Re: Maybe covered before, but I really need help, Bigtime!

[Christopher-Mark Gilland]

Perfect!

Though a bit tedious, it should work.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Slau Halatyn 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, September 19, 2017 11:36 PM
  Subject: Re: Maybe covered before, but I really need help, Bigtime!


  I'm going to describe the steps to identify beats. I'm not going to go 
through describing all of the things you should already know about selecting 
tracks, linking timeline and edit selections, positioning the insertion point, 
etc.

  You're going to be scrubbing or moving the insertion point to positions 
within the song and identifying those positions as specific bars. It'll be the 
first beat of each bar. From here on in, when I say "scrub or move insertion 
point to" a position in the timeline, it doesn't matter how you get there, as 
long as the insertion point is located at the beginning of each bar of music. 
This has nothing to do with bar numbers. You move to the points in the song 
based on your ears and then you specify the number based on math. It sounds 
more complicated than it is but only because it's more complicated to put it 
into words than to actually do it.

  OK, here we go:

  Put the insertion point at the beginning of the song. Press command+i to 
identify the beat. The Identify Beat dialog will open. Don't navigate the 
dialog because there's no need. Simply type the number 1 and press Return. 
You've now defined the first point in the song as bar 1, beat 1. Now get the 
insertion point to the beginning of bar 2. Press Command+i again and this time 
type 2 and press Return. You've now defined bar 2, beat 1.

  Continue this process. You don't necessarily have to do each and every bar. 
You can do every 4 bars or even 8 bars if you want. Thing is, if there are 
fluctuations in tempo, doing every bar is ultimately better because it'll 
follow tempo changes more closely. For stuff that is very steady, you can 
easily identify beats every 8 bars and be fine.

  Let me stress that you have to be precise with the bar numbers. If you 
inadvertently identify bar 27 then move 4 bars later but, instead of typing 31, 
you type 32, your bar numbers will be off and, therefore, your click will speed 
up inappropriately. You have to be absolutely exact in what you type.
  That should get you going.
  Slau


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Re: Maybe covered before, but I really need help, Bigtime!

[Slau Halatyn]

I'm going to describe the steps to identify beats. I'm not going to go through 
describing all of the things you should already know about selecting tracks, 
linking timeline and edit selections, positioning the insertion point, etc.

You're going to be scrubbing or moving the insertion point to positions within 
the song and identifying those positions as specific bars. It'll be the first 
beat of each bar. From here on in, when I say "scrub or move insertion point 
to" a position in the timeline, it doesn't matter how you get there, as long as 
the insertion point is located at the beginning of each bar of music. This has 
nothing to do with bar numbers. You move to the points in the song based on 
your ears and then you specify the number based on math. It sounds more 
complicated than it is but only because it's more complicated to put it into 
words than to actually do it.

OK, here we go:

Put the insertion point at the beginning of the song. Press command+i to 
identify the beat. The Identify Beat dialog will open. Don't navigate the 
dialog because there's no need. Simply type the number 1 and press Return. 
You've now defined the first point in the song as bar 1, beat 1. Now get the 
insertion point to the beginning of bar 2. Press Command+i again and this time 
type 2 and press Return. You've now defined bar 2, beat 1.

Continue this process. You don't necessarily have to do each and every bar. You 
can do every 4 bars or even 8 bars if you want. Thing is, if there are 
fluctuations in tempo, doing every bar is ultimately better because it'll 
follow tempo changes more closely. For stuff that is very steady, you can 
easily identify beats every 8 bars and be fine.

Let me stress that you have to be precise with the bar numbers. If you 
inadvertently identify bar 27 then move 4 bars later but, instead of typing 31, 
you type 32, your bar numbers will be off and, therefore, your click will speed 
up inappropriately. You have to be absolutely exact in what you type.
That should get you going.
Slau


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Re: Maybe covered before, but I really need help, Bigtime!

[Christopher-Mark Gilland]

K, how would this be done?
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Chris Smart 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, September 19, 2017 10:01 PM
  Subject: Re: Maybe covered before, but I really need help, Bigtime!


  yeah, why not make the click conform to the music, rather than the 
  other way around?

