How to Operate different functions within Pro-Tools Software. (Part 2)

Tips for Independent Artist!!!Let’s select the first 3 tracks (remember, that’s “Shift” and click) and create a group using “Command + G”. Name it as you wish. Create a group for the next 3 Audio tracks, and then the 2 Aux Tracks.As you can see, next to each group’s name is a letter. With the Group Keyboard Focus enabled, you can use the letters on your keyboard to select/deselect these groups. If you wish to change the letter assignments or group attributes, use “Command + There are too many shortcuts in the Edit Window Keyboard Focus to go through in this tutorial alone. So I am going to provide what I believe are the most useful. (Remember, for these to work, you have to have the Edit Window Keyboard Focus selected. The “A-Z” should be yellow). To move your cursor within the Edit window Up/Down/Left/Right use P ; L “ respectively. This is great when editing, moving regions around, and even tracking. Let’s say our cursor is in the first track G + Up”We can move through tracks very quickly now, this is great in large sessions. We can also select contiguous tracks by using shift together with the shortcuts. Now, if the cursor is in a track we can use: “Shift + R” to record arm the track (or groups of tracks!) “Shift + S” to solo it “Shift + M” to mute it “Shift + I” for input monitoring (Pro Tools HD only). “Command + D” duplicates the selected region. It is automatically placed at the end of itself. Great if you need to loop something without using Loop Playback, for example a drum over and over. “Ctrl Up/Down” in edit window resizes the track. I hope this helps get your work flow in tense situations smooth and fast-moving. At the very least it should help with your confidence in Pro Tools. The only way to really learn these is to use them. I’ve attached a list of all the shortcuts covered in this tutorial. Feel free to print them out, put them on your wall and use them whenever you need! With time, they will become second-nature and soon you’ll be flying through your Pro Tools sessions!

How to Operate different functions within Pro-Tools Software. (Part 1)

Tips for Independent Artist!!! Playing music is not the only thing that a beginner musician has to be able to do. However, one should also be able to manage the tools that are available in a studio. In order to be able to produce a good sound in music studios, a musician has also to be able to learn about to how to operate Pro Tools. For a musician, Pro Tools is a good tool for them to make music. The ability to produce a multi-track music in single software cannot be matched by any other software. Thus, if you want to make your music better, you should start learning how to use Pro Tools. Learning Pro Tools cannot be done in a very short time, neither in a self-practicing. If you want to be good at using Pro Tools, you need to learn at pro tools classes nyc. The need of taking classes for learning Pro Tools is advisable because Pro Tools is complex software that you will never be able to learn in one single try. Learning from somebody who knows about how to operate this software will bring you a lot of advantages in the future as a musician. A crucial part of knowing Pro Tools is being able to navigate a session quickly and efficiently. When time is expensive and tempers are short, the session needs to run as smoothly and efficiently as possible. Be it tracking, editing, mixing or mastering – learning keyboard shortcuts is key to succeeding in the Pro Tools digital recording,editing,mixing world.Pro Tools has now created these tracks. The default view is the Edit Window. But we want to cycle to the Mix window. Use “Command and ‘+=’” Now, we’ll need to organize our I/O setup on the tracks. There are a few nifty shortcuts to learn here (as well as I/O settings, these shortcuts can be used on send and insert parameters). Note that Aux 1 and Aux 2 have input 1 and 2 again (and not the expected 7 and 8). This is because I only have 6 available inputs in my hardware. So Pro Tools will begin cascading again as soon as it reaches 6. You can apply the change all parameter shortcuts to selected (as opposed to ALL) tracks if you add “Shift” to them.It’s very important to name tracks as soon as possible because Pro Tools automatically names the file you record after that track. So if you have a big session, it may be difficult to remember what “Audio 1″ was in the Edit Window, Region Bin and in your Audio Files folder. So double click on the first track where it says “Audio 1″.

