Re: Mike level or what?

[Christopher-Mark Gilland]

I agree with Slau. Wouldn't that only increase floor noise that you may not 
wanna introduce into the recording?

Chris.


> On Jan 13, 2019, at 4:17 AM, Steve Martin  wrote:
> 
> If you aren’t getting enough gain out of the mic pre when you turn the mic 
> pre up, you can insert a trim plug in on the first insert slot and use that 
> to add some more gain. Use the meters as Slau pointed out to make sure you 
> are not adding too much . 
> 
> 
>> On Jan 13, 2019, at 4:11 AM, Ramy Moustafa > > wrote:
>> 
>> Hi Slau:
>> 
>> Thanks so much, my Sound card is the Onyx Mackie 1220 I, it’s a firewire 
>> sound card with analog Mixer Keys.
>> I set my gain to more than 50% so, do not think that the Software can do 
>> anything,
>> THanks so much for helping, all i need is to be sure if there is something 
>> that i must switch or something on Protools to take higher gain.
>> Thanks
>> 
>> 
>>> On Jan 12, 2019, at 7:07 PM, Slau Halatyn >> > wrote:
>>> 
>>> Hi Ramy,
>>> Your input is probably set to line level (or instrument level) rather than 
>>> mic level. If the input is set to mic level, the gain offered by the preamp 
>>> will be a much higher range. some interfaces have physical mic/line level 
>>> switches and some do that in software. I'm not sure what the case is for 
>>> you but it sounds like that's the issue.
>>> HTH,
>>> Slau
>>> 
 On Jan 12, 2019, at 9:57 AM, Ramy Moustafa >>> > wrote:
 
 Hi all:
 
 I have a very strange issue when Recording, In fact this is not new.
 When i need to take a test mike from a singer, before starting to sing, I 
 am using the P to see the beak level, from what i know that i must have my 
 beak like Minus 20 or something.
 is it right to Messure the Beak value or i must see the Level or what?
 
 my solo beak always be minus 30 or less, so, i think this is too low. and 
 my Sound card gain for this track is above half. so, is it regular? or is 
 there a place which i can Raise the Input level for Protools?
 Thanks
 
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>>> 
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RE: ProToolsWithSpeech Website

[Christopher-Mark Gilland]

Oh no! I darn well hope it’s just a glitch!

Chris.


Sent from Mail for Windows 10

From: Steve Matzura
Sent: Thursday, March 22, 2018 12:53 PM
To: PTAccess List
Subject: ProToolsWithSpeech Website

Just tried going there, and while I don't get a 404, I don't get 
anything else. Is that site gone? Too bad if it is, as I'm finding 
things from it on YouTube that I don't have, such as the recordings on 
adding virtual instruments. I purchased what is probably the starter 
package at least two PT versions ago, and while some of what I now have 
is probably out of date, I am still finding much of its content useful, 
so I'd like to pick up the parts I dont have. Here's hoping this is just 
a DNS or some other Internet-related kind of error.

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Re: Help with Burn

[Christopher-Mark Gilland]

No no no. Go to the top of the screen in the app, and you'll see a toolbar. 
Interact with that tool bar with VO+Shift+down arrow. then, VO+right arrow 
through your toolbar, and you should see the option to change to an audio CD.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Peter Bosher 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, December 19, 2017 7:39 AM
  Subject: Help with Burn


  Hi All,


  Slau recommended the app just called 'Burn' and it certainly looks very 
  accessible, but by default it burns data CD's and I just can't figure 
  out how to set it to burn an audio CD. I feel as though I should be 
  able to work this out, but the documentation doesn't make it clear and 
  I've dug around in options and menus and just can't see how it's done.


  Best,


  Peter


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Re: Tuning Vocals with PT & Voiceover

[Christopher-Mark Gilland]

Steve, do I need custom presets, and if so, are they on the PT with speech 
site, or in the Dropbox folder, either/or? Also, I presume there is no trial 
for this thing?

I have the C L A 2 A, but that's the only one.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Steve Sparrow 
  To: 'Joy Bausch' via Pro Tools Accessibility 
  Sent: Monday, December 18, 2017 4:11 PM
  Subject: Re: Tuning Vocals with PT & Voiceover


  Hi alex. I use auto tune 8 and it works very well with voice over. No problem 
at all there as far as accessibility. . I also use waves tune as it sounds more 
natural in a lot of cases. 
  Steve


  > On 16 Dec 2017, at 6:19 am, Alex Coleman  
wrote:
  > 
  > Hello all, and please forgive me if this has already been answered
  > before. I know it has been discussed, but I can't seem to find the
  > conversation threads in Google.
  > I have two questions:
  > 1. Are we, as voiceover users, able to accessibly perform pitch
  > correction on vocals in Protools?
  > 
  > 2. Is the Auto-Tune plug accessible with voiceover, or is there a
  > better option as far as accessibility goes?
  > 
  > Thanks for any feedback that you can provide.
  > Alex
  > 
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Re: Tuning Vocals with PT & Voiceover

[Christopher-Mark Gilland]

Hmm, interesting. Any custom presets? I know most of the waves plugins aren't 
accessible without them, or, has that changed?
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Brian Casey 
  To: ptaccess@googlegroups.com 
  Sent: Sunday, December 17, 2017 7:22 PM
  Subject: Re: Tuning Vocals with PT & Voiceover


  I haven't no sorry. 



  Sent from my smart-ish phone!

  > On 17/12/2017, at 11:21 PM, Nathaniel Kile  wrote:
  > 
  > Hello Bryan,
  > Have you compared the Auto Tune FX to the Waves tune real-time plug in?
  > I almost picked it up yesterday.
  > 
  > 
  > 
  > Nate Kile,
  > Assistive Technology Instructor, Tech Vision 
  > Specialist in Technology/Training/Teaching for blind/low vision/virtual 
instruction for schools
  > Also Private training to your needs
  > 907-444-3707
  > Website with hundreds of informational articles & lessons on PC, Office 
products, Mac, iPad/iTools and more, all done with keystrokes: 
www.yourtechvision.com 
  > 
  > 
  > 
  > -Original Message-
  > From: ptaccess@googlegroups.com [mailto:ptaccess@googlegroups.com] On 
Behalf Of Brian Casey
  > Sent: Sunday, December 17, 2017 7:18 AM
  > To: ptaccess@googlegroups.com
  > Subject: Re: Tuning Vocals with PT & Voiceover
  > 
  > No problem asking again: 
  > 
  > 1. Yes
  > 2. I use the cheaper autotune EFX and I have managed to cover all my tuning 
needs with it. I believe the full version is also accessible for the same 
functions. 
  > 
  > Hope that helps
  > 
  > Sent from my smart-ish phone!
  > 
  >> On 15/12/2017, at 8:19 PM, Alex Coleman  
wrote:
  >> 
  >> Hello all, and please forgive me if this has already been answered 
  >> before. I know it has been discussed, but I can't seem to find the 
  >> conversation threads in Google.
  >> I have two questions:
  >> 1. Are we, as voiceover users, able to accessibly perform pitch 
  >> correction on vocals in Protools?
  >> 
  >> 2. Is the Auto-Tune plug accessible with voiceover, or is there a 
  >> better option as far as accessibility goes?
  >> 
  >> Thanks for any feedback that you can provide.
  >> Alex
  >> 
  >> --
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Re: Tuning Vocals with PT & Voiceover

[Christopher-Mark Gilland]

I have the full version, and yes, it's great!

I know it's not very much so, but is Melodyme even somewhat? even slightly? 
usable with Voiceover, or is it pretty much, don't even attempt.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Brian Casey 
  To: ptaccess@googlegroups.com 
  Sent: Sunday, December 17, 2017 11:17 AM
  Subject: Re: Tuning Vocals with PT & Voiceover


  No problem asking again: 

  1. Yes 
  2. I use the cheaper autotune EFX and I have managed to cover all my tuning 
needs with it. I believe the full version is also accessible for the same 
functions. 

  Hope that helps

  Sent from my smart-ish phone!

  > On 15/12/2017, at 8:19 PM, Alex Coleman  
wrote:
  > 
  > Hello all, and please forgive me if this has already been answered
  > before. I know it has been discussed, but I can't seem to find the
  > conversation threads in Google.
  > I have two questions:
  > 1. Are we, as voiceover users, able to accessibly perform pitch
  > correction on vocals in Protools?
  > 
  > 2. Is the Auto-Tune plug accessible with voiceover, or is there a
  > better option as far as accessibility goes?
  > 
  > Thanks for any feedback that you can provide.
  > Alex
  > 
  > -- 
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Re: system requirements for Pro Tools 12.8.x

[Christopher-Mark Gilland]

I just asked about this in the What'sapp group the other day, and Slau told me 
that at this time, Avid doesn't yet officially certify ProTools to work with 
High Sierra.

Keep in mind, that doesn't necessarily mean it won't work. It just means it's 
not officially supported. At this time, I personally am not updating the studio 
machine to 10.13. It's still on Sierra.

Now that said, all my other mac systems not running ProTools are definitely! 
updated to High Sierra. LOL!

Chris.


> On Dec 12, 2017, at 9:35 PM, Roy  wrote:
> 
> hi Slaw
> and what about mac HighSiera? , should I upgrade?
> thanks a bunch
> Roy.
> 
> -Original Message- From: Slau Halatyn
> Sent: Wednesday, December 13, 2017 1:05 AM
> To: PTAccess List
> Subject: system requirements for Pro Tools 12.8.x
> 
> I've always been one to try and max out a system whenever buying a new 
> computer. I was just looking at some compatibility info and was surprised to 
> learn that, technically, Pro Tools 12.8.x requires an I7 processor. Now that 
> probably means that it'll surely run on an I5 but Avid clearly specifies the 
> I7 in the system requirements. As I said, that has never been an issue for me 
> personally because I happen to have I& processors in my machines. Just 
> thought I'd point that out for those who might be thinking of a new system.
> slau
> 
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Re: system requirements for Pro Tools 12.8.x

[Christopher-Mark Gilland]

Slau,

I have a mac mini mid 2012, and it's got OSX 10.12 Sierra, and is running 
ProTools 12.8.2 with an I5. Everything seems to be running just fine here with 
8 GB ram. Now, granted, I don't do massive symphony based sessions, or things 
that have a hundred gazillian tracks in it, LOL! but things still seem to be 
working fine here.

Chris.

> On Dec 12, 2017, at 6:05 PM, Slau Halatyn  wrote:
> 
> I've always been one to try and max out a system whenever buying a new 
> computer. I was just looking at some compatibility info and was surprised to 
> learn that, technically, Pro Tools 12.8.x requires an I7 processor. Now that 
> probably means that it'll surely run on an I5 but Avid clearly specifies the 
> I7 in the system requirements. As I said, that has never been an issue for me 
> personally because I happen to have I& processors in my machines. Just 
> thought I'd point that out for those who might be thinking of a new system.
> slau
> 
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Re: CD burning re-visited

[Christopher-Mark Gilland]

Whooo, it'll do DVD's with menus?

It Is it accessible to configure what shows on the menus, and basically 
configure your menu template?

This is getting a bit OT, I'll admit, but this might be egg, zactly! what I was 
looking for this morning, if it'll do this very thing accessibly.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Ignasi Cambra 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, December 12, 2017 10:56 AM
  Subject: Re: CD burning re-visited


  I did mention burn on that thread a few weeks ago. It’s very accessible and 
works great, even for creating DVDs with menus. Someone said that it can’t be 
used with several CD drives if you have more than one but I don’t know about 
that. I think for most people it’s a good option.


  Sent from my iPhone

  On 12 Dec 2017, at 16:29, Slau Halatyn  wrote:


Not sure if this was the one mentioned but, Burn is or at least has been 
accessible:
http://burn-osx.sourceforge.net
Seems to still launch on Sierra. Maybe worth a look.
Slau


  On Dec 12, 2017, at 10:03 AM, Peter Bosher  
wrote:


  Hi All,


  A few weeks back there was a thread about accessible CD-burning Mac 
software.   One of the recommendations was 'Simply Burns', but the download I 
find dates from 2009 and won't immediately install because it's unidentified by 
Apple.  Is that the right one do you think?  And What was the alternative one 
called? A download website would be great.


  Best,


  Peter


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Re: CD burning re-visited

[Christopher-Mark Gilland]

On another note, just was thinking, I highly highly doubt it, but I wonder if 
Nero ever was ported over to the Mac. LOL!
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Peter Bosher 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, December 12, 2017 10:03 AM
  Subject: CD burning re-visited


  Hi All,


  A few weeks back there was a thread about accessible CD-burning Mac 
  software. One of the recommendations was 'Simply Burns', but the 
  download I find dates from 2009 and won't immediately install because 
  it's unidentified by Apple. Is that the right one do you think? And 
  What was the alternative one called? A download website would be great.


  Best,


  Peter


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Re: CD burning re-visited

[Christopher-Mark Gilland]

That's probably it.

I've set my mac to install from all sources, so that's probably why  it 
installed.

It's perfectly legit.

https://sourceforge.net/projects/simplyburns/

Another option would be Express Burn from NCH Software:

www.nch.com.au/burn/index.html

The NCH package is more up to date, so you may have better luck with it. And 
yes, before you ask, it's totally accessible.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Peter Bosher 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, December 12, 2017 10:03 AM
  Subject: CD burning re-visited


  Hi All,


  A few weeks back there was a thread about accessible CD-burning Mac 
  software. One of the recommendations was 'Simply Burns', but the 
  download I find dates from 2009 and won't immediately install because 
  it's unidentified by Apple. Is that the right one do you think? And 
  What was the alternative one called? A download website would be great.


  Best,


  Peter


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Re: important message regarding future Pro Tools features and VoiceOver keys

[Christopher-Mark Gilland]

OK, thank you for letting us know.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Slau Halatyn 
  To: PTAccess List 
  Sent: Sunday, December 10, 2017 6:04 PM
  Subject: important message regarding future Pro Tools features and VoiceOver 
keys


  Consider this a bit of a public service announcement for VoiceOver users who 
use Pro Tools. There have always been several keyboard shortcuts in Pro Tools 
that have conflicted with VoiceOver. They haven't been problems, per se, as 
there were only a couple. Without getting into details, there are a number of 
keyboard shortcuts coming up in future versions of Pro Tools that will add to 
the conflicts. Yes, it's possible to pass through the key commands but the 
nature of the upcoming shortcuts is such that one might want to repeatedly use 
these shortcuts and passing through would be an exercise in inefficiency.

  It is for this reason especially that I'd highly recommend switching the 
VoiceOver keys from Control+Option to CapsLock if you haven't already done so. 
I know that quite a number of users have their settings set to use both and 
some have made the full transition. I made it a point this year to make the 
jump and I'm glad I did. I made the initial transition before knowing that the 
upcoming Pro Tools shortcuts would conflict so I'm happy to have made the 
change early on. I'd encourage users to get used to the alternative because 
you'll be glad you made the switch when the time comes.

  There is the one aspect of the modifier only being on the left side of the 
qwerty keyboard that makes left side combinations somewhat trickier at first 
but you really do get used to it quickly. When I switched over, the first day 
was difficult and the second day was much easier. Within 3 days it became easy 
and, at this point, I'd never go back.

  I know a bunch of you have already done this so I'm just giving a heads up to 
those who haven't yet made the adjustment. Getting used to it now, before the 
new shortcuts are implemented, will make it easier later on. 
  slau

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Re: cd burning on mac

[Christopher-Mark Gilland]

 Burner" 98% of the time though.
  >>>>> YMMV
  >>>>> Chuck
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> CHUCK REICHEL
  >>>>> soundpicturerecord...@gmail.com
  >>>>> <mailto:soundpicturerecord...@gmail.com>
  >>>>> www.SoundPictureRecording.com
  >>>>> <http://www.soundpicturerecording.com/>
  >>>>> 954-742-0019
  >>>>> Isaiah 26 : 3
  >>>>>  Thou wilt keep him in perfect peace, whose mind is stayed
  >>>>> on thee: because he trusteth in thee.
  >>>>> 
  >>>>> In GOD I Trust
  >>>>> 
  >>>>> On Jul 2, 2016, at 2:31 PM, Steve Sparrow wrote:
  >>>>> 
  >>>>> 
  >>>>> Hi Keith. I’ve found iTunes good for burning
  >>>>> something that exists in the iTunes library. But unless i’ve got this 
wrong you
  >>>>> have to add all your tracks to the iTunes library before you can burn 
them.
  >>>>> Most of what i want to burn are wav files i’ve created here in the 
studio. If
  >>>>> iTunes can do this job, i’d be interested to use it. But i didn’t think 
it did.
  >>>>> Playing around with simply burns at the moment.
  >>>>> Steve
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> On 3 Jul 2016, at 3:09 AM, Keith Reedy
  >>>>> <wa9...@gmail.com <mailto:wa9...@gmail.com> > wrote:
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> Steve,
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> Maybe I am missing something here but I just
  >>>>> burn a cd from iTunes.  This has worked well for me.
  >>>>> 
  >>>>> 
  >>>>> kr
  >>>>> 
  >>>>> 
  >>>>> We print the Bible in Braille,
  >>>>> 
  >>>>> 
  >>>>> http://biblesfortheblind.org
  >>>>> <http://biblesfortheblind.org/>
  >>>>> 
  >>>>> 
  >>>>> Keith Reedy
  >>>>> 
  >>>>> 
  >>>>> God gives His best to those who leave the
  >>>>> choice with Him.  J Hudson Taylor.
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> On Jul 2, 2016, at 12:32 AM, Steve Sparrow
  >>>>> <i...@sparrowsound.com.au <mailto:i...@sparrowsound.com.au> >
  >>>>> wrote:
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> Hey Chris. is that what you use there. .
  >>>>> I’ll certainly check it out if you find it works well.
  >>>>> 
  >>>>> 
  >>>>> Thanks for the tip.
  >>>>> 
  >>>>> 
  >>>>> Steve
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> On 2 Jul 2016, at 1:50 PM, Christopher-
  >>>>> Mark Gilland <clgillan...@gmail.com <mailto:clgillan...@gmail.com> >
  >>>>> wrote:
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> How about this.  Could  you maybe try
  >>>>> Simplyburns?  It's totally free, and does wonderfully.  It's not in the 
app
  >>>>> store, so you'll have to Google for it, but it's totally free, and is 
100%
  >>>>> accessible.
  >>>>> 
  >>>>> 
  >>>>> ---
  >>>>> 
  >>>>> 
  >>>>> Christopher Gilland
  >>>>> 
  >>>>> 
  >>>>> JAWS Certified, 2016.
  >>>>> 
  >>>>> 
  >>>>> Training Instructor.
  >>>>> 
  >>>>> 
  >>>>> 
  >>>>> clgillan...@gmail.com
  >>>>> <mailto:clgillan...@

Re: PT Avid certification

[Christopher-Mark Gilland]

And, how difficult was it?
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Nathaniel Kile 
  To: ptaccess@googlegroups.com 
  Sent: Monday, November 13, 2017 10:06 PM
  Subject: PT Avid certification


  Hello list,

  Here at my work, a training center, management and I are talking about trying 
to bring in an engineering training program. We are thinking of ways to make it 
official in order for VR counselors to support sending clients to the program. 
I am wondering if anyone has gone through the Avid certification program and if 
so, was it online or in person, what was the price and the length of time that 
it took to complete.

  Any thoughts on this will be appreciated.

  Nate Kile,

  Assistive Technology Instructor, Tech Vision 

  Specialist in Technology/Training/Teaching for blind/low vision/virtual 
instruction for schools

  Also Private training to your needs

  907-444-3707

  Website with hundreds of informational articles & lessons on PC, Office 
products, Mac, iPad/iTools and more, all done with keystrokes: 
www.yourtechvision.com 

   

   


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Re: Pearl Concert Grand by Impact Soundworks

[Christopher-Mark Gilland]

I guess though without either, you can't just through the librarian preset 
popup get to the presets? Meaning without those two things, or custom presets, 
I'm probably screwed?
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Slau Halatyn 
  To: PTAccess List 
  Sent: Tuesday, October 03, 2017 11:49 AM
  Subject: Re: Pearl Concert Grand by Impact Soundworks


  Well, it's accessible within Komplete Kontrol but you can also just load it 
through Kontakt but you're pretty much just limited to the presets doing it 
that way. Probably Komplete Kontrol is the way to go for accessibility.
  HTH

  > On Oct 3, 2017, at 11:45 AM, Alex Coleman  
wrote:
  > 
  > Hi all,
  > Can anyone comment on whether or not the Pearl Concert Grand by Impact
  > Soundworks VI is accessible in Protools 12?
  > Thanks for any feedback you can share.
  > 
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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!

[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 
  >><<mailto:clgillan...@gmail.com>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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  >>Groups "Pro Tools Accessibility" group.
  >>To unsubscribe from this group and stop receiving emails from it, 
  >>send an email to 
  
>><mailto:ptaccess+unsubscr...@googlegroups.com>ptaccess+unsubscr...@googlegroups.com.
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  >><https://groups.google.com/d/optout>https://groups.google.com/d/optout.
  >
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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!

[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 <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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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 
<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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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: Plugin Presets?

[Christopher-Mark Gilland]

OK, thank you for that confirmation. That's kind of what I suspected all along. 
Someone had suggested to me that they thought it could be done, then I could 
carry those presets over to Reaper on my Windows machine, and provided I had 
the same plugin as a VST, I could then simply import them into Reaper. I was 
like, um... Me thinks not! Figured I'd ask though just out of the one 
gazillionth of a chance that I was wrong.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Phil Muir 
  To: ptaccess@googlegroups.com 
  Sent: Monday, September 18, 2017 9:16 AM
  Subject: RE: Plugin Presets?


  No.

   


--

  From: ptaccess@googlegroups.com [mailto:ptaccess@googlegroups.com] On Behalf 
Of Christopher-Mark Gilland
  Sent: 18 September 2017 13:28
  To: ptaccess@googlegroups.com
  Subject: Plugin Presets?

   

  Is it possible to save plugin presets, within ProTools, as either an FXP or 
FXB file?

   

  Chris.


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Re: Plugin Presets?

[Christopher-Mark Gilland]

Yeah, Slau. That's absolutely what I was trying to tell this other person, but 
they insisted I asked, so... yeah... there we go. Question answered, and 
suspition confirmed. LOL! Thanks for your help. Smile.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Slau Halatyn 
  To: PTAccess List 
  Sent: Monday, September 18, 2017 10:31 AM
  Subject: Re: Plugin Presets?


  FXP and FXB are not the format that Pro Tools uses so, just as you cannot 
save a preset in AAX format in Logic, for example, you cannot save an FXP 
format in Pro Tools.

On Sep 18, 2017, at 8:27 AM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Is it possible to save plugin presets, within ProTools, as either an FXP or 
FXB file?

Chris.


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Plugin Presets?

[Christopher-Mark Gilland]

Is it possible to save plugin presets, within ProTools, as either an FXP or FXB 
file?

Chris.

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Re: Pro tools first, is it accessible?

[Christopher-Mark Gilland]

Exactly, and from what I hear, it's not the greatest, or am I wrong.
---
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: Wednesday, September 06, 2017 11:03 AM
  Subject: Re: Pro tools first, is it accessible?


