Pro Tools help for free!!!
- Thread starter samsungwhite
- Start date
cooliedread
New member
Admire you helping others...Maaan! I wanna thank you for posting alot of what others and I can learn too. So much have I learned in the past 6 years working on protools for a post production company and still learning some more everyday bit by bit. But my passion is music...I like working with fruityloops for my beats and what not. Since working on a big studio for films for a couple years just made me wanna learn more about migrating everything fully on PT and leave FL. It's such a beauty to just work on one app. Anyhow, since the release of PT8 I bought a MBP and Mbox2 Micro. So now I started working midi on it and the features are great. Exactly the same commands on audio editing... My question is. Is there any application aside from Reason that has more closer resemblance to FL? step sequencing...I use battery for my drums samples. Now I'm producing, reggae, dancehall and dubstep for my own stuffs. Would love your input how to go bout these. Still finding my way to be more comfortable with...
checkout my band: http://myspace.com/cdmc
If it's not too much to ask, would love to hear your input on how my new tracks are sounding... So little experience on mixing music
Working fully everything on protools8 now. Soon to release a solo album 
samsungwhite
Audio Advisor
Taybot...
If YOU personally don't hear anything wrong with your sound then that is a fine pre-amp for YOUR application. The fast track pro's pre-amp is not all to great in comparison to what is out there. Even if your on a tight budget you could get something as simple as a presonus tube pre (very cheap) and you would hear a noticeable difference. If you have like a $300 budget then the presonus eureka would be a better investment. But if you have a higher end budget or you decide on saving towards one then let me know and I'll give you a rundown on some REALLY good pre-amps.=) happy hunting.
If YOU personally don't hear anything wrong with your sound then that is a fine pre-amp for YOUR application. The fast track pro's pre-amp is not all to great in comparison to what is out there. Even if your on a tight budget you could get something as simple as a presonus tube pre (very cheap) and you would hear a noticeable difference. If you have like a $300 budget then the presonus eureka would be a better investment. But if you have a higher end budget or you decide on saving towards one then let me know and I'll give you a rundown on some REALLY good pre-amps.=) happy hunting.
nice thanks. pretty soon I will need a new pre-amp I think so I'll let you know.
I still want to learn pro tools because, I probly will keep getting more and more into it, and I'll want to start buying tons of other equipment to go with protools. I might as well learn the program right now rather than putting it off...if that makes sense.
I still want to learn pro tools because, I probly will keep getting more and more into it, and I'll want to start buying tons of other equipment to go with protools. I might as well learn the program right now rather than putting it off...if that makes sense.
![[F_or_DEAF]](/forums/data/avatars/m/150/150788.jpg?1611618699){kind=avatar}
[F_or_DEAF]
New member
something really small like what?
what kind of ProTools assistance? doing what exactly?
samsungwhite
Audio Advisor
cooliedread...
I haven't ever used Fruity Loops so I'm not too sure the type of recording your talking about. I know that Reason has an application on it calls ReDrum that is a pretty comfortable and powerful step sequencing machine (if you rewire it correctly on the back of the device to its own mixer.... if you don't know what I'm talking about then I'd be happy to explain it to you). But I'm sure your going to be happy with the work flow of just using one DAW for all your projects needs. If you could go a little more into detail about your situation I can help you better. And I'm sorry but I don't have too much time for the rest of this week to free up my ears but I'll try and have a listen to your stuff as soon as I get some free time on my hands. Sorry I couldn't be more help man. I know that I mentioned Ableton live on the post you were responding to, and that might help you more but like I said I don't know exactly what your talking about so give me some more detail. In any event, I know that Ableton is another DAW (and the whole point of this is to just use one...) but you know that you can rewire ableton inside of Pro Tools (its a plug-in called ReWire) right? Same thing for Reason as well. I know it can be a bit of hassle to work with so many different platforms but in the end, it really benefits you and gets you prepared for whatever project that might come your way. And Ableton and Reason aren't proprietary so the only digital interface your going to be dealing with will be digidesigns if that helps at all... =). But let me know whats up.
