IntroductionWelcome| 00:03 | Hi, I am Garrick Chow, and welcome to another
title in our series on iPad Music Production.
| | 00:08 | In this course we're looking at Auria, an app
designed exclusively for iPad that turns your
| | 00:13 | device into a portable 48-track
professional-level digital audio workstation.
| | 00:18 | We'll start by taking a look around Auria interface
and get our bearings in the Mix and Edit windows.
| | 00:23 | From there we will talk a little bit about
the hardware you'll need to get sounds into
| | 00:26 | your iPad, like microphones, guitar cables,
and multitrack input devices.
| | 00:32 | Once we've seen how to get sounds into Auria,
I'll show you how to record everything from
| | 00:36 | a single audio track to capturing multiple
audio sources simultaneously, by recording
| | 00:40 | an entire live band into
a multi-track recording project.
| | 00:44 | (music playing)
| | 00:52 | Then we'll move on to the editing stage,
where I'll cover this skills you'll need to learn
| | 00:56 | in order to trim and adjust your recordings,
so you can move on to the mixing chapter where
| | 01:00 | we will see how to add effects, group tracks
together in different ways, as well as how
| | 01:05 | to export your project out of
Auria to share with the world.
| | 01:08 | As you are about to see, Auria is a well thought out
and powerful app that rivals the features
| | 01:13 | and capabilities of many
desktop digital audio workstations.
| | 01:16 | So, let's get started with
iPad Music Production: Auria.
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| What you need to know before watching this course| 00:00 | As of this recording, there are two
versions of Auria available for the iPad.
| | 00:04 | There's the full version of Auria and a
lighter less expensive version called Auria LE.
| | 00:09 | For the most part, the movies in this course
will apply to both versions, but you will
| | 00:12 | find certain limitations and that
some features are unavailable in Auria LE.
| | 00:16 | For example, Auria allows up to 48 tracks
of playback, while LE only allows for 24.
| | 00:22 | You can record up to 24 track
simultaneously in Auria, and only 8 in Auria LE.
| | 00:27 | Auria LE also comes with fewer built-in plug-in
effects, but they can be purchased as add-ons.
| | 00:32 | For the most part, though, the recording, editing,
and exporting abilities are the same in both
| | 00:37 | versions, so again, you should be able to
follow along with the majority of this course,
| | 00:40 | regardless of the version you're using.
| | 00:42 | You can find a full comparison chart of the
two versions at auriaapp.com/products/auria.
| | 00:49 | Also, bear in mind that if you are using a
first-generation iPad, you'll also run into
| | 00:52 | certain limitations even
with the full version of Auria.
| | 00:55 | For example, you can only play up to 24
tracks simultaneously, as opposed to 48 on later
| | 01:00 | model iPads, and there will only be four
subgroups available on the first-generation iPad,
| | 01:04 | while the second generation
and later have 8 available.
| | 01:07 | But you'll still be able to follow along with all
the movies in this course with the first-generation
| | 01:11 | iPad running the full version of Auria.
| | 01:14 | And Lastly, Auria is a powerful program that
requires a lot of your system resources, so
| | 01:18 | it's a good to quit any other apps that
might be running in the background on your iPad.
| | 01:21 | You can do this by double-clicking the Home button
and then holding on any icon in the multitasking bar.
| | 01:28 | Once the icons start wiggling, you can then
close them by tapping the red button on each icon.
| | 01:39 | That will free up more processing power for Auria.
| | 01:42 | Okay, so with those housekeeping notes
taken care of, let's jump into Auria.
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| Using the exercise files| 00:00 | If you are a Premium Member lynda.com, you
have access to the access to the exercise files
| | 00:04 | that come with this and other courses.
| | 00:06 | We've included a couple of different versions
of the project files I work with throughout
| | 00:09 | this course that you can import into
your own copy of Auria to play around with.
| | 00:13 | In order to load them, you have to connect
your iPad to a computer running iTunes.
| | 00:17 | Then in iTunes, select your iPad, click Apps,
and under File Sharing locate Auria, click
| | 00:29 | Add to navigate to the
project file and select it.
| | 00:36 | You can see at the top of the
screen, the file is now copying over.
| | 00:40 | And then in Auria on your iPad, go to Menu ?
Load Project, and here you'll find all
| | 00:47 | the projects you've created in Auria as
well as any you've loaded from iTunes.
| | 00:50 | Just select the one you want to open.
| | 00:54 | And at that point, you're ready to start
recording, editing, or mixing the project.
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|
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1. Getting StartedExploring the interface| 00:00 | All right, let's start by familiarizing
ourselves with the Auria Interface.
| | 00:06 | When you open Auria for the first time, you
see the Mix window. Auria ships with the sample
| | 00:10 | song called the Approach, which automatically
loads here, and you can feel free to mix and
| | 00:15 | play around with it to get practice working with Auria,
even if you haven't recorded anything yourself yet.
| | 00:20 | But this is the Mix window, and this is where you
mix the various channels or tracks of your song.
| | 00:24 | You can swipe horizontally to see more of the
Channel Strips, any subgroups you have created,
| | 00:28 | as well as any Auxiliary Sends and Returns.
| | 00:31 | On an iPad 2 and later, you can
have up to 48 tracks of audio at once.
| | 00:35 | If you are using a first generation iPad,
you can still have up to 24 tracks at once.
| | 00:41 | The Channel Strips has an FX button where you
will find the most common types of processing
| | 00:44 | you'll need like the Expander Gate,
the EQ, and Compressor.
| | 00:49 | Each strip also has Automation buttons,
Auxiliary Send Dials, a Pan Dial, a Fader,
| | 00:56 | Mute and Solo buttons, and a label at the
bottom where you can name your tracks.
| | 01:00 | You'll spend more time in the mix view
when it comes time to mix your song.
| | 01:03 | When you are recording though, you'll
probably be spent a lot more time in the Edit window,
| | 01:07 | which you can get by tapping the
button up here that looks like a waveform.
| | 01:09 | Here you can see each track laid out horizontally,
and you can scroll vertically to see them all.
| | 01:18 | Pinch in and out horizontally to contract
or expand the view of the regions on your
| | 01:21 | tracks, each colored area
represents a recording on that track.
| | 01:26 | You can also pinch in and out vertically to
contract or expand the height of each track.
| | 01:30 | So, you might pinch in to get a visual
overview of all the tracks and then pinch out again
| | 01:35 | to get a better view of
individual tracks and their regions.
| | 01:45 | Notice that you do have to adjust the
height to a minimum size in order to see
| | 01:49 | all the controls over here on the left.
| | 01:51 | If you go down further, you
start to lose some of the controls.
| | 01:56 | But with the track expanded to the right size,
you can see the track's name, which corresponds
| | 02:00 | to the ChannelStrip labels that
you see in the Mix window down here.
| | 02:05 | And below the Track's name you have the Mute
and Solo buttons, as well as the FX button,
| | 02:09 | which gives you access of the
same FX processes we just saw.
| | 02:14 | Under that we have a menu for color coding
your tracks. You can use this to color the
| | 02:18 | regions on a track in
anyway that make sense to you.
| | 02:21 | We also have the Read and Write Automation
buttons here as well, and below that is the
| | 02:25 | Automation menu, which you use to
select which parameter you want to automate.
| | 02:28 | For example, if you wanted to automate a
track's volume level to change the various points
| | 02:32 | within the song, you'd choose
volume and then make your adjustments.
| | 02:35 | On this particular bass track, if there
were a solo that I wanted to bring up a little
| | 02:38 | bit louder in the mix later, I can have
that happen automatically during my mix.
| | 02:42 | We'll definitely be taking to look at
how to do that a little bit later as well.
| | 02:45 | And below that is a Record Enable button,
which you use to let Auria know you want
| | 02:48 | to record to that track, and we will see
that in action when we get to recording.
| | 02:52 | So, really, you have access to many of the
same controls here in the Edit window
| | 02:55 | as we do in the Mix window.
| | 02:57 | But it's here in the Edit window that you
can watch your tracks and regions play back
| | 03:00 | and keep an eye on their waveforms.
| | 03:02 | You can see the Timeline here the top of the
region area, and as you Play or Record, you'll
| | 03:06 | see the playhead move along the timeline
to indicate where you are in the song.
| | 03:10 | (music playing)
| | 03:15 | And there are some controls
above the Timeline as well.
| | 03:18 | This button in the upper left is the Multi-
Select tool, and it's used for selecting multiple
| | 03:22 | regions or tracks at the same time, which
is useful if you want a multiple regions to
| | 03:26 | another part of the song to make sure they
stay synced together, and just tap them again
| | 03:31 | to deselect them, turn that off.
| | 03:34 | Next to that is the Region Info window,
which displays data on any region I select.
| | 03:39 | So I can see the Start and End time
of the region, its Length, and so on.
| | 03:43 | Next to that is the Snap menu which you can
use to specify the unit of time region will
| | 03:47 | snap to when you move them around.
| | 03:51 | To the right of that is the Waveform Display
Gain slider, which helps you increase or decrease
| | 03:55 | the size of the waveforms
representing your recordings.
| | 03:57 | You might want to use this one working with
a particularly loud or quiet recording,
| | 04:01 | so you can see the waveform better.
| | 04:03 | And the last slider here on the right is the
zoom slider, which you can use to zoom between 0%,
| | 04:07 | which fits the entire project on the screen, or 100%,
which zooms in on the waveforms to the sample level.
| | 04:15 | Now you most likely won't spend too much
time working at that level if ever, but you'll
| | 04:19 | definitely zoom in and out of
your waveforms as you are working.
| | 04:22 | Although I do find it easier to just use the
horizontal pinching gesture, than using that slider.
| | 04:27 | So, those are the controls in the Edit window.
| | 04:29 | Now at the very top of the screen is the Menu bar, and it
appears both here in the Edit window and in the Mix window.
| | 04:36 | As we've seen, the first buttons are for
toggling between the two main windows, and next to
| | 04:39 | that we have the Undo and Redo buttons, then
we have the Menu menu, where you will find
| | 04:46 | commands to create new projects, import
and export audio, reset the mixer, and so on.
| | 04:51 | This is also where you get to the input
matrix and settings, which are very important
| | 04:55 | for recording, and we'll take a
look at them in a little bit.
| | 04:59 | Now in the Mix window, the only menu we
see here is Menu, but if I switch back to the
| | 05:03 | Edit window, we also have
the Edit and Process menus.
| | 05:08 | The Edit menu contains commands that has to
do with editing your regions, and the process
| | 05:12 | menu is for processing your
regions using the commands found here.
| | 05:15 | So, you can quickly do things like Normalize
your regions, Add silence, or even Reverse a region.
| | 05:21 | Next to that is a project's name, you can
double tap the name at any time to change it,
| | 05:25 | which I won't to do here, I'll just cancel,
and to the right of the name is the project
| | 05:30 | sample rate, in this case 44.1 and then the
interface indicator, which tells you whether
| | 05:35 | Auria is getting its input from the internal
microphone, which it is in this case,
| | 05:38 | so you see INT, or if you're
getting it from a USB Interface,
| | 05:42 | we'll be looking at connecting USB
audio input devices in the next chapter.
| | 05:46 | Next is the Channel Grouping button.
| | 05:49 | When you're in the Mix window, you can tap
the Grouping button and then tap the faders
| | 05:53 | of the channels you want to group together.
| | 05:55 | And this can be useful in cases where you
have some tracks mixed together but you want
| | 05:58 | to increase or decrease their overall level in the
mix without changing the relative levels between them.
| | 06:02 | As you can see, all three
are moving together now.
| | 06:05 | Next to that is the button for setting the
locator in and out points, which we will see
| | 06:10 | how to use when we talk about
Auto Punching during recordings.
| | 06:13 | And next to that are your playback or
transport controls for rewinding, fast forwarding,
| | 06:17 | stopping, playing, and
recording in your project.
| | 06:20 | They behave pretty much the way you'd expect,
but also double tapping buttons is a shortcut
| | 06:24 | for all of these except for the Record button.
Let me go over to the Edit window and show you.
| | 06:28 | So, if my playhead is somewhere in the
middle of the song here, we will see that double
| | 06:32 | tapping the rewind button takes the
playhead back to the very beginning of the song.
| | 06:35 | This is all the way over here, you can see
these 00 point right there, and double tapping
| | 06:39 | the fast-forward button takes
you to the end of the last region.
| | 06:42 | And the display in the very upper right-
hand corner is the Counter, which shows you
| | 06:45 | the current position of the playhead.
| | 06:46 | So, as I move the playhead around,
you can see the readout changing there.
| | 06:51 | We can also tap the counter to choose
a different format for it to display.
| | 06:55 | So, for instance if I wanted to see bars
and beats in my song, I can just select that,
| | 06:59 | and you can see that changes the measurement up
here in the timeline. I'll just switch that back.
| | 07:05 | Now one other interface element I want to mention,
which you only see in the Mix window is the CPU Meter.
| | 07:10 | Now if you don't see it, you'll go to Menu > Settings,
and here make sure it shows CPU Meter is set to Yes.
| | 07:19 | This is just a way to see how hard your iPad is
working, ideally, you want to see low CPU usage.
| | 07:26 | It might be helpful to quit all the other
apps before opening Auria, which you can do
| | 07:29 | by double-clicking the Home button to open
the multitasking bar, and here just hold down
| | 07:35 | on any app until they start wiggling.
Then tap the Close buttons to quit all the apps.
| | 07:42 | And this can sometimes free up
CPU processing power for Auria.
| | 07:46 | This meter also shows you disk
performance on the right-hand side.
| | 07:49 | If you have tap the meter, you'll see the
Mac, CPU, and Disk Readouts, which let's you
| | 07:53 | know the highest values
both meters have reached.
| | 07:56 | Tap again to see the current battery level, as well
as how much of your iPad storage space is still free.
| | 08:02 | And tap once more to see how much unused
RAM is currently available on your iPad.
| | 08:05 | Again, quitting other apps
can free up RAM for Auria.
| | 08:09 | Really though, you don't have to worry too
much about keeping a constant eye on these meters.
| | 08:12 | If Auria determines that it is going to
have trouble or get laggy, you'll see a warning
| | 08:16 | message pop up, and at that point you want
to make sure you quit other applications,
| | 08:19 | so you don't introduce any
problems into your session.
| | 08:22 | All right, so that's a walkthrough of the Auria Interface.
| | 08:25 | There's a lot more to it than that, but we'll look at
specific areas as we work our way through our recording projects.
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| Understanding the file management system| 00:01 | Another important concept to understand early
on is how Auria manages the files it creates
| | 00:05 | and saves for your projects.
| | 00:07 | Unlike working with desktop digital audio
workstations, you can't easily locate and copy
| | 00:11 | files from Auria into other
apps or just to create backups.
| | 00:15 | To do so, you need to connect your iPad
to your computer and then open iTunes.
| | 00:18 | From here in iTunes, select your iPad,
then go to Apps, scroll down, and select Auria.
| | 00:26 | Here you'll see a list of all the files
Auria has saved, and any projects you've created
| | 00:31 | will be here with the extension of .Project.
| | 00:33 | The cool thing about this is everything
related to your project from the actual recordings
| | 00:37 | to the effects settings are
all stored in this one bundle.
| | 00:40 | So you can grab any of these
projects and save it to your computer.
| | 00:43 | In this case I'll just drag it to my desktop.
| | 00:45 | You can see the file copying over
and just hide iTunes for a moment.
| | 00:52 | Now here on my Mac I can right-click on
the bundle and choose Show Package Contents.
| | 00:57 | That reveals the contents of this bundle
which might be useful if you wanted to grab
| | 01:01 | a raw recording from your project to use elsewhere.
| | 01:04 | (music playing)
| | 01:08 | So here we hear just the congas.
| | 01:12 | Just be careful not to move any of the files
around in here or to delete anything if you
| | 01:15 | intend to use this as a backup.
| | 01:17 | If you ever need to copy the project back
to your iPad or to another iPad, everything
| | 01:21 | needs to be exactly as it was
when you copied it to your computer.
| | 01:24 | If you move things around, you might
introduce major problems to your project,
| | 01:28 | so just be careful not to mess around in here.
| | 01:30 | Incidentally, going through iTunes is also
how you import projects into Auria, and we'll
| | 01:34 | take a look at that process in a later movie.
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| Creating a new project| 00:00 | The first step to recording in Auria is to create a new
project, so let's quickly run through that process here.
| | 00:05 | Start by tapping Menu and
then selecting New Project.
| | 00:12 | Start by giving your project a name.
| | 00:15 | I'll just call this Test Project for now, you can
always go back and change this name later at anytime.
| | 00:23 | Next, determine the Sample Rate you want to use.
| | 00:25 | Now this is a setting that can't be changed
later, so make sure you choose a Rate in line
| | 00:28 | with the project you are working in.
| | 00:29 | In most cases 44.1 is fine for Music,
48 is usually used for audio that's
| | 00:34 | incorporated with video, or you might choose
96 if you want the highest possible
| | 00:38 | quality, although 96 isn't
available on the first generation iPad.
| | 00:42 | Just bear in mind that the higher the Sample Rate,
the more storage space you'll project
| | 00:45 | will take up on your iPad.
| | 00:47 | And lastly, choose how many
Tracks you want to start out with.
| | 00:50 | On the iPad 2 and later
you can have up to 48 Tracks.
| | 00:53 | On the first-generation
iPad, you're limited to 24.
| | 00:56 | In any case you can also add additional tracks
later, so you're not locked into your selection here.
| | 00:59 | I'll just keep the default 24 tracks
selected, and I'll tap Save.
| | 01:05 | And there is our project which opens up in
the mix window, you can see my 24 tracks.
| | 01:10 | And that's how to
create a new project in Auria.
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| Importing audio| 00:01 | Not all of the sounds you work with an Auria
are going to be sounds you record yourself,
| | 00:04 | you may also want to incorporate prerecorded
sounds, loops, or samples into your projects.
| | 00:08 | To get started, connect your iPad
to your computer and open iTunes.
| | 00:14 | Select your iPad, under DEVICES click Apps,
and then scroll down to Apps and select Auria.
| | 00:23 | Here under Auria Documents, click Add and
browse for the file you want to import.
| | 00:27 | I have a file sitting here on my desktop
called Silent Charm.wav, it's just a small music
| | 00:32 | file, select that, and you can import AIFs,
WAV files, or MP3s into Auria, and just like
| | 00:38 | that you can see it has now
been added to my Auria library.
| | 00:41 | That's really all there is to that. To add
this file to a track in your project, open
| | 00:44 | your project in Auria and go
to Menu and select Import Audio.
| | 00:50 | Here you can look at the file you
imported and tap it to select it.
| | 00:54 | You can also tab the speaker icon next to it to hear
a preview of the file to make sure it's the one you want.
| | 00:58 | (music playing)
| | 01:02 | Next, choose which track of your project
you want to import the audit file to.
| | 01:06 | You can choose one of the existing tracks or tap
the plus button to create a new track
| | 01:10 | for the audio you are importing.
I'll keep track 1 selected.
| | 01:13 | Now at the bottom here you can also choose at which point
in your project you want the audio to be placed.
| | 01:17 | You can select the start of the song, the
current location of the playhead in the timeline,
| | 01:21 | or if you are working with the BWF, or Broadcast WAV
format audio, you can choose to sync to a timestamp.
| | 01:26 | But in most cases, you'll probably be
using one of these first two choices.
| | 01:29 | I'll just choose to add it
to the start of the song.
| | 01:32 | I'll tap OK, and there is my audio.
I can see the name of the file, the label here.
| | 01:39 | I double tap that, you can see its
truncated as Silent Ch, which is okay for now.
| | 01:44 | If I switch the Edit window, we see the waveform
of the file here, and you can see it
| | 01:52 | is a stereo file, and let's tap
play to listen to it a little bit.
| | 01:55 | (music playing)
| | 02:04 | So that's how you import audio
files into your Auria Project.
