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Pro Tools 10 Essential Training

Creating a headphone (cue) mix


From:

Pro Tools 10 Essential Training

with David Franz

Video: Creating a headphone (cue) mix

When you record into Pro Tools, you'll often be wearing headphones. Creating a good headphone mix is imperative to helping you capture the best performances while recording. For the most basic headphone setup plug in your headphones to the headphone jack on your interface, some interfaces have two headphone jacks like the 003. Turn the headphone volume knob all the way down at first then press play in Pro Tools and turn up the headphone volume to a level that is comfortable, neither too loud nor too soft. The headphone jacks on your interface receive the main output, in this particular case, and in most cases, it's Analog 1-2.
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  1. 13m 44s
    1. Welcome
      1m 20s
    2. Exploring the different versions of Pro Tools
      3m 22s
    3. Optimizing your computer before installing Pro Tools
      4m 18s
    4. Troubleshooting
      2m 19s
    5. Using the exercise files
      2m 25s
  2. 36m 55s
    1. Installing and authorizing Pro Tools
      1m 49s
    2. Connecting your Pro Tools system
      4m 31s
    3. Powering up and powering down
      58s
    4. Choosing the Playback Engine and Hardware settings
      5m 55s
    5. Optimizing Pro Tools' performance
      6m 26s
    6. Utilizing Automatic Delay Compensation (ADC)
      3m 36s
    7. Setting essential preferences
      2m 35s
    8. Creating a Pro Tools session
      4m 31s
    9. Identifying elements in a session folder
      2m 36s
    10. Creating new tracks
      3m 58s
  3. 42m 5s
    1. Exploring the Edit window
      6m 44s
    2. Exploring the Mix window
      3m 11s
    3. Exploring the Transport and Big Counter windows
      2m 57s
    4. Using the Color palette and window arrangements
      2m 35s
    5. Investigating the menus
      3m 22s
    6. Understanding samples and ticks
      3m 34s
    7. Viewing and manipulating tracks
      4m 31s
    8. Selecting inputs, outputs, and busses
      3m 58s
    9. Selecting an I/O settings file
      4m 12s
    10. Understanding signal paths and gain stages
      3m 46s
    11. Utilizing keyboard shortcuts and Keyboard Focus
      3m 15s
  4. 21m 11s
    1. Using DigiBase and the Workspace browser
      4m 14s
    2. Importing audio
      3m 0s
    3. Importing MIDI
      2m 48s
    4. Importing session data
      5m 34s
    5. Importing tracks from a CD
      2m 51s
    6. Importing video
      2m 44s
  5. 56m 46s
    1. Recording audio
      6m 13s
    2. Playing back audio and Edit window scrolling
      4m 52s
    3. Creating a click track
      5m 24s
    4. Overdubbing and using the record modes
      8m 52s
    5. Recording with playlists and Loop Record
      4m 6s
    6. Punch recording and using the monitoring modes
      4m 14s
    7. Dealing with latency and ADC
      4m 58s
    8. Creating a group
      6m 5s
    9. Adding effects while recording
      5m 16s
    10. Creating a headphone (cue) mix
      4m 29s
    11. Assigning disk allocation
      2m 17s
  6. 1h 28m
    1. Understanding nondestructive editing and region types
      3m 19s
    2. Using the Selector and Grabber tools
      3m 37s
    3. Using the Trim and Scrubber tools
      7m 5s
    4. Using the Zoomer tool and zoom presets
      5m 51s
    5. Using the Pencil tool
      3m 10s
    6. Using the Smart tool
      1m 27s
    7. Understanding the Edit modes
      5m 51s
    8. Arranging clips
      6m 40s
    9. Undoing an edit
      2m 44s
    10. Utilizing fades and crossfades
      9m 41s
    11. Building a comp track using playlists
      5m 17s
    12. Locking and muting clips
      2m 48s
    13. Special Edit window buttons
      7m 15s
    14. Creating an audio loop
      5m 19s
    15. Editing a voiceover
      9m 41s
    16. Using Elastic Time and Elastic Pitch
      9m 12s
  7. 17m 21s
    1. Working with clip groups
      4m 33s
    2. Using time, tempo, meter, key, and chord
      5m 37s
    3. Creating memory locations
      7m 11s
  8. 33m 10s
    1. Setting up MIDI on a Mac
      4m 17s
    2. Setting up MIDI on a PC
      2m 14s
    3. Setting up MIDI in Pro Tools
      2m 44s
    4. Recording MIDI data
      3m 14s
    5. Recording multiple MIDI tracks with one virtual instrument
      2m 17s
    6. Recording options for MIDI
      6m 21s
    7. Using Step Input
      4m 35s
    8. Making a drum loop with MIDI Merge
      3m 36s
    9. Composing with virtual instruments
      3m 52s
  9. 57m 1s
    1. Using the edit tools for editing MIDI data
      10m 0s
    2. Editing MIDI data in the MIDI Editor
      7m 31s
    3. Working with the MIDI Event List
      2m 12s
    4. Editing MIDI data with Event Operations
      8m 33s
    5. Quantizing MIDI tracks
      12m 16s
    6. Creating and using Groove Templates
      5m 35s
    7. Utilizing real-time properties
      5m 50s
    8. Using MIDI Learn
      5m 4s
  10. 17m 30s
    1. Exploring the Score Editor
      5m 49s
    2. Using the Score Editor
      5m 5s
    3. Setting up a score
      4m 48s
    4. Printing and exporting a score
      1m 48s
  11. 25m 39s
    1. Writing and editing automation
      6m 40s
    2. Drawing automation with the Pencil tool
      4m 2s
    3. Editing automation with the Trim and Grabber tools
      2m 58s
    4. Cutting, copying, pasting, and clearing automation
      4m 12s
    5. Turning automation on and off
      3m 52s
    6. Automating plug-ins and virtual instruments
      3m 55s
  12. 1h 49m
    1. Setting up a session for mixing
      8m 50s
    2. Setting up an effects loop
      9m 30s
    3. Working with plug-ins
      4m 33s
    4. Utilizing ADC while mixing
      9m 8s
    5. Applying EQ
      12m 43s
    6. Adding compression and limiting
      14m 25s
    7. Using delay effects
      6m 52s
    8. Applying AudioSuite plug-ins
      6m 24s
    9. Adding reverb to your mix
      6m 50s
    10. Bouncing down a mix
      4m 15s
    11. Making an MP3 for iTunes and SoundCloud
      2m 53s
    12. Setting up a session for mastering
      4m 58s
    13. Mastering a session
      10m 37s
    14. Bouncing down master recordings with Dither and Noise Shaping
      7m 24s
  13. 9m 59s
    1. Importing and displaying video files
      2m 38s
    2. Adding music, foley, ADR, and FX
      4m 29s
    3. Bouncing down video and audio together
      2m 52s
  14. 4m 0s
    1. Archiving an entire session
      4m 0s
  15. 58s
    1. Further recommendations
      58s

