recording, music production, songwriting), including a daily ProTools tip, follow Create Music Productions on Twitter @CreateMusicPro

Saturday, October 23, 2010

5 Ways to Copy Regions in ProTools 8

In Pro Tools there are 50 ways to do most everything. In this screencast I show you 5 ways to copy a region (as well as multiple regions) in Pro Tools 8, including all their keyboard shortcuts. Enjoy!


I know, there are 150 other dudes on Youtube that show you the same thing. But @RobinFrederick reminded me once that people need to see the same things from multiple sources because one time it will really click for them. I hope this screencast made it click for you.

Do you have another and/or better way you like to copy regions? Please let us know in the comments.

@TheAudioGeek pointed out a few I left out: 1) Commands Focus keyboard shortcuts for copy/paste: C = copy, V = paste; 2) You can access copy/paste options from the right click menu; and 3) the keyboard shortcut to open the Region Looping dialog is op+cmd+L. Thanks @TheAudioGeek!

Happy ProTooling!


For daily tips on songwriting, recording, and music production, including a ProTools tip, follow Create Music Productions on Twitter: @CreateMusicPro

Monday, October 18, 2010

Hearing Comb Filtering (Screencast)

I was so happy when Joe Gilder from www.homestudiocorner.com mentioned phase issues in his recent post about Using Multiple Microphones. Why? Because I had just made this screencast and wondered if anyone would care about learning to recognize comb filtering. See, recording with two microphones often leads to the signal arriving at each microphone at different times. Two signals arriving milliseconds apart creates comb filtering: an ugly sound that will kill the tone of any instrument. It also happens when internal latency issues in your DAW causes two versions of the same signal to playback at slightly different times.

When I first started recording I read about phase issues and comb filtering but I had no idea what it sounded like. This screencast shows you how to create comb filtering effects so you can instantly recognize that evil sound. I worked in ProTools 8, but you should have all the same tools in your DAW of choice.

http://www.youtube.com/watch?v=2QPAFJyVb7U

I would like to add two things that I forgot to mention in the screencast. Often a signal will arrive at two microphones less than a millisecond apart, which can sound worse than the one, two and three millisecond varieties. To hear the effects of that kind of comb filtering, just enter a number less than 44 into the "Samples" portion of the Shift Region Dialog.

Secondly, how can you check for phase issues when recording with two mics? First solo each microphone and get an idea of the tone of each mic individually. Then play them together and listen for comb filtering. Now that you have an idea of what that sounds like, it shouldn't be hard to recognize.

If you hear comb filtering, all is not lost. You should be able to zoom way into both waveforms and carefully line them up so they're in phase again. It might take a few tries, but you'll get it if you use your ears. If the comb filtering arises because of internal routing delays (often caused by effects, parallel compression type techniques, or complex bussing), you may have to use a time adjust plug-in to compensate for the latency between signals. I'm not going to get into how to do that in this post, but you should be able to find tutorials online.

Happy Recording!

Follow Create Music Productions on Twitter for a daily dose of recording, songwriting, and music production tips, including a daily ProTools tip: @CreateMusicPro

Wednesday, October 13, 2010

When Silence is NOT Golden: Troubleshooting Silence During Recording

It’s happened to all of us: you’re in the middle of a session, everything’s flowing, and you’re in the creative zone. You quickly use your DAW to record a flowing melody, lay down a virtual instrument part, or capture a killer guitar riff. But—suddenly—for no obvious reason, you can’t hear what it is you’re trying to hear. You tickle the keyboard controller and…nothing. You “check—one—two” on the mic and it’s quieter than an anechoic chamber. You try to playback your vocal track through your “hit single” effects chain and the only thing you hear is your computer humming away. At this point, even crickets would be a welcome reprieve from the deafening void. You run through the troubleshooting checklist in your mind and hope it’s something easy. Mute? Solo? Wrong input? Nada. Nothing. Complete silence. So, what do you do when you’re in the middle of an important session and you just can’t make a sound?

