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DAW Lecture 8.1
Pro Tools 9: Mixing 2 (Lecture 8.1)
Question | Answer |
---|---|
What is Grouping Tracks useful for? | Useful for: o Editing several tracks in exactly the same way o Mixing several tracks while keeping them at the same relative level. |
How many groups available? How many many banks of how many Group IDs? | Up to 104 different groups are available. o 4 banks of 26 Group IDs |
Quick Key for create new group | CMD + G o Based off track selection o Can choose from dialog box |
Which sides are dBD and dBFS on | dBD =0, Left. dBFS= -6, Right |
Mix / Edit Groups | Combines both Edit and Mix elements |
Groups List | Group ID o Use Group Focus Letters to activate/deactivate |
Region Group | Only groups the regions view |
Edit Groups | Groups pan, automation, etc. |
Bounce to Disk | CMD + OPT + B = File > Bounce To Disk Renders entire or partial mix to disk Bounces a single output or bus Bounces in real time only! |
Bounce to free up processing and/or voices | Ping Pong Tracks • Make Tracks inactive • Use “To Selection” from import dialog box |
Bounce for Red Book CD | Choose 16Bit Dither on Master tracks last insert. • Remember “Inserts are post‐fader!” • Truncates bits allowing masked quantization error • Stereo Interleaved • 16bit/44.1Khz Only |
Bounce for Submixes | Creating mono or stereo files from group or category of tracks • Also referred as Stems or Bracketing • Examples: Drums, Instrument only track, Guitar only, Voice Up, Voice Down, Solo up, Solo Down, Sound Effects, Ambience Tracks…… |
Bounce for Mastering | Use full resolution, do not use conversions o Stay away from Sample Rate Conversion if possible! • Always check with Mastering Engineer for: o Desired Peak and RMS values. o File Type and Format o Interleaved or Split? |
Should we automate Master fader for Fade I/O? | Do not automate Master fader for fade‐in/outs. o Otherwise, dynamics effects will not be consistent. o In mastering, they typically add fades to bounces with proper dithers. |
Mixing MIDI Tracks | Don’t use CC 7 & 10 (Volume & Pan) o Mix from Aux track due to higher resolution o Set Channel Volume to 127 to maximize S/N o Pan to Center or L/R, depending on channel setup |
Recording Audio from MIDI controlled Tracks | Commit real‐time synths/effects to an audio FILE! o Once committed, can take to multiple host applications o Always available in the future! o Never loose that perfect sound |
3 Methods to Record Audio from MIDI | 1. Rerecord Individual MIDI tracks 2. Bounce and Import 3. Bounce all in Realtime |
3 Components of a DAW | 1. Hardware 2. Software 3. Storage |
DAW Hardware | Central Processing Unit (CPU) ‐ The “brain” of the computer Digital Signal Processor (DSP) ‐ A chip specially designed for processing digital audio Audio Interface ‐ Physical audio connection to computer |
DAW Software | Application: Standalone program used for multitrack recording, editing and mixing Plug‐ins: An application within an application |
DAW Storage | Primary Storage: System/Work drive – Contains OS and software. Audio drive – Contains session files and all related session audio. Can record here Secondary Storage: Used for backup purposes. Example: CD‐R, DVD‐R, removable hard drive, tape drive, etc. |
Host-Based System vs. Hardware-Based System: Ways for processing audio | HostBased: Audio engine and plug‐in processing are handled by computer’s CPU. aka “Native” Ex: Pro Tools LE, Logic HardwareBased: Audio engine and plug‐in processing handled by DSP chips. May also use CPU for additional plug‐ins Ex: Pro Tools HD |
Hybrid System: processing audio | Host‐based system with added DSP chips Audio engine and primary processing handled by CPU DSP device runs its own plug‐ins • TC PowerCore Firewire • Universal Audio UAD2 (Laptop, Solo, Duo, Quad) • Waves APA32/APA44 |
Digital I/O: | No A/D or D/A conversions • Perfect copy of original • Receiving device must follow clock of sending device o Clock is contained (embedded) in format. o All connected devices use same Sample Rate. |
Digi 002 | 18 channels of I/O (only 10 above 48 kHz) 8-24bit/96 kHz analog audio inputs 4-XLR mic/line inputs with mic preamps and +48V phantom power 4-¼‐inch TRS +4/‐10 line‐level inputs 8-¼inchTRS 24bit/96 kHz analog outputs |
Digi 002 | Stereo ¼inch TRS monitor outputs with level control Stereo headphone output with level control Alt Source Input (L/R RCA) Use instead of 7/8 Monitor CD/DAT w/o recording Alt Main Out (L/R RCA) |
Digi 002 | 8 channels of 24bit ADAT Optical digital I/O, 44.1 or 48 kHz only 2 channels of 24bit/96 kHz S/PDIF digital I/O, 1 MIDI In, 2 MIDI Out |