You lost me there. minutes represents minutes! Seconds represents,
well, seconds.
At 01:29 AM 5/2/2014, you wrote:
Shruggs,
That's not what I meant. I meant what does the numerical values
represent? In beats/bars it obviously represents bars. In hour
minute seconds, what is it representing?... Seconds? Minutes? or what?
Chris.
----- Original Message ----- From: "Chris Smart" <csma...@cogeco.ca>
To: <ptaccess@googlegroups.com>
Sent: Friday, May 02, 2014 12:46 AM
Subject: Re: A few more advanced ProTools Questions
well, how long do you need to get ready to play?
If you want to convert between bars/beats and minutes/seconds, that
obviously depends on the tempo of your tune.
At 12:43 AM 5/2/2014, you wrote:
Slau,
So, you said with the pre-roll how many bars? How do I calculate
if I'm doing hours minutes seconds frames, instead of bars, beats, ticks?
Chris.
----- Original Message -----
From: <mailto:slauhala...@gmail.com>Slau Halatyn
To: <mailto:ptaccess@googlegroups.com>ptaccess@googlegroups.com
Sent: Friday, May 02, 2014 12:06 AM
Subject: Re: A few more advanced ProTools Questions
OK, since your keyboard is across the room, you're going to need
enough pre roll to be able to press record, walk over to your mic,
put on headphones and get ready to sing. How many bars do you
think that'll be? 8? 10? Whatever you think it should be, type
that number into the Pre roll field. The Post roll value doesn't
matter as much because who cares how long the song continues
playing after you've finished the record pass. If the pre roll
value is 0, you'll have no pre roll and you'll be recording as
soon as you press Command-space bar. The purpose of the pre roll
is to get a running start, figuratively and, in your case, literally.
On May 1, 2014, at 11:49 PM, Christopher-Mark Gilland
<<mailto:clgillan...@gmail.com>clgillan...@gmail.com> wrote:
So, I'm confused. What do the pre and post roll values
do/indicate, if not 0, how do I determine what they should be set
to, or does it really not honest matter. Just pick a random
number so's long as it isn't 0.
Chris.
----- Original Message -----
From: <mailto:slauhala...@gmail.com>Slau Halatyn
To: <mailto:ptaccess@googlegroups.com>ptaccess@googlegroups.com
Sent: Thursday, May 01, 2014 11:42 PM
Subject: Re: A few more advanced ProTools Questions
Chris,
You specifically asked for step-by-step instructions and, when
you request something like that, it's going to sound complicated. It's not.
1. Select a range within which you wish to record.
2.Enable Pre/Post roll with Command-k and make sure that the pre
and post roll values in the Transport window are set to something
other than zero.
3. Record.
It's rather simple. Another alternative is to buy a USB extension
cable and keep your keyboard close. Punch in by simply pressing
Command-Space bar where you wish to record. Hit space bar to
stop. You don't even have to be in Pre/Post roll to do that.
Slau
On May 1, 2014, at 9:48 PM, Christopher-Mark Gilland
<<mailto:clgillan...@gmail.com>clgillan...@gmail.com> wrote:
Slau,
This isn't you at all, you did an excellent job explaining, but
I must admit, you went way over my head! I know you do audio
stuff for a living, so it's not gonna be quick, but I'm in no
hurry. Would you be willing to make me an audio demonstration
of how this works? I'm sorry, but via text, this just isn't
making sense at all. It's not your falt, It's just that it
seems this is a very hard concept to grasp via text.
I thought it would be more easy than this, like select the
portion of audio you want to record, then toggle on punch in,
arm the track, hit record, and you're done. It seem like there
is way more to it than that though.
Wasn't there something like, num pad 4, or was it 6 to turn on
punch in, or is this about the easiest way to do it.
Chris.
----- Original Message -----
From: <mailto:slauhala...@gmail.com>Slau Halatyn
To: <mailto:ptaccess@googlegroups.com>ptaccess@googlegroups.com
Sent: Thursday, May 01, 2014 8:36 PM
Subject: Re: A few more advanced ProTools Questions
Chris,
Go to the Transport window.
Click once on the Pre-roll amount. Assuming you're in bars and
beats, type the number 1 and press return. The Pre-roll amount
will be one bar and Pre-roll will automatically be enabled. The
button appears to the left of the numeric field you just entered.
Move down to the Post-roll field and follow the same steps.
Now that Pre and Post roll are enabled, I'd recommend
temporarily turning them off with Command-k.
Go to the bar/beat where you wish to punch in. Select the range
of bars and/or beats you wish to record. Once you've made your
selection, press Command-k to enable Pre/Post roll. If you press
record, you'll hear one bar before your selected range as
pre-roll and you'll only be in record from the selection point.