I haven't ever used Fruity Loops so I'm not too sure the type of recording your talking about. I know that Reason has an application on it calls ReDrum that is a pretty comfortable and powerful step sequencing machine (if you rewire it correctly on the back of the device to its own mixer.... if you don't know what I'm talking about then I'd be happy to explain it to you). But I'm sure your going to be happy with the work flow of just using one DAW for all your projects needs. If you could go a little more into detail about your situation I can help you better. And I'm sorry but I don't have too much time for the rest of this week to free up my ears but I'll try and have a listen to your stuff as soon as I get some free time on my hands. Sorry I couldn't be more help man. I know that I mentioned Ableton live on the post you were responding to, and that might help you more but like I said I don't know exactly what your talking about so give me some more detail. In any event, I know that Ableton is another DAW (and the whole point of this is to just use one...) but you know that you can rewire ableton inside of Pro Tools (its a plug-in called ReWire) right? Same thing for Reason as well. I know it can be a bit of hassle to work with so many different platforms but in the end, it really benefits you and gets you prepared for whatever project that might come your way. And Ableton and Reason aren't proprietary so the only digital interface your going to be dealing with will be digidesigns if that helps at all... =). But let me know whats up.
samsungwhite
Audio Advisor
F_or_DEAF...
I meant small like... "how do I know that I'm getting a good signal, Are there any standards as volume goes, how do you use an EQ, etc.." Just really obvious questions to a pro but I guess the guys I came across just saw dollar signs and not a helping hand.
As for the Pro Tools assistance thing....
A lot of my friends (and their friends) use Pro Tools and they have a million questions for me all the time and its just really simple stuff so I don't feel that I can charge them for such arbitrary tasks. you know? And once someone finds out what I do for a living they automatically want me to teach them stuff or listen to their latest mix's and I truly feel honored when they do cause I know that they have had their share of bumps and my job isn't exactly one that is common (although times are changing... but that good!).
So thats what I meant in my initial statement to this thread. But I'm glad you asked cause that was something I was going to touch base on at some point or another. =)
p.s. You know your still welcome to email me with your number if you want. Its really no trouble at all.
I meant small like... "how do I know that I'm getting a good signal, Are there any standards as volume goes, how do you use an EQ, etc.." Just really obvious questions to a pro but I guess the guys I came across just saw dollar signs and not a helping hand.
As for the Pro Tools assistance thing....
A lot of my friends (and their friends) use Pro Tools and they have a million questions for me all the time and its just really simple stuff so I don't feel that I can charge them for such arbitrary tasks. you know? And once someone finds out what I do for a living they automatically want me to teach them stuff or listen to their latest mix's and I truly feel honored when they do cause I know that they have had their share of bumps and my job isn't exactly one that is common (although times are changing... but that good!).
So thats what I meant in my initial statement to this thread. But I'm glad you asked cause that was something I was going to touch base on at some point or another. =)
p.s. You know your still welcome to email me with your number if you want. Its really no trouble at all.
samsungwhite
Audio Advisor
Taybot...
That makes perfect sense. And I'm glad your taking your time with it. Patience is truly a virtue. ha. Not to get all spiritual with you. But if you ever want to know what a piece of gear does or you want my 2 cents on something that your considering then just ask. I'm here for the taking.
That makes perfect sense. And I'm glad your taking your time with it. Patience is truly a virtue. ha. Not to get all spiritual with you. But if you ever want to know what a piece of gear does or you want my 2 cents on something that your considering then just ask. I'm here for the taking.
samsungwhite
Audio Advisor
Advanced Mixing Technique
Topic: Reverse Reverb
(Pertains only to Pro Tools but it can be done in other DAW’s if your smart with your routing)
So I’ve realized that the people on this forum have a solid understanding of how to mix and whenever I post something up, the people who try it, get it right away. So I’m going to start posting up advanced techniques that are used everyday in the music industry. We’ll start off with reverse reverb and I’ll start showing you guys things that are common mixing techniques in a professional studio. Also, I’m going to up the pace a little bit because I don’t think you guys need for me to explain every little detail (unless your having trouble then I don’t mind reiterating stuff). Reverse reverb is a common mixing technique that can be used on any instrument and sounds especially unique on vocals. This effect is created using a bunch of functions and tools in Pro Tools including AudioSuite, Aux Sends, Inserts, and Busses so read every step carefully.
Open the Mix window in your Pro Tools Session
Choose the track that you wish to apply reverse reverb with.
Create and aux send/return configuration with the vocal and insert a reverb on the aux input track.
Create a new Mono Audio Track.
Send the output of the aux track to an open bus.
assign the input of the audio track to the same bus.
