IntroductionWelcome| 00:00 | Pro Tools is the industry
standard for audio production
| | 00:03 | and Pro Tools 8 just raised the bar.
| | 00:06 | (Music playing.)
| | 00:09 | I'm David Franz.
I'm a music producer and songwriter,
| | 00:12 | owner of Underground Sun Studio
and author of the first Pro Tools book.
| | 00:16 | And this is Pro Tools 8 New Features.
| | 00:20 | With this new incarnation of Pro Tools,
Digidesign introduces a new, very functional
| | 00:25 | and more modern looking interface.
We will explore the interface
| | 00:29 | along with the new menu items,
new preferences and the new MIDI Editor.
| | 00:34 | We'll look at the new track comping
function, independent automation lanes and
| | 00:38 | I'll get in to the new Score Editor.
Yes, Pro Tools has notation now.
| | 00:44 | I will show you new plug-ins for EQ,
harmonic, delay and modulation effects and
| | 00:50 | the new suite of virtual instruments
that will help you start making music with
| | 00:53 | Pro Tools 8 right out of the box.
| | 00:56 | This version of Pro Tools is an
amazing upgrade of an already powerful
| | 01:00 | production resource. The new features
are so deep, I can only give you a taste
| | 01:04 | here of what we are going to cover in
this course. So if you are hungry for more,
| | 01:08 | I am here to feed the audio
beast in you. Let's get started with
| | 01:12 | Pro Tools 8 New Features.
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| Starting up Pro Tools 8 with the Quick Start dialog| 00:00 | Pro Tools 8 shows off its first new feature
on its very first launch, the Quick Start dialog.
| | 00:07 | In this window, you can open
a session, open a recent session,
| | 00:13 | create a blank new session, with the
session parameters down here, and choose
| | 00:18 | from a large number of new session
templates. You can use this pulldown menu to
| | 00:23 | choose from the General categories.
Here we have Song Writer, Record & Mix,
| | 00:31 | Music, Miscellaneous, and Guitar.
| | 00:36 | You notice that many of the templates
have lower CPU usage options. This means
| | 00:41 | that they have less plug-ins and
virtual instruments loaded into them. You can
| | 00:45 | use Keyboard Shortcuts to select from
these Lists. Press Command + Up & Down,
| | 00:51 | on a Mac, to go through the different
options here, and you can also use Ctrl +
| | 00:55 | Up & Down on a Windows machine.
| | 00:57 | If you press the Option key with the Up
& Down arrows, you can navigate between
| | 01:02 | the different categories. This will be
the Alt Key on our PC. And once you are
| | 01:07 | inside of the Category that you want,
you can actually use the Up & Down
| | 01:11 | arrows, to navigate between
the individual session templates.
| | 01:16 | If you ever get tired of seeing the
Quick Start dialog, you can always just
| | 01:20 | come down here and shut it off. So
let's open up one of these new session
| | 01:25 | templates. I'll choose the Guitar, the
Ballad Guitar, why not. When that comes
| | 01:33 | up, we have the Save Session dialog,
and we'll definitely want to save that as
| | 01:37 | a New File Name, so I am just going to
add my initials, so that we don't over
| | 01:42 | write the original session template.
| | 01:46 | Wow! Look at the new face of Pro Tools.
Before we get into all the new Features
| | 01:50 | and Color Schemes, let me show you how
well these session templates have been sorted out.
| | 01:55 | First you'll notice a Drum track,
right at the top, on an Instrument track,
| | 02:00 | we'll the see the Tempo and the Meter
have already been set to appropriate
| | 02:04 | Tempos and Meters for this Style,
Ballad Guitar. We also have other Instrument
| | 02:09 | tracks appropriate to the style of
Music including a Bass track, Synth Pad, and
| | 02:15 | these tracks are just waiting your Input.
| | 02:17 | The Track Comments show off what these
tracks are set to record right off the bat.
| | 02:21 | Moving to the Mix window you'll
see the track layout even better, with
| | 02:26 | virtual instruments, plug-ins, and
effects already set up for you. Note that
| | 02:31 | the virtual instruments have patches
already assigned to them, such as in this
| | 02:36 | Expand plug-in we have a Bass Soft Pick Bass.
| | 02:43 | This session even has an Effects Loop
set up for you, all the way over here on
| | 02:49 | the right side with the SENDS already
labeled and the Signal Routing already
| | 02:54 | set up for you.
| | 02:56 | The template even has a Click track
and a Stereo Headphone Mix as well as a
| | 03:02 | Stereo Master Fader, to check the
Output of your overall track. These session
| | 03:07 | templates can easily save you ton of
time. Although previous versions of Pro
| | 03:11 | Tools have come with Session Template
files before, Digidesign has stepped it
| | 03:15 | up with these template layouts.
I'll definitely be making use of these
| | 03:19 | templates in my studio workflow.
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| Creating a custom session template| 00:00 | Pro Tools 8 comes with over thirty pre-
made session templates. Although any of
| | 00:04 | those may be good starting points for
your session, what if those templates
| | 00:08 | don't quite fit the needs for your
particular project? Well it's easy enough to
| | 00:12 | create your own template. Let's start
with one of the pre-made templates and
| | 00:16 | alter it.
| | 00:17 | Let's say I want to start with the
Songwriter Pianist session template. So I'll
| | 00:21 | click OK and I'll rename it adding my
initials. This session is opened up and
| | 00:29 | it has actually got more stuff in it
than I really wanted to have, so I am
| | 00:33 | going to get rid of some of the tracks
and simplify this session and turn it
| | 00:37 | into my own session template.
| | 00:38 | So I am going to just highlight a few
of these tracks that I don't want. I am
| | 00:43 | using the Command Key to select
multiple tracks here. Now I'll actually delete
| | 00:51 | those tracks from the session,
get rid of all that stuff.
| | 00:56 | Let's say this is the way that I want
it to be, so I'll go up to the File menu,
| | 01:02 | choose Save As Template. Here we have
the Save Session Template dialog box and
| | 01:09 | we have several options of where we
can save this file. We can install the
| | 01:13 | template into the system, and that
means that it will actually be saved into
| | 01:17 | the Quick Start dialog
when we open our Pro Tools.
| | 01:21 | In this case, I am actually going to
select a location for the template that is
| | 01:25 | a different location and there's also
this box, Include Media, so if there's
| | 01:31 | any audio or midi files in the session
template that we want to include in the
| | 01:35 | session template itself to be repeated,
we can check this box. However, that's
| | 01:40 | usually not the case.
| | 01:42 | So to save this file, click OK. We're
going to choose where we want to save it.
| | 01:47 | I am going to put it on to the Desktop
and make sure that the Name is right.
| | 01:51 | That's fine. Click Save.
| | 01:53 | In Hide Pro Tools, and we'll actually
see this Session Template file on our
| | 02:00 | Desktop, and you'll notice that it
has a dt.ptt file extension. That's
| | 02:05 | different than the regular PTF File
extension. I personally love using Pro
| | 02:10 | Tools session templates because it
just makes it so much easier to get your
| | 02:14 | ideas recorded quickly. You can open up
a session, there's all the tracks ready
| | 02:19 | for you, you can just start recording
and your ideas are immediately out there
| | 02:23 | and recorded in the Pro Tools.
| | 02:25 | Use the session template, get started
recording quickly. It's a great new feature.
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| Checking out some Pro Tools 8 general enhancements| 00:00 | There are many new enhancements to
the Pro Tools software in Version 8.
| | 00:03 | Here I am going to show you a bunch of the
more general but still very important upgrades.
| | 00:09 | First, Pro Tools 8 LE and M-Powered
can have up to 48 mono or stereo audio
| | 00:15 | tracks. Here I am going to create 48
stereo audio tracks; there we go, all the
| | 00:24 | way to 48. This is a bump up of 16
tracks from Pro Tools 7, and special note,
| | 00:31 | you can perform quick punch
on 24 of these tracks at once.
| | 00:35 | Now if you want more than 48 tracks in
Pro Tools LE, you can actually purchase
| | 00:41 | the Music Production Toolkit, the
DV Toolkit or the Complete Production
| | 00:45 | Toolkit, this can increase your track
count up to 128 mono or 64 stereo audio
| | 00:51 | tracks as well as increasing your
instrument tracks to 64 and your basses to
| | 00:56 | 128 among other features.
| | 01:00 | Pro Tools 8 now supports mixed file
formats. So you can have WAV files, AIFF
| | 01:05 | files, and Sound Designer II files, so
they all coexist in one session. The SD2
| | 01:12 | files are Mac only options. The only
requirements are that the files must be
| | 01:16 | the same sampling rate and bit depth as
the session. Otherwise, the files have
| | 01:20 | to be converted to the session parameters.
| | 01:22 | Here I will import an AIFF file with
the same sampling rate and bit depth as
| | 01:29 | the session. Note that the session
that I actually created here was with WAV
| | 01:35 | files as the session parameter.
However, you see here in the Import Audio
| | 01:40 | window that piece of audio that I want
to bring in can be added directly to the
| | 01:45 | current session or it can be converted
to the session's audio file type, but
| | 01:50 | why not just add as it is?
That's the new feature here.
| | 01:56 | So if I add this new audio file, the
AIFF files to the WAV file session, it
| | 02:02 | doesn't matter. They will just add it
right in, and there you see it in the
| | 02:06 | Regions list. A cool new feature of
Pro Tools 8 is the ability now to open a
| | 02:11 | session with all of the plug-ins deactivated.
| | 02:14 | We will do this. we'll open any
previous session, and I am going to press Shift
| | 02:20 | while I select this session, and all
of the plug-ins and virtual instruments
| | 02:26 | will be deactivated. This is a great
feature if you have a lot of plug-ins and
| | 02:35 | instruments in a session that might
really bug down you system, so you can open
| | 02:41 | it, and now we see all of these plug-
ins and instruments are deactivated, but
| | 02:46 | we can still open the session, no
problem, and we don't have to worry about any
| | 02:50 | CPU overload issues.
| | 02:52 | Well, still in this session, I am going
to show you another excellent Pro Tools 8
| | 02:57 | new feature. We have different
hardware buffer sizes. Look at that, all the
| | 03:04 | way down to 32 samples. That is
impressive. That means that you can have very
| | 03:10 | low monitoring latency while you are recording.
| | 03:12 | FireWire devices like the 003, will
allow you to have 32 samples, some other
| | 03:17 | devices will only allow you to have
64 samples but that's still down from
| | 03:22 | previous versions of Pro Tools, and
some devices will even let you go up to
| | 03:27 | 2048 samples not shown here, but the
higher hardware buffer sizes are great if
| | 03:34 | you have sessions with a lot of
plug-ins and virtual instruments.
| | 03:36 | So I am going to choose the higher
hardware buffer size here, and click OK.
| | 03:42 | Another feature for ensuring the best
time synchronization with MIDI in Pro
| | 03:46 | Tools is the ability to set the MIDI
beat clock offsets. You can open this up
| | 03:52 | here MIDI Beat Clock, and checking off
the devices that we want MIDI Beat Clock
| | 03:59 | for. We can go in here and manually set
the number of samples that we want for
| | 04:05 | our MIDI Offset.
| | 04:07 | The technique for how to determine the
right amount of offset is explained in
| | 04:11 | the Pro Tools 8 Reference Manual as
well as the what's new in Pro Tools LE and
| | 04:16 | M-Powered 8 documents.
| | 04:19 | Another handy feature of Pro Tools 8 is
that you can actually check for updates
| | 04:24 | to the Pro Tools application and
other plug-ins, either automatically or
| | 04:29 | manually. Checking for it manually, you
can go up here to the Help menu > Check
| | 04:33 | for Updates and you see how fast it is.
| | 04:37 | It went online, it checked it out,
said you are good to go. Your Pro Tools
| | 04:41 | software is up-to-date. If we want to
turn-off this automatic feature, we can
| | 04:45 | just check this checkbox right there.
| | 04:50 | Now you should note that Pro Tools will
not automatically install anything. It
| | 04:55 | will simply check and inform you if
there are any available updates. Here is a
| | 05:00 | list of the enhancements to
Pro Tools 8 shown in this video.
| | 05:03 | Increased track counts up to 48 mono or
stereo audio tracks, support for mixed
| | 05:10 | file formats, opening sessions with
plug-ins deactivated, the new H/W buffer
| | 05:15 | size settings down to 32 samples with
FireWire devices or up to 2048 samples on
| | 05:22 | other devices.
| | 05:23 | Pro Tools 8 will also automatically
check for software updates to both the
| | 05:28 | application or plug-ins, and you notice
these last two I haven't mentioned yet.
| | 05:33 | Increased file size limits up to 3.4
GB, this is up from 2 GB in previous
| | 05:39 | versions of Pro Tools, and Pro Tools LE
supports QuickTime HD and QuickTime SD
| | 05:47 | files (Mac only). All of these
enhancements are going to have far-reaching
| | 05:51 | effects on how you are going to use Pro Tools 8.