There are almost a hundred reasons for silence in a typical DAW setup. Think about everything that could go wrong from sound source to monitor output. From the time it takes to open a session and become immersed in the sonic world of the song, the probability of making little engineering mistakes is high. Something technical is bound to go wrong, especially if creative frenzy has banished left-brain thinking into the naughty corner.

Speaking as someone who is simultaneously a songwriter, engineer, producer, AND performer, sometimes I don’t have the tenacity necessary to successfully unify all four personas with terminator-like precision. Usually the technical hat is the first to blow off into sloppy land. When something goes wrong, I am not in the frame of mind to systematically troubleshoot that kind of issue.

To help me stay in the zone, with minimal tech-think, I’ve compiled a simple checklist of categories of the myriad of things that could be wrong when I can’t hear my track, mic, instrument, virtual instrument, effects, send, or can’t record what it is I’m trying to record:
• Is the volume up?
• Is it routed correctly?
• Misc.
• Is it plugged in?
• Is it powered up?
• Bad equipment?
• If all else fails…

I explain all seven in the following post.

I’m speaking from a DAW perspective and as a ProTools user, but I’ve tried to make my checklist as universal as possible. My advice is geared toward the average home-studio owner. I’m assuming everyone has some combination of computer, interface, pre-amp, external hard drives, controllers (surface, pad, keyboard), guitars + amps, keyboard/synth, mics, DI, headphones, and monitors. I’ve organized the list with the most probable cause at the top and the least likely cause toward the bottom.


Checklist: Why Can’t I Hear What I Need to Hear?

1) Is the Volume Up?
This has to be the number cause of madness because it’s so hard to sort through. Think about how many volume-type controls there are in a typical DAW set up? You have a gain/trim knob on your pre-amp and your interface. Are those sending enough level? On the ProTools M-box, the mix knob controls input level verses mix level. Is that where it needs to be? Then your interface probably has controls for monitoring level and possibly separate controls for headphones. Are they loud enough? Maybe your headphones or monitors have individual volume controls? Is your instrument’s volume control where it needs to be (guitar, synth, keyboard, controller, etc.)? Did you accidentally knock a slider, push the wrong pedal, or rub a volume knob the wrong way? If you’re tracking a guitar playing through a pedal board and then through an amp, all being captured by a mic, think about the various places the volume could be hindered. Has the pad switch on your mic, interface, or DI box cut your volume dramatically? Is the fader on your control surface at unity gain?
Internally you must consider the level of each individual track, including audio volume, MIDI volume, aux tracks, etc. Has a track been muted? Is solo engaged somewhere in your session? Do you have any submix buses to worry about? Are your sends at the level they need to be? Is a send muted? Soled? If you can’t hear an effect on a soloed track, did you forget to solo-safe the aux effect? Are your plug-in effects and/or instruments giving you the output you need? Has something been bypassed? Is your master fader at unity gain? Did you forget about previous automation moves that either mute the track or lower the volume? Did you mute regions or MIDI notes?

2) Is it Routed Correctly?
For the beginner, routing just plain hurts your brain. For the seasoned recordist, it still is a source of frustration at times. Externally, is the right cable going into the intended input? Internally, have I assigned the correct input and output on each track? Did I send the output to a submix or group bus that I forgot about? Are all my sends meeting up with the right aux track on the same bus? Is the headphone mix actually going to the vocalist? If a ProTools user, has the track been record enabled? After tracking, did you remember to take it off record-enable? Did you record-safe the track a while ago and forgot? What about MIDI? Think about how many communication failures can happen when syncing external MIDI devices or internal virtual instruments. Are the MIDI inputs and outputs assigned correctly? Are you communicating with your DAW on the right channel(s)? Is your MIDI track communicating with your virtual instrument through the correct channel(s)?