  He was asking about Pro Tools First, a product based on Pro Tools but with 
stripped down features and interface.
  > On Sep 6, 2017, at 1:35 AM, Andre Woods  wrote:
  > 
  > Protools is most certainly accessible. You  are in the right place!!!   
Garage band is cool, but using protools and flo tools, which is a set of macros 
 created to make the work flow a lot easier.  I learned the basics in protools 
by a group of instructors who are also visually impared.  It is an 8 week class 
for blimd individuals that will teach you the basic fundamentals. Let me know 
if you want more imfo. I can get you commected with the right people .
  > 
  > Sent from my iPhone
  > 
  >> On Sep 5, 2017, at 10:56 AM, Rory McDonald  wrote:
  >> 
  >> Hey,
  >> I think i've joined on 2 emails, if its possible to leave the group on my 
gmail then i will do that.
  >> Anyways, i'm planning to buy pro tools at some point, but since i'm coming 
from garage band i figured i'd try out pro tools first. However, i've heard 
that pro tools first isn't fully accessible, is this true? If so, how useable 
is it, is it easy enough to use that i can learn the avid interface?
  >> Also i can't seem to figure out how to install it. There was a link thaat 
took me to a bunch of things like creating an avid account and an ILock ID, but 
after all that all i installed was avid cloud. Anyone know how i download and 
instal pro tools first if its usable? 
  >> 
  >> -- 
  >> 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.

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Re: Pro tools first, is it accessible?

[Christopher-Mark Gilland]

But, they're asking about ProTools First, not the full fledged ProTools, or, is 
it still accessible, though.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Rory McDonald 
  To: ptaccess@googlegroups.com 
  Sent: Wednesday, September 06, 2017 10:15 AM
  Subject: Re: Pro tools first, is it accessible?




  Sent from my iPhone

  > On Sep 6, 2017, at 1:35 AM, Andre Woods  wrote:
  > 
  > Protools is most certainly accessible. You  are in the right place!!!   
Garage band is cool, but using protools and flo tools, which is a set of macros 
 created to make the work flow a lot easier.  I learned the basics in protools 
by a group of instructors who are also visually impared.  It is an 8 week class 
for blimd individuals that will teach you the basic fundamentals. Let me know 
if you want more imfo. I can get you commected with the right people .
  > 
  > Sent from my iPhone
  > 
  >> On Sep 5, 2017, at 10:56 AM, Rory McDonald  wrote:
  >> 
  >> Hey,
  >> I think i've joined on 2 emails, if its possible to leave the group on my 
gmail then i will do that.
  >> Anyways, i'm planning to buy pro tools at some point, but since i'm coming 
from garage band i figured i'd try out pro tools first. However, i've heard 
that pro tools first isn't fully accessible, is this true? If so, how useable 
is it, is it easy enough to use that i can learn the avid interface?
  >> Also i can't seem to figure out how to install it. There was a link thaat 
took me to a bunch of things like creating an avid account and an ILock ID, but 
after all that all i installed was avid cloud. Anyone know how i download and 
instal pro tools first if its usable? 
  >> 
  >> -- 
  >> 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. I know that pro 
tools is accessible, but what about pro tools first? Is it the same?

  -- 
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Re: It's paramount! that I learn this task: Tempoing

[Christopher-Mark Gilland]

Yup, I found it.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Slau Halatyn 
  To: PTAccess List 
  Sent: Tuesday, August 08, 2017 11:04 PM
  Subject: Re: It's paramount! that I learn this task: Tempoing


  It's in the Transport and also in the Edit window as long as you have MIDI 
controls shown.

On Aug 8, 2017, at 7:07 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


OK, that makes sense.

I'm trying to recall... is the conductor in the edit window, or is that in 
the transport. I know it's one a the two, just don't remember which.
---
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, August 08, 2017 5:47 PM
  Subject: Re: It's paramount! that I learn this task: Tempoing


  The only way to have a session default to a tempo other than 120 bpm is 
to create a template with the session tempo set to whatever you want. All of 
your sessions created from that template will be at that tempo. Regarding the 
previous question, if you set the tempo without the conductor enabled, when you 
enable the conductor (which you'll need to follow tempo changes), the tempo 
will probably revert to 120 bpm. You'll probably need to create a tempo event 
at the beginning of the session and another tempo change where you want it to 
go to the new tempo.


On Aug 8, 2017, at 4:50 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


When you say a tempo event at the top of the song, what would I put for 
that event? I mean, I've already set the constant tempo at the beginning to 
84BPM, or is that what you mean, that alone is a tempo event.

Also, is there a way to change the default, so that instead of it 
defaulting to 128BPM, I could have it default to, say... 80BPM? Most songs I do 
are slower, and are around that speed.
---
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, August 08, 2017 4:11 PM
  Subject: Re: It's paramount! that I learn this task: Tempoing


  If you need a sudden tempo change, create a tempo event at the point 
you want the tempo to change. Make sure you have a tempo event at the top of 
the song and then a tempo event at whatever bar you need. In both cases, use 
the "Constant" tempo change. In the dialog, click on the tempo, enter a value, 
press Return then click Apply.


On Aug 8, 2017, at 2:48 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


I should have clarified.

I don't need it to gradually slow down. I need it to directly go 
from that 84 to an immediate 64BPM. I don't need a slope/curve in the tempo, 
unless that's not, by curve, what you meant, at which point, my apology.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message -
  From: Chi Kim
  To: ptaccess@googlegroups.com
  Sent: Tuesday, August 08, 2017 10:24 AM
  Subject: Re: It's paramount! that I learn this task: Tempoing


  Chris, check out the tempo operation window.
  You can change the constant to different curves for tempo changes.



  Chi




      On 8/8/2017 9:32 AM, Christopher-Mark Gilland wrote:

Guys,

I know this has been discussed before, but I'm seeming to not 
be able to get this to work.

Hopefully, one of you all can tell me step by step the process 
to make this work.

In ProTools, here's what we got going here.

I've got the song She's Not Cryin' Anymore by Billy Ray Cyrus, 
which I've arranged totally by hand from scratch.

For those of you who don't know the structure of this song, 
it's OK. I'm gonna explain, don't worry.

The song is your basic slow country 4/4 signature song which I 
am doing in the key of B mager. Don't ask why not C. That's irrelavent.

Anyway, I'm doing the song with an 84BPM constant tempo. That 
is...

Up until the very very last tag of the song. The ending where 
he repeats the phrase:

There's a smile upon her face, a new one takes my place, she's 
not cryin' anymore.

On the word any more, on more, specifically, the song ends by 
going to the root chord which of corse is B, then to t

Re: It's paramount! that I learn this task: Tempoing

[Christopher-Mark Gilland]

OK, that makes sense.

I'm trying to recall... is the conductor in the edit window, or is that in the 
transport. I know it's one a the two, just don't remember which.
---
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, August 08, 2017 5:47 PM
  Subject: Re: It's paramount! that I learn this task: Tempoing


  The only way to have a session default to a tempo other than 120 bpm is to 
create a template with the session tempo set to whatever you want. All of your 
sessions created from that template will be at that tempo. Regarding the 
previous question, if you set the tempo without the conductor enabled, when you 
enable the conductor (which you'll need to follow tempo changes), the tempo 
will probably revert to 120 bpm. You'll probably need to create a tempo event 
at the beginning of the session and another tempo change where you want it to 
go to the new tempo.


On Aug 8, 2017, at 4:50 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


When you say a tempo event at the top of the song, what would I put for 
that event? I mean, I've already set the constant tempo at the beginning to 
84BPM, or is that what you mean, that alone is a tempo event.

Also, is there a way to change the default, so that instead of it 
defaulting to 128BPM, I could have it default to, say... 80BPM? Most songs I do 
are slower, and are around that speed.
---
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, August 08, 2017 4:11 PM
  Subject: Re: It's paramount! that I learn this task: Tempoing


  If you need a sudden tempo change, create a tempo event at the point you 
want the tempo to change. Make sure you have a tempo event at the top of the 
song and then a tempo event at whatever bar you need. In both cases, use the 
"Constant" tempo change. In the dialog, click on the tempo, enter a value, 
press Return then click Apply.


On Aug 8, 2017, at 2:48 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


I should have clarified.

I don't need it to gradually slow down. I need it to directly go from 
that 84 to an immediate 64BPM. I don't need a slope/curve in the tempo, unless 
that's not, by curve, what you meant, at which point, my apology.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message -
  From: Chi Kim
  To: ptaccess@googlegroups.com
  Sent: Tuesday, August 08, 2017 10:24 AM
  Subject: Re: It's paramount! that I learn this task: Tempoing


  Chris, check out the tempo operation window.
  You can change the constant to different curves for tempo changes.



  Chi




  On 8/8/2017 9:32 AM, Christopher-Mark Gilland wrote:

Guys,

I know this has been discussed before, but I'm seeming to not be 
able to get this to work.

Hopefully, one of you all can tell me step by step the process to 
make this work.

In ProTools, here's what we got going here.

I've got the song She's Not Cryin' Anymore by Billy Ray Cyrus, 
which I've arranged totally by hand from scratch.

For those of you who don't know the structure of this song, it's 
OK. I'm gonna explain, don't worry.

The song is your basic slow country 4/4 signature song which I am 
doing in the key of B mager. Don't ask why not C. That's irrelavent.

Anyway, I'm doing the song with an 84BPM constant tempo. That is...

Up until the very very last tag of the song. The ending where he 
repeats the phrase:

There's a smile upon her face, a new one takes my place, she's not 
cryin' anymore.

On the word any more, on more, specifically, the song ends by going 
to the root chord which of corse is B, then to the 4, which is E, then back 
down to a single held B chord to end the song.

What happens here is once that bar hits, which is at bar 77, and 
carries to the end of the song at bar 78, so basically, those last two bars of 
the song, there is a retard. So, normally, again, the song is at 84BPM. What I 
want is starting at bar 77, and finnishing the whole rest of the session, I 
want the tempo to constantly drop from the constant 84BPM down to 64BPM.

Yes, I do have a click track in this song, and I have ProTools set 
to give me a 2 bar count in. Note that this count in is not actually recorded 
into the song. I'm using numpad 7 to turn on the click track, then numpad 8 t

Re: It's paramount! that I learn this task: Tempoing

[Christopher-Mark Gilland]

LOL! Chris. That's funny! Sorry about that. Hahahah.

In all seriousness though, thank you for that explanation. I very much 
appreciate it.
---
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, August 08, 2017 5:16 PM
  Subject: Re: It's paramount! that I learn this task: Tempoing


  LOL Check your spelling. Ritard, spelled with an i or abbreviated rit 
  on a printed score, refers to the Italian term ritardando: "Gradually 
  decelerating the tempo of a piece of music, especially at the end of 
  the piece."

  Retard, with an e, is well, naw, it's too easy. Oh ok, it's a term 
  you're not supposed to be using in 2017. (grin)




  At 02:54 PM 8/8/2017, you wrote:
  >Mr. Smart, don't be so difficult!
  >
  >1. NO, that isn't what I'm asking. I don't want to do it gradually. 
  >Did I imply that by saying a retard? I thought a retard could be 
  >gradual, but not necessarily. I need it to directly go straight from 
  >84 to 64. I don't need a gradual declination. Would that not be 
  >considered then a retard? If not, then sorry. Maybe someone with a 
  >little theory background can set me straight on that term. I'm 
  >willing to learn.
  >
  >2. Yes, Chris, paramount. I have a click track in this recording. If 
  >I don't change the tempo, then it'll get out of sync, so yes. It's paramount.
  >
  >You know, for a professional, dude, you could be a bit more 
  >respectful with your words, thank you very much, sir!
  >
  >If you didn't wanna help, then why did you waist list traffic with 
  >unnecessary comments! Slau, tell me you agree! I'm sure you do! 
  >You're a reasonable enough guy, I'd think, or, at least hope.
  >---
  >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, August 08, 2017 11:41 AM
  >Subject: Re: It's paramount! that I learn this task: Tempoing
  >
  >
  > >so you're asking: "How do I gradually slow the tempo over a couple of bars?
  >
  >
  >Paramount??
  >
  >
  >
  >"There are two means of refuge from the miseries of life: music and
  >cats." - Albert Schweitzer
  >
  >--
  >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.



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

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Re: It's paramount! that I learn this task: Tempoing

[Christopher-Mark Gilland]

When you say a tempo event at the top of the song, what would I put for that 
event? I mean, I've already set the constant tempo at the beginning to 84BPM, 
or is that what you mean, that alone is a tempo event.

Also, is there a way to change the default, so that instead of it defaulting to 
128BPM, I could have it default to, say... 80BPM? Most songs I do are slower, 
and are around that speed.
---
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, August 08, 2017 4:11 PM
  Subject: Re: It's paramount! that I learn this task: Tempoing


  If you need a sudden tempo change, create a tempo event at the point you want 
the tempo to change. Make sure you have a tempo event at the top of the song 
and then a tempo event at whatever bar you need. In both cases, use the 
"Constant" tempo change. In the dialog, click on the tempo, enter a value, 
press Return then click Apply.


On Aug 8, 2017, at 2:48 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


I should have clarified.

I don't need it to gradually slow down. I need it to directly go from that 
84 to an immediate 64BPM. I don't need a slope/curve in the tempo, unless 
that's not, by curve, what you meant, at which point, my apology.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message -
  From: Chi Kim
  To: ptaccess@googlegroups.com
  Sent: Tuesday, August 08, 2017 10:24 AM
  Subject: Re: It's paramount! that I learn this task: Tempoing


  Chris, check out the tempo operation window.
  You can change the constant to different curves for tempo changes.



  Chi




  On 8/8/2017 9:32 AM, Christopher-Mark Gilland wrote:

Guys,

I know this has been discussed before, but I'm seeming to not be able 
to get this to work.

Hopefully, one of you all can tell me step by step the process to make 
this work.

In ProTools, here's what we got going here.

I've got the song She's Not Cryin' Anymore by Billy Ray Cyrus, which 
I've arranged totally by hand from scratch.

For those of you who don't know the structure of this song, it's OK. 
I'm gonna explain, don't worry.

The song is your basic slow country 4/4 signature song which I am doing 
in the key of B mager. Don't ask why not C. That's irrelavent.

Anyway, I'm doing the song with an 84BPM constant tempo. That is...

Up until the very very last tag of the song. The ending where he 
repeats the phrase:

There's a smile upon her face, a new one takes my place, she's not 
cryin' anymore.

On the word any more, on more, specifically, the song ends by going to 
the root chord which of corse is B, then to the 4, which is E, then back down 
to a single held B chord to end the song.

What happens here is once that bar hits, which is at bar 77, and 
carries to the end of the song at bar 78, so basically, those last two bars of 
the song, there is a retard. So, normally, again, the song is at 84BPM. What I 
want is starting at bar 77, and finnishing the whole rest of the session, I 
want the tempo to constantly drop from the constant 84BPM down to 64BPM.

Yes, I do have a click track in this song, and I have ProTools set to 
give me a 2 bar count in. Note that this count in is not actually recorded into 
the song. I'm using numpad 7 to turn on the click track, then numpad 8 to 
toggle on the count in.

Any help with this would be appreciated. In the long run, I'm gonna 
have to teach my student how to do this. So, better I learn now, before we get 
to that point, that way, I'm prepared.

Chris.
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"Pr

Re: It's paramount! that I learn this task: Tempoing

[Christopher-Mark Gilland]

Mr. Smart, don't be so difficult!

1. NO, that isn't what I'm asking. I don't want to do it gradually. Did I imply 
that by saying a retard? I thought a retard could be gradual, but not 
necessarily. I need it to directly go straight from 84 to 64. I don't need a 
gradual declination. Would that not be considered then a retard? If not, then 
sorry. Maybe someone with a little theory background can set me straight on 
that term. I'm willing to learn.

2. Yes, Chris, paramount. I have a click track in this recording. If I don't 
change the tempo, then it'll get out of sync, so yes. It's paramount.

You know, for a professional, dude, you could be a bit more respectful with 
your words, thank you very much, sir!

If you didn't wanna help, then why did you waist list traffic with unnecessary 
comments! Slau, tell me you agree! I'm sure you do! You're a reasonable enough 
guy, I'd think, or, at least hope.
---
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, August 08, 2017 11:41 AM
  Subject: Re: It's paramount! that I learn this task: Tempoing



  >so you're asking: "How do I gradually slow the tempo over a couple of bars?


  Paramount??


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

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It's paramount! that I learn this task: Tempoing

[Christopher-Mark Gilland]

Guys,

I know this has been discussed before, but I'm seeming to not be able to get 
this to work.

Hopefully, one of you all can tell me step by step the process to make this 
work.

In ProTools, here's what we got going here.

I've got the song She's Not Cryin' Anymore by Billy Ray Cyrus, which I've 
arranged totally by hand from scratch.

For those of you who don't know the structure of this song, it's OK. I'm gonna 
explain, don't worry.

The song is your basic slow country 4/4 signature song which I am doing in the 
key of B mager. Don't ask why not C. That's irrelavent.

Anyway, I'm doing the song with an 84BPM constant tempo. That is...

Up until the very very last tag of the song. The ending where he repeats the 
phrase:

There's a smile upon her face, a new one takes my place, she's not cryin' 
anymore.

On the word any more, on more, specifically, the song ends by going to the root 
chord which of corse is B, then to the 4, which is E, then back down to a 
single held B chord to end the song.

What happens here is once that bar hits, which is at bar 77, and carries to the 
end of the song at bar 78, so basically, those last two bars of the song, there 
is a retard. So, normally, again, the song is at 84BPM. What I want is starting 
at bar 77, and finnishing the whole rest of the session, I want the tempo to 
constantly drop from the constant 84BPM down to 64BPM.

Yes, I do have a click track in this song, and I have ProTools set to give me a 
2 bar count in. Note that this count in is not actually recorded into the song. 
I'm using numpad 7 to turn on the click track, then numpad 8 to toggle on the 
count in.

Any help with this would be appreciated. In the long run, I'm gonna have to 
teach my student how to do this. So, better I learn now, before we get to that 
point, that way, I'm prepared.

Chris.

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Re: Pro Tools Accessibility for pupils who are severely sight impaired

[Christopher-Mark Gilland]

You care to define what you mean by "my unique candor?"
---
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: Thursday, August 03, 2017 3:05 PM
  Subject: Re: Pro Tools Accessibility for pupils who are severely sight 
impaired


  Hello,


  While Christopher makes some valid points, all be it in his unique candor, I 
will say if the work around is using screen magnification in the short term, 
Why not just use zoom on the Mac instead of setting up a windows system just 
for this student? There was at one point a zoom text product for the Mac as 
well, not sure if its still available or not though. But yes learning VoiceOver 
will be the best long term solution.


On Aug 3, 2017, at 2:59 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Paul,

I highly discourage very very strongly this approach.

The biggest reason being, most studios will be using a mac, not Windows. 
Plus, on top of that, let's look at this from two other angles.

  a.. Firstly, what if the students later in life lose their vision 
entirely. I can't tell you how many times I've seen blind individuals have this 
problem later in life. Now, what good is magnifying the screen going to do with 
Supernova? Though it may be fine now, down the road, if their site deteriorates 
even further, then, you're... well... excuse the language... screwed.
  b.. Some students, may find that after looking at the screen for a long 
period of time in such detail develop neurological headaches, if not migraines 
from straining their eyes for a long time. Again, trust me! It can, and does, 
often happen.
  c.. ProTools on Windows is totally inaccessible, and I doubt it ever will 
be, based on Avid's current mission. This said, in combination with the fact 
that most studios, no, not all, I'll admit, but most, will use ProTools on mac 
systems, what now happens if a student goes into a studio to track/mix/master, 
and all a sudden, are told, you need to mix this yourself with our rig, and we 
use a mac in the control room. Now, you're stuck! Supernova won't run on a mac, 
nor will JAWS, NVDA, or anything. And, even if it did, again, ProTools isn't 
accessible on Windows, so, there went the idea of asking for that accomidation 
be made by the studio staff.

Honestly, I know you probably have no say over who wrote/designs the 
student coriculum, but honestly, I'd take one semester to learn Voiceover. 
Then, take the second semester to then focus on ProTool. I get you may then not 
have enough time to cover ProTools entirely. That's why then you might have to 
break it up into several semesters.

Ultimately though, it's going to be paramount that they learn Voiceover. I 
didn't say they need to know it in and out to the point of being a Voiceover 
champian whiz, but they need to at least know it enough to where they could 
turn off the screen, and use Voiceover to navigate. If their vision is that bad 
as you say, then this needs to be incorporated.

Point blank.

If they had more vision, then that would be different, but...

Chris.


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Re: Pro Tools Accessibility for pupils who are severely sight impaired

[Christopher-Mark Gilland]

Paul,

I highly discourage very very strongly this approach.

The biggest reason being, most studios will be using a mac, not Windows. Plus, 
on top of that, let's look at this from two other angles.

  a.. Firstly, what if the students later in life lose their vision entirely. I 
can't tell you how many times I've seen blind individuals have this problem 
later in life. Now, what good is magnifying the screen going to do with 
Supernova? Though it may be fine now, down the road, if their site deteriorates 
even further, then, you're... well... excuse the language... screwed.
  b.. Some students, may find that after looking at the screen for a long 
period of time in such detail develop neurological headaches, if not migraines 
from straining their eyes for a long time. Again, trust me! It can, and does, 
often happen.
  c.. ProTools on Windows is totally inaccessible, and I doubt it ever will be, 
based on Avid's current mission. This said, in combination with the fact that 
most studios, no, not all, I'll admit, but most, will use ProTools on mac 
systems, what now happens if a student goes into a studio to track/mix/master, 
and all a sudden, are told, you need to mix this yourself with our rig, and we 
use a mac in the control room. Now, you're stuck! Supernova won't run on a mac, 
nor will JAWS, NVDA, or anything. And, even if it did, again, ProTools isn't 
accessible on Windows, so, there went the idea of asking for that accomidation 
be made by the studio staff.

Honestly, I know you probably have no say over who wrote/designs the student 
coriculum, but honestly, I'd take one semester to learn Voiceover. Then, take 
the second semester to then focus on ProTool. I get you may then not have 
enough time to cover ProTools entirely. That's why then you might have to break 
it up into several semesters.

Ultimately though, it's going to be paramount that they learn Voiceover. I 
didn't say they need to know it in and out to the point of being a Voiceover 
champian whiz, but they need to at least know it enough to where they could 
turn off the screen, and use Voiceover to navigate. If their vision is that bad 
as you say, then this needs to be incorporated.

Point blank.

If they had more vision, then that would be different, but...

Chris.

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Re: Pro Tools Accessibility for pupils who are severely sight impaired

[Christopher-Mark Gilland]

Having not seen a beta version of ProTools, and being what I know about betas, 
you're probably on a nondisclosure agreement, and cannot reveal anything about 
it, which is fair, but, honestly, Paul, I don't mean to be blunt about this, 
but, I feel like they really need to get their Voiceover skills down pat before 
trying to take on a complex DAW like ProTools. We'll definitely help you along 
the way, please don't misinterpret what I'm saying here, as that's indeed what 
we're all here on this list for, but having a lower skill in the assistive tech 
side of it... (in this case, Voiceover,) is going to pose some issues 
inevitably.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: doobie Mac 
  To: Pro Tools Accessibility 
  Sent: Thursday, August 03, 2017 1:50 PM
  Subject: Re: Pro Tools Accessibility for pupils who are severely sight 
impaired


  Hi Christopher,


  Thank you for your swift reply. The pupil's skills with VoiceOver are not 
that advanced, which in itself is an issue, and we will be supporting and 
assisting the pupil in developing these this session. 


  Pro Tools is also brand new to the pupil and the licences that we currently 
have are dated versions of Pro Tools. We will be addressing this also.


  Can I ask what you would suggest?


  Kind regards,


  Paul

  On Thursday, 3 August 2017 18:33:36 UTC+1, Chris wrote:
Paul,

Are these students not using Voiceover on the mac in combination with 
ProTools?
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: doobie Mac 
  To: Pro Tools Accessibility 
  Sent: Thursday, August 03, 2017 1:28 PM
  Subject: Pro Tools Accessibility for pupils who are severely sight 
impaired


  Hello all, 


  This is my first post to this Google Group. I work in a Scottish 
Secondary School and we support pupils, who are severely sight impaired, to 
access the curriculum and learning.


  However, we are having great difficulty in making Pro Tools accessible 
for a senior pupil, as the level of detail that is displayed on the Monitor is 
far too small. The pupil's Near Vision is around N36.


