Pro Tools 8: Music Production, Recording, Editing and Mixing

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Pro Tools 8

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Pro Tools 8 Music Production, Recording, Editing, and Mixing

Mike Collins

AMSTERDAMs"OSTONs(EIDELBERGs,ONDONs.EW YORKs/XFORDsPARIS SAN DIEGOs3AN FRANCISCOs3INGAPOREs3YDNEYs4OKYO Focal Press is an imprint of Elsevier

Focal Press is an imprint of Elsevier #ORPORATE$RIVE 3UITE "URLINGTON -! 53! ,INACRE(OUSE *ORDAN(ILL /XFORD/8$0 5+ ¥-IKE#OLLINS0UBLISHEDBY%LSEVIER )NC!LLRIGHTSRESERVED .OPARTOFTHISPUBLICATIONMAYBEREPRODUCED STOREDINARETRIEVALSYSTEM ORTRANSMITTEDIN ANYFORMORBYANYMEANS ELECTRONIC MECHANICAL PHOTOCOPYING RECORDING OROTHERWISE WITHOUTTHEPRIORWRITTENPERMISSIONOFTHEPUBLISHER 0ERMISSIONSMAYBESOUGHTDIRECTLYFROM%LSEVIERS3CIENCE4ECHNOLOGY2IGHTS$EPARTMENT IN/XFORD 5+PHONE FAX % MAILpermissions@ ELSEVIERCOm9OUMAYALSOCOMPLETEYOURREQUESTONLINEVIATHE%LSEVIERHOMEPAGE HTTPWWWELSEVIERCOm BYSELECTINGh3UPPORT#ONTACTvTHENh#OPYRIGHTAND 0ERMISSIONvANDTHENh/BTAINING0ERMISSIONSv

@ 2ECOGNIZINGTHEIMPORTANCEOFPRESERVINGWHATHASBEENWRITTEN %LSEVIERPRINTSITSBOOKSON ACID FREEPAPERWHENEVERPOSSIBLE Library of Congress Cataloging-in-Publication Data #OLLINS -IKE 0RO4OOLSMUSICPRODUCTION RECORDING EDITING ANDMIXING-IKE#OLLINS PCM )NCLUDESINDEX )3". PBKALKPAPER 0RO4OOLS$IGITALAUDIOEDITORS)4ITLE -,0#

DC British Library Cataloguing-in-Publication Data !CATALOGUERECORDFORTHISBOOKISAVAILABLEFROMTHE"RITISH,IBRARY )3". &ORINFORMATIONONALL&OCAL0RESSPUBLICATIONS VISITOURWEBSITEATWWWBOOKSELSEVIERCOm Typeset byDIACRI4ECH #HENNAI )NDIA 0RINTEDIN#HINA

Contents About the Author

xviii

Acknowledgments

xix

Chapter 1 Pro Tools – The world’s leading digital audio workstation

3

)NTRODUCTION

3

,EARNING0RO4OOLS

4

Chapter 2 Using Pro Tools )NTRODUCTION

7

'ETTINGSTARTED

(ELP

3TARTINGTHE%NGINES

The Playback Engine

!UTOMATIC$ELAY#OMPENSATION

0

-ANUAL$ELAY#OMPENSATION

(ARDWARE3ETUP

)/3ETUP

!UDITIONINGAUDIOFROMOTHERAPPLICATIONS

4

4HEUSERINTERFACE

4HE1UICK3TARTDIALOG

/PENINGSESSIONSWITHPLUG INSDEACTIVATED

3ETTINGTHE#OLOR0ALETTE

-ANAGINGYOUR7INDOW#ONFIGURATIONS

#REATING7INDOW#ONFIGURATIONS

0

7INDOW$ISPLAY3ETTINGS

4HE5NIVERSE6IEW

3

v

Contents

4HEMAINWINDOWS /RGANIZINGTHE4RANSPORTWINDOW 4RANSPORT0REFERENCES 3CRUB3HUTTLEANDTHE.UMERIC+EYPADMODES

5SINGTHE3CRUBBER4OOLS

3CRUB3HUTTLEMODE

0

3HUTTLE,OCKMODE

0

4HENUMERICKEYPAD3HUTTLE,OCKMODES

4HENUMERICKEYPAD3HUTTLEMODE

/RGANIZINGTHE-IXWINDOW

4HE'ROUPSETTINGSPOP UPSELECTOR

)NSERTS

3

3ENDS

3

)/3ELECTORS

4

!SSIGNINGMULTIPLETRACKOUTPUTSANDSENDS

4

/RGANIZINGTHE%DITWINDOW

The Toolbar

3

2EARRANGING4OOLBARCONTROLSANDDISPLAYS

4HE%DITMODES

vi

4

4HE4OOLBAR:OOMBUTTONSAND0RESETS

4HE%DITWINDOWZOOMBUTTONS

The Tool buttons

3

Zoomer Tool

3

Trimmer Tool

3

Selector Tool

3

Grabber Tool

40

Smart Tool

40

Scrub Tool

4

Pencil Tool

4

4HE-ODEBUTTONS

Zoom Toggle

4

Tab to Transients

4

Contents

-IRRORED-)$)%DITING

,INK4IMELINEAND%DIT3ELECTION

,INK4RACKAND%DITSELECTION

3

)NSERTION&OLLOWS0LAYBACK

3

,OCATIONINDICATORS

3

%DIT7INDOW-)$)EDITINGCONTROLS

4

#URSORVALUESDISPLAY

%DIT7INDOWINDICATORS

'RIDAND.UDGE

4HERULERS

%DITWINDOWPOP UPSELECTORS

4RACKHEIGHTS

0

#ONTINUOUSLY6ARIABLETRACKHEIGHTS

:OOMINGAROUND

:OOM4OGGLE

4

3CROLLINGWINDOWS

3CROLLINGBEHAVIOR

0LAYBACK#URSOR,OCATOR

+EYBOARD&OCUS

#OMMANDS+EYBOARD&OCUS

0

2EGION,IST+EYBOARD&OCUS

0

'ROUP,IST+EYBOARD&OCUS

#HANNELSANDTRACKS

6OICESAND6OICEABLETRACKS

-UTINGTRACKS

4

3OLOINGTRACKS

4

&INDINGTRACKSINTHE%DITAND -IXWINDOWS

.AVIGATINGTOTRACKSBYNUMBER

&ITALLSHOWNTRACKSINTHE%DITWINDOW

h$OTO!LLvANDh$OTO!LL3ELECTEDv

0

3UMMARY

0

vii

Contents

Chapter 3 Time Operations, Tempo Operations, and Key Signatures )NTRODUCTION

3

4IMEBASEAND#ONDUCTORRULERS

4

#HOOSINGTHE-ARKER2EFERENCE

3ETTINGTHE4IME3CALES

-ETER 4EMPO AND#LICK

#REATINGACLICKTRACK

4IME3IGNATURESAND#LICKS

4EMPO

3ETTINGTEMPOMANUALLY

4APPINGTHETEMPO

5SING4EMPOEVENTS

"UILDINGATEMPOMAP

3

%DITING4EMPOEVENTS

4

4EMPO/PERATIONS

4

4HE'RAPHIC4EMPO%DITOR

#HANGINGTHE4RACK4IMEBASE

3AMPLE BASEDAUDIOAND-)$)

4ICK BASEDAUDIOAND-)$)

0

4IME3CALESANDTICKRESOLUTION

4HE,INEARITY$ISPLAY-ODE

4EMPO%VENTSAND"AR\"EAT-ARKERS

4

"UILDINGATEMPOMAPBYINSERTING"AR\"EAT-ARKERS

2E POSITIONING"AR\"EAT-ARKERS

4IME/PERATIONS

3ETTINGTHE-ETER

)NSERTOR#UT4IME

-OVE3ONG3TART

0

+EY3IGNATURES

viii

73

4HE+EY3IGNATURERULER

4HE+EY#HANGEDIALOG

Contents

$IATONICVERSUSCHROMATIC

4

0ITCHEDTRACKS

4

$IATONICTRANSPOSITION

%LASTIC!UDIOREGION BASEDPITCHTRANSPOSITION

2EMOVINGREGIONPITCHSHIFTING

3UMMARY Chapter 4 Working with MIDI

111

)NTRODUCTION

#ONTROLLINGA-)$)RACKFROM0RO4OOLS

#OMPUTER-)$)SETUP

0RO4OOLS-)$)SETUP

3

-)$)4HRUPREFERENCES

)NITIAL-)$)SYSTEMSETUPDATA

Saving templates

)MPORTSESSION

2ECORDINGAUDIOFROM-)$)HARDWAREDEVICES

#OMPENSATINGFORTRIGGERINGDELAYS

-)$)"EAT#LOCK

-)$)"EAT#LOCK/FFSETS

-EASURING"EAT#LOCK,ATENCY

(OW$ELAY#OMPENSATIONWORKSWITH-)$)

5SING$ELAY#OMPENSATIONVIEW

$ELAYINDICATOR

5SER/FFSET

Track Compensation

)NSTRUMENTTRACKS

2ECORDING-)$)ONTOA-)$)OR)NSTRUMENTTRACK

2ECORDMODE

#ANCELINGORUNDOINGYOUR-)$)RECORDING

,OOPRECORDING-)$)

2ECORDINGAUDIOFROMAVIRTUALINSTRUMENT

ix

Contents

%DITING-)$)

"ARS "EATS AND#LOCKh4ICKSv

3HORTCUTSTOADJUST'RIDAND.UDGEVALUES

(OWTO2EMOVE$UPLICATE.OTES

(OWTODEALWITHSTUCKNOTES

-IRRORED-)$)%DITING

3ELECTINGANDPLAYINGNOTESWITHTHEMINI KEYBOARD

Do to All

3PECIAL#UT #OPY 0ASTE AND#LEAR#OMMANDS

'RAPHIC%DITINGINTHE%DIT7INDOW

4RACKVIEWS

Automation lanes

.OTEANDCONTROLLERCHASING

%VENT,IST%DITING

1UANTIZETO'RIDCOMMAND

-)$)AND)NSTRUMENTCONTROLSANDTRACKHEIGHTS

-)$)2EAL 4IME0ROPERTIES

%XPORTING-)$)TRACKS

4HE-)$)%DITORS

4RACKSANDGROUPSINTHE-)$)%DITORS

(OWTHE-)$)%DITORSWORK

5SINGTHE-)$)%DITORTOINSERTNOTES

!UTOMATIONLANESIN-)$)%DITOR7INDOWS

4HE-)$)%DITOR4OOLBAR

-UTEAND3OLO

.OTATIONVIEW

4HE%DITTOOLS

-)$)%DITINGCONTROLS

!DDITIONAL4OOLBARBUTTONS CONTROLS ANDDISPLAYS

x

4HE-)$)%DITOR:OOMCONTROLS


4HE3UPERIMPOSEDNOTESVIEW

Contents

4HE3CORE%DITOR 5SINGTHE3CORE%DITOR

3CORE%DITORPOP UPMENU

Setting the Clef

Drum notation

(IDINGTRACKS

5SINGTHE.OTATION4OOLS

Trimming notes

Copying notes

Moving notes

Transposing instruments

(OWTHE3CORE%DITORHANDLES transposing instruments

0REPARINGTHE3COREFORA-USICIANTOREAD

$ISPLAY1UANTIZATION

Individual attributes

Global attributes

The attributes

Printing the Score

$ISPLAY/PTIONS 3PACING AND,AYOUT

7HATYOUSEEISWHATYOUGET

%XPORTINGTO3IBELIUS 3UMMARY Chapter 5 Recording

181

)NTRODUCTION

0REPARING0RO4OOLSFORRECORDING

$ISKSPACEFORRECORDING

3

3ETTINGUPHEADPHONEMIXES

4

-ONITORINGLATENCY

$ELAY#OMPENSATION

24!3PLUG INShHEALTHvWARNING

3

!UTO)NPUTAND)NPUT/NLYMONITORING

4

xi

Contents

3ETTINGMONITORLEVELSFORRECORDANDPLAYBACK

2ECORDINGWITHORWITHOUTEFFECTS

2ECORDINGWITHPLUG INEFFECTS

2ECORDINGAUDIO

2ECORDENABLING

/THERRECORDMODES

2ECORD3AFEMODE

0

(ALF SPEEDRECORDINGANDPLAYBACK

0

2ECORDINGNEWTAKESUSING0LAYLISTS

!UTOMATICPUNCH INANDPUNCH OUT

0REROLLANDPOSTROLL

3

$ESTRUCTIVE2ECORD

,OOP2ECORDINGAUDIO

5SING,OOP2ECORDING

3ELECTINGTAKESAFTER,OOP2ECORDING

0UNCH2ECORDING

-ANUALPUNCH INANDPUNCH OUT

0

6OICEREQUIREMENTSFORPUNCHRECORDING

#ROSSFADESWHILEPUNCHRECORDING

3ETTINGLEVELSFORPUNCHRECORDING

3

1UICK0UNCH

3

0REPARINGFOR1UICK0UNCH

4

5SING1UICK0UNCH

4

4RACK0UNCH

4

0REPARINGFOR4RACK0UNCH

5SING4RACK0UNCH

$ESTRUCTIVE0UNCH

0REPARINGFOR$ESTRUCTIVE0UNCH

5SING$ESTRUCTIVE0UNCH

$ELAY#OMPENSATIONAND$ESTRUCTIVE0UNCH

!FTERPUNCHRECORDING 3UMMARY

xii

0

3 4

Contents

Chapter 6 Editing

227

)NTRODUCTION

4HE%DITMENUCOMMANDS

5NDOAND5NDO(ISTORY

2ESTORE,AST3ELECTION

#UT #OPY 0ASTE AND#LEARCOMMANDS

3PECIAL#UT #OPY 0ASTE AND#LEARCOMMANDS

2EPEATTO&ILL3ELECTION

Stripping Silence from regions

)NSERTING3ILENCE

4IME#OMPRESSIONAND%XPANSION4#% %DIT to Timeline Selection

#ONSOLIDATINGREGIONS

4HE%DITMODES

3LIPMODE

3HUFFLEMODE

3POTMODE

'RIDMODE

!BSOLUTEAND2ELATIVE'RIDMODES

%DITINGINTHE%DITWINDOW

%DITWINDOWTRACKVIEWS

-ASTER6IEWS

"REAKPOINTS

3WITCHINGTRACKVIEWS

5SEFULKEYBOARDCOMMANDSFOREDITING

7ORKINGWITH2EGIONS

#APTURING2EGIONS

3EPARATING2EGIONS

5SINGTHE3EPARATION'RABBER

(EALINGSEPARATEDREGIONS

/VERLAPPING2EGIONS

Sync points

.UDGING2EGIONS

xiii

Contents

2EGION%DITINGCOMMANDS

3HIFT2EGION

$UPLICATE2EGION

2EPEAT2EGION

,OCKING2EGIONS

%DIT,OCK2EGION

4IME,OCK2EGION

-UTE2EGION

1UANTIZETO'RID

'ROUPING2EGIONS

$YNAMIC4RANSPORTMODE

5SING$YNAMIC4RANSPORTMODE

(OWTHE0LAY3TART-ARKERWORKS

+EYBOARDSHORTCUTSFOR$YNAMIC4RANSPORTMODE

4EMPORARILYLINKINGTHE4IMELINEAND%DIT3ELECTIONS

2ECORDINGIN$YNAMIC4RANSPORTMODE

3ETTING3ELECTION3TARTAND%NDIN $YNAMIC4RANSPORTMODE

!UDITIONINGLOOPSIN$YNAMIC4RANSPORTMODE

Preferences for Dynamic Transport

4RACK#OMPOSITING

Choosing the takes

0LAYLISTS4RACK6IEW

#OPY3ELECTIONCOMMANDS

7HYYOUMAYNEEDTOFILTERTHE#OMPLANES

#OMPACTINGAUDIOFILES 3UMMARY Chapter 7 Mixing

xiv

285

)NTRODUCTION

0REPARINGFORYOURMIXSESSION

Check your monitoring

!NOTEONEXTERNALMIXINGMONITORING

Contents

Choose your monitoring levels

,INEUPANYCONNECTEDANALOGEQUIPMENT

2ECORDINGATESTTONETODISK

#REATINGATESTTONEUSING!UDIO3UITE

65METERS OPERATINGLEVELS ANDHEADROOM

"OMB&ACTORYMETERCALIBRATIONSIMULATION

"OMB&ACTORY65METERSIMULATION

Metering in Pro Tools

Phase Scope metering

-ETERINGDISCREPANCIES

Fat meters

300

-ETERINGANDLOUDNESSDISCUSSION

4,-ASTER-ETEROVERSAMPLINGMETERING

5SINGTHE4,-ASTER-ETER

303

Phase measurements

,ISSAJOUSFIGURES

$IGI2ACK0HASE3COPE

Phase Meter

Leq(A) Meter

Level Meters

!UDIOTRACKFADERS

-ASTER&ADERS

Monitor controllers

-IXINGPRECISIONAND-ASTER&ADERS

5SINGA-ASTER&ADERTOPREVENTCLIPPINGONABUS )NSIDEOROUTSIDETHEBOX 4HE4OOLSOFTHETRADE

,EVELBALANCING

0ANORAMA0AN POSITIONS

0ANNINGSYNTHESIZEDANDSAMPLEDSOUNDS

0ANLAWS

5SINGCOMPRESSORSTOSMOOTHOUTLEVELCHANGES

xv

Contents

5SINGTHEGAINPLUG INTOSMOOTHOUTLEVELCHANGES

$E ESSING

#REATINGDYNAMICSWITHINTHEMIX

&REQUENCYBALANCING

Technically

2EVERB

Delay effects

.OISEREDUCTION

.OISEGATESANDEXPANDERS

0ITCHANDTIMECORRECTIONANDMANIPULATION

(ARMONYPROCESSING

"ASICPITCHSHIFTING

/THEREFFECTS

2EAMPINGANDAMPLIFIERSIMULATORS

Musically

0ETERSON3TROBO3TOMP0EDAL

StroboSoft tuner

4HE-ILLENNIA4$ 4WIN$IRECT 2ECORDING#HANNEL

330

Speaker Soak using the TD-1

330

Reamping using the TD-1

7ORKINGONYOURMIXSESSION (OUSEWORK

4RACKORDERING

2EMOVINGUNWANTEDSOUNDS

333

Sorting the Tempos

334

Marking the sections

334

Grouping tracks

334

6#!'ROUPS

334

#ONVENTIONAL6#!'ROUPS

334

6#!-ASTER4RACKSIN0RO4OOLS

5SING6#!STOCONTROLOTHER6#!S

%DIT7INDOW-IX!UTOMATION xvi

Contents

4HEFINALMIX 4O$ITHERORNOTTO$ITHERnTHATISTHEQUESTION

344

-IXBUSCOMPRESSION

344

4HE'OOD THE"AD ANDTHE5GLY

344

A Plea for Sanity

3UMMARY Appendix Index

Summing to talk about!

349 353

xvii

About the Author -IKE#OLLINSISASTUDIOMUSICIAN RECORDINGENGINEER ANDPRODUCERWHOHAS WORKED WITH ALL THE MAJOR AUDIO AND MUSIC SOFTWARE APPLICATIONS ON PROFES SIONALMUSICRECORDING 46ANDFILMSCORINGSESSIONSSINCE$URINGTHAT TIME -IKE HAS REGULARLY REVIEWED MUSIC AND AUDIO SOFTWARE AND HARDWARE FOR MAGAZINES INCLUDING Future Music, Macworld, MacUser, Personal Computer World, Sound On Sound, AudioMedia, Studio Sound, Electronic Musician, EQ AND M, THEQUARTERLY magazine for MCPS-PRS MEMBERS-IKEALSOWRITESINDUSTRY NEWSANDTECHNICALREPORTSFOR0RO3OUND.EWS%UROPE -IKEHASBEENWRITINGFOR&OCAL0RESSSINCE(ISFIRSTBOOK Pro Tools 5.1 for Music Production WASPUBLISHEDIN$ECEMBEROFTHATYEAR!SECONDBOOK A Professional Guide to Audio Plug-ins and Virtual Instruments WAS PUBLISHED IN-AYChoosing & Using Audio & Music Software,-IKESTHIRDTITLEFOR &OCAL 0RESS WAS PUBLISHED IN ALONG WITH Pro Tools for Music Production Second Edition-IKESFIFTHBOOK Pro Tools LE & M-Powered,WASPUBLISHEDIN THESUMMEROF

Contact details 4HE AUTHOR MAY BE CONTACTED VIA E MAIL AT MIKE MIKECOLLINSMUSICCOM, or by phone at 4HE AUTHORS 7EB SITE CAN BE FOUND AT HTTPWWWMIKECOLLINSMUSICCOm AND A PROFESSIONAL PROFILE IS AVAILABLE AT HTTPWWWLINKEDINCOMINMIKECOLLINSMUSIc

xviii

Acknowledgments &IRST OF ALL ) WOULD LIKE TO THANK #ATHERINE 3TEERS AT &OCAL 0RESS FOR COMMIS SIONINGTHISBOOK)AMALSOGRATEFULFORTHEEFFORTSOFALLAT&OCAL0RESSWHOARE INVOLVEDWITHPUBLISHINGANDMARKETINGMYBOOKS )WOULDPARTICULARLYLIKETOTHANK+YLE2ITLANDAT$IGIDESIGNWHOKEPTMEUPTO DATE WITH ALL THE LATEST SOFTWARE PLUG INS AND AUTHORIZATIONS AND CHASED UP TECHNICALINFORMATIONFORMEWHILE)WASWRITINGTHEBOOK4HANKSALSOTO'REG 2OBLESAND4ARA.AVARROFROMTHEBETATESTTEAMAT$IGIDESIGNWHOKEPTME hIN THE LOOPv WHILE WORKING ON THE BOOK IN THE RUN UP TO THE RELEASE OF 0RO 4OOLS )WOULDLIKETOSPECIALLYTHANKMYFRIEND*OHN,ECKIEFORPOINTINGOUTACOUPLE OFTHINGSTHAT)HADOVERLOOKEDINTHE-IXINGCHAPTERnEXPLAININGSOMEBASIC POINTSABOUTMIXINGCONSOLESTHATHEHADBEENSHOWNDURINGHISTRAININGAT !BBEY2OAD3TUDIOSTHATREALLYHELPEDTOCLARIFYEVERYTHINGFORME4HANKSALSO TO *EAN 0AUL h"LUEYv -AUNICK +IRK 7HALUM AND $ARIO -ARIANELLI WHO TOOK TIMEOUTFROMTHEIRBUSYSCHEDULESTOREVIEWANDCOMMENTONTHEBOOKPRIOR TOPUBLICATION ) WOULD ALSO LIKE TO THANK MY PARENTS ,UKE AND 0ATRICIA #OLLINS MY BROTHER !NTHONY#OLLINS ANDMYFRIENDS !THANASSIA$UMA +EITH/#ONNELL AND"ARRY 3TOLLERFORALLTHESUPPORTTHEYHAVEGIVENMEnWITHOUTWHICHTHISBOOKWOULD HAVENEVERBEENCOMPLETED

xix

In this chapter )NTRODUCTION ,EARNING0RO4OOLS

1 Pro Tools – The world’s leading digital audio workstation

1.1 Introduction 0RO 4OOLS ($ SYSTEMS ARE USED ALL OVER THE WORLD IN PROFESSIONAL RECORDING SITUATIONSFORhLIVEvRECORDINGATGIGSANDCONCERTS FORFILMSCORING FORAUDIO FORVIDEO ANDFORAUDIOPOSTPRODUCTIONnTHELISTGOESONANDON 4HIS BOOK WILL BE PARTICULARLY USEFUL FOR PEOPLE WHO ARE UPGRADING FROM PREVIOUS VERSIONS OF 0RO 4OOLS OR hCROSS GRADINGv FROM OTHER DIGITAL AUDIO WORKSTATIONS )T WILL ALSO SERVE AS A USEFUL HANDBOOK TO BE USED ALONGSIDE YOUR 0RO 4OOLS ($ SYSTEM TO CLARIFY HOW THINGS WORK AND TO PROVIDE USEFUL OPERATIONAL TIPS AND NOTES 0RO 4OOLS ,% USERS WILL ALSO FIND THAT MOST OF THE INFORMATIONINTHISBOOKISEQUALLYAPPLICABLETO0RO4OOLS,%SOFTWARE !LTHOUGHTHISBOOKISNOTINTENDEDTOBEANENTRY LEVELTEXT )HAVEEXPLAINED THINGS AS SIMPLY AS ) CAN WHEREVER POSSIBLE -INDFUL OF THE FACT THAT SOME READERSMAYNOTHAVE%NGLISHASTHEIRFIRSTLANGUAGE )HAVETRIEDTOAVOIDCOL LOQUIALISMS AND SLANG AS MUCH AS POSSIBLE AND HAVE DONE MY BEST TO WRITE AS CLEARLY AS POSSIBLE ) HOPE THAT MORE EXPERIENCED AUDIO PROFESSIONALS WILL REGARDTHESOMETIMESLENGTHYEXPLANATIONSOFWHATTHEYMAYCONSIDERTOBE BASIC POINTS AS USEFUL REMINDERS ABOUT HOW THINGS WORK THAT THEY CAN SKIP PASTEASILYENOUGHIFTHEYWISH 4HEREARESEVERALEXCELLENTBOOKSALREADYAVAILABLETHATMAYBEMORESUITABLE FORBEGINNERS INCLUDINGMYOWNPro Tools LE & M-Powered WHICHTAKEAMORE STEP BY STEPAPPROACH!LSOTHEh0RO4OOLS2EFERENCE'UIDEvANDOTHERHELP DOCUMENTSAREALWAYSAVAILABLEFROMTHE0RO4OOLS(ELPMENU 4HISBOOKISABOUTMUSICPRODUCTIONUSING0RO4OOLS FALLINGINLINEWITHWHERE $IGIDESIGNSFOCUSHASSHIFTEDWITH0RO4OOLSVERSION4HISISNOTTOSUGGEST FORAMOMENTTHAT0RO4OOLSISNOTTHELEADINGSYSTEMUSEDFORPUTTINGSOUND AND MUSIC TO PICTURE OR FOR MIXING IN SURROUND )T IS JUST A REFLECTION OF THE FACTTHAT0RO4OOLSHASTRULYCOMEOFAGEASAMUSICPRODUCTIONSYSTEMnAND

3

Pro Tools 8: Music Production, Recording, Editing, and Mixing

THEGREATERPARTOFMYEXPERIENCEISWITHMUSICPRODUCTION SO)AMNATURALLY INCLINEDTOWRITEABOUTTHINGS)KNOWMOSTABOUT 4HE MAIN FOCUS OF THE BOOK IS FIRMLY ON USING 0RO 4OOLS FOR MUSIC PRODUCTION ANDMIXINGINSTEREOnDESPITETHEFACTTHATSURROUNDFORMATSHAVEBEENWITHUS FORMANYYEARSNOW4HEREALITYISTHAT$6$ !UDIO 3!#$3UPER!UDIO#OMPACT $ISC ANDOTHERFORMATSTHATCANDELIVERSURROUNDSOUNDARESTILLhNICHEvPROD UCTS7HENDIDYOUEVERHEAROFA4OPhHITvBEINGRELEASEDPRIMARILYASA SURROUNDMIXANDMAKINGITBECAUSEOFTHIS)NEVERHEARDOFTHISHAPPENINGn NOTONETIME3OTHISBOOKWILLNOTDIGRESSINTOTHEFASCINATINGWORLDOFSURROUND SOUNDnASINTERESTINGASTHISISTOMEANDTOMANYPEOPLE)KNOW (AVING READ ALL THE MANUALS AND DOCUMENTATION THOROUGHLY AND HAVING READ MOSTOFTHEOTHERBOOKSWRITTENABOUT0RO4OOLS )HAVENOTICEDTHATSOMEAREAS ARENOTCOVEREDASTHOROUGHLYORASACCURATELYASTHEYCOULDBE SO)HAVEMADE APOINTOFADDRESSINGASMANYOFTHESEAREASASPOSSIBLE/NEEXAMPLEWOULDBE LEVELSANDMETERING WHICHARECOVEREDINPLENTYOFDETAILIN#HAPTER h-IXINGv 9OUWILLNOTFINDEVERYFEATUREOF0RO4OOLSCOVEREDINTHISBOOKITMAKESNO ATTEMPT TO BE hALL THINGS TO ALL PEOPLEv 7HAT YOU WILL FIND IS CLEAR EXPLANA TIONSOFMOSTOFTHETHINGSYOUDEFINITELYNEEDTOKNOWABOUTTORECORD EDIT AND MIX AUDIO AND -)$) -USICAL )NSTRUMENT $IGITAL )NTERFACE in Pro Tools IN STEREO 4HERE IS A SUBSTANTIAL CHAPTER ON -)$) #HAPTER THAT COVERS ALL THE TECHNICAL STUFF ABOUT 0RO 4OOLS THAT YOU NEED TO GET PROFESSIONAL RESULTS WHETHERUSINGHARDWAREORSOFTWARE-)$)INSTRUMENTS 7HEREVERPOSSIBLE )HAVETRIEDTOEXPLAINTOPICSTHATARECOVEREDINTHEREFER ENCEGUIDEINACLEARERORALTERNATIVEWAY4HROUGHOUTTHEBOOK YOUWILLFIND HIGHLIGHTED h4IPSv AND h.OTESv 4HE TIPS ARE OFTEN TAKEN FROM MY PERSONAL EXPERIENCE ANDTHENOTESAREOFTENTECHNICALPOINTSTAKENFROMTHE0RO4OOLS REFERENCEGUIDETHATMAYOTHERWISEBEOVERLOOKED SOWATCHOUTFORTHESE

1.2 Learning Pro Tools 4HEONLYWAYTOLEARN0RO4OOLSISTOUSE0RO4OOLSASOFTENASPOSSIBLEINAS MANYCONTEXTSASPOSSIBLE!LTHOUGHTHISBOOKISABOUT0RO4OOLS($SYSTEMS ) STRONGLY RECOMMEND THAT YOU GET YOURSELF A LAPTOP WITH 0RO 4OOLS ,% SOFT WAREANDTHEEXTREMELYCOMPACT-BOX-ICRO WHICHHASNOINPUTSANDJUST ONEHEADPHONEOUTPUT ORAN-BOX-INI WHICHALSOHASAMICROPHONEAND ALINEINPUTANDAPAIROFSPEAKEROUTPUTS4HISSYSTEMISCOMPACTENOUGHTHAT YOUCANTAKEITJUSTABOUTANYWHEREWITHYOUTOPRACTICEEDITING SEQUENCING AND MIXING SESSIONS CREATED ON 0RO 4OOLS ($ OR ANY OTHER 0RO 4OOLS SYSTEM ON THE GO AND TO PRACTICE MAKING MUSIC WITH VIRTUAL INSTRUMENTS AND LOOPS /RYOUCOULDHAVEACOMPACTDESKTOPSUCHASANI-ACATHOMEANDPRACTICE USINGTHISWITHAN-BOXAND0RO4OOLS,% 4


In this chapter )NTRODUCTION

#HANNELSANDTRACKS

3TARTINGTHE%NGINES

6OICESAND6OICEABLETRACKS

4HEUSERINTERFACE

-UTINGTRACKS

4HEMAINWINDOWS

3OLOINGTRACKS

4HE%DITMODES

&INDINGTRACKSINTHE%DITAND-IX

4HERULERS

WINDOWS

%DITWINDOWPOP UPSELECTORS

.AVIGATINGTOTRACKSBYNUMBER

4RACKHEIGHTS

&ITALLSHOWNTRACKSINTHE%DIT

:OOMINGAROUND 3CROLLINGWINDOWS 0LAYBACK#URSOR,OCATOR +EYBOARD&OCUS

WINDOW h$OTO!LLvANDh$OTO!LL 3ELECTEDv 3UMMARY

2 Using Pro Tools

2.1 Introduction 'ETTINGSTARTEDWITHANYSOFTWAREENVIRONMENTINVOLVESSOMETHINGOFALEARNING CURVEAND IFYOUARENEWTO0RO4OOLS YOUWILLFINDTHATTHISISNOEXCEPTION %VENIFYOUHAVEJUSTUPGRADEDFROMANEARLIERVERSION THEREMAYBEANUMBER OFNEWFEATURESTHATYOUHAVENOTENCOUNTEREDPREVIOUSLY!LSOIFYOUAREhCROSS GRADINGv FROM ANOTHER PLATFORM SUCH AS !PPLE ,OGIC -ARK OF THE 5NICORN -/45 $IGITAL0ERFORMER OR3TEINBERG#UBASE YOUMAYBELOOKINGFORFEATURES ORTRYINGTOUSEKEYBOARDCOMMANDSTHATYOUAREUSEDTOANDWONDERINGWHERE THESEAREIN0RO4OOLS4HEREFORE BOOTUPYOUR0RO4OOLSSYSTEMANDSPENDAS MUCHTIMEASPOSSIBLEWORKINGhHANDS ONvWITHTHESOFTWAREUNTILYOUKNOWIT INSIDEOUT/H ANDREADINGTHISBOOKWILLHELPx

Getting started )FYOUAREUSING0RO4OOLSFORTHEFIRSTTIME YOUWILLNEEDTOSPENDSOMETIME FAMILIARIZINGYOURSELFWITHTHEUSERINTERFACEORWITHITSMORERECENTFEATURESIF YOUAREUPGRADING9OUWILLALSOPROBABLYFINDITHELPFULTOCONFIGURETHESOFT WARETOSUITTHEWAYSYOULIKETOWORK9OUSHOULDTAKESOMETIMEOUTTOPRAC TICEUSINGTHESYSTEMINANONCRITICALSITUATIONFIRSTWITHOUTIMPATIENTCLIENTS BREATHINGDOWNYOURNECK ANDTAKETHETROUBLETOLEARNATLEASTABASICSETOF KEYBOARDCOMMANDSSOTHATYOUDONTHAVETOUSETHEMOUSEANDMENUSALL THETIME9OUSHOULDALSOLEARNHOWTOQUICKLYFINDYOURWAYAROUNDWHICH EVERPIECEOFMUSICYOUAREWORKINGONnZOOMINGINANDOUTANDNAVIGATING ALONGTHETIMELINEUNTILYOUFEELCOMFORTABLEWITHALLTHIS

Help $IGIDESIGN PROVIDES EXCELLENT MANUALS AS !DOBE !CROBAT PDF DOCUMENT FILESTHATYOUCANACCESSFROMTHE(ELPMENU7HENYOUOPENTHE0RO4OOLS 2EFERENCE -ANUAL FOR EXAMPLE THE !CROBAT APPLICATION LAUNCHES AND THE

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DOCUMENTFILEOPENSINTOANEWWINDOWONYOURCOMPUTER9OUSHOULDRESIZE THISWINDOWANDPOSITIONITINACONVENIENTPLACEONYOURSCREEN )TCANBEVERYUSEFULTOKEEPTHERELEVANTMANUALOPENONYOURCOMPUTERBUT HIDDEN UNTIL YOU NEED IT 9OU CAN USE THE STANDARD MENU COMMAND OR THE KEYBOARD #OMMAND ( ON THE -AC TO HIDE THE !CROBAT APPLICATION 7HEN YOUWANTTOREVEALTHEMANUALAGAIN YOUCANALWAYSSELECTITAGAINFROMTHE (ELP MENU OR USE THE 3HOW !LL MENU COMMAND /NE OF THE QUICKEST WAYS TODOTHISISTOPRESSANDHOLDTHE#OMMANDKEY THENREPEATEDLYPRESSTHE 4ABKEYUNTILYOUSEETHEAPPLICATIONYOUWANTDISPLAYEDINTHEMIDDLEOFTHE SCREEN 7HEN THE 4AB HAS MOVED YOU ALONG THE LIST OF OPEN APPLICATIONS TO !CROBAT LETGOOFTHE#OMMANDKEYANDTHISWILLBESHOWNANDBROUGHTTO THE FRONT 7INDOWS USERS WILL HAVE THEIR OWN PREFERRED WAYS OF DOING THESE THINGS

2.2 Starting the Engines !SWITHANYCOMPLEXPIECEOF MACHINERY THERE ARE VARIOUS SETTINGS THAT YOU MAY NEED TO ADJUST EACH TIME YOU WANT TO USE IT 4HIS IS CERTAINLY THE CASE WITH0RO4OOLS)RECOMMENDTHATYOUALWAYSCHECKTHE0LAYBACK%NGINESET TINGSANDTHE)/3ETUPATTHESTARTOFANYNEWSESSION9OUMAYALSONEEDTO MAKESOMECHANGESTOTHE(ARDWARE3ETUPIFYOUWANTTOHOOKUPADDITIONAL HARDWARE

The Playback Engine -OSTOFTHESETTINGSINTHE0LAYBACK%NGINE$IALOGDEFAULTTOSENSIBLECHOICES BUTYOUDONEEDTOBECOMEFAMILIARWITHTHESETTINGSTHATYOUCANMAKEHERE IFYOUWANTTOGETTHEBESTOUTOFYOUR0RO4OOLSSYSTEM 4HE (ARDWARE "UFFER SIZE SETTING CONTROLS THE SIZE OF THE HARDWARE MEM ORY BUFFER USED FOR HOST BASED TASKS SUCH AS 2EAL 4IME !UDIO3UITE 24!3 PLUG IN PROCESSING )F YOU ARE RECORDING hLIVEv INPUT OR IF YOU ARE PLAYING OR RECORDING USING 24!3 VIRTUAL INSTRUMENTS YOU SHOULD CHOOSE A LOWER (ARDWARE "UFFER SIZE SUCH AS SAMPLES WHICH REDUCES MONITORING LATENCY TO ITS MINIMUM 7HEN YOU ARE MIXING AND ESPECIALLY IF YOU ARE USINGLOTSOF24!3PLUG INS YOUSHOULDCHOOSEAHIGHERSIZE SUCHAS ORSAMPLES

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(IGHER (ARDWARE "UFFER SIZES CAN AFFECT THE ACCURACY OF PLUG IN AUTOMA TION MUTE DATA AND THE TIMING FOR -USICAL )NSTRUMENT $IGITAL )NTERFACE -)$) TRACKS ESPECIALLYONSLOWERCOMPUTERS

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U s i n g P r o To o l s

Figure 2.1 Playback %NGINE(ARDWARE"UFFER SIZE

)FYOURCOMPUTERHASMORETHANONEPROCESSOR YOUCANCHOOSEWHETHERTHE 24!3PROCESSINGUSESONEORMOREOFTHESE9OUCANALSOLIMITTHEPERCENTAGE OF#05RESOURCESALLOCATEDTO0RO4OOLSHOSTPROCESSINGTASKS(IGHERSETTINGS ALLOCATEMOREPROCESSINGPOWERTO0RO4OOLS SOYOUCANWORKWITHLARGERSES SIONSORUSEMOREREAL TIMEPLUG INS,OWERSETTINGSALLOCATEMOREPROCESSING POWERTOTHINGSLIKESCREENREDRAWSANDAREPARTICULARLYUSEFULWHENYOUARE RUNNINGOTHERAPPLICATIONSATTHESAMETIMEAS0RO4OOLS /NEOFTHEMOSTIMPORTANTSETTINGSTOMAKEHEREISTHENUMBEROFVOICESAND HOWTHESEAREALLOCATEDTOTHEDIGITALSIGNALPROCESSORS$30S INYOURSYSTEM The number of voices that you choose here controls the number of tracks that CANPLAYBACKSIMULTANEOUSLY )F YOU DONT NEED TOO MANY TRACKS YOU SHOULD CHOOSE A LOWER NUMBER OF VOICESAND$30S7ITHLARGERSESSIONS ESPECIALLYWITHEXPANDEDSYSTEMS YOU CANUSEHIGHERNUMBERS

Figure 2.2 Playback %NGINE$IALOGSETTINGTHE NUMBEROFVOICES

9OUCANALSOADJUSTTHE$!%0LAYBACK"UFFERSIZETOTWEAKTHEDISKBUFFERSTO OPTIMIZESYSTEMPERFORMANCEWHILERECORDINGORPLAYINGBACK,OWERSETTINGS IMPROVE RECORDING AND PLAYBACK INITIATION SPEED BUT CAN MAKE IT DIFFICULT FOR SLOWER HARD DRIVES TO RECORD OR PLAY RELIABLY (IGHER SETTINGS ALLOW FOR HIGHERDENSITIESOFEDITSDURINGASESSION BUTTHETIMELAGBETWEENPRESSING 9


0LAY2ECORD AND PLAYBACK OR RECORDING ACTUALLY COMMENCING CAN BECOME NOTICEABLE!TIMELAGCANALSOOCCURWHENYOUAREEDITINGDURINGPLAYBACKn SOYOUDOHAVETOBECAREFULWITHTHISSETTING 4HE$ELAY#OMPENSATION%NGINECANBEUSEDTOCOMPENSATEFORTHELATENCY DELAYS INTRODUCED BY PLUG INS $EPENDING ON THE WAY YOU ARE USING YOUR PLUG INS YOUCANEITHERTURNTHISOFFTOPRESERVE#05POWERORUSETHESHORTER ORLONGERDELAYCOMPENSATIONSETTINGS

Automatic Delay Compensation 7ITH THE $ELAY #OMPENSATION %NGINE ENABLED 0RO 4OOLS AUTOMATICALLY COMPENSATES FOR ANY DELAYS BETWEEN TRACKS INTRODUCED BY PLUG INS OR ROUTINGS Phase problems have been an issue for Pro Tools users in the past – especially WHEN USING PLUG INS ON SOME TRACKS AND NOT ON OTHERS OR WHEN USING DIF FERENT PLUG INS WITH DIFFERENT LATENCY DELAYS THUS INTRODUCING PHASE SHIFTS AS A RESULT OF THE SHORT DELAYS BETWEEN THESE TRACKS 4HIS COULD BE PARTICULARLY PROBLEMATICONMULTIMICEDDRUMKITSIFYOUPUTACOMPRESSORONTHESNARE FOREXAMPLE ANDNOTONTHERESTOFTHEKIT ORIFCOMPLEXROUTINGSWEREUSED WITHSOMETRACKSANDNOTWITHOTHERSnCAUSINGDELAYSTHROUGHTHEBUSSESOR INSERTS !NOTHER EXAMPLE MIGHT OCCUR IF YOU RECORDED A BASS GUITAR TO SEPARATE CHANNELS USING A $) BOX FOR ONE CHANNEL AND A MICROPHONE IN FRONT OF A LOUDSPEAKER FOR THE OTHER CHANNEL )F YOU SUBSEQUENTLY INSERTED A LOOK AHEAD PEAK LIMITER PLUG IN SUCH AS $IGIDESIGNS -AXIM ON ONE OF THESE CHANNELS THIS WOULD DELAY THE OUTPUT OF THIS TRACK BY SAMPLES WITH -AXIM COMPAREDWITHTHEOTHERTRACK CAUSINGPHASECANCELLATIONSIFYOU SUBSEQUENTLYMIXEDTHESETOGETHER &ORTUNATELY SINCE0RO4OOLSVERSION 0RO4OOLS\($HASFEATURED!UTOMATIC $ELAY#OMPENSATION7HENYOUACTIVATETHIS ALLYOURAUDIOWILLREMAINTIME ALIGNEDANDINPHASENOMATTERWHATROUTINGSORPLUG INSAREUSED )TISANDWASALWAYS POSSIBLETOCOMPENSATEFORTHESEDELAYSBYDELAYINGALL THE UNDELAYED TRACKS BY THE SAME AMOUNTS AS THE DELAYED TRACKS 4HE PROB LEMISTHATTHISTAKESTIMETODO ANDITISALLTOOEASYTOOVERLOOKSUCHDETAILS ONABUSYSESSION .OW YOU HAVE THE OPTION OF ENABLING THE !UTOMATIC $ELAY #OMPENSATION FEATUREINTHE0LAYBACK%NGINEDIALOG4HISAUTOMATICALLYMAKESADJUSTMENTSIN 0RO4OOLS($SOFTWARETOCOMPENSATEFORANYLATENCIESINTHE)/ INTERNALAND EXTERNAL ROUTING AND PLUG IN ALGORITHM PROCESSING ENSURING THAT RECORDINGS ANDMIXESSTAYPERFECTLYTIME ALIGNEDANDPHASEACCURATE

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Figure 2.3 Enabling Automatic Delay Compensation in the 0LAYBACK%NGINE$IALOG

Manual Delay Compensation 4IME $IVISION -ULTIPLEXING PLUG INS TYPICALLY HAVE SMALL PROCESSING LATENCIES IFTHEYOFFERSTATICPROCESSINGSUCHAS%1 BUTDYNAMICSPROCESSORSANDSOME OTHERTYPESMAYHAVEMUCHLONGERLATENCIES ESPECIALLYIFTHEYUSELOOK AHEAD TECHNIQUES24!3PLUG INSMOSTLYDONOTHAVESIGNIFICANTPROCESSINGLATENCIES ALTHOUGHSOMEDO 9OU CAN EASILY CHECK THE NUMBER OF SAMPLES OF DELAY ON ANY TRACK WHETHER INTRODUCED BY A PLUG IN OR BY AN EXTERNAL EFFECTS PROCESSOR AND THEN MANUALLY CORRECTFORTHIS*UST#OMMAND CLICK-AC OR#ONTROL CLICK7INDOWS ONTHE6OL 0EAK$ELAYVIEWBELOWTHETRACKFADERINTHE0RO4OOLS-IXWINDOWUNTILTHE$ELAY VIEWAPPEARS ANDYOUWILLSEETHEAMOUNTOFDELAYINSAMPLESREVEALEDHERE 9OU CAN MANUALLY COMPENSATE FOR THIS DELAY BY INSERTING A $IGI2ACK 4IME !DJUSTER PLUG IN ON ALL THE OTHER TRACKS IN THE SESSION AND SETTING THE DELAY TIMEONALLTHEOTHERTRACKSTOMATCHTHATOFTHEDELAYEDTRACK9OUCANCHOOSE FROMANYOFTHREESEPARATE4IME!DJUSTERPLUG INSSHORT WHICHALLOWSYOUTO DELAYTHEAUDIOSIGNALUPTOSAMPLESMEDIUMWITHUPTOSAMPLES ORLONGWITHUPTOSAMPLES

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!NOTHERWAYTOCOMPENSATEFORLATENCYISTOUSETHEhNUDGEvFEATUREWITH THISSETTOSAMPLESTONUDGETHEDELAYEDTRACKBACKINTIMEBYTHESAME AMOUNT AS THE DELAY REPORTED BY THE TRACKS $ELAY VIEW 4HIS IS FASTER TO SETUP SOITISUSEFULIFJUSTONEORTWOTRACKSNEEDCOMPENSATION BUTTHE OTHERMETHODISBETTERIFLOTSOFTRACKSNEEDDELAYCOMPENSATIONBECAUSEIT ISEASIERTOSEEWHICHTRACKSAREDELAYEDANDBYWHATAMOUNTSBYLOOKING AT THE $ELAY VIEW THEN MAKE ADJUSTMENTS TO THE 4IME !DJUSTER PLUG INS RATHERTHANNUDGINGLOTSOFTRACKSAROUND

Hardware Setup 4HE(ARDWARE3ETUPDIALOGLETSYOUMAKEVARIOUSSETTINGSFORYOURHARDWARE INTERFACE OR INTERFACES /N MOST SYSTEMS YOU WILL MAKE THESE SETTINGS WHEN YOUINSTALLYOUR0RO4OOLSSYSTEMANDTHENLEAVETHEMALONEFROMTHATPOINT ONWARD 11


9OUMAYNEEDTOADJUSTTHE(ARDWARE3ETUPIFYOUAREHOOKINGUPADDITIONAL EXTERNALEQUIPMENTFORAPARTICULARSESSION&OREXAMPLE ONARECENTSESSION )CONNECTEDA#EDAR$.3$IALOGUE.OISE3UPPRESSORTOTHE3ONY0HILIPS $IGITAL)NTERFACE30$)& INPUTANDOUTPUTONMY)/INTERFACEANDROUTED THISUSING)NPUTAND/UTPUTPAIRSnINTHE0RO4OOLSSOFTWARE

Figure 2.4 (ARDWARE 3ETUPDIALOGSHOWING )NPUTAND/UTPUTPAIRS nROUTEDVIATHE OPTICAL30$)&INPUTAND OUTPUTONTHE)/ INTERFACE

4HE(ARDWARE3ETUPDIALOGLETSYOUDECIDEWHICHINPUTSANDOUTPUTSWITHIN THESOFTWARETHEPHYSICALHARDWAREINPUTSANDOUTPUTSWILLBECONNECTEDTO )N THE (ARDWARE 3ETUP DIALOG THE NUMBERS AT THE LEFT OF THE CENTRAL SECTION nTHROUGHTOn REPRESENTTHENUMBERSTHATWILLBEGIVENTOTHEPAIRS OF INPUTS AND OUTPUTS IN THE 0RO 4OOLS SOFTWARE 4HE COLUMNS MARKED )NPUT AND /UTPUT HAVE POP UP SELECTORS THAT LET YOU SELECT WHICH PHYSICAL INPUTS OROUTPUTSWILLBEROUTEDTOTHE0RO4OOLSINPUTSANDOUTPUTSREPRESENTEDBY THENUMBERSTOTHELEFT)NTHEEXAMPLESHOWN THEPOP UPSELECTORHASBEEN USEDTOSELECTROUTETHE30$)&INPUTTO0RO4OOLSINPUTPAIRn

I/O Setup 4HE )/ 3ETUP DIALOG SHOWS THE SIGNAL ROUTINGS FOR EACH CONNECTED AUDIO INTERFACE AND ALLOWS YOU TO CHANGE THE ROUTING CONNECTIONS BETWEEN THE PHYSICALPORTSONTHEAUDIOINTERFACEANDTHEINPUTSANDOUTPUTSTO0RO4OOLS 9OU CAN CHANGE THE ROUTINGS FROM YOUR HARDWARE INTERFACES INTO THE 0RO 4OOLSSOFTWAREUSINGTHEROWOFPOP UPSELECTORSJUSTBELOWTHEINTERFACEICON INTHE)/3ETUPDIALOG )FYOUHAVEMADEANYSPECIALROUTINGSFORYOURSESSION ITISALWAYSAGOODIDEA TONAMETHE)NPUTS /UTPUTS ANDANY)NSERTS OR"USROUTINGSTOMAKEITEASIER TOCHOOSETHESEINTHE0RO4OOLSSOFTWARE 12


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4HESE CONTROLS MIRROR THE ROUTING CONTROLS THAT YOU WILL FIND IN THE (ARDWARE 3ETUP DIALOG AND CHANGES MADE IN THE )/ 3ETUP DIALOG ARE ALWAYSREFLECTEDINTHE(ARDWARE3ETUPDIALOG

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)FYOUHAVEOPENEDA0RO4OOLSSESSIONTHATWASRECORDEDONANOTHERSYS TEM YOUWILLPROBABLYWANTTOGOTHROUGHTHEDIFFERENTTABSFOR)NPUT /UTPUT )NSERT "US AND SO FORTH BY CLICKING ON THE $EFAULT BUTTON FOR EACH )/ 3ETUP SECTION TO RESET THESE LABELS TO THE DEFAULTS FOR YOUR SYSTEM

&OREXAMPLE )NAMED0RO4OOLSINPUTANDOUTPUTPAIRn30$)&TOMAKE ITCLEARTHATTHESEWERECONNECTEDTOTHE30$)&)/ONTHEHARDWARE7ITH HINDSIGHT ITMIGHTHAVEBEENEVENBETTERTONAMETHESEASh4O#EDAR)NPUTv AND h&ROM #EDAR /UTPUT v RESPECTIVELY 4HE POINT HERE IS THAT YOU CAN USE DESCRIPTIVENAMESFORTHE)NPUTS /UTPUTS )NSERTS ANDSOFORTH WHICHMAKES THINGSMUCHEASIERWHENYOUARESETTINGUPYOURTRACKSANDMIXERCONFIGURA TIONSDURINGYOUR0RO4OOLSSESSION 4HE/UTPUTSECTIONINTHE)/3ETUPDIALOGALSOLETSYOUCHOOSEVARIOUSOTHERSET TINGSSUCHASWHICHPHYSICALOUTPUTSONYOURINTERFACEARETOBEUSEDAS!UDITION 0ATHS !FTER &ADE,ISTEN!&, 0REFADE,ISTEN0&, 0ATH AND!&,0&,-UTE

Figure 2.5 )/3ETUP DIALOGSHOWINGAPOP UP SELECTORBEINGUSEDTO change the routing from THE0RO4OOLSSOFTWARETO AHARDWAREINTERFACE

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0&, IS USEFUL FOR MONITORING CHANNELS WITH THE FADERS ALL THE WAY DOWN so that you can listen for a noisy microphone coming through a chan NELWITHOUTHEARINGTHISINYOURMIX9OUCOULDSENDTHE0&,CHANNELSTO A HEADPHONE AMPLIFIER FOR EXAMPLE SO YOU CAN INDEPENDENTLY MONITOR THESECHANNELSTOMAKESURETHEYARE/+BEFOREFEEDINGTHEMINTOTHEMIX THATYOUARESENDINGTOA0!SYSTEMORFORBROADCAST7HENYOUMONITOR USING!&, THEVOLUMELEVELOFWHATYOUHEARDEPENDSONWHERETHEFADER ISSET3OIFYOUPULLTHECHANNEL FADER ALL THE WAY DOWN YOU WONT HEAR ANYTHINGTHROUGHTHISCHANNELWHENYOUAREUSING!&,

Auditioning audio from other applications 4HEREWILLBETIMESWHENYOUWANTTOAUDITIONAUDIOPLAYINGBACKFROMAPPLI CATIONS OTHER THAN 0RO 4OOLS WHILE YOU ARE RUNNING 0RO 4OOLS 4HE PROBLEM WITHTHISISTHATWHEN0RO4OOLSISRUNNINGITWILLNOTALLOWANYOTHERAPPLICA TIONTOUSETHEAUDIOHARDWARE 4HISCANBEAWKWARDWHENYOUWANTTOPLAYI4UNESBACKTHROUGHYOURMAIN MONITORS FOR EXAMPLE OR TO SET UP I#HAT ON YOUR -AC FOR VIDEO CONFERENC ING OVER THE )NTERNET USING YOUR MAIN MONITORS INSTEAD OF THE -ACS INTER NALSPEAKERS/RYOUMIGHTWANTTOPLAYBACKSOMEFILESFROMANOTHERAUDIO APPLICATIONSUCHAS")!30EAK /NEWAYTOHANDLETHISISTOCONNECTTHEAUDIOOUTPUTFROMYOURCOMPUTERS BUILT INSOUNDCARDDIRECTLYTOYOURMONITORS)FYOUAREMONITORING0RO4OOLS THROUGH AN EXTERNAL MIXER OR SOME KIND OF MONITOR SWITCHING SYSTEM THEN YOUWILLPROBABLYHAVEASTEREOINPUTTOTHISTHATYOUCANUSETOLISTENTOYOUR COMPUTERSAUDIOOUTPUTATTHESAMETIMEASTHE0RO4OOLSAUDIOOUTPUT )TCANSOMETIMESBEMORECONVENIENT TO ROUTE THE COMPUTERS AUDIO OUTPUT BACKINTO0RO4OOLSUSINGAPAIROFAVAILABLEINPUTSONYOUR$IGIDESIGNINTER FACE &OR INSTANCE ) TAKE THE OPTICAL 30 $)& OUTPUT FROM MY -AC AND CON NECTTHISTOTHEOPTICAL30$)&INPUTONMY0RO4OOLS)/INTERFACE)NTHE

Figure 2.6 Choosing the /PTICAL30$)&FORMAT INTHE(ARDWARE3ETUP WINDOW

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(ARDWARE 3ETUP WINDOW ) CHOOSE OPTICAL 30 $)& AS THE DIGITAL FORMAT AND SELECTAPAIROFINPUTSONTHEINTERFACETOUSETHEOPTICAL30$)&PORTS )NTHE)/3ETUPWINDOW )MAKESURETHATTHEINPUTS)AMUSINGARESWITCHED TO30$)&ANDNAMEDSOMETHINGDESCRIPTIVESUCHASh!UDIOFROMTHE-ACv

Figure 2.7 .AMINGAN )NPUTINTHE)/3ETUP WINDOW

$ONTFORGETTHATYOUWILLALSONEEDTOSETTHESOUNDOUTPUTFROMTHE-ACTO USETHEOPTICALDIGITALOUTPUTS 9OUMAYALSONEEDTOCHANGETHESAMPLERATETOMATCHYOURSESSIONUSINGTHE -ACS!UDIO-)$)3ETUPUTILITY

Figure 2.8 3ETTHE3OUND /UTPUTINTHE3YSTEM Preferences to use the OPTICALDIGITAL OUTPORT

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/NE LIMITATION HERE IS THAT THE -AC CANNOT HANDLE SAMPLE RATES HIGHER THAN K(Z 4HE PRACTICAL CONSEQUENCE OF THIS IS THAT YOU WOULD HEAR RANDOMCLICKINGSOUNDSIFYOUTRYTOPLAYORK(ZAUDIOFROMYOUR -ACTHROUGHANORK(ZORHIGHERSAMPLERATE 0RO4OOLSSESSION BECAUSETHEDIGITALAUDIOWOULDNOTBECORRECTLYSYNCHRONIZED

7ITHTHISSETUP ALLTHATREMAINSISTOINSERTASTEREO!UXCHANNELINTOYOUR0RO 4OOLSSESSIONANDCHOOSE!UDIOFROMTHE-ACASITSINPUTTOHEARAUDIOCOM INGFROMANYOFYOUR-ACAPPLICATIONS ORFROMTHE3YSTEM ROUTEDINTOYOUR 0RO4OOLSSESSION 15


Figure 2.9 Changing the SAMPLERATEINTHE!UDIO -)$)3ETUPWINDOW

Figure 2.10 !UXCHANNEL MONITORINGTHE-ACS AUDIO

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7ITHTHEBUILT INAUDIOROUTEDINTOYOUR0RO4OOLSSESSIONTHROUGHAN!UX CHANNEL YOU WILL HEAR ANY BEEPS OR OTHER 3YSTEM SOUNDS THAT ARE PRO DUCEDWHENYOUSAVEAFILEOREMPTYTHETRASH)TCANBEAPROBLEMIFYOU FORGETABOUTTHIS ESPECIALLYINTHEMIDDLEOFAMIX SOITISPROBABLYBESTTO MUTETHIS!UXCHANNELWHENEVERYOUARENOTSPECIFICALLYUSINGIT

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2.3 The user interface 0RO4OOLSHASANEWGRAPHICUSERINTERFACETHATOFFERSAMORECOLORFULLOOK THATMAYAPPEALMORETOCREATIVEMUSICIANS)TSTILLHASMOSTOFTHEFEATURESOF PREVIOUSVERSIONS BUTWITHSUBTLEENHANCEMENTS ANDITOFFERSEASIERACCESSTO VARIOUSEDITINGOPTIONSTHATUSEDTOBEINTHE0RO4OOLS0REFERENCES

The QuickStart dialog 7HEN YOU LAUNCH 0RO 4OOLS THE 1UICK3TART DIALOG APPEARS UNLESS YOU HAVE PREVIOUSLYDESELECTEDTHISOPTIONINTHE/PERATION0REFERENCES 5SINGTHISDIA LOG YOUCANCREATEABLANKSESSION CREATEANEWSESSIONFROMATEMPLATE OPEN ANYOFTHELASTPREVIOUSLYOPENEDSESSIONS OROPENANYEXISTINGSESSION

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)FYOUCLICKONTHE3ESSION0ARAMETERSARROWINTHE1UICK3TARTDIALOG YOU CAN CHOOSE A DIFFERENT AUDIO FILE TYPE BIT DEPTH OR SAMPLE RATE FOR YOUR NEWSESSION

!SELECTIONOFTEMPLATESISPROVIDEDINTHE1UICK3TARTDIALOGCONTAININGUSEFUL 3ESSION CONFIGURATIONS n AND YOU CAN EASILY CREATE YOUR OWN IF YOU PREFER 3IMPLY CREATE A NEW 0RO 4OOLS SESSION CONFIGURE IT HOWEVER YOU LIKE AND CHOOSE 3AVE AS 4EMPLATE FROM THE &ILE MENU &OR SONGWRITING YOU MIGHT JUSTHAVEONEMONOTRACKFORGUITAR ASECONDMONOTRACKFORVOICE ASTEREO )NSTRUMENT PLUG IN FOR DRUMS OR PERCUSSION AN !UXILIARY )NPUT WITH A REVERB PLUG ININSERTED ANDASTEREO-ASTER&ADER )N THE 3AVE 3ESSION 4EMPLATE DIALOG YOU CAN CHOOSE )NSTALL 4EMPLATE IN 3YSTEM WHICHINSTALLSTHETEMPLATEFILEINTHESYSTEMFOLDERREFERENCEDBYTHE 0RO4OOLS3ESSION1UICK3TARTDIALOG !LTERNATIVELY YOU CAN CHOOSE 3ELECT ,OCATION FOR 4EMPLATE WHICH LETS YOU SELECTANYOTHERLOCATION INWHICHCASETHESESSIONTEMPLATEWONTAPPEARIN THE0RO4OOLS3ESSION1UICK3TARTDIALOGnBUTYOUCANSIMPLYOPENTHISFILETO STARTANEWSESSIONFROMTHISTEMPLATE

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9OU MIGHT PREFER THIS SECOND METHOD IF YOU WANT TO KEEP THE TEMPLATE WITH THE PROJECT THAT YOU ARE WORKING ON AND INTEND TO MOVE THIS TO ANOTHERSYSTEMATSOMEPOINTDURINGTHEPROJECT

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7HENTHE)NCLUDE-EDIAOPTIONISENABLED ANYAUDIO -)$) ORVIDEOMEDIA IN THE SESSION IS INCLUDED IN THE TEMPLATE 4HIS IS USEFUL IF YOU WANT TO USE SOME STANDARD MEDIA ELEMENTS SUCH AS A PARTICULAR SOUND EFFECT OR DRUM LOOP INASERIESOFRELATED0RO4OOLSSESSIONS

Opening sessions with plug-ins deactivated )FYOUAREUSINGALOTOFPLUG INSINAPARTICULARSESSION THESECANTAKEALONG TIMETOLOAD)FYOUSIMPLYWANTTOOPENTHESESSIONTOCHECKIFTHISISTHEONE YOUWANTTOWORKWITH ORTOMAKESOMECHANGESTHATYOUWILLNOTNEEDTHE PLUG INSFOR 0RO4OOLSPROVIDESACONVENIENTWAYTOOPENSESSIONSWITHALLOF THESESSIONSPLUG INSSETTOINACTIVE &ROM THE &ILE -ENU CHOOSE /PEN 7HEN THE /PEN 3ESSION DIALOG APPEARS FIRSTLOCATEANDSELECTTHESESSIONYOUWANT THEN3HIFT CLICK/PEN4HESESSION WILLNOWOPENWITHTHEPLUG INSDEACTIVATED )FYOUDECIDETHATYOUDOWANTTOWORKWITHTHISFILEWITHTHEPLUG INSLOADED ANDACTIVATED YOUCANEITHERCHOOSE2EVERTTO3AVEDFROMTHE&ILEMENUOR CHOOSE/PEN2ECENTFROMTHE&ILEMENUANDSELECTTHEMOSTRECENTSESSIONIN THESUB MENU

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4HERE IS A CONVENIENT KEYBOARD COMMAND THAT LETS YOU REOPEN THE MOST RECENTLY OPENED SESSION #OMMAND 3HIFT / -AC OR #ONTROL 3HIFT / 7INDOWS

Setting the Color Palette /NEOFTHEFIRSTTHINGSYOUWILLNOTICEIFYOUHAVEUSEDPREVIOUSVERSIONSOF0RO 4OOLS IS THE GREATER USE OF COLOR IN THE NEW USER INTERFACE 4HE #OLOR 0ALETTE LETSYOUMAKECOLORSELECTIONSFORTRACKS REGIONS GROUPS ANDMARKERS)TALSO LETSYOUAPPLYCOLORSTOCHANNELSTRIPSINTHE-IXAND%DITWINDOWSANDLETS YOUADJUSTTHESATURATIONANDBRIGHTNESSOFTHECOLORSTOEMULATETHEWAYTHAT OTHERPOPULARUSERINTERFACESLOOK

Managing your Window Configurations 0RO 4OOLS LETS YOU SAVE YOUR CURRENT ARRANGEMENT OF WINDOWS ONSCREEN AS A 7INDOW #ONFIGURATION THAT YOU CAN QUICKLY RECALL AT ANY TIME FROM THE 7INDOW#ONFIGURATIONS,IST 4O OPEN THE 7INDOW #ONFIGURATIONS ,IST YOU CAN EITHER SELECT THIS FROM THE #ONFIGURATIONS SUB MENU IN THE 7INDOW MENU OR PRESS #OMMAND /PTION

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-AC OR#ONTROL !LT7INDOWS ANDTHELETTERhJvONYOURCOMPUTERKEYBOARD (ERE YOUWILLSEEANY7INDOW#ONFIGURATIONTHATYOUHAVEALREADYCREATED

Figure 2.11 The 7INDOW#ONFIGURATIONS ,ISTSHOWINGNINESAVED CONFIGURATIONS

/NLY ONE 7INDOW #ONFIGURATION CONTAINING A 7INDOW ,AYOUT CAN BE ACTIVE AT ANY TIME AND TO INDICATE WHICH OF THE CONFIGURATIONS IN THE LIST IS ACTIVE THISWILLHAVEABLACKDOTTOTHELEFTOFITSLISTNUMBER )F YOU HAVE CREATED LOTS OF WINDOW CONFIGURATIONS IT CAN BE DIFFICULT TO FIND THEONEYOUWANTTORECALLQUICKLY4OMAKETHISEASIER YOUCANFILTEROUTCON FIGURATIONS THAT YOU ARE NOT INTERESTED IN USING THE OPTIONS IN THE 7INDOW #ONFIGURATIONS,ISTPOP UPMENUORBYCLICKINGONTHE6IEW&ILTERICONSINTHE 7INDOW#ONFIGURATIONS,IST 5SINGEITHEROFTHESEMETHODS YOUCANSHOWORHIDE7INDOW#ONFIGURATIONS BASEDONWHETHERORNOTTHEYARESTOREDWITH7INDOW,AYOUT %DIT7INDOW SETTINGS -IX 7INDOW SETTINGS 3CORE %DITOR 4RANSPORT OR 4ARGETED -)$) %DITOR7INDOWSETTINGS

Figure 2.12 7INDOW #ONFIGURATIONS,IST WINDOWSHOWINGPOP UP MENUWITHVIEWFILTER OPTIONS

)F YOU WANT TO CHANGE THE WAY YOU HAVE CONFIGURED ONE OF YOUR WIN DOW CONFIGURATIONS JUST SELECT THIS MAKE YOUR CHANGES THEN CHOOSE THE 19


5PDATE #ONFIGURATION .AME COMMAND FROM THE 7INDOW #ONFIGURATIONS ,ISTPOP UPMENU

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)FINDMYSELFMOSTLYWORKINGWITHINONEhNORMALvLAYOUTTHATSHOWSBOTH THE %DIT AND -IX WINDOWS (OWEVER AS ) ADD TRACKS TO THE MIXER AND ADJUSTTHESIZEOFTHE-IXWINDOWANDCHANGESETTINGSINTHE%DITWINDOW ) USUALLY WANT TO RETAIN THESE NEW LAYOUTS AND SETTINGS 4HE BEST WAY TO DO THIS IS TO ENABLE h!UTO 5PDATE !CTIVE #ONFIGURATIONv IN THE 7INDOW #ONFIGURATIONSSUB MENU

Figure 2.13 !UTO 5PDATE!CTIVE Configuration option in the Configurations SUB MENU

#REATING7INDOW#ONFIGURATIONS 7HYWOULDYOUWANTTOUSEDIFFERENTWINDOWCONFIGURATIONS7ELL FOREXAM PLE YOUMAYWANTTOCLOSETHE-IXAND%DITWINDOWSWHENYOUAREEDITING 3COREAND-)$)DATASOTHATYOUCANFOCUSONUSINGJUSTTHESEWINDOWS!LL YOU NEED TO DO IS TO CLOSE THE WINDOWS THAT YOU DONT WANT INCLUDED AND OPENTHEONESYOUDOWANT POSITIONINGTHESEWHEREVERYOULIKEONSCREEN

Figure 2.14 3COREAND -)$)%DITINGWINDOW CONFIGURATION

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4O CREATE THE CONFIGURATION CHOOSE .EW #ONFIGURATION FROM THE POP UP MENU AVAILABLE AT THE RIGHT OF THE 7INDOW #ONFIGURATIONS ,IST )N THE .EW 7INDOW#ONFIGURATIONDIALOGTHATAPPEARS YOUCANNAMEYOURCONFIGURATION THENCLICK/+TOSAVEIT )F YOU ENABLE THE 7INDOW ,AYOUT BUTTON THE SIZE AND LOCATION OF ALL THE OPEN WINDOWS WILL BE STORED WITH THE 7INDOW #ONFIGURATION ! CHECKBOX BELOWTHISLETSYOUOPTIONALLYINCLUDEALLTHEWINDOWDISPLAYSETTINGSSUCHAS WHETHERORNOTTHE2EGION,ISTISSHOWNINTHE%DITWINDOW FORTHE%DIT -IX 4ARGETED-)$)%DITOR 3CORE%DITOR AND4RANSPORT$ISPLAY

Figure 2.15 Creating ANEWWINDOW CONFIGURATION

9OUCANSTOREANDRECALLUPTOWINDOWCONFIGURATIONSALONGWITHOTHERSET TINGSSUCHASTHE:OOM4OGGLEPREFERENCES THETRACKHEIGHTS ANDTHEINTERNAL WINDOWCONFIGURATIONSOFTHEMAINWINDOWS

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4HE7INDOW#ONFIGURATIONMEMORYSLOTNUMBERSCANBEUSEDTOQUICKLY RECALL INDIVIDUAL CONFIGURATIONS USING THE NUMERIC KEYPAD ON YOUR COMPUTERS KEYBOARD PRESS PERIOD FIRST RELEASE THIS AND THEN PRESS THE NUMBER OF THE 7INDOW #ONFIGURATION RELEASE THIS AND THEN PRESS THEASTERISK 4HISSERIESOFACTIONSWILLRECALLTHE7INDOW#ONFIGURATION STOREDINTHATSLOT

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7INDOW #ONFIGURATIONS ARE PARTICULARLY USEFUL WHEN YOU HAVE LIMITED SCREEN SPACE SO)ALWAYSCREATEACOMPACTLAYOUTCONTAININGTHE%DITAND-IXWIN DOWSWHEN)AMUSINGALAPTOP FOREXAMPLE

7INDOW$ISPLAY3ETTINGS 9OU CAN ALSO STORE THE WINDOW DISPLAY SETTINGS FOR THE %DIT -IX 4RANSPORT 3CORE %DITOR AND 4ARGETED -)$) %DITOR WINDOWS AS RECALLABLE WINDOW CONFIGURATIONS 4HE WINDOW DISPLAY SETTINGS FOR THE %DIT WINDOW INCLUDE THE WIDTH OF THE 4RACKS ,IST AND 'ROUP ,IST THE HEIGHT OF THE 4RACKS ,IST THE WIDTH OF THE 2EGION,ISTWHATRULERSARESHOWNTHEMAINRULERISALWAYSSHOWN WHATTRACK COLUMNSARESHOWNSUCHAS)NSERTS 3ENDS OR#OMMENTS THE4EMPOEDITOR DISPLAYANDWHETHERTHE4RANSPORTCONTROLSARESHOWNINTHE%DITWINDOW

Figure 2.16 %DIT 7INDOW$ISPLAY3ETTINGS

4HEWINDOWDISPLAYSETTINGSFORTHE-IXWINDOWINCLUDETHEWIDTHOFTHE4RACKS ,IST AND 'ROUP ,IST THE HEIGHT OF THE 4RACKS ,IST WHAT TRACK ROWS ARE SHOWN SUCHAS)NSERTS 3ENDS OR#OMMENTS ANDTHE.ARROW7IDEMIXERVIEW 4HE4RANSPORT7INDOW$ISPLAY3ETTINGSOPTIONSTORESALLWINDOWDISPLAYSET TINGS FOR THE 4RANSPORT WINDOW INCLUDING THE #OUNTERS -)$) CONTROLS AND %XPANDEDVIEWSETTINGS ANDLETSYOURECALLTHE4RANSPORTWINDOWWITHTHESE SETTINGSWHENITISCLOSED 4HE 3CORE %DITOR 7INDOW $ISPLAY 3ETTINGS OPTION STORES ALL THE CURRENT WINDOWDISPLAYSETTINGSFORTHE3CORE%DITORWINDOW 4HE4ARGETED-)$)%DITOR7INDOW$ISPLAY3ETTINGSOPTIONSTORESTHECURRENT AUTOMATION PANES AND HEIGHTS AND THE CURRENT SETTINGS OF WHICH RULERS AND ROWSAREBEINGSHOWNINTHETARGETED-)$)%DITORWINDOW 22


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)FYOUJUSTWANTTOBEABLETORECALLTHESIZE LOCATION ANDORDEROFAPAR TICULARSETOFWINDOWSTHATYOULIKETOWORKWITH BUTWITHOUTRECALLINGTHE DISPLAY SETTINGS WITHIN THOSE WINDOWS YOU CAN SIMPLY STORE THE 7INDOW ,AYOUT WITH THE h)NCLUDE x $ISPLAY 3ETTINGSv OPTION DESELECTED IN THE .EW7INDOW#ONFIGURATIONDIALOG

Figure 2.17 7INDOW ,AYOUTCONFIGURATION

The Universe View 0RO4OOLSHASANAVIGATIONFEATURECALLEDTHE5NIVERSE6IEWTHATRUNSALONG THE TOP OF THE %DIT WINDOW 4HIS DISPLAYS AN OVERVIEW OF THE ENTIRE SESSION SHOWING A COMPACT REPRESENTATION OF ALL THE AUDIO AND -)$) DATA ON TRACKS THATARENOTHIDDEN !UDIO -)$) ANDVIDEOREGIONSONTRACKSAREREPRESENTEDBYHORIZONTALLINES THATARETHESAMECOLORSASTHEREGIONSONTHETRACKS ANDEACHCHANNELINA STEREOORMULTICHANNELAUDIOTRACKISREPRESENTEDINDIVIDUALLY3INCE!UXILIARY )NPUT -ASTER &ADER AND 6#! -ASTER TRACKS DO NOT CONTAIN AUDIO OR -)$) REGIONS THEYAREDISPLAYEDASBLANKAREASINTHE5NIVERSE6IEW

Figure 2.18 The 5NIVERSE6IEW

4O MAKE MATERIAL VISIBLE WITHIN THE CONFINES OF THE %DIT WINDOW YOU OFTEN NEED TO USE THE VERTICAL AND HORIZONTAL SCROLL BARS SO THAT YOU CAN SEE WHAT YOUNEEDTOSEE4HE5NIVERSE6IEWPROVIDESANALTERNATIVEWAYOFPOSITIONING MATERIALINTHE%DITWINDOWSOTHATITISVISIBLE ! WHITE RECTANGULAR AREA WITHIN THE 5NIVERSE 6IEW REPRESENTS WHAT IS VISIBLE IN THE 4RACKS AREA OF THE %DIT WINDOW 9OU CAN CLICK ON AND DRAG THIS WHITE 23


R ECTANGLETOMOVETHEAREATHATITENCOMPASSESORhFRAMESv ANDTHEMATERIAL DISPLAYED IN THE %DIT WINDOW WILL FOLLOW 4HIS CAN BE A MUCH FASTER METHOD THANUSINGTHESCROLLBARSTOACHIEVETHESAMERESULT 4HE FRAMED AREA UPDATES TO REFLECT WHAT IS HAPPENING IN THE %DIT WINDOW SOWHENALLTHETRACKSAREMADEVISIBLEINTHE%DITWINDOWANDTHESESSIONIS ZOOMEDALLTHEWAYOUTWITHALLREGIONSVISIBLEINTHE%DITWINDOW THEFRAMED AREAENCLOSESTHEWHOLEOFTHE5NIVERSEWINDOW$URINGPLAYBACK IFTHE%DIT WINDOWISSETTOSCROLL THEFRAMEDAREAINTHE5NIVERSE6IEWWILLSCROLLTOKEEP INSTEPWITHTHIS

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0RO 4OOLS ($ ALSO HAS A 6IDEO 5NIVERSE WINDOW ACCESSIBLE FROM THE 7INDOWMENUTHATLETSYOUVIEW NAVIGATE ZOOM ANDSELECTVIDEOREGIONS ONTHEMAINVIDEOTRACK

2.4 The main windows 4HE%DITAND-IXWINDOWSARETHEMAIN0RO4OOLSWORKAREAS$EPENDINGON WHICHPHASEOFYOURPROJECTYOUAREINORWHATTYPEOFPROJECTYOUAREWORK INGON YOUMAYPREFERTOWORKWITHJUSTTHE-IXORJUSTTHE%DITWINDOW 9OUCANUSETHE6IEW-ENUTOCHOOSEWHATWILLBEPRESENTEDTOYOUINTHE%DIT AND-IXWINDOWS3O FOREXAMPLE IFYOUREVEALTHE)NSTRUMENTS )/CONTROLS )NSERTS AND 3ENDS IN THE %DIT WINDOW YOU CAN MOSTLY WORK IN JUST THE %DIT WINDOW WHICHSOMEPEOPLEFINDEASIERTHANWORKINGINTWOWINDOWS

Figure 2.19 2EVEALING THE)/CONTROLSINTHE %DITWINDOW

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Organizing the Transport window 4HE4RANSPORTWINDOWTAKESITSNAMEFROMTHENAMEGIVENTOTHECONTROLSTHAT WEREUSEDONTAPERECORDERSTOCONTROLTHETAPETRANSPORTnTHATIS THEMECHA NISMTHATCAUSEDTHETAPETOBETRANSPORTEDALONGITSPATHACROSSTHETAPEHEADS 0RESUMABLY $IGIDESIGN CHOSE THIS NAME TO MAKE RECORDING ENGINEERS AND PRO DUCERSWHOSTARTEDOUTUSINGTAPERECORDERSFEELMORECOMFORTABLEWITHTHEIRDIG ITALAUDIORECORDER)NTERESTINGLY AHARDDISKDRIVEISLIKEAHYBRIDBETWEENATAPE RECORDERANDAVINYLDISCRECORDERLIKEAVINYLDISCRECORDER ITHASAROTATINGPLAT TERANDAREADWRITEHEADONAMOVABLEARMORSEVERALOFTHESE ANDLIKEATAPE RECORDER ITRECORDSTHEAUDIOASPATTERNSOFMAGNETIZATIONONAMAGNETICMEDIUM nANANALOGPROCESS(OWEVER ASFARASTHECOMPUTERISCONCERNED THEAUDIOIS RECORDEDANDPLAYEDBACKDIGITALLYASASERIESOFSANDSFROMAFILEONDISK #LEARLY THE 4RANSPORT WINDOW IS AN IMPORTANT PART OF ANY 0RO 4OOLS SYSTEM n ALLOWINGYOUTOCONTROLRECORDINGANDPLAYBACKOFAUDIOAND-)$) n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


4EMPOCONTROLSABOVETHE-)$)CONTROLS9OUCANEITHERENTERTHETEMPOMANU ALLYHEREORYOUCANENABLETHE4EMPOTRACKBYCLICKINGONTHE#ONDUCTORBUTTON 5NDERNEATH THE TRANSPORT CONTROLS THE %XPANDED 4RANSPORT WINDOW ADDS 0REROLLAND0OSTROLLSETTINGS ALONGWITH3TART %ND AND,ENGTHINDICATORSFOR MAKING4IMELINESELECTIONS Figure 2.20 Transport 7INDOWEXPANDEDTO SHOWTHE#OUNTERSAND -)$)#ONTROLSWITHTHE POP UPSELECTORFORTHESE REVEALEDATTHEFARRIGHT

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4OSTARTANDSTOPTHEPLAYBACK SIMPLYPRESSTHE3PACEBARONYOURCOMPU TERKEYBOARD

Transport Preferences 4OBEFULLYINCONTROLOF0RO4OOLS YOUNEEDTOUNDERSTANDTHEEFFECTSTHATTHE VARIOUS4RANSPORT0REFERENCESSETTINGSHAVE )F h4IMELINE )NSERTION0LAY 3TART -ARKER &OLLOWS 0LAYBACKv IS SELECTED WHEN YOU STOP PLAYBACK THE 4IMELINE )NSERTION AND THE 0LAY 3TART -ARKER BOTH MOVE TO THE POINT ON THE 4IMELINE WHERE PLAYBACK STOPS /THERWISE WHEN THIS OPTION IS DESELECTED THE 4IMELINE )NSERTION AND 0LAY 3TART -ARKER WILL RETURNTOTHEPOINTONTHE4IMELINEFROMWHICHPLAYBACKBEGAN

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4HISISSUCHANIMPORTANTSETTINGTHATTHEREISADEDICATEDBUTTONONTHE 4OOLBAR MARKED h)NSERTION &OLLOWS 0LAYBACK v WHICH LETS YOU TOGGLE THIS OPTIONONANDOFF 7HENh%DIT)NSERTION&OLLOWS3CRUB3HUTTLEvISSELECTED THEEDITCURSORAUTO MATICALLYLOCATESTOTHEPOINTONTHE4IMELINEWHEREYOUSTOPSCRUBBINGTHE AUDIO 7HEN h!UDIO DURING &AST &ORWARD2EWINDv IS SELECTED YOU WILL HEAR THE AUDIOPLAYINGBACKDURINGFASTFORWARDORREWIND 7HENh,ATCH&ORWARD2EWINDvISSELECTED &AST&ORWARDAND2EWINDWILLLATCH AND CONTINUE TO OPERATE UNTIL YOU START OR STOP PLAYBACK 7HEN THIS PREFER ENCE IS DISABLED THE &AST &ORWARD AND 2EWIND WILL ONLY LAST AS LONG AS YOU 26


HOLD DOWN THE MOUSE AFTER CLICKING EITHER BUTTON ON THE 4RANSPORT OR HOLD DOWNTHECORRESPONDINGSWITCHONA#ONTROL3URFACE

Figure 2.21 Transport PREFERENCES

7HEN h0LAY 3TART -ARKER &OLLOWS 4IMELINE 3ELECTIONv IS ENABLED THE 0LAY 3TART-ARKERSNAPSTOTHE4IMELINE3ELECTION3TART-ARKERWHENYOUMOVETHE 4IMELINE3ELECTION ORWHENYOUDRAWANEW4IMELINE3ELECTION ORWHENYOU ADJUSTTHE4IMELINE3ELECTION3TART7HENTHISPREFERENCEISDISABLED THE0LAY 3TART-ARKERDOESNTMOVEWITHTHE4IMELINESELECTION 7HEN h2ESERVE 6OICES FOR 0REVIEW IN #ONTEXTv IS ENABLED 0RO 4OOLS RESERVES THE APPROPRIATE NUMBER OF VOICES FOR PREVIEW IN CONTEXT THE FEATURE THAT ALLOWSPREVIEWINGAUDIOFILESIN$IGI"ASEDURINGSESSIONPLAYBACK

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7HENYOUARERESERVINGVOICESFOR0REVIEWIN#ONTEXT THESEARENOLONGER available to use for other purposes, because the number of available VOICESISINEVITABLYREDUCEDBYTHECHANNELWIDTHOFTHESELECTED!UDITION 0ATHS ON THE /UTPUT PAGE OF THE )/ 3ETUP WINDOW &OR EXAMPLE IF THE NUMBER OF PLAYBACK VOICES IS SET TO IN THE 0LAYBACK %NGINE AND YOU HAVEASTEREOAUDITIONPATHSELECTEDINTHE)/3ETUP ONLYVOICESWILL BEAVAILABLEFORTRACKS)FYOUHAVEAAUDITIONPATH ONLYVOICESWILL BEAVAILABLE7HENTHISOPTIONISDISABLED YOUWILLNOTBEABLETOPREVIEW INCONTEXTIFTHEREARENOTENOUGHAVAILABLEVOICES

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9OUCANUSETHE#USTOM3HUTTLE,OCK3PEEDPREFERENCETOCUSTOMIZETHEHIGH EST FAST FORWARD 3HUTTLE ,OCK SPEED IN 4RANSPORT OR #LASSIC NUMERIC KEYPAD MODES4HERANGEFORTHISSETTINGISn 9OUCANUSETHE"ACK&ORWARD!MOUNTTOSETTHEDEFAULTLENGTHOF"ACK "ACK AND0LAY &ORWARD AND&ORWARDAND0LAY4HETIMEBASEOFTHE"ACK&ORWARD !MOUNT SETTINGS FOLLOWS THE -AIN 4IME 3CALE BY DEFAULT OR YOU CAN DESE LECT &OLLOW -AIN 4IME 3CALE AND SELECT ANOTHER TIMEBASE FORMAT "ARS"EATS -IN3EC 4IME#ODE &EET&RAMES OR3AMPLES 7HEN h5SE 3EPARATE 0LAY AND 3TOP +EYSv IS ENABLED YOU CAN START PLAYBACK WITHTHE%NTERKEYANDSTOPPLAYBACKWITHTHEKEYONTHENUMERICKEYPAD h5SE 3EPARATE 0LAY AND 3TOP +EYSv IS ONLY AVAILABLE WHEN YOU ARE USING THE .UMERIC+EYPADS4RANSPORTMODE

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3ETTINGUP0RO4OOLSTOUSE THE %NTER AND KEYS ON THE NUMERIC KEYPAD TOSTARTANDSTOPPLAYBACKMAKES0RO4OOLSBEHAVELIKE#UBASEANDOTHER POPULAR-)$)!UDIOSOFTWAREAPPLICATIONSANDISPARTICULARLYUSEFULWHEN YOUWANTTOQUICKLYAUDITIONTHELOOPTRANSITIONS

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7HENh5SE3EPARATE0LAYAND3TOP+EYSvISENABLED THISOPTIONOVERRIDES USING THE %NTER KEY TO ADD -EMORY ,OCATION MARKERS SO IF YOU DO NEED TO ADD A -EMORY ,OCATION MARKER WHILE THIS IS ACTIVE YOU NEED TO PRESS PERIOD BEFOREYOUPRESS%NTERONTHENUMERICKEYPAD

Scrub/Shuttle and the Numeric Keypad modes 4OUNDERSTANDWHICH.UMERIC+EYPADMODETOCHOOSE YOUNEEDTOUNDER STANDTHE3CRUB3HUTTLEFEATURESFIRST

5SINGTHE3CRUBBER4OOLS 3CRUBBING IS A TECHNIQUE BORROWED FROM TAPE EDITING WHERE THE TAPE WAS MOVEDBACKANDFORTHPASTTHEPLAYBACKHEADBYHANDWHILELISTENINGTOTHE AUDIOTOFINDASUITABLEEDITPOINTFORCUTTINGORSPLICING4HE3CRUBBERTOOLIN 0RO4OOLSEMULATESTHISPROCEDURE ALLOWINGYOUTOhSCRUBvUPTOTWOTRACKSOF AUDIOINTHE%DIT7INDOW-)$)AND)NSTRUMENTTRACKSCANNOTBESCRUBBED 4OSCRUBASINGLEAUDIOTRACK SELECTTHE3CRUBBERTOOL THENPOINT CLICK AND DRAGWITHINTHETRACK MOVINGLEFTFORREVERSEORRIGHTFORFORWARD 28


Figure 2.22 Scrubbing BYDRAGGINGWITHINA SINGLETRACK

4OSCRUBTWOAUDIOTRACKS DRAGBETWEENTHEADJACENTTRACKSORSCRUBWITHINA SELECTIONTHATCONTAINSMULTIPLETRACKS

Figure 2.23 Scrubbing BYDRAGGINGBETWEENTWO ADJACENTTRACKS

)FTHEh%DIT)NSERTION&OLLOWS3CRUB3HUTTLEvOPTIONISENABLEDINTHE/PERATION 0REFERENCESPAGE WHENYOUSTOPSCRUBBING THEEDITCURSORWILLAUTOMATICALLY LOCATE TO THE POINT WHERE YOU STOPPED )T MAKES MOST SENSE TO ENABLE THIS OPTIONWHENYOUAREUSINGTHE3CRUBBERTOOLBECAUSEYOUWILLUSUALLYWANTTO INSERTTHEEDITCURSORATTHISPOINTTOMAKEYOUREDIT 4OMAKETHESCRUBFEATUREEVENMORELIKETAPEEDITING YOUCANSETTHE3CROLLING OPTIONTO#ONTINUOUSOR#ENTER0LAYHEAD7ITHEITHEROFTHESESCROLLINGMODES WHEREVER YOU CLICK IN A TRACKS PLAYLIST WITH THE 3CRUBBER TOOL ACTIVATED 0RO 4OOLSSCROLLSSOTHATTHE0LAYHEADISCENTEREDINTHE%DITWINDOW4HEN ASYOU SCRUB THE AUDIO IT MOVES PAST THE 0LAYHEAD WHICH REMAINS STATIONARY AND CENTEREDnMORELIKEMOVINGTHETAPEBACKANDFORTHPASTAFIXEDPLAYHEAD

Figure 2.24 Scrubbing WITH#ENTER0LAYHEAD SCROLLINGENABLED

4O GET USED TO USING THE 3CRUBBER TOOL IS EASY ENOUGH *UST MOVE THE MOUSE BACKANDFORTHOVERTHEAUDIOWHEREYOUARETRYINGTOFINDTHECORRECTEDITPOINT MOVINGPROGRESSIVELYMORESLOWLYUNTILYOUHAVEIDENTIFIEDTHESPOT4HISCANBE MUCHEASIERTOCONTROLIFYOUAREUSINGASCRUBWHEELONACONTROLSURFACE 29


+EEP IN MIND THAT THE SPEED OF PLAYBACK OF THE SCRUBBED AUDIO DEPENDS ON HOW FAST AND HOW FAR YOU DRAG !LSO THE RESOLUTION FOR THE 3CRUBBER IS DEPENDENT ON THE ZOOM FACTOR FOR THE SCRUBBED TRACK SO YOU MAY NEED TO ZOOMINORZOOMOUTFORBESTRESULTS

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9OU CAN TEMPORARILY SWITCH THE 3ELECTOR TOOL TO THE 3CRUBBER TOOL BY #ONTROL CLICKING -AC OR 3TART CLICKING 7INDOWS &OR A FINER RESOLUTION #OMMAND #ONTROL CLICK-AC OR#ONTROL 3TART CLICK7INDOWS

3CRUB3HUTTLEMODE 4HE 3CRUBBER TOOL LETS YOU SCRUB AT NORMAL PLAYBACK SPEEDS OR SLOWER 3OMETIMES WHEN YOU ARE LOOKING THROUGH LARGER RANGES OF AUDIO YOU MAY WANT TO SCRUB AT FASTER THAN NORMAL SPEEDS IN WHAT IS CALLED 3HUTTLE MODE 4OSCRUBIN3HUTTLEMODE SIMPLYHOLDDOWNTHE/PTIONKEY-AC OR!LTKEY 7INDOWS WHILEYOUDRAGWITHINTHETRACKWITHTHE3CRUBBERTOOLSELECTED 4HE&AST&ORWARDAND2EWINDBUTTONSINTHE4RANSPORTWINDOWWILLENGAGETO INDICATETHATYOUAREINFASTFORWARDREWIND3HUTTLEMODE

Figure 2.25 3CRUB 3HUTTLEMODESHOWING THE&AST&ORWARDAND 2EWINDBUTTONSIN THE4RANSPORTWINDOW ENGAGED

3HUTTLE,OCKMODE 3HUTTLE,OCKMODELETSYOUSHUTTLEFORWARDORBACKWARDTHROUGHYOURAUDIO WHILE CONTROLLING THE SPEED AND DIRECTION USING THE COMPUTER KEYBOARD INSTEADOFUSINGTHEMOUSEORSCRUBWHEEL 4OENTER3HUTTLE,OCKMODE HOLDDOWNTHE#ONTROLKEY-AC OR3TARTKEY 7INDOWS AND PRESS A NUMBER ON THE NUMERIC KEYPAD 9OU CAN LET GO OF THE MODIFIER KEY ONCE PLAYBACK HAS STARTED AND YOU CAN REVERSE THE DIREC TIONOFPLAYBACKBYPRESSINGTHEMINUS ORPLUS KEYSONTHENUMERIC KEYPAD

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4OCHANGETHESPEEDOFPLAYBACK HOLDDOWNTHEMODIFIERKEYAGAINANDPRESS A DIFFERENT NUMBER ON THE NUMERIC KEYPAD IS THE NORMAL SPEED NUMBERS FROMUPTOPROVIDEINCREASINGLYFASTERFAST FORWARDSPEEDS ANDNUMBERS FROMDOWNTOPROVIDEPROGRESSIVELYFASTERREWINDSPEEDSISTHESLOWEST REWIND3HUTTLE,OCKSPEED ISTHEFASTEST 4O STOP PLAYBACK PRESS #ONTROL -AC OR 3TART 7INDOWS AND TO EXIT 3HUTTLE,OCKMODE JUSTPRESS%SCAPEORTHE3PACEBAR2EMEMBERTHAT ASWITH ALLTHE3CRUB3HUTTLEMODES IFMULTIPLETRACKSARESELECTED ONLYTHEFIRSTTWO TRACKSWILLBEHEARD

4HENUMERICKEYPAD3HUTTLE,OCKMODES 4HERE ARE TWO NUMERIC KEYPAD 3HUTTLE ,OCK MODES #LASSIC AND 4RANSPORT #LASSICMODEEMULATESTHEWAY0RO4OOLSWORKEDINVERSIONSLOWERTHAN 4OCONTROL3HUTTLESPEED PRESSTHE#ONTROLKEY-AC OR3TARTKEY7INDOWS FOLLOWED BY A NUMBER FROM TO FOR THE DIFFERENT PLAY SPEEDS )N #LASSIC MODE YOU CAN RECALL -EMORY ,OCATIONS MARKERS BY SIMPLY TYPING THE -EMORY,OCATIONNUMBER FOLLOWEDBY0ERIOD !SWITH#LASSICMODE 4RANSPORTMODEALLOWSYOUTOCONTROL3HUTTLESPEEDBY PRESSINGTHE#ONTROLKEY-AC OR3TARTKEY7INDOWS FOLLOWEDBYANUMBER FROM TO FOR THE DIFFERENT PLAY SPEEDS 4HE DIFFERENCE IS THAT 4RANSPORT MODEALSOALLOWSYOUTOSETANUMBEROFRECORDANDPLAYFUNCTIONSANDLETS YOUOPERATETHE4RANSPORTUSINGTHENUMERICKEYPAD 7ITH4RANSPORTMODEACTIVE YOUCANPRESSTO0LAY3TOPTO2EWIND TO &AST &ORWARD TO ENABLE 2ECORD TO TURN ,OOP 0LAYBACK MODE ONOFF TO TURN ,OOP 2ECORD MODE ONOFF TO TURN 1UICK0UNCH MODE ONOFF TO TURNTHE#LICKONOFFTOTURNTHE#OUNTOFFONOFFTOENABLE-)$)-ERGE 2EPLACEMODE 9OU CAN RECALL -EMORY ,OCATIONS MARKERS IN 4RANSPORT MODE BY TYPING 0ERIOD THE-EMORY,OCATIONNUMBER AND0ERIOD AGAIN

4HENUMERICKEYPAD3HUTTLEMODE 4HE NUMERIC KEYPAD 3HUTTLE MODE PROVIDES AN ALTERNATIVE TO USING 3HUTTLE ,OCKMODEWHENYOUWANTTOCONTROL3CRUB3HUTTLEUSINGTHECOMPUTERKEY BOARDINSTEADOFTHEMOUSESCRUBWHEEL 3HUTTLE MODE WORKS QUITE DIFFERENTLY FROM THE TWO 3HUTTLE ,OCK MODES 4HE MAINDIFFERENCEISTHATTOPLAYTHECURRENT%DITSELECTIONYOUMUSTPRESSAND HOLDTHEKEYSONTHENUMERICKEYPADPLAYBACKSTOPSASSOONASYOULETGOOF THEKEYS!LSOYOUDONTHAVETOBEIN3CRUBMODETOUSETHE3HUTTLEFEATURE 31


BECAUSE 3CRUB MODE IS AUTOMATICALLY ENGAGED AS SOON AS YOU PRESS THE REL EVANTKEYSONTHENUMERICKEYPAD!LSO INTHISMODE 0REROLLAND0OSTROLLARE IGNORED 6ARIOUS PLAYBACK SPEEDS ARE AVAILABLE IN BOTH FORWARD AND REVERSE 0RESS KEY TO 2EWIND AT QUARTER SPEED KEY TO GO &ORWARD AT QUARTER SPEED KEY TO 2EWIND AT NORMAL SPEED KEY TO GO &ORWARD AT NORMAL SPEED KEY TO 2EWIND AT X SPEED KEY TO GO &ORWARD AT X SPEED 9OU CAN ,OOP A 3ELECTIONATNORMALSPEEDBYPRESSINGKEY &OR MORE OPTIONS YOU CAN USE PAIRS OF KEYS PRESS KEYS TO 2EWIND AT XSPEEDKEYSTOGO&ORWARDATXSPEEDKEYSTO2EWIND ATHALF SPEEDKEYSTOGO&ORWARDATHALF SPEEDKEYSTO2EWIND ATDOUBLE SPEEDKEYSTOGO&ORWARDATDOUBLE SPEED 9OU CAN RECALL -EMORY ,OCATIONS IN 3HUTTLE MODE BY TYPING PERIOD THE -EMORY,OCATIONNUMBER ANDPERIOD AGAIN

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.O MATTER WHICH .UMERIC +EYPAD MODE IS SELECTED YOU CAN ALWAYS USE THENUMERICKEYPADTOSELECTANDENTERVALUESINTHE%VENT%DITAREA %DIT 3ELECTIONINDICATORS -AINAND3UB#OUNTERS AND4RANSPORTFIELDS

Organizing the Mix window )NTHE-IXWINDOW TRACKSAPPEARASMIXERCHANNELSTRIPSWITHCONTROLSFORSIG NALROUTING INPUTANDOUTPUTASSIGNMENTS VOLUME PANNING RECORDENABLE AUTOMATIONMODE ANDSOLOMUTE &ROM THE 6IEW MENU YOU CAN CHOOSE WHETHER OR NOT TO DISPLAY THE -IC 0REAMPS )NSTRUMENTS )NSERTS 3ENDS $ELAY #OMPENSATION AND 4RACK #OLOR CONTROLSOR#OMMENTSINTHE-IXWINDOW

4HE'ROUPSETTINGSPOP UPSELECTOR !LTHOUGHMOSTOFTHE0RO4OOLSUSERINTERFACEISVERYSIMILARTOPREVIOUSVER SIONSINTERMSOFLAYOUTANDFEATURES THEREAREVARIOUSSMALLCHANGESINTENDED TO MAKE THINGS CLEARER OR EASIER TO USE &OR EXAMPLE DIRECTLY ABOVE THE 0AN CONTROLS ATTHETOPOFEACHFADERSECTION YOUWILLNOWFINDAPOP UPSELECTOR THATLETSYOUCONTROLANY'ROUPSETTINGSTHATYOUHAVEMADEFORTHETRACK 5SINGTHISPOP UPSELECTOR YOUCANSELECTORHIDEALLTHETRACKSINTHEGROUP SHOWONLYTHETRACKSINTHEGROUP DELETE DUPLICATEORMODIFYTHEGROUP AND SEEWHICHTRACKSANDATTRIBUTESAREINCLUDEDINTHEGROUP 32


Figure 2.26 -IX WINDOWWITHMOUSE pointing to the Group SETTINGSPOP UPSELECTOR 4HEPOP UPSELECTOR FORANADJACENTTRACKIS OPENINFRONTOFTHE-IX WINDOW

)NSERTS 0RO 4OOLS LETS YOU USE UP TO )NSERTS ON EACH !UDIO TRACK !UXILIARY )NPUT )NSTRUMENT4RACK OR-ASTER&ADER%ACHINSERTCANBEEITHERASOFTWAREPLUG IN ORANEXTERNALHARDWAREDEVICE4HEREARETWOSETSOF)NSERTS LABELED!n%AND &n* SOYOUCANCONSERVESPACEONSCREENBYONLYDISPLAYINGONESETATATIME

3ENDS 9OU CAN ALSO USE UP TO 3ENDS ON EACH TRACK 3ENDS LET YOU ROUTE SIGNALS ACROSSINTERNALBUSESORTOAUDIOINTERFACEOUTPUTSSOTHATONEPLUG INORONE EXTERNALSIGNALPROCESSORCANBEUSEDTOPROCESSSEVERALTRACKSATONCE 4HEREARETWOSETSOFSENDSLABELED!n%AND&n* THATCANOPTIONALLYBEDIS PLAYEDINTHE-IXWINDOW9OUMIGHTUSETHEFIRSTSETTOSENDTOEFFECTSSUCH 33


ASREVERB THATYOUWISHTOAPPLYTOSEVERALTRACKSANDUSETHESECONDSETTO SEND CUE MIXES TO MUSICIANS n ROUTING THESE FROM YOUR 0RO 4OOLS HARDWARE INTERFACETOSUITABLEHEADPHONEAMPLIFIERS )FYOUARENOTUSINGTHESECONDSETOFSENDS ORTHEMICPREAMPS ORYOUDONT NEED TO SEE THE DELAY COMPENSATION CONTROLS OR COMMENTS OR WHICHEVER THENYOUSHOULDHIDETHESESOTHATTHEYDONTDISTRACTYOUFROMTHECONTROLS YOUDOWANTTOUSEANDSOTHATTHE-IXWINDOWTAKESUPLESSSPACEONYOUR COMPUTERSCREEN

)/3ELECTORS 4RACK )NPUT AND /UTPUT 3ELECTOR POP UPS ARE LOCATED BELOW THE )NSERTS AND JUST ABOVE THE !UTOMATION CONTROLS ON THE CHANNEL STRIPS 4HE 4RACK )NPUT 3ELECTOR POP UPS LET YOU CHOOSE INPUT SOURCES FOR !UDIO TRACKS )NSTRUMENT TRACKS AND!UXILIARY)NPUTS4RACKINPUTCANCOMEFROMYOURHARDWAREINTER FACE FROMANINTERNAL0RO4OOLSBUS ORFROMAPLUG IN

Figure 2.27 4RACK)NPUT 3ELECTORPOP UP

4HE4RACK/UTPUT3ELECTORPOP UPSLETYOUROUTETHEAUDIOFROMEACHTRACKTO YOURCHOICEOFAVAILABLEOUTPUTSORBUSPATHS

!SSIGNINGMULTIPLETRACKOUTPUTSANDSENDS 0RO4OOLS!UDIOTRACKS )NSTRUMENT4RACKS AND!UXILIARY)NPUTSCANHAVEMUL TIPLE TRACK OUTPUT AND SEND ASSIGNMENTS CHOSEN FROM THE ACTUAL PATHS AND RESOURCES AVAILABLE ON YOUR SYSTEM ALTHOUGH -ASTER &ADERS CAN ONLY BE ASSIGNEDTOASINGLEPATH !SSIGNING TO MULTIPLE PATHS IS AN EFFICIENT WAY TO ROUTE AN IDENTICAL MIX TO OTHERSEPARATEOUTPUTS FORSIMULTANEOUSMONITORFEEDS HEADPHONEMIXES OR OTHERSITUATIONSWHEREAPARALLELMIXISNEEDED 4O ASSIGN AN EXTRA OUTPUT HOLD DOWN THE #ONTROL KEY -AC OR 3TART KEY 7INDOWS OPENTHE/UTPUT3ELECTOR ANDSELECTYOURADDITIONALOUTPUT 34


! hv SIGN IS ADDED TO THE /UTPUT 3ELECTOR LEGEND TO REMIND YOU THAT THIS TRACK HAS MORE THAN ONE OUTPUT ASSIGNED AND YOU CAN ADD AS MANY ADDI TIONALOUTPUTSASAREAVAILABLEONYOURSYSTEM )FYOUALSOHOLDTHE/PTION!LT KEYATTHESAMETIMEASTHE#ONTROL3TART KEY THEADDITIONALOUTPUTWILLBEADDEDTOALLTRACKSAPARTFROM-ASTER&ADERS AND-)$)TRACKS OFCOURSE

Figure 2.28 Making multiple assignments for ATRACKS!UDIO/UTPUT 0ATH

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Note

9OUCANUSETHESAMEPROCEDURETOADDADDITIONALOUTPUTASSIGNMENTSTO THETRACK3ENDS

Figure 2.29 Multiple ASSIGNMENTSFORA3ENDS !UDIO/UTPUT0ATH

35


Organizing the Edit window 4HE%DITWINDOWPROVIDESA TIMELINE DISPLAY OF AUDIO -)$) DATA AND MIXER AUTOMATION!SINTHE-IXWINDOW EACHTRACKHASCONTROLSFORRECORDENABLE SOLO MUTE ANDAUTOMATIONMODE 5SINGTHE6IEWMENUOPTIONS YOUCANALSOREVEALTHEINPUTANDOUTPUT)/ ROUTINGASSIGNMENTS THE)NSERTS THE3ENDS THE)NSTRUMENTCONTROLS THE2EAL 4IMEPROPERTIES THE#OMMENTS ORANYCOMBINATIONOFTHESEnWHICHMAKES ITPOSSIBLETOWORKWITHJUSTTHE%DITWINDOWFORMOSTOFTHETIME 4HE%DITWINDOWLETSYOUDISPLAYTHEAUDIOAND-)$)DATAINAVARIETYOFWAYS TOSUITYOURPURPOSE ANDYOUCANEDITTHEAUDIORIGHTDOWNTOSAMPLELEVELIN THISONEWINDOW

The Toolbar 5NDERSTANDINGTHEAREAATTHETOPOFTHE%DITWINDOWISANESSENTIALPARTOF LEARNINGHOWTOUSE0RO4OOLS4HISAREA CALLEDTHE4OOLBAR CONTAINSTHE%DIT MODEBUTTONS THE:OOMBUTTONS THE%DIT4OOLS THE,OCATION VARIOUSOTHER DISPLAYSANDCONTROLS ANDTHE'RIDAND.UDGECONTROLS )N0RO4OOLS YOUCANCUSTOMIZETHE4OOLBARINTHE%DITWINDOWASWITHTHE -)$) AND 3CORE %DITOR WINDOWS BY REARRANGING SHOWING AND HIDING THE AVAILABLECONTROLSANDDISPLAYS4OSHOWORHIDETHEVARIOUSTOOLS YOUCANUSE THEPOP UP4OOLBARMENULOCATEDINTHEUPPER RIGHTCORNEROFTHE%DITWINDOW (ERE YOUCANCHOOSETODISPLAYTHE4RANSPORT %XPANDED4RANSPORT -)$) AND 3YNCHRONIZATIONCONTROLSINTHE4OOLBARIFYOUWISH9OUCANALSOSHOWORHIDE THE4RACK,ISTOR2EGIONS,IST REVEALTHE5NIVERSE6IEWATTHETOPOFTHE%DIT WINDOW ORREVEALTHE-)$)%DITORATTHEBOTTOMOFTHE%DITWINDOW 7ITH ALL THESE SHOWING IN THE %DIT WINDOW THIS ALLOWS YOU TO WORK ALMOST ENTIRELY WITHIN ONE WINDOW 4HE DISADVANTAGE IS THAT THE %DIT WINDOW THEN STARTSTOLOOKVERYCLUTTEREDnWHICHISWHYYOUAREGIVENTHEOPTIONTOHIDE WHICHEVEROFTHESEELEMENTSYOUARENOTUSING

Figure 2.30 Toolbar SHOWINGTHEBASICSETOF CONTROLSANDDISPLAYS

2EARRANGING4OOLBARCONTROLSANDDISPLAYS 4O REARRANGE CONTROLS AND DISPLAYS IN THE %DIT OR -)$) OR 3CORE %DITOR WIN DOWTOOLBAR SIMPLY#OMMAND CLICK-AC OR#ONTROL CLICK7INDOWS ONTHE CONTROLSORDISPLAYSTHATYOUWANTTOMOVEANDDRAGTHEMTOTHERIGHTORTO 36


THELEFTTOREPOSITIONTHEMALONGTHETOOLBAR3O FOREXAMPLE IFYOUPREFERTO HAVE THE #OUNTERS AND %DIT 3ELECTION INDICATORS REPOSITIONED TO THE RIGHT OF THE4RANSPORTCONTROLSINTHETOOLBAR ITWILLONLYTAKEYOUAMOMENTTODOTHIS

2.5 The Edit modes !TTHELEFTOFTHE4OOLBAR THEREAREFOURBUTTONSTOLETYOUSELECTTHE%DITMODE

Figure 2.31 4HE%DIT -ODEBUTTONS

N

3LIPMODEISTHEBASICMODETOUSEBYDEFAULT)NTHISMODE YOUCANFREELY MOVEREGIONSFORWARDANDBACKWARDINTIMEINTHE%DITWINDOW

N

)N3HUFFLEMODE WHENYOUMOVEAREGION ITWILLAUTOMATICALLYSNAPTOTHE REGIONBEFOREITnPERFECTLYBUTTINGUPTOTHIS

N

)N3POT-ODE A3POT$IALOGAPPEARSWHENEVERYOUCLICKONAREGION4HIS LETS YOU SPECIFY EXACTLY WHERE THE REGION SHOULD BE PLACED ON THE TIME LINEnIDEALFORhSPOTTINGvEFFECTSTOPICTURE

N

)N'RID-ODE MOVEMENTSARECONSTRAINEDBYWHICHEVER'RIDSETTINGSYOU HAVEMADEnSUCHAS"ARS"EATSOR-INS3ECS

0RO4OOLSNOWLETSYOU3HIFT CLICKTOENABLE'RID-ODEWHILEIN3HUFFLE 3LIP OR3POTMODE9OUCANALSOUSETHEKEYBOARDCOMMAND3HIFT &IFYOUPREFER 7ITH'RID-ODEACTIVE PLACINGTHE%DITCURSORANDMAKING%DITSELECTIONSIS CONSTRAINEDBYTHE'RID WHILEREGIONEDITINGISSIMULTANEOUSLYAFFECTEDBYTHE OTHERSELECTED%DITMODE&OREXAMPLE IN3HUFFLEMODE WITH'RID-ODEALSO ACTIVEYOUCANMAKEASELECTIONINAREGIONBASEDONTHE'RID CUTTHESELEC TION ANDANYREGIONSTOTHERIGHTOFTHEEDITWILLSHUFFLETOTHELEFT

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Tip

4OENABLE3HUFFLE 3LIP OR3POT WHILEIN'RIDMODE3HIFT CLICKTHE3HUFFLE 3LIP OR3POTMODEBUTTON!LTERNATIVELY PRESS&&TOENABLE'RIDAND 3HUFFLEMODE PRESS&&TOENABLE'RIDAND3LIPMODE ANDPRESS& &TOENABLE'RIDAND3POTMODE

37


The Toolbar Zoom buttons and Presets 4OTHERIGHTOFTHE%DIT-ODEBUTTONS THEREAREVARIOUSARROWBUTTONSTHATLET YOU ZOOM THE DISPLAY VERTICALLY OR HORIZONTALLY 4HE HORIZONTAL ZOOM ARROWS WORKFORBOTHAUDIOAND-)$)REGIONS4OZOOMAUDIOREGIONSVERTICALLY USE THEFIRSTPAIROFUPANDDOWNARROWBUTTONS4OZOOM-)$)REGIONSVERTICALLY USETHESECONDPAIR

Figure 2.32 Zoom BUTTONSANDPRESETS

5NDERNEATHTHESEZOOMCONTROLS THEREAREFIVESMALL:OOM0RESETBUTTONSTHAT STOREPRESETZOOMLEVELS9OUCANUSETHESEASHANDYSHORTCUTSTOPARTICULARZOOM LEVELSJUSTSETTHEZOOMLEVELYOUWANT THEN#OMMAND CLICK-AC OR#ONTROL CLICK7INDOWS ONANYOFTHEFIVEBUTTONSTOSTORETHECURRENTZOOMLEVEL 4O RECALL THESE ZOOM PRESETS YOU CAN EITHER CLICK ON THE NUMBERED BUTTONS USING THE MOUSE OR PRESS THE NUMBERS OR ON YOUR COMPUTERS 17%249KEYBOARDNOTONTHENUMERICKEYPAD

The Edit window zoom buttons )N ADDITION TO THE :OOM CONTROLS IN THE 4OOLBAR 0RO 4OOLS PROVIDES HORI ZONTAL AND VERTICAL ZOOM BUTTONS IN THE LOWER RIGHT CORNER OF THE %DIT WIN DOW4HE6ERTICAL:OOMBUTTONSZOOMTHETRACKHEIGHTSPROPORTIONALLYINTHE %DIT WINDOW 4HE (ORIZONTAL :OOM BUTTONS ZOOM THE 4IMELINE JUST LIKE THE (ORIZONTAL:OOMCONTROLSINTHE%DITWINDOWTOOLBAR

Vertical zoom in and out button

Figure 2.33 (ORIZONTAL AND6ERTICAL:OOM BUTTONS

38

Horizontal zoom in and out button


0RO 4OOLS ALSO PROVIDES !UDIO AND -)$) :OOM )N AND /UT BUTTONS IN THE UPPER RIGHT CORNER OF THE %DIT WINDOW 4HESE CONTROLS FUNCTION EXACTLY THE SAME AS THE !UDIO AND -)$) :OOM CONTROLS IN THE 4OOLBAR AND LET YOU ZOOMINANDOUTVERTICALLYONAUDIOWAVEFORMSAND-)$)NOTES RESPECTIVELY ALTHOUGH-)$)6ERTICAL:OOMONLYAFFECTSTRACKSIN.OTESVIEW

Audio zoom in and out button

Figure 2.34 !UDIOAND -)$):OOM)NAND/UT BUTTONS

MIDI Zoom in and out button

The Tool buttons ,OCATED BY DEFAULT TO THE RIGHT OF THE :OOM BUTTONS YOU WILL FIND SIX 4OOL BUTTONS

Zoomer Tool 4HE FIRST BUTTON IS THE :OOMER 4OOL 9OU CAN USE THIS TO ZOOM THE DISPLAY EITHER VERTICALLY OR HORIZONTALLY )F YOU CLICK AND HOLD THIS YOU CAN SELECT THE 3INGLE :OOM MODE 7ITH THIS SELECTED YOU CAN CLICK IN THE %DIT WINDOW TO ZOOMTHEDISPLAYONETIME THENWHENYOULETGOOFTHEMOUSE THE:OOMER 4OOLISDESELECTEDANDTHE3ELECTOR4OOLBECOMESACTIVE

Trimmer Tool 4HENEXTBUTTONISTHE4RIMMERTOOL9OUCANUSETHISTOLENGTHENORSHORTEN REGIONS9OUCANALSOCHOOSETOAPPLY4IME#OMPRESSION%XPANSIONDIRECTLYIN THE%DITWINDOW ORTOAPPLYTHE3CRUBFEATUREPRIORTOTRIMMINGREGIONS OR TOAPPLYTHE,OOPFEATURE3ELECTTHESEMODESUSINGTHEPOP UPTHATAPPEARS WHENYOUCLICKONTHISTOOL

Selector Tool To the right of the Trimmer Tool is the Selector Tool that lets you use the cur SORTOSELECTAREASWITHINTHE%DITWINDOW7ITHTHISTOOLSELECTED THEMOUSE 39


POINTER CHANGES TO AN INSERTION CURSOR THAT YOU CAN USE TO DRAG ACROSS AND SELECTREGIONSINTHE%DITWINDOWORYOUCANSIMPLYPOINTANDCLICKATAPAR TICULARLOCATIONINTHE%DITWINDOWTOPOSITIONTHEINSERTIONPOINTANDUPDATE THE,OCATIONINDICATORS ATTHATLOCATION

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Tip

Whenever you are not specifically using one of the other tools, the Selector 4OOLISTHEMOSTUSEFULANDSAFEST TOOLTOLEAVESELECTED

Grabber Tool 4OTHERIGHTOFTHE3ELECTOR4OOL YOUWILLFINDTHE'RABBER4OOLnTHEONEWITH THEHANDICON9OUCANUSETHISTOMOVEREGIONSAROUNDINTHE%DITWINDOW 9OUCANALSOUSETHE'RABBERTOAUTOMATICALLYSEPARATEANEDITSELECTIONAND MOVEITTOANOTHERLOCATIONORANOTHERTRACKUSINGITS3EPARATION-ODE 4HE'RABBER4OOLOFFERSATHIRDMODEnTHE/BJECTMODEnTHATYOUCANENTER USING THE POP UP THAT APPEARS WHEN YOU CLICK ON THE 'RABBER 4OOL 4HIS /BJECT'RABBERLETSYOUSELECTNONCONTIGUOUSREGIONSONONEORMORETRACKS *UST TAKE A LOOK AT THE SCREENSHOT TO SEE AN EXAMPLE OF A NONCONTIGUOUS SELECTION OF THREE REGIONS ALL ON DIFFERENT TRACKS "Y THE WAY N ONCONTIGUOUS REGIONSINTHISCONTEXTBASICALLYMEANSREGIONSTHATARENOTNEXTTOEACHOTHER

Figure 2.35 4HE/BJECT 'RABBER4OOLBEINGUSED to select noncontiguous REGIONSINTHE%DIT WINDOW

Smart Tool 4HE4RIMMER 3ELECTOR AND'RABBER TOOLS CAN BE COMBINED USING THE 3MART 4OOLTOLINKTHEMTOGETHER4HE3MART4OOLBUTTONHASANEWLOOKANDLOCA TIONIN0RO4OOLS)TISNOWPOSITIONEDBOTHABOVEANDTOEITHERSIDEOFTHE 40


4RIMMER 3ELECTOR AND 'RABBER TOOLS 4O ACTIVATE IT SIMPLY CLICK IN THIS AREA ABOVE OR TO EITHER SIDE OF THESE TOOLS 7ITH THE 3MART 4OOL ACTIVATED THEN DEPENDINGONWHEREYOUPOINTYOURMOUSEINTHE%DITWINDOW ONEOROTHER OFTHESETOOLSWILLBECOMEACTIVEnSAVINGYOUHAVINGTOCLICKONTHESETOOLS INDIVIDUALLYWHENYOUWANTTOCHANGETOADIFFERENTTOOL

Scrub Tool 4OTHERIGHTOFTHE'RABBER4OOLISTHE3CRUB4OOLTHATLETSYOUSCRUBBACKAND FORTHOVERANEDITPOINT WHILEYOUARETRYINGTOHEARTHEEXACTPOSITIONOFA PARTICULAR SOUND n RATHER LIKE MOVING A TAPE BACK AND FORTH ACROSS THE PLAY BACKHEADINCONVENTIONALTAPEEDITING

Figure 2.36 The Smart 4OOL

Pencil Tool 4HESIXTHTOOLISTHE0ENCILTHATYOUCANUSETOREDRAWAWAVEFORMTOREPAIR APOPORCLICK!LTERNATE0ENCILMODESAREAVAILABLETHATCONSTRAINDRAWINGTO LINES TRIANGLE SQUARE ORRANDOMSHAPES

The Mode buttons 2UNNINGUNDERNEATHTHE4OOLBUTTONS THEREARESIXMOREMODEBUTTONS

Zoom Toggle 4HE LEFTMOST BUTTON CONTROLS THE :OOM 4OGGLE 4HIS FEATURE LETS YOU DEFINE ANDTOGGLEBETWEENZOOMSTATESINTHE%DITWINDOW STORINGANDRECALLINGTHE 6ERTICAL:OOM (ORIZONTAL:OOM 4RACK(EIGHT 4RACK6IEW AND'RIDSETTINGS 7HEN:OOM4OGGLEISACTIVATED THE%DITWINDOWCHANGESTOTHESTOREDZOOM STATEANDWHEN:OOM4OGGLEISDISABLED THE%DITWINDOWREVERTSTOTHEPREVI OUSZOOMSTATE!NYCHANGESMADETOTHEVIEWWHILE:OOM4OGGLEISENABLED AREALSOSTOREDINTHEZOOMSTATE

