Re: A few questions

[Ignasi Cambra]

Hello Brian,
Yes, I have been in touch with Slau and he is being incredibly helpful. I may 
consider listening to the ProTools with Speech tutorials at some point, because 
at least I’m sure they’ll give me a better idea of how things work.
I can tell that this list will be an invaluable resource for me to learn Pro 
Tools, so thanks everyone in advance for your help!

IC
> On 20 Sep 2017, at 20:59, Brian@Wavefield Recordings 
>  wrote:
> 
> Hi,
> 
> Sorry as you may guess I replied in a rush to you originally, so
> forgot you had specifically referred to using Voice Over and the mac.
> 
> As Slau recommended in his replies the standard version of Protools
> and not HD or Protools first would be the best starting point in my
> opinion.
> 
> I don't know what features other DAWs could have specific to classical
> music etc, but Protools should be perfectly sufficient in terms of its
> options for cross fading, the ability to tab to transients, even do
> some time stretch stuff etc.
> 
> The protools with speech tutorials helped me get past the block of not
> knowing where to begin, but I never went back to them after an initial
> quick listen and getting my feet wet...however I felt it was worth
> supporting at the time, and it was based on an out of date protools
> version even when I purchased it, however most of the principals
> applied. It is much more focused on editing audio than midi as I
> remember it, so that will suit you just fine.
> 
> I believe Slau has posted some tutorials here, and I haven't listened
> to more than one of them quickly, but he is the best Protools resource
> I have ever come across full stop, and as you may already tell is very
> helpful on list here.
> 
> There is a protools access drop box shared folder, which you can ask
> to be linked to or search the list archives for reference to it and
> Slau's posts on editing.
> 
> The list also has many other fantastic contributors, and I would not
> count myself as one of those, but hopefully my interjections here have
> saved someone else a little typing and presented some of the options
> to you.
> 
> Best of luck,
> Brian.
> 
> On 9/19/17, Ignasi Cambra  wrote:
>> Hello,
>> No no, I am a Mac user and own several of them, so I was hoping to use Pro
>> Tools with VoiceOver.
>> What would be the best resource for me to get started? Are the Pro Tools
>> with Speech tutorials still the way to go or would you recommend something
>> more recent? Weren’t those tutorials recorded on Pro Tools 10?
>> I would only be mixing and editing acoustic instruments, so would be
>> interested in something that touches on those topics rather than Midi
>> related issues.
>> I will check the Pro Tools site now and see if I can get myself a
>> subscription. Thanks for your help!
>> 
>> IC
>>> On 19 Sep 2017, at 21:24, Brian Casey 
>>> wrote:
>>> 
>>> Hi Ignasi,
>>> 
>>> Firstly your english and questions are perfectly phrased so thank you.
>>> 
>>> I think protools will be perfect for you and all the workflow you describe
>>> will be both accessible and more simple than how you do things currently.
>>> 
>>> 
>>> I edit piano and acoustic instruments every day and protools is perfectly
>>> capable of doing everything I need it to do, and though I am a
>>> professional audio engineer, I would compare my protools skills as
>>> intermediate level in comparisan to others on this list.
>>> 
>>> Hpwever protools is only accessible on the apple mac, and yes the latest
>>> version is best.
>>> 
>>> If you have or can borrow a mac computer you can always subscribe to
>>> protools for just a month for relatively little money and see how you like
>>> it.
>>> 
>>> Hope this helps,
>>> Brian
>>> 
>>> Sent from my smart-ish phone!
>>> 
 On 19/09/2017, at 6:51 PM, Ignasi Cambra  wrote:
 
 Hello all,
 First of all I would like to apologize as I’m sure every once in a while
 people send emails to this list with this type of questions. I will try
 and be as brief as I can.
 