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Pro Tools 10 Essential Training
8h 54m Beginner Jan 20, 2012

Viewers: in countries Watching now:

Pro Tools 10 Essential Training with musician and producer David Franz illuminates the process of recording, editing, mixing, and mastering in Avid Pro Tools, the industry-standard software for music and postproduction. The course covers recording live audio and adding effects on the fly, creating music with virtual instruments and plug-ins, editing for time and pitch manipulation, creating a musical score, and mixing and mastering a track.

Topics include:
  • Exploring the Pro Tools interface
  • Selecting inputs, outputs, and busses
  • Understanding signal paths and gain stages
  • Setting up Pro Tools hardware and software properly
  • Importing audio from multiple sources
  • Recording and editing audio and MIDI
  • Adjusting time, tempo, meter, key, and chord in arrangements
  • Mixing and mastering a session
  • Setting up an effects loop
  • Importing and displaying video
  • Adding music, Foley, ADR, and FX
  • Archiving a session
Subjects:
Audio + Music DAWs
Software:
Pro Tools
Author:
David Franz

Creating a headphone (cue) mix

When you record into Pro Tools, you'll often be wearing headphones. Creating a good headphone mix is imperative to helping you capture the best performances while recording. For the most basic headphone setup plug in your headphones to the headphone jack on your interface, some interfaces have two headphone jacks like the 003. Turn the headphone volume knob all the way down at first then press play in Pro Tools and turn up the headphone volume to a level that is comfortable, neither too loud nor too soft. The headphone jacks on your interface receive the main output, in this particular case, and in most cases, it's Analog 1-2.

However, at the moment we can't really tell what the overall volume level is coming out of Pro Tools. What we need to do is create a stereo master fader track, so let's do that, New > Stereo > Master Fader. Now we can tell what the overall volume is from this session and we can control it with this fader right here, and this is the level that will feed your headphone jacks.

Monitoring the Analog 1-2 output is usually fine for just recording one person at a time, but getting the levels of each track in the mix is very important. When you record, the mix of the headphones can either help or hinder the person recording in a few different ways. For example, if a vocalist's voice is too prominent in the headphone mix, the vocalist might sing a little flat and with less energy. However, if the vocalist's voice is too low in the mix, they might push their voices and go sharp to rise above the other instruments in the mix.

So try to get a good balance between the instruments and the mix, and most likely you'll have to boost the instrument that you're recording just a little, so it can be heard above the mix. Adding effects to the headphone mix can give a special energy to the instrument or create an inspiration for the instrumentalists or vocalist. Vocalists in particular like to have some reverb and or some delay on their voices while they're recording. So I recommend setting up an effects loop for this purpose. We've already got one set up in here so check it out.

These tracks are bused on a send to this auxiliary track, where it's being affected by this D-Verb, which is a reverb plug-in. And you can setup multiple effects loops in the similar style for any kind of effects that you want to add. So what happens if you want to record more than one person at a time, and they each want their own personal headphone mixes? Well, you can make as many separate headphone mixes as you like, the only limitation is the number of separate outputs you have on your interface, let's say you're recording a guitar player and a bass player at the same time, and they each want their own separate headphone mixes.

We can use the main mix through Analog 1-2 for one of them and mix it the way that they want it, but let's set up a separate second mix for the other player. What I'm going to do is show Sends F-J, and I'm going to go up here press Option on a Mac or Alt on a PC, and choose output 3-4, that's Analog output 3 and 4. Go up to View > Sends F-J, and choose Send J, so we can see the controls for each one of these tracks, and now I can build a completely separate second mix for the guitar player and I can bring these levels up however we want.

The final step here is to create a new stereo master fader track and it automatically goes to Analog 3-4, and we will use this track to adjust the overall output for this second headphone mix. So to recap, we've got all these tracks with sends being routed to Analog 3-4, the second output, and that's for our second separate headphone mix and all of these send levels can be different than the main mix levels, so that's how you get a second headphone mix.

Creating a good headphone mix, whether it's simply getting the right balance between the tracks for one person, adding effects, or even creating multiple different mixes for multiple people recording at once, is important for capturing the best recorded tracks that you can.

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