Figure 2.37 Zoom 4OGGLEBUTTON

41


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Tip

7HEN:OOM4OGGLEISENABLED YOUCANCANCELITANDREMAINATTHESAME ZOOMLEVELBYPRESSING/PTION 3HIFT %-AC OR!LT 3HIFT %7INDOWS

Tab to Transients The Tab to Transients button lets you automatically locate the cursor to the NEXTTRANSIENT WHILEEDITINGWAVEFORMS7ITHTHISACTIVATED JUSTPRESSTHE4AB KEY ON YOUR COMPUTER KEYBOARD TO JUMP TO THE BEGINNING OF THE NEXT TRAN SIENTEG ATTHESTARTOFASNAREHIT INTHEWAVEFORMTHATYOUARECURRENTLY EDITING

Figure 2.38 Tab to 4RANSIENTSBUTTON

-IRRORED-)$)%DITING 4HE THIRD BUTTON FROM THE LEFT LETS YOU ENABLE OR DISABLE -IRRORED -)$) %DITING -IRRORED -)$) %DITING IS USEFUL WHEN YOU EDIT A REGION CONTAINING -)$) NOTES AND YOU WANT THESE EDITS TO APPLY TO EVERY -)$) REGION OF THE SAMENAME

Figure 2.39 -IRRORED -)$)%DITINGBUTTON

,INK4IMELINEAND%DIT3ELECTION 4HE,INK4IMELINEAND%DIT3ELECTIONBUTTONLETSYOULINKORUNLINK%DITAND 4IMELINE SELECTIONS 7ITH THE 4IMELINE AND %DIT SELECTIONS unlinked, you can SELECT DIFFERENT LOCATIONS IN THE 4IMELINE AT THE TOP OF THE %DIT WINDOW AND IN THE REGIONS WITHIN THE %DIT WINDOW 7ITH THE 4IMELINE AND %DIT SELEC tions linked WHENEVER YOU MAKE A SELECTION INSIDE THE %DIT WINDOW THE SAME SELECTION IS AUTOMATICALLY MADE IN THE 4IMELINE AT THE TOP OF THE %DIT WINDOW

Figure 2.40 ,INK 4IMELINEAND%DIT 3ELECTIONBUTTON

42


,INK4RACKAND%DITSELECTION 4HE ,INK 4RACK AND %DIT 3ELECTION BUTTON ALSO DOES WHAT IT SAYS WITH THIS HIGHLIGHTED WHENYOUSELECTAREGIONINTHE%DITWINDOW THETRACKBECOMES SELECTEDASWELL)FYOUTHENSELECTANOTHERTRACK 0RO4OOLSSELECTSTHECORRE SPONDINGREGIONTOTHEREGIONSELECTEDINTHEFIRSTTRACK INTHISOTHERTRACKn BECAUSETHE4RACKAND%DIT3ELECTIONFEATURESARELINKED

Figure 2.41 ,INK4RACK AND%DIT3ELECTIONBUTTON

)NSERTION&OLLOWS0LAYBACK 0RO4OOLSPROVIDESANEW)NSERTION&OLLOWS0LAYBACKBUTTONINTHE%DITWIN DOW4HISLETSYOUENABLEORDISABLETHEh4IMELINE)NSERTION0LAY3TART-ARKER &OLLOWS 0LAYBACKv OPTION AND ALSO PROVIDES A VISUAL INDICATION OF WHETHER OR NOT THIS OPTION IS ON 0REVIOUSLY THIS OPTION WAS ONLY AVAILABLE IN THE /PERATION0REFERENCES

Figure 2.42 )NSERTION &OLLOWS0LAYBACKBUTTON

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4HERE IS A USEFUL KEYBOARD COMMAND THAT LETS YOU SWITCH THIS PREFER ENCEONANDOFFPRESS#ONTROL N-AC OR3TART N7INDOWS OR WITHTHE #OMMANDS+EYBOARD&OCUSENABLED SIMPLYPRESSTHEhNvKEY

Location indicators ,OCATED CENTRALLY AT THE TOP OF THE %DIT WINDOW YOU WILL FIND THE -AIN AND OPTIONAL 3UB LOCATION INDICATORS WITH THE %VENT %DIT AREA TO THE RIGHT OF THESE 4HE ,OCATION INDICATORS SHOW YOU WHERE YOU ARE IN YOUR SESSION IN TERMS OF "ARS"EATS -INS3ECS ORWHATEVERYOUHAVECHOSENTODISPLAYHERE 4HE %VENT %DIT AREA LETS YOU DEFINE SELECTIONS n BY TYPING THE 3TART AND %ND POINTS FOREXAMPLEnANDALSOSERVESTODISPLAYTHESEALONGWITHTHE,ENGTH OFTHESELECTION 43


Figure 2.43 ,OCATION INDICATORSAND%VENT %DITAREA

Edit Window MIDI editing controls 4O ALLOW CONVENIENT EDITING OF SELECTED SINGLE NOTES WHEN YOU ARE WORKING WITH-)$)OR)NSTRUMENTTRACKS 0RO4OOLSPROVIDESVARIOUS-)$)EDITINGCON TROLSINTHE%DITWINDOWTOOLBAR )FYOUSELECTA-)$)NOTEUSINGTHE'RABBEROR0ENCIL4OOLS THE-)$)%DITING #ONTROLS AREA AT THE RIGHT OF THE %VENT %DIT AREA AND DISPLAYS THE SELECTED -)$)NOTEWITHITSASSOCIATED-)$)/NAND/FFVELOCITIES9OUCANEDITTHESE VALUESBYTYPINGNEWVALUESORBYDRAGGINGTHECURSORTOCHANGEVALUES

Figure 2.44 -)$) %DITING#ONTROLSAREAIN THE4OOLBARABOVEA-)$) TRACKINTHE%DITWINDOW WITHASELECTED-)$) NOTE # DISPLAYEDIN THE-)$)%DITING#ONTROLS AREATOGETHERWITHITS/N 6ELOCITYOFAND/FF 6ELOCITYOF a MIDI not

Figure 2.45 -)$) %DITING#ONTROLSINTHE %DITWINDOW4OOLBAR

n ditin

u tom not du ation D au t not on

o it

4HE-)$)SOCKET WITH LOUDSPEAKERICONTOTHERIGHTOFTHE-)$)NOTEPARAM ETERS DISPLAY CAN BE USED TO ENABLE OR DISABLE THE 0LAY -)$) .OTES 7HEN %DITINGFEATURE7HENTHISISHIGHLIGHTEDINGREEN -)$)NOTESWILLSOUNDWHEN YOUCLICKONTHEMWHILEEDITING

44


7HENYOUAREMANUALLYINSERTINGNOTESINTOA-)$)OR)NSTRUMENTTRACKUSING THE 0ENCIL TOOL THE POP UP #USTOM .OTE $URATION SELECTOR LETS YOU CHOOSE THEDEFAULTNOTEDURATION

Figure 2.46 Custom .OTE$URATIONPOP UP SELECTOR

4O THE RIGHT OF THIS THE $EFAULT .OTE ON 6ELOCITY SETTING LETS YOU DEFINE THE DEFAULTNOTE ONVELOCITY

Cursor values display 5NDERNEATHTHE#OUNTERS THEREISADISPLAYAREATHATTRACKSTHEPOSITIONOFTHE CURSOR4HISAREAALSODISPLAYSCURSORVALUESSUCHASTHE-)$)NOTENAMEWHEN THECURSORISMOVEDVERTICALLYWITHINA-)$)TRACKORTHE6OLUMELEVELIND"S WHENTHECURSORISMOVEDVERTICALLYWITHINA-ASTERTRACK

Figure 2.47 Cursor VALUESDISPLAYSHOWING THEBAR BEATANDCLOCK ANDTHE-)$)NOTENAME OFTHESELECTEDNOTE #INTHISEXAMPLE

Edit Window indicators 0OSITIONED DIRECTLY BELOW THE %VENT %DIT AREA THERE ARE THREE SMALL STA TUS INDICATORS 4IMELINE $ATA /NLINE 3TATUS 3ESSION $ATA /NLINE 3TATUS AND !UTOMATIC$ELAY#OMPENSATION 45


im in data on in

Figure 2.48 %DIT 7INDOW3TATUSINDICATORS

tatu

ion data on in Automati d a

tatu om

n ation

)FANYFILESTHATAREUSEDINTRACKPLAYLISTSIE VISIBLEINTHE4IMELINETHEMAIN PART OF THE %DIT WINDOW ARE OFFLINE BEING PROCESSED OR OTHERWISE UNAVAIL ABLE FOR PLAYBACK THE 4IMELINE $ATA /NLINE 3TATUS INDICATOR WILL TURN RED TO WARNYOU )FANYAUDIOORFADEFILESREFERENCEDBYTHESESSIONAREOFFLINE BEINGPROCESSED OROTHERWISEUNAVAILABLEFORPLAYBACK THE3ESSION$ATA/NLINE3TATUSINDICA TORTURNSREDTOWARNYOU 7HEN !UTOMATIC $ELAY #OMPENSATION IS ENABLED IN THE /PTIONS MENU THIS INDICATORSHOWSh$LYvTOINDICATETHIS

Grid and Nudge 3EPARATEDISPLAYSANDCONTROLSAREPROVIDEDFORTHE'RIDAND.UDGEFEATURES

Figure 2.49 'RIDAND .UDGE$ISPLAYSAND CONTROLS

9OU CAN CLICK ON THE SMALL DOWNWARD POINTING ARROWS TO THE RIGHT OF THESE DISPLAYSTOOPENTHEPOP UPSELECTORSTHATLETYOUCHANGETHE'RIDOR.UDGE VALUES )FYOUAREWORKINGONMUSICPRODUCTION YOUWOULDNORMALLYSETTHESEVALUES TO"ARS"EATS ALTHOUGH3AMPLESMAYBEUSEFULFORCERTAINTYPESOFEDITS AND -INUTES3ECONDSISUSEFULIFYOUARENOTWORKINGTO"ARS"EATS 4HE'RIDVALUESAREUSEDIN'RIDMODETOSETTHEINCREMENTSBYWHICHREGIONS OR-)$)NOTESCANBEMOVEDFORWARDORBACKWARDINTHE%DITWINDOW 4HE.UDGEVALUESAREUSEDWHENNUDGINGREGIONSORNOTESFORWARDORBACK WARDINTHE%DITWINDOW4HEWORDhNUDGEvUSEDINTHISCONTEXTMEANSTO MOVEBYASMALLAMOUNT 46


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4O INCREMENT OR DECREMENT THE NUDGE VALUES USING THE KEYBOARD HOLD THE#OMMANDAND/PTIONKEYS-AC OR#ONTROLAND!LTKEYS7INDOWS AND PRESS THE PLUS AND MINUS KEYS ON YOUR 17%249 OR NUMERIC KEYPADS

4ONUDGEAREGION REGIONS REGIONGROUPS -)$)NOTES ORAUTOMATIONBREAK points, select these using the Time Grabber or Selector tool then press the PLUS AND MINUS KEYS ON THE NUMERIC KEYPAD TO NUDGE FORWARD AND BACKWARDINTIME!NYAUTOMATIONDATARELATINGTOASELECTIONOFREGIONSTHAT YOUNUDGEWILLALSOBESHIFTED

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No t e

0RO4OOLSCANNUDGEMATERIALDURINGPLAYBACK SOYOUCANNUDGECONTINU OUSLYINREALTIMETOADJUSTTHETIMINGRELATIONSHIPBETWEENTRACKS

2.6 The rulers )MMEDIATELYBELOWTHE%DITWINDOW4OOLBAR YOUWILLFINDONEORMOREhRUL ERSv)FYOUARERECORDINGMUSIC THEMAINRULERTHATYOUSHOULDBEUSINGWILL DISPLAY"AR"EATSORPOSSIBLY-INUTES3ECONDS!TVARIOUSTIMES YOUWILLALSO WANTTODISPLAY-ARKERS 4EMPO -ETER +EY AND#HORDSRULERS

Figure 2.50 A selection OF2ULERSSHOWINGBELOW THE%DITWINDOWTOOLBAR

&ORCERTAINTYPESOFEDITS ITCANBEUSEFULTODISPLAYTHE3AMPLESRULER)FYOU AREWORKINGTOPICTURE YOUCANHAVEUPTOTWO4IME#ODERULERS ANDFORFILM WORK YOUCANDISPLAY&EET&RAMES 9OU CAN CHOOSE WHICH RULERS TO DISPLAY EITHER BY SELECTING THESE FROM THE 2ULERSSUB MENUINTHE6IEWMENUORUSINGTHEPOP UPSELECTORATTHEFARLEFT OFTHEMAINRULERINTHE%DITWINDOW 47


4HE 4EMPO RULER CAN BE USED TO INSERT TEMPO CHANGES ANYWHERE IN YOUR MUSIC*USTCLICKONTHESMALL@SIGNTOOPENTHE4EMPO#HANGEDIALOGAND INSERT A TEMPO CHANGE AT THE CURRENT LOCATION ON THE 4IMELINE 4HE 4EMPO RULERCANALSOBE@OPENEDBYCLICKINGONTHESMALLARROWTOTHELEFTOFITSNAME TOREVEALTHE4EMPO%DITORTHATALLOWSYOUTOEDITTEMPO@EVENTSGRAPHICALLY

Figure 2.51 h#ONDUCTORv4RACK2ULER FOR4EMPOWITHTHE 4EMPO%DITORREVEALED

The Meter ruler lets you insert time signature markings at appropriate locations ALONGTHETIMELINE*USTCLICKONTHESMALLhvSIGNTOOPENTHE-ETER#HANGE DIALOGANDINSERTAMETERCHANGEATTHECURRENTLOCATIONONTHE4IMELINE 4HE+EY3IGNATURERULERCANBEUSEDTOINSERTKEYCHANGESANYWHEREINYOUR MUSIC *UST CLICK ON THE SMALL @ SIGN TO OPEN THE +EY #HANGE DIALOG AND INSERT A KEY CHANGE AT THE CURRENT LOCATION ON THE 4IMELINE ,IKE THE 4EMPO RULER THE +EY 3IGNATURE RULER CAN ALSO BE @OPENED BY CLICKING ON THE SMALL ARROWTOTHELEFTOFITSNAME4HISREVEALSTHE+EY3IGNATURE%DITORTHATALLOWS YOUTOEDITKEYCHANGESGRAPHICALLY

Figure 2.52 +EY 3IGNATURE%DITOR

The Markers ruler lets you insert markers at appropriate locations along the TIMELINE*USTCLICKONTHESMALLhvSIGNTOOPENTHE.EW-EMORY,OCATION DIALOGANDCHOOSEANDNAMEAMARKERANDINSERTTHISATTHECURRENTLOCATION ONTHE4IMELINE .EWFOR0RO4OOLS THE#HORDSRULERLETSYOUADDCHORDSYMBOLSTO0RO4OOLS SESSIONS IN THE %DIT WINDOW AND IN -)$) %DITOR AND THE 3CORE %DITOR WIN DOWS #HORDSYMBOLSIN0RO4OOLSARESIMPLYMARKERSTHATDISPLAYCHORDSYM BOLSANDGUITARTABLATURESnTHEYHAVENOEFFECTON-)$)DATA Figure 2.53 2ULERSVIEW SHOWINGTHE#HORDSRULER ABOVETHE-ARKERSRULER

4HE#HORDSRULERLETSYOUADD CHANGE MOVE ANDDELETECHORDSYMBOLS4O ADDACHORDSYMBOL PLACETHECURSORINTHE4IMELINEWHEREYOUWANTTOADD 48


THIS#LICKTHEPLUS BUTTONINTHE#HORDSRULERTOOPENTHE#HORD#HANGE DIALOGATTHECURRENT4IMELINELOCATION)NTHE#HORD#HANGEDIALOG YOUCAN SELECT THE NAME FOR THE ROOTOFTHECHORD THECHORDTYPE THE BASSNOTEOF THECHORD ANDTHECHORDDIAGRAMTHATWILLBEDISPLAYEDINTHE3CORE%DITOR 4O CHANGE A CHORD SYMBOL DOUBLE CLICK THE #HORD 3YMBOL MARKER IN THE #HORD 3YMBOL RULER TO OPEN THE #HORD #HANGE DIALOG AGAIN )F YOU WANT TOREPOSITIONACHORDSYMBOL YOUCANJUSTCLICKANDDRAGTHE#HORD3YMBOL MARKER TO ANY NEW LOCATION ALONG THE TIMELINE 4O DELETE A CHORD SYMBOL EITHER/PTION CLICK-AC OR!LT CLICK7INDOWS ONTHE#HORD3YMBOLMARKER INTHE#HORDSRULER!LTERNATIVELY YOUCANMAKEASELECTIONINTHE#HORDSRULER THAT INCLUDES THE CHORD SYMBOLS YOU WANT TO DELETE AND CHOOSE #LEAR FROM THE%DITMENUORJUSTPRESS$ELETE

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!NOTHERWAYTOOPENTHE#HORD#HANGE +EY#HANGE -ETER#HANGE 4EMPO #HANGE OR.EW-EMORY,OCATIONDIALOGSTHATCANBECONVENIENTISTOMOVE THE CURSOR INTO THE RULER WHILE PRESSING THE #ONTROL KEY -AC OR 3TART KEY 7INDOWS 4HE CURSOR CHANGES TO THE 'RABBER WITH A h v AND WHEN YOU CLICKATTHELOCATIONWHEREYOUWANTTOPLACETHE#HORDSYMBOL +EYSIGNA TURE 4IMESIGNATURE 4EMPO OR-ARKER THEAPPROPRIATEDIALOGOPENS

2.7 Edit window pop-up selectors )MMEDIATELYBENEATHTHERULERSATTHEFARLEFTOFTHE%DITWINDOW YOUWILLFIND TWOMOREPOP UPSELECTORS4HEFIRSTOFTHESEDUPLICATESTHEOPTIONSAVAILABLE INTHE6IEWMENUFORTHE%DITWINDOW ALLOWINGYOUTOSHOWORHIDE)NSERTS 3ENDS ANDSOFORTH

Figure 2.54 %DIT WINDOW6IEWOPTIONS POP UPSELECTOR

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4OTHERIGHTOFTHIS YOUWILLFINDTHE,INEARITY$ISPLAY-ODEPOP UP4HISLETS YOU CHOOSE BETWEEN ,INEAR 4ICK "ARS"EATS $ISPLAY AND A ,INEAR 3AMPLE ABSOLUTE $ISPLAY

Figure 2.55 ,INEARITY $ISPLAY-ODEPOP UP

2.8 Track heights 0RO4OOLSHASSEVENPRESETTRACKHEIGHTSRANGINGFROM-ICROTO%XTREME PLUSTHE &ITTO7INDOWCOMMAND-)$)AND)NSTRUMENTTRACKSALSOFEATUREASINGLENOTE VIEW-ICROISTHESMALLESTPOSSIBLETRACKHEIGHT WITHSIXMORECHOICESRANGING FROM -INI UP TO %XTREME PLUS h&IT TO 7INDOWv &IT TO 7INDOW FILLS THE ENTIRE TRACKS AREA OF THE %DIT WINDOW AT THE CURRENT WINDOW SIZE WITH THE SELECTED TRACKUSETHISSETTINGWHENYOUNEEDTOFOCUSONASINGLETRACKFOREDITING 4HESE TRACK HEIGHTS CAN BE SELECTED FROM THE 4RACK /PTIONS POP UP SELECTOR THATAPPEARSWHENYOUCLICKONTHESMALLARROWTHATCANBEFOUNDATTHETOP LEFTOFEACHSETOF4RACKCONTROLSINTHE%DITWINDOW

Figure 2.56 Track /PTIONSPOP UPSELECTOR ARROW

!LTERNATIVELY YOUCANPRESS CLICK ANDHOLDTHEMOUSEPOINTERONTOTHEVERTI CALRULETOTHELEFTOFTHEWAVEFORMDISPLAYONANYAUDIOTRACKTOACCESSTHE SAMEPOP UPSELECTOR WHICHCANOFTENBEMORECONVENIENT

Figure 2.57 Click on the vertical rule to the left of THEWAVEFORMDISPLAYTO reveal the Track height POP UPSELECTOR

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4HEREISAMINI KEYBOARDATTHELEFTOFEACH-)$)AND)NSTRUMENTTRACKINTHE %DITWINDOWTHATLETSYOUSELECTANDPLAYNOTESONTHATTRACKBYCLICKINGWITH THEMOUSEPOINTER4OREVEALTHETRACKHEIGHTSELECTOR YOUHAVETOPRESSAND HOLDTHE#ONTROLKEYWHILEPOINTINGATANDCLICKINGONTHEMINI KEYBOARDAT THE LEFT OF -)$) OR )NSTRUMENT TRACKS n OTHERWISE THIS ACTION WILL SELECT AND PLAYTHENOTESONTHETRACKCORRESPONDINGTOTHENOTEONTHEMINI KEYBOARD THATYOUTOUCHED

Figure 2.58 -)$)4RACK HEIGHTPOP UPSELECTORn HOLDTHE#ONTROLKEYTO ACCESSTHIS

Continuously Variable track heights 0RO 4OOLS OFFERS YET ANOTHER WAY TO CHANGE THE HEIGHT OF A TRACK RESIZING IN SMALL INCREMENTS OR CONTINUOUSLY IF YOU HOLD THE #OMMAND KEY -AC OR THE#ONTROLKEY7INDOWS 3IMPLYCLICKANDDRAGTHELOWERBOUNDARYOFTHE 4RACK#ONTROLSCOLUMNINTHE%DITWINDOW When you point your mouse at the bottom line of any Track Controls column THEAREAATTHELEFTOFEACHTRACKINTHE%DITWINDOWCONTAININGCONTROLSSUCH AS-UTE 3OLO ANDSOFORTH THEMOUSEPOINTERCHANGESINTOATHICKHORIZON TALLINEWITHUPANDDOWNARROWS

Figure 2.59 Mouse POINTERPOISED READYTO ADJUSTTHETRACKHEIGHT

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)F YOU THEN PRESS AND HOLD THE MOUSE BUTTON AND DRAG UPWARD OR DOWN WARD THE TRACK HEIGHT WILL CHANGE n EITHER IN SMALL INCREMENTS OR CONTINU OUSLY DEPENDING ON WHETHER OR NOT YOU ARE ALSO PRESSING AND HOLDING THE #OMMANDKEY-AC ORTHE#ONTROLKEY7INDOWS !SUSUALWITH0RO4OOLS THEREARESHORTCUTSPROVIDEDTOLETYOUAPPLYCHANGES TOALLTHETRACKSORTOAGROUPOFTRACKSTHATYOUHAVESELECTED4OCONTINUOUSLY RESIZEALLTRACKS /PTION CLICK-AC OR!LT CLICK7INDOWS ANDDRAG4OCON TINUOUSLY RESIZE ALL SELECTED TRACKS /PTION 3HIFT CLICK -AC OR !LT 3HIFT CLICK 7INDOWS ANDDRAG

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4HE CONTINUOUS TRACK HEIGHT RESIZING CAPABILITY MAKES ANOTHER COUPLE OF USEFULFEATURESPOSSIBLE 4OMAKEALLTHETRACKSINWHICHYOUHAVEMADEAN%DITSELECTIONJUSTFITINTO THE %DIT WINDOW PRESS AND HOLD THE #OMMAND AND #ONTROL KEYS !RROW -AC ORTHE#ONTROLAND3TARTKEYS7INDOWS THENPRESSEITHERTHE5POR $OWN!RROWKEYITDOESNTMATTERWHICH 4OMAKEALLTHETRACKSTHATYOUCURRENTLYHAVESELECTEDFITEXACTLYINTOTHE %DITWINDOW /PTION 3HIFT CLICK-AC OR!LT 3HIFT CLICK7INDOWS ONTOTHE 4RACK(EIGHTPOP UPMENUANDSELECT&ITTO7INDOW

2.9 Zooming around 'ETTING USED TO THE DIFFERENT WAYS TO ZOOM IN OR OUT TO SEE YOUR AUDIO AND -)$)DATADISPLAYEDAPPROPRIATELYFORTHETASKSYOUAREAPPROACHINGWILLTAKE ALITTLEWHILE!SUSUAL 0RO4OOLSPROVIDESSEVERALWAYSTODOTHESAMETHINGS 6ETERAN 0RO 4OOLS USERS WILL BE FAMILIAR WITH THE GROUP OF ZOOM ARROW BUT TONSNEARTHETOPLEFTOFTHE%DITWINDOWTHATLETYOUZOOMAUDIOAND-)$) TRACKSHORIZONTALLYORVERTICALLY#LICKTHELEFT POINTINGORRIGHT POINTINGARROWS TOZOOMALLTHETRACKDISPLAYSHORIZONTALLY#LICKTHELEFTMOSTPAIROFUPWARD AND DOWNWARD POINTING ARROWS TO ZOOM THE AUDIO WAVEFORM VERTICALLY AND USETHERIGHTMOSTPAIROFUPWARD ORDOWNWARD POINTINGARROWSTOZOOMTHE -)$)DISPLAYVERTICALLY 4HERE ARE FIVE SMALL BUTTONS UNDERNEATH THESE ZOOM BUTTONS THAT ARE ACTU ALLYMEMORYLOCATIONSINTOWHICHYOUCANSTOREDIFFERENTZOOMLEVELSOFYOUR CHOICE*USTSETTHEZOOMLEVELSYOUWANTUSINGTHEARROWKEYSORANYOTHER METHOD THEN#OMMAND CLICK-AC OR#ONTROL CLICK7INDOWS ONANYOFTHE FIVE:OOM0RESETSTOSTORETHISZOOMLEVEL

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)N RECENT VERSIONS OF 0RO 4OOLS YOU CAN SIMPLY POINT CLICK AND DRAG ON ANY OF THE ARROW SHAPED ZOOM BUTTONS TO CHANGE THE ZOOM LEVELS CONTINUOUSLY$RAGGINGTOLEFTORRIGHTZOOMSHORIZONTALLYINACONTINUOUS FASHION$RAGGINGUPORDOWNONTHE!UDIO:OOM)NOR:OOM/UTBUTTON CONTINUOUSLY ZOOMS ALL THE AUDIO TRACKS VERTICALLY n WHILE PRESERVING ANY WAVEFORMHEIGHTOFFSETS

9OUCANALSOUSETHE:OOMERTOOLTHEONETHATLOOKSLIKEAMAGNIFYINGGLASS *USTPOINTANDCLICKORDRAGINANYTRACKTOZOOMIN EXPANDINGTHEWAVEFORM OR -)$) DISPLAY OR HOLD THE /PTION -AC OR !LT 7INDOWS KEY WHILE YOU CLICKORDRAGTOZOOMOUT CONTRACTINGTHEDISPLAY 5SERSOFOTHERPOPULARSOFTWARE SUCHAS#UBASE WILLPROBABLYFEELMORECOM FORTABLE USING THE -ARQUEE :OOM FEATURE WHICH WORKS AS FOLLOWS SINCE 0RO 4OOLSVERSION )F YOU HOLD DOWN THE #ONTROL KEY -AC OR 3TART KEY 7INDOWS WHILE USING THE :OOMER TOOL AND DRAG TO THE LEFT OR THE RIGHT THE DISPLAY WILL SHRINK OR STRETCH HORIZONTALLY n A BIT LIKE A CONCERTINA !LL TRACKS ARE AFFECTED EQUALLY USINGTHISMETHOD )FYOUDRAGUPORDOWNWITHINANYTRACK THEHEIGHTOFTHEDISPLAYWITHINTHE TRACKWILLZOOMVERTICALLY/NLYTHETRACKTHATYOUAREWORKINGWITHISAFFECTED USINGTHISMETHOD (OLDINGTHE3HIFTKEYASWELLAPPLIESTHISTOALLTRACKSSOIFYOU#ONTROL 3HIFT DRAG-AC OR3TART 3HIFT DRAG7INDOWS INANAUDIOTRACKWITHTHE:OOMER TOOL SELECTED THIS WILL APPLY TO ALL THE AUDIO TRACKS OR TO ALL THE -)$) OR )NSTRUMENTTRACKSIFYOUDRAGINONEOFTHESE 9OU CAN SET ALL THE AUDIO TRACK WAVEFORM HEIGHTS TO MATCH THE WAVEFORM HEIGHT OF THE TOPMOST AUDIO TRACK IN THE %DIT WINDOW BY #OMMAND 3HIFT CLICKING -AC OR #ONTROL 3HIFT CLICKING 7INDOWS ON THE AUDIO WAVEFORM VERTICAL:OOMBUTTON

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)F YOU DOUBLE CLICK THE :OOMER TOOL THE WAVEFORM DISPLAY ZOOMS ALL THE TRACKS HORIZONTALLY UNTIL EVERYTHING IN YOUR SESSION JUST FILLS THE %DIT WIN DOW 4HIS IS A VERY CONVENIENT WAY TO RESET THE DISPLAY SO THAT IT SHOWS YOUR WHOLE SESSION IN THE %DIT WINDOW 4HIS ACTION ALSO RESETS THE WAVE FORMDISPLAYWITHINEACHTRACKTOITSDEFAULTHEIGHT

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0RO4OOLSALSOOFFERSAKEYBOARDCOMMANDTHATZOOMSTHESELECTIONTOFILLTHE %DITWINDOW-AKEAN%DITSELECTIONFIRST THENPRESS/PTION &-AC OR!LT & 7INDOWS AND all THE -)$) AND )NSTRUMENT TRACKS WILL ZOOM HORIZONTALLY UNTIL THE CURRENT EDIT SELECTION JUST FILLS THE %DIT WINDOW Selected TRACKS WILL ALSOZOOMVERTICALLYTOMAKESURETHATALLTHE-)$)NOTESWITHINTHESELECTION AREVISIBLE 6ERYOFTEN YOUWILLWANTTOZOOMALLTHETRACKSOUTSOTHATYOUCANSEEAN OVERVIEWOFYOURSESSION)FYOUPRESS/PTION !-AC OR!LT !7INDOWS THIS WILL ZOOM ALL THE TRACKS OUT ALL THE WAY HORIZONTALLY AND VERTICALLY -)$)AND)NSTRUMENTTRACKSWILLAUTOMATICALLYZOOMVERTICALLYTODISPLAYALL NOTES

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4HEONLYWAYTOBECOMEFAMILIARWITHTHEWAYTHEZOOMFEATURESWORKIS TOKEEPONTRYINGTHEMOUTONAREGULARBASISUNTILTHEYBECOMEhSECOND NATUREvTOYOUnSOGOBACKANDTRYTHESEOUTNOW

Zoom Toggle 5SING THE :OOM 4OGGLE FEATURE YOU CAN MAKE THE %DIT WINDOW BEHAVE THE WAYYOUWANTITTOWHENYOUCHANGETHE%DITSELECTIONOR4RACKSELECTION 4HE:OOM4OGGLEBUTTONISLOCATEDJUSTUNDERNEATHTHE:OOMERTOOL*USTCLICK ONTHISTOACTIVATETHE:OOM4OGGLEFEATURE ORWHENTHE#OMMAND&OCUSIS ACTIVE JUSTPRESSTHEhEvKEYONYOURCOMPUTERKEYBOARD 4OCONFIGURETHEWAYTHISFEATUREWORKS YOUNEEDTOSETVARIOUSPREFERENCES AND ZOOM BEHAVIORS IN THE :OOM 4OGGLE SECTION OF THE %DITING 0REFERENCES WINDOW WHICHYOUCANACCESSFROMTHE3ETUPMENU (ERE YOU CAN SET THE WAY THAT BOTH THE 6ERTICAL AND (ORIZONTAL :OOM WILL SWITCHIE TOGGLE WHENYOUENABLETHE:OOM4OGGLEFEATURE ANDYOUCAN ALSOSETTHEWAYTHATTHE4RACK(EIGHTAND4RACK6IEWBEHAVE 4HE 6ERTICAL :OOM DEFAULTS TO ZOOMING TO THE CURRENT %DIT 3ELECTION WITH h3ELECTIONv CHOSEN IN THE :OOM 4OGGLE 0REFERENCES )F YOU ARE EDITING -)$) NOTES AND YOU ARE IN .OTES VIEW AND IF YOU SET THE 6ERTICAL :OOM 4OGGLE 0REFERENCETOh,AST5SED vHITTINGTHE:OOM4OGGLEBUTTONZOOMSVERTICALLYTO THELASTSTORED:OOM4OGGLESTATEFOR-)$)NOTES )FYOUCHOOSEh3ELECTIONvASTHE(ORIZONTAL:OOMPREFERENCE USINGTHE:OOM 4OGGLEFEATUREWILLCAUSETHE%DITWINDOWTOZOOMHORIZONTALLYTOTHECURRENT 54


Figure 2.60 Zoom 4OGGLE0REFERENCES

SELECTION WHICHISESPECIALLYUSEFULFORAUDIOEDITING)FYOUSELECTh,AST5SEDv INSTEAD :OOM 4OGGLE MAKES THE %DIT WINDOW ZOOM HORIZONTALLY TO THE LAST STORED:OOM4OGGLESTATE4HISOPTIONISESPECIALLYUSEFULFOREDITING-)$)NOTES ! CHECK BOX IN THE :OOM 4OGGLE 0REFERENCES LETS YOU h2EMOVE 2ANGE 3ELECTIONAFTER:OOMING)N vINWHICHCASETHECURRENT%DITSELECTIONCOLLAPSES ANDBECOMESANINSERTIONPOINTWHENYOUUSETHE:OOM4OGGLE4HISISUSE FULWHENYOUKNOWTHATYOUARENOTGOINGTOWANTTOKEEPANYSELECTIONYOU HAVEMADEPREVIOUSLYWHENYOUZOOMINUSINGTHE:OOM4OGGLEFEATURE 9OUCANALSOSETPREFERENCESFORHOWTHE4RACK(EIGHTBEHAVESWHENYOUUSE THE:OOM4OGGLE)FYOUCHOOSEh,AST5SED vUSINGTHE:OOM4OGGLECHANGES ALL TRACKS CONTAINING AN %DIT 3ELECTION TO THE LAST USED 4RACK (EIGHT )F YOU CHOOSEh-EDIUM vh,ARGE vh*UMBO vORh%XTREME vALLTRACKSCONTAININGAN %DIT3ELECTIONCHANGETOTHE-EDIUM ,ARGE *UMBO OR%XTREME4RACK(EIGHT ANDIFYOUCHOOSEh&ITTO7INDOW vALLTRACKSCONTAININGAN%DIT3ELECTIONWILL CHANGE THEIR 4RACK (EIGHT TO A SIZE THAT WILL ALLOW THEM TO FIT INTO THE %DIT WINDOW 1UITE OFTEN YOU WILL WANT TO CHANGE THE 4RACK 6IEW DURING A 0RO 4OOLS SES SION SO THE :OOM 4OGGLE ALSO LETS YOU DO THIS 4O MAKE THE :OOM 4OGGLE CHANGETHE4RACK6IEWFORAUDIOTRACKSTO7AVEFORMVIEW ANDFOR)NSTRUMENT AND -)$) TRACKS TO .OTES VIEW CHOOSE h7AVEFORM.OTESv IN THE :OOM 4OGGLE0REFERENCES)FYOUWANT:OOM4OGGLETOCHANGETHE4RACK6IEWTOTHE LASTUSED4RACK6IEWTHATWASSTOREDWITH:OOM4OGGLE CHOOSEh,AST5SED v ANDIFYOUDONTWANTANYCHANGETOTHE4RACK6IEW SELECTTHEh.O#HANGEv OPTION7ITH0RO4OOLSVERSIONANDNEWERVERSIONS THE4RACKVIEWOPTIONS ALSOINCLUDEh7ARP.OTESv )F YOU WANT TO KEEP THE GRID SETTINGS CONSTANT WHEN YOU USE :OOM 4OGGLE CLICK THE OPTION FOR h3EPARATE 'RID 3ETTINGS 7HEN :OOMED INv /THERWISE 55


THE GRID SETTING STORED WITH :OOM TOGGLE WILL BE RECALLED WHEN YOU USE THE :OOM4OGGLEFEATURE 4HEREISALSOACHECKBOXFORh:OOM4OGGLE&OLLOWS%DIT3ELECTIONv7HENTHIS ISTICKED :OOM4OGGLEAUTOMATICALLYFOLLOWSTHECURRENTEDITSELECTION7HEN DISABLED CHANGINGTHEEDITSELECTIONHASNOEFFECTONTHECURRENTLYTOGGLED IN TRACK

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)FYOUAREEDITING-)$) THEMOSTSENSIBLE:OOM4OGGLEPREFERENCESCHOICES ARE TO SET 6ERTICAL :OOM TO h,AST 5SED v (ORIZONTAL :OOM TO h,AST 5SED v 4RACK6IEWTOh7AVEFORM.OTES vAND4RACK(EIGHTTOh&ITTO7INDOWv

Figure 2.61 2ECOMMENDED:OOM Toggle Preferences for -)$)

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)FYOUAREEDITINGAUDIO THEMOSTSENSIBLE:OOM4OGGLEPREFERENCESCHOICES ARE TO SET 6ERTICAL :OOM TO h3ELECTION v (ORIZONTAL :OOM TO h3ELECTION v 4RACK(EIGHTTOh&ITTO7INDOW vAND4RACK6IEWTOh.O#HANGEv

Figure 2.62 2ECOMMENDED:OOM Toggle Preferences for !UDIO

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7HEN YOU HAVE :OOM 4OGGLE ENABLED AND YOU SELECT A SMALLER RANGE OF MATERIAL THEWINDOWDOESNOTIMMEDIATELYZOOMTOENCOMPASSTHISNEW SELECTIONnITSTAYSATTHESAMEZOOMLEVEL(OWEVER IFYOUDISABLE:OOM 4OGGLEANDTHENENABLEITAGAIN THEWINDOWWILLZOOMTOENCOMPASSTHE CURRENTSELECTION

2.10 Scrolling windows 4HEREAREVARIOUSSCROLLINGOPTIONSIN0RO4OOLS4HEFIRSTOFTHESE h.ONE vIS SELF EXPLANATORY 4HE !FTER 0LAYBACK SCROLLING OPTION LEAVES THE WINDOW WHERE IT IS WHEN YOU STARTPLAYBACKANDSCROLLSTHEVIEWTOTHENEWPOSITIONAFTERYOUSTOPPLAYBACK 4HE h0AGEv SCROLL OPTION KEEPS THE DISPLAY STATIONARY UNTIL PLAYBACK REACHES THE RIGHTMOST SIDE OF THE PAGE THEN IT QUICKLY CHANGES THE DISPLAY TO SHOW THE NEXT SECTION IE PAGE OF THE WAVEFORM THAT WILL FIT WITHIN THE %DIT WINDOWnANDSOFORTH 4HEREARETWOCONTINUOUSSCROLLINGOPTIONS4HEFIRSTOFTHESE h#ONTINUOUS v DOESEXACTLYWHATITSAYSnCONTINUOUSLYMOVINGTHEDISPLAYDURINGPLAYBACK TOKEEPUPWITHTHEPLAYBACK 4HE SECOND OPTION h#ENTER 0LAYHEAD v SHOWS THE PLAYHEAD n A VERTICAL BLUEBARINDICATINGWHERETHEPLAYBACKPOINTISATINTHE%DITWINDOWnAND MOVESTHEWAVEFORMSPASTTHIS4HE"LUE0LAYHEADLINESTAYSEXACTLYWHERE IT IS n IN THE CENTER OF THE %DIT WINDOW n AND THE ITEMS ON THE TIMELINE MOVEPASTTHIS

Figure 2.63 Continuous 3CROLLWITH#ENTER 0LAYHEAD

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Scrolling behavior 7ITH h4IMELINE )NSERTION &OLLOWS 0LAYBACKv ENABLED IN THE /PERATION 0RE FERENCESDIALOG WHENYOUPRESS0LAY THENSUBSEQUENTLYPRESS3TOPOR0AUSE ANDTHENPRESS0LAYAGAIN 0RO4OOLSPICKSUPWHEREITLEFTOFF)NOTHERWORDS WHEN YOU STOP PLAYBACK THE INSERTION POINT hPARKS ITSELFv AT THAT POINT n INSTEADOFRETURNINGTOTHEPOSITIONITWASATWHENYOUCOMMENCEDPLAYBACK )FYOUAREUSINGTHEh#ONTINUOUSvSCROLLOPTION THEPLAYBACKPOSITIONJUMPS BACKTOTHEPOSITIONYOUSTARTEDPLAYINGFROMWHENYOUPAUSEORSTOPPLAY BACK n UNLESS YOU HAVE ENABLED THE h4IMELINE )NSERTION &OLLOWS 0LAYBACKv OPTIONINTHE/PERATION0REFERENCESDIALOG )FYOUAREUSINGTHE#ENTER0LAYHEADSCROLLOPTION THEPLAYBACKPOSITIONSTAYS WHEREVERITHASREACHEDATTHEMOMENTYOUPAUSEORSTOPPLAYBACK4HISHAP PENS BECAUSE THIS SCROLLING MODE OVERRIDES THE h4IMELINE )NSERTION &OLLOWS 0LAYBACKvPREFERENCE CAUSING0RO4OOLSTOBEHAVEASTHOUGHTHISPREFERENCE ISENABLEDnEVENWHENITISNOTENABLED .OTE THAT IF h4IMELINE )NSERTION &OLLOWS 0LAYBACKv WAS DISABLED BEFORE YOU ENTEREDTHE#ENTER0LAYHEADSCROLLINGMODE ITWILLSTILLBEDISABLEDWHENYOU EXITTHISMODEnWHICHISTHEWAYTHATMOSTUSERSPREFERITTOBEHAVE

2.11 Playback Cursor Locator 4HE 0LAYBACK #URSOR ,OCATOR LETS YOU LOCATE THE PLAYBACK CURSOR WHEN IT IS OFF SCREEN &OR EXAMPLE IF SCROLLING IS NOT ACTIVE SET TO h.ONEv WHEN YOU STOPPLAYINGBACK THE0LAYBACK #URSOR WILL BE POSITIONED SOMEWHERE TO THE RIGHT OFFTHESCREENnIFITHASPLAYEDPASTTHELOCATIONCURRENTLYVISIBLEINTHE %DITWINDOW!LSO IFYOUMANUALLYSCROLLTHESCREENWAYOFFTOTHERIGHT PER HAPSTOCHECKSOMETHINGVISUALLY THENTHE0LAYBACK#URSORWILLBEPOSITIONED SOMEWHERETOTHELEFTOFFTHESCREEN 4OALLOWYOUTOQUICKLYNAVIGATETOWHEREVERTHE0LAYBACK#URSORISPOSITIONED ON SCREEN YOUCANUSETHE0LAYBACK#URSOR,OCATORBUTTON

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4HE0LAYBACK#URSOR,OCATORBUTTONONLYAPPEARSUNDERCERTAINCONDITIONS )TWILLAPPEARATTHErightEDGEOFTHE-AIN4IMEBASE2ULERAFTERTHEPLAYBACK cursor moves to any position afterTHELOCATIONVISIBLEINTHE%DITWINDOW )TWILLAPPEARATTHE leftEDGE OF THE -AIN 4IMEBASE 2ULER IF THE PLAYBACK CURSORISLOCATEDbeforeTHELOCATIONVISIBLEINTHE%DITWINDOW

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Figure 2.64 The 0LAYBACK#URSOR,OCATOR THESMALLBLUEARROWHEAD can be seen at the top right in the Main 4IMEBASE2ULER

! CLICK ON THE 0LAYBACK #URSOR ,OCATOR IMMEDIATELY MOVES THE %DIT WIN DOWS WAVEFORM DISPLAY TO THE 0LAYBACK #URSORS CURRENT ON SCREEN LOCA TIONnSAVINGYOULOTSOFTIMECOMPAREDWITHANYOTHERWAYOFFINDINGTHIS LOCATION

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4HE0LAYBACK#URSOR,OCATORCHANGESITSCOLORFROMBLUETOREDWHENANY OFTHETRACKSARERECORD ENABLED

2.12 Keyboard Focus 4O ALLOW THE COMPUTER KEYBOARD TO BE USED TO ISSUE MORE COMMANDS THAN THEREAREAVAILABLEKEYS 0RO4OOLSPROVIDESTHREETYPESOF+EYBOARD&OCUSTHE #OMMANDS+EYBOARD&OCUS THE2EGION,IST+EYBOARD&OCUS ANDTHE'ROUP ,IST+EYBOARD&OCUS /BVIOUSLY ONLYONEOFTHESECANBEACTIVEATATIME SOWHENYOUENGAGEONE +EYBOARD&OCUS ITWILLDISABLETHEONEPREVIOUSLYENGAGED $EPENDING ON WHICH +EYBOARD &OCUS IS ENABLED YOU CAN USE THE KEYS ON YOURCOMPUTERSKEYBOARDTOSELECTREGIONSINTHE2EGION,IST ENABLEORDIS ABLE'ROUPS ORPERFORMANEDITORPLAYCOMMAND

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9OUCANCHOOSETHE+EYBOARD&OCUSBYHOLDING#OMMAND /PTION-AC OR#ONTROL !LT7INDOWS WHILEYOUPRESSFORTHE#OMMANDS FORTHE 2EGION,IST ORFORTHE'ROUP,IST ) NORMALLY HAVE THE #OMMANDS +EYBOARD &OCUS ENABLED SO THAT ) GET FAST ACCESSTOALLMYFAVORITEKEYBOARDCOMMANDS 59


Commands Keyboard Focus )N0RO4OOLS THE#OMMANDS+EYBOARD&OCUSBUTTONFORTHE%DITWINDOWIS LOCATEDINTHEUPPERRIGHTCORNEROFTHETRACKSPANEINTHE%DITWINDOW7HEN YOU CLICK ON THIS THE LETTERS hAv AND hZv AND THE SQUARE OUTLINE CHANGE TO YELLOWTOINDICATETHATITISACTIVATED

Figure 2.65 #OMMANDS +EYBOARD&OCUSBUTTON hAnZvLOCATEDATTHETOP right of the tracks pane in THE%DITWINDOW

7ITH THE #OMMANDS +EYBOARD &OCUS ACTIVATED A WIDE RANGE OF SINGLE KEY SHORTCUTSFOREDITINGANDPLAYBACKBECOMEAVAILABLEONYOURCOMPUTERSKEY BOARD4OSEETHESECOMMANDSLISTED CHOOSEh+EYBOARD3HORTCUTSvFROMTHE 0RO4OOLS(ELPMENU

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7HEN THE #OMMANDS +EYBOARD &OCUS IS DISABLED YOU CAN STILL USE THESE KEYBOARD SHORTCUTS BY PRESSING THE #ONTROL KEY -AC OR 3TART KEY 7INDOWS ATTHESAMETIMEASTHESHORTCUTKEY

Region List Keyboard Focus 7HEN THE 2EGION ,IST +EYBOARD &OCUS IS SELECTED BY CLICKING THE hAnZv BUT TON IN THE 2EGIONS ,IST AUDIO REGIONS -)$) REGIONS AND REGION GROUPS CAN BELOCATEDANDSELECTEDINTHE2EGION,ISTBYTYPINGTHEFIRSTFEWLETTERSOFTHE REGIONSNAME

Figure 2.66 Enabling THE2EGION,IST+EYBOARD &OCUS

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Group List Keyboard Focus 7HENTHE'ROUP,IST+EYBOARD&OCUSISSELECTEDBYCLICKINGTHEhAnZvBUTTON INTHE%DIT'ROUPSLIST YOUCANENABLEORDISABLETHE-IXAND%DIT'ROUPSBY TYPING THE 'ROUP )$ LETTER A B C ETC ON YOUR COMPUTER KEYBOARD WHEN USINGEITHERTHE-IXOR%DITWINDOW

Figure 2.67 Enabling THE'ROUP,IST+EYBOARD &OCUS

2.13 Channels and tracks )N 0RO 4OOLS TERMINOLOGY hTRACKSv ARE USED TO RECORD AUDIO OR -)$) TO YOURHARDDRIVE4HESETRACKSAPPEARINTHE%DITWINDOWANDINTHE-IXWIN DOW hCHANNELv STRIPS 2ATHER CONFUSINGLY WHAT YOU MIGHT EXPECT WOULD BE REFERREDTOAShCHANNELSvINTHE-IXWINDOWAREREFERREDTOAS!UDIO4RACKS 6IDEO 4RACKS -)$) 4RACKS )NSTRUMENT 4RACKS !UXILIARY )NPUTS 6#! -ASTER AND -ASTER &ADERS IN 0RO 4OOLS !LSO 0RO 4OOLS USES THE TERM hCHANNELv TO REFERTOANACTUALPHYSICALINPUTOROUTPUTCONNECTIONONWHICHEVERINTERFACE ORINTERFACESYOUAREUSING SOTHEDOCUMENTATIONTALKSABOUTA)/INTER FACE HAVING CHANNELS OF AUDIO INPUT AND OUTPUT FOR EXAMPLE !LL THIS IS STRAIGHTFORWARDENOUGHTOUNDERSTANDnBUTITISLITTLEUNUSUALWHENYOUARE USED TO A TAPE RECORDER HAVING TRACKS AND A MIXER HAVING CHANNELS )T CAN BE LITTLE hJARRINGv MENTALLY TO TALK ABOUT ADJUSTING THE MIXERS hTRACKv CON TROLSRATHERTHANTHEMIXERShCHANNELvCONTROLSUNTILYOUGETUSEDTOTHEIDEA (OWEVER THEDOCUMENTATIONSTILLTALKSABOUThCHANNELvSTRIPSINTHE0RO4OOLS -IXWINDOWnEACHOFWHICHCORRESPONDSTOATRACKINA0RO4OOLSSESSION

2.14 Voices and Voiceable tracks 4HECONCEPTOFhVOICESvIN0RO4OOLSNEEDSTOBETHOROUGHLYUNDERSTOOD4HE NUMBEROFPLAYBACKANDRECORDINGhVOICESvISTHENUMBEROFUNIQUESIMULTA NEOUSPLAYBACKANDRECORDTRACKSONYOURSYSTEMnABITLIKETHECONCEPTOF POLYPHONYINASYNTHESIZER WHICHDICTATESTHEMAXIMUMNUMBEROFSIMULTA NEOUSLYPLAYABLENOTES&OREXAMPLE WITHA0RO4OOLS($SYSTEM YOUCAN

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RECORD UP TO MONO TRACKS n BUT NOT ALL AT ONCE !LSO YOU CANT PLAY ALL THESEBACKATONCEEITHER9OUCANONLYRECORDANDPLAYBACKUPTOTHELIMITOF THEAVAILABLEhVOICESvWITHINYOURSYSTEM WHICHDEPENDSONTHETYPEOFCARD ORCARDSYOUHAVEINYOURSYSTEMANDTHESAMPLERATEYOUAREWORKINGAT&OR EXAMPLE A0RO4OOLS\($SYSTEMCANPROVIDEUPTOVOICESOFAUDIOPLAY BACKANDRECORDINGATORK(Z $IGIDESIGN SPELLS OUT THE RULES FOR hVOICEABLEv TRACKS AS FOLLOWS 4HE TOTAL NUMBER OF hVOICEABLEv TRACKS IS THE MAXIMUM NUMBER OF AUDIO TRACKS THAT CAN SHARE THE AVAILABLE VOICES ON YOUR SYSTEM -ONO TRACKS TAKE UP ONE VOICE 3TEREO AND MULTICHANNEL TRACKS TAKE UP ONE VOICE PER CHANNEL 6OICE LIMITSAREDEPENDENTONTHESESSIONSAMPLERATEANDTHENUMBEROF$30CHIPS DEDICATED TO THE SYSTEMS 0LAYBACK %NGINE 0RO 4OOLS\($ SYSTEMS CAN OPEN SESSIONS WITH UP TO AUDIO TRACKS BUT ANY AUDIO TRACKS BEYOND THAT SYS TEMSVOICEABLETRACKLIMITWILLBEAUTOMATICALLYSETTOh6OICE/FFv 3O WHAT HAPPENS WHEN YOU RUN OUT OF VOICES 4HE NEAT THING HERE IS THAT YOUCANASSIGNMORETHANONETRACKTOTHESAMEVOICEANDTHETRACKWITHTHE HIGHEST PRIORITY WILL ALWAYS PLAY BACK &OR EXAMPLE IF A PARTICULAR TRACK CON TAINSANINSTRUMENTALPARTTHATWASONLYRECORDEDINTHEVERSESOFASONGAND ANYEMPTYAUDIOREGIONSAREREMOVEDFROMTHECHORUSES THENYOUWILLHEAR ANYAUDIOREGIONSTHATEXISTONTHENEXTTRACKINORDEROFPRIORITY ASSIGNEDTO THATVOICEPLAYBACKINTHECHORUSSECTIONS *USTTOMAKETHISEVENCLEARER LETMEPUTITANOTHERWAY7HENNOREGIONSARE PRESENTWITHINAPARTICULARTIMERANGEONATRACK THETRACKWITHTHENEXTHIGH ESTPRIORITYWILLBEABLETOPLAYBACKUNTILAREGIONAPPEARSAGAINFORPLAYBACK INTHEFIRSTTRACKnINWHICHCASETHESECONDTRACKWILLSTOPPLAYINGBACKAND THEFIRSTWILLRESUMEPLAYBACK 4HETRACKPRIORITYDEPENDSONTHEORDEROFTHETRACKSINTHE-IXOR%DITWIN DOWSnWITHTHELEFTMOSTTRACKINTHE-IXWINDOWANDTHETOPMOSTTRACKIN THE%DITWINDOWSHAVINGTHEGREATESTPRIORITY 4HIS SYSTEM REFERRED TO AS hVOICE BORROWING v MAKES 0RO 4OOLS BEHAVE AS IF IT HAS MANY MORE TRACKS AVAILABLE THAN ARE ALLOWED BY THE HARDWARE !LL YOU HAVE TO DO IS EXPERIMENT WITH DIFFERENT COMBINATIONS OF TRACK PRIORI TIES VOICE ASSIGNMENTS AND ARRANGEMENTS OF REGIONS WITHIN YOUR TRACKS TO BE ABLE TO PLAY BACK MANY MORE TRACKS THAN YOU CAN WITH A CONVENTIONAL RECORDER /NCOMPLEXSESSIONSWITHLOTSOFTRACKS YOUMAYSTILLFINDYOURSELFRUNNINGOUT OFVOICESATTIMES4OHELPYOUMANAGEYOURVOICEALLOCATIONS 0RO4OOLSFREES UPAVOICEIFYOUUNASSIGNTHETRACKSOUTPUTANDSENDASSIGNMENTS ORMAKE THETRACKINACTIVEnORYOUCANSIMPLYSETTHETRACKS6OICE3ELECTORTOh/FFv 5SING THE 6OICE 3ELECTOR A TRACKS VOICE ASSIGNMENT CAN ALSO BE DYNAMICALLY

62


ALLOCATED OR IT CAN BE EXPLICITLY ASSIGNED TO A SPECIFIC VOICE NUMBER /NE RESTRICTION HERE IS THAT %LASTIC !UDIO AND 24!3 PLUG INS ARE NOT ALLOWED ON EXPLICITLY VOICED TRACKS SO YOU MUST USE $YNAMICALLY !LLOCATED 6OICING FOR THESETRACKSINSTEAD

Figure 2.68 4RACK6OICE POP UPSELECTOR

9OUCANMAKETRACKSINACTIVEBYCLICKINGONTHETRACKTYPEICONTHATYOUWILL FINDTOTHERIGHTOFTHE6OICE3ELECTORPOP UPONEACHMIXERCHANNELSTRIPAND CHOOSINGh-AKE)NACTIVEvFROMTHEPOP UPSELECTORTHATAPPEARS9OUCANALSO USE THIS POP UP TO MAKE THE TRACK ACTIVE IF IT HAS BEEN DEACTIVATED 4O GIVE YOUVISUALFEEDBACK MIXERCHANNELSTURNADARKERSHADEOFGRAYANDTRACKSIN THE%DITWINDOWAREDIMMEDWHENINACTIVE

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9OU CAN ALSO USE A KEYBOARD COMMAND TO TOGGLE THE TRACK BETWEEN ACTIVE AND INACTIVE #OMMAND #ONTROL CLICK -AC OR #ONTROL 3TART CLICK 7INDOWS ONTHE4RACK4YPEINDICATORINTHE-IXWINDOW

Figure 2.69 Clicking on the track type icon to ACCESSTHE-AKE)NACTIVE POP UP

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-AKINGSOMEOFYOURLESS IMPORTANTORUNUSEDTRACKSINACTIVEISAGREATWAY OFFREEINGUP$30RESOURCESANDVOICESFORUSEELSEWHERE ASALLTHEPLUG INS SENDS VOICES ANDAUTOMATIONONINACTIVETRACKSAREDISABLED4HISFEATUREALSO ALLOWSYOUTOOPEN0RO4OOLSSESSIONSONSYSTEMSWITHLESS$30RESOURCESTHAN WERE AVAILABLE WHEN THE SESSIONS WERE CREATED 0RO 4OOLS WILL AUTOMATICALLY MAKETRACKSINACTIVEASNECESSARYTOALLOWSESSIONSTOBEOPENED

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0RO4OOLS\($SYSTEMSPROVIDEUPTO!UXILIARY)NPUTTRACKSANDATOTAL OFINTERNALMIXBUSSES9OUCANUSEUPTOINSERTSANDSENDSPER TRACK DEPENDING ON THE $30 CAPACITY OF YOUR SYSTEM ($ SYSTEMS ALSO SUPPORT UP TO )NSTRUMENT TRACKS -)$) TRACKS 6#! -ASTER TRACKS ANDMULTIPLEVIDEOTRACKS

2.15 Muting tracks 9OUCANTEMPORARILYFREEUPAVOICEBYMUTINGATRACKDURINGPLAYBACK AND IF YOU HAVE h-UTE &REES !SSIGNED 6OICEv ENABLED IN THE /PTIONS MENU THE VOICE WILL BE ALLOCATED TO THE NEXT HIGHEST PRIORITY VOICEABLE TRACK THAT IS ASSIGNEDTOTHESAMEVOICE

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7HENYOUUSETHEh-UTE&REES!SSIGNED6OICEvFEATURE THECOMPUTERINTRO DUCESADELAYOFONEORMORESECONDS DEPENDINGONYOUR#05SPEED BEFORE THEMUTEORUNMUTEINSTRUCTIONISCARRIEDOUT)FTHISBOTHERSYOU YOURONLY OPTIONISTOTURNITOFF!LSO MUTINGATRACKUSINGTHISFEATUREWILLNOTMAKE THEVOICEAVAILABLEFORUSEWITH1UICK0UNCH 4RACK0UNCH OR$ESTRUCTIVE0UNCH RECORDING ,ARGER $!% 0LAYBACK "UFFER SIZES CAN ALSO INCREASE THE TIME BETWEENCLICKINGTHE-UTEBUTTONANDTHEONSETOFMUTING

2.16 Soloing tracks 9OU CAN USE THE 3OLO BUTTONS TO SOLO ANY TRACK OR TRACKS AT ANY TIME DURING PLAYBACK ANDIFYOUSOLOATRACKTHATISAMEMBEROFANACTIVE-IX'ROUP THIS WILLSOLOALLOTHERTRACKSTHATAREAMEMBEROFTHATACTIVE-IX'ROUPASWELL 4HEDEFAULT3OLOMODEISCALLEDh3OLOIN0LACEv3)0 )NTHISMODE ENGAGING A3OLOBUTTONMUTESALLTHEOTHERTRACKSSOTHATTHESELECTEDTRACKCANBEAUDI TIONED INDEPENDENTLY )N 3)0 MODE 0RO 4OOLS LETS YOU hSOLO SAFEv A TRACK TO PREVENTTHETRACKFROMBEINGMUTEDWHENYOUSOLOOTHERTRACKS4OSOLOSAFE 64


ATRACK #OMMAND CLICK-AC OR#ONTROL CLICK7INDOWS ONTHETRACKS3OLO BUTTON4HE3OLOBUTTONCHANGESITSAPPEARANCEIN3OLO3AFEMODE ASCANBE SEENINTHEACCOMPANYINGSCREENSHOT 3OLO 3AFE IS USEFUL FOR TRACKS SUCH AS !UXILIARY )NPUTS THAT ARE BEING USED TO SUBMIXAUDIOTRACKS ORFOREFFECTSRETURNS TOALLOWTHEAUDIOOREFFECTSTRACK TOSTILLBEHEARDINTHEMIXWHENOTHERTRACKSARESOLOED7ITHOUTTHISFEATURE YOU WOULD HAVE TO REMEMBER TO ALSO SOLO THE APPROPRIATE !UXILIARY TRACKS WHENEVERYOUSOLOEDATRACKnANDTHISCOULDBEVERYAWKWARDIFTHE!UXILIARY TRACKISPOSITIONEDALONGWAYFROMTHETRACKYOUARESOLOINGINTHEMIXER

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)TCANALSOBEUSEFULTOSOLOSAFE-)$)TRACKSSOTHATTHEIRPLAYBACKISNOT AFFECTEDWHENYOUSOLOAUDIOTRACKS

Figure 2.70 4WOSTEREO PIANOTRACKSBUSSEDTOAN !UXILIARY)NPUTTOFORMA SUBMIXWITHTHE!UXILIARY )NPUTIN3OLO3AFEMODE .OTICETHEWAYTHESOLO SAFED3OLOBUTTONONTHE !UXTRACKLOOKSCOMPARED WITHTHENORMAL3OLO button on the Double "ASSTRACKNEXTTOITn WHICHISMUTEDBECAUSE the piano tracks have BEENSOLOED

Figure 2.71 Choosing THE3OLOMODEFROMTHE /PTIONSMENU

65


9OUCANSELECTTWOALTERNATIVE3OLOMODESFROMTHE/PTIONSMENU5SINGTHESE MODES !FTER&ADER,ISTEN!&, AND0RE&ADER,ISTEN0&, THE3OLOBUTTONCAN BEUSEDTOROUTETHESELECTEDTRACKTOASEPARATE!&,OR0&,OUTPUT9OUCAN CONFIGURETHE!&,0&,OUTPUTPATHINTHE/UTPUTPAGEOFTHE)/3ETUPDIALOG

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4HE3OLOMODEFORALLSOLOEDTRACKSCANBECHANGEDhON THE FLYvFROMANY 3OLOMODETOEITHER3)0OR!&,0REVIOUSLYSOLOEDTRACKSWILLSWITCHTHEIRSOLO BEHAVIORTOTHENEWMODE)FYOUTRYSWITCHINGTHE3OLOMODEFORSOLOED TRACKSON THE FLYTO0&, ALLTHEPREVIOUSLYSOLOEDTRACKSWILLBETAKENOUTOF 3OLOBEFOREENTERING0&,MODETOPREVENTANYLARGEBOOSTSINLEVEL )N!&,MODE THE3OLOBUTTONROUTESTHETRACKShPOSTFADERPOSTPANvSIGNALVIA THE!&,0&,OUTPUTPATH7ITH!&, THELEVELYOUHEARISDEPENDENTONTHEFADER LEVELFORTHATTRACK)N0&,MODE THE3OLOBUTTONROUTESTHETRACKShPREFADER PREPANvSIGNALTOTHE!&,0&,OUTPUTPATH7ITH0&, THEFADERLEVELANDPAN AREIGNORED ANDTHELEVELYOUHEARISDEPENDENTONTHESIGNALSRECORDEDLEVEL Figure 2.72 !&, 0&,0ATH3ETTINGINTHE /UTPUTPAGEOFTHE)/ 3ETUPDIALOG

4HEREISALSOASEPARATEMASTERLEVELSETTINGFOR!&,AND0&,THATAFFECTSTHEOUTPUT OFANYORALLTRACKSTHATYOUSOLOIN!&,OR0&,MODE7HENYOUAREIN!&,OR0&, MODE YOUCANSETTHISLEVELINTHE-IXOR%DITWINDOWS7HENYOU#OMMAND CLICK -AC OR #ONTROL CLICK 7INDOWS ON A 3OLO BUTTON ON ANY TRACK A SMALL FADERAPPEARSTHATYOUCANUSETOADJUSTTHEMASTERLEVELFORTHE!&,0&,0ATH

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4O SET THE !&,0&, 0ATH LEVEL TO D" #OMMAND #ONTROL CLICK -AC OR #ONTROL 3TART CLICK7INDOWS ONANY3OLOBUTTON

Figure 2.73 Setting the !&,0&,3OLOLEVEL

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9OUSHOULDSETTHE!&,0&,/UTPUT0ATHTOh.ONEvWHENEVERYOUARENOT USINGTHISFEATURE 0RO 4OOLS ALLOCATES A SUBSTANTIAL PORTION OF ITS AVAILABLE $30 WHEN USING !&,0&, MODE SO SETTING THE !&,0&, 0ATH TO h.ONEv WILL FREE UP THESE $30RESOURCES

)FYOUARENOTUSINGA$ #ONTROLOR$ #OMMANDWORKSURFACE WHERE8-/. ISUSEDTOAUTOMATICALLYSWITCHTHEMONITORSOURCEBETWEENTHEMAINOUTPUT ANDTHE!&,0&,OUTPUT YOUWILLNEEDTOCHOOSESUITABLEOUTPUTPATHSBOTH FORYOURMAINMONITORINGANDFORYOUR!&,0&,MONITORINGINTHE)/3ETUP ANDMANUALLYCONFIGURETHISSOTHATTHEMAIN0RO4OOLSOUTPUTPATHISMUTED WHEN YOU ARE USING THE !&,0&, PATH 9OU CAN DESIGNATE YOUR MAIN OUTPUT PAIR AS THE OUTPUTS TO BE MUTED WHEN TRACKS ARE SOLOED IN !&, OR 0&, 3OLO MODEUSINGTHE!&,0&,-UTESPOP UPINTHE)/3ETUPWINDOW Figure 2.74 When tracks ARESOLOEDIN!&,OR0&, 3OLOMODE THEOUTPUT PAIRSELECTEDINTHE!&, 0&,-UTESPOP UPINTHE )/3ETUPWINDOWWILLBE MUTED

3OLO BUTTONS DEFAULT TO ,ATCH MODE IN WHICH PRESSING OTHER SOLO BUTTONS ALSO SOLOS THESE TRACKS WITHOUT DISENGAGING PREVIOUSLY SOLOED TRACKS )F YOU CHOOSE 8n/2MODE PRESSINGSUBSEQUENT3OLOBUTTONSCANCELSPREVIOUSLYSOLOEDTRACKS)N -OMENTARYMODE ATRACKISONLYINSOLOWHILEITS3OLOBUTTONISBEINGHELDDOWN 4OTEMPORARILYLATCHMORETHANONESOLOBUTTONIN-OMENTARYMODE PRESSAND HOLDTHE3OLOBUTTONONTHEFIRSTTRACKTHATYOUWANTTOSOLO THENPRESSADDITIONAL 3OLOBUTTONS4HESEWILLALLREMAINSOLOEDASLONGASONE3OLOBUTTONISHELD

2.17 Finding tracks in the Edit and Mix windows )FYOUHAVELOTSOFTRACKSINYOUR0RO4OOLSSESSION THEREWILLBETIMESWHEN SOMEOFTHESEARENOTVISIBLEON SCREENBECAUSEYOURCOMPUTERMONITORISNOT LARGE ENOUGH 9OU CAN ALWAYS USE THE SCROLLBARS IN THE -IX OR %DIT WINDOWS TOSCROLLALONGUNTILYOUFINDTHETRACKYOUAREINTERESTEDIN BUTTHISCANSLOW YOUDOWNATTIMES(OWEVER IFTHETRACKYOUARELOOKINGFORISVISIBLEINEITHER THE-IXORTHE%DITWINDOW YOUCANINSTANTLYBRINGTHISTRACKINTOVIEWINTHE 67


OTHERWINDOWUSINGTHE3CROLLINTO6IEWCOMMAND9OUCANACCESSTHISCOM MANDFROMTHEPOP UPMENUTHATAPPEARSWHENYOU#ONTROL CLICK-AC OR 2IGHT CLICK7INDOWS ONTHETRACKNAME

Figure 2.75 #ONTROL CLICK-AC OR2IGHT CLICK 7INDOWS ONTHE4RACK .AMEANDYOUCAN CHOOSEh3CROLLINTO6IEWv FROMTHEPOP UPSELECTOR

2.18 Navigating to tracks by number 0RO 4OOLS GIVES YOU THE OPTION OF DISPLAYING A NUMBER FOR EACH TRACK CORRE SPONDINGTOITSPOSITIONINTHE-IXAND%DIT7INDOWS4HESENUMBERSCANBE HELPFULWHENYOUWANTTOKNOWHOWMANYTRACKSYOUAREWORKINGWITH ORHOW FAR ALONG THE -IX WINDOW YOU ARE AND ESPECIALLY IF YOU WANT TO FIND A TRACK THATISNOTCURRENTLYSHOWINGINTHEWINDOWANDYOUCANREMEMBERITSNUMBER 4O ACTIVATE THIS FEATURE MAKE SURE THAT 4RACK .UMBER IS SELECTED WITH A TICK NEXT TO ITS NAME IN THE 6IEW MENU 4HEN YOU CAN NAVIGATE DIRECTLY TO ANY TRACKUSINGTHESE4RACK0OSITION.UMBERS3IMPLYOPENTHE3CROLLTO4RACKDIA LOGFROMTHE4RACKMENU ORBYPRESSING#OMMAND /PTION &-AC OR#ONTROL !LT &7INDOWS ANDENTERTHE4RACK.UMBERFORTHETRACKYOUWANTTOVIEW

Figure 2.76 Scroll to 4RACKDIALOGnACCESSIBLE FROMTHE4RACKMENU

7HEN YOU CLICK /+ THE TRACK BECOMES SELECTED AND THE %DIT WINDOW TRACKSSCROLLTOBRINGTHESELECTEDTRACKASCLOSETOTHETOPASPOSSIBLE4HE 68


-IX WINDOW TRACKS SCROLL TO BRING THE SELECTED TRACK AS CLOSE TO THE LEFT AS POSSIBLE

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)FYOUCHANGETHEPOSITIONSOFANYTRACKSINTHE-IXOR%DITWINDOWS THE 4RACK0OSITION.UMBERSWILLBEAUTOMATICALLYRENUMBEREDTOKEEPTHEMIN NUMERICALSEQUENCE

2.19 Fit all shown tracks in the Edit window 3OMETIMES YOU MIGHT WANT TO FIT ALL THE TRACKS THAT ARE SHOWING IN THE %DIT WINDOWINTOTHEVISIBLEPARTOFTHEWINDOW SO0RO4OOLSPROVIDESAKEYBOARD COMMAND TO DO THIS #OMMAND /PTION #ONTROL 5P !RROW OR $OWN !RROW -AC OR#ONTROL !LT 3TART 5P!RROWOR$OWN!RROW7INDOWS /BVIOUSLY THERE ARE LIMITS TO THIS n DEPENDING ON HOW MANY TRACKS YOU HAVE AND HOW BIG YOU MAKE THE %DIT WINDOW !LL THE TRACKS WILL BE RESIZED TO AN APPROPRIATE HEIGHT TO FIT AND FILL THE WINDOW SO IF YOU JUST HAVE ONE OR TWO TRACKS THESEMIGHTBERESIZEDTO*UMBOHEIGHT BUTIFYOUHAVELOTSOFTRACKSAND ASMALLWINDOWSIZE THEYMIGHTALLGODOWNTO-ICROSIZE ASINTHEACCOMPA NYINGSCREENSHOT!LSOIFTHEWINDOWISTOOSMALLANDTHEREARETOOMANYTRACKS THEYSTILLWONTALLFIT.EVERTHELESS THISCANBEAVERYUSEFULFEATUREATTIMES

Figure 2.77 Fitting as many tracks as possible in THE%DITWINDOW

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)F :OOM 4OGGLE IS ENABLED FITTING ALL TRACKS IN THE %DIT WINDOW CANCELS :OOM4OGGLE

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2.20 “Do to All” and “Do to All Selected” (ERES A FINAL TIP FOR THIS CHAPTER TWO EXTREMELY USEFUL KEYBOARD COMMANDS THAT LET YOU APPLY CHANGES TO ALL TRACKS OR TO WHICHEVER TRACKS YOU HAVE SELECTED &OR EXAMPLE YOU MIGHT WANT TO SET ALL THE TRACK OUTPUTS OR ALL SELECTEDTRACKOUTPUTSTOTHESAMEDESTINATION 4O h$O TO !LL v PRESS AND HOLD /PTION -AC OR !LT 7INDOWS AS YOU MAKE YOUR CHANGE 4O h$O TO !LL 3ELECTED v PRESS AND HOLD /PTION 3HIFT -AC OR !LT 3HIFT7INDOWS ASYOUMAKEYOURCHANGE

2.21 Summary -AKESURETHATYOUKNOWALLTHEBASICFEATURESOFTHEUSERINTERFACEANDYOUR PATIENCEWILLBEREWARDEDWHENYOUREALIZEHOWFASTYOUCANWORKWITHTHE SYSTEM4AKETIMEOUTTOPRACTICEWITHFEATURESLIKE:OOM4OGGLEANDALLTHE DIFFERENTWAYSTHATYOUCANZOOMTHEDISPLAY:OOM4OGGLECANDELIVERUNEX PECTEDRESULTSATTIMES SOYOUNEEDTOMAKESURETHATYOUHAVEFULLYMASTERED THISBEFOREUSINGITONANIMPORTANTSESSION 'ETUSEDTOTHERULERSTHESEAREVERYEASYTOWORKWITH ANDFAMILIARIZEYOUR SELFWITHALLTHE4OOLBARCONTROLSANDDISPLAYSATTHETOPOFTHE%DITWINDOW 9OUWILLNEEDTOPRACTICEWITHTHESCRUBANDSHUTTLEFEATURESIFYOUHAVENOT USED THESE BEFORE BUT THESE SHOULD NOT PRESENT YOU WITH TOO MANY DIFFICUL TIESONCEYOUHAVESPENTSOMETIMESHUTTLINGAROUNDINTHE%DITWINDOWAND SCRUBBINGTOLOOKFOREDITPOINTS !LSO MAKE SURE THAT YOU PICK UP AS MANY KEYBOARD COMMANDS AS YOU CAN ALONGTHEWAY9OUCANUSETHEMOUSETODOMOSTTHINGS BUTITCANBEMUCH QUICKER TO PRESS JUST ONE OR TWO KEYS ON THE COMPUTER KEYBOARD OR ON THE NUMERIC KEYPAD IF YOU HAVE ONE OF THESE $ESKTOP COMPUTERS NORMALLY HAVE A NUMERIC KEYPAD TO THE RIGHT OF THE MAIN KEYBOARD AND YOU CAN BUY SEPA RATENUMERICKEYPADSFORLAPTOPSORFORANYCOMPUTERTHATDOESNTHAVEONEOF THESE !LSO DONTFORGETTOKEEPYOURWINDOWSTIDYANDORGANIZEDnHIDINGANYTHING THATYOUDONTNEEDTOSEE SUCHAS2EGION,ISTS )NSERTS 3ENDS UNUSEDTRACKS ORRULERSTHATYOUARENOTUSING!CLUTTEREDSCREENSIMPLYDISTRACTSnANDYOU LOSE TIME THAT YOU CAN ILL AFFORD TO LOSE ON BUSY SESSIONS IF YOU HAVE TO LOOK TWICETOFINDSOMETHING9OUSHOULDALSOMAKESURETHATYOUARECLEARABOUT CHANNELS AND TRACKS ABOUT VOICES AND VOICEABLE TRACKS ABOUT HOW TO MUTE ANDSOLOTRACKS ANDHOWTOFINDTRACKSINLARGESESSIONS-ASTERTHEUSERINTER FACEANDYOUWILLBEWELLONYOURWAYTOMASTERING0RO4OOLS

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4IME/PERATIONS


+EY3IGNATURES

-ETER 4EMPO AND#LICK

3UMMARY

3 Time Operations, Tempo Operations, and Key Signatures

3.1 Introduction /NE OF THE FIRST THINGS YOU OUGHT TO CONSIDER WHEN YOU ARE WORKING ON MUSIC IN 0RO 4OOLS IS THE TEMPO )F YOU ARE ABOUT TO RECORD A NEW PIECE OF MUSIC YOU WILL USUALLY WANT TO HAVE THE MUSICIANS PLAY ALONG TO A CLICK TO HELPKEEPTHEIRTIMINGACCURATE4HISWILLALSOHELPTOENSURETHATTHEMUSIC YOURECORDLINESUPWITHTHEBARLINESINYOUR0RO4OOLSSESSIONSOTHATYOU CAN EDIT USING THE GRID AND OTHER EDITING FEATURES )F THE MUSICIANS DONT WANTTORECORDTOACLICK THEREAREWAYSTOMATCHTHEAUDIOYOURECORDTO THEBARSANDBEATSIN0RO4OOLSAFTERWARDS BUTTHISWILLINEVITABLYTAKEMORE TIMETOSORTOUT 9OUWILLOFTENNEEDTOUSETHE)DENTIFY"EATFEATURETOMAKESURETHATTHEBARS AND BEATS IN 0RO 4OOLS MATCH THOSE IN ANY IMPORTED AUDIO REGIONS OR LOOPS 9OUMAYALSONEEDTOCREATETEMPOMAPSSOTHATMUSICIANSCANPLAYFASTEROR SLOWERINDIFFERENTSECTIONSOFTHEMUSIC ALONGWITHMETERCHANGESWHENEVER THESEARENEEDED%VENSHORTPOPSONGSSOMETIMESHAVEODDNUMBERSOFBARS ORBEATSORCHANGINGMETERS ANDTHESEAREVERYCOMMONINMUSIC TO PICTURE 4HE METER OR TIME SIGNATURE DEFINES THE NUMBER OF BEATS IN A BAR AND THE WAYTHEYCANBESUBDIVIDED "EAT $ETECTIVE CAN BE USED TO HELP WITH VARIOUS KINDS OF ANALYSIS OF TEMPO ANDhGROOVEvFOREXISTINGAUDIOOR-USICAL)NSTRUMENT$IGITAL)NTERFACE-)$) RECORDINGS )T IS ALSO POSSIBLE TO ESTABLISH A hGROOVEv TEMPLATE THAT DEVIATES FROMTHESTANDARDGRIDSOTHATYOUCANMATCHNEWRECORDINGSTOTHEhGROOVEv OFAPARTICULARDRUMMACHINE SEQUENCER ORPERCUSSIONLOOP )TCANALSOBEVERYHELPFULTOESTABLISHTHECORRECTKEYSIGNATUREFORYOURMUSIC ESPECIALLYIFYOUINTENDTOUSETHE3CORE%DITORORKEYTRANSPOSITIONFEATURES

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)FYOUARELEARNING0RO4OOLSFORTHEFIRSTTIME YOUSHOULDMAKETHEEFFORT TO GET USED TO THE TERMINOLOGY THAT $IGIDESIGN USES TO DESCRIBE THE FEA tures of the system so that this all becomes very familiar to you as soon ASPOSSIBLE4HEN YOUWILLFINDEVERYTHINGLESSCONFUSINGnANDWHENYOU NEED TO LOOK SOMETHING UP IN THE MANUAL OR REMIND YOURSELF ABOUT HOW SOMETHINGWORKS YOUWILLBEMUCHFASTERATTHIS

3.2 Timebase and Conductor rulers )N0RO4OOLS YOUEDITANDARRANGEYOURMUSICALONGTHETRACKSINTHE%DITWIN DOWBYPLACINGANDMOVINGTHEAUDIOAND-)$)REGIONSALONGTHE4IMELINE THATRUNSFROMLEFTTORIGHTALONGTHEWINDOW 2EGIONSANDEVENTSCANBEANCHOREDTOSPECIFICPOINTSORLOCATIONSALONGTHISTIME LINE ANDYOUCANVIEWTHESELOCATIONSASTIMEINSECONDSANDMINUTES AS3OCIETY OF-OTION0ICTUREAND4ELEVISION%NGINEERS3-04% TIMECODELOCATIONS ORASBAR BEATANDTICKLOCATIONSANDINOTHERFORMATSUSINGTHE4IMEBASERULERSTHATCANBE DISPLAYEDALONGTHETOPOFTHE%DITWINDOWABOVETHE#ONDUCTORRULERS 4HE 4IMEBASE RULERS CAN MEASURE TIME IN TWO DIFFERENT WAYS SAMPLE BASED TIME ABSOLUTE TIME AS SHOWN IN THE -INUTES3ECONDS RULER AND TICK BASED TIMERELATIVETIME ASSHOWNINTHE"ARS\"EATSRULER4HERELATIVETIMETHATTHE "ARS\"EATS RULER REPRESENTS WILL CHANGE DEPENDING ON THE TEMPO AND METER SETTINGS!BSOLUTETIME ASDISPLAYEDINTHE-INUTES3ECONDSRULER CANNEVER CHANGE WHICH OFCOURSE ISWHYITISCALLEDABSOLUTETIME !NYORALLOFTHE4IMEBASERULERSCANBEDISPLAYEDATTHETOPOFTHE%DITWIN DOWIN"ARS\"EATS ORIN-INUTES3ECONDS ORAS4IME#ODE WHICHDISPLAYSTHE 4IME3CALEIN3-04%FRAMES OR4IME#ODE WHICHLETSYOUREFERENCEVIDEO FRAME RATES THAT ARE DIFFERENT FROM THE SESSION 4IME #ODE RATE OR AS &EET &RAMES WHICH IS USED FOR FILM WORK 9OU CAN ALSO DISPLAY THE 4IME 3CALE IN SAMPLES WHICHCANBEVERYUSEFULFORPRECISEEDITINGTASKS 4HE MOST USEFUL 4IMEBASE RULERS FOR MUSIC PRODUCTION ARE "ARS\"EATS AND -INUTES3ECONDS SOYOUSHOULDDESELECTTHEONESTHATYOUARENOTUSINGTO REMOVETHEPOTENTIALFORCONFUSIONANDTOCONSERVESCREENSPACE 4HE #ONDUCTOR RULERS INCLUDE THE 4EMPO -ETER +EY 3IGNATURE #HORDS AND -ARKERSRULERS4EMPOAND-ETEREVENTSENTEREDINTOTHESERULERSWILLAFFECTTHE TIMINGOFANYTICK BASEDTRACKSANDALSOPROVIDETHETEMPOANDMETERMAPFOR

74

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

THE"AR\"EATGRIDAND#LICK0RO4OOLSALLOWSYOUTOEDIT4EMPOEVENTSEITHERIN THE4EMPORULERORUSINGTHE4EMPO%DITORTHATYOUCANOPENBELOWTHIS

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4HE 4IMEBASE RULERS MAY BE USED TO DEFINE Edit selections for track MATERIAL AND Timeline selections FOR RECORD AND PLAY RANGES &OR EXAM PLE USING THE 3ELECTOR TOOL YOU CAN DRAG ALONG ANY 4IMEBASE RULER TO SELECT MATERIAL ACROSS ALL THE TRACKS IN THE %DIT WINDOW 4O INCLUDE THE #ONDUCTOR TRACKS IN THE SELECTION JUST PRESS /PTION -AC OR !LT 7INDOWS WHILE YOU DRAG /FTEN YOU WILL WANT TO LINK THE %DIT AND 4IMELINE SELECTIONS BUT SOMETIMES YOU WILL WANT TO MAKE DIFFERENT %DIT AND 4IMELINE SELECTIONS 9OU CAN MAKE OR BREAK THE LINK BETWEEN THESE USINGTHE,INK4IMELINEAND%DIT3ELECTIONBUTTONLOCATEDJUSTBELOWTHE TOOLSINTHE%DITWINDOW

Figure 3.1 Tempo %DITOR

9OUCANENTERKEYSIGNATURESANDMAKEKEYCHANGESUSINGTHE+EY3IGNATURE RULER 4HIS IS USEFUL WHEN TRANSPOSING -)$) NOTES FOR EXAMPLE 7HEN YOU CHOOSE4RANSPOSEIN+EYINTHE%VENT/PERATIONS4RANSPOSEWINDOWANDENTER APARTICULARNUMBEROFSCALESTEPS 0RO4OOLSWORKSOUTWHATTHEROOTNOTEOF THEKEYSHOULDBEBASEDONTHEKEYSIGNATURETHATAPPLIESATTHISPOINTALONG THETIMELINE THENTRANSPOSESANYSELECTED-)$)NOTESBYTHENUMBEROFSTEPS THATYOUSPECIFY9OUCANALSOCHANGETHEKEYOFAUDIOREGIONS

Figure 3.2 +EY3IGNATURE %DITOR

4HE#HORDSRULERLETSYOUDISPLAY#HORDSYMBOLSFORMUSICIANSTOFOLLOWAND THE -ARKERS RULER LETS YOU DISPLAY -ARKERS TO INDICATE WHICH SECTION OF THE MUSICISWHICH 75


Figure 3.3 #HORDSAND -ARKERS

-ARKERS ARE ACTUALLY -EMORY LOCATIONS THAT CAN BE USED FOR OTHER PURPOSES but their most basic function, that of marking out the sections of your music, ISPROBABLYTHEIRMOSTIMPORTANTFUNCTION)TISAGOODIDEATODEFINE-ARKERS FORANYMUSICALSESSIONIN0RO4OOLSASEARLYASPOSSIBLE

Choosing the Marker Reference 7HENYOUCREATEOREDIT-ARKEROR3ELECTION -EMORY,OCATIONSINTHE.EW OR %DIT -EMORY ,OCATION DIALOGS YOU CAN CHOOSE WHETHER THEY HAVE AN !BSOLUTESAMPLE BASED OR"AR\"EATTICK BASED REFERENCEUSINGTHE2EFERENCE POP UP

Figure 3.4 Choosing the -ARKER2EFERENCE

)F YOU CHOOSE "AR\"EAT THE -EMORY ,OCATION WILL BE TICK BASED AND ITS "AR\"EATLOCATIONwill notCHANGEIFTHETEMPOISCHANGED(OWEVER ITSSAM ple location willCHANGE )F YOU CHOOSE !BSOLUTE THE -EMORY ,OCATION WILL BE SAMPLE BASED AND ITS "AR\"EATLOCATIONwillCHANGEIFTHETEMPOISCHANGED"UTITSSAMPLELOCATION will notCHANGE 3O THAT YOU CAN DISTINGUISH BETWEEN THE TWO TYPES OF MARKERS "AR\"EAT 2EFERENCE-ARKERSWILLAPPEARASYELLOWCHEVRONSINTHE-ARKERSRULER WHEREAS !BSOLUTE2EFERENCE-ARKERSWILLAPPEARASYELLOWDIAMONDS

Figure 3.5 "AR\"EAT 2EFERENCEAND!BSOLUTE 2EFERENCE-ARKERS

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Setting the Time Scales 4HE -AIN 4IME 3CALE THAT YOU SHOULD CHOOSE FOR THE SESSION WILL NORMALLY BE "ARS\"EATS FOR MUSIC PRODUCTION 4HIS WILL ALSO BE DISPLAYED AS THE -AIN #OUNTER IN THE 4RANSPORT WINDOW AND AT THE TOP OF THE %DIT WINDOW 4HIS COUNTER WILL ALSO BE USED FOR THE 3TART %ND AND ,ENGTH VALUES NEXT TO THE -AIN#OUNTER FORTHE'RIDAND.UDGEVALUESINTHE%DITWINDOW ANDFORANY PREROLLANDPOSTROLLAMOUNTSTHATYOUSET 9OU CAN ALSO CHOOSE WHICH 3UB #OUNTER 4IME 3CALE TO DISPLAY BELOW EACH -AIN #OUNTER 4HE OBVIOUS CHOICE FOR MUSIC PRODUCTION WOULD BE -INUTES3ECONDS SO THAT YOU ALWAYS GET SOME FEEDBACK ABOUT HOW LONG REGIONSORCOMPLETESESSIONSLAST

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7HEN THE -AIN 4IME 3CALE IS SET TO "ARS\"EATS AND YOU ARE USING TEMPO CHANGES YOUSHOULDSETTHE,INEARITY$ISPLAY-ODETO,INEAR4ICK$ISPLAY 4HIS WILL KEEP THE "ARS\"EATS RULER FIXED AT THE SELECTED ZOOM LEVEL AND SAMPLE BASED RULERS SUCH AS -INUTES3ECONDS WILL SCALE TO FIT ANY TEMPO CHANGESWHILEBARLENGTHSREMAINCONSTANT

3.3 Meter, Tempo, and Click )F YOU INTEND TO DO ANYTHING BUT THE MOST BASIC RECORDING AND PLAYBACK OF MUSICALAUDIOMATERIAL YOUWILLNEEDTOMAKESURETHATTHEBARANDBEATPOSI TIONS IN THE AUDIO LINE UP WITH THE BAR AND BEAT POSITIONS IN 0RO 4OOLS )T IS ABSOLUTELYESSENTIALTHATTHEBARSCORRESPONDCORRECTLYIFYOUWANTTOBEABLE TO NAVIGATE TO BAR POSITIONS AND USE 'RID MODE AND OTHER FEATURES TO EDIT YOURAUDIOWITHEASE)FYOUARERECORDINGMUSICIANS YOUCANGENERATEACLICK FOR THE MUSICIANS TO PLAY ALONG TO )F THEY DO THIS WELL THEN WHAT THEY PLAY WILLBEINTIMEWITHTHECLICKANDWILLLINEUPWITHTHEBARLINESIN0RO4OOLS !UDIO THAT IS RECORDED WITHOUT LISTENING TO A CLICK CAN STILL BE ALIGNED TO BAR ANDBEATBOUNDARIESIN0RO4OOLSBYEITHERUSING"EAT$ETECTIVEORUSINGTHE )DENTIFY "EAT COMMAND n BUT THIS CAN TAKE SOME TIME 9OU CAN ALSO RECORD -)$) WITH OR WITHOUT A CLICK AND EITHER MANUALLY ADD "AR\"EAT MARKERS OR GENERATEATEMPOANDMETERMAPUSING"EAT$ETECTIVE

Creating a click track 5SINGOLDERVERSIONSOF0RO4OOLS THEWAYTOCREATEACLICKTRACKWASTOCREATEA MONO!UXILIARY)NPUTANDINSERTTHE$IGIDESIGN#LICKPLUG INORAVIRTUALINSTRU MENTPLUG INORANEXTERNAL-)$)DEVICETOPLAYTHECLICK9OUCANSTILLDOANY

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OFTHESETHINGSIFYOULIKE BUTWITHMORERECENTVERSIONSYOUCANUSETHE#REATE #LICK 4RACK COMMAND THAT YOU WILL FIND IN THE 4RACK MENU When you choose THE#REATE#LICKCOMMAND 0RO4OOLSCREATESANEW!UXILIARY)NPUT PUTS#LICKAS THETRACKNAME INSERTSTHE#LICKPLUG INONTHETRACK ANDSETSTHE4RACK(EIGHT TO-INI4OHEARTHECLICK YOUALSONEEDTOHIGHLIGHTTHE-ETRONOMEICONINTHE 4RANSPORTWINDOW4ODOTHISYOUCANEITHERCLICKONCEONTHE-ETRONOMEICON ORPRESSTHEhvKEYONYOURNUMERICKEYPAD ORSELECTh#LICKvINTHE/PTIONS MENU

Figure 3.6 The Click 0LUG IN

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4O AVOID CLUTTERING UP YOUR -IX AND %DIT WINDOWS IN 0RO 4OOLS YOU CAN HIDETHECLICKTRACKUSINGTHEhHIDEvFEATUREINTHE4RACKS,IST)FYOUSOLO SAFE YOUR CLICK TRACK USING A #OMMAND #LICK -AC OR #ONTROL #LICK 7INDOWS ONTHETRACKSSOLOBUTTON YOUCANHIDEYOURCLICKTRACKINTHE TRACKSLISTANDUSETHEKEYONYOURNUMERICKEYPADTOTURNTHECLICKON ANDOFFATANYTIME"ECAUSETHETRACKIShSOLO SAFED vYOUWILLALWAYSHEAR THECLICKWHENOTHERTRACKSINYOURSESSIONARESOLOED

9OU CAN USE THE #LICK#OUNTOFF /PTIONS DIALOG AVAILABLE FROM THE 3ETUP MENU TO CHOOSE WHEN THE CLICK WILL BE ACTIVE AND TO SET THE -)$) NOTES VELOCITIES AND DURATIONS THAT WILL PLAY IF YOU ARE USING A VIRTUAL INSTRUMENT ORANEXTERNAL-)$)DEVICETOPRODUCETHECLICKSOUND4HE-)$)PARAMETERS IN THE #LICK#OUNTOFF /PTIONS DIALOG DO NOT AFFECT THE #LICK PLUG IN n THIS IS

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)FYOUAREUSINGTHEINTERNAL#LICKPLUG IN LEAVETHE/UTPUTPOP UPSETTO h.ONEv )F YOU ARE USING AN EXTERNAL DEVICE OR A SOFTWARE SYNTHESIZER TO PRODUCEYOURCLICKSOUND YOUCANCHOOSETHISDEVICEORSYNTHESIZERUSING THE/UTPUTPOP UP

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CONTROLLEDINTERNALLYBYTHE0RO4OOLSSOFTWARE9OUCANALSOSETTHENUMBEROF COUNT INBARSTHATYOUPREFERANDWHETHERYOUWILLHEARTHESEEVERYTIMEYOU PLAYBACKORONLYWHENRECORDING

Figure 3.7 #LICK #OUNTOFF/PTIONSDIALOG

Time Signatures and Clicks 7HENYOUARESETTINGUPACLICKFORMUSICIANSTOPLAYALONGTO YOUMAYNEED TOCHANGETHETIMESIGNATUREIFTHEMUSICISNOTINTHEDEFAULTMETER4HIS WILLBEVERYOBVIOUSIFTHE MUSIC IS IN OR BOTH OF WHICH TIME SIGNA TURES ARE USED IN POPULAR MUSIC "UT IT MAY NOT BE QUITE AS OBVIOUS IF THE MUSICISINOR !NDIFTHEMUSICISIN FORINSTANCE YOUMAYFINDITBETTERTOUSEADOTTED QUARTER NOTE VALUE FOR THE CLICK 4HIS WAY YOU WOULD GET TWO CLICKS IN EACH BAR/THERWISE IFYOUUSEANEIGHTHNOTECLICK THISWOULDGIVEYOUSIXCLICKS INEACHBAR WHICHCANSOMETIMESBEDISTRACTINGFORTHEMUSICIANS 4O SET THE -ETER DOUBLE CLICK ON THE #URRENT -ETER DISPLAY IN THE -)$) #ONTROLSTOOPENTHE#HANGE-ETERDIALOG )N THIS DIALOG WINDOW MAKE SURE THAT YOU ARE AT THE CORRECT LOCATION IN YOUR SESSION BY TYPING IN THE CORRECT BAR BEAT AND TICK VALUES IF THESE ARE NOT ALREADY CORRECT )F THE MUSIC USES THE SAME TIME SIGNATURE THROUGHOUT THEN YOU SHOULD ENTER THIS -ETER VALUE AT THE START OF YOUR SONG OR MUSIC

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Figure 3.8 $OUBLE CLICK THE#URRENT-ETERDISPLAY INTHE-)$)#ONTROLSTO open the Change Meter DIALOG

C OMPOSITION/BVIOUSLY IFTHEMETERCHANGESANYWHEREINTHESONG YOUWILL ALSONEEDTOENTERMETERCHANGESATTHESELOCATIONS

Figure 3.9 Changing THE#LICKRESOLUTION

4HE-ETER#HANGEDIALOGWINDOWHASAPOP UPSELECTORTHATLETSYOUCHANGE THE#LICKRESOLUTION

Figure 3.10 Choosing DOTTEDQUARTERNOTECLICK RESOLUTION

(ERE YOUCANCHOOSETHENOTESUBDIVISIONTHATMAKESMOSTSENSETOUSE3O FOREXAMPLE YOUMIGHTCHOOSEADOTTEDQUARTERNOTERESOLUTIONWHENYOUARE IN-ETERSOTHATYOUGETJUSTTWOCLICKSPERBAR 80


Figure 3.11 Meter SETTOFROMBAR BEAT WITHTHECLICK RESOLUTIONSETTOADOTTED QUARTERNOTE

Tempo 4EMPOISONEOFTHEMOSTFUNDAMENTALASPECTSOFMUSIC!FTERALL IFTHEREISNO TEMPO THEMUSICGOESNOWHERE!NDIFTHETEMPOBECOMESERRATIC THEMUSIC ISNOThWORKINGvPROPERLY!LSO WHENYOUAREMAKINGARECORDING GETTINGTHE TEMPOTOFEELhRIGHTvCANMAKEALLTHEDIFFERENCEBETWEENASUCCESSFULRECORD INGANDONETHATDOESNOTINSPIREPEOPLETOLISTENTOIT/FCOURSE THISCANBE A SUBJECTIVE MATTER THAT NOT EVERYONE WILL AGREE ABOUT BUT MOST MUSICIANS WILL PERFORM MUCH BETTER ON A PARTICULAR PIECE OF MUSIC IF THE TEMPO MAKES THEMFEELhCOMFORTABLEv!NDTHISGOODFEELINGWILLUSUALLYCOMMUNICATEITSELF TOTHELISTENERS3O ITISVERYIMPORTANTTOPAYATTENTIONTOTEMPO

Setting tempo manually 9OUCANSETATEMPOFORYOURSESSIONMANUALLYUSINGTHE-)$)TEMPOCONTROLS INTHEEXPANDED4RANSPORTWINDOW7HENTHECONDUCTORICONISNOTSELECTED YOUCANEITHERTYPETHETEMPOINTOTHETEMPOFIELDORDRAGTHEMOUSEPOINTER INTHISFIELDTOCHANGETHETEMPO

Figure 3.12 Setting the TEMPOUSINGTHE-)$) TEMPOCONTROLS

Tapping the tempo )FYOUARETRYINGTOMATCHTHETEMPOOFTHESESSIONTOTHETEMPOOFARECORD INGOFSOMEMUSICANDYOUHAVENOIDEAWHATTHISSHOULDBE JUSTCLICKONTHE NUMERICTEMPOFIELDTOHIGHLIGHTIT ASINTHESCREENSHOT&IGS– ANDTAP 81


ONTHEhTvKEYONYOURCOMPUTERKEYBOARD)FYOUCANTAPACCURATELYINTIME WITHTHEMUSIC 0RO4OOLSWILLWORKOUTTHETEMPOFROMYOURTAPSANDDISPLAY THISFORYOU%VENIFYOUDONTGETTHETEMPOEXACTLYRIGHT YOUSHOULDATLEAST BEABLETOGETTHIShINTOTHERIGHTBALLPARKvVERYQUICKLYUSINGTHISMETHOD

5SING4EMPOEVENTS 7HENYOUHAVEDECIDEDONATEMPOFORYOURSESSION ITMAKESGOODSENSETO ENABLETHE#ONDUCTORTRACKBYSELECTINGTHE#ONDUCTORICONINTHE4RANSPORT WINDOWANDENTERTHECORRECTTEMPOFORYOURSESSIONINTOTHE4EMPORULERS 3ONG3TART-ARKER

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4HE SMALL RED 3ONG 3TART -ARKER LOCATED AT THE BEGINNING OF THE 4EMPO RULER DEFINES THE INITIAL TEMPO OF THE 3ESSION AND DEFAULTS TO A TEMPO OF "0-9OUCANMOVETHE3ONG3TART-ARKERBYDRAGGINGITTOTHELEFTOR RIGHTINTHE4EMPORULER BUTITCANNOTBEDELETED

4OEDITTHEDEFAULTTEMPO GOTOTHE4EMPORULERANDDOUBLE CLICKTHERED3ONG 3TART-ARKERTRIANGLEATTHESTARTOFTHETRACKTOOPENTHE4EMPO#HANGEDIALOG

Figure 3.13 Clicking on the Song Start Marker in THE4EMPORULER

4YPETHETEMPOYOUWANTTOUSEFORYOURSESSIONINTOTHE"0-FIELDANDCLICK /+TOREPLACETHEDEFAULT"0-VALUEATTHESTARTOFTHE3ONG

Figure 3.14 Tempo #HANGEDIALOG

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"UILDINGATEMPOMAP )F YOU KNOW WHAT TEMPOS YOU WANT TO USE FOR YOUR MUSIC YOU CAN BUILD A TEMPO MAP FOR THE #ONDUCTOR TRACK BY INSERTING 4EMPO @EVENTS CONTAINING METRONOME"0-VALUES INTOTHE4EMPORULERATTHELOCATIONSWHEREYOUWANT THETEMPOTOCHANGE 4O INSERT 4EMPO EVENTS CLICK IN THE 4EMPO RULER AT THE LOCATION WHERE YOU WANTTOINSERTTHE4EMPOEVENT THENCLICKTHE!DD4EMPO#HANGEBUTTONTO THELEFTOFTHE4EMPORULERTOOPENTHE4EMPO#HANGEDIALOG

Figure 3.15 !DDINGA Tempo Change to the 4EMPORULER

)N THE 4EMPO #HANGE DIALOG YOU CAN TYPE THE EXACT LOCATION WHERE YOU WISH TO ADD THE NEW TEMPO VERY USEFUL IF YOU JUST CLICKED SOMEWHERE NEARBY THIS TO OPEN THE DIALOG THEN TYPE THE NEW TEMPO IN "0- AND CLICK/+

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To save typing the location if you are close to this, you can tick the Snap 4O "AR OPTION TO PLACE THE NEW 4EMPO EVENT EXACTLY ON THE FIRST BEAT OF THENEARESTBAR

Figure 3.16 Tempo #HANGEDIALOGWITH3NAP 4O"AROPTIONSELECTED

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%DITING4EMPOEVENTS )FYOUNEEDTOADJUSTTHEPOSITIONOFYOUR4EMPOEVENTS YOUCANSIMPLYDRAG THESE BACK AND FORTH ALONG THE TIMELINE 7HEN YOU DRAG A 4EMPO EVENT TO A NEW LOCATION THE SAMPLE AND 3-04% LOCATIONS FOR THE EVENT ARE ALSO UPDATED ANDANYNEIGHBORING -)$) EVENTS AND AUDIO REGIONS ON TICK BASED TRACKS ALONG WITH THE RULER SHRINK OR EXPAND AS NECESSARY TO ADJUST FOR THE NEWTEMPOLOCATION(OWEVER THE"0-VALUEFORTHEDRAGGED4EMPOEVENT REMAINSCONSTANT ASDOANYOTHER4EMPOEVENTSINTHESESSION 4ODELETEA4EMPOEVENT YOUCANSIMPLY/PTION CLICK-AC OR!LT CLICK7INDOWS ON THE 4EMPO EVENT 4O DELETE SEVERAL AT ONCE DRAG TO SELECT THESE USING THE 3ELECTORTOOLTHENPRESSTHE"ACKSPACEKEYORCHOOSE#LEARFROMTHE%DITMENU )F YOU DOUBLE CLICK WITH THE 3ELECTOR TOOL IN THE 4EMPO RULER THIS ACTION WILL SELECTALLTHE4EMPOEVENTS9OUCANTHENCUT COPY ANDPASTETHESEUSINGTHE STANDARDCOMPUTERKEYBOARDCOMMANDS

4EMPO/PERATIONS 9OU CAN ALSO APPLY TEMPO CHANGES TO A TIME SELECTION USING THE 4EMPO /PERATIONS DIALOG THAT YOU WILL FIND IN THE %VENT MENUS 4EMPO SUB MENU 4HERE ARE SIX 4EMPO /PERATIONS WINDOWS TO CHOOSE FROM HERE INCLUDING #ONSTANT ,INEAR 0ARABOLIC 3 #URVE 3CALE AND3TRETCH 4HEFIRSTOFTHESE WHICHYOUWILLPROBABLYUSETHEMOSTOFTEN LETSYOUSETA CONSTANTTEMPOATASPECIFIEDBARPOSITIONORBETWEENTWOSPECIFIEDBARPOSI TIONS4HENEXTTHREEWINDOWS LET YOU CREATE A LINEAR PARABOLIC OR 3 CURVED hRAMPvOFTEMPOCHANGESBETWEENAPAIROFSPECIFIEDBARPOSITIONS4HEFINAL TWO WINDOWS LET YOU SCALE OR STRETCH EXISTING TEMPOS BETWEEN SPECIFIED BAR POSITIONS%ACHWINDOWHASABASICSETOFCONTROLSANDAMOREADVANCEDSET THATISREVEALEDWHENYOUCHECKTHEh!DVANCEDvCHECKBOX &ORINSTANCE TOCHANGETHETEMPOBETWEENSPECIFICLOCATIONS RETURNINGTOTHE ORIGINALTEMPOAFTERWARDS YOUWOULDUSETHE#ONSTANT4EMPO/PERATIONSDIA LOG4OSEEHOWTHISWORKS SELECT SAY "ARTHROUGHTO"ARBYDRAGGINGTHE CURSOR ALONG THE RULERS THEN OPEN THE #ONSTANT 4EMPO /PERATIONS WINDOW FROMTHE%VENTMENU4YPETHENEWTEMPOINTOTHE4EMPOFIELDANDTICKTHE BOXFORh0RESERVETEMPOAFTERSELECTIONv4HISCAUSESTHETEMPOTOGOBACKTO THEORIGINALVALUEAFTERTHESELECTIONTHATYOUHAVECHANGEDTOTHENEWTEMPO 4O RAMP UP THE TEMPO FROM ONE VALUE TO ANOTHER USING A SERIES OF EQUAL INCREMENTS OVER A RANGE OF BARS YOU CAN USE THE ,INEAR 4EMPO /PERATIONS DIALOGTOSPECIFYTHESELECTIONOFBARSANDBEATS THESTARTTEMPO ANDTHEEND TEMPO5SINGTHE!DVANCEDSETTINGS YOUCANALSOSPECIFYTHERESOLUTIONAND DENSITYOFTHE4EMPOEVENTSTHATYOUARECREATINGACROSSTHISRANGEOFBARS

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Figure 3.17 Applying a constant tempo change TOARANGEOFBARS

Figure 3.18 5SINGTHE ,INEAR4EMPO/PERATIONS DIALOGTORAMPBETWEEN tempos over a range OFBARS

4HE'RAPHIC4EMPO%DITOR 0RO4OOLSOFTENPROVIDESVARIOUSALTERNATIVEWAYSOFDOINGTHINGSANDTEMPO EDITINGISNOEXCEPTION)FYOUCLICKONTHESMALLARROWHEADATTHELEFTOFTHE 4EMPO RULER THIS WILL EXPAND DOWNWARDS TO REVEAL THE 4EMPO %DITOR (ERE YOUCANSEETEMPOINFORMATIONREPRESENTEDGRAPHICALLY 9OUCANCHANGETHELOCATIONORVALUEOFANY4EMPOEVENTSBYDRAGGINGTHESE TOLEFTORRIGHT UPORDOWN

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4EMPO EVENTS ARE ONLY VISIBLE IN THE 'RAPHIC 4EMPO %DITOR WHEN THE #ONDUCTORISENABLEDINTHE4RANSPORTWINDOW

Figure 3.19 The Graphic 4EMPO%DITOR

3ELECTED 4EMPO EVENTS CAN BE COPIED AND PASTED NUDGED OR SHIFTED AND YOUCANRAISEORLOWERANYGROUPOFSELECTED4EMPOEVENTSUSINGTHE4RIMMER TOOL&IRST MAKEASELECTIONTHATENCOMPASSESTHE4EMPOEVENTSYOUWANTTO TRIM THENJUSTCLICKANDDRAG UPORDOWN USINGTHE4RIMMERTOOL

Figure 3.20 5SING the Trimmer Tool in the 'RAPHIC4EMPO%DITOR

9OU CAN ALSO DRAW IN NEW 4EMPO EVENTS REPLACING EXISTING ONES USING THE 0ENCILTOOL4HE,INESHAPELETSYOUDRAWINASTRAIGHTLINE ANDWITHTHISTOOL THE4EMPOVALUESCHANGEINSTEPSACCORDINGTOBOTHTHE4EMPO%DIT$ENSITY AND 2ESOLUTION 4HE &REE (AND SHAPE LETS YOU DRAW FREELY BY MOVING THE MOUSE PRODUCINGASASERIESOFSTEPSTHATDEPENDONTHE4EMPO%DIT$ENSITY SETTING4HE0ARABOLICANDTHE3 #URVESHAPESDRAWTHEBESTPOSSIBLECURVETO FITYOURFREEHANDDRAWING AGAINPRODUCINGASERIESOFSTEPSTHATDEPENDON THE4EMPO%DIT$ENSITYSETTING4HE4RIANGLE 3QUARE AND2ANDOM0ENCILTOOL SHAPESCANNOTBEUSEDTOCREATE4EMPOEVENTS 4HEREARETWOPOP UPSELECTORSLOCATEDATTHELEFTOFTHE4EMPO%DITORTHATLET YOUCHOOSE4EMPO2ESOLUTIONAND4EMPO%DIT$ENSITYSETTINGSFORTHE4EMPO EVENTS THAT YOU DRAW 5SING THE h2ESv POP UP SELECTOR YOU CAN CHOOSE A

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4EMPO2ESOLUTIONOR"0-RATE BYSELECTINGABEATNOTEVALUE4HEBEATNOTE VALUETHATYOUSELECTWILLNORMALLYBEBASEDONTHEMETER3O FOREXAMPLE IN THEBEATWOULDBEAQUARTERNOTEANDINTHEBEATWOULDBEUSUALLYA DOTTEDQUARTERNOTE

Figure 3.21 Tempo 2ESOLUTIONPOP UP SELECTOR LOCATEDABOVE the Tempo Density POP UP

)FYOUSELECT&OLLOW-ETRONOME#LICK 4EMPOEVENTSCREATEDBYDRAWINGWITH THE0ENCILTOOLWILLAUTOMATICALLYMIRRORTHECLICKVALUESSETBY-ETEREVENTSIN THE-ETERRULER

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!LTHOUGHATEMPOCURVECANHAVEDIFFERENT"0-VALUESIFTHEREAREMETER CLICKCHANGESWITHINTHESELECTEDRANGE ITCANBEACOMPLICATEDBUSINESS TOSET-ETEREVENTSSEPARATELYFOREACH4EMPOEVENT SO$IGIDESIGNRECOM MENDSSELECTING&OLLOW-ETRONOME#LICKINMOSTCASES

Figure 3.22 Tempo 2ESOLUTIONSELECTOR

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4HE 4EMPO %DITOR ALSO LETS YOU SPECIFY THE DENSITY OF 4EMPO EVENTS CREATED INTHE4EMPORULERWHENYOUDRAWATEMPOCURVEWITHTHE0ENCILTOOL)FYOU CLICKONTHE4EMPO%DIT$ENSITY$ENS SELECTOR YOUCANUSETHEPOP UPMENU TOSELECTASUITABLETIMEVALUEEITHERASANOTESUBDIVISIONORINMILLISECONDS

Figure 3.23 4EMPO%DIT $ENSITYSELECTOR

Changing the Track Timebase "YDEFAULT 0RO4OOLSUSESSAMPLE BASEDTIMEFORAUDIO MEASUREDINMINUTES AND SECONDS AND TICK BASED TIME FOR -)$) MEASURED IN BARS AND BEATS (OWEVER ITISPOSSIBLETOCHANGETHETIMEBASEOFAUDIOTRACKSTOBETICK BASED OROF-)$)TRACKSTOBESAMPLE BASED )FTHETRACKSHEIGHTISSETTO-EDIUMORLARGER THE4IMEBASESELECTORBUTTON WITH ITS TICK BASED OR SAMPLED BASED ICON WILL BE VISIBLE AMONG THE TRACK CONTROLS7HENYOUCLICKONTHIS APOP UPSELECTORAPPEARS ALLOWINGYOUTO CHANGETHETIMEBASEFORTHETRACK

Figure 3.24 Timebase SELECTOR

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Figure 3.25 0OP UP 4IMEBASESELECTOR

)F THE TRACKS HEIGHT IS SET TO 3MALL OR LESS CLICK THE SMALL ARROW TO THE LEFT OFTHE4RACK.AMETOACCESSTHE4RACK/PTIONSPOP UPMENU(ERE YOUCAN CHOOSETHETIMEBASEUSINGTHE4RACK4IMEBASESUB MENU

Figure 3.26 Track /PTIONSARROW

Figure 3.27 Track /PTIONS4IMEBASE SUB MENU

"Y DEFAULT WHEN YOU CHANGE A TRACKS TIMEBASE THE CHANGE IS APPLIED TO ANYALTERNATEPLAYLISTSTHATEXISTONTHETRACK)FYOUONLYWANTTHECHANGETO APPLYTOTHEACTIVEPLAYLIST SIMPLYDE SELECTTHEh3ELECTION#HANGES!LTERNATE 0LAYLISTSvOPTION

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7HENYOUCHANGETHETIMEBASEFORANAUDIOTRACKTHATISPARTOFANACTIVE GROUP ALLTHETRACKSINTHEGROUPWILLCHANGETOTHESAMETIMEBASE

Sample-based audio and MIDI !UDIO IS STORED AS INDIVIDUAL AUDIO SAMPLES WITHIN AUDIO FILES ON DISK )N 0RO 4OOLS REGIONS REPRESENTING ALL OR PARTS OF THESE FILES ARE USED TO REPRE SENT THE AUDIO ON TRACKS IN THE %DIT WINDOW !UDIO TRACKS ARE DESIGNATED AS SAMPLE BASED BY DEFAULT SO ANY PARTICULAR AUDIBLE SOUND IS LOCATED AT A

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ARTICULAR SAMPLE LOCATION ON THE 4IMELINE 4HESE LOCATIONS ARE ABSOLUTE P LOCATIONSINTIMEMEASUREDINSAMPLESFROMTHESTARTOFTHESESSION )FYOUCHANGETHETEMPOOFTHESESSION THEBARSANDBEATSWILLMOVERELATIVE TO THE ABSOLUTE UNCHANGING LOCATIONS OF SAMPLE BASED AUDIO REGIONS BUT THESE AUDIO REGIONS AND THE AUDIO THAT YOU HEAR PLAYING BACK WILL NOT BE AFFECTEDINANYWAY

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)FYOUMAKEA-)$)TRACKSAMPLE BASED ALLTHE-)$)EVENTSINTHETRACKWILL HAVE AN ABSOLUTE LOCATION ON THE 4IMELINE n JUST LIKE SAMPLE BASED AUDIO REGIONS n AND THESE WILL STAY FIXED TO THIS TIME LOCATION NO MATTER WHAT TEMPOORMETERCHANGESTAKEPLACE

Tick-based audio and MIDI -)$) AND )NSTRUMENT TRACKS USE TICK BASED TIMING WHICH TIES EVENTS TO "AR\"EATLOCATIONSnNOTTOSAMPLELOCATIONS4ICK BASEDLOCATIONSARERELATIVE LOCATIONSINTIME MEASUREDINBARS BEATS ANDTICKSFROMTHESTARTOFTHESES SION3O IFYOUCHANGETHETEMPOOFTHESESSION A-)$)REGIONLOCATEDATA PARTICULARBAR\BEATLOCATIONWILLNOTMOVEFROMTHIS"AR\"EATLOCATIONnBUTTHE LOCATIONOFANYSAMPLE BASEDREGIONSINTHESAMESESSIONwill change relative TOTHIS"AR\"EATLOCATION )F YOU INCREASE THE TEMPO ON A TICK BASED TRACK THE DATA PLAYS BACK MORE QUICKLYnSOINDIVIDUALEVENTSTAKEPLACESOONERINTIMERELATIVETOANYSAMPLE BASED AUDIO IN THE SESSION )F YOU DECREASE THE TEMPO EVENTS WILL PLAY BACK MORESLOWLYnSOINDIVIDUALEVENTSWILLTAKEPLACELATERINTIMERELATIVETOANY SAMPLE BASED AUDIO IN THE SESSION !NOTHER WAY OF THINKING ABOUT THIS IS TO KEEP IN MIND THAT THE BARS AND BEATS PLAY BACK MORE QUICKLY AND LAST FOR A SHORTERTIMEATFASTERTEMPOSANDVICEVERSA )FYOUAREUSING%LASTIC!UDIO 2%8OR!#)$AUDIOFILES YOUWILLWANTTOCHANGE THESAMPLE BASEDAUDIOTRACKSTOBETICK BASEDSOTHATTHETEMPOOFTHEAUDIO WILLAUTOMATICALLYCHANGEWHENYOUCHANGETHETEMPOOFTHESESSION

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0RO 4OOLS %LASTIC !UDIO USES EXCEPTIONALLY HIGH QUALITY TRANSIENT DETECTION ALGORITHMS BEATANDTEMPOANALYSIS AND4IME#OMPRESSIONAND%XPANSION PROCESSING ALGORITHMS 4ICK BASED %LASTIC !UDIO TRACKS ACTUALLY CHANGE THE LOCATIONOFSAMPLESACCORDINGTOTHECHANGESINTEMPOBECAUSETHEAUDIO STRETCHESORCOMPRESSESTOMATCHTHESETEMPOCHANGES

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+EEP IN MIND THAT TEMPO CHANGES WILL ONLY AFFECT THE LOCATIONS OF THE START POINTSORTHESYNCPOINTSIFTHESEARESETDIFFERENTLY OFANYSTANDARDIE NONn %LASTIC !UDIO AUDIO REGIONS IN TICK BASED AUDIO TRACKS 9OU CAN SLICE A DRUM LOOP INTO BEATS IN 0RO 4OOLS MAKE THE TRACK TICK BASED AND IT WILL PLAY EACH SLICEBACKEARLIERORLATERACCORDINGTOTHETEMPOnINASIMILARWAYTO2%8FILES

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)N TICK BASED AUDIO TRACKS THE LOCATION OF AN AUDIO REGION IS DETERMINED BY THE REGIONS START POINT UNLESS THE REGION CONTAINS A SYNC POINT )F THE REGIONCONTAINSASYNCPOINT THE SYNC POINT DETERMINES WHERE THE AUDIO REGIONISFIXEDTOTHEGRID

Time Scales and tick resolution 7HEN YOU ARE WORKING ON MUSIC IN 0RO 4OOLS YOU WILL NORMALLY SET THE -AIN 4IME 3CALE TO "ARS\"EATS WITH THE 3UB #OUNTER 4IME 3CALE SET TO -INUTES3ECONDS"ECAUSEYOUAREWORKINGWITHMUSIC ITWILLMAKEMOSTSENSE TO USE BAR BEAT AND TICK VALUES FOR A NUMBER OF OPERATIONS INCLUDING PLAC ING AND SPOTTING REGIONS SETTING LENGTHS FOR REGIONS OR -)$) NOTES LOCATING ANDSETTINGPLAYANDRECORDRANGESINCLUDINGPREROLLANDPOSTROLL SPECIFYING SETTINGSINTHE1UANTIZEAND#HANGE$URATIONPAGESOFTHE%VENT/PERATIONS WINDOW AND SETTING THE 'RID AND .UDGE VALUES 9OU WOULD NOT NORMALLY WANTTOSETTHESEUSINGSAMPLES ALTHOUGHTHISMAYBEUSEFULATTIMES 7ITHTHETICK BASED4IME3CALE THEBARSANDBEATSARESUBDIVIDEDINTOCLOCK hTICKSvWITHEACHQUARTERNOTEREPRESENTEDBYTICKS4HISISOFTENQUOTED AS A TICK RESOLUTION OF PULSES PER QUARTER NOTE 001. AND ALL -)$) SEQUENCERSHAVEASIMILARSPECIFICATION3OME-)$)SEQUENCERSHAVETHESAME RESOLUTION AS 0RO 4OOLS WHEREAS OTHERS OFFER LESS OR MORE 001. AND SOME ALLOWYOUTOSELECTTHERESOLUTIONTHATYOUFEELISAPPROPRIATE

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)N 0RO 4OOLS THE ACTUAL INTERNAL -)$) RESOLUTION IS 001. WITH 001. USED AS THE DISPLAY RESOLUTION SO THAT THE NUMBERS ARE MORE MANAGEABLE