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| Utilizing the Color palette and window arrangements| 00:00 | As soon as you open Pro Tools 8, you
notice the new look and different color
| | 00:04 | scheme. What's even better is that
you have control over that color scheme
| | 00:08 | using the Color palette.
| | 00:11 | If you choose Color Palette from the
Window menu, you will open up the Color
| | 00:16 | palette and you can see that we have
some sliders here that will adjust the look
| | 00:21 | in field of Pro Tools.
| | 00:23 | Drag the Brightness to make it more
bright. You can hit the Apply to Channel
| | 00:29 | Strip button to enable the Saturation,
which will darken the colors of the
| | 00:36 | channel strips which is pretty cool.
| | 00:38 | This feature used to be a little
secret feature of Pro Tools 7, but now they
| | 00:42 | have added it into Pro Tools 8. These
controls along with the new look were
| | 00:47 | certainly influenced by the competitors
to Pro Tools, and also by feedback from
| | 00:51 | customers saying that the old interface
was too bright, especially if you had to
| | 00:55 | stare at it for many hours
in a row as many of us do.
| | 00:59 | Another feature new to Pro Tools 8 is
the Arrange Windows option. Instead of
| | 01:05 | dragging and resizing the Edit, Mix,
or other windows, you can choose from
| | 01:10 | different options here: Tile, Tile
Horizontal, Tile Vertical or Cascade.
| | 01:16 | Tile Vertical isn't an option
in this particular setup.
| | 01:19 | So if we tile the windows horizontally,
you'll see the Mix up top and the Edit
| | 01:25 | window down below. If we choose
Cascade, it places the tops of each window
| | 01:33 | cascaded down, so that we can
click on any of them pretty easily.
| | 01:38 | You can use the Command+~ key command
to switch between the windows. So with
| | 01:45 | the new Color palette features and the
window arrangements, you can set up Pro Tools
| | 01:49 | to look any way that you want it and
make your life with Pro Tools much more colorful.
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| Using the exercise files| 00:00 | If you are a premium member of the
lynda.com Online Training Library, you have
| | 00:05 | access to the Exercise Files used
throughout this title. Inside of the Exercise folder,
| | 00:10 | you will find chapter folders.
Inside of each of the chapter folders,
| | 00:14 | you will see individual folders for
each video that has exercise files
| | 00:19 | associated with it.
| | 00:20 | In this case, those files are Pro Tools
session files with the extension .ptf.
| | 00:27 | Double-click on one of the .ptf files,
and you will see a few windows that
| | 00:34 | you will need to click through
to open the session file.
| | 00:37 | In this case, we don't need the
detailed report, so click No, and you will see
| | 00:42 | this Missing Files dialog. No problem,
just keep this as Automatically Find &
| | 00:48 | Relink. That will automatically find
and relink the audio files associated with
| | 00:53 | this session.
| | 00:54 | Just go ahead and check these off, so
Pro Tools can regenerate any missing files
| | 00:58 | without you having to worry about
them. Click OK and you are good to go.
| | 01:03 | If you are a monthly subscriber or
annual subscriber to lynda.com, you don't
| | 01:08 | have access to these Exercise Files.
However, the videos will be more than
| | 01:12 | adequate to show off the new
features of Pro Tools 8. Let's get started.
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|
|
1. New Pro Tools Features and EnhancementsCustomizing the Edit toolbar| 00:00 | Aside from the new look of the user
interface, one of the first things that's
| | 00:04 | obviously different about Pro Tools 8
is the toolbar in the Edit window. If we
| | 00:08 | click on the Edit Window Toolbar menu,
you can choose from viewing all kinds of
| | 00:13 | different stuff here.
| | 00:14 | We are going to start with the
Minimal view, and that's what we are already
| | 00:18 | looking at. We have got the Edit
Modes, the Edit tools, the Time and Edit
| | 00:24 | Selections, we've got some MIDI
functionality here, and the Grid and Nudge values.
| | 00:30 | Note these are new to Pro Tools 8 up
in the toolbar. It used to be down here.
| | 00:36 | You can also choose a bunch of
different controls from the Edit Window Toolbar
| | 00:41 | menu. We can get zoom controls, these
used to be standard in the toolbar in 7
| | 00:47 | but now we can get rid of them if we want to.
| | 00:52 | We can show the Transport, and this is
the Minimal Transport, we can also show
| | 00:56 | an Expanded Transport that
has Pre-roll and Post-roll.
| | 01:01 | We can also see MIDI Controls. These
used to be part of the Transport window,
| | 01:10 | and you can still see them in the
Transport window but they also can be shown
| | 01:14 | here, and a couple of Synchronization
buttons, we have the Online button and a
| | 01:22 | new button the Generate
MTC or MIDI Time Code button.
| | 01:28 | But what's really cool about this
toolbar now is that, we can customize where
| | 01:34 | each section of the toolbar really is.
So if I press Command on a Mac or Ctrl
| | 01:40 | on a PC, we can click and drag and move
the pieces of the toolbar anywhere that we want.
| | 01:47 | So now we have total control over what
we see in the toolbar from what we are
| | 01:54 | viewing over here in the menu and where
we are actually viewing it as we move things around.
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| Learning the new Edit toolbar functions| 00:00 | Along with being able to customize
the Edit Window toolbar, Pro Tools 8 has
| | 00:04 | some new buttons and some cosmetic
changes you should be aware of that can
| | 00:08 | improve your efficiency.
| | 00:10 | First, we have the Tab to Transients
key command, which is Command+Option+Tab
| | 00:16 | on a Mac or Ctrl+Alt+Tab on a PC.
Next, we have this elusive button,
| | 00:23 | the Insertion Follows Playback button.
I am very happy to see this as a button here
| | 00:28 | because it used to be a hidden preference
that's now up front in the Edit toolbar.
| | 00:33 | To our right we have indicators for the
Timeline Data Online Status and Session
| | 00:38 | Data Online Status. These give us
little indicators of whether everything is
| | 00:43 | running smoothly in our session,
whether we have all our audio regions, fade
| | 00:48 | files, everything that we
need to run the session well.
| | 00:51 | To the right, we have the Default Note
Duration, which we can choose, and this
| | 00:57 | is for when we add MIDI
notes with the Pencil tool.
| | 01:01 | We also have the Default Note Velocity,
which we can change. Finally, we have
| | 01:09 | this option for playing MIDI notes
while editing, which we can turn on and off
| | 01:14 | very easily with a click of the mouse.
With all these features in Edit Window toolbar,
| | 01:20 | you are going to be
a lot faster using Pro Tools.
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| Exploring the Universe view and other navigational enhancements| 00:00 | Pro Tools 8 now allows you to view the
universe. Believe it or not, folks, here
| | 00:08 | it is the Universe view. It's
now part of the Edit window.
| | 00:12 | The part that's highlighted here is
what you see down in Tracks pane of the
| | 00:17 | Edit window. I am going to click and
drag this and you will see it affect
| | 00:23 | what's you are seeing down here.
| | 00:24 | Now we can resize the Universe view by
clicking and dragging with this double
| | 00:31 | arrow. We can also close it by double-
clicking, or open it by double-clicking
| | 00:38 | with the double arrow cursor.
| | 00:41 | If we resize the Universe, we can
actually scroll over here using these scroll
| | 00:48 | arrows or drag the scrollbar. In
addition to viewing the Universe, there are
| | 00:54 | many other navigational tools
that are new to Pro Tools 8.
| | 00:58 | We have the Audio Zoom In and Out
buttons here. If we go to the top of the
| | 01:03 | button, it zoom in; bottom, it
zoom out. You can see the waveform gets
| | 01:07 | smaller and larger as I click these.
| | 01:11 | The same for the MIDI Zoom In and Out.
If you go further down, you've got
| | 01:16 | Vertical Zoom In and Out and
Horizontal Zoom In and Out.
| | 01:22 | In addition to the Zoom buttons, we
have some new zoom keyboard commands;
| | 01:28 | let me show you a couple of them. To
zoom in horizontally, to show the entire
| | 01:33 | session without effecting vertical
zoom or scrolling, try this. Press
| | 01:38 | Command+Control+Right bracket on a Mac
or press Ctrl+Start+Right bracket on a PC.
| | 01:46 | So using that shortcut, you zoom out
so you can see all the audio and MIDI in
| | 01:52 | the session, and I have got one more
keyboard shortcut for you. To zoom all
| | 01:57 | audio vertically to show the
default waveform height, we can press
| | 02:01 | Command+Option+Control+Right bracket and
that shows the default waveform height. On a PC,
| | 02:09 | you use Ctrl+Alt+Start+Right bracket.
| | 02:14 | Utilizing the Universe view and all
these new zoom controls and key commands
| | 02:19 | can really help you
navigate around Pro Tools quickly.
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| Introducing the Chord Rule| 00:00 | Digidesign has designed in more and
more MIDI functionality into Pro Tools as
| | 00:04 | the program has matured. Digi has
finally responded to their customers in
| | 00:08 | providing advanced MIDI editing and
scoring within the release of Pro Tools 8.
| | 00:14 | The first hints of this we'll look
at here in the Edit window are the
| | 00:17 | Chordruler and the MIDI Editor. First,
you will notice that the Chordruler
| | 00:22 | selector has moved and if we roll
down this menu here, we can see that there
| | 00:28 | is a new ruler, the Chords
ruler. Guitarist, rejoice!
| | 00:34 | If we click on the Plus symbol here,
we can add a chord symbol on to the
| | 00:38 | Chord ruler. I can choose from the
Chord Note, let's say an E, we will choose
| | 00:46 | a Minor 9, how about that? With the 9,
and we'll throw that over top of G in the bass.
| | 00:53 | All right, so add that in there and
we can see this chord right in the
| | 00:59 | Chord ruler. I can actually click and
drag to move that chord somewhere else, or
| | 01:06 | if I hit Option, you will see the
little Minus sign. That means I can erase this.
| | 01:11 | So this is Option on a Mac,
or Alt on a PC, and if I click on it,
| | 01:16 | then it goes away.
| | 01:18 | Another great new feature in Pro Tools
8 is the MIDI Editor window. So if I go
| | 01:23 | down here to this little button, it
will open up a docked MIDI Editor window.
| | 01:29 | Check this out. It's got the MIDI notes,
it's got the Velocities, it's got all
| | 01:33 | these toolbars, and if we even click on
adding some of these other tracks,
| | 01:39 | you can see them show up in the
same Editor window. Very sleek.
| | 01:45 | So for the moment, this is actually
just a tease. I will discuss the MIDI
| | 01:49 | Editor window in much more
detail later in this course.
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| Exploring the Mix window and other window improvements| 00:00 | With the new color scheme and layout
of Pro Tools 8, you will notice that the
| | 00:03 | sections in Mix window
are more clearly delineated.
| | 00:06 | Let me go down here and open up and
show you all of the sections in the Mix
| | 00:12 | window. We've got the instrument, we
have Inserts, you'll notice that there are
| | 00:16 | two banks of five Inserts now.
| | 00:19 | So you have a total of ten Inserts
available on your instrument tracks,
| | 00:24 | your audio tracks, and your auxiliary tracks,
your Master Fader tracks, that's a lot
| | 00:29 | of Inserts. I hope you don't actually
have to use all ten because that's going
| | 00:32 | to be a lot of processing.
| | 00:34 | Each one of these sections has their
own little names on them, so it's pretty
| | 00:37 | handy. We can actually close these,
if we don't need to see all the stuff,
| | 00:42 | by pressing Option and clicking on that.
It's Alt on a PC, Option on a Mac.
| | 00:48 | So I'll hide some of that stuff.
| | 00:51 | As you go further down the Channel
Strip here, we can see the Output Window
| | 00:55 | button has moved. Click that to open
it or close it. Why would you need this?
| | 01:01 | Well, in case, you actually scroll away
from that track, but you still want to
| | 01:06 | see the Output window for that track,
then you can have it here floating and
| | 01:12 | not have to worry about where you
are scrolling. I'll close that down.
| | 01:17 | There is a new Group ID indicator pop-
up right here, and if we click on that,
| | 01:22 | well, there is no active groups there.
But on this one, we can get the Group
| | 01:28 | popup menu, or if we right click on it,
we can change the group, if we want to
| | 01:35 | activate like the All group, and
nothing is really changed down here except for
| | 01:40 | this Dynamic or Off
indicator of the voice allocation.
| | 01:44 | Now, all of the other windows in Pro
Tools 8 follow the same color scheme and
| | 01:50 | layout, but let's take a look at a few
of them just to see a few of the differences.
| | 01:55 | In the Workspace window, we have the
different coloring and we have this menu
| | 02:00 | now over to the right. Another one we
have the Big Counter and that looks a
| | 02:09 | little bit different. We can click
right here to choose a different timescale.
| | 02:14 | I've got to say I really like the new
look and feel of Pro Tools 8, especially
| | 02:19 | here in the Mix window. The way that
they have the sections clearly labeled on
| | 02:23 | the Channel Strips, the new buttons,
and just the general feel of it makes me
| | 02:29 | want to work with this window a lot more.
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| Checking out new editing features and key commands| 00:00 | Not to be outdone by the new MIDI
editing and scoring features, some of the
| | 00:04 | more matured functions of Pro Tools
have some very useful new tricks up their
| | 00:08 | sleeves in version 8.
| | 00:09 | First, there is a bunch of new
shortcuts that you can apply to all selected
| | 00:14 | tracks in your session. This is stuff I
have been waiting for for a while. So,
| | 00:17 | if I select across multiple tracks,
you'll notice that they are selected here
| | 00:24 | because of the Link Track and Edit
Selection button that's active. Now, if I
| | 00:30 | press Shift and R, that record
enables all of those tracks.
| | 00:37 | Shift+R also disarms them.
| | 00:39 | If I press Shift and S, that will
solo all of those selected tracks, and
| | 00:45 | Shift+M will mute all of those selected
tracks. A cool new feature that we can
| | 00:51 | use with the Edit Modes in Pro Tools 8
is the Snap to Grid while in any other Edit Mode.
| | 00:59 | So we have the Grid active here as well
as Slip, and I can change any of these
| | 01:04 | by hitting Shift and keeping the Grid
locked in as well as another Edit Mode.
| | 01:12 | Let's see this in action. I am going
to select an area and you'll see that it
| | 01:17 | is constrained to the Grid when I
select it. So I am going to separate that
| | 01:22 | region. But now, I can slide it, not
constrained to the Grid, because it's in
| | 01:30 | Slip Mode for that
particular action. Pretty slick.
| | 01:34 | Now, you can do keyboard shortcuts for
this as well. So if you hit F1 and F4,
| | 01:39 | that will be the Grid and Shuffle at
the same time, F2 and F4, Grid and Slip,
| | 01:44 | F3 and F4 is Grid and Spot.
| | 01:48 | In a Related Editing feature, we have
a new thing called Time Lock. There are
| | 01:53 | two types of locking for regions now.