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| Working with video| 00:00 | If you ever need to record or edit audio
to a video, you will happy to know that Auria
| | 00:04 | supports the ability to load a video and
play it back in sync with your project.
| | 00:09 | This allows you to edit your audio project
while keeping an eye on the video making it
| | 00:12 | easy to sync up musical cues and sound effects.
| | 00:15 | You can then export the video
with the audio track included.
| | 00:19 | Now the caveat here is that importing
video is not a built-in feature of Auria.
| | 00:23 | If you want this ability, you will need
to purchase it as an additional add-on.
| | 00:26 | To do so, go to Menu > Auria Store.
| | 00:29 | This is where you will find a wide variety
of plug-in effects, guitar amps, loops,
| | 00:35 | and even additional free demo project you
can download to play around within Auria.
| | 00:39 | Just tap any category to browse
through them and see what's available.
| | 00:43 | Tap any add-on to read more about it.
| | 00:49 | In this case, though, what I am looking for is
under Add-Ons, and this is the Video Import Add-On.
| | 00:55 | So you can see this add-on costs $4.99, and
it has the ability to import video into Auria.
| | 01:01 | And while we are in here I should point out
the note here that says this add-on doesn't
| | 01:03 | give you video editing capabilities.
| | 01:06 | So it's only for importing video that you've
most likely already edited, and that you want
| | 01:09 | to add a soundtrack or additional sounds to.
To buy an add-on, you tap its price.
| | 01:14 | Now I have already purchased this one, so
I see the Installed button here instead.
| | 01:17 | But this is the button that you
would tap to make your purchase.
| | 01:20 | Once you confirm your purchase and enter your
Apple ID and password, the add-on will automatically
| | 01:24 | download and install into Auria.
I'll tap back a few times to go back into Auria.
| | 01:30 | So here in Auria I already have a project
opened with an audio file I imported previously.
| | 01:34 | Importing a video actually involves the
same steps as importing an audio file.
| | 01:38 | First, connect your iPad to
your computer, then open iTunes.
| | 01:43 | So with the iPad selected I have apps clicked
at the top, and I scrolled down already to Auria.
| | 01:48 | And here I'll click Add
to browse for my video file.
| | 01:53 | And I have a file sitting here on my desktop called
farm_project_intro, I'll open that, and there it is.
| | 02:01 | So, now I can come back here into
Auria and tap Menu > Load Video.
| | 02:07 | Now this Load Video menu item will only
show up if you've purchased the video add-on.
| | 02:11 | So throughout rest of this course you may
see some items on my iPad that you don't see
| | 02:14 | on yours, in which case they're
most likely add-ons that I purchased.
| | 02:18 | So here, I browse through the Auria directory
and find the video file I just imported, and
| | 02:22 | I can tap on it, and that
opens up the Video Import window.
| | 02:26 | Now, here, if you don't want the entire
video, you can specify it using time codes
| | 02:30 | which portion of the video you want,
just select the start and end times.
| | 02:34 | Now I want the entire video, in this case, so I
will leave the time code settings the way they are.
| | 02:38 | You also have the option of importing the existing audio
track from the video into a track on your project.
| | 02:42 | This will allow you to mix the existing audio
with any other audio tracks you are working with.
| | 02:46 | I do want to include the original audio tracks,
I will keep Yes selected, and I will tap OK.
| | 02:53 | Now we see this floating video window.
| | 02:57 | Now I also choose to import the audio from
this video, and you might notice that we don't
| | 03:00 | really see anything here, let's
switch over to the Edit window.
| | 03:04 | And I am going to have to
scroll all the way down here.
| | 03:06 | Now this was originally a 24 track project,
notice I now have a 25th track, so Auria automatically
| | 03:11 | created that extra track to hold that
audio that we imported from the video.
| | 03:15 | Now there is a quite a bit of separation between
the audio track I already have in here and track 25.
| | 03:21 | So in this case, I am going to hold down on
track 25, you can see it lifts up, so I am
| | 03:25 | going to just drag that up.
| | 03:32 | Now let's place that right under track 1,
you can see it becomes track 2, I'll switch
| | 03:38 | back to the mixer, I'll double-tap it,
I'll just call this Original.
| | 03:45 | So there are my two audio tracks.
| | 03:48 | So now when I tap play, let me just rewind
all the way to the beginning here, when I
| | 03:51 | tap play you will see the video
play and the audio play along with it.
| | 03:56 | (music playing)
| | 03:59 | I will adjust my mix a bit.
| | 04:02 | (music playing)
| | 04:06 | Here the talking.
(male speaker: My name is BD Dautch.)
| | 04:10 | (music playing)
| | 04:14 | You can also double tap the preview window to show the movie
full-size, because I might want it playing when I do that.
| | 04:22 | (BD Dautch: And we've got about 10 acres in
Ojai that's all certified organic by CCOF.)
| | 04:26 | Just double-tap again to go
back to the Preview window.
| | 04:28 | Now you can close the video window by tapping
the X button, but that doesn't actually remove
| | 04:34 | the video from your project, it just hides it,
but really it has no effect on your project,
| | 04:38 | so if you don't need the video anymore,
you just keep the window closed.
| | 04:41 | Now I will talk about exporting near the end
of this course, but just to mention it here,
| | 04:44 | when you are ready to export a mix of your
project, and if you want to include the video,
| | 04:48 | choose Menu > Mixdown, and in this window
just make sure that Export Video is set to Yes.
| | 04:56 | And then you can choose
the video quality you want.
| | 04:59 | Auria exports video in the QuickTime MP4 format,
and you will end up with a video that includes
| | 05:03 | all the tracks of your mixed project that
you will be able to copy to your computer
| | 05:06 | through iTunes the next
time you hook your iPad up.
| | 05:09 | I'll just cancel that for now.
| | 05:11 | And that's how to work with video
using the video input add-on in Auria.
| | Collapse this transcript |
|
|
2. RecordingUsing external audio input hardware| 00:01 | While Auria is capable of recording through
the iPad's built-in microphone, chances are
| | 00:04 | that you'll rarely if ever use it unless
you're doing just a quick spur of the moment demo.
| | 00:09 | But the built-in mic just isn't going to
give you the quality you are most likely looking
| | 00:11 | for out of a professional app like Auria.
| | 00:14 | Instead, you will have to turn to one or
more of the dozens of audio input devices that
| | 00:17 | are available for the iPad.
| | 00:19 | Now in this series we have an entire course
called Inputs, Mics, and MIDI that's dedicated
| | 00:23 | to covering ways of
getting audio into your iPad.
| | 00:26 | So be sure to check that out
for more detailed information.
| | 00:28 | But in this movie I want
to go over the essentials.
| | 00:31 | So in addition to the built-in microphone,
Auria can accept input from devices connected
| | 00:35 | to the iPad's dock connector.
| | 00:37 | These could be devices that plug directly
into the 30-pin dock connector or if you have
| | 00:41 | a new iPad, the Lightning connector.
| | 00:43 | For example, this is the Apogee JAM, it
plugs directly into the iPad and lets you connect
| | 00:47 | your guitar or other instrument
that uses standard quarter inch cables.
| | 00:51 | If your iPad has a Lightning connector,
you'll need an adapter like this one.
| | 00:54 | Although I am sure we will start to see more
devices coming out with built-in Lightning connectors.
| | 01:02 | This is the Apogee mic which also connects
directly to your dock connector with the included cable,
| | 01:05 | or again, if you have a Lightning
connector, you will need the adapter.
| | 01:08 | Now you can also use any number of USB audio
devices as long as you have the Apple camera
| | 01:13 | connection kit which comes with this
adapter that lets you connect to your iPad
| | 01:17 | and has a standard USB port on it.
| | 01:20 | Apple also makes a USB to
Lightning adapter as well.
| | 01:22 | Now these simple adapters open up an entire
world of possibilities since they allow you
| | 01:26 | to use devices that might have been intended
to be used with a desktop or laptop computer.
| | 01:31 | For example, this is a USB microphone, and
I can use it with my iPad and Auria through
| | 01:35 | the Apple camera connection kit.
| | 01:36 | And this adapter is pretty much a requirement if you're
interested in recording multiple tracks simultaneously.
| | 01:42 | At this point there aren't many multitrack audio
interfaces available that plug directly into the iPad.
| | 01:47 | So, for example, this is the
AudioBox 1818VSL from PreSonus.
| | 01:51 | It allows for 18 inputs, and you can
record multiple tracks simultaneously in Auria.
| | 01:56 | But it's a USB device, so
it requires a USB adapter.
| | 02:02 | Now not only that, but you will also find
that for certain devices--especially those
| | 02:05 | that may require more power than the iPad
can provide itself--you will need a powered
| | 02:09 | USB hub like this one here.
| | 02:12 | So in order to use the AudioBox I need to
have it plugged into a wall outlet then run
| | 02:16 | a USB cable from it to the powered USB hub
and then run another USB cable from the hub
| | 02:20 | to the camera connection kit
which will then plug into my iPad.
| | 02:26 | You will find an extensive list of supported audio
interfaces by going to auriaapp.com/support/auriaaudiointerfaces.
| | 02:33 | The list also includes information on whether
the devices require a powered USB hub or not,
| | 02:38 | but once you have your device plugged in, you
will see the input indicator in Auria change
| | 02:41 | from INT or Internal to USB letting you
know that Auria has detected your device.
| | 02:46 | I should probably also mention that with
certain USB devices you may hear a brief amount
| | 02:50 | of digital noise when you first plug them in.
| | 02:53 | This is Auria initializing the
device, and it isn't a problem.
| | 02:56 | But you may not want to be wearing headphones
connected to your device when you first plug it in.
| | 03:00 | Auria does have an option to reduce or
eliminate the noise which you can find by going to Menu
| | 03:05 | and Settings and here just make USB Soft
Start set to On, which is its default setting.
| | 03:13 | With that on, it will take slightly longer
for Auria to complete its connection to the
| | 03:16 | device, but it will also prevent
that digital noise from showing up.
| | 03:20 | All right, so that's what you need to know
about connecting USB audio interfaces to your iPad.
| | 03:24 | Again, be sure to check out the Inputs, Mics,
and MIDI course in this iPad music production
| | 03:28 | series for more detailed information and how
to connect a wide range of devices to your iPad.
| | Collapse this transcript |
| Setting up the audio chain| 00:01 | Some in the previous movie we took a look
at a couple of different options we have of
| | 00:04 | input devices we can connect to the iPad.
| | 00:06 | In this movie I want to take a look at a specific example
of how to get the audio from your source into the iPad.
| | 00:12 | So in this case, we are going to be using
the AudioBox 1818, it's plugged into my iPad
| | 00:16 | using the Apple camera connection kit,
so we have a USB connection here.
| | 00:21 | And joining me in the studio here is Mr. James Carrington
to play some guitar and do some singing for us.
| | 00:25 | But we are going to concentrate on
getting a guitar level at this point.
| | 00:29 | So the first thing you want to do is
aim your microphone at the sound source.
| | 00:32 | In this case, we are going to have David come
over and do some adjusting of the microphone for us.
| | 00:37 | Now that you could be plugging your guitar
into a direct box or into an amp, you might
| | 00:40 | be miking the amp, you could be
recording any other source of music.
| | 00:43 | The most important thing is to start at the
source, have that cable run into your audio
| | 00:47 | input device, and then we are going to
run the audio input device into your iPad.
| | 00:52 | So we have got the mic cable
that's coming from that end.
| | 00:53 | And I am going to plug that into the
first input here on the AudioBox, here we go.
| | 01:01 | And I have already created a new song here in
Auria, we will record the guitar to Track 1.
| | 01:06 | So I am going to double-tap at the bottom of the
track, and we will just title this track Guitar.
| | 01:12 | Now we need to make sure that the guitar
is being routed to this track, so I am going
| | 01:15 | to go to the menu and choose Input Matrix.
| | 01:17 | So here you can see all the different
inputs that are available, the AudioBox gives us
| | 01:22 | 18 different inputs, so you can see we have
18 available, and because I plugged into input
| | 01:26 | one I am going to make sure
that one is selected for Track 1.
| | 01:29 | If I had plugged the guitar into input 3 for
some reason, I would switch this to input 3,
| | 01:33 | but I did plug it into input 1, so I am
going to make sure that's at input 1 there.
| | 01:37 | Close that, and now we just need to get a level.
| | 01:40 | Now in order to get a level I need to
Record Enable this track, you can see the meters
| | 01:44 | are already starting to move.
| | 01:47 | Now depending on the device we are using,
you may set the level within Auria itself
| | 01:50 | or you may use your input device. Because I'm using the
AudioBox I am going to set with the dial here on the front.
| | 01:56 | If you do need to set your input in Auria
itself, what you do is you hold down on the
| | 01:59 | Record Input button you see a menu pop-up,
and you want to tap Set Record Level.
| | 02:06 | That will give you this free-floating window here,
and you can make your adjustments, but this
| | 02:10 | will actually have no effect here because I'm
using the AudioBox, so I am just going to close that.
| | 02:15 | And we will set our levels
using the dial here for Input 1.
| | 02:18 | So, James, if you could give
me a couple of strums there.
| | 02:22 | (music playing)
| | 02:45 | It's looking pretty good, thank you.
| | 02:48 | Now the important thing here is to make sure
you are playing the guitar or whatever instrument
| | 02:51 | you are playing at the same level of
intensity that you intend to record it at.
| | 02:55 | But at this point I think levels are
looking pretty good, and we are pretty much ready
| | 02:58 | to record, and we will take a look
at how to do that in the next movie.
| | Collapse this transcript |
| Recording a track| 00:01 | Okay, now that our levels are set, we are
pretty much ready to record, but there are a couple
| | 00:04 | of other things I want to go over here.
| | 00:05 | Now, first of all, you are obviously going
to want to be able to hear what you're doing
| | 00:08 | when you are recording,
and when you're playing back.
| | 00:10 | Now in this case, James and I have headphones,
and we have a headphone amplifier that's plugged
| | 00:15 | into the headphone out
of the AudioBox 1818 here.
| | 00:18 | In most cases, if you can, you will want to use the
headphone out of the device you are recording to.
| | 00:22 | In some cases you will be able to plug headphones
directly into the headphone jack of the iPad,
| | 00:26 | but some devices will disable that.
| | 00:28 | So it's not really a good idea to just plug
in the device you are recording into.
| | 00:31 | You will have less latency issues in those cases.
| | 00:34 | Also, in many cases--especially if you are going
to be recording multiple tracks--you will want
| | 00:37 | to use the metronome that's built into Auria.
| | 00:39 | And you can get to that by going to Menu > Settings,
and here you will find the Metronome settings.
| | 00:46 | And just having a metronome or a click track helps you
make sure that all your tracks are synched together properly.
| | 00:51 | So you can see we can turn that on for recording,
or if you want to hear it both when recording
| | 00:54 | and playing back. You can turn that option on as well.
We will just have that on for recording in this case.
| | 00:59 | You can set your Time Signature, and
most importantly you can set your tempo.
| | 01:04 | Now we have already predetermined that in this case
the song we are recording will be at 89 beats per minute.
| | 01:08 | So I will set that, there is also a Level dial
here, so you can set the volume of the metronome.
| | 01:13 | So you may see me adjusting
that a bit. I will close that.
| | 01:17 | Now another quick way to turn the
metronome on and off is to come up to the Transport
| | 01:20 | options and here you can turn metronome on
and off just by selecting it or deselecting it.
| | 01:25 | But at this point, I think we
are a pretty much ready to go.
| | 01:28 | Now of course we want to make sure we Record Enable
on this track, which we are, you can
| | 01:31 | see our Level meter moving,
I'll get my headphones on here.
| | 01:35 | We are all the way at the beginning of the
track here. You can always double tap the
| | 01:40 | Rewind button to make
sure at the very beginning.
| | 01:43 | Now to record, you are going to start by
pressing the Record button, that just tells Auria that
| | 01:47 | you are ready to record, but it won't actually
start recording until you press the Play button.
| | 01:51 | So I think we are ready to go.
| | 01:54 | And I will tap play, so you can hear the metronome going.
Is that level okay for you James?
| | 02:00 | James: Down maybe a tiny bit.
Garrick: Down a little bit, go back into Settings.
| | 02:11 | James: Perfect.
| | 02:14 | Garrick: All right, okay. I am actually just going to roll
that back a little bit to the beginning. And here we go.
| | 02:24 | (music playing)
| | 03:17 | All right, so there is our first recorded track.
| | 03:19 | I am just going to switch over to the
Edit window to take a look at that waveform.
| | 03:23 | Looking pretty good.
| | 03:25 | Now if you want to be able to hear what you
just recorded, you need to disable Record Enable,
| | 03:29 | and now just tap in the timeline to take
the playhead back to the beginning,
| | 03:34 | and let's give it a quick listen.
| | 03:40 | (music playing)
| | 04:02 | All right, so that's sounding pretty good,
and now we have our first recorded guitar track.
| | Collapse this transcript |
| Multitrack recording| 00:01 | So now we are going to continue to build on
what we did in the last movie which was record
| | 00:04 | a guitar track, but now we
are going to add a vocal track.
| | 00:06 | So this is going to be multitrack recording
but not simultaneous multitrack recording.
| | 00:11 | We will be doing that a little bit later when
we record an entire band to multiple tracks.
| | 00:14 | But in this case, we are going to add a
second track to our current recording.
| | 00:18 | Currently we have a guitar on track 1, we
are going to add vocals to track 2, so I am
| | 00:22 | just going to double tap
and add in V-O-X for vocals.
| | 00:28 | Now we have set up a microphone in front of
James over there, and we run it to, again,
| | 00:32 | channel 1 here in the audio box.
| | 00:34 | And I once again need to
go to Menu > Input Matrix.
| | 00:38 | And since we are working on track 2, and I
have the microphone plugged into input 1,
| | 00:42 | I need to switch that over to Input 1 there.
| | 00:47 | And once again, we need
to Record Enable the track.
| | 00:48 | You can see we are getting a
little bit of meter movement there.
| | 00:53 | And let's just get it set a quick level, I
will playback a little of the recording of
| | 00:55 | the guitar and maybe if you could just sing along a
little bit we will set a quick level, just rewind here.
| | 01:06 | I'll kill the metronome for this one.
| | 01:11 | (music playing)
| | 01:54 | All right, so that's pretty much the take,
but we wanted to get levels set properly there.
| | 01:57 | I am going to go over to the Edit window again.
| | 01:59 | So you can see the waveform we just recorded.
You can see that the waveform looks slightly
| | 02:03 | different here, because I was adjusting
the levels as James was singing there.
| | 02:06 | So I am just going to select that region,
and I don't really need that so we are going
| | 02:10 | to choose Delete Region, we will
roll all the way back to the beginning.
| | 02:14 | Now we can actually record in the edit window,
you notice we have the Record Enable button
| | 02:18 | flashing there, which means we
are ready to record at this point.
| | 02:21 | So all I need to do is again press Record, and we
will get that rolling. All right, here we go.
| | 02:32 | (music playing)
| | 03:19 | All right, and there is our second vocal track.
| | 03:21 | Once again, if you want to listen back, just
turn off Record Enable, jump back to the point
| | 03:26 | you want to listen to, tap
play to review what you have done.
| | 03:29 | But for now we have got a guitar track on
one track, and we have a vocal track on our
| | 03:33 | second track now, and that is
our multi-track recording.
| | Collapse this transcript |
| Simultaneous multitrack recording| 00:00 | In this movie we are going to look at
simultaneous multitrack recording, and to help me out,
| | 00:04 | I am now joined by the entire band, we have
James on vocals and guitar, Alex on drums,
| | 00:10 | Abe on bass, and Craig on the dobro.
| | 00:14 | Here in Auria, you can see I have already set
up eight tracks and they are all Record Enabled.
| | 00:16 | If I go over to the Input Matrix, you can see
each track has a separate input being routed to it.
| | 00:24 | Now at this point, I am going to ask the band to
play a little while I set the levels on my input device.
| | 00:30 | I am also going to record the audio tests
so we can get a look at the waveforms in the
| | 00:33 | Edit window after the band has played a bit.