 I am a classical concert pianist and have a fair amount of recording
 equipment at home. I have a nice space with a concert grand, and record
 myself often while practicing etc. In classical music the DAW that’s used
 in most cases is Sequoia by Magix, which includes certain crossfades
 specifically designed for us. Sequoia is not available on the Mac, and is
 not accessible on Windows either as far as I know. Knowing that Pro Tools
 is probably not the ideal DAw for me I am thinking of purchasing it
 anyways, because I understand it’s fully accessible with VoiceOver. Is
 that correct? In principle I don’t plan on dealing with huge multitrack
 projects. My projects generally include 4-6 tracks, and essentially what
 I need is a DAW that will allow me to efficiently edit audio, making
 extremely precise cuts at exact 

Re: A few questions

[Brian@Wavefield Recordings]

Hi,

Sorry as you may guess I replied in a rush to you originally, so
forgot you had specifically referred to using Voice Over and the mac.

As Slau recommended in his replies the standard version of Protools
and not HD or Protools first would be the best starting point in my
opinion.

I don't know what features other DAWs could have specific to classical
music etc, but Protools should be perfectly sufficient in terms of its
options for cross fading, the ability to tab to transients, even do
some time stretch stuff etc.

The protools with speech tutorials helped me get past the block of not
knowing where to begin, but I never went back to them after an initial
quick listen and getting my feet wet...however I felt it was worth
supporting at the time, and it was based on an out of date protools
version even when I purchased it, however most of the principals
applied. It is much more focused on editing audio than midi as I
remember it, so that will suit you just fine.

I believe Slau has posted some tutorials here, and I haven't listened
to more than one of them quickly, but he is the best Protools resource
I have ever come across full stop, and as you may already tell is very
helpful on list here.

There is a protools access drop box shared folder, which you can ask
to be linked to or search the list archives for reference to it and
Slau's posts on editing.

The list also has many other fantastic contributors, and I would not
count myself as one of those, but hopefully my interjections here have
saved someone else a little typing and presented some of the options
to you.

Best of luck,
Brian.

On 9/19/17, Ignasi Cambra  wrote:
> Hello,
> No no, I am a Mac user and own several of them, so I was hoping to use Pro
> Tools with VoiceOver.
> What would be the best resource for me to get started? Are the Pro Tools
> with Speech tutorials still the way to go or would you recommend something
> more recent? Weren’t those tutorials recorded on Pro Tools 10?
