Yeah, I'm not sure where the confusion is coming from. Five seconds
is five seconds of time!
At 07:43 AM 5/2/2014, you wrote:
Chris,
As you said, in bars and beats, it represents bars and beats so,
following that logic, in minutes and seconds, it represents minutes
and seconds. Figure out how much time you need in whichever format
your session is in and go for it.
Slau
On May 2, 2014, at 1:29 AM, Christopher-Mark Gilland
<clgillan...@gmail.com> 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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>>>>>
>>>>>
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