  At 06:38 PM 9/19/2017, you wrote:
  >I know of no way of achieving this as a blind user. A sighted user 
  >might possibly be able to drop warp markers at each bar/beat and 
  >then quantize to a fixed tempo. I'm not sure how this might 
  >specifically work. Is it important that everything be at a constant 
  >tempo? I mean, you could easily create bar/beat markers and the 
  >click would simply follow along with the original subtle tempo changes.
  >>On Sep 19, 2017, at 4:04 PM, Christopher-Mark Gilland 
  >><clgillan...@gmail.com> wrote:
  >>
  >>I asked this a while back on list, but don't recall ever getting a 
  >>definite direct answer.
  >>
  >>I have a song which has been professionally recorded, though 
  >>without a click track. I have absolutely no control over this, as 
  >>it was done by a very famous country music artist.
  >>
  >>Obviously, though fairly steady, the song does waver a bit with 
  >>tempo. I therefore cannot set a constant 4/4 time tempo to say, 90 
  >>BPM. I'm not even sure that is! the tempo for the song. I'm only 
  >>using that as a random number. The point being, it may vary from 90 
  >>to say, 92 in a few places, or maybe 88 in others, etc. Point 
  >>being, the tempo isn't exactly totally on the click track.
  >>
  >>What I am aiming for here, is to find a way that I can somehow 
  >>tempo beat map the song then time stretch/collapse so that the 
  >>entire song is all the way through on that constant tempo. This 
  >>way, if I added a click track, then set it to the determined tempo, 
  >>the metronome would follow the whole way through and not get out of sync.
  >>
  >>Is there a way in ProTools that I can accomplish this, even if it 
  >>be a royal pain in the ass to do?
  >>
  >>Chris.
  >>
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  "There are two means of refuge from the miseries of life: music and 
  cats." - Albert Schweitzer 

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Re: Maybe covered before, but I really need help, Bigtime!

[Chris Smart]

Doesn't ProTools have a feature called Beat Detective, that basically 
detects transients?


At 09:23 PM 9/19/2017, you wrote:
I'd do it in Reaper, but I'm not totally advanced enough with it to 
know what I'm doing.


Also, how would I quantize things? I can't, as it's audio, not midi.

Chris.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
- Original Message -
From: TheOreoMonster
To: ptaccess@googlegroups.com
Sent: Tuesday, September 19, 2017 8:22 PM
Subject: Re: Maybe covered before, but I really need help, Bigtime!

I imagine once he got the tempo following along to the subtle tempo 
changes if the right elastic audio algorithm is selected and then 
all the tempo changes selected and changed to the same value the 
audio should playback at the set tempo then.  Just going by what I 
remember from using ProTOols.  The really time  consuming way to do 
this would be to select every actual measure of the song, split it 
to its own clip, and quantize it to whatever tempo you want.  I have 
done something like what Chris is attempting to do in logic and 
these days I am a little bit more familiar with Flex time than 
ProTools elastic audio implementation so this was just suggestions 
based off how I have worked around  different tools not being 
accessible in different DAWs over the years.


On Sep 19, 2017, at 6:38 PM, Slau Halatyn 
<slauhala...@gmail.com> wrote:


I know of no way of achieving this as a blind user. A sighted user 
might possibly be able to drop warp markers at each bar/beat and 
then quantize to a fixed tempo. I'm not sure how this might 
specifically work. Is it important that everything be at a constant 
tempo? I mean, you could easily create bar/beat markers and the 
click would simply follow along with the original subtle tempo changes.
On Sep 19, 2017, at 4:04 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


I asked this a while back on list, but don't recall ever getting a 
definite direct answer.


I have a song which has been professionally recorded, though 
without a click track. I have absolutely no control over this, as 
it was done by a very famous country music artist.


Obviously, though fairly steady, the song does waver a bit with 
tempo. I therefore cannot set a constant 4/4 time tempo to say, 90 
BPM. I'm not even sure that is! the tempo for the song. I'm only 
using that as a random number. The point being, it may vary from 
90 to say, 92 in a few places, or maybe 88 in others, etc. Point 
being, the tempo isn't exactly totally on the click track.


What I am aiming for here, is to find a way that I can somehow 
tempo beat map the song then time stretch/collapse so that the 
entire song is all the way through on that constant tempo. This 
way, if I added a click track, then set it to the determined 
tempo, the metronome would follow the whole way through and not 
get out of sync.


Is there a way in ProTools that I can accomplish this, even if it 
be a royal pain in the ass to do?


Chris.

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"There are two means of refuge from the miseries of life: music and 
cats." - Albert Schweitzer 


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Re: Maybe covered before, but I really need help, Bigtime!

[Chris Smart]

yeah, why not make the click conform to the music, rather than the 
other way around?


At 06:38 PM 9/19/2017, you wrote:
I know of no way of achieving this as a blind user. A sighted user 
might possibly be able to drop warp markers at each bar/beat and 
then quantize to a fixed tempo. I'm not sure how this might 
specifically work. Is it important that everything be at a constant 
tempo? I mean, you could easily create bar/beat markers and the 
click would simply follow along with the original subtle tempo changes.
On Sep 19, 2017, at 4:04 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


I asked this a while back on list, but don't recall ever getting a 
definite direct answer.