  Can anyone offer advice in relation to this please?


  Kind regards,


  Paul

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Re: Pro Tools Accessibility for pupils who are severely sight impaired

[Christopher-Mark Gilland]

Paul,

Are these students not using Voiceover on the mac in combination with ProTools?
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: doobie Mac 
  To: Pro Tools Accessibility 
  Sent: Thursday, August 03, 2017 1:28 PM
  Subject: Pro Tools Accessibility for pupils who are severely sight impaired


  Hello all,


  This is my first post to this Google Group. I work in a Scottish Secondary 
School and we support pupils, who are severely sight impaired, to access the 
curriculum and learning.


  However, we are having great difficulty in making Pro Tools accessible for a 
senior pupil, as the level of detail that is displayed on the Monitor is far 
too small. The pupil's Near Vision is around N36.


  Can anyone offer advice in relation to this please?


  Kind regards,


  Paul

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Re: Learning ProTools.

[Christopher-Mark Gilland]

Jes,

Thank you for the kind words! I really do apreciate it! I don't clame to know 
everything, but I'll definitely do my best!
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Jes 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, August 01, 2017 8:26 PM
  Subject: Re: Learning ProTools.


  Yes, Chris would be great at teaching you!




  Need audio mixed for your project? Check out my service on airgigs.
  https://www.airgigs.com/audio-editing-gigs/6735/Mix-commercials-and-jingles

  On Aug 1, 2017, at 7:58 PM, Christopher-Mark Gilland <clgillan...@gmail.com> 
wrote:


Terry, I've been trying to call you. Have you not been getting my 
voicemails?
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Terry Nord 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, August 01, 2017 7:54 PM
  Subject: Learning ProTools.


  Hi everybody,
  I'm trying to learn ProTools and I need someone to work with that will 
teach me the basics. Hours would be flexible and this would be a paid venture. 
Please contact me privately. I want the training to be done on the phone. I do 
not really care for emailing back-and-forth. So much more can be said in 
person. Thanks

  Terry Nord
   Ask me about healthy chocolate! 
  Yes, there is such a thing and it's good to! 
  ternor...@gmail.com
  Sent from my iPhone

  On Jul 26, 2017, at 5:22 PM, TheOreoMonster <monkeypushe...@gmail.com> 
wrote:

  The Focusrite control software isn’t accessible but Focusrite support 
will remote into your system and set it up for you and and can save some 
presets that you can load independently  if needed. Also the iOS app is 
accessible when I tried it with my Clarret 8PreX, however once again you will 
need eyes to pair the app on iOS to the Desktop app since the desktop app isn’t 
accessible. Both your computer and the iOS device will have to be on the same 
Wi-Fi network to pair them. Also FocusRite support can remote in and help you 
pair the iOS app as well. The Clarrets are the best bang for the buck in  the 
premium interface side of things right now in my opinion. 

  > On Jul 26, 2017, at 3:07 PM, Nickus de Vos <bigboy...@gmail.com> wrote:
  > 
  > Hi
  > I’m in the market for a new small and portable interface. I looked at 
Focusrite’s Scarlett range right away since I’ve always liked Focusrite and I 
had only good service from my Focusrite interfaces before. But then I saw the 
Clarett interfaces are not at all badly priced.
  > 
  > Now the magic question, have anyone tried the control software and is 
it accessible? From the looks of it there are certain things which can only be 
adjusted in the control software. Also what about the iOS app, anyone tried 
that?
  > 
  > -- 
  > You received this message because you are subscribed to the Google 
Groups "Pro Tools Accessibility" group.
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an email to ptaccess+unsubscr...@googlegroups.com.
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Re: Learning ProTools.

[Christopher-Mark Gilland]

Terry, I've been trying to call you. Have you not been getting my voicemails?
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Terry Nord 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, August 01, 2017 7:54 PM
  Subject: Learning ProTools.


  Hi everybody,
  I'm trying to learn ProTools and I need someone to work with that will teach 
me the basics. Hours would be flexible and this would be a paid venture. Please 
contact me privately. I want the training to be done on the phone. I do not 
really care for emailing back-and-forth. So much more can be said in person. 
Thanks

  Terry Nord
   Ask me about healthy chocolate! 
  Yes, there is such a thing and it's good to! 
  ternor...@gmail.com
  Sent from my iPhone

  On Jul 26, 2017, at 5:22 PM, TheOreoMonster  wrote:

  The Focusrite control software isn’t accessible but Focusrite support will 
remote into your system and set it up for you and and can save some presets 
that you can load independently  if needed. Also the iOS app is accessible when 
I tried it with my Clarret 8PreX, however once again you will need eyes to pair 
the app on iOS to the Desktop app since the desktop app isn’t accessible. Both 
your computer and the iOS device will have to be on the same Wi-Fi network to 
pair them. Also FocusRite support can remote in and help you pair the iOS app 
as well. The Clarrets are the best bang for the buck in  the premium interface 
side of things right now in my opinion. 

  > On Jul 26, 2017, at 3:07 PM, Nickus de Vos  wrote:
  > 
  > Hi
  > I’m in the market for a new small and portable interface. I looked at 
Focusrite’s Scarlett range right away since I’ve always liked Focusrite and I 
had only good service from my Focusrite interfaces before. But then I saw the 
Clarett interfaces are not at all badly priced.
  > 
  > Now the magic question, have anyone tried the control software and is it 
accessible? From the looks of it there are certain things which can only be 
adjusted in the control software. Also what about the iOS app, anyone tried 
that?
  > 
  > -- 
  > 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.
  > For more options, visit https://groups.google.com/d/optout.

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Re: Asking once again about Meterring

[Christopher-Mark Gilland]

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

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Kevin Reeves 
  To: ptaccess@googlegroups.com 
  Sent: Thursday, July 27, 2017 9:13 PM
  Subject: Re: Asking once again about Meterring


  You might not have anything in the signal chain on your end, but whoever 
recorded said track must have had something in their signal chain and printed 
it in the track.

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Re: Asking once again about Meterring

[Christopher-Mark Gilland]

There is absolutely nothing in the signal chain. I looked about 20 times, 
literally! No inserts on the track, no sends, and it's outputting straight to 
the audio interface, not to a bus, or another track, or anything of sort.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Chi Kim 
  To: ptaccess@googlegroups.com 
  Sent: Thursday, July 27, 2017 2:43 PM
  Subject: Re: Asking once again about Meterring


  Chris,

  Your friend must have something in the signal chain.
  I just generated a sine wave with 0.5 amplitude on Audacity and exported to a 
wave file.
  I imported into Pro Tools, and it correctly reads -6db.
  I imported the same file to Reaper, and it also reads -6db.
  I imported to Logic, and it reads -6db.
  Audacity, Pro Tools, Logic, Reaper all read exactly at -6db.
  If your curious why -6db, the math is 20*log10(0.5). It's approximately 
-6.02...
  There should be no difference between different DAWs as far as peak meter 
goes.

  Chi


  On 7/27/2017 12:27 PM, Christopher-Mark Gilland wrote:

Sorry for the crosspost, but I'm wanting to also put this on PTAccess so we 
can approach this from both DAW angles, and to help leverage getting me the 
most responses.

Guys, I asked this question on list about 2 or 3 months ago, and quite 
frankly, I never ever got a very direct answer. Everyone who did answer, in 
fact, some of which you'd never imagine saying this on the RWP list, told me, 
who cares, just use your ears, and let them be your guide. that's not what I'm 
seeking here. I really want some true and frank answers here.

Here's the situation. I am trying to help an incredibly dear friend of mine 
start up learning audio production, and by the way, no, it's not the friend I 
said who cannot do audio worth a damn. This is someone totally different. LOL! 
This guy actually is very very very open to suggestions!

Anyway, he hasn't done anything at all when it comes to pro grade audio.

One of the things that we now are working on is microphone lead vocal gain 
staging.

What I'm trying to get him to see is that if you record into your DAW too 
hot, you'll start clipping, and even if you don't! clip the  vocal track, leave 
not enough headroom, and in the long run, you'll clip your master fader. He 
gets this concept entirely.

What we did is, he sent me a recording he did in Reaper. He sent me the 
stems.

First, I loaded it up actually in ProTools as it's the DAW I'm most 
familiar with. But, the point is, he sent me the unprocessed raw stems which 
included his vocal that he initially recorded in Reaper.

Here's where things went absolutely awri kurfunkity wacko jacko.

In ProTools, I interacted with the track channel strip that contains his 
vocals. Note that right now, I don't have Flowtools installed. Yes, in the long 
run, this message is ProTools related even though I'm discussing Reaper right 
now. Please please I beg you, stick with me on this!

In this track strip, I navigated one VO+right arrow passed the output 
volume fader for that track, and landed on the peek meter. I have ProTools set 
where the peek meters hold infinent until reset.

On the loudest peek of his vocal, ProTools indicates that he's peeking at 
-1DB. So, he's really really really hot! Really no headroom at all. And trust 
me. I can hear it too! It sounds God aweful! Even he! agrees it sounds 
terrible. How to fix this is another issue in and of itself, but here is the 
strange thing that I just! can't! fathom!

I imported these exact same stem wav files that were created in Reaper, 
originally, back into Reaper.

I then had him, using Osara, go into the peek meter watcher settings with 
CTRL+Shift+W. Essentially, we set both combo boxes for first and second track 
to follow current. We checked both boxes to watch the tracks. I set it to hold 
the meter until reset, which I think was the default radio button value anyway.

Finally, when level reaches, I had him set this to minus 12. My reason of 
thinking was, if he can come into the DAW from his interface at around negative 
12DB, that gives plenty of headroom, and we then could use a compressor, or 
other means later in the mixing phase to get that vocal up in the mix.

This is how I was tought to do it with ProTools, or really with any DAW, 
for that mind. Record in low, then later adjust and compensate for the gain 
loss. - Don't try starting out by going in at a really hot level.

So, anyway, I then after setting up the meter watcher in Reaper had 'em 
play the recording. Because in ProTools, he was peeking at -1DB, I was hoping! 
that the peek watcher in Reaper would pick up on this, and would automatically 
without him doing anything let him know. Well, nothing happened at all. Oh, we 
could hear the clipping all right! Oh baby could we ever! It sounded 
disgusting! But, the watcher

Re: Asking once again about Meterring

[Christopher-Mark Gilland]

Actually, the level is staying the same on the audio track regardless if I move 
the volume fader up or down. Now obviously, the meter changes accordingly on my 
master fader, but not on the actual audio track itself when playing it back.
---
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: Thursday, July 27, 2017 2:31 PM
  Subject: Re: Asking once again about Meterring


  Track fader brings down the volume of the track yes but this is post 
processing. So for example if you use the track fader to bring down the volume 
of a loud file, and take a post fader meter reading it may reflect that the 
level has been lowered. However if you take a pre fader reading you will see 
that the track is still at the previously loud volume. This means that the file 
 will hit any processing put o that track hot and will probably have to 
compensate by turning down the input/output gain in all the plug ins placed on 
that track. If you use Trin/Item Volume/Region Gain to bring the level down to 
a reasonable place first it will hit the plug ins at a reasonable level and you 
probably won’t end up having to play with the plug ins input and output gains 
as much.


  And as it relates to your current Delia If one DAW is taking its readings pre 
fader and the other is taking it post fader and you used the tracks fader to 
bring the volume down then that could explain the vast  differences you are 
experiencing. 
On Jul 27, 2017, at 2:22 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


So, I'm then confused what the point is of the track fader?
---
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: Thursday, July 27, 2017 2:20 PM
  Subject: Re: Asking once again about Meterring


  The first question I’d ask is where are the meter reading being taken 
from? Pre fader, post fader etc.  Also you will  want to use Trim in  Pro 
tools, Item volume in reaper, and region gain in logic to bring down the level 
of the audio file it self not the track fader. 

On Jul 27, 2017, at 12:27 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Sorry for the crosspost, but I'm wanting to also put this on PTAccess 
so we can approach this from both DAW angles, and to help leverage getting me 
the most responses.

Guys, I asked this question on list about 2 or 3 months ago, and quite 
frankly, I never ever got a very direct answer. Everyone who did answer, in 
fact, some of which you'd never imagine saying this on the RWP list, told me, 
who cares, just use your ears, and let them be your guide. that's not what I'm 
seeking here. I really want some true and frank answers here.

Here's the situation. I am trying to help an incredibly dear friend of 
mine start up learning audio production, and by the way, no, it's not the 
friend I said who cannot do audio worth a damn. This is someone totally 
different. LOL! This guy actually is very very very open to suggestions!

Anyway, he hasn't done anything at all when it comes to pro grade audio.

One of the things that we now are working on is microphone lead vocal 
gain staging.

What I'm trying to get him to see is that if you record into your DAW 
too hot, you'll start clipping, and even if you don't! clip the  vocal track, 
leave not enough headroom, and in the long run, you'll clip your master fader. 
He gets this concept entirely.

What we did is, he sent me a recording he did in Reaper. He sent me the 
stems.

First, I loaded it up actually in ProTools as it's the DAW I'm most 
familiar with. But, the point is, he sent me the unprocessed raw stems which 
included his vocal that he initially recorded in Reaper.

Here's where things went absolutely awri kurfunkity wacko jacko.

In ProTools, I interacted with the track channel strip that contains 
his vocals. Note that right now, I don't have Flowtools installed. Yes, in the 
long run, this message is ProTools related even though I'm discussing Reaper 
right now. Please please I beg you, stick with me on this!

In this track strip, I navigated one VO+right arrow passed the output 
volume fader for that track, and landed on the peek meter. I have ProTools set 
where the peek meters hold infinent until reset.

On the loudest peek of his vocal, ProTools indicates that he's peeking 
at -1DB. So, he's really really really hot! Really no headroom at all. And 
trust me. I can hear it too! It sounds God aweful! Even he! agrees it sounds 
terrible. How to fix this is another issue in and of itself, but here is the 
strange thing that I just! can't! fathom!

  

Re: Asking once again about Meterring

[Christopher-Mark Gilland]

Also, I believe the track would have been post fader, but there were no sends 
on it.
---
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: Thursday, July 27, 2017 2:20 PM
  Subject: Re: Asking once again about Meterring


  The first question I’d ask is where are the meter reading being taken from? 
Pre fader, post fader etc.  Also you will  want to use Trim in  Pro tools, Item 
volume in reaper, and region gain in logic to bring down the level of the audio 
file it self not the track fader. 

On Jul 27, 2017, at 12:27 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Sorry for the crosspost, but I'm wanting to also put this on PTAccess so we 
can approach this from both DAW angles, and to help leverage getting me the 
most responses.

Guys, I asked this question on list about 2 or 3 months ago, and quite 
frankly, I never ever got a very direct answer. Everyone who did answer, in 
fact, some of which you'd never imagine saying this on the RWP list, told me, 
who cares, just use your ears, and let them be your guide. that's not what I'm 
seeking here. I really want some true and frank answers here.

Here's the situation. I am trying to help an incredibly dear friend of mine 
start up learning audio production, and by the way, no, it's not the friend I 
said who cannot do audio worth a damn. This is someone totally different. LOL! 
This guy actually is very very very open to suggestions!

Anyway, he hasn't done anything at all when it comes to pro grade audio.

One of the things that we now are working on is microphone lead vocal gain 
staging.

What I'm trying to get him to see is that if you record into your DAW too 
hot, you'll start clipping, and even if you don't! clip the  vocal track, leave 
not enough headroom, and in the long run, you'll clip your master fader. He 
gets this concept entirely.

What we did is, he sent me a recording he did in Reaper. He sent me the 
stems.

First, I loaded it up actually in ProTools as it's the DAW I'm most 
familiar with. But, the point is, he sent me the unprocessed raw stems which 
included his vocal that he initially recorded in Reaper.

Here's where things went absolutely awri kurfunkity wacko jacko.

In ProTools, I interacted with the track channel strip that contains his 
vocals. Note that right now, I don't have Flowtools installed. Yes, in the long 
run, this message is ProTools related even though I'm discussing Reaper right 
now. Please please I beg you, stick with me on this!

In this track strip, I navigated one VO+right arrow passed the output 
volume fader for that track, and landed on the peek meter. I have ProTools set 
where the peek meters hold infinent until reset.

On the loudest peek of his vocal, ProTools indicates that he's peeking at 
-1DB. So, he's really really really hot! Really no headroom at all. And trust 
me. I can hear it too! It sounds God aweful! Even he! agrees it sounds 
terrible. How to fix this is another issue in and of itself, but here is the 
strange thing that I just! can't! fathom!

I imported these exact same stem wav files that were created in Reaper, 
originally, back into Reaper.

I then had him, using Osara, go into the peek meter watcher settings with 
CTRL+Shift+W. Essentially, we set both combo boxes for first and second track 
to follow current. We checked both boxes to watch the tracks. I set it to hold 
the meter until reset, which I think was the default radio button value anyway.

Finally, when level reaches, I had him set this to minus 12. My reason of 
thinking was, if he can come into the DAW from his interface at around negative 
12DB, that gives plenty of headroom, and we then could use a compressor, or 
other means later in the mixing phase to get that vocal up in the mix.

This is how I was tought to do it with ProTools, or really with any DAW, 
for that mind. Record in low, then later adjust and compensate for the gain 
loss. - Don't try starting out by going in at a really hot level.

So, anyway, I then after setting up the meter watcher in Reaper had 'em 
play the recording. Because in ProTools, he was peeking at -1DB, I was hoping! 
that the peek watcher in Reaper would pick up on this, and would automatically 
without him doing anything let him know. Well, nothing happened at all. Oh, we 
could hear the clipping all right! Oh baby could we ever! It sounded 
disgusting! But, the watcher yielded nothing!

Finally, In Reaper, I told him, Ronald, try something for me. I told him 
with the watcher set, hit W to go to the beginning of the song. Note that his 
vocal track only contained 1 item. We then hit space bar to play. As soon as 
his vocal started, I let it run for about 20 seconds, then, without pausing, I 
had him hit Alt+F9 to query the peek

Re: Asking once again about Meterring

[Christopher-Mark Gilland]

So, I'm then confused what the point is of the track fader?
---
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: Thursday, July 27, 2017 2:20 PM
  Subject: Re: Asking once again about Meterring


  The first question I’d ask is where are the meter reading being taken from? 
Pre fader, post fader etc.  Also you will  want to use Trim in  Pro tools, Item 
volume in reaper, and region gain in logic to bring down the level of the audio 
file it self not the track fader. 

On Jul 27, 2017, at 12:27 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Sorry for the crosspost, but I'm wanting to also put this on PTAccess so we 
can approach this from both DAW angles, and to help leverage getting me the 
most responses.

Guys, I asked this question on list about 2 or 3 months ago, and quite 
frankly, I never ever got a very direct answer. Everyone who did answer, in 
fact, some of which you'd never imagine saying this on the RWP list, told me, 
who cares, just use your ears, and let them be your guide. that's not what I'm 
seeking here. I really want some true and frank answers here.

Here's the situation. I am trying to help an incredibly dear friend of mine 
start up learning audio production, and by the way, no, it's not the friend I 
said who cannot do audio worth a damn. This is someone totally different. LOL! 
This guy actually is very very very open to suggestions!

Anyway, he hasn't done anything at all when it comes to pro grade audio.

One of the things that we now are working on is microphone lead vocal gain 
staging.

What I'm trying to get him to see is that if you record into your DAW too 
hot, you'll start clipping, and even if you don't! clip the  vocal track, leave 
not enough headroom, and in the long run, you'll clip your master fader. He 
gets this concept entirely.

What we did is, he sent me a recording he did in Reaper. He sent me the 
stems.

First, I loaded it up actually in ProTools as it's the DAW I'm most 
familiar with. But, the point is, he sent me the unprocessed raw stems which 
included his vocal that he initially recorded in Reaper.

Here's where things went absolutely awri kurfunkity wacko jacko.

In ProTools, I interacted with the track channel strip that contains his 
vocals. Note that right now, I don't have Flowtools installed. Yes, in the long 
run, this message is ProTools related even though I'm discussing Reaper right 
now. Please please I beg you, stick with me on this!

In this track strip, I navigated one VO+right arrow passed the output 
volume fader for that track, and landed on the peek meter. I have ProTools set 
where the peek meters hold infinent until reset.

On the loudest peek of his vocal, ProTools indicates that he's peeking at 
-1DB. So, he's really really really hot! Really no headroom at all. And trust 
me. I can hear it too! It sounds God aweful! Even he! agrees it sounds 
terrible. How to fix this is another issue in and of itself, but here is the 
strange thing that I just! can't! fathom!

I imported these exact same stem wav files that were created in Reaper, 
originally, back into Reaper.

I then had him, using Osara, go into the peek meter watcher settings with 
CTRL+Shift+W. Essentially, we set both combo boxes for first and second track 
to follow current. We checked both boxes to watch the tracks. I set it to hold 
the meter until reset, which I think was the default radio button value anyway.

Finally, when level reaches, I had him set this to minus 12. My reason of 
thinking was, if he can come into the DAW from his interface at around negative 
12DB, that gives plenty of headroom, and we then could use a compressor, or 
other means later in the mixing phase to get that vocal up in the mix.

This is how I was tought to do it with ProTools, or really with any DAW, 
for that mind. Record in low, then later adjust and compensate for the gain 
loss. - Don't try starting out by going in at a really hot level.

So, anyway, I then after setting up the meter watcher in Reaper had 'em 
play the recording. Because in ProTools, he was peeking at -1DB, I was hoping! 
that the peek watcher in Reaper would pick up on this, and would automatically 
without him doing anything let him know. Well, nothing happened at all. Oh, we 
could hear the clipping all right! Oh baby could we ever! It sounded 
disgusting! But, the watcher yielded nothing!

Finally, In Reaper, I told him, Ronald, try something for me. I told him 
with the watcher set, hit W to go to the beginning of the song. Note that his 
vocal track only contained 1 item. We then hit space bar to play. As soon as 
his vocal started, I let it run for about 20 seconds, then, without pausing, I 
had him hit Alt+F9 to query the peek meter on first track

Asking once again about Meterring

[Christopher-Mark Gilland]

Sorry for the crosspost, but I'm wanting to also put this on PTAccess so we can 
approach this from both DAW angles, and to help leverage getting me the most 
responses.

Guys, I asked this question on list about 2 or 3 months ago, and quite frankly, 
I never ever got a very direct answer. Everyone who did answer, in fact, some 
of which you'd never imagine saying this on the RWP list, told me, who cares, 
just use your ears, and let them be your guide. that's not what I'm seeking 
here. I really want some true and frank answers here.

Here's the situation. I am trying to help an incredibly dear friend of mine 
start up learning audio production, and by the way, no, it's not the friend I 
said who cannot do audio worth a damn. This is someone totally different. LOL! 
This guy actually is very very very open to suggestions!

Anyway, he hasn't done anything at all when it comes to pro grade audio.

One of the things that we now are working on is microphone lead vocal gain 
staging.

What I'm trying to get him to see is that if you record into your DAW too hot, 
you'll start clipping, and even if you don't! clip the  vocal track, leave not 
enough headroom, and in the long run, you'll clip your master fader. He gets 
this concept entirely.

What we did is, he sent me a recording he did in Reaper. He sent me the stems.

First, I loaded it up actually in ProTools as it's the DAW I'm most familiar 
with. But, the point is, he sent me the unprocessed raw stems which included 
his vocal that he initially recorded in Reaper.

Here's where things went absolutely awri kurfunkity wacko jacko.

In ProTools, I interacted with the track channel strip that contains his 
vocals. Note that right now, I don't have Flowtools installed. Yes, in the long 
run, this message is ProTools related even though I'm discussing Reaper right 
now. Please please I beg you, stick with me on this!

In this track strip, I navigated one VO+right arrow passed the output volume 
fader for that track, and landed on the peek meter. I have ProTools set where 
the peek meters hold infinent until reset.

