Re: Huge huge huge! improvement! So! Close!
Hey man. Congrats on getting your interface to work. Here are my thoughts on the whole monitoring deal. I don't advise turning off the Pro Tools monitoring. Actually, I think it's better to shut off the multimix's monitoring instead. Here's why. The fact that you can hear your signal going into Pro TOols is a good indicator that you are actually recording. This was literally a 4 thousand dollar mistake one time when I worked with an engineer who was using direct monitoring on his interface. Stuff was coming through, but not routed properly through Pro TOols. Had direct monitoring been turned off, we would have caught it. Trust me on this one. 0 latency is no tradeoff for knowing exactly what kind of signal your getting into Pro Tools. I think there's a knob on the interface to turn direct monitoring off so you only hear what's coming through the USB input. That's what you want. Regarding bouncing. Several factors could be at play here. 1. You're bouncing on a 54 hundred rpm drive. These drives are not really fast enough for recording. Trust me on this one too. I can't afford a faster drive, so I have to limp along. One thing I would try is to change the record allocation time for your drive. Right now, Pro TOols is set to record until the drive runs out. If you were to allocate only say 30 minutes to it, Pro TOols is now only allocating a tiny bit of drive space, allowing things to run much smoother. You can find that on the operations tab of the preferences. I'm not in front of my rig, so can't remember what it's called, but it's set to open ended allocation right now. It needs to be set to the other selection and a time frame given to it. Set it to 30 minutes or so. Also, how many tracks have you recorded before running a bounce? If you have a great deal of tracks, it's a good idea to consolidate them: taking all the punches and converting it to 1 long file per track. This actually helps with minimizing some of the load on the drive because it's only streaming one long file as opposed to playing back small clips. Also, if you have an external drive, maybe you could try bouncing to that. Anything to minimize the load on your internal will help. Any variable you can improve with your system will help. Trying maxing out the ram. 2 gb is really a tad low for Pro Tools. Ram is like 40 bucks anymore for 8 gigs, but I think your MacBook will max out at 4, which would be very helpful. Hope this helps. Kevin
Re: Tempo changes
Aaah, this presents me with a dilemma: I've only got two USB ports on this thing, despite the fact that it costed £2000; I get three on my £150 PC netbook but that's by the by. Basically, I need one port for my external hard drive with all my audio files on, and one port for my Ilock device which I need to run software including ProTools. I need both. So here is my dilemma: how do I get an extended keyboard set up as well? The only two plausible options open to me are: have all my projects at the same tempo - perhaps this wouldn't be so bad; it could be my special trade mark sound; I'm sure my clients would understand. Second option is to break the law, downloading cracked software so that I wouldn't need a pesky ILock device taking up a much needed UsB port. They are the only two plausible options. O … Well … I suppose there is a radical option: I could maybe get a bluetooth extended keyboard! Dilemmas dilemmas. And I've only been out of bed for half an hour. And it's a Sunday morning. Go easy on me life. Thanks for all your help. On 01/10/2011, Kevin Reeves reeves...@gmail.com wrote: As we've stated several times throughout the life of the list, it's a good idea to get a keyboard with a numpad on it. Your pro tools experience will be greatly enhanced. There are tons of things you can't do without it. -- http://www.davideagle.co.uk
Re: Tempo changes
Other option is to get an external keyboard LOL. Mine comes with 2 USB ports on it, so you could plug your iLok into that. Or a USB hub. I got one for £10, with 10 ports, and it was all powered. Oh yeah, firewire hard drive LOL. HTH, On 02/10/2011, David Eagle onlineea...@googlemail.com wrote: Aaah, this presents me with a dilemma: I've only got two USB ports on this thing, despite the fact that it costed £2000; I get three on my £150 PC netbook but that's by the by. Basically, I need one port for my external hard drive with all my audio files on, and one port for my Ilock device which I need to run software including ProTools. I need both. So here is my dilemma: how do I get an extended keyboard set up as well? The only two plausible options open to me are: have all my projects at the same tempo - perhaps this wouldn't be so bad; it could be my special trade mark sound; I'm sure my clients would understand. Second option is to break the law, downloading cracked software so that I wouldn't need a pesky ILock device taking up a much needed UsB port. They are the only two plausible options. O … Well … I suppose there is a radical option: I could maybe get a bluetooth extended keyboard! Dilemmas dilemmas. And I've only been out of bed for half an hour. And it's a Sunday morning. Go easy on me life. Thanks for all your help. On 01/10/2011, Kevin Reeves reeves...@gmail.com wrote: As we've stated several times throughout the life of the list, it's a good idea to get a keyboard with a numpad on it. Your pro tools experience will be greatly enhanced. There are tons of things you can't do without it. -- http://www.davideagle.co.uk -- Take care, Chris Norman. !-- chris.norm...@googlemail.com --
Re: Huge huge huge! improvement! So! Close!
I know it's not perfect either, but you could bounce as WAV, then use something like soundconverter to convert your track, Macs or Max is the other one (which has the additional benefit of being free), which you can also use. Sorry I can't be more constructive. On 02/10/2011, Kevin Reeves reeves...@gmail.com wrote: Hey man. Congrats on getting your interface to work. Here are my thoughts on the whole monitoring deal. I don't advise turning off the Pro Tools monitoring. Actually, I think it's better to shut off the multimix's monitoring instead. Here's why. The fact that you can hear your signal going into Pro TOols is a good indicator that you are actually recording. This was literally a 4 thousand dollar mistake one time when I worked with an engineer who was using direct monitoring on his interface. Stuff was coming through, but not routed properly through Pro TOols. Had direct monitoring been turned off, we would have caught it. Trust me on this one. 0 latency is no tradeoff for knowing exactly what kind of signal your getting into Pro Tools. I think there's a knob on the interface to turn direct monitoring off so you only hear what's coming through the USB input. That's what you want. Regarding bouncing. Several factors could be at play here. 1. You're bouncing on a 54 hundred rpm drive. These drives are not really fast enough for recording. Trust me on this one too. I can't afford a faster drive, so I have to limp along. One thing I would try is to change the record allocation time for your drive. Right now, Pro TOols is set to record until the drive runs out. If you were to allocate only say 30 minutes to it, Pro TOols is now only allocating a tiny bit of drive space, allowing things to run much smoother. You can find that on the operations tab of the preferences. I'm not in front of my rig, so can't remember what it's called, but it's set to open ended allocation right now. It needs to be set to the other selection and a time frame given to it. Set it to 30 minutes or so. Also, how many tracks have you recorded before running a bounce? If you have a great deal of tracks, it's a good idea to consolidate them: taking all the punches and converting it to 1 long file per track. This actually helps with minimizing some of the load on the drive because it's only streaming one long file as opposed to playing back small clips. Also, if you have an external drive, maybe you could try bouncing to that. Anything to minimize the load on your internal will help. Any variable you can improve with your system will help. Trying maxing out the ram. 2 gb is really a tad low for Pro Tools. Ram is like 40 bucks anymore for 8 gigs, but I think your MacBook will max out at 4, which would be very helpful. Hope this helps. Kevin -- Take care, Chris Norman. !-- chris.norm...@googlemail.com --