I have a song which has been professionally recorded, though 
without a click track. I have absolutely no control over this, as 
it was done by a very famous country music artist.


Obviously, though fairly steady, the song does waver a bit with 
tempo. I therefore cannot set a constant 4/4 time tempo to say, 90 
BPM. I'm not even sure that is! the tempo for the song. I'm only 
using that as a random number. The point being, it may vary from 90 
to say, 92 in a few places, or maybe 88 in others, etc. Point 
being, the tempo isn't exactly totally on the click track.


What I am aiming for here, is to find a way that I can somehow 
tempo beat map the song then time stretch/collapse so that the 
entire song is all the way through on that constant tempo. This 
way, if I added a click track, then set it to the determined tempo, 
the metronome would follow the whole way through and not get out of sync.


Is there a way in ProTools that I can accomplish this, even if it 
be a royal pain in the ass to do?


Chris.

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cats." - Albert Schweitzer 


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Re: Maybe covered before, but I really need help, Bigtime!

[TheOreoMonster]

Most DAWs have a way of using time compression and expansion to quantize audio 
these days. If Pro Tools and Reaper licenses Elastic Audio , Logic uses their 
FlexTime  algorithm. It can be done in reaper as well yes.  The problem is the 
efficient ways of doing this is A( very visual, and B( those tools may not be 
accessible so part of it is knowing the daw well enough and having enough time 
on your hands to figure out and execute said work arounds.  All 3 DAW’s can do 
it so pick your poison and get to work, or just pay a sighted counter part to 
do it for you. 

> On Sep 19, 2017, at 9:23 PM, Christopher-Mark Gilland  
> wrote:
> 
> I'd do it in Reaper, but I'm not totally advanced enough with it to know what 
> I'm doing.
>  
> Also, how would I quantize things? I can't, as it's audio, not midi.
>  
> Chris.
> ---
> Christopher Gilland
> Co-founder of Genuine Safe Haven Ministries
>  
> http://www.gshministry.org 
> (980) 500-9575
>> - Original Message - 
>> From: TheOreoMonster 
>> To: ptaccess@googlegroups.com 
>> Sent: Tuesday, September 19, 2017 8:22 PM
>> Subject: Re: Maybe covered before, but I really need help, Bigtime!
>> 
>> I imagine once he got the tempo following along to the subtle tempo changes 
>> if the right elastic audio algorithm is selected and then all the tempo 
>> changes selected and changed to the same value the audio should playback at 
>> the set tempo then.  Just going by what I remember from using ProTOols.  The 
>> really time  consuming way to do this would be to select every actual 
>> measure of the song, split it to its own clip, and quantize it to whatever 
>> tempo you want.  I have done something like what Chris is attempting to do 
>> in logic and these days I am a little bit more familiar with Flex time than 
>> ProTools elastic audio implementation so this was just suggestions based off 
>> how I have worked around  different tools not being accessible in different 
>> DAWs over the years. 
>> 
>>> On Sep 19, 2017, at 6:38 PM, Slau Halatyn >> > wrote:
>>> 
>>> I know of no way of achieving this as a blind user. A sighted user might 
>>> possibly be able to drop warp markers at each bar/beat and then quantize to 
>>> a fixed tempo. I'm not sure how this might specifically work. Is it 
>>> important that everything be at a constant tempo? I mean, you could easily 
>>> create bar/beat markers and the click would simply follow along with the 
>>> original subtle tempo changes.
 On Sep 19, 2017, at 4:04 PM, Christopher-Mark Gilland 
 > wrote:
 
 I asked this a while back on list, but don't recall ever getting a 
 definite direct answer.
  
 I have a song which has been professionally recorded, though without a 
 click track. I have absolutely no control over this, as it was done by a 
 very famous country music artist.
  
 Obviously, though fairly steady, the song does waver a bit with tempo. I 
 therefore cannot set a constant 4/4 time tempo to say, 90 BPM. I'm not 
 even sure that is! the tempo for the song. I'm only using that as a random 
 number. The point being, it may vary from 90 to say, 92 in a few places, 
 or maybe 88 in others, etc. Point being, the tempo isn't exactly totally 
 on the click track.
  
 What I am aiming for here, is to find a way that I can somehow tempo beat 
 map the song then time stretch/collapse so that the entire song is all the 
 way through on that constant tempo. This way, if I added a click track, 
 then set it to the determined tempo, the metronome would follow the whole 
 way through and not get out of sync.
  
 Is there a way in ProTools that I can accomplish this, even if it be a 
 royal pain in the ass to do?
  
 Chris.
 
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 .
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 .
>>> 
>>> 
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>>> .
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>>> .
>> 
>> 
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>> To 

Re: Maybe covered before, but I really need help, Bigtime!