There is the Edit Lock and Time Lock, and
| | 01:58 | you'll see those shown here in the Region menu.
| | 02:02 | Edit Lock is just like the old lock
that we had in Pro Tools 7 and previous
| | 02:06 | versions. If we activate that, you
will see the Lock symbol down here on the
| | 02:11 | track, it's a filled lock. But if we
undo that and show a Time Lock, it's a
| | 02:18 | different icon. It's a hollow lock.
| | 02:20 | Now, the difference is, in this case,
we can actually change parts of this
| | 02:27 | region, and it will allow us to edit
it as long as we do not move it. See, I
| | 02:34 | can't move it, but I can add cross fades,
I can trim it, as long as it doesn't
| | 02:40 | move in time. So it is Time Locked,
and we have some shortcuts for that. Time
| | 02:46 | Locking this region is Ctrl+Option+L
on a Mac or Start+Alt+L on a Windows
| | 02:54 | machine. And the old locking system,
the Edit Lock as it's called now, is
| | 02:59 | Command+L or Ctrl+L.
| | 03:03 | The next new feature is a simple one
but it is very cool that it's in here now
| | 03:08 | in Pro Tools 8. It's called Restore
Last Selection. So right here I have a
| | 03:14 | region selected and if I hit Play and
then Stop, that selection goes away.
| | 03:22 | Why is that? Because I have the
Insertion Follows Playback activated.
| | 03:27 | But what if I wanted that selection
restored? What if I want to see that again?
| | 03:32 | Well, I can simply hit Edit > Restore
Last Selection, and it will highlight it
| | 03:39 | again. There is a key command for that
as well of course. Command+Option+Z on a
| | 03:45 | Mac or Ctrl+Alt+Z on a Windows machine.
| | 03:50 | Lastly, when you have got an area
selected and the transport is stopped as it
| | 03:54 | is here, you can press the Down or the
Up arrow on the QWERTY keyboard to place
| | 03:59 | the cursor at the beginning or the end
of the Edit or Time Line selection. It's
| | 04:04 | a simple feature, but I like it a lot,
when you want to record something right
| | 04:08 | at the end of a currently
selected region such as for a voiceover.
| | 04:13 | So in this case, I am going to hit Down
arrow and that actually puts it at the
| | 04:18 | beginning of the region, or if I hit
the Up arrow, it will place the cursor at
| | 04:23 | the end. So for multiple keyboard
shortcuts for record enabling, muting and
| | 04:29 | soloing multiple tracks, to utilizing
Time Lock to edit your audio or MIDI
| | 04:34 | regions without fear of moving them in
time, to being able to restore your last
| | 04:38 | selection, Digi has really taught the
older features of Pro Tools some new
| | 04:42 | tricks in version 8.
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| Investigating the Automation and Controller lanes| 00:00 | Certainly a long sought-after
improvement to Pro Tools is the implementation
| | 00:04 | of Automation and Controller Lanes.
Now you can view or adjust any Automation
| | 00:09 | or Controller Data on a track all at
one on separate Lanes. Check this out.
| | 00:15 | Click this little arrow here and you
can see the Automation Lane for Volume.
| | 00:21 | Click the Plus and you can get more data.
We've the Mute Automation here.
| | 00:27 | Keep clicking and you'll see more and more.
Panning. Click the Minus to get rid of that.
| | 00:32 | The same is true on an Instrument
track. Here we have the Velocities, and
| | 00:39 | we can get Controller Data, we scroll
down, and check out the Mod Wheel here.
| | 00:46 | There are some cool keyboard
commands that we can use to actually show
| | 00:51 | different Automation Views in each of
these tracks, so if I wanted to show the
| | 00:55 | actual Send Level, I can actually
press Command and Control on a Mac or Ctrl
| | 01:02 | and Start on a Windows machine,
and click on that Control. It will
| | 01:07 | automatically change the Automation
View here to the Send Level. Change it back
| | 01:15 | to Waveform.
| | 01:17 | Now let's take a look at how we can
resize some of these Automation Lanes. Now
| | 01:23 | I am just clicking and dragging to make
all of these bigger on this track.
| | 01:28 | If I don't want all of them to be bigger,
I just want one of them to be bigger or
| | 01:33 | smaller, I can press the Control key
on the Mac or the Start Key on a PC and
| | 01:39 | select the certain Lane height for an
individual Automation or Controller Data Lane.
| | 01:45 | We can also reorder the Lanes by
selecting one, dragging it down and switching,
| | 01:53 | so I am clicking in this area right here,
dragging and when you see the Yellow
| | 01:58 | Line that means that you can
move it and switch these views.
| | 02:02 | Now this is really cool, especially
when we're recording multiple types of
| | 02:07 | Automation all at once. Let's take a
look, we want to put this into Write Mode
| | 02:15 | and change this to Panning, and it'll
show the Panning right-side tool. I am
| | 02:21 | going to start this going and you'll
see multiple Automation Types being
| | 02:32 | recorded at once. This is super cool;
we could never do this before in Pro Tools.
| | 02:38 | So how cool is this stuff? I think
it's awesome. Automation and Controller
| | 02:44 | Lanes will be a very useful feature
as soon as you start using Pro Tools 8.
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| Recording and "comping" using playlists| 00:00 | The new Comping features in Pro Tools
8 are going to blow you away. I am not
| | 00:04 | trying to sound like a marketing
or sales rep for Digidesign here.
| | 00:07 | But seriously, this feature
set is killer. Check it out.
| | 00:10 | Let's say I want to record multiple
takes onto an audio track. But now, in Pro
| | 00:16 | Tools 8, I can actually record in Loop
Record and have each one of those takes
| | 00:21 | show up on separate playlists.
| | 00:24 | First, I am going to choose Loop Record,
put Pro Tools in a Loop Record, and
| | 00:30 | then choose this new preference,
Automatically Create New Playlists when Loop
| | 00:37 | Recording. Check that off.
| | 00:40 | That means that when I am in Loop
Record, each time I go through a pass,
| | 00:45 | it's going to put that new pass onto a
new playlist. If I go into Loop Record,
| | 00:51 | Record Enable the track, it would
record this looped area right here, multiple
| | 00:58 | times until I hit stop and place each
one onto playlists, and the last take
| | 01:04 | appears on this main playlist.
| | 01:06 | I am not going to record all those
takes right here for you. I am just going to
| | 01:10 | show you the after effects. And here
they are. If you go to the Playlists View,
| | 01:18 | it expands all of our takes.
| | 01:22 | In this view, we can audition each
playlist separately by hitting the Solo
| | 01:27 | button. So we'll go ahead
and do that while I play this.
| | 01:31 | (Music playing.)
| | 01:48 | You can solo each of these tracks
individually while it's playing back by
| | 01:53 | clicking the S button, or if you want
to do it while it's playing back, then hit
| | 01:58 | Shift+S. The solo will follow wherever
you have your insertion point. So watch this.
| | 02:07 | So I have my insertion point on this
track, Shift+S. Now I go down here, press
| | 02:13 | Shift+S, and it follows me.
| | 02:18 | Okay, that's cool, but this is really cool.
| | 02:22 | If I highlight a section in one of the
playlists and I right-click, there is a lot
| | 02:27 | of different things I can choose from,
but these are the three main ones that
| | 02:32 | help us when we want to comp
together a perfect track from all of these
| | 02:38 | different takes. So my choices are,
Copy Selection to the Main Playlist,
| | 02:43 | Copy Selection to a New Playlist, or
Copy Selection to a Duplicate Playlist.
| | 02:49 | In this case, I want to copy it to a
duplicate playlist. So because I like the
| | 02:55 | top take up there, I am going to
duplicate that and then add this new section
| | 03:01 | from Audio 6.02 to that
track and watch how it goes.
| | 03:07 | Now we are going to name the duplicate
playlist first. And then it pops that
| | 03:12 | section from 6.02 up into this
duplicate playlist and moves the one that
| | 03:19 | we duplicated down here. So we
are starting to build our comp.
| | 03:23 | So what if I liked this section
and want to put that into the comp?
| | 03:28 | I'll right-click and choose Copy Selection
to Main Playlist, and it shoots it right
| | 03:35 | up there. It's all right in time, you
don't have to copy and paste anymore,
| | 03:40 | couple of right-clicks and you're good to go.
| | 03:43 | So it might take a lot of time to
actually listen through to all of these
| | 03:46 | different takes that you have down
here. So Pro Tools has some new features
| | 03:51 | that help you rate the performances on each
of these playlists as you're going along.
| | 03:57 | If we go up to the View > Region >
Ratings, you will see that none of these
| | 04:04 | have been rated, but you can
see that Rating equals zero.
| | 04:08 | They have the ratings
for each of these regions.
| | 04:10 | To rate a region while playing back a
recording, you've got to press all of
| | 04:16 | the three main modifiers. So on a
Mac, Command+Option+Ctrl; on a PC,
| | 04:22 | Ctrl+Alt+Start. And then you hit the
number 1 through 5, and you will see when
| | 04:30 | I expand this out the rating on this is now 5.
| | 04:34 | You can do that for these other ones,
but we can skip the modifiers and go
| | 04:41 | straight to a right-click menu and
down to the Rating. Choose 3 for that one.
| | 04:48 | So I am going to apply ratings to a
few of these other ones just to show off
| | 04:53 | the next feature that we have got here.
And that is now that we know that some
| | 04:58 | of these are rated highly and some
of these are not, we can filter these
| | 05:03 | playlists, so that they only show
the ones that we have rated highly.
| | 05:08 | So we go to the Track Name and we can
Filter Lanes. In this case, I am going
| | 05:15 | to say Show Only Lanes with Regions
Rated 5. So that will be our best regions
| | 05:24 | on the best playlists and now
it's only showing us our best takes.
| | 05:30 | Pretty sweet.
| | 05:31 | So working with playlists is just like
working with tracks, when it comes to
| | 05:35 | reordering or resizing and renaming
them. So we can move the size,
| | 05:42 | we can rename, and we can
reorder them just by dragging.
| | 05:52 | One last note about playlists. If
you've recorded in Pro Tools 7 or earlier
| | 05:58 | onto a takes list via Punch Recording
or Loop Recording, now if you open
| | 06:05 | that session in Pro Tools 8, you can
actually right-click on the playlist,
| | 06:13 | go down to Matches, and expand
those takes lists onto new playlists.
| | 06:21 | So that you can do exactly what we just
showed here, even if you've recorded it
| | 06:25 | on to takes lists in
previous versions of Pro Tools.
| | 06:30 | Playlists were already part of my
usual recording and editing routine and
| | 06:33 | probably part of yours. But these new
features make recording and comping with
| | 06:37 | playlists so much faster and easier
than previous versions of Pro Tools.