3) Misc.
Some common issues don’t neatly fall under the volume or routing category but can still trip you up during a session. Did you accidentally press or depress a weird button on your controller or MIDI device? Is a plug-in acting weird? If you can’t open a plug-in, is your iLok plugged in? Do you have input only monitoring engaged? Did you make inactive some of your tracks or plug-ins and forgot about it? If you have too many tracks, sometimes a DAW will freeze them or make them inactive. Did you pile on the tracks and forget about sequencer limits?
Then, you have to worry about computer glitches. Is your audio being routed through your computer correctly? Maybe the volume is down, muted, or the output is routed improperly? Maybe a driver needs to be initiated? Maybe a MIDI device needs to be set up internally before it can be used. If you plugged in your MIDI device after a session was opened, will your software allow this? (ProTools wants you to turn on drives and MIDI devices on before powering up or starting a new session.)

4) Is it Plugged in?
This sounds silly, but believe me, it’s happened to all of us. Is the cable plugged into your instrument or mic fully? Is that plugged into your interface/pre-amp/DI completely? Are your headphones plugged in? Monitors plugged in? Are all usb and/or firewire devices securely attached to both the device and the computer? Have any of the cables gone bad?

5) Is it Powered Up?
Is the power at the wall turned on? Is the power switch on your power conditioner, battery back-up, or surge protector leaning in the right direction? Do you have a device that requires external power or a battery, like a synth, MIDI keyboard, DI box, guitar pedal, etc.? Did you turn that device on? Is your guitar/bass active and require a fresh battery? Are the pedals on your pedal board connected securely to their power source? Maybe a power cable got yanked out somehow? Is the usb hub plugged in? Did you forget to switch on your external drives? Did you forget to engage the phantom power switch after plugging in your condenser mic? Monitors got juice? Finally, have any of the power cables gone bad? Did you blow a fuse? If there’s been an outage, sometimes I’ve had to unplug all powered devices from their power source and then plug them back in.

6) Bad Equipment?
This category comes near the end because it rarely happens. But if it does, it’s usually the last thing you consider. Failing equipment generally gives you some kind of indication that it’s on its way out, but not always.
Are you trying to play through a dead guitar jack? Did a tube give out in your amp? Has your interface finally given out or have a dead jack? Have your MIDI devices stopped communicating? Did your hard drive give up the ghost? Has your computer gone bonkers? Do you have the most current drivers or software update? Did your computer’s latest automatic update interfere with your recording software? Are your plug-ins compatible with your software’s most recent update? Is your sequencer too much for your outdated computer? The list could go on and on…

7) If All Else Fails…
I can’t give a technical explanation for this one, but computer geeks everywhere know the magic power of the restart. I can’t tell you how many times I’ve gone through the above checklist to no avail only to have a restart solve the problem. If a simple restart doesn’t work, then unplug all your powered devices and connections and wait a few minutes. Then plug them back in and Restart your computer and DAW. Why? Just trust me.
- - - - - - - - - - - - - - -

I have by no means created an exhaustive taxonomy of all the issues that could cause silence in your DAW environment in each of the seven categories. The explanations were meant to be suggestive. Hopefully the seven checklist items will save you from those “Oh, duh!” brain-fart moments where the obvious is playing hide and seek. Those moments are especially common in the throes of musical inspiration. If the checklist allows you to troubleshoot without thinking too hard about problem solving, I’ve succeeded with the goal of my post. With your brain successfully spared from functioning you can quickly return to your creative work. [Oooo, diss...insert sarcastic “ha-ha” here.]

Happy Recording!

Follow Create Music Productions on Twitter for daily tips on songwriting, recording, and music production: @CreateMusicPro

Sunday, October 3, 2010

Use Apple Loops in ProTools Sessions!

For those of you who have played around with GarageBand, you know that there are tons of decent loops and cool sound effects built into the program. Well, GarageBand folks aren't the only ones who get to have all the fun. Mac users can use Apple Loops and iLife Sound Effects in their ProTools sessions as well. The loops and sound effects are in .caf format, but if you drag them into the Tracks list from the Workspace, ProTools will convert them automatically.

Here's how it works: From the Workspace (op+;), browse Macintosh HD > Library > Audio > Apple Loops > Apple, and then audition sounds from either the "Apple Loops for GarageBand" folder or the "iLife Sound Effects" folder. Drag the sounds you like from the workspace into the ProTools Tracks list (View > Other Displays > Track List) and wait a few seconds for ProTools to create the appropriate track and convert 'em. Easy as pie!