[Christopher-Mark Gilland]

I'd do it in Reaper, but I'm not totally advanced enough with it to know what 
I'm doing.

Also, how would I quantize things? I can't, as it's audio, not midi.

Chris.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: TheOreoMonster 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, September 19, 2017 8:22 PM
  Subject: Re: Maybe covered before, but I really need help, Bigtime!


  I imagine once he got the tempo following along to the subtle tempo changes 
if the right elastic audio algorithm is selected and then all the tempo changes 
selected and changed to the same value the audio should playback at the set 
tempo then.  Just going by what I remember from using ProTOols.  The really 
time  consuming way to do this would be to select every actual measure of the 
song, split it to its own clip, and quantize it to whatever tempo you want.  I 
have done something like what Chris is attempting to do in logic and these days 
I am a little bit more familiar with Flex time than ProTools elastic audio 
implementation so this was just suggestions based off how I have worked around  
different tools not being accessible in different DAWs over the years. 


On Sep 19, 2017, at 6:38 PM, Slau Halatyn  wrote:


I know of no way of achieving this as a blind user. A sighted user might 
possibly be able to drop warp markers at each bar/beat and then quantize to a 
fixed tempo. I'm not sure how this might specifically work. Is it important 
that everything be at a constant tempo? I mean, you could easily create 
bar/beat markers and the click would simply follow along with the original 
subtle tempo changes.

  On Sep 19, 2017, at 4:04 PM, Christopher-Mark Gilland 
 wrote:


  I asked this a while back on list, but don't recall ever getting a 
definite direct answer.

  I have a song which has been professionally recorded, though without a 
click track. I have absolutely no control over this, as it was done by a very 
famous country music artist.

  Obviously, though fairly steady, the song does waver a bit with tempo. I 
therefore cannot set a constant 4/4 time tempo to say, 90 BPM. I'm not even 
sure that is! the tempo for the song. I'm only using that as a random number. 
The point being, it may vary from 90 to say, 92 in a few places, or maybe 88 in 
others, etc. Point being, the tempo isn't exactly totally on the click track.

  What I am aiming for here, is to find a way that I can somehow tempo beat 
map the song then time stretch/collapse so that the entire song is all the way 
through on that constant tempo. This way, if I added a click track, then set it 
to the determined tempo, the metronome would follow the whole way through and 
not get out of sync.

  Is there a way in ProTools that I can accomplish this, even if it be a 
royal pain in the ass to do?

  Chris.


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Re: Maybe covered before, but I really need help, Bigtime!

[Christopher-Mark Gilland]

OK, then, how would I do that suggestion with the markers? I'd prefer it to be 
a constant tempo, but no, it's not mandatory.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Slau Halatyn 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, September 19, 2017 6:38 PM
  Subject: Re: Maybe covered before, but I really need help, Bigtime!


  I know of no way of achieving this as a blind user. A sighted user might 
possibly be able to drop warp markers at each bar/beat and then quantize to a 
fixed tempo. I'm not sure how this might specifically work. Is it important 
that everything be at a constant tempo? I mean, you could easily create 
bar/beat markers and the click would simply follow along with the original 
subtle tempo changes.

On Sep 19, 2017, at 4:04 PM, Christopher-Mark Gilland 
 wrote:


I asked this a while back on list, but don't recall ever getting a definite 
direct answer.

I have a song which has been professionally recorded, though without a 
click track. I have absolutely no control over this, as it was done by a very 
famous country music artist.

Obviously, though fairly steady, the song does waver a bit with tempo. I 
therefore cannot set a constant 4/4 time tempo to say, 90 BPM. I'm not even 
sure that is! the tempo for the song. I'm only using that as a random number. 
The point being, it may vary from 90 to say, 92 in a few places, or maybe 88 in 
others, etc. Point being, the tempo isn't exactly totally on the click track.

What I am aiming for here, is to find a way that I can somehow tempo beat 
map the song then time stretch/collapse so that the entire song is all the way 
through on that constant tempo. This way, if I added a click track, then set it 
to the determined tempo, the metronome would follow the whole way through and 
not get out of sync.

Is there a way in ProTools that I can accomplish this, even if it be a 
royal pain in the ass to do?

Chris.


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Re: A few questions

[TheOreoMonster]

Not to discourage you from Pro Tools as its definitely the most accessible out 
of the box and SloTools only seem to make it more so. However what you are 
describing can be done in reaper on the Mac especially now that the OSARA plug 
in has been ported. I was just a bit confused since you stated that you 
recorded in reaper but had to bounce out to edit in audacity when reaper 
supports  that type of editing as well. Also Samplitude is accessible now but 
only on windows. And if memory serves correct Samplitude has the same editing 
functionality as its big brother Sequoia, Sequoia however supported higher 
sample rates  Ala stuff above 192khz and had some additional mastering 
functionality not found in most other DAWS. Anyways as Slau already eluded to 
any DAW should allow you to get what you are attempting to do done its just a 
matter of choosing the right accessible option for you. 