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| Applying Elastic Pitch| 00:00 | Pro Tools 7.4 introduced advanced time
compressing and expansion with elastic
| | 00:05 | time. Pro Tools 8 now offers elastic
pitch, which enables you to change the
| | 00:11 | pitch of any audio region in
semitones and cents within a range of plus or
| | 00:15 | minus 2 octaves from the original
pitch. There are two ways to use elastic
| | 00:20 | pitch. In the Elastic Properties window
or the Transpose window. I am going to
| | 00:25 | start with the Elastic Properties window.
| | 00:28 | First, you need to go to the track
and Enable Elastic Audio. I am going to
| | 00:34 | choose Polyphonic here. You can
choose any of these except for Monophonic.
| | 00:38 | Elastic pitch will not work on Monophonic.
| | 00:43 | Now that Pro Tools has analyzed this
track with the elastic audio, we can apply
| | 00:48 | Elastic Pitch. So I am going to first
make sure that we have Loop Playback
| | 00:53 | enabled, so that you can hear this as
I add the pitch shifting and then I am
| | 00:58 | going to go to Region, click on Elastic
Properties, or I can simply go here and
| | 01:06 | right-click and I'll get the
Elastic Properties right there.
| | 01:12 | Let's check out how this sounds as I
change the pitch shift in the Elastic
| | 01:17 | Properties window.
| | 01:18 | (Music playing.)
| | 01:47 | Pretty cool. Pitch shifting right on
the fly. Let's check out the other way we
| | 01:52 | can do this. We are going to use the
Transpose window. It's part of the MIDI
| | 01:56 | features but actually we can use it
for audio. So I have got to enable the
| | 02:02 | elastic audio, and I've got the region
highlighted here that I want to apply this to.
| | 02:08 | So if I go up to Event > Event Operations
> Transpose, I can use this Transpose By
| | 02:17 | or any of these down here to apply
a transposition, which turns out to be
| | 02:23 | Elastic Audio and Elastic Pitch to
this region. Let's hear what this sounds like.
| | 02:28 | (Music playing.)
| | 02:45 | So there you have it. You can use one
of two ways to apply Elastic Pitch. Now,
| | 02:50 | what if you don't want the Elastic
Pitch on your track anymore? Well, we can
| | 02:55 | get rid of it. Fortunately, there is a
couple of ways. Choose Region > Remove
| | 03:02 | Pitch Shift, or we can right-click,
Remove Pitch Shift. There you go.
| | 03:11 | Of the two options for applying Elastic
Pitch, I personally like the real time
| | 03:16 | effect of using the Elastic Properties
window instead of the Transpose window.
| | 03:21 | Admittedly, I've heard better sounding
pitch shift algorithms than this feature here,
| | 03:25 | but in a pinch, say if I am
just tuning a couple of out-of-tune notes,
| | 03:29 | Elastic Pitch does the trick for me.
| | Collapse this transcript |
| Viewing and using new wave form options| 00:00 | Waveform overviews in Pro Tools 8 are
now 16 bit, up from 8 bit in previous
| | 00:05 | versions. This provides better
vertical resolution, especially for editing.
| | 00:10 | Yeah, they actually look a lot better
too. Pro Tools 8 also offers some new
| | 00:15 | ways to view those fancy 16 bit
waveforms. You can now view them in normal Peak
| | 00:20 | View or the new Power View, both with
or without rectification and outlines. So
| | 00:27 | let's take a look at the options.
| | 00:29 | If you go to the View menu, choose
Waveforms > Peak. Peak is the normal default
| | 00:36 | display. The waveforms you see right
now are in Peak View. That's automatically
| | 00:40 | what you see, if you zoom in all the
way to the sample level, like this.
| | 00:48 | Why use Peak View? Because Peak View is
extremely accurate and clearly shows any
| | 00:52 | clipping on the waveform, something you
hope not to see. For that reason, Peak
| | 00:57 | View is always shown while recording.
| | 00:59 | Let's check out the new Power View.
Waveforms > Power. When you select Power,
| | 01:07 | that means the waveforms are displayed
using root mean squared or RMS values.
| | 01:12 | Why do we want to use Power View?
Because Power View is more revealing of the
| | 01:15 | big picture sonic characteristics of
the waveform than Peak View is, which can
| | 01:20 | be especially helpful during mastering.
Let's go back to Peak View and check
| | 01:27 | out what it means to be Rectified.
| | 01:31 | Rectified waveforms show the positive
and negative sides of the waveform added
| | 01:34 | together. Why do we want to use
Rectified View? Because you can see more
| | 01:39 | details, especially when viewing
smaller track heights, like this. Wow! That's
| | 01:46 | pretty small. It's also good when you
are trying to edit volume automation data
| | 01:52 | because you can see where the
peaks and values are in the waveform.
| | 01:58 | You can use Rectified View with Peak or
with the Power Views. We will check it
| | 02:04 | out here on Power View. The final
option is Outlines and when we select
| | 02:14 | Outlines - okay, so we will take this
off of Rectified. So you can just see the
| | 02:22 | Peak View with Outlines. When
Outlines is selected, you get more visual
| | 02:27 | definition to the waveforms, which
helps when you are viewing the waveforms
| | 02:30 | from far away.
| | 02:32 | However, when working on precise edits,
I recommend disabling Outlines. So that
| | 02:38 | you can see the waveforms and all the
details in them. I am going to sneak one
| | 02:43 | more new little feature into the
end of this video and it's about Strip
| | 02:47 | Silence. Go to Edit > Strip Silence.
It has a new Strip Threshold of -96dB.
| | 02:58 | This is double the lower limit from
previous versions of Pro Tools. This
| | 03:02 | feature is beneficial because it will
allow you to work better with low-level
| | 03:05 | signals and signals with a wide dynamic range.
| | 03:09 | The increased resolution of both the
waveform views and Strip Silence in Pro
| | 03:14 | Tools 8 show off Digidesign's
commitment to technical excellence as well as
| | 03:19 | the advancing power of personal computers.
| | Collapse this transcript |
|
|
2. The MIDI Editor WindowUsing the MIDI Editor toolbar| 00:00 | Pro Tools now has a dedicated MIDI
and instrument track editing window.
| | 00:04 | It's called the MIDI Editor window and
it's great for fine-tuning MIDI performance
| | 00:08 | data while working on larger scale
edits in the edit window. Let's take a look.
| | 00:14 | To open up the MIDI Editor window, we
can choose Window > MIDI Editor or we can
| | 00:22 | simply right-click on a region and
choose Open in MIDI Editor. Look at this!
| | 00:29 | Brand new window for our MIDI data.
One other way we can open up this MIDI
| | 00:37 | Editor window is in the Preferences. So
if we set the Preference > MIDI, and we
| | 00:45 | choose double-clicking a MIDI region,
it opens the MIDI Editor. Then anytime we
| | 00:53 | double-click on a region in the edit
window, it will open up this window.
| | 00:58 | Well, let's say we want to actually
open up multiple MIDI Editor windows to
| | 01:03 | work on several different tracks. We
can do that. I'll click the Target button
| | 01:07 | right here and I am going to open up
another window. So now for the DB-33
| | 01:16 | track, I have a MIDI Editor window
and I have one for the Mini Grand. I can
| | 01:23 | cycle through the MIDI Editor
windows by typing Ctrl+Equals on a Mac or
| | 01:30 | Start+Equals on a PC. I am hitting
that key command right now and it switches
| | 01:35 | between the two different tracks.
| | 01:37 | So as you can see, the MIDI Editor
window is just like a whole full editing
| | 01:44 | window with all of these tools and
buttons up here at the top. Solo and mute
| | 01:50 | buttons, we have got the notation
window button, which if we click that it
| | 01:55 | actually shows notation. Very cool,
we will get back to that later.
| | 01:58 | We have got the toolbars and you
will notice that the Zoomer tool and the
| | 02:04 | Pencil tool are the only ones that
have multiple choices for their tools.
| | 02:10 | We don't have those here with the Trimmer
or the Grabber. That's just to simplify
| | 02:15 | the tools that we need here for MIDI
editing. If we move across the toolbar, we
| | 02:19 | can see which tracks are available to
edit here in this window. We have the
| | 02:24 | MIDI Note Duration, Note Velocity,
and playing the Notes When Editing, Mute
| | 02:30 | MIDI Editing, and the Link Timeline
and Edit Selection buttons. We have the
| | 02:35 | edit modes and our location window right here.
| | 02:40 | Finally, we have this little menu. You
can see this one right here, Expanded
| | 02:46 | Edit Tools. If we click this, we will
actually collapse the Edit tools down to
| | 02:52 | just one and it's whichever one that
we have selected. We can also expand the
| | 02:58 | Grid and Nudge values, which you can
see if we pull this window out. We can
| | 03:07 | hide the track list and we can choose
different scrolling when we play back our
| | 03:15 | tracks. Just like in the edit window
toolbar, we can press Command on a Mac or
| | 03:23 | Ctrl on a PC and move the
sections of the toolbar around.
| | 03:31 | As you can probably tell, the MIDI
Editor will become an integral part of your
| | 03:34 | MIDI editing workflow in Pro Tools 8.
I will cover more about the functions of
| | 03:39 | the MIDI Editor in another video.
| | Collapse this transcript |
| Working with tracks in the MIDI Editor| 00:00 | The MIDI Editor window shares a lot of
common functionality with the regular
| | 00:04 | Edit window, which makes the MIDI
Editor easier to use right from the get-go.
| | 00:08 | However, the MIDI Editor also offers
a few unique features that you will
| | 00:13 | probably learn to love.
| | 00:14 | First I would like to mention that
the Timeline and Conductor Rulers in the
| | 00:19 | MIDI Editor can be different from the
Edit window itself. So for instance, we
| | 00:24 | can look at bars and beats here in
the MIDI Editor. Meanwhile, I will be
| | 00:28 | looking at minutes and seconds in the
Edit window, in case you just want to
| | 00:32 | watch the time go by in the Edit
window and check out what you really want to
| | 00:36 | be editing towards the bars and
beats here in the MIDI Editor.
| | 00:39 | Let's look at the tracks list. At the
moment, we are viewing just this one Mini
| | 00:44 | Grand track in the MIDI Editor. However,
if we can click on these little round
| | 00:53 | buttons, you will see the other
tracks being superimposed into this MIDI
| | 00:58 | Editor, very cool. What's even cooler
is if we click on this button. This is
| | 01:05 | the Color by Track button and you will
notice they are labeled by colors right here.
| | 01:10 | Those correspond to what you see out here.
| | 01:15 | If we click on this button right here,
the Color by Velocity, it changes what
| | 01:20 | we view. We are now viewing velocity
data and on this particular note if we
| | 01:27 | grab the velocity stalk, you will see
as it gets louder, the color gets deeper.
| | 01:37 | Viewing the velocity data by color in
this way can help us edit by indicating
| | 01:44 | some notes that might be too loud
or too soft in your performance.
| | 01:48 | Now instead of viewing this Color by
Velocity button, we can actually go into
| | 01:55 | the Setup > Preferences > Display
page and turn on MIDI Note Color Shows
| | 02:04 | Velocity. Now you can see without
even activating this button that the MIDI
| | 02:13 | velocities are shown by the
color in this MIDI Editor window.
| | 02:17 | If we go back to the Tracks view, we
will notice this pencil enable button.
| | 02:23 | This button shows us which track we can
actually right MDI notes on to. So if I
| | 02:28 | go choose the Pencil tool, I can
actually add notes directly onto this track.
| | 02:39 | However, if I switch this to the DB-33
track, the notes that I add will be on
| | 02:45 | the DB-33 track. If I want to add notes
to multiple tracks at the same time, I
| | 02:52 | can press the Shift key and add the
pencil enable button to these other tracks.
| | 03:00 | If I want to pencil enable multiple
discontinuous tracks, I will hit the
| | 03:05 | Command key on a Mac or Ctrl key on a PC.
If I want to pencil enable all of the
| | 03:14 | tracks at once, I can hit the Option
key on a Mac or the Alt key on a PC.
| | 03:20 | I actually really like the fact
that you can add notes to any MIDI or
| | 03:24 | instrument track all within this one
window. I am definitely going to be
| | 03:28 | utilizing these new features and if
you write music with MIDI, I am sure you will too.
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| Editing with the MIDI Editor| 00:00 | The MIDI Editor offers a lot of great
editing features within the Notes pane of
| | 00:04 | its window. For example, the Smart
tool is even smarter. It combines the best
| | 00:09 | of what the Smart tool does in the
Edit window and even has some additional
| | 00:13 | MIDI functionality. For example, in
addition to being able to move Notes and
| | 00:18 | Trim Notes with the Trimmer or the
Grabber, you can double click to add notes.
| | 00:27 | You can also double click to delete a
note. With the Marquee tool, as shown
| | 00:32 | here, you can click and drag
to highlight a number of notes.
| | 00:39 | If you press Ctrl+Shift on a Mac or
Start+Shift on a PC, you can separate a
| | 00:45 | long note into two notes. You will
notice that the cursor turns into the Knife
| | 00:50 | tool. With Ctrl+Shift on the Mac
pressed or Start+Shift on a PC, now we have
| | 00:58 | got the Consolidate cursor, or as
they call it the Bandage cursor, to
| | 01:03 | consolidate those two notes
and make them back into one.
| | 01:08 | We can scrub MIDI notes now in Pro Tools.
| | 01:11 | (Music playing.)
| | 01:20 | Notice how you can play it forward
| | 01:22 | and back. Another cool feature of the
MIDI Editor window is that when you grab
| | 01:30 | a Velocity stalk, now you can hear
how loud or how soft the note is by the
| | 01:39 | Velocity stalk.
| | 01:41 | As with many features in Pro Tools, we
have the right-click menu when you click
| | 01:48 | on MIDI Note, then you will see a lot
of new features here. We can cut and
| | 01:52 | copy, we can clear, we can merge and
paste, we can separate like I showed you
| | 01:57 | before, consolidate, we can even mute
notes, which if I click that the note
| | 02:03 | turns white. I am going to unmute that.
| | 02:06 | We can also access the real-time
properties would show up in a cool new window.
| | 02:20 | We can open up the Event Operations
windows, we can also open up a new MIDI
| | 02:26 | Editor, the Score Editor or the MIDI
Even List and finally, we can actually
| | 02:32 | open up the Display Notation. And here
we see our highlighted note, in blue, in
| | 02:40 | the Notation window.
| | 02:41 | If I right click on this note, we will
see one more menu item that we can open
| | 02:48 | up here with the MIDI Editor, the
Notation Display Track Settings.
| | 02:52 | I will be covering the settings in
this window and more about the Notation
| | 02:57 | features of Pro Tools 8 in other videos.
The MIDI Editor in Piano Roll View or
| | 03:04 | Notation view offers up a ton of New
MIDI Editing features. I personally find
| | 03:09 | all the right-click options to be
incredibly helpful and I hope you do too.
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|
|
3. The Score Editor WindowUsing the Score Editor toolbar, pt. 1| 00:00 | Pro Tools now has a Score Editor.
I am sure many of you are saying "finally!"
| | 00:05 | Yes, it's true. When Avid/Digidesign's
parent company bought Sibelius Notation
| | 00:10 | software, we all knew the
integration of the two programs would become a
| | 00:13 | reality sometime. Well that
time is now. Let's check it out.
| | 00:17 | If we place the Selector tool in the
middle of our MIDI region, we can choose
| | 00:24 | Window > Score Editor and that will
open it. Or we can right-click on a region,
| | 00:32 | Open in Score Editor, boom.