So I am going to Record Enable, we are rolling.
| | 00:41 | And James, if you could play
a few bars and kick us off?
| | 00:44 | James: Sure, one, two, three, four.
| | 00:49 | (music playing)
| | 01:16 | Garrick: Okay, so the levels are
looking pretty good at this point.
| | 01:19 | I am going to roll the playhead back to the
beginning of song by double tapping the Rewind button.
| | 01:23 | I am going to Record Enable
again, and we are rolling.
| | 01:29 | James: One, two, three, four.
| | 01:33 | (music playing)
| | 05:51 | Garrick: All right. That sounded great, guys.
And there is our live multitrack recording.
| | Collapse this transcript |
| Using Auto-punch| 00:01 | In the previous movie, we recorded
eight tracks simultaneously into Auria.
| | 00:04 | Now Abe, our bass player, has let me know there was
one section that he'd like to go back and fix.
| | 00:07 | So I am going to switch over to the Edit window,
and now the playhead is I think about where
| | 00:12 | we need it to be, but Abe, if you will
give it a listen, I may know the part you want
| | 00:16 | to fix, get your headphones on
here, and we'll start playing.
| | 00:20 | (music playing)
| | 00:25 | >> Abe: One, two, three, four.
| | 00:29 | Okay, so there is just that one note there
which is a little bit late, we can fix that.
| | 00:34 | So this is actually a good opportunity to
look at Auria's Auto punch feature, which
| | 00:38 | lets you go back and change a specific
section of the take rather than having to go back
| | 00:41 | and do the whole thing over again.
| | 00:42 | Now the way to do this is to set your in and
out points, basically you are telling Auria
| | 00:46 | where you want the recording to start and where you want
it to stop, and there are actually two ways to do this.
| | 00:51 | You can either double tap anywhere in the
timeline and start dragging, and you can see
| | 00:55 | that sets a highlight across the waveforms,
so I have set an in and an out point there.
| | 01:00 | But because this is more of a time-based
punch, I am going to clear those, if I click the
| | 01:06 | Transport Options, I tap Clear Locators.
| | 01:10 | Another way to do this is to use the
locator in and out buttons right here.
| | 01:14 | So what I do is when I get to the part of
the song where I want the recording to start,
| | 01:17 | I tap the button once, when I get to the part of the song
where I want the recording to stop, I tap the button again.
| | 01:22 | And just so we have a lot of play here, I
am going to roll back a little bit more, and
| | 01:26 | I am going to zoom in on the waveforms,
so we can really see what's going on here.
| | 01:31 | Ideally you want to find a couple of the gaps
in the waveform, you don't want to punch right
| | 01:35 | in the middle of the waveform, like right here would
probably be a good place for a punch or right here.
| | 01:40 | We'll just listen to this once.
| | 01:46 | (music playing)
| | 01:50 | So right there, before the vocal comes
back in, it's probably a good place to punch.
| | 01:55 | (music playing)
| | 01:59 | So right there, since there is a nice big gap
there, I can just place my playhead right there.
| | 02:04 | I can set my in point that way, and then I'll
listen through it to the point where I want to punch out.
| | 02:25 | (music playing)
| | 02:25 | Okay, I was able to tap my out
point there in real time.
| | 02:32 | Now it looks like I have still a little
bit behind the beat there, I can just look at
| | 02:36 | the waveform here, and I could see it just a
little bit behind, so I can move that outpoint
| | 02:41 | over just a little bit, like so.
| | 02:45 | And if I zoom back out again, you
can see there is our punch point.
| | 02:55 | So at this point I am going to go to the
Transport Options, I am going to make sure Auto-Punch
| | 02:58 | is turned on, and Abe, I am going to roll this
back a little bit further so you can get into it,
| | 03:02 | and then we'll start recording.
| | 03:06 | So Auria is only going to record within
the in and out points that we have set here.
| | 03:10 | So we get the record button ready, I'll
Record Enable the track, and here we go.
| | 03:21 | (music playing)
| | 03:51 | Okay, so those are punch in and punch out
point, so let's give that a listen, I am going
| | 03:54 | to roll my playhead back again, I am going
to unarm the track, so we can hear what's
| | 03:57 | going on, and let's listen.
| | 04:01 | (music playing)
| | 04:29 | Seemed pretty to clean to me.
Abe: Yeah, yeah.
| | 04:32 | Garrick: All right, thanks Abe.
Abe: Thank you so much.
| | Collapse this transcript |
| Overdubbing a track| 00:01 | All right, now we are going add one more track
to our song, and we've set up Craig over there
| | 00:04 | with his fiddle, and
we've got a microphone on him.
| | 00:06 | I have already routed the mic to the next
track here in the song, we've labeled it properly,
| | 00:10 | over to Input Matrix and so we
have routed the mic over there.
| | 00:17 | Now Craig asks if he could have a little bit
of reverb on his fiddle as he was recording
| | 00:20 | this track, so I have turned
on a Convolution Reverb setting.
| | 00:24 | Watch what happens if I go to record, though.
| | 00:25 | Go to Record Enable and hit Record, it will
roll for a little bit, and now I am seeing
| | 00:35 | this CPU Overload message here, it's telling
me to use a higher record buffer size or reduce
| | 00:40 | the number of active plug-ins in your project.
| | 00:42 | Basically what this means is running the
effects simultaneously with the recording is taxing
| | 00:47 | the CPU of the iPad a little bit too much.
| | 00:49 | Now one option you have here is to
do what's called freezing your tracks.
| | 00:52 | This basically bounces your tracks in place
and just locks them so you can't change them
| | 00:56 | in the effects but that freeze up a lot of the
CPU cycles so you can focus them on your recording.
| | 01:01 | Now the way to do this is to go to the Tracks, tap
the FX button, and here you will see the Freeze button.
| | 01:06 | I'll tap that, it will take a couple of
moments to freeze it, and when it's frozen you see
| | 01:13 | this little snowflake icon on top of it.
| | 01:16 | You will see a little asterisk or snowflake
icon next to the FX button there so you know
| | 01:20 | that that track is currently frozen.
| | 01:21 | And you basically want to go
through and do this to all of your tracks.
| | 01:23 | So I am going to go through and
just freeze all of these tracks now.
| | 01:29 | All right, so we kind of fast-forwarded through that process,
but now all of the other tracks are frozen in place.
| | 01:34 | That will free up enough CPU cycles for us to be
able to record this track with some reverb on it.
| | 01:39 | So the track is Record Enabled, rewind all
the way back to the beginning, and here we go.
| | 01:54 | (music playing)
| | Collapse this transcript |
| Bouncing tracks| 00:01 | With 48 tracks to work with, chances are
you won't often run into a situation where you
| | 00:04 | run out of tracks unless you are working
with a very complex and layered project.
| | 00:09 | If you do happen to come across Auria's
track limit, or if you just want to simplify your
| | 00:12 | project a bit, you can bounce
multiple tracks into a single track.
| | 00:16 | Bouncing tracks simply means to combine multiple
tracks or subgroups together onto a new track.
| | 00:21 | For example, let's pretend I have gotten
pretty close to running against the track limit in
| | 00:24 | Auria, and I need to free up some space,
maybe I have recorded 46 tracks already, and I can
| | 00:29 | tell I am going to need at
least 3 or 4 more for my project.
| | 00:31 | Or maybe I am using a first generation iPad
which only allows for 24 tracks, and I have
| | 00:35 | recorded 22, whatever the case, to bounce
tracks first solo the tracks that you want
| | 00:40 | to include in the bounce.
| | 00:41 | For this example, let's say I want to bounce the
four drum tracks to a single track, so I'll solo them.
| | 00:47 | Alternately, you can also mute the
tracks that you don't want to include.
| | 00:50 | The point is that you want to make sure only
the items that you want to bounce are audible.
| | 00:54 | Next, make sure the audible
tracks are mixed the way you want.
| | 00:57 | This is especially and critically important if you are going
to be deleting these individual tracks after the bounce.
| | 01:02 | Once they are combined into single tracks, there is
no way to adjust the level of individual instruments.
| | 01:06 | For instance, after I bounce the drums, I
won't be able to bring the kick drum any higher
| | 01:10 | without also increasing
levels of the other drums as well.
| | 01:13 | So if I were doing this for real I take
some time now to mix the drums, but right now
| | 01:16 | I just want to show you how bouncing works.
Next, make sure have an empty track available.
| | 01:21 | You may need to create one
by going to Menu > Add Track.
| | 01:26 | Now even though I have a few empty tracks
available, I am going to create one because
| | 01:29 | in this case I want to create a stereo track.
| | 01:33 | Next, I'll go to Menu and open up the Input
Matrix, and here let's go down to Track 17
| | 01:41 | which is my newly created track, and I'll
tap the buttons under L and R, and that lights
| | 01:45 | up both of them, since this is a stereo track.
| | 01:48 | If you are bouncing to a mono track, choose either L
or R depending on how your bounce tracks are set up.
| | 01:53 | Then I'll close the Input Matrix, and
now I am going to Record Enable Track 17.
| | 02:00 | And just because it's a good habit, let's
take a moment here to name the track and just
| | 02:06 | call this Bnc for bounce, drums.
| | 02:13 | Now I can either bounce the entire song or
if the drums only appear for a certain section
| | 02:16 | of song, I could just bounce that section.
| | 02:18 | If I wanted to bounce the entire song, I
would move the playhead back to the very beginning
| | 02:22 | of the song and then start recording.
| | 02:24 | If you wanted a section of the song to be
bounced, you want to switch to the Edit window
| | 02:30 | just zoom in a little bit here, you want to move the
playhead to where you want the bounce recording to start.
| | 02:40 | You could even set In and Out Points, for example,
like this, let's pull that back a little bit more.
| | 02:52 | Now we can automatically
record just that section.
| | 02:54 | Let's do that for this example.
| | 02:56 | All right, so I'll move my playhead back
before that section just a little bit, I am also
| | 03:00 | going to go to Transport Options, make
sure Auto-Punch is turned on so we record only
| | 03:05 | in that highlighted section, just move that a
little closer, and now we'll record to Track 17.
| | 03:17 | (music playing)
| | 03:42 | And there is our bounced section of drums.
| | 03:44 | Let's un-solo the original drums,
and we'll solo the bounce drums.
| | 03:56 | And let's just go back into the Edit window
here, I am just going to clear those locators,
| | 04:07 | and now we are only listening to Track 17.
| | 04:14 | (music playing)
| | 04:22 | So there is my bounce track containing
all the drums from Tracks 1 through 4.
| | 04:25 | Again, I could have bounced the entire song
to this track just by rolling the playhead
| | 04:28 | back to the beginning and letting the whole song play,
but I wanted to show you how to bounce just a section too.
| | 04:34 | Now as a general rule you should always be
monitoring when you bounce a track just to
| | 04:37 | make sure you are happy with the mix and to also
make sure you didn't accidentally include another track.
| | 04:41 | I occasionally solo a track where I didn't
mean to solo, and I want to make sure that
| | 04:45 | it's not in the final bounce, especially if I am
going to be deleting the original tracks to make room.
| | 04:50 | Now to be clear you don't have to delete the
original tracks if you still have room, you
| | 04:53 | may be bouncing tracks just to simplify
or consolidate things in your project.
| | 04:57 | For example, you will recall
that the bass track has two regions.
| | 05:04 | We have the original region and the short
Auto-Punch section where we fixed a mistake.
| | 05:08 | Since there really isn't any reason to keep
these two regions separate, I could bounce
| | 05:11 | them another track by soloing the bass track, record-enabling
another track, and then recording from the beginning.
| | 05:17 | That way I would have a single bass region,
and I wouldn't have to worry about accidentally
| | 05:19 | bumping or changing the region's
relative positions with each other.
| | 05:22 | Now before I wrap up this movie, I am going
to find those drums we bounced, and I'll select
| | 05:29 | that track and choose Edit > Delete Track.
| | 05:35 | Since this was just an example for this movie,
we don't really need that bounced section.
| | 05:39 | All right, so that's how
to bounce tracks in Auria.
| | Collapse this transcript |
| Routing audio from other iPad apps into Auria with Audiobus (NEW)| 00:00 |
I'd like to show you another way to get
audio into Auria.
| | 00:03 |
So far, we've looked at ways to record
sounds out of the air using microphones.
| | 00:07 |
And I've also mentioned how you can plug
in instruments like guitars directly into
| | 00:10 |
Auria using special equipment.
But another way to get sounds into Auria
| | 00:13 |
is to record directly into other music
apps.
| | 00:16 |
For example, maybe you've created a beat
in a music app you have installed on your
| | 00:19 |
iPad and you you'd like to move it onto
Auria to work on it.
| | 00:22 |
The long way to accomplish this would be
to export the audio from your music app
| | 00:25 |
to your computer and then re-import it
into Auria via iTunes.
| | 00:29 |
Alternately, you can use a third party
app called Audiobus from A Tasty Pixel.
| | 00:33 |
Audiobus which can be purchased from the
Appstore is designed to route audio
| | 00:37 |
between the music apps on your iPad.
This allows you to really use all of your
| | 00:41 |
tools in conjunction with each other
rather than being isolated to a single app.
| | 00:45 |
Instead, you can create a beat in one
app, a guitar track in another app, and
| | 00:48 |
bring everything together in Auria.
So, we've already created a beat in an
| | 00:52 |
app called DM1, and here's how it sounds
like.
| | 00:55 |
(MUSIC).
| | 01:03 |
And I would like to use this in Auria.
Now, to do so, I'm going to open up Audiobus.
| | 01:09 |
Here you can see three slots that I can
load apps into.
| | 01:12 |
I should have mentioned here that the app
has to support Audiobus in order to be
| | 01:15 |
available here.
More and more developers are adding
| | 01:17 |
support all the time though.
So, we have an Input slot, an optional
| | 01:21 |
effect slot and an output slot.
So, I want to route my audio from DM1 to Auria.
| | 01:26 |
So, I'm going to select DM1 as my input.
Now, you can continue to add other
| | 01:32 |
inputs, up to three of them in fact, and
again, they'll all show up here.
| | 01:36 |
So, you might want to play your drum
machine or maybe a live guitar together
| | 01:39 |
at the same time.
But just be aware if you do this, they'll
| | 01:42 |
end up on the same track in Auria.
If you want to be able to independently
| | 01:45 |
mix your instruments later on, make sure
you record them one at a time.
| | 01:49 |
So, I'm just going to leave DM1 on it's
own there.
| | 01:51 |
Next, I'm going to place Auria in the
output slot.
| | 01:55 |
Now, if the app isn't currently running,
you'll see this sleeping icon.
| | 01:58 |
Tapping it will open Auria, and that
switched you back to Audiobus.
| | 02:05 |
So, now Auria is loaded as the output.
Now, I created a new Auria project for
| | 02:09 |
this example, so, when Auria opened it
opened that project, but there were no
| | 02:12 |
tracks in that project.
Let's switch over to Auria by tapping
| | 02:16 |
it's icon, and those are tract called DM1
has now been created.
| | 02:20 |
I didn't create that itself.
It was automatically generated when I
| | 02:23 |
connected Auria to Audiobus.
And I should also mention the apps you're
| | 02:26 |
using together via Audiobus have to be
using the same sample rate.
| | 02:30 |
So, this project is set to a sample rate
of 40 for 1 at 16 bit.
| | 02:34 |
Notice that we see an Audiobus indicator
up here, letting me know that we're
| | 02:37 |
working with an Audiobus input.
And if I go to the input matrix and
| | 02:41 |
select Audiobus, I can see that DM1 is
its own track, and I don't really need to
| | 02:45 |
do anything else here to route the audio
from DM1 to aria, it's already taken care of.
| | 02:52 |
So, the track is also automatically
record enabled.
| | 02:55 |
And I can actually start DM1 playing from
right here in Aura using this control panel.
| | 02:59 |
When I tap the DM1 icon it shows its
controls.
| | 03:02 |
And here's the Play button.
(MUSIC) By the way, if you don't see this
| | 03:06 |
Control panel, you may have accidentally
slid it over.
| | 03:12 |
Which case just do a short swipe back
towards the screen to get that handle,
| | 03:15 |
and you can bring it back.
Now, you can also switch over to DM1 by
| | 03:19 |
tapping this button beneath the icon.
And over here in DM1, notice we have an
| | 03:23 |
Auria icon, and we have several more
controls here to work with.
| | 03:28 |
So, to record this pattern into Auria
from here, I can tap Record to record enable.
| | 03:33 |
And when I tap Play, it will start
recording.
| | 03:36 |
And now, I can hit Play here in DM1 to
start recording the drum loop
| | 03:47 |
(SOUND).
| | 03:49 |
Stop the recording.
Now, I could use the controls here to
| | 03:54 |
rewind in Auria, and then hit Play to
listen from here, but let's switch back
| | 03:57 |
to Auria and see what we've got.
Let's switch over to the Editor.
| | 04:03 |
So, there's my DM1 drum loop here in
Auria.
| | 04:05 |
Now, it depends on the apps you're using,
but in many cases, you can start the
| | 04:08 |
input source from here in the output app.
So, again, let me just place the Play
| | 04:12 |
head right there.
The track is already stilled armed, but I
| | 04:16 |
do have the DM1 controls here.
So, if I start recording here in Auria
| | 04:23 |
and hit Play (MUSIC).
Pause that, stop the recording.
| | 04:31 |
So, I was able to activate Dm1 from here
in Auria.
| | 04:34 |
So, that's how to work with Auria and
Audiobus.
| | 04:37 |
Now, the exact process is going to vary
from app to app.
| | 04:40 |
So, you'll have to do some experimenting
in the Audiobus and apps your using to
| | 04:43 |
figure out how best to route the signal
from input to output.
| | 04:46 |
but audiobus gives you a great option for
recording audio directly in to aria from
| | 04:50 |
other apps on your iPad
| | 04:52 |
| | Collapse this transcript |
|
|
3. EditingSelecting regions| 00:01 | In the previous chapter, we looked at several
recording techniques, and now we have a multitrack
| | 00:04 | project to work with.
| | 00:06 | Of course, recording is only part of the
equation and how your final project sounds also has
| | 00:10 | a lot to do with how it's edited and mixed.
| | 00:13 | So in this chapter, we're going to take a
look at several important tools and skills
| | 00:16 | you need to edit audio in Auria.
| | 00:19 | Now I want to mention up front that nearly
everything you do to your recordings in Auria
| | 00:21 | is nondestructive, meaning you're free to
experiment and play around with effects and
| | 00:25 | levels without worrying about
permanently altering what you've recorded.
| | 00:29 | You can always change your mind later and
add effects or even remove them entirely.
| | 00:34 | Now the way you're going to perform the
majority of the edits to your project is by working
| | 00:37 | directly with regions in the Edit window.
| | 00:41 | The regions are the individual colored bars
on each track representing the recordings.
| | 00:45 | Tracks might have a single region or
multiple regions if you recorded tracks in sections
| | 00:48 | or did some punching in.
| | 00:50 | For example, here on the Bass track, you can
see I have multiple regions, and that's from
| | 00:55 | when we did the Auto-Punch in
when we recorded the Bass track.
| | 00:59 | Now in order to edit an individual
region, you have to first select it.
| | 01:02 | To do so, you just tap the region once.
| | 01:04 | By default, you can only
select one region at a time.
| | 01:10 | If you do need to select multiple regions
at once, for instance if you need to move
| | 01:13 | them simultaneously, tap the Multi-select tool.
| | 01:15 | You can see it starts flashing to let you
know it's selected, and then you can tap
| | 01:19 | as many regions as you like.
| | 01:23 | Tap the Multi-select tool again when you're
done to deselect it, and you can see the regions
| | 01:29 | you tapped will remain selected.
| | 01:30 | So, for example, if I wanted to drag them
to the right, I could hold down on one of
| | 01:33 | the regions I've selected until I see this
red outline appear and then just start dragging.
| | 01:40 | Now I don't want to move these
right now, so I'll just tap Undo.
| | 01:44 | Now one issue with moving and editing regions
is that it's sometimes easy to do accidentally.
| | 01:48 | To prevent a region from being moved or
edited in any way, make sure the region is selected
| | 01:54 | and then choose Edit > Lock Region.
| | 01:58 | And if I scroll over here, you can see that
puts a little lock icon in the lower left-hand
| | 02:04 | corner of the region.