On the loudest peek of his vocal, ProTools indicates that he's peeking at -1DB. 
So, he's really really really hot! Really no headroom at all. And trust me. I 
can hear it too! It sounds God aweful! Even he! agrees it sounds terrible. How 
to fix this is another issue in and of itself, but here is the strange thing 
that I just! can't! fathom!

I imported these exact same stem wav files that were created in Reaper, 
originally, back into Reaper.

I then had him, using Osara, go into the peek meter watcher settings with 
CTRL+Shift+W. Essentially, we set both combo boxes for first and second track 
to follow current. We checked both boxes to watch the tracks. I set it to hold 
the meter until reset, which I think was the default radio button value anyway.

Finally, when level reaches, I had him set this to minus 12. My reason of 
thinking was, if he can come into the DAW from his interface at around negative 
12DB, that gives plenty of headroom, and we then could use a compressor, or 
other means later in the mixing phase to get that vocal up in the mix.

This is how I was tought to do it with ProTools, or really with any DAW, for 
that mind. Record in low, then later adjust and compensate for the gain loss. - 
Don't try starting out by going in at a really hot level.

So, anyway, I then after setting up the meter watcher in Reaper had 'em play 
the recording. Because in ProTools, he was peeking at -1DB, I was hoping! that 
the peek watcher in Reaper would pick up on this, and would automatically 
without him doing anything let him know. Well, nothing happened at all. Oh, we 
could hear the clipping all right! Oh baby could we ever! It sounded 
disgusting! But, the watcher yielded nothing!

Finally, In Reaper, I told him, Ronald, try something for me. I told him with 
the watcher set, hit W to go to the beginning of the song. Note that his vocal 
track only contained 1 item. We then hit space bar to play. As soon as his 
vocal started, I let it run for about 20 seconds, then, without pausing, I had 
him hit Alt+F9 to query the peek meter on first track. Note that actually, the 
vocal was the second track in the project, and his karaoke music was the first, 
but he was focused on the second reaper track as being selected with his arrow 
keys up and down. I had him try alt+F10 as well for the second track though, 
and got the same results, so I don't know that's entirely our issue. Anyway, 
both are showeing around -21.9DB for the peek. Obviously, I then had him hit 
Alt+F8 to reset the watch meters.

I don't get it though! Hitting J and K are telling us he's around -21DB as 
well. When I had him lower the level in the watcher settings, I told him when 
level reaches, instead of putting -12, try some really overexagerated thing 
like -30. He did this, created a new track, armed it, started talking in the 
mike, and boom! it worked beautifully! It told 

Re: How would you all as full fledged professionals handle this?

[Christopher-Mark Gilland]

Wow, in the weirdest way, that is quite profound wisdom, when you think about 
it!
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Shawn Brock 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, July 25, 2017 9:57 PM
  Subject: Re: How would you all as full fledged professionals handle this?


  My dad was a simple man, but one thing he always said, stuck with me, and 
I've found it to be true. "Son, some people just don't know that they just 
don't know. And you can't do anything about that." 

  On Jul 25, 2017, at 7:48 PM, Christopher-Mark Gilland <clgillan...@gmail.com> 
wrote:


Oh, believe me, Karen, I have toldem, but he just keeps insisting that he's 
actually better than anyone's giving him credit. I'm not the first person to 
tell him areas to improve.

I think you guys are right. This guy's just probably not worth my effort 
any further. I'm sorry to say.

Anyway, I appreciate you all's advice, really, I do!
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Karen Lewellen 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, July 25, 2017 12:42 PM
  Subject: Re: How would you all as full fledged professionals handle this?


  I see, My hope was to give you an opening like...would you want  this 
  artist to hear  what you just recorded?
  Clearly he has no grasp of marketing either smiles.
  Kevin makes a valid point.
  Is there any reason why, if he is not paying you, that you must answer at 
  all?
  Better still, if he is a real friend, why you cannot say,
  Look You are my friend and I want to help you as a friend.  I like you 
  personally, but this stuff is not of quality, here is why.
  He honestly might not be able to hear what you can, if he has trouble 
with 
  pitch.
  Still, if he is serious about his craft, then he  must be prepared to 
grow.
  Kare


  On Mon, 24 Jul 2017, Christopher-Mark Gilland wrote:

  > I actually asked him that, and he said he doesn't want to be like 
anyone. He says there are too many impersonators. He said I don't want to sound 
like them, and frankly, anyone trying to do music like someone else is a 
cheating ripoff. His words word per word, not mine.
  > ---
  > Christopher Gilland
  > Co-founder of Genuine Safe Haven Ministries
  >
  > http://www.gshministry.org
  > (980) 500-9575
  >  - Original Message -
  >  From: Karen Lewellen
  >  To: ptaccess@googlegroups.com
  >  Sent: Monday, July 24, 2017 9:10 PM
  >  Subject: Re: How would you all as full fledged professionals handle 
this?
  >
  >
  >  Hi Chris,
  >  You are an honorable friend being considerate of his feelings.
  >  I have a question.  who does this person admire professionally?  What
  >  singer  does he want to  become, who influences his work, if you 
understand
  >  me?
  >  I ask because you may be able to give direction, or frankness, without
  >  insulting  him as a person.  focus on his art, not  him, does that make
  >  sense?
  >  Will share more after you answer.
  >  Karen
  >
  >
  >  On Mon, 24 Jul 2017, Christopher-Mark Gilland wrote:
  >
  >  > OK, so I have a friend who sent me a track he had recorded. Granted, 
he did it in Reaper not PT, but that's kind of not exactly the point.
  >  >
  >  > He wanted my opinion on his mix, etc.
  >  >
  >  > First off, the guy is almost 2 whole steps off key. I know, as I 
know very well the song that he recorded. This isn't him using improvization. 
It's more truely him being off the correct note or anything there close.
  >  >
  >  > Secondly, his vocals clipped horribly. With no processing or 
anything, the meters are showing him at positive 9.3DB.
  >  >
  >  > On his reverb, he ran both the wet, and the dry mix at 100%, so he 
sounds like he's in the grand cannyon. Plus, he's got major major headphone 
bleedover, so bad, I almost can make out each note individually from the 
karaoke track he used.
  >  >
  >  > When he hits the higher notes, he's singing from his throat, I can 
tell, as he's straining badly, and literally almost shouting.
  >  >
  >  > On the compressor, he used a 8/1 with the attack as fast as the 
compressor plug would let him, and the attack as slow as it would. Then, he set 
the threshold at negative 14DB, which obviously means he's squashing the living 
shit out of things! Worse is, he not only did this on his vocal, but he then 
reduplicated it on the master f

Re: How would you all as full fledged professionals handle this?

[Christopher-Mark Gilland]

Oh, believe me, Karen, I have toldem, but he just keeps insisting that he's 
actually better than anyone's giving him credit. I'm not the first person to 
tell him areas to improve.

I think you guys are right. This guy's just probably not worth my effort any 
further. I'm sorry to say.

Anyway, I appreciate you all's advice, really, I do!
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Karen Lewellen 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, July 25, 2017 12:42 PM
  Subject: Re: How would you all as full fledged professionals handle this?


  I see, My hope was to give you an opening like...would you want  this 
  artist to hear  what you just recorded?
  Clearly he has no grasp of marketing either smiles.
  Kevin makes a valid point.
  Is there any reason why, if he is not paying you, that you must answer at 
  all?
  Better still, if he is a real friend, why you cannot say,
  Look You are my friend and I want to help you as a friend.  I like you 
  personally, but this stuff is not of quality, here is why.
  He honestly might not be able to hear what you can, if he has trouble with 
  pitch.
  Still, if he is serious about his craft, then he  must be prepared to grow.
  Kare


  On Mon, 24 Jul 2017, Christopher-Mark Gilland wrote:

  > I actually asked him that, and he said he doesn't want to be like anyone. 
He says there are too many impersonators. He said I don't want to sound like 
them, and frankly, anyone trying to do music like someone else is a cheating 
ripoff. His words word per word, not mine.
  > ---
  > Christopher Gilland
  > Co-founder of Genuine Safe Haven Ministries
  >
  > http://www.gshministry.org
  > (980) 500-9575
  >  - Original Message -
  >  From: Karen Lewellen
  >  To: ptaccess@googlegroups.com
  >  Sent: Monday, July 24, 2017 9:10 PM
  >  Subject: Re: How would you all as full fledged professionals handle this?
  >
  >
  >  Hi Chris,
  >  You are an honorable friend being considerate of his feelings.
  >  I have a question.  who does this person admire professionally?  What
  >  singer  does he want to  become, who influences his work, if you understand
  >  me?
  >  I ask because you may be able to give direction, or frankness, without
  >  insulting  him as a person.  focus on his art, not  him, does that make
  >  sense?
  >  Will share more after you answer.
  >  Karen
  >
  >
  >  On Mon, 24 Jul 2017, Christopher-Mark Gilland wrote:
  >
  >  > OK, so I have a friend who sent me a track he had recorded. Granted, he 
did it in Reaper not PT, but that's kind of not exactly the point.
  >  >
  >  > He wanted my opinion on his mix, etc.
  >  >
  >  > First off, the guy is almost 2 whole steps off key. I know, as I know 
very well the song that he recorded. This isn't him using improvization. It's 
more truely him being off the correct note or anything there close.
  >  >
  >  > Secondly, his vocals clipped horribly. With no processing or anything, 
the meters are showing him at positive 9.3DB.
  >  >
  >  > On his reverb, he ran both the wet, and the dry mix at 100%, so he 
sounds like he's in the grand cannyon. Plus, he's got major major headphone 
bleedover, so bad, I almost can make out each note individually from the 
karaoke track he used.
  >  >
  >  > When he hits the higher notes, he's singing from his throat, I can tell, 
as he's straining badly, and literally almost shouting.
  >  >
  >  > On the compressor, he used a 8/1 with the attack as fast as the 
compressor plug would let him, and the attack as slow as it would. Then, he set 
the threshold at negative 14DB, which obviously means he's squashing the living 
shit out of things! Worse is, he not only did this on his vocal, but he then 
reduplicated it on the master fader as well. Aaa, my aching! ears!
  >  >
  >  > Finally, he turned up all frequencies around 60HZ by about 5 DB.
  >  >
  >  > When I told him this needed a lot of work, being he wanted my honest 
opinion, he says he cannot hear the things I'm talking about nor how it 
negatively effected the mix.
  >  >
  >  > This guy's been through a lot of emotional psychological trauma, which 
so've I, so I know how it feels. I don't wanna tell him this sounds like utter 
F***ing shit, but, that said, this is about the 5th song he's sent me like 
this. I just don't think he's cut out for a vocalist let alone a producer. OK, 
who 'em I to judge! I know, I know, I'm not the greatest myself, but at least I 
listen and try taking advice when people give it, hince why I've improved as 
much over the years as I have. This guy simply won't take any advice I nor 
anyone else give him. He didn't pay me to listen, he just asked me as a frien

Re: How would you all as full fledged professionals handle this?

[Christopher-Mark Gilland]

And that's just it. He doesn't! wanna do this for fun. He keeps swearing he's 
gonna get a place in the record hall of fame. I'm not using that term 
figuratively. He's literally made me that swear that by this time in 3 months, 
he thinks he'll be there.

He's just very very stubborn. I don't wanna be rude about it, but... and BTW, 
no, he's not on this list, so, we're safe, and I know that for a fact.
---
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: Monday, July 24, 2017 9:37 PM
  Subject: Re: How would you all as full fledged professionals handle this?


  I’d say point out the things you did here, without being negative or saying 
you suck. Something like your vocals are off key and that they should consider 
collaborating with vocalist. You can also explain that to your more experienced 
ears it sounds over compressed and muddy or etc. No need to get into the 
technical details you got into in your email as it sounds like he isn’t to a 
experience level with productions  where that would mean much to him yet. The 
thing is if they are doing this for fun and to keep themselves busy, then its 
up to them if they work on getting better or not. If they wants to get to a 
point where they wants to do this professionally however, then they’d need to  
consider more experienced opinions at some point. 




On Jul 24, 2017, at 6:36 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


OK, so I have a friend who sent me a track he had recorded. Granted, he did 
it in Reaper not PT, but that's kind of not exactly the point.

He wanted my opinion on his mix, etc.

First off, the guy is almost 2 whole steps off key. I know, as I know very 
well the song that he recorded. This isn't him using improvization. It's more 
truely him being off the correct note or anything there close.

Secondly, his vocals clipped horribly. With no processing or anything, the 
meters are showing him at positive 9.3DB.

On his reverb, he ran both the wet, and the dry mix at 100%, so he sounds 
like he's in the grand cannyon. Plus, he's got major major headphone bleedover, 
so bad, I almost can make out each note individually from the karaoke track he 
used.

When he hits the higher notes, he's singing from his throat, I can tell, as 
he's straining badly, and literally almost shouting.

On the compressor, he used a 8/1 with the attack as fast as the compressor 
plug would let him, and the attack as slow as it would. Then, he set the 
threshold at negative 14DB, which obviously means he's squashing the living 
shit out of things! Worse is, he not only did this on his vocal, but he then 
reduplicated it on the master fader as well. Aaa, my aching! ears!

Finally, he turned up all frequencies around 60HZ by about 5 DB.

When I told him this needed a lot of work, being he wanted my honest 
opinion, he says he cannot hear the things I'm talking about nor how it 
negatively effected the mix.

This guy's been through a lot of emotional psychological trauma, which 
so've I, so I know how it feels. I don't wanna tell him this sounds like utter 
F***ing shit, but, that said, this is about the 5th song he's sent me like 
this. I just don't think he's cut out for a vocalist let alone a producer. OK, 
who 'em I to judge! I know, I know, I'm not the greatest myself, but at least I 
listen and try taking advice when people give it, hince why I've improved as 
much over the years as I have. This guy simply won't take any advice I nor 
anyone else give him. He didn't pay me to listen, he just asked me as a friend 
to tell him. He's not expecting me to do this as him being a client.

So, client or not, what's the best way with love, mind you, to more 
politely say, Jane Doe? You absolutely suck!

Surely some of you all have had vocalists or musicians who you listenned 
to, who you had to turn down the job from as they just weren't seen as fit for 
it. They just didn't have what it would take.

How do you let those guys off easy, without being a nasty Simon Cowell the 
second? My christian morrals won't let me lie, but if I say what I really 
think, it's gonna break his heart! I can't do that to such a dear friend! I 
just can't! What do I do!

Chris.


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Re: How would you all as full fledged professionals handle this?

[Christopher-Mark Gilland]

I actually asked him that, and he said he doesn't want to be like anyone. He 
says there are too many impersonators. He said I don't want to sound like them, 
and frankly, anyone trying to do music like someone else is a cheating ripoff. 
His words word per word, not mine.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Karen Lewellen 
  To: ptaccess@googlegroups.com 
  Sent: Monday, July 24, 2017 9:10 PM
  Subject: Re: How would you all as full fledged professionals handle this?


  Hi Chris,
  You are an honorable friend being considerate of his feelings.
  I have a question.  who does this person admire professionally?  What 
  singer  does he want to  become, who influences his work, if you understand 
  me?
  I ask because you may be able to give direction, or frankness, without 
  insulting  him as a person.  focus on his art, not  him, does that make 
  sense?
  Will share more after you answer.
  Karen


  On Mon, 24 Jul 2017, Christopher-Mark Gilland wrote:

  > OK, so I have a friend who sent me a track he had recorded. Granted, he did 
it in Reaper not PT, but that's kind of not exactly the point.
  >
  > He wanted my opinion on his mix, etc.
  >
  > First off, the guy is almost 2 whole steps off key. I know, as I know very 
well the song that he recorded. This isn't him using improvization. It's more 
truely him being off the correct note or anything there close.
  >
  > Secondly, his vocals clipped horribly. With no processing or anything, the 
meters are showing him at positive 9.3DB.
  >
  > On his reverb, he ran both the wet, and the dry mix at 100%, so he sounds 
like he's in the grand cannyon. Plus, he's got major major headphone bleedover, 
so bad, I almost can make out each note individually from the karaoke track he 
used.
  >
  > When he hits the higher notes, he's singing from his throat, I can tell, as 
he's straining badly, and literally almost shouting.
  >
  > On the compressor, he used a 8/1 with the attack as fast as the compressor 
plug would let him, and the attack as slow as it would. Then, he set the 
threshold at negative 14DB, which obviously means he's squashing the living 
shit out of things! Worse is, he not only did this on his vocal, but he then 
reduplicated it on the master fader as well. Aaa, my aching! ears!
  >
  > Finally, he turned up all frequencies around 60HZ by about 5 DB.
  >
  > When I told him this needed a lot of work, being he wanted my honest 
opinion, he says he cannot hear the things I'm talking about nor how it 
negatively effected the mix.
  >
  > This guy's been through a lot of emotional psychological trauma, which 
so've I, so I know how it feels. I don't wanna tell him this sounds like utter 
F***ing shit, but, that said, this is about the 5th song he's sent me like 
this. I just don't think he's cut out for a vocalist let alone a producer. OK, 
who 'em I to judge! I know, I know, I'm not the greatest myself, but at least I 
listen and try taking advice when people give it, hince why I've improved as 
much over the years as I have. This guy simply won't take any advice I nor 
anyone else give him. He didn't pay me to listen, he just asked me as a friend 
to tell him. He's not expecting me to do this as him being a client.
  >
  > So, client or not, what's the best way with love, mind you, to more 
politely say, Jane Doe? You absolutely suck!
  >
  > Surely some of you all have had vocalists or musicians who you listenned 
to, who you had to turn down the job from as they just weren't seen as fit for 
it. They just didn't have what it would take.
  >
  > How do you let those guys off easy, without being a nasty Simon Cowell the 
second? My christian morrals won't let me lie, but if I say what I really 
think, it's gonna break his heart! I can't do that to such a dear friend! I 
just can't! What do I do!
  >
  > Chris.
  >
  > -- 
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  >

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How would you all as full fledged professionals handle this?

[Christopher-Mark Gilland]

OK, so I have a friend who sent me a track he had recorded. Granted, he did it 
in Reaper not PT, but that's kind of not exactly the point.

He wanted my opinion on his mix, etc.

First off, the guy is almost 2 whole steps off key. I know, as I know very well 
the song that he recorded. This isn't him using improvization. It's more truely 
him being off the correct note or anything there close.

Secondly, his vocals clipped horribly. With no processing or anything, the 
meters are showing him at positive 9.3DB.

On his reverb, he ran both the wet, and the dry mix at 100%, so he sounds like 
he's in the grand cannyon. Plus, he's got major major headphone bleedover, so 
bad, I almost can make out each note individually from the karaoke track he 
used.

When he hits the higher notes, he's singing from his throat, I can tell, as 
he's straining badly, and literally almost shouting.

On the compressor, he used a 8/1 with the attack as fast as the compressor plug 
would let him, and the attack as slow as it would. Then, he set the threshold 
at negative 14DB, which obviously means he's squashing the living shit out of 
things! Worse is, he not only did this on his vocal, but he then reduplicated 
it on the master fader as well. Aaa, my aching! ears!

Finally, he turned up all frequencies around 60HZ by about 5 DB.

When I told him this needed a lot of work, being he wanted my honest opinion, 
he says he cannot hear the things I'm talking about nor how it negatively 
effected the mix.

This guy's been through a lot of emotional psychological trauma, which so've I, 
so I know how it feels. I don't wanna tell him this sounds like utter F***ing 
shit, but, that said, this is about the 5th song he's sent me like this. I just 
don't think he's cut out for a vocalist let alone a producer. OK, who 'em I to 
judge! I know, I know, I'm not the greatest myself, but at least I listen and 
try taking advice when people give it, hince why I've improved as much over the 
years as I have. This guy simply won't take any advice I nor anyone else give 
him. He didn't pay me to listen, he just asked me as a friend to tell him. He's 
not expecting me to do this as him being a client.

So, client or not, what's the best way with love, mind you, to more politely 
say, Jane Doe? You absolutely suck!

Surely some of you all have had vocalists or musicians who you listenned to, 
who you had to turn down the job from as they just weren't seen as fit for it. 
They just didn't have what it would take.

How do you let those guys off easy, without being a nasty Simon Cowell the 
second? My christian morrals won't let me lie, but if I say what I really 
think, it's gonna break his heart! I can't do that to such a dear friend! I 
just can't! What do I do!

Chris.

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Re: New to the list with a few questions

[Christopher-Mark Gilland]

Call me a 3rd in the block saying PT is the way to go, and I'm not a PT snob, 
either. LOL!
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Slau Halatyn 
  To: PTAccess List 
  Sent: Sunday, July 23, 2017 7:47 PM
  Subject: Re: New to the list with a few questions


  Hi Jes,

  I've inserted some responses within your questions below.
  > On Jul 23, 2017, at 8:19 AM, Jes  wrote:
  > Why is it better to switch to PT and abandon Reaper?
  It's not necessarily better to switch to Pro Tools and abandon Reaper. You 
should not abandon a platform if you know it well and it is current.

  > Why do so many people in the audio professional world look down ondaws like 
logic, reaper, and insist that ProTools is the best?
  To be fair, there are plenty of people who look down upon Pro Tools. There 
are plenty of snobs all around.

  > What makes ProTools the industry standard, and why is it that you all use 
ProTools?
  There are quite a number of reasons why Pro Tools dominates the market but, 
understand that, when I say "dominates," it's not necessarily by a huge margin 
and it has different market share in different segments. Among broadcast and 
studios, it has a much wider margin than among home studios. It wasn't the 
first workstation but it was the first to be ultra stable and had a dedicated 
user base. Its audio editing capabilities are regarded as the state-of-the-art 
and it's the number one choice for broadcast and post-production. Avid has a 
very large base of developers and customers with whom they interface and that's 
somewhat unique in that other DAW developers don't necessarily maintain those 
types of relationships.

  Regarding blind users, Pro Tools is currently perhaps the most accessible dAW 
overall. With the addition of the open-source Flo Tools, accessibility has 
never been better and it's continually improving. Avid has made a commitment to 
continuing to work on accessibility. Not only are there several blind beta 
testers, Avid has also accommodated several personal visits to their offices 
and labs where hand-on work on accessibility is conducted. No other dAW 
manufacturer can claim that kind of involvement. Yes, there have been 
improvements in accessibility from other DAWs but not on the level we've seen 
with Pro Tools.

  > Why won't reaper or any daw ever replace ProTools?
  I'm not sure that one can ever say that nothing will ever replace Pro Tools. 
All things must come to an end and that might someday happen for Pro Tools. I 
hope it's not for many years to come but it could certainly happen. There are 
no guarantees. I think Pro Tools will continue to be the dominant platform but 
I'm sure it will continue to lose market share over time. It's only natural. 
For now and for the foreseeable future, however, I think it'll continue to be a 
stable platform. Let me just add that, if you're happy with Reaper, use it. 
Don't use Pro Tools because you think others are trying to push you toward it. 
You should only pursue it if that's what you really want. Two of the three 
people who responded to your message aren't Pro Tools users (although steve did 
for some time). They're happy using Logic, Reaper, etc. and there's nothing 
wrong with that, of course. Others on the list would probably say that Pro 
Tools is the best way to go. I happen to think it's the best way to go although 
anyone would agree that other platforms have their advantages and disadvantages 
regarding accessibility. I've been called a Pro Tools snob and I assure you 
that I'm not. I have nothing against any DAW. I only know what works for me and 
I see how others work with other DAWs and I'm fine sticking with Pro Tools 
thank you very much. It's all good.

  Slau

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Re: Editing Tutorial

[Christopher-Mark Gilland]

You are awesome! Thanks.
---
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: Thursday, June 22, 2017 9:38 PM
  Subject: Re: Editing Tutorial


  Not in my dropbox as I have more space in my Hubic drive, but here is a link 
to download it. http://ovh.to/b2iQNGt. 


