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Pro Tools 8 Essential Training unveils the inner workings of the industry-standard software for music and post-production. Musician, producer, and educator David Franz demonstrates all the concepts and techniques necessary for recording, editing, mixing, and mastering in Pro Tools 8. He teaches how to create music with virtual instruments and plug-ins, edit with elastic audio for time and pitch manipulation, create a musical score, and mix with effects loops. This course can help any music producer, sound engineer, or hobbyist become proficient in Pro Tools 8. Exercise files accompany the course.
Adding audio to video in Pro Tools can be a lot of fun. Here I'm going to show you a project I created for this course that demonstrates adding audio in various forms to a video file in Pro Tools. This project ties in many of the recording, editing, mixing and mastering techniques that I have shown here in this course. First, I'm going to show you the video without any of the audio. So I'm just going to go ahead and press play and watch in the video screen over here. You can see that it's just a bunch of slow motion aerial shots of Las Vegas.
Let me show you the music that I have added to this as the first step. So I have got a group of music tracks right here at the top, Bass track, Horns and a Beat. I'm going to unmute those, and we can listen to how I started it. I started with this Beat. So, I'm going to just play that with it. (Music playing.) Now that's a beat that comes from Xpand. And I recorded that beat from this virtual instrument track on to this audio track and at the moment I have the virtual instrument track assigned to no output. So we can't hear the output from this track.
After adding the Drums, I wanted to add kind of a funky Horn line. So, I found this in the Pro Tools 8 Audio Loops and samples, which is a DVD that comes with Pro Tools 8. So check out the Horns here. (Music playing.) So, I just looped that Horn line and then I added in a bass track. (Music playing.) Now what's fortunate about both of those Horn and Bass lines are that they were actually recorded at 105, which is the tempo, but something interesting is that the bass is actually in the key of A originally, while the Horn line is actually in the key of B flat.
So, I took the bass line and pitch shifted it up one semi-tone using the Time Shift plug-in and that's up here. I set the Preset to Bass Polyphonic and then change this just up one semi-tone and then processed the bass loop audio file. And so that's what we see right here is the Funk Bass 01_A with the Time Shift, so now it's a B flat.
Not only that, I actually went in to the Bass track and applied Polyphonic Elastic Time and let's take a look at the Warp. I created a bunch of Warp markers and tried to align the bass notes better with the tempo grid. So, I went in with the Grabber tool here and moved notes around. I'm going to undo that. Once I had the bass loop the way that I wanted it, I recorded it to this other Bass track and then I set the Output to no output on the Bass raw track.
So we are not hearing that. As I have mentioned here in the comments, pitch shifted this up one semi-tone and adjusted it with Elastic Time to get the timing better. So, the Beat, the Horns and the Bass lines all create the music track that we are listening to here. Let's move on to the voiceover. I recorded several versions of the voiceover track, but ended up using one full take that I thought was perfect but then I chopped it up a little bit. I took out some of the spaces in between the sentences to get rid of the dead air and I also made a copy of that track called the VO dist track, which is short for distortion, where I have added on some effects.
And let's go over to the Mix window now and I'll show you what I have got on the voiceover tracks here. So, I have got an EQ where I have boosted the low end, dropped out some of the muddy 300 areas and then boosted some more around the 3K area. I have added a De-Esser just slightly. I have added a little bit of a Gate so that some breaths and some noise can be cut off. And I have also added the Maxim plug-in which will maximize the volume output for this track.
Now that's the undistorted track right there, the raw vocal, and then I have a double of that where I have added this AIR Enhancer plug-in that has a little bit of distortion on it and then some more of the Maxim and you'll see that I have mixed these together where the non- distorted one is much higher in the mix than the distorted one. And let's take a listen to that. I'll group my music tracks again and here we go.
(Voiceover: Las Vegas, Sinatra's town.) (Voiceover: A make-you town, or a break-you town.) So you can hear a slight bit of the fuzz on this VO distortion track, as well as a touch of the Delay and Reverb that I have got going on, on this Aux track. Now this Aux track is just receiving signal from the VO track, not the VO distorted track. And I can show you that, if I go to Mix Window Views > Sends A-E, you can see that Bus 1-2 on just the VO track is routed here. I'll hide that again.
