Multi-Platinum Pro Tools: Advanced Editing, Pocketing and Autotuning Techniques (Paperback)

Description

Learn how a real professional uses Pro Tools to make multi-platinum records with this jam-packed, fast-paced guide. Including over 300 color illustrations, Multi-Platinum Pro Tools takes you inside the minds of one of the top Pro Tools engineers in the business, giving you the skills you need to succeed. Using the interactive DVD (featuring a real Nashville recording session) you watch, listen, learn and edit alongside Multi-Platinum and Gold record engineer Brady Barnett in a real Pro Tools editing session! Essential reading for current and aspiring recording engineers, students, musicians and all those who have some prior knowledge of Pro Tools but wish to become expert users, Multi-Platinum Pro Tools enables you to really enhance your Pro Tools skills without having to spend thousands on special 'digidesign training.'

 

Chapter 1 Pocketing, editing and tuning: The what, whys, and how?s of major-label Pro Tools editing Welcome: How this project came to be The times they are a changin? A bit of history: The progression of performance creation using studio technology The 80/20 rule, and how it applies to you Why do we need another Pro Tools book? Definitions: A familiar-feeling guide to some unfamiliar terms Using the accompanying DVD-ROM Chapter 2 Adjusting your seat-belt: Setting up Pro Tools preferences for a streamlined edit session How to approach a session: Doing things the platinum record way Configuring your session, choosing your settings, keeping your sanity Pro Tools preferences and how they affect your session flow Mix window, Edit window, or both? Why use two when you only need one? Link Timeline and Edit Selection Utilizing the Show Hide Show/Hide button Slip, Spot, Shuffle, Grid: A brief look at the major editing modes and tools Slip mode Shuffle mode Grid mode Zooming Zoom in/out Shortcuts The Smart tool Chapter 3 Beginning the pocket: Building a song from the drums up Opening the session Importing tracks Activating the track Taking stock of the session What to view and how to view it: Cleaning up the Edit window Finding a visual guide track Editing within a drum group Track-naming conventions What to do when there is no kick or snare Excess noise cleanup Rocketing our first note Moving on: A drum pocketing system What to do when you have no transient to pocket to Double transients in drum pocketing and how to deal with them Using time compression/expansion to fix a drum edit The difference between Serato and Digi TCE tools Proper use of time stretching when fixing drums Adjusting the bounds to fit your fades The key to good drum editing Using pre-roll to check your drum pocket Pocket it or leave it alone? A rule of thumb Using Spot mode to bail out when you lose your editing perspective Tab to Transients: The good and bad How much ?feel? to leave in the track Wrapping up the drums Chapter 4 Using Beat Detective to save time, money, and headaches Importing the percussion tracks The Audio Media Options Setting up your percussion Edit window Pocketing the brush track Beat Detective Setting up for a good beat detection Launching and using Beat Detective to pocket the brush Keeping your frame of reference: Did you improve the track? Edit smoothing and filling gaps: The right choice Fitting it in the mix: Keeping your time priorities straight Special cases in Beat Detective and how to address them The Trigger Pad option A quick Beat Detective recap Fixing clashes between Beat Detective and the master drum take Using batch fades with Beat Detective Using the Pre-splice option to avoid double transients The lazy way out: Avoiding Beat Detective with Copy and Paste Chapter 5 Getting the bass player on time [en] and not just to rehearsal Bass guitar pocketing: The setup Slip mode or Grid? Using your ears instead of your eyes The Show/Hide bin: Focusing your edit Utilizing the Zoom Waveform [en] grow transients, grow A look at the pocket: Where does the bass wave begin, and where should it end? Separate, Fade, and Nudge: A simple bass pocket Two schools of thought for pocketing bass Run, Spot, run: Spot mode comes to the rescue when nothing else will A closer look at the bass Pre-rolls, post-rolls, and solos: Repeat that five times fast Double trouble, double bass transients, and how to fix them Editing without crossfades: The ?nudge at the sample level? routine Moving the regions, filling in the holes Overcoming the beast of fret noise Time compression and expansion: Using the TCE tool to fix bass gaps When nothing else works [en] try Copy and Paste Using your eyes and your ears: A wrap-up Chapter 6 Locking up the acoustic tracks A bad analogy: Building our pocket Setting up our acoustic pocketing Edit window Pocketing without drums: How to deal with it Dealing with raked chords and trusting musicians Understanding the acoustic waveform and how to pocket it Pocketing has left our track early: Pitch ?n Time to the rescue again Acoustic pocketing summary Chapter 7 Electricity in the air Working with electric guitars One at a time: Dealing with three different types of electric guitar Changing technique: The evolution away from transient pocketing Cleaning up the intro on guitar 1 Dealing with dramatically mismatched volume levels Arranging your tracks, pocketing the electric The special guitar: Filling in gaps on a pocketed electric Our friend masking, and his impact on electric guitars Spotting the electrics No more peaking: Letting your creativity flourish when editing electric guitars Identifying and fixing problems using slow playback and nudging Electric guitar 2: Working with a percussive part Looking for pocketing guides: Parallels in other guitar tracks A standard electric pocket A lack of time stretching and why The third electric: The ambience track Visualizing the track: Finding places to pocket Spotting misadjusted guitar chords Pocketing against another electric Electric guitar summary Chapter 8 Autotuning: The not-so-dirty little secret behind a great vocal track A brief discussion of tuning ethics Pocketing and tuning as a mix, rather than ?fix?, issue Starting with our comped track First things first: Getting to know the vocal Setting up the Edit window for vocal tuning Where to start: Selecting your audio to be tuned Graphical versus Auto correction Clearing out the old: Loading in the new pitch information Tuner settings: Getting the right Retune and Tracking speeds Viewing your pitches and setting your scale Using tools in the Grid window to correct the pitch Using the Option key to lock in your pitch Undo doesn?t work? What do I do to Undo? Falloff notes and how to fix them Listening back: Checking your work Chopping up long notes In defense of AutoTune: How other people do it wrong Printing the track Tuning special cases and how to fix them The most important part Tuning backing vocals The Chromatic scale and special tuner settings Setting up your backing vocal tracks for tuning Wrapping it all up: A brief farewell Index