  BTW 30GB for free if you want to sign up 
  https://hubic.com/en/offers?referral=TXTYMZ


On Jun 21, 2017, at 2:48 PM, Brian Howerton  wrote:


Good afternoon folks,

I was wondering if anyone has the editing tutorial that Slau did a few 
years ago.  He used the beatles song Come Together to demonstrate editing 
concepts in pro tools.  If anyone has it, would someone mind posting a dropbox 
link to it?  It may benefit others on the list as well.  Thanks so much,
Brian Howerton 

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Re: Editing Tutorial

[Christopher-Mark Gilland]

I agree.

I'd kill for that thing. Never heard it, but anything editting related would be 
great to hear, as I always could brush up on the skill.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Brian Howerton 
  To: ptaccess@googlegroups.com 
  Sent: Wednesday, June 21, 2017 2:48 PM
  Subject: Editing Tutorial


  Good afternoon folks,

  I was wondering if anyone has the editing tutorial that Slau did a few years 
ago.  He used the beatles song Come Together to demonstrate editing concepts in 
pro tools.  If anyone has it, would someone mind posting a dropbox link to it?  
It may benefit others on the list as well.  Thanks so much,
  Brian Howerton 

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Re: putting the full pro tools 12 installers for the mac along with the avid plugins into the ptaccess dropbox folder for ease of location

[Christopher-Mark Gilland]

Nick,

I've never actually called them, so I'm not totally sure. I do apologize.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Nick Gawronski 
  To: ptaccess@googlegroups.com ; Christopher-Mark Gilland 
  Sent: Saturday, June 17, 2017 10:04 AM
  Subject: Re: putting the full pro tools 12 installers for the mac along with 
the avid plugins into the ptaccess dropbox folder for ease of location


  Hi, I will contact Avid support on this issue.  When contacting support they 
want some type of support code and I know mine is expired.  Is there an email 
address I can write to or a way I can contact a human rather then a recording 
that won't let me get to someone to talk to unless I enter a valid code when I 
call support?  Nick Gawronski




  On 6/17/2017 5:10 AM, Christopher-Mark Gilland wrote:

Well, and too, like I said, it goes back to what I initially said about the 
license agreement terms.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Phil Muir 
  To: ptaccess@googlegroups.com 
  Sent: Saturday, June 17, 2017 5:38 AM
  Subject: RE: putting the full pro tools 12 installers for the mac along 
with the avid plugins into the ptaccess dropbox folder for ease of location


  Rather than putting those installers in the folders you would be better to
  maybe put them somewhere on your own dropbox then post a link to those 
files
  as those take up quite a lot of space.  Or you could contact Avid 
technical
  support who no doubt would sort you out with direct links to the files.

  -Original Message-
  From: ptaccess@googlegroups.com [mailto:ptaccess@googlegroups.com] On 
Behalf
  Of Nick Gawronski
  Sent: 17 June 2017 00:27
  To: ptaccess@googlegroups.com
  Subject: putting the full pro tools 12 installers for the mac along with 
the
  avid plugins into the ptaccess dropbox folder for ease of location

  Hi, I was trying to redownload Pro Tools 12 as I had to reinstall my mac 
  and as usual as I had bought the student teacher version of Pro Tools 12 
  I was not able to locate the downloads as in the my products section I 
  only see Pro Tools 11 when I had Pro Tools 12 installed before.  If 
  possible could someone please place the Pro Tools 12 installer along 
  with the other Avid plugins for ease of use into the ptaccess dropbox 
  folder?  I have tried on both windows 10 pro 64 bits along with a mac to 
  get access to my downloads in my Avid account and am unable to do so 
  because of the web sites not very good accessibility.  I am not sure if 
  this has anything to do with the student teacher version but I do think 
  this needs to be brought to Avid's attention.  Nick Gawronski

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Re: putting the full pro tools 12 installers for the mac along with the avid plugins into the ptaccess dropbox folder for ease of location

[Christopher-Mark Gilland]

Well, and too, like I said, it goes back to what I initially said about the 
license agreement terms.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Phil Muir 
  To: ptaccess@googlegroups.com 
  Sent: Saturday, June 17, 2017 5:38 AM
  Subject: RE: putting the full pro tools 12 installers for the mac along with 
the avid plugins into the ptaccess dropbox folder for ease of location


  Rather than putting those installers in the folders you would be better to
  maybe put them somewhere on your own dropbox then post a link to those files
  as those take up quite a lot of space.  Or you could contact Avid technical
  support who no doubt would sort you out with direct links to the files.

  -Original Message-
  From: ptaccess@googlegroups.com [mailto:ptaccess@googlegroups.com] On Behalf
  Of Nick Gawronski
  Sent: 17 June 2017 00:27
  To: ptaccess@googlegroups.com
  Subject: putting the full pro tools 12 installers for the mac along with the
  avid plugins into the ptaccess dropbox folder for ease of location

  Hi, I was trying to redownload Pro Tools 12 as I had to reinstall my mac 
  and as usual as I had bought the student teacher version of Pro Tools 12 
  I was not able to locate the downloads as in the my products section I 
  only see Pro Tools 11 when I had Pro Tools 12 installed before.  If 
  possible could someone please place the Pro Tools 12 installer along 
  with the other Avid plugins for ease of use into the ptaccess dropbox 
  folder?  I have tried on both windows 10 pro 64 bits along with a mac to 
  get access to my downloads in my Avid account and am unable to do so 
  because of the web sites not very good accessibility.  I am not sure if 
  this has anything to do with the student teacher version but I do think 
  this needs to be brought to Avid's attention.  Nick Gawronski

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Re: putting the full pro tools 12 installers for the mac along with the avid plugins into the ptaccess dropbox folder for ease of location

[Christopher-Mark Gilland]

Wouldn't it technically be illegal to put that installer in the DB folder? I 
mean, I get that you couldn't really do anything with it without the use of an 
ILok asset, but, still, I'd think technically, it wouldn't be within the 
license agreement that this would be acceptable.

Sorry to be an asshole about this, but I'd personally be a little leery about 
doing this. Call me paranoid.

I can put it there if it's not been done already, and Slau permits it, but 
until I get his OK, I won't do so.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Nick Gawronski 
  To: ptaccess@googlegroups.com 
  Sent: Friday, June 16, 2017 7:27 PM
  Subject: putting the full pro tools 12 installers for the mac along with the 
avid plugins into the ptaccess dropbox folder for ease of location


  Hi, I was trying to redownload Pro Tools 12 as I had to reinstall my mac 
  and as usual as I had bought the student teacher version of Pro Tools 12 
  I was not able to locate the downloads as in the my products section I 
  only see Pro Tools 11 when I had Pro Tools 12 installed before.  If 
  possible could someone please place the Pro Tools 12 installer along 
  with the other Avid plugins for ease of use into the ptaccess dropbox 
  folder?  I have tried on both windows 10 pro 64 bits along with a mac to 
  get access to my downloads in my Avid account and am unable to do so 
  because of the web sites not very good accessibility.  I am not sure if 
  this has anything to do with the student teacher version but I do think 
  this needs to be brought to Avid's attention.  Nick Gawronski

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Re: Am I still subscribed?

[Christopher-Mark Gilland]

OK. Thanks for the confirmation. I'll look further into things on my back end.

Have a blessed day.

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Am I still subscribed?

[Christopher-Mark Gilland]

I hope so. I recently posted a few questions about Structure, and heard 
absolutely not a peep from anyone. Further, I've seen absolutely not a single 
post on the list since then.

I hope I've not done something to cause my subscription to be suspended due to 
bad list conduct or the like. I can't imagine what I may have done. I get no 
one may have known about my  questions and therefore didn't write in, but like 
I say, it's not just my Structure thread. I'm seeing that I'm getting no 
messages since then, period, regardless.

I'd appreciate at least someone responding to me and letting me know if my 
message goes through. Perhaps respond on list, yes, but also CC me privately 
that way I can determine over here what's going on, if anything.

My private address is:

clgillan...@gmail.com

Chris.

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Structure, finally, finally! is working, but I have a question.

[Christopher-Mark Gilland]

Wieu! What a mess!

I'm not even gonna tell you all my sauga I had with Air Music Tech phone 
support earlier. Just look on the Reaper list, if you wonder, and are 
subscribed.

Anyway, I have a quick question about Structure from, obviously, a ProTools 
standpoint.

So, after having Sweetwater remote into my system, as Air Music tech refused to 
do so, claming they were too busy to help me with remote access, quote unquote, 
there words, not mine, anyway, we found out that some of the custom presets I 
got from ProTools with Speech's website are not working. Most are, now that I 
got sighted help pointing the plugin to the correct directory where factory 
content samples are stored, but anyway, so... things like the presets for the 
Yamaha XS, or there was another for a Korg, but I don't remember the model.

I'd especially love! to get my hands on the Motif XS samples so those custom 
presets will work, and it won't keep nagging me about where those samples are 
on my system. Apparently, the guy at Sweetwater claimed that I don't have them.

So, is that something I have to buy, then manually install/import into 
Structure, or is this something which was created by an en-user? If the ladder, 
then does anyone have those samples, and if so, would they be willing to stick 
them in the PTAccess Dropbox folder for me?

If you do so, please tell me the path under that PTAccess folder to go to to 
find them.

Thanks guys, and sorry for the long message.

Chris.

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So far, so good.

[Christopher-Mark Gilland]

Just an update:

The installer of my new copy of Structure 2.0.7 seems to have just used the 
standard installer that Apple normally uses for most PKG based installer 
packages.

I've not seen any responses yet, but does anyone know if the process for 
putting in my unlock code will be accessible, or will Mom have to help me out? 
Dear God I hope not, as she's pretty occupied right now.

Also, is it normal that the installer will jump from about 3 percent to 97 
percent on the part where it is running package scripts? I'd presume being this 
baby's about 40 something gigs, that yes, that would be normal.

It's been now sitting for about 10 minutes at that 97 percent progress.

I'm willing to be patient, don't get me wrong, but, wow! Just, wow!

Chris.

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I'll make this really quick: Structure 2 question.

[Christopher-Mark Gilland]

Long story short: I just bought Structure 2 as a digital download from 
Sweetwater.

I had no issue whatsoever downloading the DMG's for the setup.

I also know where to get the presets, so I'm fine there.

What I wonder is, will my mom have to do the installer for me, or will that 
part, and also putting in my unlock code be accessible with Voiceover?

It's not a big deal. I know she'll help me do it if needed, but I'm just 
curious. I'm really hoping this won't be hard. I've not heard anyone complain 
on here about it not being accessible to install, and I'd think by now, I would 
have if it wasn't so, so I just wanted to check.

If I'm not mistaken, this is Structure V 2.7.

Chris.

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Motif?

[Christopher-Mark Gilland]

I'm not going to quote names, but a friend of mine told me that the Yamaha 
Motif wasn't being made anymore in any of it's generation models.

He/she says now the Tyros is the only thing being designed. Apparently this 
came from Mark Dew, who's been in the field for over 64 years.

I just want some clarification. It's not I don't believe my friend, but I'd 
think I would have heard about this if that was the case.

Could someone clarify?

Chris.

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Just wanted to say thank you immensely!

[Christopher-Mark Gilland]

You guys are a lifesaver! No, I really mean it! If it wasn't for you all, I 
wouldn't be about to go into a session.

I was preparing for a session on a track a client's having me do which is real 
real heavy on piano inthesis. So, I loaded up a blank session in PT, and went 
to insert my first track which was a Ravenscroft UVI workstation plug. To my 
absolute utter horror! I don't know how the fudge this happened, but my presets 
were gone! Like, disappeared! I don't freakin get it! I never ever ever ever 
deleted them. Ever!

I also looked in my Ivory sets, as I thought, well, ok, I really want that 
Ravenscroft piano, but I don't have time now to deal with this. Just, for now, 
pop an Ivory piano. I can go change it later in the mixing process phase when I 
figure out what happened.

So, off to Ivory I go. Well, guess what! Yup? You guessed it disaster strikes! 
No Ivory presets either! So, now, I'm thinking, sh'sh'shitt'tt'tt! What the 
blue flying heck!

I looked on my backup Super Duper drive image, as I thought, surely I can just 
pull 'em from there and copy them back over, gotta love Super Duper! Well, they 
were not there either.

I'm still pulling out my hair trying to figure out how the hell this happened, 
but the point is, I went to the Dropbox folder Slau created, and lo and behold, 
there were my Ivory presets and the UVI Workstation presets which I needed. I 
copied them back over to my system, and boom! All lit back up like a Christmas 
tree.

You guys are amazing! Thank you thank you thank you, Slau for this folder! I'd 
be busted right now if it wasn't for it being around!

Chris.

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Re: seperate inputs into multiple tracks, I'm in a predicament.

[Christopher-Mark Gilland]

Well, sorry, I just had to ask. I also doubted it, but figured you never know. 
After all, I got a surface for brand new that had all those things you 
described and it only costed me $80, and works like a dream.
---
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: Monday, April 17, 2017 9:24 PM
  Subject: Re: seperate inputs into multiple tracks, I'm in a predicament.


  judging by the price, I bet it has motorized 
  faders and a jog wheel too! Just kidding. I doubt it is a control surface. LOL

  You could get a used BCF2000 for about $100 though.

  At 04:21 PM 4/17/2017, you wrote:
  >Is this thing just an interface, or is it a full on surface as well?
  >---
  >Christopher Gilland
  >Co-founder of Genuine Safe Haven Ministries
  >
  ><http://www.gshministry.org>http://www.gshministry.org
  >(980) 500-9575
  >- Original Message -
  >From: <mailto:monkeypushe...@gmail.com>TheOreoMonster
  >To: <mailto:ptaccess@googlegroups.com>ptaccess@googlegroups.com
  >Sent: Monday, April 17, 2017 3:09 PM
  >Subject: Re: seperate inputs into multiple tracks, I'm in a predicament.
  >
  >Change it in the daw and the interface will follow that.
  >
  > > On Apr 17, 2017, at 12:48 PM, Chris Smart 
  > <<mailto:csma...@cogeco.ca>csma...@cogeco.ca> wrote:
  > >
  > > wow, sounds like a great budget interface. 
  > Anyone know how accessible it is on the Windows 
  > side for changing things like buffer size, sampling rate etc.?
  > >
  > >
  > > At 12:44 PM 4/17/2017, you wrote:
  > >> The UMC404HD is $99 .
  > >> Behringer UMC404HD
  > >>
  > >>
  > >> 4 input combo XLR/1/4 inputs.
  > >> 4 Gain knobs.
  > >> Above each knob is a pair of buttons.
  > >> Left is instrument/Line (push in for instrument mode)
  > >> Right is Pad Switch.
  > >>
  > >> Stereo mono button pushed in is mono. Allows 
  > you to monitor incoming input signals in Mono or stereo.
  > >> .
  > >> Mix knob is next to Stereo/Mono switch. 
  > Fully counter clockwise you only hear direct 
  > input, Fully clockwise you only hear DAW 
  > output. The in-between positions blend the input with the DAW Playback.
  > >> Below that is Main output level.
  > >> Next to Mix knob is Output  a/b button This 
  > sets which outputs go to the headphone jack. 
  > Allows you to monitor whats being routed to 
  > Outputs group A (1/2) or Output Group b (3/4) on the headphones.
  > >> Next to that button is the Headphone Volume 
  > with the 1/4 headphone jack below it
  > >>
  > >> Back Panel
  > >> Starting on Side opposite the power and USB connectors.
  > >> Inserts
  > >> 1 top 2 bottom
  > >> 3 top 4 bottom
  > >> 3 and  four next to XLR Main out jacks.
  > >> Main Outs
  > >> XLR left  is next to inserts and then XLR right.
  > >> Next to XLR main outs is 1/4 main outs.
  > >> Top is left.  Bottom is right
  > >> Next is the OutPut A/B pairs. If your DAW 
  > Gives you a Stereo out, Output 1/2 and output 
  > 3/4 then you can route to the 3 pairs of outputs all individually.
  > >> Stereo outs = Main outs
  > >> 1/2 = Output group A
  > >> 3/4 =Output group b
  > >> If it only gives you output 1/2 and 3/4 then 
  > the same signal is sent to Main outs and  output group Outputs group A.
  > >> And B are available on 1/4  or RCA jacks. 
  > Output pair A (also will show as 1/2 in DAW)
  > >> 1/4 jack Top is left, bottom 1/4 jack is 
  > right. Followed By the RCA outputs pair for Output A.
  > >> Next is RCA outputs for Output  pair B then 
  > the 1/4 jacks for that pair of outputs.
  > >> Next to those are the Phantom power switch. 
  > Phantom power is on when pushed towards side of the 1/4 jacks.
  > >> Next to those are Midi in/outs.
  > >> Midi in next to phantom power then midi out
  > >> Next to Midi Out is USB followed by power adapter input.
  > >>
  > >>> On Apr 17, 2017, at 12:03 PM, 
  > Christopher-Mark Gilland 
  > 
<<<mailto:clgillan...@gmail.com>clgillan...@gmail.com>mailto:clgillan...@gmail.com>clgillan...@gmail.com>
 
  > wrote:
  > >>>
  > >>> Send me the one for the 404. And, how much is it? I'd highly consider 
it.
  > >>> ---
  > >>> Christopher Gilland
  > >>> Co-founder of Genuine Safe Haven Ministries
  > >>>
  > >>> 
  > 
<<

Re: seperate inputs into multiple tracks, I'm in a predicament.

[Christopher-Mark Gilland]

Is this thing just an interface, or is it a full on surface as well?
---
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: Monday, April 17, 2017 3:09 PM
  Subject: Re: seperate inputs into multiple tracks, I'm in a predicament.


  Change it in the daw and the interface will follow that. 

  > On Apr 17, 2017, at 12:48 PM, Chris Smart <csma...@cogeco.ca> wrote:
  > 
  > wow, sounds like a great budget interface. Anyone know how accessible it is 
on the Windows side for changing things like buffer size, sampling rate etc.?
  > 
  > 
  > At 12:44 PM 4/17/2017, you wrote:
  >> The UMC404HD is $99 .
  >> Behringer UMC404HD
  >> 
  >> 
  >> 4 input combo XLR/1/4 inputs.
  >> 4 Gain knobs.
  >> Above each knob is a pair of buttons.
  >> Left is instrument/Line (push in for instrument mode)
  >> Right is Pad Switch.
  >> 
  >> Stereo mono button pushed in is mono. Allows you to monitor incoming input 
signals in Mono or stereo.
  >> .
  >> Mix knob is next to Stereo/Mono switch. Fully counter clockwise you only 
hear direct input, Fully clockwise you only hear DAW output. The in-between 
positions blend the input with the DAW Playback.
  >> Below that is Main output level.
  >> Next to Mix knob is Output  a/b button This sets which outputs go to the 
headphone jack. Allows you to monitor whats being routed to Outputs group A 
(1/2) or Output Group b (3/4) on the headphones.
  >> Next to that button is the Headphone Volume with the 1/4 headphone jack 
below it
  >> 
  >> Back Panel
  >> Starting on Side opposite the power and USB connectors.
  >> Inserts
  >> 1 top 2 bottom
  >> 3 top 4 bottom
  >> 3 and  four next to XLR Main out jacks.
  >> Main Outs
  >> XLR left  is next to inserts and then XLR right.
  >> Next to XLR main outs is 1/4 main outs.
  >> Top is left.  Bottom is right
  >> Next is the OutPut A/B pairs. If your DAW Gives you a Stereo out, Output 
1/2 and output 3/4 then you can route to the 3 pairs of outputs all 
individually.
  >> Stereo outs = Main outs
  >> 1/2 = Output group A
  >> 3/4 =Output group b
  >> If it only gives you output 1/2 and 3/4 then the same signal is sent to 
Main outs and  output group Outputs group A.
  >> And B are available on 1/4  or RCA jacks. Output pair A (also will show as 
1/2 in DAW)
  >> 1/4 jack Top is left, bottom 1/4 jack is right. Followed By the RCA 
outputs pair for Output A.
  >> Next is RCA outputs for Output  pair B then the 1/4 jacks for that pair of 
outputs.
  >> Next to those are the Phantom power switch. Phantom power is on when 
pushed towards side of the 1/4 jacks.
  >> Next to those are Midi in/outs.
  >> Midi in next to phantom power then midi out
  >> Next to Midi Out is USB followed by power adapter input.
  >> 
  >>> On Apr 17, 2017, at 12:03 PM, Christopher-Mark Gilland 
<<mailto:clgillan...@gmail.com>clgillan...@gmail.com> wrote:
  >>> 
  >>> Send me the one for the 404. And, how much is it? I'd highly consider it.
  >>> ---
  >>> Christopher Gilland
  >>> Co-founder of Genuine Safe Haven Ministries
  >>> 
  >>> <http://www.gshministry.org/>http://www.gshministry.org
  >>> (980) 500-9575
  >>>> - Original Message -
  >>>> From: <mailto:monkeypushe...@gmail.com>TheOreoMonster
  >>>> To: <mailto:ptaccess@googlegroups.com>ptaccess@googlegroups.com
  >>>> Sent: Monday, April 17, 2017 12:02 PM
  >>>> Subject: Re: seperate inputs into multiple tracks, I'm in a predicament.
  >>>> 
  >>>> Nope, in this case I am assuming they mean HD as in High Definition or 
something like that. The HD versions of the interface are 24 bit/192khz were as 
the non HD versions are only 24bit/96khz. Eitherway ProTOols HD isn’t 
required.
  >>>> 202HD is 2 inputs and two outputs.
  >>>> 204HD is 2 inputs, 4 outputs.
  >>>> 404HD is 4 inputs, 4 outputs.
  >>>> 
  >>>> I personally own the 404HD so if you need a text layout for that one I 
can share. Otherwise call Behringer support, after receiving your unit and 
getting it unboxed, they are great at assisting with that sort of stuff.
  >>>>> On Apr 17, 2017, at 11:57 AM, Christopher-Mark Gilland 
<<mailto:clgillan...@gmail.com>clgillan...@gmail.com> wrote:
  >>>>> 
  >>>>> Now, you keep saying HD. I don't need PproTools HD to make this work, 
do I? I don't have an HD license. Al

Re: seperate inputs into multiple tracks, I'm in a predicament.

[Christopher-Mark Gilland]

Excellent. Thanks very much for this.
---
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: Monday, April 17, 2017 12:44 PM
  Subject: Re: seperate inputs into multiple tracks, I'm in a predicament.


  The UMC404HD is $99 . 
  Behringer UMC404HD




  4 input combo XLR/1/4 inputs. 
  4 Gain knobs.
  Above each knob is a pair of buttons. 
  Left is instrument/Line (push in for instrument mode)
  Right is Pad Switch.


  Stereo mono button pushed in is mono. Allows you to monitor incoming input 
signals in Mono or stereo.
   . 
  Mix knob is next to Stereo/Mono switch. Fully counter clockwise you only hear 
direct input, Fully clockwise you only hear DAW output. The in-between 
positions blend the input with the DAW Playback. 
  Below that is Main output level.
  Next to Mix knob is Output  a/b button This sets which outputs go to the 
headphone jack. Allows you to monitor whats being routed to Outputs group A 
(1/2) or Output Group b (3/4) on the headphones. 
  Next to that button is the Headphone Volume with the 1/4 headphone jack below 
it 


  Back Panel
  Starting on Side opposite the power and USB connectors.
  Inserts
  1 top 2 bottom
  3 top 4 bottom
  3 and  four next to XLR Main out jacks.
  Main Outs 
  XLR left  is next to inserts and then XLR right. 
  Next to XLR main outs is 1/4 main outs. 
  Top is left.  Bottom is right
  Next is the OutPut A/B pairs. If your DAW Gives you a Stereo out, Output 1/2 
and output 3/4 then you can route to the 3 pairs of outputs all individually. 
  Stereo outs = Main outs 
  1/2 = Output group A
  3/4 =Output group b
  If it only gives you output 1/2 and 3/4 then the same signal is sent to Main 
outs and  output group Outputs group A.
  And B are available on 1/4  or RCA jacks. Output pair A (also will show as 
1/2 in DAW)
  1/4 jack Top is left, bottom 1/4 jack is right. Followed By the RCA outputs 
pair for Output A.
  Next is RCA outputs for Output  pair B then the 1/4 jacks for that pair of 
outputs.
  Next to those are the Phantom power switch. Phantom power is on when pushed 
towards side of the 1/4 jacks. 
  Next to those are Midi in/outs. 
  Midi in next to phantom power then midi out 
  Next to Midi Out is USB followed by power adapter input.