(you have now setup your vocal track to generate reverb on an aux track. The aux track will send the reverb into an audio track to be recorded)
In the edit window, make a selection on the vocal track over the area that you wish to apply reverse reverb.
(Add a few seconds of time before and after the audio selection. This will give the reverb enough time to fully decay.)
Go to audiosuite>other>reverse reverb
(make sure the following audiosuite parameters are selected: [top row] playlist, use in playlist (highlighted), [bottom row] create continuous file, entire selection.
Once the audio suite parameters are configured, press “process”.
(your vocal selection will now be reversed in the playlist. Keep the reversed region selected for the next step.)
In the Mix window, adjust your reverb plug-in to the desired settings.
(The longer the decay time, the longer the reverse reverb effect will be.)
Record arm the audio track that accepts the reverb.
With the reversed region still selected in the playlist, start recording.
(reverb should now record onto your new audio track for the length of the selection in the playlist)
(at the end of the selection, notice that the reverb tail extends past the vocal. The next step will include reversing both of these regions again, which will place the reverb tail in front of the vocal.)
With both regions selected, go to audiosuite>other>reverse.
(use the same audiosuite parameters as discussed earlier)
Once the parameters are configured, click “process”.
Delete the aux track, so you are left with the original vocal and recorded reverb.
(this will reverse both the original vocal (which is now back to normal) and the recorded reverb. Notice that since reversing the regions, the reverb tail now starts before the vocal track.
And there you have hit guys. Reverse Reverb. I know I wrote this one kind of vauge but i’m sure you’ll get what I mean once you start implementing the steps onto your vocals or whichever tracks you decide to manipulate. So go have fun!
Topic: Reverse Reverb
(Pertains only to Pro Tools but it can be done in other DAW’s if your smart with your routing)
So I’ve realized that the people on this forum have a solid understanding of how to mix and whenever I post something up, the people who try it, get it right away. So I’m going to start posting up advanced techniques that are used everyday in the music industry. We’ll start off with reverse reverb and I’ll start showing you guys things that are common mixing techniques in a professional studio. Also, I’m going to up the pace a little bit because I don’t think you guys need for me to explain every little detail (unless your having trouble then I don’t mind reiterating stuff). Reverse reverb is a common mixing technique that can be used on any instrument and sounds especially unique on vocals. This effect is created using a bunch of functions and tools in Pro Tools including AudioSuite, Aux Sends, Inserts, and Busses so read every step carefully.
Open the Mix window in your Pro Tools Session
Choose the track that you wish to apply reverse reverb with.
Create and aux send/return configuration with the vocal and insert a reverb on the aux input track.
Create a new Mono Audio Track.
Send the output of the aux track to an open bus.
assign the input of the audio track to the same bus.
(you have now setup your vocal track to generate reverb on an aux track. The aux track will send the reverb into an audio track to be recorded)
In the edit window, make a selection on the vocal track over the area that you wish to apply reverse reverb.
(Add a few seconds of time before and after the audio selection. This will give the reverb enough time to fully decay.)
Go to audiosuite>other>reverse reverb
(make sure the following audiosuite parameters are selected: [top row] playlist, use in playlist (highlighted), [bottom row] create continuous file, entire selection.
Once the audio suite parameters are configured, press “process”.
(your vocal selection will now be reversed in the playlist. Keep the reversed region selected for the next step.)
In the Mix window, adjust your reverb plug-in to the desired settings.
(The longer the decay time, the longer the reverse reverb effect will be.)
Record arm the audio track that accepts the reverb.
With the reversed region still selected in the playlist, start recording.
(reverb should now record onto your new audio track for the length of the selection in the playlist)
(at the end of the selection, notice that the reverb tail extends past the vocal. The next step will include reversing both of these regions again, which will place the reverb tail in front of the vocal.)
With both regions selected, go to audiosuite>other>reverse.
(use the same audiosuite parameters as discussed earlier)
Once the parameters are configured, click “process”.
Delete the aux track, so you are left with the original vocal and recorded reverb.
(this will reverse both the original vocal (which is now back to normal) and the recorded reverb. Notice that since reversing the regions, the reverb tail now starts before the vocal track.
And there you have hit guys. Reverse Reverb. I know I wrote this one kind of vauge but i’m sure you’ll get what I mean once you start implementing the steps onto your vocals or whichever tracks you decide to manipulate. So go have fun!