And you can see now I am unable to move it.
| | 02:07 | All I am doing here is just
scrolling my view of the entire project.
| | 02:11 | And as you probably guessed to unlock the region, just
make sure it's selected and choose Edit > Unlock Region.
| | 02:18 | In addition to moving regions within a track,
you can also move regions to other tracks.
| | 02:22 | For example, I'll scroll down here to the Fiddle
track and maybe I want to move this to Track 10.
| | 02:27 | Now, this is different than
moving the actual track itself.
| | 02:30 | To move a track, I tap and hold down on the
track header, and then I can drag up or down.
| | 02:34 | So if I were to move this here, you can see the
Fiddle and the vocals have now swapped places.
| | 02:40 | Let's undo that.
| | 02:42 | Now when you move a region, the tracks stay
where they are, it's just the regions
| | 02:46 | within the tracks that move.
| | 02:47 | You might want to do this if you're
experimenting with different plug-ins or effects, and you
| | 02:50 | want to here how the same recording
sounds with those effects applied.
| | 02:53 | Just hold down in the region until it
turns red and then drag it up or down.
| | 02:59 | So now my Fiddle region is on Track 10.
| | 03:01 | Now the smaller region you see here on Track 9
is an earlier take that I stopped and recorded over,
| | 03:05 | but when I move my Fiddle region,
it revealed that region beneath it.
| | 03:09 | Anytime you record onto a track,
your previous takes still remain.
| | 03:12 | You just want to hear them because
you only ever hear the topmost region.
| | 03:16 | But this does raise the question of how to
delete regions you don't need anymore, which
| | 03:19 | is actually pretty simple to do.
| | 03:21 | Just tap to select the region and
then choose Edit > Delete Region.
| | 03:26 | And now I see there is actually an even
earlier take there, so let's delete that one too,
| | 03:34 | and while I am at it, I am going to move
the Fiddle region back to Track 9.
| | 03:39 | Now it's easy for me to move this region because
it lines up at the beginning of the entire project.
| | 03:43 | But if you have a region that appears in the
middle of the track somewhere, you'll probably
| | 03:46 | want to go up to the Snap menu and choose what element
on the timeline you want the regions to snap to.
| | 03:52 | Right now I see Events,
Cursor, and fractions of seconds.
| | 03:54 | But what you see in the Snap menu depends on
what you have selected in the Transport Options.
| | 03:58 | For example, I'll choose Bars:Beats as the
Time Format, and now when I reopen the Snap menu,
| | 04:03 | I see Bars and Beats options.
| | 04:07 | This can be really useful when you've
recorded your song to the metronome, and it can make
| | 04:10 | it much easier to keep your regions lined up
properly and on the beat when you have to move them.
| | 04:14 | All right, so those are some of the important things you
need to be familiar with when working with regions in Auria.
| | 04:20 | In the upcoming movies in this chapter, we
will continue looking at specific editing
| | 04:23 | tasks and tools that you'll need to know.
| | Collapse this transcript |
| Trimming regions and adding fades| 00:00 | Now that we know how to select regions, let's look at
how to make specific edits and changes to those regions.
| | 00:05 | I am going to play the songs from the beginning,
and let's pay attention to the Fiddle part.
| | 00:12 | (music playing)
| | 00:28 | Okay, so the Fiddle part begins with two
pizzicato notes followed by two long swelling notes.
| | 00:33 | Now may be just as a stylistic choice, I
want to get rid of those two plucked notes and the
| | 00:37 | first bowed note and start
with the second bowed note.
| | 00:39 | Let's solo that so you can
hear it a little bit better.
| | 00:42 | So here is the first one.
(music playing)
| | 00:47 | And here is the second one.
(music playing)
| | 00:54 | So I want to come in on that second bowed note.
Now, there are a couple of ways we can do this.
| | 00:57 | I could split the region and delete the
opening section which I'll show you how to do later
| | 01:01 | in this chapter, but right now let's
take a look at how to trim just that region.
| | 01:05 | Now each region has trim handles at the
very beginning and end of the region.
| | 01:09 | Just zoom out a little bit here.
| | 01:12 | Now you can see these two inward facing
arrows that appear in the bottom corners
| | 01:16 | of each region, those are the trim handles.
| | 01:19 | I want to trim the beginning of this
clip so I am going to zoom in again.
| | 01:25 | Now I am going to hold down on the left trim
handle, and you can make sure the region highlights
| | 01:29 | in blue, and this large trim arrow appears.
| | 01:31 | I can then drag it to the right until it
reaches a point where I want the fiddle to be heard.
| | 01:35 | Now if I move the playhead back and play,
you won't hear the Fiddle until that point.
| | 01:43 | (music playing)
| | 01:47 | And bear in mind that trimming
regions is completely nondestructive.
| | 01:50 | At any time if I want to get the opening section back,
I just need to drag the trim handle back to the left.
| | 01:58 | And you can see those waveforms reappear.
| | 02:02 | But in this case, I do want to trim them out so
I'll drag it back to the right, and play that again.
| | 02:14 | (music playing)
| | 02:18 | Now you probably noticed the problem this
creates in that the audio in this region
| | 02:21 | starts pretty abruptly now.
| | 02:22 | It goes from completely
silence to a very abrupt entry.
| | 02:25 | To make the transition a little more
gradual, it makes sense to fade the region in.
| | 02:30 | We do so by using the fade handles which like
the trim handles also appear at the beginning
| | 02:34 | and end of each region, only
they appear in the upper corners.
| | 02:37 | So in this case, I'll drag the
opening fade handle to the right.
| | 02:41 | And you can see that creates this diagonal line,
representing the fade in from silence to full volume.
| | 02:48 | There are four different types of fades you
can apply and they are represented by these
| | 02:51 | buttons that have appeared here
in the upper right-hand corner.
| | 02:54 | The default is the Linear Fade which increases
the gain at a constant rate, let's listen to that.
| | 03:00 | (music playing)
| | 03:07 | Next is the Exponential Fast Fade, which
brings the volume level of the region up quickly
| | 03:11 | but then eases it in at the end of the fade.
| | 03:14 | And you can sort of see that by looking at
the curve here that the volume goes up quickly
| | 03:18 | and then sort of eases down at the very
end of the fade. Let's listen to that.
| | 03:27 | (music playing)
| | 03:30 | And that one might work well for the
beginning of this bowed fiddle note.
| | 03:33 | And that's followed by the Exponential Slow
Fade, which as you might guess works similarly
| | 03:38 | to the Fast Fade, but this one brings up
the volume more gradually and then speeds up
| | 03:41 | a little at the end, again you can
see that by looking at the curve.
| | 03:47 | (music playing)
| | 03:51 | So for me, that's not coming in
quite as quickly as I would like it.
| | 03:54 | And the fourth fade type is the S-curve
which fades slowly at the beginning of the fade,
| | 03:58 | then quickly in the
middle and then slowly again.
| | 04:03 | (music playing)
| | 04:09 | Now, you will have to experiment to see which
fade type works best with the region you're editing.
| | 04:14 | I'd like the exponential Fast Fade for this
Fiddle part I think, so let's see that with
| | 04:18 | the rest of the mix. I am
going to unsolo and just listen.
| | 04:22 | (music playing)
| | 04:36 | All right. Yeah, I like that a lot.
So that's how to trim and fade a region in.
| | 04:40 | If I scroll all the way to the end of the
song, right there, I find that I have a couple
| | 04:46 | extra notes here that I
should get rid of as well.
| | 04:48 | Just play the last few seconds
here, I am going to solo that again.
| | 04:54 | (music playing)
| | 05:06 | And then I have these
two plucked notes at the end.
| | 05:11 | So let's trim that right before
we hear those two last plucks.
| | 05:13 | Again, I am going to hold down on the trim
handle, so I see that large arrow and just drag,
| | 05:17 | in this case to the left.
| | 05:18 | And again, I probably want to add a fade so it
doesn't sound like it just cuts off at the end.
| | 05:27 | Let's use the Fast Fade in this
case, and let's listen to that.
| | 05:35 | (music playing)
| | 05:43 | I'm going to change it to the Slow Fade.
(music playing)
| | 05:50 | Now we can hear a little bit more
of those notes as they fade out.
| | 05:54 | Also, remember you can select multiple regions,
so if you wanted to add a fade at the end
| | 05:57 | of all the regions, you could first select
the regions by tapping the Multi-select tool.
| | 06:02 | In this case, I might want to just pinch in
to shrink down so I can see all of the regions,
| | 06:07 | make that a little bit bigger.
| | 06:12 | And with the Multi-select tool selected, I
will just tap each of the regions, and I'll
| | 06:20 | expand them again so I can actually
see the handles a little bit better.
| | 06:23 | And now just grab any one of the
fade handles and drag to the left.
| | 06:28 | So, now I've added a Linear
Fade to all of the regions.
| | 06:31 | Now the only problem here is that you can't
change fade stuff for all of them at the same time.
| | 06:35 | So even though they're all selected, and I
wanted to change this to say the Fast Fade Out,
| | 06:38 | you can see only the one that
I originally moved, changes there.
| | 06:42 | So I would have to go in and individually
select each of those to add that fade if I
| | 06:45 | wanted to do that, I'll
just keep them linear for now.
| | 06:47 | I'll deselect the Multi-select tool, tap off to
deselect, and that's how to work with trims and fades.
| | Collapse this transcript |
| Editing with Cut, Copy, and Paste| 00:00 | As with most other applications in which you
deal with content, whether it's word processing,
| | 00:05 | graphics, or video, you can cut, copy, and paste
audio in Auria, which is useful when you want
| | 00:10 | to move or duplicate content in your project.
Start by selecting the region you want to copy.
| | 00:15 | For this example, I'll use this part of
the Bass track that we punched in earlier.
| | 00:18 | I'll tap it once to select it and then just like
in a word processor, I'll tap Edit and select Copy.
| | 00:26 | That copies the selected region to the clipboard,
but leaves the region untouched where it is.
| | 00:31 | Now if I want to paste this somewhere else on
the same track or even on a different track,
| | 00:34 | I just need to move the playhead where
I wanted the copied region to appear.
| | 00:37 | Just for this example, let's go down to Track 10
here, and I'll just move my playhead right there.
| | 00:43 | Now I also need to select the track
where I want this region to appear.
| | 00:46 | So I'll select Track 10, you can see the highlight
appear around it, and now I'll choose Edit > Paste,
| | 00:53 | and there is the copied region.
| | 00:55 | So that's pretty simple.
It works the same way with cut.
| | 00:58 | Just select the region, and I'll just use this one I
just pasted in, and this time I'll choose Edit > Cut.
| | 01:04 | And as I am sure you know that copies the
selection to the clipboard while also removing
| | 01:09 | or cutting it out of the project.
| | 01:10 | Maybe I'll just move the playhead forward
a little bit, make sure Track 10 is still
| | 01:15 | selected, and I'll choose Edit > Paste.
| | 01:19 | So your copied or cut item will appear on the
selected track wherever the playhead is located.
| | 01:23 | Now if I were to select another track like
the Fiddle track and choose Edit > Paste,
| | 01:29 | notice that places the clip right over the
existing region, which I definitely don't want
| | 01:32 | to do in this case, so I am going to undo that.
| | 01:35 | Also be aware that you don't
have to copy entire regions.
| | 01:38 | If you only want to copy or cut a selection
of a region, you can make a selection by
| | 01:41 | double-tapping on the region, making sure to hold down on
the second tap, and then just dragging across your region.
| | 01:48 | And just choose Edit > Cut or Edit > Copy,
I'll just choose Copy in this case.
| | 01:53 | Now another useful command you'll find under
the Edit menu when you have a region selected
| | 01:56 | or have a selection made is Duplicate, and that
creates a copy of the selection and automatically
| | 02:06 | places it at the end of the original.
| | 02:08 | This can be a very useful shortcut if you
want to create a loop of drums or other samples.
| | 02:11 | Just select the region, choose Edit > Duplicate and
keep doing that until it repeats as many times as you need.
| | 02:24 | So that's Copy, Cut, Paste, and Duplicate.
| | 02:27 | Now Auria also supports the AudioCopy/
AudioPaste standard which allows you to move audio between
| | 02:31 | Auria and other audio apps you
may have installed in your iPad.
| | 02:34 | This can allow you to make a recording in
Auria and paste it into another app or vice-versa,
| | 02:39 | as long as the other app also
supports the AudioCopy/AudioPaste standard.
| | 02:42 | For example, I'll select this copied clip of the Bass
region again, and this time I'll choose Edit > AudioCopy.
| | 02:49 | And my project is 32-bit at 48K, so
Auria automatically converts it to 16/44.1.
| | 02:56 | Then I see this dialog box appear.
| | 02:59 | Now if I want, I can name this clip I am
copying, and the name will show up in certain apps
| | 03:02 | that support displaying
the names of copied clips.
| | 03:08 | So I'll just name this bass.
| | 03:10 | Notice you can also tap this
link to see compatible apps.
| | 03:16 | This gives me this list of apps and any apps I
already have installed appear at the top of this list.
| | 03:20 | The icons next to the apps name also let me know if
I can paste or copy into or out of that app or both.
| | 03:26 | I can browse through the rest of the apps
here and tap the Store button if I want to
| | 03:29 | read up on any particular app.
| | 03:30 | In this case, I'll just scroll
back up and launch NanoStudio.
| | 03:34 | Notice it supports both Paste and Copy.
| | 03:39 | Now this is going to vary from app to app,
but here in NanoStudio I have a new project
| | 03:42 | created, I am going to tap the Edit button,
select one of the empty drum pads here, and
| | 03:47 | we'll tap Load and here
I'll tap the Paste button.
| | 03:51 | That gives me a list of the audio clips I've
copied with AudioCopy in any other app on my iPad.
| | 03:56 | Now in this I am seeing several copies of
my clip from Auria because I've been playing
| | 03:59 | around with Auria a lot.
| | 04:00 | You'll always see the last 12 items you copied here
which you can paste into any supported apps at any time.
| | 04:05 | I'll just select the most recent one, I can hear
playing so I can make sure that's the one I want.
| | 04:11 | And I'll choose Paste. I'll tap OK.
| | 04:17 | So, now that I've imported this into
NanoStudio, I can have it selected and tap Load.
| | 04:23 | And now that sample is loaded into
this bank in the NanoStudio sampler.
| | 04:26 | (music playing)
| | 04:29 | Again, this is just one example of
how AudioCopy and AudioPaste can work.
| | 04:34 | In the case of NanoStudio, it also
supports Copy, so I could create a beat here,
| | 04:38 | copy it, and paste it into Auria.
| | 04:40 | But again, the availability of AudioCopy and
AudioPaste is going to vary from app to app,
| | 04:44 | and it will take a little research and experimentation on
your part to figure out which apps support which abilities.
| | 04:49 | But now you know how to copy and paste
audio within Auria and outside of Auria.
| | 04:54 | And before we wrap up here, let's go back
into Auria, and I'll just delete the bass
| | 05:01 | regions that I created for this example just
to clean things up a bit, and that's how to
| | 05:09 | work with Cut, Copy, and Paste in Auria.
| | Collapse this transcript |
| Splitting and separating regions| 00:01 | Now let's take a look at how to split regions.
| | 00:03 | You might want to split a region into two
or more parts if there's a section of your
| | 00:06 | recording that you want to process
differently or separate from the rest of the region.
| | 00:10 | To do so, just select the region you want to
split and move the playhead to the point where
| | 00:13 | you want the split to occur.
I'll just use the fiddle track as an example.
| | 00:18 | With it selected, let's say I want
the split to occur right about here.
| | 00:22 | So I move my playhead to that location, and I'll
choose Edit > Split, and that's all there is to it.
| | 00:29 | Let me move the playhead out of there.
| | 00:31 | You can see there are now two regions on this
track, and I am free to move or change either
| | 00:34 | of them without affecting the other one.
| | 00:36 | If I don't move either one, it will
continue to sound like one continuous performance.
| | 00:40 | So if I were to solo this track, let's get
my playhead right about there, we shouldn't
| | 00:45 | hear any break in the performance.
| | 00:47 | (music playing)
| | 00:53 | So when you split a region but don't move anything,
you won't hear any interruptions or dropouts.
| | 00:58 | And like other edits, this
is completely nondestructive.
| | 01:01 | I can move the first half of the track below, where I
could apply effects to without changing the second half.
| | 01:08 | Let's say I just delete that region.
| | 01:12 | I can restore the region to its original size
just by holding down and dragging the trim handle
| | 01:16 | and in this case, dragging it to the left.
| | 01:21 | I am going to make this a little bit
smaller so I can just do the whole thing.
| | 01:30 | You can see I have now
restored the entire Fiddle track.
| | 01:32 | So splitting regions is great if you want
to move or eliminate a section, but you can
| | 01:36 | always change your mind if you
want to make the region whole again.
| | 01:39 | Now another way to split a section of a
region off on its own is to select and separate.
| | 01:43 | We have already seen that we can make a
selection in the region by double-tapping and holding
| | 01:46 | on that second top and then just dragging to
the left or right, and that makes a selection.
| | 01:52 | Now in addition to making a selection, this also gives
you the Scissors button in the upper right-hand corner.
| | 01:57 | Tapping that turns the
selection into its own region.
| | 02:00 | Now I could have accomplished the same thing
by creating two splits, but this is much faster
| | 02:04 | and simpler, and again, I can just drag that region
anywhere else on the track or even onto its own track.
| | 02:11 | And since it's on its own region,
I can add fades like so.
| | 02:17 | I can even use the trim handles to
expand it to its full size again.
| | 02:23 | But I don't need to do any of that at the
moment so I just tap Undo a couple of times
| | 02:32 | until that region is whole again, and
that's how to split and separate regions.
| | Collapse this transcript |
| Additional editing tools (NEW)| 00:00 |
In this movie, I'd like to take a quick
look at a variety of other editing tools
| | 00:02 |
and techniques that are available in
Aria.
| | 00:05 |
For example, previously we saw that if
you wanted to split multiple regions at
| | 00:09 |
the same time.
You would have to first tap the multi
| | 00:13 |
select tool and then select the regions
you wanted to split.
| | 00:17 |
And you can just place your play head
where you need to split, choose Edit Split.
| | 00:22 |
You can see that splits the selected
regions.
| | 00:26 |
Let's undo that.
But you can also split all your regions
| | 00:29 |
at the same place if necessary.
For example I have about five seconds at
| | 00:33 |
the start of the song where we here
nothing and then James does his count in.
| | 00:37 |
Now if I move my player to just before
that point where I see the wave forms
| | 00:39 |
indicating the beginning of the base and
the guitar parts here, like there.
| | 00:43 |
In fact I can actually use two fingers on
the Timeline to do a real time scrub and
| | 00:52 |
listen to the waveform.
(SOUND).
| | 00:58 |
Right about there.
Now if that's where I want to do the
| | 01:01 |
split straight across all of the regions,
first of all let me turn off the multi
| | 01:04 |
select tool there.
All I have to do is choose Edit > Split All.
| | 01:11 |
You can see that splits every one of
those regions.
| | 01:12 |
And I didn't have to select them
individually first.
| | 01:15 |
All right, let's undo that.
Next let's scroll over a bit towards the
| | 01:20 |
middle, here.