On Apr 17, 2017, at 12:03 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Send me the one for the 404. And, how much is it? I'd highly consider it.
---
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: Monday, April 17, 2017 12:02 PM
  Subject: Re: seperate inputs into multiple tracks, I'm in a predicament.


  Nope, in this case I am assuming they mean HD as in High Definition or 
something like that. The HD versions of the interface are 24 bit/192khz were as 
the non HD versions are only 24bit/96khz. Eitherway ProTOols HD isn’t required. 
  202HD is 2 inputs and two outputs.
  204HD is 2 inputs, 4 outputs.
  404HD is 4 inputs, 4 outputs.


  I personally own the 404HD so if you need a text layout for that one I 
can share. Otherwise call Behringer support, after receiving your unit and 
getting it unboxed, they are great at assisting with that sort of stuff.

On Apr 17, 2017, at 11:57 AM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Now, you keep saying HD. I don't need PproTools HD to make this work, 
do I? I don't have an HD license. All I have is the standard ProTools. Could 
that potentially be an issue?


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Re: seperate inputs into multiple tracks, I'm in a predicament.

[Christopher-Mark Gilland]

Send me the one for the 404. And, how much is it? I'd highly consider it.
---
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: Monday, April 17, 2017 12:02 PM
  Subject: Re: seperate inputs into multiple tracks, I'm in a predicament.


  Nope, in this case I am assuming they mean HD as in High Definition or 
something like that. The HD versions of the interface are 24 bit/192khz were as 
the non HD versions are only 24bit/96khz. Eitherway ProTOols HD isn’t required. 
  202HD is 2 inputs and two outputs.
  204HD is 2 inputs, 4 outputs.
  404HD is 4 inputs, 4 outputs.


  I personally own the 404HD so if you need a text layout for that one I can 
share. Otherwise call Behringer support, after receiving your unit and getting 
it unboxed, they are great at assisting with that sort of stuff.

On Apr 17, 2017, at 11:57 AM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Now, you keep saying HD. I don't need PproTools HD to make this work, do I? 
I don't have an HD license. All I have is the standard ProTools. Could that 
potentially be an issue?


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Re: seperate inputs into multiple tracks, I'm in a predicament.

[Christopher-Mark Gilland]

Now, you keep saying HD. I don't need PproTools HD to make this work, do I? I 
don't have an HD license. All I have is the standard ProTools. Could that 
potentially be an issue?

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Re: seperate inputs into multiple tracks, I'm in a predicament.

[Christopher-Mark Gilland]

Awesome! Wow, if that's all it is, is 80 bucks, I couldn't do it until next 
month, but I'll hold on to this mail, and come the 3rd, I'll get it.

Do you have a textual button/dial layout description you could send me of where 
all the dials/buttons/jacks are located?

BTW, how many channels is this board?
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: Kevin Reeves 
  To: ptaccess@googlegroups.com 
  Sent: Monday, April 17, 2017 10:47 AM
  Subject: Re: seperate inputs into multiple tracks, I'm in a predicament.


  That won't work because you're multimix is not a multi track recording 
interface. What it's doing is summing both channels into one. Ditch themixer 
and go get yourself a Behringer UMC 202. It's only 80 bucks on Amazon, and has 
the same microphone preamp's that are on the X 32, which are fantastic.

  Sent from my iPhone

  On Apr 16, 2017, at 8:48 PM, Christopher-Mark Gilland <clgillan...@gmail.com> 
wrote:


OK. I'll give that a try next time I'm near my rig, then will report back. 
Thank you for the help. I very greatly do appreciate it!
---
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: Sunday, April 16, 2017 8:36 PM
  Subject: Re: seperate inputs into multiple tracks, I'm in a predicament.


  Try recording to a stereo track using the input 1/2 option. Then after 
you are done right click on the track and choose the split to two mono tracks 
option. Can’t remember the exact wording but pro tools allows you to split a 
stereo track into two mono tracks 


On Apr 16, 2017, at 5:03 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


OK, so let me try to explain my situation, and what I'm trying to do.

So, I have ProTools 12, not sure the exact build, I need to look, but 
it is 12. That much, I do! know, and OSX Siera, although I seriously doubt that 
matters.

I'm currently for this project using a Blue Bluebird microphone which 
is directly connected with an XLR cable one end in the bottom of the mike, the 
other end into the mike input 1 on my interface which is an Alesis Multi-Mix 4. 
Then, obviously, the multi-mix 4 is simply just going into the mac via USB.

With the way that this interface works, and being it uses the native 
USB codec OSX drivers, none specific to the board, PT only sees one IO path in 
or out. Therefore, I had no choice but to combine both the in and out via  the 
ProTools agrigate device, then use it as my playback engine. This has posed 
absolutely no problems whatsoever. NO latency, nothing. So far, it's worked 
beautifully this way.

So, I want to explain from two angles what my IO path which is super 
super super easy looks like. IN fact, it's so easy, you're probably not gonna 
believe how easy it is!

For a mono audio track, under the input path popup button, if I go to 
interface sub menu, I have 2 things.

  a.. Main in 1 
  b.. and Main In 2.

If I do the same thing on a stereo audio track, I only have one thing: 
Main in 1/2.

I've not totally yet determined what input 2 is used for. My guess is 
that if I was using a stereo track, 1 would be left, and 2 would be right, but 
since I'm normally with a mike using a mono track, that wouldn't really matter 
as both channels would be unity.

OK. That all said, here is what I'm trying to do.

Normally, when I record with my mike, I set the input on a mono track 
to main 1. I practically never have had a need to use input 2 on a mono track. 
Again, on a stereo track, 1 and 2 are combined, but that's here not rellavent.

So, what I want to do is, I'm trying to make an audio demo which will 
have me  speaking in my mike, but then, I want to take through another channel 
on my interface. Probably channel 2, and plug a patch cable, one end into the 
second input on the multi-mix 4, then the other end to the headphone jack of my 
iPhone. This way, I can patch Voiceover directly into the mixer rather than 
miking it, which would sound God aweful!

If I do this however, and plug that cable into the phone/second input 
channel on the board, I then on the multimix 4 turn up my output volume dial, 
and turn up my trim and get a good signal from the phone, what's happening is, 
then, in PT, when I add a mono audio track, set its in to main 1, and it's 
output to main 1/2 stereo, then arm the track, if I then record, that one mono 
audio track is then capturing and recording both! my mike, and! the input 2 
from the multi-mix 4 with my iPhone. Technically, this is fine, but I'd really 
really like to get it where somehow my mike would be on one mono audio track, 
and my iPhone's

Re: seperate inputs into multiple tracks, I'm in a predicament.

[Christopher-Mark Gilland]

OK. I'll give that a try next time I'm near my rig, then will report back. 
Thank you for the help. I very greatly do appreciate it!
---
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: Sunday, April 16, 2017 8:36 PM
  Subject: Re: seperate inputs into multiple tracks, I'm in a predicament.


  Try recording to a stereo track using the input 1/2 option. Then after you 
are done right click on the track and choose the split to two mono tracks 
option. Can’t remember the exact wording but pro tools allows you to split a 
stereo track into two mono tracks


On Apr 16, 2017, at 5:03 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


OK, so let me try to explain my situation, and what I'm trying to do.

So, I have ProTools 12, not sure the exact build, I need to look, but it is 
12. That much, I do! know, and OSX Siera, although I seriously doubt that 
matters.

I'm currently for this project using a Blue Bluebird microphone which is 
directly connected with an XLR cable one end in the bottom of the mike, the 
other end into the mike input 1 on my interface which is an Alesis Multi-Mix 4. 
Then, obviously, the multi-mix 4 is simply just going into the mac via USB.

With the way that this interface works, and being it uses the native USB 
codec OSX drivers, none specific to the board, PT only sees one IO path in or 
out. Therefore, I had no choice but to combine both the in and out via  the 
ProTools agrigate device, then use it as my playback engine. This has posed 
absolutely no problems whatsoever. NO latency, nothing. So far, it's worked 
beautifully this way.

So, I want to explain from two angles what my IO path which is super super 
super easy looks like. IN fact, it's so easy, you're probably not gonna believe 
how easy it is!

For a mono audio track, under the input path popup button, if I go to 
interface sub menu, I have 2 things.

  a.. Main in 1
  b.. and Main In 2.

If I do the same thing on a stereo audio track, I only have one thing: Main 
in 1/2.

I've not totally yet determined what input 2 is used for. My guess is that 
if I was using a stereo track, 1 would be left, and 2 would be right, but since 
I'm normally with a mike using a mono track, that wouldn't really matter as 
both channels would be unity.

OK. That all said, here is what I'm trying to do.

Normally, when I record with my mike, I set the input on a mono track to 
main 1. I practically never have had a need to use input 2 on a mono track. 
Again, on a stereo track, 1 and 2 are combined, but that's here not rellavent.

So, what I want to do is, I'm trying to make an audio demo which will have 
me  speaking in my mike, but then, I want to take through another channel on my 
interface. Probably channel 2, and plug a patch cable, one end into the second 
input on the multi-mix 4, then the other end to the headphone jack of my 
iPhone. This way, I can patch Voiceover directly into the mixer rather than 
miking it, which would sound God aweful!

If I do this however, and plug that cable into the phone/second input 
channel on the board, I then on the multimix 4 turn up my output volume dial, 
and turn up my trim and get a good signal from the phone, what's happening is, 
then, in PT, when I add a mono audio track, set its in to main 1, and it's 
output to main 1/2 stereo, then arm the track, if I then record, that one mono 
audio track is then capturing and recording both! my mike, and! the input 2 
from the multi-mix 4 with my iPhone. Technically, this is fine, but I'd really 
really like to get it where somehow my mike would be on one mono audio track, 
and my iPhone's audio would be on another mono audio track. This way, I could 
mix each signal seperetly.

If I set the input on a mono audio track to Main 2, then try recording, I 
get no audio at all. Just dead silence.

Before you say, check the configuration in the multi-mix 4's software 
panel, I can't. There is none. This interface doesn't have any software, no 
drivers, nothing. You just plug it in, and it just simply works. Or, shall I be 
a smart ass and say... doesn't work. LOL, in this case.

So, is there any way to do this, based on the info I've provided?

Chris.


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seperate inputs into multiple tracks, I'm in a predicament.

[Christopher-Mark Gilland]

OK, so let me try to explain my situation, and what I'm trying to do.

So, I have ProTools 12, not sure the exact build, I need to look, but it is 12. 
That much, I do! know, and OSX Siera, although I seriously doubt that matters.

I'm currently for this project using a Blue Bluebird microphone which is 
directly connected with an XLR cable one end in the bottom of the mike, the 
other end into the mike input 1 on my interface which is an Alesis Multi-Mix 4. 
Then, obviously, the multi-mix 4 is simply just going into the mac via USB.

With the way that this interface works, and being it uses the native USB codec 
OSX drivers, none specific to the board, PT only sees one IO path in or out. 
Therefore, I had no choice but to combine both the in and out via  the ProTools 
agrigate device, then use it as my playback engine. This has posed absolutely 
no problems whatsoever. NO latency, nothing. So far, it's worked beautifully 
this way.

So, I want to explain from two angles what my IO path which is super super 
super easy looks like. IN fact, it's so easy, you're probably not gonna believe 
how easy it is!

For a mono audio track, under the input path popup button, if I go to interface 
sub menu, I have 2 things.

  a.. Main in 1
  b.. and Main In 2.

If I do the same thing on a stereo audio track, I only have one thing: Main in 
1/2.

I've not totally yet determined what input 2 is used for. My guess is that if I 
was using a stereo track, 1 would be left, and 2 would be right, but since I'm 
normally with a mike using a mono track, that wouldn't really matter as both 
channels would be unity.

OK. That all said, here is what I'm trying to do.

Normally, when I record with my mike, I set the input on a mono track to main 
1. I practically never have had a need to use input 2 on a mono track. Again, 
on a stereo track, 1 and 2 are combined, but that's here not rellavent.

So, what I want to do is, I'm trying to make an audio demo which will have me  
speaking in my mike, but then, I want to take through another channel on my 
interface. Probably channel 2, and plug a patch cable, one end into the second 
input on the multi-mix 4, then the other end to the headphone jack of my 
iPhone. This way, I can patch Voiceover directly into the mixer rather than 
miking it, which would sound God aweful!

If I do this however, and plug that cable into the phone/second input channel 
on the board, I then on the multimix 4 turn up my output volume dial, and turn 
up my trim and get a good signal from the phone, what's happening is, then, in 
PT, when I add a mono audio track, set its in to main 1, and it's output to 
main 1/2 stereo, then arm the track, if I then record, that one mono audio 
track is then capturing and recording both! my mike, and! the input 2 from the 
multi-mix 4 with my iPhone. Technically, this is fine, but I'd really really 
like to get it where somehow my mike would be on one mono audio track, and my 
iPhone's audio would be on another mono audio track. This way, I could mix each 
signal seperetly.

If I set the input on a mono audio track to Main 2, then try recording, I get 
no audio at all. Just dead silence.

Before you say, check the configuration in the multi-mix 4's software panel, I 
can't. There is none. This interface doesn't have any software, no drivers, 
nothing. You just plug it in, and it just simply works. Or, shall I be a smart 
ass and say... doesn't work. LOL, in this case.

So, is there any way to do this, based on the info I've provided?

Chris.

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Re: Soothe plugin recently discussed

[Christopher-Mark Gilland]

There was a plugin discussed yesterday on list.

http://www.oeksound.com/soothe

Go have a look.
---
Christopher Gilland
Co-founder of Genuine Safe Haven Ministries

http://www.gshministry.org
(980) 500-9575
  - Original Message - 
  From: John Covici 
  To: ptaccess@googlegroups.com 
  Sent: Monday, April 10, 2017 8:55 PM
  Subject: Re: Soothe plugin recently discussed


  What plugin is that?

  On Mon, 10 Apr 2017 15:31:34 -0400,
  Christopher-Mark Gilland wrote:
  > 
  > [1  ]
  > [2  ]
  > OK, that! is freaking! incredible! I just downloaded the 14 day trial. I 
will, so! be buying this thing next month! It might be just over $150 but who! 
cares! Oh! my heavens! No willy milly activation crud that I can see, at least 
not in
  > the trial, and the plugin by the way, though no presets, unless they're not 
accessible, is totally! totally! 1! hundred! percent accessible with voiceover 
from what I can see, and you'd not believe, even without tweaking a single 
thing,
  > just alone by popping it on a track with no other plugs, you'd not believe! 
what a difference it made! If you think the C L A 2 A is good in dynamically 
keeping things level, and also e queueing things, you've heard nothing in my 
opinion
  > at least! Wow! I'm breathtaken! I am normally not the type for just popping 
plugs on inserts, then just saying B'bow'wm! done! but, in this one case, I 
gotta tell ya, I need to read the manual, but as great as that sounds with 
absolutely
  > no tweaking? I shutter! to think what this baby could do with! some 
tweaking. Good! knite in shiny armer!
  > Chris.
  > 
  > -- 
  > You received this message because you are subscribed to the Google Groups 
"Pro Tools Accessibility" group.
  > To unsubscribe from this group and stop receiving emails from it, send an 
email to ptaccess+unsubscr...@googlegroups.com.
  > For more options, visit https://groups.google.com/d/optout.
  > 

  -- 
  Your life is like a penny.  You're going to lose it.  The question is:
  How do
  you spend it?

   John Covici
   cov...@ccs.covici.com

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Re: New Vocal Processor: oeksound: soothe

[Christopher-Mark Gilland]

BTW, what's the name of this company who makes this Soothe plugin? Sorry. I'm 
having some issues determining this on the website.
--
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: Monday, April 10, 2017 2:58 PM
  Subject: Re: New Vocal Processor: oeksound: soothe


  no idea. i just read about it 5 minutes ago LOL
  There's a trial. maybe try it?

  At 02:56 PM 4/10/2017, you wrote:
  >Fantastic! Would you happen to know if the activation process, or 
  >the plug itself in PT is accessible, or at the very very least, if 
  >we can get at the presets?
  >
  >If so, I'm gonna give the trial a go.
  >---
  >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: Monday, April 10, 2017 2:46 PM
  >Subject: New Vocal Processor: oeksound: soothe
  >
  >This looks interesting.
  >
  >I'm glad we're seeing smarter plugin algorithms now. From the
  >description, this sounds not unlike the Surfer EQ from Sound Radix.
  >
  >https://oeksound.com/soothe/
  >
  >Chris
  >
  >
  >
  >
  >
  >"There are two means of refuge from the miseries of life: music and
  >cats." - Albert Schweitzer
  >
  >--
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  >Groups "Pro Tools Accessibility" group.
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  >send an email to 
  
>ptaccess+unsubscr...@googlegroups.com.
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  >
  >--
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  >send an email to 
  
>ptaccess+unsubscr...@googlegroups.com.
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  >https://groups.google.com/d/optout.



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

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Re: New Vocal Processor: oeksound: soothe

[Christopher-Mark Gilland]

I did so, and, oh! my heavens! Incredible!
---
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: Monday, April 10, 2017 2:58 PM
  Subject: Re: New Vocal Processor: oeksound: soothe


  no idea. i just read about it 5 minutes ago LOL
  There's a trial. maybe try it?

  At 02:56 PM 4/10/2017, you wrote:
  >Fantastic! Would you happen to know if the activation process, or 
  >the plug itself in PT is accessible, or at the very very least, if 
  >we can get at the presets?
  >
  >If so, I'm gonna give the trial a go.
  >---
  >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: Monday, April 10, 2017 2:46 PM
  >Subject: New Vocal Processor: oeksound: soothe
  >
  >This looks interesting.
  >
  >I'm glad we're seeing smarter plugin algorithms now. From the
  >description, this sounds not unlike the Surfer EQ from Sound Radix.
  >
  >https://oeksound.com/soothe/
  >
  >Chris
  >
  >
  >
  >
  >
  >"There are two means of refuge from the miseries of life: music and
  >cats." - Albert Schweitzer
  >
  >--
  >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.
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  >https://groups.google.com/d/optout.
  >
  >--
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  >Groups "Pro Tools Accessibility" group.
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  >send an email to 
  
>ptaccess+unsubscr...@googlegroups.com.
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  >https://groups.google.com/d/optout.



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

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Soothe plugin recently discussed

[Christopher-Mark Gilland]

OK, that! is freaking! incredible! I just downloaded the 14 day trial.  I will, 
so! be buying this thing next month! It might be just over $150 but who! cares! 
Oh! my heavens! No willy milly activation crud that I can see, at least not in 
the trial, and the plugin by the way, though no presets, unless they're not 
accessible, is totally! totally! 1! hundred! percent accessible with voiceover 
from what I can see, and you'd not believe, even without tweaking a single 
thing, just alone by popping it on a track with no other plugs, you'd not 
believe! what a difference it made! If you think the C L A 2 A is good in 
dynamically keeping things level, and also e queueing things, you've heard 
nothing in my opinion at least! Wow! I'm breathtaken! I am normally not the 
type for just popping plugs on inserts, then just saying B'bow'wm! done! but, 
in this one case, I gotta tell ya, I need to read the manual, but as great as 
that sounds with absolutely no  tweaking? I shutter! to think what this baby 
could do with! some tweaking. Good!  knite in shiny armer!

Chris.

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Re: New Vocal Processor: oeksound: soothe

[Christopher-Mark Gilland]

Fantastic! Would you happen to know if the activation process, or the plug 
itself in PT is accessible, or at the very very least, if we can get at the 
presets?

If so, I'm gonna give the trial a go.
---
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: Monday, April 10, 2017 2:46 PM
  Subject: New Vocal Processor: oeksound: soothe


  This looks interesting.

  I'm glad we're seeing smarter plugin algorithms now. From the 
  description, this sounds not unlike the Surfer EQ from Sound Radix.

  https://oeksound.com/soothe/

  Chris




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

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Really confused about meter readings

[Christopher-Mark Gilland]

Sorry for the crosspost. I wanted to consult both lists though to make sure I 
get the best answer from both DAW angles. Though this is mainly about Reaper, 
not ProTools, there definitely are some aspects which are crutial to 
understanding in means of comparing how PT does things vs. how Reaper would do 
it. So, in that sense, yes, this is on topic.

So... I'm trying to train a friend of mine how to better mix audio. We've not 
yet gotten to the point where I'm teaching him the masterring phase.

Right now, we're working on gain staging, microphone placement/proxemity, etc.

The issue is he recorded a test audio file onto a track in Reaper, then while 
playing, he looked at his meters as his vocal was extremely extremely quiet. I 
get that you want some headroom so you're not going to push 0, which obviously 
equals a ruined recording in most cases. I told him on his meters to aim for 
around -12 to about -10, at most, DB. Then, we can use a compressor, or in some 
cases, other tricks to bring that up in the mix later.

I was very clear that when I said -12 to -10DB I was talking about the input 
signal level. Not the output level adjusted by the volume control in whatever 
DAW you're using located on the actual track itself.

He's not using an interface, just a general USB headset, so he doesn't really 
aside the Windows volume mixer have much control over gain adjustment. For this 
reason, I wanted him to aim a little low. Preferably, I'd like him to have 
about 6, to 3 at the least amount, DB of headroom he can work with. All this 
said, when he hits J and K while on the track in Reaper, he's showing the 
meters at around -50 on an average.

Now, here's where I'm! getting real confused! In ProTools, which is my choice 
of DAW for most things, when importing his recording on to an audio track, I'm 
seeing his levels at about -24DB on the peek. This makes a lot! more sense. 
-Come on! 50DB I don't think even would be audible in most cases.

He's not doing something wrong though in Reaper, as I checked it on my end in 
Reaper, and I see exactly the same readings he's getting. So, how in the world 
are our meters differring so much from DAW to DAW. I get that each DAW is gonna 
be a bit different on how the meterring works, but over all, signal noise ratio 
shouldn't fluctuate that drasticly, should it? I could see maybe 3 or 4, maybe 
even upwards to 5 DB's difference, but not to the point where it's doubling the 
DB signal from about -50 to -25. That just doesn't make any sense! Audibly, the 
levels sounds the same.

In PT, I have my meters set to hold infinent, so at the highest peek, they 
stick until I reset them. I still however don't think that's the issue here.

So, I guess ultimately, what I'm asking is, what signal is being considerred in 
Reaper on a track when you hit J and K? I mean I know J is the left channel, 
K's the right channel. Duh! I get that. What I mean is, is it showing the 
current output level, or is it showing more the signal coming to the input IO 
path, or what?

I'm wonderring if ProTools is somehow analyzing a different signal path than 
what I'm getting with Reaper, although, I don't see how that would be the case.

I can't effectively teach this guy until I get this mystory resolved, as he's 
not wanting to focus on just one DAW, like ProTools, or Reaper. He wants to 
more learn about mixing over all in a more broader scale.

Chris.

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Re: Waves installation?

[Christopher-Mark Gilland]

I know you weren't, but still, the way I responded probably wasn't the most 
appropriate, admittedly.

Anyway, it's all good.

Chris.