There it is, the Score Editor window.
| | 00:38 | One Preference I should mention is that
you can tell Pro Tools to automatically
| | 00:42 | open the Score Editor when you
double click on a MIDI region, like this.
| | 00:50 | On the MIDI page of the Preferences,
double clicking a MIDI region opens the
| | 00:56 | Score Editor. Unlike the MIDI Editor,
you can only have one Score Editor window
| | 01:02 | opened at once. Thus, the Target
button up here on the right, has a different
| | 01:08 | purpose than on the MIDI Editor. When
the target is enabled, navigation in the
| | 01:12 | Edit window will be mimicked in the
Score Editor. When the target is disabled,
| | 01:17 | the Score Editor does not follow
navigation in the Edit window. Let's take a
| | 01:22 | look at the Edit tools in the Score
Editor. We will start all the way to the
| | 01:26 | left with the Zoomer tool and notice
that you can have the normal zoom and the
| | 01:30 | single zoom. If you click once in the
Score, it will expand your view of it.
| | 01:37 | If you press Option on a Mac or Alt on a
PC, you will notice the Zoomer has a
| | 01:43 | negative sign in it and you can zoom
out. This is a standard feature of any
| | 01:48 | zooming in Pro Tools.
| | 01:50 | You can also use the Zoomer to click
and drag on an area and Zoom in just on
| | 01:54 | that part, like this. Use this Zooming
technique to zoom in close and do some
| | 02:00 | very fine-tuning to your Score.
| | 02:03 | Let's move on to the Trimmer. If I
select the Trimmer, we can extend Note
| | 02:10 | values or shorten them. There I have
just extended the value of that to a Whole
| | 02:15 | Note. Let's check out the Note
Selector. If I click and drag with the Note
| | 02:20 | Selector, I highlight all of the
notes in that area. Selected Notes can be
| | 02:25 | Deleted, Moved, Transposed or Processed
with the Vent operations like Quantize.
| | 02:32 | If we right click on any of these Notes,
we can open up this menu; you can see
| | 02:37 | all the options here.
| | 02:40 | Note that the Note Selector tool only
includes MIDI Note and Velocity Data. It
| | 02:45 | does not include any other MIDI or
Continuous Controller Data. Now, why does
| | 02:50 | this matter? Well, it's pretty
important because if you make an edit on the
| | 02:53 | score like moving some notes around on
a B3 Organ part and modulation data that
| | 02:59 | you might have for your Leslie
Cabinet effect or any other continuous
| | 03:02 | controller data that's on that track,
though it actually will not move with the
| | 03:07 | notes. So I recommend performing
large MIDI edits in the Edit window or the
| | 03:12 | MIDI Editor window, where that data
will actually travel with your edits.
| | 03:17 | Let's move on to the Grabber tool.
Again, I can select certain notes with the
| | 03:24 | Grabber tool and now with the Hand tool
or like so, I can click and drag notes
| | 03:31 | to different locations, like this.
| | 03:37 | The Pencil tool offers the most
functionality in the Score Editor, let's check
| | 03:43 | it out. We will keep it on Free Hand
tool and we will add a few notes in here.
| | 03:51 | So, you can use it to Insert Notes,
you can use the Pencil to Select Notes or
| | 03:59 | you can use it to Delete Notes if you
press the Option key on a Mac or the Alt
| | 04:05 | key on a PC. Any notes added to or
Deleted from the Score Editor window as well
| | 04:11 | as any edits that you make will also
be reflected in the Edit window and the
| | 04:15 | MIDI Editor. Also note that the
Score Editor automatically adds rests as
| | 04:20 | needed. However you cannot
move or manually insert rests.
| | 04:25 | The Score Editor will become an
integral part of your MIDI Editing workflow in
| | 04:29 | Pro Tools 8. I will cover more about
the features of the Score Editor in the next video.
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| Using the Score Editor toolbar, pt. 2| 00:00 | The Score Editor shares a lot of
common functionality with the regular Edit
| | 00:03 | window and the new MIDI Editor window.
This means you will learn how to use the
| | 00:08 | Score Editor very quickly. The
Score Editor also offers up some unique
| | 00:12 | features, a number of which
we'll cover in this video.
| | 00:16 | Let's pick up where we left off in
part one of this topic, by looking at the
| | 00:19 | other buttons and features that at
the top of the Score Editor. I will just
| | 00:23 | mouse over each one and explain them as
we go. The MIDI Note Duration, when we
| | 00:29 | want to add a MIDI Note to the score,
we can choose from different values in
| | 00:34 | this menu. When we add a new note, we
need to have the MIDI Velocity set for it,
| | 00:41 | so we can set that right here. This
button will allow us to play MIDI Notes
| | 00:46 | when we are Editing. So, if we drop a
new note in, we will actually here it
| | 00:49 | when this is active, like this. Mirror
MIDI Editing and Link Timeline and Edit
| | 00:56 | Selection are pretty Standard buttons
those who have been in Pro Tools for a while.
| | 01:00 | However, this Double Barline button is
new. The Double Barline button places a
| | 01:06 | double barline at the end of the score.
I am going to zoom out so that we can
| | 01:11 | see what's happening at the
very end of the score here.
| | 01:14 | You will see that there is a whole
bunch of empty measures here with no ending
| | 01:24 | to the actual score. If we drop in
the double barline, Pro Tools cuts off a
| | 01:31 | number of those empty bars and drops
the double barline in here at the end. Use
| | 01:36 | this when you are ready to Print out
your score. As I mentioned, there are a
| | 01:40 | number of empty Bars that Pro Tools
usually puts in if you take this off. Why
| | 01:46 | does it do that? To give you
room at the end to add extra notes.
| | 01:51 | This is the Preference that you can set
and I will show you how to do that. In
| | 01:58 | the MIDI Preferences, just go down
to this area right here the MIDI/Score
| | 02:02 | Editor Display Additional Empty Bars
in the Score Editor and this is a number
| | 02:08 | that shows up at the very end of the Score.
| | 02:12 | Let's go back up to the toolbar. Here
we are looking at the cursor location.
| | 02:17 | That's where the cursor is in the
actual score itself. Let me drop it in to a
| | 02:22 | different place here. Notice how this
has matched where we are looking right
| | 02:29 | here and let me zoom in. The Cursor
value is where the actual Cursor is on the
| | 02:36 | score itself so when I scroll down here,
you will see the notes descending and
| | 02:42 | now I am centered around the note F3.
Sliding over to the Grid menu, this is
| | 02:49 | pretty standard. The value in the Grid
menu affects where you can put notes in
| | 02:55 | onto the score.
| | 02:57 | The last section of the Score Editor
toolbar is the Edit Selection area right
| | 03:02 | here, and if we actually Select a
portion of the score we can use this area to
| | 03:09 | Transpose the MIDI Pitches or change
the Velocity of that Selected area. This
| | 03:17 | makes it really easy to take your
Selected area and apply a Transposition
| | 03:21 | without having to go through any menus
or anything like that. And just like in
| | 03:25 | the Edit window and the MIDI Editor
window, we can actually move the toolbar
| | 03:29 | parts into whatever order that we want
them in. So, if I press Command on a Mac
| | 03:35 | or Ctrl on a PC, I can click and
drag these areas to different locations.
| | 03:42 | Let's move over to the tracks list.
You will notice that in the score right
| | 03:46 | now, there is only one track active,
the Mini Grand. If we click on these
| | 03:51 | little Gray circles, we can add more
and more of the instruments all the way to
| | 03:57 | filling up the entire score with
every instrument that we have in here.
| | 04:01 | Now, it's really starting to look like
a true score and let's talk about how we
| | 04:05 | can navigate around the score. There
are some buttons down here on the bottom
| | 04:10 | for paging back and paging forward,
let's page back all the way to the
| | 04:15 | beginning. There are also a number of
Zoom controls down here on the bottom
| | 04:21 | right hand corner.
| | 04:23 | First we have this bottom that allows
us to scale the size of our score. We can
| | 04:28 | zoom in real close; we can zoom out
as far as we can. If we don't want to
| | 04:33 | choose a percentage, we can actually
choose Fit to The Page Width or Fit 2
| | 04:39 | Pages. I like the look of that. We can
also use the + and - keys to zoom in or out.
| | 04:49 | Finally, as you should expect from a
good piece of Notation Software, you can
| | 04:54 | MIDI Data and it is transcribed right
into the Score Editor in Real time. Check
| | 04:59 | this out. I am going to click and
scroll all the way to the end of the piece.
| | 05:03 | Then I will switch over to the Edit
window, scroll up to my track, put my track
| | 05:11 | into Record Enable, go back to the score.
I will drop in right at the beginning
| | 05:17 | of this measure, get my
Transport up, start Recording.
| | 05:24 | (Music playing.)
| | 05:31 | There it is, transcribed right in front of your eyes
and it is happening right in Pro Tools 8.
| | 05:37 | It's pretty cool how Digidesign has adapted
their editing tools into this Sibelius
| | 05:42 | driven Score Editor. The other tools
do exactly what you would expect them to do.
| | 05:46 | So the learning curve to edit in
the Score Editor window isn't very steep.
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| Setting up a score| 00:00 | The Score Editor is where you see
your MIDI performances shown as music
| | 00:04 | notation. After you are done recording
and editing your performances, you can
| | 00:08 | fine-tune how they look as you set up
your score in Pro Tools. Let's look at
| | 00:13 | some of the options under the right-
click menu in the Score Editor window.
| | 00:18 | First you can see you can change the
tools but let's look at this. Let's add
| | 00:22 | some stuff to our score. I am going to
add a Chord Symbol. Here we are D major.
| | 00:28 | That sounds good, add that right in
and now you see it there. What if we
| | 00:33 | actually wanted to edit the score in
the MIDI Editor? Well, it's easy to just
| | 00:39 | click down here and choose Open in MIDI
Editor. That opens up that track in the
| | 00:44 | MIDI Editor and we can edit any
performance details here. Let's go back to the
| | 00:50 | Score Editor. If we really want to fine
-tune the look of our score, we can do this.
| | 00:57 | Notation Display Track Settings.
First, we can change the clef that's
| | 01:03 | shown on each instrument's track. So
we are looking at the Xpand2 track right now.
| | 01:08 | We could actually change the clef
from the Grand Staff to any of these.
| | 01:16 | Music for some instruments is better
suited on different clefs. We can also
| | 01:20 | change the Display Transposition. This
changes the key. For example, let's say
| | 01:26 | you want a trumpet to play this part.
Well, a trumpet is a B flat instrument so
| | 01:30 | they would play this part a major
second below where it is actually written.
| | 01:34 | So we would need to transpose this part
up a major second to D if you want the
| | 01:40 | trumpet to play this part as written.
Below this section is the Global Section.
| | 01:46 | We have the Display Quantization. You
can change this and it will actually show
| | 01:51 | a different way of these notes to
be quantized on the page. See how this
| | 01:56 | has changed everything?
| | 01:58 | This only affects the display; it does
not actually move the notes. So what you
| | 02:03 | see here will not affect how it actually
sounds. With this button, Straighten Swing,
| | 02:08 | this will actually unswing any
swung notes that are shown on the score.
| | 02:15 | For example, for some reason you
have some eighth notes on the score that
| | 02:19 | appear to be swung. This
box will straighten them out.
| | 02:23 | Jazz musicians would rather see the
unswung version anyway because they know
| | 02:27 | how to add their own swing. Below
that is the Allow Note Overlap. Pro Tools
| | 02:32 | only shows a single rhythmic line on
a single staff. Thus, if two notes that
| | 02:37 | start at different times overlap,
the first note will be truncated when
| | 02:43 | the second note begins. So check this out.
I will move this. Change this back.
| | 02:52 | Watch this area right here. What I am
showing you here is that this particular note,
| | 02:59 | I actually played longer than it
was actually shown in the score.
| | 03:05 | So, if I unclick this, you will see that
it is cut off and this note now goes into
| | 03:11 | this note. But if you look at the actual
MIDI Performance, which is shown right here,
| | 03:16 | this note holds out a little bit longer.
| | 03:20 | With this activated and as you see here,
Pro Tools will display the full length
| | 03:24 | of the overlapping notes using tied
notes. The last feature set of the Notation
| | 03:30 | Display Track Settings is the Split
Point and if we have the Grand Staff being
| | 03:36 | shown here, we can tell Pro Tools
where we want that Grand Staff to be split.
| | 03:41 | You can have it automatically split it
for us or we can fix it to a certain note.
| | 03:49 | If we switch over to the Attributes tab,
we can set up different attributes for
| | 03:54 | the selected track than what are set
in the Global Settings but we have to
| | 03:59 | uncheck the Follow Globals
check box to make that happen.
| | 04:03 | Finally, we have the Score Setup window.
I will close this. Now, we can either
| | 04:11 | open it from the File menu right here
or pull it up from the right-click, Score Setup.
| | 04:20 | This window helps us personalize
the score and setup how it looks on the page.
| | 04:25 | So we have the Title and Composer,
Chord Diagrams, we can even choose to
| | 04:30 | include this stuff, we can setup the
Spacing and the Layout and I am actually
| | 04:35 | going to title this Lynda's Theme by me.