So we see some more wave forms.
| | 01:24 |
Now if we previously saw.
If we split an item.
| | 01:26 |
Just select the (UNKNOWN) track, here.
And choose Edit> Split.
| | 01:29 |
We know that this is non destructive.
And I showed you one way to restore a
| | 01:34 |
region is to select one of the split-off
sections, delete it and then just drag
| | 01:38 |
out the trim handle on the remaining
section to restore the part that we split off.
| | 01:46 |
Just undo that again.
So, those are still split.
| | 01:51 |
But another way to restore a split region
is to join them.
| | 01:53 |
Tap the Multi-Select tool again and
select the regions on the track that you
| | 01:57 |
want to join.
Then choose Edit > Join.
| | 02:00 |
Now this takes a litlte longer than
splitting but after a few moments you'll
| | 02:04 |
have restored your region.
So there's our restored region.
| | 02:10 |
But this isn't just useful for restoring
split regions.
| | 02:12 |
You can join any regions that are on the
same track.
| | 02:15 |
For example, up here on the base track,
if you recall, we have this area where we
| | 02:18 |
did the punch in.
And if this punch is exactly the way I
| | 02:21 |
want it, I could tap the Multi-Select
tool.
| | 02:25 |
Make sure both of those bass regions are
selected and then I can join them together.
| | 02:28 |
I'm not going to bother doing that right
now, but that is one other example of
| | 02:30 |
something you might do.
All right, also under the Edit menu we
| | 02:34 |
have the ability to mute and unmute
regions.
| | 02:39 |
This is useful when you want to hear only
a section of the regions on a track which
| | 02:42 |
means you can't use the track's Mute or
Solo buttons because they affect the
| | 02:45 |
track as a whole.
So for example, at the beginning of the
| | 02:49 |
song James does a count in.
And since we recorded the guitar and
| | 02:52 |
vocal live, the count in appear in both
of those tracks.
| | 02:55 |
So let's solo the guitar and the vocals.
And we can just hear that count in.
| | 02:59 |
>> 1, 2, 3.
(SOUND).
| | 03:06 |
So maybe I'm not sure whether I want to
use that count in in the final version of
| | 03:10 |
this song.
I do know that I don't want to delete it entirely.
| | 03:14 |
So instead I'm just going to place my
play head right before the guitar starts playing.
| | 03:19 |
But right after that count-in and I'll
select those regions.
| | 03:25 |
Guitar and the vocals, and it looks like
my base track is still selected so let's
| | 03:29 |
tap to deselect that.
Alright so I have the guitar and the
| | 03:32 |
vocals selected here.
I'm going to choose Edit> Split, so again
| | 03:36 |
that just splits the selected regions,
and now I'll choose Edit> Mute Region to
| | 03:41 |
mute the selected regions.
Now try this on this dark gray color and
| | 03:47 |
I can see this little speaker icon with
an x next to it indicating that both
| | 03:49 |
regions are now muted.
So while these regions are still sitting
| | 03:54 |
there on their tracks you won't hear them
when I start the playback.
| | 03:57 |
In fact I'll end some of them, and we'll
play.
| | 04:00 |
(MUSIC).
So now I have a slightly cleaner opening
| | 04:08 |
of the song.
And this way I can decide either now or
| | 04:13 |
even later whether I want to include that
count-in.
| | 04:16 |
The point is I don't have to delete that
region right now.
| | 04:18 |
Now if I want to un-mute those tracks
later, I can choose Edit > Unmute Region,
| | 04:23 |
to bring them back.
But in this case maybe I do want to keep
| | 04:27 |
the count-in.
So I'll just hit Undo a couple times
| | 04:31 |
until they're rejoined.
Alright, lemme show you one more cool
| | 04:36 |
editing tip.
For this example, I'm just going to
| | 04:40 |
record enable an empty track here.
Make this a little bit bigger so I can
| | 04:43 |
see the Record Enable button.
And I'm going to solo it so we don't hear
| | 04:47 |
any of the other tracks.
I'm going to make sure my other tracks
| | 04:49 |
aren't soloed.
Yep.
| | 04:50 |
Still are.
There we go.
| | 04:53 |
And I'm just going to record a few
seconds of nothing.
| | 04:57 |
And this is just to get a region on the
track.
| | 05:04 |
All right, I'll disarm that track.
So there's the region I just recorded.
| | 05:11 |
Now we know that if you want to move a
region you just hold your finger down on
| | 05:13 |
it until its outline turns red, and
you're free to drag it anywhere you want.
| | 05:19 |
Lemme make the tracks a little bit taller
and make the regions a little wider.
| | 05:27 |
Now it's kind of difficult to see, but
there's a darker semi-circle here on the
| | 05:29 |
right side of the region now.
That's the looping handle.
| | 05:33 |
Tapping and holding that, and then
dragging to the right, loops the region.
| | 05:37 |
This is probably the fastest way to
duplicate a region multiple times.
| | 05:42 |
So you can create continuous loops this
way or since these are all separate regions.
| | 05:46 |
You can select them individually.
To move them around anywhere you like.
| | 05:51 |
For example, maybe you have a recording
of a cymbal crash that you want to at the
| | 05:54 |
end of the song.
You could just create a quick duplicate
| | 05:56 |
and then just drag that duplicate, and
place it wherever you want.
| | 05:59 |
This case though I'll just select them,
make sure they're all selected, and just
| | 06:05 |
delete them.
So there you have some additional tips
| | 06:10 |
for editing and working with your regions
in Aria.
| | 06:12 |
| | Collapse this transcript |
| Time stretching in Auria (NEW)| 00:00 |
Occasionally you may have a recording
that doesn't quite fit the timing you
| | 00:03 |
have in mind for it.
Maybe you recorded a vocal narration
| | 00:06 |
that's 28 seconds long, but it needs to
fit in a 25 second space.
| | 00:10 |
And the person who recorded the part
isn't available to redo it.
| | 00:13 |
Maybe you have a drum lid that you'd like
to use, but it's at a different tempo
| | 00:15 |
then your song.
Or maybe your entire music project needs
| | 00:18 |
to be just a little bit longer in order
to use it as a background track for a video.
| | 00:23 |
Fortunately, Aria includes a powerful
time stretching feature which is perfect
| | 00:25 |
for situations like these.
Time stretching allows you to speed up or
| | 00:29 |
slow down individual regions without
affecting the pitch of the recording.
| | 00:33 |
So speeding up a recording of a speaker
doesn't turn them into a cartoon
| | 00:35 |
chipmunk, and slowing down a recording of
an instrument doesn't drop the key it's in.
| | 00:41 |
So for example let's solo and listen to
the last bit of the fiddle part in this song.
| | 00:44 |
(MUSIC).
So, maybe as an artistic choice, I want
| | 00:52 |
to lengthen those last couple of notes
out, just a little bit longer so the part
| | 01:04 |
takes more time.
To do this, I'm going to place the
| | 01:13 |
playhead right before that waveform
starts.
| | 01:15 |
In fact, I'm going to make this bigger so
I can see it.
| | 01:19 |
Let's find that again.
So right about there.
| | 01:32 |
And I'm going to split it right there.
Edit, oops I have to select a region
| | 01:37 |
first of course.
Region selected, now I can Choose > Edit
| | 01:42 |
> Split.
So now we have two separate regions.
| | 01:44 |
And the second region is right over here.
I'll just make this a little bit smaller
| | 01:48 |
now that we have that.
So to timestretch your region, you're
| | 01:52 |
going to place one finger on the trim
handle first and then place a second
| | 01:56 |
finger down anywhere.
This gives you this timestretching symbol.
| | 02:04 |
Now, just drag to the right to stretch
the part longer or to the left to
| | 02:06 |
compress it in time.
I'm going to drag it out, to about there.
| | 02:15 |
Now when you lift your fingers up, you'll
see that the Time Stretch Options window appear.
| | 02:18 |
It contains two menus.
The first one is Type, and this where you
| | 02:21 |
select the kind of time stretching you
want to employ.
| | 02:24 |
We have Preview, Voice 1 and 2, Standard,
Mix 1 and 2, and Extreme.
| | 02:29 |
So basically, the two voice types are
good for a single voice or instrument.
| | 02:32 |
If you hear echoes or other strange
effects when using Voice 1, try Voice 2.
| | 02:36 |
And the two mix types are better at
time-stretching the sound of mixed
| | 02:39 |
instruments, generally when there are
multiple sounds being manipulated.
| | 02:43 |
Again, start with Mix 1, and if it
doesn't provide the desired results, try
| | 02:45 |
Mix 2.
Now the Extreme setting is for when
| | 02:48 |
you're trying to stretch a region more
than twice as fast or slow from its
| | 02:51 |
original speed.
Generally though a good workflow is to
| | 02:54 |
start with Standard selected, since it
balances the time stretching and the
| | 02:57 |
frequency stabilization capabilities and
it's good for general usage.
| | 03:02 |
If it doesn't do what you're looking for
start experimenting with the other settings.
| | 03:04 |
Now, you're going to find that this
process can take some time depending on
| | 03:07 |
how large the region is and the type and
quality settings you choose.
| | 03:11 |
If you just want to get a quick sense of
whether time stretching might work, you
| | 03:14 |
can try the Preview type.
It's the fastest setting but might not
| | 03:18 |
provide the best results.
In some cases it might be perfectly fine
| | 03:21 |
but I'll just keep it set to Standard for
this example.
| | 03:25 |
Now from the Quality menu, you can choose
Fast, Good, Better, or Best.
| | 03:30 |
For the most part, the faster the setting
you choose, the more the quality of the
| | 03:32 |
time stretch will suffer.
If you have the time to wait, try Better
| | 03:36 |
or Best.
But bear in mind that Best can be very,
| | 03:38 |
very slow.
You might want to start with good and
| | 03:41 |
then move up from there if you're not
satisfied with the results.
| | 03:43 |
So I'll keep Good selected.
I'm going to tap Okay to process the time stretch.
| | 03:50 |
And there it is, let's listen.
I'll just roll that play head back a
| | 03:52 |
little bit.
| | 03:53 |
(SOUND).
| | 03:55 |
So there's the time stretched version.
And just so you can hear it as it was
| | 04:08 |
originally played, I'll just tap undo.
So here's the original.
| | 04:13 |
(MUSIC).
| | 04:15 |
And I'll tap redo.
That doesn't take nearly as long.
| | 04:23 |
And here is the stretched version.
(SOUND).
| | 04:34 |
So, that's the time-stretching feature.
Again, you might use this for any number
| | 04:37 |
of reasons or you might hardly ever use
it at all.
| | 04:39 |
But if you ever need to do it, you'll be
glad this feature is available here in Aria.
| | 04:43 |
| | Collapse this transcript |
| Crossfading regions| 00:01 | Most of the time in Auria and in pretty
much all other digital audio workstations, you
| | 00:05 | want one region to play at a time on each track.
| | 00:08 | Now we have already seen that you can have
regions overlapping or even on top of each
| | 00:10 | other and Auria's default behavior is to play
only the audio from the topmost region, ignoring
| | 00:15 | anything in the regions underneath it.
| | 00:17 | This will let you keep
multiple takes on a single track.
| | 00:20 | Occasionally, though, you will want to hear
two regions at once, usually when you trying
| | 00:23 | to create a smooth edit between two regions.
| | 00:26 | In those cases you will let the two regions
overlap slightly and then add what's called
| | 00:30 | a Crossfade to smooth out the
sound of the two overlapping regions.
| | 00:33 | This is actually much easier to
show you than it is to describe it.
| | 00:36 | So let's look at the bass track as an example.
| | 00:38 | Here we have the region that was created when we
punched in the section to fix that part of the bass line.
| | 00:45 | Now I am going to play this once, and what
you will be hearing is this original region
| | 00:48 | here until we reach the punch point, and
you will hear that second region pop in.
| | 00:52 | (music playing)
| | 01:07 | And then once it reaches the end of the punched in
region, we are not hearing the original region again.
| | 01:15 | And in this case it was a pretty good punch, so
we are not really hearing any of the transitions,
| | 01:18 | but notice if I select that region and delete
it temporarily, we can still see the original
| | 01:24 | performance below it, and I
can still play that section.
| | 01:27 | (music playing)
| | 01:34 | So there is a slight mistake we
fixed with the punched in part.
| | 01:37 | Let's undo to bring back the punched region.
| | 01:40 | Now this is actually a pretty decent punch so
you can't really hear the transition points,
| | 01:44 | but just to use this as an example, I am going
to zoom all the way out, or a little bit further out,
| | 01:48 | let's bring the bass track up a little
bit larger, and I am going to drag the left
| | 01:54 | end of the main or original region to the right.
| | 01:58 | Notice when it's slightly overlapped
with that punched region, maybe like so.
| | 02:06 | Now this is simulating a situation you
might have where you need to transition from one
| | 02:09 | region to another, but the transition might
sound too abrupt or obvious, and I am just
| | 02:14 | going to drag the end of the main
or original region to the right.
| | 02:18 | Now you wouldn't really be doing this in an
Auto-Punch case, but what I really want to
| | 02:20 | do here is make it look like I have two
regions that need to transition into each other.
| | 02:25 | So I am just going to
slightly overlap them like this.
| | 02:30 | Now I am also going to tap that original
region just to bring it to the front, and now you
| | 02:34 | can see it's overlapping the punched-in region,
and now with that overlap we should be able
| | 02:38 | to hear the transition a little bit more.
| | 02:43 | (music playing)
| | 02:57 | All right, so now the transition is much more obvious.
| | 03:00 | So crossfades are a way
to smooth this transition.
| | 03:03 | To create a crossfade, use the Multi-
select tool to select both regions, see they are
| | 03:08 | both selected now and
then tap Process > Crossfade.
| | 03:14 | That places a crossfade between the two regions,
the length of the crossfade matches the amount
| | 03:18 | the two regions are overlapped.
| | 03:20 | Now if I trim the region again, you
will see the crossfade size change.
| | 03:26 | The size of the crossfade is something you will have
to experiment with to find a good-sounding crossfade.
| | 03:30 | Let's listen again.
| | 03:35 | (music playing)
| | 03:43 | So that sounds better, but the audio kind of
dips down too much at the transition point.
| | 03:48 | Notice we have different types
of crossfades to choose from.
| | 03:51 | Now the first one here is Equal Gain, which is
the default, and that changes the two regions'
| | 03:54 | volume levels at the same rate.
| | 03:57 | So at the point where they cross in the middle,
that's the lowest level of the Gain during the transition.
| | 04:01 | The next one is Equal Power which keeps the
some power that fades equal, so there is no
| | 04:05 | dipping down of the audio.
| | 04:09 | (music playing)
| | 04:14 | That one sounds better to me than
the default Equal Gain Crossfade.
| | 04:19 | Next is Exponential, which sort of sits
halfway between the two previous settings.
| | 04:23 | You might try this one if the first
two sound too obvious or noticeable.
| | 04:29 | (music playing)
| | 04:37 | And in this case, I think it
actually dips down a little bit too much.
| | 04:40 | Now the fourth choice is the S-curve, and
it's pretty similar to the default curve,
| | 04:44 | but it tapers more slowly than
the perfectly linear setting.
| | 04:48 | (music playing)
| | 04:55 | But again, I think we have too much of
that dip down right there in the middle.
| | 04:57 | So I am going to switch
back to that second Crossfade.
| | 05:03 | (music playing)
| | 05:08 | I think that sounds the best.
| | 05:10 | Now you are not always going to need
crossfades, especially if your punches are clean,
| | 05:13 | and you should always try to get the cleanest
punch as possible during the recording process.
| | 05:17 | But if you end up with a bad punch and don't
have the option of rerecording, you can try
| | 05:21 | adding a crossfade to make the punch less
noticeable, but my punch was actually pretty
| | 05:24 | good, so I want to set
everything back to the way it was.
| | 05:27 | Now I could try undoing, but let me show
you manually of how to set everything back.
| | 05:31 | I am going to drag the original region, I
am going to drag its end over to the right,
| | 05:36 | and you can see that gets rid of the crossfade.
| | 05:38 | Notice if I want to drag the regions and all the
way back to the left, we'll try to get the trim there.
| | 05:44 | In this case it's actually covering up the
original punched region, and we know we won't
| | 05:48 | be able to hear that because we
only hear the region at the very top.
| | 05:51 | Now when you have an overlap, you can choose
which region sits on the top by holding down
| | 05:54 | on that region, until it pops to the front,
obliviously, I kind of moved it there, I was
| | 06:00 | just going to do that, there we go.
| | 06:01 | But I can't tap the punched
region if it's completely covered.
| | 06:04 | So I am going to first turn on
snapping and set that to Events.
| | 06:09 | This lets me to snap the playhead to
the left side of the punched region.
| | 06:13 | Now I'll select the punched region and choose Edit >
Cut, that's just going to temporarily remove it.
| | 06:22 | Now I can zoom all the way back out and just
drag the end of the original region back to left.
| | 06:29 | Now the playhead stays where it is, meaning
I can now choose Edit > Paste to put that
| | 06:34 | punched region back where it belongs, and
that's going to be on top of the original
| | 06:37 | region, so we'll be able to hear it.
Of course, I just want to check it to be sure.
| | 06:45 | (music playing)
| | 06:58 | All right, so that all sounds good now, and that's how
to work with crossfades, and some bonus tips
| | 07:01 | on how to get the region to sit back on top of
another region that's completely covering it.
| | Collapse this transcript |
| Understanding destructive processing options (NEW)| 00:01 |
As I mentioned earlier, the majority of
edits you can make to regions in Aria are
| | 00:03 |
non-destructive, meaning the changes you
make can be undone at any time.
| | 00:07 |
And pretty much everything I've done so
far in this chapter has been non-destructive.
| | 00:11 |
Essentially, when you make an edit to
region by doing something like trimming
| | 00:14 |
it or writing a fade, what you're doing
is giving Aria information on how to
| | 00:16 |
present the audio it's playing, and which
parts of the audio to play.
| | 00:21 |
Nothing happens to the audio recording
itself.
| | 00:24 |
But Aria also has a collection of tools
which will change the actual audio content.
| | 00:27 |
This can be referred to as destructive
processing, which sounds kind of scary,
| | 00:30 |
but these tools can be pretty useful at
certain times.
| | 00:34 |
Now you can always undo destructive
changes just by hitting the undo button.
| | 00:37 |
But if you get too far down the line from
your change, you might find yourself
| | 00:40 |
having to do a whole lot of work to get
back to that original state.
| | 00:43 |
Now, I'll show you some ways around this
in a moment, but first, let's take a look
| | 00:46 |
at the tools that are available.
They're off out here under the Process menu.
| | 00:51 |
So, let's run down the list.
Now, they're currently grayed-out because
| | 00:53 |
they don't have a region selected.
The first item is Gain, which allows you
| | 00:57 |
to change the Gain, or volume level, of
the selected region.
| | 00:59 |
You might want to use this, for example,
if a region is reported louder or quieter
| | 01:02 |
than the other regions around it.
And you want to match their level a
| | 01:06 |
little more closely.
For example, I noticed that the auto
| | 01:09 |
punch region of the bass track is
actually a little louder than the rest of
| | 01:13 |
the bass track.
I'll just play a little bit of that.
| | 01:25 |
I'll solo that.
(MUSIC) So if you adjust the gain of that
| | 01:30 |
punch, I'm going to select it, and choose
process gain.
| | 01:34 |
And that just gives me a single dial I
can use to either increase or reduce the
| | 01:37 |
gain of the selected region.
Now there's no way to preview your change
| | 01:40 |
here, so a little guesstimation is
involved.
| | 01:43 |
Just place your finger on the dial and
move it up or down.
| | 01:48 |
Now if you do want to be precise, maybe
in this case I'm trying to get it to be 2
| | 01:50 |
DBM having trouble there.
