Chris, if you get a chance, grab a wireless keyboard with a numb pad IMO. I
like pressing 3 on the num pad for recording quick punch because it is a one
button step and in my experience I have got punches in at a fraction of a
second. It sounds like you will save a whole lot of time considering your
set up. If you have the key board in your hand you can punch in over and
over without having to walk over to the keyboard each time to hit record.
This way you can do 10 takes in about a minute or less depending on the
length of the punch.
HTH
----- Original Message -----
From: "Christopher-Mark Gilland" <clgillan...@gmail.com>
To: <ptaccess@googlegroups.com>
Sent: Friday, May 02, 2014 7:49 AM
Subject: Re: A few more advanced ProTools Questions
If you'd rather not reply, suit yourself.
It doesn't bother me. There are plenty of others who I know will be happy
to help. You not responding doesn't offend me, if you feel it's better.
I respect your decision. Smile.
Chris.
----- Original Message -----
From: "Chris Smart" <csma...@cogeco.ca>
To: <ptaccess@googlegroups.com>
Sent: Friday, May 02, 2014 11:32 AM
Subject: Re: A few more advanced ProTools Questions
I'll save us the bother and not reply in future.
I'm not sure what use a counter that only goes as fine as minute or hour
increments would be for recording but ok ...
At 11:20 AM 5/2/2014, you wrote:
I think what I meant was I didn't realize that you specified both. I
didn't realize that when on bars and beats you specified both. I thought
it was an absolute bar value. In other words, I thought that you only
could say 3 bars. I didn't realize you could say 3 bars, 2 beats. Same
goes with hours, minutes, seconds. I was under the impression you only
could specify an exact value. I didn't realize it was flexible enough to
say 1 minute 30 seconds. I thought you'd have to round the seconds up or
down to the nearest minute, and only could specify a min value, not a
second value as well. I thought it had to either be 1 minute, or 2
minutes, it couldn't be 1:30. So I was asking with that assumption,
which now I know was incorrect, what the different values would
represent. Would it be an absolute minute, or would I specify in seconds.
Again, now I see it's both.
Frankly, your terse comments really are not amusing to me! I was really
trying to ask for help, and the whole quote: minutes and seconds are...
well? um... minutes and seconds, was extremely uncalled for! I was just
asking for help, you don't have to be such a smart-butt about it.
Chris.
----- Original Message ----- From: "Chris Smart" <csma...@cogeco.ca>
To: <ptaccess@googlegroups.com>
Sent: Friday, May 02, 2014 10:57 AM
Subject: Re: A few more advanced ProTools Questions
You lost me there. minutes represents minutes! Seconds represents, well,
seconds.
At 01:29 AM 5/2/2014, you wrote:
Shruggs,
That's not what I meant. I meant what does the numerical values
represent? In beats/bars it obviously represents bars. In hour minute
seconds, what is it representing?... Seconds? Minutes? or what?
Chris.
----- Original Message ----- From: "Chris Smart" <csma...@cogeco.ca>
To: <ptaccess@googlegroups.com>
Sent: Friday, May 02, 2014 12:46 AM
Subject: Re: A few more advanced ProTools Questions
well, how long do you need to get ready to play?
If you want to convert between bars/beats and minutes/seconds, that
obviously depends on the tempo of your tune.
At 12:43 AM 5/2/2014, you wrote:
Slau,
So, you said with the pre-roll how many bars? How do I calculate if
I'm doing hours minutes seconds frames, instead of bars, beats,
ticks?
Chris.
----- Original Message -----
From: <mailto:slauhala...@gmail.com>Slau Halatyn
To: <mailto:ptaccess@googlegroups.com>ptaccess@googlegroups.com
Sent: Friday, May 02, 2014 12:06 AM
Subject: Re: A few more advanced ProTools Questions
OK, since your keyboard is across the room, you're going to need
enough pre roll to be able to press record, walk over to your mic,
put on headphones and get ready to sing. How many bars do you think
that'll be? 8? 10? Whatever you think it should be, type that number
into the Pre roll field. The Post roll value doesn't matter as much
because who cares how long the song continues playing after you've
finished the record pass. If the pre roll value is 0, you'll have no
pre roll and you'll be recording as soon as you press Command-space
bar. The purpose of the pre roll is to get a running start,
figuratively and, in your case, literally.
On May 1, 2014, at 11:49 PM, Christopher-Mark Gilland
<<mailto:clgillan...@gmail.com>clgillan...@gmail.com> wrote:
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: <mailto:slauhala...@gmail.com>Slau Halatyn
To: <mailto:ptaccess@googlegroups.com>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
<<mailto:clgillan...@gmail.com>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: <mailto:slauhala...@gmail.com>Slau Halatyn
To: <mailto:ptaccess@googlegroups.com>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
<<mailto:clgillan...@gmail.com>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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