> On Sep 19, 2017, at 1:51 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
> 
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Re: Maybe covered before, but I really need help, Bigtime!

[TheOreoMonster]

I imagine once he got the tempo following along to the subtle tempo changes if 
the right elastic audio algorithm is selected and then all the tempo changes 
selected and changed to the same value the audio should playback at the set 
tempo then.  Just going by what I remember from using ProTOols.  The really 
time  consuming way to do this would be to select every actual measure of the 
song, split it to its own clip, and quantize it to whatever tempo you want.  I 
have done something like what Chris is attempting to do in logic and these days 
I am a little bit more familiar with Flex time than ProTools elastic audio 
implementation so this was just suggestions based off how I have worked around  
different tools not being accessible in different DAWs over the years. 

> On Sep 19, 2017, at 6:38 PM, Slau Halatyn  wrote:
> 
> I know of no way of achieving this as a blind user. A sighted user might 
> possibly be able to drop warp markers at each bar/beat and then quantize to a 
> fixed tempo. I'm not sure how this might specifically work. Is it important 
> that everything be at a constant tempo? I mean, you could easily create 
> bar/beat markers and the click would simply follow along with the original 
> subtle tempo changes.
>> On Sep 19, 2017, at 4:04 PM, Christopher-Mark Gilland > > wrote:
>> 
>> I asked this a while back on list, but don't recall ever getting a definite 
>> direct answer.
>>  
>> I have a song which has been professionally recorded, though without a click 
>> track. I have absolutely no control over this, as it was done by a very 
>> famous country music artist.
>>  
>> Obviously, though fairly steady, the song does waver a bit with tempo. I 
>> therefore cannot set a constant 4/4 time tempo to say, 90 BPM. I'm not even 
>> sure that is! the tempo for the song. I'm only using that as a random 
>> number. The point being, it may vary from 90 to say, 92 in a few places, or 
>> maybe 88 in others, etc. Point being, the tempo isn't exactly totally on the 
>> click track.
>>  
>> What I am aiming for here, is to find a way that I can somehow tempo beat 
>> map the song then time stretch/collapse so that the entire song is all the 
>> way through on that constant tempo. This way, if I added a click track, then 
>> set it to the determined tempo, the metronome would follow the whole way 
>> through and not get out of sync.
>>  
>> Is there a way in ProTools that I can accomplish this, even if it be a royal 
>> pain in the ass to do?
>>  
>> Chris.
>> 
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Re: Maybe covered before, but I really need help, Bigtime!

[Slau Halatyn]

I know of no way of achieving this as a blind user. A sighted user might 
possibly be able to drop warp markers at each bar/beat and then quantize to a 
fixed tempo. I'm not sure how this might specifically work. Is it important 
that everything be at a constant tempo? I mean, you could easily create 
bar/beat markers and the click would simply follow along with the original 
subtle tempo changes.
> On Sep 19, 2017, at 4:04 PM, Christopher-Mark Gilland  
> wrote:
> 
> I asked this a while back on list, but don't recall ever getting a definite 
> direct answer.
>  
> I have a song which has been professionally recorded, though without a click 
> track. I have absolutely no control over this, as it was done by a very 
> famous country music artist.
>  
> Obviously, though fairly steady, the song does waver a bit with tempo. I 
> therefore cannot set a constant 4/4 time tempo to say, 90 BPM. I'm not even 
> sure that is! the tempo for the song. I'm only using that as a random number. 
> The point being, it may vary from 90 to say, 92 in a few places, or maybe 88 
> in others, etc. Point being, the tempo isn't exactly totally on the click 
> track.
>  
> What I am aiming for here, is to find a way that I can somehow tempo beat map 
> the song then time stretch/collapse so that the entire song is all the way 
> through on that constant tempo. This way, if I added a click track, then set 
> it to the determined tempo, the metronome would follow the whole way through 
> and not get out of sync.
>  
> Is there a way in ProTools that I can accomplish this, even if it be a royal 
> pain in the ass to do?
>  
> Chris.
> 
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Re: Pro Tools versions

[Slau Halatyn]

Hi Ignasi,
Pro Tools First is somewhat accessible but I'd recommend the regular version of 
Pro Tools (some refer to it as "vanilla"). While HD has some more features, I'd 
say it's not particularly necessary for what you are planning to do plus it'll 
be much, much more expensive.
Slau