You can tap in the field, to bring up
| | 01:55 |
your keyboard and I can just type in
minus 2.
| | 01:59 |
Done and that gives me minus 2 DB.
Now if we move that out of the way.
| | 02:05 |
Oops.
You can see it went up to 10 there by
| | 02:07 |
accident so let's do that again.
2-2, done.
| | 02:13 |
Now when I tap Ok, you should see the
wave form shrink a little bit, and there
| | 02:17 |
it is.
Now this process change the actual recording.
| | 02:22 |
Let's listen again.
(MUSIC) (MUSIC) So that sounds a little
| | 02:30 |
more even to me.
Now if I didn't adjust it to my
| | 02:36 |
satisfaction I'd have to tap the undo
button to revert it back and then try again.
| | 02:40 |
You don't want to apply multiple
destructive processing over a region if
| | 02:43 |
you can help it, but I'm pretty happy
with that change so I'll leave it as is.
| | 02:49 |
The next process is normalize, which is
most often used for increasing the level
| | 02:52 |
of audio to a specific level.
For example, if you have a recording
| | 02:55 |
that's a little too quiet, instead of
guessing how much to increase its gain,
| | 02:58 |
you can normalize to bring the loudest
points of the recording to the loudest
| | 03:00 |
level without resulting in distortion.
Under that, we have DC Offset.
| | 03:07 |
Now DC Offset is a problem that occurs
when you're recording hardware adds a DC
| | 03:09 |
current to your audio, which results in
the wave form not being centered
| | 03:12 |
vertically in the region.
This means that even if you normalize the
| | 03:16 |
region, it won't be at its loudest
possible.
| | 03:18 |
Now you'll very rarely need this
processor, but if it ever looks like the
| | 03:21 |
waveform in the region has shifted up,
instead of being centered, try running
| | 03:24 |
the DC Offset Process.
This is a case where its good that the
| | 03:28 |
process is destructive, in that it will
permanently fix the recording.
| | 03:32 |
Next is the reverse process, which flips
the selected audio so it plays backwards.
| | 03:36 |
This can be a fun effect to apply to
certain instruments or even vocals.
| | 03:39 |
Just select the region or make a
selection within the region, maybe I'll
| | 03:48 |
just find a bit of the dobro here, select
that, and I'll choose Process Reverse, as
| | 03:59 |
you see that flips the wave form and
we'll see what that sounds like.
| | 04:14 |
(MUSIC) So that's pretty trippy stuff.
I'm just going to undo that for now.
| | 04:16 |
Make sure we undo it until we undo the
reverse.
| | 04:22 |
And the next two items aren't really
destructive processes.
| | 04:25 |
The first one is Crossfade which we saw
in action in the previous movie, and you
| | 04:28 |
can always undo your Crossfades.
And Reset Fades is a command to just
| | 04:31 |
remove any phase you've added to a
selected region.
| | 04:34 |
So for example.
I'll just select any region where I've
| | 04:37 |
previously added a fade.
Maybe on the (UNKNOWN) track, here.
| | 04:42 |
And I can choose Process > Reset Fades.
And you can see that takes the fade off
| | 04:48 |
that track.
Again, I'll just undo that.
| | 04:53 |
Now the last item here is Condense
Regions.
| | 04:54 |
And this is definitely a destructive
process.
| | 04:57 |
We've seen how you can trim a region by
dragging its trim handles in, like so,
| | 05:00 |
and you can always revert back to the
original length just by dragging it out again.
| | 05:08 |
Depending on your project, you might end
up with a lot of trimmed regions where
| | 05:10 |
you've gotten rid of stuff you'll never
use anyway, like talking before a take or
| | 05:13 |
some pops or background noise.
If you're sure that you don't need the
| | 05:17 |
trim portions of your regions, you can
tap to select it, and then choose
| | 05:19 |
Condense Regions to permanently delete
those parts.
| | 05:22 |
Which could end up saving you storage
space on your iPad.
| | 05:25 |
Just be aware that this is permanent.
It can't be undone.
| | 05:28 |
So you want to make sure that you only
select the regions you want to condense.
| | 05:32 |
Personally, though, I don't think there's
a need to use this command unless you're
| | 05:34 |
really running out of space.
Or if you're really only using a small
| | 05:37 |
portion of a much larger recording.
So those are the items you'll find under
| | 05:40 |
the Process Menu.
Now again, because most of these are
| | 05:43 |
destructive, the Undo Button is your
friend.
| | 05:45 |
If you want to experiment with these
processes, be sure to hit the Undo Button
| | 05:48 |
after each application so you can start
fresh each time.
| | 05:51 |
Another option you'll have would be to
copy your region to a separate track.
| | 05:54 |
That way you'll have the original region
sitting safely on it's original track and
| | 05:57 |
you can mess around with the copy until
you get it right.
| | 06:00 |
And then apply those settings to the
original.
| | 06:01 |
And then you can delete the copy.
That's probably the safest way to work
| | 06:04 |
with the structured processes with the
exception of the condense regions command
| | 06:07 |
which can't be undone.
So again, be very careful with that one.
| | 06:11 |
But there you have the items found under
the process menu in Aria/g.
| | 06:15 |
| | Collapse this transcript |
|
|
4. MixingWorking with the PSP ChannelStrip| 00:00 | Once you have your tracks recorded and
your regions edited and arranged,
| | 00:03 | it's time to start mixing your song.
| | 00:06 | At its most basic, mixing involves
adjusting the overall volume of each track in relation
| | 00:10 | to the other tracks in order to create the
most pleasing and impactful version of your song.
| | 00:15 | But in addition to adjusting the track levels,
mixing can also involve adding effects, padding
| | 00:19 | tracks left to right in the stereo field,
adding EQ and Compression to the project
| | 00:23 | as a whole, and much more.
| | 00:25 | So in this chapter we're going to touch on
several concepts and tools you will need to
| | 00:28 | understand in order to mix your song in Auria.
| | 00:30 | I would like to start by
looking at the PSP ChannelStrip.
| | 00:34 | Each track in the mixer window has an FX button, and
tapping it brings up the ChannelStrip for that track.
| | 00:40 | The ChannelStrip is a collection of effects and
processors that apply exclusively to the track they are on.
| | 00:44 | This allows you to do things like add a
Compression or tweak the EQ of a specific track without
| | 00:49 | affecting the sound of the other tracks.
| | 00:51 | This is called the PSP Channel Strip because
it was developed for Auria by a company called
| | 00:55 | PSPaudioware, but we'll
just call it the ChannelStrip.
| | 00:58 | PSPaudioware develops dozens of audio plug-ins
for computer-based DAWs, and now they are porting
| | 01:02 | many of them over to Auria.
| | 01:04 | Let's start on the right
side of the channel strip.
| | 01:08 | Notice this Fader here, since the ChannelStrip
takes up so much screen space, it can be difficult
| | 01:12 | to get to the fader of the track you are working on.
That's why this fader is here, it controls
| | 01:16 | the level of the track just the
same way as the regular fader.
| | 01:19 | Notice if I move that fader, the
fader on the track moves as well.
| | 01:25 | Similarly, you'll find the Mute and Solo
buttons here as well. Notice both light up
| | 01:32 | as I tap them, and if you tap the PAN/AUX tab here
at the top, you'll get access to the panning
| | 01:37 | and auxiliary dials that
are found on the channel too.
| | 01:40 | So it's easy to control those aspects of your track
without having to move the channel strip window around.
| | 01:44 | Additionally, this is also where you'll find the
Track Freeze, Saturation, and Polarity switch buttons.
| | 01:50 | We've already seen the
Track Freeze button in action.
| | 01:52 | It's useful when your project gets too taxing on your iPad's
processor, and you start seeing messages to that effect.
| | 01:58 | Freezing the track in place temporarily writes
all the FX settings to that track and prevents
| | 02:02 | any other edits from being made
which freeze up processing power.
| | 02:05 | Saturation can be used to
add warmth to your recording.
| | 02:08 | According to the Auria user manual, it
emulates a sound of an analog style recording.
| | 02:12 | Now since there are no settings, it's a simple
on/off switch here, you can judge for yourself
| | 02:16 | whether enabling it helps your track.
| | 02:18 | And the Polarity button is used to invert
the polarity of the channel when your track
| | 02:22 | is out of phase with another track.
| | 02:24 | This can happen when two or more mics
are used record the same performance.
| | 02:27 | Mics that are out of phase can cause frequency
cancellation, which can have a negative effect
| | 02:31 | on the sound of your mix.
| | 02:33 | So the Freeze Track, Saturation, and Polarity
buttons are found here exclusively, but everything
| | 02:38 | else here on the right side of the channel
strip is a mirror of what's found on each track.
| | 02:42 | Now the rest of the channel strip is
comprised of three main components.
| | 02:45 | We have the Expander, the
Equalizer, and the Compressor.
| | 02:48 | And you enable each of these
by tapping the buttons below.
| | 02:50 | There is the Expander, the
Equalizer, and the Compressor.
| | 02:56 | But in order for any of them to have any effect, you have
to make sure the Bypass button is not enabled up here.
| | 03:01 | The Bypass button as you might guess by
passes or mutes all the processors,
| | 03:04 | whether they are turned on or not.
I'm going to make sure that's turned off.
| | 03:08 | Now I am not going to get into the exact
use of each of these processors, that would be
| | 03:11 | an entire course in and of itself, and in fact,
if you really want to learn how to properly
| | 03:15 | apply these processors to your tracks, be
sure to check out the courses at lynda.com
| | 03:19 | in the series called Foundations of Audio.
| | 03:22 | We have one called Compression and Dynamic Processing,
as well as one called EQ and Filters,
| | 03:26 | and both will give you the detailed
info you need to use those tools properly.
| | 03:30 | But for now, let me give you a brief rundown.
| | 03:32 | The Expander is typically used to reduce or
eliminate unwanted noises in your recording,
| | 03:36 | like ambient noises, hums or other sounds
that might have bled into your recording.
| | 03:40 | For example, may be I want to isolate
the kick drum on the kick drum track.
| | 03:43 | If you listen to it as is, you can hear a lot
of the other drums and cymbals bleeding through.
| | 03:47 | I'm going to solo the kick drum track,
and let's just listen for few seconds.
| | 03:52 | (music playing)
| | 04:00 | So you can hear a lot of
the snare drum on that track.
| | 04:03 | So in this case, I can enable the
Expander by clicking its button.
| | 04:06 | Again, I'm making sure the Bypass
button is not enabled in this case.
| | 04:09 | I'll just do a quick adjustment here by setting the
ratio to Gate, and I'm going to reduce the Threshold.
| | 04:15 | Now let's see how it sounds now.
| | 04:21 | (music playing)
| | 04:27 | And now we're hearing primarily kick.
| | 04:29 | Now this just a very quick example of
what you could do with the Expander.
| | 04:32 | I would definitely spend a lot more time
adjusting the settings in a real mixing situation.
| | 04:37 | Now the next section is the Equalizer or EQ.
| | 04:39 | EQs are used to control the levels and
relationships of specific frequencies in your recordings.
| | 04:44 | For example, if you're hearing a little too
much bass in the recording, you can cut out
| | 04:47 | the lower frequencies without
altering the mid and high frequencies.
| | 04:49 | Basically, the EQ here in Auria is
divided into the high and low pass filters,
| | 04:54 | the low and high middle filters,
and the low and high shell filters.
| | 04:58 | You also choose whether the EQ or the
Compressor will be first in the signal chain,
| | 05:05 | meaning do you want to EQ the raw sound as it was recorded
or after it's been processed through the compressor.
| | 05:10 | Sometimes you can end up
with two very different sounds.
| | 05:13 | As I've been mentioning, the EQ
button turns the EQ on and off.
| | 05:15 | So, for example, maybe I want
to apply some EQ to the snare.
| | 05:18 | I'll tap the FX button on the snare track,
you can see it's changed to ChannelStrip2 Snare.
| | 05:24 | I'll make sure Bypass is off, EQ is
already on here, and I will Solo the snare.
| | 05:33 | And I really want the snare to pop a little
more and maybe eliminate a little of the kick
| | 05:36 | drum that's bleeding in the channel as well.
So I'm going to activate the High Pass Filter.
| | 05:40 | I going to roll off the frequencies that
are below about 90 Hz, and I'll take care
| | 05:47 | of a good amount of that kick drum.
| | 05:49 | And it might be nice to really hear
those brushes hitting the snare drum.
| | 05:51 | So I'm going to activate the mid to high
frequencies band selector, and I'm going to boost
| | 05:56 | the Gain, so I can hear better as I sweep through
the frequencies to figure out where the sound
| | 06:00 | of the brush is hitting
the snare really jumps out.
| | 06:02 | So I'll play the track as I adjust the settings.
| | 06:07 | (music playing)
| | 06:11 | So pretty boxy there, all right, so I think
right about there at 2.5 K sounds pretty good,
| | 06:23 | but now I need to reduce the Gain.
| | 06:28 | (music playing)
| | 06:31 | So now the snare is really jumping out for
me, but let me play a little bit more, and
| | 06:37 | you can hear what it sounds
like with and without the EQ.
| | 06:44 | (music playing)
| | 06:51 | And again, definitely check out Foundations of Audio
EQ and Filters if you need a refresher on EQ Settings.
| | 06:56 | Now the third section is the Compressor, which
is used to decrease the dynamic range of your
| | 07:01 | recording, allowing you to raise the
level of the entire track without clipping.
| | 07:04 | Compressors are useful with recording that
have wide range of volume where you might
| | 07:07 | have difficulty hearing the quieter parts,
while the louder parts come across too aggressively,
| | 07:11 | that presents a classic mixing challenge.
| | 07:14 | A Compressor contains a louder of parts of
the recording while boosting the quieter
| | 07:17 | parts, to give you a more even sound recording,
effectively reducing the dynamic range of the performance.
| | 07:23 | Let's use our bass for the example here, I'll
Solo up the bass, make sure bass is selected,
| | 07:29 | you can see ChannelStrip5 Bass, turn off the Bypass.
| | 07:33 | So first, I'm going to turn on the Soft to
provide a smoother attack on the compressor.
| | 07:37 | And I'm going to give this a decent
amount of compression at say 4 to 1.
| | 07:43 | I'll set the attack to about 50 milliseconds,
and remember you can keep an eye on the display
| | 07:51 | at the top to see exactly where you are
setting these settings, and I'll set the Release to
| | 07:55 | slightly longer, maybe about 650, and that
will increase the sustain of the bass without
| | 08:01 | chopping up the transients, meaning
the initial spike or attack of the notes.
| | 08:05 | And lastly, I'm going to increase the Output
Gain a bit to make up for the Reduction
| | 08:08 | and Gain that comes from Compression.
| | 08:09 | Of course, I'm going to make sure the
Compressor is actually on, and let's give that a listen.
| | 08:16 | (music playing)
| | 08:28 | Now listening to it, I actually noticed that it
got a little bit quieter with the compressor,
| | 08:31 | so I do need to add a little bit more Gain.
| | 08:33 | Now in the Compressor there's also a Make-
Up Gain button, which can help bring the track
| | 08:36 | back up closer to its original level.
All right, let's listen again.
| | 08:42 | (music playing)
| | 09:00 | All right, that sounds
much better at this point.
| | 09:02 | Now again, I'm not getting into the details
of how to use these processors in this course,
| | 09:06 | because they each require a significant
amount of time to explain and learn, and they are
| | 09:09 | covered extensively in
other courses on lynda.com.
| | 09:12 | Now there's one other section of the
ChannelStrip here on the right side, and this is where
| | 09:14 | you add Inserts and Plug-Ins to your track, and we'll
take a look at this section in the next movie.
| | Collapse this transcript |
| Using inserts and plugins| 00:00 | Okay, let's continue
looking at the PSP ChannelStrip.
| | 00:02 | I'm going to work with Fiddle.
Let's solo that and bring up the ChannelStrip.
| | 00:08 | In addition to the three main processors,
the Expander, the EQ, and the Compressor,
| | 00:12 | the PSP ChannelStrip is also where
you will find the Insert plug-ins.
| | 00:15 | Here in the Insert section is where
you can add up to four plug-in effects.
| | 00:18 | Now, I currently have
ClassicVerb on the first insert.
| | 00:22 | That's because we recorded the Fiddle with some
Reverb, but by default all the Inserts should say None.
| | 00:27 | So, you can tap None to see the available
plug-ins, and you can see we have Classic
| | 00:30 | and Convolution Reverb plug-ins, both Stereo and Mono,
as well as Delay, Chorus, and ReTune plug-ins,
| | 00:36 | all of which come with Auria.
| | 00:40 | ClassicVerb is a very simple reverb effect
module that isn't very taxing on the iPad's processor.
| | 00:45 | It just has 4 Dials to adjust the
Time, Filter, Mix, and Output levels.
| | 00:50 | Selecting a reverb automatically turns it on.
| | 00:51 | So, if I play this track, you can
hear the effects right away in real time.
| | 00:56 | (music playing)
| | 01:15 | Now, when I close the Effect window, notice it's been
added to the first position of the four available Inserts.
| | 01:21 | And they are selected, letting me
know that the effect is being applied.
| | 01:23 | So, if you ever want to hear the track without
the effects, you can just toggle the In button off.
| | 01:28 | Now, if you want to go back in and tweak the effect
settings you've just applied, you can tap the E button.
| | 01:34 | Notice that the settings are preserved, and
I can continue adjusting the dials from here.
| | 01:38 | Let's run through the other effects.
| | 01:39 | I'll just tap the first menu again,
even though you can add up to four effects.
| | 01:44 | The next item is Convolution Reverb.
| | 01:46 | This is a much more processor-intensive module,
but it also gives you a lot more choice and
| | 01:51 | variety inside of your reverb.
| | 01:53 | In addition to the setting dials that you
can manually adjust, you can also select from
| | 01:56 | several presets by tapping the name
area that currently says Abbey Plate.
| | 02:00 | And here, you can browse through to select from
reverbs that mimic different locations and settings.
| | 02:07 | (music playing)
| | 02:23 | And of course, you can just use the presets as a
jumping off point and continue adjusting dials from there.
| | 02:27 | So, maybe I wanted to do increase the
Output or add a little bit more to the Mix.
| | 02:32 | (music playing)
| | 02:38 | And I'm just going to pull that
Output down a little bit more.
| | 02:41 | Now, if you find the combinations of
settings you like, you can save your own settings,
| | 02:45 | so you can easily bring them up later.
| | 02:48 | Tap where it currently says
Default and from here choose Save Preset.
| | 02:53 | Give your sound the name that will remind you
of what it's for or what type of effect it is.
| | 02:56 | I'll just call this MyVerb.
| | 03:03 | And in the future, anytime you want to apply that exact
combination of settings, just select it from this menu.
| | 03:07 | Now, if you accidentally save a Preset or
you just want to get rid of one you don't
| | 03:10 | need, you can choose Edit Presets and then tap the
Delete button next to the ones you want to remove.
| | 03:18 | All right, so that's the Convolution Reverb.