The Linearity Display Mode 9OUCANCHOOSETOVIEWTHE4IMELINEUSINGEITHERA,INEAR3AMPLESCALEORA ,INEAR4ICKSCALETHATYOUCANSELECTUSINGTHE,INEARITY$ISPLAY-ODEPOP UP MENU4HE,INEAR3AMPLESCALEUSESANABSOLUTETIMEBASE WHEREASTHE,INEAR 91


4ICK SCALE USES A RELATIVE TIMEBASE SO -)$) AND )NSTRUMENT TRACKS AUDIO TRACKS AND4EMPOCURVESWILLLOOKANDBEHAVEQUITEDIFFERENTLYDEPENDINGON WHICHOFTHESEYOUCHOOSE

Figure 3.28 ,INEARITY $ISPLAY-ODE3ELECTOR

7HENYOUAREWORKINGPRIMARILYWITHSAMPLE BASEDMATERIAL WHICHISUSUALLY THECASEWHENRECORDINGORMIXINGAUDIO YOUSHOULDUSETHE,INEAR3AMPLE $ISPLAYMODEnESPECIALLYIFYOUINTENDTOALIGNTHETEMPOANDMETERMAPTO SAMPLE BASED EVENTS )N ,INEAR 3AMPLE $ISPLAY MODE BECAUSE THE 4IMELINE DISPLAY IS SAMPLE BASED THE LOCATIONS OF TICK BASED EVENTS SUCH AS BARS AND BEATSWILLSHIFTWHENEVERYOUCHANGETEMPO3O FOREXAMPLE THELOCATIONS OFTHEBARSANDBEATSWILLMOVETODIFFERENTTIMEPOSITIONSnASYOUWILLSEEIF YOUDISPLAYMINUTESANDSECONDSONTHESAMPLE BASED4IMELINE 5SINGTHE,INEAR3AMPLEDISPLAY THE-INUTES3ECONDSRULERSHOWSEACHSECOND OCCUPYING THE SAME DISTANCE ALONG THE TIMELINE ,OOKING AT THE SCREENSHOTS SHOWNHERE YOUCANSEETHATTHENUMBEROFSECONDSDISPLAYEDSTAYSTHESAME WITHNOCHANGEMADETOTHEZOOMLEVEL WHILETHECORRESPONDINGNUMBER OF BEATS DISPLAYED DEPEND ON THE TEMPO !T SLOWER TEMPOS FEWER BARS AND BEATS PLAY BACK IN A GIVEN TIME WHEREAS AT FASTER TEMPOS MORE BARS AND BEATSPLAYBACKINTHATSAMETIMEINTERVAL!NOTHERWAYOFLOOKINGATTHISISTO notice that, as the tempo increases, the length of the bars along the timeline GETSSHORTER Figure 3.29 Each beat at "0-OCCUPIESAROUND S3OINTHESSHOWN INTHISEXAMPLE LESSTHAN COMPLETEBARSWILL PLAYBACK Figure 3.30 Each beat at "0-OCCUPIESABOUT S3OWITHTHE,INEAR 3AMPLEDISPLAYSELECTED YOUWILLSEEMOREBARS PLAYINGBACKWITHINTHE SAMENUMBEROFSECONDS along the timeline – 4 complete bars playing BACKINTHESDISPLAYED INTHISEXAMPLE

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7HEN YOU ARE WORKING WITH TICK BASED MATERIAL SUCH AS -)$) NOTES OR %LASTIC !UDIO EVENTS YOU MAY FIND IT MORE USEFUL TO SWITCH TO THE ,INEAR 4ICK $ISPLAY MODE 7HEN YOU MAKE TEMPO CHANGES IN ,INEAR 4ICK $ISPLAY MODE THE BARS ANDBEATSWILLREMAINFIXEDINTHE4IMELINE WHILESAMPLE BASEDEVENTSWILLMOVE TO DIFFERENT BAR AND BEAT LOCATIONS ALONG THE 4IMELINE )N ,INEAR 4ICK $ISPLAY MODE ALL THE BARS ARE EVENLY SPACED WHATEVER THE TEMPO 3O FOR EXAMPLE SAMPLE BASEDAUDIOREGIONSWILLEXPANDALONGTHETIMELINEASYOUINCREASETHE TEMPOnALTHOUGHTHEYWILLSTILLPLAYBACKTHEAUDIOTHATTHEYCONTAININTHESAME LENGTHOFTIME4ICK BASEDMATERIAL SUCHAS-)$)NOTESOR%LASTIC!UDIOMATERIAL ONTICK BASEDTRACKS WILLPLAYBACKATWHATEVERTEMPOYOUSETTHESESSIONTO

Figure 3.31 !T"0- ABOUTONEANDAHALFBARS AREDISPLAYEDHEREIN,INEAR 4ICKMODE WHILETHETIME ELAPSEDSHOWSS

Figure 3.32 !T"0- ONEANDAHALFBARS ARESTILLDISPLAYEDWITH THETIMELINEDISPLAYIN ,INEAR4ICKMODEWITH NOCHANGEMADETOTHE ZOOMLEVEL BUTTHETIME ELAPSEDSHOWSONEANDA HALFSECONDS

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9OU SHOULD USE ,INEAR 4ICK $ISPLAY WHEN DRAWING TEMPO CHANGES FOR EXAMPLE BECAUSE USING THE ,INEAR 3AMPLE $ISPLAY CAUSES "AR\"EAT BASED MATERIALTOMOVE MAKINGITAWKWARDTOWORKONTICK BASEDMATERIALSUCH AS4EMPOEVENTS

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7HENBOTHTHE4EMPO%DIT$ENSITYSETTINGINTHE4EMPO%DITOR ANDTHE ,INEARITY$ISPLAY-ODESETTINGARESETTOEITHERTHE"AR\"EAT4IME3CALEOR TOANABSOLUTE4IME3CALE 4EMPOEDITSAPPEAREVENLYSPACED7ITHEITHER ONESETTOANABSOLUTE4IME3CALEANDTHEOTHERSETTOTHE"AR\"EAT4IME 3CALE THENUMBEROF4EMPOEDITSWILLAPPEARTOINCREASEORDECREASEOVER tIMEAGAINSTABSOLUTETIME

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Tempo Events and Bar|Beat Markers 4EMPO EVENTS ARE FOR USE WITH TICK BASED TRACKS WHILE "AR\"EAT -ARKERS ARE INTENDED FOR USE WITH SAMPLE BASED TRACKS 4HEY CANNOT BE MIXED SO IF A SESSION CONTAINS 4EMPO EVENTS AND YOU INSERT "AR\"EAT -ARKERS EXISTING 4EMPOEVENTSARECONVERTEDTO"AR\"EAT-ARKERSANDVICEVERSA

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4EMPO EVENTS ARE DISPLAYED AS SMALL GREEN TRIANGLES IN THE 4EMPO RULER "AR\"EAT-ARKERSLOOKSIMILARTO4EMPOEVENTS BUTAREBLUEINCOLOR

4EMPOEVENTSCANBEMANUALLYCONVERTEDTO"AR\"EAT-ARKERSANDVICEVERSA USING THE 4EMPO RULER POP UP MENU 7HEN YOU HOLD DOWN THE #OMMAND -AC OR #ONTROL 7INDOWS KEY ON YOUR COMPUTER KEYBOARD AND CLICK THE h!DD 4EMPO #HANGEv BUTTON THIS OPENS THE 4EMPO RULER POP UP MENU WHEREYOUCANSELECTWHICHOFTHESEYOUWISHTOUSE

Figure 3.33 Clicking WHILEHOLDINGTHE #OMMAND-AC OR #ONTROL7INDOWS KEYTO convert Tempo events to "AR\"EAT-ARKERS

Figure 3.34 5SINGTHE 4EMPORULERPOP UP menu to change Tempo EVENTSTO"AR\"EAT -ARKERS

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)FYOUBUILDATEMPOMAPINA-)$)SEQUENCER SUCHAS$IGITAL0ERFORMER ,OGIC OR #UBASE THEN TRANSFER THIS TO 0RO 4OOLS USING A -)$) FILE THIS TEMPOMAPWILLAPPEARAS4EMPO%VENTSIN0RO4OOLS

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)FYOUAREWORKINGPRIMARILYWITH-)$)INSTRUMENTSIN0RO4OOLS ITMAKESSENSE TO USE 4EMPO EVENTS FOR ANY TEMPO CHANGES /N THE OTHER HAND IF YOU ARE WORKING PRIMARILY WITH AUDIO AND YOU WANT TO MAP OUT WHERE THE BAR LINES ANDBEATSFALLWITHINAUDIOMATERIALTHATWASNOTRECORDEDTOACLICK ITMAKES BETTERSENSETOUSE"AR\"EAT-ARKERS

Building a tempo map by inserting Bar|Beat Markers 9OUCANINSERTINDIVIDUAL"AR\"EAT-ARKERSANYWHEREINTHETIMELINEBYSETTING AN%DITINSERTIONPOINTINSTEADOFMAKINGASELECTION THENUSINGTHE)DENTIFY "EAT COMMAND 4HIS ABILITY TO IDENTIFY EACH INDIVIDUAL BEAT IS A PARTICULARLY USEFUL TECHNIQUE TO USE WHEN YOU JUST NEED TO MAKE A FEW CORRECTIONS TO TIGHTENUPTHECORRESPONDENCEBETWEENTHE0RO4OOLSBARSANDBEATSANDTHE AUDIO THAT YOU ARE WORKING WITH )F THE TEMPO GETS A LITTLE FASTER OR SLOWER EVENWITHINABAR YOUCANEASILYINSERTANEW"AR\"EAT-ARKERTOMAKESURE THAT0RO4OOLSKEEPSINSTEPWITHYOURAUDIO )NTHEEXAMPLESHOWN THISDRUMBEATWASPLAYEDALITTLELATEATBAR BEAT CLOCKTICK

Figure 3.35 )NSERTINGA "AR\"EAT-ARKERATAN%DIT INSERTIONPOINT

4OMOVETHEBEATIN0RO4OOLSTOCORRESPONDWITHTHEACTUALDRUMBEAT MAKE AN %DIT INSERTION POINT USING THE 3ELECTOR TOOL AT THE BEGINNING OF THE BEAT THENUSETHE)DENTIFY"EATCOMMANDTOOPENTHE!DD"AR\"EAT-ARKERDIALOG 5SETHISDIALOGTOTELL0RO4OOLSTHATTHIS%DITINSERTIONPOINTISWHERETHISBEAT ISSUPPOSEDTOBEBYTYPINGTHECORRECTBARBEATANDCLOCKTICKLOCATION7HEN YOU/+THEDIALOG 0RO4OOLSINSERTSABEATMARKERATTHISPOINT ALONGWITHA 4EMPOEVENTTHATADJUSTSTHE"AR\"EATLOCATIONTOCORRESPONDWITHTHISPOINT 95


Figure 3.36 "AR\"EAT -ARKERINSERTEDINTOTHE Tempo ruler to make this beat in Pro Tools CORRESPONDWITHTHE ACTUALBEATINTHEAUDIO

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4O DELETE A "AR\"EAT -ARKER JUST HOLD DOWN THE /PTION -AC OR !LT 7INDOWS KEY MOVE THE CURSOR OVER THE "AR\"EAT -ARKER AND CLICK TO REMOVEIT

7HENYOUHAVEYOUR"AR\"EAT-ARKERSINPLACE YOUMAYNEEDTOFINELYADJUST THELOCATIONSTOPOSITIONTHESEEVENMOREACCURATELYnDRAGGINGEACHMARKER ASNECESSARY TOALIGNWITHTHEASSOCIATEDBEATWITHINTHEAUDIO

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7HEN YOU DRAG "AR\"EAT -ARKERS BACK AND FORTH ALONG THE TIMELINE TO RE POSITION THEIR LOCATIONS THIS RESULTS IN NEIGHBORING -)$) DATA BEING ADJUSTEDTOALIGNWITHTHENEWTEMPOMAP

Re-positioning Bar|Beat Markers "ECAUSE "AR\"EAT -ARKERS ARE SAMPLE BASED THEY BEHAVE DIFFERENTLY FROM TICK BASED4EMPOEVENTSWHENYOUDRAGTHEMINTHE4EMPORULER7HENYOU DRAGA"AR\"EAT-ARKER ITSBARANDBEATLOCATIONISDRAGGEDwithTHE"AR\"EAT -ARKER4HISLOCATIONDOESNOTCHANGE 3O FOREXAMPLE IFTHE"AR\"EAT-ARKERWASORIGINALLYPLACEDAT\\ ITWILLBE STILLATTHISLOCATIONUNLESSYOUSPECIFICALLYCHANGETHIS (OWEVER ITS"0-VALUE IS RECALCULATED ALONG WITH THE "0- VALUE OF THE "AR\"EAT -ARKER TO ITS IMME DIATE LEFT !LSO ITS SAMPLE AND 3-04% LOCATIONS WILL BE RECALCULATED ACCORDING 96


TOTHENEWTEMPOOFTHE"AR\"EAT-ARKER"AR\"EAT-ARKERSTOTHERIGHTOFTHE DRAGGEDMARKERREMAINUNCHANGED.EIGHBORING-)$)EVENTS ALONGWITHTHE "ARS\"EATSRULER SHRINKOREXPANDASNECESSARYTOADJUSTFORTHENEWTEMPO )F YOU WANT TO CHANGE THE BAR AND BEAT LOCATION OF A "AR\"EAT -ARKER YOU MUST USE THE %DIT "AR\"EAT DIALOG INSTEAD )F YOU DOUBLE CLICK ON A "AR\"EAT -ARKER THIS OPENS THE %DIT "AR\"EAT DIALOG WHERE YOU CAN MAKE CHANGESTOITSBARANDBEATLOCATIONANDALSOCHANGETHETIMESIGNATUREIF YOUWISH

Figure 3.37 %DIT "AR\"EAT-ARKERDIALOG

3.4 Time Operations 4HE4IME/PERATIONSWINDOWPROVIDESFOURIMPORTANTFUNCTIONSCONTROLLEDON SEPARATE PAGES 9OU CAN USE THIS TO CHANGE THE METER )NSERT OR CUT TIME OR MOVETHESONGSTARTPOSITION

Setting the Meter 0RO4OOLSDEFAULTSTOMETER WHICHISTHETIMESIGNATUREOFMOSTPOPULAR MUSIC )F YOU WANT TO WORK IN OTHER METERS SUCH AS WALTZ TIME OR LIKE $AVE "RUBECKS JAZZ HIT h4AKE &IVEv OR WITH THE CHANGING METERS THAT AREUSEDINVARIOUSFORMSOFMUSICSUCHASCLASSICALANDORCHESTRALFILMSCORES THENYOUWILLNORMALLYNEEDTOSETTHESEBEFOREYOUSTARTRECORDING 4OOPENTHE-ETER#HANGEDIALOG YOUCANEITHERCLICKONTHE sign in the -ETERRULERORDOUBLE CLICKONTHEDISPLAYEDTIMESIGNATUREINTHE-)$)CON TROLSSECTIONOFTHE4RANSPORTWINDOW !LTERNATIVELY YOUCANUSETHE#HANGE-ETERDIALOGTHATYOUCANSELECTFROM THE%VENTMENUS4IME/PERATIONSSUB MENU 97


Figure 3.38 Meter #HANGEWINDOW

Figure 3.39 Time /PERATIONS#HANGE-ETER DIALOG

/NE SITUATION WHERE YOU WILL NEED TO MAP OUT TEMPO OR METER CHANGES IS WHENYOUHAVERECORDEDAMUSICIANPLAYINGWITHOUTACLICK PERHAPSTOCAP TUREANIMPROVISEDPERFORMANCE4HISCOULDINVOLVEMETERCHANGESWHERETHE MUSICIAN PLAYS A BAR OF OR A BAR OF BY JUST hFEELINGv OUT HOW MANY BEATS TO PLAY IN A PARTICULAR SECTION 3OMETIMES THIS IS DONE DELIBERATELY SOMETIMESNOT BUT WHATEVERTHEREASON YOUCANUSETHE4EMPOAND-ETER RULERSTOFOLLOW

Figure 3.40 Tempo, -ETER AND-ARKERSRULERS CONSTRUCTEDTOFOLLOWAN IMPROVISEDPERFORMANCE

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Insert or Cut Time 7HEN YOU ARE WORKING ON YOUR MUSICAL ARRANGEMENTS IT IS QUITE LIKELY THAT YOU WILL NEED TO INSERT SOME BARS OR REMOVE SOME BARS AT SOME TIME OR OTHER 9OU COULD JUST MOVE EVERYTHING IN YOUR SESSION FORWARDS OR BACKWARDS BY THECORRECTNUMBEROFBARS BUTTHISCANBEQUITEAWKWARDANDISNOTWHAT YOUUSUALLYWANTTODO0RO4OOLSHASTHEFEATURESTHATYOUNEEDTODOTHIS CONVENIENTLY AND PROPERLY n ADDING OR REMOVING hTIMEv TO OR FROM THE TIMELINE 4HE )NSERT 4IME DIALOG LETS YOU INSERT TIME FROM ANY PARTICULAR START LOCATION AND LETS YOU SPECIFY THE AMOUNT OF TIME YOU WISH TO INSERT IN TERMS OF BARS BEATS AND CLOCKS )T ALSO MOVES ANY TEMPO MARKERS FORWARDS FROM THE INSER TIONPOINT

Figure 3.41 )NSERT4IME DIALOG

4HE#UT4IMEDIALOGLETSYOUREMOVETIME STARTINGFROMANYPARTICULARSTART LOCATION ANDLETSYOUSPECIFYTHEAMOUNTOFTIMEYOUWISHTOREMOVEINTERMS OFBARS BEATS ANDCLOCKS4HISALSOMOVESANYTEMPOMARKERSBACKWARDSFROM THEINSERTIONPOINT

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Figure 3.42 Cut Time DIALOG

Move Song Start 3OMETIMESYOUMAYNEEDTOMOVETHEACTUALSTARTPOINTOFTHESONG SO0RO 4OOLSPROVIDESADIALOGTOLETYOUSPECIFYTHEBAR BEAT ANDCLOCKLOCATIONTHAT YOUWANTTOMOVEITTO.ORMALLY ALLTICK BASEDMARKERSANDTRACKSWILLMOVE ALONGWITHANY-ETERAND4EMPOEVENTS9OUCANCHOOSEWHETHERORNOTTO MOVESAMPLE BASEDMARKERSANDTRACK

Figure 3.43 Move Song 3TARTDIALOG

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3.5 Key Signatures 0RO4OOLSPROVIDESA+EY3IGNATURERULERFORADDINGKEYSIGNATURESTO0RO4OOLS SESSIONS +EY SIGNATURES ARE AN IMPORTANT PART OF ANY MUSICAL COMPOSITION THAT WILL BE DISPLAYED AS NOTATION FOR MUSICIANS TO READ .OW THAT 0RO 4OOLS HAS NEW 3CORE %DITOR AND -)$) %DITOR WINDOWS THAT CAN DISPLAY NOTATION IT IS BECOMING MUCH MORE LIKELY THAT YOU WILL NEED TO ENTER +EY 3IGNATURES AS NECESSARYINTOTHE+EY3IGNATURERULERFOREACH0RO4OOLSSESSION4HEDEFAULT KEYSIGNATUREIS#MAJOR BUTITISHIGHLYUNLIKELYTHATEVERYPIECEOFMUSICYOU WORKONWILLBEINTHISKEY +EY SIGNATURES CAN BE IMPORTED AND EXPORTED WITH -)$) DATA 4HIS IS ESPE CIALLYUSEFULWHENEXPORTING-)$)SEQUENCESFORUSEINNOTATIONPROGRAMSLIKE 3IBELIUSANDCANSAVEYOULOTSOFTIMEIFYOUHAVEANEXISTING-)$)SEQUENCE TOIMPORTTOHELPYOUGETSTARTEDWITHYOURMUSICPRODUCTION !LL-)$)AND)NSTRUMENTTRACKSIN0RO4OOLSNOWHAVEANOPTIONCALLED0ITCHED 7HEN THIS IS ENABLED THESE TRACKS WILL AUTOMATICALLY BE TRANSPOSED OR CON FORMED TO ANY KEY SIGNATURE CHANGES n ALTHOUGH THIS SHOULD BE DISABLED ON DRUM TRACKS WHICH SHOULD NOT NORMALLY BE TRANSPOSED 9OU CAN ALSO MAKE QUICKTRANSPOSITIONSUSINGTHE2EAL 4IME0ROPERTIESFORANYTRACKORREGION

The Key Signature ruler 4HE+EY3IGNATURERULERLETSYOUADD EDIT ANDDELETEKEYSIGNATURES9OUCAN USEKEYSIGNATURESTOINDICATEKEYANDKEYCHANGESINYOUR0RO4OOLSSESSION +EYSIGNATURESCANALSOBEUSEDFORVARIOUSOTHERFUNCTIONS SUCHASTRANSPOS INGINKEYORCONSTRAININGPITCHESTOTHESPECIFIEDKEY

Figure 3.44 +EY 3IGNATURERULER

4OVIEWTHE+EY3IGNATURERULER SELECTTHISUSINGTHE2ULERSSUB MENUINTHE 6IEWMENUORFROMTHEPOP UP6IEWSELECTORNEARTHETOPLEFTOFTHE%DITWIN DOW)FYOUCLICKONTHESMALL3HOW(IDETRIANGLEATTHELEFTOFTHE+EYRULER THISWILLREVEALTHE+EY3IGNATURE3TAFF 4OTHERIGHTOFTHERULERSNAMEINTHE%DITWINDOW THEREISASMALL@BUT TONTHATCANBEUSEDTOADDAKEYSIGNATUREATTHECURRENTTIMELINEPOSITION 101


!LTERNATIVELY YOUCANCHOOSEh!DD+EY#HANGEvFROMTHE%VENTMENU5SING THE +EY #HANGE DIALOG THAT APPEARS YOU CAN SELECT THE MODE MAJOR OR MINOR THEKEY ITSLOCATIONANDRANGE ANDHOWYOUWANTITTOAFFECTPITCHED TRACKS 9OU CAN ALSO EDIT AN EXISTING KEY SIGNATURE BY DOUBLE CLICKING ITS MARKERINTHE+EY3IGNATURERULERTOOPENTHE+EY#HANGEDIALOG 4O DELETE A KEY SIGNATURE SIMPLY /PTION CLICK -AC OR !LT CLICK 7INDOWS THE+EY3IGNATUREMARKERINTHE+EY3IGNATURERULER!NOTHERWAYTODOTHIS IS TO MAKE A SELECTION IN THE +EY 3IGNATURE RULER THAT INCLUDES THE KEY SIG NATURE YOU WANT TO DELETE AND CHOOSE #LEAR FROM THE %DIT MENU OR PRESS $ELETE

The Key Change dialog 5SINGTHE+EY#HANGEDIALOGTHATOPENSWHENEVERYOUADDORDOUBLE CLICK TO EDIT A +EY 3IGNATURE MARKER YOU CAN CHOOSE WHETHER THE KEY IS MAJOR or minor, select from any of the flat keys or sharp keys, specify a range of BARS THROUGHOUT WHICH THE KEY CHANGE WILL APPLY AND CHOOSE WHETHER OR NOTEXISTING-)$)NOTESONPITCHEDTRACKSWILLBETRANSPOSEDORCONSTRAINEDTO THEKEY

Figure 3.45 +EY#HANGE DIALOG

9OUCANVIEWTHESHARPKEYSINTHELEFT HANDCOLUMNANDTHEFLATKEYSINTHE RIGHT HAND COLUMN 4O THE LEFT OF THESE COLUMNS A PAIR OF hRADIOv BUTTONS LETS YOU SELECT MAJOR OR MINOR KEYS FROM THE NATURAL MINOR MODE 4O THE RIGHT OF THE KEY CHANGE COLUMNS THERE ARE VARIOUS OPTIONS 9OU CAN SPECIFY THE"AR\"EATLOCATIONSATWHICHANDUNTILWHICHTHEKEYCHANGEWILLBEAPPLIED TOTHENEXT+EY3IGNATUREMARKER TOASELECTION ORTOTHEENDOFTHESESSION

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!NOPTIONISALSOAVAILABLETOhSNAPvTHE+EY3IGNATUREMARKERTOTHEBARLINE WHICHCANSOMETIMESBEUSEFUL %NABLING THE h%DIT 0ITCHED 4RACKSv OPTION LETS YOU TRANSPOSE EXISTING -)$) NOTESON0ITCHEDTRACKSUPORDOWN EITHERDIATONICALLYORCHROMATICALLYBASED ONTHEKEYCHANGEnORYOUCANCONSTRAINPITCHESTOTHENEWKEY &OREXAMPLE IFTHESESSIONISIN#MAJORANDYOUWANTTOCHANGETHEKEYTO$ MINOR YOUWOULDSELECT%DIT0ITCHED4RACKS 4RANSPOSE 5P AND$IATONICALLY 7HEN YOU /+ THE DIALOG THIS WILL TRANSPOSE NOTES ON 0ITCHED TRACKS UP A WHOLE STEP AND THEN LOWER THE THIRD SIXTH AND SEVENTH SCALE DEGREES BY A HALFSTEPTOMAKETHEKEYMINOR3PECIFICALLY THENOTES# $ AND%WOULDBE TRANSPOSEDTO$ % AND&NATURAL)FYOUTRANSPOSEDTHESENOTESCHROMATICALLY INSTEADOFDIATONICALLY %WOULDBETRANSPOSEDTO&SHARPINSTEAD 3O DIATONIC TRANSPOSITION ALTERS NOTES TO MAKE THEM CONFORM TO THE TYPE OF KEY CHANGE THAT YOU WANT WHETHER MAJOR TO MINOR OR MINOR TO MAJOR !NY CHROMATIC NOTE ALTERATIONS THAT EXIST IN THE MATERIAL BEING TRANSPOSED SUCH AS A FLATTENED SEVENTH ARE LEFT UNALTERED BY DIATONIC TRANSPOSITION 3O FOR EXAMPLE IFYOUCHANGEKEYFROM#MAJORTO%MAJORANDTHEREISA"BNOTE AMONG THOSE YOU HAVE SELECTED FOR TRANSPOSITION THE " FLAT IS TRANSPOSED TO $ NATURALnWHICHISTHEFLATTENEDSEVENTHNOTEINTHESCALEOF%MAJOR 4HEh#ONSTRAIN0ITCHES4O+EYvOPTIONLETSYOUCONSTRAINPITCHESTOTHENOTES OFTHENEWKEY7HENYOUUSETHISOPTION ANYDIATONICPITCHESOFTHEOLDKEY ON 0ITCHED TRACKS THAT ARE NOT IN THE NEW KEY ARE INDIVIDUALLY TRANSPOSED TO THENEARESTDIATONICPITCHOFTHENEWKEY WHILENOTESTHATAREINTHENEWKEY ARELEFTUNTOUCHED &OR EXAMPLE WHEN CHANGING FROM # MAJOR TO $ MAJOR THE SEQUENCE OF NOTES# $ % & AND'WILLBECOME# SHARP $ % & SHARP AND' RESPECTIVELY 4HEWAYTHISWORKSISTHAT#GETSTRANSPOSEDTO# SHARPWHICHISINTHESCALE OF$MAJOR$ISNOTTRANSPOSEDBECAUSEITISALREADYAVALIDNOTEINTHESCALE OF$MAJOR%ISNOTTRANSPOSEDBECAUSEITISALREADYAVALIDNOTEINTHESCALEOF $MAJOR&GETSTRANSPOSEDTO& SHARPWHICHISINTHESCALEOF$MAJORAND' ISNOTTRANSPOSEDBECAUSEITISALREADYAVALIDNOTEINTHESCALEOF$MAJOR #ONSTRAININGPITCHESTOKEYALSOCONSTRAINSANYCHROMATICPITCHESTOTHENEW DIATONICSCALE&OREXAMPLE GOINGFROM#MAJORTO$MAJOR THESEQUENCEOF NOTES# $ $ SHARP AND%WILLBECHANGEDTO# SHARP $ $ AND% RESPEC TIVELY 4HE WAY THIS WORKS IS THAT # GETS TRANSPOSED TO # SHARP WHICH IS IN THESCALEOF$MAJOR$ISNOTTRANSPOSEDBECAUSEITISALREADYAVALIDNOTEIN THESCALEOF$MAJOR$ SHARPISMOVEDTO$TOKEEPITWITHINTHESCALEOF$ MAJORAND%ISNOTTRANSPOSEDBECAUSEITISALREADYAVALIDNOTEINTHESCALEOF $MAJOR

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Diatonic versus chromatic 4HISISMOSTSIMPLYEXPLAINEDBYDISCUSSINGTHENOTESONTHEPIANOKEYBOARD WHENYOUPLAYTHEBLACK AND WHITEKEYSOFAPIANOONEAFTERTHEOTHER THISIS CALLEDTHECHROMATICSCALEANDALWAYSCONSISTSOFASERIESOFSEMITONEINTERVALS !DIATONICSCALEISWHATYOUHEARWHENYOUPLAYTHEWHITEKEYSOFTHEPIANO ONEAFTERTHEOTHER)FYOUSTARTON# YOUGETAMAJORSCALE ALSOKNOWNASTHE )ONIANMODE3TARTINGON!YOUGETTHENATURALMINORSCALETHEDESCENDING FORMOFTHEMELODICMINORSCALE ALSOKNOWNASTHE!EOLIANMODE)FYOUSTART ONANYOTHERNOTE YOUGETONEOFTHEOTHERhCHURCHMODES vTHE$ORIANSTART INGON$ THE0HRYGIANSTARTINGON% THE,YDIANSTARTINGON& THE-IXOLYDIAN STARTING ON ' OR THE ,OCRIAN STARTING ON " 9OU CAN ALSO PLAY A MAJOR SCALE STARTINGONANYBLACKKEYANDDERIVEDIATONICSCALESFROMTHISINASIMILARWAY $IATONIC INTERVALS ARE UNDERSTOOD TO BE THE INTERVALS BETWEEN PAIRS OF NOTES TAKEN FROM THE SAME DIATONIC SCALE !NY OTHER INTERVALS ARE CALLED CHROMATIC INTERVALS $IATONIC CHORDS ARE UNDERSTOOD TO BE THOSE THAT ARE BUILT USING ONLY NOTES FROM THE SAME DIATONIC SCALE ALL OTHER CHORDS ARE CONSIDERED TO BE CHROMATIC 4HE MEANINGS OF THE TERMS DIATONIC NOTE AND CHROMATIC NOTE VARYACCORDINGTOTHEMEANINGOFTHETERMhDIATONICSCALE vWHICHISDEFINED SLIGHTLYDIFFERENTLYBYDIFFERENTAUTHORITIES'ENERALLYnNOTUNIVERSALLYnANOTE ISUNDERSTOODASDIATONICINACONTEXTIFITBELONGSTOTHEDIATONICSCALETHATIS USEDINTHATCONTEXTOTHERWISEITISCHROMATIC

Pitched tracks -)$) AND )NSTRUMENT TRACKS ARE REGARDED AS hPITCHEDv TRACKS BECAUSE -)$) NOTEDATASPECIFIESTHEPITCHOFTHENOTES.ORMALLY YOUWILLWANTTHESETRACKS TO BE AFFECTED BY TRANSPOSITIONS DUE TO KEY CHANGES "UT IF THESE TRACKS ARE CONTROLLINGDRUMMACHINESORSAMPLERS THEOPPOSITEISTRUEYOUNORMALLYWILL NOTWANTTHESETRACKSTOBEAFFECTEDBYKEYCHANGESBECAUSEITWOULDMESSUP THEKEYMAPPINGSTHATCAUSEPARTICULARDRUMSORSAMPLESTOBEPLAYED

Figure 3.46 5SING the Playlist selector to DE SELECTTHE0ITCHED OPTION

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0RO4OOLSALLOWSYOUTOOVERRIDETHEDEFAULThPITCHEDvBEHAVIORONINDIVIDUAL TRACKS USING THE TRACKS 0LAYLIST SELECTOR 3IMPLY DESELECT THE 0ITCHED OPTION SOTHATITHASNOTICKMARKNEXTTOITINTHE0LAYLISTSELECTOR FORSPECIFIC-)$) AND)NSTRUMENTTRACKSnANDTHESEWONTBEAFFECTEDBYKEYCHANGES

Diatonic transposition 6ARIOUSDIATONICTRANSPOSITIONOPTIONSAREAVAILABLEFROMTHE4RANSPOSEDIALOG THATYOUCANACCESSUSINGTHE%VENT/PERATIONSSUB MENUINTHE%VENTMENU 4HE 4RANSPOSE %VENT /PERATIONS DIALOG ALLOWS YOU TO TRANSPOSE BY OCTAVES ANDSEMITONES ORFROMONESPECIFIEDPITCHTOANOTHER ORTOTRANSPOSEALLTHE NOTESYOUHAVESELECTEDTOASPECIFIEDPITCH)TWILLALSOALLOWYOUTOTRANSPOSE IN KEY UP OR DOWN BY SCALE STEPS &OR EXAMPLE IF YOU HAVE A SEQUENCE OF NOTES THAT YOU WANT TO DOUBLE IN THIRDS YOU CAN SIMPLY COPY THIS TO A NEW TRACK SELECTTHE-)$)NOTESONTHENEWTRACK ANDTRANSPOSETHEMUPBYTWO SCALE STEPS )N # MAJOR FOR EXAMPLE THE SEQUENCE # $ % WOULD BE TRANS POSEDTO% & '

Figure 3.47 Event /PERATIONS4RANSPOSE DIALOG

9OU CAN ALSO USE THE TRACK BASED -)$) 2EAL 4IME 0ROPERTIES OR THE -)$) 2EAL 4IME0ROPERTIESWINDOWFROMTHE%VENTMENUTOTRANSPOSEUPORDOWN BYOCTAVESANDSEMITONES TOANAMEDPITCH ORTOAKEY

Figure 3.48 4RACK BASED -)$)2EAL 4IME0ROPERTIES 4RANSPOSITIONFEATURE

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Figure 3.49 -)$)2EAL 4IME0ROPERTIESWINDOW 4RANSPOSITIONFEATURE

"OTH OF THESE HAVE A 4RANSPOSE -ODE POP UP SELECTOR THAT LETS YOU CHOOSE THETYPEOFTRANSPOSITIONTHATYOUWANT4HEDEFAULTISTOTRANSPOSEBYOCTAVE ANDORSEMITONE9OUCANALSOTRANSPOSETOASPECIFIEDPITCHORINKEY

Figure 3.50 Transposing TOASPECIFIEDPITCH

Figure 3.51 5SINGTHE 4RANSPOSE-ODEBUTTON to choose Transpose IN+EY

#HANGESTHATYOUMAKEUSINGEITHERTHETRACK BASED-)$)2EAL 4IMEPROPER TIESORTHE2EAL 4IME0ROPERTIESWINDOWAREREFLECTEDINTHEOTHER 9OUCANALSOAPPLY-)$)2EAL 4IME0ROPERTIESTOANYREGIONONATRACKBYSELECTING THEREGIONANDOPENINGTHE2EAL 4IME0ROPERTIESWINDOWFROMTHE%VENTMENU

Figure 3.52 2EGION BASED2EAL 4IME 0ROPERTIESWINDOW

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Elastic Audio region-based pitch transposition %LASTIC!UDIOCANBEUSEDTOCHANGETHEPITCHOFAUDIOREGIONSINREALTIMEIN SEMITONESANDCENTSBYUPTOTWOOCTAVESABOVEORBELOWTHEORIGINALPITCH (OWEVER JUSTBECAUSEITCANCHANGETHEPITCHWITHINTHISINCREDIBLYWIDERANGE DOESNTMEANTHATITCANDOTHISWITHOUTINTRODUCINGARTIFACTSINTOTHESOUNDn AND IT DOES %VEN WHEN USING THE NON REAL TIME 8 &ORM RENDERING YOU WILL HEARWARBLING PHASINGSOUNDSINTHEPITCH SHIFTEDAUDIO EVENWHENYOUSHIFT THE PITCH BY AS LITTLE AS ONE SEMITONE .EVERTHELESS THE PITCH DOES SHIFT AND THERESULTINGSOUNDSCANBEVERYEFFECTIVEWHENUSEDAShSOUNDEFFECTSv

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)TCANOFTENBEUSEFULTOSHIFTTHEPITCHOFAMUSICALPARTTOASSESSHOWTHIS WOULDSOUNDINADIFFERENTKEYBEFOREGOINGTOTHETROUBLEOFRE RECORDING THEPARTINTHENEWKEY 4OAPPLYAPITCH SHIFT %LASTIC!UDIOMUSTBEENABLEDFORTHETRACKFIRST CHOOS INGTHE0OLYPHONIC 2HYTHMIC OR8 &ORMALGORITHM

Figure 3.53 Enabling %LASTIC!UDIO

7ITH %LASTIC !UDIO ENABLED ON THE TRACK SELECT ANY WHOLE REGION OR REGIONS WITHIN THE TRACK USING THE 'RABBER OR 3ELECTOR TOOL THEN OPEN THE %LASTIC 0ROPERTIES WINDOW FROM THE 2EGION MENU OR BY PRESSING /PTION -AC OR !LT 7INDOWS ONTHENUMERICKEYPAD)NTHE%LASTIC0ROPERTIESWINDOW YOU CANENTERTHEPITCHSHIFTINSEMITONESANDCENTS

Figure 3.54 Elastic PROPERTIESWINDOW

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9OUCANALSOUSETHE4RANSPOSEWINDOWTOTRANSPOSETHEPITCHOFAUDIOREGIONS ON %LASTIC !UDIOnENABLED TRACKS !S WITH THE %LASTIC 0ROPERTIES WINDOW ONLY REGIONSTHATARECOMPLETELYSELECTEDWILLBEAFFECTED)NTHE4RANSPOSEWINDOW YOUCANEITHERTRANSPOSEBYOCTAVESANDSEMITONESORYOUCANUSETHEh4RANSPOSE &ROMAND4OvSETTINGSTOTRANSPOSEFROMONESPECIFIEDKEYNOTETOANOTHER

Figure 3.55 Event /PERATIONS4RANSPOSE WINDOW

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4HEh4RANSPOSE!LL.OTES4OvANDTHEh4RANSPOSE)N+EYvSETTINGSCANONLY BEAPPLIEDTO-)$)NOTES SOTHESEOPTIONSARENOTACTIVEWHENYOUSELECT AUDIOREGIONS

Removing region pitch shifting )FYOUHAVEAPPLIEDANYPITCHSHIFTINGTOAREGIONANDYOUARENOTHAPPYWITH THERESULTS ORCHANGEYOURMINDLATERON YOUCANALWAYSREMOVETHISPITCH SHIFTINGANDREVERTTHEREGIONTOITSORIGINALPITCH 4OREMOVEANYPITCH TRANSPOSITIONAPPLIEDTOASELECTEDREGION YOUCANEITHER OPENTHE%LASTIC0ROPERTIESWINDOWOR4RANSPOSEWINDOWTOREMOVETHETRANS POSITION CHANGING EITHER OF THESE CHANGES THE OTHER OR YOU CAN USE THE 2EMOVE0ITCH3HIFTCOMMANDFROMTHE2EGIONMENUnWHICHISFASTER

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9OU CAN ONLY USE THE 2EMOVE 0ITCH 3HIFT COMMAND WITH REGIONS n NOT WITHREGIONGROUPS)FYOUNEEDTOREMOVEPITCHSHIFTINGFROMTHEREGIONS WITHINAGROUP UNGROUPTHEREGIONFIRST THENREMOVETHEPITCHSHIFTFROM THEINDIVIDUALREGIONS THENREGROUPTHEREGIONS

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3.6 Summary (AVINGCONTROLOFTHETEMPO METER ANDKEYSIGNATUREOFYOURMUSICISESSEN TIALIFYOUARETOACTASTHEhCONDUCTORvOFTHEMUSICIANS BAND ORORCHESTRA THATYOUARERECORDINGnWHETHERREALORVIRTUAL )F YOUR ROLE IS TO ENGINEER THE SESSION THEN YOU NEED TO BE ABLE TO ACT ON THE INSTRUCTIONS OF THE PRODUCER ARRANGER COMPOSER MUSICAL DIRECTOR OR OF THE MUSICIANS WHO ARE PERFORMING ON THE RECORDING TO ESTABLISH THE TEMPO METER ANDKEY4HIS IDEALLY SHOULDBEDONEBEFOREYOUSTARTRECORDING ORAS SOON AS POSSIBLE AFTER RECORDING WHILE THE PEOPLE WHO PERFORMED INCLUDING ANYCONDUCTOR ARRANGER ORPRODUCERDIRECTINGTHEPERFORMANCESOFTHEMUSI CIANS ARESTILLPRESENTATTHESESSION 4HEREWILLBETIMESWHENTHEPEOPLEINVOLVEDDONOTWANTTOBECONSTRAINED BY HAVING TO PLAY TO A CLICK %VERYONE NEEDS TO CLEARLY UNDERSTAND THAT ANY FURTHERRECORDING EDITING ORMIXINGOFTHETRACKWILLBEMUCHMOREDIFFICULT UNTILTHECORRECTTEMPOS TIMESIGNATURES ANDKEYSIGNATURES HAVEBEEN WORKEDOUTFORTHESESSION )F THIS HAS TO BE DONE AFTER THE RECORDING IT CAN TAKEASIGNIFICANTAMOUNTOFTIMETOSORTALLTHISOUT.EVERTHELESS THEGOOD NEWSISTHAT0RO4OOLSDOESPROVIDEEXCELLENTTOOLSTOHELPYOUDOTHIS INCLUD ING)DENTIFY"EATAND"EAT$ETECTIVEAND%LASTIC!UDIO 9OUNEEDTOBECLEARABOUTTHEDIFFERENCESBETWEENTHESAMPLE BASEDABSO LUTE AND THE TICK BASED RELATIVE TIMEBASES AND HOW THESE ARE DISPLAYED USINGTHERULERS!LSOYOUNEEDTOKNOWHOWANDWHYYOUCANCHANGETRACKS TOBESAMPLE BASEDORTICK BASEDTHEDIFFERENCESBETWEEN4EMPOEVENTSAND "AR\"EAT -ARKERS WHEN TO CHOOSE "AR\"EAT OR !BSOLUTE 2EFERENCE -ARKERS ANDWHENTOVIEWTHE4IMELINEUSINGEITHERTHE,INEAR3AMPLE$ISPLAYORTHE ,INEAR4ICK$ISPLAYMODE9OUSHOULDALSOBEAWAREOFHOWTOCARRYOUT4IME /PERATIONS SUCH AS CHANGING THE METER INSERTING OR CUTTING TIME FROM YOUR SESSION ANDMOVINGTHE3ONG3TART 5NDERSTANDINGTHEDIFFERENCESBETWEENCHROMATICANDDIATONICKEYTRANSPOSI TIONREQUIRESSOMEKNOWLEDGEOFMUSIC BUTSHOULDNOTBEBEYONDTHECAPA BILITIESOFANYONEWHOCANMASTERTHEOTHERINTRICACIESOFUSINGTHE0RO4OOLS SOFTWARE!PPRECIATINGTHEDIFFERENCESANDWHATISPOSSIBLEWHENTRANSPOSING -)$) AND AUDIO REGIONS ALSO REQUIRES UNDERSTANDING OF MUSIC AND OF -)$) ITSELF4HEREAREMANYGOODBOOKSPUBLISHEDELSEWHERETHATCOVERTHESETOPICS MORETHOROUGHLYTHANISPOSSIBLEHERE )F YOU ARE STILL UNSURE ABOUT ANY OF THESE THINGS PLEASE GO BACK AND REVIEW THISCHAPTER ANDMAKESURETHATYOUTRYEVERYTHINGFORYOURSELFONYOUROWN SYSTEM&ORSOMEPEOPLE MYSELFINCLUDED ITCANTAKEALITTLEWHILEBEFORETHE IMPORTANCE OF ALL THESE THINGS BECOMES APPARENT 7HEN THIS DOES HAPPEN n LEARNINGFOLLOWSMUCHMOREQUICKLY 109


#ONTROLLINGA-)$)RACKFROM0RO 4OOLS (OW$ELAY#OMPENSATIONWORKS WITH-)$)

%DITING-)$) -)$)AND)NSTRUMENTCONTROLS ANDTRACKHEIGHTS -)$)2EAL 4IME0ROPERTIES %XPORTING-)$)TRACKS

)NSTRUMENTTRACKS

4HE-)$)%DITORS

2ECORDING-)$)ONTOA-)$)OR

4HE3CORE%DITOR

)NSTRUMENTTRACK 2ECORDINGAUDIOFROMAVIRTUAL INSTRUMENT

3UMMARY

4 Working with MIDI

4.1 Introduction 4HERE ARE MANY 0RO 4OOLS USERS WHO WILL USE -USICAL )NSTRUMENT $IGITAL )NTERFACE -)$) IN THEIR MUSIC PRODUCTION WORK n EVEN WHEN STARTING ON A PROJECTTHATMAYENDUPASAUDIO ONLYBYTHETIMETHATITISFINISHED)TSJUST GREATTOBEABLETOTRYIDEASOUTUSINGPIANO BASS DRUMS PERCUSSION ORCHES TRALSOUNDS ORVOCALSAMPLESWHENYOUAREWORKINGONANEWCOMPOSITIONOR ARRANGEMENT/FCOURSE THEREISPLENTYOFMUSICBEINGRECORDEDTODAYUSING -)$)INSTRUMENTS VIRTUALINSTRUMENTS SYNTHESIZEDANDSAMPLEDSOUNDS VERY HEAVILYOREVENEXCLUSIVELY

4.2 Controlling a MIDI rack from Pro Tools "EFOREWESTARTUSINGVIRTUALINSTRUMENTS LETSTAKEAQUICKLOOKATHOWTHINGS WORKWITHARACKOFREAL-)$)HARDWARE"EFOREVIRTUALINSTRUMENTSWEREAVAIL ABLE -)$) MUSICIANS USED REAL INSTRUMENTS n KEYBOARD SYNTHESIZERS SUCH AS THE9AMAHA$8ANDvRACK MOUNTABLE-)$)hMODULESvSUCHASTHE2OLAND -+34HEREARESTILLLOTSOFTHESEINSTRUMENTShOUTTHERE vSOITSQUITELIKELY THATYOUWILLCOMEACROSSTHESEATSOMETIMEOROTHER &OREXAMPLE )STILLHAVEA9AMAHA$8))SYNTHESIZER A+8WEIGHTED-)$) -ASTER +EYBOARD AND A FLIGHTCASE CONTAINING A 9AMAHA 48 48 AND 48: A 2OLAND -+3 AND -+3 WITH A -ARK OF THE 5NICORN -)$) %XPRESS 84 INTERFACE TO CONNECT THESE TO MY COMPUTER AND A 9AMAHA $ MIXINGCONSOLETHAT)USEASASUBMIXER4HESESYNTHESIZERSAREMYSLEG ACY ASANYONEWHOISFAMILIARWITHTHESEINSTRUMENTSWILLINSTANTLYREALIZE/F COURSE 9AMAHAAND2OLANDARESTILLMAKINGHARDWARESYNTHESIZERSTODAYALONG WITHMORERECENTARRIVALSSUCHAS.OVATIONAND#LAVIA

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Computer MIDI setup "EFORE YOU CAN USE ANY -)$) HARDWARE WITH 0RO 4OOLS YOU WILL NEED TO SET UP THE -)$) CONNECTIONS TO AND FROM YOUR COMPUTER FIRST /N THE -AC FOR EXAMPLE YOU CAN OPEN THE -)$) 3ETUP APPLICATION USING THE h-)$) 3TUDIOxv MENU OPTION AVAILABLE FROM THE 3ETUP MENU IN 0RO 4OOLS (ERE YOUCANADDADEVICECORRESPONDINGTOEACHACTUALDEVICEINYOUR-)$)RACK ANDHOOKTHESEUPTOYOUR-)$)INTERFACETOREFLECTTHEACTUALCABLECONNEC TIONSYOUHAVEMADE

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4O MAKE SURE EVERYTHING IS WORKING /+ JUST CLICK ON h4EST 3ETUPv IN THE !PPLE-)$)3ETUP-)$)$EVICESWINDOW THENCLICKONEACHDEVICEINYOUR SETUP 4HIS SENDS A BUNCH OF -)$) NOTES TO THE DEVICE UNDER TEST 9OU SHOULD SEE -)$) INPUT INDICATORS FLASH ON EACH DEVICE THAT YOU TEST AND YOU SHOULD HEAR AUDIO IF THE DEVICES AUDIO OUTPUTS ARE CONNECTED TO A MONITORING SYSTEM !LTERNATIVELY YOU CAN PLUG A SET OF HEADPHONES INTO EACHDEVICETHATYOUARETESTINGTOMAKESUREITISPLAYING/+

Figure 4.1 -)$)$EVICES hPAGEvINTHE!PPLE !UDIO-)$)3ETUPUTILITY

/N THE 0# WHEN YOU CHOOSE -)$) 3TUDIO 3ETUP FROM THE 3ETUP MENU YOU CAN CREATE AN ENTRY FOR EACH hINSTRUMENTv THAT YOU HAVE IN YOUR SETUP INASIMILARWAY0OP UPSELECTORSLETYOUCHOOSEFROMALISTOFPOPULAR-)$) DEVICES AND MODELS AND CHOOSE THE )NPUT AND /UTPUT PORTS 9OU CAN ALSO CHOOSEWHICH-)$)CHANNELSTOSENDANDRECEIVEONFOREACHDEVICE

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Working with MIDI

Pro Tools MIDI setup 7HEN YOU ARE SURE THAT EVERYTHING IN YOUR -)$) RACK IS WORKING /+ THEN ITSTIMETOSTARTWORKINGWITH0RO4OOLS!GOODWAYTOWORKWITHARACKOF -)$)GEARLIKETHISISTOSETUPA0RO4OOLSSESSIONWITHA-)$)TRACKFOREACH INSTRUMENT AN!UXTRACKTOMONITOREACHINSTRUMENT ANDAN!UDIOTRACKTO RECORD EACH INSTRUMENT INTO WHEN YOU HAVE FINISHED RECORDING AND EDITING THE-)$)TRACK 9OUWILLNEEDTOROUTETHEOUTPUTSFROMEACHHARDWARE-)$)DEVICEINTOAVAIL ABLEINPUTSONYOUR0RO4OOLSAUDIOINTERFACEANDCHOOSETHESEASTHEINPUTS TOTHE!UXILIARY)NPUTTRACKSTHATYOUHAVECREATEDTOMONITORIE LISTENTO EACH -)$) DEVICE )F YOU DONT HAVE ENOUGH INPUTS YOU WILL EITHER HAVE TO SWAPCABLESANDRECORDINSTRUMENTSINDIVIDUALLYORUSEASUBMIXER 7HENYOUAREREADYTORECORDA-)$)TRACKASAUDIO SIMPLYROUTETHEOUTPUT OFTHE!UXTRACKTHATYOUAREUSINGTOMONITORTHISINTOTHE!UDIOTRACKTHAT YOU HAVE CREATED TO RECORD IT 7HEN YOU FINISH RECORDING THE -)$) TRACK AS AUDIO YOU CAN MAKE THE !UXILIARY TRACK INACTIVE MUTE THE -)$) TRACK HIDE BOTHOFTHESETRACKS ANDJUSTPLAYBACKTHEAUDIOTRACK/FCOURSE IFYOUNEED to make any changes at any point in the future, you still have the original -)$)AND!UXTRACKSTORETURNTO

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9OUCANUSE)NSTRUMENTTRACKSINSTEADOF-)$)AND!UXTRACKS BUTLETSDO THINGSTHISWAYFIRST SOTHATYOUGETTOSEEEXACTLYHOWEVERYTHINGWORKS

Figure 4.2 Pro Tools 3ESSIONSHOWINGTHREE -)$)TRACKS EACHWITH AN!UXILIARY)NPUTTO MONITORTHEAUDIOFROMA SYNTHESIZERANDAN!UDIO TRACKINTOWHICHTHIS AUDIOCANBERECORDED4O RECORDTHE-)$)ASAUDIO the outputs of each !UXILIARY)NPUTNEEDTO BEROUTEDTOTHEINPUTSOF THECORRESPONDING!UDIO TRACK

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%ACH -)$) DEVICE THAT YOU ARE USING SHOULD HAVE ITS OWN -)$) TRACK IN 0RO 4OOLSWITHTHETRACKOUTPUTSETTOCONTROLTHATDEVICE4YPICALLY YOUWOULDUSE A-)$)-ASTER+EYBOARD)MUSINGA9AMAHA+8 ASTHEMAIN)NPUTDEVICE TORECORDINTOEACHTRACK

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+EEP IN MIND THAT MANY -)$) DEVICES CAN OPERATE AS hMULTITIMBRALv INSTRUMENTS4HISMEANSTHATTHEYCANBESETUPTOOPERATEASTHOUGHTHEY CONTAINTWOORMORESEPARATE-)$)DEVICESnEACHOFWHICHISCONTROLLED BYADIFFERENT-)$)CHANNEL9OUMAYENCOUNTERDEVICESTHATHAVEASMANY AS MULTITIMBRAL INSTRUMENTS OR EVEN IN WHICH CASE THEY WILL HAVE TWOSEPARATE CHANNEL-)$)INTERFACEPORTS4HEYMAYALSOHAVEMULTI PLEAUDIOOUTPUTS4HE9AMAHA48HASEIGHTTOTALLYSEPARATEOUTPUTS FOREXAMPLE SO)USEANAUDIOSUBMIXERWITHTHIS

)NMYRIG THE9AMAHA$8))ANDTHE2OLAND-+3CANEACHRESPONDTOTWO -)$) CHANNELS WHILE THE OTHERS CAN RESPOND TO UP TO EIGHT -)$) CHANNELS )SAYhUPTOvEIGHT-)$)CHANNELSBECAUSEITISPOSSIBLETOSETTHESEDEVICESTO PLAYALLTHEIRMULTITIMBRALINSTRUMENTSFROMTHESAME-)$)CHANNELORFROMA SMALLERCOMBINATIONOF-)$)CHANNELS&OREXAMPLE THE9AMAHA48CON TAINSEIGHT$8SYNTHESIZERMODULESINONERACKEACHMODULECANBESETTO WHATEVER-)$)CHANNELYOULIKE SOYOUCANUSETHEMINPAIRSWITHEACHPAIR SET TO A DIFFERENT -)$) CHANNEL GIVING YOU FOUR DIFFERENT SETS OF SOUNDS OR YOUCANSETALLEIGHTMODULESTOTHESAME-)$)CHANNELANDUSEALLEIGHTTO LAYERUPONEVERYBIG COMPLEXSOUND

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)T IS ALSO POSSIBLE TO ACHIEVE THE SAME RESULT BY LEAVING THE -)$) MOD ULES IN YOUR RACK ON SEPARATE -)$) CHANNELS THEN ROUTING THE OUTPUTS FROM YOUR -)$) TRACKS IN 0RO 4OOLS TO ANY NUMBER OF THESE MODULES 4HIS WAY YOU CAN LAYER UP SOUNDS ANY WAY YOU LIKE USING YOUR VARIOUS INSTRUMENTS

MIDI Thru preferences )HAVETWOKEYBOARDSINMYRIGnTHE+8ANDTHE$8))4HEFIRSTTIMETHAT )SETEVERYTHINGUP )COULDNOTWORKOUTWHYWHENEVER)PLAYEDTHE$8)) KEYBOARD IT WOULD ALSO PLAY THE 48 !FTER ALL ) HAD CAREFULLY SET THE -)$) TRACK INPUTS TO USE EITHER THE +8 OR THE $8)) 3O WHAT WAS GOING ONHERE

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Working with MIDI

)T TOOK ME A FEW MINUTES OF HEAD SCRATCHING BEFORE ) FIGURED OUT THAT THERE MUSTBEADEFAULTPREFERENCETHATWASCAUSINGTHIS3UREENOUGH INTHE-)$) 0REFERENCES )FOUNDANOPTIONTOSETA$EFAULT4HRU)NSTRUMENT4HISWASSET TOh&OLLOWS&IRST3ELECTED-)$)4RACK vANDTHEFIRST-)$)TRACKINMY0RO4OOLS SESSION THE48 WASSELECTEDHIGHLIGHTED 3O THATS WHY THE 48 PLAYED BACK EVEN IF ) WAS PLAYING ON THE $8)) KEYBOARD 7ITH THIS PREFERENCE SET TO h.ONE v THE PROBLEM IMMEDIATELY DISAPPEARED

Figure 4.3 -)$) 0REFERENCEShPAGEv SHOWINGTHE$EFAULT-)$) 4HRU)NSTRUMENTSETTINGS

Initial MIDI system setup data )TSALWAYSAGOODIDEATOPUTINITIALPATCHCHANGESFORYOUR-)$)GEARANDANY OTHER SETUP DATA SUCH AS CONTROLLERS LIKE PITCH BEND AND MODULATION SET TO SENSIBLEDEFAULTS INTOACOUPLEOFSETUPBARSTHATPLAYBACKBEFOREANYMUSIC PLAYS 4HIS WAY YOU CAN MAKE SURE THAT THE -)$) DEVICES IN YOUR RIG ARE ALL READYTOPLAYBACKBYTHETIMETHEFIRSTBAROFMUSICISREACHED2ESETTINGTHE PITCHBENDANDTHEMODULATIONTOTHEIRDEFAULTPOSITIONSWOULDBETWOOFTHE MOSTBASICTHINGSTHATYOUMIGHTDOHEREnINCASETHESECONTROLSHAVEBEEN LEFTINSOMEOTHERSTATEBEFOREYOUSTARTTOPLAYBACKYOURNEWSEQUENCES

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9OUCANEVENEMBEDTHEACTUALPATCHESANDOTHERDATAFORYOUR-)$)GEARINTO EACH-)$)TRACKnSTORINGTHISAS-)$)3YSTEM%XCLUSIVE3YS%X DATA"EAWARE THAT SENDING OUT 3YS%X DATA WILL DISRUPT OTHER -)$) DATA SUCH AS NOTES AND TIMING INFORMATION SO YOU MAY NEED TO WAIT UNTIL SEVERAL BARS HAVE PASSED BEFOREYOUSTARTTHERESTOFYOUR-)$)PLAYBACK4OAVOIDTHISDISRUPTION YOU COULDPUTTHE3YS%XDATAINDEDICATEDTRACKS MUTEALLTHEOTHERTRACKSTEMPO RARILY PLAYBACKTHETRACKSCONTAININGTHE3YS%XDATATOSETUPYOUR-)$)RIG THENMUTEALLTHE3YS%XTRACKS ANDUNMUTETHETRACKSYOUWANTTOPLAYBACK 4ORECORD3YS%XINTO0RO4OOLS ENABLEA-)$)TRACKTORECORD MAKESURETHAT THE 3YS%X DATA IS NOT BEING FILTERED OUT BY THE 0RO 4OOLS -)$) )NPUT &ILTER CLICKh7AITFOR.OTEvINTHE4RANSPORTWINDOW MAKESURETHATYOUAREATTHE BEGINNINGOFYOURTRACKBYPRESSINGTHEh2ETURNvKEY THENINITIATETHE3YS%X TRANSFER FROM YOUR -)$) DEVICE 7HEN THIS HAS FINISHED HIT THE 3PACEBAR OR CLICK h3TOPv IN THE 4RANSPORT WINDOW TO STOP RECORDING 4HE 3YS%X DATA WILL APPEAR AS A -)$) REGION IN THE TRACKS PLAYLIST AND IN THE -)$) 2EGIONS ,IST 3YS%X MESSAGES ARE ALSO DISPLAYED IN THE -)$) %VENT ,IST WHERE THEY CAN BE COPIED DELETED ORMOVEDASNECESSARY

Figure 4.4 -)$)%VENT ,ISTWINDOWSHOWINGA 3YS%X%VENT

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!LTHOUGH 0RO 4OOLS WILL RECORD AND PLAYBACK 3YS%X DATA IT WILL NOT LET YOUEDITTHISDATAORWRITEINDATAMANUALLYnUNLIKE$IGITAL0ERFORMER FOR EXAMPLE WHICHDOESOFFERTHESEMOREADVANCEDFEATURES

Saving templates (AVINGSETUPANDTESTEDEVERYDEVICEINYOURRIG WITH-)$) !UXILIARY)NPUT AND!UDIOTRACKSFORTHESECREATEDIN0RO4OOLS YOUSHOULDSAVEYOURSESSION AS A TEMPLATE FILE AND KEEP IT SOMEWHERE SAFE n EITHER IN THE SYSTEM OR IN A PROJECT FOLDER )F YOU SAVE IT WITH THE SYSTEM IT WILL ALWAYS BE AVAILABLE AS A TEMPLATETOCHOOSEFROMWHENYOUCREATEANEWSESSION

Import session )FYOUHAVEALREADYOPENEDA0RO4OOLSSESSIONANDYOUREALIZETHATTHEREARE some tracks set up in other sessions, or in a Template session, you can use the )MPORT3ESSION$ATACOMMANDTOBRINGINTRACKSTHATYOUWANTTOUSEFROM THEOTHERSESSIONINTOYOURCURRENTSESSION 116

Working with MIDI

Figure 4.5 ,OWERPART OF)MPORT3ESSION$ATA DIALOGSHOWINGTRACKS BEINGIMPORTED

Recording audio from MIDI hardware devices 7HEN YOU HAVE FINISHED RECORDING AND EDITING YOUR -)$) TRACKS IT IS ALWAYS BESTTORECORDTHESEASAUDIO4HEREARESEVERALREASONSFORTHIS BUTTHEFACT THATYOUCANDISCONNECTTHE-)$)HARDWAREANDSTILLHEARTHEAUDIOPLAYBACK ISPROBABLYTHEMOSTIMPORTANTREASONTHATEVERYONEWILLBEABLETOAPPRECI ATE !NOTHER MAJOR ADVANTAGE IS THAT YOU CAN PLAY BACK THE SESSION ON ANY OTHER0RO4OOLSSYSTEM SUCHASFROMALAPTOPWHENYOUAREAWAYFROMYOUR STUDIO WITHOUTHAVINGTOCARRYTHE-)$)HARDWAREWITHYOU 7HILE YOU ARE WORKING ON THE -)$) SEQUENCES YOU NEED TO MONITOR THE AUDIOCOMINGFROMTHE-)$)DEVICESYNTHESIZER SAMPLER DRUMMACHINE OR WHATEVER 4HE BEST CHOICES HERE ARE TO USE EITHER AN !UXILIARY )NPUT OR AN )NSTRUMENT TRACK NEITHER OF WHICH WILL USE UP ANY OF THE AVAILABLE hVOICESv THATYOUMAYNEEDFORYOURAUDIOTRACKS7HENYOUNEEDTORECORDTHEAUDIO FROM THE -)$) DEVICE YOU WILL NEED AN !UDIO TRACK WITH ITS INPUT SET TO RECEIVE THE OUTPUT FROM THE !UXILIARY )NPUT OR )NSTRUMENT TRACK THAT YOU ARE

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9OU CAN ALSO RECORD AUDIO FROM AN EXTERNAL -)$) DEVICE BY SETTING THE !UDIO TRACKS INPUT TO THE SAME AUDIO INPUT AS THE !UXILIARY )NPUT OR )NSTRUMENT TRACK BEING USED TO MONITOR THE EXTERNAL -)$) DEVICE 4HIS SECOND METHOD AVOIDS ANY ADDITIONAL LATENCY ASSOCIATED WITH BUSSING BUTDONTFORGETTOMUTETHE!UXILIARY)NPUTOR)NSTRUMENTTRACK USEDFOR MONITORINGWHILERECORDINGFROMTHESAMEAUDIOPATHTOTHE!UDIOTRACK !LTERNATIVELY MUTETHE!UDIOTRACK/THERWISE YOUWILLGETPROBLEMSDUE TODOUBLEMONITORINGOFTHESAMESIGNALVIATHETWOSEPARATESIGNALPATHS THROUGHTHE-IXER

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7HENYOUHAVEFINISHEDRECORDINGTHEAUDIOFROMA-)$)DEVICE YOUCAN MUTE THE -)$) TRACK MAKE THE !UXILIARY TRACK INACTIVE AND HIDE BOTH OF THESE 9OU CAN ALWAYS REVERSE THIS PROCEDURE IF YOU NEED TO MAKE ANY CHANGESLATERONINYOURPRODUCTIONWORKFLOW

USINGTOMONITORTHEAUDIOFROMYOUR-)$)DEVICE4AKEALOOKATTHEACCOM PANYINGSCREENSHOTTOSEEHOWTHISLOOKSINTHE0RO4OOLS-IXER

Figure 4.6 2ECORDING AUDIOFROMA9AMAHA 483YNTHESIZER

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Working with MIDI

#OMPENSATINGFORTRIGGERINGDELAYS !LL -)$) DEVICES ARE NOT EQUAL 7HEN A PARTICULAR SYNTHESIZER SUCH AS A 9AMAHA$8 RECEIVES-)$)DATA ITWILLTAKEAFEWMILLISECONDSBEFOREITPLAYS THE SOUND 3END THE SAME DATA TO A 2OLAND SYNTHESIZER AND THIS WILL TAKE A DIFFERENTNUMBEROFMILLISECONDSTORESPOND4RYTHESAMETHINGWITHAN!KAI SAMPLERANDAN%-5SAMPLER!LMOSTCERTAINLY THERESPONSETIMESBEFORETHEY PLAYTHEAUDIOWILLBEDIFFERENT )FTHERESPONSETIMEISVERYFAST SAYMSORLESS ANDDEPENDINGONTHETYPE OFSOUNDTHESYNTHESIZERISPLAYING THISMAYNOTBEAPROBLEM3TRINGSOUNDS USUALLYHAVEASLOWATTACKTIME FOREXAMPLE SOYOUWOULDPROBABLYNOTHEAR ANYTHINGhWRONGv7HEREITDOESBECOMEAPROBLEMISWHENYOUAREWORKING WITHA-)$)DEVICETHATHASAVERYSLOWRESPONSETIME ORWHENYOUAREWORK ING WITH SOUNDS THAT HAVE VERY FAST ATTACK TIMES SUCH AS PERCUSSION INSTRU MENTS!LSO IFYOUHAVESOMEAUDIOIN0RO4OOLSTHATSHOULDPLAYEXACTLYAT THE SAME TIME AS THE AUDIO COMING FROM AN EXTERNAL -)$) DEVICE THIS CAN EXACERBATETHEPROBLEM2EMEMBERTHATITUSUALLYTAKESATLEASTMSTOTRIG GER THE NOTES FROM AN EXTERNAL -)$) DEVICE AND IT COULD TAKE EVEN LONGER DEPENDINGONTHEDEVICE3OIFYOUHAVEAKICKDRUMTHATISBEINGPLAYEDBY AN !UDIO TRACK IN 0RO 4OOLS AND A KICK DRUM THAT IS BEING PLAYED BY A -)$) DEVICE TRIGGERED BY -)$) NOTES COMING FROM 0RO 4OOLS YOU WOULD HEAR A hFLAMvADELAY BETWEENTHETWOKICKDRUMS 4O COMPENSATE FOR DELAYS CAUSED BY THE TIME IT TAKES TO TRIGGER EVENTS ON A -)$) SAMPLER OR SYNTHESIZER YOU CAN OFFSET INDIVIDUAL -)$) AND )NSTRUMENT TRACKOFFSETSIN0RO4OOLS

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9OUCANMEASURETHELATENCYDELAY FORA-)$)DEVICEASSIGNEDTOA-)$) TRACKBYRECORDINGITSAUDIOOUTPUTBACKINTO0RO4OOLS4HEN COMPARETHE SAMPLE LOCATIONS FOR THE RECORDED AUDIO EVENTS AGAINST THE ORIGINAL -)$) NOTESTOCALCULATETHELATENCYDELAY ANDUSETHISVALUEWHENSETTINGTHE -)$)4RACK/FFSET 4OCONFIGUREA-)$)OR)NSTRUMENTTRACKOFFSETFORATRACK CHOOSE-)$)4RACK /FFSETSFROMTHE%VENTMENU 7HEN THE WINDOW OPENS CLICK IN THE 3AMPLE /FFSET COLUMN FOR THE -)$) OR )NSTRUMENT TRACK AND ENTER A NUMBER BETWEEN AND TO SPECIFY THE OFFSET IN SAMPLES .EGATIVE VALUES CAUSE THE -)$) OR )NSTRUMENT TRACKS TO PLAY BACK EARLIER THAN THE AUDIO TRACKS POSITIVE VALUES CAUSE THE -)$)OR)NSTRUMENTTRACKSTOPLAYBACKLATER4HE-SEC/FFSETCOLUMNSHOWS

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Figure 4.7 Entering INDIVIDUAL-)$) )NSTRUMENTTRACK/FFSETS

THEEQUIVALENTOFFSETINMILLISECONDS4HISVALUEUPDATESWHENANEWVALUEIS ENTEREDINTHE3AMPLE/FFSETCOLUMN ALTHOUGHITCANNOTBEEDITED*USTPRESS 2ETURN -AC OR %NTER 7INDOWS ON YOUR COMPUTER KEYBOARD TO ACCEPT THE ENTEREDOFFSETVALUE!CLICKONTHE2ESETBUTTONINTHEUPPERLEFTOFTHEWIN DOWRESETSTHEOFFSETSFORALLTHE-)$)AND)NSTRUMENTTRACKS

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9OUCANALSOAPPLYADELAYINMILLISECONDSORINTICKSUSINGTHE-)$)2EAL 4IME0ROPERTIESWINDOWTOOFFSET-)$)OR)NSTRUMENTTRACKS

Figure 4.8 4HE-)$) 2EAL 4IME0ROPERTIESCAN BEUSEDTODELAYATRACK

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Working with MIDI

MIDI Beat Clock 9OU MAY HAVE -)$) DEVICES CONNECTED TO YOUR 0RO 4OOLS SYSTEM THAT CAN USE -)$) "EAT #LOCK TO SYNCHRONIZE WITH THE TEMPO OF THE 0RO 4OOLS SEQUENCE 4HIS IS OFTEN THE CASE WITH DRUM MACHINES OR WITH SYNTHESIZ ERS THAT HAVE ARPEGGIATORS $ELAY UNITS ARE ANOTHER EXAMPLE WHERE THE TIMING OF THE DELAY REPEATS CAN BE SYNCHRONIZED TO THE SESSION TEMPO IN 0RO4OOLS

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-ANY PLUG IN INSTRUMENTS AND EFFECTS CAN ALSO BE SYNCHRONIZED USING -)$) "EAT #LOCK -OST OF THESE AUTOMATICALLY CONFIGURE TO RECEIVE -)$) "EAT#LOCKFROM0RO4OOLS0LUG INSTHATDONOTSELF CONFIGUREAREDETECTED WHEN INSERTED THEN LISTED IN THE -)$) "EAT #LOCK DIALOG WHERE YOU CAN SELECTTHEONESTHATYOUWISHTOSYNCHRONIZEMANUALLY

-)$)"EAT#LOCK/FFSETS !S PREVIOUSLY MENTIONED -)$) HARDWARE DEVICES TYPICALLY TAKE A NUMBER OF MILLISECONDS TO RESPOND AFTER RECEIVING -)$) NOTE AND PERFORMANCE DATA 4HE SAME THING HAPPENS WITH -)$) "EAT #LOCKS 0RO 4OOLS LETS YOU SET A -)$) "EAT #LOCK OFFSET FOR EACH PORT OR EXTERNAL DEVICE ON YOUR -)$) INTER FACE OR FOR ANY PLUG INS THAT DO NOT SELF CONFIGURE )F YOU KNOW HOW MANY MILLISECONDSAPARTICULARDEVICETAKESTORESPOND YOUCANCOMPENSATEFORTHIS LATENCY DELAY BY ENTERING A NEGATIVE OFFSET VALUE IN SAMPLES FOR THE DEVICE ORTHEPORTTHATITISCONNECTEDTO 9OU CAN ACCESS THE -)$) "EAT #LOCK DIALOG FROM THE -)$) SUB MENU IN THE 3ETUP -ENU (ERE YOU CAN ENABLE -)$) "EAT #LOCK TRANSMISSION FOR ANY OF THE DEVICES LISTED 9OU CAN ALSO ENTER NEGATIVE OFFSET VALUES SUCH AS SAMPLES FOREACHDEVICEORPORTTHATYOUENABLE

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)F YOUR -)$) INTERFACE DOES NOT TRANSMIT -)$) "EAT #LOCK TO SEPARATE PORTS THEINTERFACEAPPEARSASADESTINATIONINTHISDIALOGnNOTTHEPORTOR DEVICENAME

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Figure 4.9 Setting an OFFSETFOR-)$)"EAT#LOCK

-EASURING"EAT#LOCK,ATENCY 4O DISCOVER THE CORRECT -)$) "EAT #LOCK OFFSET FOR AN EXTERNAL -)$) DEVICE YOU CAN RECORD THE AUDIO OUTPUT FROM A SYNCHRONIZED EXTERNAL DEVICE SUCH ASADRUMMACHINE ANDSEEANYDELAYBYEXAMININGTHEWAVEFORMINTHE0RO 4OOLS%DITWINDOW !N EFFICIENT WAY TO DO THIS IS AS FOLLOWS FIRST ENABLE BOTH 3NAP TO 'RID AND 3HOW'RID4HEN USINGTHE3ELECTORTOOL PLACETHEEDITCURSORONABEAT'RID LINE IMMEDIATELY BEFORE A PROMINENT TRANSIENT IN THE WAVEFORM THAT SHOULD FALL ON THIS BEAT BUT IS A LITTLE LATE DUE TO THE LATENCY OF THE -)$) DEVICE %NABLEh4ABTO4RANSIENTSvTHENPRESSTHE3HIFTAND4ABKEYSTOMAKEASELEC TIONFROMTHEFIRSTEDITPOINTONTHE'RIDLINE TOTHETRANSIENT4HEDURATION OFTHISSELECTIONWILLBETHEAPPROXIMATEAMOUNTOFLATENCYFORYOUREXTERNAL -)$)DEVICE)FYOUTHENSWITCHTHE-AIN4IME3CALETO3AMPLES THELENGTH OFTHESELECTEDREGIONDISPLAYEDINSAMPLESISTHE-)$)"EAT#LOCK,ATENCYFOR THATDEVICE

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"ECAUSE -)$) IS NOT SAMPLE ACCURATE YOU MAY WANT MAKE SEVERAL MEAS UREMENTS AT DIFFERENT GRID LOCATIONS AND AVERAGE THEM TO COME UP WITH THEBESTVALUEFORTHE-)$)"EAT#LOCK/FFSET (AVING ASCERTAINED THIS INFORMATION OPEN THE -)$) "EAT #LOCK DIALOG AND ENTER THE 3AMPLE /FFSET VALUE AS A NEGATIVE NUMBER SO THAT 0RO 4OOLS WILL COMPENSATE FOR THIS LATENCY WHEN YOU MAKE FUTURE RECORDINGS USING THIS DEVICEINTHISSESSION

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9OU SHOULD CARRY OUT THIS PROCEDURE ONCE FOR ALL THE -)$) "EAT #LOCK ENABLED DEVICES IN YOUR SETUP AND KEEP A RECORD OF THESE VALUES SO THAT YOUCANRE ENTERTHECORRECTSAMPLEOFFSETSFORFUTURESESSIONS

4.3 How Delay Compensation works with MIDI 0RO4OOLSPROVIDESAUTOMATIC$ELAY#OMPENSATIONFORDIGITALSIGNALPROCESSING $30 DELAYSTHATCANOCCURWHENYOUAREUSINGPLUG INORHARDWAREINSERTSOR AS A RESULT OF ROUTING AUDIO SIGNALS AROUND THE MIXER USING BUSSES OR SENDS 9OU SHOULD NORMALLY HAVE $ELAY #OMPENSATION ENABLED TO MAINTAIN PHASE COHERENTTIMEALIGNMENTBETWEENTRACKSTHATHAVEPLUG INSWITHDIFFERING$30 DELAYS TRACKSWITHDIFFERENTMIXINGPATHS TRACKSTHATARESPLITOFFANDRECOM BINEDWITHINTHEMIXER ANDTRACKSWITHHARDWAREINSERTS )TISIMPORTANTTOBEAWARETHATWHEN$ELAY#OMPENSATIONISACTIVE A-)$) EVENT THAT IS RECORDED TO SOUND hIN TIMEv WITH DELAY COMPENSATED MATERIAL ISACTUALLYRECORDEDLATEBYTHELENGTHOFTOTALDELAYINEFFECT4OCOMPENSATE FORTHIS -)$)EVENTSARESHIFTEDBACKINTIMEBYTHETOTALSESSIONDELAYFOLLOW INGEACH-)$)RECORDINGPASS(OWEVER DURINGSOMERECORDINGSCENARIOS YOU MAYNEEDTOOVERRIDETHE$ELAY#OMPENSATIONFORPARTICULARTRACKS 9OU SHOULD ALSO BE AWARE THAT $ELAY #OMPENSATION IS SUSPENDED WHILE RECORDINGVIRTUAL-)$))NSTRUMENTS4OALLOWLATENCY FREEMONITORINGOFVIRTUAL INSTRUMENTPLUG INSDURINGRECORDING 0RO4OOLSAUTOMATICALLYSUSPENDS$ELAY #OMPENSATION THROUGH THE MAIN OUTPUTS OF THE )NSTRUMENT TRACK !UXILIARY )NPUT OR!UDIOTRACKONWHICHANINSTRUMENTPLUG INISINSERTEDWHENA-)$) OR )NSTRUMENT TRACK THAT IS ROUTING -)$) DATA TO THIS INSTRUMENT PLUG IN IS

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RECORD ENABLED /BVIOUSLY THIS IS NECESSARY OTHERWISE THE MUSICIAN PLAYING THE -)$) KEYBOARD OR OTHER CONTROLLER WOULD HEAR A DELAYED VERSION OF THE AUDIO FROM THE )NSTRUMENT PLUG IN WHICH WOULD MAKE IT DIFFICULT TO PLAY IN TIME/FCOURSE DURINGPLAYBACKOFTHEVIRTUAL-)$)INSTRUMENT WHENALLTHE -)$)ANDAUDIOCONNECTIONSTAKEPLACEINSIDE0RO4OOLS $ELAY#OMPENSATION ISRESTORED "ECAUSE THIS AUTOMATIC BEHAVIOR IS NOT ALWAYS APPROPRIATE MANUAL INTERVEN TION MAY BE NECESSARY FOR EXAMPLE WHEN USING -)$) AND !UDIO PROCESS ING PLUG INS 3OME INSTRUMENT PLUG INS OR AUDIO PROCESSING PLUG INS SUCH AS $IGIDESIGNS "RUNO AND 2ESO LET YOU PROCESS AUDIO WHILE ALLOWING -)$) DATA TO CONTROL PROCESSING PARAMETERS OR WHILE USING -)$) "EAT #LOCK TO SYNCHRONIZE WITH THE SESSION TEMPO "Y DEFAULT WHEN YOU RECORD ENABLE A -)$)OR)NSTRUMENTTRACKTHATISCONTROLLINGANAUDIOPROCESSINGPLUG IN THE TRACK THE PLUG IN IS INSERTED ON WILL GO INTO ,OW ,ATENCY MODE n WITH $ELAY #OMPENSATIONSUSPENDEDnSOTHEPROCESSEDAUDIOWILLPLAYEARLY(OWEVER THE AUDIO OUTPUT FROM THE PROCESSING PLUG IN SHOULD BE DELAY COMPENSATED JUST LIKE THE OTHER TRACKS IN THE SESSION IF IT IS TO BE CORRECTLY TIME ALIGNED WHILEYOUARELISTENINGTOTHIS4OACHIEVETHIS YOUWILLNEEDTOOVERRIDETHE SUSPENSIONOFTHE$ELAY#OMPENSATIONASEXPLAINEDBELOW )F YOU ARE RECORDING WHILE USING A -)$) CONTROLLED PLUG IN ON AN AUDIO TRACK YOU CAN #OMMAND #ONTROL CLICK -AC OR 3TART #ONTROL CLICK 7INDOWS ON THE 4RACK #OMPENSATION INDICATOR TO OVERRIDE THE SUSPENDED $ELAY #OMPENSATION SO THAT THE !UDIO TRACK WILL CORRECTLY APPLY $ELAY #OMPENSATION4HE4RACK#OMPENSATIONINDICATORWILLTURNBLUETOWARNTHAT THE$ELAY#OMPENSATIONHASBEENFORCIBLYENABLEDONTHETRACK )F YOU ARE RECORDING WHILE USING A -)$) CONTROLLED PLUG IN ON AN !UXILIARY )NPUT YOU WILL NEED TO BYPASS THE AUTOMATIC $ELAY #OMPENSATION AND MANUALLY APPLY THE TOTAL SYSTEM DELAY #OMMAND #ONTROL CLICK -AC OR 3TART #ONTROL CLICK 7INDOWS THE 4RACK #OMPENSATION INDICATOR SO THAT THE !UXILIARY)NPUTWILLBYPASSTHE$ELAY#OMPENSATION4HE4RACK#OMPENSATION INDICATOR WILL TURN GRAY TO INDICATE THAT $ELAY #OMPENSATION FOR THE TRACK IS BYPASSEDANDTHATNODELAYISBEINGAPPLIEDTOTHETRACK4HEN YOUWILLNEED TO CHECK THE 3ESSION 3ETUP WINDOW TO DISCOVER THE TOTAL SYSTEM DELAY AND MANUALLYENTERTHISTOTALSYSTEMDELAYINTOTHE5SER/FFSETFIELD

Using Delay Compensation view 4HERE ARE THREE NUMERIC DISPLAY FIELDS IN THE $ELAY #OMPENSATION VIEW THE $ELAY)NDICATOR THE5SER/FFSET&IELD ANDTHE4RACK#OMPENSATION)NDICATOR 9OU CAN BYPASS ANY OF THESE BY #OMMAND #ONTROL CLICKING -AC OR 3TART #ONTROL CLICKING7INDOWS ONTHEDISPLAYFIELD INWHICHCASETHEDISPLAYFIELD WILLTURNGRAY

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Working with MIDI

.ORMALLY THE ALPHANUMERIC CHARACTERS IN THESE FIELDS ARE COLORED GREEN BUT WHENTHEAMOUNTOFPLUG INANDHARDWAREINSERTDELAYONTHETRACKEXCEEDS THE AVAILABLE AMOUNT OF $ELAY #OMPENSATION THE COLOR TURNS RED !LSO THE COLOR TURNS ORANGE ON THE TRACK REPORTING THE LONGEST PLUG IN AND HARDWARE INSERTDELAYINTHESESSION

Figure 4.10 Delay #OMPENSATION6IEW

$ELAY VALUES ARE SHOWN IN SAMPLES OR MILLISECONDS DEPENDING ON THE $ELAY #OMPENSATION4IME-ODESETTINGINTHE/PERATION0REFERENCESWINDOW

Figure 4.11 Delay Compensation Time -ODEPREFERENCE

$ELAYINDICATOR 4HE$ELAYINDICATORREPORTSTHETOTALDELAYDUETOINSERTING4$-4IME$IVISION -ULTIPLEXING ANDOR24!3PLUG INSONTHETRACK PLUSANYDELAYSDUETOBUS SINGAUDIOTOANDFROMANYEXTERNALHARDWARE7HEN$ELAY#OMPENSATIONIS ACTIVATED THE$ELAY#OMPENSATIONENGINEAPPLIESACOMPENSATINGAMOUNTOF DELAYFORTHETRACKCORRESPONDINGTOTHEFIGUREREPORTEDHERE )FTHETOTALDELAYONATRACKEXCEEDSTHE$ELAY#OMPENSATIONLIMIT THE$ELAY #OMPENSATION 6IEW WILL TURN RED TO WARN YOU OF THIS )N THIS CASE THE AUTO MATIC $ELAY #OMPENSATION CAN BE BYPASSED AND THE TRACK CAN BE MANUALLY TIME ALIGNED INSTEAD &IRST YOU BYPASS THE REPORTED DELAY FOR THE TRACK BY #OMMAND #ONTROL CLICKING-AC OR3TART #ONTROL CLICKING7INDOWS ONTHE $ELAYINDICATOR WHICHTURNSGRAY4HEN NOTETHEAMOUNTOFDELAYREPORTEDIN THE TRACKS $ELAY INDICATOR AND MANUALLY NUDGE ANY AUDIO DATA ON THE TRACK EARLIERBYTHATAMOUNT

5SER/FFSET 4HE 5SER /FFSET FIELD LETS YOU ADJUST TRACK DELAYS MANUALLY WHILE $ELAY #OMPENSATIONISENABLED9OUCANUSETHISTOADJUSTTHEWAYATRACKSTIMING FEELSBYADDINGORSUBTRACTINGFROMTHEAMOUNTOFDELAYAPPLIEDBYTHEAUTO MATIC$ELAY#OMPENSATION

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!POSITIVENUMBERWITHORWITHOUTTHEhvMODIFIER SETSAPOSITIVEDELAY MAKINGTHETRACKSOUNDLATERINTIME WHEREASANEGATIVENUMBERWITHTHE hvMODIFIER SETSANEGATIVEDELAY MAKINGTHETRACKSOUNDEARLIERINTIME

Track Compensation 4HE4RACK#OMPENSATIONINDICATORSHOWSTHEAMOUNTOF$ELAY#OMPENSATION THATISBEINGAPPLIEDTOTHETRACK

Figure 4.12 )NSTRUMENT TRACKSHOWING$ELAY #OMPENSATIONVIEWn the Track is notRECORD ENABLED SO$ELAY #OMPENSATIONISAPPLIED

7HEN AN )NSTRUMENT TRACK IS RECORD ENABLED ITS $ELAY #OMPENSATION IS AUTOMATICALLY SUSPENDED TO PROVIDE LOW LATENCY MONITORING SO THE 4RACK #OMPENSATIONINDICATORSHOWSZERODELAY

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Working with MIDI

Figure 4.13 )NSTRUMENT TRACKSHOWING$ELAY #OMPENSATIONVIEWnTHE Track isRECORD ENABLED so Delay Compensation is SUSPENDED

4.4 Instrument tracks )NSTRUMENTTRACKSMAKEYOURSESSIONALITTLEMORECONVENIENTTOSETUPIFYOU AREPLANNINGTORECORDJUSTONE-)$)PARTFOREACH-)$)ORVIRTUALINSTRUMENT !N )NSTRUMENT TRACK IS A SUBSTITUTE FOR A -)$) TRACK PAIRED WITH AN !UXILIARY )NPUT TRACK USED TO MONITOR THE AUDIO OUTPUT FROM A -)$) HARDWARE INSTRU MENTORAVIRTUALSOFTWAREINSTRUMENT3O AN)NSTRUMENTTRACKCANDOEVERY THINGA-)$)TRACKNEEDSTODOANDEVERYTHINGAN!UXILIARYTRACKNEEDSTODO WHENRECORDINGANDPLAYINGBACK-)$)DATAANDMONITORINGTHEAUDIODATA FROMA-)$)ORVIRTUALINSTRUMENT ,IKE A -)$) TRACK THE )NSTRUMENT TRACK LETS YOU RECORD -)$) DATA ONTO THE TRACK ,IKE AN !UXILIARY )NPUT TRACK THE )NSTRUMENT TRACK LETS YOU MONITOR AUDIO COMING FROM AN EXTERNAL -)$) DEVICE OR LETS YOU MONITOR AUDIO FROM ANINSERTEDVIRTUALINSTRUMENTPLUG IN )FYOUARERECORDING-)$)DRUMPARTS YOUMAYWANTTORECORDEACHDRUM ONTO A SEPARATE -)$) TRACK SO THAT YOU CAN EDIT THESE SEPARATELY 3O YOU MIGHT HAVE TRACKS FOR BASS DRUM SNARE DRUM HI HATS TOMS AND CYMBALS )F THIS IS THE CASE THERE IS NOT MUCH ADVANTAGE TO USING AN )NSTRUMENT TRACK YOU MIGHT AS WELL JUST USE AN !UXILIARY )NPUT TRACK TO MONITOR THE

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AUDIO FROM THE DRUM MACHINE SAMPLER OR VIRTUAL INSTRUMENT /F COURSE YOUCOULDUSEAN)NSTRUMENTTRACKFORONEOFTHESEINSTRUMENTS SUCHASTHE BASS DRUM THEN USE SEPARATE -)$) TRACKS FOR THE SNARE AND OTHER DRUMS WITH THE -)$) OUTPUT OF EACH TRACK SET TO CONTROL THE APPROPRIATE DRUM SOUNDFROMTHE-)$)ORVIRTUAL)NSTRUMENTTHATISBEINGMONITOREDVIATHE )NSTRUMENTTRACK

4.5 Recording MIDI onto a MIDI or Instrument track 4O RECORD -)$) DATA FIRST YOU NEED TO CREATE A -)$) OR )NSTRUMENT TRACK OR CHOOSE AN EXISTING ONE 4HEN ASSIGN THE TRACK INPUT AND OUTPUT TO ACCEPT INPUTFROMTHE-)$)KEYBOARDORCONTROLLERTHATYOUWILLBEUSING ANDROUTE THETRACKS-)$)OUTPUTTOTHE-)$)DEVICETHATYOUWISHTOCONTROL )N THE -IX WINDOW YOU CAN CLICK THE TRACKS -)$) )NPUT $EVICE#HANNEL 3ELECTORANDASSIGNADEVICEANDCHANNELFROMTHEPOP UPMENU)FYOUHAVE MORE THAN ONE KEYBOARD OR OTHER -)$) DEVICE HOOKED UP THAT YOU WANT TO PLAYANDCREATE-)$)DATAWITH YOUCANUSETHEh!LLvOPTIONTOALLOWINPUT FROMALLYOURCONNECTED-)$)DEVICES)HAVETWO-)$)KEYBOARDS FOREXAM PLE ONEWITHAWEIGHTEDACTIONFORPLAYINGPIANOSOUNDSANDONEWITHANON WEIGHTEDACTIONFORPLAYINGSYNTHESIZERSOUNDS

Figure 4.14 4HE-)$) )NPUTPOP UPSELECTOR SHOWINGTHEAVAILABLE SOURCESINMYTESTSESSION

9OUSHOULDALSOASSIGNTHE-)$)OUTPUTOFTHETRACKTOTHE-)$)INSTRUMENTn THE ACTUAL HARDWARE OR THE hVIRTUALv SOFTWARE n THAT YOU WILL BE USING 9OU MAYALSONEEDTOENABLETHE-)$)4HRUITEMINTHE/PTIONSMENU

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Figure 4.15 4HE-)$) /UTPUTPOP UPSELECTOR SHOWINGTHEAVAILABLE DESTINATIONSINMYTEST SESSION

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2EMEMBER THAT WHEN YOU ARE RECORDING -)$) ONTO )NSTRUMENT TRACKS THE-)$))NPUTAND/UTPUTPOP UPSELECTORSARELOCATEDATTHETOPOFTHE )NSTRUMENTS SECTION RATHER THAN IN THE TRACK )/ SECTION 4HIS IS BECAUSE )NSTRUMENT TRACKS CAN BE USED TO ACCEPT AUDIO INPUT FROM EXTERNAL -)$) DEVICES AS WELL AS FROM VIRTUAL INSTRUMENT PLUG INS 3O THE TRACK )/ SEC TIONISUSEDTOSETUPTHEINPUTANDOUTPUTPATHSFORTHISAUDIOnNOTTOSET UP-)$))/

Record mode 4O ENTER 2ECORD MODE FIRST YOU NEED TO 2ECORD ENABLE THE TRACK AND MAKE SURETHATITISRECEIVING-)$)FROMYOURKEYBOARDOROTHERCONTROLLER4HETRACK METERSWILLINDICATE-)$)INPUTWHENYOUPLAYYOUR-)$)DEVICEIFEVERYTHING ISSETUPANDWORKING/+ )N THE 4RANSPORT WINDOW CLICK 2ETURN TO :ERO TO START RECORDING FROM THE BEGINNINGOFTHESESSIONnORSIMPLYPRESSTHE2ETURNKEYONTHECOMPUTERS KEYBOARD )F YOU PREFER YOU CAN START RECORDING FROM WHEREVER THE CURSOR IS LOCATED IN THE %DIT WINDOW OR IF YOU SELECT A RANGE OF TIME IN THE %DIT WIN DOW RECORDINGWILLSTARTATTHEBEGINNINGOFTHISSELECTIONANDWILLAUTOMATI CALLYFINISHATTHEENDOFTHESELECTION

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9OU CAN START RECORDING BY PRESSING AND HOLDING THE #OMMAND KEY #ONTROL KEY ON THE 0# THEN PRESSING THE 3PACEBAR ON YOUR COMPUTER KEYBOARD n WHICH IS EVEN FASTER THAN USING 3TEPS AND ABOVE !LSO IF YOU PREFER TO HIT A SINGLE KEY JUST PRESS FUNCTION KEY & OR PRESS ON THENUMERICKEYPADWHENTHE.UMERIC+EYPAD-ODEISSETTO4RANSPORT INSTEAD

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#LICK2ECORDINTHE4RANSPORTWINDOWTOENABLE2ECORDMODETHENCLICK0LAY INTHE4RANSPORTWINDOWORPRESSTHE3PACEBARTOACTUALLYBEGINRECORDING

Figure 4.16 Transport WINDOWWITH2ECORDAND 0LAYBUTTONSENGAGED

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)FYOUWANTTHEFIRST-)$)NOTETHATYOUPLAYTOSTARTTHERECORDING YOUCAN ENABLETHE7AITFOR.OTEBUTTONINTHE4RANSPORTWINDOWTHISISTHEFIRSTOF THEFOURBUTTONSINTHE-)$)CONTROLSSECTIONANDHASA-)$)SOCKETICON )F YOU WANT TO HEAR A METRONOME CLICK WHILE YOU RECORD MAKE SURE THAT THE CLICKISSETUPCORRECTLYANDENABLETHE-ETRONOMEBUTTON4OHEARACOUNTOFF ENABLETHE#OUNTOFFBUTTON4HESEBUTTONSWILLEACHTURNBLUEWHENENABLED

7HEN YOU HAVE FINISHED RECORDING CLICK 3TOP IN THE 4RANSPORT WINDOW OR PRESS THE 3PACEBAR 4HE NEWLY RECORDED -)$) DATA WILL APPEAR AS A -)$) REGION ON THE TRACK IN THE %DIT WINDOW AND IN THE 2EGIONS ,IST 4O SEE THE NOTES CHOOSETHE.OTESVIEWFROMTHEPOP UPSELECTORINTHE4RACKCONTROLS AREAATTHELEFTOFTHE%DITWINDOW

Figure 4.17 -)$)$ATA IN.OTESVIEWINTHE%DIT 7INDOW

Canceling or undoing your MIDI recording )FYOUMESSUPWHILEYOUARERECORDING WHICHCANEASILYHAPPENBEFOREYOU GETUSEDTOPLAYINGTHEPARTYOUWANTTORECORD YOUCANSTOPTHERECORDING ANDSIMULTANEOUSLYDISCARDANYSTUFFTHATYOUHAVERECORDEDINCLUDINGMUL TIPLETAKESWHENIN,OOP2ECORD USINGONESIMPLEKEYBOARDCOMMAND*UST PRESSTHE#OMMANDKEYOR#ONTROLKEY7INDOWS TOGETHERWITHTHEPERIOD KEY WHICHISKNOWNASTHEhFULLSTOPvKEYIN5+%NGLISH )FYOUSTOPRECORDINGANDTHENDECIDETHATYOUWANTTODISCARDTHELASTTAKE YOUCANUSETHESTANDARD5NDOLASTACTION COMMANDBYSELECTINGTHISFROM THE%DITMENUORPRESSING#OMMAND Z-AC OR#ONTROL Z7INDOWS 130

Working with MIDI

Loop recording MIDI 4HEREARETWOWAYSTOLOOPRECORDWITH-)$)nEITHERUSINGTHENORMALNON DESTRUCTIVE 2ECORD MODE WITH ,OOP 0LAYBACK AND -)$) -ERGE ENABLED FOR DRUM MACHINE STYLE RECORDING OR USING THE SPECIAL ,OOP 2ECORD MODE TO RECORDMULTIPLETAKESONEACHRECORDPASSnASWHENLOOPRECORDINGAUDIO 4O SET UP DRUM MACHINE STYLE LOOP RECORDING WHERE EACH TIME AROUND THE LOOPYOURECORDEXTRABEATSUNTILYOUHAVECONSTRUCTEDTHEPATTERNYOUWANT YOU NEED TO ENABLE THE -)$) -ERGE FUNCTION BY CLICKING ITS BUTTON IN THE 4RANSPORTWINDOWORINTHE%DITWINDOWS-)$)#ONTROLSSECTION

Figure 4.18 4HE-)$) -ERGE"UTTON

-AKE SURE THAT 1UICK0UNCH 4RACK0UNCH $ESTRUCTIVE0UNCH ,OOP 2ECORD AND$ESTRUCTIVE2ECORDARENOTSELECTEDINTHE/PERATIONSMENUBUTDOSELECT ,OOP0LAYBACKSOTHATTHELOOPSYMBOLAPPEARSAROUNDTHEh0LAYvBUTTONIN THE4RANSPORTWINDOW9OUSHOULDALSODISABLE7AITFOR.OTEANDh#OUNTOFFv INTHE4RANSPORTWINDOW 3ELECTh,INK%DITAND4IMELINE3ELECTIONvFROMTHE/PTIONSMENU THENMAKE ASELECTIONINTHE%DITWINDOWTOENCOMPASSTHERANGETHATYOUWANTTOLOOP AROUND)FYOUWANTTOHEARTHEAUDIOTHATPLAYSIMMEDIATELYBEFORETHELOOP RANGEASACUE YOUWILLNEEDTOSETAPRE ROLLTIME3O FOREXAMPLE IFYOUSET A BAR PRE ROLL YOU WOULD HEAR YOUR SESSION PLAY BACK FROM BARS BEFORE THELOOPRANGE THENITWOULDPLAYAROUNDTHELOOPUNTILYOUHITh3TOPv%ACH TIMETHROUGHTHELOOP YOUCANADDMORENOTESUNTILITSOUNDSTHEWAYYOU WANTITTO WITHOUTERASINGANYOFTHENOTESFROMPREVIOUSPASSESTHROUGHTHE LOOPnJUSTLIKEUSINGADRUM MACHINE

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4O SWITCH TO A NEW RECORD TRACK PRESS #OMMAND -AC OR #ONTROL 7INDOWS ANDPRESSTHE5P$OWN!RROWKEYSTORECORD ENABLETHEPRE VIOUSORNEXT-)$)OR)NSTRUMENTTRACK

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Figure 4.19 ,OOP 2ECORDINGn DRUM MACHINESTYLE

)FYOURECORD-)$)USINGTHE,OOP2ECORDMODEINSTEAD NEWREGIONSARECRE ATED EACH TIME YOU RECORD NEW NOTES DURING SUCCESSIVE PASSES THROUGH THE LOOP4HISTIME SELECT,OOP2ECORDAND,INK%DITAND4IMELINE3ELECTIONFROM THE/PTIONSMENUANDDESELECTh,OOP0LAYBACKv7ITH,OOP2ECORDENABLED ALOOPSYMBOLAPPEARSAROUNDTHEh2ECORDvBUTTONINTHE4RANSPORTWINDOW -AKEASELECTIONINTHE%DITWINDOWTOENCOMPASSTHERANGETHATYOUWANT TO LOOP AROUND AND SET A PRE ROLL TIME IF YOU NEED THIS 3TART RECORDING AND PLAYYOUR-)$)KEYBOARDOROTHER-)$)CONTROLLER%ACHTIMEAROUNDTHELOOP A NEW -)$) REGION IS RECORDED AND PLACED INTO THE %DIT WINDOW REPLACING THEPREVIOUSREGION7HENYOUSTOPRECORDING THEMOSTRECENTLYRECORDEDOF THESEhTAKESvISLEFTINTHETRACKANDALLTHETAKESAPPEARASCONSECUTIVELYNUM BEREDREGIONSINTHE-)$)2EGIONS,IST 4HEEASIESTWAYTOAUDITIONTHEVARIOUSTAKESISTOMAKESURETHATTHETAKECUR RENTLY RESIDING IN THE TRACK IS SELECTED THEN #OMMAND CLICK #ONTROL CLICK IN 7INDOWS ON THE SELECTED REGION WITH THE 3ELECTOR TOOL ENABLED ! POP UP MENU THE h4AKES ,IST v APPEARS CONTAINING ALL YOUR RECORDED TAKES 9OU CAN CHOOSEANYOFTHESETOREPLACETHETAKETHATCURRENTLYAPPEARSINTHETRACK

Figure 4.20 !UDITIONING hTAKESvIN,OOP2ECORD -ODE4HESEAREALSO accessible from the 2EGIONS,IST

4.6 Recording audio from a virtual instrument 9OUSHOULDALWAYSRECORDYOURVIRTUALINSTRUMENTSASAUDIOASSOONASPOSSIBLE IN THE PRODUCTION PROCESS 4HERE ARE TWO REASONS FOR THIS &IRST YOU CAN REMOVE THE VIRTUAL INSTRUMENT SO THAT IT IS NO LONGER USING $30 RESOURCES

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3ECOND ANDPOSSIBLYEVENMOREIMPORTANTLY IFYOUTAKEYOUR0RO4OOLSSESSION TOANOTHERSTUDIOTHATDOESNTHAVETHEPARTICULARVIRTUALINSTRUMENTTHATYOU USED YOUWOULDNOTBEABLETORECREATETHEORIGINALSOUNDTHATYOUHADnBUT IFYOUHAVERECORDEDTHEAUDIO THENYOUHAVEIT 9OUMAYTHINKTHATTHEWAYTORECORDAVIRTUALINSTRUMENTISTOSIMPLYUSEAN !UDIOTRACKINSTEADOFAN!UXILIARYTRACKTOMONITORYOURVIRTUALINSTRUMENTSO THATYOUCANJUSTPUTTHIS!UDIOTRACKINTORECORDWHILEPLAYINGBACKTHE-)$) INTOTHEVIRTUALINSTRUMENT5NFORTUNATELY 0RO4OOLSDOESNOTMAKEITASSIM PLEASTHIS)FYOUTRYTHISSCENARIO YOUWILLSOONDISCOVERTHATTHEAUDIOFROM THEVIRTUALINSTRUMENTCANNOTBERECORDEDONTOTHESAME!UDIOTRACKTHATIS MONITORING THE VIRTUAL INSTRUMENT 4HE SOLUTION IS TO ROUTE THE OUTPUT FROM THE )NSTRUMENT OR !UXILIARY TRACK USED TO MONITOR THE VIRTUAL INSTRUMENT TO THEINPUTOFAN!UDIOTRACKUSINGANINTERNALBUSTHEN USETHIS!UDIOTRACKTO RECORDTHEAUDIOFROMTHE)NSTRUMENTTRACK

Figure 4.21 2ECORDING AUDIOFROMA6IRTUAL )NSTRUMENTINTOAN!UDIO 4RACKOUTPUTFROM )NSTRUMENTTRACKROUTED TOINPUTOF!UDIOTRACK

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!FTER YOU HAVE RECORDED THE AUDIO FROM YOUR VIRTUAL INSTRUMENT YOU CAN MAKETHE)NSTRUMENTTRACKINACTIVETORELEASETHE$30RESOURCESUSEDAND HIDE THE TRACK YOU CAN ALWAYS REVEAL THE )NSTRUMENT TRACK AND MAKE IT ACTIVEAGAINIFYOUWANTTOMAKESOMECHANGESLATERON

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4.7 Editing MIDI 0RO 4OOLS LETS YOU EDIT -)$) DATA ALPHANUMERICALLY OR GRAPHICALLY ACCORDING TO YOUR PREFERENCE 9OU CAN USE THE STANDARD #UT #OPY 0ASTE AND #LEAR COMMANDSTOMANIPULATE-)$)DATA AND0RO4OOLSALSOHASh3PECIALvVERSIONS OFTHESECOMMANDS#UT3PECIAL #OPY3PECIAL ETC THATPROVIDEEXTRAFUNC TIONSFOR-)$)DATA4HEREAREMANYUSEFULKEYBOARDCOMMANDSANDDISPLAY ZOOMINGFEATURESTHATITWILLPAYYOUTOBECOMEFAMILIARWITH SOYOUSHOULD PRACTICEUSINGTHESEUNTILTHEYBECOMEhSECONDNATUREv4HE-)$)2EAL 4IME 0ROPERTIESFEATURELETSYOUAPPLYCHANGESTOREGIONSORTRACKSWITHAMINIMUM OF FUSS AND THE -)$) /PERATIONS WINDOWS LET YOU TRANSFORM -)$) DATA IN A VARIETYOFWAYS SOTIMESPENTLEARNINGTHESEFEATURESWILLBEWELLREWARDED

Bars, Beats, and Clock “Ticks” 7HEN YOU ARE WORKING ON MUSIC YOU WILL NORMALLY WANT TO DISPLAY THE "ARS"EATS RULER SO THAT YOU CAN EDIT ACCORDING TO THE BAR LINES AND CORRECT NOTEPOSITIONS-)$)DATAISRECORDEDINTO0RO4OOLSWITHAVERYHIGHDEGREE OF ACCURACY 4HE INTERNAL hCLOCKv TO WHICH -)$) IS RESOLVED HAS AN INCREDI BLE PULSES PER QUARTER NOTE 001. RESOLUTION (OWEVER WHEN THE 4IME3CALEISSETTO"ARS"EATS THEdisplayRESOLUTIONIN0RO4OOLSIS001. WHICHPROVIDESMOREMANAGEABLENUMBERSTOWORKWITH 7HENYOUAREEDITING-)$)DATA USING "ARS AND "EATS THERE ARE SEVERAL SETS OF CIRCUMSTANCES WHERE YOU MAY WANT TO SPECIFY TICK VALUES &OR EXAMPLE WHENPLACINGANDSPOTTINGREGIONS WHENSETTINGLENGTHSFORREGIONSOR-)$) NOTES WHEN LOCATING AND SETTING PLAY AND RECORD RANGES INCLUDING PRE ROLL ANDPOST ROLL WHENSPECIFYINGSETTINGSINTHE1UANTIZEAND#HANGE$URATION WINDOWS ANDWHENSETTINGTHE'RIDAND.UDGEVALUES "ARS ARE SUBDIVIDED INTO BEATS AND BEATS ARE SUBDIVIDED INTO TICKS SO THE LOCATIONSOF-)$)NOTESARESPECIFIEDINTERMSOFBARS BEATS ANDTICKS4AKEA LOOKATTHEACCOMPANYINGSCREENSHOTTOSEEASELECTED-)$)NOTEINTHE%DIT WINDOWWITHITSLOCATIONANDLENGTHALSODISPLAYEDINTHE-)$)%VENT,IST4HE SELECTEDNOTESTARTSATBAR BEAT TICKANDTHENOTELASTSFORBAR SO ITENDSATBAR BEAT TICK

Figure 4.22 !-)$)NOTE DISPLAYEDGRAPHICALLYIN THE%DITWINDOWWITH ITSPARAMETERSDISPLAYED alphanumerically in the -)$)%VENT,ISTTOTHE RIGHT

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)THELPSTOBECOMEFAMILIARWITHTHENUMBERSOFTICKSTHATCORRESPONDTOTHE MAINNORMAL DOTTED ANDTRIPLETNOTELENGTHS&ORAHALFNOTE THESEARE ANDTICKS&ORAQUARTERNOTE THESEARE ANDTICKS &ORANEIGHTHNOTE THESEARE ANDTICKS&ORASIXTEENTHNOTE THESEARE ANDTICKS&ORATHIRTY SECONDTHNOTE THESEARE ANDTICKS ANDFORASIXTY FOURTHNOTE THESEARE ANDTICKS

Shortcuts to adjust Grid and Nudge values 7HENYOUAREWORKINGONYOUR-)$)SEQUENCES THEREAREMANYTIMESWHEN YOUWILLWANTTOCHANGETHEGRIDVALUES SOYOUCANSNAPREGIONSORNOTESTO BARSORTOBEATSORWHATEVER ORTOCHANGENUDGEVALUESSOYOUCANNUDGEBY SMALLERORLARGERINCREMENTS )F YOU ARE USING A -AC SIMPLY HOLD DOWN THE #ONTROL AND /PTION KEYS AND USETHEhvANDhvKEYSONTHENUMERICKEYPADTOADJUSTTHEGRIDVALUES)F YOUAREUSING7INDOWS HOLDDOWNTHE3TARTAND!LTKEYSINSTEAD /BVIOUSLY ITISHELPFULTOBEABLETOSEETHEGRIDLINESINTHE%DITWINDOW SO MAKESURETHATYOUHAVEENABLEDTHEh$RAW'RID,INESIN%DIT7INDOWvPREF ERENCEINTHE$ISPLAYSECTIONOFTHE0REFERENCESWINDOW

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!USEFULSHORTCUTTOTOGGLETHEGRIDLINESONANDOFFISTO#OMMAND CLICK -AC OR#ONTROL CLICK7INDOWS ONTHENAMEOFTHE-AIN2ULER NEARTHE TOPLEFTOFTHE%DITWINDOW

How to Remove Duplicate Notes /NE OF THE MOST BASIC YET USEFUL -)$) EDITING COMMANDS IS h2EMOVE $UPLICATE.OTESv)TISVERYEASYTOACCIDENTALLYHITA.OTE/NA-)$)KEYBOARD TWICE n YOU MIGHT HIT IT TENTATIVELY JUST BEFORE IT SHOULD BE PLAYED AND THEN AGAINMOREPOSITIVELYONTHEBEATORALITTLELATE)FANOTESTARTSWITHINTHEFIRST OFTHEDURATIONOFANOTEOFTHESAMEPITCHTHATISALREADYSOUNDINGOR WITHINANEIGHTH NOTE WHICHEVERISSHORTER ITISCONSIDEREDADUPLICATEAND ISCOMBINEDWITHTHEPREVIOUSNOTE)FITSTARTSLATERTHANTHAT THEFIRSTNOTEIS SHORTENEDSOTHATITENDSATTHESAMETICKATWHICHTHENEWONESTARTS4OUSE THISCOMMAND MAKEAN%DITSELECTIONTHATINCLUDESTHEDUPLICATENOTES THEN CHOOSE2EMOVE$UPLICATE.OTESFROMTHE%VENTMENU

How to deal with stuck notes !TYPICALPROBLEMTHATCOMESUPTIMEANDTIMEAGAINWHENYOUAREPROGRAM MING -)$) INSTRUMENTS IS hSTUCK NOTESv 4YPICALLY THIS HAPPENS WHEN YOU 135


CHANGE hPATCHv BEFORE THE PATCH YOU ARE PLAYING HAS RECEIVED A -)$) .OTE /FF COMMAND )F THIS HAPPENS YOU CAN USE THE h!LL -)$) .OTES /FFv COM MANDFROMTHE%VENTMENUORPRESS#OMMAND 3HIFT 0ERIOD IFYOUAREUSING A-ACOR#ONTROL 3HIFT 0ERIOD IFYOUAREUSING7INDOWS4HISWILLSENDOUT ASERIESOFMESSAGESTOALLTHE-)$)DEVICESATTACHEDTOYOURINTERFACEINSTRUCT INGTHEMTOTURNOFFANYSTUCKNOTES

Mirrored MIDI Editing -IRRORED -)$) %DITING LETS YOU EDIT -)$) REGIONS AND HAVE YOUR EDITS APPLY TOEVERY-)$)REGIONOFTHESAMENAME4HISCANBEPARTICULARLYUSEFULWHEN EDITINGLOOPED-)$)REGIONS 4O ENABLE -IRRORED -)$) %DITING YOU CAN SELECT THE h-IRROR -)$) %DITINGv ITEMFROMTHE/PTIONSMENU4ODISABLETHISFEATURE DESELECTTHISMENUITEM 9OU CAN ALSO USE THE -IRRORED -)$) %DITING BUTTON IN THE 4OOLBAR SECTION OF THE%DITWINDOWTOhTOGGLEvTHISFEATUREONOROFF 4OWARNYOUTHATYOUREDITISBEINGAPPLIEDTOMORETHANONEREGION WHEN YOU MAKE AN EDIT WITH -IRRORED -)$) %DITING ENABLED THE -IRRORED -)$) %DITINGBUTTONWILLBLINK2ED JUSTONCEnSOKEEPANEYEOUTFORTHIS

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)TISAGOODIDEATODISABLE-IRRORED-)$)%DITINGWHENYOUARENOTUSING IT AS IT IS ALL TOO EASY TO INADVERTENTLY EDIT A REGION NOT REALIZING THAT THIS IS EDITING OTHER REGIONS OF THE SAME NAME WHEN YOU DONT WANT TO DOTHIS

Selecting and playing notes with the mini-keyboard 9OU CAN USE THE MINI KEYBOARD AT THE LEFT OF EACH -)$) OR )NSTRUMENT TRACK IN THE %DIT WINDOW TO SELECT AND PLAY NOTES BY CLICKING ON ITS KEYS WITH THE MOUSE n WITH ANY %DIT TOOL SELECTED 7HEN YOU CLICK A KEY ON THE MINI KEYBOARD ALL THE NOTES AT THAT PITCH ON THE TRACK IMMEDIATELY BECOME SELECTED READYFOREDITING )FYOUDONTWANTTHENOTESTOBESELECTEDnBECAUSEYOUJUSTWANTTOHEARA NOTE AT THAT PITCH PLAY n HOLD THE #OMMAND AND /PTION KEYS -AC OR THE #ONTROLAND!LTKEYS7INDOWS WHILEYOUCLICKONTHEMINI KEYBOARD )FYOUWANTTOSELECTANDPLAYARANGEOFNOTES JUSTCLICKAKEYANDDRAGUPOR DOWNONTHEMINI KEYBOARD ANDIFYOUWANTTOLENGTHENORSHORTENTHERANGE OFNOTESSELECTED YOUCAN3HIFT CLICKONTHEMINI KEYBOARD

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Working with MIDI

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)FYOUWANTTODESELECTNOTESORSELECTNOTESTHATARENOTADJACENTTOONE ANOTHER HOLDTHE#OMMANDKEY-AC OR#ONTROLKEY7INDOWS ANDCLICK ONTHENOTES

Do to All 4WOEXTREMELYUSEFULKEYBOARDCOMMANDSLETYOUAPPLYCHANGESTOALLTRACKS OR TO WHICHEVER TRACKS YOU HAVE SELECTED &OR EXAMPLE MAYBE YOU WANT TO SETALLTHETRACKOUTPUTSTOTHESAMEDESTINATION$OTO!LL ORYOUMAYWANT to set all selectedTRACKOUTPUTSTOTHESAMEDESTINATION$OTO!LL3ELECTED 4O h$O TO !LL v PRESS AND HOLD /PTION CLICK -AC OR !LT CLICK 7INDOWS AS YOUMAKEYOURCHANGE4Oh$OTO!LL3ELECTED vPRESSANDHOLD/PTION 3HIFT CLICK-AC OR!LT 3HIFT CLICK7INDOWS

Special Cut, Copy, Paste, and Clear Commands 4HE%DITMENUCOMMANDS#UT3PECIAL #OPY3PECIAL 0ASTE3PECIAL AND#LEAR 3PECIAL CAN BE VERY USEFUL FOR EDITING -)$) CONTROLLER DATA 4HESE EACH HAVE THREESUB MENUSELECTIONSTWOOFWHICHLETYOUEDITEITHERALLTHE-)$)CON TROLLER DATA OR JUST THE -)$) PAN DATA 4HE THIRD SUB MENU COMMAND ONLY WORKS WITH AUDIO PLUG IN AUTOMATION #ONVENIENTLY THESE COMMANDS WORK WHETHERTHEDATAISSHOWINGINTHETRACKORNOT 4HE#UT3PECIAL #OPY3PECIAL AND#LEAR3PECIALCOMMANDSWORKIDENTICALLY 3O THE h!LL !UTOMATIONv SUB MENU SELECTION CUTS COPIES OR CLEARS ALL -)$) CONTROLLERDATAANDTHEh0AN!UTOMATIONvSUB MENUSELECTIONCUTS COPIES OR CLEARSONLY-)$)PANDATA 4HE 0ASTE 3PECIAL SUB MENU COMMANDS REQUIRE FURTHER EXPLANATION 4HE h-ERGEv SUB MENU SELECTION PASTES -)$) CONTROLLER DATA FROM THE CLIPBOARD TO THE SELECTION AND MERGES IT WITH ANY CURRENT -)$) CONTROLLER DATA IN THE SELECTION 4HEh4O#URRENT!UTOMATION4YPEvSUB MENUSELECTIONPASTES-)$)CONTROLLER DATAFROMTHECLIPBOARDTOTHESELECTIONANDCHANGESTHISTOTHECURRENT-)$) CONTROLLERDATATYPE4HISLETSYOUCONVERTFROMANY-)$)CONTROLLERDATATYPE TO ANY OTHER -)$) CONTROLLER DATA TYPE &OR EXAMPLE YOU COULD COPY -)$) VOLUMEDATAANDPASTETHISTO-)$)PAN 4HEh2EPEATTO&ILL3ELECTIONvSUB MENUSELECTIONREPEATEDLYPASTESTHE-)$) CONTROLLER DATA FROM THE CLIPBOARD UNTIL IT FILLS THE SELECTION n SAVING LOTS OF TIMECOMPAREDWITHMANUALPASTINGOFSELECTIONS3IMPLYCUTORCOPYA-)$) REGION THENMAKEAN%DITSELECTIONANDUSETHISCOMMANDTOFILLTHESELECTION

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!LSO IFYOUHAVESELECTEDANAREATHATISNOTANEXACTMULTIPLEOFTHECOPIED REGIONSIZE ITWILLAUTOMATICALLYTRIMTHELASTCOPIEDREGIONTHATISPASTEDSO THATITFITSEXACTLY

Graphic Editing in the Edit Window 0RO4OOLS-)$)TRACKSCANBEEDITEDGRAPHICALLYINTHE%DITWINDOW(ERE YOU CANUSETHESTANDARD0RO4OOLS4RIMMERTOOLTOMAKENOTESSHORTERORLONGER ANDUSETHE'RABBERTOOLTOMOVETHEPITCHORPOSITIONnORhDRAWvNOTESIN USINGTHE0ENCILTOOL9OUCANDRAWINOREDITEXISTINGVELOCITY VOLUME PAN MUTE PITCH BEND AFTERTOUCH AND ANY CONTINUOUS CONTROLLER DATA AND THE 0ENCILTOOLCANBESETTODRAWFREEHANDORTOAUTOMATICALLYDRAWSTRAIGHTLINES TRIANGLES SQUARES OR RANDOMLY 4HE 0ENCIL TOOL ALSO LETS YOU DRAW AND TRIM -)$)NOTEANDCONTROLLERDATA ANDTHE4RIMTOOLCANTRIM-)$)NOTEDURATIONS WHENA-)$)TRACKISSETTO6ELOCITYVIEW )TCANBEVERYHANDYATTIMESTOINSERTNOTESUSINGTHE0ENCILTOOLINSTEADOF SETTINGUPANEXTERNALKEYBOARD*USTMAKESURETHATTHE-)$)TRACKISIN.OTES VIEWANDSELECTTHE0ENCILTOOLATTHETOPOFTHE%DITWINDOW4OINSERTQUARTER NOTESONTHEBEAT FOREXAMPLE SETTHE4IME3CALETO"ARSAND"EATS THENSET THE%DITMODETO'RID ANDTHE'RIDVALUETOQUARTERNOTES!SYOUMOVETHE 0ENCILTOOLVERTICALLYANDHORIZONTALLYWITHINA-)$)TRACK THEBARBEATCLOCK LOCATIONANDTHEPITCHOFTHE-)$)NOTEARESHOWNINTHE#URSOR,OCATIONAND #URSOR6ALUEDISPLAYSJUSTBELOWTHE-AIN#OUNTERINTHE%DITWINDOWTOOLBAR 7HENYOUFINDTHENOTEANDPOSITIONYOUWANT YOUCANJUSTCLICKINTHETRACK TOINSERTIT)TSASSIMPLEASTHAT 4O SELECT NOTES FOR EDITING YOU CAN EITHER USE THE 'RABBER TOOL TO DRAG A MARQUEE AROUND THE NOTES OR DRAG USING THE 3ELECTOR TOOL ACROSS A RANGE Figure 4.23 The SELECTED-)$)NOTES ATTRIBUTESAREDISPLAYED INTHE%VENT%DITAREATO the right of the Counters, READYFOREDITING4HE -AIN#OUNTERSHOWSTHE BARBEATCLOCKLOCATION of the start point of the SELECTED-)$)NOTE4HE BARBEATTICKLOCATIONOF THECURSOR ANDTHEPITCHOFTHE -)$)NOTETHATTHECURSOR ISPOINTINGTO# ARE SHOWNINTHE#URSOR ,OCATIONAND#URSOR 6ALUEDISPLAYSJUSTBELOW THE-AIN#OUNTER