But here's the catch...after importing a musical loop into your ProTools project you'll notice that it may be in a different key, tempo, time signature, or--if you're lucky--all three at once! If you're building a song around that loop, you'll just have to put your Identify Beat skills to work and make the necessary ruler adjustments for time signature and key signature. If you want a wayward loop to fit within an existing project, however, you'll have to pitch shift, use the TCE trimmer, or just scrap it altogether. If you're just using the sound effects, they don't usually have key/tempo/meter problems.

A small word of warning: Be careful how you use the GarageBand loops and sound effects 'cause anyone who has used GarageBand will instantly recognize most of 'em. If you're not concerned about originality, there's no problem. But for those who want to sound more than generic, I'd recommend employing them creatively. And by "creatively" I mean don't use them as the main riff. I hear undisguised GarageBand loops all the time in background music for various multi-media projects on the web and even on TV. I always think, "Really, did that composer not have the time or energy or self respect to be more creative?" But maybe that's just me.

Anyhoo, my point was let Mac users know that they have a bunch of free loops and sound effects that are available for use in their ProTools projects. And free is always better than not-free ;-)

Happy ProTooling!

For daily tips on recording, songwriting, and music production, follow Create Music Productions on Twitter @CreateMusicPro

Wednesday, September 29, 2010

Adding Character to a Virtual Instrument Sound Using Reverse Reverb

Just made a screencast that shows you how to add a little ambience to your virtual instrument sounds using the reverse reverb effect in ProTools 8 with stock plug-ins. Enjoy:



The audio and video quality sucks, but it's my first screencast so cut me some slack ;-)


For daily tips about recording, production, and songwriting, follow Create Music Productions on Twitter @CreateMusicPro

Monday, September 20, 2010

The Top Ten Mistakes of Newbie Pro Tools Users

During the day I work at a school where I teach teens music creation using Pro Tools. I also meet with people privately (in their homes) and online (via video chat) doing the same thing. In my instructional journeys, I’ve noticed that complete newbies to both recording and Pro Tools have the same kinds of problems. Fortunately for you, their pain is your gain. In the following post, I list the top 10 mistakes that Pro Tools newbies usually make either before or after purchasing Pro Tools…then I tell you how to remedy those problems. Simple as that.

1) No External Hard-Drive
People…use an external hard drive! When you save your session to your host computer’s hard drive, it has to work twice as hard to simultaneously run ProTools, access/capture audio files, AND run instrument and/or effects plug-ins. So, here’s what you do: save your session files to an external drive. Put your audio loops and samples on that drive. Love that drive. Back-up that drive. Whatever you do, just use one. Just make sure it's an AVID-approved drive spinning at least 7,200 rpm. Evil things can happen if it's too slow (like most of the "tiny 'n' cute" drives running at 5,200 rpm) or is running an incompatible chipset.

(@ObediaTutor correctly pointed out that AVID actually recommends using an internal drive that's separate from your host drive (partitioned drives don't count). My advice is geared toward laptop users, people who can't add an internal drive, or users who plan on transferring projects between studios.)

2) No Filing System
Unless “cluttered-mess” qualifies as a filing system, most newbies scatter their saved session folders all over the place. Or worse, they just save sessions to whatever black hole the default save-to window suggests. Both bad news when you need to find a session you were working on last month. My advice: Come up with a filing system and stick to it. That way you’ll always know where to locate your sessions.

3) No Mouse (For Laptop Users)
Using the trackpad on your laptop is a recipe for frustration and insanity. Using that confounded device will drastically hinder your ability to navigate your session quickly and efficiently. Just get a fricken mouse and stop saying, “Ooops…ooops…ooops.”

4) Crappy Headphones
Ear buds or $20 headphones won’t let you hear what you need to hear. Invest $100 or more on a decent pair of closed-back headphones and you’ll actually be able to hear what you’re doing. A good place to start is with the Sennheiser HD-280 Professional Headphones .