Studio process 2

These are some of the trails ans tribulations of what I had to learn the hard when trying to enter the music business.  Before I relieved to invest in my own studio. I had sent thousands of dollors on studio time, but I wasn't experienced enough to record at that level to make them recording sessions count in regards to making an impact in the music scene.  The experience of building my own studio for what waits ahead in the future.  At the present day I can produce, write,  and mix my own songs.   Bring so busy I rarely have the time to do all three, but its more yhem benefitial to have the option to save money in that aspect if I needed to.  I must admit there is something special when you make a hot song right at the studio. But if a songs hot its hot no matter how it came about.The absolute biggest reason to build your studio up piece by piece (or a few pieces at a time) is that it forces you to learn your gear. I mean really learn your gear inside and out. Think about it: if you buy an entire mic collection from day 1, after a handful of recording sessions you might only have scratched the surface on what your mics can do. Contrast that to the person who starts out with a simple $100 microphone for a couple of years. After the same handful of recording sessions, that one mic guy is going to the full capabilities of his only mic because he’s been forced to lean on it alone to get all of his dToo many people have too much gear that they know too little about. This trend plagues the home recording market and creates a plethora of weakly formed opinions on the gear in question. Budget gear would haveFor those of you who don’t have money growing on a tree in your backyard, then you’ll appreciate this. One of the best things about investing in studio gear slowly is that you get way more value out of your purchases. Financially you are spending the same amount of money on paper, but in reality you are spreading those purchases out over time, allowing you to squeeze as much musical juice ouIt’s also a way of forced deferral of money being spent. If you wait to get that DAW upgrade next year, you allow yourself time to make some extra cash to pay for it. And all the while you are getting more projects done with your current DAW version. Thus you get more value for money already spent. Plus you are learning more about your DAW t of every dollar you spend. better reviews if people actually took the time to use the darn stuff!

Studio process

There are a few different ways you can approach this process, if u have took the time to save our money and invest the time and money to secure your own recording studio.  If you havent, the best way to go about gettin your music recorded in costly manner is get your beat from whoever.   Anyone who you know wh o make beat, or something that I do is lease beats off the internet.   This is a cost effective way to get material recorded but save cost on the production of the song recorded.  You should write your lyrics before going to the studio because save money and money on your recording process, but if you invested in your own studio, you have to pay some money at first but it will be more benefitial in the end.  You can record without any future cost.  Having your own studio give You more time to create at a natural pace rather then feel pressured to finish a song in a set amount of time. This whole post is predicated on the fact that you actually have money to spend. But let’s be honest, many people today are spending money they don’t have. All it takes is 30 seconds and a credit card to become a slave to some financial institution.If you are going into debt to buy recording gear, you are foolish. There aren’t many things in this world worth borrowing money for, and studio gear is definitely not one of them. For every person who drops $1000 of money they don’t have on gear that they want, there’s some teenager in his parent’s basement making a better sounding EP on an old laptop with free software. Am I against spending money on gear? No way! But the best way to pay for your gear is with money. Actual money. So invest slowly, over time, when you can actually afford to buy, and you’ll avoid the debt trap. This is especially important for those of you trying to run your studio as a business. The only way to really make a living is to run your business debt free. It keeps your overhead low, and forces you to make money with the gear you have, which you can then reinvest into your studio. What a concept!

Some facts on mirophones!

Tips for Independent Artist!!! Ribbon microphones use a thin metal ribbon suspended in a magnetic field. The ribbon is electrically connected to the microphone's output, and its vibration within the magnetic field makes the electrical signal. Ribbon microphones are similar to moving coil microphones, both produce sound from magnetic induction. Basic ribbon microphones detect sound in a bi-directional pattern because the ribbon, which is open to sound both front and back, responds to the pressure rather than the sound pressure. The front and rear pickup can be a problem in normal stereo recording, the high side rejection can be used to by positioning a ribbon microphone horizontally, Other directional patterns are produced by enclosing one side of the ribbon in an acoustic treated room, allowing sound to reach only one side. Protective wind screens can reduce the danger of damaging a vintage ribbon and also reduce plosive sounds in the recording. Most are designed with wind screens to unwanted attenuation. Like other dynamic microphone, ribbon microphones don't need phantom power, the voltage can damage some older ribbon microphones. Some new modern ribbon microphone designs have a preamplifier and do require phantom power. Also there are new ribbon materials available that are immune to wind blasts and phantom power. Dynamic microphones work by electromagnetic induction. They are robust, inexpensive and resistant to moisture. This, coupled with high gain before feedback, makes them good for on stage use. Moving-coil microphones use the same dynamic principle as in a loudspeaker, only reversed. A small movable induction coil, positioned in the magnetic field of a permanent magnet, is attached to the diaphragm. When sound enters through the windscreen of the microphone, the sound wave moves the diaphragm. When the diaphragm vibrates the coil moves in the magnetic field producing a varying current in the coil through electromagnetic induction. A single dynamic membrane does not respond linearly to all audio frequencies. Some microphones have multiple membranes for the different parts of the audio spectrum and then combine the resulting signals. Combining the multiple signals correctly is difficult and designs that do this are rare and tend to be expensive. There are on the other hand several designs that are more specifically aimed towards isolated parts of the audio spectrum. The AKG D 112, for example, is designed for bass response rather than treble. In audio engineering several kinds of microphones are often used at the same time to get the best result.