Re: Tempo changes
Hey man. The wired keyboard comes with 2 USB ports, which would totally house your iLok and 1 more unpowered device. Hope that helps. Kevin
Re: Tempo changes
you got an external keyboard with USB ports on it? What's the model please. On 02/10/2011, Chris Norman chris.norm...@googlemail.com wrote: Other option is to get an external keyboard LOL. Mine comes with 2 USB ports on it, so you could plug your iLok into that. Or a USB hub. I got one for £10, with 10 ports, and it was all powered. Oh yeah, firewire hard drive LOL. HTH, On 02/10/2011, David Eagle onlineea...@googlemail.com wrote: Aaah, this presents me with a dilemma: I've only got two USB ports on this thing, despite the fact that it costed £2000; I get three on my £150 PC netbook but that's by the by. Basically, I need one port for my external hard drive with all my audio files on, and one port for my Ilock device which I need to run software including ProTools. I need both. So here is my dilemma: how do I get an extended keyboard set up as well? The only two plausible options open to me are: have all my projects at the same tempo - perhaps this wouldn't be so bad; it could be my special trade mark sound; I'm sure my clients would understand. Second option is to break the law, downloading cracked software so that I wouldn't need a pesky ILock device taking up a much needed UsB port. They are the only two plausible options. O … Well … I suppose there is a radical option: I could maybe get a bluetooth extended keyboard! Dilemmas dilemmas. And I've only been out of bed for half an hour. And it's a Sunday morning. Go easy on me life. Thanks for all your help. On 01/10/2011, Kevin Reeves reeves...@gmail.com wrote: As we've stated several times throughout the life of the list, it's a good idea to get a keyboard with a numpad on it. Your pro tools experience will be greatly enhanced. There are tons of things you can't do without it. -- http://www.davideagle.co.uk -- Take care, Chris Norman. !-- chris.norm...@googlemail.com -- -- http://www.davideagle.co.uk
Re: Again about MBox-Pro.
Strange, my interface doesn't work at all, unless I'm being a propper dumb ass, which is more than possible LOL, got a friend coming round to look at it though. Footswitch would be nice though. If you're like me, and don't like doing things again and again, it's great for just getting that bit of audio where you want it. On 29/09/2011, Monkey Pusher monkeypushe...@gmail.com wrote: there is a remote footswitch jack on the back. that u can connect a standard latching pedal (think similar to whats used to switch channels on a2 channel guitar amp) or a momentary pedal) think like a sustain pedal for a keyboard.) U can decide in pro tools what that remote is used for. I believe by default its set to punch in and our for recording, but there are a few other options you can assign it to. I don't remember what they are since i never used this feature. On 9/29/11, Chiapello Diego ildieg...@googlemail.com wrote: Hi Stephen, you answered me exactly. Now I ask you another thing: if I read well there is also a Remote connector. What does it refer to? Who or what can do this remote control? Thank you again. Have a nice day. Diego. 2011/9/28, Stephen Martin monkeypushe...@gmail.com: The only really inaccessible part is if you want to turn on or off the hi pass filter on each of the 4 inputs with XLR/Line inputs, and to configure the monitor outputs as either 3 separate pairs of monitors or as a 5.1 sorround mix you will need to do this in the driver software and that is inaccessible with VO. Atleast it was on SL, havent tried it on Lion but have no reason to believe its now accesssible. If i didn't answer your question, please let me know more specifically what you have questions about. On Sep 28, 2011, at 11:16 AM, Chiapello Diego wrote: Sorry guys, I read your post about MBox-Pro but I didn't understand well about the initial inaccessibility to cinfigure it. Someone can explain me better, please? Thank you and have a nice evening. Diego. -- Take care, Chris Norman. !-- chris.norm...@googlemail.com --
Re: Tempo changes
Dunno mate, just a standard apple USB keyboard. On 02/10/2011, David Eagle onlineea...@googlemail.com wrote: you got an external keyboard with USB ports on it? What's the model please. On 02/10/2011, Chris Norman chris.norm...@googlemail.com wrote: Other option is to get an external keyboard LOL. Mine comes with 2 USB ports on it, so you could plug your iLok into that. Or a USB hub. I got one for £10, with 10 ports, and it was all powered. Oh yeah, firewire hard drive LOL. HTH, On 02/10/2011, David Eagle onlineea...@googlemail.com wrote: Aaah, this presents me with a dilemma: I've only got two USB ports on this thing, despite the fact that it costed £2000; I get three on my £150 PC netbook but that's by the by. Basically, I need one port for my external hard drive with all my audio files on, and one port for my Ilock device which I need to run software including ProTools. I need both. So here is my dilemma: how do I get an extended keyboard set up as well? The only two plausible options open to me are: have all my projects at the same tempo - perhaps this wouldn't be so bad; it could be my special trade mark sound; I'm sure my clients would understand. Second option is to break the law, downloading cracked software so that I wouldn't need a pesky ILock device taking up a much needed UsB port. They are the only two plausible options. O … Well … I suppose there is a radical option: I could maybe get a bluetooth extended keyboard! Dilemmas dilemmas. And I've only been out of bed for half an hour. And it's a Sunday morning. Go easy on me life. Thanks for all your help. On 01/10/2011, Kevin Reeves reeves...@gmail.com wrote: As we've stated several times throughout the life of the list, it's a good idea to get a keyboard with a numpad on it. Your pro tools experience will be greatly enhanced. There are tons of things you can't do without it. -- http://www.davideagle.co.uk -- Take care, Chris Norman. !-- chris.norm...@googlemail.com -- -- http://www.davideagle.co.uk -- Take care, Chris Norman. !-- chris.norm...@googlemail.com --
Re: Tempo changes