5) Template Fear
If you click “Create blank session” every time you create a new session, it will take you 10+ minutes to set it up the way you like it. There’s nothing that will kill an inspirational burst of creative energy more than setting up your session or creating tracks. The solution?: Make a simple template with all your favorite track types and settings so you don’t have to pull a Sisyphus and start from scratch every time you open a new session. It’s not hard, and there are tons of video tutorials on how to set up and create a template on youtube. In an upcoming screencast, I also intend on showing you all my favorite session settings.

6) Keyboard Shortcut Fear
Even with a mouse, you can waste a lot of valuable time clicking around everywhere in the middle of your session. For example, why would you drag your mouse over to the transport and click the play button if you could just hit the spacebar to start/stop playback? Exactly. I’m not talking about memorizing all 40 pages of shortcuts. But learning a few time-saving shortcuts could really make your Pro Tools experience more enjoyable. Here are a few common ones to get you started:

• Start/stop playback: spacebar
• Turn click track on/off: 7 on numeric keypad
• Arm transport and start recording: F12 or 3 on the numeric keypad
• Create new track: Shift + cmd + N (Mac); Shift + cntrl + N (PC)
• Activate the smart tool: cmd + 7 (Mac) or cntrl + 7 (PC) on the qwerty

keyboard
• Bypass a plug-in: cmd + click (Mac) or cntrl + click (PC) on plug-in

name in the insert section
• Undo: cmd + Z (Mac); cntrl + Z (PC)

(@CreateMusicPro posts daily tips about using Pro Tools, and many of those tips include useful keyboard shortcuts)

7) Using Too Much Reverb/Delay
I know it’s exciting…look at all the cool plug-ins you can use now! Yea! But here’s the thing: just because Pro Tools allows you to easily work with plug-ins doesn’t mean you have to drench your tracks in reverb, delay, and/or distortion. “But I’m embarrassed of my voice,” you say, “I have to use a lot of reverb.” I know, I’ve heard all the reasons. If you want to continue sounding like you’re making amateur home recordings in your bedroom then keep drowning your vocals in large cathedral reverberations. If you’re trying to out-fuzz all the stoner rock that’s ever been made, go ahead. But if you’d like to up the commercial viability of your music and improve the quality of your tracks, add reverb, delay, and distortion like you would add pepper to food. A little bit goes a long way.
In a related note, I’ve seen a lot of people use reverb as an insert. If you do this, skip to 9) really quick and read it…I’ll wait. Okay, thanks, I can now let you in on standard operating procedure for time-based effects: Learn to set up a send and put your reverbs and delays on aux tracks instead of inserts. Learn why from my book recommendation in 9).

8) Magic Bullet Mindset
Many excited musicians buy Pro Tools with the expectation that it’s gonna be the audio equivalent of a robot vacuum. New users soon discover that Pro Tools won’t do a damn thing on your behalf. There is no “set-it-and-forget-it” button. It’s a tool, and like most tools, it’s as only good as its operator. In a similar vein, many folks buy amazing plug-ins with a parallel mindset. I can’t tell you how many people I’ve helped that have Pro Tools M-Powered, a M-Audio Fast Track interface, AND have also somehow acquired the Waves Mercury Bundle (I’m assuming through “alternatively-legal” means). What’s the point of having the best plug-ins if you don’t know how to use them? Yes, their presets will sound better than your stock Pro Tools plug-ins, but presets generally suck. There is no “magic” setting that will work for every recording/mixing situation. Pro Tools and plug-ins are tools, not dust-sprinkling fairies. Sorry, but you’re gonna have to study daily and work hard to record/mix great music…just like every other mortal out there.