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Working with MIDI

OF NOTES /NCE SOME NOTES ARE SELECTED YOU CAN DRAG THESE UP OR DOWN TO CHANGETHEPITCHUSINGTHE'RABBEROR0ENCILTOOLSnWHILEPRESSINGTHE3HIFT KEY IF YOU WANT TO MAKE SURE THAT YOU DONT INADVERTENTLY MOVE THE POSI TIONOFTHENOTESINTHEBAR9OUCANUSETHE4RIMMERTOOLORTHE0ENCILTOOL TO ADJUST THE START AND END POINTS OF THE NOTES )F YOU SET THE -)$) TRACK TO 6ELOCITY VIEW YOU WILL SEE THE ATTACK VELOCITIES OF THE NOTES REPRESENTED BY hSTALKSv9OUCANEDITTHESEUSINGTHE'RABBERTOOL 3OMETIMES YOUMAYSIMPLYNEEDTOEDITONENOTE)FYOUSELECTANOTEUSING THE 'RABBER OR THE 0ENCIL ITS ATTRIBUTES WILL BE DISPLAYED IN THE %VENT %DIT AREATOTHERIGHTOFTHECOUNTERSINTHETOOLBARATTHETOPOFTHE%DITWINDOW (ERE YOUCANTYPEINNEWVALUESFORANYOFTHEDISPLAYEDPARAMETERS3EETHE ACCOMPANYINGSCREENSHOTFORMOREDETAILS

4RACKVIEWS 9OU CAN SWITCH THE 4RACK 6IEW OF ANY -)$) TRACK IN THE %DIT WINDOW TO SHOW -)$) #ONTINUOUS #ONTROLLER DATA 7HEN #ONTINUOUS #ONTROLLER DATA IS RECORDED ONTO -)$) TRACKS IT IS DISPLAYED AS A LINE GRAPH WITH A SERIES OF EDITABLE BREAKPOINTS 4HESE BREAKPOINTS ARE STEPPED TO REPRESENT INDIVIDUAL CONTROLLEREVENTS INCONTRASTTOTHESTANDARDAUTOMATIONBREAKPOINTS WHICH AREINTERRUPTIONSONACONTINUOUSLINE

Figure 4.24 -)$) Continuous Controller DATALINEGRAPHWITH STEPPEDBREAKPOINTS

4HE4RACK6IEWFOR)NSTRUMENTTRACKSCANEITHERSHOW-)$)##DATAORITCAN SHOWAUDIOAUTOMATIONDATA SUCHASAUDIOVOLUME

Figure 4.25 !UDIO !UTOMATIONDATAVECTOR GRAPHWITHBREAKPOINTS ONCONTINUOUSLINE

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9OU CAN EDIT -)$) ## DATA DIRECTLY IN THE %DIT WINDOW ACCORDING TO WHICH TYPE OF DATA YOU SELECT USING THE POP UP 4RACK 6IEW SELECTOR !LSO BLOCKS REGIONS AND NOTES VIEWS THE 4RACK 6IEW SELECTOR FOR -)$) TRACKS LETS YOU CHOOSEVELOCITY -)$)VOLUME MUTE PAN PITCHBEND MONOAFTERTOUCH PRO GRAM CHANGE OR 3YS%X AND LETS YOU ACCESS OTHER CONTROLLER VIEWS USING THE CONTROLLERSSUB MENU

Figure 4.26 -)$)4RACK 6IEWSELECTOR

4HE 4RACK 6IEW SELECTOR FOR )NSTRUMENT TRACKS ADDITIONALLY LETS YOU DISPLAY AUDIOVOLUMEANDVOLUMETRIM AUDIOMUTE PANLEFTANDRIGHT ANDANYSEND ORPLUG INAUTOMATIONDATA

Figure 4.27 )NSTRUMENT 4RACK6IEWSELECTOR

&OR EXAMPLE WITH -)$) VOLUME SELECTED IN THE 4RACK 6IEW YOU CAN USE THE 0ENCILTOOLTODRAW-)$)6OLUMEDATA

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Working with MIDI

Figure 4.28 $RAWING -)$)6OLUMEDATAINTHE %DITWINDOWONA-)$) track using the 0ENCILTOOL

Automation lanes 9OUCANDISPLAYTHEAUTOMATIONDATAMORECLEARLYINASEPARATELANEBELOWTHE NOTESDISPLAYINTHE%DITWINDOW#LICKONTHEDISCLOSINGARROWATTHEBOTTOM LEFTOFTHE4RACKCONTROLSTOSHOWTHEAUTOMATIONLANESANDCHOOSETHETYPE OF AUTOMATION THAT YOU WANT TO DISPLAY USING THE POP UP SELECTOR PROVIDED 9OU CAN ADD MORE AUTOMATION LANES USING THE SMALL hv ICON AND YOU CAN REMOVETHESEUSINGTHESMALLhvICONINTHECONTROLSAREAATTHELEFTOFEACH AUTOMATIONLANE

Figure 4.29 2EVEALING THEAUTOMATIONDATAINA SEPARATELANEBELOWTHE NOTEDATACANMAKETHIS EASIERTOEDIT

)N 6ELOCITY VIEW YOU CAN EDIT EACH NOTES ATTACK VELOCITY USING THE 'RABBER TOOL BY DRAGGING ITS VELOCITY STALK UPWARD OR DOWNWARD THE TALLER THE STALK THEHIGHERTHEVELOCITYVALUE9OUCANUSEVELOCITIESTOCREATECRESCENDOSORTO MAKEACCENTSWITHIN-)$)PARTS

Figure 4.30 6ELOCITY DATASHOWNINAN )NSTRUMENTTRACKOVERLAID ONTOPOFTHENOTEDATA

)TCANALSOBEEASIERTOEDITTHEVELOCITYDATAIFYOUOPENASEPARATELANEFOR THIS BUTITDOESTAKEUPMORESPACEONYOURSCREEN

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Figure 4.31 A lane OPENEDBELOWTHE-)$) )NSTRUMENTTRACKTOALLOW 6ELOCITYEDITING

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-)$) CONTROLLER VOLUME AND PAN ARE TREATED BY 0RO 4OOLS AS AUTOMATION DATA SO THESE CONTROLLER EVENTS ALONG WITH -UTES CAN BE RECORDED AND AUTOMATED FROM THE -IX WINDOW #ONSEQUENTLY A -)$) OR )NSTRUMENT TRACKS AUTOMATION MODE WILL AFFECT HOW THESE EVENTS ARE PLAYEDBACKANDRECORDED&OREXAMPLE IFYOUSUSPENDAUTOMATIONFORA -)$) TRACK THE -)$) VOLUME PAN AND MUTE EVENTS WILL BE SUSPENDED BUT ANY OTHER -)$) CONTROLLER EVENTS WILL CONTINUE TO OPERATE 4O AVOID CONFUSION REMEMBER THAT )NSTRUMENT TRACKS ALSO SUPPORT AUDIO VOLUME PAN ANDMUTEALONGWITH-)$)VOLUME PAN ANDMUTE

Note and controller chasing .EW-)$)AND)NSTRUMENTTRACKSHAVE.OTE#HASINGENABLEDBYDEFAULT BUT THIS CAN BE TURNED ON OR OFF INDIVIDUALLY FOR EACH -)$) OR )NSTRUMENT TRACK FROMTHEPOP UP0LAYLISTSELECTORMENU

Figure 4.32 Enabling .OTE#HASINGUSINGTHE 0LAYLISTSELECTORPOP UP MENU

.OTE #HASING IS NECESSARY TO ALLOW SUSTAINED -)$) NOTES TO BE HEARD WHEN YOU START PLAYBACK AT SOME POINT AFTER THE NOTES START TIME )F A LONG NOTE

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Working with MIDI

STARTEDPLAYINGBACKATTHESTARTOFTHECHORUSAT SAY BARANDLASTEDFOR BARS YOU WOULD NOT HEAR THIS NOTE IF YOU STARTED PLAYBACK HALF WAY THROUGH THISCHORUSSECTIONATBARnUNLESS OFCOURSE .OTE#HASINGISENABLED

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9OUSHOULDDISABLE.OTE#HASINGWHENYOUAREWORKINGWITHSAMPLERSTHAT ARE PLAYING LOOPS BECAUSE .OTE #HASING WOULD TRIGGER THE LOOP TO START PLAYBACKFROMWHEREVERYOUSTARTTHESESSIONPLAYBACKnINEVITABLYPUTTING THE LOOP OUT OF TIME WITH THE OTHER TRACKS UNLESS YOU START AT THE CORRECT LOOPTRIGGERLOCATION

!S FAR AS CONTINUOUS CONTROLLER EVENTS AND PROGRAM CHANGES ARE CONCERNED 0RO 4OOLS ALWAYS CHASES THESE TO MAKE SURE THAT CONTROLLER VALUES AND ANY PATCHESFOR-)$)DEVICESAREALWAYSSETCORRECTLY

Event List Editing 9OU CAN ALSO VIEW AND EDIT -)$) DATA USING THE -)$) %VENT ,IST WHICH IS AVAILABLEFROMTHE%VENTMENU4HISLISTS-)$)EVENTSALPHANUMERICALLY USING LETTER NAMES FOR THE NOTES AND NUMBERS FOR THE LOCATIONS THE /N AND /FF VELOCITIES ANDTHENOTELENGTHS)NTHISWINDOW YOUCANSELECT COPY PASTE OR DELETEEVENTSANDYOUCANEDITVALUESBYTYPINGDIRECTLYINTHELIST!POP UP SELECTORATTHETOPLEFTOFTHEWINDOWLETSYOUSELECTWHICH-)$)OR)NSTRUMENT TRACKTODISPLAYINTHEEVENTLIST

Figure 4.33 Data in the -)$)%VENT,ISTWINDOW

!SECONDPOP UPATTHETOPRIGHTOFTHEWINDOWHASVARIOUSCOMMANDSTHAT LETYOUCUSTOMIZETHE-)$)%VENT,IST MAKEITSCROLLTHEWAYYOUWANTITTO OR

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CHOOSEWHEREEVENTSARETOBEINSERTED9OUCANALSOCHOOSEWHATTODISPLAY INTHELISTUSINGTHE6IEW&ILTER!SUB MENU LABELED)NSERT LETSYOUINSERTANY -)$)EVENTEXCEPT3YS%X INTOTHELIST

Figure 4.34 -)$)%VENT ,IST/PTIONSPOP UP SELECTOR

Figure 4.35 -)$)%VENT ,IST)NSERTSUB MENU

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7HENTHE-)$)%VENT,ISTISTHEFRONTMOSTWINDOW YOUCANSIMPLYPRESS #OMMAND . -AC OR #ONTROL . 7INDOWS TO INSERT A NOTE AND USE THE LEFTRIGHT ARROWS ON YOUR COMPUTER KEYBOARD TO MOVE BETWEEN THE %VENT %NTRY FIELDS 4O INSERT A #ONTROLLER %VENT PRESS #OMMAND , -AC OR #ONTROL , 7INDOWS AND TO INSERT A 0ROGRAM #HANGE %VENT PRESS #OMMAND 0 -AC OR #ONTROL 0 7INDOWS !FTER INSERTING ANY OF THESE EVENTS YOU CAN INSERT ANOTHER SIMILAR EVENT BY PRESSING #OMMAND - -AC OR#ONTROL -7INDOWS

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0RO4OOLSHASNOLISTEDITORFORAUDIOEVENTDATAnAMAJOROMISSIONINMY OPINION

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Working with MIDI

Quantize to Grid command 4HE1UANTIZETO'RIDCOMMANDADJUSTSTHEPLACEMENTOFSELECTEDAUDIOAND -)$)REGIONSBUTNOTINDIVIDUAL-)$)NOTESORINDIVIDUAL%LASTIC!UDIO%VENTS SOTHATTHEIRSTARTPOINTSORSYNCPOINTS IFPRESENT ALIGNPRECISELYTOTHENEAR EST'RIDBOUNDARY 4HEWAYTHISWORKSISTHATYOUCHOOSEA'RIDVALUEUSINGTHECONTROLSINTHE %DITWINDOWTOOLBAR USETHE3ELECTOROR4IME'RABBERTOSELECTTHEREGIONOR REGIONSONONEORMORETRACKS THATYOUWANTTOQUANTIZE THENCHOOSETHE 1UANTIZETO'RIDCOMMANDFROMTHE2EGIONMENU ORPRESS#OMMAND-AC OR#ONTROL7INDOWS ANDhvONTHENUMERICKEYPAD4HE2EGIONSTARTTIMES ORSYNCPOINTSIFTHESEAREDIFFERENT WILLTHENBEAUTOMATICALLYALIGNEDWITH THENEAREST'RIDLINES

Figure 4.36 Part of the 2EGIONSMENUSHOWING THE1UANTIZETO'RID COMMAND

7ITH -)$) REGIONS ONLY THE REGION START TIMES OR SYNC POINTS ARE QUANTIZED THEREFORE ALL THE -)$) DATA WITHIN THE REGIONS SUCH AS NOTES WILL BE MOVED EQUALLY THEREBY PRESERVING EXISTING RHYTHMIC RELATIONSHIPS BETWEEN DATA 3IMILARLY WITH%LASTIC!UDIOREGIONS ONLYTHEREGIONSTARTTIMESORSYNCPOINTS ARE QUANTIZED #ONSEQUENTLY ALL %LASTIC !UDIO %VENTS WITHIN THE REGIONS ARE MOVEDEQUALLY THEREBYRETAININGTHEIRRHYTHMICRELATIONSHIPS

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4HE%VENT/PERATION1UANTIZEFEATURESCANBEAPPLIEDTO-)$)NOTESAND %LASTIC!UDIO%VENTSINDIVIDUALLYINADDITIONTOAUDIOREGIONSTARTTIMESOR SYNCPOINTS

4.8 MIDI and Instrument controls and track heights %ACH -)$) OR )NSTRUMENT TRACK HAS A SET OF CONTROLS THAT INCLUDES THE 4RACK .AME BUTTONSFOR2ECORD%NABLE 3OLO -UTE AND0ATCH3ELECT A4RACK6IEW SELECTOR A 0LAYLIST SELECTOR A 4RACK 4IMEBASE SELECTOR AN !UTOMATION -ODE SELECTOR ANDA4RACK(EIGHTSELECTOR 145


4O CHANGE THE TRACK HEIGHTS FOR -)$) OR )NSTRUMENT TRACKS YOU CAN CLICK ON THE MINI KEYBOARD AT THE LEFT OF THE 4RACK DISPLAY IN THE %DIT WINDOW AND SELECTTHEHEIGHTYOUPREFER

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7HENTHE-)$)OR)NSTRUMENTTRACKISIN.OTESOR6ELOCITYVIEW YOUWILLNEED TO#ONTROL CLICKONTHEMINI KEYBOARDTOACCESSTHETRACKHEIGHTSPOP UP

Figure 4.37 -)$)4RACK (EIGHTPOP UPSHOWING the available options MICROTOEXTREME INCLUDINGTHESINGLENOTE OPTIONS

)T CAN BE USEFUL TO VIEW JUST ONE PARTICULAR NOTE PITCH WITHIN A -)$) OR )NSTRUMENT TRACK SUCH AS THOSE THAT PLAY A SINGLE -)$) .OTE /N A SAMPLER ORWHENYOUHAVESPLITTHEDIFFERENTINSTRUMENTSOFADRUMKITONTOINDIVIDUAL -)$)TRACKS0RO4OOLSPROVIDESA3INGLE.OTEHEIGHTFORTHISPURPOSE Figure 4.38 3INGLE.OTE HEIGHT

9OUCANALSOACCESSTHE4RACK(EIGHTSELECTORFROMTHE4RACK/PTIONSPOP UP 7HENTHETRACKHEIGHTISSETTOSMALL MINI ORMICRO THE4RACK/PTIONSPOP UP LETSYOUACCESSTHE4RACK4IMEBASEAND4RACK6IEWOPTIONSASWELLBECAUSETHE

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Working with MIDI

TRACKCONTROLSAREABECOMESTOOSMALLTOPROVIDESPACEFORTHESEOTHERPOP UP SELECTORSINTHEIRNORMALPOSITIONS

Figure 4.39 Track /PTIONSSELECTOR

Figure 4.40 Track /PTIONSPOP UP

)NSMALLVIEW THEREARETHREEVERYSMALLBUTTONSPROVIDEDTOLETYOUACCESSTHE 4RACK6IEW 0ATCH3ELECT AND!UTOMATION-ODESELECTORS BUTEVENTHESEDIS APPEARINMINIANDMICROVIEWS Figure 4.41 Small Track 6IEWSHOWINGTHREETINY buttons to the right of the Mute button for the 4RACK6IEW 0ATCH3ELECT AND!UTOMATION-ODE POP UPSELECTORS

4.9 MIDI Real-Time Properties ! RELATIVELY RECENT FEATURE THAT USERS OF #UBASE AND ,OGIC WILL PARTICULARLY APPRECIATEISTHE-)$)2EAL 4IME0ROPERTIES4HEhPROPERTIESvTHATWEARETALK ING ABOUT HERE ARE 1UANTIZE $URATION 6ELOCITY 4RANSPOSE AND $ELAY ALL OF WHICHAREATTRIBUTESOF-)$)NOTESTHATCANBECHANGEDBYSELECTINGTHENOTES AND USING THE APPROPRIATE COMMAND FROM THE %VENT MENU $ELAY IS SLIGHTLY DIFFERENTINTHATTHISCANBEACHIEVEDINANUMBEROFWAYS ONEOFWHICHISBY ENTERINGA-)$)4RACK/FFSETFROMTHE%VENTMENU 5SINGTHE%VENTMENUCOMMANDSCHANGESTHE-)$)DATA WHEREASUSINGTHE -)$) 2EAL 4IME 0ROPERTIES FEATURE JUST ALTERS THE DATA AS IT IS BEING PLAYED BACKnINREALTIMEnLEAVINGTHEORIGINALDATAUNALTERED7HYWOULDYOUWANT TO DO THIS "ECAUSE SOMETIMES YOU MAY WANT TO EXPERIMENT WITH DIFFERENT SETTINGS BEFORE YOU ARE SURE WHICH YOU WANT TO COMMIT TO 9OU CAN EVEN 147


CHANGETHE2EAL 4IME0ROPERTIESPARAMETERSWHILETHESESSIONISPLAYINGBACK SOTHATYOUCANIMMEDIATELYHEARTHEEFFECTTHISWILLHAVE 7HENYOUHAVEMADEUPYOURMIND THEREISACOMMANDINTHE4RACKMENU h7RITE-)$)2EAL 4IME0ROPERTIESvTHATLETSYOUWRITETHESEPROPERTIESTOTHE TRACKnPERMANENTLYCHANGINGTHEDATAINTHETRACK 2EAL 4IME 0ROPERTIES FOR THE WHOLE TRACK CAN EITHER BE ADJUSTED IN THE 2EAL 4IME0ROPERTIES6IEWINTHE%DITWINDOWORBYUSINGTHE2EAL 4IME0ROPERTIES WINDOWTHATYOUCANACCESSFROMTHE%VENTMENU 9OUCANALSOAPPLY-)$)2EAL 4IME0ROPERTIESTOINDIVIDUALREGIONSBYSELECT ING THE REGION OR REGIONS AND OPENING THE -)$) 2EAL 4IME 0ROPERTIES DIALOG FROMTHE%VENTMENU2EGION BASED2EAL 4IME0ROPERTIESCANONLYBEAPPLIED USINGTHE2EAL 4IME0ROPERTIESWINDOWnNOTINTHE%DITWINDOW 9OU WILL SEE THE LETTER h4v DISPLAYED IN THE UPPER RIGHT HAND CORNER OF THE TRACKS-)$)REGIONSANDINTHE%VENT,ISTWHENEVER2EAL 4IME0ROPERTIESARE BEINGAPPLIEDTOATRACK3IMILARLY YOUWILLSEETHELETTERh2vDISPLAYEDINTHE UPPER RIGHT HAND CORNER OF THE REGION AND IN THE %VENT ,IST WHENEVER 2EAL 4IME0ROPERTIESAREBEINGAPPLIEDTOAREGION Figure 4.42 %DIT WINDOWSHOWINGTHE -)$)2EAL 4IME0ROPERTIES FORATRACK4HISTRACKHAS JUSTONEREGION IDENTIFIED WITHAh4vINTHETOP RIGHT HANDCORNERTO INDICATETHATTRACK BASED 2EAL 4IMEPROPERTIESARE BEINGAPPLIED

Figure 4.43 4HE-)$) 2EAL 4IME0ROPERTIES DIALOG"ELOWTHIS YOU CANSEEA-)$)REGION WITHTHELETTERh2v DISPLAYEDINTHETOPRIGHT HANDCORNERTOINDICATE THATREGION BASED-)$) 2EAL 4IME0ROPERTIESARE BEINGAPPLIEDTOTHIS REGION

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)FYOUWISH YOUCANPERMANENTLYCHANGETHEDATAINTHESELECTEDREGION ORREGIONS BYCLICKINGONTHEh7RITETO2EGIONvBUTTONINTHE-)$)2EAL 4IME0ROPERTIESDIALOG 4HEGOODTHINGABOUTUSING-)$)2EAL 4IME0ROPERTIESISTHATYOUCANCHANGE ANY OF THE PARAMETERS WITHOUT HAVING TO COMMIT TO YOUR CHANGES UNTIL YOU AREREADYTODOTHIS!LSO IFYOUAREAPPLYINGTHESETOATRACK YOUCANKEEP THESEPROPERTIESCONVENIENTLYDISPLAYEDINTHE%DITWINDOWIFYOUWISH WHICH CAN BE A BIG HELP WHEN YOU ARE WORKING OUT WHAT TO DO WITH YOUR -)$) TRACKS!LSO WHENYOUARESURETHATYOUHAVETHESETTINGSYOUWANT YOUCAN WRITETHESESETTINGSTOTHESELECTEDTRACKSORREGIONS

4.10 Exporting MIDI tracks 4HEREWILLBETIMESWHENYOUWANTTOEXPORT-)$)TRACKSOR)NSTRUMENTTRACKS CONTAINING -)$) DATA FROM A 0RO 4OOLS SESSION &OR EXAMPLE IF YOU HAVE RECORDED3YS%XDATACONTAININGPATCHINFORMATIONFORYOUR-)$)SYNTHESIZERS OR OTHER EXTERNAL -)$) DEVICES INTO 0RO 4OOLS TRACKS YOU MAY WISH TO STORE THISDATASEPARATELYFORUSEWITH0RO4OOLSOROTHERSOFTWAREINTHEFUTURE OR YOUMAYHAVEDEVELOPEDUSEFUL-)$)SEQUENCESTHATYOUWANTTOBEABLETO BUILDLIBRARIESOFTOUSEWITH0RO4OOLSOROTHERSOFTWAREINTHEFUTURE)FYOU HAVERECORDEDANARRANGEMENTUSING-)$)TRACKSIN0RO4OOLS YOUMAYWISH TO TRANSFER THIS TO OTHER SOFTWARE SUCH AS $IGITAL 0ERFORMER OR ,OGIC 0RO TO WORKONTHE-)$)ARRANGEMENTFURTHER ORYOUMAYJUSTWANTTOTRANSFERINDI VIDUALTRACKSTOANOTATIONSOFTWAREAPPLICATIONSOTHATYOUCANPRINTOUTPARTS FORMUSICIANSTOPLAY &ORTHESEPURPOSES 0RO4OOLSLETSYOUEXPORTYOUR0RO4OOLSSESSION ORONEOR MORE-)$)OR)NSTRUMENTTRACKS ASA4YPEMULTITRACK OR4YPEMERGED 3TANDARD -)$) FILE 4HE -)$) FILE CONTAINS ANY METER AND TEMPO INFORMA TIONANDANYKEYSIGNATURESUSEDINYOURSESSION ALONGWITHTRACKNAMESAND MARKERS

Figure 4.44 %XPORT-)$) DIALOG

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4O EXPORT A SELECTED TRACK OR A GROUP OF SELECTED TRACKS CHOOSE THE h%XPORT -)$)vCOMMANDFROMTHE&ILEMENUIN0RO4OOLS 4O EXPORT A SINGLE -)$) OR )NSTRUMENT TRACK AS A -)$) FILE YOU CAN #ONTROL CLICK -AC OR 2IGHT CLICK 7INDOWS ON THE NAME OF THE TRACK YOU WANT TO EXPORTANDCHOOSEh%XPORT-)$)xvFROMTHEPOP UPMENUTHATAPPEARS4HIS SHORTCUTALSOWORKSWITHAGROUPOFSELECTEDTRACKSIFYOU#ONTROL CLICK-AC OR2IGHT CLICK7INDOWS ONTHENAMEOFANYONEOFTHEM

Figure 4.45 4RACK.AME POP UP

4.11 The MIDI Editors 0RO 4OOLS PROVIDES SEPARATE -)$) %DITOR WINDOWS THAT CAN BE BETTER TO USE FORDETAILED-)$)EDITINGTHANTHE%DITWINDOW4HENOTESAREDISPLAYEDINA CLEARERWAY FOREXAMPLE WITHVELOCITY CONTROLLER ANDAUTOMATIONDISPLAYED INSEPARATELANESBELOWTHENOTESDISPLAY

Figure 4.46 Part of the -)$)0REFERENCESWINDOW SHOWINGWHATMAYBE OPENEDWHENDOUBLE CLICKINGA-)$)2EGION

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Working with MIDI

4OOPENA-)$)%DITOR SELECTANY-)$)REGIONANDCHOOSE-)$)%DITORFROM THE7INDOWMENU9OUCANALSOOPENA-)$)%DITORFORANY-)$)REGIONBY DOUBLE CLICKINGONTHEREGIONWHENTHEPREFERENCEFORTHISISSETAPPROPRIATELY IN THE -)$) 0REFERENCES WINDOW 9OU CAN ALSO USE THE KEYBOARD COMMAND #ONTROL EQUALS ONTHE-AC OR3TART EQUALS ON7INDOWS

Tracks and groups in the MIDI Editors 9OUCANVIEWTHE4RACKSAND'ROUPSLISTSATTHELEFTOFANY-)$)%DITORWINDOW ANDUSETHISTOREVEALORHIDE4RACKSANDTOENABLEORDISABLE'ROUPS ASNEC ESSARY 4O OPEN THE 4RACKS AND GROUPS LIST YOU CAN EITHER CLICK ON THE SMALL ARROWATTHEBOTTOMLEFTOFTHE-)$)%DITORWINDOWORUSETHE4OOLBARMENU ATTHETOPRIGHTOFTHE-)$)%DITORWINDOW

Figure 4.47 4HE-)$) %DITOR7INDOWSHOWING ALLTHE%DIT4OOLSANDTHE 'RID.UDGE$ISPLAYIN THE4OOLBARANDWITHTHE 4RACKSAND'ROUPS,ISTS OPENATTHELEFT

"Y DEFAULT -)$) )NSTRUMENT AND !UXILIARY )NPUT TRACKS ARE ALL SHOWN IN THE4RACKS,IST)FYOUPREFER YOUCANSHOWONLYTHE-)$)4RACKSORONLYTHE )NSTRUMENTTRACKSUSINGTHEOPTIONSINTHE4RACKS,ISTPOP UPMENU

Figure 4.48 5SINGTHE 4RACKS,ISTPOP UPMENU TOCHOOSEWHATTOSHOW INTHELIST

How the MIDI Editors work %ACH-)$)%DITORWINDOWHASASMALLREDhTARGETvBUTTONNEARTHETOPRIGHT OF THE WINDOW )F YOU CLICK THIS IT WILL TURN GRAY 4HEN IF YOU OPEN ANOTHER -)$) %DITOR WINDOW WHETHER THIS IS FOR THE SAME -)$) REGION ON THE SAME TRACKORFORADIFFERENT-)$)REGIONONTHESAMEORONANOTHERTRACK THISWILL BEOPENEDINASEPARATEWINDOW/THERWISE WITHTHETARGETBUTTONSHOWING RED THENEWREGIONWILLOPENINPLACEOFTHEEXISTING-)$)%DITORWINDOW

151


)F YOU CHOOSE TO DISPLAY MULTIPLE TRACKS IN A SINGLE -)$) %DITOR WINDOW THE -)$)NOTESFROMTHEDIFFERENTTRACKSWILLBESUPERIMPOSEDINTHEWINDOW 6ELOCITYANDOTHERCONTINUOUSCONTROLLERDATAFOR-)$)AND)NSTRUMENTTRACKS ANDAUTOMATIONDATAFOR)NSTRUMENTAND!UXILIARY)NPUTTRACKS AREDISPLAYED IN#ONTROLLERLANESBELOWTHE.OTESPANEINTHE-)$)%DITORWINDOWS 6ELOCITIESFOR-)$)NOTESARESUPERIMPOSEDINTHESINGLE6ELOCITYLANE WHEREAS OTHER AUTOMATION AND CONTROLLER DATA ARE SHOWN USING INDIVIDUAL LANES FOR EACHTYPEOFAUTOMATIONORCONTROLLER

Using the MIDI Editor to insert notes !S WITH THE MAIN %DIT WINDOW AND THE 3CORE %DITOR YOU CAN USE THE 0ENCIL TOOLTOINSERTNOTESONTOANYTRACKINTHE-)$)%DITOR(OWEVER BECAUSENOTES FOR MULTIPLE TRACKS CAN BE DISPLAYED SIMULTANEOUSLY IN A SINGLE -)$) %DITOR WINDOW 0RO 4OOLS LETS YOU CHOOSE WHICH OF THESE TO EDIT PREVENTING YOU FROMINADVERTENTLYMAKINGCHANGESTOTHEOTHERS)NTHE4RACKS,IST THEREISA COLUMNATTHERIGHTTHATDISPLAYSAPENCILICONFORWHICHEVERTRACKISCURRENTLY hPENCIL ENABLEDvFOREDITING)FYOUONLYHAVEONETRACKSHOWINGINTHE-)$) %DITOR THAT TRACK WILL AUTOMATICALLY BE PENCIL ENABLED )F YOU HAVE MULTIPLE TRACKS YOUCANCHOOSEWHICHTOENABLE )F THE 4RACKS ,IST IS NOT OPEN THE QUICKEST WAY TO OPEN IT IS TO SELECT THE TRACKYOUWANTTOEDITUSINGTHE0ENCIL %NABLED4RACKPOP UPSELECTORINTHE 4OOLBAR4HISPOP UPSELECTORLETSYOUCHOOSEFROMWHICHEVER4RACKSARECUR RENTLYBEINGSHOWNINTHE-)$)%DITORWINDOW

Figure 4.49 0ENCIL %NABLED4RACKPOP UP SELECTOR

)FTHE4RACKS,ISTISOPENATTHELEFTOFTHEWINDOW YOUCANSIMPLYCLICKINTHE RIGHTMOSTCOLUMNTOPENCIL ENABLEANYOFTHE4RACKSTHATARECURRENTLYSHOW ING ANDYOUCANALSOSHOWORHIDEANYTRACKSBYCLICKINGINTHELEFTMOSTCOL UMN)FYOUWANTTOBEABLETOEDITMORETHANONETRACK YOUCAN3HIFT CLICK INTHE0ENCILCOLUMNTOENABLEACONTIGUOUSSELECTIONOFTRACKS)FANYOFTHE TRACKSINTHISRANGEARENOTALREADYBEINGSHOWNINTHE-)$)%DITOR THISACTION WILLCAUSETHEMTOBESHOWNASWELLASPENCIL ENABLED )FTHETRACKSYOUWANTTOPENCIL ENABLEARENOTNEXTTOEACHOTHERINTHELIST YOU CAN #OMMAND CLICK -AC OR #ONTROL CLICK 7INDOWS IN THE 0ENCIL COL UMN TO ENABLE ADDITIONAL TRACKS !LSO IF YOU APPLY THIS COMMAND TO TRACKS THATARENOTCURRENTLYSHOWNINTHE.OTESPANE THEYWILLBEBOTHSHOWNAND

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Working with MIDI

PENCIL ENABLED )F YOU WANT TO BOTH SHOW AND PENCIL ENABLE all tracks in the 4RACKS,IST THESHORTCUTISTO/PTION CLICK-AC OR!LT CLICK7INDOWS 4O INSERT NEW NOTES CHOOSE THE 0ENCIL TOOL FROM THE 4OOLBAR AND CLICK IN THE .OTESPANEATANYTIMEANDPITCHLOCATION4HISACTIONWILLINSERTA-)$).OTE /NTHEPENCIL ENABLEDTRACK4HISWILLHAVETHE$EFAULT.OTE/N6ELOCITYUNLESS YOU CHANGE THIS VELOCITY FIRST BY ENTERING A NEW VALUE FOR .OTE /FF 6ELOCITY USING THE -)$) %DITING #ONTROLS DISPLAY 4HE NOTE ENTERED WILL ALSO USE THE $EFAULT.OTE$URATIONSHOWNINTHE-)$)%DITING#ONTROLS UNLESSYOUCHANGE THISFIRST

Figure 4.50 0ENCIL ENABLINGATRACK READYTO EDITNOTESONTHISTRACKIN THE.OTESPANE

Automation lanes in MIDI Editor Windows -)$) %DITOR WINDOWS ALSO LET YOU EDIT VELOCITIES -)$) CONTROLLER DATA AND AUTOMATIONFORALLSHOWN-)$) )NSTRUMENT AND!UXILIARY)NPUTTRACKSINLANES UNDERTHE.OTESPANE4OSHOWORHIDELANESUNDERTHE.OTESPANE JUSTCLICK THE3HOW(IDE,ANESBUTTON4HISISASMALLREVEALINGARROWTOTHELEFTOFTHE KEYBOARDATTHEBOTTOMLEFTOFTHE.OTESPANE

Figure 4.51 5SINGTHE 3HOW(IDE,ANESBUTTON

)FTHEREAREMULTIPLE-)$)AND)NSTRUMENTTRACKSSHOWINGINTHE.OTESPANE THEVELOCITIESFORNOTESONSEPARATETRACKSWILLALLBESHOWNTOGETHERINASINGLE LANE SUPERIMPOSEDJUSTLIKENOTESINTHE.OTESPANE

153


Figure 4.52 3UPERIMPOSED.OTESAND #ONTROLLERS

(OWEVER ALLOTHER#ONTROLLERLANESAREGROUPEDBYAUTOMATIONANDCONTROLLER TYPE AND PROVIDE INDIVIDUAL LANES FOR EACH SHOWN TRACK 4O ADD OR REMOVE LANES YOUCANUSETHEhvORhvBUTTONSATTHELEFTOFTHELANE

Figure 4.53 5SINGTHE !DD,ANEBUTTON

)F THE VERTICAL ZOOM FOR THE CONTROLLER LANES IS SET TO THE MINIMUM SIZE YOU WONTBEABLETOSEETHE!DD,ANEBUTTON)NTHISCASE IFYOUUSETHEPOP UP ,ANE6IEWSELECTOR THEOPTIONSTOADDORREMOVEALANEWILLBESHOWNTHERE

Figure 4.54 5SING THEPOP UP,ANE6IEW SELECTOR

9OUCANUSETHEPOP UP,ANE6IEWSELECTORWHENEVERYOULIKETOCHOOSETHE !UTOMATIONOR#ONTROLLERTYPEYOUWANTTODISPLAY-)$)TRACKSLETYOUCHOOSE FROMTHESTANDARDLISTOF-)$)CONTROLLERS WHEREAS)NSTRUMENTTRACKSALSOLET YOUCHOOSEFROMTHEAVAILABLEAUDIOAUTOMATIONTYPES )FYOUCHOOSE-)$)VOLUME FOREXAMPLE YOUCANCLICKUSINGTHE'RABBERTOOL TOINSERTBREAKPOINTS DRAGGINGTHESEINTOPOSITIONORMOVINGEXISTINGONESTO

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Working with MIDI

NEWPOSITIONS ORDRAWINBREAKPOINTSUSINGTHE0ENCILTOOLTOCREATEANDEDIT AUTOMATIONDATA

Figure 4.55 0OP UP ,ANE6IEWSELECTOR SHOWINGAVAILABLE-)$) CONTROLLERANDAUDIO AUTOMATIONTYPES

Figure 4.56 %DITING -)$)VOLUMECONTROLLER DATAUSINGTHELANESINTHE -)$)%DITORWINDOW

The MIDI Editor Toolbar 2UNNINGALONGTHETOPOFTHE-)$)%DITORWINDOWYOUWILLFINDA4OOLBARTHAT ISSIMILARTOTHE%DITWINDOWTOOLBAR BUTWITHANUMBEROFDIFFERENCES

-UTEAND3OLO !TTHEFARLEFT THEREARETWOSMALLBUTTONSFOR3OLOAND-UTE4HE3OLOBUT TONLETSYOUSOLOALLTHETRACKSCURRENTLYDISPLAYEDINTHE-)$)%DITORWINDOW Figure 4.57 3OLOAND -UTEBUTTONSENGAGED ANDAPPLYINGTOALLTRACKS CURRENTLYDISPLAYEDINTHE -)$)%DITORWINDOWn NORMALLYYOUWOULD engage one or other of THESE

155


WHEREAS THE -UTE BUTTON LETS YOU MUTE ALL THE TRACKS CURRENTLY DISPLAYED IN THE-)$)%DITORWINDOW )FYOUHAVEMORETHANONETRACKSHOWINGINTHE-)$)%DITORWINDOW ENGAG INGTHE3OLOOR-UTEBUTTONINTHE-)$)%DITORSOLOSORMUTESALLTHESETRACKS )F ONTHEOTHERHAND YOUSOLOORMUTESOME BUTNOTALL OFTHETRACKSSHOWN IN THE -)$) %DITOR WINDOW USING 3OLO AND -UTE BUTTONS IN THE %DIT OR -IX WINDOWS THEAPPEARANCEOF THE 3OLO AND -UTE BUTTONS UPDATES TO INDICATE MIXEDSTATES-IXEDSOLOANDMUTESTATESARESAIDTOOCCURWHENONEORMORE TRACKSSHOWNINTHE-)$)%DITORWINDOW BUTNOTALL ARESOLOEDORMUTED Figure 4.58 Mute status INDICATESAMIXEDSTATE revealing that not all the SELECTEDTRACKSAREMUTED

Figure 4.59 Solo status INDICATESAMIXEDSTATE revealing that not all THESELECTEDTRACKSARE SOLOED

.OTATIONVIEW 4O THE RIGHT OF THE 3OLO AND -UTE BUTTONS THERE IS A BUTTON THAT LETS YOU SWITCHTHENOTEDISPLAYTOSHOWTHE-)$)NOTESASMUSICNOTATIONONASTAVE %ACH-)$)AND)NSTRUMENTTRACKISDISPLAYEDINDEPENDENTLYIN.OTATIONVIEW WITH ONE TRACK PER STAFF !LSO NOTATION IS DISPLAYED AS A CONTINUOUS TIMELINE AND NOT IN PAGE VIEW AS IN THE 3CORE %DITOR WINDOW 9OU CAN EDIT NOTES IN .OTATIONVIEWJUSTLIKEYOUCANINTHE3CORE%DITORASEXPLAINEDINTHENEXT SECTION BUTWITHTHEADVANTAGEOFHAVINGACCESSTO6ELOCITY #ONTROLLER AND !UTOMATIONLANES

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Note

)N .OTATION VIEW THE 4RIMMER TOOL FUNCTIONS AS THE 'RABBER TOOL WHEN YOUHOVERTHISABOVEANOTEANDFUNCTIONSASTHE.OTE3ELECTORTOOLWHEN ITISNOTOVERANOTE!LSO THE%DITMODEISAUTOMATICALLYSETTO'RIDAND CANNOTBECHANGED

!T THE TOP LEFT OF THE .OTATION VIEW JUST BELOW THE RULERS THERE IS A $OUBLE "AR BUTTON )F YOU ENABLE THIS BUTTON A DOUBLE BAR LINE WILL BE DISPLAYED AT THEENDOFTHELAST-)$)REGIONOREVENTINTHESESSION7HENTHISISDISABLED

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Working with MIDI

Figure 4.60 .OTATION DISPLAYENABLEDINTHE -)$)%DITORWINDOW

THERE WILL BE A NUMBER OF EMPTY BARS AT THE END OF THE LAST EVENT IN THE SESSION9OUMAYWANTADDITIONALEMPTYBARSTOBEAVAILABLESOTHATYOUCAN MANUALLYENTERNEWNOTESAFTERTHELAST-)$)REGIONOREVENTINTHESESSIONIF YOU HAVE NOT YET COMPLETED YOUR COMPOSITION )N THIS CASE YOU SHOULD DIS ABLETHE$OUBLE"ARBUTTON ANDYOUCANSPECIFYTHENUMBEROFEMPTYBARS USING THE h!DDITIONAL %MPTY "ARS IN THE 3CORE %DITORv SETTING IN THE -)$) 0REFERENCESPAGETHATYOUCANACCESSFROMTHE3ETUPMENU

Figure 4.61 Clicking on THE$OUBLE"ARBUTTONIN .OTATIONVIEW

Figure 4.62 !DOUBLE BARLINEINDICATESTHEEND OFTHEPIECEOFMUSIC

4HE%DITTOOLS 4HE BUTTON TO THE RIGHT OF THE .OTATION BUTTON IS A POP UP SELECTOR THAT DEFAULTSTOTHE:OOMERTOOL

Figure 4.63 %DIT 4OOL0OP UP3ELECTORn DEFAULTEDTOTHE:OOMER 4OOL

157


)FYOUCLICKANDHOLDTHISBUTTON APOP UPSELECTOROPENSFROMWHICHYOUCAN CHOOSEAN%DITTOOLORTHE3MARTTOOL

Figure 4.64 %DITTOOLS POP UPSELECTOR

9OUCANEXPANDTHISSECTIONOFTHE4OOLBARTOSHOWTHESE%DITTOOLSASAROW OFBUTTONS JUSTLIKEINTHE%DITWINDOW4OOPENTHE%XPANDED%DITTOOLS CLICK ONTHEPOP UP4OOLBARMENUATTHETOPRIGHTOF-)$)%DITORWINDOW

Figure 4.65 Toolbar -ENU

4HE%DITTOOLSINTHE-)$)%DITORWINDOWLETYOUWORKWITH-)$)DATAINTHE SAMEWAYSASTHETOOLSINTHE%DITWINDOW

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4HE %DIT TOOL SETTINGS CAN BE SET DIFFERENTLY FOR EACH WINDOW WHEN YOU HAVEMORETHANONE-)$)%DITORWINDOWOPEN

Figure 4.66 The %XPANDED-)$)%DITOR TOOLS

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Working with MIDI

-)$)%DITINGCONTROLS 4OTHERIGHTOFTHE%DITTOOLS YOUWILLFINDASETOF-)$)%DITINGCONTROLSTHAT WORKEXACTLYLIKETHE-)$)%DITINGCONTROLSINTHE%DITWINDOW

Figure 4.67 4HE-)$) %DITING#ONTROLS

4HE LEFTMOST OF THESE CONTROLS IS THE 4RACK %DIT POP UP 3ELECTOR THAT LETS YOU CHOOSE WHICH OF THE VISIBLE TRACKS TO EDIT $IGIDESIGN CALLS THIS PENCIL ENABLED ANDWARNSTHATYOUCANONLYINSERT-)$)NOTESMANUALLYINPENCIL ENABLEDTRACKS .EXTALONGISTHE$EFAULT.OTE$URATIONSELECTORTHATYOUWILLUSETOCHOOSE NOTEDURATIONSWHENYOUAREMANUALLYINSERTING-)$)NOTES!USEFULCHOICE HEREISTOFOLLOWTHEDURATIONSSETUSINGTHE'RID

Figure 4.68 Default .OTE$URATIONPOP UP SELECTOR

4HE NUMERICAL ENTRY FIELD WITH THE NUMBER SET BY DEFAULT IS THE DEFAULT .OTE /N 6ELOCITY SETTING FOR -)$) NOTES THAT YOU MANUALLY INSERT 9OU CAN TYPE ANY NUMBER BETWEEN AND HERE 4HE COMBINED -)$) SOCKET AND LOUDSPEAKERICONISACTUALLYABUTTONTHAT WHENENABLED CAUSES-)$)NOTES TO PLAY WHEN YOU INSERT THEM USING THE 0ENCIL TOOL CLICK THEM WITH THE 'RABBERTOOL 4ABTOTHEM ORSELECTTHEMWITHTHE.OTE3ELECTORTOOL

!DDITIONAL4OOLBARBUTTONS CONTROLS ANDDISPLAYS 4OTHERIGHTOFTHE-)$)%DITING CONTROLS THERE ARE TWO MORE LARGE BUTTONS 4HEFIRSTOFTHESEISTHE,INK4IMELINEAND%DIT3ELECTIONBUTTONTHATSHOULDBE FAMILIARTOYOUFROMTHE%DITWINDOW)FYOUDISABLETHIS YOUCANMAKEINDE PENDENT 4IMELINE AND %DIT SELECTIONS 4HE SECOND OF THESE BUTTONS LETS YOU

159


ENABLE OR DISABLE -IRRORED -)$) %DITING 4HIS LETS YOU EDIT ONE -)$) REGION ANDHAVEYOUREDITSAPPLYTOEVERYCOPYOFTHATSAME-)$)REGION -OVING FURTHER ALONG THE 4OOLBAR YOU WILL FIND THE STANDARD %DIT -ODE BUT TONS WHICH OPERATE IN EXACTLY THE SAME WAY AS THOSE IN THE %DIT WINDOW 4HEREISALSOA#URSOR,OCATIONDISPLAYTHATSHOWSTHEEXACTLOCATIONTHATTHE CURSOR IS POINTING AT IN THE -)$) %DITOR WINDOW AND ALSO DISPLAYS THE PITCH THATTHECURSORISCURRENTLYPOSITIONEDAT

Figure 4.69 4HE%DIT -ODEBUTTONSANDTHE #URSOR,OCATION$ISPLAY

4OTHERIGHTOFTHE#URSOR,OCATION$ISPLAY AN%DIT3ELECTION$ISPLAYCANBE ADDEDTOTHE4OOLBARBYSELECTINGTHISFROMTHE4OOLBARMENU(ERE FOREXAM PLE YOUCANSEETHEEXACT"AR"EAT4ICKLOCATIONOFASELECTEDNOTE ALONGWITH ITS-)$).OTE.AMEAND.OTE/N6ELOCITY

Figure 4.70 The OPTIONAL%DIT3ELECTION $ISPLAY

4HE FINAL GROUP OF CONTROLS FOR 'RID AND .UDGE CAN BE DISPLAYED EITHER IN ACOMPACTOREXPANDEDFORMAT"YDEFAULT THECOMPACTFORMHASAPOP UP SELECTORTHATLETSYOUCHOOSEWHETHERTOSETTHE'RIDORTHE.UDGEVALUES Figure 4.71 The compact version of the 'RIDAND.UDGECONTROLS WITHTHECURSORPOINTING TOTHEPOP UP'RID .UDGE4OGGLESELECTOR that lets you choose WHICHTOCONTROL

&ROMTHE4OOLBARMENU YOUCANSELECTTHEEXPANDEDFORMAT WHICHDISPLAYS THE 'RID AND .UDGE CONTROLS SEPARATELY 4O THE RIGHT OF THESE CONTROLS YOU CAN SEE THE 4ARGET BUTTON WHICH IS COLORED RED WHEN IT IS ENABLED AND THE 4OOLBARMENUPOP UPSELECTOR

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Working with MIDI

Figure 4.72 %XPANDED 'RIDAND.UDGECONTROLS WITHTHEENABLED4ARGET BUTTONANDTHE4OOLBAR MENUPOP UPSELECTORTO THERIGHTOFTHESE

4HE 4ARGET BUTTON WORKS THE SAME WAY THAT THE 4ARGET BUTTON WORKS IN 0LUG IN /UTPUT AND 3END WINDOWS ALLOWING YOU TO HAVE UNTARGETED WIN DOWS OPEN AT THE SAME TIME 7HEN YOU UNTARGET ANY OF THESE WINDOWS BY CLICKINGONITSREDTARGETBUTTON THISBUTTONBECOMESGRAYED OUTTOCONFIRM THATITISUNTARGETED 4HE4ARGETED-)$)%DITORWINDOWYOUCANONLYTARGETONE-)$)%DITORWIN DOW AT A TIME ALSO SYNCHRONIZES ITS 4IMELINE LOCATION VIEW TO THE 4IMELINE LOCATION VIEW IN THE %DIT WINDOW #ONSEQUENTLY IF YOU MAKE OR CHANGE AN %DIT SELECTION IN THE %DIT WINDOW THIS SAME %DIT SELECTION WILL BE MADE OR CHANGEDINTHE4ARGETED-)$)%DITORWINDOW 4HE4OOLBARMENUHASACOUPLEOFITEMSTHATHAVENOTBEENMENTIONEDYET YOUCANOPENTHE4RACK,ISTATTHELEFTOFTHE-)$)%DITORWINDOWBYSELECTING THE4RACK,ISTITEMHERE ANDASUB MENUISPROVIDEDTOLETYOUCHOOSEFROM VARIOUS 3CROLLING OPTIONS FOR THE -)$) %DITOR WINDOW 4HE 3CROLLING OPTIONS OPERATEINDEPENDENTLYFROMTHOSECHOSENFORTHE%DITWINDOWANDCANBESET INDEPENDENTLYFOREACH-)$)%DITORWINDOW4HEREISALSOANOPTIONTOHAVE THE-)$)%DITORWINDOWFOLLOWTHE3CROLLINGSETTINGSTHATYOUHAVEMADEFOR THE%DITWINDOW

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9OUCANREARRANGETHEPOSITIONSOFTHECONTROLSANDDISPLAYSINTHETOOLBAR JUSTASYOUCANINTHE%DITWINDOW#OMMAND CLICK-AC OR#ONTROL CLICK 7INDOWS AND SIMPLY DRAG THE CONTROLS OR DISPLAYS THAT YOU WANT TO A NEWLOCATIONINTHE4OOLBAR

The MIDI Editor Zoom controls 4HERE IS A (ORIZONTAL :OOM CONTROL FOR THE -)$) %DITOR WINDOW CONSISTING OFAPAIROFhvANDhvBUTTONS TUCKEDAWAYATTHEBOTTOMRIGHTCORNEROF THE WINDOW JUST TO THE RIGHT OF THE SCROLLBAR THAT RUNS ALONG THE BOTTOM OF THEWINDOW4HISCONTROLSTHEVERTICALZOOMFORBOTHTHE.OTESPANEANDTHE #ONTROLLERLANES 4HERE IS A 6ERTICAL :OOM BUTTON FOR THE .OTES PANE LOCATED IN THE UPPER RIGHTCORNEROFTHE-)$)%DITORWINDOW JUSTABOVETHERIGHT HANDSCROLLBAR

161


#LICKING THE TOP PART OF THIS BUTTON THIS WILL INCREASE THE VERTICAL ZOOM AND CLICKINGTHELOWERHALFWILLDECREASETHEVERTICALZOOMFOR-)$)NOTES ! SECOND PAIR OF hv AND hv BUTTONS LOCATED JUST BENEATH THE SCROLLBAR AT THE RIGHT HAND SIDE OF THE WINDOW ACTS AS A 6ERTICAL :OOM CONTROL FOR THE !UTOMATIONAND#ONTROLLERLANESTHATRUNBELOWTHE.OTESPANE

Timebase and Conductor rulers 9OUCANCHOOSEWHICH4IMEBASEAND#ONDUCTORRULERSTOVIEWINEACH-)$) %DITOR WINDOW INDEPENDENTLY OF EACH OTHER AND INDEPENDENTLY OF THE MAIN %DIT WINDOW USING THE POP UP SELECTOR JUST UNDERNEATH THE 3OLO AND -UTE BUTTONS 9OU CAN ALSO VIEW DIFFERENT TIME LOCATIONS FROM THE MAIN %DIT WIN DOWINONEORMORE-)$)%DITORWINDOWS ANDTHESECANBESETTODIFFERENT ZOOMLEVELS

Figure 4.73 -)$) %DITORWINDOWSHOWING 4IMEBASEAND#ONDUCTOR RULERS

The Superimposed notes view 4HE -)$) %DITOR WINDOWS ALLOW YOU TO VIEW AND EDIT -)$) NOTES FROM DIFFERENT-)$)AND)NSTRUMENTTRACKSATTHESAMETIME ALLTOGETHER SUPERIM POSED IN THE SAME WINDOW 4O DISTINGUISH NOTES FROM DIFFERENT TRACKS THESE CANBECOLOR CODEDBY4RACKORBY6ELOCITYUSINGTWOBUTTONSATTHETOPLEFT OFTHE-)$)%DITORWINDOW JUSTBELOWTHERULERS 4HE FIRST BUTTON LETS YOU ENABLE THE h#OLOR #ODE -)$) .OTES BY 4RACKv FEA TURE7HENTHISISENABLED TRACKSINTHE-)$)%DITORARETEMPORARILYASSIGNED ONEOFFIXEDCOLORS INTHEORDERTHEYAPPEARINTHETRACKLIST

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Working with MIDI

Figure 4.74 -)$)%DITOR COLORCODEDBY4RACK

4HESECONDBUTTONLETSYOUENABLETHEh#OLOR#ODE-)$)NOTESBY6ELOCITYv FEATURE7HENTHISISENABLED ALLTHE-)$)NOTESAREALLDISPLAYEDINRED BUT THECOLORSATURATIONVARIESFROMLIGHTREDFORLOWVELOCITIESTODARKREDFORHIGH VELOCITIES BASEDONTHE.OTE/NVELOCITIES

Figure 4.75 #OLORCODED BYVELOCITY

7HENNEITHERBUTTONISENABLED -)$)NOTESAREDRAWNUSINGTHESAMECOLORS THEYAREINTHE%DITWINDOW USINGTHECOLORCODINGOPTIONSTHATYOUCANSET INTHE4RACK#OLOR#ODINGSETTINGSINTHE$ISPLAY0REFERENCES

Figure 4.76 Display 0REFERENCES#OLORCODING OPTIONS

4.12 The Score Editor /NEOFTHEBESTNEWFEATURESFORMUSICPRODUCTIONIN0RO4OOLSISTHE3CORE %DITOR!NYONEWHOREADSANDWRITESCONVENTIONALMUSICNOTATIONWILLIMME DIATELYREALIZETHEBENEFITOFTHIS*USTASKTHEGUITARPLAYERTOREADTHECHORDS 163


ONSCREEN OR PRINT OFF A COPY OF THE CHORD SHEET SO HE OR SHE CAN LEARN THE PART ORSKETCHOUTABASSPARTUSING-)$) THENPRINTTHISOUTANDASKABASS PLAYERTOTURNTHISINTOAhPROPERvBASSPART0UTSOMESTRINGSORBRASSPARTS TOGETHERnYOUGETTHEIDEAx )TWONTTAKEYOULONGTOLEARNHOWTOUSETHE3CORE%DITOREITHERnITHASONE MAIN WINDOW WITH A SIMPLE TOOL PALETTE AND JUST A COUPLE OF DIALOG BOXES TO LET YOU ADJUST THINGS LIKE THE PAGE LAYOUT FOR PRINTING 4HE TOOLS ARE THE SAME ONES THAT YOU WILL RECOGNIZE FROM THE %DIT WINDOW n THE :OOMER THE 4RIMMER THE3ELECTOR THE'RABBER ANDTHE0ENCILnSOIFYOUKNOW0RO4OOLS ALREADY YOU WILL KNOW HOW TO USE THESE %VERYTHING IS VERY INTUITIVE )F YOU SEE SOMETHING YOU WANT TO CHANGE SUCH AS THE 4ITLE OR A #LEF OR A 4IME 3IGNATURE JUSTDOUBLE CLICKITANDITWILLUSUALLYOPENUPADIALOGWINDOWTO LETYOUCHANGEITIMMEDIATELY

Using the Score Editor 4O GET STARTED WITH THE 3CORE %DITOR YOU COULD RECORD SOME PIANO OR SYNTHESIZERPADCHORDS ORIMPORTA-)$)FILE SOTHATYOUHAVESOMEMUSICTO WORKWITH !QUICKWAYTOGETSOMEMUSICINTOTHE3CORE%DITORBEFOREYOUHAVELEARNED HOWTOUSEITSSPECIALIZEDTOOLSISTOENTERTHECHORDSFORYOURMUSICUSINGTHE #HORDSRULER !FTERYOUHAVEENTEREDTHECHORDS CREATEANEW-)$)TRACKIFTHEREISNOTONE ALREADY THERE AND OPEN THE 3CORE %DITOR (ERE YOU WILL SEE THE CHORDS LAID OUTABOVETHEDEFAULTMUSICSTAVES"UTTHEREWILLPROBABLYBELOTSOFEMPTY BARSAFTERTHEMUSICHASFINISHED4OFIXTHIS JUSTCLICKTHE$OUBLE"ARLINEBUT TONTHATYOUWILLFINDAMONGTHETOOLSATTHETOPOFTHE3CORE%DITORWINDOW ANDTHISWILLCREATEADOUBLEBARLINEMARKINGATTHEENDOFYOURSCORE ANDTHE UNUSEDBARSWILLDISAPPEARFROMTHESCREEN

Figure 4.77 Entering a $OUBLE"ARLINEATTHEEND OFTHEMUSIC

)F YOU HAVE USED A LOT OF CHORDS AND ESPECIALLY IF YOU ARE NOT A GUITARIST YOU PROBABLY WONT WANT TO CLUTTER UP YOUR SCORE WITH LOTS OF GUITAR CHORD DIAGRAMS4OGETRIDOFTHESE OPENTHE3CORE3ETUPDIALOGBYDOUBLE CLICKING ONTHE4ITLEINTHE3CORE%DITORWINDOW(ERE YOUCANUNTICK#HORD$IAGRAMS INTHE$ISPLAYSECTIONSOTHATTHESEWILLNOTBEDISPLAYED9OUCANALSOENTER THETITLEANDTHECOMPOSERCREDITINTHE)NFORMATIONSECTION

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Working with MIDI

Figure 4.78 Part of THE3CORE3ETUPDIALOG SHOWINGTHE)NFORMATION AND$ISPLAYOPTIONS

!TTHEBOTTOMRIGHTOFTHE3CORE%DITOR YOUWILLFINDTHE3COREZOOMERARROWS 9OUCANUSETHESETOSIZEUPTHESCORESOTHATYOUCANSEEJUSTWHATYOUNEED TOSEEINTHEWINDOW

Figure 4.79 Score :OOMER

4AKE A LOOK AT THE ACCOMPANYING SCREENSHOT TO SEE HOW THE 3CORE %DITOR WINDOWMIGHTLOOKWHENYOUHAVESETEVERYTHINGUPTHISWAY WITHTHEPIANO CHORDSVISIBLEABOVETHEPIANOSTAVE

Figure 4.80 Piano CHORDSREVEALEDINTHE 3CORE%DITOR

4HE VERTICAL BLUE LINE IS CALLED THE #URSOR ,OCATION )NDICATOR 4HIS INDICATES WHERETHEMUSICWILLSTARTFROMWHENYOUPRESSTHE3PACEBARORCLICK0LAYON THE4RANSPORT)FYOUWANTTOMOVETHIS YOUCANEITHERTYPEANOTHERLOCATION INTOTHE-AIN#OUNTERORJUSTUSETHEMOUSETOGRABITANDMOVEITTOWHER EVERYOUWOULDLIKETOSTARTPLAYBACKFROM When you play back the music, a separate playback cursor appears in the 3CORE%DITORWINDOWANDMOVESTHROUGHTHESCOREASTHESESSIONPLAYSBACK 4HISISALITTLETHINNERANDISBLACK NOTBLUE SOYOUWONTGETTHEMCONFUSED

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Figure 4.81 Playback Cursor visible near the ENDOFBAR

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9OUWILLNEEDPLENTYOFSCREENSPACEIFYOUWANTTOSEELOTSOFTHE3CORE%DITOR ONSCREEN ESPECIALLYIFYOUAREUSINGLOTSOFINSTRUMENTS!SECONDMONITOR OR EVENAvMONITOR WOULDBEGOODTOHAVE)FYOUAREUSINGASMALLERMONITOR YOUMAYNOTBEABLETOSEETHEWHOLESCORE BUTYOUCANRESIZETHE3CORE%DITOR TOSHOWJUSTONEORTWOLINESOFTHESCOREANDSETITTOSCROLLDURINGPLAYBACK

3CORE%DITORPOP UPMENU )N THE TOP RIGHT HAND CORNER OF THE 3CORE %DITOR WINDOW THERE IS A POP UP MENUTHATLETSYOUCHOOSEWHETHERORNOTTOSHOWTHE3ELECTION$ISPLAYAND THE%XPANDED%DIT4OOLSINTHETOOLBARTHATRUNSALONGTHETOPOFTHEWINDOW

Figure 4.82 /PENING THE3CORE%DITOR-ENU

)T ALSO LETS YOU OPEN THE 4RACKS ,IST AT THE LEFT OF THE WINDOW WHICH ALLOWS YOUTOSHOWORHIDEYOUR-)$)TRACKSINTHE3CORE%DITOR ANDLETSYOUSETTHE 3CROLLINGOPTIONSFORTHE3CORE%DITORWINDOW

Figure 4.83 The Score %DITOR-ENU

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Working with MIDI

!SYOUADDMORE-)$)OR)NSTRUMENTTRACKS THESEWILLSHOWUPINTHE3CORE %DITOR USING THE DEFAULT PIANO STAVE 4O CHANGE THESE TO SINGLE STAVES YOU CANEITHERSELECTh.OTATION$ISPLAY4RACK3ETTINGSvFROMTHE4RACKS,ISTPOP UP MENUINTHE3CORE%DITORORJUST$OUBLE CLICKA#LEFONA3TAFF

Figure 4.84 4RACKS,IST POP UPMENU

4HE4RACKS,ISTPOP UPMENULETSYOUSHOWORHIDESELECTEDTRACKSORALLTRACKS ANDLETSYOUACCESSTHE3CORE%DITORSTWOMAINDIALOGWINDOWSFOR.OTATION $ISPLAY4RACK3ETTINGSAND3CORE3ETUP

Figure 4.85 4RACKS,IST POP UPMENU

Setting the Clef )N THE .OTATION $ISPLAY 4RACK 3ETTINGS WINDOW YOU WILL FIND A POP UP SELEC TORTHATLETSYOUCHOOSEBETWEENTHE'RAND3TAFFTHATYOUUSEFORPIANO HARP ORGAN ANDOTHERKEYBOARDINSTRUMENTS ORTHE4REBLE "ASS !LTO AND4ENORCLEFS USEDFORINSTRUMENTSSUCHASBASS DRUMS PERCUSSION VOCALS STRINGS ORBRASS

Figure 4.86 Part of the .OTATION$ISPLAY4RACK 3ETTINGSDIALOGSHOWING THECLEFSETTINGS

167


Drum notation -USIC FOR KIT DRUMS IS TYPICALLY WRITTEN USING THE BASS CLEF AND THE STANDARD FIVE LINE MUSICAL STAFF 4HE HI HAT OR CYMBAL NOTES ARE USUALLY WRITTEN ABOVE THETOPLINEOFTHESTAFF ATMUSICALPITCH" WRITTENWITHSTEMMED8S9OUWILL SOMETIMESSEETHELETTERSh/0vTOINDICATEOPENANDh#,vTOINDICATECLOSED WRITTEN OVER THE HI HAT )F THERE IS NO INDICATION THE HI HAT REMAINS CLOSED 4HE SMALL TOM TOM IS INDICATED BY A NOTE HEAD PLACED IN THE TOP SPACE CORRESPONDINGTOTHEMUSICALPITCH'THESNAREISINTHESPACEBELOWATMUSI CALPITCH%THELARGETOM TOMISBELOWTHISINTHESPACEATMUSICALPITCH# WITHTHEBASSDRUMINTHESPACEBELOWTHISATMUSICALPITCH!4HEHI HATMAY ALSOBEFOUNDINTHESPACEBELOWTHELOWESTLINEATMUSICALPITCH& ESPECIALLY IFTHETOPLINEOF8SISBEINGUSEDFORTHERIDECYMBAL4HERECANBEVARIATIONS TO THIS SCHEME WITH DRUMS WRITTEN ON THE LINES INSTEAD OF IN THE SPACES OR WITHTWOSEPARATEBASSCLEFSTAVESFORCLARITYnUSUALLYTHEREWILLBENOTESWITH THEMUSICTHATEXPLAINALLTHIS

Figure 4.87 Clefs set correctly for piano, DRUMS ANDDOUBLEBASS

(IDINGTRACKS 4OHIDE-)$)OR)NSTRUMENTTRACKSTHATYOUDONTNEEDTOSEEATANYPARTICULAR TIME OPENTHE4RACKS,ISTANDCLICKONTHESMALLBLACKDOTTOTHELEFTOFANY TRACKYOUWANTTOHIDE4HISWILLIMMEDIATELYDISAPPEARFROMTHE3CORE%DITOR WINDOW

Figure 4.88 (IDING TRACKS

168

Working with MIDI

Using the Notation Tools 4OINSERTANOTE YOUJUSTCHOOSETHE0ENCILTOOL SELECTANOTEDURATIONUSING THEPOP UPSELECTORTOTHERIGHTOFTHE0ENCILTOOL THENCLICKATTHEPITCHAND TIMING LOCATION WITHIN A BAR WHERE YOU WANT THE NOTE TO APPEAR 2ESTS WILL AUTOMATICALLYBEINSERTEDELSEWHEREINTHEBAR 7HENEVER YOU INSERT OR EDIT A NOTE IN THE 3CORE %DITOR THIS NOTE WILL ALSO APPEARONORBECHANGEDIN A-)$)OR)NSTRUMENTTRACKINBOTHTHE%DITAND -)$)%DITORWINDOWSnITSALLTHESAME-)$)DATA

Figure 4.89 Selecting a -)$).OTE$URATION

)FYOUWANTTOHEARTHE-)$)NOTESPLAYWHENYOUCLICKONTHESEINTHESCORE CLICKONTHESPEAKERICONTOTHERIGHTOFTHE-)$).OTE$URATIONSELECTORAND LEAVETHISHIGHLIGHTED4HEN WHENYOUCLICKONANYNOTEINTHE3CORE%DITOR YOUWILLHEARITPLAYBACKnASSUMINGTHATTHE-)$)OR)NSTRUMENTTRACKTHATIT ISBASEDONISSETUPTOPLAYBACKCORRECTLY

Figure 4.90 5SINGTHE 0ENCILTOOLTOINSERTNOTES

Trimming notes )F YOU WANT TO LENGTHEN OR SHORTEN A NOTE JUST USE THE TRIMMER TOOL AS YOU WOULDWITHA-)$)NOTEORANAUDIOREGION

Figure 4.91 Trimming ANOTE

)FYOUPOINTATASELECTED.OTE/NTHESTAFF DRAGGINGTOTHELEFTWILLMAKEIT SHORTERANDDRAGGINGTOTHERIGHTWILLLENGTHENIT 169


Figure 4.92 5SINGTHE Trimmer tool to lengthen ANOTE

7HENYOUGETUSEDTOWORKINGTHISWAY ITWONTTAKEYOUTOOLONGTOENTERA COMPLETEBASSPARTFORASONG

Figure 4.93 4HEDOUBLE BASSPARTFORMYNEW ARRANGEMENTLAIDOUTIN THE3CORE%DITOR

Copying notes #OPYING NOTES IS EASY ENOUGH &OR EXAMPLE ) DECIDED TO COPY SOME OF THE BASS NOTES IN MY FIRST ARRANGEMENT TO CREATE A MATCHING DRUM PART &IRST ) USED THE .OTE 3ELECTOR TOOL TO SELECT THE NOTES IN THE SCORE DRAGGING THE CURSORACROSSTHENOTESTOHIGHLIGHTTHEMINBLUE

Figure 4.94 Selecting NOTESUSINGTHE.OTE 3ELECTOR4OOL

170

Working with MIDI

7ITHTHENOTESSELECTED )USEDTHESTANDARD#OPYAND0ASTECOMMANDSFROM THECOMPUTERKEYBOARDTOCOPYTHESETOAN)NSTRUMENTTRACKTHAT)HADSETUP FORTHEDRUMS

Figure 4.95 .OTES COPIEDTOTHE$RUMS TRACK

C

No t e

"EFORE PASTING THE NOTES AT A SPECIFIC LOCATION YOU NEED TO MAKE SURE THAT THE #URSOR ,OCATION )NDICATOR IS POSITIONED AT THE CORRECT LOCATION WITHINTHEBAR9OUCANJUSTDRAGTHEBLUE#URSOR,OCATION)NDICATORTOANY LOCATIONYOULIKEWITHINABAR!LTERNATIVELY YOUCANJUSTTYPETHELOCATION INTOTHE-AIN#OUNTER

Moving notes 9OU CAN USE THE 'RABBER TOOL TO MOVE SELECTED NOTES TO ANY OTHER TIME OR PITCHLOCATIONONTHESAMETRACK7ITHTHE'RABBERTOOLSELECTED SIMPLYCLICK ANDDRAGTOMOVETHENOTES

Figure 4.96 Moving .OTESUSINGTHE'RABBER 4OOL

9OUCANALSOMOVENOTESTOANOTHERTIMEORPITCHLOCATIONONTHESAMETRACK USINGTHE0ENCILTOOL4HISCHANGESINTOAPOINTINGFINGERTHATYOUCANUSETO GRAB AND MOVE NOTES WHEN YOU POINT THE MOUSE AT EXISTING NOTES WITH THE 0ENCILTOOLSELECTED

171


Figure 4.97 5SINGTHE Pencil tool to move a NOTE

Transposing instruments !hTRANSPOSINGINSTRUMENTvISAMUSICALINSTRUMENTFORWHICHMUSICISWRITTEN ATADIFFERENTPITCHTHANTHE PITCH THAT YOU WILL HEAR WHEN THE INSTRUMENT IS PLAYED4HEREARETWOCOMMONREASONSWHYTHISISDONEEITHERTOMAKETHE MUSIC EASIER TO READ OR TO MAKE THE FINGERINGS ON THE INSTRUMENT EASIER TO LEARNANDPLAY!LSO SOMETIMESBOTHOFTHESEREASONSAPPLY )F AN INSTRUMENT HAS A VERY HIGH OR VERY LOW RANGE THE MUSIC IS TYPICALLY WRITTENEITHERANOCTAVEHIGHERORLOWERTHANITACTUALLYSOUNDSTOREDUCETHE USE OF LEDGER LINES %XAMPLES SOUNDING AN OCTAVE HIGHER INCLUDE THE CELESTE AND THE XYLOPHONE PICCOLO AND TIN WHISTLE %XAMPLES SOUNDING AN OCTAVE LOWERINCLUDETHEGUITAR BASSGUITAR DOUBLEBASS ANDBASSFLUTE3OMEINSTRU MENTS WITH EXTREMELY HIGH OR LOW RANGES SUCH AS THE GLOCKENSPIEL USE A TWO OCTAVE TRANSPOSITION )NSTRUMENTS THAT hTRANSPOSE AT THE OCTAVEv IN THIS WAYDONTPLAYINADIFFERENTKEYFROMCONCERTPITCHINSTRUMENTS INSTEADTHEY JUSTSOUNDANOCTAVEHIGHERORLOWERTHANWRITTEN&OREXAMPLE MUSICFORTHE DOUBLEBASSISWRITTENONTHEBASSCLEF ONEOCTAVEHIGHERTHANCONCERTPITCH ANDMUSICFORTHEGUITARISWRITTENONTHETREBLECLEF ONEOCTAVEHIGHERTHAN CONCERTPITCH-USICFORTHEPICCOLO ONTHEOTHERHAND ISWRITTENONTHETRE BLECLEF ONEOCTAVELOWERTHANCONCERTPITCH 4HE INSTRUMENTS IN FAMILIES OF DIFFERENT SIZED INSTRUMENTS SUCH AS THE SAXO PHONE CLARINET AND FLUTE HAVE DIFFERING RANGES OF NOTES THAT THEY CAN PLAY AND THESE INSTRUMENTS SOUND LOWER AS THEY GET LARGER 3O THAT A PLAYER CAN play any member of a particular instrument family using the same fingerings, THESEINSTRUMENTSARETRANSPOSED BASEDONTHEIRRANGE SUCHTHATEACHWRITTEN NOTEISFINGEREDTHESAMEWAYONEACHINSTRUMENT4RANSPOSINGINSTRUMENTSOF THIS TYPE ARE OFTEN REFERRED TO AS BEING IN A CERTAIN hKEY v SUCH AS THE HORN IN&4HISINSTRUMENTKEYDETERMINESWHICHPITCHWILLSOUNDWHENTHEPLAYER PLAYS A NOTE WRITTEN AS # 3O FOR EXAMPLE IF YOU PLAY A WRITTEN # ON THE &RENCHHORNHORNIN& ITWILLSOUNDTHENOTE&ANDIFYOUPLAYAWRITTEN#ON THE"BCLARINET YOUWILLHEARA"BNOTE!LLTHEOTHERNOTESONATRANSPOSING INSTRUMENTWILL CORRESPONDINGLY SOUNDATDIFFERENTPITCHESTHANWRITTEN (ERE ARE SOME COMMON EXAMPLES )NSTRUMENTS IN "B INCLUDE THE 3OPRANO 3AXOPHONE THE "B #LARINET THE 4RUMPET AND THE &LUGELHORN AND SOUND A MAJORSECONDLOWERTHANWRITTEN)NSTRUMENTSIN'INCLUDETHE!LTO&LUTEAND 172

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SOUND A PERFECT FOURTH LOWER THAN WRITTEN )NSTRUMENTS IN & INCLUDE THE #OR !NGLAIS AND THE &RENCH HORN AND SOUND A PERFECT FIFTH LOWER THAN WRITTEN )NSTRUMENTSIN%BINCLUDETHE!LTO3AXOPHONEANDSOUNDAMAJORSIXTHBELOW WHATISWRITTEN,OW BASSINSTRUMENTSIN"BINCLUDETHE4ENOR3AXOPHONEAND THE "B "ASS #LARINET WHICH IS SOMETIMES WRITTEN IN TREBLE CLEF AND SOUND ANOCTAVEANDAMAJORSECONDBELOWWHATISWRITTEN"ASSINSTRUMENTSIN%B INCLUDETHE"ARITONE3AXOPHONEANDSOUNDANOCTAVEANDAMAJORSIXTHBELOW WHATISWRITTEN6ERYLOW BASSINSTRUMENTSIN"BINCLUDETHE"ASS3AXOPHONE ANDSOUNDTWOOCTAVESANDAMAJORSECONDBELOWWHATISWRITTEN

How the Score Editor handles transposing instruments 4HE3CORE%DITORLETSYOUTAKEACCOUNTOFTRANSPOSINGINSTRUMENTSBYALLOWING YOUTODISPLAYNOTESFORANYTRACKWITHATRANSPOSITIONTHATDOESNOTAFFECTTHE -)$)NOTESnITJUSTDISPLAYSTHEPITCHESDIFFERENTLYINTHE3CORE%DITOR 9OUCANSETTHESEDISPLAY ONLYTRANSPOSITIONSUSINGTHE.OTATION$ISPLAY4RACK 3ETTINGSWINDOW4HE+EYPOP UPSELECTORLETSYOUCHOOSETHE+EY3IGNATURE THATWILLBEDISPLAYEDANDTHE/CTAVESLIDERLETSYOUTRANSPOSEUPORDOWNBY ONEORTWOOCTAVESINEITHERDIRECTION 7ITHA"ASS#LARINETTRACKRECORDEDUSINGA-)$)INSTRUMENTTOSOUNDATTHE CORRECTPITCH FORINSTANCE YOUWOULDSETTHE+EYPOP UPTO" FLATANDSETTHE /CTAVESLIDERTO4HEN IFYOUPRINTOUTTHE"ASS#LARINETPART AMUSICIAN WILLBEABLETOREADTHEPARTEASILYANDTHEPITCHWILLSTILLSOUNDCORRECTLYnA MAJORNINTHBELOWWHERETHEPARTISWRITTEN

Figure 4.98 .OTATION $ISPLAY4RANSPOSITION

4O GET MUSIC NOTATION INTO THE 3CORE %DITOR YOU CAN EITHER WRITE THE NOTES DIRECTLYINTOTHE3CORE%DITORORRECORDTHEMONTOA-)$)OR)NSTRUMENTTRACK USINGSTEPENTRYORUSINGA-)$)KEYBOARD9OUDONTHAVETOASSIGNTHEOUT PUT OF THE -)$) TRACK TO ANY INSTRUMENT IF ALL YOU WANT TO DO IS TO SEE THE MUSICNOTATION BUTMOSTPEOPLEWILLPROBABLYFINDITVERYCONVENIENTTOPLAY

173


THEPARTUSINGAVIRTUALORREAL-)$)INSTRUMENTSOTHATTHEYCANHEARHOWTHIS SOUNDSWHILETHEYAREBUILDINGUPTHEARRANGEMENT

C

Tip

)F YOU ONLY WANT TO GET NOTES INTO THE 3CORE %DITOR SO THAT YOU CAN PRINT THESE OUT FOR A MUSICIAN TO READ YOU MIGHT AS WELL GO AHEAD AND WRITE THESE AT THE TRANSPOSED PITCHES IN THE TRANSPOSED KEY 4HEN WHEN YOU PRINT THIS OUT THE MUSICIAN WILL JUST PLAY WHAT HE SEES WHILE THE SOUND FROMHISINSTRUMENTWILLBEATTHECORRECTPITCH

Preparing the Score for a Musician to read 7HENYOURECORDAMUSICALPARTWITHAPARTICULAR-)$)ORVIRTUALINSTRUMENT ESPECIALLY IF THERE IS AN ELEMENT OF hSWINGv OR A LOT OF COMPLEXITY IN THE RHYTHMS THISCANLOOKMUCHTOODIFFICULTFORAMUSICIANTOREADWHILETHEYARE TRYINGTOPLAYTHIS #OMPOSERS AND ARRANGERS OFTEN SIMPLIFY THE MUSIC NOTATION TO SOME EXTENT WHEN THEY ARE PREPARING PARTS FOR MUSICIANS TO PLAY -USICIANS UNDERSTAND THISANDWILLINTERPRETSTRAIGHTNOTESTHATAREINTENDEDTOBEhSWUNGvACCORD INGTOTHEDIRECTIONSOFTHELEADER MUSICALDIRECTOR ARRANGER ORPRODUCERnOR ACCORDING TO HOW THEY FEEL THE MUSIC SHOULD BE PERFORMED 4HEY WILL MAKE DECISIONS ABOUT EXACTLY HOW LONG TO SUSTAIN THE NOTES AND WHAT ACCENTS TO GIVE THE NOTES IN THE SAME WAY n GUIDED BY WHOEVER IS DIRECTING THEIR PER FORMANCEORACCORDINGTOTHEIROWNEXPERIENCE !CCORDINGLY THE 3CORE %DITOR ALLOWS YOU TO CHOOSE A h$ISPLAY 1UANTIZATIONv SOTHATTHENOTESINTHESCOREAREEASIERFORAHUMANTOREAD WHILETHEUNDER LYING -)$) DATA CAN USE WHATEVER QUANTIZATION IS APPROPRIATE SO THAT THE SOUNDSPRODUCEDBY-)$)ORVIRTUALINSTRUMENTSARECORRECT

$ISPLAY1UANTIZATION 4HE.OTATION$ISPLAY4RACK3ETTINGSWINDOWHASTWOTABSTHATLETYOUSETGLO BAL $ISPLAY 1UANTIZATION AND OTHER ATTRIBUTES FOR ALL THE TRACKS OR INDIVIDUAL $ISPLAY1UANTIZATIONATTRIBUTESFORINDIVIDUALTRACKS

Individual attributes "Y DEFAULT ALL THE TRACKS USE THE GLOBAL ATTRIBUTES SO IF YOU CLICK ON THE !TTRIBUTES TAB YOU WILL SEE THAT h&OLLOW 'LOBALSv IS SELECTED AND THE VARIOUS ATTRIBUTESAREGRAYEDOUT

174

Working with MIDI

)F YOU WANT TO SET THESE ATTRIBUTES INDIVIDUALLY FOR A PARTICULAR TRACK CHOOSE THE!TTRIBUTESTAB MAKESURETHISTRACKISSELECTEDINTHE4RACKPOP UPATTHE TOP OF THE .OTATION $ISPLAY 4RACK 3ETTINGS WINDOW DESELECT &OLLOW 'LOBALS THENGOAHEADANDSETTHEATTRIBUTESTHATYOUWANTFORTHISTRACK

Figure 4.99 .OTATION Display Attributes set to h&OLLOW'LOBALSv

Global attributes )FYOUCHOOSETHE'LOBALSTAB YOUCANSETTHEVARIOUSATTRIBUTESTHATYOUWANT TOAPPLYTOALLTHETRACKSTHATARENOTINDIVIDUALLYSETUP

Figure 4.100 .OTATION $ISPLAY'LOBAL!TTRIBUTES

The attributes 4HE MAIN ATTRIBUTE THAT YOU WILL SET IS THE $ISPLAY 1UANTIZATION USING THE POP UPSELECTORPROVIDED

Figure 4.101 Display 1UANTIZATIONPOP UP SELECTOR

175


)FYOUCHOOSETHIRTY SECONDNOTEQUANTIZATION FOREXAMPLE THETHIRTY SECOND NOTESUBDIVISIONSCANBEDIFFICULTTOREADATAGLANCEWHENSIGHT READING

Figure 4.102 NOTE QUANTIZATION

)F YOU SET THE $ISPLAY 1UANTIZATION TO SIXTEENTH NOTES IT DOESNT AFFECT THE -)$)DATAINTHETRACK BUTITDOESMAKETHEMUSICEASIERTOREADnESPECIALLY FORASESSIONMUSICIANORBANDMEMBERWHOISFEELINGTHEPRESSUREOFTHEhRED LIGHTvINTHESTUDIO

Figure 4.103 3IXTEENTH NOTEQUANTIZATION

!CHECKBOXFORh3TRAIGHTEN3WINGvLETSYOUSETSWUNGNOTESTOBEDISPLAYED ASSTRAIGHTNOTATION)FYOUSELECTTHISBOX ARUNOFSWUNGEIGHTHNOTESWOULD BEDISPLAYEDASSTRAIGHTEIGHTHNOTES FOREXAMPLE 3OMETIMES TWONOTESTHATSTARTATDIFFERENTTIMESOVERLAP)FTHISHAPPENS THE FIRSTNOTEWILLBETRUNCATEDWHENTHESECONDNOTEBEGINS)FTHEh!LLOW.OTE /VERLAPvCHECKBOXISSELECTED THE3CORE%DITORWILLDISPLAYTHEFULLLENGTHOF ANYOVERLAPPINGNOTESUSINGTIEDNOTES 9OU CAN ALSO SET A 3PLIT 0OINT TO DIVIDE NOTES BETWEEN THE TREBLE AND BASS CLEFS 7HEN THE #LEF FOR THE SELECTED TRACK IS SET TO 'RAND 3TAFF THE SELECTED 3PLIT0OINTSETTINGDETERMINESTHEPITCHATWHICHTHENOTESAREPLACEDINEITHER THEUPPERORLOWERSTAFFOFTHE'RAND3TAFF )FYOUCLICKINTHEBUTTONMARKEDh!UTOMATIC vTHENOTESWILLBESPLITBETWEEN THE UPPER AND LOWER STAVES OF THE 'RAND 3TAFF BASED ON LOGICAL NOTE GROUP INGS )F YOU CLICK IN THE BUTTON MARKED h&IXED v YOU CAN USE THE ASSOCIATED ALPHANUMERICFIELDTOSPECIFYAFIXEDPITCHATWHICHTOSPLITNOTESBETWEENTHE UPPERANDLOWERSTAVESOFTHE'RAND3TAFF

Printing the Score 7HENYOUHAVEPREPAREDALLTHETRACKSINTHE3CORE%DITORTOLOOKTHEWAYTHAT THEYSHOULD THEREARESTILLACOUPLEOFTHINGSTHATYOUMAYNEEDTOATTENDTO IN THE 3CORE 3ETUP WINDOW BEFORE YOU PRINT OUT THE INDIVIDUAL TRACKS OR THE COMPLETESCORE 176

Working with MIDI

$ISPLAY/PTIONS 3PACING AND,AYOUT )NTHE3CORE3ETUPWINDOW YOUCANCHOOSEWHETHERTODISPLAYTHE4ITLEAND #OMPOSERCREDITS THE4RACKNAMES THEPAGENUMBERS THEBARNUMBERS THE CHORDSYMBOLS ORTHECHORDDIAGRAMS!S)MENTIONEDEARLIER YOUWOULDNOT WANTTOCLUTTERUPTHEPAGESWITHGUITARCHORDDIAGRAMSUNLESSYOUREALLYDO NEEDTHESE%VENMOREIMPORTANTLY YOUCANADJUSTTHESPACINGBETWEENTHE VARIOUSELEMENTSONTHEPAGEANDADJUSTTHELAYOUTTOMAKESURETHATEVERY THINGISASEASYTOREADASPOSSIBLE 4O OPEN THE 3CORE 3ETUP WINDOW EITHER CHOOSE 3CORE 3ETUP FROM THE &ILE MENUORSELECT3CORE3ETUPFROMTHE4RACKSMENUINTHE3CORE%DITORWINDOW ORYOUCANSIMPLYDOUBLE CLICKONTHE4ITLE )NTHE3PACINGSECTION YOUCANENTERTHESPACINGYOUWANTTOUSEBETWEEN THESTAVESANDBETWEENSYSTEMSOFSTAVES9OUCANALSOSPECIFYTHEDISTANCETO LEAVEBELOWTHE4ITLEAND#OMPOSERCREDITSANDTHEFIRSTSTAFFOFTHESCOREAND BELOWTHECHORDSYMBOLSANDDIAGRAMSANDTHETOPSTAVEOFEACHSYSTEM

Figure 4.104 Score 3ETUP3PACING/PTIONS

4HE,AYOUTSECTIONHASAPOP UPSELECTORTOLETYOUCHOOSETHEPAGESIZE! 4ABLOID ,EGAL OR,ETTER9OUCANALSOCHOOSEWHETHERTOUSE0ORTRAITTALLAND NOT AS WIDE OR ,ANDSCAPE WIDE BUT NOT AS TALL PAGE ORIENTATION 9OU CAN ALSOSPECIFYTHE3TAFF3IZEANDTHE0AGE-ARGINSININCHESORMILLIMETERS

Figure 4.105 Score 3ETUP,AYOUT/PTIONS

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7HATYOUSEEISWHATYOUGET 7HENYOUHAVEEVERYTHINGELSESETUPANDREADYTOPRINTYOURSCORE ALLTHAT ISLEFTISTOCHOOSEWHETHERTOPRINTTHEWHOLESCOREORINDIVIDUALTRACKS7HAT GETS PRINTED IS WHAT YOU SEE IN THE 3CORE %DITOR SO ALL YOU NEED TO DO IS TO HIDE ANY TRACKS THAT YOU DONT WANT TO PRINT )F YOU WANT TO PRINT INDIVIDUAL TRACKS HIDEALLTHEOTHERTRACKSANDJUSTSHOWONETRACKATATIME PRINTTHIS THENSHOWTHENEXTTRACKANDPRINTTHAT ANDSOON 4O PRINT THE SCORE YOU CAN EITHER CHOOSE h0RINT 3COREv FROM THE &ILE -ENU IN0RO4OOLSORPRESS#OMMAND 0-AC OR#ONTROL 07INDOWS 9OURCOM PUTERSSTANDARD0RINTDIALOGWILLAPPEARANDYOUMAYCHOOSEFURTHEROPTIONS HEREORJUSTCLICK0RINT-AC OR/+7INDOWS TOPRINTYOURSCORE

Exporting to Sibelius 0RO4OOLSALSOLETSYOUEXPORTTHESCOREFROMYOURSESSIONASA3IBELIUSSIB FILE 9OU CAN THEN OPEN YOUR SCORE IN 3IBELIUS EDIT THE NOTATION FURTHER AND PRINT THE SCORE AND PARTS FROM 3IBELIUS 4O EXPORT A SCORE FROM 0RO 4OOLS CHOOSE h%XPORT4O 3IBELIUSv FROM THE &ILE -ENU SELECT A DESTINATION AND CLICK3AVE 9OU CAN ALSO SEND THE SCORE DIRECTLY FROM YOUR 0RO 4OOLS SESSION TO 3IBELIUS IF YOU HAVE 3IBELIUS INSTALLED ON YOUR COMPUTER 4O DO THIS YOU CAN EITHER 2IGHT CLICKINTHE3CORE%DITORANDCHOOSEh3ENDTO3IBELIUSvORCHOOSE3END TO 3IBELIUS FROM THE &ILE -ENU 0RO 4OOLS WILL EXPORT ALL THE )NSTRUMENT AND -)$)TRACKSSHOWNINTHE3CORE%DITORTO3IBELIUSASASIBFILEANDWILLLAUNCH 3IBELIUSIFITISINSTALLEDONYOURCOMPUTER!SWITHPRINTING ALLYOUNEEDTODO ISTOHIDEANYTRACKSTHATYOUDONTWANTTOEXPORT

4.13 Summary 0RO4OOLSOFFERSARICHSETOFFEATURESFORWORKINGWITH-)$)DATA)FYOUHAVE -)$)HARDWAREINYOURSTUDIO SUCHASSYNTHESIZERS SAMPLERS DRUMMACHINES KEYBOARDS OROTHERCONTROLLERS ORCONTROLSURFACESTOPROVIDEHANDS ONCON TROLFORVIRTUALINSTRUMENTSANDPLUG INS THEN0RO4OOLSPROVIDESTHETOOLSYOU NEEDTORECORDALLYOUR-)$)DATA9OUCANCHOOSEYOURMETHODnGRAPHICAL %VENTLIST OR3COREnANDUSETHEPOWERFULEDITINGFEATURESTHATAREPROVIDED INTHE%VENT/PERATIONSAND-)$)2EAL 4IME0ROPERTIESWINDOWS 4HE SEPARATE -)$) %DITOR AND 3CORE %DITOR WINDOWS PROVIDE EVEN GREATER EASE OF USE THAN THE MAIN %DIT WINDOW FOR MANY TYPES OF EDITING BUT THE MAIN%DITWINDOWALLOWSYOUTOACCESSEVERYTHINGYOUNEEDWITHOUTCLUTTER INGUPYOURSCREENUNNECESSARILY4HE-)$)%DITORHASTHEADVANTAGETHATYOU CANVIEW-)$)NOTESFROMDIFFERENTTRACKSSUPERIMPOSEDINTHESAMEWINDOW

178

Working with MIDI

IF YOU WISH n WHICH CAN BE VERY USEFUL WHEN WORKING ON COMPLEX MUSICAL ARRANGEMENTS!LSO THE3CORE%DITORHASTHEADVANTAGETHATITISVERYEASYTO USEANDCLEARTOREAD 4IMESPENTGETTINGYOUR-)$)EQUIPMENTORGANIZEDANDSETUPTOWORKWITH 0RO4OOLSANDPREPARINGTEMPLATESTHATCANBEREUSEDWILLBETIMEWELLSPENT )FYOUWORKOUTANYOFFSETSNEEDEDTOTIGHTENUPTHETIMINGASPECTSOFYOUR -)$) GEAR THIS WILL MAKE A BIG DIFFERENCE TO THE RESULTS YOU WILL BE ABLE TO ACHIEVE 9OU SHOULD ALWAYS RECORD -)$) AND VIRTUAL INSTRUMENTS AS AUDIO AS SOON IN YOUR WORKFLOW AS POSSIBLE SO THAT YOU CAN THEN RECLAIM THE $30 RESOURCES USED TO CREATE THESE FOR USE ELSEWHERE IN YOUR SESSION 4HIS MAKES IT EASIER TO TRANSFER PROJECTS TO OTHER SOFTWARE AND ENSURES THAT YOU CAN ALWAYS HEAR THESE PARTS EVEN IF YOU NO LONGER HAVE ACCESS TO THE HARDWARE OR SOFTWARE INSTRUMENTS 0RO4OOLSSTARTEDOUTASANAUDIORECORDING EDITING ANDMIXINGENVIRONMENT )TNOWOFFERSANEXTREMELYCAPABLE-)$)RECORDING EDITING ANDMIXINGENVI RONMENTASWELL

179


$ESTRUCTIVE2ECORD

0REPARING0RO4OOLSFOR

,OOP2ECORDINGAUDIO

RECORDING 2ECORDINGAUDIO !UTOMATICPUNCH INAND PUNCH OUT

0UNCH2ECORDING 3UMMARY

5 Recording

5.1 Introduction ! COMPLETE RECORDING SYSTEM INCLUDES MICROPHONES AND MICROPHONE PREAMPLIFIERS OPTIONAL SIGNAL PROCESSORS SUCH AS EQUALIZERS AND COMPRES SORS MIXING FEATURES FOR MULTIPLE MICROPHONES A RECORDING CAPABILITY WITH ENOUGH CHANNELSTRACKS PLAYBACK FACILITIES FOR EXISTING MUSIC OR FOR A CLICK TO PLAY ALONG WITH PLAYBACK FACILITIES FOR THE NEWLY RECORDED MUSIC A CUE ING SYSTEM WITH HEADPHONE AMPLIFIERS AND HEADPHONES FOR THE MUSICIANS TO HEARTHECLICKTRACKSORMUSICPLAYBACK ANDALOUDSPEAKERMONITORINGSYSTEM WITHATALKBACKSYSTEMANDCONTROLSSOTHATTHERECORDINGENGINEER PRODUCER ARRANGER OROTHERSINVOLVEDINTHERECORDINGCANHEAREVERYTHINGTHEYNEEDTO ANDCOMMUNICATEWITHTHEMUSICIANS 0RO 4OOLS SYSTEMS DO NOT INCLUDE MONITOR SPEAKERS OR MICROPHONES AND PROFESSIONAL $IGIDESIGN HARDWARE INTERFACES DONT INCORPORATE MICROPHONE PREAMPLIFIERS n THEY TYPICALLY HAVE LINE LEVEL ANALOG OR DIGITAL INPUTS n SO YOU WILL NEED TO USE ADDITIONAL $IGIDESIGN OR THIRD PARTY EQUIPMENT IN MOST RECORDING SITUATIONS $IGIDESIGN DOES OFFER THE 02% WHICH IS A HIGH QUALITY CHANNEL REMOTELY CONTROLLABLE MICROPHONE PREAMPLIFIER UNIT (OWEVER MANY RECORDING ENGINEERS AND PRODUCERS PREFER TO USE ESTABLISHED DESIGNS FROM THIRD PARTY MANUFACTURERS 3O MOST STUDIOS WILL WANT TO ADD AT LEAST A COUPLEOFHIGH QUALITYMICROPHONEPREAMPLIFIERSTOTHEEQUIPMENTLIST ALONG WITHATLEASTONEORTWOOREVENACUPBOARDFULLOF HIGH QUALITYSTUDIOMICRO PHONES IF THEY PLAN TO RECORD VOCALS GUITARS OR OTHER ACOUSTIC INSTRUMENTS !NOTHER OPTION ESPECIALLY FOR LARGER STUDIOS IS TO USE A PROFESSIONAL MIXING CONSOLE FROM .EVE 33, !0) OR OTHER QUALITY MANUFACTURERS 4HESE MIXING CONSOLES USUALLY HAVE EXTREMELY HIGH QUALITY MICROPHONE PREAMPLIFI ERSANDPLENTYOFSIGNALPROCESSORS SUCHASEQUALIZERSORCOMPRESSORS BUILT IN ! RECENT TREND FROM THIRD PARTY MANUFACTURERS IS TO PRODUCE MIXING CONSOLES THAT ARE DESIGNED ESPECIALLY TO INTERFACE WITH 0RO 4OOLS SYSTEMS SUCH AS THE

181


33,!73SERIES WHICHALSOFUNCTIONSASA$!7$IGITAL!UDIO7ORKSTATION CONTROLLER ORTHESMALLFORMAT!0) WHICHPROVIDESVINTAGE STYLEANA LOG MIC PRES AND ALONG WITH EQUALIZERS !N EXTERNAL MIXER ALSO PROVIDES LATENCY FREEMONITORINGWHILERECORDING USUALLYHASADDITIONALCONNECTIONSFOR PLAYBACKEQUIPMENT ANDTYPICALLYPROVIDESVOLUMECONTROLS DIM MONOAND MUTE SWITCHES TALKBACK FEATURES AND SWITCHING FOR CONTROL ROOM AND STUDIO MONITORSYSTEMS(EADPHONEAMPLIFIERSWITHSUITABLESETSOFHEADPHONES SUCH AS THE "EYER$YNAMIC $4 MODELS WILL BE NEEDED FOR THE MUSICIANS WHILE THEYRECORD4HERECORDINGENGINEERORPRODUCERWILLBEMOREINTERESTEDINTHE SUPER HIGH QUALITY "EYER$YNAMIC $4 HEADPHONES WHICH ARE MUCH MORE EXPENSIVETOBUY BUTWHICHPRODUCESOUNDQUALITYSIMILARTOPROFESSIONALSTU DIOMONITORS&ORTHEENGINEERANDPRODUCERINTHECONTROLROOM $IGIDESIGN OFFERSITS2EFERENCE-ONITOR3ERIESOFPOWEREDNEARFIELDMONITORS WHICHNICELY COMPLEMENT0RO4OOLSSYSTEMS/FCOURSE THEREAREPLENTYOFALTERNATIVESFROM COMPANIESSUCHAS!4#OR0-#ATTHEHIGHEND 'ENELECOR+2+INTHEMID GROUND ANDMOREAFFORDABLEMODELSFROM-ACKIEANDOTHERSATENTRYLEVEL

5.2 Preparing Pro Tools for recording )F YOU ARE JUST RECORDING ONE SINGER OR MUSICIAN SINGING OR PLAYING WITHOUT ACCOMPANIMENT AND WITHOUT A CLICK THEN ALL YOU NEED TO DO IS TO ROUTE A MICROPHONE THROUGH A SUITABLE MIC PRE VIA THE ANALOG TO DIGITAL !$ CON VERTERSINYOUR0RO4OOLSINTERFACEONTOONEAUDIOTRACK!SKTHEPERFORMERTO SINGORPLAYTHELOUDESTTHATTHEYEXPECTTHEYWILLDURINGTHERECORDING THEN SETTHEGAINONTHEMICROPHONEPREAMPLIFIERTOAVOIDDISTORTIONWHILEKEEPING THELEVELHIGHENOUGHTOMAINTAINAGOODSIGNAL TO NOISERATIO2ECORD ENABLE THETRACK PRESS0LAYAND2ECORDINTHE4RANSPORTWINDOW ANDGOAHEADWITH YOURRECORDING 7HILEYOUARELEARNINGTOUSE0RO4OOLSORTESTINGANEWLYINSTALLEDSYSTEMFOR THEFIRSTTIME ITSAGOODIDEATOPLUGAMICROPHONEINANDTRYTHISOUTFIRST!S SOONASYOUWANTTOGETALITTLEMOREAMBITIOUS RECORDINGWITHMOREMICRO PHONES ITWILLPAYYOUTOMAKEANUMBEROFOTHERPREPARATIONS&OREXAMPLE ITS ALWAYS A GOOD IDEA TO CHECK THE 0RO 4OOLS )/ SETUP WINDOW AND ENTER HELPFULNAMESFORTHE)NPUTS /UTPUTS )NSERTSAND"USSIGNALPATHS"YDEFAULT ANEWLYRECORDEDAUDIOFILEANDITSREGIONARENAMEDBASEDONTHENAMEOF THE 4RACK ONTO WHICH IT IS RECORDED 3O YOU SHOULD ALSO NAME THE TRACK OR TRACKSTHATYOUARERECORDINGONTOWITHNAMESTHATWILLMAKESENSEWHENYOU LOOKTHROUGHTHERECORDEDhTAKESvTOFINDTHESELATERONINTHE2EGIONSLIST 9OUSHOULDMAKESURETHATYOUHAVESETTHETEMPOANDMETERAPPROPRIATELY AND SET UP A CLICK TRACK FOR THE MUSICIANS TO PLAY TO )F THEY WILL BE PLAYING

182

Recording

ALONG TO EXISTING MATERIAL YOU MAY NEED TO CREATE AND ADJUST ONE OR MORE HEADPHONEMIXESANDROUTETHESEINTOTHESTUDIOFORTHEMUSICIANS)TSHOULD NEVERBEUNDERESTIMATEDHOWIMPORTANTTHEHEADPHONEMIXESCANBEIFYOU WANTTOGETTHEBESTRESULTSFROMTHEMUSICIANS)TISALWAYSAGOODIDEAFOR THE ENGINEER OR PRODUCER TO GO OUT INTO THE STUDIO AND LISTEN TO THE HEAD PHONESPERSONALLYTOMAKESURETHATEVERYTHINGIS/+/FTEN THEMUSICIANS MAY NOT BE ABLE TO SUCCESSFULLY DESCRIBE WHAT IS WRONG WITH THE SOUND OR TO RECOGNIZE FAULTS THAT WILL BE IMMEDIATELY APPARENT TO THE ENGINEER OR PRODUCER )FYOUHAVEANEXTERNALMIXERORA$!7CONTROLLERORMONITORCONTROLLERWITH TALKBACKFACILITIES YOUWILLBEABLETOTALKTOTHEARTISTFROMTHECONTROLROOM )FNOT YOUSHOULDSETUPAMICROPHONEINYOURCONTROLROOM ROUTETHISINTO AN!UXILIARY)NPUTINYOUR0RO4OOLSMIXER ANDROUTETHEOUTPUTTOTHEMUSI CIANS HEADPHONES n NOT FORGETTING TO MUTE THIS WHEN YOU ARE NOT USING IT )T CAN ALSO BE A GOOD IDEA TO SET UP AN EXTRA MICROPHONE IN YOUR RECORDING ROOM SETTOOMNISOIThLISTENSvTOEVERYTHING ANDROUTETHISINTOAN!UXILIARY CHANNEL IN YOUR 0RO 4OOLS MIXER 4HIS WAY THE MUSICIANS CAN COMMUNICATE WITHYOUEVENIFTHEIRINSTRUMENTORVOCALMICSAREMUTED

Disk space for recording $OYOUHAVEENOUGHDISKSPACETORECORDFORASLONGASYOUWILLNEEDTO0RO 4OOLSLETSYOUCHECKHOWMUCHDRIVESPACEISAVAILABLE4HE$ISK5SAGEWIN DOW AVAILABLE FROM THE 7INDOW MENU SHOWS THE AVAILABLE DRIVE SPACE FOR EACHDRIVECONNECTEDTOYOURSYSTEMASTEXTANDASAGAUGEDISPLAY

Figure 5.1 $ISK5SAGE WINDOW

9OU CAN LIMIT THE AMOUNT OF YOUR AVAILABLE HARD DISK SPACE THAT IS ALLOCATED FORRECORDINGUSINGTHE2ECORD!LLOCATIONPREFERENCESETTINGSINTHE/PERATION 0REFERENCES WINDOW 4HIS DEFAULTS TO THE /PEN %NDED h5SE !LL !VAILABLE 3PACEv SETTING BUT YOU CAN CHOOSE TO LIMIT THIS TO A SPECIFIED NUMBER OF MINUTES IF YOU WANT TO MAKE SURE THAT YOU DONT ACTUALLY USE ALL THE AVAIL ABLE SPACE )T IS NEVER A GOOD IDEA TO USE UP ALL THE AVAILABLE SPACE ON YOUR DISK DRIVES AS THIS LEAVES NO ROOM FOR MOVING THINGS AROUND OR FOR ANY SYSTEM RELATEDREQUIREMENTS 4HE RULE OF THUMB IS TO KEEP OF YOUR DISK DRIVESFREEATALLTIMES 183


Figure 5.2 Setting the 2ECORD!LLOCATIONINTHE /PERATION0REFERENCES WINDOW

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)FYOUDOCHOOSETOALLOCATEALLAVAILABLESPACE 0RO4OOLSMAYTAKEALITTLE LONGERTOBEGINRECORDING4OAVOIDTHISDELAY YOUCANPUT0RO4OOLSINTO 2ECORD0AUSEMODEBEFOREYOUSTARTTORECORD

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)N GENERAL THE h5SE !LL !VAILABLE 3PACEv PREFERENCE MAKES HARD DRIVES WORK HARDER )N ADDITION TO RECORD AND PUNCH LAG TIMES MANY SYSTEMS SEE BETTER OVERALL RECORDING PERFORMANCE WHEN THE h/PEN %NDED 2ECORD !LLOCATIONvSETTINGISLIMITED

Setting up headphone mixes )NADDITIONTOTHEMAINMIXTHATYOUWILLUSETOMONITORTHERECORDINGSINTHE CONTROLROOM YOUMAYALSONEEDTOCREATEHEADPHONEORhCUEvMIXESFORTHE MUSICIANSANDVOCALISTS4HEBESTWAYTODOTHISISTOUSE3ENDSTOROUTEAUDIO FROM EACH TRACK TO A PAIR OF AVAILABLE OUTPUTS ON YOUR AUDIO INTERFACE AND ROUTETHESEINTURNTOASUITABLEHEADPHONE MONITORINGAMPLIFIER9OUCANALSO SETUPA-ASTER&ADERTOCONTROLTHEOVERALLLEVELFORYOURCUEMIX!NDIFYOU NEED DIFFERENT HEADPHONE CUE MIXES YOU CAN USE ADDITIONAL 3ENDS -ASTER &ADERS INTERFACEOUTPUTS ANDHEADPHONEAMPLIFIERS 4O SET UP A CUE MIX FOR ALL THE TRACKS IN YOUR SESSION YOU CAN PRESS /PTION -AC OR !LT 7INDOWS AND CHOOSE ANY AVAILABLE 3END TO INSERT THIS ONTO EVERY TRACK 9OU PROBABLY WONT WANT TO INSERT A CUE 3END ON EVERY TRACK THOUGHnTHEREWILLUSUALLYBESOMETRACKSTHATITMAKESNOSENSETOROUTEINTO THEHEADPHONESFORTHECUEMIX3O MOREUSEFULLY THEREISASHORTCUTTOINSERT 3ENDSONSELECTEDTRACKSONLYFIRSTYOUSELECTALLTHETRACKSONWHICHYOUWISH TOINSERT3ENDSFORYOURCUEMIX THENPRESSTHE3HIFTKEYATTHESAMETIMEAS HOLDINGTHE/PTION-AC OR!LTKEY7INDOWS ANDCHOOSEANAVAILABLE3END /FTEN YOU WILL BE USING OUTPUT PATHS AND FROM YOUR AUDIO INTERFACE TO ROUTETHEMAINMIXFROM0RO4OOLSTOYOURMONITORS)FTHISISTHECASE OUTPUT

184

Recording

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4O SELECT A GROUP OF TRACKS 3HIFT CLICK ON THE TRACK NAMES IN THE -IX OR %DIT WINDOW 4O SELECT NONADJACENT TRACKS HOLD THE #OMMAND -AC OR #ONTROLKEY7INDOWS ANDCLICKONTHENONADJACENTTRACKS

PATHSANDMAYBEFREETOUSEFORYOURCUEMIX SOYOUWOULDROUTETHE 3ENDSTOTHESEOUTPUTS9OUWOULDTHENNEEDTOROUTETHISOUTPUTPAIRFROM YOURHARDWAREINTERFACEINTOASUITABLEHEADPHONE MONITORINGAMPLIFIERINTO WHICHYOUWOULDPLUGTHEHEADPHONES /NEWAYTOSETUPACUEMIXISASFOLLOWSSETEACHOFTHE3ENDSTOUNITYGAIN BY/PTION CLICKING-AC OR!LT CLICKING7INDOWS ONTHESENDFADERINEACH 3END WINDOW !LSO SET EACH 3END TO POSTFADER AND ENABLE THE &OLLOW -AIN 0AN&-0 BUTTONONEACHSENDSOTHATTHECUEMIXWILLHAVETHESAMEPAN NINGASTHEMAINMIX4HISLETSYOUUSETHESAMEMIXFORTHECUEASFORYOUR MAINMIX/FCOURSE YOUCANALWAYSRAISEORLOWERTHELEVELOFANYINDIVIDUAL TRACKINTHECUEMIXUSINGANINDIVIDUALSENDFADERIFTHESINGERORTHEGUITARIST WANTSTOHEARhMOREMEv

Figure 5.3 3ENDWINDOW INPOSTFADERMODESETTO UNITYGAINWITH&OLLOW -AIN0ANSELECTED

!NOTHER WAY TO SET UP A CUE MIX IS TO HOLD THE /PTION -AC OR !LT KEY 7INDOWS ANDUSETHEh#OPYTO3ENDvCOMMANDTOCOPYTHECURRENTFADER SETTINGSINTHE0RO4OOLS-IXWINDOWTOTHE3ENDS9OUWILLFINDTHISCOMMAND INTHE!UTOMATIONSUB MENUINTHE%DITMENU

185


Figure 5.4 Copy To 3ENDDIALOG Figure 5.5 Clicking ONTHE3ENDSELECTOR TOCHANGETHE3ENDS VIEW4HE3ENDSVIEWIS SHOWINGTHEINDIVIDUAL ASSIGNMENTSFOR3END# WHICHISBEINGROUTEDTO INTERFACEOUTPUTSAND INTHISEXAMPLE.OTICE THATTHEPREFADERBUTTONS AREHIGHLIGHTEDINBLUE TOINDICATETHATTHESEARE ENABLED

)FYOU#OMMAND CLICK-AC OR#ONTROL CLICK7INDOWS ONTHE3ENDSELECTOR FORANYTRACK THISWILLCHANGETHE3ENDSVIEWTOSHOWTHEINDIVIDUALASSIGN MENTSFORLEVEL PAN MUTE ANDPREPOSTFADER 9OUCAN/PTION CLICK-AC OR!LT CLICK7INDOWS ONTHE0RE0OSTBUTTONFOR ANY3ENDTOSETALLTHE0RE 0OSTBUTTONSTOPREFADERTHESEWILLBEHIGHLIGHTED IN BLUE WHEN SELECTED SO THAT THE 3END LEVELS WILL NOT BE AFFECTED BY ANY CHANGESYOUMAKETOTHEMAINMIXFADERLEVELS9OUCANALSOTWEAKTHEINDI VIDUALSENDLEVELSTOSUITTHEMUSICIANSWITHOUTAFFECTINGTHEMAINMIX )F YOU WANT TO CHANGE THE 3ENDS VIEW SO THAT YOU SEE A DIFFERENT INDIVIDUAL SENDORSOTHATYOUSEEALLFIVESENDASSIGNMENTSAGAIN #OMMAND CLICK-AC OR#ONTROL CLICK7INDOWS ONTHE3ENDSELECTORFORANYTRACKANDCHOOSEANY INDIVIDUALSENDnORCHOOSE!SSIGNMENTSTOSEETHEMALL 4OCONTROLTHEOVERALLLEVELFORTHECUEMIX CREATEANEWSTEREO-ASTER&ADER ANDSETTHISTOCONTROLTHEOUTPUTPATHSTHATYOUAREUSINGFORTHECUEMIXnIN &IGURE OUTPUTSAND

186

Recording

Figure 5.6 Choose !SSIGNMENTSFROMTHE3END SELECTORPOP UPTOSHOWALL FIVE3ENDASSIGNMENTSAT the same time – or choose ANYINDIVIDUAL3ENDTOSHOW INDIVIDUALASSIGNMENTSFOR THECHOSEN3END

Figure 5.7 -ASTER&ADER setup to control the OVERALLLEVELOFACUEMIX being sent to interface OUTPUTSAND

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)F YOU NEED ADDITIONAL CUE MIXES FOR THE DRUMMER OR FOR OTHER GROUPS OF MUSICIANS YOU CAN SET UP ADDITIONAL 3ENDS AND ROUTE THESE VIA ADDI TIONAL-ASTER&ADERSTOOTHERAVAILABLEOUTPUTSONYOURAUDIOINTERFACEIN THESAMEWAY

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)FYOUAREWORKINGWITH$ELAY#OMPENSATIONENABLED $IGIDESIGNRECOM MENDSTHATYOUDONOTUSEANYINSERTSONANY-ASTER&ADERTRACKSTHATYOU AREUSINGTOCONTROLCUEMIXLEVELS!LSO YOUSHOULDAVOIDUSINGINSERTSON ANY TRACKS THAT YOU ARE RECORDING ONTO ALTHOUGH LOW LATENCY INSERTS MAY NOTBEAPROBLEM!LWAYSCHECKTHATLATENCYISNOTAPROBLEMFORTHEMUSI CIANSANDSINGERSTHOUGHnANDNEVERFORGETTHATYOUARECREATINGTHECUE MIXTOHELPTHEPERFORMERS NOTFORYOURCONVENIENCE

187


Monitoring latency 4HEREWILLBEALWAYSSOMEDELAY TYPICALLYREFERREDTOASLATENCY BETWEENTHE AUDIO COMING INTO 0RO 4OOLS AND THE AUDIO THAT IS SENT OUT FROM 0RO 4OOLS TO YOUR MONITOR SPEAKERS !T VERY LEAST THERE WILL BE A DELAY OF A FEW SAM PLES IN LENGTH DUE TO THE !$ CONVERSION PROCESS ON THE WAY IN AND THE DIGITAL TO ANALOGPROCESSONTHEWAYOUT4HEREMAYbeOTHERLATENCYDELAYS CAUSED BY BUSSING SIGNALS AROUND WITHIN THE 0RO 4OOLS MIXER OR DUE TO ANY PROCESSINGOFTHEAUDIOSIGNALSWITHIN0RO4OOLSnWHICHWILLTAKEATLEASTSOME SMALL ADDITIONAL AMOUNTS OF TIME 3O YOU WILL ALWAYS HEAR A DELAYED VERSION OFTHEAUDIOINPUTTHROUGHYOURMONITORSPEAKERSWHENYOUAREMONITORING THROUGH0RO4OOLS 9OU ARE UNLIKELY TO BE ABLE TO HEAR THE SMALL AMOUNTS OF LATENCY CAUSED BY !$AND$!CONVERSIONS BUTYOUMAYBEABLETOHEARDELAYSCAUSEDBYBUS SINGSIGNALSINTERNALLYORDUETOPROCESSINGBYPLUG INS ANDSOMEPLUG INSCAN CAUSEQUITELONGDELAYSTHATYOUWILLHAVENOTROUBLEHEARING &OREXAMPLE 2EAL 4IME!UDIO3UITE24!3 PLUG INSUSETHEHOSTPROCESSORIN YOURCOMPUTER ANDMONITORINGLATENCYWILLOCCURIFYOUUSEANY24!3SIGNAL PROCESSINGPLUG INSONTHETRACKSYOUARERECORDINGWITH4HISISPARTICULARLY NOTICEABLEWHENYOUAREPLAYING24!3VIRTUALINSTRUMENTSANDMONITORINGTHE INSTRUMENTS AUDIO OUTPUT WHICH WILL SUFFER FROM MONITORING LATENCY WHEN THEHOSTPROCESSORRECEIVESTHE-)$)DATAANDPROCESSESTHISVIATHEPLUG INTO CREATETHEAUDIO)FTHISDELAYISCLEARLYAUDIBLE THISCANBEVERYOFF PUTTINGFOR AMUSICIANWHOISTRYINGTOOVERDUBTOANEXISTINGPERFORMANCEnBECAUSETHE MUSICALREADYRECORDEDWILLPLAYBACKATTHECORRECTTIMEWHILETHENEWPER FORMANCEWILLBEDELAYEDWITHRESPECTTOTHISDUETOTHEMONITORINGLATENCY )T IS POSSIBLE TO REDUCE THE SIZE OF THE HARDWARE BUFFER TO MINIMIZE LATENCY DELAYS9OUCANDOTHISINTHE0LAYBACK%NGINEDIALOGTHATYOUCANACCESSFROM THE3ETUPMENUnSETTINGTHE(7"UFFER3IZETOASMALLERNUMBEROFSAMPLES TOREDUCETHELATENCY(OWEVER EVENATTHESMALLESTBUFFERSIZE THEREISSTILL SOMELATENCY!LSO REDUCINGTHEBUFFERSIZELIMITSTHENUMBEROFSIMULTANEOUS AUDIOTRACKSYOUCANRECORDWITHOUTENCOUNTERINGPERFORMANCEERRORS7HEN YOU ARE RECORDING YOU WILL WANT TO SET THE SMALLEST POSSIBLE BUFFER SIZE TO COUNTERACTLATENCY BUTWHEN YOU HAVE HIGHER TRACK COUNTS WITH MORE PLUG INSYOUWILLNEEDTOUSELARGERBUFFERSIZES

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4HE LOWEST AVAILABLE (7 "UFFER 3IZE SETTING WILL BE OR SAMPLES DEPENDINGONTHE.UMBEROF6OICESSETTING&OREXAMPLE THE SAMPLEBUFFERSIZESETTINGWILLBEAVAILABLEONLYWHENTHE.UMBEROF6OICES SETTINGISVOICESDIGITALSIGNALPROCESSOR;$30= ORVOICES$30

188

Recording

Figure 5.8 Setting the (ARDWARE"UFFER3IZE

7HENAUTOMATIC$ELAY#OMPENSATIONISENABLED THISISAPPLIEDTO3ENDSAND )NSERTSTOCOMPENSATEFORMIXERDELAYSINHERENTINBUSSING3O INMOSTCASES YOUCANNOWRECORDIN0RO4OOLSWITH$ELAY#OMPENSATIONENABLEDTOMINI MIZELATENCYPROBLEMS /F COURSE YOU CAN AVOID THE LATENCY PROBLEM ALTOGETHER BY MONITORING THE RECORDINGSOURCEUSINGANEXTERNALMIXERBEFOREITISROUTEDTO0RO4OOLS0LUG YOURMICROPHONESORINSTRUMENTSINTOTHEMIXERANDYOUWILLHEARTHESOUND DIRECTLY THROUGH A CONNECTED MONITOR SYSTEM WITH NO AUDIBLE DELAY !T THE SAMETIME ROUTETHEAUDIOTOYOUR0RO4OOLSINTERFACESOTHATYOUCANRECORDIT

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)F YOU ARE MONITORING THROUGH AN EXTERNAL MIXER WHILE RECORDING DONT FORGETTODEFEATTHEMONITORINGPULLTHEFADERDOWNORENGAGETHEMUTE BUTTON FOR EACH TRACK THAT YOU ARE RECORDING IN 0RO 4OOLS /THERWISE YOUWILLHEARADELAYEDVERSIONOFTHEAUDIOMIXEDINWITHTHEUNDELAYED VERSION

Delay Compensation 7HEN YOU ARE USING PLUG INS OR HARDWARE INSERTS AND WHEN YOU ARE ROUTING AUDIOWITHINTHE0RO4OOLSMIXERUSING3ENDSANDBUSSES DELAYSCANOCCURDUE TOTHETIMENEEDEDFORTHE$30TOTAKEPLACE0RO4OOLSPROVIDESAUTOMATIC$ELAY #OMPENSATION TO COMPENSATE FOR THESE $30 DELAYS 4HIS $ELAY #OMPENSATION MAINTAINS PHASE COHERENT TIME ALIGNMENT BETWEEN TRACKS THAT HAVE PLUG INS WITHDIFFERING$30DELAYS TRACKSWITHDIFFERENTMIXINGPATHS TRACKSTHATARESPLIT OFFANDRECOMBINEDWITHINTHEMIXER ANDTRACKSWITHHARDWAREINSERTS $ELAY #OMPENSATION SHOULD ALWAYS BE USED WHILE YOU ARE PLAYING BACK AND MIXINGIN0RO4OOLS)TSHOULDALSOBEUSEDINMOSTRECORDINGSITUATIONS