Found one. Excelent. What a brilliant bunch of people you all are. On 02/10/2011, Chris Norman chris.norm...@googlemail.com wrote: Dunno mate, just a standard apple USB keyboard. On 02/10/2011, David Eagle onlineea...@googlemail.com wrote: you got an external keyboard with USB ports on it? What's the model please. On 02/10/2011, Chris Norman chris.norm...@googlemail.com wrote: Other option is to get an external keyboard LOL. Mine comes with 2 USB ports on it, so you could plug your iLok into that. Or a USB hub. I got one for £10, with 10 ports, and it was all powered. Oh yeah, firewire hard drive LOL. HTH, On 02/10/2011, David Eagle onlineea...@googlemail.com wrote: Aaah, this presents me with a dilemma: I've only got two USB ports on this thing, despite the fact that it costed £2000; I get three on my £150 PC netbook but that's by the by. Basically, I need one port for my external hard drive with all my audio files on, and one port for my Ilock device which I need to run software including ProTools. I need both. So here is my dilemma: how do I get an extended keyboard set up as well? The only two plausible options open to me are: have all my projects at the same tempo - perhaps this wouldn't be so bad; it could be my special trade mark sound; I'm sure my clients would understand. Second option is to break the law, downloading cracked software so that I wouldn't need a pesky ILock device taking up a much needed UsB port. They are the only two plausible options. O … Well … I suppose there is a radical option: I could maybe get a bluetooth extended keyboard! Dilemmas dilemmas. And I've only been out of bed for half an hour. And it's a Sunday morning. Go easy on me life. Thanks for all your help. On 01/10/2011, Kevin Reeves reeves...@gmail.com wrote: As we've stated several times throughout the life of the list, it's a good idea to get a keyboard with a numpad on it. Your pro tools experience will be greatly enhanced. There are tons of things you can't do without it. -- http://www.davideagle.co.uk -- Take care, Chris Norman. !-- chris.norm...@googlemail.com -- -- http://www.davideagle.co.uk -- Take care, Chris Norman. !-- chris.norm...@googlemail.com -- -- http://www.davideagle.co.uk
Re: Tempo changes
It's the Apple aluminum wired keyboard. Just google that, and a ton of results will come back. On Oct 2, 2011, at 5:15 AM, David Eagle wrote: you got an external keyboard with USB ports on it? What's the model please. On 02/10/2011, Chris Norman chris.norm...@googlemail.com wrote: Other option is to get an external keyboard LOL. Mine comes with 2 USB ports on it, so you could plug your iLok into that. Or a USB hub. I got one for £10, with 10 ports, and it was all powered. Oh yeah, firewire hard drive LOL. HTH, On 02/10/2011, David Eagle onlineea...@googlemail.com wrote: Aaah, this presents me with a dilemma: I've only got two USB ports on this thing, despite the fact that it costed £2000; I get three on my £150 PC netbook but that's by the by. Basically, I need one port for my external hard drive with all my audio files on, and one port for my Ilock device which I need to run software including ProTools. I need both. So here is my dilemma: how do I get an extended keyboard set up as well? The only two plausible options open to me are: have all my projects at the same tempo - perhaps this wouldn't be so bad; it could be my special trade mark sound; I'm sure my clients would understand. Second option is to break the law, downloading cracked software so that I wouldn't need a pesky ILock device taking up a much needed UsB port. They are the only two plausible options. O … Well … I suppose there is a radical option: I could maybe get a bluetooth extended keyboard! Dilemmas dilemmas. And I've only been out of bed for half an hour. And it's a Sunday morning. Go easy on me life. Thanks for all your help. On 01/10/2011, Kevin Reeves reeves...@gmail.com wrote: As we've stated several times throughout the life of the list, it's a good idea to get a keyboard with a numpad on it. Your pro tools experience will be greatly enhanced. There are tons of things you can't do without it. -- http://www.davideagle.co.uk -- Take care, Chris Norman. !-- chris.norm...@googlemail.com -- -- http://www.davideagle.co.uk
Re: Huge huge huge! improvement! So! Close!
Something to consider, and i don't know how well this will work, but if you mac has an SD card slot on it, Class 10 16GB and 32GB SD cards are fairly inexpensive now, especially if you know where to shop for them. So yeah you may be only to kep a project or two on them but move the project folder to it before launching it in PT. If my math is correct, class 10 drives should be about as fast as a USB External HD. Also 250GB external USB HD's are pretty inexpensive these days as well. Not a tone of storage but enough to keep a few projects going as well. And yeah, I'd definately consider upping the ram in that machine if and when possible. Not to discourage you from using ProTools, but if your PC has more RAM you may find certask a bit smoother with SONAR. Sonar really isn't inferior, or ProTools isn't necessarily better. They are Both DAWS capable of turning Pro Comericial Recordings; there are just different ways of getting to the same end once you master the tools and skills involved with knowing either. On Oct 2, 2011, at 3:33 AM, Kevin Reeves wrote: Hey man. Congrats on getting your interface to work. Here are my thoughts on the whole monitoring deal. I don't advise turning off the Pro Tools monitoring. Actually, I think it's better to shut off the multimix's monitoring instead. Here's why. The fact that you can hear your signal going into Pro TOols is a good indicator that you are actually recording. This was literally a 4 thousand dollar mistake one time when I worked with an engineer who was using direct monitoring on his interface. Stuff was coming through, but not routed properly through Pro TOols. Had direct monitoring been turned off, we would have caught it. Trust me on this one. 0 latency is no tradeoff for knowing exactly what kind of signal your getting into Pro Tools. I think there's a knob on the interface to turn direct monitoring off so you only hear what's coming through the USB input. That's what you want. Regarding bouncing. Several factors could be at play here. 1. You're bouncing on a 54 hundred rpm drive. These drives are not really fast enough for recording. Trust me on this one too. I can't afford a faster drive, so I have to limp along. One thing I would try is to change the record allocation time for your drive. Right now, Pro TOols is set to record until the drive runs out. If you were to allocate only say 30 minutes to it, Pro TOols is now only allocating a tiny bit of drive space, allowing things to run much smoother. You can find that on the operations tab of the preferences. I'm not in front of my rig, so can't remember what it's called, but it's set to open ended allocation right now. It needs to be set to the other selection and a time frame given to it. Set it to 30 minutes or so. Also, how many tracks have you recorded before running a bounce? If you have a great deal of tracks, it's a good idea to consolidate them: taking all the punches and converting it to 1 long file per track. This actually helps with minimizing some of the load on the drive because it's only streaming one long file as opposed to playing back small clips. Also, if you have an external drive, maybe you could try bouncing to that. Anything to minimize the load on your internal will help. Any variable you can improve with your system will help. Trying maxing out the ram. 2 gb is really a tad low for Pro Tools. Ram is like 40 bucks anymore for 8 gigs, but I think your MacBook will max out at 4, which would be very helpful. Hope this helps. Kevin
Re: to new Pro Tools users
Right ON Slau! I try to call avid every chance I get and guess what The people I talk to are starting to say yes I have heard of VoiceOver! The squeaky wheel gets the grease! YMMV Chuck On Oct 1, 2011, at 11:25 PM, Slau Halatyn wrote: Just a little note to the new Pro Tools users on this list (and I'm not directing this toward anyone in particular): As new users, you should know that you're entitled to technical support from Avid. Sure, it's for a limited time and they won't be able to advise about anything from a VoiceOver perspective but I feel it's important to avail oneself of the support offered by the makers of Pro Tools. Further, while it is true that they will not offer VoiceOver-specific support, it certainly doesn't hurt for them to know that there are new blind users of Pro Tools purchasing the product and using the platform. All of that said, don't forget the old RTFM advice and, when you get stuck, just give a hollar. slau Chuck Reichel 954-742-0019 www.SoundPictureRecording.com
Re: Huge huge huge! improvement! So! Close!
