Join Alex U. Case for an in-depth discussion in this video Using the "Get In the Mix" Pro Tools session files, part of Foundations of Audio: Delay and Modulation.
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This course features Get In The Mix exercise content, living sessions with built-in demonstrations and practice material for you to use with your own digital audio workstation or DAW. Using your DAW's video track capabilities, I'll guide you through automated audio examples, demonstrating a number of the concepts and techniques discussed in this course. And all you need to do is press play. Since the files are actual native high- fidelity project files, purpose-built for your specific DAW, you can manipulate the audio examples yourself.
So feel free to pause, rewind, repeat, and zoom-in on sections during the demonstrations to solidify your knowledge. Get In The Mix project files also feature additional practice tracks, so you can explore the techniques you just learned on your own. These tracks are labeled practice and their content is located at the end of the demonstration material. Before using Get In The Mix content, you must first download the package prepared for your specific DAW from this course's page in the lynda.com Online Training Library.
Inside this package, you'll find the Get In The Mix files. Throughout the course, I'll direct you to open these files when appropriate. If you have this course on DVD, the Get In The Mix files are included on that DVD. Unlike premium exercise content, Get In The Mix content is available to all lynda.com subscribers. If you are premium subscriber, you also have access to the raw audio material used to create the exercise content, as well as all other audio examples featured throughout the course. So download the appropriate content package and get in the mix.
- Adjusting the delay time, level, and feedback parameters
- Utilizing a low-pass filter and polarity reverse
- Setting up an effects loop
- Setting the delay time by tempo or by ear
- Understanding the distinct uses of short, medium, and long delays
- Adjusting modulation rate, depth, and shape
- Adding double tracking and spreader effects
- Manipulating tone with constructive or destructive interference
- Creating a comb filter and flange effect