> I would only be mixing and editing acoustic instruments, so would be
> interested in something that touches on those topics rather than Midi
> related issues.
> I will check the Pro Tools site now and see if I can get myself a
> subscription. Thanks for your help!
>
> IC
>> On 19 Sep 2017, at 21:24, Brian Casey 
>> wrote:
>>
>> Hi Ignasi,
>>
>> Firstly your english and questions are perfectly phrased so thank you.
>>
>> I think protools will be perfect for you and all the workflow you describe
>> will be both accessible and more simple than how you do things currently.
>>
>>
>> I edit piano and acoustic instruments every day and protools is perfectly
>> capable of doing everything I need it to do, and though I am a
>> professional audio engineer, I would compare my protools skills as
>> intermediate level in comparisan to others on this list.
>>
>> Hpwever protools is only accessible on the apple mac, and yes the latest
>> version is best.
>>
>> If you have or can borrow a mac computer you can always subscribe to
>> protools for just a month for relatively little money and see how you like
>> it.
>>
>> Hope this helps,
>> Brian
>>
>> Sent from my smart-ish phone!
>>
>>> On 19/09/2017, at 6:51 PM, Ignasi Cambra  wrote:
>>>
>>> Hello all,
>>> First of all I would like to apologize as I’m sure every once in a while
>>> people send emails to this list with this type of questions. I will try
>>> and be as brief as I can.
>>>
>>> I am a classical concert pianist and have a fair amount of recording
>>> equipment at home. I have a nice space with a concert grand, and record
>>> myself often while practicing etc. In classical music the DAW that’s used
>>> in most cases is Sequoia by Magix, which includes certain crossfades
>>> specifically designed for us. Sequoia is not available on the Mac, and is
>>> not accessible on Windows either as far as I know. Knowing that Pro Tools
>>> is probably not the ideal DAw for me I am thinking of purchasing it
>>> anyways, because I understand it’s fully accessible with VoiceOver. Is
>>> that correct? In principle I don’t plan on dealing with huge multitrack
>>> projects. My projects generally include 4-6 tracks, and essentially what
>>> I need is a DAW that will allow me to efficiently edit audio, making
>>> extremely precise cuts at exact points, using crossfades to transition
>>> between different takes etc. Up until now I have been using Reaper for
>>> recording, and then I would render all of my takes to stereo WAV files
>>> and use Audacity to make all the edits, which works surprisingly well.
>>> Would I gain a lot by moving to Pro Tools? Are all of these tasks
>>> accessible? Is the latest version of Pro Tools the best in terms of
>>> accessibility with VoiceOver on mac OS?
>>> Thanks again, and I’m sorry for my ignorance!
>>>
>>> IC
>>>
>>> --
>>> You received this message because you are subscribed to the Google Groups
>>> "Pro Tools 