It's ok, but even bouncing to wav is not working. Chris. - Original Message - From: Chris Norman chris.norm...@googlemail.com To: ptaccess@googlegroups.com Sent: Sunday, October 02, 2011 5:11 AM Subject: Re: Huge huge huge! improvement! So! Close! I know it's not perfect either, but you could bounce as WAV, then use something like soundconverter to convert your track, Macs or Max is the other one (which has the additional benefit of being free), which you can also use. Sorry I can't be more constructive. On 02/10/2011, Kevin Reeves reeves...@gmail.com wrote: Hey man. Congrats on getting your interface to work. Here are my thoughts on the whole monitoring deal. I don't advise turning off the Pro Tools monitoring. Actually, I think it's better to shut off the multimix's monitoring instead. Here's why. The fact that you can hear your signal going into Pro TOols is a good indicator that you are actually recording. This was literally a 4 thousand dollar mistake one time when I worked with an engineer who was using direct monitoring on his interface. Stuff was coming through, but not routed properly through Pro TOols. Had direct monitoring been turned off, we would have caught it. Trust me on this one. 0 latency is no tradeoff for knowing exactly what kind of signal your getting into Pro Tools. I think there's a knob on the interface to turn direct monitoring off so you only hear what's coming through the USB input. That's what you want. Regarding bouncing. Several factors could be at play here. 1. You're bouncing on a 54 hundred rpm drive. These drives are not really fast enough for recording. Trust me on this one too. I can't afford a faster drive, so I have to limp along. One thing I would try is to change the record allocation time for your drive. Right now, Pro TOols is set to record until the drive runs out. If you were to allocate only say 30 minutes to it, Pro TOols is now only allocating a tiny bit of drive space, allowing things to run much smoother. You can find that on the operations tab of the preferences. I'm not in front of my rig, so can't remember what it's called, but it's set to open ended allocation right now. It needs to be set to the other selection and a time frame given to it. Set it to 30 minutes or so. Also, how many tracks have you recorded before running a bounce? If you have a great deal of tracks, it's a good idea to consolidate them: taking all the punches and converting it to 1 long file per track. This actually helps with minimizing some of the load on the drive because it's only streaming one long file as opposed to playing back small clips. Also, if you have an external drive, maybe you could try bouncing to that. Anything to minimize the load on your internal will help. Any variable you can improve with your system will help. Trying maxing out the ram. 2 gb is really a tad low for Pro Tools. Ram is like 40 bucks anymore for 8 gigs, but I think your MacBook will max out at 4, which would be very helpful. Hope this helps. Kevin -- Take care, Chris Norman. !-- chris.norm...@googlemail.com --
Re: Help with timeline tracking
Kevin, thanks for responding. I probably did not explain this very well. When I am using the MIDI edit window the MIDI notes displayed do not reflect the current position of the song. I can't think of a brief way to explain this so I apologize for the long-winded description. In the MIDI edit window it will display measures 1 to 20 for example and show blocks to represent the MIDI notes and durations. When you hit play the cursor moves across the window reflecting where the play head is currently. Once it reaches the end (measure 20) the cursor jumps back to the left of the window and then the window displays measures 21 to 40. So if the measure 31 has a wrong note I can stop the playback and see on the current window where the error is. This is the way it should work. However, right now my setup simply stays on the display of measures 1 to 20 and no matter where the playhead is in the song I will only see the first 20 measures. This makes it impossible to do any real MIDI editing. Now I understand that voiceover accessibility is either limited or nonexistent. I am partially sighted and with the zoom I can slowly edit some of these MIDI notes as I used to do in Sonar. But with Sonar the measures displayed always matched where I was in the song. Do you know what this could be? Also, is there any voiceover accessible way of editing MIDI? I would rather do that since my vision is pretty poor, but I don't know how to do it. Thanks again for the help! Jason Kevin Reeves wrote: The main thing that needs to be unchecked is the insertion follows playhead setting. That will unlink them so that when you press stop, it will go back to where your insertion point is.. Then, When you move the insertion point, the playhead moves, not the other way around. At this point, I can't remember where that is. I think it's in the operations tab of the prefs. I hope this helps. Kevin BTW, how are you using the event editor? Very curious.
Re: Huge huge huge! improvement! So! Close!
Create a folder on that external drive and point all your Pro Tools Projects to that folder and have pro tools work off that drive instead. On Oct 2, 2011, at 11:45 AM, Christopher-Mark Gilland wrote: We'll give that a shot ande see. How do I go about consolidating all my tracks into one thing as you said? Actually there were only two tracks, one karaoke track, and one vocal track, n o fancy things just bvocal, and the auto-tune RTAS wrapper, and maybe a stereo reverb insert, so basically, two inserts. I also find that if I manage to do things in one take, yeah, flippen, right, shoot me witha gun, don't you, I'm fine, but as soon as I stop recording, and then command+Z to undo the track, I get major monitor ladency until closing and restarting PT. Very! aggervating! Finally Kevin, you have to understand something about this multi-mix interface. It's only a $75 interface. it's very cheap, and extremely, and I make no exageration when I say extremely basic setup. There are no buttons for turning off the internal monitor. All I could do is turn the channel down, but of chorus, if I do that, then it won't get recorded. Yes, I was trying to bounce to my internal hard drive. Yes, I do have an external 1TB CGate Go-Plex USB drive. I could try that. I did change the setting to 30 minutes as you suggested. We'll see what happens. Chris. - Original Message - From: Kevin Reeves reeves...@gmail.com To: ptaccess@googlegroups.com Sent: Sunday, October 02, 2011 3:33 AM Subject: Re: Huge huge huge! improvement! So! Close! Hey man. Congrats on getting your interface to work. Here are my thoughts on the whole monitoring deal. I don't advise turning off the Pro Tools monitoring. Actually, I think it's better to shut off the multimix's monitoring instead. Here's why. The fact that you can hear your signal going into Pro TOols is a good indicator that you are actually recording. This was literally a 4 thousand dollar mistake one time when I worked with an engineer who was using direct monitoring on his interface. Stuff was coming through, but not routed properly through Pro TOols. Had direct monitoring been turned off, we would have caught it. Trust me on this one. 0 latency is no tradeoff for knowing exactly what kind of signal your getting into Pro Tools. I think there's a knob on the interface to turn direct monitoring off so you only hear what's coming through the USB input. That's what you want. Regarding bouncing. Several factors could be at play here. 1. You're bouncing on a 54 hundred rpm drive. These drives are not really fast enough for recording. Trust me on this one too. I can't afford a faster drive, so I have to limp along. One thing I would try is to change the record allocation time for your drive. Right now, Pro TOols is set to record until the drive runs out. If you were to allocate only say 30 minutes to it, Pro TOols is now only allocating a tiny bit of drive space, allowing things to run much smoother. You can find that on the operations tab of the preferences. I'm not in front of my rig, so can't remember what it's called, but it's set to open ended allocation right now. It needs to be set to the other selection and a time frame given to it. Set it to 30 minutes or so. Also, how many tracks have you recorded before running a bounce? If you have a great deal of tracks, it's a good idea to consolidate them: taking all the punches and converting it to 1 long file per track. This actually helps with minimizing some of the load on the drive because it's only streaming one long file as opposed to playing back small clips. Also, if you have an external drive, maybe you could try bouncing to that. Anything to minimize the load on your internal will help. Any variable you can improve with your system will help. Trying maxing out the ram. 2 gb is really a tad low for Pro Tools. Ram is like 40 bucks anymore for 8 gigs, but I think your MacBook will max out at 4, which would be very helpful. Hope this helps. Kevin=
Re: Huge huge huge! improvement! So! Close!