189


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7HEN$ELAY#OMPENSATIONISENABLED YOUWILLHAVETOAVOIDUSINGINSERTS ON TRACKS THAT ARE BEING USED FOR RECORDING OR FOR CONTROLLING THE LEVELS OFCUEMIXES BECAUSE$ELAY#OMPENSATIONWILLCREATEANUNWANTEDTIME DIFFERENCE BETWEEN THE TRACKS PLAYING BACK FROM DISK AND ANY NEW AUDIO COMINGINTO0RO4OOLS

To enable Delay Compensation, you can either select Delay Compensation FROMTHE/PTIONSMENUORCHOOSE3HORTOR,ONG$ELAY#OMPENSATIONINTHE 0LAYBACK%NGINEDIALOGTHATYOUCANACCESSFROMTHE3ETUPMENU4HE3HORT $ELAY #OMPENSATION SETTING IS THE MOST EFFICIENT SETTING FOR 0RO 4OOLS\($ !CCELSYSTEMSANDIFYOUAREONLYUSINGAFEWPLUG INSTHATARENOTPRODUCING TOOMUCH$30DELAY THISSHOULD SUFFICE 4HE ,ONG $ELAY #OMPENSATION SET TINGISINTENDEDFORUSEONSESSIONSWITHLOTSOFPLUG INSANDLARGEAMOUNTSOF $30DELAY

Figure 5.9 Part of the 0LAYBACK%NGINEDIALOG SHOWINGTHE$ELAY Compensation Engine SETTINGS

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0RO4OOLSADDSTHEEXACTAMOUNTOFDELAYTOEACHTRACKNECESSARYTOMAKE THAT PARTICULAR TRACKS DELAY EQUAL TO THE TOTAL 3YSTEM $ELAY 4HE TOTAL 3YSTEM$ELAYISTHELONGESTDELAYREPORTEDONATRACK PLUSANYADDITIONAL DELAYCAUSEDBYMIXERROUTING

4HE TOTAL AMOUNT OF DELAY DUE TO INSERTS AND MIXER ROUTING FOR THE ENTIRE SESSION IS DISPLAYED IN THE 3ESSION 3ETUP WINDOW THAT YOU CAN ACCESS FROM THE 3ETUP MENU 9OU CAN VIEW THE REPORTED 3YSTEM $ELAY IN THE 3ESSION 3ETUPWINDOWTOCHECKWHETHERORNOTYOUARECLOSETOEXCEEDINGTHE$ELAY #OMPENSATIONLIMIT )N THE /PERATION 0REFERENCES PAGE THE $ELAY #OMPENSATION 4IME -ODE SETTING LETS YOU SPECIFY WHETHER DELAY VALUES ARE DISPLAYED IN SAMPLES OR MILLISECONDS

190

Recording

Figure 5.10 The total System Delay in samples ISDISPLAYEDINTHE3ESSION 3ETUPWINDOW ACCESSIBLE FROMTHE3ETUPMENU

Figure 5.11 Delay Compensation Time -ODEPOP UPSELECTOR INTHE/PERATION 0REFERENCES

4HEREISA$ELAY#OMPENSATIONSTATUSINDICATORINTHE%DIT7INDOW4OOLBARTHAT ISDISPLAYEDWHEN$ELAY#OMPENSATIONISACTIVATED BUTTOSEEWHATISGOING ONWITHTHEDELAYSONEACHTRACKYOUSHOULDENABLETHE$ELAY#OMPENSATION 6IEW FOR TRACKS IN THE -IX WINDOW 4HIS VIEW DISPLAYS THE TOTAL AMOUNT OF DELAY DUE TO 4$- 4IME $IVISION -ULTIPLEXING ANDOR 24!3 2EAL4IME !UDIO3UITE PLUG INS AND ANY HARDWARE INSERTS IN THE $ELAY )NDICATOR DLY FIELD 9OU CAN APPLY A TRACK DELAY OFFSETT USING THE 5SER /FFSET hv FIELD ANDYOUCANVIEWTHETOTALAMOUNTOFDELAYTHAT0RO4OOLSISAPPLYINGTO THETRACKINTHE4RACK#OMPENSATIONCMP FIELD 4HE ALPHANUMERIC CHARACTERS IN THESE FIELDS ARE DISPLAYED IN DIFFERENT COLORS TO INDICATE STATUS &OR EXAMPLE GREEN IS USED TO INDICATE THAT EVERYTHING IS WORKINGNORMALLY

Figure 5.12 The 3TRUCTURE)NSTRUMENT TRACKWITHSUFFICIENT$ELAY #OMPENSATIONAVAILABLE

/RANGEISUSEDTOIDENTIFYTHETRACKREPORTINGTHELONGESTPLUG INANDHARDWARE INSERTDELAYINTHESESSION

191


Figure 5.13 !N!UX TRACKWITH!LTIVERB24!3 PLUG ININSERTEDHASTHE LONGESTDELAYINTHIS SESSIONSOTHEDELAY PARAMETERSARESHOWNIN ORANGE

Figure 5.14 Delay #OMPENSATION6IEWTHE FIRSTTRACKHASNOINSERTS the Piano track has the #OMPRESSOR,IMITER$YN 4$-PLUG ININSERTED THE)NSTRUMENTTRACK HAS3TRUCTUREINSERTED ANDTHEDELAYVALUESARE SHOWNINREDBECAUSE WITHTHE3HORT$ELAY Compensation Engine SELECTEDTHEREISNOT SUFFICIENTDELAYAVAILABLE to compensate for this AMOUNTOFDELAY

7HEN THE TOTAL AMOUNT OF PLUG IN AND HARDWARE INSERT DELAY ON A TRACK EXCEEDSTHETOTALAMOUNTOF$ELAY#OMPENSATIONAVAILABLE THEALPHANUMERIC CHARACTERSINTHE$ELAY#OMPENSATIONVIEWTURNREDAND$ELAY#OMPENSATION ISDISABLEDONTHATTRACK )FTHISHAPPENS CHECKTHE$ELAY#OMPENSATION%NGINESETTINGINTHE0LAYBACK %NGINE AND IF THIS IS SET TO 3HORT CHANGE THE SETTING TO ,ONG )F THE $ELAY #OMPENSATION %NGINE IS ALREADY SET TO ,ONG YOU CAN MANUALLY COMPEN SATE FOR THE TRACK DELAY BY MOVING AUDIO DATA ON THE TRACK EARLIER BY THE AMOUNT OF DELAY REPORTED IN THE TRACKS DLY )N THIS CASE YOU SHOULD BYPASS THEREPORTEDDELAYFORTHETRACKBY#OMMAND #ONTROL CLICKING-AC OR3TART #ONTROL CLICKING7INDOWS ONTHEDLY4HEDLYFIELDWILLTURNGRAYWHEN$ELAY #OMPENSATIONISBYPASSED

Figure 5.15 Delay )NDICATORTURNEDGRAY TOSHOWTHATTHE$ELAY Compensation has been BYPASSED

192

Recording

7HILE$ELAY#OMPENSATIONISENABLED YOUCANUSETHE5SER/FFSET FIELDTO ADJUSTTHETIMINGhFEELvOFTHETRACKMANUALLY ADDINGTOORSUBTRACTINGFROMTHE AMOUNTOFDELAYBEINGAPPLIEDBYTHEAUTOMATIC$ELAY#OMPENSATION4HE5SER /FFSETFIELDISDISPLAYEDINWHITEWHENA5SER/FFSETISBEINGUSEDONTHETRACK AND IN GRAY WHEN THE 5SER /FFSET FEATURE IS DISABLED ON THE TRACK 4O BYPASS THE 5SER /FFSET DELAY #OMMAND #ONTROL CLICK -AC OR 3TART #ONTROL CLICK 7INDOWS THE5SER/FFSETFIELD 4HECMPFIELDSHOWSTHEAMOUNTOF$ELAY#OMPENSATIONBEINGAPPLIEDTOEACH TRACK4HE4RACK#OMPENSATIONFIELDTURNSGRAYWHEN$ELAY#OMPENSATIONFOR THETRACKISBYPASSEDANDNODELAYISBEINGAPPLIEDTOTHETRACK 7HEN AN AUDIO TRACK IS RECORD ENABLED 4RACK )NPUT MONITORING ENABLED $ESTRUCTIVE0UNCH ENABLED OR PUNCHED IN THE TRACKS $ELAY #OMPENSATION IS AUTOMATICALLY SUSPENDED TO PROVIDE LOW LATENCY MONITORING ON THE TRACK OUTPUTS)FTHISISAPROBLEM YOUCANFORCIBLYAPPLY$ELAY#OMPENSATION EVEN WHENTHETRACKISRECORD ENABLEDOR4RACK )NPUT ENABLED INWHICHCASETHE4RACK #OMPENSATION INDICATOR TURNS BLUE 4O APPLY $ELAY #OMPENSATION TO TRACKS ON WHICH $ELAY #OMPENSATION HAS BEEN SUSPENDED #OMMAND #ONTROL CLICK -AC OR3TART #ONTROL CLICK7INDOWS ONTHE4RACK#OMPENSATIONINDICATOR

RTAS plug-ins “health” warning 5SING 24!3 PLUG INS CAN SERIOUSLY DEPLETE THE NUMBER OF AVAILABLE VOICES IN YOUR0RO4OOLS($SYSTEM4HEYALSOADDTOTHELATENCYINYOURSYSTEM SOUSE WITH CARE 7HEN YOU INITIALLY INSERT AN 24!3 PLUG IN ON AN !UXILIARY )NPUT OR -ASTER&ADER ORONAN)NSTRUMENTTRACKTHATDOESNOTCONTAINANINSTRUMENT PLUG IN ANDWHENEVERYOUINSERTAN24!3PLUG INAFTERA4$-PLUG INONANY KIND OF TRACK THIS WILL USE TWO ADDITIONAL VOICES PER CHANNEL n ONE FOR INPUT ANDONEFOROUTPUT!NDIFTHETRACKISSTEREO EACHCHANNELWILLUSETWOVOICES 4HEBADNEWSISTHAT0RO4OOLSALSOUSESANOTHERADDITIONALVOICEFORTHETRACK IF YOU USE THE EXTERNAL KEY SIDE CHAIN OF AN 24!3 PLUG IN ON THAT TRACK OR IF YOUSELECTMULTIPLETRACKOUTPUTSFORTHETRACKITUSESONEADDITIONALVOICEFOR EACH ADDITIONAL OUTPUT !ND ONE VOICE IS USED FOR EACH CHANNEL WHEN YOU SELECTAN!&,0&,PATHOUTPUTINTHE/UTPUTTABOFTHE)/3ETUPDIALOG 4HEGOODNEWSISTHATADDINGFURTHER24!3PLUG INSONTHESAMETRACKDOES NOT USE ANY ADDITIONAL VOICES n UNLESS THAT IS A 4$- PLUG IN IS INSERTED BETWEEN TWO OF THESE OTHER 24!3 PLUG INS /BVIOUSLY THIS IS SOMETHING YOU SHOULD ANDCAN AVOID*USTREMEMBERTHATINSERTING4$-PLUG INSBETWEEN 24!3PLUG INSONANYKINDOFTRACKWILLALWAYSCAUSEUNNECESSARYVOICEUSAGEn ANDMAYCAUSEADDITIONALLATENCY 3OHOWDOES0RO4OOLSHANDLETHINGSWHENYOUMIX4$-AND24!3PLUG INS 7ELL THISISALITTLEMORECOMPLICATED TO EXPLAIN )T DEPENDS ON WHAT MIX OF

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4$- AND 24!3 PLUG INS YOU ARE USING #OMBINING 24!3 AND 4$- PLUG INS ONAN!UDIOTRACK !UXILIARY)NPUT OR-ASTER&ADERPRODUCESDIFFERENTRESULTS DEPENDINGONTHEORDERINWHICHTHEYAREINSERTED )FTHE24!3PLUG INSAREGROUPEDTOGETHERANDINSERTEDbeforeTHE4$-PLUG INS NOADDITIONALVOICESWILLBEUSEDANDNOPROCESSINGLATENCYISADDED7ITH THISCONFIGURATION THE24!3PLUG INSWILLBEBYPASSEDWHEN2ECORD%NABLEOR 4RACK)NPUTMONITORINGISENABLEDFORTHATTRACK )FTHE24!3PLUG INSAREGROUPEDTOGETHERANDINSERTEDafterTHE4$-PLUG INS EACHINITIALINSERTOFAN24!3PLUG INAFTERA4$-PLUG INONATRACKWILLCAUSE PROCESSING LATENCY AND WILL USE VOICES AS PREVIOUSLY DESCRIBED !ND IN THIS CASE 24!3 PLUG INS WILL not BE BYPASSED WHEN 2ECORD %NABLE OR 4RACK)NPUT MONITORINGISENABLEDFORTHATTRACK !S A CONSEQUENCE THERE ARE TWO RULES THAT YOU SHOULD OBSERVE WHEN USING COMBINATIONSOF4$-AND24!3PLUG INS !LWAYSGROUPPLUG INSOFTHESAMETYPETOGETHERANDINSERTTHESEBEFORE ANY4$-PLUG INSTOAVOIDADDITIONALVOICESBEINGUSEDANDTOMINIMIZE PROCESSINGLATENCY )F YOU NEED TO MAKE SURE THAT THE 24!3 PLUG INS STAY ACTIVE WHEN YOU RECORD ENABLEATRACKORUSE4RACK)NPUTMONITORING THENYOUMUSTINSERT ANY4$-PLUG INSBEFOREYOUINSERTTHE24!3PLUG INS

Auto Input and Input Only monitoring "EFORE YOU START RECORDING YOU ALSO NEED TO CONSIDER THE MONITORING MODE ANDHOWTOSETTHEMONITORINGLEVELSINTHE0RO4OOLSMIXER4HEREARETWODIF FERENTWAYSINWHICHTHEINPUTSIGNALSCANBEMONITOREDWHILEPLAYINGBACK WHILERECORDING ORWITHTHETRANSPORTSTOPPED4HESEARETHE!UTO)NPUTAND )NPUT/NLYMONITORINGMODES ,ETS CONSIDER THE DEFAULT !UTO )NPUT MODE FIRST 7HEN PLAYBACK IS STOPPED THETRACKMONITORSWHATEVERISCOMINGINTOITSAUDIOINPUT.OWLETSCONSIDER WHATHAPPENSWHENYOUAREOVERDUBBINGANDREACHAPUNCH INPOINT)NTHIS CASE YOU WILL NORMALLY WANT TO HEAR WHATEVER HAS BEEN RECORDED UP TO THE PUNCH INPOINT$URINGTHEPUNCH IN YOUWANTTOHEARTHENEWAUDIOTHATIS coming inSOYOUNEEDTOMAKESURETHATTHETRACKSYOUAREPUNCHINGINTOARE monitoring inputs7HENYOUREACHTHEPUNCH OUTPOINT YOUWANTTHEMONI toring to instantly SWITCHBACK to monitoring the track playback so that you CANHEARTHEEXISTINGTRACKMATERIALAGAIN3O THISISEXACTLYWHAT!UTO)NPUT MODEDOES 3OMETIMES YOU DONT WANT TO HEAR THE ORIGINAL MATERIAL THAT WAS RECORDED YOU WANT TO HEAR THE INCOMING AUDIO AT ALL TIMES 4HIS IS WHAT )NPUT /NLY -ONITORINGDOES

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4HESE INPUT MONITORING OPTIONS WILL BE FAMILIAR TO RECORDING ENGINEERS WHOAREACCUSTOMEDTOHAVINGINPUTSWITCHINGAVAILABLEONANALOGMULTI TRACKRECORDERS

%ACHMIXERCHANNELSTRIPHASA4RACK)NPUTBUTTONTHATLETSYOUSWITCHINDIVID UALAUDIOTRACKSBETWEEN!UTO)NPUTAND)NPUT/NLYMONITORING9OUCANALSO PRESS3HIFT )TOENABLETHE4RACK)NPUT-ONITORBUTTONFORANYTRACKCONTAINING THE%DITCURSORORAN%DITSELECTION7HEN)NPUT-ONITORISENABLEDONATRACK THE )NPUT 3TATUS ,%$ IN THE 4RANSPORT WINDOW AND THE 4RACK)NPUT -ONITOR BUTTONSFOREACHENABLEDTRACKTURNGREEN 7HENYOUHAVERECORD ENABLEDANYTRACKS THEMENUCOMMANDh3ET2ECORD 4RACKSTO!UTO)NPUTvBECOMESACTIVEINTHE4RACKMENU4HISLETSYOUTOG GLE THE INPUT STATUS OF ALL RECORD ENABLED TRACKS BETWEEN !UTO )NPUT AND )NPUT/NLY

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7HENIN!UTO)NPUTMODE THESWITCHBACKTOMONITORINGTRACKMATERIALON PUNCH OUTISNOTINSTANTANEOUS

Figure 5.16 When )NPUT-ONITORISENABLED ONATRACK THE)NPUT 3TATUS,%$INTHE 4RANSPORTWINDOWAND THE4RACK)NPUT-ONITOR BUTTONSFOREACHENABLED TRACKTURNGREEN

4HERE ARE SEVERAL USEFUL SHORTCUTS FOR SWITCHING 4RACK)NPUT MONITORING TO TOGGLE ALL TRACKS IN THE SESSION /PTION CLICK -AC OR !LT CLICK 7INDOWS ON ANY 4RACK)NPUT -ONITOR BUTTON 4O TOGGLE ALL SELECTED TRACKS IN THE SESSION /PTION 3HIFT CLICK -AC OR !LT 3HIFT CLICK 7INDOWS ON A SELECTED TRACKS 195


4RACK)NPUT -ONITOR BUTTON 4O TOGGLE RECORD ENABLED TRACKS BETWEEN !UTO )NPUTAND)NPUT/NLYMONITORING PRESS/PTION +-AC OR!LT +7INDOWS

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)FYOUHAVE)NPUT/NLYAND2ECORD%NABLEBOTHSELECTEDONATRACK )NPUT /NLY MONITORING WILL BE DISABLED IF YOU DE SELECT 2ECORD %NABLE FOR THE TRACK3OMETIMES YOUWILLNOTWANTTHISTOHAPPEN FOREXAMPLE IFYOUARE RECORDINGONASERIESOFTRACKS ONEATATIME4OPREVENTTHISHAPPENING YOUCANDISABLETHISBEHAVIORINTHE/PERATION0REFERENCESBYDE SELECTING THEh$ISABLE@)NPUT7HEN$ISARMING4RACKIN@3TOP vPREFERENCE

Setting monitor levels for record and playback 7HEN YOU RECORD ENABLE AUDIO TRACKS THEIR VOLUME FADERS TURN BRIGHT RED 4HISISTOREMINDYOUTHATDIFFERENTFADERLEVELSCANBESETFORANYAUDIOTRACK DURINGRECORDINGANDPLAYBACK)FYOUde-selecth,INK2ECORD!ND0LAY&ADERSv IN THE /PERATION PAGE OF THE 0REFERENCES WINDOW YOU CAN SET MONITOR ING LEVELS INDEPENDENTLY WHEN 0RO 4OOLS IS RECORDING AND WHEN 0RO 4OOLS IS PLAYINGBACK FOREACHAUDIOTRACK AND0RO4OOLSWILLREMEMBERTHETWODIFFER ENTFADERLEVELSONEFORWHENTHETRACKISRECORD ENABLEDANDOTHERFORWHEN it is notRECORD ENABLED7HENTHE/PERATIONPREFERENCEFORh,INK2ECORDAND 0LAY&ADERSvISselected THEMONITORINGLEVELSWILLBEKEPTTHESAMEWHEN0RO 4OOLSISRECORDINGANDPLAYINGBACK KEEPINGTHEMIXCONSISTENTWHETHERYOU ARERECORDINGORLISTENING

Recording with or without effects 9OUNEEDTOTHINKCAREFULLYABOUTWHETHERTORECORDANYEFFECTSTHATYOUARE ADDINGTODISK ORWHETHERTOUSETHESEEFFECTSPURELYFORMONITORINGnPERHAPS TOhVIBEUPvTHEPERFORMERSWHILETHEYAREPLAYING3INGERSUSUALLYLIKETOHEAR ATLEASTALITTLEREVERBANDGUITARPLAYERSOFTENWANTTOHEARDISTORTIONORDELAY EFFECTS FOREXAMPLE/NEPROBLEMWITHMONITORING BUTNOTRECORDING EFFECTS ISTHATTHEMUSICIANWILLOFTENPLAYTHINGSTHATONLYMAKESENSEWHENHEARING THIS PARTICULAR EFFECT AND IF YOU DONT RECORD THIS AT THE SAME TIME YOU MAY NEVERBEABLETORECREATETHISAGAINYOUMAYNOTBEABLETOGETHOLDOFTHE PLUG INORTHEHARDWARETHATWASUSED )FYOUWANTTORECORDTHEEFFECTSTHATYOUAREADDINGTOVOICESORINSTRUMENTS TO DISK YOU HAVE MORE CHOICES TO MAKE 9OU MAY BE ADDING THE EFFECTS BY BUSSING SIGNALS TO AND FROM EXTERNAL HARDWARE /R YOU MAY BE ROUTING THE AUDIOFROMTHEMICROPHONEPREAMPLIFIERSINTOhOUTBOARDvEFFECTSBEFOREROUT ING THIS INTO 0RO 4OOLS )T IS ALSO POSSIBLE TO USE SOFTWARE PLUG INS TO CREATE EFFECTSWHILEYOUARERECORDING 196

Recording

Recording with plug-in effects )FYOUINSERTAPLUG INONAN!UDIOTRACKANDRECORDAUDIOINTOTHISTRACK THE EFFECTISNOTRECORDEDTODISK ITISONLYAPPLIEDTOTHEAUDIOCOMINGBACKFROM DISK )F YOU WANT TO RECORD THE EFFECT TO DISK YOU NEED TO USE AN !UXILIARY )NPUT TRACK #ONNECT YOUR AUDIO SOURCE TO THIS INPUT INSERT ONE OR MORE PLUG INEFFECTSONTHE!UXILIARY)NPUTANDROUTETHEOUTPUTTOTHEINPUTOFAN !UDIOTRACK4HEN YOUCANUSETHE!UDIOTRACKTORECORDTHEINCOMINGAUDIO TOGETHERWITHTHESOUNDOFTHEPLUG INEFFECTS

Figure 5.17 2ECORDING WITHPLUG INEFFECTS INSERTEDONTHE!UXILIARY )NPUT4HEOUTPUTOFTHIS CHANNELISROUTEDTOTHE INPUTOFAN!UDIOTRACK WHICHISUSEDTORECORD THEINCOMINGAUDIOWITH THEPLUG INEFFECTSAPPLIED TOTHIS

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4HEADDITIONALPROCESSINGVIATHEPLUG INADDSAFURTHERLATENCYDELAYTHAT CAN BE CONSIDERABLE WITH CERTAIN PLUG INS 4HIS IS WHY IT IS MORE USUAL TO APPLYPLUG INEFFECTSTOYOURRECORDINGSAFTERYOUHAVERECORDEDTHEBASIC TRACKS

5.3 Recording audio 7HEN YOU HAVE SET UP THE TRACKS YOU WANT TO RECORD ONTO ROUTED MICRO phones into these, set the levels on the microphone preamplifiers, set up HEADPHONE MIXES THAT THE MUSICIANS ARE HAPPY TO WORK WITH CHECKED

197


LAYBACKOFANYEXISTINGMATERIAL SORTEDOUTCLICKS TEMPO METER KEY CHORDS P OR WHATEVER AND IDEALLY SET UP -ARKERS FOR THE SECTIONS OF THE MUSIC SET UPANYEFFECTSPROCESSINGEITHERFORTHEMUSICIANSTOHEARTOhGIVETHEMTHE VIBEvORTHATWILLALSOBERECORDEDTODISK ANDSETYOURMONITORINGLEVELSFOR THECONTROLROOMANDFORTHEHEADPHONEMIXES THENYOUARECLOSETOGETTING STARTED"UTTHEREARESTILLMOREMOVESTOMAKEx

Record enabling %ACHTRACKIN0RO4OOLSHASA2ECORD%NABLEBUTTONTHATMUSTBESELECTEDSO THAT IT LIGHTS UP RED BEFORE YOU PUT 0RO 4OOLS INTO 2ECORD MODE USING THE 4RANSPORT CONTROLS 9OU CAN RECORD SIMULTANEOUSLY TO MULTIPLE TRACKS BY RECORD ENABLINGYOURCHOICEOF!UDIO )NSTRUMENT OR-)$)TRACKS7HENYOU HAVECLICKEDTHE2ECORD%NABLEBUTTONFORTHEFIRSTTRACKYOUWANTTOSETUP YOUCANADDMORECHOICESBY3HIFT CLICKINGONMORETRACK2ECORD%NABLEBUT TONSASYOUDECIDEWHICHYOUWANTTOUSE

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)FYOUENABLETHEh,ATCH2ECORD%NABLE"UTTONSvPREFERENCETHATYOUWILL FINDINTHE/PERATIONSSECTIONOFTHE0REFERENCESWINDOWTHENYOUDONT NEEDTO3HIFT CLICKTHE2ECORD%NABLEBUTTONSTOENABLEADDITIONALTRACKSn JUSTCLICKEACHINTURNTHATYOUWANTTOBEENABLED4HEYWILLALLSTAYENA BLED UNTIL DE SELECTED !ND IF YOU WANT TO RECORD ENABLE ALL THE TRACKS IN YOUR SESSION IF YOU ARE RECORDING A BAND FOR EXAMPLE THEN /PTION CLICKING-AC OR!LT CLICKING7INDOWS WILLDOTHIS

0RO 4OOLS ALSO PROVIDES KEYBOARD SHORTCUTS TO LET YOU RECORD ENABLE INPUT ENABLE SOLO ORMUTEANYTRACKSTHATCONTAINTHE%DITCURSORORAN%DITSELEC TIONWITHOUTUSINGTHEMOUSESIMPLYHOLDDOWNTHE3HIFTKEYANDPRESS2FOR 2ECORD )FOR)NPUTENABLE 3FOR3OLO OR-FOR-UTETOTOGGLETHESEONOROFF )F YOU ARE WORKING IN THE %DIT WINDOW IT CAN BE QUICKER TO USE THESE COM MANDSTOINPUT ENABLEANDRECORD ENABLETRACKS 7HEN YOU HAVE RECORD ENABLED ALL THE TRACKS YOU WANT TO RECORD ONTO CLICK THE2ECORDBUTTONINTHE4RANSPORTTOARMRECORDING THENCLICKTHE0LAYBUT TON IN THE 4RANSPORT TO START RECORDING !LTERNATIVELY YOU CAN ARM AND START RECORDING IMMEDIATELY BY PRESSING ON THE NUMERIC KEYPAD WHEN THE .UMERIC +EYPAD MODE IS SET TO 4RANSPORT OR BY PRESSING THE FUNCTION KEY &/RYOUCANSIMPLYPRESS#OMMAND 3PACEBAR-AC OR#ONTROL 3PACEBAR 7INDOWS nWHICH)ALWAYSUSE )FTHETAKEGETSMESSEDUPFORANYREASONANDYOUREALIZETHISBEFOREYOUSTOP RECORDING THEFASTESTWAYTOABORTTHERECORDINGISTOPRESS#OMMAND 0ERIOD

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/N -AC SYSTEMS TO USE & OR #OMMAND 3PACEBAR FOR RECORDING THE -ACh3POTLIGHTvFEATUREMUSTBEDISABLEDORREMAPPED

-AC OR#ONTROL 0ERIOD7INDOWS 4HISINSTANTLYABORTSTHERECORDINGWITH OUTSAVINGTHEFILEnSAVINGYOUTIMEIFYOUREALIZETHATYOUHAVEAUSELESSTAKE )FYOUSTOPTHERECORDINGANDTHENREALIZETHATITISNOGOOD YOUCANUSETHE STANDARDKEYBOARDCOMMAND #OMMAND :-AC OR#ONTROL :7INDOWS TO UNDOYOURLASTACTIONnINTHISCASE THERECORDINGTHATYOUJUSTMADE

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)F YOU ARE RECORDING A LARGE NUMBER OF TRACKS OR PLAYING BACK A LARGE NUMBER OF TRACKS WHILE RECORDING 0RO 4OOLS MAY TAKE A LITTLE LONGER TO BEGINRECORDING4OAVOIDTHISDELAY YOUCANPUT0RO4OOLSINh0RIMEFOR 2ECORDv MODE FIRST #LICK 2ECORD IN THE 4RANSPORT SO THE 2ECORD BUTTON FLASHES THEN/PTION CLICK-AC OR!LT CLICK7INDOWS ONTHE0LAYBUTTON 4HE3TOPBUTTONLIGHTSANDBOTHTHE0LAYAND2ECORDBUTTONSFLASHTOINDI CATETHAT0RIMEFOR2ECORDMODEISENABLED.OW WHENYOUCLICK0LAY 0RO 4OOLSWILLBEGINRECORDINGINSTANTANEOUSLY

Other record modes 0RO 4OOLS HAS SEVERAL OTHER RECORD MODES THAT YOU CAN SELECT USING THE /PTIONS MENU $ESTRUCTIVE 2ECORD ,OOP 2ECORD 1UICK0UNCH 4RACK0UNCH AND $ESTRUCTIVE0UNCH 9OU CAN SWITCH BETWEEN THESE BY #ONTROL CLICKING -AC OR 2IGHT CLICKING 7INDOWS AND -AC THE 2ECORD %NABLE BUTTON IN THE 4RANSPORT WINDOW 7HEN YOU CYCLE THROUGH THESE MODES THE 2ECORD %NABLE BUTTON CHANGES TO INDICATE THE CURRENTLY SELECTED MODE ADDING A h$v TO INDICATE $ESTRUCTIVE A LOOP SYMBOL TO INDICATE ,OOP 2ECORD A h0v TO INDICATE 1UICK0UNCH A h4v TO INDICATE 4RACK0UNCH AND h$0v TO INDICATE $ESTRUCTIVE0UNCH $ESTRUCTIVE2ECORDMODEWORKSLIKEACONVENTIONALTAPERECORDERWHERENEW RECORDINGS ONTO A PARTICULAR TRACK REPLACE ANY PREVIOUS RECORDINGS WITH THAT TRACK 4HERE IS LITTLE JUSTIFICATION FOR USING THIS MODE UNLESS YOU ARE RUNNING OUTOFHARDDISKSPACETORECORDTO ,OOP2ECORDMODELETSYOURECORDMULTIPLETAKESINTOTHESAMETRACKOVERA SELECTED TIME RANGE %ACH SUCCESSIVE TAKE WILL APPEAR IN THE 2EGION ,IST AND

199


CAN BE PLACED IN THE TRACK USING THE 4AKES ,IST POP UP MENU 4HIS IS VERY USEFULWHENASINGERORMUSICIANISTRYINGTOPERFECTADIFFICULTSECTION 1UICK0UNCHLETSYOUMANUALLYPUNCHINANDOUTOFRECORDONRECORD ENABLED AUDIO TRACKS DURING PLAYBACK BY CLICKING THE 2ECORD BUTTON IN THE 4RANSPORT WINDOW 4HIS IS USEFUL WHEN THE ENGINEER OR PRODUCER WANTS TO DECIDE hON THE FLYv WHICH BIT OF A PERFORMANCE TO REPLACE WHILE THE SINGER OR MUSICIAN PLAYSTHROUGHOUTTHESESSION 4RACK0UNCH MODE LETS YOU MANUALLY PUNCH SINGLE TRACKS IN AND OUT OR TAKE TRACKS OUT OF RECORD ENABLE WITHOUT INTERRUPTING ONLINE RECORDING AND PLAY BACK9OUCANALSOSIMULTANEOUSLYPUNCHMULTIPLETRACKSINANDOUT DestructivePunch is a destructive RECORDING MODE THAT LETS YOU MANUALLY PUNCHTRACKSINANDOUTDURINGPLAYBACK REPLACINGTHEAUDIOMATERIALWITHIN ANYTRACKTHATYOUPUNCHINTOANDTHEREBYDESTROYINGWHATWASTHEREPREVI OUSLY ,IKE 4RACK0UNCH MODE $ESTRUCTIVE0UNCH MODE LETS YOU PUNCH TRACKS IN AND OUT INDIVIDUALLY PUNCH MULTIPLE TRACKS IN AND OUT SIMULTANEOUSLY OR TAKE TRACKS OUT OF RECORD ENABLE WITHOUT INTERRUPTING ONLINE RECORDING AND PLAYBACK

Record Safe mode )FYOUAREWORRYINGTHATYOUMIGHTACCIDENTALLYPUTTHEWRONGTRACKORTRACKS INTORECORDANDMESSUPAPREVIOUSRECORDING THENBEASSUREDTHATITISVERY UNLIKELYTHATTHISCOULDHAPPENWITH0RO4OOLS!NYNEWRECORDINGSAREMADE TONEWFILESBYDEFAULT SOTHEPREVIOUSFILESWILLSTILLBETHEREINYOUR2EGIONS LISTANDINYOURSESSIONSAUDIOFOLDER4HISISWHATISREFERREDTOAShNONDESTRUC TIVEv RECORDING .EVERTHELESS 0RO 4OOLS DOES HAVE A hDESTRUCTIVEv RECORDING MODEINWHICHNEWRECORDINGSREPLACEPREVIOUSRECORDINGSINTHESAMEFILES 3O TO PREVENT ACCIDENTS 0RO 4OOLS PROVIDES A 2ECORD 3AFE MODE FOR EACH TRACKTHATPREVENTSTRACKSFROMBEINGRECORD ENABLED3IMPLY#OMMAND CLICK -AC OR #ONTROL CLICK 7INDOWS THE TRACKS 2ECORD %NABLE BUTTON AND THIS WILLBECOMEGRAYEDOUTANDWONTLETYOUENABLETHETRACKTORECORD)FYOU CHANGEYOURMIND JUSTDOTHISAGAINTOGETOUTOF2ECORD3AFEMODE)FYOU HOLDTHE/PTIONKEY-AC OR!LT7INDOWS ATTHESAMETIME ALLTRACKSWILL BEAFFECTED!NDIFYOUHOLD THE 3HIFT KEY AS WELL JUST THE CURRENTLY SELECTED TRACKSWILLBEAFFECTED

Half-speed recording and playback ! TRICK THAT RECORDING ENGINEERS HAVE BEEN USING FOR AT LEAST YEARS IS TO RECORD A DIFFICULT TO PLAY MUSICAL PART AT HALF SPEED AN OCTAVE BELOW 7HEN PLAYED BACK AT NORMAL SPEED THE PART PLAYS BACK AT THE CORRECT TEMPO BUT PITCHEDUPANOCTAVEnBACKTOWHEREITSHOULDBE

200

Recording

) REMEMBER BEING INTRODUCED TO THIS TECHNIQUE IN THE EARLY S WHILE RECORDING TO ANALOG TAPE ) WAS STRUGGLING TO PLAY A TRICKY #LAVINET PART AND THE RECORDING ENGINEER JUST RAN THE TAPE AT HALF SPEED AND TOLD ME TO PLAY ALONG AN OCTAVE BELOW 7HEN HE PLAYED WHAT ) HAD RECORDED BACK AT NOR MALSPEEDITSOUNDEDPERFECTnMUCHTIGHTERTIMING WISETHAN)HADACTUALLY PLAYEDITEVENATHALF TEMPO)SUBSEQUENTLYLEARNEDTHAT'EORGE-ARTINUSED THISTECHNIQUEEXTENSIVELYWHENRECORDINGWITH4HE"EATLES .OW YOU CAN USE THIS TECHNIQUE WHEN RECORDING WITH 0RO 4OOLS 0RESS #OMMAND 3HIFT 3PACEBAR -AC OR #ONTROL 3HIFT 3PACEBAR 7INDOWS WHEN YOU START RECORDING AND 0RO 4OOLS WILL PLAY BACK EXISTING TRACKS AND RECORD INCOMINGAUDIOATHALF SPEED

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)FYOUJUSTWANTTOPLAYBACKA0RO4OOLSSESSIONATHALF SPEED ALLYOUNEED TODOISPRESS3HIFT 3PACEBAR4HISCANBEVERYUSEFULWHENPLAYINGALONG WITH OR TRANSCRIBING WHAT IS BEING PLAYED ON EXISTING RECORDINGS n WHICH MANYMUSICIANSNEEDTODOFROMTIME TO TIME

Recording new takes using Playlists 0LAYLISTSPROVIDEASIMPLEWAYTOBEABLETOKEEPRECORDINGNEWTAKESINTO THESAMETRACKWITHOUTANYFUSS9OUCANCREATEANEW0LAYLISTFORTHETRACK EACH TIME YOU WANT TO RECORD A NEW TAKE 4HIS SAVES YOU THE TROUBLE OF INSERTINGORCHOOSINGANEWTRACKANDTHENHAVINGTOSETTHETRACKUPWITH THECORRECTINPUTSANDOUTPUTS HEADPHONEMIXESFORTHEMUSICIANS INSERTS ORPLUG INS7ORKINGONTHESAMETRACKYOUJUSTRECORDEDONTOWITHANEW 0LAYLIST LEAVES THE PREVIOUS TAKE JUST AS IT WAS n BUT HIDDEN FROM VIEW AND DISABLED FROM PLAYING n SO YOU CAN SIMPLY RECORD ANOTHER TAKE INTO THIS NEW 0LAYLIST %VERY TRACK LETS YOU CREATE AS MANY OF THESE EDIT PLAYLISTS AS YOULIKE SOIFYOUWANTTORECORDANOTHERTAKE YOUJUSTCREATEANOTHERNEW 0LAYLIST %ACHTRACKINTHE%DITWINDOWHASAPOP UP0LAYLISTSELECTORNEXTTOTHETRACK NAME#LICKANDHOLDTHISTOSHOWTHE0LAYLISTMENU9OUCANSELECTh.EWxv TO CREATE A NEW 0LAYLIST 4HE h$UPLICATEv COMMAND IS USEFUL WHEN YOU START EDITINGYOUR0LAYLISTSLATERON ASISTHEh$ELETE5NUSEDxvCOMMAND!LLTHE 0LAYLISTSYOUHAVECREATEDFORTHISTRACKAREALSOLISTEDHERE ANDYOUCANEVEN ACCESS0LAYLISTSFOROTHERTRACKS 7HENYOUSELECTh.EWx vYOUAREPRESENTEDWITHADIALOGBOXTHATLETSYOU TYPE A NAME FOR THE NEW 0LAYLIST n OR YOU CAN JUST /+ THIS AND GO WITH THE DEFAULTNAMEIFTHISISFINEFORYOU

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Figure 5.18 0OP UP 0LAYLISTSELECTOR

Figure 5.19 .AMINGA NEW0LAYLIST

(AVINGCREATEDANEW0LAYLIST THEFIRSTTHINGYOUWILLNOTICEISTHATTHETRACKIS NOWEMPTYnTHEREARENOREGIONSVISIBLEANDTHEPREVIOUSTAKEDOESNOTPLAY BACK3OYOUCANGOAHEADANDRECORD ENABLETHETRACK READYTORECORDTHE NEXTTAKE

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0LAYLISTS ARE ALSO VERY USEFUL FOR MANAGING DIFFERENTLY EDITED VERSIONS OF A PARTICULAR RECORDING 9OU CAN CHOP UP A RECORDED FILE ONE WAY IN ONE 0LAYLISTANDANOTHERWAYINANOTHER0LAYLISTANDTHENSWAPTHESEWHENEVER YOULIKEWHILEWORKINGONYOURARRANGEMENT

5.4 Automatic punch-in and punch-out "ECAUSE0RO4OOLSRECORDSNONDESTRUCTIVELYBYDEFAULT YOUDONTHAVETOTAKE CARE TO PUNCH IN AND PUNCH OUT EXACTLY AT THE RIGHT PLACES TO AVOID RECORD ING OVER MATERIAL BEFORE AND AFTER THE PUNCH LOCATIONS UNLESS YOU ARE USING 202

Recording

$ESTRUCTIVE 2ECORD MODE !LL YOU NEED TO DO IS TO START RECORDING ANYWHERE BEFORETHESECTIONYOUWANTTOREPLACEANDSTOPRECORDINGANYWHEREAFTERTHE SECTION YOU WANT TO REPLACE 4HEN YOU SIMPLY TRIM THE NEWLY RECORDED AND PREVIOUSLY RECORDED REGIONS SO THAT YOU REPLACE THE SECTION OF INTEREST FROM THEORIGINALRECORDING .EVERTHELESS YOU CAN ALWAYS DROP IN PUNCH IN ON A TRACK BY SPECIFYING A RANGETORECORDTOFIRSTANDSETTINGUPAPREROLLANDPOSTROLLINTHE4RANSPORT WINDOW AS YOU WOULD DO WITH A CONVENTIONAL MULTITRACK RECORDER 0LAYBACK WILLSTARTATTHEPREROLLTIMEAND0RO4OOLSWILLDROPINTORECORDATTHEPUNCH IN POINTANDDROPOUTOFRECORDATTHEPUNCH OUTPOINT STOPPINGATTHEENDOF THEPOSTROLLTIME%NGINEERSMOREUSEDTOUSINGMULTITRACKTAPERECORDERSWILL PROBABLY FEEL MORE COMFORTABLE WITH THIS WAY OF WORKING !ND IF YOU REALLY WANTTOhRE LIVEvTHEEXPERIENCEOFWORKINGWITHTAPERECORDERS YOUCANENA BLE$ESTRUCTIVE2ECORDTOPERMANENTLYREPLACETHEPREVIOUSLYRECORDEDAUDIO 4HESIMPLESTWAYTOSETUPARANGETORECORDISTOSELECTARANGEINATRACKS0LAYLIST ORINA4IMEBASERULERATTHETOPOFTHE%DITWINDOWUSINGTHE3ELECTIONTOOLn MAKINGSURETHATTHE%DITAND4IMELINESELECTIONSARELINKED!SUSUAL THEREARE OTHERWAYSTODOTHISnSUCHASTYPINGTHESTARTANDENDTIMESINTOTHE4RANSPORT WINDOW3ETPREROLLANDPOSTROLLTIMESIFYOUWISH THENGOAHEADANDRECORD )F YOU ARE RECORDING IN THE DEFAULT NONDESTRUCTIVE MODE A NEW AUDIO FILE IS WRITTENTOYOURHARDDRIVEANDANEWAUDIOREGIONAPPEARSINTHERECORDTRACK AND 2EGION ,IST )F YOU ARE RECORDING IN $ESTRUCTIVE 2ECORD MODE THE NEW AUDIOOVERWRITESTHEPREVIOUSMATERIALINTHEEXISTINGAUDIOFILEANDREGION

Figure 5.20 Automatic PUNCH INANDPUNCH OUT WITH0REROLLAND0OSTROLL ENABLED

Preroll and postroll 0REROLL AND POSTROLL AMOUNTS CAN BE ENTERED IN THE 4RANSPORT WINDOW OR SET FROMATRACKS0LAYLISTOR4IMEBASERULER3MALLYELLOWFLAGSAPPEARINTHE-AIN 4IME 3CALE RULER TO INDICATE THE PREROLL AND POSTROLL AMOUNTS THAT YOU HAVE 203


SET7HENPREROLLANDPOSTROLLAREENABLED THEFLAGSAREYELLOW OTHERWISETHEY AREWHITE

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9OUCANALWAYSSETPREROLLANDPOSTROLLAMOUNTS STORETHEMINA-EMORY ,OCATION ANDRECALLTHE-EMORY,OCATIONWHENEVERYOULIKE

4OSETANDENABLETHEPREROLLANDPOSTROLLDIRECTLYINA0LAYLIST FIRSTMAKESURE THATh,INK4IMELINEAND%DIT3ELECTIONvISENABLED THEN WITHTHE3ELECTORTOOL ENABLED DRAGTHECURSORACROSSTHERANGETHATYOUWANTTOSELECTINTHETRACKS 0LAYLIST

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7HENYOUMAKEAN%DITSELECTIONWITH4IMELINEAND%DIT3ELECTIONLINKED A PAIR OF 4IMELINE 3ELECTION 3TART AND %ND MARKERS WILL APPEAR IN THE 4IMEBASE RULER 9OU CAN DRAG EITHER OF THESE TO LENGTHEN OR SHORTEN YOUR SELECTION !ND IF YOU /PTION DRAG -AC OR !LT DRAG 7INDOWS YOU CAN MOVETHESELECTIONBACKWARDSORFORWARDSALONGTHE4IMELINE

Figure 5.21 !LINKED 4IMELINEAND%DIT 3ELECTION

7ITHTHE3ELECTORTOOLSTILLENABLED /PTION CLICK-AC OR!LT CLICK7INDOWS IN THE TRACKS 0LAYLIST BEFORE THE SELECTION TO ENABLE THE PREROLL AND AFTER THE SELECTIONTOENABLETHEPOSTROLLATTHOSELOCATIONS9ELLOWFLAGSWILLAPPEARIN THE4IMEBASERULER )F YOU CLICK ON THE 0REROLL AND 0OSTROLL BUTTONS IN THE 4RANSPORT WINDOW TO DE SELECTTHESE BUTLEAVETHEPREROLLANDPOSTROLLAMOUNTSSET THEFLAGSINTHE 4IMEBASERULERWILLTURNWHITETOINDICATETHIS 204

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Figure 5.22 0REROLLAND 0OSTROLLENABLEDWITH YELLOWFLAGSSHOWINGTO INDICATETHESE

Figure 5.23 White flags INDICATETHATPREROLLAND postroll amounts are set, BUTDISABLED

4O REMOVE THE PREROLL AND POSTROLL AMOUNTS DIRECTLY IN A 0LAYLIST WITH THE 3ELECTOR TOOL ENABLED YOU CAN SIMPLY /PTION CLICK -AC OR !LT CLICK 7INDOWS NEARTHESTARTOFTHE%DITSELECTIONTODISABLETHEPREROLLANDNEAR THEENDOFTHE%DITSELECTIONTODISABLETHEPOSTROLL !NOTHERWAYTOREMOVETHEPREROLLANDPOSTROLLAMOUNTSISTODRAGTHE0REROLL AND0OSTROLLFLAGSUNTILTHEYCOINCIDEEXACTLYWITHTHE4IMELINE3ELECTION3TART AND%NDMARKERS 4HE 0REROLL AND 0OSTROLL FLAGS CAN BE MOVED BY DRAGGING THESE IN THE -AIN 4IMEBASERULERWHENEVERYOULIKE EITHERSEPARATELYORATTHESAMETIME AND IFYOUSETTHE%DITMODETO'RID THE0REROLLAND0OSTROLLFLAGSWILLSNAPTOTHE CURRENT'RIDVALUEWHENYOUDRAGTHEMALONGTHE4IMELINE 4OSETPREROLLANDPOSTROLLVALUESTOTHESAMEAMOUNT /PTION DRAG-AC OR !LT DRAG7INDOWS EITHERTHE0REROLLORTHE0OSTROLLFLAGINTHERULER4HEOTHER FLAGWILLIMMEDIATELYBESETTOTHESAMEVALUEANDWILLADJUSTTOTHEIDENTICAL AMOUNTASYOUDRAGTHESELECTEDFLAG

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Figure 5.24 Drag the Preroll or Postroll flags along the Timeline to set ORREMOVETHEAMOUNTS

Figure 5.25 /PTION DRAGTHE0REROLLOR0OSTROLL FLAGSTOSETIDENTICAL AMOUNTS

5.5 Destructive Record )F YOU PREFER TO HAVE 0RO 4OOLS BEHAVE MORE LIKE A CONVENTIONAL MULTITRACK RECORDER WHERE YOU TYPICALLY RECORD ADDITIONAL TAKES OVER PREVIOUS TAKES YOU CANALWAYSENABLETHE$ESTRUCTIVE2ECORDMODEFROMTHE/PERATIONSMENU4HE LETTERh$vWILLAPPEARINTHE2ECORDBUTTONONTHE4RANSPORTTOREMINDYOUTHAT YOUAREUSINGTHISMODE7HENYOUHAVERECORDEDTHEFIRSTTAKE SIMPLYLEAVETHE TRACKRECORD ENABLED GOBACK ANDRECORDAGAIN9OURNEWRECORDINGWILLHAVE REPLACEDWHATEVERYOUHADPREVIOUSLYRECORDEDINTOTHATAUDIOFILEONDISK .OW THAT WE HAVE ALL GOT USED TO THE IDEA OF 0RO 4OOLS HARD DISK RECORDING BEING NONDESTRUCTIVE AS LONG AS YOU ALWAYS RECORD NEW TAKES TO NEW FILES ONDISKnWHICHISTHEDEFAULTSITUATION ITMAYSEEMALITTLESTRANGEFORSOME OFYOUTOUSETHE$ESTRUCTIVE2ECORDMODE%XPERIENCEDRECORDINGENGINEERS USEDTOWORKINGWITHCONVENTIONALMULTITRACKRECORDERSWILL OFCOURSE BEPER FECTLY FAMILIAR WITH THIS WAY OF WORKING $ONT FORGET THIS CAN BE A MORE EFFICIENT WAY TO WORK n ESPECIALLY IF YOU KNOW WHAT YOU ARE DOING AND ARE CONFIDENT THAT YOU ARE NOT TOO LIKELY TO MAKE A MISTAKE 9OU WONT HAVE TO TAKETHETIMEANDTROUBLETOSORTTHROUGHTHEALTERNATETAKESANDDELETETHEM

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)F YOU INSERT THE CURSOR AT THE END OF YOUR PREVIOUS RECORDING THE ADDI TIONALMATERIALWILLBEAPPENDEDATTHEENDOFTHEFILEnTHUSEXTENDINGTHE LENGTHOFTHETRACK FROM YOUR HARD DRIVE AFTERWARDS n AND IF YOU ARE RUNNING LOW ON HARD DISK SPACE $ESTRUCTIVE2ECORDCANBEABOON

5.6 Loop Recording audio )FYOUARETRYINGTOPINDOWNTHATPERFECT BARINSTRUMENTALSOLOINTHEMID DLEOFYOURSONGORTHEDEFINITIVELEADVOCALONTHEVERSE ITSTIMETOUSETHE ,OOP2ECORDINGFEATURESetting this upISVERYSTRAIGHTFORWARD*USTSELECT,OOP 2ECORDFROMTHE/PERATIONSMENUANDYOUWILLSEEALOOPSYMBOLAPPEARON THE2ECORDBUTTONINTHE4RANSPORTWINDOW-AKESUREYOUHAVE,INK%DITAND 4IMELINE3ELECTIONCHECKEDINTHE/PERATIONSMENUANDTHENUSETHE3ELECTOR TOOLTODRAGOVERTHEREGIONYOUWANTTOWORKWITHINTHE%DITWINDOW9OU CANSETAPREROLLTIMEIFYOULIKE ORYOUCANSIMPLYSELECTALITTLEEXTRAATTHE BEGINNINGANDTHENTRIMTHISBACKLATER.OW WHENYOUHIT2ECORD 0RO4OOLS WILL LOOP AROUND THIS SELECTION RECORDING EACH TAKE AS AN INDIVIDUAL REGION WITHINONELONGFILE7HENYOUHAVEFINISHEDRECORDING YOUCANCHOOSETHE BEST TAKE AT YOUR LEISURE !LL THE TAKES WILL BE PLACED INTO THE !UDIO 2EGIONS LISTANDNUMBEREDSEQUENTIALLY WITHTHELASTONELEFTINTHETRACKFORYOU.OW IF YOU WANT TO HEAR ANY OF THE OTHER TAKES JUST SELECT THE LAST TAKE WITH THE 'RABBER TOOL AND #OMMAND DRAG -AC OR #ONTROL DRAG 7INDOWS WHICH EVER TAKE YOU FANCY FROM THE !UDIO 2EGIONS LIST AND IT WILL AUTOMATICALLY REPLACE THE SELECTED TAKE IN THE TRACK n VERY CONVENIENT !N EVEN FASTER WAY ISTO#OMMAND CLICK-AC OR#ONTROL CLICK7INDOWS WITHTHE3ELECTORTOOL ATTHEEXACTSTARTOFTHELOOPORPUNCHRANGE4HISIMMEDIATELYBRINGSUPTHE 4AKES,ISTPOP UPnMAKINGITEVENEASIERTOSELECTALTERNATETAKES "UTWHATIFYOUWANTTOAUDITIONTAKESFROMAPREVIOUSSESSION4HESEWILLNOT BELISTEDHERENORMALLY ASTHESTARTTIMESARELIKELYTOBEDIFFERENT4HE5SER4IME 3TAMPFOREACHTAKEIN,OOP2ECORDISSETTOTHESAMESTARTTIMEnATTHEBEGIN NINGOFTHELOOPnANDTHE4AKES,ISTISBASEDONMATCHINGSTARTTIMES4HATIS WHYITDISPLAYSALLYOURTAKESWHENYOUBRINGTHE,ISTUPATTHESTARTTIMEOFYOUR LOOP3O IFYOUWANTTOINCLUDEOTHERTAKESFROMAPREVIOUSSESSIONINTHE4AKES ,ISTPOP UPFORAPARTICULARLOCATION YOUCANSIMPLYSETTHE5SER4IME3TAMPFOR THESEREGIONSTOTHESAMEASFORTHESENEWTAKESANDTHEYWILLALLAPPEARINTHE 4AKES,IST!NDIFYOUPLANONRECORDINGSOMEMORETAKESLATERONFORTHISSAME SECTION YOUSHOULDSTOREYOURLOOPRECORDSELECTIONASA-EMORY,OCATION4HIS WAY THESETAKESWILLALSOAPPEARINTHE4AKES,ISTPOP UPFORTHATLOCATION 207


9OU CAN ALSO RESTRICT WHAT APPEARS IN THE 4AKES ,IST ACCORDING TO THE %DITING 0REFERENCES YOU CHOOSE )F YOU ENABLE h4AKE 2EGION .AMES 4HAT -ATCH 4RACK .AMES v THEN THE LIST WILL ONLY INCLUDE REGIONS THAT TAKE THEIR NAMES FROMTHE4RACK0LAYLIST4HISCANBEUSEFULWHENSORTINGTHROUGHMANYDIFFER ENTTAKESFROMOTHERSESSIONS FOREXAMPLE/RMAYBEYOUWANTTORESTRICTTHE 4AKES,ISTTOREGIONSWITHEXACTLYTHESAMELENGTHASTHECURRENTSELECTION)N THISCASE MAKESURETHATYOUHAVEENABLED4AKE2EGION,ENGTHS4HAT-ATCH INTHE%DITING0REFERENCES )FYOUHAVEBOTHOFTHESEPREFERENCESSELECTED YOUCANEVENWORKWITHMUL TIPLE TRACKS TO REPLACE ALL TAKES ON THESE SIMULTANEOUSLY 7HEN YOU CHOOSE A REGION FROM THE 4AKES ,IST IN ONE OF THE TRACKS NOT ONLY WILL THE SELECTED REGIONBEREPLACEDINTHATTRACKBUTALSOTHESAMETAKENUMBERSWILLBEPLACED INTHEOTHERSELECTEDTRACKS ! THIRD OPTION IS PROVIDED IN THE %DITING 0REFERENCES TO MAKE ANY h3EPARATE 2EGIONv COMMANDS YOU APPLY TO A PARTICULAR REGION APPLY SIMULTANEOUSLY TOALLOTHERRELATEDTAKES THATIS TAKESWITHTHESAME5SER4IME3TAMP9OU COULDUSETHISTOSEPARATEOUTAPARTICULARPHRASETHATYOUWANTTOCOMPARE WITHDIFFERENTTAKES FOREXAMPLE

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!LL THE REGIONS IN YOUR SESSION WITH THE SAME 5SER 4IME 3TAMP WILL BE AFFECTEDUNLESSYOUKEEPONEORBOTHOFTHEOTHERTWOOPTIONSSELECTEDnIN WHICHCASETHE3EPARATE2EGIONCOMMANDWILLONLYAPPLYTOREGIONSTHATALSO MATCHTHESECRITERIA

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)TCANBEEASYTOFORGETTHATYOUHAVELEFTTHISPREFERENCESELECTEDANDEND UP ACCIDENTALLY SEPARATING REGIONS WHEN YOU DONT INTEND TO n SO MAKE SUREYOUDESELECTTHISEACHTIMEAFTERUSINGIT

Using Loop Recording &IRST MAKE SURE THAT ,OOP 2ECORD IS SELECTED FROM THE /PTIONS MENU SO THAT THE LOOP SYMBOL IS SHOWING IN THE 4RANSPORT WINDOWS 2ECORD %NABLE BUTTON )F YOU ARE GOING TO SET A RECORD OR PLAY RANGE BY SELECTING WITHIN A 0LAYLIST MAKESURETHATTHE%DITAND4IMELINESELECTIONSARELINKED3ELECT,INK 4IMELINEAND%DIT3ELECTIONFROMTHE/PTIONSMENUORMAKESURETHATTHE,INK 4IMELINE AND %DIT 3ELECTION BUTTON ABOVE THE RULERS IS HIGHLIGHTED #HOOSE THE3ELECTOR4OOLANDDRAGTHECURSORACROSSTHERANGEOFAUDIOINTHE0LAYLIST

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THAT YOU WANT TO LOOP RECORD OVER !LTERNATIVELY YOU CAN SET 3TART AND %ND TIMESFORTHELOOPINTHE4RANSPORTWINDOW4HE,OOP2ECORDSELECTIONMUST BEATLEASTSLONG

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!LTHOUGHYOUCANSETAPREROLLTIMETHATWILLBEUSEDONTHEFIRSTPASSANDA POSTROLLTIMETHATWILLBEUSEDONTHELASTPASS )RECOMMENDTHATYOUSIM PLYSELECTALOOPRANGETHATINCLUDESSOMETIMEBEFOREANDSOMETIMEAFTER THERANGEYOUWISHTORECORDOVER,ATER YOUCANTRIMBACKTHERECORDED TAKESTOTHEPROPERLENGTHWITHTHE4RIMTOOL 2ECORD ENABLETHETRACKORTRACKSYOUWANTTORECORDONTO CLICK2ECORDAND 0LAY IN THE 4RANSPORT WINDOW WHEN YOU ARE READY TO BEGIN RECORDING AND CLICK3TOPINTHE4RANSPORTWINDOWWHENYOUHAVEFINISHED

Figure 5.26 Setup for ,OOP2ECORDING

!LLTHETAKESARERECORDEDINTOASINGLEAUDIOFILEWITHSEQUENTIALLYNUMBERED REGIONS DEFINED FOR EACH TAKE 4HE MOST RECENTLY RECORDED TAKE IS LEFT IN THE RECORD TRACK !LL OF THESE TAKES APPEAR AS REGIONS IN THE 2EGION ,IST AND YOU CANAUDITIONTAKESONTHEIROWN FROMTHE2EGION,IST ORFROMTHE4AKES,IST POP UPMENU

Selecting takes after Loop Recording %ACH TAKE CREATED DURING A ,OOP 2ECORD SESSION IS GIVEN THE SAME 5SER 4IME 3TAMP 3O TO SELECT A DIFFERENT TAKE FROM THE 2EGION ,IST YOU CAN USE THE 4IME 'RABBER TOOL TO SELECT THE CURRENT TAKE IN THE %DIT WINDOW THEN

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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.

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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 recordenabled tracks be punched in and out during playback by clicking the Record

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BUTTON IN THE 4RANSPORT AND PROVIDES INSTANTANEOUS MONITOR SWITCHING ON PUNCH OUT 4RACK0UNCH IS A NONDESTRUCTIVE PUNCH RECORDING MODE THAT LETS INDIVIDUAL TRACKSBEPUNCHEDIN PUNCHEDOUT ANDTAKENOUTOFRECORDENABLEWITHOUT INTERRUPTING ONLINE RECORDING AND PLAYBACK )T ALSO PROVIDES INSTANTANEOUS MONITORSWITCHINGONPUNCH OUT $ESTRUCTIVE0UNCH IS A DESTRUCTIVE PUNCH RECORDING MODE THAT PERMANENTLY REPLACESPRE EXISTINGTRACKMATERIALWITHNEWLYRECORDEDAUDIOINTHEORIGINAL AUDIO FILE 0RO 4OOLS ONLY RECORDS WHILE TRACKS ARE PUNCHED IN INSERTING NEW MATERIALANDREPLACINGAUDIO IN THE TRACK 0LAYLIST !S WITH 4RACK0UNCH MODE INDIVIDUAL TRACKS CAN BE PUNCHED IN PUNCHED OUT AND TAKEN OUT OF RECORD ENABLEWITHOUTINTERRUPTINGONLINERECORDINGANDPLAYBACK 7ITH BOTH 4RACK0UNCH AND $ESTRUCTIVE0UNCH YOU CAN RECORD ENABLE TRACKS ON THE FLY PUNCH TRACKS IN AND OUT USING ON SCREEN 2ECORD %NABLE BUTTONS OR REMOTELY FROM A SYNCHRONIZER OR FROM A CONTROL SURFACE OR USING A FOOT SWITCHANDCOMPAREANDMATCHLEVELSUSING4RACK)NPUTSWITCHING

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1UICK0UNCH AND 4RACK0UNCH CREATE NEW AUDIO FILES FOR EACH pass A PASS IS ONE CYCLE OF STARTING AND STOPPING THE 4RANSPORT 0RO 4OOLS BEGINS RECORDINGANEWAUDIOFILE WHEN PLAYBACK BEGINS AUTOMATICALLY GENERAT ing regions IN THAT FILE AT EACH PUNCH IN AND PUNCH OUT POINT 5P TO RUNNING PUNCHES CAN BE PERFORMED IN A SINGLE PASS !FTER RECORDING THE NEW AUDIO REGIONS APPEAR IN THE 2EGION ,IST 4HIS INCLUDES THE WHOLE FILE AUDIOREGIONENCOMPASSINGALLPUNCHESFROMTHERECORDPASS ALONGWITH THEREGIONSDERIVEDFOREACHPUNCH

Voice requirements for punch recording 7ITH 0RO 4OOLS\($ SYSTEMS THE PUNCH RECORDING MODES 1UICK0UNCH 4RACK0UNCH AND $ESTRUCTIVE0UNCH USE AN ADDITIONAL VOICE FOR EACH RECORD ENABLED MONO TRACK n SO THE TOTAL NUMBER OF AVAILABLE VOICES FOR PUNCH RECORDINGISCUTINHALF/NALARGEPROJECT ITWOULDNOTBEIMPOSSIBLETOFIND YOURSELF SHORT OF VOICES BUT YOU WILL BE PROMPTED TO FREE UP THE NECESSARY VOICES IF THIS HAPPENS $ONT FORGET THAT YOU CAN ALWAYS TURN OFF THE VOICE ASSIGNMENTSTOLESS IMPORTANTTRACKSnORMAKETHESEINACTIVE6OICESTHATARE BEING USED BY OTHER TRACKS BUT ARE NOT RECORD ENABLED WILL BE CLAIMED FOR USE DURING PUNCH RECORDING AS NECESSARY n SO YOU WILL NOT HEAR THESE TRACKS PLAYBACK

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7ITH 4$- SYSTEMS THE RECOMMENDED PROCEDURE IS TO USE $YNAMICALLY !LLOCATEDVOICEASSIGNMENTSFOREACHTRACKSOTHAT0RO4OOLSWILLAUTOMATICALLY DISTRIBUTE THE VOICES BETWEEN THE $30 CHIPS &OR EXAMPLE FOR A VOICE CONFIGURED 0RO 4OOLS\($ SYSTEM $YNAMICALLY !LLOCATED VOICING DISTRIBUTES VOICES EVENLY ACROSS FOUR SETS OF VOICES n n n AND n 3IMILARLY WITHA VOICECONFIGURED0RO4OOLS\($!CCELSYSTEM $YNAMICALLY !LLOCATED VOICING DISTRIBUTES VOICES EVENLY ACROSS FOUR SETS OF VOICES n n n ANDn (OWEVER IT CAN BE STILL A GOOD IDEA TO ASSIGN VOICES TO TRACKS MANUALLY n ESPECIALLYIFYOUANTICIPATERUNNINGOUTOFVOICESANDWANTTOMAKESURETHAT THEMOSTIMPORTANTTRACKSWILLALWAYSPLAY

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)F YOU DECIDE NOT TO USE $YNAMICALLY !LLOCATED VOICING THE TRACK VOICES MUST BE SET MANUALLY TO DISTRIBUTE THE TRACKS ACROSS THE APPROPRIATE NUMBEROF$30CHIPS&OREXAMPLE TOUSE1UICK0UNCHONTRACKSWITH OUT$YNAMICALLY!LLOCATEDVOICING TRACKSnMUSTBEASSIGNEDTOVOICES nANDTRACKSnMUSTBEASSIGNEDTOVOICESn RESPECTIVELY

Crossfades while punch recording 0RO4OOLSAUTOMATICALLYWRITESACROSSFADEFOREACHPUNCHPOINTWHENUSING 1UICK0UNCHAND4RACK0UNCHTOMAKESURETHATTHEREARESMOOTHTRANSITIONS BETWEEN PUNCH REGIONS 9OU CAN SET THE LENGTH FOR THESE CROSSFADES USING THE 1UICK0UNCH4RACK0UNCH #ROSSFADE ,ENGTH OPTION THAT YOU WILL FIND ON THE %DITING 0REFERENCES PAGE )F THIS IS SET TO ZERO 0RO 4OOLS WONT CRE ATE ANY CROSSFADES AT THE PUNCH INPUNCH OUT POINTS )F YOU SET A NONZERO VALUE 0RO 4OOLS WRITES A PRECROSSFADE UP TO BUT NOT INTO THE PUNCHED REGIONBOUNDARY ATTHEPUNCH INPOINT ANDAPOSTCROSSFADEATPUNCH OUT AFTER THE PUNCHED REGION ! TYPICAL VALUE TO USE FOR THE CROSSFADE LENGTH FOR PUNCHES WOULD BE MS )F NECESSARY YOU CAN ALWAYS EDIT THE CROSS FADES WHEN YOU HAVE FINISHED PUNCH RECORDING USING THE STANDARD FADE EDITINGFEATURES

Figure 5.28 &ADES %DITING0REFERENCES

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2EGARDLESS OF THE CURRENT 1UICK0UNCH4RACK0UNCH #ROSSFADE ,ENGTH SET TING 0RO4OOLSALWAYSEXECUTESAMShMONITORONLYvCROSSFADEWHICHIS NOTWRITTENTODISK TOAVOIDDISTRACTINGPOPSORCLICKSTHATMIGHTOCCURAS YOUENTERANDEXITRECORDMODE $ESTRUCTIVE0UNCH DOESNT GIVE YOU A CHOICE OF CROSSFADE LENGTHS A FIXED MSLINEARCROSSFADEISAUTOMATICALLYCREATEDATEACHINANDOUTPOINT

Setting levels for punch recording "EFORE YOU START PUNCH RECORDING YOU MAY NEED TO ADJUST THE MONITOR ING LEVELS FOR THE INCOMING AUDIO AND THE PLAYBACK AUDIO FOR THE TRACKS YOU WILL PUNCH RECORD ONTO SO THAT THE LEVEL THAT YOU HEAR IN THE CONTROL ROOM MONITORSANDTHELEVELTHATTHEPERFORMERHEARSINTHEHEADPHONES DOESNOT CHANGEDRASTICALLYWHENYOUPUNCHIN 4OGETTHEPLAYBACKLEVELFORATRACKFROMDISKTOMATCHTHEMONITORINGLEVEL OFINCOMINGAUDIO STARTPLAYBACKANDCOMPARETHELEVELSOFTHEINPUTSOURCE WITH THE AUDIO ON DISK CLICKING THE 4RACK)NPUT BUTTON TO TOGGLE THE TRACK SOURCE BETWEEN INPUT AND PLAYBACK FROM DISK 4HE 4RACK)NPUT BUTTON TURNS GREENWHENITISMONITORINGTHEINPUT7HENYOUHAVESETALLTHELEVELSAPPRO PRIATELY YOUAREREADYTOSTARTPUNCHRECORDING

QuickPunch )FYOULIKETOWORKFASTWHILEDOINGOVERDUBS YOUCANUSETHE1UICK0UNCHFEA TURETODROPINANDOUTOFRECORDONRECORD ENABLEDTRACKS.ORMALLY WHENYOU USE !UTO )NPUT -ONITORING THEN SWITCHBACK TO MONITORING TRACK MATERIAL ON PUNCH OUT THISISNOTINSTANTANEOUS4HEBIGDIFFERENCEHEREISTHAT1UICK0UNCH INSTANTLYSWITCHESFROMMONITORINGTHEINPUTTOMONITORINGTHEPLAYBACKWHEN YOU PUNCH OUT OF RECORDING !LSO WITH 1UICK0UNCH 0RO 4OOLS ACTUALLY STARTS RECORDINGANEWAUDIOFILEASSOONASYOUSTARTPLAYBACK AUTOMATICALLYDEFINING ANDNAMINGREGIONSINTHATFILEATEACHPUNCH INPUNCH OUTPOINT

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)F A MUSICIAN PLAYS OR A VOCALIST SINGS SOMETHING THAT YOU WOULD LIKE TO KEEPWHILETHE4RANSPORTISRUNNINGIN1UICK0UNCHMODE BUTBEFOREYOU HAVEPUNCHEDIN ALLYOUNEEDTODOISPUNCHINLATERTHANTHISANDWHEN YOUSTOPRECORDING TRIMTHEREGIONBACKWARDSALONGTHE4IMELINETOREVEAL THEEARLIERMATERIALnWHICHWILLHAVEBEENRECORDED

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Preparing for QuickPunch 9OU CAN ENABLE 1UICK0UNCH MODE BY SELECTING THIS IN THE /PTIONS MENU OR BY RIGHT CLICKING THE 2ECORD BUTTON IN THE 4RANSPORT WINDOW AND SELECTING 1UICK0UNCHFROMTHEPOP UPMENU)FYOUPREFERAKEYBOARDCOMMAND YOU CAN USE #OMMAND 3HIFT 0 -AC OR #ONTROL 3HIFT 0 7INDOWS 0OSSIBLY THE FASTEST WAY IS TO #ONTROL CLICK -AC OR 3TART CLICK 7INDOWS ON THE 2ECORD BUTTONINTHE4RANSPORTWINDOWTOCYCLETHROUGHTHEAVAILABLE2ECORDMODES UNTIL1UICK0UNCHMODEISSELECTED7HEN1UICK0UNCHMODEISENABLED Ah0v APPEARSINTHE2ECORDBUTTONINTHE4RANSPORT

5SING1UICK0UNCH 4O RECORD USING 1UICK0UNCH MODE FIRST MAKE SURE THAT THE INDIVIDUAL TRACKS THAT YOU WANT TO RECORD ONTO ARE ALSO RECORD ENABLED WITH THEIR 2ECORD %NABLE BUTTONS FLASHING RED #UE 0RO 4OOLS TO THE LOCATION YOU WANT TO START from, using a preroll value if you like, then press the Spacebar or click the Play BUTTONTOSTARTPLAYBACK7HENYOUREACHTHELOCATIONATWHICHYOUWANTTO STARTRECORDING SIMPLYCLICKTHE2ECORDBUTTONINTHE4RANSPORTWINDOW0RO 4OOLS WILL IMMEDIATELY SWITCH TO MONITORING THE INPUT IF IT IS NOT ALREADY IN )NPUT -ONITORING MODE AND WILL START RECORDING 7HILE A TRACK IS RECORDING ITS 2ECORD %NABLE BUTTON LIGHTS SOLID RED 4O PUNCH OUT AGAIN JUST CLICK THE 2ECORD BUTTON IN THE 4RANSPORT WINDOW 9OU CAN CONTINUE TO PUNCH IN AND OUT UP TO TIMES DURING A SINGLE PASS 7HEN YOU ARE FINISHED RECORDING JUSTCLICK3TOPINTHE4RANSPORTWINDOWORPRESSTHE3PACEBARTOSTOPRECORD INGANDPLAYBACK

Figure 5.29 Pro Tools in 1UICK0UNCHMODEWITH ATRACKRECORD ENABLEDn GOODTOGO

TrackPunch 4RACK0UNCHMODELETSYOUPUNCHTRACKSINANDOUTINDIVIDUALLY ORPUNCHMUL TIPLE TRACKS IN AND OUT SIMULTANEOUSLY WITHOUT INTERRUPTING ONLINE RECORDING ANDPLAYBACK5PTOhRUNNINGPUNCHESvCANBEPERFORMEDINATRACKDUR INGASINGLE4RACK0UNCHPASS

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Preparing for TrackPunch 9OU CAN ENABLE 4RACK0UNCH MODE BY SELECTING THIS IN THE /PTIONS MENU OR BY 2IGHT CLICKING THE 2ECORD BUTTON IN THE 4RANSPORT WINDOW AND SELECTING 4RACK0UNCHFROMTHEPOP UPMENU)FYOUPREFERAKEYBOARDCOMMAND YOU CAN USE #OMMAND 3HIFT 4 -AC OR #ONTROL 3HIFT 4 7INDOWS 0OSSIBLY THE FASTEST WAY IS TO #ONTROL CLICK -AC OR 3TART CLICK 7INDOWS ON THE 2ECORD BUTTONINTHE4RANSPORTWINDOWTOCYCLETHROUGHTHEAVAILABLE2ECORDMODES UNTIL4RACK0UNCHMODEISSELECTED7HEN4RACK0UNCHMODEISENABLED Ah4v APPEARSINTHE2ECORDBUTTONINTHE4RANSPORT "EFOREEACHPASS YOUMUST4RACK0UNCH ENABLEALLTHETRACKSTHATYOUINTEND TO PUNCH 9OU CAN ENABLE TRACKS FOR 4RACK0UNCH WITHOUT RECORD ENABLING THEM 4HIS LETS YOU PUNCH IN ON INDIVIDUAL TRACKS AT ANY TIME AFTER STARTING PLAYBACKBYCLICKINGTHEIRRESPECTIVE2ECORD%NABLEBUTTONS/RYOUCANSIMUL TANEOUSLY4RACK0UNCH ENABLETRACKSANDRECORD ENABLETHEM4HISLETSRECORD INGBEGINONALLTHEENABLEDTRACKSASSOONASTHETRANSPORTISRECORD ARMED ANDPLAYBACKBEGINS 4O 4RACK0UNCH ENABLE A SINGLE AUDIO TRACK #ONTROL CLICK -AC OR 3TART CLICK 7INDOWS ON THE TRACKS 2ECORD %NABLE BUTTON TO TOGGLE THE BUTTON TO SOLID BLUE 4O 4RACK0UNCH ENABLE OR DISABLE all AUDIO TRACKS /PTION #ONTROL CLICK -AC OR!LT 3TART CLICK7INDOWS ONANYTRACKS2ECORD%NABLEBUTTONTOTOG GLEALLTHE2ECORD%NABLEBUTTONSTOSOLIDBLUE4O4RACK0UNCH ENABLEORDISABLE all selectedAUDIOTRACKS /PTION #ONTROL 3HIFT CLICK-AC OR!LT 3TART 3HIFT CLICK 7INDOWS ONANYSELECTEDTRACKS2ECORD%NABLEBUTTONTOTOGGLETHE2ECORD %NABLE BUTTONS FOR THE SELECTED AUDIO TRACKS TO SOLID BLUE 4HESE ACTIONS 4RACK0UNCH ENABLETHETRACKS BUTDONOTRECORD ENABLETHETRACKS SOYOUWILL STILLNEEDTOCLICKONTHEINDIVIDUALTRACKSTHATYOUWISHTOPUNCHINON /RYOUCANSIMULTANEOUSLY4RACK0UNCH ENABLETRACKSANDRECORD ENABLETHEM 4HISLETSRECORDINGBEGINONALLTHEENABLEDTRACKSASSOONASTHETRANSPORTIS RECORD ARMEDANDPLAYBACKBEGINS 4OSIMULTANEOUSLY4RACK0UNCH ENABLEANDRECORD ENABLEASINGLEAUDIOTRACK #LICK THETRACKS2ECORD%NABLEBUTTONSOTHATITFLASHESFROMBLUETORED4OSIMULTANE OUSLY 4RACK0UNCH ENABLE AND RECORD ENABLE ALL AUDIO TRACKS /PTION CLICK -AC OR!LT CLICK7INDOWS ANYTRACKS2ECORD%NABLEBUTTONSOTHATALLTRACKS2ECORD %NABLEBUTTONSFLASHFROMBLUETORED4OSIMULTANEOUSLY4RACK0UNCH ENABLEAND RECORD ENABLE ALL SELECTED AUDIO TRACKS /PTION 3HIFT CLICK -AC OR !LT 3HIFT CLICK 7INDOWS ANYSELECTEDTRACKS2ECORD%NABLEBUTTONSOTHATTHE2ECORD%NABLE BUTTONSFORTHESELECTEDAUDIOTRACKSFLASHFROMBLUETORED !FTER PUTTING THE 4RANSPORT 2ECORD BUTTON INTO 4RACK0UNCH MODE WHEN YOU FIRST CLICK ON ANY INDIVIDUAL TRACKS 2ECORD %NABLE BUTTON THIS WILL BOTH 4RACK0UNCH ENABLE IT AND RECORD ENABLE THE TRACK 4O CONFIRM THIS THE SMALL

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2ECORD %NABLE 3TATUS ,%$ TO THE RIGHT OF THE 4RANSPORT 2ECORD BUTTON GOES RED !LSO WHEN A TRACK IS BOTH 4RACK0UNCH ENABLED AND RECORD ENABLED THE TRACKS2ECORD%NABLEBUTTONWILLFLASHFROMBLUETORED

Figure 5.30 When ATRACKIS4RACK0UNCH ENABLED ANDISALSO RECORD ENABLED ITS2ECORD Enable button lights FLASHESFROMBLUETORED THE4RANSPORTWINDOW 2ECORDBUTTONALSOFLASHES BLUETOREDANDHASA@4 INTHEMIDDLE ANDTHE SMALLRECORD,%$TOTHE RIGHTOFTHISISLIT

)F YOU CLICK ONCE MORE ON THE TRACKS 2ECORD %NABLE BUTTON THIS WILL DISABLE ITFORRECORDING BUTWILLLEAVEIT4RACK0UNCH ENABLED ANDTHE2ECORD%NABLE 3TATUS ,%$ IN THE 4RANSPORT WINDOW WILL BE UNLIT 7ITH 4RACK0UNCH ENABLED BUT NOT RECORD ENABLED FOR A TRACK THE TRACKS 2ECORD %NABLE BUTTON WILL LIGHTUPSOLIDBLUE

Figure 5.31 When ATRACKIS4RACK0UNCH ENABLED BUTNOTRECORD ENABLED ITS2ECORD%NABLE BUTTONLIGHTSSOLIDBLUE THE4RANSPORTWINDOW 2ECORDBUTTONFLASHES BLUETOREDANDHASA@4 INTHEMIDDLE ANDTHE SMALLRECORD,%$TOTHE RIGHTOFTHISISNOTLIT

4O DISABLE A TRACK THAT YOU HAVE 4RACK0UNCH ENABLED SO THAT IT IS NEITHER 4RACK0UNCH ENABLED NOR RECORD ENABLED #ONTROL CLICK -AC OR 3TART CLICK 7INDOWS ONTHETRACKS2ECORD%NABLEBUTTON4HISWILLNOLONGERBELITAND WHEN NO TRACKS ARE 4RACK0UNCH OR RECORD ENABLED NEITHER WILL THE 2ECORD BUTTONINTHE4RANSPORTWINDOW 216

Recording

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)F AT LEAST ONE TRACK IS 4RACK0UNCH ENABLED THE 2ECORD BUTTON IN THE 4RANSPORT WINDOW LIGHTS SOLID BLUE 7HEN 4RACK0UNCH MODE IS ENABLED BUTNOTRACKSARE4RACK0UNCH ENABLED THE4RANSPORT2ECORDBUTTONFLASHES FROMGRAYTORED)FATLEASTONETRACKIS4RACK0UNCH ENABLED THE4RANSPORT 2ECORDBUTTONFLASHESFROMBLUETORED)FATLEASTONE4RACK0UNCH ENABLED TRACKISALSORECORD ENABLED THE4RANSPORT2ECORDBUTTONFLASHESFROMBLUE TO RED AND THE SMALL RECORD ,%$ TO THE RIGHT OF THIS ALSO LIGHTS UP RED 7HENEVERATLEASTONEAUDIOTRACKISRECORDING THE4RANSPORT2ECORDBUT TONLIGHTSUPSOLIDRED

5SING4RACK0UNCH 7HENYOUAREALLSETUPTOUSE4RACK0UNCH YOUCANEITHERPUNCHINONINDIVID UALTRACKSORPUNCHINONMULTIPLETRACKSSIMULTANEOUSLYWHENYOUREACHTHE FIRSTPUNCH INPOINTDURINGPLAYBACK9OUMAYALSOWANTTOPUNCHINIMMEDI ATELY THENPUNCHOUTFURTHERINTOTHETRACK THENPUNCHINAGAINLATERON 4OPUNCHINONINDIVIDUALTRACKS MAKESURETHATEACHTRACKYOUWANTTOPUNCH INONIS4RACK0UNCH ENABLED WITHITS2ECORD%NABLEBUTTONLITSOLIDBLUE#LICK 2ECORDINTHE4RANSPORTTOENTERTHE4RACK0UNCH2ECORD2EADYMODE WITHTHE 2ECORDBUTTONFLASHINGFROMBLUETORED4HEN CLICK0LAYINTHE4RANSPORTTO BEGIN PLAYBACK 7HILE THE SESSION PLAYS BACK YOU CAN PUNCH IN AND OUT ON INDIVIDUAL4RACK0UNCH ENABLEDTRACKSBYCLICKINGTHEIR2ECORD%NABLEBUTTONS

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!FTERA4RACK0UNCHRECORDINGPASS THEPUNCHEDTRACKS0LAYLISTINTHE%DIT WINDOW DISPLAYS THE REGIONS CREATED BY PUNCHING 9OU CAN USE ANY OF THE 4RIM TOOLS AFTER PUNCH RECORDING TO OPEN UP THE START OR END OF ANY 4RACK0UNCH RECORDEDREGIONSTOreveal more, or all, ofTHEPARENTAUDIOFILE THAT WAS RECORDED IN THE BACKGROUND 4HIS LETS YOU COMPENSATE FOR ANY LATEORMISSEDPUNCHES To punch in on multiple tracks simultaneously, make sure that each track you WANTTOPUNCHINONISBOTH4RACK0UNCH ENABLEDANDRECORD ENABLED4OPUNCH INOROUTONALLTHE4RACK0UNCH ENABLEDTRACKSSIMULTANEOUSLY PLAYBACKTHESES SIONANDCLICKTHE2ECORDBUTTONINTHE4RANSPORTWINDOWWHENEVERYOULIKE 4OSTARTYOUR4RACK0UNCHPASSINRECORD PUNCHINGINIMMEDIATELYONALLTRACKS MAKESURETHATALLTHETRACKSAREBOTH4RACK0UNCH ENABLEDANDRECORD ENABLED ANDTHE4RANSPORTISIN4RACK0UNCH2ECORD2EADYMODE THENCLICK0LAYINTHE 4RANSPORT TO BEGIN PLAYBACK $URING PLAYBACK YOU CAN PUNCH OUT AND THEN

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!LTERNATIVELY CLICK 2ECORD IN THE 4RANSPORT FIRST THEN /PTION 3HIFT CLICK -AC OR !LT 3HIFT CLICK 7INDOWS ON ANY SELECTED TRACKS 2ECORD %NABLE BUTTON TO SIMULTANEOUSLY PUNCH IN AND OUT ON ALL THE CURRENTLY SELECTED 4RACK0UNCH ENABLEDTRACKS

PUNCHINANDOUTAGAINWHENEVERYOULIKEONANY4RACK0UNCH ENABLEDTRACK BYCLICKINGITS2ECORD%NABLEBUTTON

DestructivePunch $ESTRUCTIVE0UNCH IS A DESTRUCTIVE VERSION OF 4RACK0UNCH MODE 7HERE 4RACK0UNCHALWAYSRECORDSAUDIOTOANEWFILE $ESTRUCTIVE0UNCHDESTRUCTIVELY RECORDS AUDIO DIRECTLY INTO THE ORIGINAL FILE USING A FIXED MS LINEAR CROSS FADE .O ADDITIONAL REGIONS ARE CREATED WHEN RECORDING IN $ESTRUCTIVE0UNCH MODE 5P TO RUNNING PUNCHES CAN BE PERFORMED IN A TRACK DURING A SINGLE$ESTRUCTIVE0UNCHPASS

Preparing for DestructivePunch 4O USE $ESTRUCTIVE0UNCH ON AN AUDIO TRACK THE TRACK MUST CONTAIN A CON TINUOUS AUDIO FILE OF A MINIMUM LENGTH WHICH YOU CAN SET IN THE 0RO 4OOLS /PERATIONPREFERENCESPAGE!LSO THEFILEMUSTSTARTATTHEBEGINNINGOFTHE SESSIONATSAMPLE ANDTHEFILELENGTHMUSTBEEQUALTOORGREATERTHANTHE $ESTRUCTIVE0UNCH &ILE ,ENGTH SETTING )F THE $ESTRUCTIVE0UNCH &ILE ,ENGTH IS NOT SUFFICIENTLY LONG FOR THE FILES YOU ARE WORKING WITH IT IS EASY ENOUGH TO CHANGETHISINTHE/PERATION0REFERENCESSOTHATITISEQUALTOORGREATERTHAN THELENGTHOFTHECURRENTFILE Figure 5.32 Setting the DestructivePunch File ,ENGTHINTHE/PERATION 0REFERENCES

3OMETIMES YOUMAYWANTTOUSE$ESTRUCTIVE0UNCHWITHAFILETHATDOESNOT STARTATTHEBEGINNINGOFTHESESSION ANDTHATYOUCANNOTMOVETOTHESTART OFTHESESSIONBECAUSETHISWOULDPUTITOUTOFSYNCWITHOTHERFILES!NDVERY OFTEN A 0LAYLIST WILL CONTAIN REGIONS TAKEN FROM DIFFERENT FILES )N THESE CASES YOUCANEITHERUSETHE"OUNCETO$ISKCOMMANDORUSETHE#ONSOLIDATECOM MAND TO CREATE A CONTINUOUS FILE OF THE REQUIRED LENGTH THAT STARTS AT THE BEGINNINGOFTHESESSION"ECAUSETHISISSUCHACOMMONSITUATION 0RO4OOLS

218

Recording

HAS A SPECIAL h0REPARE $0% 4RACKSv COMMAND IN THE /PTIONS MENU THAT LETS YOU CONSOLIDATE AUDIO ON ALL $ESTRUCTIVE0UNCH ENABLED TRACKS 4O USE THIS COMMAND YOUNEEDTOENABLE$ESTRUCTIVE0UNCHMODEFIRST THENMAKESURE THATALLTHETRACKSYOUWANTTOPREPAREARE$ESTRUCTIVE0UNCH ENABLED BUTNOT RECORD ENABLED7HENYOUUSETHEh0REPARE$0%4RACKSvCOMMAND 0RO4OOLS CONSOLIDATES AUDIO ON ALL $ESTRUCTIVE0UNCH ENABLED TRACKS FROM THE BEGIN NINGOFTHESESSIONTOTHEVALUESPECIFIEDINTHE$ESTRUCTIVE0UNCH&ILE,ENGTH PREFERENCE 9OUCANENABLE$ESTRUCTIVE0UNCHMODEBYSELECTINGTHISINTHE/PTIONSMENU OR BY RIGHT CLICKING THE 2ECORD BUTTON IN THE 4RANSPORT WINDOW AND SELECT ING$ESTRUCTIVE0UNCHFROMTHEPOP UPMENU!FASTERWAYISTO#ONTROL CLICK -AC OR3TART CLICK7INDOWS ONTHE2ECORDBUTTONINTHE4RANSPORTWINDOW TO CYCLE THROUGH THE AVAILABLE 2ECORD MODES UNTIL $ESTRUCTIVE0UNCH MODE IS SELECTED 7HEN $ESTRUCTIVE0UNCH MODE IS ENABLED h$0v APPEARS IN THE 2ECORDBUTTONINTHE4RANSPORT "EFORE EACH PASS YOU MUST $ESTRUCTIVE0UNCH ENABLE ALL TRACKS THAT YOU INTENDTOPUNCH9OUCANENABLETRACKSFOR$ESTRUCTIVE0UNCHWITHOUTRECORD ENABLING THEM 4HIS LETS YOU PUNCH IN ON INDIVIDUAL TRACKS AT ANY TIME AFTER STARTINGPLAYBACKBYCLICKINGTHEIRRESPECTIVE2ECORD%NABLEBUTTONS9OUMAY ALSONEEDTODOTHISIFYOUWANTTOUSETHE0REPARE$0%4RACKSCOMMANDTO CONSOLIDATEFILESFOR$ESTRUCTIVE 0UNCHRECORDING 4O $ESTRUCTIVE0UNCH ENABLE A SINGLE AUDIO TRACK #ONTROL CLICK -AC OR 3TART CLICK 7INDOWS THE TRACKS 2ECORD %NABLE BUTTON TO TOGGLE THE BUT TON TO SOLID BLUE 4O $ESTRUCTIVE0UNCH ENABLE OR DISABLE all AUDIO TRACKS /PTION #ONTROL CLICK -AC OR !LT 3TART CLICK 7INDOWS ANY TRACKS 2ECORD %NABLE BUTTON TO TOGGLE ALL 2ECORD %NABLE BUTTONS TO SOLID BLUE 4O $ESTRUCTIVE0UNCH ENABLEORDISABLEALLselectedAUDIOTRACKS /PTION #ONTROL 3HIFT CLICK -AC OR !LT 3TART 3HIFT CLICK 7INDOWS A SELECTED TRACKS 2ECORD %NABLE BUTTON TO TOGGLE THE 2ECORD %NABLE BUTTONS FOR THE SELECTED AUDIO TRACKS SOLID BLUE 4HESE ACTIONS $ESTRUCTIVE0UNCH ENABLE THE TRACKS BUT DO NOTRECORD ENABLETHETRACKS SOYOUWILLSTILLNEEDTOCLICKONTHEINDIVIDUAL TRACKSTHATYOUWISHTOPUNCHINON /RYOUCANSIMULTANEOUSLY$ESTRUCTIVE0UNCH ENABLETRACKSandRECORD ENABLE THEM4HISLETSRECORDINGBEGINONALLTHEENABLEDTRACKSASSOONASTHETRANS PORTISRECORD ARMEDANDPLAYBACKBEGINS 4OSIMULTANEOUSLY$ESTRUCTIVE0UNCH ENABLEANDRECORD ENABLEASINGLEAUDIO TRACK CLICK THE TRACKS 2ECORD %NABLE BUTTON SO THAT IT FLASHES FROM BLUE TO RED 4O SIMULTANEOUSLY $ESTRUCTIVE0UNCH ENABLE AND RECORD ENABLE ALL AUDIO TRACKS /PTION CLICK -AC OR !LT CLICK 7INDOWS A TRACKS 2ECORD %NABLE BUTTON SO THAT ALL TRACKS 2ECORD %NABLE BUTTONS FLASH FROM BLUE TO RED 4O SIMULTANEOUSLY$ESTRUCTIVE0UNCH ENABLEANDRECORD ENABLEALLSELECTEDAUDIO 219


TRACKS /PTION 3HIFT CLICK-AC OR!LT 3HIFT CLICK7INDOWS ANYSELECTEDTRACKS 2ECORD%NABLEBUTTONSOTHATTHE2ECORD%NABLEBUTTONSFORTHESELECTEDAUDIO TRACKSFLASHFROMBLUETORED !FTER PUTTING THE 4RANSPORT 2ECORD BUTTON INTO $ESTRUCTIVE0UNCH MODE WHEN YOU FIRST CLICK ON ANY INDIVIDUAL TRACKS 2ECORD %NABLE BUTTON THIS WILL BOTH $ESTRUCTIVE0UNCH ENABLE IT AND RECORD ENABLE THE TRACK 4O CON FIRMTHIS THESMALL2ECORD%NABLE3TATUS,%$TOTHERIGHTOFTHE4RANSPORT 2ECORD BUTTON GOES RED !LSO WHEN A TRACK IS BOTH $ESTRUCTIVE0UNCH ENABLED AND RECORD ENABLED THE TRACKS 2ECORD %NABLE BUTTON WILL FLASH FROMBLUETORED

Figure 5.33 2ECORD %NABLE3TATUS,%$

)F YOU CLICK ONCE MORE ON THE TRACKS 2ECORD %NABLE BUTTON THIS WILL DIS ABLE IT FOR RECORDING BUT WILL LEAVE IT $ESTRUCTIVE0UNCH ENABLED AND THE 2ECORD %NABLE 3TATUS ,%$ IN THE 4RANSPORT WINDOW WILL BE UNLIT 7ITH $ESTRUCTIVE0UNCH ENABLED BUT NOT RECORD ENABLED FOR A TRACK THE 4RACKS 2ECORD%NABLEBUTTONWILLLIGHTUPSOLIDBLUE

Figure 5.34 DestructivePunch is ENABLEDINTHE/PTIONS MENUANDTHE2ECORD BUTTONHASBEENSELECTED INTHE4RANSPORTAN !UDIOTRACKISALSORECORD ENABLEDSOTHE4RANSPORT 2ECORDBUTTONFLASHES BLUETORED THEINDIVIDUAL TRACK2ECORD%NABLE BUTTONSFLASHBLUETORED ANDTHESMALL,%$TOTHE RIGHTOFTHE2ECORDBUTTON INTHE4RANSPORTWINDOW LIGHTSUPRED

4ODISABLEATRACKTHATYOUHAVE$ESTRUCTIVE0UNCH ENABLEDSOTHATITISNEITHER $ESTRUCTIVE0UNCH ENABLED NOR RECORD ENABLED #ONTROL CLICK -AC OR 3TART CLICK7INDOWS ONTHETRACKS2ECORD%NABLEBUTTON4HISWILLNOLONGERBELIT AND WHENNOTRACKSARE$ESTRUCTIVE0UNCH ORRECORD ENABLED NEITHERWILLTHE 2ECORDBUTTONINTHE4RANSPORTWINDOW

220

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)FATLEASTONETRACKIS$ESTRUCTIVE0UNCH ENABLED THE2ECORDBUTTONINTHE 4RANSPORTWINDOWLIGHTSSOLIDBLUE7HEN$ESTRUCTIVE0UNCHMODEISENA BLED BUT NO TRACKS ARE $ESTRUCTIVE0UNCH ENABLED THE 4RANSPORT 2ECORD BUTTON FLASHES FROM GRAY TO RED )F AT LEAST ONE TRACK IS $ESTRUCTIVE0UNCH ENABLED THE 4RANSPORT 2ECORD BUTTON FLASHES FROM BLUE TO RED )F AT LEAST ONE $ESTRUCTIVE0UNCH ENABLED TRACK IS ALSO RECORD ENABLED THE 4RANSPORT 2ECORD BUTTON FLASHES FROM BLUE TO RED AND THE SMALL RECORD ,%$ TO THE RIGHTOFTHISALSOLIGHTSUPRED7HENEVERATLEASTONEAUDIOTRACKISRECORD ING THE4RANSPORT2ECORDBUTTONLIGHTSUPSOLIDRED

5SING$ESTRUCTIVE0UNCH When you are all set up to use DestructivePunch, you can either punch in ONINDIVIDUALTRACKSORPUNCHINONMULTIPLETRACKSSIMULTANEOUSLYWHENYOU REACHTHEFIRSTPUNCH INPOINTDURINGPLAYBACK9OUMAYALSOWANTTOPUNCH IN IMMEDIATELY THEN PUNCH OUT FURTHER INTO THE TRACK AND PUNCH IN AGAIN LATERON 4O PUNCH IN ON INDIVIDUAL TRACKS MAKE SURE THAT EACH TRACK YOU WANT TO PUNCH IN ON IS $ESTRUCTIVE0UNCH ENABLED WITH ITS 2ECORD %NABLE BUTTON LIT SOLIDBLUE#LICK2ECORDINTHE4RANSPORTTOENTERTHE$ESTRUCTIVE0UNCH2ECORD 2EADY MODE WITH THE 2ECORD BUTTON FLASHING FROM BLUE TO RED 4HEN CLICK 0LAYINTHE4RANSPORTTOBEGINPLAYBACK7HILETHESESSIONPLAYSBACK YOUCAN PUNCH IN AND OUT ON INDIVIDUAL $ESTRUCTIVE0UNCH ENABLED TRACKS BY CLICKING THEIR2ECORD%NABLEBUTTONS To punch in on multiple tracks simultaneously, make sure that each track you WANT TO PUNCH IN ON IS BOTH $ESTRUCTIVE0UNCH ENABLED AND RECORD ENABLED 4OPUNCHINOROUTONALLTHE$ESTRUCTIVE0UNCH ENABLEDTRACKSSIMULTANEOUSLY PLAY BACK THE SESSION AND CLICK THE 2ECORD BUTTON IN THE 4RANSPORT WINDOW WHENEVERYOULIKE

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!LTERNATIVELY CLICK 2ECORD IN THE 4RANSPORT FIRST THEN /PTION 3HIFT CLICK -AC OR !LT 3HIFT CLICK 7INDOWS ON ANY SELECTED TRACKS 2ECORD %NABLE BUTTON TO SIMULTANEOUSLY PUNCH IN AND OUT ON ALL THE CURRENTLY SELECTED $ESTRUCTIVE0UNCH ENABLEDTRACKS

4O START YOUR $ESTRUCTIVE0UNCH PASS IN RECORD PUNCHING IN IMMEDIATELY ON ALL TRACKS MAKE SURE THAT ALL THE TRACKS ARE BOTH $ESTRUCTIVE0UNCH ENABLED

221


AND RECORD ENABLED AND THE 4RANSPORT IS IN $ESTRUCTIVE0UNCH 2ECORD 2EADY MODE THEN CLICK 0LAY IN THE 4RANSPORT TO BEGIN PLAYBACK $URING PLAYBACK YOU CAN PUNCH OUT AND THEN PUNCH IN AND OUT AGAIN WHENEVER YOU LIKE ON ANY$ESTRUCTIVE0UNCH ENABLEDTRACKBYCLICKINGITS2ECORD%NABLEBUTTON

$ELAY#OMPENSATIONAND$ESTRUCTIVE0UNCH )T IS IMPORTANT TO BE AWARE OF WHETHER OR NOT $ELAY #OMPENSATION WAS IN USE WHEN THE RECORDING THAT YOU WISH TO USE $ESTRUCTUVE0UNCH WITH WAS ORIGINALLY RECORDED )F $ELAY #OMPENSATION WAS USED ON THE ORIGINAL RECORD INGANDTHISISNOTUSEDWHENYOUPUNCHINUSING$ESTRUCTIVE0UNCH ORVICE VERSA THENEWAUDIOWILLNOTBERECORDEDINTOEXACTLYTHECORRECTPOSITIONIN THEAUDIOFILE)TWILLBEOFFSETINONEDIRECTIONORTHEOTHERBYTHEAMOUNTOF THE $ELAY #OMPENSATION 4O MAKE SURE THAT THIS DOES NOT HAPPEN IF $ELAY #OMPENSATION WAS INACTIVE WHEN RECORDING THE ORIGINAL FILE IT SHOULD BE DEACTIVATED WHILE USING $ESTRUCTIVE0UNCH AND IF WAS ACTIVE WHEN RECORDING THEORIGINALFILE ITSHOULDBEKEPTACTIVEWHILEUSING$ESTRUCTIVE0UNCH

Figure 5.35 Track Compensation is AUTOMATICALLYSUSPENDED BYTHE!UTO,OW,ATENCY FEATUREWHEN)NPUT -ONITORINGISENABLED

#ONSEQUENTLY YOUMAYNEEDTOMANUALLYOVERRIDETHEAUTOMATICSUSPENSION OF $ELAY #OMPENSATION THAT OCCURS WHEN RECORD ENABLED TRACKS SWITCH TO )NPUT-ONITORINGWHENYOUAREUSING$ESTRUCTIVE0UNCH 222

Recording

4HISFEATUREISCALLED!UTO,OW,ATENCYANDCANBETURNEDOFFBYRIGHT CLICKING THE 4RACK #OMPENSATION INDICATOR ON THE TRACK AND SELECTING !UTO ,OW ,ATENCY /FF OR BY #OMMAND #ONTROL CLICKING -AC OR #ONTROL 3TART CLICKING 7INDOWS ONTHE4RACK#OMPENSATIONINDICATORONTHETRACK

Figure 5.36 Track Compensation suspension CANBEOVERRIDDENWITHA #OMMAND #ONTROL CLICK -AC OR#ONTROL 3TART CLICK7INDOWS ONTHE Track Compensation INDICATOR

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4OAPPLY$ELAY#OMPENSATIONTOALLSELECTEDTRACKSWHERE$ELAY#OMPENSATION WAS SUSPENDED EITHER 3HIFT 2IGHT CLICK THE 4RACK #OMPENSATION INDICA TOR ON ANY SELECTED TRACK AND SELECT !UTO ,OW ,ATENCY /FF OR #OMMAND #ONTROL 3HIFT CLICK -AC OR #ONTROL 3TART 3HIFT CLICK 7INDOWS ON THE 4RACK #OMPENSATIONINDICATORONANYSELECTEDTRACK

After punch recording 7HENYOUAREFINISHEDWITHTHERECORDPASSAFTERPUNCHRECORDING THETRACK 2ECORD%NABLESTATUSANDTRANSPORT2ECORD!RMSTATUSFORTHETRACKSYOUHAVE BEEN RECORDING ONTO WILL FOLLOW THE CURRENT !UDIO 4RACK 2ECORD,OCK AND 4RANSPORT2ECORD,OCKSETTINGS9OUCANSETTHESEINTHE2ECORDSECTIONOFTHE /PERATION0REFERENCES

223


Figure 5.37 2ECORD,OCK 0REFERENCES

)F THE !UDIO 4RACK 2ECORD,OCK OPTION IS ENABLED THE RECORD ENABLED AUDIO TRACKSREMAINARMEDWHENPLAYBACKORRECORDINGSTOPS7HENTHE!UDIO4RACK 2ECORD,OCKOPTIONISNOTENABLED RECORD ENABLEDAUDIOTRACKSARETAKENOUT OFRECORDENABLEWHEN0RO4OOLSISSTOPPEDnASWITHADIGITALDUBBER )F THE 4RANSPORT 2ECORD,OCK PREFERENCE SETTING IS NOT ENABLED THE 4RANSPORT 2ECORD DISARMS WHEN 0RO 4OOLS IS STOPPED 7HEN ENABLED THE 4RANSPORT 2ECORDREMAINSARMEDWHENPLAYBACKORRECORDINGSTOPS SOYOUDONTHAVE TORE ARMTHE4RANSPORTBETWEENTAKESnASWITHADIGITALDUBBER 3O FORMUSICPRODUCTION YOUWILLNORMALLYHAVETHE!UDIO4RACK2ECORD,OCK PREFERENCE SELECTED TO ENABLE IT AND THE 4RANSPORT 2ECORD,OCK PREFERENCE UN TICKEDTODISABLEIT)FYOUAREUSING0RO4OOLSASADIGITALDUBBER THENYOU WOULDREVERSETHESEPREFERENCES

5.8 Summary )FYOUHAVEFOLLOWEDTHISCHAPTERTHROUGHTHOROUGHLY YOUWILLBEABLETOSET UP 0RO 4OOLS TO RECORD IN A VARIETY OF SCENARIOS 3ETTING UP HEADPHONE CUE MIXES STRATEGIES FOR COMBINING 4$- AND 24!3 PLUG INS INPUT MONITORING ADJUSTING MONITORING LEVELS DURING RECORD AND PLAYBACK RECORDING WITH OR WITHOUTEFFECTS RECORDINGTHROUGHPLUG INSnYOUNEEDTOGETALLOFTHISSTUFF SORTEDOUTBEFOREYOUGETSTARTEDWITHSERIOUSRECORDINGPROJECTS 7HETHER YOU ARE OVERDUBBING ONE MUSICIAN AT A TIME OR RECORDING A WHOLE BAND YOUSHOULDKNOWHOWTOARMTRACKSINTHEVARIOUSRECORDMODES HOW TORECORDORPLAYBACKATHALF SPEED HOWTOPUNCHINANDOUTAUTOMATICALLY OR MANUALLY HOW TO LOOP RECORD AUDIO AND HOW TO USE 0LAYLISTS TO RECORD ALTERNATETAKES 9OUALSONEEDTOUNDERSTANDHOWANDWHERELATENCYDELAYSOCCURANDDEVELOP STRATEGIESTOAVOIDTHESEDELAYSTHATTAKEINTOACCOUNTTHENEEDSOFTHEMUSI CIANS YOU ARE RECORDING AND THE RESULTS THAT YOU ARE AIMING TO ACHIEVE 'ET TOKNOWHOWTHEDELAYCOMPENSATIONFEATURESWORKANDYOUWILLBEONYOUR WAY TO MASTERING THE 0RO 4OOLS RECORDING ENVIRONMENT !ND TO MAKE THOSE QUICK FIXES THAT ARE NEEDED WITH EVEN THE MOST PRACTICED STUDIO MUSICIANS YOUNEEDTOMASTERTHEVARIOUSPUNCHMODESnCHOOSINGJUSTTHERIGHTLENGTH OFPREROLLINBARSANDBEATSTHATGIVESTHEMUSICIANSENOUGHTIMETOPREPARE FORTHEPUNCH IN WITHOUTWASTINGTIMEBYSTARTINGTOOMANYBARSBEFORETHE PUNCHLOCATION

224

Recording

0RO 4OOLS HAS ALL THE FEATURES YOU NEED TO RECORD JUST ABOUT ANYTHING THAT MAKESASOUNDTHATCANBECAPTUREDBYAMICROPHONE BUTIFYOUARENEWTO THISSOFTWAREENVIRONMENT ANDEVENIFYOUAREUPGRADINGFROMOLDERSYSTEMS THERE IS PLENTY THAT IS NEW TO LEARN HERE )T MAY TAKE A WHILE BEFORE YOU GET ANOPPORTUNITYTOUSEALLTHESERECORDINGFEATURES SOFEELFREETORE VISITTHIS CHAPTERWHENEVERYOULIKETOREMINDYOURSELFOFHOWEVERYTHINGWORKS

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2EGION%DITINGCOMMANDS

4HE%DITMENUCOMMANDS 4HE%DITMODES

%DITINGINTHE%DITWINDOW 7ORKINGWITH2EGIONS

$YNAMIC4RANSPORTMODE Track Compositing

#OMPACTINGAUDIOFILES 3UMMARY

6 Editing

6.1 Introduction 4OBECOMEPROFICIENTATEDITINGUSING0RO4OOLS YOUNEEDAFIRMUNDERSTANDING OFHOWTHEVARIOUS%DITMODESWORKANDHOWTOSELECTMATERIALTOEDITUSING THE VARIOUS EDITING COMMANDS 5NDERSTANDING WHAT REGIONS ARE AND HOW TO MANIPULATE THESE IS ALSO CRUCIALLY IMPORTANT +NOWING THE BEST WAYS TO CRE ATELOOPSANDEDITTHESEISPARTICULARLYIMPORTANTWHENYOUAREWORKINGINTHE VARIOUSPOP RAPANDDANCEMUSICGENRES WHERETHE$YNAMIC4RANSPORTMODE CANALSOBEVERYHELPFUL4HEMOSTRECENTFEATUREADDEDTO0RO4OOLS 4RACK #OMPOSITING OFFERSANEASY TO USEWORKFLOW BUTSEASONED0RO4OOLSUSERSMAY CHOOSETOCONTINUEUSINGTHEIRPREVIOUSLYTRIEDANDTESTEDMETHODS!SUSUAL THEREARESEVERALWAYSOFACHIEVINGTHESAMERESULTSWITH0RO4OOLSnITISONE OFTHEMOSTFLEXIBLEENVIRONMENTSAVAILABLEFOREDITINGAUDIO

6.2 The Edit menu commands 9OUCANACCESSMOSTOFTHECOMMANDSTHATYOUWILLUSEFOREDITINGFROMTHE %DITMENU BUTYOUWILLALSOFINDSOMECOMMANDS SUCHAS#APTUREAND,OOP THAT COULD BE CONSIDERED EDITING COMMANDS IN THE 2EGION MENU AND VICE VERSA )M THINKING ABOUT 4RIM 2EGION AND 3EPARATE 2EGION HERE 'AINING FAMILIARITYWITHTHE%DITMENUANDTHEEDITINGCOMMANDSINTHE2EGIONMENU SHOULDBEPRIORITIESFORASPIRING0RO4OOLSEDITORS 3OME OF THESE COMMANDS SUCH AS 3ELECT !LL DONT REQUIRE ANY ADDITIONAL EXPLANATION OR ARE EXPLAINED PERFECTLY ADEQUATELY IN THE 0RO 4OOLS 2EFERENCE 'UIDE WHILE EXPLANATIONS OF OTHERS SUCH AS THE !UTOMATION EDITING COM MANDSBELONGELSEWHERE/NEOFTHEFASTESTWAYSTOLEARNTHEKEYBOARDCOM MANDSISTOLOOKTHROUGHTHESEMENUS NOTETHEKEYBOARDEQUIVALENTSFORTHE VARIOUSCOMMANDS THENUSETHESEASOFTENASPOSSIBLEFROMMEMORY

227


Figure 6.1 4HE%DIT MENU

Undo and Undo History 0RO 4OOLS TRACKS THE LAST UNDOABLE OPERATIONS THAT YOU CARRY OUT STORING THESEINAQUEUETHATYOUCANSTEPBACKTHROUGHUSINGTHE%DITMENUS5NDO COMMANDORBYPRESSING#OMMAND :-AC OR#ONTROL :7INDOWS )FYOU CHANGEYOURMINDABOUTTHIS YOUCANSTEPFORWARDTHROUGHTHEUNDOQUEUE BYCHOOSINGTHE2EDOCOMMANDFROMTHE%DITMENUORBYHOLDINGTHE3HIFT KEYWHILEYOUPRESS#OMMAND :-AC OR#ONTROL :7INDOWS 7HENYOUREACHTHE STEPLIMITANDPERFORMANOTHERUNDOABLEOPERATION THEOLDESTSTOREDOPERATIONISREMOVEDFROMTHEQUEUE+EEPINMINDTHATIT ISPOSSIBLETOSETALOWERLIMITFORTHENUMBEROFUNDOABLESTEPSINTHE%DITING 0REFERENCES SO IF YOU ARE WORKING ON SOMEONE ELSES SYSTEM OR IF SOMEONE ELSEMAYHAVERESETTHIS YOUSHOULDCHECKTOMAKESUREWHATLIMITISSET 9OUCANALSOUSETHE5NDO(ISTORYWINDOWTHATYOUWILLFINDINTHE7INDOW MENU 4HIS LETS YOU VIEW THE QUEUE OF UNDOABLE AND REDOABLE OPERATIONS )TSHOWSUNDOABLEOPERATIONSINBOLDTYPE ANDIFYOUCLICKONANYOFTHESE IT WILL UNDO ALL THE UNDOABLE OPERATIONS BACK TO AND INCLUDING THE ONE YOU CLICKEDON ANDWILLSHOWTHESEASREDOABLEOPERATIONSINITALICTYPE#LICKON ANYREDOABLEOPERATIONTOREDOALLOPERATIONSUPTOANDINCLUDINGTHEONEYOU CLICKEDON

228

Editing

4HE 5NDO (ISTORY CAN OPTIONALLY SHOW EDIT CREATION TIMES WHICH CAN BE A HELP WHEN YOU ARE DECIDING WHICH OPERATION TO UNDO OR REDO 4HIS OPTION CANBEACCESSEDUSINGTHEPOP UPSELECTORATTHETOPRIGHTCORNEROFTHE5NDO (ISTORYWINDOW9OUCANALSOUNDOORREDOALLOPERATIONSINTHEQUEUEORCLEAR THEWHOLEQUEUE

Figure 6.2 5NDO(ISTORY WINDOWSHOWING

Restore Last Selection 6ERYOFTENYOUWILLMAKEAN%DITOR4IMELINESELECTIONTHENLOSEIT0ERHAPS YOU ACCIDENTALLYCLICKSOMEWHEREINTHE%DITWINDOWWITHOUTREALIZING ORWHATEVER 0RO4OOLSHASAREALLYUSEFULCOMMANDTOGETYOUOUTOFTROUBLEHERE*USTCHOOSE h2ESTORE,AST3ELECTIONvFROMTHE%DITMENUORPRESS#OMMAND /PTION :-AC OR#ONTROL !LT :7INDOWS ANDYOURSELECTIONWILLMAGICALLYREAPPEAR

Cut, Copy, Paste, and Clear commands 0RO 4OOLS HAS SOME SIMILARITIES WITH WORD PROCESSING AND GRAPHICS SOFTWARE &OR EXAMPLE THE WAY THAT THE COMPUTER EXPECTS YOU TO WORK IS TO SELECT SOMETHING FIRST AND THEN TO ISSUE A COMMAND THAT SAYS WHAT YOU WANT TO DO WITH WHATEVER YOU HAVE SELECTED n EITHER USING KEYBOARD COMMANDS OR USING THE MOUSE POINTER AND MENUS /NCE YOU HAVE SELECTED A REGION FOR

229


XAMPLE YOUCANUSETHE#UT #OPY 0ASTE AND#LEARCOMMANDSTOREARRANGE E ANDEDITTHEMATERIALINYOURTRACKS 9OU CAN SELECT A REGION OR REGIONS USING THE 4IME 'RABBER TOOL OR YOU CAN SELECTARANGEALONGATRACKUSINGTHE3ELECTORTOOL9OUCANALSOWORKACROSS MULTIPLETRACKS9OUCANTHENUSETHE#UTCOMMANDTOREMOVEWHATEVERYOU HAVESELECTEDFROMTHE%DITWINDOWANDPUTTHISSELECTIONINTOTHECLIPBOARD READYTOPASTEITELSEWHERE4HECLIPBOARDISATEMPORARYSTORAGEAREAINTHE COMPUTERSRANDOMACCESSMEMORY2!- 9OUCANUSETHE#OPYCOMMAND TO COPY YOUR SELECTION INTO THE CLIPBOARD READY TO PASTE ELSEWHERE WITHOUT REMOVINGTHEORIGINALSELECTIONFROMTHE%DITWINDOW9OUCANUSETHE0ASTE COMMAND TO PUT THE CONTENTS OF THE CLIPBOARD INTO THE %DIT WINDOW AT THE %DITINSERTIONPOINT OVERWRITINGANYMATERIALTHATISALREADYTHERE)FYOUSIM PLYWANTTOREMOVEYOURSELECTIONWITHOUTPUTTINGITINTOTHECLIPBOARD USE THE#LEARCOMMANDINSTEAD

Special Cut, Copy, Paste, and Clear commands 0RO4OOLSALSOHASFOURSPECIAL%DITMENUCOMMANDSTHATYOUCANUSEFOREDIT INGAUTOMATIONPLAYLISTSEG VOLUME PAN MUTE ORPLUG INAUTOMATION ON AUDIO !UXILIARY)NPUT -ASTER&ADER AND)NSTRUMENTTRACKS #UT3PECIAL #OPY3PECIAL AND#LEAR3PECIALEACHHAVETHREESUBMENUSELEC TIONS 4HESE LET YOU EDIT ALL THE !UTOMATION OR JUST THE 0AN !UTOMATION WHETHERTHEDATAISSHOWINGINTHETRACKORNOT ORJUSTTHEPLUG INAUTOMA TIONONITSOWNWHENTHISISSHOWINGINTHETRACK 4HE0ASTE3PECIALCOMMANDALSOHASTHREESUBMENUSELECTIONS THEMOSTUSE FUL OF WHICH IS THE h2EPEAT TO &ILL 3ELECTIONv COMMAND 4HIS ALLOWS YOU TO AUTOMATICALLY FILL A SELECTION WITH AUDIO REGIONS OR DATA MUCH MORE QUICKLY THANBYMANUALLYDUPLICATINGTHEREGIONS

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4OUSETHE2EPEATTO&ILL3ELECTION SIMPLYCUTORCOPYANAUDIOREGIONSO THATITISINTHE0RO4OOLSSOFTWARESCLIPBOARDIE TEMPORARILYSTOREDINTO 2!- THENMAKEASELECTIONINTHE%DITWINDOWANDUSETHECOMMANDTO FILLTHISSELECTION4HE"ATCH&ADESWINDOWAUTOMATICALLYOPENSTOLETYOU APPLYCROSSFADESBETWEENTHEPASTEDREGIONS

Repeat to Fill Selection 4HE 2EPEAT TO &ILL 3ELECTION COMMAND LETS YOU AUTOMATICALLY FILL A SELECTION WITH AUDIO OR -USICAL )NSTRUMENT $IGITAL )NTERFACE -)$) REGIONS OR DATA WITHOUTREQUIRINGTHATYOUMANUALLYDUPLICATETHEREGIONS4OUSE2EPEATTO 230

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&ILL3ELECTION #UTOR#OPYAREGION THENMAKEASELECTIONANDUSETHECOM MANDTOFILLTHESELECTION 7HEN PASTING AUDIO REGIONS YOU ARE PROMPTED TO SPECIFY A CROSSFADE TO BE USEDFORTHEPASTEDREGIONS)FYOUFILLANAREATHATISANEXACTMULTIPLEOFTHE COPIEDREGIONSIZEEG FILLINGBARSWITHA BARREGION THECOPIEDSELEC TIONISPASTEDASMANYTIMESASITTAKESTOFILLTHESELECTION )FYOUFILLANAREATHATISNOTANEXACTMULTIPLEOFTHECOPIEDREGIONSIZEEG FILLINGSOFATRACKWITHA SREGIONOFROOMNOISE THEREMAININGSELECTION AREAISFILLEDWITHANAUTOMATICALLYTRIMMEDVERSIONOFTHEORIGINALSELECTION

Stripping Silence from regions 4HE 3TRIP 3ILENCE FEATURE LETS YOU ANALYZE AUDIO SELECTIONS CONTAINING ONE OR MOREREGIONSACROSSONEORMORETRACKSTODEFINEAREASTHATYOUWISHTOREGARD AShSILENCEv/NCEYOUHAVEIDENTIFIEDTHESE YOUCANhSTRIPAWAYvIE REMOVE THESILENCEORCANKEEPIE hEXTRACTv THESILENCEBYREMOVINGTHERESTOFTHE AUDIO4HETHIRDOPTIONISTOSEPARATEYOURSELECTIONINTOLOTSOFSMALLERREGIONS SOTHATTHESECANBEQUANTIZEDOREDITEDINDIVIDUALLYAFTERWARDS &OURSLIDINGCONTROLSINTHE3TRIP3ILENCEWINDOWLETYOUSETTHEPARAMETERSBY WHICHSILENCEWILLBEDEFINED

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)F YOU PRESS #OMMAND -AC OR #ONTROL 7INDOWS WHILE ADJUSTING THE SLIDERSYOUGETFINERRESOLUTION

Figure 6.3 The Strip 3ILENCEWINDOW

4HE3TRIP4HRESHOLDPARAMETERLETSYOUSETAVALUEFORTHEAMPLITUDE BELOW WHICHANYAUDIOISCONSIDEREDTOBESILENCE&OREXAMPLE ONABASSDRUM TRACK YOU WILL PROBABLY HEAR THE SOUND OF THE REST OF THE DRUM KIT WHEN 231


THE BASS DRUM IS NOT PLAYING BUT THIS WILL BE MUCH QUIETER THAN THE BASS DRUM IN OTHER WORDS THE AMPLITUDE OF THIS QUIETER AUDIO WILL BE MUCH LESS THAN THE AMPLITUDE OF THE BASS DRUM SOUND 9OU CAN DEFINE THIS LOW AMPLITUDEAUDIOTOBECONSIDEREDASSILENCEBYSETTINGTHE3TRIP4HRESHOLD JUSTABOVETHIS