Re: Recording small narration, and splitting them into small files after editing.

[Ramy Moustafa]

Hi Marten and Slau:

Thanks for this very clear steps.
But, the steps I described are too long, are there any easier methods
to achieve this?

also, I was using the Noise gate in soar to reduce the noise then try
to remove the remaining issues.
is this ok to do in pro tools, or I must do another steps?




On 9/20/17, Martin (Punky) Sopart  wrote:
> Hi Ramy!
>
> Maybe add another step (3.5) after cleaning up the track using your arrow
> keys.
>
> select the whole track by pressing Enter and than Shift+Option+Enter.
> Press Command+F and the Fades Dialog for Batch Fades will pop up.
> Just try the factory settings first bei clicking the ok button.
> If you are not satisfied, undo the task and get into the same dialog again.
> Now - before clicking ok - interact with the different settings.
>
> Batch Fades will add fade-ins at the beginning of an audio clip, fade-outs
> at end and cross fades on overlapping audio clips.
> The settings inside the dialog take effect regarding fade shapes, fading
> times etc.
>
> Than continue with your step 4.
>
> Best! / Martin
>> -Original Message-
>> From: ptaccess@googlegroups.com [mailto:ptaccess@googlegroups.com]
>> On Behalf Of Slau Halatyn
>> Sent: Wednesday, September 20, 2017 3:24 PM
>> To: PTAccess List 
>> Subject: Re: Recording small narration, and splitting them into small
>> files after
>> editing.
>>
>> That's the basic idea, yes.
>> > On Sep 20, 2017, at 3:07 AM, Ramy Moustafa
>>  wrote:
>> >
>> > Hello SAlau:
>> >
>> > Thanks so much, so the sequence to do this task is as follows:
>> >
>> > 1- Recording the Hole project on 1 track.
>> > 2- insert 2 or 3 tracks that has some extra reverb and delay according
>> > to my needs.
>> > 3- using my down and up errows firstly to remove unwanted coughs,
>> breathing etc.
>> > 4- copying each file from my original track to my other tracks that
>> > contain the reverb an ddelay.
>> > 5- bounce,
>> > is it ok, or do I need something else?
>> >
>> >
>> >
>> > On 9/19/17, Slau Halatyn  wrote:
>> >> Hi Ramy,
>> >> In this case, there's no such thing as more or less professional.
>> >> Either
>> >> approach is viable. It all depends on what is needed in the end and
>> >> which
>> >> approach you feel more comfortable with.
>> >>> On Sep 19, 2017, at 2:09 PM, Ramy Moustafa
>> 
>> >>> wrote:
>> >>>
>> >>> Hi Slau:
>> >>>
>> >>> Thanks so  much for this, but what is more professional, to put the
>> >>> reverb and delay on the track itself, or to put each fx ina Bus and
>> >>> insert it on the track wanted?
>> >>>
>> >>>
>> >>>
>> >>> On 9/19/17, Slau Halatyn  wrote:
>>  OK, this is a perfect example of how your approach will vary based
>> upon
>>  your
>>  needs. You never mentioned that you'll be needing to export 100
>>  files.
>>  With
>>  that in mind,it might be best to take the approach of keeping things
>>  on
>>  one
>>  track and exporting as needed. Still, you can even accomplish this
>>  with
>>  multiple tracks as long as you have markers set to locations. In
>>  other
>>  words, you can offline bounce two tracks from marker 3 to marker 4
>> where
>>  the
>>  first part of the audio is dry and the second half includes reverb
>>  or
>>  delay.
>>  If you set a range between markers 3 and 4 and bounce the track,
>>  you'll
>>  have
>>  a single file with material from both tracks. Otherwise, as I
>>  mentioned
>>  earlier, you can do all of this on one track. Ultimately, the
>>  process
>>  will
>>  essentially be the same, that is, selecting a range and bouncing.
>>  HTH,
>>  slau
>> 
>> > On Sep 19, 2017, at 12:21 PM, Ramy Moustafa
>> 
>> > wrote:
>> >
>> > Hi Slau:
>> > ok,  but, if I will put some waves on track 2, others on track 3,
>> > to
>> > change the reverb or delay, how can I export all in seprat files? I
>> > need to have like 100 file at the end, so, how will I export the 2
>> > long waves into  small tracks?
>> >
>> >
>> >
>> > On 9/19/17, Slau Halatyn  wrote:
>> >> Hi Ramy,
>> >>
>> >> You cannot split files while recording. You can punch in and out
>> >> while
>> >> the
>> >> transport is engaged but that will be quite problematic. You can
>> >> set
>> >> markers
>> >> on the fly by simply pressing the Enter key on the num pad. If
>> >> you're
>> >> going
>> >> to do that, you'll want to set the preference for auto-naming
>> markers.
>> >> To add reverb or delay to certain parts of the recording on a
>> >> single
>> >> track,
>> >> you can do this in several ways. Each way has its advantages and
>> >> disadvantages. You can send the track's output to a reverb track
>> 

