Quick Tip: Create Track Presets in Pro Tools

Time is money, and when it comes down to it, every tip and trick that you can use to increase the quality of your workflow is worth good money. CRAS instructor Phillip Nichols put together this great quick tip on how to create track presets in Pro Tools, allowing you to configure tracks and save that configuration for later usage. If you find yourself always creating a new blank aux track, for example, and then always add a reverb, always have certain inputs, outputs and sends configured, then this is a great tutorial to have to expedite your effectiveness behind the keyboard.

 

Quick Tip Tuesday: Create a Vocal Stutter and Pitch Shift

With this video tutorial, you can learn how to quickly make a sample and process it to sound like it has a stutter step style to it. By taking a recorded sample and importing it into Structure Free, which is a free plugin that comes with most newer versions of Pro Tools, you can quickly apply MIDI triggering to have the sample play along with the beat. Structure Free is the basic, lightweight version of the full Structure plugin. The full version costs $49, and comes packaged with nearly 15GB of pre-recorded samples.

Structure 300x252 Quick Tip Tuesday: Create a Vocal Stutter and Pitch Shift

Alter the timing, and then adjust the MIDI notes and you can have a pitch-shifting stutter sound. Quick, easy and unique processing that anyone can do in minutes!

 

 

 

What’s the best piece of advice you’ve ever been given?

bettermix 300x168 Whats the best piece of advice youve ever been given?

Culled from numerous responses, here is a small collection of some of the best tips to improve your audio engineering skills:

  • It’s all about mic placement. If you want the best sound, start off with a good quality source. Spending a few extra minutes getting every set up correctly will save you time in the editing and mix down process later.
  • Never say “we’ll fix it in the mix”.
  • Work smart, not hard. Use technology to your benefit. By creating a session template that is configured with empty tracks, commonly used plug ins and routing already in place, you can save yourself set up time and you won’t lose your creative flow setting up the necessary elements.
  • Critically listen to your work. Recording and mixing are audio arts, so try giving them a pure listen once in a while. Just like blind people have other heightened senses, shut off some of yours to focus on what’s important – close your eyes and really listen.
  • A good mix will sound good whether it’s quiet or loud. Turning down the volume can help prevent ear fatigue, and it also makes certain elements stand out. Maybe at lower volumes the high hat will be more apparent, but you otherwise wouldn’t have noticed since the louder sounds mask it at higher volumes.
  • Spectrum analyzers – Putting one on your master output can help you see what frequencies aren’t represented, and you can see if your mix is bass heavy without having to depend on your room/speaker set up to tell you.
  • EQ is great but don’t overuse it. Boosting a lot of frequencies on various tracks can lead to congestion and conflicts. Instead of boosting some frequencies, think about cutting something else to avoid clutter. This can free up the aural space and give more room to the elements you want to stand out.
  • Take a break! Your ears get tired, just like everything else. Make sure to chill out every hour or two during a project. Your ears will be refreshed, you’ll get a new perspective on your mix when you come back, and you might even be able to think of other techniques to implement since you’re not distracted with the task at hand.
  • A good performance makes the track – not a technically skilled rehearsed rendition. That’s not to say that having skills is a bad thing, but when an artist plays the same performance over and over, sometimes it gets to a point where they are just going through the motions instead of giving a good feel. This ties into an earlier tip – by having templates and everything preconfigured you can get straight to recording without losing the vibe.
  • Low frequencies fill the audio spectrum and have more power than higher frequencies. Use high-pass filters on tracks that don’t have a lot of low frequency content to free up room. Even some bass elements – kick, guitar, low tom – can be improved through the use of a high pass filter by cutting out the muddy, super low frequencies.

5 Minutes to a Better Mix: Steal This Mix

Listen to mix techniques of some of your favorite records and figure out what you like about the mix sonically. Then, take those ideas and apply them to your own mixes!

 

Comping Vocal Performances

Blue Mouse 300x191 Comping Vocal Performances

Recording vocals can be a tricky process. It’s hard to get spot on vocal takes consistently, especially through the entire duration of a song. There is nothing worse than asking a singer to sing the same parts over and over again, hoping to unearth a gem of a performance. There are some techniques that can help out here, and one of the main ideas that has come around with the use of non-linear DAW recordings is”vocal compings”.

“Comping” in this situation refers to making a “compilation” out of the best parts of multiple performances. This allows you as the engineer to get the best quality recording, and puts less strain on the performer’s vocal cords. As Bobby Owsinski outlines in his “The Music Producer’s Handbook“, most vocal comping is based on a standard technique. Here are some of the key points:

  • Get a copy of the lyrics and divide them into clear phrases.
  • Listen carefully during playback and make notes with evaluation marks after each phrase.
  • After listening to all of the passes, try to piece together a vocal.
  • If a phrase still isn’t working, try comping by the word or syllable instead.