Some Facts on Microphones!!!

Tips for Independent Artist!!! The condenser microphone was by E. C. Wente, however it can also be called a capacitor microphone or electrostatic microphone—capacitorscondensers. The diaphragm of the mic acts like one plate of a capacitor, and the vibrations produce changes in the distance between the plates. There are two types depending on the way you get the audio signal from the transducer. DC based microphones, and radio frequency or high frequency condenser microphones. With a DC microphones plates have a fixed charge. The voltage across the capacitor plates changes with the vibrations in the air. The assembly of fixed and movable plates is called an "element" or "capsule". A constant charge is keep on the capacitor. As the capacitance changes, the charge across the capacitor does change very slightly. Within the time frame of the capacitance change the charge is constant and the voltage across the capacitor changes fast to reflect the change in capacitance. The voltage across the capacitor varies above and below the voltage. The voltage difference between the bias and the capacitor is seen across the series resistor. The voltage across the resistor is amplified for performance or recording. In most cases, the electronics in the microphone itself contribute no voltage gain as the voltage differential is quite significant, up to several volts for high sound levels. Since this is a very high impedance circuit, current gain only is usually needed, with the voltage remaining constant. AKG C451B small-diaphragm condenser microphone RF condenser microphones use a comparatively low RF voltage, generated by a low-noise oscillator. The signal from the oscillator may either be amplitude modulated by the capacitance changes produced by the sound waves moving the capsule diaphragm, or the capsule may be part of a resonant circuit that modulates the frequency of the oscillator signal. Demodulation yields a low-noise audio frequency signal with a very low source impedance. The absence of a high bias voltage permits the use of a diaphragm with looser tension, which may be used to achieve wider frequency response due to higher compliance. The RF biasing process results in a lower electrical impedance capsule, a useful by-product of which is that RF condenser microphones can be operated in damp weather conditions that could create problems in DC-biased microphones with contaminated insulating surfaces. The Sennheiser "MKH" series of microphones use the RF biasing technique. Condenser microphones span the range from telephone transmitters through inexpensive karaoke microphones to high-fidelity recording microphones. They generally produce a high-quality audio signal and are now the popular choice in laboratory and recording studio applications. The inherent suitability of this technology is due to the very small mass that must be moved by the incident sound wave, unlike other microphone types that require the sound wave to do more work. They require a power source, provided either via microphone inputs on equipment as phantom power or from a small battery. Power is necessary for establishing the capacitor plate voltage, and is also needed to power the microphone electronics. Condenser microphones are also available with two diaphragms that can be electrically connected to provide a range of polar patterns (see below), such as cardioid, omnidirectional, and figure-eight. It is also possible to vary the pattern continuously with some microphones.

The importance of mixing (part 6)

Now that I have broken down, some simple introductions into getting familiar with recording and mixing capabilities with hard work and dedication you are on your way to becoming a well rounded artist and music engineer.  We have cover some of the basics, we have discussed various tools used to manipulate your audio with dynamic processing within your protools software.   We have covered compression,  which is a dynamic processing tools used to increase or decrease your the frequencies of your sound source.  Also,  we have went over the fundamentals of equalization which is the act of altering low ,med and high frequencies within a audio signal.  another audio dynamic processing feature of protools that we have discussed is reverb, this feature manipulates audio to duplicate how audio would sound in a small roon versus a large room that give off different frequency reflections when the sound bounces off the walls around it and the amount of space within the room.  In my last post I explained the importance of incorporating chorusing within your mix, this alters your audio to give off a doubling effect that is useful in specific situations when trying to enhance the audio desired.  In conclusion to my six part blog on the importance of not just being an amazing artist, but developing an all around skill basis to have more control over your music creation.