RE: Recording small narration, and splitting them into small files after editing.

[Martin (Punky) Sopart]

Hi Ramy!

Maybe add another step (3.5) after cleaning up the track using your arrow keys.

select the whole track by pressing Enter and than Shift+Option+Enter.
Press Command+F and the Fades Dialog for Batch Fades will pop up.
Just try the factory settings first bei clicking the ok button.
If you are not satisfied, undo the task and get into the same dialog again.
Now - before clicking ok - interact with the different settings.

Batch Fades will add fade-ins at the beginning of an audio clip, fade-outs at 
end and cross fades on overlapping audio clips.
The settings inside the dialog take effect regarding fade shapes, fading times 
etc.

Than continue with your step 4.

Best! / Martin
> -Original Message-
> From: ptaccess@googlegroups.com [mailto:ptaccess@googlegroups.com]
> On Behalf Of Slau Halatyn
> Sent: Wednesday, September 20, 2017 3:24 PM
> To: PTAccess List 
> Subject: Re: Recording small narration, and splitting them into small files 
> after
> editing.
> 
> That's the basic idea, yes.
> > On Sep 20, 2017, at 3:07 AM, Ramy Moustafa
>  wrote:
> >
> > Hello SAlau:
> >
> > Thanks so much, so the sequence to do this task is as follows:
> >
> > 1- Recording the Hole project on 1 track.
> > 2- insert 2 or 3 tracks that has some extra reverb and delay according
> > to my needs.
> > 3- using my down and up errows firstly to remove unwanted coughs,
> breathing etc.
> > 4- copying each file from my original track to my other tracks that
> > contain the reverb an ddelay.
> > 5- bounce,
> > is it ok, or do I need something else?
> >
> >
> >
> > On 9/19/17, Slau Halatyn  wrote:
> >> Hi Ramy,
> >> In this case, there's no such thing as more or less professional. Either
> >> approach is viable. It all depends on what is needed in the end and which
> >> approach you feel more comfortable with.
> >>> On Sep 19, 2017, at 2:09 PM, Ramy Moustafa
> 
> >>> wrote:
> >>>
> >>> Hi Slau:
> >>>
> >>> Thanks so  much for this, but what is more professional, to put the
> >>> reverb and delay on the track itself, or to put each fx ina Bus and
> >>> insert it on the track wanted?
> >>>
> >>>
> >>>
> >>> On 9/19/17, Slau Halatyn  wrote:
>  OK, this is a perfect example of how your approach will vary based
> upon
>  your
>  needs. You never mentioned that you'll be needing to export 100 files.
>  With
>  that in mind,it might be best to take the approach of keeping things on
>  one
>  track and exporting as needed. Still, you can even accomplish this with
>  multiple tracks as long as you have markers set to locations. In other
>  words, you can offline bounce two tracks from marker 3 to marker 4
> where
>  the
>  first part of the audio is dry and the second half includes reverb or
>  delay.
>  If you set a range between markers 3 and 4 and bounce the track, you'll
>  have
>  a single file with material from both tracks. Otherwise, as I mentioned
>  earlier, you can do all of this on one track. Ultimately, the process
>  will
>  essentially be the same, that is, selecting a range and bouncing.
>  HTH,
>  slau
> 
> > On Sep 19, 2017, at 12:21 PM, Ramy Moustafa
> 
> > wrote:
> >
> > Hi Slau:
> > ok,  but, if I will put some waves on track 2, others on track 3, to
> > change the reverb or delay, how can I export all in seprat files? I
> > need to have like 100 file at the end, so, how will I export the 2
> > long waves into  small tracks?
> >
> >
> >
> > On 9/19/17, Slau Halatyn  wrote:
> >> Hi Ramy,
> >>
> >> You cannot split files while recording. You can punch in and out while
> >> the
> >> transport is engaged but that will be quite problematic. You can set
> >> markers
> >> on the fly by simply pressing the Enter key on the num pad. If you're
> >> going
> >> to do that, you'll want to set the preference for auto-naming
> markers.
> >> To add reverb or delay to certain parts of the recording on a single
> >> track,
> >> you can do this in several ways. Each way has its advantages and
> >> disadvantages. You can send the track's output to a reverb track and
> a
> >> delay
> >> track and automate the send mutes. Given that you're still new to
> Pro
> >> Tools,
> >> I wouldn't recommend going the automation route yet. You can also
> use
> >> Audio
> >> suite to apply such effects to specific sections of the track. You'd
> >> have
> >> to
> >> make the selection (including space at the end for a reverb or delay
> >> tail,
> >> set the plug-ins' wet/dry balance (which you can preview) and apply
> >> the
> >> effect. You can also create a second and third track and move the
> >> desired
> >> clips onto the other 

Re: Recording small narration, and splitting them into small files after editing.

[Slau Halatyn]