You can read more about these techniques and see how to apply this skill set to modern DAWs at the Universal Audio blog here.

 

 

Optimizing Logic to Use Multiple Cores

Pretty much every Mac developed since the jump to Intel processors has at least dual core capability, if not more, especially looking at the Mac Pro towers with 8 cores. A “core” can be considered to be an individual CPU, although it may not be one physical component of a computer. While a dual core processor, like the Intel Core 2 Duo, will be one “unit” on the motherboard, it can separate computational tasks in two regions. Each of these regions can run their own set of computations, so they work effectively as two processors.

Logic does have the potential to to use all of these cores in a balanced fashion so you can optimize your workflow. Here is a quick down and dirty guide on how to make that happen.

Logic breaks tasks down into threads that can be assigned to a single core for execution. While it’s not possible to split a single thread across multiple cores, a single core may run multiple threads at the same time. This is one reason that you may sometimes see uneven load distributions across the available cores on your computer. If one thread is very processor-intensive, the core running that thread may show much more activity than the cores running less demanding tasks. This is the main reason that you may get “Core Audio Overload” warning messages even though some of the cores on your system may not show significant activity.

To monitor Logic as it uses the cores on your system, double-click the CPU meter in the Transport area.

CPU Meter Optimizing Logic to Use Multiple CoresThis will bring up a floating window, showing meters for individual activity within each core.

Core Meter Optimizing Logic to Use Multiple Cores

The same concept applies to channel strips as well. Each channel strip—and all plug-ins it contains—will be processed by one core. If you are using many processor-intensive plug-ins on a single channel strip, the core running it may show heavier activity. This is especially true if you are working at higher sample rates (88.2 kHz+).

 

Redistributing core loads

 

If you find that a single core has much higher activity, use these strategies to redistribute the load.

 

In the example below, there is a single Software Instrument channel strip with plug-ins routed directly to Output 1-2. The channel strip for Output 1-2 has a large number of plug-ins.

SingleOutputLoad 182x300 Optimizing Logic to Use Multiple CoresIn this example we can see activity on two cores. The left meter is handling the software instrument and plug-ins on the Inst 1 track, while the right (or second) meter is processing the Output 1-2 channel strip, with even more plug-ins. You can use the routing capabilities of Logic to distribute the processor load more evenly, to more cores, without changing the sound.

BusToOutput 271x300 Optimizing Logic to Use Multiple CoresHere you can see we added two Aux tracks, and split the 8 plug-ins from the previous Output 1-2 channel strip and divided them evenly. By routing the output of our Inst 1 track to Bus 1, we run it through the first four plug-ins on the Aux 1 track. Then we route the Aux 1 output to bus 2, effectively sending it to the second four plug-ins on the Aux 2 track.

We have now effectively distributed an equal load across three processor cores, and this provides us with the same audio sound and effect, but without strangling one of the cores to death.

You can read more about this technique here.

5 Killer OS X Shortcuts for Audio Engineers

mountain lion hero 292x300 5 Killer OS X Shortcuts for Audio Engineers

There is no doubt that Mac computers are found in staggering numbers within the music industry. While a common complaint about the Mac Operating System is that it is too “user friendly” and not “technical” enough, there are a lot of hidden tricks and shortcuts that can be phenomenally useful. Here are seven:

SoundPref 5 Killer OS X Shortcuts for Audio Engineers

  • Change audio I/O from the menu bar – By holding the Option key and clicking on the speaker icon in the menu bar, you can access the same features found within the Sound System Preferences tab.
  • Adjust volume in smaller increments – By default there are 16 levels of volume. But sometimes there is too big of a jump from one click to the next. If you hold Shift+Option while changing the volume, you get much finer resolution – almost 4 levels within each click.
  • Adjust volume silently – Speaking of clicks, sometimes the volume change indicator “quack” can be annoying, and sometimes outright loud if you are working on lower volume material. Hold shift while you change the volume and the clicking sound goes away!

volume fine tune with key press 300x224 5 Killer OS X Shortcuts for Audio Engineers

  • Take a perfect screenshot – Sometimes you want to admire your work. By pressing Shift+Command+3, you can take a snapshot of the entire screen. However that can be a little messy. If you press Shift+Command+4, you can make a selection of what you want to screenshot. But the best trick is when you press Shift+Command+4, then press Space. The mouse cursor turns into a camera icon and you will now be able to take a screenshot of just one window.
  • Quickly force quit Pro Tools – Pro Tools, as well as many other apps, have a tendency to crash and hang. If that happens, you can click and hold on the Pro Tools icon in the Dock, and select Force Quit. One step better, you can accomplish this without a mouse. By pressing Option+Command+Escape, you can bring up the Force Quit window. Press the Up or Down arrow on your keyboard until you select the problematic application and hit enter. You can then press Escape to close the Force Quit window.