Next, we have PSP StereoDelay,
| | 03:24 | which is a pretty advanced
Stereo Delay and Echo Module.
| | 03:27 | Again, you can manually adjust the dials to
find the setting you like or you can select
| | 03:30 | from some of the Presets.
| | 03:32 | And before we do that, let me just switch
back here and move things around a little bit,
| | 03:37 | so I can jump back a bit.
| | 03:46 | (music playing)
| | 04:09 | Now some of these sound pretty crazy, but you can
reduce the amount of effect by dialing down the Wet dial.
| | 04:15 | (music playing)
| | 04:31 | We also have the PSP StereoChorus effect.
| | 04:33 | It actually looks very similar to the Delay,
and it also comes with several Presets.
| | 04:40 | (music playing)
| | 05:01 | And the last effect is the ReTune
module, which is a pitch correction module
| | 05:06 | that's useful for when a vocal or
instrument might be slightly out of tune.
| | 05:09 | By dialing in the Key, and this particular
song is in A, you can use this module to nudge
| | 05:14 | the tone of the performance more
towards to correct key of the song.
| | 05:18 | The Present menu in this case allows you to
choose how heavy a hand to use in the correction.
| | 05:22 | You might choose Basic Auto
Tuning or even Extreme Auto Tuning.
| | 05:29 | You will also find some fun effects
like Darth Vader and Mickey Mouse.
| | 05:32 | But the performances on this recording are pretty
much in Key, so we don't really need this filter.
| | 05:38 | If you want to remove a filter altogether,
instead of just toggling the In button on
| | 05:41 | or off, you can just None to move that Insert.
| | 05:45 | So, those are built-in effects modules.
| | 05:47 | Again, you can apply up to four of them at a
time and the order that you apply them does matter.
| | 05:51 | Unfortunately, there's no way to shuffle the
order once you've added them, so either you
| | 05:55 | have to think ahead or once you land on
some effect settings you like, be sure to save
| | 05:58 | those settings as a Preset,
so you can easily call them up.
| | 06:01 | That you can change the order of the effects and
use the presets to restore the settings you had.
| | 06:05 | Now, in addition to the built-in effects, you
can also access the Auria Plug-in Store from here.
| | 06:13 | Here you can browse through the Plug-ins to
see what other effects are available to purchase.
| | 06:20 | So, you can browse through the
offerings here and they're always adding more.
| | 06:24 | If you want to read more about any of them,
just tap the name and here you can read about
| | 06:29 | the plug-in, see a picture of it.
| | 06:31 | And if it looks like something you want,
you can tap the Price to purchase it.
| | 06:35 | You will be asked to confirm
that you do want to purchase it.
| | 06:39 | You have to enter your Apple ID and Password,
and you should see a message telling you,
| | 06:45 | your Purchase was successful.
| | 06:47 | And now if I go back to my project, I'll see that,
that plug-in has now been added to the menu.
| | 06:58 | So that's a rundown of the
Insert Plug-ins here in Auria.
| | 07:01 | If you'd look to learn more about working
with the Effects, check out the course on
| | 07:03 | lynda.com called Foundations of Audio: Reverb,
and Foundations of Audio: Delay and Modulation.
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| Basic mixing| 00:00 | In this movie I want to talk about some basic
concepts to understand when mixing your song.
| | 00:05 | Mixing involves adjusting the levels and
effects of each individual tracks so they all combine
| | 00:09 | or mix into a single audio file that
sounds full, balanced, and well arranged,
| | 00:14 | kind of like a finished song.
| | 00:15 | A good first step is to make sure each track
sounds the way that you wanted to sound both
| | 00:19 | on its own and in context.
| | 00:21 | You might want to solo each track and listen
for any strange or unexpected sounds you might
| | 00:24 | have not heard when the
tracks were all playing together.
| | 00:26 | Now before I begin, I'm going to move all of
my Faders down to about -5 or -10dB so that
| | 00:31 | I have somewhere to go while mixing.
| | 00:40 | Leaving yourself some headroom is always a
good idea, especially in the digital domain
| | 00:44 | where tape hiss is a non-issue, and it'll
help you avoid clipping your master out.
| | 00:47 | I am also going to reset my Pans, they are
currently set the way they were during recording
| | 00:53 | and just by double tapping them I can send
them back to the center position, and just
| | 00:57 | for good measure I'm going to move all the
Faders that we're not using, these are all
| | 01:01 | the empty tracks just all the way down.
| | 01:06 | That way I can visually tell
right away where my song exists.
| | 01:09 | Next, you want to continue listening to
individual tracks, but by paying more attention
| | 01:14 | to the sound of the recording and
making adjustments as necessary.
| | 01:17 | This will probably involve using the PSP ChannelStrip
to make adjustments to the EQ Compressor,
| | 01:23 | the Expander, or any combination of the three.
| | 01:25 | For some tracks, you might want to start putting
down the initial settings of the Insert effects
| | 01:28 | by getting some Reverb to a Vocal, and
again, those are found under the Inserts tab.
| | 01:33 | Next, you might want to start mixing
the tracks that are related to each other.
| | 01:37 | For example, if you have three separate
tracks with background vocals, you can solo them
| | 01:41 | and adjust how they are
blending with each other.
| | 01:43 | Well, in this case, I might want to solo the four
drum tracks and play with the faders to mix them.
| | 01:54 | I can jump a little ahead in my song.
| | 02:00 | (music playing)
| | 02:30 | And remember that you can rotate the iPad
to the vertical position to extend the size
| | 02:33 | of the faders, which can give you more
precise control over the level of each track.
| | 02:41 | And be sure to experiment
with the pan knobs too.
| | 02:42 | Moving some of the tracks more to the left
or right of the stereo mix can help separate
| | 02:45 | their sounds and increase the clarity of the
instruments while expanding the stereo image of your project.
| | 02:50 | For the drums I had to overhead mics, and I
am going to pan them hard left and hard right.
| | 03:00 | (music playing)
| | 03:08 | You don't have to go to the extremes, though.
Sometimes just panning a track slightly more
| | 03:11 | to one side is enough to
make a pop out of the mix more.
| | 03:14 | For example, maybe later as I am mixing them,
I might I pan the Dobro off to the left
| | 03:18 | a little bit and maybe the Fiddle
over to the right to bounce it out.
| | 03:21 | You also might find that you need to slightly
increase the volume of the track if you have
| | 03:24 | a pan hard to one side or the other.
| | 03:26 | Also, again, remember that double-tapping any
dial or fader sends it back to its default position.
| | 03:32 | And then just continue adding tracks
back into the mix. I'll add the bass next.
| | 03:39 | (music playing)
| | 03:49 | And I'll just continue down the line this way.
| | 03:51 | Now I'm doing a very quick demonstration here,
but it's not uncommon to spend several hours
| | 03:54 | working on a single mix.
| | 03:56 | As you add more tracks into the mix, you'll
most likely find that you'll have to go back
| | 03:59 | and adjust the tracks you previously added
to make room for the new instruments or parts.
| | 04:03 | And there's a lot more to mixing
and just moving faders and pan knobs.
| | 04:06 | We will look at some more mixing tools that
are available in Auria in the following movies.
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| Grouping faders| 00:00 | Mixing a song often involves first mixing
two or more tracks together until they blend
| | 00:04 | well before moving on to
other parts of the song.
| | 00:07 | For example, you might first spend your time
mixing your drums and then adding your bass
| | 00:11 | before working on your rhythm guitar.
| | 00:13 | Later you might mix your background vocal tracks
together before blending them with the lead vocal.
| | 00:16 | Once you have some other tracks mixed to
your satisfaction, you are most likely want
| | 00:20 | to keep them that way as you
mix other parts of your song.
| | 00:23 | What if those tracks are too quiet or too loud?
| | 00:25 | Ideally, you don't have to move each individual fader
up or down again as you develop the rest of your mix.
| | 00:31 | Auria gives you a couple of options for
locking multiple tracks together so you can control
| | 00:34 | their levels with a single fader.
| | 00:36 | In fact, I already mention fader grouping
previously, let's take a slightly more in-depth look here.
| | 00:41 | I have the drum tracks and the bass mixed pretty
close to how I want them to be in relation to each other.
| | 00:46 | I just don't know how loud I want them to
be in relation to the rest of the song, so
| | 00:49 | I'm going to group them together, so I
can control their level simultaneously.
| | 00:53 | To do so, I tap the Group button at the
top of the screen, then I just tap the faders
| | 00:57 | of each track I want to add to the group.
| | 00:58 | Now you want to be careful to tap quickly,
because otherwise you'll accidentally move a fader.
| | 01:02 | Auria assumes that's what you want to
do, and it takes you out of the grouping mode.
| | 01:10 | And when you're done,
tap the Group button again.
| | 01:12 | Notice each fader I tap now has a number one
label, and if I move one, they all move together.
| | 01:21 | So each track's level will maintain their relative
relationship as I increase or decrease the overall volume.
| | 01:27 | Bear in mind that you're still free to
adjust the individual tracks in terms of panning,
| | 01:30 | effects settings, and all the other options
on the ChannelStrip. You can add additional
| | 01:34 | group by tapping the Group button
again and creating the next set.
| | 01:43 | And now I have the grouped the guitar and
vocals together, and you can see they move
| | 01:46 | together and they're labeled too. And once they are
grouped together, they're always going to move together.
| | 01:51 | If we need to move one of the faders individually,
you have to ungroup them or at least remove
| | 01:54 | one of the faders from the group.
| | 01:56 | To remove the fader from the group, tap the Group button
and tap the fader of the track you want to remove.
| | 02:02 | Just be aware that you can't
add faders to existing groups.
| | 02:04 | If I wanted to add the bass back to the
group now, I'd have to ungroup them all and then
| | 02:08 | regroup them to include the bass.
| | 02:10 | Also note that you can only group Channel
Faders, you can't group sub-groups or the
| | 02:16 | master fader, and lastly you can remove all groups
quickly by going to the Menu and selecting Clear All Groups.
| | 02:27 | Confirm that that's what you want to do, and
you can see I have now cleared all the groups
| | 02:32 | from my faders and they
all move individually again.
| | 02:35 | So that's how to group faders in Auria.
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| Creating subgroups| 00:00 | In the previous movie, we looked at how to
group faders together, which makes it easy
| | 00:04 | to adjust the overall volume level of specific tracks
while maintaining the relative levels with each other.
| | 00:10 | But one limitation of this technique is that each track
is still affected by its individual ChannelStrip settings.
| | 00:15 | For example, if I have the drums group together,
I can still go in and adjust the individual
| | 00:19 | Compression or EQ for each drum track.
| | 00:22 | Now this isn't a good or a bad thing, but
what if you want the ability to apply EQ,
| | 00:26 | Compression, and other
effects on all the drums at once.
| | 00:28 | To do so, you need to create
what are called subgroups.
| | 00:32 | You create a subgroup by routing the signal
from specific tracks to one of the eight
| | 00:36 | subgroup channels here on the right.
These are the pale blue color channels.
| | 00:40 | If you are using a first-generation
iPod, you'll only find four subgroups.
| | 00:44 | Now, once your selected tracks are routed together,
you can apply global effects and adjust their
| | 00:48 | levels with a single subgroup fader
just as if they were grouped together.
| | 00:52 | So let's create a drum subgroup.
| | 00:55 | To do so, I tap on the subgroup display on
the first track, that displays a menu of all
| | 01:00 | the subgroups, and I'll choose Subgroup1,
and you can see 1 now appears in the display,
| | 01:05 | and I'll do the same for the other three drum
tracks, and now if I scroll over to Subgroup1,
| | 01:14 | notice I can solo it and hear all the drums.
| | 01:21 | (music playing)
| | 01:28 | And the single subgroup fader affects the volume of all
the drums relative to each other with just one move.
| | 01:41 | Each subgroup also has its own
PSP MasterStrip for adding effects.
| | 01:45 | So, for example, if I wanted to add a little
reverb to all of the drums, I could open up
| | 01:50 | the FX and choose ClassicVerb
and make my adjustments.
| | 01:56 | (music playing)
| | 02:08 | Adding an effect to all the tracks at once
gets you a much different sound than adding
| | 02:12 | the same effect to each individual track.
| | 02:14 | You'll also notice that the main part of the
MasterStrip is configured differently than the ChannelStrip.
| | 02:18 | Instead of the Expander, EQ, and
Compressor, we have the EQ, the BussPressor,
| | 02:23 | which is a bus compressor, and the Limiter.
| | 02:26 | These are essentially the same tools as of
the regular channel strip, but they've been
| | 02:29 | optimized for stereo group processing.
| | 02:31 | Again, be sure to check out our courses on
EQ and Compression for full details on how
| | 02:35 | to work with modules like this.
| | 02:38 | Oh, and I should also mention that you
can name your subgroups, too, just like
| | 02:41 | you can name regular tracks.
| | 02:42 | I'll just double-click on the track's name,
and let's call this DrumSub, you can see it
| | 02:51 | says, DrumSub here, and if I scroll over I
can see it still says 1, but if I tap the Menu,
| | 02:55 | you can see it now says DrumSub.
| | 02:58 | Note that the faders and other channel
settings still affect the individual tracks,
| | 03:03 | but those tracks are now getting routed to
the subgroup and not to the main mix.
| | 03:06 | Any adjustment you make to that track that's
part of a subgroup affects the subgroup first
| | 03:10 | and the subgroup routes
its output to the main mix.
| | 03:13 | You can also add tracks to your subgroups
at any time by clicking the SubGroup menu
| | 03:18 | and selecting any of the available SubGroups.
| | 03:21 | Now you can't add the same track to multiple
subgroups, but if you need to do so for some
| | 03:25 | reason, you could go to the Edit window,
select the region or regions on that track, and then
| | 03:30 | copy and paste them onto another track.
I'm just not going to do that right now.
| | 03:35 | And to remove items from a SubGroup, just
click the SubGroup menu and choose the L/R or left
| | 03:41 | and right setting, which is the default
setting, and that routes the track to the main mix.
| | 03:45 | So that's working with SubGroups in Auria.
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| Using auxiliaries| 00:00 | In addition to the four insert plug-ins that
are available on each channel, whereas you
| | 00:05 | have seen you can add effects like Reverb and Delay,
as well as other plug-ins you can purchase and download.
| | 00:10 | Auria also has auxiliary effect
styles that you can use on each track.
| | 00:15 | You probably noticed that each
channel has two auxiliary, or aux styles.
| | 00:19 | Using these dials you can add as much of
the effects that are assigned to each style to
| | 00:22 | your track as you like, but how do you
assign effects to the auxiliary dials?
| | 00:27 | You do so by scrolling all the
way over to the Master Channel.
| | 00:30 | The Master Channel is where the audio from
all your other channels and subgroups end
| | 00:33 | up, and we'll look at it much more closely in the next
movie, but for now, notice the Auxiliary FX button.
| | 00:40 | Tapping that button opens the Auxiliary FX
window and it's here you can assign effects
| | 00:44 | to the two auxiliary dials.
| | 00:46 | This looks very much like the Insert
plug-ins area in the Channel Strip.
| | 00:50 | Start by tapping the Menu where it
currently says None and select the effect you want.
| | 00:54 | I'll choose ClassicVerb for this one, and
as you might expect, that opens the Plug-in settings.
| | 00:59 | I'm just going to leaving
them as is for now and close the window.
| | 01:04 | So notice we now have
ClassicVerb assigned to AUX1.
| | 01:08 | The In button is lit up,
letting me know that it's in use.
| | 01:10 | If I wanted to edit the settings, I can tap
E and adjust the settings as necessary, but
| | 01:16 | again, I'll just leave things
pretty much the way they are.
| | 01:18 | And if you want, you can assign effect to
this second aux style, I'll just add the Delay
| | 01:23 | for this example, and maybe I'll choose
the Basic StereoDelay preset for this one.
| | 01:31 | So now I have effect assigned to both auxiliaries,
and I can apply as much or as little of them
| | 01:35 | as I want to each track.
| | 01:39 | For example, I'll scroll over
to the Fiddle, and let's solo it.
| | 01:44 | Now I'm going to playing a little bit of the
track, and I'll turn the auxiliary dials as
| | 01:47 | I do so; you should be able to hear the
Reverb and the Delay effects kicking in.
| | 01:50 | (music playing)
| | 02:16 | Now the overall amount of the effects that
can be applied to the track is controlled by
| | 02:19 | the aux dials on the master track. I'm going
to put the Fiddle track again with both effects
| | 02:23 | turned up all the way, then I'll come over
to the master track dials, and I'll bring
| | 02:32 | those down, and you should be
able to hear the difference.
| | 02:36 | (music playing)
| | 02:55 | So the master aux styles allow you to control
exactly how much effects to send to each track.
| | 02:59 | Essentially, you can put a cap on the
amount of the effect that's applied.
| | 03:02 | So no matter where I have these set, I
have them set maybe midway, that's going to be
| | 03:08 | the maximum I can apply to any one of the
tracks on which I use those auxiliary sends.
| | 03:12 | Generally, though, you're going to find
that these are going to be all the way up,
| | 03:15 | and that is their default position.
| | 03:17 | So the auxiliary dials are
just what their name applies.
| | 03:19 | They give you two additional dials for
adding effects if you happen to have used up
| | 03:23 | all four available slots in a channel.
| | 03:25 | Now you probably won't run into this limit
with Auria built-in plug-ins, since there
| | 03:28 | are really only five of them, but if you go to
Plug-in Store and purchase additional effects,
| | 03:34 | there probably be more than a few times, you'll be
happy to have those auxiliary effects styles available.
| | 03:40 | The auxiliary dials can also help free up
system resources, so for example, if you
| | 03:44 | wanted to apply Convolution Reverb to
several tracks, instead of using several instances
| | 03:48 | on each individual track, you can apply that
reverb to the auxiliary dial then just dial
| | 03:52 | it in on each track that you wanted on.
| | 03:56 | So that's working with the
auxiliary effects in Auria.
| | Collapse this transcript |
| Using automation| 00:00 | As I've been discussing throughout this chapter,
a large part of Mixing your project involves
| | 00:04 | finding the right level for
each track by adjusting the Faders.
| | 00:07 | But you're not always going to want to have
certain tracks be the same level throughout
| | 00:10 | the entire project or song you are working on.
| | 00:12 | There may be tracks where the sound level is uneven in
certain places, where it gets too loud or too quiet.
| | 00:17 | Maybe you want to bring in instrument up for a
Solo and then take it back down to its original
| | 00:21 | level, or maybe you just want to make a
creative choice, like taking a certain instrument
| | 00:25 | out of the Mix completely
during a reverse, for example.
| | 00:27 | Fortunately, Auria includes a powerful
Automation system that lets you specify exactly where
| | 00:32 | you want the Fader to move, how far
it moves, and how long it stays there.
| | 00:35 | And it's not just Volume levels that can be
automated, you can automate just about every
| | 00:39 | dial, any track, and even automate effects.
So let's take a look at how this works.
| | 00:44 | There are two ways to work
with Automation in Auria.
| | 00:46 | You can automate actions either in
the Mix window or in the Edit window.
| | 00:49 | Let's start here in the Mix window.
Notice every channel has an R and W button.
| | 00:54 | W stands for Write, as in to Write new
Automation information, and R stands for read,
| | 00:59 | as in to Read or Playback the
Automation that's been written.
| | 01:01 | Let's use the Dobro track as an example.
| | 01:04 | I have it fairly low in the Mix for the
most part, but there is a section near the end
| | 01:07 | of the song where I want to highlight it a
bit more, to sort of bring it to the front,
| | 01:10 | and then I wanted to drop back down again.
| | 01:12 | So right around the 3-minute mark, so
let's listen to it. I'm going to manually bring
| | 01:16 | the Fader up when I think it should
come up, and then I'll bring it back down.
| | 01:21 | (music playing)
| | 01:52 | So I exaggerated it there a little bit, but
those are the points where I want the level
| | 01:55 | to go up and down, and I want
Auria to remember those moves.
| | 01:58 | So let's rewind back again.
Let's drag the Playhead back to about there.
| | 02:07 | So to automate that Fader action, I'm
going to tap the W button on the Dobro track.
| | 02:10 | Now that lights both the R and W, but
that's normal, it simply indicates that I'm also
| | 02:15 | going to hear the Automation
moves as I'm writing them.
| | 02:17 | Now once I tap Play, Auria will record the
motion of any Fader or dial I move on this
| | 02:21 | track, so not only can I move the Fader, but I can also
play with the Pan dial, the auxiliary dials, and so on.
| | 02:27 | In fact, I will move the Pan dial, so you'll
be able to see multiple actions being written.
| | 02:31 | Watch the W button, and you'll see it turn red
anytime Auria detects that I'm touching a dial.
| | 02:38 | (music playing)
| | 03:09 | Okay, I'll tap W to take it out of write mode, so
I don't accidentally rewrite the Automation.
| | 03:13 | So let's rewind back to the same point.
| | 03:21 | Notice R is still lit up, meaning that if I
tap Play now, we'll see the Automation moves
| | 03:25 | playback, which is what I want. So let's watch.
| | 03:30 | (music playing)
| | 04:03 | So that's how to program Automation from the
Mix window, now let's switch over to the Edit
| | 04:06 | window and see what's happened over there.
| | 04:09 | In each track there is an Automation Menu where you
can select what aspect of the track you want to automate.
| | 04:15 | I'll select Volume here on the Dobro track,
and that displays the Volume Automation line
| | 04:20 | which is this blue line you see.