That's the basic idea, yes.
> On Sep 20, 2017, at 3:07 AM, Ramy Moustafa  wrote:
> 
> Hello SAlau:
> 
> Thanks so much, so the sequence to do this task is as follows:
> 
> 1- Recording the Hole project on 1 track.
> 2- insert 2 or 3 tracks that has some extra reverb and delay according
> to my needs.
> 3- using my down and up errows firstly to remove unwanted coughs, breathing 
> etc.
> 4- copying each file from my original track to my other tracks that
> contain the reverb an ddelay.
> 5- bounce,
> is it ok, or do I need something else?
> 
> 
> 
> On 9/19/17, Slau Halatyn  wrote:
>> Hi Ramy,
>> In this case, there's no such thing as more or less professional. Either
>> approach is viable. It all depends on what is needed in the end and which
>> approach you feel more comfortable with.
>>> On Sep 19, 2017, at 2:09 PM, Ramy Moustafa 
>>> wrote:
>>> 
>>> Hi Slau:
>>> 
>>> Thanks so  much for this, but what is more professional, to put the
>>> reverb and delay on the track itself, or to put each fx ina Bus and
>>> insert it on the track wanted?
>>> 
>>> 
>>> 
>>> On 9/19/17, Slau Halatyn  wrote:
 OK, this is a perfect example of how your approach will vary based upon
 your
 needs. You never mentioned that you'll be needing to export 100 files.
 With
 that in mind,it might be best to take the approach of keeping things on
 one
 track and exporting as needed. Still, you can even accomplish this with
 multiple tracks as long as you have markers set to locations. In other
 words, you can offline bounce two tracks from marker 3 to marker 4 where
 the
 first part of the audio is dry and the second half includes reverb or
 delay.
 If you set a range between markers 3 and 4 and bounce the track, you'll
 have
 a single file with material from both tracks. Otherwise, as I mentioned
 earlier, you can do all of this on one track. Ultimately, the process
 will
 essentially be the same, that is, selecting a range and bouncing.
 HTH,
 slau
 
> On Sep 19, 2017, at 12:21 PM, Ramy Moustafa 
> wrote:
> 
> Hi Slau:
> ok,  but, if I will put some waves on track 2, others on track 3, to
> change the reverb or delay, how can I export all in seprat files? I
> need to have like 100 file at the end, so, how will I export the 2
> long waves into  small tracks?
> 
> 
> 
> On 9/19/17, Slau Halatyn  wrote:
>> Hi Ramy,
>> 
>> You cannot split files while recording. You can punch in and out while
>> the
>> transport is engaged but that will be quite problematic. You can set
>> markers
>> on the fly by simply pressing the Enter key on the num pad. If you're
>> going
>> to do that, you'll want to set the preference for auto-naming markers.
>> To add reverb or delay to certain parts of the recording on a single
>> track,
>> you can do this in several ways. Each way has its advantages and
>> disadvantages. You can send the track's output to a reverb track and a
>> delay
>> track and automate the send mutes. Given that you're still new to Pro
>> Tools,
>> I wouldn't recommend going the automation route yet. You can also use
>> Audio
>> suite to apply such effects to specific sections of the track. You'd
>> have
>> to
>> make the selection (including space at the end for a reverb or delay
>> tail,
>> set the plug-ins' wet/dry balance (which you can preview) and apply
>> the
>> effect. You can also create a second and third track and move the
>> desired
>> clips onto the other tracks and apply reverb to one and delay to the
>> other.
>> Any clips on those tracks will have their respective effects while the
>> original track will remain unaffected. Again, one can do this in
>> several
>> ways and, depending on what is needed, one can take several
>> approaches.
>> For
>> example, if there will be future editing within the timeline,
>> splitting
>> the
>> tracks adds a complication that requires grouping of tracks in order
>> to
>> keep
>> things relatively lined up during the editing process. One needs to
>> consider
>> this when making the decision on how to proceed. Keeping everything on
>> one
>> track has its advantages as well but might require additional editing
>> of
>> voice overlapping reverb and delay tails. Before doing anything, do
>> yourself
>> a favor and duplicate the playlist on the track so that you don't lose
>> your
>> original clips.
>> Slau
>> 
>>> On Sep 19, 2017, at 3:45 AM, Ramy Moustafa
>>> 
>>> wrote:
>>> 
>>> Hi all:
>>> 
>>> as you asked me to do, I force myself to leave 

Re: Recording small narration, and splitting them into small files after editing.

[Ramy Moustafa]

Hello SAlau:

Thanks so much, so the sequence to do this task is as follows:

1- Recording the Hole project on 1 track.
2- insert 2 or 3 tracks that has some extra reverb and delay according
to my needs.
3- using my down and up errows firstly to remove unwanted coughs, breathing etc.
4- copying each file from my original track to my other tracks that
contain the reverb an ddelay.
5- bounce,
is it ok, or do I need something else?



