So, I'm confused. What do the pre and post roll values do/indicate, if not 0,
how do I determine what they should be set to, or does it really not honest
matter. Just pick a random number so's long as it isn't 0.
Chris.
----- Original Message -----
From: Slau Halatyn
To: ptaccess@googlegroups.com
Sent: Thursday, May 01, 2014 11:42 PM
Subject: Re: A few more advanced ProTools Questions
Chris,
You specifically asked for step-by-step instructions and, when you request
something like that, it's going to sound complicated. It's not.
1. Select a range within which you wish to record.
2.Enable Pre/Post roll with Command-k and make sure that the pre and post
roll values in the Transport window are set to something other than zero.
3. Record.
It's rather simple. Another alternative is to buy a USB extension cable and
keep your keyboard close. Punch in by simply pressing Command-Space bar where
you wish to record. Hit space bar to stop. You don't even have to be in
Pre/Post roll to do that.
Slau
On May 1, 2014, at 9:48 PM, Christopher-Mark Gilland <clgillan...@gmail.com>
wrote:
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: ptaccess@googlegroups.com
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
<clgillan...@gmail.com> 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.
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