  - Original Message - 
  From: Jesse Kragiel 
  To: ptaccess@googlegroups.com 
  Sent: Wednesday, March 01, 2017 10:11 AM
  Subject: Re: Waves installation?


  Oh I wasn't trying to be patronizing, but in this day where everyone feels 
entitled, and protests and makes a scene when they feel they've been slighted, 
it's always good to remember that those tactics sometimes get results, but not 
the ones we necessarily want. It's kinda like when the NFB thought it would be 
cute to discuss a class action against Avid and other companies. I much prefer 
things going the way they are with healthy dialog between us and manufacturers. 
Full access may take longer, but in the end, I believe the level of it will be 
far better.

  Sent from my iPhone

  On Mar 1, 2017, at 9:57 AM, Christopher-Mark Gilland <clgillan...@gmail.com> 
wrote:


Very valid points made. I stand corrected, and apologize. My comments were 
uncalled for. Forgive me.

Chris.

  - Original Message - 
  From: Jesse Kragiel 
  To: ptaccess@googlegroups.com 
  Sent: Wednesday, March 01, 2017 9:30 AM
  Subject: Re: Waves installation?


  Chris, a few things actually stand in the way. One of them is the 
cross-platform nature of the plugins. They write the foundational code once to 
make it work in both Mac and Windows. The other thing is that they run within 
what ever host they're installed in. The other hurtle is that Apple itself has 
not made the mouse pointer accessible at all. If there were a way for us to 
actually hear what was under the mouse, then there's probably a lot more we 
could actually do regarding many plugins that sighted people take for granted. 
The first line of questioning may need to go to Apple, as an accessible way to 
move and hear what the mouse pointer lands on could really make a difference. 
Waves has a large install base, and very little of it is blind. They're 
completely aware of their software's limitations, and are doing what they can 
to help us, including even expressing interest in doing so. You forget that 
just a few years ago, neither Logic nor Pro Tools were accessible for us at 
all! Windows users still can't enjoy PT, and the Sonar solution we used to 
enjoy is now 6 or 7 versions out of date. I'd say access has come a long way, 
and first and foremost, we should be thankful for what we have, while 
continuing to encourage developers to work on solutions for us. We got here, 
not because we were bullies, but because we were politely expressive in wanting 
access.

  Sent from my iPhone

  On Mar 1, 2017, at 8:55 AM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


I'm curious why things are not accessible, if they care about 
accessibility? It's been now what... almost 4 years, if not more, since I first 
heard about these guys, and things still are not any more accessible than they 
were back in the days?

In you all's defense, yes, they will help remote in and take care of 
things for you, but that still should never be a sollution for considerring 
good accessibility, and now with A11Y being where it is, I'm not sure this 
would fall under that, probably not, but, still...

Chris.

  - Original Message - 
  From: Jesse Kragiel 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, February 28, 2017 5:38 PM
  Subject: Re: Waves installation?


  Amir's the man! I emailed him this mrning and he got right back with 
me. It may not be overnight, but Waves seems to care about our needs, and 
that's a wonderful thing! They make incredible sounding plugins, and right now, 
I'm absolutely in love with the SSL series! They add character to a mix just by 
adding them, even without tweaking anything!

  Sent from my iPhone

  On Feb 28, 2017, at 4:52 PM, CHUCK REICHEL 
<soundpicturerecord...@gmail.com> wrote:


Hi, 
Yes Waves will remote in to your box and take care of all that for 
you. 
Drop Amir an email and tell him you need help with Waves because of 
their VoiceOver accessibility issues;
Amir Vinci <a...@waves.com>
Amir Vinci is Director of Pro Audio Products Waves Audio Ltd He's 
just under the CEO! ;)
While your at it heres the CEO and He checks this email address 
below;
Gilad Keren <gi...@waves.com>
Talk soon


On Feb 28, 2017, at 1:21 PM, TheOreoMonster wrote:


  Sighted assistance is still needed, however waves support is good 
about using team viewer to get you up and running if needed. Demos of the plug 
ins are available and you will need to activate the demos through the same 
method I using waves central I believe.  


On Feb 28, 20

Re: Waves installation?

[Christopher-Mark Gilland]

Very valid points made. I stand corrected, and apologize. My comments were 
uncalled for. Forgive me.

Chris.

  - Original Message - 
  From: Jesse Kragiel 
  To: ptaccess@googlegroups.com 
  Sent: Wednesday, March 01, 2017 9:30 AM
  Subject: Re: Waves installation?


  Chris, a few things actually stand in the way. One of them is the 
cross-platform nature of the plugins. They write the foundational code once to 
make it work in both Mac and Windows. The other thing is that they run within 
what ever host they're installed in. The other hurtle is that Apple itself has 
not made the mouse pointer accessible at all. If there were a way for us to 
actually hear what was under the mouse, then there's probably a lot more we 
could actually do regarding many plugins that sighted people take for granted. 
The first line of questioning may need to go to Apple, as an accessible way to 
move and hear what the mouse pointer lands on could really make a difference. 
Waves has a large install base, and very little of it is blind. They're 
completely aware of their software's limitations, and are doing what they can 
to help us, including even expressing interest in doing so. You forget that 
just a few years ago, neither Logic nor Pro Tools were accessible for us at 
all! Windows users still can't enjoy PT, and the Sonar solution we used to 
enjoy is now 6 or 7 versions out of date. I'd say access has come a long way, 
and first and foremost, we should be thankful for what we have, while 
continuing to encourage developers to work on solutions for us. We got here, 
not because we were bullies, but because we were politely expressive in wanting 
access.

  Sent from my iPhone

  On Mar 1, 2017, at 8:55 AM, Christopher-Mark Gilland <clgillan...@gmail.com> 
wrote:


I'm curious why things are not accessible, if they care about 
accessibility? It's been now what... almost 4 years, if not more, since I first 
heard about these guys, and things still are not any more accessible than they 
were back in the days?

In you all's defense, yes, they will help remote in and take care of things 
for you, but that still should never be a sollution for considerring good 
accessibility, and now with A11Y being where it is, I'm not sure this would 
fall under that, probably not, but, still...

Chris.

  - Original Message - 
  From: Jesse Kragiel 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, February 28, 2017 5:38 PM
  Subject: Re: Waves installation?


  Amir's the man! I emailed him this mrning and he got right back with me. 
It may not be overnight, but Waves seems to care about our needs, and that's a 
wonderful thing! They make incredible sounding plugins, and right now, I'm 
absolutely in love with the SSL series! They add character to a mix just by 
adding them, even without tweaking anything!

  Sent from my iPhone

  On Feb 28, 2017, at 4:52 PM, CHUCK REICHEL 
<soundpicturerecord...@gmail.com> wrote:


Hi, 
Yes Waves will remote in to your box and take care of all that for you. 
Drop Amir an email and tell him you need help with Waves because of 
their VoiceOver accessibility issues;
Amir Vinci <a...@waves.com>
Amir Vinci is Director of Pro Audio Products Waves Audio Ltd He's just 
under the CEO! ;)
While your at it heres the CEO and He checks this email address below;
Gilad Keren <gi...@waves.com>
Talk soon


On Feb 28, 2017, at 1:21 PM, TheOreoMonster wrote:


  Sighted assistance is still needed, however waves support is good 
about using team viewer to get you up and running if needed. Demos of the plug 
ins are available and you will need to activate the demos through the same 
method I using waves central I believe.  


On Feb 28, 2017, at 10:01 AM, Jesse Kragiel 
<jessekrag...@gmail.com> wrote:


You still need sighted assistance for Waves Central which installs 
and activates plugins.

Sent from my iPhone

On Feb 28, 2017, at 12:40 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


  Now adays, can a sighted person install Waves plugins and 
activate them totally on their own with no sighted help. I know in the past, 
even after they apparently, from what I hear dropped the iLok scheme, it still! 
wasn't all that accessible.

  I'm just wonderring what the status on this is.

  I have the custom presets for the CLA2A, and have had someone 
sighted help me get those installed, but I'm now seriously considerring looking 
at more of those plugs. I just don't know what's accessible or for that mind, 
if any of these offer trials so I can try them in perspective with my own 
sessions before actually buying 'em. It's one thing to hear someone else's 
session that used them, but I really want to hear them with my own stuff to see 
if it would be worth

Re: Waves Plugins with Flo Tools

[Christopher-Mark Gilland]

Are you talking about the CLA2A? That's kind of an auto gain. It's a 
compressor, but in a sense, that's basically kind a what it does, is to auto 
gain things.

Chris.

  - Original Message - 
  From: John Covici 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, February 28, 2017 6:33 PM
  Subject: Re: Waves Plugins with Flo Tools


  Well, I can't remember the name, but someone at Sweetwater told me
  about a waves plugin that did autogain and I would like to use this
  with pt.  I will have to check and see what kind of license I already
  have, etc.


  On Tue, 28 Feb 2017 18:21:22 -0500,
  Jesse Kragiel wrote:
  > 
  > Most controls in their plugins are exposed, so I'm sure it's possible. 
Which plugin are you referring to?
  > 
  > Sent from my iPhone
  > 
  > > On Feb 28, 2017, at 6:12 PM, John Covici  wrote:
  > > 
  > > I heard waves has a great auto gain plug in which I would love to use
  > > -- is it possible with voiceover?
  > > 
  > > Thanks.
  > > 
  > > On Tue, 28 Feb 2017 11:18:43 -0500,
  > > Slau Halatyn wrote:
  > >> 
  > >> [1  ]
  > >> [2  ]
  > >> Hi Jesse,
  > >> Yes, it's absolutely possible to do that and once people have done it 
for a plug-in and shared it, others can benefit from it. I don't use Waves 
plug-ins (although I have a couple of their bundles). One issue with the Waves 
toolbar is
  > >> that it dynamically changes along with the particular plug-in. So, for 
example, the location of the Load button in the L2 plug-in is different from 
the X Click Load button. I have no idea how much the plug-in toolbars differ 
among the
  > >> various Waves plug-ins. I've created a plug-in view for the L2 with the 
basic toolbar button positions and they work for bringing up menus and such. 
I'm not likely to spend the time mapping out coordinates for the various 
controls but,
  > >> of course, other users are free to do so and share the plug-in views. If 
you're not subscribed to the PTAccess Drop Box, forward the email address you 
use and I'll send an invite. There you'll find some of the plug-in view 
documents.
  > >> 
  > >> Best,
  > >> Slau
  > >> 
  > >> On Feb 28, 2017, at 10:37 AM, Jesse Kragiel  
wrote:
  > >> 
  > >> Hey y'all! Does anyone know if it's possible to create some sort of 
plugin view where the Waves tool bar is accessible with Flo Tools to load 
plugin presets and such things? I've gotten sighted people to click on the load 
screen, and
  > >> a menu comes up that's accessible with Voiceover, but getting there 
independently is a different story altogether. The Waves stuff sounds better 
than anything else I have, and I'd even love to use the IR reverbs, but at this 
point,
  > >> that's impossible since we have no way of loading impulse files. Any 
suggestions would be appreciated. Thanks in advance!
  > >> 
  > >> -- 
  > >> 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.
  > >> 
  > > 
  > > -- 
  > > Your life is like a penny.  You're going to lose it.  The question is:
  > > How do
  > > you spend it?
  > > 
  > > John Covici
  > > cov...@ccs.covici.com
  > > 
  > > -- 
  > > You received this message because you are subscribed to a topic in the 
Google Groups "Pro Tools Accessibility" group.
  > > To unsubscribe from this topic, visit 
https://groups.google.com/d/topic/ptaccess/sNqbb2VjBmo/unsubscribe.
  > > To unsubscribe from this group and all its topics, 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 
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  > For more options, visit https://groups.google.com/d/optout.

  -- 
  Your life is like a penny.  You're going to lose it.  The question is:
  How do
  you spend it?

   John Covici
   cov...@ccs.covici.com

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Re: Waves installation?

[Christopher-Mark Gilland]

I'm curious why things are not accessible, if they care about accessibility? 
It's been now what... almost 4 years, if not more, since I first heard about 
these guys, and things still are not any more accessible than they were back in 
the days?

In you all's defense, yes, they will help remote in and take care of things for 
you, but that still should never be a sollution for considerring good 
accessibility, and now with A11Y being where it is, I'm not sure this would 
fall under that, probably not, but, still...

Chris.

  - Original Message - 
  From: Jesse Kragiel 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, February 28, 2017 5:38 PM
  Subject: Re: Waves installation?


  Amir's the man! I emailed him this mrning and he got right back with me. It 
may not be overnight, but Waves seems to care about our needs, and that's a 
wonderful thing! They make incredible sounding plugins, and right now, I'm 
absolutely in love with the SSL series! They add character to a mix just by 
adding them, even without tweaking anything!

  Sent from my iPhone

  On Feb 28, 2017, at 4:52 PM, CHUCK REICHEL <soundpicturerecord...@gmail.com> 
wrote:


Hi,
Yes Waves will remote in to your box and take care of all that for you.
Drop Amir an email and tell him you need help with Waves because of their 
VoiceOver accessibility issues;
Amir Vinci <a...@waves.com>
Amir Vinci is Director of Pro Audio Products Waves Audio Ltd He's just 
under the CEO! ;)
While your at it heres the CEO and He checks this email address below;
Gilad Keren <gi...@waves.com>
Talk soon


On Feb 28, 2017, at 1:21 PM, TheOreoMonster wrote:


  Sighted assistance is still needed, however waves support is good about 
using team viewer to get you up and running if needed. Demos of the plug ins 
are available and you will need to activate the demos through the same method I 
using waves central I believe. 


On Feb 28, 2017, at 10:01 AM, Jesse Kragiel <jessekrag...@gmail.com> 
wrote:


You still need sighted assistance for Waves Central which installs and 
activates plugins.

Sent from my iPhone

On Feb 28, 2017, at 12:40 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


  Now adays, can a sighted person install Waves plugins and activate 
them totally on their own with no sighted help. I know in the past, even after 
they apparently, from what I hear dropped the iLok scheme, it still! wasn't all 
that accessible.

  I'm just wonderring what the status on this is.

  I have the custom presets for the CLA2A, and have had someone sighted 
help me get those installed, but I'm now seriously considerring looking at more 
of those plugs. I just don't know what's accessible or for that mind, if any of 
these offer trials so I can try them in perspective with my own sessions before 
actually buying 'em. It's one thing to hear someone else's session that used 
them, but I really want to hear them with my own stuff to see if it would be 
worth my investment.

  Chris.


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Re: Waves installation?

[Christopher-Mark Gilland]

Dang! That stinks!

Chris.

  - Original Message - 
  From: Jesse Kragiel 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, February 28, 2017 1:01 PM
  Subject: Re: Waves installation?


  You still need sighted assistance for Waves Central which installs and 
activates plugins.

  Sent from my iPhone

  On Feb 28, 2017, at 12:40 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Now adays, can a sighted person install Waves plugins and activate them 
totally on their own with no sighted help. I know in the past, even after they 
apparently, from what I hear dropped the iLok scheme, it still! wasn't all that 
accessible.

I'm just wonderring what the status on this is.

I have the custom presets for the CLA2A, and have had someone sighted help 
me get those installed, but I'm now seriously considerring looking at more of 
those plugs. I just don't know what's accessible or for that mind, if any of 
these offer trials so I can try them in perspective with my own sessions before 
actually buying 'em. It's one thing to hear someone else's session that used 
them, but I really want to hear them with my own stuff to see if it would be 
worth my investment.

Chris.

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Waves installation?

[Christopher-Mark Gilland]

Now adays, can a sighted person install Waves plugins and activate them totally 
on their own with no sighted help. I know in the past, even after they 
apparently, from what I hear dropped the iLok scheme, it still! wasn't all that 
accessible.

I'm just wonderring what the status on this is.

I have the custom presets for the CLA2A, and have had someone sighted help me 
get those installed, but I'm now seriously considerring looking at more of 
those plugs. I just don't know what's accessible or for that mind, if any of 
these offer trials so I can try them in perspective with my own sessions before 
actually buying 'em. It's one thing to hear someone else's session that used 
them, but I really want to hear them with my own stuff to see if it would be 
worth my investment.

Chris.

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Loop grounding?

[Christopher-Mark Gilland]

I'm having a really weird issue with my studio setup, and wanted to see if 
anyone has any idea what may be going on here.

I have a Roland RP401R digital piano which I have going directly into my Alesis 
Multimix4 interface with a stereo cable going from the line out of the piano to 
the left and right in on my multimix.

When I do this, I'm noticing that only when powered on, if I put my ear right 
up to the top of the piano near the music stand, I can hear a very noticeable 
hum. I'm not sure if it's 60HZ, but it's definitely there. I don't hear it 
through my speakers though, and it's not bleeding into any recordings. I dono 
if this is just natural Johnson-Nyquist noise, or what, but I can tell you this:

  a.. I don't hear it when the piano is powered off.
  b.. I don't hear it through headphones, line out, nor internal speakers
  c.. I only hear it faintly when putting my ear up to the piano, but it's 
definitely there.
  d.. Turning off the Multimix4 has no baring.
  e.. Turning all  levels on all channels to minus infinity doesn't help.
  f.. The hum is equal pitch to the lowest B flat on a standard piano.
  g.. Disconnecting all cables running to/from the piano doesn't help.
  h.. Unplugging the electrical from the multi-mix isn't helping.
  i.. The piano is not in a serge protector nor a power strip, it's straight in 
the wall and has a 2 prong transformer.
  j.. All cords are snugged and connected well.
  k.. Finally, I didn't have this issue when I first got the piano about a year 
and a half ago, and turning the volume on the piano itself up or down isn't 
effecting it.

I'm  almost wonderring if we've got a ground loop going on here.

Anyone have any ideas? I've also switched out my cables just in case there was 
a short, but there absolutely isn't, as that didn't help either.

One more thing is, my piano is only about 2 and a half feet from my computer 
monitor. Could it be that monitor amitting RF noise which somehow the  piano is 
amplifying?

I'd like to figure this out, as this is becoming rather irritating. I just 
don't want the piano all a sudden electically to go kuh boom! Yes, I'm using 
the original power cord for everything, so we don't have improper vultage etc. 
going on.

And, nothing's smoken,  so... LOL!

Chris.

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Re: AIR Mini Grand and Structure fixes

[Christopher-Mark Gilland]

Slau,

Does this attachment for Mini Grand apply to those users like myself who only 
have the free stock included plugin version of Mini Grand?

Chris.

  - Original Message - 
  From: Slau Halatyn 
  To: PTAccess List 
  Sent: Saturday, February 25, 2017 11:56 AM
  Subject: AIR Mini Grand and Structure fixes


  For anyone who's experiencing problems with Mini Grand and Structure, I'm 
attaching to URL documents that link straight to the downloads for the two. 
Install these updated versions and that should fix the problem of cutting off 
of samples at the start of the sound.
  HTH,
  Slau

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Re: Looking for a cover: I'm willing to pay.

[Christopher-Mark Gilland]

Karen,

I guess I'm a little bit confused about your question, sorry.

This is getting off topic, so let's put an end to it here on list. I did want 
to ask, but I don't want this becoming a big OT thread on the list.

Anyone on here's welcome though to write me off list about it.

clgillan...@gmail.com

Please know rude comments though, like, hey buster, you asked on list, so don't 
be complaining now that you stepped in it. As I said, I didn't mean at all to 
offend anyone, if I have done so.

Chris.

  - Original Message - 
  From: Karen Lewellen 
  To: ptaccess@googlegroups.com 
  Sent: Thursday, February 16, 2017 8:50 PM
  Subject: Re: Looking for a cover: I'm willing to pay.


  Just wondering then.
  What  does visual acuity have to do with song interpretation?  and at 
  what level  does the acuity play a role?
  the song is a favorite of mine as well.  still say John Garry's 
  absolutely goose bump rendition is such because he captures the song, not 
  because of visual acuity, speaking only for myself I mean.
  Given your stance here it plays some role in your appreciation of the song 
  and I am simply curious.
  Kare


  On Thu, 16 Feb 2017, Christopher-Mark Gilland wrote:

  > I know.
  >
  > Mainly because I love collecting music from other fellow blind musicians.
  >
  > I'm sorry. I didn't mean to offend, if I did.
  >
  > Chris.
  >
  >  - Original Message -
  >  From: Chris Smart
  >  To: ptaccess@googlegroups.com
  >  Sent: Thursday, February 16, 2017 8:42 PM
  >  Subject: Re: Looking for a cover: I'm willing to pay.
  >
  >
  >  why a cover? The original is all over Youtube.
  >
  >  At 08:18 PM 2/16/2017, you wrote:
  >  >Has anyone on here recorded, obviously in ProTools, a cover version
  >  >of the Righteous Brothers, Unchained Melody? If so I'd love to have
  >  >a copy of it; I love! love love love! that song! It's it's part of
  >  >an E.P, single, or full album release, I'd be more than happy to buy it.
  >  >
  >  >Chris.
  >  >
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Re: Looking for a cover: I'm willing to pay.

[Christopher-Mark Gilland]

I know.

Mainly because I love collecting music from other fellow blind musicians.

I'm sorry. I didn't mean to offend, if I did.

Chris.

  - Original Message - 
  From: Chris Smart 
  To: ptaccess@googlegroups.com 
  Sent: Thursday, February 16, 2017 8:42 PM
  Subject: Re: Looking for a cover: I'm willing to pay.


  why a cover? The original is all over Youtube.

  At 08:18 PM 2/16/2017, you wrote:
  >Has anyone on here recorded, obviously in ProTools, a cover version 
  >of the Righteous Brothers, Unchained Melody? If so I'd love to have 
  >a copy of it; I love! love love love! that song! It's it's part of 
  >an E.P, single, or full album release, I'd be more than happy to buy it.
  >
  >Chris.
  >
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Re: Att. Slau and others, but especially Slau:

[Christopher-Mark Gilland]

That did the trick, Slau. Thank you! That's exactly what I was doing wrong. I 
didn't realize I had to put those templates in their own sub folder within 
Track Presets.

The article Bryan sent states you can put them in the main presets folder, but 
that if down the road you want to move them you can. I guess I was under the 
impression that moving them into their own folder categories like that was 
simply for nothing more than file management organization. I didn't understand 
that it actually made the difference in PT seeing it or not. I apologize for 
the confusion. All's working now.

Chris.

  - Original Message - 
  From: Slau Halatyn 
  To: ptaccess@googlegroups.com 
  Sent: Thursday, February 16, 2017 8:20 PM
  Subject: Re: Att. Slau and others, but especially Slau:


  You need to put the template files within yet another folder within the Track 
Presets folder. For example, you might create a folder called Pre-Fader Sends 
and drop that template in there. When you create a new track, in the track type 
pop-up menu, one of the items in the list will be "Pre-Fader Sends." When you 
select that option, a second pop-up list will appear to the right and any 
templates located in that folder will show up in that second pop-up list. You 
might create templates for virtual instrument tracks with plug-ins already 
instantiated. All of those templates can reside in a folder you might call 
Virtual Instruments or whatever.
  HTH,
  Slau


On Feb 16, 2017, at 8:11 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


I just tried putting that preset in Documents/Protools, but that's still 
not working. Same goes with putting it in Documents/ProTools/Track Presets

Neither one is working.

The file has a .PTXT extension. Did I maybe save it wrong?

Chris.


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Looking for a cover: I'm willing to pay.

[Christopher-Mark Gilland]

Has anyone on here recorded, obviously in ProTools, a cover version of the 
Righteous Brothers, Unchained Melody? If so I'd love to have a copy of it; I 
love! love love love! that song! It's it's part of an E.P, single, or full 
album release, I'd be more than happy to buy it.

Chris.

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Re: Send Defaults

[Christopher-Mark Gilland]

You're saying don't create a folder called track presets, but literally just 
put it in the top root of the ProTools directory?

Chris.

