Slau, This isn't you at all, you did an excellent job explaining, but I must admit, you went way over my head! I know you do audio stuff for a living, so it's not gonna be quick, but I'm in no hurry. Would you be willing to make me an audio demonstration of how this works? I'm sorry, but via text, this just isn't making sense at all. It's not your falt, It's just that it seems this is a very hard concept to grasp via text.
I thought it would be more easy than this, like select the portion of audio you want to record, then toggle on punch in, arm the track, hit record, and you're done. It seem like there is way more to it than that though. Wasn't there something like, num pad 4, or was it 6 to turn on punch in, or is this about the easiest way to do it. Chris. ----- Original Message ----- From: Slau Halatyn To: [email protected] Sent: Thursday, May 01, 2014 8:36 PM Subject: Re: A few more advanced ProTools Questions Chris, Go to the Transport window. Click once on the Pre-roll amount. Assuming you're in bars and beats, type the number 1 and press return. The Pre-roll amount will be one bar and Pre-roll will automatically be enabled. The button appears to the left of the numeric field you just entered. Move down to the Post-roll field and follow the same steps. Now that Pre and Post roll are enabled, I'd recommend temporarily turning them off with Command-k. Go to the bar/beat where you wish to punch in. Select the range of bars and/or beats you wish to record. Once you've made your selection, press Command-k to enable Pre/Post roll. If you press record, you'll hear one bar before your selected range as pre-roll and you'll only be in record from the selection point. Pro Tools will record through the selection and exit record mode for the final bar of post roll. If you want two bars of pre-roll, obviously, substitute 2 for 1 when typing in the pre-roll value. Here's a tip: don't forget to turn off Pre/Post roll when you're done with your punch-in. When you try to navigate and get to a particular bar, I guarantee it'll confuse you when you hear the music from the previous bar and you'll swear that you thought you meant to go to bar 41 and you'll be hearing bar 40 and all the while it'll be because you actually are at bar 41 but pre-roll is causing you to hear bar 40 first. I'll let someone else take the other questions. Slau On May 1, 2014, at 6:48 PM, Christopher-Mark Gilland <[email protected]> wrote: OK, I do understand that there are quite a few questions here, but any help would be appreciated with any of these. First of all, I'd like to talk about punch in/punch outs. Sometimes, I'll be recording a vocal track, be it lead, or backing, and I may hit a line a little flat, or a little sharp. More times than not, flat. Sometimes, it's in a part of the song which makes it very tricky to get kuh boom right on key with no lead-in warning. Yeah, I totally get I could then just back up a ways and record a little more than needed just for some wiggle room, but why do that if the part right before sounds flawless? I don't want to chance ruinning a perfectly good measure just to get the bar after it sounding good. That just seems a little over kill. Yeah, I know about the playlist option in the edit window on each track, and yes I know about comping. I confess I don't do it much, but I think I'm gonna start getting myself more in the habbit of it. If I want a pollished recording, then face it, sometimes you have to do the more dirty tedious work, but in the long run, it's well worth it. Anyway, so what I'd like to do is a punch in/out. This is just an example. It doesn't mean it's the song I'm working with, but it's one that I know must people know, so it'll make my point really well. Let's take the song Take it Easy by The Eagles. I, natrually am really not a tennor. I kind of, ish, can do it, but not real well. So let's take the chorus. Take it easy, take it easy! Don't let the sound of your own words drive you crazy. Lighten up while you still can. Let's say I'm in the key of G. This means on lighten up, when I hit that C chord, my voice has to hit that G4. So, basically, the G above middle C. For me, that's way stretching it! I can do it, but it's a major struggle. Notice, I said struggle, I did not say strain. I'm not straining to hit it, trust me. I can hit it, just not very full strength usually, at least not on the first try. I usually have to do it a few times to warm/loosen up. So, what I'm thinking is, if I had a way I could start playing the session right where my vocals say Don't let the sound of your own words drive you crazy... I could sing along with that part, not recording, then as soon as I get past that, have the record engage automatically, let me then keep singing seemlessly, lighten up while you still can, don't even try to understand, just find a place to take your stand, and take it easy. After that, have the record disengage all by itself. My mike isn't near enough to my workstation that I can have my hands on the keyboard, nor is it easy for me to hit that line with no prior warning to lead up to it. I just feel I need to easily work my way into it. So yeah, if this can be done, please tell me literally step by step, keystroke by keystroke what I'd hit to do it. My second question is, let's say I'm doing a slow country song, and at the very end, the last two or three bars need to be slower tempo, giving me a ending retard kind of effect. If you wonder what I'm talking about, listen, for instance to the end of Every Light in the House is on by Trace Adkins. That's a perfect! example! So, I know in the event, tempo operations window, how to go to constant, and set a constant BPM, but then, how do I have it do a retard for me? I'm almost done, just two more things. If I'm in say, 4/4 time, and all a sudden, at the start of a bar, I need to switch time signatures without moving the tempo, is there a way I can do that? Finally, If I've inserted midi tracks into my session, and have their output paths going to different xpand2 instrument tracks, is there then a way that I could save that arrangement as a .mid midi file? I know it won't save audio, and I know the samples in the xpand2 tracks wouldn't be saved as midi. I'm perfectly aware of that. I know the whole thing about midi isn't sound. I know it's just 1's and 0's, hince, why I'm routing their outputs to instrument tracks. I just wonder if I could then take those midi tracks, assign the correct GM patches to them like piano, guitar, base, drums on channel 10, etc. then export them down where any midi player, even something simple as WinAmp on Windows could then play the .mid file back with the correct patches in place, and would sound decent. Again, I'm sorry for all the questions, but again, I trust you all will pitch in and help me out here a bit. Chris. -- You received this message because you are subscribed to the Google Groups "Pro Tools Accessibility" group. To unsubscribe from this group and stop receiving emails from it, send an email to [email protected]. For more options, visit https://groups.google.com/d/optout. -- You received this message because you are subscribed to the Google Groups "Pro Tools Accessibility" group. To unsubscribe from this group and stop receiving emails from it, send an email to [email protected]. For more options, visit https://groups.google.com/d/optout. -- You received this message because you are subscribed to the Google Groups "Pro Tools Accessibility" group. To unsubscribe from this group and stop receiving emails from it, send an email to [email protected]. For more options, visit https://groups.google.com/d/optout.