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)N 0RO 4OOLS 3TRIP 3ILENCE LETS YOU ADJUST THE 3TRIP 4HRESHOLD DOWN TO D"THELOWERLIMITUSEDTOBED" 4HISINCREASEDDYNAMICRANGE IS ESPECIALLY USEFUL WHEN WORKING ON RECORDINGS WITH LOW SIGNAL LEVELS SUCH AS AMBIENT RECORDINGS AND RECORDINGS WITH A WIDE DYNAMIC RANGE SUCHASORCHESTRALMUSIC

9OUCANALSODEFINEWHATISTOBECONSIDEREDTOBESILENCEUSINGTHE-INIMUM 3TRIP $URATION PARAMETER 4HIS SETS THE MINIMUM AMOUNT OF TIME THAT THE MATERIALBELOWTHETHRESHOLDMUSTLASTFORBEFOREITISREGARDEDAShWANTEDv AUDIO 4HE2EGION3TART0ADPARAMETERLETSYOUEXTENDTHESTARTOFEACHNEWREGION TOINCLUDEANYWANTEDAUDIOMATERIALTHATFALLSBELOWTHETHRESHOLD SUCHAS BREATHYSOUNDSBEFOREAVOCALORTHESOUNDOFFINGERSSLIDINGUPTOANOTEOR CHORDONAGUITAR3IMILARLY THE2EGION%ND0ADPARAMETERLETSYOUEXTENDTHE ENDOFEACHNEWREGIONTOMAKESURETHATTHEFULLDECAYOFTHEAUDIOMATERIAL ISPRESERVED !S YOU ADJUST THE CONTROLS RECTANGLES START TO APPEAR IN THE SELECTED REGION SURROUNDINGTHEWANTEDAUDIO4HEAUDIOINBETWEENTHESERECTANGLESISCON SIDEREDTOBESILENCE &OREXAMPLE TAKEALOOKATTHESCREENSHOTBELOW4HISSHOWSASELECTIONFROM THE BASS DRUM TRACK OF A MULTI MICED DRUM KIT 4HE BASS DRUM INSIDE THE SELECTION PLAYS hBU BOOMxBU BOOMx BOOMxBOOMxBU BOOMv 4HESE FOURSETSOFNOTESAREOUTLINEDBYFOURBLACKRECTANGLES%VERYTHINGINBETWEEN ISCONSIDEREDTOBESILENCE )FYOUPADTHESTART THISOPENSUPTHERECTANGLESBEFORETHEDRUMBEATSANDIF YOUPADTHEEND THISOPENSUPTHERECTANGLESAFTERTHEDRUMBEATS INCLUDING MOREAUDIOBEFOREANDAFTERTHEDRUMBEATS!SYOUCANSEEINTHEACCOMPA NYINGSCREENSHOT ITISUNABLETODOTHISBEFOREANDAFTERTHEREGIONSELECTION 4O ASSESS HOW MUCH TO PAD THE SOUNDS YOU WILL NEED TO STRIP THE SILENCE AUDITIONCAREFULLY UNDOTHE3TRIP3ILENCEANDADJUSTTHEPADSETTINGS STRIPTHE SILENCEAGAINANDAUDITIONCAREFULLYAGAIN ANDREPEATTHISUNTILYOUHAVETHE

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Figure 6.4 With the Strip Silence parameters correctly set, you see black rectangular BOUNDARIESAROUNDTHE hWANTEDvAUDIO

RESULTS YOU WANT ,ISTEN CAREFULLY TO THE DECAY OF THE SOUND FOR EXAMPLE )F YOUCUTTHISTOOSHORT ITCANMAKETHERECORDINGSOUNDTOOUNNATURAL

Figure 6.5 !DJUSTINGTHE 3TARTAND%ND0ADS

7HENYOUCLICKTHE3TRIPBUTTON ITREMOVESTHEAREASTHATYOUHAVEDEFINED ASSILENCEFROMTHESELECTEDREGION)NTHEACCOMPANYINGSCREENSHOT YOUWILL SEETHEFIVEhWANTEDvREGIONSCONTAININGTHEBASSDRUMNOTES.OW YOUCAN MOVE THE BASS DRUMS AROUND TO CHANGE THE TIMING OR hFEEL v OR EDIT THESE WHATEVERWAYYOUWISH )FYOUCLICKTHE%XTRACTBUTTONINSTEAD THISREMOVESTHEAUDIOABOVETHE3TRIP 4HRESHOLDANDLEAVESOREXTRACTS THEAUDIOTHATYOUHAVEDEFINEDASSILENCE 3OYOUCANTHINKOF%XTRACTASTHEINVERSEOF3TRIPWITHTHEhWANTEDvAUDIO

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Figure 6.6 The silence BETWEENTHEWANTED REGIONSHASBEENSTRIPPED AWAYBYCLICKINGh3TRIPv

INTHISCASE BEINGTHEAUDIOTHATFALLSBELOWTHE3TRIP4HRESHOLD4HISFEATURE COULDBEUSEFULINPOSTPRODUCTIONIFYOUWANTEDTOEXTRACTTHEhROOMTONEv ORAMBIENCEFROMPARTOFARECORDINGTOUSEELSEWHERE FOREXAMPLE

Figure 6.7 4HEAUDIO ABOVETHE3TRIP4HRESHOLD HASBEENREMOVED LEAVINGTHEAUDIO DEFINEDAShSILENCE vBUT WHICHACTUALLYCONTAINS ambience, remaining IE EXTRACTED INTHE TRACK

4HE THIRD OPTION IS TO CLICK THE 3EPARATE BUTTON 4HIS AUTOMATICALLY DIVIDES THESELECTIONINTOREGIONSBASEDONTHEBOUNDARIESDETECTEDBY3TRIP3ILENCE )N THE ACCOMPANYING SCREENSHOT YOU WILL SEE THAT THE SELECTION WHICH ) EXTENDEDALITTLECOMPAREDWITHTHEPREVIOUSEXAMPLES HASBEENDIVIDEDINTO SEPARATEREGIONS EACHWITHITSOWNNAME4HE3EPARATEFEATUREISVERYUSE FULIFYOUWANTTOQUANTIZETHEAUDIOINEACHREGIONTOLINEUPWITHTHEBARS ANDBEATS FOREXAMPLE

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Figure 6.8 The Separate BUTTONDIVIDESTHEWHOLE selection into separate REGIONSBASEDONTHE BOUNDARIESDETECTEDBY 3TRIP3ILENCE

)F YOU CLICK THE 2ENAME BUTTON IN THE 3TRIP 3ILENCE WINDOW THIS OPENS THE 2ENAME 3ELECTED 2EGIONS DIALOG 4HIS LETS YOU DEFINE HOW THE REGIONS THAT YOUWILLCREATEUSINGTHE3TRIP3ILENCEFEATUREWILLBENAMED 7HATEVER YOU TYPE IN THE .AME FIELD WILL BE USED AS THE BASE NAME FOR THE REGIONSCREATEDUSING3TRIP3ILENCE&OREXAMPLE IFYOUWANTASPACETOAPPEAR AFTERTHENAMEANDBEFORETHENUMBERS YOUWILLHAVETOINSERTASPACEHERE 4HE 3TARTING .UMBER FIELD LETS YOU SPECIFY THE NUMBER AT WHICH SEQUENTIAL AUTONUMBERINGSTARTS4HE.UMBEROF0LACESFIELDLETSYOUSPECIFYTHENUMBER OFZEROESTOUSEBEFORETHEREGIONNUMBERS9OUCANALSOSPECIFYA3UFFIXTOBE USEDATTHEENDOFTHENAME AFTERTHENUMBER9OUMIGHTUSETHISTOIDENTIFY THEhTAKEvFROMWHICHTHESEREGIONSHAVEBEENCREATED FOREXAMPLE &OR THIS EXAMPLE ) CHOSE h"ASS $RUMv WITH A SPACE AFTER IT AS THE .AME 3TARTING .UMBER THREE AS THE .UMBER OF 0LACES TO GIVE ME TWO LEADING

Figure 6.9 2ENAME 3ELECTED2EGIONSDIALOG

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ZEROESWITHEACHNUMBERUPTO ONELEADINGZEROBEFOREEACHNUMBERFROM n ANDNOLEADINGZEROESFORNUMBERSABOVE&ORMY3UFFIX )TYPED ASPACE FOLLOWEDBYAHYPHEN THENANOTHERSPACE THENh4AKEvTOIDENTIFY THETAKEFROMWHICHTHESEBASSDRUMSHADBEENSTRIPPED 4AKE A LOOK AT THE ACCOMPANYING SCREENSHOT TO SEE HOW THE REGIONS WERE NAMEDINTHE2EGIONS,ISTASARESULTOFTHISNAMINGSCHEME

Figure 6.10 "ASSDRUM REGIONSIN2EGIONS,IST SHOWINGTHENAMING SCHEME

Inserting Silence 4HE)NSERT3ILENCECOMMANDDOESWHATITSAYS REPLACINGASELECTIONTHATYOU HAVEMADEONATRACKORTRACKSWITHSILENCE,ESSOBVIOUSLY ITCANALSOBEUSED TOREMOVEAUTOMATIONDATA )F THE TRACK IS DISPLAYING AUDIO OR -)$) DATA WHEN YOU APPLY THE )NSERT 3ILENCECOMMANDTOASELECTEDRANGE ITNOTONLYCLEARSTHEAUDIOOR-)$) DATA IT ALSO CLEARS ANY AUTOMATION DATA FOR THE TRACK OR TRACKS (OWEVER IFTHESELECTEDTRACKSAREDISPLAYINGAUTOMATIONDATA THEAUTOMATIONDATA VISIBLE ON EACH TRACK IS CLEARED THROUGHOUT THE SELECTED RANGE AND ANY AUDIO OR -)$) IS LEFT UNTOUCHED !LSO IF YOU PRESS THE #ONTROL KEY -AC OR 3TART KEY 7INDOWS WHILE CHOOSING THE )NSERT 3ILENCE COMMAND THIS CLEARS ALL THE AUTOMATION DATA FROM ALL THE SELECTED TRACKS n NOT JUST THE VISIBLEDATA 4HE )NSERT 3ILENCE COMMAND IS PARTICULARLY CLEVER WHEN USED IN 3HUFFLE MODE)NTHISCASE ITMOVESTHETRACKDATAWITHINANDAFTERTHE%DITSELEC TION FORWARD BY AN AMOUNT EQUAL TO THE SELECTION PUSHING EVERYTHING INCLUDINGANYAUTOMATIONDATA FORWARDFROMTHESTARTOFTHESELECTION TO GET IT hOUT OF THE WAYv OF THUS MAKING ROOM FOR THE SILENCE THAT YOU ARE INSERTING 4O EXPLAIN THIS ANOTHER WAY WHEN YOU APPLY THE )NSERT 3ILENCE COMMAND TO AN %DIT SELECTION WHILE IN 3HUFFLE MODE 0RO 4OOLS SPLITS THE REGION OR REGIONS AT THE BEGINNING OF THE INSERTION POINT AND MOVES THE NEW REGION OR REGIONS TO A POSITION LATER IN THE TRACK BY AN AMOUNT EQUALTOTHELENGTHOFTHESELECTION BEFOREINSERTINGTHESELECTEDAMOUNTOF SILENCE 236

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Time Compression and Expansion (TCE) Edit to Timeline Selection 7HEN THE %DIT AND 4IMELINE SELECTIONS ARE UNLINKED YOU CAN COMPRESS OR EXPANDANAUDIOSELECTIONTOFITTHE4IMELINESELECTIONUSINGTHE%DITMENUS 4#%%DITTO4IMELINESELECTIONCOMMAND)FYOUPREFERAKEYBOARDCOMMAND YOUCANUSE/PTION 3HIFT 5-AC OR!LT 3HIFT 57INDOWS Figure 6.11 %DITMENU 4#%%DITTO4IMELINE SELECTIONCOMMAND

4HE 4#% %DIT TO 4IMELINE COMMAND CAN BE USED ON MULTICHANNEL SELECTIONS ANDSELECTIONSACROSSMULTIPLETRACKS!LLREGIONSARECOMPRESSEDOREXPANDED EQUALLYBYTHESAMEPERCENTAGEVALUE BASEDONTHE%DITSELECTIONRANGE4HIS ENSURES THAT THE RHYTHMIC RELATIONSHIPS BETWEEN THE DIFFERENT CHANNELS OR TRACKSISMAINTAINED /NAUDIOTRACKS THE4#%%DITTO4IMELINESELECTIONCOMMANDUSESWHICHEVER 4#% !UDIO3UITE 0LUG IN YOU HAVE SELECTED IN THE 0ROCESSING 0REFERENCES /N %LASTIC !UDIO ENABLED TRACKS 4#% %DIT TO 4IMELINE SELECTION USES THE TRACKS SELECTED%LASTIC!UDIOPLUG IN

Figure 6.12 Selecting THE4#%0LUG IN PREFERENCE

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4HESTANDARD$IGIDESIGN4#%PLUG INDOESNOTPRODUCEVERYGOODRESULTS AND$IGIDESIGNS4IME3HIFTPLUG INISONLYMARGINALLYBETTERTHANTHIS4HE %LASTIC!UDIOREAL TIMEPLUG INSARENOTVERYGOODEITHER4HESEPLUG INSARE ONLYUSABLETOGIVEYOUAROUGHIDEAOFHOWTHINGSWILLSOUNDASYOUARE WORKING IDEAS OUT 9OU WILL NEED TO BUY A MUCH HIGHER QUALITY PLUG IN IF YOU WANT TO ACHIEVE PROFESSIONAL RESULTS ) CAN RECOMMEND 3ERATOS 0ITCH @N 4IME WHICH HAS VERY PROFESSIONAL FEATURES $IGIDESIGN ALSO OFFERS AN EXCELLENTPLUG INFORTIMECOMPRESSIONANDEXPANSIONCALLED8 &ORMWHICH )AMCURRENTLYUSING4HISTAKESQUITEALOTLONGERTOPROCESSTHEAUDIO BUT DELIVERSTRULYPROFESSIONALRESULTS

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4OFITAN%DITSELECTIONTOTHE4IMELINE DISABLE,INK4IMELINEAND%DIT3ELECTION 7ITHTHE3ELECTORTOOL SELECTTHEAUDIOMATERIALTOBECOMPRESSEDOREXPANDED )N ANY 4IMEBASE RULER SELECT THE TIME RANGE WHERE YOU WANT TO FIT THE AUDIO MATERIALTHENCHOOSE4#%%DITTO4IMELINESELECTIONFROMTHE%DITMENU

Figure 6.13 !N%DIT SELECTIONREADYTOBE FITTEDTOA4IMELINE SELECTION

4HE %DIT SELECTION IS COMPRESSED OR EXPANDED TO THE LENGTH OF THE 4IMELINE SELECTION Figure 6.14 4HE%DIT selection has been COMPRESSEDANDMOVED to fit into the Timeline SELECTIONUSINGTHEh4#% %DITTO4IMELINESELECTIONv COMMAND

Consolidating regions /FTEN DURINGYOUREDITINGSESSIONS YOUWILLENDUPWITHTRACKSMADEUPFROM MANYSMALLERREGIONS4HISCOULDHAPPENIFYOUhCOMPvSEVERALTAKESTOMAKE ACOMPOSITECONTAININGTHEBESTFROMEACHTAKE7HENYOUARESATISFIEDWITH YOUR EDITS TO THESE TRACKS 0RO 4OOLS ALLOWS YOU TO CONSOLIDATE A TRACK OR A RANGEWITHINATRACKSUCHASAVERSEORCHORUS INTOASINGLEREGION WHICHIS MUCHEASIERTOWORKWITH7HENWORKINGWITHAUDIOTRACKS THISCONSOLIDATION PROCESSCAUSESANEWAUDIOFILETOBECREATEDTHATENCOMPASSESTHESELECTION RANGE INCLUDINGANYBLANKSPACE TREATINGANYMUTEDREGIONSASSILENCE 4OUSETHISFEATURE FIRSTYOUSELECTTHEREGIONSYOUWANTTOCONSOLIDATEUSING THE 4IME 'RABBER TOOL OR THE 3ELECTOR TOOL ! QUICK WAY TO SELECT ALL THE

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#ONSOLIDATINGANAUDIOTRACKDOESNOTAPPLYANYAUTOMATIONDATAASITCRE ATESTHENEWFILE SOIFYOUWANTTOCREATEANEWFILEWITHAUTOMATIONDATA APPLIEDTOTHEAUDIO USETHEh"OUNCETO$ISKvFEATUREINSTEAD

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REGIONS IN A TRACK IS TO TRIPLE CLICK IN ITS PLAYLIST WITH THE 3ELECTOR TOOL 7HEN YOU CHOOSE #ONSOLIDATE FROM THE %DIT MENU THIS WILL CREATE A NEW SINGLE REGIONTHATREPLACESTHEPREVIOUSLYSELECTEDREGIONS)FYOUPREFERTOUSEAKEY BOARD COMMAND INSTEAD YOU CAN PRESS /PTION 3HIFT -AC OR !LT 3HIFT 7INDOWS

6.3 The Edit modes 0RO 4OOLS HAS FOUR %DIT MODES 3LIP 3HUFFLE 3POT AND 'RID THAT CAN BE SELECTED BY CLICKING THE CORRESPONDING BUTTON IN THE UPPER LEFT OF THE %DIT WINDOW9OUCANALSOUSETHEFUNCTIONKEYSONYOURCOMPUTERKEYBOARD & 3HUFFLE & 3LIP & 3POT AND & 'RID TO SELECT THE MODE 4HE %DIT MODETHATYOUHAVECHOSENAFFECTSTHEWAYSTHATREGIONSMAYBEMOVEDOR PLACED HOWCOMMANDSLIKE#OPYAND0ASTEWORK ANDHOWTHEVARIOUS%DIT TOOLS4RIM 3ELECTOR 'RABBER AND0ENCIL WORK

Slip mode 4HE DEFAULT MODE THAT YOU SHOULD NORMALLY WORK IN IS THE 3LIP MODE )T IS CALLED3LIPMODEBECAUSEITLETSYOUMOVEREGIONSFREELYWITHINATRACKORTO OTHERTRACKSANDALLOWSYOUTOPLACEAREGIONSOTHATTHEREISSPACEBETWEENIT ANDOTHERREGIONSINATRACK )N3LIPMODE IFYOUUSETHE#UTCOMMANDTOREMOVEASELECTIONBEFORETHE ENDOFTHELASTREGIONONATRACK ITLEAVESANEMPTYSPACEWHERETHEDATAWAS REMOVEDFROMTHETRACK9OUSHOULDALSOBEAWARETHATREGIONSAREALLOWEDTO OVERLAPORCOMPLETELYCOVEROTHERREGIONSIN3LIPMODE

Shuffle mode )N3HUFFLEMODE IFYOUPLACETWOORMOREREGIONSINTOATRACK THEYWILLAUTO MATICALLYSNAPTOGETHERWITHNOGAPINBETWEEN

Figure 6.15 Selecting ANDMOVINGAREGIONIN 3HUFFLEMODE

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)F YOU HAVE AN EXISTING TRACK THAT CONTAINS TWO OR MORE REGIONS WITH GAPS BETWEEN THEM YOU CAN CLOSE THE GAPS BY SELECTING 3HUFFLE MODE AND USING THE4IME'RABBERTOOLTOPUSHAREGIONINTHEDIRECTIONOFTHEPREVIOUSREGION !S SOON AS YOU LET GO OF THE MOUSE THE GAP BETWEEN THE TWO REGIONS IS CLOSED LEAVINGTHEMSTUCKTOGETHER

Figure 6.16 The REGIONTHATYOUMOVED automatically attaches itself to the previous REGIONIN3HUFFLEMODE

3O IFYOUWANTAREGIONTHATYOUAREMOVINGAROUNDINTHE%DITWINDOWTO AUTOMATICALLYBUTTUPAGAINSTTHEPREVIOUSREGION WITHNOOVERLAPANDWITH NOT EVEN THE SMALLEST GAP BETWEEN THEM YOU CAN USE 3HUFFLE MODE )F YOU AREIN3LIPMODEOREVENIN'RIDMODE YOUHAVETOBECAREFULTOAVOIDOVER LAPPINGTHEREGIONSANDYOUWILLHAVETOZOOMINTOSEEWHATYOUAREDOING #ONSEQUENTLY PLACINGREGIONSACCURATELYINTHESEMODESTAKESMORETIME "YTHEWAY ITISCALLED3HUFFLEMODEBECAUSEIFYOUUSETHEGRABBERTODRAGA REGIONPLACEDEARLIERINAPLAYLISTTOALATERPOSITIONORVICEVERSA THEOTHER REGIONS WILL SHUFFLE IE MOVE THEIR POSITIONS AROUND TO ACCOMMODATE THIS REPOSITIONINGOFTHEREGION3IMILARLY IFYOUUSETHE#UTCOMMANDTOREMOVE A SELECTION BEFORE THE END OF THE LAST REGION ON A TRACK THE REGIONS TO THE RIGHTOFTHECUTMOVETOTHELEFT CLOSINGTHEGAP!LSO IFYOUPASTEDATAANY WHERE BEFORE THE END OF THE LAST REGION ON A TRACK ALL REGIONS BEYOND THE INSERTIONPOINTMOVETOTHERIGHTTOMAKEROOMFORTHEPASTEDMATERIAL

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"ECAREFULTORETURNTO3LIPOR'RIDMODEASSOONASYOUHAVEMADEYOUR MOVES IN 3HUFFLE MODE n IT IS ALL TOO EASY TO ACCIDENTALLY MOVE A REGION ANDHAVE3HUFFLEMODESHUFFLEYOURREGIONSTOSOMEWHERETHEYSHOULDNT BE !ND IF YOU DONT NOTICE THIS AT THE TIME IT HAPPENS YOU MAY NOT BE ABLETOUSEEVENTHEMULTIPLE5NDOFEATURETOGETBACKTOWHEREYOUWERE

Spot mode 3POT MODE WAS ORIGINALLY DESIGNED FOR WORKING TO PICTURE WHERE YOU OFTEN NEEDTOSPOTASOUNDEFFECTORAMUSICCUETOAPARTICULAR3-04%TIMECODE LOCATION 240

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4HEWAYTHISWORKSISTHATYOUSELECT3POTMODEANDTHENCLICKONANYREGION INTHE%DITWINDOW ORDRAGAREGIONFROMTHE2EGION,ISTORFROMA$IGI"ASE BROWSERINTOTHE%DITWINDOW4HE3POTDIALOGCOMESUPANDYOUCANEITHER TYPE IN THE LOCATION YOU WANT OR USE THE REGIONS TIME STAMP LOCATIONS FOR SPOTTING 4HERE ARE ACTUALLY TWO TIME STAMPS THAT ARE SAVED WITH EVERY REGION 7HEN YOUORIGINALLYRECORDAREGION ITISPERMANENTLYTIME STAMPEDRELATIVETOTHE 3-04% START TIME SPECIFIED FOR THE SESSION %ACH REGION CAN ALSO HAVE A 5SER 4IME 3TAMP THAT CAN BE ALTERED WHENEVER YOU LIKE USING THE 4IME 3TAMP 3ELECTEDCOMMANDINTHE2EGIONS,ISTPOP UPMENU)FYOUHAVENOTSPECIFI CALLYSETA5SER4IME3TAMP THE/RIGINAL4IME3TAMPLOCATIONWILLBESETHERE ASTHEDEFAULT

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3POTMODECANALSOBEVERYUSEFULWHENEDITINGMUSICPROJECTSIN0RO4OOLSn PARTICULARLYIFYOUMOVEAREGIONOUTOFPLACEACCIDENTALLY5SING3POTMODE YOUCANALWAYSRETURNAREGIONTOWHEREITWASORIGINALLYRECORDED!LSO AS LONGASYOUREMEMBERTOSETA5SER4IME3TAMPIFYOUREARRANGEREGIONSTO LOCATIONSOTHERTHANWHERETHEYWEREFIRSTRECORDED YOUCANALWAYSRETURN REGIONSTOTHESELOCATIONS

&OREXAMPLE IFYOUMOVEAREGIONBYACCIDENT USING3POTMODEWOULDBEAN IDEALWAYTOPUTITBACKTOEXACTLYWHEREITCAMEFROM

Figure 6.17 %DIT WINDOWSHOWINGA 2EGIONACCIDENTALLY MOVEDFROMITSORIGINAL POSITION

4O DO THIS PUT THE SOFTWARE INTO 3POT MODE BY CLICKING ON THE 3POT MODE ICONATTHETOPLEFTOFTHE%DITWINDOW SELECTTHE'RABBERTOOLANDCLICKON THEREGIONTOBRINGUPTHE3POTDIALOG

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Figure 6.18 5SINGTHE 3POTDIALOGTORETURN A2EGIONTOITSORIGINAL POSITION

)F THE 2EGION HAS BEEN MOVED FROM THE POSITION AT WHICH IT WAS ORIGINALLY RECORDED THECURRENT3TARTPOSITIONDISPLAYEDINTHE3POTDIALOGWILLBEDIFFERENT FROMTHE/RIGINAL4IME3TAMPPOSITIONSHOWNINTHEDIALOG9OUCANEITHERTYPE THECORRECT3TARTPOSITIONOREVENQUICKER JUSTCLICKTHEUPWARDS POINTINGARROW NEXTTOTHE/RIGINAL4IME3TAMPTOPUTTHISVALUEINTOTHE3TARTPOSITIONFIELD

Figure 6.19 Click the /RIGINAL4IME3TAMP ARROWTOENTERTHIS location into the Start FIELDINTHE3POTDIALOG

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)FYOUHAVEDELIBERATELYMOVEDTHE2EGIONSINCERECORDINGITANDHAVETAKEN THETROUBLETOENTERA5SER4IME3TAMPINTHE2EGIONS,ISTFORTHEMOVED REGION YOUSHOULDENTERTHE5SER4IME3TAMPINTOTHE3TARTFIELDINSTEAD )F YOU DID NOT UPDATE THE 5SER 4IME 3TAMP WHEN YOU MOVED THE REGION THENYOUWILLNOTKNOWWHATTHECORRECTLOCATIONSHOULDBE SOYOUWILLNOT BEABLETORETURNTHEREGIONTOTHECORRECTPOSITIONUSING3POTMODE

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7HENYOUCLICK/+INTHE3POTDIALOG THEREGIONWILLBEMOVEDBACKTOTHE LOCATIONWHEREITWASORIGINALLYRECORDED

Figure 6.20 %DIT WINDOWSHOWING'UITAR 2EGIONBACKINITSORIGINAL POSITION

Grid mode 'RIDMODELETSYOUCONSTRAINYOUREDITSELECTIONTO'RIDLINESTHATCORRESPOND TOA'RIDVALUETHATYOUCANCHOOSETOSUITYOURPURPOSE'RIDMODEISPARTIC ULARLYUSEFULIFYOUAREEDITINGPATTERN BASEDMUSICTHATSTARTSANDENDSCLEANLY AT REGULAR BOUNDARIES SUCH AS BARS OR BEATS 9OU CAN CHOOSE THE 'RID SIZE USINGTHE'RIDVALUEPOP UPMENULOCATEDABOVETHE4IMEBASERULERSANDTHE TRACKSINTHE%DITWINDOW

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)FYOUPRESSANDHOLDTHE#ONTROLAND/PTIONKEYS-AC ORTHE3TARTAND !LTKEYSIN7INDOWS YOUCANUSETHEPLUS ANDMINUS KEYSONTHE NUMERICKEYPADTOINCREASEORDECREASETHE'RIDSIZE

4HE'RIDSIZECANBEBASEDONATIMEVALUEUSINGTHE-AIN4IME3CALE OR IF &OLLOW -AIN 4IME 3CALE IS DESELECTED ANOTHER TIME FORMAT CAN BE USED FOR THE'RIDSIZE4OMAKETHE'RIDLINESVISIBLEINTHE%DITWINDOW JUSTCLICKON THE CURRENTLY SELECTED 4IMEBASE RULER NAME THE ONE HIGHLIGHTED IN BLUE TO TOGGLETHESEONANDOFF

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9OUCANTEMPORARILYSUSPEND'RIDMODEANDSWITCHTO3LIPMODEBYHOLD INGDOWNTHE#OMMANDKEYTHE#ONTROLKEYIN7INDOWS WHICHISVERY USEFULWHILEYOUARETRIMMINGREGIONS FOREXAMPLE

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Absolute and Relative Grid modes 'RIDMODECANBEAPPLIEDEITHERINAN!BSOLUTEOR2ELATIVEWAY)N!BSOLUTE 'RID MODE REGIONS ARE hSNAPPEDv ONTO 'RID BOUNDARIES WHEN YOU MOVE THEM n SO REGIONS CAN NEVER BE PLACED IN BETWEEN THE CURRENTLY APPLICABLE 'RIDBOUNDARIES4HISISWHATYOUNORMALLYEXPECTANDWANT'RIDMODETODO ANDISTHEDEFAULTBEHAVIOR 2ELATIVE'RIDMODELETSYOUEDITREGIONSTHATARENOTALIGNEDWITH'RIDBOUND ARIES AS THOUGH THEY WERE &OR EXAMPLE IN TIME SIGNATURE IF A REGIONS STARTPOINTFALLSBETWEENBEATSANDTHE'RIDISSETTONOTES DRAGGINGTHE REGIONIN2ELATIVE'RIDMODEWILLPRESERVETHEREGIONSPOSITIONRELATIVETOTHE NEARESTBEAT )NAMUSICRECORDING FOREXAMPLE AMUSICIANMAYHAVEDELIBERATELYPLAYEDA NOTEJUSTBEFORETHEBEGINNINGOFANEWBAR)FYOUSEPARATETHISNOTEINTOITS OWNREGION THENUSETHE'RABBERTOOLTOMOVEITEARLIERORLATERBYANEXACT NUMBEROFBEATSUSINGTHE!BSOLUTE'RIDMODE THEREGIONSSTARTPOSITIONWILL BE SNAPPED EXACTLY ONTO THE NEW BEAT POSITION AND WILL NOT SOUND AS THE MUSICIANINTENDEDITTO )F YOU CHOOSE 2ELATIVE 'RID MODE AND SET A SUITABLE 'RID VALUE THAT ALLOWS SUFFICIENT TIME BEFORE THE BAR THEN WHEN YOU MOVE THE REGION CONTAINING THENOTEALONGTHE'RID ITSNAPSTOPOSITIONSTHATPRESERVETHENOTESORIGINAL POSITIONINGJUSTALITTLEBEFORETHEBEAT 4OSELECT2ELATIVE'RIDMODE CLICKANDHOLDTHE'RIDBUTTON MOVETHEMOUSE TOWHEREITSAYS2ELATIVE'RID THENLETGO

Figure 6.21 Selecting 2ELATIVE'RIDMODE

As you can see from the accompanying screenshot, the bass plays four hPICKUPv NOTES BEFORE THE BEGINNING OF BAR )F YOU WANT TO DRAG THIS WHOLE REGION TO START AT THE NEXT BAR WITH 'RID MODE SET TO "ARS USING !BSOLUTE 'RID MODE IT WOULD SNAP THE BEGINNING OF THE REGION TO THE NEXT BAR LINE 4HIS WOULD MAKE NO SENSE BECAUSE THE PICKUP NOTES NEED TO PLAY BEFORETHEBARLINE 7ITH2ELATIVE'RIDMODESELECTED WHENYOUUSETHE'RABBERTOOLTOSLIDETHE region to right or left along the Timeline, the region snaps to start positions

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Figure 6.22 The bass HASSOMEPICKUPNOTES

THATAREEXACTLYTHESAMEDISTANCEBEFORETHENEWBARPOSITIONASTHOSEINTHE original region, thus preserving the original positioning of the notes relative to THEBARPOSITIONS )NTHEEXAMPLEBELOW )DRAGGEDTHEREGIONLATERBYONEBARIN2ELATIVE'RID MODE AND AS YOU CAN SEE FROM THE SCREENSHOT IT IS NOW POSITIONED A LITTLE BEFOREBAR

Figure 6.23 .OTE DRAGGEDALONGTHE 4IMELINEIN2ELATIVE'RID MODETOTHECORRECT POSITIONBEFOREBAR

$RAGGINGTHEREGIONIN!BSOLUTE'RIDMODEWOULDHAVEONLYALLOWEDMETO POSITIONTHESTARTOFTHEREGIONEXACTLYONAGRIDLINEnABARLINEINTHISEXAM PLE 7HEN ) DO THIS AS YOU WILL SEE FROM THE ACCOMPANYING SCREENSHOT THE REGIONSTARTSEXACTLYATTHEBEGINNINGOF"AR WHICHINTHISINSTANCEWOULD SOUNDWRONG Figure 6.24 .OTE DRAGGEDBACKALONGTHE Timeline in Absolute 'RIDMODETOANEWBAR POSITION

6.4 Editing in the Edit window 4HE 0RO 4OOLS %DIT WINDOW LETS YOU EDIT AUDIO NONDESTRUCTIVELY n EDITING A VISUALREPRESENTATIONOFTHEAUDIODATAWITHOUTALTERINGTHEAUDIOSOURCEFILES 4HEREGIONSTHATREPRESENTTHEAUDIOCANBECUT COPIED PASTED TRIMMED OR CLEAREDFROMTHE%DITWINDOWWITHNORISKTHATYOUWILLPERMANENTLYALTEROR LOSEANYOFYOURPRECIOUSAUDIORECORDINGS 4HEREARESOMETOOLSANDPROCESSESTHATDOWORKDESTRUCTIVELY INOTHERWORDS THAT CAN PERMANENTLY CHANGE AUDIO FILES ON YOUR HARD DISK /NE IMPORTANT EXAMPLE IS WHEN YOU USE THE PENCIL TOOL TO REDRAW AN AUDIO WAVEFORM WHICHDOESALTERTHEAUDIOFILEONDISKWHENYOUSAVEYOURCHANGES!NOTHER

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EXAMPLEISWHENYOUUSETHE!UDIO3UITEPROCESSESnBUTTHESEARENORMALLY ACCOMPANIEDBYCLEARWARNINGSTOTHISEFFECT /NEOFTHEGREATTHINGSABOUT0RO4OOLSISTHATYOUCANCARRYOUTMANYEDIT INGTASKSWHILETHESESSIONISPLAYINGBACK9OUCANSEPARATEANDTRIMREGIONS PLACE SPOTORREARRANGEREGIONS ADDFADESORCROSSFADES TRANSPOSEORQUAN TIZE -)$) TRACKS NUDGE AUDIO OR -)$) REGIONS LISTEN TO DIFFERENT PLAYLISTS INSERT REAL TIME PLUG INS AND PERHAPS MOST USEFULLY EDIT AUTOMATION BREAK POINTS 4HIS MAKES IT EXTREMELY FAST TO EDIT SESSIONS WHICH CAN BE A CRUCIAL FACTORONBUSYCOMMERCIALRECORDINGSESSIONS 7HENEVER YOU RECORD OR IMPORT AUDIO VIDEO OR -)$) DATA TO TRACKS IN 0RO 4OOLS REGIONS ARE CREATED THAT REPRESENT THIS DATA VISUALLY IN THE TRACKS 2EGIONSINDICATEWHERETHEMATERIALBEGINSANDENDSANDALSOGIVEUSEFULVIS UALFEEDBACKABOUTTHEGENERALSHAPEANDCONTENT.EWREGIONSARECREATED WHENYOURESIZEORSEPARATE CUTORPASTEEXISTINGREGIONS ANDALLREGIONSOF ALL TYPES ARE DISPLAYED IN THE 2EGIONS ,IST FROM WHICH THEY CAN BE DRAGGED INTOTRACKSINTHE%DITWINDOW

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!2EGIONCANREPRESENTACOMPLETEAUDIOFILEORJUSTPARTOFANAUDIOFILE &OREXAMPLE IFYOUIMPORTATRACKFROMA#$ AREGIONISCREATEDTHATREP RESENTSTHEWHOLETRACK)FYOUTHENEDITTHIS SAY BYTRIMMINGTHEREGION IN THE %DIT WINDOW A SECOND REGION WILL BE CREATED THAT REPRESENTS LESS THANBYTHEAMOUNTYOUTRIMMED THEWHOLETRACK

Edit window track views "Y DEFAULT THE %DIT WINDOW IS SET TO SHOW TRACKS IN h7AVEFORMv VIEW 4HIS MEANS THAT YOU SEE A REPRESENTATION OF THE AUDIO WAVEFORM PRESENTED AS A GRAPHOFAMPLITUDEVERSUSTIME!UDIOTRACKSCANALSOBESETTOSHOW0LAYLISTS "LOCKS 6OLUME 6OLUME 4RIM 0AN -UTE OR ANY PLUG IN CONTROLS THAT HAVE BEEN ENABLED FOR AUTOMATION 9OU CAN ALSO SELECT THE %LASTIC !UDIO !NALYSIS AND7ARPVIEWSHERE4HEDEFAULTVIEWFORAUDIOTRACKSIS7AVEFORMVIEW !UXILIARY )NPUTS CAN BE SET TO 6OLUME 6OLUME 4RIM 0AN -UTE OR PLUG IN AUTOMATIONCONTROLS-ASTER&ADERTRACKSCANBESETTO6OLUME 6OLUME4RIM OR PLUG IN AUTOMATION CONTROLS 6#! -ASTER TRACKS CAN BE SET TO 6OLUME 6OLUME4RIM OR-UTE4HEDEFAULTVIEWFOR6#! !UXILIARY AND-ASTERTRACKS IS6OLUMEAUTOMATIONVIEW -)$) TRACKS ARE USUALLY SET TO EITHER .OTES OR 2EGIONS AND CAN ALSO BE SET TO "LOCKS 6OLUME 0AN -UTE 6ELOCITY 0ITCH"END !FTER4OUCH 0ROGRAM 3YSEX

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Editing

ORANYCONTINUOUSCONTROLLERTYPE)NSTRUMENTTRACKS LIKE-)$)TRACKS AREUSUALLY SETTOEITHER.OTESOR2EGIONSANDCANALSOBESETTO"LOCKS 6OLUME 0AN -UTE 6ELOCITY 0ITCH"END !FTER4OUCH 0ROGRAM 3YSEX ORANYCONTINUOUSCONTROLLER TYPE AS WELL AS 6OLUME 6OLUME 4RIM 0AN -UTE OR ANY PLUG IN CONTROLS THAT HAVEBEENENABLEDFORAUTOMATION 4HE DEFAULT VIEW FOR -)$) AND )NSTRUMENT TRACKS IS 2EGIONS VIEW WHICH IS THE MOST USEFUL VIEW FOR EDITING AND ARRANGING -)$) REGIONS IN THE %DIT WINDOW

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"LOCK VIEW CAN BE USEFUL WHEN YOU ARE CUTTING AND PASTING REGIONS AND WANTTOMOVETHEMAROUNDTOREARRANGETHEM

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&ORDETAILED-)$)EDITING YOUCANDOUBLE CLICKANY-)$)REGIONTOOPENIT INA-)$)%DITORWINDOW

Master Views !UDIO TRACKS HAVE TWO -ASTER 6IEWS 7AVEFORM AND "LOCKS -)$) AND )NSTRUMENT TRACKS HAVE THREE 2EGIONS "LOCKS AND .OTES WHEN USING THE 3ELECTOR TOOL AND !UXILIARY )NPUT -ASTER &ADER AND 6#! -ASTER TRACKS JUST HAVEONE6OLUME 7HENATRACKISINA-ASTER6IEW ANYEDITSTHATYOUPERFORMAPPLYTOALLDATA INTHETRACKnINCLUDINGALLTHEAUTOMATIONDATA)FYOUAREWORKINGWITHDATA FROM MULTIPLE TRACKS AND ANY OF THE SELECTED TRACKS IS SET TO A -ASTER 6IEW ANYEDITSYOUMAKEWILLNOTONLYAFFECTTHEAUDIOOR-)$)DATAONTHETRACK THEY WILL ALSO APPLY TO ANY AUTOMATION OR CONTROLLER DATA ON THE TRACK 3O WHENYOUAREINA-ASTER6IEW CUTTINGANAUDIOREGIONALSOCUTSANYVOLUME PAN MUTE SEND ORPLUG INAUTOMATIONTHATISALSOONTHETRACKnSAVINGYOU FROM HAVING TO INDIVIDUALLY CUT DATA FROM EACH AUTOMATION PLAYLIST ON THE TRACK 3IMILARLY WHEN AN !UXILIARY )NPUT OR -ASTER &ADER TRACK IS DISPLAYED IN ITS -ASTER 6IEW ANY EDITS PERFORMED APPLY TO ALL AUTOMATION DATA IN THE TRACK )NANYOTHERTRACKVIEWWITHAUTOMATIONDATADISPLAYEDONTHESELECTEDTRACKS EDITSONLYAFFECTTHETYPEOFAUTOMATIONDATADISPLAYEDINEACHTRACK&OREXAM PLE IF TRACK DISPLAYS 0AN AUTOMATION TRACK DISPLAYS 6OLUME A UTOMATION

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7HENAUDIOTRACKSARESETTODISPLAYEITHER7AVEFORMOR"LOCKS THEYARE SAID TO BE IN A -ASTER 6IEW 7HEN -)$) OR )NSTRUMENT TRACKS ARE SET TO DISPLAY 2EGIONS "LOCKS OR .OTES WHEN USING THE 3ELECTOR TOOL THESE TRACKS ARE SAID TO BE IN A -ASTER 6IEW 7HEN !UXILIARY INPUTS ARE SET TO DISPLAY 6OLUME THIS IS REGARDED AS THE -ASTER 6IEW AND -ASTER &ADER TRACKS WHICH CAN ONLY DISPLAY 6OLUME ARE ALWAYS CONSIDERED TO BE IN -ASTER6IEW

ANDTRACKDISPLAYS-UTEAUTOMATION THE#UTCOMMANDCUTSONLYPANDATA FROMTRACK VOLUMEDATAFROMTRACK ANDMUTEDATAFROMTRACK

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0RO4OOLSLETSYOUOVERRIDETHISBEHAVIORTEMPORARILYBYPRESSINGANDHOLD ING THE #ONTROL -AC OR THE 3TART KEY 7INDOWS WHILE YOU CHOOSE THE #UT #OPY OR0ASTECOMMANDS ENABLINGYOUTOCOPYALLTYPESOFAUTOMA TIONONALLSELECTEDTRACKS

Breakpoints "REAKPOINTS ARE POINTS THAT CAN BE INSERTED ONTO THE GRAPH LINES THAT CON TROL AUTOMATION DATA IN THE 0RO 4OOLS %DIT WINDOW !S THE MANUAL EXPLAINS h7HENANAUDIOOR)NSTRUMENTTRACKISDISPLAYEDAS6OLUME 0AN ORANOTHER AUTOMATED CONTROL OR WHEN A -)$) OR )NSTRUMENT TRACK IS SET TO ONE OF THE CONTINUOUS CONTROLLER TYPES 6OLUME 0ITCH "END !FTER 4OUCH THE DATA FOR THAT TRACK APPEARS IN THE FORM OF A LINE GRAPH WITH A SERIES OF EDITABLE BREAKPOINTS4HEBREAKPOINTSCANBEDRAGGEDTOMODIFYTHEAUTOMATIONDATA ANDNEWBREAKPOINTSCANBEINSERTEDWITHTHE0ENCILTOOLORA'RABBERTOOLv 'OTTHAT !LL)WOULDLIKETOADDTOTHISISTHATEDITINGVOLUMEANDOTHERAUTOMATIONDATA CAN OFTEN BE DONE MUCH MORE QUICKLY AND MUCH MORE ACCURATELY BY EDIT INGTHEBREAKPOINTSTHANBYMOVINGFADERSANDOTHERCONTROLS WHICHTENDSTO GENERATELOTSOFUNNECESSARYAUTOMATIONDATA/FCOURSE IFYOULIKETHEFEELOF FADERS KNOBS ANDSWITCHES NOTHINGISGOINGTOSUBSTITUTEFORTHESE

Switching track views 9OUCANSWITCHTHEVIEWOFANYTRACKUSINGITS4RACK6IEWPOP UPMENU7HEN YOUHAVETHE4RACK(EIGHTSETTOMEDIUMORGREATER THISISLOCATEDTOTHELEFT OF THE TRACK IN THE 4RACK #ONTROLS DISPLAY AREA JUST UNDERNEATH THE 2ECORD 248

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3OLO AND-UTEBUTTONS/THERWISE YOUCANSELECTTHISFROMTHE4RACK/PTIONS POP UPMENUATTHETOPLEFTOFTHE#ONTROLSAREA

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5SEKEYBOARDCOMMANDSHORTCUTSTOGETTOTHEVIEWSYOUWANT4OCHANGE TOTHEPREVIOUSORNEXT4RACK6IEW CLICKINTHETRACKYOUWANTTOCHANGE)F THISTRACKISAMEMBEROFAGROUP ALLTHEOTHERMEMBERSWILLBESELECTED)F YOUWANTTOCHANGEVIEWSONMORETHANONETRACK 3HIFT CLICKORDRAGTHE 3ELECTORTOOLTOSELECTADDITIONALTRACKS 7ITH THE TRACK OR TRACKS SELECTED JUST PRESS AND HOLD THE #ONTROL AND #OMMAND KEYS -AC OR #ONTROL AND 3TART KEYS 7INDOWS WITH THESE KEYSHELDDOWN YOUCANUSETHE,EFTOR2IGHTARROWKEYSONYOURCOMPU TERKEYBOARDTOSELECTTHEPREVIOUSORNEXT4RACK6IEW 4OCHANGETHEVIEWBETWEEN7AVEFORMAND6OLUMEAUDIO OR.OTESAND 2EGIONS-)$) JUSTSELECTTHERELEVANTTRACKORTRACKS ASABOVE THENPRESS THE#ONTROLAND-INUS-AC OR3TARTAND-INUS7INDOWS KEYSONYOUR COMPUTERKEYBOARD

Useful keyboard commands for editing 0RO 4OOLS PROVIDES A USEFUL KEYBOARD COMMAND THAT LETS YOU COLLAPSE AN %DIT OR4IMELINE SELECTIONANDSIMULTANEOUSLYMOVETHE%DITCURSORINSERTIONPOINT TO THE BEGINNING OR END OF THE SELECTION 0RO 4OOLS ALSO PROVIDES SEVERAL KEY BOARDSHORTCUTSFORMOVINGANDEXTENDINGORDECREASINGTHERANGEOFAN%DIT OR 4IMELINE SELECTION 4HE BEST WAY TO LEARN HOW THESE WORK IS TO MAKE A SELECTION AS)HAVEINTHEACCOMPANYINGSCREENSHOTS ANDTRYTHESEFORYOURSELF (AVINGMADEYOURSELECTION ANDWITHTHE4RANSPORTSTOPPED YOUCANUSETHE $OWNAND5PARROWSONYOURCOMPUTERKEYBOARDTORE POSITIONTHE%DITCUR SORATTHEBEGINNINGORENDOFTHE%DITOR4IMELINE SELECTIONANDCOLLAPSETHE SELECTION

Figure 6.25 A region SELECTEDINTHE%DIT WINDOWWITH4IMELINE SELECTION3TARTAND%ND -ARKERSSHOWNINRED INTHE"ARS\"EATSRULER BECAUSEATRACKHAPPENS TOBERECORD ENABLED

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To move the insertion point to the beginning of the selection, press the $OWNARROW ORTOMOVETHEINSERTIONPOINTTOTHEENDOFTHESELECTION PRESS THE 5P ARROW 9OU WILL hLOSEv THE SELECTION WHICH IS THEN SAID TO HAVE COL LAPSED AND THE INSERTION POINT WILL APPEAR AT THE BEGINNING OR END OF THE SELECTION

Figure 6.26 Selection hCOLLAPSED vWITHTHE%DIT CURSORINSERTEDATTHEEND OFTHESELECTIONANDTHE Timeline selection Marker PLACEDABOVETHISINTHE "ARS\"EATSRULER

4O HALVE THE LENGTH OF THE SELECTION PRESS #OMMAND #ONTROL /PTION 3HIFT , -AC OR#ONTROL !LT 3TART 3HIFT ,7INDOWS

Figure 6.27 The Selection has been HALVED

4OMOVETHESELECTIONFORWARDBYTHESELECTIONAMOUNT PRESS#OMMAND #ONTROL /PTION SINGLEQUOTE -AC OR#ONTROL !LT 3TART SINGLEQUOTE 7INDOWS

Figure 6.28 The 3ELECTIONHASBEENMOVED FORWARDBYTHESELECTION AMOUNT

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4O MOVE THE SELECTION BACKWARD BY THE SELECTION AMOUNT PRESS #OMMAND #ONTROL /PTION ,-AC OR#ONTROL !LT 3TART ,7INDOWS

Figure 6.29 The 3ELECTIONHASBEENMOVED BACKAGAIN

4ODOUBLELENGTHOFTHE%DITSELECTION PRESS#OMMAND #ONTROL /PTION 3HIFT SINGLEQUOTE -AC OR#ONTROL !LT 3TART 3HIFT SINGLEQUOTE 7INDOWS

Figure 6.30 The Selection has been DOUBLED

To align the start point of a region to timeline position, select the Grabber TOOLANDUSETHEMOUSETOPOINTATANDCLICKINTHETIMELINERULERTOPOSITION THE%DITCURSORATEXACTLYTHEPOINTATWHICHYOUWISHTOALIGNTHESTARTPOINT OFTHEREGION4HEN WHILEHOLDINGDOWNTHE#ONTROLKEY-AC OR3TARTKEY 7INDOWS CLICKONTHEREGIONANDWATCHITSNAPEXACTLYTOTHETIMELINEPOSI TIONTHATYOUHAVESPECIFIED

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4HIS TRICK EVEN WORKS WHEN YOU ARE DRAGGING REGIONS INTO THE TIMELINE FROMTHE2EGIONSLIST ANDCANBEFASTERTOUSETHAN3POTMODEWHICHLETS YOUDOMUCHOFTHESAMETHING

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4OALIGNTHEENDPOINTOFAREGIONTOATIMELINEPOSITION SELECTTHE'RABBER TOOLANDUSETHEMOUSETOPOINTATANDCLICKINTHETIMELINERULERTOPOSITION THE%DITCURSORATEXACTLYTHEPOINTATWHICHYOUWISHTOALIGNTHEENDPOINTOF THEREGION4HEN WHILEHOLDINGDOWNTHE#OMMANDAND#ONTROLKEYS-AC OR #ONTROL AND 3TART KEYS 7INDOWS CLICK ON THE REGION AND WATCH IT SNAP EXACTLYTOTHETIMELINEPOSITIONTHATYOUHAVESPECIFIED

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4HIS CAN BE VERY USEFUL IF YOU WANT TO ALIGN TWO SOUND FILES WHOSE END POINTISTHESAMEBUTSTARTPOINTSAREDIFFERENT To align the sync point of a region to a timeline position, select the Grabber TOOLANDUSETHEMOUSETOPOINTATANDCLICKINTHETIMELINERULERTOPOSITION THE%DITCURSORATEXACTLYTHEPOINTATWHICHYOUWISHTOALIGNTHESYNCPOINT OFTHEREGION4HEN WHILEHOLDINGDOWNTHE#ONTROLAND3HIFTKEYS-AC OR 3TARTAND3HIFTKEYS7INDOWS CLICKONTHEREGIONANDWATCHITSNAPEXACTLY TOTHETIMELINEPOSITIONTHATYOUHAVESPECIFIED

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4HISISPARTICULARLYUSEFULFORALIGNINGSOUNDEFFECTSTHATHAVEASYNCPOINT SOMEWHERE OTHER THAN AT THE START OF THE REGION SUCH AS EXPLOSIONS OR DOORSLAMS

6.5 Working with Regions 2EGIONSARETHEBASICBUILDINGBLOCKSFORARRANGINGAUDIOAND-)$)INTHE%DIT WINDOW SO YOU NEED TO MAKE SURE THAT YOU KNOW HOW THESE ARE CREATED EDITED ANDARRANGED 7HEN YOU RECORD NEW AUDIO OR IMPORT EXISTING AUDIO FILES 0RO 4OOLS CREATES A2EGIONTHATPLAYSBACKTHEENTIREFILEWHENPLACEDINTOAPLAYLISTONATRACK 6ERYOFTENYOUWILLUSETHE4RIMMERTOOLTOREMOVESOMEAUDIOFROMTHESTART ORENDOFTHERECORDING4HISCREATESANEW2EGIONINTHEPLAYLISTTHATISSHORTER THANTHEORIGINALREGION ANDTHISNEWREGIONALSOAPPEARSINTHE2EGION,IST .EWREGIONSAREOFTENCREATEDAUTOMATICALLYWHENYOUMAKEEDITSTOEXISTING REGIONS&OREXAMPLE IFYOUUSETHE#LEARCOMMANDTOREMOVEASECTIONFROM WITHIN A REGION THE SECTIONS ON EITHER SIDE OF THIS WILL FORM NEW REGIONS )F YOUUSETHE#UTCOMMANDINSTEAD THESECTIONYOUARECUTTINGISPLACEDONTO THECLIPBOARDANDANEWREGIONREPRESENTINGTHISSECTIONISALSOADDEDTOTHE 2EGION,IST 252

Editing

/NCE YOU HAVE CREATED A REGION IT APPEARS IN THE 2EGION ,IST &ROM THE 2EGION,IST YOUCANDRAGIT TO ATRACK TOADD TO ANEXISTINGARRANGEMENT OF REGIONSORTOCREATEANEWARRANGEMENThFROMSCRATCHv9OUCANSLIDEREGIONS ORGROUPSOFREGIONSAROUNDFREELYINTHE%DITWINDOWUSINGTHE4IME'RABBER TOOLIN3LIPMODE9OUCANALSOMOVEREGIONSAROUNDWHILECONSTRAINEDTOTHE GRID IN 'RID MODE SHUFFLE THEM AROUND IN 3HUFFLE MODE OR SPOT REGIONS TO EXACTLOCATIONSUSING3POTMODE

Capturing Regions 4HE h#APTURExv REGION COMMAND DEFINES A SELECTION AS A NEW REGION AND ADDSITTOTHE2EGION,IST&ROMTHERE THENEWREGIONCANBEDRAGGEDTOANY EXISTINGTRACKS

Figure 6.31 A selection WITHINAREGION

7HEN YOU MAKE A SELECTION WITHIN A REGION AND CHOOSE h#APTURExv FROM THE 2EGION MENU OR PRESS #OMMAND 2 -AC OR #ONTROL 2 7INDOWS THE .AMEDIALOGAPPEARS9OUCANTYPEANAMEFORTHECAPTUREDREGIONHEREAND /+THIS

Figure 6.32 .AMINGA SELECTIONWITHINAREGION USINGTHE2EGIONMENUS #APTURExCOMMAND

4HIS CAPTURED REGION THEN APPEARS IN THE 2EGIONS ,IST FROM WHERE IT CAN BE DRAGGEDANDDROPPEDINTOANYTRACKINTHE%DITWINDOWATANYLOCATION Figure 6.33 The CAPTURED'UITAR,ICK REGIONCANBEDRAGGED FROMTHE2EGIONS,ISTAND PLACEDANYWHEREINTHE %DITWINDOW

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Separating Regions 9OUCANSEPARATEREGIONSWITHTHE3ELECTORTOOLENABLEDBYINSERTINGTHECURSOR ANYWHEREINAREGIONANDPRESSING#OMMAND %-AC OR#ONTROL %7INDOWS ORBYCHOOSINGh3EPARATE2EGION!T3ELECTIONvFROMTHE%DITMENU4HISSIM PLYCUTSTHEREGIONINTOTWOATTHEINSERTIONPOINT)FYOUMAKEAN%DITSELEC TION WITHIN A REGION AND USE THIS COMMAND TO SEPARATE THE REGION THIS WILL CREATETWOSEPARATEREGIONS ORTHREEIFYOULEAVEPARTSOFTHEORIGINALREGION UNSELECTEDEITHERSIDEOFYOURSELECTION )FYOUNEEDTOSEPARATEAREGIONINTOLOTSOFSMALLERREGIONS YOUCANUSEONE OR OTHER OF THE TWO ADDITIONAL CHOICES AVAILABLE IN THE 3EPARATE 2EGION SUB MENU h3EPARATE 2EGION /N 'RIDv SEPARATES REGIONS BASED ON THE CURRENTLY DISPLAYED'RIDVALUESANDBOUNDARIESh3EPARATE2EGION!T4RANSIENTSvSEPA RATESREGIONSATEACHDETECTEDTRANSIENT 5SINGEITHEROFTHESECOMMANDSOPENSAh0RE 3EPARATE!MOUNTvDIALOGTHAT YOUCANUSETOTYPEAPRESEPARATEAMOUNTINMILLISECONDSTOhPADvTHEBEGIN NINGSOFTHENEWREGIONSWITHASMALLEXTRAAMOUNTOFAUDIO

Figure 6.34 0RE 3EPARATE !MOUNTDIALOG

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7ITH LOOPED REGIONS THE 3EPARATE 2EGIONS COMMANDS AUTOMATICALLY UNLOOPANDFLATTENTHELOOPEDREGIONSBEFORESEPARATINGTHEM

4HE!UTO .AME3EPARATED2EGIONS OPTION IN THE %DITING 0REFERENCES PAGE IS SELECTED BY DEFAULT SO 0RO 4OOLS AUTOMATICALLY NAMES SEPARATED REGIONS FOR YOU )F THIS PREFERENCE IS DISABLED A DIALOG BOX APPEARS THAT LETS YOU TYPE A NAMEFORTHENEWREGION

Figure 6.35 %DITING 0REFERENCESFOR2EGIONS

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7HENTHEh3EPARATE2EGIONv/PERATESON!LL2ELATED4AKESOPTIONISENA BLEDINTHE%DITING0REFERENCES EDITINGAREGIONWITHTHE3EPARATE2EGION COMMAND ALSO AFFECTS ALL OTHER RELATED TAKES WITH THE SAME 5SER 4IME 3TAMP4HISOPTIONHELPSYOUCOMPAREDIFFERENTSECTIONSFROMAGROUPOF RELATED TAKES &OR EXAMPLE YOU CAN QUICKLY SEPARATE AN ENTIRE GROUP OF RELATED VOCAL TAKES INTO SECTIONS THEN AUDITION AND SELECT THE BEST MATE RIALFROMEACHSECTIONINDEPENDENTLY)FTHISOPTIONISSELECTED MAKESURE THE 4RACK .AME AND 2EGION 3TART AND %ND OPTIONS ARE ALSO SELECTED IN THE -ATCHING #RITERIA WINDOW )F THEY ARE NOT all regions in the session WITH THE SAME 5SER 4IME 3TAMP WILL BE AFFECTED )N MOST INSTANCES YOU WILLWANTTODISABLETHISOPTION TOPREVENTALARGENUMBEROFREGIONSFROM BEINGCREATEDWHENYOUUSETHE3EPARATE2EGIONCOMMAND

Using the Separation Grabber 9OUCANALSOCREATENEWREGIONSUSINGTHE3EPARATION'RABBERTOOL5SINGTHE 3EPARATION'RABBERSAVESYOUTHETROUBLEOFSEPARATINGTHEREGIONFIRST-AKE A SELECTION USING THE 3ELECTOR TOOL 4HEN SELECT THE 3EPARATION 'RABBER TOOL FROMTHEPOP UPSELECTORTHATAPPEARSWHENYOUPRESSANDHOLDTHE'RABBER TOOLS BUTTON 4AKE A LOOK AT THE ACCOMPANYING SCREENSHOT TO SEE HOW THIS MIGHTLOOK 7HENYOUHAVESELECTEDTHE3EPARATION'RABBERTOOL YOUWILLSEEASMALLPAIR OFSCISSORSAPPEARONTHEhHANDvTOREMINDYOUTHATTHE3EPARATION'RABBER IS CURRENTLY SELECTED .OW YOU CAN DRAG YOUR SELECTION TO A NEW LOCATION WITHINTHESAMETRACKORONANOTHERTRACK4HESELECTIONISAUTOMATICALLYSEP ARATED FROM ITS PARENT REGION AND A NEW REGION CONTAINING THIS SELECTION IS CREATED!SUSUAL NEWREGIONSAREALSOCREATEDFROMTHEMATERIALOUTSIDETHE

Figure 6.36 Choosing the Separation Grabber TOOL

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ORIGINALSELECTION4AKEALOOKATTHEACCOMPANYINGSCREENSHOTTOSEEHOWTHIS MIGHTLOOK

Figure 6.37 5SINGTHE Separation Grabber tool to separate a selection FROMAREGIONANDMOVE THISNEWREGIONTOANEW LOCATION

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)FYOUWANTTOLEAVETHEORIGINALREGIONINTACT PRESSTHE/PTIONKEY-AC OR THE !LT KEY 7INDOWS WHILE YOU DRAG THE SELECTION TO THE NEW LOCA TION!NEWREGIONCONTAININGACOPYOFTHEPREVIOUSSELECTIONISCREATED ANDPLACEDATTHENEWLOCATIONWHILETHEORIGINALREGIONISNOTMOVEDOR CHANGEDINANYWAY

Healing separated regions )FYOUHAVEMADEACUTINAREGIONORREMOVEDASECTIONFROMWITHINAREGION YOU MAY CHANGE YOUR MIND ABOUT THIS AND WANT TO RETURN IT TO ITS ORIGINAL CONDITION)FTHEREGIONSHAVENOTBEENMOVEDAROUNDSINCEYOUMADETHECUT ORREMOVEDMATERIAL YOUCANJOINTHESEPARATEDREGIONSBACKTOGETHERAGAIN USINGTHE(EAL3EPARATIONCOMMAND4HE(EAL3EPARATIONCOMMANDRETURNS SEPARATED REGIONS TO THEIR ORIGINAL STATE PROVIDED THAT THE REGIONS ARE STILL NEXTTOEACHOTHERANDTHATTHEIRRELATIVESTARTENDPOINTSHAVENOTCHANGED SINCETHEYWERESEPARATED 4O HEAL A SEPARATION BETWEEN TWO REGIONS USE THE 3ELECTOR TOOL TO MAKE A SELECTIONTHATINCLUDESPARTOFTHEFIRSTREGION THEENTIRESEPARATIONBETWEEN THE REGIONS AND PART OF THE SECOND REGION 4HEN CHOOSE (EAL 3EPARATION FROM THE %DIT MENU OR PRESS #OMMAND ( -AC OR #ONTROL ( 7INDOWS TO HEALTHESEPARATION

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9OU CANNOT JOIN TWO REGIONS CREATED FROM DIFFERENT AUDIO FILES TOGETHER USING (EAL 3EPARATION BECAUSE THEY WERE NEVER PART OF THE SAME REGION PREVIOUSLY

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Overlapping Regions 3OMETIMES WHEN YOU MOVE REGIONS AROUND IN 3LIP MODE YOU WILL INADVERT ENTLYOVERLAPTHESE9OUWILLALSOGETOVERLAPPINGREGIONSONTICK BASEDTRACKS WITH MULTIPLE REGIONS IF YOU INCREASE THE TEMPO 4O WARN YOU THAT THIS HAS HAPPENED YOUCANCHOOSETODISPLAYASMALLhDOG EARvINTHETOPRIGHT HAND CORNEROFEACHREGIONIFANOVERLAPORANUNDERLAP HASOCCURRED*USTSELECT h/VERLAPvVIEWFOR2EGIONSINTHE6IEWMENU 4HE 2EGIONS MENU ALSO PROVIDES A COUPLE OF USEFUL COMMANDS THAT LET YOU BRINGANOVERLAPPEDREGIONTOTHEFRONTORSENDITBEHINDNEIGHBORINGREGIONS ASNECESSARY)FYOUSELECTMULTIPLEREGIONSANDCHOOSEh"RINGTO&RONTvFROM THE2EGIONMENUORPRESS/PTION 3HIFT &-AC OR!LT 3HIFT &7INDOWS THE FIRSTREGIONISPLACEDINFRONTOFTHESECONDREGION THESECONDREGIONISPLACED IN FRONT OF THE THIRD REGION AND SO FORTH 4AKE A LOOK AT THE ACCOMPANYING SCREENSHOTTOSEEHOWTHISLOOKS

Figure 6.38 Three SELECTEDOVERLAPPING regions, each brought to THEFRONTBEFORETHENEXT region, so each overlaps THENEXT

)F YOU SELECT MULTIPLE REGIONS AND CHOOSE h3END TO "ACKv FROM THE 2EGION MENU OR PRESS /PTION 3HIFT " -AC OR !LT 3HIFT " 7INDOWS THE SECOND REGIONOVERLAPSTHEFIRSTREGION THETHIRDREGIONOVERLAPSTHESECONDREGION ANDSOFORTH!GAIN TAKEALOOKATTHEACCOMPANYINGSCREENSHOTTOSEEHOW THIS LOOKS 4O DESCRIBE THIS SITUATION ANOTHER WAY YOU COULD SAY THAT EACH REGIONhUNDERLAPSvTHEFOLLOWINGREGION

Figure 6.39 Three SELECTEDOVERLAPPING regions, each sent to the back before the NEXTREGION SOEACH hUNDERLAPSvTHENEXT

.OW IFYOUSELECTTHEMIDDLEOFTHETHREEREGIONSANDSENDTHISTOTHEBACK BOTHTHEREGIONBEFOREANDTHEREGIONAFTERWILLOVERLAPTHISREGION

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Figure 6.40 4HEMIDDLE of three regions has been sent to the back so that THEREGIONBEFOREANDTHE region after both overlap THISREGION

!NDIFYOUSELECTTHEMIDDLEOFTHETHREEREGIONSANDBRINGTHISTOTHEFRONT IT WILLOVERLAPBOTHTHEREGIONBEFOREANDTHEREGIONAFTER

Figure 6.41 4HEMIDDLE of three regions has been brought to the front so that it overlaps both the REGIONBEFOREANDTHE REGIONAFTER

4HEEASIESTWAYTOUNDERSTANDHOWALLTHISWORKSISTOLOOKATTHEACCOMPANY INGSCREENSHOTS THENTRYITFORYOURSELF

Sync points 7HEN YOU ARE PLACING REGIONS IN 3POT MODE OR 'RID MODE IT IS SOMETIMES USEFULTOALIGNAPARTICULARPOINTWITHINAREGIONWITHASPECIFIC4IMELINELOCA TION INSTEAD OF ALIGNING THE START POINT OF THE REGION WHICH IS THE DEFAULT SITUATION4OCATERFORSUCHSITUATIONS 0RO4OOLSLETSYOUDEFINEASYNCPOINTFOR ANYREGION 4HIS SITUATION OFTEN COMES UP WHEN YOU ARE LAYING UP MUSIC AND SOUND EFFECTS TO PICTURE 4HE STANDARD EXAMPLE QUOTED HERE IS WHERE YOU HAVE A CREAKING DOOR THAT EVENTUALLY SLAMS SHUT 4HE SOUND EFFECT FILE INCLUDES THE CREAKANDTHESLAM ANDTHEOBVIOUSTHINGTODOHEREISTOLINEUPTHESOUND OF THE DOOR SLAMMING SHUT WITH THE VIDEO FRAME AT WHICH THE DOOR ACTUALLY SLAMSSHUT WHICHISSOMEWAYINTOTHEAUDIOREGIONREPRESENTINGTHISSOUND EFFECT 9OUCANDEFINEAREGIONSSYNCPOINTIN3LIPMODEBYFIRSTPLACINGTHE3ELECTOR TOOLSINSERTIONCURSORATEXACTLYTHEPOINTWITHINTHEREGIONWHERETHESOUND THAT YOU WANT TO SYNCHRONIZE TO START 4HEN CHOOSE THE )DENTIFY 3YNC 0OINT COMMAND FROM THE 2EGION MENU TO IDENTIFY THIS AS THE SYNC POINT FOR THE REGION 258

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Figure 6.42 Setting a SYNCPOINTWITHINAREGION WITHTHE3ELECTORTOOLS INSERTIONCURSORPLACEDAT THEPOSITIONWITHINTHE REGIONWHERETHESYNC POINTISTOBEPLACED

!SMALLDOWNARROWAPPEARSATTHEBOTTOMOFTHEREGION WITHAVERTICAL LIGHT GRAYLINEABOVETHISINDICATINGTHELOCATIONOFTHESYNCPOINT Figure 6.43 The sync POINTAPPEARSWITHINTHE REGIONASASMALLDOWN ARROWWITHAVERTICAL LIGHT GRAYLINEABOVETHIS

9OU CAN MOVE THIS SYNC POINT TO ANYWHERE ELSE INSIDE THE REGION USING THE 4IME 'RABBER TOOL TO DRAG IT EARLIER OR LATER 4O REMOVE A SYNC POINT JUST /PTION CLICK -AC OR !LT CLICK 7INDOWS ON THE SYNC POINT USING THE 4IME 'RABBEROR3CRUBBERTOOLS

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(EARINGTHEAUDIOSCRUBBINGBACKANDFORTHCANOFTENBEFARMOREREVEAL ING THAN LOOKING AT THE WAVEFORM WHEN YOU ARE TRYING TO IDENTIFY WHAT SOUNDSBEST3O YOUMAYFINDITHELPFULTOUSETHE3CRUBBERTOOLTOHELP YOUTOFINDEXACTLYWHERETHESYNCPOINTSHOULDBEPLACED

Nudging Regions 0RO4OOLSLETSYOUNUDGEREGIONSOR-)$)NOTES BYSMALLINCREMENTSORDECRE MENTSALONGTHETRACKSINTHE%DITWINDOW4HEWAYTHISWORKSISTHATYOUSET A .UDGE VALUE USING THE .UDGE 6ALUE POP UP MENU AND SELECT A REGION OR GROUPOFREGIONSTHENYOUCANNUDGEIE MOVE THESELECTEDITEMSFORWARD ORBACKWARDALONGTHE4IMELINEBYPRESSINGTHEPLUS ORMINUS KEYSON THENUMERICKEYPAD 9OU CAN NUDGE MATERIAL WHILE 0RO 4OOLS IS PLAYING BACK WHICH REALLY HELPS WHENYOUAREFINE TUNINGhGROOVESv9OUCANNUDGECONTINUOUSLYINREALTIME TOADJUSTTHETIMINGRELATIONSHIPBETWEENTRACKS ANDYOUCANEVENNUDGETHE POSITIONSOFAUTOMATIONBREAKPOINTSINTHEPLAYLISTS 4HE .UDGE VALUE NOT ONLY DETERMINES HOW FAR REGIONS AND SELECTIONS ARE MOVEDWHENYOUPRESSTHENUDGEKEYS ITCANALSOBEUSEDTOMOVETHE3TART AND %ND POINTS FOR SELECTIONS BY THE .UDGE VALUE OR TO TRIM REGIONS BY THE .UDGEVALUE 259


Figure 6.44 Setting the .UDGEVALUE

!POP UPSELECTORNEARTHETOPOFTHE%DITWINDOWLETSYOUCHOOSETHE.UDGE VALUE7ITHTHEMAINCOUNTERSETTO"ARS"EATS FOREXAMPLE THEVALUESOFFERED ARETHECOMMONSUBDIVISIONSOFABAR9OUCANALSOTYPETHEVALUESYOUWANT DIRECTLYINTOTHE.UDGE6ALUEDISPLAY WHICHISUSEFULIFTHEVALUESYOUWANTTO USEARENOTLISTEDINTHEPOP UP

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)FYOUPRESSANDHOLDTHE#OMMANDAND/PTIONKEYS-AC ORTHE#ONTROL AND!LTKEYSIN7INDOWS YOUCANUSETHEPLUS ANDMINUS KEYS ONTHENUMERICKEYPADTOINCREASEORDECREASETHE.UDGEVALUE

Figure 6.45 4HE.UDGE 6ALUEPOP UP

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9OU CAN ALSO NUDGE A REGIONS CONTENTS SLIDING AUDIO OR -)$) INTO AND OUTOFTHECURRENTREGIONBOUNDARIES WHILEKEEPINGTHEREGIONS3TARTAND %NDPOINTSEXACTLYWHERETHEYAREnASSUMINGTHATTHEREISMATERIALOUTSIDE THEREGIONS3TARTAND%NDPOINTSTHATCANBESLIDINTOOROUTOFTHEREGION 5SINGTHE4IME'RABBERTOOL SELECTAREGIONWHOSECONTENTSYOUWANTTO NUDGE0RESSANDHOLDTHE#ONTROL KEY -AC OR THE 3TART KEY7INDOWS WHILEYOUUSETHEPLUS ANDMINUS KEYSTONUDGETHECONTENTSOF THEREGIONWITHOUTCHANGINGTHEREGIONS3TARTAND%NDPOINTS

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6.6 Region Editing commands 4HE%DITMENUANDTHE2EGIONMENUBOTHCONTAINUSEFULCOMMANDSTHATYOU CANAPPLYTOREGIONS

Shift Region )F YOU SIMPLY WANT TO MOVE SELECTED MATERIAL FORWARD OR BACKWARD IN TIME ALONG A TRACK AND YOU KNOW EXACTLY HOW MANY BARS AND BEATS SECONDS OR SAMPLES THATYOUWANTTOMOVETHISBY THEQUICKESTWAYISPROBABLYTOUSE THE3HIFTCOMMAND4HE3HIFTCOMMANDWORKSWITHSELECTIONS REGIONS -)$) NOTES -)$) CONTROLLER DATA AND AUTOMATION BREAKPOINTS AND THE SELECTED MATERIAL CAN RESIDE ON MULTIPLE TRACKS 4O USE THIS COMMAND FIRST SELECT THE TRACKMATERIALYOUWANTTOSHIFTUSINGTHE3ELECTOROR4IME'RABBERTOOL THEN CHOOSE3HIFTFROMTHE%DITMENUORPRESS/PTION (-AC OR!LT (7INDOWS 4HE3HIFTDIALOGTHATOPENSLETSYOUCHOOSEWHETHERTHEDATAWILLBEMOVED EARLIERORLATER ANDYOUCANTYPETHEAMOUNTINBARSANDBEATSORUSINGANYOF THEOTHERTIMEBASES

Figure 6.46 The Shift DIALOG

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)FYOUHAVESELECTEDJUSTPARTOFAREGION WHENYOUSHIFTIT NEWREGIONSARE CREATEDFROMTHESELECTIONANDFROMANYMATERIALOUTSIDEOFTHESELECTION

261


Duplicate Region 4HE %DIT MENUS $UPLICATE COMMAND COPIES A SELECTION AND PLACES IT IMME DIATELY AFTER THE END OF THE SELECTION 4HOUGH THIS IS SIMILAR TO USING #OPY AND0ASTE $UPLICATEISMORECONVENIENTANDFASTER PARTICULARLYWHENWORKING WITHDATAONMULTIPLETRACKS 4ODUPLICATEA BAROR BAROROTHEREVENBARNUMBER SELECTIONWHENYOU ARE WORKING IN "ARS\"EATS SO THAT IT FOLLOWS THE ORIGINAL SELECTION USE 'RID %DIT MODE AND THE DUPLICATE WILL BE PLACED IMMEDIATELY AFTER THE SELECTIONS END POINT 4HE KEYBOARD COMMAND TO USE FOR THIS IS #OMMAND $ -AC OR #ONTROL $7INDOWS

Figure 6.47 5SINGTHE $UPLICATECOMMAND select a region using the Selector tool, then choose Duplicate from THE%DITMENU ORUSETHE KEYBOARDCOMMAND

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7HEN USING $UPLICATE OR 2EPEAT FOR AUDIO THAT MUST FALL CLEANLY ON THE BEAT SUCH AS RHYTHMIC LOOPS IT IS IMPORTANT THAT YOU SELECT THE AUDIO MATERIAL WITH THE 3ELECTOR TOOL OR BY TYPING IN THE 3TART AND %ND POINTS INTHE%VENT%DITAREA)FYOUSELECTANAUDIOREGIONWITHTHE4IME'RABBER TOOLORBYDOUBLE CLICKINGITWITHTHE3ELECTORTOOL THEMATERIALMAYDRIFT BYSEVERALTICKSBECAUSEOFSAMPLEROUNDING

4OCOPYAREGIONANDAUTOMATICALLY PLACE IT IMMEDIATELY BEFORE THE SELECTED REGION CHOOSE THE 4IME 'RABBER TOOL THEN CLICK ON THE REGION WHILE HOLDING ALL THREE MODIFIER KEYS #OMMAND /PTION #ONTROL ON THE -AC OR 3TART !LT #ONTROLIN7INDOWS 4HISCOMMANDACTUALLYCREATESACOPYOFTHE REGIONANDSLIDESITEARLIERnITDOESNTUSETHE$UPLICATECOMMAND

Figure 6.48 4ODUPLICATE AREGIONANDPLACEIT BEFORETHESELECTED region, click using the THREEMODIFIERKEYS

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Figure 6.49 The DUPLICATEDREGIONIS PLACEDIMMEDIATELY before the region that WASCLICKEDON

!NDITGETSBETTER)FYOUCLICKONANYOTHERREGIONINTHETRACKTOSELECTTHIS REGIONFIRST THENCLICKONTHEREGIONYOUWANTTODUPLICATEWHILEHOLDINGTHE THREE MODIFIER KEYS A DUPLICATE OF THIS REGION WILL ATTACH ITSELF IMMEDIATELY BEFORETHEREGIONYOUFIRSTSELECTED

Figure 6.50 Select a REGIONBEFOREWHICHYOU WISHTOPLACEANOTHER region so that it goes DARK

4OCARRYOUTTHISMOVE SELECTAREGIONBEFOREWHICHYOUWISHTOPLACEANOTHER REGION SO THAT IT GOES DARK THEN CLICK ON THE REGION THAT YOU WISH TO PLACE BEFORE THE SELECTED REGION USING THE THREE MODIFIER KEYS 4HIS COMMAND DOESNTACTUALLYUSETHE$UPLICATECOMMANDITCREATESACOPYOFTHEREGION ANDSLIDESITINTOPOSITIONIMMEDIATELYBEFORETHEPREVIOUSLYSELECTEDREGION Figure 6.51 Click on the REGIONTHATYOUWISHTO PLACEBEFORETHESELECTED region using the three MODIFIERKEYSANDITWILL BECOPIEDANDMOVED INTOPOSITIONIMMEDIATELY before the previously SELECTEDREGIONnAS SHOWNINTHISSCREENSHOT

Repeat Region )FYOUWANTTOCREATEANUMBEROFDUPLICATESANDPLACETHESEONEAFTERANOTHER INTHE%DITWINDOW YOUCANUSETHE2EPEATCOMMAND4HISWORKSSIMILARLYTO THE $UPLICATE COMMAND BUT OPENS A DIALOG WINDOW TO LET YOU SPECIFY THE NUMBEROFREPEATSWHENYOUCHOOSEh2EPEATxvFROMTHE%DITMENUORPRESS /PTION 2-AC OR!LT 27INDOWS 263


Figure 6.52 4HE2EPEAT DIALOGLETSYOUSPECIFYTHE NUMBEROFREPEATS

Locking Regions 7HENYOUHAVECOMPLETEDYOURREGIONEDITS ESPECIALLYIFTHESEINCLUDEDETAILED OR DIFFICULT EDITS THAT HAVE TAKEN YOU SOME TIME TO CREATE IT CAN BE USEFUL TO hLOCKv THE REGIONS OR REGION GROUPS CONTAINING THESE EDITS TO MAKE SURE THAT YOUDONTCHANGEANYTHINGBYMISTAKE4HEREARETWODIFFERENTCOMMANDSAVAIL ABLEIN0RO4OOLSTHATCANBEUSEDFORLOCKINGREGIONS%DIT,OCKAND4IME,OCK 4IMELOCKINGREGIONSISPARTICULARLYUSEFULWHENYOUAREUSING3HUFFLEMODE)N 3HUFFLEMODE 4IME LOCKEDOR%DIT LOCKED REGIONS ANDALLREGIONSOCCURRING AFTER THE LOCKED REGION WILL STAY EXACTLY WHERE THEY ARE EVEN THOUGH NEIGH BORINGREGIONSAREBEINGSHUFFLEDAROUND /N TICK BASED %LASTIC !UDIO ENABLED TRACKS BOTH 4IME AND %DIT LOCKED REGIONSCONFORMTOTEMPOCHANGES BUTOTHER%LASTIC!UDIOPROCESSING SUCH AS1UANTIZEORMANUALWARPING CANNOTBEAPPLIED

%DIT,OCK2EGION )F YOU WANT TO PREVENT A SELECTED REGION OR REGIONS EVEN ON DIFFERENT TRACKS FROM BEING EDITED CUT DELETED SEPARATED OR TRIMMED BY MISTAKE YOU CAN USETHE2EGIONMENUS%DIT,OCKCOMMANDTOPREVENTTHIS%DIT LOCKINGREGIONS ALSOPREVENTTHESEREGIONSFROMBEINGMOVEDTODIFFERENTTIMELOCATIONS 9OUCANCOPYANDPASTE%DIT LOCKEDREGIONSTOANOTHERTRACKORTIMELOCATION BUTTHECOPYWILLALSOBE%DIT LOCKEDATTHISNEWTIMELOCATION 4O%DITLOCKORUNLOCK AREGION USETHE4IME'RABBERTOSELECTTHEREGIONAND CHOOSE%DIT,OCK5NLOCKFROMTHE2EGIONMENU ORPRESS#OMMAND ,-AC

Figure 6.53 An %DIT LOCKEDREGION DISPLAYSASMALLLOCKICON

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OR #ONTROL , 7INDOWS ! SMALL %DIT ,OCK ICON IS DISPLAYED IN THE LOWER LEFT CORNEROFTHEREGIONTOINDICATETHATITCANNOTBEMOVED DELETED OREDITED

4IME,OCK2EGION )FYOUSIMPLYWANTTOLOCKAREGIONTOAPARTICULARLOCATIONINATRACKTOPREVENTIT FROMBEINGMOVEDACCIDENTALLY THEREISASEPARATE4IME,OCKCOMMANDFORTHIS 4IME LOCKED REGIONS CAN BE DELETED OR TRIMMED !UDIO3UITE PROCESSED OR EVEN MOVED TO THE SAME TIME LOCATION ON ANOTHER TRACK )F YOU SEPARATE A 4IME LOCKEDREGION THENEWREGIONSTHATYOUCREATEBYDOINGTHISWILLALSOBE LOCKEDTOTHEIRTIMELOCATIONS 4O4IMELOCKORUNLOCK AREGION USETHE4IME'RABBERTOSELECTONEORMORE REGIONS WHICHCANBEONDIFFERENTTRACKS ANDCHOOSE4IME,OCK5NLOCKFROM THE2EGIONMENUORPRESS3HIFT 44HE4IME,OCKICON WHICHTAKESTHEFORMOF ANOUTLINEOFASMALLLOCK ISDISPLAYEDINTHELOWERLEFTCORNEROFTHEREGIONTO INDICATETHATTHEREGIONCANNOTBEMOVEDFROMITSTIMELOCATION

Figure 6.54 A 4IME LOCKEDREGION DISPLAYSTHEOUTLINEOFA SMALLLOCK

Mute Region )F YOU WANT TO MUTE A REGION THE %DIT MENU HAS A -UTE5NMUTE 2EGIONS COMMAND THAT MUTES SELECTED REGIONS OR UNMUTES THESE IF THEY ARE ALREADY MUTED4HEKEYBOARDCOMMANDFORTHISIS#OMMAND --AC OR#ONTROL - 7INDOWS

Quantize to Grid 6ERYOFTENDURINGEDITING YOUWILLFINDITUSEFULTOBEABLETOQUANTIZESELECTED AUDIO OR -)$) REGIONS TO THE 'RID 4HE 2EGION MENUS h1UANTIZE TO 'RIDv COMMAND IS THE QUICKEST WAY TO DO THIS 4HIS COMMAND ADJUSTS THE PLACE MENT OF SELECTED AUDIO AND -)$) REGIONS SO THAT THEIR START POINTS OR THEIR SYNCPOINTS IFTHEYCONTAINONE LINEUPEXACTLYWITHTHENEAREST'RIDLINE4O USETHISCOMMAND CHOOSEA'RIDVALUEFIRSTANDUSETHE3ELECTOROR'RABBER TOOLTOSELECTTHEREGIONSYOUWANTTOQUANTIZE MAKINGSURETHATTHEWHOLE OFEACHREGIONISSELECTED7HENYOUCHOOSETHE1UANTIZETO'RIDCOMMAND SELECTEDREGIONSORTHEIRSYNCPOINTS AREMOVEDTOTHENEAREST'RIDLINE4HE

265


KEYBOARDCOMMANDFORTHISIS#OMMAND ZERO FORTHE-ACAND#ONTROL ZERO FOR7INDOWS

Grouping Regions 0RO4OOLSLETSYOUGROUPTOGETHERANYCOMBINATIONOFAUDIOAND-)$)REGIONS ONTRACKSTHATARENEXTTOEACHOTHERSOTHATTHEYCANBETREATEDASASINGLE GROUP FOR EASE OF EDITING )F YOU USE "EAT $ETECTIVE OR THE 3EPARATE 2EGION !T4RANSIENTSCOMMANDTOSPLITYOURDRUMTRACKSINTOINDIVIDUALHITS YOUARE GOING TO HAVE LOTS OF SMALL REGIONS TO DEAL WITH 4HE SAME THING CAN HAP PEN WITH IMPORTED 2%8 OR !#)$ FILES OR WITH LOOPED TAKES WHEN YOU HAVE BEENTRYINGTOPERFECTAVOCALORAGUITARSOLOORWHATEVER9OUCANUSE2EGION Groups to gather useful sets of regions together so that you can move them AROUND WHILE WORKING ON YOUR ARRANGEMENT 2EGION GROUPS ARE ALSO USEFUL FOR GROUPING PARTS AND SECTIONS TOGETHER SO THAT THEY CAN BE EASILY COPIED ANDMOVED3O FOREXAMPLE YOUMIGHTGROUPALLTHEBACKINGVOCALSTOGETHER IN THE FIRST CHORUS SO THAT YOU CAN COPY AND PASTE THESE INTO SUBSEQUENT CHORUSES

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! REGION GROUP IS A COLLECTION OF ANY COMBINATION OF AUDIO AND -)$) REGIONSTHATLOOKSANDACTSLIKEASINGLEREGION2EGIONGROUPSCANBECRE ATEDONSINGLEORMULTIPLEADJACENTAUDIO -)$) AND)NSTRUMENTTRACKSAND CANINCLUDEBOTHTICK BASEDANDSAMPLE BASEDTRACKS

To create a region group, select one or more regions on one or more tracks ANDCHOOSETHE'ROUPCOMMANDFROMTHE2EGIONMENU

Figure 6.55 5SINGTHE 'ROUPCOMMANDTO GROUPREGIONS

4HEREGIONGROUPWILLAPPEARASONEREGIONWITHTHE2EGION'ROUPSICONIN THELOWERLEFTCORNERANDWILLBEADDEDTOTHE2EGION,IST

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Editing

Figure 6.56 !GROUPED REGIONSELECTEDINTHE%DIT WINDOW IDENTIFIABLEBYITS 2EGION'ROUPICONINTHE LOWERLEFTCORNER

9OU CAN NEST REGION GROUPS TOGETHER WITH OTHER REGIONS OR REGION GROUPS 4AKEALOOKATTHESCREENSHOTBELOWANDOBSERVETHEREGIONGROUPCREATEDIN THEABOVEEXAMPLEABOUTTOBENESTEDWITHINANEWREGIONGROUPCOMPRISING THISREGIONGROUPANDTHREEMOREREGIONS Figure 6.57 .ESTINGA region group together WITHOTHERREGIONSINTOA NEWREGIONGROUP

7HENYOUCHOOSETHE'ROUPCOMMAND ALLTHREEGROUPSAREJOINEDTOGETHER TOFORMANEW2EGION'ROUP Figure 6.58 !NEW 2EGION'ROUPCREATED FROMANEXISTING2EGION 'ROUPTOGETHERWITHTWO MOREREGIONS

4HE2EGIONMENUALSOHASCOMMANDSTOLETYOUUNGROUPANDREGROUPREGIONS )F YOU APPLY THE 5NGROUP COMMAND TO NESTED REGION GROUPS IT WILL ONLY UNGROUP THE TOP LAYER REGION GROUP LEAVING ANY UNDERLYING REGION GROUPS UNTOUCHED 4HE 5NGROUP !LL COMMAND ON THE OTHER HAND WILL UNGROUP A REGIONGROUPTOGETHERWITHALLOFITSNESTEDREGIONGROUPS

Figure 6.59 5SING THE5NGROUP!LL2EGION COMMAND

!SYOUCANSEEFROMTHESCREENSHOTBELOW AFTERUSINGTHE5NGROUP!LLCOM MAND THE GROUPED REGION IS DISASSEMBLED SO THAT THE ORIGINAL REGIONS ARE ACCESSIBLEAGAIN

Figure 6.60 2EGIONSALL UNGROUPED

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7ITHTHEREGIONSUNGROUPED YOUCANEDITTHESEINDIVIDUALLY ASNECESSARY!S LONGASYOUDONTGROUPANDUNGROUPANYOTHERREGIONSBEFOREHAND YOUCAN THENUSETHE2EGROUPCOMMANDTOREGROUPTHESEASTHEYWEREANDCONTINUE WORKINGONYOURARRANGEMENT 9OUCANALSOCREATEMULTITRACKREGIONGROUPSBYSELECTINGREGIONSONMULTIPLE ADJACENTTRACKS

Figure 6.61 Preparing to CREATEAMIXEDMULTITRACK REGIONGROUP

!FTER SELECTING THE REGIONS CHOOSE THE 'ROUP COMMAND FROM THE 2EGION MENUORPRESS#OMMAND /PTION '-AC OR#ONTROL /PTION '7INDOWS

Figure 6.62 A multitrack REGIONGROUPCREATEDBY grouping regions across TWOTRACKS

)FYOUGROUPAMIXOFSAMPLE ANDTICK BASEDAUDIOOR-)$)TRACKSTOGETHER A DIFFERENT REGION GROUP ICON IN THE BOTTOM LEFT CORNER OF THE REGION GROUP INDICATESTHIS

Figure 6.63 Selecting a SAMPLE BASEDAUDIOTRACK ANDATICK BASED-)$) TRACK

!SYOUWILLSEEFROMTHEACCOMPANYINGSCREENSHOTS WHENTWOMIXEDREGIONS AREGROUPEDLIKETHIS ASPECIALMIXED'ROUPICONISDISPLAYEDINTHELOWERLEFT HANDCORNEROFTHEGROUPEDREGION 268

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Figure 6.64 !MIXED multitrack region group CONTAININGBOTHSAMPLE BASEDANDTICK BASED TRACKSWITHAMIXED region group icon in the LOWERLEFTCORNER

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2EGIONGROUPSCANBECOMESEPARATEDIFYOUMOVEATRACKFROMTHEGROUP SOTHATITISNOLONGERADJACENT HIDEATRACKFROMTHEGROUP INSERTATRACK WITHIN THE GROUP DELETE A TRACK FROM THE GROUP RECORD INTO A REGION GROUP CHANGETHETEMPOOFAMIXEDGROUP ORCHANGEPLAYLISTSONATRACK WITHINTHEGROUP!BROKENICONAPPEARSINTHELOWERLEFTCORNERTOWARN YOUIFTHISHASHAPPENED

)NTHEEXAMPLEHERE THEAUDIOTRACKISSAMPLE BASED WHEREASTHE-)$)TRACK ISTICK BASED7HEN)CHANGEDTHETEMPOAFTERGROUPINGTHESE THETICK BASED -)$) TRACK MOVED ALONG THE TIMELINE WHILE THE SAMPLE BASED AUDIO REGION STAYED AT THE SAME LOCATION ON ITS TRACK 4HE hBROKENv ICON APPEARED IN THE LOWERLEFTCORNEROFBOTHREGIONSTOWARNTHATTHISHADHAPPENED

Figure 6.65 !MIXED multitrack region group SEPARATEDBYCHANGING TEMPO

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0RO 4OOLS CAN EXPORT AND IMPORT REGION GROUPS USING THE NEW hRGRPv REGION GROUP FILE FORMAT 4HIS CAN BE VERY USEFUL FOR CREATING MULTITRACK LOOPSCONTAININGREFERENCESTOALLTHEAUDIOFILESWITHINTHEREGIONGROUP REGIONNAMESANDRELATIVELOCATIONINTRACKS TRACKNAMES FADESANDCROSS FADES ANDALLTHE-)$)DATAFROMTHEREGIONGROUP9OUCANTHENIMPORT THESE INTO YOUR CURRENT OR FUTURE PROJECTS BY DRAGGING AND DROPPING THE REGION GROUP FILE FROM A $IGI"ASE BROWSER OR FROM 7INDOWS %XPLORER OR -ACINTOSH&INDERTOTHE4IMELINE ATRACK THE4RACK,IST ORTHE2EGION,IST

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2EGIONGROUPFILESDONTSTOREAUTOMATION PLUG INS TRACKROUTING TEMPO ORMETERMAPS OR2EGION,ISTINFORMATION

6.7 Dynamic Transport mode $YNAMIC 4RANSPORT MODE LETS YOU DECOUPLE THE PLAYBACK LOCATION FROM THE 4IMELINE SELECTION )T IS SIMILAR IN THIS RESPECT TO USING THE h5NLINK 4IMELINE FROM %DIT 3ELECTIONv FEATURE WHICH IS VERY USEFUL FOR -)$) EDITING "UT $YNAMIC 4RANSPORT MODE OFFERS A LOT MORE THAN UNLINKING THESE SELECTIONS THE4IMELINESELECTIONCANBEFREELYMOVEDAROUNDBYCLICKINGANDDRAGGING THEGRAYAREATHATDEFINESTHESELECTIONINTHE-AIN4IMEBASERULER FOREXAM PLE ANDYOUCANSTARTPLAYBACKFROMANYWHEREONTHE4IMELINEWITHOUTLOSING YOUR 4IMELINE OR %DIT SELECTIONS 3O YOU CAN CYCLE AROUND A SECTION OF YOUR SONG IN $YNAMIC 4RANSPORT MODE WHILE YOU DO SOME EDITS ON THE FLY THEN SIMPLYGRABANDDRAGTHE4IMELINESELECTIONTOANOTHERPARTOFTHESONGTODO MOREEDITSTHERE The Dynamic Transport has a separate Play Start Marker that you can move TOADIFFERENTLOCATIONONTHETIMELINEnINSIDEOROUTSIDEOFTHETIMELINESELEC TION)FYOUMOVETHE0LAY3TARTTOWITHINTHE4IMELINESELECTIONTHATYOUARE CYCLING AROUND THEN START PLAYBACK IT STARTS FROM THIS LOCATION PLAYS TO THE END OF THE TIMELINE SELECTION THEN SUBSEQUENTLY LOOPS AROUND THE WHOLE OF THETIMELINESELECTION ! MORE PRACTICAL WAY TO USE THIS IS TO MOVE THE 0LAY 3TART TO A BAR OR TWO BEFORETHE4IMELINESELECTIONSOTHATITACTSASAPREROLLTOTHECYCLEAROUND THE TIMELINE SELECTION 3O IF YOU WANT TO RECORD SAY A -)$) PART IN BAR SECTIONS EACHWITHA OR BARPREROLL YOUCANSETTHE4IMELINESELECTION TOCOVERBARS SETTHE0LAY3TART-ARKERABARORTWOBEFORETHIS RECORDTHIS

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7HENYOUENABLE$YNAMIC4RANSPORTMODE ITDISABLESTHE,INK4IMELINETO 3ELECTIONFUNCTION4HISALLOWSYOUTOPLAYBACKEITHERTHE4IMELINESELECTION OR AN %DIT SELECTION WHICHEVER YOU PREFER 9OU CAN PRESS THE LEFT BRACKET KEY TO AUDITION THE %DIT SELECTION AND USE THE %NTER KEY TO PLAY THE TIME LINESELECTION4HISLETSYOUCARRYONMAKINGYOUREDITS VERYFLEXIBLY WHILE 0RO4OOLSISPLAYINGBACK!NDIFYOUWANTTHE4IMELINESELECTIONTOFOLLOW THE%DITSELECTION YOUCANALWAYSRE ENABLETHE,INK4IMELINETO3ELECTION BUTTON WHENEVER YOU LIKE 4HEN THE $YNAMIC 4RANSPORT WILL FOLLOW EACH TIMEYOUMAKEANEWSELECTIONINTHE%DITWINDOW

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SECTION THENGRABANDDRAGTHE4IMELINESELECTIONTOTHENEXTBARS RECORD THIS SECTION AND SO ON )F YOU WANT TO CHANGE THE LENGTH OF THE 4IMELINE SELECTION JUST DRAG THE START OR END MARKERS FOR THE SELECTION BACK OR FORTH ALONGTHE4IMELINESOTHATITENCOMPASSESHOWEVERMANYBARSYOUWANT

Using Dynamic Transport mode 9OU CAN ENABLE $YNAMIC 4RANSPORT MODE BY SELECTING THIS FROM THE /PTIONS MENU )F YOU PREFER TO USE A KEYBOARD COMMAND YOU CAN PRESS #OMMAND #ONTROL 0 -AC OR #ONTROL 3TART 0 7INDOWS TO TOGGLE $YNAMIC 4RANSPORT MODEONOROFF7HEN$YNAMIC4RANSPORTMODEISENABLED THE-AIN4IMEBASE RULEREXPANDSTODOUBLE HEIGHTANDREVEALSTHE0LAY3TART-ARKER WHICHMARKS THELOCATIONFROMWHICHPLAYBACKWILLBEGINWHENYOUSTARTPLAYBACK

Figure 6.66 When Dynamic Transport ISENABLED THE-AIN 4IMEBASERULEREXPANDS to reveal the Play Start -ARKER

How the Play Start Marker works 4HE 0LAY 3TART -ARKER IS VERY USEFUL WHILE YOU ARE PLAYING BACK %DIT AND 4IMELINE SELECTIONS ALLOWING YOU TO COMMENCE PLAYBACK INDEPENDENTLY OF THESE SELECTIONS &OR EXAMPLE THE ACCOMPANYING SCREENSHOT SHOWS THE 0LAY 3TART -ARKER LOCATED APPROXIMATELY HALFWAY BETWEEN BARS AND IN THIS EXAMPLE WHICH HAS A TIME SIGNATURE OF 4HE %DIT SELECTION AS SHOWN BY THE DARKENED REGION IN THE %DIT WINDOW AND BY THE %DIT 3ELECTION 3TART AND %ND LOCATIONS DISPLAYED IN THE 4OOLBAR DOES NOT PLAY BACK WHEN YOU PRESS 0LAY THE 4IMELINE SELECTION SHOWN BY THE DARKENED AREA IN THE -AIN 4IMEBASERULERTHE"ARS\"EATSRULERINTHISEXAMPLE PLAYSBACKINSTEAD 9OUCANPOSITIONTHE0LAY3TART-ARKERANYWHEREYOULIKEnITDOESNTHAVETO BE AT THE START OF THE 4IMELINE SELECTION OR AT THE START OF THE %DIT 3ELECTION 9OU CAN EVEN REPOSITION THE 0LAY 3TART -ARKER DURING PLAYBACK AND HAVE PLAYBACKCONTINUEFROMTHENEWLOCATION 271


)N THE ACCOMPANYING SCREENSHOT PLAYBACK WILL START FROM THE 0LAY 3TART -ARKER PLAY THROUGH THE %DIT 3ELECTION THAT FOLLOWS THIS PLAY THROUGH THE 4IMELINE SELECTION THAT FOLLOWS THIS AND LOOP AROUND THE 4IMELINE SELECTION UNTILYOUSTOPPLAYBACK

Figure 6.67 Play 3TART-ARKERPOSITIONED INDEPENDENTLYOFTHE %DIT3ELECTIONANDOFTHE 4IMELINESELECTION

)FYOUWANTTOJUDGEHOWWELLTHETRANSITIONINTOTHELOOPED4IMELINESELEC TIONWORKS BUTYOUDONTNEEDTOSTARTFROMQUITESOFARBACKNEXTTIME YOU CANSIMPLYDRAGTHE0LAY3TART-ARKER DURINGPLAYBACK TOANEWLOCATIONAND WHENYOULETGOLETGOOFTHEMOUSE PLAYBACKWILLJUMPTOTHATLOCATIONAND CONTINUEPLAYBACKFROMTHERE

Figure 6.68 Dragging the Play Start Marker to ANEWLOCATIONTHISEVEN WORKSDURINGPLAYBACK

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4OCHANGETHE4IMELINESELECTION YOUCANEITHERCLICKANDDRAGANEWSELEC TIONINTHE-AIN4IMEBASERULERUSINGTHE3ELECTORTOOL OR WITHANY%DIT4OOL SELECTED JUSTCLICKANDDRAGTHE4IMELINE3ELECTION3TARTOR%ND-ARKERS

4OREPOSITIONTHE0LAY3TART-ARKER YOUCANCLICKANYWHEREINTHE0LAY3TART -ARKER3TRIPINTHE-AIN4IMEBASERULER OR WITHANY%DIT4OOLSELECTED YOU CANSIMPLYDRAGTHE0LAY3TART-ARKERTOWHEREVERYOULIKE

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4HE0LAY3TART-ARKER3TRIPOCCUPIESTHELOWERHALFOFTHEEXPANDED-AIN 4IMEBASERULERIN$YNAMIC4RANSPORTMODE

Keyboard shortcuts for Dynamic Transport mode "ECAUSEITISVERYPROBABLETHATYOUWILLWANTTOLOCATETHE0LAY3TART-ARKER TOTHEBEGINNINGORENDOFTHE4IMELINEOR%DITSELECTIONS EITHERDURINGPLAY BACK OR WHEN THE 4RANSPORT IS STOPPED THERE ARE SEVERAL KEYBOARD SHORTCUTS PROVIDEDFORTHESEANDSIMILARACTIONS 0RESSING0ERIOD ONTHENUMERICKEYPADTHENTHE,EFT!RROWMOVESTHE0LAY 3TART -ARKER TO THE 3TART OF THE 4IMELINE SELECTION PRESSING THE 2IGHT !RROW MOVESITTOTHE%NDOFTHE4IMELINESELECTIONINSTEAD 0RESSING 0ERIOD ON THE NUMERIC KEYPAD THEN THE $OWN !RROW MOVES THE 0LAY3TART-ARKERTOTHE3TARTOFTHE%DIT3ELECTION 9OUCANNUDGETHE0LAY3TART-ARKERBACKWARDALONGTHETIMELINE ABARATA TIME BYPRESSINGONTHENUMERICKEYPAD4OGOFORWARD PRESS !SSUMINGTHATYOUHAVE"ARS\"EATSSELECTEDASTHE-AIN4IMEBASERULER YOU CANMOVETHE0LAY3TARTTOASPECIFICBARUSINGTHENUMERICKEYPADHOLDTHE !STERISK KEYWHILEYOUTYPETHEBARNUMBER THENLETGOOFTHESEKEYSAND PRESSTHE%NTERKEY

Temporarily linking the Timeline and Edit Selections 7HENEVERYOUHAVEAN%DIT4OOLSELECTED YOUCANMOVETHE4IMELINESELEC TIONBACKWARDORFORWARDALONGTHE4IMELINEBYCLICKINGANDDRAGGING7HEN THE4IMELINEAND%DITSELECTIONSARENOTLINKED ONLYTHE4IMELINESELECTIONWILL MOVEWHENYOUDOTHIS)FYOUWANTTOTEMPORARILYLINKTHE4IMELINEAND%DIT SELECTIONSWHILEYOUMOVETHE4IMELINESELECTION PRESSTHE/PTIONKEY-AC OR!LTKEY7INDOWS WHILEYOUDRAGTHE4IMELINESELECTION4HE%DITSELECTION WILL BE MADE TO CORRESPOND WITH THE 4IMELINE SELECTION AND THEY WILL MOVE TOGETHERTOTHENEWLOCATION

Recording in Dynamic Transport mode )F YOU ARE RECORDING IN $YNAMIC 4RANSPORT MODE YOU CAN START INDEPEND ently of the Timeline selection, using the Play Start Marker as a manual preroll BEFORE THE 4IMELINE SELECTION AND 0RO 4OOLS WILL PUNCH IN TO RECORD AT THE STARTOFTHESELECTIONANDPUNCHOUTATTHEENDOFTHESELECTION

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Setting Selection Start and End in Dynamic Transport mode 7HEN YOU ENABLE $YNAMIC 4RANSPORT MODE 0RO 4OOLS AUTOMATICALLY ENA BLES,OOP0LAYBACKMODEANDAUTOMATICALLYDISABLESh,INK4IMELINEAND%DIT 3ELECTIONv!SACONSEQUENCE WHEN YOU SELECT A REGION IN THE %DIT WINDOW THE3TARTAND%NDPOINTSAREnotAUTOMATICALLYENTEREDINTOTHE4RANSPORTWIN DOWS 0LAY 3ELECTION FIELDS OR THE 4OOLBAR DISPLAYS %DIT 3ELECTION 3TART AND %ND LOCATIONS (OWEVER A SPECIAL KEYBOARD COMMAND BECOMES AVAILABLE IN $YNAMIC4RANSPORTMODETOLETYOUDOTHISMANUALLYJUSTPRESSTHELETTERh/v ONYOURCOMPUTERKEYBOARD

Auditioning loops in Dynamic Transport mode 9OU CAN AUDITION A SERIES OF LOOPS WITHOUT STOPPING AND RESTARTING PLAYBACK WHEN$YNAMIC4RANSPORTISENABLED3IMPLYSELECTANEWREGIONTHATYOUWISH TOLOOPAROUNDDURINGPLAYBACKTHENPRESSTHELETTERh/vTOUPDATETHELOOP 3TARTAND%NDLOCATIONSAND0RO4OOLSWILLIMMEDIATELYJUMPTOTHESTARTOFTHE NEWLOOPREGION

Preferences for Dynamic Transport )FYOUWANTTHE0LAY3TART-ARKERTOALWAYSSNAPTOTHE4IMELINESELECTION3TART -ARKERWHENYOUMOVETHE4IMELINESELECTION ORWHENYOUDRAWANEWSELEC TIONORADJUSTTHE4IMELINESELECTION3TART YOUCANSETAPREFERENCEFORTHIS h0LAY 3TART-ARKER&OLLOWS4IMELINESELECTION vINTHE/PERATION0REFERENCESWINDOW 4HEWAYTHISWORKSWHENYOUAREPLAYINGBACKISTHATIFYOUCLICKANYWHEREIN THE %DIT WINDOW PLAYBACK WILL IMMEDIATELY JUMP TO THAT POSITION n GREAT FOR QUICKLYCHECKINGTHROUGHTHESESSIONTOSEEHOWEVERYTHINGISSOUNDINGWHILE COMPARINGSECTIONS3IMILARLY IFYOUDRAGINTHE%DITWINDOWTOMAKEASELEC TION PLAYBACKWILLIMMEDIATELYJUMPTOTHEBEGINNINGOFTHAT%DITSELECTION Figure 6.69 Selecting 0LAY3TART-ARKER&OLLOWS Timeline selection in the /PERATION0REFERENCES

!NOTHERIMPORTANTSETTINGTOCHOOSEINTHE/PERATION0REFERENCESWINDOWIS THEPLAYBACKBEHAVIOR THATIS WHATHAPPENSWHENYOUSTOPPLAYBACK7HEN THEOPTIONh4IMELINE)NSERTION0LAY3TART-ARKER&OLLOWS0LAYBACKvISSELECTED INTHE/PERATION0REFERENCESWINDOW THE4IMELINE)NSERTIONANDTHE0LAY3TART -ARKERBOTHMOVETOTHEPOINTINTHE4IMELINEATWHICHPLAYBACKISSTOPPED 3O WHEN YOU START PLAYBACK AGAIN PLAYBACK CONTINUES FROM THE POINT AT WHICHYOUSTOPPED 4HISISSUCHAREGULARLYUSEDPREFERENCETHATADEDICATEDBUTTONISAVAILABLETO LETYOUTOGGLETHISONANDOFFFROMTHE%DITWINDOW4OOLBAR 274

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Figure 6.70 Selecting 4IMELINE)NSERTION0LAY 3TART-ARKER&OLLOWS 0LAYBACKINTHE/PERATION 0REFERENCES Figure 6.71 Setting h4IMELINE)NSERTION0LAY 3TART-ARKER&OLLOWS 0LAYBACKvUSINGTHE BUTTONINTHE%DITWINDOW 4OOLBAR

)FYOUWANTTHE4IMELINE)NSERTIONANDTHE0LAY3TART-ARKERTOSTAYATTHELOCA TIONFROMWHICHYOUORIGINALLYCOMMENCEDPLAYBACK YOUNEEDTOMAKESURE THAT THIS OPTION IS DESELECTED 4HEN WHEN YOU START PLAYBACK AGAIN IT STARTS FROMTHISORIGINALSTARTINGPOINTnNOTFROMTHEPLACEWHEREYOUSTOPPED

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9OU CAN TOGGLE THE 4IMELINE )NSERTION0LAY 3TART -ARKER &OLLOWS 0LAYBACK OPTIONONANDOFFUSINGTHEhNvKEYONYOURCOMPUTERKEYBOARD

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"ECAREFULNOTTOACCIDENTALLYHITTHEhNvKEYONYOURCOMPUTERKEYBOARD ORYOUWILLFINDTHATYOURSESSIONISBEHAVINGDIFFERENTLYFROMTHEWAYYOU EXPECT

6.8 Track Compositing 6ERY OFTEN WHEN YOU ARE RECORDING OR OVERDUBBING YOU WILL RECORD MULTIPLE TAKESUNTILYOUHAVECAPTUREDTHEBESTPOSSIBLEPERFORMANCE-AYBETHISWILLBE THELASTTAKETHATYOURECORDnANDMAYBEITWILLBETHEFIRST)HAVEOFTENSEEN PRODUCERSORMUSICIANSINSISTONREPEATINGTAKESINTHEIRSEARCHFORTHEPERFECT PERFORMANCE ONLYTODISCOVERWITHHINDSIGHTTHATTHEFIRSTTAKEWASTHEBEST/N THEOTHERHAND )HAVEWITNESSEDJUSTASMANYRECORDINGSINWHICHTHEMUSICIANS ONLYACHIEVEDTHEIRBESTPERFORMANCEAFTERMANYATTEMPTS!NDWITHOTHERS IT COULDBETHEMIDDLETAKETHATISBEST STARTINGOFFWITHTAKESTHATARENOTPERFECT REACHINGTHEBESTPERFORMANCEACHIEVABLE THENTAILINGOFFAFTERTHISPOINT )NMANY MANYCASES THEMUSICIANSWILLMESSUPONESECTIONBUTPERFORMBRIL LIANTLYINANOTHERSECTION4HISISWHENYOUWILLNEEDTOCOMBINEMATERIALFROM 275


TWO OR MORE TAKES TO MAKE A COMPOSITE OF THE BEST MATERIAL THAT YOU HAVE RECORDED4YPICALLYREFERREDTOAShCOMPINGvTHETAKES AMOREFORMALWAYOF REFERRINGTOTHISWOULDBEh4RACK#OMPOSITINGv 9OUMAYHAVERECORDEDTHEVARIOUSTAKESINTODIFFERENTTRACKS BUTITISMORE LIKELY THAT YOU WILL HAVE RECORDED THESE INTO DIFFERENT PLAYLISTS ON THE SAME TRACKORTRACKS9OUMAYALSOHAVEUSED,OOP2ECORDTORECORDMULTIPLETAKES INTOTHESAMESECTIONOFTHEMUSIC PERHAPSFORAGUITARORSAXSOLO

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!PLAYLISTCONTAINSALLTHEREGIONSINATRACKINTHELOCATIONSATWHICHTHEY WERERECORDEDORTOWHICHTHEYHAVEBEENMOVED

)F YOU WILL BE USING ,OOP 2ECORD AND WANT TO BE ABLE TO USE THE 4RACK #OMPOSITINGFEATURESIN0RO4OOLS YOUSHOULDENABLETHE/PERATION0REFERENCE TOh!UTOMATICALLY#REATE.EW0LAYLISTS7HEN,OOP2ECORDINGv"EFOREYOUSTART RECORDING ENABLE,OOP2ECORDMODEANDSELECTARANGEOVERWHICHTOLOOP

Figure 6.72 ,OOP RECORDING

!FTERUSING,OOP2ECORDTOAUTOMATICALLYRECORDNEWTAKESINTONEWPLAYLISTS YOU CAN SWITCH THE TRACK TO 0LAYLISTS VIEW WHERE YOU WILL SEE ALL THE TAKES IN THE ALTERNATE PLAYLISTS BELOW THE MAIN PLAYLIST 9OU CAN SELECT THE BEST PARTS FROMTHESEALTERNATEPLAYLISTSANDCOPYTHEMTOTHEMAINPLAYLISTTOCREATETHE hPERFECTTAKEv )F THE !UTOMATICALLY #REATE .EW 0LAYLISTS 7HEN ,OOP 2ECORDING OPTION WAS DISABLED BEFORE YOU STARTED LOOP RECORDING SELECT THE MAIN PLAYLIST AND #OMMAND CLICK-AC OR2IGHT CLICK7INDOWS THEREGIONINTHEMAINPLAYLIST ANDCHOOSE%XPAND!LTERNATESTO.EW0LAYLISTSFROMTHE-ATCHESSUBMENU 276

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Figure 6.73 The -ATCHESSUBMENU

4HE FIRST OF THESE ALTERNATE PLAYLISTS WILL SHOW A LONG REGION CONTAINING ALL OF THETAKESINONELONGFILE4HEOTHERALTERNATEPLAYLISTSWILLCONTAINTHEINDIVID UALTAKESWITHTHEIRSTARTTIMESSETTOMATCHTHATOFTHE%DITSELECTIONAROUND WHICHYOUWERELOOPINGWHENYOURECORDEDTHESE

Figure 6.74 The Alternate Playlists REVEALED

9OUDONTREALLYNEEDTOSEETHEWHOLEFILEREGIONTHATCONTAINSALLTHETAKESn YOU JUST WANT TO SEE THE INDIVIDUAL TAKES THAT HAVE THE SAME START AND END TIMES AS THE %DIT SELECTION 4O HIDE THIS LONG REGION YOU CAN #ONTROL CLICK -AC OR2IGHT CLICK7INDOWS ONTHE0LAYLISTNAMEANDCHOOSE(IDE !NOTHERWAYTODOTHISISTOSELECTFROMTHEMAINPLAYLISTTHESAME%DITSELEC TIONTHATYOUUSEDFORLOOPRECORDING THEN#ONTROL CLICK-AC OR2IGHT CLICK 7INDOWS THE 4RACK .AME OR ANY OF THE 0LAYLIST ,ANE .AMES AND CHOOSE h3HOW /NLY ,ANES 7ITH 2EGIONS 7ITHIN THE %DIT 3ELECTIONv FROM THE &ILTER ,ANESSUBMENU

Choosing the takes 7HEN YOU HAVE YOUR TAKES SHOWING IN THE ALTERNATE PLAYLISTS IN THE h#OMP LANESvBELOWTHEMAINPLAYLIST YOUWILLPROBABLYWANTTOAUDITIONTHESEIN,OOP 0LAYBACKMODE CHECKINGEACHTAKEINTURNBYPRESSINGTHEBUTTONMARKEDh3v

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ON EACH #OMP LANE 4HE 3 STANDS FOR h3OLO v BUT PRESSING THIS DOES NOT SOLO THEALTERNATETAKE ITMUTESTHEMAINPLAYLISTANDPLAYSTHEAUDIOONTHE#OMP LANEINSTEADnANDYOUALSOHEARTHERESTOFYOURMIXATTHESAMETIME 9OUCANPRESS3HIFT 3TOSOLOANY#OMPLANECONTAININGTHE%DITCURSORANDYOU CAN USE #ONTROL 0 AND #ONTROL hv -AC OR 3TART 0 AND 3TART hv 7INDOWS TO MOVETHE%DITCURSORORTHE%DITSELECTIONUPANDDOWNTHROUGHTHE#OMPLANES

Figure 6.75 Copy Selection To Main Playlist BUTTON

When you hear a section on a Comp lane that you prefer, you can select this ANDCLICKTHEUPWARD POINTINGARROWTOTHERIGHTOFTHE3OLOBUTTONTOCOPY THISSELECTIONTOTHEMAINPLAYLIST

Figure 6.76 Selection MOVEDTOMAINPLAYLIST

Playlists Track View 0LAYLISTS 4RACK 6IEW LETS YOU VIEW THE MAIN PLAYLIST IN THE TRACK AND ALSO ANY ALTERNATE PLAYLISTS ASSOCIATED WITH THE TRACK !LTERNATE PLAYLISTS ARE DISPLAYED DIRECTLYBELOWTHETRACKIN0LAYLISTLANES 9OUCANEDITALTERNATEPLAYLISTSIN0LAYLISTVIEWJUSTLIKETHEMAINPLAYLISTIN7AVEFORM VIEW)N0LAYLISTSVIEW EDITSTHATAREAPPLIEDTORANGESELECTIONSAREAPPLIEDTOALL SHOWNALTERNATEPLAYLISTS!LTERNATEPLAYLISTSTHATARENOTSHOWNARENOTAFFECTED 278

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"EFORE STARTING WORK WITH 4RACK #OMPOSITING DUPLICATE THE TRACKS MAIN 0LAYLISTTOKEEPITINTACTASABACKUPALTERNATEPLAYLIST 4O VIEW THE 0LAYLIST LANES FOR A TRACK FROM THE 4RACK 6IEW SELECTOR SELECT 0LAYLISTS

Figure 6.77 The Track 6IEWSELECTOR

9OU CAN ALSO #OMMAND #ONTROL CLICK -AC OR #ONTROL !LT CLICK 7INDOWS THE0LAYLISTSELECTORTOSWITCHTO0LAYLISTSVIEW

Figure 6.78 The 0LAYLISTSELECTOR

)F THE TRACK CONTAINS ONE OR MORE ALTERNATE PLAYLISTS IN ADDITION TO THE MAIN PLAYLIST THEY ARE DISPLAYED IN LANES UNDER THE MAIN PLAYLIST 2EGARDLESS THE BOTTOM PLAYLIST LANE IS ALWAYS EMPTY AND CAN BE USED FOR ADDING REGIONS TO CREATENEWALTERNATEPLAYLISTS

Figure 6.79 !DDING another region to the BOTTOMPLAYLIST

Copy Selection commands /NCEYOUHAVEFOUNDASELECTIONINANALTERNATEPLAYLISTTHATYOUWANTTOUSE IN THE MAIN PLAYLIST YOU CAN ALWAYS MANUALLY COPY AND PASTE THE SELECTION to the main playlist to construct the best combination of selections from the

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IFFERENT TAKES 0RO 4OOLS ALSO PROVIDES THREE %DIT MENU COMMANDS THAT YOU D CANUSETOCOPYANDPASTETHESELECTION Figure 6.80 h#OPY 3ELECTION4Oxv COMMANDSINTHE%DIT MENU

4HEh#OPY3ELECTION4O-AIN0LAYLISTvCOMMANDCOPIESANDPASTESTHESELEC TIONTOTHEMAINPLAYLIST OVERWRITINGANYMATERIALATTHATLOCATION9OUCANUSE THISMENUCOMMANDASANALTERNATIVETOUSINGTHEBUTTONSINEACH#OMPLANE 4HE SECOND COMMAND h#OPY 3ELECTION TO .EW 0LAYLIST v CREATES A NEW EMPTYMAINPLAYLISTANDCOPIESANDPASTESTHESELECTIONTOTHENEWMAINPLAY LIST!DIALOGBOXOPENSWHENYOUUSETHISCOMMANDTOLETYOUTYPEANAME FORTHENEWPLAYLIST)OFTENUSETHISCOMMANDWHEN)FINDTHEFIRSTSECTIONTHAT )WANTTOUSEANDNAMETHISASMYh#OMPvTRACK4HEN )GOTHROUGHALLTHE TAKESANDJUSTADDTHESECTIONSTHAT)WANTTOUSETOTHISPLAYLIST