It's hard for me to believe that I am
| | 04:46 | even about to say this but that's how
you set up a score in Pro Tools.
| | 04:50 | Now you don't need two different pieces of
software. You can do everything that you
| | 04:55 | need to do for your Notation, your
MIDI Editing, your MIDI Recording,
| | 05:00 | all within Pro Tools.
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| Editing, exporting, and printing a score| 00:00 | As a feather in the Pro Tools 8 cap,
the Score Editor enables you to export the
| | 00:04 | score to Sibelius for further tweaking
or simply print out the score directly
| | 00:09 | from Pro Tools.
| | 00:10 | First, let's do some final cleaning up
to our score. As it turns out, I forgot
| | 00:15 | to put the key signature into this score.
So let's do that right now. I'm just
| | 00:19 | going to right click in this position,
Insert > Key Signature. Turns out for
| | 00:27 | this song, A minor is the key so I
will choose that. If we need to, we can
| | 00:34 | also change to Meter or add Chord Symbols
and I will actually add one just here for fun.
| | 00:47 | To further clean up our score, I am
going to rename the tracks and all you need
| | 00:51 | to do is mouse over them and double-
click. With our score here, we actually
| | 01:03 | have all tracks being shown in the
score, but if we want to print out parts
| | 01:08 | just for individual instruments, we can
deselect all these other tracks and now
| | 01:15 | we just have the piano part. We can go
back to Showing All Tracks by clicking here.
| | 01:23 | If you want to do some fine-tuning
or tweaking to the score or individual
| | 01:27 | parts, you can export the files to
Sibelius to utilize the more advanced
| | 01:32 | notation functions in that program.
Choose File > Export > Sibelius.
| | 01:40 | Now do a Save As and save this to the Desktop.
| | 01:50 | You can use that file to import into
Sibelius and even quicker way to do that
| | 01:56 | is to actually go to File > Send
to Sibelius. This launches Sibelius
| | 02:03 | immediately if you have it installed on
your computer. Unfortunately we do not here.
| | 02:10 | If you actually want to print the
score directly from Pro Tools, choose Print
| | 02:14 | Score from the File menu and Pro Tools
will print exactly what appears on the
| | 02:19 | screen in the Score Editor
window, nothing more, nothing less.
| | 02:23 | If you print the score to a PDF file,
be sure to look at the score in Adobe
| | 02:28 | Acrobat instead of other programs
like Apple Preview. The score will look
| | 02:33 | better in Acrobat. This is a known
bug in Sibelius that has actually been
| | 02:37 | transferred over to Pro Tools.
| | 02:40 | So it's true. You can actually notate
MIDI performances and set up a score in
| | 02:45 | Pro Tools and you can even export and
print that score directly from Pro Tools 8.
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|
|
4. New Virtual InstrumentsCreating tracks with Boom| 00:00 | Digidesign's Advanced Instrument
Research group has developed six new virtual
| | 00:04 | instruments. They are all included with
Pro Tools 8. They offer a ton of sounds
| | 00:09 | to inspire your musical
creativity. Let's look at Boom.
| | 00:17 | Inspired by classic drum machines,
Boom has 10 electronic-oriented drum kits
| | 00:23 | with a variety of sound shaping
capability. Admittedly, there are certainly
| | 00:27 | more robust drum machine programs out
there. However, even though this was
| | 00:31 | modeled after an old school drum
machine, Boom is definitely current for many
| | 00:35 | hip-hop and dance style beats.
| | 00:37 | Let's listen to a few example beats at
several different tempos to give you a
| | 00:41 | sample of what Boom can offer.
| | 00:43 | (Music playing.)
| | 00:49 | Pretty easy to nod your head to that.
| | 00:57 | (Music playing.)
| | 01:02 | Put that beat in your track and you
will have all the people dancing in the club.
| | 01:12 | (Music playing.)
| | 01:17 | Man, I am just a sucker
for those anticipated beats.
| | 01:27 | (Music playing.)
| | 01:28 | Pretty standard beat there, but
alluring nonetheless and you could probably use
| | 01:32 | this as the basis for any dance track.
| | 01:40 | Maybe it's the drummer in me, but I
just love the energy of drum and base
| | 01:44 | rhythms like this and maybe you do too.
| | 01:46 | Boom has over 100 pre-made beats for
you to search through, but the presets are
| | 01:51 | only the beginning. This plug-in can be
programmed easily and has 10 different
| | 01:55 | kits to pull sounds from. I am sure
you will enjoy working with this drum
| | 01:59 | machine in Pro Tools 8.
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| Creating tracks with Structure Free| 00:00 | Structure is Digidesign's sample
player and Structure Free, which comes with
| | 00:05 | Pro Tools 8, is a limited version of
that software, in that it only comes with
| | 00:09 | a small complement of samples. That said,
Structure Free does have many of the
| | 00:16 | features of the full-blown version
of Structure as you can see in the
| | 00:20 | interface here. The sounds it does come
with are high quality samples from East-West.
| | 00:26 | In fact, if you scroll through the
sounds you will see 60 in the list.
| | 00:34 | I am going to load up the first patch,
the Studio Drum patch. This is a great
| | 00:39 | sounding drum kit with large high
quality samples. I will play through each
| | 00:43 | part of the kit so you can hear everything.
| | 00:46 | You can use this kit to create beats
for rock, country, jazz or any style that
| | 00:51 | calls for realistic sounding studio drums.
| | 00:55 | (Music playing.)
| | 01:12 | The electric piano parts that I am
going to play for you now, I think sounds
| | 01:16 | very natural. You will hear this part
in its entirety in the All Together Now video.
| | 01:26 | (Music playing.)
| | 01:36 | I have always been impressed with
steel string guitar samples and these don't
| | 01:41 | disappoint. You've just got to play
the samples like a real guitarist might strum.
| | 01:45 | Check out this example.
| | 01:52 | (Music playing.)
| | 02:07 | Structure Free has a small but varied
collection of bases and I like a lot of them,
| | 02:12 | especially this one.
| | 02:21 | (Music playing.)
| | 02:32 | Now I own the full version of
Structure and I use it a lot. Structure Free,
| | 02:36 | however, leaves me wanting more and I
guess that's really Digidesign's point by
| | 02:41 | only giving away 60 instruments here.
But what they did include with Structure Free
| | 02:46 | is all usable and I am sure you will
hear many applications for all of the
| | 02:50 | included samples.
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| Designing sounds with Vacuum| 00:00 | As soon as you open up Vacuum, you
know what you are in for. Its dusty
| | 00:04 | appearance matches the vacuum tube
analog synthesis that it's modeling.
| | 00:09 | Vacuum uses extensive modulation,
oscillators, filters, envelopes and some
| | 00:17 | unique controls like Drift and Dust to
create its wide variety of analog synth sounds.
| | 00:24 | Let's check out a few of them.
| | 00:31 | (Music playing.)
| | 00:42 | I love arpeggiators, especially when
it comes to base lines. Now you will be
| | 00:46 | able to hear this track in its
entirety in the All Together Now video.
| | 00:50 | Let's check out another sound.
| | 00:59 | (Music playing.)
| | 01:10 | I really like how the sound designers
utilized filters in that patch.
| | 01:15 | Let's check out another one.
| | 01:22 | (Music playing.)
| | 01:28 | The warm grid of that sound
typifies what you will get out of Vacuum.
| | 01:39 | (Music playing.)
| | 01:48 | It's kind of a crazy sound and if you
didn't notice, the name of the sound is
| | 01:53 | Pants Filler. I think that's hilarious.
| | 01:56 | As you can see, Vacuum has a large
list of presets and as you can hear,
| | 02:01 | Vacuum's presets sound great, yet it
also offers innumerable ways to tweak
| | 02:06 | those sounds. I am sure you will
enjoy playing with this new virtual instrument.
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| Designing sounds with Xpand 2| 00:00 | Digidesign calls Xpand2 a workstation
synthesizer plug-in. I agree. With its
| | 00:07 | 1.5 gigabytes of content, it certainly
can do a lot of work for you. In fact,
| | 00:12 | I have used this plug-in for many
paying composition gigs myself.
| | 00:16 | Xpand2 is an upgrade to the original
Xpand plug-in that many of you may have.
| | 00:21 | All of the original Xpand sounds are
included in Xpand2 and the patch list of
| | 00:26 | Xpand2 has been greatly expanded.
The new patches are labeled with a Plus sign
| | 00:32 | before their names in the
patch lists. As we can see here.
| | 00:37 | Xpand2 is easier to use than the
original Xpand because all of the controls are
| | 00:42 | now in one page. Also, Xpand can
handle 4 MIDI channels now instead of one.
| | 00:49 | Finally, some new effects have been
added to Xpand2 making this workstation
| | 00:54 | even cooler. Let's check
out some of the sounds.
| | 01:01 | (Music playing.)
| | 01:05 | If you have watched some of the
other videos in this course, you may be
| | 01:08 | familiar with this track and you will
be able to hear it in its entirety in the
| | 01:12 | All Together Now video. I just love
the sound of that sitar and the delay
| | 01:17 | effect and how it interacts with the
pad at the very end of the melody line.
| | 01:22 | Let's move on.
| | 01:29 | (Music playing.)
| | 01:45 | How cool is that? I am just blown away
by some of the evolving sonic landscape
| | 01:49 | patches here in Xpand2. You can use
these for all sorts of applications like
| | 01:55 | gaming audio, TV, film production, all
kinds of stuff. Let's look at another one.
| | 02:10 | (Music playing.)
| | 02:30 | That's just a majestic sound befitting
its name and here is a nice new string patch.
| | 02:45 | (Music playing.)
| | 02:53 | As you saw when I scrolled through the
presets, Xpand2 is massive. There are 29
| | 02:59 | banks of sounds, pretty much covering
the gamut of commonly used instruments to
| | 03:04 | unique new patches. I literally use
this plug-in all the time and I hope that
| | 03:09 | Xpand2 becomes one of your
go-to virtual instruments as well.
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| Making music with Mini Grand| 00:00 | Mini Grand offers Pro Tools 8 users
seven different high quality customizable
| | 00:05 | piano modules. Each key has eight
velocity layers, so you can create very
| | 00:10 | expressive performances with this instrument.
| | 00:14 | Compared to the other virtual
instruments in Pro Tools 8, this one only has a
| | 00:18 | few parameters, making it easier to
tweak. I mean it is a piano plug-in and
| | 00:24 | I am glad that it didn't go overboard
with tweakable parameters. Anyway, let's
| | 00:28 | listen to some of the sounds.
| | 00:32 | (Music playing.)
| | 00:47 | If you've watched some of the other
videos in this course, you may be familiar
| | 00:50 | with this track and you will be
able to hear it in its entirety in the
| | 00:54 | All Together Now video. I just really
like the nice deep Reverb on this Patch.
| | 00:59 | Let's hear another one.
| | 01:06 | (Music playing.)
| | 01:13 | I put this in here to demonstrate the
velocity layers of this piano plug-in.
| | 01:18 | Let's try another one.
| | 01:30 | (Music playing.)
| | 01:44 | Isn't that just a nice delicate piano
sound? Now, I've used a number of other
| | 01:49 | piano sound modules and Mini Grand
stands up to them for sure. I am impressed
| | 01:54 | with the Mini Grand and I think you will be too.
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| Making music with DB33| 00:00 | DB-33 is a tone-wheel organ instrument
for Pro Tools. It features two preamp
| | 00:06 | emulations and a rotary speaker
cabinet in the style of a Leslie cabinet.
| | 00:10 | DB-33 has full drawbars, variable
percussion and a number of tone-wheel models.
| | 00:19 | In combination, you can create a whole
bunch of cool, classic B-3 organ-like sounds.
| | 00:24 | A unique feature to the DB-33
is that each Patch is labeled with the
| | 00:30 | drawbar positions. Notice the numbers
here in the Patch Name and how they line
| | 00:37 | up with the drawbar positions here.
| | 00:39 | Now let's run through some of the sounds.
| | 00:45 | (Music playing.)
| | 01:35 | A lot of options here. Another function
unique only to the DB-33 and honestly
| | 01:41 | something that is very cool is that
you can route an audio track through the
| | 01:46 | cabinet separately without using
the organ for any sound at all.
| | 01:55 | Just insert the DB-33 on an Audio or Ox
track and then click the Cabinet button
| | 02:02 | on the bottom of the DB-33 plug-in
window to access the cabinet. Let's have a
| | 02:07 | listen to this Electric Piano
track through the DB-33 cabinet.
| | 02:15 | (Music playing.)
| | 02:23 | I really dig the sounds in the DB-33
plug-in. I am sure you can find any organ
| | 02:29 | sound that you are looking for here
in the DB-33 and that cabinet routing
| | 02:34 | feature is super cool. I think you'll really
enjoy working with this instrument a lot.
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| Listening to "All Together Now"| 00:00 | In this video, I want to give you a
taste of what you can create with all the
| | 00:04 | new virtual instruments in Pro Tools 8.
If you have watched any of the course
| | 00:08 | videos previous to this, you will
probably recognize some of the individual
| | 00:12 | instrument parts.
| | 00:13 | Now I am going to combine them into a
song called All Together Now. Watch and
| | 00:19 | listen as I click through the
various Pro Tools windows and instruments.
| | 00:23 | Hopefully, this will inspire you to go
out and create some music of your own
| | 00:26 | with these virtual instruments in Pro Tools.
| | 00:29 | (Music playing.)
| | Collapse this transcript |
|
|
5. New Plug-Ins (Creative Collection Effects)Identifying improvements to the Plug-In window| 00:00 | Before we cover the brand new plug-ins
in Pro Tools 8, I want to show you some
| | 00:04 | of the improvements that Digidesign
has made to some of the existing RTAS and
| | 00:08 | AudioSuite plug-ins.
| | 00:10 | First, let's look at the EQ3 plug-in.