I tried that and it didn't work, still. Chris. - Original Message - From: Stephen Martin monkeypushe...@gmail.com To: ptaccess@googlegroups.com Sent: Sunday, October 02, 2011 1:20 PM Subject: Re: Huge huge huge! improvement! So! Close! Create a folder on that external drive and point all your Pro Tools Projects to that folder and have pro tools work off that drive instead. On Oct 2, 2011, at 11:45 AM, Christopher-Mark Gilland wrote: We'll give that a shot ande see. How do I go about consolidating all my tracks into one thing as you said? Actually there were only two tracks, one karaoke track, and one vocal track, n o fancy things just bvocal, and the auto-tune RTAS wrapper, and maybe a stereo reverb insert, so basically, two inserts. I also find that if I manage to do things in one take, yeah, flippen, right, shoot me witha gun, don't you, I'm fine, but as soon as I stop recording, and then command+Z to undo the track, I get major monitor ladency until closing and restarting PT. Very! aggervating! Finally Kevin, you have to understand something about this multi-mix interface. It's only a $75 interface. it's very cheap, and extremely, and I make no exageration when I say extremely basic setup. There are no buttons for turning off the internal monitor. All I could do is turn the channel down, but of chorus, if I do that, then it won't get recorded. Yes, I was trying to bounce to my internal hard drive. Yes, I do have an external 1TB CGate Go-Plex USB drive. I could try that. I did change the setting to 30 minutes as you suggested. We'll see what happens. Chris. - Original Message - From: Kevin Reeves reeves...@gmail.com To: ptaccess@googlegroups.com Sent: Sunday, October 02, 2011 3:33 AM Subject: Re: Huge huge huge! improvement! So! Close! Hey man. Congrats on getting your interface to work. Here are my thoughts on the whole monitoring deal. I don't advise turning off the Pro Tools monitoring. Actually, I think it's better to shut off the multimix's monitoring instead. Here's why. The fact that you can hear your signal going into Pro TOols is a good indicator that you are actually recording. This was literally a 4 thousand dollar mistake one time when I worked with an engineer who was using direct monitoring on his interface. Stuff was coming through, but not routed properly through Pro TOols. Had direct monitoring been turned off, we would have caught it. Trust me on this one. 0 latency is no tradeoff for knowing exactly what kind of signal your getting into Pro Tools. I think there's a knob on the interface to turn direct monitoring off so you only hear what's coming through the USB input. That's what you want. Regarding bouncing. Several factors could be at play here. 1. You're bouncing on a 54 hundred rpm drive. These drives are not really fast enough for recording. Trust me on this one too. I can't afford a faster drive, so I have to limp along. One thing I would try is to change the record allocation time for your drive. Right now, Pro TOols is set to record until the drive runs out. If you were to allocate only say 30 minutes to it, Pro TOols is now only allocating a tiny bit of drive space, allowing things to run much smoother. You can find that on the operations tab of the preferences. I'm not in front of my rig, so can't remember what it's called, but it's set to open ended allocation right now. It needs to be set to the other selection and a time frame given to it. Set it to 30 minutes or so. Also, how many tracks have you recorded before running a bounce? If you have a great deal of tracks, it's a good idea to consolidate them: taking all the punches and converting it to 1 long file per track. This actually helps with minimizing some of the load on the drive because it's only streaming one long file as opposed to playing back small clips. Also, if you have an external drive, maybe you could try bouncing to that. Anything to minimize the load on your internal will help. Any variable you can improve with your system will help. Trying maxing out the ram. 2 gb is really a tad low for Pro Tools. Ram is like 40 bucks anymore for 8 gigs, but I think your MacBook will max out at 4, which would be very helpful. Hope this helps. Kevin=
Erm, boss? We gotta little pwobwem, LOL!
OK, first of all, download this mp3 I made in PT. I had to use Audio Hijack Pro to get it mixed to an mp3 till I find out what the heck my bouncing issue is, but anyway, again, here, get this first of all: http://www.sendspace.com/file/7fm4u2 OK, yeah, yeah, don't chastise my vocals, I know they're r'real! bad. Probably God aweful! I didn't say I was totally warmed up. Anyway, notice the music track is very natural sounding. All I did's run some reverb on my two vocal tracks. the one doing the lead vocal, and the one doing the high shoo wop part, then also added auto-tune, and a little more reverb on the karaoke track, as frankly, in my book, it was way too dry originally. Maybe I over-did it, but anyway, the issue is if I turn the high up on my multi mix interface, I start clipping. If i turn the hi up and then either my fader or my trim down on the board, I'm too soft. If I back the hi off on the board as I did, as you can hear my vocals sound muffled. They dont/' have that clean brightness that I need. Yes, this is a studio grade condenser phantom-powered mike. So I'm not running cheap stuff here. I mean it isn't toppa the line, by any means, but it's not low end either at all. I have the entire folder will all the session files. Would it help more if I send space you all that so you can actually see the project, and all my levels etc? I just wonder how we can get the vocal a bit more bright and less muffled seeing the above issues. I'm kind a darned if I do, darned if I don't, catch 22. Don't just fix it for me, I mean, you can, if you have the time and want to, but I need to learn how to do this, so don't tell me my vocals are off, I know that. More, what should I do to make this mix better? Be nice, be nice! LOL! I'm a beh bee, I'm still learning. LOL! Chris.
Re: Erm, boss? We gotta little pwobwem, LOL!