> On Sep 19, 2017, at 4:23 PM, Ignasi Cambra  wrote:
> 
> Hello all,
> On my quest to get started with PT I’ve been exploring the Avid website, and 
> discovered that there are three versions of Pro Tools: Pro Tools | First, Pro 
> Tools and Pro Tools | HD. Are all of these programs accessible or only Pro 
> Tools | HD? Would Pro Tools | First be enough for me to get started or is it 
> extremely limited in terms of what you can do with it?
> Thanks again for your help!
> 
> IC
> 
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Pro Tools versions

[Ignasi Cambra]

Hello all,
On my quest to get started with PT I’ve been exploring the Avid website, and 
discovered that there are three versions of Pro Tools: Pro Tools | First, Pro 
Tools and Pro Tools | HD. Are all of these programs accessible or only Pro 
Tools | HD? Would Pro Tools | First be enough for me to get started or is it 
extremely limited in terms of what you can do with it?
Thanks again for your help!

IC

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Re: A few questions

[Ignasi Cambra]

Hello,
Yes, my main use for PT would be to record and mix piano. I usually record with 
4 mics, but occasionally use 3 when recording chamber music. Most of the time I 
use an Apogee Quartet.
Believe it or not the standard in classical music is Sequoia, because it 
apparently has some very special crossfades that work very well. For all 
recordings I’ve done for record labels Sequoia was always used, and the 
precision with which we could literally edit down to each tiny note on very 
complex passages was incredible. In any case I know Pro Tools is used pretty 
much everywhere, and honestly I’m sure that for my needs it will do just as 
well as Sequoia.
Another question that comes to mind is whether all versions of Pro Tools are 
accessible? Is it Pro Tools | HD that I need to buy?
Thanks!

IC
> On 19 Sep 2017, at 21:43, Slau Halatyn  wrote:
> 
> Hi Ignasi,
> 
> I'm not sure exactly what you mean by crossfades specifically designed for 
> piano or classical music in general (you didn't exactly specify) but I can 
> assure you that no platform is more widely used than Pro Tools. Also, it 
> happens to be extremely accessible, especially for purposes as you've 
> described. If your application is to record, edit and mix piano, the good 
> news is that you won't necessarily need to use a control surface because your 
> fader levels will largely be static so that'll save a bit on the cost. As 
> Brian mentioned, you can essentially rent Pro Tools for a limited time. I 
> would highly recommend getting an annual subscription and you can take some 
> time to become acquainted with the editing facility. There are a ton of 
> keyboard shortcuts and Pro Tools excels on the editing front.
> 
> When you mention several tracks, do you mean that you're using two or three 
> pairs of mics for capturing the audio? Which interface have you been using 
> thus far?
> Best,
> Slau
> 
>> On Sep 19, 2017, at 1:51 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
>> 
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Maybe covered before, but I really need help, Bigtime!

[Christopher-Mark Gilland]

I asked this a while back on list, but don't recall ever getting a definite 
direct answer.

I have a song which has been professionally recorded, though without a click 
track. I have absolutely no control over this, as it was done by a very famous 
country music artist.

Obviously, though fairly steady, the song does waver a bit with tempo. I 
therefore cannot set a constant 4/4 time tempo to say, 90 BPM. I'm not even 
sure that is! the tempo for the song. I'm only using that as a random number. 
The point being, it may vary from 90 to say, 92 in a few places, or maybe 88 in 
others, etc. Point being, the tempo isn't exactly totally on the click track.

What I am aiming for here, is to find a way that I can somehow tempo beat map 
the song then time stretch/collapse so that the entire song is all the way 
through on that constant tempo. This way, if I added a click track, then set it 
to the determined tempo, the metronome would follow the whole way through and 
not get out of sync.

Is there a way in ProTools that I can accomplish this, even if it be a royal 
pain in the ass to do?

Chris.

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Re: A few questions

[Ignasi Cambra]

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
>> 
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Re: A few questions

[Slau Halatyn]

Hi Ignasi,

I'm not sure exactly what you mean by crossfades specifically designed for 
piano or classical music in general (you didn't exactly specify) but I can 
assure you that no platform is more widely used than Pro Tools. Also, it 
happens to be extremely accessible, especially for purposes as you've 
described. If your application is to record, edit and mix piano, the good news 
is that you won't necessarily need to use a control surface because your fader 
levels will largely be static so that'll save a bit on the cost. As Brian 
mentioned, you can essentially rent Pro Tools for a limited time. I would 
highly recommend getting an annual subscription and you can take some time to 
become acquainted with the editing facility. There are a ton of keyboard 
shortcuts and Pro Tools excels on the editing front.

When you mention several tracks, do you mean that you're using two or three 
pairs of mics for capturing the audio? Which interface have you been using thus 
far?
Best,
Slau

> On Sep 19, 2017, at 1:51 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
> 
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Re: Recording small narration, and splitting them into small files after editing.