Pro Tools 8 now has a Stereo version of
| | 00:16 | this EQ3 plug-in.
| | 00:23 | Previously, it could only be
Mono or Multi-Mono. Note that in
| | 00:27 | the Stereo version, the Input and
Output meters display the sum of the left and
| | 00:32 | right channels. I am going to bypass
this now to move on to the second plug-in
| | 00:39 | that I want to check out and
that is the D-Verb plug-in.
| | 00:44 | The D-Verb is a Reverb that has been
standard in Pro Tools for a long time now,
| | 00:48 | but they have made some improvements
to the RTAS version. The sound of the
| | 00:53 | D-Verb plug-in has been improved
because Digidesign has added a subtle Chorus
| | 00:57 | effect to the Hall and Church
presets, which thickens the reverb sound.
| | 01:02 | Note that this Chorus effect has
always been present for the Hall and Church
| | 01:05 | options in the AudioSuite and TDM
versions but it was purposefully left out of
| | 01:10 | the RTAS version until now in order to
reduce host computer processing power.
| | 01:16 | Honestly in the past, I usually
steered clear of using the D-Verb plug-in
| | 01:20 | because I thought the sound wasn't
that great on most of the presets I wanted
| | 01:23 | to use and now I understand why. I will
definitely be revisiting this plug-in now.
| | 01:28 | Let's check out a sample of the
improved Church Reverb sound.
| | 01:31 | I'll try it out on a piano.
| | 01:34 | (Music playing.)
| | 01:50 | Sounds better to me already.
So let's get out of
| | 01:53 | the RTAS world and move in to the
AudioSuite world. I am going to get rid of
| | 01:57 | this plug-in and we are going to take
a look at some of the improvements that
| | 02:01 | Digidesign has made to the
AudioSuite Preview functions.
| | 02:04 | Let's open up an AudioSuite plug-in
right now. We'll have some fun with this one;
| | 02:13 | we'll use the Reverse AudioSuite
plug-in. As we look at this AudioSuite plug-in,
| | 02:21 | you can see that the plug-in window
now features a Volume control and
| | 02:26 | a Level Meter. Use the Level Meter to
watch for clipping when previewing this
| | 02:30 | effect. The performance of
AudioSuite plug-ins has also been improved.
| | 02:35 | Starting, stopping and the
responsiveness to moving plug-in controls is all
| | 02:39 | much faster now.
| | 02:41 | Check it out.
| | 02:42 | (Music playing.)
| | 02:49 | You will see that it starts up a lot faster and
| | 02:52 | stops a lot quicker than it used to
in previous versions of Pro Tools.
| | 02:55 | (Music playing.)
| | 03:07 | That Volume control is pretty handy too.
So you can hear that these improvements
| | 03:12 | in the AudioSuite plug-ins window as
well as the EQ and D-Verb RTAS plug-ins
| | 03:17 | are all welcome sonic enhancements
found in Pro Tools 8, that should help your
| | 03:21 | session sound better than ever.
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| Adding EQ effects| 00:00 | Digidesign's Advanced Instrument
Research group has been busy. They have made a
| | 00:04 | bunch of great new Effects plug-ins for
Pro Tools 8. I am going to demonstrate
| | 00:08 | a couple of new EQ plug-ins here in this video.
| | 00:12 | First, let's check out the Kill EQ plug-in.
Kill EQ is a 3 band EQ with Kill
| | 00:20 | switches on each band. What that means
is with this plug-in, you can cut off
| | 00:24 | the lows, the mids or the highs for
some really cool effects. With the track
| | 00:30 | playing in Loop Playback, I will
demonstrate some of the sonic possibilities
| | 00:34 | for this plug-in by tweaking the controls
as well as loading some of the presets.
| | 00:38 | Enjoy!
| | 00:39 | (Music playing.)
| | 02:00 | Pretty cool stuff going on there. The
second new EQ plug-in from the AIR group
| | 02:06 | is the Vintage filter. Let's take a
look at that. You will actually find that
| | 02:10 | in the Modulation folder. Related to
the Kill EQ but with some different
| | 02:17 | parameters, the Vintage filter is a
resonate, multi-mode filter that can be
| | 02:23 | manually adjusted or modulated over
time using the built-in Low Frequency
| | 02:27 | Oscillator or LFO and an envelope follower.
| | 02:31 | Now I am going to grab the mouse and
adjust some of these knobs and you can
| | 02:37 | hear the sonic output.
| | 02:38 | (Music playing.)
| | 03:30 | Man, I love that stuff. How cool are
these EQ effects? With the plethora of
| | 03:36 | presets, the capabilities of the
filters to sink with the tempo of the session
| | 03:41 | and the wide range of controls,
these EQ plug-ins will provide you some
| | 03:44 | seriously powerful sonic sculpting ability.
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| Sculpting harmonic effects| 00:00 | I'll bet that Digidesign's Advanced
Instrument Research group had a lot of fun
| | 00:04 | making the effects plug-ins I am about
to show you here. They are Distortion,
| | 00:09 | Enhancer, Frequency Shifter, FuzzWah
and Talkbox, and they are all part of the
| | 00:14 | harmonic effects family. First
let's look at the Air Distortion effect.
| | 00:21 | Distortion boosts and clips a signal to
add bite, dirt and crunch. With the B3
| | 00:27 | organ track playing in loop playback,
I will demonstrate some of the sonic
| | 00:31 | possibilities for this plug-in, by
tweaking the controls as well as loading
| | 00:36 | some of the presets.
| | 00:37 | (Music playing.)
| | 01:17 | We've got some crazy sounds going on
from this plug-in. Next I am going to move
| | 01:21 | on to the Enhancer.
| | 01:29 | The Enhancer plug-in synthesizes
high-end frequencies to
| | 01:33 | enhance dull signals. Let's check it out.
| | 01:36 | (Music playing.)
| | 02:17 | Pretty cool stuff there. Now let's
check out the Frequency Shifter plug-in.
| | 02:22 | We'll close this one up, and move down
to this track, the electric piano track.
| | 02:29 | We will check out the Frequency
Shifter plug-in. You can find the Frequency
| | 02:35 | Shifter in the Pitch Shift or in the
Harmonic family of plug-ins. The Frequency
| | 02:42 | Shifter plug-in offers up some classic
pitch shifting effects. Try this plug-in
| | 02:47 | out on guitars or keyboard tracks. Let's hear
how it sounds on this electric piano track.
| | 02:52 | (Music playing.)
| | 03:41 | Very cool! Next let's move
on to the FuzzWah effect.
| | 03:53 | Staying with the electric piano sound,
| | 03:55 | we will check out the FuzzWah.
This one provides dirty distortion
| | 03:59 | and sweeping 'wah' effects that sound great
on guitar, electric piano and organ sounds.
| | 04:05 | (Music playing.)
| | 05:02 | So great sounds in that one. We will
close this up now and move back to the
| | 05:07 | Organ track, where we will open up
the Talkbox effect. The Talkbox effect
| | 05:17 | emulates a mouth controlled Wah pedal.
Here we will test it out on an organ track,
| | 05:22 | but try running your guitar through this.
Instantly, you will be Peter Frampton.
| | 05:27 | (Music playing.)
| | 06:01 | I am so psyched to hear these now
harmonic effects in Pro Tools. I can easily
| | 06:05 | imagine how all of these will be
useful to you in a variety of ways, from
| | 06:09 | creating classic rock and county tones,
to dirtying up pristine samples in
| | 06:14 | electronic music, to
designing soundscapes for TV and film.
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| Creating delay and modulation effects| 00:00 | Here is a sampling of the latest
delay and modulation plug-ins from
| | 00:03 | Digidesign's Advanced Instrument
Research group, including Dynamic and Multitap
| | 00:08 | delays, Chorus, Flanger and Phaser,
and even of Filter Gate Sequencer.
| | 00:14 | I will start with the Dynamic Delay.
| | 00:17 | The Dynamic Delay plug-in provides
ducked echo effects that stay out of the
| | 00:22 | way when a signal is present and fade
in when the signal is lower or gone.
| | 00:27 | Let's listen to this effect on a
sitar track. Because we have got a lot to
| | 00:30 | cover here in this video, I won't
tweak as many of the plug-in controls.
| | 00:34 | I'll just load up some of the presets
to give you a sample of what's possible.
| | 00:37 | (Music playing.)
| | 01:25 | Some really cool stuff in there.
Let's check out the Multitap Delay now.
| | 01:34 | The Multitap Delay creates complex echo
effects by utilizing multiple cross-linked delays.
| | 01:40 | Check this out!
| | 01:42 | (Music playing.)
| | 02:16 | Wow! That's pretty crazy. The Chorus
plug-in provides nice chorusing via pitch
| | 02:21 | Some great stuff happening in there.
I particularly like the rhythmic delays
| | 02:25 | and the infinite delay. So I will close
this up and move on to the next track,
| | 02:32 | where we will try out the Chorus
effect. We will switch over to an electric
| | 02:37 | piano to check out a few of these new plug-ins.
| | 02:40 | (Music playing.)
| | 03:22 | modulation. It sounds pretty cool on
guitars, vocals and keyboard sounds, and
| | 03:27 | especially here on this electric piano
part. Now I am going to switch over to
| | 03:32 | the MultiChorus effect. Layering is
the key to this MultiChorus plug-in.
| | 03:38 | It uses stacked chorus effects with
individual rate and depth controls to create
| | 03:43 | its lush tones.
| | 03:44 | (Music playing.)
| | 04:10 | Some crazy stuff in there. I love how
these chorus effects can thicken up an
| | 04:15 | electric piano sound or even
just totally whack out that sound.
| | 04:18 | Now I am going to move on to the
Flanger plug-in. The Flanger plug-in is great
| | 04:25 | for making pronounced, resonant EQ
sweeps with pitch modulation. Check this out.
| | 04:30 | (Music playing.)
| | 05:18 | Next we will move on to the brother
of the Flanger, the Phaser. The Phaser
| | 05:25 | plug-in creates more subtle EQ
sweeps with pitch modulation than does the Flanger.
| | 05:30 | Check it out.
| | 05:31 | (Music playing.)
| | 06:05 | Okay, so maybe some of those aren't
so subtle, but it still sounds really great.
| | 06:08 | Now I am going to switch over
to the Ensemble plug-in. The Ensemble
| | 06:13 | plug-in creates classic, fluid,
shimmering effects that work well with chords and
| | 06:18 | pad sounds. And here I will test it
out on an arpeggiated synth base part.
| | 06:23 | (Music playing.)
| | 06:59 | Now we will move on to the last, but
probably my favorite of the modulation
| | 07:03 | effects, the Filter Gate. This super-
cool plug-in creates a sequenced filter
| | 07:08 | and gate effect with loads of
control over the timber and amplitude of a
| | 07:12 | signal. It can add rhythmic animation
to long notes and rhythmic parts, such as
| | 07:18 | what I am going to play it on here,
this base synth arpeggiated part.
| | 07:22 | (Music playing.)
| | 07:50 | There are just so many possibilities
with this plug-in, and I got to tell you,
| | 07:54 | to make this effect in Pro Tools before
version 8 you need it to route a signal
| | 07:58 | through signal several tracks using a
bunch of plug-ins. I am so glad that they
| | 08:02 | have this all in one box now.
| | 08:05 | In this video, you have seen and
heard a number of terrific delay and
| | 08:08 | modulation plug-in effects. I felt
some of these were glaringly missing in
| | 08:12 | previous versions of Pro Tools, but
here they are, sounding great in Pro Tools 8.
| | 08:17 | I am sure they are going to be
incredibly useful in all the music you'll be
| | 08:21 | creating with Pro Tools.
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| Utilizing reverb and sound field effects| 00:00 | Reverb is an essential effect
used in all styles of music and in
| | 00:04 | postproduction. In this video I am
going to demo the three new Reverb effect
| | 00:09 | plug-ins that are included with Pro
Tools 8. The first is simply called Reverb.
| | 00:15 | Despite the bland name, the new
reverb plug-in by Digidesign's Advanced
| | 00:20 | Instrument Research group
has a lot of usable sounds.
| | 00:23 | It has 20 presets to emulate many
acoustical spaces. I will load up some of the
| | 00:28 | presets to give you a sample of what
this Reverb plug-in is capable of as we
| | 00:33 | listen to a piano track in loop playback.
| | 00:35 | (Music playing.)
| | 01:16 | The next Reverb plug-in we'll
check out is the Non-Linear Reverb.
| | 01:20 | The Non-Linear Reverb plug-in can be used
to emulate classic 80s AIR gated Reverb
| | 01:25 | effects. Check out some of these cool presets.
| | 01:28 | (Music playing.)
| | 02:09 | Of the three new AIR Reverb plug-ins,
the Spring Reverb is my personal favorite.
| | 02:12 | Let's load that up.
| | 02:20 | (Music playing.)
| | 02:44 | This plug-in simulates classic analog
spring reverbs that you might find in
| | 02:48 | vintage guitar amps and studio gear.