Pro Tools will record through the selection and exit record mode
for the final bar of post roll.
If you want two bars of pre-roll, obviously, substitute 2 for 1
when typing in the pre-roll value.
Here's a tip: don't forget to turn off Pre/Post roll when you're
done with your punch-in. When you try to navigate and get to a
particular bar, I guarantee it'll confuse you when you hear the
music from the previous bar and you'll swear that you thought
you meant to go to bar 41 and you'll be hearing bar 40 and all
the while it'll be because you actually are at bar 41 but
pre-roll is causing you to hear bar 40 first.
I'll let someone else take the other questions.
Slau
On May 1, 2014, at 6:48 PM, Christopher-Mark Gilland
<<mailto:clgillan...@gmail.com>clgillan...@gmail.com> wrote:
OK, I do understand that there are quite a few questions here,
but any help would be appreciated with any of these.
First of all, I'd like to talk about punch in/punch
outs. Sometimes, I'll be recording a vocal track, be it lead,
or backing, and I may hit a line a little flat, or a little
sharp. More times than not, flat. Sometimes, it's in a part of
the song which makes it very tricky to get kuh boom right on
key with no lead-in warning. Yeah, I totally get I could then
just back up a ways and record a little more than needed just
for some wiggle room, but why do that if the part right before
sounds flawless? I don't want to chance ruinning a perfectly
good measure just to get the bar after it sounding good. That
just seems a little over kill. Yeah, I know about the playlist
option in the edit window on each track, and yes I know about
comping. I confess I don't do it much, but I think I'm gonna
start getting myself more in the habbit of it. If I want a
pollished recording, then face it, sometimes you have to do the
more dirty tedious work, but in the long run, it's well worth
it. Anyway, so what I'd like to do is a punch in/out. This is
just an example. It doesn't mean it's the song I'm working
with, but it's one that I know must people know, so it'll make
my point really well. Let's take the song Take it Easy by The
Eagles. I, natrually am really not a tennor. I kind of, ish,
can do it, but not real well. So let's take the chorus. Take
it easy, take it easy! Don't let the sound of your own words
drive you crazy. Lighten up while you still can. Let's say
I'm in the key of G. This means on lighten up, when I hit that
C chord, my voice has to hit that G4. So, basically, the G
above middle C. For me, that's way stretching it! I can do
it, but it's a major struggle. Notice, I said struggle, I did
not say strain. I'm not straining to hit it, trust me. I can
hit it, just not very full strength usually, at least not on
the first try. I usually have to do it a few times to
warm/loosen up. So, what I'm thinking is, if I had a way I
could start playing the session right where my vocals say Don't
let the sound of your own words drive you crazy... I could
sing along with that part, not recording, then as soon as I get
past that, have the record engage automatically, let me then
keep singing seemlessly, lighten up while you still can, don't
even try to understand, just find a place to take your stand,
and take it easy. After that, have the record disengage all by
itself. My mike isn't near enough to my workstation that I can
have my hands on the keyboard, nor is it easy for me to hit
that line with no prior warning to lead up to it. I just feel
I need to easily work my way into it. So yeah, if this can be
done, please tell me literally step by step, keystroke by
keystroke what I'd hit to do it.
My second question is, let's say I'm doing a slow country song,
and at the very end, the last two or three bars need to be
slower tempo, giving me a ending retard kind of effect. If you
wonder what I'm talking about, listen, for instance to the end
of Every Light in the House is on by Trace Adkins. That's a
perfect! example! So, I know in the event, tempo operations
window, how to go to constant, and set a constant BPM, but
then, how do I have it do a retard for me?
I'm almost done, just two more things. If I'm in say, 4/4
time, and all a sudden, at the start of a bar, I need to switch
time signatures without moving the tempo, is there a way I can do that?
Finally, If I've inserted midi tracks into my session, and have
their output paths going to different xpand2 instrument tracks,
is there then a way that I could save that arrangement as a
.mid midi file? I know it won't save audio, and I know the
samples in the xpand2 tracks wouldn't be saved as midi. I'm
perfectly aware of that. I know the whole thing about midi
isn't sound. I know it's just 1's and 0's, hince, why I'm
routing their outputs to instrument tracks. I just wonder if I
could then take those midi tracks, assign the correct GM
patches to them like piano, guitar, base, drums on channel 10,
etc. then export them down where any midi player, even
something simple as WinAmp on Windows could then play the .mid
file back with the correct patches in place, and would sound decent.
Again, I'm sorry for all the questions, but again, I trust you
all will pitch in and help me out here a bit.
Chris.
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