  - Original Message - 
  From: Slau Halatyn 
  To: ptaccess@googlegroups.com 
  Sent: Thursday, February 16, 2017 7:26 PM
  Subject: Re: Send Defaults


  You're putting the track preset in the wrong place. Put it in Documents/Pro 
Tools. 

On Feb 16, 2017, at 6:45 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Brian,

This isn't working.

I'm on PT 12, and it looks like this article is for V8 and V9. They even 
mention in it, if this doesn't make it into PT 11, Avid needs to be shot. So, 
yeah, I'm wonderring if this feature has been deprecated, or maybe there is 
another way now that this has to be done.

This is PT 12.4 running on Sierra 10.12.3.

I did what it said, creating the folder within /Applications/Avid/Protools 
called "Track Presets", obviously, without the quotes, and I made sure to pay 
attention to uppercase and lowercase letterings, and I put the track inside 
that folder.

To get things configured as needed, I had to create two tracks. One audio 
mono track which I then popped a send on Send A, and sent it to a new track, 
which is a stereo auxiliary input, and I made sure the IO paths were correctly 
set on each track. Then I popped my reverb on insert A of that aux input, as 
well as a compressor, set my volumes and presets on each of the two plugs, plus 
set everything on the audio track, then, made sure in the track list table, 
that both tracks were selected, which they were, then, that's! when I tried 
saving the preset.

When I then create a new session, then with no tracks in it, I hit 
command+Shift+N for new track, then look in the track type popup button, I do 
not see Lead Vocal, which is what I named the template which I placed in the 
newly created Track Presets folder.

I also tried doing the same thing under my user 
directory/Documents/Protools, but putting the Track Presets directory there 
didn't work either.

Yes. I did close and reopen ProTools after saving. Still no luck.

Chris.

  - Original Message - 
  From: Brian Casey
  To: ptaccess@googlegroups.com
  Sent: Thursday, February 16, 2017 5:53 PM
  Subject: Re: Send Defaults


  Try this


  
http://www.pro-tools-expert.com/home-page/2012/6/19/pro-tools-hack-create-track-presets-in-pro-tools.html

  Sent from my smart-ish phone!

  On 16/02/2017, at 10:35 pm, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


OK, so, I have a situation where I need to use a send which, always? 
always, always! absolutely paramount! must! must must must! Be prefader.

The thing is, this is gonna need, with the project I'm doing to span 
over several different PT sessions. Yeah, I know I could just make a PT 
template, but I really don't wanna do that, as in this case, I might not want 
the send doing exactly the same thing.

So, my point therefore is, is there a way that I can somehow set 
ProTools so that by default all sends in all sessions and on all tracks will 
be, when created, set to pre, instead of post, thereby saving me the trouble of 
having to keep constantly hitting the prefader button within the send itself? I 
don't mind doing so, but after a while, it gets kind of old, and honestly, kind 
of annoying.

Chris.


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Re: Send Defaults

[Christopher-Mark Gilland]

Brian,

This isn't working.

I'm on PT 12, and it looks like this article is for V8 and V9. They even 
mention in it, if this doesn't make it into PT 11, Avid needs to be shot. So, 
yeah, I'm wonderring if this feature has been deprecated, or maybe there is 
another way now that this has to be done.

This is PT 12.4 running on Sierra 10.12.3.

I did what it said, creating the folder within /Applications/Avid/Protools 
called "Track Presets", obviously, without the quotes, and I made sure to pay 
attention to uppercase and lowercase letterings, and I put the track inside 
that folder.

To get things configured as needed, I had to create two tracks. One audio mono 
track which I then popped a send on Send A, and sent it to a new track, which 
is a stereo auxiliary input, and I made sure the IO paths were correctly set on 
each track. Then I popped my reverb on insert A of that aux input, as well as a 
compressor, set my volumes and presets on each of the two plugs, plus set 
everything on the audio track, then, made sure in the track list table, that 
both tracks were selected, which they were, then, that's! when I tried saving 
the preset.

When I then create a new session, then with no tracks in it, I hit 
command+Shift+N for new track, then look in the track type popup button, I do 
not see Lead Vocal, which is what I named the template which I placed in the 
newly created Track Presets folder.

I also tried doing the same thing under my user directory/Documents/Protools, 
but putting the Track Presets directory there didn't work either.

Yes. I did close and reopen ProTools after saving. Still no luck.

Chris.

  - Original Message - 
  From: Brian Casey 
  To: ptaccess@googlegroups.com 
  Sent: Thursday, February 16, 2017 5:53 PM
  Subject: Re: Send Defaults


  Try this


  
http://www.pro-tools-expert.com/home-page/2012/6/19/pro-tools-hack-create-track-presets-in-pro-tools.html

  Sent from my smart-ish phone!

  On 16/02/2017, at 10:35 pm, Christopher-Mark Gilland <clgillan...@gmail.com> 
wrote:


OK, so, I have a situation where I need to use a send which, always? 
always, always! absolutely paramount! must! must must must! Be prefader.

The thing is, this is gonna need, with the project I'm doing to span over 
several different PT sessions. Yeah, I know I could just make a PT template, 
but I really don't wanna do that, as in this case, I might not want the send 
doing exactly the same thing.

So, my point therefore is, is there a way that I can somehow set ProTools 
so that by default all sends in all sessions and on all tracks will be, when 
created, set to pre, instead of post, thereby saving me the trouble of having 
to keep constantly hitting the prefader button within the send itself? I don't 
mind doing so, but after a while, it gets kind of old, and honestly, kind of 
annoying.

Chris.

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Re: Send Defaults

[Christopher-Mark Gilland]

Oh my God! I just looked at this. If this actually works, you're gonna be a 
Godsend! This will come in handy for way! more than just my sends!

Chris.

  - Original Message - 
  From: Brian Casey 
  To: ptaccess@googlegroups.com 
  Sent: Thursday, February 16, 2017 5:53 PM
  Subject: Re: Send Defaults


  Try this


  
http://www.pro-tools-expert.com/home-page/2012/6/19/pro-tools-hack-create-track-presets-in-pro-tools.html

  Sent from my smart-ish phone!

  On 16/02/2017, at 10:35 pm, Christopher-Mark Gilland <clgillan...@gmail.com> 
wrote:


OK, so, I have a situation where I need to use a send which, always? 
always, always! absolutely paramount! must! must must must! Be prefader.

The thing is, this is gonna need, with the project I'm doing to span over 
several different PT sessions. Yeah, I know I could just make a PT template, 
but I really don't wanna do that, as in this case, I might not want the send 
doing exactly the same thing.

So, my point therefore is, is there a way that I can somehow set ProTools 
so that by default all sends in all sessions and on all tracks will be, when 
created, set to pre, instead of post, thereby saving me the trouble of having 
to keep constantly hitting the prefader button within the send itself? I don't 
mind doing so, but after a while, it gets kind of old, and honestly, kind of 
annoying.

Chris.

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Re: Send Defaults

[Christopher-Mark Gilland]

I'll have a look.

Chris.

  - Original Message - 
  From: Brian Casey 
  To: ptaccess@googlegroups.com 
  Sent: Thursday, February 16, 2017 5:53 PM
  Subject: Re: Send Defaults


  Try this


  
http://www.pro-tools-expert.com/home-page/2012/6/19/pro-tools-hack-create-track-presets-in-pro-tools.html

  Sent from my smart-ish phone!

  On 16/02/2017, at 10:35 pm, Christopher-Mark Gilland <clgillan...@gmail.com> 
wrote:


OK, so, I have a situation where I need to use a send which, always? 
always, always! absolutely paramount! must! must must must! Be prefader.

The thing is, this is gonna need, with the project I'm doing to span over 
several different PT sessions. Yeah, I know I could just make a PT template, 
but I really don't wanna do that, as in this case, I might not want the send 
doing exactly the same thing.

So, my point therefore is, is there a way that I can somehow set ProTools 
so that by default all sends in all sessions and on all tracks will be, when 
created, set to pre, instead of post, thereby saving me the trouble of having 
to keep constantly hitting the prefader button within the send itself? I don't 
mind doing so, but after a while, it gets kind of old, and honestly, kind of 
annoying.

Chris.

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Send Defaults

[Christopher-Mark Gilland]

OK, so, I have a situation where I need to use a send which, always? always, 
always! absolutely paramount! must! must must must! Be prefader.

The thing is, this is gonna need, with the project I'm doing to span over 
several different PT sessions. Yeah, I know I could just make a PT template, 
but I really don't wanna do that, as in this case, I might not want the send 
doing exactly the same thing.

So, my point therefore is, is there a way that I can somehow set ProTools so 
that by default all sends in all sessions and on all tracks will be, when 
created, set to pre, instead of post, thereby saving me the trouble of having 
to keep constantly hitting the prefader button within the send itself? I don't 
mind doing so, but after a while, it gets kind of old, and honestly, kind of 
annoying.

Chris.

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Re: deleting automation from a track

[Christopher-Mark Gilland]

This is great! I was wonderring,  ironically, how to do this, so thank you.

What if all you're audomating is a plugin's bypass toggle on or off. Will this 
trick work there?

Chris.

  - Original Message - 
  From: Slau Halatyn 
  To: ptaccess@googlegroups.com 
  Sent: Sunday, January 15, 2017 8:33 PM
  Subject: Re: deleting automation from a track


  Hi Steve,

  In the edit window, use the Track View pop-up to change the view from 
Waveform to any of the automation parameters that might be present in the 
track. Use standard keystrokes to select sections or all of the contents of the 
track to delete. No audio will be deleted, only the displayed automation 
parameter. Remember to switch back to waveform when you want to work with audio 
editing.
  HTH,
  slau

  > On Jan 13, 2017, at 1:05 AM, Steve Sparrow  wrote:
  > 
  > Hi. is it possible to give me some instruction on the best way to delete 
automation from a track. I’m running protools 12.61 with flo tools.
  > Thanks.
  > steve
  > 
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Re: Click Countoff Toggle?

[Christopher-Mark Gilland]

Excellent. Thanks for the help.

Chris.

  - Original Message - 
  From: Slau Halatyn 
  To: PTAccess List 
  Sent: Thursday, January 05, 2017 7:34 AM
  Subject: Re: Click Countoff Toggle?


  Yes, and if you forget the shortcut, it's under the Window menu.

On Jan 5, 2017, at 2:46 AM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Wonderful.
That's command numpad 1, isn't it?

Chris.

  - Original Message - 
  From: Slau Halatyn
  To: PTAccess List
  Sent: Wednesday, January 04, 2017 11:43 PM
  Subject: Re: Click Countoff Toggle?


  Open the Transport window and explore. You'll find it there.


On Jan 4, 2017, at 4:08 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


OK, question.

I know that numpad 8 toggles on/off the count in with the metronome.  I 
also know that numpad 7 toggles the metronome on/off. What I wonder however is, 
where would one go to actually look with Voiceover and see the current state of 
those toggles?

I'm not using FloTools on this system. I've not had time to get it 
installed, so please address this question from a non FloTools standpoint.

Chris.



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Re: Click Countoff Toggle?

[Christopher-Mark Gilland]

Wonderful.
That's command numpad 1, isn't it?

Chris.

  - Original Message - 
  From: Slau Halatyn 
  To: PTAccess List 
  Sent: Wednesday, January 04, 2017 11:43 PM
  Subject: Re: Click Countoff Toggle?


  Open the Transport window and explore. You'll find it there.


On Jan 4, 2017, at 4:08 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


OK, question.

I know that numpad 8 toggles on/off the count in with the metronome.  I 
also know that numpad 7 toggles the metronome on/off. What I wonder however is, 
where would one go to actually look with Voiceover and see the current state of 
those toggles?

I'm not using FloTools on this system. I've not had time to get it 
installed, so please address this question from a non FloTools standpoint.

Chris.



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Click Countoff Toggle?

[Christopher-Mark Gilland]

OK, question.

I know that numpad 8 toggles on/off the count in with the metronome.  I also 
know that numpad 7 toggles the metronome on/off. What I wonder however is, 
where would one go to actually look with Voiceover and see the current state of 
those toggles?

I'm not using FloTools on this system. I've not had time to get it installed, 
so please address this question from a non FloTools standpoint.

Chris.

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Re: How in the world do I install this!

[Christopher-Mark Gilland]

Damn! Am I really that sheltered that I didn't know about this? LOL! Guess so. 
Oh well, I digress...

Chris.

  - Original Message - 
  From: Chris Smart 
  To: ptaccess@googlegroups.com 
  Sent: Wednesday, January 04, 2017 3:33 PM
  Subject: Re: How in the world do I install this!


  It wasn't cut off at all. SNL stands for Saturday Night Live, and 
  More Cowbell is a phrase from a popular SNL sketch.

  At 03:22 PM 1/4/2017, you wrote:
  >SNL)?
  >
  >Huh?
  >
  >Sorry, I dono if your message got somehow cut off or what, but this 
  >doesn't make a lot of sense.
  >
  >Chris.
  >
  >- Original Message -
  >From: <mailto:slauhala...@gmail.com>Slau Halatyn
  >To: <mailto:ptaccess@googlegroups.com>PTAccess List
  >Sent: Wednesday, January 04, 2017 10:06 AM
  >Subject: Re: How in the world do I install this!
  >
  >More cowbell!
  >(SNL)
  >>On Jan 4, 2017, at 9:40 AM, Christopher-Mark Gilland 
  >><<mailto:clgillan...@gmail.com>clgillan...@gmail.com> wrote:
  >>
  >>Aa. That's kind a what I figured. Are they any good though? I have 
  >>a few songs which do have a cowbell sound needed within the 
  >>purcussion drums portion of the song, or, if it was you, would you 
  >>honestly say I'd be better just using one of the drum kits with Xpand2.
  >>
  >>Chris.
  >>
  >>>- Original Message -
  >>>From: <mailto:slauhala...@gmail.com>Slau Halatyn
  >>>To: <mailto:ptaccess@googlegroups.com>ptaccess@googlegroups.com
  >>>Sent: Tuesday, January 03, 2017 4:50 PM
  >>>Subject: Re: How in the world do I install this!
  >>>
  >>>Chris,
  >>>The cowbell package is just a free little library for those who 
  >>>wish to try out the UVI Workstation as a host for plug-ins. It's 
  >>>just included by default in all user accounts.
  >>>Slau
  >>>
  >>>>On Jan 3, 2017, at 3:45 PM, Christopher-Mark Gilland 
  >>>><<mailto:clgillan...@gmail.com>clgillan...@gmail.com> wrote:
  >>>>
  >>>>Slau,
  >>>>
  >>>>That worked perfectly. Thank you for your help.
  >>>>
  >>>>What is this real cowbells download that would be in my downloads 
  >>>>area of their website? I didn't buy anything of the sort, or does 
  >>>>that also come with the 275? Do you know if these to default, and 
  >>>>close presets would work with the Real Cowbells? My guess is no, 
  >>>>but I figured I'd ask.
  >>>>
  >>>>Chris.
  >>>>
  >>>>>- Original Message -
  >>>>>From: <mailto:slauhala...@gmail.com>Slau Halatyn
  >>>>>To: <mailto:ptaccess@googlegroups.com>ptaccess@googlegroups.com
  >>>>>Sent: Tuesday, January 03, 2017 2:09 PM
  >>>>>Subject: Re: How in the world do I install this!
  >>>>>
  >>>>>Chris,
  >>>>>Decompress the RAR file using something like The Unarchiver then 
  >>>>>take the resulting .ufs file and put it in the following directory:
  >>>>>User Library/Application Support/UVISoundBanks
  >>>>>Slau
  >>>>>
  >>>>>
  >>>>>>On Jan 3, 2017, at 11:59 AM, Christopher-Mark Gilland 
  >>>>>><<mailto:clgillan...@gmail.com>clgillan...@gmail.com> wrote:
  >>>>>>
  >>>>>>OK, I got Ravencroft 275 piano downloaded, and I see the 
  >>>>>>presets in the Dropbox folder. Once I downloaded what I needed, 
  >>>>>>I got the workstation installed. That worked perfectly.
  >>>>>>
  >>>>>>Now I'm trying to get the libraries so I can make sure the 
  >>>>>>workstation is loading them. Question though is, how do I 
  >>>>>>manually install these things.
  >>>>>>
  >>>>>>When I run the Ravencroft installer, it comes up with the 
  >>>>>>license agreement according to what Apple Accessibility tells 
  >>>>>>me when they remoted in, but with them verbally guiding me with 
  >>>>>>the mouse, when we clicked accept to accept the license, it 
  >>>>>>then pops up with the little VILabsAudio installer logo, but 
  >>>>>>then just sits there, or so it seems.
  >>>>>>
  >>>>>>After you accept the terms, is that when the libraries in the 
  >>>>>>background are downloaded?
  >>>>>>
  >>>>>>

Re: How in the world do I install this!

[Christopher-Mark Gilland]

SNL)?

Huh?

Sorry, I dono if your message got somehow cut off or what, but this doesn't 
make a lot of sense.

Chris.

  - Original Message - 
  From: Slau Halatyn 
  To: PTAccess List 
  Sent: Wednesday, January 04, 2017 10:06 AM
  Subject: Re: How in the world do I install this!


  More cowbell!
  (SNL)

On Jan 4, 2017, at 9:40 AM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Aa. That's kind a what I figured. Are they any good though? I have a few 
songs which do have a cowbell sound needed within the purcussion drums portion 
of the song, or, if it was you, would you honestly say I'd be better just using 
one of the drum kits with Xpand2.

Chris.

  - Original Message - 
  From: Slau Halatyn
  To: ptaccess@googlegroups.com
  Sent: Tuesday, January 03, 2017 4:50 PM
  Subject: Re: How in the world do I install this!


  Chris,
  The cowbell package is just a free little library for those who wish to 
try out the UVI Workstation as a host for plug-ins. It's just included by 
default in all user accounts.
  Slau


On Jan 3, 2017, at 3:45 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Slau,

That worked perfectly. Thank you for your help.

What is this real cowbells download that would be in my downloads area 
of their website? I didn't buy anything of the sort, or does that also come 
with the 275? Do you know if these to default, and close presets would work 
with the Real Cowbells? My guess is no, but I figured I'd ask.

Chris.

  - Original Message - 
  From: Slau Halatyn
  To: ptaccess@googlegroups.com
  Sent: Tuesday, January 03, 2017 2:09 PM
  Subject: Re: How in the world do I install this!


  Chris,
  Decompress the RAR file using something like The Unarchiver then take 
the resulting .ufs file and put it in the following directory:
  User Library/Application Support/UVISoundBanks
  Slau




On Jan 3, 2017, at 11:59 AM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


OK, I got Ravencroft 275 piano downloaded, and I see the presets in 
the Dropbox folder. Once I downloaded what I needed, I got the workstation 
installed. That worked perfectly.

Now I'm trying to get the libraries so I can make sure the 
workstation is loading them. Question though is, how do I manually install 
these things.

When I run the Ravencroft installer, it comes up with the license 
agreement according to what Apple Accessibility tells me when they remoted in, 
but with them verbally guiding me with the mouse, when we clicked accept to 
accept the license, it then pops up with the little VILabsAudio installer logo, 
but then just sits there, or so it seems.

After you accept the terms, is that when the libraries in the 
background are downloaded?

Where can I go to get to the library files? I tried going to the 
Ravenscroft installer.app file, VO+shift+spacing on it, then going to view 
package content, but even digging into the .app file, I can't find where the 
actual libraries themselves are.

Am I gonna need sighted help to do this? I was udner the impression 
that though the installer wasn't really accessible, I manually could copy the 
files in the Finder over and do it that way.

Did I misunderstand?

Chris.


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"Pro Tools Ac

Re: How in the world do I install this!

[Christopher-Mark Gilland]

Aa. That's kind a what I figured. Are they any good though? I have a few songs 
which do have a cowbell sound needed within the purcussion drums portion of the 
song, or, if it was you, would you honestly say I'd be better just using one of 
the drum kits with Xpand2.

Chris.

  - Original Message - 
  From: Slau Halatyn 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, January 03, 2017 4:50 PM
  Subject: Re: How in the world do I install this!


  Chris,
  The cowbell package is just a free little library for those who wish to try 
out the UVI Workstation as a host for plug-ins. It's just included by default 
in all user accounts.
  Slau


On Jan 3, 2017, at 3:45 PM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


Slau,

That worked perfectly. Thank you for your help.

What is this real cowbells download that would be in my downloads area of 
their website? I didn't buy anything of the sort, or does that also come with 
the 275? Do you know if these to default, and close presets would work with the 
Real Cowbells? My guess is no, but I figured I'd ask.

Chris.

  - Original Message - 
  From: Slau Halatyn
  To: ptaccess@googlegroups.com
  Sent: Tuesday, January 03, 2017 2:09 PM
  Subject: Re: How in the world do I install this!


  Chris,
  Decompress the RAR file using something like The Unarchiver then take the 
resulting .ufs file and put it in the following directory:
  User Library/Application Support/UVISoundBanks
  Slau




On Jan 3, 2017, at 11:59 AM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


OK, I got Ravencroft 275 piano downloaded, and I see the presets in the 
Dropbox folder. Once I downloaded what I needed, I got the workstation 
installed. That worked perfectly.

Now I'm trying to get the libraries so I can make sure the workstation 
is loading them. Question though is, how do I manually install these things.

When I run the Ravencroft installer, it comes up with the license 
agreement according to what Apple Accessibility tells me when they remoted in, 
but with them verbally guiding me with the mouse, when we clicked accept to 
accept the license, it then pops up with the little VILabsAudio installer logo, 
but then just sits there, or so it seems.

After you accept the terms, is that when the libraries in the 
background are downloaded?

Where can I go to get to the library files? I tried going to the 
Ravenscroft installer.app file, VO+shift+spacing on it, then going to view 
package content, but even digging into the .app file, I can't find where the 
actual libraries themselves are.

Am I gonna need sighted help to do this? I was udner the impression 
that though the installer wasn't really accessible, I manually could copy the 
files in the Finder over and do it that way.

Did I misunderstand?

Chris.


-- 
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Groups "Pro Tools Accessibility" group.
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Re: How in the world do I install this!

[Christopher-Mark Gilland]

Slau,

That worked perfectly. Thank you for your help.

What is this real cowbells download that would be in my downloads area of their 
website? I didn't buy anything of the sort, or does that also come with the 
275? Do you know if these to default, and close presets would work with the 
Real Cowbells? My guess is no, but I figured I'd ask.

Chris.

  - Original Message - 
  From: Slau Halatyn 
  To: ptaccess@googlegroups.com 
  Sent: Tuesday, January 03, 2017 2:09 PM
  Subject: Re: How in the world do I install this!


  Chris,
  Decompress the RAR file using something like The Unarchiver then take the 
resulting .ufs file and put it in the following directory:
  User Library/Application Support/UVISoundBanks
  Slau




On Jan 3, 2017, at 11:59 AM, Christopher-Mark Gilland 
<clgillan...@gmail.com> wrote:


OK, I got Ravencroft 275 piano downloaded, and I see the presets in the 
Dropbox folder. Once I downloaded what I needed, I got the workstation 
installed. That worked perfectly.

Now I'm trying to get the libraries so I can make sure the workstation is 
loading them. Question though is, how do I manually install these things.

When I run the Ravencroft installer, it comes up with the license agreement 
according to what Apple Accessibility tells me when they remoted in, but with 
them verbally guiding me with the mouse, when we clicked accept to accept the 
license, it then pops up with the little VILabsAudio installer logo, but then 
just sits there, or so it seems.

After you accept the terms, is that when the libraries in the background 
are downloaded?

Where can I go to get to the library files? I tried going to the 
Ravenscroft installer.app file, VO+shift+spacing on it, then going to view 
package content, but even digging into the .app file, I can't find where the 
actual libraries themselves are.

Am I gonna need sighted help to do this? I was udner the impression that 
though the installer wasn't really accessible, I manually could copy the files 
in the Finder over and do it that way.

Did I misunderstand?

Chris.


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