 

5 Minutes to a Better Mix: Mono Vocal Delays

I love wide, exaggerated stereo panning. I also happen to love crazy delays and reverb, and I try to fill every space in the stereo spectrum with my tracks. However, sometimes you can have too many things going on at once, and you start losing the effect you were going for and end up with a big washed out mess.

One way you can make your vocal tracks stand out is to use a mono delay for the main vocal tracks. Having a mono delay tied to one spot of the stereo spectrum can really make the vocal track pop without burying all the other atmospheric effects you have going on.

Check out this quick tutorial!

How to Rewire Reason into Pro Tools

While Pro Tools comes with good software instrument plug-ins, sometimes you might want to have access to other sounds or different instruments. Reason is a powerful synthesizer app, and has great versatility, but sometimes it can be a bit tricky to get a mix to sound great in the Reason app alone.

Propellerheads recognizes this and they have developed ReWire, which is essentially an audio bridge that allows you to route sound out of Reason and send it to other DAWs. Most commonly Pro Tools is used to record the instruments to their own tracks, which adds a layer of flexibility in editing, and also allows you to use more plug-ins, such as compressors and EQs, than what you could access in Reason alone.

Check out this great tutorial on how to make this happen!

 

Productivity 101: Left vs Right

 

 

I often find that my most creative sparks strike when I’m least prepared. My life has always been like this, especially when I was younger. I would wake up in the middle of the night with prose pulsing through my consciousness, melodies manifesting in my mind. But if I had to find a notebook, or configure a new session in Logic, by the time that all was done I would have lost my muse.

 

Dan Comerchero wrote a great article for ProSoundWeb outlining some incredible tips on how to be prepared when the moment strikes.

Workflow

  • When recording, mixing, or composing, it may be helpful to take care of specific left brain (analytical) tasks right from the start. While creation can be technical, laying down the non-creative foundation for your build first can help you stay creative when you get the spark. Chris Lord-Alge, for example, often has his studio set up a certain way, with various processors pre-patched and routed before he even sits down.

Chris Lord-Alge is notorious for having lots of his outboard gear already patched in and ready to go for his mixing sessions. He’s also known for his efficient mixing process (having good assistants can’t hurt either ;D ).

There are certain limiters that just stay patched into certain spots of the console — been there for a long time. And they work great because I always put my tracks in the same place.

One of the most important things about mixing is having a routine. That may sound boring, but it works. I don’t want to think about where the kick drum is on the console, or where the vocal is. They’re always going to be in the same place, and I can worry about the song instead. Because it ain’t about the gear; it’s about the song. If you don’t do the song justice, you shouldn’t be mixing. – Chris Lord-Alge

I like to have my gear out and ready to go as well. Having a guitar on a stand right next to its amp, ready to go, I don’t have to waste a minute trying to get my music out into the aural space around me.

Modern Pitfalls

  • Multi-tasking is a common if not necessary skill in this modern world. I find myself researching topics on the web while watching movies, texting and organizing my office. Usually the only time I am doing one task is when I’m making my music. While multi-tasking can get a lot of things accomplished, if you are trying to make a masterpiece, you have all your focus on just that project. Breaking up the entire workflow into smaller chunks can help with this focus.

Here are some tips:

  • Try creating templates for specific types of sessions (mixing, recording, composing etc.) These can be specific too, such as having a template for recording vocals. In Logic Pro, you can configure a template session how you want, configure that to be the default session that opens every time you launch Logic. This way you don’t have to worry about adjusting sample rates, creating tracks, instantiating plug-ins…just get straight to the production.
  • Learn the import functions of your DAW (Logic 9 & Pro Tools). Importing a previous channel strip setting or specific instrument sound can really come in handy in the moment and enhance your workflow. You can also create your own custom settings and save them as presets to help speed up the process.
  • Take care of hardware patches, software routing, and troubleshooting before you begin mixing or recording. As Chris Lord-Alge said earlier, having commonly used gear always on and ready can help here.
  • For producers/composers: make sure your sample libraries & loops are organized and easy to access. Logic has a great search engine and layout by default, but try to keep your organization together as you increase your libraries.
  • Turn off the computer screen or close your eyes occasionally to focus on what you hear and not what you see. This is one of the best tips that anyone can use while mixing or creating music. Shutting off one of your senses can heighten how the others perform, allowing you to catch things you may have missed otherwise.
  • Get to know your hardware/software instruments and tools, and move beyond the presets. In the moment, it might be quick and easy to just scan presets, but giving yourself the time to explore and customize them will let you really get to know your tools and their parameters, which is extremely valuable!
  • Clean up your work environment. A cluttered desk is a cluttered mind.

Read more about Dan’s recommendations here.