[Slau Halatyn]

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,
> don't know what to do, I use this tecnic to split the lon gwave into
> small files:
> I use the down and up errows, to edit and remove unwanted gledshes etc.
> my only problem that I faced is that, the client needs some files to
> be with reverb and others no, some with delay etc.
> so, what I did to finish my task, is that after editing, I took my
> long wave to sound forge, on windows, and I split the long file into
> small waves as requested.
> 
> so my questions are as follows:
> 1- is there a way to split the waves wile recording? I mean putting
> markers so,  when I finish I can split all waves between 

Re: A few questions

[Brian Casey]

P.s. I misheard the last line of your email and thought you said "sorry for my 
english" instead of "sorry for my ignorance ". 

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
> 
> -- 
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Re: A few questions

[Brian Casey]

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

[Ramy Moustafa]

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,
 don't know what to do, I use this tecnic to split the lon gwave into
 small files:
 I use the down and up errows, to edit and remove unwanted gledshes etc.
 my only problem that I faced is that, the client needs some files to
 be with reverb and others no, some with delay etc.
 so, what I did to finish my task, is that after editing, I took my
 long wave to sound forge, on windows, and I split the long file into
 small waves as requested.

 so my questions are as follows:
 1- is there a way to split the waves wile recording? I mean putting
 markers so,  when I finish I can split all waves between marks into
 seprat waves?
 2- can I add  effects to some of these files, others not, before
 exporting
 them?
 3- one of my friends  told me that I can use the num 3 on the Keypad
 to make pause  and continue recording, so, pro tools will add marks
 while recording, is it good tecnic, is it professional?

 Thanks


 --
 Ramy MoustafaSaber
 Music 

A few questions

[Ignasi Cambra]

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

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

[Slau Halatyn]

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,
>>> don't know what to do, I use this tecnic to split the lon gwave into
>>> small files:
>>> I use the down and up errows, to edit and remove unwanted gledshes etc.
>>> my only problem that I faced is that, the client needs some files to
>>> be with reverb and others no, some with delay etc.
>>> so, what I did to finish my task, is that after editing, I took my
>>> long wave to sound forge, on windows, and I split the long file into
>>> small waves as requested.
>>> 
>>> so my questions are as follows:
>>> 1- is there a way to split the waves wile recording? I mean putting
>>> markers so,  when I finish I can split all waves between marks into
>>> seprat waves?
>>> 2- can I add  effects to some of these files, others not, before exporting
>>> them?
>>> 3- one of my friends  told me that I can use the num 3 on the Keypad
>>> to make pause  and continue recording, so, pro tools will add marks
>>> while recording, is it good tecnic, is it professional?
>>> 
>>> Thanks
>>> 
>>> 
>>> --
>>> Ramy MoustafaSaber
>>> Music instructor @:
>>> Faculty ofmusical education
>>> Music arranger and Sound engineer @:
>>> Harmony Recording Studio
>>> https://www.facebook.com/HarmonyRecordingStudio.eg
>>> 
>>> --
>>> 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 

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

[Ramy Moustafa]

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,
>> don't know what to do, I use this tecnic to split the lon gwave into
>> small files:
>> I use the down and up errows, to edit and remove unwanted gledshes etc.
>> my only problem that I faced is that, the client needs some files to
>> be with reverb and others no, some with delay etc.
>> so, what I did to finish my task, is that after editing, I took my
>> long wave to sound forge, on windows, and I split the long file into
>> small waves as requested.
>>
>> so my questions are as follows:
>> 1- is there a way to split the waves wile recording? I mean putting
>> markers so,  when I finish I can split all waves between marks into
>> seprat waves?
>> 2- can I add  effects to some of these files, others not, before exporting
>> them?
>> 3- one of my friends  told me that I can use the num 3 on the Keypad
>> to make pause  and continue recording, so, pro tools will add marks
>> while recording, is it good tecnic, is it professional?
>>
>> Thanks
>>
>>
>> --
>> Ramy MoustafaSaber
>> Music instructor @:
>> Faculty ofmusical education
>> Music arranger and Sound engineer @:
>> Harmony Recording Studio
>> https://www.facebook.com/HarmonyRecordingStudio.eg
>>
>> --
>> 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 ptaccess+unsubscr...@googlegroups.com.
>> 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 ptaccess+unsubscr...@googlegroups.com.
> For more options, visit https://groups.google.com/d/optout.
>


-- 
Ramy MoustafaSaber
Music instructor @:
Faculty ofmusical education
Music arranger and Sound engineer @:
Harmony Recording Studio
https://www.facebook.com/HarmonyRecordingStudio.eg

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Re: Vocal Tuning with Protools

[Brian Casey]

For what its worth, I use autotune EFX with I think is the cheapest form of the 
range, and I have found with experimentation I get extremely transparent 
results. 