One thing that might help, if you're able to do so, is singing the lead vocal part an octave higher. - Original Message - From: Christopher-Mark Gilland clgillan...@gmail.com To: ptaccess@googlegroups.com Sent: Sunday, October 02, 2011 1:57 PM Subject: Erm, boss? We gotta little pwobwem, LOL! OK, first of all, download this mp3 I made in PT. I had to use Audio Hijack Pro to get it mixed to an mp3 till I find out what the heck my bouncing issue is, but anyway, again, here, get this first of all: http://www.sendspace.com/file/7fm4u2 OK, yeah, yeah, don't chastise my vocals, I know they're r'real! bad. Probably God aweful! I didn't say I was totally warmed up. Anyway, notice the music track is very natural sounding. All I did's run some reverb on my two vocal tracks. the one doing the lead vocal, and the one doing the high shoo wop part, then also added auto-tune, and a little more reverb on the karaoke track, as frankly, in my book, it was way too dry originally. Maybe I over-did it, but anyway, the issue is if I turn the high up on my multi mix interface, I start clipping. If i turn the hi up and then either my fader or my trim down on the board, I'm too soft. If I back the hi off on the board as I did, as you can hear my vocals sound muffled. They dont/' have that clean brightness that I need. Yes, this is a studio grade condenser phantom-powered mike. So I'm not running cheap stuff here. I mean it isn't toppa the line, by any means, but it's not low end either at all. I have the entire folder will all the session files. Would it help more if I send space you all that so you can actually see the project, and all my levels etc? I just wonder how we can get the vocal a bit more bright and less muffled seeing the above issues. I'm kind a darned if I do, darned if I don't, catch 22. Don't just fix it for me, I mean, you can, if you have the time and want to, but I need to learn how to do this, so don't tell me my vocals are off, I know that. More, what should I do to make this mix better? Be nice, be nice! LOL! I'm a beh bee, I'm still learning. LOL! Chris.
Re: Erm, boss? We gotta little pwobwem, LOL!
ok two things. If the vocals aren't loud enough, instead of turning up the vocals bring down the level on the karaoke track. Secondly Stop trying to boost the highs, and cut the mud instead. Rule #1 of using EQ cut before you boost. First off, you probably want to run the vocals through a high pass filter, cutting off all frequencies around 150HZ to 200HZ, Experiment and fine tune to taste. Secendly then try cutting some where in the miss as well to help bring out the highs more. If you do ending up boosting the highs, a small amount goes a long way after following steps 1 and 2. Also you may have a decent studio grade condenser, but the weak link in your chain right now could be the multi mix and it's inexpensive per's. But chances are this is probably the least of your worries for now and the EQ tips I mentioned above should get you started. Add the Air 1 band or 3 band eq that comes with PT on the track and start experimenting. ASlso in the reverb blog in, see if it has a high pass and low pass setting, you may want to set the high pass to the same setting as the eq's high pass, and set the low pass somewhere around 5khz. Hope this helps at least get you started. On Oct 2, 2011, at 1:57 PM, Christopher-Mark Gilland wrote: OK, first of all, download this mp3 I made in PT. I had to use Audio Hijack Pro to get it mixed to an mp3 till I find out what the heck my bouncing issue is, but anyway, again, here, get this first of all: http://www.sendspace.com/file/7fm4u2 OK, yeah, yeah, don't chastise my vocals, I know they're r'real! bad. Probably God aweful! I didn't say I was totally warmed up. Anyway, notice the music track is very natural sounding. All I did's run some reverb on my two vocal tracks. the one doing the lead vocal, and the one doing the high shoo wop part, then also added auto-tune, and a little more reverb on the karaoke track, as frankly, in my book, it was way too dry originally. Maybe I over-did it, but anyway, the issue is if I turn the high up on my multi mix interface, I start clipping. If i turn the hi up and then either my fader or my trim down on the board, I'm too soft. If I back the hi off on the board as I did, as you can hear my vocals sound muffled. They dont/' have that clean brightness that I need. Yes, this is a studio grade condenser phantom-powered mike. So I'm not running cheap stuff here. I mean it isn't toppa the line, by any means, but it's not low end either at all. I have the entire folder will all the session files. Would it help more if I send space you all that so you can actually see the project, and all my levels etc? I just wonder how we can get the vocal a bit more bright and less muffled seeing the above issues. I'm kind a darned if I do, darned if I don't, catch 22. Don't just fix it for me, I mean, you can, if you have the time and want to, but I need to learn how to do this, so don't tell me my vocals are off, I know that. More, what should I do to make this mix better? Be nice, be nice! LOL! I'm a beh bee, I'm still learning. LOL! Chris.
Re: Erm, boss? We gotta little pwobwem, LOL!
ouch! That went way over my poor little head. In the longrun, I wanan learn to do all that, but for now, what would you say you'd focus on learning before anything further. Let's take this one step at a time. All these things're overwhelming me. Chris. - Original Message - From: Stephen Martin monkeypushe...@gmail.com To: ptaccess@googlegroups.com Sent: Sunday, October 02, 2011 2:49 PM Subject: Re: Erm, boss? We gotta little pwobwem, LOL! ok two things. If the vocals aren't loud enough, instead of turning up the vocals bring down the level on the karaoke track. Secondly Stop trying to boost the highs, and cut the mud instead. Rule #1 of using EQ cut before you boost. First off, you probably want to run the vocals through a high pass filter, cutting off all frequencies around 150HZ to 200HZ, Experiment and fine tune to taste. Secendly then try cutting some where in the miss as well to help bring out the highs more. If you do ending up boosting the highs, a small amount goes a long way after following steps 1 and 2. Also you may have a decent studio grade condenser, but the weak link in your chain right now could be the multi mix and it's inexpensive per's. But chances are this is probably the least of your worries for now and the EQ tips I mentioned above should get you started. Add the Air 1 band or 3 band eq that comes with PT on the track and start experimenting. ASlso in the reverb blog in, see if it has a high pass and low pass setting, you may want to set the high pass to the same setting as the eq's high pass, and set the low pass somewhere around 5khz. Hope this helps at least get you started. On Oct 2, 2011, at 1:57 PM, Christopher-Mark Gilland wrote: OK, first of all, download this mp3 I made in PT. I had to use Audio Hijack Pro to get it mixed to an mp3 till I find out what the heck my bouncing issue is, but anyway, again, here, get this first of all: http://www.sendspace.com/file/7fm4u2 OK, yeah, yeah, don't chastise my vocals, I know they're r'real! bad. Probably God aweful! I didn't say I was totally warmed up. Anyway, notice the music track is very natural sounding. All I did's run some reverb on my two vocal tracks. the one doing the lead vocal, and the one doing the high shoo wop part, then also added auto-tune, and a little more reverb on the karaoke track, as frankly, in my book, it was way too dry originally. Maybe I over-did it, but anyway, the issue is if I turn the high up on my multi mix interface, I start clipping. If i turn the hi up and then either my fader or my trim down on the board, I'm too soft. If I back the hi off on the board as I did, as you can hear my vocals sound muffled. They dont/' have that clean brightness that I need. Yes, this is a studio grade condenser phantom-powered mike. So I'm not running cheap stuff here. I mean it isn't toppa the line, by any means, but it's not low end either at all. I have the entire folder will all the session files. Would it help more if I send space you all that so you can actually see the project, and all my levels etc? I just wonder how we can get the vocal a bit more bright and less muffled seeing the above issues. I'm kind a darned if I do, darned if I don't, catch 22. Don't just fix it for me, I mean, you can, if you have the time and want to, but I need to learn how to do this, so don't tell me my vocals are off, I know that. More, what should I do to make this mix better? Be nice, be nice! LOL! I'm a beh bee, I'm still learning. LOL! Chris.
Re: Erm, boss? We gotta little pwobwem, LOL!