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samsungwhite
Audio Advisor
Advanced Mixing Technique
Topic: 50Hz Tone Kick Drum
Adding a 50Hz (or similar) tone to your kick drum has been a common mixing trick for decades (basically it hooks up your bass hit). Configuring this feature incorporates many fundamental tools including inserts and aux sends.
Create a send on your kick drum track. Use a mono bus.
Create a new mono aux input track.
Insert a signal generator
After the signal generator, insert a gate.
(You should set the signal generator to 200 Hz at first. This will be easier to hear during the setup process. Once the gate’s attack and release times are sufficient, set the tone back to 50Hz or so.)
Open the gate plug-in window.
Click on the “External Key” button
(External Key is found at the bottom of the Gate II and in the side-chain section of Gate 3 plug-in.)
The gate will now only open (let signal pass thru) when the keyed audio is above the gate threshold.
Set the key input on the gate to match the corresponding send on the kick drum.
(The key input is found just below the plug-in settings recall section on the gate II and gate 3)
Now when you press play, the kick drum will trigger the gate to open, in turn allowing the signal to be heard.
Adjust the gate’s attack, sustain, and release times until you’ve reached the desired sound on the signal generator.
Finally, set the signal generator to the frequency you would like to use. This is typically between 40Hz and 55Hz.
p.s. When everything is set up correctly, you can check that all is working by looking for a couple things.....
When the kick drum plays, level is sent to into the gate, which is then opened, allowing the signal generator to be heard.
Notice that when the kick is playing, the signal generator level is allowed through the gate because the gate’s “key” is on.
Topic: 50Hz Tone Kick Drum
Adding a 50Hz (or similar) tone to your kick drum has been a common mixing trick for decades (basically it hooks up your bass hit). Configuring this feature incorporates many fundamental tools including inserts and aux sends.
Create a send on your kick drum track. Use a mono bus.
Create a new mono aux input track.
Insert a signal generator
After the signal generator, insert a gate.
(You should set the signal generator to 200 Hz at first. This will be easier to hear during the setup process. Once the gate’s attack and release times are sufficient, set the tone back to 50Hz or so.)
Open the gate plug-in window.
Click on the “External Key” button
(External Key is found at the bottom of the Gate II and in the side-chain section of Gate 3 plug-in.)
The gate will now only open (let signal pass thru) when the keyed audio is above the gate threshold.
Set the key input on the gate to match the corresponding send on the kick drum.
(The key input is found just below the plug-in settings recall section on the gate II and gate 3)
Now when you press play, the kick drum will trigger the gate to open, in turn allowing the signal to be heard.
Adjust the gate’s attack, sustain, and release times until you’ve reached the desired sound on the signal generator.
Finally, set the signal generator to the frequency you would like to use. This is typically between 40Hz and 55Hz.
p.s. When everything is set up correctly, you can check that all is working by looking for a couple things.....
When the kick drum plays, level is sent to into the gate, which is then opened, allowing the signal generator to be heard.
Notice that when the kick is playing, the signal generator level is allowed through the gate because the gate’s “key” is on.
Last edited:
E
Ebony n' Brian V
Guest
You're such a beast, I've been trying to figure that joint out for a minute lol
good looks main
samsungwhite
Audio Advisor
stunna919...
Elastic Audio is something that is mainly used to correct percussion edits. Its used on pieces of audio that have clear "on and off" times like a snare hit. This way when you do use it, your most commonly only effecting the one hit that's off ( I hope you get what I mean).
On the other hand I personally do try and make use of it on singers but to be totally honest with you, Elastic Audio only works about 30 - 40% of the time for me. It almost always leaves artifacts in the original sound file that I gotta cover up by use of masking with another sound that I'll put in or automation.
So all in all I guess the short answer to your question would be that there isn't to much that Elastic Audio can do for hip hop vocals. Its a technique that is supposed to be used for timing issues but it can almost only be done to a consistent performance with a slight word that might be off beat. So unless your like a mad scientist in your lab scrutinizing over every little bit of detail, you can dismiss this tool and put your time and energy into other useful things. Great question!
p.s. I'm sorry everyone that I haven't been able to give anymore tips lately. The studio and book are keeping me really busy and I'm finding myself sleeping every chance I get. lol. Keep up the good work all!