9) Clueless About Recording
Many people I work with haven’t a clue about basic recording principals. I know this isn’t directly Pro Tools related, but it definitely affects your ability to accomplish what you’d like to do. You bought ProTools so you could record, right? Then you need to become educated about how recording works. For example, it’s not uncommon for beginners to invest a decent amount of money on a great mic. Good move, if you ask me. But then they take that great mic and place it on a table (no mic stand or pop filter) in the middle of a large, tile-floored room. No joke. If you read Jeff Strong’s “Home Recording for Musicians for Dummies” then you would know that capturing vocals is best done with a mic on a mic stand with a pop filter that’s sitting in some kind of “dead” space. A walk-in closet with lots of clothes works way better as a tracking booth than in the middle of your tiled kitchen. But, I digress. My point is that you’re gonna need to acquire a basic understanding of how the recording process works before you can best use your software to produce the kind of results you expected when you first purchased Pro Tools in the first place. If we were all living in the Matrix, then I’d recommend the “Comprehensive Recording Skills” mental download, but we’re not, so I guess I just have to recommend a lot of book reading, online tutorial study (AudioTuts+ is good), and youtube searching (try WinkSound for ProTools specific recording tricks). I also suggest subscribing to Recording Magazine . Even if you can’t decipher what you’re reading initially, it’s a great way to gradually become acclimated to the weird world of recording. (In fact, I highly recommend reading through their "Beginners' Series." If you're brand new to all of this, most of the content might go over your head. But it's chock full of newbie goodness.)

10) Manual? What Manual?
Whenever I ask my Dad for help with a complex electronic device his reply is always the same: “Read the Damn Manual!” Let’s face it, to figure out how-the-hell Pro Tools works, at some point you’re going to have to read portions of that 1,000+ page document Avid calls the “Reference Guide.” Ignoring it like it doesn’t exist will just cause you pain in the long run. So, let me walk you through the “creative person’s way” to use any manual. First of all, always at least read through the quick start guide. That should get you up and running as well as introduce you to the terminology of the program. From there, treat the Reference Guide like any other reference: read it when you need it. If you can remember the correct terminology for what it is you’d like to do, then just enter that term into the “Find” box of Adobe Reader or look it up in the index. Search this way until you find the correct portion of the Reference Guide and then only read the applicable information in that section. Solve one problem at a time. You’ll be tempted to follow the many labyrinthine paths that lead off into the nether regions of the document, but beware… before you know it you’ll forget the original reason you turned to the Reference Guide in the first place. I’m assuming you’d rather be creating music, no? If so, then troubleshoot one issue at a time. Or, just hire me to solve your problems for you. Which method sounds cheaper?

11) Unrealistic Expectations
Hey, if Spinal Tap’s amps went up to eleven, then I’m allowed to make an eleventh point in a top ten list! Unrealistic expectations, while not Pro Tools specific, can hamper your progress toward recording enlightenment. Recording with Pro Tools will seem like a magic voodoo art for a while, especially if you took 9) and 10) seriously. I’ll be frank: at first you will not be able to hear the effects of some basic but crucial recording procedures. For example, when I teach clients about leveling out a vocal recording with a compressor, many cannot hear the difference when I toggle the bypass. Same with EQ. Subtle EQ moves are hard to hear. I’ve even had people struggle to hear a high-pass filter totally eliminating everything below 300Hz on a mid-range instrument. When this happens to you, you might find yourself saying, “Well, if X effect makes a barely audible difference, I don’t see why I have to use it…no one’s gonna notice.” Ooooooooo…bad idea. Subtle effects build up. Compare your dry vocal to a vocal that’s been processed with tasteful amounts of EQ, compression, reverb, and delay, and then you’ll hear the difference. Even when you can hear subtle effects at work, you may question whether it’s really worth all the effort it takes to add ‘em. Trust me on this one: processing audio with effects will take your recordings to the next level, just like basic “developing” and sharpening techniques in Photoshop will turn a cool picture into an amazing photograph. The hard truth is that it’s gonna take a while to hear like mix engineers hear. Then it takes double that time to be able to apply effects judiciously. Be patient. That dog-eared kind of hearing and knowhow will come through study and experimentation. Again, Pro Tools won’t do it for you. But once you get the skills, Pro Tools will allow you to execute most of your recording tasks quickly and easily.

Happy ProTooling!

For daily tips and links on recording, songwriting, music production, and Pro Tools, follow Create Music Productions on Twitter @CreateMusicPro