Figure 6.81 !NEW PLAYLISTCREATEDUSINGTHE h#OPY3ELECTIONTO.EW 0LAYLISTvCOMMAND

4HEh#OPY3ELECTIONTO$UPLICATE 0LAYLISTv COMMAND WORKS IN A SIMILAR WAY BUTINTHISCASE ITDUPLICATESTHECURRENTMAINPLAYLISTANDCOPIESANDPASTES THESELECTIONTOTHEDUPLICATEMAINPLAYLIST!SWITHTHE#OPY3ELECTIONTO.EW 0LAYLISTCOMMAND THEPREVIOUSMAINPLAYLISTMOVESTOANEW0LAYLISTLANE

Why you may need to filter the Comp lanes Compositing tracks using these features can result in you having large num BERSOFPLAYLISTSINTHETRACKS YOU ARE WORKING WITH 3AY YOU LOOP RECORD THE VOCALISTONTHEVERSESANDDOFOURTAKES THENYOUDOFOURMOREONTHEBRIDGE 280

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SECTIONS THENFOURMOREONTHECHORUSSECTIONS!LREADYTHATISTAKES AND WHEN YOU ARE COMPING THE VERSE SECTIONS YOU PROBABLY DONT WANT TO VIEW THE BRIDGES AND CHORUSES AT THE SAME TIME 4HIS IS WHERE YOU WILL VALUE THE FILTERINGFEATURE 9OU CAN FILTER 0LAYLIST LANES TO SHOW OR HIDE THEM BASED ON DIFFERENT CRITERIA SUCHASTHE2EGIONRATINGORWHETHERTHEYAREINSIDEOROUTSIDETHE%DITSELEC TION 4O FILTER 0LAYLIST LANES YOU CAN EITHER #ONTROL CLICK -AC OR 2IGHT CLICK 7INDOWS THE4RACK.AMEORTHE0LAYLIST.AMETOACCESSTHECONTEXTMENU )FYOUACCESSTHEMENUFROMTHE0LAYLIST.AME YOUGETOPTIONSTOHIDE SCROLL INTOVIEW CREATE DELETEORRENAMETHEPLAYLIST ORTO&ILTERTHE,ANES

Figure 6.82 #ONTROL clicking the Playlist name OPENSTHISMENU

)FYOUAREGOINGTOFILTERBASEDONRATINGS ITCANBEHELPFULTOVIEWTHERATINGS INTHEREGIONS ANDYOUCANSELECTTHISOPTIONINTHE2EGIONSUBMENULOCATED WITHINTHE6IEWMENU9OUCANCHOOSEARATINGFROMTOFORANYREGIONBY SELECTINGTHEREGIONANDCHOOSINGARATINGFROMTHE2EGIONMENUORBYPRESS ING#OMMAND #ONTROL /PTION-AC OR#ONTROL !LT 3TART7INDOWS ANDTHEN TYPINGANUMBERBETWEENAND

Figure 6.83 6IEWINGA RATINGINAREGION

6.9 Compacting audio files 7HEN YOU HAVE FINISHED YOUR EDITING SESSION YOU SHOULD CONSIDER COMPACT INGANYEDITEDAUDIOFILESTOREMOVEANYUNUSEDAUDIOTHATYOUARESUREYOU HAVENOFURTHERUSEFOR4HISMAKESTHEFILESSMALLER SOITSAVESDISKSPACEFROM BEINGUSEDUPUNNECESSARILY )FYOUHAVERECORDEDORIMPORTEDALARGENUMBEROFAUDIOFILES YETHAVEONLY ACTUALLY USED A FRACTION OF THESE COMPACTING THE FILES CAN SAVE CONSIDERABLE AMOUNTSOFDISKSPACE MAKINGBACKUPSMUCHLESSCOSTLYBOTHINTIMENEEDED TOMAKETHEBACKUPSANDFORTHEMEDIAUSED 281


4OCOMPACTANAUDIOFILE SELECTTHEREGIONORREGIONSTHATYOUWANTTOCOMPACT INTHE2EGION,ISTANDCHOOSE#OMPACTFROMTHEPOP UPMENUATTHETOPRIGHT OFTHE2EGION,IST )NTHEDIALOGWINDOWTHATAPPEARS YOUCANpadTHEREGIONSWITHINTHECOM PACTEDFILETOINCLUDESOMEOF THE ORIGINAL AUDIO IF THIS EXISTS AT EITHER SIDE OF THE BOUNDARIES OF THE SELECTED REGIONS 9OU MAY HAVE PLACED THE REGION BOUNDARIESTOOCLOSETOTHEEDITPOINTSnCUTTINGOFFVERYQUIETSOUNDSATTHE BEGINNINGORENDOFTHEREGIONS"YINCLUDINGSOMEOFTHEAUDIOJUSTBEFORE ANDJUSTAFTERTHEREGIONBOUNDARIES YOUENSURETHATTHISAUDIOEXISTSINTHE NEWFILETHATYOUARECREATINGnANDYOUCANALWAYSMAKEMORECAREFULEDITS TOREMOVETHISEXTRAAUDIOATANYTIMEINTHEFUTURE3O ITISAWISETHINGTO ENTERANAMOUNTOFPADDING INMILLISECONDS THATYOUWANTTOLEAVEAROUND EACHREGIONINTHEFILE 7HEN YOU CLICK #OMPACT THE FILE OR FILES ARE COMPACTED AND THE SESSION IS THENAUTOMATICALLYSAVED

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"ECAUSE IT PERMANENTLY DELETES AUDIO DATA THE #OMPACT 3ELECTED COM MANDSHOULDONLYBEUSEDAFTERYOUHAVECOMPLETELYFINISHEDYOUREDITING ANDARESURETHATYOUHAVENOFURTHERUSEFORTHEUNUSEDAUDIODATA

6.10 Summary 4HE BEST WAY TO LEARN HOW TO EDIT IN 0RO 4OOLS IS OF COURSE TO EDIT IN 0RO 4OOLS 4HERE IS JUST NO SUBSTITUTE FOR HANDS ON EXPERIENCE HERE 4HE BEST WAY TO USE THIS CHAPTER IS WHEN YOU ARE SITTING AT YOUR COMPUTER WITH 0RO 4OOLSRIGHTTHEREINFRONTOFYOUSOYOUCANTRYEACHEDITINGMOVETHAT)HAVE DESCRIBEDHEREFORYOURSELF /BVIOUSLY YOU ARE NOT GOING TO LEARN EVERYTHING IN THIS CHAPTER OVERNIGHT ANDYOUWONTNEEDTOUSEALLTHESEEDITINGTECHNIQUESWITHEVERYSESSIONTHAT YOUWORKON"UTIFYOUGOTHROUGHTHISCHAPTERTHOROUGHLY TRYINGASMANYOF THEEDITINGCOMMANDSANDTECHNIQUESASPOSSIBLEFORYOURSELF THEREISAGOOD CHANCETHATYOUWILLREMEMBERTHATAPARTICULARCOMMANDORTECHNIQUEEXISTS WHENTHENEEDFORTHISARISES 9OUCANALSOUSETHISBOOKASAHANDBOOKTOKEEPAROUNDWHENEVERYOUARE USING0RO4OOLSSOTHATYOUCANDIPINANDREMINDYOURSELFOFHOWAPARTICULAR FEATUREWORKSWHENYOUNEEDTOUSETHIS

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7ORKINGONYOURMIXSESSION

0REPARINGFORYOURMIXSESSION 4HE4OOLSOFTHETRADE

4HEFINALMIX 3UMMARY

7 Mixing

7.1 Introduction 4HEREAREMANYAPPROACHESTOMIXINGMUSICTHATYOUWILLSEERECOMMENDED INBOOKSANDBYRESPECTEDPUNDITS4HISCHAPTERWILLNOTPROVIDEPRESCRIPTIONS FORHOWTOMIXYOURMUSIC )NSTEAD THEFIRSTSECTIONREVEALSVARIOUSTECHNICALISSUESTHATYOUSHOULDGIVE CONSIDERATIONTOWHILEPREPARINGFORYOURMIX4HISISFOLLOWEDBYDISCUSSION OFTHEVARIOUShTOOLSOFTHETRADEvTHATYOUMAYUSEDURINGYOURMIXINGSES SIONS 4HE THIRD SECTION MAKES SUGGESTIONS ABOUT HOW YOU MIGHT PROGRESS WHILE YOU ARE ORGANIZING YOUR MIX MARKING OUT THE SECTIONS ORDERING THE TRACKS GROUPING TRACKS TOGETHER SETTING UP 6#! GROUPS AND USING THE %DIT WINDOW TO AUTOMATE THE MIX &INALLY YOU GET TO THE MIX ITSELF 9OU MAY BE USINGAHARDWARECONTROLLERTOGETHERWITHTHEREAL TIME-IX!UTOMATIONFEA TURES ORYOUMAYMIXhMANUALLYvBYSETTINGTHEFADERSBYHAND ORBYDRAW INGINAUTOMATIONCURVESWITHTHEMOUSE5LTIMATELY YOUWILLARRIVEATARESULT THATYOUAREHAPPYWITH!TTHISPOINT YOUWILLMAKEYOURhFINALvORhMASTERv MIX WHICH IS THE ONE THAT YOU WILL SUPPLY TO THE MASTERING STUDIO THAT PRE PARESTHEMIXESFORRELEASEON#$ANDINOTHERFORMATS)FYOUAREINTENDING TOMASTERTHEMIXESYOURSELF YOUMAYSTILLCHOOSETOMAKETHESEFINALMIXESAT THEENDOFTHEMUSICPRODUCTIONPROCESSANDHANDLEMASTERINGASASEPARATE STAGEONCEPRODUCTIONISFINISHED -IXING IS USUALLY CONSIDERED TO BE THE FINAL STAGE IN THE MUSIC PRODUCTION PROCESS THEENDOFTHEJOURNEYINMANYCASES BUTNOTALWAYS)NSOMEGEN RES OF MUSIC REMIXES ARE MADE FOR A VARIETY OF REASONS 4HE MOST BASIC REA SONWOULDBETHATTHEPRODUCER ARTIST ORRECORDLABELFEELSTHATTHEFIRSTMIX WASSIMPLYNOTGOODENOUGH!NOTHERREASONWOULDBETOPROVIDETHEAUDI ENCESWITHALTERNATIVEVERSIONSTOLISTENTOWHENTHEMUSICISBROADCASTONTHE RADIOORPLAYEDBYACLUB$*)TISALSOQUITECOMMONFORANOTHERPRODUCERTO

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HEARTHEMUSIC POSSIBLYYEARSAFTERITWASFIRSTRELEASEDCOMMERCIALLY ANDBE ENTHUSEDBYTHEIDEAOFCREATINGANEWMIXnSOMETIMESEVENARADICALLYDIF FERENTMIXTHATJUSTUSESTHEVOCALANDREPLACESALLTHEMUSIC

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-ASTERING IS CONVENTIONALLY REGARDED AS A SEPARATE STAGE WHERE THE FIN ISHEDMIXESAREPROCESSEDINVARIOUSWAYSTOMAKETHEMMORESUITABLEFOR COMMERCIALDISTRIBUTIONONVINYL ON#$ ORVIADIGITALDOWNLOAD ANDWILL NOTBECOVEREDINTHISBOOK

7.2 Preparing for your mix session "EFOREYOUGETSTARTED YOUNEEDTOMAKESURETHATYOURMONITORSARESETUP CORRECTLY CONSIDERWHATMONITORLEVELSTOMIXAT UNDERSTANDHOWYOURMETERS WORK ANDLINEUPTHEMETERSONANYCONNECTEDANALOGEQUIPMENT4OCHECK MONO COMPATIBILITY YOU NEED TO UNDERSTAND HOW TO USE THE 0HASE 3COPE ANDIFYOUWANTTOAVOIDDISTORTIONPROBLEMSTHATCANARISEWITHhHOTvMIXES PRODUCING A hFATIGUINGv SOUND THAT CAN BE VERY UNPLEASANT FOR THE LISTENER THEN YOU NEED TO KNOW HOW AN OVERSAMPLING METER CAN BE USED TO AVOID SUCHPROBLEMS)FYOUARENOTUSINGANEXTERNALMIXER YOUWILLNEEDAMONI TORCONTROLLERTOPROVIDEACONVENIENTVOLUMECONTROLFORYOURPLAYBACKLISTEN ING LEVEL AND IF YOU WANT TO ADD AN ANALOG hSOUND SIGNATUREv TO YOUR MIX ONEWAYTOGOISTOUSEASUMMINGMIXER

Check your monitoring /NE OF THE MOST IMPORTANT THINGS TO ATTEND TO IS YOUR MONITORING SYSTEM n YOUHAVETOBEABLETOHEARWHATYOUAREDOINGPROPERLYWHENYOUAREMIX ING 4HIS MEANS MAKING SURE THAT YOU ARE SITTING IN THE hSWEET SPOTv AT ONE OFTHETHREECORNERSOFANEQUILATERALTRIANGLEWITHTHELEFTANDRIGHTSPEAKERS POSITIONEDATTHEOTHERCORNERSFACINGYOUANDWITHTHETWEETERSATABOUTTHE SAMEHEIGHTASYOUREARS 9OU SHOULD MAKE SURE THAT THE AMPLIFIERS HAVE MORE THAN ENOUGH POWER TO REPRODUCESOUNDATTHEHIGHESTLISTENINGLEVELSYOUINTENDTOUSEWITHOUTSIG NIFICANTDISTORTIONANDTHATTHESPEAKERSHAVEAShFLATvARESPONSEASPOSSIBLE OVERASWIDEARANGEASPOSSIBLE3O CALLEDhNEARFIELDvMONITORSSUCHASTHE UBIQUITOUS 9AMAHA .3S THAT SIT ON STANDS ON DESKTOPS OR ON THE MIX ING CONSOLES METER BRIDGE CAN NEVER REPRODUCE THE FULL RANGE OF THE AUDIO SPECTRUMnBECAUSETHEYHAVETOBERELATIVELYSMALL4HISMEANSTHATTHEYWILL 286

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NOT BE ABLE TO REPRODUCE THE BOTTOM OCTAVE PROPERLY AS THEIR RESPONSE WILL ROLLOFFSIGNIFICANTLYBELOW SAY OR(Z4HISISWHYPROFESSIONALSTUDIOS USELARGE FULL RANGEMONITORSTOMAKESURETHATTHEENGINEERSANDPRODUCERS CANHEARALLTHEFREQUENCIESCORRECTLY 9OUALSONEEDTOTAKEINTOACCOUNTTHEACOUSTICSOFTHEROOMTHATYOUARELIS TENINGIN&OREXAMPLE CONSIDERTHESITUATIONWHEREYOUARETRYINGTOSETTHE LEVELOFABASSDRUMCORRECTLYFORYOURMIX4HEFUNDAMENTALFREQUENCYOFTHIS INSTRUMENT MIGHT BE AROUND (Z OR EVEN LOWER 4HE LENGTH OF THE SOUND WAVETHATISPRODUCEDATTHISFREQUENCYTHEWAVELENGTHCORRESPONDINGTOTHIS FREQUENCY WOULDBESOMEWHEREAROUNDM WHICHCOULDEASILYCORRESPONDTO THEWIDTHOFTHEROOMTHATYOUARELISTENINGIN!hSTANDINGWAVEvWOULDVERY LIKELYEXISTATTHISFREQUENCY SITTINGBETWEENTHEWALLSOFYOURLISTENINGROOM)F YOUARESITTINGATAPOINTWHERETHEAMPLITUDEOFTHISWAVEISZEROORVERYLOW THEBASSDRUMWILLSOUNDTOOQUIET ANDYOUWILLALMOSTCERTAINLYCOMPENSATE BYMAKINGTHISTOOLOUDINYOURMIX#ONVERSELY IFYOUARESITTINGATAPOSITION WITHINTHESTANDINGWAVEWHERETHEAMPLITUDEOFTHEWAVEISATAMAXIMUM YOUWILLTHINKTHATTHEBASSDRUMISTOOLOUDnANDYOUARELIKELYTOCOMPENSATE FORTHISBYMAKINGTHELEVELOFTHEBASSDRUMTOOQUIETINYOURMIX 2OOMSCANBEDESIGNEDORMODIFIEDTOMINIMIZETHESEEFFECTSANDMONITORING SYSTEMS CAN BE ADJUSTED TO COMPENSATE FOR THE ROOM ACOUSTICS 0ROFESSIONAL STUDIOS OFFER PROPERLY DESIGNED ROOMS AND MONITORING SYSTEMS n FOR HIRE AT PROFESSIONALPRICES3MALLERPROJECTSTUDIOSANDHOMESTUDIOSOFTENOVERLOOK OR THE OWNERS CANNOT AFFORD SUCH NECESSITIES )F YOUR LISTENING ENVIRONMENT ANDEQUIPMENTISCOMPROMISED PARTICULARLYATTHELOWFREQUENCIES THENYOU WILLHAVETOLISTENONOTHERSYSTEMSTHATWILLREVEALPROBLEMSATTHELOWEND ORELSEWHEREINTHEFREQUENCYRANGES FORTHATMATTER

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) ALWAYS CHECK MY MIXES ON THE STEREO SYSTEM IN MY CAR WHICH INSTANTLY REVEALS WHETHER ) HAVE MADE THE BASS DRUM AND BASS GUITAR TOO LOUD OR NOTWHENCOMPAREDWITHTYPICALCOMMERCIALALBUMS4HEN )GOBACKAND ADJUSTTHELEVELSONMYMIXES MAKEANOTHERTEST#$ANDCHECKTHISINTHE CAR UNTILEVERYTHINGSOUNDSCORRECT

)TISALWAYSAGOODIDEATOLISTENTOYOURMIXESONTHEKINDSOFSPEAKERSINTHE KINDSOFENVIRONMENTSTHATWILLULTIMATELYBEUSEDBYYOURAUDIENCE3O YOU MIGHTTAKEYOURMIXESOUTTOACLUB ORPLAYTHEMINYOURCAR ORTRYTHEMON YOURLIVINGROOMSYSTEMnYOUGETTHEIDEA!LSO DONTFORGETTOCHECKYOUR MIXESINMONOnESPECIALLYIFYOUWANTTHEMTOSOUNDRIGHTONRADIO 46 OR FILMWHEREMONOPLAYBACKISSTILLSOMETIMESENCOUNTERED 287


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&INDAGREATMASTERINGSTUDIOTOCHECKYOURMIXESINPROFESSIONALMASTER INGSTUDIOSTYPICALLYHAVEROOMSDESIGNEDTOMINIMIZEACOUSTICPROBLEMS WITH MONITORING SYSTEMS INSTALLED COSTING MANY THOUSANDS OF POUNDS -ANY SMALLER STUDIOS NOW PROVIDE hSTEMv MIXES TO MASTERING STUDIOS SO THATTHELEVELSOFTHEVOCALS BASSANDDRUMS ANDOTHERINSTRUMENTSCANBE SEPARATELYBALANCEDINAREVEALINGACOUSTICENVIRONMENT

A note on external mixing/monitoring )TISPOSSIBLETOCONNECTA0RO4OOLS\($AUDIOINTERFACEDIRECTLYTOYOURMONI TORINGSYSTEM BUTTHISISNOTAGOODWAYTOSETYOURSYSTEMUPBECAUSETHE ONLY WAY TO CONVENIENTLY CONTROL THE VOLUME OF YOUR MONITORS WOULD BE TO LOWERTHE-ASTER&ADERORTHECHANNELFADERS 4HEREMAYBEVOLUMECONTROLS ONSELF POWEREDMONITORSORONTHEPOWERAMPLIFIERTHATISDRIVINGYOURPAS sive monitors, but these controls are not normally going to be easy for you to REACHWHILEOPERATINGTHESYSTEM !S MOST ENGINEERS WILL BE AWARE 0RO 4OOLS LIKE MOST $!7S IS DESIGNED TO GIVE BEST RESULTS WHEN THE -ASTER &ADER THAT CONTROLS THE SUMMED OUTPUT LEVELISKEPTAROUNDUNITYGAINTHED"FADERPOSITION WHILETHECHANNELFAD ERS SET THE LEVELS OF THE INDIVIDUAL MIX ELEMENTS IN RELATION TO THIS !LTHOUGH 0RO4OOLSDOESALLOWYOUTOLOWERTHE-ASTER&ADERSUBSTANTIALLYWITHOUTSIG NIFICANTLOSSOFRESOLUTION ITISNOTGOODWORKINGPRACTICETODOSO&OREXAM PLE IFTHECONVERTERSAREOPERATINGATVERYLOWLEVELS ANYNONLINEARITYWILLBE MOSTPRONOUNCEDATTHESELEVELS /NESOLUTIONISTOUSESOMEKINDOFEXTERNALMONITORINGCONTROLUNITTHATALLOWS YOUTOCONNECTTHEOUTPUTSFROMYOUR0RO4OOLSINTERFACEANDPROVIDESAVOL UMECONTROLTHATCONTROLSITSOUTPUTSTOYOURMONITORS3UCHUNITSMAYALLOW YOUTOCONNECTTWOORMORESETSOFMONITORSANDSWITCHBETWEENTHESE AND MAYPROVIDEADDITIONALTALKBACK DIMMING ORFOLDBACKHEADPHONEFACILITIES !NOTHERSOLUTIONISTOUSESOMEFORMOFEXTERNALMIXERTHATINCORPORATESTHESE FACILITIES 5SING AN EXTERNAL MIXER PROVIDES ANOTHER ADVANTAGE IT ALLOWS YOU TOCOMPLETELYAVOIDANYLATENCYDUETOYOUR0RO4OOLSSYSTEMWHILERECORDING FROM EXTERNAL SOURCES BECAUSE YOU CAN ROUTE THESE INTO THE EXTERNAL MIXER MONITORTHEMDIRECTLYFROMTHEMIXERWITHNOLATENCYDELAY ANDROUTETHEM INTURNINTO0RO4OOLSTORECORD -OSTPROFESSIONALMIXERSALSOINCORPORATEANUMBEROFREASONABLYHIGH QUALITY MICROPHONEPREAMPLIFIERS4HESECANBEVERYUSEFULIFYOUAREREGULARLYRECORD INGFROMhLIVEvSOURCESANDCOST EFFECTIVECOMPAREDWITHTHEPRICEOFBUYING LOTSOFDEDICATEDMICROPHONEPREAMPLIFIERS 288

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Choose your monitoring levels 4HEREARENOSTANDARDMONITORINGLEVELSOBSERVEDINMUSICRECORDINGSTUDIOSn UNLIKE IN FILM DUBBING THEATRES WHERE THE 3OCIETY OF -OTION 0ICTURE AND 4ELEVISION%NGINEERSHASESTABLISHEDASOUNDPRESSURELEVEL30, OFD"ASA STANDARD4HISISNORMALLYREFERENCEDTOANELECTRICALSIGNALLEVELOFD"&3 6OLUME5NITS65 WHICHISTHESTANDARDOPERATINGLEVELRECOMMENDEDFOR DIGITALSYSTEMSBYTHE!UDIO%NGINEERING3OCIETY!%3 &ORTHESMALLERROOMS TYPICALLY USED FOR MIXING MUSIC A LEVEL OF D" MAY BE MORE APPROPRIATE WITH A NOMINAL OPERATING LEVEL OF D"&3 PROVIDING D" OF hHEADROOMv ABOVETHISTOACCOMMODATESIGNALPEAKS ) HAVE BEEN AT SESSIONS IN MUSIC STUDIOS THAT USE MONITORING LEVELS WELL UP INTO THE S OF DECIBELS OF 30, n OR EVEN MORE THAN D" %VEN RELATIVELY SHORT EXPOSURE TIMES TO SUCH HIGH LEVELS CAN MAKE YOUR EARS hSINGv DUE TO TEMPORARYTHRESHOLDSHIFT.EVERTHELESS YOUMAYWISHTOCHECKOUTTHESOUND OFSOMELOUDINSTRUMENTSTHATYOUHAVERECORDEDATSOMEWHERENEARTOTHEIR ORIGINAL SOUND LEVELS !LSO INSTRUMENTS SUCH AS THE TRUMPET OR SNARE DRUM CANEASILYREACHLEVELSOFOVERD" SOITCANBEUSEFULTOHAVEAMONITORING SYSTEMCAPABLEOFREPRODUCINGSUCHREALISTICLEVELS -ANY ENGINEERS LIKE TO MIX ON SMALL NEARFIELD MONITORS AT QUITE LOW LEV ELSATSOMEWHEREBETWEEN SAYANDD"30,4HISMAKESITEASIERTOTELL WHETHERTHELEADVOCALORLEADINSTRUMENTCANBEHEARDPROPERLYATALLTIMES AND WHETHER OTHER IMPORTANT ELEMENTS SUCH AS THE BASS GUITAR AND SNARE DRUMAREATTHERIGHTLEVELSINRELATIONTOTHELEAD)TALSOMEANSTHATTHEMIX SHOULDSOUNDGREATWHENPLAYEDBACKONDOMESTICSPEAKERSAFTERTHERECORD ISRELEASEDTOTHEPUBLIC/FCOURSE YOUCANALWAYSCHECKHOWITSOUNDSFROM TIME TO TIMEATMUCHLOUDERVOLUMESORONLARGERSPEAKERS

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)PERSONALLYMIXONNEARFIELDSATAROUNDD"ORSOMETIMESALITTLEHIGHERn CHECKINGTHISLEVELOCCASIONALLYUSINGASMALLHAND HELD30,METER7HEN ) HAVE A BALANCE THAT IS SOUNDING GOOD ) HIT THE DIMMER SWITCH ON MY 9AMAHA $- MIXING CONSOLE TO DROP THE MONITORING LEVEL DOWN BY D"ANDTHENCHECKTHATEVERYTHING)WANTTOHEARISSTILLAUDIBLE

Line up any connected analog equipment )F YOU CONNECT YOUR 0RO 4OOLS SYSTEM TO ANY ANALOG DEVICES SUCH AS MIXERS TAPERECORDERS OREFFECTSDEVICES YOUMUSTMAKESURETHATTHELEVELSONTHE METERSLINEUPCORRECTLY!K(ZTESTSIGNALSENTFROM0RO4OOLSATTHECHOSEN 289


reference level, such as D"RELATIVETO&ULL3CALE SHOULDPRODUCEAREADING OF65ONANANALOG65METERCONNECTEDTOANANALOGOUTPUTFROMYOUR0RO 4OOLSINTERFACE)FITDOESNTMATCHEXACTLY YOUWILLNEEDTOhTWEAKvTHECALI BRATIONCONTROLONTHE65METERUNTILITDOESMATCHnTHISISTHEPROCEDUREFOR hLININGUPvMETERS

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2EMEMBER THAT THE METERS IN 0RO 4OOLS READ SIGNAL PEAKS n THEY ARE NOT READING AN AVERAGE OF THE SIGNAL LIKE A 65 METER DOES n AND THERE IS NO h65vNOMINALOPERATINGLEVELMARKEDONTHEMETERSIN0RO4OOLS

4O CHECK THAT CONNECTED EQUIPMENT IS LINED UP CORRECTLY YOU CAN INSERT THE 3IGNAL 'ENERATOR PLUG IN INTO ONE OF THE -ASTER &ADER )NSERTS GENERATE A K(ZSINEWAVETESThTONEvATD" D" ORWHATEVERREFERENCELEVELIS BEINGUSED ANDSEEWHETHERTHEMETERSONCONNECTEDEQUIPMENTMATCHTHIS

Figure 7.1 5SINGTHE 3IGNAL'ENERATORPLUG IN TOGENERATEATESTTONE

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)FYOUCONNECTYOUR0RO4OOLSSYSTEMDIGITALLYTOEXTERNALDIGITALDEVICESSUCH ASMIXERS $!4$IGITAL!UDIO4APE RECORDERS OREFFECTSUNITS THEN IFTHESE USETHESAMEDIGITALSTANDARDS SIGNALLEVELSSENTFROM0RO4OOLSWILLPRODUCE THESAMEMETERREADINGSONTHESEDESTINATIONDEVICESANDVICEVERSA

2ECORDINGATESTTONETODISK 9OUCANALWAYSRECORDATESTTONETODISK WHICHCANBEUSEFULIFYOUWILLBE TRANSFERRINGRECORDINGSTOOTHERSYSTEMS ESPECIALLYOLDERANALOGSYSTEMSTHAT NEEDTOBECALIBRATEDWITHTHEIR65METERSLINED UPCORRECTLY

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4ORECORDATESTTONETODISK SIMPLYINSERTTHE3IGNAL'ENERATORONAN!UXILIARY )NPUTANDBUSITSOUTPUTTOTHEINPUTOFAN!UDIOTRACK

Figure 7.2 2ECORDING ATESTTONEATnD"&3 TODISKINMONOFROMA 3IGNAL'ENERATORPLUG IN INSERTEDONAN!UXILIARY )NPUTTOAN!UDIOTRACK

#REATINGATESTTONEUSING!UDIO3UITE )FYOUPREFER YOUCANUSETHE3IGNAL'ENERATOR!UDIO3UITEPLUG INTOGENER ATEAK(ZSINEWAVEATASUITABLELEVELTOUSEASAREFERENCETONESOTHATOTHER EQUIPMENTCANBEALIGNEDTOINORDERTOESTABLISHTHECORRECTVALUEFOR65 -AKE AN EMPTY %DIT SELECTION IN AN !UDIO TRACK THAT LASTS FOR S OR HOW EVERLONGYOUWOULDLIKETHETESTSIGNALTOLASTFOR OPENTHE!UDIO3UITE3IGNAL

291


'ENERATORPLUG INANDCHOOSETHESETTINGSTHATYOUREQUIRE SUCHASTHELEVEL THENPRESS0ROCESSTOCREATEAFILEONDISKCONTAININGTHETESTSIGNAL 9OUCANSUPPLYTHISFILEALONGWITHYOURMIXESORRECORDTHEAUDIOFROMTHISIN REALTIMEONTOTAPEIFYOUARETRANSFERRINGTOTAPE

Figure 7.3 5SING the Signal Generator !UDIO3UITE0LUG INTO GENERATEATESTTONE

VU meters, operating levels, and headroom 4HE 65 METERS USED IN ANALOG AUDIO SYSTEMS DISPLAY AN AVERAGE MEASURE OF THESIGNALLEVELTHATCORRESPONDSREASONABLYWELLWITHTHEWAYTHEHUMANEAR PERCEIVES THE VOLUME OF THE REPRODUCED AUDIO 4HEY DO NOT REVEAL THE PEAK LEVELS OF THE AUDIO SIGNALS WHICH MAY BE OR MORE D"S HIGHER THAN THE AVERAGELEVELS"ECAUSETHESEPEAKLEVELSARETYPICALLYVERYSHORTINDURATION THEYAREOFTENREFERREDTOAShTRANSIENTS vMEANINGTHATTHEYPASSQUICKLY 4HENOMINALOPERATINGLEVELOFANANALOGRECORDINGORMIXINGSYSTEMISTHE65 LEVEL THAT IS USED AS THE STANDARD INPUT AND OUTPUT REFERENCE LEVEL FOR SIGNALS ENTERING AND LEAVING THE SYSTEMS 4HIS hNOMINALv OPERATING LEVEL IS THE AVER AGESIGNALLEVELTHATRECORDINGENGINEERSUSINGANALOGEQUIPMENTAIMFORWHEN USING 65 METERS KNOWING THAT THERE WILL BE HEADROOM ABOVE THIS TO ACCOM MODATETRANSIENTPEAKLEVELS4HEMAXIMUMPEAKLEVELSTHATTHESESYSTEMSCAN HANDLEWITHOUTDISTORTIONWILLVARY BUTWOULDTYPICALLYBEATLEASTD"HIGHER THAN 65 AS WITH TAPE RECORDERS FOR EXAMPLE 4HE DIFFERENCE BETWEEN THE 65LEVELANDTHEMAXIMUMPEAKLEVELISCALLEDTHEHEADROOM 4HIS OPERATING LEVEL MAY BE SET DIFFERENTLY IN DIFFERENT AUDIO SYSTEMS AND IS TYPICALLYSETSOMEWAYBELOWTHEMAXIMUMLEVELTHATTHESYSTEMCANHANDLE 292

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TO ALLOW HEADROOM FOR TRANSIENT LEVEL PEAKS )F SIGNALS PASSING THROUGH THE SYSTEMAREMUCHLOWERTHAN65 THEYMAYGETTOOCLOSETOTHEBACKGROUND hNOISE FLOORv THAT EXISTS IN ALL AUDIO SYSTEMS /N THE OTHER HAND IF AVERAGE SIGNAL LEVELS ARE MUCH HIGHER THAN 65 TRANSIENT PEAKS WITHIN THESE MAY ATTEMPT TO EXCEED THE MAXIMUM ALLOWABLE LEVEL IN THE SYSTEM RESULTING IN THE WAVEFORMS BECOMING hCLIPPEDv AND THE SOUND BECOMING DISTORTED )N PRACTICE YOUSHOULDSETLEVELSSOTHATTHELOUDESTSOUNDSAVERAGEOUTAROUND 65 WITHOUT GETTING TOO MUCH LOWER OR TOO MUCH HIGHER !LSO DONT FOR GETTHATMOSTMUSICWILLNORMALLYCONTAINMANYQUIETERSOUNDSTHATMAYBE D"LESSOREVENLOWER INLEVELTHANTHELOUDESTSOUNDS /F COURSE YOU ARE NOT SEEING THE PEAK LEVELS ON 65 METERS ESPECIALLY TRAN SIENT PEAKS THAT ONLY OCCUR FOR A FRACTION OF A SECOND AND PEAK LEVELS CAN BE MUCH MUCH HIGHER THAN AVERAGE LEVELS 4O COMPLETELY AVOID DISTORTION WHEN RECORDING AUDIO TO ANALOG TAPE SYSTEMS PEAK LEVELS SHOULD NOT EXCEED D" ABOVE65!CHARACTERISTICOFANALOGSYSTEMSSUCHASTAPERECORDERSISTHATTHE DISTORTIONISMILDATFIRSTnSORELATIVELYHIGHLEVELSCANBEUSEDBEFOREOBNOXIOUS DISTORTION IS HEARD 3OME RECORDING ENGINEERS EXPLOIT THIS SITUATION BY RECORD INGHIGHERLEVELSONTOTAPESOTHATSOMEDISTORTIONOFTHEWAVEFORMSOCCURSn MAKING THE RECORDINGS SOUND hBIGGERv OR hFATTERv THAN PERFECTLY CLEAN UNDIS TORTEDRECORDINGS !UDIO THAT IS BEING RECORDED TO A DIGITAL SYSTEM FROM AN ANALOG SYSTEM WITH 65SETTOCORRESPONDTOD"&3HASD"OFHEADROOMTOACCOMMODATE SIGNAL PEAKS (OWEVER IN DIGITAL SYSTEMS IF ANY SIGNALS EXCEED THE D" &ULL 3CALELEVEL THEYWILLBECLIPPEDTOTHISLEVELASTHEYPASSTHROUGHTHESYSTEMn BADLY DISTORTING THE SIGNAL AND MAKING IT SOUND EXTREMELY UNPLEASANT 3O WITHDIGITALSYSTEMS YOUSHOULDALWAYSMAKESURETHATYOUHAVELEVELSSETLOW ENOUGHTOAVOIDCLIPPINGnEVENIFYOUHAVETOUSECOMPRESSORSORLIMITERSTO ALLOWYOUTOINCREASEAVERAGESIGNALLEVELS 7HEN YOU ARE WORKING WITH DIGITAL SYSTEMS THE NOMINAL OPERATING LEVEL FOR ANYCONNECTEDANALOGAUDIOEQUIPMENTISSOMETIMESSETATD"BELOWTHE D" &ULL 3CALE D"&3 LEVEL THAT REPRESENTS THE MAXIMUM ALLOWABLE SIGNAL LEVEL IN THE DIGITAL SYSTEM 4HIS PROVIDES HEADROOM OF D" ABOVE THE 65 LEVELONTHEANALOGEQUIPMENT!NOTHERSTANDARDTHATISRECOMMENDEDWHEN YOUAREMIXINGAUDIOISTOSETTHENOMINALOPERATINGLEVELATD"&34HIS ALLOWS D" OF HEADROOM FOR PEAK LEVELS ENCOURAGING THE MIX ENGINEER TO CREATEMIXESWITHGREATERCRESTFACTORSPEAK TO AVERAGERATIOS

"OMB&ACTORYMETERCALIBRATIONSIMULATION 4OSEEHOWTHISWORKS YOUCANUSETHE"OMB&ACTORY%SSENTIAL-ETER"RIDGE 4HIS SIMULATES AN ANALOG 65 -ETER AND HAS BUTTONS TO LET YOU SWITCH IT TO EMULATEDIFFERENTOPERATINGLEVELS

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*USTASANEXERCISE )PLAYEDBACKAD"&3K(ZSINEWAVETESTTONEFROMAMONO FILE ON DISK USING AN !UDIO TRACK WITH ITS FADER SET TO UNITY GAIN VIA A -ONO -ASTER&ADERALSOSETTOUNITYGAIN)INSERTEDTHE"OMB&ACTORY-ETER"RIDGEON THE-ASTER&ADERANDSWITCHEDTHISTOREADTHESIGNALPEAKWITHNOCALIBRATION ADJUSTMENT!SYOUWOULDEXPECT THISSHOWEDAPEAKLEVELOFFULLSCALE .OTETHATINTHISMODEOFOPERATION THE-ETER"RIDGEISNOTWORKINGASA65 METERTHATWOULDAVERAGETHEINCOMINGSIGNALOVERTIMEINSOMEWAY THEREBY PRODUCING A READING SOMEWHAT LOWER THAN FULL SCALE IT IS WORKING AS A PEAK METER JUSTLIKETHE0RO4OOLSMETERS

Figure 7.4 Playing back AD"&3K(ZSINEWAVE test tone from a mono file ONDISKUSINGAN!UDIO TRACKWITHITSFADERSET to unity gain via a Mono -ASTER&ADERALSOSETTO UNITYGAINWITHA"OMB &ACTORY-ETER"RIDGE INSERTEDANDSWITCHEDTO READINGSIGNALPEAKWITH NOCALIBRATIONADJUSTMENT

)F YOU CONNECTED A REAL ANALOG 65 METER TO AN ANALOG OUTPUT FROM YOUR 0RO 4OOLSINTERFACE YOUWOULDNEEDTOCALIBRATETHISMETERTOMAKESURETHATWHEN YOUSENDITTHEAGREEDREFERENCELEVELFROM0RO4OOLS ITWOULDREAD65/NE SUCHSTANDARDREFERENCELEVELISTOHAVE65CORRESPONDTOD"&34OSEE HOWTHISSHOULDLOOKONANANALOGMETER YOUCANUSETHE"OMB&ACTORY-ETER "RIDGETOSIMULATEA65METER3ENDAD"&3REFERENCETONEFROM0RO4OOLS TOTHE65METER/NAREAL65METER YOUWOULDTHENADJUSTAPOTENTIOMETER ONTHE65METERUNTILTHENEEDLELINEDUPEXACTLYWITH654HISISCALLEDTHE hLINE UPvPROCEDUREBECAUSEYOUARELININGUPTHENEEDLEWITHTHEMARK 294

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7ITHTHE"OMB&ACTORYPLUG IN YOUCANSWITCHTHE-ETER#ALIBRATIONSWITCH TOVARIOUSCOMMONLYUSEDMETERCALIBRATIONLEVELS)N&IGURE )AMUSING D"&3!STHISISMERELYADIGITALSIMULATION YOUWONTHAVETOTWEAKANY THING TO GET THE "OMB &ACTORY METER TO READ EXACTLY 65 n ASSUMING THAT YOUARESENDINGITEXACTLYTHEREFERENCELEVELTHATYOUHAVECHOSENANDTHAT YOUHAVEPUTTHEMETERCALIBRATIONSWITCHINTHECORRESPONDINGPOSITION7ITH AREAL65METER YOUWOULDALMOSTCERTAINLYNEEDTOTWEAKTHELEVELSHOWING ONTHEMETERATLEASTSLIGHTLYTOGETITTOLINEUPEXACTLYWITHTHE65MARK

Figure 7.5 Calibrating a 65METERTOnD"&3

"OMB&ACTORY65METERSIMULATION 4OUSETHE"OMB&ACTORYPLUG INTOMETERANAUDIOTRACKORMIXIN0RO4OOLSIN 65MODE YOUNEEDTOSWITCHITFROM0EAKTOROOTMEANSQUARE2-3 nWHICH SHOWSANAVERAGEVALUEFORTHESIGNALnANDMAKESURETHATYOUHAVETHE-ETER #ALIBRATIONBUTTONSELECTEDTOCORRESPONDTOTHEREFERENCELEVELTHATYOUWOULD BEUSINGWITHEXTERNALANALOGEQUIPMENT SUCHASD"&34HEN YOUWILLSEE THENEEDLEFALLBACKMORESLOWLYTHANTHEPEAKMETERSIN0RO4OOLSANDITWILL VARY ABOVE AND BELOW THE 65 MARK n MAKING USE OF THE D" OF AVAILABLE HEADROOM ABOVE 65 4HE AVERAGE LEVEL OF YOUR MIX SHOULD BE AROUND THE 65MARK ANDEXCURSIONSABOVETHISWILLNOTNORMALLYBEAPROBLEMBECAUSE 295


65REPRESENTSD"&3 LEAVINGYOUAFURTHERD"OFHEADROOMABOVE65 TOACCOMMODATEEXCURSIONSANDTRANSIENTPEAKSABOVETHISLEVEL

Figure 7.6 Playing back AMONOMIXTHROUGHTHE -ETER"RIDGESETTO2-3 ANDCALIBRATEDTOnD"&3 REVEALSHOWA65-ETER WOULDBEHAVEnSHOWING the metering varying ABOVEANDBELOW THE 65MARKINRESPONSETO THEAUDIOINTHEMIX

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4HE DIFFERENCE BETWEEN THE NOMINAL OPERATING LEVEL AND THE LEVEL OF BACKGROUND NOISE INHERENT IN THE SYSTEM OFTEN CALLED THE NOISE FLOOR IS REFERRED TO AS THE hSIGNAL TO NOISE RATIOv 4YPICALLY DIGITAL SYSTEMS HAVE A MUCH LOWER NOISE FLOOR THAN ANALOG SYSTEMS !S A CONSEQUENCE YOU ARE MORE LIKELY TO HEAR QUIET SOUNDS SUCH AS RATTLES OR SQUEAKS FROM MUSICAL INSTRUMENTSORDRUMKITS ORBREATHINGOROTHERSOUNDSMADEBYMUSICIANS THAT YOU MAY NOT HAVE NOTICED WITH ANALOG RECORDINGS WHERE THESE LOW LEVEL SOUNDS MAY HAVE BEEN MASKED BY THE GENERAL BACKGROUND NOISE TAPEHISS OROTHERNOISESIGNALS

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4HEORETICALLY THEDYNAMICRANGEOFA BITDIGITALSYSTEMISD"WHILETHAT OF A BIT SYSTEM IS D" 4HE DYNAMIC RANGE IS THE RANGE BETWEEN THE MINIMUMANDMAXIMUMSIGNALLEVELSTHATTHESYSTEMCANHANDLE

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Metering in Pro Tools %ACH0RO4OOLSTRACKHASITSOWNMETERINGRUNNINGVERTICALLYNEXTTOTHETRACKS FADER4HESEMETERSLETYOUSEETHESIGNALLEVELSONINDIVIDUALFADERSORWHAT THESUMMEDSIGNALLEVELSAREATTHE-ASTER&ADERS !UDIOTRACKSDEFAULTTOPREFADERMETERING SOTHEMETERSON!UDIOTRACKSSHOW THELEVELSOFSIGNALSBEINGPRESENTEDATTHETRACKINPUTSFROMTHEAUDIOINTER FACEORBEINGPLAYEDBACKFROMAUDIOFILESONDISK /N!UXILIARY)NPUTS )NSTRUMENTTRACKS AND-ASTER&ADERS THEMETERSINDICATE THE LEVEL OF THE SIGNAL BEING PLAYED THROUGH THE CHANNEL OUTPUT OR OUTPUTS 3IGNAL PRESENT IS INDICATED BY A GREEN COLOR THAT TURNS TO YELLOW FROM to D" AND TURNS TO ORANGE WHEN THE LEVEL REACHES D" OR LESS BELOW FULL SCALE%ACHMETERALSOHASACLIPINDICATORATTHETOPTHATLIGHTSUPREDIFCLIP PINGOCCURS 4HED"MARKINGSTOTHERIGHTOFEACHmeterAREPEAKLEVELSTHATSHOWD"&ULL 3CALEATTHETOPOFTHERANGE 4HE D" MARKINGS TO THE RIGHT OF EACH fader SHOW A UNITY GAIN POSITION NO INCREASE OR DECREASE IN LEVEL MARKED hv :ERO 4HE FADER CONTROLS THE GAIN FORTHECHANNELANDTHISCANBEINCREASEDBYUPTOD"ORDECREASEDBYD" ORMORE

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! FADER CONTROLS THE GAIN OR AMPLIFICATION APPLIED TO AN AUDIO SIGNAL )NCREASINGTHEGAINABOVETHEUNITYGAINLEVELBOOSTS ORAMPLIFIES THESIG NAL $ECREASING THE GAIN BELOW THE UNITY GAIN LEVEL ATTENUATES THE SIGNAL REDUCINGITSLEVEL4HEAMOUNTOFPOSITIVEORNEGATIVEGAINAPPLIEDTOASIG NALISSIMPLYEXPRESSEDASARATIOINDECIBELSOFTHEOUTPUTLEVELCOMPARED WITHTHEINPUTLEVEL

)FYOUSETTHEFADERATUNITYGAINONAN!UDIOTRACKZEROONTHESCALE THEPLAY BACKLEVELOFTHEAUDIOCOMINGFROMTHEDISKISNOTALTERED9OUCANINCREASETHIS PLAYBACK LEVEL BY UP TO D" OR YOU CAN DECREASE IT UNTIL NO AUDIO IS PLAYING THROUGH THE CHANNEL n ALTHOUGH YOU WILL STILL SEE THE LEVEL BEING PRESENTED TO THE!UDIOTRACKSINPUTFROMTHEAUDIOFILEONDISKSHOWINGUP UNALTERED INTHE 4RACKMETER )FYOUHAVEAUDIOGENERATEDBYAPLUG ININSERTEDINTOAN)NSTRUMENTOR!UXILIARY TRACK OR COMING INTO AN !UXILIARY CHANNEL FROM AN EXTERNAL SOURCE THE FADER CONTROLS THE GAIN FOR THIS IN THE SAME WAY 4HE METER SHOWS THE LEVEL BEING 297


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9OU CAN CHANGE THE METERING FOR ALL THE !UDIO TRACKS IN YOUR SESSION TO POSTFADERMETERINGBYDESELECTINGTHEOPTIONFOR0RE &ADER-ETERINGINTHE /PTIONSMENU)NTHISCASE THEMETERSSHOWTHEOUTPUTLEVELFROMTHETRACK ASCONTROLLEDBYTHEFADER3O IFYOUPULLTHEFADERDOWN THELEVELDISPLAYED ONTHEMETERWILLGODOWNACCORDINGLY4HISISALESSUSEFULOPTION BECAUSEIT DOESNOTREVEALANYCLIPPINGTHATMIGHTBEPRESENTATTHEINPUTTOTHETRACK

RESENTED TO THE AUDIO INPUT OF THE )NSTRUMENT OR !UXILIARY TRACK FROM THE P EXTERNALSOURCEORFROMTHEPLUG IN ANDTHEFADERCONTROLSHOWMUCHOFTHISSIG NALISPASSEDTHROUGHTOTHETRACKOUTPUTWHICHUSUALLYFEEDSYOURMIXBUSBUT COULDBEROUTEDWHEREVERELSEYOUCHOOSE 3O IFYOUBRINGDOWNTHELEVELOF THETRACKFADER THESIGNALLEVELINTHE4RACKMETERDOESNOTALTER"UTIFTHISTRACK ISROUTEDTOA-ASTER&ADER FOREXAMPLE YOUWOULDSEETHELEVELINITSMETERFALL INASYOUREDUCETHEGAINONEITHERTHETRACKFADERORTHE-ASTER&ADER

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.OTHING THAT YOU DO WITH AN !UDIO FADER THAT ONLY CONTROLS THE LEVEL OF SIGNALSPASSEDTOTHEOUTPUTOFTHETRACK WILLAFFECTTHEAUDIOTHATISINA FILEONDISKPLAYINGBACKVIATHISTRACK3O IFTHEAUDIOTHATWASRECORDED INTOAFILEONDISKISCLIPPED FOREXAMPLE REDUCINGTHEPLAYBACKLEVELWILL NOTPREVENTITFROMCLIPPINGnITWILLJUSTPLAYBACKTHECLIPPEDAUDIOATA LOWERLEVELnANDIFTHELEVELOFAUDIOINTHEFILEONDISKISSUFFICIENTLYHIGH YOU WILL CONTINUE TO SEE THE CLIP INDICATOR LIGHT UP IN THE METER ON THE AUDIOTRACK

Phase Scope metering )NTHEACCOMPANYINGSCREENSHOT THE$IGI2ACK3IGNAL'ENERATORISSHOWNPRO DUCINGAK(ZSINETONEATD"&ULL3CALEINSERTEDONASTEREO!UXILIARY)NPUT WITHTHEFADERSETATUNITYGAIN4HE0HASE3COPESHOWSAVERTICALLINEANDTHE 0HASECORRELATIONMETERSHOWS INDICATINGTHATTHEAUDIOINBOTHLEFTAND RIGHTCHANNELSISIDENTICAL 4HELEVELSHOWNBOTHONTHELEVELMETERSINTHE0HASE3COPEPLUG ININSERTED ON THE -ASTER &ADER AND ON THE -ASTER &ADER METERS HAS BEEN REDUCED BY D"BYLOWERINGTHE-ASTER&ADERnJUSTTODEMONSTRATEHOWTHISWORKS )F YOU LOOK AT THE METER ON THE -ASTER &ADER YOU WILL SEE THAT THIS HAS DROPPED BY D" COMPARED TO THE D"&3 INPUT COMING FROM THE 3IGNAL

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'ENERATOR9OUCANSEETHISBYREADINGTHEMARKINGSTOTHERIGHTOFTHEMETER )FYOULOOKATTHE-ASTER&ADER YOUWILLSEETHATTHISHASBEENMOVEDDOWN FROMTHEUNITYGAIND"POSITIONTOTHED"POSITION9OUCANSEETHISBY LOOKINGATTHED"MARKINGSTOTHERIGHTOFTHE-ASTER&ADER

Figure 7.7 4HE$IGI2ACK 3IGNAL'ENERATORISSHOWN PRODUCINGAK(ZSINE TONEATD"&ULL3CALE INSERTEDONAN!UXILIARY )NPUTWITHTHEFADERSET ATUNITYGAIN4HELEVEL PRESENTEDTOOUTPUTSn VIATHE-ASTER&ADERHAS BEENREDUCEDBYD" BYLOWERINGTHE-ASTER &ADER

-ETERINGDISCREPANCIES )T IS INTERESTING TO OBSERVE THE LEVELS WHEN YOU ROUTE A D" &ULL 3CALE K(Z TEST TONE TO A -ONO -ASTER &ADER AND SIMULTANEOUSLY ROUTE THIS TO A 3TEREO -ASTER &ADER WITH ALL THE FADERS SET TO UNITY GAIN 4HE LEVEL THAT YOU SEE ON THEMONO-ASTER&ADER ASYOUWOULDEXPECT ISD"&ULL3CALE4HELEVELON THE3TEREO&ADERISDOWNBYABOUTD"COMPAREDWITHTHIS )T IS ALSO INTERESTING TO NOTE THE SMALL DISCREPANCIES HERE THE CLIP LIGHT IS ON WHENYOUPLAYTHED"&3TONEBACKFROMDISKTHROUGHTHEMONO!UDIOTRACK ASITWASWHENTHISTONEWASCREATEDUSINGTHE3IGNAL'ENERATORINSERTEDONTO AN !UXILIARY )NPUT CHANNEL "UT THE CLIP LIGHT IS NOT LIT ON THE -ONO -ASTER &ADERASSIGNEDTOTHEMONOOUTPUT EVENTHOUGHTHISISSETATUNITYGAINSO ITSHOULDNOTBEATTENUATINGTHELEVEL (OWEVER YOUCANSEETHEFIRSTORANGE INDICATIONJUSTABOVETHED"MARKINGONTHE3TEREO-ASTER&ADER SUGGEST INGTHATTHISLEVELISD"BELOWTHELEVELSHOWNONTHEMONO!UDIOTRACK 299


Figure 7.8 D"4ONE playing back from a FILEONDISKANDROUTED simultaneously to a Mono -ASTER&ADERANDTOA 3TEREO-ASTER&ADER

Fat meters 7HENYOUAREMIXING YOUMAYPREFERTOUSETHEhFATvMETERSINSTEADOFTHE NORMALhTHINvMETERSINTHE-IXAND%DIT WINDOWS4OSWITCHBETWEENNOR MALANDFATMETERS HOLDTHE#OMMAND3TART /PTION!LT AND#ONTROLKEYS ANDCLICKONANYOFTHEMETERS

Figure 7.9 h&ATv-ETERS

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Metering and loudness discussion 4OHELPYOUGETABETTERUNDERSTANDINGOFSOMEOFTHEISSUESINVOLVED HERE ARE SOME EXTRACTS FROM AN ARTICLE THAT ) WROTE FOR 0RO 3OUND .EWS %UROPE AFTERDISCUSSIONSWITH4HOMAS,UNDAT4#%LECTRONICANDMASTERINGENGINEER "OB+ATZINTHE5NITED3TATES 4HOMAS ,UND HAS THIS ADVICE FOR MIXING ENGINEERS h)F YOU APPLY THE OLD SCHOOLSAMPLEPEAKDETECTIONMETHODSOFMEASURINGLEVEL PEAKSNEEDTOSTAY BELOWD"&3WHENDELIVERYISLINEAR IEVIA#$ ANDBELOWD"&3WHEN DELIVERY IS VIA -0 AT KBPS 4HATS NOT EVEN ALWAYS ENOUGH HEADROOM n BUTOFTHETIMEITWOULDBEv3O THEMESSAGEISTHATIFYOUMIXTODIG ITAL DONTPEAKHIGHERTHAND"&3 ,UND ALSO SAYS h%NGINEERS SHOULD KEEP IN MIND THAT HIGHLY PROCESSED MIXES WITH CERTAIN HIGHER FREQUENCIES AND HIGH PEAK LEVELS OR CLIPPING ARE LIKELY TO LEADTOLEVELSINEXCESSOFD"&3WHENREPRODUCEDATTHEOUTPUTSFROMTYPI CAL$!CONVERTERS WHICHCANLEADTOFURTHERDISTORTIONIFTHEREISINSUFFICIENT HEADROOMINTHECONVERTERS/RWHENEVERTHESIGNALCROSSESDOMAINS SUCHAS INCONVERSIONTOMPv)NTERSAMPLEPEAKMETERINGTOVIEWANDPROTECTFROM THESETYPESOFPEAKSISNOWAVAILABLEFROM4#%LECTRONICINTHEIR3YSTEM ANDFROM3ONNOXAND030INTHEIRPEAKLIMITERS .EW TOOLS ARE UNDOUBTEDLY NEEDED TO HELP PREVENT THE HYPERCOMPRESSION SQUASHED LOUD MIXES AND MASTERS ARISING AS A CONSEQUENCE OF SUPER HIGH AVERAGELEVELSANDLOWPEAK TO AVERAGERATIOS-ASTERINGhGURUv"OB+ATZHAS PLENTYTOSAYONTHISSUBJECTh4HEINVENTIONOFDIGITALAUDIOSTARTEDTHEACCEL ERATED LOUDNESS RACE WHICH RAISED AVERAGE LEVELS ON COMMERCIAL #$ RELEASES ALMOSTD"INYEARS4HISWASCAUSEDBYTHENEWABILITYINDIGITALAUDIO TONORMALIZETOTHEPEAKLEVEL7ENEEDTORETURNTOTHECONCEPTOFHEADROOM AND STANDARDIZE ON AN ENTIRELY NEW TYPE OF METER THAT IS CALIBRATED TO TRUE LOUDNESS AND WHICH ALLOWS FOR ADEQUATE HEADROOM WITH THE TRUE PEAK LEVEL HIDDENFROMTHEUSERv 7HAT+ATZISREFERRINGTOHEREISTHESITUATIONTHATPEAK ONLYMETERING ESPE CIALLYINSOFTWARE$!7SSUCHAS0RO4OOLSANDINTYPICAL#$PLAYERSANDOTHER DIGITAL EQUIPMENT IS NO LONGER hFIT FOR PURPOSEv +ATZS PROPOSED ALTERNA TIVE THE + 3YSTEM INCORPORATES 2-3 METERING AND IS COORDINATED TO A CALI BRATEDMONITORGAIN2-3METERINGISMOREACCURATETHANSIMPLEAVERAGING ALTHOUGHNOTASACCURATEASATRUELOUDNESSMETER WHICHREQUIRESMOREDIG ITALSIGNALPROCESSING$30 OR#05POWERANDCAUSESMORELATENCY+ 3YSTEM 2-3METERSAREAVAILABLEFROMMANYMANUFACTURERSWHILE4#%LECTRONICSEVEN MORE REVOLUTIONARY ,- TRUE LOUDNESS AND LOUDNESS HISTORY METER IS NOW AVAILABLEFOR0RO4OOLS\($ !CCORDING TO +ATZ MIXING ENGINEERS WOULD BE BETTER OFF DISPENSING WITH METERS ALTOGETHER AND USING THEIR EARS INSTEAD !S HE EXPLAINS hHAVING 301


CALIBRATED MONITOR GAIN IS JUST AS IMPORTANT AS METERING PEAK TO AVERAGE RATIOS )T IS POSSIBLE TO MIX AN ENTIRE ALBUM @BLIND WITHOUT ANY METERING AT ALL YET NEVER OVERLOADING THE DIGITAL SYSTEM !LL YOU NEED TO DO IS SET A SUF FICIENTLYHIGHMONITORGAINEGD"ATD"&32-3 7HENMIXINGTHIS WAY MIXENGINEERSCANMIXUSINGTHEIREARSWITHOUTTHEARBITRARYCONSTRAINTS OR INFLUENCE OF METERS 4HE MIXES WHICH RESULT WILL LIKELY HAVE A BETTER CREST FACTORPEAK TO AVERAGERATIO THANTYPICALMIXESMADEWHILEWATCHINGMETERS AND LATERON INMASTERING SHOULDPRODUCELOUDERMASTERSWITHFARLESSSONIC COMPROMISEv !S)POINTEDOUT h7ITHTHENEXTANDEVENSOMECURRENT GENERATIONSOFDIG ITAL AUDIO BROADCAST AND CONSUMER REPLAY EQUIPMENT LISTENERS WILL BE GIVEN OPTIONS TO SELECT DYNAMIC RANGES FOR REPLAY #ONSEQUENTLY MUSIC THAT HAS BEENSQUASHEDDYNAMICALLYTOSOUNDLOUDERWILLNOTSOUNDLOUDERANYMORE BUTWILLSOUNDHARSHERINCOMPARISONWITHMUSICTHATHASNOTBEENSOBADLY @MANGLEDv !N!%3PAPERWRITTENBY4HOMAS,UNDTHATADDRESSESTHESEISSUESCANBEDOWN LOADEDATHTTPWWWTCELECTRONICCOMMEDIALUND??STOP?COUNTING?SAM PLES?AESPDf -OREOF"OB+ATZSVIEWSONMETERINGAREEXPLAINEDINDOCUMENTATIONFORTHE 4#%LECTRONIC&INALIZER WHICHCANBEDOWNLOADEDATHTTPWWWTCELECTRONIC COMMEDIAKATZ??SECRET?MASTERINGPDf /THERARTICLESOFINTERESTCANBEDOWNLOADEDATHTTPWWWTCELECTRONICCOM 4ECH,IBRARYASp

TL MasterMeter oversampling metering )T HAS BECOME FASHIONABLE IN THE MUSIC INDUSTRY FOR CLIENTS TO DEMAND THE LOUDESTPOSSIBLEMIXESnTHETHEORYBEINGTHATTHESEWILLSTANDOUTAMONGTHE CROWD4HEPROBLEMISTHATWHENLEVELSAREATORNEARD"&ULL3CALEFORMUCH ORALLOFTHETIME ITISALMOSTCERTAINTHATWHENTHESERECORDINGSAREPLAYED BACK ON CONSUMER #$ PLAYERS SIGNIFICANT AMOUNTS OF FATIGUING DISTORTION WILLOCCURWHENTHEDIGITALAUDIOISRECONSTRUCTEDINTOANALOGAUDIO4HISCAN HAPPENEVENWHENTHEHIGHESTSAMPLESAREKEPTJUSTBELOWD"&3 BECAUSE THE RECONSTRUCTED ANALOG WAVEFORMS CAN RISE HIGHER IN LEVEL IN BETWEEN THESE SAMPLE PEAK LEVELS n AND WILL THEN BE CLIPPED BY THE ANALOG PLAYBACK EQUIPMENT 4HEIMPORTANTPOINTTONOTEHEREISTHATTHESAMPLEVALUESINDIGITALAUDIODO NOTREPRESENTTHEPEAKLEVELVALUESOFANANALOGWAVEFORMRECONSTRUCTEDFROM THESE SAMPLES n PEAK LEVELS WILL FREQUENTLY EXCEED THESE VALUES !LSO IF YOU MAKEATEST#$ANDPLAYITBACKONAHIGH QUALITY#$PLAYERINYOURRECORDING

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STUDIO THISMAYHAVEHIGH QUALITYANALOGELECTRONICSWITHSUFFICIENTHEADROOM TOSUCCESSFULLYPLAYBACKLEVELSTHATEXCEEDD"&3WITHOUTPRODUCINGAUDIBLE DISTORTION OR FATIGUING EFFECTS n SO YOU MAY BE SEDUCED INTO BELIEVING THAT THEREISNOPROBLEMWITHYOURMIXES 4HESTANDARDMETERSIN0RO4OOLSWILLNOTALERTYOUTOTHISSITUATIONnTHEYJUST MEASURE SAMPLE PEAKS 7HAT YOU NEED IS A METER THAT SIMULATES WHAT HAP PENSDURINGTHERECONSTRUCTIONOFTHEANALOGWAVEFORMANDALERTSYOUIFCLIP PINGWOULDHAPPENAFTERRECONSTRUCTION)FYOUKNOWWHERETHECLIPPINGTAKES PLACEANDBYHOWMUCH YOUCANGOTOTHESEPLACESINYOURMIXANDADJUST LEVELSTOAVOIDTHISCLIPPING 4HERE IS A PLUG IN THAT WILL DO ALL THIS $IGIDESIGN NOW INCLUDES THE 4, -ASTER-ETER 4IME $IVISION -ULTIPLEXING 4$- AND 2EAL 4IME !UDIO3UITE 24!3 PLUG IN WITH ALL 0RO 4OOLS SYSTEMS 4HIS ALLOWS ENGINEERS TO COMPARE REGULAR AND INTERSAMPLE PEAKS OVER TIME AND MAKE APPROPRIATE ADJUSTMENTS TO COUNTERACT ANY CLIPPING DUE TO INTERSAMPLE PEAKS 5SING AN OVERSAMPLED PEAKMETERLIKETHIS WHICHSIMULATESTHERECONSTRUCTIONFILTERSUSEDINDIGITAL TO ANALOG CONVERTERS IS AN ESSENTIAL TOOL TO USE ESPECIALLY WITH MIXES THAT HAVEBEENPROCESSEDTOBEPARTICULARLYLOUDORHOT

5SINGTHE4,-ASTER-ETER 4HE 4, -ASTER-ETER HAS TWO SEPARATE METERS ONE THAT SHOWS THE STAND ARD SIGNAL LEVEL AND ANOTHER THAT SHOWS THE OVERSAMPLED SIGNAL LEVEL !S THE OVERSAMPLING PROCESS CAN CREATE LEVELS ABOVE D" THIS METER SHOWS AN EXPANDEDSCALEFROMD"TOD")TISEASYENOUGHTOUSESIMPLYINSERT4, -ASTER-ETER ON A -ASTER &ADER TRACK AND PLAY THE ENTIRE SESSION BACK FROM BEGINNINGTOENDTOCHECKYOURFINALMIX 9OUCANEASILYKEEPANEYEONTHESEMETERSWHILEYOUPLAYTHEMIXANDIFYOU SEEANYCLIPPEDSIGNALS JUSTSTOPPLAYINGBACKIMMEDIATELYANDLOOKFORWAYS TOFIXTHEPROBLEM4HISISFINEIFTHEREAREJUSTONEORTWOhOVERSvDURINGTHE MIX "UT IF THERE ARE A LOT YOU WILL FIND IT QUICKER TO LET THE WHOLE MIX PLAY THROUGH THEN LOOK AT THE HISTORICAL LIST OF EVENTS THAT IS CREATED IN THE TWO hBROWSERSvPROVIDEDFORSIGNALCLIPSANDOVERSAMPLEDCLIPS"ECAUSETHETIME CODEFOREACHEVENTISLISTED YOUCANQUICKLYGOTOEACHLOCATIONWHERETHERE ISAPROBLEMSOTHATYOUCANFIXIT 4HE 3IGNAL #LIP %VENTS BROWSER DISPLAYS HISTORICAL CLIP EVENTS AND HAS COL UMNSTHATSHOWTHERELEVANTTIMECODEFORTHEBEGINNINGANDENDINGOFEACH CLIPEVENT7ITHSTEREOTRACKS THEFIRSTCOLUMNSHOWS,OR2TOINDICATEIFTHE LEFT OR RIGHT CHANNEL HAS CLIPPED 4HE -IN AND -AX VALUES IN THIS BROWSER WILLALWAYSBEZERO UNLESSTHE#LIPLEVELISSETBELOWZERO!TTHEBOTTOMOF

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THEBROWSER THE0EAKFIELDDISPLAYSTHEHIGHESTD"VALUEOFTHEAUDIOSIGNAL RECEIVEDSOFAR 4HE/VERSAMPLED#LIP%VENTSBROWSERDISPLAYSOVERSAMPLEDCLIPEVENTSHISTOR ICALLY4HEAMOUNTOFPOTENTIALCLIPPINGINEXCESSOFD"ISALSODISPLAYED4HE COLUMNSSHOWTHETIMECODEFORTHEBEGINNINGANDENDINGOFEACHCLIPEVENT ASWELLASTHEMINIMUMANDMAXIMUMCLIPVALUESCREATEDAFTEROVERSAMPLING 7ITHSTEREOTRACKS THEFIRSTCOLUMNSHOWS,OR2TOINDICATEIFTHELEFTORRIGHT CHANNELHASCLIPPED!TTHEBOTTOMOFTHEBROWSER THE0EAKFIELDDISPLAYSTHE HIGHEST D" VALUE OF THE OVERSAMPLED AUDIO RECEIVED SO FAR 4HE %VENTS FIELD BELOWTHEBROWSERSHOWSTHETOTALNUMBEROFCLIPEVENTSINTHEOVERSAMPLED AUDIOSIGNAL )N THE ACCOMPANYING SCREENSHOT YOU CAN SEE WHAT WAS DISPLAYED WHEN ) INSERTED THE 4, -ASTER-ETER PLUG IN ON THE -ONO -ASTER &ADER USED IN THE PREVIOUS EXAMPLE !N !UDIO TRACK WAS PLAYING BACK A SHORT RECORDING OF A D"&3K(ZTESTTONEVIATHISMONO-ASTER&ADER3O THESIGNALLEVELMETER

Figure 7.10 4, -ASTER-ETERPLUG IN INSERTEDONTHE-ONO -ASTER&ADERUSEDIN THEPREVIOUSEXAMPLE 4HISSHOWSANhOVERv WITHEIGHTCONSECUTIVE OVERSAMPLEDCLIPEVENTS hitting full scale – PROVIDINGAPOSSIBLECLUE ASTOWHYTHECLIPLIGHTON THE!UDIOTRACKTHATWAS PLAYINGTHED"&3TEST TONEWASLIT

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SHOWSTHELEVELTOBED"(OWEVER THECLIPLIGHTONTHE/VERSAMPLING,EVEL METERLITUPALMOSTIMMEDIATELY ANDTHEREWEREEIGHTCONSECUTIVEOVERSAM PLEDCLIPEVENTSDISPLAYEDINTHE/VERSAMPLED#LIP%VENTSBROWSER ALLHITTING &ULL3CALE

Phase measurements 7HEN YOU ARE WORKING ON STEREO MIXES IT IS ALWAYS USEFUL TO KEEP AN EYE ON THE PHASE CORRELATION BETWEEN THE LEFT AND RIGHT CHANNELS TO MAKE SURE THAT YOU HAVE GOOD MONO COMPATIBILITY /F COURSE YOU SHOULD BE CHECK ING YOUR MIXES BY LISTENING IN MONO FROM TIME TO TIME AS WELL BUT HAVING A0HASE3COPEANDAPHASECORRELATIONMETERCONVENIENTLYAVAILABLEISDEFI NITELYABONUS4HE$IGI2ACK0HASE3COPEISIDEALFORTHISPURPOSE PROVIDING SIGNALLEVELANDPHASEINFORMATIONFORSTEREOTRACKSINBOTH4$-AND24!3 FORMATS

,ISSAJOUSFIGURES /NACONVENTIONALOSCILLOSCOPE THELEFTSIGNALISSENTTOTHEVERTICAL9TRACE AND THE RIGHT SIGNAL IS SENT TO THE HORIZONTAL 8 TRACE INPUTS 4HIS PRODUCES CURVES KNOWN AS ,ISSAJOUS FIGURES ON THE GRAPH ! CURVE WITH A SLOPE THAT RISES FROM LEFT TO RIGHT AT A DEGREE ANGLE SHOWS THAT THE LEFT AND RIGHT INPUT SIGNALS ARE IN PHASE ! CURVE WITH A SLOPE THAT RISES FROM RIGHT TO LEFT AT A DEGREE ANGLE SHOWS THAT THE LEFT AND RIGHT INPUT SIGNALS ARE OUT OF PHASE

$IGI2ACK0HASE3COPE 4HE $IGIDESIGN 0HASE 3COPE IS ROTATED DEGREES TO THE LEFT SO THAT THE ,ISSAJOUS FIGURES RISE VERTICALLY TO INDICATE IN PHASE COMPONENTS AND HORIZON TALLY TO INDICATE OUT OF PHASE COMPONENTS )N OTHER WORDS WHEN THE CURVE TRACES VERTICALLY THIS SHOWS THAT THE COMBINED LEFT AND RIGHT INPUT SIGNAL IS IN PHASE AND WHEN IT TRACES HORIZONTALLY IT INDICATES THAT THE LEFT AND RIGHT INPUTSIGNALSAREOUTOFPHASE 4YPICALLY STEREORECORDINGSPRODUCEARANDOMPATTERNTHATISTALLERTHANITIS WIDE ! VERTICALLY ORIENTED PATTERN PRODUCED BY STRONG CORRELATION BETWEEN THE RIGHT AND LEFT CHANNELS APPROACHING MONO WHICH WOULD PRODUCE A STRAIGHT VERTICAL LINE INDICATES GOOD MONO COMPATIBILITY )F THE PATTERN RUNS HORIZONTALLY THIS INDICATES A LACK OF CORRELATION BETWEEN THE TWO CHANNELS WHICH WOULD LEAD TO CANCELLATIONS BETWEEN OUT OF PHASE COMPONENTS IF THE LEFT AND RIGHT SIGNALS WERE COMBINED TO MONO AND SHOULD OBVIOUSLY BE AVOIDEDIFGOODMONOCOMPATIBILITYISREQUIRED

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Figure 7.11 Phase 3COPE

Phase Meter "ELOW THE 0HASE 3COPE THERE IS A 0HASE -ETER DISPLAY ! 0HASE -ETER ALSO KNOWN AS A CORRELATION METER INDICATES THE DEGREE OF SIMILARITY OR CORRELA TION BETWEENTHELEFTANDRIGHTCHANNELS7HENTHEAUDIOINTHELEFTANDRIGHT CHANNELSISSIMILAR THEMETERMOVESTOWARDTHERIGHT)FTHEAUDIOINTHELEFT ANDRIGHTCHANNELSWASIDENTICAL THECORRELATIONWOULDBEANDTHEMETER WOULD BE POSITIONED ALL THE WAY TO THE RIGHT 7HEN THE LEFT AND RIGHT CHAN NELS ARE UNCORRELATED WITH LOTS OF DIFFERENT AUDIO MATERIAL IN EACH CHANNEL THE METER MOVES TOWARD THE LEFT )F THE AUDIO IN THE LEFT AND RIGHT CHANNELS WASEXACTLYOUTOFPHASE THECORRELATIONWOULDBEANDTHEMETERWOULD BEPOSITIONEDALLTHEWAYTOTHELEFT!TTHECENTERORZEROPOSITION THESIGNAL ISAPERFECTSTEREOIMAGE-OSTRECORDINGSHAVEPHASECORRELATIONSSOMEWHERE BETWEENAND3HORTEXCURSIONSINTOTHENEGATIVEAREAATTHELEFTARENOT NECESSARILYAPROBLEM BUTANYTHINGMORETHANTHISCOULDINDICATEMONOCOM PATIBILITYPROBLEMS

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)FYOUWIDENTHESTEREOORREVERBWIDTHFORYOURAUDIO THEPHASECORRELA TIONWILLMOVETOWARDTHELEFTSIDE ASTHELEFTANDRIGHTCHANNELSBECOME hWIDER vTHATIS LESSSIMILAR

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Leq(A) Meter ,EQ! ISTHEEQUIVALENTCONTINUOUS! WEIGHTED30,DETERMINEDOVERAMEASURED TIME INTERVAL THAT TAKES ACCOUNT OF FLUCTUATIONS IN LEVEL WITHIN THIS TIME PERIOD TO PRODUCE AN AVERAGE VALUE 4HIS AVERAGE UNFLUCTUATING ,EQ! VALUE IS USED WHENSPECIFYINGLOUDNESSLEVELSTHATMUSTNOTBEEXCEEDEDINORDERTOCOMPLY WITH REGULATIONS FOR EXAMPLE OR WHEN RECOMMENDING MONITORING LEVELS 4HE ! WEIGHTINGFILTERAPPROXIMATESTHELOUDNESSSENSITIVITYOFTHEHUMANEAR 9OUCANSWITCHTHE0HASE-ETERDISPLAYTOAN,EQ! -ETERDISPLAYTHATSHOWS the true weighted averageOFTHEPOWERLEVELSENTTOEITHEROFTHETWOSTEREO CHANNELS"YDEFAULT BOTHCHANNELSARESELECTEDFORDISPLAYANDCOLOREDGREEN TOINDICATETHATTHEYARESELECTED9OUCANDESELECTTHELEFTORRIGHTCHANNELBY CLICKINGONTHE,OR2BUTTONSATTHECORNERSOFTHEDISPLAY 4HE,EQ! -ETERDISPLAYSHOWSAFLOATINGAVERAGEFORTHELEVELOVERTHEINTER VALCHOSENINTHE7INDOWMENU&OREXAMPLE WITHASETTINGOFS THEDISPLAY SHOWSTHEAVERAGEVALUEFORTHEMOSTRECENTSOFAUDIOPLAYBACK!POP UP h7INDOWvMENULETSYOUCHOOSETHELENGTHOFTIMEBETWEENSANDMIN THATTHESIGNALISMEASUREDOVERBEFOREANAVERAGEVALUEISCALCULATED9OUCAN ALSOCHOOSEINFINITEMODE WHICHCONSTANTLYAVERAGESTHESIGNALINSTEAD %NABLINGh!UTO2ESETvCAUSESTHESTARTTIMEOFTHE,EQ! MEASUREMENTWIN DOWTOBEAUTOMATICALLYRESETWHENEVERPLAYBACKSTARTSIN0RO4OOLS%NABLING h(OLDON3TOPvCAUSESTHE,EQ! MEASUREMENTWINDOWTIMERTOPAUSEWHEN PLAYBACKSTOPSANDRESUMEWHENPLAYBACKBEGINSAGAIN

Figure 7.12 Deselecting THE,EFTCHANNELFOR ,EQ! METERING

Level Meters 4OTHELEFTOFTHE3COPEDISPLAY THEREAREMETERSFORTHELEFTANDRIGHTINPUT SIGNALS4HEREARETWOPOP UPSELECTORSABOVETHEMETERSONEFORPEAKHOLD OPTIONSANDANOTHERFORTHEMETERTYPE -ETERTYPESINCLUDE0EAK 2-3 AND0EAK2-30EAK$EFAULTMETERTYPE USESTHESAMEMETERINGSCALETHATISUSEDIN$IGI2ACK%1)))AND$YNAMICS

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))) PLUG INS 2-3 USES A PROPRIETARY $IGIDESIGN hTRUEv 2-3 METERING SCALE 4HIS TRUE 2-3 METER SCALE IS NOT THE SAME AS THE !%3 2-3 SCALE &OR A SINE WAVE WITH A PEAK VALUE OF D"&3 THE TRUE 2-3 METER WILL SHOW A value of D"&3 4HE SAME SINE WAVE WILL SHOW A VALUE OF D"&3 ON AN!%32-3METER0EAK2-3USESAMULTICOLORDISPLAYTOSHOWBOTH TYPES OF METERING WITH 0EAK METERING SHOWN IN GREEN AND 2-3 METERING SHOWNINBLUE 65 METERING IS PROVIDED AS AN OPTION AND THIS USES !%3 STANDARDS TO INDI CATE SIGNAL LEVELS 6ARIOUS BROADCAST METERING STANDARDS ARE ALSO PROVIDED INCLUDING ""# )%# ))A .ORDIC )%# 4YPE ) AND $). )%# 4YPE ) WHICH ALL USE 2EFERENCE #ALIBRATIONS OF D"&3 4HERE IS ALSO A METER SCALE SPECIALLY DEVELOPED FOR $IGIDESIGNS 6%.5% SYSTEMS THAT USES A 2EFERENCE #ALIBRATION of D"&3

Audio track faders 7HENYOUPLAYBACKAN!UDIOTRACKIN0RO4OOLS YOUAREREADINGAFILEFROMA DISKDRIVE)FYOUSETTHEFADERATTHEUNITYGAINPOSITION NEITHERBOOSTINGNOR CUTTINGTHESIGNALLEVEL THEMETERORMETERSONSTEREOORMULTICHANNELTRACKS SHOULD SHOW A RESPECTABLE SIGNAL LEVEL n NOT TOO LOW TO HAVE PROBLEMS WITH THE SIGNAL TO NOISE RATIO AND NOT TOO HIGH TO CAUSE CLIPPING !SSUMING THAT THEAUDIOWASRECORDEDCORRECTLY THISWILLBETHECASE )FTHEAUDIOWASRECORDEDATTOOLOWALEVEL THENYOUWILLPROBABLYHEARBACK GROUNDNOISEIFYOUBOOSTTHEFADERALOT ANDTHEREWILLBELITTLETHATYOUCAN DO ABOUT THIS WHICH IS WHY IT IS SO IMPORTANT TO GET RECORDING LEVELS RIGHT IN THE FIRST PLACE 9OU MAY FIND IT CONVENIENT TO APPLY A GAIN CHANGE USING !UDIO3UITETOBRINGUPTHELEVELOFANYTRACKSTHATARETOOLOWTOAVOIDHAVING TOUSERIDICULOUSLYLARGEBOOSTSONTHESETRACKSWITHTHEFADERS0RO4OOLS\($ FADERSWILLALLOWYOUTOBOOSTLEVELSBYUPTOD" )F THE AUDIO CLIPPED WHILE IT WAS BEING RECORDED YOU WILL PROBABLY SEE THE TRACKS RED OVERLOAD INDICATOR LIGHT UP /BVIOUSLY IF THE AUDIO IS TOO BADLY CLIPPED IT WILL BE UNUSABLE "UT IF THERE IS JUST AN OCCASIONAL OVERLOAD ESPE CIALLY IF THIS IS INAUDIBLE THE BEST WAY TO DEAL WITH THIS IS TO INSERT A 4RIM PLUG INANDDROPTHELEVELCOMINGFROMTHEAUDIOFILEONDISKBYHALFAD"ORA D" ORWHATEVERITTAKES UNTILTHECLIPINDICATORNOLONGERLIGHTS4HEN YOUCAN CONCENTRATEONMAKINGSURETHATNOADDITIONALCLIPPINGISTAKINGPLACEDUETO THEWAYYOUAREOPERATINGYOURMIXSESSIONWITHOUTYOURATTENTIONBEINGDIS TRACTEDBYTHISCLIPINDICATORLIGHTING4HISPROCEDUREDOESNOTFIXANYCLIPPED AUDIO ITJUSTHELPSTOENSURETHATYOUWONTMAKETHEPROBLEMWORSEBYADD ING FURTHER CLIPPING TO THAT AUDIO DURING YOUR MIXING SESSION )F YOU DO ADD FURTHER CLIPPING PERHAPS WHEN USING A PLUG IN YOU WILL KNOW THAT THE RED CLIPPINGINDICATORISNOWLIGHTINGUPFORAGOODREASONnTOWARNYOUTHATYOU HAVECLIPPEDTHESIGNALAGAIN

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Master Faders -ASTER &ADERS CONTROL THE OUTPUT LEVELS OF OUTPUT AND BUS PATHS 0OSTFADER INSERTSAREPROVIDED SOYOUCANALSOAPPLYEFFECTSPROCESSING ALONGWITHTHE LEVELCONTROL FORYOURMAINMIX HEADPHONE ORCUEMIXESANDFORANYSTEMS EFFECTSSENDS OROTHERSIGNALROUTINGAPPLICATIONS-ASTER&ADERSCANALSOBE USEDTOMETERABUSORHARDWAREOUTPUTTOGUARDAGAINSTCLIPPING

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5NLIKEINSERTSON!UDIOTRACKSAND!UXILIARY)NPUTS -ASTER&ADERINSERTSARE POSTFADER3OIFYOUINSERTANYPLUG INS YOUWILLAFFECTTHEPROCESSINGIFYOU ALTERTHE-ASTER&ADERLEVEL BECAUSECHANGINGTHE-ASTER&ADERLEVELWILL CHANGETHELEVELBEINGSENTTOTHEPLUG IN!LSO DONTFORGETTOCHECKTHAT THEREISNOCLIPPINGOCCURRINGINANYPLUG INSTHATYOUHAVEINSERTEDONTO THE-ASTER&ADER !LTHOUGH YOU DO NOT HAVE TO USE -ASTER &ADERS IN 0RO 4OOLS YOU SHOULD NORMALLY CHOOSE TO USE THESE TO GET THE BEST RESULTS -ASTER &ADERS DO NOT USEANY$30 SOYOUWONTSUFFERANYPERFORMANCEhHITvBYUSINGTHESE AND MOST IMPORTANTLY -ASTER &ADERS ALLOW YOU TO TRIM YOUR FINAL OUTPUT LEVEL TO AVOID CLIPPING THE $!# $IGITAL TO !NALOGUE #ONVERTER OR BIT DIGITAL OUTPUT WHEN YOUR MIXED SIGNALS LEAVE THE 0RO 4OOLS MIX ENVIRONMENT !LSO BYOBSERVINGTHE-ASTER&ADERSMETERS YOUCANSEEIFANYCLIPPINGISTAKING PLACEDUETOSUMMINGTHEINDIVIDUALCHANNELS )F CLIPPING IS TAKING PLACE WHICH WILL CAUSE THE -ASTER &ADERS RED OVERLOAD INDICATORSTOLIGHTUP YOUCOULDLOWERALLTHEINDIVIDUALCHANNELFADERSTOFIX THEPROBLEM BUTITISMUCHMORECONVENIENTTOSIMPLYLOWERTHE-ASTER&ADER ANDPLAYYOURMIXAGAINUNTILYOUARESURETHATYOUHAVECORRECTEDTHEPROB LEM4HEIMPORTANTPOINTHEREISTHATYOUWILLNOTLOSEANYQUALITYBYLOWERING THE-ASTER&ADERBYAFEWD"STOADJUSTTHEGAINATTHEOUTPUTSTAGE BECAUSE THEREISMORETHANSUFFICIENTDYNAMICRANGEAVAILABLEWITHIN0RO4OOLS\($WITH ITS BITPROCESSINGCAPABILITIES

Monitor controllers /F COURSE IF YOU KEEP LOWERING THE -ASTER &ADER YOU WILL REACH A POINT AT WHICHYOUDOAFFECTYOURMIXADVERSELY3OMEOFYOUMAYBETEMPTEDTOCON NECTTHEOUTPUTSFROMYOUR0RO4OOLSHARDWAREINTERFACEDIRECTLYTOAPAIROF POWEREDMONITORSORTOASTEREOAMPLIFIERDRIVINGAPAIROFPASSIVEMONITORS )N THIS CASE THE ONLY CONVENIENT WAY TO LOWER THE LISTENING LEVEL WOULD BE TOLOWERTHE-ASTER&ADERLEVEL"UTTHISWOULDBECRAZYBECAUSEYOUWOULD NEVER BE ABLE TO GET YOUR MIX LEVELS CORRECT IF YOU ALWAYS HAD TO LOWER THE 309


-ASTER&ADERTOMAKETHEPLAYBACKVOLUMELOWENOUGHTOAVOIDDISCOMFORT OR DEAFNESS 4HE SOLUTION HERE IS TO USE A MONITOR CONTROLLER THAT PROVIDES A VOLUME CONTROL 0OPULAR MODELS SUCH AS THE -ACKIE "IG +NOB AND SIMILAR MODELS FROM 0RE3ONUS AND 30, ARE VERY AFFORDABLE AND USUALLY INCLUDE TALK BACKANDHEADPHONEMONITORINGFEATURESASWELL

-IXINGPRECISIONAND-ASTER&ADERS 4HE 0RO 4OOLS MIXER IS DESIGNED TO ALLOW THE FADERS TO BE LOWERED IN LEVEL WITHOUTANYLOSSOFRESOLUTION.ORMALLY INA BITSYSTEM ASYOULOWERTHE FADER YOUAREUSINGLESSTHANTHEAVAILABLEBITSOFRESOLUTION(OWEVER THE 0RO4OOLSMIXERUSES$30SONTHEAUDIOCARDSTHATTEMPORARILYUSE BITCAL CULATIONSWHENMIXINGSIGNALSTOGETHER3O EVENIFYOULOWERAFADERALMOST TOTHEBOTTOMOFITSTRAVEL YOUSTILLHAVEBITSOFRESOLUTIONAVAILABLE 5SING BITS FOR THE $30 WITH BIT REGISTERS TO HOLD INTERIM CALCULATIONS PROVIDES MORE HEADROOM AND FOOTROOM THAN YOU ARE EVER LIKELY TO NEED 4HIS MEANS THAT WHEN THE INPUT SIGNALS ARE SUMMED TOGETHER ONTO THE MIX BUSIN0RO4OOLS THESESIGNALSCANNEVERCLIPnEVENWITHALLTHECHANNELFADERS set to the D"MAXIMUMGAINnBECAUSETHEREAREMORETHANENOUGHBITS ANDHEADROOMAVAILABLEINTERNALLYTOAVOIDTHIS 3IMILARTOANALOGMIXERS THE0RO4OOLSMIXERISCOMPRISEDOFINDIVIDUALINPUT CHANNELSANDASUMMINGSTAGE!TTHEINPUTSTAGE EACHCHANNELS BITWORD ISMULTIPLIEDBY BITGAINANDPANCOEFFICIENTSTOCREATEA BITRESULT4HE NEW BIT WORD CONTAINS THE ORIGINAL BITS hSHIFTEDv LOWER IN THE BIT REGISTER TO ALLOW FOR HEADROOM AND FOOTROOM BELOW UNITY GAIN ENABLING CHANNELSTOBETURNEDDOWNWITHOUTLOSINGPRECISION3PECIFICALLY ITSPOSSIBLE TO PULL ANY CHANNEL FADER DOWN TO D" AND ITS SIGNAL STILL RETAINS BITS OF PRECISION !S CHANNEL FADERS ARE PULLED DOWN THERE IS A LOSS TO THE LOWER BITS OF THE NEWLY EXTENDED BIT WORD WHICH REPRESENT SIGNALS DOWN TO about D"nBUTAFULLBITSOFPRECISIONISMAINTAINEDDOWNTOD" 4HESITUATIONATTHEOUTPUTSIDEOFTHESUMMINGMIXER WHEREAUDIOISSENTVIA ADIGITALOUTPUTORONTOTHE4$-BUSORWHENYOUSUBMIXSIGNALSTOAN!UX )NPUT IS DIFFERENT n CLIPPING CAN OCCUR HERE "UT THATS WHAT -ASTER &ADERS AREFORnTHEYALLOWYOUTOTRIMYOURFINALOUTPUTLEVELTOAVOIDCLIPPINGTHE $!#OR BITDIGITALOUTPUTWHENYOURMIXEDSIGNALSLEAVETHE0RO4OOLSMIX ENVIRONMENT4HISISANALOGOUSTOANANALOGCONSOLEMIXBUS WHEREYOUTRIM

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4HISISWHYYOUSHOULDALWAYSBEUSINGA-ASTER&ADERTOSCALETHEOUTPUT LEVELOFANYMIXSUMMINGPOINTONTOABUSOROUTPUT

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THE MASTER BUS WITH A -ASTER &ADER TO AVOID CLIPPING THE OUTPUT CIRCUITRY IN THECONSOLE &ORAFULLERDISCUSSIONOFTHESETOPICS DOWNLOADTHEh0RO4OOLS "IT-IXERv $IGIDESIGN 4ECHNICAL 7HITE 0APER BY 'ANNON +ASHIWA FROM THE $IGIDESIGN 7EB SITE 4HIS PROVIDES DETAILED INFORMATION ABOUT HOW THE 0RO 4OOLS MIXER OPERATES AND DEMONSTRATES ITS SUMMING CHARACTERISTICS EXPLAINING HOW A BIThCLEANvMIXERFUNCTIONSWITHINTHE BIT4$-ENVIRONMENT)TPROVIDES hBEHIND THE SCENESvINFORMATIONABOUTMIXINGANDSUMMINGIN0RO4OOLSAND SHEDSLIGHTONVARIOUSMYTHSABOUTMIXINGhINTHEBOXvWITH0RO4OOLSTHATWILL GIVEYOUAMUCHBETTERUNDERSTANDINGOFTHEMECHANICSOFSUMMINGSIGNALS

5SINGA-ASTER&ADERTOPREVENTCLIPPINGONABUS !-ASTER&ADERCANBEUSEDTOCONTROLTHELEVELOFTHEAUDIOONANOUTPUTOR OUTPUTS)TCANALSOBEUSEDTOCONTROLTHELEVELONABUS4HISISACTUALLYAVERY IMPORTANTAPPLICATIONOF-ASTER&ADERSTHATDESERVESTOBEMOREWIDELYUSED &OREXAMPLE ITISVERYCOMMONTOSUBMIXDRUMSONTOAN!UXILIARY)NPUTCHAN NELSOTHATYOUCANCONTROLTHEOVERALLLEVELOFTHEKITUSINGONEFADERANDSO THATYOUCANINSERTEFFECTSSUCHASCOMPRESSIONORREVERBACROSSTHEWHOLEKIT 4HE PROBLEM HERE IS THAT SOMETIMES THE COMBINED SIGNALS FROM ALL THE !UDIO

Figure 7.13 A typical SUBMIXOFDRUMTRACKS ONTOAN!UXILIARY)NPUT WITHA3ENDUSEDTOADD REVERBTOTHEWHOLEKIT .OTETHATTHECLIPLIGHTS AREREDONTHE!UXILIARY )NPUTANDONTHEREVERB 3END

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TRACKSTHATAREFEEDINGTHE!UXILIARY)NPUTCANCAUSETHELEVELONTHEBUSTOCLIP EVEN THOUGH THE LEVELS OF INDIVIDUAL !UDIO TRACKS DO NOT CLIP !LSO YOU CANT USE THE FADER ON THE !UXILIARY )NPUT OR ON A 3END FROM THIS TO PREVENT THIS CLIPPING !SYOUCANSEEINTHEACCOMPANYINGSCREENSHOT THECLIPLIGHTSAREREDONTHE !UXINPUTANDONTHE3ENDTOTHEREVERB,OWERINGTHE!UXILIARY)NPUTFADER ORLOWERINGTHE3ENDFADERWILLNOTPREVENTTHISCLIPPING ASTHESEFADERSSIM PLYCONTROLTHEAMOUNTOFTHECLIPPEDAUDIOTHATISSENTTOTHEMIXBUSAND TOTHEREVERBDEVICE)FYOUTRYDOINGTHIS THEMETERSWILLSTILLSHOWTHATTHE AUDIOONTHEBUSISCLIPPED 9OUCOULDLOWERSOME ORALLOF THEINDIVIDUALFADERSUNTILTHESUMMEDLEVEL ATTHE!UXILIARY)NPUTNOLONGERCLIPS BUTYOURUNSOMERISKOFDISTURBINGTHE BALANCETHATYOUHAVECAREFULLYSETUPBETWEENTHEINDIVIDUALTRACKS ANDTHIS ISNOTASCONVENIENTASLOWERINGONEFADER &ORTUNATELY THEREISASOLUTIONTOTHISPROBLEMnUSINGA-ASTER&ADERTOMON ITORANDCONTROLTHEBUSLEVELS3IMPLYINSERTA-ASTER&ADERANDASSIGNTHISTO THEBUSTHATYOUAREUSINGTOROUTETHE!UDIOTRACKSINTOTHE!UXILIARY)NPUTTO FORMYOURSUB GROUP

Figure 7.14 5SINGA -ASTER&ADERTOMONITOR LEVELSONTHEBUSUSED TOSUBMIXTHEDRUMS ONTOAN!UXILIARY)NPUT .OTETHATTHELEVELSON THEBUSARECLIPPED ASREVEALEDONTHE"US -ONITORMETERSANDON THE!UXILIARY)NPUTMETERS ANDTHE3ENDMETERS ,OWERINGTHE3END LEVELHASNOTPREVENTED CLIPPING ANDLOWERING THE!UXFADERLEVELWOULD NOTEITHER

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7HENEVERYOUSEETHECLIPLIGHTTURNREDONA-ASTER&ADERTHATYOUAREUSING ASA"US-ONITOR YOUCANLOWERTHELEVELOFTHE-ASTER&ADERTOREDUCETHE LEVELONTHEBUSUNTILITSTOPSCLIPPING9OUCOULDALSOINSERTACOMPRESSOROR LIMITERONTHIS-ASTER&ADERTOhTAMEvTHEPEAKSIFYOULIKE

Figure 7.15 9OUCAN LOWERTHE-ASTER&ADER USEDTOMONITORLEVELSON THEDRUMSSUBMIXBUSTO prevent clipping, as has BEENDONEHERE

)NSIDEOROUTSIDETHEBOX !BIGDECISIONFORSOMEISWHETHERTOMIXCOMPLETELYhINSIDETHEBOX vKEEP ING EVERYTHING DIGITAL INSIDE 0RO 4OOLS OR WHETHER TO MIX SOME OR ALL THE TRACKShOUTSIDETHEBOXv4HISCOULDINVOLVEUSINGASMALLEXTERNALMIXERORA SPECIALIZEDhSUMMINGMIXERvWITHORTRACKS TOTAKETHEMOSTIMPORTANT TRACKS WITH THE REST MIXED INSIDE 0RO 4OOLS OR IT COULD MEAN ROUTING ALL THE TRACKSFROM0RO4OOLSINDIVIDUALLYINTOALARGE FORMATEXTERNALCONSOLESUCHAS AN33,OR.EVE 4OP5+RECORDINGENGINEER PRODUCER*OHN,ECKIESAYSTHATHEFINDSSUMMING MIXERSUSEFULWITH0RO4OOLSRIGSTOPROVIDEHANDS ONFADERSTOALLOWTHEGUYS INTHEBANDSHEWORKSWITHTOTAKEPARTINTHEMIXINGSESSIONS(EALSOVALUES THEADDITIONALFACILITIESTHATSOMEOFTHESEUNITSPROVIDE 313


&OR ANOTHER OPINION ABOUT THIS ) ASKED 'EORGE -ASSENBURG WHO IS ONE OF THE LEADING RECORDING ENGINEER PRODUCERS IN THE 5NITED 3TATES (E TOLD ME h4HEORIGINAL$!7MIXALWAYSSOUNDSBESTTOME-IXINGINTHEBOXHASMORE DETAILANDISLESSCOLOUREDv

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&OR MORE INFORMATION AND A DISCUSSION ABOUT SUMMING MIXERS READ THE !PPENDIX4HISCONTAINSANARTICLETHAT)WROTEFOR0RO3OUND.EWS%UROPE ALLABOUTSUMMINGMIXERSCALLEDh3UMMINGTOTALKABOUTv

7.3 The Tools of the trade -IXING PRIMARILY INVOLVES ADJUSTING THE LEVELS OF THE VARIOUS INSTRUMENTS VOICES AND OTHER MIX hELEMENTSv SUCH AS SOUND EFFECTS THAT MAKE UP YOUR MIX"EYONDSIMPLELEVELCONTROL THEREAREMANYOTHERPROCESSESTHATMAYBE INVOLVED IN CREATING A FINISHED MIX 0RO 4OOLS PROVIDES YOU WITH OR LETS YOU ACCESS ALL THE TOOLS OF THE TRADE THAT YOU WILL NEED TO MAKE EVEN THE MOST COMPLEXMIXES4HESEhTOOLSvINCLUDETHEWIDESELECTIONOFSIGNALPROCESSING PLUG INSSUPPLIEDWITHYOUR0RO4OOLSSYSTEM THIRD PARTYPLUG INSTHATYOUCAN BUY ANDANYEXTERNALHARDWAREEFFECTSTHATYOUHOOKUPTOYOURSYSTEM

Level balancing )F YOU COME ACROSS OLDER BOOKS ABOUT SOUND STUDIOS OR IF YOU WORK FOR THE ""# YOUWILLHEARTHETERMhBALANCINGvUSEDTODESCRIBEWHATMOSTPEOPLE CALL hMIXINGv "ALANCING IS ACTUALLY A VERY GOOD WAY OF DESCRIBING THE MOST IMPORTANTTHINGTHATYOUWILLDOWHENYOUAREMIXINGAMULTITRACKRECORDING 4HISISTODECIDEHOWLOUDORSOFTTHEVARIOUSELEMENTSOFTHEMIXSHOULDBE WHICHYOUDOBYBALANCINGTHELEVELOFEACHINSTRUMENTORSOUNDAGAINSTTHE OTHERS MOVING EACH UP OR DOWN IN LEVEL UNTIL THE MIX SOUNDS THE WAY YOU WANTITTO

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4HE BALANCE IN LEVELS BETWEEN THE VARIOUS MIX ELEMENTS IS PROBABLY THE SINGLEMOSTIMPORTANTASPECTOFMOSTMIXES'ETTHISRIGHTANDYOUAREA LONGWAYALONGTHEPATHTOWARDAGREATMIX

/NE DECISION TO MAKE IS WHETHER TO KEEP THE LEVEL BALANCES SIMILAR TO THOSE THAT YOU WOULD EXPECT TO HEAR IN A LIVE SITUATION OR WHETHER TO BALANCE THE 314

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INSTRUMENTS IN SUCH A WAY AS TO CREATE UNIQUE PERSPECTIVES THAT WOULD NOT NORMALLYBEHEARDINLIVEPLAYINGSITUATIONS )F YOU WERE RECORDING A STRING QUARTET PLAYING CONVENTIONAL REPERTOIRE FOR EXAMPLE YOU WOULD RECORD THIS IN A SUITABLE ROOM IN A RECORDING STU DIO OR AT A LIVE VENUE IN STEREO TO CAPTURE THE OVERALL EFFECT POSSIBLY WITH INDIVIDUAL MICROPHONES ON EACH INSTRUMENT SO THAT THE BALANCE BETWEEN THESE COULD BE FINE TUNED AT THE MIXING SESSION ! JAZZ GROUP COULD BE RECORDED IN A SIMILAR WAY WITH THE AIM OF DELIVERING THE MOST REALISTIC hBELIEVABLEv SOUNDS TO THE LISTENER 4HE RECORDING ENGINEER WOULD AIM TO CAPTURE THE SOUND OF THE INSTRUMENTS ARRANGED AS THEY TYPICALLY WOULD BE ONSTAGEANDASHEARDBYAMEMBEROFTHEAUDIENCELOCATEDCENTRALLYINTHE LISTENINGAREA 7ITHMANYGENRESOFPOPULARMUSIC ONTHEOTHERHAND ITISMORELIKELYTHAT YOU WILL CREATE BALANCES BETWEEN THE INSTRUMENTS THAT YOU WOULD NOT NOR MALLYHEARWHENTHESEINSTRUMENTSPLAYTOGETHERINAROOM&OREXAMPLE YOU MIGHTHAVETHEDRUMSVERYLOUDINTHEMIXWITHABRASSSECTIONPLAYINGRIFFS MUCH MORE QUIETLY IN THE BACKGROUND /R YOU MIGHT HAVE A QUIET ACOUSTIC INSTRUMENTSUCHASTHEUKELELETURNEDUPLOUDENOUGHINTHEMIXTOBEHEARD PLAYINGASOLOABOVEAFULLELECTRICBANDWITHKEYBOARDS GUITARS BASS DRUMS AND SO FORTH ALL PLAYING AT THE SAME TIME /R MAYBE YOU COULD HAVE SOME percussion instruments such as a triangle or tambourine playing at a very LOWLEVELINTHEMIXnBUTJUSTSUFFICIENTLYLOUDTOBEHEARDANDHAVEAUSEFUL EFFECT

Panorama (Pan) positions 0OSITIONINGTHEMIXELEMENTSWITHINTHESTEREOhPANORAMAvISANOTHERIMPOR TANTPARTOFTHEhARTvOFMIXING0ANNINGISTHESUBJECTOFMUCHDEBATEAND ULTIMATELY COMES DOWN TO YOUR OWN CREATIVE CHOICES 4O CREATE A SATISFYING MIX YOURGOALSHOULDBETOARRANGETHEPOSITIONSOFTHEMIXELEMENTSWITHIN THE STEREO SOUND FIELD SUCH THAT THEY WORK WELL TOGETHER WITHOUT OBSCURING EACH OTHER )T IS ALSO A GOOD IDEA TO AIM FOR SOME KIND OF SYMMETRY SO THAT YOU DONT END UP WITH LOTS MORE GOING ON TO THE RIGHT OR TO THE LEFT 9OU MIGHT PAN ONE PERCUSSION INSTRUMENT TO THE LEFT AND ANOTHER TO THE RIGHT FOR EXAMPLE OR YOU MIGHT HAVE AN ACOUSTIC PIANO ON THE LEFT WITH ORGAN OR

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)F YOU DONT HAVE ANOTHER INSTRUMENT IN THE ARRANGEMENT THAT YOU CAN USE TO CREATE BALANCE YOU MIGHT PAN A DELAYED VERSION OF ONE OF THE MIX ELEMENTS TO THE OTHER SIDE 4HIS CAN BE VERY EFFECTIVE WITH GUITAR OR PERCUSSIONPARTS FORINSTANCE

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ELECTRICPIANOONTHERIGHT/FCOURSE THEREWILLBETIMESWHENTHEWAYTHE MUSICALARRANGEMENTDEVELOPSMEANSTHATTHISISNOTALWAYSPOSSIBLE BUTITIS GENERALLYAGOODGOALTOAIMFOR 3OME EARLY STEREO MIXES USED RADICAL PAN POSITIONS SUCH AS BASS AND DRUMS HARDLEFT KEYBOARDSANDGUITARS BRASSORPERCUSSIONHARDRIGHT ANDVOCALSIN THECENTER4HISWASSOMETIMESDUETOTECHNICALLIMITATIONSINTHEEQUIPMENT USED /N OTHER OCCASIONS THIS WAS DONE AS A RESULT OF THE CREATIVE CHOICES MADEBYTHEENGINEERSANDPRODUCERS-IXINGTHISWAYHASTHEADVANTAGEOF LEAVINGLOTSOFROOMFORTHEVOCALTOBETHEABSOLUTECENTEROFATTENTIONWITH THE OTHER INSTRUMENTS VERY MUCH IN A SUPPORTING ROLE WHICH IS IDEAL IF YOU HAVEAGREATSINGERANDAGREATSONG ) HAVE RECENTLY BEEN LISTENING TO SOME EARLY STEREO MIXES OF LATE hS POP SOULSONGSnHITRECORDSSUCHASh'OINv/UTOFMY(EADBY,ITTLE!NTHONY AND 4HE )MPERIALS AND h(EY 'IRLv BY &REDDIE 3COTT WHICH TYPICALLY MIGHT HAVETHERHYTHMSECTIONPANNEDHARDLEFT BACKINGVOCALS BRASSANDSTRINGS PANNEDHARDRIGHT ANDLEADVOCALSINTHECENTER4HISWAYOFMIXINGHADTHE ADVANTAGETHATTHELEADVOCALWASEASYTOHEARnLOUDANDCLEARANDWITHNO COMPETITIONFROMOTHERINSTRUMENTSOCCUPYINGTHISCENTRALSPACE4HISTECH NIQUE IS STILL OCCASIONALLY USED TODAY /NE EXAMPLE OF THIS IS A SONG CALLED h%MPTYv ON 2AY ,AMONTAGNES ALBUM Till the Sun Turns Black WHICH HAS DRUMS PANNED LEFT AND ACOUSTIC GUITAR PANNED RIGHT WITH THE VOCALS IN THECENTER .EVERTHELESS IT IS MUCH MORE USUAL TODAY TO HAVE THE LEAD VOCAL THE BASS GUITAR AND THE BASS DRUM ALL DEAD CENTER WITH THE SNARE SOMETIMES CENTER OR MAYBE AS WITH THE HI HAT PANNED LEFT OR RIGHT AND WITH THE KIT OVER HEADS CAPTURING A NATURAL STEREO SPREAD OF ALL THE DRUMS INCLUDING THE CYM BALS4ALKINGABOUTPANNINGTHEDRUMS YOUMAYWISHTOCONSIDERWHETHERTO PANTHESETHEWAYTHEAUDIENCEWOULDHEARTHEMORASTHEDRUMMERWOULD HEAR THEM 4HERE ARE ARGUMENTS IN FAVOR OF BOTH WAYS )F YOU PAN FROM THE AUDIENCE PERSPECTIVE THIS IS OFTEN WHAT THE AUDIENCE EXPECTS AND PROBABLY SOUNDS THE MOST NATURAL WHEREAS PANNING FROM THE DRUMMERS PERSPECTIVE LETSYOULISTENFROMTHEDRUMMERSSEATONSTAGE 'UITARSMIGHTTYPICALLYBEPANNEDHALFLEFTORRIGHT WITHKEYBOARDSSPREADA LITTLEFURTHEROUTnBUTDONTBEAFRAIDTOEXPERIMENTHERE)TCANSOMETIMESBE VERYEFFECTIVETOUSEANAUTOPANNEROR0RO4OOLSAUTOMATION TOMOVEINSTRU MENTSAROUNDASTHEMUSICPLAYSnLIKEAWANDERINGPERCUSSIONISTORACOUSTIC GUITARISTMIGHTDOONSTAGE )T IS ALSO WORTH KEEPING IN MIND WHERE THE MIXES ARE GOING TO BE PLAYED )F YOUAREAIMINGTHEMATTHEAUDIOPHILEWITHAGREATSTEREOSYSTEMLISTENINGIN THESWEETSPOT THENYOUCANMAKEGOODUSEOFEXTREMESOFPANNING/NTHE OTHERHAND IFTHEMIXESAREINTENDEDFORADANCECLUB EVENIFTHISHASSOME 316

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KINDOFSTEREOSPEAKERSYSTEMINSTALLED YOUCANTCOUNTONDANCERSBEINGIN ANYKINDOFSWEETSPOTFORTOOLONGnSOYOUSHOULDKEEPTHEIMPORTANTRHYTH MICELEMENTSOFYOURMIXMUCHCLOSERTOTHECENTER !LTHOUGH THE STEREO PANORAMA THAT YOU CAN CREATE USING JUST TWO SPEAKERS BASICALLYALLOWSYOUTOMOVEMIXELEMENTSALONGAHORIZONTALPLANERUNNING FROMFARLEFTTOFARRIGHT ITISALSOPOSSIBLETOCREATEASENSEOFDEPTH ANDEVEN OFHEIGHT USINGCAREFULCHOICESOFDELAYSANDREVERBERATION!WORDOFWARN ING HERE YOU DO NEED TO BE CAREFUL ABOUT YOUR CHOICES OF PAN POSITIONING IF YOU ARE AIMING FOR GOOD MONO COMPATIBILITY )F YOU HAVE TWO GUITAR PARTS PLAYINGINSIMILARFREQUENCYRANGES FOREXAMPLE YOUCANMAKETHESECLEARLY AUDIBLEASINDIVIDUALPARTSINASTEREOMIXBYPANNINGTHEMHARDLEFTANDHARD RIGHT5NFORTUNATELY WHENYOULISTENINMONO ITWILLOFTENBEMUCHMOREDIF FICULTTODISTINGUISHONEPARTFROMTHEOTHERASTHEYWILLBOTHBEHEARDPLAYING INTHESAMEPLACE &OREWARNEDABOUTTHISBYHAVINGCHECKEDINMONO YOUCANTRYOTHERWAYS OF DISTINGUISHING THE TWO PARTS PERHAPS BY %1 ING THE TWO PARTS DIFFERENTLY AND THEN NARROWING THE DISTANCE BETWEEN THE TWO PARTS IN THE STEREO MIX SOTHATTHEREWILLBELESSOFADIFFERENCEWHENYOUhCOLLAPSEvFROMSTEREOTO MONO BEFORECHECKINGAGAININMONOTOSEEHOWWELLTHISWORKS

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)FYOUWANTTOCREATEAMIXWITHGOODMONOCOMPATIBILITY YOUSHOULDREG ULARLYCHECKHOWTHEMIXSOUNDSINMONOANDADJUSTTHEMIXACCORDINGLY

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)F YOU PAN MIX ELEMENTS WHILE MONITORING IN MONO YOU MAY BE ABLE TO FIND AN OPTIMUM PAN POSITION FOR EACH ELEMENT IN WHICH IT SOUNDS MORE AUDIBLEWHENSUMMEDTOMONO

/FCOURSE IFYOUAREWORKINGINSURROUND YOUWILLHAVEMANYMORECHOICES WHEN IT COMES TO PANNING DEGREES AROUND THE LISTENING POSITION AND ALL POINTS WITHIN 4HIS IS WHY SURROUND MIXES CAN SOUND MUCH MORE NATURAL BECAUSEITISMUCHEASIERTOACHIEVESEPARATIONBETWEENTHEDIFFERENTINSTRU MENTSINTHEMIX %VEN WITH STEREO MANY INTERESTING SPATIAL EFFECTS CAN BE ACHIEVED USING PANNING TECHNIQUES &OR EXAMPLE !UDIO %ASE HTTPWWWAUDIOEASECOm OFFERSAPLUG INCALLED/RBITTHAT)CANRECOMMENDVERYHIGHLY 317


Panning synthesized and sampled sounds "YDEFAULT MOSTSYNTHESIZERANDSAMPLERSOUNDSARESETUPTOWORKINSTEREO PANNED HARD LEFT AND HARD RIGHT /NE THING TO WATCH OUT FOR IS THE TRAP OF INCLUDINGTHESESYNTHESIZERPARTSINSTEREOINYOURMIXnTYPICALLYWITHTHEDRY SOUNDPANNEDHARDLEFTANDACHORUSEDVERSIONPANNEDHARDRIGHT ALTHOUGH SOMETIMES THE SECOND CHANNEL CONTAINS SYNTHESIZED SOUND COMPONENTS AS WELL 9OU SHOULD ALMOST ALWAYS REDUCE THE WIDTH OF THE PANNING AND PLACE THESESOUNDSMOREAPPROPRIATELYWITHINYOURMIX"ETTERSTILL JUSTUSETHEORIG INAL SYNTHESIZED OR SAMPLED SOUND IN MONO OR STEREO WITHOUT ITS REVERB OR OTHEREFFECTSSOTHATYOUCANPOSITIONTHISEXACTLYASYOUWISHINYOURMIXAND APPLY THE HIGHER QUALITY REVERB AND OTHER EFFECTS THAT YOU HAVE AVAILABLE IN 0RO4OOLS9OURGOALSHOULDBETOFINDPANPOSITIONSFORTHESYNTHESIZEDINSTRU MENTSTHATWORKINTHECONTEXTOFYOURMIX ANDTHESOUNDDESIGNERSWHOSET THESESOUNDSUPFORYOURSYNTHESIZERORSAMPLERCOULDNOTHAVEPANNEDTHESE SUITABLYEXCEPTBYLUCKYACCIDENT3ODONTGOWITHTHEDEFAULTSnPANTHESYN THESIZERSCAREFULLYYOURSELF

Pan laws 0RO 4OOLS IN COMMON WITH $IGITAL 0ERFORMER AND SOME HARDWARE MIXER DESIGNS USES A nD" hPAN LAWv 4HIS COMPENSATES FOR THE D" BOOST THAT HAPPENS WHEN PANNING SOUNDS FROM THE EXTREMES TO THE CENTER POSITION HELPINGTOKEEPTHELEVELOFTHEPANNEDELEMENTSABOUTTHESAMEASTHEYARE MOVEDFROMTHEEXTREMESTOTHECENTERPOSITION4HESESOUNDSWILLBED" LOUDERINTHECENTERPOSITIONACCORDINGTOTHEnD"PANLAW4HISHELPSTO COMPENSATE FOR THE FACT THAT WHEN MOVED TO THE CENTER THESE SOUNDS ARE MORELIKELYTOBEMASKEDBYTHEMANYOTHERSOUNDSTHATARELIKELYTOBEPOSI TIONEDINTHECENTER

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$IFFERENTPANLAWSETTINGS SUCHASn n ORnD" AREAVAILABLEINSOME OTHER$!7ANDHARDWAREMIXERDESIGNS

Using compressors to smooth out level changes /NCE YOU HAVE PANNED YOUR MIX ELEMENTS AND ACHIEVED A ROUGH BALANCE YOUSHOULDLISTENTOTHEWHOLEPIECEOFMUSICFROMBEGINNINGTOEND)FYOU notice that any of your tracks are uneven in level throughout the piece, you CANALWAYSUSETHEVOLUMEAUTOMATIONIN0RO4OOLSTOSMOOTHOUTTHESELEVEL CHANGES /FCOURSE THISCANBECOMEAVERYTIME CONSUMINGTASKIFTHESINGER GUITAR IST BASS PLAYER OR WHOEVER IS NOT EXPERIENCED ENOUGH TO SING OR PLAY VERY 318

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EVENLYSOTHATTHEIRLEVELSARECONSTANTLYCHANGINGTHROUGHOUTTHEPIECE9OU CAN OFTEN GET QUICKER RESULTS BY USING COMPRESSION TO SMOOTH OUT THE LEVEL changes, then setting the overall level for the track using a combination of the MAKEUPGAININTHECOMPRESSORANDTHEFADERLEVELINTHEMIX *USTTOREMINDYOUHERE ACOMPRESSORREDUCESTHEHIGHESTPEAKSINTHEAUDIO MAKINGTHESOUNDMOREEVEN7HENTHEPEAKSHAVEBEENREDUCED YOUCAN THEN RAISE THE AVERAGE LEVEL OF THE AUDIO WITHOUT THE PEAKS EXCEEDING THE MAXIMUMLEVELTHATTHESYSTEMCANHANDLEWITHOUTDISTORTION

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9OUMAYNOTNEEDTOUSECOMPRESSIONONTHEBASS GUITAR DRUMS OROTHER INSTRUMENTSIFYOUARERECORDINGEXPERIENCEDSTUDIOMUSICIANS)HAVEOFTEN BEENAMAZEDATHOWEVENLYTHETOPSTUDIOMUSICIANSHEREIN,ONDONARE ABLETOPLAYnWITHWONDERFULCONTROLOVERTHEDYNAMICLEVELSTHATTHEYARE PRODUCINGFROMTHEIRINSTRUMENTS

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#OMPRESSION SHOULD ALWAYS BE APPLIED CAREFULLY IT IS ALL TOO EASY TO TAKE AWAY THE NATURAL hOPENNESSv OF A RECORDING WHEN YOU APPLY TOO MUCH COMPRESSION n hSQUEEZINGv THE hLIFEv OUT OF THE SOUND !LSO WHEN YOU HAVECHOSENTHECOMPRESSIONSETTINGSTHATYOUTHINKAREWORKINGFORYOU BE SURE TO COMPARE THE SOUND WITHOUT THE COMPRESSION AGAIN TO MAKE SURETHATYOUAREREALLYHAPPYWITHTHERESULTS

Using the gain plug-in to smooth out level changes !NOTHER WAY TO SMOOTH OUT UNWANTED LEVEL CHANGES IS TO SELECT ANY AUDIO THATISTOOLOUDANDAPPLYAGAINCHANGEUSINGTHE!UDIO3UITE'AINPLUG IN 4HISWAY YOUAVOIDALLTHEUNWANTEDSIDEEFFECTSOFCOMPRESSION SUCHASTHE hBREATHINGvEFFECTTHATYOUSOMETIMESHEARWHENTHECOMPRESSORKICKSINAND THENRELEASES)TISVERYEASYTODOTHISFORJUSTONEORTWONOTESORSOUNDSTHAT ARETOOLOUD ANDTHISCANBEAUSEFULTECHNIQUETOUSEINCOMBINATIONWITH OTHERTECHNIQUESFORSMOOTHINGOUTTHELEVELS

De-essing !NOTHERPROBLEMTHATOFTENBECOMESAPPARENTDURINGAMIXSESSIONISSIBILANCE ONTHEVOCALSTHATBECOMESEVENMORENOTICEABLEWHENYOURAISETHELEVELAND MAYBEBOOSTTHEMIDANDUPPERFREQUENCIESUSING%1TOMAKETHEWORDSEAS IER TO HEAR )N THIS CASE IT IS JUST THE SO CALLED hSIBILANT FREQUENCIESv n HIGHER

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FREQUENCIESTHATAREPROMINENTINTHESYLLABLEShSvANDhFvnTHATNEEDTOBE COMPRESSEDBECAUSETHEYARETOOLOUD 4HETRICKHEREISTOUSEAhDE ESSERv4HISISACOMPRESSORDESIGNEDSPECIFICALLY TOALLEVIATEPROBLEMSWITH3SANDOTHERSIBILANTSOUNDSBYAPPLYINGFAST ACTING COMPRESSIONJUSTTOTHESIBILANTFREQUENCIES3UCHADEVICEUSES%1FILTERSINA hSIDE CHAINvTOISOLATETHESIBILANTFREQUENCIESSOTHATTHECOMPRESSORWILLONLY AFFECTTHELEVELSOFTHEPROBLEMATICFREQUENCIES LEAVINGTHERESTUNALTERED

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!SWHENAPPLYINGLEVELCHANGESTOBALANCEOVERALLTRACKVOLUMELEVELS ITIS ALSOPOSSIBLETOAPPLYINDIVIDUALGAINCHANGESJUSTTOTHESUNGNOTESTHAT ARE SUFFERING FROM SIBILANCE PROBLEMS !LSO AGAIN YOU CAN APPLY THESE CHANGESINREAL TIMEUSING0RO4OOLSVOLUMEAUTOMATIONORASANhOFF LINEv PROCESS USING THE !UDIO3UITE 'AIN PLUG IN )F THERE ARE JUST A FEW SIBILANT NOTES THAT NEED ADJUSTING OR IF YOU HAVE A LOT OF PATIENCE THIS CAN BE A MORE EFFECTIVE TECHNIQUE TO USE THAN USING A DE ESSER WHICH IS A MORE AUTOMATICPROCESSTHATDOESNOTPAYSUCHDETAILEDINDIVIDUALATTENTIONTO EACHSIBILANTNOTE