Like Slau said I often do more manual tuning on individual notes etc, and again 
the audio suite version of autotune EFX is geat for this. 

All of these algorithms have quirks and artifacts and combining tools and going 
for a more manual approach is always best in my opinion. 

I know that doesn't address the question posed but hope that helps.a 

Sent from my smart-ish phone!

> On 19/09/2017, at 2:47 PM, Slau Halatyn  wrote:
> 
> Hi Alex,
> I haven't used the built-in pitch in Pro Tools for a very long time so I 
> can't comment on the quality but I'm sure it's fine for nudging pitches to a 
> degree. Naturally, there will be some artifacts under certain conditions. 
> AutoTune has a different kind of artifact but it doesn't handle pitch in the 
> same way as manual adjustment can. I use an Audio Suite plug-in called 
> Pitch'n Time which is a bit pricy at around $400 but it's great. The built-in 
> pitch adjustment in PT is decent.
> Slau
> 
>> On Sep 19, 2017, at 7:26 AM, Alex Coleman  
>> wrote:
>> 
>> Hello all.
>> I've read on-list that Antares Auto-Tune is accessible in PT using Voiceover.
>> Though I fully intend to purchase Auto-Tune at some point, I am
>> wondering if it will be possible for me to perform pitch corrections
>> using Protools's built-in functionality, until I can acquire AutoTune?
>> Thanks for any feedback. Trying to make some last-minute purchasing 
>> decisions.
>> Appreciate any feedback/guidance.
>> 
>> Alex
>> 
>> -- 
>> You received this message because you are subscribed to the Google Groups 
>> "Pro Tools Accessibility" group.
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>> email to ptaccess+unsubscr...@googlegroups.com.
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> 
> -- 
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> email to ptaccess+unsubscr...@googlegroups.com.
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Re: Recording small narration, and splitting them into small files after editing.

[Slau Halatyn]

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,
> don't know what to do, I use this tecnic to split the lon gwave into
> small files:
> I use the down and up errows, to edit and remove unwanted gledshes etc.
> my only problem that I faced is that, the client needs some files to
> be with reverb and others no, some with delay etc.
> so, what I did to finish my task, is that after editing, I took my
> long wave to sound forge, on windows, and I split the long file into
> small waves as requested.
> 
> so my questions are as follows:
> 1- is there a way to split the waves wile recording? I mean putting
> markers so,  when I finish I can split all waves between marks into
> seprat waves?
> 2- can I add  effects to some of these files, others not, before exporting 
> them?
> 3- one of my friends  told me that I can use the num 3 on the Keypad
> to make pause  and continue recording, so, pro tools will add marks
> while recording, is it good tecnic, is it professional?
> 
> Thanks
> 
> 
> -- 
> Ramy MoustafaSaber
> Music instructor @:
> Faculty ofmusical education
> Music arranger and Sound engineer @:
> Harmony Recording Studio
> https://www.facebook.com/HarmonyRecordingStudio.eg
> 
> -- 
> 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 ptaccess+unsubscr...@googlegroups.com.
> For more options, visit https://groups.google.com/d/optout.

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Vocal Tuning with Protools

[Alex Coleman]

Hello all.
I've read on-list that Antares Auto-Tune is accessible in PT using Voiceover.
Though I fully intend to purchase Auto-Tune at some point, I am
wondering if it will be possible for me to perform pitch corrections
using Protools's built-in functionality, until I can acquire AutoTune?
Thanks for any feedback. Trying to make some last-minute purchasing decisions.
Appreciate any feedback/guidance.

Alex

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

[Ramy Moustafa]

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,
don't know what to do, I use this tecnic to split the lon gwave into
small files:
I use the down and up errows, to edit and remove unwanted gledshes etc.
my only problem that I faced is that, the client needs some files to
be with reverb and others no, some with delay etc.
so, what I did to finish my task, is that after editing, I took my
long wave to sound forge, on windows, and I split the long file into
small waves as requested.

so my questions are as follows:
1- is there a way to split the waves wile recording? I mean putting
markers so,  when I finish I can split all waves between marks into
seprat waves?
2- can I add  effects to some of these files, others not, before exporting them?
3- one of my friends  told me that I can use the num 3 on the Keypad
to make pause  and continue recording, so, pro tools will add marks
while recording, is it good tecnic, is it professional?

Thanks


-- 
Ramy MoustafaSaber
Music instructor @:
Faculty ofmusical education
Music arranger and Sound engineer @:
Harmony Recording Studio
https://www.facebook.com/HarmonyRecordingStudio.eg

-- 
You received this message because you are subscribed to the Google Groups "Pro 
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