Pro Tools 9: Mixing 2 (Lecture 8.1)
Quiz yourself by thinking what should be in
each of the black spaces below before clicking
on it to display the answer.
Help!
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| 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.
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| 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
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| Quick Key for create new group | CMD + G
o Based off track selection
o Can choose from dialog box
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| Which sides are dBD and dBFS on | dBD =0, Left. dBFS= -6, Right
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| Mix / Edit Groups | Combines both Edit and Mix elements
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| Groups List | Group ID
o Use Group Focus Letters
to activate/deactivate
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| Region Group | Only groups the regions view
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| Edit Groups | Groups pan, automation, etc.
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| 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!
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| Bounce to free up processing and/or voices | Ping Pong Tracks
• Make Tracks inactive
• Use “To Selection” from import dialog box
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| 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
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| 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……
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| 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?
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| 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.
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| 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
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| 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
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| 3 Methods to Record Audio from MIDI | 1. Rerecord Individual MIDI tracks
2. Bounce and Import
3. Bounce all in Realtime
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| 3 Components of a DAW | 1. Hardware
2. Software
3. Storage
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| 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
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| DAW Software | Application: Standalone program used for multitrack recording, editing and mixing
Plug‐ins: An application within an application
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| 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.
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| 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
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| 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
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| 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.
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| 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
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| 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)
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| 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
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