Now let's listen to the each one of these tracks individually really quickly. (Voiceover: Las Vegas, Sinatra's town.) (Voiceover: A make-you town, or a break-you town.) So, I just thought it sounded kind of cool adding both of those together. They are both time aligned and they sound pretty good together. (Voiceover: Las Vegas, Sinatra's town.) Now let's check out the Sound effects. Let me go back over to the Edit window.
So as you can see in the video, there is obviously some traffic going on. So, I've got a traffic sample. It's actually a track that I recorded by myself with microphone out on the street and let's check it out. (Whoosh. Cars passing by.) So, I have added some volume automation on here at particular times that seem to fit in between the voiceover track.
Next, I've got this slot machine sound effect that I made with analog synth a long time ago. And I thought that it would work well in this piece. So let's take a listen to just that sample. (Music playing.) Now we can listen to the dice roll because it seems to fit with the voiceover and then a couple of other sound effects that I created with just my voice. (Clatter clatter.) And that dice roll, I actually took a couple of pieces of wooden blocks and roll them on a hard wooden surface and that's what you hear there.
And here is a couple of voiceover samples. (Male Speaker: Yes! Augh.) And this last one-- (Female speaker: Cha-ching!) --sounds like a girl but that's actually me, where I used the Time Shift plug-in using the Monophonic mode. I transposed the Pitch and the Formant up a number of semi-tones to get that pitch. So, why don't we listen to it altogether? (Music playing.) (Male speaker: Las Vegas, Sinatra's town.) (Male speaker: A make-you town, or a break-you town.) (Male speaker: Where one roll of the dice brings fortune and vice. Yes!) (Male speaker: Or frustration and weeping. Augh!) (Male speaker: Either way, you're not sleeping.) (Male speaker: What happens in here, stays here, and what happens here most is money. Cha-ching!) (Male speaker: Tonight we're going inside to take a closer look at casinos, the lifeforce behind the city that never sleeps.) So let's talk about a few things that are going on here, just to finish this off.
Let me go over to the Mix window real quick and you can see here that I've set up three submixes. Submix one for the dialog, submix two for the FX & Foley and submix three for the music. And it's simply just busing these different tracks to the various submixes and what this does is gives us control over the individual tracks that are submixed and we can change the volume of each individual piece.
Some people call these stem mixes and all of these stems are routed out to the main output that goes here to the Master Fader track and you'll notice that I've got another Maxim plug-in here to kind of maximize the volume. But one other thing I want to mention about the submixes is that I have got some EQ and compression on here and this one right here on the music, I've carved out this little section at 3 Kilohertz to allow the voice to pop-out a little bit more here.
And going back to the Edit window, let's just talk about a couple of more things. I have set up a Fade Out on the Master Fader, so that by the time that this video ends, we have no volume left. And as you can see out the very end of it, the way that the timing of it works out, the picture goes to black, right as I'm saying "sleeps." Check it out. (Male speaker: --the force behind the city that never sleeps.) So, now you see all the pieces that go into this. Let's have a listen to the whole thing one more time, so you can hear the different voiceover sounds, the different musical sounds and the pieces of sound effects and how they are all mixed together. Make sure to listen for these individual sound effects down here and the fade out at the end, where the screen cuts to black from the top. (Music playing.) (Male speaker: Las Vegas, Sinatra's town.) (Male speaker: A make-you town, or a break-you town.) (Male speaker: Where one roll of the dice brings fortune and vice. Yes!) (Male speaker: Or frustration and weeping. Augh!) (Male speaker: Either way, you're not sleeping.) (Male speaker: What happens in here, stays here, and what happens here most is money. Cha-ching!) (Male speaker: Tonight we're going inside to take a closer look at casinos, the lifeforce behind the city that never sleeps.) Adding audio to video in these various ways is called post-production and many of the techniques shown here are used everyday in film and TV show production using Pro Tools.
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