Oh, BTW, no mid control on my multi-mix, only lows, not highs. Chris. My high and low right now is half way straight up at 12:00. Chris. - Original Message - From: Stephen Martin monkeypushe...@gmail.com To: ptaccess@googlegroups.com Sent: Sunday, October 02, 2011 2:49 PM Subject: Re: Erm, boss? We gotta little pwobwem, LOL! ok two things. If the vocals aren't loud enough, instead of turning up the vocals bring down the level on the karaoke track. Secondly Stop trying to boost the highs, and cut the mud instead. Rule #1 of using EQ cut before you boost. First off, you probably want to run the vocals through a high pass filter, cutting off all frequencies around 150HZ to 200HZ, Experiment and fine tune to taste. Secendly then try cutting some where in the miss as well to help bring out the highs more. If you do ending up boosting the highs, a small amount goes a long way after following steps 1 and 2. Also you may have a decent studio grade condenser, but the weak link in your chain right now could be the multi mix and it's inexpensive per's. But chances are this is probably the least of your worries for now and the EQ tips I mentioned above should get you started. Add the Air 1 band or 3 band eq that comes with PT on the track and start experimenting. ASlso in the reverb blog in, see if it has a high pass and low pass setting, you may want to set the high pass to the same setting as the eq's high pass, and set the low pass somewhere around 5khz. Hope this helps at least get you started. On Oct 2, 2011, at 1:57 PM, Christopher-Mark Gilland wrote: OK, first of all, download this mp3 I made in PT. I had to use Audio Hijack Pro to get it mixed to an mp3 till I find out what the heck my bouncing issue is, but anyway, again, here, get this first of all: http://www.sendspace.com/file/7fm4u2 OK, yeah, yeah, don't chastise my vocals, I know they're r'real! bad. Probably God aweful! I didn't say I was totally warmed up. Anyway, notice the music track is very natural sounding. All I did's run some reverb on my two vocal tracks. the one doing the lead vocal, and the one doing the high shoo wop part, then also added auto-tune, and a little more reverb on the karaoke track, as frankly, in my book, it was way too dry originally. Maybe I over-did it, but anyway, the issue is if I turn the high up on my multi mix interface, I start clipping. If i turn the hi up and then either my fader or my trim down on the board, I'm too soft. If I back the hi off on the board as I did, as you can hear my vocals sound muffled. They dont/' have that clean brightness that I need. Yes, this is a studio grade condenser phantom-powered mike. So I'm not running cheap stuff here. I mean it isn't toppa the line, by any means, but it's not low end either at all. I have the entire folder will all the session files. Would it help more if I send space you all that so you can actually see the project, and all my levels etc? I just wonder how we can get the vocal a bit more bright and less muffled seeing the above issues. I'm kind a darned if I do, darned if I don't, catch 22. Don't just fix it for me, I mean, you can, if you have the time and want to, but I need to learn how to do this, so don't tell me my vocals are off, I know that. More, what should I do to make this mix better? Be nice, be nice! LOL! I'm a beh bee, I'm still learning. LOL! Chris.
Wo! baby, that helped!
Man, you all're right as always! I ran the male vocal solidifier E Q preset, and holy! dynamite! Huge! difference! Man, I wish Sonar was that noticeable when adding effects/EQ's! I'm beginning to see now, why PT is so pro-grade! Good! L'lord!
Re: Erm, boss? We gotta little pwobwem, LOL!
Ok, lets back up and start with one thing at a time. On your vocal track. Insert the AIR 1 band EQ VO right to the filter type and change it to high pass. then find the frequency parameter and interact with it. Then play back the project while you adjust it down to somewhere around 200hz or 150 hz. Adjust to taste. You are basically listening for when there is enough low end there so the vocals sound thick, but not so much that it brings the mud back in. In simplest of terms, the high pass filter (also known as a lo cut filter) is cutting off all the lows below a certain frequency and allowing only the highs to pass through, hence the name. Bottome line, cut before you boost. If you want more highs and clarity, trying cutting the lows first. Hope this was more helpful this time. On Oct 2, 2011, at 3:37 PM, Christopher-Mark Gilland wrote: ouch! That went way over my poor little head. In the longrun, I wanan learn to do all that, but for now, what would you say you'd focus on learning before anything further. Let's take this one step at a time. All these things're overwhelming me. Chris. - Original Message - From: Stephen Martin monkeypushe...@gmail.com To: ptaccess@googlegroups.com Sent: Sunday, October 02, 2011 2:49 PM Subject: Re: Erm, boss? We gotta little pwobwem, LOL! ok two things. If the vocals aren't loud enough, instead of turning up the vocals bring down the level on the karaoke track. Secondly Stop trying to boost the highs, and cut the mud instead. Rule #1 of using EQ cut before you boost. First off, you probably want to run the vocals through a high pass filter, cutting off all frequencies around 150HZ to 200HZ, Experiment and fine tune to taste. Secendly then try cutting some where in the miss as well to help bring out the highs more. If you do ending up boosting the highs, a small amount goes a long way after following steps 1 and 2. Also you may have a decent studio grade condenser, but the weak link in your chain right now could be the multi mix and it's inexpensive per's. But chances are this is probably the least of your worries for now and the EQ tips I mentioned above should get you started. Add the Air 1 band or 3 band eq that comes with PT on the track and start experimenting. ASlso in the reverb blog in, see if it has a high pass and low pass setting, you may want to set the high pass to the same setting as the eq's high pass, and set the low pass somewhere around 5khz. Hope this helps at least get you started. On Oct 2, 2011, at 1:57 PM, Christopher-Mark Gilland wrote: OK, first of all, download this mp3 I made in PT. I had to use Audio Hijack Pro to get it mixed to an mp3 till I find out what the heck my bouncing issue is, but anyway, again, here, get this first of all: http://www.sendspace.com/file/7fm4u2 OK, yeah, yeah, don't chastise my vocals, I know they're r'real! bad. Probably God aweful! I didn't say I was totally warmed up. Anyway, notice the music track is very natural sounding. All I did's run some reverb on my two vocal tracks. the one doing the lead vocal, and the one doing the high shoo wop part, then also added auto-tune, and a little more reverb on the karaoke track, as frankly, in my book, it was way too dry originally. Maybe I over-did it, but anyway, the issue is if I turn the high up on my multi mix interface, I start clipping. If i turn the hi up and then either my fader or my trim down on the board, I'm too soft. If I back the hi off on the board as I did, as you can hear my vocals sound muffled. They dont/' have that clean brightness that I need. Yes, this is a studio grade condenser phantom-powered mike. So I'm not running cheap stuff here. I mean it isn't toppa the line, by any means, but it's not low end either at all. I have the entire folder will all the session files. Would it help more if I send space you all that so you can actually see the project, and all my levels etc? I just wonder how we can get the vocal a bit more bright and less muffled seeing the above issues. I'm kind a darned if I do, darned if I don't, catch 22. Don't just fix it for me, I mean, you can, if you have the time and want to, but I need to learn how to do this, so don't tell me my vocals are off, I know that. More, what should I do to make this mix better? Be nice, be nice! LOL! I'm a beh bee, I'm still learning. LOL! Chris.