You'll see several points along the line.
| | 04:24 | These are the Automation points
that were written as I move the Fader.
| | 04:27 | You can see where I brought the Fader up,
where I adjusted it slightly up and down,
| | 04:31 | and where it remained steady for
a while and then came back.
| | 04:33 | Now let's play little bit of that, and
should be able to hear those changes.
| | 04:40 | (music playing)
| | 04:56 | Now I also adjusted the Panning of the track.
| | 04:57 | And if I go back to the Automation Menu,
you'll see the Pan is also in white, which indicates
| | 05:01 | that it contains Automation data,
and there are the Pan Points.
| | 05:06 | So that's what Automation looks like in the
Edit window, but this isn't just for viewing
| | 05:09 | the Automation you wrote in the Mix window.
You can also create Automation from here.
| | 05:13 | In fact, in many cases you might find it
easier to work in the Edit window, because here you
| | 05:17 | can see the Waveforms and be more precise
about where you want the changes to occur.
| | 05:21 | You can edit existing Automation Lines, for
instance, if wanted the panning to start sooner,
| | 05:24 | I can grab this first
point and drag it to the left.
| | 05:29 | But you can also create Automation from scratch.
For instance, let's go to the Fiddle track.
| | 05:39 | And let's take the playhead back to the beginning
of the Solo which is around 2 minutes 40 seconds.
| | 05:46 | And let's say I want to bring the Fiddle up
for the first half of the Solo section before
| | 05:50 | the Dobro comes up in the second half.
So I'm going to choose Volume from the Menu.
| | 05:55 | Now personally, I like to first add the start
and end points of the area I want to automate.
| | 05:59 | So I'm going to tap and hold
where I want to Volume to coming up.
| | 06:05 | You can see that adds a control point.
| | 06:07 | Control point simply
indicates a moment of change.
| | 06:10 | Now I'm going to use the control points on
the Dobro track to figure out where I want
| | 06:12 | the section to come back to
down to its original level.
| | 06:18 | So in the Dobro track I'm going to go to Volume,
you can see right there is where the Volume
| | 06:23 | starts to come right up, and we
can even view the Playhead there.
| | 06:29 | So here on the Fiddle track, I'll tap
and hold to add a second control point.
| | 06:36 | The reason I like to start and end points first is that
it protects the rest of my track from being altered.
| | 06:40 | So now tap that control point indicate how loud
I want the Fiddle to get any one point in time.
| | 06:51 | And then I add a second point to specify
where I want the Volume to start coming back down.
| | 06:59 | And again, I am just going to exaggerate the
settings a bit so the change is a little bit
| | 07:02 | more obvious for this example.
| | 07:04 | So you can see this is a much cleaner set of points
in lines than I got using the Fader in the Mix window.
| | 07:09 | Also, you can change the curve type of the
lines by tapping one of the four buttons here
| | 07:12 | in the upper right-hand corner.
| | 07:13 | You can experiment with them to
see which best suits your project.
| | 07:19 | Just go to your control point and choose
your curve, and let's give that a listen.
| | 07:32 | (music playing)
| | 08:00 | So now I can hear the Fiddle coming up where
I made those control points. Again, you can
| | 08:04 | adjust them if you want to, maybe
make things even a little bit louder.
| | 08:08 | Make sure we tap on the control point.
| | 08:15 | Sometimes it's hard to
land right on it, here we go.
| | 08:23 | Now if I move the playhead back and switch over to the
Mix window again, now we'll see the Fiddle Fader move.
| | 08:36 | (music playing)
| | 09:07 | And now we can see both the
Fiddle and the Dobro Faders moving.
| | 09:10 | So that's how to use Automation
from both the Mix and Edit windows.
| | 09:13 | Now I mentioned that you can also
automate pretty much every dial on the channel.
| | 09:16 | Again, you can do that here in the Mix
window by tapping the W on the track that you want
| | 09:20 | to automate and then moving any of the dials,
| | 09:22 | or you can do it from the Edit window by using
the Track Menu to choose what aspect you want
| | 09:25 | to draw Automation Lines for.
You can also automate effects by tapping FX,
| | 09:30 | and you can do this from either the Edit or
the Mix window and then choosing the Insert
| | 09:34 | And you'll find that each module has an R and W button.
| | 09:41 | So you can tap W to go into Write mode, start
playing your song and record whatever changes
| | 09:45 | you make to the effects in real time.
| | 09:47 | Maybe you want to suddenly bring a lot of
Reverb on to the track in the middle of the
| | 09:50 | song and then have a drop out again.
| | 09:51 | You are going to accomplish that just by
doing it live and recording your actions.
| | 09:57 | So that's how to work with Automation in Auria.
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| Understanding the master channel| 00:01 | So we've seen that the process of mixing can
involve many different tools and techniques
| | 00:04 | and that the goal is to produce the most
pleasing and professional sounding combination
| | 00:08 | of all the tracks as you can.
| | 00:09 | And the final stop in the mixing process is the Master
Channel found at the very far right of the Mix window.
| | 00:16 | This is where everything ends up.
| | 00:17 | Everything you have done to the individual
tracks, from setting their levels to panning,
| | 00:21 | to any effects you have applied, they are
all routed and summed to the master track.
| | 00:25 | The same goes for any subgroups you've created.
| | 00:27 | Basically, any sound you work with goes to
the master track, and looking at the master
| | 00:31 | channel, there really isn't too much to see here. We have
a fader which controls the master level of your project.
| | 00:38 | (music playing)
| | 00:41 | There is a Meter button, which
displays a detailed master channel meter.
| | 00:48 | The meter displays both peak and RMS info, with
RMS on the outside meters and peak in the middle.
| | 00:56 | (music playing)
| | 01:02 | This can give you a much more accurate
view of the levels you're hitting in your mix.
| | 01:08 | Also in the master channel we have the
auxiliary FX styles which we saw how to use earlier.
| | 01:11 | We have Automation buttons, so like the other
tracks you can automate move on the master track.
| | 01:16 | And we have an FX button,
which opens the PSP MasterStrip.
| | 01:20 | This way you can apply
effects to your final mix.
| | 01:23 | Now frequently you want to apply some
overall EQ or compression to your mix as a whole,
| | 01:26 | and this is where you'll do that.
| | 01:28 | You also have access to four inserts again,
so if you want, you can apply Reverb
| | 01:32 | or other Effects to the entire mix.
| | 01:35 | So the basic idea with the Master
Channel is to set the project's overall levels.
| | 01:39 | This basically means to make sure the
mix is loud enough but not clipping.
| | 01:41 | You can use the Meter to make sure the last
parts of the project aren't going over 0dB.
| | 01:46 | Let me just rewind a little bit here.
| | 01:54 | (music playing)
| | 02:11 | Now you probably saw as I brought the fader up,
the clip indicator lights appeared, indicating
| | 02:14 | that I brought that fader up too high,
so I had to pull it back a little bit.
| | 02:18 | Now if your RMX is the last step in your
process for this particular song, for instance,
| | 02:22 | if you plan to export and share directly from
here, try to get the level as close to 0dB
| | 02:26 | as you can without going over and clipping.
| | 02:28 | You may need to use additional
compression on the master channel to get there.
| | 02:31 | Ideally, the levels you set with the
individual track faders to get you pretty close to that
| | 02:35 | point with the master fader at 0, but you can
nudge it up or down a little bit to finesse the levels.
| | 02:40 | Now we haven't gotten into the specific
details of mixing here, but be sure to check out
| | 02:43 | a course like Audio Mixing Bootcamp for a much
closer and detailed look at the mixing process
| | 02:48 | where you'll learn valuable skills that can be applied not only
to Auria but to any digital audio editing workstation.
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| Exporting your project| 00:00 | Once you're satisfied with your mix, you'll
most likely want to share it with others or
| | 00:04 | at least have a copy for yourself that you can
play without having to fire up Auria each time.
| | 00:08 | Auria gives you several options for
exporting your mixed project, and you can choose the
| | 00:11 | method and file format that works best for
you and what you intend to do with the file.
| | 00:16 | So let's say I have the mix
at a place I am happy with.
| | 00:18 | Now if you have access to the exercise files,
you can load up a copy of this mix as I have
| | 00:21 | it to this point and give it a listen.
| | 00:24 | But I am going to place where I
might have to share this with friends.
| | 00:26 | So I am going to choose Menu > Mixdown.
That opens the Mixdown window.
| | 00:31 | The first thing you can do is name your file.
| | 00:34 | Now Auria always calls
every Mixdown project Mixdown.
| | 00:36 | It would be nice if it took the name of your project,
but it doesn't, so you'll probably want to rename your file.
| | 00:48 | And I won't bother keeping that .wav extension,
depending on what file format I am choosing,
| | 00:52 | the extension might be different.
| | 00:54 | Next, you can choose whether you want to
export the Entire Song or just a section.
| | 00:58 | I'm going to export the entire song, but there
may be times when you want to export only a section.
| | 01:02 | Maybe you just want to send an
excerpt or a sample of your song to someone.
| | 01:05 | If that's the case, you can select the
section with a Locator tool before choosing Mixdown
| | 01:09 | and then selecting the Locator Range.
Next you choose the File Type.
| | 01:13 | The default export setting is to
save your project as a WAV file.
| | 01:17 | WAVs are uncompressed high-quality audio
files that can be read by both Macs and PCs.
| | 01:22 | AIF files are also high-quality uncompressed files,
but some PCs can't read them without additional software,
| | 01:28 | so WAV is probably the better
choice if you need a high-quality file.
| | 01:31 | WAVs and AIFs also tend
to have large file sizes.
| | 01:35 | You can also export your song as an MP3, which is a
compressed format you're most likely familiar with.
| | 01:39 | MP3s are nice when you are not concerned
with the highest quality audio, but instead want
| | 01:43 | a smaller file size that still sounds good that can
be emailed and be played on any computer or MP3 device.
| | 01:48 | We also have the M4A selection which is the
native iTunes format, also called AAC, that's
| | 01:53 | also a compressed format, and you'll choose Stems if you
want to export each individual track as its own file.
| | 01:58 | Based on which file type you choose,
you'll see different options below this menu.
| | 02:02 | For WAVs and AIFs, you
can choose 16, 24, or 32 Bit.
| | 02:06 | Keep in mind that the higher the bit depth, the
better the sound quality, but the larger the file size.
| | 02:10 | For MP3s, you can choose a Bit Rate of 64,
128, 256, 320, or a variable bit rate.
| | 02:16 | 256 is pretty standard these days.
| | 02:19 | You can choose a higher rate for better quality,
but not many people can really hear a difference
| | 02:22 | between 256 and anything higher than that, so if
file size is a concern, I would stick with 256.
| | 02:28 | So depending on the file type you select,
you'll see different settings up here.
| | 02:31 | For this one I am going to choose the
WAV format, and I'll keep it at 24 Bits.
| | 02:36 | Next, choose whether you're exporting
as a Stereo, Mono or Split Stereo mix.
| | 02:40 | Generally, if your song is Stereo, you'll want
to export it as stereo, but you may occasionally
| | 02:44 | want a Mono mix to hear how it sounds.
| | 02:46 | A Split Stereo mix just means that the left and
right channels will be exported as separate files.
| | 02:50 | The rest of the settings are for
determining what to do with the Mixdown file.
| | 02:53 | Import as New, we will take the mixed song and
place it on a new track of your current project.
| | 02:57 | This is kind of like bouncing the
tracks down, like we saw how to do earlier.
| | 03:01 | You also have the options to Export your
project to DropBox or to a SoundCloud account.
| | 03:05 | So if you have an account with either of
those services and a live Internet connection
| | 03:08 | on your iPad, you can upload
directly to either one.
| | 03:11 | Okay, so in this case, I've named my file, chosen the
WAV format, and left everything at its defaults.
| | 03:15 | I'll tap OK and Auria will take
a minute to create the Mixdown.
| | 03:20 | Okay, and now it's done.
| | 03:22 | Now, since I didn't choose to Export the
project to a DropBox or SoundCloud account, the only
| | 03:26 | way to get the WAV file I just created
is to connect my iPad to my computer.
| | 03:32 | Now here in iTunes, I'll select my iPad, then I'll
click Apps, and I find Auria here under File Sharing.
| | 03:40 | Now you've seen this before, this is the
way you can find all the projects you have
| | 03:45 | in your copy of Auria as well
as any Mixdowns you've created.
| | 03:48 | So here is the Mixdown I've just created,
20 Different Places.wav, and I am just going
| | 03:52 | to drag that to my desktop.
You can see there it's copying.
| | 03:59 | So there is my mixed WAV file that I can
burn to a CD, add to my iTunes library, convert
| | 04:04 | to an MP3, upload to a server, or
do any number of other things with.
| | 04:08 | So that's how to mix your project
into a single audio file from Auria.
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| Saving and managing your projects with Dropbox| 00:00 | These days, you don't really need to have
a computer to use your iPad to its fullest.
| | 00:04 | With iOS 6, Apple made it so you can activate, use,
and backup your iPad without needing a computer at all.
| | 00:10 | So, if you are someone who chooses not to
use a computer with your iPad, but you still
| | 00:13 | want to be able to backup your Auria Project
safely online or even share them with others,
| | 00:18 | you have the option of
using a free Dropbox account.
| | 00:21 | Dropbox is a service that gives you 2 GB on
online storage space that you can access anywhere
| | 00:25 | you have an Internet connection
and a mobile device or computer.
| | 00:28 | You can purchase additional storage space or
enter for free by encouraging other people to sign up.
| | 00:33 | To get started, you go to dropbox.com
and sign up for a free account.
| | 00:37 | After you register, you'll probably
want to download the Dropbox App for iPad.
| | 00:41 | Although you don't need it to use Dropbox with
Auria, all you need is your login information.
| | 00:44 | In Auria, go to Menu > Settings
and here tap the Dropbox logo.
| | 00:55 | Enter the email address that acts your Username
and your Password, and that's all there is to it.
| | 01:05 | Now, you can go to the Menu and
choose any Dropbox related options.
| | 01:10 | You can Save Project to Dropbox, which saves
the project file in the native Auria format.
| | 01:14 | Just be aware that this can take a long time, depending
on the size of your project and your connection speed.
| | 01:19 | You can also load projects from your
Dropbox by going to Menu > Load Project.
| | 01:23 | In here, tap the Dropbox header and
look in the Auria folder for your project.
| | 01:30 | This can be really useful if you have multiple
iPads, maybe have one at home and one at work
| | 01:34 | and maybe you want to work on a project
you started on one iPad on a second iPad.
| | 01:37 | Even if you don't intend to load your project
from Dropbox onto your iPad, it doesn't hurt
| | 01:42 | to put a copy there anyway so you have a
back up, especially if you're not backing
| | 01:45 | your project up to a computer.
| | 01:47 | In the previous movie, I've showed you the MixDown command,
and one of the options there was to Export to Dropbox.
| | 01:57 | So again, if you have a Dropbox account, you can
automatically move a copy of your Mixed project there.
| | 02:02 | So, that's a bit on Auria's Dropbox Integration.
| | 02:04 | Again, Dropbox is free and
gives you 2 GB of storage space.
| | 02:07 | So, it doesn't hurt to create an account and
have access to it, just in case you need to
| | 02:11 | make a backup or share an MP3
version of your project with others.
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| Creating snapshots (NEW)| 00:01 |
When mixing a song, it's likely you'll
probably come up with alternate versions
| | 00:04 |
of your mix.
Maybe you'll want one mix where the drums
| | 00:07 |
are more prominent, maybe another mix
where you remove the vocals to create an
| | 00:09 |
instrumental version.
Now, we've already seen how you can save
| | 00:12 |
a copy of your entire project.
What you would use for creating complete
| | 00:16 |
backups, so, you're free to work and
experiment without worrying about messing
| | 00:19 |
up your only copy of a project.
But copying a project multiple times can
| | 00:23 |
take up a lot of storage space on your
iPad, because each copy contains all the
| | 00:26 |
audio recordings you made.
And that can start to add up.
| | 00:30 |
So, if you're going to be working on
multiple versions of a particular song,
| | 00:33 |
you might instead use Aria's snapshot
feature.
| | 00:36 |
Snapshots are like backup copies, and
they contain all the information about
| | 00:39 |
your current mix.
Where the faders are, which effects are
| | 00:42 |
applied, all the automation settings, and
so on.
| | 00:44 |
But what they don't include are the
actual audio files.
| | 00:47 |
Snapshots just reference and use a single
copy of the audio files.
| | 00:51 |
So, it's kind of like running your audio
through an alternative mixer.
| | 00:53 |
You can create multiple snapshots that
you can call up as needed, and they take
| | 00:56 |
up practically no space when compared to
a full copy of your project.
| | 01:00 |
Aria also automatically saves snapshots
of your current project every ten minutes
| | 01:03 |
that you can then call up if you then
completely mess up a mix that you're
| | 01:06 |
working on.
Just go to Menu, Snapshots, Load Snapshot.
| | 01:13 |
And here I can see the backups of my
projects.
| | 01:15 |
I'm just going to cancel out of here for
now.
| | 01:18 |
You can also manually create a snapshot
at any time by going to Menu, Snapshots,
| | 01:23 |
and Save Snapshot.
Then give your snapshot a name.
| | 01:28 |
Maybe I'll just cal this Mix 1, and then
you can continue working on your mix.
| | 01:36 |
I'm just going to do a, an extreme
example here, so, you can sort of see
| | 01:39 |
what's going on...
So, if you need to call up a saved
| | 01:42 |
snapshot again, all you have to do is
load it.
| | 01:44 |
So, here's the one I saved, and in just a
moment, you can see that my project is
| | 01:50 |
resorted to that version of the mix.
To get rid of any snapshots, just go back
| | 01:57 |
to Load Snapshots, Path Edit, and then
delete any one of them that you want to
| | 02:01 |
get rid of.
You might not need so many auto snapshots
| | 02:06 |
of your project for example.
But again, they take up so little space
| | 02:10 |
that you probably don't have to worry
about snapshots hogging up all your iPad storage.
| | 02:15 |
So, that's how you work snapshots in
Aria.
| | 02:17 |
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ConclusionWhat's next?| 00:00 | And there you have it.
| | 00:01 | I hope this course has given you a good idea
of what a powerful and capable app Auria is
| | 00:06 | and that you'll be able to incorporate
it into your own audio recording projects.
| | 00:10 | As I've mentioned throughout this course,
we have several other courses on lynda.com
| | 00:13 | that take deep dives into
fundamental audio recording skills.
| | 00:15 | So, if you're just entering the world of
recording or even if you want to brush up on your skills,
| | 00:20 | be sure to check our courses like Audio Recording Techniques,
Audio Mastering Techniques,
| | 00:24 | and the Foundations of Audio Series, including
EQ and Filters, Compression and Dynamic Processing,
| | 00:30 | Delay and Modulation,
and Foundations of Audio: Reverb.
| | 00:32 | And these are only scratching the surface.
| | 00:35 | If you're a lynda.com subscriber, go to Subject menu
at the top of the screen and choose Audio
| | 00:39 | to browser through a complete list of
our constantly expanding number of courses.
| | 00:43 | And that does it for
iPad Music Production: Auria.
| | 00:45 | So until next time, I'm
Garrick Chow, see you soon.
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