Finally, let's check out the Stereo Width
| | 02:54 | plug-in on a drum track.
| | 02:56 | This cool plug-in widens the stereo
image of both mono and stereo signals.
| | 03:01 | I like to use this plug-in to widen
individual tracks in a mix or over the entire
| | 03:07 | mix while I am mastering. Check it out.
| | 03:09 | (Music playing.)
| | 03:25 | Digidesign has really opened up the
sonic possibilities with the Stereo Width
| | 03:29 | plug-in and the three new Reverb
plug-ins. These round out the creative
| | 03:34 | collection suite of new plug-ins
included with Pro Tools 8, and I am sure you
| | 03:37 | will be making use of these plug-ins
in your Pro Tools sessions very soon.
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| Using TL utilities| 00:00 | In this video I will introduce you to
the TL Utilities bundle, which comes free
| | 00:04 | with Pro Tools 8. The TL Utilities
bundle consists of three useful plug-ins:
| | 00:10 | TL Metro, TL InTune and TL MasterMeter.
First let's take a look at TL Metro.
| | 00:18 | TL Metro is a versatile metronome. In
addition to the variety of sounds you can
| | 00:22 | choose from for the click sounds,
what I really like is that you can choose
| | 00:26 | different sounds for each subdivision
of the beat. Not only that, you can adjust
| | 00:31 | the levels of those different sounds
to actually create a mix of your click
| | 00:34 | track beat. Look at the variety
of different songs we've got here.
| | 00:38 | I greatly prefer this metronome plug-in
to Digidesign's stock click plug-in.
| | 00:43 | I think Digidesign will make TL Metro
the default click plug-in in future
| | 00:47 | releases, and that's just another
reason why I recommend using this plug-in if
| | 00:51 | you need a click track in
your Pro Tools 8 session.
| | 00:54 | When you insert this plug-in on a Mono
Ox track and press Play, TL Metro will
| | 00:59 | sync to the session tempo immediately.
Let's check out some of the click sounds
| | 01:03 | in TL Metro.
| | 01:04 | (Music playing.)
| | 01:29 | I just love that you can actually get
different sounds for the subdivisions in
| | 01:33 | the click track.
| | 01:34 | You can actually make a beat with this
thing that sounds pretty cool. It's much
| | 01:38 | better than just a bland click, click, click.
| | 01:42 | Now let's move onto the TL InTune
plug-in. TL InTune is a tuner like a guitar
| | 01:48 | tuner pedal. Plug your guitar directly
into your Pro Tools interface then put
| | 01:53 | this plug-in on as the first insert on
the mono audio or ox track where your
| | 01:58 | guitar is plugged into.
| | 02:00 | In this session I am plugged into
input 2 on my 003 as you can see right here.
| | 02:06 | Use this plug-in to check your tuning
before and during a recording session.
| | 02:12 | In Automatic mode InTune will detect
the note played and automatically show the
| | 02:16 | pitch for that note whether it's in
tune or not. If you would like to tune to
| | 02:20 | the sound of an actual in tune note,
like if you are tuning up a brass or
| | 02:24 | woodwind instrument, click the Test
Tone button and InTune will generate either
| | 02:30 | a Sin wave or a Triangle wave tone for you.
| | 02:34 | You can choose Needle or Strobe as the
meter display. Let's check out Strobe.
| | 02:39 | I will pop this into record, hit a note,
and you can see the Strobe effect.
| | 02:49 | I personally like the Needle display;
it's a little more clear to me what I need
| | 02:53 | to do to tune up the note.
| | 02:57 | You can also change the octave as
well as the reference frequency away from
| | 03:01 | A440 if you really want to. So here's
what it's like to tune the A string on a guitar.
| | 03:11 | (Guitar note plays.)
| | 03:14 | Seems like the A note is a
little flat. Let me tune it up.
| | 03:18 | (Guitar note plays.)
| | 03:19 | Okay, a little bit more.
| | 03:26 | (Guitar note plays.)
| | 03:32 | That's about close enough
for rock-and-roll. Let's get out of
| | 03:36 | the Tuner now, and let's
check out the TL MasterMeter.
| | 03:43 | The TL MasterMeter was designed as the
first oversampling meter for Pro Tools.
| | 03:48 | Insert this plug-in on the Stereo
Master Fader track in your session during
| | 03:53 | any critical mixing or mastering
sessions, s that you can monitor the output
| | 03:58 | levels and check for inter-sample
digital clipping. What does that mean?
| | 04:02 | That's clipping that can occur between
samples that might cause distortion on
| | 04:08 | consumer CD players.
| | 04:10 | Now the chapter on the TL MasterMeter
in the Trillium Lane Labs' plug-ins
| | 04:14 | manual is an excellent reference to
learn about digital distortion. I highly
| | 04:19 | recommend checking it out.
| | 04:21 | The Free TL Utilities bundle provides
needed tools that we were lacking in
| | 04:25 | previous versions of Pro Tools.
| | 04:27 | I bet you will be using all three of these
in almost every session from this day forward.
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| Exploring additional free plug-ins| 00:00 | While it might seem like a bunch of
throw-ins to Pro Tools A, the free plug-ins
| | 00:04 | I'm about to cover are no throwaways.
| | 00:07 | Digidesign has added these in to
sweeten the pot. And in doing so have given you
| | 00:13 | a load of free amp modelers, sonic
mangling tools and even a high-quality
| | 00:18 | mastering limiter. The best sounding
of these free plug-ins is Eleven. Eleven
| | 00:24 | is Digidesign's Guitar Amp Simulator.
And honestly, this is probably
| | 00:28 | my favorite Amp Simulator on the market.
| | 00:31 | Unfortunately the free version here
only comes with two presets. So amp
| | 00:36 | tweakers tweak away and create your
own presets. You can upgrade Eleven to
| | 00:41 | Eleven LE of the full Eleven version
for a small cost if you go to Digidesign's
| | 00:45 | website. Now I will play you a few
notes and chords through the two presets,
| | 00:49 | so you can hear them. Then I
will move on to the next plug-in.
| | 00:53 | So let me put this into record.
All right, given that this is the Eleven plug-in,
| | 00:58 | I am going to give you my best
Spinal Tap Nigel Tufnel impersonation.
| | 01:04 | (Music playing.)
| | 01:23 | Listen to the sustain! All right, I
will switch over to the other free preset.
| | 01:29 | (Music playing.)
| | 01:53 | Very nice! So let me close this down
and we will move on to the next really
| | 02:01 | cool amp modeler, SansAmp.
| | 02:07 | SansAmp is one of the first of its
kind as an amp modeler. This plug-in has
| | 02:12 | been on the market for a long time,
but I continually find uses for it in
| | 02:16 | my mixes, often on vocals or on
keyboard sounds. It's got a large amount of
| | 02:21 | presets, as you can see in the
Librarian menu. And I can usually find that
| | 02:27 | distorted sound that I am looking for
in these presets. Let's check out some of
| | 02:32 | these presets on an organ track.
| | 02:34 | (Music playing.)
| | 03:10 | Obviously there is a lot to choose
from these presets. So go through them on
| | 03:14 | your own and find out what works for you.
| | 03:16 | Now I am going to move on to the first
of four in the D5 Sound Design plug-in
| | 03:22 | suite from Digidesign. This is RectiFi.
RectiFi and the other four D5 plug-ins
| | 03:28 | have been around for a while, but
they are still very relevant and useful.
| | 03:33 | RectiFi provided additive harmonic
processing effects through waveform rectification.
| | 03:38 | Check out some of these presets.
| | 03:40 | (Music playing.)
| | 04:04 | Lo-Fi is second of four in the D5
suite does just what you think it does.
| | 04:10 | It makes the track have lower fidelity,
via bit rate reduction, sample rate
| | 04:14 | reduction, distortion and saturation,
filtering and noise generation.
| | 04:19 | Let's take a listen.
| | 04:22 | (Music playing.)
| | 04:49 | Sci-Fi invites aliens into your
studio. Through analog synthesis-type
| | 04:56 | processing you can create weird
sounds via Ring Modulation, Frequency
| | 05:00 | Modulation, LFOs and Resonators. And
don't blame me if E.T. pays you a visit
| | 05:06 | after listening to this demo.
| | 05:07 | (Music playing.)
| | 05:37 | I think I see the spaceship!
| | 05:39 | The last in the D5 suite
is Vari-Fi. Vari-Fi is
| | 05:44 | actually an AudioSuite plug-in and it
provides a pitch shifting effect similar
| | 05:49 | to a tape deck or turntable slowing
down to a stop or speeding up from stop.
| | 05:55 | Although this plug-in is pretty limited,
it certainly has its uses, and I have
| | 05:58 | used it and heard it used
many times. Check it out.
| | 06:03 | (Music playing.)
| | 06:25 | The last of the plug-ins that I want
to talk about in this movie is called Maxim.
| | 06:30 | Maxim is a peak limiting and
sound maximizing plug-in. It's capable of
| | 06:34 | looking ahead at the incoming audio
signal and limiting the signal before it
| | 06:39 | creates unwanted clipping or distortion,
while still preserving the transient
| | 06:44 | attack and character of the incoming
signal. Maxim also provides dither, noise
| | 06:51 | shaping and bit resolution choices, all
of which are helpful if this plug-in is
| | 06:56 | used for mastering, which is the most
common application for this plug-in.
| | 07:00 | Maxim can seriously increase the
overall output volume of your mixes.
| | 07:04 | While making the loudest masters possible
is an unfortunate trend these days, try to
| | 07:09 | use this plug-in carefully. Watch the
meters in the Maxim window for feedback
| | 07:14 | and always trust your ears first. I am
going to add it on to a track here, so
| | 07:18 | watch your speaker levels
and your headphone levels.
| | 07:21 | (Music playing.)
| | 07:57 | The amp modelers, sound design tools
and mastering limiter that I have shown
| | 08:02 | you here are terrific additions to
the already impressive collection of new
| | 08:07 | free plug-ins included with Pro Tools 8.
Hopefully they will help to inspire
| | 08:11 | you in musical directions that you
might not have otherwise traveled.
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| Creating a plug-in map for a Pro Tools controller| 00:00 | Pro Tools 8 enables you to customize
the arrangement of plug-in parameters on
| | 00:04 | supported control surfaces. For Pro
Tools LE that means on eight-fader
| | 00:09 | surfaces including the 003, Digi 002,
and Command 8 surfaces as well as 24
| | 00:17 | fader surfaces including the C24 and Control 24.
| | 00:22 | You can save plug-in maps as Presets
and use them in any Pro Tools session with
| | 00:27 | the appropriate control surface attached.
For instance you can map the controls
| | 00:31 | for an EQ plug-in or piano virtual
instrument to a 003's channel strip
| | 00:38 | encoders, switches and faders, if
those faders are in Flip mode, and that's
| | 00:43 | exactly what I am going
to show you how to do here.
| | 00:45 | I am going to take this EQ plug-in
and I am going to map some of the 003's
| | 00:50 | channel strip encoders to some of the
EQ controls here. The first thing that
| | 00:55 | you will notice when you open up a plug-
in and it's connected to a device that
| | 00:59 | you can map plug-ins to, you will
see this area in the Plug-in window.
| | 01:04 | This is the Plug-in Map Control area.
If you click on this button here,
| | 01:08 | you will see a number of options that
we can choose from for creating a new map,
| | 01:13 | saving a map, importing or exporting,
deleting or setting as the default, which
| | 01:19 | we will talk about later in this movie.
| | 01:21 | So let's go ahead and create a new map.
When you create a new map, the first
| | 01:26 | thing that happens is the Learn
button becomes enabled. Now click on a
| | 01:32 | parameter in the Plug-in window and
that will become active. You can twist the
| | 01:37 | knob on the 003 or your control
surface and that will map the EQ control to
| | 01:42 | that knob on your control surface.
| | 01:46 | So now I have mapped this particular
control to one of the rotary encoders on
| | 01:50 | my 003. I am going to click over to
this control. I am going to rotate one of
| | 01:56 | the knobs on the 003, a second knob,
and now I have control over both of these
| | 02:02 | knobs in this EQ plug-in.
| | 02:04 | So now we have the low frequency gain,
and the high frequency gain knobs
| | 02:10 | controlled by rotary encoders on the
003. So that's all I am going to do for now,
| | 02:15 | so I am going to click Learn to
turn that off. Now we are out of Learn mode.
| | 02:21 | From the Map Options pop-up menu,
I am going to choose Save Map As.
| | 02:27 | Now I am going to name this EQ
4band 003 and hit OK. So now I have a
| | 02:36 | customized map for my 003 and this
particular plug-in. From the Map Options
| | 02:42 | pop-up menu, you can rename the map,
save it as a different name, import it or
| | 02:48 | export it to other sessions. We can
delete it or we can set it as the default.
| | 02:54 | Let's do that. So now every time that
I open up this plug-in, it will be mapped
| | 02:59 | in the same way.
| | 03:01 | So now that we have set this up as the
default, let's take it for a test drive.
| | 03:04 | I am going to play this piano track and
adjust the EQ using the rotary encoders
| | 03:10 | on my 003 and you will see that action
here in the EQ window. Check this out.
| | 03:15 | (Music playing.)
| | 03:43 | As you can see here, Pro Tools 8 gives
you the power to create your own plug-in maps,
| | 03:47 | which gives you complete control
over your plug-ins using your control
| | 03:52 | surface. This is a cool feature
that I bet you will look forward to
| | 03:55 | experimenting with more in your own studio.
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ConclusionGoodbye| 00:00 | Thanks for listening. If you've got
questions about any of the new Pro Tools 8
| | 00:03 | features don't hesitate to just
watch any of these videos again.
| | 00:07 | I wish you all the best in
your future Pro Tools adventures. Cheers!
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