Elastic Audio is something that is mainly used to correct percussion edits. Its used on pieces of audio that have clear "on and off" times like a snare hit. This way when you do use it, your most commonly only effecting the one hit that's off ( I hope you get what I mean).
On the other hand I personally do try and make use of it on singers but to be totally honest with you, Elastic Audio only works about 30 - 40% of the time for me. It almost always leaves artifacts in the original sound file that I gotta cover up by use of masking with another sound that I'll put in or automation.
So all in all I guess the short answer to your question would be that there isn't to much that Elastic Audio can do for hip hop vocals. Its a technique that is supposed to be used for timing issues but it can almost only be done to a consistent performance with a slight word that might be off beat. So unless your like a mad scientist in your lab scrutinizing over every little bit of detail, you can dismiss this tool and put your time and energy into other useful things. Great question!
p.s. I'm sorry everyone that I haven't been able to give anymore tips lately. The studio and book are keeping me really busy and I'm finding myself sleeping every chance I get. lol. Keep up the good work all!
samsungwhite
Audio Advisor
Ebony N' BrianV...
No problem man. Hope its helping you get your mix process sped up.
No problem man. Hope its helping you get your mix process sped up.
E
Ebony n' Brian V
Guest
Man most definitely! You've hands down been the most help to me on this site so far. Keep those advanced tips comin' when you get enough free time g!
Hey Samsungwhite,
I'm ready to get ProTools 8 but I don't know where to start. Should I get HD, LE or M-Powered?
I think HD is the one that costs $10,000 right? So I can scratch that ha, but what is the difference between LE or M-Powered?
Also, you said you would recommend a pre-amp, I'm wondering what I should get with a budget of $400-$600. Right now I have a fast track audio pro but I want to step my audio recording game up.
Thanks a ton for your help!!
I'm ready to get ProTools 8 but I don't know where to start. Should I get HD, LE or M-Powered?
I think HD is the one that costs $10,000 right? So I can scratch that ha, but what is the difference between LE or M-Powered?
Also, you said you would recommend a pre-amp, I'm wondering what I should get with a budget of $400-$600. Right now I have a fast track audio pro but I want to step my audio recording game up.
Thanks a ton for your help!!
looking to buy pt
Happy to find your thread. I have a number of questions - be great if you could help me out. Thanks in advance.
One of my bands recently recorded in a protools studio - they're running v8. I assume they're running some super version, are the various versions mostly compatible, for example, can I read a HD project w/ LE? ( not knowing their abbreviations).
Also - I already own a 8-pt FW interface from MOTU that I'd like to be able to use. Can I record straight to ProTools through this device? (on OSX) If not, is there a disadvantage to using GarageBand to record the raw tracks & then bringing them into ProTools to mix/master?
Ultimately I'm trying to figure out what I need to have @ home so that I can take projects recorded in other studios & work w/ them @ home. As well as being able to use the FW int I already have to record on my own. & since ProTools seems to be the standard, I suspect that's the way to go.
Appreciate any help/advice you can provide. Looking to do this as cheaply as possible of course.
Thanks.
Happy to find your thread. I have a number of questions - be great if you could help me out. Thanks in advance.
One of my bands recently recorded in a protools studio - they're running v8. I assume they're running some super version, are the various versions mostly compatible, for example, can I read a HD project w/ LE? ( not knowing their abbreviations).
Also - I already own a 8-pt FW interface from MOTU that I'd like to be able to use. Can I record straight to ProTools through this device? (on OSX) If not, is there a disadvantage to using GarageBand to record the raw tracks & then bringing them into ProTools to mix/master?
Ultimately I'm trying to figure out what I need to have @ home so that I can take projects recorded in other studios & work w/ them @ home. As well as being able to use the FW int I already have to record on my own. & since ProTools seems to be the standard, I suspect that's the way to go.
Appreciate any help/advice you can provide. Looking to do this as cheaply as possible of course.
Thanks.
E
Ebony n' Brian V
Guest
Hey Samsung real quick question, can you automate a single track to solo? Instead of automating mute for every other track?
J
jknight1
Guest
Sam check your email. Thanks.
J
jknight1
Guest
I miss read your question in your other thread man lol sorry. But I dont think that can be done your tring to solo one track without muting the others....unless u cut out the parts u dont want to hear. I could be wrong tho i will wait till sam gives his final verdict.