Creating dynamics within the mix /FTEN YOUWILLREALIZETHATSOMEOFTHEMIXELEMENTSOUGHTTOGETSOFTEROR LOUDER DURING THE MIX TO CREATE AND MAINTAIN INTEREST &OR INSTANCE IF YOU HAVE A SOLO INSTRUMENT IN THE MIX SUCH AS A GUITAR PLAYER WHO IMPROVISES THROUGHOUTTHEPIECE YOUCOULDTURNTHISUPLOUDERWHEREVERNOTHINGMUCH ELSE IS HAPPENING DURING THE MUSIC AND MAKE IT QUIETER WHENEVER THERE ARE LOTSOFOTHERMIXELEMENTSVYINGFORTHELISTENERSATTENTION !LSO SOMEOFTHECONSTANTMIXELEMENTSCOULDBEMUTEDINPARTICULARSECTIONS SOTHATTHEYMAKETHESECTIONSWHERETHEYCANBEHEARDSTANDOUTBETTER3O FOREXAMPLE YOUMIGHTRECORDAGUITARORKEYBOARDPLAYINGARHYTHMICFIGURE

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$ONTHESITATETORECORDORADDNEWMATERIALDURINGTHEMIXSESSIONIFYOU FEELTHATSOMETHINGISMISSINGMUSICALLYFROMTHEARRANGEMENT7HENTHE SINGERISNOTSINGING FOREXAMPLE YOUMIGHTWANTAGUITARORSAXTOPLAY A SOLO THAT WAS NOT THOUGHT OF DURING THE TRACK LAYING SESSIONS BUT YOU NOW REALIZE THAT THIS WOULD BE THE hICING ON THE CAKEv TO COMPLETE THE RECORDING

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THROUGHOUTTHEPIECE THENTRYMUTINGTHISINTHEVERSESnJUSTUSINGITINTHE CHORUSES

Frequency balancing 9OUCANBALANCETHEFREQUENCIESINARECORDINGEITHERBYTHECHOICESTHATARE MADEINTHEMUSICALARRANGEMENTORUSINGTHETOOLSAVAILABLEINTHERECORDING EQUIPMENTTHATYOUAREUSING

Musically (AVINGDIFFERENTINSTRUMENTSPLAYINDIFFERENTFREQUENCYRANGESIE INDIFFER ENTOCTAVES USUALLYHELPSTOMAKEAMORESATISFYINGSOUNDTHANIFSEVERALARE PLAYINGINTHESAMERANGE WHERETHEYMAYCLASHWITHEACHOTHER4HISCHOICE OFWHICHINSTRUMENTPLAYSWHEREANDWHENMAYBEMADEBYTHEMUSICIANSOR BANDLEADER ORITMAYFALLTOTHESONGWRITER COMPOSER ARRANGER ORPRODUCER 9OU SHOULD ALWAYS AIM TO CREATE A GOOD FREQUENCY BALANCE IN THE MUSICAL ARRANGEMENT WHICHISWHYITCANREALLYHELPTOEMPLOYTHESERVICESOFAGOOD MUSICALARRANGERTOWORKONYOURMUSICPRODUCTIONIFYOUDONOTALREADYHAVE SOMEONEWITHTHESESKILLSINVOLVED

Technically 9OU CAN ALSO USE %1 TO ADJUST THE FREQUENCY BALANCE OF ANY OF YOUR MIX ELE MENTS SO THAT YOU CREATE A MORE BALANCED RANGE OF FREQUENCIES WITHIN YOUR MIX &OR INSTANCE ELECTRIC OR ACOUSTIC GUITARS CAN HAVE QUITE A LOT OF LOW FREQUENCYCONTENTTHATCANINTERFEREWITHTHEBASSGUITAROROTHERLOW FREQUENCY INSTRUMENTS&ILTERINGOUTTHELOWERFREQUENCIESORREDUCINGTHELEVELOFTHELOW FREQUENCYCONTENTCANMAKETHEGUITARPARTSBLENDINTOTHEMIXMUCHBETTER &OREXAMPLE )WANTEDTOBLENDINARECORDINGOFA-ARTIN($ACOUSTICGUI TAR WITH A MIX THAT ALSO CONTAINED BASS GUITAR DRUMS ELECTRIC GUITAR TENOR BANJO MANDOLINBANJO VIBES PERCUSSION ANDVOCALS)USEDTHEFOLLOWING%1 SETTINGSONTHE-ARTINGUITARTOACHIEVETHERESULT)WASSEEKING 3UBTRACTING D" AT Z TOOK SOME OF THE hMUDDINESSv AWAY FROM THEBOTTOMEND ALLOWINGTHEBASSGUITARANDBASSDRUMTOBEHEARDWITH LESSINTERFERENCEFROMTHEACOUSTICGUITARSLOWFREQUENCIES !DDING D" AT (Z GAVE THE GUITAR MORE hBODYv OR hFULLNESS v HELPINGTHESUSTAININGCHORDSTOACTASAhPADvSOUND !DDING D"ATK(ZhBRIGHTENEDUPvTHECHORDSINTHEMIDRANGE MAKINGTHETONALDETAILANDTHEPICKSTROKESMUCHEASIERTOHEAR !DDING D" AT K(Z LET THE GUITAR hCUT THROUGHv THE MIX WITH MUCHMORECLARITY

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2EMEMBER THAT THIS IS JUST AN EXAMPLE /THER THAN BY COINCIDENCE THESE SETTINGSARENOTGOINGTOWORKFORYOUBECAUSETHEGUITARWILLBEDIFFERENT THE PLAYERANDPICKWILLBEDIFFERENT THEMICROPHONEANDPREAMPLIFIERWILLPROB ABLYBEDIFFERENT THEROOMWILLBEDIFFERENT THEOTHERINSTRUMENTSINTHEMIX WILLBEDIFFERENT ANDSOFORTH3O YOUWILLALWAYSHAVETOFINDYOUROWNSET TINGSBYTRIALANDERRORnALTHOUGHYOUCOULDALWAYSTRYTHEABOVESETTINGSASA STARTINGPOINTANDYOUJUSTMIGHTGETLUCKY /NE WAY TO LOOK AT %1 IS TO REGARD THE BOOSTCUT CONTROLS FOR THE VARIOUS FREQUENCYBANDSSIMPLYASVOLUMECONTROLSFORTHOSEBANDSnWHICHIS ESSEN TIALLY WHAT THEY ARE 7HEN YOU THINK OF %1 THIS WAY IT IS EASY TO SEE THAT LOWERINGTHEVOLUMEOFPARTICULARFREQUENCYBANDSALLOWSTHOSETHATARENOT CUTTOSTANDOUTMOREPROMINENTLY3O INSTEADOFBOOSTINGTHEMIDRANGE YOU COULD SIMPLY CUT THE HIGHS AND LOWS AND THE MIDRANGE WILL BE EMPHASIZED #ONVERSELY IF YOU WANT TO EMPHASIZE THE HIGHS AND LOWS YOU CAN CUT THE MIDRANGE4HISAPPROACHALSOHELPSTOAVOIDCAUSINGCLIPPING WHICHCANHAP PENWHENYOURAISELEVELS

Reverb 2EVERBERATIONOCCURSNATURALLYINROOMS HALLS ANDMOSTOTHERACOUSTICSPACES ANDISCOMPOSEDOFMYRIADSOFREFLECTEDSOUNDSBOUNCINGAROUNDTHEACOUS TICSPACE REFLECTEDBYWALLS FLOORS CEILINGS ANDANYOTHERHARD REFLECTIVESUR FACES SUCHASGLASSWINDOWSORSCREENSWITHINTHESPACE3OUNDISABSORBED BY SOFT FURNISHINGS CURTAINS CARPETS HUMAN BODIES AND SO FORTH SO IN REAL ROOMS THE REVERBERATION WILL CHANGE ACCORDING TO HOW MANY PEOPLE ARE PRESENT AND EVEN WHETHER THE CURTAINS ARE DRAWN OR NOT (ARDER SURFACES REFLECT SOUND AND IF THERE ARE MANY SMALL SURFACES THAT REFLECT THE SOUND IN DIFFERENT DIRECTIONS THESE WILL MAKE THE REVERBERANT SOUNDS MORE DIFFUSE 4O MAKE A SMALL ROOM SOUND LARGER THAN IT IS IT IS A GOOD IDEA TO USE SPECIAL DIFFUSERS )N CLASSICAL ORCHESTRAL AND SOME JAZZ AND OTHER RECORDINGS THE GOAL IS TO CAPTURE THE NATURAL REVERBERATION OF THE ROOM ALONG WITH THE SOUND OF THE INSTRUMENTS 3O CALLED hAMBIENCEv MICROPHONES CAN BE PLACED WHEREVER IS APPROPRIATEINTHEROOMTOCAPTURETHISSOUNDANDBLENDITINWITHTHEMIX !RTIFICIAL REVERBERATION IS OFTEN ADDED TO RECORDINGS TO ENHANCE THE NATURAL REVERBERATION THAT ALREADY EXISTS OR TO CREATE REVERBERATION AROUND DIRECTLY

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/NAVOCAL YOUMIGHTUSEALONGPREDELAYSETTINGWITHTHEREVERBSOTHAT THE WORDS RETAIN LOTS OF PUNCH AND AUDIBILITY WHILE GAPS BETWEEN WORDS AREENHANCEDBYTHESOUNDOFTHEREVERBKICKINGIN

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INJECTEDELECTRICORELECTRONICINSTRUMENTSSUCHASGUITARSORELECTRICPIANOS OR AROUNDSYNTHESIZEDORSAMPLEDSOUNDS -Y FIRST CHOICE OF REVERB FOR 0RO 4OOLS\($ SYSTEMS HAS TO BE !LTIVERB FROM !UDIO%ASE4HISISACONVOLUTIONREVERBTHATHASTHELARGESTSETOFHIGHQUALITY IMPULSERESPONSES TAKENFROMMANYOFTHEWORLDSFINESTROOMS HALLS CHAM BERS STUDIOS AND SO FORTH GIVING YOU ACCESS TO SOME OF THE BEST ACOUSTIC SPACESFROMAROUNDTHEWORLD)ALWAYSUSETHISASMYPRIMARYREVERB)HAVE COMPARED ALL THE OTHER REVERB PLUG INS FOR 0RO 4OOLS SYSTEMS AND !LTIVERB IS WAYAHEADOFEVERYTHINGELSE)TWASTHEFIRSTCONVOLUTIONREVERBAVAILABLEFOR 0RO 4OOLS SYSTEMS AND HAS REACHED A STAGE OF DEVELOPMENT THAT NONE OF ITS COMPETITORSHAVEBEENABLETOMATCH

Delay effects $ELAYS CAN BE USED TO PRODUCE OBVIOUS EFFECTS SUCH AS ECHOES PLUS MANY OTHEREFFECTS&OREXAMPLE YOUCANCREATEASTEREOIMAGEFROMAMONOSOUND SOURCE USING A SHORT DELAY AND SET THE WIDTH OF THIS IMAGE BY PANNING THE DELAYED SOUND AWAY FROM THE SOURCE SOUND TO CREATE THE REQUIRED DISTANCE BETWEENTHEM)FTHEDELAYISSHORTENOUGH THETWOSOUNDSWILLBEHEARDAS ONESOUNDWITHAWIDERIMAGETHANTHEORIGINALSOURCE /NEOFMYFAVORITEDELAYEFFECTSFOR0RO4OOLSISTHE,INE%CHO&ARMPLUG IN THATSIMULATESCLASSICDELAYUNITSSUCHASTHE-AESTRO%CHOPLEXnGREATFORGUI TARS KEYBOARDS TRUMPET ANDOTHERINSTRUMENTS &ORLEAD VOCALS ) RECOMMEND 3OUND 4OYS %CHO "OY 4HIS GIVES YOU A WARM HIGH ENDTAPEECHOSIMULATION MODELEDAFTERTHE!MPEX!42 ANDEMU LATES DIFFERENT ECHO STYLES INCLUDING THE 2OLAND 3PACE %CHO AND POPULAR EFFECTShPEDALSvSUCHASTHE-EMORY-ANANDTHE$- /NETHINGTOWATCHOUTFORHEREISTHATIFTHEMIXISSUMMEDTOMONOFORPLAYBACK ONANOLDRADIOOR46ORWHATEVER THEIMAGEWIDENINGEFFECT OFCOURSE DISAP PEARS3O IFYOUHAVEBEENRELYINGONHAVINGPARTICULARINSTRUMENTSWIDELYPANNED TOPREVENTTHEMFROMOBSCURINGOTHERELEMENTSWITHINTHEMIX THENWHENYOU SUMTOMONOYOURMIXMAYSUFFERBADLYASARESULT4OCOUNTERACTTHISTENDENCY MAKESURETHATYOUDONTPANTHEMIXELEMENTSTOOWIDELY/BVIOUSLY THECLOSER YOUPANMIXELEMENTSTOTHECENTER THEBETTERTHETRANSFERTOMONOWILLBE

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9OU SHOULD NEVER BE AFRAID TO GET RID OF THINGS THAT CLASH IN THE MIX n RECORDING OR ADDING NEW MATERIAL INSTEAD IF NECESSARY !LSO ULTIMATELY YOU SHOULD CONSIDER A COMPLETE RERECORDING OF THE MUSIC WITH A NEW ARRANGEMENTIFTHEMIXJUSTWONTSEEMTOWORKATALL

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Noise reduction 3OMETIMES WHENYOUBRINGTHELEVELOFAPARTICULARTRACKUPASLOUDASYOU WANTITTOBEINYOURMIX YOUWILLHEARSOMEBACKGROUNDHISSFROMAGUITAR AMPLIFIER FOR EXAMPLE THAT YOU DEFINITELY DONT WANT TO HEAR 4HIS IS WHERE YOU MIGHT WANT TO USE NOISE REDUCTION SOFTWARE OR HARDWARE TO GET RID OF THEHISSOROTHERNOISES ) OFTEN RECORD A 7URLITZER ELECTRIC PIANO THAT HAS A VERY NOISY PREAMPLI FIER4HISPRODUCESLOTSOFHISS AND CYCLES MAINS HUM THAT CAN OFTEN BE VERY INTRUSIVE ESPECIALLY ON QUIET PASSAGES SO ) OFTEN FIND MYSELF DENOIS ING 7URLITZER TRACKS ) PERSONALLY RECOMMEND THE 3ONIC .O.OISE DENOIS ING 4$- PLUG INS THAT ARE DISTRIBUTED BY $IGIDESIGN FOR USE WITH 04\($ SYSTEMS

Noise gates and expanders !NEXPANDEREXPANDSDYNAMICRANGERATHERTHANCOMPRESSINGIT SOEXPANDERS CANBEUSEDTOREDUCESIGNALLEVELSWHENTHEINPUTSIGNALFALLSBELOWTHESELECTED THRESHOLD n MAKING THE DIFFERENCE BETWEEN SOFTEST AND LOUDEST SIGNALS GREATER 4HISISCALLEDhDOWNWARDEXPANSIONvANDISJUSTWHATYOUNEEDTOPREVENTANY LOW LEVELNOISETHATOCCURSBETWEENhWANTEDvAUDIOWITHLEVELSABOVETHETHRESH OLD FROMBEINGHEARD4HISISWHYANEXPANDERCANBEUSEDASASO CALLEDhNOISE GATEv7HENTHEINPUTSIGNALFALLSBELOWTHETHRESHOLD THEEXPANDERMAKESTHE QUIETSOUNDSSOQUIETTHATTHEYCANNOTBEHEARD THATIS THEGATECLOSES7HEN THEAUDIOINPUTSIGNALRISESABOVETHETHRESHOLDAGAIN THEGATEOPENS

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%XPANDERS CAN ALSO BE USED TO INCREASE LOW SIGNAL LEVELS WHEN THE INPUT SIGNAL FALLS BELOW A SELECTED THRESHOLD 4HIS IS KNOWN AS hUPWARD EXPAN SIONv AND CAN BE USED TO BRING OUT QUIETER DETAILS IN A TRACK WITHOUT INCREASINGTHESIGNALLEVELSOFTHEOTHERLOUDER PARTS

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) FIND MYSELF HARDLY EVER USING NOISE GATES WITHIN 0RO 4OOLS BECAUSE IT IS SO EASY TO DEFINE A hSILENCEv THRESHOLD AND STRIP OUT ANY AUDIO THAT FALLS BELOWTHISTHRESHOLD$OINGITTHISWAYAVOIDSANYPOSSIBILITYOFFALSETRIG GERINGWHEREANUNWANTEDSOUNDJUSTABOVETHETHRESHOLDOPENSTHEGATE /F COURSE YOU STILL HAVE TO LISTEN AND CHECK CAREFULLY TO MAKE SURE THAT WHATYOUHAVEDEFINEDASSILENCEHASSTRIPPEDOUTEVERYTHINGYOUWANTTO REMOVECORRECTLY

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Pitch and time correction and manipulation )F THE VOCALS OR ANY INSTRUMENT THAT IS PLAYING SINGLE NOTES AS OPPOSED TO DOUBLE NOTES OR CHORDS ARE OUT OF TUNE THERE ARE LOTS OF SOFTWARE TOOLS AVAILABLE TO CORRECT THESE 3OUND 4OYS OFFERS THE FAIRLY BASIC BUT USEABLE 0ITCH$OCTORPLUG IN WHICHOFFERSBOTHAUTOMATICANDMANUALPITCHCORREC TION !UTO 4UNE IS THE BEST KNOWN PITCH CORRECTION SOFTWARE FOR 0RO 4OOLS 4HISHASANAUTOMATICCORRECTIONMODETHATISVERYEASYTOUSEANDAMAN UAL GRAPHICAL MODE THAT IS MORE ADVANCED COMPARED FOR EXAMPLE WITH 0ITCH$OCTOR !UTO 4UNEITSELFISNOWBEINGRIVALEDBY-ELODYNE WHICHHASAMORECOMPRE HENSIVE FEATURE SET THAN !UTO 4UNE AND CAN HANDLE MULTIPLE TRACKS OF AUDIO -ELODYNESNEW$IRECT.OTE!CCESSTECHNOLOGYWILLEVENALLOWYOUTOACCESS INDIVIDUALNOTESINCHORDSANDPOLYPHONICAUDIOnLETTINGYOUSEETHEM GRAB THEM ANDEDITTHEM

(ARMONYPROCESSING 4HEREARESEVERALPLUG INSAVAILABLEFROM3OUND4OYS 4#%LECTRONIC ANDOTH ERS THAT WILL LET YOU CREATE HARMONIES FROM A SINGLE VOICE ) CAN PARTICULARLY RECOMMENDTHE!NTARES(ARMONY%NGINE4HISLETSYOUPRODUCEVERYREALISTIC HARMONIES n YOU CAN EVEN VARY THE hTHROAT LENGTHv n AND CAN ALSO PRODUCE STUNNINGARTIFICIALEFFECTS4HISISPARTOF!NTARES!6/86OCAL4OOLKIT WHICH INCLUDESVOCALPROCESSORSTHATWILLLETYOUCREATEJUSTABOUTANYEFFECTYOU COULDWISHFORFROMYOURVOCALTRACKS 4#%LECTRONICOFFERSITS(ELICONVOICEPROCESSOR WHICHINCORPORATESCOMPRES SION %1 VOICE MODELING AND HARMONY PROCESSING PLUS EFFECTS LIKE CHORUS DELAY AND REVERB )TS VOICE MODELING TECHNIQUES ALLOW CHANGES TO BE MADE TO VIBRATOS OR TO GLOTTAL ATTRIBUTES SUCH AS BREATHINESS RASP OR GROWL AND CHANGES TO FORMANTS WARPING OR GENDER BENDING THAT CAN MAKE A MALE VOICE SOUND FEMALE ,IKE THE !NTARES PLUG IN (ELICONS HARMONY PROCESSING ALSOALLOWSMULTIPLEHARMONIESTOBECREATED WITHPITCHSHIFTSTOCREATECHORAL EFFECTS 4HEORIGINAL%VENTIDE(ARMONIZERISALSOAVAILABLEASA4$-PLUG IN4HISLETS YOU CREATE A DELAYED AND PITCH SHIFTED COPY OF THE INPUT SIGNAL SO YOU CAN hBROADENv THE SOUND OF INSTRUMENTS SUCH AS THE &ENDER 2HODES USING SMALL AMOUNTSOFPITCH SHIFTINGANDSHORTDELAYSORCREATEMORERADICALEFFECTSUSING GREATERPITCHSHIFTSANDTIMEDELAYSTHATWILLBEHEARDASSEPARATEHARMONIES TOTHEORIGINAL 3O WHETHERYOUNEEDTO CORRECT OR CHANGE THE PITCH OF SOUNDS OR WHETHER YOUAREMOREINTERESTEDINCREATINGSPECIALEFFECTS 0RO4OOLSEITHERPROVIDESOR LETSYOUACCESSAWIDERANGEOFTOOLSTHATYOUCANUSE

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"ASICPITCHSHIFTING 0RO4OOLSDOESPROVIDEAPAIROF$IGI2ACKPLUG INS 0ITCH3HIFT AND4IME3HIFT WHICH LET WILL YOU SELECT AN AUDIO FILE OR REGION AND CHANGE ITS PITCH OR ITS LENGTH OR CHANGE THE TEMPO &OR EXAMPLE THE GUITARIST MIGHT HAVE PLAYED JUSTONEWRONGNOTE SAY ASEMITONELOWERTHANTHECORRECTNOTE5SINGAPITCH SHIFTER YOUCANSELECTJUSTTHISONENOTEANDMOVEITTOTHECORRECTPITCHWITH OUTHAVINGTOTROUBLETHEGUITARISTTOCOMEBACKANDCORRECTTHISORMAYBETHE MANDOLINPLAYERPLAYEDANEXTRANOTEINBETWEENTWOIMPORTANTMELODYNOTES AND YOU HAVE EDITED OUT THE UNWANTED NOTE BUT THE FIRST NOTE NOW DOESNT SUSTAINASLONGASITOUGHTTO*USTSELECTTHESUSTAINPORTIONOFTHISNOTEAND TIME STRETCHITTOFILLTHEGAPFROMWHICHTHEUNWANTEDNOTEWASREMOVED &OR SMALL SHIFTS OF JUST A FEW SEMITONES OR BEATS PER MINUTE THE STANDARD $IGI2ACKNONREAL TIME!UDIO3UITEPLUG INSWORKWELLENOUGH&ORLARGERSHIFTS YOUWILLGETBETTERRESULTSWITHTHIRD PARTYPLUG INSSUCHAS3ERATOS0ITCHhNv 4IME0ITCHhNv4IMELETSYOUALTERPITCHANDTEMPOGRAPHICALLYORNUMERICALLY AND HAS A 6ARISPEED -ODE WHERE ALTERING THE TEMPO ALSO ALTERS THE PITCH $IGIDESIGN CURRENTLY OFFERS THE HIGHEST QUALITY PITCH AND TIME SHIFTING ALGO RITHMS IN ITS 8 &ORM PLUG IN WHICH LETS YOU ALTER AUDIO FILES BY EVEN LARGER PERCENTAGESWITHEVENFEWERUNDESIRABLEARTIFACTS

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0RO4OOLS($ALSOINCLUDESAREAL TIME4$-PLUG INCALLED0ITCH WHICHCAN BEVERYUSEFULFORCREATINGSPECIALEFFECTS

Other effects 4HEREARETIMESWHENYOUWILLWANTTOUSEEFFECTSSUCHASVOCODERSOROTHER UNUSUAL EFFECTS PROCESSORS SUCH AS THE !PHEX !URAL %XCITER AND "IG "OTTOM ALLOFWHICHAREAVAILABLEAS0RO4OOLSPLUG INS)NCASEYOUWEREWONDERING THE!URAL%XCITERPROCESSESAUDIOTORECREATEANDRESTOREMISSINGHARMONICSTO REVIVETHENATURALBRIGHTNESS CLARITY PRESENCE ANDINTELLIGIBILITYOFANORIGINAL PERFORMANCEORTOENHANCETHESOUNDOFANYRECORDEDAUDIO"IG"OTTOMLETS YOUCREATESTRONGER MOREPOWERFULBASSSOUNDSWITHMOREBASSDENSITYAND SUSTAIN USINGADYNAMIC%1INGPROCESS /RYOUMIGHTLIKETOWORKWITHAMULTIEFFECTSPROCESSOR WHICH ASTHENAME SUGGESTS INCLUDE LOTS OF DIFFERENT EFFECTS %ARLY EXAMPLES OF THESE WOULD INCLUDE 9AMAHAS 308 AND %VENTIDES ( WHICH INCLUDED REVERBS DELAYS TREMOLO CHORUS FLANGE AND SO FORTH 4HE %VENTIDE ( &ACTORY MULTIEFFECTSPROCESSOR ALSO AVAILABLE AS A PLUG IN FEATURES THE MOST COMPRE HENSIVE SET OF MODULATION EFFECTS THAT ) HAVE COME ACROSS /NE OF THE MOST 326

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USEFULMULTIEFFECTSPROCESSORSTHAT)HAVESEENALSOCOMESFROM%VENTIDETHE 5LTRA #HANNELINCORPORATESTHREEDYNAMICSPROCESSORSANDA BANDPARAMET RIC%1 ALONGWITH3TEREO$ELAYSAND-ICRO0ITCH3HIFT 3OUND 4OYS 0HASE -ISTRESS AND &ILTER &REAK PLUG INS PROVIDE TEMPO SYNCHRO NIZEDMODULATIONEFFECTSWITHLOTSOFGREATPRESETSFOR RESPECTIVELY PHASEAND FILTEREFFECTS -Y FAVORITE MULTIEFFECTS PROCESSOR HAS TO BE 3OUND 4OYS #RYSTALLIZER !S IT SAYSONTHE7EBSITE h)NSPIREDBYTHE#RYSTAL%CHOESPRESETINTHE%VENTIDE ( #RYSTALLIZER COMBINES GRANULAR REVERSE ECHO SLICING AND RETRO PITCH PROCESSING TO CREATE A HUGE RANGE OF RADICAL SONIC MANIPULATIONS AND CLASSICS WITH A TWIST 5SE IT TO CREATE SYNTH LIKE TEXTURES FROM SIMPLE ACOUSTIC GUITAR RHYTHMS LUSH DETUNED ECHOES OR COMPLETELY PSYCHEDELIC PITCH SHIFTED REVERSE ECHO EFFECTS 'REAT FOR DRUMS GUITAR BASS SOUND DESIGN ELECTRONIC MUSIC AND JUST ABOUT ANYTHING ELSE n #RYSTALLIZER IS A TRULYUNIQUEANDCREATIVEEFFECTSPROCESSORv!NDTHESEARENOTIDLECLAIMSn #RYSTALLIZERREALLYISEXCELLENT

Reamping and amplifier simulators )F YOU HAVE THE EQUIPMENT AVAILABLE AND HAVE THE TIME AND ENERGY FOR THIS YOUCANALWAYSROUTEYOURGUITARORANYOTHER TRACKOUTFROMYOUR0RO4OOLS INTERFACEINTOAREALGUITARAMPLIFIERINYOURSTUDIO PUTAMICROPHONEINFRONT OF ITS LOUDSPEAKER CABINET AND RECORD THIS BACK INTO 0RO 4OOLS 4HIS IS CALLED hREAMPINGv FOR OBVIOUS REASONS 9OU CAN EVEN hGO NUTSv AND HIRE IN LOTS OF vTASTYv VINTAGE GEAR FOR THE SESSION WHICH COSTS A LOT LESS THAN OWNING ALL THE GEAR "UT THIS CAN STILL BE AN EXPENSIVE BUSINESS BOTH IN THE STUDIO TIME NEEDEDANDTHECOSTSOFHIRINGINTHEGEAR 0LUG INS SUCH AS ,INE h!MP &ARMv SIMULATE AMPLIFIERS AND LOUDSPEAKER CABINETS VERY EFFECTIVELY AND HAVE LOTS OF PRESETS COVERING MOST POPULAR COMBINATIONSnANDWONTCOSTYOUAFORTUNE-OREADVANCEDPLUG INSSUCHAS )+ -ULTIMEDIA h!MPLITUBEv OR .ATIVE )NSTRUMENTS h'UITAR 2IGv ALSO SIMULATE MICROPHONES BOARDSFULLOFFOOT OPERATEDEFFECTS ANDEVENRACKSFULLOFSTUDIO EFFECTS 4# %LECTRONIC OFFERS ITS 3OFTUBE 6INTAGE !MP 2OOM WHICH FAITHFULLY RECREATESJUSTTHREEGREATGUITARAMPSINACOMPLETESTUDIOSET UPWITHSPEAKER CABINETSANDFULLYFLEXIBLEMICROPHONEPOSITIONING6INTAGE!MP2OOMHASNO EXTRA GADGETS OR WEIRD SOUNDING PRESETS n IT JUST ACCURATELY SIMULATES CLASSIC &ENDER -ARSHALL AND6OXSETUPS 4HE LATEST hKID ON THE BLOCKv IS $IGIDESIGNS OWN REAMPING TOOL CALLED h%LEVENv 4HIS IS AVAILABLE AS A 4$- 24!3 !UDIO3UITE VERSION FOR ($ !CCEL SYSTEMS OR AS AN 24!3 AND !UDIO3UITE VERSION FOR ,% SYSTEMS %LEVEN HAS A GREATSELECTIONOF&ENDER 6OX -ARSHALL 3OLDANO AND-ESA"OOGIEAMPMOD ELSPLUSCONVOLUTION BASEDSPEAKERCOMBINATIONSANDMICMODELING

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!LLTHESEPLUG INSAREGREATFORREAMPINGELECTRICGUITARS BASSES ORKEYBOARDS SOTHATYOUCANCHANGETHESOUNDOFTHESEDURINGYOURMIXSESSION9OUCAN SIMPLY DIRECT INJECT YOUR ELECTRIC INSTRUMENTS INTO 0RO 4OOLS WHILE RECORDING THENBUILDTHESOUNDYOUWANTFORYOURMIXATYOURLEISURELATER

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9OU CAN ALWAYS CHANGE THE SOUND OF AN INSTRUMENT THAT WAS PREVIOUSLY RECORDED THROUGH AN AMPLIFIER OR EFFECTS BUT IT WORKS BEST IF YOU HAVE RECORDED A RELATIVELY CLEAN SOUND WITH MINIMAL EFFECTS IF YOU WANT TO GET THEBESTRESULTSWHENREAMPINGANDADDINGNEWEFFECTS )TISALWAYSBETTERIFTHEGUITARPLAYERPLAYSTHROUGHTHEAMPTHATWILLBEUSED FOR THE TRACK SO THAT HE OR SHE CAN RESPOND AS A PLAYER TO THE SOUND OF THE AMP )F IT IS A CLEAN SOUND THE PLAYER WILL USUALLY ADJUST HIS OR HER PLAYING ACCORDINGTOTHESOUNDSHEORSHEISHEARINGFROMTHEAMP7ITHADISTORTED SOUND THE PLAYER USUALLY PLAYS DIFFERENTLY n MAYBE HITTING MORE HARMONICS WITH THE PICK OR HOLDING THE NOTES LONGER BECAUSE THEY SUSTAIN LONGER WITH THEDISTORTEDSOUNDONTHEAMP!LSO THEWAYTHEPLAYERDIGSINTOTHESTRINGS WITHTHEPICKHASABIGEFFECTONTHEWAYTHEAMPRESPONDS)FTHEPLAYERUSES THUMBORFINGERS THESOUNDCHANGESAGAIN WITHTHEAMPRESPONDINGDIFFER ENTLYTOTHEWAYTHESTRINGSAREDRIVINGTHEINPUT

0ETERSON3TROBO3TOMP0EDAL )F THE GUITARIST IS USING AN AMP ON THE SESSION YOU CAN ALWAYS SET UP YOUR MICROPHONES AND RECORD THIS AS USUAL WHILE ALSO RECORDING A $) FEED INTO ANOTHER0RO4OOLSTRACKTOALLOWYOUMOREFLEXIBILITYTOREAMPTHESOUNDLATER 4HEREARELOTSOF$)BOXESAVAILABLETHATHAVETWOOUTPUTS ONETOFEEDTOTHE RECORDERANDONETOFEEDTOAGUITARAMPLIFIER&OREXAMPLE )USEA0ETERSON 3TROBO3TOMPACTIVE$)THATINCORPORATESAHANDYSTROBETUNERASWELL The StroboStomp, available from HTTPWWWPETERSONTUNERSCOm HASARUGGED 0$44HREE0OLE $OUBLE4HROWSWITCH STOMPSWITCHTHATTOTALLYBYPASSESTHE ELECTRONICS WHICHALLOWSTHEPLAYERTOMUTEBOTHREGULARAND$)OUTPUTSTOALLOW SILENT TUNING 4HE TUNER OFFERS EXTREMELY HIGH CENT ACCURACY ALONG WITH DROP AND CAPO TUNING TRANSPOSITIONS AND OPEN STRING "UZZ &EITEN SETTINGS FOR GUITAR BASS AND STRING

StroboSoft tuner 0ETERSONALSOOFFERSTUNERSOFTWARECALLED3TROBO3OFTFOR-ACAND0#4HISISA STAND ALONEAPPLICATION SOTOUSEITIN0RO4OOLS YOUNEEDTOINSTALLASOFTWARE PLUG IN CALLED S,).+ THAT LETS 3TROBO3OFT ACCESS AUDIO FROM YOUR $!7 4HE 328

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S,).+PLUG INISSUPPLIEDIN!UDIO5NITSAND634FORMATSBUTCANBEUSEDWITH 0RO4OOLSIFYOUUSEA6346IRTUAL3TUDIO4ECHNOLOGY TO24!3!DAPTORSUCHAS the one available from HTTPWWWFXPANSIONCOm3TROBO3OFTISSIMPLETOUSE IN ITS CHROMATIC TUNE MODE AND ALSO HAS AN EXCLUSIVE INSTRUMENT MODE THAT ALLOWSYOUTODEFINEYOURINSTRUMENTTO3TROBO3OFTANDSTORETHOSESETTINGSIN PRESETSTOBEQUICKLYRECALLEDATANYTIME

Figure 7.16 StroboSoft TUNERPLUG IN

4OUSE3TROBO3OFTWITH0RO4OOLS INSERTTHES,).+PLUG INONAN!UDIOTRACK ANDENABLETHE4RACK)NPUTMONITORBUTTONSOTHATTHEINPUTTOTHETRACKWILL BE ROUTED THROUGH THE S,).+ PLUG IN INTO THE 3TROBO3OFT APPLICATION THEN PLACETHE3TROBO3OFTAPPLICATIONINFRONTOFYOUR0RO4OOLSWINDOWSWHILEYOU TUNEYOURINSTRUMENT

Figure 7.17 StroboSoft S,).+INSERTEDONAN !UDIOTRACK WITH)NPUT MONITORING ENABLEDAND RECORD ENABLED

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4HE-ILLENNIA4$ 4WIN$IRECT2ECORDING#HANNEL -ILLENNIA-USIC-EDIA3YSTEMSMAKESANEXTREMELYVERSATILEMICPRE$) BOX THE4$ 4WIN$IRECT2ECORDING#HANNEL THATHASLOTSOFSPECIALFEA TURESTOFACILITATEREAMPING4HISBOXINCLUDES-ILLENNIASHIGHLYRATED(6 MICPREALONGWITH%1 )NSTRUMENT$) ANDh3PEAKER3OAK vAND2EAMPING FEATURES 4HE 3PEAKER 3OAK INPUT ALLOWS A GUITAR OR BASS PLAYER TO RUN A GUITARORBASSAMPLIFIERSPOWEROUTPUTDIRECTLYINTOTHE4$ TOCAPTUREALL THE CHARACTER OF THE POWER AMPLIFIER UNDER COMPLEX LOUDSPEAKER LOADING 4HE (6 SOLID STATE MICROPHONE PREAMPLIFIER IS REGARDED AS A WORLD CLASS STANDARD FOR RECORDING ACOUSTIC MUSIC AND COMPARES VERY FAVORABLY WITH OTHER HIGH QUALITY MICROPHONE PREAMPLIFIERS FROM '-, ,ABS AND 'RACE $ESIGN 4HE 4$ OFFERS 4WIN 4OPOLOGY SELECTABLE TUBE AND SOLID STATE )NSTRUMENT INPUT STAGES THAT CAN BE SWITCHED BETWEEN A CIRCUIT THAT USES A !4 VAC UUMTUBEANDACOMPLETELYSEPARATECIRCUITTHATUSESDISCRETE*UNCTION&IELD %FFECT 4RANSISTOR TRANSISTORS 4HE USER MAY SELECT LOW MEDIUM OR HIGH INPUT IMPEDANCE WITH EITHER OF THESE CIRCUIT TOPOLOGIES 4HE v JACK )NSTRUMENT INPUTONTHEFRONTPANELWILLACCEPTVIRTUALLYANY$)INPUTSIGNALFROMVERYLOW OUTPUTSOURCESUPTOHIGHOUTPUTSOURCESOFGREATERTHANVOLTS2-3 AND THE 4$ HAS TWO BANDS OF PARAMETRIC %1 THAT ARE IDEAL FOR USE WITH INSTRU MENTSSUCHASGUITAR BASS ORKEYBOARDS

Speaker Soak using the TD-1 4HE4$ S)NSTRUMENTINPUTWILLALSOACCEPTADIRECTFEEDFROMAPOWERAMPLI FIER SUCH AS THE OUTPUT FROM A GUITAR COMBO AMPLIFIERS SPEAKER FEED ! h$) 3PEAKER3OAKvINPUTSWITCHISPROVIDEDONTHEFRONTPANELTOSWITCHBETWEEN THESETWOINPUTTYPES)N3PEAKER3OAKCONFIGURATION YOUCANTAKEAPARALLEL FEEDFROMYOURGUITARAMPLIFIERSPOWERAMPLIFIER ORFROMTHESPEAKERCABINET ANDROUTETHISDIRECTLYINTOTHE4$ 4HEPOWERAMPLIFIERALSOFEEDSTHESPEAK ERSINTHENORMALWAY SOTHEOUTPUTBEHAVESEXACTLYASYOUWOULDEXPECT )FYOUREALLYWANTFLEXIBILITYINYOURCHOICEOFSOUNDS YOUCANALSORECORDTHE SOUND FROM THE SPEAKERS AT THE SAME TIME ALTHOUGH YOU WILL NEED ANOTHER MIC PRE AND A SUITABLE MICROPHONE OR MULTIPLE MICROPHONES AND PREAM PLIFIERS IF YOU REALLY WANT TO hGET FANCYv ) OFTEN RECORD MY &ENDER "ASSMAN SPEAKERS IN STEREO USING A PAIR OF "EYER -- MICROPHONES IN A MID SIDESTEREOCONFIGURATION FOREXAMPLE ORYOUMIGHTUSEA3HURE3-CLOSE TO THE SPEAKER CABINET AND AN !%! 2 OR A 2OYER RIBBON MICROPHONE FURTHERAWAYFROMTHESPEAKERCABINET4HECOMBINATIONOFTHE3PEAKER3OAK SIGNAL WITH ONE OR MORE MICROPHONE SIGNALS CAN PRODUCE VERY BIG GUITAR OR BASSSOUNDS

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Reamping using the TD-1 4HE4$ ALSOHASA PIN 8,2 INPUT ON THE FRONT PANEL THAT WILL ACCEPT ANY BALANCED OR UNBALANCED LINE LEVEL SIGNAL 4HIS INPUT USES A DISCRETE HYBRID SOLID STATEAMPLIFIERTOPOLOGYWITHFIXEDHIGH INPUTIMPEDANCE9OUCANFEED A LINE LEVEL OUTPUT OF A GUITAR OR BASS RECORDING FROM 0RO 4OOLS STRAIGHT INTO THISINPUTANDROUTETHISOUTFROMTHE4$ INTOAGUITARORBASSAMPLIFIERFOR REAMPING /NTHEREARPANELOFTHE4$ THEREARETWOvJACKOUTPUTSLABELED2%!-0 AND 2%!-0 )) 2%!-0 ) EMULATES THE OUTPUT CHARACTERISTICS OF A SINGLE COIL 3TRATOCASTER TYPE PICKUP WHILE 2%!-0 )) EMULATES THE CHARACTERISTICS OF A DUAL COIL ,ES 0AUL TYPE PICKUP 4HE OUTPUT IMPEDANCE FROM A TYPICAL HARD DISCRECORDERAUDIOINTERFACE SUCHASTHE0RO4OOLS)/ ISABOUTTIMES LOWER THAN THE OUTPUT IMPEDANCE OF TYPICAL PASSIVE ELECTRIC GUITAR PICKUPS 3O IF YOU CONNECT THE OUTPUT FROM SUCH A SOURCE DIRECTLY TO A GUITAR AMPLI FIER INPUT THE SOUND WILL BE VERY DIFFERENT n TYPICALLY SOUNDING TOO CLEAN n ANDALINE LEVELOUTPUTISNOTDESIGNEDTOBECONNECTEDTOANINSTRUMENTLEVEL INPUTEITHER4HE4$ REAMPINGCIRCUITRYPROVIDESBOTHIMPEDANCEANDLEVEL MATCHING ANDSUCCESSFULLYMIMICSTHETWOMOSTPOPULARTYPESOFELECTRICGUI TARPICKUPS NEATLYSOLVINGTHISPROBLEM4HE2%!-0))OUTPUTALSOWORKSWELL WITHBASSGUITARS /BVIOUSLY YOU WILL NEED ANOTHER $) OR MICROPHONEMIC PRE COMBINATION TO RERECORD THE REAMPED SOUND FROM THE AMPLIFIERSPEAKER COMBINATION THAT YOU ARE USING AND ANOTHER 4$ WOULD MAKE A LOT OF SENSE HERE SO THATYOUCOULDUSEITS3PEAKER3OAKFEATURE9OUCOULDALSOUSEASTEREOMIC PREANDAPAIROFSUITABLEMICROPHONESASWELLTOALLOWFOREVENMORECREA TIVEOPTIONS

Figure 7.18 The -ILLENNIA4$ 4WIN $IRECT2ECORDING #HANNEL

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7.4 Working on your mix session )TCANBEAGOODIDEATOLETSOMETIMEPASSBETWEENYOURORIGINALTRACK LAYING SESSIONSANDTHEMIXSESSION7HENYOUCOMEBACKTOITWITHhFRESHEARS vYOU MAYHEARTHINGSFROMNEWPERSPECTIVESTHATCANLEADYOUTOMAKINGAMUCH MOREINTERESTINGMIXTHANYOUHADATFIRSTIMAGINED "UTITCANGOTHEOTHERWAYASWELLYOUSOMETIMESGETTHEBESTMIXBYBUILD INGEVERYTHINGUPWHILEYOUARERECORDING MAKINGEDITS ORADDINGEFFECTSAS YOUGOALONG THENTWEAKINGANDBALANCINGEVERYTHINGTOMAKETHEFINALMIX ASSOONAFTERTHERECORDINGPHASEISFINISHEDASYOUAREREADY

Housework /NEOFTHEFIRSTTHINGSYOUWILLPROBABLYDOATTHESTARTOFA0RO4OOLSMIXING SESSIONISTOLISTENTHROUGHTOTHETRACKSTOSEEWHATSTHEREnESPECIALLYIFYOU AREMIXINGMUSICFORACLIENTTHATYOUHAVENOTHEARDBEFORE ORIFITISSOME THINGYOUARECOMINGBACKTOFROMSOMETIMEAGO 4HISISAGOODTIMETOBEDOINGSOMEhHOUSEWORKv9OUCOULDSTARTBYMAK ING SURE THAT YOU HAVE A SEPARATE BACKUP COPY BEFORE YOU DO ANYTHING SO THATIFYOUMESSUPINANYWAYYOUCANQUICKLYGETBACKTOTHEORIGINALFILES 4HEN YOUSHOULDDELETEANYTHINGTHATYOUARECERTAINTHATYOUWILLNOTNEEDn SECURE IN THE KNOWLEDGE THAT YOU CAN ALWAYS RESTORE THE SESSION FROM YOUR BACKUPSIFYOUMAKEAMISTAKE 4HEREMIGHTBELOTSOF-USICAL)NSTRUMENT$IGITAL)NTERFACE-)$) TRACKSTHAT HAVESINCEBEENREPLACEDBYREALINSTRUMENTSORVICEVERSA)TISALSOQUITELIKELY THATTHEREMIGHTBESEVERALhTAKESvOFTHELEADVOCALOROFAGUITARORSAXSOLO THATMAYNEEDTOBEhCOMPEDvTOMAKEONEORMORECOMPOSITETRACKSCON TAININGTHEBESTPHRASES4HEREMIGHTBEVARIOUSLAYERSOFTRACKED UPBACKING VOCALS RHYTHMGUITARS ORBRASSPARTSTHATCOULDBEMIXEDDOWNTOSTEREOTO FORMMOREMANAGEABLESUBGROUPSORSTEMS 4HEREAREPROBABLYLOTSOFUNUSEDREGIONSTHATYOUCOULDEASILYGETRIDOFTO MAKE IT EASIER TO SEE THE ONES YOU DO WANT ALTHOUGH YOU WILL NEED TO TAKE CAREBEFOREDELETINGANYWHOLEREGIONSTOMAKESURETHATREGIONSWITHINTHESE ARE NOT NEEDED ANYWHERE IN THE SESSION !GAIN IF YOU MAKE A MISTAKE YOU HAVEYOURBAKUPS

Track ordering 9OU WILL PROBABLY WANT TO ESTABLISH THE ORDER OF THE TRACKS IN THE 0RO 4OOLS -IXAND%DITWINDOWSTHEWAYYOUPREFERTHISTOBE)ALWAYSHAVEANY-ASTER TRACKSATTHERIGHTOFTHEMIXER WITHACLICKATTHEFARLEFT DRUMSNEXTTOTHIS FOLLOWED BY BASS KEYBOARDS GUITARS ANY OTHER INSTRUMENTS THEN VOCALS 332

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) KNOW OTHER PEOPLE WHO WOULD REVERSE THIS ORDER 4HE MAIN IDEA HERE IS TO HAVE SOME KIND OF LOGICAL ORDERING OF THE TRACKS THAT MAKES IT EASIER AND QUICKERFORYOUTOWORKWITHTHESE )T CAN ALSO BE HELPFUL TO NAME SOME OR EVEN ALL OF THE REGIONS TAKES OR TRACKSMOREAPPROPRIATELYnESPECIALLYIFTHISWILLMAKETHINGSEASIERANDMORE EFFICIENTFORYOUWHENYOUGETTOTHECREATIVEPARTOFTHEMIXINGSESSION$ONT forget that you can easily save alternative versions of any Pro Tools session if YOUWANTTOKEEPOLDERVERSIONSINCASEYOUNEEDTOREVERTTOTHESE

Removing unwanted sounds )T IS ALWAYS A GOOD IDEA TO TAKE NOTE OF AND THEN MUTE OR DELETE ANY ODD NOISESORSOUNDS CLICKSORPOPS MICROPHONESTANDRUMBLE PEOPLETALKINGIN THE BACKGROUND IT HAPPENS EXCESSIVE BLEED BETWEEN MICROPHONES OR ANY SOUNDS THAT YOU DONT WANT TO APPEAR INADVERTENTLY IN YOUR MIXES 9OU MAY HAVE TO SOLO TRACKS ONE AT A TIME TO FIND THESE UNWANTED SOUNDS BUT THIS IS NOT REALLY TOO MUCH TIME WASTED AS LONG AS THERE IS NOT TOO MUCH OF THIS STUFFGOINGON IFYOUVIEWITASAUSEFULPARTOFTHEPROCESSOFFAMILIARIZATION THAT MOST PEOPLE NEED TO GO THROUGH BEFORE GETTING CREATIVE WITH THE MIX BECAUSEYOUGETTOHEARWHATISREALLYHAPPENINGONTHETRACKSTHATYOUSOLO .OISE GATES CAN BE USED TO REDUCE OR REMOVE BLEED OR OTHER UNWANTED SOUNDS IN BETWEEN WANTED SOUNDS BUT 0RO 4OOLS LIKE OTHER $!7S ALSO MAKES IT EASY TO CUT OUT OR MUTE REGIONS WHERE NO MUSIC IS PLAYING 4HERE ARE MANY WAYS TO DO THIS STARTING WITH THE MOST OBVIOUS WHICH WOULD BE TO SELECT THE UNWANTED REGION AND USE THE #UT COMMAND #OMMAND 8 ON -AC #ONTROL 8 ON 7INDOWS )F YOU WANT TO REMOVE EVERYTHING BETWEEN SAY A SERIES OF WOOD BLOCK OR CLAVE HITS YOU CAN USE THE 3EPARATE 2EGION AT4RANSIENTSCOMMAND AVAILABLEFROMTHE%DIT-ENU WHICHWOULDBEALOT FASTER THAN INDIVIDUALLY SELECTING AND DELETING THE REGIONS BETWEEN EACH OF THESEHITS/RYOUCOULDINSERTANOISEGATEPLUG INONTOTHETRACKSYOUWANT TOCLEANUPANDUSEDYNAMICSPROCESSINGINSTEAD WHICHWOULDBETHEANALOG ENGINEERSWAYOFDOINGTHINGS

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3OMETIMES IT IS BETTER TO LEAVE SOME OR EVEN ALL OF THE INCIDENTAL NOISES IN THE RECORDING IT CAN SOUND MORE NATURAL OR REAL THAT WAY AND THIS CAN ADD TO THE APPEAL OF THE MUSIC 2ECORDINGS MADE WITH ALL THE TRACKS TIGHTLYGATEDORWITHEVERYTHINGCUTOUTOFTHETRACKSAPARTFROMTHEFEA TUREDVOCALANDINSTRUMENTALPHRASESCANSOUNDTOOhPROCESSEDvFORSOME PEOPLEnMEINCLUDED)TSABITLIKETHEDIFFERENCEBETWEENAWHOLESOME HOMEMADEBURGERANDTHE-AC$UCKVARIETY

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Sorting the Tempos )T IS POSSIBLE THAT A CLIENT WILL BRING YOU A SESSION TO MIX THAT HAS NO TEMPO SET!LTHOUGHYOUCANJUSTGOAHEADANDMIXWITHOUTANYREFERENCETOTEMPO ORBARSANDBEATS ITISALWAYSAGOODIDEATOHAVEATEMPOFORTHEMUSICOR ATEMPOMAPIFTHETEMPOCHANGES4HISWAY YOUCANUSE'RID-ODEWHEN EVERYOUWOULDLIKETO ANDYOUCANEASILYMAKEEDITSATOBVIOUSPLACESSUCH ASTHEBEGINNINGORENDOFAPARTICULARBARORBEAT3O ITISWORTHSPENDING SOMETIMEWITHTHE)DENTIFY"EATCOMMANDORUSING"EAT$ETECTIVETOCREATE ATEMPOORTEMPOMAPBEFOREYOUSTARTMIXING

Marking the sections -ARKERSTHATSAYWHERETHEVERSE CHORUS MIDDLE ORWHATEVER SECTIONSSTART CAN BE INVALUABLE TIMESAVERS ON ANY MIX SESSION )F THERE ARE NO MARKERS TO DEFINE THE VARIOUS SECTIONS OF THE MUSIC OR SONG THEN YOU SHOULD CREATE A SUITABLESETOFMARKERSATTHEOUTSETOFYOURMIXSESSION

Grouping tracks 9OUWILLNEEDTOGROUPTRACKSTOGETHERFORALLSORTSOFREASONSDURINGYOURMIX SESSION-AYBEYOUWANTTOCHANGETHEFADERLEVELSOFALLTHEPERCUSSIONTRACKS ATTHESAMETIME FOREXAMPLE ORMAYBEYOUWANTTOAPPLYADELAYEFFECTTO ALLTHEBACKINGVOCALS 4HEMOSTBASICWAYOFGROUPINGTRACKSTOGETHER SOTHATWHENYOUMOVEONE FADERALLTHEFADERSINTHEGROUPMOVE ISTOUSETHEBASIC4RACK'ROUPFEATURE WHEREYOUSELECTTWOORMORETRACKSTHATYOUWANTTOGROUPINTHISWAYAND PRESS#OMMAND '-AC OR#ONTROL '7INDOWS 4HENEXTSTEPUPFROMTHIS ISTOCREATEASUBGROUPBYROUTINGTHEOUTPUTSOFAGROUPOF!UDIOTRACKSTO THEINPUTOFAN!UXILIARY)NPUTCHANNELSOTHATYOUCANUSETHATCHANNELSFADER TOCONTROLTHELEVELOFTHESUBGROUP"OTHOFTHESETECHNIQUESHAVETHEIRUSES ANDYOUWILLFINDMANYAPPLICATIONSFORTHESEDURINGYOURMIXINGSESSIONS

6#!'ROUPS )FYOUAREANEXPERIENCEDMIXINGENGINEERWHOISNEWTO0RO4OOLS YOUWILL PROBABLYKNOWALLABOUT6#!'ROUPSANDWILLBEPLEASEDTOKNOWTHATTHESE ARE AVAILABLE IN 0RO 4OOLS )F NOT YOU ARE PROBABLY WONDERING JUST WHAT A 6#!'ROUPIS"RIEFLY 6#!'ROUPSWEREORIGINALLYDEVELOPEDFORANALOGMIX INGCONSOLESASAWAYOFCONTROLLINGAGROUPOFFADERSUSINGASPECIALCONTROL FADER0RO4OOLS6#!-ASTER&ADERSEMULATETHEBEHAVIOROFTHESE

#ONVENTIONAL6#!'ROUPS 4O UNDERSTAND 6#! 'ROUPS A LITTLE MORE THOROUGHLY YOU NEED TO KNOW SOMETHING ABOUT HOW THESE WERE DEVELOPED &IRST 6#! IS THE ACRONYM FOR A 6OLTAGE #ONTROLLED !MPLIFIER -IXING CONSOLE DESIGNERS REALIZED THAT THEY 334

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COULDINCLUDEASETOFFADERSONANANALOGCONSOLETHATCOULDBEUSEDTOSEND VOLTAGESTOTHEAMPLIFIERSINSELECTEDAUDIOCHANNELSSOTHATONEOFTHESE6#! -ASTER&ADERSWOULDCONTROLTHEAUDIOLEVELSFORAGROUPOFMIXERCHANNELS! GROUPOFMIXERCHANNELSBEINGCONTROLLEDINTHISWAYBYASINGLE6#!-ASTER &ADER IS THEN REFERRED TO AS A 6#! 'ROUP .O AUDIO PASSES DIRECTLY THROUGH THE6#!-ASTER&ADERTHISISONLYUSEDTOSETTHELEVELOFTHE$#CONTROLVOLT AGETHATISSENTTOCONTROLTHELEVELSOFTHEFADERSINTHEGROUP 5SINGJUSTONESINGLE6#!-ASTER&ADERTOCONTROLANUMBEROFMIXERCHANNEL FADERSISMUCHMOREEFFICIENTTHANCREATINGASTEREOSUBGROUPUSINGASTEREO!UX CHANNELWITHTHEINDIVIDUALMIXERCHANNELOUTPUTSROUTEDTOTHIS!6#!-ASTER IS MUCH EASIER AND CHEAPER TO IMPLEMENT THAN AN AUDIO CHANNEL BECAUSE IT ONLYHASONEFADERTHATSETSAVOLTAGELEVELANDSOMEROUTINGANDSWITCHINGCIR CUITRYnITHASNORELATIVELY EXPENSIVEAMPLIFIERORSIGNALPROCESSINGCIRCUITRY 7HENYOULOWERTHE6#!-ASTER&ADER YOUAREEFFECTIVELYLOWERINGTHEMIXER CHANNEL FADERS IN THE GROUP THAT YOU ARE CONTROLLING 4HIS BRINGS THE ADVAN TAGETHATANYPOSTFADERAUXILIARY3ENDFEEDSARELOWEREDINTURN SOTHEWET DRY BALANCEOFANYEFFECTSTHATYOUAREAPPLYINGTOTHESEMIXERCHANNELSSTAYSTHE SAME4HISISNORMALLYWHATYOUWANTTOHAPPENANDISNOTTHECASEWHENYOU HAVECREATEDASUBGROUPBYROUTINGMIXERCHANNELOUTPUTSTOAN!UXILIARY)NPUT CHANNELANDYOUUSETHATCHANNELSFADERTOLOWERTHELEVELOFTHESUBGROUP

6#!-ASTER4RACKSIN0RO4OOLS !S THE 0RO 4OOLS 2EFERENCE 'UIDE EXPLAINS 6#! -ASTER TRACKS IN 0RO 4OOLS EMULATETHEOPERATIONOFVOLTAGE CONTROLLEDAMPLIFIERCHANNELSONANALOGCON SOLES WHEREA6#!CHANNELFADERWOULDBEUSEDTOCONTROL GROUP OROFFSET THESIGNALLEVELSOFOTHERCHANNELSONTHECONSOLE4HEWAYTHISWORKSIN0RO 4OOLSISTHATYOUGROUPASELECTIONOFTRACKSINTOA-IXGROUPANDTHENASSIGN THIS'ROUPTOA6#!-ASTERTRACK4HISLETSYOUCONTROLTHEOUTPUTLEVELSOFALL THE6#!GROUPSMEMBERTRACKSWITHOUTTHENEEDTOBUSTHEMTOAN!UXILIARY )NPUTTRACKORTOTHESAMEOUTPUTPATH9OUCANCREATEMULTIPLE NESTED6#! GROUPSANDCONTROLTHEOUTPUTLEVELSOFMULTIPLESUBMIXESATTHESAMETIMEn ANDYOUCANCONVENIENTLYAUTOMATEASUBMIXBYAUTOMATINGITS6#!-ASTER TRACK!LSO AMAJORADVANTAGEOFUSING6#!-ASTERTRACKSIN0RO4OOLSISTHAT THEYDONTUSEUPANYOFYOURPRECIOUSMIXER$30RESOURCES "ECAUSE THEY DONT PASS AUDIO 6#! -ASTER TRACKS DONT HAVE INPUTS OUT PUTS INSERTS ORSENDSnBUTTHEYDOHAVEAFADERALONGWITH3OLO -UTE 4RACK 2ECORD%NABLE AND4RACK)NPUT-ONITORBUTTONS4HEYALSOHAVETWOPOP UP SELECTORS n ONE FOR !UTOMATION AND ONE FOR 'ROUP !SSIGNMENT n TO LET YOU SELECT WHICH 'ROUP OF hSLAVEv TRACKS TO CONTROL .OTE THAT ON 6#! -ASTER TRACKS THELEVELMETERSINDICATETHEHIGHESTLEVELTHATHASOCCURREDONANYOF ITSINDIVIDUALTRACKS NOTTHESUMMEDLEVELOFALLITSSLAVETRACKS

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Figure 7.19 3AX'ROUP CONTROLLEDBYA6#!

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9OUCANUSEASINGLE6#!-ASTERTOCONTROLASELECTIONOFMIXERCHANNELS THATAREROUTEDTODIFFERENTOUTPUTS WHICHYOUCANNOTDOBYCREATINGSUB GROUPSUSING!UXILIARY)NPUTS

+EEP IN MIND THAT UNLIKE 6#!S ON TRADITIONAL ANALOG CONSOLES 6#! -ASTER TRACKSIN0RO4OOLSDIRECTLYAFFECTTHEIRSLAVETRACKSSOTHATTHECONTROLSONEACH SLAVETRACKALWAYSSHOWTHEIRACTUALVALUES)NOTHERWORDS WHATYOUSEEON THE SLAVE TRACKS IS WHAT YOUVE GOT 4HE LEVELS OF THE FADERS SHOW THE ACTUAL LEVELSASAFFECTEDBYTHE6#!-ASTER%VENIFAPARTICULARSLAVETRACKISAMEM BEROFMORETHANONE6#! CONTROLLEDGROUP THECONTRIBUTIONOFALLTHE6#! -ASTER6OLUMEFADERSISSUMMEDONTHESLAVETRACK "ECAUSE THE SLAVE TRACKS ARE GROUPED TOGETHER FIRST USING THE STANDARD 0RO 4OOLS'ROUPCOMMAND YOUWOULDEXPECTTHATCLICKINGANINDIVIDUAL-UTEOR 3OLOWOULDMUTEORSOLOALLTHE'ROUPTRACKS(OWEVER WHENCONTROLLEDBY

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A 6#! -ASTER THESE SLAVE TRACKS OPERATE INDIVIDUALLY SO CLICKING ON JUST ONE SLAVETRACKS-UTEOR3OLOBUTTONWILLONLYAFFECTTHATTRACK

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9OUCANOVERRIDETHISBEHAVIORANDMAKETHESECONTROLSWORKASTHEYNOR MALLYWOULDBYDESELECTINGTHEh3TANDARD6#!,OGICFOR'ROUP!TTRIBUTESv OPTIONINTHE-IXINGSECTIONOFTHE0RO4OOLSPREFERENCESWINDOW !LSO THESOLO MUTE RECORD ENABLE AND4RACK )NPUTSTATUSONEACHSLAVETRACK WILLCORRESPONDWITHHOWTHESECONTROLSHAVEBEENSETONTHE6#!-ASTER3O FOR EXAMPLE WHEN YOU CLICK -UTE ON THE 6#! -ASTER THE INDIVIDUAL -UTE BUTTONS BECOME ENGAGED ON ALL SLAVE TRACKS BUT IN A PARTIALLY hGRAYED OUTv CONDITION VISUALLY AND YOU WILL HEAR NO SOUND 3LAVE TRACKS ARE SAID TO BE hIMPLICITLY MUTEDv WHEN YOU MUTE THE CONTROLLING 6#! -ASTER BECAUSE YOU AREINTENDING ORIMPLYING THATYOUWANTTOMUTETHESESLAVETRACKS)FANYOF THEINDIVIDUALSLAVETRACKSWEREMUTEDBEFOREYOUPRESSTHE-UTEONTHE6#! -ASTER THESEWILLREMAINMUTEDANDRETAINTHEIRNORMALVISUALAPPEARANCE4O SEEHOWTHISLOOKS TAKEAPEEKATTHEACCOMPANYINGSCREENSHOT

Figure 7.20 3AXWAS MUTEDWITHINTHESAX GROUP4HENTHE6#!WAS MUTED4HESCREENSHOT SHOWSTHEAPPEARANCEOF ALLTHEMUTEBUTTONS4HE MUTEBUTTONFOR3AXHAS ADIFFERENTAPPEARANCETO INDICATETHATITISMUTED ONLYASACONSEQUENCEOF MUTINGTHE6#!-ASTER ANDWILLNOTBEMUTED WHENTHE6#!-ASTERIS UNMUTED

7HENYOUCLICK3OLOONTHE6#!-ASTER THISBUTTONWILLLIGHTUPYELLOWAND YOUWILLHEARALLITSSLAVETRACKSINSOLOnBUTTHEINDIVIDUALSLAVETRACK3OLOBUT TONSWILLNOTLIGHTUPYELLOW4HEWAYTHISWORKSISTHATSOLOINGA6#!-ASTER WILLIMPLICITLYMUTEALLTRACKSEXCEPTITSSLAVETRACKS THEREBYINDIRECTLYSOLOING 337


THE SLAVE TRACKS !LSO ANY EXPLICIT SOLOS ON THE SLAVE TRACKS WILL BE CLEARED LEAVING THEM INDIRECTLY SOLOED AND EXPLICITLY SOLOING A SLAVE TRACK WHILE ITS 6#!-ASTERTRACKISSOLOEDWILLOVERRIDETHE6#!-ASTERSOLO

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4HEWAYTHATTHE2ECORDENABLEAND4RACK)NPUTENABLEBUTTONSWORKON THE6#!-ASTERISASFOLLOWSYOUCANTOGGLE2ECORD%NABLEORINPUTMONI TOR STATUS ON AND OFF FOR ANY TRACKS THAT HAVE BEEN RECORD ENABLED USING THE6#!-ASTER2ECORD%NABLEORTHE6#!-ASTER4RACK)NPUTBUTTON

5SING6#!STOCONTROLOTHER6#!S )TCANBEVERYCONVENIENTTOUSE6#!-ASTER&ADERSTOCONTROLTWOOTHERWISE SEPARATE SUBGROUPS OR 6#! GROUPS FROM ONE FADER &OR EXAMPLE YOU MIGHT HAVE A SUBGROUP CONTAINING A BRASS SECTION AND ANOTHER CONTAINING A STRING SECTION9OUMAYALREADYBECONTROLLINGTHESESUBGROUPSUSINGTWOSEPARATE 6#! -ASTER &ADERS OR YOU MAY NOT 7HICHEVER THE CASE YOU CAN ASSIGN ALL THE MIXER CHANNEL FADERS TO ONE SINGLE 6#! -ASTER THAT WILL LET YOU RAISE OR LOWERTHEBRASSANDSTRINGSTOGETHER

Figure 7.21 A single -ASTER6#!CONTROLSTWO INDIVIDUAL6#!FADERSTHAT in turn are controlling GROUPSOFSAXESAND GUITARS

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!NOTHER EXAMPLE WOULD BE WITH A CHOIR CONTAINING MALE VOICES AND FEMALE VOICES 9OU WOULD SUBGROUP THE MALE AND FEMALE VOICES SEPARATELY SET THE BALANCESBETWEENTHESE ANDTHENUSEASINGLE6#!-ASTERTORAISEORLOWER THELEVELOFTHEWHOLECHOIR9ETANOTHEREXAMPLEWOULDBETOCREATEASUB GROUP CONTAINING DRUMS THEN TO CREATE A 6#! -ASTER TO CONTROL THE DRUMS ALONG WITH THE BASS GUITAR SO THAT YOU COULD BALANCE THIS RHYTHM SECTION AGAINSTTHERESTOFTHEMUSIC

Edit Window Mix Automation 4HE %DIT WINDOW LETS YOU VIEW AUTOMATION AND CONTROLLER DATA EITHER AS A 4RACK6IEWTOSHOWONEOROTHERTYPEOFDATAORINSEPARATELANESUNDEREACH TRACK INWHICHCASEYOUCANVIEWASMANYTYPESOFAUTOMATIONANDCONTROLLER DATAASYOUWISH 4HISLETSYOUKEEPYOURPREFERREDTRACKVIEW SUCHAS2EGIONVIEW VISIBLEINTHE %DIT WINDOW FOR EACH TRACK READY FOR LAST MINUTE EDITS WHILE SIMULTANEOUSLY VIEWINGVOLUMEAUTOMATION FOREXAMPLE INALANEBELOWEACHTRACK4HISCANBE VERYCONVENIENTDURINGAMIXINGSESSION WHENYOUMIGHTWANTTOMAKETWEAKS TO THE AUTOMATION GRAPHICALLY ONSCREEN IN THESE !UTOMATION AND #ONTROLLER LANESINSTEADOFUSINGTHE-IXWINDOWSREAL TIMEAUTOMATIONFEATURES

Figure 7.22 Automation AND#ONTROLLERLANES SHOWNBELOWTRACKSINTHE %DITWINDOW

!UTOMATIONAND#ONTROLLERLANESCANBESHOWNORHIDDENUNDEREACHTRACKIN THE%DITWINDOWBYCLICKINGONTHESMALLARROWTOTHELEFTOFTHE4RACKCONTROLS IN-EDIUMORLARGERVIEWS

Figure 7.23 3HOWOR HIDEAUTOMATIONLANES USINGTHEARROWTOTHELEFT OFTHE4RACKCONTROLS

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)NVIEWSSMALLERTHAN-EDIUM YOUCANSHOWORHIDE!UTOMATIONLANESUSING THE4RACKOPTIONSPOP UPSELECTOR Figure 7.24 A Track /PTIONSPOP UPISLOCATED at the top left of each 4RACKSCONTROLSAREAIN THE%DITWINDOW

/N!UDIOTRACKSTHATAREIN-EDIUMORLARGERVIEW YOUCANUSETHEPOP UP ,ANE VIEW SELECTOR IN EACH LANE TO CHANGE THE TYPE OF AUTOMATION SHOWN IN THELANE

Figure 7.25 ,ANEVIEW SELECTOR

#HOICESINCLUDEVOLUME VOLUMETRIM MUTE ANDPANALONGWITHAUTOMATION CONTROLSFORANYSENDSORPLUG INSTHATAREACTIVE

Figure 7.26 ,ANEVIEW SELECTORPOP UPFORAN !UDIOTRACK

)NTHEEXAMPLEGIVENINTHEACCOMPANYINGSCREENSHOT AN)NSTRUMENTTRACKIS SHOWNWITHA#ONTROLLERLANEOPENFOR-)$)6ELOCITYANDAN!UTOMATIONLANE OPENFOR!UDIO6OLUME

Figure 7.27 An )NSTRUMENTTRACKWITH Controller lanes for -)$)6ELOCITYAND!UDIO 6OLUME9OUCANCLICK on the BUTTONTOADD ANOTHERAUTOMATIONLANE

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)FYOUWANTTOADDMORELANESBELOWATRACK YOUCANCLICKONTHE button INANEXISTINGLANE4OREMOVEALANE CLICKONTHEMINUSn BUTTON4HE,ANE VIEW SELECTOR FOR AN )NSTRUMENT TRACK LETS YOU SELECT FROM THE VARIOUS -)$) #ONTROLLERS AND !UDIO !UTOMATION TYPES 4HE ,ANE VIEW SELECTOR FOR A -)$) TRACKJUSTLETSYOUSELECTFROMTHEVARIOUS-)$)#ONTROLLERS

Figure 7.28 ,ANEVIEW POP UPSELECTORFORAN )NSTRUMENTTRACKSHOWS THE-)$)#ONTROLLERSAND !UDIOAUTOMATIONTYPES THATCANBESELECTED

4O REORDER LANES ONSCREEN DRAG THE LANE CONTROL SECTIONS TO NEW POSI TIONS IN THE %DIT WINDOW 9OU CAN RESIZE THE HEIGHTS OF ALL THE !UTOMATION AND #ONTROLLER LANES FOR A TRACK BY CLICKING AND DRAGGING THE BOTTOM LINE OF ANY ,ANE #ONTROLS COLUMN UP OR DOWN 4O RESIZE THE HEIGHT OF A SINGLE !UTOMATION OR #ONTROLLER LANE FOR A TRACK HOLD DOWN THE #ONTROL -AC OR 3TARTKEY7INDOWS WHILEYOUSELECTTHE,ANE(EIGHTSETTING4OINCREASEOR DECREASETHEHEIGHTOFANYLANETHATCONTAINSTHE%DITCURSORORAN%DITSELEC TION HOLDDOWNTHE#ONTROL-AC OR3TARTKEY7INDOWS ANDCLICKTHE5P OR$OWN !RROWKEY

7.5 The final mix (AVING COMPLETED ALL YOUR PREPARATIONS THE FINAL BALANCING SESSION OFTEN BECOMES RELATIVELY EASY )N THE EARLY STAGES OF YOUR MIXING SESSION YOU WILL HAVECHOSENMOSTOFTHEELEMENTSYOUWANTTOWORKWITHANDYOUWILLHAVE SETUPTHEEFFECTSYOUWANTTOUSE)TCANTAKESOMETIMETOSETUPSENDSTO EXTERNALEFFECTSUNITSAND!UXILIARYTRACKSWITHCHAINSOFPLUG INSTOPROCESSTHE DRUMS THEVOCALS ANDTHEVARIOUSINSTRUMENTSnESPECIALLYIFYOUARELOOKING FORTHAThSPECIALvREVERBSOUNDORCOMBINATIONOFDELAYS ORIFYOUARETRYING

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TOFINDTHERIGHT%1SETTINGSANDPANPOSITIONSTOMAKEPARTICULARINSTRUMENTS hSITvPROPERLYINYOURMIXORSTANDOUTASFEATURES7ITHATYPICALPOPSONG YOU SHOULD ALLOW AT LEAST HALF A DAY TO GET EVERYTHING MORE OR LESS IN PLACE Then, you might take a break for half an hour or so before coming back to DOTHEFINALBALANCINGOFLEVELSANDTWEAKINGOFEFFECTS(ERE YOUSHOULDBE CONCENTRATINGONTHEMOSTIMPORTANTTRACKSnTYPICALLYTHELEADVOCALANDANY FEATUREDSOLOINSTRUMENTS -AKESURETHATALLTHETRACKS YOU ARE NOT USING ARE EITHER REMOVED FROM THE SESSION OR MADE INACTIVE AND HIDDEN AND SET THE REST TO THE MINIMUM TRACK HEIGHT n JUST LEAVING THE LEAD VOCAL BACKING VOCAL AND PERHAPS SOME SOLO INSTRUMENTSATMEDIUMTRACKHEIGHTS)TISALSOAGOODIDEATODISPLAYTHEVOL UMEAUTOMATIONCURVESINTHECHOSENTRACKSSOTHATYOUCANSEEWHATISGOING ONANDSOTHATYOUCANMANUALLYADJUSTTHESEVOLUMESATANYSTAGEDURINGTHE MIXSESSION!LTERNATIVELY YOUCANUSETHE!UTOMATIONLANESTODISPLAYVOLUME OROTHERAUTOMATIONORCONTROLLERDATAINTHE%DITWINDOW

Figure 7.29 Pro Tools %DITWINDOWDURING AMIXINGSESSIONWITH the volume automation CURVESFORTHE3AXAND 'UITARVISIBLEnREADYFOR THEENGINEERTOTWEAK

)FYOUAREUSINGTHEREAL TIMEAUTOMATIONFEATURES YOUWILLSTARTOUTIN!UTO 7RITE MODE 9OU PROBABLY WONT GET ALL YOUR MOVES CORRECT DURING THE FIRST PASS SOYOUCANUSE!UTO4OUCHMODETOREFINETHESECTIONSTHATNEEDCHANG ING !S YOU GET CLOSER TO WHAT YOU ARE LOOKING FOR YOU MIGHT USE THE 4RIM FEATURESTOFINE TUNETHESETTINGSEVENFURTHER&OREXAMPLE IFYOULIKETHEWAY THEGUITARRHYTHMGETSSOFTERINTHEVERSEANDLOUDERINTHECHORUSES BUTYOU DECIDETHATOVERALLTHEGUITARISTOOLOUD YOUCANUSE4RIMMODETOBRINGTHE OVERALLLEVELDOWNONTHEGUITARTRACKWHILERETAININGTHERELATIVEAUTOMATION hMOVESv ) USUALLY END UP GOING INTO THE %DIT WINDOW TO MANUALLY EDIT THE AUTOMA TIONBREAKPOINTSTOACHIEVEEXACTLY THE RIGHT RESULT (ERE IT IS SO EASY TO SEE EXACTLYWHERETHEVOCALANDINSTRUMENTALPHRASESLIEANDTOEDITTHEAUTOMA TIONCURVESTODOEXACTLYWHATYOUWANTTHEMTODO 342

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To move all the automation breakpoints in a particular track or section of a TRACKUPORDOWNWHILEPRESERVINGRELATIVELEVELS CHOOSETHE3ELECTORTOOL FIRST AND DRAG THE MOUSE TO HIGHLIGHT THE RANGE OF INTEREST 4HEN CHOOSE THE4RIMMERTOOL POINTTHEMOUSEANYWHEREALONGTHELINEOFBREAKPOINTS ANDDRAGTHEWHOLELINEUPWARDORDOWNWARD

Figure 7.30 Manually trimming a selection of AUTOMATIONBREAKPOINTS

/NCEYOUHAVEYOURMIXSOUNDINGTHEWAYYOUWANTIT YOUWILLUSUALLYWANT TORECORDTHISASASTEREOMASTERMIX9OUHAVEVARIOUSOPTIONSHERE9OUCAN RECORDFROMTHEMAINSTEREOOUTPUTSOFYOUR0RO4OOLSINTERFACEINTOASTEREO MASTERING RECORDER SUCH AS A #$ RECORDER OR A $!4 RECORDER OR EVEN TO A INCHOR INCHANALOGTAPERECORDER !LTERNATIVELY YOU CAN USE THE "OUNCE TO $ISK COMMAND IN 0RO 4OOLS TO DIRECTLY CREATE A STEREO FILE ON DISK 4O DO THIS YOU MUTE EVERYTHING BUT THETRACKSYOUWANTTOBOUNCE MAKESURETHATALLTHELEVELS PANSANDANY EFFECTS AND AUTOMATION ARE THE WAY YOU WANT THEM TO BE ASSIGN THE OUT PUTSFROMALLTHETRACKSTOTHESAMEPAIROFOUTPUTS THENSELECTTHE"OUNCE COMMAND FROM THE &ILE MENU AND BOUNCE YOUR MIX FROM THIS OUTPUT PAIR TODISK!LTHOUGHYOUCANHEARTHEBOUNCEASITISBEINGCREATED YOUCANT ADJUSTANYCONTROLSDURINGAh"OUNCETO$ISKv3OYOUSHOULDONLYUSETHIS METHOD IF YOU DONT NEED TO INTERACT WITH ANY MIXER CONTROLS DURING THE BOUNCE!LSO YOUCANNOTINCLUDEAUDIOCOMINGINFROMEXTERNALINPUTSDUR ING A BOUNCE TO DISK SO IF YOU NEED TO DO THIS YOU WILL NEED TO RECORD TO NEWAUDIOTRACKS )F YOU WANT TO BE ABLE TO ADJUST THE MIXER CONTROLS IN REAL TIME WHILE AUDIO FILES ARE BEING WRITTEN TO DISK OR INCLUDE AUDIO COMING IN FROM EXTERNAL SOURCES YOUSHOULDRECORDYOURMIXTONEWTRACKSIN0RO4OOLS!LLYOUNEED TODOISTOROUTEANADDITIONALOUTPUTFROMYOUR-ASTER&ADERTOTHEINPUTOF ANAVAILABLESTEREO!UDIOTRACKINYOUR0RO4OOLSSESSION4HEN MUTETHETRACK YOU ARE RECORDING ONTO AND LISTEN TO THE MIX IN THE NORMAL WAY WHILE YOU RECORDYOURMIXONTOTHISTRACK 343


To Dither or not to Dither – that is the question! )F YOU ARE MASTERING FROM A BIT SESSION TO A BIT DIGITAL RECORDER OR TO ANALOG TAPE VIA BIT $! CONVERTERS THERE IS NO NEED TO APPLY DITHER /N THE OTHER HAND IF YOU ARE MASTERING TO A BIT MEDIUM n WHETHER THIS BE A FILE ON DISK OR AN EXTERNAL RECORDER n YOU DEFINITELY SHOULD APPLY DITHER BY INSERTINGADITHERPLUG INONTHE-ASTER&ADERTHATCONTROLSTHESTEREOOUTPUTS THATYOUAREMIXINGORBOUNCINGTO /FCOURSE IFYOUAREMIXINGTOANALOGTAPE THEREISNONEEDTOCONVERTSAM PLERATESORBIT DEPTHSORTO ADD DITHER 4HE $! CONVERTERS IN THE 0RO 4OOLS ($ AUDIO INTERFACES WILL CONVERT THE DIGITAL AUDIO TO ANALOG AUDIO WITH VERY LITTLELOSSOFQUALITYNOMATTERWHICHSAMPLERATEORBITDEPTHYOUAREUSING ALTHOUGHYOUMAYPREFERTOUSE!POGEEOR0RISM3OUNDCONVERTERSIFYOUARE LOOKINGFORTHEVERYHIGHESTQUALITY.EVERTHELESS IFYOUDOMIXTOANALOG ITIS WISETOSIMULTANEOUSLYCREATEADIGITALMASTERSOYOUCANMAKELISTENINGCOP IESWITHOUTGENERATIONLOSS/FCOURSE YOUWONTHEARTHEhAUDIOSIGNATUREv OFTHEANALOGMASTERRECORDINGUNLESSYOUMAKECOPIESFROMTHISx

Mix bus compression 4HEREHASBEENATRENDSINCETHELATESTOADDFARTOOMUCHCOMPRESSIONAND LIMITINGONTHEMIXBUSSOTHATTHEMIXESSOUNDASLOUDASPOSSIBLEWHENPLAYED BACK FROM #$ 3EVERAL MULTIBAND COMPRESSION AND LIMITING PLUG INS ARE AVAIL ABLEFOR0RO4OOLS\($THATCANBEUSEDTOINCREASETHEAVERAGELEVELBYREDUCING PEAKLEVELSTHENRAISINGTHEhMAKE UPvGAIN4HEDANGERHEREISTHATIFTHEPEAK TO AVERAGE RATIO IS REDUCED TOO MUCH THE MUSIC LOSES ITS LIFE AND JUST SOUNDS UNPLEASANT9ES ITSOUNDSLOUDERWHENPLAYEDBACKFROMA#$nIFYOULEAVETHE VOLUMECONTROLINTHESAMEPOSITIONASFORAhQUIETERv#$"UTMOSTPEOPLEWILL MAKETHEVOLUMETHESAMEBYTURNINGTHEKNOBTOTHEIRPREFERREDLISTENINGLEVEL SOALLYOUWILLSUCCEEDINDOINGISTOSQUASHTHELIFEOUTOFYOURMUSICANDRUN THERISKOFMAKINGTHELISTENERGETTIREDOFLISTENINGTOITVERYQUICKLY -ASTERING ENGINEERS WILL ALWAYS TELL YOU THAT THEY PREFER THAT YOU SEND FINAL MIXESWITHOUTTOOMUCHCOMPRESSIONAPPLIEDATTHEFINALMIXSTAGEnPREFERABLY WITH NONE ON THE MIX BUS 4HEY USE SPECIALIZED EQUIPMENT AND HIGH QUALITY MONITORING SYSTEMS AND THEY HAVE MUCH GREATER EXPERIENCE IN THIS AREA SO THEY WILL ALMOST ALWAYS ACHIEVE MUCH BETTER RESULTS THAN YOU WILL BE ABLE TO ACHIEVEYOURSELF!LSO IFYOUHAVEALREADYAPPLIEDHEAVYCOMPRESSIONORLIMITING TOYOURMIX THEREISNOTMUCHTHATTHEMASTERINGENGINEERCANDOWITHTHIS

The Good, the Bad, and the Ugly !S EXAMPLES OF QUALITY MIXING AND MASTERING TECHNIQUES JUST LISTEN TO THE PRISTINE AUDIO QUALITY WITH BAGS OF DYNAMIC RANGE ON 3HELBY ,YNNES Just A Little Lovin’ ALBUM OR $IDOS Safe Trip Home ALBUM 4HESE ALBUMS WILL NOT FATIGUEYOUREARINANYWAYANDWILLSOUNDSWEETFORYEARSTOCOME 344

Mixing

)F YOU LISTEN TO MANY OF TODAYS COMMERCIAL #$ RELEASES EVEN THOSE REISSU INGOLDERMATERIAL YOUWILLNOTICETHATTHEYSOUNDEXTREMELYTIRING ANDTIRE SOME TOLISTENTO!GOODORSHOULDTHATBEhBADv EXAMPLEWOULDBE!MY 7INEHOUSES Back to Black ALBUM %VEN THOUGH THIS HAS SOLD OVER MILLION COPIES ) STILL CANNOT LISTEN TO IT FOR VERY LONG WITHOUT EXPERIENCING LISTENING FATIGUEDUETOTHEWAYTHEMIXESHAVEBEENCOMPRESSEDANDLIMITEDDURING THEPRODUCTIONPROCESS ! PARTICULARLY UGLY EXAMPLE WOULD BE THE 4OM *ONES ALBUM 24 Hours 4HE MAIN OFFENDER ON THIS ALBUM SEEMS TO BE THE DRUM SOUNDS WHICH JUST RUIN THESOUNDOFALLTHEMIXESDUETOTHISEAR FATIGUINGEFFECT ALONGWITHEXCES SIVE LIMITING AND COMPRESSION USED TO MAKE THE AVERAGE LEVEL OF THE MUSIC VERY HIGH COMPARED WITH THE PEAK LEVELS IN THE AUDIO n THUS DESTROYING THE NATURALDYNAMICSINTHESOUNDS

A Plea for Sanity )HOPETHATEVERY0RO4OOLSUSERWHOREADSTHISWILLJOINMEINTHEFIGHTAGAINST THE LOUDNESS WARS THAT ARE DESTROYING THE QUALITY OF MANY COMMERCIALLY RELEASED RECORDINGS TODAY )T DOES NOT HAVE TO BE THIS WAY 0RACTICAL ADVICE FROM THE EXPERTS IS THAT ENGINEERS SHOULD MIX AND NORMALIZE TO nD"&3 ALWAYSAVOIDDIGITALCLIPPING USELOW LEVELDYNAMICSPROCESSING USEUP SAM PLED LIMITING OR PROCESS IN THE ANALOG DOMAIN AND USE UP SAMPLED PEAK METERINGTOMAKESURETHATTHEYAVOIDPROBLEMSDUETOINTERSAMPLEPEAKS)T WOULD ALSO HELP TO USE LOUDNESS CALIBRATED MONITORING AND PROPER LOUDNESS METERING 5SING "OB +ATZS + SYSTEM OR A RETURN TO THE WAY MUSIC USED TO BE MIXED WITH ENGINEERS AIMING TO HAVE LEVELS AVERAGING AROUND THE 65 OPERATINGLEVEL WITHUPTOD"OFHEADROOMABOVETHIS WOULDALLOWMUSIC TO SOUND MUCH BETTER THAN MOST OF TODAYS COMMERCIAL RELEASES !BOVE ALL REMEMBERTOUSEYOUREARS

7.6 Summary 3OHEREWEAREATLAST ATTHEENDOFTHEMUSICPRODUCTIONPROCESS HOPEFULLY LISTENINGBACKTOWONDERFULMUSICTHATWEHAVERECORDED EDITED ANDMIXED USING0RO4OOLS)FYOUHAVEREADTHISBOOKCOVER TO COVER YOURHEADISPROBA BLYFULLOFTHINGSTHATYOUARETRYINGTOREMEMBERABOUTHOW0RO4OOLSWORKS $ONTWORRYITWILLALLFALLINTOPLACEFORYOUEVENTUALLY*USTEXPECTTHATITWILL TAKESOMETIME!FTERALL h2OMEWASNTBUILTINADAY vASTHEYSAYIN6ENICE 4OLEARN0RO4OOLSTHOROUGHLY YOUNEEDTOWORKONASMANYDIFFERENTPROJECTS ASYOUCAN IDEALLYWITHOTHERPEOPLEASKINGYOUTODOTHINGSTHATYOUWOULD NOT NORMALLY DO YOURSELF *UST LIKE A MUSICIAN CAN FALL INTO THE TRAP OF PRAC TICING THE SAME FAMILIAR LICKS AND EXERCISES OVER AND OVER WITHOUT LEARNING

345


A NYTHING NEW A 0RO 4OOLS USER CAN FIND THAT THEY ARE ONLY WORKING ON ONE TYPEOFMUSICALPROJECTFORWHICHTHEYONLYNEEDTOUSEARESTRICTEDNUMBEROF THEFEATURESTHAT0RO4OOLSHASTOOFFER !SYOUSTARTTOBUILDUPYOUREXPERIENCE TAKESOMETIMEOUTTOREVIEWVARIOUS TOPICSINTHISBOOK,EARNINGKEYBOARDCOMMANDSANDSHORTCUTSISALWAYSVERY BENEFICIAL AND MAKING SURE THAT YOU ARE UP TO SPEED WITH ALL THE DIFFERENT ZOOMINGANDNAVIGATIONMETHODSISESSENTIALIFYOUWANTTOBEABLETOWORK QUICKLY (AVING A THOROUGH UNDERSTANDING OF HOW THE METERS AND FADERS WORK AND HOW YOU CAN USE -ASTER &ADERS TO PREVENT CLIPPING ON OUTPUTS AND BUSES IS PROBABLY THE MOST IMPORTANT SECTION IN THIS CHAPTER !FTER ALL MIXING IS VERY MUCH ABOUT GETTING THE LEVELS OF THE MIX ELEMENTS BALANCED TO YOUR SATISFACTION n WITHOUT THE DIGITAL WAVEFORM CLIPPING THAT SO OFTEN PRODUCES SUCHHARSHSOUNDINGMIXESONCOMMERCIALLYDISTRIBUTEDMUSICTODAY3O)WILL LEAVEYOUWITHTHESETHOUGHTSx

346


Appendix


The rise of the analog summing mixer in a land of digital audio workstations 'OBACKJUSTAFEWYEARSTO BEFORE 0RO 4OOLS BECAME THE LEADING $!7 USED IN PROFESSIONAL RECORDING AND IT IS UNLIKELY THAT YOU WOULD HAVE HEARD ANY THINGABOUThSUMMINGMIXERSv4ODAY PERHAPSASARESPONSETOTHEEXPLOSIVE GROWTH OF COMPUTER BASED DIGITAL AUDIO SYSTEMS BY THE ANALOG EQUIPMENT MANUFACTURERS YOUHEARPLENTYONTHESUBJECT %NGINEERSWHOADVOCATETHEUSEOFSUMMINGMIXERSPOINTOUTTHATWHENYOU ARE SUMMING SIGNALS DIGITALLY INSIDE A $!7 YOU HAVE TO TAKE CARE TO AVOID OVERLOADINGTHEINTERNALDIGITALMIXBUS LOWERINGTHEFADERFROMUNITYGAINIS NECESSARYTODOTHIS7HENATRACKSFADERISLOWERED THEYSAY THISCANLEADTO ALOSSOFDIGITALRESOLUTION"YFEEDINGSOMECOMBINATIONOFSTEMSANDORINDI VIDUAL TRACKS hOUT OF THE BOXv TO A HIGH QUALITY ANALOG SUMMING MIXER YOU CANKEEPTHEDIGITALTRACKLEVELShHOTTERvANDLETTHESUMMINGMIXERTAKECARE OF ADDING THESE TOGETHER WITHOUT THE LOSS OF RESOLUTION THAT WOULD OCCUR BY MIXINGhINSIDETHEBOX vTHUSACHIEVINGABETTER SOUNDINGMIXWITHINCREASED DEPTH IMAGEWIDTHANDHEADROOM ANDLESSDISTORTION $IGIDESIGN HAS PUBLISHED TWO 4ECHNICAL 7HITE 0APERS THAT TOTALLY DEMOLISH THESEARGUMENTS ORhMISCONCEPTIONSv!CCORDINGTO$IGIDESIGN h#AREFULLIS TENING TESTS HAVE SHOWN THAT THE DIFFERENCES BETWEEN MIXING INTERNALLY AND EXTERNALLYAREINAUDIBLETOEVERYONEWEVEYETENCOUNTEREDv4HISSTATEMENT ISBACKEDUPBYWELL DEVELOPEDTECHNICALARGUMENTSTHATEXPLAINHOWDOUBLE PRECISION BITINTERNALOPERATIONWORKSWITHTHE BITPROCESSORREGISTERTO ENSURETHATTHEREISSUFFICIENTHEADROOMANDhFOOTROOMvTOCOMPLETELYAVOID INTERNAL CLIPPING AND UNWANTED TRUNCATION WHEN 0RO 4OOLS IS OPERATED COR RECTLYh3OTHEREISNODIFFERENCEBETWEENSETTINGALLOFTHECHANNELFADERSTO WITHTHEMASTERATUNITYANDSETTINGTHEMASTERTOWITHTHECHANNEL

349

Appendix


FADERSATUNITYnASLONGASYOURENOTCLIPPINGTHEOUTPUTANDARESENDINGTHE HIGHESTPOSSIBLEOUTPUTSIGNALBEFORECLIPPINGv "E THAT AS IT MAY THERE ARE SEVERAL ENGINEERS WHO MIX FROM 0RO 4OOLS USING SEPARATE OUTPUTS INTO A LARGE ANALOG CONSOLE PARTLY BECAUSE THEY ARE WORK INGINLARGEPROFESSIONALSTUDIOSANDAREMOREUSEDTOMIXINGINTHISWAY BUT PARTLYBECAUSETHEYBELIEVETHATTHEYAREGETTINGBIGGERSOUNDING CLEARERAND MORE LIVELY MIXES THIS WAY 4HIS IS NOT AN OPTION FOR EVERYONE WHO USES 0RO 4OOLSBECAUSEOFTHEOBVIOUSBUDGETARYCONSTRAINTS WHICHISWHERETHEIDEA OFUSINGTHEMOREAFFORDABLESUMMINGMIXERSENTERSTHEPICTURE9OUDONEED TO CONSIDER YOUR WORKFLOW WITH EXTRA TIME NEEDED TO CONFIGURE THE ANALOG GEAR AND TO ADJUST THE SETTINGS MANUALLY WITHOUT THE BENEFIT OF AUTOMATION ANDYOUWONTBEABLETOUSEPANAUTOMATIONFROMTHE$!7UNLESSYOUDEDI CATETWOANALOGCHANNELSTOHANDLEEACHMONOTRACKFROMTHE$!7 )NPRACTICE YOUMIGHTFEEDA INPUTSUMMINGMIXERWITHINDIVIDUALMONO TRACKSCONTAININGTHELEADVOCAL BASSGUITAR BASSDRUM ANDSNAREDRUMAND WITHSTEREOSTEMMIXESCONTAININGBACKINGVOCALS GUITARS KEYBOARDS PERCUS SION THERESTOFTHEDRUMS WITHTHEFINALPAIRUSEDFORSTEREOEFFECTRETURNS 4HERE ARE LOTS OF SUMMING MIXERS AVAILABLE !MONG THE MOST AFFORDABLE OF THESE PRICEDATUNDERaEUROS ISTHETOTALLYPASSIVE2OLLS&OLCROM WHICHHASNOGAINORLEVELCONTROLS0OSSIBLYTHEMOSTEXPENSIVE THE!0)$3- 2ACK3YSTEM WILLSETYOUBACKWELLOVERaEUROS ANDISLIKEA MINICONSOLE $ANGEROUS -USIC OFFERS THE $ANGEROUS BUS SUMMING MIXER 4HIS IS MORE EXPENSIVE THAN THE &OLCROM DUE TO THE INCLUSION OF HIGH QUALITY LINE AMPLIFIERS ANDAIMSTOPROVIDEACOMPLETELYTRANSPARENTSOUND4HE#HANDLER -INI-IXERUSESAPASSIVESUMMINGNETWORKWITHA#HANDLERLINEAMPLIFIERTO MAKEUPGAINLOSS%ACHCHANNELOFTHISMIXERISTRANSFORMERBALANCED )TALSOHASAFULLYFEATUREDhCONTROLROOMvSECTIONINCLUDINGTALKBACK SPEAKER SWITCHING MUTE MONO AND EXTERNAL INPUT THAT CAN ALSO USED AS AN INSERT POINT ANDSEPARATECONTROLROOMANDSTEREOBUSOUTS 4HE !0) #HANNEL ,INE -IXER PRICED JUST UNDER a EUROS WORKS WITH THE !0) - -ASTER #ONTROL -ODULE WHICH PROVIDES EIGHT TRACKINPUTS SPEAKERCONTROLS DIM ANDASTEREOOUTPUT !NOTHEROPTIONISTHE!UDIENT3UMOWITHITSEIGHTFULLYBALANCEDSTEREOINPUTS SUMMINGINTOABALANCEDSTEREOMIXBUS THESTEREOMASTERCOMPRESSORFROM THEACCLAIMED!30RECORDINGCONSOLE APEAKLIMITER MONITORCONTROLLER ANDAK(ZDIGITALOUTPUTOPTION-ANLEY,ABSOFFERSVARIOUSRACKABLECON FIGURATIONSOFTHEIR4UBE-IXERS TYPICALLYINACONFIGURATIONPRICEDAROUND nBUTYOUDOGETTHEAUTHENTICVALVESOUNDTHATSOMEVALUESOHIGHLY !NDTHEREARELOTSMORE 4RIDENT!UDIOS330,-IX$REAM0HOENIX!UDIO .ICERIZER 4UBE 4ECH 33! ! TO NAME BUT FOUR 33, EVEN OFFERS THE 8 2ACK MODULARPACKAGETHATCANBECONFIGUREDFORSUMMING 350

Appendix

Summing to talk about

4HE .EVE 3UMMING -IXER PRICED AT LESS THAN a HAS hKICKED ALMOST ALL THE OTHERS INTO TOUCH v ACCORDING TO .IKI -ELVILLE 2OGERS AT HIGH END RETAILER +-2 !UDIO 4HE HAS INPUT CHANNELS WITH D" GAIN LEVEL PAN CUTSOLO ANDCUECONTROLSALONGWITHAPOSTINSERTMIXFUNCTIONTHAT CANBEUSEDFORMIXING INASEPARATESTEM ORBLENDINGTHEMIXWITHASPECIAL EFFECT7ITHFOURMONITORSOURCES TWOSETSOFSPEAKERS INDEPENDENTMONITOR LEVEL CONTROL TALKBACK MIC CUE SEND AND HEADPHONE OUTS THE EFFEC TIVELYUPGRADESADIGITALAUDIOWORKSTATIONTOAPROFESSIONALMIXINGFACILITY 2OBIN0ORTER DESIGNEROFTHE REVEALSHEINTENDEDHISDESIGNTOENHANCE NOTTOBETRANSPARENTTO THESOUNDOFTHE$!7h)DECIDEDTODESIGNSOME THING SPECIAL THAT WOULD BRING BACK THE FLAVOUR OF THE @S CONSOLES WITH UP TO DATE TECHNOLOGY ) WANTED TO DESIGN A UNIT THAT HAS THE .EVE SOUND n WITHITSMANYTONESANDTEXTURESTHATSOMANYPEOPLELIKEv3O THE.EVE 3UMMING-IXERISNOTAhTRANSPARENTvDEVICEnITIS0ORTERSDESIGNPHILOSOPHY THATITWILLIMPARTITSOWNPARTICULARhSOUNDvONTOYOURMIXES h7E USED NEWLY AVAILABLE COMPONENTS THAT KEEP THE PRICE DOWN WITHOUT COMPROMISING QUALITY AND WE FOUND METALWORK AND COMPONENT SUPPLIERS WHO WOULD SUPPLY US AT DECENT PRICES 7ITH LARGER CONSOLES THIS IS DIFFICULT BECAUSE YOU ARE NOT MAKING SO MANY 7ITH HIGHER VOLUMES YOU GET MUCH BETTERPRICES7EWANTEDTOBEABLETOMAKETHE.EVESOUNDAFFORDABLETOA NEWERGENERATIONOFPEOPLEWHOWOULDREALLYAPPRECIATEIT h!KEYFEATUREOFTHEISTRANSFORMERMIXING vCONTINUES0ORTERh-ANUFACTURERS WENT TO BALANCED VIRTUAL EARTH MIXING FROM THE EARLY S ONWARDS FOR VARIOUS TECHNICALANDECONOMICREASONS)WANTEDTOGETBACKINTOTRANSFORMERMIX ING AS USED IN THE CLASSIC .EVE SERIES CONSOLES OF THE S AND S SO ) DECIDED TO USE BALANCED TRANSFORMER VOLTAGE MIXING WHICH ELIMINATES THE NOISE AND CROSSTALK n A BIG STEP FORWARD FROM THE EARLIER CONSOLES THAT WERE UNBALANCEDv 3O DOES 0ORTER BELIEVE THAT 0RO 4OOLS ($ SYSTEMS ARE SIMPLY NOT TECHNICALLY CAPABLE OF MIXING AUDIO SUCCESSFULLY WITHOUT LEADING TO DEGRADATION OF THE SOUNDDUETODIGITALSUMMINGnDESPITETHE$IGIDESIGN7HITE0APERSSUGGEST INGOTHERWISE h!LL ) KNOW IS THAT YOU HEAR MIXES OUT OF 0RO 4OOLS THAT SOUND A BIT TWO DIMENSIONAL v HE OPINES h4HEY DONT HAVE VERY MUCH DEPTH TO THEM )N ANALOGUEMIXINGYOUCANJUSTTWEAKALEVELBYATINYAMOUNTANDITWILLLEAP OUTATYOU9OUCANMAKETHESOUNDMOVEAROUNDANDCOMEBACKWARDSAND FORWARDSINTHEMIX7ITHANALOGUEYOUGETMUCHMOREDEPTHv Mike Collins © April 2007 A version of this article first appeared in Pro Sound News Europe April 2007 © UBMi Ltd. Reproduced by kind permission. www.prosoundnewseurope.com 351

Index

A Absolute grid mode, 244–245 Absolute reference markers, 76 Aeolian mode, 104 After Fader Listen (AFL) mode, solo level setting for, 66 After Playback scroll option, 57 Altiverb, 323 Amp Farm, 327 Amplifier simulator, 327–328 Amplitube, 327 Analog equipment, lining up connected, 289–290 Analog summing mixer, 349 Analog waveform, reconstruction of, 302 Antares Harmony Engine, 325 Aphex Aural Exciter, 326 Audio COMPACTINGFILES n -)$)SETUPWINDOW CHANGINGSAMPLE RATEIN SAMPLE BASED n TICK BASED n Audio Ease, 317, 323 Audio track, 89, 133 FADERS Audio Track RecordLock option, 224 AudioSuite Gain plug-in, 319–320 AudioSuite Signal Generator plug-in, 291–292 Auditioning audio, 14–16 Auditioning loops, 132, 274 Auto low latency, 223 Auto reset, 307 Automatic delay compensation, 10, 45–46, 123–125, 189 IN0LAYBACK%NGINE$IALOG Automation lanes, 141–142 ANDCONTROLLERLANES IN-)$)EDITORWINDOWS n Autopanner, 316

Auto-Tune, 325 Auto-update active configuration option, 20 Auxiliary input channel, 299, 311, 334–335 Auxiliary input fader, 312

B Bars and beats, 73, 134, 138 Bar/beat markers, 76, 94 BUILDINGTEMPOMAPBYINSERTING n RE POSITIONING n Batch Fades window, 230 Beat clock LATENCY MEASURING n -)$) OFFSETS n Beat detective, 73 BeyerDynamic DT100 models, 182 Big Bottom, 326 Block view, 247 Bomb Factory METERCALIBRATIONSIMULATION n PLUG IN 65METERSIMULATION n Breathing effect, 319 Bus monitor, 313

C Center Playhead scroll option, 58 Channel faders, 14, 288, 309–310, 335, 349 Channels, 61 Chord change dialog, 49 Chord symbols, 75 Chords ruler, 48–49, 75 Chromatic scale vs. diatonic scale, 104 Clear Special commands, 137 Clef setting, 167 Click track, 77–79 Clip events browser, oversampled, 304–305

353

Index

Color Palette, 18 Commands keyboard focus, 60 Compact layout window configuration, 22 Compressors, 318–319 Conductor rulers, 48, 74–77 Continuous scroll option, 57–58 Controller chasing, 142–143 Convolution reverb, 323 Copy Selection commands, 279–280 Copy Special commands, 137 Correlation meter, 298, 305–306 Crest factors (Peak-to-average ratios), 293, 302 Crystallizer, 327 Cubase software, 53 Cue mixes. See Headphone mixes Cursor values display, 45 Cut Special commands, 137 Cut Time dialog, 99

D D/A converters, 301, 344 De-essing, 319–320 Default solo mode, 64 Delay compensation, 189–193 AND$ESTRUCTIVE0UNCHMODE n WITH-)$) n VIEW n Delay compensation engine, 10, 125, 190, 192 Delay effects, 323 Delay indicator, 124–125 Destructive Record mode, 199, 203, 206–207 DestructivePunch mode, 200, 211, 218 DELAYCOMPENSATIONAND n PREPARINGFOR n USING n Diatonic scale vs. chromatic scale, 104 Diatonic transposition, 103, 105–108 Digidesign, 74, 303, 308, 311, 326, 349 DigiRack Phase Scope, 305 DigiRack plug-ins, 326 DigiRack Signal Generator, 298–299 Digital signal processing (DSP) delays, 123, 188–190, 212 Display quantization, 174–176 GLOBALATTRIBUTES INDIVIDUALATTRIBUTES n Display settings EDITWINDOW MIXWINDOW SCOREEDITORWINDOW

354

TARGETED-)$)EDITORWINDOW TRANSPORTWINDOW Dither, 344 Drum notation, 168 Duplicate notes, 135 Duplicate region, 262 Dynamic transport mode, 270 AUDITIONINGLOOPSIN ENABLING KEYBOARDSHORTCUTSFOR PREFERENCESFOR RECORDINGIN SETTINGSELECTIONSTARTANDENDIN USING Dynamically allocated voicing, 63

E Echoes, 323, 327 Edit Insertion Follows Scrub/Shuttle option, 29 Edit lock region, 264–265 Edit menu commands, 227–239 CONSOLIDATINGREGIONS #UT #OPY 0ASTE AND#LEAR FOREDITINGAUTOMATIONPLAYLISTS )NSERT3ILENCE 2EPEATTO&ILL3ELECTION n 2ESTORE,AST3ELECTION 3PECIAL#UT #OPY 0ASTE AND#LEAR 3TRIP3ILENCESee Strip Silence 4#%%DITTO4IMELINE3ELECTION 5NDOAND5NDO(ISTORY n Edit modes, 37–47, 239–245 GRID n SHUFFLE n SLIP SPOT n Edit selection, 42–43, 54–55 AND4IMELINESELECTION ZOOMTOGGLEFOLLOWS Edit window, 36–37, 332, 339–342 BREAKPOINTS DISPLAYSETTINGS EDITINGIN n FINDINGTRACKSIN n FITTINGTRACKSIN GRAPHICEDITING n INDICATORS n -)$)EDITINGCONTROLS n POP UPSELECTORS n REGIONIN TRACKVIEWS n SWITCHING n

Index

ZOOMBUTTONS n AUDIOAND-)$) HORIZONTALANDVERTICAL Elastic audio, 107–108 EQ filters, 320 Events field, 304 Expanders, 324 External mixing, 288 External monitoring, 288

I/O setup dialog, 12–14 NAMINGINPUTIN Insert Silence command, in shuffle mode, 236 Insert Time dialog, 99 Insertion Follows Playback, 26, 43 Inserts, 33 Instrument tracks, 126–131 4RACK6IEWSELECTORFOR Ionian mode, 104

F Fast Forward/Rewind, 26 Fat meters, 300 Fender Rhodes, 325 Frequency balancing MUSICALLY TECHNICALLY n

G Gain plug-in, 319–320 Grabber tool, 40, 138, 141, 154, 156, 171 Graphic tempo editor, 85 Grid command, 145 Grid control, 46 Grid display, 46 Grid mode, 37, 243 ABSOLUTE n RELATIVE n Grid size, 243 Grid values, 46, 135, 145 Group list keyboard focus, 61 Group settings pop-up selector, 32–33 Grouping regions, 266 Grouping tracks, 334 Guitar amplifier, 327–328, 330–331 Guitar Rig, 327

H H3000 Factory, 326 Hardware buffer size, 8–9, 189 Hardware setup dialog, 11–12 OPTICAL30$)&FORMATIN Harmonizer, 325 Harmony process, 325 Headphone mixes, 184–187 Headroom, 292–293, 301, 310 Heal Separation command, 256 Helicon voice processor, 325

K Key Change dialog, 102–103 Key signature editor, 48 Key signature ruler, 48, 101–102 Key signatures, 101–108 Keyboard commands CONSOLIDATINGREGIONS FORDYNAMICTRANSPORTMODE FOREDITING n GRIDSIZE NUDGEVALUE 2ESTORE,AST3ELECTION 4#%%DITTO4IMELINE3ELECTION 4IMELINEOR%DITSELECTIONS FORTRACKVIEWS 5NDOCOMMAND K-System RMS meters, 301

L Latch forward/rewind, 26 Leq(A) meter, 307 Level meters, 307–308 Line6 Echo Farm plug-in, 323 Linearity Display Mode, 91–96 Link timeline, 42 Link track, 43 Lissajous figures, 305 Location indicators, 43–44 Locking regions, 264 Loop playback mode, 274 Loop record mode, 199 Loop recording audio, 207–209 SELECTINGTAKESAFTER USING n Loop recording MIDI, 131–132 DRUM MACHINESTYLE Loudness, 301, 345

M I I/O controls, in edit window, 24 I/O selectors, 34

Mackie Big Knob, 310 Maestro Echoplex, 323 Manual delay compensation, 11–12

355

Index

Markers, 76 ABSOLUTEREFERENCE BARBEAT n CHOOSING Markers ruler, 48 Martin HD28 acoustic guitar, 321 Master faders, 288, 290, 294, 297–299, 309 INSIDEOROUTSIDEBOX n MIXINGPRECISIONAND MONITORCONTROLLERS n MONO n STEREO n TOPREVENTCLIPPINGONBUS n 6#! n Master views, 247 Melodyne, 325 Meter ruler, 48 Meter value, 79 Metering, 297, 301 DISCREPANCIES 0HASESCOPE n 2-3 Microphone preamplifier, 288, 330 MIDI BARS BEATCLOCK n COMPENSATINGFORTRIGGERINGDELAYS n COMPUTERSETUP CONTROLBUTTONS CONTROLLING n DATA DELAYCOMPENSATIONFOR EDITING n EDITMENUCOMMANDS EVENTLIST n GRIDANDNUDGEVALUES ANDINSTRUMENTCONTROLSANDTRACK HEIGHTS n MIRROREDEDITING PREFERENCES n REAL TIMEPROPERTIES n RECORDING n n CANCELINGORUNDOING LOOP n SAMPLE BASEDAUDIOAND n SETUP n SETUPDATA n TICK BASEDAUDIOAND n MIDI editors, 150–163 AUTOMATIONLANESIN n EDITINGCONTROLS n

356

EDITTOOLS n HIDINGTRACKS TOINSERTNOTES n MUTEANDSOLOBUTTONS n NOTATIONVIEW n SUPERIMPOSEDNOTESVIEW n TIMEBASEANDCONDUCTORRULERS TOOLBAR n TRACKSANDGROUPSIN WORK n ZOOMCONTROLS n MIDI notes COPYING n DUPLICATE WITHMINI KEYBOARD MOVING STUCK n TRIMMING n VELOCITIESFOR MIDI tracks EXPORTING n HEIGHT VIEW Millennia TD-1 Twin Direct Recording Channel. See TD-1 Mirrored MIDI editing, 42, 136 Mix bus compression, 344 Mix session, 332 marking sections, 334 PREPARINGFOR REMOVINGUNWANTEDSOUNDS RESTORING sorting tempos, 334 TRACKORDERING n Mix window, 32 DISPLAYSETTINGS FINDINGTRACKSIN n Mixing, 341–342 CREATINGDYNAMICSWITHIN FINALBALANCINGSESSION LEVELBALANCING n PRECISIONANDMASTERFADERS QUALITY TOOLS Mode buttons, 41–43 Monitoring levels, 289 Monitoring system, checking for, 286–287 Multieffects processor, 326–327 Multiple assignments FORSENDSAUDIOOUTPUTPATH FORTRACKSAUDIOOUTPUTPATH Multiple track outputs, assigning, 34–35

Index

Musical Instrument Digital Interface. See MIDI Mute buttons, 155–156, 337 Mute frees assigned voice, 64 Mute region, 265

N Nearfield monitors, 286, 289 Neve 8816 Summing Mixer, 351 Noise gates, 324, 333 Noise reduction, 324 Notation tools, 169 Note chasing, 142–143 Nudge control, 46 Nudge display, 46 Nudge values, 46, 135 Numeric keypad, 28–32 SHUTTLEMODE n SHUTTLELOCKMODE

O Object grabber tool, 40 Operating levels, nominal, 289–290, 292–293, 296 Optical S/P DIF format, 14

P Page scroll option, 57 Pan laws, 318 Panning, 315–317 SYNTHESIZEDANDSAMPLEDSOUNDS Panorama (Pan) positions, 315 Paste Special submenu commands, 137 Peak field, 304 Pencil Tool, 41 Phase correlation, 305–306 Phase measurements, 305 Phase meter, 306–307 Phase scope metering, 298–299 Pitch “n” time, 326 Pitch correction ANDMANIPULATION SOFTWARE Pitch doctor plug-in, 325 Pitch shifting, 108, 326 Pitch transposition, elastic audio region-based, 107–108 Pitched tracks, 104 Play Start Marker, 26–27, 271–273 POSITIONING REPOSITIONING Play Start Marker Follows Playback, 26, 43

Play Start Marker Follows Timeline Selection, 27 Playback cursor locator, 58–59 Playback engine, 8–10 AUTOMATICDELAYCOMPENSATIONIN HARDWAREBUFFERSIZE SETTINGNUMBEROFVOICES Playlists, 276–277 #OPY3ELECTIONCOMMANDS n FILTERING RECORDINGNEWTAKESUSING n PREROLLANDPOSTROLL n Playlists Track View, 278–279 Plug-ins, opening sessions with, 18 Pop-up selectors, 12 GROUPSETTINGS )/SETUPDIALOGSHOWING Pre Fader Listen (PFL), 14 SOLOLEVELSETTINGFOR CHANNELS Pro Tools 48-Bit Mixer, 311 Pro Tools ($SYSTEMS n ,%SOFTWARE MIXER n VOLUMEAUTOMATION Pulses per quarter note (PPQN), 91, 134 Punch recording AFTER n CROSSFADEFOR n SETTINGLEVELSFOR VOICEREQUIREMENTSFOR n Punch-in and punch-out AUTOMATIC n MANUAL n

Q Quantize to Grid command, 265 QuickPunch mode, 200, 210–211, 213 PREPARINGFOR USING QuickStart dialog, 17–18

R Real Time AudioSuite (RTAS) plug-in, 8, 188, 303 hHEALTHvWARNING n AND4$- Reamping, 327–328 %LEVEN USING4$

357

Index

Record mode, 129–130, 199–200 AUTOMATICPUNCH INANDPUNCH OUT n DESTRUCTIVE n $ESTRUCTIVE0UNCH n LOOP MANUALPUNCH INANDPUNCH OUT n 1UICK0UNCH n 4RACK0UNCH n Record safe mode, 200 Recording and playback HALF SPEED n SETTINGMONITORLEVELSFOR VOICES n Recording audio, 197–201 AUTOINPUTANDINPUTONLYMONITORING n DELAYCOMPENSATION n DISKSPACE n ENABLING n HEADPHONEMIXES SETTINGUP n MONITORINGLATENCY n NEWTAKESUSINGPLAYLISTS n WITHORWITHOUTEFFECTS WITHPLUG INEFFECTS PREPARING0RO4OOLSFOR n Region Editing commands, 261–270 Region List Keyboard Focus, 60 Regions, 252 CAPTURING CREATING EDITING HEALINGSEPARATED NUDGING n OVERLAPPING SEPARATING SYNCPOINTSFOR n USING3EPARATION'RABBER Regions List, 253 4IME3TAMP3ELECTEDCOMMANDIN 5SER4IME3TAMPIN n Relative grid mode, 244 Repeat region, 263 Repeat to Fill Selection command, 230 Reserve voices, 27 Restore Last Selection command, 229 Reverb, 322 ARTIFICIAL CONVOLUTION RMS metering, 301, 308 Roland MKS80, 111, 114 Room acoustics, 287 Ruler and tickbased time, 74

358

S Sample-based audio, 89–90 Sample-based time, 74 Score editor, 163–178 DISPLAYOPTIONS SPACING ANDLAYOUT DISPLAYQUANTIZATION EXPORTINGTO3IBELIUS HANDLESTRANSPOSINGINSTRUMENTS n POP UPMENU n PREPARINGSCOREFORMUSICIAN PRINTINGSCORE USING n WINDOWDISPLAYSETTINGS Scrolling behavior, 58 Scrolling windows, 57–58 Scrub tool, 41 Scrub/shuttle mode, 30 Scrubbing, 28 BYDRAGGINGBETWEENADJACENTTRACKS BYDRAGGINGWITHINSINGLETRACK WITHCENTERPLAYHEADSCROLLINGENABLED Selector tool, 39–40 Sends, 33–34 ASSIGNING n Separate Region command, 254–255 Separation Grabber tool, 255 Shift region, 261 Shuffle mode, 37, 239–240 )NSERT3ILENCECOMMANDIN Shuttle lock mode, 30–31 NUMERICKEYPAD Sibilant frequencies, 319–320 Slave track, 335–338 Slip mode, 37, 239 Smart tool, 40–41 Society of Motion Picture and Television Engineers (SMPTE), 74, 84, 240–241 Softube Vintage Amp Room, 327 Solo buttons, 155–156, 337 Solo in Place (SIP), 64 Solo mode, 64, 66 Sound pressure level (SPL), 289 Sounds DISTORTION REMOVINGUNWANTED Speaker Soak WITHMICROPHONESIGNALS USING4$ Spot mode, 37, 240–243 SSL AWS 900 series, 182 Stereo mastering recorder, 343 Stereo mixes, 305, 316–317 Stereo panorama, 315, 317

Index

Stop keys, 28 Strip Silence, 231 %XTRACTBUTTON -INIMUM3TRIP$URATIONPARAMETER 2EGION3TART0ADPARAMETER 2ENAMEBUTTON 3EPARATEBUTTON SLIDINGCONTROLSIN 3TRIPBUTTON 3TRIP4HRESHOLDPARAMETER StroboSoft tuner, 328–329 StroboStomp Pedal, 328 Sub counter time scale, 77 Summing mixer, 286, 310, 313–314, 349–351 ANALOG Surround sound, 4 Sync points, 258 Synchronization controls, 25 System Exclusive (SysEx) data, 116

T Tab to transients button, 42 TCE Edit to Timeline Selection, 237 TD-1, 330 features, 330 REAMPINGUSING Speaker Soak using, 330 4WIN4OPOLOGY)NSTRUMENTINPUT stage, 330 Tempo edit density (Dens) selector, 88 Tempo, 81 BUILDINGMAP EDITINGEVENTS EVENTS GRAPHICEDITOR n MIXSESSION OPERATIONS SETTING TAPPING n Tempo ruler, 48 Test tone CREATING USING!UDIO3UITE n RECORDING TODISK Tick-based audio, 90–91 Time lock region, 264 Time operations, 97–101 Time scales, 77 SETTING TICK BASED ANDTICKRESOLUTION Time signature, 79 Time Stamp Selected command, 241

Timebase rulers, 74–77 Time-division multiplexing (TDM) plug-ins, 191, 193, 325–326 AND24!3PLUG INS Timeline Insertion Follows Playback, 58 Timeline selection, 27, 270, 272 AND%DITSELECTION TL MasterMeter, oversampling metering, 302–303 Toolbar display and controls, rearranging, 36–37 Toolbar zoom buttons, 38 Track compensation indicator, 124, 126 Track compositing, 275–281 Track position numbers, 68 Track timebase, changing, 88 TrackPunch mode, 200, 211, 214–218 PREPARINGFOR n USING n Tracks, 61 grouping, 334 HEIGHTS n INACTIVE n input selector, 34 MUTING NAVIGATINGBYNUMBER n output selector, 34 SOLOING n Transformer mixing, 351 Transient peak levels, 292 Transport RecordLock option, 224 Transport window, 64–67 DISPLAYSETTINGS Transposing instruments, 172–173 SCOREEDITORHANDLING n Trimmer tool, 39, 156, 169

U Ultra-Channel, 326 Unity gain level, 297 Universe view, 23–24 Use separate play, 28 User interface, 17–24 User Time Stamp, 241–242

V VCA channel fader, 335 VCA Groups, 334 CONVENTIONAL n VCA Master tracks, 335 CONTROLLING MUTEON SOLO

359

Index

Virtual instrument, recording audio from, 132–133 Voice borrowing, 62 Voice limits, 62 Voice modeling techniques, 325 Voiceable tracks, 61–64 Voices, playback and recording, 61–64 Voltage controlled amplifier. See VCA Volume automation view, 246 Volume controls, on self-powered monitors, 288 VU meters, 292, 308

360

SCOREAND-)$)EDITING MEMORYSLOTNUMBERS Window display settings, 22–23 Window layout configuration, 23

X X-Form plug-in, 237, 326

Y Yamaha DX7, 111, 119 Yamaha DX7II, 111, 114 Yamaha KX88, 111, 114 Yamaha TX816, 114, 118

W

Z

Waveform view, 246–247 Window configuration list, 19 Window configurations, 18–20 COMPACTLAYOUT CREATING n

Zoom presets, 38 Zoom Toggle, 41–42, 54–57 PREFERENCES n Zoom Toggle Follows Edit selection, 56 Zoomer tool, 39

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