Re: Erm, boss? We gotta little pwobwem, LOL!
Yes sir. That was way better. Sorry I seemed a bit rude earlier, if I did at all. And to everyone, especially the mods, whoever you guys are, I'd be curious by the way, thanks for such a great list. And Slau, I do plan to start tonight on reading the manual, so please don't jump my back just quite yet. Here's my thing guys, I don't exactly know why this is, the way I do the best with learning is to have steps written out in print on the pc, or mac, where I can just look at them, and while looking at the, perform them. I don't do that well with step by step interactive nor reading docs learning. That's why I'm asking you all to give me these step by step pointers. I have a bit of a learning disability, I'm not, and i hate the r word, so please don't take it personally anyone... retarded, but I do have a slow learning curve. Bare with me guys and please be patient. I'm scared that I'm gonna annoy you all by posting so much and asking so much at one time. It's jsut me just getting pro-tools, I'm very excited. I want so badly to make music, as music is my life, but I almost wonder if I'm digging too deep for starters. Kevin's tutorial was amazing! He's one of the very few people who does do interactive tutorials in audio that I can follow very very well, and thoroughly enjoy hanging out with, so, Kevin, give yourself a pat on the back, you should be very touched to hear that. You've all been such a great help. I still need to know why the track list button and track table isn't showing. I also discovered something. I goofed a bit on the wave meter as far as the clipping. First, I gotta solo a track. Then I can't read it in real time. It looks like after re-listenning to that mp3, Kevin actually was hitting vo+shift+F3 every now and then. My only concern with resetting my clips are, how long do I have after the clip peek to notice it clipped, check with the vo+shift+F3, then react and hit vo+space? I mean, if I only clip for like a quarter of a second, I may not have time to hear the meter readout, and then reset it. Even if it clips for say one or two beats, that still isn't much reaction time. How do you all deal with that. See, if it read automatically, yeah, it would be annoying but at least I'd hear it say clip, and my fingers coudl be on the 3 keys and I could smackem as soon as I heard it say clip. just wham! and boom. Done. How do yall suppose i deal with this recation thing being I don't have very fast reflexes? Also, hitting space bar is jsut stopping the track, how do I pause and leave my playback at the same place instead a going to the beginning. If I could do that I could find where I hear it clip, pause, then have all the time in the world, to uncliptify, R O F L, Hello Bush, who makes new words, Cliptify? O? Ka! An'n'n'n'ny way! to unclip that area? Thanks guys. Chris.
Metronom with no keypad, am I S O L, Basically?
So, I have a macbook. NO extra keyboard, none I can unplug, no bluetooth with num pad, etc. All I got's the macbook keyboard with no num pad. Is there a way, thus, being I can't do num pad 7, that I can turn on and off the metronom? I desperetly need it for this project as there is a cold silence for one measure followed by me coming back in right instantly with the backup, so if I time this wrong, it's gonna sound god aweful! Chris.
Re: Metronom with no keypad, am I S O L, Basically?
Hey man. Just go grab yourself the wired usb keyboard. You're gonna need it for editing, transport, selecting, dropping markers, navigating markers, selecting between markers, nudging, etc. It's got 2 USB ports on it for your ilok and such. I'll find you guys the best deal on it and post it to the list. Hope that helps. Kevin So, I have a macbook. NO extra keyboard, none I can unplug, no bluetooth with num pad, etc. All I got's the macbook keyboard with no num pad. Is there a way, thus, being I can't do num pad 7, that I can turn on and off the metronom? I desperetly need it for this project as there is a cold silence for one measure followed by me coming back in right instantly with the backup, so if I time this wrong, it's gonna sound god aweful! Chris.
Re: Erm, boss? We gotta little pwobwem, LOL!
Here's some stuff to think about. 1. Try to record everything flat. You can add EQ's later via plugins that will sound much better than the multimix EQ. Sometimes it's not a matter of how good the mic is, if the Pre is inexpensive, it will poorly effect the quality of the sound. Also, record everything at a lower volume. Back in the analog days, it was the goal to record as hot as possible when going to tape. Now, because you're recording into the digital domain, you can record everything much lower. Try and keep your meters between -6 and -10. Your compression and mastering will bring that up to near 0 later on. Then, you're not running the risk of overloading the pre. Just some quick food for thought. Kevin
Re: Fixing Clipping: Specifically, with Voiceover
Once vo is on the meter, hit vo f3 while the track is playing or your singing into the mic. If it clips, hit vo Space and clear the meter. Simple as that. Kevin
Re: Fixing Clipping: Specifically, with Voiceover
Or if you want it to really not clip, then do what I do, hold vo+space down through the entire audio track once soloed from beginning to end. Ow! Mommy! Me Fingul huts. R O F L! Hey, it works though! R O F L! - Original Message - From: Kevin Reeves reeves...@gmail.com To: ptaccess@googlegroups.com Sent: Sunday, October 02, 2011 10:12 PM Subject: Re: Fixing Clipping: Specifically, with Voiceover Once vo is on the meter, hit vo f3 while the track is playing or your singing into the mic. If it clips, hit vo Space and clear the meter. Simple as that. Kevin=
Re: Metronom with no keypad, am I S O L, Basically?
Another option is to use something like quickeys to map the numpad shortcuts to the number row on a non extended keyboard. Someone did this and shared the quick keys script with me. i haven't tried it yet but i know its not all the number roow shortcuts, If there is interest, i'll see if i can find it and share it here. Though an extended keyboard is probably the easiest way to go. If you don't care about the 2 USB ports on the keyboard, decent uSB keyboards can be had for under $10 on amazon. Though given that they are PC keyboards you may have to remap a few keys to get it to work the rich way on amac. Personally i just ended up getting the full sized apple keyboard in the end. On Oct 2, 2011, at 11:00 PM, Christopher-Mark Gilland wrote: OK that would be wonderful. Chris. - Original Message - From: Kevin Reeves reeves...@gmail.com To: ptaccess@googlegroups.com Sent: Sunday, October 02, 2011 9:52 PM Subject: Re: Metronom with no keypad, am I S O L, Basically? Hey man. Just go grab yourself the wired usb keyboard. You're gonna need it for editing, transport, selecting, dropping markers, navigating markers, selecting between markers, nudging, etc. It's got 2 USB ports on it for your ilok and such. I'll find you guys the best deal on it and post it to the list. Hope that helps. Kevin So, I have a macbook. NO extra keyboard, none I can unplug, no bluetooth with num pad, etc. All I got's the macbook keyboard with no num pad. Is there a way, thus, being I can't do num pad 7, that I can turn on and off the metronom? I desperetly need it for this project as there is a cold silence for one measure followed by me coming back in right instantly with the backup, so if I time this wrong, it's gonna sound god aweful! Chris.