On 9/19/17, Slau Halatyn  wrote:
> Hi Ramy,
> In this case, there's no such thing as more or less professional. Either
> approach is viable. It all depends on what is needed in the end and which
> approach you feel more comfortable with.
>> On Sep 19, 2017, at 2:09 PM, Ramy Moustafa 
>> wrote:
>>
>> Hi Slau:
>>
>> Thanks so  much for this, but what is more professional, to put the
>> reverb and delay on the track itself, or to put each fx ina Bus and
>> insert it on the track wanted?
>>
>>
>>
>> On 9/19/17, Slau Halatyn  wrote:
>>> OK, this is a perfect example of how your approach will vary based upon
>>> your
>>> needs. You never mentioned that you'll be needing to export 100 files.
>>> With
>>> that in mind,it might be best to take the approach of keeping things on
>>> one
>>> track and exporting as needed. Still, you can even accomplish this with
>>> multiple tracks as long as you have markers set to locations. In other
>>> words, you can offline bounce two tracks from marker 3 to marker 4 where
>>> the
>>> first part of the audio is dry and the second half includes reverb or
>>> delay.
>>> If you set a range between markers 3 and 4 and bounce the track, you'll
>>> have
>>> a single file with material from both tracks. Otherwise, as I mentioned
>>> earlier, you can do all of this on one track. Ultimately, the process
>>> will
>>> essentially be the same, that is, selecting a range and bouncing.
>>> HTH,
>>> slau
>>>
 On Sep 19, 2017, at 12:21 PM, Ramy Moustafa 
 wrote:

 Hi Slau:
 ok,  but, if I will put some waves on track 2, others on track 3, to
 change the reverb or delay, how can I export all in seprat files? I
 need to have like 100 file at the end, so, how will I export the 2
 long waves into  small tracks?



 On 9/19/17, Slau Halatyn  wrote:
> Hi Ramy,
>
> You cannot split files while recording. You can punch in and out while
> the
> transport is engaged but that will be quite problematic. You can set
> markers
> on the fly by simply pressing the Enter key on the num pad. If you're
> going
> to do that, you'll want to set the preference for auto-naming markers.
> To add reverb or delay to certain parts of the recording on a single
> track,
> you can do this in several ways. Each way has its advantages and
> disadvantages. You can send the track's output to a reverb track and a
> delay
> track and automate the send mutes. Given that you're still new to Pro
> Tools,
> I wouldn't recommend going the automation route yet. You can also use
> Audio
> suite to apply such effects to specific sections of the track. You'd
> have
> to
> make the selection (including space at the end for a reverb or delay
> tail,
> set the plug-ins' wet/dry balance (which you can preview) and apply
> the
> effect. You can also create a second and third track and move the
> desired
> clips onto the other tracks and apply reverb to one and delay to the
> other.
> Any clips on those tracks will have their respective effects while the
> original track will remain unaffected. Again, one can do this in
> several
> ways and, depending on what is needed, one can take several
> approaches.
> For
> example, if there will be future editing within the timeline,
> splitting
> the
> tracks adds a complication that requires grouping of tracks in order
> to
> keep
> things relatively lined up during the editing process. One needs to
> consider
> this when making the decision on how to proceed. Keeping everything on
> one
> track has its advantages as well but might require additional editing
> of
> voice overlapping reverb and delay tails. Before doing anything, do
> yourself
> a favor and duplicate the playlist on the track so that you don't lose
> your
> original clips.
> Slau
>
>> On Sep 19, 2017, at 3:45 AM, Ramy Moustafa
>> 
>> wrote:
>>
>> Hi all:
>>
>> as you asked me to do, I force myself to leave sonar, to use Pro
>> tools
>>
>> and, I can now learn by experience. studying, reading manual, etc.
>>
>> but, in these days, am recording some small narration for very small
>> stories, the narrator was recording about 2 hours, after he recorded,